One-minute review

With simple-to-use controls and easy-to-load film, the Lomography Lomomatic 110 camera is a fun introduction to the world of shooting film. The retro bright-orange design, or the more stylish silver option, will appeal to those who shoot on film as much for the retro-trend factor as for the aesthetics of the images.

The camera comes with limitations, though, and these come down not to the camera itself, but from the use of 110 film. The small format is half the size of a 35mm film frame, which means even a 6 x 4-inch print severely magnifies the limitations of the format. 

So while the camera itself is hard to fault, the film format to which it's intrinsically linked means it's hard to recommend unless the extremely low-fidelity aesthetic is what you're looking for. 

Lomography Lomomatic 110 Camera: design

Taking the Lomomatic 110 out of my pocket and raising it to my eye caught people's attention wherever I was. The vivid orange and taupe color combination was as equally eye-catching to my children as it was to complete strangers, with a few staring and wondering what the strange-looking contraption was.

That said, to anyone who remembers 1980s 110 cameras, the design, if not the color scheme, will be familiar. Back then the design was heralded as a pocketable everyday camera for the masses that was simple to use, and the Lomomatic 110 still easily fits in the pocket of a pair of jeans, even if that's not such an impressive feat these days, when the move to digital has made many cameras, as well as other tech smaller. Measuring approximately 1.6 x 1.4 x 5.5 inches / 40 x 35 x 140mm, the camera is about the same size as a Kit Kat Chunky (sorry non-UK readers, but think big chocolate bar). It can be made shorter by unscrewing the flash unit, which takes it down to about 4.3 inches / 110mm. 

Loading the 110 film cartridge is simple: the back of the camera swings open, you slot the film in place, and you can then start taking photos. There's no manual or automatic film wind-on – instead, you extend the camera and close it again, which advances the film to the next frame.

Extending the camera effectively turns it on (it's powered by a CR123A battery), uncovers the 23mm lens (more on this later) and reveals the simple controls. On top of the camera there's a shutter button, a button to activate Bulb mode, and another to cycle through the film ISO options: 100, 200 and 400, which are about the only speeds you'll find available at the time of this review. 

Focusing is done via manual scale control, and there are four options: 0.8m, 1.5m, 3m and infinity. Underneath these is the option to switch between Night and Day mode, which switches the aperture of the lens between f/2.8 and f/5.6. The shutter speed is then calculated automatically by the camera's built-in light meter, which has an exposure time range of 30 sec to 1/250 sec. 

The flash module is similarly simple to use, with a thumbwheel allowing it to be easily screwed and attached to the main camera. There are three power options: daytime, night and off. The daytime option adds a touch of fill-in flash for portraits on sunny days, while for night shots the flash will be the main light source. If you want to get retro with your camera there's a selection of tiny color filters that you can slide into a slot in front of the flash to tint your images. 

Once you've put your film in and are set up, the only real consideration before you take each image is to remember to set the focus distance. This was a lot easier to remember than I thought it would be; with each roll of film only having 24 images on it, you naturally slow down and think before you take a shot.

Lomography Lomomatic 110 Camera: performance

As this is a film camera, there's not much to say about image quality, as this is to a large degree dependent on the film you're using, as well as the limitations of the lens. However, we can talk about the 110 film format. It is a very simple-to-use format, with the cartridge slotting in very easily, and winding on achieved by taking a shot, then compacting and then expanding the camera. There are still a handful of companies producing 110 films, including Lomography. Expect to pay a heavy premium for those 24 exposures, though, with a 110 cartridge cost between £8-12/US$8-12. Then there is the size of image 13 mm × 17 mm (0.51 in × 0.67 in), which is roughly half the size of a 35mm film frame. 

As the film frame is half the size of a 35mm, or full-frame, camera, the 20mm focal length lens has the same field of view as a 40mm lens if you were using a full-frame camera. This is quite a standard focal length for a 110 film camera, as it offers a fairly natural field of view in comparison to human vision, but you can struggle a little if you want to take in broader vistas.

Developing the film was straightforward. There are still numerous postal processing services in the UK, and I was even able to drop my film into my local photo lab for next-day development and printing – it's been a while since I experienced the excitement of picking up a roll of film and seeing my images for the first time.

Sadly, while the camera is very good, the 110 film format isn’t, and it never has been. The size of the negative is too small to produce a good print. Producing a standard 6 x 4-inch print from 35mm film is not problem, but for 110 it's pushing the small film to its limit. I could see that the Lomomatic lens is sharp enough in the centre, but the film can’t keep up.

The other downside is that the magnification factor also magnifies any dust that's on the negative, so tiny specs are rendered as huge marks on your images. Some labs may be able to account for this, and many will offer an additional dust and scratch removal service, but if you want to scan your prints for use on social media, expect to spend a lot of time retouching them.

Of course, if you want a very retro-looking image then 110 film delivers, but it delivers too well. Yes you have the character of shooting on film that's so popular in 2024, but you also need to be prepared for how huge the drop-off in quality is, and all the time spent dealing with dust and scratches.

Should I buy the Lomography Lomomatic 110 Camera?

Buy it if...

Don't buy it if...

How I tested the Lomography Lomomatic 110

• I travelled with the camera through an airport x-ray machine
• I had a roll of film developed and prints made
• I tried shooting at different focus distances

I tested the Lomography Lomotatic 110 film camera by shooting in a variety of different situations. I used it on a long weekend away in the sunshine, snapping a variety of typical tourist-type images. This involved taking a roll of undeveloped film twice through an airport X-ray hand-luggage scanner and the film, encased in a plastic cassette, survived with no evidence of scan lines once developed.

I also used it at home, taking a few photos around my local area in rather more overcast conditions. This helped me to test how the automatic shutter speed coped with the different lighting situations. I tested the flash by using it as a fill-in light when taking some photos of my son playing around the house and garden. 

With there being few manual controls, even given the limitations of shooting just 24 exposures on a roll of film, I was able to test the camera from the point of view of someone using it for casual family and travel images. 

My film was developed at a local mini-lab. While the lab you choose to develop your film will play a part in the quality of the prints, the overall sharpness and detail that 110 film produces will not differ from lab to lab. 

First reviewed April 2024

The Fujfilm X100V currently ranks as our best premium compact camera, but that model has just been well and truly superseded by its successor, the Fujifilm X100VI. The sixth-gen model has better features, and offers better performance and image quality, while retaining all that we love about the X100 series: classic styling, old-school exposure dials, a super-sharp fixed 23mm f/2 lens, and that lovely hybrid viewfinder. 

You could look at the X100VI as a Fujifilm X-T5 in a X100-series body. That means a higher-resolution than ever 40MP sensor, 6.2K video, and, for the first time in the series, in-body image stabilization. We also get Fujifilm's best-ever autofocus, with tracking and subject detection that includes humans, animals, birds and vehicles. 

So we effectively have two fantastic cameras combined into one, and the result is the best entry in this fixed-lens compact series yet. I love it, and in many ways it's a more compelling Leica Q3 alternative.

There's also that's plenty familiar here. The retro design has changed, but only a little; this is a slightly heavier camera because it accommodates in-body image stabilization, and if you ask me the extra 10% weight is totally worth it for the additional versatility the IBIS brings. This is still very much a compact camera.

A few features carried over from the X100V now feel like quirks: a single UHS-I SD card slot limits the video and burst-shooting capability, weather-sealing is still only achieved with a lens adaptor attached, and perhaps even the lens focal length (a full-frame equivalent 35mm) is limiting for those that like to shoot wider, especially given that we could easily crop to 35mm thanks to the extra pixels. But the Fujifilm X100VI is a superb compact camera that's unlike any other.

It's so capable in fact that it's hard to see where Fujifilm can go next, besides trying something altogether new, like a new lens with a different focal length, or even creating a similar camera in its GFX series of medium-format cameras.

The pricier Leica Q3 feels more luxurious, and boasts a 60MP full-frame sensor, while the cheaper Ricoh GR III series are simpler and smaller. But right now the Fujifilm X100VI feels like the best premium compact for most people.

Fujifilm X100VI: release date and price

• $1,599 / £1,599 / AU$
• 20% pricier than X100V at launch
• Special edition available for $1,934 / £1,934

The Fujifilm X100VI will be available to buy from February 28, with a list price of $1,599 / £1,599 (that around AU$2,500 – pricing for Australia is TBC). To mark 90 years of Fujifilm there's a special-edition model of the X100VI that's limited to 1,934 units – 1934 being the year Fujifilm was founded – with each model having its unique number etched onto its top plate. This special edition comes with a strap and different etchings, but is functionally identical to the standard X100VI and costs $1,934 / £1,934. Sales of this camera begin on March 28, while in the UK sales are exclusively in-person at the London House of Photography from April 6 – expect queues.  

Fujifilm X100VI: design and handling

• Retains the same style, lens and superb hybrid viewfinder
• First X100-series camera with in-body image stabilization
• Tilt-touchscreen flush in the body when stowed
• Slightly improved battery life

If you love the X100V, you'll appreciate the Fujifilm X100VI even more. And if you've never shot with an X100-series camera the X100VI embodies everything that has defined and popularized the Fujifilm brand.

Retro styling abounds, in the brushed aluminum top and bottom plates, the old-school exposure control dials (the dual-purpose shutter speed / ISO dial is stunning), the faux-leather body, and a hybrid viewfinder that gives you both an optical and electronic display, which you can switch between with the push of a button – the X100VI successfully straddles the analog era and the 21st century camera experience.

We also get a tilt-touchscreen that sits flush in the body when folded away, although you can't flip it around and out of sight altogether like you can a vari-angle screen, which I'd prefer. Still, this is a camera that suits low-level shooting – which I did a lot of to capture reflections in a wet Chinatown in London, and in Tokyo during the Fujifilm X-Summit – and even more so for those who prefer a viewfinder. Prefer optical? You've got it. Want to make sure your exposure settings are okay? You simply have to briefly activate the 3.69m-dot electronic display.

The controls are all logically placed and within easy reach, and once you've taken the time to dig through the menus and set up the camera how you wish you can keep the viewfinder up to your eye and make adjustments without having to look for the required button or dial. 

The lens is the same fixed 23mm f/2 lens as on the Fujifilm X100V, with an aperture control dial and a control ring that allows you to adjust your choice of any one of several settings, including the digital teleconverter with 50mm and 70mm lens-effect settings. This is a proper street photography camera.

Battery life has been improved from the X100V despite the new camera using the same battery – camera brands are finding ways to conserve power more effectively. That said, in-body image stabilization is power hungry, and the use of it mostly negates the battery life improvement  – you get around 450 shots from a full charge.

The new sensor-based image stabilization has been custom designed for the X100VI, and this was probably number one on my upgrade wish list for an X100V successor. These are cameras that are designed to be used handheld, and in-body stabilization allows you to get sharper shots at slower shutter speeds. Fujifilm says image stabilization is effective up to 6-stops, but in my tests, I found IBIS 100% effective up to 3EV – that's a shutter speed of 1/4sec – and a big drop in my hit ratio of sharp shots using slower shutter speeds.

You can make use of the new in-body stabilization and the existing built-in 4-stop ND filter for creative slow shutter speed effects that weren't possible before, while a built-in ND is useful for video work. You can shoot using the X100VI's f/2 aperture in reasonably bright light with the kind of shutter speeds needed for video, around 1/60 sec.

The new image stabilization feature necessitates a slight increase in size and weight, and while the size difference is negligible, the X100VI is around 10% heavier than the X100V at 521g (incl battery and card). I still class it as a compact camera though, and the extra weight is completely worth it in return for the practical gain.

Given that the lens is exactly the same one as on previous models, the same lens accessories will work with the X100VI, including the lens hood and the wide and tele conversion lenses.

Fujifilm X100VI: features and performance

• Same X-Processor 5 engine and autofocus system as the X-T5
• Up to 11fps continuous burst shooting in full quality
• Direct Frame.io cloud uploads

The Fujifilm X100VI utilizes the same X-Processor 5 engine as the X-T5, making this the most powerful X100-series camera to date. 

It's also packing Fujifilm’s most effective autofocus system yet, with tracking autofocus for both photo and video recording, as well as subject-detection autofocus with options for birds, animals, vehicles and planes.

Those who prefer to take control of focus can switch to manual using the switch on the left-hand side of the body, and set up the camera with a generous selection of manual focus aids that include magnification, peaking (setting red to the highlight edges works well), and even a split image or ‘digital microprism’ that works very much like the old rangefinder focusing system – you align the two image within your display to achieve sharp focus.

Other modern conveniences include comprehensive wireless connectivity for image capture and uploads, and also includes direct Frame.io upload to cloud for photos and videos, although you'll need a separate subscription for that service.

Fujifilm X100VI: image and video quality

• 40MP APS-C sensor with usable crop modes
• 6.2K video
• 20 film simulations including the latest Reala Ace

With the Fujifilm X100VI being so new it's not yet possible to process the camera's raw files, but image quality is a known entity, because the 40MP APS-C sensor is the same as the one in the X-T5, and the lens is the same as the one on the X100V, which I'm assured is sharp enough to compliment the higher-resolution sensor. In short, images are bigger than those from the X100V, and detail is super sharp across the entire image area. 

There's also a digital teleconverter that replicates a 50mm lens (a 'medium' image size of 20MP) and a 70mm lens (a 'small' image size of 10MP). With the increased 40MP full size image, those two digital crops are entirely usable.

Design-wise this is very much a stills photographer's camera, but in terms of features and image quality the X100VI is a decent video camera too, thanks to 6.2K resolution up to 10-bit and 200Mbps bit rate, in-body image stabilization with additional digital stabilization, and Fujifilm's capable autofocus with active subject tracking.

You also get Fujifilm log color profiles for video to maximize the sensor's dynamic range, plus the full suite of Fujifilm film simulation modes, which now number 20, six of which are black-and-white looks with different lens-filter effects to accentuate particular tones – red and orange make for punchy skies, while green brings out skin detail in portraits.

I liked to shoot using film simulation bracketing mode to get three looks at the same time, with some of my favorites including Provia (standard color), Reala Ace and Acros black and white. If you shoot in raw you can choose another film simulation afterwards using the in-camera raw conversion editor.

If like me you like to shoot in aperture priority and maintain some control of shutter speed suitable for the scene, you can define the minimum shutter speed in the auto ISO menu – that's another custom setting I create before shooting.

Let's not forget the impact in-body image stablization and better subject detection autofocus has on image quality too – countering motion blur at slower shutter speeds and reliably acquiring sharp focus.

Fujifilm X100VI: early verdict

The wait was worth it. Finally the Fujifilm X100 series, which has for so long been popular for capturing every day street and reportage photography, has a model with in-body image stabilization, paired with a versatile 40MP APS-C sensor. There's a feeling that the X100VI could be the high-water mark for the retro-styled line with its unique hybrid viewfinder – how else can Fujifilm improve on its tried and tested fixed 23mm f/2 lens besides broadening the range with different fixed-focal-length lenses? Or perhaps by rolling out this fixed-lens concept to its medium-format GFX range? No, this sixth-gen model could be as good as the series gets and around for many years – we have a new premium compact camera champion on our hands.

Fujifilm X100VI: how I tested

• Several days by my side
• Plenty of street photography experience

I used the Fujifilm X100VI for an afternoon in London, prior to spending a week with it at and around the Fujifilm X-Summit in Tokyo, during which time it was by my side continuously with plenty of opportunities to test its everyday camera and street photography credentials. 

I’ve taken sample photos in raw and JPEG, although I've not been able to process the raw files as they're not yet compatible with photo editors yet; I will, however, be able to do that for my upcoming full review of the camera.

Naturally I’ve pushed the new features to their limits, shooting 40MP stills and testing the 11fps continuous burst shooting, in-body image stabilization and 6.2K video modes, as well as the new autofocus system. 

Two-minute review

I first came across the Camp Snap camera when it popped up on my Instagram feed, and it stopped my mindless scrolling. It wasn’t just the dulcet tones of the voice over, or the sunny slice of America filling the screen. This retro-style compact was different, and its biggest selling point is what it lacks… a screen. 

Here I was, caught in the screen time act, watching a video about a camera originally created for kids at summer camp with no permitted screen time, who could still use it to take a few snaps of their trip. It might well hope to be one of the best cameras for kids, and in a similar category to the fun Fujifilm Instax Pal, but I think the Camp Snap will attract a much wider audience than just kids.

The retro Camp Snap camera is a clever idea; it’s a low-cost, low-tech digital reimagining of the single-use disposable camera. We all need less screen time, plus I think we all need to practice a little patience. And the low-tech Camp Snap is just what we need, because it brings us back to a happier and simpler time. No screen, no instant review of your photos. 

It might look like an attractive disposable camera, but instead of film the Camp Snap can store around 2,000 digital 8MP photos on an included TF memory card (that’s the same design as a microSD card). The first time you see your photos is when the Camp Snap camera is connected via its USB-C port to upload them to your computer. 

It’s a bit like the digital version of getting your developed roll of film back from the lab weeks after the event. For me, regularly using the best cameras available today, such delayed gratification feels like a distant memory. There’s no film cost, either, which is a godsend in a time where prices have skyrocketed.

In use, the Camp Snap is point-and-shoot, all-auto simplicity for all the family. It’s child’s play; my three rambunctious kids had no problems operating the camera, and I haven’t been protective over this rigid plastic camera at all – the makers label it "drop-proof". 

You get a viewfinder, which is pleasant enough though somewhat interfered with by the red glare of the LED photo counter. There's also a built-in LED flash that you can turn on or off and which could benefit from being more powerful (I’d use it for any condition except bright sunlight), a thumb groove on the camera’s rear that gives a little hold, plus the USB-C port doubles up to charge the battery. With no power-hungry features, the battery should last several days of moderate use. 

The camera is powered up by a long press of the shutter button, followed by an upbeat audible confirmation that you're in business. You also get a shutter noise every time you take a photo – these are fun little features for a kid-friendly camera.

I do need to manage your expectations of the Camp Snap. Image quality is on-par with a single-use disposable film camera from yesteryear; in other words, poor by 2023’s standards. The low-cost and tiny 2560 x 1920 pixel image sensor, paired with a moderate wide-angle fixed focus lens, doesn’t even come close to the image quality of a modern smartphone and works best in bright light.

With a focus range of around 1m to infinity, I found selfies at arm’s length are possible, but anything closer is blurry. 

If I were to suggest a couple of design changes, moving the LED photo counter to the side would counter glare when using the viewfinder, plus a loop to attach a wrist strap would be nice.

Camp Snap camera photo samples

Above image quality and features, the Camp Snap frees us up for real connection with what’s around us. That’s what I want from a camera experience – like the Fujifilm Instax Pal, I've really enjoyed having the Camp Snap around for moments with family and friends, and it's brought me back to a happier and simpler time.

Who knew that a camera’s best feature could be something that it doesn’t have? The Camp Snap has inspired me to make a habit of folding away the vari-angle screen of my professional mirrorless camera. Basic it may well be, the Camp Snap concept has somehow struck a chord. 

Camp Snap: Price and availability

Available in the US and Europe now, the Camp Snap costs $55 / £45 plus shipping costs from the Camp Snap website, and is available with a leather-effect trim in Brown, Aqua, Black, Forest Green, White or Pink. I had the all-black version. The makers of Camp Snap have plans to expand sales beyond Europe and North America, including Australia. 

I've also been informed that a second version of the Camp Snap camera is in the pipeline, that addresses a few snags including a loop for a wrist strap, plus there’s a ‘Pro’ version in the pipeline with more features that sounds less appealing to me.

Should I buy the Camp Snap camera?

Buy it if...

Don't buy it if...

How I tested the Camp Snap camera

I had the Camp Snap in my pocket for several weeks, grabbing quick snaps around family life, across a varied range of scenarios and times of day. My children have had a similar amount of use from the camera and I have enjoyed seeing them give it a spin and using the viewfinder. 

First reviewed October 2023

Two-minute review

I first came across the Camp Snap camera when it popped up on my Instagram feed, and it stopped my mindless scrolling. It wasn’t just the dulcet tones of the voice over, or the sunny slice of America filling the screen. This retro-style compact was different, and its biggest selling point is what it lacks… a screen. 

Here I was, caught in the screen time act, watching a video about a camera originally created for kids at summer camp with no permitted screen time, who could still use it to take a few snaps of their trip. It might well hope to be one of the best cameras for kids, and in a similar category to the fun Fujifilm Instax Pal, but I think the Camp Snap will attract a much wider audience than just kids.

The retro Camp Snap camera is a clever idea; it’s a low-cost, low-tech digital reimagining of the single-use disposable camera. We all need less screen time, plus I think we all need to practice a little patience. And the low-tech Camp Snap is just what we need, because it brings us back to a happier and simpler time. No screen, no instant review of your photos. 

It might look like an attractive disposable camera, but instead of film the Camp Snap can store around 2,000 digital 8MP photos on an included TF memory card (that’s the same design as a microSD card). The first time you see your photos is when the Camp Snap camera is connected via its USB-C port to upload them to your computer. 

It’s a bit like the digital version of getting your developed roll of film back from the lab weeks after the event. For me, regularly using the best cameras available today, such delayed gratification feels like a distant memory. There’s no film cost, either, which is a godsend in a time where prices have skyrocketed.

In use, the Camp Snap is point-and-shoot, all-auto simplicity for all the family. It’s child’s play; my three rambunctious kids had no problems operating the camera, and I haven’t been protective over this rigid plastic camera at all – the makers label it "drop-proof". 

You get a viewfinder, which is pleasant enough though somewhat interfered with by the red glare of the LED photo counter. There's also a built-in LED flash that you can turn on or off and which could benefit from being more powerful (I’d use it for any condition except bright sunlight), a thumb groove on the camera’s rear that gives a little hold, plus the USB-C port doubles up to charge the battery. With no power-hungry features, the battery should last several days of moderate use. 

The camera is powered up by a long press of the shutter button, followed by an upbeat audible confirmation that you're in business. You also get a shutter noise every time you take a photo – these are fun little features for a kid-friendly camera.

I do need to manage your expectations of the Camp Snap. Image quality is on-par with a single-use disposable film camera from yesteryear; in other words, poor by 2023’s standards. The low-cost and tiny 2560 x 1920 pixel image sensor, paired with a moderate wide-angle fixed focus lens, doesn’t even come close to the image quality of a modern smartphone and works best in bright light.

With a focus range of around 1m to infinity, I found selfies at arm’s length are possible, but anything closer is blurry. 

If I were to suggest a couple of design changes, moving the LED photo counter to the side would counter glare when using the viewfinder, plus a loop to attach a wrist strap would be nice.

Camp Snap camera photo samples

Above image quality and features, the Camp Snap frees us up for real connection with what’s around us. That’s what I want from a camera experience – like the Fujifilm Instax Pal, I've really enjoyed having the Camp Snap around for moments with family and friends, and it's brought me back to a happier and simpler time.

Who knew that a camera’s best feature could be something that it doesn’t have? The Camp Snap has inspired me to make a habit of folding away the vari-angle screen of my professional mirrorless camera. Basic it may well be, the Camp Snap concept has somehow struck a chord. 

Camp Snap: Price and availability

Available in the US and Europe now, the Camp Snap costs $55 / £45 plus shipping costs from the Camp Snap website, and is available with a leather-effect trim in Brown, Aqua, Black, Forest Green, White or Pink. I had the all-black version. The makers of Camp Snap have plans to expand sales beyond Europe and North America, including Australia. 

I've also been informed that a second version of the Camp Snap camera is in the pipeline, that addresses a few snags including a loop for a wrist strap, plus there’s a ‘Pro’ version in the pipeline with more features that sounds less appealing to me.

Should I buy the Camp Snap camera?

Buy it if...

Don't buy it if...

How I tested the Camp Snap camera

I had the Camp Snap in my pocket for several weeks, grabbing quick snaps around family life, across a varied range of scenarios and times of day. My children have had a similar amount of use from the camera and I have enjoyed seeing them give it a spin and using the viewfinder. 

First reviewed October 2023

Editor's Note

• Original review date: May 2020
• Launch price: $749 / £699 / AU$1,299
• Official price now: $649.99 / £649 / AU$1,079

Update: March 2024. That the Sony ZV-1 is four years old but remains in a several TechRadar buying guides is testament to its filmmaking chops, especially for those starting out in filmmaking and on a limited budget. Its 4K video and excellent autofocus performance with clever subject detection modes make it one of the best vlogging cameras even in 2024. An updated Sony ZV-1 II was introduced more recently and is also an excellent video camera. However, we have kept the older ZV-1 in key buying guides because the second-gen model simply doesn't do enough to merit an upgrade or to spend the extra money on, and so for now the ZV-1 remains an excellent value video-focused compact camera.

Sony ZV-1: two-minute review

The Sony ZV-1 is the most powerful pocket vlogging camera you can buy right now. It takes the best video features of the Sony RX100 series, including its class-leading autofocus system, and combines them with design tweaks that make it ideal for shooting YouTube videos at home or on the move. 

Its main strength is the combination of a bright 24-70mm f/1.8-2.8 lens with Sony's Real-time tracking and Real-time Eye AF systems. Together with the ZV-1's 1-inch sensor, which is larger than those in today's smartphones, these make it easy to shoot high-quality vlogs with pleasing background blur and consistent focus.

The inclusion of a 3.5mm microphone port means it's relatively easy to add good-quality audio to match your videos, while a hotshoe lets you mount accessories like a shotgun mic or LED light without needing a bracket to support them.

This is particularly useful because, while the ZV-1's three-capsule internal microphone is an improvement over the built-in mics found in the RX100 series and other compact cameras, it still falls short of offering audio that matches the quality of its video. You do at least get a windshield bundled with the camera, which is essential for when you're shooting in breezy conditions.

The ZV-1 isn't perfect, and you might want to consider other options, depending on your needs. Its SteadyShot stabilization is passable for walking videos, but falls short of the smoothness offered by the DJI Osmo Pocket, GoPro Hero 8 Black, or larger cameras like the Olympus E-M5 Mark III. Its strongest stabilization also adds a slight crop that can make the resulting focal length slightly tight for handheld shots, though we didn't find this to be a major issue.

Despite the inclusion of renamed shortcut buttons for beginners, the ZV-1 also isn't the most user-friendly camera for those upgrading from smartphones. Aside from letting you tap to focus, its touchscreen doesn't work with menus like the handy 'Fn' grid, and it settings remain labyrinthine; a beginner-friendly section for video newcomers would have been nice.

The flipside to this complexity is that the ZV-1 is absolutely packed with features, including a built-in ND filter, autofocus sensitivity options, and profiles like S-Log2 for those who like to color-grade their videos; Sony is also promising live-streaming software for Windows users from July 2020. All this makes it incredibly powerful for a compact camera, and ensures that it'll grow with you as your skills improve.

The ZV-1's size means there are naturally other compromises, including the lack of a headphone jack and average battery life, while the absence of an electronic viewfinder means those looking for a stills camera should also look elsewhere. But the ZV-1 packs in more power and video features than any other compact camera, making it an ideal take-anywhere camera for shooting content for your YouTube or other social media channel - indeed we think it's one of the best YouTube cameras.

Sony ZV-1: price and release date

• The Sony ZV-1 launched on May 26, 2020
• It costs $749 / £699 / AU$1,299
• You can also buy a Bluetooth Grip controller for $138 / £170 / AU$249

You can order the Sony ZV-1 right now, as pre-orders opened on its release date of May 26, 2020. Sony says shipping is expected to start "in early June" in the US and UK, and by "mid-June" in Australia.

The compact vlogging camera costs $749 / £699 / AU$1,299 which puts it roughly in between the Sony RX100 Mark IV and RX100 Mark V price-wise. 

Unlike all of Sony's RX100 series camera, the ZV-1 lacks an electronic viewfinder, which helps to keep its price down. It does, though, bring newer features that aren't available on the latter two cameras, including Real-time Eye AF autofocus. 

That price tag puts the Sony ZV-1 at a similar price point to its main rival, the Canon G7X Mark III. That camera launched in August 2019 for $750 / £700 / AU$1,100, although it can currently be found for slightly less than that.

You can also now buy a shooting grip with an integrated wireless remote for the Sony ZV-1, the Sony GP-VPT2BT. This is available now, and costs $138 / £170 / AU$240.

Sony ZV-1: design

• New side-flipping LCD screen is ideal for video
• Hotshoe and 3.5mm port make it easy to add external microphone
• Lacks the RX100 series' viewfinder and lens control ring

The Sony ZV-1 is like a Sony RX100 Mark V that's been redesigned for YouTubers. The end result isn't perfect, but it does fix most of the criticisms we had of the Mark V when it came to video shooting. Along with the Canon G7X Mark III, it's one of the few compact cameras that's been designed primarily for video.

First, the good bits. The best new feature is a side-hinged articulating touchscreen. This kind of screen is better than a tilting one for shooting video, because it leaves the top and bottom of the camera free for attaching accessories. Crucially, it also flips around 180 degrees to face forwards, allowing those operating one-person YouTube channels to frame their shots without needing someone behind the camera.

Sadly, Sony's touchscreen functionality is still pretty limited. You can tap the screen to pull focus in video, for example, but not navigate menus or even zoom in on photos. That's a shame for a camera that's been designed primarily for people who are upgrading from smartphones; still, the benefit of that side-hinged screen is that there's room on top of the camera for a hotshoe.

This hotshoe replaces the electronic viewfinder you'll find on Sony's RX100 series. Losing a built-in EVF would be a big deal for a stills-focused camera, and it's something to bear in mind if you need an all-rounder for both photos and video. But it makes sense for a vlogging camera like the ZV-1, because its target audience will mostly be using the screen as a viewfinder – and it also helps to reduce the ZV-1's price tag, if not by quite as much as we'd hoped.

The option to plug accessories like LED lights or external microphones into that hotshoe is a real bonus. If you purchased the Sony RX100 VII you had to buy an external bracket to mount them, but there are no such worries with the ZV-1, and this brings us to another of the ZV-1's vlogging bonuses: a 3.5mm mic input.

There isn't much point shooting great-looking video if you don't have the audio to match, so a 3.5mm port is essential for vlogging cameras. The Sony ZV-1 does actually have an improved built-in microphone on its top plate – this is a three-directional capsule mic with left, center and right channels. 

Sony also bundles a 'dead cat' windshield with the ZV-1, which plugs into the hotshoe to help counter wind noise when you're shooting outdoors. But as we'll see later, an external microphone is still significantly better than any built-in equivalent, making that 3.5mm port a crucial inclusion.

Slightly less welcome is the inclusion of a microUSB port below the mic port. While it's far from a deal-breaker, we expect all new cameras to offer USB-C ports these days for speedy charging and all-round convenience. The Fujifilm X-T4, for example, comes with a USB-C headphone adaptor that lets you monitor the sound on your recordings, which is something you can't do on the ZV-1. You can at least charge the Sony ZV-1 while using the camera, though, so it's not completely stuck in the charging dark ages.

The Sony ZV-1 brings two other handy design tweaks that you won't find on the RX100 VII or any of its predecessors. One is a small hand grip. While this doesn't revolutionize the ZV-1's handling, it's another feature that many RX100-series owners have added to their cameras with third-party accessories. And finally, for the first time on a Sony camera, the video recording button is now as big as the stills shutter button. 

These might not sound important, but they're pretty significant. Unlike the RX100 series, they mark the ZV-1 out as a video-first camera that can also do stills. And, while you miss out on features like an EVF and lens control ring, the inclusion of a side-flipping screen, hotshoe and mic port make the ZV-1 the best pocketable tool around for vloggers and YouTubers.    

Sony ZV-1: autofocus and lens

• Real-time Eye AF produces class-leading vlogging autofocus
• Bright 24-70mm f/1.8-2.8 lens creates pleasing background blur
• Lacks Animal Eye AF, but includes Real-time Tracking for moving subjects

The Sony ZV-1 does what many vloggers have been crying out for – it combines the lens of the Sony RX100 Mark V (or at least a mildly tweaked version of it) with Sony's latest Bionz X processor and autofocus skills.

Why include the 24-70mm lens from the Mark V, rather than the 24-200mm lens seen on the last two Sony RX100 cameras? Because the former is simply more suited to vlogging, thanks to its brighter f/1.8-2.8 aperture. This combines nicely with the camera's 1-inch sensor to give your videos some pleasing background blur, while still photos also benefit from the knock-on effect of the ability to shoot at lower ISOs in equivalent scenes (albeit at the expense of that longer 200mm reach).

But the ZV-1's real ace is pairing this bright lens with some of Sony's latest Real-time autofocus tech. This is possible thanks to the combination of the Bionz X processor (also seen in the full-frame Sony Alpha A9 II) and that 1-inch, 20.1MP stacked CMOS sensor, which has 315 phase-detect autofocus points covering 65% of the frame.

What does all this mean in reality? For a start, the ZV-1's hybrid autofocus, so-called because it combines phase detect with contrast-detect AF systems, means it's faster and more confident for video than the contrast-only systems seen in rivals like the Canon PowerShot G7 X Mark III. 

On top of that, you get Sony's latest Real-time Tracking and Real-time Eye AF (for people), which are easily the best you'll find in a compact camera for capturing people and moving subjects. Keeping moving subjects in focus is invariably just a case of tapping them on the ZV-1's screen; if you have Face and Eye AF tracking enabled, it will also seamlessly switch to the latter when it detects a person's face.

This is particularly important for a vlogging camera with a bright lens, because it can be very easy to lose focus on a face when shooting at apertures like f/1.8. But aside from when we got too close to the lens, we found the ZV-1 did an excellent job at tracking our eyes across most of the frame.

Sony ZV-1: features

• Includes two new shortcut buttons for vlogging beginners
• Picture profiles offer editing flexibility for more advanced vloggers
• Slow-motion modes are fun and useful 

So what other video-friendly treats does the Sony ZV-1 pack beyond excellent autofocus? A huge amount, which isn't always a good thing for usability.

Sony's camera menus are renowned for being about as user-friendly as a book of hieroglyphics, and it's done a couple of things in an effort to make the ZV-1 a bit more intuitive for beginners.

These include two new default settings for the camera's two custom buttons. The first of these, called the 'Bokeh switch', will instantly switch to a wide-open aperture to give your footage a defocused background. Unlike smartphone 'portrait' modes, there's no computational trickery going on here – it's purely a shortcut based on traditional optics.

The second and perhaps more useful custom button is called 'Product showcase', which is designed specifically for YouTubers who specialize in reviews. 

Again, this doesn't do anything beyond what you can do in the settings, but pressing this instantly turns off both SteadyShot stabilization (making a tripod a must for this mode) and Face and Eye priority AF. This means that when you hold a product up to the camera, it'll lock focus onto that, rather than prioritizing your face. Because of the speed of the ZV-1's autofocus, this works pretty well.

Still, these feel like hastily bolted-on fixes, and the ZV-1 otherwise feels very much like an RX100 series compact camera, which is a shame, and when you compare the interface to slick touchscreen apps like Filmic Pro, it can feel like a relic from the past. Prepare to do a lot of flicking through ZV-1's menus and setting up custom menus.

To be fair, this complication is partly because the ZV-1 is so stuffed with features, with many of them aimed at advanced video shooters. This in turn gives it an incredible amount of depth for a compact camera. 

For example, there's the welcome return of the built-in ND filter. This was jettisoned on the last two RX100 cameras, but is nigh-on essential for getting smooth movement in videos on bright days, as it allows you to shoot with slower shutter speeds without having to stop the lens down.

Dig a bit deeper into the menus and you'll find compositional aides like focus peaking and zebra patterns, plus all of Sony's picture profiles including S-Log2, S-Log3 and Hybrid Log Gamma (HLG), for those who like to color-grade their footage to extract the most amount of dynamic range.

But what about more commonly tweaked settings, like resolution and frame-rate options? Like the RX100 Mark VII, the ZV-1 can shoot 4K at a maximum 30p. It's a shame it doesn't have a 4K/60p mode, but its 4K footage is at least achieved by oversampling rather than pixel binning; the former is a superior method of grabbing a 4K image from the 20.1MP sensor, helping to avoid pixelated, jagged edges.

Of course, there are faster frame rates available if you're okay with shooting in 1080p, along with Sony's impressive super slow-mo options, which go all the way up to an incredible 960fps. 

Naturally, there's significant quality loss here, which we'll go into along with the ZV-1's stabilization and battery life in the performance section.

Sony ZV-1: performance

• Video stabilization is improved, but falls short of the best
• Built-in microphone is decent, but external mics recommended
• Short battery life means packing spares for long shoots

Alongside great autofocus, a forward-facing screen and good audio options, vlogging cameras also need impressive image stabilization to help keep handheld footage steady. Of those four features, this is the Sony ZV-1's weakest area.

Not that its SteadyShot system is bad, by any means. Its most powerful 'Active' stabilization mode combines optical and electronic stabilization, and is available in 4K shooting too. If you're doing any walkaround vlogging, this is an essential mode, as you can see in our test clips below.

The trouble with 'Active' stabilization is that it applies a slight crop to your footage in order to counteract the bounce in your walking movements. It's not too severe, but because the ZV-1's widest focal length is already a slightly tight 24mm, it does mean you end up with very little room around your face when holding the camera at arm's length. 

We still think this crop is fine for handheld vlogging, particularly as it highlights how good Sony's Eye AF focusing is – but it might be something to try out first if you're planning to mostly film walking shots while talking to the camera.

If stabilization is important to you, it might also be worth considering alternatives or accessories. As you can see in our comparison video above, both the GoPro Hero 8 Black and DJI Osmo Mobile 3 (with a smartphone) offer superior stabilization to the Sony ZV-1, at the expense of image quality. The best of all worlds could well be combining the Sony ZV-1 with a gimbal like the Zhiyan Crane M2 – we'll update this review when we've had a chance to try out that combination.

The ZV-1's built-in, three-capsule microphone captures decent audio for a compact camera. The included 'dead cat' windshield is also essential if you're venturing out into breezy conditions, as our demo video above shows.

But there is inevitably still a little noise interference from camera's focus motors, and if you want to capture audio that matches the quality of your videos then you'll want to pair the ZV-1 with an external microphone. 

Fortunately, that's possible thanks to the 3.5mm microphone port on the side, and there are plenty of mic options around, from Sony's own ECM-XYST1M Stereo Microphone to something more discrete like the Rode Wireless Go. If you're just starting out, then a cheap lavalier (or 'lav' lapel mic) is an affordable way to boost the ZV-1's audio too, particularly if you'll mainly be talking to camera.

On a slightly more fun note, the Sony ZV-1 does also offer the same slow-motion modes as the RX100 series. These include 250, 500 and 1000fps options, although the latter two bring a significant hit to resolution and quality. We'd mostly steer clear of those, but the 250fps mode is decent, and combines nicely with the ZV-1's shallow depth of field. The only shame is that you can only shoot four-second clips, and setting up the slow-mo modes is still a clunky process.

With so many processor-intensive recording modes, how does the Sony ZV-1's battery life hold up? As you'd expect, not brilliantly – it only has room for the same NP-BX1 battery as the RX100 VII, which means around 260 shots or 45 minutes of video.

This means carrying a spare battery or two is advised, although it is possible to use the camera while it's plugged into a battery pack or wall charger. Another bonus is that it's now possible to bypass the default five-minute recording limit when shooting 4K video – set the 'auto power off temp' to 'high' and it'll keep going until either the battery runs out or your memory card fills up.

We managed to record a continuous 4K video clip for 44 minutes in this mode – and while the ZV-1 was certainly toasty by the end, it wasn't impossible to hold, and Sony says using this mode won't damage the camera in any way.

Sony ZV-1: video and image quality

• Shoots crisp, detailed 4K/30p video
• Default skin smoothing is a little overdone, but can be turned off
• Strong stills performance, but lacks a viewfinder

Like the most recent Sony RX100 cameras, the ZV-1 oversamples its video footage before downsampling it to 4K. This process produces sharper results than alternative techniques like pixel binning, and you can see this in its 4K footage – it's very crisp and detailed, and has no crop unless you're shooting with 'Active' stabilization.

It's a slight shame the ZV-1 doesn't have a 4K/60p option, as this would let you slow down 4K clips without any loss in quality. But it's not a major miss, and the 4K/30p mode impresses with its lack of rolling shutter, which is a common side-effect of CMOS sensors that sometimes results in skewed lines during fast panning movements.

The built-in ND filter also helps to keep movement nice and smooth in bright conditions, although the ZV-1 naturally struggles a bit more in lower light due to its 1-inch sensor. If you're faced with a really high-contrast scene, then picture profiles like S-Log2 will help you to extract extra detail, although you'll need to be comfortable with color grading before attempting that.

One area of image quality that Sony has gone big on for the ZV-1 is the color and exposure of human faces. Based on feedback from around the world, Sony says it's created an "optimized color algorithm" that makes sure skin tones are natural, wherever you're from. The ZV-1 also apparently uses its face recognition tech to get exposure readings, to make sure the vlogger's face is bright and well exposed in all conditions.

This certainly worked pretty well in our experience, although we haven't yet been able to try it on a range of faces. One thing we did tweak, though, was the ZV-1's skin smoothing effect – this is pretty strong by default, so we'd err on the side of switching it to 'low', or off entirely. Despite Sony's attempts to make it more natural than many equivalent smartphone modes, the stronger skin smoothing variants still look a bit too artificial for our tastes.

Of course, despite its vlogging focus, the ZV-1 is also a pretty capable stills camera. The lack of a viewfinder or lens control ring means it's no match for its more stills-focused RX100 stablemates here, but the quality is certainly still there if you want to shoot some Instagram-worthy stills to complement your YouTube videos.

There's bags of detail in images, and you can bring back even more from highlights and shadow areas if you shoot in raw. Noise is well controlled too up to ISO 800, with image quality only really going south from ISO 6400 and above. 

Of course, it's arguable that today's smartphones are at least a match for the ZV-1 when it comes to stills photography, thanks to their computational smarts. But the ZV-1's bright lens and high-speed shooting modes still make it a handy backup tool for shooting portraits and action scenes, even if you really should be looking elsewhere for a dedicated stills camera. 

Should I buy the Sony ZV-1?

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First reviewed: May 2020