It’s not often that a lens grabs you by the scruff of the neck and demands attention, but that’s exactly what the Viltrox AF 16mm f/1.8 FE does. This unassuming lens, which doesn’t benefit from Viltrox’s Pro or LAB series labels, is one of the most impressive lenses I’ve used in a long time. It’s not the best, it’s not the most expensive, but it is unbelievably impressive for several reasons.
That’s a bold statement if ever I’ve made one; but this lens, which is perfect for landscapes and astrophotography, is incredibly well-priced, produces excellent image quality, and offers professional-level build quality and features. How Viltrox has managed to pull off creating a lens of this quality at this price point is beyond me.
The Viltrox AF 16mm f/1.8 FE costs just $464 / £533 / AU$899, which is an incredible price for such a well-built, weather-sealed lens offering professional performance and excellent image quality. Sony's own Sony FE 16mm f/1.8 G is a direct competitor, and it costs a whopping $848 / £849 / AU$1,799, so the Viltrox undoubtedly offers excellent value for money – and the Viltrox is a far superior lens in almost every way, despite being larger and heavier than the Sony.
What’s more, the Sony version relies heavily on lens corrections, while the Viltrox is optically excellent without the need for corrections. I appreciate that many modern lenses rely on lens corrections to achieve their excellent image quality (and compact size), but you simply cannot beat near-perfect images in terms of sharpness, distortion, and aberrations straight out of camera.
The Viltrox AF 16mm f/1.8 is one of the best Sony lenses designed for full-frame cameras, plus it is also available for Nikon Z mount. There's no word on future versions yet, such as for L-mount.
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Viltrox AF 16mm f/1.8 FE specs
Viltrox AF 16mm f/1.8 FE specs
Type:
Wide-angle prime
Mount:
Sony E / Nikon Z
Sensor:
Full-frame
Focal length:
16mm
Max aperture:
f/1.8
Minimum focus:
10.6 inches / 27cm
Filter size:
77mm
Dimensions:
3.35 x4.06 inches / 85.2 x 103mm
Weight:
19.4oz / 550g
Viltrox AF 16mm f/1.8 FE: Design
Compact yet heavy design
Weather sealed
Excellent handling
We’ve already covered the price of this lens, and you’d normally expect build quality to take a hit at such a competitive price point, but that's certainly not the case here. The 16mm f/1.8 features an all-metal body and weather-sealing, giving it an undeniably premium look and feel. This is emphasized further by the color digital screen that displays lens information – more about that later.
The 16mm f/1.8 is quite a hefty beast in terms of weight due to its construction at 19.4oz / 550g, but it’s fairly compact at 3.35 x 4.06 inches / 85.2 x 103mm, and balances well with Sony full-frame and APS-C mirrorless cameras.
This is in contrast to the Sony FE 16mm f/1.8 G, which is much smaller and lighter at 2.91 x 2.95 inches / 73.8 x 75mm with a weight of 10.7oz / 304g, but it’s an optically inferior lens alongside being much more expensive.
That construction comprises 15 elements in 12 groups, including four ED glass and three aspherical lenses. The optical design aims to deliver sharpness, detail and high contrast while minimizing distortion, and it achieves this as we’ll discuss in the performance section.
The front element is standard in its design rather than bulbous, which is great, and it features an HD Nano multilayer coating including water-resistant antifouling coatings.
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The filter thread is 77mm, which is average for wide-angle lenses, which typically range from 67mm to 82mm. This means you can use both circular and square filters for astrophotography and landscape photography.
The minimum focusing distance of the lens is 10.6 inches / 27cm, which is great for landscape photographers who want to use focus stacking to achieve pin-sharp images from front to back.
In terms of controls, you get a nice wide manual-focusing ring, a manual aperture ring that can be set to stepped or stepless operation via the switch on one side of the lens, two customizable Fn buttons and an AF/MF switch.
There’s also a USB-C port on the lens mount so that you can connect it to the Viltrox Lens app via Bluetooth to update firmware, customize the Fn buttons, and customize the digital screen’s welcome screen.
Viltrox AF 16mm f/1.8 FE: Performance
Fantastic image quality
Impressive sharpness at f/1.8
Excellent corner sharpness
This is a fast and wide prime, which means it has excellent light-gathering capabilities for astrophotography. The combination of such a wide field of view and a fast f/1.8 aperture draw in huge amounts of light.
Of course, f/1.4 would be better, but that would require the lens to be much larger and heavier. The focal length is also great for landscapes, which can benefit greatly from the image quality the 16mm f/1.8 is capable of producing.
The image quality produced by this lens is fantastic, with excellent sharpness across the frame, even in the corners, wide open at f/1.8. This aperture produces the most vignetting as you’d expect; this almost disappears as you stop down to f/2.8 and is completely gone at f/4.
There is an Adobe Lightroom Lens Profile that can deal with this and the tiny, pretty much negligible amount of barrel distortion that’s present. There’s also only minimal chromatic aberration, so this is an optically impressive lens.
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Sharpness is great wide open and increases incrementally up to the sweet spot of the lens, which is f/8. Sharpness drops slightly at f/11, and at f/16 you begin to see diffraction coming into play, and while f/16 is perfectly usable for landscape photography, diffraction is too high at f/22, so this setting is best avoided.
The color digital screen is a feature we’re seeing more on Viltrox lenses, and it’s a unique and pretty neat feature. It simply shows the focus distance, aperture setting and the active Fn control, and I find it most useful when I’ve manually focused on a point and need to replicate that focus distance quickly.
Autofocus isn’t the fastest. It takes the lens around 0.5 seconds to lock onto subjects when stopped down, and about 0.25 seconds wide open. This isn’t great, but since this is a lens that you wouldn’t typically use for action subjects, it’s not a huge issue.
Autofocus is driven by an SMT stepping motor, which is quiet but just about audible. AF is absolutely fine for landscape photography, while astrophotographers will exclusively use manual focus for precise focusing on stars.
Should you buy the Viltrox AF 16mm f/1.8 FE?
Buy it if...
You’re on a budget
The professional-quality lens comes in at an enthusiast-level price, making it the perfect choice for anyone on a budget.
You shoot astrophotography
With an ultra-wide-angle field of view for capturing more of the night sky and a fast maximum aperture, this is a great lens for astrophotography.
You want excellent image quality
The image quality produced by the Viltrox AF 16mm f/1.8 FE is fantastic – arguably amazing considering the competitive price of the lens.
Don't buy it if...
You’d like a faster lens
While f/1.8 is perfectly adequate for astrophotography, there are wide-angle lenses available with faster maximum apertures.
You’d prefer more versatility
Primes are known to offer the best image quality and faster maximum apertures for astrophotography, but zoom lenses are more versatile due to their variable focal lengths.
You don’t shoot with Sony or Nikon cameras
This lens is only available in Sony E and Nikon Z mounts, so if you use any other camera system, there’s no option available for you.
How I tested the Viltrox AF 16mm f/1.8 FE
I tested the lens over a couple of months
I used it to capture landscapes and astrophotography
I tested it with a Sony A7R V
I tested the Viltrox AF 16mm f/1.8 FE over several weeks attached to an unforgiving Sony A7R V, shooting landscapes and astrophotography. I took photos at a range of aperture settings to test sharpness, distortion and aberrations.
I shot most images simply to see how the lens performed in different situations, while others were shot specifically to be able to compare the results to those from other lenses.
With 30 years of photographic experience and 17 years working as a photography journalist, I’ve used many of the cameras and lenses that have been released in that time. As a working photographer, I aim to test cameras and lenses from a photographer’s point of view.
The Akaso 360 is the first 360-degree camera from Akaso, a company best known for its budget-friendly action cameras. And the Akaso 360 follows in that tradition, costing far less than competitors like the Insta360 X5 and GoPro Max.
Like those rivals, it’s a dual-sensor camera that shoots simultaneously on two ultra-wide lenses, automatically stitching together the images captured into a single 360-degree photo or video. These 360 images can be edited and reframed using the Akaso 360 mobile or desktop apps, before being exported for sharing or use elsewhere.
The camera can shoot stabilized 5.7K video at up to 30fps (allowing for a reframed video to be exported at up to 4K resolution), or in 4K at up to 60fps (supporting export of videos at up to 2.5K resolution), as well as still photos in JPEG and/or DNG RAW format at either 72MP or 18MP resolution.
(Image credit: Future | Sam Kieldsen)
In addition to regular 360 videos and photos, the camera offers a few special capture modes including time lapse video (where intervals can be set from one to 60 seconds), loop recording video (supporting loop durations of up to 30 minutes), bracketed HDR photos and TimeFusion, a fun mode that allows you to shoot a still from one camera then the other, before merging the two into a single image. Using it, I was able to easily create a photo in which I appeared in two different locations at once.
I’d describe the Akaso 360’s image quality as adequate rather than excellent. During my tests, if I shot videos and photos in bright sunshine I got pretty sharp and color-rich results, but at anything less than that (even on a slightly cloudy day) the camera’s 1/2-inch sensors struggled to prevent noise from creeping into the images and degrading detail. Viewing the resulting videos on my phone screen, they looked pretty decent – but on my computer’s larger screen the noise was very noticeable.
The Insta360 X5 and Insta360 X4, two other 360 cameras I’ve tested fairly recently, far surpass what the Akaso 360 is capable of, image quality-wise – but they’re also far more expensive. For a camera in its price range, I think its performance is definitely acceptable, and its built-in quality-of-life features such as video stitching and selfie stick removal work very well.
The mobile and desktop editing apps are simple but intuitive to use, and once you’ve imported the videos from the camera to either a phone or computer, trimming and reframing them using either AI-assisted subject tracking or manually added keyframes is a fast and easy process. There are basic image adjustment settings here too, but for the purposes of the sample videos embedded here I left things untouched to give an accurate representation of what you can expect straight out of the camera.
Videos and photos are stored on a microSD card, with capacities up to 512GB supported; card speeds must be UHS-I V30, UHS-I Class 3 (US) or above. I’ll say from my own experience that the camera could benefit from a faster wireless connection. Some of the file sizes of these 360 videos are very large, and transferring them via standard Wi-Fi with a maximum speed of around 12MB per second can take a long time.
The camera also features a built-in stereo microphone, which works well enough indoors or in calm conditions. Like most unmuffled camera mics, it picks up wind noise outdoors very easily, so can’t really be relied on blustery days, or for fast action such as biking.
Speaking of the weather, one thing potential buyers would do well to note about the Akaso 360 is that, unlike the Insta360 X5 or GoPro Max, it isn’t rated as waterproof, dustproof or ruggedized. Akaso call it “splash-resistant”, and I used it during a light rain shower with no ill effects aside from some droplets on the lens appearing in shot; dunking it fully underwater certainly wouldn’t be advisable, however. There’s also no easy solution to fixing scratched or broken lenses, unlike the X5’s user-replaceable glass.
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The battery and a microSD card (not supplied) are both inserted here. (Image credit: Future | Sam Kieldsen)
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You get at least two of these batteries with your Akaso 360 camera. (Image credit: Future | Sam Kieldsen)
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The Akaso 360 comes with a soft storage pouch to keep it safe between uses. (Image credit: Future | Sam Kieldsen)
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The Akaso 360 alongside the Insta360 X5, our current top-rated 360 camera. (Image credit: Future | Sam Kieldsen)
That being said, I found the Akaso 360’s general design, controls and handling to be fine, aside from one niggle: the touchscreen all-too stubbornly resisted my swipes and taps, which sometimes made for an annoying experience when trying to change video settings and the like. The physical buttons, screen size and clarity and the camera’s compact size and low weight are all impressive, and its candy bar shape (very much like a slightly smaller Insta360 X5) is perfectly pocketable.
Battery life is also acceptable, with my stress testing allowing for around 50 minutes of 5.7K 30fps video to be recorded using a fully charged battery – just a little shy of the 60 minutes claimed by Akaso. Reassuringly, while the camera got very warm during this test (it was a hot summer’s day and the ambient temperature in my home office was toasty), it never overheated to the point where it stopped recording and shut itself down to cool off.
The Akaso 360 mounted on a selfie stick and mini tripod. (Image credit: Future | Sam Kieldsen)
Akaso 360 specs
Akaso 360 specs
Type:
360 camera
Sensor:
1/2-inch x 2
Focal length:
7.6mm
Max aperture:
f/2.25
Dimensions:
46.9 x 109.8 x 30.8mm
Weight:
6.3oz / 180g
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Akaso 360: price and availability
Launched worldwide on 7 July 2025
Standard Combo costs $199.99 / £199.99 / AUS329.99
Creator Combo also available for $249.99 / £249.99 / AU$399.99
Launched on 7 July 2025, the Akaso 360 is available to buy in two bundles: the Standard Combo and Creator Combo.
The Standard Combo (which I was sent for the purposes of this review) costs $199.99 / £199.99 / AUS329.99 and features the camera, a protective pouch, two batteries, one USB-C cable, one lens cleaning cloth and a quick-start guide. The Creator Combo costs $249.99 / £249.99 / AU$399.99 and comes with all of the above plus a further two batteries, a battery charging case and a 120cm selfie stick.
This is a lot cheaper than the current competition. The GoPro Max costs from $349.99 / £349.99 / AU$599.95 while the Insta360 X5 costs from $549.99 / £519.99 / AU$929.99. Even if you go back to last year’s Insta360 X4, it’s at least $349.99 / £425.99 / $632.99, so Akaso has a really compelling selling point compared to its main rivals.
Should I buy the Akaso 360?
Buy it if...
You want the best affordable 360 camera With Insta360 and GoPro’s current 360 cameras costing a lot more, the Akaso 360 represents a fantastic alternative for those on a tighter budget.
You want a simple 360 camera The Akaso 360 does its main jobs well, stitching together videos seamlessly and removing selfie sticks from its footage. It’s not packed with advanced features but it’s a reliable performer.
Don't buy it if...
You need a rugged 360 camera It’s not waterproof, dustproof or shockproof, so the Akaso 360 isn’t the best camera for documenting your wet and/or wild outdoors adventures.
You want the best 360 image quality The Akaso 360’s footage is decent but falls down in low light. For truly excellent 360 video in all conditions, we’d recommend the Insta360 X5, which has large sensors and effective noise reduction processing.
Also consider
Insta360 X3
While it’s no longer listed as a current model on Insta360’s website, this 2023-released 360 camera is still on sale in plenty of places – and for less than ever. While it lacks some of the advanced features of newer models, it’s capable of great-looking, simple-to-capture 360 videos, and unlike the Akaso 360 supports Active HDR to temper blown-out highlights and increase shadow detail.
We’re still waiting for a real GoPro Max 2, but this recently refreshed edition cuts GoPro’s original 360 camera’s price while making some modest updates to its hardware in the form of improved battery life and more mounting options. While GoPro has ceded ground to Insta360 at the higher end of the 360 market, this mid-range 360 camera still has plenty to offer.
How I tested the Insta360 X5
Tested for several days, full production model running release firmware
Camera mounted on invisible selfie stick
Recorded videos on foot and bicycle
I was sent a sample of the Akaso 360 ahead of its release, giving me a week or so to test the camera (running the latest firmware I could download) ahead of its launch. I was able to capture videos and photos indoors at home, plus outside both on foot (for vlog-style content) and on my bike (for more action-type stuff). I edited footage using Akaso's own apps, using both the mobile app and the MacOS desktop app to put together the sample videos you see above.
Brinno BCC5000 Time Lapse Bundle: one-minute review
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While many of the best action cameras allow you to capture short-form timelapse videos thanks to their diverse functionality, it’s the best timelapse cameras that make long-form timelapse videos possible. Here, I’m talking about days, weeks or even months in duration, and for this, you need a special kind of camera.
The Brinno BCC5000 Time Lapse Bundle is a comprehensive kit that includes the Brinno TLC5000 4K timelapse camera, a tough weather-resistant housing, and a versatile camera clamp that allows the camera and housing to be attached to a wide variety of surfaces, such as the top of walls, beams and girders.
The camera can also be attached to a tripod, but this is more suitable for shorter rather than long-term timelapse video capture. The camera can be used without its housing, but since it lacks a screen, connection and control via Bluetooth and Wi-Fi provide a greater level of precision in or out of the housing. Bluetooth isn’t perfect, and we’ll discuss that later.
Construction timelapse cameras aren’t cheap, as I discovered when I reviewed the Brinno TLC 300 and the Brinno TLC 2020. These are, however, extremely low-cost when compared to the Brinno BCC5000 Time Lapse Bundle, which costs $1,899 / £1,899 / AU$TBC. It’s not cheap, but the functionality and shooting duration on offer are greatly increased as you’d expect.
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Brinno BCC5000 Time Lapse Bundle specs
Brinno BCC5000 Time Lapse Bundle specs
Type:
1/1.8-inch Sony STARVIS 2
Lens angle of view:
118 degrees
Aperture:
f/2.0
Interval times:
3 sec–24 hours
Connectivity:
BLE 4.0 / Wi-Fi/ 2.4GHz 802.11
Camera dimensions:
3.8 x 3.8 x 2.6 inches / 96 x97.5 x 66.2mm
Housing dimensions:
6.7 x4.1 x 9.3 inches / 170 x 104 x 236mm
Camera weight:
7.9oz / 224g (without battery)
Housing weight:
23.2oz / 657g (without camera & batteries)
Brinno BCC5000 Time Lapse Bundle: Design
No screen
Minimal design
Large weather-sealed housing
The Brinno BCC5000 Time Lapse Bundle is the sum of two parts – you have the camera itself, and then you have the robust ATH5000 weatherproof housing. The housing allows for long-term capture, with three battery slots for extended use, with the ability to recharge the batteries in or out of the housing.
You can use the camera independently of the housing when capturing timelapse videos over several hours, or perhaps a day, in fine weather, but it’s not waterproof, so the housing is essential for longer captures.
The camera itself features an almost cube-like design that’s 3.8 x 3.8 x 2.6 inches / 96 x 97.5 x 66.2mm with just two buttons for operation: an on/off switch, a microSD card slot and a USB-C port.
There's no screen on the camera, so you have to connect it to a laptop or smart device using Bluetooth or Wi-Fi. This allows you to take a photo when using Bluetooth or view a live feed when connected to Wi-Fi to compose the camera.
When using just the camera, a single battery can be installed in the rear, and there’s a small lens hood that can be attached to the lens. There’s also a spirit level on the front of the TLC5000 that helps you to level the camera on the horizontal axis.
According to the Brinno website, the bundle, which includes two batteries, can provide up to 200 days of shooting with a five-minute capture interval. I’m assuming this is with two batteries rather than three, but it's unclear.
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The Li-ion batteries have a capacity of 45.4Wh or roughly 12,611mAh, and take around six hours to charge. So, although they can be charged in the housing via USB-C, it might make more sense to remove the used battery/batteries and charge them elsewhere in order to maintain the weatherproofing of the housing and the batteries in the battery compartment.
The housing is surprisingly large at 6.7 x 4.1 x 9.3 inches / 170 x 104 x 236mm, but this is split into two sections, one for the camera and another for the batteries. When the camera is used in the housing it’s plugged into the housing, and doesn’t require a battery, as power is supplied from the battery compartment.
The housing doors clip securely to make it watertight, and there are loops where locks or cable ties can be used if desired. This will only keep the housing closed, though and won’t prevent theft.
In the kit you get the TLC5000 camera, the ATH5000 housing, two batteries, the ACC5000 Camera Clamp Pro, a lens hood, a 64GB microSD card, a USB-C cable and silica gel packs to put in the housing to eliminate moisture.
Brinno BCC5000 Time Lapse Bundle: Performance
Great image quality for this type of camera
Bluetooth connection is glitchy in some ways
Settings are limited with Bluetooth
The key advantage of the TLC5000 is its ability to capture long-term timelapse videos of construction sites, and any location for that matter. Setting up and using the camera is incredibly easy with the limited camera controls available. All you have is Exposure Mode for Daytime, Twilight and Night, Timestamp on/off, Sharpness, Saturation, Playback rate, time interval and schedule. This is pretty much a point-and-shoot 4K camera.
The shortest time intervals available for the different shooting modes are Daytime three seconds, Twilight five seconds and Night 10 seconds; shorter would be better. The maximum interval is 24 hours. You can shoot with the camera using the basic controls on the front of the camera to set the interval and begin shooting. These can be used whether the camera is being used independently or in the housing, since with the latter, the camera sits on a plate that slots into place easily so the composition is maintained.
To get the most out of the camera you have to connect it to a Wi-Fi network, which opens up access to all settings and remote access via the Brinno cloud. This only possible, though, if Wi-Fi is available at the shooting location. Brinno cloud access means you can access settings, including scheduling, and download captures remotely, although downloading was extremely slow during testing.
You can also connect over Bluetooth, although only basic interval, scheduling and start/stop controls are available via the Chrome browser. The take-a-photo function, for composing the camera, is extremely hit or miss – sometimes it works, often it won’t, and other times it produces an overexposed and unviewable image. It would make sense for this connection to be flawless since it’s likely the most convenient and popular way for people to connect to the camera wirelessly.
Brinno TLC5000 video straight out of camera
Browser-based camera control isn’t ideal, but it does work to be fair. Brinno has confirmed that Android and iOS apps are in development, so hopefully these and future firmware updates will fix the Bluetooth photo issue.
It would be beneficial for all settings to be available in these apps and via Bluetooth when using the Chrome browser, because the limitations here leave you unable to adjust many settings if no Wi-Fi network is available. You could, of course, set up a Wi-Fi hotspot with your smartphone simply to change more settings than Bluetooth allows, but it's not a streamlined approach.
Brinno TLC5000 video white balance corrected
Image quality is impressive for a dedicated timelapse camera, but it's not perfect. 4K is a fantastic resolution, and the standard to be expected these days. Even night captures are impressive, with fairly clean footage. You can only really notice the small amount of color noise when you pause night captures.
Images can look too sharp and oversaturated, so delving into these controls and adjusting them accordingly will provide more favorable and personalized results. White balance in daylight can be far too warm, but it can be corrected in video editing software. Chromatic aberration is visible along high-contrast subject edges.
4K grab from Brinno TLC5000 using VLC Player. (Image credit: James Abbott)
You can’t take photos with the camera, but you can extract stills from footage using the Brinno Video Player, although i found this Windows-only software to be glitchy and generally awful to use. VLC Player (free) proved to be a much better video player for grabbing 4K stills from footage.
Should you buy the Brinno BCC5000 Time Lapse Bundle?
Buy it if...
You want to shoot long-term time-lapses
If you’re aiming to capture long-form timelapse videos over several weeks or months, this is a dedicated camera that will allow you to do just that.
You need an all-weather solution
With the weather-resistant housing, this is a camera that can be left out in all weather without any risk of water ingress. You also get silica gel packs to prevent condensation.
You need remote connectivity
When the TCL5000 is connected to a Wi-Fi network you can access the camera remotely to change settings and download timelapse footage.
Don't buy it if...
You’d prefer a more versatile camera
If you’d like a camera that can do much more but doesn’t shoot for such long durations, an action camera will be a much more suitable option for you.
You’re on a budget
The BCC5000 kit is expensive, but you can buy much more affordable Brinno timelapse cameras. There are several models available, so you can find the best option for you.
You want the best image quality
If you’d like the best image quality possible, a mirrorless camera is the best option for capturing timelapses. They are, however, only suitable for shorter timelapse shoots.
How I tested the Brinno BCC5000 Time Lapse Bundle
I tested the camera over several weeks
I used it at different times of day
I tested all connection methods for shooting
I tested the Brinno BCC5000 Time Lapse Bundle in shorter bursts rather than for long-form timelapse capture, as testing the extremes of scheduling would have taken months. I was, however, able to test basic scheduling using different interval times at different times of the day and night.
I used my smartphone, tablet and laptop for Bluetooth connection. To test the Wi-Fi control I used both my laptop and tablet connected over my home network. I also used the TLC5000 manually, and composed ‘blind’ by simply pointing the camera and starting shooting using the direct-access controls.
With nearly 30 years of photographic experience and 17 years working as a photography journalist, I’ve used many of the cameras and lenses that have been released in that time. As a working photographer, I aim to test cameras and lenses from a photographer’s point of view.
The S1 II is Panasonic's most powerful Lumix camera yet, debuting a partially-stacked 24.1MP sensor and an embarrassment of riches for video recording, including 19 pages of video codecs in the menus.
There are 6K and 4K options in various aspect ratios up to 60fps and 120fps respectively, plus a new open gate 5.1K option up to 60fps. Furthermore, ProRes Raw format is available in-camera with bitrates up to 4.2Gbps (that's not a typo), as is a Dynamic Range Boost mode – the latter delivers quite possibly the most detail-rich video I've seen at this price point.
The boost in performance from the partially stacked sensor extends to photography too, with up to 70fps burst shooting (or 10fps using the mechanical shutter) and an option for 1.5 seconds pre-capture.
Both photo and video capture benefit from class-leading in-body image stabilization – the Boost IS mode gave me some of the smoothest handheld videos I've shot – plus Panasonic's most effective autofocus yet, with subject-detection autofocus now extended to 'Urban Sports' such as parkour. Autofocus speed, versatility and accuracy are still not quite as complete as rival cameras such as the Nikon Z6 III, but it's impressive nonetheless.
(Image credit: Tim Coleman)
As for the design, the Lumix S1 II's body is identical to the Lumix S1R II's – which is a good thing considering that it's the best Lumix design yet.
I've enjoyed the crisp 5.76m-dot EVF, 1.84m-dot vari-angle touchscreen, durable body and a generous handgrip, complete with vents that keep the camera cool during long record sessions.
The Lumix S1 II feels uncharacteristically expensive for a Lumix, but I'm still struggling to think of a better mirrorless camera at this price point for video-first users – it really is one of the best video cameras. As a photography-first user, the 44.3MP Lumix S1R II is the more obvious choice for me, even if it can't match the S1 II's raw power.
Panasonic also launched the Lumix S1 IIE on the same day as the Lumix S1 II. The two cameras are identical, except that the 'E' version has a regular 24MP full-frame sensor rather than a partially stacked one, which means a slower performance in a few areas and fewer video modes to choose from. It's $500 / £500 cheaper.
I feel like there's much more of a case for the S1 II than there is for the S1 IIE, especially given there's the cheaper Lumix S5 II in the picture, which is yet another 24MP Lumix. The Lumix S1 II is agonizingly close to a five-star rating, but its price point puts it among fierce competition, and takes it down a peg.
Panasonic Lumix S1 II: price and release date
Body-only price is $3,199 / £2,899 / AU$5,299
It was announced on May 13 2025 and is available now
A Lumix S1 IIE version costs $2,499 / £2,399 (about AU$4,100)
The Lumix S1 II was announced on May 13, 2025, and it costs $3,199 / £2,899 / AU$5,299 body-only. The 44.3MP Lumix S1 R II costs $100 / £100 more, while the Nikon Z6 III, which is another obvious alternative, is a fair bit cheaper.
Alongside the Lumix S1 II, Panasonic unveiled the Lumix S1 IIE, which has the same skin and feature set, but a regular 24MP full-frame sensor rather than a partially stacked kind. The S1 II's partially stacked sensor delivers faster performance in several areas, and more video record modes.
Up to 70fps using electronic shutter, up to 10fps mechanical
Viewfinder:
5.76m-dot OLED
LCD:
3-inch, 1.84m-dot vari-angle LCD touchscreen
Battery (CIPA rating):
Up to 350 shots or up to 130 mins record time
Weight:
1.76lbs / 800g (incl battery and card)
Dimensions:
5.29 x 4.03 x 3.61 inches / 134.3 x 102.3 x 91.8mm
Panasonic Lumix S1 II: design and handling
Rugged body, weighs 1.76lbs / 800g
Clear and detailed 5.76m-dot OLED EVF
Cooling vents for long record times without overheating
We've already reviewed the Lumix S1R II, and the Lumix S1 II's design is essentially identical. At 1.76lbs /800g, it's a tiny bit heavier – that's because it features a partially stacked sensor – but that's the only real difference.
To briefly recap from our Lumix S1R II review, this second generation of Lumix S1 cameras is slimmed down from the first, being approximately 20% lighter and a little smaller in every dimension.
The S1 II, S1 II and S1R II trio are very comfortable to hold, and the S1 II balances really well with most of Panasonic's L-mount lenses – I had the 24-105mm F4 Macro OIS for this review.
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I think Panasonic has evolved the design nicely – not only are the new S1 II / S1R II / S1 IIE models the best in the hand yet, but they're rugged, weather-proof, and feature built-in vents to keep them cool – an essential feature for big video hitters like the Lumix S1 II.
There's a slight feel of function over form here: the Lumix S1 II speaks video production work to me, rather than go-out-and-create. That said, the camera handles well in any situation.
As a hybrid mirrorless camera, no stone is left unturned – the Lumix S1 II features full-size HDMI, mic, and headphone ports, plus USB-C charging that doubles up for external SSD connection and recording.
There are twin card slots – one is CFExpress Type B, which you'll need for some of the higher-quality video codecs, and the other is SD UHS-II.
The vari-angle screen can spin around to the front for selfie recording, and the display features a helpful red border prompt during recording, together with front and rear tally lights – these are useful visual aids for busy filmmakers. There are also twin red buttons to start recording: a large one on the front of the camera, and a smaller one on the top.
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Photographers in particular will enjoy the EVF – it's a bright and detailed 5.76m-dot OLED display. I also like the feel of the rear joystick, especially for navigating autofocus points and modes.
The button layout is all very sensible, and I also appreciate how simple Panasonic menus are (in general). For example, the video mode menu only has six pages in all, so features like image stabilization are easily found.
The same can't be said for video codecs – there are a staggering 19 pages of Full HD, 4K 5.1K, 5.8K and 6K video modes to choose from, with various aspect ratios, bitrates and formats.
Thankfully, it's possible to create custom profiles for your most-used settings, otherwise navigating between the options is a time sink.
Design score: 5/5
Panasonic Lumix S1 II: features and performance
Incredibly effective image stabilization for video
Rapid 70fps burst shooting mode or a more sensible 10fps using mechanical shutter with continuous AF
Average 350-shot battery life
Panasonic's best autofocus performance to date
Panasonic stuck with a contrast-detection-based autofocus system for years when rivals had adopted a hybrid phase / contrast-detection setup, which is more effective for video. It was a big mark against Panasonic's otherwise-excellent video cameras.
Thankfully, Panasonic finally rectified the situation with the Lumix G9 II / Lumix S5 II in 2023, introducing a hybrid autofocus system which Panasonic says is now 1.6x faster in the Lumix S1 II.
Certainly, the Lumix S1 II packs Panasonic's best-ever autofocus, with an increased array of subject-detection modes. I've been shooting anything from grassroots sports to animal portraits with it, and on the whole have been really impressed.
While not scientific, my testing suggests that Panasonic's autofocus is still a little way behind the likes of Canon, Sony and Nikon, but not by much; in simple terms, autofocus performance is no longer a strike against Panasonic. You can see in the gallery below a range of subjects I've photographed, and my hit ratio of sharp shots was roughly 8/10.
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What is less ideal is battery life, which is CIPA-rated at 350 shots, or up to 70 minutes record time. I've been able to squeeze more photos out of a fully charged battery than that, and there's on-the-go UBS-C charging too. However, Sony cameras, for example, boast better battery life.
Where the Lumix S1 II really shines is its in-body image stabilization, which is rated up to 7EV. In practice, I've found it to offer the most effective stabilization of any camera for video recording, especially in the Boost IS mode. There's a small crop of the image area in this mode, but handheld videos on the move are silky smooth.
There's also an extremely rapid 70fps burst-shooting mode. Personally, I find this to be overkill for the casual action photography I typically do, but to have a mechanical shutter that ticks over at 10fps for what are essentially unlimited sequences is a great to have.
Overall, the Lumix S1 II is able to sustain its high-speed performance to a level that the Lumix S1R II can't. I photographed a grassroots soccer match at last light (see below), and the camera's speed and autofocus held up well.
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There's the option for data-heavy ProRes RAW video recording in-camera, which further highlights just how powerful a camera the Lumix S1 II is.
I also must commend the new(ish) Lumix Lab app, which is the most reliable camera app Panasonic has made yet. Unlike previous apps, which have frustrated me no end with my previous cameras such as the Lumix GH5, Lumix Lab provides a quick and reliable connection between camera and phone, together with remote control, image upload, and access to Lumix resources such as custom color profiles.
Features and performance score: 4.5/5
Panasonic Lumix S1 II: image and video quality
24MP partially stacked sensor is a great all-rounder
A generous range of video codecs, bitrates and aspect ratios, up to 6K 60p
Color profiles and real-time LUTs can be imported from the Lumix Lab app
If you want the best-possible video quality, you'll struggle to find a better camera than the Lumix S1 II at its price point.
It tops out at 6K resolution, whereas high-resolution alternatives such as the Lumix S1R II, Canon EOS R5 Mark II, Nikon Z8 and Sony A1 II offer 8K, but otherwise the Lumix S1 II's video quality is top-drawer.
Not only does it offer more video formats and bitrates than rivals, but also aspect ratios which are taken from the full height and width of the sensor (open gate) and include 3:2, 4:3, 16:9, 17:9 and 2.4:1.
I've shot with a wide range of the video modes, and you can see what to expect across the various resolutions and frame rates in the (lengthy) sample video, below.
Special mention goes the the Dynamic Boost mode, which delivers quite possibly the best and most detail-rich video quality straight out of the camera that I've seen from a hybrid camera. You lose various features, such as slow-motion frame rates, but for outright quality it's incredible.
Something the Lumix S1 II does better than the higher-resolution Lumix S1R II is handle rolling shutter distortion. Yes, it's a way more capable all-round camera for recording video.
There are also a range of color profiles, including V-Log, plus any number of custom profiles made by pros in the Lumix community, and which can be imported directly to the camera from the Lumix Lab app for video and photo. You can see a range of looks in the photo gallery below.
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If you're mainly going to be shooting photos, and appreciate the Lumix S1 II's all-round capabilities, then the Lumix S1 IIE could be a better shout. It's widely reported that partially stacked sensors can have an adverse impact on image quality in low light versus a regular sensor; it's a subtle difference, but images can be a little noisier. I haven't made direct comparisons between the Lumix S1 II and Lumix S1 IIE, but it's something worth thinking about.
Overall, however, I have no complaints regarding the photo quality of the Lumix S1 II. I'm used to full-frame 24MP cameras; they balance speed, performance, and image quality nicely.
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Image and video quality score: 5/5
Panasonic Lumix S1 II: testing scorecard
Panasonic Lumix S1 II
Attributes
Notes
Rating
Price
Excellent features, but it's pricey for a 24MP Lumix
4/5
Design
Panasonic's best Lumix camera design: it's rugged, easy in the hand and a sensible control layout
5/5
Performance
Partially stacked sensor delivers the speediest performance of any Lumix to date, and its best autofocus, but there's fierce competition at this price point
4.5/5
Image and video quality
Photo quality is decent, but it's the video quality that truly shines
5/5
Should I buy the Panasonic Lumix S1 II?
Buy it if...
Your focus is video, but you shoot photos too Because of its hybrid design, serious video-only users could be better served overall by a Blackmagic camera than the Lumix S1 II. However, for video quality, especially the dynamic boost mode, I can't think of a better camera for the money, and it's a capable stills camera too.
You want a versatile video camera There are a staggering 19 pages of video codecs which cover an unmatched choice of resolutions, aspect ratios, bitrates and formats up to 6K, including open gate recording. Panasonic beats Sony, Canon and Nikon on this front.
You need a reliable performer The Lumix S1 II is rugged, plus it can shoot for sustained periods without overheating.
Don't buy it if...
You want an all-day battery A 350-shot battery life, or up to 70 minutes record time depending on the video codec, is pretty mediocre. However, USB-C charging on-the-go is possible.
You're a photography-first shooter It's a capable stills camera for sure, but there's no denying that the Lumix S1 II is geared for video. The Nikon Z6 III has the edge for photography, as does the higher-resolution Lumix S1R II.
You're a casual filmmaker For many filmmakers, the Lumix S1 II could be overkill. If you don't need the full suite of record modes and features, the Lumix S5 II could be a more cost-effective choice.
Panasonic Lumix S1 II: also consider
Nikon Z6 III
The 24MP partially stacked sensor might be new to Lumix, but we've seen it before in the Nikon Z6 III. Without diving too much into where each model betters the other, it's fair to say that the Lumix S1 II is more-featured packed for video, and the Z6 III more so for photography. Both are incredibly capable hybrid cameras, but the Z6 III is quite a lot cheaper now.
With the same design and virtually the same price, the Lumix S1R II is another option. The key difference is the sensor – the Lumix S1R II features a regular 44.3MP unit, the Lumix S1 II a partially stacked 24MP one. Put simply, the Lumix S1R II is better equipped for high-resolution photography and video, whereas the Lumix S1 II is a speedier performer for stills, and overall more geared to video. Both are capable hybrid cameras in their own way.
Panasonic loaned me the Lumix S1 II for one month, together with the 24-105mm F4 lens
My main focus of testing has been the video modes, though I have also used the camera in various photography scenarios
In general, I've tested the camera in fair weather and fair light
I've had a good long time with the Lumix S1 II – over one month in all. Panasonic loaned me a 24-105mm F4 lens for the test, and this was the only lens I used the camera with.
My testing reflects the typical audience for the Lumix S1 II – I've shot a lot of video with it, using the various resolutions, codecs and frame rates, and recording onto a top-spec CFExpress Type B card.
That's not to say I've neglected photography – far from it. I've shot everything from grassroots soccer at last light to animal portraits and everyday subjects, mostly in fair weather and fair light.
Sigma 56mm F1.4 DC DN Contemporary: one-minute review
Most beginner mirrorless cameras are available as a kit with a standard zoom lens – a pairing that many users settle with long-term. However, if you want notably better-quality photos from such a setup, my first bit of advice would be to invest in an additional lens.
That's where the Sigma 56mm F1.4 DC DC Contemporary prime comes in. Offering pin-sharp detail, dreamy bokeh and an 85mm effective focal length, it's ideal for portraiture, and a level up from your kit zoom.
It's one of a quartet of dinky f/1.4 primes by Sigma. But of those four, and indeed of the many lenses I've tested for crop-sensor cameras, it's Sigma's 56mm F1.4 that has impressed me the most.
What's more – it's tiny, lightweight, and well-built too, meaning it'll pair nicely with mirrorless cameras from the likes of Sony, Canon, Fujifilm, Nikon, and more.
In fact, Sigma should be commended for making this lens available for such a wide range of lens mounts. It was originally released for Sony E and Micro Four Thirds back all the way back in 2018, then for other mounts such as Fujifilm X, and only this year did it debut for Canon RF – a third-party lens for Canon RF is rare.
Put simply, the Sigma 56mm F1.4 is the best second lens you can buy in this format, especially for portraiture. Being a Sigma, it's made in-house in Japan to high standards, and the cherry on the cake is that it's reasonably priced too.
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Sigma 56mm F1.4 DC DN Contemporary specs
Sigma 56mm F1.4 DC DN Contemporary specs
Type:
Telephoto prime
Mount:
L mount, Sony E mount, Fujifilm X mount, Micro Four Thirds, Nikon Z mount, Canon EF-M mount, Canon RF mount
Sensor:
APS-C
Focal length:
56mm (85mm effective for APS-C and 112mm for MFT)
Max aperture:
f/1.4
Minimum focus:
19.7 inches / 50cm
Filter size:
55mm
Dimensions:
69 x 57.5mm (Canon RF – other mounts differ slightly)
Weight:
10.2oz / 290g (Canon RF – other mounts differ slightly)
Sigma 56mm F1.4 DC DN Contemporary: Price and availability
Available for most mirrorless camera lens mounts
Priced at around $450 / £420 / AU$650, depending on mount
Sigma offers the 56mm F1.4 DC DN Contemporary in L mount, Sony E mount, Fujifilm X mount, Micro Four Thirds mount, Nikon Z mount, Canon EF-M mount and Canon RF mount versions. Put simply, you can find a version of the lens for your crop-sensor mirrorless camera, without needing an adaptor.
How much the lens costs depends on the version you need. The Canon RF version, for example, costs $449 / £419 / AU$649, while the Sony E-mount version is a little cheaper.
Sigma 56mm F1.4 DC DN Contemporary: Design
Weighs around 10oz / 285g
Plastic barrel, no external buttons
Available for most mirrorless camera lens mounts
Lenses for APS-C cameras tend to be smaller than equivalent full-frame optics, and that's certainly true of the Sigma 56mm F1.4. It weighs just 10oz / 285g (the Canon RF version is a few grams heavier), and measures 57.5mm in length, whereas an 85mm f/1.4 lens for full-frame cameras would typically be double the weight and size.
Its diminutive dimensions and light weight make the Sigma lens a suitable match for the best beginner mirrorless cameras, and it's the dinkiest in the series of f/1.4 primes. I was testing it with the Canon EOS R100, which is Canon's smallest mirrorless camera with RF mount, and there was a really nice balance to the pair.
There's a nice feel to the lens too, thanks to its large rubberized focus ring that's easy to locate and smooth in action. The barrel is plastic rather than metal, but it feels solid enough. I didn't exactly thrash the lens around during testing and portrait shoots, but I can still appreciate its durability.
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The mount, on the other hand, is metal, and most versions feature a rubber seal for dust and moisture resistance (the exception is the Canon EF-M version). It's worth pointing out that Sigma makes the lens at its HQ in Aizu, Japan, with tight control over build and optical quality.
There are zero external buttons and switches on the lens; the sole manual control to hand is the focus ring. I was testing the lens with a beginner-level camera, which also lacks the kind of external controls found on pricier cameras. As such, I missed having quick access to a basic adjustment such as a manual / autofocus switch.
The lens comes with a generously-sized lens hood, and should you want to attach threaded filters you'll need 55mm ones. Such small filters are usually pretty low-cost.
Autofocus in the 56mm F1.4 lens is powered by a stepping motor, which drives the lightweight lens elements with ease for quiet, rapid and accurate focus. Focusing is internal too – which means the lens's exterior maintains its size.
The minimum focus distance is 19.7 inches / 50cm, which is pretty decent for an 85mm-equivalent lens, realizing a 1:74 maximum magnification. This is no macro lens, however; the closest you'll get to sharp focus is on details such as flower heads.
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The aperture range is f/1.4 to f/16, with a nine-blade rounded aperture. Naturally, I gravitated to the maximum aperture for portraiture, and I suspect that the majority of the photos I would take with the lens, should I own it myself (and I want to), would be at f/1.4.
At this aperture, backgrounds defocus nicely for head-and-shoulders portraits, as in the images below, in which you can also see what bokeh looks like – note the quality of the dappled light in the background. Bokeh is smooth and round in the center of the frame, although a little cats-eye-shaped in the corners.
On the same day that I shot those portraits, I also used Canon's own RF-S 55-210mm F5-7.1 IS STM lens for portraits and the difference in quality was clear – bokeh in the lower-end Canon lens has an ugly onion-ring effect, whereas the Sigma's is, as I've said, buttery smooth.
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The lens construction comprises 10 elements in six groups, two of which are aspherical elements, plus one 'SLD' element. The result is ridiculously sharp detail, even at f/1.4, although for absolute peak sharpness any setting between f/2.8 to f/5.6 is on the money.
Like many Sigma lenses, the 56mm F1.4 utilizes in-camera digital correction to fine-tune images. I shot photos both in raw & JPEG, and checked the uncorrected images in Adobe Camera Raw, which supports the 56mm lens's profile for corrections. Switching lens corrections on and off allowed me to see how extreme any corrections are.
Lens distortions such as chromatic aberration and flare are all well controlled off the bat, and certainly nothing to worry about. There's notable pincushion distortion, and modest amounts of vignetting at f/1.4, but nothing that automatic lens corrections can't handle easily enough.
Image quality is excellent across the board, and the outstanding sharpness is even more impressive given the tiny dimensions of the lens.
Sigma 56mm F1.4 DC DN Contemporary sample gallery
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I took the lens hood off for this photo and shot towards the sun. At particular angles, this pronounced flare appeared. (Image credit: Future)
Should you buy the Sigma 56mm F1.4 DC DN Contemporary?
Buy it if...
You want a fast-aperture prime for portraits
The 85mm focal length, which is what this crop-sensor lens effectively offers on APS-C cameras, is widely appreciated by pro portrait photographers for it's flattering perspective. When coupled with the f/1.4 aperture, you can get defocused backgrounds and buttery smooth bokeh.
You're looking for a second lens to level up from your kit lens
Most crop-sensor cameras are available with a standard zoom lens with a modest maximum aperture. You'll get noticeably better portraits with this lens, and much sharper detail.
Don't buy it if...
You switch between manual and autofocus often
Sigma's DC DN Contemporary lenses for APS-C cameras are small, light and simple – possibly too simple for some. There are no external buttons or switches, such as an auto / manual focus control, which can make such adjustments slower.
You shoot wide
Keep in mind that the 56mm focal lens of this crop-sensor lens is effectively 85mm for APS-C and 112mm for MFT, which makes it a telephoto optic, and not one for wide perspectives.
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How I tested the Sigma 56mm F1.4 DC DN Contemporary
Sigma loaned me the 56mm F1.4 DC DN Contemporary for a few weeks
I tested the lens at the same time as three of Sigma's other F1.4 primes
I had the Canon RF-mount version, and paired the lens with a Canon EOS R100
I had several weeks to put the Sigma 56mm F1.4 DC DN Contemporary lens through its paces, together with the three other lenses that make up Sigma's quartet of Contemporary primes for crop-sensor cameras: the 16mm F1.4, 23mm F1.4 and 30mm F1.4.
They are some of the few third-party lenses made for the Canon RF-mount, which is the version that I had, and I paired the lens with the entry-level Canon EOS R100.
Throughout my time testing the lens, I've set the camera to shoot in raw & JPEG simultaneously, with in-camera lens corrections turned off. Adobe Camera Raw's profile for the lens allowed me to directly check the extent of corrections that are applied.
I've mostly used the lens for portraiture, making use of its maximum f/1.4 aperture. I've also taken images in various scenarios and using various apertures, in order to check for lens distortions and check detail.
In photography, we often want more light. It’s why people seek out larger sensors and wider apertures in their cameras and lenses – in order to capture a greater amount of light in a shorter space of time. That’s brilliant if you want a fast shutter speed to freeze the action – but what if you want to use a slower shutter speed, in order to capture the motion blur of a car racing past or turn a raging river into a smooth, silky ribbon of blue?
Achieving a slow shutter speed, particular on a sunny day, can be tricky – which is where ND filters like the PolarPro QuartzLine range come in. Available in a wide range of strengths, these circular filters screw onto the front of a camera lens and reduce light transference without affecting color rendition. At least, that’s the idea.
PolarPro sent me four ND filters to test, all in 67mm thread size (they’re also available in 77mm and 82mm), in ND8, ND16, ND64 and ND1000 strengths. The ND8 filter drops light input and increases exposure time by three stops; the ND16 four stops; the ND64 six stops; and the ND1000 filter 10 stops. Obviously, having a set like this in your camera bag would be handy if you want to cover every eventuality – but it’ll be mighty expensive too.
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Each filter comes with its own hinged hard carry case and microfiber cleaning cloth, emphasising their premium positioning. The cases are hard plastic, but have a fetching brushed metal finish and magnetic closure, and each is helpfully labelled with the thread size and ND value, to reduce the time it takes to pull out the right one from your bag.
The filters themselves are well crafted and beautifully solid, so it does at least feel like that money is going somewhere. Made of brass and aluminum (and with a distinctive brass-colored finish), they’re reassuring tough, with pleasingly chunky ridges that gave me plenty of grip whenever I was attaching or detaching them from my Panasonic Lumix GH6’s lens (I used a 62mm to 67mm step-up ring, also made by PolarPro, in order to do so).
The brass frame construction should keep the screw threads in good shape too, in theory – so these filters should be fitting smoothly for many, many years to come. I found them very easy to fit, but you’d expect that from new filters. They also feature front threads, allowing other filters and attachments to be fitted over them.
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The glass, dubbed Cinema Series Glass by PolarPro, is made in Germany. A series of coatings purportedly eliminate color shift (any sort of color cast being added by the filter), and PolarPro also claims its ultra-low refractivity keeps the effects of the light passing through so minimal that it can fully resolve sensors with up to 400MP resolution. The coatings add anti-scratch, anti-oil and hydrophobic qualities too.
My Lumix GH6’s sensor is just 25.2MP, so doesn’t really help in putting the refractivity claims to the test, but in terms of color shift I can say I’m impressed. Even the most powerful filter of the four I was testing, the ND1000, doesn’t add much of visible color cast to images – but when closely comparing test shots without the filters to those with, there is a slight warm tint visible in the filtered images.
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This photo was shot as a control, with no ND filter attached (Image credit: Future | Sam Kieldsen)
PolarPro QuartzLine ND color cast comparisons
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Sample photo using the ND8 filter. (Image credit: Future | Sam Kieldsen)
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Sample photo using the ND16 filter. (Image credit: Future | Sam Kieldsen)
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Sample photo using the ND64 filter. (Image credit: Future | Sam Kieldsen)
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Sample photo using the ND1000 filter. (Image credit: Future | Sam Kieldsen)
I wouldn’t call this a huge drawback, particularly as I think anyone spending this much money on ND filters probably has some experience in post-processing and editing photos. It’s nothing that can’t easily be fixed in Lightroom or similar, and most observers wouldn’t even notice it unless they were looking, but it’s definitely present.
Using the filters, I was able to capture long exposures (10 seconds or more) on bright, sunny days by the sea. These photos smoothed out the motion of the waves and made the surface of the water more transparent to give my images a much more dream-like quality. They would have been completely impossible to take without an ND filter, as too much light would have entered the camera and blown out the image.
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This long exposure turned crashing waves into silky, smooth ribbons of motion. (Image credit: Future | Sam Kieldsen)
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Shot with no filter. (Image credit: Future | Sam Kieldsen)
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Shot using the ND1000 filter and converted to black and white in Lightroom. (Image credit: Future | Sam Kieldsen)
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A long, multi-second capture using the ND1000 filter smooths out the sea's surface and blurs the motion of a paddle boarder. (Image credit: Future | Sam Kieldsen)
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A second seascape, shot with no filter. (Image credit: Future | Sam Kieldsen)
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Here, the ND1000 filter was used to slow down the shutter speed for a multi-second capture. (Image credit: Future | Sam Kieldsen)
I was also able to use the filters to aid my videography by helping me to shoot video with a wider aperture (i.e. for a shallow depth of field) or slower shutter speed (for more motion blur). I did find this a little more challenging at points, as it involved swapping between filters a little too often – and it’s times like that when a variable ND (or VND) filter feels invaluable. These allow you to adjust ND strength by twisting the filter, offering a much more immediate solution. I’m also currently reviewing PolarPro’s own PMVND Edition II filter with a 2-5 stop range, so look out for an in-depth review of that soon.
While PolarPro QuartzLine ND filters are certainly expensive, I was thoroughly impressed by their premium construction, glass quality and general usability, and wouldn’t hesitate to use them in my own landscape photography and videography.
PolarPro QuartzLine ND filter: price and availability
In the US, PolarPro QuartzLine ND filters cost the same price, regardless of their thread size and filter strength at the PolarPro store. Whether you pick 67mm, 77mm or 82mm threads, or the ND8, ND16, ND64, ND1000 or ND100K strengths, every filter costs $99.99. Simple and, in my opinion, good value for money – particularly given that you also get a hard storage case and cleaning cloth with each filter.
In other countries, the price can vary a lot more. In the UK, for instance, the filters seem very expensive in comparison to US pricing, and thread size and ND value seemingly have little bearing on the cost – i.e. at Amazon UK, the larger thread sizes are sometimes cheaper than the smaller ones, where logic would dictate the opposite. It’s a slightly confusing situation, with some retailers offering decent discounts while others charge the full whack.
Should I buy the PolarPro QuartzLine ND filter?
(Image credit: Future | Sam Kieldsen)
Buy it if...
You want an ND filter that’ll last you many years With its rugged construction, coated glass and included hard case, there’s no reason a QuartLine ND filter shouldn’t last you a lifetime of shooting.
You want minimal distortion and color cast I experienced no obvious ghosting or other distortion when using the filters, and only a tiny shift in color. It’s got great optical quality.
Don't buy it if...
You want a flexible filter for ever-changing conditions For video shooting especially, a variable ND filter that can be quickly adapted to different lighting conditions may make more sense.
You’re on a tight budget These are premium filters and the price reflects that. If you’re a beginner or on a budget, pick up some cheaper filters first to make sure they’re something you’ll use in your photography.
How I tested the PolarPro QuartzLine ND filter
One week of use
Tested with photography and video capture
Used with Panasonic Lumix GH6 camera
I tested these PolarPro QuartzLine ND filters over the course of a sunny summer's week by the sea in southern England – an ideal time and place to put this type of light-stopping filter through its paces. I tested four filters in the range, fitting them onto my Panasonic Lumix GH6 camera (with the help of a step-up ring) to capture both still photos and video, comparing the results against shots captured without the filter.
The Fujifilm Instax Wide Evo is instantly striking with its retro design and ultra-wide body. If you're after the best instant camera for hybrid photography (i.e. the ability to print film images taken directly on the camera or sent from your smartphone) and prefer to shoot on wide format prints, then this really looks like it's the model for you.
Although it doesn't come cheap, the Instax Wide Evo is very much the step-up from Fujifilm's other Instax hybrid, the Mini Evo, that was launched in 2021, offering most of the same great features, including an LCD display screen, 10 lens and 10 film effects that make 100 different creative combinations, and a microSD card slot, along with a few more new additions that I'll break down below.
(Image credit: Future)
A wider film print means this instant camera is a bit on the larger side, but it makes use of the extra real-estate by adding more physical buttons that let you quickly change settings. These include a dedicated wide angle button that lets you switch to a more standard field of view (FoV) if you don't want that cinematic look.
Speaking of, you can also switch between six different film styles, one of which puts black bars to give your pictures that IMAX feeling, using a button on top of the camera. There's also a dial on the left side of the camera to cycle through the 10 different lens effects, with another dial on the opposite right side to switch between the 10 different film effects. My favorite, though, is the crank that lets you manually print a picture by winding it, which is a nice design nod to the crank for winding back film on the best film cameras.
So it's a full five stars for all the creative photo editing options it offers, but what about the Instax Evo Wide's image quality? It's by no means as rich or dynamic as an analog instant camera can produce. Instead the picture quality of the physical print outs is more in line with what you'd expect from your phone's smartphone camera. Of course, the digital copies of these images when compared to those taken your phone can't compete.
The Instax Evo Wide will by no means replace your dedicated digital camera – and if you love the 'magic' of purely analog instant film cameras, then this might not be right for you either as your images will always be digital first – but it is a perfect piece of extra gear if you want to be creative with your photography and experiment with a larger field of view.
Fujifilm Instax Wide Evo: Price and availability
There's a dedicated button at the top of the camera for switching between six different film styles. (Image credit: Future)
The Fujifilm Instax Wide Evo was launched on January 21, 2025 with a price tag of $349.95 / £319.99 / AU$599.
The Wide Evo is also almost double the price of Fujifilm's other Instax hybrid too, the Fujifilm Instax Mini Evo, which retails for $199.99 / £174.99 / AU$299.99. Does the extra cost account for the more premium, larger features in the step-up model? As the brand's first wide format hybrid camera (and second hybrid camera overall), the Wide Evo does offer a premium package, which it's not great on value.
There's also optional accessories available for the Evo Wide, including a leather case that costs $49.95 in the US and £37.99 in the UK. Although optional, this might be a necessary additional cost to make sure to protect the LCD display screen (if this gets too scratched up, then you won't be able to take let alone see your photos).
Fujifilm Instax Wide Evo: Specs
Film Type:
Fujifilm Instax Wide film
Print size:
62mm x 99mm
Focus range:
f = 16 mm (35 mm equivalent)
Aperture:
f 2.4
Shutter Speed
Automatic switching, 1/4 to 1/8,000 seconds
Power:
Internal lithium ion rechargeable
Charging time:
2–3 hours
Dimensions:
138.7 mm x 125 mm x 62.8 mm (excluding protruding parts)
Weight:
490g
Fujifilm Instax Wide Evo: Design
The left dial on the Instax Wide Evo is for switching between the 10 different lens effects. (Image credit: Future)
A hybrid instant camera that can print directly or from your catalog of shots, stored on Micro SD
Plenty of dials and switches to select various film effects
Includes a mirror and switch to take selfies
When rumors started to circle about the Instax Wide Evo, there was talk that it would be "regarded as the best-looking Instax camera ever made" and that caught a lot of enthusiast's attention, including TechRadar's senior news editor Mark Wilson who said off the back of it that the "Instax Wide Evo sounded like my dream instant camera".
Now that the camera is out in the wild, we can officially say that it's a stunning piece of equipment. It has a relatively slim body to balance the camera's wide build, making the Instax Wide Evo one of the more sizable options on the market. This is offset by a stylish retro look that mimics those vintage cameras that had black textured bodies with silver lenses.
Considering that the only wide-format Instax camera alternative is the big and bulky Instax Wide 400, the Wide Evo's textured, minimal black design is definitely a lot more easy on the eye than the plasticky, dull green finish of its larger cousin. (Another alternative if you're set on a wide-format is 2024's Lomo’Instant Wide Glass – an attractive instant camera that we gave 4.5 stars in our in-depth review.) Indeed, I don't think many would be opposed to slinging the Wide Evo over their shoulder for the day.
This is how you would hold the Instax Wide Evo to take a selfie, with your thumb pulling down on the shutter switch button. (Image credit: Future)
The leather case that you can buy alongside the Wide Evo makes this very easy to do and might be a crucial accessory – not just for protecting it from nicks and scratches but – to make sure that it has a long life, as the LCD screen could easily get scuffed up over time. That's not great for a camera that doesn't have a viewfinder. Of course, I can't yet say that this will be an issue but it's worth considering.
It also helps that the Evo Wide is light – it weighs about half a kilo – making it very portable, but don't expect to be able to fit the Wide Evo in any pocket. As you would expect, because it takes wide-format instant prints, it's on the larger side.
Fujifilm Instax Wide Evo: Performance
This image was shot with the warm film effect and color shift lens effect settings turned on. (Image credit: Future)
Plenty of scope to try different looks, with 100 creative combinations
The widest-ever Instax lens and wide-format prints give extra breathing room for your subjects
The Fujifilm Instax Wide Evo's built-in film and lens effects make experimenting with different styles extremely easy. The fact that you can create 100 different creative combinations with these settings means there's plenty of room to play around.
Fujifilm has made the ability to customize all your images with various different effects a core part of the Instax Wide Evo. Indeed, if you're someone that likes to experiment with different effects such as lens flares, borders and color filters, then this camera is built for you.
The entire design of the camera is focused on making those photo editing tweaks simple, quick and easy. Both the lens and film effects each have dedicated dial buttons on the side of the camera. Even the top most prominent button on the camera (the placement of which is normally reserved for a shutter button) is for adding different film styles to your images.
The Wide Evo even has a dedicated button on the front of it that turns off the wide-angle, which is a nice feature that nods to its hybrid functionality. Another more less visible button is the lens of the camera itself, which can be twisted to adjust the intensity of the filter and film effects you're applying.
The dial on the right side of the Instax Wide Evo is for switching between the 10 different film effects. (Image credit: Future)
I had a lot of fun playing around with all the different film effects and styles because of these dedicated buttons, but my favorite physical feature of the camera has to be the hand crank on the side for printing images. It's a nice nod to the analog nostalgia that the Wide Evo embodies.
The shutter button is a lot different to the Mini Evo, which has a standard push button on top of the camera. Instead of this, the Wide Evo has a rocker style switch (like the ones you would use to turn on a light) that's situated on the front of the camera, beside the lens. I found this placement and style initially cumbersome, especially when taking a selfie as I couldn't immediately engage the auto focus by half pressing it down.
To be clear, this might be just be because I didn't spend a lot of time using it and could become more easier, but I will say it's not initially intuitive. That's also not to say that all the buttons are like this. The spin dials and crank for printing photos, for instance, are extremely tactile and easy to use.
On top of all this, there's even an Instax Wide app for more standard editing options, such as being able to crop an image or increase the brightness and contrast, as well as a 'Discovery Feed' for sharing and seeing fellow Instax Wideo Evo owners' creations. One thing to note about the app is that only printed images are automatically saved. Any photos you take on the camera itself won't just appear in your personal library in the app, which means you'll have to still transfer them of a microSD card.
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Every image that you choose to print on the Instax Wide Evo will automatically be saved in a library on the app, giving you detailed information about which effects you used.
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Fujifilm Instax Wide Evo: Image quality
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I experimented with several different film effects and styles while testing the Instax Wide Evo.
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Images are digital first, which loses the 'magic' of analog
Picture quality of printouts appear flat but look fine digitally
Not on par with pure analog instant cameras like the Instax Mini 99
There's a trade-off with every instant camera when it comes to picture quality that most of us are willing to accept. These cameras don't produce the same precision as newer dedicated digital cameras, but many people that purchase these type of cameras are more interested in the nostalgia that instantly printed photographs brings, so I appreciate that this isn't the most important component.
When it comes to the picture quality overall, I was most interested in testing out how the film prints compared to those taken on a non-hybrid instant camera as the images are digital first on the Evo Wide. This is a big deal for me because I'm split between analog and digital, and this in my opinion takes a bit of the magic away.
For context, I bought my first Instax in 2014 and of course quickly realized how expensive this style of photography is after discarding some duds, which made me even more selective with every picture I took. My boyfriend decided to buy me an Instax printer to solve this issue, but this for me took away what I loved about the style in the first place. I also found that picture quality from a printer wasn't on par, as the photographs appeared flatter and less dynamic than those printed on an analog instant camera.
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With this in mind, if the image quality of the prints is really important to you then you're better off buying an analog Instax camera in my opinion, because the prints are much more rich in contrast due to the light passing directly though the sensor rather than being digitally scanned. They also don't tend to be as overexposed as those printed on a hybrid Instax.
In terms of the wide-angle prints themselves, the larger size makes them feel much more premium than the smaller rectangular formats that mimic your smartphone pictures and is much more akin to the classic square instant prints that were once more popular.
As for the digital images that are taken by the Instax Wide Evo, these by no means match up to the quality you'd find from one of the best cameraphones, which benefit from more advanced sensors and image processing algorithms. For this reason, outside of sharing the images you take on the Instax Wide Evo to social media, you most likely won't use these elsewhere.
How I tested the Fujifilm Instax Wide Evo
A one hour hands-on session at the UK launch event
Ad-hoc testing during the day and night over a week
I tried various filters, two lenses and selfie mode
My time with the Fujifilm Instax Wide Evo was brief: following attending the UK launch event in London, I was able to test out the camera for less than a week around the office and home.
However, during this time, I had decent chance to get a feel for the camera; how it handles for regular photos and selfies, plus the various filter and film effects possible through the physical controls on the camera.
I used two packets of the Fujifilm Instax Wide Evo at the event, each of which had 10 prints, and a couple more packets during the week-long product loan
Ask around, and most enthusiast photographers and creators are familiar with the accessory maker Peak Design, but newcomer Heipi? Nope.
Well, I have a welcome surprise – Heipi's carbon fiber 3-in-1 Travel Tripod W28S beats the Peak Design Travel Tripod in just about every regard, plus it's cheaper too. Three-Legged Thing's Punks Brian 2.0, however, provides stiffer competition for standard use – I explain why, below.
The W28S replaces the W28 – which I described as one of the most relevant and best travel tripods today in my in-depth review – delivering several refinements for a virtually complete and highly versatile three-legged support, in three ways.
Its 3-in-1 credentials cover regular tripod support for camera gear, the ability to support a phone instead via a clamp that's hidden in the integrated ball head, plus a generously-sized removable mini tripod, which is nestled inside the main legs, and which doubles up as a center column – the novelty of this feature hasn't worn off in this second-gen model.
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You're not seeing double – this is the Heipi 3-in-1 tripod's main legs (right) and mini tripod that slots inside the main legs when not in use (left) (Image credit: Future)
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Given that the main legs can tuck inside the mini tripod legs when you're done, there's no wasted space and the Heipi 3-in-1 is able to pack away more compact than most, plus it comes supplied with a snug-fit carry case.
There are limitations though. I'd hesitate to mount particularly large and heavy gear – although that's true of all travel tripods – and the Heipi tripod's maximum height is bettered elsewhere. Also, despite its 3-in-1 party tricks, there's no monopod built into one of the legs. Nor can you swap out the supplied ball head for a fluid head, which would provide smooth panning movements for video.
If none of the above are dealbreakers, though, then Heipi's latest travel tripod is the complete package, with some unique features.
It's carbon fiber build quality is top-drawer, while improved leg locks are easier to lock-off and unlock than before. Also, they lock-off with even distribution on the leg sections (rather than a clamping lock), which reduces lateral movement between sections.
The addition of a bubble-level in the base is a neat touch, even if you can't see it properly when the center column is tucked away.
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Heipi also offers handy extras for accessory-laden users, such as clamp arms, which easily screw into the mini tripod legs via a 3/8-inch screw. The arms Heipi supplied to me for this review can support accessories such as an external monitor, and can even work with Heipi's optional phone clamp, so you can support a camera and phone simultaneously.
I've been able to switch between using a phone and a mid-range mirrorless camera with moderate size lens, with ease. Panning movement? No problem, unlike the Peak Design which is locked off.
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Even the design of the mini tripod, which easily rests on a table top for vlogging and is impressively sturdy with a 11 lbs / 5kg max payload, has been improved. The last version felt like it sacrificed ease of use for versatility, because it was stiff to extend and put away compared to a regular center column.
Now the mini tripod slides up and down much more easily, and when fully removed it even offers multiple leg angles to work from for a variety of shooting angles, including close to the ground.
It can also be reversed and locked-off upside down in the main legs in order to shoot from lower angles. Put simply, the mini tripod is one of the most sophisticated of its kind.
With camera gear generally getting smaller and lighter, and many creators using their phones as much as 'proper' camera gear, the case for the travel tripod grows as the case for bulkier supports diminishes.
And of all the many travel tripods I've reviewed, the Heipi 3-in-1 Travel Tripod W28S is the one I come back to most often – I reckon this is the best tripod for most people.
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Is Heipi's travel tripod perfect? No. There were times that I wished it could work from a higher level than its 59in / 150cm maximum reach (with the center column fully raised).
However, given it packs away with a tighter diameter than most and to just 17.7in / 45cm in length, while it weighs just 3lbs / 1.35kg (with ball head included), I'm happy to sacrifice any extra reach.
And one party trick it lacks, which you can find in many alternatives, is the ability to remove one of its legs for used as a monopod.
If you can live with the few limitations mentioned above, then the Heipi 3-in-1 Travel Tripod W28S will be the most versatile tripod you've ever used, complete with a high-quality and lightweight carbon fiber build, plus tiny pack-away proportions.
If you want a lightweight support for a variety of camera gear, Heipi would be my first recommendation.
You can discover more about the W28S's design and features in my W28 in-depth review, the two share much in common besides some of the design tweaks mentioned above.
Heipi 3-in-1 Travel Tripod W28S: key specs
Total weight
3.04lbs / 1.38kg (including ball head and mini tripod)
Max height
59.8in / 152cm (with center column fully raised, or 47in / 119cm without)
Legs sections
5
Packed length
17.7in / 45cm
Max capacity
Up to 44lbs / 20kg
Heipi 3-in-1 Travel Tripod W28 price and availability
There are also optional accessories such as a QR plate, and a different type of ball head in a pricer bundle. Heipi also sells clamp arms, an add-on phone clamp, plus a hammock for stowing accessories or even a weight to increase stability.
Heipi 3-in-1 Travel Tripod W28: Also consider
Peak Design Travel Tripod For the look and compact fold-away design, the Peak Design Travel Tripod is a leading alternative. However, Heipi's tripod is a compelling newcomer – its ball head has a panning motion, which Peak Design's tripod doesn't, plus the mini tripod and integrated phone clamp. Did I mention Heipi's is much cheaper, too?
3 Legged Thing Punks Brian 2.0 The 3 Legged Thing Punks Brian 2.0 sits in top spot in our best travel tripod guide and with good reason; it's the most versatile tripod for regular use – being easier to use and make fine adjustments, and with a better max height. However, Heipi's tripod is versatile in a different way for users that switch between types of gear and uses cases. Both are excellent supports.
You shoot with a variety of gear in a variety of ways The phone clamp is a neat trick, while the tripod plate gives a secure hold for camera gear. The mini tripod impresses too.
You want a lighter-than-most tripod I'm struggling to think of a tripod with a ball head that packs away as compactly as the Heipi 3-in-1. If you need a small package, this is the real deal.
Don't buy it if...
You need a tall working height It's maximum height of 59.8in / 152cm with the center column fully raised is bettered elsewhere.
You'd like an integrated monopod It offers features no other tripods do, but what Heipi lacks is a built-in monopod. Perhaps that'll come with a future Heipi 4-in1?
How I tested the Heipi 3-in-1 Travel Tripod W28S
I've used it over several months
I've extensively used its 3-in-1 features
I've attached various mirrorless cameras and smartphones
I've had the Heipi 3-in-1 Travel Tripod W28S for months and it has been my go-to camera gear support during this period.
It has ably supported beginner, mid-range and pro mirrorless cameras, although I've drawn a line at the larger sports-focused bodies and bulky telephoto lenses.
I've also used the phone clamp, attached a variety of smartphones the largest of which was an iPhone 15 Pro Max, plus tried out optional extras including clamp arms for an external monitor.
The mini tripod has had equally thorough testing as the main tripod legs. Generally I've used the gear in fair weather, but it has also withstood moderate rain and use on sandy beaches.
This isn’t my first Viltrox lens review, and nor it will it be my last, because the Chinese lens maker is on a roll, producing a string of excellent optics for users of all skill levels and budgets. Coming in at the opposite end of a recent cinema lens that could cost up to $200,000, the 50mm f/2 Air costs less than $200 / £200 / AU$320, and offers excellent value for money.
It’s a tiny and lightweight prime that's available for Sony E and Nikon Z mounts – I had the latter for this review – with a decent maximum f/2 aperture for defocusing backgrounds. You don’t get the sharpest detail or creamiest bokeh I’ve ever seen – for those you'll want to check out the excellent Viltrox 135mm f/1.8 LAB – but the Viltrox 50mm f/2 is an excellent casual lens for enthusiasts, especially for portrait photography, and an ideal foil to a standard zoom.
I’d have preferred the lens’s minimum focus distance to be a little closer, which would bolster its everyday photography credentials, while a couple of external controls to speed up changing settings, such as an AF / MF switch, would be welcome. However, the Viltrox AF 50mm F2 Air delivers performance and image quality that belie its price – and the fact it squeezes proprietary camera-brand alternatives with its aggressive pricing is the cherry on the cake.
(Image credit: Tim Coleman)
Viltrox AF 50mm F2 Air specs
Viltrox AF 50mm F2 Air specs
Type:
Standard prime
Mount:
Nikon Z-mount / Sony E-mount
Sensor:
Full-frame
Focal length:
50mm
Max aperture:
f/2
Minimum focus:
1.67ft / 0.51m
Filter size:
58mm
Dimensions:
Φ68 x 58.6mm
Weight:
7.8oz / 220g
Viltrox AF 50mm f/2 Air: Price and availability
Available for Sony E and Nikon Z mounts
$199 / £229 / AU$319 list price, but it usually can be found for less
Hovering around the $200 / £200 / AU$320 mark and often available for a little less, the Viltrox AF 50mm f/2 Air is an excellent value prime lens, especially when you considering its build quality and optical performance.
Price-wise, it reminds me of the old Canon EF and Nikon F-mount cheap nifty fifties for DSLRs, being an affordable first prime for enthusiasts. There's bad news for some though – Viltrox's lens is only available for Sony E and Nikon Z lens mounts.
Viltrox AF 50mm f/2 Air: Design
Weighs just 7.8oz / 220g
No external buttons or controls
Available for Sony E and Nikon Z mounts
The 50mm f/2 Air lens is, as the name suggests, designed with an emphasis on light weight over absolute performance – it’s positively featherweight, especially compared to alternatives such as Nikon’s own Z 50mm f/1.4.
It’s a small lens, too. I paired the 50mm f/2 Air with a Nikon Z6 II, and I could barely feel the lens. It's not often that I'd describe a camera / lens pairing as rear-heavy, but that's the case here.
This is also excellent value, with a sale price often dipping under $200 / £200 /AU$319, and the list price only a little more. For context, the Nikon-own f/1.4 lens is double the price (and double the weight), while Nikon's Z 50mm f/1.8 is four times the price.
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Viltrox’s lens well made too – a rugged metal barrel and rear mount instil confidence, even though there’s no proper weather-sealing to speak of (such are the compromises with such a low-cost lens).
There's a generously sized focus ring with smooth and easy rotation, and that’s it for controls. No AF / MF switch, no optical stabilization, no focus distance limiter – this is a simple bit of gear.
The lack of controls could, depending on which camera you pair the lens with, make changes to camera settings a little fussy. My camera doesn’t have an AF / MF switch, and because the lens doesn’t either I need to dive into a menu to switch between the two focusing methods, which can be frustrating.
Otherwise, there's little to talk about regarding design – this is a simple and lightweight optic that accepts 58mm threaded filters and comes supplied with a decent lens hood.
(Image credit: Tim Coleman)
Viltrox AF 50mm f/2 Air: Performance
Bright maximum f/2 aperture ideal for portraiture
Fairly limited close-focusing capabilities
Snappy autofocus speed
This is no pro-quality lens, but for beginners and enthusiasts the optical quality and performance of the Viltrox 50mm f/2 Air are perfectly sufficient.
The bright, zoom lens-beating maximum f/2 aperture ensures plenty of light intake and makes this lens great for low-light photography, as well as for defocusing backgrounds for dreamy portraits. Bokeh is smooth enough – I didn’t really spot the ugly ‘onion ring’ effect that can be evident in cheap optics.
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Optical clarity is perfectly acceptable, even if this isn't the sharpest 50mm lens I’ve used. With a little extra sharpening in post, most users should be perfectly happy with the results.
I shot all images in JPEG and uncompressed raw, and with lens corrections switched off there are slight signs of chromatic aberration, but the Viltrox has a reasonable handle on such distortions.
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Note the minor lens flare in the bottom middle of the frame when shooting straight towards sunlight (Image credit: Tim Coleman)
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For head and should portraits, bokeh is generally big, smooth and round, with a little cat's eye shaping the corners (Image credit: Tim Coleman)
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There's little sign of bokeh fringing either (technically known as longitudinal chromatic aberration) (Image credit: Tim Coleman)
I found the 1.67ft / 0.51m minimum focus distance a little limiting for close-up shots – the maximum magnification is a modest 0.11x. This isn't really a macro lens in any way, and perhaps even less of an everyday lens, with portraiture being its strongest suit.
With such a small and lightweight collection of ashperical (ASPH), ED and IF lens elements, the 50mm f/2’s STM autofocus motor has an easy job – those lens elements are moved with ease for quick and precise autofocus. Not once did I perceive sluggish autofocus on account of the lens rather than the camera.
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Shot using the maximum f/2 aperture, vignetting is evident in this bright scene (Image credit: Tim Coleman)
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I stopped the aperture down to f/5 at which point vignetting is pretty much gone (Image credit: Tim Coleman)
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Using the f/2 aperture helped to isolate the tree in the foreground. Chromatic aberration is well controlled, but vignetted means the corners are a little dark. (Image credit: Tim Coleman)
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Stopped down to f/5, brightness is more consistent throughout the frame. (Image credit: Tim Coleman)
Overall, the Viltrox AF 50mm F2 Air is a capable performer, especially when you consider its compact size, low price and bright maximum aperture. For users on a budget who are looking to step up from a standard-zoom kit lens, this is an ideal choice.
Viltrox AF 50mm F2 Air sample gallery
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Should you buy the Viltrox AF 50mm F2 Air?
Buy it if...
You want a low-cost fast prime
Mirrorless lenses can get pretty pricey, but the Viltrox 50mm f/2 Air is a true nifty fifty – it’s that cheap second lens you can pick up after a kit lens.
You have a small full-frame or APS-C camera
Mirrorless lenses can get pretty big and heavy, and aren't always the best fit with a number of today’s compact, rangefinder-style mirrorless cameras. Not so the Viltrox 50mm f/2 – its light, small, and pairs wonderfully.
Don't buy it if...
You’d like quick access to manual controls
There’s only one external control on the lens, and that's a focus ring. All other changes need to be made in-camera, which, depending on your camera’s external controls, could prove to be a menu-diving time sink.
You shoot a lot in adverse conditions
The Viltrox 50mm f/2 lens isn’t weather sealed. Its build quality is solid enough, but you’ll want to think twice about shooting with it in poor weather.
(Image credit: Tim Coleman)
How I tested the Viltrox AF 50mm F2 Air
I've used it over a loan period of several months
I paired the lens with a Nikon Z6 II
I've used it in a range of scenarios, generally in fair weather, and checked image quality at the various aperture settings
I paired a Z-mount version of the Viltrox AF 50mm F2 Air with a Nikon Z6 II for several months, during which time it has seen moderate use, generally in fair weather. Size-wise, the camera and lens are perfectly balanced, with no hint of wrist strain due to front-heaviness.
To test optical quality I’ve snapped portraits with the aperture wide open at f/2, and also taken series of images at each aperture setting to compare sharpness and check for lens distortions.
Peak Design’s tripods have a couple of unique design features. One is the leg design, which is not tubular but has a six-sided cross section with an inner edge that fits straight up against the center column, with no gaps. The center column is thinner than most but also has a six-sided cross section for the legs to fit neatly against the legs when folded. This non-tubular construction does seem to give both the legs and the center column unusual stiffness.
The Peak Design Pro Tripods don't use tubular carbon fiber legs. They have a more complex six-sided cross-section designed to fold up tight against a flat-sided center column. (Image credit: Rod Lawton)
Peak Design's clever leg and column design means these new Pro tripods fold down to a very small diameter compared to regular tripods. (Image credit: Rod Lawton)
The other unique feature is a low-profile ball head with no protruding locking nut. Instead, it’s clamped with a rotating collar, and another, just above locks and releases the compact Arca Swiss compatible camera plate.
This low profile head design means that the original Peak Design travel tripod does not have to have its legs rotated 180 degrees from their folded position before you can use it. The low height of the ball head means that you can simply fold the legs in and pack it away without any complicated manoeuvers.
The new Pro Tripods also come with a new Pro Head. It still uses rotating collars to release the ball and the QR plate but it's bigger and more substantial than the original. (Image credit: Rod Lawton)
The Pro head takes regular Arca Swiss compatible plates and also accepts Peak Design's clever new Tilt Mod specifically for video work. (Image credit: Rod Lawton)
These design features made the original Peak Design Travel tripod very different to anything else. Now Peak Design has taken those same design concepts and scaled them up into a Pro version designed for serious professional use.
In fact, there’s not one Pro tripod but three. The regular Pro tripod is the one I spent most time with for this review, but I also got to try out the Pro Lite and Pro Tall variants. The Pro Lite is almost the same height and folded length of the regular Pro Tripod, but has a lighter construction for easier portability. The Tall version has longer leg sections and can even reach eye level for tall people without any center column extension – it exceeded my eye level!
The new Pro tripods aren’t just bigger and more substantial than the original Travel Tripod – they have a new Pro ball head that’s larger and more substantial than the original, plus it has a neat ‘inverted’ design so that the pan axis is above the ball not below it. This means that you can level the pan axis for panning shots and panoramas without having to fiddle around with the leg lengths. It’s not a huge range of adjustment but it might be all you need.
For more extreme pan axis adjustments, or if a lot of your work is video, Peak Design has you covered. There are two new ‘mods’ to go with these tripods: one tilt head for video work, and the other a leveling bowl which you swap out with the standard center column, and which has a regular head attachment screw so that you can use your favorite video head if you want to.
This is Peak Design's new Tilt Mod, which attaches directly to the Pro head to offer a smooth tilt movement for video. (Image credit: Rod Lawton)
Here you can see the Tilt Mod fitted. It clamps straight into the Pro head's Arca Swiss mount so it takes just a few seconds. (Image credit: Rod Lawton)
The Tilt Mod and the Pro head feel as if they were made to go together... but there's another clever touch. The Pro head uses an 'inverted' design so that the pan axis is above the ball. This means that it also acts as a basic but effective levelling head for video work. (Image credit: Rod Lawton)
I love the original Peak Design Travel Tripod, so do the new Pro tripods leave me just as impressed? Yes! It is, literally, just like using scaled up versions of the Travel Tripod. The carbon fiber legs feel just as smooth and warm to the touch, the leg clamps are just as quick and positive, and because these Pro tripods have four leg sections rather than five, they’re a little quicker to set up.
The new Pro ball head is terrific. It’s big and chunky, it locks tight and it doesn’t add a whole lot to the tripod’s height when you’re packing away. As before, there are no protruding knobs or levers to get in the way either.
Peak Design’s use of a rotating collar to lock the QR plate does take a little getting used to. The head has two collars in close proximity and at first it can be a struggle to remember which does what and how they work.
The new Pro head, though, feels absolutely rock solid, and it’s with the pan and tilt mod that it gets really clever. All you need to do is take out the regular Arca Swiss plate and slot in the pan and tilt add-on for a proper fluid pan and tilt action.
There’s an extending panning handle which is stowed against the side of the head via a magnet (Peak Design loves magnets) and can be quickly screwed into the head ready for use. It sounds like a kludge, with one head mounted on top of another, but it absolutely isn’t. It looks like it was made to work this way, and feels like it too. The tilt axis is sprung, by the way, so if you use a longer camera plate you should be able to balance it up fairly well for light and controlled tilt movements.
If you're into more serious video work, you might want to take a look at the Pro Leveling Base. This replaces the center column with a shorter 'stub' column incorporating a leveling bowl. This also has a regular head fitting, so you can still use your favorite video head – it doesn't have to be Peak Design's. (Image credit: Rod Lawton)
The center columns on these tripods are longer than the one in the original Travel Tripod, which is useful, but even though they’re fixed with a small-looking locking knob, they lock down really tight and with no flex.
You can also get spiked feet but these are an optional extra, nor does it seem like Peak Design includes a phone clamp with these tripods, so that will be a paid extra too. It kind of makes sense because these Pro tripods are overengineered for phone use anyway. If you do get the phone mount, it will still slide up into the base of the center column for storage. Here, Peak Design has stuck with its slightly complicated pull-and-twist hook release which is easy when you’ve learned how it works but can be annoying at first.
So that’s a quick tour of the Peak Design Pro Tripods, but which is the best one to get? That’s quite tricky because they are somewhat similar, both in size and price. The standard Pro tripod is expected to sell for $899.95 when it goes fully on sale in November 2025, the lighter Pro Lite will be $799.95 and the Pro Tall will be $999.95. I haven't seen prices for the UK or Australia yet.
Personally, I wouldn’t go for the Pro Lite. I can understand the reasoning – it’s a slightly lighter, slightly cheaper alternative to the regular Pro model – but it’s not a lot smaller and I think I’d rather just pay the extra for the thicker legs of the Pro model. The Pro Tall is interesting, though. If I was 6ft tall and didn’t like using center columns, I would go for this one. It’s definitely longer when packed away, but all of these tripods are too long to fit inside a backpack anyway and would end up strapped to the outside. Besides, for those times when you didn’t need the extra height you could just extend three leg sections not four, for even more stability.
Peak Design Pro Tripods: key specs
Pro Lite
Pro
Pro Tall
Packed length
48.8cm
50.1cm
58.1cm
Packed diameter
8.5cm
9.3cm
9.3cm
Max height, center column down
133.2cm
138.0cm
162.0cm
Max height, center column up
162.5cm
168.4cm
197.4cm
Min height (low mode)
15.8cm
15.9cm
17.3cm
Weight
3.74lbs / 1.7kg
4.19lbs / 1.9kg
4.4lbs / 2.0kg
Max payload
15.9kg
18.1kg
18.1kg
Head
Integrated Pro Ball Head
Integrated Pro Ball Head
Integrated Pro Ball Head
Material
Carbon fiber
Carbon fiber
Carbon fiber
Leg sections
4
4
4
Peak Design Pro Tripods price and availability
The Peak Design Pro Tripods launch on Kickstarter on July 17 2025 but are expected to go on general sale in November 2025. The Pro Lite tripod has an expected price of $799.95, the Pro tripod will be $899.99 and the Pro Tall will sell for $999.99.
The Tilt Mod and Pro Leveling Base will be sold separately and we’re currently waiting for price information on these, but we are told the option spiked feet will sell for $49.95.
Peak Design Pro Tripods: Also consider
Gitzo Traveler Series 1
If you like a tripod with style and quality but in a more traditional form, the Gitzo Traveler Series 1 could be a great choice. It has a straightforward, classic design with no frills or gadgets, just superb materials and construction. It doesn’t go quite as tall as the Peak Design Pro models nor fold so neatly, but it’s a classic design that’s stood the test of time.
3 Legged Thing Punks Brian 2.0 If you want a full height carbon fiber tripod, you don’t need to pay Peak Design money to get it. The Punks Brian 2.0 is from 3 Legged Thing’s more cost-conscious Punks line, but is both well-made and typically colorful and stylish. There is some flex at full height, though, and when it’s folded up the Punks Brian 2.0 is nowhere near as neat as Peak Design’s tripods. This is still a great value choice, though.
You already love the Peak Design Travel Tripod Good as it is, the Travel Tripod is not really set up for heavier gear or taller working heights, but the new Pro tripods have all the same design finesse but scaled up for pro use.
You’re more concerned with design quality than price Heaven knows the new Peak Design Pro tripods aren’t cheap, but they are beautifully designed, exceptionally compact and, based on our samples, very rigid
Don't buy it if...
You’re trying to save money! If all you need is rock-steady everyday value from your tripod, then you don’t need to pay these prices. There are plenty of cheaper carbon fiber or aluminum alternatives
You need flexible angle/boom options If you shoot nature close-ups in the wild or you’re working with flat-lays or table-top setups then you need the flexibility of a boom arm, and that’s no an option here
How I tested the Peak Design Pro Tripods
Operational speed and efficiency
Stiffness and rigidity
Ball head operation
Effectiveness of add-ons
I had just two weeks to try out the Peak Design Pro tripods because loan stocks were in short supply and shared between many different reviewers. However, I know the original Peak Design Travel Tripod very well and I review tripods as part of my work, so I already had a list of what I was looking for and expected from these new Pro tripods.
I particularly wanted to test the speed and ease of deployment and was pleased to find it was just as slick as with the original Travel Tripod but quicker, thanks to the 4-section legs and larger leg clamps. I also wanted to check if the excellent stiffness of the original Travel Tripod had scaled up to these new, bigger sizes, and it has. I don’t remember any other tripods I’ve tested with more torsional rigidity and lack of leg flex than these.
I was also keen to check how the new Pro Ball Head worked. The original was good but quite small and fiddly. This one is much better. Not only does it clamp tighter and hold heavier loads better, the inverted ball design makes levelling the camera for panning shots so much easier.
Lastly, I spent some time trying out the Tilt Mod and Pro Leveling Base and came away impressed. The Tilt Mod fixes so well to the Pro Ball Head that they feel like a single (very smooth) unit and the Pro Leveling Base took a minute or so to swap out with the regular column but lets you use your own tripod head.
