Heipi was a totally new brand to me when I was contacted about its versatile travel tripod. (I’m not even sure how to pronounce the name – does it sound like you're greeting a fruity baked dessert?) However, just because it’s a new name, that doesn’t mean Heipi should be dismissed. In fact, the Heipi 3-in-1 Travel Tripod is one of the most relevant travel tripods today, able to transform for multiple tasks and various camera gear in a way that almost all other tripods can’t.
The average photographer doesn’t use very heavy gear in 2024; the kind of gear that needs an equally robust and heavy support. Mirrorless cameras and lenses are, overall, smaller and lighter. Heck, people shoot with their phones just as much as a 'proper' camera. Heipi’s tripod is for those photographers, the ones using small cameras like a Canon EOS R10 and one of the best cameraphones, who still need a lightweight and versatile support.
Regardless of size, a tripod still needs to provide firm footing, and unless you’re standing on a gusty cliff face, the Heipi tripod will offer shake-free support for moderate-size gear. A max capacity of up to 55lbs / 25kg feels fanciful, but I'd be happy adding an enthusiast-level mirrorless or DSLR camera with a moderate-size zoom lens.
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Heipi 3-in-1 Travel Tripod key specs
Total weight: 3lbs / 1.35kg (including ball head, or 2.35lbs / 1.07 without head)
Max height: 59in / 150cm (with center column fully raised, or 50in / 126cm without)
Legs locks: 4
Packed length: 17.7in / 45cm
Max capacity: Up to 55lbs / 25kg
As a travel tripod that weighs just 3lbs / 1.35kg (with ball head included) and packs away to just 17.7in / 45cm in length, something has to give, and that something is its max reach. It can’t provide the tallest level to work from, just 59in / 150cm with the center column fully raised.
As its name suggests, this 3-in-1 tripod has many guises. For one it’s a regular, lightweight travel tripod that packs away more compact than most, in its supplied case. That's thanks to its four leg sections, each a smidge smaller than average.
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I’ve reviewed heaps of tripods over the past fifteen years, yet Heipi's creation has a design feature I’ve never seen in a tripod before, an innovative center column. You can’t really call it a center column but it does perform as one.
It's effectively a mini tripod that’s folded into the main tripod with its three legs locked vertically as a column. You can then pull it out and lock it off as a column to extend the reach of the main tripod or remove it completely to gain a hefty and stabler-than-most tabletop tripod: the tripod's second guise.
Heipi 3-in-1 Travel Tripod W28 price and availability
The Heipi 3-in-1 Travel Tripod W28 is available now and costs from $399 / £317 on the Heipi website and from $399 on Amazon US. You can buy it with optional accessories such as a QR plate or opt for a different type of ball head in a pricer bundle.
Tabletop tripods are particularly popular for vlogging, and the Heipi 3-in-1's robust center column-cum-tripod is more than able to support the best vlogging cameras for such purposes.
It's a party piece that should be enough to make the Heipi 3-in-1 Travel Tripod stand out, but as its name suggests, it has another trick up its sleeve.
Remove the tripod plate from the ball head and tucked away is a mobile phone clamp that can be pulled out, transforming the tripod into a mobile phone support (see below).
The clamp extends enough to support large phones like an iPhone 15 Pro Max in horizontal format. Should you need to shoot in vertical format with your tripod-mounted phone, it's fiddly to rotate the ball 90 degrees, but it's doable if you persevere.
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Heipi's tripod is impressively versatile and lightweight, but what’s it like to use?
I'll start by reiterating just how compact the tripod packs down, and how light it is. I've been inclined to add it to my camera bag 'just in case', as it really doesn't add much weight to the overall package.
The main legs tuck very tightly together in between the mini tripod's legs. They fold out easily too, although I pinched my fingers several times in the fiddly locks that further open the maximum angle you can spread the legs. You have to repeat the motion many times to get the pain-free hang of it.
I also found the leg section locks unnecessarily long, they can snag during hectic moments on a shoot, and are fiddlier than most to open and close. However, they provide a secure lock and the process of extending all four leg sections and locking them off is speedy.
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When the tripod is fully extended you get a modest maximum height. And if you need to increase the height by extending the center column, the column is quite sticky.
Doubling up the center column as a mini tripod is a really clever idea, but in its role as a center column, it's not the slickest operator.
The tripod comes with a matching ball head, while another type of ball head with a different locking mechanism is available as a pricier bundle. Check the prices above if you missed them.
In terms of strength, the tripod legs lock off tightly and you get a strong support. Despite the claimed 55lbs / 25kg weight capacity, this is designed for those on the move with enthusiast-level camera gear, not those that need the largest and sturdiest support available for bulky gear.
Ultimately, the Heipi 3-in1 Travel tripod lives up to its name and comes with the TechRadar recommendation.
Heipi 3-in-1 Travel Tripod W28: Also consider
Peak Design Travel Tripod For style and design, the Peak Design Travel Tripod is the first rival tripod that comes to mind. Of the two, Heipi's tripod is the more compelling option – its ball head has a panning motion, which Peak Design's tripod doesn't, plus you get those two Heipi party tricks AND it's much cheaper.
3 Legged Thing Punks Brian 2.0 We rate the 3 Legged Thing Punks Brian 2.0 as the best travel tripod on the market. The reality is the two tripods are for different kinds of users. The 3 Legged Thing tripod is versatile for regular use – it's easier to use and make fine adjustments, and it has a better max height. Heipi's tripod is arguably better if you need to switch between gear, plus it's smaller and lighter. Both are highly recommended.
I've had the Heipi 3-in-1 Travel Tripod for some months and it's had moderate use in this time, traveling many miles with me. I still don't feel like I can say I've properly tested its durability – you need years not months to test a tripod properly and be sure it'll last the distance – but so far, it's withstood the rigors of moderate use as a full tripod and tabletop tripod. It's an ideal travel companion.
There has clearly been a lot of thought put into the design of the stylish and simple Shimoda Urban Explore 25. The bag's layout is quite conventional, with a top compartment for everyday accessories, a main camera core at the heart of the bag, and various pockets throughout for productive storage.
Whilst there is nothing massively groundbreaking, the small design touches add up: rubber grips on pockets to prevent items from slipping out, handles on three sides of the bag, a cable management pocket, USB power passthrough, a strap loop for a camera clamp, a dedicated Apple Air Tag pocket, and a secret passport pocket.
The padding provides a good balance between comfort, security, and weight, and I found the bag comfortable to wear all day.
We're not looking at perfection: access to the waterproof cover is tricky and there's no dedicated spot for a USB battery for the passthrough hole. But these are quite trivial points that don't detract from the overall quality of the Shimoda Urban Explore 25 bag.
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Shimoda Urban Explore 25: design
When worn on the back, the Shimoda Urban Explore 25's minimalist look could fool you into thinking that the bag might be somewhat basic, which is anything but the truth. Beneath the strong, tough Cordura material and stylish leather zip-pulls are discerning features that will appeal to those wanting a photo backpack for that weekend city break.
Shimoda Urban Explore 25 price and release date
The Shimoda Urban Explore 25 has a list price of $319.95/ £305 and is available in Anthracite or Boa color variants. There are also 20L and 30L versions of the bag, also available in Anthracite or Boa. The Urban Explore 20 is $279.95/£285, and the Urban Explore 30 is $339.95/£330.
Obviously, the smaller size will be preferential for those needing less camera kit and using smaller laptops or tablets, while the larger of the three will hold more kit and larger professional laptops. You can find full specifications for each of the bags on the Shimoda website.
The bag layout is quite conventional: there's a main compartment with a removable camera core should you wish to use it as a regular backpack, a top compartment ideal for accessories, plus two pockets one on each side for either a tripod or a drinks bottle. These side pockets are unzipped, with one allowing quick access to the main camera compartment (which can also be zipped closed internally for extra security). In contrast, the other side opens and reveals a pocket and elasticated loops for keeping all those essential cables neat and tidy. Within each of these compartments are plenty of pockets and even hidden spaces, which we will come on to later.
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Shimoda Urban Explore 25: performance
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There is a decent amount of space in the removable camera core. I added a Sony A7 IV with a Sony FE 24-70mm f/4 lens mounted to it. This was easily accessible when I needed access from the side compartment. It is worth adding here that access to the camera core can be zipped shut so that even if the side of the bag is open, it requires an additional 'unzipping' before your kit can be accessed; again, this adds a touch more security from prying hands. If you want quick access, the side access flap can be tucked into the inside flap of the camera bag, which keeps everything neat and tidy.
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In addition to the camera and mounted lens, I could fit a FE 70-200mm f/4 lens as well as a couple of smaller lenses and a flashgun. In summary it has the space you need for a weekend shooting. The camera core also has a hard metal internal frame on one side to prevent your gear from getting crushed in an overhead plane compartment. There is a second metal frame around the edge of the rear of the bag, again preventing it from being crushed easily but also allowing it to keep the bag shape and sturdy.
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Getting access to your laptop is easy. The laptop compartment is accessible from the top compartment, and it runs down the front of the bag rather than sitting against your back, which is more common. Instead, it is the tablet compartment that takes up this spot on the back of the backpack, and it is accessed from the main camera compartment.
There is plenty of space in both the laptop and tablet compartments. The laptop compartment measures 25W x 35.5H x 2D cm / 9.8W x 14H x 0.8D in, meaning it should fit a 16-inch laptop with no issues. I used it for my 13-inch MacBook Air, and it was swimming around in there. My laptop also fits in the tablet compartment, so iPad Pro users shouldn't have any issues.
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The straps on the bag are nicely padded, offering a comfortable carrying experience. They are also adjustable at the top, allowing the user to get a good fit over the shoulder as well as being able to adjust the length. One of the straps also has a little accessory mount, allowing a camera clip, such as the Peak Design Capture Clip, to be easily attached.
A chest/sternum strap allows for a snug fit, but sadly, there is no waist strap, although there is a way of adding a third-party one behind the cushioning on the bottom of the rear of the bag. All of that said, this is very much a city bag rather than one you will be taking out on technical hikes, so the lack of a waist strap is completely understandable.
There are some lovely design touches on the bag, including an easy-access Apple Air Tag pocket – it is nice to have a dedicated place for it within the bag. The passport pocket is tricker to find and access, as it should be; no one will be slipping their hand in your bag and getting your passport out.
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For storing accessories, the bag has plenty of space. The top compartment has a zipped mesh pocket, with two individual pockets inside for storing smaller items such as batteries and memory cards. These pockets have a little rubber grip at the top, helping to prevent any items in the pocket from slipping out or shifting around too much; it is a simple touch that adds to the quality feel of the bag. There is also a quick-release loop in this pocket, which could be used for keys or an appropriate accessory.
The top compartment is spacious and can easily hold a pair of headphones and a compact camera; like most top compartments, its location means it is best for things you need quick access to. Interestingly, the entire top compartment can be unzipped. Along with the ability to remove the camera core, this means that the Urban Explore can be used as an everyday backpack when you don't need all your camera gear.
I found the main front compartment to be another useful pocket for easy access to items. The size is perfect for holding a notebook or documents, while the internal plastic pocket is good for smaller general items such as tickets or pens.
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Having a dedicated pocket on the side for cables is great and helps to keep everything tidy and easily found. The USB passthrough comes through this pocket, and one of the few criticisms of the bag is that there isn't a dedicated space to put a USB battery, although it is easy enough to put it in the main camera core or even thread a long enough cable through the top compartment; it isn't a big deal but seems something of an oversight when so much great design has been implemented elsewhere.
Besides the camera core, the main compartment is spare, except for a plastic pocket, which is effectively the rear of the top compartment. This pocket isn't the easiest to access, so it is suitable for things that you may need less often—lens and sensor cleaning kits, spare cameras and lens caps, batteries, etc.
The only other thing of note is that the bag's waterproof cover is tucked into a fold at the bottom of the main compartment. While the bag is water resistant, in a really heavy prolonged rain shower, the rain cover isn't the easiest to access when you really need it. And it could potentially mean exposing your camera gear to the elements to retrieve it. Again, the bag is designed for the city, so you should be able to find shelter somewhere; so for the target market, it isn't a deal breaker by any means, but you would have thought there could be a better place for the cover or at least a better way of retrieving it.
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One thing I liked was the fact that the bag has handles on the side, top, and bottom. You can grab it easily and securely from any angle, which is reassuring when you need to put it in an overhead locker on a plane or generally just move it around.
Carrying a bag with a mid-size tripod was no issue. I just about managed to squeeze all three legs into the side pouch designed for a bottle or tripod legs. Smaller travel tripods will fit comfortably and won't shift around, and for larger tripods, you can just put two legs in and use the straps to tighten everything in place.
Should I buy the Shimoda Urban Explore 25?
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Buy it if...
Don't buy it if...
How I tested the Shimoda Urban Explore 25
I used the bag as a daily camera backpack
Walk around 5k with the bag on my back
Packed it with as much gear as possible
I have tested the Shimoda Urban Explore 25 by using it as an everyday camera bag. I carried my laptop in the backpack and set off to work in a coffee shop, taking all my weekend camera kit with me for some shooting before and after.
While out and about, I used the bag as I normally would, taking items in and out of the compartments and pockets to use them, all the time thinking about the bag's weak points and whether anything could be designed differently to speed up access or make things more secure.
It is very difficult to design bags that are overtly different. Most backpacks have standardized layouts, so I was looking for small features on the bag that would make a difference in how I would use it.
There’s long been a snobbery when it comes to camera formats going back to the days of film. But with digital photography, while this does remain to some extent, the camera landscape is completely different and smaller sensor Micro Four Thirds (MFT) cameras are often some of the most advanced cameras available.
The OM System OM-1 Mark II is one such camera, but it’s more of an incremental update over the original OM System OM-1 than a significant upgrade. However, the new model is still one of the most technologically advanced cameras currently available, offering features and functionality that could easily tempt photographers away from larger format APS-C and full-frame cameras, especially those looking for a lightweight camera system.
The OM-1 II offers many of the same features as the original, including the same 20MP back-illuminated sensor with its 1053-point AF system, 50fps when shooting with continuous autofocus, Live ND filters (software-based) alongside the IP53-rated weather-sealed body to name but a few. The two cameras also look remarkably similar, nearly identical, so what’s so special about the OM1-II?
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The OM-1 II is undoubtedly a stunning camera that handles incredibly well and offers features and functionality that I wish my larger sensor cameras had, and I’ll cover many of these in more detail later. But this level of functionality doesn't come cheap – the body-only price is $2,400 / £2,199 / AU$3,599.
This price puts it in the same bracket as many mid-range full-frame cameras, which can seem like a negative when you’re getting a much smaller sensor. However, you're getting a typically smaller and lighter camera system, including the lenses, which most OM System fans favor. It's an easier-to-carry and more compact system that’s capable of shooting any subject, excelling in landscape and wildlife photography.
OM System OM-1 II: design
With its rugged build quality offering IP53-rated splash and dust resistance, alongside being able to withstand freezing temperatures down to -14 degrees fahrenheit / -10 degrees celcius, this compact and lightweight camera is designed to withstand the rigors of outdoor photography.
The OM-1 II is slightly smaller than the average full-frame mirrorless camera, plus, it’s lighter at 1.32lbs / 599g including a battery and memory card. There are also two SD card slots for dual recording and redundancy.
Despite its slightly smaller size, the camera is comfortable to hold thanks to a well-contoured grip and an excellent thumb plate on the back. If you could say a camera fits your hand like a glove, it’s the OM-1 II.
There are plenty of direct controls for speedy access to key camera settings, and the menu system itself is well laid out and easy to navigate, which can be an easily overlooked benefit of any camera. Although the OM-1 II looks almost identical to its predecessor, the newly rubberized dials provide greatly improved grip and overall feel.
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Shooting with the OM-1 II is an absolute pleasure, and the 5.76m-dot EVF that now has a blackout-free display when shooting at even the highest frame rates available provides a beautifully clear and bright image.
The LCD on the back is also impressive, but as is often the case, this is lower resolution than the EVF. The 3-inch vari-angle 1,620K dot touchscreen is convenient, clear and bright, but some of the on-screen icons are on the small side.
The only thing that I don’t like about the design of the camera is that the on/off switch is on the left side of the camera, rather than on the right where you hold the camera. Right positioning makes it much easier to switch cameras on and off when you pick them up by the grip.
But although in my opinion, this would be much better, the switch positioning certainly isn’t a dealbreaker and is likely to be something you’d get used to if you’re switching from a different camera system.
OM System OM-1 II: performance
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This is a camera that owes much of its prowess to computational power which includes AI algorithms. I’m not talking about generative AI for image creation, this is AI that aids the functionality and performance of the camera.
One area where this is put to work is with the improved AI subject recognition that can be set to detect six different subjects as well as being switched off. This subject detection worked extremely well during testing, and the bird setting was fantastic for shooting birdlife, often detecting their eye which is both useful and impressive.
One of the headline new features is Live Graduated ND, which is a digital grad available in 1-stop, 2-stop and 3-stop strengths and can be set to soft, medium or hard graduations (see examples, below). As a landscape photographer who uses square filters, I found these digital equivalents offered harder graduations than my glass filters, but they’re still extremely effective.
There’s unfortunately no reverse grad option for shooting sunrises and sunsets, although the grad can be rotated to most angles. You also have to shoot in manual mode to avoid the foreground exposure from brightening, which is a little odd since you’d expect the algorithm to account for this. Still, it’s undoubtedly an impressive feature.
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No Filter (Image credit: James Abbott)
No Live GND filter to 3EV progression alongside a back of camera to show the on-screen Live GND.
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Back of camera showing the Live GND guide (Image credit: James Abbott)
The new Live Graduated ND sits alongside Live ND Shooting, which has been extended to ND128 / 7-stops with the OM-1 II to provide long exposure capabilities in-camera, as well as wide aperture shooting in bright conditions.
The main downside to these two digital filters is that they can’t be used in conjunction, so landscape photographers will need to continue using traditional optical filters in situations where they need to use both ND filters and ND grads. Hopefully, dual shooting could be implemented in a firmware update, and if this is possible it would be phenomenal.
With 8.5 stops of 5-axis in-body image stabilization (IBIS), the OM1-II beats its predecessor here by 1.5 stops, thanks again to software rather than a hardware upgrade. Sync IS also allows the IBIS to work in conjunction with the optical stabilization available in lenses, so when using the OM System 150-600mm F5.0-6.3 IS, for example, I was able to shoot at 600mm (1200mm equivalent) handheld at shutter speeds as low as 1/200 sec, which is nothing short of mind-blowing.
Last but not least, with many of the same fundamentals as the OM System OM-1, image quality is comparable and is overall excellent. ISO handling is best up to ISO 1600 and you could confidently shoot up to ISO 6400 when necessary, although like any camera it’s always best to shoot at the lowest ISO setting possible for the subject and situation you’re shooting.
Then there's the advanced AWB algorithm that’s claimed to ensure precise color reproduction, which does indeed do a great job and was either perfect or just a little off during testing. Video capture has also seen some improvements, but 4K capture still tops out at 60fps where 120fps would be preferable for slow-motion capture.
Should I buy the OM System OM-1 II?
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Buy it if...
Don't buy it if...
How I tested the OM System OM-1 II
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I tested the OM System OM-1 II over several shoots covering different subjects to test features, handling and image quality. Most images were shot simply to see how the camera performed in different situations, while others were shot specifically for being able to assess the results.
This approach provides the ability to test all aspects of the camera in a real-world environment that’s closer to how photographers will use the camera, rather than relying on statistics and lens charts that provide incredibly useful information, but do so in a way that removes the element of subjective interpretation.
With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve covered almost every conceivable photography subject and used many of the cameras and lenses that have been released in that time. As a working photographer, I’m also aware of the factors that are most important to photographers and aim to test cameras and lenses in a way that reflects this.
OM System M.Zuiko Digital 150-600mm F5.0-6.3 IS: two-minute review
With an equivalent focal range of 300-1200mm, the OM System M.Zuiko Digital 150-600mm F5.0-6.3 IS is a wildlife photographer’s dream. Small and distant subjects are suddenly thrust into the limelight, while mind-blowingly effective Image Stabilization steadies the viewfinder image and makes it possible to shoot handheld at much slower shutter speeds than should be possible. What more could you possibly want or need in this type of lens?
The 150-600mm focal range has become extremely popular in the past 10 years or so with enthusiast photographers, who can enjoy the long reach at a much more affordable price than professional telephoto prime lenses. There's a slight trade-off in maximum aperture and image quality from those pro telephoto prime lenses, but the money saved and versatility afforded is usually worth the compromise.
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The M.Zuiko Digital 150-600mm is not inexpensive at $2700 / £2499 / AU$4099, and it’s only marginally less expensive than the Olympus M.Zuiko Digital ED 300mm f4 IS PRO. The latter is an optically superior lens with an equivalent focal length of 600mm paired with that f/4 maximum aperture, but for the average enthusiast the versatility of the 150-600mm will prove particularly tempting.
This colossal telephoto lens is also quite a beast in itself at 10.41x4.30 inches / 264.4x109.4mm, with a weight of 4.55lbs / 2,065g without the lens hood or lens cap. (It's actually a reworked version of the full-frame Sigma 150-600mm, with the micro four thirds lens mount.)
Honestly though, don’t let its gargantuan proportions put you off. You can and likely will want to attach the lens to a monopod or tripod anyway for photographing distant subjects, achieved via the Arca Swiss compatible tripod foot or the tripod screw thread on the bottom of the foot.
This may not be one of OM System’s PRO series lenses, but it provides great performance overall in what is arguably a compact and lightweight lens considering the extensive reach on offer. But let’s take a deeper dive into the specifics to see exactly how this lens performs in the real world when shooting wildlife.
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OM System M.Zuiko Digital 150-600mm F5.0-6.3 IS: design
The 150-600mm is quite a large lens for OM System – its design is based on a full-frame Sigma 150-600mm lens. A shoulder strap is included, which makes carrying the lens comfortable and convenient when walking around. Build quality is fantastic and offers XPX1 weather sealing making it dust and splash-resistant – essential for a lens of this type.
The only real downside of the lens build is that it has an external zoom mechanism, which means it extends as you zoom, but there is a zoom lock that works when the lens is retracted in its 150mm setting, plus two zoom friction settings. The lower resistance setting allows you to push or pull the front of the lens to change focal length, which is both useful and comfortable.
Other controls available on the lens include focus mode, focus limiter, image stabilization and three customizable Function buttons. So, despite not being a professional lens, the 150-600mm certainly offers controls more commonly associated with higher-end lenses.
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The front element and filter thread are 95mm, so you can use filters if you need to, although this is uncommon with wildlife photography and the screw-on lens hood provides more than adequate protection for the front element while also reducing the risk of flare. The lens is made up of 25 elements in 15 groups, with the front element featuring a fluorine coating to resist dirt and water spots, while the aperture is made up of nine blades.
The lens is surprisingly comfortable to use for long periods despite its size and weight. It doesn’t balance well with typically compact OM System cameras, but this isn’t a problem because using a lens like this with any camera system because you'll at the least be supporting the lens with both hands when shooting handheld.
OM System M.Zuiko Digital 150-600mm F5.0-6.3 IS: performance
The two standout features of the 150-600mm, alongside the incredible focal range, have to be image stabilization and autofocus. The 5-AXIS SYNC Image Stabilization offers up to 7 stops of compensation and uses a combination of optical stabilization in the lens and in-body image stabilization (IBIS) provided by OM System camera bodies.
Image stabilization performance is truly remarkable, and putting this into context, I often found myself shooting at 600mm (1200mm) at shutter speeds as low as 1/200 sec and still achieving sharp results. Autofocus is also fast and positive, not to mention silent, so no complaints here whatsoever and ideal for wildlife. The only problem I found when tracking fast-flying birds when zoomed in at 600mm was that I simply couldn’t keep up with them in terms of framing.
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Image quality is, overall, very good considering the focal range on offer. Images are sharp and provide plenty of sharp detail, but it’s fair to say that they lack the level of sharpness produced by professional-level telephoto prime lenses. This isn’t surprising, and in terms of sharpness, the M.Zuiko Digital 150-600mm is comparable to full-frame 150-600mm lenses, with the micro four thirds advantage of double the reach.
With a maximum aperture of f/5.0-6.3 depending on the zoom factor, you could fairly assume that this combined with the MFT sensor size would produce a larger-than-desired depth-of-field. But in reality, backgrounds are sufficiently and pleasingly defocused, placing full emphasis on the subject itself.
Should I buy the OM System M.Zuiko Digital 150-600mm F5.0-6.3 IS?
Buy it if...
Don't buy it if...
How I tested the OM System M.Zuiko Digital 150-600mm F5.0-6.3 IS
I shot with the OM System M.Zuiko Digital 150-600mm F5.0-6.3 IS over several days, opting to focus on bird photography to maximise the full potential of the lens in terms of the reach it provides. Photos were taken at different aperture settings to test handling, sharpness and distortion, while image stabilization was put through its paces by shooting at considerably slower shutter speeds than would normally be possible.
Most images were shot simply to see how the lens performed in different situations, while others were shot specifically to compare the results, all in real-world environments rather than relying on statistics and lens charts.
With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve covered almost every conceivable subject and used many of the cameras and lenses that have been released in that time. As a working photographer, I’m also aware of the factors that are most important to photographers and aim to test cameras and lenses in a way that reflects this.
I've bemoaned the fact that Nikon's gorgeous new retro cameras, the Zf and Z fc, lack any lenses that equally pack the old-school appeal. However, it turns out that you won't need to make do with modern-style mirrorless lenses, or resort to adapting Nikon's old SLR lenses with old-school quality, because there's another name in today's retro game: Voigtländer.
I first saw the old-time German lens maker's Voigtländer D35mm f/1.2 Nokton lens at the CP+ expo in Yokohama, Japan. It was mounted on a Nikon Z fc and the pairing offered up a true blast from the past.
Voigtländer Nokton D35mm f/1.2 specs
Type: Prime
Sensor: APS-C
Focal length: 35mm (around 53mm APS-C)
Max aperture: f/1.2
Minimum focus: 11.8in / 30cm
Filter size: 46mm
Dimensions: 2.6 x 1.6in / 65.8 x 41.0mm
Weight: 8.1oz / 230g
Made in Japan, the lens might look like it's from the 1980's, but it is in fact a Z-mount lens for today's latest Nikon mirrorless cameras, and is around two years old now.
The super-brief amount of time spent with the retro stunner at CP+ left me wanting more, and I just had to get my hands on it again for a much longer play. Thanks to the good folks at Flaghead Photographic, that became a reality and now I've completed this long-term review.
Voigtländer's lens has won over both me, and my camera enthusiast father who first introduced me to Nikon SLR cameras back when I was a teen. Mounted to a Nikon Z fc, the gear has taken us back to simpler times, all while offering Nikon's superb mirrorless tech for 2024. If you already own a Z fc or are considering one, then Voigtländer's lens should be your next lens to go with it.
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Voigtländer Nokton D 35mm f/1.2: Design
Made in Japan
Meaningful attention to retro details
Manual focus only
The Voigtländer Nokton D 35mm f/1.2 is an APS-C lens with approximate 53mm full-frame equivalent focal length. It's also available for Fujifilm X-mount and Sony E-mount, with each version being considerately designed to match each brand's style. For me, the Nikon Z-mount version is easily the pick of the bunch.
It's a manual focus-only lens decked with a ridged focus ring, focus distance markings, plus an aperture ring with colorful aperture markings. The focus ring has a smooth rotation, while the aperture ring is clicked. All of these details are crucial; they're faithful recreations of Nikon's old-school design.
If you're already fond of Nikon's SLR lenses from decades past, then it will be love at first sight, love at first hold and love at first use. This is the real retro deal, with the design touches alone enough to elevate Voigtländer's lens to the top of Z fc owners' wish list.
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Speaking of the Nikon Z fc, it has shutter speed and ISO exposure dials (see above); but, currently, not a single Nikon Z-mount mirrorless lens has an aperture ring. With the Voigtländer lens you now get aperture control, meaning the manual exposure triangle of ISO, shutter speed and aperture is complete.
Build quality is solid. The lens mount is made of metal, although it isn't rubber-sealed nor weather-resistant. However, you're afforded the modern convenience of electronic contacts, meaning all metadata is logged in your files for easy reference, including camera settings such as aperture, plus the date created.
You're primarily buying the Voigtländer Nokton D 35mm f/1.2 because of how it looks and feels, rather than its ease of use – it's a manual focus lens, after all – and, honestly, that will be enough for most people. But what of the images it can produce?
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Voigtländer Nokton D 35mm f/1.2: Performance
True sharpness kicks in at f/2 to f/8
Characterful bokeh
Manual focusing can be challenging when depth of field is shallow
Technically, you can use the Voigtländer Nokton D 35mm f/1.2 lens with a full-frame camera such as the Z f, but because it's an APS-C lens, you won't be making the most of the lens' image circle; the camera will automatically crop 1.5x because of vignetting, creating a field of view that's approximate to an 80mm lens.
With an APS-C camera, you have an every-day lens that's especially good for portrait photography, provided you get the hang of manual focus, which is pretty tough at such shallow depths of field. Without Nikon's subject detection autofocus at your disposal, you won't get as many critically sharp photos, no matter how long you hone focus nor how still your subject.
There's 12 aperture blades to create a smooth and rounded bokeh, especially when wide open at f/1.2. I've included various sample images that illustrate bokeh, sharpness and distortions, turning all in-camera lens corrections off (although there's no real reason to do that). The images below are taken in sequence at f/1.2, f/1.8, f/2.8, f/4 and f/5.6.
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f/5.6 (Image credit: Future | Tim Coleman)
Bokeh is cats-eye in shape in the corners; I don't mind that over the sought-after circular bokeh. And in some images the out-of-focus backgrounds have a surreal quality to them – for instance, the photo of the goat with the ground behind it in the general gallery below.
The f/1.2 maximum aperture is faster than any one of Nikon's lenses in this sensor format, giving you excellent low light and shallow depth of field potential. However, to begin seeing the lens' technical quality, you'll need to stop the aperture down to around f/2 for sharper detail and better control over lens distortions such as vignetting.
You're then in a quandry – for many users, the draw for the lens' images will be the fast f/1.2 aperture, where you can get dreamy bokeh, provided your subject in focus is close enough. I've included an out-of-focus shot to show what the bokeh could look like, but the other shot in focus is more realistic based on portraits you're likely to take.
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Bang for buck, I'd say that image quality is good – and the primary reason for knocking a mark off the lens' score, while its undisputed design scores top marks.
There are technically better lenses available, but none can compare to the feeling you get with the Voigtländer. It has certain characteristics that you come to know and grow to love.
If you own a Nikon Z fc because you fell for its charm, then the Voigtländer Nokton D35mm f/1.2 should be the next lens on your shopping list, even if it's a fraction on the pricey side.
Voigtländer Nokton D35mm f/1.2: sample images
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Portrait at f/1.2 (Image credit: Future | Tim Coleman)
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There's plenty of character in out of focus areas (Image credit: Future | Tim Coleman)
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At f/1.2 there's vignetting and detail even in sharply focused areas is a little soft (Image credit: Future | Tim Coleman)
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At f/5.6 the detail in focused areas is sharpest (Image credit: Future | Tim Coleman)
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If your subject doesn't mind staying still, manual focusing is wrokable (Image credit: Future | Tim Coleman)
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Manual focusing for erratic subjects can be challenging. I persevered to get this shot! (Image credit: Future | Tim Coleman)
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I mounted to a tripod for a slow shutter speed at f/16 to soften the choppy water (Image credit: Future | Tim Coleman)
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I liked using the Voigtlander lens for street photography (Image credit: Future | Tim Coleman)
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Detail is sharp if you use an aperture of around f/5.6 (Image credit: Future | Tim Coleman)
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You'll need to persevere for sharp shots given you don't have autofocus. (Image credit: Future | Tim Coleman)
Should you buy the Voigtländer Nokton D35mm f/1.2?
Buy it if...
Don't buy it if...
How I tested the Voigtländer Nokton D35mm f/1.2
Regular use for over a month
All kinds of photos, including portraits
Used mainly in fair weather, plus day and night
I've had the Voigtländer Nokton D35mm f/1.2 and Nikon Z fc on long-term loan for this review. The gear has accompanied me on many days out, during walks, documenting family life, capturing portraits – in essence, a walk around lens.
I've taken the same photos at all aperture settings to check lens sharpness and distortion, and paid much attention to the experience around portrait photography. The lens isn't weather-sealed and so, in general, I've guarded it well – although it has experienced light rain on the odd occasion.
There's much to like about the Panasonic Lumix S9. It inherits superb video features from its pricier sibling, the Lumix S5 II, and squeezes them into a smaller, colorful body.
It boasts a 24.2MP full-frame sensor, open gate 6K video recording (taken from the full height and width of the 3:2 aspect sensor), the option to automatically set a 180-degree shutter angle, and one of the best performing image stabilization systems for shooting video on the move.
Beyond its bigger sibling, the Lumix S9 also brings Panasonic's lesser-known Real Time LUTs color profiles to your fingertips. Fujifilm's Film Simulations have been trending, but Real Time LUTs color profiles are next-level, with no restriction on the look you want.
Once you're connected to the new Lumix Lab app, you can import a number of Real Time LUTs profiles directly on to the Lumix S9, including a variety of excellent looks made by Panasonic's network of professional creators. This is color grading made easy for photo and video.
With the Lumix S 20-60mm F3.5-5.6 lens attached, which by the way is one of the smallest L-mount lenses available in 2024. (Image credit: Future | Tim Coleman)
Design-wise, the Lumix S9 is primarily a video camera, and at $1,500 / £1,500 (Australian pricing TBC) it offers incredible bang for buck. The reason Panasonic has been able to drop the price from the $1,999 / £1,999 Lumix S5 II is simple – this is a much simpler body, and a colorful one at that, designed to appeal to young creatives.
This is no photographer's tool, despite the excellent-quality 24MP stills: the Lumix S9 doesn't have a built-in viewfinder, or a hotshoe for mounting optional accessories, such as a flash or EVF. The coldshoe is instead limited to other accessories such as an external mic, or even a top handle.
I missed having a viewfinder. Much of my testing was conducted in bright sunny weather and the flip-out touchscreen isn't the easiest to see under such conditions.
In bright conditions you can't be fully sure if the Lumix S9 has locked focus on to your subject, you just have to trust it does. To be fair, for the best part it does – the S9 has Panasonic's best ever autofocus system, with human and animal subject detection and both with options for face and eye detection only, or for bodies, too.
We're missing a headphone jack to monitor audio, which feels like a misstep for a video-focused shooter. You can activate on-screen audio monitoring which gives some indication of audio levels, but there's no easy way to properly monitor sound.
The Lumix S9 is a much bigger package with any lens attached, such as the Lumix S 20-60mm F3.5-5.6 pictured here. (Image credit: Future | Tim Coleman)
In essence, this is a full-frame camera for beginner filmmakers who want to point-and-shoot and trust that the camera will capture excellent visuals and audio, and for the whole experience to be as close to using a smartphone as possible.
To an extent, the Lumix S9 is successful in its mission. It's visually appealing, small and simple, brings lovely photo and video color profiles to your fingertips and the app is a nice touch, even if it could do with some refining.
However, considering the target market, I'm not entirely convinced this should be an L-mount interchangeable lens camera, rather a fixed lens compact with a tiny wide-angle fast aperture prime lens – much like the Fujifilm X100VI.
It's really hard to make tiny full-frame lenses, and the new pancake lens announced on the same day as the S9, plus the compact zoom in the pipeline, hardly excite. The smallest fast aperture L-mount prime lenses dwarf the camera and I'm not sure beginners will want to mess around with multiple lenses in the first place.
Design-wise, Sony's ZV-E10 feels like a better bet – with its smaller APS-C sensor and lenses, plus a decent grip. All being said, the Lumix S9 does a lot of things really well, new things, too, and we'll have to wait and see if it hits the mark with young creatives.
Panasonic Lumix S9: release date and price
Body-only price is $1,499 / £1,499 / Australia TBC
Available from June 2024
Launched alongside the Lumix S 26mm F8 pancake lens, which costs $219 / £219
The Panasonic Lumix S9 is available in four colors: Dark Olive (pictured, below), Classical Blue, Crimson Red and Jet Black, and costs $1,499 / £1,499 body-only, or $1,799 /£1,799 with the decent 20-60mm f/3.5-5.6 lens, and $2,249 / £2,249 when bought with Panasonic's new travel lens, the 28-200mm f/4-7.1. The camera is available from June 2024, and Australia pricing for all of those options is TBC.
There's no word yet if the Lumix S9 will be available as a bundle with either of the newly announced lenses, the new 26mm f/8 pancake lens or the 18-40mm F4.5-6.3 compact zoom in development. The pancake lens, which only weighs 2.04oz / 58g, costs $219 / £219 and also ships from June 2024, while the compact zoom is coming later.
At launch, the Lumix S9 is Panasonic's cheapest full-frame camera yet, although the Panasonic Lumix S5 II / S5 II X that shares much of the same tech but in a higher-spec body, is often on sale for a similar cost.
You can take off the lens to easily pack the Lumix S9 away in a small bag. (Image credit: Future | Tim Coleman)
Panasonic Lumix S9: design and handling
Newly designed body is Panasonic's smallest full-framer yet
No viewfinder, hotshoe or headphone jack
Vari-angle touchscreen
New compact lenses on the way
The Lumix S9 is Panasonic's smallest full-frame camera yet, measuring 126 x 73.9 x 46.7 mm / 4.96 x 2.91 x 1.84 inches. It's not the smallest full-frame camera around – that award goes to the Sigma FP, plus the Sony A7C II is smaller by a whisker.
The body might barely be a handful, but it still needs a lens, and even the smallest full-frame L-mount lenses currently available – excluding the new 26mm F8 pancake – dwarf the Lumix S9. Throw on the excellent 20-60mm F3.5-5.6 and the depth is increased to 133.9mm / 5.28-inches.
A thumb grip goes some way in providing a secure hold, but with no hand grip you'll probably need to support the camera with both hands, or kit it out with a third-party grip. Relatively chunky lenses are the challenge in handling small full-frame cameras like this – the all round feel is better with a camera like the full-size Lumix S5 II.
In an ideal world, the Lumix S9 would have a fixed prime lens around the size of Panasonic's new pancake lens, but with a much faster maximum aperture – the Fujifilm X100VI approach. Panasonic could then also install a built-in ND filter, and ultimately create a truly compact video camera that also shoots much better video than your phone.
Still, if you don't mind the size of lenses like the 20-60mm F3.5-5.6 and 50mm F1.8 – both of which I had with the camera for this review – then you can make some excellent quality video.
The Lumix S9's Dark Olive color variation looks the part. (Image credit: Future | Tim Coleman)
There's the question of which tasteful color variation you will pick: green, red, blue, or an all-black option for those playing it safe. For now, Panasonic's lenses remain all-black; there's no color-matching kit lenses.
Panasonic Lumix S9 key specs
Sensor: 24.2MP full-frame CMOS AF system: Hybrid with phase-detect EVF: N/A ISO range: 100 to 51,200 (ISO 50-204,800 extended range) Video: 6K/30p 'open gate' 4:2:0 10-bit internal LCD: 3.0-inch vari-angle touchscreen, 1.84m-dots Max burst: 8fps (continuous autofocus), 30fps burst Connectivity: Wi-Fi 5GHz, Bluetooth 5.0 Weight: 403g (body only), 486g incl battery and card
Control layout is super simple and beginner-friendly: on the top there's a shooting mode dial, video record button, exposure compensation, shutter button and control dial. We get a limited number of ports: mic, USB-C and mini-HDMI, but no headphone jack.
As a small, video-focused camera, there's no viewfinder nor the option to add one, while the coldshoe mount can hold an accessory like an external mic, but it won't connect directly to a hotshoe flash.
The 3-inch vari-angle touchscreen is decent, albeit hard to see in bright light. I couldn't find the option to activate a red border to clearly indicate when the camera is recording video, or even a tally lamp – inexplicable omissions for a small, video-focused camera.
The S9 body is tiny, but it still needs a lens, which adds considerable depth. (Image credit: Future | Tim Coleman)
In-camera menus are fairly-well laid out. If you select the video mode on the top dial, then all of the photography settings disappear in the menu, helping you access video options much quicker.
You'll want to customize video options to get started, for example setting the 'Shutter Speed / Gain Operation' to prioritize shutter angle to automatically apply the 180-degree shutter angle for smooth video footage. This handy option is not available on a lot of other pricier video cameras.
The vari-angle screen can flip around for selfies, although the camera lacks a clear indicator when recording videos, for instance a tally lamp or red border around the screen. (Image credit: Future | Tim Coleman)
A new LUT button on the rear gives quick access to the unmatched variety of color profiles, which can be uploaded to the camera via the Lumix Lab app in addition to those already included. I went for 'Platinum Steel' by Sam Holland for a moody vibe with soft skin tones, among others.
Panasonic wants to create a camera and app experience that's easier than ever. From my brief time using the Android version of the Lumix Lab app, the jury is still out. Connection is faster than most, but the app can still be awkward to navigate, and appears to be limited to file transfers and uploading LUTs profiles. There could be more than this, including remote control.
The Lumix S9's control layout is pared back and beginner-friendly. (Image credit: Future | Tim Coleman)
Panasonic Lumix S9: features and performance
Superb in-body image stablization
Panasonic's best phase detection autofocus
Battery life is a respectable 470-shots (depending on lens)
Single UHS-S II SD card slot
New Lumix Lab app
The Lumix S9 is well supported by Panasonic's best ever autofocus and image stablization performance, both inherited from the Lumix S5 II.
The S9's bigger sibling was the first Panasonic camera to utilize a hybrid autofocus system, with snappy contrast detection autofocus primarily for stills, and smooth phase-detection autofocus for video, featuring subject detection modes that cover human, animal, car and motorcycles.
Human and animal detection autofocus can switch between prioritizing face and eye only, or face, eye and body, and in general works really well.
Image stabilization performance is outstanding. It's possible to shoot sharp photos handheld with shutter speeds in the seconds, while handheld video footage on the go is super smooth – smooth enough for moderate action that you can avoid using a gimbal.
Connection between the Lumix S9 and Lumix Lab app proved quick and reliable using a Google Pixel 6 phone. (Image credit: Future | Tim Coleman)
There's just a single SD card slot with support for the faster UHS-II type, and you can capture up to 120 images in the continuous high burst shooting setting, which maxes out at 8 frames per second with continuous autofocus employed. This is no action photography camera, but it's hardly a slouch.
Battery life is also decent, especially considering the diminutive size of the camera. According to its CIPA rating, the S9 can squeeze out up to 470 shots from a fully charged battery, or 100 minutes of continuous 4K / 60p video recording.
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A 'Platinum Steel' Real Time LUT profile (Image credit: Future | Tim Coleman)
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The original standard color profile (Image credit: Future | Tim Coleman)
Then there's the Lumix Lab app, which at the time of writing is compatible only with the Lumix S9. In my experience using a Google Pixel 6 and the Android version of the app, pairing the camera is quicker and more reliable than most other rival apps.
In the app you get quick access to a range of Real Time LUTs color profiles. A number of Panasonic's creators have loaded some of their own publicly available and free to download LUTs in the app's Creator gallery, and I've found a look for just about every scenario.
I've included a high-contrast street photo taken in London with the Lumix S9's standard color profile, and then applied a free 'Platinum Steel' LUT which suited the scene (see above).
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Sadly, video capture times are severely limited, capped at just 15 minutes, and further reduced to 10 minutes when shooting in 6K. This is presumably to avoid overheating given the Lumix S9 lacks an internal fan, as opposed to any limitations in the camera's performance, including its processor power and card's read and write speeds.
Most people won't shoot individual clips for longer than 15 minutes, but knowing that you can in any situation is one less thing to worry about, whether that's recording speeches at an event or lengthy vlogs.
Panasonic Lumix S9: image and video quality
Superb video features including open gate video recording up to 6K / 30p
Real Time LUTs color profiles are supremely versatile
New MP4 Lite file format
Up to 14-stops dynamic range in V-log color profile
With practically the same sensor and video spec as the Lumix S5 II, you can be assured that the Lumix S9 captures superb quality video, plus sharp and punchy 24MP stills. You can read more about the image and video quality to expect in our Lumix S5 II review.
What the Lumix S9 tries to do differently is bring Panasonic's Real Time LUTs to the fore, through quick access via a direct button on the camera's body and the Lumix Lab app, through which you can easily upload any one of a vast array of color profiles for just about any shooting scenario.
You can create your own color profiles and save them to the camera, or simply take advantage of the profiles already available through the Creator's gallery in the app.
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There's also the matter of a new MP4 Lite video format. It maxes out at 4K, 10-bit 4:2:0, but produces files that are around 40% smaller than regular MP4 files, which are also available in the S9. However, for best quality video, you'll probably want to shoot in .MOV format in 4K 4:2:2 10-bit or 6K 4:2:0 10-bit, even if the file sizes are much bigger.
Whether it's a light and easy ready-made MP4 Lite video with Real Time LUT applied, or 6K 10-bit video in the V-log color profile with 14-stops of dynamic range that needs to be graded afterwards, there's video quality for every level of ability and shooting scenario.
How I tested the Panasonic Lumix S9
Two brief sessions, including a street photography walk
Paired with the 26mm pancake, 20-60mm F3.5-5.6 and 50mm F/1.8 lenses
Paired with the Lumix Lab app
I've had a fairly brief time with the Lumix S9 so far, including a London street photography session and a more leisurely time at home and on launch day. I still have the camera at home and will be continuing to use it ahead of the full review.
I've been shooting both photos and videos, and tried pairing the S9 with the Lumix Lab app to play around with various Real Time LUTs color profiles and making quick edits to photos, among other things.
During the London session I was briefly able to use the S9 with the only copy of the pancake lens available in the UK, plus I've had more time using the camera with the 20-60mm F3.5-5.6 and 50mm F1.8 Panasonic Lumix L-mount lenses.
I’ve reviewed almost every Holy Stone drone available and its latest model, the Holy Stone HS900, represents a significant improvement across the board which makes it the Chinese drone manufacturer’s best drone to date. So much so, that what’s on offer competes directly with the DJI Mini 3 and the Potensic Atom – two impressive mid-range sub-250g drones that come in at two price points.
In terms of price, the HS900 single battery kit costs $330 making it marginally more expensive than the Potensic Atom and significantly less expensive than the DJI Mini 3. Is it better than the Mini 3? No, but if you’re on a budget, it offers an enticing alternative to the Potensic Atom and also provides additional features that could be a deciding factor on which drone to choose, and firmly cements it as one of the best beginner drones available.
Holy Stone HS900 specs
Camera: Sony 1/2.3 in 48MP CMOS sensor / fixed focus f/2.6 lens
Video resolution: Up to 4K
Frame rates: 4K 30 fps / 1080p up to 60 fpsVideo transmission range: 1.86 miles / 3 kmFlight modes: Stable, Normal, Sport
Battery: 2250 mAh Li-ion / up to 30 minutes
Charger type: USB-C cable
Weight: 8.7oz / 249g
Dimensions: 5.63x3.26x2.44in / 143×82.8×62mm folded / 6.59x 8.57x2.44in / 167.4x217.8x62mm unfolded
We’ll go into much more detail later, but some of the features and functionality you can enjoy with the HS900 include a camera with a Sony 1/2.3 in 48MP CMOS sensor and a fixed focus f/2.6 lens, up to 4K 30fps video, subject tracking, time-lapse capture, cruise control, automated flight patterns and much more. Image quality is also very good, not perfect, but the minor issues here could be resolved with a future firmware update.
All-in-all, the HS900 slips into a burgeoning sub-250g drone category which is fiercely competitive, where less expensive options are now hacking at the heels of the DJI. It’s unlikely that they’ll succeed in catching up or overtaking the market leader – although DJI is facing a potential ban in the US – but with the trickle-down of features and improvements in flight performance and image quality with budget drones, it’s pilots who are ultimately benefitting from greater choice.
Holy Stone HS900: Release date and price
Released May 2024
Only available in the US at launch
Available in other regions soon
At launch in May 2024, the Holy Stone HS900 was initially only available in the US. The drone will become available in the UK and other regions shortly. At the time of writing, US residents can purchase the HS900 single battery kit from Amazon for $369.99 after applying a $100 voucher, although the price regularly fluctuates. For UK-based and Australian pilots, this converts to £280 / AU$550 respectively, but official pricing for these regions is yet to be announced so this price could vary.
The single-battery HS900 kit includes the HS900 drone, a controller, one smart battery, phone connection cables, a USB-C charging cable, a set of spare propellers, spare screws, a screwdriver and a carry bag.
Dual and triple battery kits are suggested on the Holy Stone website, so we could see additional battery kits becoming available in the future. We have been told that a battery charging hub is also due to be released, allowing multiple batteries to be charged at once rather than one at a time in the drone via USB-C.
We'll update this page with any price and availability updates.
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Holy Stone HS900: Design and controller
Lightweight folding design
New controller
Great build quality
Most drones these days feature a folding design to reduce size for transportation and storage, and the HS900 is no exception in this regard. It’s a tried, tested and ultimately successful approach to drone design, so it makes perfect sense in every way. The dark gray drone is just 5.63x3.26x2.44in / 143×82.8×62mm when folded, with an unfolded size of 6.59x8.57x2.44in / 167.4x217.8x62mm and a weight of 8.7oz / 249g. So, all pretty standard for a drone of this type.
Build quality is very good, and there’s nothing to indicate the relatively low cost of the HS900. In fact, it looks more expensive than it actually is, even if looks don't ultimately impact performance. The drone is made of lightweight plastic so it doesn’t feel substantial in the hand, but to be fair this is the case with even the most expensive sub-250g models – it’s just a way of keeping weight down. Durability certainly isn’t an issue.
Flight times are respectable, averaging around 22 minutes in moderate to gusty wind before Return to Home was initiated at 20% battery, as opposed to the advertised flight times of up to 30 minutes. However in reality, with lower winds and warmer temperatures, flight times would likely increase. The 2250mAh battery takes just over an hour to charge in the drone via USB-C, which is quite fast, and you can also charge batteries this way using a USB power bank when out in the field.
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The HS900 uses a new P2 controller which sports a simple yet functional design with all of the direct access controls you need to control the drone, the camera and the gimbal. This includes a small joystick for adjusting specific camera settings and a dual-function Fn button that can be customized with two different functions.
For the review, I set the button to tilt the gimbal between 0-degrees and 90-degrees with a single press, and to initiate Cruise Control with a double press. The build quality of the controller can’t be faulted, and although the bottom-mounted folding phone holder arms have a slightly flimsy feel to them, they securely accommodate smartphones of all sizes, so no worries here.
Holy Stone HS900: Features and flight
Smooth flight controls
Includes subject tracking
Multiple flight modes
Holy Stone drones have always been pretty good flyers, but they have also lacked the finesse of more expensive drones. With the HS900, this has all changed and the flight performance on offer is greatly improved and puts the drone comfortably among its rivals. Flight controls are also smooth and responsive, so it’s possible to perform positive maneuvers when capturing video.
What’s more, the gimbal tilt, which has a range of 30 to -90-degrees, allows you to shoot upwards slightly as well as straight down, and has a smooth so you can confidently incorporate it into maneuvers for more dynamic video shots. Image stabilization is highly effective, using a combination of the 3-axis mechanical gimbal and Electronic Image Stabilization to produce shake-free video footage.
With GPS positioning, provided by GPS, GLONASS, Galileo and BeiDou systems, hovering is generally stable with drift mostly noticeable at higher altitudes. With GPS, pilots can also take advantage of Return to Home functionality which can be initiated manually by the pilot, or automatically when the battery reaches 20% charge / when the connection between the drone and controller is lost. It can also be cancelled when the battery reaches 20% if you want to increase flight time slightly.
Despite being a small and lightweight drone, the HS900 offers level 5 wind resistance, which equates to wind speeds up to 24 mph. The HS900 was flown in wind gusts of 22mph during testing and showed no signs of struggling in any of the three main flight modes/speeds, so this claim appears to be correct. The flight modes include Stable with a top speed of 11mph, Normal with a top speed of 22mph and Sport which offers the maximum flight speed of 31mph.
Being a mid-range sub-250g drone, like its direct competitors, the HS900 doesn’t offer obstacle avoidance, so you do have to take care when flying close to obstacles and when using automated flight patterns. It does, however, have a downward vision system that’s used to determine the ground in situations when a GPS signal is unavailable, such as when flying indoors.
Holy Stone HS900 Time-lapse
The automated flight patterns on offer include Point of Interest, Spiral up, Tap Fly (waypoints), Gesture Selfie, One-key Ascension and Catapult, which work as intended. Plus, there’s subject tracking where you draw a box around the subject to be followed and the drone will do just that. This works well for the most part, but there are times when the HS900 loses the subject so it’s not perfect.
A fun and easy to use feature is Time-lapse, with manual control over the interval and video length, plus exposure and shutter speed to maintain consistency in your videos. Unlike DJI's Time-lapse feature, the HS900's version works independently from flight and you simply hover instead. If you wish to create a moving sequence, also known as a hyper-lapse, you have to judge flight distance and speed yourself, which is extremely tricky. It’s much easier to simply select a composition and shoot with the drone in a hover.
Cruise Control is another useful feature and one that, as the name suggests, allows you to set the drone on a course and maintain it without having to hold the control sticks. This provides greater consistency for videos thanks to a consistent speed. I did try to use Cruise Control when shooting a Time-lapse, but each time it adjusted the gimbal tilt making it unusable in this situation, unfortunately.
Holy Stone HS900: image quality
Sony 1/2.3 in CMOS sensor
Up to 48MP photos
4K 30 fps & 1080p 60 fps video
(Image credit: James Abbott)
Once again, like overall performance, the image quality produced by the HS900 beats all other Holy Stone drones hands down. The camera features a Sony 1/2.3-inch 48MP CMOS sensor with a fixed focus f/2.6 lens providing a 100-degree field of view, and sharp video and photo quality.
Fixed focus may sound like a step down from autofocus, which it is in a way, but it uses the principle of hyperfocal distance to provide the maximum depth-of-field possible for the combination of focal length and aperture – meaning much of the scene will be in sharp focus.
Overall image quality is very good for both photos and videos, which can be captured with the camera set to auto or manual exposure. Image quality is best in brighter conditions, like all drones with a small image sensor, but white balance is a little quirky and could benefit from adjustments in a future firmware update. The white balance presets are a little off what you would expect, with Auto providing the best, yet not always perfect results.
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Photos can be captured in 4K resolution (3840x2160 pixels) and 48MP with image dimensions of 8192x4608 pixels – these are in 16:9 format rather than the more common 4:3 format used for drone photos.
Photo capture is currently only available in JPEG format, but raw capture will be added in a future firmware update. Video can be captured in 4K at 30 fps and 1080p at 60 fps in a Normal/Standard color profile for straight-out-of-camera use, and is saved in MP4 format. A flat color profile for increased dynamic range and color grading is, unsurprisingly, unavailable.
My short wish list for a firmware update would be to build on the well-featured camera control by including a histogram and Automatic Exposure Bracketing (AEB). The former is invaluable for assessing exposure, while the latter makes shooting in high-contrast situations, such as around sunrise and sunset, much easier because you can capture bracketed exposures for HDR photography.
Holy Stone HS900 video in 4K / 30 fps
Should I buy the Holy Stone HS900?
(Image credit: James Abbott)
Buy it if...
Don't buy it if...
How I tested the Holy Stone HS900
Several days and flights
Used in mixed weather, including moderate wind
Various flight modes and video and photo settings
The Holy Stone HS900 was tested over several days of flying in a range of locations, environments and weather conditions (excluding rain) to test flight performance, flight features, overall handling and image quality for both photo and video capture. All testing is conducted in a way that meets local aviation laws and restrictions to ensure that all flights are safe and legal.
Drones are always tested using manual flight patterns for video that are typical of professional aerial video capture to shoot visually interesting footage. This also provides the opportunity to test aspects such as the connection between the drone and controller, latency between the two and the accuracy of the controls and flight in general.
With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve been covering drones in terms of shooting and editing techniques, alongside writing drone reviews for a number of years. As well as flying most consumer and prosumer models, I’ve previously held a PfCO (Permission for Commercial Operations) issued by the Civil Aviation Authority in the UK, and now fly under an A2 CofC (A2 Certificate of Competency).
Fujifilm has bucked the trend by launching a new camera that is actually cheaper than its predecessor, despite three years of inflation and the improved features on board. There is, therefore, more to the new Fujifilm GFX100S II than its upgraded features – it's priced aggressively to grab the attention of pro photographers teetering between the best full-frame cameras and medium-format.
Costing around 10% less than the GFX100S was at launch, the GFX100S II is available for $5,000 / £5,000 / AU$8,700, which is a similar price to what you'd pay for comparable full-frame mirrorless cameras – a sensor format Fujifilm isn't making cameras for, but a market it clearly wants a piece of.
And with a whopping 102MP sensor creating high-resolution images exceeding those from any full-frame model, even those shot with the class-leading Sony A7R V, there are plenty of pros who could be better served by the GFX100S II's larger medium-format.
The grip of the GFX100S II is supremely comfortable. (Image credit: Future | Tim Coleman)
Not only has Fujifilm priced the GFX100S II aggressively, but it has trickled down some of the most powerful features the format has ever seen from the pricier GFX100 II flagship, including 7fps burst shooting and AI subject detection autofocus.
It might not be quite as fast as the GFX100 II overall, but the GFX100S II is no slouch and goes some way to put to bed the notion that medium-format is simply slow and confined to a small number of scenarios, such as studio portraiture.
During my hands-on time with the GFX100S II, I've taken photos and videos of animals in a wildlife reserve and been super impressed by the details in those images, but also by the overall speed and autofocus performance in what were pretty challenging scenarios, such as shooting through foliage and enclosure fencing.
The question now for pro photographers considering a larger medium-format camera is less about budget and more about needs. Yes, the GFX100S II is still slower in general than a camera like the Sony A7R V, but not by a lot. And with it you get higher-resolution images with true-to-life colors that are noticeable to pros – at times making full-frame camera image quality feel ordinary.
GFX100S II with GF 100-200mm F5.6 lens attached. (Image credit: Future | Tim Coleman)
For balance, we do need to consider the system that a camera is part of. Thankfully, there are numerous decent Fujifilm GF lenses for the GFX100S II. However, in general they are pricier and chunkier than full-frame equivalents.
Also, for most users interested in the format, there might not be enough reason to upgrade from the GFX100S II's predecessor, the GFX100S, which despite being phased out is still available to buy and now at cut prices – just $4,399 at B&H Photo or £3,499 at WEX – and with which you still get 102MP photos.
All being said, if you weren't already sure about the sensor format, the GFX100S II is the most compelling case for medium-format yet.
Fujifilm GFX100S II: release date and price
Body-only price is $4,999 / £4,999 / AU$8,699
Available from June 17
Optional metal grip available, but no vertical battery grip
Launched alongside the GF 500mm f/5.6 lens, which costs $3,499 / £3,499 / AU$6,099
Fujifilm is clearly going after those teetering between full-frame and medium format, aggressively pricing the GFX100S II. It's actually cheaper than the GFX100S was at launched by around 10%, despite three years of inflation and the improved features added.
At $4,999 / £4,999 / AU$8,699 in body-only form, the GFX100S II is going up against some of the best full-frame cameras, such as the Nikon Z8 and Sony A7R V, and is a decent alternative for those that need the best image quality over outright speed.
Unlike the flagship GFX100 II, you can't buy a vertical grip for the GFX100S II, which would improve the ergonomics with larger lenses and increase battery life. However, you can buy a standard metal hand grip for $120 / £135 / AU$245. There's no word on kit bundles yet, but we do know the sales start date, which is June 17.
(Image credit: Future | Tim Coleman)
Fujifilm GFX100S II: design and handling
Same body layout as the GFX100S, but with 'bishamon-tex' leather exterior
Improved 5.76m-dot non-removable EVF
Two-way tilt touchscreen great for shooting at awkward angles
It might look different to the GFX100S, but the GFX100S II has pretty much the same control layout and form factor. The key difference in the looks department is the camera's finish, which is Fujifilm's 'bishamon-tex' leather, as first seen in the GFX100 II (see photo, below).
The leather finish is a departure from Fujifilm's retro roots and steps into a modern aesthetic that I'm a fan of. Otherwise, it's as you were with its predecessor, meaning a rugged DSLR-style camera with deep and comfortable grip, plus generous displays that include an improved EVF, versatile multi-angle touchscreen and generous top LCD display.
The latest model is actually slightly lighter than the first one, at 1.95lb / 883g, yet remains well-balanced even with Fujifilm's chunkier GF lenses, such as the 100-200mm f/5.6 R LM OIS WR and new GF 500mm f/5.6 that I had during my hands-on.
The bishamon-tex leather finish that is the hallmark of Fujifilm's medium format cameras today. (Image credit: Future | Tim Coleman)
The camera is akin to a mid-size full-frame camera such as the mirrorless Nikon Z8 or the Canon EOS 5D Mark IV DSLR, and lighter than a sports-style shooter like the Canon EOS R3. With a GF lens attached, it's not the sort of setup you can comfortably carry for hours on end, but it's easy enough to operate.
Fujifilm GFX100S II key specs
Sensor: 102MP medium format CMOS Image processor: X-Processor 5 AF system: Hybrid with phase-detect EVF: 5.76-million dot OLED ISO range: 80 to 12,800 (ISO 40-102,400 extended range) Video: 4K/30p 4:2:2 10-bit internal LCD: 3.2-inch multi-direction tilting touchscreen, 2.36m-dots Max burst: Up to 7fps Connectivity: Wi-Fi, Bluetooth Weight: 883g (body only)
Fujifilm has been able to improve on the GFX100S without encroaching too closely on the current flagship GFX100 II. For example, the EVF has a decent bump in resolution at 5.76m-dots, with a healthy 0.84x magnification, while the pricier GFX100 II has a 9.44m-dot EVF and 1x magnification, plus its viewfinder can be removed or modified using a tilt adaptor.
While the EVF specs are a step down, the display in the GFX100S II is wonderfully big and bright, though like with a lot of EVFs you get lag in low-light conditions.
What remains the same – and needed no real improvement – is the rear LCD, which is a two-way tilt touchscreen. It can't be flipped around for selfies, but it can be tilted in both vertical and horizontal orientations, making it a breeze to view and to operate from virtually any position.
The large top LCD displays exposure information but can be customized to display other info such as a histogram. (Image credit: Future | Tim Coleman)
The backlit top LCD is super-handy, too. It displays exposure information by default, but you can change that to show the histogram among other things. These are the kind of tools that pro photographers appreciate, making the GFX100S II a particularly good landscape photography camera.
For a camera this size, there are relatively few buttons and controls, making each one easy to find, and in general the tactile response of each control is spot on, although the joystick is a little stubborn.
The two-way tilt touchscreen makes shooting from awkward angles a breeze, though you can't use it for selfies. (Image credit: Future | Tim Coleman)
By design, the GFX100S II is a photography-first camera, although there's all the basics to support video recording, including a dedicated stills / movie switch, plus mic input, headphone jack and on-the-go USB-C charging.
We also get twin card slots, although both slots are SD card only. It's another differentiator from the flagship model, which can also hold the faster CFexpress Type B card type to better support powerful features, and we'll get onto those next.
The viewfinder is fixed, whereas the one in the GFX100 II can be removed. (Image credit: Future | Tim Coleman)
Fujifilm GFX100S II: features and performance
Decent Hybrid AF with AI subject detection
Up to 7fps (electronic) for almost 200 JPEGs
Dual SD UHS-II slots but no CFexpress Type B support
In-body image stabilization specs are optimistic
Fujifilm upped the bar with the GFX100 II, delivering never-before-seen medium-format performance. We can't expect the same power from the much cheaper GFX100S II, but it's no slouch.
The same X-Processor 5 engine can process 102MP files at 7fps for up to 184 JPEG images or 30 compressed raw files. Those burst-shooting sequences aren't quite as lengthy as you'll get on the GFX100 II, though if you don't mind dropping to 4.1fps then you'll get a huge bump in the number of frames you can capture.
A comparable full-frame camera such as the Sony A7R V can shoot at 10fps, but we should remember the huge file sizes that the GFX100S II is creating: the full- resolution raw files are around 200MB a pop and measure 11648x8736 pixels.
Burst-shooting sequences and buffer performance is compromised because the GFX100S II records on to SD UHS-II cards only, with dual card slots, while the GFX100 II can record to much snappier CFexpress Type B cards.
102MP images at 7fps means you can capture superb detail and the best moment. I've heavily cropped into the full-resolution version of this image, shot through a fence with the 500mm F5.6 lens. (Image credit: Future | Tim Coleman)
Fujifilm says in-body image stabilization (IBIS) performance is improved, with up to 8-stops of stabilization depending on the lens in use. IBIS is possibly the single most important feature of a high-resolution camera like this, compensating for camera shake when shooting handheld to ensure sharp detail.
It's IBIS that enables a 102MP camera like the GFX100S II to break free from a tripod and truly be a handheld camera. Frankly, I found 8-stops a tad optimistic. First impressions are that Panasonic's IBIS in the full-frame Lumix S5 II performs better, as does the Hasselblad X2D 100C. With the new GF 500mm F5.6 lens I was reliably getting more like 4-stops stabilization, but in-the-field tests are hardly scientific and I'll run more diverse tests during a full review.
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Animal detection autofocus nailed sharp focus on the bear's eye (scroll for closeup) (Image credit: Future | Tim Coleman)
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Animal detection autofocus nailed sharp focus on the bear's eye (Image credit: Future | Tim Coleman)
What you do get, though, is the best autofocus performance of any medium-format camera. Of course, being in a wildlife reserve I mainly stuck with the AI animal detection autofocus mode, and on the whole found it to be sticky and reliable, with visual confirmation that the subject's body and eye is being tracked. I have photos of bears with pin-sharp focus on the eyes (see above).
The Sony A7R V's autofocus is quicker and more intelligent, better able to recognize not just subjects but also its posture. In the low light of an enclosure I found the GFX100S II regularly mistook a gorilla's ear for its eye, whereas I'm sure the A7R V would've nailed it. There were also times that it simply couldn't autofocus at all through a fence, but these are challenging situations for any camera.
This scenario often tricked the GFX100S II's animal detection autofocus, which often mistook the gorilla's ear for an eye and therefore focused on the ear. (Image credit: Future | Tim Coleman)
Fujifilm GFX100S II: image and video quality
Incredibly detailed photos
ISO 80-12,800 sensitivity range can be expanded to ISO 40-102,400
Only 4K / 30p video, but with internal 4:2:2 10-bit
Slightly slower sensor readout than the 'HS' sensor in the GFX100 II
20 film simulations
You're buying a 102MP camera like the GFX100 II because detail matters, and you get it in spades – all 11648x8736 pixels of it. Those 4:3 aspect ratio images made with one of Fujifilm's sharp GF lenses are breathtakingly detailed, especially in good light. This camera is an absolute dream for landscape photography.
What's more, such detail gives you immense cropping power, effectively extending your lens, which proved super-handy with the 500mm lens shooting wildlife photography. You can see the full image of a bear in the gallery below and a cropped version of the same image, which would still look great blown up large on screen or print.
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I could crop tight on the gorilla from the full scene and still have pixels to spare. (Image credit: Future | Tim Coleman)
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The full picture. (Image credit: Future | Tim Coleman)
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The kind of cropping that you can easily do with such a vast number of pixels. (Image credit: Future | Tim Coleman)
Image quality isn't just about detail – color matters, too, and I'm a fan of Fujifilm's straight-out-of-the-box standard color profile in this sensor format. Of course, it being Fujifilm you also get the full range of Film Simulations – color profiles inspired by Fujifilm's film, such as Astia and Velvia and most recently, Reala Ace.
I'm not sure how good image quality will be in low light, having just a few examples from my day with the camera. Photos of the gorilla in an enclosure (see below), shot at F5.6, 1/500sec and ISO 12,800, gave me the closest indicator, with detail not nearly as clean as when shooting at ISO 1600 or lower.
The GFX100S II has decent lenses to choose from – I've used a fair few GF lenses down the years and have always been impressed by their quality. They're quite capable of resolving intricate detail, but also of superbly controlling distortion and flare.
At ISO 10,000, contrast is reduced and detail less clean, but for such big files is possible to mitigate the adverse impact of noise. (Image credit: Future | Tim Coleman)
We can't expect the GFX100S II to pack all the same features as its pricier sibling the GFX100 II, and filmmakers in particular will feel the compromises the most. Where the flagship model shoots 8K video, the GFX100S II only records 4K up to 30fps, with no slow-motion option. Still, it's not all bad news, because you can record in superior 10-bit 4:2:2 internally, plus output raw video to an external recorder.
Fujifilm told us that the sensor is a variation of the 'HS' sensor used in the GFX100 II, and its sensor readout is a little slower. This means more potential for rolling shutter in video and in fast action photos, which can look ugly. I'll be checking this out more when I get my hands on the camera again.
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Velvia Vivid Film Simulation (Image credit: Future | Tim Coleman)
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Reala Ace Film Simulation (Image credit: Future | Tim Coleman)
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Classic Negative Film Simulation (Image credit: Future | Tim Coleman)
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Eterna Bleach Bypass Film Simulation (Image credit: Future | Tim Coleman)
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Acros Film Simulation (Image credit: Future | Tim Coleman)
How we tested the Fujifilm GFX100S II
24 hour period
Mostly animal photography in a wildlife reserve
Paired with the 100-200mm F5.6 and 500mm F5.6 lenses
I had the Fujifilm GFX100S II for a 24-hour period, during which time it was used extensively in a wildlife reserve taking pictures and videos of exotic animals large and small, out in the open and in enclosures, through foliage and with clear sight.
The camera was paired with the GF 100-200mm F/5.6 and new GF 500mm F5.6 lenses and various focus modes employed including animal detection autofocus.
There have been two branches to Fujifilm’s X-T line, with the double-digit models like the Fujifilm X-T30 and the X-T30 II being the entry-level ones. So you’d think that the successor to the already excellent Fujifilm X-T30 II would also be an entry-level camera, albeit a bit improved. Fujifilm, however, has shaken things up, with the new X-T50 now more in line with the advanced Fujifilm X-T5. It also might explain why the Japanese camera maker has entirely skipped the T40 moniker.
For starters, the X-T50 uses the same 40.2MP APS-C format sensor and X Processor 5 imaging engine as the X-T5, and it also inherits the same 5-axis in-body image stabilization that’s good for up to 7 stops of compensation.
Fujifilm X-T50 specs
Sensor: 40.2MP APS-C BSI X-Trans CMOS 5 HR AF points: 425 points Video: 6.2K/30p, 4K/60p, 1080/240p video and 4:2:2 10bit internal recording Viewfinder: 0.39-inch OLED 2.36m-dot Memory card: Single SD/SDHC/SDXC UHS-II Rear display: 3.0-inch tilt type touch LCD, 1.84m-dot Max burst: 20fps with electronic shutter Weight: 438g with battery and SD card
The sensor has a better signal-to-noise ratio compared to the X-T30 II, allowing for the base ISO sensitivity to be 125 as opposed to 160 in the older model. Shutter speed is faster too, with the electronic shutter on the X-T50 capable of dropping to 1/180,000 second. There’s improved AI subject detection autofocus with eye tracking which, again, brings it more in line with the X-T5 and makes it a whopper of an upgrade over the X-T30 II. Video specs have also been updated, with the X-T50 now able to capture up to 6.2K/30p clips.
Overall, that’s an impressive list of upgrades that make the X-T50 a remarkable camera, with top-notch image quality, both for stills and video. One physical change to the X-T50, however, indicates it might still be a more beginner-oriented camera rather than an advanced enthusiast offering.
On the X-T50, Fujifilm has decided to repurpose the Drive mode dial on the top panel to instead provide quick and easy access to up to 11 Film Simulations. This is an ingenious move to make the camera more user-friendly for beginners, but I suspect that more serious photographers would have preferred the Drive mode dial to remain where it always has been.
There are other features that also suggest this is more a beginner camera than one for demanding enthusiasts – there’s still no weather sealing on the X-T50, the EVF has been inherited from the X-T30 II, and the rear display remains a tilting type with the same resolution of 1.84 million dots.
While the chassis itself looks identical to that of the X-T30 and X-T30 II, there are changes to the button layout that don’t necessarily affect the handling of the camera. That said, the grip is still small and could be uncomfortable to hold over long periods of time, and the joystick is still awkwardly placed. I’m also not a fan of the quick menu button being beside the thumb rest, but it’s easy enough to reach without taking your eye off the EVF once you've built muscle memory to find it.
Compact and lightweight, I’d say that the X-T50 could easily become one of the best travel cameras on the market, but all its upgrades have come at a steep price, which makes it harder to recommend over the X-T5.
(Image credit: Sharmishta Sarkar / TechRadar)
Fujifilm X-T50 review: release date and price
Announced May 16, 2024; release date June 17, 2024
Launch price of $1,399 / £1,299 / AU$2,599 body only
Kits available with new XF 16-50mm f/2.8-4.8 R LM WR lens
Given the upgrades over the X-T30 II, I’m not at all surprised that the X-T50 is a more expensive camera, with a launch price tag of $1,399 / £1,299 / AU$2,599 body only. What does surprise me is just how much more it costs over its predecessor that had a launch price of $899 / £749 / AU$1,585 a couple of years ago. Even taking inflation and the upgrades into account, that’s a steep markup!
And if you want a kit, you can pick up the bundle that pairs the camera with the new XF 16-50mm f/2.8-4.8 R LM WR lens for $1,799 / £1,649 / AU$3,149.
The X-T50's launch price isn’t too much more than the Fujifilm X-T5’s current price of $1,699 / £1,449 / AU$2,899 for the body alone, which represents better value as you get more advanced features here, including dual card slots. Shop for this camera during a major sale and you could likely get it for less than the X-T50 costs.
Value score: 4 / 5
(Image credit: Sharmishta Sarkar / TechRadar)
Fujifilm X-T50 review: Design
Similar body to Fujifilm X-T30 II with minor differences
Film Simulation dial on top plate
Still no weather sealing
When a camera offers oodles of retro charm, there really isn’t the need to change the design... and at first glance, it seems like the X-T50 inherits the same body as the X-T30 series. Not quite so. There are subtle tweaks to the X-T50 chassis which Fujifilm says makes it easier to hold and use. I disagree.
It's a slightly more rounded body than the X-T30 series, but the grip still remains small when compared to more robust Fujifilm bodies like the X-T5 and the X-S series. It still handles beautifully, although if you plan to hold on to it all day, that grip is not going to be comfortable.
(Image credit: Sharmishta Sarkar / TechRadar)
For the first time on a Fujifilm camera, there’s a Film Simulation dial available on the camera body. Now, that dial itself isn’t new – it’s the same Drive mode dial on the left of the top plate that’s been repurposed. There are eight popular Simulations already marked on the dial, plus three more that can be assigned to the FS1, FS2 and FS3 options. There’s one marked ‘C’ which, you would think, stands for ‘custom’ but it’s actually an Auto option. So, essentially, there are only up to 11 out of the current 20 Simulations at your fingertips. And unfortunately, you also can't assign your own simulation recipe to any of the custom FS options on that dial.
In use, I found that it’s necessary to take the camera away from the eye to turn the dial, as there’s just not enough grip on the body to operate the selection single-handed. That said, the simulation selection you make is displayed on the EVF as well as the rear monitor, depending on what you’re using to frame your scene, so you don’t necessarily need to concentrate on the dial itself.
If you’re familiar with the X-T30 or the X-T30 II, you might notice that the rear button layout is slightly different. Firstly, there’s no autofocus lock (AF-L) to the right of the rear control wheel, with the previous exposure lock (AEL) button being replaced with an AF-ON option to trigger autofocus and metering. The AEL button has been moved to just above the joystick.
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A couple of other minor differences include the View Mode button beside the EVF no longer being labeled as such and there is now a tiny Bluetooth icon below the Display/Back button.
Everything else remains the same on the body, including the pop-up flash, the exposure and shutter speed dials on the top plate, the awkwardly placed joystick and, for me at least, the equally awkward quick menu (Q) button.
Fujifilm hasn’t updated the EVF or the rear display from the X-T30 II, so you’re still getting a 2.36 million-dot OLED EVF and a 3-inch tilt-type touchscreen with a resolution of 1.84 million dots.
There’s still only a single card slot, but it now supports the UHS-II speed devices, which is an improvement over the X-T30 II. It remains located on the bottom of the camera within the battery compartment, which makes it hard to reach if you’re using a tripod. And despite the price hike, there’s disappointingly still no weather sealing.
There are three different colorways to choose from here, with the X-T50 available in black, silver (as tested in this review) and a charcoal chassis.
Design score: 4 / 5
(Image credit: Sharmishta Sarkar / TechRadar)
Fujifilm X-T50 review: Features and performance
Inherits high-res sensor and faster processor from the Fujifilm X-T5
In-body image stabilization with up to 7 stops of compensation
Digital teleconverter available for 1.4x and 2x zoom
While its physical changes may not be too far off from its predecessor, the Fujifilm X-T50’s feature set makes it a massive upgrade. It’s now essentially a baby X-T5.
As I’ve already mentioned earlier in this review, it inherits plenty from the X-T5, including the 40.2MP sensor and the processor. That’s flagship specs right there and it definitely helps the X-T50 be a far superior camera than then X-T30 II. For starters, the extra resolution gives you a little headroom to crop images to get closer to the subject without losing too much image quality.
In fact, the extra resolution has allowed Fujifilm to add a digital teleconverter to the X-T50 that gets you 1.4x and 2x magnification, just like there is on the X-T5 and the Fujifilm X-S20. What I really like about the built-in teleconverter is that you don't lose a stop of light as you would when using a physical one attached to your kit, so it's a better option for indoor use.
However, you lose some resolution when using the digital teleconverter as it works by applying a crop. That’s not a bad thing as you still get great image quality, but your file size will essentially be halved and limits how much you can crop further into the image when you make edits.
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For the first time there’s in-body image stabilization available in the entry-level Fujifilm X-T cameras, which is an added bonus for both photographers and videographers. Again, it’s the same IBIS from the X-T5 with up to 7 stops of compensation for camera shake. I was sent the new Fujinon XF 16-50mm f/2.8-4.8 R LM WR that doesn’t have built-in optical image stabilization (OIS) and I found the IBIS alone wasn’t sufficient in reducing shake for a video clip while I was walking, but I think it would come into its own when paired with a Fujinon lens with OIS.
Despite inheriting so much from the X-T5, the maximum burst shooting speed the X-T50 can handle is 8fps using the mechanical shutter and up to 20fps with the electronic shutter engaged and no crop. That's identical to the X-T30 II, and while the the 20fps speed is more than enough for several scenarios including wildlife and sports photography, the buffer memory at this speed is very limited, topping out at about only 20 frames during my testing. At 8fps, though, Fujifilm says the camera can save over 1,000 JPEG frames a second.
The electronic shutter speed, though, is now blistering fast and can drop down to as low as 1/180,000 of a second, same as the X-T5. That's really impressive as more premium pro cameras like the Nikon Z9 top out at 1/32,000 second. This allows you to shoot wide open with a large aperture lens.
Fujifilm X-T50 + XF16-50mmF2.8-4.8 R LM WR | 1/100 sec at 16mm and f/2.8, ISO 3200 (Image credit: Sharmishta Sarkar / TechRadar)
Photographers looking to capture specific subjects will be glad to know that the X-T50 gets Fujifilm's latest AI-driven autofocus system, with detection for animals, vehicles and more. This works quite well and, during my testing, it quickly picked up boats, birds and people even if they were at a distance. However, as with Fujifilm's autofocus system previously, it's largely lens-dependent and you could struggle a little if you're using older X-series lenses.
The video features here are similar to that of the X-T5, with 6.2K/30p and 4K/60p shooting options available.
All these features are a massive upgrade over the X-T30 II and bring the X-T50 closer to the X-T5. That's where the lines get blurry between what is, on paper, a new addition to Fujifilm's entry-level line but has the specs and price tag of a flagship.
Features and performance score: 5 / 5
(Image credit: Sharmishta Sarkar / TechRadar)
Fujifilm X-T50 review: Image and video quality
Inherits the 40.2MP X-Trans CMOS 5 HR sensor from the X-H2 and X-T5
Can shoot videos up to 6.2K/30p
Native base ISO is now 125 as compared to ISO 160 on the X-T30 II
We’ve already seen what the X-T5 can do with the same sensor and processor, so it’s no surprise at all that the X-T50 can produce some spectacular results, whether it’s stills or video.
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The camera really benefits from the high resolution and the faster processor, with JPEGs directly out of camera looking stunning, although shooting in RAW will give you more headroom to make adjustments if you need to. I cropped a JPEG of a flower by 38% and, while I did lose a little image quality, it's still perfectly usable.
Of course, the film simulations go a long way in making the images look great as well. My personal favorite is the Eterna Bleach Bypass, but there’s a total of 20 to choose from to help you get creative. And while the C option on the Film Simulation dial is the Auto mode, it seems to default to the Vivid color profile most of the time.
The higher resolution also boosts the ISO performance. Images taken at ISO 3200 are actually quite good as long as you don't have to crop. Noise begins to appear at ISO 4000 in some scenarios, but even those are perfectly usable. I even shot at ISO 6400 and didn't mind the results. Pushing the sensitivity limits, I tested the camera up to ISO 12,800 – while that image wasn't pretty, I think ISO 10,000 will be fine in a pinch but expect to see noise.
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I think the X-T50 is a more photo-centric camera, but it can handle video well. You have the option to shoot at up 6.2K at 30fps but that will incur a 1.23x crop, as will the oversampled 4K mode. This is similar to what the X-T5 also offers and the performance is just as good. And Fujifilm's subject-detection autofocus works well in video too.
Handily, there’s a time duration listed for each video shooting mode, but I found the camera starts to heat up long before it can hit its limit. During my testing I was hesitant to push the video clip limits, so I stopped every time the camera got a touch over ‘comfortably warm’. You will also, of course, be restricted by the SD card you use.
Despite the IBIS, I found it difficult to capture relatively stable footage while walking slowly, as can be seen in the sample above of the galahs feeding on a grassy verge. That said, I'm no videographer and have always struggled with stability when capturing moving pictures. I found it a lot easier to pan with the IBIS engaged.
Sound pickup by the camera’s built-in mic is quite impressive, but if you are a vlogger shooting outdoors, it would be best to use an external mic for clearer sound. Also note that there's no headphone jack here.
Image and video quality score: 4.5 / 5
Fujifilm X-T50 review: score card
Should I buy the Fujifilm X-T50?
Buy it if...
Don't buy it if...
Also consider
If this review of the Fujifilm X-T50 has you mulling over other options, below are three alternatives that could also save you money.
How I tested the Fujifilm X-T50
In-depth testing done over two weeks
Used it to capture stills indoors and outdoors, plus video clips taken outdoors
ISO tests done indoors
(Image credit: Sharmishta Sarkar / TechRadar)
I was sent the Fujifilm X-T50 along with the Fujinon XF16-50mmF2.8-4.8 R LM WR lens that launched alongside it prior to the official announcement. I had the kit for about two weeks, during which I tested the camera in different scenarios, including outdoors in bright sunlight, indoors during the day and indoors at nighttime. I also tested the camera under fluorescent and LED lights.
For stills, I had the camera set to capture JPEG + RAW, but based my image quality opinions solely on the out-of-camera JPEGs. I also only used autofocus, and tested it on different subjects including boats, birds and people.
I also spent some time going through the menu system to see how different the setup is now compared to other Fujifilm cameras and also spent some time to determined how the physical controls on the camera would suit different users.
The Instax mini 99 is the latest addition to the ever-growing and evolving Fujifilm Instax family. It's a delightful addition to the range, too, and likely to seduce photographers beyond the ‘typical’ Instax crowd, along with anyone with a keen interest in instant photography. Its design, vibe and feature set feel inherently more ‘photographic’ and less ‘toy-like’ than some other Instax cameras.
Not only does it look more serious than its brightly colored cousins, but its range of extra controls and funky effects add to the creative possibilities. You have the option to tweak exposure using the Brightness dial, along with a modest selection of shooting modes such as Sports Mode, Bulb Mode (for long exposures) and even Double Exposure, and the Instax mini 99 really comes into its own with a palette of cool color effects, adding funky hues to your prints by exposing the Fujifilm Instax mini Film to LED lights in the camera.
(Image credit: Future | Ben Brain)
However, while initially seduced, I can't see a compelling reason why I wouldn't plump for a digital hybrid instant camera, such as the slightly more expensive Fujifilm Instax mini Evo, or even the comparatively priced Fujifilm Instax LiPlay. While the Instax 99 might tick the analog box for ‘purists, it’s the tangible-ness of the print that entices me to the Instax cameras, and not necessarily how I got there. The digital hybrids allow for a little less guesswork and, as such, are a more economical option in the long run.
Fujifilm Instax mini 99: design
Classic retro look
Lens with a macro mode but no selfie mirror
Rechargeable lithium-ion battery
The overall design, aesthetics and ergonomics of the Instax mini 99 are lovely. It feels slick and stylish, and it will appeal to ‘photography’ folk more than some of the youth-oriented lollipop color palettes of other instant cameras in the Instax family. It's solid but not too heavy, and it feels well made and balanced in the hand.
Fujifilm Instax Mini 99 price and release date
The Fujifilm Instax mini 99 is available now and costs $199.95 / £174.99 / AU$279.
You switch on the Instax mini 99 by twisting the lens, and the camera’s three shooting modes – Landscape, Standard, and Macro Focus – are also accessible by twisting the lens. Landscape Mode focuses on subjects positioned at a distance of 3.0m to infinity; Macro Mode is perfect for close-ups and selfies taken at between 0.3m to 0.6m, and Standard Mode covers everything in between. Once the camera was on, I repeatedly forgot to change the lens settings; fortunately, defaulting to Standard seemed to cover most subjects well enough.
The Fujifilm Instax mini 99 is powered by a 680mAh lithium-ion battery, unlike some other Instax models, which use AA batteries. Annoyingly, though, the battery can't be charged through the camera, and you’ll need to remember to take the small charger and USB-C cable with you. This isn't necessarily a hassle, but it is yet another charging accessory to potentially forget, and you’ll be in a real pickle without it.
(Image credit: Future | Ben Brain)
While I’m no stranger to being aware of and dealing with parallax, it seemed harder to calibrate my eye/brain with the Instax mini 99. I guess with more time this would become less of an issue, but the difference of view between the lens and viewfinder seemed especially displaced. The viewfinder, too, felt strangely awkward to look through at first.
The Instax mini 99 is not aimed as directly at the ‘selfie’ audience as other members of Fujfilm Instax family, such as the brightly colored Instax Mini 12; that said, it wouldn’t have been a stretch for Fujifilm to have included a front-facing mirror to help users compose and pose for some more accurate naval-gazing.
Fujifilm Instax mini 99: Performance
Manual control over brightness
Fun shooting modes including multiple exposure and color effects
Handy Instax UP! app to digitize your prints
Unlike other cameras in the Instax range, the Fujfilm Instax mini 99 gives you considerably more control over image brightness, which is great. The Brightness Control dial, which looks and feels like a typical exposure compensation dial (it’s even in the ‘right’ place on the top plate), offers five levels of dark and lightness: the Light (L+) setting selects the brightest exposure; the L, D, and N settings offer a normal range of brightness; and the Dark (D-) setting represents the darkest available brightness level. However, you’ve got to wait 90-odd seconds to see and to assess exposure, which can be frustrating. However, this is really just part of the slow, mindful, creative experience, which is fundamentally a good, albeit a relatively expensive, thing. Generally, in ‘normal’ conditions, I found ‘underexposing’ by one value to work best.
Fujifilm Instax mini 99: specs
Film type: Fujifilm Instax mini film Print size: 62 x 46mm Lens: Retractable lens, 2 components, 2 elements, f = 60mm, 1:12.7 Shooting range: Manual 3-point switching type (0.3m to 0.6m/0.6m to 3.0m/3.0m to ∞) Shooting range: 0.3m to ∞ Battery: NP-70S, charged through USB-C Dimensions: 103.5 x 117.5 x 60.0mm Weight: 340g
The Instax mini 99 comes into its own with some fun and funky shooting modes, with a wide variety of options to enhance the shooting experience. Indoor Mode is designed for low-light situations, Sports Mode increases the shutter speed for action shots, Double Exposure Mode lets the user combine two images into one, and Bulb Mode increases the amount of light let in when shooting a night view, for example. I gravitated to Multiple Exposure as the most potential fun, but I ran out of Instax mini color film before I’d nailed the technique.
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When you want to really flex your creative muscles, the Instax mini 99 features a cool creative palette of fun and funky color effects, which are accessed via the Effects dial on the top plate. You can select from one of six snazzy looks: Faded Green, Warm Tone, Light Blue, Soft Magenta, Sepia, and Light Leak. Light Leak was my favorite.
Unlike the Instax mini 99’s hybrid digital cousins, the effects are cleverly driven by LED lights inside the camera; the Colour Effect feature exposes the chosen color onto the Instax mini instant film, creating the desired effect on the print. It's pretty clever, and very cool. The effects are marginally cooler than similar ‘emulated’ effects on some of the Instax digital hybrid cameras; it's only a small margin, but you will bag more analogue kudos points.
The Vignette switch is an interesting new function. Located on the lens housing, it can darken the corners and edges of the frame for artistic purposes. It’s a nice touch.
(Image credit: Future | Ben Brain)
Making instant prints will always be more expensive, period. That said, Instax mini prints do offer the best value for money. A twin-pack of Instax mini color film, each containing 10 exposures, costs $20.99 / £14.99 / AU$28, and in this digital day and age it’s making an actual physical print that makes Instax such a delight. However, if you want to digitize your instant photo print, you can scan and share on social media platforms using (another) new app released by Fujifilm called INSTAX UP! The smartphone app most usefully allows you to scan your work, crop to the corners, and even remove reflections. It also has a bunch of album features, enabling users to organize, store, and share their digital Instax photos. I found the scanning feature the most useful.
Should I buy the Fujifilm Instax mini 99?
(Image credit: Future)
Buy it if...
Don't buy it if...
(Image credit: Future)
How I tested the Fujifilm Instax mini 99
I used two packs of Instax Mini film
I tried all the creative color effects
I experimented with the Shooting Modes
Using the Fujifilm Instax camera for a week with two packs (20 shots) of Instax mini film, I carried the camera with me on several walks in and around my local area - South-West UK. Unlike its digital hybrid cousins, such as the Instax Evo, I had to be more considerate, mindful, and measured in my shooting, as every click of the shutter cost money. This slightly discouraged the spirit of experimentation, and every action was tinged with economic anxiety. Just like life! That said, working on location and waiting 90 seconds to see results was also a refreshing and exhilarating way to work in the field. It encouraged a slow and considerate approach to photography, which I think is good.
