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I tested the retro Instax Mini Evo Cinema for two weeks — it’s awesome and terrible, but it still wins my heart

4:02 pm | January 16, 2026

Fujifilm Instax Mini Evo Cinema: Two-minute review

The Fujifilm Instax Mini Evo Cinema takes instant cameras in a new direction, and let me tell you, it’s heaps of fun. It’s a 3-in-1 digital ‘hybrid’ instant camera; being a stills camera, an instant printer and the very first Instax that shoots video.

We know the instant photography part already: the Mini Evo Cinema packs much of the same lo-fi tech as the Mini Evo – 5MP digital photos through a 28mm f/2 lens, which are saved onto micro SD, that you can select in the camera’s gallery or through a companion app to print instantly onto Instax Mini paper. In this case, the printing process uses an analog-style lift and twist lever.

But it’s the camera's design where things get really interesting. This is a nostalgic, slimline Super 8 camera-style body – which is supposedly inspired by Fujifilm’s ‘Fujica Single-8‘ from 1965 – that easily sits in the hand with the shutter button at your trigger finger.

And for me, it’s the video features that drew me in rather than the traditional Instax photography experience, even if each of the three functions seamlessly blend together.

Then there's the main event – the Eras Dial, with a look for every decade spanning the last 100 years. Fujifilm says these looks ‘pay homage to the characteristics, media and playback devices that defined that time’.

Starting with 1930 and running up to 2020, there's a distinct look for each decade, each with a scale of 1-10 for various 'expressions' of each decade, adjusting either the strength or the look of each style. So yes, that makes 100 styles, all of which work for photos and videos.

Fujifilm is no stranger to introducing never-before seen controls in its recent cameras, from the Film Mode in the fun X half to the aspect ratio dial in the serious GFX100RF, it keeps delivering surprising new features, and the Eras Dial, being at one's fingertips, is more than just a novelty.

Fujifilm Instax Mini Evo Cinema on a white wooden surface — Tim Coleman

Even videos can be shared through an Instax Mini print – the Mini Evo Cinema selects a frame from the video (or the user can manually select a frame) and prints it with a QR code for access to that clip through Fujifilm’s servers.

You can also check out and share photos and videos using the free Instax Mini Evo app, including making short video edits from your video clips (which are limited in length to 15 seconds each).

I've made my own video compilations using the Instax Mini Evo app, combining multiple clips into a 30 second montage (which is the maximum length), printed it with a QR code attached, which then seamlessly took me online to that reel. The editor is a little clunky, and the video length limitations are frustrating at times, but it's an OK experience overall.

Fujifilm Instax Mini Evo Cinema on a white wooden surface with instant prints around it — Here's the camera alongside a print for every one of the 10 decades featured in the Eras Dial. It's no coincidence that a pack of Instax Mini film produces 10 prints. (Image credit: Tim Coleman)

Inside the box, you get the camera, viewfinder eye cup for the 1.5-inch 170k-dot LCD screen (see it in action, below), a grip extension and a strap.

The Mini Evo might look toy-like, but it is in fact a premium-feel product, everything from the grip to the dials, switches and buttons feel solid.

Performance, on the other hand, during my review was pretty sluggish. I've used the camera at a launch event and again during a two week review period, and with both units the Evo Cinema's wheel of death appeared almost every time I recorded a video or switched eras, taking a few seconds to be ready to use again. A little annoying, but arguably in the spirit of retro tech.

Photographer holding the Fujifilm Instax Mini Evo Cinema camera up to their eye — The Evo Cinema handles well, and is such a clever concept - packing Instax tech into a polished, Super 8-style body (Image credit: Tim Coleman)

I actually think the Mini Evo Cinema is the most intriguing Instax camera to date – it feels like the Instax camera that the digital generation has been waiting for.

Its Super 8-style body is a perfect form to host Instax Mini printing, and the multi-media output makes this feel like a camera that'll keep my interest for much longer than a simple instant photography Instax. This is a proper good times camera.

Technically speaking, this is a poor camera. However, it already feels like the one Instax that appeals to me the most in the many years that I've been testing Fujifilm products.

If I was to sum the Mini Evo up in a single word, it would be fun. Fujifilm is having a real go at making cameras fun again with a string of quirky products, and the Evo Cinema could just top the lot.

Fujifilm Instax Mini Evo Cinema: price and release date

Costs $419 / £329 / AU$599
There's viewfinder, grip extension and strap accessories included
Sales began on January 28, 2026

The Fujifilm Instax Mini Evo Cinema went on sale globally from January 28 2026, with a price of $419 / £329 / AU$599.

In the box you'll also find the viewfinder attachment, grip extender, strap and USB-C cable. A purpose-made leather case will be available too, for $40 / £35 (about AU$65).

Fujifilm Instax Mini Evo Cinema: specs

Video	1080 x 1440 x ('2020' setting only) 600 x 800 for all others
Photo	5MP, 1/5-inch sensor
Format	Instax Mini
Lens	28mm f/2
Autofocus	Yes
Screen	Fixed 1.5-inch, 170k dots
Viewfinder	A clip-on viewfinder is supplied for the screen
Dimensions	39.4 mm x 132.5 mm x 100.1 mm (excluding projecting parts)
Weight	270g (excluding film pack and recording media)

Fujifilm Instax Mini Evo Cinema: design

Fabulous Super 8-style body
A pack of Instax Mini film slots inside
Retro controls and a charming Eras Dial

Design is easily the strong side of the Evo Cinema – it's a charming, Super 8-style camera with versatile 3-in-1 skills; digital photos, video, and instant printing.

The body is particularly slimline and designed to be held vertically. With a pistol-like grip, your index finger naturally rests on the shutter button, like a trigger. You press it to take photos, or press and hold to shoot video, with a maximum clip length of 15 seconds. You can customize to a single press to record video too, but I preferred the authentic press and hold for video recording, not least of which to avoid accidental recordings.

Fujifilm provides a grip extension with the camera, but honestly I could take or leave it – because it hardly impacts the camera’s handling. What is a useful accessory, however, is the viewfinder eyecup, which comes included. It attaches magnetically and clicks into place over the tiny 1.5-inch LCD screen, which isn’t touch sensitive by the way, enabling a clear view in bright light, but again more for an authentic Super 8-like shooting experience.

There are several buttons and controls around the camera worth mentioning, one of which is a lift and twist lever used for instant printing – it’s easy to forget that this slim camera can hold a pack of Instax Mini film inside for instant photo prints. A single pack of 10 prints will set you back around $9 dollars or £8 pounds.

Another control is the digital zoom lever – I rarely used this because the Mini Evo Cinema’s image quality is sketchy at best already, but more on this later.

The 28mm f/2 lens is a moderate wide angle optic, with a similar perspective to the main camera on your smartphone, and it has a ring around it which can scroll through color profiles. Above the lens is a selfie mirror which is barely helpful, plus a tiny LED flash light which is useful for indoor party portraits, even if it’s not very powerful.

The Eras Dial starts in the 1930s with a grainy monochrome, the 1990s is the old school handicam look, while 2020 is a crisp quality like today’s smartphones. Gimmicky? Maybe for some, but not for me – this is such a fun feature that I kept coming back to.

It might appear toy-like, but once you get to grips with the Mini Evo, you realise that it's a well-made, well-thought out camera. I really believe Fujifilm has faithfully brought a fabulous concept into life.

Fujifilm Instax Mini Evo Cinema: performance

100 color profiles inspired by decades past and present
Poor image quality and limited video clip length
Sluggish operation

On the flipside to design, performance is surely the Mini Evo Cinema's weakness – and in that sense it is fully committed to its retro roots!

Having used the Mini Evo previously, I expected poor image quality, especially since the basic sensor hardware is essentially the same as the original Mini Evo. Put simply, don’t expect excellent photo quality – the camera shoots lo-fi five megapixel JPEG photos through that 28mm lens, which are then saved onto micro SD.

From the camera’s gallery, you can then select which images you’d like to print instantly onto Instax Mini paper, using that analog-style lift and twist lever.

Video quality is equally lo-fi at just HD 720p, unless you have the high-resolution option active specifically for the 2020 Eras Dial setting alone, where video resolution can be doubled to 1440p. A frustrating, needless limitation on quality? Not so – it’s authentic.

I prefer the digital hybrid setup to a fully analog instant camera – where the camera prints immediately on capture, whether it’s a ‘good’ photo or not. With a Mini Evo you pick the shot you like for printing, meaning less wasted prints. Sure, it’s not one for analog purists, but I’d rather not waste my money on throwaway prints.

One frustrating experience using the Mini Evo Cinema is its slow operation. Every time you change a setting, or take a photo or video, a spinny wheel of doom pops up on screen as the camera makes those changes or processes images before it’s ready to operate again. The wait is even longer after recording video clips.

I’ve had two samples of the camera, and had the same issue with both. One time, the camera completely froze up, and the only solution was to leave it be until the battery fully drained. Once I charged it up and turned it back on, all seemed well again.

These issues could be bugs with the current firmware, that could be addressed in the future, but I’d be remiss not to mention them.

In one sense, using the Evo Cinema with all its performance-related issues is frustrating, but then I stop and think about the kind of camera that it is, and I can't help but embrace those flaws.

Sample photos – 1930 through to 2020

Fujifilm Instax Mini Evo Cinema sample gallery: female model in studio — 1930Tim Coleman

The 10 photos above cover each of the 10 settings in the Eras Dial, from 1930 to 2020. I kept the 'expressions' control to its auto setting rather than experiment with the 10 different looks available for each of the decades on the dial. Stills are recorded as JPEGs onto microSD, at 1920 x 2560 pixels.

Sample video – 100 years in a minute

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♬ original sound - TechRadar

I repeated the process for video, capturing each of the 10 Eras Dial looks. The lo-fi video quality is captured at 600 x 800 pixels for every setting except 2020, which is a higher quality 1080 x 1440 pixels.

Should I buy the Fujifilm Instax Mini Evo Cinema?

Buy it if...

You want a versatile retro camera
With 3-in-1 skills and well-made Super 8-style body, the Mini Evo Cinema is the retro camera to getView Deal

You love the lo-fi look
With poor quality stills and video but in a range of era-inspired styles, there are plenty of looks to sink your teeth intoView Deal

Don't buy it if...

You're looking for top quality and performance
Images are lo-fi, operation can be slow – this is retro in every senseView Deal

You simply want video or photo
If you're looking for an instant camera only, or on the flipside a video camera only, there are low cost alternativesView Deal

Fujifilm Instax Mini Evo Cinema: also consider

Fujifilm Instax Mini Evo

Think of the Mini Evo as the same photo-making and instant printing camera, only without the video skills or retro Super 8 design. Instead, you have a compact body, and for around half the price.

See our Insta Mini Evo reviewView Deal

Camp Snap CS-8

If the Mini Evo Cinema's video skills appeal and the instant printing less so, then check out the Camp Snap CS-8, another lo-fi Super 8-style digital camera. It focuses on video, plus it costs much less

Read our Camp Snap CS-8 reviewView Deal

How I tested the Fujifilm Instax Mini Evo Cinema

I attend a pre-launch Evo Cinema event for an two hour session. Fujifilm consequently sent me the camera for a two week loan period
I used it with the viewfinder and grip accessories, and I tried all the Eras Dial settings for photo and video
I've printed Instax Mini prints and edited content through the app

I've spent two weeks with the Evo Cinema, which has given me plenty of time to get a feel for how it handles and performs.

At a two hour launch event, I recorded the same video in a studio of a model, using every one of the 10 Eras Dial settings, and repeated that process for photos, printing out each one.

I've since experimented with the various expressions of each decade, taken more photos and videos both indoors and outdoors, in good light and bad.

I've tried the Evo Cinema with and without its viewfinder and grip accessories. The optional case was not supplied to me for the review.

I also made video montages using the basic video editor in the free Mini Evo Cinema app, and printed the QR code for access to those clips.

First reviewed: January 2026
Read more about how we test

I’ve waited 10 long years for the Sony FE 100mm f/2.8 Macro GM OSS, and it’s the 5-star optic to delight Sony macro photographers

7:04 pm | January 15, 2026

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

Sony FE 100mm f/2.8 Macro GM OSS: One-minute review

Sony launched its original FE 90mm f/2.8 Macro G OSS back in 2015, just two years after the company revealed its innovative A7 full-frame mirrorless camera to the world.

While the Sony FE 90mm f/2.8 Macro G OSS has been a reliable macro lens for Sony macro photographers, it’s been the only first-party Sony option for over a decade, so all eyes were on Sony when it announced its new Sony FE 100mm f/2.8 Macro GM OSS in September last year.

I was lucky enough to get my hands on a review sample, as well as a Sony A7R V with its large 61MP full-frame sensor, so I was able to zoom into its huge images to assess the new FE 100mm f/2.8 Macro's sharpness and image quality.

A product shot of the Sony FE 100mm f/2.8 Macro GM OSS attached to a Sony A7R IV outdoors on a metal garden table with a blurry background — (Image credit: Dan Mold)

As a lover of macro photography who regularly shoots everything from close-ups of interesting textures to insects and mushrooms to pocket watches, I was particularly keen to see how the new Sony FE 100mm f/2.8 Macro GM OSS performed.

At $1,498 / £1,399 / AU$2,599 it's among the most expensive consumer full-frame macro lenses on the market, and 70% more expensive than its predecessor. So should owners of the now decade-old Sony FE 90mm f/2.8 Macro G OSS rush out to buy one?

Simply put, no. The older, more affordable version will suffice for the majority of casual shooters. However, for serious professionals shooting on Sony systems the Sony FE 100mm f/2.8 Macro GM OSS will be well worth the high asking price, delivering as it does incredible image quality, rock-steady stabilization, 1.4x magnification and teleconverter compatibility.

Simply put, it's the best Sony lens for macro photography fans, though you'll have to be prepared to put a sizable dent in your wallet to get one.

Sony FE 100mm f/2.8 Macro GM OSS: Price and availability

Priced at $1,499 / £1,399 / AU$2,599
ALC-SH173 lens hood and soft case included
Announced in September 2025

The Sony FE 100mm f/2.8 Macro GM OSS retails for $1,499 / £1,399 / AU$2,599, and is the successor to the now decade-old Sony FE 90mm f/2.8 Macro G OSS, which can be picked up now for around $1,050 / £819, though this price hasn’t changed all that much since it was released back in 2015. The Sony FE 100mm f/2.8 Macro GM OSS was always going to be a more expensive option with new tech, advanced features and more modern conveniences, and it works out 70% more expensive in the UK, or around 40% more expensive in the US.

Is it worth the extra money? For casual shooters probably not, but for serious working pros I think the extra upgrades, better stabilization and stunning image quality make it good value for money. It’s also a much stronger competitor to the Canon RF 100mm F2.8L Macro IS USM, which Canon users have been enjoying since April 2021, and a true competitor for which has been sorely missed in Sony’s range up until now.

For those on tighter budgets there is of course the original Sony FE 90mm f/2.8 Macro G OSS. There are also third-party options like the Sigma 105mm f/2.8 Macro DG DN Art and Tamron 90mm f/2.8 Di III Macro VXD – while both of these lack optical image stabilization, they are considerably cheaper, and will be a better choice for those on stricter budgets looking to get into macro photography.

Sony FE 100mm f/2.8 Macro GM OSS: Specs

Sony FE 100mm f/2.8 Macro GM OSS specs
Type:	Macro lens
Mount:	Sony FE
Sensor:	Full-frame
Focal length:	100mm
Max aperture:	f/2.8
Minimum focus:	0.26m
Filter size:	67mm
Dimensions:	81.4 x 147.9mm
Weight:	22.7oz / 646g

Sony FE 100mm f/2.8 Macro GM OSS: Design

Focus ring has a clutch mechanism to switch between AF/MF and Full AF quickly
Switches on lens barrel for focus distance limiter, OSS, iris ring lock and declicking
Quite long for a 100mm macro lens, measuring 147.9mm
Built to be compatible with Sony's 1.4x and 2x teleconverters

The Sony FE 100mm f/2.8 Macro GM is very similar in terms of size and weight to the older FE 90mm f/2.8 Macro G OSS, although it has the benefit of being a little more zoomed in at 100mm, and offers a higher maximum magnification of 1.4x over the older optics’ standard 1:1 life-size reproduction ratio, so macro lovers will be able to get even closer. It’s about 7% heavier at 646g and is 2.4mm wider in diameter, and it’s about 17mm longer. So far, it’s bigger and better in every way.

I have no issues with the lens being a little larger; it feels really nice and secure in the hand, and the large focus ring, which is about 1.5 inches wide, is perfectly positioned for your thumb and forefinger to wrap around. Like the old model, the new macro lens uses a push/pull clutch, allowing you to push or pull the entire focus ring to quickly switch between AF/MF and Full MF.

There's also an AF/MF switch on the side of the lens barrel, which shouldn’t create quite as much motion. The manual-focus ring also has a focus distance scale on the lens barrel, which comes in handy when you want to specifically dial in a magnification such as 1:1 life-size, or go even closer.

Other switches on the side of the lens include a full-time DMF toggle to enable the Direct Manual Focus to override the autofocus when needed, which I found to be very useful. There’s also a focus limiter switch which can be set to Full, 0.26-0.7m or 0.5m to infinity to speed up autofocus operation when you know you’re working with subjects either very close or far away, as it prevents the camera from hunting outside the set range.

There’s also a dedicated switch for enabling OSS (Optical Steady Shot), Sony's optical image stabilization tech. It’s rated for 4-4.5 stops on the FE 100mm f/2.8 Macro, which is an improvement over the 3-4 stops you got with the older model. Even more stabilization can be achieved with Sony bodies that have sensor-based IBIS, though Sony doesn’t give an exact figure of how much stabilization can be achieved.

To add context, both of Sony’s lenses are the only optically stabilized macro lenses for Sony FE mount – as mentioned, the Sigma 105mm f/2.8 Macro DG DN Art and Tamron 90mm f/2.8 Di III Macro VXD don’t have optical stabilization, though they are considerably more affordable as a result.

Also on the outside of the lens barrel you’ll find an iris ring to control the aperture, which can be locked in the ‘A’ position if you prefer to set this via the camera body. The aperture click can also be enabled or disabled via a switch – helpful for videographers who prefer a smooth action when filming. We’re also treated to two customizable focus-hold buttons on the side of the lens barrel.

As one of Sony’s top-flight G Master lenses, the Sony FE 100mm f/2.8 Macro GM is of course weather sealed, and to that end there's a rubber seal around the metal lens mount.

In the box you’ll also find its ALC-SH173 lens hood, and a soft case to keep it protected when stored or in transit.

Sony 2x Teleconverter — (Image credit: Dan Mold)

A rather odd feature that I’m glad to see included on the new Sony lens, and one I can’t recall seeing on other recent macro lenses, is the ability to use the Sony FE 100mm f/2.8 Macro GM with Sony’s SEL14TC and SEL20TC teleconverters to extend its macro capabilities even further.

While I don’t think this is essential, I do think some wildlife and nature photographers who already own these extenders for long telephoto lenses will benefit greatly and get extra use out of them. However, more casual shooters will probably still find better value in a set of extension tubes that usually cost around $100 compared to the SEL14TC and SEL20TC which both cost $598 / £479 / AU$799 and also allow you to get closer to your subject.

That said, as somebody who owns a 180mm f/2.8 macro lens, I can see the merit of using a 2x teleconverter as a cheaper and more convenient alternative to owning a telephoto macro lens as well as a 100mm one.

Sony FE 100mm f/2.8 Macro GM OSS: Performance

Excellent image quality but autofocus not the fastest
OSS makes it easier to shoot handheld close-up photos
1.4x magnification and teleconverter support make it easier to get closer

As one of Sony’s top-flight G Master lenses you’d expect the Sony FE 100mm f/2.8 Macro GM to deliver a solid performance, and I’m delighted to say that this is very much the case.

Considering that the lens has not one, but four of Sony’s XD Extreme Dynamic linear motors the autofocus wasn’t the snappiest I’ve ever seen from a mirrorless lens. Instead it took a little moment to smoothly transition the focus, although this will perhaps be preferred by videographers.

That said, Sony claims the autofocus is 1.9x faster than its predecessor so it's still a decent improvement, and the autofocus was accurate once it acquired the subject. I also found it invaluable to have the ability to pull the focus clutch ring to engage full-time manual focus at any time.

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A test shot with the Sony FE 100mm f/2.8 Macro GM OSS showing its macro capabilities on some outdoor subjects — (Image credit: Dan Mold)

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Image quality is excellent, with the lens employing both flourine and Nano AR II coatings on the front element to make it oil and water-repellent, and to counter flare when shooting towards a light source. The lens features 17 elements arranged in 13 groups, two of which are XA (extreme aspherical) elements and two of which are ED (Extra-low Dispersion) elements.

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Close-up test shot of a dachshund with the Sony FE 100mm f/2.8 Macro GM OSS lens and Sony A7R IV — (Image credit: Dan Mold)

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Close-up test shot of a dachshund with the Sony FE 100mm f/2.8 Macro GM OSS lens and Sony A7R IV camera body — (Image credit: Dan Mold)

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Of course, depth of field is limited when shooting close-up at f/2.8; however in-focus areas of images look very sharp, even when shooting wide open. Flare was controlled well, contrast was punchy, and images were free from chromatic aberration. The sharpness of the lens was able to meet the resolution of the 61MP Sony A7R IV I tested it with, producing beautifully clean images with virtually no distortion or vignetting.

In my tests shooting handheld I was able to take sharp shots at around 4-4.5 stops slower than would normally be required, though this was paired with a Sony A7R IV, which has sensor-based IBIS that also helps. This meant that where a shutter speed of 1/100 sec was required to take a sharp shot I was able to lower my ISO or close the aperture until my shutter speed was 1/5 sec and still get a usably sharp image when shooting handheld – impressive!

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A comparison shot taken with the Sony FE 100mm f/2.8 Macro GM OSS lens showing with and without the Sony 2x teleconverter — This test shot of some snowdrops was taken with the Sony FE 100mm f/2.8 Macro GM OSS without the teleconverter attached (Image credit: Dan Mold)

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Should you buy the Sony FE 100mm f/2.8 Macro GM OSS?

Buy it if...

You want to upgrade from the Sony FE 90mm f/2.8 Macro G OSS

The new Sony FE 100mm f/2.8 Macro GM OSS has plentiful upgrades that make it the ultimate macro lens for Sony shooters.

You're a working professional

As one of Sony's top-flight G Master lenses, the 100mm optic is expensive but can deliver for working pros shooting close-ups of still life setups, nature and product photography.

You need teleconverter compatibility

The Sony FE 100mm f/2.8 Macro GM OSS has been designed to work with Sony's 1.4x and 2x teleconverters, effectively turning the lens into a 140mm f/3.5 or 200mm f/5.6 respectively.

Don't buy it if...

You're on a budget

This is one of the most expensive macro lenses on the market, so Sony's older FE 90mm f/2.8 Macro G OSS or third-party options will be a better choice for those on stricter budgets.

You don't need the extra magnification

Sony's new macro lens can go to 1.4x magnification, but the old Sony FE 90mm macro can go to 1x magnification, which is still perfectly suitable for close life-size macro shots.

You need a portrait lens

If you're looking for a short telephoto lens for portraiture the Sony FE 100mm will do a decent job, but it's not your best bet. A lens such as an 85mm f/1.4, or 135mm f/1.8 will give you the faster apertures needed for artfully blurred backgrounds.View Deal

How I tested the Sony FE 100mm f/2.8 Macro GM OSS

I used the lens for a month, capturing close-up shots of nature as well as controlled still-life setups at home
I paired it with the 61MP Sony a7R IV full-frame body, zooming in on images to assess resolution and clarity
I took shots throughout the aperture range, focusing up close and further away, and used the lens with Sony's 2x teleconverter

I used the Sony FE 100mm f/2.8 Macro GM OSS with a Sony A7R IV for a month to give the lens a thorough testing over an extended period. Sony also kindly loaned me its SEL20TC 2x teleconverter, and I also took test shots with this sandwiched between the lens and camera body to see what difference it made.

The lens became my go-to for taking close-up shots over this time, and in particular when we had a cold snap in the UK, where I'm based – I loved heading out with it to capture stunning details of frost patterns and ice.

I took a range of pictures with in-camera lens corrections both enabled and disabled to see the difference. I also shot in raw and JPEG formats, and shot at all of the various apertures to gauge how things like corner sharpness and vignetting changed throughout the range.

First reviewed January 2026

The viral Kodak Charmera is the worst camera I’ve ever used – but it’s so bad and so retro, that I actually love it

8:45 pm | January 14, 2026

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

Kodak Charmera: Two-minute review

It took me a while to get my hands on the Kodak Charmera – such is the viral popularity of this $30, 30g keychain digital camera, that it sold out on its release day late last year (with what felt like minimal advertising), and it only came back in stock as I publish this review a month later. Who knows, it might be out of stock again by the time you read these words.

And I can see the appeal – the Charmera is cheap, tiny, retro, it’ll easily fix to your keyring, and it’s an actual working camera with a screen.

What's more, there are six 1980s-inspired colorways, plus a limited edition see-through version, and you don’t know which version you’ll get since it comes in a 'blind box'. That’s got gift idea written all over it.

When I unboxed mine, cue disappointment – the black version with rainbow frontage – the one pictured on the box that appealed to me the least. Still, inside the box, a nice poster, a collector card, and a small charging cable.

@techradar
♬ Storytelling - Adriel

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Kodak Charmera compact camera in user's hand — (Image credit: Future / Tim Coleman)

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Kodak Charmera compact camera in user's hand with a vibrant graffitied wall backdrop — (Image credit: Future / Tim Coleman)

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Kodak Charmera compact camera dangling from its keychain, with shop frontage backdrop — (Image credit: Future / Tim Coleman)

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I charged the Charmera up and slotted the thumb-sized camera into my pocket where it would live for the following weeks.

The Charmera shoots tiny 1.6 megapixel JPEG photos and HD video (1400 x 1080p at 30fps) through a fixed 35mm f/2.4 lens, has seven photo filters and four animated borders to choose from, stores onto micro SD (which needs to be purchased separately), and has a (predictably) tiny internal battery that is recharged through USB-C.

There’s a tiny 16:9 LCD screen with live view that in practice is even smaller given that images are captured in 4:3, a miniscule LED light that illuminates closeup subjects, and possibly the smallest viewfinder I've ever used, which is novel and in a way works.

Honestly, that’s about all the features and design aspects worth knowing about, but what is the Charmera actually like to use?

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Top buttons of the Kodak Charmera compact camera — (Image credit: Future / Tim Coleman)

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Underside of the Kodak Charmera compact camera — (Image credit: Future / Tim Coleman)

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Rear screen of the Kodak Charmera compact camera — (Image credit: Future / Tim Coleman)

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Menus are simple enough to navigate; turn the camera on, and you select either photo, video, or set date using the three buttons on the rear, with the playback button doubling as select.

The power button doubles up as a back button, and then there's the shutter button to shoot photos and video. It takes barely a minute to figure this all out.

Everything about the Charmera is tiny: a tiny thumb-sized body, tiny screen, tiny images. And it's actually kind of fun to shoot with...in the moment. I was certainly charmed by the Charmera, and I think many others will be too.

It's when you plug the camera into a computer or hook up the memory card to view any images taken with the Charmera that the warm fuzzy feeling quickly vanishes.

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Kodak Charmera sample gallery: a hand illuminated by rainbow lights — (Image credit: Tim Coleman)

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Kodak Charmera sample gallery: child looking at jellyfish in an aquarium — (Image credit: Tim Coleman)

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Kodak Charmera sample gallery: jellyfish in an aquarium — (Image credit: Tim Coleman)

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Kodak Charmera sample gallery: boy looking up at ocean life in an aquarium tunnel — (Image credit: Tim Coleman)

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Kodak Charmera sample gallery: a turtle seen from below in an aquarium tunnel — (Image credit: Tim Coleman)

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Kodak Charmera sample gallery: a fish emerging from a taank feature — (Image credit: Tim Coleman)

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Kodak Charmera sample gallery: a hand and its shadow on a tree — (Image credit: Tim Coleman)

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Kodak Charmera sample gallery: London high rise buildings an underground sign — (Image credit: Tim Coleman)

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Kodak Charmera sample gallery: man in a beanie hat, early morning light, urban street — (Image credit: Tim Coleman)

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Kodak Charmera sample gallery: grafittied wall — (Image credit: Tim Coleman)

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Kodak Charmera sample gallery: brightly colored high rises — (Image credit: Tim Coleman)

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Kodak Charmera sample gallery: grafittied railway with the London Eye behind it — (Image credit: Tim Coleman)

The Charmera's photo quality is about the worst I've seen from a digital camera in my lifetime – and I've been shooting digital since consumers could, when 16MB memory cards existed (yes, megabytes).

With a resolution being a truly retro 1.6MP and a barely existent dynamic range, photos are more impressions than anything else. A collection of pixels, pieced together.

And that's me commenting on the regular color profile. Use any one of the monotone filters, and things get super abstract.

Photos are like one of the novel, abstract filters you get with a decent digital camera. I guess such dated quality could charm some. For me, it screams short-lived novelty; for others, it could be the camera they always have with them.

My own gripes aside, I also think that the Charmera is so small and so distinct, that I'll keep it on me every day for the months to come.

It's a conversation starter. A whimsical capturer of moments (assuming it's tiny battery isn't flat when you pull it out of the pocket – that'll happen).

The Kodak Charmera certainly ain't good quality. But that's hardly the point, is it? This is a cheap, charming retro gift for the photography lover in your life, that should get more use than a foot spa or marmite-scented deodrant (the UK's most unwanted Christmas gift for 2025). That's the hope from me as someone who hates waste.

The Charmera is far from being one of the best compact cameras, even the best cheap compact cameras, but I don't expect that to slow down its sales.

Kodak is killing it right now with multiple best-selling cheap cameras – like the recent Ektar H35N half-frame film camera, and the PixPro C1 – and the Charmera could just be the pick of the pack in terms of concept (not quality). It's a marketing masterstroke. Who knew a keychain camera could be so popular?

Kodak Charmera: price and availability

Announced in November 2025 and sold out in a day
Priced at $30 / £30 / AU$54.95

The Kodak Charmera costs $30 / £30 / AU$54.95 for a single 'blind box', or you can buy the whole set of 6 for $180 / £180 to guarantee getting each colorway. There's a 1 in 48 chance of scoring the limited edition transparent version.

Scalpers have been selling the Charmera for extortionate prices, and some retailers have bumped the price a little, but you should be able to pick up the Charmera for its fair, original price through one of the links below.

Kodak Charmera: specs

Kodak Charmera Specs
Sensor	1/4-inch
Resolution	1.6MP
Video	1440 x 1080p at 30fps, AVI format
Lens	35mm f/2.4
Screen	Really, really small
Viewfinder	Even tinier
Dimensions	58 x 24.5 x 20 mm
Weight	30g
Battery life	200mAh, rechargeable
Memory	Micro SD (1GB to 128GB)

Should I buy the Kodak Charmera?

Buy it if...

You're looking for a cheap gift for the photography lover in your life
I can personally think of multiple people in my life who would love to receive a Charmera.

You'd appreciate a cheap, always with you camera that isn't your phone
It weighs 30g, is about the size of your thumb, shoots bad photos that could appeal to anti-tech heads and it costs $30 / £30. The Charmera is an easy sell.

Don't buy it if...

You want decent photo quality
It's no exaggeration to say the Charmera produces the worst quality photos I've seen for quite some time – they're awful from a technical standpoint.

You need a reliable camera
For me, the Charmera would be a whole lot more useful as an every day carry if its battery life wasn't so bad.

Also consider

Camp Snap Camera

Another perfectly executed cheap camera is the original Camp Snap, available for around twice the price of a Charmera. Think of it as a digital version of the single-use camera – a larger, screen-less 4MP shooter with retro design. I'm a fan.

Read my Camp Snap Camera review

Pros

Cute looks
No screen
Point-and-shoot simplicity

Cons

Poor image quality
Glare from photo counter when using viewfinder
Low power LED flash

How I tested the Kodak Charmera

I got the Charmera last year and it's mine to keep
I've used it sporadically over a couple of months
I've tried the various color filters and animated borders

I'm not going to dig into technicals of how I've tested this novel point-and-shoot camera. In short, I've rattled off hundreds of photos in good light and bad, played with the various color filters and shot short video clips. Image quality is predictably bad, but short battery life is particularly unfortunate.

First reviewed January 2026

I tested the Canon EOS R6 Mark III — it’s a near-perfect hybrid camera, with one major drawback

4:00 am | January 11, 2026

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

Canon EOS R6 Mark III: two-minute review

The Canon R6 Mark III is the brand's latest enthusiast-level hybrid camera, and successor to one of Canon's most popular models. It's perhaps the clearest expression of a 'hybrid' Canon camera yet within its price range, with a fresh 33MP sensor that not only offers a significant bump in resolution (from 24MP), but a host of new video features such as 7K open-gate.

Outwardly, you could be mistaken in thinking that the Mark III offers a relatively iterative upgrade versus the previous generation. The overall design of the camera is essentially identical. Under the hood, however, subtle tweaks and improvements provide an upgrade that's bigger than the sum of its parts.

Everything is just a little bit better with the Mark III. You get a nice bump in resolution, a massively expanded video tool-kit, and useful autofocus features from the higher-end bodies like Priority People Detect. Even minor annoyances like video white balance have been smoothed out. Overall, it's an incredibly refined and well-designed camera that simply just works without any fuss. That's high praise, indeed.

Canon EOS R6 Mark III with no lens mounted, next to the RF 20mm f/1.4 and RF 85mm f/1.4 lenses — (Image credit: Future / Alex Whitelock)

In real-world testing, the R6 Mark III is also a stunning stills and video camera, capable of producing superb results in both fields. In a field where competitors are eager to champion stacked BSI sensors, the Mark III proves that you need neither to achieve great performance. Images are detailed with great dynamic range and flexibility, and you still get an impressive 40fps burst rate, despite the significant jump in resolution.

Perhaps the biggest stumbling block for the R6 III isn’t necessarily the camera itself, but the increasingly competitive field it sits within. Rival brands are not only producing exceptional cameras currently, but they do so on democratized and open lens mounts.

For example, the Nikon Z6 III undercuts the R6 on price, the Panasonic S1 II features more powerful video tools, and the Sony A7 V falls back on its vast lens ecosystem. In comparison, the R6 III looks like the jack of trades - a safe, if somewhat unexciting pick in the best mirrorless cameras landscape.

Those already faithful to the Canon RF-Mount will be overjoyed with this camera, however. As previously stated, there's a refined assuredness to the R6 Mark III that makes it a reliable hybrid workhorse. Regardless of whether you're a professional wedding photographer, amateur videographer, or even a serious beginner, it's hard not to recommend the R6 Mark III because of its compelling mix of usability, image quality, and value. Yes, it's pricier than the Mark II, but considering the new sensor (and inflation), you definitely get a good amount of camera for the money here.

Canon EOS R6 Mark III specs

Canon EOS R6 Mark III specs
Type:	Mirrorless camera
Sensor:	Full-frame (36x24mm) FSI CMOS
LCD:	3-inch, fully-articulated, 1.62M dots
Memory:	1x UHS-II SD, 1x CFexpress Type B
Resolution:	32.5-megapixels
Video:	Up to 7K30p (open gate)
ISO range:	ISO 50-102,400
Mechanical Shutter speeds:	30-1/8000sec
Electronic Shutter speeds:	30-1/16000sec
Viewfinder:	3.69M dot, OLED EVF, 0.76x
Processor:	DIGIC X
Connectivity:	WiFi, Bluetooth, USB-C, HDMI, audio, mic
Weight:	609g

Canon EOS R6 Mark III: Price and availability

Announced November 6th, 2025
Body only price of $2,799 / £2,799.99 / AU$4199.95
Kit options available, including RF 24-105mm f4 L IS

The R6 Mark III retails for $2,799 / £2,799.99 / AU$4199.95, which makes it pricier than the previous iteration by a few hundred dollars / pounds. Interestingly, the EOS R6 II isn’t being discontinued (at least, immediately), and instead will be available for a list price of 1,979 / £1,918 / AU$3,099.

The Mark III is essentially slotting in the market between its two major competitors - the Sony A7 V for $2900 / £2800 and the Nikon Z6 III for $2700 / £2500. Of the three, however, it’s worth noting that the Z6 III has been on the market for the longest time and tends to be particularly partial to price cuts. You’ll likely have to wait a while to find an R6 Mark III or Sony A7 V for anywhere near as cheap as Nikon's alternative.

Price score: 4/5

Canon EOS R6 Mark III: Design

New CF-Express Type B card slot
3.69M dot 120Hz OLED EVF
3.0-inch 1.62M dot panel articulating rear display

What can I say about the design of the R6 Mark III? Well, it’s typical Canon, in the most refined and best manner possible. If you’re familiar with the Mark II, the design is essentially identical, with only a few minor tweaks to the buttons surrounding the shutter, a new tally light, and revisions to the mode dial.

Is it boring? Well, it’s certainly sensible. All of the camera’s main functions are laid out in a purposeful and meticulous manner. The thumb, for example, naturally rests next to the back-button focus, an AF joystick, and an autofocus mode quick select. On the top, you have the typical three-way on-off switch, top-mounted dial, and extremely useful M-Fn quick dial menu that are again extremely easy to operate.

All of the above, of course, are fully mappable with the camera’s extensive customization options. A total of nine buttons are fully mapable, so you have plenty of options here for both video and photo applications.

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A shot of the R6 Mark III from above, showing the viewfinder housing, hotshoe, and control layout. — The camera is made of a sturdy polymer outer shell with environmental weather sealing (Image credit: Future / Alex Whitelock)

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A shot of the R6 Mark III from the front, showing the RF lens mount and protective shutter. — The R6 Mark III has a protective shutter to keep the sensor clean when no lens is mounted. (Image credit: Future / Alex Whitelock)

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A shot of the R6 Mark III from above, showing the control layout on the right-hand side of the camera. — The camera retains the classic Canon button control layout (Image credit: Future / Alex Whitelock)

If you’re already a Canon shooter, no doubt you’ll be right at home here. My only minor criticism is that I wish Canon would add a second ring/middle finger button on the front of the body next to the grip. It’s something that’s featured on the higher-end Canon bodies, but it’s conspicuously missing from the R6 and R5 line. With such expansive customization features, it would be a fantastic addition to the body in my opinion.

In the hand, the R6 Mark III is sturdy and solid, with a generous grip that pairs well with popular lenses like the 24-70mm f/2.8. As part of the review process, Canon also sent me the EOS R8, and in comparison to the lower-end model, the R6 Mark III is much better suited to the chunkier RF glass. Unlike the feather-weight R8, the R6 Mark III balances well with fast primes like the 20mm f/1.4 and 85mm f/1.4 - both of which are noticeably front-heavy on the entry-level model.

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A shot of the Canon R6 Mark III lined up next to the R6 Mark II. — The Canon R6 Mark III next to the Mark II (Image credit: Future / Alex Whitelock)

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A top-down shot of the R6 Mark III next to the R6 Mark II showing the control layout of both cameras. — The cameras are almost identical, with the only changes being to button graphics, the mode dial, and the addition of a tally light. (Image credit: Future / Alex Whitelock)

In terms of viewfinder and display, you get a 3.69M dot 120Hz OLED and 3-inch 1.62M dot panel respectively; both of which are holdovers from the previous model. The R6's displays are bright, relatively wide, and easy to use. No complaints here, although it's worth noting that both the Nikon Z6 III and Sony A7 V do have a slight edge over the R6. In the case of the Nikon, you get a higher-res 5.76M dot EVF, while the Sony A7 V features a 2.1M dot rear display that both articulates and tilts - a handy feature for both stills and video.

For ports, one of the main changes from the second-generation model is that the Mark III now features one CFexpress Type B slot and one UHS-II SD instead of two of the latter. Upgrading to a CFexpress card will incur a slight cost, but you’re going to need it if you want to record Raw video internally or make full use of the uncapped 40fps burst rate. Videographers will also be pleased to note that the Mark III now features a full-size HDMI port rather than the MicroHDMI on the previous iteration.

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Canon EOS R6 Mark III — The R6 Mark III now features a CF-Express Type B card slot (Image credit: Future / Alex Whitelock)

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The R6 Mark III now utilizes the newer LP-E6P battery from the R5 Mark II. The older LP-E6NH batteries are still technically supported, but you'll need to use the newer iteration to fully unlock all the R6 Mark III's features. In this case, smartphone connectivity and the full array of 6K open-gate video modes.

Note that the R6 Mark III's battery is rated for 270 shots with the viewfinder and 510 with the rear screen. On paper, that's significantly lower than the Sony Alpha A7 V's rating of 630 / 750 shots respectively. I wouldn't say battery life is particularly poor, however. In real-world testing, I found the battery life to be far better than the ratings would suggest, with more than enough juice for a full day of stills photography. Videographers may want to pack a second battery just in case, though.

Design score: 5/5

Canon EOS R6 Mark III: Performance and features

Reliable autofocus for stills and video
Registered People Priority mode
7K footage at 30p ‘open-gate’

The R6 Mark III is interesting in that it lacks a few of the high-end features from the R5 II like the ability to control the focus point with your eye, in-camera 'AI' upscaling, and Action Priority modes. What it does offer, however, is rock-solid performance for a vast range of both photo and stills applications.

As the ‘enthusiast’ level body in the range, the R6 has a lot of ground to cover, but it essentially achieves the mark on all counts. Using the camera, is again, a very refined experience in terms of operation and ease-of-use.

For example, the R6’s autofocus performance is accurate and reliable even with fully automated operation. A simple press of the ‘set’ button will engage subject tracking, which is easily one of the ‘stickiest’ I’ve ever used on a camera. Even without the advanced bells and whistles of the R5, the R6 Mark III is exceptional at both subject tracking and detection.

There were only a few rare occasions when the autofocus missed the mark. For example, a case in a relatively dimly-lit room where the camera failed to focus on my parents’ cat’s eyes. This subject, with his black coat, is notoriously difficult to photograph. Even specifically engaging the R6 MIII’s animal detection mode gave me a few examples where the camera focused on his ears or whiskers rather than his eyes.

Another extreme example was a moving human target in a low-light situation. Even with a high-contrast backlit scene the camera slightly missed the mark when shooting with a 20mm prime fully wide open at f/1.4.

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A low-light scene where a woman's face is backlit by a circular blue window with fluorescent lighting. — The R6 Mark III slightly forward-focused in this extreme low-light scene at f/1.4. (Image credit: Future / Alex Whitelock)

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A portrait shot of a black cat's face — The camera ever-so-slightly missed focus on the cat's eye in this scene at f/2.8, instead focusing on the ear. (Image credit: Future / Alex Whitelock)

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Are these fair use cases? Well, certainly they are extreme situations where any camera would be tested. By most accounts, the R6 Mark III’s autofocus is still one of the best I’ve ever used on any camera.

We’re reaching a point now where all major camera brands have excellent out-of-the-box autofocus performance on reasonably priced bodies, but Canon does still have a few unique tricks. The Registered People Priority mode, for example, is the closest thing to a 'killer-app' I've seen on an enthusiast-level camera.

As a brief overview, this feature allows you to map autofocus tracking to specific faces, with the idea that the camera will prioritize them even in crowded scenarios. If you have a reference shot like a group headshot, then the camera detects and allows you to pick a specific face via the RPP mode.

During my testing, I didn't have a scenario where I could really stress-test this feature with large groups. In small groups of two to three people, however, the tracking was reliable. Overall, the Registered People Priority mode definitely has the potential to be a useful feature for certain scenarios, like event or wedding photography.

Canon EOS R6 Mark III video modes
Aspect / Mode	Dimensions	Frame rates
3:2 / 7K RAW	6960 x 4640	30, 25, 24, 23.98
3:2 / 7K Compressed	6912 x 4608	30, 25, 24, 23.98
1.89:1 / 7K	6960 x 3672	60, 50, 48, 30, 25, 24, 23.98
1.89:1 / DCI 4K	4096 x 2160	120, 100, 60, 50, 48, 30, 25, 24, 23.98
1.89:1 / DCI 2K	2048 x 1080	180, 150, 120, 100, 60, 50, 48, 30, 25, 24, 23.98
16:9 / UHD 4K	3840 x 2160	120, 100, 60, 50, 48, 30, 25, 24, 23.98
16:9 / Full HD	1920 x 1080	180, 150, 120, 100, 60, 50, 48, 30, 25, 24, 23.98

In terms of video, the R6 Mark III features an impressive array of recording options. There's not only the option for oversampled 4K up to 120p, but 7K footage at 30p ‘open-gate’ on the camera’s native 3:2 aspect ratio. For maximum post-production flexibility, there’s the option to shoot in Canon’s proprietary Cinema Raw format or the brand’s Clog 2 or Clog 3 profiles.

If all these features look familiar, it’s because the R6 Mark III shares the same sensor and bones as the Canon EOS C50. Unlike its video-centric sibling, however, the R6 doesn’t feature an in-built fan, so you will face restricted recording times for the heavier open-gate and 7K capture modes. That's also a key advantage of the rival Panasonic S1 II, alongside support for 120p at 4K.

One other upgrade for the Mark III is the camera’s overall burst-rate performance. While the camera lacks the Action Priority autofocus mode from the higher-end Canon bodies, it manages to retain the 12fps mechanical / 40fps e-shutter burst rates from the previous model despite the significant jump in resolution. You’ve still got the helpful inclusion of pre-burst capture here, but unlike the Mark II, the III doesn’t feature a standalone “Raw Burst mode” to enable it. It’s instead now integrated into the standard drive mode menu.

Performance score: 5/5

Canon EOS R6 Mark III: Image quality

33MP resolution (up from 24MP)
Pleasing, warm colors
Sharp video with flexible profiles

The Canon R6 Mark III is somewhat unusual in its peer group in that its sensor is neither back-side-illuminated nor ‘stacked’ like rivals from Sony or Nikon. It's an interesting distinction because rivals have long trumpeted the various advantages of these additions in a world where sensor development has seemingly slowed in recent years.

On paper, a stacked sensor does enable faster readout speeds, whereas a back-side-illuminated sensor should, in theory, give you cleaner images at high ISO. Recent testing has even proven that the Sony A7 V and Panasonic S1 II have slightly better ISO invariance than the Canon R6 Mark III thanks to dual-gain readouts.

So, does the Mark III lag behind the competition in terms of image quality? I'd have a hard time believing so. Based on real-world testing, I've found the camera to produce consistently excellent stills.

Out in the wild, I imagine the differences between all of these cameras is likely to be so minimal that you'd almost certainly not notice outside of incredibly niche use cases. It certainly shouldn't be the main deciding factor behind these cameras; ergonomics, video features, and available lenses are all much more important.

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A wide-angle shot of Bristol Harbour taken at sunset — Original shot, RAW, shot with the RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)

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A wide-angle shot of St Nick's market in Bristol, showing market stands and the building's large central skylight. — Another RAW example taken with the same 24-70mm f/2.8 lens (Image credit: Future / Alex Whitelock)

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In terms of dynamic range, for example, you have heaps to work with here. Despite the significant increase in resolution from the previous iteration, the R6 Mark III produces lovely, clean RAW files (and even JPEGs) with ample headroom.

On several test shots, I was able to salvage significant details from a scene without much color cast or noise. Zooming in, noise is certainly still present, but it's relatively well controlled and very much in line with other modern full-frame bodies.

In low light the R6 Mark III handles exceptionally well, too. I shot a few hundred images in a local indoor amusement park that features a host of strobe and fluorescent lighting. It's the kind of environment that not only tests autofocus to the extreme, but often results in strange colors that are a nightmare to post-process.

When I pull up the files from the R6 Mark III, colors are well captured, even at ISO 10,000 and over. The first example in the gallery below was shot at that ISO, and the colors are absolutely spot-on for the scene, despite there being noise present in some of the shadows. Again, the R6 Mark III is an extremely capable stills camera in real-world testing.

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Scene with three fluorescent desk lamps arranged in a line with an industrial fluorescent backdrop. — RAW sample shot, ISO 10,000, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)

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Image of an optical illusion in a theme park, where a series of books is arranged to look like an infinite tunnel. — RAW sample shot, ISO 1,250, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)

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Scene from an indoor theme park, where various objects are arranged in a post-industrial scene with low light — RAW sample shot, ISO 320, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)

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Scene from an indoor theme park, where a large face is being projected with distortion onto a fluorescent backdrop. — RAW sample shot, ISO 640, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)

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Scene from an indoor theme park, where a room features various lines and shapes to form a large optical illusion. — RAW sample shot, ISO 200, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)

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An indoor scene where various objects are laid out in a steam punk style scene, including paper notes, clocks, books, and various mechanical contraptions. — RAW sample shot, ISO 1,600, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)

Briefly touching on resolution; the upgrade from 24MP to 33MP does give you a nice bump in cropping potential without resulting in massive file sizes. Arguably, 24MP is still more than enough for most use cases, but 33MP is definitely a 'nice to have'. I certainly appreciated the little bit extra when cropping all the sample images on this page from the camera's native 3:2 to a web-friendly 16:9 format.

Colors are gorgeous, too. Even with RAW files, the images have a pleasing warmth to them without being overbearing. Skin tones look great straight from the camera, and in all cases, the files were great to work on in Adobe Lightroom.

In the gallery below, you can see a selection of RAW files. The opening shots are tweaked in Lightroom to my own tastes, whereas the following portrait shots show you both RAW files and a few of the camera's built-in JPEG profiles.

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A scene of Bristol Harbour, with a boat in the foreground — RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)

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Shot of an ornate building in Bristol, UK — RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)

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Shot of a large graffiti dog on the side of a building in Bristol, UK — RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)

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Shot of the old harbour cranes in Bristol, UK — RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)

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Shot of St Nick's market in Bristol UK, showing food stands and the building's skylight. — RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)

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Shot of St Nick's market in Bristol, UK, showing various stands and signs — RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)

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Outside shot of a pub in Bristol, with a bench and multi-coloured phone box painted in rainbow colours. — RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)

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A portrait shot of a man, with a close-up of his face — An example of a RAW file from a studio scene, taken with the RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)

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Three portait headshots of a man, with different JPEG profiles, arrayed next to each other — An example of a RAW file, next to the camera's 'Vivid' and 'Warm' JPEG profiles (Image credit: Future / Alex Whitelock)

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Three identical vertical shots of an abandoned building, arrayed next to each other to showcase the Canon R6 Mark III's different JPEG profiles. — Examples of the camera's black-and-white, 'Vivid', and 'Warm' JPEG profiles (Image credit: Future / Alex Whitelock)

For video, you have a flexible set-up thanks to the R6 Mark III's myriad record modes and support for Clog2 and Clog3 formats. Of the two, the former gets you a flatter image with the most dynamic range possible for color grading, while the latter offers a more saturated and clean image for quick and easy editing. In either case, you can upload your own LUTs to the camera, and white balance can also be set in video mode, which was a common annoyance with the previous model.

As you'd imagine with a body that shares the same sensor as the Canon EOS C50, the R6 Mark III captures excellent footage. In my testing, I mostly used Canon's proprietary Canon 709 standard color profile (non-flattened), and the 4K footage in particular was fantastic. Colors were rich but true-to-life, the image was detailed, and there was plenty of dynamic range.

For an easy video workflow, there is very little to fault the R6 Mark III on. Even if you're a video-heavy hybrid shooter, don't overlook the Mark III in favor of the C50. You get a great video toolkit here with the added benefit of image stabilization and a mechanical shutter for stills.

Image quality score: 4.5/5

Canon EOS R6 Mark III: testing scorecard

Canon EOS R6 Mark III
Attributes	Notes	Rating
Price	The R6 Mark III is well priced considering the level of performance. That said, it is pricier than the previous iteration, and it sits within a competitive field.	4/5
Design	The R6 Mark III is almost identical to the previous iteration. It's a super design, however, with fantastic ergonomics and customization.	5/5
Performance	Autofocus is superb for both stills and video. IBIS works admirably. Registered People Priority is a genuinely useful feature.	5/5
Image quality	Great straight-out-of-camera files for both stills and video. Flexible RAWs, and a huge array of video formats for both casual and professional use.	4.5/5

Should I buy the Canon EOS R6 Mark III?

Buy it if...

You're already invested in the Canon RF mount

Those already invested in the eco-system will absolutely love the R6 Mark III. It sits in a competitive field, but if you already have plenty of RF glass, then you're getting a lot of camera for your money here.View Deal

You shoot stills, with a bit of video

The Canon R6 Mark III is perfect if you're primarily a photographer but also need an easy video workflow. You get everything you need here for excellent results.View Deal

Don't buy it if...

You need advanced video options

With that said, if you're primarily a videographer, you may want to consider the Canon EOS R50 or Panasonic S1 II. Both include longer recording times thanks to internal fans. View Deal

You're on a budget

If you need a powerful hybrid camera but want to save some cash, there are strong rival options right now. The Nikon Z6 III, for example, undercuts the R6 Mark III on price. Even the older R6 Mark II is still available and offers a viable alternative without the newer bells and whistles.View Deal

Also consider

Sony A7 V

As if on cue, Sony released the Alpha A7 V just one month after the R6 Mark III. In comparison, the A7 V is a little pricier than the R6 and doesn't have options for open gate video. It does, however, have a much more diverse lens ecosystem and innovative dual-gain ISO read-out thanks to its partially stacked sensor, which gives a slight edge in stills dynamic range.

Read our in-depth Sony A7 V review

Nikon Z6 III

Nikon's all-rounder, the Z6 III also features a partially stacked sensor, but with a resolution of just 24MP. That said, video recording is up to 6K 60p, and the Z6 III is blazing fast, also being supported by powerful in-body image stabilization. Launched in July 2024, it has come down in price and can be had for much less than the Canon EOS R6 Mark III.

Read our in-depth Nikon Z6 III review

How I tested the Canon EOS R6 Mark III

I tested a full production model
I used several lenses, including the RF 24-105mm f/4 kit lens
Samples were shot in a diverse range of environments, including low light
Subject detection was tested using real-world situations

Canon loaned me the R6 Mark III alongside the R8, R6 Mark II, and several lenses for an extensive three-week period. In that time, I was fully able to test the camera in a range of scenarios for both stills and video.

As an overview, the lenses used include the RF 20mm f/1.4, the RF 85mm f/1.4, the RF 24-70mm f/2.8L, and the RF 24-105mm f/4 - the latter of which is available as a kit lens for the R6 III. All of the above image samples on this page were taken with these lenses in various scenarios, including both mid-day and difficult low-light environments.

First reviewed December 2025

I tested the Leica Q3 Monochrom – it’s a top digital camera for black-and-white photography purists

11:00 pm | January 10, 2026

Author: admin | Category: Cameras Compact Cameras Computers Gadgets | Tags: JPEG, RAW | Comments: Off

Leica Q3 Monochrom: two-minute review

Money no object, I'd probably pick the Leica Q3 as my favorite compact camera. It's a fabulous 61MP full-frame camera with an extremely sharp, fixed 28mm f/1.7 wide-angle lens, and the ultimate everyday carry.

I'm also partial to black-and-white photography, especially on sunny days when light and shade are the stars of the show. So it was a delight to kick off 2026 by getting out and about on frosty mornings in the UK, with the low-lying sun illuminating my surroundings and the Leica Q3 Monochrom in my hand – it's identical to the original Q3 in practically every way, except that it only shoots in monochrome.

This camera is as niche as they come, and for many it also begs the question: why would you pick a camera that only takes black-and-white images when you can simply select a black-and-white color profile in a regular camera, like the original Q3, which also shoots in color when you want to? Why restrict yourself? That was the focus of my testing over the course of three weeks with the Q3 Monochrom.

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Leica Q3 Monochrom compact camera outside on a snow-dusted log — (Image credit: Tim Coleman)

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For me, the reasons I would opt for a camera like this are twofold – one technical, and one creative. The creative reason is simple: its restricted parameters. I can't switch to color. I'm seeing the real-time image in black and white, and it helps me to truly appreciate light and shade, form and composition.

Shooting in black-and-white can be a great exercise to help you elevate the quality of your photography in general, should you bring color into the equation at other times. You can, however, get this experience with a 'regular' camera by using a black-and-white color profile, so that by itself is not enough reason. The second technical reason is, though – and that's increased light sensitivity.

In simple terms, all sensors in digital cameras see in black and white. To produce color images, a color filter array is placed in front of the sensor, the most common of which is the Bayer pattern with red, green and blue pixels (RGB – with twice the number of green pixels).

The drawback is that a color filter array reduces light sensitivity, leading to an increase in noise and decreased sharpness. In short, it reduces image quality by a small amount, which is seen more clearly in challenging light conditions.

So – and particularly if you mostly like to shoot black-and-white images anyway – a color filter is more of a hinderance than a help. With those image quality drawbacks, it's like watering down juice when you could otherwise enjoy the full flavor straight from the source.

A monochrome-only digital camera offers the purest form of black-and-white photography you'll get from a digital camera; and from my experience with the Q3 Monochrom, there's something a little extra about the quality of the black-and-white images it produces. A subtle improvement, a pleasing grain rather than noise, and filmic quality. Highlight clipping is, however, a major drawback to this kind of sensor.

Yes, the Leica Q3 monochrom is as niche as they come, and it costs a pretty penny too at $7,790 / £5,800 / AU$12,090. But, if you love black-and-white photography, it's the ultimate everyday carry, and one of the best compact cameras around.

Leica Q3 Monochrom: price and availability

Announced on November 20, 2025 and available now
Priced from $7,790 / £5,800 / AU$12,090

Leica unveiled the Q3 Monochrom in November 2025 and it went on sale immediately, costing $7,790 / £5,800 / AU$12,090. That's a mark-up of about 5% over the Q3, which was launched in 2023.

The Q3-series models use the same BP-SCL6 battery, while Leica sells a variety of accessories at its online store, including a leather half case, thumb supports, and carrying straps.

Leica Q3 Monochrom: specs

Leica Q3 Monochrom Specs
Sensor	Stabilized, full-frame
Resolution	61MP
Video	8K
Lens	28mm f/2.8-16
Screen	3.0-inch, 1.84m-dot tilt
Viewfinder	5.76m-dot
Dimensions	130 x 80.3 x 92.6mm
Weight	746g / 662g (with / without battery)
Battery life	300 shots (approx)
Memory	SD (UHS-II)

Leica Q3 Monochrom: design

Same design as the Q3, save for Monochrom logo
Divine lens quality and handling
Awkward tilt touchscreen

The Q3 Monochrom essentially has the same premium, minimalist design as the original Q3, save for its suitably monochromatic logo. That means it operates in exactly the same way as the original model, for good and for bad.

The 28mm lens is the star of the show, not only in terms of the images it produces, but because of how it handles; it's equipped with decent autofocus, but is designed in a way to please manual-focus fans, with autofocus activated via a well-hidden button on the manual-focus ring.

It also looks just like a manual-focus-only lens. There are focus distance markings, and a macro mode that's activated by turning a dial which reveals new focus distance markings – a design masterstroke.

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Other design features are the same, too. We have a decent 5.76m-dot viewfinder, plus a crisp 1.84m-dot tilt touchscreen. I'm not a fan of the tilt design, though – it protrudes from the back of the camera and it's awkward to grip and pull out for waist-level shooting. For the next Q installment, Leica should take notes from Fujifilm and others.

Every touch screams premium quality, from the knurled control dials with just the right amount of resistance, to the pop-out battery and the viewfinder's pop-out diopter adjustment. The memory card door design could do with a little tweaking because it feels like one weak point, but quality-wise I can't otherwise fault the Q3 Monochrom.

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For a deeper dive into the design of the Leica Q3 Monochrom, check out my Leica Q3 review.

Leica Q3 Monochrom: features and performance

High-resolution 61MP sensor with digital crop modes
Reasonable autofocus performance and precise manual focus
Average battery life

There's no change from the original Q3 regarding features or performance, either, save for the monochrome-only images, which is what I'll double down on in this section.

To summarize the other aspects first, the Q3 Monochrom's startup time is rapid, battery life is average at best, autofocus accuracy and speed are good, while in-body image stabilization performance is only okay, but certainly welcome in a camera capable of capturing such high-resolution photos.

And with 61MP to play with there's huge scope for cropping into images to emulate the look of tighter lenses – a feature that can be accessed directly using one of the two buttons above the LCD screen (the gallery below shows a selection of digitally cropped images using the maximum in-camera crop setting, then the full un-cropped version for comparison). The other button above the LCD switches from stills to video, with 8K video recording once again present.

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Leica Q3 Monochrom sample gallery: branch overhanging a frozen lake — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: tree on the horizon — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: an old church — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: an elevated viewpoint of a common — (Image credit: Tim Coleman)

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The macro setting of the lens reduces its close-focusing distance, making it possible to capture flowers and other small subjects in exquisite detail – that's another string to the bow of the Q3 series (see the gallery directly below).

I also love how the maximum aperture of the lens is nice and bright at f/1.7. Pair that with the image stabilization, and Q3 cameras feel more versatile overall than the stunning Fujifilm GFX100RF, even if that camera has an even sharper lens – check out my Q3 vs GFX100RF real-world test to see how those premium compacts compare.

The 28mm lens also produces some of the crispest sunstars I've seen (check out the backlit tree image two galleries down); again, for more details, check out the Q3 review.

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Leica Q3 Monochrom sample gallery: gauze closeup — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: closeup of frost-covered heather — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: closeup of frost-covered ferns — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: closeup of frost-covered grass — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: long fine grass — (Image credit: Tim Coleman)

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Now, let's get on to black-and-white image quality. Firstly, there are three main monotone profiles to choose from: natural (which is the profile I used for most of this review), plus a sepia and a blue-tone look.

I was surprised and disappointed to see how limited the customization options are for these profiles, though. For example, contrast can be tweaked for these presets, but you can't apply a filter effect, as you can to, say, Fujifilm and Ricoh alternatives.

That said, it's possible to upload LUT profiles to the camera from the Leica app for other creative styles, or of course attach a physical filter to the 28mm lens. I like using an orange filter to create dramatic skies with an infrared-type look, while a green filter can emphasize skin tones.

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Leica Q3 Monochrom sample gallery: gnarled trees in a common — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: gnarled trees in a common, sunstars — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: children stepping onto a frozen pond — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: old church — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: old door with a wreath — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: street of old buildings — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: Christmas tree in Lond onstreet — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: toy soldier in London street — (Image credit: Tim Coleman)

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I've taken photos with the Q3 Monochrom in a wide range of scenarios, shooting all images in RAW (DNG) and JPEG. When comparing the two, the natural profile brightens shadows, at the cost of rich contrast.

In all images detail is seriously sharp, with a pleasing fine grain – kind of like an ISO 50 film photography feel.

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Leica Q3 Monochrom sample gallery: smokehouse sign, at night — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: outside a hotel at night — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: bus windows misted up — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: boy playing football in urban street — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: commuter on the underground looking at thier phone — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: drink being poured into a glass — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: man's selfie — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: a horse — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: hotel hallway — (Image credit: Tim Coleman)

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Leica Q3 Monochrom sample gallery: phone line mast — (Image credit: Tim Coleman)

Sadly, I didn't have the original Q3 at the same time as the Q3 Monochrom to make direct comparisons. However, I have prior experience for such comparisons, and so I know that images shot in black-and-white on a color camera have more pronounced noise, and detail is slightly softer.

I've since done a little research, and found that YouTuber Florian Froschmayer has posted a really useful video which shows the ins and outs for each Q3 model, with comparisons that back up my experience.

His video also hammers home a major warning for using a monochrome-only digital camera: highlight clipping is unforgiving. If you were to overexpose an image – that is, with highlights blown out – you wouldn't be able to recover this detail to nearly the same extent as with a color model, like the original Q3.

Already knowing this, I factored in underexposing when shooting with the Q3 Monochrom. To a degree, this approach can offset the image-quality benefits of its better light sensitivity, but the fact remains that its images are sharper and cleaner than the Q3's when viewed closely. If you're into black-and-white photography, with a good handle on exposure, the Q3 Monochrom's black-and-white image quality exceeds the Q3's.

Should I buy the Leica Q3 Monochrom?

Buy it if...

You want a pure black-and-white digital photography experience
No color, clean detail and filmic quality – the Q3 Monochrom is for black-and-white photography purists.

You love camera design
I've reviewed the Q3 and the Q3 Monochrom extensively and I adore their premium design and quality, especially the stunning lens and how it handles.

Don't buy it if...

You want a versatile digital camera
Not only is color photography out of the picture, but the Q3 Monochrom is a compact camera with a fixed 28mm wide-angle lens.

It'll be your main camera
The Q3 Monochrom is an extravagance, a back-up for the times you fancy something a little different to your main camera. And for that reason its lofty asking price is hard to swallow – I'm personally keeping my eye out for the upcoming Ricoh GR IV Monochrome instead.

Also consider

Leica Q3

If you're not all-in for black-and-white photography, the image-quality improvements the Q3 Monohcrom delivers are hardly justifiable when you consider the greater versatility of the Leica Q3, which also shoots in color, has a greater ceiling for highlight recovery, and costs less.

Read my Leica Q3 review

How I tested the Leica Q3 Monochrom

Leica loaned me the Q3 Monochrom for three weeks
I used it as my everyday carry, shooting images in a variety of scenarios
I shot all images in RAW and JPEG, and used the macro setting and all focus modes

I spent three weeks using the Leica Q3 Monochrom as my primary camera, shooting all photos in RAW and JPEG. I've used the macro setting for close-up photography, tested the digital crop mode, and swapped between manual and autofocus modes.

When editing, I've looked at shadow and highlight recovery, and taken a close look at the quality of detail, especially in low-light photos where this type of sensor excels.

First reviewed January 2026

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

3:36 pm | December 19, 2025

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

Ricoh GR IV: two-minute review

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

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

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

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

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

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

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

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

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

A word of thanks

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

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

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

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

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

Ricoh GR IV: price and availability

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

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

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

Ricoh GR IV: specs

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

Ricoh GR IV: design

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Ricoh GR IV: features and performance

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Should I buy the Ricoh GR IV?

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

Buy it if...

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

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

Don't buy it if...

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

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

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

How I tested the Ricoh GR IV

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

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

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

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

First reviewed November 2025

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

3:36 pm |

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

Ricoh GR IV: two-minute review

A word of thanks

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

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

Ricoh GR IV: price and availability

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

Ricoh GR IV: specs

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

Ricoh GR IV: design

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

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

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Ricoh GR IV: features and performance

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

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

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

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

Should I buy the Ricoh GR IV?

Buy it if...

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

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

Don't buy it if...

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

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

How I tested the Ricoh GR IV

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

First reviewed November 2025

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

5:00 pm | December 18, 2025

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

Enlaps Tikee mini+: one-minute review

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

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

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

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

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

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

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

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

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

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

Enlaps Tikee mini+ specs

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

Enlaps Tikee mini+: Design

Compact size
Simple design
No built-in solar panel

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

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

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

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

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

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

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

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

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

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

Enlaps Tikee mini+: Performance

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

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

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

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

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

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

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

Enlaps Tikee mini+ timelapse video

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

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

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

Should you buy the Enlaps Tikee mini+?

Buy it if...

You value simplicity

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

You’d like cloud control

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

You’d want to shoot long-term projects

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

Don't buy it if...

You don’t want a subscription

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

You don’t plan on long-term capture

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

You’d like shorter intervals

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

How I tested the Enlaps Tikee mini+

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

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

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

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

First reviewed December 2025

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

8:00 pm | December 17, 2025

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

Nikon ZR: two-minute review

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

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

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

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

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

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

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

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

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

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

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

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

SmallRig Advanced Cage Kit for the ZR

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

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

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

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

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

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

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

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

Nikon ZR: price and release date

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

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

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

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

The Nikon ZR went on sale in October 2025.

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

Nikon ZR: specs

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

Nikon ZR: Design

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Nikon ZR: Performance

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

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

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

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

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

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

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

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

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

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

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Nikon ZR: testing scorecard

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

Should I buy the Nikon ZR?

Buy it if...

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

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

Don't buy it if...

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

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

Nikon ZR: also consider

Canon EOS C50

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

See my Canon EOS C50 reviewView Deal

Blackmagic Cinema Camera 6K

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

See our Blackmagic Cinema Camera 6K reviewView Deal

Sony FX3

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

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

How I tested the Nikon ZR

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

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

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

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

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

First reviewed: September 2025
Read more about how we test

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

6:00 pm |

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

Sachtler Ace M MS Mk II: two-minute review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sachtler Ace M MS Mk II: key specs

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

Sachtler Ace M MS Mk II price and availability

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

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

Sachtler Ace M MS Mk II: Also consider

Manfotto One hybrid tripod

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

Read our Manfrotto One hybrid tripod review

Should I buy the Sachtler Ace M MS Mk II?

Buy it if...

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

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

Don't buy it if...

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

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

How I tested the Sachtler Ace M MS Mk II

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

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

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

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

First reviewed December 2025

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