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I tested the new Sony A7 V, and now it’s my favorite Sony camera ever
5:01 pm | December 2, 2025
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: , , , | Comments: Off

Sony A7 V: two-minute review

Some photographers, possibly even those working at Sony, see the A7 range of mirrorless cameras as the firm’s entry-level full-frame models. On paper alone, this may seem a reasonable suggestion when comparing the specifications to the most premium models. However, the Sony A7 IV, launched in October 2021, carries a 33-megapixel 36x24mm sensor, ISO50-204,800 sensitivity range, 5.5EV in-body image stabilization system, and a top continuous shooting rate of 10 frames per second. It’s by no means a slouch and this is all available for under $2500, so while it might be one of Sony’s more affordable E-mount bodies, it has been able to give pro-spec cameras a run for their money for several years.

On the face of it, the A7 V seems more of an iterative upgrade to its predecessor, rather than a revolution. However, once you dig deeper, there is a lot of exciting new technology to explore. Debuting the new partially-stacked sensor and new Bionz XR 2 processing engine, this camera represents a significant step forward for photography enthusiasts and semi-professionals. It’s more responsive than the A7 IV, both in focusing reaction time and accuracy, and delivers superior performance from the ground up.

Images are sharply detailed, and noise is well-controlled, especially for a model equipped with a 33MP resolution. It certainly matches or outperforms the current generation of competing cameras, such as the Canon EOS R6 Mark II or Panasonic Lumix S5 II, although I’ll be interested to see how low-light capabilities compare to the likes of the Canon EOS R6 Mark III when it inevitably comes to market, which is likely not too far in the future.

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

If you’ve used other Sony Alpha cameras, you’ll fall right into step with the A7 V. Some might call Sony’s conservative approach to design unimaginative, but it means that you can allow muscle memory to play its part on shoots where speed matters most. A few useful practical refinements notwithstanding, the A7 V is very similar to models that came before it, and on picking it up, you get a feeling of coming home, a comforting sensation when other stressful elements of a photoshoot come into play.

These days, I’m more likely to be blown away by enthusiast-level products than flagships, which rarely offer many surprises, as pro technology trickles down the rankings to more affordable offerings. The niche this camera inhabits has the potential to provide unbeatable value to the greatest range of photographers, and happily, the A7 V fulfills this promise. It’s an impressive upgrade to an already outstanding camera, serving up great responsiveness, useful features and exceptional image quality. I still wouldn’t call it revolutionary, and there are some quirks that I’d like to see refined, but if you’re an aspiring wildlife, event, or travel photographer, I’m confident you’ll fall in love with it, and that it will trouble TechRadar's best cameras and best mirrorless camera guides.

Sony A7 V specs

Sony A7 V Specs:

Type:

Mirrorless camera

Sensor:

Full-frame (36x24mm) semi-stacked CMOS

LCD:

3.2-inch, multi-articulated, 2.095m dots

Memory:

2x SDXC, 1x CFexpress Type A

Resolution:

33-megapixels

Video:

Up to 4K60p (4K120p in 1.5x crop mode)

ISO range:

ISO 50-204,800

Mechanical Shutter speeds:

30-1/8000sec

Electronic Shutter speeds:

30-1/16000sec

Viewfinder:

3.686m dot, OLED EVF, 0.78x

Processor:

Bionz XR 2

Connectivity:

AX WiFi (WiFi 6), Bluetooth, 2x USB-C, audio

Weight:

659g

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

Sony A7 V: Price and availability

  • Released December 2, 2025
  • Body only price of $2,899 / £2,799 (Australia TBC)
  • Kit options will be available, including with a new FE 28-70mm F3.5-5.6 OSS II

The Sony A7 V launched worldwide on December 2, 2025 priced $2,899 / £2,799 (body only, Australia TBC), alongside a new FE 28-70mm F3.5-5.6 OSS II kit lens. The lens costs $449.99 / £429 separately (Australia TBC) and will be available separately from February 2026.

Ahead of then, the FE 28-70mm F3.5-5.6 OSS II kit lens can be purchased as a kit with the A7 V for $3,099 (UK / Australia TBC). There will be other kits available, TBC.

This pricing is right on par with the Canon EOS R6 Mark III (and just $100 / £100 more than the Nikon Z6 III was at launch, but which is now available for much less).

  • Price score: 4.5/5

Sony A7 V: Design

  • Larger 3.2-inch rear LCD
  • Versatile multi-pivot articulated monitor
  • Hybrid memory card slot

Externally, I’d be very impressed if anyone could distinguish the A7 V from the A7 IV on looks alone. Apart from the name, discreetly emblazoned on the top plate, just to the left of the viewfinder, there isn’t much else to identify the latest iteration. However, a closer inspection reveals a redesigned handgrip. It’s very slight, with a tiny shift to the angle of the shutter button to account for the modest increase in weight from the Mark IV, but it makes a natural refinement to the ergonomics of the camera.

In terms of handling, the A7 V is supremely comfortable to hold, perhaps more so than most other Alpha bodies in the range. Logically, I know there is significant continuity between models, but something about the A7 V felt more balanced to me. I’ve always found Sony cameras to be too boxy for my tastes, especially when shooting for longer periods and when using larger lenses. The A7 V is unmistakably a Sony product, but it just fit my hands a lot better than I remember the A7 IV doing.

Shooting all day around London with the FE 24-50mm f/2.8 G lens, the setup was perfectly balanced, the center of gravity seemingly right where the optics meet the lens mount. This made shooting one-handed a breeze, even when holding the camera at arm's length over my head to shoot a street performer over the heads of a large crowd.

I appreciated that the playback and delete buttons are located on the same side of the camera body and immediately adjacent to each other on the back plate. This is a personal preference, of course, but I find this makes quickly making in-the-field quality control decisions quicker, rather than having to work two-handed and hunting for a control on the opposite side of the body to preview and delete obviously blurry shots.

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

Another excellent feature that seems unique to Sony cameras is dual-function card slots that fit both SD and CFexpress. As someone with more high-performance SD cards than I’d like to think about, I love this. Although I am gradually filling out my stock of CFexpress, I still like to have the choice, and a camera that supports both, while still allowing dual card functionality with either format is hugely thoughtful.

With a Canon EOS R5 Mark II, for example, you need to take a supply of both card types if you want the benefits of in-the-field backups, while the Canon EOS R6 Mark II requires two SD cards only, delaying investment in CFexpress until a future upgrade (which will no doubt be an expensive ordeal). On Sony cameras, there are no such compromises.

Image 1 of 2

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 2 of 2

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

It’s a shame the A7 V only has one of the two slots capable of accepting CFexpress Type A, but perhaps this is what you pay the extra money for when buying a camera like the Sony A7R V.

Another excellent design flourish is the extra control wheel above the Auto Exposure Lock button, which by default is set up to adjust exposure compensation in P, A or S modes. I enjoy not having to hold down another button to change this, and the additional dial allows you to amend the aperture and image brightness with single controls each. Naturally, each dial can be reassigned a custom function from within the A7 V’s Operation Customize menu, found under Setup.

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

The build quality is of an exceptionally high standard. I didn’t have the opportunity to test the camera’s weather resistance – unusual for a British reviewer in November – but nevertheless, there are no obvious compromises in the integrity of the construction. Apart from the hollow battery and memory card bays, no other part of the body reverberates excessively when tapped, giving the sensation of it being milled from a single piece of metal.

All of the dials are beautifully knurled and easy to twist, but with enough resistance that it isn’t too easy to nudge them by accident.

We also can’t talk about the design of the camera without mentioning the versatile dual-hinged main LCD. Sony has gone back and forth with its approach to screen articulation over the years, and as far back as the A99 II DSLR camera, the multi-point design has allowed the user to both tilt and swivel the LCD. Some photographers prefer the vertical tilt format, while others like myself appreciate a full swivel function.

Users of the A7 V don’t have to choose – unlike with the A7 IV which is single-axis vari-angle only – which I found useful when shooting ground-level street photos of graffiti artists under Waterloo Station. It’s a clever strategy also found in recent Lumix cameras, and which I’d like to see more brands adopting.

  • Design score:4.5/5

Sony A7 V: Performance

  • New Bionz XR 2 processor
  • No dedicated AI autofocus processing engine
  • Long 750-shot battery life

Speaking of LCD screens, the model featured on the A7 V is both larger and more detailed than its predecessor. It measures 3.2 inches, up from 3 inches on the A7 IV, while resolution has doubled the 1,036,800 dots previously available. I found it to be very crisp, and colors look natural. This is a attribute of camera screens that isn’t talked about enough. Monitors might be super contrasty and saturated as standard, but this won’t always give the most useful preview of the images about to be captured.

The touch sensitivity is just right, and I found it to be more responsive than both the Mark IV and the A7R V, demonstrating the difference that three years can make. It’s not that those cameras were particularly unresponsive, but this latest monitor gave me no sense that it was standing between me and the settings I wanted to access.

I especially liked the reaction time for touch focus; with a single tap the camera activates the AF and immediately snaps to the object selected. I don’t always use touch focus features, but combined with the versatile LCD pivot points, I found myself using them frequently during my testing of the A7 V.

Autofocus itself is smooth and super-fast. Built around a new system of 759 Phase Detection AF points that cover 90% of the frame, the A7 V can focus in lighting as low as -4EV. Although the camera did slow down as ambient lighting dropped, with the rate of focus hunting increasing, it still did a sterling job of finding and tracking the subject. It’s also incredibly precise.

Image 1 of 3

Image captured with the Sony A7 V Mirrorless camera in London

Changing the AF subject recognition mode to Animals, the A7 V could easily keep track of this squirrel's eye (Image credit: Future/ Peter Fenech)
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Image captured with the Sony A7 V Mirrorless camera in London

(Image credit: Future/ Peter Fenech)
Image 3 of 3

Image captured with the Sony A7 V Mirrorless camera in London

(Image credit: Future/ Peter Fenech)

Interestingly, the A7 V doesn’t feature a dedicated AI processor, as found on the Sony A1 II. This might surprise many industry observers, in an age where AI is king and excluding such features might seem a retrograde step. However, the new Bionz XR 2 moves all AF computations on-chip, instead of dividing the workload between two units.

Sony says the up-specced processor brings the same benefits of a separate AI engine, namely better AF target recognition, but with the added advantage of reduced heat emissions, superior speed, and improved battery life. After all, powering one chip is better than supplying two.

I didn’t have an A1 II body available to test the cameras side-by-side, but rarely did the A7 V struggle to locate my subject. There are plenty of options to customize subject recognition, and the camera coped well with human figures, cars, and airplanes, in the chaos of Central London and at Heathrow Airport.

Also new to the A7 V are the options to change AF responsiveness and to select an extra small or large AF point. While I didn’t find much need to alter these settings during my test, I could see where this might be of huge benefit. Turning down AF responsiveness if it’s likely that other objects will pass between the camera and the subject, like when shooting across a busy road or players on a football field, will help keep the focus sticky on your subject.

I can also vouch for the stated 750-shot battery capacity. After 300 frames, in the relative chill of a winter afternoon, I still had 75% charge, and by 650 shots, this sat around the 40% mark. This excellent, rival-beating performance included shooting both long still exposures and video.

In terms of shooting speed, the A7 V is one quick camera in operation. Startup is near instantaneous, and exposure assessment is now done at twice the number of calculations per second compared to the A7 IV.

Using the electronic shutter, it’s now possible to capture images at up to 30fps, up from 10fps on the previous camera. Pre-capture is also possible up to a user-selectable 30fps, meaning the camera is always ready and able to cover the action in the briefest of moments. Without wanting to sound like an advert for Sony (remember, this review is completely independent), there were times when I felt I was having to keep up with the camera. This isn’t something I encounter often, and it kept me on my toes.

It’s a very minor point, but I found the shutter release to be just a little too sensitive for my liking. There were a few occasions when I was simply trying out a composition and accidentally fired off a burst of shots – a bit of a laborious situation when the camera makes 30 frames every second! I’d definitely recommend re-assigning focussing to the AF-ON button to work around this.

  • Performance score: 5/5

Sony A7 V: Image quality

  • Excellent Dynamic Range
  • Superior high-ISO performance
  • Ultra-effective IBIS system

One of the headline features of the A7 V that is certain to get people talking is the new semi-stacked sensor. This CMOS design has developed somewhat of a bad rep because of its deployment in other cameras with limited success, such as the Nikon Z6 III. There is a risk of significant trade-offs in dynamic range for the additional readout speed a semi-stacked (or partially-stacked) sensor provides. Sony is confident enough, however, to claim a DR of up to 16-stops with the A7 V – that's an additional stop versus the A7 IV – so I couldn’t wait to see how the camera performed in the real world.

I’m not entirely convinced by the 16EV claim, as there were times when there was less highlight texture than I had anticipated, and clipped shadows where I hadn’t expected. However, the results were still impressive. In the majority of shots, there was recoverable detail across the range. From memory alone (and not having yet taken the A7 V into the lab for testing, that’s all I have to work on), I would place the dynamic range on an even footing with models like the 24MP Canon EOS R6 Mark II and Nikon Z6 III. Clearly, Sony deserves some applause for this, as it’s a clear indicator that the A7 V is a next-gen competitor.

Now let’s talk about color. Traditionally, this hasn’t been my favorite aspect of Sony cameras. I’ve always felt that, compared to Canon and Fujifilm models, Sony color science was a bit sterile. Accurate, maybe, but lacking warmth and ‘flavor’. These traits are present in the A7 V, as is to be expected, but I noticed colors seemed more organic than I’ve seen from its stablemates.

The auto White Balance system hardly ever missed a trick, even when shooting wall art comprising overlapping primary colors in mixed natural and artificial lighting: quite possibly a condition that cameras have nightmares about. The A7 V handled the situation beautifully. I could wax lyrical here for three more paragraphs, but I’ll summarize with this: if the camera could cope this well under these conditions, it could cope anywhere.

Images captured in London with the Sony A7 V

Dynamic range might not quite manage 16-stops in every image, but matches lower resolution cameras from competing brands (Image credit: Future/ Peter Fenech)

I don’t always believe rumors, but in this case the suggestion that Composite RAW capability was to be included on the A7 V has turned out to be true. Previously seen on the Sony A9 III, this mode captures a sequence of RAW files that are then combined to produce a higher-resolution file with reduced noise. It works nicely and does what it says on the tin – if you shoot landscapes or in the studio, this is a great feature for squeezing every oodle of quality out of the sensor.

Of course, it works less well with moving subjects, even when shooting at a high frame rate, so I chose not to use it for street photography. If you can support the camera, it would also be beneficial for capturing poorly-lit interiors at higher sensitivities.

Even without Composite RAW active, the signal-to-noise ratio will put a smile on your face. I spent most of my shoot at ISO 6400 and above, and the camera delivered a commendable balance of sharpness and grain. I wasn’t blown away by the in-camera treatment of JPGs though, and as low as ISO 800, there was smudging of detail through quite aggressive noise reduction. Weirdly, this didn’t seem to get much worse up to ISO 3200.

Image 1 of 2

Images captured in London with the Sony A7 V

(Image credit: Future/ Peter Fenech)
Image 2 of 2

Images captured in London with the Sony A7 V

(Image credit: Future/ Peter Fenech)

Further proof that the dynamic range is noteworthy is highlight retention at the extended low ISO settings. At ISO 50, which is essentially an overexposed image with the exposure digitally reduced, there was still data present at the right side of the histogram.

One of my favorite features of the A7 V is the IBIS system. Compensating for up to 7.5EV of shake in the center of the frame and 6.5EV at the edges, up from 5.5-stops on the A7 IV, the stabilisation enables hand-held shots at ridiculously slow shutter speeds. I was able to capture usable images at exposures of around one second – unthinkable just a few years ago. This enabled me to capture the movement of objects within the frame while rendering static areas sharp. It’s one of my go-to street and urban photography techniques.

It doesn’t quite match the 8-stop hybrid IBIS-lens-based system seen in the Canon EOS R5 Mark II, Canon EOS R3, and Canon EOS R7 on paper, but it performs exceptionally well.

Image 1 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 2 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 3 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 4 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 5 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
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Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 7 of 7

Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
  • Image quality score: 4.5/5

Sony A7 V: testing scorecard

Sony A7 V

Attributes

Notes

Rating

Price

The A7 V is another example of how pro features are becoming increasingly more affordable. It's not cheap, but you get a hell of a lot of camera for the money

4.5/5

Design

There are no surprises from Sony. You might call the similarities with other Alpha cameras unimaginative but why fix what isn't broken?

4.5/5

Performance

The IBIS is superb, allowing hand-held long exposures, while AF is responsive, customizable, and accurate.

5/5

Image quality

Low-light quality is superb, as is auto White Balance. Jpeg processing is heavy-handed, but overall, the camera sets a new standard for enthusiast products.

4.5/5

Should I buy the Sony A7 V?

Buy it if...

You want an affordable full-frame camera

It might not be the cheapest camera with a full-frame sensor on the market, but you get a lot of camera for your buck. The A7 V has everything an enthusiast photographer could hope for or need.View Deal

You shoot both stills and video

Like the A7 IV before it, the new camera delivers exceptional video features too, with 4K resolution, 60fps without a crop, and S-Log available for high-end grading.View Deal

Don't buy it if...

You are a beginner

There is a lot of camera here. Novices are unlikely to get the most from all of the features available, and the mammoth toolset might even be off-putting. View Deal

You just bought an A7 IV

Let's be clear, the A7 V is a significant upgrade to its predecessor, but with a similar resolution, equal sensor size, and advanced features, the A7 IV is a great camera on its own merits. I wouldn't suggest there's enough difference between the two for an upgrade just yet.View Deal

Also consider

Canon EOS R6 Mark II

The EOS R6 Mark III builds on the 24MP Canon EOS R6 Mark II with improved resolution that matches the A7 V, now 33MP. Sony and Canon take different priorities; the A7 V has the partially stacked sensor and video recording up to 4K 60p, while the EOS R6 Mark III's sensor isn't stacked at all, but there's open gate 7K video recording. Both feature incredibly powerful IBIS and autofocus performance. This is a close call. Note, at the time of writing we're still working on our EOS R6 Mark III review.

Nikon Z6 III

Nikon's all-rounder, the Z6 III also features a partially stacked sensor, but with a resolution of just 24MP. That said, video recording is up to 6K 60p, and the Z6 III is blazing fast, also being supported by powerful in-body image stabilization. Launched in July 2024, it has come down in price and can be had for much less than the A7 V.

Read our in-depth Nikon Z6 III review

How I tested the Sony A7 V

  • I tested a full production model
  • The A7 V body was accompanied by the FE 20-50mm f/2.8 G and FE 70-200mm f/4 Macro G OSS II
  • Images were taken in a range of lighting conditions, using each ISO setting so noise levels could be compared throughout the range

I always like to push a camera to the edges of its capabilities and, to that end, I shot using the extremes of the ISO range. In bright light, I set the camera to the extended low ISO of 50, and then explored several low-light locations to test the camera all the way up to the expanded high setting of 204,800. I left the White Balance set to auto throughout the review to see how the camera responded to different lighting conditions. I also shot in RAW+JPG mode, so I had unprocessed files and compressed images for the sake of comparison.

  • First reviewed December 2025
I tested the new Sony A7 V, and now it’s my favorite Sony camera ever
5:01 pm |
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: , , , | Comments: Off

Sony A7 V: two-minute review

Some photographers, possibly even those working at Sony, see the A7 range of mirrorless cameras as the firm’s entry-level full-frame models. On paper alone, this may seem a reasonable suggestion when comparing the specifications to the most premium models. However, the Sony A7 IV, launched in October 2021, carries a 33-megapixel 36x24mm sensor, ISO50-204,800 sensitivity range, 5.5EV in-body image stabilization system, and a top continuous shooting rate of 10 frames per second. It’s by no means a slouch and this is all available for under $2500, so while it might be one of Sony’s more affordable E-mount bodies, it has been able to give pro-spec cameras a run for their money for several years.

On the face of it, the A7 V seems more of an iterative upgrade to its predecessor, rather than a revolution. However, once you dig deeper, there is a lot of exciting new technology to explore. Debuting the new partially-stacked sensor and new Bionz XR 2 processing engine, this camera represents a significant step forward for photography enthusiasts and semi-professionals. It’s more responsive than the A7 IV, both in focusing reaction time and accuracy, and delivers superior performance from the ground up.

Images are sharply detailed, and noise is well-controlled, especially for a model equipped with a 33MP resolution. It certainly matches or outperforms the current generation of competing cameras, such as the Canon EOS R6 Mark II or Panasonic Lumix S5 II, although I’ll be interested to see how low-light capabilities compare to the likes of the Canon EOS R6 Mark III when it inevitably comes to market, which is likely not too far in the future.

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

If you’ve used other Sony Alpha cameras, you’ll fall right into step with the A7 V. Some might call Sony’s conservative approach to design unimaginative, but it means that you can allow muscle memory to play its part on shoots where speed matters most. A few useful practical refinements notwithstanding, the A7 V is very similar to models that came before it, and on picking it up, you get a feeling of coming home, a comforting sensation when other stressful elements of a photoshoot come into play.

These days, I’m more likely to be blown away by enthusiast-level products than flagships, which rarely offer many surprises, as pro technology trickles down the rankings to more affordable offerings. The niche this camera inhabits has the potential to provide unbeatable value to the greatest range of photographers, and happily, the A7 V fulfills this promise. It’s an impressive upgrade to an already outstanding camera, serving up great responsiveness, useful features and exceptional image quality. I still wouldn’t call it revolutionary, and there are some quirks that I’d like to see refined, but if you’re an aspiring wildlife, event, or travel photographer, I’m confident you’ll fall in love with it, and that it will trouble TechRadar's best cameras and best mirrorless camera guides.

Sony A7 V specs

Sony A7 V Specs:

Type:

Mirrorless camera

Sensor:

Full-frame (36x24mm) semi-stacked CMOS

LCD:

3.2-inch, multi-articulated, 2.095m dots

Memory:

2x SDXC, 1x CFexpress Type A

Resolution:

33-megapixels

Video:

Up to 4K60p (4K120p in 1.5x crop mode)

ISO range:

ISO 50-204,800

Mechanical Shutter speeds:

30-1/8000sec

Electronic Shutter speeds:

30-1/16000sec

Viewfinder:

3.686m dot, OLED EVF, 0.78x

Processor:

Bionz XR 2

Connectivity:

AX WiFi (WiFi 6), Bluetooth, 2x USB-C, audio

Weight:

659g

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

Sony A7 V: Price and availability

  • Released December 2, 2025
  • Body only price of $2,899 / £2,799 (Australia TBC)
  • Kit options will be available, including with a new FE 28-70mm F3.5-5.6 OSS II

The Sony A7 V launched worldwide on December 2, 2025 priced $2,899 / £2,799 (body only, Australia TBC), alongside a new FE 28-70mm F3.5-5.6 OSS II kit lens. The lens costs $449.99 / £429 separately (Australia TBC) and will be available separately from February 2026.

Ahead of then, the FE 28-70mm F3.5-5.6 OSS II kit lens can be purchased as a kit with the A7 V for $3,099 (UK / Australia TBC). There will be other kits available, TBC.

This pricing is right on par with the Canon EOS R6 Mark III (and just $100 / £100 more than the Nikon Z6 III was at launch, but which is now available for much less).

  • Price score: 4.5/5

Sony A7 V: Design

  • Larger 3.2-inch rear LCD
  • Versatile multi-pivot articulated monitor
  • Hybrid memory card slot

Externally, I’d be very impressed if anyone could distinguish the A7 V from the A7 IV on looks alone. Apart from the name, discreetly emblazoned on the top plate, just to the left of the viewfinder, there isn’t much else to identify the latest iteration. However, a closer inspection reveals a redesigned handgrip. It’s very slight, with a tiny shift to the angle of the shutter button to account for the modest increase in weight from the Mark IV, but it makes a natural refinement to the ergonomics of the camera.

In terms of handling, the A7 V is supremely comfortable to hold, perhaps more so than most other Alpha bodies in the range. Logically, I know there is significant continuity between models, but something about the A7 V felt more balanced to me. I’ve always found Sony cameras to be too boxy for my tastes, especially when shooting for longer periods and when using larger lenses. The A7 V is unmistakably a Sony product, but it just fit my hands a lot better than I remember the A7 IV doing.

Shooting all day around London with the FE 24-50mm f/2.8 G lens, the setup was perfectly balanced, the center of gravity seemingly right where the optics meet the lens mount. This made shooting one-handed a breeze, even when holding the camera at arm's length over my head to shoot a street performer over the heads of a large crowd.

I appreciated that the playback and delete buttons are located on the same side of the camera body and immediately adjacent to each other on the back plate. This is a personal preference, of course, but I find this makes quickly making in-the-field quality control decisions quicker, rather than having to work two-handed and hunting for a control on the opposite side of the body to preview and delete obviously blurry shots.

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

Another excellent feature that seems unique to Sony cameras is dual-function card slots that fit both SD and CFexpress. As someone with more high-performance SD cards than I’d like to think about, I love this. Although I am gradually filling out my stock of CFexpress, I still like to have the choice, and a camera that supports both, while still allowing dual card functionality with either format is hugely thoughtful.

With a Canon EOS R5 Mark II, for example, you need to take a supply of both card types if you want the benefits of in-the-field backups, while the Canon EOS R6 Mark II requires two SD cards only, delaying investment in CFexpress until a future upgrade (which will no doubt be an expensive ordeal). On Sony cameras, there are no such compromises.

Image 1 of 2

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)
Image 2 of 2

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

It’s a shame the A7 V only has one of the two slots capable of accepting CFexpress Type A, but perhaps this is what you pay the extra money for when buying a camera like the Sony A7R V.

Another excellent design flourish is the extra control wheel above the Auto Exposure Lock button, which by default is set up to adjust exposure compensation in P, A or S modes. I enjoy not having to hold down another button to change this, and the additional dial allows you to amend the aperture and image brightness with single controls each. Naturally, each dial can be reassigned a custom function from within the A7 V’s Operation Customize menu, found under Setup.

The Sony A7 V camera

(Image credit: Future/ Peter Fenech)

The build quality is of an exceptionally high standard. I didn’t have the opportunity to test the camera’s weather resistance – unusual for a British reviewer in November – but nevertheless, there are no obvious compromises in the integrity of the construction. Apart from the hollow battery and memory card bays, no other part of the body reverberates excessively when tapped, giving the sensation of it being milled from a single piece of metal.

All of the dials are beautifully knurled and easy to twist, but with enough resistance that it isn’t too easy to nudge them by accident.

We also can’t talk about the design of the camera without mentioning the versatile dual-hinged main LCD. Sony has gone back and forth with its approach to screen articulation over the years, and as far back as the A99 II DSLR camera, the multi-point design has allowed the user to both tilt and swivel the LCD. Some photographers prefer the vertical tilt format, while others like myself appreciate a full swivel function.

Users of the A7 V don’t have to choose – unlike with the A7 IV which is single-axis vari-angle only – which I found useful when shooting ground-level street photos of graffiti artists under Waterloo Station. It’s a clever strategy also found in recent Lumix cameras, and which I’d like to see more brands adopting.

  • Design score:4.5/5

Sony A7 V: Performance

  • New Bionz XR 2 processor
  • No dedicated AI autofocus processing engine
  • Long 750-shot battery life

Speaking of LCD screens, the model featured on the A7 V is both larger and more detailed than its predecessor. It measures 3.2 inches, up from 3 inches on the A7 IV, while resolution has doubled the 1,036,800 dots previously available. I found it to be very crisp, and colors look natural. This is a attribute of camera screens that isn’t talked about enough. Monitors might be super contrasty and saturated as standard, but this won’t always give the most useful preview of the images about to be captured.

The touch sensitivity is just right, and I found it to be more responsive than both the Mark IV and the A7R V, demonstrating the difference that three years can make. It’s not that those cameras were particularly unresponsive, but this latest monitor gave me no sense that it was standing between me and the settings I wanted to access.

I especially liked the reaction time for touch focus; with a single tap the camera activates the AF and immediately snaps to the object selected. I don’t always use touch focus features, but combined with the versatile LCD pivot points, I found myself using them frequently during my testing of the A7 V.

Autofocus itself is smooth and super-fast. Built around a new system of 759 Phase Detection AF points that cover 90% of the frame, the A7 V can focus in lighting as low as -4EV. Although the camera did slow down as ambient lighting dropped, with the rate of focus hunting increasing, it still did a sterling job of finding and tracking the subject. It’s also incredibly precise.

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Image captured with the Sony A7 V Mirrorless camera in London

Changing the AF subject recognition mode to Animals, the A7 V could easily keep track of this squirrel's eye (Image credit: Future/ Peter Fenech)
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Image captured with the Sony A7 V Mirrorless camera in London

(Image credit: Future/ Peter Fenech)
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Image captured with the Sony A7 V Mirrorless camera in London

(Image credit: Future/ Peter Fenech)

Interestingly, the A7 V doesn’t feature a dedicated AI processor, as found on the Sony A1 II. This might surprise many industry observers, in an age where AI is king and excluding such features might seem a retrograde step. However, the new Bionz XR 2 moves all AF computations on-chip, instead of dividing the workload between two units.

Sony says the up-specced processor brings the same benefits of a separate AI engine, namely better AF target recognition, but with the added advantage of reduced heat emissions, superior speed, and improved battery life. After all, powering one chip is better than supplying two.

I didn’t have an A1 II body available to test the cameras side-by-side, but rarely did the A7 V struggle to locate my subject. There are plenty of options to customize subject recognition, and the camera coped well with human figures, cars, and airplanes, in the chaos of Central London and at Heathrow Airport.

Also new to the A7 V are the options to change AF responsiveness and to select an extra small or large AF point. While I didn’t find much need to alter these settings during my test, I could see where this might be of huge benefit. Turning down AF responsiveness if it’s likely that other objects will pass between the camera and the subject, like when shooting across a busy road or players on a football field, will help keep the focus sticky on your subject.

I can also vouch for the stated 750-shot battery capacity. After 300 frames, in the relative chill of a winter afternoon, I still had 75% charge, and by 650 shots, this sat around the 40% mark. This excellent, rival-beating performance included shooting both long still exposures and video.

In terms of shooting speed, the A7 V is one quick camera in operation. Startup is near instantaneous, and exposure assessment is now done at twice the number of calculations per second compared to the A7 IV.

Using the electronic shutter, it’s now possible to capture images at up to 30fps, up from 10fps on the previous camera. Pre-capture is also possible up to a user-selectable 30fps, meaning the camera is always ready and able to cover the action in the briefest of moments. Without wanting to sound like an advert for Sony (remember, this review is completely independent), there were times when I felt I was having to keep up with the camera. This isn’t something I encounter often, and it kept me on my toes.

It’s a very minor point, but I found the shutter release to be just a little too sensitive for my liking. There were a few occasions when I was simply trying out a composition and accidentally fired off a burst of shots – a bit of a laborious situation when the camera makes 30 frames every second! I’d definitely recommend re-assigning focussing to the AF-ON button to work around this.

  • Performance score: 5/5

Sony A7 V: Image quality

  • Excellent Dynamic Range
  • Superior high-ISO performance
  • Ultra-effective IBIS system

One of the headline features of the A7 V that is certain to get people talking is the new semi-stacked sensor. This CMOS design has developed somewhat of a bad rep because of its deployment in other cameras with limited success, such as the Nikon Z6 III. There is a risk of significant trade-offs in dynamic range for the additional readout speed a semi-stacked (or partially-stacked) sensor provides. Sony is confident enough, however, to claim a DR of up to 16-stops with the A7 V – that's an additional stop versus the A7 IV – so I couldn’t wait to see how the camera performed in the real world.

I’m not entirely convinced by the 16EV claim, as there were times when there was less highlight texture than I had anticipated, and clipped shadows where I hadn’t expected. However, the results were still impressive. In the majority of shots, there was recoverable detail across the range. From memory alone (and not having yet taken the A7 V into the lab for testing, that’s all I have to work on), I would place the dynamic range on an even footing with models like the 24MP Canon EOS R6 Mark II and Nikon Z6 III. Clearly, Sony deserves some applause for this, as it’s a clear indicator that the A7 V is a next-gen competitor.

Now let’s talk about color. Traditionally, this hasn’t been my favorite aspect of Sony cameras. I’ve always felt that, compared to Canon and Fujifilm models, Sony color science was a bit sterile. Accurate, maybe, but lacking warmth and ‘flavor’. These traits are present in the A7 V, as is to be expected, but I noticed colors seemed more organic than I’ve seen from its stablemates.

The auto White Balance system hardly ever missed a trick, even when shooting wall art comprising overlapping primary colors in mixed natural and artificial lighting: quite possibly a condition that cameras have nightmares about. The A7 V handled the situation beautifully. I could wax lyrical here for three more paragraphs, but I’ll summarize with this: if the camera could cope this well under these conditions, it could cope anywhere.

Images captured in London with the Sony A7 V

Dynamic range might not quite manage 16-stops in every image, but matches lower resolution cameras from competing brands (Image credit: Future/ Peter Fenech)

I don’t always believe rumors, but in this case the suggestion that Composite RAW capability was to be included on the A7 V has turned out to be true. Previously seen on the Sony A9 III, this mode captures a sequence of RAW files that are then combined to produce a higher-resolution file with reduced noise. It works nicely and does what it says on the tin – if you shoot landscapes or in the studio, this is a great feature for squeezing every oodle of quality out of the sensor.

Of course, it works less well with moving subjects, even when shooting at a high frame rate, so I chose not to use it for street photography. If you can support the camera, it would also be beneficial for capturing poorly-lit interiors at higher sensitivities.

Even without Composite RAW active, the signal-to-noise ratio will put a smile on your face. I spent most of my shoot at ISO 6400 and above, and the camera delivered a commendable balance of sharpness and grain. I wasn’t blown away by the in-camera treatment of JPGs though, and as low as ISO 800, there was smudging of detail through quite aggressive noise reduction. Weirdly, this didn’t seem to get much worse up to ISO 3200.

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Images captured in London with the Sony A7 V

(Image credit: Future/ Peter Fenech)
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Images captured in London with the Sony A7 V

(Image credit: Future/ Peter Fenech)

Further proof that the dynamic range is noteworthy is highlight retention at the extended low ISO settings. At ISO 50, which is essentially an overexposed image with the exposure digitally reduced, there was still data present at the right side of the histogram.

One of my favorite features of the A7 V is the IBIS system. Compensating for up to 7.5EV of shake in the center of the frame and 6.5EV at the edges, up from 5.5-stops on the A7 IV, the stabilisation enables hand-held shots at ridiculously slow shutter speeds. I was able to capture usable images at exposures of around one second – unthinkable just a few years ago. This enabled me to capture the movement of objects within the frame while rendering static areas sharp. It’s one of my go-to street and urban photography techniques.

It doesn’t quite match the 8-stop hybrid IBIS-lens-based system seen in the Canon EOS R5 Mark II, Canon EOS R3, and Canon EOS R7 on paper, but it performs exceptionally well.

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Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
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Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
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Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
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Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
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Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
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Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
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Images captured in London with the Sony A7 V camera

(Image credit: Future/ Peter Fenech)
  • Image quality score: 4.5/5

Sony A7 V: testing scorecard

Sony A7 V

Attributes

Notes

Rating

Price

The A7 V is another example of how pro features are becoming increasingly more affordable. It's not cheap, but you get a hell of a lot of camera for the money

4.5/5

Design

There are no surprises from Sony. You might call the similarities with other Alpha cameras unimaginative but why fix what isn't broken?

4.5/5

Performance

The IBIS is superb, allowing hand-held long exposures, while AF is responsive, customizable, and accurate.

5/5

Image quality

Low-light quality is superb, as is auto White Balance. Jpeg processing is heavy-handed, but overall, the camera sets a new standard for enthusiast products.

4.5/5

Should I buy the Sony A7 V?

Buy it if...

You want an affordable full-frame camera

It might not be the cheapest camera with a full-frame sensor on the market, but you get a lot of camera for your buck. The A7 V has everything an enthusiast photographer could hope for or need.View Deal

You shoot both stills and video

Like the A7 IV before it, the new camera delivers exceptional video features too, with 4K resolution, 60fps without a crop, and S-Log available for high-end grading.View Deal

Don't buy it if...

You are a beginner

There is a lot of camera here. Novices are unlikely to get the most from all of the features available, and the mammoth toolset might even be off-putting. View Deal

You just bought an A7 IV

Let's be clear, the A7 V is a significant upgrade to its predecessor, but with a similar resolution, equal sensor size, and advanced features, the A7 IV is a great camera on its own merits. I wouldn't suggest there's enough difference between the two for an upgrade just yet.View Deal

Also consider

Canon EOS R6 Mark II

The EOS R6 Mark III builds on the 24MP Canon EOS R6 Mark II with improved resolution that matches the A7 V, now 33MP. Sony and Canon take different priorities; the A7 V has the partially stacked sensor and video recording up to 4K 60p, while the EOS R6 Mark III's sensor isn't stacked at all, but there's open gate 7K video recording. Both feature incredibly powerful IBIS and autofocus performance. This is a close call. Note, at the time of writing we're still working on our EOS R6 Mark III review.

Nikon Z6 III

Nikon's all-rounder, the Z6 III also features a partially stacked sensor, but with a resolution of just 24MP. That said, video recording is up to 6K 60p, and the Z6 III is blazing fast, also being supported by powerful in-body image stabilization. Launched in July 2024, it has come down in price and can be had for much less than the A7 V.

Read our in-depth Nikon Z6 III review

How I tested the Sony A7 V

  • I tested a full production model
  • The A7 V body was accompanied by the FE 20-50mm f/2.8 G and FE 70-200mm f/4 Macro G OSS II
  • Images were taken in a range of lighting conditions, using each ISO setting so noise levels could be compared throughout the range

I always like to push a camera to the edges of its capabilities and, to that end, I shot using the extremes of the ISO range. In bright light, I set the camera to the extended low ISO of 50, and then explored several low-light locations to test the camera all the way up to the expanded high setting of 204,800. I left the White Balance set to auto throughout the review to see how the camera responded to different lighting conditions. I also shot in RAW+JPG mode, so I had unprocessed files and compressed images for the sake of comparison.

  • First reviewed December 2025
I tested the DJI Osmo Action 6, and it’s faster, brighter, and hot on GoPro’s heels
3:00 pm | November 18, 2025
Author: admin | Category: Action Cameras Cameras Computers Gadgets | Tags: , , | Comments: Off

DJI Osmo Action 6: two-minute review

When you think of action cameras, GoPro will likely spring to mind before DJI. While it wasn’t a complete surprise that the latter company, best known for its drones, made the move into the action cam market, it's had to do a lot of work over the past few years to catch up, and offer something that stands out from the competition.

The GoPro Hero 13 Black is arguably the action camera all others will currently be judged against, so DJI’s latest model in the Osmo series, the Osmo Action 6, has a lot to prove. That said, the quality of its predecessors, most notably the Osmo Action 5 Pro, has been hard to ignore, and based on my experience with that camera I had great expectations going into this review.

Fresh from reviewing the entry-level GoPro Lit Hero and Insta360 X4 Air, I was immediately impressed by the Osmo Action 6’s user-friendliness; the menus are easy to navigate, and the screens are a breeze to work with. Images and video also look amazing on these high-quality monitors, so reviewing the fruits of my shooting sessions was a pleasure.

Image quality is superb, benefiting from a larger 1/1.1-inch sensor, which produces excellent detail and color rendition in good lighting and stand-out noise performance as ambient light levels fall. I’d happily use the Osmo Action 6 as my main carry-everywhere camera, or as a backup to a mirrorless system for capturing unique perspectives from places those larger cameras simply can’t go.

The DJI Osmo Action 6 action camera

The DJI Osmo Action 6 is a similar size to earlier models, despite featuring a larger sensor inside (Image credit: Future/Peter Fenech)

I thoroughly enjoyed using the additional accessories, such as the Macro Lens, ND Filter Set, and FOV Boost Lens, which make the whole system feel pro-grade and versatile. If you're a fan of the GoPro mods, you’ll be happy to see DJI making efforts to expand the modular compatibility of its action cameras. Once you add in the streamlined compatibility with the wireless DJI microphones, I see the Osmo Action 6 as an indicator of great things to come.

DJI Osmo Action 6 specs

DJI Osmo Action 6 Specs:

Type:

Action camera

Sensor:

1/1.1-inch CMOS

LCDs:

OLED, Front: 1.46-inch/ Rear: 2.5-inch

Memory:

50GB internal/ MicroSD

Lens:

155-degree FOV, f/2 - f/4

Video:

Up to 4K/120p, FHD/240p

Photo:

38MP

Dimensions:

72.8 x 47.2 x 33.1mm

Weight:

5.3oz / 149g

The DJI Osmo Action 6 action camera

(Image credit: Future/Peter Fenech)

DJI Osmo Action 6: Price and availability

  • Released November 18; not available in US at launch
  • Osmo Action 6 Standard Combo costs £329 / AU$669
  • Osmo Action 6 Adventure Combo costs for £415 / AU$839

DJI's Osmo Action 6 is available now, priced at £329 / AU$669 for the Standard Combo, while the prices rises to £415 / AU$839 for the Adventure Combo which adds two batteries, an extra quick-release mount and locking screw, battery case and 1.5m extension rod to the standard bundle.

Like recent DJI products, it's not available in the US at launch. A DJI spokesperson gave us the following statement:

"The DJI Osmo Action 6 will not be officially available in the US market through official websites following the global launch on 18th November. DJI remains committed to the U.S. market and is optimizing our strategy to best serve our customers amidst evolving local conditions."

  • Price score: 4.5/5

DJI Osmo Action 6: Design

  • Larger 2.5-inch rear LCD
  • IP68-rated weather and waterproofing
  • Waterproof to 20m

If you’ve used the Osmo Action 6’s predecessors, such as the DJI Osmo Action 3 DJI Osmo Action 4, or DJI Osmo Action 5 Pro, there aren’t any drastic surprises in store for you design-wise. The body is a little bit larger, most notably in its width, measuring 72.8 x 47.2 x 33.1mm to the Osmo Action 5 Pro’s 70.5 x 44.2 x 32.8mm. It might be noticeable if you hold both cameras side-by-side, but in real-world terms it won’t make a huge difference to the handling experience.

The Osmo Action 6 remains super portable and lightweight, despite the inclusion of a larger sensor, which is impressive. As you’d expect from an action camera, it can be fitted into a coat pocket for easy transport or use on the move. However, fresh from testing the tiny GoPro Lit Hero, the Osmo Action 6 did feel quite chunky by comparison. This is a much higher-end product, however, featuring a larger CMOS unit, a lens aperture that's both adjustable and brighter, and a front LCD, all of which are missing from the entry-level GoPro.

I was immediately drawn to the 2.5-inch main LCD screen, which feels much bigger in use than the rival GoPro Hero 13 Black’s 2.27-inch monitor. Although this is still too small to get a truely precise idea of sharpness, it’s much nicer to look at than the screens on earlier models, and matches those on cameras like the Insta360 Ace Pro 2, which we ranked as the best premium action camera.

The DJI Osmo Action 6 action camera

The Osmo Action 6 features a new variable-aperture lens for low light shooting, an industry first (Image credit: Future/Peter Fenech)

The screen itself was highly responsive in my tests, and I found it easy to access settings and navigate menus, even when the camera was wet or covered in a dusting of ground coffee (see the sample video below for context). I reckon I’d find it more practical to work with the Osmo Action 6 in cold weather than the native-portrait-orientation Insta360 X5 or Insta360 X4 Air.

Both the front and rear LCDs are crisp and easy to read in brighter light too. While smaller and lower-resolution, the front screen (1.46-inch, 342 x 342 pixels) is still useful, and doesn’t feel like an extra gimmicky feature that DJI threw in but which is ultimately pointless. I remember feeling that the front LCD on the GoPro Hero 9 Black was so laggy that there were times it was barely worth being there, for example.

The large shutter release is easy to locate without looking, speeding up operation. Also, I like DJI’s choice to place the microSD card slot in the battery bay, rather than alongside the USB-C port, something which proved fiddly and frustrating on the GoPro Lit Hero. I always appreciate integrated storage in a camera too, of which the Osmo Action 6 provides plenty at 50GB.

  • Design score:4.5/5

DJI Osmo Action 6: Performance

  • Impressive four-hour battery life
  • Effective RockSteady 3 and 3+ stabilization with reduced cropping
  • Excellent connectivity with external DJI mics

DJI claims a battery life of 240 minutes for the Osmo Action 6, similar to the Action 5 Pro. Shooting inside and out, I found that a single charge lasted about four hours using a mix of 1080p and 4K resolutions, across the various modes. This is impressive, although as the temperature dropped, so too did the battery life, so if you plan to work away from a power source for any length of time I’d still advise taking a few extra batteries.

The RockSteady image stabilization system also has an impact on battery longevity, although in my tests, this wasn’t anything major. The system itself is effective. While not a replacement for a gimbal, I found I could create commendable tracking shots free from micro vibrations. The same was true with POV walking shots.

The Osmo Action 6 continued to perform well after being submerged in water, with the screen remaining responsive. Once it was removed from the water the lens quickly repelled remaining droplets, as did the body, making the camera easy to dry off.

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The DJI Osmo Action 6 action camera

(Image credit: Future/Peter Fenech)
Image 2 of 2

The DJI Osmo Action 6 action camera

(Image credit: Future/Peter Fenech)

The camera features voice control, which is either ideal or an irritation depending on the environment. When it worked, being able to give the Osmo Action 6 a voice command such as “start recording” helped free up my hands, while reducing the amount of footage I had to trim as I positioned the camera for my shots. On several occasions, it didn’t respond, or I didn’t realise it hadn’t stopped recording after a command at the end of the shot. If the microphone is obscured in any way, it produces mixed results.

Speaking of sound, I was surprised by the quality of the internal microphone. While an external mic like the DJI Mic Mini gives you more versatility, as well as depth of audio, the built-in mic didn’t have the thin sound common to similar mics on other small cameras.

If you own the Mic Mini or DJI Mic 2, connecting them to the Osmo Action 6 couldn’t be easier. Simply pressing and holding the link button on the mics themselves until the indicator light flashes blue is all it takes to get audio recording off-camera, giving video that extra professional edge.

  • Performance score: 4.5/5

DJI Osmo Action 6: Image quality

  • Larger sensor enables better low-light performance than Osmo Action 5 Pro
  • 10-bit and D-Log M modes enable pro-level grading
  • Slightly aggressive default in-camera noise reduction/sharpening

Along with smartphones, I think that action cameras best demonstrate how far sensor and processor technology have come over the past decade or so. By mirrorless camera standards, the 1/1.1-type sensor housed in the Osmo Action 6 is small, at around 14mm on the diagonal, yet in my testing it produced better results than a high-end compact camera from circa 2014.

The Osmo Action 6 sees a big jump in sensor size from the 1/1.3-type CMOS of the Action 5 Pro, but uses a similar resolution of 38MP for still images.. This allows for greater pixel pitch (the distance from the center of one pixel to its neighbors), which benefits light-gathering capacity; the pixel size is 2.4 micrometers. An image measuring 7168 x 5376 is still quite a lot of pixels for this sensor format, but while I wasn’t amazed by the camera’s low-light performance, nor did I find it especially problematic.

Detail in stills becomes a little smudged from around ISO 800 and above, shooting in gloomy indoor lighting, but outdoors, or in direct artificial light, noise levels are kept at respectable levels for an action camera. Colors are also still quite punchy.

Video footage, meanwhile, is excellent in moderate low light. There is noise visible, but the grain size looks very fine, meaning it’s easier to ignore in areas of the image containing flat tones. I thought in-camera processing coped well, minimizing noise without obliterating texture.

A woodland scene captured on the DJI Osmo Action 6 camera

The auto White Balance system is fairly accurate, even when faced with strong fall colors (Image credit: Future)

I did notice that some quite excessive sharpening is applied in some circumstances, no doubt to counteract any noise-reduction related degradation. It isn’t a deal-breaker, but you might want to turn down the default sharpening (known as Texture in the Image Adjustment menu) for a more organic look.

The SuperNight mode is designed to produce a brighter image in low-light conditions by increasing the exposure digitally, then applying AI noise-reduction processes to minimize grain. This produces footage with significantly less texture, so I wouldn’t recommend it if your video is likely to be viewed on a larger screen, where this effect will be far more noticeable. In everyday shooting scenarios, or for social media, however, it captures brighter shadows, so it's useful for shooting around cities. There's a lot less distracting noise, too.

I enjoyed using the Slow Motion mode as a means of capturing share-ready footage in-camera; however, for professional uses, I’d recommend switching to a higher frame rate, shooting your footage, and manually applying the Slow Mo effect in editing.

I really appreciated the Color Recovery feature when shooting in D-Log M, which allows you to preview how the footage would look with a profile applied. This doesn’t bake in any edit settings, but merely gives you an idea of the final image after grading.

All of the shooting conditions mentioned above would be challenging for any camera, and once you take the DJI Osmo Action 6 out into bright daylight, the quality is superb. Combined with the flexibility of the Log mode, it’s possible to capture excellent levels of detail and natural colors.

GoPro Hero 13 Black users might bemoan the ‘limited’ 4K resolution here, in favor of the 5.3K available on that model, but 4K is fine in all but the most specific of situations. I still shoot in Full HD as standard when creating content for social platforms, unless I know that for some reason I’ll need to crop or recompose my frame in DaVinci Resolve. The workflow is faster, and viewers are unlikely to perceive a difference in Instagram Reels or YouTube Shorts, for instance.

  • Image quality score: 4.5/5

DJI Osmo Action 6: testing scorecard

Insta360 X4 Air

Attributes

Notes

Rating

Price

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

4.5/5

Design

Everything is logically placed and the controls are easy to access. It's a proven design that continues to work well for DJI.

4.5/5

Performance

The LCDs are responsive and attractive, while the RockSteady stabilization system is highly effective.

4.5/5

Image quality

Yes, there may be no 8K, but 4K and FHD footage is sharp, clean, and punchy. The larger sensor is doing its job, and the Osmo Action 6 is a great competitor to the GoPro Hero 13 Black.

4.5/5

Should I buy the DJI Osmo Action 6?

Buy it if...

You aren't married to GoPro

While it makes sense to stick to GoPro if you already own plenty of mods, the Osmo Action 6 represents the direction DJI is heading with its action cameras, and there's plenty to like. View Deal

You want high-end imagery

There are a lot of features and functions to play with, so a pro user will find something for every shooting occasion. Make the most of the low-light performance and slo-mo functions for advanced projects.View Deal

Don't buy it if...

You want a simple camera

The camera is designed for experienced videographers, so all of those features and functions might prove to be intimidating if you haven't used them before. There might be too much here if you want a point-and-shoot model.View Deal

You have lots of GoPro accessories

DJI is hoping to build its own follower base, so it you already own and frequently use GoPro mods, across an advanced system, you might not want to start from scratch with an incompatible camera. There are currently fewer accessories in the DJI ecosystem too, which is worth bearing in mind if you need something specific.View Deal

Also consider

Insta360 X5

The top-of-the-range model in the Insta360 family, the X5 is larger but more powerful. It enables recording up to 5.7K at 60fps, and features dual 1/1.28-inch sensors with larger pixels and greater light-gathering capacity. It also features the newer PureVideo mode that's missing on the X4 and X4 Air, providing superior performance under poor lighting. The build quality and control layout are familiar, but with the added benefit of a larger LCD. If you want to shoot 360-degree video as well as shooting in extreme conditions, this is the best option.

Read our in-depth Insta360 X5 review

GoPro Hero 13 Black

While it may have only been an iterative upgrade to its predecessor, the Hero 13 Black is built on an expansive system of accessories. You'll find a mod for every occasion, plus there's a higher-resolution 5.3K video option, while the Osmo Action 6 is limited to 4K. This is the enthusiast's go-to action camera.

Read our in-depth GoPro Hero 13 Blackreview

How I tested the DJI Osmo Action 6

  • I tested a full production model running release firmware over several days
  • I mounted the camera on the bundled 1.5-meter extension Rod or Dual-Direction Battery Handle
  • I recorded videos in varying lighting conditions, both indoors and outside

To ensure I was able to get a true sense of the Osmo Action 6's capabilities, I shot in a range of lighting conditions. My indoor tests involved a vlog-style shoot, testing the sensor's high-ISO performance and the camera's temperature and water resistance (I placed the camera in a freezer and poured cold water over it for a unique POV). I then took the camera out into the countryside, where I filmed close to and underwater. These shoots also gave me the opportunity to use the optional macro lens and FOV Boost lens. All audio was captured using the in-camera mic. Footage was edited in DaVinci Resolve 20.

  • First reviewed November 2025
The DJI Osmo Nano delivers all the pro features I actually need in an action camera, without the gimmicks
3:00 pm | September 23, 2025
Author: admin | Category: Action Cameras Cameras Computers Gadgets | Tags: , , , | Comments: Off

DJI Osmo Nano: two-minute review

The DJI Osmo Nano is the latest in the brand's line of action cameras. Rather than building on a predecessor it's a whole new concept in its own right, although it shares the same-sized 1/1.3-inch CMOS sensor as the DJI Osmo Action 5 Pro, which landed at the end of 2024.

The range of best action cameras is more diverse today than it was even just a few years ago. The one-block shops of design like the GoPro Hero 13 Black are still popular, for sensible reasons like ruggedness and extended battery times, but modular designs like the Osmo Nano and the new Insta360 Go Ultra are becoming more common.

Why? We don't just want to hold our action cams or use a fiddly mount to attach them to our bike handlebars anymore. The content creation universe is continuing to grow, and so is the number and variety of places where we need our cameras to go.

In a nutshell, the Osmo Nano is a light, wearable action camera. You can wear it around your neck, on your head, on a hat or helmet, plonk it on your car, bike, or even attach it to your dog. It's remarkably small, and at 52g it's a gram lighter than its main competitor, the Insta360 Go Ultra, released a month before it.

The product is modular in design and built as a two-piece system, with a tiny, standalone camera unit that pairs with the Multifunctional Vision Dock underneath. The dock acts as a remote, screen, and charging station, with a small but bright 1.9-inch display to help you compose shots and adjust settings.

The DJI Osmo Nano held by a female photographer in a pink top

(Image credit: Lauren Scott)

These two parts join together via two clips and a strong magnetic system, and it's this magnet that also allows the camera to snap onto DJI's various accessories, for a wide range of hands-free, wearable mounting options.

Although the camera is a fully IPX8-rated unit that's waterproof down to 10m, the dock is only IPX4-rated for splash resistance, which limits its use in heavy rain or near a body of water – a totally rugged design this is not.

Inside the camera is a 1/1.3-inch CMOS sensor, which captures a dynamic range of up to 13.5 stops according to DJI. I haven't done any calculations with my test images on this, but I did find great levels of detail and color in bright sky highlights as well as darker, shadowy areas like tunnels. I was genuinely impressed by the level of detail and tone the camera could capture, particularly for a sensor this small (in full-frame terms).

For me, DJI has always been a brand for what I'd call 'serious' creators, and that's something I'm pleased to see the brand has leaned into with the Osmo Nano. There aren't any 'fun' filters or gimmicks in the menus. Instead, the settings are pared back to sensible and helpful options; voice controls and gestures to start recording all work very well to make hands-free shooting that much easier.

A big draw for professionals is the color performance. I was surprised to discover that the Osmo Nano can record in 10-bit color with D-Log M and HLG profiles – a pro-level feature that gives you more leeway for color grading in post-production, if you want to edit manually rather than relying on the automatic outputs from the DJI Mimo app. In 10-bit, I found videos were punchy but still well-balanced.

Screenshots from the DJI Mimo app

(Image credit: Lauren Scott)

Performance-wise, the Osmo Nano delivers exceptionally well in some areas but underwhelms in others. The promise of rapid file transfer holds up, with the 128GB version clocking transfer speeds of up to 600MB/s over a USB 3.1 connection. This is a huge time-saver.

Battery life, however, is a clear limitation. While DJI claims up to 90 minutes from the camera and 200 minutes with the dock, I found that shooting at 4K/60fps got me closer to just 60 minutes of continuous recording. On the upside, the dock's ability to fast-charge the camera to 80% in about 20 minutes means you can be back to shooting in no time.

The RockSteady 3.0 and HorizonBalancing stabilization features work well for walking or light activity, and even when I tried recording star jumps and high-intensity workouts, the footage was stable in sports mode. Audio quality is good all-round too, and two built-in microphones capture immersive stereo sound, with decent but not brilliant wind reduction. Another plus for more advanced creators is the ability to pair the Nano with two mics separately, and you won't need receivers if they're from DJI.

While the image quality is good for a camera this small, it’s still bound by the limitations of its form factor. The fixed 143-degree ultra-wide field of view is great for first-person shots, but obviously lacks the versatility of a more zoomed-in lens. And while DJI's SuperNight mode for low-light shooting is better than ever, it's limited to 30fps and 8-bit color.

A female photographer wearing the DJI Osmo Nano on a headband

(Image credit: Lauren Scott)

The Osmo Nano is pricing is really aggressive, coming in much cheaper than the Insta360 Go Ultra and the GoPro Hero 13 Black – and that's with built-in storage too, meaning you can start shooting straight out of the box.

It's not necessarily the most charming camera I've tested, but it's thoroughly dependable and sensible, and for that reason I found it growing on me, while the low price sweetens the deal. The DJI Mimo app is less intuitive than Insta360's, and AI edits are a little less exciting, but it's smart and stable, and puts a clear live feed with access to settings at your fingertips on your smartphone.

DJI isn't marketing the Osmo Nano for family users, and it lacks some of the fun features of the Insta360 lineup, plus Toddler Titan mode for capturing kids. While charging is fairly speedy it doesn't charge as quickly as its main competitor, the Insta360 Go Ultra, either, but the camera does last longer.

If you need a fully rugged and all-in-one device for more extreme sports or environments, the GoPro Hero 13 Black or the DJI Action 5 Pro might be a better choice. But this is a well-thought-out, truly wearable action camera for creators who want to experiment with unique perspectives, and need a B-camera for places their main camera can't go, for a B-cam price.

The DJI Osmo Nano being worn on a pendant in front of a woman's shirt

(Image credit: Lauren Scott)

DJI Osmo Nano: specs

DJI Osmo Nano specs

Sensor

1/1.3-inch CMOS

Max Resolution

35MP (6880 x 5160) photos
4K, 60fps footage

Weight

Camera: 2.54oz / 53g Vision dock: 3.8oz / 72g

Dimensions

Camera: 57 x 29 x 28mm
Vision Dock: 59 x 42 x 22mm

ISO Range

100–25600

Lens

FOV: 143 degrees
Aperture: f/2.8
Focus: 0.35m to ∞

Operating Time

Camera: 90 mins*
Camera + Multifunctional Vision Dock: 200 mins*

Connectivity

Bluetooth, Wi-Fi, USB-C 3.1

Storage

64GB/128GB built-in
microSD card, up to 1TB

Waterproofing

Camera: 33ft (10m)
Vision Dock: IPX4-Rated

DJI Osmo Nano: Price and availability

  • Launched worldwide on September 23 2025, except US
  • Osmo Nano Standard Combo (64GB) costs £239 / AU$529
  • Osmo Nano Standard Combo (128GB) costs £259 / AU$589

The DJI Osmo Nano was announced on August 23, 2025, and is now shipping from DJI’s online store and authorized retailers, including Amazon. It won't be available officially in the United States at launch. A DJI Spokesperson told TechRadar that "DJI remains dedicated to the US market and is optimizing our strategy to best serve our customers amidst evolving local conditions."

There are two standard combos to choose between, broken down by the internal storage capacity: the Osmo Nano Standard Combo at 64GB (£239 / AU$529) or 128GB (£259 / AU$589).

Each combo comes with the same content, including the Osmo Nano Camera, Multifunctional Vision Dock, Magnetic Hat Clip, Magnetic Lanyard, a protective case, USB-C cable (USB 3.1), and a Dual-Direction Magnetic Ball-Joint Adapter Mount. The protective case is more just a plastic sheath rather than substantial padded protection.

That price puts it way below the Insta360 Go Ultra Standard Combo ($449.99 / £369 / AU$759), which is more impressive given that you get built-in storage too. It's also less than the GoPro Hero 13 Black (now available for around $359.99 / £315).

  • Price score 5/5
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A female photographer holding the DJI Osmo Nano action camera

(Image credit: Lauren Scott)
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A female photographer holding the DJI Osmo Nano action camera

(Image credit: Lauren Scott)
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A female photographer holding the DJI Osmo Nano action camera

(Image credit: Lauren Scott)
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A female photographer holding the DJI Osmo Nano action camera

(Image credit: Lauren Scott)

DJI Osmo Nano: Design

  • Standalone camera is waterproof, dock is splashproof
  • Magnetic base connects easily to mounts
  • The camera weighs 1.83oz / 52g

The DJI Osmo Nano camera is oblong-shaped, about half as wide as it is long. It sits comfortably between your thumb and forefinger in either portrait or landscape mode, but I didn't find it as pocketable as the Insta360 Go Ultra because of its extra depth.

Without the dock, the Osmo is a light, wearable action camera at just 52g. Adding the dock, by way of two secure mounting clips and a magnetic, adds another 72g and turns the camera into a more complete action companion. It's small, but I found the combo top-heavy on uneven surfaces, making low-level shots without a mount more difficult.

There's just one built-in OLED HD touchscreen on the dock, rather than a screen at the front and back, or a flippable design like the Insta360 Go Ultra. This means you have to detach and remount the camera every time you want to go from shooting your environment to talking to the camera (if you want to see yourself, that is). Unlike the Go Ultra, which simply plops back into place with strong magnets, flipping the Osmo Nano around is a bit fiddly.

The design is gray and plastic, which is familiar territory for both DJI and action cams in general. The body is subtly textured though, meaning it's easy to grab onto with cold, wet or sweaty hands. Ruggedness is key for an action camera, but only the wearable part of the Osmo Nano is waterproof. The camera is IPX8-rated for submersion up to 10 metres underwater.

The dock is only splash, rain and likely sweat resistant, and I wouldn't fancy its chances in a heavy rain shower. This is a shame, because it limits potential usage and introduces a little caution to creativity when shooting. It's also a far cry from DJI's Action 5 Pro, which is verified down to 20m / 65ft.

A female photographer holding the DJI Osmo Nano action camera

(Image credit: Lauren Scott)

While the dock isn't waterproof, you can use the whole product in temperatures of -20C to 45C (-4F to 113F), so you're good for everything from winter sports to desert treks. A lens cover screws over the main lens, so if you damage or scratch it a replacement costs a fraction of buying a whole new unit.

The Osmo Nano has just two physical controls: there's a big red record button on the top of the camera and another on one side of the dock. These also act as power switches, and they require some force to push down so that you're not likely to press them accidentally. That's it, other than a small flap that opens up on the other side of the dock to reveal the USB 3.1 port for charging and transferring files, plus the microSD slot, which takes up to a 1TB card.

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The LCD screen on the DJI Osmo Nano in the sunshine

(Image credit: Lauren Scott)
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The LCD screen on the DJI Osmo Nano in the sunshine

(Image credit: Lauren Scott)
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The LCD screen on the DJI Osmo Nano in the sunshine

(Image credit: Lauren Scott)

I didn't find the DJI Osmo Nano as enjoyable or easy to navigate as other action cameras I've tested. You swipe up to access video settings, down for the main menu, and left to change the shooting mode. To toggle Pro Mode on or off, you tap the slider icon on the right side of the screen.

It's not rocket science, but at 1.96 inches the small screen means you need to be extra precise with your touch gestures to bring up menus and dial in settings. My partner – who has bigger hands and fingers than I – sometimes had to tap the screen a few times to activate settings.

The menus are mainly black and white with yellow accents, and I found this less eye-catching than the GoPro or Insta360 ecosystems, although that may be more a matter of personal preference. Some settings are also overlaid on the live picture and can be difficult to read. The camera doesn't have the same detailed tutorials and guides that you get when you start using the Insta360 Go Ultra, although I'm sure DJI fans will have no trouble finding their way around.

  • Design score: 4/5
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A female photographer holding the DJI Osmo Nano action camera

(Image credit: Lauren Scott)

DJI Osmo Nano: Performance and features

  • Quick-edit videos on the DJI Osmo Mimo app
  • Standalone camera charges 80% in about 20 mins
  • In-built storage and takes microSD cards up to 2TB

The performance of the Osmo Nano is hard to pin down. In some areas I felt it delivered exceptionally well, but in others it was a bit underwhelming. The rapid file transfer ended up being surprisingly helpful, and in my tests with the 128GB version DJI's claim of up to 600 MB/s transfer speed over USB 3.1 holds up, and I found it a huge time-saver compared to sending lots of files wirelessly.

The camera's battery life is a limitation, though, particularly when shooting at higher resolutions like 4K/60fps. I got closer to 60 minutes of continuous recording here – rather than the 90 minutes that DJI claims at 1080p/24fps – which isn't bad for its size, but lags behind the multi-hour endurance of larger cameras like the Osmo Action 5 Pro. The dock can top up the battery on the go, and I was also impressed by its ability to charge to 80% in just 20 minutes, especially if you're as bad as I am at remembering to charge your gear before a shoot.

You then get up to 200 minutes of 1080p/24fps video from the dock, but in reality, I found this closer to two hours once the screen and Wi-Fi are on and you've powered the camera up and down a few times.

If you tend to record short clips throughout a longer day, it's nothing to worry about. If you're the type of shooter to record continuously, you may lament the fact that there aren't replaceable batteries to swap out when you run out of juice. I left the camera running for my battery tests during a particularly warm day, and although it felt hot to the touch during, it never overheated to the point of turning off.

The LCD screen on the DJI Osmo Nano in the sunshine

(Image credit: Lauren Scott)

The Osmo Nano is equipped with DJI's RockSteady 3.0 stabilization and HorizonBalancing. It handles a fair amount of shake, but it's not on the same level as a dedicated gimbal like the Osmo Pocket series. In footage of fast-paced, high-impact activities like running on trails you'll still see some micro-jitters, but for walking shots it's pretty impressive.

Using different mounts will dictate how stable your results are. Using the pendant seemed to cause me more wobbles than handholding the camera, for example, but the head mount gave me super-smooth footage when running. It's worth noting that there are different levels of stabilization, with daily, sport, or anti-motion blur options. You can also turn off image stabilization to save battery, or if you're using a secondary DJI product to keep things stable.

The DJI Osmo Nano performs really well in remote shooting scenarios without a phone. The voice commands, like 'start recording', work almost instantaneously in a quiet environment, but require you to shout when it's loud (not a great look in a city center). I found that gestures worked well too, and I liked being able to pat the camera when it was powered off to start recording, or nod my head when it was mounted on my head. Much more subtle.

The LCD screen on the DJI Osmo Nano in the sunshine

(Image credit: Lauren Scott)

The Osmo Nano has two built-in microphones for stereo sound, and I found the audio straight out of the camera surprisingly immersive. It picks up sound from a variety of directions when you're shooting in a public place, but still hones in on your voice when you're speaking to the camera clearly.

Like all action cameras, the audio quality sounds muffled underwater, but the clarity returns more quickly than others I've tested when you pull the camera back out into fresh air. There are lower and stronger wind reduction modes, and both did a decent job of reducing disturbance when I captured some clips on a blustery countryside walk, without removing the noise entirely (see the clips below). My voice was clear and free from distortion, but it's not the perfect solution for clean audio; for that, you'll need a separate mic.

A major draw is the ability to connect the Osmo Nano directly to DJI's wireless microphones without needing a separate receiver. I haven't been able to try this yet, but I can see it being convenient for creators who want to capture high-quality audio, especially those already with DJI mics.

  • Performance score: 4/5

DJI Osmo Nano: Image quality

  • 1/1.3-inch sensor
  • Video up to 4K/120fps and 35MP photos
  • 10-bit D-Log M and HLG color profile options

The Osmo Nano has a 1/1.3-inch sensor, the same size as you'll find in the Osmo Action 5 Pro and just a fraction smaller than the one in the Insta360 Go Ultra. Video headlines include 4K at 60fps in 16:9 format, and 4K 120fps slow-mo footage, which expands to 1080p 240fps.

The specs are one thing, but the proof is in the pudding; or in this case, in the videos and shots you get from the camera. Overall, I think the image quality is good for an action camera of this size. As ever, it won’t completely replace a full-sized or full-frame camera, but that's not the expectation here. The fixed 143-degree ultra-wide field of view is perfect for first-person POV shots, and I could fit a whole wedding group in the frame (I don't have permission to include the sample shot in the review, sadly), but it's not easy to zoom in on the scene should you want to get closer in.

I tested the Osmo Nano in all weather and lighting scenarios. DJI touts the wide dynamic range of the Osmo Nano, but in direct sunshine I noticed some banding where the highlights had been clipped. You can see this in the video above, which was a test of the one-tap editing feature in the DJI Mimo app.

4K resolution is sharp and punchy, and even in 8-bit color mode the camera seems to capture vibrant blue skies and leafy greens, and handles quick changes in light (coming out of a dark tunnel, from indoors to outdoors) well; however, while I like a bit of lens flare, this is one area that could be handled better. It tended to keep my face exposed when I was talking to the camera, but this wasn't set up anywhere in the camera. If I were to generalize, I'd say footage comes out darker than Insta360's Go Ultra, possibly for greater leeway when editing, where the Insta option is designed for near-automatic use.

DJI's SuperNight mode does a decent job of reducing noise in low light, but it only works at up to 30fps and with 8-bit color, which might limit its utility for serious cinematographers. It’s the best night image quality in a wearable camera I’ve seen, but it’s still bound by the laws of physics – a smaller lens and sensor will always have certain limitations compared to a larger, more dedicated camera. There's some AI-smoothing being applied to reduce noise in low-light footage, but this is less obvious to the untrained eye, and less muddy than some night modes I've seen on earlier action cameras.

DJI's automatic horizon leveling (which can be calibrated) is pretty flawless, and the RockSteady image stabilization is most impressive in sports mode. To really test it out, I wore the camera on DJI's headband mount and recorded the first five minutes of a high-intensity workout. Throughout a gruelling round of burpies, star jumps and squats, the footage was stable and smooth (almost unnaturally so). Trail runs, dog walks, and cycle clips were all just as usable, but the handheld results are slightly more jittery than using a dedicated mount.

Photos from the camera have a medium-range megapixel count (the maximum resolution is 35MP and you can shoot in a 16:9 or 4:3 ratio), and as to their quality, I said the same thing about Insta360 Go Ultra's photo results: they're good enough to insert into videos, but I probably wouldn't use them for standalone social posts or prints as a creator. Consider them as an additive rather than a standalone feature, and you won't be disappointed.

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Test shots in low-light from the DJI Osmo Nano

(Image credit: Lauren Scott)
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Test shots in low-light from the DJI Osmo Nano

(Image credit: Lauren Scott)
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Sample shots from the Insta360 Go Ultra and DJI Osmo Nano action cameras showing a black retriever in a field

(Image credit: Lauren Scott)
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Test shot in bright sunshine from the DJI Osmo Nano

(Image credit: Lauren Scott)

Impressively, the Osmo Nano gives you the option of recording footage with a flat color profile (DJI's D-Log M setting), designed to preserve the maximum color and brightness info in the video file, especially in lights and darks.

While the footage out of the camera is desaturated in this mode, I found you had far more wiggle room to adjust the colors, contrast, and saturation to achieve a specific, cinematic look without losing any of the detail captured in the original scene. This is also going to benefit creators shooting a project with the Osmo Nano alongside other cameras who want their edited work to look consistent.

  • Image quality score: 4/5

DJI Osmo Nano: testing scorecard

DJI Osmo Nano

Attributes

Notes

Rating

Price

Much cheaper than the Insta360 Go Ultra, and that includes helpful built-in storage.

5/5

Design

Unexciting but functional, and it's a shame the dock is only splash-proof. The lens replacement adds ruggedness.

4/5

Performance & features

Fewer filters and modes than the Insta360 Go Ultra, but you get the option of manual controls. The DJI Osmo app makes quick, clever edits.

4/5

Image quality

In daylight, colors are vivid and dynamic range is good. Stabilization is excellent, and low light footage is fine. Slow-mo could be crisper.

4/5

Should I buy the DJI Osmo Nano?

Buy it if...

You want a camera that 'disappears'
The Osmo Nano is small enough to be worn on a pendant, hat, or headband, thanks to its small size and weight. The magnetic mount allows for quirky mounting solutions like lamp posts, cars, and even washing machines.

You already own DJI products
To boost the sound quality, you can connect the Nano directly to two DJI microphone transmitters without needing a receiver. If you've already got a DJI mic, gimbal or camera, sticking with the brand also means greater familiarity with the app.

Don't buy it if...

You like a roomy LCD screen
At less than two inches, I found the Osmo Nano's LCD touchscreen a little small for composing shots and reviewing footage. You can use your phone for a larger live view, but this isn't always convenient.

You want a fully waterproof solution
The Nano's Vision Dock is only splashproof, and this made me uncomfortable while shooting in the rain or near water. If you're a real action lover, I'd recommend a camera with a more rugged build.

Also consider

The Insta360 Go Ultra on a white background

Insta360 Go Ultra

The Insta360 Go Ultra has a similar form factor, with a separate camera and action pod. The flip-up screen is more vlog-friendly and bigger at 2.5 inches, while the camera weighs the same as the Osmo Nano but is more square and shallow (which I found easier to mount). Pricing and image quality are similar, but it's a slightly more fun action camera that's great for the whole family.

Read my full Insta360 Go Ultra review

GoPro Hero 13 Black action camera on a white background

GoPro Hero 13 Black

The GoPro Hero 13 Black is still the flagship of action cams and one I'd recommend for serious filmmakers. It's chunkier than the Osmo, but it also has magnetic mounting. GoPro also has the widest range of mount accessories to open up creative shooting opportunities, and it's possible to squeeze 1.5 hours of 5.3K video from the battery, for recording with fewer interruptions.

Read our full GoPro Hero 13 Black review

The DJI Osmo Nano camera held by a female photographer in a pink top

(Image credit: Lauren Scott)

How I tested the DJI Osmo Nano

  • I tested the camera for two weeks pre-embargo
  • I wore it on walks and runs, and mounted it for drives
  • I recorded videos at all settings and in all modes

DJI sent me a full-production Osmo Nano for review around two weeks before its release date, and I used it at least once a day – often much more – during this period. I always like a camera to become a natural part of my workflow, rather than carrying out one intense period of testing, so that I uncover the nuances for a more informed and helpful review.

I tried all the camera's modes, used it with and without the dock, and mounted it on the magnetic pendant and headband. I mainly used the DJI Mimo app to edit footage right from my iPhone 15 Pro.

  • First reviewed September 2025
I played all the latest games on this stunning 32-inch 4K OLED monitor and now I can’t go back to plain old LCD
6:00 pm | September 14, 2025
Author: admin | Category: Computers Computing Gadgets Monitors Peripherals & Accessories | Tags: , | Comments: Off

Acer Predator X32 X: One-minute review

The Acer Predator X32 X is not the first 32-inch 4K gaming monitor we've seen using Samsung's QD-OLED panel technology, but it does pack a particularly strong feature set at an awfully punchy price.

As ever, the central appeal here is a stunning 32-inch QD-OLED panel with full 4K resolution and 240Hz refresh. That means you not only have a large, cinematic viewing experience. You also get great pixel density, and therefore super-sharp visuals with oodles of detail.

This isn't the very latest OLED technology, so there are some limitations that I'll come to shortly, but Acer has upped the ante over some of the similarly priced competition. Retailing for $1,199.99 (about £885 / AU$1,800), the Predator X32 X has really strong supporting features, including USB-C connectivity with 65W power delivery and a KVM switch, the latter allowing you to share this monitor with two PCs or maybe a PC and a console.

Just be sure to note that we're talking here about the Acer Predator X32 X and specifically the model with the Xbmiipphuzx suffix. It's distinct from the mere Acer Predator X32 V2bmiiphx, which is similar, but only runs at 165Hz and doesn't offer the USB-C and KVM switch. Oh, and also don't confuse this with the Acer Predator X32 X3, which seems very similar but is actually based on LG's competing WOLED panel tech.

Yes, it's all a bit confusing, and those alpha-numeric jumbles are a branding disgrace, but none of that prevents this monitor from going toe-to-toe with the best gaming monitors on the market right now.

Acer Predator X32 X: Price & availability

An Aceer Predator X32 X on a desk

(Image credit: Future / Jeremy Laird)
  • How much does it cost? $1,199 (about £855/AU$1,800)
  • When is it available? Available now
  • Where can you get it? Available in the US and UK, with Australia availability TBD

While the MSRP on this monitor might be $1,199.99, Acer and other retailers have cut the price of this monitor by 25%, making it an even more attractive value for a 32-inch QD-OLED 4K display. View Deal

At $1,199.99 in the US (about £885/AU$1,800), this isn't the absolute cheapest 32-inch gaming monitor based on Samsung's 4K QD-OLED panel. It's also difficult to find in the UK right now, as some retailers like Amazon and Overclockers will have a listing for the monitor, but list it as unavailable and don't give current pricing. I've reached out to Acer about the stock issues in the UK and will update this review if and when I hear back from the company.

One of the things that makes the UK stock issues frustrating, though, is that the Predator X32 X is one of the most competitive 4K QD-OLED gaming monitors out there.

Few if any comparably priced 32-inch 4K OLEDs include both USB-C with power delivery and full KVM switch capability. If you want to share this monitor across, say, a gaming PC and a laptop, that's just perfect.

Even if you don't, you're paying little to nothing extra for the option to do something like that in the future. That makes this Acer a bit of a no-brainer if you're shopping among the various 32-inch QD-OLED gaming monitor options on the market right now, like the Alienware 32 AW3225QF or MSI MAG 321UPX.

  • Value: 4.5 / 5

Acer Predator X32 X: Specs

An Aceer Predator X32 X on a desk

(Image credit: Future / Jeremy Laird)
Acer Predator X32 X Specifications

Screen size

31.5-inch diagonal

Resolution

3,840x2,160p

Panel technology

Samsung QD-OLED

Refresh rate

240Hz

Response time

0.03ms

Panel curve

1700R

HDR

HDR Black 400

Brightness

250 nits full screen, 1,000 nits in a 3% window

Features

HDMI 2.1 x2, DisplayPort 1.4, USB-C hub with 4x USB-A and 1x USB-C with 65W power delivery, USB-A hub, KVM switch

Acer Predator X32 X: Features

An Aceer Predator X32 X on a desk

(Image credit: Future / Jeremy Laird)
  • USB-C with power delivery
  • KVM switch

Though I've seen plenty of best 4K monitors implement Samsung's QD-OLED panel tech, the Acer Predator X32 X is unusual in implementing a curved panel surface. It's fairly gentle at 1700R, but curved monitors aren't to absolutely everyone's taste.

For the record, it also comes with a glossy panel coating for maximum contrast. Again, there's a degree of personal preference in the whole glossy-versus-matte thing, so whether this is a plus or a minus will depend on which side of that divide you land.

More universally welcome is the excellent connectivity. As you'd expect, there's both HDMI 2.1 and DisplayPort 1.4 (two of the former, one of the latter). But the extras start with USB-C with 65W power delivery.

An Aceer Predator X32 X on a desk

(Image credit: Future / Jeremy Laird)

You can get USB-C interfaces with over 90 watts of power. But a high performance gaming laptop needs plenty more still. Few, if any, monitors can keep a true gaming laptop fully juiced. So, this Acer's USB-C interface still delivers on the premise of single-cable connectivity for a thin-and-light portable.

To that you can add a USB-A hub and KVM switch capability. That suits the broader capabilities of this monitor pretty handily. As a 4K 32-inch monitor, it's ideal for getting serious work done. But the 240Hz refresh and OLED panel tech are also fantastic for gaming.

With the KVM switch, you can attach both a gaming rig and, say, a work laptop, and seamlessly share a keyboard and mouse across both PCs. The Acer Predator X32 X isn't unique in this class to offer those features. But it is one of, if not the cheapest, we've seen to do so, and it's something not many of even the best monitors on the market don't offer.

  • Features: 4.5 / 5

Acer Predator X32 X: Design

An Aceer Predator X32 X on a desk

(Image credit: Future / Jeremy Laird)
  • Narrow bezels
  • Good adjustability
  • Requires a large power adapter

Design considerations are always subjective. But there's no doubting the Acer Predator X32 X is unambiguously aimed at gamers, what with its sharp lines and RGB mood lighting. Minimalist and sleek it ain't.

That said, the most gamery design flourishes including the RGB lighting are at the rear. The front of the monitor is relatively low key with slim bezels on all four sides of the QD-OLED panel.

An Aceer Predator X32 X on a desk

(Image credit: Future / Jeremy Laird)

Likewise, the "Predator" branding on the lower bezel is pretty small. So, it wouldn't actually look that out of place in a work environment.

It's also nicely engineered and has height, tilt and swivel adjustment. Overall, it feels well built and worthy of the relatively elevated price tag. Ergonomically, our only significant complaint is the massive external power brick. Integrated PSUs are just that little bit slicker and neater.

  • Design: 3.5 / 5

Acer Predator X32 X: Performance

An Aceer Predator X32 X on a desk

(Image credit: Future / Jeremy Laird)
  • Perfect per-pixel lighting
  • Incredible fluid and responsive gameplay
  • Full-screen brightness can be somewhat muted

The Acer Predator X32 X doesn't throw up any huge surprises, performance-wise. For the most part, that's good news. I've seen lots of these 32-inch 4K gaming monitors using Samsung's QD-OLED technology, and they are pretty incredible, and that's just as true here as the rest of them.

The obvious upsides include perfect per-pixel lighting for infinite contrast and the spectacle of both very bright and very dark objects rendered with incredible precision on the screen at the same time. It's a trick that no LCD panel, even with local dimming, can pull off. Once you're used to the stunning HDR sizzle displays like this are capable of, it's hard to go back to even a really good IPS monitor.

To all that, you can add the advantages of full 4K resolution. That brings a fairly high pixel density of over 140DPI and means that the non-standard triangular RGB subpixel arrangement of QD-OLED technology is no longer a problem when it comes to clear text rendering. This thing is crispy.

An Aceer Predator X32 X on a desk

(Image credit: Future / Jeremy Laird)

It's also incredibly detailed in games. Combine the aforementioned HDR thrills with 4K image detail and precision, plus the 240Hz refresh and ridiculously fast pixel response performance of all QD-OLED panels, and, well, it's an incredible experience. But not a perfect experience.

This isn't the very latest OLED panel tech, so full-screen brightness is limited to 250 nits. That's not terrible, but it does mean that brighter outdoor gaming scenes can look a little dull. This monitor only looks at its absolute best when it's showing a mix of brighter and darker image elements. Light up the whole screen, and the panel dimming algorithms kick in and reduce overall brightness.

Of course, that's true of all monitors based on Samsung's QD-OLED technology, as is the slight problem with how the panel performs in bright ambient conditions. Long story short, if you use this monitor in a really bright room, the panel itself can reflect a lot of light, which impacts perceived black levels and contrast.

It won't be a problem for most users. But it is worth bearing in mind, depending on where you're planning to use a monitor like this.

  • Performance: 4 / 5

Should you buy the Acer Predator X32 X?

An Aceer Predator X32 X on a desk

(Image credit: Future / Jeremy Laird)
Acer Predator X32 X scorecard

Value

This isn't the absolute cheapest 4K 32-inch OLED we've seen. But it does have the best feature set yet at this attractive price point.

4.5 / 5

Design

The Acer Predator X32 X's slightly gamery design vibe won't be to all tastes. The external power brick is clumsy, too. But it's certainly well built.

3.5 / 5

Features

With plenty of ports, downstream USB power delivery, and KVM switching, there are a lot of things to like about this monitor besides the display itself.

4.5 / 5

Performance

This isn't the very latest QD-OLED technology. And some limitations remain. But the combination of HDR sizzle with 4K precision is still very special.

4 / 5

Final score

The very latest OLED tech is slightly superior. But it hasn't hit the 32-inch 4K segment yet and of the currently available options, this Acer might just be the best value.

4.13 / 5

Buy the Acer Predator X32 X if...

You want a 4K OLED experience
Early OLED monitors had disappointing pixel density. But not this 4K beauty. It's sharp and precise with loads of image detail and super crispy font rendering.

You love HDR visuals
When it comes to HDR thrills, you simply cannot beat the perfect per-pixel lighting of OLED technology. No LCD monitor even comes close.

Don't buy it if...

You want maximum full-screen brightness
Full-screen brightness is still a relative OLED weakness, and this Acer is no different, maxing out at a relatively modest 250 nits.

You prefer flat monitor panels
The Acer Predator X32 X is only gently curved with a 1700R radius. But if you prefer absolutely flat, there are lots of alternatives.

Acer Predator X32 X: Also consider

If my Acer Predator X32 X review has you considering other options, here are a few other monitors to consider...

Alienware AW3225QF
This 32-inch 4K QD-OLED is almost identical, right down to its curved panel and USB-C port. But it's just that little bit more expensive.

Read the full Alienware AW3225QF review

MSI MPG 491CQP
If you want to max-out your OLED screen size for similarl money, try this massive 49-inch QD-OLED monster. Just remember the pixel density is much, much lower.

Read the full MSI MPG 491CQP review

How I tested the Acer Predator X32 X

I played all my favourite games on the Acer Predator X32 X. That includes everything from ray-traced graphics fests like Cyberpunk 2077 to online shooters including Counter-Strike 2.

I wanted to get a feel for everything from HDR performance, to pixel speed and responsiveness. Of course, this monitor is also great for getting serious stuff done, so I used it as my daily driver for a week, including work, web browsing and ye olde YouTube.

The QD-OLED panel tech used by Acer is familiar. I've reviewed at least five other 32-inch 4K monitors with the same panel, plus several with LG's competing WOLED tech. The Acer Predator X32 X didn't throw up any surprises. But that's mostly a good thing because it means the competitive pricing is especially appealing when you factor in the excellent connectivity.

  • Originally reviewed in September 2025
I tried the Nikon ZR – the smallest and lightest cinema camera around, with Sony and Canon-beating features
7:00 am | September 10, 2025
Author: admin | Category: Cameras Computers Gadgets Video Cameras | Tags: , | Comments: Off

Nikon ZR: two-minute review

The new Nikon ZR is the first in a new line of Nikon / RED cinema cameras, and instantly makes Nikon a major new player in this space, capable of going to toe-to-toe with Sony, Canon, Blackmagic and Panasonic.

Nikon only acquired RED Digital Cameras 18 months ago, and it's made fast work of producing the surprisingly polished and capable ZR, adorned with Z Cinema Camera and Nikon / RED branding, and available for a tantalizing price that significantly undercuts rivals.

It packs a bunch of Nikon Z6 III tech, including the same 24MP partially stacked full-frame sensor, 5-axis image stabilization, subject-detection tracking autofocus and more, into an extremely compact, weather-sealed cinema camera body.

We get 6K 60fps video with internal RAW recording, with any one of nine industry-favorite RED color profiles baked in – that's the Nikon / RED amalgamation truly bearing fruit – plus 4K 120fps and Full HD 240fps slow-motion recording.

Handily, shutter angle can be set automatically to 180 degrees, so there's no need to mess around with manual exposure settings, plus the shutter angle can be set to any position between five and 360 degrees manually, should you wish.

Nikon ZR camera with mic attached under low key magenta lighting

The Nikon ZR with new ME-D10 shotgun mic attached – the mic supports the camera's 32-bit float audio capture skills (Image credit: Tim Coleman)

We don't get open gate video recording as in some rivals like the Canon EOS C50, but the ZR has another trick up its sleeve: hold the camera vertically, and its UI automatically rotates, with the vertical orientation embedded in the video files and automatically detected in Nikon's editing software, delivering full-resolution vertical video.

The ZR is the first camera of its kind with internal 32-bit float audio capture, plus what Nikon says is the best-quality internal mics yet – a triple mic combo with Ozo audio and a choice of five directional pickup patterns, including binaural.

Alongside the ZR, Nikon has launched the ME-D10 directional mic (you can see it slotted into the camera's hotshoe in the image above), which is compatible with the camera's 32-bit float capabilities.

This is also the smallest cinema camera I’ve used, yet it still squeezes in a large, brightest-in-class 4-inch vari-angle touchscreen. Naturally, there's no viewfinder.

Rear of the Nikon ZR camera under low key magenta lighting

Nikon has put both its own and RED's branding on the ZR, together with Z Cinema Camera (Image credit: Tim Coleman)

Given its tiny size, there are compromises. We don’t get some of the pro connectivity found in other pricier compact cinema cameras – for example there’s only a micro HDMI port, not a full-size one. However, if you still feel the need to use an external monitor even with the large 4-inch built-in display, all you'll need is a micro-to-full-size HMDI adaptor to get connected.

Sadly, the ZR lacks mounting points for video accessories and, with no grip, you’ll definitely want to rig it up with a grip or a cage for a better hold. That means forking out for ZR-dedicated gear – Nikon outsources to leading accessory maker SmallRig.

However, at just £2,199 (US and Australia pricing is TBC), no other cinema camera comes close to the ZR for video features – and this aggressive pricing will soften the blow of any additional outlay on accessories.

I can see the Nikon ZR as a go-to b-cam for many pros, especially those already shooting with a RED camera, for whom the color profile matching will make for a seamless workflow. That said, this is a capable video camera in its own right too.

The Nikon ZR is an incredibly capable and polished compact cinema camera with world-first features, and an exciting first step into the filmmaking space for Nikon. Should video lenses soon follow (most Z lenses are designed primarily for photography), along with a higher-end cinema camera with pro connectivity to sit above the ZR, then Nikon will truly find its footing in this space.

Top plate of the Nikon ZR camera under low-key magenta lighting

The compact body is the smallest in this class of cinema camera, with a fairly simple control layout (Image credit: Tim Coleman)

Nikon ZR: price and release date

  • Costs £2,199.99 (US and Australia pricing TBC)
  • There will be various accessory bundles, TBC
  • Sales start in October

The Nikon ZR costs £2,199 (US and Australia pricing is TBC, but that coverts to roughly $2,980 or AU$4,500). At that price it significantly undercuts rivals – such a feature set is typically found in cameras that cost around 50% more, and more often in cameras closer to twice the price.

That said, there are no video accessories included, and you'll want to fork out for some in order to enjoy the ZR's handling and feature set to its full potential. These will likely include a grip and / or cage, plus Nikon's new ME-D10 directional mic, which is compatible with the camera's 32-bit float audio format.

Nikon doesn't make its own accessories such as grips or rigs, relying on third parties such as SmallRig to supply those. At the time of writing I don't have pricing for dedicated ZR accessories.

The Nikon ZR is due to go on sale in October 2025.

Nikon ZR camera under low key magenta lighting

The ZR is compact cinema camera for run-and-gun filmmaking – an ideal b-cam (Image credit: Tim Coleman)

Nikon ZR: specs

Video

6K up to 60fps, Raw internal

Photo

24MP full-frame

Lens mount

Nikon Z

Autofocus

Dual Pixel CMOS AF II

Screen

4-inch, 3.07m-dot, vari-angle

Viewfinder

N/A

Weight

19oz / 540g (body only)

Battery

EN-EL15 (same type as Nikon Z6 III / Z8)

Nikon ZR: Design

  • Smallest and lightest cinema camera of its kind; weather-resistant
  • Large 4-inch, 3.07m-dot touch LCD with brightest in-class display, no viewfinder
  • No mounting points for accessories
  • 3x internal mics, Ozo audio with five directional pickup patterns

As far as I know, the Nikon ZR is the smallest and lightest camera of its kind, weighing just 19oz / 540g (body-only). It's also weather-resistant, which is a rarity in the cinema camera world.

There are pros and cons resulting from the tiny dimensions. Drawbacks include enthusiast-level connectivity, like micro HMDI rather than full-size (though you only need an adaptor to remedy this), and the absence of a grip or mounting points for accessories. A camera like the Canon EOS C50 feels more high-end, given its pro-level connectivity.

It feels best to keep things simple with the ZR, making the most of its compact body and powerful features by minimizing the number of accessories in play. A grip is the one accessory I would absolutely look into buying, while if you want to rig up the ZR you'll need a cage, which will in turn allow you to attach accessories such as lights and mics – Nikon has partnered with SmallRig to create grips and cages for the ZR (pricing TBC).

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Nikon ZR camera, no lens, under low key magenta lighting

(Image credit: Tim Coleman)
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Nikon ZR camera under low key magenta lighting

(Image credit: Tim Coleman)
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Nikon ZR camera with its screen flipped out, under low key magenta lighting

(Image credit: Tim Coleman)
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Nikon ZR camera with mic attached, under low key magenta lighting

(Image credit: Tim Coleman)

Despite its tiny body, the ZR packs a large 4-inch touch display. As such, I don't really see the need for attaching a bulky external 5-inch monitor. It certainly helps that the ZR's 3.07m-dot display is wonderful bright and vivid – the brightest in its class, says Nikon. Mind you, I've only used the ZR in a studio; a truer test will be the bright outdoors.

Other cinema cameras, like the Sony FX3 and Canon EOS C50, only have 3-inch displays, while the Blackmagic Cinema Camera 6K has a mega 5-inch unit. In the case of the Sony and Canon models, I'd absolutely want to add a monitor to my setup.

The camera's top plate is pretty simple: there's a photo / video switch (though sadly the UI remains the same whichever setting you're in, rather than there being dedicated menus for photo and video), record button with rocker, plus three buttons for accessing items such as display settings.

The rear is dominated by the large touch display, which when folded away reveals the Nikon / RED branding. Beside it are a joystick for controls such as autofocus point selection, a menu button (a quick press brings up the main menu and a long press brings up the quick menu, which is a nice touch) and a playback button.

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Back of the Nikon ZR camera under low key magenta lighting

(Image credit: Tim Coleman)
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Nikon ZR camera with mic attached, under low key magenta lighting

(Image credit: Tim Coleman)
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Nikon ZR camera under low key magenta lighting

(Image credit: Tim Coleman)
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Nikon ZR camera with is connection port doors open

(Image credit: Tim Coleman)

Battery life promises to be okay, given that the ZR uses the same EN-EL15 battery as the Nikon Z6 III and Nikon Z8. There are no vents or cooling fans, though, which would normally suggest that a camera of this type would be prone to overheating during long recording sessions.

I haven't recorded clips any longer than a few minutes, but I'll be sure to run the camera for longer during my in-depth testing. However, Nikon says the camera's magnesium alloy body is a natural heat sink, and promises that long record times are possible, and based on my experience with previous Nikon cameras I have no reason to doubt it.

There's exciting tech under the hood, too, namely a totally new Ozo audio setup, which comprises three mics. Together, these offer five directional pickup patterns, including front narrow (like a shotgun mic), front wide, rear and binaural 3D stereo.

Nikon says this Ozo system is the best internal mic setup of any camera, and it's supported by a world-first: in-camera 32-bit float audio capture. Nikon's new ME-D10 shotgun mic, released at the same time as the ZR, supports 32-bit float audio too.

Those are impressive audio features for any camera, let alone one at this price point, and I look forward to properly testing them out.

Nikon ZR: Performance

  • 6K up to 60fps, 4K up to 120fps, Full HD up to 240fps
  • Internal RAW recording and RED color profiles (up to nine in-camera at any time)
  • Subject-detection autofocus and 5-axis image stabilization
  • 24MP stills, partially stacked full-frame sensor

For the most part, the Nikon ZR has the same photo and video specs as the Z6 III (which we awarded five stars out of five in our in-depth review), which means a full-frame partially stacked 24MP sensor equipped with 5-axis image stabilization.

Add in decent subject-detection tracking autofocus and the ZR is a capable stills shooter, although while this is useful for on-set stills, the main focus of my testing is of course the ZR's video chops.

Nikon ZR camera under low key magenta lighting

There's the partially stacked 24MP full-frame sensor and Nikon Z mount (Image credit: Tim Coleman)

Like the Z6 III, the Nikon ZR shoots 6K up to 60fps, 4K up to 120fps and Full HD up to 240fps. There's the option for shooting internal RAW with a 12-bit color depth, or keeping things simple and baking in the look at capture with 10-bit recording.

Given the array of creative styles and color profiles on board, which includes space for up to nine RED color profiles at any one time, you might just feel happy to skip shooting RAW, with its large file sizes and grading demands, and use one of the many baked-in color profiles instead to save editing time and space on your hard drives.

I shot a variety of video clips during a half-day session with a drummer in action inside a studio, including 6K RAW, a few of the RED profiles baked in, and 240fps slow-motion – see my sample video, above.

In this setting, the ZR delivered some superb-looking video. I'll be expanding this first impressions review with more detail about its video and audio quality, once I've had an extended time with the ZR.

A male drummer in a dark studio, holding drums sticks with arms folded, neon lights in background

The ZR is a decent camera for photos too, with 24MP stills (Image credit: Tim Coleman)

Nikon ZR: also consider

Canon EOS C50

Canon announced the EOS C50 just a day before the Nikon ZR. It costs around 50% more, but comes with a top grip. In many ways the two cameras' video features are similar, including video resolution, maximum frame rates, internal RAW recording and autofocus. However, the Canon camera feels slightly more high-end with pro connectivity, while in the ZR's favor are its compact size, larger touch display and, impressively, its sensor-based stabilization.

See my Canon EOS C50 reviewView Deal

Blackmagic Cinema Camera 6K

The Blackmagic Cinema Camera 6K is pretty much the same price as the Nikon ZR, and in many respects has similar video features: a full-frame sensor with 6K video, 12-bit internal RAW recording and dual base ISO. It also packs a mammoth 5-inch display and has a solid choice of L-mount lenses. However, its slow-motion recording is more limited, while autofocus performance isn't a patch on Nikon's. It's also much bulkier and heavier.

See our Blackmagic Cinema Camera 6K reviewView Deal

Sony FX3

The Sony FX3 is an industry-favorite compact 4K cinema camera with superb low-light skills, thanks to its 12MP full-frame sensor. Like the ZR, it's designed to be rugged, with accessories such as its (bundled) top handle. It has the pro connectivity you'd hope for, excellent battery life, and a wide range of video lenses. However, its video recording feels somewhat dated compared to the ZR's 6K internal RAW, and it's practically twice the price. View Deal

Top of Nikon ZR camera under low key magenta lighting

(Image credit: Tim Coleman)

How I tested the Nikon ZR

  • I had just half a day with the ZR
  • I paired it with multiple Nikon Z lenses and tried out the new ME-D10 mic
  • No third-party accessories were available, so I used the camera handheld

I had the opportunity to shoot with the Nikon ZR for half a day ahead of its launch, using it for an indoor stage-lit shoot of a drummer in action.

Nikon supplied an array of Z-mount lenses for the shoot, of which I used a few primes and zooms. The new ME-D10 directional mic was also available on the day.

Nikon doesn't make its own rigs or cinema camera accessories, relying on third parties such as SmallRig instead. None of these accessories were available to me, so I shot with the ZR entirely handheld, without a grip or rig.

During my limited test time I made sure to shoot in 6K RAW, 240fps slow motion, and to try out various color profiles, focusing on the RED looks.

I have plenty of experience using rival cinema cameras such as the Sony FX3, so I'm well equipped to make an informed initial assessment of the ZR. That said, cinema cameras need to prove themselves as tools their users can rely on shoot after shoot, so check back soon for my in-depth verdict after I've spent more time with the camera.

I tested the Brother ADS-4700W – read what I thought of this desktop scanner
10:30 am | April 21, 2025
Author: admin | Category: Computers Gadgets Pro | Tags: | Comments: Off

This review first appeared in issue 346 of PC Pro.

Sitting on the rung below Brother’s flagship ADS-4900W scanner, the ADS-4700W offers a more affordable alternative to SMBs on tight budgets. It may cost over £200 less than its bigger brother but still delivers an impressive package with a top scan speed of 40ppm, a hefty 6,000-page daily duty cycle and a slightly smaller 80-page ADF.

It’s well connected, too, offering USB 3, wired or wireless access, though for the latter it supports only 2.4GHz networks (not 802.11a/n 5GHz like the ADS-4900W). There are no compromises with the user interface, though: the same slick 10.9cm color LCD touchscreen offers a wealth of user-friendly scan features.

Installation takes around 30 minutes per PC, with Brother’s downloadable utility getting you started by loading the drivers, iPrint&Scan app and firmware update tool. It also adds Brother’s Utilities app, which you use to download and install Nuance’s PaperPort 14 SE digital file cabinet and Kofax’s Power PDF 3 OCR and document conversion tool.

Full view of the Brother ADS-4700W

The large LCD touchscreen offers a wealth of features (Image credit: Future)

The ADS-4700W can be remotely managed via its web browser console and you can monitor it and all other networked Brother devices with the free BRAdmin 4 SNMP-based software. Mobile users also get in on the scanning act; the free Mobile Connect iOS and Android apps remotely connect to the scanner, pull in scans and offer to save them locally or email them as JPEGs and PDFs.

Brother provides the best cloud support as the ADS-4700W can send documents directly to SharePoint Online, Dropbox, Google Drive, OneDrive, OneNote, Evernote and Box accounts. They’re simple to set up from Brother’s Web Connect portal, where we registered our Dropbox account, entered the unique 11-digit code at the scanner’s touchscreen and PIN-protected local access.

Walk-up scan features are outstanding. Documents can be sent directly to any networked PC that has Brother’s software installed just by selecting them from the touchscreen. The scanner’s web console can be used to create up to 25 profiles for scans to FTP and SharePoint sites, email servers and network shares, with each destination appearing in the touchscreen.

The touchscreen allows you to create up to 56 scan shortcuts grouped under six custom tabs. Enable the setting lock feature in the web console and shortcut access can then be restricted by requiring a username and PIN.

Desktop screenshot of the iPrint&Scan app

The scanner comes with the user-friendly iPrint&Scan app (Image credit: Future)

The iPrint&Scan app streamlines desktop scanning with one-touch workflows that define local, cloud, email or other apps as destinations. Add settings such as a resolution and searchable PDF (sPDF) output and you can register them with the scanner so they appear in its touchscreen workflow menu listed under the host’s name for easy selection.

Our tests showed the ADS-4700W was slightly faster than the quoted speeds, with duplex greyscale and color scans of 50 bank statements at 200 and 300dpi delivering between 44 and 46ppm. We chose sPDF for our output format and had to wait two minutes after each scan had finished for the iPrint&Scan OCR service to convert them.

Moving to 600dpi saw speeds drop to 11.6ppm, but you won’t need this for general document archiving as scans at 200dpi produce good-quality, accurate sPDFs. Paper handling is impeccable, too, with the scanner handling our stacks of statements, flimsy courier tear-offs and till receipts without any jams.

The ADS-4700W is a fine choice for small businesses, with an impressive range of scanning features at an affordable price. Performance is good, output quality can’t be faulted and the versatile LCD touchscreen menus provide great walk-up scan services.

We also rated the best virtual desktop services.

I tried the stunning Viltrox 135mm f/1.8 LAB lens for Nikon and it’s my new favorite portrait lens, except for one drawback
4:04 pm | March 19, 2025
Author: admin | Category: Camera Lenses Cameras Computers Gadgets | Tags: | Comments: Off

Viltrox 135mm F1.8 LAB: two-minute review

Ever since I saw the Viltrox AF 135mm F1.8 LAB lens for Sony full-frame cameras I've been counting down the days until Viltrox made it made available for Nikon Z-mount cameras. That day has now come.

Viltrox's first professional LAB lens gets the Z-mount treatment, and I've already had the chance to test the lens for several weeks, pairing it with my Nikon Z6 II for supreme shallow-depth-of-field portraits and more.

It's the affordable alternative to my dream Z-mount lens, the pricey Nikon 135mm f/1.8 S Plena, as well as to Sony's own 135mm F1.8 GM.

At $899 / £829 / around AU$1,500 (discounts are available on the Viltrox website too), it's half the price of the Sony lens, and just a third of the price of Nikon's Plena, which originally cost around $2,600 / £2,700 / AU$4,600. For Nikon Z users like me, that's clearly a huge difference.

135mm is an ideal focal length for portraits, but I also love the perspective for landscape photography, together with the excellent light-gathering capabilities of a fast f/1.8 aperture prime lens like this.

So what do I think of the Viltrox 135mm f/1.8 LAB now that I've tested it? It's a truly stunning lens, although it does have one significant drawback that has me thinking twice.

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Viltrox 135mm F1.8 Lab lens for Nikon Z-mount, in the hand, attached to a Nikon Z6 II

(Image credit: Tim Coleman)
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Viltrox 135mm F1.8 Lab lens for Nikon Z-mount, in the hand, attached to a Nikon Z6 II

(Image credit: Tim Coleman)
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Viltrox 135mm F1.8 Lab lens for Nikon Z-mount, in the hand, attached to a Nikon Z6 II

(Image credit: Tim Coleman)

Viltrox 135mm f/1.8 LAB specs

Viltrox 135mm f/1.8 LAB: Design

  • Premium design and build quality
  • Very heavy
  • Unique customizable LCD screen is a fun touch

It's clear that the Viltrox 135mm is built for pros. The build quality is top-drawer, from the weather-resistant metal barrel, front lens element and rear mount to the reassuringly secure connection to the camera – you'll need some muscle to click the lens into place – and the premium controls dotted around the exterior.

There's a smooth focus ring, a second ring that can be set to smooth or clicked and which by default is set to control aperture, plus custom buttons and a customizable top LCD.

It's possible to customize the welcome screen of the top LCD (seriously), which is a nice touch, even if I can't see myself creating my own welcome screen... yet. It's also possible to apply firmware updates easily through the USB-C port built into the rear mount.

Focus distances are marked precisely on the LCD, down to the centimeter, which is something you don't get with other lenses. There's also a AF / MF switch plus a focus-range limiter. These exterior controls cover all the bases for the scenarios in which I see myself using the lens.

Autofocus is smooth and essentially silent. Viltrox says focus speeds are "150% faster", although I'm not sure what that's in comparison to, and I wouldn't say this is the fastest-focusing lens I've used, even if it is smooth. I'll touch on why I think so in a bit.

In the box is a decent-sized lens hood and a soft lens pouch for packing the lens away safely. So, all in all, the Viltrox 135mm F1.8 sounds great, right? And it is, but for one thing.

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Viltrox 135mm F1.8 Lab lens for Nikon Z-mount, in the hand

(Image credit: Tim Coleman)
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Close up of the Viltrox 135mm F1.8 Lab lens' barrel

(Image credit: Tim Coleman)
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Close up of the Viltrox 135mm F1.8 Lab lens' LED display, with focus distance scale

(Image credit: Tim Coleman)
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Close up of the Viltrox 135mm F1.8 Lab lens controls

(Image credit: Tim Coleman)
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Close up of the Viltrox 135mm F1.8 Lab lens' electronic contacts

(Image credit: Tim Coleman)
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Close up of the Viltrox 135mm F1.8 Lab lens' barrel

(Image credit: Tim Coleman)
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Viltrox 135mm F1.8 Lab lens for Nikon Z-mount, in the hand, attached to a Nikon Z6 II

(Image credit: Tim Coleman)

As I mentioned in my verdict at the start of this review, this lens is heavy – very heavy. It's the first thing you notice as you take it out of the box. How heavy? 43.6oz / 1,235g, without the lens hood. Ouch.

To be clear, quality 135mm f/1.8 lenses like this are heavy, but the Viltrox is another level; it's about 25% heavier than the Sony and Nikon lenses I've mentioned.

I wish the Viltrox was lighter, at least for using it with my Z6 II. The balance is so front-heavy that this is a lens that's best used in short bursts, which is a shame because I could see myself using a lens like this for event photography, and those jobs are long hours.

If you shoot with a larger camera such as the Nikon Z8, or more so the Nikon Z9, the balance of the Viltrox lens will be much better.

Still, there's also a very good reason why this lens is so heavy – its supreme optical quality.

Viltrox 135mm f/1.8 LAB: Performance

  • 135mm focal length ideal for isolating subjects
  • Virtually flawless optical quality
  • Precise and smooth autofocus, but not the fastest

The optical quality of the Viltrox 135mm f/1.8 LAB lens is virtually flawless, much like the Nikon Plena lens, and the MTF charts shared by Viltrox back this up.

Detail is sharp from center to edges, even when using the maximum f/1.8 aperture. There's not a huge amount of vignetting either – it's hardly noticeable if you stop the aperture down to f/2.8, while at f/1.8 it's easily corrected if you don't want those darker corners that help your subject stand out all the more.

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Portraits of a man in a beanie hat and shacket at golden hour with dappled light in background

A portrait taken with the aperture set to f/1.8 (Image credit: Tim Coleman)
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Portraits of a man in a beanie hat and shacket and golden hour with dappled light in background

The same portrait, but at f/2.8 (Image credit: Tim Coleman)
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Portraits of a man in a beanie hat and shacket and golden hour with dappled light in background

With aperture set to f/1.8, bokeh is smooth, big and round (Image credit: Tim Coleman)
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Portraits of a man in a beanie hat and shacket and golden hour with dappled light in background

Even at f/2.8, bokeh quality is lovely. (Image credit: Tim Coleman)
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Portraits of a man in a beanie hat and shacket and golden hour with dappled light in background

I tried my hardest to induce lens flare, and even then the quality of shots is top drawer (Image credit: Tim Coleman)
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Portraits of a man in a beanie hat and shacket and golden hour with dappled light in background

Another lens flare attempt (Image credit: Tim Coleman)
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Portraits of a man in a beanie hat and shacket and golden hour with dappled light in background

135mm is an excellent focal length for isolating subjects, and focus fall-off at f/1.8 is smooth. (Image credit: Tim Coleman)

I purposefully pushed the lens in tricky scenarios, such as backlit portraits at golden hour, and it handled flare admirably. It also focused precisely, no mean feat when its VCM motors are working hard to shift those weighty lens elements, of which there are 14 in nine groups, although focusing is slightly snappier with Sony's and Nikon's lenses in my experience.

Most photographers splashing the cash on a lens like this do so for its ability to produce attractive bokeh, and the Viltrox lens impresses on this front, especially for the price.

The 11-blade circular aperture delivers buttery smooth and circular bokeh in out-of-focus areas of dappled light, as you can see in the sample images. This kind of bokeh quality is the holy grail for pro portrait photographers, and it's now available in a lens that costs a fraction of the price of Nikon and Sony's own lenses.

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Daffodils at golden hour with dappled light in background

f/1.8 (Image credit: Tim Coleman)
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Daffodils at golden hour with dappled light in background

f/2.8 (Image credit: Tim Coleman)

The top-drawer optical quality, especially for the competitive price, cannot be overstated, and Viltrox has really given me something to think about. Would I buy this lens? Absolutely. I'll just hit the gym first, or upgrade my gear with the chunkier Z8 for better balance, or – more cost-effectively – the Z6 II battery grip.

Its weight and slightly sluggish autofocus are the only drawbacks to an otherwise flawless lens.

Should you buy the Viltrox 135mm f/1.8 LAB?

Buy it if...

You want a long portrait lens

The telephoto 135mm focal length is ideal for head-and-shoulder portraits and for isolating subjects.

You want top-drawer optical quality

Supreme sharpness, buttery smooth bokeh, excellent control of flare and lens distortions… optically this lens is essentially flawless.

You want a well-made lens

Build quality and handling (aside from the weight) are excellent – this is a lens that's built to last and which offers you all the controls you need.

Don't buy it if...

You want a lightweight lens for long shoots

Weight is the lens's Achilles heel – at 45.6oz / 1,235g, you'll only want to use it in short bursts.

You want class-leading autofocus performance

Autofocus speeds are slightly on the sluggish side, even if the end results are precise and reliable.

You like to include surroundings in your portraits

The 135mm focal length is designed to isolate a subject, with little room for including surroundings unless you're shooting from some distance.

How I tested the Viltrox 135mm f/1.8 LAB

  • Tested intermittently for a few weeks
  • Paired with a Nikon Z6 II
  • Used in a range of scenarios and at different times of day

I received the Viltrox 135mm f/1.8 LAB lens for Nikon Z-mount a few weeks ahead of its official unveiling on March 19, 2025. It's already available for Sony E-mount.

I've paired the lens with a Nikon Z6 II body, and used it in a range of challenging scenarios to test its optical quality. These situations included backlit portraits during golden hours, with the light dancing around the sun included in some photos.

I haven't yet had the opportunity to test the lens during inclement weather yet, so I can't comment on its weather-resistance credentials.

  • First reviewed March 2025
I played games with Alienware’s new 27-inch 4K OLED monitor and now I don’t want to see another LCD panel
4:14 pm | March 13, 2025
Author: admin | Category: Computers Computing Gadgets Monitors Peripherals & Accessories | Tags: , | Comments: Off

Alienware 27 AW2725Q QD-OLED: Two-minute review

Alienware 27 AW2725Q monitor resting on a desk playing C2077

(Image credit: Future)

The basic notion of a 4K gaming monitor based on Samsung's QD-OLED panel tech isn't new. But for 2025, it's been shrunk down from 32 inches to 27 inches. We give you the new Alienware 27 AW2725Q QD-OLED.

The new 27-inch version of Samsung's QD-OLED panel delivers the latest five-layer tandem OLED structure. However, apart from high pixel density, the rest of the specs look very familiar, including the 250-nit full-screen brightness, 0.03ms response and 240Hz refresh rate.

This monitor also debuts Alienware's new design language. Dubbed "AW30" and supposedly inspired by extraterrestrial phenomena and the Aurora Borealis, the reality is a lot of dark blue plastic, soft, curved shapes, plus the signature RGB-lit alien head logo.

However, if this isn't physically the most exciting looking monitor known to mankind, the new high-DPI OLED panel promises to be spectacular. Time to find out what it's actually like and where it ranks among the best gaming monitors in 2025.

Alienware 27 AW2725Q QD-OLED: Price & Availability

Alienware 27 AW2725Q powered off on a desk

(Image credit: Future)
  • How much does it cost? $899 / £TBC / AU$TBC
  • When is it available? Available now
  • Where can you get it? Available in the US with UK and Australia following in April

At $899, the Alienware 27 AW2725Q is currently $200 cheaper than Alienware's own 32-inch 4K OLED, the AW3225QF. That means there's some savings to be had from the smaller form factor.

However, that's only true within the Alienware ecosystem, as there are 32-inch 4K QD-OLED monitors using exactly the same panel as the 32-inch AW3225QF for pretty much exactly the same price as this 27-inch model.

Moreover, this remains an extremely expensive display for a mere 27-inch monitor. If pixel density is an absolute top priority, then it might just make sense. Otherwise, a 32-inch QD-OLED for similar money is surely more appealing. And if you really don't care about pixel density, 34-inch and even 49-inch ultrawides can again be had for a similar sticker price.

Alienware 27 AW2725Q QD-OLED: Design

Alienware 27 AW2725Q turned to the side

(Image credit: Future)

Aside from debuting Samsung's 27-inch 4K QD-OLED tech, the Alienware 27 AW2725Q is also rolling out Alienware's new AW30 design language. Alienware says it is "crafted to evoke a sense of mystery and transcendence." Frankly, that's a tiny bit hyperbolic.

Not that the Alienware 27 AW2725Q is a bad looking display. But the new AW30 design language isn't a comprehensive success. In this iteration, AW30 translates into mostly dark blue plastic that's infused with just a hint of metallic fleck. The shapes and design flourishes are soft and organic with a slightly dated 90s vibe.

Alienware 27 AW2725Q turned to the back to show Alienware monitor

(Image credit: Future)

Indeed, the signature RGB-lit alien head logo on the rear is the only obvious carry over from the previous Alienware aesthetic which, in all candour, we prefer. Overall, the look and feel isn't especially impactful or premium.

That said, it is well enough built and the AW2725Q boasts a fully adjustable stand and good ergonomics. What's more, for the most part those design considerations only apply to the rear of this monitor, which you generally aren't looking at. Up front, the slim bezels on three sides of the QD-OLED panel and glossy panel coating ensure it looks bang up to date.

Alienware 27 AW2725Q QD-OLED: Features

Back of Alienware 27 AW2725Q monitor, powered off

(Image credit: Future)

The star of the show is the new 27-inch 4K Samsung QD-OLED panel. It boasts Samsung's latest five-layer tandem OLED structure. In larger panel formats, it helps to increase brightness, but the very small pixels of this high-density display mean that brightness is essentially the same as previous QD-OLEDs.

Specs like the 240Hz refresh and 0.03ms response are likewise dead ringers for existing 32-inch 4K QD-OLED monitors. So, the main attraction here on paper is the 166DPI pixel density, which is far higher than the 109DPI of, say, a 27-inch 1440p monitor.

Ports underneath the Alienware 27 AW2725Q display

(Image credit: Future)

Elsewhere, this isn't the most highly specified monitor when it comes to connectivity. You do get both two HDMI 2.1 ports, plus DisplayPort 1.4, all of which will do the full 240Hz refresh rate. But there's no USB-C input and thus no facility for docking a laptop with this monitor and keeping it charged.

Still, there is a USB hub which you can hook up to your PC, which offers three USB-A and one USB-C downstream ports. For the record, the Alienware 27 AW2725Q is also covered by Dell's Three-year Advanced Exchange Service warranty which includes cover for OLED burn-in.

Rounding things out as you'd expect from this class of gaming display, there's support for Nvidia G-Sync and AMD FreeSync, plus Alienware Command Center, which is a Windows app that allows you to control some functionality from within Windows.

Alienware 27 AW2725Q QD-OLED: Performance

Alienware 27 AW2725Q monitor base

(Image credit: Future)

When this new class of 27-inch K QD-OLED was announced, it was pretty exciting, what with it using Samsung's latest five-layer tandem OLED tech. In practice, that aspect arguably underwhelms.

Not that the OLEDness here is anything less that you'd expect. Rather, it looks just like what you'd expect in terms of full screen brightness and peak HDR sizzle. This screen isn't a step on in that regard.

So, full screen brightness is adequate rather than excellent. That said, HDR performance in darker game scenes is just fantastic. There's a nighttime scene in Cyberpunk 2077 located on a gantry by a rocket that is the perfect illustration.

You get great detail in the shadows right next to the fluorescent light fittings that pop out with such intensity and precision. The glossy screen coating only enhances that sense of epic contrast. No LCD-based display comes even close, not even those with full-array local dimming.

Alienware 27 AW2725Q monitor powered on to display a scene from Cyberpunk 2077

(Image credit: Future)

Outdoor game scenes are less impressive, albeit still pretty good. Then there's the lightning fast pixel response. In fact, response is essentially a solved problem with these OLED monitors. The 240Hz refresh rate makes for very fluid visuals, too, plus excellent input latency. Of course, you'll need one heck of a graphics card to drive modern games at 4K, even with upscaling. But if you've got one, you'll love this monitor.

But what of the other key benefit, that high pixel density? On the Windows desktop, fonts look super crisp and sharp, despite the OLED panel's non-standard triangular pixel substructure. But in game? Honestly, there's not much subjective benefit compared to a 32-inch 4K OLED. And of course this screen is smaller and less immersive. If space is at a premium, then this 27-inch form factor is a clear benefit over a 32-inch option. Otherwise, we'd go 32-inch for the larger, more cinematic experience.

On a pair of final related notes, another area where this new-gen QD-OLED panel is essentially the same as previous generations is the purplish tinge to the panel itself in really bright ambient light. It slightly detracts from the sense of contrast and, again only slightly, undermines black levels. It's not a deal breaker, but is worth being aware of.

The other related issue is the color balance marginally tilted towards warmth. Again, it's not a major issue and for most people you'd barely notice it first and then quickly adjust to it if you have. But those who knowingly and clearly prefer a monitor with a truly neutral color temperature, it might be problematic.

Alienware 27 AW2725Q QD-OLED: Specs

Should I buy the Alienware 27 AW2725Q QD-OLED?

Buy it if...

You want a high-DPI OLED experience

At last, OLED panel tech is available with really good pixel density thanks to this new class of 27-inch 4K QD-OLED monitors.View Deal

You love HDR sizzle

When it comes to HDR visuals, no LCD monitor comes close to the high-contrast experience on offer from an OLED monitor with a glossy panel coating.View Deal

Don't buy it if...

You want stellar value

$899 for a 27-inch monitor is masses, even for one this good. That's especially true when a 32-inch 4K OLED can be had for the same price.View Deal

You like large, cinematic visuals

Here in 2025, a 27-inch monitor isn't exactly massive. For a really immersive experience, a 32-inch 4K model would be better, as would 34-inch or 49-inch Ultrawides.View Deal

Also Consider

Alienware AW3225QF

This 32-inch 4K QD-OLED is a little more expensive. But then it's larger and more immersive. Uniquely among the 4K 32-inch OLEDs on the market, this monitor is curved.

Read our full Alienware AW3225QF reviewView Deal

MSI MPG 491CQP

Hard to believe, but this massive 49-inch QD-OLED monitor isn't all that much more expensive. The pixel density is much lower, but the immersion levels are off the map.

Read our full MSI MPG 491CQP reviewView Deal

How I tested the Alienware 27 AW2725Q QD-OLED

I ran the Alienware 27 AW2725Q QD-OLED as my primary display for a week. I used it for absolutely everything including getting stuff done for work, watching YouTube and movies and, of course, games.

I've reviewed just about every OLED gaming monitor out there, and certainly every panel type, so this new class of 27-inch 4K QD-OLED is particularly interesting. Assessing things like full screen brightness is critical, as is getting to grips with the high-DPI experience.

I was also keen to double check that this new OLED was up to scratch for metrics like pixel response and latency while delivering that signature OLED HDR experience. Checking out Alienware's new design language was intriguing, too.

First reviewed March 2025

Canon EOS R1 review: a five star high-speed powerhouse for pros, with a sky-high price
4:00 pm | January 25, 2025
Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: , | Comments: Off

Canon EOS R1: two-minute review

The Canon EOS R1 follows design conventions passed down from professional high-speed DSLR cameras, such as the EOS 1D X Mark III, in that it also features a built-in vertical grip and high-capacity batteries for extended shooting times, complete with seriously impressive high-speed shooting capabilities. If you want a no holds barred camera for sports and wildlife photography, this is the speediest Canon camera on offer.

Its flagship features, functionality and performance excel for the rigors of pro press photography – the few that might actually be able to afford the EOS R1's eye-watering price tag will consequently be equipped for demanding jobs with one of the best Canon cameras currently available.

Canon EOS R1 mirrorless camera in the hand with a basketball court background, under the lights

(Image credit: Future | Tim Coleman)

The camera sports a 24.2MP full-frame BSI stacked CMOS sensor and can capture photos at up to an incredible 40fps, plus 6K raw video at up to 60fps. There's also a slew of useful features including the ability to capture bursts of JPEGs while shooting Full HD video, but we'll cover those in more detail later.

Autofocus is fast and accurate with up to 4,368 AF points depending on the AF mode selected, and the in-body image stabilization (IBIS) is amazing and highly effective, so you can rest assured you have a camera that works for you. The biggest issue with the EOS R1 is the cost, which will put it out of the reach of many photographers, and it's certainly more camera than any enthusiast could ever need.

Canon EOS R1: price and release date

  • Expensive at $6,299 / £6,999 / AU$10,499
  • Body only with no kit options
  • Available now

The EOS R1 was announced in July 2024 and is available now with a body-only price of $6,299 / £6,999 / AU$10,499. This is, of course, expensive, and will put the camera out of the reach of even many professional photographers. This is a similar price, however, to the EOS 1D X Mark III – the quickest DSLR ever made – so with inflation that's pretty impressive.

As a camera designed for professional photographers, some of whom will inevitably be EOS 1D X Mark III owners, the EOS R1 works incredibly well with adapted EF DSLR lenses. For professionals with plenty of expensive EF L-series glass, this softens the financial blow because they can be confident that they won't have to upgrade all of their glass to RF lenses all at once.

Naturally, using native lenses will be preferable to most photographers, but the ability to only need to do this as and when the natural upgrade cycle completes is incredibly useful. Even professionals, who spend more on photo kit than the average enthusiast will appreciate this.

  • Price score: 3.5/5

Canon EOS R1: specs

Canon EOS R1: design and handling

  • Built-in vertical grip mirrors the camera's regular control layout
  • Versatile articulating LCD screen
  • Generously large viewfinder is easy to use

In terms of the overall design, the EOS R1 looks every inch a professional camera thanks to its built-in vertical grip for horizontal and vertical shooting. There are dual CF Express Type B card slots on one side of the camera, while on the other you'll find the physical ports which include USB-C, Ethernet, HDMI, mic, headphones and PC sync for flash. The EOS R1 also offers Bluetooth and WiFi connectivity.

Surprisingly, the EOS R1 isn't overly cumbersome despite its large and hefty size – that's 6.2 x 5.88 x 3.43in / 157.6 x 149.5 x 87.3mm with a weight of 2.7lbs / 1,115g, including a battery and memory card (but no lens), which is largely thanks to the well-contoured vertical and horizontal grips, plus the new camera coating that provides a secure grip. The camera also balances well with both smaller lenses and larger telephotos. Overall build quality is excellent as you'd expect for a professional camera.

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Canon EOS R1 top plate with OLED screen

(Image credit: James Abbott)
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Canon EOS R1 rear view with LCD screen hidden

(Image credit: James Abbott)
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Canon EOS R1 rear view with LCD screen showing camera menu

(Image credit: James Abbott)
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Canon EOS R1 dual memory card slots

(Image credit: James Abbott)
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Canon EOS R1 Side view of ports

(Image credit: James Abbott)

One of the immediate differences you notice when compared to mid-range cameras such as the EOS R6 Mark II, and even the EOS R5 Mark II, is the sheer number of direct access controls on offer. The AF-ON button serves a dual purpose in that it offers two programmable functions with the sensor in the center allowing you to use swipe actions with your thumb to move around zoomed images or to adjust autofocus, for example – it's a slick design feature.

Having many direct access controls is standard for high-end professional cameras like the EOS R1, because you don't want to otherwise be scrolling through menus to find and make adjustments when in fast-paced shooting environments. Also, many controls are duplicated on the vertical grip so you can enjoy the same level of convenience and comfort when shooting in both formats.

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Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
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Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
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Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
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Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
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Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
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Canon EOS R1 mirrorless camera with red brick background

(Image credit: Future | Tim Coleman)
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Canon EOS R1 mirrorless camera 's battery

(Image credit: Future | Tim Coleman)
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Canon EOS R1 mirrorless camera in the hand, no lens attached

(Image credit: Future | Tim Coleman)

On the rear, you'll find the 2.1m-dot 3.2-inch articulating touchscreen which is useful because it can be positioned in many ways. But it's the generously large, almost cinema-like, 9.44m-dot viewfinder that truly caught my eye. Not only is the viewfinder window large, but so too is the immersive EVF screen itself.

The EOS R1's menu system is intuitive and easy to navigate, but like most cameras these days there are so many options available, including button customization, and so it'll take some time to full familiarize and set up the camera for your shooting needs. Some features do require you to delve into the menu to switch them on or off, despite all of the direct access controls, but this approach is standard for all cameras.

  • Design score: 5/5

Canon EOS R1: features and performance

  • Dual processors deliver Canon's best-ever speed, including 40fps continuous shooting
  • Advanced autofocus with dedicated sports modes and face recognition

The EOS R1 features a new high-speed 24.2MP full-frame BSI stacked CMOS sensor that reduces rolling shutter at the expense of a slight reduction in dynamic range. This reduction certainly wasn't noticed shooting a range of subjects during testing.

The sensor is powered by dual processors: the DIGIC X and the DIGIC Accelerator. These processors allow for large volumes of data, fast image capture, fast AF and produce excellent image quality, as well as facilitating the Deep Learning technologies for in-camera image upscaling and noise reduction.

The EOS R1 is packed with so many features that it's impossible to cover them all, but there are undoubtedly some that stand out from the crowd. The EOS R1 is a camera designed for speed and can capture raw files at up to 40fps with the electronic shutter enabled, or 12fps with the mechanical shutter active. The mechanical shutter extends to 1/8000 sec while the electronic shutter pushes further to a lightning-fast 1/64,000 sec.

Canon EOS R1 with 85mm f/1.2 attached

(Image credit: James Abbott)

Autofocus is incredible; it's fast, accurate and intelligent in maintaining the EOS R1's focus on speed. During testing when photographing seals on a beach, the subject detection worked flawlessly to identify eyes and faces with near-perfect accuracy, even though obstacles were sometimes present in the frame.

The AF system uses Canon's Dual Pixel Intelligent AF where subjects are accurately tracked, while Canon says it's able to identify faces and bodies. There's also subject detection, which works incredibly well, while cross-type AF makes focusing more precise and effective, even in low light and low contrast situations.

Canon EOS R1 with 15-35mm f/2.8 lens attached

(Image credit: James Abbott)

There's also a new Action Priority mode that according to Canon recognizes movements in basketball, soccer and volleyball while tracking the ball and switching between subjects as the action unfolds. I didn't personally have the opportunity to test Action Priority, but TechRadar's Cameras Editor Tim Coleman did during the camera launch, and the sentiment is that Action priority has game-changing potential for sports photographers.

Then there's eye-control AF, which, as the name suggests, tracks the movement of your eye and where you're looking in the viewfinder as a guide to position the active AF point(s). Eye-control AF has to be configured via the camera menu. Again, Tim Coleman has written a dedicated feature about Eye-control AF.

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Basketball player, shot with the Canon EOS R1

Before the basketball game started, I took a portrait of this player and selected him as the player for the EOS R1 to prioritize as the primary subject to focus on. (Image credit: Future | Tim Coleman)
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Basketball player, shot with the Canon EOS R1

After doing this, the hit rate of sharply focused photos on the player was virtually perfect. (Image credit: Future | Tim Coleman)
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Basketball player, shot with the Canon EOS R1

The EOS R1 is able to do this subject priority trick for up to 10 faces. (Image credit: Future | Tim Coleman)

Another interesting and useful feature is pre-continuous shooting which, when enabled, allows the camera to buffer 20 frames while the shutter button is halfway depressed. When you fully release the shutter button, the buffered frames are also captured to provide a greater hit rate in fast-paced situations when your reactions might not be up to speed.

20 frames equates to half a second of pre-capture when shooting at the maximum frame rate. This is great, of course, but isn’t a feature you'd want to use all of the time because of the sheer number of frames you'd be capturing and needing to edit.

  • Features and performance score: 5/5

Canon EOS R1: image and video quality

  • Excellent high ISO handling
  • AI-powered upscale and noise reduction
  • Up to 6K Raw video

EOS R1 images are beautifully sharp, which can in part be attributed to the new low-pass filter that reduces moire and false color alongside maintaining sharp detail. Image quality is excellent with raw files naturally providing the greatest degree of flexibility. JPEGs are also fantastic out of camera which will undoubtedly appeal to press photographers delivering images directly to picture agencies.

JPEG color profiles can be tweaked with custom profiles so photographers can adjust settings such as brightness and contrast. The Standard profile provides great results but images can be further improved using levels to adjust the black and white points in Photoshop. Colors are pleasing and Canon has long been well respected for its color science, so there are no complaints here.

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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)

A feature within the camera is AI-powered upscaling and noise reduction. These are frustratingly only available for JPEGs and the former increases file sizes 4x to 96MP. Fine details are preserved while color and contrast are maintained, but it's a shame that this functionality isn’t available for raw files. Adobe users, however, can take advantage of Super Resolution to increase raw files by the same factor.

Noise reduction certainly works but the closer you get to the maximum ISO within the camera's standard range, the less effective the results are.

AI upscaling example

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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens showing AI upscaling from original JPEG

AI upscaled JPEG with original photo inset (Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens

Full AI upscaled photo (Image credit: James Abbott)
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Seal on a beach shot with the Canon EOS R1 and 200-400mm lens 100% zoom of an AI upscaled JPEG

100% crop of the AI upscaled photo to show detail (Image credit: James Abbott)

Video is a major component of the EOS R1 too, with the ability to capture 6K 12-bit raw video in-camera, up to 60fps. 2K and Full HD video can be captured at up to 240fps, while 4K is available up to 120fps. Canon C-Log flat color profiles are also available alongside the ability to capture proxy video to one memory card, with full-resolution files recorded to the other.

This is all just the tip of the iceberg but gives you an idea of what the EOS R1 is capable of. Plus, a video feature that could be useful for hybrid press photographers is the ability to capture Full HD video and 17MP JPEGs at 10fps at the same time when the Dual Shooting function is switched on.

  • Image and video quality score: 5/5

Canon EOS R1: testing scorecard

Should I buy the Canon EOS R1?

Buy it if...

You're a pro sports, wildlife or press photographer
The EOS R1 is aimed squarely at sports, wildlife and press photography, with features and functionality that make image capture and delivery in these situations highly efficient.

You need fast continuous shooting
If a maximum frame rate of 40fps will enhance your photography, alongside pre-capture buffering of 20 frames, the EOS R1 will help you to capture the decisive moment and then some.

You'd like exceptional autofocus
The autofocus system employed by the EOS R1 is excellent and sets a new bar for AF technology when it comes to capturing sharp images of fast-moving subjects in complex situations.

Don't buy it if...

You need a higher resolution
Despite in-camera JPEG upscaling to increase resolution by 400%, the EOS R1's true resolution is 24.2MP, and there are plenty of alternatives that produce higher resolution raw files and excellent image quality.

You don’t require speed
Not all photographers require the level of speed on offer here, such as landscape and portrait photographers. The EOS R1 is also heavy and bulky for landscape photography with more suitable cameras available.

You're not a professional
Of course, anyone with deep pockets can buy the EOS R1, but unless you’re a professional working in specific areas of photography, it's much more camera than you will ever need it to be.

Canon EOS R1: also consider

Nikon Z9

The Nikon Z9 is a few years old now but it continues to match flagship cameras from competitors thanks to impressive performance, speed and its 45.7MP sensor. It only uses an electronic shutter, but to fully experience the EOS R1's speed of capture this is the shutter type you have to use in any case.

Read our in-depth Nikon Z9 review

Canon EOS R5 Mark II

The Canon EOS R5 Mark II was launched alongside the EOS R1 and offers many of the same features and functionality in a smaller and less expensive body. What's more, the control layout is similar and the EOS R5 Mark II offers a higher resolution 45MP BSI stacked sensor.

Read our in-depth Canon EOS R5 Mark II

Sony A9 III

Believe it or not, the Canon EOS R1 isn't the out and out fastest camera around – that award goes to the Sony A9 III, a flagship camera for sports that we called 'the high-speed camera to beat'. A true design innovation, the A9 III is the first camera of its kind with a global shutter which, among other things, realizes burst shooting speeds up to 120fps, plus extremely fast shutter and flash sync speeds. It's also Sony's best designed camera yet, though you'll want the optional grip to bulk it out like the EOS R1 when using telephoto lenses.

Read our in-depth Sony A9 III review

How I tested the Canon EOS R1

James Abbott shooting seals with the Canon EOS R1 and 200-400mm lens

(Image credit: James Abbott)
  • I had the EOS R1 for a couple of weeks, along with three Canon lenses
  • I captured a range of subjects, from wildlife to landscapes
  • I tested Canon's in-camera Deep Learning features such as upscaling

I mainly tested the Canon EOS R1 for shooting wildlife, but also to capture landscape and night photography, and I had three Canon lenses to choose, including the RF 85mm F1.2L USM and RF 200-800mm F6.3-9 IS USM. It might not be the obvious choice for landscape photography, given it is heavy and bulky, but I gave it a go none the lens and it performs exceptionally well in this situation too.

I tested as many features and functions as possible were tested, with my main focus being the speed of the camera's autofocus and continuous burst shooting. It was also important to familiarize myself with the control layout so the camera could be used as if it were my own.

I also tested Canon's in-camera 'Deep Learning' features in order to provide a thorough overview of the camera in terms of professional image capture.

First reviewed January 2025

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