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

Insta360 X4 Air: two-minute review

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

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

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

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

The Insta360 X4 Air outdoors in a garden setting

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

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

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

Insta360 X4 Air specs

Insta360 X5 specs

Type:

360 camera

Sensor:

1/1.8-inch x 2

LCD:

2.5-inch touchscreen

Memory:

MicroSD

Dimensions:

45 x 112 x 25mm approx

Weight:

5.8oz / 165g

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The Insta360 X4 Air body

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

(Image credit: Future)
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The Insta360 X4 Air body

(Image credit: Future)

Insta360 X4 Air: Price and availability

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

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

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

  • Price score: 4.5/5

Insta360 X4 Air: Design

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

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

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

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

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Insta360 X4 Air

(Image credit: Future)

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

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Insta360 X4 Air

(Image credit: Future)
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Insta360 X4 Air

(Image credit: Future)

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

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

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

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

  • Design score:4.5/5

Insta360 X4 Air: Performance

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

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

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

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

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

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Insta360 X4 Air in a outdoor setting

(Image credit: Future)

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

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Insta360 X4 Air in a outdoor setting

(Image credit: Future)

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

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

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

  • Performance score: 4.5/5

Insta360 X4 Air: Image quality

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

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

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

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

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

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

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

  • Image quality score: 4.5/5

Insta360 X4 Air: testing scorecard

Insta360 X4 Air

Attributes

Notes

Rating

Price

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

4.5/5

Design

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

4.5/5

Performance

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

4.5/5

Image quality

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

4.5/5

Should I buy the Insta360 X4 Air?

Buy it if...

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

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

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

Don't buy it if...

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

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

Also consider

Insta360 X5

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

Read our in-depth Insta360 X5 review

DJI Osmo 360

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

Read our in-depth DJI Osmo 360 review

How I tested the Insta360 X5

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

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

  • First reviewed October 2025
I tested the divisive new Leica M EV1 – forget the haters, it’s the most usable Leica M camera yet
4:00 pm | October 23, 2025
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Comments: Off

Leica M EV1: two-minute review

The Leica M EV1 concept is polarizing: strip out the optical rangefinder that Leica M cameras have been famed for for over 70 years, and replace it with an electronic viewfinder (EVF).

You'd think the whole experience of taking photos with the M EV1 would be wildly different – but in fact, in many ways it isn't.

Technically speaking, the Leica M EV1 shares many similarities with the Leica M11 / M11-P and Leica Q3 / Q3 43) – all use Leica's 60MP full-frame sensor, which delivers the most detailed photos among full-frame cameras.

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

I can see the appeal for many Leica fans already in camp M EV1 – it has useful elements of Leica's Q series (minus autofocus, tilt screen and video recording), combined with the versatility of the Leica M mount and a wide choice of lenses. The best of both worlds, then.

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

The Leica M EV1 with Leica 35mm f1.4 Summilux-M Asph lens attached (Image credit: Tim Coleman)

On the plus side, the EVF offers focus peaking, which is an extremely useful visual aid for manual focusing; trust me, it will increase your percentage of sharp shots compared to being guided by Leica's optical rangefinder, at least when you're manually focusing in the moment, rather than sticking to a set focus distance as some street photographers do.

Build-wise, there's greater similarity with the M11 – not just the M mount and interchangeable lenses, but also the control layout and fixed rear screen, although I'd rather have more Q3 attributes in the design.

For me, the Q3’s tilt screen is super-useful – I generally find myself switching between the viewfinder and rear screen, and I enjoy waist-level shooting for street photography, for which a tilt screen is hugely useful.

That meant I used the 5.76m-dot viewfinder more often with the EV1, and thankfully it works a treat. Rangefinder-style cameras like the EV1 are fairly inconspicuous too, making them ideal for street photography.

Rear of the Leica M EV1 camera, on a wooden table with glass-panelled door backdrop

The EVF has a slightly different profile to the optical rangefinder in other Leica M cameras, but the 2.95-inch fixed screen is the same as the M11's (Image credit: Tim Coleman)

All that said, as a package the M EV1 makes less sense. Sure, it costs less than the M11, but it costs more than the Q3, which is much more camera, with its built-in lens, autofocus, tilt screen and video recording. It's a natural comparison when you take the optical rangefinder out of the equation.

The M EV1 makes sense in some ways, especially if you already own multiple Leica lenses, but if you're starting out, or generally shoot with one or two lenses, it doesn't.

Beyond such considerations, though, I have to go with my gut, having used the camera extensively with the Leica 35mm f1.4 Summilux-M Asph lens for a week. I thoroughly enjoyed the experience. Yes, it feels slightly less organic than the M11, but if you don't mind an EVF then the EV1 feels like the new Leica M camera to go for.

Leica M EV1 camera in user's hands, autumn leaf backdrop

The M EV1 is a compact and discreet rangefinder-style camera, making it ideal for reportage photography. (Image credit: Tim Coleman)

Leica M EV1: price and release date

  • Costs $8,995 / £6,840 (Australia price TBC) for the body only
  • Additional leatherette hand grip costs $460 / £340
  • Available from October 23, 2025

Price-wise, the Leica M EV1 sits in between the Leica M11 and Leica Q3, which makes sense because an EVF is cheaper to manufacture than an optical rangefinder.

Ultimately, the EV1's list price makes the Q3 / Q3 43 feel like much better value, especially if you're not going to be swapping lenses a lot. The Q3 is much the same camera, for less, with additional features – and you get a built-in lens.

With the EV1, you're paying for the luxury of being able to swap lenses, and every Leica lens costs in the thousands.

Personally, if I had a spare $14,000 / £12,000 for Leica camera gear, I'd rather pick up both the Leica Q3 and Leica Q3 43 over the EV1 with a lens such as the 35mm f/1.4 Summilux, which together cost the same as two Q3s.

Leica M EV1 camera in user's hands

There's no grip on the M EV1, but an additional leatherette hand grip is available separately (Image credit: Tim Coleman)

Leica M EV1: specs

Video

N/A

Photo

60MP full-frame

Lens mount

Leica M

Autofocus

N/A – manual focus only

Screen

2.95-inch fixed touchscreen, 2.3m-dot

Viewfinder

5.76m-dot EVF

Weight

17oz / 484g (body, including battery)

Battery

244 shots (Leica BP-SCL7)

Leica M EV1: Design

  • Compact rangefinder design
  • 5.76m-dot EVF instead of an optical rangefinder
  • Modest-size 2.95-inch fixed touchscreen
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Leica M EV1 camera on a wooden table with glass-panelled door backdrop, no lens attached

Yes it's a Leica M... without the rangefinder! (Image credit: Tim Coleman)
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Leica M EV1 camera on a wooden table with glass-panelled door backdrop

There's that 35mm f/1.4 Summilux lens attached (Image credit: Tim Coleman)
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Rear screen of the Leica M EV1 camera on a wooden table with glass-panelled door backdrop

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

There's no ISO dial, which you'll find in the top left of Leica M11 cameras (Image credit: Tim Coleman)
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Underside of the Leica M EV1 camera, on a wooden table with glass-panelled door backdrop

There's USB-C charging for the 1,900mAh capacity battery (Image credit: Tim Coleman)
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Right side profile of the Leica M EV1 camera

The right side of the camera (Image credit: Tim Coleman)
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Left side profile of the Leica M EV1 camera

The left side of the camera – there's no connections whatsoever (Image credit: Tim Coleman)

The obvious place to start when talking about the M EV1's design is its viewfinder, which is the same 5.76m-dot EVF found in the Leica Q3. It's also placed in the corner of the camera where the rangefinder traditionally sits, easily accessed with your right eye.

I was shooting with Leica's 35mm f/1.4 Summilux lens for this test, often wide open at f/1.4 where depth of field is really shallow, and getting sharp manual focus is historically a challenge with Leica M cameras. This changes somewhat with the M EV1.

Focus peaking is indeed supremely helpful for this manual focus-only camera, outlining the hard edges of your subject that's in focus – I had the camera set to red focus peaking, which in general is the color most easily seen.

Focus magnification gives you a closer look too, making it much easier to make fine adjustments. My ratio of in-focus shots has been much higher using the M EV1 than I would expect with a camera like the M11.

Leica M EV1 sample gallery: two people walking under an umbrella in London

Even with an EVF, a manual focus-only camera will keep you on your toes. Here my reactions weren't up to speed – a mirrorless camera with subject detection autofocus would have nailed this photo (Image credit: Tim Coleman)

As a rangefinder-style camera, the EV1 is really compact, plus the shutter action is dampened for minimal vibration and noise, making for discreet picture taking.

The 2.95-inch rear screen feels a little on the small side, and being fixed it's less useful that a moveable screen, say a tilt or vari-angle type. The quality and feel of the display is top-drawer, though – with 2.3m dots it's packed with detail, and touch response feels smooth.

With the screen being less useful than I would like – I prefer the Q3's tilt screen – I leaned more into using the viewfinder, which is a lovely experience, even if traditionalists will turn their nose up at such a digital display.

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

(Image credit: Tim Coleman)
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Closeup of the Leica M EV1 camera's viewfinder

(Image credit: Tim Coleman)
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Close up of the Leica M EV1 camera's rear buttons

(Image credit: Tim Coleman)
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Close up of the Leica M EV1 camera's control dial

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

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

(Image credit: Tim Coleman)

Like all high-end Leica M cameras, the EV1 is made in Germany and the body is fully metal – both aluminum and magnesium, with a leatherette finish. This is a classy bit of gear.

The style, profile and control layout of the EV1 are largely familiar – this feels like an M11, save for the omission of an ISO dial (which is a real shame) and of course that new type of viewfinder. I'm a fan of minimalist design, and thoroughly enjoyed shooting with the EV1.

Leica M EV1: Performance

  • Same 60MP sensor as the M11 and Q3, with digital crops
  • Manual focus only
  • No video recording

If you want a detail-rich full-frame camera there are none better than those that use this 60MP sensor, as Leica's current crop of M cameras do, along with the Sony A7R V.

Leica offers two digital crop modes: 1.3x and 1.8x, with a reduced 36MP and 18MP resolution respectively. With the 35mm lens, those crops give a perspective equivalent to 45mm and 63mm lenses.

Burst-shooting top speeds are a modest 4.5fps. The buffer memory is rated to 3GB, which means you can shoot 15 full-size raw files or 100 JPEGs at that top speed before the camera slows up, assuming you're using a high-speed UHS-II SD card.

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Leica M EV1 sample gallery: busy Oxford Circus underground station entrance

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: busy Oxford Circus underground station entrance

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: street scene in London reflected in a puddle

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: inside a Joe the Juice cafe

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: outside a London pub at dusk

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: two red phone boxes in London

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: wait sign illuminated in London street

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: man leaning against pedestrian crossing wait light

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: noodle restaurant window

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: Regent Street Cineman London at dusk

(Image credit: Tim Coleman)

The ISO sensitivity range starts at ISO 64 and tops out at ISO 50,000, so images taken in good light with the base ISO are particularly clean and crisp.

Leica uses the widely adopted DNG raw format, with a 14-bit output and a limited number of color profiles to choose from – I mainly stuck to standard profile, and made color edits to raw files afterwards.

Sticking with the Leica M ethos, the EV1 doesn't shoot video at all. For video recording with a Leica, you'll need to look to the Leica Q series.

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Leica M EV1 sample gallery: close up of heather

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: mushrooms growing out of a fallen tree

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: portrait of main with autumn trees. in background

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: young girl gazing towards forest

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: M&M candy being passed around

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: large mushroom growing out of a dead tree

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: autumnal forest

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: girl giving grass to a horse

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: close up of a horses's mane

(Image credit: Tim Coleman)
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Leica M EV1 sample gallery: man partly in shade and light by window

(Image credit: Tim Coleman)

Following the Leica M11-P, the EV1 is equipped with content credentials, which is the most widely adopted industry standard for authenticating the origin of digital images. It does so through a secure digital label, holding details such as names, dates, and any edits made to an image’s metadata.

GPS geotagging data can also be added to images via the Leica Fotos app, which is available on the Apple store and Google Play store for iPhone and Android devices. It's also possible to wirelessly transfer images to your device from the M EV1 through the app, as well as remotely control the camera.

At the time of writing the EV1 isn't registered on the app as I've been using it prelaunch, but I have plenty of experience with the app, such as with the screen-less M11-D, and it's one of the more reliable and pain-free app experiences from leading camera brands.

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

(Image credit: Tim Coleman)
Image 2 of 2

Close up of the Leica M EV1 camera's battery door, battery removed and placed next to the camera

(Image credit: Tim Coleman)

Battery life, I must say, is pretty poor by today's standards, rated up to 244 shots. It's little wonder given that the camera uses Leica's BP-SCL7 battery with its modest 1,800mAh capacity.

Still, the M EV1 isn't the kind of high-speed photography and video-making heavyweight with which users would quickly drain a battery. The photography process here is slow and considered, and as such I typically got through a whole day without needing to charge the battery (which is done via the USB-C port on the underside of the camera).

Leica M EV1: also consider

Leica Q3

If you're considering the M EV1, then you're probably already okay with using an EVF. And unless you already have a bunch of pricey Leica lenses, the Q3 and / or Q3 43 premium compacts feel like a wiser pick overall – you get the same 60MP sensor but also a built-in lens, the ability to switch to autofocus, a versatile tilt screen, and video recording. Oh, and both Q3 models cost much less.

See my Leica Q3 reviewView Deal

Leica M11

Design-wise there are two key differences between the M11 and M EV1; the viewfinder type – the M11 has an optical rangefinder, while the M EV1 has a 5.76m-dot electronic viewfinder – and the M11 features a handy ISO dial that's missing on the EV1. Besides that, the user experience and image quality are effectively the same. The EV1 costs less than the M11, though.

See our Leica M11 reviewView Deal

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

(Image credit: Tim Coleman)

How I tested the Leica M EV1

  • Leica loaned me the M EV1 for a week ahead of its launch
  • I had one lens to test it with – the Leica 35mm f1.4 Summilux-M Asph
  • I've used the M EV1 as an everyday camera, documenting the world around me

My experience with the Leica M EV1 was wonderfully simple. I had it close to hand for a whole week ahead of the global announcement, with the Leica 35mm f1.4 Summilux-M Asph lens attached to it the whole time.

I'm a fan of this lens for reportage photography, and naturally found myself documenting the world around me, mostly making use of the EVF and focus peaking to manually focus.

Of course, there's a decent range of Leica M lenses to choose from, making the most of the M EV1's design advantages over the Leica Q3 premium compact with its fixed lens.

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

Fujifilm X-T30 III: two-minute review

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

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

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

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

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

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

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

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

Fujifilm X-T30 III camera in photographer's hands

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

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

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

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

Fujifilm X-T30 III camera on a glass table

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

Fujifilm X-T30 III: price and release date

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

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

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

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

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

Fujifilm X-T30 III: specs

Video

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

Photo

26MP APS-C

Lens mount

Fujifilm X

Autofocus

Intelligent hybrid phase / contrast

Cont shooting

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

Screen

3-inch, 1.62m-dot tilt touchscreen

Viewfinder

2.36m-dot

Weight

13.3oz / 378g (incl battery and card)

Battery

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

Fujifilm X-T30 III: Design

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

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

Just like the X-T30 II before it, the new model makes a great travel camera. The retractable design of the 13-33mm lens gives it almost pancake optic proportions, and shooting around the busy city streets of Rome, the setup drew very little attention. Conversely, when I switched to its X-series sibling, the Fujifilm X-H2S, while not exactly a massive camera, got glances from passersby, especially at the major landmarks, where candid street photography can seem almost impossible. Even the X-T5 seems heavyweight by comparison.

Happily, this doesn’t have a negative impact on the handling experience, and I was still able to reach all of the buttons and controls with my thumbs, while my index finger remained on the shutter release. If you’ve used previous iterations of the camera, or indeed other enthusiast-level Fujifilm X-Series cameras, you should fall right into step with the layout.

Fujifilm X-T30 III camera on a glass table
Tim Coleman / Gareth Bevan
Fujifilm X-T30 III camera with pop-up flash out, on a glass table
Tim Coleman / Gareth Bevan
Tilt screen of the Fujifilm X-T30 III camera pulled out, on a glass table
Tim Coleman / Gareth Bevan
Close up of the Fujifilm X-T30 III camera's viewfinder
Tim Coleman / Gareth Bevan
Top of the Fujifilm X-T30 III camera on a glass table
Tim Coleman / Gareth Bevan

The pronounced thumb rest gives a decent grip, and I happily (and securely) held the camera with one hand in both horizontal and vertical formats. I was concerned about the balance I might find when using the wide-aperture primes I’d packed to accompany me on my shoot, namely the Fujinon XF 56mm F1.2 R WR, which is on the bulky side. I needn’t have worried though, as even after several long days of shooting, the setup didn’t seem unduly imbalanced.

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

One element I’m happy Fujifilm retained from previous models is the pressable control wheels. It’s a smart and sensible application of dual control – you can scroll through a menu and then select the desired item by pressing the wheel. It’s actually something I’ve wished more manufacturers would introduce as I’ve always enjoyed this underrated character of the X-series.

Side of the Fujifilm X-T30 III camera on a glass table, port doors open
Tim Coleman / Gareth Bevan
Fujifilm X-T30 III camera on a glass table, battery removed
Tim Coleman / Gareth Bevan
Underside of the Fujifilm X-T30 III camera on a glass table
Tim Coleman / Gareth Bevan
Fujifilm X-T30 III camera on a glass table
Tim Coleman / Gareth Bevan
Close up of the Fujifilm X-T30 III camera's thumbgrip
Tim Coleman / Gareth Bevan
Rear of the Fujifilm X-T30 III camera on a glass table
Tim Coleman / Gareth Bevan

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

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

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

Now, let’s talk about that new Film Simulation dial, which brings the camera in line with Fujifilm’s latest generation of cameras, including the X-T50. It replaces the mode dial which occupied the same space at the left side of the top plate, and now offers direct access to Fuji’s range of film simulations. While I can see the appeal if you regularly like to experiment with color profiles, and bearing in mind that film styles are something of a speciality of Fujfilm cameras, it’s more of a downgrade for advanced photographers.

Shots taken in Rome, Italy using the Fujifilm X-T30 III mirrorless camera

(Image credit: Peter Fenech)

Personally, I switch exposure mode more often than color profiles, so I'm a bigger fan of the shooting mode dial which is sacrificed. Since I also shoot RAW all of the time, anything I might select using this dial is rendered pointless in the captured image unless I reapply the style in Lightroom – an extra step reintroduced, only later in the production process.

The styles are lovely, and I wonder if Fujifilm created a physical control for them in an effort to make them feel like more of a genuine photographic tool than a gimmick, but I fear it may have had the inverse effect. The dial now becomes the defining feature of the X-T30 III.

There is also a secondary impact on the practical use of the camera body. Inexplicably, once I got started using the X-T30 III, I couldn’t seem to work out how to place it in aperture priority mode, which is my default exposure setting. I test a lot of cameras, so this was an unsettling predicament.

I always like to think I’ve done some reasonable homework on a camera before setting off on a trip with it, but here I was in the darkened streets of the Italian capital at midnight, in the shadow of St Peter’s Basilica, unable to find Av mode. I can’t say that’s ever happened before, at least not since my first week of taking photos. Notably, this was never a problem with the X-T30, X-T30 II, nor any other Fujifilm camera. The addition of the film sim dial is my only culprit.

Shots taken in Rome, Italy using the Fujifilm X-T30 III mirrorless camera
The Astia, Acros, and Velvia film simulationsPeter Fenech
Shots taken in Rome, Italy using the Fujifilm X-T30 III mirrorless camera
Peter Fenech
Shots taken in Rome, Italy using the Fujifilm X-T30 III mirrorless camera
Peter Fenech

Until I got my bearings, I resorted to the new auto mode instead which selects shutter speed and aperture based on the scene. The X-T30 III certainly feels designed for beginners.

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

Speaking of which, the lightweight design does come with a few compromises. The build quality is a little plasticky, especially coming from a higher-end body like the X-T5. It didn’t especially bother me, considering how much I appreciated the camera’s low weight, but it isn’t a model with which I’d like to find myself stranded outside in a rainstorm.

Fujifilm X-T30 III: Performance

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

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

I didn’t count the individual frames, but even in RAW mode, the camera felt snappy and punched above its weight with regard to speed. I was able to shoot extended bursts of images, or several sequences in close succession, without the X Processor 5 notably struggling to clear the buffer before I triggered the shutter again.

Fujifilm also says battery life is improved by 10% thanks to the new processor, for up to 425 shots, and across a four-day trip, the two NP-W126S battery packs I had with me were more than enough. Of course, in more extreme temperature conditions, or if I had been exclusively shooting video, it might be a different story. It’s certainly a respectable battery life for a camera at this level, though.

Autofocus receives a boost, too, with Fujifilm's latest subject detection on board, which in addition to people can track animals, birds, cars, insects and more. I was very impressed by the speed with which the camera could snap between close and distant subjects. It also wasn’t easily fooled by tourists and traffic moving between the lens and my intended focal point.

It clearly isn’t a match for the advanced Dual Pixel CMOS AF system found in Canon cameras like the EOS R5 Mark II or EOS R6 Mark III, or even the comparably priced EOS R10, but it’s perfect for everyday photographic needs.

Shots taken in Rome, Italy using the Fujifilm X-T30 III mirrorless camera
Peter Fenech
Shots taken in Rome, Italy using the Fujifilm X-T30 III mirrorless camera
Peter Fenech
Shots taken in Rome, Italy using the Fujifilm X-T30 III mirrorless camera
Peter Fenech
Shots taken in Rome, Italy using the Fujifilm X-T30 III mirrorless camera
Peter Fenech

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

Given the ultra-lightweight nature of the body, I did find getting sharp images at even moderate shutter speeds a challenge, and I always consider myself to have a steady hand. Perhaps I have been spoiled by seven and eight-stop IBIS systems, but I definitely missed it here. Given the limited aperture range of the kit lens, the optical IS within it struggled to have a meaningful effect once the sun dipped below the horizon.

Fujifilm X-T30 III: image quality

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

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

It’s important not to get too caught up in pixel-counting and the X-T30 III is able to deliver exceptional levels of detail. Shooting in RAW, at base ISO and with a high-quality professional prime lens, the results are exemplary.

This is maintained up to around ISO800, where resolution starts to drop off. By around ISO6400, files have taken on a mushier appearance, and noise is most definitely present. It’s not as good a low-light performance as I’ve seen in some other high-end APS-C cameras, like the Nikon Z fc or Canon EOS R7, but given the target audience and price point, it’s not awful. In fact, up to around ISO4000 the fine grain is actually quite attractive, especially in black and white shots where it lends an almost filmic look.

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

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

An area where the camera really excels is in its auto white balance system, which is superbly accurate. Combined with Fuji’s renowned color science, the X-T30 III is able to render beautifully naturalistic tones. This was one of my favorite aspects of the original X-T30 (also reviewed in Rome, coincidentally) and revisiting the same locations, I was happy to see the trend had been maintained in its younger sibling.

Video quality is excellent, too – 6.2K video and 4:2:2 10-bit color depth is excellent at this price point, even if in-body image stabilization is missing. The footage looks great straight out of camera, ready to share on socials. It’s a shame the LCD doesn't flip or rotate through 180 degrees, as overall the X-T30 III would make an ideal vlogging camera, but it’s still versatile enough for casual videography or B-roll capture.

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

I was especially keen to examine the performance of the new 13-33mm lens. This detail matters because most people will buy the camera with the new kit lens, which will spend most of the time on the camera.

As far as kit lenses go, it’s not bad at all and is capable of resolving a reasonable amount of overall detail. Impressively, sharpness is quite consistent across the frame, right out to the edges, even at 13mm. I’ll admit that I wasn’t expecting this and goes to show how far kit optics have come over the past couple of decades. This one is clearly designed to match the quality of the 26MP sensor, which it does admirably.

Don’t expect prime-level quality, but contrast and resolution are good enough for most shooting circumstances.

Fujifilm X-T30 III: testing scorecard

Fujifilm X-T30 III

Attributes

Notes

Rating

Price

The cost is accessible to enthusiasts but you can find more spec for your money elsewhere

4/5

Design

Classically Fujifilm, the retro layout is a joy to use, although the build quality is quite plasticky for the price

4/5

Performance

The lack of IBIS is a problem, but autofocus and speed are up there with the best in class

4.5/5

Image and video quality

The X-T30 III is capable of outstanding images in good light, although it lags behind the competition at higher sensitivities

4/5

Should I buy the Fujifilm X-T30 III?

Buy it if...

You want a super-portable retro camera
Only the X100VI is smaller in the Fujifilm family, but the X-T30 III provides access to the full range of XF interchangeable lenses. The body is almost small enough to fit into a jacket pocket, but expands any existing X-Series ecosystem.

You need speed over absolute image quality
The X-T30 III is a rapid-shooting performer that is also quick to start up. Meanwhile, its fast AF system makes it ideal for street photography and as a backup for wildlife and sports.

You're looking for your first X-Series camera
The X-T30 III is a perfect introduction to the Fujifilm system. It's uncomplicated (mode selection quirks notwithstanding) and the 13-33mm kit lens will cover most of your bases.

Don't buy it if...

You already own the X-T30 II
....or even the original X-T30, perhaps. There isn't really enough of an upgrade here to justify replacing your existing camera. You'd be better off investing in a higher-end model like the X-T5 if you want more features.

You own many heavyweight lenses
While the camera still works well alongside heavier standard primes, telephoto lenses like the XF50-140mm f/2.8 R LM OIS WR or XF 100-400mm f/4.5-5.6 R LM OIS WR will feel greatly unbalanced when mounted to the X-T30 III.

You need to print large format
The 26MP sensor is a little conservative by 2026 standards, and you can find much higher-res cameras for similar money. Equally, while 4K video is available, cameras like the X-H line and single-digit X-T families offer superior quality footage, for larger displays.

Fujifilm X-T30 III: also consider

Nikon Z50 II

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

See my Nikon Z50 II reviewView Deal

Fujifilm X-M5

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

See our Fujifilm X-M5 reviewView Deal

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

(Image credit: Tim Coleman / Gareth Bevan)

How I tested the Fujifilm X-T30 III

  • I spent time in both London and Rome, testing the camera in a range of lighting conditions
  • I used the camera for several days, shooting multiple subjects from street photography to interiors and cityscapes
  • I paired the camera with both the 13-33mm kit lens and a professional 56mm prime lens

I took the X-T30 III with me on a multi-day trip to Italy, where I knew I’d be shooting a range of subjects across a spectrum of challenging lighting conditions, inside and out. I made a point of shooting the camera as it would normally be used in practise, but also performed a standard regimen of technical tests.

To assess noise performance, I mounted the camera on a stable support, set Av mode (when I figured out how) and then shot a frame at each ISO setting, from the lowest to the highest. I also kept the camera in automatic white balance mode for the duration of the shoot, but also shot reference images with a custom WB or another preset where I felt it appropriate, so I could compare the camera's color decisions to my own preferences.

I took an X-H2S body along for the ride too, which made a good control camera for quality reference.

I used both the viewfinder and main LCD for composition throughout, and worked with the camera in both auto and manual focus modes at various points. Due to the nature of many of the locations in which I was shooting, I didn’t have much opportunity to thoroughly use the built-in flash – flash photography wasn’t permitted in most of the interior spots.

I used the 13-33mm kit lens extensively, but also switched to the XF56mm F1.2 R WR to see how much the cheaper optic may be limiting the maximum possible performance from the sensor and processor. All images were shot in RAW format and converted in the latest version of Adobe Lightroom, where no noise reduction or sharpening has been applied to the sample shots seen here.

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

Once Upon photo book review

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

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

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

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

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

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

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

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

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

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

(Image credit: Future)

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

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

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

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

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

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

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

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

(Image credit: Future)

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

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

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

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

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

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

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

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

(Image credit: Future)

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

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

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

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

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

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

(Image credit: Future)

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

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

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

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

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

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

(Image credit: Future)

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

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

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

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

(Image credit: Future)

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

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

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

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

(Image credit: Future)

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

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

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

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

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

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

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

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

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

(Image credit: Future)

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

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

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

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

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

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

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

Should I buy the Once Upon photo book?

Ease of use

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

5 / 5

Editing tools

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

2 / 5

Print quality

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

4.5 / 5

Value

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

4 / 5

Buy it if…

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

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

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

Don't buy it if…

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

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

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

Once Upon photo book review: also consider

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

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

How I tested the Once Upon photo book

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

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

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

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

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

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

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

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

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

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Freewell Real Locking VND/CPL Mega Kit

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

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

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

(Image credit: James Abbott)

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

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

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

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Freewell Real Locking VND/CPL Mega Kit

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

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

(Image credit: James Abbott)

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

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

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

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

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Freewell Real Locking VND/CPL Mega Kit filter example photo

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

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

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

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

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

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

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

Polarizer at full strength (Image credit: James Abbott)

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

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

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

Freewell Real Locking VND/CPL Mega Kit: key specs

Filter slots

Stackable

Adaptor rings

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

Polarizing filter

Built into VND

Case included

Yes

Lens cap

Yes

Freewell Real Locking VND/CPL Mega Kit price and availability

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

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

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

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

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

(Image credit: James Abbott)

Buy it if...

You require convenience

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

You’d like portability

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

Don't buy it if...

You need ND grads

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

You only need a VND

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

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

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

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

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

First reviewed October 2025

I tested the Kiwibit Beako Smart Bird Feeder camera, and it’s a polished first effort with reliable AI bird detection skills
3:00 pm | October 9, 2025
Author: admin | Category: Cameras Computers Gadgets | Tags: | Comments: Off

Kiwibit Beako Smart Bird Feeder: one-minute review

The Kiwibit Beako Smart Bird Feeder features many of the characteristics that we have come to expect as standard in our Best Bird Feeder Cameras guide. The Beako arrives as a well-thought-out package that requires minimal assembly. Installation proved straightforward, taking just a few minutes to assemble and mount to a tree using the included strap. Wall and pole mounts were also included – I was ready to connect the camera to the Kiwibit app in under five minutes.

The standout feature is the 4K camera - the first bird feeder camera we have reviewed with the feature, and crucially, this resolution is available without requiring a premium subscription. The difference in image quality is noticeable when there's good light on your feathered visitors, with small details like feather patterns and eye markings coming through. However, there is a catch: the minimum focus distance of the lens seems to be at the very edge of the perch, so the birds aren't always in the focus plane to capture the detail that the 4K sensor is capable of. Also, the sensor is still relatively small, so decent lighting conditions are still needed to get the best images.

The design is thoughtful, with a seed hopper that's genuinely clever in execution. The removable hopper makes filling and cleaning simple, and the adjustable flow control prevents seeds from pouring out should the feeder be shaken by a larger bird or squirrel. The seed tray is also removable, making maintenance and cleaning straightforward; however, it could be slightly deeper to prevent seeds from spilling over when squirrels come to visit.

Screens from the Kiwibit app

(Image credit: Future)

Bird identification is impressively accurate, with around nine out of ten identifications being spot on in my experience – the Beako's makers claim it can to detect up to 10,000 species. The AI features come with the more expensive Chestnut Brown roof model or can be added for £3.99 per month.

The Kiwibit app feels familiar and easy to use, featuring responsive notifications, calendar views, and the ability to share images, videos, and access to the camera with friends and family. The Beako includes free 1-day cloud storage, with more extended storage requiring a Kiwibit Plus subscription or a microSD card.

Battery life is excellent, lasting around a week or so between charges during my tests. The battery can be easily inserted and removed from a hatch at the bottom of the camera unit, there's built-in USB-C charging, plus an included solar panel, which if positioned correctly, should mean that you don't need to charge at all. After several months of testing, the feeder still looks like new and has withstood the weather and squirrel attention well.

The alarm feature, designed to deter squirrels, proved completely ineffective in my testing - the squirrels quickly became accustomed to it and continued their behaviour regardless. This is common across all bird feeder cameras I've tested, and I have yet to find one that works even 50% of the time, so it's not a Beako-specific issue. The automatic use of the alarm feature is only available with the Plus subscription anyway.

Both the Forest Green and Chestnut Brown color schemes look natural outdoors, although bolder color options would be welcome for those wanting to make the feeder a more prominent feature.

Overall, the Kiwibit Beako stands out as one of the best smart bird feeders available, with 4K footage without subscription fees, thoughtful design touches, and solid build quality. However, despite the 4K resolution, the image quality isn't significantly different from that of HD models due to the camera's focus distance. At $169 for the non-AI version, it represents fantastic value for anyone seeking high-quality bird footage. The AI-enabled model or subscription adds features that bird enthusiasts will appreciate.

Kiwibit Beako Smart Bird Feeder: price and availability

  • Available now for $269 with AI recognition or $249 without AI – look out for discounts
  • Available at Amazon US and Kiwibit.com
  • Kiwibit Plus subscription (£3.99/month or £9.99/month for unlimited devices) unlocks extended features

The Kiwibit Beako Smart Bird Feeder is currently only available in the US from Kiwibit.com and Amazon US – I will update this review should it land in the UK and / or Australia. It comes at two price points: the Chestnut Brown roof version costs $269 and includes AI bird identification, while the Forest Green roof version costs $249 without AI by default, although the AI feature can be activated. At the time of writing, the Beako is on sale for $239 and $169 respectively at the Kiwibit website.

I tested the Forest Green model with AI added. The feeder comes with a wall mount bracket, a strap, and a pole mount in the box.

The optional Kiwibit Plus subscription (£3.99/month, or £9.99/month for multiple feeders) unlocks 60-day cloud storage, smart notifications identifying bird species, custom alert zones, up to 3-minute recording time, and the squirrel alarm. Without a subscription, you receive free 1-day cloud storage and can utilise a microSD card for local storage. To get the most out of the feeder, the £3.99 monthly subscription is worthwhile if you're serious about bird watching, but the standard version with an SD card is sufficient for casual use.

Kiwibit Beako Smart Bird Feeder: specs

Bird Buddy Smart Bird Feeder Pro specs

Sensor

Unknown

Photo

8MP - 130 degree FOV

Video

4K

Memory

Micro SD or online via subscription

Dimensions

222mm(W) x 280mm(H) x 181mm(D)

Weight

1,450g

Battery

5,200 mAh rechargeable lithium ion

Kiwibit Beako Smart Bird Feeder: design

  • Compact all-in-one design with dual seed hopper (1.5L capacity)
  • Removable battery and built-in USB-C charging
  • Green color blends well with natural surroundings, multiple mounting options included

Setting up the Kiwibit Beako Smart Bird Feeder was straightforward. The instructions are clear, and the whole process - from unpacking to having the feeder mounted and paired with my phone - took less than ten minutes. The app setup follows a familiar pattern similar to that of other smart home devices, so if you've installed a video doorbell or security camera before, you'll feel right at home.

The feeder comes with multiple mounting options in the box - a strap for trees, a wall mount bracket, and a pole mount bracket that allows the feeder to sit on top of a post. This flexibility is welcome, as it means you can position the feeder wherever works best for your garden layout and Wi-Fi coverage. I used the wall mount bracket with the strap to secure it to a tree, which worked perfectly.

The green color is attractive and blends well with the garden surroundings, and the Chestnut Brown roof on the AI-enabled model also looks natural. Both color schemes work well outdoors, though some additional bolder color options would be welcome for those wanting to mount the feeder on a wall or make it a more feature piece.

The feeder itself is made from sturdy plastic and for my tests has weathered several months outdoors without any visible deterioration. The Beako was positioned about 15 metres from my Wi-Fi router with a clear line of sight through a window, and connectivity has been solid throughout.

The seed hopper is one of the Beako's best design features. The removable hopper makes filling and cleaning straightforward, and the adjustable flow control is a particularly neat touch, allowing you to control how quickly the seed dispenses into the tray. This has been genuinely useful for managing seed waste, especially when squirrels are raiding the feeder.

The seed tray is also removable, making cleaning simple without needing to take the feeder down or awkwardly clean it in situ. This is a thoughtful design detail that makes regular maintenance much easier. However, my only criticism is that the seed tray itself could be slightly deeper, as it would help contain seeds better when squirrels are moving around; it would prevent quite so much spillage over the edge.

The included perch is necessary for most garden birds, and those that have visited have appeared to be comfortable using it. However, I think both this and similar feeders would benefit from a slightly larger perch positioned a bit further from the tray, which would allow larger birds to be completely in focus when the camera captures them.

A photo of the contents of the Kiwibit Beako Bird feeder package

(Image credit: Future)

One of the cleverest design features is the removable battery. Rather than having to take down the entire camera unit for charging, there's a hatch at the bottom of the feeder that allows you to simply pop out the battery. This is far more convenient than systems that require the camera to be removed entirely.

Access to the charging port and SD card slot is well thought out, too, with a silicone cover to maintain the IP65 weather resistance. The solar panel connects easily and, with proper positioning, it provides enough trickle charge even on cloudy days, so you shouldn't need to remove the battery for charging at all.

If you've followed my previous bird feeder reviews, such as the Bird Buddy, you'll know I have ongoing squirrel issues. The Beako includes an alarm feature that can be set to activate automatically when squirrels are detected, but I found it completely ineffective as a deterrent. The squirrels quickly got used to the noise and realised it was just that - noise - with no actual consequences. Given how frequently they visited, I turned the alarm off as it would have started to annoy my neighbours or anyone enjoying their garden nearby, and it also obviously decreases battery life. This isn't solely a Beako issue, but is common to all feeders I've tested that include audible deterrents. The good news is that the housing itself has held up remarkably well despite being scratched and tested by persistent squirrels over several months.

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Close-up of the removable seed caddy from the Kiwibit Beako

(Image credit: Future)
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The Kiwibit Beako strapped to a tree

(Image credit: Future)
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Close up photo of seed tray of the Kiwibit Beako

(Image credit: Future)

Kiwibit Beako Smart Bird Feeder: performance

  • 4K video quality could be improved with a larger perch
  • 8MP photos are heavily cropped
  • Impressively accurate bird detection

The image quality from the 4K camera should in theory be better than that of the competition, most of which is limited to lower resolution 1080p. That extra detail is particularly noticeable in the background of the video, especially in good lighting conditions. However, it is limited by the minimum focus distance of the lens, which means that any bird closer than the furthest rung of the perch will be slightly out of focus.

There is also some chromatic aberration visible around high-contrast edges in bright sunshine. When birds are in focus and well-lit, the video is of good quality. However, depending on how you view your image, you may not notice much difference compared to an HD camera.

However, it is important to establish realistic expectations. The camera sensor is still relatively small, comparable to that of a smartphone camera, so good lighting remains necessary for optimal results. As light levels drop around dawn and dusk, shadow detail fades away and image quality deteriorates. However, this is common for cameras of this size and type rather than a specific failing of the Beako.

For those who want to make the most of 4K resolution, you can view images on larger screens thanks to the Micro SD card and the ability to connect to Alexa for viewing on a television.

Still images of the birds from the app are cropped to show just the bird in the picture, which means they are far short of the maximum 8MP quality. This is where a portrait-oriented camera comes into play, and why some of the best quality bird images has come from the BirdBuddy Smart Birdfeeder Pro.

The bird identification AI is impressively accurate. Based on my testing, I estimate that around nine out of ten identifications are correct, with the system recognizing up to 10,000 different bird species. There's a helpful link to Wikipedia summaries for each detected bird, and you can track visit frequencies with a calendar view. Images and videos can be shared directly, and you can share camera access via a link, allowing friends and family to watch the live feed remotely.

Notifications arrive promptly - usually fast enough that I could look out the window and still see the bird at the feeder. I did have to disable squirrel notifications as they became overwhelmingly frequent, but it's good that this level of control is available.

Battery life is good, thanks to the large 5200 mAh rechargeable lithium-ion battery, and I found it lasted around a week or more between charges. However, as mentioned, if you find a good spot to mount the solar panel, you may never need to charge your battery, even in the winter months.

After several months of outdoor use, the Beako continues to perform perfectly, having withstood rain, and bright sunshine without any issues.

Video and photo samples

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Sample images from the Kiwibit Beako birdfeeder

(Image credit: Future)
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Sample images from the Kiwibit Beako birdfeeder

(Image credit: Future)
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Sample images from the Kiwibit Beako birdfeeder

(Image credit: Future)
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Sample images from the Kiwibit Beako birdfeeder

(Image credit: Future)

Should you buy the Kiwibit Beako Smart Bird Feeder?

Buy it if...

You want an automated nuisance animal deterrent

Although our test squirrels quickly got used to the alarm of the Kiwibit Beako, you may have more luck depending on the creatures you are trying to deter. Having the alarm go off automatically could be a great feature if you are far from your neighbors..

You want an easy-to-maintain feeder

The removable battery with built-in USB-C charging, removable seed hopper with flow control, and removable seed tray make the Beako one of the most practical feeders to maintain. If you're looking for a feeder that's genuinely easy to refill, clean, and charge, this is an excellent choice.

You want flexibility

The two-model approach (with and without AI) allows you to start at $169 and add AI identification later if desired, or opt for the AI-enabled version directly. This flexibility makes it accessible whether you're a serious birder or just curious about garden visitors.

Don't buy it if...

You want a statement feeder

Both the Forest Green and Chestnut Brown color schemes are designed to blend naturally into outdoor settings. If you want a feeder that's a vibrant talking point or garden feature, there are more eye-catching options available.

You want the best photos

With the downloadable images being crops that focus tightly on the birds, the images from the Kiwibit Beako don't match the 8MP resolution.

You want to buy accessories

There are currently no optional extras for the Kiwibit Beako. Other feeders have water feeders or fruit holders to attract different types of a birds and animals

How I tested the Kiwibit Beako Smart Bird Feeder

  • I hung the feeder in a tree for 4 months
  • It was connected to my home Wi-Fi
  • I monitored the visiting birds daily via the Kiwibit app

I tested the Kiwkibit Beako bird feeder by hanging it from a tree in my garden that birds (and squirrels) regularly visit. The feeder was strapped to the tree, and the camera was set up using an iPhone and the Kiwibit app.

I live in the UK and left the feeder up there for the warm from June and into stormy weather come October. I didn't test it in freezing conditions. During my time with the feeder, I monitored the birds visiting via the app in real-time and reviewed photos and videos that had been captured.

I have also looked at AI recognition and the various capabilities of the app.

  • First reviewed October 2025
Who needs Prime Day when the 5-star OM System OM-5 II travel camera is already such a great buy?
3:01 pm | October 8, 2025
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: , , , | Comments: Off

OM System OM-5 II: two-minute review

OM System OM-5 II

The OM-5 II is an affordable enthusiast camera that can turn its hand to just about any genre of photography. (Image credit: Rod Lawton)

What the OM System OM-5 II lacks in sensor and video specifications it makes up for with photographic features. If you want to go full-frame, or get a more powerful APS-C hybrid, then go for it; if you need these things, you need them. But if what you need is a small, affordable and supremely versatile camera that can follow you anywhere, then this is it.

What do you want to shoot? Landscapes? Nature? If you’re okay with 20MP, then the OM-5 II will do perfectly, thanks to its lightweight, hike-friendly size, weather sealing and rock-steady IBIS. Will you need to use any ND filters? The camera’s in-built Live ND can give you up to four stops longer exposures – perhaps not always enough, but it helps.

If you're into nature photography, and particularly macro work, you can use the in-built focus-stacking mode to keep your whole subject sharp, or focus bracketing if you want to merge the frames later in software.

OM System OM-5 II

Is the OM-5 II's high-res mode just a gimmick? I'm not convinced the 50MP handheld mode delivers a lot more detail, but I set this shot up to check the 80MP tripod mode... (Image credit: Rod Lawton)

OM System OM-5 II

Here's a zoomed-in comparison that shows the 80MP tripod mode (left) does offer significantly more detail than the regular 20MP version (right). (Image credit: Rod Lawton)

Fancy some night photography? Experts will insist you need the low noise of a full-frame sensor, but the OM-5 II does pretty well with a fast prime and its Starry Sky AF. While you’re at it, you can use the Live Bulb mode to see long exposures build on the screen in front of your eyes, or use the Live Composite mode to capture bonfires, fireworks or urban light trails, recording only ‘new light’ so that the image isn’t overexposed.

What about sports and wildlife? The OM-5 II is not a dedicated action camera, but it does pretty well, shooting at up to 10fps with AF and up to 30fps with focus locked on the first frame. It also has a Pro Capture mode, which offers a rolling buffer of 14 frames with the shutter button half pressed so you don’t miss the moment the action starts.

OM System OM-5 II

The OM-5 II has a 20MP Micro Four Thirds sensor that's really not far behind the quality of APS-C and full-frame sensors, and features excellent image stabilization. It's a generation behind the stacked sensors in the OM-1 II and OM-3, though (Image credit: Rod Lawton)

There are limits. The OM-5 II does not have the newer stacked sensor that's in the OM-3 and OM-1 II, and it uses an older 121-point AF system rather than OM Systems’ new subject-tracking quad-pixel AF. But at this price something’s got to give, and the OM-5 II’s AF is still quick and effective, and fine for everyday use.

Video isn’t a strong point either. The OM-5 II peaks at 4K 30p, and while it can do the slightly wider C4K format, that’s only at 24p. You do get Flat, OM-Log400, OM-Cinema1 and OM-Cinema2 profiles, but since this camera shoots only 8-bit video there’s a limit to how far you’ll want to push any color grading later.

There’s one more thing to mention: the OM Art Filters. Fujifilm fans make a huge fuss over Fujifilm Film simulations, but that’s nothing. From gritty black-and-white (with borders, if you like!) to super-saturated pop-art to HDR-like dramatic tone effects to vintage, bleach bypass and instant camera looks, OM System Art Filters are a fantastic playground for creative photographers. Yes, you can shoot a raw file at the same time as a backup – heck, you can even bracket Art Filter effects to get multiple alternatives for each image.

OM System OM-5 II

Can the OM-5 II handle high ISOs? I would probably stop at ISO 6,400, but you can get good results beyond that, especially with today's AI denoising tools (Image credit: Rod Lawton)

OM System OM-5 II

Beware of Lightroom's default noise settings for raw files! If you shoot raw you might be dismayed by the noise at ISO 25,600 (right), but the OM-5 II's in-camera JPEGs (left) show how it should be done (Image credit: Rod Lawton)

The OM-5 II does have limitations – of course it does. You’ll want to stay away from sky-high ISOs, its AF can’t match the latest AI subject-recognition tech in rival cameras, and its video features are basic.

And no, it’s not a huge advance on the old camera, the OM-5; but as I've said, it doesn't need to be. If you stand back and look at what this camera can do, at this price (unchanged from the Mark I version, by the way), it’s an absolute pocket rocket, even today. In my book, the OM-5 II is the best affordable travel camera going.

OM System OM-5 II: price

OM System OM-5 II

(Image credit: Rod Lawton)

You can buy the OM-5 II for around $1,199 / £1,099 body-only or $1,599 / £1,499 with the 12-45mm f/4 kit lens. Don’t underestimate this lens; it’s small, portable and offers excellent image quality well beyond the typical kit lens. OM System calls it a Pro lens, and it is. And, like the OM-5 II, the camera is weather sealed. You can get cheaper ‘starter’ cameras than this, but none which approach the OM-5 II’s feature set.

OM System OM-5 II: specs

Sensor

4/3-inch Live MOS sensor, 20.4MP

Lens mount

Micro Four Thirds

ISO range

200-6,400 (64-25,600 exp)

Autofocus

121-point phase/contrast AF

Burst shooting

6fps mechanical with C-AF, 10fps electronic with C-AF, up to 30fps electronic with S-AF, Pro Capture mode with S-AF

Video

C4K 24p, 4K UHD 30p, FHD up to 120p

EVF

2.36m-dot OLED

Rear screen

3-inch 1.037m-dot vari-angle touchscreen

Storage

1x SD UHS II

Battery

BLS-50, 310 shots

Size (body only)

125.3 x 49.7 x 85.2mm, 418g

OM System OM-5 II: design

OM System OM-5 II

This gives you an idea of just how compact the E-M5 II and 12-45mm lens combo actually is – remember, this lens is equivalent to a 24-90mm in full-frame terms (Image credit: Rod Lawton)
  • Reshaped grip for better handling
  • Excellent top-mounted twin control dials
  • Weather sealed (as are OM Pro lenses)

The OM-5 II is a small camera with remarkably good ergonomics. The grip has been reshaped so it handles larger lenses better (just as well, because the old add-on grip no longer fits), and the top-mounted control dials are easy to reach with your thumb and forefinger and have a precise, quality feel with just the right amount of weight.

This also applies to the main mode dial, which has a central locking button to prevent accidental adjustments. The buttons are a little less impressive, and seem a bit on the small side for anyone with big hands, but they work fine, and they’re clearly labelled and well spaced. There’s a new CP (computational photography) button on the top to make it easier to access the camera’s clever computational features, though you still have to turn a dial to select the one you want.

I’ll admit the button placement here did annoy me. The CP button and the video Record button are just too close together, and too hard to tell apart by touch. Hitting CP instead of Record was endlessly annoying during my video tests.

OM System OM-5 II

I think the OM-5 II is actually pretty good for casual video work, but the placement of the Record button is annoying, and it's too easy to press the CP button by mistake. Those twin control dials, however, are superb (Image credit: Rod Lawton)

OM System OM-5 II

I'm not a big fan of power switches away from the shutter release, but I do like the drive mode and display mode buttons on the top (Image credit: Rod Lawton)

The ‘OK’ button on the back activates the camera’s ’Super Control Panel’ where you can make practically all of your day-to-day settings adjustments, and one of the key improvements in this camera over the old one is the redesigned menu system. That doesn’t sound like much of a thing, right? In fact, it transforms the experience of using this camera – if you’ve used the ‘old’ menus, you’ll know this was long overdue.

The EVF is not the highest-resolution, but it’s clear, contrasty and crisp, and it’s fine, especially at this price. The vari-angle rear screen is great too – and if you have the touch-shutter mode enabled, you can tap to focus and shoot in a single action and the response is practically instantanous.

For its size, this is an exceptionally well designed camera. Yes, if you’re new to it you will have to learn where things are, as with any camera. But once you’re past that phase you’ll find this camera fast and intuitive to operate, with fewer button presses and less lag than many of its rivals. What the OM-5 II lacks in state of the art specs, it makes up for as a pure shooting tool.

OM System OM-5 II: performance

  • Only 121 AF points, but fast
  • Excellent detail
  • ISO best kept to 6,400 or below

OM System OM-5 II

The 12-45mm f/4 kit lens is great for travel photography. This was taken at its 24mm equivalent widest setting (Image credit: Rod Lawton)

OM System OM-5 II

At the opposite end of the zoom range, the 90mm equivalent focal length gives you a much flatter perspective for tighter cropping and fewer distractions (Image credit: Rod Lawton)

OM System OM-5 II

The color rendition is great and there's plenty of detail from this 20MP sensor (Image credit: Rod Lawton)

The OM-5 II is an extremely responsive camera. It starts up fast, it switches between the EVF and the rear screen in a fraction of a second as you move your eye to and from the viewfinder, and the autofocus is extremely fast too, especially using the tap shutter option on the rear screen. The only respect in which the AF system is starting to show its age is the relatively modest 121 AF points on offer, and the fact that the individual AF boxes/targets are fairly large, though you can swap to a more precise Single-S (small) option.

Detail rendition is excellent with OM Pro lenses like the 12-45mm f/4 pro and OM primes like the 17mm f/1.8, 25mm f/1.8 and (especially) the 45mm f/1.8. All optical corrections are carried out in-camera, applied automatically, and embedded in the raw files as ‘manufacturer’ correction profiles. Dynamic range is really good too, though you can’t drag up really deep shadows more than 2-3EV before they start to get a little noisy – this is where a larger-sensor camera will often do a little better (though not always).

OM System OM-5 II

The IBIS on this smaller sensor verges on the uncanny. I shot this handheld at 1/2 sec to blur the windblown grasses in the foreground. (Image credit: Rod Lawton)

This was taken handheld with the Computational Photography 4-stop ND option to slow the shutter speed right down to 1/2 sec. I'm not quite convinced by the movement in the leaves and the grass, but it's great if you don't like carrying filters

OM System OM-5 II

The OM-5 II's raw files process very nicely, with similar highlight recover to larger sensor cameras, though you might not want to bring up the shadows quite as far (Image credit: Rod Lawton)

OM System OM-5 II

What I especially like about the OM system is the consistent quality of the Pro lenses. With the 12-45mm f/4 you don't have to worry about edge detail or longer focal lengths – it's great at every zoom setting and every lens aperture (Image credit: Rod Lawton)

The maximum standard sensitivity on this camera is ISO 6,400, but it does offer an expanded ISO range up to 25,600 – personally I’d stick at ISO 6,400. At this setting the OM-5 II still produces very good results, though if you shoot raw files and use Adobe Camera Raw/Lightroom you might see a little more noise than you bargained for. That’s Adobe’s raw engine, not the camera. Of course, these days you can get some terrific AI noise reduction tools – I’ve used them on OM camera raw files and the high-ISO image quality is transformed.

As for video, check out the sample below. The conditions were pretty wild, but the OM-5 II did a great job under the circumstances

If you do use the OM-5 II for video you’ll get decent results. It won’t track you as effectively as some other hybrid cameras as you move around the frame, but if you keep reasonably still you should be fine. The OM-5 II is not designed for video in the same way that many hybrid mirrorless cameras are, but if you typically use video straight from the camera without any fancy grading effects, it’s fine, especially for social media use.

Should you buy the OM System OM-5 II?

Buy it if…

You need a go-anywhere camera
The OM-5 II is a rugged, affordable travel camera that can tackle just about anything, from landscapes to travel to night photographyView Deal

You're fine with 20MP
Most full-frame alternatives are only 24MP anyway. 20MP is fine for even larger wall art, and for online/social use you'll be downsizing your images anyway.View Deal

You don't want a cotton-wool camera
You don't need to baby the OM-5 II. It will shrug off rain and sea spray, it won't care about dust, and it's inexpensive enough not to make you anxious about it.View Deal

Don't buy it if...

Your main interest is sports and wildlife
The OM-5 II's burst mode is nippy enough for casual shooting, but for any serious work you should look for a camera with subject-tracking AF and faster burst speeds.View Deal

You're a serious/pro filmmaker
The OM-5 II shoots decent 4K video with excellent stabilization, but you have to drop to full HD for faster frame rates, and its 8-bit video is not ideal for heavy color grading later.View Deal

You already have an OM-5!
The updates in the Mark II version are useful but probably not enough to make you swap. The OM-5 II is probably aimed more at new users rather than OM-5 upgraders.View Deal

How I tested the OM System OM-5 II

  • I tested the camera for two weeks
  • I used it with OM System's 12-45mm f/4 kit lens
  • I shot both stills and video in a variety of conditions

OM System OM-5 II

(Image credit: Rod Lawton)

I’ve owned several Olympus and OM System cameras in the past, so I’m very familiar with their strengths and weaknesses and exactly what they're capable of. I spent some time with the OM-5 Mark II, comparing its improved handling and menu system with the original OM-5 which I've also reviewed, and also with the E-M5 III before that.

I used the OM-5 II and its 12-45mm f/4 kit lens for a variety of projects including landscapes, street/travel shots, and video in wet and wild weather conditions. I wanted to compare the detail rendition with my full-frame cameras, the image quality at higher ISOs, and the effectiveness of the IBIS in order to explore the compromises and advantages of this smaller format.

Panasonic’s new 100-500mm is a five-star ultra-telephoto zoom that fills a key gap in its lens range
5:00 pm | October 7, 2025
Author: admin | Category: Camera Lenses Cameras Computers Gadgets | Comments: Off

Panasonic Lumix S 100-500mm F5-7.1 O.I.S: one-minute review

The Lumix S 100-500mm F5-7.1 O.I.S is Panasonic's first ultra-telephoto zoom lens for the L-mount system, and an exciting prospect for photographers and videographers looking to shoot subjects at a medium to far distance.

As someone who has occasionally dabbled in wildlife, sports and live music photography, I was keen to see what this lens could do paired up with a Lumix S camera, and a couple of weeks of use left me very impressed.

Given its zoom range, the lens is relatively lightweight and compact, and feels reassuringly solid and well constructed. It's splash-proof and dust-proof, so I had no qualms about using it in inclement weather, and it comes with a lens hood to block unwanted sunlight and give the front element extra protection. It's also supplied with a (removeable) mount to ensure proper balance when it's mounted on a tripod.

Panasonic has lavished the lens with some premium features, most notably dual-ball optical image stabilization (OIS). The company says this offers up to 7 stops of compensation, and with the lens attached to a Lumix S1R II camera I found that it was entirely possibly to shoot at 500mm handheld and achieve consistently sharp stills and video. The OIS ensured the frame barely moved in the viewfinder, suggesting some very impressive work being done by the system.

Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)

Other key features include some useful external controls, including a Tight-Smooth ring to adjust tension while zooming – something videographers might find very handy – and a customizable focus ring and button.

Performance is very strong across the full 100-500mm range, although the maximum aperture of f/5 (at the widest end) to f/7.1 (at 500mm) may be a little slow for some users. I found I was still able to grab sharp shots at 500mm in lower light conditions with the help of the OIS, but there are faster ultra-telephotos available.

The lens' optics are excellent, with good sharpness even when shooting wide open, no noticeable vignetting, and purple/green fringing kept well under control.

Overall, the Panasonic Lumix S 100-500mm F5-7.1 O.I.S is a fantastic lens for any L-mount camera user who wants to shoot distant subjects with ease and at high quality. There are cheaper alternatives out there, but they're heavier – and I strongly suspect this lens outperforms them thanks to its excellent optics and OIS.

Panasonic Lumix S 100-500mm F5-7.1 O.I.S: price

  • Priced at $2,099 / £1,799 / AU$3,699
  • Lens hood and tripod mount included
  • Available from October 2025

panasonic 100-500mm with lens hood and tripod mount on wooden table top

(Image credit: Future | Sam Kieldsen)

The Panasonic Lumix S 100-500mm F5-7.1 O.I.S costs $2,099 / £1,799 / AU$3,699, and is available from October 2025 (November in Australia). The package includes a removable tripod mount and lens hood, but no storage bag.

Those operating on a tight budget might baulk at the price, but you're getting a lot of lens for the money. Not only is it designed for full-frame cameras, weatherproof, and equipped with a very effective OIS setup, it's also Panasonic's first ever ultra-telephoto zoom for the L-mount system; and it's not like Lumix S shooters have a lot of alternative choices out there, especially in such a compact package. Sigma offers some competitors in its 150-600mm F5-6.3 and 60-600mm F4.5-6.3, but both lenses are much larger and heavier.

Panasonic Lumix S 100-500mm F5-7.1 O.I.S specs

Panasonic Lumix S 100-500mm F5-7.1 O.I.S specs

Type:

Ultra-telephoto zoom

Mount:

L-mount

Sensor:

Full-frame

Focal length:

100-500mm

Max aperture:

F5-7.1

Minimum focus:

2.62ft / 0.8m to 4.92ft / 1.5m

Filter size:

82mm

Dimensions:

7.72 x 3.62 inches / 196.1 x 92mm (excl. tripod mount)

Weight:

2.83lb / 1.285kg

Panasonic Lumix S 100-500mm F5-7.1 O.I.S: Design

  • Lightweight and compact for its range
  • Splash-proof and dust-proof
  • Tight-Smooth zoom ring

If you're used to wide-angle and standard zooms, the Panasonic Lumix S 100-500mm F5-7.1 O.I.S will feel like a big and heavy lens, but given its focal length range it's actually fairly compact, at just 196.1mm long when set to 100mm, and lightweight at 1,285g.

To aid with balance when it's mounted on a tripod, Panasonic has thoughtfully included a metal tripod ring. This clasps around the barrel, can be rotated if you want to shoot in portrait orientation, and can be completely removed if you're shooting handheld and want to keep bulk and weight to a minimum.

The lens is built to premium standards, with very little play or flex in any of the plastic or metal elements. Panasonic calls it splash-proof and dust-proof, so it's usable in drizzle and light rain, and perhaps even worse conditions.

Image 1 of 3

Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
Image 2 of 3

Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
Image 3 of 3

Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)

Panasonic has included switches to limit focus distance (it can be set to Full, or 5m to infinity), switch between auto and manual focus, and toggle between OIS modes. The focus ring and focus button can also be customized to various functions, at least when the lens is attached to a Panasonic camera.

Perhaps its most noteworthy design feature, though, is the Tight-Smooth ring, which allows the user to make fine adjustments to the resistance of the zoom ring. Videographers who want to zoom while rolling might find this very useful indeed, but I would say personally I found the difference between the tightest and smoothest settings fairly minimal. Then again, I was mostly shooting still photos, so perhaps I'm not the target user here.

Panasonic Lumix S 100-500mm F5-7.1 O.I.S: Performance

  • Stabilisation to 7EV compensation
  • Silent, fast autofocus
  • Max aperture of f/5 to f/7.1

The lens performs to excellent standards across the board, although I should address its potential Achilles heel early on: with a maximum aperture of f/5 to f/7.1, it's not the fastest zoom around. That said, I never found it particularly slow in use, even when shooting in twilight conditions; and increasing the aperture size might have resulted in this being a much more expensive, larger and heavier piece of glass, of course.

The lens is optically excellent, and exhibits no vignetting at 100mm, which I'd expect, but even shooting wide open its sharpness is superb. Those f/5 to f/7.1 settings are, in other words, completely usable if needed – although pixel peeping I can see a slight increase in sharpness when reducing the aperture by a couple of stops.

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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens (Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens at 100mm (Image credit: Future | Sam Kieldsen)
Image 3 of 15

Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens at 500mm (Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)
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Photo shot on Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)

The image stabilization is a massive help with low-light and handheld shooting, because those extra stops of motion compensation really help when longer shutter speeds are required. I could even shoot video handheld at 500mm with no real issues, and the silent autofocus worked swiftly and accurately throughout, all without being picked up on mic.

The lens has quite a short minimum focus distance of 0.8m at the wide end and 1.5m at the tele end, which allowed me to shoot subjects fairly close up with impressive detail. This is not a macro lens by any means, but use it carefully and you can grab very sharp and detail-rich images of smaller subjects.

Bokeh is smooth and attractive, thanks to the circular aperture diaphragm, and Panasonic has taken steps to eliminate focus breathing in video shooting. Overall, I was hugely impressed by what this lens could do, and if I was a regular wildlife or sports photographer I would be very tempted to add it to my collection.

Should you buy the Panasonic Lumix S 100-500mm F5-7.1 O.I.S?

Buy it if...

You want a versatile ultra-telephoto

The huge focal length range of this lens makes it suitable for a range of jobs, from sports and wildlife to candid portraiture and even some landscape shooting.

You shoot handheld

Not only is this lens lightweight and compact for its range, it's also packing truly excellent OIS tech to aid stability during handheld shooting.

Don't buy it if...

You prefer a fast telephoto

While it's usable in low-light situations thanks to its OIS, this lens isn't particularly fast in terms of its maximum aperture.

You're on a tight budget

While the price doesn't feel excessive, there are cheaper L-mount options available from Sigma – but they're significantly heavier and less portable.

Panasonic Lumix S 100-500mm F5-7.1 O.I.S lens

(Image credit: Future | Sam Kieldsen)

How I tested the Panasonic Lumix S 100-500mm F5-7.1 O.I.S

  • I tested it over two weeks
  • I shot wildlife, candids and landscape
  • I mounted the lens on a Panasonic Lumix S1R II

I spent two weeks shooting with the Panasonic Lumix S 100-500mm F5-7.1 O.I.S, which I attached to a Panasonic Lumix S1R II. I shot images and video clips of wildlife, people and landscapes at various focal lengths, used the lens handheld and mounted on a tripod, and tested it in different lighting conditions and at different times of day.

All the sample images you see above have been shot in raw format, imported to my MacBook Air and adjusted in Adobe Lightroom. Note that they'e not presented at their original resolution, as the file sizes would be far too large.

  • First reviewed October 2025
I tested Boya’s unique 4-in-1 wireless mic – it does the job of many, with effective AI noise reduction to boot
5:45 pm | October 3, 2025
Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Tags: | Comments: Off

Boya Magic: one-minute review

One of the downsides to shooting video and content creation is the sheer amount of kit you have to carry; even the most pared-back setups require a plethora of accessories. Beyond that, how many different microphones might you need to cover a range of situations? It's an issue that's effectively addressed by the Boya Magic, a 4-in-1 wireless mic that's designed to be a jack of all trades.

Lavalier (lapel), on-camera, handheld and desktop are all forms the Boya Magic mic can take. The mic is available in several kits, but if you opt for the most comprehensive and still competitively priced of the three you can connect the mics to smartphones, computers and cameras using USB-C, Lightning, and 3.5mm TRS, making it a significant upgrade over the Boya Mini and potentially one of the best wireless mics.

Since this is a multi-purpose mic, we could discuss its performance and characteristics at length, but we’ll delve into those later. Focusing on the lavalier mics, which are the transmitters in all configurations, and the backbone of the mic, these two tiny 7g units can be attached to clothing with clips or magnets, and produce impressive 24-bit sound quality. They’re incredibly easy-to-use with excellent noise cancellation to boot.

I have to admit that when I first received the Boya Magic, I was sceptical about its performance, but I've been impressed while testing the mic in all four configurations, attached to my smartphone, computer and my camera.

Boya Magic 4-in-1 microphone

The Boya Magic lavalier mics are tiny (Image credit: James Abbott)

Boya Magic: price and release date

  • Available now
  • Three kits to choose from
  • Prices start at $93 / £89 / AU$159

The Boya Magic is available from the Boya website and Amazon. The USB-C kit costs $93 / £89 / AU$159, the USB-C & Lightning kit costs $140 / £119 / AU$209 and the USB-C, Lightning & 3.5mm TRS kit costs $151 / £129 / AU$229. All in all, it’s extremely good value for money, given the versatility of the mic.

One slightly frustrating aspect of the Boya Magic is that you have to purchase the Boya Mini Tripod separately, and this is required for tabletop and on-camera use of the mic. It’s not the end of the world, and it only costs $30 / £20 / AU$46 (currently reduced to $20 in the US), but it would be better if it were included in at least the kit option with the 3.5mm TRS.

Boya Magic 4-in-1 microphone

The Boya Magic comes in a handy case (Image credit: James Abbott)

Boya Magic: specs

Dimensions

Magic TX 35 x 15.2 x 13mm, 3.5mm TRS RX 42.2 x 30 x 19.4mm, USB-C / Lightning RX 19.55 x 24 x 21mm, Charging Case 141.3 x 26.5 x 21mm

Weight

Magic TX 7g, 3.5mm TRS RX 16g, USB-C / Lightning RX 5g, Charging Case 62.5g

Transmission range

Up to 100m

Connectivity

USB-C, Lightning or 3.5mm TRS

Battery

Six hours / 30 hours total with the charging case

Audio

24-bit

Noise cancelling

Yes, one-click

Boya Magic 4-in-1 microphone

Handheld mic with the foam cover attached (Image credit: James Abbott)

Boya Magic: Design

  • Innovative design
  • Highly versatile
  • Compact and lightweight

This 4-in-1 mic system is built around a compact charging case that triples up as the on-camera, handheld and desktop mic, with a foam and dead-cat wind cover in the kits. This measures just 141.3 x 26.5 x 21mm and weighs 62.5g. The lavalier mics are stored and charged inside, behind a clear plastic door. When used in these modes, it’s the lavalier mic at the top of the case, in the first slot, that records sound through holes in the glass door and at the top of the charging case.

The lavalier mics are the backbone of the system, and in my opinion, the most impressive; and for content creators who are using lavalier mics as handheld mics, this system provides a much more comfortable and professional-looking solution.

The two lavalier mics are incredibly compact and lightweight at just 35 x 15.2 x 13mm and 7g. There’s a clip on the rear for attaching the mics to clothing, as well as a magnet plate on each clip to increase the options for attaching the mics to your clothes in more imaginative ways, although I fear that these may be easy to lose over time. The kits come with a couple of clip-on dead-cat wind covers for the mics.

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Boya Magic 4-in-1 microphone

(Image credit: James Abbott)
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Boya Magic 4-in-1 microphone

(Image credit: James Abbott)
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Boya Magic 4-in-1 microphone

(Image credit: James Abbott)

The build quality of all of the components is great, and the small carry-bag accommodates everything safely and neatly. The overall design of the kit is innovative, while operation is incredibly simple, with just a single button on each mic and the charging case. This can be used to switch the mics on and off, and to switch the AI noise cancellation on and off.

The USB-C and Lightning receivers are small and lightweight, slot neatly into your phone’s port, and are powered by the phone. The 3.5mm TRS attaches to the camera hotshoe and offers six hours of battery life. It’s designed simply, with just a power button, a volume/gain button and a 3.5mm jack. There’s no Bluetooth connectivity as in some mics, beyond a Bluetooth connection to the receivers, so these receivers are essential.

Boya Magic: Performance

  • Incredibly easy to use
  • Excellent AI noise cancellation
  • 24-bit audio

Setting up the mic, from unpacking the kit to first use is incredibly easy. This is one of the more intuitive wireless mics I’ve used, and you can use the BOYA Central app to adjust settings including AI noise cancellation, the EQ, AI noise cancellation, and the limiter, and to apply camera gain presets and firmware updates.

The mics are omnidirectional, so they will pick up sound from all directions. This causes no issues when recording in quiet environments, but when there’s background noise you often need to use the AI noise cancellation, which is available with two strength settings depending on the level of background noise.

AI noise cancellation is powered by deep neural networks (DNNs) trained on over 700,000 real-world noise samples and 20,000 hours of deep learning. Boya claims it can separate voices from noise in milliseconds, with up to -40 dB suppression. In use, the AI noise cancellation is undoubtedly impressive, and it doesn’t distort voices or make them sound robotic.

Sound quality is fantastic, with audio recorded in 48 kHz/24-bit with an 80dB signal-to-noise ratio, a 144 dB dynamic range, and a frequency response from 20Hz to 20kH. You can set sound levels manually, but there’s also a handy built-in smart limiter to protect your audio from peaking. In addition, a second safety track is recorded at a lower (-12 dB) volume to ensure nothing is lost.

The transmission range is up to 100m without obstacles, and 10m with obstacles. During testing the connection was solid, and I never experienced any issues with any of the four mic configurations. Battery life is up to six hours per mic, with 30 hours in total available with the charging case. This is average, and is plenty of battery power for most situations.

Should I buy the Boya Magic?

Buy it if…

You use different types of mics

If you carry several different types of mics in your kit bag, you can whittle everything down to a single versatile package.

You need tiny lavalier mics

In lavalier mic mode, the lavalier mics are compact and lightweight at just 35 x 15.2 x 13mm and 7g.

You value simplicity

The Boya Magic is incredibly easy and intuitive to use, making it an attractive option for everyone from beginners through to seasoned experts.

Don’t buy it if…

You only need an on-camera mic

If you only need an on-camera mic, it would be more cost-effective to buy a traditional cabled on-camera microphone.

You’d prefer connectivity without receivers

Some wireless mics can be connected to devices via Bluetooth, which may be more convenient for those who don’t want to have to use receivers.

You’d like the best

The Boya Magic is fantastic across the board, but you can get better-quality wireless mics if you have a larger budget.

Boya Magic: also consider

Boya Mini

The Boya Mini wireless mics are, as the name suggests, tiny, but they do come with some limitations: they can only be used with USB-C and Lightning compatible devices, and offer only 16-bit audio. On the plus side, they're enticingly inexpensive and have decent battery life, and sound quality is better than you'd expect for 16-bit.

Read our Boya Magic review

DJI Mic Mini

These mics come with DJI ease of use and reliablity, not to mention 24-bit audio and and Bluetooth connectivity. This means you don't have to use a receiver for some devices, while a 3.5mm receiver allows for use with cameras.

Read our DJI Mic Mini review

Boya Magic 4-in-1 microphone

(Image credit: James Abbott)

How I tested the Boya Magic

  • I tested it in all four configurations
  • I used it attached to multiple devices
  • I tested all its features

I tested the Boya Magic over several weeks in all four configurations: lavalier, on-camera, handheld, and desktop mic. I also attached the mic to my smartphone, computer and camera so that I could assess performance across the board in real-world situations.

I was sent the complete kit, which includes the USB-C, Lightning and 3.5mm TRS receivers. I recorded audio in different environments to see how well the mics perform with and without AI noise cancellation. I also used the Boya Central app to access settings and assess the overall ease of use.

PolarPro’s pricey Peter McKinnon Edition II variable ND filter is pretty much flawless, and does the job of several NDs
6:28 pm | October 2, 2025
Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

PolarPro VND Filter Peter McKinnon Edition II: Two-minute review

The latest product of PolarPro’s ongoing collaboration with hugely popular videographer and YouTube creator Peter McKinnon, the VND Filter Peter McKinnon Edition II has become an interesting and valuable part of my camera setup over the past few weeks.

First, a quick explanation of what a ND filter does. One of the key principles of photography and videography is the so-called “exposure triangle” – the way that ISO, aperture and shutter speed interact to control the amount of light that hits an image sensor.

By adding a neutral-density (ND) filter – which reduces the amount of light coming in without affecting the color hue – to the equation, photographers gain one extra factor to influence how the camera behaves, and more control over shutter speed and aperture.

For photographers, the ability to reduce light means we can use longer shutter speeds than the lighting conditions would ordinarily allow. That means artfully blurred waterfalls, or night-time shots with streaking, laser-like car headlights. For videographers, control over shutter speed allows for motion blur and wide-open aperture shooting in brighter conditions.

The main selling point of the PolarPro VND Filter Peter McKinnon Edition II (also known as the PMVND II) is that it’s a variable ND filter. In other words, twisting the filter allows the photographer to select an ND value from anything between two and five stops, saving them the bother of having to add filters to and them filters from their lens. (PolarPro also sells a stronger 6-9 stop edition of the VND filter, plus mist-diffusion Black Mist versions of both).

Peter McKinnon VND II filter

(Image credit: Future | Sam Kieldsen)

Because my review sample sits at the weaker end of the range for ND filters, I found that it couldn’t stop enough light to get truly long exposures outdoors on a bright, sunny day. Even at its highest 5-stop setting, and with my camera at its lowest ISO setting, a shutter speed of anything longer than a second resulted in a blown-out, overexposed image. So, if you want to shoot multi-second daytime exposures on sunny days or in bright landscapes (like snowfields), you’ll want to have the 6-9 stop filter to hand. If you’re feeling flush, buying both filters provides a wide stopping range.

On more overcast days, at night or indoors, however, the two to five stop range feels very usable. Even during the day, it allowed me to set a wider aperture than I’d normally be able to use for video, resulting in a shallow depth of field with background bokeh while maintaining an ideal shutter speed (of roughly double my frame rate, as the rule of thumb suggests).

The filter glass is extremely clear and neutral, although it does appear to add a very slight warm color cast when compared to shots with no filter attached. I couldn’t spot a single incidence of ghosting or chromatic aberration, however – two issues that can plague cheaper filters. And it doesn’t seem to affect the sharpness of images at all, which is what I would expect of a filter in this price range.

I also encountered no vignetting when shooting with a wide-open aperture at my lens’ widest field of view (12mm on a Micro Four Thirds camera, equivalent to 24mm on a 35mm or full-frame camera). PolarPro claims the filter exhibits no vignetting right down to 16mm, but I wasn’t able to put that to the test myself.

I also noticed that a small amount of additional contrast could creep into shots as I moved up the ND stop range. That’s a side effect of the variable ND filter design, I think – VNDs require polarized glass to achieve their variable effect, and that will affect the final image slightly. If that’s a no-no for you, you’ll need to use regular, non-variable ND filters instead.

While performance is strong, build quality might be even better. I was sent a 67mm filter to review (it’s also available in 49mm, 77mm, 82mm and 95mm sizes), and used a step-up ring (also by PolarPro) to fit it to the 62mm thread on my Panasonic 12-60mm F2.8-4.0 lens. Both the filter and ring screwed on smoothly and securely, with no awkward threading.

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PMNVD II filter sample images

No filter attached (Image credit: Future | Sam Kieldsen)
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PMNVD II filter sample images

ND 2 (Image credit: Future | Sam Kieldsen)
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PMNVD II filter sample images

ND 3 (Image credit: Future | Sam Kieldsen)
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PMNVD II filter sample images

ND 4 (Image credit: Future | Sam Kieldsen)
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PMNVD II filter sample images

ND 5 (Image credit: Future | Sam Kieldsen)

The combined case and lens cap (known as the Defender 360) makes fitting even easier – and ensures greasy fingerprints stay well away from the filter glass. The cap features two parts, one metal (aluminum to be precise) and one rubber, with the rubber element gripping around the filter’s frame so that you can, with a twist, add or remove the filter from your lens. When not in use, the filter sits inside the rubber part while the metal screws back on over one side to keep it safe. It’s an ingenious piece of design.

The filter itself feels beautifully precision engineered. The machined ridges or knurls on the edge give your fingers plenty to grip onto, while the subtle 'click' expressed as each ND stop is reached is welcome (and useful) feedback. Of course, some users might prefer a completely smooth turn, particularly videographers who want to adjust the stopping value while rolling the camera. It’s something to note, but I personally found it a clever design touch.

And, while this is a subjective thing, I think the PMVND II looks really classy too, with its two-tone black and brass finish. It’s hydrophobic too, with water beading and running off the glass easily.

Overall, I’m hugely impressed by the quality of the PolarPro VND Filter Peter McKinnon Edition II. Yes, it’s expensive – but it’s also thoughtfully designed, impeccably constructed, and works exactly as a variable ND filter should. If you’re looking for an ND filter to expand your creative repertoire, this 4-in-1 champion should certainly be on your radar.

Peter McKinnon VND II filter

(Image credit: Future | Sam Kieldsen)

PolarPro VND Filter Peter McKinnon Edition II: Price and availability

The PolarPro VND Filter Peter McKinnon Edition II is available now worldwide, priced at around $150 / £150 / AU$260 for the 49mm size or around $250 / £240 / AU$450 for the 67mm, 77mm, 82mm and 92mm sizes.

The filter is available in two ND stop ranges: 2-5 (which I'm reviewing here) and 6-9, with both models additionally available in a Black Mist version designed to soften highlights for a different look.

These are high prices for ND filters, but I think the quality and adaptability of the PMVND II makes it well worth the price to the right buyer.

Should I buy the PolarPro Peter McKinnon VND Edition II filter?

Peter McKinnon VND II filter

(Image credit: Future | Sam Kieldsen)

Buy it if...

You find swapping filters a drag
As a VND, this is actually four ND filters in one. Rotating the filter enables the user to move from two to five stops of ND strength.

You value rugged, tactile design
The PMVND II is built to superb standards, from its clean, smooth rotation to its innovative lens cap, which doubles as a protective case.

Don't buy it if...

Your budget is limited
The PMVND II is unashamedly premium, and you can obtain a VND filter, or a set of ND filters, from other brands for a lot less.

You want full smooth rotation
I like the filter's 'clicks' as it hits each ND stop setting, but videographers may prefer a click-free alternative for smoother transitions while filming.

How I tested the PolarPro Peter McKinnon VND Edition II filter

  • I used it for several weeks
  • I fitted it to a Panasonic Lumix GH6
  • I tested it for photo and video capture

I used a 67mm PMVND II on and off for several weeks in the late summer and early autumn on the English south coast, threading it to a 12-60mm zoom lens on my Panasonic Lumix GH6 via a 62mm-to-67mm step-up ring (also supplied by PolarPro). I recorded video and shot photos using all of the filter’s ND levels, and tested it in various weather and light conditions, from overcast drizzly evenings to blazingly sunlit mornings.

First reviewed October 2025

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