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I tested DJI’s impressive first 360 camera, but Insta360 still has the edge

3:00 pm | July 31, 2025

Author: admin | Category: 360 Cameras Cameras Computers Gadgets | Tags: DJI, US | Comments: Off

DJI Osmo 360: two-minute review

The DJI Osmo 360 is DJI’s long-awaited entry into the 360 camera game, and it lands with the kind of swagger and polish you’d expect from a brand that’s spent years perfecting its action-cam chops.

It’s a slick, pocketable camera that blends design cues from rivals like the Insta360 X5 and GoPro Max: it’s square-bodied, dual-lens, dark grey, and built to withstand a beating – sort of. Despite being IP68-rated and able to function in sub-zero temperatures, DJI itself discourages underwater use due to potential stitching issues, which is an odd caveat for something that’s otherwise billed as rugged. It also lacks the user-replaceable lenses that made the Insta360 X5 so appealing to adventure-minded types.

That aside, the Osmo 360 impresses from the get-go, not just for what it can do but also for how much it undercuts its main rival on price. Starting at £409.99 / AU$759, it’s significantly cheaper than Insta360’s equivalent bundles (the Osmo 360 is not available in the US at launch – see the 'Price and availability' section below for more info). And that’s before factoring in the Osmo 360’s generous 128GB of built-in storage.

DJI Osmo 360 camera — (Image credit: Future | Sam Kieldsen)

Design-wise, there’s a lot to like: a crisp 2-inch touchscreen, an intuitive three-button layout, a removable battery, USB-C charging, and two mounting options (tripod thread and DJI’s own magnetic quick-release system). It feels solid in the hand, well-balanced and thoughtfully laid out.

The camera itself uses a pair of 1/1.1-inch square CMOS sensors with large 2.4μm pixels, and DJI claims that the shape allows it to use the full sensor area, setting it apart from rivals which crop quite heavily from their rectangular sensors. Whether that’s marketing spin or technical fact, the results are undeniably sharp. Video tops out at 8K 50fps in 360 mode or 5K 60fps (or 4K 120fps) with a single lens, with 10-bit color and support for the flat D-Log M profile if you want to color-grade in post.

Footage looks punchy and vibrant straight out of the camera, if occasionally a little over-processed. The camera also captures 120MP stills and includes several specialty modes, including SuperNight, which enhances low-light performance in 360 mode, and Boost, which delivers wide-angle, high-frame-rate single-lens footage reminiscent of a classic action camera. Both are welcome additions, and SuperNight in particular is impressive for after-dark footage.

DJI Osmo 360 camera mounted on bicycle handlebars — (Image credit: Future | Sam Kieldsen)

Audio is handled by four built-in microphones that do a competent job in fair conditions but struggle with wind. The real standout on this front is the Osmo 360's compatibility with DJI’s own wireless microphone systems: pair it with a DJI Mic 2 or DJI Mic Mini and you can record pristine 24-bit sound, control gain and noise cancellation directly on the camera, and get clean, clear voice capture in challenging environments. It’s a genuinely useful ecosystem advantage for DJI users.

Performance is strong across the board. The Osmo 360 pairs with the existing DJI Mimo mobile app for control, previews, firmware updates and quick editing. The app includes an AI-powered auto editor for creating quick shareable clips with barely any human input, though its functionality is currently limited to daylight action like cycling or skiing.

More comprehensive editing is available in the new DJI Studio desktop app, which brings keyframing, tracking, filters and export tools to macOS and Windows PCs. It’s streamlined, easy to pick up, and feels like a real competitor to Insta360’s more mature software suite.

Ultimately, while the Osmo 360 doesn’t manage to dethrone the Insta360 X5 on pure performance (it can’t match its battery life, underwater confidence or lens swappability) it comes very close, and at a very palatable price. For anyone already in the DJI ecosystem, or those getting into 360 video capture for the first time, it’s a very solid option.

DJI Osmo 360 specs

DJI Osmo 360 specs
Type:	360 camera
Sensor:	1.1-inch x 2
Max aperture:	f/1.9
Screen:	2-inch 314 x 556 touchscreen
Storage:	128GB internal plus microSD slot (1TB max.)
Dimensions:	2.4 x 1.4 x 3.2 inches / 61 x 36 x 81mm
Weight:	6.45oz / 183g

DJI Osmo 360 camera attached to a selfie stick, on the beach — The Osmo 360 magnetically mounted on a selfie stick (Image credit: Future | Sam Kieldsen)

DJI Osmo 360: Price and availability

Launched worldwide on July 31 2025 – except for the US
Standard Combo priced at $TBC / £409.99 / AU$759
Adventure Combo priced at $TBC / £549.99 / AU$989

The DJI Osmo 360 was announced on July 31 2025, and is available to order now from DJI’s own online store and various retailers.

At launch, it’s available in two different bundles. The Osmo 360 Standard Combo includes the Osmo 360 camera, a single Osmo Action Extreme Battery Plus, a protective pouch, a rubber lens cap, a lens cleaning cloth and a USB-C to USB-C cable, and is priced at £409.99 / AU$759.

The Osmo 360 Adventure Combo, meanwhile, comes with all of the above plus the Osmo Action Multifunctional Battery Case 2, a quick-release adapter mount and a 1.2m selfie stick. It costs £539.99 / AU$989.

dji osmo 360 camera with accessories — The DJI Osmo Adventure Combo includes a plethora of useful accessories (Image credit: Future | Sam Kieldsen)

This is noteworthy pricing, because it’s a lot cheaper than the Insta360 X5, the camera it’s competing with. At launch the X5’s Standard bundle (which is just the camera and one battery) cost $549.99 / £519.99 / AU$929.99 and the Essentials bundle (including a selfie stick, charging case, second battery, fast charging case, lens guards, carry case and lens cap) cost $659.99 / £609.99 / AU$1,109.99. That’s quite a gap, and it doesn’t take into account the microSD card you’ll need for the X5 either.

You’ll have noticed that I haven’t mentioned US pricing, and that’s because it’s still TBC, likely as a result of the continuing uncertainty surrounding tariffs. A DJI spokesperson told me that the camera “will not be available for sale immediately in the U.S. market through official DJI channels. We currently do not have an estimated timeline for when it will be available, but we will keep you posted when we do.”

Price score: 5/5

DJI Osmo 360: Design

IP68 build and ability to operate in -20C / -4F temperatures
Includes tripod and magnetic quick-release mounts
Not recommended for underwater shooting

The DJI Osmo 360 resembles a cross between its 360 camera rivals the GoPro Max and Insta360 X5. It has the squat, square shape of the former and the control layout and centrally located fisheye lenses of the latter. Like both, it’s constructed from robust dark-grey plastic, with its lenses bulging outwards on either side.

There’s a 2-inch 16:9 touchscreen on one side, plus three physical controls: a power button (which can be tapped to toggle between shooting modes), a shutter button, and a third button that flips between the two camera views on the screen. There are also two openable flaps on the device, one covering the USB-C port (used for charging and data transfer) and the other protecting the removable battery and microSD card slot.

The bottom of the camera features a standard 1/4-inch tripod mounting point, as well as clips and a magnet for DJI’s proprietary quick-release mounting system. I like that it comes with two mounting options.

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DJI Osmo 360 — (Image credit: Future | Sam Kieldsen)

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The Osmo 360 is IP68-rated, waterproof to a depth of 10m and able to operate in temperatures as low as -20C / -4F. However, DJI cautions that, due to its convex optics, underwater shooting may result in “image distortion and stitching errors” and thus doesn’t recommend it. It’s interesting that DJI doesn’t have confidence in its underwater capabilities, because the Insta360 X5 has the same convex lenses and its manufacturer encourages sub-aqua shooting, including a special picture profile and corrections specifically for that purpose.

On the durability front, DJI doesn’t offer the same user-replaceable lenses as the Insta360 X5, which is a real shame – the way in which 360 camera lens extend out of the camera body means they’re easy to scratch, and Insta360’s efforts in this area have been really impressive. On the plus side, Osmo 360 users can at least buy an optional lens protector kit, or take out a DJI Care Refresh protection plan which includes a limited number of free replacement cameras in the event of accidental damage, for either one or two years. It’s priced at £23 / AU$42 for one year, or £38 / AU$69 for two years.

Design score: 4/5

DJI Osmo 360: Performance and features

AI-edited videos via DJI Mimo app
Battery life of up to 100 minutes with 8K 30fps recording
Directly compatible with DJI Mic 2 and Mic Mini

The Osmo 360 works with the existing DJI Mimo mobile app, which will pair your phone with the camera and allow you to remotely operate it, download and apply firmware updates, and browse your photos and videos. The app features a simple but effective video editor that makes creating slick reframed or panoramic clips using keyframes or AI-assisted subject tracking quick and easy.

The app has an AI-assisted auto editor that selects clips, framing angles, transitions and music to create a quick shareable ‘finished’ clip, much like the Insta360 app, but it’s not quite as impressive – at least not at the time of writing. For one thing, it’s currently suitable only for skiing, cycling and motorcycling videos filmed in the daytime, but I’d expect DJI to expand its capabilities and suitable subjects with future updates. I've embedded an example of what it can currently do below.

DJI has also, at the time of writing, just released DJI Studio, a free desktop app for macOS and Windows that allows for similar easy 360 video editing on your computer. After offloading the files, you can set keyframes, use AI-assisted tracking, add filters and music, and trim videos to your liking, before exporting them as a reframed standard video or a panoramic 360 video. I used it to put together a few clips on my MacBook, and found it straightforward and very easy to pick up.

The Osmo 360 uses the same 1950mAh Osmo Extreme Battery Plus that was launched with the DJI Osmo Action 5 Pro. Practicality-wise, that’s great news for people who own both cameras, but the Extreme Battery Plus is noticeably smaller than the 2400mAh capacity batteries that come with the Insta360 X5 and offer up to 185 minutes of use.

Battery life on the Osmo 360 is shorter as a result: I left the camera running at 8K 30fps and it recorded about 90 minutes of footage on a full battery. That’s not bad at all – it’s just not as good as the X5’s mammoth battery life – and Osmo Extreme Batteries support PD fast charging and are relatively cheap, too ($49 / £29 / AU$55), so stocking up on a few isn’t a huge investment.

DJI Osmo 360 camera next to DJI Mic Mini on marble table — The Osmo 360 is fully compatible with the DJI Mic Mini and Mic 2 (Image credit: Future | Sam Kieldsen)

There are four built-in mics on the camera, and audio quality is impressive in good conditions; I found that voices and environmental sounds were captured clearly. As with most built-in camera mics, however, it does pick up wind noise very easily, which can disrupt the clarity.

The Osmo 360 is also compatible with OsmoAudio products, meaning it can directly connect to a DJI Mic 2 or DJI Mic Mini transmitter for higher-quality audio. I used it with my Mic Mini and was able to record 24-bit audio, adjust and preview gain levels on the 360’s screen, and turn noise cancelling on and off, and thanks to the windshield and noise cancelling I was able to record crisp, clear voice audio even while riding my bike on a breezy day.

Performance score: 4/5

DJI Osmo 360: Image quality

Dual 1/1.1-inch sensors
Captures 10-bit 8K video at up to 50fps and 120MP photos
Dedicated low-light and single-lens modes

DJI has kitted out the Osmo 360 with a pair of square 1/1.1-inch sensors, which it claims outperform rivals due to the large pixel size of 2.4μm – that's roughly twice the size of the pixels used by the Insta360 X5. The sensor’s square shape, DJI says, is a key factor, because none of the surface area is wasted; other 360 cameras, built around rectangular sensors, use only the central portions of them, but the Osmo 360 makes use of every bit, allowing it to have those larger pixels and deliver much better image quality. At least, that’s the idea.

The Osmo 360 supports 360-degree video capture up to 8K 50fps (and 5K 60fps or 4K 120fps), and single-lens capture at up to 5K 60fps as well as photos up to 120MB (or 30MB with HDR). It also supports 10-bit color, and gives users the option to shoot in a flat D-Log M profile for more scope in post-production color grading.

I found image quality to be generally excellent for a 360 camera. At the default settings and shooting in bright daylight, 360 videos are sharp with rich, bright colors.

There’s clearly some enhancement going on, resulting in some noticeable over-sharpening and overly intense colors at times (skies can veer too much towards turquoise at times, for instance), but the settings available give users plenty of scope to adjust results to their personal tastes.

The lenses deal relatively well with flare, automatic selfie-stick removal is effective, and the image stabilization and horizon leveling seem nigh-on faultless to me.

Overall, I’m highly impressed, but I would also say that, if I had recently bought an Insta360 X5, I don’t see anything here that would cause me to regret my purchase. Comparing clips side by side, there’s very little between the two cameras when it comes to standard 360 video, despite DJI’s claims about the Osmo 360’s pixel size and sensor design greatly boosting quality.

Perhaps the highlight of the Osmo 360’s specialist video modes is SuperNight. Available with 360 capture only, it's designed to offer high-sensitivity, high-quality low-light recording indoors or at night, although while I was hoping those huge sensor pixels would give the Osmo 360 an edge over the Insta360 X5 after dark, my test footage looked fairly similar.

In other words, it's good by 360 camera standards, but not the kind of pristine, low-noise video I'd be happy using in pro-level content creation – not without a little help in post-processing, anyway. Sudden motion in particular can cause some distracting blur around bright light sources.

There’s also Boost (single-lens only), an ultra-wide-angle mode with high dynamic range, good low-light quality, and up to 120fps frame rate that seems designed to ape a classic action camera. It's definitely a useful mode to have if you're biking or using the Osmo 360 as a dashcam.

Image quality score: 5/5

DJI Osmo 360: testing scorecard

DJI Osmo 360
Attributes	Notes	Rating
Price	Significantly cheaper than the Insta360 X5, for similar spec and features.	5/5
Design	Freezeproof and waterproof, but the lack of replaceable lenses is a pity.	4/5
Performance	Decent apps and battery life, and compatibility with OsmoAudio products.	4/5
Image quality	Challenges the Insta360 X5 on image quality, but doesn't outright beat it despite having a larger sensor.	5/5

Should I buy the DJI Osmo 360?

Buy it if...

You want premium 360 video at the cheapest price
Despite offering similar specs, features and performance to the Insta360 X5 (not to mention built-in storage), the Osmo 360 is significantly more affordable at launch.

You're already invested in the DJI product ecosystem
If you own a DJI Mic 2 or Mic Mini, you can hook it up to the Osmo 360 to instantly up its sound-capture quality a few notches.

Don't buy it if...

You just bought an Insta360 X5
DJI has delivered a strong rival to the excellent Insta360 X5 – but not an outright conqueror. If you already own the X5, there are few reasons to swap it for an Osmo 360.

You want a truly rugged 360 camera
The Osmo 360 is IP68-rated and pretty tough, but it's not as adventure-ready as the Insta360 X5 and its easy-to-replace lenses. If you scratch a lens here, you'll need to replace the whole camera.

Also consider

Insta360 X5 action camera

Insta360 X5

The current top dog of the small 360 camera market, the X5’s rugged build, replaceable lenses, low-light performance, ease of use, and battery life keep it ahead of the Osmo 360 – just about. Its biggest asset is how simple it makes the process of creating great-looking 360 videos, but the Osmo 360 runs it very close.

Read our full Insta360 X5 review

Akaso 360 camera on a white background

Akaso 360

At around half the price of the Osmo 360, budget action camera brand Akaso’s first 360 camera represents real value for money. While it’s short on fancy features, the 360’s automatic stitching and stabilization is impressive, and video quality is more than adequate when shooting outdoors in good lighting.

Read our full Akaso 360 review

How I tested the DJI Osmo 360

I tested a full production model for two weeks
I mounted the camera on an invisible selfie stick and bike mount
I recorded videos day and night on foot and cycling

DJI sent me a review sample of the Osmo 360 Adventure Combo well ahead of its release date, giving me plenty of time to test the camera’s panoramic and single-lens modes in a variety of situations: day, night, indoors and outdoors, on foot and while riding my bike. I was able to test it with DJI’s own invisible selfie stick and Mic Mini, as well as edit videos using the DJI Mimo mobile app and new DJI Studio desktop app.

First reviewed July 2025

I’ve used the NiSi V7 kit for a long time, and it’s the best filter holder I’ve used by a long shot

12:00 pm | July 24, 2025

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

NiSi V7 with True Color NC CPL: two-minute review

When it comes to square filter holders, they’re surely all the same, aren’t they? In terms of basic design, they are, but build quality, functionality and value are another matter. For me, the NiSi V7 with True Color NC CPL is one of the best professional 100mm filter holders available, with an impressive performance that belies its attractive price.

100mm filter holders are typically used with lenses as wide as 15mm full-frame (or 10mm for APS-C). For lenses wider than this, you’ll need to move up to a cumbersome and painfully expensive 150mm square filter system.

150mm filters are also so large that they simply look ridiculous, and I have chuckled watching other photographers on location with me wrestle with their window pane-sized filters. But I digress.

The advantage of the Nisi V7 kit, like many 100mm filter holders, is that you can use up to three square filters at once alongside a polarising filter. So, that’s ND graduated filters, ND filters, color correction filters and special effects filters. Are three slots overkill? Definitely not – I often require all three slots when shooting in tricky lighting conditions while controlling exposure times.

One thing that I love about the NiSi V7 kit is that you get four adaptor rings, which means you can use the holder with four filter thread sizes straight away. These include 67mm, 72mm, 77mm, plus the main ring which has an 82mm thread. This covers the vast majority of landscape photography lenses, plus you can also buy adaptor rings for other sizes separately if you need them. For example, I own a 62mm ring that allows me to use square filters with my macro lens.

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NiSi V7 with True Color NC CPL case on a branch — (Image credit: James Abbott)

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NiSi V7 with True Color NC CPL case attached to a tripod leg — (Image credit: James Abbott)

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NiSi V7 with True Color NC CPL adaptor rings — (Image credit: James Abbott)

The V7 filter holder isn’t really suitable for smaller lenses with smaller filter threads, say in the 39mm to 67mm range. For example, I own some small Fujifilm prime lenses, plus some Micro Four Thirds lenses, for which the NiSi M75 II with True Color NC CPL is a better fit. The downside with this smaller holder only is that it only has two filter slots alongside the rear-mounted polarizing filter, rather than three.

Build quality of the V7 kit is excellent and the overall design is reasonably compact. The holder is a CNC-machined single block of matte black coated aeronautical aluminum, with three plastic filter holder slots screwed onto the front. The polarizing filter screws into the main ring, locking in place at around a 10-degree turn, while the holder clips onto the main ring and can be locked in place to avoid detachment of the two parts.

The main ring is also an 82mm adaptor ring, and is attached to the smaller adaptor rings when a smaller thread than 82mm is required. Practically speaking, these are best attached to the lens before the holder is attached. The polarizer can be rotated using a couple of small dials on the rear of the main ring. You can also use any 100mm square filters with this holder.

The advantage of the rear positioning of the polarizing filter is that the filter holder doesn’t vignette with lenses as wide as 15mm. NiSi even says that the Nikon Z 14-30mm f/4S doesn’t vignette at 14mm, although I haven't tried that lens with the holder. The rival LEE Filters LEE100 Polarizer mounts at the front, thereby creating a vignette with ultra wide-angle lenses – meaning Nisi has the advantage in this regard.

Unlike cheap polarizers, the supplied True Color NC CPL also produces clean images with no color casts at different rotations, which is exactly what you want.

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NiSi V7 with True Color NC CPL front view attached to a lens — (Image credit: James Abbott)

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NiSi V7 with True Color NC CPL rear view with a filter in place — (Image credit: James Abbott)

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NiSi V7 with True Color NC CPL lock detail — (Image credit: James Abbott)

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NiSi V7 with True Color NC CPL polarizing filter being held — (Image credit: James Abbott)

In my experience, some filter holders can also be too tight, making it hard to slot filters in and out, to the point that this can risk accidental damage.

The V7, thankfully, provides just the right amount of resistance that filters are secure, but they’re easy enough to slot in and out of the holder when it’s attached to the front of your lenses.

The downside to a system like this, however, is that a set of filters and the holder take up space in your kit bag and can weigh more than other types of filters.

As magnetic and stackable filters are growing in popularity, you may be wondering what place there is for larger, heavier and more expensive square filters. The simple answer is ND grads. With square filters, you can get everything as right as possible in-camera, including the sky exposure.

With magnetic filters, the price you pay is no ND grads, so while you get a polariser, NDs and other types of filters depending on the kit, you have to shoot HDR to maintain sky detail. That naturally means you have to take more shots and spend more time at the computer editing. For me, square filters remain the optimal option for landscape photography.

NiSi V7 with True Color NC CPL: key specs

Filter slots	Three
Adaptor rings	67, 72, 77, 82mm
Polarizing filter	True Color NC CPL
Case included	Yes
Lens cap	Yes

NiSi V7 with True Color NC CPL price and availability

The NiSi V7 with True Color NC CPL costs $259 / £199 / AU$389, which is an incredible price considering what’s included in the kit: a Filter Holder for three 100mm filters and a CPL, an 82mm main ring with polarizing adjustment, a True Color NC CPL (removable), three adapter rings (67/72/77), a soft case and a V7 Lens Cap.

To provide a point of reference, the LEE Filters LEE100 Polarizer filter alone costs as much as the NiSi V7 kit.

There are V7 kits available that also include several filters and offer excellent value for money compared to purchasing separately. The NiSi Starter Kit – V7 – 100mm Filters costs $499 / £345 / AU$849 and includes most of the above, a few additional accessories, a 3-stop medium GND and a 10-stop ND filter.

If you already own 100mm filters and would simply like a new filter holder, the NiSi V7 with True Color NC CPL is perfect for you. If you’re getting started with 100mm filters, I’d recommend the NiSi Starter Kit – V7 – 100mm Filters or one of the other kits that come with filters, because you will save money and have several filters to use from the get-go.

NiSi square filters themselves are expensive. They’re optically fantastic and made of high-quality optical glass, but expect to pay in the region of $245 / £95 /AU$279 per filter. The glass used is much better than traditional resin square filters in many ways, but they do cost more.

Should I buy the NiSi V7 with True Color NC CPL?

NiSi V7 with True Color NC CPL front view attached to a lens with a filter attached — (Image credit: James Abbott)

Buy it if...

You need a pro filter holder

This is a professional filter holder kit offering excellent performance and several extremely useful accessories.

You want incredible value

While not cheap, the NiSi V7 with True Color NC CPL is a high-quality professional filter holder at an affordable price, certainly versus LEE filters. For me, it's a bargain.

Don't buy it if...

You’d prefer lighter weight filters

The weight of square filters does add up once you factor in several glass filters, so you may find magnetic circular filters are better for you.

You don’t require ND Grads

The main reason to have square filters is to combine NDs and corrective filters with ND grads. So, if you don’t use ND grads, square filters aren’t for you.

How I tested the NiSi V7 with True Color NC CPL

Long-term test
Tested with a variety of lenses
Used for landscape, cityscape and astrophotography

I've tested the NiSi V7 with True Color NC CPL over many years, with a range of different NiSi filters in different combinations, for subjects including landscape, cityscape and astrophotography.

As my go-to filter holder, I've also used it with a wide range of lenses, including zooms and primes, ranging between 16mm and 200mm on a full-frame camera.

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

First reviewed July 2025

I tested the surprisingly cheap Viltrox AF 35mm F1.2 LAB lens for Sony cameras, and it’s made me fall in love with the 35mm focal length

12:00 pm | July 21, 2025

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

Viltrox AF 35mm f/1.2 LAB FE: one-minute review

Professional lenses typically offer the best image and build quality, but at a cost. Plus, when thinking about features on prime lenses, most are fairly straightforward despite the aforementioned characteristics. One of two lenses bucking this trend is the Viltrox AF 35mm f/1.2 LAB FE, the other being the Viltrox AF 135mm f/1.8 lens.

The latter is available for both Sony E and Nikon Z mount, with the 35mm soon to be available for Z mount, too. The thing I love about these lenses is that, despite being primes they're surprisingly feature-packed, and are available at extremely attractive prices.

The 35mm f/1.2 LAB costs just $999 / £959 at Amazon, which is an amazing price for what you get (if you're buying from Australia you can purchase the lens in USD.) This price is especially impressive when the slower Sony FE 35mm f/1.4GM is considerably more expensive. The Sony is, of course, a flagship G Master lens, which may suggest superiority, but the 35mm f/1.2 LAB holds up well by comparison.

That extra 1/3 stop of light-gathering capability makes a difference in two ways. First, it makes the lens better for astrophotography. Second, it produces a beautifully shallow depth of field. Detail is also impressively sharp wide open at f/1.2, so for portraiture and astrophotography this is a truly stunning lens.

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Viltrox AF 35mm f/1.2 LAB FE front element — (Image credit: James Abbott)

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Viltrox AF 35mm f/1.2 LAB FE controls close up — (Image credit: James Abbott)

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Check out more of the best Sony lenses

Viltrox AF 35mm f/1.2 LAB FE specs

Viltrox AF 35mm f/1.2 LAB FE specs
Type:	Standard prime
Mount:	Sony E mount (Nikon Z coming soon)
Sensor:	Full-frame
Focal length:	35mm
Max aperture:	f/1.2
Minimum focus:	13.4 inches / 34cm
Filter size:	77mm
Dimensions:	3.51 x 8.80 inches / 89.2 x 121.8mm
Weight:	32.5oz / 920g

Viltrox AF 35mm f/1.2 LAB FE: Design

Digital color screen
Large and heavy for a 35mm lens
Excellent build with weather sealing

Most prime lenses are fairly simple in their design, relying on their fast maximum apertures and excellent image quality to act as the main selling points. The 35mm f/1.2 LAB certainly follows suit here, but it also has a few tricks up its sleeve that set it apart from other primes. It’s also a beast of a lens, at 3.51 x 8.80 inches / 89.2 x 121.8mm and weighing32.5oz / 920g.

It’s certainly nowhere near as large and heavy as the 135mm f/1.8 LAB lens, but it’s close to double the weight of the Sony FE 35mm f/1.4GM and is slightly larger. The fact that it's an f/1.2 lens is a contributing factor, but Viltrox LAB series lenses do seem to be pretty hefty, to say the least.

Both lenses are made of aerospace-grade magnesium-aluminum alloy with a die-coating, so they have a premium look and feel alongside being of an extremely high build quality. Plus, the lenses feature a dust and moisture-resistant construction, making them perfect for outdoor photographers.

The filter thread is 77mm, so not too large and ideal for both circular and square filters, while the 11-blade aperture produces smooth bokeh with circular highlights. The minimum focusing distance is 13.4 inches / 34cm, which isn’t the shortest you'll find but is still pretty good.

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Viltrox AF 35mm f/1.2 LAB FE color screen showing information — (Image credit: James Abbott)

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Viltrox AF 35mm f/1.2 LAB FE Mult-Function Ring — (Image credit: James Abbott)

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Viltrox AF 35mm f/1.2 LAB FE lens mount with USB-C port — (Image credit: James Abbott)

As mentioned, despite being a prime lens, the 35mm f/1.2 LAB is fairly feature-packed. It has a customizable multi-function ring, which by default is set to control the aperture, with clicked and clickless operation selectable using a switch.

There are also two customizable Fn buttons and a small color digital screen that shows the focus distance, aperture, and the active Fn button. The screen can, alongside the Fn and multi-function ring, be customized by connecting the lens via Bluetooth to the Viltrox Lens app.

Since this is a third-party lens, firmware updates and customization can’t be applied in the same way as OEM lenses. But, with the lens unattached from a camera, it can be powered via a USB-C port on the lens mount and then connected to the app. This works incredibly well; a firmware update was required during testing and only took a few minutes to complete.

The ability to personalize the controls is extremely useful for tailoring the lens to the way you like to shoot. I was quite happy with the default configurations, so although I looked at the options available in the app, I left everything as it was.

Viltrox AF 35mm f/1.2 LAB FE: Performance

Excellent image quality overall
Impressive sharpness at f/1.2
Sharpest at f/8

The image quality produced by this lens is sensational, with incredible sharpness and detail wide open at f/1.2. Sure, with this lens you’ll need to stop down on some occasions, but most people want a lens like this for that fast maximum aperture, and the 35mm f/1.2 LAB is incredible when shooting wide open. It’s not perfect, but it’s seriously impressive.

The 35mm f/1.2 LAB produces exceptional center sharpness at f/1.2, and while extreme corner sharpness is quite soft, edge sharpness is excellent. Corner sharpness increases gradually as you get closer to the center of the frame and as you stop down the aperture, with f/4 showing greatly improved extreme corner sharpness.

Overall sharpness continues to improve up to f/8, which, like many lenses, is the sweet spot at which most detail is resolved and the overall image produced is sharpest. Beyond f/8, diffraction begins to come into play, with f/11 providing slightly less sharp images, and f/16 exhibiting the least sharp results.

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Photo of punts on a river taken with the Viltrox AF 35mm f/1.2 LAB FE — (Image credit: James Abbott)

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Photo of a radio telescope taken with the Viltrox AF 35mm f/1.2 LAB FE — (Image credit: James Abbott)

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Photo of a woman in long grass taken with the Viltrox AF 35mm f/1.2 LAB FE — (Image credit: James Abbott)

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Photo of daisies taken with the Viltrox AF 35mm f/1.2 LAB FE — (Image credit: James Abbott)

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Photo of a street scene taken with the Viltrox AF 35mm f/1.2 LAB FE — (Image credit: James Abbott)

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Photo of peeling paint on a wooden door taken with the Viltrox AF 35mm f/1.2 LAB FE — (Image credit: James Abbott)

Vignetting is most visible at f/1.2 as you’d expect, and becomes less noticeable until f/2, where it almost disappears, and completely disappears at f/2.8. This is normal for a prime lens, and it’s not an issue at all because vignetting is easy to remove with software.

There isn’t a profile available in Adobe Lightroom yet since this lens is still relatively new after an April 2025 release, so any corrections currently have to be made manually. Chromatic aberration is minimal, with only the tiniest amount of fringing visible, and this was easily removed.

Autofocus performance is fast and precise, with the lens locking onto subjects quickly and silently. The AF 35mm f/1.2 LAB features Quad Viltrox HyperVCM motors, which Viltrox claims provide 150% faster AF than STM motors. I couldn’t perceive a difference in speed.

The lens also supports subject recognition, which I tested by using people/eye recognition to shoot portraits wide open. This worked exceptionally well, with perfectly sharp eyes and a dramatic fall-off in depth of field.

Should you buy the Viltrox AF 35mm f/1.2 LAB FE?

Buy it if...

You’re on a budget

Considering the image quality, build quality and features alongside the amazing price, this lens is an absolute bargain.

You shoot astrophotography

35mm is a great focal length for astrophotography, and the fast f/1.2 maximum aperture enables lower ISO settings for improved image quality.

You shoot portraits

35mm is also a great focal length for environmental portraits, and the sharpness available at f/1.2 is outstanding.

Don't buy it if...

You’d like a compact and lightweight lens

The 35mm f/1.2 LAB is a chunky and fairly weighty lens. There are lighter and more compact alternatives available, although they're also slower.

You need versatility

Primes typically offer the best image quality and faster maximum apertures, but zoom lenses are, by their nature, more convenient and versatile.

You shoot APS-C

If you shoot with an APS-C camera, there are more appropriate Viltrox lenses available to you, including the Viltrox AF 27mm f/ 1.2 Pro, which is almost half the price.

How I tested the Viltrox AF 35mm f/1.2 LAB FE

I tested it over several weeks
I used it to capture multiple subjects
I tested it with an unforgiving Sony A7R V

I tested the Viltrox AF 35mm f/1.2 LAB FE over several weeks attached to an unforgiving Sony A7R V, shooting a range of relevant subjects and using different aperture settings to test sharpness and distortion. I shot both static and moving subjects to test autofocus performance.

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

First reviewed July 2025

I spent two weeks shooting with the Fujifilm X-E5, and there are solid reasons for its painful price hike

5:47 pm | July 18, 2025

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: Film Simulation, OLED | Comments: Off

Fujifilm X-E5: two-minute review

The Fujifilm X-E5 is a significant leap forward for Fujifilm’s X-E series, elevating it from its budget-friendly beginnings to the loftier heights of the mid-range.

At $1,699 / £1,299 / AU$2,699 body-only it’s significantly pricier than its predecessor. But that hike brings with it some serious upgrades – and not only in the shape of the 40.2MP X-Trans CMOS 5 sensor (which is the same as the one you’ll find in the X100VI).

Design-wise the X-E5 nails the retro look, and with its aluminum top plate and minimalist controls it really feels like a premium product. Compact, handsome and lightweight, it’s ideal for travel and street shooters, and the new Film Simulation dial and customizable front lever give it added control finesse. That said, the camera isn’t weather-sealed and offers limited grip, making it less suited to challenging environments or big lenses.

The viewfinder and touchscreen feel slightly outdated, too. The OLED EVF is small and lacks the crispness I’ve seen on some rivals, while the flip-up screen can be obstructed by accessories in the hot shoe, which could be an annoyance for vloggers and video shooters. That said, I found both to be functional for stills photography.

Fujifilm X-E5 camera — The X-E5 can be purchased in a bundle with this nifty, space-saving 23mm pancake lens. (Image credit: Future | Sam Kieldsen)

The star addition to the feature list is in-body image stabilization (IBIS), appearing for the first time in the X-E line. It’s a game changer for low-light shooting and handheld video, at least compared with the X-E4. The autofocus system has been upgraded too, and now offers subject tracking not only for humans but animals, vehicles and more.

Shooting performance is solid: 20fps burst with electronic shutter (with crop), 13fps uncropped or 8fps with the mechanical shutter. And thanks to the inclusion of 20 of Fuji’s signature Film Simulation modes, it's easy to get incredible-looking shots straight out of the camera. The color science, as with all X-series cameras, is a real strong point.

Video quality is excellent, with 6.2K 30p and 4K 60p 10-bit capture, including access to F-Log profiles for added dynamic range. But there are caveats: the camera tends to overheat with extended video shooting, it lacks a proper headphone jack, and that tilting screen remains an ergonomic obstacle for self-shooters. For me the X-E5 is best thought of as a photography-first tool, with video as a very capable bonus feature.

In short, the Fujifilm X-E5 is a compact and beautifully built mirrorless camera that delivers superb images, reliable autofocus and welcome stabilization. It's not cheap, and it's not perfect (video-first shooters and all-weather adventurers should look elsewhere), but for travel, street and everyday stills photography, it's a delight.

Fujifilm X-E5: price and availability

$1,699 / £1,299 / AU$2,699 body-only
Significantly pricier than X-E4 was at launch
Available in a kit with new XF23mm lens

The Fujifilm X-E5 was launched on June 12 2025, alongside a new pancake lens, the XF23mmF.28 R WR.

Pricing starts at $1,699 / £1,299 / AU$2,699 body-only, or $1,899 / £1,549 / AU$3,049 for a bundle with the lens. Perhaps the most notable thing about the price is how much higher it is than the Fujifilm X-E4’s was at launch: it cost $949 / £799 / AU$1,399 body-only, or $1,049 / £949 / AU$1,799 in a kit with a pancake lens. Yes, that was back in 2021, but this is still a significant increase that far outstrips inflation.

There are various factors that affect pricing, from general inflation to recently introduced tariffs. However, I think the main reason for the bump here is simply that Fujifilm deems the X-E5 is a more premium product than its predecessor – and given the improvements made to features and spec, it’s hard to argue with that.

It’s clear that the X-E5 isn’t the entry-level option the X-E4 was; this is now very much a mid-range option. I think the price reflects that, and I think the lens bundle in particular represents a pretty good deal.

Price score 4/5

Fujifilm X-E5: specs

Sensor:	40.2MP X-Trans CMOS 5 HR APS-C
Video:	6.2K 30p, 4K 60p, FHD 240p, 10-bit
Cont. shooting:	Up to 20fps electronic shutter, up to 8fps mechanical shutter
Viewfinder:	2.36m-dot OLED
LCD:	3-inch 1.62m-dot tilting touchscreen
Battery (CIPA rating):	Up to 400 shots or 45 minutes of video capture
Weight:	445g / 15.7oz
Dimensions:	124.9 x 72.9 x 39.1mm / 4.92 x 2.87 x 1.54 inches

Fujifilm X-E5: design and handling

Weighs just 535g / 18.9oz with XF23mm lens
Not weatherproof
Tilting touchscreen and OLED viewfinder

The Fujifilm X-E5 sports similar rangefinder styling to previous models in the series, but with some big advances in design and build quality. As soon as I picked up the camera I realized it felt nothing like a plasticky 'budget' option; it’s solid and hefty, thanks to the new aluminum top plate, while the included braided rope strap looks and feels very modish indeed.

I still found the camera body to be compact and lightweight for a mirrorless model however, and with the new pancake lens attached it makes for a strikingly portable setup that I think would be perfect for street or travel photography. I should say, though, that despite its build-quality improvements this still isn’t a fully weather-sealed camera, so should be used cautiously in rainy conditions. I think that’s a shame, as it somewhat detracts from its travel-friendly nature.

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The compact size and flat body shape have an impact on ergonomics, of course; there’s not a great deal to grip onto here bar a small moulded bump at the front and back on the right side. With a small lens attached things feel comfortable enough, but I suspect fitting larger lenses will result in balance and handling challenges. This camera certainly seems designed for use with small primes and short zooms rather than longer, heavier lenses.

Controls-wise, things remain fairly minimalist, particularly on the rear of the camera – that’s always been typical of the X-E series and I think it suits the aesthetic well, and I had few problems accessing settings I wished to change.

There are a couple of notable additions I really enjoyed using: firstly, the Film Simulation dial on the top plate, which displays the current selection through a little circular window and supports up to three custom recipes plus the standard range of Fuji’s film-aping filters.

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Top down of all black Fujifilm X-E5 alongside silver Fujifilm X-E5, on a wooden bench — (Image credit: Future / Tim Coleman)

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Closeup of the Fujifilm X-E5's viewfinder — (Image credit: Future / Tim Coleman)

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Underside of the Fujifilm X-E5 with its battery door open, battery and memory card removed — (Image credit: Future / Tim Coleman)

Second is the lever on the front – a feature borrowed from X100- and X-Pro series cameras. It can be customized to suit the user’s preferences, adding a great deal of additional control to what appears to be a very controls-light camera.

The X-E5’s rear touchscreen and viewfinder feel outdated alongside other recent cameras. The screen, for instance, has a flip-up design rather than full tilt-and-swivel vari-angle, which means it can be blocked by anything mounted on the hot shoe when flipped up to face forward. Got a flash or shotgun mic fitted? You won’t be able to see much of the screen. Other than that, I found it bright, sharp and easy to use.

The OLED viewfinder is small and fairly low-resolution compared with say, the Fujifilm X100VI’s, and its eyepiece does little to block out exterior distractions. That’s not to say it’s not perfectly serviceable – it just seems a little behind the times.

Storage is courtesy of a single SD card slot alongside the battery slot on the bottom of the camera, while physical connections comprise a 3.5mm mic/remote input, a USB-C port for charging, storage and headphone hook-up, and micro HDMI.

Design and handling score 4/5

Fujifilm X-E5: features and performance

5-axis sensor-shift IBIS now included
Subject-detection autofocus recognizing animals, cars and more
Continuous shooting up to 20fps

Perhaps the biggest feature upgrade the X-E5 boasts over its predecessor is five-axis in-body stabilization (IBIS). The X-E4 had no internal mechanism to counter camera shake, so IBIS is a significant boost to its capabilities.

The sensor-shifting mechanism adds up to seven stops of compensation according to Fujifilm, and I found it very useful for slower shutter speed photos (i.e., in low-light conditions) and handheld video capture. It would have been nice to have some longer lenses to test with it, but I have no complaints about its effectiveness with the 24mm pancake.

As well as the sensor-shift tech, users also have the option to use two further digital stabilization modes for video capture, which apply a successive crop to the image.

Continuous shooting has been slowed down slightly from the X-E4, albeit only in electronic shutter mode, and perhaps as a result of the X-E5’s higher sensor resolution, it can’t match the X-E4’s 30fps maximum speed. It can now shoot at up to 20fps in this mode (which applies a 1.29x crop to the image), at up to 13fps electronically with no crop, or at up to 8fps with the mechanical shutter (also uncropped). That’s perfectly respectable in my book, particularly as those speeds are now paired with a much improved autofocus setup.

The X-E4 had human face and eye detection and tracking, but the X-E5 adds subject detection for animals, birds, cars, motorcycles, bikes, airplanes and trains. In testing I found that it reliably tracked moving subjects across the frame, and as they moved towards or away from the camera or in and out of view. It might not quite match the speed and laser-like accuracy of the systems on the latest high-end Canon, Sony or Nikon cameras, but it’s a good, dependable setup.

Battery life doesn’t look particularly impressive on paper, with the X-E5 having a CIPA rating of 400 shots or just 45 minutes of video recording on a full charge. But in practice (shooting mainly photos) I found it felt fairly generous, and rarely had to recharge the camera during my time with it.

Perhaps yet more evidence that this is a photography-first camera is that it has a tendency to overheat and shut down when used to shoot longer video clips. I set the video quality to 4K 60fps and found that the X-E5 only managed to record 14.5 minutes before turning itself off to cool down.

Features and performance score: 4/5

Fujifilm X-E5: image and video quality

40.2MP X-Trans CMOS 5 APS-C sensor
4:2:2 10-bit video up to 6.2K and 14-bit RAW photo capture
20 customizable Film Simulation modes

The X-E5 is built around a 40.2MP APS-C sensor that represents a fairly large resolution jump over the X-E4’s 26MP sensor. It’s the same sensor as you’ll find in the highly coveted Fujifilm X100VI compact, but instead of that camera's fixed lens you can use any piece of X-mount glass you like.

As well as its 40.2MP stills (which can be captured in JPEG or 14-bit raw), the X-E5 can capture video at up to 6.2K 30fps or 4K 60fps 4:2:2 10-bit quality, plus Full HD at up to 240fps for slow-motion playback.

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Street photography in Valencia, Spain, taken with the Fujifilm X-E5 mirrorless camera and XF 23mm f/2.8 lens — (Image credit: Future / Tim Coleman)

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I’m hugely impressed with the X-E5’s photography performance. As mentioned above, it comes with a selection of film simulation modes (20 in all), allowing users to instantly give their images a style and aesthetic reminiscent of analog film types.

My personal favorite, going back to my time using the Fujifilm X-Pro 2 almost a decade ago, has always been Classic Chrome, and I found myself defaulting to it as my go-to setting for standard shots. But there are plenty of other interesting Film Simulations that I enjoyed testing too, like the desaturated Eterna Bleach Bypass and the ultra-punchy monochrome Acros, which can be set with yellow, red, or green filters to further enhance its look.

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Fujifilm X-E5 sample photograph — (Image credit: Future | Sam Kieldsen)

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There are plenty of options in the menus for adjusting these Simulation recipes in order to find results you like, or you can of course just shoot in raw and process the images yourself in Lightroom or similar. I also tried this, and found the huge raw files provided superb platforms for heavy image adjustments and corrections. Whether you want a camera that produces excellent point-and-shoot results or gives you the basis for heavy editing, the X-E5 fits the bill.

Video quality is also excellent, and offers videographers the same selection of Film Simulation modes as well as F-Log and F-Log2, two flat profiles that work as a solid base for color grading and correction in post-production. It also supports bit rates of up to 200Mbps. There are several reasons why the X-E5 isn’t ideal for video (the lack of a 3.5mm headphone socket, the tilting screen being blocked by anything on the hotshoe, the tendency to overheat), but actual image quality isn’t one.

Image and video quality score: 4.5/5

Fujifilm X-E5 camera on wooden shelf surrounded by ornaments — (Image credit: Future | Sam Kieldsen)

Fujifilm X100VI: Test scorecard

Fujifilm X100VI
Attributes	Notes	Rating
Price	A big price bump over the X-E4, but given the improvements it feels warranted.	4 / 5
Design	Stylish and compact, with more metal than previous X-E models – but not weatherproof.	4 / 5
Feature and performance	Image stabilization and autofocus are excellent, even if other aspects are a little more average.	4 / 5
Image quality	A superb sensor and winning color science deliver superb images straight out of the camera.	4.5 / 5

Should I buy the Fujifilm X-E5?

Buy it if...

You want a chic, ultra-compact mirrorless camera
The X-E5 is small, lightweight and handsome – and its X-mount means it can be used with lots of excellent lenses, so it’s more versatile than most premium compact cameras.

You primarily shoot with small or lightweight lenses
Balance-wise, the X-E5’s body is more suited to small primes and zooms than larger, heavier lenses. If you’re a sports or wildlife photographer, you may find the handling unwieldy with those longer lenses.

You adore Fujifilm’s color science
Fujifilm’s Film Simulation modes are color magic, and the X-E5’s nifty selection dial makes them easier to choose (and use) than on any other Fujifilm camera to date.

Don't buy it if...

You’re primarily a video shooter
While video quality is excellent, the X-E5’s design imposes some limitations on videographers that may cause frustration. It’s fine for the odd clip, but making a film on it would be a struggle.

You need to shoot in all conditions
The lack of weather sealing is a concern here, particularly for those buying the X-E5 as a travel camera. It’s a pity it can’t be used in rain showers or in dusty desert conditions.

You're seeking a cheap entry-level camera
The X-E4 was relatively inexpensive, but the X-E5 feels like a mid-range model and comes with a price tag to match. Cheap it most certainly isn’t.

Fujifilm X100VI: Also consider

Fujifilm X-E5 on a wooden bench, with the XF 23mm f/2.8 lens removed and propped up against the camera — (Image credit: Future / Tim Coleman)

If our Fujifilm X-E5 review has inspired you to think about other options, here are two other cameras to consider…

Fujifilm X100VI
The X100VI is one of the most desirable compact cameras around, and it’s based on the same processor as the X-E5, but has a fixed lens. The X100VI may be a little less versatile as a result, but its 23mm f/2 lens, LED flash and better screen and viewfinder definitely make it worth a look.

Read our in-depth Fujifilm X100VI review

Nikon Zf
Oozing retro charm, the Zf is available at a similar price to the X-E5 but comes with flagship-level stabilization, burst speeds, autofocus and more, with a raft of new features recently being added via firmware update. It’s also got a full-frame sensor, with all the advantages that brings.

Read our in-depth Nikon Zf review

How I tested the Fujifilm X-E5

I used the camera and new XF23mm f/2.8 lens over two-week period
I tested them in various lighting conditions
I focused mainly on still photography, but shot video too

Fujifilm loaned me the X-E5 and new Fujinon XF23mm f/2.8 pancake lens for a period of two weeks, which gave me plenty of time to field-test the camera in a variety of situations, although the wide-angle lens meant I didn’t attempt any sports or wildlife photography (unless you count snapping some insects in my garden). I took the camera with me on various walks and trips, allowing me to test it in a range of lighting conditions and situations.

While the X-E5 supports both photo and video capture, I felt that I should concentrate mainly on the former, as the camera (particularly with this lens) feels geared more towards stills photography than amateur moviemaking. That being said, I did test the various video modes during my time with the X-E5.

First reviewed July 2025

I tested Insta360’s first wireless mic and it’s another solid entry-level choice – but it can’t quite match the DJI Mic Mini

4:00 pm | July 15, 2025

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

Insta360 Mic Air: two-minute review

Following in the footsteps of DJI, Rode, Saramonic, Hollyland and more, Insta360 brings us the Insta360 Mic Air, a compact, inexpensive wireless microphone designed with video creators in mind – particularly those who use the Insta360 X5 or Insta360 Ace Pro 2 action cameras.

The button-sized, ultra-lightweight Mic Air transmitter (aka the TX) can connect wirelessly to either of the above Insta360 cameras, either replacing or teaming up with the on-board mics. The idea is that it adds an instant upgrade to sound quality, offering 48kHz / 24-bit audio, optional noise reduction, and a furry attachable shield to cut down on distracting wind noise.

Having tested the Mic Air on a typically breezy day on the English coast, I’m very happy with the results. With the windshield carefully attached, the noise from occasional strong gusts was completely removed, as the video below illustrates. I say “carefully” because Insta360 has opted for a slightly unconventional method for attachment: the shield is mounted on a rubber ring that slips over the sides of the TX, and some care must be taken to ensure that it’s sited directly above the mic grille.

There’s also a form of noise reduction available, accessed by double-tapping the TX’s power button. It’s fairly effective, helping negate background drones and hums without overly distorting the final audio. You can also adjust the mic’s gain in the X5 or Ace Pro 2’s menu screens, and there’s an on-screen indicator while you’re recording to give you an at-a-glance view of the current gain.

Connected directly to the X5 or Ace Pro 2, the Mic Air has a short range – about 30 to 50m. But add the receiver (or RX) and things get a lot roomier, with the theoretical range going up to 300m (the real-world results are less thanks to interference and obstructions).

Note – at launch, the Mic Air is compatible with the X5 and Ace Pro 2 only. Insta360 says a firmware update is coming for the X4, while the Go 3 / 3S won't be compatible with it. The X3 and the Ace Pro aren't compatible either, but could be further down the line.

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Insta360 Mic Air — (Image credit: Future | Sam Kieldsen)

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The receiver, which is also tiny and lightweight, has a USB-C connector that enables you to plug it into smartphones, tablets, laptops and other products, such as Insta360’s Flow range of smartphone gimbals. It then establishes a wireless connection with the transmitter, so that when you hit the record button on your device the audio recorded comes from the transmitter rather than your device’s own microphone.

I still use an older iPhone model with Lightning, so I wasn’t able to test this method on my smartphone (Insta360 has told me that a Lighting version is a definite possibility for the future). While I understand the decision not to offer a Lightning option at launch, it does leave some people out of the loop, as does the lack of a 3.5mm output for connection to cameras. Some other small, affordable mics, like the DJI Mic Mini and Fulaim X5M, offer wider connectivity.

I did, however, put the Insta360 Mic Air through its paces hooked up to an Android tablet, and found the audio quality a huge improvement over that offered by the built-in mic. You don’t have to use it just for video capture, either – it would also improve the quality of voice notes and recordings, Zoom calls, and anything else that requires the use of a mic.

One thing Insta360 has done really well with the Mic Air is offer a variety of mounting options. In the box there’s a button magnet, which lets you attach the TX to thin clothing, as well as a clip magnet that can grip onto collars, lapels, bag straps and even cap brims. I’ve seen those with virtually every wireless mic I’ve reviewed, but here there’s also a magnet pendant, so the user can wear the TX around their neck. It’s nice to have that extra option.

The magnet also comes into use when recharging the TX battery, locking it into position on its charging plate. The charging plate uses USB-A, which surprised me a little in 2025 where USB-C is ubiquitous, but I doubt many people will struggle to find somewhere to plug it in.

On the subject of the battery, the TX offers about 10 hours of use on a full charge, which is a little less than the DJI Mic Mini’s 11.5 hours, but still very respectable.

Insta360 Mic Air: specs

Dimensions:	26.9 x 26.9 x 11.6mm / 1.3 x 1.3 x 0.6 inches (TX)
Weight:	7.9g / 3.7oz (TX)
Range:	Up to 300m
Connectivity:	USB-C
Bluetooth:	Yes
Battery:	Up to 10 hours
Noise cancelling:	Yes

Insta360 Mic Air: price and availability

The Insta360 Mic Air is available now, with two options available. For buyers who own an Insta360 X5 or Ace Pro 2 camera and just need a mic transmitter to connect to it directly, the Mic Air Transmitter package costs $49.99 / £49.99 / AU$89.99. It comes with a single TX unit, charging base, button magnet, magnet pendant, clip magnet, windshield and carry case.

For those in need of more flexibility, there’s the Insta360 Mic Air (1 TX + 1 RX bundle), which includes all of the above plus one USB-C Receiver unit that can plug directly into smartphones, tablets, computers and more. This costs $69.99 / £69.99 / AU$129.99.

Insta360’s pricing seems very fair to me, although recent price drops have seen the DJI Mic Mini (1 TX + 1 RX) bundle fall to just $89 / £59 / AU$199, or £78 / $139 with a Lightning adapter. That’s probably a better deal than Insta360’s, if you can find it.

Should I buy the Insta360 Mic Air?

Buy it if...

You want to boost your X5 or Ace Pro 2's audio
Buying a single TX unit will hugely improve your action-camera audio at a low cost and with very little fuss.

You want the most mounting options
With a clip, button magnet and pendant in the box, there's no shortage of ways to wear the Mic Air.

Don't buy it if...

You need a flexible wireless mic
An RX unit adds some versatility, but with no 3.5mm or Lightning connectivity, the Mic Air isn't particularly versatile.

You want an all-in-one package
Unlike most rivals, you can't buy the Mic Air in a 2x TX, 1x RX and charging case bundle. In fact, there's no charging case accessory at all.

Insta360 Mic Air: also consider

DJI Mic Mini

The shrunk-down version of DJI’s ubiquitous wireless microphone is slightly more flexible than the Insta360 Mic Air, thanks to its RX unit supporting a 3.5mm input that lets it connect to cameras. In many other respects it feels similar, and the way it seamlessly works with certain DJI products mirrors the Mic Air’s compatibility with Insta360’s own most recent cameras.

Read our in-depth DJI Mic Mini reviewView Deal

Boya Mini

It might be 16-bit only and very plasticky, but the Boya Mini is still the best super-cheap wireless mic we’ve tested. It’s refreshingly quick and easy to set up and surprisingly reliable, and everything, windshields included, fits into the charging case for easy transport. You can pick up a full two-mic set (2x TX, 1x RX and the charging case) for less than one Mic Air TX.

Read our in-depth Boya Mini reviewView Deal

How I tested the Insta360 Mic Air

I used it for one week
I tested it with an Insta360 X5 camera and Android tablet
I used it indoors and outdoors

I tested a full production version of the Insta360 Mic Air over the course of a week, using it both with the Insta360 X5 and my OnePlus Pad Android tablet. With the X5, I went outside on both calm and windy days, vlogging with the setup as a means to test its wind-negating and noise-reduction capabilities.

First reviewed July 2025

I tested the Viltrox 16mm F1.8 and it’s now my go-to ultra-wide prime for landscape and astrophotography

6:55 pm | July 14, 2025

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

Viltrox AF 16mm f/1.8 FE: one-minute review

It’s not often that a lens grabs you by the scruff of the neck and demands attention, but that’s exactly what the Viltrox AF 16mm f/1.8 FE does. This unassuming lens, which doesn’t benefit from Viltrox’s Pro or LAB series labels, is one of the most impressive lenses I’ve used in a long time. It’s not the best, it’s not the most expensive, but it is unbelievably impressive for several reasons.

That’s a bold statement if ever I’ve made one; but this lens, which is perfect for landscapes and astrophotography, is incredibly well-priced, produces excellent image quality, and offers professional-level build quality and features. How Viltrox has managed to pull off creating a lens of this quality at this price point is beyond me.

The Viltrox AF 16mm f/1.8 FE costs just $464 / £533 / AU$899, which is an incredible price for such a well-built, weather-sealed lens offering professional performance and excellent image quality. Sony's own Sony FE 16mm f/1.8 G is a direct competitor, and it costs a whopping $848 / £849 / AU$1,799, so the Viltrox undoubtedly offers excellent value for money – and the Viltrox is a far superior lens in almost every way, despite being larger and heavier than the Sony.

What’s more, the Sony version relies heavily on lens corrections, while the Viltrox is optically excellent without the need for corrections. I appreciate that many modern lenses rely on lens corrections to achieve their excellent image quality (and compact size), but you simply cannot beat near-perfect images in terms of sharpness, distortion, and aberrations straight out of camera.

The Viltrox AF 16mm f/1.8 is one of the best Sony lenses designed for full-frame cameras, plus it is also available for Nikon Z mount. There's no word on future versions yet, such as for L-mount.

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Viltrox AF 16mm f/1.8 FE attached to a Sony A7R III with a hand turning the manual focus ring — (Image credit: James Abbott)

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Viltrox AF 16mm f/1.8 FE front element — (Image credit: James Abbott)

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Viltrox AF 16mm f/1.8 FE aperture click controls — (Image credit: James Abbott)

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Viltrox AF 16mm f/1.8 FE controls — (Image credit: James Abbott)

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Viltrox AF 16mm f/1.8 FE attached to a Sony A7R III viewed from above — (Image credit: James Abbott)

Viltrox AF 16mm f/1.8 FE specs

Viltrox AF 16mm f/1.8 FE specs
Type:	Wide-angle prime
Mount:	Sony E / Nikon Z
Sensor:	Full-frame
Focal length:	16mm
Max aperture:	f/1.8
Minimum focus:	10.6 inches / 27cm
Filter size:	77mm
Dimensions:	3.35 x4.06 inches / 85.2 x 103mm
Weight:	19.4oz / 550g

Viltrox AF 16mm f/1.8 FE: Design

Compact yet heavy design
Weather sealed
Excellent handling

We’ve already covered the price of this lens, and you’d normally expect build quality to take a hit at such a competitive price point, but that's certainly not the case here. The 16mm f/1.8 features an all-metal body and weather-sealing, giving it an undeniably premium look and feel. This is emphasized further by the color digital screen that displays lens information – more about that later.

The 16mm f/1.8 is quite a hefty beast in terms of weight due to its construction at 19.4oz / 550g, but it’s fairly compact at 3.35 x 4.06 inches / 85.2 x 103mm, and balances well with Sony full-frame and APS-C mirrorless cameras.

This is in contrast to the Sony FE 16mm f/1.8 G, which is much smaller and lighter at 2.91 x 2.95 inches / 73.8 x 75mm with a weight of 10.7oz / 304g, but it’s an optically inferior lens alongside being much more expensive.

That construction comprises 15 elements in 12 groups, including four ED glass and three aspherical lenses. The optical design aims to deliver sharpness, detail and high contrast while minimizing distortion, and it achieves this as we’ll discuss in the performance section.

The front element is standard in its design rather than bulbous, which is great, and it features an HD Nano multilayer coating including water-resistant antifouling coatings.

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Viltrox AF 16mm f/1.8 FE screen detail showing lens settings — (Image credit: James Abbott)

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Viltrox AF 16mm f/1.8 FE aperture ring — (Image credit: James Abbott)

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Viltrox AF 16mm f/1.8 FE control details — (Image credit: James Abbott)

The filter thread is 77mm, which is average for wide-angle lenses, which typically range from 67mm to 82mm. This means you can use both circular and square filters for astrophotography and landscape photography.

The minimum focusing distance of the lens is 10.6 inches / 27cm, which is great for landscape photographers who want to use focus stacking to achieve pin-sharp images from front to back.

In terms of controls, you get a nice wide manual-focusing ring, a manual aperture ring that can be set to stepped or stepless operation via the switch on one side of the lens, two customizable Fn buttons and an AF/MF switch.

There’s also a USB-C port on the lens mount so that you can connect it to the Viltrox Lens app via Bluetooth to update firmware, customize the Fn buttons, and customize the digital screen’s welcome screen.

Viltrox AF 16mm f/1.8 FE: Performance

Fantastic image quality
Impressive sharpness at f/1.8
Excellent corner sharpness

This is a fast and wide prime, which means it has excellent light-gathering capabilities for astrophotography. The combination of such a wide field of view and a fast f/1.8 aperture draw in huge amounts of light.

Of course, f/1.4 would be better, but that would require the lens to be much larger and heavier. The focal length is also great for landscapes, which can benefit greatly from the image quality the 16mm f/1.8 is capable of producing.

The image quality produced by this lens is fantastic, with excellent sharpness across the frame, even in the corners, wide open at f/1.8. This aperture produces the most vignetting as you’d expect; this almost disappears as you stop down to f/2.8 and is completely gone at f/4.

There is an Adobe Lightroom Lens Profile that can deal with this and the tiny, pretty much negligible amount of barrel distortion that’s present. There’s also only minimal chromatic aberration, so this is an optically impressive lens.

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Photo of a radio telescope taken with the Viltrox AF 16mm f/1.8 FE lens at night — (Image credit: James Abbott)

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Photo of a harbour at night with stars in the sky taken with the Viltrox AF 16mm f/1.8 FE lens — (Image credit: James Abbott)

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Photo of a radio telescope and full moon taken with the Viltrox AF 16mm f/1.8 FE lens — (Image credit: James Abbott)

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Photo of a seascape taken with the Viltrox AF 16mm f/1.8 FE lens — (Image credit: James Abbott)

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Photo of rocks in the sea taken with the Viltrox AF 16mm f/1.8 FE lens — (Image credit: James Abbott)

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Photo of mudflats and water taken with the Viltrox AF 16mm f/1.8 FE lens — (Image credit: James Abbott)

Sharpness is great wide open and increases incrementally up to the sweet spot of the lens, which is f/8. Sharpness drops slightly at f/11, and at f/16 you begin to see diffraction coming into play, and while f/16 is perfectly usable for landscape photography, diffraction is too high at f/22, so this setting is best avoided.

The color digital screen is a feature we’re seeing more on Viltrox lenses, and it’s a unique and pretty neat feature. It simply shows the focus distance, aperture setting and the active Fn control, and I find it most useful when I’ve manually focused on a point and need to replicate that focus distance quickly.

Autofocus isn’t the fastest. It takes the lens around 0.5 seconds to lock onto subjects when stopped down, and about 0.25 seconds wide open. This isn’t great, but since this is a lens that you wouldn’t typically use for action subjects, it’s not a huge issue.

Autofocus is driven by an SMT stepping motor, which is quiet but just about audible. AF is absolutely fine for landscape photography, while astrophotographers will exclusively use manual focus for precise focusing on stars.

Should you buy the Viltrox AF 16mm f/1.8 FE?

Buy it if...

You’re on a budget

The professional-quality lens comes in at an enthusiast-level price, making it the perfect choice for anyone on a budget.

You shoot astrophotography

With an ultra-wide-angle field of view for capturing more of the night sky and a fast maximum aperture, this is a great lens for astrophotography.

You want excellent image quality

The image quality produced by the Viltrox AF 16mm f/1.8 FE is fantastic – arguably amazing considering the competitive price of the lens.

Don't buy it if...

You’d like a faster lens

While f/1.8 is perfectly adequate for astrophotography, there are wide-angle lenses available with faster maximum apertures.

You’d prefer more versatility

Primes are known to offer the best image quality and faster maximum apertures for astrophotography, but zoom lenses are more versatile due to their variable focal lengths.

You don’t shoot with Sony or Nikon cameras

This lens is only available in Sony E and Nikon Z mounts, so if you use any other camera system, there’s no option available for you.

How I tested the Viltrox AF 16mm f/1.8 FE

I tested the lens over a couple of months
I used it to capture landscapes and astrophotography
I tested it with a Sony A7R V

I tested the Viltrox AF 16mm f/1.8 FE over several weeks attached to an unforgiving Sony A7R V, shooting landscapes and astrophotography. I took photos at a range of aperture settings to test sharpness, distortion and aberrations.

I shot most images simply to see how the lens performed in different situations, while others were shot specifically to be able to compare the results to those from other lenses.

First reviewed July 2025

I tested Akaso’s first 360 camera and it beats Insta360 and GoPro for value, just don’t take it underwater

10:00 am | July 7, 2025

Author: admin | Category: 360 Cameras Cameras Computers Gadgets | Comments: Off

Akaso 360: two-minute review

The Akaso 360 is the first 360-degree camera from Akaso, a company best known for its budget-friendly action cameras. And the Akaso 360 follows in that tradition, costing far less than competitors like the Insta360 X5 and GoPro Max.

Like those rivals, it’s a dual-sensor camera that shoots simultaneously on two ultra-wide lenses, automatically stitching together the images captured into a single 360-degree photo or video. These 360 images can be edited and reframed using the Akaso 360 mobile or desktop apps, before being exported for sharing or use elsewhere.

The camera can shoot stabilized 5.7K video at up to 30fps (allowing for a reframed video to be exported at up to 4K resolution), or in 4K at up to 60fps (supporting export of videos at up to 2.5K resolution), as well as still photos in JPEG and/or DNG RAW format at either 72MP or 18MP resolution.

Akaso 360 camera — (Image credit: Future | Sam Kieldsen)

In addition to regular 360 videos and photos, the camera offers a few special capture modes including time lapse video (where intervals can be set from one to 60 seconds), loop recording video (supporting loop durations of up to 30 minutes), bracketed HDR photos and TimeFusion, a fun mode that allows you to shoot a still from one camera then the other, before merging the two into a single image. Using it, I was able to easily create a photo in which I appeared in two different locations at once.

I’d describe the Akaso 360’s image quality as adequate rather than excellent. During my tests, if I shot videos and photos in bright sunshine I got pretty sharp and color-rich results, but at anything less than that (even on a slightly cloudy day) the camera’s 1/2-inch sensors struggled to prevent noise from creeping into the images and degrading detail. Viewing the resulting videos on my phone screen, they looked pretty decent – but on my computer’s larger screen the noise was very noticeable.

The Insta360 X5 and Insta360 X4, two other 360 cameras I’ve tested fairly recently, far surpass what the Akaso 360 is capable of, image quality-wise – but they’re also far more expensive. For a camera in its price range, I think its performance is definitely acceptable, and its built-in quality-of-life features such as video stitching and selfie stick removal work very well.

The mobile and desktop editing apps are simple but intuitive to use, and once you’ve imported the videos from the camera to either a phone or computer, trimming and reframing them using either AI-assisted subject tracking or manually added keyframes is a fast and easy process. There are basic image adjustment settings here too, but for the purposes of the sample videos embedded here I left things untouched to give an accurate representation of what you can expect straight out of the camera.

Videos and photos are stored on a microSD card, with capacities up to 512GB supported; card speeds must be UHS-I V30, UHS-I Class 3 (US) or above. I’ll say from my own experience that the camera could benefit from a faster wireless connection. Some of the file sizes of these 360 videos are very large, and transferring them via standard Wi-Fi with a maximum speed of around 12MB per second can take a long time.

The camera also features a built-in stereo microphone, which works well enough indoors or in calm conditions. Like most unmuffled camera mics, it picks up wind noise outdoors very easily, so can’t really be relied on blustery days, or for fast action such as biking.

Speaking of the weather, one thing potential buyers would do well to note about the Akaso 360 is that, unlike the Insta360 X5 or GoPro Max, it isn’t rated as waterproof, dustproof or ruggedized. Akaso call it “splash-resistant”, and I used it during a light rain shower with no ill effects aside from some droplets on the lens appearing in shot; dunking it fully underwater certainly wouldn’t be advisable, however. There’s also no easy solution to fixing scratched or broken lenses, unlike the X5’s user-replaceable glass.

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That being said, I found the Akaso 360’s general design, controls and handling to be fine, aside from one niggle: the touchscreen all-too stubbornly resisted my swipes and taps, which sometimes made for an annoying experience when trying to change video settings and the like. The physical buttons, screen size and clarity and the camera’s compact size and low weight are all impressive, and its candy bar shape (very much like a slightly smaller Insta360 X5) is perfectly pocketable.

Battery life is also acceptable, with my stress testing allowing for around 50 minutes of 5.7K 30fps video to be recorded using a fully charged battery – just a little shy of the 60 minutes claimed by Akaso. Reassuringly, while the camera got very warm during this test (it was a hot summer’s day and the ambient temperature in my home office was toasty), it never overheated to the point where it stopped recording and shut itself down to cool off.

Akaso 360 specs

Akaso 360 specs
Type:	360 camera
Sensor:	1/2-inch x 2
Focal length:	7.6mm
Max aperture:	f/2.25
Dimensions:	46.9 x 109.8 x 30.8mm
Weight:	6.3oz / 180g

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Akaso 360: price and availability

Launched worldwide on 7 July 2025
Standard Combo costs $199.99 / £199.99 / AUS329.99
Creator Combo also available for $249.99 / £249.99 / AU$399.99

Launched on 7 July 2025, the Akaso 360 is available to buy in two bundles: the Standard Combo and Creator Combo.

The Standard Combo (which I was sent for the purposes of this review) costs $199.99 / £199.99 / AUS329.99 and features the camera, a protective pouch, two batteries, one USB-C cable, one lens cleaning cloth and a quick-start guide. The Creator Combo costs $249.99 / £249.99 / AU$399.99 and comes with all of the above plus a further two batteries, a battery charging case and a 120cm selfie stick.

This is a lot cheaper than the current competition. The GoPro Max costs from $349.99 / £349.99 / AU$599.95 while the Insta360 X5 costs from $549.99 / £519.99 / AU$929.99. Even if you go back to last year’s Insta360 X4, it’s at least $349.99 / £425.99 / $632.99, so Akaso has a really compelling selling point compared to its main rivals.

Should I buy the Akaso 360?

Buy it if...

You want the best affordable 360 camera
With Insta360 and GoPro’s current 360 cameras costing a lot more, the Akaso 360 represents a fantastic alternative for those on a tighter budget.

You want a simple 360 camera
The Akaso 360 does its main jobs well, stitching together videos seamlessly and removing selfie sticks from its footage. It’s not packed with advanced features but it’s a reliable performer.

Don't buy it if...

You need a rugged 360 camera
It’s not waterproof, dustproof or shockproof, so the Akaso 360 isn’t the best camera for documenting your wet and/or wild outdoors adventures.

You want the best 360 image quality
The Akaso 360’s footage is decent but falls down in low light. For truly excellent 360 video in all conditions, we’d recommend the Insta360 X5, which has large sensors and effective noise reduction processing.

Also consider

Insta360 X3

While it’s no longer listed as a current model on Insta360’s website, this 2023-released 360 camera is still on sale in plenty of places – and for less than ever. While it lacks some of the advanced features of newer models, it’s capable of great-looking, simple-to-capture 360 videos, and unlike the Akaso 360 supports Active HDR to temper blown-out highlights and increase shadow detail.

Read our in-depth Insta360 X3 review

GoPro Max (2025)

We’re still waiting for a real GoPro Max 2, but this recently refreshed edition cuts GoPro’s original 360 camera’s price while making some modest updates to its hardware in the form of improved battery life and more mounting options. While GoPro has ceded ground to Insta360 at the higher end of the 360 market, this mid-range 360 camera still has plenty to offer.

How I tested the Insta360 X5

Tested for several days, full production model running release firmware
Camera mounted on invisible selfie stick
Recorded videos on foot and bicycle

I was sent a sample of the Akaso 360 ahead of its release, giving me a week or so to test the camera (running the latest firmware I could download) ahead of its launch. I was able to capture videos and photos indoors at home, plus outside both on foot (for vlog-style content) and on my bike (for more action-type stuff). I edited footage using Akaso's own apps, using both the mobile app and the MacOS desktop app to put together the sample videos you see above.

First reviewed July 2025

The Brinno BCC5000 is an amazing construction timelapse camera kit, just short of its full potential

3:00 pm | July 6, 2025

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

Brinno BCC5000 Time Lapse Bundle: one-minute review

Brinno BCC5000 Time Lapse Bundle housing held in a hand for scale — (Image credit: James Abbott)

While many of the best action cameras allow you to capture short-form timelapse videos thanks to their diverse functionality, it’s the best timelapse cameras that make long-form timelapse videos possible. Here, I’m talking about days, weeks or even months in duration, and for this, you need a special kind of camera.

The Brinno BCC5000 Time Lapse Bundle is a comprehensive kit that includes the Brinno TLC5000 4K timelapse camera, a tough weather-resistant housing, and a versatile camera clamp that allows the camera and housing to be attached to a wide variety of surfaces, such as the top of walls, beams and girders.

The camera can also be attached to a tripod, but this is more suitable for shorter rather than long-term timelapse video capture. The camera can be used without its housing, but since it lacks a screen, connection and control via Bluetooth and Wi-Fi provide a greater level of precision in or out of the housing. Bluetooth isn’t perfect, and we’ll discuss that later.

Construction timelapse cameras aren’t cheap, as I discovered when I reviewed the Brinno TLC 300 and the Brinno TLC 2020. These are, however, extremely low-cost when compared to the Brinno BCC5000 Time Lapse Bundle, which costs $1,899 / £1,899 / AU$TBC. It’s not cheap, but the functionality and shooting duration on offer are greatly increased as you’d expect.

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Brinno BCC5000 Time Lapse Bundle weather-resistant housing front view — (Image credit: James Abbott)

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Brinno BCC5000 Time Lapse Bundle weather-resistant housing side view — (Image credit: James Abbott)

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Brinno BCC5000 Time Lapse Bundle housing with the camera compartment open — (Image credit: James Abbott)

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Brinno BCC5000 Time Lapse Bundle with the battery compartment open — (Image credit: James Abbott)

Brinno BCC5000 Time Lapse Bundle specs

Brinno BCC5000 Time Lapse Bundle specs
Type:	1/1.8-inch Sony STARVIS 2
Lens angle of view:	118 degrees
Aperture:	f/2.0
Interval times:	3 sec–24 hours
Connectivity:	BLE 4.0 / Wi-Fi/ 2.4GHz 802.11
Camera dimensions:	3.8 x 3.8 x 2.6 inches / 96 x97.5 x 66.2mm
Housing dimensions:	6.7 x4.1 x 9.3 inches / 170 x 104 x 236mm
Camera weight:	7.9oz / 224g (without battery)
Housing weight:	23.2oz / 657g (without camera & batteries)

Brinno BCC5000 Time Lapse Bundle: Design

No screen
Minimal design
Large weather-sealed housing

The Brinno BCC5000 Time Lapse Bundle is the sum of two parts – you have the camera itself, and then you have the robust ATH5000 weatherproof housing. The housing allows for long-term capture, with three battery slots for extended use, with the ability to recharge the batteries in or out of the housing.

You can use the camera independently of the housing when capturing timelapse videos over several hours, or perhaps a day, in fine weather, but it’s not waterproof, so the housing is essential for longer captures.

The camera itself features an almost cube-like design that’s 3.8 x 3.8 x 2.6 inches / 96 x 97.5 x 66.2mm with just two buttons for operation: an on/off switch, a microSD card slot and a USB-C port.

There's no screen on the camera, so you have to connect it to a laptop or smart device using Bluetooth or Wi-Fi. This allows you to take a photo when using Bluetooth or view a live feed when connected to Wi-Fi to compose the camera.

When using just the camera, a single battery can be installed in the rear, and there’s a small lens hood that can be attached to the lens. There’s also a spirit level on the front of the TLC5000 that helps you to level the camera on the horizontal axis.

According to the Brinno website, the bundle, which includes two batteries, can provide up to 200 days of shooting with a five-minute capture interval. I’m assuming this is with two batteries rather than three, but it's unclear.

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Brinno TLC5000 Time Lapse Camera front view — (Image credit: James Abbott)

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Brinno BCC5000 Time Lapse Bundle microSD card slod, on/off switch and USB-C port on the side of the camera. — (Image credit: James Abbott)

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Brinno BCC5000 Time Lapse Bundle clamp — (Image credit: James Abbott)

The Li-ion batteries have a capacity of 45.4Wh or roughly 12,611mAh, and take around six hours to charge. So, although they can be charged in the housing via USB-C, it might make more sense to remove the used battery/batteries and charge them elsewhere in order to maintain the weatherproofing of the housing and the batteries in the battery compartment.

The housing is surprisingly large at 6.7 x 4.1 x 9.3 inches / 170 x 104 x 236mm, but this is split into two sections, one for the camera and another for the batteries. When the camera is used in the housing it’s plugged into the housing, and doesn’t require a battery, as power is supplied from the battery compartment.

The housing doors clip securely to make it watertight, and there are loops where locks or cable ties can be used if desired. This will only keep the housing closed, though and won’t prevent theft.

In the kit you get the TLC5000 camera, the ATH5000 housing, two batteries, the ACC5000 Camera Clamp Pro, a lens hood, a 64GB microSD card, a USB-C cable and silica gel packs to put in the housing to eliminate moisture.

Brinno BCC5000 Time Lapse Bundle: Performance

Great image quality for this type of camera
Bluetooth connection is glitchy in some ways
Settings are limited with Bluetooth

The key advantage of the TLC5000 is its ability to capture long-term timelapse videos of construction sites, and any location for that matter. Setting up and using the camera is incredibly easy with the limited camera controls available. All you have is Exposure Mode for Daytime, Twilight and Night, Timestamp on/off, Sharpness, Saturation, Playback rate, time interval and schedule. This is pretty much a point-and-shoot 4K camera.

The shortest time intervals available for the different shooting modes are Daytime three seconds, Twilight five seconds and Night 10 seconds; shorter would be better. The maximum interval is 24 hours. You can shoot with the camera using the basic controls on the front of the camera to set the interval and begin shooting. These can be used whether the camera is being used independently or in the housing, since with the latter, the camera sits on a plate that slots into place easily so the composition is maintained.

To get the most out of the camera you have to connect it to a Wi-Fi network, which opens up access to all settings and remote access via the Brinno cloud. This only possible, though, if Wi-Fi is available at the shooting location. Brinno cloud access means you can access settings, including scheduling, and download captures remotely, although downloading was extremely slow during testing.

You can also connect over Bluetooth, although only basic interval, scheduling and start/stop controls are available via the Chrome browser. The take-a-photo function, for composing the camera, is extremely hit or miss – sometimes it works, often it won’t, and other times it produces an overexposed and unviewable image. It would make sense for this connection to be flawless since it’s likely the most convenient and popular way for people to connect to the camera wirelessly.

Brinno TLC5000 video straight out of camera

Browser-based camera control isn’t ideal, but it does work to be fair. Brinno has confirmed that Android and iOS apps are in development, so hopefully these and future firmware updates will fix the Bluetooth photo issue.

It would be beneficial for all settings to be available in these apps and via Bluetooth when using the Chrome browser, because the limitations here leave you unable to adjust many settings if no Wi-Fi network is available. You could, of course, set up a Wi-Fi hotspot with your smartphone simply to change more settings than Bluetooth allows, but it's not a streamlined approach.

Brinno TLC5000 video white balance corrected

Image quality is impressive for a dedicated timelapse camera, but it's not perfect. 4K is a fantastic resolution, and the standard to be expected these days. Even night captures are impressive, with fairly clean footage. You can only really notice the small amount of color noise when you pause night captures.

Images can look too sharp and oversaturated, so delving into these controls and adjusting them accordingly will provide more favorable and personalized results. White balance in daylight can be far too warm, but it can be corrected in video editing software. Chromatic aberration is visible along high-contrast subject edges.

4K grab from night footage shot with the Brinno TLC5000 Timelapse Camera — 4K grab from Brinno TLC5000 using VLC Player. (Image credit: James Abbott)

You can’t take photos with the camera, but you can extract stills from footage using the Brinno Video Player, although i found this Windows-only software to be glitchy and generally awful to use. VLC Player (free) proved to be a much better video player for grabbing 4K stills from footage.

Should you buy the Brinno BCC5000 Time Lapse Bundle?

Buy it if...

You want to shoot long-term time-lapses

If you’re aiming to capture long-form timelapse videos over several weeks or months, this is a dedicated camera that will allow you to do just that.

You need an all-weather solution

With the weather-resistant housing, this is a camera that can be left out in all weather without any risk of water ingress. You also get silica gel packs to prevent condensation.

You need remote connectivity

When the TCL5000 is connected to a Wi-Fi network you can access the camera remotely to change settings and download timelapse footage.

Don't buy it if...

You’d prefer a more versatile camera

If you’d like a camera that can do much more but doesn’t shoot for such long durations, an action camera will be a much more suitable option for you.

You’re on a budget

The BCC5000 kit is expensive, but you can buy much more affordable Brinno timelapse cameras. There are several models available, so you can find the best option for you.

You want the best image quality

If you’d like the best image quality possible, a mirrorless camera is the best option for capturing timelapses. They are, however, only suitable for shorter timelapse shoots.

How I tested the Brinno BCC5000 Time Lapse Bundle

I tested the camera over several weeks
I used it at different times of day
I tested all connection methods for shooting

I tested the Brinno BCC5000 Time Lapse Bundle in shorter bursts rather than for long-form timelapse capture, as testing the extremes of scheduling would have taken months. I was, however, able to test basic scheduling using different interval times at different times of the day and night.

I used my smartphone, tablet and laptop for Bluetooth connection. To test the Wi-Fi control I used both my laptop and tablet connected over my home network. I also used the TLC5000 manually, and composed ‘blind’ by simply pointing the camera and starting shooting using the direct-access controls.

First reviewed July 2025

I tested the Panasonic Lumix S1 II for a month, and it’s an incredibly powerful mirrorless camera for video, with Canon and Sony-beating features

2:30 pm | July 4, 2025

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

Panasonic Lumix S1 II: two-minute review

The S1 II is Panasonic's most powerful Lumix camera yet, debuting a partially-stacked 24.1MP sensor and an embarrassment of riches for video recording, including 19 pages of video codecs in the menus.

There are 6K and 4K options in various aspect ratios up to 60fps and 120fps respectively, plus a new open gate 5.1K option up to 60fps. Furthermore, ProRes Raw format is available in-camera with bitrates up to 4.2Gbps (that's not a typo), as is a Dynamic Range Boost mode – the latter delivers quite possibly the most detail-rich video I've seen at this price point.

The boost in performance from the partially stacked sensor extends to photography too, with up to 70fps burst shooting (or 10fps using the mechanical shutter) and an option for 1.5 seconds pre-capture.

Both photo and video capture benefit from class-leading in-body image stabilization – the Boost IS mode gave me some of the smoothest handheld videos I've shot – plus Panasonic's most effective autofocus yet, with subject-detection autofocus now extended to 'Urban Sports' such as parkour. Autofocus speed, versatility and accuracy are still not quite as complete as rival cameras such as the Nikon Z6 III, but it's impressive nonetheless.

Panasonic Lumix S1 II mirrorless camera held up to photographer's eye — (Image credit: Tim Coleman)

As for the design, the Lumix S1 II's body is identical to the Lumix S1R II's – which is a good thing considering that it's the best Lumix design yet.

I've enjoyed the crisp 5.76m-dot EVF, 1.84m-dot vari-angle touchscreen, durable body and a generous handgrip, complete with vents that keep the camera cool during long record sessions.

The Lumix S1 II feels uncharacteristically expensive for a Lumix, but I'm still struggling to think of a better mirrorless camera at this price point for video-first users – it really is one of the best video cameras. As a photography-first user, the 44.3MP Lumix S1R II is the more obvious choice for me, even if it can't match the S1 II's raw power.

Panasonic also launched the Lumix S1 IIE on the same day as the Lumix S1 II. The two cameras are identical, except that the 'E' version has a regular 24MP full-frame sensor rather than a partially stacked one, which means a slower performance in a few areas and fewer video modes to choose from. It's $500 / £500 cheaper.

I feel like there's much more of a case for the S1 II than there is for the S1 IIE, especially given there's the cheaper Lumix S5 II in the picture, which is yet another 24MP Lumix. The Lumix S1 II is agonizingly close to a five-star rating, but its price point puts it among fierce competition, and takes it down a peg.

Panasonic Lumix S1 II: price and release date

Body-only price is $3,199 / £2,899 / AU$5,299
It was announced on May 13 2025 and is available now
A Lumix S1 IIE version costs $2,499 / £2,399 (about AU$4,100)

The Lumix S1 II was announced on May 13, 2025, and it costs $3,199 / £2,899 / AU$5,299 body-only. The 44.3MP Lumix S1 R II costs $100 / £100 more, while the Nikon Z6 III, which is another obvious alternative, is a fair bit cheaper.

Alongside the Lumix S1 II, Panasonic unveiled the Lumix S1 IIE, which has the same skin and feature set, but a regular 24MP full-frame sensor rather than a partially stacked kind. The S1 II's partially stacked sensor delivers faster performance in several areas, and more video record modes.

Both cameras are available now.

Price score: 4/5

Panasonic Lumix S1 II: specs

Specs
Sensor:	24MP full-frame, partially stacked
Video:	6K 60p, 5.1K 60p, 4K 60p, 4K 120p (1.2x crop), open gate, 10-bit
Cont. shooting	Up to 70fps using electronic shutter, up to 10fps mechanical
Viewfinder:	5.76m-dot OLED
LCD:	3-inch, 1.84m-dot vari-angle LCD touchscreen
Battery (CIPA rating):	Up to 350 shots or up to 130 mins record time
Weight:	1.76lbs / 800g (incl battery and card)
Dimensions:	5.29 x 4.03 x 3.61 inches / 134.3 x 102.3 x 91.8mm

Panasonic Lumix S1 II: design and handling

Rugged body, weighs 1.76lbs / 800g
Clear and detailed 5.76m-dot OLED EVF
Cooling vents for long record times without overheating

We've already reviewed the Lumix S1R II, and the Lumix S1 II's design is essentially identical. At 1.76lbs / 800g, it's a tiny bit heavier – that's because it features a partially stacked sensor – but that's the only real difference.

To briefly recap from our Lumix S1R II review, this second generation of Lumix S1 cameras is slimmed down from the first, being approximately 20% lighter and a little smaller in every dimension.

The S1 II, S1 II and S1R II trio are very comfortable to hold, and the S1 II balances really well with most of Panasonic's L-mount lenses – I had the 24-105mm F4 Macro OIS for this review.

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Panasonic Lumix S1 II mirrorless camera outdoors on a wooden surface — (Image credit: Tim Coleman)

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Rear of Panasonic Lumix S1 II mirrorless camera outdoors on a wooden surface — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II mirrorless camera's connection ports — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II mirrorless camera outdoors on a wooden surface, touchscreen flipped out — (Image credit: Tim Coleman)

I think Panasonic has evolved the design nicely – not only are the new S1 II / S1R II / S1 IIE models the best in the hand yet, but they're rugged, weather-proof, and feature built-in vents to keep them cool – an essential feature for big video hitters like the Lumix S1 II.

There's a slight feel of function over form here: the Lumix S1 II speaks video production work to me, rather than go-out-and-create. That said, the camera handles well in any situation.

As a hybrid mirrorless camera, no stone is left unturned – the Lumix S1 II features full-size HDMI, mic, and headphone ports, plus USB-C charging that doubles up for external SSD connection and recording.

There are twin card slots – one is CFExpress Type B, which you'll need for some of the higher-quality video codecs, and the other is SD UHS-II.

The vari-angle screen can spin around to the front for selfie recording, and the display features a helpful red border prompt during recording, together with front and rear tally lights – these are useful visual aids for busy filmmakers. There are also twin red buttons to start recording: a large one on the front of the camera, and a smaller one on the top.

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Top of Panasonic Lumix S1 II mirrorless camera outdoors on a wooden surface — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II mirrorless camera's shooting mode dial — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II mirrorless camera's photo video switch — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II mirrorless camera's battery — (Image credit: Tim Coleman)

Photographers in particular will enjoy the EVF – it's a bright and detailed 5.76m-dot OLED display. I also like the feel of the rear joystick, especially for navigating autofocus points and modes.

The button layout is all very sensible, and I also appreciate how simple Panasonic menus are (in general). For example, the video mode menu only has six pages in all, so features like image stabilization are easily found.

The same can't be said for video codecs – there are a staggering 19 pages of Full HD, 4K 5.1K, 5.8K and 6K video modes to choose from, with various aspect ratios, bitrates and formats.

Thankfully, it's possible to create custom profiles for your most-used settings, otherwise navigating between the options is a time sink.

Design score: 5/5

Panasonic Lumix S1 II: features and performance

Incredibly effective image stabilization for video
Rapid 70fps burst shooting mode or a more sensible 10fps using mechanical shutter with continuous AF
Average 350-shot battery life
Panasonic's best autofocus performance to date

Panasonic stuck with a contrast-detection-based autofocus system for years when rivals had adopted a hybrid phase / contrast-detection setup, which is more effective for video. It was a big mark against Panasonic's otherwise-excellent video cameras.

Thankfully, Panasonic finally rectified the situation with the Lumix G9 II / Lumix S5 II in 2023, introducing a hybrid autofocus system which Panasonic says is now 1.6x faster in the Lumix S1 II.

Certainly, the Lumix S1 II packs Panasonic's best-ever autofocus, with an increased array of subject-detection modes. I've been shooting anything from grassroots sports to animal portraits with it, and on the whole have been really impressed.

While not scientific, my testing suggests that Panasonic's autofocus is still a little way behind the likes of Canon, Sony and Nikon, but not by much; in simple terms, autofocus performance is no longer a strike against Panasonic. You can see in the gallery below a range of subjects I've photographed, and my hit ratio of sharp shots was roughly 8/10.

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Panasonic Lumix S1 II sample gallery: golden retriever portrait, in bright light — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: guineapig portrait, in golden light — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: backlit portrait — (Image credit: Tim Coleman)

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What is less ideal is battery life, which is CIPA-rated at 350 shots, or up to 70 minutes record time. I've been able to squeeze more photos out of a fully charged battery than that, and there's on-the-go UBS-C charging too. However, Sony cameras, for example, boast better battery life.

Where the Lumix S1 II really shines is its in-body image stabilization, which is rated up to 7EV. In practice, I've found it to offer the most effective stabilization of any camera for video recording, especially in the Boost IS mode. There's a small crop of the image area in this mode, but handheld videos on the move are silky smooth.

There's also an extremely rapid 70fps burst-shooting mode. Personally, I find this to be overkill for the casual action photography I typically do, but to have a mechanical shutter that ticks over at 10fps for what are essentially unlimited sequences is a great to have.

Overall, the Lumix S1 II is able to sustain its high-speed performance to a level that the Lumix S1R II can't. I photographed a grassroots soccer match at last light (see below), and the camera's speed and autofocus held up well.

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Panasonic Lumix S1 II sample gallery: footballer on sidelines — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: footballer during game at last light — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: footballers in action during game at last light — (Image credit: Tim Coleman)

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There's the option for data-heavy ProRes RAW video recording in-camera, which further highlights just how powerful a camera the Lumix S1 II is.

I also must commend the new(ish) Lumix Lab app, which is the most reliable camera app Panasonic has made yet. Unlike previous apps, which have frustrated me no end with my previous cameras such as the Lumix GH5, Lumix Lab provides a quick and reliable connection between camera and phone, together with remote control, image upload, and access to Lumix resources such as custom color profiles.

Features and performance score: 4.5/5

Panasonic Lumix S1 II: image and video quality

24MP partially stacked sensor is a great all-rounder
A generous range of video codecs, bitrates and aspect ratios, up to 6K 60p
Color profiles and real-time LUTs can be imported from the Lumix Lab app

If you want the best-possible video quality, you'll struggle to find a better camera than the Lumix S1 II at its price point.

It tops out at 6K resolution, whereas high-resolution alternatives such as the Lumix S1R II, Canon EOS R5 Mark II, Nikon Z8 and Sony A1 II offer 8K, but otherwise the Lumix S1 II's video quality is top-drawer.

Not only does it offer more video formats and bitrates than rivals, but also aspect ratios which are taken from the full height and width of the sensor (open gate) and include 3:2, 4:3, 16:9, 17:9 and 2.4:1.

I've shot with a wide range of the video modes, and you can see what to expect across the various resolutions and frame rates in the (lengthy) sample video, below.

Special mention goes the the Dynamic Boost mode, which delivers quite possibly the best and most detail-rich video quality straight out of the camera that I've seen from a hybrid camera. You lose various features, such as slow-motion frame rates, but for outright quality it's incredible.

Something the Lumix S1 II does better than the higher-resolution Lumix S1R II is handle rolling shutter distortion. Yes, it's a way more capable all-round camera for recording video.

There are also a range of color profiles, including V-Log, plus any number of custom profiles made by pros in the Lumix community, and which can be imported directly to the camera from the Lumix Lab app for video and photo. You can see a range of looks in the photo gallery below.

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Panasonic Lumix S1 II image gallery: male portrait at golden hour, among trees, dappled light — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II image gallery: monochrome street scene in London — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II image gallery: monochrome, River Thames and Big Ben on horizon — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II image gallery: London street scene — (Image credit: Tim Coleman)

If you're mainly going to be shooting photos, and appreciate the Lumix S1 II's all-round capabilities, then the Lumix S1 IIE could be a better shout. It's widely reported that partially stacked sensors can have an adverse impact on image quality in low light versus a regular sensor; it's a subtle difference, but images can be a little noisier. I haven't made direct comparisons between the Lumix S1 II and Lumix S1 IIE, but it's something worth thinking about.

Overall, however, I have no complaints regarding the photo quality of the Lumix S1 II. I'm used to full-frame 24MP cameras; they balance speed, performance, and image quality nicely.

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Panasonic Lumix S1 II sample gallery: colorful beach huts — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: flowers along a wall on a city street — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: sailing boats moored in a ruver — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: red arrows planes in the sky performing aerial stunts over the ocean — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: looking out from a beach cave — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: goose by river bank — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: a goose by a river bank — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: closeup of a red rose — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: closeup of a flower — (Image credit: Tim Coleman)

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Panasonic Lumix S1 II sample gallery: backlit window — (Image credit: Tim Coleman)

Image and video quality score: 5/5

Panasonic Lumix S1 II: testing scorecard

Panasonic Lumix S1 II
Attributes	Notes	Rating
Price	Excellent features, but it's pricey for a 24MP Lumix	4/5
Design	Panasonic's best Lumix camera design: it's rugged, easy in the hand and a sensible control layout	5/5
Performance	Partially stacked sensor delivers the speediest performance of any Lumix to date, and its best autofocus, but there's fierce competition at this price point	4.5/5
Image and video quality	Photo quality is decent, but it's the video quality that truly shines	5/5

Should I buy the Panasonic Lumix S1 II?

Buy it if...

Your focus is video, but you shoot photos too
Because of its hybrid design, serious video-only users could be better served overall by a Blackmagic camera than the Lumix S1 II. However, for video quality, especially the dynamic boost mode, I can't think of a better camera for the money, and it's a capable stills camera too.

You want a versatile video camera
There are a staggering 19 pages of video codecs which cover an unmatched choice of resolutions, aspect ratios, bitrates and formats up to 6K, including open gate recording. Panasonic beats Sony, Canon and Nikon on this front.

You need a reliable performer
The Lumix S1 II is rugged, plus it can shoot for sustained periods without overheating.

Don't buy it if...

You want an all-day battery
A 350-shot battery life, or up to 70 minutes record time depending on the video codec, is pretty mediocre. However, USB-C charging on-the-go is possible.

You're a photography-first shooter
It's a capable stills camera for sure, but there's no denying that the Lumix S1 II is geared for video. The Nikon Z6 III has the edge for photography, as does the higher-resolution Lumix S1R II.

You're a casual filmmaker
For many filmmakers, the Lumix S1 II could be overkill. If you don't need the full suite of record modes and features, the Lumix S5 II could be a more cost-effective choice.

Panasonic Lumix S1 II: also consider

Nikon Z6 III

The 24MP partially stacked sensor might be new to Lumix, but we've seen it before in the Nikon Z6 III. Without diving too much into where each model betters the other, it's fair to say that the Lumix S1 II is more-featured packed for video, and the Z6 III more so for photography. Both are incredibly capable hybrid cameras, but the Z6 III is quite a lot cheaper now.

Read our in-depth Nikon Z6 III review

Panasonic Lumix S1R II

With the same design and virtually the same price, the Lumix S1R II is another option. The key difference is the sensor – the Lumix S1R II features a regular 44.3MP unit, the Lumix S1 II a partially stacked 24MP one. Put simply, the Lumix S1R II is better equipped for high-resolution photography and video, whereas the Lumix S1 II is a speedier performer for stills, and overall more geared to video. Both are capable hybrid cameras in their own way.

Read our in-depth: Panasonic Lumix S1R II review

How I tested the Panasonic Lumix S1 II

Panasonic loaned me the Lumix S1 II for one month, together with the 24-105mm F4 lens
My main focus of testing has been the video modes, though I have also used the camera in various photography scenarios
In general, I've tested the camera in fair weather and fair light

I've had a good long time with the Lumix S1 II – over one month in all. Panasonic loaned me a 24-105mm F4 lens for the test, and this was the only lens I used the camera with.

My testing reflects the typical audience for the Lumix S1 II – I've shot a lot of video with it, using the various resolutions, codecs and frame rates, and recording onto a top-spec CFExpress Type B card.

That's not to say I've neglected photography – far from it. I've shot everything from grassroots soccer at last light to animal portraits and everyday subjects, mostly in fair weather and fair light.

First reviewed June 2025

Sigma’s 56mm F1.4 is a superb crop-sensor lens for Canon, Sony and more – it’s the best portrait lens I’ve tested in this format

3:00 pm | June 25, 2025

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

Sigma 56mm F1.4 DC DN Contemporary: one-minute review

Most beginner mirrorless cameras are available as a kit with a standard zoom lens – a pairing that many users settle with long-term. However, if you want notably better-quality photos from such a setup, my first bit of advice would be to invest in an additional lens.

That's where the Sigma 56mm F1.4 DC DC Contemporary prime comes in. Offering pin-sharp detail, dreamy bokeh and an 85mm effective focal length, it's ideal for portraiture, and a level up from your kit zoom.

It's one of a quartet of dinky f/1.4 primes by Sigma. But of those four, and indeed of the many lenses I've tested for crop-sensor cameras, it's Sigma's 56mm F1.4 that has impressed me the most.

What's more – it's tiny, lightweight, and well-built too, meaning it'll pair nicely with mirrorless cameras from the likes of Sony, Canon, Fujifilm, Nikon, and more.

In fact, Sigma should be commended for making this lens available for such a wide range of lens mounts. It was originally released for Sony E and Micro Four Thirds back all the way back in 2018, then for other mounts such as Fujifilm X, and only this year did it debut for Canon RF – a third-party lens for Canon RF is rare.

Put simply, the Sigma 56mm F1.4 is the best second lens you can buy in this format, especially for portraiture. Being a Sigma, it's made in-house in Japan to high standards, and the cherry on the cake is that it's reasonably priced too.

Sigma 56mm F1.4 DC DN Contemporary lens in the hand attached to a Canon EOS R100 — (Image credit: Tim Coleman)

Sigma 56mm F1.4 DC DN Contemporary specs

Sigma 56mm F1.4 DC DN Contemporary specs
Type:	Telephoto prime
Mount:	L mount, Sony E mount, Fujifilm X mount, Micro Four Thirds, Nikon Z mount, Canon EF-M mount, Canon RF mount
Sensor:	APS-C
Focal length:	56mm (85mm effective for APS-C and 112mm for MFT)
Max aperture:	f/1.4
Minimum focus:	19.7 inches / 50cm
Filter size:	55mm
Dimensions:	69 x 57.5mm (Canon RF – other mounts differ slightly)
Weight:	10.2oz / 290g (Canon RF – other mounts differ slightly)

Sigma 56mm F1.4 DC DN Contemporary: Price and availability

Available for most mirrorless camera lens mounts
Priced at around $450 / £420 / AU$650, depending on mount

Sigma offers the 56mm F1.4 DC DN Contemporary in L mount, Sony E mount, Fujifilm X mount, Micro Four Thirds mount, Nikon Z mount, Canon EF-M mount and Canon RF mount versions. Put simply, you can find a version of the lens for your crop-sensor mirrorless camera, without needing an adaptor.

How much the lens costs depends on the version you need. The Canon RF version, for example, costs $449 / £419 / AU$649, while the Sony E-mount version is a little cheaper.

Sigma 56mm F1.4 DC DN Contemporary: Design

Weighs around 10oz / 285g
Plastic barrel, no external buttons
Available for most mirrorless camera lens mounts

Lenses for APS-C cameras tend to be smaller than equivalent full-frame optics, and that's certainly true of the Sigma 56mm F1.4. It weighs just 10oz / 285g (the Canon RF version is a few grams heavier), and measures 57.5mm in length, whereas an 85mm f/1.4 lens for full-frame cameras would typically be double the weight and size.

Its diminutive dimensions and light weight make the Sigma lens a suitable match for the best beginner mirrorless cameras, and it's the dinkiest in the series of f/1.4 primes. I was testing it with the Canon EOS R100, which is Canon's smallest mirrorless camera with RF mount, and there was a really nice balance to the pair.

There's a nice feel to the lens too, thanks to its large rubberized focus ring that's easy to locate and smooth in action. The barrel is plastic rather than metal, but it feels solid enough. I didn't exactly thrash the lens around during testing and portrait shoots, but I can still appreciate its durability.

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Sigma 56mm F1.4 DC DN Contemporary lens in the hand, orange T-shirt background — (Image credit: Tim Coleman)

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Closeup of the Sigma 56mm F1.4 DC DN Contemporary lens front element — (Image credit: Tim Coleman)

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Closeup of the Sigma 56mm F1.4 DC DN Contemporary lens rear bayonet — (Image credit: Tim Coleman)

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Sigma 56mm F1.4 DC DN Contemporary lens in the hand with other Sigma lenses in the background — (Image credit: Tim Coleman)

The mount, on the other hand, is metal, and most versions feature a rubber seal for dust and moisture resistance (the exception is the Canon EF-M version). It's worth pointing out that Sigma makes the lens at its HQ in Aizu, Japan, with tight control over build and optical quality.

There are zero external buttons and switches on the lens; the sole manual control to hand is the focus ring. I was testing the lens with a beginner-level camera, which also lacks the kind of external controls found on pricier cameras. As such, I missed having quick access to a basic adjustment such as a manual / autofocus switch.

The lens comes with a generously-sized lens hood, and should you want to attach threaded filters you'll need 55mm ones. Such small filters are usually pretty low-cost.

Sigma 56mm F1.4 DC DN Contemporary: Performance

Smooth, rapid and precise autofocus
Maximum f/1.4 aperture for defocusing backgrounds
Minimum 19.7 inches / 50cm focus distance delivers 1:7.4 maximum magnification

Autofocus in the 56mm F1.4 lens is powered by a stepping motor, which drives the lightweight lens elements with ease for quiet, rapid and accurate focus. Focusing is internal too – which means the lens's exterior maintains its size.

The minimum focus distance is 19.7 inches / 50cm, which is pretty decent for an 85mm-equivalent lens, realizing a 1:74 maximum magnification. This is no macro lens, however; the closest you'll get to sharp focus is on details such as flower heads.

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Sigma 56mm lens on wooden surface in front of other Sigma F1.4 primes — (Image credit: Tim Coleman)

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The aperture range is f/1.4 to f/16, with a nine-blade rounded aperture. Naturally, I gravitated to the maximum aperture for portraiture, and I suspect that the majority of the photos I would take with the lens, should I own it myself (and I want to), would be at f/1.4.

At this aperture, backgrounds defocus nicely for head-and-shoulders portraits, as in the images below, in which you can also see what bokeh looks like – note the quality of the dappled light in the background. Bokeh is smooth and round in the center of the frame, although a little cats-eye-shaped in the corners.

On the same day that I shot those portraits, I also used Canon's own RF-S 55-210mm F5-7.1 IS STM lens for portraits and the difference in quality was clear – bokeh in the lower-end Canon lens has an ugly onion-ring effect, whereas the Sigma's is, as I've said, buttery smooth.

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Sigma 56mm F1.4 DC DN Contemporary image gallery: head-and-shoulders portrait of a man during first light, with dappled light through background foliage — (Image credit: Tim Coleman)

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Sigma 56mm F1.4 DC DN Contemporary image gallery: head and shoulder portrait of a man during first light, with dappled light through background foliage — (Image credit: Tim Coleman)

The lens construction comprises 10 elements in six groups, two of which are aspherical elements, plus one 'SLD' element. The result is ridiculously sharp detail, even at f/1.4, although for absolute peak sharpness any setting between f/2.8 to f/5.6 is on the money.

Like many Sigma lenses, the 56mm F1.4 utilizes in-camera digital correction to fine-tune images. I shot photos both in raw & JPEG, and checked the uncorrected images in Adobe Camera Raw, which supports the 56mm lens's profile for corrections. Switching lens corrections on and off allowed me to see how extreme any corrections are.

Lens distortions such as chromatic aberration and flare are all well controlled off the bat, and certainly nothing to worry about. There's notable pincushion distortion, and modest amounts of vignetting at f/1.4, but nothing that automatic lens corrections can't handle easily enough.

Image quality is excellent across the board, and the outstanding sharpness is even more impressive given the tiny dimensions of the lens.

Sigma 56mm F1.4 DC DN Contemporary sample gallery

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Sigma 56mm F1.4 DC DN Contemporary image gallery: a golden retriever dog sat at its owner's feet on a footpath during a cloudy day — (Image credit: Tim Coleman)

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Sigma 56mm F1.4 DC DN Contemporary image gallery: closeup of blades of grass in soft focus — (Image credit: Future)

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Sigma 56mm F1.4 DC DN Contemporary image gallery: birch tree in mist — (Image credit: Future)

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Sigma 56mm F1.4 DC DN Contemporary image gallery: young child, biking on a path during a sunny day — (Image credit: Tim Coleman)

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Sigma 56mm F1.4 DC DN Contemporary image gallery: an expansive view of hills and trees — (Image credit: Tim Coleman)

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Sigma 56mm F1.4 DC DN Contemporary image gallery: two ponies underneath a large tree in the countryside — (Image credit: Tim Coleman)

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Sigma 56mm F1.4 DC DN Contemporary image gallery: gravestone on hillside — (Image credit: Future)

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Sigma 56mm F1.4 DC DN Contemporary image gallery: vista of rolling hills on a cloudy day — (Image credit: Future)

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Sigma 56mm F1.4 DC DN Contemporary image gallery: sunstars through silhouetted trees — (Image credit: Future)

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Sigma 56mm F1.4 DC DN Contemporary image gallery: close up of grass blades, lens flare present — I took the lens hood off for this photo and shot towards the sun. At particular angles, this pronounced flare appeared. (Image credit: Future)

Should you buy the Sigma 56mm F1.4 DC DN Contemporary?

Buy it if...

You want a fast-aperture prime for portraits

The 85mm focal length, which is what this crop-sensor lens effectively offers on APS-C cameras, is widely appreciated by pro portrait photographers for it's flattering perspective. When coupled with the f/1.4 aperture, you can get defocused backgrounds and buttery smooth bokeh.

You're looking for a second lens to level up from your kit lens

Most crop-sensor cameras are available with a standard zoom lens with a modest maximum aperture. You'll get noticeably better portraits with this lens, and much sharper detail.

Don't buy it if...

You switch between manual and autofocus often

Sigma's DC DN Contemporary lenses for APS-C cameras are small, light and simple – possibly too simple for some. There are no external buttons or switches, such as an auto / manual focus control, which can make such adjustments slower.

You shoot wide

Keep in mind that the 56mm focal lens of this crop-sensor lens is effectively 85mm for APS-C and 112mm for MFT, which makes it a telephoto optic, and not one for wide perspectives.

Sigma 56mm F1.4 DC DN Contemporary lens attached to a Canon EOS R100, on a wooden surface with floral backrop — (Image credit: Tim Coleman)

How I tested the Sigma 56mm F1.4 DC DN Contemporary

Sigma loaned me the 56mm F1.4 DC DN Contemporary for a few weeks
I tested the lens at the same time as three of Sigma's other F1.4 primes
I had the Canon RF-mount version, and paired the lens with a Canon EOS R100

I had several weeks to put the Sigma 56mm F1.4 DC DN Contemporary lens through its paces, together with the three other lenses that make up Sigma's quartet of Contemporary primes for crop-sensor cameras: the 16mm F1.4, 23mm F1.4 and 30mm F1.4.

They are some of the few third-party lenses made for the Canon RF-mount, which is the version that I had, and I paired the lens with the entry-level Canon EOS R100.

Throughout my time testing the lens, I've set the camera to shoot in raw & JPEG simultaneously, with in-camera lens corrections turned off. Adobe Camera Raw's profile for the lens allowed me to directly check the extent of corrections that are applied.

I've mostly used the lens for portraiture, making use of its maximum f/1.4 aperture. I've also taken images in various scenarios and using various apertures, in order to check for lens distortions and check detail.

First reviewed June 2025

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