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I tested the Ricoh GR IV compact camera — it’s a surprising upgrade, for good and for bad

3:36 pm | December 19, 2025

Ricoh GR IV: two-minute review

I'm already a fan of the Ricoh GR series of premium compact cameras, having purchased the GR IIIx several years ago. There really is no other camera this small that can shoot photos that look this good – and that's why I've featured it in my best compact camera and best point-and-shoot camera guides.

My GR III series camera is far from perfect, though. It's prone to damage, its autofocus can be really sluggish at times, and it could do with a built-in flash. I'd also love a tilt screen – oh and poor battery life is another gripe among users.

Despite these limitations I still carry my Ricoh with me most days, but I've been keeping a keen eye out for the arrival of its successor, in the hope it could deliver particular upgrades and become my perfect compact. Well, the Ricoh GR IV is finally here, six years after the GR III, and I've had my hands on it for around three weeks, with the new camera in one pocket and my GR IIIx in the other.

So is the GR IV my dream upgrade? Not quite... but it is a better camera in many other ways. I'm disappointed that the build quality is mostly the same (besides what Ricoh says is better sealing on the new lens), in that it isn't technically weather-sealed and so will need looking after, even though its feels decent in the hand.

On the plus side, I was already happy with the image quality from my GR III, but Ricoh has introduced a new 26MP sensor and refined the lens to further improve quality, while the sensor has improved 5-axis stabilization.

Ricoh GR IV compact camera in user's hand, flowers behind — (Image credit: Future / Tim Coleman)

As mentioned, I was hoping for a built-in flash this time around, but the GR IV doesn't have one; ditto a tilt screen. I also wanted much better autofocus performance, but I'm not seeing enough of a difference.

On the flip-side, again, the GR IV delivers some significant upgrades that I didn't see coming: internal storage is bumped up from 2GB to 53GB, there's a new bigger battery with approximately 20% better capacity, and the body is even slimmer, with a refined grip making the camera feel even better in the hand.

You get the picture – the GR IV is a decent upgrade for certain users, but one to skip for others. I for one can't see a good enough reason to splash out, but I understand why others would. And for those who are new to the series and looking for a premium compact, you won't find a better one at this size.

A word of thanks

A special mention goes to Park Cameras (UK) who loaned me the Ricoh GR IV and made this review possible.

One final, and significant, entry for the 'cons' column is that the list price has been hiked by around 20% over the GR III's, depending on where you live (the GR III originally cost $999 / £899 in 2019). I firmly believe that $1,150 / £1,000 is a much fairer price for the GR IV than $1,500 / £1,200 / AU$2,200.

What has caught my eye, however, is Ricoh announcing that a GR IV Monochrome is in the pipeline, which would be the first black-and-white-only camera in the series. I'm a fan of the black-and-white profiles in these cameras, and I shoot the majority of my pictures in monochrome, so this niche version could well be my next camera purchase.

🇬🇧 The Ricoh GR IV costs £1,199 at Park Cameras

Ricoh GR IV compact camera in user's hand — (Image credit: Future / Tim Coleman)

Ricoh GR IV: price and availability

Launched on August 20, 2025
Announced alongside the new Ricoh GF-2 flash
Priced at $1,499 / £1,199 / AU$2,199

The Ricoh GR IV was first unveiled in May 2025 and went on sale from August, with a launch price of $1,499 / £1,199 / AU$2,199. That's an approximately 20% mark-up over the GR III, depending on which region you live in.

I wish the GR IV had a built-in flash, but in its absence Ricoh has done the next best thing, launching a new GF-2 flash that sits in the GR IV's hotshoe and is suitably tiny. It wasn't available to me while I was testing the camera, so I'm yet to use it, but it's also compatible with GR III cameras (with reduced funtionality) so I expect I'll be buying one.

Ricoh GR IV: specs

Ricoh GR IV Specs
Sensor	APS-C, 5-axis stabilization
Resolution	26MP
Video	1080p up to 60fps
Lens	18.3mm (28mm equiv.) f/2.8-16
Screen	3.0in, 1.04m-dots
Dimensions	109.4 x 61.1 x 32.7 mm
Weight	262g (with battery + card)
Battery life	250 shots (approx)
Memory	microSD, internal 53GB

Ricoh GR IV: design

Slim body and refined grip give a secure and comfortable single-hand hold
Easily slips into a pocket
Still no built-in flash or weather sealing
Internal storage upped from 2GB to 53GB
Fixed touchscreen can be hard to see in bright light

The GR IV might look largely the same as the GR III, but there are design tweaks to the new camera that add up to improve the overall handling.

Its width and height are essentially the same, meaning the GR IV will still easily slip into a trouser pocket – the same can't be said for the bulkier Fujifilm X100VI. What's new, and seriously impressive, is that Ricoh has slimmed down the GR IV compared to the GR III, while keeping the grip depth the same.

The GR IV immediately felt different in the hand to me, having been so used to the GR III – the slimmer body and refined grip give a secure and comfortable hold with just one hand, however you're holding the camera. It's a tiny design tweak that makes a big difference – I often want to shoot with one hand using my GR III, but to do so comfortably I've had to attach a separate thumb grip.

Ricoh has reverted back to the ± button that was on the GR II, but dropped from the GR III. This can control the likes of exposure compensation, and overall it's a welcome return, even if I found myself tapping the button all too easily.

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Ricoh GR IV compact camera on a wooden table, with strong sidelight and dark shadows — (Image credit: Future / Tim Coleman)

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Close up of the Ricoh GR IV compact camera's video button — (Image credit: Future / Tim Coleman)

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Closeup of the Ricoh GR IV compact camera's rear controls — (Image credit: Future / Tim Coleman)

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Closeup of the Ricoh GR IV compact camera's USB-C port — (Image credit: Future / Tim Coleman)

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Ricoh GR IV compact camera on a wooden table, with strong sidelight and dark shadows, view of the back — (Image credit: Future / Tim Coleman)

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Ricoh GR IV compact camera on a wooden table, facing up, lens active — (Image credit: Future / Tim Coleman)

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Ricoh GR IV compact camera on a wooden table, facing up, lens closeed — (Image credit: Future / Tim Coleman)

Three of my top wishes as a GR III user interested in this successor sadly remain elusive – there's no built-in flash, tilt screen, or weather sealing. Those upgrades alone would have had me reaching for my wallet.

A built-in flash would be supremely helpful for portraits at parties – without one, I wouldn't really use the GR IV in such scenarios. Ricoh has, as mentioned, announced the tiny GF-2 external flash, which is an accessory I will absolutely look into purchasing.

I find the fixed touchscreen of my GR III hard to see clearly in bright light, and it doesn't make low-angle shooting easy. A tilt screen would help no end, but sadly this is another potential upgrade that didn't materialize.

However, it's the lack of weather sealing that's the real kicker for me. I've taken my GR III in for minor repairs twice in the years I've had it – cheap repairs for seized buttons, caused by moisture ingress – while the pop-out lens is beginning to struggle on start up. Ricoh says there is better sealing in the new lens, but besides this, build quality is the same. As such, I'd be conscious of the need to look after the GR IV, which is something I don't want to think about with an everyday camera that's in my pocket.

To Ricoh's credit, there are other upgrades. The internal storage has been upped from 2GB to 53GB, and there's a larger-capacity battery inside too, even if this has necessitated a switch from SD card to micro SD, which is a fiddly card slot on the GR IV.

Ricoh GR IV: features and performance

New 26MP sensor with improved 5-axis stabilization
Speedier start-up time and longer battery life
(Unchanged) 1080p video is an afterthought

If you're unfamiliar with the Ricoh GR series of digital compacts, then you'll probably struggle to spot meaningful upgrades in the GR IV over the GR III – and the former camera is six years old now, having been released in 2019.

For those like me that are familiar, however – and I suspect that's many of you reading this review – the headline upgrade is the new 26MP sensor.

Sure, a 2MP bump from 24MP to 26MP is hardly worth mentioning, but the improved 5-axis stabilization certainly is, and in my opinion it's a key improvement. The GR III has less effective 3-axis stabilization.

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Ricoh GR IV sample gallery: big ben at night with a London red bus light trail in front — (Image credit: Future / Tim Coleman)

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Ricoh GR IV sample gallery: commuters in a busy London train station, those moving are blurred — (Image credit: Future / Tim Coleman)

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Ricoh GR IV sample images - London underground, the train's movement is blurred — (Image credit: Tim Coleman)

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Ricoh GR IV sample images - blurred movement of commuters in london underground — (Image credit: Tim Coleman)

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Ricoh GR IV sample gallery: a busy London street, moving people are blurred — (Image credit: Future / Tim Coleman)

I was able to shoot handheld images with a shutter speed as slow as one second, and for most shots at half a second, and detail still looked sharp. This offers the potential for creative long-exposure effects and can improve low-light image quality, assuming you don't need to freeze movement. Check out a few long exposure effect images in the gallery above.

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Ricoh GR IV sample gallery: a lone tree on a hillside of a common, black and white — (Image credit: Future / Tim Coleman)

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Ricoh GR IV sample images - trees ina clearing, black and white photo — (Image credit: Tim Coleman)

The GR IV isn't short of color profiles either. I'm a fan of the hard monotone profile which produces punchy black-and-white images with an infrared photography-like effect (see the punchy sky images in the gallery above). At other times, I was drawn to the cinema color profiles for a gritty effect which suited nighttime images across London. In the gallery of images below, I've used a range of these color profiles.

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Ricoh GR IV sample images - backlit smoke exiting a ventilation pipe on a London street at night — (Image credit: Tim Coleman)

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Ricoh GR IV sample images - classic car parked up in front of victorian houses in London at night — (Image credit: Tim Coleman)

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Ricoh GR IV sample images - outside a London bar at night — (Image credit: Tim Coleman)

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Ricoh GR IV sample images - London skyline at night — (Image credit: Tim Coleman)

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Ricoh GR IV sample images - commuter standing a reading a book while waiting for a train — (Image credit: Tim Coleman)

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Ricoh GR IV sample images - commuter on underground — (Image credit: Tim Coleman)

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Ricoh GR IV sample images - London commuters — (Image credit: Tim Coleman)

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Ricoh GR IV sample images - London commuter — (Image credit: Tim Coleman)

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Ricoh GR IV sample images - grafittied underpass — (Image credit: Tim Coleman)

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Ricoh GR IV sample images - blurry image of commuters running to catch a train — (Image credit: Tim Coleman)

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Ricoh GR IV sample images - big ben in London across the thames at night — (Image credit: Tim Coleman)

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Ricoh GR IV sample gallery: man in winter jacket with a patch of light illuminating one side of his face — (Image credit: Future / Tim Coleman)

There's a macro photography setting, which reduces the minimum focus distance and enables proper close up photography. This, as like with GR III cameras, is another string to the GR IV's bow.

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Ricoh GR IV sample images - closeup of a mushroom from the ground level — The macro photography setting is totally usable and makes the GR IV an even more versatile snapper. This shot is taken with the aperture set to f/2.8 (Image credit: Tim Coleman)

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Start-up time has been improved too, not that the GR III was a slouch. I had the GR III and GR IV side by side and turned the cameras on at the same time, and the GR IV was ready to go a fraction quicker – it makes a real difference for an everyday camera with which you'll often want to be ready to shoot quickly. If this was a wild west showdown against most other cameras, the GR IV would be busting open the saloon doors and demanding a victory whiskey.

I can't say the same for autofocus performance. Ricoh has improved autofocus speed and reliability from the GR III, but not by much. The AF assist light helps in low-contrast lighting, as do additional focusing modes added to the series via firmware updates in recent years, such as new zone-focusing options, but it would be generous of me to Ricoh to say better autofocus is a reason to upgrade here.

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Closeup of the Ricoh GR IV compact camera's open battery door — (Image credit: Future / Tim Coleman)

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Ricoh GR IV compact camera on a wooden table, alongside its battery — (Image credit: Future / Tim Coleman)

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Closeup of the Ricoh GR IV compact camera's hotshoe — (Image credit: Future / Tim Coleman)

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Underside of the Ricoh GR IV compact camera, on a wooden table — (Image credit: Future / Tim Coleman)

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LCD screen of the Ricoh GR IV compact camera — (Image credit: Future / Tim Coleman)

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Person holding the Ricoh GR IV compact camera up to their chest — (Image credit: Future / Tim Coleman)

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Ricoh GR IV sample images - man in window light — One of the many occasions that autofocus missed the mark (Image credit: Tim Coleman)

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Ricoh GR IV sample images - blurred london street scene — One of the many occasions that autofocus missed the mark (Image credit: Tim Coleman)

Battery life sees a decent improvement. There's a new larger-capacity unit inside which delivers a 20% bump in shot life. Still, where the GR III has poor battery life at around 200 shots, the GR IV's is only less poor at 240 shots. Personally, though, I think limited battery life is completely forgiveable for such a small camera, and it's impressive that Ricoh has squeezed a better battery into what is actually a fractionally smaller camera.

Overall, there are some decent improvements in the GR IV, depending on how and what you like to shoot.

Should I buy the Ricoh GR IV?

Ricoh GR IV compact camera in user's hand with wooden slats in the background — (Image credit: Future / Tim Coleman)

Buy it if...

You want a truly pocketable camera with supreme image quality
The 5-axis stabilized 26MP APS-C sensor and refined 28mm lens are a superb combo for photo-philes.

You want an everyday carry that isn't your phone
Slipping into a pocket, the GR IV is a camera that you can carry with you almost everywhere – just don't take it to the beach.

Don't buy it if...

You shoot a lot in low light
With no built-in flash and autofocus that can struggle at times, the GR IV has its limitations in low light.

You want an indestructible camera
Ricoh says it has improved the sealing of the lens to repel dust ingress, but the camera isn't weather sealed, and as such you need to look after it – as I know from my experience with my GR III!

You shoot a lot of video
Maxing out at 1080p, video recording is very much an afterthought in the GR IV. It's nice to have all the same, but you'll be better off using your phone.

How I tested the Ricoh GR IV

Park Cameras loaned me the camera for several weeks
I shot 1,000-plus photos in RAW + JPEG
I carried the camera every day, using it in a range of scenarios

I used the Ricoh GR IV regularly for around three weeks, with thanks to Park Cameras (UK) for the loan. During this time I took over 1,000 photos, documenting everyday life and of course playing with the various color profiles and creative techniques possible with the GR IV.

I pushed the limit of the camera's stabilization, taking handheld long-exposure photos. I shot photos of the same scenes at different apertures to assess the quality at each setting, and checked for lens distortions.

I noted how many photos I could take with a fully charged battery, and in general I've looked after the camera rather than push it in adverse conditions. I bring several years of experience with the Ricoh GR series into this review, most recently as an owner of the GR IIIx.

First reviewed November 2025

I tested the Ricoh GR IV compact camera — it’s a surprising upgrade, for good and for bad

3:36 pm |

Author: admin | Category: Cameras Compact Cameras Computers Gadgets | Comments: Off

Ricoh GR IV: two-minute review

A word of thanks

A special mention goes to Park Cameras (UK) who loaned me the Ricoh GR IV and made this review possible.

🇬🇧 The Ricoh GR IV costs £1,199 at Park Cameras

Ricoh GR IV: price and availability

Launched on August 20, 2025
Announced alongside the new Ricoh GF-2 flash
Priced at $1,499 / £1,199 / AU$2,199

Ricoh GR IV: specs

Ricoh GR IV Specs
Sensor	APS-C, 5-axis stabilization
Resolution	26MP
Video	1080p up to 60fps
Lens	18.3mm (28mm equiv.) f/2.8-16
Screen	3.0in, 1.04m-dots
Dimensions	109.4 x 61.1 x 32.7 mm
Weight	262g (with battery + card)
Battery life	250 shots (approx)
Memory	microSD, internal 53GB

Ricoh GR IV: design

Slim body and refined grip give a secure and comfortable single-hand hold
Easily slips into a pocket
Still no built-in flash or weather sealing
Internal storage upped from 2GB to 53GB
Fixed touchscreen can be hard to see in bright light

The GR IV might look largely the same as the GR III, but there are design tweaks to the new camera that add up to improve the overall handling.

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Ricoh GR IV: features and performance

New 26MP sensor with improved 5-axis stabilization
Speedier start-up time and longer battery life
(Unchanged) 1080p video is an afterthought

For those like me that are familiar, however – and I suspect that's many of you reading this review – the headline upgrade is the new 26MP sensor.

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There's a macro photography setting, which reduces the minimum focus distance and enables proper close up photography. This, as like with GR III cameras, is another string to the GR IV's bow.

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Overall, there are some decent improvements in the GR IV, depending on how and what you like to shoot.

Should I buy the Ricoh GR IV?

Buy it if...

You want a truly pocketable camera with supreme image quality
The 5-axis stabilized 26MP APS-C sensor and refined 28mm lens are a superb combo for photo-philes.

You want an everyday carry that isn't your phone
Slipping into a pocket, the GR IV is a camera that you can carry with you almost everywhere – just don't take it to the beach.

Don't buy it if...

You shoot a lot in low light
With no built-in flash and autofocus that can struggle at times, the GR IV has its limitations in low light.

You shoot a lot of video
Maxing out at 1080p, video recording is very much an afterthought in the GR IV. It's nice to have all the same, but you'll be better off using your phone.

How I tested the Ricoh GR IV

Park Cameras loaned me the camera for several weeks
I shot 1,000-plus photos in RAW + JPEG
I carried the camera every day, using it in a range of scenarios

First reviewed November 2025

I tested the Enlaps Tikee mini+ 4K timelapse camera – it’s a breeze to use, but the extra costs sure do add up

5:00 pm | December 18, 2025

Author: admin | Category: Cameras Computers Gadgets | Comments: Off

Enlaps Tikee mini+: one-minute review

Enlaps Tikee Mini+ top and front view — (Image credit: James Abbott)

Specialist timelapse cameras may sound like a niche, but they can be an absolute necessity: if you're planning on capturing long-term timelapse videos of constructions, industry or nature, over days, weeks, months or even years, you’re going to need something specialist like the Enlaps Tikee mini+.

The Tikee mini+ is easily one of the best timelapse cameras available, and is capable of capturing 4K timelapse videos with interval times between five seconds and 24 hours. This is a camera that works best over an LTE or WiFi network with remote access and control, but you can also control the camera with the Tikee Remote app over Bluetooth.

The camera is easy to use, being pretty much a point-and-shoot. It’s also waterproof, so it can be used both indoors and out without a housing, which is great. Battery life can last up to four months with the camera set to a 10-minute interval, and can be extended with a separately available solar panel; the mini+ can also be plugged into a wall socket or charged via USB-C.

The mini+ is priced reasonably at €799, which at the time of writing converts to $923 / £701 / AU$1411. That's for the camera only, but there is a kit that includes a case, a microSD card, a spirit level, a mounting arm, a lock and other accessories. This kit costs almost double the amount of the camera only, and feels expensive. You'll need to fork out an extra €459 (around $538 / £400 / AU$815) if you require Enlaps' solar panel too, which is another separate purchase.

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Enlaps Tikee Mini+ lens — (Image credit: James Abbott)

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Enlaps Tikee Mini+ bootm view — (Image credit: James Abbott)

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Enlaps Tikee Mini+ side view — (Image credit: James Abbott)

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Enlaps Tikee Mini+ With a spirit level on top of the camera — (Image credit: James Abbott)

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Enlaps Tikee Mini+ rear ports — (Image credit: James Abbott)

Enlaps Tikee mini+ specs

Enlaps Tikee mini+ specs
Type:	1/2.3in Sony sensor
Lens angle of view:	120 degrees
Aperture:	f/2.8
Interval times:	5 sec–24 hours
Connectivity:	LTE, WiFi, Bluetooth
Camera dimensions:	125 x 125 x 70mm / 5 x 5 x 2.75in
Camera weight:	7.9oz / 224g (without battery)
Housing weight:	1kg / 4.4lbs

Enlaps Tikee mini+: Design

Compact size
Simple design
No built-in solar panel

The Tikee mini+ features a simple design with just a couple of buttons on the rear alongside a microSD card slot, a USB-C port, a micro SIM slot and a power connector. The power connector design makes it waterproof when the camera is either plugged into the mains or a solar panel, although the plug itself isn’t waterproof. Unlike the Tikee 4, there’s no built-in solar panel, but you can purchase a solar panel separately to extend capture times.

Size-wise, the mini+ is roughly about the size of two soda cans side by side, at 5 x 5 x 2.75in / 125 x 125 x 70mm, with a weight of 4.4lbs / 1kg. The weight is negligible because it’s not a camera that would ever be used handheld, and it’s not too heavy for a wide range of supports in any case. The built-in 25,600mAh battery accounts for much of the weight.

Other exterior features on the white plastic body include a metal hoop to attach an anti-theft cable, rubber strips on the bottom so it can be positioned on flat surfaces and a standard 1/4in screw thread for attaching it to tripods and other supports, including mounting arms. For long-term projects, a mounting arm and an anti-theft cable will be useful accessories for compositional continuity and of course for security.

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Enlaps Tikee Mini+ Kit case — (Image credit: James Abbott)

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Enlaps Tikee Mini+ inside the kit case — (Image credit: James Abbott)

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Enlaps Tikee Mini+ plug — (Image credit: James Abbott)

The build quality is excellent, and the camera feels solid with an attractive yet simple design overall. It’s also rated at IP66 weather resistance, so it can stand up to everything the weather can throw at it, with operating temperatures between -10 and 50 degrees Celsius.

With such a simple design, the mini+ is controlled via the Tikee Remote phone app or the myTikee website. For the latter, the camera will either need to be connected to a WiFi network or have a SIM card installed. Being connected to a network is how you get the most out of the camera because you can access your captures remotely and create new capture sequences.

If you aren’t connected to a network, the camera can still be controlled with the Tikee Remote app over Bluetooth. One quirk of this, however, is that once a sequence has been initiated, the connection between the phone and camera drops after a short time. It’s no major issue, but you have to reconnect to check progress or to manually stop the sequence.

The camera lens is on the front of the white body, and there’s no screen on the camera to compose shots. Instead, there is a live preview available when connected to WiFi and LTE networks with the Tikee Remote app, but not when you’re shooting over Bluetooth, which is a shame because it would be extremely useful. The feature assumes you’ll be connected to a network.

Enlaps Tikee mini+: Performance

Unbelievably easy to use
Several field of view options
Designed for low light

When you consider the pitfalls of setting up timelapse capture with mirrorless cameras – not least getting exposure settings correct and the flickering you inevitably capture – you’ll be forgiven for thinking that a dedicated timelapse camera is complex. The reality is that the Enlaps system is one of the easiest I’ve ever used. Camera control is easy, and timelapse assembly/ creation on the My Tikee website is pretty much automated.

The camera features a 12MP Sony 1/2.3in sensor with 1.55μm pixels and an f/2.8 aperture. The full resolution of the camera is 4032x3024px. The lens provides a 149-degree diagonal field of view with Fisheye 120 degrees, Dewarp 90 degrees and Dewarp 110 degrees shooting modes.

Of these three options, only Dewarp 90 degrees captures images that don’t suffer from barrel distortion. Timelapse intervals are available from 5 seconds to 24 hours in Long-term mode, and from 5 seconds to 45 seconds in Event and Burst modes.

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Enlaps Tikee Mini+ field of view example — Fisheye 120 degrees (Image credit: James Abbott)

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Image quality is excellent overall and superior to many competitor cameras, although backlit scenes can be problematic since there’s no exposure compensation available. You can, of course, make adjustments to footage in this area using video editing software. Plus, you can capture the photos that make up timelapses in Raw and/or JPEG, so with the former, you have greater scope for editing.

When shooting in low light and at night, the mini+ switches into Low Light Mode, which is optimized for low light and is claimed to produce brighter and less noisy images. Exposures are capped at two seconds in this mode. Image quality in this mode is better in lower light conditions, such as indoors with artificial lighting, than it is at night. Although night scenes with more artificial light are much better than darker, less well-lit scenes.

Enlaps Tikee mini+ timelapse video

One point to make here is that you can only upload JPEGs to the myTikee website to output timelapse videos, so if you capture Raw files they will have to be converted first. myTikee is incredibly easy to use, and without a subscription, I was able to output a basic video with a watermark. To take advantage of more features, you can pay $45 per month plus VAT for the basic subscription, $96 plus VAT for the more useful option, or there’s a bespoke on-demand option with no pricing publicly available.

There are also storage and AI Dashboard subscriptions available at $49 and $99 (excl VAT), respectively. AI Dashboard is for timelapse analysis of a range of elements within scenes, such as vehicles and PPE, etc. Basically, when you buy the camera, you’re buying into a subscription-based system, so you have to be aware of this before you invest. However, this is a professional timelapse solution, so cost may not be an issue for many people who require a camera of this type.

The videos I captured were in a 4:3 ratio (1920x1440) rather than 16:9. I could have zoomed into the video to crop to a 16:9 ratio and export at 1080p in video editing software, if I were able to download a full-resolution timelapse without a subscription. As it was, this was the highest resolution available for download.

Should you buy the Enlaps Tikee mini+?

Buy it if...

You value simplicity

The Enlaps system is incredibly easy to use; from capture to combining images into timelapse videos, everything is a breeze.

You’d like cloud control

If you’d like to connect to a timelapse camera remotely, this is a great option with app and browser-based control available.

You’d want to shoot long-term projects

For long-term projects such as construction sites, a dedicated timelapse camera is the best option by far.

Don't buy it if...

You don’t want a subscription

To get the best out of the Tikee mini+ camera, you’ll need a myTikee cloud subscription, and they’re not cheap.

You don’t plan on long-term capture

This is a timelapse camera that’s designed for long-term capture indoors and out, so for shorter captures, a standard action or mirrorless camera is ideal.

You’d like shorter intervals

The minimum interval possible with the mini+ is five seconds, so you’ll need around an hour of capture for a 30-second timelapse.

How I tested the Enlaps Tikee mini+

Tested using a Bluetooth connection
Used to capture shorter timelapses
Tested in a busy city

I tested the Tikee mini+ in shorter bursts rather than for long-form timelapse capture, as testing it to the extremes of its potential for longer-term capture could take months.

I used my smartphone for Bluetooth connection rather than installing a SIM card for remote access to the camera. I tested the mini+ in a busy city to capture as much movement in the scene as possible, and in low-light situations.

With nearly 30 years of photographic experience and 17 years working as a photography journalist, I’ve used many of the cameras and lenses that have been released in that time. As a working photographer, I aim to test cameras and lenses from a photographer’s point of view.

First reviewed December 2025

Nikon ZR review: cinema cameras just got a major new player

8:00 pm | December 17, 2025

Author: admin | Category: Cameras Computers Gadgets Video Cameras | Tags: LCD | Comments: Off

Nikon ZR: two-minute review

The new Nikon ZR is the first in a new line of Nikon / RED cinema cameras, and instantly makes Nikon a major new player in this space, capable of going to toe-to-toe with Sony, Canon, Blackmagic and Panasonic.

Nikon only acquired RED Digital Cameras 18 months ago, and it's made fast work of producing the surprisingly polished and capable ZR, adorned with Z Cinema Camera and Nikon / RED branding, and available for a tantalizing price that significantly undercuts rivals.

It packs a bunch of Nikon Z6 III tech, including the same 24MP partially stacked full-frame sensor, 5-axis image stabilization, subject-detection tracking autofocus and more, into an extremely compact, weather-sealed cinema camera body.

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We get 6K 60fps video with internal RAW recording, with any one of nine industry-favorite RED color profiles baked in – that's the Nikon / RED amalgamation truly bearing fruit – plus 4K 120fps and Full HD 240fps slow-motion recording.

Handily, shutter angle can be set automatically to 180 degrees, so there's no need to mess around with manual exposure settings, plus the shutter angle can be set to any position between five and 360 degrees manually, should you wish.

Nikon ZR camera with mic attached under low key magenta lighting — The Nikon ZR with new ME-D10 shotgun mic attached – the mic supports the camera's 32-bit float audio capture skills (Image credit: Tim Coleman)

We don't get open gate video recording as in some rivals like the Canon EOS C50, but the ZR has another trick up its sleeve: hold the camera vertically, and its UI automatically rotates, with the vertical orientation embedded in the video files and automatically detected in Nikon's editing software, delivering full-resolution vertical video.

The ZR is the first camera of its kind with internal 32-bit float audio capture, plus what Nikon says is the best-quality internal mics yet – a triple mic combo with Ozo audio and a choice of five directional pickup patterns, including binaural.

Alongside the ZR, Nikon has launched the ME-D10 directional mic (you can see it slotted into the camera's hotshoe in the image above), which is compatible with the camera's 32-bit float capabilities.

This is also the smallest cinema camera I’ve used, yet it still squeezes in a large, brightest-in-class 4-inch vari-angle touchscreen which could do away with the need for attaching a bulky external monitor – which is something I would do with other cameras that feature a smaller 3-inch display. Naturally, there's no viewfinder.

Rear of the Nikon ZR camera under low key magenta lighting — Nikon has put both its own and RED's branding on the ZR, together with Z Cinema Camera (Image credit: Tim Coleman)

Given its tiny size, there are compromises. We don’t get some of the pro connectivity found in other pricier compact cinema cameras – for example there’s only a micro HDMI port, not a full-size one. However, if you still feel the need to use an external monitor even with the large 4-inch built-in display, all you'll need is a micro-to-full-size HMDI adaptor to get connected.

SmallRig Advanced Cage Kit for the ZR

SmallRig kindly sent me its dedicated Zr rig for this review, and you can see the setup in the images below. The SmallRig Advanced Cage Kit costs $164.99 at B&H Photo (US) or it costs £149.90 at SmallRig (UK).

Sadly, the ZR lacks mounting points for video accessories and, with no grip, you’ll definitely want to rig it up with a grip or a cage for a better hold. That means forking out for ZR-dedicated gear – Nikon outsources to leading accessory maker SmallRig.

However, at just $2,199.95 / £2,199.99 / AU$3,499, no other cinema camera comes close to the ZR for video features – and this aggressive pricing will soften the blow of any additional outlay on accessories.

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Nikon ZR product photos – inside a dedicated SmallRig cage, held by user — (Image credit: Tim Coleman)

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Nikon ZR product photos – inside a dedicated SmallRig cage — (Image credit: Tim Coleman)

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I can see the Nikon ZR as a go-to b-cam for many pros, especially those already shooting with a RED camera, for whom the color profile matching will make for a seamless workflow. That said, this is a capable video camera in its own right too.

The Nikon ZR is an incredibly capable and polished compact cinema camera with world-first features, and an exciting first step into the filmmaking space for Nikon. After the ZR launch, Nikon announced at IBC in Amsterdam that it's making video lenses (most Z lenses are designed primarily for photography), so it's clearly gunning to be taken seriously. If it were to launch a higher-end cinema camera with pro connectivity to sit above the ZR, then Nikon will truly find its footing in this space.

Top plate of the Nikon ZR camera under low-key magenta lighting — The compact body is the smallest in this class of cinema camera, with a fairly simple control layout (Image credit: Tim Coleman)

Nikon ZR: price and release date

Costs $2,199.95 / £2,199.99 / AU$3,499
There will be various accessory bundles, TBC
Sales started in October

The Nikon ZR costs $2,199.95 / £2,199.99 / AU$3,499. At that price it significantly undercuts rivals – such a feature set is typically found in cameras that cost around 50% more, and more often in cameras closer to twice the price, even if design-wise it has more in common with the Sony ZV-E1 which is closer in cost.

That said, there are no video accessories included, and you'll want to fork out for some in order to enjoy the ZR's handling and feature set to its full potential. These will likely include a grip and / or cage, plus Nikon's new ME-D10 directional mic, which is compatible with the camera's 32-bit float audio format.

Nikon doesn't make its own accessories such as grips or rigs, relying on third parties such as SmallRig to supply those (see prices in the boxout above).

The Nikon ZR went on sale in October 2025.

Nikon ZR camera under low key magenta lighting — The ZR is compact cinema camera for run-and-gun filmmaking – an ideal b-cam (Image credit: Tim Coleman)

Nikon ZR: specs

Video	6K up to 60fps, Raw internal
Photo	24MP full-frame
Lens mount	Nikon Z
Autofocus	Dual Pixel CMOS AF II
Screen	4-inch, 3.07m-dot, vari-angle
Viewfinder	N/A
Weight	19oz / 540g (body only)
Battery	EN-EL15 (same type as Nikon Z6 III / Z8)

Nikon ZR: Design

Smallest and lightest cinema camera of its kind; weather-resistant
Large 4-inch, 3.07m-dot touch LCD with brightest in-class display, no viewfinder
No mounting points for accessories
3x internal mics, Ozo audio with five directional pickup patterns

As far as I know, the Nikon ZR is the smallest and lightest camera of its kind, weighing just 19oz / 540g (body-only). It's also weather-resistant, which is a rarity in the cinema camera world.

There are pros and cons resulting from the tiny dimensions. Drawbacks include enthusiast-level connectivity, like micro HMDI rather than full-size (though you only need an adaptor to remedy this), and the absence of a grip or mounting points for accessories. A camera like the Canon EOS C50 feels more high-end, given its pro-level connectivity.

It feels best to keep things simple with the ZR, making the most of its compact body and powerful features by minimizing the number of accessories in play. A grip is the one accessory I would absolutely look into buying, while if you want to rig up the ZR you'll need a cage, which will in turn allow you to attach accessories such as lights and mics – Nikon has partnered with SmallRig to create grips and cages for the ZR (pricing above).

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Nikon ZR camera, no lens, under low key magenta lighting — (Image credit: Tim Coleman)

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Nikon ZR camera with its screen flipped out, under low key magenta lighting — (Image credit: Tim Coleman)

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Despite its tiny body, the ZR packs a large 4-inch touch display. As such, I don't really see the need for attaching a bulky external 5-inch monitor. It certainly helps that the ZR's 3.07m-dot display is wonderful bright and vivid – the brightest in its class, says Nikon. I've used the ZR in a studio and outdoors, and have been seriously impressed.

Other cinema cameras, like the Sony FX3 and Canon EOS C50, only have 3-inch displays, while the Blackmagic Cinema Camera 6K has a mega 5-inch unit. In the case of the Sony and Canon models, I'd absolutely want to add a monitor to my setup.

As great as the screen is – a real standout feature – it's only a flip-out screen. You can't tilt the screen with it tucked up neatly into the camera body, only when it is flipped out. There are unique benefits to both types, but some filmmakers would probably rather a tilt screen instead. There are a few cameras with 4-axis (dual hinge) displays which offer both, such as the Panasonic Lumix S1 II and Sony A7 V.

The camera's top plate is pretty simple: there's a photo / video switch (though sadly the UI remains the same whichever setting you're in, rather than there being dedicated menus for photo and video), record button with rocker, plus three buttons for accessing items such as display settings.

The rear is dominated by the large touch display, which when folded away reveals the Nikon / RED branding. Beside it are a joystick for controls such as autofocus point selection, a menu button (a quick press brings up the main menu and a long press brings up the quick menu, which is a nice touch) and a playback button.

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Nikon ZR product photos – camera on a wooden table — (Image credit: Tim Coleman)

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Nikon ZR product photos – camera on a wooden table, rear with screen folded away — (Image credit: Tim Coleman)

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Nikon ZR product photos – camera on a wooden tablem screen flipped out — (Image credit: Tim Coleman)

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Nikon ZR product photos – camera on a wooden table, close up of top buttons — (Image credit: Tim Coleman)

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Nikon ZR product photos – camera on a wooden table, port doors open — (Image credit: Tim Coleman)

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Nikon ZR product photos – camera on a wooden table, screen flipped out — (Image credit: Tim Coleman)

Battery life promises to be okay, given that the ZR uses the same EN-EL15 battery as the Nikon Z6 III and Nikon Z8. There are no vents or cooling fans, though, which would normally suggest that a camera of this type would be prone to overheating during long recording sessions.

I've recorded short and long clips during my in-depth testing, and haven't run into overheating issues, but I haven't really, really pushed the camera. However, Nikon says the camera's magnesium alloy body is a natural heat sink, and promises that long record times are possible – up to 125 minutes of 6K in one take – and based on my experience with previous Nikon cameras I have no reason to doubt it.

There's exciting tech under the hood, too, namely a totally new Ozo audio setup, which comprises three mics. Together, these offer five directional pickup patterns, including front narrow (like a shotgun mic), front wide, rear and binaural 3D stereo.

Nikon says this Ozo system is the best internal mic setup of any camera, and it's supported by a world-first: in-camera 32-bit float audio capture. Nikon's new ME-D10 shotgun mic, released at the same time as the ZR, supports 32-bit float audio too. Those are impressive audio features for any camera, let alone one at this price point.

Nikon ZR: Performance

6K up to 60fps, 4K up to 120fps, Full HD up to 240fps
Internal RAW recording and RED color profiles (up to nine in-camera at any time)
Subject-detection autofocus and 5-axis image stabilization
24MP stills, partially stacked full-frame sensor

For the most part, the Nikon ZR has the same photo and video specs as the Z6 III (which we awarded five stars out of five in our in-depth review), which means a full-frame partially stacked 24MP sensor equipped with 5-axis image stabilization.

Add in decent subject-detection tracking autofocus and the ZR is a capable stills shooter, although while this is useful for on-set stills, the main focus of my testing is of course the ZR's video chops.

Like the Z6 III, the Nikon ZR shoots 6K up to 60fps, 4K up to 120fps and Full HD up to 240fps. There's the option for shooting internal RAW with a 12-bit color depth, or keeping things simple and baking in the look at capture with 10-bit recording.

Given the array of creative styles and color profiles on board, which includes space for up to nine RED color profiles at any one time, you might just feel happy to skip shooting RAW, with its large file sizes and grading demands, and use one of the many baked-in color profiles instead to save editing time and space on your hard drives.

I shot a variety of video clips during a half-day session with a drummer in action inside a studio, including 6K RAW, a few of the RED profiles baked in, and 240fps slow-motion – see my sample video, above. In this setting, the ZR delivered some superb-looking video. Outside of the studio, the ZR continued to impress me.

Including image stabilization certainly bolsters the ZR's handheld use credentials, but I've shot with other cameras recently with better stabilization for video, such as the Lumix S1 II.

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A male drummer in a dark studio, holding drums sticks with arms folded, neon lights in background — (Image credit: Tim Coleman)

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Nikon ZR sample images – musicians in a classsic interior; a violinist, double bass and accordian — (Image credit: Tim Coleman)

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Nikon ZR sample images – man seated infront of neon lit wall — (Image credit: Tim Coleman)

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Nikon ZR: testing scorecard

Nikon ZR
Attributes	Notes	Rating
Price	Incredible value considering the features on board, if not the pedigree of design	5/5
Design	Designed to be as compact as possible, it misses pro-level connectivity, but comes with a 4-inch screen	4/5
Performance	Long record times, powerful audio recording options, average image stabilization	4.5/5
Image and video quality	6K video up to 60fps, internal RAW recording, RED color profiles – the results can be stunning	4.5/5

Should I buy the Nikon ZR?

Buy it if...

You want maximum video bang for buck
Majoring on video features, the ZR can deliver stunning 6K video and crisp audio.

You want a compact body for on-the-go video
The smallest camera of its kind but with a bright and large 4-inch screen that eliminates the need for an external monitor, the ZR is the ultimate portable package.

Don't buy it if...

You want pro-grade design
Yes it's weather sealed and sturdy, but the ZR lacks some of the pro-level video camera features such as mounting points.

You prefer a tilt screen
The ZR's screen is fabulous, but it's only a flip-out one. If you want the 4-axis tilt and flip-out design, there are alternatives like the Lumix S1 II

Nikon ZR: also consider

Canon EOS C50

Canon announced the EOS C50 just a day before the Nikon ZR. It costs around 50% more, but comes with a top grip. In many ways the two cameras' video features are similar, including video resolution, maximum frame rates, internal RAW recording and autofocus. However, the Canon camera feels slightly more high-end with pro connectivity, while in the ZR's favor are its compact size, larger touch display and, impressively, its sensor-based stabilization.

See my Canon EOS C50 reviewView Deal

Blackmagic Cinema Camera 6K

The Blackmagic Cinema Camera 6K is pretty much the same price as the Nikon ZR, and in many respects has similar video features: a full-frame sensor with 6K video, 12-bit internal RAW recording and dual base ISO. It also packs a mammoth 5-inch display and has a solid choice of L-mount lenses. However, its slow-motion recording is more limited, while autofocus performance isn't a patch on Nikon's. It's also much bulkier and heavier.

See our Blackmagic Cinema Camera 6K reviewView Deal

Sony FX3

The Sony FX3 is an industry-favorite compact 4K cinema camera with superb low-light skills, thanks to its 12MP full-frame sensor. Like the ZR, it's designed to be rugged, with accessories such as its (bundled) top handle. It has the pro connectivity you'd hope for, excellent battery life, and a wide range of video lenses. However, its video recording feels somewhat dated compared to the ZR's 6K internal RAW, and it's practically twice the price. In some ways, the ZR has more in common with the Sony ZV-E1 which uses the same sensor as the FX3, but in a more enthusiast-level compact body.View Deal

Top of Nikon ZR camera under low key magenta lighting — (Image credit: Tim Coleman)

How I tested the Nikon ZR

I had an initial half a day with the ZR in a studio, follwed by a Nikon-hosted event at the IBC show, and then for an extended loan period at my own leisure
I paired the ZR with multiple Nikon Z lenses and tried out the new ME-D10 mic
I've used the camera handheld without any accessories, but also in the dedicated SmallRig cage

I had the opportunity to shoot with the Nikon ZR for half a day ahead of its launch, using it for an indoor stage-lit shoot of a drummer in action. Nikon supplied an array of Z-mount lenses for the shoot, of which I used a few primes and zooms. The new ME-D10 directional mic was also available on the day.

There followed another shoot experience with Nikon at the IBC show, and consequently a long loan of several weeks. SmallRig supplied me with its Advanced Cage kit for that extended review period.

During my test time, I have shot in 6K RAW, 240fps slow motion, and to try out various color profiles, focusing on the RED looks.

I have plenty of experience using rival cinema cameras such as the Sony FX3, so I'm well equipped to make an informed initial assessment of the ZR. That said, cinema cameras need to prove themselves as tools their users can rely on shoot after shoot, which is not something anyone has had the luxury of yet with the camera being so new.

First reviewed: September 2025
Read more about how we test

I tested the Sachtler Ace M MS Mk II video tripod, and it’s the best set of legs for the modern content creator

6:00 pm |

Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Tags: DSLR | Comments: Off

Sachtler Ace M MS Mk II: two-minute review

Many years ago I worked in a camera store, and a regular topic of conversation was how to make tripods sound exciting to customers.

Admittedly, they are accessories that many photographers see as necessary tools, but not ones worthy of the same attention as the latest cameras and lenses. I doubt every photographer would be as actively vocal about a new tripod as they might the release of the Canon EOS R6 Mark III, Leica M EV1, or even an action camera like the DJI Osmo Action 6.

Every so often, however, a tripod comes along that truly defines what every content creator should aspire to own in a camera support. These are the models that usually make it onto our list of the best tripods guide.

Some tripods, like the fabulous Manfrotto One hybrid photo and video tripod, hit the headlines due to their mainstream appeal, while others quietly fill a gap in the market for specific uses and a tightly-targeted customer base, and the Sachtler Ace M MS Mk II is one such model.

Before diving into what makes this set of legs the best for shooting video, it’s important to understand how a video-centric tripod differs in its features compared to one made solely for stills photography.

Unsurprisingly, a photo tripod is all about providing the ultimate stability for sharpness in a single frame. You need these models to allow you to precisely place the camera for a stationary composition. With a video tripod, meanwhile, you need the freedom to move the camera during a shot, to create a cinematic pan that follows the subject.

You need to keep the target in the frame as it moves through the scene, while maintaining smooth, fluid movement that isn’t jerky or rife with distracting micro-vibrations. If you're shooting with one of the best 4K cameras or best cameras for professional filmmaking, you want to ensure the quality of your footage isn't let down by your tripod.

The Sachtler Ace M MS Mk II video tripod — The Sachtler Ace M MS Mk II has a rugged aluminum construction with high-grade plastic joints and control knobs (Image credit: Future/ Peter Fenech)

Video models also have a greater provision of accessory attachment points, which allow the user to add audio and lighting equipment, a larger external monitor or teleprompter, for example. The Sachtler Ace M MS Mk II has three 3/8-inch accessory mounting points arranged around the tripod bowl, which not only enables multiple accessories to be added to your system but also allows you to select a position for the optimal balance of the setup.

Speaking of stability and balance, the Ace M MS Mk II features a mid-level spreader to prevent leg creep under the weight of a heavier cine camera system and to ensure that all of the legs are properly spaced. The camera level changing between shots is a pain for photographers, but a potential disaster if it happens mid-video clip. The unit on the Ace M MS Mk II is sturdily constructed, and easily removed when it’s not required.

I’ve always preferred a mid-level type, rather than ground-level, which might provide good stability in a studio setting but quickly becomes an obstruction and speed killer when on location. It’s ideal that such a spreader is removable, giving users the stability needed for high payloads, but the flexibility to spread the tripod and capture lower-level shots.

The Ace M MS Mk II an aluminum tripod, rather than carbon fiber, and with an aluminum design there is always going to be a weight penalty. None of Sachtler’s tripods could be described as lightweight, but this is not uncommon for video models; indeed, it’s necessary to provide the proper support for the larger gear they will be paired with.

Yet at 4.4kg, the Ace M MS Mk II is still highly manageable compared to other professional video products. The Manfrotto MVH502A, for example, weighs in at 11.7lbs / 5.3kg while supporting up to a 22lbs / 10kg payload. Meanwhile, the Sirui BCT-3203 matches the Sachtler’s weight exactly despite being made from carbon fiber.

Build quality is impressive throughout, from the aluminum tubes of the legs themselves to the high-impact plastic of the control points and bowl surrounds. All of the materials are solid to the touch, notably the plastic components, which have very little give when depressed. All threads and screws are precisely milled, and didn’t exhibit any sticking or slipping when operated during testing.

I liked that there didn’t seem to be many potential points for moisture and dirt ingress. Unlike the common stacked multi-segment leg design seen in many photo tripods, where one section collapses into the other, possibly taking contaminants with it that can cause seizing over time, most moving components are external and can be accessed on the Ace M MS Mk II. This makes cleaning and maintenance easier, and less likely to be neglected post-shoot.

Functionality is also excellent. The many dials, knobs, and locks take some familiarization when you first use the tripod, but every control is smooth and logically placed. The friction controls for both head pitch and pan movements are exceptionally effective, allowing fluid motion in dynamic footage. Meanwhile, when locked, static clips were sharp and generally vibration-free, at least in moderately still air.

The less rigid microstructure of carbon fiber means it has fewer resonant properties, so it transmits less vibration to the tripod head. Despite this, the overall weight of the aluminum Sachtler Ace M MS Mk II made it more resistant to wind buffeting than my Gitzo carbon tripod, and I was able to capture sharper images once the wind speed increased.

Similar to the excellent Manfrotto One hybrid tripod, the legs of the Ace M MS Mk II can be extended with a reduced number of actions. Rather than having to unlock each leg section individually, unscrewing the mid-level locks raises the head to chest height, and then the lower section can be further extended with the secondary screw locks. It’s not quite as smooth an operation as the Manfrotto One, but it still wins points for speed.

I must also give a mention of the tripod feet, which are both tough and easy to adjust. By simply rotating them on their screw thread, you can reveal or retract the spikes within, depending on the terrain type on which you plan to use the legs. It might sound like a minor point, but I really appreciate that they are also bright red. The weakness of this screw-thread design is that it’s not too difficult to over-loosen a tripod foot, which then detaches, and standard black rubber feet are easy to miss – I’m ashamed to add up how many tripod feet I’ve ‘misplaced’ like this over the years. Perhaps I’m just careless, but in the heat of a rapid shoot, where you're changing locations a lot, the highly visible color is a thoughtful touch.

Sachtler Ace M MS Mk II: key specs

Maximum height:	66.5 inches / 169cm
Closed height:	30.7 inches / 78cm
Bowl size:	75mm
Materials:	Aluminum
Max payload:	8.8lbs / 4kg
Leg sections:	Two
Tilt Range:	90 to -75 degrees
Attachment points:	3x 3/8-inch accessory threads
Weight:	9.7lbs / 4.4kg

Sachtler Ace M MS Mk II price and availability

The Sachtler Ace M MS Mk II video tripod was launched in April 2024 and is available from several specialist photographic retailers, bundled with the Ace M Fluid Head and flowtech®75 Mid-level spreader. The cost of the kit is $985 / £858 / AU$1,545.

The tripod is available across major markets, in the USA, UK, and Australia, although as this is a specialist video accessory it can be trickier to find at some mainstream retailers, or it is listed but with limited availability. We sourced examples at Adorama in the United States, WEX in the UK, and Videocraft in Australia.

Sachtler Ace M MS Mk II: Also consider

Manfotto One hybrid tripod

The Manfrotto One is probably the best alternative option if you shoot both video content and still photos. It combines several features catered for each type of user. While it lacks a spreader, it does feature a rapid extension system and a balancing center column.

Read our Manfrotto One hybrid tripod review

Should I buy the Sachtler Ace M MS Mk II?

Buy it if...

Video content is your primary focus
The Sachtler Ace M MS Mk II is a video-oriented product from the ground up, so you'll find plenty of tailored features for motion content creation. The included spreader, quick set-up speed, and fluid head are the ideal tools for pro-looking video.

You use a mirrorless camera system
The 4kg payload limit might not be enough if you regularly use a large camcorder or interchangeable lens video camera system. If, however, you make lots of content with your mirrorless system, such as a Canon EOS R5 Mark II, or Sony A7 V, the load-weight balance is perfect.

Don't buy it if...

You don't use lots of accessories
The tripod is designed to support a modular system of accessories, which is in part what you're paying for. If you don't plan on using an external monitor, or a rig such as a Magic Arm, these attachment points will be somewhat wasted on you.

You're a vlogger
While vlogging still requires a good-quality camera support, if you're used to a POV style of filmmaking, you might find the bulk and weight of the Sachtler Ace M MS Mk II more of a hindrance than a help.

How I tested the Sachtler Ace M MS Mk II

I spent approximately one month testing the tripod in a variety of weather conditions
I used the tripod to support my camera in various locations, across multiple types of terrain
I mounted a variety of camera types on the tripod to test stability, from a lightweight mirrorless system to a pro DSLR

To ensure I got a representative idea of the capabilities of the Sachtler Ace M MS Mk II, I took it out on location with me several times over several weeks. These shoots covered landscapes, coastal shots, woodland scenics, and even low-light cityscapes.

I captured video footage and examined frame grabs to assess sharpness in windier conditions or when water was moving around the tripod feet. I also shot some long-exposure still images to get a better picture of the type and direction of vibrations, where present.

I tried using the legs with and without the spreader fitted. I placed the feet on different terrain conditions as a routine part of my test shooting, including waterlogged soil, sand, and concrete. I also used the tripod at various heights to test how stability and vibration absorption changed as the legs were extended.

First reviewed December 2025

I tested Leica’s divisive M EV1 — it’s easier to the eye, but loses some of that rangefinder soul

3:33 pm | December 15, 2025

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Comments: Off

Leica M EV1: two-minute review

The Leica M EV1 concept is polarizing: strip out the optical rangefinder that Leica M cameras have been famed for for over 70 years, and replace it with an electronic viewfinder (EVF).

It's yet another example of Leica tweaking and evolving its tried and tested rangefinder series design, however, and another reason that the oldest active lens mount still in production today has many years of life still in it.

You'd think the whole experience of taking photos with the M EV1 would be wildly different – but in fact, for me, in many ways it isn't.

Technically speaking, the Leica M EV1 shares many similarities with the Leica M11 / M11-P and Leica Q3 / Q3 43) – all use Leica's 60MP full-frame sensor, which delivers the most detailed photos among full-frame cameras.

It's like a Leica Q3 / Q3 43 premium compact but with Leica's M mount, which felt pretty intuitive to me straight away, as I've used other Leica M series and Leica Q series cameras extensively.

Man holding the Leica M EV1 camera's viewfinder up to their eye, autumn leaf backdrop — (Image credit: Tim Coleman)

I can see the appeal for many Leica fans already in camp M EV1 – it has useful elements of Leica's Q series (minus autofocus, tilt screen and video recording), combined with the versatility of the Leica M mount and a wide choice of lenses. For some, that's the best of both worlds.

On the plus side, the EVF offers focus peaking, which is an extremely useful visual aid for manual focusing; trust me, it will increase your percentage of sharp shots compared to being guided by Leica's optical rangefinder, at least when you're manually focusing in the moment, rather than sticking to a set focus distance as some street photographers do. You lose a little of that old school rangefinder magic, but the EVF is way more practical in my experience.

Build-wise, there's greater similarity with the M11 – not just the M mount and interchangeable lenses, but also the control layout and fixed rear screen, although I'd rather have more Q3 attributes in the design.

Rear of the Leica M EV1 camera, on a wooden table with glass-panelled door backdrop — The EVF has a slightly different profile to the optical rangefinder in other Leica M cameras, but the 2.95-inch fixed screen is the same as the M11's (Image credit: Tim Coleman)

For me, the Q3’s tilt screen is super-useful – I generally find myself switching between the viewfinder and rear screen, and I enjoy waist-level shooting for street photography, for which a tilt screen is hugely useful.

That meant I used the 5.76m-dot viewfinder more often with the EV1, and thankfully it works a treat. Rangefinder-style cameras like the EV1 are fairly inconspicuous too, making them ideal for street photography.

There is of course the other camp, for whom the M EV1 is the worst of both worlds, for whom the M EV1 makes less sense as a package. Sure, it costs less than the M11, but it costs more than the Q3, which is much more camera, with its built-in lens, autofocus, tilt screen and video recording. It's a natural comparison when you take the optical rangefinder out of the equation.

Leica M EV1 camera on a wooden table with glass-panelled door backdrop — The Leica M EV1 with Leica 35mm f1.4 Summilux-M Asph lens attached (Image credit: Tim Coleman)

The M EV1 makes sense in some ways, especially if you already own multiple Leica lenses, but if you're starting out, or generally shoot with one or two lenses, it doesn't.

Nuts and bolts, the M EV1 makes less sense when I talk about it. However, I have to go with my gut, having used the camera extensively with the Leica 35mm f1.4 Summilux-M Asph lens for a week. I thoroughly enjoyed the experience. Yes, it feels slightly less organic than the M11, but if you don't mind an EVF then the EV1 feels like the new Leica M camera to go for.

Leica M EV1 camera in user's hands, autumn leaf backdrop — The M EV1 is a compact and discreet rangefinder-style camera, making it ideal for reportage photography. (Image credit: Tim Coleman)

Leica M EV1: price and release date

Costs $8,995 / £6,840 / AU$13,990 for the body only
Additional leatherette hand grip costs $460 / £340
Available from October 23, 2025

Price-wise, the Leica M EV1 sits in between the Leica M11 and Leica Q3, which makes sense because an EVF is cheaper to manufacture than an optical rangefinder.

Ultimately, the EV1's list price makes the Q3 / Q3 43 feel like much better value, especially if you're not going to be swapping lenses a lot. The Q3 is much the same camera, for less, with additional features – and you get a built-in lens.

With the EV1, you're paying for the luxury of being able to swap lenses, and every Leica lens costs in the thousands.

Personally, if I had a spare $14,000 / £12,000 for Leica camera gear, I'd rather pick up both the Leica Q3 and Leica Q3 43 over the EV1 with a lens such as the 35mm f/1.4 Summilux, which together cost the same as two Q3s.

The M EV1 is supplied with a black leather strap.

Price score: 3/5

Leica M EV1 camera in user's hands — There's no grip on the M EV1, but an additional leatherette hand grip is available separately (Image credit: Tim Coleman)

Leica M EV1: specs

Video	N/A
Photo	60MP full-frame
Lens mount	Leica M
Autofocus	N/A – manual focus only
Screen	2.95-inch fixed touchscreen, 2.3m-dot
Viewfinder	5.76m-dot EVF
Weight	17oz / 484g (body, including battery)
Battery	244 shots (Leica BP-SCL7)

Leica M EV1: Design

Compact rangefinder design
5.76m-dot EVF instead of an optical rangefinder
Modest-size 2.95-inch fixed touchscreen

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Leica M EV1 camera on a wooden table with glass-panelled door backdrop, no lens attached — Yes it's a Leica M... without the rangefinder! (Image credit: Tim Coleman)

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Rear screen of the Leica M EV1 camera on a wooden table with glass-panelled door backdrop — The control layout is super minimal (Image credit: Tim Coleman)

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Top plate of the Leica M EV1 camera, which is resting on a wooden table with glass-panelled door backdrop — There's no ISO dial, which you'll find in the top left of Leica M11 cameras (Image credit: Tim Coleman)

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Underside of the Leica M EV1 camera, on a wooden table with glass-panelled door backdrop — There's USB-C charging for the 1,900mAh capacity battery (Image credit: Tim Coleman)

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Right side profile of the Leica M EV1 camera

The right side of the camera (Image credit: Tim Coleman)

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Left side profile of the Leica M EV1 camera

The left side of the camera – there are no connections whatsoever (Image credit: Tim Coleman)

The obvious place to start when talking about the M EV1's design is its viewfinder, which is the same 5.76m-dot EVF found in the Leica Q3. It's also placed in the corner of the camera where the rangefinder traditionally sits, easily accessed with your right eye.

I was shooting with Leica's 35mm f/1.4 Summilux lens for this test, often wide open at f/1.4 where depth of field is really shallow, and getting sharp manual focus is historically a challenge with Leica M cameras. This changes somewhat with the M EV1.

Focus peaking is indeed supremely helpful for this manual focus-only camera, outlining the hard edges of your subject that's in focus – I had the camera set to red focus peaking, which in general is the color most easily seen. However, you shouldn't totally rely on the accuracy of focus peaking, especially with a shallow depth of field.

Focus magnification gives you a closer look, making it much easier to make fine adjustments and ensure sharp focusing where it matters, assuming you have time to use it. My ratio of in-focus shots has been much higher using the M EV1 than I would expect with a camera like the M11.

Leica M EV1 sample gallery: two people walking under an umbrella in London — Even with an EVF, a manual focus-only camera will keep you on your toes. Here my reactions weren't up to speed – a mirrorless camera with subject detection autofocus would have nailed this photo (Image credit: Tim Coleman)

As a rangefinder-style camera, the EV1 is really compact, plus the shutter action is dampened for minimal vibration and noise, making for discreet picture taking.

The 2.95-inch rear screen feels a little on the small side, and being fixed it's less useful that a moveable screen, say a tilt or vari-angle type. The quality and feel of the display is top-drawer, though – with 2.3m dots it's packed with detail, and touch response feels smooth.

With the screen being less useful than I would like – I prefer the Q3's tilt screen – I leaned more into using the viewfinder, which is a lovely experience, even if traditionalists will turn their nose up at such a digital display. Sure, you lose a little of the rangefinder magic, but the EV1 is a more practical not just for focusing but also composition.

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Closeup of the Leica M EV1 camera's viewfinder — (Image credit: Tim Coleman)

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Close up of the Leica M EV1 camera's rear buttons — (Image credit: Tim Coleman)

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Close up of the Leica M EV1 camera's control dial — (Image credit: Tim Coleman)

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Like all high-end Leica M cameras, the EV1 is made in Germany and the body is fully metal – both aluminum and magnesium, with a leatherette finish. This is a classy bit of gear.

The style, profile and control layout of the EV1 are largely familiar – this feels like an M11, save for the omission of an ISO dial (which is a real shame) and of course that new type of viewfinder. I'm a fan of minimalist design, and thoroughly enjoyed shooting with the EV1.

Design score: 4/5

Leica M EV1: Performance

Manual focus only
Poor battery life
Content credentials included
4.5fps for up to 15 RAWs

Battery life, I must say, is pretty poor by today's standards, rated up to 244 shots. It's little wonder given that the camera uses Leica's BP-SCL7 battery with its modest 1,800mAh capacity.

Still, the M EV1 isn't the kind of high-speed photography and video-making heavyweight with which users would quickly drain a battery. The photography process here is slow and considered, and as such I typically got through a whole day without needing to charge the battery (which is done via the USB-C port on the underside of the camera).

Burst-shooting top speeds are a modest 4.5fps. The buffer memory is rated to 3GB, which means you can shoot 15 full-size raw files or 100 JPEGs at that top speed before the camera slows up, assuming you're using a high-speed UHS-II SD card. Put simply, this is no high-speed shooter.

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Close up of the Leica M EV1 camera's battery door — I love the dual-lock design of the battery door, which is unlocked using the lever, and then fully released by pushing the battery back in a little. (Image credit: Tim Coleman)

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Close up of the Leica M EV1 camera's battery door, battery removed and placed next to the camera — Battery capacity is pretty low by today's standards (Image credit: Tim Coleman)

Following the Leica M11-P, the EV1 is equipped with content credentials, which is the most widely adopted industry standard for authenticating the origin of digital images. It does so through a secure digital label, holding details such as names, dates, and any edits made to an image’s metadata.

GPS geotagging data can also be added to images via the Leica Fotos app, which is available on the Apple store and Google Play store for iPhone and Android devices. It's also possible to wirelessly transfer images to your device from the M EV1 through the app, as well as remotely control the camera.

I tested the EV1 before its official launch, which meant that it wasn't registered on the Leica Fotos app. However, I have plenty of experience with the app, such as with the screen-less M11-D, and it's one of the more reliable and pain-free app experiences from leading camera brands.

Performance score: 3.5 / 5

Leica M EV1: Image quality

Same 60MP sensor as the M11 and Q3, with digital crops
Manual focus only
No video recording

If you want a detail-rich full-frame camera there are none better than those that use this 60MP sensor, as Leica's current crop of M cameras do, along with the Sony A7R V.

Leica offers two digital crop modes: 1.3x and 1.8x, with a reduced 36MP and 18MP resolution respectively. With the 35mm lens I had for this review, those crops give a perspective equivalent to 45mm and 63mm lenses.

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Leica M EV1 sample gallery: busy Oxford Circus underground station entrance — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: street scene in London reflected in a puddle — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: inside a Joe the Juice cafe — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: outside a London pub at dusk — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: two red phone boxes in London — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: wait sign illuminated in London street — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: man leaning against pedestrian crossing wait light — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: noodle restaurant window — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: Regent Street Cineman London at dusk — (Image credit: Tim Coleman)

The ISO sensitivity range starts at ISO 64 and tops out at ISO 50,000, so images taken in good light with the base ISO are particularly clean and crisp.

Leica uses the widely adopted DNG raw format, with a 14-bit output and a limited number of color profiles to choose from – I mainly stuck to standard profile, and made color edits to raw files afterwards.

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Leica M EV1 sample gallery: close up of heather — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: mushrooms growing out of a fallen tree — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: portrait of main with autumn trees. in background — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: young girl gazing towards forest — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: M&M candy being passed around — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: large mushroom growing out of a dead tree — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: autumnal forest — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: girl giving grass to a horse — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: close up of a horses's mane — (Image credit: Tim Coleman)

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Leica M EV1 sample gallery: man partly in shade and light by window — (Image credit: Tim Coleman)

Sticking with the Leica M ethos, the EV1 doesn't shoot video at all. For video recording with a Leica, you'll need to look to the Leica Q series.

Would it have harmed Leica's reputation to add video recording to an M mount camera for the first time, in the same swoop as an EVF? No! I think the same video recording skills as a Q3 series camera could have been an excellent string to the M EV1's bow.

To conclude, assuming you nail focusing and are using one of Leica's high-quality M mount lenses, then photo quality is top drawer.

Image quality score: 4.5 / 5

Leica M EV1: testing scorecard

Leica M EV1
Attributes	Notes	Rating
Price	Less than an M11 bur pricier than the Q3, the M EV1's price was predictable	3.5/5
Design	All the premium hallmarks of Leica M, but with one new bold design change that makes sense for some	4/5
Performance	The EVF has a hit on battery life, while burst shooting speeds are slow	3.5/5
Image quality	There's no better full-frame sensor for outright image quality (backed up with Leica glass), but video recording is absent	4.5/5

Should I buy the Leica M EV1?

Buy it if...

You own Leica M mount lenses
No Leica lenses? The Q3 could be a better pick. But if you already own Leica lenses, the M EV1 could be the next step in your Leica journey.

It's time for a more practical Leica M
Perhaps your eyesight isn't what it once was, or you're simply wanting a Leica M that's easier to use – the EV1's EVF could make all the difference.

Don't buy it if...

You love the Leica M soul
Yes the hands-on experience with the M EV1 feels largely familiar to other Leica M cameras, but there's no denying it loses a little of the old school soul.

You expect a comprehensively modern digital camera
An EVF makes the M EV1 the modern Leica rangefinder, but it still lacks autofocus, video recording and a handy moveable screen.

Leica M EV1: also consider

Leica Q3

If you're considering the M EV1, then you're probably already okay with using an EVF. And unless you already have a bunch of pricey Leica lenses, the Q3 and / or Q3 43 premium compacts feel like a wiser pick overall – you get the same 60MP sensor but also a built-in lens, the ability to switch to autofocus, a versatile tilt screen, and video recording. Oh, and both Q3 models cost much less.

See my Leica Q3 reviewView Deal

Leica M11

Design-wise there are two key differences between the M11 and M EV1; the viewfinder type – the M11 has an optical rangefinder, while the M EV1 has a 5.76m-dot electronic viewfinder – and the M11 features a handy ISO dial that's missing on the EV1. Besides that, the user experience and image quality are effectively the same. The EV1 costs less than the M11, though.

See our Leica M11 reviewView Deal

How I tested the Leica M EV1

Leica loaned me the M EV1 for a week ahead of its launch
I had one lens to test it with – the Leica 35mm f1.4 Summilux-M Asph
I've used the M EV1 as an everyday camera, documenting the world around me

My experience with the Leica M EV1 was wonderfully simple. I had it close to hand for a whole week ahead of the global announcement, with the Leica 35mm f1.4 Summilux-M Asph lens attached to it the whole time.

I'm a fan of this lens for reportage photography, and naturally found myself documenting the world around me, mostly making use of the EVF and focus peaking to manually focus.

Of course, there's a decent range of Leica M lenses to choose from, making the most of the M EV1's design advantages over the Leica Q3 premium compact with its fixed lens.

First reviewed: October 2025
Read more about how we test

I’m a professional photographer and the Manfrotto One is the greatest tripod I’ve ever used

3:00 pm | December 10, 2025

Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Manfrotto One hybrid tripod: two-minute review

As soon as you pull the Manfrotto One out of its box, you can tell this is a tripod unlike any other. I’ve used many professional tripods over the years, such as the 3 Legged Thing Punks Brian 2.0 and Gitzo tripod Traveler series 1, but this feels less like a support for your camera gear and more like the center point of an entire system. An extension of the photo kit itself.

If you plan to use the Manfrotto One to its maximum advantage, then you’re likely a serious content creator, working professionally and on demanding assignments. And for such people, everything about the legs is geared towards ultimate stability.

The weight alone will reveal it isn’t made with an entry-level mirrorless camera in mind, rather professional camera bodies and motion-centric gear, amongst the best full-frame cameras and best cameras for video in 2025. I used a range of models with the tripod, from an older pro-level mirrorless setup, via a Leica Rangefinder system, to a medium-format camera. In each case, the legs felt perfectly balanced.

The extra mass of the center column pulls the center of gravity back to the mid axis of the legs, so that even when using a bulky f/2.8 telephoto zoom lens, the setup never felt like it might topple forward, something I always have to be conscious of when using other Manfrotto aluminium and Gitzo carbon fiber travel tripods.

The Manfrotto One hybrid tripod outside — The Manfrotto ONE feels ideally balanced when using both heavy and lightweight camera systems. When using the former, it can easily support the weight, while it won't be easily blown over with the latter (Image credit: Future/ Peter Fenech)

Build quality is of the highest grade. There’s a solidity that is almost intimidating, and I wouldn’t advise leaving the Manfrotto One unsecured on the back seat of your car, for fear of the consequences should you firmly apply the brakes. Both aluminum and carbon fiber variants are available, although I only had time with the former.

During my tests the tripod was exposed to a wide range of weather conditions, from the dampness of a peat bog to the harsh salinity of the Tyne and Wear coastline. I was able to quickly and easily wipe the feet and legs clean with no sign of unexpected water or debris ingress. The same ruggedness applies to every knurled screw, flap, and locking mechanism.

Close up details of the Manfrotto ONE hybrid tripod outside — The aluminium version of the tripod was used during this review. The legs were easy to keep clean and felt hard-wearing during use in wet and salty conditions (Image credit: Future/ Peter Fenech)

The Manfrotto 500X Fluid tripod head in an outdoor setting — The 501PL sliding plate. As is visible in the image, if the plate is attached to a smaller camera in the recommended direction, it can be tricky to operate the lens controls (Image credit: Future/ Peter Fenech)

Unless you regularly inflict your tripods to 30m vertical drops, with the proper maintenance I can see the Manfrotto One outliving many of its owners.

Earlier, I mentioned the weight and while this does provide stability, it might prove challenging if you have to carry the tripod far, especially if you have the optionally bundled 500X Fluid Head attached. This alone weighs 1.22 kg, so it isn’t a system for the average holiday shoot. In fact, it may even be a challenge to transport it on-location along with a full system of camera bodies and lenses, if you work alone. I often do and found it necessary to set up for my shoot in two stages; firstly, I put up the legs and attached the head and handle, then I returned to the car to retrieve my camera.

However, if this sounds like a major deal-breaker, it’s important to remember that Manfrotto has designed this product to cater for both photographers and videographers, removing the need to carry two separate tripods for each function. This effectively streamlines the modern content creator’s gear bag and brilliantly plugs a gap in the market.

To that end, the Manfrotto One has a few exotic handling features. Starting with the Fast Leg Technology, the traditional clip or twist locks for leg extension are replaced with a single vertically flipping lever lock per leg. With one action, all three leg sections are unlocked so you can simply lift the head to the desired height and close the levers to fix the legs in place. This makes it exceptionally quick to raise and lower the head, in those moments where individually unlocking each section would cost you successful shots.

The downside is that you need to be able to support the weight of the tripod until you safely close each clip. Ideally, I’d recommend setting up the legs before attaching the head, which is made easy with the next clever innovation.

The XCHANGE quick-release system allows the 500X Fluid Head to be mounted directly onto the XCHANGE base of the center column, a bayonet-like fitting comprising multiple spring-loaded attachment points. To remove the head all the user has to do is rotate the locking ring anti-clockwise. This works almost instantaneously and is by far the most rapid head exchange system I’ve seen in a tripod. You’ll need an XCHANGE-ready head, of which there are not too many examples currently available, or you can adapt another using an XCHANGE base and plate adaptor setup.

The Q90 and modular column system is not new to the Manfrotto range – I was a fan of the design on my now ancient 190XPROB – but it’s great to see it put to use in a professional tripod of this level. By pressing the base of the center column the user can rotate it by 90 degrees, quickly positioning the camera for flat-lay shots, vertical-orientation panoramas, and dynamic video transitions.

Since the movement is rotational, you’ll still have to watch out for parallax error between panorama frames (where the relative distance between the subject and background changes between segments, introducing stitching challenges), but it’s helpful when speed is of paramount importance. Videographers, meanwhile, will enjoy spinning the camera around a fixed point to introduce movement to their footage. The best option for regular pano creators is to buy an L-bracket to minimize parallax further, or to use a shift lens.

The levelling column is a huge feature for the video-shooting audience. It’s mounted on a ball fixture, so that by flipping up a clamp that’s handily engraved with ‘LVL’, the whole assembly can be pivoted until the head is perfectly aligned with the horizon. On other, larger and heavier video tripods, the levelling process is often a multi-step one which is inevitably slower.

As a frequent landscape and macro photographer, probably my favourite feature is the split center column design, the lower section of which can be removed, again with a single action. This enables easy and rapid ground-level work, without having to laboriously screw off the bottom of the column and reattach it when you suddenly need to use the tripod at its maximum height.

Manfrotto One hybrid tripod: key specs

Maximum height:	181cm / 71.3 inches
Closed height:	81cm / 31.9 inches
Minimum height (low mode):	30.8cm / 12.1 inches
Materials:	Aluminium/ carbon fiber
Max payload:	33.1 lb / 15 kg (15.4 lbs / 7 kg in Q90 mode)
Leg sections:	Three
Head compatibility:	Manfrotto XCHANGE
Attachment points:	1x accessory thread, 1x weight hook
Weight:	4.77kg / 10.52lb (aluminium), 4.37kg / 9.63lb (carbon fiber)

Manfrotto One hybrid tripod price and availability

The Manfrotto One was released in June 2025 and is often bundled with the 500X Fluid Head, although it can be purchased as a legs-only option. The aluminium legs cost $499.99 / £375 / AU$900, while the 500X Fluid Head kit costs $679.99 / £519 / AU$ 1,200.

The Carbon Fiber model is also available in the above kits and costs $719.99 / £539 / AU$1,250 for the legs only, and $879.99 / £669 / AU$1,500 with the 500X head.

This represents a good price to buy the 500X Fluid Head, which costs approximately $219.99 / £164 / AU$389.95 alone. Meanwhile, the Manfrotto XCHANGE accessory can be purchased by itself for around $54.99 / £39 / AU$80, and the XCHANGE plate for $21.99 / £29 (AU$ price TBC), allowing other heads to be used with the Manfrotto One legs and vice versa.

Manfrotto One hybrid tripod: Also consider

Peak Design Pro Tripod

Peak Design's travel tripods have gained almost legendary status, and the Pro Tripod range employs the best elements of that series. A great build quality is combined with a portable, lightweight design across three variants. Furthermore, a unique non-tubular leg cross-section allows convenient storage when not in use, making the tripod easy to carry. It's a fairly expensive option, but it is significantly less heavy than both the carbon fiber and aluminium versions on the Manfrotto ONE.

Read our Peak Design Pro Tripod

Sachtler Ace M Mk II

If you shoot video almost exclusively, you may benefit more from a completely motion-content dedicated tripod. This one from Sachtler is currently the best video tripod available, for its balance of price, features, and ease of use. It's extremely stable and well-constructed, with a workable maximum payload of 4kg – ideal for mirrorless and compact video camera users.

My Sachtler Ace M Mk II review is currently in progress

Should I buy the Manfrotto One hybrid tripod?

Buy it if...

You shoot a variety of photo and video work
As suggested by the name, the Manfrotto One is designed specifically for creators who shoot both types of content. Where, before, you might have had to carry multiple tripods, now you can streamline your gear to a single camera support option.

You value speed of operation
The XTEND leg system and Q90 center column function make changing tripod configurations as rapid as possible. Manfrotto has introduced some seriously clever features here, so if you regularly worry about missing shots because your tripod wasn't set up optimally, the Manfrotto One is for you.

Don't buy it if...

You’re a beginner
For the casual shooter or novice creative, there may be too many features here for you to get to grips with. This is a professional tool meant for high-end assignments, and the many controls and functions take some getting used to.

You only occasionally shoot video
...and you're on a tight budget. It's worth the investment if you combine still and motion media, but otherwise you're not going to get the most from the legs if you mainly shoot photos. It's not cheap and it's quite heavy, so there are more easily manageable options.

How I tested the Manfrotto One hybrid tripod

I spent around a month with the aluminum version of the Manfrotto One
I tested its operational speed and efficiency, ease of use, build quality and stability
I tried the XTEND system and 500X head, and mounted various mirrorless cameras and lenses to it, including a bulky f/2.8 zoom

I spent around a month with the Manfrotto ONE, so I had a good amount of time to use it on a variety of shoots, in a mix of conditions. A local heathland is a regular haunt of mine, and this commonly leaves my tripod feet caked in peat-heavy mud. It's also exposed to the elements. The tripod certainly got wet on a few occasions. However, moisture and dirt were readily wiped off, and the feet showed no sign of excessive scratching after use.

The aluminium version I was using did get cold to the touch (a frequent challenge in winter operations), but the Manfrotto One's hard-wearing plastic components made carrying it more comfortable than directly touching the metal.

Shooting in woodland is always tricky for levelling a tripod head, but the XTEND system and ball-mounted center column made controlling the center of gravity straightforward. Using a range of camera systems, at no point was I concerned that it might topple when set up on a hillside.

Meanwhile, after a coastal shoot, I didn't find the legs prone to seizing, which can happen after exposure to salty air. The 500X head, along with the Q90 rotatable column, made switching to portrait orientation for panoramic photography quick and maintained the balance of the system well.

I shot a variety of exposure durations while waves washed over the feet to see how many vibrations were transferred to the head-mounted camera, and the Manfotto One performed well. At both closed and maximum leg heights, there was no more loss of critical image sharpness than one might expect, although I'd quite like to compare the aluminium and carbon fiber versions for this.

First reviewed December 2025

Forget bulky backpacks, this 9L crossbody bag is my top pick for lightweight camera gear – here’s why

4:00 pm | December 7, 2025

Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Ulanzi 9L Camera Sling Bag with Tripod Holder B122: two-minute review

I increasingly find myself on days where I need just a small bag with quick access to camera gear, whether that's a day out with my compact or lightweight mirrorless camera, taking street photos, or work events where I'm shooting TikTok content with a smartphone, supported by wireless mics and portable lighting.

For such times, a backpack is excessive, and with which access to what's inside is typically slow and complicated. No, I need a small holder with quick access to gear, and that's where a bag like Ulanzi’s Camera Sling Bag (9L) is perfect and one of the best camera bags of its kind.

It takes the same crossbody bag form as the bags all the kids are wearing these days, but is also deeply practical (shh, don't tell them). It's larger than your average crossbody bag – aka a sling bag – meaning it's surprising just what can fit inside, without compromising on the advantages of such a bag type.

With it slung over one shoulder and resting on my midriff, right where I can easily unzip and switch gear, I can store a range of equipment. For a photography day, a couple of compact cameras / an enthusiast mirrorless camera with a short prime lens, wallet, phone, snacks, and a small drink (there's a stretch pocket on each side, but I struggled to find a drink container small enough to fit).

For content creation, a smartphone, wireless mic case, portable SmallRig mini LED Video Light 25W (I have two, and they are superb and worth a feature of their own - that's coming), mini selfie stick-cum-tripod / neck mount, phone clamp, mints, comb, the whole shebang. It all fits.

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Man wearing a blue jacket outside with a Ulanzi Camera Sling Bag over his shoulder and resting on his midriff — (Image credit: Future)

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I'm currently using a Xiaomi 15 Ultra for social media video work, and it fits vertically in the Ulanzi sling bag, as do the lights and mini selfie stick-cum-tripod, which means I can fit way more in than if I had to stash them horizontally.

I was surprised to discover the Ulanzi sling bag is large enough to hold a regular tablet too (like a 10.9-inch iPad) – it's positively cavernous – while other nice touches include a hidden AirTag pocket.

Even with all of that gear inside, the Ulanzi sling bag is comfortable on a single shoulder, thanks to its padded strap and snug fit around the torso. It's designed to rest over the shoulder and at midriff height, with the main compartment accessed through the top zip, which runs across the entire width, for easy access.

The bag comes with an internal divider component. It can be laid flat to provide a firm underside and leave the main compartment completely open, or folded in on itself to create three separate compartments, dividing out gear to keep it protected from other items inside. It's great having the choice between open and divided, and that the divider can remain inside for either setup.

Build quality is particularly good - I'm expecting to get several years of use from the bag - the outer polyester material seems rugged. The main zip is weather-sealed and glides easily, too.

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The Ulanzi Camera Sling Bag on a wooden table, zip closeup — (Image credit: Future)

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Close up of the Ulanzi Camera Sling Bag with its zip being opened — (Image credit: Future)

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The Ulanzi Camera Sling Bag on a wooden table, front — (Image credit: Future)

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The Ulanzi Camera Sling Bag on a wooden table, back — (Image credit: Future)

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The Ulanzi Camera Sling Bag on a wooden table, underside — (Image credit: Future)

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The Ulanzi Camera Sling Bag's padded insert on a wooden table — (Image credit: Future)

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The Ulanzi Camera Sling Bag on a wooden table, main compartment open — (Image credit: Future)

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Ulanzi Camera Sling Bag on a window ledge — (Image credit: Future)

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There's no rain cover provided, but I wouldn't expect water ingress – it has easily withstood light showers. Just to be clear, though, I haven't used the bag outdoors in sustained inclement weather, so I can’t vouch for it in those conditions yet.

There are external straps to fix additional accessories to, such as a small tripod on the underside. Side straps are included less so for accessories but rather to provide a grip that makes zipping and unzipping the main compartment a breeze.

Elsewhere, there is a disguised external pocket with a particularly sticky and widespread velcro fastening frontage – ideal for thin items such as a wallet. The cover can be tucked away to expose the velcro, and Ulanzi sells velcro badges to customize the exterior, which is something I didn't do.

Put simply, every aspect of the bag functions as expected. I can't find a single fault with the Ulanzi Camera Sling 9L bag, functionally at least, and it's reasonably priced too. I've found it for $49.95 at Amazon US, and at the time of writing, there's an additional $10 off coupon. Bargain. The price is a little different on the Ulanzi site, but there's international shipping (see details below).

The only criticism I have is subjective - the bag’s appearance. Its plain black exterior won't win any style awards, and I'm not convinced that optional velcro badges help matters. No, this is function over aesthetics.

Looks aside, if you need a small sling bag for day trips with lightweight gear or mobile content creation setups, you can't go wrong with the Ulanzi 9L Camera Sling Bag with Tripod Holder B122, and it fully deserves my highest recommendation.

Ulanzi 9L Camera Sling Bag with Tripod Holder B122: key specs

Type	Sling
Capacity	9L
Size	14.56 x 5.11 x 7.48in / 370 x 130 x 190mm
Weight	1.32lb / 600g
Tablet sleeve	Yes, up to 10.9-inch
Included	Bag, divider, shoulder pad (velcro badges optional)
Material	Polyester Fabric

Ulanzi 9L Camera Sling Bag with Tripod Holder B122: Price and availability

I've found the Ulanzi camera sling bag (9L) on Ulanzi's own website for $61.79 or $67 with velcro badges (which converts to around £47 / AU$93), and international shipping is possible.

It's also available for less at Amazon in the US and Australia, where it costs $49.95 at Amazon US and AU$75 at the time of writing.

Ulanzi 9L Camera Sling Bag with Tripod Holder B122: Also consider

Billingham Hadley Pro 2020

At the opposite end of style and cost is the Billingham Hadley Pro 2020 day bag. With classic looks and a premium price tag, it couldn't be any more different to the Ulanzi sling.

Read our Billingham Hadley Pro 2020 review

Should I buy the Ulanzi 9L Camera Sling Bag with Tripod Holder B122?

Buy it if...

You need quick access to gear

Sitting across the body positioned close to hand, and with one large zip easily opened to access the main compartment, gear will be in your hand in no time.

9L storage is sufficient for your gear

Larger than your regular crossbody bag but much smaller than most camera backpacks, the Ulanzi sling is ideal as a day bag, being able to hold a camera with lens, or mobile content creator gear.

Don't buy it if...

You want a stylish bag

I think it's fair to say that aesthetics are hardly the Ulanzi sling bag's strong suit.

You have bulky gear

Cavernous its 9L storage may be, the Ulanzi sling bag is for lightweight camera gear.

How I tested the Ulanzi 9L Camera Sling Bag with Tripod Holder B122

I tested it for several months
I stored various camera gear and tried various internal configurations
It has seen various weather conditions

The Ulanzi 9L Camera Sling Bag with Tripod Holder B122 has been my go-to day bag for months, for when I need to carry lightweight camera gear and want quick access to that gear, such as for street photography with a mirrorless camera or premium compact camera, to everything I need for filming TikTok content.

It's held everything from a mirrorless camera with a short prime lens to a vlogging camera and mics, portable LED lights, and more. The bag has kept my gear secure on hectic days and in short bursts of inclement weather.

First reviewed December 2025

I tested the Antigravity 360 drone – and only a sky-high price tag brings this unique DJI rival down to earth

5:00 pm | December 4, 2025

Author: admin | Category: Cameras Computers Drones Gadgets | Tags: DJI | Comments: Off

Antigravity A1: one-minute review

The idea of a 360-degree drone may sound like an impossibility, but the Antigravity A1 is exactly that. What’s more, it manages to implement this concept in a sub-250g drone that includes collision avoidance, and which is controlled via 360-degree FPV goggles and a motion controller. You’ll have to read on to discover whether it’s one of the best drones you can buy, but it’s undoubtedly one of the most interesting.

The idea of a 360-degree drone isn’t a new one, and the fact that Antigravity is an offshoot of Insta360 may shed a little light on its pedigree in this department. But this isn’t Insta360’s first experiment in this arena; first, there was an Insta360 / BetaFPV 360-degree collaboration with the SMO 360 camera for some FPV drones. Then there was the Insta360 Sphere, which was a 360-degree camera that attached to the DJI Air 2 and Air 2S.

Both were great ideas, but – no pun intended – they simply didn’t take off as hoped. The Insta360 Sphere was an interesting idea because it attached to a standard camera drone, but operation was fiddly, and it was tied to a drone model that would inevitably become obsolete.

The Antigravity A1 addresses this issue, as the 360-degree camera is built into the drone. You wear FPV goggles with head tracking that give you a 360-degree view during flight, while control is mostly via a motion controller with head tracking of the goggles. One thing I must stress at this point is that the A1 is not an FPV drone. It’s a 360-degree camera drone that uses goggles and a motion controller, rather than a standard controller and phone.

Antigravity A1 unfolded — (Image credit: James Abbott)

Antigravity A1: price and release date

Launched on December 4 2025
Expensive compared to standard camera drones
Three kits available

The Antigravity A1 was launched on December 4, 2025. The drone is more expensive than other sub-250g drones due to the high-quality goggles and motion controller that come with the three available kits. These certainly provide an immersive experience, but it would have been massively more affordable if the drone used a standard stick-based controller with a phone attached, or even a smart controller.

There are three kits available: the Standard Bundle, the Explorer Bundle and the Infinity Bundle. In a nutshell, the Standard Bundle includes the drone, motion controller, FPV goggles and one battery. The Explorer Bundle is all that, but it comes with three batteries, a battery charging hub, a shoulder bag, and spare propellers. The Infinity Bundle is the same as the Explorer, but it includes higher-capacity batteries for longer flight times.

The Standard Bundle costs $1,599 / £1,299 / AU$2,099, the Explorer Bundle costs $1,899 / £1,399 / AU$2,599 and the Infinity Bundle costs $1,999 / £1,499 / AU$2,799. To cut to the chase, you'll want to avoid the Standard Kit because one battery isn’t enough, as it doesn’t provide a long flight duration. The best-value package is the Explorer Bundle, while you can enjoy more flight time by paying a bit more for the Infinity Bundle, if you’re happy for the weight of the drone to exceed 250g.

Price score: 3/5

Antigravity A1: specs

Antigravity A1 specs
Camera:	Dual 1/1.28-inch sensors
Video resolution:	8K
Frame rates:	8K up to 30fps / 5.2K up to 60fps / 4K & 1080p up to 30fps / 4K & 1080p slow motion at 100fps
Video transmission range:	Up to 6.2 miles / 10km (Tested in FCC environments)
Flight modes:	Cinematic, Normal, Sport
Battery:	2360mAh, up to 24 minutes flight time / 4345mAh, up to 39 minutes flight time
Charger type:	USB-C / Battery Charging Hub
Weight:	8.78oz / 249g (10.26oz / 291g with the high-capacity flight battery)
Dimensions:	Folded: 5.56 x 3.79 x 3.20 inches / 141.3 x 96.2 x 81.4mm Unfolded (propellers extended): 12.15 x 15.05 x 3.51 inches / 308.6 x 382.3 x 89.2mm

Antigravity A1: Design

Standard folding mini drone design
Vision googles for a 360-degree camera view
Motion controller

The A1 sports a standard folding design that makes it look a lot like most sub-250g drones, but it also has an undeniably unique look. The two cameras that provide the 360-degree view to effectively make the drone invisible are on the top and bottom of the front section of the drone. This is dampened and has two forward-facing binocular vision sensors that look like cameras.

There's also a downward binocular vision system, alongside a 3D infrared sensor at the bottom of the drone. Without going into exact dimensions, the A1 is the same sort of size as all other sub-250g drones, but where it differs most notably is the retractable landing gear: two legs extend when the drone is switched on and when it’s landing, while they retract when it has taken off.

This functionality keeps the lower camera off the ground, helping to maintain the invisible drone aspect of the camera stitching for clean footage. Furthermore, when you use the Antigravity landing mat, it provides a precise Return to Home point if you choose to use this functionality to bring the drone back to you at the end of flights. It works surprisingly well, too, so no complaints here.

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Antigravity A1 folded — (Image credit: James Abbott)

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Antigravity A1 drone case with the A1 inside — (Image credit: James Abbott)

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Antigravity A1 battery charging hub — (Image credit: James Abbott)

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Antigravity A1 carry bag — (Image credit: James Abbott)

The overall design of the A1 makes it a camera drone, but rather than using a standard controller, the A1 uses a motion controller paired with FPV goggles. The motion controller is easy to use and intuitive, and when you first connect everything, you’re taken through a short and useful tutorial that familiarizes you with the controls.

The Vision Goggles provide the camera view on dual 1.03-inch Micro-OLED screens with a 2560 x 2560px resolution. Yes, that’s square, and quite different to the usual FPV goggle widescreen view, but it works well with a 360-degree drone. I was surprised because I’m much more familiar with FPV goggles offering a 16:9 ratio image, but I found this square view worked well for the A1. The battery for the goggles can be attached to an included and comfortable lanyard that you can conveniently wear around your neck – a well-thought-out and simple solution.

There are also diopters with a range of -5.0 D to +2.0 D, which is great if you wear glasses and need to correct the view to your prescription. Plus, there’s 30GB of internal storage and a microSD card slot for capturing goggle footage. The goggles are comfortable to wear and provide a clear image for flight, while the head tracking functionality provides intuitive control alongside the motion controller.

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Antigravity A1 goggles — (Image credit: James Abbott)

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Antigravity A1 goggle battery and lanyard — (Image credit: James Abbott)

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Antigravity A1 motion controller side view — (Image credit: James Abbott)

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Antigravity A1 motion controller main controls — (Image credit: James Abbott)

There’s also a screen on the front-left of the googles, so people can see the forward-facing camera view while you fly. The downside to a goggles-based approach is that you need a spotter to maintain visual line of sight of the drone while you fly. This makes it much less convenient than a standard camera drone, despite the A1’s immersive and fun flying experience.

The A1 features two battery options, with the 2360mAh option offering up to 24 minutes of flight time, and the 4345mAh option providing up to 39 minutes of flight time. The higher capacity takes the overall weight of the A1 over 250g, so bear this in mind if you plan to opt for the kit with these batteries.

I used standard batteries during testing, and these typically provided around 16 minutes of flight time before Return to Home was automatically initiated. One feature of the batteries that stands out is that you only have to touch the rear end of the batteries and the lights showing the charge level light up – this is rather than pressing a button, as on other drone batteries, and is a subtle yet neat feature.

Design score: 5/5

Antigravity A1: Features and performance

Intelligent flight modes
Solid flight performance
Subject tracking

The A1 flies incredibly well, while the FPV goggles and motion controller approach suit the system. But – and it’s a big but – this does add cost, and requires pilots to have an observer with them to remain safe and legal during flights. Both, you could argue, are a hassle. If Antigravity had taken a standard controller-and-phone approach it would have kept the price down and removed the need for an observer, without sacrificing much, if anything, in terms of flight performance.

You would lose the immersive flight experience, of course, and the two flight modes, FreeMotion Mode and FPV Mode, are enjoyable. The former requires you to point the controller target in the desired direction of flight, while head tracking on the goggles allows you to turn. You can also use a dial on the motion controller to do this. One point I must make is that you should read about how FPV Mode works before flying it, because it’s completely different to FreeMotion Mode, and the drone feels like it’s out of control if you try to use FreeMotion-style control.

FPV Mode isn’t true FPV, but it does allow for more sweeping and flowing drone movements where you simply tilt the motion controller left and right to turn. This was my favorite mode for flight, although I preferred FreeMotion when I needed more precision, such as when flying back to the take-off point to land.

Standard flight modes include Cinematic, Normal and Sport, although even Sport is quite pedestrian in terms of speed and agility. The A1 certainly lacks the excitement of the DJI Avata and Avata 2, but again this isn’t an FPV, drone despite the goggles and controller. This means that flight is fun, but not exciting. With a fly-first, frame-later approach, where you reframe photos and videos in software, you can increase speed here and make the drone appear to dive, flip and roll like an FPV drone to some degree.

I’ve reviewed many drones, and I’m not normally impressed with Quickshots-style automated flight patterns, but the A1’s equivalent, which are called Sky Genie, did impress me. Then there’s Sky Path, which is waypoints, where you can pre-program a flight path and someone else, a non-pilot, can wear the goggles and look around as the drone follows its course. With the goggles, you get a full 360-degree view as you turn around, look up and look down.

Sky Genie modes include Orbit, Spiral Ascend, Comet, Antigravity Line, Fly Away and Ascend. These allow you to achieve flight that’s not possible with the motion controller, which makes them invaluable, particularly in situations when you want to fly around a subject for visually interesting video reframing later.

There’s also a subject-tracking mode that works well once a moving subject is selected. The drone dutifully follows, and like with Sky Genie, the drone does all the work for you, focusing on the subject so you can reframe your video later. This uses Insta360's impressive Deep Track technology. And if you’re looking for a bit of fun, Virtual Cockpit in FPV mode provides an overlay that aims to inject augmented reality fun into flights. At the time of writing, you can fly with a dragon, and more skins will be added in the future. It’s a bit of a gimmick and not for me, but other people may enjoy it.

Performance score: 4/5

Antigravity A1: Image and video quality

Image quality on a par with 360-degree cameras
Fly-first, frame-later approach
Invisible drone technology

Antigravity A1 cameras close up — (Image credit: James Abbott)

If you’ve ever used an Insta360 camera, such as the X5, you’ll find the Antigravity A1 as easy and intuitive to use, since Antigravity is an offshoot of Insta360. What’s more, Antigravity Studio is a reskinned version of Insta360 Studio, so if you’re already familiar with it, you’ll be right at home. There is a learning curve if you’ve never used it, and it takes time to get to grips with the software, but it’s far from rocket science.

The software allows you to reframe the A1’s aerial photos and videos in the same way you can with a standard 360-degree camera. The only difference is that the drone is being flown rather than the camera being held, attached to a selfie stick or something else. This ultimately combines the advantages of 360-degree cameras with the aerial capabilities of a drone.

The dual cameras both feature a 1/1.28-inch sensor and an f/2.2 aperture. These create a 360-degree view where the drone is invisible, so you don’t have to edit it out – just like invisible selfie sticks with standard 360-degree cameras. Photos can be captured in INSP and DNG

formats at a resolution of 14MP (5248 x 2624) and 55MP (10486 x 5248). Shooting modes include Normal, HDR, Burst, AEB and Interval. You can reframe photos in various formats and even create animated photos.

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Photo taken with the Antigravity A1 360-degree drone — (Image credit: James Abbott)

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Video can be captured in 8K up to 30fps, 5.2K up to 60fps, 4K & 1080p up to 30fps and 4K & 1080p slow motion at 100fps. The maximum bitrate is 170Mbps and can be encoded in H.264 or H.265. Photo and video editing can take place in the Antigravity phone app or the Antigravity Studio Desktop app. The former has more templates for creating reframed videos, which is a shame because it would be great to see these available on the desktop app, where working with 8K footage makes more sense.

Reframed video

Image quality is great for a 360-degree camera – it’s what you’d expect, and capturing photos and videos in the highest resolutions possible allows you to maximize image quality. I shot in Auto mode when capturing both photos and videos, and found that the A1 did a great job in all light conditions; the exposure was balanced. The downside to this, compared to shooting in manual, of course, is that shutter speed can change during video capture.

Animated photo

Image quality isn’t, however, on par with standard camera drones – in the same way standard 360-degree cameras aren’t as good as standard action cameras. This has always been the case, and the trade-off for being able to capture an all-encompassing field of view at up to 8K. 8K, while it produces huge file sizes, isn’t as high-resolution as it sounds when you realize it’s the entire 360-degree view, as opposed to a 16:9 view at 4K or above with standard camera drones.

Image and video quality score: 4/5

Antigravity A1: testing scorecard

DJI Mini 5 Pro
Attributes	Notes	Rating
Price	The A1 is expensive as a result of the goggle-based approach.	3/5
Design	While the overall design is fairly standard, there are some innovative and unique aspects to the drone.	5/5
Performance	Excellent all-round performance, but flight feels quite pedestrian in terms of speed and agility.	4/5
Image and video quality	Great image quality in 360-degree terms, but not as good as a standard camera drone.	4/5

Should I buy the Antigravity A1?

Buy it if...

You'd like a 360-degree drone
It goes without saying that if you would like 360-degree photo and video capture in a drone, the A1 is the only option available.

You’d like an immersive flight experience
If you’d like an immersive flight experience without the speed and risk of FPV drones, the A1 blends camera drone flight with FPV goggles and the motion controller.

You appreciate innovation
The A1 is undoubtedly an innovative drone with some impressive features that could pave the way for future drone innovation.

Don't buy it if...

You’re on a budget
The A1 isn’t cheap, coming in at double the price, or more, of other sub-250g drones, so it’s far from being a budget option.

You'd like the best image quality
If you want the best image quality available in a sub-250g camera drone, the DJI Mini 5 Pro is a more suitable option.

You'd prefer simplicity
Since the A1 relies on FPV goggles for the camera view and some control of the drone, you’re going to need to have a spotter with you every time you fly.

Antigravity A1: also consider

DJI Mini 5 Pro

If you’d like a standard camera drone but the best sub-250g model ever made, then look no further than the DJI Mini 5 Pro. This compact drone somehow manages to pack in a rotating camera with a 1-inch sensor and some seriously impressive performance. This is a drone that beginners and professionals alike will love, thanks to its fantastic image quality, safety features and compact size.

See our DJI Mini 5 Pro reviewView Deal

DJI Neo 2

The DJI Neo 2 offers a huge upgrade on the original model released in 2024. It’s arguably not the best selfie drone, with the HoverAir X1 Pro and ProMax offering some serious competition in this area, but the Neo 2 is an impressive performer when it comes to subject tracking. What’s more, it offers obstacle avoidance and multiple controller options, including FPV.

See our DJI Neo 2 reviewView Deal

Antigravity A1 in flight — (Image credit: James Abbott)

How I tested the Antigravity A1

All flight modes tested
Photos and videos captured
Automated features tested

I tested the Antigravity A1 for a couple of months to experience all the features and functionality available, including FreeMotion and FPV mode. I captured photos and videos in the highest quality possible, and captured them in a range of conditions to assess overall camera performance.

I tested all Sky Genie Modes (Orbit, Spiral Ascend, Comet, Antigravity Line, Fly Away, and Ascend), alongside subject tracking and SkyPath functionality. I tested the motion controller and googles for usability, and tested the fly-first, frame-later reframing workflow extensively.

First reviewed: December 2025
Read more about how we test

I tested the new Sony A7 V, and now it’s my favorite Sony camera ever

5:01 pm | December 2, 2025

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: AI, FE, ISO, LCD | Comments: Off

Sony A7 V: two-minute review

Some photographers, possibly even those working at Sony, see the A7 range of mirrorless cameras as the firm’s entry-level full-frame models. On paper alone, this may seem a reasonable suggestion when comparing the specifications to the most premium models. However, the Sony A7 IV, launched in October 2021, carries a 33-megapixel 36x24mm sensor, ISO50-204,800 sensitivity range, 5.5EV in-body image stabilization system, and a top continuous shooting rate of 10 frames per second. It’s by no means a slouch and this is all available for under $2500, so while it might be one of Sony’s more affordable E-mount bodies, it has been able to give pro-spec cameras a run for their money for several years.

On the face of it, the A7 V seems more of an iterative upgrade to its predecessor, rather than a revolution. However, once you dig deeper, there is a lot of exciting new technology to explore. Debuting the new partially-stacked sensor and new Bionz XR 2 processing engine, this camera represents a significant step forward for photography enthusiasts and semi-professionals. It’s more responsive than the A7 IV, both in focusing reaction time and accuracy, and delivers superior performance from the ground up.

Images are sharply detailed, and noise is well-controlled, especially for a model equipped with a 33MP resolution. It certainly matches or outperforms the current generation of competing cameras, such as the Canon EOS R6 Mark II or Panasonic Lumix S5 II, although I’ll be interested to see how low-light capabilities compare to the likes of the Canon EOS R6 Mark III when it inevitably comes to market, which is likely not too far in the future.

The Sony A7 V camera — (Image credit: Future/ Peter Fenech)

If you’ve used other Sony Alpha cameras, you’ll fall right into step with the A7 V. Some might call Sony’s conservative approach to design unimaginative, but it means that you can allow muscle memory to play its part on shoots where speed matters most. A few useful practical refinements notwithstanding, the A7 V is very similar to models that came before it, and on picking it up, you get a feeling of coming home, a comforting sensation when other stressful elements of a photoshoot come into play.

These days, I’m more likely to be blown away by enthusiast-level products than flagships, which rarely offer many surprises, as pro technology trickles down the rankings to more affordable offerings. The niche this camera inhabits has the potential to provide unbeatable value to the greatest range of photographers, and happily, the A7 V fulfills this promise. It’s an impressive upgrade to an already outstanding camera, serving up great responsiveness, useful features and exceptional image quality. I still wouldn’t call it revolutionary, and there are some quirks that I’d like to see refined, but if you’re an aspiring wildlife, event, or travel photographer, I’m confident you’ll fall in love with it, and that it will trouble TechRadar's best cameras and best mirrorless camera guides.

Sony A7 V specs

Sony A7 V Specs:
Type:	Mirrorless camera
Sensor:	Full-frame (36x24mm) semi-stacked CMOS
LCD:	3.2-inch, multi-articulated, 2.095m dots
Memory:	2x SDXC, 1x CFexpress Type A
Resolution:	33-megapixels
Video:	Up to 4K60p (4K120p in 1.5x crop mode)
ISO range:	ISO 50-204,800
Mechanical Shutter speeds:	30-1/8000sec
Electronic Shutter speeds:	30-1/16000sec
Viewfinder:	3.686m dot, OLED EVF, 0.78x
Processor:	Bionz XR 2
Connectivity:	AX WiFi (WiFi 6), Bluetooth, 2x USB-C, audio
Weight:	659g

Sony A7 V: Price and availability

Released December 2, 2025
Body only price of $2,899 / £2,799 (Australia TBC)
Kit options will be available, including with a new FE 28-70mm F3.5-5.6 OSS II

The Sony A7 V launched worldwide on December 2, 2025 priced $2,899 / £2,799 (body only, Australia TBC), alongside a new FE 28-70mm F3.5-5.6 OSS II kit lens. The lens costs $449.99 / £429 separately (Australia TBC) and will be available separately from February 2026.

Ahead of then, the FE 28-70mm F3.5-5.6 OSS II kit lens can be purchased as a kit with the A7 V for $3,099 (UK / Australia TBC). There will be other kits available, TBC.

This pricing is right on par with the Canon EOS R6 Mark III (and just $100 / £100 more than the Nikon Z6 III was at launch, but which is now available for much less).

Price score: 4.5/5

Sony A7 V: Design

Larger 3.2-inch rear LCD
Versatile multi-pivot articulated monitor
Hybrid memory card slot

Externally, I’d be very impressed if anyone could distinguish the A7 V from the A7 IV on looks alone. Apart from the name, discreetly emblazoned on the top plate, just to the left of the viewfinder, there isn’t much else to identify the latest iteration. However, a closer inspection reveals a redesigned handgrip. It’s very slight, with a tiny shift to the angle of the shutter button to account for the modest increase in weight from the Mark IV, but it makes a natural refinement to the ergonomics of the camera.

In terms of handling, the A7 V is supremely comfortable to hold, perhaps more so than most other Alpha bodies in the range. Logically, I know there is significant continuity between models, but something about the A7 V felt more balanced to me. I’ve always found Sony cameras to be too boxy for my tastes, especially when shooting for longer periods and when using larger lenses. The A7 V is unmistakably a Sony product, but it just fit my hands a lot better than I remember the A7 IV doing.

Shooting all day around London with the FE 24-50mm f/2.8 G lens, the setup was perfectly balanced, the center of gravity seemingly right where the optics meet the lens mount. This made shooting one-handed a breeze, even when holding the camera at arm's length over my head to shoot a street performer over the heads of a large crowd.

I appreciated that the playback and delete buttons are located on the same side of the camera body and immediately adjacent to each other on the back plate. This is a personal preference, of course, but I find this makes quickly making in-the-field quality control decisions quicker, rather than having to work two-handed and hunting for a control on the opposite side of the body to preview and delete obviously blurry shots.

Another excellent feature that seems unique to Sony cameras is dual-function card slots that fit both SD and CFexpress. As someone with more high-performance SD cards than I’d like to think about, I love this. Although I am gradually filling out my stock of CFexpress, I still like to have the choice, and a camera that supports both, while still allowing dual card functionality with either format is hugely thoughtful.

With a Canon EOS R5 Mark II, for example, you need to take a supply of both card types if you want the benefits of in-the-field backups, while the Canon EOS R6 Mark II requires two SD cards only, delaying investment in CFexpress until a future upgrade (which will no doubt be an expensive ordeal). On Sony cameras, there are no such compromises.

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It’s a shame the A7 V only has one of the two slots capable of accepting CFexpress Type A, but perhaps this is what you pay the extra money for when buying a camera like the Sony A7R V.

Another excellent design flourish is the extra control wheel above the Auto Exposure Lock button, which by default is set up to adjust exposure compensation in P, A or S modes. I enjoy not having to hold down another button to change this, and the additional dial allows you to amend the aperture and image brightness with single controls each. Naturally, each dial can be reassigned a custom function from within the A7 V’s Operation Customize menu, found under Setup.

The build quality is of an exceptionally high standard. I didn’t have the opportunity to test the camera’s weather resistance – unusual for a British reviewer in November – but nevertheless, there are no obvious compromises in the integrity of the construction. Apart from the hollow battery and memory card bays, no other part of the body reverberates excessively when tapped, giving the sensation of it being milled from a single piece of metal.

All of the dials are beautifully knurled and easy to twist, but with enough resistance that it isn’t too easy to nudge them by accident.

We also can’t talk about the design of the camera without mentioning the versatile dual-hinged main LCD. Sony has gone back and forth with its approach to screen articulation over the years, and as far back as the A99 II DSLR camera, the multi-point design has allowed the user to both tilt and swivel the LCD. Some photographers prefer the vertical tilt format, while others like myself appreciate a full swivel function.

Users of the A7 V don’t have to choose – unlike with the A7 IV which is single-axis vari-angle only – which I found useful when shooting ground-level street photos of graffiti artists under Waterloo Station. It’s a clever strategy also found in recent Lumix cameras, and which I’d like to see more brands adopting.

Design score:4.5/5

Sony A7 V: Performance

New Bionz XR 2 processor
No dedicated AI autofocus processing engine
Long 750-shot battery life

Speaking of LCD screens, the model featured on the A7 V is both larger and more detailed than its predecessor. It measures 3.2 inches, up from 3 inches on the A7 IV, while resolution has doubled the 1,036,800 dots previously available. I found it to be very crisp, and colors look natural. This is a attribute of camera screens that isn’t talked about enough. Monitors might be super contrasty and saturated as standard, but this won’t always give the most useful preview of the images about to be captured.

The touch sensitivity is just right, and I found it to be more responsive than both the Mark IV and the A7R V, demonstrating the difference that three years can make. It’s not that those cameras were particularly unresponsive, but this latest monitor gave me no sense that it was standing between me and the settings I wanted to access.

I especially liked the reaction time for touch focus; with a single tap the camera activates the AF and immediately snaps to the object selected. I don’t always use touch focus features, but combined with the versatile LCD pivot points, I found myself using them frequently during my testing of the A7 V.

Autofocus itself is smooth and super-fast. Built around a new system of 759 Phase Detection AF points that cover 90% of the frame, the A7 V can focus in lighting as low as -4EV. Although the camera did slow down as ambient lighting dropped, with the rate of focus hunting increasing, it still did a sterling job of finding and tracking the subject. It’s also incredibly precise.

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Image captured with the Sony A7 V Mirrorless camera in London — Changing the AF subject recognition mode to Animals, the A7 V could easily keep track of this squirrel's eye (Image credit: Future/ Peter Fenech)

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Interestingly, the A7 V doesn’t feature a dedicated AI processor, as found on the Sony A1 II. This might surprise many industry observers, in an age where AI is king and excluding such features might seem a retrograde step. However, the new Bionz XR 2 moves all AF computations on-chip, instead of dividing the workload between two units.

Sony says the up-specced processor brings the same benefits of a separate AI engine, namely better AF target recognition, but with the added advantage of reduced heat emissions, superior speed, and improved battery life. After all, powering one chip is better than supplying two.

I didn’t have an A1 II body available to test the cameras side-by-side, but rarely did the A7 V struggle to locate my subject. There are plenty of options to customize subject recognition, and the camera coped well with human figures, cars, and airplanes, in the chaos of Central London and at Heathrow Airport.

Also new to the A7 V are the options to change AF responsiveness and to select an extra small or large AF point. While I didn’t find much need to alter these settings during my test, I could see where this might be of huge benefit. Turning down AF responsiveness if it’s likely that other objects will pass between the camera and the subject, like when shooting across a busy road or players on a football field, will help keep the focus sticky on your subject.

I can also vouch for the stated 750-shot battery capacity. After 300 frames, in the relative chill of a winter afternoon, I still had 75% charge, and by 650 shots, this sat around the 40% mark. This excellent, rival-beating performance included shooting both long still exposures and video.

In terms of shooting speed, the A7 V is one quick camera in operation. Startup is near instantaneous, and exposure assessment is now done at twice the number of calculations per second compared to the A7 IV.

Using the electronic shutter, it’s now possible to capture images at up to 30fps, up from 10fps on the previous camera. Pre-capture is also possible up to a user-selectable 30fps, meaning the camera is always ready and able to cover the action in the briefest of moments. Without wanting to sound like an advert for Sony (remember, this review is completely independent), there were times when I felt I was having to keep up with the camera. This isn’t something I encounter often, and it kept me on my toes.

It’s a very minor point, but I found the shutter release to be just a little too sensitive for my liking. There were a few occasions when I was simply trying out a composition and accidentally fired off a burst of shots – a bit of a laborious situation when the camera makes 30 frames every second! I’d definitely recommend re-assigning focussing to the AF-ON button to work around this.

Performance score: 5/5

Sony A7 V: Image quality

Excellent Dynamic Range
Superior high-ISO performance
Ultra-effective IBIS system

One of the headline features of the A7 V that is certain to get people talking is the new semi-stacked sensor. This CMOS design has developed somewhat of a bad rep because of its deployment in other cameras with limited success, such as the Nikon Z6 III. There is a risk of significant trade-offs in dynamic range for the additional readout speed a semi-stacked (or partially-stacked) sensor provides. Sony is confident enough, however, to claim a DR of up to 16-stops with the A7 V – that's an additional stop versus the A7 IV – so I couldn’t wait to see how the camera performed in the real world.

I’m not entirely convinced by the 16EV claim, as there were times when there was less highlight texture than I had anticipated, and clipped shadows where I hadn’t expected. However, the results were still impressive. In the majority of shots, there was recoverable detail across the range. From memory alone (and not having yet taken the A7 V into the lab for testing, that’s all I have to work on), I would place the dynamic range on an even footing with models like the 24MP Canon EOS R6 Mark II and Nikon Z6 III. Clearly, Sony deserves some applause for this, as it’s a clear indicator that the A7 V is a next-gen competitor.

Now let’s talk about color. Traditionally, this hasn’t been my favorite aspect of Sony cameras. I’ve always felt that, compared to Canon and Fujifilm models, Sony color science was a bit sterile. Accurate, maybe, but lacking warmth and ‘flavor’. These traits are present in the A7 V, as is to be expected, but I noticed colors seemed more organic than I’ve seen from its stablemates.

The auto White Balance system hardly ever missed a trick, even when shooting wall art comprising overlapping primary colors in mixed natural and artificial lighting: quite possibly a condition that cameras have nightmares about. The A7 V handled the situation beautifully. I could wax lyrical here for three more paragraphs, but I’ll summarize with this: if the camera could cope this well under these conditions, it could cope anywhere.

Images captured in London with the Sony A7 V — Dynamic range might not quite manage 16-stops in every image, but matches lower resolution cameras from competing brands (Image credit: Future/ Peter Fenech)

I don’t always believe rumors, but in this case the suggestion that Composite RAW capability was to be included on the A7 V has turned out to be true. Previously seen on the Sony A9 III, this mode captures a sequence of RAW files that are then combined to produce a higher-resolution file with reduced noise. It works nicely and does what it says on the tin – if you shoot landscapes or in the studio, this is a great feature for squeezing every oodle of quality out of the sensor.

Of course, it works less well with moving subjects, even when shooting at a high frame rate, so I chose not to use it for street photography. If you can support the camera, it would also be beneficial for capturing poorly-lit interiors at higher sensitivities.

Even without Composite RAW active, the signal-to-noise ratio will put a smile on your face. I spent most of my shoot at ISO 6400 and above, and the camera delivered a commendable balance of sharpness and grain. I wasn’t blown away by the in-camera treatment of JPGs though, and as low as ISO 800, there was smudging of detail through quite aggressive noise reduction. Weirdly, this didn’t seem to get much worse up to ISO 3200.

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Further proof that the dynamic range is noteworthy is highlight retention at the extended low ISO settings. At ISO 50, which is essentially an overexposed image with the exposure digitally reduced, there was still data present at the right side of the histogram.

One of my favorite features of the A7 V is the IBIS system. Compensating for up to 7.5EV of shake in the center of the frame and 6.5EV at the edges, up from 5.5-stops on the A7 IV, the stabilisation enables hand-held shots at ridiculously slow shutter speeds. I was able to capture usable images at exposures of around one second – unthinkable just a few years ago. This enabled me to capture the movement of objects within the frame while rendering static areas sharp. It’s one of my go-to street and urban photography techniques.

It doesn’t quite match the 8-stop hybrid IBIS-lens-based system seen in the Canon EOS R5 Mark II, Canon EOS R3, and Canon EOS R7 on paper, but it performs exceptionally well.

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Images captured in London with the Sony A7 V camera — (Image credit: Future/ Peter Fenech)

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Image quality score: 4.5/5

Sony A7 V: testing scorecard

Sony A7 V
Attributes	Notes	Rating
Price	The A7 V is another example of how pro features are becoming increasingly more affordable. It's not cheap, but you get a hell of a lot of camera for the money	4.5/5
Design	There are no surprises from Sony. You might call the similarities with other Alpha cameras unimaginative but why fix what isn't broken?	4.5/5
Performance	The IBIS is superb, allowing hand-held long exposures, while AF is responsive, customizable, and accurate.	5/5
Image quality	Low-light quality is superb, as is auto White Balance. Jpeg processing is heavy-handed, but overall, the camera sets a new standard for enthusiast products.	4.5/5

Should I buy the Sony A7 V?

Buy it if...

You want an affordable full-frame camera

It might not be the cheapest camera with a full-frame sensor on the market, but you get a lot of camera for your buck. The A7 V has everything an enthusiast photographer could hope for or need.View Deal

You shoot both stills and video

Like the A7 IV before it, the new camera delivers exceptional video features too, with 4K resolution, 60fps without a crop, and S-Log available for high-end grading.View Deal

Don't buy it if...

You are a beginner

There is a lot of camera here. Novices are unlikely to get the most from all of the features available, and the mammoth toolset might even be off-putting. View Deal

You just bought an A7 IV

Let's be clear, the A7 V is a significant upgrade to its predecessor, but with a similar resolution, equal sensor size, and advanced features, the A7 IV is a great camera on its own merits. I wouldn't suggest there's enough difference between the two for an upgrade just yet.View Deal

Also consider

Canon EOS R6 Mark II

The EOS R6 Mark III builds on the 24MP Canon EOS R6 Mark II with improved resolution that matches the A7 V, now 33MP. Sony and Canon take different priorities; the A7 V has the partially stacked sensor and video recording up to 4K 60p, while the EOS R6 Mark III's sensor isn't stacked at all, but there's open gate 7K video recording. Both feature incredibly powerful IBIS and autofocus performance. This is a close call. Note, at the time of writing we're still working on our EOS R6 Mark III review.

Nikon Z6 III

Nikon's all-rounder, the Z6 III also features a partially stacked sensor, but with a resolution of just 24MP. That said, video recording is up to 6K 60p, and the Z6 III is blazing fast, also being supported by powerful in-body image stabilization. Launched in July 2024, it has come down in price and can be had for much less than the A7 V.

Read our in-depth Nikon Z6 III review

How I tested the Sony A7 V

I tested a full production model
The A7 V body was accompanied by the FE 20-50mm f/2.8 G and FE 70-200mm f/4 Macro G OSS II
Images were taken in a range of lighting conditions, using each ISO setting so noise levels could be compared throughout the range

I always like to push a camera to the edges of its capabilities and, to that end, I shot using the extremes of the ISO range. In bright light, I set the camera to the extended low ISO of 50, and then explored several low-light locations to test the camera all the way up to the expanded high setting of 204,800. I left the White Balance set to auto throughout the review to see how the camera responded to different lighting conditions. I also shot in RAW+JPG mode, so I had unprocessed files and compressed images for the sake of comparison.

First reviewed December 2025

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