Prime lenses are, for the most part, optically superior to zoom lenses despite the often excellent optical performance of the latter. The trade-off with a zoom is the convenience of being able to change focal length without changing the lens, but beyond that prime lenses win hands down.
The Nikkor Z 600mm f/6.3 VR S is the lightest 600mm lens in the f/6.3 class at just 3lbs 3.9oz / 1,470g with the tripod collar attached. Just to put that into perspective, that’s only a whisker heavier than the Nikkor Z 70-200mm f/2.8 VR S, which is impressive, and alongside excellent image quality it makes the 600mm f/6.3 one of the best Nikon Z lenses available.
You’d certainly hope so, too, because this is a lens that comes with a hefty professional price tag. At $4,800 / £4,999 / AU$8,299, this is one of those lenses that costs more than many of the camera bodies it will find itself attached to, which means it will unfortunately be out of reach for many enthusiast photographers. But it’s not all bad news if you’re on a slightly tighter budget, because the Nikkor Z 180-600mm f/5.6-6.3 VR comes in at a more affordable $1,697 / £1,799 / AU$2,999, and it’s a great lens for the price.
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Despite its low weight considering the focal length, the Nikkor Z 600mm f/6.3 VR S is still a largish lens compared to a medium zoom at 4.2 x 11 inches / 106.5 x 278mm. The front element and filter thread is 95mm, so a protective UV filter won’t be cheap, but it’s certainly not a necessity, because the included lens hood provides ample protection alongside helping to reduce or eliminate flare. But once again, in the grand scheme of things, this lens is still pretty compact for what it is; it’s comfortable to use handheld for long periods, and the tripod collar provides a balanced method of attaching the camera and lens to a tripod when required.
This is a premium lens, and the build quality is excellent, with the look and feel alone exuding quality. But it’s certainly not perfect, and the area in which it doesn’t quite live up to expectations may surprise you, given the situations the lens is likely to be used in. The 600mm features rubber gaskets to keep dust, dirt and moisture out of the lens, but Nikon doesn’t say anywhere that the lens is weatherproof.
It can likely handle some use in wet weather, but Nikon also stresses in the small print that the lens isn’t guaranteed to be dust and drip-resistant in all situations and under all conditions. Sure, no camera or lens could be claimed to be 100% weatherproof, but this does leave a question or two hanging in the air, and more clarity here would be useful so that users aren't left to guess how weatherproof the lens might be.
A lens like this is primarily aimed at sports and wildlife photography, and the Vibration Reduction / image stabilization is excellent. During testing, and with an extremely steady hand, I was able to shoot sharp images at shutter speeds as slow as 1/30 sec. This is amazing, and useful for panning slower-moving subjects. The 600mm provides up to six stops of stabilization, but there’s a slight caveat here; this requires Z-series camera bodies that support Synchro VR, which is only available in the latest full-frame models like the Z9. For camera bodies that don’t support this, the 600mm still provides 5.5 stops of image stabilization, so no great loss here.
On the lens itself, there’s a customizable L-Fn button, four customizable L-Fn2 buttons, a focus limiter switch, a manual/AF switch and a memory set button. There’s unfortunately no VR switch or VR mode switch, which would be useful, but this option can be easily accessed via the camera. Alongside the manual focus rings, there’s also a customizable control ring that can be set to adjust focus, aperture, ISO or exposure compensation; this is set to aperture by default, and it's extremely useful.
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The optical design of the Nikkor Z 600mm f/6.3 VR S comprises 21 elements in 14 groups, which include two ED elements, one SR element, one PF element, elements with a Nano Crystal coat, and a fluorine-coated front lens element to repel moisture and dirt. That's a lot of glass, but the construction, including the Phase Frensel (PF) lens, helps to keep the lens small and lightweight as well as enabling the excellent image quality. A maximum aperture of f/4 would undoubtedly be more impressive, but this would mean the lens would have to be larger and heavier; f/6.3 still produces pleasing bokeh thanks to the nine-blade aperture, and it's a good aperture to shoot at to ensure enough subject depth-of-field in sports and wildlife photography.
Image quality is excellent, and autofocus is fast and silent. This is the type of lens where you’re unlikely to stop down to more than f/11, and will probably shoot wide open at f/6.3 most of the time. It's where the Nikon Z-mount excels especially in this lens – you won't notice a drop in overall sharpness at f/6.3. Stop the lens down to f/32 and diffraction naturally shows.
As you'd expect, the centre of the frame is the sharpest, but edge sharpness is still more than respectable and you can confidentally compose subjects off-center knowing they will be sharp. During testing in bright conditions, no chromatic aberration was visible along high-contrast edges, and lens corrections applied using the lens profile in Lightroom made only a small adjustment.
Nikkor Z 600mm f/6.3 VR S photo samples
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The Nikkor Z 600mm f/6.3 VR S is an excellent lens overall, and one that any Nikon shooter will be happy with if they can justify the cost. It’s primarily targeted towards full-frame Z-series cameras, but works just as well with APS-C Z-series cameras to provide an effective focal length of 900mm. You can increase the focal length on full-frame Z-series cameras by shooting in DX mode, and during testing we employed DX mode on the the Z 7 II, which still provides a useful and usable 20MP image. You can also use the lens with teleconverters to increase the effective focal length, but this does reduce the maximum aperture to varying degrees depending on the strength of the teleconverter.
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Should I buy the Nikkor Z 600mm f/6.3 VR S?
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Buy it if...
Don't buy it if...
Nikon Z 600mm f/6.3 VR S: Also consider
How I tested the Nikon Z 600mm f/6.3 VR S
The Nikkor Z 600mm f/6.3 VR S was tested over several shoots, including handheld use to assess the size and weight of the lens. Photos were taken at different aperture settings in both FX and DX modes to test handling, sharpness and distortion, while Vibration Reduction was put through its paces by shooting at slower shutter speeds than normal. I shot both static and moving subjects to test autofocus performance.
Most images were shot simply to see how the lens performed in different situations, while others were shot specifically to compare the results. This provides the ability to test all aspects of the lens in a real-world environment that’s closer to how photographers will use the lens, 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.
Action cameras are a great option for capturing sport, travel and a whole host of subjects; they're small, lightweight, and in most cases designed to withstand the rough and tumble these cameras typically endure. The Kandao QooCam 3 is a 360-degree action camera that provides an alternative to the likes of Insta360 One R and X3, as well as the GoPro Max, which are all among the best 360 degree cameras currently available.
360-degree cameras are becoming increasingly common, providing users with the ability to capture 360-degree photos and videos that can be scrolled around, as well as to reframe 360-degree video into a traditional 2D perspective where you can pan, zoom and change camera direction to create the illusion of being filmed by someone else. 360-degree camera manufacturers often describe this as like having a personal camera person filming you, and in many ways it is.
The QooCam 3 fits this profile well, and while it’s not the kind of action camera you’d want to drop due to the two fisheye lenses, one on each side, it is dust and waterproof to IP68. This opens up more possibilities for a camera that can capture 360-degree photos at 62MP in JPEG and DNG formats, alongside the ability to capture up to 5.7K 30 fps 360-degree video. Low-light performance is also a key feature thanks to the 1/1.55-inch sensors and large f/1.6 apertures for each of the two fisheye lenses.
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QooCam 3: Release date and price
Launched in September 2023
Several kit options
Additional accessories available
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The QooCam 3 was launched in September 2023, and is the second consumer 360-degree camera produced by Kandao. The QooCam 3 standalone kit includes the camera, a battery, a USB-C cable, and a soft case, and costs $349 / £278 / AU$531. The Travel Kit is the best option for most people – this includes all of the above plus an additional battery, a 64GB microSD card and a 120cm invisible selfie stick for just a bit more at $370 / £295 / AU$563. The Motorcycle Kit includes all of the above, plus a plethora of mounting accessories for $400 / £319 / AU$609.
Alongside the kits, you can also purchase additional batteries, the invisible 120cm selfie stick, and a Marsace x Kandao co-branded mini tripod. When the camera was sent to me for review it arrived with a car suction mount, which is a great accessory that works exceptionally well, but which unfortunately is not available on the Kandao website at the time of writing – hopefully it will be soon.
Price score: 4/5
QooCam 3: Design
Near square design
1.9-inch LCD screen
Weighty at 7.76oz / 220g
The QooCam 3 is almost square at 2.8 x 3.3 x 1.0 inches / 71.5 x 82.7 x 26.6mm and weighs 7.76oz / 220g including a battery and microSD card. To say it looks familiar to the GoPro Max is an understatement, although the QooCam 3 is slightly larger and heavier. Controls are minimal, with just a power and record button on the top and a 1.9-inch rectangular touchscreen on which settings can be accessed easily by swiping from the sides and using the customizable Q menu.
The LCD screen isn’t the highest-resolution when compared to other action cameras, but it’s clear and bright enough, and provides a single camera view, which can be switched from front to back when capturing photos and videos. This is better than the phone app view, which shows a stretched-out 360-degree view and feels strange to use for composing, but the app does provide wireless control of the camera, which is useful.
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Build quality is impressive, especially considering this is one of the less expensive 360-degree cameras available, and the dark grey and black body has an undoubtedly high-quality look. The two fisheye lenses are positioned on opposite sides of the camera, and as on any camera of this type feel vulnerable, but they're protected when not in use by a soft case, which can be attached to the camera even when the selfie stick is inserted into the tripod mount on the bottom of the camera. There are four microphones, one on each side of the camera, that work well to record 360-degree sound in videos.
Design score: 4/5
QooCam 3: Features and performance
1/1.55 in sensors and f/1.6 apertures
6-axis gyro for image stabilization
360-degree ambisonic audio
With the ability to shoot photos and videos in several capture modes, the QooCam 3 follows a fairly standard approach to 360-degree cameras and what they’re capable of. Operation of the camera using the camera itself and the touchscreen, where you swipe from the sides of the screen to access various settings and features, is incredibly easy and intuitive, as on most modern action cameras. The phone app is just as simple and intuitive in this regard, while also providing wireless control and Live View.
The headline features of the QooCam 3 have to be the 1/1.55-inch sensors with a 2μm pixel size and 4-in-1 pixel merging, alongside the fast f/1.6 apertures. These make the camera a solid performer in low-light conditions, although with such fast apertures, shutter speeds need to be fast in brighter light, so it’s impossible to use the correct shutter speed for capturing more cinematic motion in videos. That said, even if the aperture was f/2.8 you would still have this problem, so the low-light performance is a huge bonus.
The camera uses a 6-axis gyro, which works well overall, and when I tested this while running the bobbing of the camera was minimized, although not completely eliminated. The same goes for walking, although with most action cameras you do have to walk with slightly bent knees while keeping the camera steady for the smoothest results. This is easiest when using the invisible selfie stick, which also allows you to maneuver the camera into interesting positions and apply sweeping movements for more dynamic videos.
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One point to note is that image stabilization isn’t applied to the image viewed on the camera screen or in the app when connected, so this will appear unsteady during filming. Stabilization is applied during editing using the gyro data, where you can use Horizon Steady to lock the camera angle while maintaining the ability to add keyframes, or View Lock Steady to simply apply stabilization.
Sound can often be a secondary consideration for action cameras, but the QooCam 3’s four microphones capture 360-degree ambisonic audio (full-sphere surround sound) and do a reasonable job of recording sound. However, wind noise can be an issue when it’s windy or if the QooCam 3 is attached to a car using a suction mount – it has to be said that attaching the camera to a car to create faster and more dynamic timelapse videos, 360-degree videos, and reframed videos is a lot of fun.
The smartphone app and desktop app are both reasonably easy to use, but both lack the range of features and finesse of Insta360’s comparable apps for Insta360 cameras. The QooCam 3 phone app offers more functionality than the desktop version, including the ability to use templates to make faster edits, add one of five music tracks, and remove the original sound, although these options take some getting used to before you can confidently create the video effects you’re aiming for. It’s not rocket science by any means, but expect a small learning curve here – and the functionality is limited to just about what you need, rather than something slightly more impressive.
Features and performance score: 3/5
QooCam 3: Image and video quality
Up to 5.7K 30fps video
62MP 360-degree photos
Decent low-light performance
The image quality produced by 360-degree cameras is never as good as that from standard action cameras, and the QooCam 3 is no exception here in general. It does, however, perform well in low-light conditions such as night scenes, thanks to the fast aperture. For example, when walking through Chinatown in London at night I only needed to increase the ISO to 640 while maintaining the correct 1/60 sec shutter speed for 5.7K 30fps video, and image quality was impressive.
The dual cameras on the QooCam 3 use fisheye lenses that provide a full-frame equivalent focal length of 9.36mm, with the images combined to create panoramic and 360-degree photos and videos. Camera control can be set to Auto, with control over exposure compensation and the ability to manually adjust exposure compensation and white balance, or Manual, which gives you full control over all settings except for aperture, which is fixed. Auto is best for situations where you’re moving from light to dark areas and vice versa, while Manual is generally best for everything else.
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Photo modes include Standard panoramic photo (360-degree), Interval Photo, DNG8 and AEB. DNG8 is where eight DNG files are captured and merged in the RawPlus software for increased detail and lower noise with HDR results. However, when editing photos in QooCamStudio (desktop) and with the RawPlus desktop app, I didn't always feel that I knew exactly what I was doing.
For this to work, you have to merge the eight DNGs with RawPlus and export a single DNG. This can then be processed in Lightroom or Adobe Camera Raw, with no cropping, exported as a JPEG, and then further adjusted in terms of viewpoint in QooCamStudio, before a new JPEG can be exported at up to 4K dimensions. It’s a convoluted process, and I found a tutorial by a third party covering this after I was unable to find a guide on the Kandao website. This is a process that needs to be simplified.
QooCam 3 video
Photo editing is much easier with the QooCam 3 smartphone app, but often still leaves you wondering. That said, the 360-degree photos can be captured up to 62MP, but you have to attach the camera to the selfie stick on a mini tripod and be out of shot to avoid being photographed, or you can reframe photos into a 4K 2D photo. Video can be captured in Standard panoramic video (360-degree) and timelapse, with interval and resolution options for the latter. For video, you can capture 5.7K 30fps, 4K 60fps and 4K 30fps.
Image quality overall is good, and sits within the norm for this type of camera, but photos and videos have an over-sharpened appearance, and there’s no control over the sharpening level in the camera settings; this would be a useful addition via a firmware update. Over three weeks of using and testing the camera, three firmware updates were delivered, so Kandao is working hard to improve what is already a solid yet imperfect 360-degree camera. With a handful of upgrades in terms of the apps and the camera firmware, the QooCam 3 could be greatly improved to make it a highly competitive option, because the hardware is solid.
QooCam 3 360-degree video
Image and video quality: 3.5/5
QooCam 3: Test scorecard
Should I buy the QooCam 3?
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Buy it if...
Don't buy it if...
QooCam 3: Also consider
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If our QooCam 3 review has inspired you to think about other options, here are two more 360-degree cameras to consider…
How I tested the Kandao QooCam 3
The QooCam 3 was tested over several weeks in a variety of environments and light conditions, including being attached to a car. This provided enough time to fully explore what the camera is capable of in terms of capture options, editing options, output quality using both the smartphone and desktop apps, and, importantly, overall ease of use while considering the learning curve of the apps.
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.
The Insta360 Ace Pro is Insta360’s first out and out wide-angle action camera – and the brand has absolutely nailed it, creating one of the best action cameras to market. Insta360 isn't new to this field though, with a range of 360-degree cameras that includes the low-light champion the Insta360 One R 1-inch, plus mobile gimbals.
The Ace Pro rivals the likes of the GoPro Hero 12 Black and the DJI Action 4, but it is the first of its kind to offer 8K video. Take that, GoPro and DJI. You also get 48MP stills – both of which are probably larger than most people will need. However, the quality of the output is generally great, with the HDR Photo mode particularly good at capturing detail in highlights.
The highest resolution 8K video is available at 24fps only, so there's definitely room for higher frame rates to be added in future versions of this camera. However, slow motion 4K video is possible up to 120fps.
Insta360 is a long-time partner of Leica, which has engineered the Ace Pro's 1/1.3-inch sensor, and this partnership seems to be paying off. The sensor, backed by the camera's AI-boosted chip, does a great job of capturing excellent video and photo quality, even under more demanding lighting scenarios such as low light and highlights.
The magnetic mounting system and wide range of mounts makes this camera a highly versatile option for all types of creatives. The multi mount is particularly useful, enabling the camera to be mounted on a tripod or carried around on a selfie-stick, and Insta360 provides mounts that would work with all types of action sports, including cycling, diving, and surfing.
I really enjoyed the camera, from the excellent build quality to the impressive output of the video and photo. Insta360 has made a great camera, and it’s hard to see what it can improve on in future releases – perhaps slow motion 8K recording?
Insta360 Ace Pro specifications
Sensor: 1/1.3-inch FOV/focal length: 16mm (35mm equivalent) Max photo resolution: 48MP (8064 x 6048) Video: 8K 24fps / 4K 120fps / 1080 240fps Stabilisation: FlowState and Horizon Lock Screen: 2.4-inch flip screen Mount: Magnetic standard, Quick release, Multi Mount Battery: 1,650mAh Connectivity: Bluetooth, USB-C and Wi-Fi
It's a pricier alternative to the Hero 12 Black and the Action 4, but there are a number of specs that make the Ace Pro stand out and justify the higher price. The first is the 8K recording functionality. To achieve this inside such a small camera body is to push the boundaries of what was previously possible.
The 1/1.3-inch sensor is another spec that's worth noting. This is bigger than the Hero 12 Black's sensor and the same size as the Action 4's, although not as big as the Osmo Pocket 3.
There's also a 2.4-inch flip screen that is the largest available on the market, compared to 2.25-inch for the Action 4 and 2.27-inch for the Hero 12 Black. The screens of those cameras are fixed, too, while the Ace Pro's can flip up for selfies.
Overall, Insta360 has done a breathtaking job of pushing the boundaries of what it's possible to pack into a small-form action camera.
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Insta360 Ace Pro: release date and price
Available to buy now for $449.99 / £429 / AU$729
Mounts available from $14.99 / £15.99 / AU$29
Cheaper 'Ace' version of the camera costs $379 / £359.99 / $AU609
The Insta360 Ace Pro is available now, with the lowest-priced Standard Combo package costing $449.99 / £429 / AU$729, which is a little pricier than the GoPro Hero 12 Black, which retails at $400 / £400 / AU$650, or the Hero 11 Black at $350 / £350 / AU$579.
To extend your mounting options you can get the Standard Mount for $14.99 / £15.99 / AU$29, and the Vertical-Horizontal Mount for $19.99 / £19.99 / AU$39.
To get waterproofing down to 16m rather than the standard 10m you can buy the Dive Case for $59.99 / £59.99 / AU$109.
An extra battery to extend shooting times costs $34.99 / £35.99 / AU$65, and if you're needing to charge your batteries quickly then the Fast Charge Hub is a great option, and costs $49.99 / £51.99 / AU$89.
The Insta360 Ace Pro doesn't come with GPS as standard, but if you pair it with the GPS Preview Remote you can track your location. The remote can be worn on your wrist or mounted on your bike, for example. It costs $149.99 / £149.99 / AU$269.
If you want a cheaper alternative to the Pro version there's an Insta360 Ace which retails at $379 / £359.99 / $AU609.
Price score: 4/5
Insta360 Ace Pro: design
Easy magnetic mount
Versatile multi mount
2.4-inch flip screen for selfies
The Ace Pro is really nicely engineered, from quality materials. As soon as you take it out the box you can tell that it's both heavier and bigger than other cameras on the market, such as the Hero 12 Black. It weighs in at 179.8g, compared to 154g for the Hero 12 Black and 145g for the Action 4.
The benefit of this is that it feels more substantial in the hand, while still feeling very much like an action camera. It also allows for much better heat dissipation, something that is the single biggest problem facing action camera designers. If you want a smaller Insta360 camera the brand does offer smaller consumer alternatives.
One area where the Ace Pro diverges from other action cameras, in a good way, is in the implementation of its screens. I find DJI and GoPro screens often a little unresponsive, and their front screens never seem to deliver what's required when shooting in selfie-mode. The Ace Pro, on the other hand, includes a fantastic 2.4-inch rear flip screen that hinges from the top. The screen is big and responsive, and the hinge is perfectly engineered, enabling the screen to perch securely at any angle. I love it.
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In terms of mounting, you have a plethora of options available to you. The camera itself has a magnetic plate at the base to allow for a super-quick snapping of the camera onto different mounts. It follows the Action 4 in this regard, and has left behind the Hero 12 Black, which will hopefully introduce this functionality next time round. Action cameras have to be versatile, and quick to get up and running, and the magnetic mount on the Insta360 Ace Pro enables exactly that.
The standard mount is ideal for cycling, for either mounting the camera onto a helmet or handlebars. It’s lightweight, and includes a quarter-inch screw hole. There's also a quick-release mount, which hooks into the camera and is removable using the quick-release buttons. Unfortunately, I found that the camera didn’t hook into the prongs first time every time, and at times it took a little fiddling to ensure that both prongs were clicked in, which isn't ideal.
The multi mount is a stroke of genius though, serving a whole host of different shooting scenarios. It can serve as a standard tripod, as a selfie-stick of sorts, or just as something to carry the camera around with when you're shooting on the go.
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Insta360 has also included a really nice front display, which isn't a touchscreen but updates you on some of the key settings. It’s a nice feature, but I couldn’t really find a use case for it; if I was shooting in selfie mode then I had the settings displayed on the flipped screen anyway.
I personally found the record button too hard to press, which made it difficult to begin recording or take a photo without dislodging the location of the camera in my hand and introducing a wobble into the start of the video. A more responsive button would easily overcome this.
The camera contains all the ports you would expect, including a USB-C port, microSD slot, and a battery cavity. These are all behind flaps which I found a little fiddly to open and close. The flap to the power port/microSD port also only just opens wide enough to allow the power cable in, while the microSD port is also right next to the power cable, which makes it tricky to remove or insert the SD card while charging.
Design score: 4.5/5
Insta360 Ace Pro: features and performance
Excellent FlowState stabilization and Horizon Lock
Decent waterproofing up to 33ft / 10m
Handy voice and gesture controls
The Insta360 Ace Pro has been co-engineered with Leica, which means it has a great sensor – it's actually the same size sensor as in the Osmo Action 4 at 1/1.3-inches, and is bigger than the Hero 12 Black's. It does, however, fall short of the new 1-inch sensor in the DJI Osmo Pocket 3; given this camera's larger camera body, I wonder if this bigger sensor will be introduced in a future Ace Pro camera.
The 1/1.3-inch sensor alongside the f/2.6 aperture facilitates impressive low-light performance – more about that later. The 5nm AI chip enables a strong level of noise reduction, which is perfect in those night-time scenes where you can’t get rid of all the noise in-camera. The AI on the chip also means it better handles the opposite extreme, where there are bright light sources in the shot, something that's difficult for any camera to handle, let alone a small action camera.
The stabilization in the camera centers around FlowState and Horizon Lock, features that are well implemented in pretty much all other action cameras. FlowState, Insta360’s proprietary algorithm, is tried and tested on its other cameras and works well. Horizon Lock does exactly that, and is ideally suited to when the camera is rotated a lot through the shot.
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The video resolution allows for up to 8K at 24 frames per second. This is an industry-leading resolution, with the Hero 12 Black topping out at 5.3K and the Action 4 at 4K. Not many users will need 8K in this type of camera, or have the display to watch it on, but if it's something that's important to your workflow then the Insta360 Ace Pro delivers.
The camera contains a neat little feature, although not unique, called ‘Photo Grab’, which enables the capturing of 12MP photos mid-video. We’ll look at the quality of the video and photo from this camera later.
The camera is waterproof down to 10m, which will be sufficient for most cases, but if you find yourself shooting at a greater depth the dive case that's available separately allows you to use the camera to depths of to 16m.
One feature I particularly love is the gesture control. With a simple raising of the palm the camera will start recording video, after a three-second countdown so you can get set up. And if you show the 'peace' sign a photo will be taken after three seconds. I like these types of features, as they minimize the interaction required with the actual camera.
Performance score: 4.5/5
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Insta360 Ace Pro: image and video quality
Max photo resolution: 48MP (8064 x 6048)
Video: 8K 24fps / 4K 120fps / 1080 240fps
Active HDR
The results produced by the Insta360 Ace Pro are noticeably impressive. Where do we start? How about low-light performance? This is where so many action cameras, over the years, have tripped up. If the lighting conditions are ideal then it's no problem, but creators don’t want to be limited by their tech.
The image quality across all resolutions is really nice including the 8K option. Colors are represented with clarity and vibrancy giving a punchy image that pops off the screen. Low-lighting conditions are also handled well, with only a small amount of noise noticeable during testing. The AI-boosted chip helps to clear away more of the noise that can’t be removed by the 1/1.3-inch sensor, and this low-light performance is replicated across video and photo.
The other scenarios these types of cameras often struggle with is highlights. The Ace Pro contains HDR technology when shooting video, and also includes a separate HDR photo mode. The Active HDR in video mode delivers fairly good results, although there is still some detail lost, especially in the highlights.
The HDR photo mode on the other hand does a much better job of capturing those details. When taking a photo of an overcast sky, for example, the image had definition in the clouds, where the video captured turned the sky completely white.
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Color replication across all modes is excellent, with little to no correction required to replicate real-life colors. GoPro and DJI cameras often struggle with this, so I was pleased to see the Insta360 Ace Pro doing such a good job. This color replication is also noticeable with faces and skin tones which, again, are captured accurately.
Unfortunately, there isn’t log capture functionality like the GP-Log in the GoPro Hero 12 Black. This limits your color-editing options in post, and it would be a fantastic additional feature to really take this camera to the next level.
Image and video quality score: 4.5/5
Should I buy the Insta360 Ace Pro?
Buy it if...
Don't buy it if...
Insta360 Ace Pro: Also consider
Testing scorecard
How I tested the Insta360 Ace Pro
I used the Insta360 Ace Pro as both an action camera and a vlogging camera. Taking it out and about enabled me to properly test all of its features, including its video and photo quality as well as its stabilization.
Taking the Ace Pro out on my bike provided a great opportunity to see how the camera would cope working at speed and under changing lighting conditions.
Having tested other action cameras I was able to make informed comparisons between the Ace Pro and other popular models.
Every now and then a new camera wows the world of photography, and the launch of the Sony A9 III was one of those moments. So is the buzz around the fastest-ever camera justified? After an extended time with the camera for this in-depth review, the answer to that question is complicated, but all things considered it’s a solid yes.
With the A9 III Sony has upped the bar by some margin for high-performance photography for sports and wildlife. A new kind of sensor with ‘global shutter’ unleashes a number of class-leading features, and crucially eliminates the ‘rolling shutter’ distortion in photos and video that you can get with the electronic sensors used in general to enable top performance in most other cameras.
Put simply, these combined technologies have realized never-before-seen performance that’s overkill for most, and exciting for those that can afford Sony’s flagship prices: 120fps burst shooting and a maximum 1/80,000 sec shutter with flash sync at any shutter speed are the headlines, and they're yours for $5,999 / £6,099 / AU$9,999.
The Sony A9 III is the first consumer full-frame mirrorless camera with global shutter incorporated into the sensor. (Image credit: Future)
The A9 III is also a camera blessed with Sony’s best innovation, which we’ve seen before, namely in the A7R V, the camera we awarded ‘Best mirrorless camera’ in our TechRadar 2023 Choice Awards: the Bionz XR processor (the A9 III actually has two of them), an AI-autofocus chip for industry-leading subject-tracking AF, high resolution 9.44m-dot EVF with 120fps refresh rate (which maintains peak performance even for continuous shooting), and a 4-axis vari-angle touchscreen.
We also have Sony’s best camera design to date. The A9 III has a similar form factor to high-end Sony models, which means it’s smaller than rival pro sports cameras, but it features Sony’s chunkiest grip to date, and can be bulked out further with a new vertical grip, which you’ll want to do when using large lenses.
Burst shooting up to 120fps comes with no compromises in terms of the camera’s performance or image quality – that means 24.6MP raw and JPEG with continuous tracking AF and auto exposure – and is frankly over-the-top excellence, even if it's just for 1.5 seconds at a time. Unless Canon or Nikon conjure up a new camera of their own with never-before-seen features, the A9 III will be the subject of envy in press pits at this year’s Paris Olympic Games.
You can set the continuous high drive mode to 30fps or 60fps and then instantly switch to 120fps by holding down a custom button by the lens. (Image credit: Future)
That said, an unwelcome bottleneck is the use of CFexpress Type A cards; these offer data transfer speeds only half those of the CFexpress Type B cards used in a camera like the Nikon Z9, which consequently means the buffer takes some time to clear before regaining peak performance, by which point the action being captured might have finished – we’ll unpack buffer performance later in this review.
With a custom button, Sony makes it quick and easy to ramp up to 120fps from a ‘mere’ 30fps or 60fps burst shooting speed. After all, not all sports and wildlife scenarios need such high speeds, though I’m sure pro sports photographers hellbent on capturing that fraction-of-a-second of decisive Olympic action will appreciate having the option. Personally I think 30fps is plenty enough, but I’m not being paid to file images from the world’s biggest sporting stages.
After much testing I can confirm that there is a compromise on image quality that comes with using the new global shutter. Put simply, there’s a hit on dynamic range, plus increased noise, when compared to rival cameras. Those who often shoot in low light will want to pair the A9 III with pro lenses featuring the largest possible aperture, such as the FE 300mm F/2.8, to increase light intake.
The dual-axis vari-angle screen can be pulled away from the body at multiple angles. (Image credit: Future)
More important than outright image quality, however, is that the A9 III suffers no ugly rolling shutter effect whatsoever in fast-moving action photos and video. That also means no risk of banding in artificial light. Add in its superb autofocus and burst shooting skills, and this sports photography and video camera can freeze the action and capture the crucial moment to a level above any other camera today.
The A9 III isn’t for everyone, but it’s now the best mirrorless camera for pro sports photography and video, if its 24MP photo and 4K video resolution are sufficient for your needs.
Sony A9 III: release date and price
$5,999 / £6,099 / AU$9,999 body-only
New VG-C5 vertical grip costs $399 / £390 / AU$749
The Sony A9 III body-only list price is $5,999 / £6,099 / AU$9,999, which is what I’d expect for a Sony camera at this level, although that's a markup from the Sony A9 II and clearly a lot of money. It’s firmly in the professional sports and wildlife photography camp, and it’s available now, ahead of the Paris Olympics which begin in late July.
A newly designed body means the A9 III requires a new optional VG-C5 vertical grip, launched alongside the camera, to extend the size and battery life and provide a comfortable way to shoot with large lenses and in vertical format. Sony has recognized that pretty much every photographer that adds the A9 III to their shopping basket will also add the grip, and for a limited time is including the grip for free with purchases of the A9 III – its list price is $399 / £390 / AU$749. I can also see the A9 III being a popular camera to hire for special events and commissions – it's an excellent portraits with flash tool.
Price score 4/5
Sony A9 III: design and handling
Larger grip and a new optional vertical grip
Industry-leading EVF
Abundant control layout
As a camera that's designed primarily for pro action photography, the A9 III has the kind of build quality to withstand tough conditions and inclement weather. It's not a chunky affair like the Nikon Z9 though – Sony mirrorless cameras are always small, even the A9 series. Conversely, most pro prime telephoto lenses are big, so how is the balance of the A9 III? Pretty good, actually.
It has the familiar Sony mini DSLR-style form factor, except that the grip is chunkier for a better hold. I found it a decent pairing with the FE 24-70mm F2.8 GM lens, which was one of the lenses I had for my hands-on review. With larger lenses like the FE 70-200mm F4 G OSS that I had for this test, plus the new FE 300mm F2.8 that I got to try out briefly, the A9 III really benefits from the optional vertical grip.
A new design means the A9 III needs an all-new optional vertical grip, and I’d expect the majority of A9 III photographers to opt for one – I’d certainly pick one up. Not only does the new VG-C5 grip add a little weight and height for improved balance with large lenses, it offers controls at your fingertips for vertical shooting, replicating the layout of the camera for horizontal-format photos, plus it extends battery life. With the FE 300mm F2.8 lens, which weighs 3.24lbs / 1,470g, attached, there’s a really good balance between camera (with grip) and lens.
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In this class, I prefer Sony’s design approach to Canon and Nikon – a small body that can be bulked up with a grip for serious telephoto lenses, rather than a large body that can’t be made any smaller.
We get the same industry-leading EVF as found on the A7R V – the 9.44m-dot unit has a 120fps refresh rate, with no blackout during continuous shooting, and it really does perform flawlessly, maintaining peak performance whatever the shooting mode. Previous models with the 9.44m-dot EVF saw a drop in resolution during burst shooting.
The touchscreen is also an A7R V special – a dual-axis vari-angle screen that can be positioned at all manner of angles, and folded away completely for protection when not in use. I love how the screen can be pulled away from the body, meaning your view is unimpeded by the viewfinder. Touch function is decent, too, with controls like tracking AF activation, plus a quick menu that can be revealed by dragging from the corner of the screen.
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The control layout is comprehensive, too, including customizable buttons that can activate features like 120fps at a push, more control dials than you can shake a stick at, and a grippy joystick to navigate menus and AF points and the like. I’m not a fan of the variety in how dials are adjusted, though. One has a clicked-release lock, another has no lock at all, while the exposure mode dial requires you to hold down the central lock in order to turn the dial. There’s almost too much going on around the body, and it takes some time before navigating those controls becomes second nature.
Rigid port doors can be opened individually to reveal full-size HDMI, Ethernet, flash sync, headphone and mic jacks, plus USB-C through which you can charge the camera’s NP-FZ100 battery – Sony’s excellent battery that’s used across models. Besides being a tad cluttered, the A9 III is a step in the right direction and Sony’s best design camera yet.
Design and handling score 5/5
Sony A9 III: features and performance
First full-frame camera with global shutter
Sony says it’s 8x speedier than the A9 II
120fps for up to 1.5 second bursts
Flash sync speed at any shutter speed, limited only by your flash
Sony's best-ever autofocus
Sony cameras are generally feature-rich, but as this is the first mirrorless camera with a global shutter, that’s where we’ll begin. It’s a pricey sensor type previously found only in high-end cine cameras, and it’s long been tipped for the rumored Canon EOS R1 – a potential rival to the A9 III. So what’s all the fuss about this sensor type?
To summarize: it reads every pixel simultaneously rather than line by line, as other sensor types do when using their electronic shutter (rather than the mechanical shutter). Currently, the Nikon’s Z8 and Z9’s stacked sensor with electronic shutter boasts the quickest sensor readout speed (line by line) of 1/250 sec.
You’d be hard pressed to find distortion in Z9 images, but generally there’s a risk of what’s called rolling shutter when using the electronic shutter – a ‘jello’ effect. In most DSLR and mirrorless cameras you can use a mechanical shutter instead for distortion-free photos, but the shutter’s mechanical speed is limited – the fastest ever speed is 16fps in the Canon EOS 1D X Mark III.
The global shutter is the best of both worlds: no distortion, and no real limit on burst shooting speed, up to 120fps.
Burst shooting sequence of an Olympic athlete jumping over a hurdle on the race track at night with the continuous high drive mode of the Sony A9 III (Image credit: Future)
That’s what’s so exciting about the A9 III for capturing high-speed action – you can move the camera quickly to track your subject in stills or video, or freeze especially fast-moving subjects like a golf swing, and you won’t see any distortion. You also get the fastest minimum shutter speed ever, up to 1/80,000 sec – although currently that’s reduced to 1/16,000 sec when in any burst shooting mode. It’s an action photographer's dream.
Sony’s latest Bionz XR processor is in play here, only there are twin processors that Sony says bumps up the A9 III’s speed by 8x over the A9 II. That’s needed for such high-speed work, and for features like pre-capture up to one second. We’ve seen pre-capture in other systems from the likes of Panasonic, but it’s another first for Sony mirrorless; pre-capture can record sequences up to one second before you fully press the shutter, another handy trick for capturing decisive moments.
This video of blue tits on a lone branch is a realtime 30fps continuous burst. Shot at 120fps and it could be slowed down 4x. (Image credit: Future)
A global shutter also has no real shutter speed limit when synchronizing to an external flash, save for the limit of the flash itself. That means the A9 III can in theory flash-sync at any shutter speed, where other systems are limited to up to 1/250 sec – for example, the Z9’s max flash sync speed is just 1/200 sec.
For those who are into flash photography in particular, the A9 III opens up a whole other realm of creative possibilities, cleanly freezing fast action with no motion blur. It also makes portraits with flash a breeze. The example (below) was shot at 1/2000 sec with the FE 70-200mm F4 G OSS lens at its maximum f/4 aperture, with the Sony HVL F46RM at full power positioned in a softbox and remotely triggered using the Sony FA WRC1M wireless radio commander. I didn’t have to reduce the aperture to f/11 for an accurate exposure because I wasn’t limited to 1/250 sec. I didn’t have to think about workarounds like a ND filter in order to open the aperture right up; I could simply shoot the portrait at whatever exposure settings I liked.
Portrait made with the Sony A9 III and the FE 70-200mm F4 G OSS II lens. Camera settings 1/2000sec, f/4, ISO 250. Sony HVL F46RM flash at full power positioned in a softbox and remotely triggered using the Sony FA WRC1M wireless radio commander. (Image credit: Future)
Not worrying about the shutter speed limit; being able to use any aperture – these are game-changing flash photography attributes of the A9 III. I thought pairing the A9 III with a flash for such quick flash speed would be a bit of a minefield, and you do need to play around with settings a bit, but in reality it’s not that complicated. Put simply, the A9 III has been the most versatile camera I’ve ever used for flash, and I wouldn’t think twice about hiring it for location portrait shoots.
Impressive features like 120fps are one thing on paper, but what are they really like to use? Firstly, you’ll fill up memory cards very quickly and create a daunting image organization and editing workflow, so 120fps should only be used sparingly. Fortunately, Sony makes that as easy as possible via a custom button that immediately boosts the A9 III to that super-fast speed from a more modest default speed – I set the continuous high to 30fps, and used the button for a 120fps injection at crucial moments.
I was typically able to get around 190-200 frames (raw and JPEG) at the top speed of 120fps – in other words around 1.5 seconds of shooting – before the camera slowed right down. Clearly this headline mode is just for decisive moments. At 30fps I was typically getting around 275 frames (raw and JPEG) before the camera slowed down – that’s around nine seconds in all.
Twin card slots can hold either CFexpress Type A or SD memory cards. CFexpress Type B is much quicker and we can hope Sony will adopt faster media in future high-speed cameras. (Image credit: Future)
Using a SD card for the aforementioned sequences, it took around 30 seconds for the buffer to clear and for the camera to regain full performance once more, while using a CFexpress type A card was a little under half that time. Those wait times are a tiny bit disappointing, given that a CFexpress type B card – used by the Nikon Z9 – is at least twice as quick again. Implementing a redesign to accept type B instead of type A would have made the A9 III completely formidable. Buffer aside, the burst shooting speed and duration are unmatched.
Pre capture is neat, too. You might not want to set it to as much as 1 second, especially with the fast frame rates filling up your card, and 0.5 seconds is probably enough to ensure you capture suddenly unfolding action. I found it particularly useful for bird photography, where subjects move both quickly and erratically.
The A9 III has a remarkable hit ratio of sharply focused action photos. (Image credit: Future)
In addition to its superb burst-shooting capabilities, the A9 III has the most capable autofocus system of any camera today. You’ll need to get the mode right for your subject, but set to a mode like ‘Focus Area: Expand Spot’ with appropriate subject tracking autofocus, the hit ratio of sharp images the A9 III can achieve in action sequences is unmatched.
The A9 III also has new subject-detection AF modes, including birds and insects, both of which worked decently well in my tests with the 70-200mm F4 lens. We still have human and animal detection modes, which are now more effective than ever thanks to the ‘AI’ autofocus chip equipping the A9 III to recognize subjects in all manner of orientations – the torso, head, eyes and so on.
We also get Sony’s highly effective in-body image stabilization. Beyond enabling the use of slower shutter speeds for photography (which aren’t much use for freezing action), it's so effective that you can get smooth gimbal-like handheld videos, especially when using the Active and Dynamic Active modes.
Features and performance score: 5/5
Sony A9 III: image and video quality
Same 24.6MP resolution as the A9 II
4K 60p video from full width of the sensor (oversampled)
ISO 250-25,600
More noise and less dynamic range in low light than rivals
Sensibly, Sony has kept the A9 III’s sensor resolution to 24.6MP just like in the A9 II. That’s a perfectly acceptable resolution for the intended audience of sports and wildlife photographers, and a clear distinguisher from the A1 (and a potential successor), which has around double the pixels. Some may wish for more pixels and more cropping possibilities – the A1 has 50MP – but that would compromise the speed of the A9 III.
It is of course a different sensor type with global shutter, too, and it comes with a unusual ISO 250-25,600 sensitivity range that can't match that of the A9 II and A1. Those cameras have a base ISO of 100 – a setting that offers better dynamic range and handling of noise than the A9 III’s base of ISO 250. Therefore, if light is good and the shooting scenario merits a base ISO, such as landscape photography, image quality from the A9 II and A1 is superior.
The use of a global shutter has had an adverse impact on the dynamic range and handling of noise of the A9 III, even if it’s just a little. However, we should also remember who the intended A9 III user is – most people won’t buy the A9 III for anything other than high-speed scenarios, using high shutter speeds to freeze the action. In this reality, you wouldn’t be able to shoot lower than ISO 250 anyway, and so the limited ISO range at the low end is a somewhat moot point for pro sports and wildlife photography.
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The bigger concern is increased noise and reduced dynamic range at the high ISO settings you’ll regularly need when selecting particularly fast shutter speeds, and when shooting in low light. After all, a lot of sporting events are held at night under floodlights, and you won’t get quite as clean image quality from the A9 III compared to rivals – for example there’s more noise in shadows.
By default, Sony cameras apply fairly aggressive noise reduction to JPEG images, and if you shoot in JPEG-only you may not experience some of the issues mentioned above.
While reduced dynamic range and increased noise are markdowns for image quality, we need to put this into context. The A9 III can freeze action with no distortion, and nail sharp focus to a degree we’ve never seen before. And it’s these image quality attributes that are more important for action photography and video, where the A9 III scores top marks. Put simply, the A9 III is the most capable sports photography camera available.
Elsewhere, 4K video up to 60fps is oversampled from 6K – that’s the full width of the 24.6MP sensor. You can also create short 6K slow-motion video clips by using the A9 III's 120fps burst shooting mode and stitching those files together in post.
Those top frame rates are equivalent to 4x slow-motion video, when played back at the standard 30fps video playback – the A9 III is so fast that you can create slow-motion video from photos at 24.6MP which is equivalent to 6K.
Rival cameras like the Z9 can shoot higher resolution 8K video. However, what’s more exciting than resolution and frame rates is how the A9 III’s global shutter eliminates rolling shutter in video. There’s a pleasing quality to motion in the A9 III’s videos, especially for moving subjects and fast-moving handheld camera shots. In-body image stabilization for video is superb, too, and makes run-and-gun videos without a gimbal entirely possible.
Image and video quality score: 4/5
Sony A9 III: Test scorecard
Should I buy the Sony A9 III?
(Image credit: Future)
Buy it if...
Don't buy it if...
Sony A9 III: Also consider
(Image credit: Future)
If our Sony A9 III review has inspired you to think about other options, here are two more cameras to consider…
How I tested the Sony A9 III
Early access to pre-production model in November 2023
A long term loan period of full-production model, more than a month
Plenty of action scenarios, including wildlife and sports
Remote flash photography portraits with Sony's own HVL-F46RM
I first used the A9 III in November 2023 at its announcement event. During the event I shot a variety of sports that included long jump, hurdles, high jump, gymnastics and boxing, pairing the A9 III with several lenses, including the FE 300mm F2.8 GM OSS, FE 70-200mm F2.8 GM and FE 24-70mm F2.8 GM.
Three months after its announcement I received a full-production version of the A9 III, which I used for over a month with the FE 70-200mm F4 G OSS and FE 24-50mm F2.8 G, during which time I was able to shoot plenty of wildlife and sports, plus portraits with a remotely controlled flashgun.
During my extended time with the A9 III I've used all the burst shooting modes, including its headline 120fps, supported by the latest autofocus modes. I've rattled off more frames than I care to count, rinsed the battery, recharged, and repeated.
Modern mirrorless cameras now come with more bells, whistles and buttons than ever. That’s why it’s been so refreshing to review the OM System Tough TG-7, a rugged all-in-one that you can take out shooting without the worry of damage from water, dust, dirt, sand, or clumsy drops.
The TG-7 is reminiscent of the compact cameras I grew up with on family vacations (and took to nightclubs as a late teenager). They’d easily slip into a pocket and come along to the beach, or on hiking and camping trips, and their built-in zoom and scene modes meant you’d be set to capture you adventures largely regardless of skill level.
The waterproof, shockproof TG-7 is equally versatile, equally designed for use in challenging conditions, and equally as good a fit for families as it is for construction workers and surveyors – not to mention hardcore adventurers who push their gear to the limits.
The TG-7 only offers modest improvements over its predecessor, however. The popular Olympus Tough TG-6 compact, released in 2019, had a spot in our best waterproof camera guide, but has been discontinued to make way for the new OM name with the TG-7. On the outside, the cameras look very similar (aside from the updated branding) and much of what's inside is familiar too.
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With a 4x zoom lens, the TG-7 offers a versatile focal range and macro focus (Image credit: Lauren Scott)
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The Tough-series build is IPX8-rated and can withstand 15m dips underwater (an extra underwater case lets you go deeper), drops from 2.1m, and temperatures down to 14F / -10C. Oh, and just in case you manage to stand on the camera, it’s crushproof to pressures of 220lbs / 100kg.
So the TG-7 is still tough, and it's lightweight at a very pocketable 8.8oz / 249g. But what about the camera specs themselves? The 12MP BSI CMOS 1/2.3-inch sensor (similar in size to those in typical smartphones) is unchanged from the TG-6, and video recording is limited to 4K at 25 or 30fps, or 1080p at 25 / 30 / 50 / 60fps. Those options are a bit dated, and I found that the stabilization struggled to keep up when I shot video while walking. The quality is fair if you just want to capture record footage, but don't expect sharp, cinematic footage.
The camera has an internal 25-100mm zoom lens with a variable aperture of f/2-f/4.9, plus 1cm close-macro focusing, which sets it apart from most action cameras. The ISO range runs from 100-12800, although during testing I found this was best kept below 1600.
Several new features bring the TG-7 up to date, but they’re arguably too niche to entice current TG-6 users into upgrading. There's a handy USB Type-C connector for charging, although the camera can’t be powered up while plugged in (and I couldn't shoot while attached to a power bank). A full battery should be good for around 340 shots – I was able to get about 250 images with GPS activated.
What's great is that remote shooting is now possible using the O.I. Share app or the RM-WR1 wireless remote. You also get the option of vertical video recording – great for social-first content – a timelapse mode, and three Construction modes that further establish the TG-7 as a practical camera for builders, project managers and those with messy work to do.
In the Construction modes, most of the work happens after you press the shutter, as computational processing steps are designed to reduce dust particles in the scene and enhance clarity. I didn’t get to test these modes out, but I’m sure they'll benefit workers needing photos on-site who don’t want to risk damaging their smartphones.
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The Tough TG-7's controls and somewhat guided interface are great for beginner and intermediate photographers. Up top, there's the GPS Log toggle, power button, shutter, zoom rocker and a scrolling dial for changing settings depending on your mode. The zoom rocker is slightly slow to spring into action, but the raised buttons make it easy to change settings with wet hands, although it becomes more fiddly with gloves on.
The four-way nav pad with the familiar ‘OK’ button in the center lets you bring up and change settings outside of the main menu, and this is where I set raw and continuous shooting (you can max out at 20fps, but focus and exposure remains the same throughout). The mode dial illustrates each mode sensibly, with a fish for Underwater mode, for example. I suspect many users will just stick to auto mode, so it's a good job that this works well in daylight. In trickier lighting situations, users might want to try out the 22 Scene modes, which include Indoor, Candle, Children, Documents, and Panorama. Most of these adapted to the shooting environment admirably, although the focus did hunt noticeably for me during night scenes.
You get some more control over the exposure by switching to aperture priority, as you can choose f/2, f/2.8 and f/8 at 25mm, or f/4.9, f/6.3 and f/18 with the lens set to the full 100mm. As a nature lover, I made a lot of use of macro focusing with the Tough TG-7. With the Super Macro Mode allowing for a 1cm minimum focusing distance (the closest is 10cm without this) I was able to get some colorful, sharp shots when I had enough light between the camera and the subject. Using the Olympus Guide Light helped with extra illumination, while the in-built flash was a little too harsh for close-ups without a diffuser attached.
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Ultimately, the Tough TG-7 isn't the best action camera for photo and video quality, and its sensor lagged behind my aging iPhone 12 in many situations. But it undeniably lets you shoot in situations where you couldn't otherwise, and is versatile thanks to the zoom lens and a wealth of additional accessories like lenses and lights. The array of buttons also makes it more tactile to handle than a phone or GoPro, even if the 3-inch screen isn't touch-sensitive.
The Tough TG-7 is likely to be the best travel camera to buy if you’re an off-the-beaten-track explorer who needs a light, reliable companion to document your tales – the highlights and the tough bits. The TG-7 will never compete with my mirrorless camera for sheer specs or quality, but I don’t need it to. It serves a different purpose altogether; to break down the barrier between you and nature, so that you can shoot more precariously and more freely.
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OM System Tough TG-7: Price and release date
Available in the US, UK and Australia for $549.99 /£499.99 / AU$799
Available in red and black colorways
The OM System Tough TG-7 began shipping in October 2023, and is available now in black or red. In the US its list price is $549.99, but some retailers have been offering the camera at $499.99. In the UK the TG-7 is £499, while in Australia the price is AU$799.
In the unassuming cardboard box that the TG-7 comes packaged in, there's an LI-92B battery (the same as the battery in the TG-6), a USB-C charging cable, a wrist strap – also red if you have the red model – and a user manual.
Although the TG-7 doesn't ship with any additional accessories, there are plenty of extras you can buy to add to its functionality. All TG-6 accessories are compatible with the TG-7, and therefore some still have the Olympus branding. For example, the Olympus LG-1 LED Light Guide effectively illuminates macro subjects more evenly than flash, and it's around $50 / £40. The Fish Eye Converter will set you back $195 / £130, while a dedicated underwater housing is more than $300 / £300.
OM System Tough TG-7: Should I buy?
Buy it if...
Don't buy it if...
OM System Tough TG-7: also consider
If this OM System Tough TG-7 review has you interested in rugged cameras, here are a couple of alternatives to consider.
OM System Tough TG-7: How I tested
Shot in the rain and underwater, in daylight and at night
Used Olympus accessories such as the guide light and fisheye converter
I carried the OM System Tough TG-7 in my coat pocket for several weeks, taking it out on wet and rainy hikes, while dining with friends, and out at night in the city where I live. It was submerged in several rivers to test out the clarity and focus underwater, as well as the effectiveness of the anti-fog lens cover.
I used the camera's Auto, Aperture Priority, and Program modes, along with Microscope mode for close-ups and Nightscapes for photos in low light. I also experimented with Olympus' add-on accessories, including the guide light, flash diffuser and the fisheye converter which screws onto the front lens.
I shot raw and JPEG images, and tested out the video quality and stabilization by capturing handheld footage of children, my dog, and birds in my local park. Lastly, I used the O.I Share app to see how the remote shooting and image transfer worked.
The new Canon RF 200-800mm F6.3-9 IS USM is the world’s first full-frame zoom lens that goes up to 800mm. That's like your phone having a 30x zoom setting with no perceivable loss in image quality.
What’s more, the RF 200-800mm is compatible with Canon’s 1.4x and 2x teleconverters, meaning a potential unprecedented reach of up to 1600mm (though I’d avoid this setup and I’ll explain why, later).
It’s a competitively-priced lens and a winning combo for hobbyist wildlife and sports photography with Canon's flagship APS-C mirrorless camera, the Canon EOS R7, with which its maximum reach extends to an effective 1200mm thanks to the sensor format’s 1.5x crop.
I can also see the RF 200-800mm being popular with the full-frame Canon EOS R8, or even with EOS R5 owners for whom sports and wildlife is more of a side hustle or passionate hobby. It’s the EOS R5 that I paired the lens with for a short review period ahead of the worldwide announcement.
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Canon RF 200-800mm F6.3-9 lens on a table at its 200mm setting, mounted to a Canon EOS R5 (Image credit: Future)
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Canon RF 200-800mm F6.3-9 lens on a table at its 800mm setting, mounted to a Canon EOS R5 (Image credit: Future)
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Canon RF 200-800mm F6.3-9 lens in the hand set to 200mm, mounted to a Canon EOS R5 (Image credit: Future)
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Canon RF 200-800mm F6.3-9 lens in the hand set to 800mm, mounted to a Canon EOS R5 (Image credit: Future)
The lens, which weighs 72.3 oz / 2,050 g and measures 12.36in / 314 mm in length, has a lovely and well-balanced feel to it when paired with Canon’s DSLR-style mirrorless cameras like the EOS R5. Its heaviest elements are at the rear, rather than at the front, which was a trait of front-heavy Canon DSLR lenses.
As you move through the zoom range the lens physically extends in length, and I’d advise keeping the sizable lens hood (supplied) attached to reduce lens flare. As such, at 800mm this is a chunky lens, although it still feels good in use and can easily be carried by hand for extended periods.
I really like the additional function of a ‘smooth’ or ‘tight’ response for refined or quick zoom adjustments, made via a dedicated control ring. In fact, all of the control rings and buttons have a lovely feel to them, while the build quality in this weather-sealed, weather-resistant lens feels top drawer, despite it not donning the pro grade L-series nomenclature.
Such a long lens, of course, requires image stabilization, and Canon says the RF 200-800mm is equipped with 5.5-stops of optical stabilization, that goes up to 7.5-stops when paired with the sensor-based stabilization on board enthusiast and professional cameras such as the EOS R7 and EOS R5.
The reality is that it’s possible to get sharp handheld shots at the 800mm telephoto setting almost every time with shutter speeds as slow as 1/30sec – an impressive feat, although your subjects will need to be stationary at such slow shutter speeds or else you’ll get motion softness and blur.
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And the lens isn’t all about getting close to distant subjects because its close focusing distance at 200mm is a mere 0.8m from the camera sensor (that's less than 0.5m from the front end of the lens), resulting in a generous magnification ratio. In a picture I took of tiny, cold season berries (see gallery, below), you can appreciate how close the lens can get when set to its minimum focusing distance.
The elephant in the room is the modest maximum f/6.3-9 aperture. I have no problem with these aperture settings regarding depth of field – believe me, you can acquire a lovely shallow depth of field with an 800mm lens at f/9 (see the pictures of ducks at 800mm in the gallery below). No, it’s the impact on what shutter speed is possible at f/9 to freeze fast-moving action that's the issue.
For photographing birds, you’ll ideally use a shutter speed of around 1/1000s to get sharp detail. Pair that with the f/9 aperture and you’ll need bright sunlight to get the right exposure in your action photos. That’s why using a 2x teleconverter with the RF 200-800mm is unrealistic, because the maximum aperture at 1600mm becomes f/18. However, with such a long reach already, the teleconverter is a bit overkill anyway.
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Ducks in a sunlit pond taken with the Canon RF 200-800mm F6.3-9 lens at its 800mm setting (Image credit: Future)
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Ducks in a sunlit pond taken with the Canon RF 200-800mm F6.3-9 lens at its 800mm setting (Image credit: Future)
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Ducks in a sunlit pond taken with the Canon RF 200-800mm F6.3-9 lens at its 200mm setting (Image credit: Future)
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Closeup of a duck in a pond, taken with the Canon RF 200-800mm F6.3-9 lens at its 800mm setting (Image credit: Future)
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Closeup of a duck in a pond, taken with the Canon RF 200-800mm F6.3-9 lens at its 800mm setting (Image credit: Future)
I tested the 200-800mm lens over the course of a bright afternoon with intermittent sun and cloud, which proved ideal conditions for this lens. It’s in low light that the maximum f/9 aperture becomes tricky; you’ll really be pushing your Canon camera’s high ISO performance.
However, that modest maximum aperture is the sacrifice you pay to gain a relatively lightweight full-frame lens with such a decent zoom range and long reach at the telephoto end.
Image quality at the wide 200mm setting is really sharp, while at 800mm you lose a little clarity, something I’d expect from a lens with such a wide zoom range. If you're only ever needing the telephoto end, it could be worth looking at the RF 800mm f/11 IS STM instead.
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Closeup of berries, taken with the Canon RF 200-800mm F6.3-9 lens at its minimum 0.8m close focusing distance (Image credit: Future)
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Backlit tree leaves and shallow depth of field and bokeh, taken with the Canon RF 200-800mm F6.3-9 lens at its telephoto setting (Image credit: Future)
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Backlit tree leaves and shallow depth of field and bokeh, taken with the Canon RF 200-800mm F6.3-9 lens at its telephoto setting (Image credit: Future)
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Backlit tree leaves and shallow depth of field and bokeh, taken with the Canon RF 200-800mm F6.3-9 lens at its telephoto setting (Image credit: Future)
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Backlit tree leaves and shallow depth of field and bokeh, taken with the Canon RF 200-800mm F6.3-9 lens at its telephoto setting (Image credit: Future)
When the sun was out, I tested the lens’ ability to control flare by shooting towards light, dappled through a willow tree. This same test allowed me to see what bokeh (the quality of out-of-focus light) looks like.
Smooth and circular bokeh is seen as the holy grail of out-of-focus light, but in the corners the RF 200-800mm’s bokeh has a pronounced cat’s eye effect. I don’t personally mind cat’s eye bokeh. More importantly, I didn’t see much evidence of chromatic aberration or onion ring distortion in the RF 200-800mm’s bokeh – it looks decently smooth. Overall, image image quality is surprisingly good.
After a short time with the lens and getting a feel for its zoom range, handling and overall image quality, I think it makes a compelling choice especially with the EOS R7 for safari, shooting grassroots sports from the sidelines, and especially for birdlife, in fair weather.
Canon RF 200-800mm F6.3-9 IS USM: Price and availability
The Canon RF 200-800mm F6.3-9 IS USM list price is $1,899 / £2,299.99 / AU$3,499 and the sales start date is December 2023. It's a decent price considering the features on offer, and the pricing certainly favors those in the US.
A decent quality lens hood comes in the box, along with the usual front and rear lens caps.
Should I buy the Canon RF 200-800mm F6.3-9 IS USM?
(Image credit: Future)
Buy it if...
Don't buy it if...
How I tested the Canon RF 200-800mm F6.3-9 IS USM
I had the Canon RF 200-800mm F6.3-9 IS USM lens for an afternoon outdoors in fairly bright weather, photographing birds and closeup subjects.
During this short review period, I was able to take pictures across the 200-800mm zoom range, of distant subjects and of close subjects at the minimum focus distance, plus around and towards bright light to test how well the lens can control flare.
Using the various aperture settings has allowed me to check the quality of bokeh, and how sharp image detail is.
I first came across the Camp Snap camera when it popped up on my Instagram feed, and it stopped my mindless scrolling. It wasn’t just the dulcet tones of the voice over, or the sunny slice of America filling the screen. This retro-style compact was different, and its biggest selling point is what it lacks… a screen.
Here I was, caught in the screen time act, watching a video about a camera originally created for kids at summer camp with no permitted screen time, who could still use it to take a few snaps of their trip. It might well hope to be one of the best cameras for kids, and in a similar category to the fun Fujifilm Instax Pal, but I think the Camp Snap will attract a much wider audience than just kids.
The retro Camp Snap camera is a clever idea; it’s a low-cost, low-tech digital reimagining of the single-use disposable camera. We all need less screen time, plus I think we all need to practice a little patience. And the low-tech Camp Snap is just what we need, because it brings us back to a happier and simpler time. No screen, no instant review of your photos.
(Image credit: Future)
It might look like an attractive disposable camera, but instead of film the Camp Snap can store around 2,000 digital 8MP photos on an included TF memory card (that’s the same design as a microSD card). The first time you see your photos is when the Camp Snap camera is connected via its USB-C port to upload them to your computer.
It’s a bit like the digital version of getting your developed roll of film back from the lab weeks after the event. For me, regularly using the best cameras available today, such delayed gratification feels like a distant memory. There’s no film cost, either, which is a godsend in a time where prices have skyrocketed.
In use, the Camp Snap is point-and-shoot, all-auto simplicity for all the family. It’s child’s play; my three rambunctious kids had no problems operating the camera, and I haven’t been protective over this rigid plastic camera at all – the makers label it "drop-proof".
(Image credit: Future)
You get a viewfinder, which is pleasant enough though somewhat interfered with by the red glare of the LED photo counter. There's also a built-in LED flash that you can turn on or off and which could benefit from being more powerful (I’d use it for any condition except bright sunlight), a thumb groove on the camera’s rear that gives a little hold, plus the USB-C port doubles up to charge the battery. With no power-hungry features, the battery should last several days of moderate use.
The camera is powered up by a long press of the shutter button, followed by an upbeat audible confirmation that you're in business. You also get a shutter noise every time you take a photo – these are fun little features for a kid-friendly camera.
(Image credit: Future)
I do need to manage your expectations of the Camp Snap. Image quality is on-par with a single-use disposable film camera from yesteryear; in other words, poor by 2023’s standards. The low-cost and tiny 2560 x 1920 pixel image sensor, paired with a moderate wide-angle fixed focus lens, doesn’t even come close to the image quality of a modern smartphone and works best in bright light.
With a focus range of around 1m to infinity, I found selfies at arm’s length are possible, but anything closer is blurry.
If I were to suggest a couple of design changes, moving the LED photo counter to the side would counter glare when using the viewfinder, plus a loop to attach a wrist strap would be nice.
(Image credit: Future)
Camp Snap camera photo samples
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Above image quality and features, the Camp Snap frees us up for real connection with what’s around us. That’s what I want from a camera experience – like the Fujifilm Instax Pal, I've really enjoyed having the Camp Snap around for moments with family and friends, and it's brought me back to a happier and simpler time.
Who knew that a camera’s best feature could be something that it doesn’t have? The Camp Snap has inspired me to make a habit of folding away the vari-angle screen of my professional mirrorless camera. Basic it may well be, the Camp Snap concept has somehow struck a chord.
Camp Snap: Price and availability
Available in the US and Europe now, the Camp Snap costs $55 / £45 plus shipping costs from the Camp Snap website, and is available with a leather-effect trim in Brown, Aqua, Black, Forest Green, White or Pink. I had the all-black version. The makers of Camp Snap have plans to expand sales beyond Europe and North America, including Australia.
I've also been informed that a second version of the Camp Snap camera is in the pipeline, that addresses a few snags including a loop for a wrist strap, plus there’s a ‘Pro’ version in the pipeline with more features that sounds less appealing to me.
Should I buy the Camp Snap camera?
(Image credit: Future)
Buy it if...
Don't buy it if...
How I tested the Camp Snap camera
I had the Camp Snap in my pocket for several weeks, grabbing quick snaps around family life, across a varied range of scenarios and times of day. My children have had a similar amount of use from the camera and I have enjoyed seeing them give it a spin and using the viewfinder.
I first came across the Camp Snap camera when it popped up on my Instagram feed, and it stopped my mindless scrolling. It wasn’t just the dulcet tones of the voice over, or the sunny slice of America filling the screen. This retro-style compact was different, and its biggest selling point is what it lacks… a screen.
Here I was, caught in the screen time act, watching a video about a camera originally created for kids at summer camp with no permitted screen time, who could still use it to take a few snaps of their trip. It might well hope to be one of the best cameras for kids, and in a similar category to the fun Fujifilm Instax Pal, but I think the Camp Snap will attract a much wider audience than just kids.
The retro Camp Snap camera is a clever idea; it’s a low-cost, low-tech digital reimagining of the single-use disposable camera. We all need less screen time, plus I think we all need to practice a little patience. And the low-tech Camp Snap is just what we need, because it brings us back to a happier and simpler time. No screen, no instant review of your photos.
(Image credit: Future)
It might look like an attractive disposable camera, but instead of film the Camp Snap can store around 2,000 digital 8MP photos on an included TF memory card (that’s the same design as a microSD card). The first time you see your photos is when the Camp Snap camera is connected via its USB-C port to upload them to your computer.
It’s a bit like the digital version of getting your developed roll of film back from the lab weeks after the event. For me, regularly using the best cameras available today, such delayed gratification feels like a distant memory. There’s no film cost, either, which is a godsend in a time where prices have skyrocketed.
In use, the Camp Snap is point-and-shoot, all-auto simplicity for all the family. It’s child’s play; my three rambunctious kids had no problems operating the camera, and I haven’t been protective over this rigid plastic camera at all – the makers label it "drop-proof".
(Image credit: Future)
You get a viewfinder, which is pleasant enough though somewhat interfered with by the red glare of the LED photo counter. There's also a built-in LED flash that you can turn on or off and which could benefit from being more powerful (I’d use it for any condition except bright sunlight), a thumb groove on the camera’s rear that gives a little hold, plus the USB-C port doubles up to charge the battery. With no power-hungry features, the battery should last several days of moderate use.
The camera is powered up by a long press of the shutter button, followed by an upbeat audible confirmation that you're in business. You also get a shutter noise every time you take a photo – these are fun little features for a kid-friendly camera.
(Image credit: Future)
I do need to manage your expectations of the Camp Snap. Image quality is on-par with a single-use disposable film camera from yesteryear; in other words, poor by 2023’s standards. The low-cost and tiny 2560 x 1920 pixel image sensor, paired with a moderate wide-angle fixed focus lens, doesn’t even come close to the image quality of a modern smartphone and works best in bright light.
With a focus range of around 1m to infinity, I found selfies at arm’s length are possible, but anything closer is blurry.
If I were to suggest a couple of design changes, moving the LED photo counter to the side would counter glare when using the viewfinder, plus a loop to attach a wrist strap would be nice.
(Image credit: Future)
Camp Snap camera photo samples
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Above image quality and features, the Camp Snap frees us up for real connection with what’s around us. That’s what I want from a camera experience – like the Fujifilm Instax Pal, I've really enjoyed having the Camp Snap around for moments with family and friends, and it's brought me back to a happier and simpler time.
Who knew that a camera’s best feature could be something that it doesn’t have? The Camp Snap has inspired me to make a habit of folding away the vari-angle screen of my professional mirrorless camera. Basic it may well be, the Camp Snap concept has somehow struck a chord.
Camp Snap: Price and availability
Available in the US and Europe now, the Camp Snap costs $55 / £45 plus shipping costs from the Camp Snap website, and is available with a leather-effect trim in Brown, Aqua, Black, Forest Green, White or Pink. I had the all-black version. The makers of Camp Snap have plans to expand sales beyond Europe and North America, including Australia.
I've also been informed that a second version of the Camp Snap camera is in the pipeline, that addresses a few snags including a loop for a wrist strap, plus there’s a ‘Pro’ version in the pipeline with more features that sounds less appealing to me.
Should I buy the Camp Snap camera?
(Image credit: Future)
Buy it if...
Don't buy it if...
How I tested the Camp Snap camera
I had the Camp Snap in my pocket for several weeks, grabbing quick snaps around family life, across a varied range of scenarios and times of day. My children have had a similar amount of use from the camera and I have enjoyed seeing them give it a spin and using the viewfinder.
The medium telephoto zoom is one of the most versatile lenses on the planet; capable of fulfilling the needs of almost every type of photographer from wildlife to weddings, landscapes to sports, and far beyond. The 70-200mm focal range is most common, but the Nikkor Z 70-180mm f/2.8 bucks that trend, slightly, to provide a Z-series lens with a much more palatable price tag than the Nikkor Z 70-200mm f/2.8 VR S.
The 70-180mm costs $1,250 / £1,299 / AU £2,099, so it’s considerably less expensive than the 70-200mm f/2.8. This makes it a great option for enthusiasts and those on a budget who would like a constant f/2.8 aperture and a weight of just 1lb 12.1oz / 795g. It’s also fairly compact at 3.3 x 6in / 83.5 x 151mm, making it a versatile ‘carry around’ lens if you don’t require a wide-angle focal length.
While slightly reduced from the norm, the focal range doesn’t hinder shooting in real-world situations since there’s only a loss of 20mm at the long end. And although image quality isn’t on par with the 70-200mm f/2.8 (we’ll cover that in more detail later), it remains an impressive performer.
The Nikkor Z 70-180mm f/2.8 is part of a trio of Z-series lenses from Nikon, along with the Nikkor Z 17-28mm f/2.8 and Nikkor Z 28-75mm f/2.8. All three lenses provide a constant f/2.8 aperture alongside full-frame focal lengths ranging from a wide-angle 17mm up to 180mm. All three lenses also have the same 67mm filter thread, which will be most useful to photographers and videographers using screw-in filters since a single set of filters will cover all three lenses.
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When I first picked up the 70-180mm, I was immediately struck by the slightly lower build quality than the professional spec 70-200mm f/2.8. Don’t get me wrong, it’s well built, looks good and feels solid in the hand, but it naturally doesn’t exude the premium look and feel of the more expensive professional model. However, the smaller size and lighter weight meant that it was comfortable to carry around attached to a Nikon Z 7II for long periods - a huge plus point.
Controls are virtually non-existent on the lens. There's just a zoom lock to hold the lens at 70mm and avoid zoom creep when walking around, but it’s a useful feature. Unfortunately, the 70-180mm doesn’t feature optical Vibration Reduction (VR) / Image Stabilization (IS), so you can only take advantage of IS if you’re using a full-frame body with In-Body Image Stabilization (IBIS). APS-C Z-series cameras do not offer IBIS, so there’s no option for VR here.
The 70-180mm is constructed of 19 elements in 14 groups, which include five ED elements, one super-ED element and three aspherical elements, with a nine-blade circular aperture providing pleasing bokeh. Focusing is internal, so the front element doesn’t rotate during focusing. This is great when using filters, although the lens barrel does extend when the zoom ring is rotated. The zoom ring itself, sitting towards the front of the lens, is large and comfortable to use. The narrow focus ring sits behind and offers a comfortable amount of resistance when turned to manually focus.
The minimum focusing distance of the 70-180mm is impressive at 70mm with a distance of just 0.89ft / 27cm and 2.79ft / 85cm at 180mm. This is on a sliding scale as you increase focal length, but at 70mm, you can get pretty close to small subjects, which further increases the usefulness of the lens. The 70-180mm can be used with the Nikon Z 1.4x and 2x teleconverters to increase the focal range at the expense of the maximum aperture and can also be used with APS-C Z series models where the focal range extends from 105-270mm with the f/2.8 remaining effective.
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The lens is least sharp at the extreme ends of the f/2.8 to f/22 aperture range at all focal lengths, with the sharpest results between f/5.6 and f/11. F/2.8 and f/4 are more than sharp enough to use, but at f/16 and f/22 diffraction, or a loss of overall sharpness, is most noticeable.
Edge sharpness is also at its lowest with the aperture wide open and increases as the lens is stopped down to the middle settings, but this is common with most lenses. There’s also some vignetting at f/2.8 which reduces significantly at f/4 and is gone once you stop down to f/5.6. Optical distortion is also minimal, which is impressive for a medium-range lens like this.
Overall, the Nikkor Z 70-180mm f/2.8 is a solid performer and provides photographers with a cost-effective medium telephoto zoom with that all-important constant maximum aperture. Plus, the relatively light weight, compact size and decent image quality make it a lens well worth considering, whatever subjects you shoot.
Nikkor Z 70-180mm f/2.8 photo samples
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Should I buy the Nikkor Z 70-180mm f/2.8?
(Image credit: James Abbott)
Buy it if...
Don't buy it if...
How I tested the Nikkor Z 70-180 f/2.8
The Nikkor Z 70-180mm f/2.8 was tested over several shoots to determine how comfortable the lens is to use handheld for several hours. Photos were taken at different aperture settings and focal lengths to test handling, sharpness, and distortion. Static and moving subjects were shot to test autofocus performance.
Most images were shot simply to see how the lens performed in different situations, while others were shot specifically to compare the results. This allowed me to test all aspects of the lens in a real-world environment that’s closer to how photographers will use the lens themselves, 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.
Polaroid has a long and winding history. Founder Edwin Land launched the world's first instant camera (the Model 95) and film in 1948 at a Boston department store, and it was an instant success. The company managed to endure throughout the film era, but it filed for bankruptcy in 2001 and again in 2008 – when the production of its instant film stopped.
A whole host of bizarre products were then created under the Polaroid brand, from cheap DVD players to the Polaroid Snap Android smartphone. It wasn't until 2017 that Polaroid received backing from a shareholder of The Impossible Project, first becoming Polaroid Originals, then in 2020 going back to the original Polaroid name. Quite the tumultuous journey.
Polaroid has been making a steady comeback in the last few years, launching the Polaroid Now, Now+ and tiny Polaroid Go, which are some of the best instant cameras around today. By contrast, the latest Polaroid I-2 is more grown-up, more expensive and more advanced – in fact, it's the first instant camera to offer fully manual exposure controls. It’s also well connected, working with the Polaroid smartphone app via Bluetooth to enable remote shooting.
But that doesn't mean it's lost its retro charm. When Techradar's Lance Ulanoff tried out the Polaroid I-2 before me, he says he was instantly transported to a simpler, happier time. And I have to say that I agree. It's a well-crafted camera that Polaroid says is "designed for craft", but it won't suit everyone.
Its price is enough to put off amateurs, but for true Polaroid fans, or those who want to take their instant photography more seriously, the I-2 is a joy to use – as long as you're prepared to experiment, and to shell out for Polaroid film.
Polaroid I-2: Price and release date
The Polaroid I-2 was launched on September 7, 2023, and is available now directly from the Polaroid website, as well as from photography retailers for $599 / £599 / AU$1,095 at the time of writing – a talking point in itself.
For the same money as a single Polaroid I-2, you could pick up four Polaroid Now+ cameras, or eight Instax Mini 12s (with some cash to spare on film), or put the cash towards one of the best mirrorless cameras instead. It’s hard to see a justification for the I-2's price tag, and the price alone will put off many users, and that's not even factoring that each Polaroid print costs significantly more than Fujifilm Instax alternatives.
That said, the I-2 hasn't been designed for mass-market, Instagram-generation appeal. It's a more unique and refined proposition than its Instax rivals, and I don't say that with scorn, as I happily own the Instax Mini 40 and Mini 90 myself. I just believe there are enough photographers who are attracted to the history and craft of analog instant photography to splurge on the camera. And if money is no object, I'd say the Polaroid I-2 is the best instant camera you can buy.
Polaroid I-2: Specs
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Polaroid I-2: Features
My experience of Polaroid comes mainly from my childhood in the 1990s, and a camera I bought off eBay while at university in the early 2010s. Even then, as an early hipster just starting to learn about film processing, I loved the analog aesthetic and tactile process, and the fact that I could peg the prints from my fairy lights; as a student, though, I didn't love the cost of the film. With the Polaroid I-2, all of these things still ring true, but now there's a real sense of control over how the prints turn out.
The main selling point of the I-2 is its manual exposure controls. It offers the choice of Auto, Shutter Priority, Aperture Priority, Manual, Multi-Exposure (up to four exposures in one shot), and Self Timer modes. The aperture ranges from f/8 to f/64, while the shutter speed range is 1/250 sec to 30 seconds. This isn't a camera for fast action, but the ability to toggle through settings does bring versatility to the subjects you can shoot.
The I-2 has an exposure compensation dial that allows you to add plus or minus two stops to the camera meter's reading, in third-stop increments. The compensation, aperture and shutter speed are displayed in the viewfinder, while the latter two settings also show up on the camera's outer screen. You'll also see a hand icon in the bottom of the viewfinder if the camera thinks your shutter speed is slow enough to cause camera shake.
The Polaroid app lets you see and change settings on a larger screen, plus scan in your photos. The connectivity over Bluetooth was pretty seamless (Image credit: Lauren Scott)
Autofocus is another standout feature of the I-2. Granted, it's center-weighted, and you only get one AF point located in the center of the frame, but the LiDAR (light detection and ranging) technology is surprisingly effective. It locks onto near and distant subjects – the range is approximately 0.4 meters to infinity – in lower light as well as in good light. In practice, you half press the shutter down to focus, then press it fully to take the shot. The stepping motor driving the focus can be noisy and high-pitched, but I found this oddly reassuring as someone who grew up with a dial-up modem. It's a three-lens autofocus system, and the focal length is fixed at 98mm.
The I-2's internal lithium-ion battery can be recharged via USB, and Polaroid says a full charge will last for up to 15 packs of film (that's 120 shots at eight photos per pack). I only got the chance to shoot through four packs of film when testing, and during that time the juice had drained by around 25%, which was impressive.
In terms of connectivity features, the I-2 features Bluetooth, meaning it can pair seamlessly with the Polaroid app (iOS and Android). I found this quick to download, quick to connect and pick up the camera, and intuitive when it came to changing settings. The app is also useful for remote operation with the camera on a tripod.
Before you start snapping, I’d recommend looking over the paper pullout that Polaroid supplies in the box, as it covers menu navigation and buttons. Given that i-Type film is upwards of $2/£2 a sheet (the camera also works with 600 film), you’ll want to know exactly what everything does so that you don’t waste any.
Polaroid has created a clear and well-designed paper pullout, with a diagram listing all the buttons (Image credit: Lauren Scott)
Polaroid I-2: Build and handling
The Polaroid I-2 is markedly bigger and heavier than its cheaper siblings. It's made mostly from a matte-gray impact-resistant plastic and some metal elements, and it feels premium and durable. However, I wouldn't want to drop it from any great height, or use it outside in anything other than light rain.
There’s nothing too complicated about the body itself. On the front you'll find the pronounced red shutter button, the flash, the viewfinder front, and a slot for the film to eject out of. Looking at the I-2 top-down, there's an outer display, a thin button to toggle through the different modes, a power button and a flash button, all of which are nicely responsive to touch.
You can connect an external flash via the 2.5mm flash sync port at the back, which is next to the USB-C charging port. The large viewfinder is also at the back, while underneath there's a tripod mount. On the lens itself, you get the exposure compensation switch, plus the selection dial for settings. Again, both of these are responsively clicky, although once or twice I did nudge the exposure compensation switch by accident.
Subjectively, the I-2 looks suave, but I generally found it too big and cumbersome to use with one hand; with two hands and the included wrist strap, shooting was a more comfortable and secure experience. Polaroid also gives you a plush cloth pouch to protect the I-2 when it's stowed away, but if I were to frequently chuck the camera in a bag I'd want to invest in a hard case to save it from knocks.
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Polaroid I-2: Image quality and performance
The Polaroid I-2 is aimed at a pro-grade audience, or at least those who know their way around the exposure settings of a camera. So how is the image quality? What of the manual exposure controls? It's a slightly mixed bag, in my opinion.
The camera takes the newer I-Type Polaroid film – which matches the original Polaroid square format with the iconic white frame – as well as 600 film for vintage-era cameras. The prints take around 15 minutes to develop, and it's vital that they're stored in a dark place (the film box works well here) or face down as they do.
When I was shooting in automatic exposure mode and flat, overcast lighting or soft sunshine, the color reproduction of prints was pretty much as I expected from the Color I-Type film. The tones were even, desaturated and subtle (calling them washed-out sounds too negative), with that characteristic 'vintage' look that lovers of instant cameras tend to enjoy. My Instax prints are generally a little more punchy, but it's a close contest between the two, and largely subjective.
When I added the flash into the mix for auto-exposure shots, the I-2 handled a mix of flash and ambient light capably, but it didn't always get the metering right. I know that Polaroid suggests shooting away from direct light, and that makes sense – its metering isn't advanced enough to cope with backlighting. But even in softer autumn light in the UK, I found that a lot of my pictures were overexposed. With the film being as expensive as it is, you don't really want to fire off several prints with exposure compensation to find out which one is best, and at times I struggled to trust the I-2's built-in meter.
I'm someone who shoots almost constantly in Aperture Priority or Manual mode with my mirrorless camera, and so I took to these modes on the I-2 more easily than a beginner might do. I learned to boost the exposure when photographing my black dog, for example, or dial it down in bright sun. A certain level of trial and error was still required, although I think over time you'll learn exactly what works with the I-2 – albeit after spending a large amount on film to get there.
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The autofocus is pretty much spot-on, as I've already alluded to. When composing the frame through the viewfinder – which can be susceptible to some glare – you just need to make sure your subject is bang in the center of the frame. It helps that when focus is achieved, the distance is shown in both the viewfinder and the display. In any instances where my photo wasn't sharp, it was due to a too-slow exposure.
I'm also pleased to report that the multiple exposure mode works brilliantly, with the Polaroid I-2 calculating the correct exposure depending on how many frames you choose. The self-timer option also went without a hitch, which makes it easy to shoot selfies and group shots.
I also tested the Polaroid I-2 with B&W i-type and Blue 600 film. The monochrome prints were low-grain and quite gentle, yet (when exposed correctly) had a surprisingly full range of tones. I'll be spending more time refining my results in black and white, but I'm pleased overall, and I think photographers who want low-noise prints will be too.
The Blue 600 film is made from reclaimed material from Polaroid's manufacturing process, and as the name suggests it gives striking blue colors. Again, this won't be to everyone's tastes, but it's totally wacky, experimental and great fun, and I can see it being popular for urban scenes and out-there portraits.
Should I buy the Polaroid I-2?
(Image credit: Future)
Buy it if...
Don't buy it if...
Polaroid I-2: How I tested
I tested the Polaroid I-2 camera over a period of two weeks, and used it to capture a range of real-life scenarios. I took photos in a formal garden, in coffee shops, on dog walks, and in the busy city where I live, as well as in a range of varied lighting conditions, from low light to bright sunshine. I experimented with different three film types: Color I-type, B&W I-type and Reclaimed Blue 600.
Given that the I-2 is distinguished by its full manual controls, I took test shots with the camera in Manual exposure mode, as well as using the other exposure modes and the multiple exposure feature. I also turned the flash on and off to see how the camera handled the balance of flash and ambient light. For several shots, I paired the I-2 with the Polaroid smartphone app to test the Bluetooth connectivity and effectiveness of the app, also using this app to digitize my photos.
