The medium telephoto zoom is one of the most versatile lenses on the planet; capable of fulfilling the needs of almost every type of photographer from wildlife to weddings, landscapes to sports, and far beyond. The 70-200mm focal range is most common, but the Nikkor Z 70-180mm f/2.8 bucks that trend, slightly, to provide a Z-series lens with a much more palatable price tag than the Nikkor Z 70-200mm f/2.8 VR S.
The 70-180mm costs $1,250 / £1,299 / AU £2,099, so it’s considerably less expensive than the 70-200mm f/2.8. This makes it a great option for enthusiasts and those on a budget who would like a constant f/2.8 aperture and a weight of just 1lb 12.1oz / 795g. It’s also fairly compact at 3.3 x 6in / 83.5 x 151mm, making it a versatile ‘carry around’ lens if you don’t require a wide-angle focal length.
While slightly reduced from the norm, the focal range doesn’t hinder shooting in real-world situations since there’s only a loss of 20mm at the long end. And although image quality isn’t on par with the 70-200mm f/2.8 (we’ll cover that in more detail later), it remains an impressive performer.
The Nikkor Z 70-180mm f/2.8 is part of a trio of Z-series lenses from Nikon, along with the Nikkor Z 17-28mm f/2.8 and Nikkor Z 28-75mm f/2.8. All three lenses provide a constant f/2.8 aperture alongside full-frame focal lengths ranging from a wide-angle 17mm up to 180mm. All three lenses also have the same 67mm filter thread, which will be most useful to photographers and videographers using screw-in filters since a single set of filters will cover all three lenses.
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When I first picked up the 70-180mm, I was immediately struck by the slightly lower build quality than the professional spec 70-200mm f/2.8. Don’t get me wrong, it’s well built, looks good and feels solid in the hand, but it naturally doesn’t exude the premium look and feel of the more expensive professional model. However, the smaller size and lighter weight meant that it was comfortable to carry around attached to a Nikon Z 7II for long periods - a huge plus point.
Controls are virtually non-existent on the lens. There's just a zoom lock to hold the lens at 70mm and avoid zoom creep when walking around, but it’s a useful feature. Unfortunately, the 70-180mm doesn’t feature optical Vibration Reduction (VR) / Image Stabilization (IS), so you can only take advantage of IS if you’re using a full-frame body with In-Body Image Stabilization (IBIS). APS-C Z-series cameras do not offer IBIS, so there’s no option for VR here.
The 70-180mm is constructed of 19 elements in 14 groups, which include five ED elements, one super-ED element and three aspherical elements, with a nine-blade circular aperture providing pleasing bokeh. Focusing is internal, so the front element doesn’t rotate during focusing. This is great when using filters, although the lens barrel does extend when the zoom ring is rotated. The zoom ring itself, sitting towards the front of the lens, is large and comfortable to use. The narrow focus ring sits behind and offers a comfortable amount of resistance when turned to manually focus.
The minimum focusing distance of the 70-180mm is impressive at 70mm with a distance of just 0.89ft / 27cm and 2.79ft / 85cm at 180mm. This is on a sliding scale as you increase focal length, but at 70mm, you can get pretty close to small subjects, which further increases the usefulness of the lens. The 70-180mm can be used with the Nikon Z 1.4x and 2x teleconverters to increase the focal range at the expense of the maximum aperture and can also be used with APS-C Z series models where the focal range extends from 105-270mm with the f/2.8 remaining effective.
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The lens is least sharp at the extreme ends of the f/2.8 to f/22 aperture range at all focal lengths, with the sharpest results between f/5.6 and f/11. F/2.8 and f/4 are more than sharp enough to use, but at f/16 and f/22 diffraction, or a loss of overall sharpness, is most noticeable.
Edge sharpness is also at its lowest with the aperture wide open and increases as the lens is stopped down to the middle settings, but this is common with most lenses. There’s also some vignetting at f/2.8 which reduces significantly at f/4 and is gone once you stop down to f/5.6. Optical distortion is also minimal, which is impressive for a medium-range lens like this.
Overall, the Nikkor Z 70-180mm f/2.8 is a solid performer and provides photographers with a cost-effective medium telephoto zoom with that all-important constant maximum aperture. Plus, the relatively light weight, compact size and decent image quality make it a lens well worth considering, whatever subjects you shoot.
Nikkor Z 70-180mm f/2.8 photo samples
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Should I buy the Nikkor Z 70-180mm f/2.8?
(Image credit: James Abbott)
Buy it if...
Don't buy it if...
How I tested the Nikkor Z 70-180 f/2.8
The Nikkor Z 70-180mm f/2.8 was tested over several shoots to determine how comfortable the lens is to use handheld for several hours. Photos were taken at different aperture settings and focal lengths to test handling, sharpness, and distortion. Static and moving subjects were shot 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 allowed me to test all aspects of the lens in a real-world environment that’s closer to how photographers will use the lens themselves, 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.
Polaroid has a long and winding history. Founder Edwin Land launched the world's first instant camera (the Model 95) and film in 1948 at a Boston department store, and it was an instant success. The company managed to endure throughout the film era, but it filed for bankruptcy in 2001 and again in 2008 – when the production of its instant film stopped.
A whole host of bizarre products were then created under the Polaroid brand, from cheap DVD players to the Polaroid Snap Android smartphone. It wasn't until 2017 that Polaroid received backing from a shareholder of The Impossible Project, first becoming Polaroid Originals, then in 2020 going back to the original Polaroid name. Quite the tumultuous journey.
Polaroid has been making a steady comeback in the last few years, launching the Polaroid Now, Now+ and tiny Polaroid Go, which are some of the best instant cameras around today. By contrast, the latest Polaroid I-2 is more grown-up, more expensive and more advanced – in fact, it's the first instant camera to offer fully manual exposure controls. It’s also well connected, working with the Polaroid smartphone app via Bluetooth to enable remote shooting.
But that doesn't mean it's lost its retro charm. When Techradar's Lance Ulanoff tried out the Polaroid I-2 before me, he says he was instantly transported to a simpler, happier time. And I have to say that I agree. It's a well-crafted camera that Polaroid says is "designed for craft", but it won't suit everyone.
Its price is enough to put off amateurs, but for true Polaroid fans, or those who want to take their instant photography more seriously, the I-2 is a joy to use – as long as you're prepared to experiment, and to shell out for Polaroid film.
Polaroid I-2: Price and release date
The Polaroid I-2 was launched on September 7, 2023, and is available now directly from the Polaroid website, as well as from photography retailers for $599 / £599 / AU$1,095 at the time of writing – a talking point in itself.
For the same money as a single Polaroid I-2, you could pick up four Polaroid Now+ cameras, or eight Instax Mini 12s (with some cash to spare on film), or put the cash towards one of the best mirrorless cameras instead. It’s hard to see a justification for the I-2's price tag, and the price alone will put off many users, and that's not even factoring that each Polaroid print costs significantly more than Fujifilm Instax alternatives.
That said, the I-2 hasn't been designed for mass-market, Instagram-generation appeal. It's a more unique and refined proposition than its Instax rivals, and I don't say that with scorn, as I happily own the Instax Mini 40 and Mini 90 myself. I just believe there are enough photographers who are attracted to the history and craft of analog instant photography to splurge on the camera. And if money is no object, I'd say the Polaroid I-2 is the best instant camera you can buy.
Polaroid I-2: Specs
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Polaroid I-2: Features
My experience of Polaroid comes mainly from my childhood in the 1990s, and a camera I bought off eBay while at university in the early 2010s. Even then, as an early hipster just starting to learn about film processing, I loved the analog aesthetic and tactile process, and the fact that I could peg the prints from my fairy lights; as a student, though, I didn't love the cost of the film. With the Polaroid I-2, all of these things still ring true, but now there's a real sense of control over how the prints turn out.
The main selling point of the I-2 is its manual exposure controls. It offers the choice of Auto, Shutter Priority, Aperture Priority, Manual, Multi-Exposure (up to four exposures in one shot), and Self Timer modes. The aperture ranges from f/8 to f/64, while the shutter speed range is 1/250 sec to 30 seconds. This isn't a camera for fast action, but the ability to toggle through settings does bring versatility to the subjects you can shoot.
The I-2 has an exposure compensation dial that allows you to add plus or minus two stops to the camera meter's reading, in third-stop increments. The compensation, aperture and shutter speed are displayed in the viewfinder, while the latter two settings also show up on the camera's outer screen. You'll also see a hand icon in the bottom of the viewfinder if the camera thinks your shutter speed is slow enough to cause camera shake.
The Polaroid app lets you see and change settings on a larger screen, plus scan in your photos. The connectivity over Bluetooth was pretty seamless (Image credit: Lauren Scott)
Autofocus is another standout feature of the I-2. Granted, it's center-weighted, and you only get one AF point located in the center of the frame, but the LiDAR (light detection and ranging) technology is surprisingly effective. It locks onto near and distant subjects – the range is approximately 0.4 meters to infinity – in lower light as well as in good light. In practice, you half press the shutter down to focus, then press it fully to take the shot. The stepping motor driving the focus can be noisy and high-pitched, but I found this oddly reassuring as someone who grew up with a dial-up modem. It's a three-lens autofocus system, and the focal length is fixed at 98mm.
The I-2's internal lithium-ion battery can be recharged via USB, and Polaroid says a full charge will last for up to 15 packs of film (that's 120 shots at eight photos per pack). I only got the chance to shoot through four packs of film when testing, and during that time the juice had drained by around 25%, which was impressive.
In terms of connectivity features, the I-2 features Bluetooth, meaning it can pair seamlessly with the Polaroid app (iOS and Android). I found this quick to download, quick to connect and pick up the camera, and intuitive when it came to changing settings. The app is also useful for remote operation with the camera on a tripod.
Before you start snapping, I’d recommend looking over the paper pullout that Polaroid supplies in the box, as it covers menu navigation and buttons. Given that i-Type film is upwards of $2/£2 a sheet (the camera also works with 600 film), you’ll want to know exactly what everything does so that you don’t waste any.
Polaroid has created a clear and well-designed paper pullout, with a diagram listing all the buttons (Image credit: Lauren Scott)
Polaroid I-2: Build and handling
The Polaroid I-2 is markedly bigger and heavier than its cheaper siblings. It's made mostly from a matte-gray impact-resistant plastic and some metal elements, and it feels premium and durable. However, I wouldn't want to drop it from any great height, or use it outside in anything other than light rain.
There’s nothing too complicated about the body itself. On the front you'll find the pronounced red shutter button, the flash, the viewfinder front, and a slot for the film to eject out of. Looking at the I-2 top-down, there's an outer display, a thin button to toggle through the different modes, a power button and a flash button, all of which are nicely responsive to touch.
You can connect an external flash via the 2.5mm flash sync port at the back, which is next to the USB-C charging port. The large viewfinder is also at the back, while underneath there's a tripod mount. On the lens itself, you get the exposure compensation switch, plus the selection dial for settings. Again, both of these are responsively clicky, although once or twice I did nudge the exposure compensation switch by accident.
Subjectively, the I-2 looks suave, but I generally found it too big and cumbersome to use with one hand; with two hands and the included wrist strap, shooting was a more comfortable and secure experience. Polaroid also gives you a plush cloth pouch to protect the I-2 when it's stowed away, but if I were to frequently chuck the camera in a bag I'd want to invest in a hard case to save it from knocks.
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Polaroid I-2: Image quality and performance
The Polaroid I-2 is aimed at a pro-grade audience, or at least those who know their way around the exposure settings of a camera. So how is the image quality? What of the manual exposure controls? It's a slightly mixed bag, in my opinion.
The camera takes the newer I-Type Polaroid film – which matches the original Polaroid square format with the iconic white frame – as well as 600 film for vintage-era cameras. The prints take around 15 minutes to develop, and it's vital that they're stored in a dark place (the film box works well here) or face down as they do.
When I was shooting in automatic exposure mode and flat, overcast lighting or soft sunshine, the color reproduction of prints was pretty much as I expected from the Color I-Type film. The tones were even, desaturated and subtle (calling them washed-out sounds too negative), with that characteristic 'vintage' look that lovers of instant cameras tend to enjoy. My Instax prints are generally a little more punchy, but it's a close contest between the two, and largely subjective.
When I added the flash into the mix for auto-exposure shots, the I-2 handled a mix of flash and ambient light capably, but it didn't always get the metering right. I know that Polaroid suggests shooting away from direct light, and that makes sense – its metering isn't advanced enough to cope with backlighting. But even in softer autumn light in the UK, I found that a lot of my pictures were overexposed. With the film being as expensive as it is, you don't really want to fire off several prints with exposure compensation to find out which one is best, and at times I struggled to trust the I-2's built-in meter.
I'm someone who shoots almost constantly in Aperture Priority or Manual mode with my mirrorless camera, and so I took to these modes on the I-2 more easily than a beginner might do. I learned to boost the exposure when photographing my black dog, for example, or dial it down in bright sun. A certain level of trial and error was still required, although I think over time you'll learn exactly what works with the I-2 – albeit after spending a large amount on film to get there.
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The autofocus is pretty much spot-on, as I've already alluded to. When composing the frame through the viewfinder – which can be susceptible to some glare – you just need to make sure your subject is bang in the center of the frame. It helps that when focus is achieved, the distance is shown in both the viewfinder and the display. In any instances where my photo wasn't sharp, it was due to a too-slow exposure.
I'm also pleased to report that the multiple exposure mode works brilliantly, with the Polaroid I-2 calculating the correct exposure depending on how many frames you choose. The self-timer option also went without a hitch, which makes it easy to shoot selfies and group shots.
I also tested the Polaroid I-2 with B&W i-type and Blue 600 film. The monochrome prints were low-grain and quite gentle, yet (when exposed correctly) had a surprisingly full range of tones. I'll be spending more time refining my results in black and white, but I'm pleased overall, and I think photographers who want low-noise prints will be too.
The Blue 600 film is made from reclaimed material from Polaroid's manufacturing process, and as the name suggests it gives striking blue colors. Again, this won't be to everyone's tastes, but it's totally wacky, experimental and great fun, and I can see it being popular for urban scenes and out-there portraits.
Should I buy the Polaroid I-2?
(Image credit: Future)
Buy it if...
Don't buy it if...
Polaroid I-2: How I tested
I tested the Polaroid I-2 camera over a period of two weeks, and used it to capture a range of real-life scenarios. I took photos in a formal garden, in coffee shops, on dog walks, and in the busy city where I live, as well as in a range of varied lighting conditions, from low light to bright sunshine. I experimented with different three film types: Color I-type, B&W I-type and Reclaimed Blue 600.
Given that the I-2 is distinguished by its full manual controls, I took test shots with the camera in Manual exposure mode, as well as using the other exposure modes and the multiple exposure feature. I also turned the flash on and off to see how the camera handled the balance of flash and ambient light. For several shots, I paired the I-2 with the Polaroid smartphone app to test the Bluetooth connectivity and effectiveness of the app, also using this app to digitize my photos.
Long telephoto zoom lenses have generally become less expensive and therefore more accessible over the past 10 years or so. The 150-600mm focal range has become something of a benchmark in this area, often sitting within what you might call an affordable price range considering how expensive professional telephoto lenses can be.
The Nikkor Z 180-600mm f/5.6-6.3 VR delivers a similarly versatile focal range, making it ideal for wildlife and sports photography in the main, and comes in at a reasonable $1,697 / £1,799 / AU$2,999. Sure, the 180-600mm isn’t exactly cheap, but it’s far more affordable than professional telephoto lenses, offering enthusiasts who shoot with Nikon Z-series cameras the longer reach they’ve been craving.
The arrival of this lens couldn’t come at a better time for Z-series camera owners, who have been lacking a native Z-mount lens with this focal range. Although the Nikon FTZ and FTZ II adapters are fantastic for allowing you to use F-mount lenses with Z-series cameras, their performance is never on a par with a native lens; and the adapter mount adds additional length, albeit small, to any attached lens.
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The 180-600mm is a fairly large and indeed long lens at 12.5 x 4.4 in / 315.5 x 110mm. And with the tripod collar included, the weight of the lens is 4lb 11.5oz / 2,140g, so there's certainly some heft to it. That said, it isn't the heaviest telephoto zoom available, and during a four-hour handheld shoot while walking around a country park, the 180-600mm attached to a Nikon Z 7II remained comfortable to carry.
In order to deliver the wide focal range on offer, the Nikkor's weight is a result of the size and construction of the lens. It’s made up of 25 elements in 17 groups, which include six ED elements, one aspherical element, and a fluorine-coated front element. The maximum aperture is variable between f/5.6-6.3 depending on the focal length selected, which still results in a large 95mm front element.
Enthusiast lenses can sometimes be lacking in the build quality department, but that’ certainly isn't the case here. The 180-600mm looks and feels solidly made, with smooth focus and zoom rings alongside internal zoom and focusing, which means the lens doesn’t extend when zooming and the front element doesn’t rotate when the lens is focused.
The Zoom ring also provides a short rotation, which allows you to quickly and comfortably change the zoom factor without having to reposition your hand to maintain the zoom. Although the lens does have dust and drip sealings, Nikon doesn’t claim that it’s a weatherproof model, so shooting in torrential rain – for instance – could be problematic. Full weatherproofing would be the natural choice for a lens of this type and, unfortunately, it isn’t included here.
Controls on the lens are minimal, with just a manual focus/autofocus switch and an autofocus range limiter switch towards the rear end of the lens. There are also four customizable L-Fn buttons, which allow you to map several functions to the buttons that are conveniently positioned towards the front end of the lens. Unfortunately, there are no vibration reduction / image stabilization controls here, which means you'll have to delve into the camera menus to adjust these settings. This isn't a deal breaker, but a dedicated set of controls would have been extremely useful.
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The lens balances well with Z-series bodies, although the Z 7II used for testing is comedically small in comparison to the lens. And if you find the lens too cumbersome for prolonged handheld use, the tripod collar and quick-release foot allow you to move between handheld shooting and a tripod or monopod quickly and easily.
The 180-600mm also works with the Nikon Z 1.4x and 2x tele converters, enabling you to extend the focal range further if required. However, this does mean a reduction in the maximum aperture. One way around this is to use the lens with an APS-C camera to increase the effective focal range from 270mm to 900mm, retaining the f/5.6-6.3 maximum aperture.
When it comes to overall performance, autofocus is fast and near-silent, locking onto static and moving subjects, and tracking them seemingly effortlessly. It’s just what you want from a lens that’s designed for shooting often fast-moving and distant subjects. This speed and near-silence are thanks to the fast stepping motor that also makes the lens useful for video using autofocus when tracking moving subjects, although videographers typically use manual focus in the majority of situations.
Close focusing isn’t mind-blowing, with a sliding scale of distances depending on the zoom factor; but looking at the extremes of the zoom range, the minimum focus distance at 180mm is 4.27 ft/ 1.3m, while at 600mm it almost doubles to 7.88ft / 2.4m. This does allow for capturing small subjects closeup, but what’s achievable is far from a macro reproduction ratio.
Nikkor Z 180-600mm f/5.6-6.3 VR photo samples
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Moving beyond autofocus, another feature that’s also highly effective is the 5.5-stop vibration reduction / image stabilization. During testing, I was shooting below 1/100 sec at 600mm in some situations, and although some did exhibit camera shake, many were perfectly sharp. Of course, a steady hand is still required when using image stabilization to get the best from the feature; but the 180-600mm is a fantastic performer in this area.
In terms of image quality, which is one of the most important aspects of any lens, images are captured well between the maximum aperture and f/11 throughout the focal range. They’re certainly not as sharp as more expensive lenses, but overall sharpness is beyond adequate. A small amount of chromatic aberration is visible along high-contrast subject edges in some situations, but this is minor, and can be removed effectively in Lightroom or other Raw processing software. If you shoot in JPEG, you can switch on in-camera corrections to deal with this.
Should I buy the Nikkor Z 180-600mm f/5.6-6.3 VR?
(Image credit: James Abbott)
Buy it if...
Don't buy it if...
How I tested the Nikkor Z 180-600mm f/5.6-6.3
The Nikkor Z 180-600mm f/5.6-6.3 was tested over several shoots, including a four-hour session to determine how comfortable the lens is to use handheld over several hours. Photos were taken at different aperture settings and focal lengths to test handling, sharpness and distortion, while vibration reduction was put through its paces by shooting at slower shutter speeds than normal. Subjects covered also included 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 themselves, 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.
The GoPro Hero 12 Black is a variation on a tried and tested GoPro formula. GoPro has an Apple-like ability to refresh its line without overhauling it to great effect, and this year there isn't much that's new in the way of hardware for the 12 Black. That said, familiar hardware might not be an issue given the upgraded software experience, particularly for filmmakers and anyone craving external wireless audio support.
Let's start with what's returning for 2023 from last year's GoPro Hero 11 Black. Firstly, there's that 27MP 8:7 sensor that can capture 16:9, 9:16, and 8:7 footage without needing to reorient your camera. It can shoot at up to 5.3K 60fps and 4K 120fps, and if you want to drop the resolution to 2K, it even captures 240fps, something the DJI Osmo Action 4 can't do.
Next, GoPro's Hero design is back for round six – or is it seven? Seriously, GoPro is very wedded to the style introduced on the Hero 5 Black, so it hasn't deviated too much from its overall aesthetic.
GoPro also brings back the same battery used in past Hero cameras, though, as in the Hero 11 Black, it's the higher-specced GoPro Enduro (1720mAh) cell. And the 12 Black has the same dimensions, processor, and weight as the 11 Black.
Given all these similarities, you might be asking yourself what's new, and whether the Hero 12 Black stands a chance of being rated as one of our best action cameras when its predecessor, the GoPro Hero 11 Black, costs less while offering similar features.
GoPro Hero 12 Black specifications
Sensor: 27MP 1/1.9-inch FOV/focal length: 156 degrees Max photo resolution: 27MP 8:7 (5568 x 4872) Video: Up to 5.3K 60fps / 4K 120fps (16:9) Stabilization: HypserSmooth 6.0 with AutoBoost Front screen: 1.4-inch Color LCD Rear screen: 2.27-inch Color LCD Mount: Action camera + 1/4-inch thread Battery: GoPro Enduro (1720mAh) Connectivity: Bluetooth, USB-C and Wi-Fi
Probably the most instantly useful addition to the Hero 12 Black is the 1/4-inch thread mount between its flip-out feet, perfect for mini tripods. GoPro has also added HDR capture to improve how the camera handles highlights and shadows, and this works to great effect.
Filmmakers who want to dig a little deeper can activate GP-Log capture for even greater dynamic range footage and 10-bit color, so video can be easily spliced into a timeline with clips from other cameras and easily color-matched.
Audio options have also been improved, with the 12 Black now supporting wireless audio from a Bluetooth microphone. This works with any Bluetooth earphones or headphones, so if you've got a pair of the best wireless earbuds available, you can just pair them with your GoPro and hit record – it really is that simple.
Whether you're using an external Bluetooth microphone or the Media Mod, GoPro's modular housing that upgrades audio and connection options, the new Hero 12 Black can also capture two audio channels, which you can access through the GoPro Quik app or in Premiere Pro. What's so cool about doing this with the Media Mod is that it captures the device audio or the Mod's own mini boom mic so that you can mix down directional and ambient tracks for the perfect clip.
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In a nutshell, while there are a lot of familiar features, GoPro levels up the Hero 12 Black just enough to meaningfully make it a more versatile and powerful action camera than the Hero 11 Black.
As for how it stacks up against the competition, the Hero 12 Black's stabilization is fantastic, dialing up or down based on what you're doing, thanks to HyperSmooth 6.0 and AutoBoost. It outperforms the DJI Osmo Action 4 in this regard, and I also prefer the tone of GoPro's video versus DJI's. Footage looks more crisp and less subdued – precisely what I want from my action camera. Having said that, the Action 4 does a better job of capturing a wider soundscape from its mics, while the Hero 12 Black focuses more on voices.
Low light is where GoPro has consistently dropped the ball, and while the Light Painting night modes are fun additions, they don't make up for the grainy video when recording in dimly-lit scenes. DJI takes the crown here.
Generally speaking, the action camera race has never been tighter, with DJI and GoPro almost neck and neck with their latest offerings. Whichever you go for, you're getting a fantastic action camera, but the Hero 12 Black edges ahead for anyone who mostly shoots in the day and wants the best stabilization available. It's also ideal for vloggers who want to cut up 16:9 and 9:16 content from the same clip, or GoPro users who already have compatible accessories like the Media Mod, and want to upgrade their camera but not their extras.
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GoPro Hero 12 Black: release date and price
Available to buy now for $400 / £400 / AU$650
Accessories bundle costs $450 / £450 / AU$730
Max Lens Mod bundle costs $500 / £500 / AU$820
The GoPro Hero 12 Black is available now, with the lowest-priced Standard Combo package costing $400 / £400 / AU$650 – that's slightly pricier than the DJI Action 4. Interestingly, the Hero 11 Black is still on sale alongside the 12 Black on GoPro's website, and has seen its price drop to $350 / £350 / AU$579.
If you want to pick up an extra Enduro battery, GoPro's Handler grip, a head strap, and a carrying case, then the $450 / £450 / AU$730 accessories bundle is for you, and that price is slashed by around 20% if you have a GoPro subscription.
If you don't need all those extra peripherals but fancy the new Max Lens Mod 2.0, which GoPro announced alongside the camera, for a class-leading wide field of view, the Max Lens Mod bundle costs $500 / £500 / AU$820. Once again, if you have a GoPro subscription, you can enjoy a discount of around 20% on this combo.
While GoPro sold its Hero cameras at a discount with a subscription and a sky-high subscription-free price in previous years, it has simplified things this year. In turn, it's great to see that the standalone 12 Black has one fixed price that's lower than the list price of the 11 Black at launch.
So, while the Hero 12 Black isn't cheap by any stretch, it's great that its value for money isn't held back by what has, in the past, felt like inflated non-member pricing. This subscription-free model makes GoPro's latest camera much more competitive out of the gate.
Price score: 4/5
GoPro Hero 12 Black: design
Identical weight and dimensions to Hero 11 Black
New 1/4-20 tripod thread mount
Waterproof up to 33ft / 10m
At first glance, the GoPro Hero 11 and 12 Black look almost identical, apart from some speckled blue styling that differentiates the latest edition. Both cameras weigh 154g, sport the same dimensions (71.8 x 50.8 x 33.6mm), and have removable doors behind which are a USB-C port, battery cavity, and microSD slot.
The removable lens protects familiar f/2.5 aperture glass that delivers a 151-degree field of view, which is slightly less wide than the DJI Osmo Action 4's 155 degrees. The Hero 12 Black, however, can be bumped up to a class-leading 177 degrees with the Max Lens Mod 2.0.
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On to mounting, and the camera's base features GoPro's familiar flip-out feet that make traditional action camera mounting possible, and this year the Hero line gets a 1/4-inch mount too, so it works with traditional tripods and action-camera mounts alike. This is brilliant for anyone like me, who uses a Manfrotto Pixi or an alternative vlogging tripod with their main camera, saving the need to pack a separate grip when traveling light.
Having tested out the DJI Action 4 and Insta360 Go 3, both with magnetic mounting support, I do miss the feature when using the Hero12 Black. If GoPro manages to fit magnets into next year's 13 Black, then its action camera will have the holy trinity of mounting options; as it stands, though, two out of three isn't bad.
Just like the Hero 10 and 11 Black, the 12 Black has two color displays, one on the front and the other on the rear. Unlike DJI's latest action camera, only the rear screen is touch-sensitive. This isn't the end of the world, but it was handy to be able to vlog on the Action 4 without having to flip it around to make basic shooting adjustments.
The main screen on the rear measures 2.27 inches. It gets bright enough for comfortable viewing indoors and out, and unlike older GoPros, specifically the Hero 9 Black, it's super-responsive.
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The 12 Black's physical controls include a record button at the top and a power button on the side. Pressing the record button when the camera is off activates quick-fire recording, and pressing the power button when the camera is on changes modes.
One of the big benefits of picking up a GoPro over a competitor is accessories – both first-party and third-party options. While DJI does a great job with its Action 4, offering an ND filter system and a host of magnetic mount tools, GoPro's ecosystem is richer.
From GoPro's own camp, the Media Mod is the most powerful addition to the Hero 12 Black if you're concerned about sound quality. This upgrades the audio with a directional mic while adding a 3.5mm microphone port for wireless solutions like the excellent Rode Wireless Go 2, as well as a micro HDMI port and an easy-access USB-C port, and there's nothing quite like it in the DJI camp.
Design score: 4.5/5
GoPro Hero 12 Black: features and performance
Excellent HyperSmooth 6.0 stabilization
Super-fast wired file transfer via USB-C
New Bluetooth microphone support
The key advantage the GoPro Hero 12 Black has over the DJI Osmo Action 4 is resolution. Yes, its sensor is physically smaller, but its 27MP stills and 5.3K 8:7 video wipe the floor with DJI's 10MP stills and 4K 16:9 video – on a sunny day when light is abundant, it's unsurprising that the Hero 12 Black's picture is noticeably crisper.
GoPro's 8:7 aspect-ratio sensor is poised to capture footage that's primed for editing. Max out the resolution to 5.3K, capture with an almost square aspect ratio, and your clips can be cropped easily in the GoPro Quik app to 1:1, 16:9, or 9:16 while still retaining a sky-high resolution.
GoPro's frame rates are also best-in-class, with 5.3K footage captured at up to 60fps, 4K footage at up to 120fps, and 2.7K footage at up to 240fps. GoPro even offers this super-fast frame rate with Horizon Leveling active, so you can compensate for tilts without them making it through to your final footage.
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One GoPro Hero 12 Black feature I love is that you can transfer files to your phone using a USB-C cable, so no more painfully slow wireless transfers. This feature is back from the 11 Black, and it's supported by Android phones with a USB-C port, and by the new USB-C-equipped iPhone 15 range.
GoPro includes a 1720mAh Enduro battery with the 12 Black, though the camera is compatible with the standard, non-Enduro variety, albeit with shorter run times. The battery performance best suits anyone who shoots clips shorter than 20 minutes. While there were reports of older GoPros overheating, I had relatively good experiences with the Hero 11 Black, and the 12 Black fares even better.
If you're shooting stationary on a hot day, you may experience overheating, but out and about in the UK and Berlin, in around 70F / 20C ambient temperatures, I shot for over 30 minutes at 5.3K without any issues.
The Hero 12 Black also plugs into the GoPro Volta grip and other power sources when you need more capture time than the battery offers, and you can also pack spares, with an Enduro battery capturing over an hour of continuous 4K 60fps video.
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GoPro has streamlined the interface slightly for 2023, leveling up the Easy Mode, while adding 8:7 capture to all modes.
If you haven't come across GoPro's Easy Mode, it's an alternative interface to Pro Mode, and makes all the decisions for you. All you need to decide is whether you're taking a photo, video, or timelapse, and choose a quality level, and Easy Mode will adjust the settings accordingly.
Pro Mode has a steeper learning curve, but if you want to access GP-Log, HDR capture, or control the stabilization and frame rates, Pro is the mode for you.
I found that results from Easy Mode were excellent in my first few days with the camera, and it's a great way to ease into the GoPro way of shooting. Once I found my feet, though, the mode felt restrictive, and I jumped to Pro Mode.
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GoPro's stabilization for 2023 is HyperSmooth 6.0 matched with AutoBoost. This incredible system doesn't just make super-smooth capture possible; it also supports horizon locking, so you can literally loop-de-loop in a plane or on a rollercoaster, and your footage will mask the spins.
AutoBoost dials the field of view up and down based on how much stabilization you need, so you always get the most information in frame. We didn't even notice the feature in action, which bodes well for GoPro's latest iteration of HyperSmooth, and footage always looked well held together.
GoPro also adds Bluetooth microphone support to the Hero 12 Black, with support for a total of four Bluetooth devices, be they a mic, a phone, a wireless shutter, or another GoPro for synchronized capture.
Your microphone will entirely dictate quality from Bluetooth audio sources. We tested the Hero 12 Black with the OnePlus Buds Pro 2, as demonstrated in the sample video, and the audio wasn't impressive. The Huawei FreeBuds 4 did a better job, and a dedicated microphone did a better job still.
While handy for anyone wearing a helmet or far from your camera, Bluetooth Audio will unlikely be able to match the quality of dedicated wireless mics like the stellar DJI Mic, which can be used out of the gate with the Action 4 if you have both gadgets.
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What is smart with GoPro's new external audio recording is that it captures two audio channels and bakes them into the video file, so you can access both in Adobe Premiere Pro or another video editor, or through the GoPro Quik app.
It's worth noting, for 2023, that GoPro has ditched GPS, a feature that's been on GoPros for generations. I haven't missed it in my time with the camera, though only you can say how much the lack of geotagging will impact your action-cam experience.
Features and performance score: 4.5/5
GoPro Hero 12 Black: image and video quality
High-resolution 27MP stills
10-bit 4K video quality
New HDR and GP-Log color profiles
While the new 1/1.3-inch sensor is the headline feature of the DJI Action 4, the headline feature of the GoPro Hero 12 Black's sensor is its 8:7 aspect ratio matched with its 27MP resolution.
While DJI has low light covered, GoPro's latest action camera crams in more resolved detail when the light is right. This is evident when playing back 4K video, or grabbing a still from a clip, or taking a photograph.
GoPro's default shooting modes do an excellent job of making daytime footage look zingy, crisp, and smooth. HDR capture is a welcome addition that makes a tangible difference in bright environments, while the GP-Log capture extends the dynamic range further to great effect.
The Hero 12 Black's 10-bit 4K video also looks impressive, with lively colors and extensive scope for editing. The key limiting factor when it comes to any GoPro's camera quality is ambient light, and when the lights drop, the Hero's video quality does too.
GoPro includes fun night modes for light painting-style video capture, and photos shot in dimly-lit scenes and timelapses can look respectable. That said, the 12 Black should be put in a bag and your phone should be taken out if you're capturing candlelit dinner scenes or nighttime strolls on the beach – your mobile will probably cope better.
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GoPros are excellent vlogging tools, and handle faces and skin tones better than DJI's Action 3 from experience. The Hero 12 Black's Horizon Lock feature is also more powerful than DJI's, looking great at up to 5.3K resolution, while DJI's caps out at 4K.
As with most action cameras, the GoPro Hero 12 Black has a fixed-focus lens, which means it isn't suited to close-up shots or videos, though there are macro lenses available that can bring this nearest focus distance close if you want to invest in the Hero ecosystem.
With 5.3K 60p 10-bit video, and impressive 120fps 2.7K slow-motion, GoPro brings back timelapse and hyperlapse modes, and some creative photography modes geared to helping the GoPro not become redundant in low light.
The 12 Black's microphones do a great job of capturing voices, making it our choice for vlogging, especially compared to other cameras including the DJI Osmo Action 4, which did a better job of pulling in more ambient sounds.
Image and video quality: 4/5
Should I buy the GoPro Hero 12 Black?
Buy it if...
Don't buy it if...
Also consider
Testing scorecard
How I tested the GoPro Hero 12 Black
While it's always ideal to get time off to test an action camera, I wasn't so fortunate in my fortnight with the GoPro Hero 12 Black, so exercised my city adventurer status, taking it on work trips to Berlin and Barcelona, while conducting lab tests on home turf.
I used the Hero 11 Black more like a vlogging and travel camera while out and about, and conducted stabilization tests at home, strapping it onto a remote-control car and taking it on runs. I also tested run times in various temperature conditions.
Having been a Hero 11 Black user, I wanted to focus on the new features for the 12 Black, so captured an abundance of GP-Log and HDR video, and tested it with different Bluetooth microphones, from AirPods Pros to over-ear solutions like the Sony WH-1000XM5.
Nikon has taken some time to release the Nikkor Z DX 24mm f/1.7 Lens. It is the company’s first for its mirrorless Z-mount cameras with APS-C size sensor (Nikon calls this lens format 'DX'), the first of which, the Nikon Z50, was unveiled in 2019, a year after the first full frame Z mount cameras (which Nikon calls 'FX'). As I write this in 2023, there are now a total of three APS-C cameras in the system, with the retro-inspired Z fc and Nikon Z30 joining the ranks.
With the 'DX' cameras being some of the best beginner mirrorless cameras and appealing more to the entry-level market, it is logical that to date, all four of the Z-mount DX lenses are zooms, with focal length coverage from 12mm all the way to 250mm, plus fairly modest aperture settings. There is an obvious gap for prime lenses with large apertures, but up to now, this has been covered by using a full-frame Z-mount lens on DX-format cameras.
Now, Nikon has introduced the Nikkor Z DX 24mm f/1.7 - a compact prime lens that provides roughly the equivalent field of view to a 36mm lens on a full-frame sensor camera, such as Nikon’s popular Z6 II or the Nikon Z8. However, it’s really best to think of this as a 35mm equivalent focal length lens, for all intent and purposes.
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The 35mm equivalent focal length is always a good place to start when you introduce prime lenses. The field of view offers a natural feeling, close to that of human vision, but allows some periphery so that images and video created don’t feel too close and tight. The f/1.7 aperture setting offers an equivalent depth of field to an f/2.5 full-frame lens, so it is a nice combination for creating shallow natural-looking images and depth of field.
Externally, there is little to talk about on the lens. It has a very basic design with a small section of barrel, with most of the circumference being taken up by a ribbed manual focus ring. Besides the lens designation and branding, there is little else to note.
It is as small and light as you would expect, weighing just 135g and measuring 70mm x 40mm. It has a small 46mm filter thread, and with the front lens element being much smaller than the barrel, the included HN-42 lens hood cones slightly inward to prevent light from hitting the lens element at acute angles. Overall, the build is best described as being ‘neat’.
Internally, the construction comprises 9 elements in 8 groups, with two aspherical elements, and the aperture features seven rounded blades. The only real item of note looking at the specifications is that the minimum focus distance is a reasonably close 18cm, which makes the lens an interesting choice for close-up work, particularly for those who are shooting video.
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I had the Nikon Z fc for my test of the 24mm f/1.7 lens, and they made a perfect pair, being pocketable if you happened to be wearing a parka jacket with huge pockets. Still, for the rest of us, it would slip very easily into small sling bag, making the combination ideal for a weekend away.
While away for a few days and also shooting a little bit closer to home. I found the Z fc and 24mm f/1.7 combination snuck into a small sling bag that was actually designed to hold a tablet and a few accessories, so it was a nice size to carry around. Photographing my kids playing, as well as general snaps of animals at a petting zoo and some landscape shots in less-than-ideal lighting, the lens performed well. The autofocus of the lens and camera kept up – although it wasn’t lightning-quick, I also wouldn’t expect it to be.
What it did do is live up to my expectations; it was a great carry-around lens that, with a 35mm equivalent lens, gave a similar field of view that I am used to having on a smartphone, but offering much better image quality and sharpness that I would ever get from even the latest phone.
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Nikkor Z DX 24mm f/1.7: Price and release date
The Nikkor Z DX 24mm f/1.7 Lens costs £289.99/US$279.95/AU$499 and is on sale now. As it it is the first Nikon DX prime lens, there is little to compare it to within the range. The most obvious alternative lens from within the range is the NIKKOR Z DX 16-50mm f/3.5-6.3 VR lens, which should prove to be a great all-purpose lens, although it lacks the larger f/1.7 aperture for low light shooting. It costs £329/US$309.95/AU$449.
Sigma produces a series of 3 lenses DX lenses for the Nikon Z, the same lenses available for most other APS-C and Micro Four Thirds mounts. Of these, the Sigma 30mm F1.4 DC DN is the closest match to the Nikkor 24mm f/1.7. The Sigma lens has a narrower field of view at 45mm equivalent lens, which, along with the f/1.4 aperture, makes it more suited to portrait shots but less useful as an everyday walk-around lens. It costs US$399 / £349/ AU$699.
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Nikkor Z DX 24mm f/1.7: Image quality
The beauty of a fixed focal length in this standard range is that detail is usually pin-sharp, and the 24mm f/1.7 is no exception. In the very center, details such as hairs on animals – in the case below, a goat – are perfectly defined.
There is impressive detail resolution, even when shooting wide open. However, it is at f/2.8 to f/4 that I found the sharpest of the aperture settings. There is some drop in quality towards the edges of the frame, but the quality is impressive, especially when the lens's size and price are considered.
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I didn’t notice any chromatic abberation in my real-world images, but by shooting through trees into a bright, overcast sky, I could force the issue by overexposing slightly and then viewing the image at 400%. Then, I could see some magenta along the edges. No one in their right mind would do this, so rest assured chromatic aberration isn’t an issue, and again, there is in-camera correction.
There is some vignetting with the correction turned off. Shooting a brick wall as part of my testing (brick wall construction is not a hobby of mine), shots taken at f/1.7 had heavy vignetting in the corners that took a +100 adjustment in Adobe Camera Raw to correct. Stopping down to f/4, and the shading in the corners had gone. All that said, vignetting correction is just a few button presses away, and it gets rid of vignetting entirely, even at f/1.7, so unless you are an absolute lens purist, you don’t ever have to worry about it.
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Image of a brick wall taken with the Nikkor Z DX 24mm f/1.7 lens to show vignetting (Image credit: Future)
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Image of a brick wall taken with the Nikkor Z DX 24mm f/1.7 lens to show vignetting correction (Image credit: Future)
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Again, with curvilinear distortion correction turned off in the camera, some pincushion distortion is present. A quick shift of the distortion correction in Adobe Camera Raw to -6 straightened everything up, and the image looks virtually identical to the image straight out of the camera with the in-camera correction switched on.
The overall conclusion is to leave the in-camera corrections all switched on and shoot away quite happily, knowing the images will be virtually perfect.
Nikkor Z DX 24mm f/1.7 sample images
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Should I buy the Nikkor Z DX 24mm f/1.7 lens?
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Buy it if...
Don't buy it if...
How I tested the Nikor 24mm f/1.7 lens
I tested the Nikor 24mm f/1.7 lens by taking it away with me for a few days away. I used it on a Nikon Z fc and took various images, just as someone would take it with them on their travels. This included scenic images, shots of my children, shots of animals at a petting zoo, as well as some detail shots to test the close-up ability and to see what the background bokeh looked like.
During the real-world testing of the lens, I used a variety of different aperture settings and focusing methods to see how the lens performed.
I accompanied these images with some test shots of a brick wall to test vignetting and curvilinear distortion, as well as the tried and tested method of looking for chromatic aberration by shooting an overcast sky through tree branches.
Potensic is a familiar name in the beginner drone arena and enjoys a loyal following, with its Atom range, comprising last year’s Potensic Atom SE and the more advanced Potensic Atom, which was released in September 2023, helping to redefine the low-cost beginner drone market.
The Atom is one of the best beginner drones available, offering performance that belies its low cost. I was impressed with the Atom SE when I reviewed it last year, but I was also acutely aware of its shortcomings, and Potensic has wholeheartedly addressed those here.
Its latest 249g drone sits somewhere between the DJI Mini 2 SE and DJI Mini 3 in terms of features and functionality; it's arguably more of a competitor to the latter, but with a much lower cost that’s comparable to the likes of the Holy Stone HS720R, Bwine F7GB2 and Ruko F11GIM2.
In some cases, despite being a much more able performer in terms of both flight and image quality, the Potensic Atom Fly More Combo is even less expensive than the competition, if not similarly priced – it's excellent value.
The beginner end of the drone market is experiencing a welcome trickle-down of high-end features, and although collision avoidance remains absent at this level for now, many new models, including the Atom, are offering 3-axis mechanical gimbals for smoother video capture.
The Atom features a 12MP 1/3-inch Sony CMOS sensor with a fixed f/2.2 aperture, and a lens that provides a 78-degree field of view. Photos can be captured in raw and JPEG, while video can be captured up to 4K at 30fps, with manual camera control available in both shooting modes. It’s certainly impressive on paper, but let’s take a closer look at how it performs overall.
Potensic Atom: Release date and price
Available from September 15 2023
Costs from $299 / £279 / AU$505
Standard kit and Fly More Bundle available
The release of the Potensic Atom was delayed by a few months, and it was announced on September 15 2023. It's available to order from the Potensic website initially, with availability on Amazon coming soon. There are two kits available: the Standard kit and the Fly More Bundle, with the latter providing the best value for money in terms of both price and the fact that all the included extras are extremely useful.
The Standard kit costs $299 / £279 / AU$505 and includes the Atom drone, a remote controller, one battery, four pairs of spare propellers, eight spare screws, a gimbal Protector, a screwdriver, a USB-C charging cable, and three adapter cables (micro USB, USB-C and a Lightning connector).
The Fly More Bundle costs $399 / £379 / AU$673, and includes all of the above plus two additional batteries, a fast-charging hub with a power adaptor, four extra pairs of spare propellers, eight additional propeller screws, and a carry bag. At the time of writing, and for a limited amount of time, the Fly More Bundle also includes a free 64GB Lexar microSD card.
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Potensic Atom: Design and controller
Small and lightweight folding design
Unique controller design
Intuitive app
Being a 249g folding drone, the Atom is small and palm-sized, measuring 3.5 x 5.6 x 2.3 inches / 88 x 143 x 58mm when folded, which extends to 8.3 x 6 x 2.3 inches / 210 x 152 x 58 mm when unfolded. The light-gray airframe accommodates the 2230mAh battery at the rear, and offers an advertised flight time of up to 32 minutes. During testing, each battery lasted around 25 minutes before Return to Home was initiated once the battery level reached 16%, which is fairly standard for drones of this type.
Despite its small size and light weight, the Atom offers level 5 wind resistance, which translates to up to 24mph. And during testing in gusts of around 21mph, the Atom performed well, although flight times were reduced to around 23 minutes per battery. In this situation, at higher legal altitudes where wind speeds were higher, the Potensic Pro app did warn of high wind and suggested a reduction in altitude.
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Potensic Pro app manual camera settings (Image credit: James Abbott)
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Potensic Pro app safety settings and flight modes (Image credit: James Abbott)
The Potensic Pro app is new with the Atom, and works with other Potensic drones including the lower-spec Atom SE. It's easy and intuitive to use once your phone is connected to the controller; the user interface isn’t dissimilar to the DJI Fly app, so everything is where you’d expect it to be, with the main advantage over the old PotensicFly app being that manual control over camera settings is available alongside auto options if you prefer a quicker and easier shooting experience.
The controller itself is unique in that it extends lengthways to hold the phone between the two handgrips on which the control sticks are situated, which provides a comfortable and balanced control setup. For testing, I used a Samsung Galaxy S23 Ultra, which is pretty much the largest smartphone the controller can accommodate.
The thumb sticks screw into position, and can be stowed away at the bottom of the controller. There’s a Return to Home button, gimbal control, video record button and a shutter button for photos. Unfortunately, though, there’s no flight mode switch, so you have to use the Potensic Pro app to move between Video, Normal and Sport modes; the app will always revert to Normal mode when the drone is switched off.
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Potensic Atom: Features and flight
Smooth flight controls
Improved GPS positioning
Effective subject-tracking algorithms
The Atom is by far the best drone that Potensic has made to date, offering a reliable balance of cost, features, and flight performance that make it one of the best drones available for under $300 / £300 / AU$550 (for the Standard kit) if not the best. Flight performance is reliable overall, with the Video, Normal and Sport modes offering different flight speeds. I noticed that when I was flying forwards or backwards and then released the pitch and roll control stick to enter a hover, if the gimbal was pointing the camera straight down it tended to lift slightly, and I had to adjust it to maintain a straight-down viewpoint.
With no collision avoidance, you have to take care when flying manually or when using the subject-tracking features if there are trees or other obstacles nearby. The lack of collision avoidance is unsurprising for a drone of this price, and on the plus side the Atom has improved positioning compared to other Potensic drones, using GPS, GLONASS, Galileo, BeiDou systems. Then there’s Return to Home, which can be initiated manually using the button on the controller, or activated automatically when the battery is running low.
The connection between the Atom and the controller is solid within realistic and legals distance for a drone of this size, although Potensic's PixSync 3.0 transmission technology is claimed to provide a maximum video transmission of up to 3.7 miles / 6km to provide improved connectivity over the Atom SE. This couldn’t be tested to the extreme because of local aviation laws, but it suggests why the transmission at shorter distances is undoubtedly reliable.
In terms of flight features, there are QuickShots automated flight patterns, which include Pull-away, Rocket, Circle, Spiral, and Boomerang. Plus, there are the subject-tracking modes which use a new algorithm to identify and track the moving subject; these are easy to set up and use, with a few parameters that can be adjusted, and they're highly effective despite the absence of collision avoidance. However, once again, you have to be mindful of your surroundings when using these features to avoid a potential collision.
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Potensic Atom: Image quality
12MP photos and 4K 30fps video
3-axis mechanical gimbal
Photos can be captured in DNG format
With any camera drone, even beginner models like the Atom, image quality for photo and video capture is incredibly important. And, thanks to a 3-axis mechanical gimbal, video capture is indeed smooth, with an equally smooth tilt range of +20 to -90 degrees. Some lower-cost beginner models feature a rather unrefined gimbal tilt that’s unusable during video capture, but the Atom performs more like DJI and Autel drones in this respect.
The camera itself features a 12MP 1/3-inch Sony CMOS sensor, paired with a lens that has a fixed f/2.2 aperture and provides a 78-degree field of view. This is also a fixed-focus lens, relying on hyperfocal distance to ensure sharpness throughout the scene. In stills, closer subjects are much sharper than those in more distant scenes, which are only acceptably sharp rather than pin-sharp, and subjects with bright areas in the frame exhibit a haziness. There’s also subtle yet noticeable vignetting in photos, so hopefully these deficiencies can be ironed out with future firmware updates.
Video capture, on the other hand, doesn’t suffer from these issues, and 4K video looks great. The only downside here is that there are no ND filters available to control shutter speed in brighter conditions to maintain the 180-degree shutter rule for capturing natural-looking movement. Video can be captured in 4K up to 30fps, 2.7K up to 30fps, and 1080p up to 60fps in the H.264 codec.
Just like the Atom SE before it, the Atom can capture photos in both JPEG and raw formats (in 16:9 ratio), which is rare for drones at this level, and a hugely useful feature for photographers. Manual control over ISO, shutter speed, white balance, video resolution and frame rates is also available alongside automatic shooting, so you can take as little or as much control over the camera as you want.
Potensic Atom 4K 30fps video
Should I buy the Potensic Atom?
(Image credit: James Abbott)
Buy it if...
Don't buy it if...
How I tested the Potensic Atom
I tested the Potensic Atom over a couple of weeks, initially with the developer version of the Potensic Pro app and then with the full-release version. Testing was conducted in a range of locations, environments, and weather conditions (excluding rain) to test flight performance, flight features, overall handling, and image quality for both photo and video capture. All testing was conducted in compliance with local aviation laws and restrictions.
Drones are always tested using manual flight patterns for video that are typical of professional aerial video capture to shoot visually interesting footage. This also provides the opportunity to test aspects such as the connection between the drone and controller, latency between the two, and the accuracy of the controls and flight in general. Automated flight features are also tested to assess their accuracy and overall performance.
I have nearly 30 years of photographic experience and 15 years working as a photography journalist, and I’ve been writing about and reviewing drone reviews for a number of years. As well as flying most consumer and prosumer models, I’ve previously held a PfCO (Permission for Commercial Operations) issued by the Civil Aviation Authority in the UK, and now fly under an A2 CofC (A2 Certificate of Competency).
Today’s cameras are so good, and so serious, that it’s proved cathartic to review the Instax Pal, a camera that’s seriously enjoyable and no more.
This fuss-free ball of fun – it's about the size of a golf ball, to give you an idea – is suitable for all ages, and the closest a camera can be to a digital pet; it lights up and emits a happy jingle when powered on, and a sad sound when inactivity sends it to sleep, while the compatible Instax Pal app gifts you digital rewards for your activity. Tamagotchi, eat your heart out.
As a self-respecting adult I didn’t fall for such blatant manipulation to motivate me to use the app (okay, I did). And you only have to make the Pal available to the whole family – which you can, because you don’t need to be precious about this low-cost snapper – to appreciate that it speaks to all ages.
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This is an Instax camera that might actually be used day-to-day, and not stowed away in the cupboard once your film supply has run dry, as is so often my experience with analog Instax cameras.
The Pal might well have the Instax name, but it’s not an instant camera as we know it. It’s a digital-only camera that fits better in the hand, printing via one of Fujifilm’s Instax Link printers, which come in ‘Mini’, ‘Square’ or ‘Wide’ formats; directly via a Bluetooth connection; or through the new Instax Pal app.
So while you don’t get the analog-only experience of traditional Instax cameras, which can be a wonderful remedy in this digital world we live in, you're more likely to take your tiny Pal with you everywhere, and you’ll also print your candid moments with one of Fujifilm’s portable Link printers more often than you would with a desktop printer.
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To me, the Pal feels like the best of both worlds; it’s a camera that’s not weighed down by a built-in a printer, while the shoot-to-print experience – either directly, or through the app – is seamless.
You can print blind the old-school way, directly to a Link when the switch on the underside of the camera is set to ‘L’, or be selective via the convenient app, and not waste your expensive film by using the ‘F’ setting instead. That’s not the analog soul, but these days I’d rather have the control.
I’m a big fan of Fujifilm’s Instax Link portable printers – and it was the Instax Square Link printer that really completed my Pal experience. You can also use this printer to print the higher-quality photos in your phone’s gallery using the relevant Link app.
The Pal doesn’t even have a screen on which to compose and view your ultra-wide angle snaps, like the Instax Mini Evo hybrid Instax does, and nor does it produce technically excellent image quality images – this is essentially a basic 2560 x 1920 pixel stills-only camera, clothed in cuteness.
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As a camera, the Pal isn’t great. But what it does bring to the table is a fine-tuned experience with the app and printer, in colorful packaging for all to enjoy, and it has one or two surprises up its sleeve.
Selfies and group shots are made easy via the self timer on the app, with the camera supported by the included detachable ring (that you’ll need as a kind of wrist strap if you don’t want to keep dropping the ball-like camera). The Pal even has a tripod thread that's compatible with small table-top tripods.
Also, it was a real curveball to discover that the Pal is a discreet snapper; no one batted an eyelid as I took candid street photos around London with the Pal nestled into the palm of my hand (although the automatic fill-in flash caught me out a few times).
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Fujifilm has put a lot of thought into the new app, too. Automatically wiping photos from the 50-shot internal memory once they’ve been uploaded to the app is a smart move, while there’s also a micro SD card slot for those that want to double up on storing their photos.
In-app images filters, basic edits, plus output to the various Instax Link printers cover your bases and ensure that you remain active, provided you don’t run out of paper. And the beauty is that when you do run out you can keep using your digital Pal until you top up your supply again.
The Fujifilm Instax Pal is not one of the best instant cameras – it’s not even an instant camera, technically – and on paper it can’t compete with the Instax Mini Evo. However, sometimes you’ve just got to go with the feeling, and Pal gives all the feels.
Ultimately, Pal isn’t a technically great camera, but it is one that I want to use more than most others, and that says a lot.
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Fujifilm Instax Pal: Price and release date
Available in the US, bundled with the Mini Link printer only, for $199.99
Available in the UK and Australia as the camera only, from £89.99 / AU$149
The Instax Pal is available in five exotically named colorways: Milky White, Powder Pink, Pistachio Green, Lavender Blue, and Gem Black.
In the US the Instax Pal is bundled with the Instax Mini Link printer only, for $199, while in the UK and Australia you buy the camera separately, for £89.99 / AU$149 respectively (while the Gem Black version with a shiny, reflective surface costs £104.99 in the UK).
In the box you get a detachable ring that can act as a support to rest the Pal on, or slide onto the top as a 'viewfinder' (you don't need to do that), or, most helpfully, use as a kind of wrist strap.
As for the cost of paper, that depends on which format printer you're outputting to; Mini, Square, or Wide. Twin packs of 10 sheets of Instax Mini film start from $14.99 / £14.99 / AU$34.95
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Fujifilm Instax Pal: Should I buy?
Buy it if...
Don't buy it if...
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Fujifilm Instax Pal: also consider
If our Pal review has you interested in instant cameras, here are a couple of other options to consider...
Fujifilm Instax Pal: How I tested
All the family played with our new Pal
Printing directly to portable Link printer, and via the app
I had the Instax Pal in my pocket for over a week, and in my family home with two generations getting to grips with it. Throughout this time, I've became very familiar with the accompanying Instax Pal app, through which you can access most of the Pal’s functions. The camera device itself is super-simple, and I also operated it bypassing the app altogether and making direct-to-Link prints, for a more ‘authentic’ Instax experience.
I’ve used the camera for family snaps, as a discreet street photography snapper, and for all-round every day moments. I played around with the in-app editor, and made lots of prints from the Instax Link Square printer, which is my favorite size of Instax print, collecting plenty of in-app rewards in the process.
Sony’s 50th full-frame lens, the FE 70-200mm F4 G OSS II, is a comprehensive update of the (almost) 10-year-old Sony FE 70-200mm f/4 G OSS stalwart. It’s part of a recent wave of smaller and lighter second-gen Sony lenses, in this case, it's 15% smaller and lighter than its predecessor, weighing 794g / 28.1 oz, and measuring 149mm / 5.8in long.
Lens size is a big deal when you shoot with Sony cameras – they are smaller than most and can feel off-balance with a big chunk of glass on the front. I paired the 70-200mm F4 II with the Sony A7C R, which is one of the best travel cameras, plus the crop-sensor Sony A6700 (with which the lens focal length is increased 1.5x), and both cameras proved an excellent fit with the lens.
If this mark II version of the lens was only smaller and lighter it could be worth an upgrade for that reason alone, but it’s also the beneficiary of a total redesign, which has given it sharper image quality, faster autofocus and next level macro focusing. Yes, it’s smaller, lighter, sharper, quicker and more versatile than the original, and one of the best Sony lenses around.
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The 70-200mm lens is already a versatile focal length – my own Nikon 70-200mm F2.8 G DSLR lens was my most-used lens for many years for portraits, weddings and events, and also proved to be an adept tool for sports, wildlife, landscape photography and more. Sony’s 70-200mm F4 II happily works in these fields, but also adds class-leading macro focusing capability, up to 0.5x magnification at any focal length, with a minimum focus distance of 0.26m / 0.86 ft at 70mm, and 0.42m / 1.38ft at 200mm.
Add the 2x teleconverter with an unchanged minimum focus distance and the macro capability is doubled to 1.0x magnification – that’s 1:1 life size. I’m generally not a fan of teleconverters; even the very best soften the image and can affect color rendering. In fact, you can see the minimum focus distance in action, plus the color shift of the same scene shot with and without Sony's 2x teleconverter, in the sample images below. In any case, the 0.5x magnification without teleconverter beats any other 70-200mm lens and adds another string to the bow of this versatile zoom lens.
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The maximum magnification is 0.5x at its minimum focus distance (Image credit: Future)
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With the 2x teleconverter attached, the maximum magnification is doubled to 1.0x (Image credit: Future)
This is also a well-made and complex lens, with customizable function buttons and no fewer than five switches covering features such as a focus range limiter (including a new macro setting), full-time direct manual focus, SteadyShot optical stabilization and a zoom-lock that fixes the lens in its closed position when not in use – otherwise the lens barrel extends when zooming.
Sony also says its new linear XD focusing technology, comprising four ‘high-thrust’ focus motors, increases autofocus tracking precision, even while zooming, and ultimately achieves what is 20% faster focusing than in the 2014 version.
Camera tech has moved on in the 10 years since the original 70-200mm F4, too, and when you use the 70-200mm F4 II’s new focusing skills with a Sony camera equipped with the latest Bionz X processor and AI-autofocus chip, focusing is super intelligent, quick and reliable. For this review, the 70-200mm F4 II and A7C R have given me lightning-quick and reliable autofocus for photos and smooth video autofocus.
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Sony FE 70-200mm F4 Macro G OSS II: price and release date
The Sony FE 70-200mm F4 Macro G OSS II lens costs $1,699 / £1,749 / AU$2,699 and includes a lens hood and removable tripod collar. It was available from August 2023. That's an understandable price increase given the improvements in this second-gen model, somewhere between the F4 original version, and the current pro-level Sony FE 70-200mm F2.8 II version.
Sony FE 70-200mm F4 Macro G OSS II: Image quality
An array of advanced aspherical and extra-low dispersion elements suppress lens distortion and render sharp detail, while the 9-blade aperture produces what Sony describes as ‘exquisite full-frame bokeh’.
You can see from my self portrait below (taken remotely using the Sony Creators' app, at the lens' widest possible F4 aperture) that bokeh is smooth with no aberration or onion-ring distortion, while the shape at F4 is fairly round in the center of the frame, yet distinctly cat-eye in the corners. I’ve included cropped areas of the picture for a better look.
If I were to take the exact same picture under identical conditions with Sony's 70-200mm F2.8 lens instead, or a prime lens with an even wider aperture, then bokeh would appear larger, and most likely even rounder. For an F4 lens, bokeh is actually very pleasant, but portrait specialists would choose an F2.8 or wider for that 'exquisite' bokeh.
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Portrait made with 200mm F4 lens settings, eye AF and using the Sony Creators' app remote shooting (Image credit: Future)
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Closeup of bokeh, cat-eye shaped in the corners, relatively circular in the middle (Image credit: Future)
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Close up revealing sharp detail in the portait, at the F4 aperture (Image credit: Future)
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Flare is also really well controlled in this backlit scene, and I’ve included a different macro photo of a spider and its web (in the same gallery) with stronger backlighting, and flare is mostly absent in that example, too. The included lens hood helps to reduce flare in these kind of scenarios.
A close look at the detail in the eye of the same self portrait reveals super-sharp detail, right where it matters. This single portrait photo alone displays many excellent attributes of what is an impressive telephoto zoom, paired with a reliable autofocus system in the latest Sony mirrorless camera.
Cast your eye over a wide range of photos, some of which are included in the gallery below to show the breadth of subjects you can capture, and it's clear the 70-200mm F4 II is a highly capable all-rounder. Image sharpness is maintained from the center to the edges of the frame, there's virtually no barrel or curvilinear distortion (the 70-200mm lens isn't known for either), and even in the corner of woodland photos with bright background light punctuating the tree cover, there's virtually no chromatic aberration. Put simply, there's very little fault to pick at in this excellent lens.
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The 70-200mm lens is ideal for events photography especially at its telephoto setting (Image credit: Future)
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The 70-200mm F4 G OSS II lens is great for closeup photography (Image credit: Future)
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The 70-200mm F4 G OSS II lens is great for closeup photography (Image credit: Future)
The image quality disparity between the pricier and heavier Sony FE 70-200mm F2.8 pro lens and this second-gen F4 model has diminished somewhat and arguably the choice isn’t about overall image quality anymore – or even depth of field, because the F4 aperture gives an extremely shallow depth of field with a full-frame camera. Instead, it comes down to whether or not you need the extra stop of light, or particularly big bokeh.
Personally, I regularly rely on the wider F2.8 aperture for events and wedding photography in particular, where light is often dim. However, that Sony F2.8 lens is much heavier, and if you mainly shoot in daylight and would prefer a travel-friendly lens, then the F4 II is a no brainer.
Overall, the second-gen 70-200mm F4 lens is notably better - and more versatile - than its predecessor in almost every regard. The sting is the costlier list price, although it’s worth the extra money if you want a lighter lens better balanced with your Sony camera, together with its refined image quality and closer focusing.
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Should I buy the Sony FE 70-200mm F4 Macro G OSS II lens?
Buy it if...
Don't buy it if...
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How I tested the Sony FE 70-200mm F4 Macro G OSS II lens
I've had my hands-on the Sony FE 70-200mm F4 lens on several occasions, for short and extended periods of time. I used it extensively while I was writing my Sony A7C R review, in a generous variety of scenarios that allowed me to fully test its capabilities.
At a pre-launch event I was able to test its close-up photography opportunities with the 2x teleconverter that increases its maximum 0.5x magnification to 1.0x. I've also happily used the lens for macro shots without the teleconverter at my own leisure.
It's been attached to the travel-friendly A7C R and A6700 cameras, making for an ideal size-match, and I've shot everything from portraits to landscapes with it, plus low light sequences that push the lens' AF motors. I've also used it for general travel photography, for which this lens is a lovely companion.
The arrival of the DJI Mini 3 Pro in May 2022 was a game-changer in the drone world, bringing more professional-friendly features to a sub-250g model that made it the best drone in its class by far. When I reviewed the DJI Mini 3 Pro, I was so impressed with its image quality, small size, light weight and features that I bought one myself. The DJI Mini 4 Pro builds on those qualities to become the new benchmark for what sub-250g drones can deliver.
One aspect of the Mini 4 Pro that can’t be ignored, though, is that despite being the closest Mini-series drone to the DJI Mavic 3 models and the DJI Air 3 in terms of flight and safety features, and some camera functionality, it’s more of an incremental update over the Mini 3 Pro than a radical upgrade; it looks remarkably similar, performs pretty much identically in flight, and even uses the same impressive 1/1.3-inch sensor. And for current Mini 3 Pro owners there could be a sense of frustration, as many of the camera upgrades could likely have been delivered via firmware updates.
This begs the question: if you’re a Mini 3 Pro owner, should you upgrade? And the simple if unhelpful answer is that only you can decide. The Mini 3 Pro remains a fantastic drone, despite not being quite as robustly featured as the Mini 4 Pro. But if you’re upgrading from an older model, or coming to the Mini series for the first time, the Mini 4 Pro is an excellent choice. Whether you’re a professional drone pilot using the Mini 4 Pro as a second drone who can benefit from the D-Log M video color consistency with your Mavic 3, or an enthusiast looking for something small and lightweight, the Mini 4 Pro is undoubtedly the best sub-250 g drone available.
DJI Mini 4 Pro: Release date and price
Available now, priced from $759 / £689 / AU$1,119
Two kits to choose from
Fly More Bundle offers value for money
The DJI Mini 4 Pro was announced on 25 September 2023, and is available to buy from the DJI Store and authorized retailers. It's available in two kit options, with the smart controller option also offered in a Fly More Bundle. And despite the impressive features on offer that set this new model apart from its predecessor, pricing is almost identical to the Mini 3 Pro at launch.
The DJI Mini 4 Pro (DJI RC-N2) kit costs $759 / £689 / AU$1,119, while the DJI Mini 4 Pro (DJI RC 2) kit costs $959 / £869 / AU$1,419. These kits include the drone, the relevant controller, one Intelligent Flight Battery, a pair of propellers, a Screwdriver, a DJI Mini 4 Pro Gimbal Protector, a DJI Mini 4 Pro Propeller Holder, and a Type-C to Type-C PD Cable.
If you’d prefer better value and a host of useful accessories, a Fly More Bundle is available for the Mini 4 Pro (DJI RC 2). Although the obvious caveat here is that you have to opt for the more expensive controller. This kit option costs $1,099 / £1,149 / AU$1,699. In addition to the above, you also get two extra Intelligent Flight Batteries, two additional sets of propellers, a DJI Mini Shoulder Bag and the DJI Mini 4 Pro/Mini 3 Series Two-Way Charging Hub.
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DJI Mini 4 Pro: Design and controller
Small and lightweight folding design
Looks extremely similar to the Mini 3 Pro
Two controller options
DJI Mini-series drones need little introduction in terms of design these days. Alongside its highly portable and regulator-friendly diminutive size and weight, and folding design, the Mini 4 Pro looks very similar to the Mini 3 Pro, the main visual difference being the additional Omnidirectional Collision Avoidance sensors on the top of the airframe and an Auxiliary Light on the bottom.
Most of the upgrades are under the hood, so to speak, in the form of software and feature enhancements. Even the 12/48MP 1/1.3-inch sensor is the same as the Mini 3 Pro's, albeit with image processing upgrades, but that’s no bad thing, because it’s a fantastic sensor that's capable of producing excellent image quality despite its small size when compared to the sensors in flagship Mavic 3 prosumer models.
The new features on offer, which we’ll go into much more detail about later, make the Mini 4 Pro much closer to Mavic 3 models in terms of flight and video features. This is fantastic news for professional drone pilots looking for greater consistency in their workflow, while enthusiasts can simply enjoy an improved Mini Pro model.
Depending on your budget and needs, the Mini 4 Pro is available with two controller options: the DJI RC-N2, which features a telescopic phone holder and no screen, so you have to use a smartphone with it, and the DJI RC 2 smart controller. The DJI RC 2 features a 5.5-inch screen with 700-nit brightness, and provides a much more convenient flight experience with faster set-up times.
DJI Mini 4 Pro: Features and flight
Omnidirectional Collision Avoidance
ActiveTrack 360°
Advanced Return to Home
The Mini 4 Pro's flight times are almost identical to its predecessor's, with the same flight time that’s advertised at up to 34 minutes with the standard Intelligent Flight Battery; flight times typically come in at around 20-25 minutes until Return to Home is initiated at 20% battery, depending on how vigorously the drone is flown and environmental factors such as wind and temperature. There's also an Intelligent Flight Battery Plus, available separately, that increases flight times to an advertised duration of 46 minutes, but this takes the weight of the drone above 250g and isn’t available in Europe.
The most significant feature to arrive with the Mini 4 Pro is Omnidirectional Vision Sensing, which is Omnidirectional collision avoidance to you and me. This uses four fisheye vision sensors, downward binocular vision sensors, and a 3D ToF sensor that aid flight safety in complex environments.
This system works well, and together with the Advanced Pilot Assistance Systems (APAS), it certainly provides confidence; the Bypass/Nifty mode allows you to fly through trees and even indoors, but you still have to take great care, and the DJI Fly app does warn of the risk. More confident and experienced pilots may find that flight is ultimately smoother with collision avoidance switched off, but this comes at the expense of a much greater risk of collision.
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Omnidirectional Vision Sensing also delivers a series of additional advanced features including ActiveTrack 360,° which is more reliable from a safety point of view and more effective than ActiveTrack on the Mini 3 Pro. Another feature is Advanced Return to Home, which incorporates Obstacle Avoidance into plotting the most efficient route back to the take-off point. So, from a safety and autonomous flight point of view, the Mini 4 Pro beats the Mini 3 Pro hands down.
Other features include Hyperlapse, MasterShots, Quickshots, Digital Zoom and QuickTransfer (of files to a phone without having to switch on the controller). Then there’s the LightCut app, which can be used to create AI-edited videos at the touch of a button. This is perfect for quick and easy video creation, although it's certainly not a professional tool. There’s also a Cruise Control feature, as on higher-end DJI drones, which can lock the drone in flight so that you don’t have to continue pushing the control sticks when performing a long maneuver.
DJI Mini 4 Pro: Image quality
Same sensor as the Mini 3 Pro
D-Log M color profile
New image processing technologies
The image quality produced by the Mini 4 Pro is impressive overall, and extremely similar – practically identical in most shooting modes – to the Mini 3 Pro. Both drones use the same 12/48MP 1/1.3-inch quad bayer sensor with large 2.4μm pixels that produces excellent 12MP results in low light, and up to 48MP high-resolution photos when the light is good – a similar approach to the iPhone 15.
The camera itself can still be rotated 90 degrees for vertical shooting, and the gimbal can be tilted between -90 degrees and 60 degrees. There’s also a DJI ND filter pack for controlling shutter speed and a wide-angle lens attachment available to extend the field of view of the 24mm equivalent f/1.7 lens from 82.1 degrees to 100 degrees. There is some barrel distortion with this lens when shooting close-up, which naturally reduces with more distant subjects and scenes.
This all sounds extremely familiar; so what sets the Mini 4 Pro apart from its predecessor? Well, alongside the features we’ve already discussed, the camera upgrades appear to be software rather than hardware-based. While some do enhance and improve image quality in some modes, others focus purely on functionality, which has been extended. One such feature is the Night Mode, which optimizes noise handling when shooting video in low light.
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Video capture has been improved in several areas, with the introduction of 4K shooting up to 100fps for slow motion, while 1080p can be captured at up to 200fps. Video can be captured in Normal, HLG (HDR) and the flat D-Log M profile rather than D-Cinelike. D-Log M is available on Mavic 3 drones, and its inclusion in the Mini 4 Pro will undoubtedly provide greater consistency in professional workflows when a sub-250g drone is required. You can also now control the sharpness and noise reduction in video, which is a handy feature for more advanced users aiming for more cinematic-looking footage.
But even if you’re an enthusiast, having all of this functionality at your fingertips is fantastic, because it means you can grow into the drone rather than growing out of it when features are more limited. Photo functionality remains much the same as the Mini 3 Pro, but that’s no bad thing because it can’t be faulted. SmartPhoto is claimed to greatly improve on previous-generation HDR capture, although for advanced users, shooting in Raw and using Auto Exposure Bracketing is the best route to take in high dynamic range situations.
DJI Mini 4 Pro Video in 4K at 30 fps
Should I buy the DJI Mini 4 Pro?
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Buy it if...
Don't buy it if...
How I tested the DJI Mini 4 Pro
I tested the Mini 4 Pro over a week of flying in a range of locations, environments and weather conditions (excluding rain) to test flight performance, flight features, overall handling and image quality for both photo and video capture. All testing was conducted in a way that meets local aviation laws and restrictions to ensure that all flights were safe and legal.
Drones are always tested using manual flight patterns for video that are typical of professional aerial video capture to shoot visually interesting footage. This also provides the opportunity to test aspects such as the connection between the drone and controller, latency between the two, and the accuracy of the controls and flight in general. Automated flight features are also tested to assess their accuracy and overall performance.
With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve been covering drones in terms of shooting and editing techniques, alongside writing drone reviews, for a number of years. As well as flying most consumer and prosumer models, I’ve previously held a PfCO (Permission for Commercial Operations) issued by the Civil Aviation Authority in the UK, and now fly under an A2 CofC (A2 Certificate of Competency).
• Original review date: January 2023
• Sony's best AI-powered autofocus performance
• Launch price: $3,899 / £3,999 / AU$5,899 (body only)
• Official price now: $3,199 / £3,699 / AU$5,499 (body only)
Update: February 2024. The full-frame A7R V's max 61MP resolution is only matched by Sony's own A7C R and various Leica cameras including the Q3. Put simply, in this sensor format you won't get better detail in your pictures. Furthermore, it's autofocus is powered by a dedicated AI chip for improved subject detection, and that's still the best AF performance in any Sony camera, now matched by the A9 III. It's one of the best professional cameras that has also dropped in price on Sony's website since its January 2023 launch, making it better value, too. The rest of this review remains as previously published.
Sony A7R V: Two-minute review
Sony released the first high-resolution full-frame mirrorless camera – the A7R back in 2013 – and we’ve had an updated model every couple of years since, culminating in the fifth iteration of the series, the A7R V. A lot has changed in the cameras since then in terms of the ergonomics, handling and, of course, the technology employed. But with more rivals on the scene now, the A7R V is up against some stiff competition from the likes of the Canon EOS R5 and Nikon Z 7II.
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Being the newest model on the block, and offering some impressive specs, the A7R V ultimately has little to worry about, despite not providing the highest performance in all areas. Features include a new 61MP sensor and Bionz XR processing engine, up to eight stops of in-body image stabilization, increased burst shooting and AI-powered subject recognition to improve autofocus. Then there’s video capture up to 8K at 24fps and 4K up to 60fps.
Sony A7R V specs
Sensor: 61MP BSI full-frame CMOS Processor: Bionz XR (with AI processing unit) Autofocus: 693-point phase-detection AF subject recognition: human, animal, bird, insects, car, train, automobile EVF: 9.44-million dot Quad XGA In-body stabilization: up to eight stops Continuous shooting: 10fps Continuous shooting buffer: 184 raw (compressed) Video: 8K/24p, 4K/60p, 10-bit 4:2:2
Image quality is, as you’d hope, excellent for both photos and video. But with the high-resolution sensor, you’ll need to use Sony’s best lenses in the G and GM ranges with the resolving power to complement the camera. It’s unlikely that you’d be using lower-end lenses if you’re prepared to pay approximately $3,900 / £4,000 / AU$5,900 for a camera body so it shouldn’t be a problem, but if you’re upgrading from a lower-resolution A7 model and already have some cheaper lenses, it’s certainly something to bear in mind.
Sony A7R V: Release date and price
Went on sale in December 2022
Launched with a list price of approximately $3,900 / £4,000 / AU$5,900
Price close to medium format
The A7R V was announced in October 2022, and was available to buy from December 2022, costing approximately $3,900 / £4,000 / AU$5,900. We might have expected a slightly higher price given the launch price of the A7R IV and the consequent rise in camera prices over the last year or two.
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That said, the cost of the camera is getting close to that of medium-format models. For instance, the Fujifilm GFX 100S costs approximately $6,000 / £4,800 / AU$9,300 body-only. Those shooting faster subjects such as sport and wildlife, and/or video, the A7R V is undoubtedly the better option, but landscape, portrait and studio photographers could benefit from the larger sensor (1.7x) and higher 100MP resolution of the GFX 100S.
Price Score: 4/5
Sony A7R V: design
Versatile 4-axis articulating touchscreen
Moderate 10fps continuous shooting
Dual SD/CFexpress Type A card slots
The overall design of the A7R V is extremely similar to that of previous models, with most innovations occurring under the hood, although there are a few design tweaks that improve upon the A7R IV. Current Sony users will almost certainly feel at home, and newcomers should be able to navigate the main settings with little to no problems.
On the back of the camera is a new 4-axis 3.2-inch articulating touchscreen, which allows the screen to be tilted and flipped out sideways, and twisted to face forwards; perfect for both stills photography and video. This makes the screen slightly bulkier than on the previous two models, which only had a tilting screen, but this doesn’t impact overall handling. The electronic viewfinder is the same one as on the A7S III, and features an excellent 9.44-million dot resolution with 0.9x magnification.
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Moving up to the top of the camera, the exposure compensation dial is now unmarked, and like most of the buttons and dials it can be set to perform another function if users wish, although having it set to exposure compensation is the most convenient option, despite the almost infinite ways in which you can customize Sony cameras.
Just like previous A7R models, there are two card slots on the side of the grip that can be set to record in several different ways when two cards are installed. On the A7R V, the card slots can take both SD and CFexpress Type A cards, with the latter being the faster of the two options. This is great if you prefer the cost and capacity benefits of SD cards, but to realize the full speed potential of the camera, considerably more expensive CFexpress Type A cards are a must
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Shooting speed has also been improved, and the buffer is also larger, with a continuous shooting speed of 10fps available. Sony claims that up to 583 compressed raw images can be captured in Hi+ mode with compressed raw files. For testing, we used a 128GB Kingston Canvas React Plus SD card with transfer speeds of up to 300MB/s. This allowed us to separately shoot 170 JPEGs in Fine quality, 100 Compressed raw files and 50 uncompressed raw files before the camera began to stutter. It’s a far cry from the claimed buffer performance, but is still respectable, and more than most photographers would ever need.
This card was absolutely fine for shooting 8K video, and the camera was able to shoot for 30 minutes. The camera body did heat up during recording in a 64.5F / 18C room, which wasn’t an issue, but in warmer temperatures when shooting outdoors this could be problematic. One way to aid heat dissipation in warmer temperatures when shooting video is to open the battery door on the bottom of the camera, although this presents obvious risks.
Design 5/5
Sony A7R V: features and performance
Subject-recognition autofocus
8-stop image stabilization
Improved Pixel Shift Multi Shooting
While the A7R IV didn’t offer a great deal more to entice A7R III owners to upgrade, the A7R V aims to address the deficiencies of its predecessor, and is a much more well-rounded camera overall. The improvements Sony has implemented, alongside the inclusion of some welcome new features, make it significantly more attractive, whether you’re upgrading from an earlier model or switching to Sony from another brand.
One new feature, which is designed to address sensor dust complaints from A7R IV users, is the ability to have the shutter close when the camera is switched off. This might work, but after only using the camera for a few weeks it’s impossible to test this claim. Although, given that DSLR shutters close after each shot has been taken, and these cameras still suffer from sensor dust, whether it’ll be effective is questionable.
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Image stabilization has been improved, with up to eight stops of compensation available when shooting stills. During testing, it was easy to shoot sharp handheld images with a shutter speed of around 1/8 sec, and with a particularly steady hand it was even possible to shoot as slow as one second. For video, Active Mode image stabilization aids smooth handheld shooting, and can be paired with some lenses that feature optical image stabilization for even smoother video.
Pixel Shift Multi Shooting has also been improved. In this mode the camera captures 16 frames, with the sensor position shifted slightly between each, which can then be merged into a huge 240.8MP image that’s claimed to be better corrected for minor movement in scenes. This requires Sony’s Image Edge Desktop software to be used, but it would be much more convenient if these composite images were merged in-camera.
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The A7R V features 693 AF points and offers Real-time Recognition AF, enabling you to select from Human, Animal/Bird, Animal, Bird, Insect, Car/Train and Airplane. The Human option is much more advanced than simply eye or face detection, and can identify people in wider scenes. The feature generally works well across subjects, but it’s not perfect, and turning off subject recognition requires delving into the camera menu. The best way to switch Real-time Recognition AF on and off is to include this in My Menu, which is the camera’s custom user menu.
My Menu is incredibly useful overall, because Sony cameras are infamous for their labyrinthine menu systems. Another feature worth including here is Bulb Timer Settings. With this, when shooting in Bulb mode you can select any exposure duration from two to 900 seconds, which is incredibly useful when shooting long exposures. With this setting turned on, you can use the self-timer to release the shutter and the camera will time the exposure for you – fantastic when using a Big Stopper.
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Features and performance 4/5
Sony A7R V: image and video quality
New 61MP Exmor R sensor boasts 15 stops dynamic range
Impressive ISO handling
Sharp video up to 8K video
Image quality in many respects comes down to the optics you attach to the camera, with higher-quality lenses naturally offering the best possible image quality. And with the A7R V, this is certainly the case – you’ll get the best results using higher-quality Sony G lenses such as the 20mm F1.8 and 90mm F2.8 Macro and the flagship G Master lenses. The high-resolution sensor is unforgiving when the camera is paired with cheaper and lower-quality optics, so you do need to avoid these if you want the A7R V to achieve its potential.
With high-quality lenses, image quality for both stills and video is excellent thanks to the new 61MP Exmor R sensor and Bionz XR processing engine. Dynamic range is advertised at 15 stops, and you can certainly increase the exposure of underexposed raw files considerably before image degradation becomes problematic. Photo capture is available in 14-bit raw, compressed raw, HEIF and JPEG, so you’ve got plenty of options.
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ISO performance is impressive within the native ISO 100-32,000 range, with the expanded range taking settings from ISO 50-102,400. The best quality comes at settings up to ISO 1600, with images shot at up to 6400 still looking reasonably good, and those taken at up to ISO 25,600 providing usable results. Beyond this, noise and color loss become very evident, leaving images pretty much unusable.
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Video quality is equally impressive, with 8K video available at 24fps, 4K up to 60fps, and FHD up to 120fps in NTSC or 100fps in PAL, with a 4:2:2 10-bit color depth available. Color profiles include S-Cinetone and S-Log3 among others, so there’s plenty to keep hybrid stills/video shooters happy. Videographers will find the A7S III is a better camera overall for shooting video; you could certainly shoot professional video with the A7R V, but it’s not the best Sony A-series camera for the job.
Image and video quality 5/5
Should I buy the Sony A7R V?
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Don't buy it if...
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If our Sony A7R V review has you wondering about alternatives, here are two rivals to consider.
