Editor's Note

• Original review date: June 2022
• Adds a 40mm f/2.8 lens to the existing Ricoh GR III
• Launch price: $999 / £899 / AU$1,779
• Official price now: around $1,050 / £999 / AU$1,599

Update: May 2024. Two years after we first reviewed it, we still think the Ricoh GR IIIx is one of the best compact cameras you can buy. Its combination of a large sensor, sharp lens and tidy dimensions continues to impress in 2024. This remains a fantastic shooting tool to keep in your pocket, especially if you’re a street photography fan. Its unique feature set has made the Ricoh GR IIIx a very popular camera, which is why you’ll find most online stores listing it as “out of stock” or “awaiting stock”. That’s also why seasonal discounts on the model are uncommon, with the GR IIIx generally marketed at its full RRP. Both of those factors mean your easiest route to acquiring one at a decent price is to look for second-hand or refurbished options in good condition, which can be found if you look around online.

Two-minute review

The new Ricoh GR IIIx is the latest in a long line of discrete compact cameras that are small enough to slip into your pocket, but somehow boast a large APS-C sensor and a sharp, fixed focal length lens.

The Ricoh GR series has carved out a niche market, being particularly popular with street photographers and everyday snappers who love the camera's quick response, intuitive handling and, more recently, Snap Focus system to capture decisive moments. As a result, they've long been mainstays in our guides to the best compact cameras and the best travel cameras.  

Yet one thing that many GR lovers have pined for is a more telephoto focal length than the 28mm f/2.8 lens found in the most recent iteration, the GR III. Well, now their wish has come true in the GR IIIx, a camera that is virtually identical to the GR III in every way, except it has a 40mm f/2.8 equivalent lens.

A 28mm lens is essentially the same focal length as a smartphone's standard camera, making it the most universally familiar focal length, while 40mm is closer to a phone's portrait lens. Another way to appreciate the difference between the two focal lengths is that 28mm represents what you can see, while 40mm is what you focus on.

We'll get more into the practical differences between those two focal lengths in these cameras in our in-depth review. Suffice to say, there are scenarios more suited to the 28mm lens, and others best suited for 40mm. In either case, limiting yourself to a particular focal length can be a useful creative discipline for photographers, though if we could be greedy, we'd like a GR III in one pocket and the GR III X in the other.

Perhaps Ricoh will keep going in the Sigma Quattro approach by adding further models like a 75mm f/2.8, though the GR IIIx does have a useable crop mode taken from the 24.2MP sensor, going up to 71mm. There is also an optional 75mm GT-2 Tele Conversion lens, but adding accessories and bulk to a GR III camera somehow seems sacrilegious – yes, even a flashgun via the hotshoe.

Other than the new lens, it's as you were, for good and for bad. If you're looking to get the most for your money based on a spec sheet, then the GR IIIx is not for you. At $999 / £899 / AU$1,799, it's more than the GR III on release and for that money you could get an APS-C interchangeable lens camera with a lens or two, or a fantastic smartphone.

The GR IIIx's battery life is poor. There's also no built-in flash, viewfinder or even an optional EVF via the hotshoe, the rear touchscreen is fixed, video recording is limited to full HD with no mic input, plus AF is jittery. That's a few downsides, so why is the GR IIIx so expensive? Well, there really is no other pocket camera like it today, especially with this new lens – trust us, we've searched hard.

Perhaps its closest rival is the Fujfilm XF10, or various discontinued cameras like the Fujifilm X70 and Nikon Coolpix A, all of which have a 28mm lens. The GR IIIx has more street guile than all of these options, though we'd love a tilt-screen. Other large-sensor compacts like the Fujifilm X100 series or the smallest interchangeable lens cameras with 40mm pancake lens attached are no comparison, being much bigger.

More importantly than features, the GR IIIx is a joy to use. It's a camera that you want to have in your pocket. It seems so intuitive to general quick response photography, and is easy to customize with tools that experienced photographers will love. The in-camera raw editing and seamless wireless connection to a smartphone (in our experience with a Google Pixel) means you can share edited pictures easily on the fly, too.

Throughout our review, we were particularly interested to know how the new 40mm lens affects the handling of this pocket shooter, and if the lens quality is just as good. Read on to find out in our in-depth Ricoh GR IIIx review, and for additional info check out our Ricoh GR III review. 

Ricoh GR IIIx release date and price

The Ricoh GR IIIx is available to buy now for $999 / £899 / AU$1,779. A new 'Urban Edition' was more recently launched for a premium price of $1,099 / £999 (although it's strangely cheaper in Australia at $AU1,549). It's limited to 2,000 units worldwide and has a metallic grey body, blue ring cap and comes supplied with leather strap.

Additional GR IIIx accessories include the GT-2 Tele Conversion lens for a 75mm focal length, although the GR IIIx is not compatible with the GW-4 Wide conversion lens for the GR III. There is a GV-3 external mini optical viewfinder, while users can modify the look of the GR IIIx with different color ring caps (GN-2).

Perhaps the wisest additions to the GR IIIx are additional DB-110 batteries, while we in particular have enjoyed the camera's handling with an optional third party thumb grip.

Ricoh GR IIIx: design

• A true pocket camera
• Fixed 3in touch screen
• New 40mm f/2.8 lens

On the surface, the GR IIIx is a simple, sturdy camera. It's stubbier and narrower than a smartphone, though it is deeper at 35mm according to our tape measure. That's as narrow as APS-C cameras come and the GR IIIx easily slips into a trouser pocket. It's also super light, at 262g with battery and card.

It's possible to hold and touch focus on the GR IIIx the same way as you would when shooting with a phone, so in public you can relax and blend in. If you don't need touch focus, single-handed operation in any format works a treat, especially with an optional thumb grip.

Despite its simplicity and point-and-shoot nature, there's more to the rugged GR IIIx than meets the eye. Twin dials make changes to exposure, including exposure compensation. Without a thumb grip in place, the rear dial can easily be knocked, though push it in and a quick access menu for regularly changed settings is revealed; Picture Style, Focus mode, Metering, File Format and screen brightness.

Watch out for the shooting mode dial, too – the lock isn't the strongest and we had a few times where the mode had switched between goes with the camera. On that dial is the usual PASM exposure modes, plus three user defined shooting modes (U1 to U3).

Custom shooting modes are super useful for those that take the time to create unique camera settings for specific scenarios, assigning a comprehensive range of settings, including Auto ISO with control over minimum acceptable shutter speed, and the Focus mode that includes the clever Snap Focus.

The fixed 3in LCD touchscreen is a little hard to view in bright daylight. Pump the 1.03-million-dot screen up to its brightest setting and things get a little clearer. There are a number of concessions made in order to keep the GR IIIx so small. If we were to able to make a single change it would be to have a flip-up screen which would be so handy for multi-angle shooting.

There's no denying that the 200-shot battery life is modest. Honestly, we didn't mind it and sometimes working within limitations – like a 36-roll of film – can be good practice. Also, the camera can be charged on-the-go via USB-C and additional DB-110 batteries can be picked up on the cheap.

For the lens ring cap, Ricoh has opted for style over substance. Rather than offer controls like manual focus or aperture (which we haven't necessarily pined for), the GR IIIx lens ring cap is functionless and can be swapped out with different color ring caps to personalize the camera.

After much time with the camera in and out the pocket, we started to feel that the protective lens cap could be a wise purchase to protect the front of the lens. The camera does, however, come with a basic wrist strap and a nice touch is that the GR IIIx has an internal memory of 2GB, which offers plenty of storage for pictures and Full HD videos. Beyond 2GB, you'll need a UHS-I SD memory card.

Ricoh GR IIIx: features and performance

• Quick start-up time
• Moderate continuous shooting
• Sensor-shift shake reduction

Ricoh has refined the GR III series to please experienced photographers who want a simple, customizable camera with a rapid response. Start-up time is lightning, the GR IIIx rattles off pictures from being powered off in less than a second, and with an immediate shutter response.

In continuous drive mode there's a moderate shooting rate of around 4fps by our estimate. For the raw DNG format, you'll get around ten shots before the camera slows right up, while in JPEG-only it's more like 150 shots. The GR IIIx is not an action camera, though it does respond quickly to capture decisive moments. 

Focus modes include Snap Focus for a predetermined focus distance in half meter increments starting at one meter, or infinity. Handily, it is possible to temporarily override Snap Focus if it's set to the wrong distance via touch focus. Additional AF modes are available in the quick access menu.

Snap Focus is a different game with the new 40mm lens than it is with the GR III's 28mm lens, because depth of field is narrower and therefore less forgiving at any given aperture and working distance. You might not see on the small screen, but it is entirely possible to miss your focus point when shooting close up at f/2.8. Thankfully there is an on-screen depth of field indicator, through which you can check depth of field parameters.

For portraits close to camera and shallow depth of field work, it can be wiser to use pin-point touch autofocus rather than Snap Focus. The performance of other AF modes are only okay and, overall, less reliable – including a laggy and unreliable tracking AF plus average auto area AF.

There's also a macro focus that reduces the minimum focus distance from 0.2m down to 0.12m. With the more telephoto 40mm lens, the macro mode feels more useable in the GR IIIx than it does the GR III – with a little cropping we've come away with some genuine-looking macro images.

The GR IIIx features a sensor-based shake reduction – a feature not found on aforementioned rivals. This opens up the GR III X to a wider range of handheld shooting scenarios and is perhaps even more useful than in the GR III with its more forgiving wider field of view lens.

With shake reduction active and a steady hand, we've been able get sharp shots every time at 1/10 sec and moderate success at 1/4 sec – that's two to three stops of reliable stabilization by our reckoning.  

Ricoh GR IIIx: image quality

• 24.2MP raw DNGs
• 40mm f/2.8-16 lens
• In-camera raw editing

The GR IIIx has the same 24.2MP APS-C CMOS sensor as the GR III, recording in JPEG and raw DNG format. DNG is universally accepted on software old and new. There's a massive ISO 100-102,400 sensitivity range and it's entirely possible to shoot up to ISO 6,400 before noise rears its ugly head, even ISO 25,600 is acceptable. For properly clean images you'll prefer to stick between ISO 100 and 1,600.

The new 40mm f/2.8 lens has one more lens element than the 28mm f/2.8 (adding a mere 5g to the total weight of the camera), containing seven elements in five groups including two aspherical elements. Scanning from center to edges, image detail can be consistently sharp across the entire frame – impressive for such a compact lens – though you will lose critical sharpness at f/2.8 and f/16.

For subjects within a few meters of the camera (a working distance around 1.5m is a sweet spot), it is completely possible to get a pleasing shallow depth of field when shooting wide open at f/2.8, making the GR III X an excellent option for portraits that feature surroundings. Bokeh is pleasant enough, too, and particularly silky in the macro mode. Set to macro and using the crop mode, the GR IIIx has surprised us with its macro prowess. 

Where lens corrections have not been applied to raw DNGs, vignetting is quite pronounced at f/2.8 and never really goes away at any aperture, though the improvement is pretty obvious by stopping down to f/3.5. The GR IIIx offers in-camera peripheral illumination correction that removes vignetting at the image capture stage or via raw development afterwards.

Evaluative metering does a solid job of getting a good all-round exposure, though in daylight we often opted to use highlight-weighted metering to protect highlights and, where the results are too dark, boost the exposure via exposure compensation. 

There's also shadow correction and exposure compensation ±1EV in raw development for further tweaks. Somehow the GR IIIx encourages a low-key feel as a starting point to daylight images.

Ricoh offers the 'Image Sync' app for remote capture and transferring images onto a smartphone via Bluetooth or Wi-Fi. In our experience with a Google Pixel, everything worked fine and encouraged a practice of regularly sharing edited pictures on the fly.

We kept the picture style in the user mode to standard because of how easy it is to apply those kinds of changes via in-camera raw development. All picture styles can be customized, and we particularly like the Hard Monotone profile.

The GR IIIx focuses on photographers over those who do video. Resolution is limited to Full HD and there's no mic input for recording sound externally directly to the camera. However, frame rates do go up to 60p, meaning you can get slo-mo half-speed videos on the go, plus you get an organic shallow depth of field at f/2.8 that make videos stand out over using a phone.

Should I buy the Ricoh GR IIIx?

Buy it if...

Don't buy it if...

• Why I've just bought a compact camera instead of an iPhone 13 Pro

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?

Buy it if...

Don't buy it if...

First reviewed: May 2020