The DJI Mic 2 is a portable wireless mic system that delivers high-quality sound – especially clear vocals – without the fuss that often comes with complicated pro-level audio gear.
Succeeding the DJI Mic, which is a TechRadar favorite for those creating video content on the go, this second-gen model is a big upgrade in a familiar package and boasts smart pro-level features, namely 32-bit float audio and AI-powered ‘intelligent noise reduction’.
With reliable magnetic mounts for quick mic setup with your subjects, and instant sync between mic and receiver, plus optional lav mics available, you can start recording audio in the DJI Mic 2's auto mode, even in complex environments, without worrying about clipping, or unpredictable distracting noise around you.
I'd definitely opt for the complete kit, which includes two transmitters (mics, with windshields) for dual-channel audio, and one receiver that attaches to your camera of choice. Two transmitters can cover two subjects, or a single subject with stereo sound, whatever your camera. These components come in a charging case that auto syncs what's inside, plus the necessary connectors, and it all squeezes into a tiny carry case.
You can buy a single transmitter with receiver, or any of the individual components, but at $349 / £309 for the complete kit (about AU$530 – pricing for Australia is TBC), the DJI Mic 2 is a dream bit of gear for solo content creators and small video productions lacking a dedicated audio specialist on set.
Competition-wise, the DJI Mic 2 most directly goes up against the Rode Wireless Pro; and thanks to its smart noise reduction feature and lower price, DJI's offering might just have the edge.
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Let's unpack the headline feature: 32-bit float. This is all the rage in the video production world, and rightly so, as it affords great flexibility for small crews that need a mic that simply captures sound clearly, even when the volume gets super-loud all of a sudden, or if your main subject is painfully quiet.
In technical speak, 32-bit has a dynamic range of 192db, but it's not a fixed frequency point, and can encode wider values with a potential range that covers up to 1,528dB. That's the flexibility I was just talking about.
If your interviewee shouts into the mic, the audio won't clip; if they speak very quietly, you can raise the volume without introducing audio noise. Put simply, vocals should remain clear in any situation. Speaking from experience working on high-stress shoots with low resources, 32-bit float has been a lifesaver.
By contrast, the highly capable first-gen DJI Mic 2 records 24-bit audio with a range up to 144.5dB, while mics that record in 16-bit only cover 96.3dB. If you set audio gain correctly from the start, 24-bit should sufficiently capture the required range of audio frequencies. However, the reality for many video productions is that audio simply cannot be monitored easily on set, where anything can happen, including sudden high-frequency incidents (loud noises).
You can see the difference between using the DJI Mic 2 and a phone's built-in mic below…
Digital photography is a loose analogy, but it's a bit like the difference between shooting raw instead of JPEG. If you nail the exposure and color correctly at the point of capture, then JPEG is sufficient; if you don't – say your photo is too bright and detail in the sky is washed out – then that detail is lost.
If you shoot in raw instead, you can recover way more high-quality detail that would otherwise be lost with JPEGs when the exposure is too bright or dark, and more easily correct color temperature when it’s off. So, even if you get it wrong at capture, you can still produce a decent final image.
While shooting raw isn't quite the same as using 32-bit float, you get the picture. When things go wrong – which they often do on set and on location, no matter your skill level – then 32-bit float gives you the flexibility you need to handle the unexpected.
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While 32-bit float gives a wider dynamic range for complete sound and the flexibility to avoid clipping, it still needs a decent-quality mic, and to that degree DJI's omnidirectional mics have been lavished with AI noise reduction that effectively reduces environmental noise.
Now you might want environmental noise in your audio for a richer viewer experience; however, if it overpowers vocals then you need to keep a lid on it. With the DJI Mic 2, you get to choose – the new AI noise reduction can be turned on and off in an instant with a simple tap of the icon on the 1.1-inch touchscreen.
I've used the mic on a windy countryside walk, and in a noisy conference hall – though I haven't travel-vlogged from a bustling city street yet – and the new feature works really well. There's certainly a marked difference in quality between the DJI Mic 2 and the built-in mic of your smartphone or camera.
I can tell that the smart noise reduction feature will be able to deal with the hum of road traffic or an air conditioner fan near an interviewee, ensuring maximum possible vocal clarity, and making this is a great kit for small teams that do lots of interview content.
You can now also bypass the Mic 2's receiver altogether, using a direct Bluetooth connection between camera and transmitter – after all, there are times when you'd rather not plug the receiver into the underside of your phone (or your DJI Omso Pocket 3 / Osmo Action 4). You lose the ability to record in 32-bit float with this connection method, but it could be worth the compromise.
You can also opt for Safety Track, which simultaneously records a backup second track at -6dB into the transmitter, which has 8BG of built-in storage that's sufficient for thousands of hours of audio content. It's a handy feature should there be severe audio spikes.
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Despite its pro-level features, you don’t need to be an audio expert to get started with the DJI Mic 2 – quite the opposite in fact. As I said before, the complete kit has everything you need: it includes a charging case, in which you can store and charge the two transmitters (mics) and one receiver, and in which all three devices are automatically paired, so they’re ready to go in an instant.
It’s super-quick to set up the transmitters, using the strong magnets that securely fix them in place on clothing, or a clip if you'd rather not use the magnets. If the transmitters are a little bulky for your taste, an optional lav mic can be attached instead.
You can use the Mic 2 transmitter as a standalone omnidirectional mic with noise reduction and record onto its 8GB built-in memory, but most people will use the mics with the receiver connected to a camera that has USB-C, Lightning, or a 3.5mm jack connectivity, with audio added directly to the video files. That camera could be your phone, one of the best vlogging cameras, like the DJI Pocket 3, or many mirrorless and DSLR cameras.
Battery life has been upped from the first-gen model, too, from 15 hours to 18 hours, making this is an excellent bit of kit for extended time out in the field.
If you want to produce engaging video content, great quality sound is vital, but achieving that is easier said than done. For vloggers and small video production outfits often working on high-pressure shoots with limited resources, the powerful, smart and no-fuss DJI Mic 2 is a superb option.
DJI Mic 2: Price and release date
Available as a complete kit with charging case for $349 / £309
Can be bought as one transmitter and receiver for $219 / £189
The DJI Mic 2 is available now, with the complete kit comprising two transmitters (in Black or Pearl White), one receiver, a charging case, Lightning and USB-C receiver connectors, two windshields, a lav mic, plus carry case, and costs $349 / £309 (about AU$530). If you only need a single receiver and no charging case, then it's $219 / £189 (about AU$330), while you can buy some of the items separately, like the transmitters for $99 / £89 (about AU$150).
DJI Mic 2: Should I buy?
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Buy it if...
Don't buy it if...
DJI Mic 2: How I tested
I had the DJI Mic 2 for several weeks
Used with a smartphone, the DJI Osmo Pocket 3, and a mirrorless camera
I used it with and without 32-bit float and AI noise reduction
I used the DJI Mic 2 complete kit for several weeks, testing how easy it was to set up and connect to devices, as well as testing the quality of its audio recordings.
I've used its 32-bit float audio capture and other settings, and I've used it with the AI noise reduction turned on and off to make comparisons. I've used the mic outside on windy countryside walks, and in echoey interiors, and I also used it to record videos for TechRadar's TikTok channels.
The Pivo Max is a motorized head that can intelligently track subject movement, when paired to Pivo's free iOS / Android app. Put simply, it's like having your own camera operator, and could be the handiest smartphone accessory you ever purchase, particularly if you're a solo content creator.
It's incredibly easy to get started with the Pivo Max app, and establish a connection between an Apple or Android device and the motorized head. Once a connection is active, the app recognizes a variety of subjects – both human and animal – and follow a subject's movement, keeping them in the selected portion of the frame.
Most people use a smartphone to shoot content now, and many such people work alone, and the Pivo Max is going to be hugely useful if you want to bring life and extra production value to content, rather than relying on a static, locked-off shot.
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Set-up is simple – after optionally attaching the head to a tripod or other support to achieve the required height (the head can also simply be placed on a table or other surface), you slot your smartphone or tablet into the removable holder on the top, screw it firmly in place, open the app and away you go. Your phone will reliably track your movement, with options for human face or body tracking, plus dog or horse tracking – a peculiar mix of subjects for sure.
What's more, there's an 'Auto Zoom' option – if you move further away from the camera, it can zoom in to maintain a similar composition, and zoom out again should you move closer to the camera once more.
You can also select one of three vertical zones – left, middle or right (see below) – in which the app can place the tracked subject. I suspect most people will select the middle portion of the frame, but I can also see a use for leaving space either side of yourself, for example when showcasing products by your side, or for leaving space in your shot to walk into when out and about, especially in scenic surroundings.
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Tracking speed can be adjusted for slow and steady movements, through to keeping up with quick movement, and the motor can indeed be smooth or snappy – whichever you need. A timer gives you a three-second countdown to get ready for a take, and there are photo, video, meet and webcam modes to choose between.
The Pivo Max comes with a remote, too, so it's easy to adjust app settings from distance – you don't have to initiate recording on the device's screen itself. However, if you're using a separate camera like a DSLR or mirrorless, you'll need to start recording directly on the camera itself.
Yes, you can mount a small camera such as an entry-level DSLR or mirrorless model, and use that instead of your phone, although you'll still need the app active to obtain the Pivo Max's functions, so you'll need to source a coldshoe mount to mount your phone on top of the camera (included in Pivo's pricier kits).
I only used the Pivo Max with a smartphone – and I expect the overwhelming majority of users will do the same – but it's nice to know that I could use it with one of my 'proper' cameras; it has a max payload of 2kg.
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The device itself is compact, and lightweight at around 350g. It's well built, though I wouldn't want to expose it to inclement weather. Pivo says battery life is a generous 10-12 hours.
Naturally, I've wanted to test the Pivo Max app's effectiveness, trying a range of scenarios and subjects. Starting with a solo talking-head shot, I made subtle movements left and right, towards and away from the camera, and tracking is silky smooth, though the zoom is a little jerky. Crank up the tracking speed to 'turbo' and the motorized head will swiftly respond to quick sideways movements, doing an admirable job of keeping up.
If you make quick movements when the tracking speed is set to slow / normal, the Pivo Max will lag behind. Conversely, set it to quick when making slow movements and it's more likely to be jerky. You're not always going to know your speed of movement, and for such scenarios an intelligent adaptive auto tracking speed would be great, as opposed to having to manually input the tracking speed (I generally kept the speed on the quicker side).
As such, an element of planning is required before you hit record, to select the appropriate tracking speed for the anticipated speed of movement. However, the Pivo Max has an extra trick or two up its sleeve.
It's possible to create a path with a start and finish point, much like Waypoints for drones, and then to initiate that tracking movement. There's also predictive follow, although it wasn't immediately clear to me what additional benefit this function offered.
I've also tried to confuse the app by including multiple faces in the frame, and by covering my own face as the primary tracked subject – the app will then lock onto another face in the frame and make them the tracked subject instead. So long as a subject maintains line of sight with the camera, tracking is very reliable.
If the tracked subject changes, the first tracked subject can move back into the middle of the shot and it'll lock onto them again. Tracking is in theory more reliable than an actual human camera operator, who may or may not be able to predict or keep up with your movement (or maintain concentration).
Yes, the Pivo Max can be more effective that a human camera operator. A caveat is that the motorized head can only do panning movements (a full 360 degrees – you can literally run circles around it) but not tilt, which is a little limiting if the subject is positioned close to the camera. A pricier and heavier gimbal would offer this extra range of motion, but these devices are way more complicated to set up than the Pivo Max. While it lacks a full range of movement, I have full confidence in the abilities of the Pivo Max for panning shots.
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You're using the Pivo Max app to control the camera when shooting with a phone, and the options are more limited than most smartphone's camera functions. You can select exposure for your subject, or uncheck that option for the app to select brightness based on the entire frame. Basic self-timer modes are included, but otherwise, this is a point-and-shoot kind of experience.
Naturally, it's easier to compose your shot using your phone's selfie camera, but if I wanted to use the better-quality front-facing camera I would happily rely on the Pivo Max's tracking capabilities, without needing to see the shot in real time on my phone's screen.
Two areas for improvement would, as mentioned, be a tilt motion in addition to panning, and an auto tracking speed option. Otherwise, this is a super-useful accessory, and practically speaking, the zoom function somewhat makes up for the lack of tilt motion.
Overall, I can easily see an audience for the Pivo Max. It's a tad on the pricey side for what you're getting, but the value it can add to video production for solo content creators, together with its tiny form factor and quick setup, will allow many to justify the outlay.
Pivo Max: price and release date
The Pivo Max is available now and costs $269.99 / £259.99 / AU$434.99. You'll need to buy a support separately, and Pivo sells an Essential kit for $369.99 / £354.99 / AU$594.99 that includes a tripod, although the Pivo Max can be mounted on any tripod or stand with standard 1/4-inch thread. I used a basic light stand for my testing. If you'd like to mount a camera, as well as a smartphone or tablet, you'll also need to pick up a phone-to-camera coldshoe adapter (included in the the Essential kit as well as the Starter kit that costs $299.99 / £284.99 / AU$484.99 that also contains a travel case and smart mount).
Should I buy the Pivo Max?
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Buy it if...
Don't buy it if...
How I tested the Pivo Max
I had the Pivo Max on test for a lengthy period, and I used the motorized head mainly for solo talking-to-camera videos indoors, recording onto an Android smartphone. I've tried the various in-app settings, making adjustments to the tracking speed and subject detection options, and tested the various shooting modes.
Leica’s first foray into the instant camera market was in 2016 with the original Leica Sofort, Sofort meaning “immediately” in German. The camera borrowed its functionality from the Fujifilm Instax Mini 90 (a camera I still enjoy using) but had Leica’s premium price tag and that iconic red dot. The Sofort 2 arrives seven years later - a long time in the photo industry - and plenty has changed between the first and second generations.
You see, the Sofort 2 is now a hybrid; a digital camera and printer all-in-one that still pushes out Instax Mini-sized film. This time, another license from Fujifilm sees the camera taking its design cues from the Instax Mini Evo, with filters and lens effects (more on these later), a new button layout, and a satisfying lever that you pull back to activate printing. I like that you get a shutter on the front and top of the body to make it easy to fire while taking a selfie. There’s a mirror to check out your framing, too.
There's no viewfinder, so the only way to compose shots is with the screen on the back, a 3-inch TFT LCD that isn't touch-responsive and can be hard to see in bright light. Navigating the menu is straightforward though, and holding the Sofort 2 is comfortable - even if the black colorway is a fingerprint magnet. In the camera menu, you can switch between natural and rich printing, and I prefer rich for its strong, vibrant tones. Pressing the up button in playback mode brings up more settings like the flash and self-timer.
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Pull the print lever and the Sofort 2 will take a few seconds to prepare (Image credit: Lauren Scott)
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A print takes about 15 seconds to pop out of the top/side of the camera (Image credit: Lauren Scott)
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You can shoot with 10 film styles, including Leica Monochrom and retro (Image credit: Lauren Scott)
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10 lens effects can be applied by clicking the dial on the lens round (Image credit: Lauren Scott)
The Sofort 2 has the Leica name, but that doesn’t mean you can expect the same image quality as its rangefinders. I was disappointed by the specs here, as you get a 4.9MP camera with a 1/5-inch CMOS sensor, and images are in JPG format only. The aperture range is f/2-f/16 and the ISO is 100-1600, but you can’t change either of these settings yourself. Exposure is fully automatic, unlike the Polaroid I-2, although you can tweak the white balance and exposure compensation, which is handy when the camera overexposes in high-contrast lighting.
The flat pancake lens is equivalent to a 28mm full-frame, which is wide enough for you to get good group shots and expansive landscapes. The camera’s autofocus is limited, but the face recognition mode isn’t terrible. It took me about a week to discover the macro mode for getting subjects as close as 10cm in focus, and this was a game-changer for nature images.
For point-and-shoot users wanting to shake things up, the Sofort 2 has ten lens effects and ten film styles, effectively giving you over one hundred combinations in the camera. Instax film being the price it is, I didn’t try them all, but I did play around with the iconic Leica Monochrom, vintage, and a bizarre canvas style, plus the vignette and mirror lens effects. Some are more gimmicky than others, but I can see them being fun for amateurs used to Instagram filters.
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The camera takes packs of standard Instax Mini film, but there are Leica-branded options (Image credit: Lauren Scott)
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The Sofort 2 is slimmer and sleeker than the Instax Mini 40 (Image credit: Lauren Scott)
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It's easy to transfer images from camera to phone with the Leica FOTOS app (Image credit: Lauren Scott)
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Once linked via Bluetooth, the Leica FOTOS app can be used to print and transfer photos, and remotely control the Sofort 2 (Image credit: Lauren Scott)
Being a hybrid, you can print from the camera’s internal memory (around 45 images), a microSD card (a 1GB card will let you take a whopping 850 images), or over Bluetooth from the Leica FOTOS app. None of these were options in the original Sofort, and another welcome new feature is a USB-C connection for transferring images and charging the battery.
Unintentionally, I used the Sofort 2 more as a printer than a camera (it takes about 15 seconds to print an image whatever the source). Maybe that approach is cheating, but there’s no escaping the fact that the image quality - sharpness, color richness, and dynamic range - from the Sofort 2 is behind most modern smartphones. When I had the iPhone 15 Pro in my pocket, there was always a real temptation to use that instead and avoid wasting expensive film. The Sofort 2 is a brilliant portable printer, and the prints it makes are vibrant and authentic-looking, with all the vibes that make Instax so popular.
For me, the Leica FOTOS app was also a pleasure to use, and surely one of the smoothest in the business. While you’re not spending over $300/£300 on an instant camera for its app, it’s fair to say that Leica has streamlined the experience, even if you don’t get any editing or effects like stickers.
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Prints from a smartphone are much better than the Sofort 2's in-built camera (Image credit: Lauren Scott)
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There are a huge range of Instax Mini film options, in packs of 10 (Image credit: Lauren Scott)
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Taken on the Leica M11-P and printed on the Sofort 2 with the app (Image credit: Lauren Scott)
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Print from a smartphone shot. The Leica Color film is vibrant (Image credit: Lauren Scott)
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Print from a smartphone shot. The film struggles with deep shadows (Image credit: Lauren Scott)
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Print from a smartphone shot. Leica's Color film is perfect for holiday snaps (Image credit: Lauren Scott)
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A photo taken with the Leica Sofort 2. The 4.9MP lags miles behind my iPhone 15 Pro (Image credit: Lauren Scott)
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A digital photo taken with the Leica Sofort 2's camera in rich mode (Image credit: Lauren Scott)
For me, the best instant cameras are the hybrid ones, simply because they unlock more possibilities and mean you’re not limited to (let’s face it) basic optics and (in this hybrid) small sensors. And they save you dosh on a separate printer.
The Sofort 2 is for style-conscious photographers who want something more serious than the average instant camera. That’s me on a good day. Because it still functions similarly to an Instax camera, anyone can pick it up and use it without a rigorous learning process. But the branding is sleek and grown up, and to be honest, I loved whipping out the Leica dot whenever I got the chance.
Reviewers don't talk enough about how cameras make us feel when we’re using them. During the test period for the Sofort 2, we became practically inseparable partners, and not just because it was small enough to fit in my coat pocket. It made me feel creative, inspired, and cool - and that’s more than I can say of my flagship mirrorless camera, or indeed, my dust-gathering Instax cameras since it came along.
Leica Sofort 2: Price and release date
Available in the US for $389
Available in the UK and Australia for £350 / AU$649
The Leica Sofort 2 was released on November 9, 2023, although some retailers are still asking you to join a pre-order waiting list. The official Leica store has had the best availability since the camera's launch. There's a choice of three colorways; white, red, and black – to reflect the iconic Leica branding.
In the box, you get a carrying strap, lens cap, USB cable for charging or transferring photos, and a quick start guide. Leica also sells a wide range of Sofort-friendly accessories like bags and a metal tin to keep your prints stored safely.
The Sofort 2 takes Instax Mini Film, and the cost of this varies depending on what design you choose. Standard twin-packs with 20 exposures of Instax Mini film start at $14.99 / £14.99 / AU$34.95, while 20 slides of Leica-branded film will set you back around £19 / $30.
The Sofort 2 is sleeky and shiny, although the black colorway attracts fingerprints (Image credit: Lauren Scott)
Leica Sofort 2: Should I buy?
Buy it if...
Don't buy it if...
Leica Sofort 2: also consider
If you're interested in instant cameras but not sure about the Leica Sofort 2, here are some alternatives to consider...
Leica Sofort 2: How I tested
Friends tried out the camera at an event
Printing in-camera and via the Leica Fotos app
I had the Leica Sofort 2 for a two-week testing period and during that time I carried it pretty much everywhere in my bag; on family walks, a trip to a Christmas market, plus out for coffee and brunch (because where else is better to take hipster images).
Over this time, I shot plenty of photos using the built-in camera and printed them straight away. I played with the built-in image effects and face recognition setting. At home, I also linked the Sofort 2 up to the Leica Fotos app on my iPhone and printed a selection of existing photos to see how the camera handled different lighting types and extra detail. I even printed out some photos taken with the Leica M11-P that I'd been reviewing for another outlet.
The Sofort 2 became my compact instant camera, street shooter, and party companion, as well as an Instax printer. I used a range of Instax Mini film packs, including the Leica-branded Instant Color Film and Instax Mini Contact Sheet.
Prime lenses are, for the most part, optically superior to zoom lenses despite the often excellent optical performance of the latter. The trade-off with a zoom is the convenience of being able to change focal length without changing the lens, but beyond that prime lenses win hands down.
The Nikkor Z 600mm f/6.3 VR S is the lightest 600mm lens in the f/6.3 class at just 3lbs 3.9oz / 1,470g with the tripod collar attached. Just to put that into perspective, that’s only a whisker heavier than the Nikkor Z 70-200mm f/2.8 VR S, which is impressive, and alongside excellent image quality it makes the 600mm f/6.3 one of the best Nikon Z lenses available.
You’d certainly hope so, too, because this is a lens that comes with a hefty professional price tag. At $4,800 / £4,999 / AU$8,299, this is one of those lenses that costs more than many of the camera bodies it will find itself attached to, which means it will unfortunately be out of reach for many enthusiast photographers. But it’s not all bad news if you’re on a slightly tighter budget, because the Nikkor Z 180-600mm f/5.6-6.3 VR comes in at a more affordable $1,697 / £1,799 / AU$2,999, and it’s a great lens for the price.
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Despite its low weight considering the focal length, the Nikkor Z 600mm f/6.3 VR S is still a largish lens compared to a medium zoom at 4.2 x 11 inches / 106.5 x 278mm. The front element and filter thread is 95mm, so a protective UV filter won’t be cheap, but it’s certainly not a necessity, because the included lens hood provides ample protection alongside helping to reduce or eliminate flare. But once again, in the grand scheme of things, this lens is still pretty compact for what it is; it’s comfortable to use handheld for long periods, and the tripod collar provides a balanced method of attaching the camera and lens to a tripod when required.
This is a premium lens, and the build quality is excellent, with the look and feel alone exuding quality. But it’s certainly not perfect, and the area in which it doesn’t quite live up to expectations may surprise you, given the situations the lens is likely to be used in. The 600mm features rubber gaskets to keep dust, dirt and moisture out of the lens, but Nikon doesn’t say anywhere that the lens is weatherproof.
It can likely handle some use in wet weather, but Nikon also stresses in the small print that the lens isn’t guaranteed to be dust and drip-resistant in all situations and under all conditions. Sure, no camera or lens could be claimed to be 100% weatherproof, but this does leave a question or two hanging in the air, and more clarity here would be useful so that users aren't left to guess how weatherproof the lens might be.
A lens like this is primarily aimed at sports and wildlife photography, and the Vibration Reduction / image stabilization is excellent. During testing, and with an extremely steady hand, I was able to shoot sharp images at shutter speeds as slow as 1/30 sec. This is amazing, and useful for panning slower-moving subjects. The 600mm provides up to six stops of stabilization, but there’s a slight caveat here; this requires Z-series camera bodies that support Synchro VR, which is only available in the latest full-frame models like the Z9. For camera bodies that don’t support this, the 600mm still provides 5.5 stops of image stabilization, so no great loss here.
On the lens itself, there’s a customizable L-Fn button, four customizable L-Fn2 buttons, a focus limiter switch, a manual/AF switch and a memory set button. There’s unfortunately no VR switch or VR mode switch, which would be useful, but this option can be easily accessed via the camera. Alongside the manual focus rings, there’s also a customizable control ring that can be set to adjust focus, aperture, ISO or exposure compensation; this is set to aperture by default, and it's extremely useful.
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The optical design of the Nikkor Z 600mm f/6.3 VR S comprises 21 elements in 14 groups, which include two ED elements, one SR element, one PF element, elements with a Nano Crystal coat, and a fluorine-coated front lens element to repel moisture and dirt. That's a lot of glass, but the construction, including the Phase Frensel (PF) lens, helps to keep the lens small and lightweight as well as enabling the excellent image quality. A maximum aperture of f/4 would undoubtedly be more impressive, but this would mean the lens would have to be larger and heavier; f/6.3 still produces pleasing bokeh thanks to the nine-blade aperture, and it's a good aperture to shoot at to ensure enough subject depth-of-field in sports and wildlife photography.
Image quality is excellent, and autofocus is fast and silent. This is the type of lens where you’re unlikely to stop down to more than f/11, and will probably shoot wide open at f/6.3 most of the time. It's where the Nikon Z-mount excels especially in this lens – you won't notice a drop in overall sharpness at f/6.3. Stop the lens down to f/32 and diffraction naturally shows.
As you'd expect, the centre of the frame is the sharpest, but edge sharpness is still more than respectable and you can confidentally compose subjects off-center knowing they will be sharp. During testing in bright conditions, no chromatic aberration was visible along high-contrast edges, and lens corrections applied using the lens profile in Lightroom made only a small adjustment.
Nikkor Z 600mm f/6.3 VR S photo samples
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The Nikkor Z 600mm f/6.3 VR S is an excellent lens overall, and one that any Nikon shooter will be happy with if they can justify the cost. It’s primarily targeted towards full-frame Z-series cameras, but works just as well with APS-C Z-series cameras to provide an effective focal length of 900mm. You can increase the focal length on full-frame Z-series cameras by shooting in DX mode, and during testing we employed DX mode on the the Z 7 II, which still provides a useful and usable 20MP image. You can also use the lens with teleconverters to increase the effective focal length, but this does reduce the maximum aperture to varying degrees depending on the strength of the teleconverter.
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Should I buy the Nikkor Z 600mm f/6.3 VR S?
(Image credit: James Abbott)
Buy it if...
Don't buy it if...
Nikon Z 600mm f/6.3 VR S: Also consider
How I tested the Nikon Z 600mm f/6.3 VR S
The Nikkor Z 600mm f/6.3 VR S was tested over several shoots, including handheld use to assess the size and weight of the lens. Photos were taken at different aperture settings in both FX and DX modes to test handling, sharpness and distortion, while Vibration Reduction was put through its paces by shooting at slower shutter speeds than normal. I shot both static and moving subjects to test autofocus performance.
Most images were shot simply to see how the lens performed in different situations, while others were shot specifically to compare the results. This provides the ability to test all aspects of the lens in a real-world environment that’s closer to how photographers will use the lens, rather than relying on statistics and lens charts.
With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve covered almost every conceivable subject and used many of the cameras and lenses that have been released in that time. As a working photographer, I’m also aware of the factors that are most important to photographers, and aim to test cameras and lenses in a way that reflects this.
Action cameras are a great option for capturing sport, travel and a whole host of subjects; they're small, lightweight, and in most cases designed to withstand the rough and tumble these cameras typically endure. The Kandao QooCam 3 is a 360-degree action camera that provides an alternative to the likes of Insta360 One R and X3, as well as the GoPro Max, which are all among the best 360 degree cameras currently available.
360-degree cameras are becoming increasingly common, providing users with the ability to capture 360-degree photos and videos that can be scrolled around, as well as to reframe 360-degree video into a traditional 2D perspective where you can pan, zoom and change camera direction to create the illusion of being filmed by someone else. 360-degree camera manufacturers often describe this as like having a personal camera person filming you, and in many ways it is.
The QooCam 3 fits this profile well, and while it’s not the kind of action camera you’d want to drop due to the two fisheye lenses, one on each side, it is dust and waterproof to IP68. This opens up more possibilities for a camera that can capture 360-degree photos at 62MP in JPEG and DNG formats, alongside the ability to capture up to 5.7K 30 fps 360-degree video. Low-light performance is also a key feature thanks to the 1/1.55-inch sensors and large f/1.6 apertures for each of the two fisheye lenses.
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QooCam 3: Release date and price
Launched in September 2023
Several kit options
Additional accessories available
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The QooCam 3 was launched in September 2023, and is the second consumer 360-degree camera produced by Kandao. The QooCam 3 standalone kit includes the camera, a battery, a USB-C cable, and a soft case, and costs $349 / £278 / AU$531. The Travel Kit is the best option for most people – this includes all of the above plus an additional battery, a 64GB microSD card and a 120cm invisible selfie stick for just a bit more at $370 / £295 / AU$563. The Motorcycle Kit includes all of the above, plus a plethora of mounting accessories for $400 / £319 / AU$609.
Alongside the kits, you can also purchase additional batteries, the invisible 120cm selfie stick, and a Marsace x Kandao co-branded mini tripod. When the camera was sent to me for review it arrived with a car suction mount, which is a great accessory that works exceptionally well, but which unfortunately is not available on the Kandao website at the time of writing – hopefully it will be soon.
Price score: 4/5
QooCam 3: Design
Near square design
1.9-inch LCD screen
Weighty at 7.76oz / 220g
The QooCam 3 is almost square at 2.8 x 3.3 x 1.0 inches / 71.5 x 82.7 x 26.6mm and weighs 7.76oz / 220g including a battery and microSD card. To say it looks familiar to the GoPro Max is an understatement, although the QooCam 3 is slightly larger and heavier. Controls are minimal, with just a power and record button on the top and a 1.9-inch rectangular touchscreen on which settings can be accessed easily by swiping from the sides and using the customizable Q menu.
The LCD screen isn’t the highest-resolution when compared to other action cameras, but it’s clear and bright enough, and provides a single camera view, which can be switched from front to back when capturing photos and videos. This is better than the phone app view, which shows a stretched-out 360-degree view and feels strange to use for composing, but the app does provide wireless control of the camera, which is useful.
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Build quality is impressive, especially considering this is one of the less expensive 360-degree cameras available, and the dark grey and black body has an undoubtedly high-quality look. The two fisheye lenses are positioned on opposite sides of the camera, and as on any camera of this type feel vulnerable, but they're protected when not in use by a soft case, which can be attached to the camera even when the selfie stick is inserted into the tripod mount on the bottom of the camera. There are four microphones, one on each side of the camera, that work well to record 360-degree sound in videos.
Design score: 4/5
QooCam 3: Features and performance
1/1.55 in sensors and f/1.6 apertures
6-axis gyro for image stabilization
360-degree ambisonic audio
With the ability to shoot photos and videos in several capture modes, the QooCam 3 follows a fairly standard approach to 360-degree cameras and what they’re capable of. Operation of the camera using the camera itself and the touchscreen, where you swipe from the sides of the screen to access various settings and features, is incredibly easy and intuitive, as on most modern action cameras. The phone app is just as simple and intuitive in this regard, while also providing wireless control and Live View.
The headline features of the QooCam 3 have to be the 1/1.55-inch sensors with a 2μm pixel size and 4-in-1 pixel merging, alongside the fast f/1.6 apertures. These make the camera a solid performer in low-light conditions, although with such fast apertures, shutter speeds need to be fast in brighter light, so it’s impossible to use the correct shutter speed for capturing more cinematic motion in videos. That said, even if the aperture was f/2.8 you would still have this problem, so the low-light performance is a huge bonus.
The camera uses a 6-axis gyro, which works well overall, and when I tested this while running the bobbing of the camera was minimized, although not completely eliminated. The same goes for walking, although with most action cameras you do have to walk with slightly bent knees while keeping the camera steady for the smoothest results. This is easiest when using the invisible selfie stick, which also allows you to maneuver the camera into interesting positions and apply sweeping movements for more dynamic videos.
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One point to note is that image stabilization isn’t applied to the image viewed on the camera screen or in the app when connected, so this will appear unsteady during filming. Stabilization is applied during editing using the gyro data, where you can use Horizon Steady to lock the camera angle while maintaining the ability to add keyframes, or View Lock Steady to simply apply stabilization.
Sound can often be a secondary consideration for action cameras, but the QooCam 3’s four microphones capture 360-degree ambisonic audio (full-sphere surround sound) and do a reasonable job of recording sound. However, wind noise can be an issue when it’s windy or if the QooCam 3 is attached to a car using a suction mount – it has to be said that attaching the camera to a car to create faster and more dynamic timelapse videos, 360-degree videos, and reframed videos is a lot of fun.
The smartphone app and desktop app are both reasonably easy to use, but both lack the range of features and finesse of Insta360’s comparable apps for Insta360 cameras. The QooCam 3 phone app offers more functionality than the desktop version, including the ability to use templates to make faster edits, add one of five music tracks, and remove the original sound, although these options take some getting used to before you can confidently create the video effects you’re aiming for. It’s not rocket science by any means, but expect a small learning curve here – and the functionality is limited to just about what you need, rather than something slightly more impressive.
Features and performance score: 3/5
QooCam 3: Image and video quality
Up to 5.7K 30fps video
62MP 360-degree photos
Decent low-light performance
The image quality produced by 360-degree cameras is never as good as that from standard action cameras, and the QooCam 3 is no exception here in general. It does, however, perform well in low-light conditions such as night scenes, thanks to the fast aperture. For example, when walking through Chinatown in London at night I only needed to increase the ISO to 640 while maintaining the correct 1/60 sec shutter speed for 5.7K 30fps video, and image quality was impressive.
The dual cameras on the QooCam 3 use fisheye lenses that provide a full-frame equivalent focal length of 9.36mm, with the images combined to create panoramic and 360-degree photos and videos. Camera control can be set to Auto, with control over exposure compensation and the ability to manually adjust exposure compensation and white balance, or Manual, which gives you full control over all settings except for aperture, which is fixed. Auto is best for situations where you’re moving from light to dark areas and vice versa, while Manual is generally best for everything else.
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Photo modes include Standard panoramic photo (360-degree), Interval Photo, DNG8 and AEB. DNG8 is where eight DNG files are captured and merged in the RawPlus software for increased detail and lower noise with HDR results. However, when editing photos in QooCamStudio (desktop) and with the RawPlus desktop app, I didn't always feel that I knew exactly what I was doing.
For this to work, you have to merge the eight DNGs with RawPlus and export a single DNG. This can then be processed in Lightroom or Adobe Camera Raw, with no cropping, exported as a JPEG, and then further adjusted in terms of viewpoint in QooCamStudio, before a new JPEG can be exported at up to 4K dimensions. It’s a convoluted process, and I found a tutorial by a third party covering this after I was unable to find a guide on the Kandao website. This is a process that needs to be simplified.
QooCam 3 video
Photo editing is much easier with the QooCam 3 smartphone app, but often still leaves you wondering. That said, the 360-degree photos can be captured up to 62MP, but you have to attach the camera to the selfie stick on a mini tripod and be out of shot to avoid being photographed, or you can reframe photos into a 4K 2D photo. Video can be captured in Standard panoramic video (360-degree) and timelapse, with interval and resolution options for the latter. For video, you can capture 5.7K 30fps, 4K 60fps and 4K 30fps.
Image quality overall is good, and sits within the norm for this type of camera, but photos and videos have an over-sharpened appearance, and there’s no control over the sharpening level in the camera settings; this would be a useful addition via a firmware update. Over three weeks of using and testing the camera, three firmware updates were delivered, so Kandao is working hard to improve what is already a solid yet imperfect 360-degree camera. With a handful of upgrades in terms of the apps and the camera firmware, the QooCam 3 could be greatly improved to make it a highly competitive option, because the hardware is solid.
QooCam 3 360-degree video
Image and video quality: 3.5/5
QooCam 3: Test scorecard
Should I buy the QooCam 3?
(Image credit: James Abbott)
Buy it if...
Don't buy it if...
QooCam 3: Also consider
(Image credit: James Abbott)
If our QooCam 3 review has inspired you to think about other options, here are two more 360-degree cameras to consider…
How I tested the Kandao QooCam 3
The QooCam 3 was tested over several weeks in a variety of environments and light conditions, including being attached to a car. This provided enough time to fully explore what the camera is capable of in terms of capture options, editing options, output quality using both the smartphone and desktop apps, and, importantly, overall ease of use while considering the learning curve of the apps.
With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve covered almost every conceivable subject and used many of the cameras and lenses that have been released in that time. As a working photographer, I’m also aware of the factors that are most important to photographers, and aim to test cameras and lenses in a way that reflects this.
The Insta360 Ace Pro is Insta360’s first out and out wide-angle action camera – and the brand has absolutely nailed it, creating one of the best action cameras to market. Insta360 isn't new to this field though, with a range of 360-degree cameras that includes the low-light champion the Insta360 One R 1-inch, plus mobile gimbals.
The Ace Pro rivals the likes of the GoPro Hero 12 Black and the DJI Action 4, but it is the first of its kind to offer 8K video. Take that, GoPro and DJI. You also get 48MP stills – both of which are probably larger than most people will need. However, the quality of the output is generally great, with the HDR Photo mode particularly good at capturing detail in highlights.
The highest resolution 8K video is available at 24fps only, so there's definitely room for higher frame rates to be added in future versions of this camera. However, slow motion 4K video is possible up to 120fps.
Insta360 is a long-time partner of Leica, which has engineered the Ace Pro's 1/1.3-inch sensor, and this partnership seems to be paying off. The sensor, backed by the camera's AI-boosted chip, does a great job of capturing excellent video and photo quality, even under more demanding lighting scenarios such as low light and highlights.
The magnetic mounting system and wide range of mounts makes this camera a highly versatile option for all types of creatives. The multi mount is particularly useful, enabling the camera to be mounted on a tripod or carried around on a selfie-stick, and Insta360 provides mounts that would work with all types of action sports, including cycling, diving, and surfing.
I really enjoyed the camera, from the excellent build quality to the impressive output of the video and photo. Insta360 has made a great camera, and it’s hard to see what it can improve on in future releases – perhaps slow motion 8K recording?
Insta360 Ace Pro specifications
Sensor: 1/1.3-inch FOV/focal length: 16mm (35mm equivalent) Max photo resolution: 48MP (8064 x 6048) Video: 8K 24fps / 4K 120fps / 1080 240fps Stabilisation: FlowState and Horizon Lock Screen: 2.4-inch flip screen Mount: Magnetic standard, Quick release, Multi Mount Battery: 1,650mAh Connectivity: Bluetooth, USB-C and Wi-Fi
It's a pricier alternative to the Hero 12 Black and the Action 4, but there are a number of specs that make the Ace Pro stand out and justify the higher price. The first is the 8K recording functionality. To achieve this inside such a small camera body is to push the boundaries of what was previously possible.
The 1/1.3-inch sensor is another spec that's worth noting. This is bigger than the Hero 12 Black's sensor and the same size as the Action 4's, although not as big as the Osmo Pocket 3.
There's also a 2.4-inch flip screen that is the largest available on the market, compared to 2.25-inch for the Action 4 and 2.27-inch for the Hero 12 Black. The screens of those cameras are fixed, too, while the Ace Pro's can flip up for selfies.
Overall, Insta360 has done a breathtaking job of pushing the boundaries of what it's possible to pack into a small-form action camera.
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Insta360 Ace Pro: release date and price
Available to buy now for $449.99 / £429 / AU$729
Mounts available from $14.99 / £15.99 / AU$29
Cheaper 'Ace' version of the camera costs $379 / £359.99 / $AU609
The Insta360 Ace Pro is available now, with the lowest-priced Standard Combo package costing $449.99 / £429 / AU$729, which is a little pricier than the GoPro Hero 12 Black, which retails at $400 / £400 / AU$650, or the Hero 11 Black at $350 / £350 / AU$579.
To extend your mounting options you can get the Standard Mount for $14.99 / £15.99 / AU$29, and the Vertical-Horizontal Mount for $19.99 / £19.99 / AU$39.
To get waterproofing down to 16m rather than the standard 10m you can buy the Dive Case for $59.99 / £59.99 / AU$109.
An extra battery to extend shooting times costs $34.99 / £35.99 / AU$65, and if you're needing to charge your batteries quickly then the Fast Charge Hub is a great option, and costs $49.99 / £51.99 / AU$89.
The Insta360 Ace Pro doesn't come with GPS as standard, but if you pair it with the GPS Preview Remote you can track your location. The remote can be worn on your wrist or mounted on your bike, for example. It costs $149.99 / £149.99 / AU$269.
If you want a cheaper alternative to the Pro version there's an Insta360 Ace which retails at $379 / £359.99 / $AU609.
Price score: 4/5
Insta360 Ace Pro: design
Easy magnetic mount
Versatile multi mount
2.4-inch flip screen for selfies
The Ace Pro is really nicely engineered, from quality materials. As soon as you take it out the box you can tell that it's both heavier and bigger than other cameras on the market, such as the Hero 12 Black. It weighs in at 179.8g, compared to 154g for the Hero 12 Black and 145g for the Action 4.
The benefit of this is that it feels more substantial in the hand, while still feeling very much like an action camera. It also allows for much better heat dissipation, something that is the single biggest problem facing action camera designers. If you want a smaller Insta360 camera the brand does offer smaller consumer alternatives.
One area where the Ace Pro diverges from other action cameras, in a good way, is in the implementation of its screens. I find DJI and GoPro screens often a little unresponsive, and their front screens never seem to deliver what's required when shooting in selfie-mode. The Ace Pro, on the other hand, includes a fantastic 2.4-inch rear flip screen that hinges from the top. The screen is big and responsive, and the hinge is perfectly engineered, enabling the screen to perch securely at any angle. I love it.
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In terms of mounting, you have a plethora of options available to you. The camera itself has a magnetic plate at the base to allow for a super-quick snapping of the camera onto different mounts. It follows the Action 4 in this regard, and has left behind the Hero 12 Black, which will hopefully introduce this functionality next time round. Action cameras have to be versatile, and quick to get up and running, and the magnetic mount on the Insta360 Ace Pro enables exactly that.
The standard mount is ideal for cycling, for either mounting the camera onto a helmet or handlebars. It’s lightweight, and includes a quarter-inch screw hole. There's also a quick-release mount, which hooks into the camera and is removable using the quick-release buttons. Unfortunately, I found that the camera didn’t hook into the prongs first time every time, and at times it took a little fiddling to ensure that both prongs were clicked in, which isn't ideal.
The multi mount is a stroke of genius though, serving a whole host of different shooting scenarios. It can serve as a standard tripod, as a selfie-stick of sorts, or just as something to carry the camera around with when you're shooting on the go.
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Insta360 has also included a really nice front display, which isn't a touchscreen but updates you on some of the key settings. It’s a nice feature, but I couldn’t really find a use case for it; if I was shooting in selfie mode then I had the settings displayed on the flipped screen anyway.
I personally found the record button too hard to press, which made it difficult to begin recording or take a photo without dislodging the location of the camera in my hand and introducing a wobble into the start of the video. A more responsive button would easily overcome this.
The camera contains all the ports you would expect, including a USB-C port, microSD slot, and a battery cavity. These are all behind flaps which I found a little fiddly to open and close. The flap to the power port/microSD port also only just opens wide enough to allow the power cable in, while the microSD port is also right next to the power cable, which makes it tricky to remove or insert the SD card while charging.
Design score: 4.5/5
Insta360 Ace Pro: features and performance
Excellent FlowState stabilization and Horizon Lock
Decent waterproofing up to 33ft / 10m
Handy voice and gesture controls
The Insta360 Ace Pro has been co-engineered with Leica, which means it has a great sensor – it's actually the same size sensor as in the Osmo Action 4 at 1/1.3-inches, and is bigger than the Hero 12 Black's. It does, however, fall short of the new 1-inch sensor in the DJI Osmo Pocket 3; given this camera's larger camera body, I wonder if this bigger sensor will be introduced in a future Ace Pro camera.
The 1/1.3-inch sensor alongside the f/2.6 aperture facilitates impressive low-light performance – more about that later. The 5nm AI chip enables a strong level of noise reduction, which is perfect in those night-time scenes where you can’t get rid of all the noise in-camera. The AI on the chip also means it better handles the opposite extreme, where there are bright light sources in the shot, something that's difficult for any camera to handle, let alone a small action camera.
The stabilization in the camera centers around FlowState and Horizon Lock, features that are well implemented in pretty much all other action cameras. FlowState, Insta360’s proprietary algorithm, is tried and tested on its other cameras and works well. Horizon Lock does exactly that, and is ideally suited to when the camera is rotated a lot through the shot.
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The video resolution allows for up to 8K at 24 frames per second. This is an industry-leading resolution, with the Hero 12 Black topping out at 5.3K and the Action 4 at 4K. Not many users will need 8K in this type of camera, or have the display to watch it on, but if it's something that's important to your workflow then the Insta360 Ace Pro delivers.
The camera contains a neat little feature, although not unique, called ‘Photo Grab’, which enables the capturing of 12MP photos mid-video. We’ll look at the quality of the video and photo from this camera later.
The camera is waterproof down to 10m, which will be sufficient for most cases, but if you find yourself shooting at a greater depth the dive case that's available separately allows you to use the camera to depths of to 16m.
One feature I particularly love is the gesture control. With a simple raising of the palm the camera will start recording video, after a three-second countdown so you can get set up. And if you show the 'peace' sign a photo will be taken after three seconds. I like these types of features, as they minimize the interaction required with the actual camera.
Performance score: 4.5/5
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Insta360 Ace Pro: image and video quality
Max photo resolution: 48MP (8064 x 6048)
Video: 8K 24fps / 4K 120fps / 1080 240fps
Active HDR
The results produced by the Insta360 Ace Pro are noticeably impressive. Where do we start? How about low-light performance? This is where so many action cameras, over the years, have tripped up. If the lighting conditions are ideal then it's no problem, but creators don’t want to be limited by their tech.
The image quality across all resolutions is really nice including the 8K option. Colors are represented with clarity and vibrancy giving a punchy image that pops off the screen. Low-lighting conditions are also handled well, with only a small amount of noise noticeable during testing. The AI-boosted chip helps to clear away more of the noise that can’t be removed by the 1/1.3-inch sensor, and this low-light performance is replicated across video and photo.
The other scenarios these types of cameras often struggle with is highlights. The Ace Pro contains HDR technology when shooting video, and also includes a separate HDR photo mode. The Active HDR in video mode delivers fairly good results, although there is still some detail lost, especially in the highlights.
The HDR photo mode on the other hand does a much better job of capturing those details. When taking a photo of an overcast sky, for example, the image had definition in the clouds, where the video captured turned the sky completely white.
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Color replication across all modes is excellent, with little to no correction required to replicate real-life colors. GoPro and DJI cameras often struggle with this, so I was pleased to see the Insta360 Ace Pro doing such a good job. This color replication is also noticeable with faces and skin tones which, again, are captured accurately.
Unfortunately, there isn’t log capture functionality like the GP-Log in the GoPro Hero 12 Black. This limits your color-editing options in post, and it would be a fantastic additional feature to really take this camera to the next level.
Image and video quality score: 4.5/5
Should I buy the Insta360 Ace Pro?
Buy it if...
Don't buy it if...
Insta360 Ace Pro: Also consider
Testing scorecard
How I tested the Insta360 Ace Pro
I used the Insta360 Ace Pro as both an action camera and a vlogging camera. Taking it out and about enabled me to properly test all of its features, including its video and photo quality as well as its stabilization.
Taking the Ace Pro out on my bike provided a great opportunity to see how the camera would cope working at speed and under changing lighting conditions.
Having tested other action cameras I was able to make informed comparisons between the Ace Pro and other popular models.
Every now and then a new camera wows the world of photography, and the launch of the Sony A9 III was one of those moments. So is the buzz around the fastest-ever camera justified? After an extended time with the camera for this in-depth review, the answer to that question is complicated, but all things considered it’s a solid yes.
With the A9 III Sony has upped the bar by some margin for high-performance photography for sports and wildlife. A new kind of sensor with ‘global shutter’ unleashes a number of class-leading features, and crucially eliminates the ‘rolling shutter’ distortion in photos and video that you can get with the electronic sensors used in general to enable top performance in most other cameras.
Put simply, these combined technologies have realized never-before-seen performance that’s overkill for most, and exciting for those that can afford Sony’s flagship prices: 120fps burst shooting and a maximum 1/80,000 sec shutter with flash sync at any shutter speed are the headlines, and they're yours for $5,999 / £6,099 / AU$9,999.
The Sony A9 III is the first consumer full-frame mirrorless camera with global shutter incorporated into the sensor. (Image credit: Future)
The A9 III is also a camera blessed with Sony’s best innovation, which we’ve seen before, namely in the A7R V, the camera we awarded ‘Best mirrorless camera’ in our TechRadar 2023 Choice Awards: the Bionz XR processor (the A9 III actually has two of them), an AI-autofocus chip for industry-leading subject-tracking AF, high resolution 9.44m-dot EVF with 120fps refresh rate (which maintains peak performance even for continuous shooting), and a 4-axis vari-angle touchscreen.
We also have Sony’s best camera design to date. The A9 III has a similar form factor to high-end Sony models, which means it’s smaller than rival pro sports cameras, but it features Sony’s chunkiest grip to date, and can be bulked out further with a new vertical grip, which you’ll want to do when using large lenses.
Burst shooting up to 120fps comes with no compromises in terms of the camera’s performance or image quality – that means 24.6MP raw and JPEG with continuous tracking AF and auto exposure – and is frankly over-the-top excellence, even if it's just for 1.5 seconds at a time. Unless Canon or Nikon conjure up a new camera of their own with never-before-seen features, the A9 III will be the subject of envy in press pits at this year’s Paris Olympic Games.
You can set the continuous high drive mode to 30fps or 60fps and then instantly switch to 120fps by holding down a custom button by the lens. (Image credit: Future)
That said, an unwelcome bottleneck is the use of CFexpress Type A cards; these offer data transfer speeds only half those of the CFexpress Type B cards used in a camera like the Nikon Z9, which consequently means the buffer takes some time to clear before regaining peak performance, by which point the action being captured might have finished – we’ll unpack buffer performance later in this review.
With a custom button, Sony makes it quick and easy to ramp up to 120fps from a ‘mere’ 30fps or 60fps burst shooting speed. After all, not all sports and wildlife scenarios need such high speeds, though I’m sure pro sports photographers hellbent on capturing that fraction-of-a-second of decisive Olympic action will appreciate having the option. Personally I think 30fps is plenty enough, but I’m not being paid to file images from the world’s biggest sporting stages.
After much testing I can confirm that there is a compromise on image quality that comes with using the new global shutter. Put simply, there’s a hit on dynamic range, plus increased noise, when compared to rival cameras. Those who often shoot in low light will want to pair the A9 III with pro lenses featuring the largest possible aperture, such as the FE 300mm F/2.8, to increase light intake.
The dual-axis vari-angle screen can be pulled away from the body at multiple angles. (Image credit: Future)
More important than outright image quality, however, is that the A9 III suffers no ugly rolling shutter effect whatsoever in fast-moving action photos and video. That also means no risk of banding in artificial light. Add in its superb autofocus and burst shooting skills, and this sports photography and video camera can freeze the action and capture the crucial moment to a level above any other camera today.
The A9 III isn’t for everyone, but it’s now the best mirrorless camera for pro sports photography and video, if its 24MP photo and 4K video resolution are sufficient for your needs.
Sony A9 III: release date and price
$5,999 / £6,099 / AU$9,999 body-only
New VG-C5 vertical grip costs $399 / £390 / AU$749
The Sony A9 III body-only list price is $5,999 / £6,099 / AU$9,999, which is what I’d expect for a Sony camera at this level, although that's a markup from the Sony A9 II and clearly a lot of money. It’s firmly in the professional sports and wildlife photography camp, and it’s available now, ahead of the Paris Olympics which begin in late July.
A newly designed body means the A9 III requires a new optional VG-C5 vertical grip, launched alongside the camera, to extend the size and battery life and provide a comfortable way to shoot with large lenses and in vertical format. Sony has recognized that pretty much every photographer that adds the A9 III to their shopping basket will also add the grip, and for a limited time is including the grip for free with purchases of the A9 III – its list price is $399 / £390 / AU$749. I can also see the A9 III being a popular camera to hire for special events and commissions – it's an excellent portraits with flash tool.
Price score 4/5
Sony A9 III: design and handling
Larger grip and a new optional vertical grip
Industry-leading EVF
Abundant control layout
As a camera that's designed primarily for pro action photography, the A9 III has the kind of build quality to withstand tough conditions and inclement weather. It's not a chunky affair like the Nikon Z9 though – Sony mirrorless cameras are always small, even the A9 series. Conversely, most pro prime telephoto lenses are big, so how is the balance of the A9 III? Pretty good, actually.
It has the familiar Sony mini DSLR-style form factor, except that the grip is chunkier for a better hold. I found it a decent pairing with the FE 24-70mm F2.8 GM lens, which was one of the lenses I had for my hands-on review. With larger lenses like the FE 70-200mm F4 G OSS that I had for this test, plus the new FE 300mm F2.8 that I got to try out briefly, the A9 III really benefits from the optional vertical grip.
A new design means the A9 III needs an all-new optional vertical grip, and I’d expect the majority of A9 III photographers to opt for one – I’d certainly pick one up. Not only does the new VG-C5 grip add a little weight and height for improved balance with large lenses, it offers controls at your fingertips for vertical shooting, replicating the layout of the camera for horizontal-format photos, plus it extends battery life. With the FE 300mm F2.8 lens, which weighs 3.24lbs / 1,470g, attached, there’s a really good balance between camera (with grip) and lens.
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In this class, I prefer Sony’s design approach to Canon and Nikon – a small body that can be bulked up with a grip for serious telephoto lenses, rather than a large body that can’t be made any smaller.
We get the same industry-leading EVF as found on the A7R V – the 9.44m-dot unit has a 120fps refresh rate, with no blackout during continuous shooting, and it really does perform flawlessly, maintaining peak performance whatever the shooting mode. Previous models with the 9.44m-dot EVF saw a drop in resolution during burst shooting.
The touchscreen is also an A7R V special – a dual-axis vari-angle screen that can be positioned at all manner of angles, and folded away completely for protection when not in use. I love how the screen can be pulled away from the body, meaning your view is unimpeded by the viewfinder. Touch function is decent, too, with controls like tracking AF activation, plus a quick menu that can be revealed by dragging from the corner of the screen.
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The control layout is comprehensive, too, including customizable buttons that can activate features like 120fps at a push, more control dials than you can shake a stick at, and a grippy joystick to navigate menus and AF points and the like. I’m not a fan of the variety in how dials are adjusted, though. One has a clicked-release lock, another has no lock at all, while the exposure mode dial requires you to hold down the central lock in order to turn the dial. There’s almost too much going on around the body, and it takes some time before navigating those controls becomes second nature.
Rigid port doors can be opened individually to reveal full-size HDMI, Ethernet, flash sync, headphone and mic jacks, plus USB-C through which you can charge the camera’s NP-FZ100 battery – Sony’s excellent battery that’s used across models. Besides being a tad cluttered, the A9 III is a step in the right direction and Sony’s best design camera yet.
Design and handling score 5/5
Sony A9 III: features and performance
First full-frame camera with global shutter
Sony says it’s 8x speedier than the A9 II
120fps for up to 1.5 second bursts
Flash sync speed at any shutter speed, limited only by your flash
Sony's best-ever autofocus
Sony cameras are generally feature-rich, but as this is the first mirrorless camera with a global shutter, that’s where we’ll begin. It’s a pricey sensor type previously found only in high-end cine cameras, and it’s long been tipped for the rumored Canon EOS R1 – a potential rival to the A9 III. So what’s all the fuss about this sensor type?
To summarize: it reads every pixel simultaneously rather than line by line, as other sensor types do when using their electronic shutter (rather than the mechanical shutter). Currently, the Nikon’s Z8 and Z9’s stacked sensor with electronic shutter boasts the quickest sensor readout speed (line by line) of 1/250 sec.
You’d be hard pressed to find distortion in Z9 images, but generally there’s a risk of what’s called rolling shutter when using the electronic shutter – a ‘jello’ effect. In most DSLR and mirrorless cameras you can use a mechanical shutter instead for distortion-free photos, but the shutter’s mechanical speed is limited – the fastest ever speed is 16fps in the Canon EOS 1D X Mark III.
The global shutter is the best of both worlds: no distortion, and no real limit on burst shooting speed, up to 120fps.
Burst shooting sequence of an Olympic athlete jumping over a hurdle on the race track at night with the continuous high drive mode of the Sony A9 III (Image credit: Future)
That’s what’s so exciting about the A9 III for capturing high-speed action – you can move the camera quickly to track your subject in stills or video, or freeze especially fast-moving subjects like a golf swing, and you won’t see any distortion. You also get the fastest minimum shutter speed ever, up to 1/80,000 sec – although currently that’s reduced to 1/16,000 sec when in any burst shooting mode. It’s an action photographer's dream.
Sony’s latest Bionz XR processor is in play here, only there are twin processors that Sony says bumps up the A9 III’s speed by 8x over the A9 II. That’s needed for such high-speed work, and for features like pre-capture up to one second. We’ve seen pre-capture in other systems from the likes of Panasonic, but it’s another first for Sony mirrorless; pre-capture can record sequences up to one second before you fully press the shutter, another handy trick for capturing decisive moments.
This video of blue tits on a lone branch is a realtime 30fps continuous burst. Shot at 120fps and it could be slowed down 4x. (Image credit: Future)
A global shutter also has no real shutter speed limit when synchronizing to an external flash, save for the limit of the flash itself. That means the A9 III can in theory flash-sync at any shutter speed, where other systems are limited to up to 1/250 sec – for example, the Z9’s max flash sync speed is just 1/200 sec.
For those who are into flash photography in particular, the A9 III opens up a whole other realm of creative possibilities, cleanly freezing fast action with no motion blur. It also makes portraits with flash a breeze. The example (below) was shot at 1/2000 sec with the FE 70-200mm F4 G OSS lens at its maximum f/4 aperture, with the Sony HVL F46RM at full power positioned in a softbox and remotely triggered using the Sony FA WRC1M wireless radio commander. I didn’t have to reduce the aperture to f/11 for an accurate exposure because I wasn’t limited to 1/250 sec. I didn’t have to think about workarounds like a ND filter in order to open the aperture right up; I could simply shoot the portrait at whatever exposure settings I liked.
Portrait made with the Sony A9 III and the FE 70-200mm F4 G OSS II lens. Camera settings 1/2000sec, f/4, ISO 250. Sony HVL F46RM flash at full power positioned in a softbox and remotely triggered using the Sony FA WRC1M wireless radio commander. (Image credit: Future)
Not worrying about the shutter speed limit; being able to use any aperture – these are game-changing flash photography attributes of the A9 III. I thought pairing the A9 III with a flash for such quick flash speed would be a bit of a minefield, and you do need to play around with settings a bit, but in reality it’s not that complicated. Put simply, the A9 III has been the most versatile camera I’ve ever used for flash, and I wouldn’t think twice about hiring it for location portrait shoots.
Impressive features like 120fps are one thing on paper, but what are they really like to use? Firstly, you’ll fill up memory cards very quickly and create a daunting image organization and editing workflow, so 120fps should only be used sparingly. Fortunately, Sony makes that as easy as possible via a custom button that immediately boosts the A9 III to that super-fast speed from a more modest default speed – I set the continuous high to 30fps, and used the button for a 120fps injection at crucial moments.
I was typically able to get around 190-200 frames (raw and JPEG) at the top speed of 120fps – in other words around 1.5 seconds of shooting – before the camera slowed right down. Clearly this headline mode is just for decisive moments. At 30fps I was typically getting around 275 frames (raw and JPEG) before the camera slowed down – that’s around nine seconds in all.
Twin card slots can hold either CFexpress Type A or SD memory cards. CFexpress Type B is much quicker and we can hope Sony will adopt faster media in future high-speed cameras. (Image credit: Future)
Using a SD card for the aforementioned sequences, it took around 30 seconds for the buffer to clear and for the camera to regain full performance once more, while using a CFexpress type A card was a little under half that time. Those wait times are a tiny bit disappointing, given that a CFexpress type B card – used by the Nikon Z9 – is at least twice as quick again. Implementing a redesign to accept type B instead of type A would have made the A9 III completely formidable. Buffer aside, the burst shooting speed and duration are unmatched.
Pre capture is neat, too. You might not want to set it to as much as 1 second, especially with the fast frame rates filling up your card, and 0.5 seconds is probably enough to ensure you capture suddenly unfolding action. I found it particularly useful for bird photography, where subjects move both quickly and erratically.
The A9 III has a remarkable hit ratio of sharply focused action photos. (Image credit: Future)
In addition to its superb burst-shooting capabilities, the A9 III has the most capable autofocus system of any camera today. You’ll need to get the mode right for your subject, but set to a mode like ‘Focus Area: Expand Spot’ with appropriate subject tracking autofocus, the hit ratio of sharp images the A9 III can achieve in action sequences is unmatched.
The A9 III also has new subject-detection AF modes, including birds and insects, both of which worked decently well in my tests with the 70-200mm F4 lens. We still have human and animal detection modes, which are now more effective than ever thanks to the ‘AI’ autofocus chip equipping the A9 III to recognize subjects in all manner of orientations – the torso, head, eyes and so on.
We also get Sony’s highly effective in-body image stabilization. Beyond enabling the use of slower shutter speeds for photography (which aren’t much use for freezing action), it's so effective that you can get smooth gimbal-like handheld videos, especially when using the Active and Dynamic Active modes.
Features and performance score: 5/5
Sony A9 III: image and video quality
Same 24.6MP resolution as the A9 II
4K 60p video from full width of the sensor (oversampled)
ISO 250-25,600
More noise and less dynamic range in low light than rivals
Sensibly, Sony has kept the A9 III’s sensor resolution to 24.6MP just like in the A9 II. That’s a perfectly acceptable resolution for the intended audience of sports and wildlife photographers, and a clear distinguisher from the A1 (and a potential successor), which has around double the pixels. Some may wish for more pixels and more cropping possibilities – the A1 has 50MP – but that would compromise the speed of the A9 III.
It is of course a different sensor type with global shutter, too, and it comes with a unusual ISO 250-25,600 sensitivity range that can't match that of the A9 II and A1. Those cameras have a base ISO of 100 – a setting that offers better dynamic range and handling of noise than the A9 III’s base of ISO 250. Therefore, if light is good and the shooting scenario merits a base ISO, such as landscape photography, image quality from the A9 II and A1 is superior.
The use of a global shutter has had an adverse impact on the dynamic range and handling of noise of the A9 III, even if it’s just a little. However, we should also remember who the intended A9 III user is – most people won’t buy the A9 III for anything other than high-speed scenarios, using high shutter speeds to freeze the action. In this reality, you wouldn’t be able to shoot lower than ISO 250 anyway, and so the limited ISO range at the low end is a somewhat moot point for pro sports and wildlife photography.
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The bigger concern is increased noise and reduced dynamic range at the high ISO settings you’ll regularly need when selecting particularly fast shutter speeds, and when shooting in low light. After all, a lot of sporting events are held at night under floodlights, and you won’t get quite as clean image quality from the A9 III compared to rivals – for example there’s more noise in shadows.
By default, Sony cameras apply fairly aggressive noise reduction to JPEG images, and if you shoot in JPEG-only you may not experience some of the issues mentioned above.
While reduced dynamic range and increased noise are markdowns for image quality, we need to put this into context. The A9 III can freeze action with no distortion, and nail sharp focus to a degree we’ve never seen before. And it’s these image quality attributes that are more important for action photography and video, where the A9 III scores top marks. Put simply, the A9 III is the most capable sports photography camera available.
Elsewhere, 4K video up to 60fps is oversampled from 6K – that’s the full width of the 24.6MP sensor. You can also create short 6K slow-motion video clips by using the A9 III's 120fps burst shooting mode and stitching those files together in post.
Those top frame rates are equivalent to 4x slow-motion video, when played back at the standard 30fps video playback – the A9 III is so fast that you can create slow-motion video from photos at 24.6MP which is equivalent to 6K.
Rival cameras like the Z9 can shoot higher resolution 8K video. However, what’s more exciting than resolution and frame rates is how the A9 III’s global shutter eliminates rolling shutter in video. There’s a pleasing quality to motion in the A9 III’s videos, especially for moving subjects and fast-moving handheld camera shots. In-body image stabilization for video is superb, too, and makes run-and-gun videos without a gimbal entirely possible.
Image and video quality score: 4/5
Sony A9 III: Test scorecard
Should I buy the Sony A9 III?
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Buy it if...
Don't buy it if...
Sony A9 III: Also consider
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If our Sony A9 III review has inspired you to think about other options, here are two more cameras to consider…
How I tested the Sony A9 III
Early access to pre-production model in November 2023
A long term loan period of full-production model, more than a month
Plenty of action scenarios, including wildlife and sports
Remote flash photography portraits with Sony's own HVL-F46RM
I first used the A9 III in November 2023 at its announcement event. During the event I shot a variety of sports that included long jump, hurdles, high jump, gymnastics and boxing, pairing the A9 III with several lenses, including the FE 300mm F2.8 GM OSS, FE 70-200mm F2.8 GM and FE 24-70mm F2.8 GM.
Three months after its announcement I received a full-production version of the A9 III, which I used for over a month with the FE 70-200mm F4 G OSS and FE 24-50mm F2.8 G, during which time I was able to shoot plenty of wildlife and sports, plus portraits with a remotely controlled flashgun.
During my extended time with the A9 III I've used all the burst shooting modes, including its headline 120fps, supported by the latest autofocus modes. I've rattled off more frames than I care to count, rinsed the battery, recharged, and repeated.
Modern mirrorless cameras now come with more bells, whistles and buttons than ever. That’s why it’s been so refreshing to review the OM System Tough TG-7, a rugged all-in-one that you can take out shooting without the worry of damage from water, dust, dirt, sand, or clumsy drops.
The TG-7 is reminiscent of the compact cameras I grew up with on family vacations (and took to nightclubs as a late teenager). They’d easily slip into a pocket and come along to the beach, or on hiking and camping trips, and their built-in zoom and scene modes meant you’d be set to capture you adventures largely regardless of skill level.
The waterproof, shockproof TG-7 is equally versatile, equally designed for use in challenging conditions, and equally as good a fit for families as it is for construction workers and surveyors – not to mention hardcore adventurers who push their gear to the limits.
The TG-7 only offers modest improvements over its predecessor, however. The popular Olympus Tough TG-6 compact, released in 2019, had a spot in our best waterproof camera guide, but has been discontinued to make way for the new OM name with the TG-7. On the outside, the cameras look very similar (aside from the updated branding) and much of what's inside is familiar too.
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With a 4x zoom lens, the TG-7 offers a versatile focal range and macro focus (Image credit: Lauren Scott)
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The majority of the buttons are on the right hand side at the rear (Image credit: Lauren Scott)
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The OM Tough TG-7 is compatible with a wide range of accessories such as flash modifiers and floating cases (Image credit: Lauren Scott)
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The Log/Off switch at the top of the TG-7 is used to toggle GPS. It can also record information in the image metadata like temperature and elevation (Image credit: Lauren Scott)
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A screw-on fisheye converter adds new creative effects and possibilities (Image credit: Lauren Scott)
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Focus modes (Image credit: Lauren Scott)
The Tough-series build is IPX8-rated and can withstand 15m dips underwater (an extra underwater case lets you go deeper), drops from 2.1m, and temperatures down to 14F / -10C. Oh, and just in case you manage to stand on the camera, it’s crushproof to pressures of 220lbs / 100kg.
So the TG-7 is still tough, and it's lightweight at a very pocketable 8.8oz / 249g. But what about the camera specs themselves? The 12MP BSI CMOS 1/2.3-inch sensor (similar in size to those in typical smartphones) is unchanged from the TG-6, and video recording is limited to 4K at 25 or 30fps, or 1080p at 25 / 30 / 50 / 60fps. Those options are a bit dated, and I found that the stabilization struggled to keep up when I shot video while walking. The quality is fair if you just want to capture record footage, but don't expect sharp, cinematic footage.
The camera has an internal 25-100mm zoom lens with a variable aperture of f/2-f/4.9, plus 1cm close-macro focusing, which sets it apart from most action cameras. The ISO range runs from 100-12800, although during testing I found this was best kept below 1600.
Several new features bring the TG-7 up to date, but they’re arguably too niche to entice current TG-6 users into upgrading. There's a handy USB Type-C connector for charging, although the camera can’t be powered up while plugged in (and I couldn't shoot while attached to a power bank). A full battery should be good for around 340 shots – I was able to get about 250 images with GPS activated.
What's great is that remote shooting is now possible using the O.I. Share app or the RM-WR1 wireless remote. You also get the option of vertical video recording – great for social-first content – a timelapse mode, and three Construction modes that further establish the TG-7 as a practical camera for builders, project managers and those with messy work to do.
In the Construction modes, most of the work happens after you press the shutter, as computational processing steps are designed to reduce dust particles in the scene and enhance clarity. I didn’t get to test these modes out, but I’m sure they'll benefit workers needing photos on-site who don’t want to risk damaging their smartphones.
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The Tough TG-7's controls and somewhat guided interface are great for beginner and intermediate photographers. Up top, there's the GPS Log toggle, power button, shutter, zoom rocker and a scrolling dial for changing settings depending on your mode. The zoom rocker is slightly slow to spring into action, but the raised buttons make it easy to change settings with wet hands, although it becomes more fiddly with gloves on.
The four-way nav pad with the familiar ‘OK’ button in the center lets you bring up and change settings outside of the main menu, and this is where I set raw and continuous shooting (you can max out at 20fps, but focus and exposure remains the same throughout). The mode dial illustrates each mode sensibly, with a fish for Underwater mode, for example. I suspect many users will just stick to auto mode, so it's a good job that this works well in daylight. In trickier lighting situations, users might want to try out the 22 Scene modes, which include Indoor, Candle, Children, Documents, and Panorama. Most of these adapted to the shooting environment admirably, although the focus did hunt noticeably for me during night scenes.
You get some more control over the exposure by switching to aperture priority, as you can choose f/2, f/2.8 and f/8 at 25mm, or f/4.9, f/6.3 and f/18 with the lens set to the full 100mm. As a nature lover, I made a lot of use of macro focusing with the Tough TG-7. With the Super Macro Mode allowing for a 1cm minimum focusing distance (the closest is 10cm without this) I was able to get some colorful, sharp shots when I had enough light between the camera and the subject. Using the Olympus Guide Light helped with extra illumination, while the in-built flash was a little too harsh for close-ups without a diffuser attached.
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Ultimately, the Tough TG-7 isn't the best action camera for photo and video quality, and its sensor lagged behind my aging iPhone 12 in many situations. But it undeniably lets you shoot in situations where you couldn't otherwise, and is versatile thanks to the zoom lens and a wealth of additional accessories like lenses and lights. The array of buttons also makes it more tactile to handle than a phone or GoPro, even if the 3-inch screen isn't touch-sensitive.
The Tough TG-7 is likely to be the best travel camera to buy if you’re an off-the-beaten-track explorer who needs a light, reliable companion to document your tales – the highlights and the tough bits. The TG-7 will never compete with my mirrorless camera for sheer specs or quality, but I don’t need it to. It serves a different purpose altogether; to break down the barrier between you and nature, so that you can shoot more precariously and more freely.
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OM System Tough TG-7: Price and release date
Available in the US, UK and Australia for $549.99 /£499.99 / AU$799
Available in red and black colorways
The OM System Tough TG-7 began shipping in October 2023, and is available now in black or red. In the US its list price is $549.99, but some retailers have been offering the camera at $499.99. In the UK the TG-7 is £499, while in Australia the price is AU$799.
In the unassuming cardboard box that the TG-7 comes packaged in, there's an LI-92B battery (the same as the battery in the TG-6), a USB-C charging cable, a wrist strap – also red if you have the red model – and a user manual.
Although the TG-7 doesn't ship with any additional accessories, there are plenty of extras you can buy to add to its functionality. All TG-6 accessories are compatible with the TG-7, and therefore some still have the Olympus branding. For example, the Olympus LG-1 LED Light Guide effectively illuminates macro subjects more evenly than flash, and it's around $50 / £40. The Fish Eye Converter will set you back $195 / £130, while a dedicated underwater housing is more than $300 / £300.
OM System Tough TG-7: Should I buy?
Buy it if...
Don't buy it if...
OM System Tough TG-7: also consider
If this OM System Tough TG-7 review has you interested in rugged cameras, here are a couple of alternatives to consider.
OM System Tough TG-7: How I tested
Shot in the rain and underwater, in daylight and at night
Used Olympus accessories such as the guide light and fisheye converter
I carried the OM System Tough TG-7 in my coat pocket for several weeks, taking it out on wet and rainy hikes, while dining with friends, and out at night in the city where I live. It was submerged in several rivers to test out the clarity and focus underwater, as well as the effectiveness of the anti-fog lens cover.
I used the camera's Auto, Aperture Priority, and Program modes, along with Microscope mode for close-ups and Nightscapes for photos in low light. I also experimented with Olympus' add-on accessories, including the guide light, flash diffuser and the fisheye converter which screws onto the front lens.
I shot raw and JPEG images, and tested out the video quality and stabilization by capturing handheld footage of children, my dog, and birds in my local park. Lastly, I used the O.I Share app to see how the remote shooting and image transfer worked.
The new Canon RF 200-800mm F6.3-9 IS USM is the world’s first full-frame zoom lens that goes up to 800mm. That's like your phone having a 30x zoom setting with no perceivable loss in image quality.
What’s more, the RF 200-800mm is compatible with Canon’s 1.4x and 2x teleconverters, meaning a potential unprecedented reach of up to 1600mm (though I’d avoid this setup and I’ll explain why, later).
It’s a competitively-priced lens and a winning combo for hobbyist wildlife and sports photography with Canon's flagship APS-C mirrorless camera, the Canon EOS R7, with which its maximum reach extends to an effective 1200mm thanks to the sensor format’s 1.5x crop.
I can also see the RF 200-800mm being popular with the full-frame Canon EOS R8, or even with EOS R5 owners for whom sports and wildlife is more of a side hustle or passionate hobby. It’s the EOS R5 that I paired the lens with for a short review period ahead of the worldwide announcement.
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Canon RF 200-800mm F6.3-9 lens on a table at its 200mm setting, mounted to a Canon EOS R5 (Image credit: Future)
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Canon RF 200-800mm F6.3-9 lens on a table at its 800mm setting, mounted to a Canon EOS R5 (Image credit: Future)
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Canon RF 200-800mm F6.3-9 lens in the hand set to 200mm, mounted to a Canon EOS R5 (Image credit: Future)
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Canon RF 200-800mm F6.3-9 lens in the hand set to 800mm, mounted to a Canon EOS R5 (Image credit: Future)
The lens, which weighs 72.3 oz / 2,050 g and measures 12.36in / 314 mm in length, has a lovely and well-balanced feel to it when paired with Canon’s DSLR-style mirrorless cameras like the EOS R5. Its heaviest elements are at the rear, rather than at the front, which was a trait of front-heavy Canon DSLR lenses.
As you move through the zoom range the lens physically extends in length, and I’d advise keeping the sizable lens hood (supplied) attached to reduce lens flare. As such, at 800mm this is a chunky lens, although it still feels good in use and can easily be carried by hand for extended periods.
I really like the additional function of a ‘smooth’ or ‘tight’ response for refined or quick zoom adjustments, made via a dedicated control ring. In fact, all of the control rings and buttons have a lovely feel to them, while the build quality in this weather-sealed, weather-resistant lens feels top drawer, despite it not donning the pro grade L-series nomenclature.
Such a long lens, of course, requires image stabilization, and Canon says the RF 200-800mm is equipped with 5.5-stops of optical stabilization, that goes up to 7.5-stops when paired with the sensor-based stabilization on board enthusiast and professional cameras such as the EOS R7 and EOS R5.
The reality is that it’s possible to get sharp handheld shots at the 800mm telephoto setting almost every time with shutter speeds as slow as 1/30sec – an impressive feat, although your subjects will need to be stationary at such slow shutter speeds or else you’ll get motion softness and blur.
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And the lens isn’t all about getting close to distant subjects because its close focusing distance at 200mm is a mere 0.8m from the camera sensor (that's less than 0.5m from the front end of the lens), resulting in a generous magnification ratio. In a picture I took of tiny, cold season berries (see gallery, below), you can appreciate how close the lens can get when set to its minimum focusing distance.
The elephant in the room is the modest maximum f/6.3-9 aperture. I have no problem with these aperture settings regarding depth of field – believe me, you can acquire a lovely shallow depth of field with an 800mm lens at f/9 (see the pictures of ducks at 800mm in the gallery below). No, it’s the impact on what shutter speed is possible at f/9 to freeze fast-moving action that's the issue.
For photographing birds, you’ll ideally use a shutter speed of around 1/1000s to get sharp detail. Pair that with the f/9 aperture and you’ll need bright sunlight to get the right exposure in your action photos. That’s why using a 2x teleconverter with the RF 200-800mm is unrealistic, because the maximum aperture at 1600mm becomes f/18. However, with such a long reach already, the teleconverter is a bit overkill anyway.
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Ducks in a sunlit pond taken with the Canon RF 200-800mm F6.3-9 lens at its 800mm setting (Image credit: Future)
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Ducks in a sunlit pond taken with the Canon RF 200-800mm F6.3-9 lens at its 800mm setting (Image credit: Future)
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Ducks in a sunlit pond taken with the Canon RF 200-800mm F6.3-9 lens at its 200mm setting (Image credit: Future)
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Closeup of a duck in a pond, taken with the Canon RF 200-800mm F6.3-9 lens at its 800mm setting (Image credit: Future)
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Closeup of a duck in a pond, taken with the Canon RF 200-800mm F6.3-9 lens at its 800mm setting (Image credit: Future)
I tested the 200-800mm lens over the course of a bright afternoon with intermittent sun and cloud, which proved ideal conditions for this lens. It’s in low light that the maximum f/9 aperture becomes tricky; you’ll really be pushing your Canon camera’s high ISO performance.
However, that modest maximum aperture is the sacrifice you pay to gain a relatively lightweight full-frame lens with such a decent zoom range and long reach at the telephoto end.
Image quality at the wide 200mm setting is really sharp, while at 800mm you lose a little clarity, something I’d expect from a lens with such a wide zoom range. If you're only ever needing the telephoto end, it could be worth looking at the RF 800mm f/11 IS STM instead.
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Closeup of berries, taken with the Canon RF 200-800mm F6.3-9 lens at its minimum 0.8m close focusing distance (Image credit: Future)
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Backlit tree leaves and shallow depth of field and bokeh, taken with the Canon RF 200-800mm F6.3-9 lens at its telephoto setting (Image credit: Future)
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Backlit tree leaves and shallow depth of field and bokeh, taken with the Canon RF 200-800mm F6.3-9 lens at its telephoto setting (Image credit: Future)
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Backlit tree leaves and shallow depth of field and bokeh, taken with the Canon RF 200-800mm F6.3-9 lens at its telephoto setting (Image credit: Future)
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Backlit tree leaves and shallow depth of field and bokeh, taken with the Canon RF 200-800mm F6.3-9 lens at its telephoto setting (Image credit: Future)
When the sun was out, I tested the lens’ ability to control flare by shooting towards light, dappled through a willow tree. This same test allowed me to see what bokeh (the quality of out-of-focus light) looks like.
Smooth and circular bokeh is seen as the holy grail of out-of-focus light, but in the corners the RF 200-800mm’s bokeh has a pronounced cat’s eye effect. I don’t personally mind cat’s eye bokeh. More importantly, I didn’t see much evidence of chromatic aberration or onion ring distortion in the RF 200-800mm’s bokeh – it looks decently smooth. Overall, image image quality is surprisingly good.
After a short time with the lens and getting a feel for its zoom range, handling and overall image quality, I think it makes a compelling choice especially with the EOS R7 for safari, shooting grassroots sports from the sidelines, and especially for birdlife, in fair weather.
Canon RF 200-800mm F6.3-9 IS USM: Price and availability
The Canon RF 200-800mm F6.3-9 IS USM list price is $1,899 / £2,299.99 / AU$3,499 and the sales start date is December 2023. It's a decent price considering the features on offer, and the pricing certainly favors those in the US.
A decent quality lens hood comes in the box, along with the usual front and rear lens caps.
Should I buy the Canon RF 200-800mm F6.3-9 IS USM?
(Image credit: Future)
Buy it if...
Don't buy it if...
How I tested the Canon RF 200-800mm F6.3-9 IS USM
I had the Canon RF 200-800mm F6.3-9 IS USM lens for an afternoon outdoors in fairly bright weather, photographing birds and closeup subjects.
During this short review period, I was able to take pictures across the 200-800mm zoom range, of distant subjects and of close subjects at the minimum focus distance, plus around and towards bright light to test how well the lens can control flare.
Using the various aperture settings has allowed me to check the quality of bokeh, and how sharp image detail is.
I first came across the Camp Snap camera when it popped up on my Instagram feed, and it stopped my mindless scrolling. It wasn’t just the dulcet tones of the voice over, or the sunny slice of America filling the screen. This retro-style compact was different, and its biggest selling point is what it lacks… a screen.
Here I was, caught in the screen time act, watching a video about a camera originally created for kids at summer camp with no permitted screen time, who could still use it to take a few snaps of their trip. It might well hope to be one of the best cameras for kids, and in a similar category to the fun Fujifilm Instax Pal, but I think the Camp Snap will attract a much wider audience than just kids.
The retro Camp Snap camera is a clever idea; it’s a low-cost, low-tech digital reimagining of the single-use disposable camera. We all need less screen time, plus I think we all need to practice a little patience. And the low-tech Camp Snap is just what we need, because it brings us back to a happier and simpler time. No screen, no instant review of your photos.
(Image credit: Future)
It might look like an attractive disposable camera, but instead of film the Camp Snap can store around 2,000 digital 8MP photos on an included TF memory card (that’s the same design as a microSD card). The first time you see your photos is when the Camp Snap camera is connected via its USB-C port to upload them to your computer.
It’s a bit like the digital version of getting your developed roll of film back from the lab weeks after the event. For me, regularly using the best cameras available today, such delayed gratification feels like a distant memory. There’s no film cost, either, which is a godsend in a time where prices have skyrocketed.
In use, the Camp Snap is point-and-shoot, all-auto simplicity for all the family. It’s child’s play; my three rambunctious kids had no problems operating the camera, and I haven’t been protective over this rigid plastic camera at all – the makers label it "drop-proof".
(Image credit: Future)
You get a viewfinder, which is pleasant enough though somewhat interfered with by the red glare of the LED photo counter. There's also a built-in LED flash that you can turn on or off and which could benefit from being more powerful (I’d use it for any condition except bright sunlight), a thumb groove on the camera’s rear that gives a little hold, plus the USB-C port doubles up to charge the battery. With no power-hungry features, the battery should last several days of moderate use.
The camera is powered up by a long press of the shutter button, followed by an upbeat audible confirmation that you're in business. You also get a shutter noise every time you take a photo – these are fun little features for a kid-friendly camera.
(Image credit: Future)
I do need to manage your expectations of the Camp Snap. Image quality is on-par with a single-use disposable film camera from yesteryear; in other words, poor by 2023’s standards. The low-cost and tiny 2560 x 1920 pixel image sensor, paired with a moderate wide-angle fixed focus lens, doesn’t even come close to the image quality of a modern smartphone and works best in bright light.
With a focus range of around 1m to infinity, I found selfies at arm’s length are possible, but anything closer is blurry.
If I were to suggest a couple of design changes, moving the LED photo counter to the side would counter glare when using the viewfinder, plus a loop to attach a wrist strap would be nice.
(Image credit: Future)
Camp Snap camera photo samples
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Above image quality and features, the Camp Snap frees us up for real connection with what’s around us. That’s what I want from a camera experience – like the Fujifilm Instax Pal, I've really enjoyed having the Camp Snap around for moments with family and friends, and it's brought me back to a happier and simpler time.
Who knew that a camera’s best feature could be something that it doesn’t have? The Camp Snap has inspired me to make a habit of folding away the vari-angle screen of my professional mirrorless camera. Basic it may well be, the Camp Snap concept has somehow struck a chord.
Camp Snap: Price and availability
Available in the US and Europe now, the Camp Snap costs $55 / £45 plus shipping costs from the Camp Snap website, and is available with a leather-effect trim in Brown, Aqua, Black, Forest Green, White or Pink. I had the all-black version. The makers of Camp Snap have plans to expand sales beyond Europe and North America, including Australia.
I've also been informed that a second version of the Camp Snap camera is in the pipeline, that addresses a few snags including a loop for a wrist strap, plus there’s a ‘Pro’ version in the pipeline with more features that sounds less appealing to me.
Should I buy the Camp Snap camera?
(Image credit: Future)
Buy it if...
Don't buy it if...
How I tested the Camp Snap camera
I had the Camp Snap in my pocket for several weeks, grabbing quick snaps around family life, across a varied range of scenarios and times of day. My children have had a similar amount of use from the camera and I have enjoyed seeing them give it a spin and using the viewfinder.
