I've tested plenty of the best camera bags over the last 15 years (seriously, I've got quite the collection), but only recently got my hands on Wandrd gear for the first time. Of course, I had to start with the established American accessory maker's best-selling PRVKE, which is now in its V4 version.
It's a stylish roll-top backpack, available in seven muted colors and three sizes, with an optional cube insert designed to stow camera gear.
Wanting a slimline day pack, I opted for the mid-size 21L version in 'Sedona Orange' – the boldest look of the lot – with the cube insert. There's an even smaller 15L version (the only size in the range with the camera compartment built-in) or a larger 31L size. Wandrd has seemingly ditched the 41L size from the previous version of the PRVKE.
I also picked up the D1 fanny pack (also in Sedona Orange) at the same time, to complement the bag for essentials.
(Image credit: Tim Coleman)
What I particularly appreciate about the PRVKE V4 is how good it looks without the usual camera bag tell-tale signs. No, this looks like a regular roll-top bag that I see so often on commuter trains in the UK, and a particularly stylish one at that.
Inside, however, I could pack several thousand dollars/pounds worth of camera gear (in the 'Essential Camera Cube'), squeeze in my 17-inch MacBook Pro, and fill a number of the small zipped pockets with accessories such as charging cables.
And there's still space in the open third at the top, which is accessed through the roll-top, for day items such as a sweater and tupperware container.
It took me a little while trying out the various compartments with my gear, seeing what combinations would easily fit in the cube, and at first, I wasn't convinced I had picked the right size for my mid-range mirrorless camera and lenses.
However, with a little endeavor, I squeezed in my mirrorless camera with lens attached, an additional lens, and various accessories, including a small LED light panel.
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I've happily used the PRVKE V4 21L for commuting and day trips, although it'd be a stretch using it for a weekend – I reckon the 31L version (which I haven't tried but has the same layout) would be ideal for that.
The PRVKE V4 truly looks the part – I really like the wide choice of muted colors it's available in, which now total seven in all, especially the orange that I went for – but it's also practical too.
The shoulder straps and back are lined with a padded mesh, making a long day of lugging gear a comfortable experience.
On one side, a stretch pocket easily holds a water bottle or tripod, with an additional strap to secure taller items. On the other side, a zip pocket accesses where the cube sits – directly to your camera gear. Not all of today's discreet camera bags offer such direct access to gear, so points to the PRVKE V4 there.
I like the handle on the top, too, with the two straps fixing to each other magnetically. They make picking up the bag a breeze, as does the additional handle on the back, which can conveniently slot over a suitcase handle for air travel.
(Image credit: Tim Coleman)
The PRVKE V4 is not quite perfect, mind you. I found dirt a little sticky on the smooth back of the bag, and the roll-top design isn't the most weatherproof. I don't think all of the pockets are necessary either, but that might not be true of the next person.
It's also a shame that the key camera gear accessory – namely the cube insert – is a pricey extra for what is already a relatively expensive bag (15L aside, which has the camera compartments fixed in place).
Overall, these are minor drawbacks for what is clearly a well-designed backpack. I can easily see myself relying on the 21L bag for days out, commuting, and, with the cube removed, even a weekender pack. If you want a weekend bag with camera gear, I'd recommend the 31L version instead.
There's a reason the PRVKE has proved such a hit these last few years, and now, in its updated V4 form, I'm glad to have joined the party. This will no doubt be my go-to day bag for the foreseeable future.
Wandrd PRVKE V4: price and availability
Available in 15L, 21L and 31L versions
There are seven muted colors to choose from
Prices start at $234 / £207 (Australia availability and pricing vary), the camera cube costs extra
The Wandrd PRVKE has been available for a number of years, and this review is of the current V4 version.
The PRVKE V4 can be purchased in one of seven muted colors at the Wandrd store: Black, Aegean Blue, Wasatch Green, Yuma Tan, Sedona Orange, Rhone Burgundy, and Atacama Clay. It's available in three sizes: 15L, 21L, and 31L – the smallest is the only one to feature a camera gear compartment. Here's a breakdown of the prices:
The 15L version costs $279 / £246 (no need for an optional cube insert), the 21L bag only is $234 / £207, and the 31L bag only is $254 / £224.
The Photography bundle includes the Essential Camera Cube and adds $85 / £74 to the cost of the 21L and 31L versions, while the Pro photography bundle includes the larger Pro Camera Cube and add $120 / £105 to the cost. Those accessory prices are a little steep in my opinion.
The former version of the PRVKE bag also came in a larger 41L version, which is still available at various retailers for around $273 / £242.
17 x 11 x 6.25in / 43.2 x 27.9 x 15.9 cm (21L version)
Weight
2.98lbs / 1.3kg for the 21L version
Laptop sleeve
13.5 x 9.75 x 1in / 34.3 x 24.8 x 2.5cm
Should I buy the Wandrd PRVKE V4?
(Image credit: Tim Coleman)
Buy it if...
You want a stylish camera bag There's no sacrifice on style here – the PRVKE V4 is an attractive roll-top style backpack, in a wide range of colors.
You're wanting a casual day or weekend bag It's well made, but not the bag you'd take on extreme outdoor shoots. This is a more of a day or city break kind of pack.
Don't buy it if...
You're stowing large gear Even the largest 31L version will struggle to hold super telephoto lenses and such gear. The older PRVKE comes in a 41L version, though.
You're wanting a camera gear-only bag The PRVKE is more your day bag for a mixture of camera gear and regular items.
Also consider
Peak Design Everyday Backpack V2
The Wandrd PRVKE V4 and Peak Design Everyday Backpack V2 share many similarities – they are similar in capacity and offer direct side access to camera gear. However, the PRVKE V4 is better for style and as a general bag, while the Peak Design offering is better suited as a dedicated camera bag, plus it costs less given the camera insert is included.
I had the 21L version of the PRVKE V4, with the 'Essential' cube insert
I used the PRVKE for over a month, mainly as a day or weekend bag
Wandrd arranged a long-term loan of the PRVKE bag for me – the 21L version with cube insert.
I've used the PRVKE as my primary bag for commuting, simple day trips, and the occasional weekender.
It has stored a range of my camera gear – from mid-range mirrorless models with a couple of lenses, to smaller vlogging gear with a range of accessories such as LED lights. I've also stored a 17-inch MacBook Pro inside.
Throughout my testing, the bag has been subject to inclement weather and used in a range of environments, including large cities. This is a true long-term review.
Cast your mind back to 2013 and Sigma had just brought out its 18-35mm f/1.8 DC HSM | Art lens – the world’s first zoom with a fast, constant f/1.8 aperture – and was set to revolutionize the photography industry.
Over a decade since that lens pushed the boundaries of what a zoom lens could do, the world's largest independent lens manufacturer has gone one better with the Sigma 17-40mm f/1.8 DC | Art, which like its predecessor boasts a constant and bright f/1.8 aperture and promises to deliver exceptional image quality comparable to a prime, but with an expanded zoom range, all while being more than 30% lighter than its predecessor.
The lens is specifically designed for mirrorless cameras with an APS-C sensor and is available in L-mount, Sony E, Fujifilm X, and Canon RF versions. I've spent a month testing an E-mount version of the lens mounted on a Sony A6700, to see if this optic really can do the job at least three primes.
The TLDR is that it absolutely can, and I thoroughly enjoyed hitting the streets to use it for all sorts of photography, from city shots to portraits, shallow-depth-of-field still-life shots, and even low-light scenes like traffic trails and stars.
(Image credit: Future / Dan Mold)
While the 17-40mm f/1.8 DC | Art builds on its predecessor in pretty much every way, it's not free from faults. It's an APS-C lens with a smaller imaging circle, so it's less future-proof if you upgrade to a full-frame camera later down the road. It's also very expensive, and costs significantly more than its predecessor did back in 2013.
If money is no limit, and you love to shoot at a range of wide-angle focal lengths while also having the versatility of a fast f/1.8 aperture, this is the lens for you, providing you shoot on an APS-C mirrorless body. However, if you're on a stricter budget, and prefer smaller lenses and don't mind switching between them, then you may be better off with one or two cheaper prime lenses instead – provided you're not shooting weddings and other events where you may have less time to swap your optics over.
Sigma 17-40mm f/1.8 DC | Art: Price and availability
Priced at $919 / £779 / AU$1,650
Lens hood included
Announced in July 2025
The Sigma 17-40mm f/1.8 DC Art costs $919 / £779 / AU$1,650. That’s more than Sigma’s original 18-35mm f/1.8 DC HSM Art, which retailed for $799 / £699 (around AU$1,150) at launch. However, this higher price is to be expected given more than a decade of inflation since then, and tariff increases have likely impacted US pricing too. Regardless, I think the extra money is justified in the US and UK by the suite of upgrades that come with the new and improved version.
It’s difficult to say exactly who this lens is for, as I personally found it a bit frustrating with it either being not wide enough or not telephoto enough for my shooting style, though as someone who regularly likes to shoot with 35mm prime lenses, there were times when the extra versatility from its small zoom range was welcome. It is a bit like a souped-up kit lens, but one that costs significantly more.
If you’re on a tighter budget, and not fussed about that wide f/1.8 aperture, or you’re looking for something a bit more portable for your everyday carry lens, then the Sigma 18-50mm f/2.8 DC DN Contemporary would be a better choice. Similarly, if you don’t want a zoom and simply want a smaller prime lens there are options like the Canon RF 35mm f/1.8 IS Macro STM that are lighter, smaller and a little bit cheaper, too. So it really comes down to what you want to use the lens for.
However, for events and wedding photographers shooting with APS-C bodies I can see this lens being a game changer, giving those photographers extra focal length options and a fast f/1.8 aperture when they may not have the time to change lenses.
Sigma 17-40mm f/1.8 DC | Art: Specs
Sigma 17-40mm f/1.8 DC | Art specs
Type:
Wide-angle zoom
Mount:
L-mount, Sony E, Fujifilm X, Canon RF
Sensor:
APS-C
Focal length:
17-40mm (25.5-60mm effective on Fujifilm, Sony & L-mount, 27.2-64mm on Canon RF)
Max aperture:
f/1.8
Minimum focus:
0.28m
Filter size:
67mm
Dimensions:
72.9 x 115.9mm
Weight:
18.8oz / 535g
Sigma 17-40mm f/1.8 DC | Art: Design
Some degree of weather-sealing, usually saved for more premium Art lenses
Combines a versatile zoom range with a fast f/1.8 maximum aperture
Switches on the lens barrel to control AF/MF and iris ring functions
Much longer than most prime lenses with a length of 115.9mm
The Sigma 17-40mm f/1.8 DC Art lens improves on its predecessor in virtually every way. Not only is it 34% lighter, tipping the scales at 18.8oz / 535g, it’s also 6.5% leaner in diameter and 4.2% shorter in length. Despite being a skinnier and lighter model it manages to pack in a 2.35x optical zoom, with a more expansive focal range of 17-40mm, whereas the original 18-35mm fell just shy of 2x optical zoom, so the overall zoom range has been expanded by roughly 18%.
As in the 18-35mm f/1.8 the optical design comprises 17 elements, but there’s one fewer aspherical and one fewer SLD (Special Low Dispersion) elements this time around, meaning there’s a total of three aspherical and four SLD elements inside the barrel.
The aperture has been upgraded however, and instead of the old nine-bladed design, we now have a more premium 11-bladed design, which should deliver better-rounded bokeh.
Measuring 115.9mm tall, the Sigma 17-40mm f/1.8 DC | Art is substantially longer than primes like a 35mm f/1.8 or 50mm f/1.8 so it's not quite as compact, though it does the job of several primes between 17mm and 40mm so it's the price you have to pay (Image credit: Dan Mold)
The rear mount is brass and also weather sealed, confirming the dust and splash-proof credentials of the optic. The lens is available to fit L-mount, Sony E, Fujifilm X and Canon RF, and factoring in the 1.5x crop factor of APS-C sensors the lens will behave much more like a 25.5-60mm, with the exception of Canon cameras, which have a 1.6x sensor crop and with which the lens will be have a slightly tighter perspective at 27.2-64mm.
On the outside of the lens barrel are the zoom and focus rings, which are a decent size and have a knurled rubber finish, making them very grippy and comfortable to use. Because this new lens is designed for modern mirrorless cameras it has an electronic fly-by-wire focus ring rather than a mechanical one, and this also means we’ve lost the focus distance window on the top. Both rings turn smoothly and are easy to operate.
An iris ring is featured on the L-mount, Sony E and Fujifilm X versions, though this is replaced by a Control ring on the Canon RF version. There's also two customizable focus hold buttons on the lens barrel (Image credit: Dan Mold)
A third ‘iris’ ring sits closest to the lens mount and is for controlling the aperture. This also has a lock to keep it securely in the ‘A’ position if you prefer not to use it, and there’s also a switch to enable or disengage the click – videographers will likely prefer the smoother declicked option when recording footage. It’s also worth noting that on the Canon RF version this is instead a Control ring which can be assigned custom functions for all sorts of settings, including but not limited to aperture.
The zoom is internal, so the lens remains compact and doesn’t rack out when zooming in or out. The throw from 17mm to 40mm on the zoom ring is also quite short, and certainly less than 90 degrees, so you can zoom fully in or out very quickly.
Also on the barrel is a switch to control AF/MF, and there are two AF-L buttons for holding focus, though these can be assigned different functions via the menu.
The lens is dust and splash resistant and a rubber gasket around the rear mount shows the lens has weather sealing (Image credit: Dan Mold)
Heading to the front of the lens we see the front element, which isn’t overly large considering it has a wide f/1.8 max aperture, and this is also where you’ll attach the 67mm screw-in front filters. The front element also has a water- and oil-repellent coating to make it more durable in harsh outdoor environments.
Also in the box is a LH728-02 petal-shaped lens hood, which is part plastic and part rubber for a premium feel, and also has a nice chunky button to lock it in place and release it. This fits on the lens backwards to take up less space when not in use.
Sigma 17-40mm f/1.8 DC | Art: Performance
Chromatic aberration and flare handled well
Bright f/1.8 aperture makes it great for low light and blurry backgrounds
Corner details a little soft and vignetting at f/1.8 but cleared up by f/2.8
Autofocus is fast, quiet and accurate
When it comes to assessing performance, we first need to consider who the Sigma 17-40mm f/1.8 DC lens is for. It clearly excels in low light with its fast maximum aperture of f/1.8, though its wider focal range of 17-40mm makes it a bit too wide for portraits, so it’s likely to be better suited to indoor events, astrophotography, and perhaps as a wide option for wedding photographers who don’t have time to switch lenses and need its versatility.
It is designed for use with APS-C cameras, which means its imaging circle is too small for full-frame cameras, with which you would see a pronounced vignette. That said, you can still pair the lens with a full-frame camera using the camera’s APS-C crop mode. The downside to this approach is that you won’t be making the complete use of the sensor – effectively throwing away pixels.
I took the lens out around London for several days, using it as my main lens for street photography. In this setup I found it to be a little on the large side, not in terms of width, but in overall length – it’s easily twice the length of, say, myCanon RF 35mm f/1.8 Macro IS STM. This made it more difficult to keep a low profile and take candid shots of people going about their lives without me being noticed, though this is the cost of having a more versatile zoom range.
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With its focal length of 17-40mm it’s fair to compare the lens to an 18-55mm kit lens, but with a little less telephoto power – it falls frustratingly short of that magical 50mm focal length which works wonderfully well with a wide aperture of f/1.8 for wider mid-length and head-and-shoulders portraits.
With all that being said, it is a big step up from the old 18-35mm f/1.8 DC HSM Art lens – the new version is 34% lighter, 6.5% shorter and 4.2% thinner, all while boasting two more aperture blades and being able to focus 2cm closer. While these may sound like minor updates, when combined they make the lens feel like a big upgrade overall.
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On to image quality, and I have to say that considering its broad zoom range and constant f/1.8 maximum aperture I was quietly impressed. Corners were a little soft and showed some vignetting when shooting wide open at f/1.8, though this was pretty much cleared up by f/2.8 and was easy to fix in software. Impressively, there was very little sign of chromatic aberration, and flare was handled well when shooting towards the sun.
There is a little barrel distortion around the edges when shooting at the wider focal lengths, which as expected starts to disappear as you zoom in – at 40mm the distortion has completely vanished. What distortion there is is very minor and testimony to the new lens element construction, and the in-camera lens corrections do a good job at ironing this out, though further correction can be applied in post-production to straighten out vertical lines more.
Autofocusing was a joy thanks to the High-response Linear Actuator motor, with the lens being very speedy, silent and reliable in achieving focus even in low light.
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Should you buy the Sigma 17-40mm f/1.8 DC | Art?
Buy it if...
You own an L-mount, Sony E, Fujifilm X or Canon RF APS-C body
The Sigma 17-40mm f/1.8 DC | Art is designed with a smaller imaging circle for APS-C mirrorless camera bodies
You need both speed and zoom
This Sigma lens has a unique combination of a versatile 17-40mm zoom range as well as a fast constant f/1.8 aperture which means it can do the job of several prime lenses
You want to blur backgrounds
With its f/1.8 maximum aperture you can throw backgrounds into a blur with a shallow depth of field easily
Don't buy it if...
You're looking for a small, portable prime
The Sigma 17-40mm f/1.8 is roughly twice as long as many 35mm f/1.8 or 50mm f/1.8 primes, so if portability is your main priority you'll likely be better off with a prime lens
You're on a budget
The Sigma 17-40mm f/1.8 DC | Art is very expensive at £779 / $919US making it much more expensive than the usual nifty-fifty prime lenses that usually cost between $100-300
You own a full-frame mirrorless body
The Sigma 17-40mm f/1.8 DC | Art has a smaller imaging circle for APS-C camera bodies and while it can be used on full-framers in crop mode, you won't be making the full use of that larger sensor. This also means it's not a very futureproof lens if you eventually upgrade from APS-C to full-frame at a later date, tooView Deal
How I tested the Sigma 17-40mm f/1.8 DC | Art
I used the Sigma 17-40mm f/1.8 DC | Art extensively for a whole month and regularly took it out on day trips around busy cities in both day and night
I paired it with the Sony a6700 APS-C body as well as a Sony a7R IV full-frame body in crop mode – both of which delivered 26MP stills
I took shots at all focal lengths and apertures of cities, sunsets, low light scenes, stars and more
I got hold of the Sigma 17-40mm f/1.8 DC | Art and Sony A7R IV and A6700 bodies for a month to give the lens a thorough testing over an extended period.
Due to its small size and portability the lens quickly became my go-to option when I needed to bring a camera with me for days out around cities such as London, where I shot everything from landscapes to cityscapes, sunsets, astro and still life shots.
I took a range of pictures with in-camera lens corrections enabled and also turned off to see the comparison. I also shot in RAW and JPEG formats and shot at all of the various apertures to gauge how things like corner sharpness and vignetting changed throughout the aperture range.
Timelapse cameras are specialist devices designed to do one job, and that’s to capture timelapses over short and long periods, as long as months or even years, and in all weather and lighting conditions. There are a handful of these specialist models available, and one that's a definite contender to top our list of the best timelapse cameras is the Enlaps Tikee 4.
This rather strange-looking camera can capture up to 6K timelapse videos with a 220-degree view captured across two cameras and lenses. Photos are then combined into a video after you upload the image files to the myTikee website. What’s more, if the camera is connected to a Wi-Fi or LTE network you can control the camera, access images, and process timelapse videos remotely.
This is one of the easiest timelapse cameras to use, both in terms of capture and processing. The camera is point-and-shoot, so the most involved part of the capture process is setting up the project interval – and actually this is incredibly easy. Without Wi-Fi or LTE, you can connect to the camera using the Tikee Remote app over Bluetooth, although functionality is reduced compared to the other connection methods.
The Tikee 4 costs $2,215 in the US for the camera only. For UK and Australian buyers the Tikee 4 is priced in euros at €1,590, which converts to around £1,400 / AU$2,800 at the time of writing. The Tikee 4 Pack, which is a comprehensive kit including a hard case, mounting adaptors, a microSD card and other accessories, costs $3,169 or €2,298, which is around £2,000 / AU$4,000.
You’ll also need a myTikee subscription to take full advantage of the myTikee website, and the most useful option for most people costs $96 / €104 plus VAT per month.
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Enlaps Tikee 4 specs
Enlaps Tikee mini+ specs
Type:
2x Sony 12MP 1/2.3-inch sensors
Lens angle of view:
220 degrees
Aperture:
f/2.8
Interval times:
5 sec–24 hours
Connectivity:
LTE, Wi-Fi, Bluetooth
Camera dimensions:
7.87 x 7.87 x 2.76 inches / 200 x 200 x 70mm
Camera weight:
3.53lbs / 1.6kg
Enlaps Tikee 4: Design
Compact considering its features
Built-in solar panel
Unique design
The Tikee 4 looks pretty much identical to previous models; it’s a tried and tested design that works, so it appears that Enlaps hasn’t felt the need to change it. It's a bold move in some ways, but why waste time redesigning the exterior when it’s the hardware itself that makes the difference? The overall design is unique, but it works extremely well, and it means the Tikee 4 can be left to work in even remote locations.
The overall design is simple, with the square 7.87 x 7.87 x 2.76-inch / 200 x 200 x 70mm body having two cameras on the two front corners of the camera body, and a solar panel on the top that can be left flat or angled for the best results. The design is simple, minimalistic even, with all operation via the Tikee Remote phone app or the myTikee website. The camera weighs 3.53lbs / 1.6kg, so it’s around the same weight as a full-frame mirrorless camera and standard zoom.
With this simple design, there are two buttons on the rear, a microSD card slot, a USB-C port, a micro SIM slot and a power connector. The power connector design makes it waterproof, and you can attach the Tikee 4 to the mains or to a larger, separately available Enlaps solar panel. All ports have rubber covers that maintain the weather resistance of the camera.
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The build quality is excellent, and the camera feels solid, as you’d expect for the price. It’s undoubtedly a high-quality product, offering IP66 weather resistance, which allows it to withstand even the harshest weather conditions. This is particularly beneficial, as the camera will spend most of its life outdoors. It can operate in temperatures between 14F / -10C and 122F / 50C.
Moving back to the camera design, other features on the camera body include a metal hoop to attach an anti-theft cable, a rubber square on the bottom so it can be positioned on flat surfaces without slipping, and a standard 1/4-inch screw thread for attaching the camera to any kind of support. For long-term projects, a mounting arm and an anti-theft cable are essential accessories, and these are included in the kit, making the Tikee 4 Pack an attractive option.
The internal battery has a 25,600mAh capacity, and Enlaps claims that without any solar input the Tikee 4 can take one photo every 15 minutes, 24 hours a day, for up to 36 days without any data transmission. With data transmission of photos uploaded to myTikee the battery lasts up to 12 days. In most situations, the solar panel would be charging the battery during daylight hours, so the operating duration could be indefinite.
Enlaps Tikee 4: Performance
Fantastic image quality
Panoramic field of view
Easy to use
The Tikee 4 may be an odd-looking timelapse camera with its two cameras on each of the front corners of the square body, but each features Sony 12MP 1/2.3-inch sensors to produce a 220-degree horizontal and 90-degree vertical field of view. What’s more, you can capture panoramic views in up to 6K with dimensions of a whopping 7360 x 2650 pixels. Output is available at 1080p, 4K and 6K.
Timelapse intervals are available from five seconds to 24 hours in Long-term mode, and from five seconds to 45 seconds in Event and Burst modes. This allows you to capture both shorter- and longer-duration timelapse projects.
It’s for longer-term projects where the Enlaps Tikee 4 excels, thanks to remote access to the camera and images when connected to LTE or Wi-Fi networks. These connection options offer a much better experience than using just Bluetooth to connect the camera to the Tikee Remote app to set up projects.
Image quality is fantastic, and you can capture sequences in both raw and JPEG formats. With the former, this means you can optimize image quality using the raw-processing tools in software such as Adobe Lightroom. You do, however, have to output images in JPEG format in order to upload them to the myTikee website.
Enlaps Tikee 4 timelapse video
The camera is completely automatic, which makes timelapse capture incredibly simple, particularly with long-term projects during which light will constantly change. The downside is that backlit scenes can be forced into underexposure, so this is why, for the best results, capturing in raw and manually bulk-processing images is the best option. The camera also produces much better results in brighter conditions, like drones and action cameras with similarly small sensors.
Once you’ve captured your images from the left and right cameras, you then have to upload them to the myTikee website, where the images will be merged to create the 220-degree panoramic view, and video up to 6K can be output. In some situations you can see the stitch, and you’ll notice it in the example video above if you look closely. It’s minor, though, and it certainly doesn’t ruin timelapses.
The myTikee website is easy to use, but subscriptions aren’t cheap, and naturally add to the overall cost of owning and running a Tikee timelapse camera. The basic Capture subscription costs $45 / €54 per month plus taxes, while the intermediate and arguably most attractive subscription costs $96 / €104 plus taxes, and you can save 25% with an annual subscription. Alternatively, there’s a bespoke Enterprise option, with pricing available upon request. Without a subscription, I was able to output a basic 1080p video with a watermark.
Two add-ons are available. Storage costs $49 / €39 per month plus taxes and, as you'd expect, gets you more online storage for photo uploads, while AI Dashboard costs $99 / €89 per month plus taxes and delivers some clever analysis features. These include the analysis of a range of elements within scenes, such as vehicles and whether PPE is being worn.
Should you buy the Enlaps Tikee 4?
Buy it if...
You need to shoot over months or years
The Tikee 4 is the ultimate timelapse camera for long-term timelapse projects thanks to long intervals, remote control and access alongside a built-in solar panel.
You require ease of use
Using the Tikee 4 to capture and my Tikee to combine photos into timelapse videos is unbelievably easy, so anyone can use the system.
Don't buy it if...
You’re not a timelapse pro
This is a specialist professional timelapse camera that really isn’t the best option for enthusiasts or casual users simply due to cost.
You’d prefer higher quality
To get the very best image quality, a mirrorless camera is the best option for capturing timelapses. However, you can’t leave them out in the elements for months or years like the Tikee 4.
How I tested the Enlaps Tikee mini+
Tested using a Bluetooth connection
Used to capture shorter timelapses
Tested in a busy city
I tested the Tikee 4 in shorter bursts rather than for long-form timelapse capture, as testing it to the extremes of its potential for longer-term capture could take months.
I used my smartphone for Bluetooth connection rather than installing a SIM card for remote access to the camera. The Tikee 4 was tested in a busy city to capture as much movement in the scene as possible. It was also tested in low-light situations.
With nearly 30 years of photographic experience and 17 years working as a photography journalist, I’ve used many of the cameras and lenses that have been released in that time. As a working photographer, I aim to test cameras and lenses from a photographer’s point of view.
Fujifilm Instax Mini Evo Cinema: Two-minute review
The Fujifilm Instax Mini Evo Cinema takes instant cameras in a new direction, and let me tell you, it’s heaps of fun. It’s a 3-in-1 digital ‘hybrid’ instant camera; being a stills camera, an instant printer and the very first Instax that shoots video.
We know the instant photography part already: the Mini Evo Cinema packs much of the same lo-fi tech as the Mini Evo – 5MP digital photos through a 28mm f/2 lens, which are saved onto micro SD, that you can select in the camera’s gallery or through a companion app to print instantly onto Instax Mini paper. In this case, the printing process uses an analog-style lift and twist lever.
But it’s the camera's design where things get really interesting. This is a nostalgic, slimline Super 8 camera-style body – which is supposedly inspired by Fujifilm’s ‘Fujica Single-8‘ from 1965 – that easily sits in the hand with the shutter button at your trigger finger.
And for me, it’s the video features that drew me in rather than the traditional Instax photography experience, even if each of the three functions seamlessly blend together.
With the viewfinder added (Image credit: Tim Coleman)
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There's a fixed 28mm f/2 lens (with digital zoom lever) selfie mirror and flash light (Image credit: Tim Coleman)
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The viewfinder gives a clear view of the 1.5-inch LCD display (Image credit: Tim Coleman)
Then there's the main event – the Eras Dial™, with a look for every decade spanning the last 100 years. Fujifilm says these looks ‘pay homage to the characteristics, media and playback devices that defined that time’. My brief hour with the Evo Cinema wasn't nearly enough time to decide which ones were my favorites, and I definitely didn't have the time to fine tune each of those 10 profiles spanning 1930 through to 2020.
There's a scale of 1-10 for various 'expressions' of each decade, adjusting either the strength or the look of each style. So yes, that makes 100 styles, all of which work for photos and videos.
Fujifilm is no stranger to introducing never-before seen controls in its recent cameras, from the Film Mode in the fun X half to the aspect ratio dial in the serious GFX100RF, it keeps delivering surprising new features, and the Eras Dial™ is more than just a novelty.
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There's the Eras Dial™. Also note the lift and twist lever for printing, cine / stills switch and another level which operates a digital zoom (Image credit: Tim Coleman)
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And here's the 1.5-inch LCD display (Image credit: Tim Coleman)
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The camera is really slimline (Image credit: Tim Coleman)
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The grip is possibly a little chunky. Nonetheless, I could hold it comfortably (Image credit: Tim Coleman)
Even videos can be shared through an Instax Mini print – the Mini Evo Cinema selects a frame from the video and prints it with a QR code for access to that clip through Fujifilm’s servers.
I was given a print with a QR code attached, which took me online to the highlight reel that a Fujifilm X-Photographer (a brand ambassador directly associated with Fujifilm) had created. You can also check out and share photos and videos using the free Instax Mini Evo app, including making short video edits from your 15 second video clips.
I'm yet to try the app with the Evo Cinema photos and videos I shot on launch day, but will surely do so for my full review.
Here's the camera alongside a print for every one of the 10 decades featured in the Eras Dial. It's no coincidence that a pack of Instax Mini film produces 10 prints. (Image credit: Tim Coleman)
Inside the box, you get the camera, viewfinder eye cup for the 1.5-inch 170k-dot LCD screen (see it in action, below), a grip extension and a strap.
The Mini Evo might look toy-like, but it is in fact a premium-feel product, everything from the grip to the dials, switches and buttons feel solid.
Performance, on the other hand, during my hands-on was pretty sluggish – the Evo Cinema's wheel of death appeared almost every time I recorded a video, taking a few seconds to be ready to use again. I'll reserve judgement until I complete a full review.
The Evo Cinema handles well, and is such a clever concept - packing Instax tech into a polished, Super 8-style body (Image credit: Tim Coleman)
I actually think the Mini Evo Cinema is the most intriguing Instax camera to date – it feels like the Instax camera that the digital generation has been waiting for.
Its Super 8-style body is a perfect form to host Instax Mini printing, and the multi-media output makes this feel like a camera that'll keep my interest for much longer than a simple instant photography Instax. This is a proper good times camera.
True, I’ve only had an hour or two using the Instax Mini Evo Cinema, but it already feels like the one that appeals to me the most in the many years that I've been testing Fujifilm products. If I was to sum the Mini Evo up in a single word, it would be fun. Fujifilm is having a real go at making cameras fun again with a string of quirky products, and the Evo Cinema could just top the lot. I'll report back soon once I've had more time with it.
Sample photos – 1930 through to 2020
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1930 (Image credit: Tim Coleman)
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1940 (Image credit: Tim Coleman)
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1950 (Image credit: Tim Coleman)
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1960 (Image credit: Tim Coleman)
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1970 (Image credit: Tim Coleman)
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1980 (Image credit: Tim Coleman)
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1990 (Image credit: Tim Coleman)
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2000 (Image credit: Tim Coleman)
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2010 (Image credit: Tim Coleman)
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2020 (Image credit: Tim Coleman)
The 10 photos above cover each of the 10 settings in the Eras Dial™, from 1930 to 2020. I kept the 'expressions' control to its auto setting rather than experiment with the 10 different looks available for each of the decades on the dial. Stills are recorded as JPEGs onto microSD, at 1920 x 2560 pixels.
Sample video – 100 years in a minute
I repeated the process for video, capturing each of the 10 Eras Dial™ looks. The lo-fi video quality is captured at 600 x 800 pixels for every setting except 2020, which is a higher quality 1080 x 1440 pixels.
Fujifilm Instax Mini Evo Cinema: price and release date
Costs $419 / £329 / AU$599
There's viewfinder, grip extension and strap accessories included
Sales are expected from January 28, 2026
The Fujifilm Instax Mini Evo Cinema is due to go on sale globally from January 28 2026, with a price of $419 / £329 / AU$599.
In the box you'll also find the viewfinder attachment, grip extender, strap and USB-C cable. A purpose-made leather case will be available too, for $40 / £35 (about AU$65).
Fujifilm Instax Mini Evo Cinema: specs
Video
1080 x 1440 x ('2020' setting only) 600 x 800 for all others
Photo
5MP, 1/5-inch sensor
Format
Instax Mini
Lens
28mm f/2
Autofocus
Yes
Screen
Fixed 1.5-inch, 170k dots
Viewfinder
A clip-on viewfinder is supplied for the screen
Dimensions
39.4 mm x 132.5 mm x 100.1 mm (excluding projecting parts)
Weight
270g (excluding film pack and recording media)
How I tested the Fujifilm Instax Mini Evo Cinema
I had just one hour with the Evo Cinema ahead on its launch day
I used it with the viewfinder and grip accessories
I tried all the Eras Dial™ settings for photo and video
I had just one hour with the Evo Cinema on its launch day, during which time I got a feel for how it handles. I recorded the same video in a studio of a model, using every one of the 10 Eras Dial™ settings, and repeated that process for photos, printing out each one.
I've tried the Evo Cinema with and without its viewfinder and grip accessories. I'm yet to try out the Mini Evo app. The optional case was not available for a look on launch day.
Sony FE 100mm f/2.8 Macro GM OSS: One-minute review
Sony launched its original FE 90mm f/2.8 Macro G OSS back in 2015, just two years after the company revealed its innovative A7 full-frame mirrorless camera to the world.
While the Sony FE 90mm f/2.8 Macro G OSS has been a reliable macro lens for Sony macro photographers, it’s been the only first-party Sony option for over a decade, so all eyes were on Sony when it announced its new Sony FE 100mm f/2.8 Macro GM OSS in September last year.
I was lucky enough to get my hands on a review sample, as well as a Sony A7R V with its large 61MP full-frame sensor, so I was able to zoom into its huge images to assess the new FE 100mm f/2.8 Macro's sharpness and image quality.
(Image credit: Dan Mold)
As a lover of macro photography who regularly shoots everything from close-ups of interesting textures to insects and mushrooms to pocket watches, I was particularly keen to see how the new Sony FE 100mm f/2.8 Macro GM OSS performed.
At $1,498 / £1,399 / AU$2,599 it's among the most expensive consumer full-frame macro lenses on the market, and 70% more expensive than its predecessor. So should owners of the now decade-old Sony FE 90mm f/2.8 Macro G OSS rush out to buy one?
Simply put, no. The older, more affordable version will suffice for the majority of casual shooters. However, for serious professionals shooting on Sony systems the Sony FE 100mm f/2.8 Macro GM OSS will be well worth the high asking price, delivering as it does incredible image quality, rock-steady stabilization, 1.4x magnification and teleconverter compatibility.
Simply put, it's the best Sony lens for macro photography fans, though you'll have to be prepared to put a sizable dent in your wallet to get one.
Sony FE 100mm f/2.8 Macro GM OSS: Price and availability
Priced at $1,499 / £1,399 / AU$2,599
ALC-SH173 lens hood and soft case included
Announced in September 2025
The Sony FE 100mm f/2.8 Macro GM OSS retails for $1,499 / £1,399 / AU$2,599, and is the successor to the now decade-old Sony FE 90mm f/2.8 Macro G OSS, which can be picked up now for around $1,050 / £819, though this price hasn’t changed all that much since it was released back in 2015. The Sony FE 100mm f/2.8 Macro GM OSS was always going to be a more expensive option with new tech, advanced features and more modern conveniences, and it works out 70% more expensive in the UK, or around 40% more expensive in the US.
Is it worth the extra money? For casual shooters probably not, but for serious working pros I think the extra upgrades, better stabilization and stunning image quality make it good value for money. It’s also a much stronger competitor to the Canon RF 100mm F2.8L Macro IS USM, which Canon users have been enjoying since April 2021, and a true competitor for which has been sorely missed in Sony’s range up until now.
For those on tighter budgets there is of course the original Sony FE 90mm f/2.8 Macro G OSS. There are also third-party options like the Sigma 105mm f/2.8 Macro DG DN Art and Tamron 90mm f/2.8 Di III Macro VXD – while both of these lack optical image stabilization, they are considerably cheaper, and will be a better choice for those on stricter budgets looking to get into macro photography.
Sony FE 100mm f/2.8 Macro GM OSS: Specs
Sony FE 100mm f/2.8 Macro GM OSS specs
Type:
Macro lens
Mount:
Sony FE
Sensor:
Full-frame
Focal length:
100mm
Max aperture:
f/2.8
Minimum focus:
0.26m
Filter size:
67mm
Dimensions:
81.4 x 147.9mm
Weight:
22.7oz / 646g
Sony FE 100mm f/2.8 Macro GM OSS: Design
Focus ring has a clutch mechanism to switch between AF/MF and Full AF quickly
Switches on lens barrel for focus distance limiter, OSS, iris ring lock and declicking
Quite long for a 100mm macro lens, measuring 147.9mm
Built to be compatible with Sony's 1.4x and 2x teleconverters
The Sony FE 100mm f/2.8 Macro GM is very similar in terms of size and weight to the older FE 90mm f/2.8 Macro G OSS, although it has the benefit of being a little more zoomed in at 100mm, and offers a higher maximum magnification of 1.4x over the older optics’ standard 1:1 life-size reproduction ratio, so macro lovers will be able to get even closer. It’s about 7% heavier at 646g and is 2.4mm wider in diameter, and it’s about 17mm longer. So far, it’s bigger and better in every way.
I have no issues with the lens being a little larger; it feels really nice and secure in the hand, and the large focus ring, which is about 1.5 inches wide, is perfectly positioned for your thumb and forefinger to wrap around. Like the old model, the new macro lens uses a push/pull clutch, allowing you to push or pull the entire focus ring to quickly switch between AF/MF and Full MF.
There's also an AF/MF switch on the side of the lens barrel, which shouldn’t create quite as much motion. The manual-focus ring also has a focus distance scale on the lens barrel, which comes in handy when you want to specifically dial in a magnification such as 1:1 life-size, or go even closer.
(Image credit: Dan Mold)
Other switches on the side of the lens include a full-time DMF toggle to enable the Direct Manual Focus to override the autofocus when needed, which I found to be very useful. There’s also a focus limiter switch which can be set to Full, 0.26-0.7m or 0.5m to infinity to speed up autofocus operation when you know you’re working with subjects either very close or far away, as it prevents the camera from hunting outside the set range.
There’s also a dedicated switch for enabling OSS (Optical Steady Shot), Sony's optical image stabilization tech. It’s rated for 4-4.5 stops on the FE 100mm f/2.8 Macro, which is an improvement over the 3-4 stops you got with the older model. Even more stabilization can be achieved with Sony bodies that have sensor-based IBIS, though Sony doesn’t give an exact figure of how much stabilization can be achieved.
(Image credit: Dan Mold)
To add context, both of Sony’s lenses are the only optically stabilized macro lenses for Sony FE mount – as mentioned, the Sigma 105mm f/2.8 Macro DG DN Art and Tamron 90mm f/2.8 Di III Macro VXD don’t have optical stabilization, though they are considerably more affordable as a result.
Also on the outside of the lens barrel you’ll find an iris ring to control the aperture, which can be locked in the ‘A’ position if you prefer to set this via the camera body. The aperture click can also be enabled or disabled via a switch – helpful for videographers who prefer a smooth action when filming. We’re also treated to two customizable focus-hold buttons on the side of the lens barrel.
(Image credit: Dan Mold)
As one of Sony’s top-flight G Master lenses, the Sony FE 100mm f/2.8 Macro GM is of course weather sealed, and to that end there's a rubber seal around the metal lens mount.
In the box you’ll also find its ALC-SH173 lens hood, and a soft case to keep it protected when stored or in transit.
(Image credit: Dan Mold)
A rather odd feature that I’m glad to see included on the new Sony lens, and one I can’t recall seeing on other recent macro lenses, is the ability to use the Sony FE 100mm f/2.8 Macro GM with Sony’s SEL14TC and SEL20TC teleconverters to extend its macro capabilities even further.
While I don’t think this is essential, I do think some wildlife and nature photographers who already own these extenders for long telephoto lenses will benefit greatly and get extra use out of them. However, more casual shooters will probably still find better value in a set of extension tubes that usually cost around $100 compared to the SEL14TC and SEL20TC which both cost $598 / £479 / AU$799 and also allow you to get closer to your subject.
That said, as somebody who owns a 180mm f/2.8 macro lens, I can see the merit of using a 2x teleconverter as a cheaper and more convenient alternative to owning a telephoto macro lens as well as a 100mm one.
Sony FE 100mm f/2.8 Macro GM OSS: Performance
Excellent image quality but autofocus not the fastest
OSS makes it easier to shoot handheld close-up photos
1.4x magnification and teleconverter support make it easier to get closer
As one of Sony’s top-flight G Master lenses you’d expect the Sony FE 100mm f/2.8 Macro GM to deliver a solid performance, and I’m delighted to say that this is very much the case.
Considering that the lens has not one, but four of Sony’s XD Extreme Dynamic linear motors the autofocus wasn’t the snappiest I’ve ever seen from a mirrorless lens. Instead it took a little moment to smoothly transition the focus, although this will perhaps be preferred by videographers.
That said, Sony claims the autofocus is 1.9x faster than its predecessor so it's still a decent improvement, and the autofocus was accurate once it acquired the subject. I also found it invaluable to have the ability to pull the focus clutch ring to engage full-time manual focus at any time.
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Image quality is excellent, with the lens employing both flourine and Nano AR II coatings on the front element to make it oil and water-repellent, and to counter flare when shooting towards a light source. The lens features 17 elements arranged in 13 groups, two of which are XA (extreme aspherical) elements and two of which are ED (Extra-low Dispersion) elements.
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Of course, depth of field is limited when shooting close-up at f/2.8; however in-focus areas of images look very sharp, even when shooting wide open. Flare was controlled well, contrast was punchy, and images were free from chromatic aberration. The sharpness of the lens was able to meet the resolution of the 61MP Sony A7R IV I tested it with, producing beautifully clean images with virtually no distortion or vignetting.
In my tests shooting handheld I was able to take sharp shots at around 4-4.5 stops slower than would normally be required, though this was paired with a Sony A7R IV, which has sensor-based IBIS that also helps. This meant that where a shutter speed of 1/100 sec was required to take a sharp shot I was able to lower my ISO or close the aperture until my shutter speed was 1/5 sec and still get a usably sharp image when shooting handheld – impressive!
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This test shot of some snowdrops was taken with the Sony FE 100mm f/2.8 Macro GM OSS without the teleconverter attached (Image credit: Dan Mold)
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Shooting at the same distance from the snowdrops I attached the Sony 2x teleconverter which allowed me to get close-up macro results from a greater working distance, effectively turning the lens into a 200mm f/5.6 (Image credit: Dan Mold)
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A close-up shot a snowdrop taken with the Sony FE 100mm f/2.8 Macro GM OSS lens (Image credit: Dan Mold)
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A close-up shot a snowdrop taken with the Sony FE 100mm f/2.8 Macro GM OSS lens and Sony 2x Teleconverter (Image credit: Dan Mold)
Should you buy the Sony FE 100mm f/2.8 Macro GM OSS?
Buy it if...
You want to upgrade from the Sony FE 90mm f/2.8 Macro G OSS
The new Sony FE 100mm f/2.8 Macro GM OSS has plentiful upgrades that make it the ultimate macro lens for Sony shooters.
You're a working professional
As one of Sony's top-flight G Master lenses, the 100mm optic is expensive but can deliver for working pros shooting close-ups of still life setups, nature and product photography.
You need teleconverter compatibility
The Sony FE 100mm f/2.8 Macro GM OSS has been designed to work with Sony's 1.4x and 2x teleconverters, effectively turning the lens into a 140mm f/3.5 or 200mm f/5.6 respectively.
Don't buy it if...
You're on a budget
This is one of the most expensive macro lenses on the market, so Sony's older FE 90mm f/2.8 Macro G OSS or third-party options will be a better choice for those on stricter budgets.
You don't need the extra magnification
Sony's new macro lens can go to 1.4x magnification, but the old Sony FE 90mm macro can go to 1x magnification, which is still perfectly suitable for close life-size macro shots.
You need a portrait lens
If you're looking for a short telephoto lens for portraiture the Sony FE 100mm will do a decent job, but it's not your best bet. A lens such as an 85mm f/1.4, or 135mm f/1.8 will give you the faster apertures needed for artfully blurred backgrounds.View Deal
How I tested the Sony FE 100mm f/2.8 Macro GM OSS
I used the lens for a month, capturing close-up shots of nature as well as controlled still-life setups at home
I paired it with the 61MP Sony a7R IV full-frame body, zooming in on images to assess resolution and clarity
I took shots throughout the aperture range, focusing up close and further away, and used the lens with Sony's 2x teleconverter
I used the Sony FE 100mm f/2.8 Macro GM OSS with a Sony A7R IV for a month to give the lens a thorough testing over an extended period. Sony also kindly loaned me its SEL20TC 2x teleconverter, and I also took test shots with this sandwiched between the lens and camera body to see what difference it made.
The lens became my go-to for taking close-up shots over this time, and in particular when we had a cold snap in the UK, where I'm based – I loved heading out with it to capture stunning details of frost patterns and ice.
I took a range of pictures with in-camera lens corrections both enabled and disabled to see the difference. I also shot in raw and JPEG formats, and shot at all of the various apertures to gauge how things like corner sharpness and vignetting changed throughout the range.
It took me a while to get my hands on the Kodak Charmera – such is the viral popularity of this $30, 30g keychain digital camera, that it sold out on its release day late last year (with what felt like minimal advertising), and it only came back in stock as I publish this review a month later. Who knows, it might be out of stock again by the time you read these words.
And I can see the appeal – the Charmera is cheap, tiny, retro, it’ll easily fix to your keyring, and it’s an actual working camera with a screen.
What's more, there are six 1980s-inspired colorways, plus a limited edition see-through version, and you don’t know which version you’ll get since it comes in a 'blind box'. That’s got gift idea written all over it.
When I unboxed mine, cue disappointment – the black version with rainbow frontage – the one pictured on the box that appealed to me the least. Still, inside the box, a nice poster, a collector card, and a small charging cable.
I charged the Charmera up and slotted the thumb-sized camera into my pocket where it would live for the following weeks.
The Charmera shoots tiny 1.6 megapixel JPEG photos and HD video (1400 x 1080p at 30fps) through a fixed 35mm f/2.4 lens, has seven photo filters and four animated borders to choose from, stores onto micro SD (which needs to be purchased separately), and has a (predictably) tiny internal battery that is recharged through USB-C.
There’s a tiny 16:9 LCD screen with live view that in practice is even smaller given that images are captured in 4:3, a miniscule LED light that illuminates closeup subjects, and possibly the smallest viewfinder I've ever used, which is novel and in a way works.
Honestly, that’s about all the features and design aspects worth knowing about, but what is the Charmera actually like to use?
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Menus are simple enough to navigate; turn the camera on, and you select either photo, video, or set date using the three buttons on the rear, with the playback button doubling as select.
The power button doubles up as a back button, and then there's the shutter button to shoot photos and video. It takes barely a minute to figure this all out.
Everything about the Charmera is tiny: a tiny thumb-sized body, tiny screen, tiny images. And it's actually kind of fun to shoot with...in the moment. I was certainly charmed by the Charmera, and I think many others will be too.
It's when you plug the camera into a computer or hook up the memory card to view any images taken with the Charmera that the warm fuzzy feeling quickly vanishes.
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The Charmera's photo quality is about the worst I've seen from a digital camera in my lifetime – and I've been shooting digital since consumers could, when 16MB memory cards existed (yes, megabytes).
With a resolution being a truly retro 1.6MP and a barely existent dynamic range, photos are more impressions than anything else. A collection of pixels, pieced together.
And that's me commenting on the regular color profile. Use any one of the monotone filters, and things get super abstract.
Photos are like one of the novel, abstract filters you get with a decent digital camera. I guess such dated quality could charm some. For me, it screams short-lived novelty; for others, it could be the camera they always have with them.
My own gripes aside, I also think that the Charmera is so small and so distinct, that I'll keep it on me every day for the months to come.
It's a conversation starter. A whimsical capturer of moments (assuming it's tiny battery isn't flat when you pull it out of the pocket – that'll happen).
The Kodak Charmera certainly ain't good quality. But that's hardly the point, is it? This is a cheap, charming retro gift for the photography lover in your life, that should get more use than a foot spa or marmite-scented deodrant (the UK's most unwanted Christmas gift for 2025). That's the hope from me as someone who hates waste.
The Charmera is far from being one of the best compact cameras, even the best cheap compact cameras, but I don't expect that to slow down its sales.
Kodak is killing it right now with multiple best-selling cheap cameras – like the recent Ektar H35N half-frame film camera, and the PixPro C1 – and the Charmera could just be the pick of the pack in terms of concept (not quality). It's a marketing masterstroke. Who knew a keychain camera could be so popular?
Kodak Charmera: price and availability
Announced in November 2025 and sold out in a day
Priced at $30 / £30 / AU$54.95
The Kodak Charmera costs $30 / £30 / AU$54.95 for a single 'blind box', or you can buy the whole set of 6 for $180 / £180 to guarantee getting each colorway. There's a 1 in 48 chance of scoring the limited edition transparent version.
Scalpers have been selling the Charmera for extortionate prices, and some retailers have bumped the price a little, but you should be able to pick up the Charmera for its fair, original price through one of the links below.
Kodak Charmera: specs
Kodak Charmera Specs
Sensor
1/4-inch
Resolution
1.6MP
Video
1440 x 1080p at 30fps, AVI format
Lens
35mm f/2.4
Screen
Really, really small
Viewfinder
Even tinier
Dimensions
58 x 24.5 x 20 mm
Weight
30g
Battery life
200mAh, rechargeable
Memory
Micro SD (1GB to 128GB)
Should I buy the Kodak Charmera?
(Image credit: Future / Tim Coleman)
Buy it if...
You're looking for a cheap gift for the photography lover in your life I can personally think of multiple people in my life who would love to receive a Charmera.
You'd appreciate a cheap, always with you camera that isn't your phone It weighs 30g, is about the size of your thumb, shoots bad photos that could appeal to anti-tech heads and it costs $30 / £30. The Charmera is an easy sell.
Don't buy it if...
You want decent photo quality It's no exaggeration to say the Charmera produces the worst quality photos I've seen for quite some time – they're awful from a technical standpoint.
You need a reliable camera For me, the Charmera would be a whole lot more useful as an every day carry if its battery life wasn't so bad.
Also consider
Camp Snap Camera
Another perfectly executed cheap camera is the original Camp Snap, available for around twice the price of a Charmera. Think of it as a digital version of the single-use camera – a larger, screen-less 4MP shooter with retro design. I'm a fan.
I got the Charmera last year and it's mine to keep
I've used it sporadically over a couple of months
I've tried the various color filters and animated borders
I'm not going to dig into technicals of how I've tested this novel point-and-shoot camera. In short, I've rattled off hundreds of photos in good light and bad, played with the various color filters and shot short video clips. Image quality is predictably bad, but short battery life is particularly unfortunate.
The Canon R6 Mark III is the brand's latest enthusiast-level hybrid camera, and successor to one of Canon's most popular models. It's perhaps the clearest expression of a 'hybrid' Canon camera yet within its price range, with a fresh 33MP sensor that not only offers a significant bump in resolution (from 24MP), but a host of new video features such as 7K open-gate.
Outwardly, you could be mistaken in thinking that the Mark III offers a relatively iterative upgrade versus the previous generation. The overall design of the camera is essentially identical. Under the hood, however, subtle tweaks and improvements provide an upgrade that's bigger than the sum of its parts.
Everything is just a little bit better with the Mark III. You get a nice bump in resolution, a massively expanded video tool-kit, and useful autofocus features from the higher-end bodies like Priority People Detect. Even minor annoyances like video white balance have been smoothed out. Overall, it's an incredibly refined and well-designed camera that simply just works without any fuss. That's high praise, indeed.
(Image credit: Future / Alex Whitelock)
In real-world testing, the R6 Mark III is also a stunning stills and video camera, capable of producing superb results in both fields. In a field where competitors are eager to champion stacked BSI sensors, the Mark III proves that you need neither to achieve great performance. Images are detailed with great dynamic range and flexibility, and you still get an impressive 40fps burst rate, despite the significant jump in resolution.
Perhaps the biggest stumbling block for the R6 III isn’t necessarily the camera itself, but the increasingly competitive field it sits within. Rival brands are not only producing exceptional cameras currently, but they do so on democratized and open lens mounts.
For example, the Nikon Z6 III undercuts the R6 on price, the Panasonic S1 II features more powerful video tools, and the Sony A7 V falls back on its vast lens ecosystem. In comparison, the R6 III looks like the jack of trades - a safe, if somewhat unexciting pick in the best mirrorless cameras landscape.
Those already faithful to the Canon RF-Mount will be overjoyed with this camera, however. As previously stated, there's a refined assuredness to the R6 Mark III that makes it a reliable hybrid workhorse. Regardless of whether you're a professional wedding photographer, amateur videographer, or even a serious beginner, it's hard not to recommend the R6 Mark III because of its compelling mix of usability, image quality, and value. Yes, it's pricier than the Mark II, but considering the new sensor (and inflation), you definitely get a good amount of camera for the money here.
Canon EOS R6 Mark III specs
Canon EOS R6 Mark III specs
Type:
Mirrorless camera
Sensor:
Full-frame (36x24mm) FSI CMOS
LCD:
3-inch, fully-articulated, 1.62M dots
Memory:
1x UHS-II SD, 1x CFexpress Type B
Resolution:
32.5-megapixels
Video:
Up to 7K30p (open gate)
ISO range:
ISO 50-102,400
Mechanical Shutter speeds:
30-1/8000sec
Electronic Shutter speeds:
30-1/16000sec
Viewfinder:
3.69M dot, OLED EVF, 0.76x
Processor:
DIGIC X
Connectivity:
WiFi, Bluetooth, USB-C, HDMI, audio, mic
Weight:
609g
Canon EOS R6 Mark III: Price and availability
Announced November 6th, 2025
Body only price of $2,799 / £2,799.99 / AU$4199.95
Kit options available, including RF 24-105mm f4 L IS
The R6 Mark III retails for $2,799 / £2,799.99 / AU$4199.95, which makes it pricier than the previous iteration by a few hundred dollars / pounds. Interestingly, the EOS R6 II isn’t being discontinued (at least, immediately), and instead will be available for a list price of 1,979 / £1,918 / AU$3,099.
The Mark III is essentially slotting in the market between its two major competitors - the Sony A7 V for $2900 / £2800 and the Nikon Z6 III for $2700 / £2500. Of the three, however, it’s worth noting that the Z6 III has been on the market for the longest time and tends to be particularly partial to price cuts. You’ll likely have to wait a while to find an R6 Mark III or Sony A7 V for anywhere near as cheap as Nikon's alternative.
What can I say about the design of the R6 Mark III? Well, it’s typical Canon, in the most refined and best manner possible. If you’re familiar with the Mark II, the design is essentially identical, with only a few minor tweaks to the buttons surrounding the shutter, a new tally light, and revisions to the mode dial.
Is it boring? Well, it’s certainly sensible. All of the camera’s main functions are laid out in a purposeful and meticulous manner. The thumb, for example, naturally rests next to the back-button focus, an AF joystick, and an autofocus mode quick select. On the top, you have the typical three-way on-off switch, top-mounted dial, and extremely useful M-Fn quick dial menu that are again extremely easy to operate.
All of the above, of course, are fully mappable with the camera’s extensive customization options. A total of nine buttons are fully mapable, so you have plenty of options here for both video and photo applications.
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The camera is made of a sturdy polymer outer shell with environmental weather sealing (Image credit: Future / Alex Whitelock)
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The R6 Mark III has a protective shutter to keep the sensor clean when no lens is mounted. (Image credit: Future / Alex Whitelock)
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The camera retains the classic Canon button control layout (Image credit: Future / Alex Whitelock)
If you’re already a Canon shooter, no doubt you’ll be right at home here. My only minor criticism is that I wish Canon would add a second ring/middle finger button on the front of the body next to the grip. It’s something that’s featured on the higher-end Canon bodies, but it’s conspicuously missing from the R6 and R5 line. With such expansive customization features, it would be a fantastic addition to the body in my opinion.
In the hand, the R6 Mark III is sturdy and solid, with a generous grip that pairs well with popular lenses like the 24-70mm f/2.8. As part of the review process, Canon also sent me the EOS R8, and in comparison to the lower-end model, the R6 Mark III is much better suited to the chunkier RF glass. Unlike the feather-weight R8, the R6 Mark III balances well with fast primes like the 20mm f/1.4 and 85mm f/1.4 - both of which are noticeably front-heavy on the entry-level model.
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The Canon R6 Mark III next to the Mark II (Image credit: Future / Alex Whitelock)
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The cameras are almost identical, with the only changes being to button graphics, the mode dial, and the addition of a tally light. (Image credit: Future / Alex Whitelock)
In terms of viewfinder and display, you get a 3.69M dot 120Hz OLED and 3-inch 1.62M dot panel respectively; both of which are holdovers from the previous model. The R6's displays are bright, relatively wide, and easy to use. No complaints here, although it's worth noting that both the Nikon Z6 III and Sony A7 V do have a slight edge over the R6. In the case of the Nikon, you get a higher-res 5.76M dot EVF, while the Sony A7 V features a 2.1M dot rear display that both articulates and tilts - a handy feature for both stills and video.
For ports, one of the main changes from the second-generation model is that the Mark III now features one CFexpress Type B slot and one UHS-II SD instead of two of the latter. Upgrading to a CFexpress card will incur a slight cost, but you’re going to need it if you want to record Raw video internally or make full use of the uncapped 40fps burst rate. Videographers will also be pleased to note that the Mark III now features a full-size HDMI port rather than the MicroHDMI on the previous iteration.
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The R6 Mark III now features a CF-Express Type B card slot (Image credit: Future / Alex Whitelock)
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Support for full-size HDMI (Image credit: Future / Alex Whitelock)
The R6 Mark III now utilizes the newer LP-E6P battery from the R5 Mark II. The older LP-E6NH batteries are still technically supported, but you'll need to use the newer iteration to fully unlock all the R6 Mark III's features. In this case, smartphone connectivity and the full array of 6K open-gate video modes.
Note that the R6 Mark III's battery is rated for 270 shots with the viewfinder and 510 with the rear screen. On paper, that's significantly lower than the Sony Alpha A7 V's rating of 630 / 750 shots respectively. I wouldn't say battery life is particularly poor, however. In real-world testing, I found the battery life to be far better than the ratings would suggest, with more than enough juice for a full day of stills photography. Videographers may want to pack a second battery just in case, though.
Design score: 5/5
Canon EOS R6 Mark III: Performance and features
Reliable autofocus for stills and video
Registered People Priority mode
7K footage at 30p ‘open-gate’
The R6 Mark III is interesting in that it lacks a few of the high-end features from the R5 II like the ability to control the focus point with your eye, in-camera 'AI' upscaling, and Action Priority modes. What it does offer, however, is rock-solid performance for a vast range of both photo and stills applications.
As the ‘enthusiast’ level body in the range, the R6 has a lot of ground to cover, but it essentially achieves the mark on all counts. Using the camera, is again, a very refined experience in terms of operation and ease-of-use.
For example, the R6’s autofocus performance is accurate and reliable even with fully automated operation. A simple press of the ‘set’ button will engage subject tracking, which is easily one of the ‘stickiest’ I’ve ever used on a camera. Even without the advanced bells and whistles of the R5, the R6 Mark III is exceptional at both subject tracking and detection.
There were only a few rare occasions when the autofocus missed the mark. For example, a case in a relatively dimly-lit room where the camera failed to focus on my parents’ cat’s eyes. This subject, with his black coat, is notoriously difficult to photograph. Even specifically engaging the R6 MIII’s animal detection mode gave me a few examples where the camera focused on his ears or whiskers rather than his eyes.
Another extreme example was a moving human target in a low-light situation. Even with a high-contrast backlit scene the camera slightly missed the mark when shooting with a 20mm prime fully wide open at f/1.4.
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The R6 Mark III slightly forward-focused in this extreme low-light scene at f/1.4. (Image credit: Future / Alex Whitelock)
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The camera ever-so-slightly missed focus on the cat's eye in this scene at f/2.8, instead focusing on the ear. (Image credit: Future / Alex Whitelock)
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The camera still maintained an impressive hit rate, however. This is the next frame in the series and it's in focus. (Image credit: Future / Alex Whitelock)
Are these fair use cases? Well, certainly they are extreme situations where any camera would be tested. By most accounts, the R6 Mark III’s autofocus is still one of the best I’ve ever used on any camera.
We’re reaching a point now where all major camera brands have excellent out-of-the-box autofocus performance on reasonably priced bodies, but Canon does still have a few unique tricks. The Registered People Priority mode, for example, is the closest thing to a 'killer-app' I've seen on an enthusiast-level camera.
As a brief overview, this feature allows you to map autofocus tracking to specific faces, with the idea that the camera will prioritize them even in crowded scenarios. If you have a reference shot like a group headshot, then the camera detects and allows you to pick a specific face via the RPP mode.
During my testing, I didn't have a scenario where I could really stress-test this feature with large groups. In small groups of two to three people, however, the tracking was reliable. Overall, the Registered People Priority mode definitely has the potential to be a useful feature for certain scenarios, like event or wedding photography.
Canon EOS R6 Mark III video modes
Aspect / Mode
Dimensions
Frame rates
3:2 / 7K RAW
6960 x 4640
30, 25, 24, 23.98
3:2 / 7K Compressed
6912 x 4608
30, 25, 24, 23.98
1.89:1 / 7K
6960 x 3672
60, 50, 48, 30, 25, 24, 23.98
1.89:1 / DCI 4K
4096 x 2160
120, 100, 60, 50, 48, 30, 25, 24, 23.98
1.89:1 / DCI 2K
2048 x 1080
180, 150, 120, 100, 60, 50, 48, 30, 25, 24, 23.98
16:9 / UHD 4K
3840 x 2160
120, 100, 60, 50, 48, 30, 25, 24, 23.98
16:9 / Full HD
1920 x 1080
180, 150, 120, 100, 60, 50, 48, 30, 25, 24, 23.98
In terms of video, the R6 Mark III features an impressive array of recording options. There's not only the option for oversampled 4K up to 120p, but 7K footage at 30p ‘open-gate’ on the camera’s native 3:2 aspect ratio. For maximum post-production flexibility, there’s the option to shoot in Canon’s proprietary Cinema Raw format or the brand’s Clog 2 or Clog 3 profiles.
If all these features look familiar, it’s because the R6 Mark III shares the same sensor and bones as the Canon EOS C50. Unlike its video-centric sibling, however, the R6 doesn’t feature an in-built fan, so you will face restricted recording times for the heavier open-gate and 7K capture modes. That's also a key advantage of the rival Panasonic S1 II, alongside support for 120p at 4K.
One other upgrade for the Mark III is the camera’s overall burst-rate performance. While the camera lacks the Action Priority autofocus mode from the higher-end Canon bodies, it manages to retain the 12fps mechanical / 40fps e-shutter burst rates from the previous model despite the significant jump in resolution. You’ve still got the helpful inclusion of pre-burst capture here, but unlike the Mark II, the III doesn’t feature a standalone “Raw Burst mode” to enable it. It’s instead now integrated into the standard drive mode menu.
Performance score: 5/5
Canon EOS R6 Mark III: Image quality
33MP resolution (up from 24MP)
Pleasing, warm colors
Sharp video with flexible profiles
The Canon R6 Mark III is somewhat unusual in its peer group in that its sensor is neither back-side-illuminated nor ‘stacked’ like rivals from Sony or Nikon. It's an interesting distinction because rivals have long trumpeted the various advantages of these additions in a world where sensor development has seemingly slowed in recent years.
On paper, a stacked sensor does enable faster readout speeds, whereas a back-side-illuminated sensor should, in theory, give you cleaner images at high ISO. Recent testing has even proven that the Sony A7 V and Panasonic S1 II have slightly better ISO invariance than the Canon R6 Mark III thanks to dual-gain readouts.
So, does the Mark III lag behind the competition in terms of image quality? I'd have a hard time believing so. Based on real-world testing, I've found the camera to produce consistently excellent stills.
Out in the wild, I imagine the differences between all of these cameras is likely to be so minimal that you'd almost certainly not notice outside of incredibly niche use cases. It certainly shouldn't be the main deciding factor behind these cameras; ergonomics, video features, and available lenses are all much more important.
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Original shot, RAW, shot with the RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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Same scene, shadows lifted to taste in Adobe Lightroom (Image credit: Future / Alex Whitelock)
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Another RAW example taken with the same 24-70mm f/2.8 lens (Image credit: Future / Alex Whitelock)
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Same scene, shadows lifted to taste in Adobe Lightroom (Image credit: Future / Alex Whitelock)
In terms of dynamic range, for example, you have heaps to work with here. Despite the significant increase in resolution from the previous iteration, the R6 Mark III produces lovely, clean RAW files (and even JPEGs) with ample headroom.
On several test shots, I was able to salvage significant details from a scene without much color cast or noise. Zooming in, noise is certainly still present, but it's relatively well controlled and very much in line with other modern full-frame bodies.
In low light the R6 Mark III handles exceptionally well, too. I shot a few hundred images in a local indoor amusement park that features a host of strobe and fluorescent lighting. It's the kind of environment that not only tests autofocus to the extreme, but often results in strange colors that are a nightmare to post-process.
When I pull up the files from the R6 Mark III, colors are well captured, even at ISO 10,000 and over. The first example in the gallery below was shot at that ISO, and the colors are absolutely spot-on for the scene, despite there being noise present in some of the shadows. Again, the R6 Mark III is an extremely capable stills camera in real-world testing.
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RAW sample shot, ISO 10,000, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)
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RAW sample shot, ISO 1,250, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)
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RAW sample shot, ISO 320, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)
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RAW sample shot, ISO 640, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)
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RAW sample shot, ISO 200, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)
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RAW sample shot, ISO 1,600, taken with RF 20mm f/1.4 (Image credit: Future / Alex Whitelock)
Briefly touching on resolution; the upgrade from 24MP to 33MP does give you a nice bump in cropping potential without resulting in massive file sizes. Arguably, 24MP is still more than enough for most use cases, but 33MP is definitely a 'nice to have'. I certainly appreciated the little bit extra when cropping all the sample images on this page from the camera's native 3:2 to a web-friendly 16:9 format.
Colors are gorgeous, too. Even with RAW files, the images have a pleasing warmth to them without being overbearing. Skin tones look great straight from the camera, and in all cases, the files were great to work on in Adobe Lightroom.
In the gallery below, you can see a selection of RAW files. The opening shots are tweaked in Lightroom to my own tastes, whereas the following portrait shots show you both RAW files and a few of the camera's built-in JPEG profiles.
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RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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RAW edited to taste in Lightroom, taken with RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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An example of a RAW file from a studio scene, taken with the RF 24-70mm f/2.8 (Image credit: Future / Alex Whitelock)
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An example of a RAW file, next to the camera's 'Vivid' and 'Warm' JPEG profiles (Image credit: Future / Alex Whitelock)
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Examples of the camera's black-and-white, 'Vivid', and 'Warm' JPEG profiles (Image credit: Future / Alex Whitelock)
For video, you have a flexible set-up thanks to the R6 Mark III's myriad record modes and support for Clog2 and Clog3 formats. Of the two, the former gets you a flatter image with the most dynamic range possible for color grading, while the latter offers a more saturated and clean image for quick and easy editing. In either case, you can upload your own LUTs to the camera, and white balance can also be set in video mode, which was a common annoyance with the previous model.
As you'd imagine with a body that shares the same sensor as the Canon EOS C50, the R6 Mark III captures excellent footage. In my testing, I mostly used Canon's proprietary Canon 709 standard color profile (non-flattened), and the 4K footage in particular was fantastic. Colors were rich but true-to-life, the image was detailed, and there was plenty of dynamic range.
For an easy video workflow, there is very little to fault the R6 Mark III on. Even if you're a video-heavy hybrid shooter, don't overlook the Mark III in favor of the C50. You get a great video toolkit here with the added benefit of image stabilization and a mechanical shutter for stills.
Image quality score: 4.5/5
Canon EOS R6 Mark III: testing scorecard
Canon EOS R6 Mark III
Attributes
Notes
Rating
Price
The R6 Mark III is well priced considering the level of performance. That said, it is pricier than the previous iteration, and it sits within a competitive field.
4/5
Design
The R6 Mark III is almost identical to the previous iteration. It's a super design, however, with fantastic ergonomics and customization.
5/5
Performance
Autofocus is superb for both stills and video. IBIS works admirably. Registered People Priority is a genuinely useful feature.
5/5
Image quality
Great straight-out-of-camera files for both stills and video. Flexible RAWs, and a huge array of video formats for both casual and professional use.
4.5/5
Should I buy the Canon EOS R6 Mark III?
Buy it if...
You're already invested in the Canon RF mount
Those already invested in the eco-system will absolutely love the R6 Mark III. It sits in a competitive field, but if you already have plenty of RF glass, then you're getting a lot of camera for your money here.View Deal
You shoot stills, with a bit of video
The Canon R6 Mark III is perfect if you're primarily a photographer but also need an easy video workflow. You get everything you need here for excellent results.View Deal
Don't buy it if...
You need advanced video options
With that said, if you're primarily a videographer, you may want to consider the Canon EOS R50 or Panasonic S1 II. Both include longer recording times thanks to internal fans. View Deal
You're on a budget
If you need a powerful hybrid camera but want to save some cash, there are strong rival options right now. The Nikon Z6 III, for example, undercuts the R6 Mark III on price. Even the older R6 Mark II is still available and offers a viable alternative without the newer bells and whistles.View Deal
Also consider
Sony A7 V
As if on cue, Sony released the Alpha A7 V just one month after the R6 Mark III. In comparison, the A7 V is a little pricier than the R6 and doesn't have options for open gate video. It does, however, have a much more diverse lens ecosystem and innovative dual-gain ISO read-out thanks to its partially stacked sensor, which gives a slight edge in stills dynamic range.
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 Canon EOS R6 Mark III.
I used several lenses, including the RF 24-105mm f/4 kit lens
Samples were shot in a diverse range of environments, including low light
Subject detection was tested using real-world situations
Canon loaned me the R6 Mark III alongside the R8, R6 Mark II, and several lenses for an extensive three-week period. In that time, I was fully able to test the camera in a range of scenarios for both stills and video.
As an overview, the lenses used include the RF 20mm f/1.4, the RF 85mm f/1.4, the RF 24-70mm f/2.8L, and the RF 24-105mm f/4 - the latter of which is available as a kit lens for the R6 III. All of the above image samples on this page were taken with these lenses in various scenarios, including both mid-day and difficult low-light environments.
Money no object, I'd probably pick the Leica Q3 as my favorite compact camera. It's a fabulous 61MP full-frame camera with an extremely sharp, fixed 28mm f/1.7 wide-angle lens, and the ultimate everyday carry.
I'm also partial to black-and-white photography, especially on sunny days when light and shade are the stars of the show. So it was a delight to kick off 2026 by getting out and about on frosty mornings in the UK, with the low-lying sun illuminating my surroundings and the Leica Q3 Monochrom in my hand – it's identical to the original Q3 in practically every way, except that it only shoots in monochrome.
This camera is as niche as they come, and for many it also begs the question: why would you pick a camera that only takes black-and-white images when you can simply select a black-and-white color profile in a regular camera, like the original Q3, which also shoots in color when you want to? Why restrict yourself? That was the focus of my testing over the course of three weeks with the Q3 Monochrom.
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
For me, the reasons I would opt for a camera like this are twofold – one technical, and one creative. The creative reason is simple: its restricted parameters. I can't switch to color. I'm seeing the real-time image in black and white, and it helps me to truly appreciate light and shade, form and composition.
Shooting in black-and-white can be a great exercise to help you elevate the quality of your photography in general, should you bring color into the equation at other times. You can, however, get this experience with a 'regular' camera by using a black-and-white color profile, so that by itself is not enough reason. The second technical reason is, though – and that's increased light sensitivity.
In simple terms, all sensors in digital cameras see in black and white. To produce color images, a color filter array is placed in front of the sensor, the most common of which is the Bayer pattern with red, green and blue pixels (RGB – with twice the number of green pixels).
The drawback is that a color filter array reduces light sensitivity, leading to an increase in noise and decreased sharpness. In short, it reduces image quality by a small amount, which is seen more clearly in challenging light conditions.
So – and particularly if you mostly like to shoot black-and-white images anyway – a color filter is more of a hinderance than a help. With those image quality drawbacks, it's like watering down juice when you could otherwise enjoy the full flavor straight from the source.
A monochrome-only digital camera offers the purest form of black-and-white photography you'll get from a digital camera; and from my experience with the Q3 Monochrom, there's something a little extra about the quality of the black-and-white images it produces. A subtle improvement, a pleasing grain rather than noise, and filmic quality. Highlight clipping is, however, a major drawback to this kind of sensor.
Yes, the Leica Q3 monochrom is as niche as they come, and it costs a pretty penny too at $7,790 / £5,800 / AU$12,090. But, if you love black-and-white photography, it's the ultimate everyday carry, and one of the best compact cameras around.
(Image credit: Tim Coleman)
Leica Q3 Monochrom: price and availability
Announced on November 20, 2025 and available now
Priced from $7,790 / £5,800 / AU$12,090
Leica unveiled the Q3 Monochrom in November 2025 and it went on sale immediately, costing $7,790 / £5,800 / AU$12,090. That's a mark-up of about 5% over the Q3, which was launched in 2023.
The Q3-series models use the same BP-SCL6 battery, while Leica sells a variety of accessories at its online store, including a leather half case, thumb supports, and carrying straps.
Leica Q3 Monochrom: specs
Leica Q3 Monochrom Specs
Sensor
Stabilized, full-frame
Resolution
61MP
Video
8K
Lens
28mm f/2.8-16
Screen
3.0-inch, 1.84m-dot tilt
Viewfinder
5.76m-dot
Dimensions
130 x 80.3 x 92.6mm
Weight
746g / 662g (with / without battery)
Battery life
300 shots (approx)
Memory
SD (UHS-II)
Leica Q3 Monochrom: design
Same design as the Q3, save for Monochrom logo
Divine lens quality and handling
Awkward tilt touchscreen
The Q3 Monochrom essentially has the same premium, minimalist design as the original Q3, save for its suitably monochromatic logo. That means it operates in exactly the same way as the original model, for good and for bad.
The 28mm lens is the star of the show, not only in terms of the images it produces, but because of how it handles; it's equipped with decent autofocus, but is designed in a way to please manual-focus fans, with autofocus activated via a well-hidden button on the manual-focus ring.
It also looks just like a manual-focus-only lens. There are focus distance markings, and a macro mode that's activated by turning a dial which reveals new focus distance markings – a design masterstroke.
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
Other design features are the same, too. We have a decent 5.76m-dot viewfinder, plus a crisp 1.84m-dot tilt touchscreen. I'm not a fan of the tilt design, though – it protrudes from the back of the camera and it's awkward to grip and pull out for waist-level shooting. For the next Q installment, Leica should take notes from Fujifilm and others.
Every touch screams premium quality, from the knurled control dials with just the right amount of resistance, to the pop-out battery and the viewfinder's pop-out diopter adjustment. The memory card door design could do with a little tweaking because it feels like one weak point, but quality-wise I can't otherwise fault the Q3 Monochrom.
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
For a deeper dive into the design of the Leica Q3 Monochrom, check out my Leica Q3 review.
Leica Q3 Monochrom: features and performance
High-resolution 61MP sensor with digital crop modes
Reasonable autofocus performance and precise manual focus
Average battery life
There's no change from the original Q3 regarding features or performance, either, save for the monochrome-only images, which is what I'll double down on in this section.
To summarize the other aspects first, the Q3 Monochrom's startup time is rapid, battery life is average at best, autofocus accuracy and speed are good, while in-body image stabilization performance is only okay, but certainly welcome in a camera capable of capturing such high-resolution photos.
And with 61MP to play with there's huge scope for cropping into images to emulate the look of tighter lenses – a feature that can be accessed directly using one of the two buttons above the LCD screen (the gallery below shows a selection of digitally cropped images using the maximum in-camera crop setting, then the full un-cropped version for comparison). The other button above the LCD switches from stills to video, with 8K video recording once again present.
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(Image credit: Tim Coleman)
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The macro setting of the lens reduces its close-focusing distance, making it possible to capture flowers and other small subjects in exquisite detail – that's another string to the bow of the Q3 series (see the gallery directly below).
I also love how the maximum aperture of the lens is nice and bright at f/1.7. Pair that with the image stabilization, and Q3 cameras feel more versatile overall than the stunning Fujifilm GFX100RF, even if that camera has an even sharper lens – check out my Q3 vs GFX100RF real-world test to see how those premium compacts compare.
The 28mm lens also produces some of the crispest sunstars I've seen (check out the backlit tree image two galleries down); again, for more details, check out the Q3 review.
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Now, let's get on to black-and-white image quality. Firstly, there are three main monotone profiles to choose from: natural (which is the profile I used for most of this review), plus a sepia and a blue-tone look.
I was surprised and disappointed to see how limited the customization options are for these profiles, though. For example, contrast can be tweaked for these presets, but you can't apply a filter effect, as you can to, say, Fujifilm and Ricoh alternatives.
That said, it's possible to upload LUT profiles to the camera from the Leica app for other creative styles, or of course attach a physical filter to the 28mm lens. I like using an orange filter to create dramatic skies with an infrared-type look, while a green filter can emphasize skin tones.
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I've taken photos with the Q3 Monochrom in a wide range of scenarios, shooting all images in RAW (DNG) and JPEG. When comparing the two, the natural profile brightens shadows, at the cost of rich contrast.
In all images detail is seriously sharp, with a pleasing fine grain – kind of like an ISO 50 film photography feel.
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Sadly, I didn't have the original Q3 at the same time as the Q3 Monochrom to make direct comparisons. However, I have prior experience for such comparisons, and so I know that images shot in black-and-white on a color camera have more pronounced noise, and detail is slightly softer.
His video also hammers home a major warning for using a monochrome-only digital camera: highlight clipping is unforgiving. If you were to overexpose an image – that is, with highlights blown out – you wouldn't be able to recover this detail to nearly the same extent as with a color model, like the original Q3.
Already knowing this, I factored in underexposing when shooting with the Q3 Monochrom. To a degree, this approach can offset the image-quality benefits of its better light sensitivity, but the fact remains that its images are sharper and cleaner than the Q3's when viewed closely. If you're into black-and-white photography, with a good handle on exposure, the Q3 Monochrom's black-and-white image quality exceeds the Q3's.
Should I buy the Leica Q3 Monochrom?
(Image credit: Tim Coleman)
Buy it if...
You want a pure black-and-white digital photography experience No color, clean detail and filmic quality – the Q3 Monochrom is for black-and-white photography purists.
You love camera design I've reviewed the Q3 and the Q3 Monochrom extensively and I adore their premium design and quality, especially the stunning lens and how it handles.
Don't buy it if...
You want a versatile digital camera Not only is color photography out of the picture, but the Q3 Monochrom is a compact camera with a fixed 28mm wide-angle lens.
It'll be your main camera The Q3 Monochrom is an extravagance, a back-up for the times you fancy something a little different to your main camera. And for that reason its lofty asking price is hard to swallow – I'm personally keeping my eye out for the upcoming Ricoh GR IV Monochrome instead.
Also consider
Leica Q3
If you're not all-in for black-and-white photography, the image-quality improvements the Q3 Monohcrom delivers are hardly justifiable when you consider the greater versatility of the Leica Q3, which also shoots in color, has a greater ceiling for highlight recovery, and costs less.
I used it as my everyday carry, shooting images in a variety of scenarios
I shot all images in RAW and JPEG, and used the macro setting and all focus modes
I spent three weeks using the Leica Q3 Monochrom as my primary camera, shooting all photos in RAW and JPEG. I've used the macro setting for close-up photography, tested the digital crop mode, and swapped between manual and autofocus modes.
When editing, I've looked at shadow and highlight recovery, and taken a close look at the quality of detail, especially in low-light photos where this type of sensor excels.
I'm already a fan of the Ricoh GR series of premium compact cameras, having purchased the GR IIIx several years ago. There really is no other camera this small that can shoot photos that look this good – and that's why I've featured it in my best compact camera and best point-and-shoot camera guides.
My GR III series camera is far from perfect, though. It's prone to damage, its autofocus can be really sluggish at times, and it could do with a built-in flash. I'd also love a tilt screen – oh and poor battery life is another gripe among users.
Despite these limitations I still carry my Ricoh with me most days, but I've been keeping a keen eye out for the arrival of its successor, in the hope it could deliver particular upgrades and become my perfect compact. Well, the Ricoh GR IV is finally here, six years after the GR III, and I've had my hands on it for around three weeks, with the new camera in one pocket and my GR IIIx in the other.
So is the GR IV my dream upgrade? Not quite... but it is a better camera in many other ways. I'm disappointed that the build quality is mostly the same (besides what Ricoh says is better sealing on the new lens), in that it isn't technically weather-sealed and so will need looking after, even though its feels decent in the hand.
On the plus side, I was already happy with the image quality from my GR III, but Ricoh has introduced a new 26MP sensor and refined the lens to further improve quality, while the sensor has improved 5-axis stabilization.
(Image credit: Future / Tim Coleman)
As mentioned, I was hoping for a built-in flash this time around, but the GR IV doesn't have one; ditto a tilt screen. I also wanted much better autofocus performance, but I'm not seeing enough of a difference.
On the flip-side, again, the GR IV delivers some significant upgrades that I didn't see coming: internal storage is bumped up from 2GB to 53GB, there's a new bigger battery with approximately 20% better capacity, and the body is even slimmer, with a refined grip making the camera feel even better in the hand.
You get the picture – the GR IV is a decent upgrade for certain users, but one to skip for others. I for one can't see a good enough reason to splash out, but I understand why others would. And for those who are new to the series and looking for a premium compact, you won't find a better one at this size.
A word of thanks
A special mention goes to Park Cameras (UK) who loaned me the Ricoh GR IV and made this review possible.
One final, and significant, entry for the 'cons' column is that the list price has been hiked by around 20% over the GR III's, depending on where you live (the GR III originally cost $999 / £899 in 2019). I firmly believe that $1,150 / £1,000 is a much fairer price for the GR IV than $1,500 / £1,200 / AU$2,200.
What has caught my eye, however, is Ricoh announcing that a GR IV Monochrome is in the pipeline, which would be the first black-and-white-only camera in the series. I'm a fan of the black-and-white profiles in these cameras, and I shoot the majority of my pictures in monochrome, so this niche version could well be my next camera purchase.
The Ricoh GR IV was first unveiled in May 2025 and went on sale from August, with a launch price of $1,499 / £1,199 / AU$2,199. That's an approximately 20% mark-up over the GR III, depending on which region you live in.
I wish the GR IV had a built-in flash, but in its absence Ricoh has done the next best thing, launching a new GF-2 flash that sits in the GR IV's hotshoe and is suitably tiny. It wasn't available to me while I was testing the camera, so I'm yet to use it, but it's also compatible with GR III cameras (with reduced funtionality) so I expect I'll be buying one.
Ricoh GR IV: specs
Ricoh GR IV Specs
Sensor
APS-C, 5-axis stabilization
Resolution
26MP
Video
1080p up to 60fps
Lens
18.3mm (28mm equiv.) f/2.8-16
Screen
3.0in, 1.04m-dots
Dimensions
109.4 x 61.1 x 32.7 mm
Weight
262g (with battery + card)
Battery life
250 shots (approx)
Memory
microSD, internal 53GB
Ricoh GR IV: design
Slim body and refined grip give a secure and comfortable single-hand hold
Easily slips into a pocket
Still no built-in flash or weather sealing
Internal storage upped from 2GB to 53GB
Fixed touchscreen can be hard to see in bright light
The GR IV might look largely the same as the GR III, but there are design tweaks to the new camera that add up to improve the overall handling.
Its width and height are essentially the same, meaning the GR IV will still easily slip into a trouser pocket – the same can't be said for the bulkier Fujifilm X100VI. What's new, and seriously impressive, is that Ricoh has slimmed down the GR IV compared to the GR III, while keeping the grip depth the same.
The GR IV immediately felt different in the hand to me, having been so used to the GR III – the slimmer body and refined grip give a secure and comfortable hold with just one hand, however you're holding the camera. It's a tiny design tweak that makes a big difference – I often want to shoot with one hand using my GR III, but to do so comfortably I've had to attach a separate thumb grip.
Ricoh has reverted back to the ± button that was on the GR II, but dropped from the GR III. This can control the likes of exposure compensation, and overall it's a welcome return, even if I found myself tapping the button all too easily.
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Three of my top wishes as a GR III user interested in this successor sadly remain elusive – there's no built-in flash, tilt screen, or weather sealing. Those upgrades alone would have had me reaching for my wallet.
A built-in flash would be supremely helpful for portraits at parties – without one, I wouldn't really use the GR IV in such scenarios. Ricoh has, as mentioned, announced the tiny GF-2 external flash, which is an accessory I will absolutely look into purchasing.
I find the fixed touchscreen of my GR III hard to see clearly in bright light, and it doesn't make low-angle shooting easy. A tilt screen would help no end, but sadly this is another potential upgrade that didn't materialize.
However, it's the lack of weather sealing that's the real kicker for me. I've taken my GR III in for minor repairs twice in the years I've had it – cheap repairs for seized buttons, caused by moisture ingress – while the pop-out lens is beginning to struggle on start up. Ricoh says there is better sealing in the new lens, but besides this, build quality is the same. As such, I'd be conscious of the need to look after the GR IV, which is something I don't want to think about with an everyday camera that's in my pocket.
To Ricoh's credit, there are other upgrades. The internal storage has been upped from 2GB to 53GB, and there's a larger-capacity battery inside too, even if this has necessitated a switch from SD card to micro SD, which is a fiddly card slot on the GR IV.
Ricoh GR IV: features and performance
New 26MP sensor with improved 5-axis stabilization
Speedier start-up time and longer battery life
(Unchanged) 1080p video is an afterthought
If you're unfamiliar with the Ricoh GR series of digital compacts, then you'll probably struggle to spot meaningful upgrades in the GR IV over the GR III – and the former camera is six years old now, having been released in 2019.
For those like me that are familiar, however – and I suspect that's many of you reading this review – the headline upgrade is the new 26MP sensor.
Sure, a 2MP bump from 24MP to 26MP is hardly worth mentioning, but the improved 5-axis stabilization certainly is, and in my opinion it's a key improvement. The GR III has less effective 3-axis stabilization.
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I was able to shoot handheld images with a shutter speed as slow as one second, and for most shots at half a second, and detail still looked sharp. This offers the potential for creative long-exposure effects and can improve low-light image quality, assuming you don't need to freeze movement. Check out a few long exposure effect images in the gallery above.
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(Image credit: Tim Coleman)
The GR IV isn't short of color profiles either. I'm a fan of the hard monotone profile which produces punchy black-and-white images with an infrared photography-like effect (see the punchy sky images in the gallery above). At other times, I was drawn to the cinema color profiles for a gritty effect which suited nighttime images across London. In the gallery of images below, I've used a range of these color profiles.
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There's a macro photography setting, which reduces the minimum focus distance and enables proper close up photography. This, as like with GR III cameras, is another string to the GR IV's bow.
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The macro photography setting is totally usable and makes the GR IV an even more versatile snapper. This shot is taken with the aperture set to f/2.8 (Image credit: Tim Coleman)
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Here's the same scene but with the aperture stopped down to f/5.6 (Image credit: Tim Coleman)
Start-up time has been improved too, not that the GR III was a slouch. I had the GR III and GR IV side by side and turned the cameras on at the same time, and the GR IV was ready to go a fraction quicker – it makes a real difference for an everyday camera with which you'll often want to be ready to shoot quickly. If this was a wild west showdown against most other cameras, the GR IV would be busting open the saloon doors and demanding a victory whiskey.
I can't say the same for autofocus performance. Ricoh has improved autofocus speed and reliability from the GR III, but not by much. The AF assist light helps in low-contrast lighting, as do additional focusing modes added to the series via firmware updates in recent years, such as new zone-focusing options, but it would be generous of me to Ricoh to say better autofocus is a reason to upgrade here.
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One of the many occasions that autofocus missed the mark (Image credit: Tim Coleman)
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One of the many occasions that autofocus missed the mark (Image credit: Tim Coleman)
Battery life sees a decent improvement. There's a new larger-capacity unit inside which delivers a 20% bump in shot life. Still, where the GR III has poor battery life at around 200 shots, the GR IV's is only less poor at 240 shots. Personally, though, I think limited battery life is completely forgiveable for such a small camera, and it's impressive that Ricoh has squeezed a better battery into what is actually a fractionally smaller camera.
Overall, there are some decent improvements in the GR IV, depending on how and what you like to shoot.
Should I buy the Ricoh GR IV?
(Image credit: Future / Tim Coleman)
Buy it if...
You want a truly pocketable camera with supreme image quality The 5-axis stabilized 26MP APS-C sensor and refined 28mm lens are a superb combo for photo-philes.
You want an everyday carry that isn't your phone Slipping into a pocket, the GR IV is a camera that you can carry with you almost everywhere – just don't take it to the beach.
Don't buy it if...
You shoot a lot in low light With no built-in flash and autofocus that can struggle at times, the GR IV has its limitations in low light.
You want an indestructible camera Ricoh says it has improved the sealing of the lens to repel dust ingress, but the camera isn't weather sealed, and as such you need to look after it – as I know from my experience with my GR III!
You shoot a lot of video Maxing out at 1080p, video recording is very much an afterthought in the GR IV. It's nice to have all the same, but you'll be better off using your phone.
How I tested the Ricoh GR IV
(Image credit: Future / Tim Coleman)
Park Cameras loaned me the camera for several weeks
I shot 1,000-plus photos in RAW + JPEG
I carried the camera every day, using it in a range of scenarios
I used the Ricoh GR IV regularly for around three weeks, with thanks to Park Cameras (UK) for the loan. During this time I took over 1,000 photos, documenting everyday life and of course playing with the various color profiles and creative techniques possible with the GR IV.
I pushed the limit of the camera's stabilization, taking handheld long-exposure photos. I shot photos of the same scenes at different apertures to assess the quality at each setting, and checked for lens distortions.
I noted how many photos I could take with a fully charged battery, and in general I've looked after the camera rather than push it in adverse conditions. I bring several years of experience with the Ricoh GR series into this review, most recently as an owner of the GR IIIx.
I'm already a fan of the Ricoh GR series of premium compact cameras, having purchased the GR IIIx several years ago. There really is no other camera this small that can shoot photos that look this good – and that's why I've featured it in my best compact camera and best point-and-shoot camera guides.
My GR III series camera is far from perfect, though. It's prone to damage, its autofocus can be really sluggish at times, and it could do with a built-in flash. I'd also love a tilt screen – oh and poor battery life is another gripe among users.
Despite these limitations I still carry my Ricoh with me most days, but I've been keeping a keen eye out for the arrival of its successor, in the hope it could deliver particular upgrades and become my perfect compact. Well, the Ricoh GR IV is finally here, six years after the GR III, and I've had my hands on it for around three weeks, with the new camera in one pocket and my GR IIIx in the other.
So is the GR IV my dream upgrade? Not quite... but it is a better camera in many other ways. I'm disappointed that the build quality is mostly the same (besides what Ricoh says is better sealing on the new lens), in that it isn't technically weather-sealed and so will need looking after, even though its feels decent in the hand.
On the plus side, I was already happy with the image quality from my GR III, but Ricoh has introduced a new 26MP sensor and refined the lens to further improve quality, while the sensor has improved 5-axis stabilization.
(Image credit: Future / Tim Coleman)
As mentioned, I was hoping for a built-in flash this time around, but the GR IV doesn't have one; ditto a tilt screen. I also wanted much better autofocus performance, but I'm not seeing enough of a difference.
On the flip-side, again, the GR IV delivers some significant upgrades that I didn't see coming: internal storage is bumped up from 2GB to 53GB, there's a new bigger battery with approximately 20% better capacity, and the body is even slimmer, with a refined grip making the camera feel even better in the hand.
You get the picture – the GR IV is a decent upgrade for certain users, but one to skip for others. I for one can't see a good enough reason to splash out, but I understand why others would. And for those who are new to the series and looking for a premium compact, you won't find a better one at this size.
A word of thanks
A special mention goes to Park Cameras (UK) who loaned me the Ricoh GR IV and made this review possible.
One final, and significant, entry for the 'cons' column is that the list price has been hiked by around 20% over the GR III's, depending on where you live (the GR III originally cost $999 / £899 in 2019). I firmly believe that $1,150 / £1,000 is a much fairer price for the GR IV than $1,500 / £1,200 / AU$2,200.
What has caught my eye, however, is Ricoh announcing that a GR IV Monochrome is in the pipeline, which would be the first black-and-white-only camera in the series. I'm a fan of the black-and-white profiles in these cameras, and I shoot the majority of my pictures in monochrome, so this niche version could well be my next camera purchase.
The Ricoh GR IV was first unveiled in May 2025 and went on sale from August, with a launch price of $1,499 / £1,199 / AU$2,199. That's an approximately 20% mark-up over the GR III, depending on which region you live in.
I wish the GR IV had a built-in flash, but in its absence Ricoh has done the next best thing, launching a new GF-2 flash that sits in the GR IV's hotshoe and is suitably tiny. It wasn't available to me while I was testing the camera, so I'm yet to use it, but it's also compatible with GR III cameras (with reduced funtionality) so I expect I'll be buying one.
Ricoh GR IV: specs
Ricoh GR IV Specs
Sensor
APS-C, 5-axis stabilization
Resolution
26MP
Video
1080p up to 60fps
Lens
18.3mm (28mm equiv.) f/2.8-16
Screen
3.0in, 1.04m-dots
Dimensions
109.4 x 61.1 x 32.7 mm
Weight
262g (with battery + card)
Battery life
250 shots (approx)
Memory
microSD, internal 53GB
Ricoh GR IV: design
Slim body and refined grip give a secure and comfortable single-hand hold
Easily slips into a pocket
Still no built-in flash or weather sealing
Internal storage upped from 2GB to 53GB
Fixed touchscreen can be hard to see in bright light
The GR IV might look largely the same as the GR III, but there are design tweaks to the new camera that add up to improve the overall handling.
Its width and height are essentially the same, meaning the GR IV will still easily slip into a trouser pocket – the same can't be said for the bulkier Fujifilm X100VI. What's new, and seriously impressive, is that Ricoh has slimmed down the GR IV compared to the GR III, while keeping the grip depth the same.
The GR IV immediately felt different in the hand to me, having been so used to the GR III – the slimmer body and refined grip give a secure and comfortable hold with just one hand, however you're holding the camera. It's a tiny design tweak that makes a big difference – I often want to shoot with one hand using my GR III, but to do so comfortably I've had to attach a separate thumb grip.
Ricoh has reverted back to the ± button that was on the GR II, but dropped from the GR III. This can control the likes of exposure compensation, and overall it's a welcome return, even if I found myself tapping the button all too easily.
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(Image credit: Future / Tim Coleman)
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Three of my top wishes as a GR III user interested in this successor sadly remain elusive – there's no built-in flash, tilt screen, or weather sealing. Those upgrades alone would have had me reaching for my wallet.
A built-in flash would be supremely helpful for portraits at parties – without one, I wouldn't really use the GR IV in such scenarios. Ricoh has, as mentioned, announced the tiny GF-2 external flash, which is an accessory I will absolutely look into purchasing.
I find the fixed touchscreen of my GR III hard to see clearly in bright light, and it doesn't make low-angle shooting easy. A tilt screen would help no end, but sadly this is another potential upgrade that didn't materialize.
However, it's the lack of weather sealing that's the real kicker for me. I've taken my GR III in for minor repairs twice in the years I've had it – cheap repairs for seized buttons, caused by moisture ingress – while the pop-out lens is beginning to struggle on start up. Ricoh says there is better sealing in the new lens, but besides this, build quality is the same. As such, I'd be conscious of the need to look after the GR IV, which is something I don't want to think about with an everyday camera that's in my pocket.
To Ricoh's credit, there are other upgrades. The internal storage has been upped from 2GB to 53GB, and there's a larger-capacity battery inside too, even if this has necessitated a switch from SD card to micro SD, which is a fiddly card slot on the GR IV.
Ricoh GR IV: features and performance
New 26MP sensor with improved 5-axis stabilization
Speedier start-up time and longer battery life
(Unchanged) 1080p video is an afterthought
If you're unfamiliar with the Ricoh GR series of digital compacts, then you'll probably struggle to spot meaningful upgrades in the GR IV over the GR III – and the former camera is six years old now, having been released in 2019.
For those like me that are familiar, however – and I suspect that's many of you reading this review – the headline upgrade is the new 26MP sensor.
Sure, a 2MP bump from 24MP to 26MP is hardly worth mentioning, but the improved 5-axis stabilization certainly is, and in my opinion it's a key improvement. The GR III has less effective 3-axis stabilization.
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(Image credit: Future / Tim Coleman)
I was able to shoot handheld images with a shutter speed as slow as one second, and for most shots at half a second, and detail still looked sharp. This offers the potential for creative long-exposure effects and can improve low-light image quality, assuming you don't need to freeze movement. Check out a few long exposure effect images in the gallery above.
Image 1 of 2
(Image credit: Future / Tim Coleman)
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(Image credit: Tim Coleman)
The GR IV isn't short of color profiles either. I'm a fan of the hard monotone profile which produces punchy black-and-white images with an infrared photography-like effect (see the punchy sky images in the gallery above). At other times, I was drawn to the cinema color profiles for a gritty effect which suited nighttime images across London. In the gallery of images below, I've used a range of these color profiles.
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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(Image credit: Tim Coleman)
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(Image credit: Future / Tim Coleman)
There's a macro photography setting, which reduces the minimum focus distance and enables proper close up photography. This, as like with GR III cameras, is another string to the GR IV's bow.
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The macro photography setting is totally usable and makes the GR IV an even more versatile snapper. This shot is taken with the aperture set to f/2.8 (Image credit: Tim Coleman)
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Here's the same scene but with the aperture stopped down to f/5.6 (Image credit: Tim Coleman)
Start-up time has been improved too, not that the GR III was a slouch. I had the GR III and GR IV side by side and turned the cameras on at the same time, and the GR IV was ready to go a fraction quicker – it makes a real difference for an everyday camera with which you'll often want to be ready to shoot quickly. If this was a wild west showdown against most other cameras, the GR IV would be busting open the saloon doors and demanding a victory whiskey.
I can't say the same for autofocus performance. Ricoh has improved autofocus speed and reliability from the GR III, but not by much. The AF assist light helps in low-contrast lighting, as do additional focusing modes added to the series via firmware updates in recent years, such as new zone-focusing options, but it would be generous of me to Ricoh to say better autofocus is a reason to upgrade here.
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(Image credit: Future / Tim Coleman)
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(Image credit: Future / Tim Coleman)
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(Image credit: Future / Tim Coleman)
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(Image credit: Future / Tim Coleman)
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(Image credit: Future / Tim Coleman)
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(Image credit: Future / Tim Coleman)
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One of the many occasions that autofocus missed the mark (Image credit: Tim Coleman)
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One of the many occasions that autofocus missed the mark (Image credit: Tim Coleman)
Battery life sees a decent improvement. There's a new larger-capacity unit inside which delivers a 20% bump in shot life. Still, where the GR III has poor battery life at around 200 shots, the GR IV's is only less poor at 240 shots. Personally, though, I think limited battery life is completely forgiveable for such a small camera, and it's impressive that Ricoh has squeezed a better battery into what is actually a fractionally smaller camera.
Overall, there are some decent improvements in the GR IV, depending on how and what you like to shoot.
Should I buy the Ricoh GR IV?
(Image credit: Future / Tim Coleman)
Buy it if...
You want a truly pocketable camera with supreme image quality The 5-axis stabilized 26MP APS-C sensor and refined 28mm lens are a superb combo for photo-philes.
You want an everyday carry that isn't your phone Slipping into a pocket, the GR IV is a camera that you can carry with you almost everywhere – just don't take it to the beach.
Don't buy it if...
You shoot a lot in low light With no built-in flash and autofocus that can struggle at times, the GR IV has its limitations in low light.
You want an indestructible camera Ricoh says it has improved the sealing of the lens to repel dust ingress, but the camera isn't weather sealed, and as such you need to look after it – as I know from my experience with my GR III!
You shoot a lot of video Maxing out at 1080p, video recording is very much an afterthought in the GR IV. It's nice to have all the same, but you'll be better off using your phone.
How I tested the Ricoh GR IV
(Image credit: Future / Tim Coleman)
Park Cameras loaned me the camera for several weeks
I shot 1,000-plus photos in RAW + JPEG
I carried the camera every day, using it in a range of scenarios
I used the Ricoh GR IV regularly for around three weeks, with thanks to Park Cameras (UK) for the loan. During this time I took over 1,000 photos, documenting everyday life and of course playing with the various color profiles and creative techniques possible with the GR IV.
I pushed the limit of the camera's stabilization, taking handheld long-exposure photos. I shot photos of the same scenes at different apertures to assess the quality at each setting, and checked for lens distortions.
I noted how many photos I could take with a fully charged battery, and in general I've looked after the camera rather than push it in adverse conditions. I bring several years of experience with the Ricoh GR series into this review, most recently as an owner of the GR IIIx.
