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I tested Nikon’s updated 24-70mm f/2.8 pro zoom for a month, and it’s a 5-star lens by every metric
6:30 pm | November 6, 2025
Author: admin | Category: Camera Lenses Cameras Computers Gadgets | Comments: Off

Nikon Z 24-70mm f/2.8 S II: one-minute review

Nikon's Z-mount mirrorless cameras system has come of age – seven years since its first Z-mount cameras, we now have its first second-generation lens, the Z 24-70mm f/2.8 S II, which is designed to replace the original Z 24-70mm f/2.8 S.

I have a particular personal interest in this new lens, because I've relied on the original for personal and professional work for several years, and I'm still completely happy with it today.

So the question I had going into this review was not whether this lens would be any good – I knew it was going to be a five-star performer. Rather, it's whether it gives users of the original like me enough of a reason to upgrade, and whether it's worth the extra outlay.

I'll cut to the chase and say I don't think it is... depending on the price difference. I've reviewed enough second-generation Sony lenses where I've seen genuine improvement – new lenses that are optically sharper, plus much smaller and lighter. Nikon's new 24-70mm boasts similar improvements, but for me Nikon hasn't quite gone far enough with the upgrades, given the big difference in price at launch and the already excellent quality of the original.

Nikon Z 24-70mm f/2.8 S II lens in user's hand, with autumnal lake background

(Image credit: Tim Coleman)

Still, the Nikon Z 24-70mm f/2.8 S II is a five-star lens by every metric. Its optical and build quality are top drawer, with edge-to-edge pin sharpness at any focal length, impressive control over lens distortion, and smooth rendering of bokeh.

Build quality impresses, too. Its weather-resistant design betters the original in one key way – zoom is internal, which is one less potential weak spot for dust and water to enter the lens internals.

The original lens is in fact slightly smaller in length, but it extends past the new lens as you zoom up to 70mm. For me, the internal zoom, snappier autofocus, lighter weight and moderately sharper detail are the biggest upgrades, but not enough of a reason to spend so much extra now, rather than waiting for potential price cuts or until the original is phased out.

Price considerations aside, you'll struggle to find a better-quality professional lens, with a versatile 24-70mm zoom and consistent f/2.8 aperture across that range – this is a five-star performer all the way, and key new addition to the Nikon Z lens range.

Nikon Z 24-70mm f/2.8 S II: price and availability

  • Priced at $2,799 / £2,599 / AU$4,599
  • Lens hood included
  • Announced in August 2025

Nikon Z 24-70mm f/2.8 S II lens mounted to a tripod with autumnal lake background

(Image credit: Tim Coleman)

Nikon's Nikkor Z 24-70mm f/2.8 S II lens was announced in August 2025, costing $2,799 / £2,599 / AU$4,599, lens hood included. At the time of writing the lens has already got its first price cuts in the US and UK where it's now $2,599 / £2,299.

At the time of the mark II's launch, the original 24-70mm lens was already on sale for $2,099 / £1,999, while you can also buy that lens secondhand from trustworthy retailers for much, much less, with prices depending on the condition.

Personally, I'd buy the original secondhand in excellent condition for around 30% less than the mark II new at its current sale price. However, if money is no object for you, then the new lens is of course the better choice of the two.

Nikkor Z 24-70mm f/2.8 S II specs

Nikkor Z 24-70mm f/2.8 S II specs

Type:

Standard zoom

Mount:

Z-mount

Sensor:

Full-frame

Focal length:

24-70mm

Max aperture:

f/2.8

Minimum focus:

0.79ft / 0.24 m at 24mm, 1.09ft / 0.33 m at 70mm with a 0.32x max magnification

Filter size:

77mm

Dimensions:

3.4in x 5.6 inches / 84mm x 142mm

Weight:

1.49lbs / 675g

Nikon Z 24-70mm f/2.8 S II: Design

  • Lightest lens of its kind, just 675g
  • Weather-resistant design, internal zoom
  • Multiple control rings, including a clicked / de-clicked

The 24-70mm f/2.8 is a classic standard zoom and essential offering in a professional mirrorless camera system, historically sitting in the middle of a trio of professional f/2.8 zooms – the other two usually being a 14-24mm f/2.8 and 70-200mm f/2.8.

When I bought my first mirrorless camera, the Nikon Z6 II, I chose the original Z 24-70mm f/2.8 S as my first lens. Such is its quality and versatility that it ended up being the only lens I owned for years, until I splurged on a fast-aperture telephoto prime.

I didn't think the original 24-70mm needed updating – it's such a good lens already. However, the mark II is the first second-generation Z-mount lens, and it does indeed upgrade the original in several ways.

In terms of design, the Z 24-70mm f/2.8 S II is the lightest of its kind, just 675g – that's approximately 16% lighter than the 805g original. I used both lenses together and I can't say I noticed the difference particularly, even over a long day of event photography. However, that is a decent drop in weight.

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Nikon Z 24-70mm f/2.8 S II lens mounted to a tripod with autumnal lake background

(Image credit: Tim Coleman)
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Nikon Z 24-70mm f/2.8 S II lens mounted to a tripod with autumnal lake background

(Image credit: Tim Coleman)

The new lens's diameter is slimmer than before, too, with a 77mm filter thread to the original's 82mm. However, the new lens is longer than the original – that is when both lenses are set to the 24mm focal length.

Zoom each lens to 70mm, and that's where the difference kicks in – the new lens has an internal zoom, meaning its dimensions are unchanged as you move through the zoom range (see above), whereas the original lens extends past its successor as you zoom in.

For me, the internal zoom is the single biggest upgrade in the new lens, not only for better balance, but improved ruggedness – it's one less potential point of weakness in terms of dust and dirt ingress. Also, being shorter at 70mm, it's less likely to knock against your surroundings, which is helpful for hectic environments like weddings and events. You can see how the two lenses differ in length below.

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Nikon Z 24-70mm f/2.8 S II lens mounted to a Nikon Z6 III, alongside Nikon Z 24-70mm f/2.8 S lens attached to a Nikon Z6 II

(Image credit: Tim Coleman)
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Nikon Z 24-70mm f/2.8 S II lens mounted to a Nikon Z6 III, alongside Nikon Z 24-70mm f/2.8 S lens attached to a Nikon Z6 II

(Image credit: Tim Coleman)

We lose the basic top LED, which on the original could display key lens settings, including focus distance. In practice, it's not a feature that I particularly missed. Instead, we gain a control ring which can be set to clicked or de-clicked – I suspect most users will set this ring to control aperture. There's three rings in all; zoom, focus and that custom ring.

There's a reassuring quality to the lens, despite its lightweight design – each ring, button and switch handles well. And it balances perfectly with the Nikon Z6 III, which is the camera I was testing the lens with. By extension, it'll be a decent fit with the Z8 and Z9 cameras, too.

A lens hood is supplied with the lens, and it features a hatch. The idea is that when the hatch is open, it's much easier to make on the go adjustments to a filter, say a variable ND for video recording.

On that note, there is a general sense that the mark II version of the lens is better designed for video work. Autofocus is speedier – more on that shortly – focus breathing is suppressed, and there's that de-clicked aperture control ring for smooth adjustments while recording.

Close focusing is also improved – the minimum focus distance depends on the focal length, but the maximum magnification is 0.32x – that's an improvement from the original's 0.22x, and suitable for close up details such as wedding rings, without being a proper macro lens.

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Closeup of the Nikon Z 24-70mm f/2.8 S II lens hood with filter hatch open

(Image credit: Tim Coleman)
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Closeup of the Nikon Z 24-70mm f/2.8 S II lens' lens hood with filter hatch closed

(Image credit: Tim Coleman)
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Closeup of the Nikon Z 24-70mm f/2.8 S II lens' lens hood with filter hatch open

(Image credit: Tim Coleman)
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Closeup of the Nikon Z 24-70mm f/2.8 S II lens' lens hood with filter hatch closeed

(Image credit: Tim Coleman)
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Closeup of the Nikon Z 24-70mm f/2.8 S II lens' zoom ring

(Image credit: Tim Coleman)
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Closeup of the Nikon Z 24-70mm f/2.8 S II lens' controls

(Image credit: Tim Coleman)
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Closeup of the Nikon Z 24-70mm f/2.8 S II lens' clicked ring control

(Image credit: Tim Coleman)

Nikon Z 24-70mm f/2.8 S II: Performance

  • Incredibly sharp edge to edge
  • Smooth bokeh and impressive control of all lens distortions
  • Versatile maximum f/2.8 aperture and snappy autofocus

I've taken a wide range of photos in various scenarios with the lens attached to a Nikon Z6 III (with all in-camera lens corrections turned off), using the various aperture settings and focal lengths. Put simply, the Z 24-70mm f/2.8 S II is optically flawless, save for a light fall-off at f/2.8 (vignetting, which I rather like).

Detail is pin-sharp from center to edges. For reference, I compared like-for-like images shot with the original, and the new lens has the edge (I'm also working on a versus piece between the two lenses where I will share comparison images, coming soon). You'll need to zoom in to 100% to appreciate the difference, but it is there. I wouldn't feel the need to apply any sharpness corrections when editing the images, whereas with the original I tend to apply a little.

Bokeh quality is similar between both lenses. Sure, you'll want a f/1.4 prime or faster for bigger bokeh, but bokeh rendering at f/2.8 is pleasantly smooth and free of any distortion.

What's all the more impressive is that optical quality is better despite what is a simpler optical design – the new lens has 14 elements in 10 groups, compared to the original's 17 elements in 15 groups (this also partly explains the lighter weight of the new lens).

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Nikon Z 24-70mm f/2.8 S II sample gallery: a wooden sign up a tree that says Breathe in, hold, breathe out, sigh, with the sun behind it

You'll get lovely crsip sunstars when stopping lens aperture down to, say, f/16 (Image credit: Tim Coleman)
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Nikon Z 24-70mm f/2.8 S II sample gallery: a wooden sign up a tree that says Breathe in, hold, breathe out, sigh, with the sun behind it

At f/2.8, I'm not seeing chromatic aberration distortion (Image credit: Tim Coleman)
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Nikon Z 24-70mm f/2.8 S II sample gallery: A footpath through woodland

At f/2.8, there is light fall-off (vignetting) (Image credit: Tim Coleman)
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Nikon Z 24-70mm f/2.8 S II sample gallery: A footpath through woodland

In the same scene but at f/8, light fall off is all but gone (Image credit: Tim Coleman)
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Nikon Z 24-70mm f/2.8 S II sample gallery: close up of backlit long grass

Bokeh is smooth (Image credit: Tim Coleman)
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Nikon Z 24-70mm f/2.8 S II sample gallery: man in sunglasses and winter jacket

Detail is crisp, autofocus reliable (with the Z6 III's subject detection AF) (Image credit: Tim Coleman)
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Nikon Z 24-70mm f/2.8 S II sample gallery: main. inshades with the sun behind him

Finally, some flare! Not that I'd take a poor quality picture like this for real – I was just trying to eke out flare (Image credit: Tim Coleman)

Photos I took in woodland with strong backlighting at f/2.8 are free from chromatic aberration – a distortion I'd expect to see in such a scenario with lesser-quality lenses. In the same scenario with the lens aperture stopped down to f/16, the lens rendered a crisp sunstar (you can see those two photos in the gallery, above).

Only when I pointed the camera straight towards the sun for a backlit selfie could I get any kind of lens flare – that's not a lens drawback, just an impossible situation I presented the lens with, and better lighting required!

Focus breathing is really well controlled, while autofocus performance is superb too. There's no sense of laboring – the lens snappily latches onto subjects, especially when paired with the Z6 III and making use of that camera's subject-detection tracking autofocus skills.

Combine that optical quality, decent close-focusing skills and speedy autofocus, and the Z 24-70mm f/2.8 S II is an impressive performer on all fronts.

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Nikon Z 24-70mm f/2.8 S II sample gallery: a London bar at night

I could rely on the camera and lens combination for sharp focus even in low light (Image credit: Tim Coleman)
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Nikon Z 24-70mm f/2.8 S II sample gallery: wild horse among heather

Detail is incredibly sharp across this scene (Image credit: Tim Coleman)
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Nikon Z 24-70mm f/2.8 S II sample gallery: man in shades and a baseball cap

(Image credit: Tim Coleman)
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Nikon Z 24-70mm f/2.8 S II sample gallery: back of a young girl, walking along a footpath at golden hour

(Image credit: Tim Coleman)
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Nikon Z 24-70mm f/2.8 S II sample gallery: pine trees and an expansive vista

(Image credit: Tim Coleman)
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Nikon Z 24-70mm f/2.8 S II sample gallery: woodland at golden hour

(Image credit: Tim Coleman)
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Nikon Z 24-70mm f/2.8 S II sample gallery: an elevated viewpoint of a vast woodland

(Image credit: Tim Coleman)

Should you buy the Nikon Z 24-70mm f/2.8 S II?

Buy it if...

You want a versatile professional zoom lens

The 24-70mm zoom range and maximum f/2.8 aperture cover off a huge range of scenarios.

You shoot events and weddings

That maximum f/2.8 aperture, fast autofocus skills and robust build are a dream combo for the rigors of event and wedding photography.

Don't buy it if...

You own the original 24-70mm f/2.8

Yes, there are a few improvements, but I don't think this new mark II version merits the financial hit of an upgrade at full price; it'll be a different story when its price drops.

You don't mind a secondhand saving

The original 24-70mm f/2.8 can be purchased secondhand for around 30% less than its successor's list price – that feels like the better deal.

Nikon Z 24-70mm f/2.8 S II lens in user's hand, with another Nikon lens mounted to a tripod with autumnal lake background

(Image credit: Tim Coleman)

How I tested the Nikon Z 24-70mm f/2.8 S II

  • I tested it for one month
  • I paired it with the Nikon Z6 III and Nikon ZR cameras
  • I used it for photography and video, both indoors and out

Nikon loaned me the Nikkor Z 24-70mm f/2.8 S II lens for a month, and during this time I've used it for event, portraiture and landscape photography, and as an everyday lens. I've also shot video with it.

I've made direct comparisons with my own 24-70mm f/2.8 S lens to see to what degree Nikon has improved on the original.

I've made sure to take images using various aperture settings and focal lengths, with all in-camera lens corrections switched off, and compared those images to check for any lens distortions and assess bokeh quality.

  • First reviewed November 2025
I tested Kodak’s cheap and cheerful PixPro C1 compact camera – it was like going back in time, and not in a good way
4:00 pm | November 5, 2025
Author: admin | Category: Cameras Compact Cameras Computers Gadgets | Tags: | Comments: Off

Kodak PixPro C1: Two-minute review

Compact cameras are suddenly trending, including simple pocket-sized point and shoot cameras, and Kodak is riding the wave with the PixPro C1. It’s pretty, it’s cheap and it looks like the perfect antidote to complex mirrorless cameras or expensive smartphones. But can a camera this cheap be any good?

Sadly, it doesn’t take long to answer that question. The PixPro C1 is pretty plasticky, as you would expect at this price, but it looks the part and it has a flip-up selfie screen and a basic but effective set of controls that makes it easy to use. It’s what’s inside that’s the problem.

The C1 uses a very small 13MP 1/1.3-inch sensor of unknown vintage that exhibits all the characteristics of old point and shoot cameras that we’ve conveniently forgotten, with image quality that’s OK in good light but rapidly disintegrates if you need to use a higher ISO in low light or if you use the digital zoom.

Kodak PixPro C1

The PixPro C1 looks smart, but inside is a tiny 13MP sensor and a digital, not optical zoom. (Image credit: Rod Lawton)

Yes, it’s a digital zoom not an optical one. The tiny sensor’s image quality is already stretched to the limit in perfect conditions, so the digital zoom just magnifies its limitations. At the maximum 4x zoom setting you get photos that might look OK on a phone screen, but not so much on a tablet and definitely not in a print. You really are better off sticking to the native focal length, and at 26mm equivalent, this is pretty wide, much like the main camera on a phone.

This camera’s other major issue is its slow response. The single (center) point autofocus can take half a second or a second to lock on, and when you press the shutter release there’s a further delay of a second while the screen goes black… and then you get the shutter sound. It’s very difficult to time your exposures with moving subjects, and the Kodak’s slim, slippery shape makes it difficult to keep it steady – there’s no image stabilization.

So from the outside the Kodak PixPro C1 is quite smart, but inside it uses tech that could have come straight from an old phone or a very cheap point and shoot compact from ten years ago. It’s very disappointing.

Kodak PixPro C1: price

  • Priced at $99 / £79 / AU$154
  • USB cable and wrist strap included
  • Available now

The Kodak PixPro C1 sells for around $99 / £79 (about AU$154). That doesn’t sound much for a fully-functioning pocket-sized digital camera, but it’s quite a lot to spend on something that you end up not using because your smartphone is so much better. That price doesn’t include a memory card, though our sample included a microSD card and card reader, so bundles may vary.

Kodak PixPro C1: specs

Kodak PixPro C1 specs

Type:

Pocket sized compact camera

Sensor:

13MP 1/1.3-in CMOS

Lens:

3.57mm (26mm equivalent) f/2, up to 4x digital zoom

Focus range:

0.6m-infinity, 0.08m macro

ISO:

100-1600

Video

1920x1080 up to 60fps

Storage:

microSD, up to 32GB

EVF:

No

Stabilization:

No

Flash/light:

Built in

Screen:

180-degree tilting, 2.8-in, 230k-dot

Battery:

Built in, non-removable, 200 shots approx.

Size:

103 x 60 x 20.3mm, 115g

Kodak PixPro C1: design

  • Slim, light, smart styling
  • Plasticky feel but solid enough at the price
  • Memory card slot exposed in the base – no door
  • Phone-style LED ‘flash’

Kodak PixPro C1

The Kodak's rear screen flips upwards to face the front, so it's ideal for selfies. (Image credit: Rod Lawton)

Kodak PixPro C1

The menu system has only a few basic options, but that's ideal for a beginner audience. (Image credit: Rod Lawton)

Kodak PixPro C1

The battery is good for around 200 shots. It's non-removable, so you charge it via the USB-C port on the side. (Image credit: Rod Lawton)

Kodak PixPro C1

The PixPro C1 takes micro SD cards up to 32GB. Unusually, they just slot into the base, with no door or cover. (Image credit: Rod Lawton)

We forget how small point and shoot cameras used to be! The Kodak PixPro C1 will easily slip into a shirt pocket or a trouser pocket, and because it weighs just 115g, you’ll hardly know it’s there. It’s available in a black or tan or brown finish – mine came in brown, and it does look pretty classy.

It does feel plasticky when you pick it up, however, especially round the back where the screen and the controls are. The top edge of the screen has a hinge so that you can flip it up to face forward for selfies, and to the right you’ve got a four-way controller, menu, playback, mode and record buttons, plus a rocker for the zoom.

You can shoot in full auto mode, switch to program mode for a little more control, or use a small selection of ‘scene’ modes. The menu button displays options for picture styles, metering pattern, resolution (just in case you want less than 13 megapixels!), white balance and continuous versus single shot mode. The menus are basic but clear.

There is a built in flash – well, sort of, as it’s actually a phone-style LED, but that’s fine. Underneath, in the base of the camera, you’ll find the memory card slot, which takes microSD cards. There’s no door or cover of any sort – the card just pushes into the slot, where it’s flush with the base so you can still stand the camera on a flat surface.

It’s all very basic but effective, and exactly what you would expect from a cheap camera. It’s not too daunting for beginners, either.

Kodak PixPro C1: performance

  • Sluggish shutter action
  • Poor image quality at higher ISOs
  • Digital zoom not worth using
  • Autofocus struggles/fails in low light

The Kodak PixPro C1 delivers decent enough image quality in good light, but not really on a par with a modern smartphone. (Image credit: Rod Lawton)

The metering system did a good job with the tricky lighting in this shot. The brightest parts of the sky might be a little blown out, but you can see all the detail in the foreground. (Image credit: Rod Lawton)

The sensor can go up to ISO 1600, but by this point any fine detail in the image has been swallowed up by heavy noise reduction. (Image credit: Rod Lawton)

Physically, the PixPro C1 is pretty decent at this price. It’s the performance that’s disappointing. You could argue that you shouldn’t expect much for this money, but there comes a point where a product just isn’t good enough to use, regardless of how cheap it is, and the PixPro C1 sails pretty close to the wind here.

Before you even get to look at its images, its operation feels very vague and sluggish. The AF is not particularly quick, but the worst part is the shutter action, which takes about a second to complete and only makes a shutter sound at the end. This is not a camera for fast action or grabbed shots. Not only that, the rear screen gets quite hard to see in bright light.

It's best to use the PixPro at its native 26mm equivalent zoom setting, which is pretty wide and a bit like the main camera on a smartphone. (Image credit: Rod Lawton)

With smaller subjects like this, you can switch to the macro mode to get a whole lot closer. (Image credit: Rod Lawton)

As for the pictures… well, it depends on what you are expecting. The resolution, dynamic range and noise are just what you would expect from a small sensor of the old days, and not a patch on what a modern smartphone camera array would produce. In good outdoor light where you don’t need a higher ISO and there’s little risk of camera shake, the images are OK. But in poor light at higher ISOs the detail smudges and object edges become hyper-processed and things aren’t good at all.

Just so that you can get an idea of what the digital zoom does, here is a shot taken without the zoom. Sorry about the weather, by the way. I live in the seaside tow Weston-super-Mare in the UK. This is what it looks like between October and March... (Image credit: Rod Lawton)

Kodak PixPro C1 sample image

Here is the same subject captured with the 4x digital zoom. Click the gadget, bottom left of the photo, to see the full size version if you dare. (Image credit: Rod Lawton)

If you do use the zoom, you quickly realize that the 13MP sensor really can’t stand a lot of cropping. Or any cropping, to be honest.

I did try the ‘flash’ indoors. There’s nothing wrong with the illumination it provides, but it only comes on when the camera has focused, and in my tests the autofocus struggled if it was too dark, and without sharp focus the flash wasn’t much help.

Kodak PixPro C1 sample image

The inbuilt lamp does a good job of illuminating indoor scenes. Unfortunately, it was too dark for the AF system to focus, so the shot isn't sharp. (Image credit: Rod Lawton)

Should you buy the Kodak PixPro C1?

Kodak PixPro C1

(Image credit: Rod Lawton)

Buy it if...

You just need a cheap camera

The PixPro C1 makes a certain amount of sense as a basic camera you don’t need to worry about for school trips, as a gift, or as a ‘just in case’ camera to keep in your vehicle’s glovebox or your coat pocket

You want a lightweight pocket camera

The Kodak is lighter than a smartphone, probably won’t fall out of your pocket as easily and has a simple clarity of purpose that a lot of people like in their gadgets

You want to relive those retro point-and-shoot years

This is a big thing at the moment, as modern photographers yearn for the simplicity of the old days and the flawed but characterful look of old digital cameras. If character is the word

Don't buy it if...

You’re expecting modern digital quality

The PixPro C1 uses very old, very basic sensor technology that would have earned it a bit of a roasting even ten years ago

You want a cheap and effective ‘street snapper’

The Kodak’s responses are way too slow for any kind of ‘snap reaction’ photography. It’s actually quite difficult to time your shots, and you have to hope your subjects will wait

You need the versatility of a zoom

I’ve seen the PixPro C1 advertised (mistakenly) in some places as having a 4x ‘optical’ zoom. It doesn’t. It’s digital, and the sensor really doesn’t have the resolution or quality to make the digital zoom feature useful.

Also consider

Akaso Brave Lite

Yes, the Akaso Brave Lite is an action, camera, but hear me out. It’s small, it’s rugged, it takes 20MP stills and shoots 4K video. An action camera is like a point and shoot but with added versatility. The Brave Lite doesn’t even cost a whole lot more than the PixPro C1.

Read our Akaso Brave Lite review

CampSnap camera

Think the Kodak PixPro C1 is cheap? How about the cheaper-still CampSnap camera? It's essentially a digital reimagining of the single-use disposable film cameras, with a memory card already inside that can hold up to 2,000 pictures.

Read our CampSnap camera review

Fujifilm X Half

The Fujifilm X Half is perfect if you’re serious about re-living those retro shooting vibes and you don’t want to take a big drop in image quality and responsiveness. Yes, it costs a LOT more than the PixPro C1, but it will take far better pictures and probably give you a lot more pleasure.

Read our Fujifilm X Half review

How I tested the Kodak PixPro C1

Kodak PixPro C1

(Image credit: Rod Lawton)
  • I tested it over a period of two weeks
  • I tried it with a variety of subjects and lighting conditions
  • I also assessed its responsiveness and ease of use

I’ve had the Kodak PixPro C1 for a couple of weeks, which has given me the chance to try it out in all kinds of situations where a camera like this might be used, including outdoor shots, close-ups, indoor scenes and pet pictures. I wanted to give it every chance to show what it could do and how it would react to typical point and shoot situations.

Obviously I wasn’t expecting top image quality, just pictures that were good enough for the purpose. I did feel the Kodak needed to prove it was better than a smartphone or at least as good. Most poeple already have a smartphone with a decent camera, so the Kodak did need to bring something else to the table.

It’s not just the image quality that’s important, but overall handling, usability and responsiveness, and that’s how I approached the PixPro C1.

  • First reviewed November 2025
It’s far from perfect, but Lomography’s cheap Lomourette compact camera is packed with grainy lo-fi analog charm
3:16 pm | November 3, 2025
Author: admin | Category: Cameras Compact Cameras Computers Gadgets | Comments: Off

Two-minute review

The Lomography Lomourette is a compact half-frame camera built for the fun of film photography. Lightweight, inexpensive and simple, it strips the analog shooting experience down to its creative essentials. With a fixed f/8 plastic lens, manual focus dial and two-position shutter speed lever, it’s all about finding the joy and beauty in imperfection.

In the hand, it feels every bit a toy camera. The build borders on cheap and there’s little in the way of refinement, with no aperture control or metering. What you’re getting here is a cheerful camera that embraces experimentation. The film advance wheel, for example, is independent of the shutter release, which allows for intentional or accidental double exposures.

Then you’ve got the half-frame format itself. Doubling the image count from 36 to 72, it allows you to squeeze twice the entertainment from a single roll of 35mm film, by shooting two vertical stills that sit side-by-side in the same area as a standard photo.

In use, the Lomourette can be both delightful and unpredictable. When you nail the exposure and focus distance for a given scene, it produces pleasantly grainy stills with realistic colors and surprisingly good contrast. Shot on Kodak Ultramax 400, images benefited from natural skin tones and the genuine haze of analog nostalgia, rather than a stylized recreation. The 24mm lens isn’t the sharpest, but it’s still capable of rendering impressively crisp detail and edges.

But shooting with the Lomourette also requires patience and a sense of humor. Loading film is fiddly, the focus adjustment dial is crude and the viewfinder doesn’t exactly match what the lens sees. Framing errors, light leaks and accidental overlaps are all part of the creative ride. You’re guaranteed to lose exposures along the way, usually due to under- or over-exposure. The pay-off is that the good ones capture memories with a rich, attractive look, while the happy accidents have a distinct charm of their own.

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Lomography Lomourette half-frame film camera on a park bench

(Image credit: Chris Rowlands)
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Lomography Lomourette half-frame film camera on a park bench

(Image credit: Chris Rowlands)
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Lomography Lomourette half-frame film camera on a park bench

(Image credit: Chris Rowlands)
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Lomography Lomourette half-frame film camera on a park bench

(Image credit: Chris Rowlands)
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Lomography Lomourette half-frame film camera on a park bench

(Image credit: Chris Rowlands)

That’s not to say there aren’t frustrations. The detachable Diana+ flash is inconsistent, sometimes refusing to fire even when the ready light glows. Exposure control is entirely manual, so you’ll need to choose film that suits your shooting conditions: ISO 200 or 400 is best for bright daylight, while the Bulb mode can be used for long exposures if you’ve got a steady hand.

Ultimately, the Lomourette isn’t for perfectionists. It’s aimed at those who value spontaneity over total control. This is a budget plaything for film newcomers, experimental shooters and anyone who wants to rediscover the joy of photography without the pressure of technical mastery. It’s a low-stakes way to play with film and embrace the magic of analog unpredictability.

If you’re after a dependable film camera that delivers consistently sharp, perfectly exposed images, you’ll want to look elsewhere. But if you like the idea of a pocketable, characterful camera that makes every frame a small surprise, the Lomography Lomourette is a refreshingly care-free reminder of what makes film photography fun.

Lomography Lourette: price and availability

The Lomography Lourette costs $69 / £65 and is available now, in multiple colorways, through the Lomography website and other retailers. The Diana+ flash is bundled with the camera, as are colored gel filters.

Lomography Lomourette: specs

Lens:

24mm plastic lens

Focus:

0.6m, 1–2m, 2–4m, ∞ (infinity)

Lens Aperture:

f/8

Shutter Speed:

1/60sec, Bulb (B)

Film Format:

half-frame (using 35mm film)

Flash:

Yes, with Diana F+ attachment

Power source:

1x AA battery

Weight:

3.9oz / 110g

Lomography Lomourette: design

Compact, bright and light, the Lomography Lomourette feels more like a toy than a serious photography tool. That’s entirely the point: this is a playful analog camera that comes in on a tight budget. Like the original Diana camera of the Sixties, the Lomourette’s body and lens are made of plastic, with no frills to sweeten the deal.

There’s some rounded detailing up top and a textured effect on the main body, but little about the Lomourette feels premium. It weighs next to nothing and there’s a sense of bargain basement about the assembly. That said, it also somehow feels robust enough to survive at the bottom of a family backpack. And if it doesn’t, the low cost means you’re unlikely to lose sleep over it.

Controls here are kept deliberately simple. There’s a shutter speed lever to toggle between normal (1/60sec) and bulb for long exposures, alongside a shutter release lever to the photographer’s right. On the front of the lens is a rotating dial which can switch focus between four subject distances: 0.6m, 1-2m, 2-4m and infinity. What you don’t get is any control over the aperture. Unlike other Lomography cameras, the lens here is fixed at f/8.

On the top plate, you’ll find a mount for the Diana+ flash attachment, as well as a film advance wheel. The latter operates independently from the shutter. That means you can fire off multiple exposures on the same frame, intentionally or otherwise. It’s a creative feature, but also one of several quirks that can trip up beginners. If you don’t want fully or partially overlayed exposures, you’ll need to make sure you’ve fully wound on between shots.

The flash itself is a detachable unit powered by a single AA battery, its two prongs slotting neatly into their dedicated holes. In keeping with the camera’s pared-back personality, the flash doesn’t feature any kind of exposure or intensity control. It’s either on or off, although you do at least get a ready indicator and the option to test-fire first.

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Lomography Lomourette half-frame film camera on a park bench

(Image credit: Chris Rowlands)
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Lomography Lomourette half-frame film camera on a park bench

(Image credit: Chris Rowlands)
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Lomography Lomourette half-frame film camera on a park bench

(Image credit: Chris Rowlands)
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Lomography Lomourette half-frame film camera on a park bench

(Image credit: Chris Rowlands)
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Lomography Lomourette half-frame film camera on a park bench

(Image credit: Chris Rowlands)
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Lomography Lomourette half-frame film camera on a park bench

(Image credit: Chris Rowlands)

Everything is easy enough to find your way around with your fingers, even if the amount of play in the controls is testament to the cost cap. Bigger digits may also find it difficult to rotate the focus distance dial: rather than gripping the outer edge of the lens, you need to get your tips into the inner section and twist, which is easier said than done.

Loading film can also be tricky. Due to the small size of the teeth on the take-up spool, getting the film leader to catch can take a few tries. Likewise, the rewind lever needs to be perfectly aligned with the canister before the back panel and main body can be latched back together using the door switch. It all becomes a bit easier once you’re familiar with the process, but it’s a reminder that loving the Lomourette requires a little patience.

As you’d expect from a budget film camera, the viewfinder isn’t linked to the lens. This makes it easy to accidentally shoot with the lens cap still on. Even when it’s off, the viewfinder only gives a modest window for your eye to work with, and what it shows doesn’t perfectly reflect what’s being framed by the lens.

These are just some of the facets which increase the margin for error when using the Lomourette. They arguably add to its character: you can’t use it expecting the precision of a digital camera or the sophistication of a more advanced film compact. Instead, the Lomourette rewards a relaxed approach, where missed exposures and happy accidents are part of the creative process.

The half-frame format is a perfect fit for this fun-first ethos. It doubles your exposures from 36 to 72 on a standard roll of 35mm film, splitting each frame into two portrait shots. That makes it great for storytelling in pairs or simply getting more value from your film. It also makes the resulting images half the size, which helps to hide any shortcomings in the optical quality.

Lomography Lomourette: performance

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Sample image shot with the Lomography Lomourette

(Image credit: Chris Rowlands)
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Sample image shot with the Lomography Lomourette

(Image credit: Chris Rowlands)
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Sample image shot with the Lomography Lomourette

(Image credit: Chris Rowlands)
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Sample image shot with the Lomography Lomourette

(Image credit: Chris Rowlands)
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Sample image shot with the Lomography Lomourette

(Image credit: Chris Rowlands)
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Sample image shot with the Lomography Lomourette

(Image credit: Chris Rowlands)
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Sample image shot with the Lomography Lomourette

(Image credit: Chris Rowlands)

Like many of Lomography’s cameras, the Lomourette is more about feel than fidelity. Yet despite its plastic lens, many of the stills it produces are real keepers. While its image quality was never going to rival that of a more serious film camera, I was pleasantly surprised by how much contrast and clarity it captured.

Shoot in bright daylight and you’ll find that the Lomourette often delivers an attractive balance of realism tinged with nostalgia. Shadows and highlights are rendered with more depth than expected, while colors come through with a surprisingly natural hue, particularly skin tones.

Shooting on Kodak Ultramax 400, I found that stills have the quality of real memories from the mind’s eye: not too tinted, just an honest – if slightly warm and fuzzy – record of the scene. It stops short of the rose-tinted romanticism you encounter with some of the best instant cameras, leaning instead into the honest, grainy character of film.

The Lomourette’s 24mm lens doesn’t resolve a huge amount of detail, but it’s not as soft as you might expect. Nail the focus distance and you can get clean, defined edges. I shot stills sharp enough that text on clothing or the rim of a coffee cup stood out clearly, even through the haze of film grain. Zoom in and there’s enough detail to crop a single half-frame for sharing or use as a phone wallpaper.

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Sample image shot with the Lomography Lomourette

(Image credit: Chris Rowlands)
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Sample image shot with the Lomography Lomourette

(Image credit: Chris Rowlands)
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Sample image shot with the Lomography Lomourette

(Image credit: Chris Rowlands)
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Sample image shot with the Lomography Lomourette

(Image credit: Chris Rowlands)
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Sample image shot with the Lomography Lomourette

(Image credit: Chris Rowlands)
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Sample image shot with the Lomography Lomourette

(Image credit: Chris Rowlands)
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Sample image shot with the Lomography Lomourette

(Image credit: Chris Rowlands)

That said, consistency isn’t the Lomourette’s strong suit. Exposure can vary wildly between frames, especially when lighting conditions change. Some shots are washed out, others underexposed. That’s just part of the deal. Without a light meter, it’s down to you to read the scene and shoot according to your film and the available light. ISO 200 or 400 is a good starting point. The ‘normal’ shutter speed of 1/60sec is just about fast enough for handheld shooting in daylight. Indoors, you’ll either need to use the flash or shoot a long exposure with the bulb mode.

My hit rate was probably 60%, with the rest affected by errors. Many of these were simply too dark or blown-out to be usable. But other shots with technical issues proved to be unexpectedly artistic. For example, overlapping frames produced layered compositions that felt intentional even when they weren’t, with shadows and light streaks crossing the border between stills.

Focus adjustment is fiddly but functional. The four-step dial is imprecise and tricky to twist, but it works well enough. Even when the focus isn’t perfect, gentle blurring adds to the lo-fi aesthetic. Soft fuzz provides a patina that complements the richness of the results, with slight barrel distortion adding further character. This is a camera that celebrates imperfection.

The only real frustration was the flash. When it fired, the detachable Diana+ flashgun produced a burst of light that gave life to low-light stills, particularly close-up indoor portraits. But despite testing its functionality and ensuring the ready indicator light was lit, there were several occasions where it simply didn’t fire, resulting in wasted exposures.

For such a simple camera, the Lomourette gets you thinking about film speed and shooting conditions. It would be easy to feel frustrated by the shots lost to errors. Yet playing with it isn’t meant to be about technical perfection. If you’re willing to surrender to the process and celebrate the attractive analog shots it does yield, the Lomourette is a lot of fun to shoot with.

Should I buy the Lomography Lomourette?

Lomography Lomourette half-frame film camera on a park bench

(Image credit: Chris Rowlands)

Buy it if...

You want grainy retro stills
Results from the Lomourette are packed with analog charm. Lovely rich colors, hazy focus and lashings of grain give images the attractive vintage quality many associate with film nostalgia.

You want to maximise every roll
The half-frame setup lets you squeeze 72 stills from a standard roll of 35mm film, while the option of multiple exposures means you can stack even more on top.

You want a cheap film camera
With a basic interface and bargain build, the Lomourette is an affordable film camera that’s ideal for everyday use. Stick it in a backpack and you shouldn’t be too worried about what happens to it.

Don't buy it if...

You want a premium film camera
The Lomourette comes cheap and that’s reflected in the build quality. The lightweight camera body feels plasticky in the hand, as does the shutter release lever and film advance wheel.

You need foolproof performance
Its controls are relatively simple, but it’s still quite easy to shoot with the Lomourette in the wrong shutter setting or accidentally overlay exposures. Loading film can be fiddly, too.

You want the best image quality
Distortion, grain and soft focus are all part of the appeal here. If you want to try analog photography that consistently yields pin-sharp results, the Lomourette isn’t the answer.

How I tested the Lomography Lomourette

Lomography Lomourette half-frame film camera on a park bench

(Image credit: Chris Rowlands)
  • Tested over two months
  • Shot 1.5 rolls of film
  • Used in different lighting

I used the Lomography Lomourette for two months to get a proper feel for its quirks and creative potential. During that time, I shot a full roll of ISO 400 and a partial roll of ISO 200 film. To mirror how most people are likely to use the Lomourette, I tried it both indoors and outdoors, in a variety of lighting and weather conditions.

I threw the Lomourette in a backpack for several family outings, to see how its build stacks up in everyday use. I also handed it to a six-year-old for a true test of how intuitive it is for anyone to pick up and shoot with.

I made sure to work my way through every one of the camera’s controls and settings. That meant loading it up with film and winding it on, then doing the reverse when the roll was finished. It also meant experimenting with the Diana+ flash attachment, using the camera’s bulb setting for long exposures and exploring its four-step focus to see how accurately the distance measurement affected subject sharpness in the resulting exposure.

After having the negatives developed and scanned, I reviewed every frame to evaluate color accuracy, exposure consistency and overall image quality. This approach – both analytical and holistic – gave me a genuine picture of how the Lomourette performs in the real world.

First reviewed October 2025

I’ve been using the Freewell Real Multi Tripod 5-in-1 for several weeks, and it’s everything I’ve ever wanted in a travel tripod and more
2:00 pm | November 2, 2025
Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Freewell Real Multi Tripod 5-in-1: two-minute review

We photographers often obsess over gear, even if we may try to deny it. Despite this uncomfortable truth, it’s always great when you find something that reduces the amount of kit you need, which is exactly what the Freewell Real Multi Tripod 5-in-1 does.

With Tripod, Desktop, Monopod and Trekking Pole Modes, plus the Smartphone Clip for attaching your phone to the tripod, the Freewell Real Multi Tripod 5-in-1 is one of the best travel tripods available. This level of versatility means you can have one tripod to provide a range of solutions, which can be unbelievably useful when traveling.

It’s a well-built tripod and looks and feels more expensive than it is. The ball head is also excellent quality and offers dual panning controls. The tripod plate is on the long side, extending beyond the edges of the head. This is because the Arca-Swiss compatible plate transforms into a smartphone holder for attaching your smartphone to the tripod.

Knobs and dials are finished in a pleasing red that contrasts with the chrome and black finishes elsewhere and match the leg angle release buttons and center column locking knob on the legs. However, I didn't find the chrome or chrome-look finish at the top of the three legs to be the most visually attractive.

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Freewell Real Multi Tripod 5-in-1 in a field

(Image credit: James Abbott)
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Freewell Real Multi Tripod 5-in-1 in a field

(Image credit: James Abbott)
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Freewell Real Multi Tripod 5-in-1 in a field

(Image credit: James Abbott)
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Freewell Real Multi Tripod 5-in-1 in a field

(Image credit: James Abbott)

The four-section legs are made of carbon fiber and feature twist locks. What I really like here is that the thinnest bottom leg sections are still chunkier than the middle sections of many other travel tripods. This makes the legs satisfyingly rigid when fully extended and improves stability as a result. The leg release buttons for changing the leg angle can be fiddly, but aside from this, they’re great.

The main limitation of the tripod, however, is that the maximum height is 1570mm / 5.15ft. On the plus side, the minimum height is 175mm / 6.9in, and the weight of the tripod and head is just 1.65kg / 3.64lbs. As a travel solution, this is perfect, but you’ll need a full-size tripod if you want something taller and/or weightier.

In the tripod kit, you also get three short carbon fiber legs made up of two sections, which feature a twist lock. These are for the Desktop Mode, which requires you to split the centre column using a hex key and then insert the shorter section with the base to attach the ball head. Transforming into this Mode is the fiddliest, but it’s still much more convenient, and reduces weight, compared to carrying both a travel and a desktop tripod.

Without the ball head attached and with the desktop legs angled out at 90 degrees, you can create a support for use in Monopod Mode. It’s nowhere near as effective as dedicated monopods with three mini legs built in, and certainly nowhere near as stable, but it’s still a potentially useful and welcome feature.

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Sirui SVM-145P monopod

(Image credit: James Abbott)
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Freewell Real Multi Tripod 5-in-1 in a field

(Image credit: James Abbott)
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Freewell Real Multi Tripod 5-in-1 in a field

(Image credit: James Abbott)
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Freewell Real Multi Tripod 5-in-1 in a field

(Image credit: James Abbott)
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Freewell Real Multi Tripod 5-in-1 in a field

(Image credit: James Abbott)

The Trekking Pole Mode simply requires you to remove the leg without the foam and extend it, although there’s nothing to suggest the two legs with foam couldn’t be used as a pair of trekking poles instead. When you use a leg, or two, in this mode, you have to remove the rubber foot at the bottom of the leg. This can be used to cover the screw thread at the top of the leg while also revealing the metal spike at the bottom.

The maximum payload of the legs is 20kg / 44lbs, but since the head’s maximum payload is 10kg / 22.04lbs, this is the figure to go with. However, 10kg is still a respectable payload and will accommodate the vast majority of camera and lens combinations. The maximum payload of the legs also explains how one leg, or possibly more, can be used safely as trekking poles.

The Freewell 5-in-1 is a fantastic tripod that does everything it claims to, and does it well. The only use of the five that doesn’t appeal to me is the Trekking Pole Mode, because if I know I'll need trekking poles, I’ll always take them with me. However, if you’re hiking and feel the need for a trekking pole, the ability to utilize the tripod leg or even a couple of them is useful.

I’m a fan of small desktop tripods with Arca-Swiss ball heads, so I can use L-brackets with them for low-level shots, and this one fits the bill. For me, it’s Tripod, Desktop and Monopod Modes which are the most effective. The robust metal smartphone holder built into the tripod plate is a work of genius. In fact, the overall implementation of the different Modes illustrates innovative design that takes the humble tripod beyond expectations.

Freewell Real Multi Tripod 5-in-1: key specs

Head

Ball head

Leg sections

Four

Height

175mm – 1570mm / 6.9 inches – 5.15ft

Weight

1.65kg / 3.64lbs (head & legs)

Max Payload

10kg / 22.04lbs (head)

Material

Carbon fiber

Freewell Real Multi Tripod 5-in-1: Price and availability

The Freewell Real Multi Tripod 5-in-1 launched on October 8, 2025, and is priced in US dollars at $330, which at the time of writing converts to £246 / AU$500. This is a reasonable and attractive price for a carbon fiber travel tripod, and excellent value when you consider the versatility of this model. Amazon sells Freewell gear, so the tripod will likely be available on Amazon soon.

The tripod comes with a smart padded carry bag with handles and a shoulder strap. Inside the bag are the short Desktop Mode legs, a carabiner clip that can be screwed into the tripod to hang filter kits, and a couple of hex keys. The larger one is used to tighten the legs, and the smaller is used to split the center column. Splitting the center column allows you to set the tripod to Desktop Mode and also use the shorter legs as a base in Monopod Mode.

Freewell Real Multi Tripod 5-in-1: Also consider

Heipi 3-in-1 Travel Tripod

The Heipi 3-in-1 Travel Tripod is a small, lightweight travel tripod with three functions and a different basic design from the Freewell. Just like the Freewell, it can support multiple camera types, including smartphones, but it's ultimately more limited because it doesn't offer the same number of modes or functions.

Read our Heipi 3-in-1 Travel Tripod review

Vanguard VEO 3T+ 234CB travel tripod

The Vanguard VEO 3T+ 234CB travel tripod is a unique model due to its articulating center column, which isn't a common travel tripod feature. It's well-made, but one of the heavier travel tripods available at 4.4lbs / 1.98kg.

Read our Vanguard VEO 3T+ 234CB travel tripod review

Should I buy the Freewell Real Multi Tripod 5-in-1?

Freewell Real Multi Tripod 5-in-1 in a field

(Image credit: James Abbott)

Buy it if...

You need versatility

This tripod performs several functions of different types of tripods and does all of them well.

You’d like portability

This is a compact and lightweight travel tripod that won’t take up too much space or weigh you down.

Don't buy it if...

You need height

At 1570mm / 5.15ft, this isn’t the tallest travel tripod available, but it is adequate in many situations.

You mainly shoot video

If you mainly shoot video, there are video travel tripods available with fluid heads and other video-specific features.

How I tested the Freewell Real Multi Tripod 5-in-1

  • The tripod was tested for several weeks
  • Handling, stiffness and rigidity were assessed
  • All five uses were tested

I tested the Freewell Real Multi Tripod 5-in-1 over several weeks, mainly for stills photography but also for some videography, despite it not being a video tripod. The tripod was tested in all five modes to assess effectiveness and handling.

I used the tripod with several different camera and lens combinations, shooting subjects including landscapes, cityscapes and product photography. I carried the tripod extensively using the carry case and also with the tripod attached directly to my camera bag.

First reviewed October 2025

I tested the new Insta360 X4 Air action camera, and now I’m addicted to 360 video
3:00 pm | October 28, 2025
Author: admin | Category: 360 Cameras Cameras Computers Gadgets | Comments: Off

Insta360 X4 Air: two-minute review

It’s been just over six months since the release of the Insta360 X5, which showed up bang on cue to replace the highly praised X4 from 2024. The TechRadar team loved both of these models, placing them amongst the best 360-degree cameras, and you’ll see quite a few of them around the office. Now, in what may feel like Christmas come early for 360 video devotees, Insta360 has released the X4 Air, a smaller and even more portable package designed to fill a gap in the market.

Viewing the X4 Air side-by-side with the X5 – or the X4 for that matter – there are some fairly noticeable differences. Firstly, given the name, it’s no surprise to find that the X4 Air is smaller and more lightweight. If the X4 could fit easily into your coat pocket, the X4 Air can find a home in the pocket of your jeans, making it possible to travel through busy locations and be ready to capture video on the go without being noticed.

Despite the shrunken proportions, the body of the X4 Air retains the solid feel of the X4, and I was confident that the camera would fare better than I would in the city center rainstorm I was caught in during my testing.

The camera is quick and easy to set up and use, even if you have limited experience with videography or 360 capture. The screen is a little fiddly to use, given its small size, but this can be remedied by pairing the X4 Air with your smartphone and using the feature-packed Insta360 app to control the camera remotely. All of the menus are easy to navigate, and I had the camera customized to my requirements in no time.

The Insta360 X4 Air outdoors in a garden setting

The X4 Air has the flatter back-plate design of the X4 rather than the geometric pattern found on the more recent X5 (Image credit: Future)

The dual sensors in the X4 Air are smaller than those in the X5, but larger than the 1/2-inch units on the X4. I was greatly impressed by the dynamic range and noise performance of these chips in high-contrast and low-light settings. Colors were still punchy and shadows clean, despite the X4 Air not having the PureVideo Mode seen on the X5. The 8K footage looked fantastic straight out of the camera, and reframing using the app or Insta360 Studio desktop software was quick and easy.

There might not be enough reasons for X4 users to switch to the X4 Air, but assessed by itself, the camera is a great 360 shooting machine that made me fall back in love with the format. If you’re an avid explorer, or even a pro videographer looking to capture some more exciting angles, the X4 Air is a solid choice.

Insta360 X4 Air specs

Insta360 X5 specs

Type:

360 camera

Sensor:

1/1.8-inch x 2

LCD:

2.5-inch touchscreen

Memory:

MicroSD

Dimensions:

45 x 112 x 25mm approx

Weight:

5.8oz / 165g

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The Insta360 X4 Air body

Everything about the X4 Air is familiar, just condensed into a smaller body. This makes it super-portable, although it can be tricky to work with on the move (Image credit: Future)
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The Insta360 X4 Air body

(Image credit: Future)
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The Insta360 X4 Air body

(Image credit: Future)

Insta360 X4 Air: Price and availability

  • Launched worldwide on October 28 2025
  • Standard edition costs $399.99 / £359 / AU$639.99
  • Starter Bundle available for $439 / £389 / AU$699.99

The Insta360 X4 Air was released on October 28 and is priced $399.99 / £359 / AU$639.99, which is quite a bit below the price of the X4 / X5 at launch ($499.99 / £499 and $549 / £519 respectively). Considering that the X4 Air is technically an update to the X4, this seems a fair price to pay for the larger sensor and access to the replacement lens system.

Beyond the standard bundle above, Insta360 is also offering the X4 Air in a Starter Bundle, which includes the camera, a 114cm Invisible Selfie Stick, Lens Cap, and an extra battery which, given the limited battery life, is definitely a useful backup. This option can be picked up for $439 / £389 / AU$699.99, which is good value to get you up and running.

  • Price score: 4.5/5

Insta360 X4 Air: Design

  • 45 x 112 x 35mm in size, 5.8oz / 165g in weight
  • Waterproof to 49ft / 15m
  • 2.5-inch screen, USB-C 3.0 input and microSD card slot

If you’ve used an Insta360 camera before, you’ll fall right into step with the X4 Air. It shares much of the design philosophy with its stablemates, just in a smaller package. Let’s not forget that the Insta360 X4 is by no means a large piece of equipment, so I was initially concerned that by minimizing the body further it would result in some impractical control layout compromises. However, the changes that have been made are sensible ones, and feel more like refinements of the X4’s layout than unappealing but necessary drawbacks.

The front of the X4 Air looks simple, and not unlike a compact smartphone, albeit with an oversized camera lens. The area is dominated by the 2.5-inch touchscreen, and below that a single round button that's assigned to shutter triggering by default. This replaces the dual-control design of the X4 and X5, giving the X4 Air a more streamlined feel.

I actually think I prefer having one large shutter button in the bottom-center of the camera body to the X4’s smaller shutter control at the bottom-left. During testing, I found it easier to find and press the large button without looking, a minor advantage to many prospective users, perhaps, but as a regular street and travel photographer, being able to get a camera up and running immediately as I pull it out of its case is something I’ve come to appreciate greatly.

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Insta360 X4 Air

(Image credit: Future)

The X4 Air is waterproof to 49ft (15m) which is more than the X4's certified 33ft (10m) maximum depth. Each compartment is verified as sealed when no orange markers are visible

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Insta360 X4 Air

(Image credit: Future)
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Insta360 X4 Air

(Image credit: Future)

As you’d hope for in an action camera, the build quality is robust, and capable of withstanding a few knocks and scrapes. Despite the reduced weight, the X4 Air doesn’t feel noticeably flimsier than the X4, another area I was concerned about, although I suppose Insta360 could only change the construction integrity so far before the camera stopped being fit for purpose.

I really like the textured grip pattern adorning the sides of recent Insta360 cameras. It gives the impression of solidity, and makes them feel like true tools made for outdoor use. On paper, I know action cams are often waterproof, but I often still have trust issues with submerging a valuable piece of technology; the X4 Air will go a long way to easing your nerves if you're like me.

Another major upgrade over the standard X4 is the replaceable lens system. New to the latest generation of Insta360 cameras, the ability to easily swap out a cracked or scratched lens for a new one yourself, without having to send the whole camera away for an off-site repair, saves both money and time. It’s a very neat concept that frees you to take a few more risks with your camera, placing it in some more extreme positions for exciting angles, for example, with less concern that you are about to write off your Insta360 completely. It’s a multi-step process that requires some practice to do confidently, but the additional $29.99 (£29.99) cost for a replacement kit is good value for the peace of mind it provides.

The X4 Air weighs exactly the same as an iPhone Air – surely no mistake on Insta360's part from a marketing point of view. At 165g, it’s not going to add a perceptible amount of extra load to your camera bag, and can even be transported in a coat pocket with ease when heading out for a day of exploring. Due to its size, I found myself taking the X4 Air with me everywhere, on the off chance a shooting opportunity presented itself.

  • Design score:4.5/5

Insta360 X4 Air: Performance

  • Quick focusing
  • Intuitive reframing
  • Disappointing 88-minute battery life

I was a little slow to embrace 360 video shooting, probably because I was put off by how fiddly I thought processing and editing footage would be (I’ve had some bad experiences creating virtual tours for assignments, which left me traumatized, obviously). Right from the off, working with the Insta360 X4 Air via the mobile app was a breeze, however. Once you go through the usual activation and connection processes, which require Bluetooth for two-way communication between your smartphone and the camera, you can use the phone screen to preview the scene in far more clarity than on the camera monitor.

It’s easy to pair your devices, and preview clips and images stored in the camera roll, while there's also the option to download files to your phone for editing. It is possible to work on files stored on your memory card mounted in the X4 Air, but this can slow down processing considerably. The app interface is fairly user-friendly, although some of the more advanced functions could feel a bit overwhelming to beginners.

In use, the X4 Air is highly responsive, being quick to start up and begin shooting. The audible ‘beep’ as the camera boots up is quite loud out of the box, potentially drawing some unwanted attention in quieter environments such as a museum or church; you can adjust the volume once the camera is on, although even after I'd muted it the tone still sounded on startup, which maybe have been an issue with my sample unit.

The touchscreen is nicely sensitive, and I experienced little to no lag when swiping to reframe 360-degree footage while recording. Admittedly, the preview image isn’t the highest quality you can find on a camera; it looks comparatively low-resolution if you’re accustomed to using a recent phone screen or interchangeable lens camera. Equally, the small size means tapping icons on-screen is a challenge if, like me, you have hands that are on the large side. This is why I’d recommend using your X4 Air paired to a phone instead, where practical.

Image 1 of 2

Insta360 X4 Air in a outdoor setting

(Image credit: Future)

As on all of the Insta360 range, the front and rear lenses are quite bulbous, making them prone to damage. This is where the handy lens replacement and lens guards are a real bonus

Image 2 of 2

Insta360 X4 Air in a outdoor setting

(Image credit: Future)

The stated battery life of 88 minutes isn’t especially impressive, so carrying multiple replacements is a good idea if you’re away from home for any length of time. The charging time is fast though, meaning it’s easy to top up on power during a short coffee break at a cafe using the supplied USB-C cable. In my review sample, I found the USB connection quite loose, and some jiggling was required to ensure stable charging.

I did notice the X4 Air’s body heated up quite rapidly, even when not recording. I liked that the screen switches off automatically when not in use, to save battery, but keeping the camera on and at the ready for shooting means it still gets warm in the hand. It’s nothing extreme, but I do wonder how the camera would perform over extended shooting times in hot environments.

The camera is quick to focus, although again I’d recommend using a connected phone screen for assessing critical sharpness. The on-camera screen is too small for you to be completely confident that you have the subject in focus, although with such a deep depth of field at this focal length and given the smaller sensor, you don’t have to worry too much about obvious back-focusing.

  • Performance score: 4.5/5

Insta360 X4 Air: Image quality

  • New dual 1/1.8-inch sensors
  • Can record 8K 30fps or 6K 50fps video or 72MP photos (360-degree)
  • No PureVideo mode for low-light

With a sensor more than 1.6x smaller than the Insta360 X5's, you would expect a tradeoff in absolute image quality. Smaller pixels are the necessary compromise that allows the X4 Air’s diminutive size, and if you buy one, you’re likely doing so because a manageable size and weight are your top priorities. Considering the compact proportions of the camera body, Insta360 has done well to optimize the internal engineering, and the sensor is actually larger than the chip used in the X4 by almost a millimeter.

I jumped in at the deep end when testing the X4 Air, taking it to the low-light conditions of a Christmas-themed market at a local garden center. Despite the limited ambient light, footage was clean and detailed. Straight out of the camera there was very little discernible noise in shadow areas, and the image seemed sharp, free from the excessive mushiness that is the tell-tale sign of harsh in-camera noise reduction. Colors were also vibrant without being unnatural.

I genuinely think the video was superior in this area to that from my older semi-professional APS-C format DSLR cameras, which either made colors flat and dull in high-ISO footage, or wildly overcompensated by making them glow like a Tim Burton movie. This clip was quickly edited in the Insta360 Studio desktop app, which comes supplied with royalty-free music for social media use.

The dynamic range was perfectly acceptable, and while highlights tended to clip quickly in high-contrast lighting, the X4 Air did a good job of capturing shadow detail. I loved that a Log mode is available: I-Log produces a much flatter profile, allowing for more advanced color grading during post-processing while retaining more shadow and highlight data. This worked well, and although Netflix is unlikely to certify the camera any time soon, it does open up a wealth of cinematic styling opportunities.

Meanwhile, the Active HDR mode and Adaptive Tone setting are highly effective at preserving highlights. It’s worth mentioning that HDR shooting isn’t possible above 30fps. The frame rate is also limited to 50fps rather than the higher 60p available on the X4.

Shooting outside in good light produced the best results. The automatic white balance system also copes well in direct sunlight, although taking full control over the color temperature is possible through the menu, giving you more consistency between clips. This gives 360 footage a truly immersive and life-like feel, perfect for capturing the essence of a location while traveling.

  • Image quality score: 4.5/5

Insta360 X4 Air: testing scorecard

Insta360 X4 Air

Attributes

Notes

Rating

Price

Considering it's technically an upgrade to the X4, the X4 Air is significantly cheaper, which is welcome. There is the matter of the DJI Osmo 360, though.

4.5/5

Design

There have been few compromises to enable the more compact size, though handling can be a little fiddly.

4.5/5

Performance

For such a small 8K camera, the X4 Air manages to cope with processing time, heat dissipation and startup.

4.5/5

Image quality

The reduced sensor size from the X5 does limit low-light performance, but noise levels are still excellent, as are colors and dynamic range

4.5/5

Should I buy the Insta360 X4 Air?

Buy it if...

You value portability above all else
There may not be much of a reason to switch from another recent Insta360 camera model, but if you regularly travel and want to be discreet in how you shoot, the X4 Air is a truly pocket-friendly video camera.

You need 8K video
Arguably, 8K is overkill for many users, but it does open up cropping and reframing possibilities. Getting 8K capability in such a portable package is great for high-end videography purposes on the go.

You're new to 360 video
The reduced price point compared to the X4 and X5 means the X4 Air represents an affordable entry point into the Insta360 system. You get many of the same great features, but with less investment, making it a good choice to test the water and see if this type of videography is your thing.

Don't buy it if...

You just bought an Insta360 X5
....unless you want both! While I wouldn't necessarily say the X4 Air is worth changing to if you already own an X5, which is the higher-end model, you might still consider owning both if you're a 360 fanatic and want a smaller backup body.

You want maximum image quality
While the image quality is impressive, the X5 has the larger sensor and benefits from PureVideo mode for low-light and night shooting. For professional use, you might value absolute image integrity over diminutive size.

Also consider

Insta360 X5

The top-of-the-range model in the Insta360 family, the X5 is larger but more powerful. It enables recording up to 5.7K at 60fps, and features dual 1/1.28-inch sensors with larger pixels and greater light-gathering capacity. It also features the newer PureVideo mode that's missing on the X4 and X4 Air, providing superior performance under poor lighting. The build quality and control layout are familiar, but with the added benefit of a larger LCD.

Read our in-depth Insta360 X5 review

DJI Osmo 360

It was only a matter of time before DJI entered the 360 video market, and it debuts with an impressive offering. We immediately rated it highly during our review, most notably for its price, which undercuts Insta360 by quite a margin. Its square design won't be to everyone's taste, but the build quality is good, and you also get a generous 128GB of built-in storage.

Read our in-depth DJI Osmo 360 review

How I tested the Insta360 X5

  • I tested a full production model running release firmware over several days
  • I use the camera both mounted on an invisible selfie stick and handheld
  • I recorded videos in varying lighting conditions, both indoors and outside

Having reviewed action cameras on and off for several years, I went into this test with high expectations. I spent roughly a week using the Insta360 X4 Air alongside an X5 for the purposes of a comparison. I shot footage on both cameras under the same conditions to evaluate how each camera handled noise and tonal range, then examined both out-of-camera footage and color-graded I-Log clips to evaluate image quality.

  • First reviewed October 2025
I tested the new Insta360 X4 Air action camera, and now I’m addicted to 360 video
3:00 pm |
Author: admin | Category: 360 Cameras Cameras Computers Gadgets | Comments: Off

Insta360 X4 Air: two-minute review

It’s been just over six months since the release of the Insta360 X5, which showed up bang on cue to replace the highly praised X4 from 2024. The TechRadar team loved both of these models, placing them amongst the best 360-degree cameras, and you’ll see quite a few of them around the office. Now, in what may feel like Christmas come early for 360 video devotees, Insta360 has released the X4 Air, a smaller and even more portable package designed to fill a gap in the market.

Viewing the X4 Air side-by-side with the X5 – or the X4 for that matter – there are some fairly noticeable differences. Firstly, given the name, it’s no surprise to find that the X4 Air is smaller and more lightweight. If the X4 could fit easily into your coat pocket, the X4 Air can find a home in the pocket of your jeans, making it possible to travel through busy locations and be ready to capture video on the go without being noticed.

Despite the shrunken proportions, the body of the X4 Air retains the solid feel of the X4, and I was confident that the camera would fare better than I would in the city center rainstorm I was caught in during my testing.

The camera is quick and easy to set up and use, even if you have limited experience with videography or 360 capture. The screen is a little fiddly to use, given its small size, but this can be remedied by pairing the X4 Air with your smartphone and using the feature-packed Insta360 app to control the camera remotely. All of the menus are easy to navigate, and I had the camera customized to my requirements in no time.

The Insta360 X4 Air outdoors in a garden setting

The X4 Air has the flatter back-plate design of the X4 rather than the geometric pattern found on the more recent X5 (Image credit: Future)

The dual sensors in the X4 Air are smaller than those in the X5, but larger than the 1/2-inch units on the X4. I was greatly impressed by the dynamic range and noise performance of these chips in high-contrast and low-light settings. Colors were still punchy and shadows clean, despite the X4 Air not having the PureVideo Mode seen on the X5. The 8K footage looked fantastic straight out of the camera, and reframing using the app or Insta360 Studio desktop software was quick and easy.

There might not be enough reasons for X4 users to switch to the X4 Air, but assessed by itself, the camera is a great 360 shooting machine that made me fall back in love with the format. If you’re an avid explorer, or even a pro videographer looking to capture some more exciting angles, the X4 Air is a solid choice.

Insta360 X4 Air specs

Insta360 X5 specs

Type:

360 camera

Sensor:

1/1.8-inch x 2

LCD:

2.5-inch touchscreen

Memory:

MicroSD

Dimensions:

45 x 112 x 25mm approx

Weight:

5.8oz / 165g

Image 1 of 3

The Insta360 X4 Air body

Everything about the X4 Air is familiar, just condensed into a smaller body. This makes it super-portable, although it can be tricky to work with on the move (Image credit: Future)
Image 2 of 3

The Insta360 X4 Air body

(Image credit: Future)
Image 3 of 3

The Insta360 X4 Air body

(Image credit: Future)

Insta360 X4 Air: Price and availability

  • Launched worldwide on October 28 2025
  • Standard edition costs $399.99 / £359 / AU$639.99
  • Starter Bundle available for $439 / £389 / AU$699.99

The Insta360 X4 Air was released on October 28 and is priced $399.99 / £359 / AU$639.99, which is quite a bit below the price of the X4 / X5 at launch ($499.99 / £499 and $549 / £519 respectively). Considering that the X4 Air is technically an update to the X4, this seems a fair price to pay for the larger sensor and access to the replacement lens system.

Beyond the standard bundle above, Insta360 is also offering the X4 Air in a Starter Bundle, which includes the camera, a 114cm Invisible Selfie Stick, Lens Cap, and an extra battery which, given the limited battery life, is definitely a useful backup. This option can be picked up for $439 / £389 / AU$699.99, which is good value to get you up and running.

  • Price score: 4.5/5

Insta360 X4 Air: Design

  • 45 x 112 x 35mm in size, 5.8oz / 165g in weight
  • Waterproof to 49ft / 15m
  • 2.5-inch screen, USB-C 3.0 input and microSD card slot

If you’ve used an Insta360 camera before, you’ll fall right into step with the X4 Air. It shares much of the design philosophy with its stablemates, just in a smaller package. Let’s not forget that the Insta360 X4 is by no means a large piece of equipment, so I was initially concerned that by minimizing the body further it would result in some impractical control layout compromises. However, the changes that have been made are sensible ones, and feel more like refinements of the X4’s layout than unappealing but necessary drawbacks.

The front of the X4 Air looks simple, and not unlike a compact smartphone, albeit with an oversized camera lens. The area is dominated by the 2.5-inch touchscreen, and below that a single round button that's assigned to shutter triggering by default. This replaces the dual-control design of the X4 and X5, giving the X4 Air a more streamlined feel.

I actually think I prefer having one large shutter button in the bottom-center of the camera body to the X4’s smaller shutter control at the bottom-left. During testing, I found it easier to find and press the large button without looking, a minor advantage to many prospective users, perhaps, but as a regular street and travel photographer, being able to get a camera up and running immediately as I pull it out of its case is something I’ve come to appreciate greatly.

Image 1 of 3

Insta360 X4 Air

(Image credit: Future)

The X4 Air is waterproof to 49ft (15m) which is more than the X4's certified 33ft (10m) maximum depth. Each compartment is verified as sealed when no orange markers are visible

Image 2 of 3

Insta360 X4 Air

(Image credit: Future)
Image 3 of 3

Insta360 X4 Air

(Image credit: Future)

As you’d hope for in an action camera, the build quality is robust, and capable of withstanding a few knocks and scrapes. Despite the reduced weight, the X4 Air doesn’t feel noticeably flimsier than the X4, another area I was concerned about, although I suppose Insta360 could only change the construction integrity so far before the camera stopped being fit for purpose.

I really like the textured grip pattern adorning the sides of recent Insta360 cameras. It gives the impression of solidity, and makes them feel like true tools made for outdoor use. On paper, I know action cams are often waterproof, but I often still have trust issues with submerging a valuable piece of technology; the X4 Air will go a long way to easing your nerves if you're like me.

Another major upgrade over the standard X4 is the replaceable lens system. New to the latest generation of Insta360 cameras, the ability to easily swap out a cracked or scratched lens for a new one yourself, without having to send the whole camera away for an off-site repair, saves both money and time. It’s a very neat concept that frees you to take a few more risks with your camera, placing it in some more extreme positions for exciting angles, for example, with less concern that you are about to write off your Insta360 completely. It’s a multi-step process that requires some practice to do confidently, but the additional $29.99 (£29.99) cost for a replacement kit is good value for the peace of mind it provides.

The X4 Air weighs exactly the same as an iPhone Air – surely no mistake on Insta360's part from a marketing point of view. At 165g, it’s not going to add a perceptible amount of extra load to your camera bag, and can even be transported in a coat pocket with ease when heading out for a day of exploring. Due to its size, I found myself taking the X4 Air with me everywhere, on the off chance a shooting opportunity presented itself.

  • Design score:4.5/5

Insta360 X4 Air: Performance

  • Quick focusing
  • Intuitive reframing
  • Disappointing 88-minute battery life

I was a little slow to embrace 360 video shooting, probably because I was put off by how fiddly I thought processing and editing footage would be (I’ve had some bad experiences creating virtual tours for assignments, which left me traumatized, obviously). Right from the off, working with the Insta360 X4 Air via the mobile app was a breeze, however. Once you go through the usual activation and connection processes, which require Bluetooth for two-way communication between your smartphone and the camera, you can use the phone screen to preview the scene in far more clarity than on the camera monitor.

It’s easy to pair your devices, and preview clips and images stored in the camera roll, while there's also the option to download files to your phone for editing. It is possible to work on files stored on your memory card mounted in the X4 Air, but this can slow down processing considerably. The app interface is fairly user-friendly, although some of the more advanced functions could feel a bit overwhelming to beginners.

In use, the X4 Air is highly responsive, being quick to start up and begin shooting. The audible ‘beep’ as the camera boots up is quite loud out of the box, potentially drawing some unwanted attention in quieter environments such as a museum or church; you can adjust the volume once the camera is on, although even after I'd muted it the tone still sounded on startup, which maybe have been an issue with my sample unit.

The touchscreen is nicely sensitive, and I experienced little to no lag when swiping to reframe 360-degree footage while recording. Admittedly, the preview image isn’t the highest quality you can find on a camera; it looks comparatively low-resolution if you’re accustomed to using a recent phone screen or interchangeable lens camera. Equally, the small size means tapping icons on-screen is a challenge if, like me, you have hands that are on the large side. This is why I’d recommend using your X4 Air paired to a phone instead, where practical.

Image 1 of 2

Insta360 X4 Air in a outdoor setting

(Image credit: Future)

As on all of the Insta360 range, the front and rear lenses are quite bulbous, making them prone to damage. This is where the handy lens replacement and lens guards are a real bonus

Image 2 of 2

Insta360 X4 Air in a outdoor setting

(Image credit: Future)

The stated battery life of 88 minutes isn’t especially impressive, so carrying multiple replacements is a good idea if you’re away from home for any length of time. The charging time is fast though, meaning it’s easy to top up on power during a short coffee break at a cafe using the supplied USB-C cable. In my review sample, I found the USB connection quite loose, and some jiggling was required to ensure stable charging.

I did notice the X4 Air’s body heated up quite rapidly, even when not recording. I liked that the screen switches off automatically when not in use, to save battery, but keeping the camera on and at the ready for shooting means it still gets warm in the hand. It’s nothing extreme, but I do wonder how the camera would perform over extended shooting times in hot environments.

The camera is quick to focus, although again I’d recommend using a connected phone screen for assessing critical sharpness. The on-camera screen is too small for you to be completely confident that you have the subject in focus, although with such a deep depth of field at this focal length and given the smaller sensor, you don’t have to worry too much about obvious back-focusing.

  • Performance score: 4.5/5

Insta360 X4 Air: Image quality

  • New dual 1/1.8-inch sensors
  • Can record 8K 30fps or 6K 50fps video or 72MP photos (360-degree)
  • No PureVideo mode for low-light

With a sensor more than 1.6x smaller than the Insta360 X5's, you would expect a tradeoff in absolute image quality. Smaller pixels are the necessary compromise that allows the X4 Air’s diminutive size, and if you buy one, you’re likely doing so because a manageable size and weight are your top priorities. Considering the compact proportions of the camera body, Insta360 has done well to optimize the internal engineering, and the sensor is actually larger than the chip used in the X4 by almost a millimeter.

I jumped in at the deep end when testing the X4 Air, taking it to the low-light conditions of a Christmas-themed market at a local garden center. Despite the limited ambient light, footage was clean and detailed. Straight out of the camera there was very little discernible noise in shadow areas, and the image seemed sharp, free from the excessive mushiness that is the tell-tale sign of harsh in-camera noise reduction. Colors were also vibrant without being unnatural.

I genuinely think the video was superior in this area to that from my older semi-professional APS-C format DSLR cameras, which either made colors flat and dull in high-ISO footage, or wildly overcompensated by making them glow like a Tim Burton movie. This clip was quickly edited in the Insta360 Studio desktop app, which comes supplied with royalty-free music for social media use.

The dynamic range was perfectly acceptable, and while highlights tended to clip quickly in high-contrast lighting, the X4 Air did a good job of capturing shadow detail. I loved that a Log mode is available: I-Log produces a much flatter profile, allowing for more advanced color grading during post-processing while retaining more shadow and highlight data. This worked well, and although Netflix is unlikely to certify the camera any time soon, it does open up a wealth of cinematic styling opportunities.

Meanwhile, the Active HDR mode and Adaptive Tone setting are highly effective at preserving highlights. It’s worth mentioning that HDR shooting isn’t possible above 30fps. The frame rate is also limited to 50fps rather than the higher 60p available on the X4.

Shooting outside in good light produced the best results. The automatic white balance system also copes well in direct sunlight, although taking full control over the color temperature is possible through the menu, giving you more consistency between clips. This gives 360 footage a truly immersive and life-like feel, perfect for capturing the essence of a location while traveling.

  • Image quality score: 4.5/5

Insta360 X4 Air: testing scorecard

Insta360 X4 Air

Attributes

Notes

Rating

Price

Considering it's technically an upgrade to the X4, the X4 Air is significantly cheaper, which is welcome. There is the matter of the DJI Osmo 360, though.

4.5/5

Design

There have been few compromises to enable the more compact size, though handling can be a little fiddly.

4.5/5

Performance

For such a small 8K camera, the X4 Air manages to cope with processing time, heat dissipation and startup.

4.5/5

Image quality

The reduced sensor size from the X5 does limit low-light performance, but noise levels are still excellent, as are colors and dynamic range

4.5/5

Should I buy the Insta360 X4 Air?

Buy it if...

You value portability above all else
There may not be much of a reason to switch from another recent Insta360 camera model, but if you regularly travel and want to be discreet in how you shoot, the X4 Air is a truly pocket-friendly video camera.

You need 8K video
Arguably, 8K is overkill for many users, but it does open up cropping and reframing possibilities. Getting 8K capability in such a portable package is great for high-end videography purposes on the go.

You're new to 360 video
The reduced price point compared to the X4 and X5 means the X4 Air represents an affordable entry point into the Insta360 system. You get many of the same great features, but with less investment, making it a good choice to test the water and see if this type of videography is your thing.

Don't buy it if...

You just bought an Insta360 X5
....unless you want both! While I wouldn't necessarily say the X4 Air is worth changing to if you already own an X5, which is the higher-end model, you might still consider owning both if you're a 360 fanatic and want a smaller backup body.

You want maximum image quality
While the image quality is impressive, the X5 has the larger sensor and benefits from PureVideo mode for low-light and night shooting. For professional use, you might value absolute image integrity over diminutive size.

Also consider

Insta360 X5

The top-of-the-range model in the Insta360 family, the X5 is larger but more powerful. It enables recording up to 5.7K at 60fps, and features dual 1/1.28-inch sensors with larger pixels and greater light-gathering capacity. It also features the newer PureVideo mode that's missing on the X4 and X4 Air, providing superior performance under poor lighting. The build quality and control layout are familiar, but with the added benefit of a larger LCD.

Read our in-depth Insta360 X5 review

DJI Osmo 360

It was only a matter of time before DJI entered the 360 video market, and it debuts with an impressive offering. We immediately rated it highly during our review, most notably for its price, which undercuts Insta360 by quite a margin. Its square design won't be to everyone's taste, but the build quality is good, and you also get a generous 128GB of built-in storage.

Read our in-depth DJI Osmo 360 review

How I tested the Insta360 X5

  • I tested a full production model running release firmware over several days
  • I use the camera both mounted on an invisible selfie stick and handheld
  • I recorded videos in varying lighting conditions, both indoors and outside

Having reviewed action cameras on and off for several years, I went into this test with high expectations. I spent roughly a week using the Insta360 X4 Air alongside an X5 for the purposes of a comparison. I shot footage on both cameras under the same conditions to evaluate how each camera handled noise and tonal range, then examined both out-of-camera footage and color-graded I-Log clips to evaluate image quality.

  • First reviewed October 2025
I tested the divisive new Leica M EV1 – forget the haters, it’s the most usable Leica M camera yet
4:00 pm | October 23, 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).

You'd think the whole experience of taking photos with the M EV1 would be wildly different – but in fact, 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.

Like a Leica Q3 / Q3 43 premium compact but with Leica's M mount, the new EV1 felt pretty intuitive to me straight away, as I've used other Leica M series and Leica Q series cameras extensively.

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. The best of both worlds, then.

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)

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.

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.

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.

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)

All that said, as a package the M EV1 makes less sense. 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.

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.

Beyond such considerations, though, 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 (Australia price TBC) 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.

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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Leica M EV1 camera on a wooden table with glass-panelled door backdrop

There's that 35mm f/1.4 Summilux lens attached (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's 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.

Focus magnification gives you a closer look too, making it much easier to make fine adjustments. 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.

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Man holding the Leica M EV1 camera's viewfinder up to their eye, autumn leaf backdrop

(Image credit: Tim Coleman)
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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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Top plate of the Leica M EV1 camera, which is resting on a wooden table with glass-panelled door backdrop

(Image credit: Tim Coleman)
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Leica M EV1 camera in user's hands, autumn leaf backdrop

(Image credit: Tim Coleman)

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.

Leica M EV1: Performance

  • 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, those crops give a perspective equivalent to 45mm and 63mm lenses.

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.

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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: 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.

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.

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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)

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.

At the time of writing the EV1 isn't registered on the app as I've been using it prelaunch, but 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.

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Close up of the Leica M EV1 camera's battery door

(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

(Image credit: Tim Coleman)

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).

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

Man holding the Leica M EV1 camera's viewfinder up to their eye, autumn leaf backdrop

(Image credit: Tim Coleman)

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.

I tried the Fujifilm X-T30 III and tiny new kit lens, and the retro pairing are a great pick for beginner photographers
8:00 am |
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Comments: Off

Fujifilm X-T30 III: two-minute review

Fujifilm has updated its beginner mirrorless camera for photographers with the new X-T30 III, which comes four years after the Fujifilm X-T30 II.

It launches alongside a tiny new XF 13-33mm f/3.5-6.3 OIS kit lens (that's a 20-50mm effective focal length) that's smaller and lighter than the 15-45mm, the previous kit lens packaged with Fujifilm’s low-cost cameras. The portable pair weigh just 17.7oz / 503g combined.

Going on appearances alone, very little has changed. There's now a film simulation dial in place of a shooting mode dial, much like on other recent Fujifilm cameras including the X-T50, with all 20 simulations available, and the ability to add film recipe shortcuts.

Fujifilm X-T30 III camera in three colors, on a glass table

The X-T30 III is available in three colors; silver, charcoal and black (Image credit: Tim Coleman / Gareth Bevan)

Otherwise, the size, weight, profile and control layout are pretty much identical to the X-T30 II – this is a really small camera and lens combo that easily slips into a jacket pocket.

Headline features include the same 26MP sensor and current fifth-generation processor combo as used in the X-M5 and X-S20. This means the X-30 III sits below the pricer X-T50, which uses the latest 40MP stabilized sensor.

It has more in common with the slightly pricier X-S20, which with its in-body image stabilization, feels like a better pick. Otherwise, the specs are almost identical to those of the X-M5, which, with its viewfinder-less video-first design, costs less.

Fujifilm X-T30 III camera in photographer's hands

The notable change from the X-T30 II is that there's a film simulation dial rather than a shooting mode dial (Image credit: Tim Coleman / Gareth Bevan)

Despite its photography-friendly design, which also factors a built-in flash, the X-T30 III does in fact have the same video features as the compact X-M5, including 6K video with 10-bit color depth, 4K 60fps video and a vertical 9:16 short movie mode for social.

Personally, I think Fujifilm’s X-series range is getting a little crowded now, and would have liked to have seen the X-T30 III priced around 10% lower to help it to truly stand out for beginners.

However, it's still a compelling retro package – $1,150 / £1,000 / AU$1,950 for an attractive portable camera and lens with sharp 26MP stills and impressive 6K video is pretty respectable.

Fujifilm X-T30 III camera on a glass table

The X-T30 III is a tidy package with the 13-33mm lens attached (Image credit: Tim Coleman / Gareth Bevan)

Fujifilm X-T30 III: price and release date

  • Costs $999 / £829 / AU$1,679 body-only, or $1,149 / £999 / $1,949 with the 13-33mm lens
  • Available in silver, black and charcoal
  • Sales start on November 20, 2025

Designed for beginners, the X-T30 III is available from November 20 in silver, black and charcoal options, for a body-only price of $999 / £829 / AU$1,679, or with the new 13-33mm lens it costs $1,149 / £999 / $1,949.

The X-M5 remains the lowest-priced model in Fujifilm's range of X-mount cameras; the X-S20 is a fraction more, while the X-T50 is more again. Considering its features, I would prefer that the X-T30 III was around 10% cheaper in order for it to be more competitive.

Fujifilm X-T30 III camera in three colors, on a glass table

I expect the silver model in particular to sell well. (Image credit: Tim Coleman / Gareth Bevan)

Fujifilm X-T30 III: specs

Video

6K 30fps / 4K 60fps, 9:16 mode

Photo

26MP APS-C

Lens mount

Fujifilm X

Autofocus

Intelligent hybrid phase / contrast

Cont shooting

8fps (mechanical), 20fps (electronic), 30fps (electronic with 1.25x crop)

Screen

3-inch, 1.62m-dot tilt touchscreen

Viewfinder

2.36m-dot

Weight

13.3oz / 378g (incl battery and card)

Battery

NP-W126S (same type as in most of Fujifilm's current cameras), 425 shots

Fujifilm X-T30 III: Design

  • Weights just 378g, same dimensions as the X-T30 II
  • Film simulation dial in place of a shooting mode dial
  • Built-in EVF, flash and tilt touchscreen

The X-T30 III is a tidy, compact retro package, especially with the new 13-33mm lens – the pair weigh less than most rival cameras without lens attached, and I easily slipped the combo into my jacket pocket when I wasn't using it. The camera is available in three colors and it certainly looks the part, especially in silver.

The pronounced thumb rest gives a decent grip, and I happily (and securely) held the camera with one hand in both horizontal and vertical formats.

There's a quick menu button conveniently placed on that thumb grip, but all too often I found myself pressing it unintentionally. It's not a big drama as you just have to exit the menu, but it's something to be aware of.

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Fujifilm X-T30 III camera on a glass table

(Image credit: Tim Coleman / Gareth Bevan)
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Fujifilm X-T30 III camera with pop-up flash out, on a glass table

(Image credit: Tim Coleman / Gareth Bevan)
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Tilt screen of the Fujifilm X-T30 III camera pulled out, on a glass table

(Image credit: Tim Coleman / Gareth Bevan)
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Close up of the Fujifilm X-T30 III camera's viewfinder

(Image credit: Tim Coleman / Gareth Bevan)
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Top of the Fujifilm X-T30 III camera on a glass table

(Image credit: Tim Coleman / Gareth Bevan)

The rear touchscreen is tilt only and not fully vari-angle, which means you won't be able to easily shoot selfies.

I'm personally fine with the tilt design, which is handy for waist-level viewing. Also, the positioning of the USB-C, micro HDMI and mic ports on the side would obstruct a flip around screen, when those ports are in use.

The 2.36m-dot EVF is clear enough for such a small camera – I regularly used it rather than the screen, and it will be particularly helpful on bright sunny days for photography.

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Side of the Fujifilm X-T30 III camera on a glass table, port doors open

(Image credit: Tim Coleman / Gareth Bevan)
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Fujifilm X-T30 III camera on a glass table, battery removed

(Image credit: Tim Coleman / Gareth Bevan)
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Underside of the Fujifilm X-T30 III camera on a glass table

(Image credit: Tim Coleman / Gareth Bevan)
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Fujifilm X-T30 III camera on a glass table

(Image credit: Tim Coleman / Gareth Bevan)
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Close up of the Fujifilm X-T30 III camera's thumbgrip

(Image credit: Tim Coleman / Gareth Bevan)
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Rear of the Fujifilm X-T30 III camera on a glass table

(Image credit: Tim Coleman / Gareth Bevan)

We now have a film simulation dial in place of a shooting mode dial - that's consistent with the latest models including the X-T50.

I can see the reasoning - quick access to color profiles and film recipes is great if you like to regularly experiment with different looks.

Personally, I switch exposure mode more often than color profiles, so I'm a bigger fan of the shooting mode dial which is sacrificed for film simulations.

In my limited time with the camera, I actually couldn't figure out how to switch to aperture priority - my default exposure setting - and so resorted to the new auto mode instead which selects shutter speed and aperture based on the scene. The X-T30 III certainly feels designed for beginners.

There's a built-in flash, one of only three current beginner models with such a feature. The GN7-rated (ISO 200) flash is handy to have for sure, especially at parties. You only tend to get a built-in flash in beginner cameras which aren't weather sealed, like the X-T30 III, because they usually compromise weather sealing.

Fujifilm X-T30 III: Performance

  • New processor delivers 10% better battery life
  • New Instax mode for instant photography fans
  • Digital stabilization only

Packing Fujifilm's latest processor, the X-T30 III is a snappier camera than the X-T30 II. For example, 8fps (mechanical) and 20fps (electronic) burst shooting are sustained for 2x longer, for up to 173 JPEGs. That max speed can be upped to 30fps (electronic) with a 1.25x crop.

Fujifilm also says battery life is improved by 10% thanks to the new processor, for up to 425 shots.

Autofocus receives a boost, too, with Fujifilm's latest subject detection on board, which in addition to people can track animals, birds, cars, insects and more.

There's also a new Instax instant photography mode which can display mini, square and wide Instax formats for framing your shot, with direct wireless printing to Instax Link printers. I haven't used this mode yet, but it sounds like a great option for instant photography fans.

For me, the biggest sacrifice here versus a pricier model such as the X-T50, is in-body image stabilization. There's digital image stabilization only, which is certainly better than nothing, but does somewhat limit the possibilities for smooth handheld video footage. The same goes for creative slow-shutter-speed photography.

Fujifilm X-T30 III: image quality

  • 26MP stills and film simulations
  • 6k 30fps, 4k up to 60p, and 9:16 short video mode
  • 10-bit color depth for video

I've only used the X-T30 III for two hours, but I know what its image quality potential is, having reviewed the X-S20 and X-M5, which both share the same sensor and processor.

Sure, pricier Fujifilm cameras such as the X-T50 and X-T5 boast Fujifilm's latest 40MP sensor for highly detailed photos, but the X-T30 III is no slouch, and still outshines other crop-sensor rivals for detail with its 26MP stills (and 14-bit 'RAF' format RAWs), such as the 20.9MP Nikon Z50 II, the 24MP Canon EOS R10 and the (older) 24MP Sony A6400.

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Fujifilm X-T30 III sample images – street scenes in London's China Town

(Image credit: Tim Coleman)
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Fujifilm X-T30 III sample images – street scenes in London's China Town

(Image credit: Tim Coleman)
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Fujifilm X-T30 III sample images – street scenes in London's China Town

(Image credit: Tim Coleman)
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Fujifilm X-T30 III sample images – street scenes in London's China Town

(Image credit: Tim Coleman)
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Fujifilm X-T30 III sample images – street scenes in London's China Town

(Image credit: Tim Coleman)
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Fujifilm X-T30 III sample images – street scenes in London's China Town

(Image credit: Tim Coleman)
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Fujifilm X-T30 III sample images – street scenes in London's China Town

(Image credit: Tim Coleman)
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Fujifilm X-T30 III sample images – street scenes in London's China Town

(Image credit: Tim Coleman)

Having Fujifilm’s film simulations at your fingertips is handy, including customizable film recipes, even if that makes shooting-mode changes much more of a hassle. I've shot using various profiles in the galleries above and below, including Velvia (vivid), Reala Ace, Acros (monochrome) and others.

Video quality is excellent, too – 6.2K video and 4:2:2 10-bit color depth is excellent at this price point, even if in-body image stabilization is missing.

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Fujifilm X-T30 III sample images – street scenes in London's China Town

(Image credit: Tim Coleman)
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Fujifilm X-T30 III sample images – street scenes in London's China Town

(Image credit: Tim Coleman)
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Fujifilm X-T30 III sample images – street scenes in London's China Town

(Image credit: Tim Coleman)
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Fujifilm X-T30 III sample images – street scenes in London's China Town

(Image credit: Tim Coleman)
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Fujifilm X-T30 III sample images – street scenes in London's China Town

(Image credit: Tim Coleman)
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Fujifilm X-T30 III sample images – street scenes in London's China Town

(Image credit: Tim Coleman)
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Fujifilm X-T30 III sample images – street scenes in London's China Town

(Image credit: Tim Coleman)

What I'm yet to discover, given my limited time with the kit, is just how good the new 13-33mm lens is, at least versus the previous 15-45mm kit lens. This detail matters because most people will buy the camera with the new kit lens, and I'll share my thoughts after spending more time with the camera and lens pairing.

Fujifilm X-T30 III: also consider

Nikon Z50 II

Available for exactly the same price as the X-T30 III, the Z50 II is a versatile mirrorless camera with Nikon's latest Expeed 7 processor for flagship performance, superb subject-recognition autofocus, and improved video features. Its excellent ergonomics and vari-angle touchscreen make it an easy camera to travel and shoot with, while color profiles can be uploaded from Nikon's app, much like Fujifilm film recipes. With lower-resolution 20.9MP stills and 4K video, the Z50 II can't quite match the X-T30 III for detail.

See my Nikon Z50 II reviewView Deal

Fujifilm X-M5

Smaller, lighter and cheaper, the X-M5 features the same sensor and processor as the X-T30 III – which likewise means 26MP stills, 6.2K video, 9:16 short movies and film simulations. The major difference is that the X-M5 lacks a viewfinder and has a vari-angle screen, making it the better pick for video.

See our Fujifilm X-M5 reviewView Deal

Man holding the Fujifilm X-T30 III camera up to his eye, on London street

(Image credit: Tim Coleman / Gareth Bevan)

How I tested the Fujifilm X-T30 III

  • I had just two hours with the X-T30 III and 13-33mm lens
  • I took a walk through London's China Town
  • I mainly took photos, using the various film simulations

I've used the X-T30 III with 13-33mm lens for just a couple of hours, shooting street photos and a handful of videos around London's China Town.

I already know what the X-T30 III’s image quality potential is, having reviewed the X-S20 and X-M5, which both share the same sensor and processor. The lens, though, is less of a known quantity.

I've shot using various film simulations, completely handheld during an overcast day in London. As with most cameras pre-launch, I could only view JPEGs, because the raw files aren't readable before launch in software such as Adobe Camera Raw.

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

Once Upon photo book review

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

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

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

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

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

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

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

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

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

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

(Image credit: Future)

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

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

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

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

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

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

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

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

(Image credit: Future)

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

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

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

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

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

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

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

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

(Image credit: Future)

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

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

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

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

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

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

(Image credit: Future)

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

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

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

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

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

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

(Image credit: Future)

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

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

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

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

(Image credit: Future)

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

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

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

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

(Image credit: Future)

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

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

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

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

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

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

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

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

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

(Image credit: Future)

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

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

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

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

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

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

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

Should I buy the Once Upon photo book?

Ease of use

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

5 / 5

Editing tools

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

2 / 5

Print quality

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

4.5 / 5

Value

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

4 / 5

Buy it if…

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

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

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

Don't buy it if…

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

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

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

Once Upon photo book review: also consider

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

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

How I tested the Once Upon photo book

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

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

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

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

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

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

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

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

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

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Freewell Real Locking VND/CPL Mega Kit

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

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

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

(Image credit: James Abbott)

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

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

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

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Freewell Real Locking VND/CPL Mega Kit

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

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

(Image credit: James Abbott)

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

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

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

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

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Freewell Real Locking VND/CPL Mega Kit filter example photo

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

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

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

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

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

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

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

Polarizer at full strength (Image credit: James Abbott)

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

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

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

Freewell Real Locking VND/CPL Mega Kit: key specs

Filter slots

Stackable

Adaptor rings

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

Polarizing filter

Built into VND

Case included

Yes

Lens cap

Yes

Freewell Real Locking VND/CPL Mega Kit price and availability

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

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

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

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

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

(Image credit: James Abbott)

Buy it if...

You require convenience

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

You’d like portability

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

Don't buy it if...

You need ND grads

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

You only need a VND

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

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

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

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

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

First reviewed October 2025

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