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I found the best online photo book service for value if you want high-quality prints for a low price
8:57 pm | October 15, 2025
Author: admin | Category: Cameras Computers Gadgets Photography | Comments: Off

Once Upon photo book review

Once Upon is a photo book service designed around making photo book creation as accessible as possible. The idea is that having the Once Upon app on your phone will make it easier to build a photo book as things happen, rather than as an afterthought.

This “quicker and easier” approach means the photo book options on offer are fairly limited compared to other photo book services I’ve tested, as Once Upon only offers square books in two sizes: medium, which measures 20 x 20cm, or large, which is 27 x 27cm.

Both options are available in hardcover, with an additional softcover option for the medium size.

Prices start from $19 / £16 / AU$35 for a 20-page medium photo book with a softcover, rising to $25 / £21 / AU$45 for a hardcover.

Additional silk matte or semi-gloss pages can be added at a cost of $0.85 / 42p / AU$1.40. The larger photo book starts at $35 / £26 / AU$55, with extra pages costing $1.05 / 62p / AU$1.70 each, which is cheaper than many of the services in our best photo books guide.

In total, the cost for my large 28-page hardcover photo book with silk matte paper came to £30.96 (about $42 / AU$65), but I got it for £28.22 thanks to a 25% discount that was available at the time.

The shipping cost was perfectly reasonable, and it should be in the US and Australia too, as Once Upon also has manufacturing sites in those regions. There’s an estimated production and delivery timeline of five to seven days in the UK, potentially rising to 10 business days in the US and Australia.

There’s no option to expedite, but this is an acceptable turnaround and quicker than some photo book providers, which can take a couple of weeks depending on where the book’s manufactured.

In this photo book’s case, I placed the order on a Tuesday afternoon and received the finished article the following Monday, which is an impressive turnaround of four working days.

The Once Upon photo book sits open on a page featuring a large image of a tree in front of a colorful aurora sky.

(Image credit: Future)

As the brand's ethos is centered around it, it made sense to use the Once Upon app on my iPhone to create this photo book, but I experimented with the browser-based app, too.

Both offer the same features; however, the app provided helpful tips in the form of pop-ups as I started building my photo book.

These included general hints about how to drag, drop, and swap photos, along with important tips like warning me to check that nothing important was positioned over the crease when I applied a photo across a spread.

I could tell from the outset that this photo book service is tailored toward those who want to keep things simple. There was a grand total of two layouts on offer for the front cover, which consisted of having the title at the top or the bottom.

It was fortunate I wanted the outer cover to be black, as Once Upon only offers black or white.

There was the option to crop and rotate the cover image, with portrait, landscape, and square presets with fixed ratios, but that was the closest I got to fine-tuning anything.

Needless to say, this isn’t the photo book service for you if you want to have any creative input.

The Once Upon photo book sits open on the title page.

(Image credit: Future)

When I tried to add our TechRadar twist to the front cover, I found there were only three editable elements: the cover image, title, and subtitle.

The features are so stripped back that I wasn’t even able to change up the font of the subtitle. I wasn’t exactly spoiled for choice when it came to the title font either, as there was a choice of just four styles to choose from.

While I can appreciate the allure of a simple design process, some flexibility is needed to ensure you can adjust the composition of your images.

The fixed ratios of the cropping tool and inability to tweak a photo’s position within its frame meant that our two-page spread of a rocky seascape was cut short, spoiling the shot.

One function I haven’t often seen from other photo book services is the ability to copy a page spread to other books I’m working on.

Rearranging the spreads was pretty easy, too, as I just needed to hold down the tab on the top right of the spread before dragging and dropping.

When adding photos, they’re automatically arranged by the date they were taken, rather than the date they were uploaded. This may not be a problem if you’re creating a memory book of all your holiday snaps, but if you’re collating photos taken on different dates, it could prove irritating.

The Once Upon photo book sits open on a two-page spread featuring a pebble beach and cliffs.

(Image credit: Future)

Unlike other photo book builders, like the one from Mixbook, for example, images cannot be uploaded to an album first, and I couldn’t even select a layout before adding photos to the spread.

I could upload my photos to the spread one at a time or in batches, and they’d be arranged into a layout for me.

They also appeared in an image list at the bottom of the page, but it proved to be redundant, as I wasn’t able to drag and drop them onto the page; I could only select each photo to see the same options I’d get by clicking on the photo itself a smidge further up the page.

When I did want to swap photos, I could do so simply by dragging and dropping them within the two-page spread, though I could see this leapfrog approach getting a little tedious if I needed to swap more than a couple. As was the case with the cover photo, only basic image adjustments were available.

I had to repeatedly click on the layout button for the photos to cycle through different preset arrangements, of which there were only around ten, though there were technically a few more if I hit the mirror button to change what appears on the left or right page.

The Once Upon photo book sits open on a spread of two dark-colored portraits.

(Image credit: Future)

While some may appreciate this simplicity, I really didn’t enjoy not being able to compare the different layouts easily.

The basic features and restrictive layouts definitely weren’t my cup of tea, but they do at least keep the process of creating a photo book simple and make the Once Upon app easy to master.

I was pleased with how simple and efficient it was to share my Once Upon photo book, as it’s always nice to have the option to build a photo book with others, especially after a big event or holiday.

After I’d shared the link or QR code, I could see a list of active co-creators once they’d created an account. I also had the option to remove co-creators if required, and there was a simple but useful security feature that deactivated the shared link and generated a new one, offering more control over who has access to the project.

The book builder easily handled two people working on the photo book simultaneously. It took around a second to show the changes made by my co-creator, and it didn’t falter when new pages or photos were being added simultaneously.

The Once Upon photo book is displayed on a tabletop. The cover is a satin-finished black, with a large image of a tree in front of a colorful aurora sky.

(Image credit: Future)

My first impression of the finished Once Upon photo book was positive. The book arrived in good condition, and the colors of the aurora on the cover photo really popped.

Directly comparing the outer cover of the Once Upon photo book against the others we’ve reviewed revealed that the black of the book's outer cover lacks depth, has a slight yellow hue to it, and is a tiny bit streaky upon closer inspection.

All this being said, the front cover looks nice enough overall, and is satisfactory considering it cost less than £30 and was printed in the UK.

The Once Upon photo book lies on its side on a table, with the spine turned toward the camera.

(Image credit: Future)

I was fairly happy with the paper quality overall. The paper didn't feel overly thin, but in lighter areas, I could see some show-through from black text and darker images from the opposite side of the page.

On the plus side, the satin finish performed as advertised – I didn’t need to wear museum-grade gloves to avoid leaving fingerprints on the dark cover or the book's pages, which is a bigger advantage than you may think.

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A woman is turning a page of the Once Upon photo book.

(Image credit: Future)
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A woman is turning a page of the Once Upon photo book.

(Image credit: Future)

The printed photos look satisfyingly crisp and bright, and are of a much higher standard than the printed results from the SnapFish photo book.

I was very pleased to see that there was minimal posterization, which was notable in quite a few of the photobooks we’ve received, particularly in shots showing subtle color gradients in the sky.

In fact, the print quality in this Once Upon book has been the most comparable to our photo book from top-of-the-class Blurb I’ve seen so far, which is high praise indeed.

The Once Upon photo book sits on top of the Blurb photo book. Both pages show a two-page spread of the same image of a pebble beach and cliffs.

The print quality in our Once Upon book (top) was pleasingly similar to the results from our favorite photo book from Blurb. (Image credit: Future)

But as eye-catching as the print quality was, other elements of the photo looked unnatural due to the automatic image improvements that had been applied.

In places, these caused our images to look overly enhanced, especially those featuring black clothing or dark backgrounds, which were overexposed to compensate.

The color accuracy of our shots was also affected by the auto enhancement, as the colors became a little too vivid, and may have been more so if I’d opted for semi-gloss, as the silk matte paper is advertised as delivering toned-down colors in comparison.

The Once Upon photo book sits open on a spread of two black and white portraits.

(Image credit: Future)

This isn’t glaringly obvious, but it was noticeable when I compared them directly against our other photo books and the original photographs.

These enhancements probably won’t cause any issues when applied to sunny holiday snaps or everyday photos, but it’s worth bearing this in mind if your photos feature a lot of dark elements.

Fortunately, this automatic image improvement is voluntary, and it’s easy to request that the shots in the photo book aren’t enhanced in pre-production by unticking a box at the editing stage.

The Once Upon photo book sits on top of the Blurb photo book. Both pages show a two-page spread of the same image of a pebble beach and cliffs.

The automatically enhanced prints from Once Upon book (top) didn't look true to life, but still looked great quality, even when compared to the Blurb photo book. (Image credit: Future)

In essence, Once Upon isn’t going to be the photo book service for you if you want to have any creative input.

It is, however, a great choice if you’re looking for a service that’ll make the decisions for you, as all you really need to do is pop your photos and captions in, and enjoy your low-cost photo book with fantastic print quality once it arrives.

Should I buy the Once Upon photo book?

Ease of use

As promised, it was really straightforward to create a basic photo book in the Once Upon app. The entire process is simple from start to finish, enabling you to create a photo-filled book from your smartphone.

5 / 5

Editing tools

To say the app was lacking in design tools would be a major understatement. Customization was severely limited, meaning you simply can't unleash your creativity with this photo book service.

2 / 5

Print quality

Automatic enhancements aside, the prints were clear and vibrant, with minimal posterization. Plus, the material finish proved delightfully resistant to fingerprints.

4.5 / 5

Value

While the Once Upon photo book service has its flaws, the quality of the prints is fantastic for the price, and superior to many of the more expensive photo book services we've tested so far.

4 / 5

Buy it if…

You want high-quality prints for less
While not perfect, the print quality was pretty darn impressive, and not far off the results from the more expensive photo book that’s currently the top choice in our buying guide.

You want your photo book fingerprint-free
Though marks may well build up over time, the finish on this photo book was noticeably more forgiving than the others I’ve tested, as the outer cover and pages didn’t collect fingerprints during my evaluation process.

You want a super simple design process
Creating a photo book on the Once Upon app is about as far from complex as you can get, as all you need to do is upload your photos and click a button to cycle through layout options.

Don't buy it if…

You want to get creative
While the basic design process may prove beneficial to some, it can feel incredibly restrictive if you want any control over composition and layout.

You want reliable automatic enhancements
It’ll probably work perfectly well for sunny holiday snaps, but the auto image enhancement didn’t play well with our darker photos, so there’s a risk of some photos looking overexposed.

You want high-quality paper
The print quality is great, but the show-through of darker elements from the other side of the page was disappointing. Plus, the images would look even sharper if the paper were of a higher spec.

Once Upon photo book review: also consider

Blurb
If you want better color accuracy, and you’ve got a bit more to spend, then it’s well worth considering a photo book from Blurb. The app-based designer offers precise and flexible design tools, and the prints were detailed and vibrant, while still looking true to life, making this a particularly good choice for creatives wanting to showcase their work. If you’d like to learn more, take a look at our full Blurb review.

Printerpix
If you’re keen to avoid complex design processes, but want a little more creative freedom, then Printerpix is the service for you. There are 163 layouts and 18 themes to choose from, and adding elements and photos was as simple as dragging and dropping, so it’s easy to customize the design. The printed result was also pleasing, though we did notice some posterization with subtle color blends. For more information, read our full Printerpix review.

How I tested the Once Upon photo book

  • I created a photo book from scratch to recreate our TechRadar photo book
  • I explored the Once Upon app, testing the different features and tools
  • I ordered a photo book and assessed the quality of the finished product

I explored the Once Upon app on my iPhone and the web browser on my MacBook. I assessed how easy the creation process was, starting with a blank canvas and using the tools available to recreate our TechRadar photo book. Recreating an existing design is important so that we can assess how capable the different services are when faced with different requirements.

I ordered my completed photo book and evaluated the finished product against the collection of photo books we’ve already tested, paying close attention to quality, print finish, alignment, and making notes of any imperfections.

I tested the Freewell Real Locking filter kit, and now it’s my go-to filter system for photography and video
4:00 pm | October 11, 2025
Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Freewell Real Locking VND/CPL Mega Kit: two-minute review

Filters are an essential element of photography and video because, for the most part, they allow you to control exposure. Whether you’re aiming to manipulate shutter speed or to shoot at wider apertures than should be possible, filters are the way to achieve the desired results.

The Freewell Real Locking VND/CPL Mega Kit is a comprehensive filter kit built around a variable ND/polarizer and an ND32 filter, with a couple of video haze filters thrown in for good measure. This is a stackable kit, allowing you to combine multiple filters as required. Where this kit differs from others is in how the filters clip together and to the adaptor ring, rather than being magnetic.

Freewell rightly says clip attaching is a more secure system than magnetic, and results in less accidental adjustment of the variable ND. The only negatives to the system are that it’s not quite as convenient as magnetic systems, and you have to make sure the filter being attached is secure.

There are two Real Locking VND/CPL kits available: the Mega Kit and the All Day kit. I tested the Mega Kit, shooting both photos and videos to see how the kit as a whole and the individual filters perform. First, you have the base ring, and these are available from 49mm to 82mm with a lens cap that can be used with the ring left in place on the lens if desired. The filters are 82mm, so the adaptor rings step down, allowing you to use them across multiple lenses.

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Freewell Real Locking VND/CPL Mega Kit

(Image credit: James Abbott)
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Freewell Real Locking VND/CPL Mega Kit

(Image credit: James Abbott)
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Freewell Real Locking VND/CPL Mega Kit

(Image credit: James Abbott)
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Freewell Real Locking VND/CPL Mega Kit

(Image credit: James Abbott)

You can use the Mist filters, ND32 or any of the other separately available filters individually on the Base Ring. The variable ND is paired up with the polarizing filter, and using the two together works surprisingly well. To adjust the polarizing effect, you have to rotate the entire filter by releasing the rubber locking grips and turning it until the desired effect is reached. Then, to adjust the variable ND, you simply move the marker to the desired strength, which ranges from three to seven stops.

The kit also comes with an ND32 filter, which features a five-stop light-reducing density. This can be used in isolation or paired with the VND for up to a 12-stop light blocking density, so a couple of stops over a Big Stopper. With the VND at up to seven stops, there’s no color cast visible in photos, although there is a tiny hint of red or magenta when the ND32 is also attached.

When I say minor, I do mean minor – the color cast is only just visible to the color-trained eye, and this can be easily removed in editing software. When the ND32 is used in isolation, there is a slight cast that looks a little red, minimal again, like when stacked with the VND.

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Freewell Real Locking VND/CPL Mega Kit

(Image credit: James Abbott)
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Freewell Real Locking VND/CPL Mega Kit

(Image credit: James Abbott)
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Freewell Real Locking VND/CPL Mega Kit

(Image credit: James Abbott)

The ND filters are great for video, offering the ability to quickly control exposure while maintaining the correct shutter speed for capturing movement – the 180-degree rule. For landscape photography, you can extend exposure times to smooth water and blur clouds, while the filters also make it possible to shoot at larger apertures in bright conditions.

There’s no specific information about the glass construction of the filters, but you can see that they are coated, and image quality when using them is excellent. Color rendition is also excellent, with only the extremely minor aforementioned color cast issue. The two mist filters also work well and do what they’re claimed to do.

The Glow Mist 1/4 Filter blooms highlights slightly, smooths contrast and adds a cinematic haze without losing sharpness. With this filter, the haze spreads into midtones. In the examples below, you’ll see the sun star of the filter-free version remains, but with a bloom in the centre.

The Snow Mist 1/4 filter blooms highlights more than the Glow Mist 1/4 Filter and also smooths contrast, but with less spread into the midtones. This filter has completely bloomed the sun star into a circular highlight. Both of these filters can be used for all types of photography to apply cinematic haze effects, alongside being used for video capture.

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Freewell Real Locking VND/CPL Mega Kit filter example photo

No filter (Image credit: James Abbott)
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Freewell Real Locking VND/CPL Mega Kit filter example photo

Glow Mist 1/4 (Image credit: James Abbott)
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Freewell Real Locking VND/CPL Mega Kit filter example photo

Snow Mist 1/4 (Image credit: James Abbott)
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Freewell Real Locking VND/CPL Mega Kit filter example photo

No Filter (Image credit: James Abbott)
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Freewell Real Locking VND/CPL Mega Kit filter example photo

VND at 7-stops (Image credit: James Abbott)
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Freewell Real Locking VND/CPL Mega Kit filter example photos

VND at 7-stops and the ND32 (12-stops) (Image credit: James Abbott)
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Freewell Real Locking VND/CPL Mega Kit filter example photos

No filter (Image credit: James Abbott)
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Freewell Real Locking VND/CPL Mega Kit filter example photo

Polarizer at full strength (Image credit: James Abbott)

My only minor gripe with the Mega Kit is that when the ND32 and two Mist filters are inserted into the smart leatherette Filters Case with a magnetic clasp, the middle and rear filters are a bit tight when removing them from the case. The case is, however, well-made and stores the entire kit away safely.

The lens caps have NFC built in, which takes you to the freewell website ‘Hub’ for tutorials, user guides and other stuff. It’s a bit of a gimmick and possibly unnecessary, but it’s certainly an innovative and unique feature.

The rear cap, which attaches to the VND/CPL, has a built-in gray card and white balance for color calibration. This, I have to say, is extremely useful, especially for video capture, where you can ensure color consistency when shooting without filters and with filters at different strengths.

Freewell Real Locking VND/CPL Mega Kit: key specs

Filter slots

Stackable

Adaptor rings

82mm included (49mm to 82mm available separately)

Polarizing filter

Built into VND

Case included

Yes

Lens cap

Yes

Freewell Real Locking VND/CPL Mega Kit price and availability

There are two Real Locking VND/CPL kits available: the Mega Kit and the All Day kit. These are available now at Amazon and the Freewell website. The All Day Kit is available for $250 at Amazon US and includes the VND3-7/CPL Base, an ND32, an 82mm Base Ring, an NFC Front Lens Cap, a White Balance Back Cap, a Filters Case and a Cleaning Cloth for. The same All Day kit costs £227.43 at Amazon in the UK. Australia price TBC.

The Mega Kit includes all of the above, plus a Snow Mist 1/4 and a Glow Mist 1/4. This kit costs $350 and pricing for both is in USD on the Freewell website, meaning if you live outside the US you'll need to check the exact cost in your own currency at the time of purchase.

The kits aren’t cheap, but they’re priced similarly to magnetic filter kits. Other filters can be purchased separately, as well as additional Base Rings, which come with corresponding NFC Front Lens Caps.

Should I buy the Freewell Real Locking VND/CPL Mega Kit?

NiSi V7 with True Color NC CPL front view attached to a lens with a filter attached

(Image credit: James Abbott)

Buy it if...

You require convenience

This is a comprehensive stackable filter solution that can be used with a wide range of lenses.

You’d like portability

You would like a compact and lightweight filter system for photography and video capture.

Don't buy it if...

You need ND grads

If you’d like to use ND graduated filters to control sky exposure, you’ll need a square filter system.

You only need a VND

If you only need a variable ND filter, a simple VND will be a more appropriate and less expensive option.

How I tested the Freewell Real Locking VND/CPL Mega Kit

  • Used for photo and video capture
  • Filters tested individually and stacked
  • Tested in differing light conditions

I tested the Freewell Real Locking VND/CPL Mega Kit over a couple of weeks and used for a variety of photography and video shoots using different lenses with 82mm and 77mm filter threads. I used filters individually and stacked as required to assess performance in a range of configurations.

I also tested the filters in different light conditions to check their effectiveness in regard to the manufacturer's claims, as well as how the effects of the Mist filters work in different situations.

First reviewed October 2025

I tested the Kiwibit Beako Smart Bird Feeder camera, and it’s a polished first effort with reliable AI bird detection skills
3:00 pm | October 9, 2025
Author: admin | Category: Cameras Computers Gadgets | Tags: | Comments: Off

Kiwibit Beako Smart Bird Feeder: one-minute review

The Kiwibit Beako Smart Bird Feeder features many of the characteristics that we have come to expect as standard in our Best Bird Feeder Cameras guide. The Beako arrives as a well-thought-out package that requires minimal assembly. Installation proved straightforward, taking just a few minutes to assemble and mount to a tree using the included strap. Wall and pole mounts were also included – I was ready to connect the camera to the Kiwibit app in under five minutes.

The standout feature is the 4K camera - the first bird feeder camera we have reviewed with the feature, and crucially, this resolution is available without requiring a premium subscription. The difference in image quality is noticeable when there's good light on your feathered visitors, with small details like feather patterns and eye markings coming through. However, there is a catch: the minimum focus distance of the lens seems to be at the very edge of the perch, so the birds aren't always in the focus plane to capture the detail that the 4K sensor is capable of. Also, the sensor is still relatively small, so decent lighting conditions are still needed to get the best images.

The design is thoughtful, with a seed hopper that's genuinely clever in execution. The removable hopper makes filling and cleaning simple, and the adjustable flow control prevents seeds from pouring out should the feeder be shaken by a larger bird or squirrel. The seed tray is also removable, making maintenance and cleaning straightforward; however, it could be slightly deeper to prevent seeds from spilling over when squirrels come to visit.

Screens from the Kiwibit app

(Image credit: Future)

Bird identification is impressively accurate, with around nine out of ten identifications being spot on in my experience – the Beako's makers claim it can to detect up to 10,000 species. The AI features come with the more expensive Chestnut Brown roof model or can be added for £3.99 per month.

The Kiwibit app feels familiar and easy to use, featuring responsive notifications, calendar views, and the ability to share images, videos, and access to the camera with friends and family. The Beako includes free 1-day cloud storage, with more extended storage requiring a Kiwibit Plus subscription or a microSD card.

Battery life is excellent, lasting around a week or so between charges during my tests. The battery can be easily inserted and removed from a hatch at the bottom of the camera unit, there's built-in USB-C charging, plus an included solar panel, which if positioned correctly, should mean that you don't need to charge at all. After several months of testing, the feeder still looks like new and has withstood the weather and squirrel attention well.

The alarm feature, designed to deter squirrels, proved completely ineffective in my testing - the squirrels quickly became accustomed to it and continued their behaviour regardless. This is common across all bird feeder cameras I've tested, and I have yet to find one that works even 50% of the time, so it's not a Beako-specific issue. The automatic use of the alarm feature is only available with the Plus subscription anyway.

Both the Forest Green and Chestnut Brown color schemes look natural outdoors, although bolder color options would be welcome for those wanting to make the feeder a more prominent feature.

Overall, the Kiwibit Beako stands out as one of the best smart bird feeders available, with 4K footage without subscription fees, thoughtful design touches, and solid build quality. However, despite the 4K resolution, the image quality isn't significantly different from that of HD models due to the camera's focus distance. At $169 for the non-AI version, it represents fantastic value for anyone seeking high-quality bird footage. The AI-enabled model or subscription adds features that bird enthusiasts will appreciate.

Kiwibit Beako Smart Bird Feeder: price and availability

  • Available now for $269 with AI recognition or $249 without AI – look out for discounts
  • Available at Amazon US and Kiwibit.com
  • Kiwibit Plus subscription (£3.99/month or £9.99/month for unlimited devices) unlocks extended features

The Kiwibit Beako Smart Bird Feeder is currently only available in the US from Kiwibit.com and Amazon US – I will update this review should it land in the UK and / or Australia. It comes at two price points: the Chestnut Brown roof version costs $269 and includes AI bird identification, while the Forest Green roof version costs $249 without AI by default, although the AI feature can be activated. At the time of writing, the Beako is on sale for $239 and $169 respectively at the Kiwibit website.

I tested the Forest Green model with AI added. The feeder comes with a wall mount bracket, a strap, and a pole mount in the box.

The optional Kiwibit Plus subscription (£3.99/month, or £9.99/month for multiple feeders) unlocks 60-day cloud storage, smart notifications identifying bird species, custom alert zones, up to 3-minute recording time, and the squirrel alarm. Without a subscription, you receive free 1-day cloud storage and can utilise a microSD card for local storage. To get the most out of the feeder, the £3.99 monthly subscription is worthwhile if you're serious about bird watching, but the standard version with an SD card is sufficient for casual use.

Kiwibit Beako Smart Bird Feeder: specs

Bird Buddy Smart Bird Feeder Pro specs

Sensor

Unknown

Photo

8MP - 130 degree FOV

Video

4K

Memory

Micro SD or online via subscription

Dimensions

222mm(W) x 280mm(H) x 181mm(D)

Weight

1,450g

Battery

5,200 mAh rechargeable lithium ion

Kiwibit Beako Smart Bird Feeder: design

  • Compact all-in-one design with dual seed hopper (1.5L capacity)
  • Removable battery and built-in USB-C charging
  • Green color blends well with natural surroundings, multiple mounting options included

Setting up the Kiwibit Beako Smart Bird Feeder was straightforward. The instructions are clear, and the whole process - from unpacking to having the feeder mounted and paired with my phone - took less than ten minutes. The app setup follows a familiar pattern similar to that of other smart home devices, so if you've installed a video doorbell or security camera before, you'll feel right at home.

The feeder comes with multiple mounting options in the box - a strap for trees, a wall mount bracket, and a pole mount bracket that allows the feeder to sit on top of a post. This flexibility is welcome, as it means you can position the feeder wherever works best for your garden layout and Wi-Fi coverage. I used the wall mount bracket with the strap to secure it to a tree, which worked perfectly.

The green color is attractive and blends well with the garden surroundings, and the Chestnut Brown roof on the AI-enabled model also looks natural. Both color schemes work well outdoors, though some additional bolder color options would be welcome for those wanting to mount the feeder on a wall or make it a more feature piece.

The feeder itself is made from sturdy plastic and for my tests has weathered several months outdoors without any visible deterioration. The Beako was positioned about 15 metres from my Wi-Fi router with a clear line of sight through a window, and connectivity has been solid throughout.

The seed hopper is one of the Beako's best design features. The removable hopper makes filling and cleaning straightforward, and the adjustable flow control is a particularly neat touch, allowing you to control how quickly the seed dispenses into the tray. This has been genuinely useful for managing seed waste, especially when squirrels are raiding the feeder.

The seed tray is also removable, making cleaning simple without needing to take the feeder down or awkwardly clean it in situ. This is a thoughtful design detail that makes regular maintenance much easier. However, my only criticism is that the seed tray itself could be slightly deeper, as it would help contain seeds better when squirrels are moving around; it would prevent quite so much spillage over the edge.

The included perch is necessary for most garden birds, and those that have visited have appeared to be comfortable using it. However, I think both this and similar feeders would benefit from a slightly larger perch positioned a bit further from the tray, which would allow larger birds to be completely in focus when the camera captures them.

A photo of the contents of the Kiwibit Beako Bird feeder package

(Image credit: Future)

One of the cleverest design features is the removable battery. Rather than having to take down the entire camera unit for charging, there's a hatch at the bottom of the feeder that allows you to simply pop out the battery. This is far more convenient than systems that require the camera to be removed entirely.

Access to the charging port and SD card slot is well thought out, too, with a silicone cover to maintain the IP65 weather resistance. The solar panel connects easily and, with proper positioning, it provides enough trickle charge even on cloudy days, so you shouldn't need to remove the battery for charging at all.

If you've followed my previous bird feeder reviews, such as the Bird Buddy, you'll know I have ongoing squirrel issues. The Beako includes an alarm feature that can be set to activate automatically when squirrels are detected, but I found it completely ineffective as a deterrent. The squirrels quickly got used to the noise and realised it was just that - noise - with no actual consequences. Given how frequently they visited, I turned the alarm off as it would have started to annoy my neighbours or anyone enjoying their garden nearby, and it also obviously decreases battery life. This isn't solely a Beako issue, but is common to all feeders I've tested that include audible deterrents. The good news is that the housing itself has held up remarkably well despite being scratched and tested by persistent squirrels over several months.

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Close-up of the removable seed caddy from the Kiwibit Beako

(Image credit: Future)
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The Kiwibit Beako strapped to a tree

(Image credit: Future)
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Close up photo of seed tray of the Kiwibit Beako

(Image credit: Future)

Kiwibit Beako Smart Bird Feeder: performance

  • 4K video quality could be improved with a larger perch
  • 8MP photos are heavily cropped
  • Impressively accurate bird detection

The image quality from the 4K camera should in theory be better than that of the competition, most of which is limited to lower resolution 1080p. That extra detail is particularly noticeable in the background of the video, especially in good lighting conditions. However, it is limited by the minimum focus distance of the lens, which means that any bird closer than the furthest rung of the perch will be slightly out of focus.

There is also some chromatic aberration visible around high-contrast edges in bright sunshine. When birds are in focus and well-lit, the video is of good quality. However, depending on how you view your image, you may not notice much difference compared to an HD camera.

However, it is important to establish realistic expectations. The camera sensor is still relatively small, comparable to that of a smartphone camera, so good lighting remains necessary for optimal results. As light levels drop around dawn and dusk, shadow detail fades away and image quality deteriorates. However, this is common for cameras of this size and type rather than a specific failing of the Beako.

For those who want to make the most of 4K resolution, you can view images on larger screens thanks to the Micro SD card and the ability to connect to Alexa for viewing on a television.

Still images of the birds from the app are cropped to show just the bird in the picture, which means they are far short of the maximum 8MP quality. This is where a portrait-oriented camera comes into play, and why some of the best quality bird images has come from the BirdBuddy Smart Birdfeeder Pro.

The bird identification AI is impressively accurate. Based on my testing, I estimate that around nine out of ten identifications are correct, with the system recognizing up to 10,000 different bird species. There's a helpful link to Wikipedia summaries for each detected bird, and you can track visit frequencies with a calendar view. Images and videos can be shared directly, and you can share camera access via a link, allowing friends and family to watch the live feed remotely.

Notifications arrive promptly - usually fast enough that I could look out the window and still see the bird at the feeder. I did have to disable squirrel notifications as they became overwhelmingly frequent, but it's good that this level of control is available.

Battery life is good, thanks to the large 5200 mAh rechargeable lithium-ion battery, and I found it lasted around a week or more between charges. However, as mentioned, if you find a good spot to mount the solar panel, you may never need to charge your battery, even in the winter months.

After several months of outdoor use, the Beako continues to perform perfectly, having withstood rain, and bright sunshine without any issues.

Video and photo samples

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Sample images from the Kiwibit Beako birdfeeder

(Image credit: Future)
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Sample images from the Kiwibit Beako birdfeeder

(Image credit: Future)
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Sample images from the Kiwibit Beako birdfeeder

(Image credit: Future)
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Sample images from the Kiwibit Beako birdfeeder

(Image credit: Future)

Should you buy the Kiwibit Beako Smart Bird Feeder?

Buy it if...

You want an automated nuisance animal deterrent

Although our test squirrels quickly got used to the alarm of the Kiwibit Beako, you may have more luck depending on the creatures you are trying to deter. Having the alarm go off automatically could be a great feature if you are far from your neighbors..

You want an easy-to-maintain feeder

The removable battery with built-in USB-C charging, removable seed hopper with flow control, and removable seed tray make the Beako one of the most practical feeders to maintain. If you're looking for a feeder that's genuinely easy to refill, clean, and charge, this is an excellent choice.

You want flexibility

The two-model approach (with and without AI) allows you to start at $169 and add AI identification later if desired, or opt for the AI-enabled version directly. This flexibility makes it accessible whether you're a serious birder or just curious about garden visitors.

Don't buy it if...

You want a statement feeder

Both the Forest Green and Chestnut Brown color schemes are designed to blend naturally into outdoor settings. If you want a feeder that's a vibrant talking point or garden feature, there are more eye-catching options available.

You want the best photos

With the downloadable images being crops that focus tightly on the birds, the images from the Kiwibit Beako don't match the 8MP resolution.

You want to buy accessories

There are currently no optional extras for the Kiwibit Beako. Other feeders have water feeders or fruit holders to attract different types of a birds and animals

How I tested the Kiwibit Beako Smart Bird Feeder

  • I hung the feeder in a tree for 4 months
  • It was connected to my home Wi-Fi
  • I monitored the visiting birds daily via the Kiwibit app

I tested the Kiwkibit Beako bird feeder by hanging it from a tree in my garden that birds (and squirrels) regularly visit. The feeder was strapped to the tree, and the camera was set up using an iPhone and the Kiwibit app.

I live in the UK and left the feeder up there for the warm from June and into stormy weather come October. I didn't test it in freezing conditions. During my time with the feeder, I monitored the birds visiting via the app in real-time and reviewed photos and videos that had been captured.

I have also looked at AI recognition and the various capabilities of the app.

  • First reviewed October 2025
Who needs Prime Day when the 5-star OM System OM-5 II travel camera is already such a great buy?
3:01 pm | October 8, 2025
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: , , , | Comments: Off

OM System OM-5 II: two-minute review

OM System OM-5 II

The OM-5 II is an affordable enthusiast camera that can turn its hand to just about any genre of photography. (Image credit: Rod Lawton)

What the OM System OM-5 II lacks in sensor and video specifications it makes up for with photographic features. If you want to go full-frame, or get a more powerful APS-C hybrid, then go for it; if you need these things, you need them. But if what you need is a small, affordable and supremely versatile camera that can follow you anywhere, then this is it.

What do you want to shoot? Landscapes? Nature? If you’re okay with 20MP, then the OM-5 II will do perfectly, thanks to its lightweight, hike-friendly size, weather sealing and rock-steady IBIS. Will you need to use any ND filters? The camera’s in-built Live ND can give you up to four stops longer exposures – perhaps not always enough, but it helps.

If you're into nature photography, and particularly macro work, you can use the in-built focus-stacking mode to keep your whole subject sharp, or focus bracketing if you want to merge the frames later in software.

OM System OM-5 II

Is the OM-5 II's high-res mode just a gimmick? I'm not convinced the 50MP handheld mode delivers a lot more detail, but I set this shot up to check the 80MP tripod mode... (Image credit: Rod Lawton)

OM System OM-5 II

Here's a zoomed-in comparison that shows the 80MP tripod mode (left) does offer significantly more detail than the regular 20MP version (right). (Image credit: Rod Lawton)

Fancy some night photography? Experts will insist you need the low noise of a full-frame sensor, but the OM-5 II does pretty well with a fast prime and its Starry Sky AF. While you’re at it, you can use the Live Bulb mode to see long exposures build on the screen in front of your eyes, or use the Live Composite mode to capture bonfires, fireworks or urban light trails, recording only ‘new light’ so that the image isn’t overexposed.

What about sports and wildlife? The OM-5 II is not a dedicated action camera, but it does pretty well, shooting at up to 10fps with AF and up to 30fps with focus locked on the first frame. It also has a Pro Capture mode, which offers a rolling buffer of 14 frames with the shutter button half pressed so you don’t miss the moment the action starts.

OM System OM-5 II

The OM-5 II has a 20MP Micro Four Thirds sensor that's really not far behind the quality of APS-C and full-frame sensors, and features excellent image stabilization. It's a generation behind the stacked sensors in the OM-1 II and OM-3, though (Image credit: Rod Lawton)

There are limits. The OM-5 II does not have the newer stacked sensor that's in the OM-3 and OM-1 II, and it uses an older 121-point AF system rather than OM Systems’ new subject-tracking quad-pixel AF. But at this price something’s got to give, and the OM-5 II’s AF is still quick and effective, and fine for everyday use.

Video isn’t a strong point either. The OM-5 II peaks at 4K 30p, and while it can do the slightly wider C4K format, that’s only at 24p. You do get Flat, OM-Log400, OM-Cinema1 and OM-Cinema2 profiles, but since this camera shoots only 8-bit video there’s a limit to how far you’ll want to push any color grading later.

There’s one more thing to mention: the OM Art Filters. Fujifilm fans make a huge fuss over Fujifilm Film simulations, but that’s nothing. From gritty black-and-white (with borders, if you like!) to super-saturated pop-art to HDR-like dramatic tone effects to vintage, bleach bypass and instant camera looks, OM System Art Filters are a fantastic playground for creative photographers. Yes, you can shoot a raw file at the same time as a backup – heck, you can even bracket Art Filter effects to get multiple alternatives for each image.

OM System OM-5 II

Can the OM-5 II handle high ISOs? I would probably stop at ISO 6,400, but you can get good results beyond that, especially with today's AI denoising tools (Image credit: Rod Lawton)

OM System OM-5 II

Beware of Lightroom's default noise settings for raw files! If you shoot raw you might be dismayed by the noise at ISO 25,600 (right), but the OM-5 II's in-camera JPEGs (left) show how it should be done (Image credit: Rod Lawton)

The OM-5 II does have limitations – of course it does. You’ll want to stay away from sky-high ISOs, its AF can’t match the latest AI subject-recognition tech in rival cameras, and its video features are basic.

And no, it’s not a huge advance on the old camera, the OM-5; but as I've said, it doesn't need to be. If you stand back and look at what this camera can do, at this price (unchanged from the Mark I version, by the way), it’s an absolute pocket rocket, even today. In my book, the OM-5 II is the best affordable travel camera going.

OM System OM-5 II: price

OM System OM-5 II

(Image credit: Rod Lawton)

You can buy the OM-5 II for around $1,199 / £1,099 body-only or $1,599 / £1,499 with the 12-45mm f/4 kit lens. Don’t underestimate this lens; it’s small, portable and offers excellent image quality well beyond the typical kit lens. OM System calls it a Pro lens, and it is. And, like the OM-5 II, the camera is weather sealed. You can get cheaper ‘starter’ cameras than this, but none which approach the OM-5 II’s feature set.

OM System OM-5 II: specs

Sensor

4/3-inch Live MOS sensor, 20.4MP

Lens mount

Micro Four Thirds

ISO range

200-6,400 (64-25,600 exp)

Autofocus

121-point phase/contrast AF

Burst shooting

6fps mechanical with C-AF, 10fps electronic with C-AF, up to 30fps electronic with S-AF, Pro Capture mode with S-AF

Video

C4K 24p, 4K UHD 30p, FHD up to 120p

EVF

2.36m-dot OLED

Rear screen

3-inch 1.037m-dot vari-angle touchscreen

Storage

1x SD UHS II

Battery

BLS-50, 310 shots

Size (body only)

125.3 x 49.7 x 85.2mm, 418g

OM System OM-5 II: design

OM System OM-5 II

This gives you an idea of just how compact the E-M5 II and 12-45mm lens combo actually is – remember, this lens is equivalent to a 24-90mm in full-frame terms (Image credit: Rod Lawton)
  • Reshaped grip for better handling
  • Excellent top-mounted twin control dials
  • Weather sealed (as are OM Pro lenses)

The OM-5 II is a small camera with remarkably good ergonomics. The grip has been reshaped so it handles larger lenses better (just as well, because the old add-on grip no longer fits), and the top-mounted control dials are easy to reach with your thumb and forefinger and have a precise, quality feel with just the right amount of weight.

This also applies to the main mode dial, which has a central locking button to prevent accidental adjustments. The buttons are a little less impressive, and seem a bit on the small side for anyone with big hands, but they work fine, and they’re clearly labelled and well spaced. There’s a new CP (computational photography) button on the top to make it easier to access the camera’s clever computational features, though you still have to turn a dial to select the one you want.

I’ll admit the button placement here did annoy me. The CP button and the video Record button are just too close together, and too hard to tell apart by touch. Hitting CP instead of Record was endlessly annoying during my video tests.

OM System OM-5 II

I think the OM-5 II is actually pretty good for casual video work, but the placement of the Record button is annoying, and it's too easy to press the CP button by mistake. Those twin control dials, however, are superb (Image credit: Rod Lawton)

OM System OM-5 II

I'm not a big fan of power switches away from the shutter release, but I do like the drive mode and display mode buttons on the top (Image credit: Rod Lawton)

The ‘OK’ button on the back activates the camera’s ’Super Control Panel’ where you can make practically all of your day-to-day settings adjustments, and one of the key improvements in this camera over the old one is the redesigned menu system. That doesn’t sound like much of a thing, right? In fact, it transforms the experience of using this camera – if you’ve used the ‘old’ menus, you’ll know this was long overdue.

The EVF is not the highest-resolution, but it’s clear, contrasty and crisp, and it’s fine, especially at this price. The vari-angle rear screen is great too – and if you have the touch-shutter mode enabled, you can tap to focus and shoot in a single action and the response is practically instantanous.

For its size, this is an exceptionally well designed camera. Yes, if you’re new to it you will have to learn where things are, as with any camera. But once you’re past that phase you’ll find this camera fast and intuitive to operate, with fewer button presses and less lag than many of its rivals. What the OM-5 II lacks in state of the art specs, it makes up for as a pure shooting tool.

OM System OM-5 II: performance

  • Only 121 AF points, but fast
  • Excellent detail
  • ISO best kept to 6,400 or below

OM System OM-5 II

The 12-45mm f/4 kit lens is great for travel photography. This was taken at its 24mm equivalent widest setting (Image credit: Rod Lawton)

OM System OM-5 II

At the opposite end of the zoom range, the 90mm equivalent focal length gives you a much flatter perspective for tighter cropping and fewer distractions (Image credit: Rod Lawton)

OM System OM-5 II

The color rendition is great and there's plenty of detail from this 20MP sensor (Image credit: Rod Lawton)

The OM-5 II is an extremely responsive camera. It starts up fast, it switches between the EVF and the rear screen in a fraction of a second as you move your eye to and from the viewfinder, and the autofocus is extremely fast too, especially using the tap shutter option on the rear screen. The only respect in which the AF system is starting to show its age is the relatively modest 121 AF points on offer, and the fact that the individual AF boxes/targets are fairly large, though you can swap to a more precise Single-S (small) option.

Detail rendition is excellent with OM Pro lenses like the 12-45mm f/4 pro and OM primes like the 17mm f/1.8, 25mm f/1.8 and (especially) the 45mm f/1.8. All optical corrections are carried out in-camera, applied automatically, and embedded in the raw files as ‘manufacturer’ correction profiles. Dynamic range is really good too, though you can’t drag up really deep shadows more than 2-3EV before they start to get a little noisy – this is where a larger-sensor camera will often do a little better (though not always).

OM System OM-5 II

The IBIS on this smaller sensor verges on the uncanny. I shot this handheld at 1/2 sec to blur the windblown grasses in the foreground. (Image credit: Rod Lawton)

This was taken handheld with the Computational Photography 4-stop ND option to slow the shutter speed right down to 1/2 sec. I'm not quite convinced by the movement in the leaves and the grass, but it's great if you don't like carrying filters

OM System OM-5 II

The OM-5 II's raw files process very nicely, with similar highlight recover to larger sensor cameras, though you might not want to bring up the shadows quite as far (Image credit: Rod Lawton)

OM System OM-5 II

What I especially like about the OM system is the consistent quality of the Pro lenses. With the 12-45mm f/4 you don't have to worry about edge detail or longer focal lengths – it's great at every zoom setting and every lens aperture (Image credit: Rod Lawton)

The maximum standard sensitivity on this camera is ISO 6,400, but it does offer an expanded ISO range up to 25,600 – personally I’d stick at ISO 6,400. At this setting the OM-5 II still produces very good results, though if you shoot raw files and use Adobe Camera Raw/Lightroom you might see a little more noise than you bargained for. That’s Adobe’s raw engine, not the camera. Of course, these days you can get some terrific AI noise reduction tools – I’ve used them on OM camera raw files and the high-ISO image quality is transformed.

As for video, check out the sample below. The conditions were pretty wild, but the OM-5 II did a great job under the circumstances

If you do use the OM-5 II for video you’ll get decent results. It won’t track you as effectively as some other hybrid cameras as you move around the frame, but if you keep reasonably still you should be fine. The OM-5 II is not designed for video in the same way that many hybrid mirrorless cameras are, but if you typically use video straight from the camera without any fancy grading effects, it’s fine, especially for social media use.

Should you buy the OM System OM-5 II?

Buy it if…

You need a go-anywhere camera
The OM-5 II is a rugged, affordable travel camera that can tackle just about anything, from landscapes to travel to night photographyView Deal

You're fine with 20MP
Most full-frame alternatives are only 24MP anyway. 20MP is fine for even larger wall art, and for online/social use you'll be downsizing your images anyway.View Deal

You don't want a cotton-wool camera
You don't need to baby the OM-5 II. It will shrug off rain and sea spray, it won't care about dust, and it's inexpensive enough not to make you anxious about it.View Deal

Don't buy it if...

Your main interest is sports and wildlife
The OM-5 II's burst mode is nippy enough for casual shooting, but for any serious work you should look for a camera with subject-tracking AF and faster burst speeds.View Deal

You're a serious/pro filmmaker
The OM-5 II shoots decent 4K video with excellent stabilization, but you have to drop to full HD for faster frame rates, and its 8-bit video is not ideal for heavy color grading later.View Deal

You already have an OM-5!
The updates in the Mark II version are useful but probably not enough to make you swap. The OM-5 II is probably aimed more at new users rather than OM-5 upgraders.View Deal

How I tested the OM System OM-5 II

  • I tested the camera for two weeks
  • I used it with OM System's 12-45mm f/4 kit lens
  • I shot both stills and video in a variety of conditions

OM System OM-5 II

(Image credit: Rod Lawton)

I’ve owned several Olympus and OM System cameras in the past, so I’m very familiar with their strengths and weaknesses and exactly what they're capable of. I spent some time with the OM-5 Mark II, comparing its improved handling and menu system with the original OM-5 which I've also reviewed, and also with the E-M5 III before that.

I used the OM-5 II and its 12-45mm f/4 kit lens for a variety of projects including landscapes, street/travel shots, and video in wet and wild weather conditions. I wanted to compare the detail rendition with my full-frame cameras, the image quality at higher ISOs, and the effectiveness of the IBIS in order to explore the compromises and advantages of this smaller format.

Panasonic’s new 100-500mm is a five-star ultra-telephoto zoom that fills a key gap in its lens range
5:00 pm | October 7, 2025
Author: admin | Category: Camera Lenses Cameras Computers Gadgets | Comments: Off

Panasonic Lumix S 100-500mm F5-7.1 O.I.S: one-minute review

The Lumix S 100-500mm F5-7.1 O.I.S is Panasonic's first ultra-telephoto zoom lens for the L-mount system, and an exciting prospect for photographers and videographers looking to shoot subjects at a medium to far distance.

As someone who has occasionally dabbled in wildlife, sports and live music photography, I was keen to see what this lens could do paired up with a Lumix S camera, and a couple of weeks of use left me very impressed.

Given its zoom range, the lens is relatively lightweight and compact, and feels reassuringly solid and well constructed. It's splash-proof and dust-proof, so I had no qualms about using it in inclement weather, and it comes with a lens hood to block unwanted sunlight and give the front element extra protection. It's also supplied with a (removeable) mount to ensure proper balance when it's mounted on a tripod.

Panasonic has lavished the lens with some premium features, most notably dual-ball optical image stabilization (OIS). The company says this offers up to 7 stops of compensation, and with the lens attached to a Lumix S1R II camera I found that it was entirely possibly to shoot at 500mm handheld and achieve consistently sharp stills and video. The OIS ensured the frame barely moved in the viewfinder, suggesting some very impressive work being done by the system.

Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)

Other key features include some useful external controls, including a Tight-Smooth ring to adjust tension while zooming – something videographers might find very handy – and a customizable focus ring and button.

Performance is very strong across the full 100-500mm range, although the maximum aperture of f/5 (at the widest end) to f/7.1 (at 500mm) may be a little slow for some users. I found I was still able to grab sharp shots at 500mm in lower light conditions with the help of the OIS, but there are faster ultra-telephotos available.

The lens' optics are excellent, with good sharpness even when shooting wide open, no noticeable vignetting, and purple/green fringing kept well under control.

Overall, the Panasonic Lumix S 100-500mm F5-7.1 O.I.S is a fantastic lens for any L-mount camera user who wants to shoot distant subjects with ease and at high quality. There are cheaper alternatives out there, but they're heavier – and I strongly suspect this lens outperforms them thanks to its excellent optics and OIS.

Panasonic Lumix S 100-500mm F5-7.1 O.I.S: price

  • Priced at $2,099 / £1,799 / AU$3,699
  • Lens hood and tripod mount included
  • Available from October 2025

panasonic 100-500mm with lens hood and tripod mount on wooden table top

(Image credit: Future | Sam Kieldsen)

The Panasonic Lumix S 100-500mm F5-7.1 O.I.S costs $2,099 / £1,799 / AU$3,699, and is available from October 2025 (November in Australia). The package includes a removable tripod mount and lens hood, but no storage bag.

Those operating on a tight budget might baulk at the price, but you're getting a lot of lens for the money. Not only is it designed for full-frame cameras, weatherproof, and equipped with a very effective OIS setup, it's also Panasonic's first ever ultra-telephoto zoom for the L-mount system; and it's not like Lumix S shooters have a lot of alternative choices out there, especially in such a compact package. Sigma offers some competitors in its 150-600mm F5-6.3 and 60-600mm F4.5-6.3, but both lenses are much larger and heavier.

Panasonic Lumix S 100-500mm F5-7.1 O.I.S specs

Panasonic Lumix S 100-500mm F5-7.1 O.I.S specs

Type:

Ultra-telephoto zoom

Mount:

L-mount

Sensor:

Full-frame

Focal length:

100-500mm

Max aperture:

F5-7.1

Minimum focus:

2.62ft / 0.8m to 4.92ft / 1.5m

Filter size:

82mm

Dimensions:

7.72 x 3.62 inches / 196.1 x 92mm (excl. tripod mount)

Weight:

2.83lb / 1.285kg

Panasonic Lumix S 100-500mm F5-7.1 O.I.S: Design

  • Lightweight and compact for its range
  • Splash-proof and dust-proof
  • Tight-Smooth zoom ring

If you're used to wide-angle and standard zooms, the Panasonic Lumix S 100-500mm F5-7.1 O.I.S will feel like a big and heavy lens, but given its focal length range it's actually fairly compact, at just 196.1mm long when set to 100mm, and lightweight at 1,285g.

To aid with balance when it's mounted on a tripod, Panasonic has thoughtfully included a metal tripod ring. This clasps around the barrel, can be rotated if you want to shoot in portrait orientation, and can be completely removed if you're shooting handheld and want to keep bulk and weight to a minimum.

The lens is built to premium standards, with very little play or flex in any of the plastic or metal elements. Panasonic calls it splash-proof and dust-proof, so it's usable in drizzle and light rain, and perhaps even worse conditions.

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Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)

Panasonic has included switches to limit focus distance (it can be set to Full, or 5m to infinity), switch between auto and manual focus, and toggle between OIS modes. The focus ring and focus button can also be customized to various functions, at least when the lens is attached to a Panasonic camera.

Perhaps its most noteworthy design feature, though, is the Tight-Smooth ring, which allows the user to make fine adjustments to the resistance of the zoom ring. Videographers who want to zoom while rolling might find this very useful indeed, but I would say personally I found the difference between the tightest and smoothest settings fairly minimal. Then again, I was mostly shooting still photos, so perhaps I'm not the target user here.

Panasonic Lumix S 100-500mm F5-7.1 O.I.S: Performance

  • Stabilisation to 7EV compensation
  • Silent, fast autofocus
  • Max aperture of f/5 to f/7.1

The lens performs to excellent standards across the board, although I should address its potential Achilles heel early on: with a maximum aperture of f/5 to f/7.1, it's not the fastest zoom around. That said, I never found it particularly slow in use, even when shooting in twilight conditions; and increasing the aperture size might have resulted in this being a much more expensive, larger and heavier piece of glass, of course.

The lens is optically excellent, and exhibits no vignetting at 100mm, which I'd expect, but even shooting wide open its sharpness is superb. Those f/5 to f/7.1 settings are, in other words, completely usable if needed – although pixel peeping I can see a slight increase in sharpness when reducing the aperture by a couple of stops.

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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens (Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens at 100mm (Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens at 500mm (Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)

The image stabilization is a massive help with low-light and handheld shooting, because those extra stops of motion compensation really help when longer shutter speeds are required. I could even shoot video handheld at 500mm with no real issues, and the silent autofocus worked swiftly and accurately throughout, all without being picked up on mic.

The lens has quite a short minimum focus distance of 0.8m at the wide end and 1.5m at the tele end, which allowed me to shoot subjects fairly close up with impressive detail. This is not a macro lens by any means, but use it carefully and you can grab very sharp and detail-rich images of smaller subjects.

Bokeh is smooth and attractive, thanks to the circular aperture diaphragm, and Panasonic has taken steps to eliminate focus breathing in video shooting. Overall, I was hugely impressed by what this lens could do, and if I was a regular wildlife or sports photographer I would be very tempted to add it to my collection.

Should you buy the Panasonic Lumix S 100-500mm F5-7.1 O.I.S?

Buy it if...

You want a versatile ultra-telephoto

The huge focal length range of this lens makes it suitable for a range of jobs, from sports and wildlife to candid portraiture and even some landscape shooting.

You shoot handheld

Not only is this lens lightweight and compact for its range, it's also packing truly excellent OIS tech to aid stability during handheld shooting.

Don't buy it if...

You prefer a fast telephoto

While it's usable in low-light situations thanks to its OIS, this lens isn't particularly fast in terms of its maximum aperture.

You're on a tight budget

While the price doesn't feel excessive, there are cheaper L-mount options available from Sigma – but they're significantly heavier and less portable.

Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)

How I tested the Panasonic Lumix S 100-500mm F5-7.1 O.I.S

  • I tested it over two weeks
  • I shot wildlife, candids and landscape
  • I mounted the lens on a Panasonic Lumix S1R II

I spent two weeks shooting with the Panasonic Lumix S 100-500mm F5-7.1 O.I.S, which I attached to a Panasonic Lumix S1R II. I shot images and video clips of wildlife, people and landscapes at various focal lengths, used the lens handheld and mounted on a tripod, and tested it in different lighting conditions and at different times of day.

All the sample images you see above have been shot in raw format, imported to my MacBook Air and adjusted in Adobe Lightroom. Note that they'e not presented at their original resolution, as the file sizes would be far too large.

  • First reviewed October 2025
I tested Boya’s unique 4-in-1 wireless mic – it does the job of many, with effective AI noise reduction to boot
5:45 pm | October 3, 2025
Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Tags: | Comments: Off

Boya Magic: one-minute review

One of the downsides to shooting video and content creation is the sheer amount of kit you have to carry; even the most pared-back setups require a plethora of accessories. Beyond that, how many different microphones might you need to cover a range of situations? It's an issue that's effectively addressed by the Boya Magic, a 4-in-1 wireless mic that's designed to be a jack of all trades.

Lavalier (lapel), on-camera, handheld and desktop are all forms the Boya Magic mic can take. The mic is available in several kits, but if you opt for the most comprehensive and still competitively priced of the three you can connect the mics to smartphones, computers and cameras using USB-C, Lightning, and 3.5mm TRS, making it a significant upgrade over the Boya Mini and potentially one of the best wireless mics.

Since this is a multi-purpose mic, we could discuss its performance and characteristics at length, but we’ll delve into those later. Focusing on the lavalier mics, which are the transmitters in all configurations, and the backbone of the mic, these two tiny 7g units can be attached to clothing with clips or magnets, and produce impressive 24-bit sound quality. They’re incredibly easy-to-use with excellent noise cancellation to boot.

I have to admit that when I first received the Boya Magic, I was sceptical about its performance, but I've been impressed while testing the mic in all four configurations, attached to my smartphone, computer and my camera.

Boya Magic 4-in-1 microphone

The Boya Magic lavalier mics are tiny (Image credit: James Abbott)

Boya Magic: price and release date

  • Available now
  • Three kits to choose from
  • Prices start at $93 / £89 / AU$159

The Boya Magic is available from the Boya website and Amazon. The USB-C kit costs $93 / £89 / AU$159, the USB-C & Lightning kit costs $140 / £119 / AU$209 and the USB-C, Lightning & 3.5mm TRS kit costs $151 / £129 / AU$229. All in all, it’s extremely good value for money, given the versatility of the mic.

One slightly frustrating aspect of the Boya Magic is that you have to purchase the Boya Mini Tripod separately, and this is required for tabletop and on-camera use of the mic. It’s not the end of the world, and it only costs $30 / £20 / AU$46 (currently reduced to $20 in the US), but it would be better if it were included in at least the kit option with the 3.5mm TRS.

Boya Magic 4-in-1 microphone

The Boya Magic comes in a handy case (Image credit: James Abbott)

Boya Magic: specs

Dimensions

Magic TX 35 x 15.2 x 13mm, 3.5mm TRS RX 42.2 x 30 x 19.4mm, USB-C / Lightning RX 19.55 x 24 x 21mm, Charging Case 141.3 x 26.5 x 21mm

Weight

Magic TX 7g, 3.5mm TRS RX 16g, USB-C / Lightning RX 5g, Charging Case 62.5g

Transmission range

Up to 100m

Connectivity

USB-C, Lightning or 3.5mm TRS

Battery

Six hours / 30 hours total with the charging case

Audio

24-bit

Noise cancelling

Yes, one-click

Boya Magic 4-in-1 microphone

Handheld mic with the foam cover attached (Image credit: James Abbott)

Boya Magic: Design

  • Innovative design
  • Highly versatile
  • Compact and lightweight

This 4-in-1 mic system is built around a compact charging case that triples up as the on-camera, handheld and desktop mic, with a foam and dead-cat wind cover in the kits. This measures just 141.3 x 26.5 x 21mm and weighs 62.5g. The lavalier mics are stored and charged inside, behind a clear plastic door. When used in these modes, it’s the lavalier mic at the top of the case, in the first slot, that records sound through holes in the glass door and at the top of the charging case.

The lavalier mics are the backbone of the system, and in my opinion, the most impressive; and for content creators who are using lavalier mics as handheld mics, this system provides a much more comfortable and professional-looking solution.

The two lavalier mics are incredibly compact and lightweight at just 35 x 15.2 x 13mm and 7g. There’s a clip on the rear for attaching the mics to clothing, as well as a magnet plate on each clip to increase the options for attaching the mics to your clothes in more imaginative ways, although I fear that these may be easy to lose over time. The kits come with a couple of clip-on dead-cat wind covers for the mics.

Image 1 of 3

Boya Magic 4-in-1 microphone

(Image credit: James Abbott)
Image 2 of 3

Boya Magic 4-in-1 microphone

(Image credit: James Abbott)
Image 3 of 3

Boya Magic 4-in-1 microphone

(Image credit: James Abbott)

The build quality of all of the components is great, and the small carry-bag accommodates everything safely and neatly. The overall design of the kit is innovative, while operation is incredibly simple, with just a single button on each mic and the charging case. This can be used to switch the mics on and off, and to switch the AI noise cancellation on and off.

The USB-C and Lightning receivers are small and lightweight, slot neatly into your phone’s port, and are powered by the phone. The 3.5mm TRS attaches to the camera hotshoe and offers six hours of battery life. It’s designed simply, with just a power button, a volume/gain button and a 3.5mm jack. There’s no Bluetooth connectivity as in some mics, beyond a Bluetooth connection to the receivers, so these receivers are essential.

Boya Magic: Performance

  • Incredibly easy to use
  • Excellent AI noise cancellation
  • 24-bit audio

Setting up the mic, from unpacking the kit to first use is incredibly easy. This is one of the more intuitive wireless mics I’ve used, and you can use the BOYA Central app to adjust settings including AI noise cancellation, the EQ, AI noise cancellation, and the limiter, and to apply camera gain presets and firmware updates.

The mics are omnidirectional, so they will pick up sound from all directions. This causes no issues when recording in quiet environments, but when there’s background noise you often need to use the AI noise cancellation, which is available with two strength settings depending on the level of background noise.

AI noise cancellation is powered by deep neural networks (DNNs) trained on over 700,000 real-world noise samples and 20,000 hours of deep learning. Boya claims it can separate voices from noise in milliseconds, with up to -40 dB suppression. In use, the AI noise cancellation is undoubtedly impressive, and it doesn’t distort voices or make them sound robotic.

Sound quality is fantastic, with audio recorded in 48 kHz/24-bit with an 80dB signal-to-noise ratio, a 144 dB dynamic range, and a frequency response from 20Hz to 20kH. You can set sound levels manually, but there’s also a handy built-in smart limiter to protect your audio from peaking. In addition, a second safety track is recorded at a lower (-12 dB) volume to ensure nothing is lost.

The transmission range is up to 100m without obstacles, and 10m with obstacles. During testing the connection was solid, and I never experienced any issues with any of the four mic configurations. Battery life is up to six hours per mic, with 30 hours in total available with the charging case. This is average, and is plenty of battery power for most situations.

Should I buy the Boya Magic?

Buy it if…

You use different types of mics

If you carry several different types of mics in your kit bag, you can whittle everything down to a single versatile package.

You need tiny lavalier mics

In lavalier mic mode, the lavalier mics are compact and lightweight at just 35 x 15.2 x 13mm and 7g.

You value simplicity

The Boya Magic is incredibly easy and intuitive to use, making it an attractive option for everyone from beginners through to seasoned experts.

Don’t buy it if…

You only need an on-camera mic

If you only need an on-camera mic, it would be more cost-effective to buy a traditional cabled on-camera microphone.

You’d prefer connectivity without receivers

Some wireless mics can be connected to devices via Bluetooth, which may be more convenient for those who don’t want to have to use receivers.

You’d like the best

The Boya Magic is fantastic across the board, but you can get better-quality wireless mics if you have a larger budget.

Boya Magic: also consider

Boya Mini

The Boya Mini wireless mics are, as the name suggests, tiny, but they do come with some limitations: they can only be used with USB-C and Lightning compatible devices, and offer only 16-bit audio. On the plus side, they're enticingly inexpensive and have decent battery life, and sound quality is better than you'd expect for 16-bit.

Read our Boya Magic review

DJI Mic Mini

These mics come with DJI ease of use and reliablity, not to mention 24-bit audio and and Bluetooth connectivity. This means you don't have to use a receiver for some devices, while a 3.5mm receiver allows for use with cameras.

Read our DJI Mic Mini review

Boya Magic 4-in-1 microphone

(Image credit: James Abbott)

How I tested the Boya Magic

  • I tested it in all four configurations
  • I used it attached to multiple devices
  • I tested all its features

I tested the Boya Magic over several weeks in all four configurations: lavalier, on-camera, handheld, and desktop mic. I also attached the mic to my smartphone, computer and camera so that I could assess performance across the board in real-world situations.

I was sent the complete kit, which includes the USB-C, Lightning and 3.5mm TRS receivers. I recorded audio in different environments to see how well the mics perform with and without AI noise cancellation. I also used the Boya Central app to access settings and assess the overall ease of use.

PolarPro’s pricey Peter McKinnon Edition II variable ND filter is pretty much flawless, and does the job of several NDs
6:28 pm | October 2, 2025
Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

PolarPro VND Filter Peter McKinnon Edition II: Two-minute review

The latest product of PolarPro’s ongoing collaboration with hugely popular videographer and YouTube creator Peter McKinnon, the VND Filter Peter McKinnon Edition II has become an interesting and valuable part of my camera setup over the past few weeks.

First, a quick explanation of what a ND filter does. One of the key principles of photography and videography is the so-called “exposure triangle” – the way that ISO, aperture and shutter speed interact to control the amount of light that hits an image sensor.

By adding a neutral-density (ND) filter – which reduces the amount of light coming in without affecting the color hue – to the equation, photographers gain one extra factor to influence how the camera behaves, and more control over shutter speed and aperture.

For photographers, the ability to reduce light means we can use longer shutter speeds than the lighting conditions would ordinarily allow. That means artfully blurred waterfalls, or night-time shots with streaking, laser-like car headlights. For videographers, control over shutter speed allows for motion blur and wide-open aperture shooting in brighter conditions.

The main selling point of the PolarPro VND Filter Peter McKinnon Edition II (also known as the PMVND II) is that it’s a variable ND filter. In other words, twisting the filter allows the photographer to select an ND value from anything between two and five stops, saving them the bother of having to add filters to and them filters from their lens. (PolarPro also sells a stronger 6-9 stop edition of the VND filter, plus mist-diffusion Black Mist versions of both).

Peter McKinnon VND II filter

(Image credit: Future | Sam Kieldsen)

Because my review sample sits at the weaker end of the range for ND filters, I found that it couldn’t stop enough light to get truly long exposures outdoors on a bright, sunny day. Even at its highest 5-stop setting, and with my camera at its lowest ISO setting, a shutter speed of anything longer than a second resulted in a blown-out, overexposed image. So, if you want to shoot multi-second daytime exposures on sunny days or in bright landscapes (like snowfields), you’ll want to have the 6-9 stop filter to hand. If you’re feeling flush, buying both filters provides a wide stopping range.

On more overcast days, at night or indoors, however, the two to five stop range feels very usable. Even during the day, it allowed me to set a wider aperture than I’d normally be able to use for video, resulting in a shallow depth of field with background bokeh while maintaining an ideal shutter speed (of roughly double my frame rate, as the rule of thumb suggests).

The filter glass is extremely clear and neutral, although it does appear to add a very slight warm color cast when compared to shots with no filter attached. I couldn’t spot a single incidence of ghosting or chromatic aberration, however – two issues that can plague cheaper filters. And it doesn’t seem to affect the sharpness of images at all, which is what I would expect of a filter in this price range.

I also encountered no vignetting when shooting with a wide-open aperture at my lens’ widest field of view (12mm on a Micro Four Thirds camera, equivalent to 24mm on a 35mm or full-frame camera). PolarPro claims the filter exhibits no vignetting right down to 16mm, but I wasn’t able to put that to the test myself.

I also noticed that a small amount of additional contrast could creep into shots as I moved up the ND stop range. That’s a side effect of the variable ND filter design, I think – VNDs require polarized glass to achieve their variable effect, and that will affect the final image slightly. If that’s a no-no for you, you’ll need to use regular, non-variable ND filters instead.

While performance is strong, build quality might be even better. I was sent a 67mm filter to review (it’s also available in 49mm, 77mm, 82mm and 95mm sizes), and used a step-up ring (also by PolarPro) to fit it to the 62mm thread on my Panasonic 12-60mm F2.8-4.0 lens. Both the filter and ring screwed on smoothly and securely, with no awkward threading.

Image 1 of 5

PMNVD II filter sample images

No filter attached (Image credit: Future | Sam Kieldsen)
Image 2 of 5

PMNVD II filter sample images

ND 2 (Image credit: Future | Sam Kieldsen)
Image 3 of 5

PMNVD II filter sample images

ND 3 (Image credit: Future | Sam Kieldsen)
Image 4 of 5

PMNVD II filter sample images

ND 4 (Image credit: Future | Sam Kieldsen)
Image 5 of 5

PMNVD II filter sample images

ND 5 (Image credit: Future | Sam Kieldsen)

The combined case and lens cap (known as the Defender 360) makes fitting even easier – and ensures greasy fingerprints stay well away from the filter glass. The cap features two parts, one metal (aluminum to be precise) and one rubber, with the rubber element gripping around the filter’s frame so that you can, with a twist, add or remove the filter from your lens. When not in use, the filter sits inside the rubber part while the metal screws back on over one side to keep it safe. It’s an ingenious piece of design.

The filter itself feels beautifully precision engineered. The machined ridges or knurls on the edge give your fingers plenty to grip onto, while the subtle 'click' expressed as each ND stop is reached is welcome (and useful) feedback. Of course, some users might prefer a completely smooth turn, particularly videographers who want to adjust the stopping value while rolling the camera. It’s something to note, but I personally found it a clever design touch.

And, while this is a subjective thing, I think the PMVND II looks really classy too, with its two-tone black and brass finish. It’s hydrophobic too, with water beading and running off the glass easily.

Overall, I’m hugely impressed by the quality of the PolarPro VND Filter Peter McKinnon Edition II. Yes, it’s expensive – but it’s also thoughtfully designed, impeccably constructed, and works exactly as a variable ND filter should. If you’re looking for an ND filter to expand your creative repertoire, this 4-in-1 champion should certainly be on your radar.

Peter McKinnon VND II filter

(Image credit: Future | Sam Kieldsen)

PolarPro VND Filter Peter McKinnon Edition II: Price and availability

The PolarPro VND Filter Peter McKinnon Edition II is available now worldwide, priced at around $150 / £150 / AU$260 for the 49mm size or around $250 / £240 / AU$450 for the 67mm, 77mm, 82mm and 92mm sizes.

The filter is available in two ND stop ranges: 2-5 (which I'm reviewing here) and 6-9, with both models additionally available in a Black Mist version designed to soften highlights for a different look.

These are high prices for ND filters, but I think the quality and adaptability of the PMVND II makes it well worth the price to the right buyer.

Should I buy the PolarPro Peter McKinnon VND Edition II filter?

Peter McKinnon VND II filter

(Image credit: Future | Sam Kieldsen)

Buy it if...

You find swapping filters a drag
As a VND, this is actually four ND filters in one. Rotating the filter enables the user to move from two to five stops of ND strength.

You value rugged, tactile design
The PMVND II is built to superb standards, from its clean, smooth rotation to its innovative lens cap, which doubles as a protective case.

Don't buy it if...

Your budget is limited
The PMVND II is unashamedly premium, and you can obtain a VND filter, or a set of ND filters, from other brands for a lot less.

You want full smooth rotation
I like the filter's 'clicks' as it hits each ND stop setting, but videographers may prefer a click-free alternative for smoother transitions while filming.

How I tested the PolarPro Peter McKinnon VND Edition II filter

  • I used it for several weeks
  • I fitted it to a Panasonic Lumix GH6
  • I tested it for photo and video capture

I used a 67mm PMVND II on and off for several weeks in the late summer and early autumn on the English south coast, threading it to a 12-60mm zoom lens on my Panasonic Lumix GH6 via a 62mm-to-67mm step-up ring (also supplied by PolarPro). I recorded video and shot photos using all of the filter’s ND levels, and tested it in various weather and light conditions, from overcast drizzly evenings to blazingly sunlit mornings.

First reviewed October 2025

PolarPro’s pricey Peter McKinnon Edition II variable ND filter is pretty much flawless, and does the job of several NDs
6:28 pm |
Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

PolarPro VND Filter Peter McKinnon Edition II: Two-minute review

The latest product of PolarPro’s ongoing collaboration with hugely popular videographer and YouTube creator Peter McKinnon, the VND Filter Peter McKinnon Edition II has become an interesting and valuable part of my camera setup over the past few weeks.

First, a quick explanation of what a ND filter does. One of the key principles of photography and videography is the so-called “exposure triangle” – the way that ISO, aperture and shutter speed interact to control the amount of light that hits an image sensor.

By adding a neutral-density (ND) filter – which reduces the amount of light coming in without affecting the color hue – to the equation, photographers gain one extra factor to influence how the camera behaves, and more control over shutter speed and aperture.

For photographers, the ability to reduce light means we can use longer shutter speeds than the lighting conditions would ordinarily allow. That means artfully blurred waterfalls, or night-time shots with streaking, laser-like car headlights. For videographers, control over shutter speed allows for motion blur and wide-open aperture shooting in brighter conditions.

The main selling point of the PolarPro VND Filter Peter McKinnon Edition II (also known as the PMVND II) is that it’s a variable ND filter. In other words, twisting the filter allows the photographer to select an ND value from anything between two and five stops, saving them the bother of having to add filters to and them filters from their lens. (PolarPro also sells a stronger 6-9 stop edition of the VND filter, plus mist-diffusion Black Mist versions of both).

Peter McKinnon VND II filter

(Image credit: Future | Sam Kieldsen)

Because my review sample sits at the weaker end of the range for ND filters, I found that it couldn’t stop enough light to get truly long exposures outdoors on a bright, sunny day. Even at its highest 5-stop setting, and with my camera at its lowest ISO setting, a shutter speed of anything longer than a second resulted in a blown-out, overexposed image. So, if you want to shoot multi-second daytime exposures on sunny days or in bright landscapes (like snowfields), you’ll want to have the 6-9 stop filter to hand. If you’re feeling flush, buying both filters provides a wide stopping range.

On more overcast days, at night or indoors, however, the two to five stop range feels very usable. Even during the day, it allowed me to set a wider aperture than I’d normally be able to use for video, resulting in a shallow depth of field with background bokeh while maintaining an ideal shutter speed (of roughly double my frame rate, as the rule of thumb suggests).

The filter glass is extremely clear and neutral, although it does appear to add a very slight warm color cast when compared to shots with no filter attached. I couldn’t spot a single incidence of ghosting or chromatic aberration, however – two issues that can plague cheaper filters. And it doesn’t seem to affect the sharpness of images at all, which is what I would expect of a filter in this price range.

I also encountered no vignetting when shooting with a wide-open aperture at my lens’ widest field of view (12mm on a Micro Four Thirds camera, equivalent to 24mm on a 35mm or full-frame camera). PolarPro claims the filter exhibits no vignetting right down to 16mm, but I wasn’t able to put that to the test myself.

I also noticed that a small amount of additional contrast could creep into shots as I moved up the ND stop range. That’s a side effect of the variable ND filter design, I think – VNDs require polarized glass to achieve their variable effect, and that will affect the final image slightly. If that’s a no-no for you, you’ll need to use regular, non-variable ND filters instead.

While performance is strong, build quality might be even better. I was sent a 67mm filter to review (it’s also available in 49mm, 77mm, 82mm and 95mm sizes), and used a step-up ring (also by PolarPro) to fit it to the 62mm thread on my Panasonic 12-60mm F2.8-4.0 lens. Both the filter and ring screwed on smoothly and securely, with no awkward threading.

Image 1 of 5

PMNVD II filter sample images

No filter attached (Image credit: Future | Sam Kieldsen)
Image 2 of 5

PMNVD II filter sample images

ND 2 (Image credit: Future | Sam Kieldsen)
Image 3 of 5

PMNVD II filter sample images

ND 3 (Image credit: Future | Sam Kieldsen)
Image 4 of 5

PMNVD II filter sample images

ND 4 (Image credit: Future | Sam Kieldsen)
Image 5 of 5

PMNVD II filter sample images

ND 5 (Image credit: Future | Sam Kieldsen)

The combined case and lens cap (known as the Defender 360) makes fitting even easier – and ensures greasy fingerprints stay well away from the filter glass. The cap features two parts, one metal (aluminum to be precise) and one rubber, with the rubber element gripping around the filter’s frame so that you can, with a twist, add or remove the filter from your lens. When not in use, the filter sits inside the rubber part while the metal screws back on over one side to keep it safe. It’s an ingenious piece of design.

The filter itself feels beautifully precision engineered. The machined ridges or knurls on the edge give your fingers plenty to grip onto, while the subtle 'click' expressed as each ND stop is reached is welcome (and useful) feedback. Of course, some users might prefer a completely smooth turn, particularly videographers who want to adjust the stopping value while rolling the camera. It’s something to note, but I personally found it a clever design touch.

And, while this is a subjective thing, I think the PMVND II looks really classy too, with its two-tone black and brass finish. It’s hydrophobic too, with water beading and running off the glass easily.

Overall, I’m hugely impressed by the quality of the PolarPro VND Filter Peter McKinnon Edition II. Yes, it’s expensive – but it’s also thoughtfully designed, impeccably constructed, and works exactly as a variable ND filter should. If you’re looking for an ND filter to expand your creative repertoire, this 4-in-1 champion should certainly be on your radar.

Peter McKinnon VND II filter

(Image credit: Future | Sam Kieldsen)

PolarPro VND Filter Peter McKinnon Edition II: Price and availability

The PolarPro VND Filter Peter McKinnon Edition II is available now worldwide, priced at around $150 / £150 / AU$260 for the 49mm size or around $250 / £240 / AU$450 for the 67mm, 77mm, 82mm and 92mm sizes.

The filter is available in two ND stop ranges: 2-5 (which I'm reviewing here) and 6-9, with both models additionally available in a Black Mist version designed to soften highlights for a different look.

These are high prices for ND filters, but I think the quality and adaptability of the PMVND II makes it well worth the price to the right buyer.

Should I buy the PolarPro Peter McKinnon VND Edition II filter?

Peter McKinnon VND II filter

(Image credit: Future | Sam Kieldsen)

Buy it if...

You find swapping filters a drag
As a VND, this is actually four ND filters in one. Rotating the filter enables the user to move from two to five stops of ND strength.

You value rugged, tactile design
The PMVND II is built to superb standards, from its clean, smooth rotation to its innovative lens cap, which doubles as a protective case.

Don't buy it if...

Your budget is limited
The PMVND II is unashamedly premium, and you can obtain a VND filter, or a set of ND filters, from other brands for a lot less.

You want full smooth rotation
I like the filter's 'clicks' as it hits each ND stop setting, but videographers may prefer a click-free alternative for smoother transitions while filming.

How I tested the PolarPro Peter McKinnon VND Edition II filter

  • I used it for several weeks
  • I fitted it to a Panasonic Lumix GH6
  • I tested it for photo and video capture

I used a 67mm PMVND II on and off for several weeks in the late summer and early autumn on the English south coast, threading it to a 12-60mm zoom lens on my Panasonic Lumix GH6 via a 62mm-to-67mm step-up ring (also supplied by PolarPro). I recorded video and shot photos using all of the filter’s ND levels, and tested it in various weather and light conditions, from overcast drizzly evenings to blazingly sunlit mornings.

First reviewed October 2025

GoPro’s Max 2 sets the bar for 8K quality, but the 360 camera is not without its flaws
4:03 pm | September 23, 2025
Author: admin | Category: 360 Cameras Cameras Computers Gadgets | Comments: Off

GoPro Max 2: two-minute review

The GoPro Max 2 is GoPro's long-awaited return to the 360 camera arena, and it arrives with the rugged build quality and intuitive design philosophy that has made the brand synonymous with action cameras for over a decade.

It's a compact, square-bodied camera that takes clear design inspiration from its predecessor while incorporating lessons learned from rivals like the Insta360 X5 and DJI Osmo 360. The Max 2 is built tough – waterproof to 5m without additional housing and ready to handle the kind of punishment that extreme sports can dish out. What sets it apart from the competition is GoPro's decision to make the lenses fully user-replaceable without tools, a smart move given how vulnerable 360 camera lenses are to damage.

At $499.99 / £449.99 / AU$849.95, the Max 2 is priced between the DJI Osmo 360 and the premium Insta360 X5, offering a middle-ground option that should appeal to GoPro loyalists and newcomers alike.

The standout feature here is what GoPro calls “true 8K” recording; the Max 2 delivers genuine 8K capture with at least 3840 active pixels on each axis, and the results are undeniably sharp and vibrant in good lighting conditions.

GoPro Max 2 360 camera

(Image credit: Future | Sam Kieldsen)

Design-wise, there's plenty to appreciate too: a bright 1.82-inch touchscreen, GoPro's famously simple two-button control scheme, built-in GPS, and compatibility with three separate mounting systems: the classic GoPro fingers, standard tripod threads, and the newer magnetic latch system. The camera feels reassuringly solid and well-balanced, whether in your hand or mounted on some other part of your body.

Video tops out at 8K 30fps in 360 mode, with 5.6K 60fps and 4K 100fps options for slow-motion work. The Max 2 also captures 29MP 360-degree stills and supports 10-bit color recording plus GP-Log flat profile for post-production color grading.

Performance is strong in daylight, delivering the punchy, colorful footage GoPro is known for, with minimal distortion, effective automatic stitching and selfie stick removal. However, the camera struggles more noticeably in low-light conditions compared to rivals that offer dedicated night modes, and thermal management can be an issue during extended recording sessions.

GoPro Max 2 360 camera

(Image credit: Future | Sam Kieldsen)

The Max 2 pairs with GoPro's established Quik mobile app for quick editing and sharing, plus the updated GoPro Player desktop software for more comprehensive post-production work. Both offer solid 360 video editing tools, though at present neither quite matches the sophistication of Insta360's software suite.

Ultimately, while the Max 2 doesn't revolutionize the 360 camera market, it delivers exactly what I’d expect from GoPro. This is a well-built, user-friendly camera that produces excellent results in the right conditions, and it’s backed up by an ecosystem of accessories and editing tools that make the whole experience relatively painless. GoPro is well truly back in the 360 camera game.

  • Look out for my in-depth GoPro Max 2 vs Insta360 X5 comparison, based on real tests, coming soon

GoPro Max 2 specs

DJI Osmo 360 specs

Type:

360 camera

Waterproof depth:

5m / 16ft

Screen:

1.82-inch touchscreen

Storage:

microSD

Connectivity:

USB-C, Wi-Fi 6, Bluetooth

Dimensions:

64 x 69.7 x 48.7mm / 2.4 x 1.4 x 3.2 inches

Weight:

195g / 6.88oz

GoPro Max 2 360 camera

The Max 2 mounted on GoPro's selfie stick (Image credit: Future | Sam Kieldsen)

GoPro Max 2: Price and availability

  • Launched worldwide on 23 September 2025
  • Pre-orders shipping 30 September 2025
  • Priced at $499.99 / £449.99 / AU$849.95

GoPro officially launched the Max 2 on September 23 2025, and it’s available to pre-order right away, with orders shipping from September 30.

It’s priced at $499.99 / £449.99 / AU$849.95 in a bundle that includes the camera and a single battery. At the time of writing I’ve not been informed of any bundles including accessories such as selfie sticks, microSD cards or extra batteries, but this section will be updated if that becomes the case.

This list price, which sits between the pricier Insta360 X5 and more affordable DJI Osmo 360, feels just about right to me. The Max 2 is a quality product and while being any cheaper would be a surprise, it’s clearly priced to compete with its closest rivals.

GoPro Max 2, DJI Osmo 360 and Insta360 X5 cameras

The GoPro Max 2 in the midst of its two main rivals, the DJI Osmo 360 and Insta360 X5 (Image credit: Future | Sam Kieldsen)
  • Price score: 4/5

GoPro Max 2: Design

  • Waterproof to 5m / 16ft plus replaceable lenses
  • Mountable via tripod, magnetic latch or mounting fingers
  • 1.82-inch rear touchscreen

The GoPro Max 2 looks similar to the original Max, favoring a squat, square design over the narrower candybar shape used by some 360 cameras. Constructed from tough plastic, it’s pretty discreet and unassuming, with the bright blue flashes of the GoPro logo and “Max 2” the only deviation from all-business dark grey. It’s slightly smaller than its closest recent rivals, the Insta360 X5 and DJI Osmo 360, but not to what I’d consider a significant degree.

As you’d expect from a GoPro camera, the Max 2 feels rugged and ready for adventure. While there’s no specific IP rating, GoPro says it’s waterproof to a depth of 5m and able to operate in cold temperatures. While the waterproof depth isn’t quite as impressive as on some rival cameras, GoPro told me a dive housing accessory offering more robust underwater protection is currently in development.

GoPro Max 2 with removed lens on wooden table

(Image credit: Future | Sam Kieldsen)

Crucially, GoPro has also made its lenses fully user-replaceable – and without the need for a tool, either, in a move that beats even the Insta360 X5’s lens replacement system. With 360 cameras’ lenses protruding so far out of the body, they’re highly vulnerable to damage, so making them simple (and relatively cheap) to swap out if something goes wrong is a great move from GoPro.

That being said, I did notice some condensation inside the lens when I went from indoors to outdoors, and it affected image quality (you can see it in the cycling sections of the videos embedded below). This could be fixed by removing the lens and wiping it with a microfiber cloth, then replacing it, but I found it an annoying issue to deal with. It’s not something I’ve encountered on other 360 cameras, and I suspect it might be due to the removeable lens design.

GoPro Max 2 mounted on a person's head

The pop-out mounting fingers make attaching the Max 2 to hundreds of existing mounts very simple (Image credit: Future | Sam Kieldsen)

The Max 2 is small and lightweight enough for easy mounting on everything from helmets to bikes to selfie sticks, and GoPro has thoughtfully made it compatible with three mounting options. You have classic GoPro mounting fingers, a rock-solid way to fix the camera to a huge range of first- and third-party mounts, as well a standard tripod thread and the newer GoPro magnetic latch mount.

Controls are beautifully simple. There are two large rubber buttons – one for power and switching shooting modes, another for image capture – and a bright and sharp 1.82-inch touchscreen for everything else. The Max 2’s UI is extremely simple and easy to get to grips with, even for someone (like me) who doesn’t shoot on GoPro cameras particularly often, and I doubt anyone even slightly familiar with action camera menu screens will struggle to master it quickly.

  • Design score: 5/5

GoPro Max 2: Performance and features

  • Editing via Quik and GoPro Player apps
  • Built-in GPS
  • 1,960mAh battery offers around an hour of 8K 30fps capture

With no built-in storage, footage and photos captured on the Max 2 are stored on microSD card, and can be quickly transferred wirelessly to a mobile device running the Quik app for editing and sharing.

I think Quik’s 360 video editor is pretty good, and I was able to swiftly reframe clips using manual keyframes or AI-assisted object tracking, plus tweak the image settings to achieve the look I wanted. Finished videos and photos can be saved to a phone’s camera roll, directly shared to social media or exported to other devices.

It’s also possible to edit on desktop, of course, and the updated GoPro Player app supports keyframe reframing but not, interestingly, AI-assisted tracking or image tweaking. GoPro says it’s getting a new denoise setting too, but this was greyed out and unavailable when I tested the app due to my M2-powered MacBook Air being not quite up to the task.

GoPro has informed me that both Adobe Premiere and DaVinci Resolve will be getting plug-ins allowing users to directly import the Max 2’s 360 files. Premiere support is due to be live by the end of 2025, with Resolve to follow later on.

One thing the Max 2 has that its DJI and Insta360 rivals don’t is built-in GPS, enabling users to embed location data in their footage and photos. Most other cameras either require an optional module or tethering to a smartphone for geotagging, so the Max 2, like the original Max, offers an edge there.

GoPro Max 2 360 camera

The battery, microSD slot and USB-C port are all located inside a single well-sealed compartment (Image credit: Future | Sam Kieldsen)

Despite the large vent on one side, the Max 2 does get warm during use. When I left it recording video, it turned itself off to avoid overheating with both 8K 30fps and 5.6K 30fps recording. With the 8K footage, it recorded just under 30 minutes of footage before shutting down; it lasted almost 58 minutes when recording 5.6K footage. This was indoors at room temperature, and I did find that setting it up outdoors on a chilly autumn day allowed it to record for longer, as would actual outdoor pursuits scenarios.

GoPro doesn’t specify battery life from the 1,960mAh battery, but I managed to get just over an hour of 8K 30fps footage recorded when leaving the camera running outdoors. I think this performance is quite good given the bit rate and resolution of the videos being recorded, but those planning a long day of 360 shooting might want to invest in one or two extra batteries.

GoPro Max 2 360 camera

The camera features six built-in microphones – more than either of its main rivals (Image credit: Future | Sam Kieldsen)

The Max 2, like the original Max, features six separate built-in mics, but here they offer directional audio capture. Neither the DJI Osmo 360 or Insta360 X5 offer six mics, but despite this I wouldn't necessarily say the Max 2 outright beats its rivals here: audio sounds absolutely fine in good conditions, but when the wind picks up the built-in wind reduction tech can't do much to suppress the noise.

GoPro says the Max 2 can be used with Apple AirPods and other Bluetooth earbuds for wireless mic input, and this may help avoid the wind issue, but bringing out a dedicated DJI Mic-style wireless mic may be the best solution the company could offer further down the line.

  • Performance score: 4/5

GoPro Max 2: Image quality

  • Captures 10-bit 8K 30fps / 5.6K 60fps / 4K 100fps video
  • 29MP 360 photos and 12MP single-lens photos
  • Up to 300Mbps video bit rate with GoPro Labs

GoPro has been keen to point out that the Max 2 is the only 360 camera that records what it calls “true 8K” resolution 360 video. The company claims rivals like Insta360 and DJI are essentially fudging the numbers in order to claim 8K capture – either by counting unused or overlapped pixels, or by upscaling output to 8K from lower resolution sources – whereas the Max 2’s 360 output is truly 8K with at least 3840 active pixels on each axis for both sensors.

Video can be shot at up to 10-bit quality and in either a standard color profile or the flat GP-Log mode for post-shoot grading, and the maximum video bit rate is 120Mbps, or 300Mbps for users of GoPro Labs. For the purposes of this review, I stuck with 120Mbps. I did try out GP-Log, but GoPro has yet to release a LUT at the time of writing and I found grading the footage more of a slog than I'd like. Once the LUT is out things should get a lot easier there.

Video quality is generally very strong, whether recording in 8K (which is capped at 30fps) or 5.6K (which can go up to 60fps, offering users the potential to use 2x slow-motion; a 4K 100fps option is also available for those who want even more slow-motion potential). GoPro has established itself as delivering colors that look good straight out of the camera, as well as minimal distortion and flare.

Mostly that’s the case here, although I found that some of my 360 videos looked a touch overexposed and washed out in bright skies – likely as a result of having to set exposure for a full 360º view rather than in a single direction. User intervention, by setting the exposure manually, could improve things here, but in general the results are strong.

Still photos are similarly good-looking, and while I tweaked the below example slightly using the Quik app, it’s basically fresh out of the camera.

360 photograph of a harbour captured on GoPro Max 2

(Image credit: Future | Sam Kieldsen)

At night, the Max 2 isn’t as impressive. Both the DJI Osmo 360 and Insta360 X5 have dedicated low light modes for 360 video, but with the Max 2 you’re left with the standard mode, and it’s noisy and smeary after dark. It’s possible that using GP-Log and some clever settings before editing in post could yield better results; I didn’t have time to delve into this, so I can’t say for sure – but what I can say is that both the Osmo 360 and X5 make capturing usable low light footage very easy, while the Max 2 doesn’t.

So, if low light footage is a priority for you, the Max 2 may not be the ideal 360 camera. If, however, you're capturing footage in daylight and want the very cleanest, sharpest 8K around, I think it's the best at doing it.

The camera includes a wide range of capture modes besides standard 360 videos and photos: time lapse modes, dedicated single-lens shooting modes and more. I've included a quick clip I captured using the Night Lapse mode in the sample video above.

  • Image quality score: 5/5

GoPro Max 2: testing scorecard

GoPro Max 2

Attributes

Notes

Rating

Price

Cheaper than the Insta360 X5, slightly pricier than the DJI Osmo 360.

4/5

Design

Great mounting options, rugged build and easily replaced lenses. Just watch for the condensation.

5/5

Performance

Good apps and battery life, but can overheat.

4/5

Image quality

Beats the X5 and Osmo 360 in broad daylight, but can't match either in challenging after-dark conditions.

5/5

GoPro Max 2 360 camera

(Image credit: Future | Sam Kieldsen)

Should I buy the GoPro Max 2?

Buy it if...

You're invested in the GoPro ecosystem
Got boxes of GoPro mounts and a subscription? The Max 2 slots right into the GoPro range, so if you're already a fan you'll be at home immediately.

You're a risk-taker
The Max 2 is small and rugged, making it ideal for extreme sports. Its lenses are also very easy to replace in the field – no tool required.

You like things simple
The Max 2's minimal controls, simple app and great out-of-the-camera image quality make it one of the easiest 360 cameras to use.

Don't buy it if...

You shoot after dark or indoors
While it shines in broad daylight, the low light performance of the Max 2 just can't match that of its DJI and Insta360 rivals.

You want built-in storage
A small thing, but the Osmo 360's built-in storage means you don't need to fumble for microSD cards – with the Max 2, you do.

Also consider

Insta360 X5 action camera

Insta360 X5

The X5’s rugged build, replaceable lenses, low-light performance, ease of use and battery life have made it our top pick ahead of the Max 2's arrival. Its weight and profile aren't as wearable as the Max 2, however, and I think the Max 2's daylight image quality is slightly better.

Read our full Insta360 X5 review

Akaso 360 camera on a white background

Akaso 360

A cheap and cheerful alternative to the GoPro Max 2, Akaso's first 360 camera is surprisingly capable. Like the Max 2, it's designed with outdoor daytime use in mind, but its overall image quality level is several notches below.

Read our full Akaso 360 review

How I tested the DJI Osmo 360

  • Tested camera running v01.09.71 firmware for four days
  • Camera mounted on invisible selfie stick, helmet, bike and chest harness
  • Recorded videos day and night on foot and cycling

GoPro sent me a review sample of the Max 2 a week ahead of the launch date, and it was updated to run v01.09.71 firmware. This meant full launch features, as far as I'm aware, enabling me to test all the shooting modes and image quality – which I did by taking the camera out in the field mounted to various things (bike, head, helmet, chest, selfie stick).

I tested it in various lighting and weather conditions, editing the resulting videos and photos using both GoPro apps: the Quik mobile app and the GoPro Player desktop app (the latter on my M2 MacBook Air, which sadly wasn't powerful enough to make use of the app's Denoise feature).

  • First reviewed September 2025
The DJI Osmo Nano delivers all the pro features I actually need in an action camera, without the gimmicks
3:00 pm |
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DJI Osmo Nano: two-minute review

The DJI Osmo Nano is the latest in the brand's line of action cameras. Rather than building on a predecessor it's a whole new concept in its own right, although it shares the same-sized 1/1.3-inch CMOS sensor as the DJI Osmo Action 5 Pro, which landed at the end of 2024.

The range of best action cameras is more diverse today than it was even just a few years ago. The one-block shops of design like the GoPro Hero 13 Black are still popular, for sensible reasons like ruggedness and extended battery times, but modular designs like the Osmo Nano and the new Insta360 Go Ultra are becoming more common.

Why? We don't just want to hold our action cams or use a fiddly mount to attach them to our bike handlebars anymore. The content creation universe is continuing to grow, and so is the number and variety of places where we need our cameras to go.

In a nutshell, the Osmo Nano is a light, wearable action camera. You can wear it around your neck, on your head, on a hat or helmet, plonk it on your car, bike, or even attach it to your dog. It's remarkably small, and at 52g it's a gram lighter than its main competitor, the Insta360 Go Ultra, released a month before it.

The product is modular in design and built as a two-piece system, with a tiny, standalone camera unit that pairs with the Multifunctional Vision Dock underneath. The dock acts as a remote, screen, and charging station, with a small but bright 1.9-inch display to help you compose shots and adjust settings.

The DJI Osmo Nano held by a female photographer in a pink top

(Image credit: Lauren Scott)

These two parts join together via two clips and a strong magnetic system, and it's this magnet that also allows the camera to snap onto DJI's various accessories, for a wide range of hands-free, wearable mounting options.

Although the camera is a fully IPX8-rated unit that's waterproof down to 10m, the dock is only IPX4-rated for splash resistance, which limits its use in heavy rain or near a body of water – a totally rugged design this is not.

Inside the camera is a 1/1.3-inch CMOS sensor, which captures a dynamic range of up to 13.5 stops according to DJI. I haven't done any calculations with my test images on this, but I did find great levels of detail and color in bright sky highlights as well as darker, shadowy areas like tunnels. I was genuinely impressed by the level of detail and tone the camera could capture, particularly for a sensor this small (in full-frame terms).

For me, DJI has always been a brand for what I'd call 'serious' creators, and that's something I'm pleased to see the brand has leaned into with the Osmo Nano. There aren't any 'fun' filters or gimmicks in the menus. Instead, the settings are pared back to sensible and helpful options; voice controls and gestures to start recording all work very well to make hands-free shooting that much easier.

A big draw for professionals is the color performance. I was surprised to discover that the Osmo Nano can record in 10-bit color with D-Log M and HLG profiles – a pro-level feature that gives you more leeway for color grading in post-production, if you want to edit manually rather than relying on the automatic outputs from the DJI Mimo app. In 10-bit, I found videos were punchy but still well-balanced.

Screenshots from the DJI Mimo app

(Image credit: Lauren Scott)

Performance-wise, the Osmo Nano delivers exceptionally well in some areas but underwhelms in others. The promise of rapid file transfer holds up, with the 128GB version clocking transfer speeds of up to 600MB/s over a USB 3.1 connection. This is a huge time-saver.

Battery life, however, is a clear limitation. While DJI claims up to 90 minutes from the camera and 200 minutes with the dock, I found that shooting at 4K/60fps got me closer to just 60 minutes of continuous recording. On the upside, the dock's ability to fast-charge the camera to 80% in about 20 minutes means you can be back to shooting in no time.

The RockSteady 3.0 and HorizonBalancing stabilization features work well for walking or light activity, and even when I tried recording star jumps and high-intensity workouts, the footage was stable in sports mode. Audio quality is good all-round too, and two built-in microphones capture immersive stereo sound, with decent but not brilliant wind reduction. Another plus for more advanced creators is the ability to pair the Nano with two mics separately, and you won't need receivers if they're from DJI.

While the image quality is good for a camera this small, it’s still bound by the limitations of its form factor. The fixed 143-degree ultra-wide field of view is great for first-person shots, but obviously lacks the versatility of a more zoomed-in lens. And while DJI's SuperNight mode for low-light shooting is better than ever, it's limited to 30fps and 8-bit color.

A female photographer wearing the DJI Osmo Nano on a headband

(Image credit: Lauren Scott)

The Osmo Nano is pricing is really aggressive, coming in much cheaper than the Insta360 Go Ultra and the GoPro Hero 13 Black – and that's with built-in storage too, meaning you can start shooting straight out of the box.

It's not necessarily the most charming camera I've tested, but it's thoroughly dependable and sensible, and for that reason I found it growing on me, while the low price sweetens the deal. The DJI Mimo app is less intuitive than Insta360's, and AI edits are a little less exciting, but it's smart and stable, and puts a clear live feed with access to settings at your fingertips on your smartphone.

DJI isn't marketing the Osmo Nano for family users, and it lacks some of the fun features of the Insta360 lineup, plus Toddler Titan mode for capturing kids. While charging is fairly speedy it doesn't charge as quickly as its main competitor, the Insta360 Go Ultra, either, but the camera does last longer.

If you need a fully rugged and all-in-one device for more extreme sports or environments, the GoPro Hero 13 Black or the DJI Action 5 Pro might be a better choice. But this is a well-thought-out, truly wearable action camera for creators who want to experiment with unique perspectives, and need a B-camera for places their main camera can't go, for a B-cam price.

The DJI Osmo Nano being worn on a pendant in front of a woman's shirt

(Image credit: Lauren Scott)

DJI Osmo Nano: specs

DJI Osmo Nano specs

Sensor

1/1.3-inch CMOS

Max Resolution

35MP (6880 x 5160) photos
4K, 60fps footage

Weight

Camera: 2.54oz / 53g Vision dock: 3.8oz / 72g

Dimensions

Camera: 57 x 29 x 28mm
Vision Dock: 59 x 42 x 22mm

ISO Range

100–25600

Lens

FOV: 143 degrees
Aperture: f/2.8
Focus: 0.35m to ∞

Operating Time

Camera: 90 mins*
Camera + Multifunctional Vision Dock: 200 mins*

Connectivity

Bluetooth, Wi-Fi, USB-C 3.1

Storage

64GB/128GB built-in
microSD card, up to 1TB

Waterproofing

Camera: 33ft (10m)
Vision Dock: IPX4-Rated

DJI Osmo Nano: Price and availability

  • Launched worldwide on September 23 2025, except US
  • Osmo Nano Standard Combo (64GB) costs £239 / AU$529
  • Osmo Nano Standard Combo (128GB) costs £259 / AU$589

The DJI Osmo Nano was announced on August 23, 2025, and is now shipping from DJI’s online store and authorized retailers, including Amazon. It won't be available officially in the United States at launch. A DJI Spokesperson told TechRadar that "DJI remains dedicated to the US market and is optimizing our strategy to best serve our customers amidst evolving local conditions."

There are two standard combos to choose between, broken down by the internal storage capacity: the Osmo Nano Standard Combo at 64GB (£239 / AU$529) or 128GB (£259 / AU$589).

Each combo comes with the same content, including the Osmo Nano Camera, Multifunctional Vision Dock, Magnetic Hat Clip, Magnetic Lanyard, a protective case, USB-C cable (USB 3.1), and a Dual-Direction Magnetic Ball-Joint Adapter Mount. The protective case is more just a plastic sheath rather than substantial padded protection.

That price puts it way below the Insta360 Go Ultra Standard Combo ($449.99 / £369 / AU$759), which is more impressive given that you get built-in storage too. It's also less than the GoPro Hero 13 Black (now available for around $359.99 / £315).

  • Price score 5/5
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A female photographer holding the DJI Osmo Nano action camera

(Image credit: Lauren Scott)
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A female photographer holding the DJI Osmo Nano action camera

(Image credit: Lauren Scott)
Image 3 of 4

A female photographer holding the DJI Osmo Nano action camera

(Image credit: Lauren Scott)
Image 4 of 4

A female photographer holding the DJI Osmo Nano action camera

(Image credit: Lauren Scott)

DJI Osmo Nano: Design

  • Standalone camera is waterproof, dock is splashproof
  • Magnetic base connects easily to mounts
  • The camera weighs 1.83oz / 52g

The DJI Osmo Nano camera is oblong-shaped, about half as wide as it is long. It sits comfortably between your thumb and forefinger in either portrait or landscape mode, but I didn't find it as pocketable as the Insta360 Go Ultra because of its extra depth.

Without the dock, the Osmo is a light, wearable action camera at just 52g. Adding the dock, by way of two secure mounting clips and a magnetic, adds another 72g and turns the camera into a more complete action companion. It's small, but I found the combo top-heavy on uneven surfaces, making low-level shots without a mount more difficult.

There's just one built-in OLED HD touchscreen on the dock, rather than a screen at the front and back, or a flippable design like the Insta360 Go Ultra. This means you have to detach and remount the camera every time you want to go from shooting your environment to talking to the camera (if you want to see yourself, that is). Unlike the Go Ultra, which simply plops back into place with strong magnets, flipping the Osmo Nano around is a bit fiddly.

The design is gray and plastic, which is familiar territory for both DJI and action cams in general. The body is subtly textured though, meaning it's easy to grab onto with cold, wet or sweaty hands. Ruggedness is key for an action camera, but only the wearable part of the Osmo Nano is waterproof. The camera is IPX8-rated for submersion up to 10 metres underwater.

The dock is only splash, rain and likely sweat resistant, and I wouldn't fancy its chances in a heavy rain shower. This is a shame, because it limits potential usage and introduces a little caution to creativity when shooting. It's also a far cry from DJI's Action 5 Pro, which is verified down to 20m / 65ft.

A female photographer holding the DJI Osmo Nano action camera

(Image credit: Lauren Scott)

While the dock isn't waterproof, you can use the whole product in temperatures of -20C to 45C (-4F to 113F), so you're good for everything from winter sports to desert treks. A lens cover screws over the main lens, so if you damage or scratch it a replacement costs a fraction of buying a whole new unit.

The Osmo Nano has just two physical controls: there's a big red record button on the top of the camera and another on one side of the dock. These also act as power switches, and they require some force to push down so that you're not likely to press them accidentally. That's it, other than a small flap that opens up on the other side of the dock to reveal the USB 3.1 port for charging and transferring files, plus the microSD slot, which takes up to a 1TB card.

Image 1 of 3

The LCD screen on the DJI Osmo Nano in the sunshine

(Image credit: Lauren Scott)
Image 2 of 3

The LCD screen on the DJI Osmo Nano in the sunshine

(Image credit: Lauren Scott)
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The LCD screen on the DJI Osmo Nano in the sunshine

(Image credit: Lauren Scott)

I didn't find the DJI Osmo Nano as enjoyable or easy to navigate as other action cameras I've tested. You swipe up to access video settings, down for the main menu, and left to change the shooting mode. To toggle Pro Mode on or off, you tap the slider icon on the right side of the screen.

It's not rocket science, but at 1.96 inches the small screen means you need to be extra precise with your touch gestures to bring up menus and dial in settings. My partner – who has bigger hands and fingers than I – sometimes had to tap the screen a few times to activate settings.

The menus are mainly black and white with yellow accents, and I found this less eye-catching than the GoPro or Insta360 ecosystems, although that may be more a matter of personal preference. Some settings are also overlaid on the live picture and can be difficult to read. The camera doesn't have the same detailed tutorials and guides that you get when you start using the Insta360 Go Ultra, although I'm sure DJI fans will have no trouble finding their way around.

  • Design score: 4/5
Image 1 of 1

A female photographer holding the DJI Osmo Nano action camera

(Image credit: Lauren Scott)

DJI Osmo Nano: Performance and features

  • Quick-edit videos on the DJI Osmo Mimo app
  • Standalone camera charges 80% in about 20 mins
  • In-built storage and takes microSD cards up to 2TB

The performance of the Osmo Nano is hard to pin down. In some areas I felt it delivered exceptionally well, but in others it was a bit underwhelming. The rapid file transfer ended up being surprisingly helpful, and in my tests with the 128GB version DJI's claim of up to 600 MB/s transfer speed over USB 3.1 holds up, and I found it a huge time-saver compared to sending lots of files wirelessly.

The camera's battery life is a limitation, though, particularly when shooting at higher resolutions like 4K/60fps. I got closer to 60 minutes of continuous recording here – rather than the 90 minutes that DJI claims at 1080p/24fps – which isn't bad for its size, but lags behind the multi-hour endurance of larger cameras like the Osmo Action 5 Pro. The dock can top up the battery on the go, and I was also impressed by its ability to charge to 80% in just 20 minutes, especially if you're as bad as I am at remembering to charge your gear before a shoot.

You then get up to 200 minutes of 1080p/24fps video from the dock, but in reality, I found this closer to two hours once the screen and Wi-Fi are on and you've powered the camera up and down a few times.

If you tend to record short clips throughout a longer day, it's nothing to worry about. If you're the type of shooter to record continuously, you may lament the fact that there aren't replaceable batteries to swap out when you run out of juice. I left the camera running for my battery tests during a particularly warm day, and although it felt hot to the touch during, it never overheated to the point of turning off.

The LCD screen on the DJI Osmo Nano in the sunshine

(Image credit: Lauren Scott)

The Osmo Nano is equipped with DJI's RockSteady 3.0 stabilization and HorizonBalancing. It handles a fair amount of shake, but it's not on the same level as a dedicated gimbal like the Osmo Pocket series. In footage of fast-paced, high-impact activities like running on trails you'll still see some micro-jitters, but for walking shots it's pretty impressive.

Using different mounts will dictate how stable your results are. Using the pendant seemed to cause me more wobbles than handholding the camera, for example, but the head mount gave me super-smooth footage when running. It's worth noting that there are different levels of stabilization, with daily, sport, or anti-motion blur options. You can also turn off image stabilization to save battery, or if you're using a secondary DJI product to keep things stable.

The DJI Osmo Nano performs really well in remote shooting scenarios without a phone. The voice commands, like 'start recording', work almost instantaneously in a quiet environment, but require you to shout when it's loud (not a great look in a city center). I found that gestures worked well too, and I liked being able to pat the camera when it was powered off to start recording, or nod my head when it was mounted on my head. Much more subtle.

The LCD screen on the DJI Osmo Nano in the sunshine

(Image credit: Lauren Scott)

The Osmo Nano has two built-in microphones for stereo sound, and I found the audio straight out of the camera surprisingly immersive. It picks up sound from a variety of directions when you're shooting in a public place, but still hones in on your voice when you're speaking to the camera clearly.

Like all action cameras, the audio quality sounds muffled underwater, but the clarity returns more quickly than others I've tested when you pull the camera back out into fresh air. There are lower and stronger wind reduction modes, and both did a decent job of reducing disturbance when I captured some clips on a blustery countryside walk, without removing the noise entirely (see the clips below). My voice was clear and free from distortion, but it's not the perfect solution for clean audio; for that, you'll need a separate mic.

A major draw is the ability to connect the Osmo Nano directly to DJI's wireless microphones without needing a separate receiver. I haven't been able to try this yet, but I can see it being convenient for creators who want to capture high-quality audio, especially those already with DJI mics.

  • Performance score: 4/5

DJI Osmo Nano: Image quality

  • 1/1.3-inch sensor
  • Video up to 4K/120fps and 35MP photos
  • 10-bit D-Log M and HLG color profile options

The Osmo Nano has a 1/1.3-inch sensor, the same size as you'll find in the Osmo Action 5 Pro and just a fraction smaller than the one in the Insta360 Go Ultra. Video headlines include 4K at 60fps in 16:9 format, and 4K 120fps slow-mo footage, which expands to 1080p 240fps.

The specs are one thing, but the proof is in the pudding; or in this case, in the videos and shots you get from the camera. Overall, I think the image quality is good for an action camera of this size. As ever, it won’t completely replace a full-sized or full-frame camera, but that's not the expectation here. The fixed 143-degree ultra-wide field of view is perfect for first-person POV shots, and I could fit a whole wedding group in the frame (I don't have permission to include the sample shot in the review, sadly), but it's not easy to zoom in on the scene should you want to get closer in.

I tested the Osmo Nano in all weather and lighting scenarios. DJI touts the wide dynamic range of the Osmo Nano, but in direct sunshine I noticed some banding where the highlights had been clipped. You can see this in the video above, which was a test of the one-tap editing feature in the DJI Mimo app.

4K resolution is sharp and punchy, and even in 8-bit color mode the camera seems to capture vibrant blue skies and leafy greens, and handles quick changes in light (coming out of a dark tunnel, from indoors to outdoors) well; however, while I like a bit of lens flare, this is one area that could be handled better. It tended to keep my face exposed when I was talking to the camera, but this wasn't set up anywhere in the camera. If I were to generalize, I'd say footage comes out darker than Insta360's Go Ultra, possibly for greater leeway when editing, where the Insta option is designed for near-automatic use.

DJI's SuperNight mode does a decent job of reducing noise in low light, but it only works at up to 30fps and with 8-bit color, which might limit its utility for serious cinematographers. It’s the best night image quality in a wearable camera I’ve seen, but it’s still bound by the laws of physics – a smaller lens and sensor will always have certain limitations compared to a larger, more dedicated camera. There's some AI-smoothing being applied to reduce noise in low-light footage, but this is less obvious to the untrained eye, and less muddy than some night modes I've seen on earlier action cameras.

DJI's automatic horizon leveling (which can be calibrated) is pretty flawless, and the RockSteady image stabilization is most impressive in sports mode. To really test it out, I wore the camera on DJI's headband mount and recorded the first five minutes of a high-intensity workout. Throughout a gruelling round of burpies, star jumps and squats, the footage was stable and smooth (almost unnaturally so). Trail runs, dog walks, and cycle clips were all just as usable, but the handheld results are slightly more jittery than using a dedicated mount.

Photos from the camera have a medium-range megapixel count (the maximum resolution is 35MP and you can shoot in a 16:9 or 4:3 ratio), and as to their quality, I said the same thing about Insta360 Go Ultra's photo results: they're good enough to insert into videos, but I probably wouldn't use them for standalone social posts or prints as a creator. Consider them as an additive rather than a standalone feature, and you won't be disappointed.

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Test shots in low-light from the DJI Osmo Nano

(Image credit: Lauren Scott)
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Test shots in low-light from the DJI Osmo Nano

(Image credit: Lauren Scott)
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Sample shots from the Insta360 Go Ultra and DJI Osmo Nano action cameras showing a black retriever in a field

(Image credit: Lauren Scott)
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Test shot in bright sunshine from the DJI Osmo Nano

(Image credit: Lauren Scott)

Impressively, the Osmo Nano gives you the option of recording footage with a flat color profile (DJI's D-Log M setting), designed to preserve the maximum color and brightness info in the video file, especially in lights and darks.

While the footage out of the camera is desaturated in this mode, I found you had far more wiggle room to adjust the colors, contrast, and saturation to achieve a specific, cinematic look without losing any of the detail captured in the original scene. This is also going to benefit creators shooting a project with the Osmo Nano alongside other cameras who want their edited work to look consistent.

  • Image quality score: 4/5

DJI Osmo Nano: testing scorecard

DJI Osmo Nano

Attributes

Notes

Rating

Price

Much cheaper than the Insta360 Go Ultra, and that includes helpful built-in storage.

5/5

Design

Unexciting but functional, and it's a shame the dock is only splash-proof. The lens replacement adds ruggedness.

4/5

Performance & features

Fewer filters and modes than the Insta360 Go Ultra, but you get the option of manual controls. The DJI Osmo app makes quick, clever edits.

4/5

Image quality

In daylight, colors are vivid and dynamic range is good. Stabilization is excellent, and low light footage is fine. Slow-mo could be crisper.

4/5

Should I buy the DJI Osmo Nano?

Buy it if...

You want a camera that 'disappears'
The Osmo Nano is small enough to be worn on a pendant, hat, or headband, thanks to its small size and weight. The magnetic mount allows for quirky mounting solutions like lamp posts, cars, and even washing machines.

You already own DJI products
To boost the sound quality, you can connect the Nano directly to two DJI microphone transmitters without needing a receiver. If you've already got a DJI mic, gimbal or camera, sticking with the brand also means greater familiarity with the app.

Don't buy it if...

You like a roomy LCD screen
At less than two inches, I found the Osmo Nano's LCD touchscreen a little small for composing shots and reviewing footage. You can use your phone for a larger live view, but this isn't always convenient.

You want a fully waterproof solution
The Nano's Vision Dock is only splashproof, and this made me uncomfortable while shooting in the rain or near water. If you're a real action lover, I'd recommend a camera with a more rugged build.

Also consider

The Insta360 Go Ultra on a white background

Insta360 Go Ultra

The Insta360 Go Ultra has a similar form factor, with a separate camera and action pod. The flip-up screen is more vlog-friendly and bigger at 2.5 inches, while the camera weighs the same as the Osmo Nano but is more square and shallow (which I found easier to mount). Pricing and image quality are similar, but it's a slightly more fun action camera that's great for the whole family.

Read my full Insta360 Go Ultra review

GoPro Hero 13 Black action camera on a white background

GoPro Hero 13 Black

The GoPro Hero 13 Black is still the flagship of action cams and one I'd recommend for serious filmmakers. It's chunkier than the Osmo, but it also has magnetic mounting. GoPro also has the widest range of mount accessories to open up creative shooting opportunities, and it's possible to squeeze 1.5 hours of 5.3K video from the battery, for recording with fewer interruptions.

Read our full GoPro Hero 13 Black review

The DJI Osmo Nano camera held by a female photographer in a pink top

(Image credit: Lauren Scott)

How I tested the DJI Osmo Nano

  • I tested the camera for two weeks pre-embargo
  • I wore it on walks and runs, and mounted it for drives
  • I recorded videos at all settings and in all modes

DJI sent me a full-production Osmo Nano for review around two weeks before its release date, and I used it at least once a day – often much more – during this period. I always like a camera to become a natural part of my workflow, rather than carrying out one intense period of testing, so that I uncover the nuances for a more informed and helpful review.

I tried all the camera's modes, used it with and without the dock, and mounted it on the magnetic pendant and headband. I mainly used the DJI Mimo app to edit footage right from my iPhone 15 Pro.

  • First reviewed September 2025
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