Cameras - Organizer

5:31 pm | November 19, 2024

Sony A1 II: one-minute review

Combine a dash of the Sony Alpha A1, a splash of the Sony A9 III, a sprinkling of all-new refinements, give it a stir, and voilà… you have the Sony A1 II, Sony's best-ever Alpha camera, and one of the best hybrid professional cameras available.

It's not quite as quick as the A9 III with its global shutter, unlimited flash sync speed and 120fps burst shooting, nor does it quite produce the same highly-detailed pictures as the 61MP A7R V; but the A1 II is the best Sony has to offer for detail and speed in a single camera.

That dash of the A1 is the same full-frame back-illuminated 50MP stacked sensor, powered by Sony's Bionz XR processor for 30fps burst shooting and 8K video up to 30fps with 10-bit 4:2:2 color depth, plus 4K 120fps slow-motion video.

The sprinkling of the A9 III (that upgrades this camera over the A1) is a like-for-like design, meaning a larger handgrip with a nicely-angled shutter button, a larger 3.2-inch multi-angle touchscreen with better color depth, more effective image stabilization now rated up to 8.5EV, Sony's AI processing chip, plus an additional custom button for the likes of an instant boost in speed for burst shooting.

Sony A1 II mirrorless camera's vari-angle screen pulled out to the side, outdoors on a tripod with autumn leaves background — The A1 II's design is inherited from the A9 III, which means a chunkier handgrip and larger multi-angle touchscreen (Image credit: Future / Tim Coleman)

Finally, the sprinkling of the all-new includes a new 'Auto' subject-detection autofocus mode, meaning you don't have to manually select the subject type ahead of time, though you still can if you'd rather. Users can also import custom LUT color profiles, in addition to Sony's popular S-Log3 and S-Cinetone color profiles that are built-in.

The message here is that there's practically nothing new in the A1 II, which is highly unusual for a Sony flagship camera, especially after such a quiet 2024 for the camera giant, with this being the first new full-frame Alpha this year.

The A1 II combines excellent A1 and A9 III attributes in a single camera, but there's little here to get excited about. That said, Sony has slightly reduced the launch price compared to the A1 when it was announced almost fours ago (though Sony's hand has been somewhat forced by cheaper rivals coming onto the scene), and has ultimately created a polished upgrade over the first-gen model that's likely to please pros who rely on their gear daily in challenging situations.

It may not be an exciting upgrade, but the Sony A1 II is up there with the very best cameras we've tested.

Sony A1 II: price and release date

Body-only price is $6,500 / £6,300 (Australia TBC, around $12,000)
On sale from late November
New BC-ZD1 charger and VG-C5 grip (sold separately)

The Sony A1 II will go on sale from late November 2024 with a list price of $6,500 / £6,300. That's a fraction lower than the launch price of the A1 from all the way back in 2021. In one sense that's commendable on Sony's part, but on the other hand the market has changed, and the A1 series has now has accomplished rivals that offer perhaps 90% of the all-round package but cost about 50% less. Sony needed to be aggressive with its pricing, and it has been to an extent, but the Nikon Z9 in particular looks very reasonable by comparison.

Sony A1 II: specs

Sony A1 II: design and handling

Same design as the A9 III
Smart control layout with handy shortcuts to frequently used features
New dedicated mic for voice memos

In terms of change from the A1, you get a larger 3.2-inch multi-angle touchscreen, with the dual hinge enabling users to tilt and angle the screen for easy viewing at high or low angles whether they're shooting vertical or horizontal. That dual-hinge design also enables you to pull the screen further away from the body and its chunky viewfinder eye-piece, which can otherwise partially obstruct the screen.

The A1 II's handgrip is more rounded and all-round chunkier, and I feel like it slots into the hand better than the grip on the A1, though they are similar in depth. There are little refinements too, such as the shutter button being angled slightly differently and easier to press.

Image 1 of 4

Top plate of Sony A1 II mirrorless camera with autumn leaves background — (Image credit: Future / Tim Coleman)

Image 2 of 4

Closeup of the Sony A1 II mirrorless camera's ports, outdoors on a tripod with autumn leaves background — (Image credit: Future / Tim Coleman)

Image 3 of 4

Sony A1 II mirrorless camera's memory card door open with card inside and autumn leaves background — (Image credit: Future / Tim Coleman)

Image 4 of 4

As on the A9 III, there's an additional custom button on the front of the A1 II, which is factory-set to act as a speed boost for continuous burst shooting. The idea is that you don't always want to be shooting at the maximum frame rate, which in this case is 30fps, but you might suddenly need that speed, and the button allows you to tick over at a lower frame rate and get an instant injection of extra frames when you need it.

One feature that caught my eye in the original A1, and has again here, is the max flash sync speed of 1/400 sec. That beats the Nikon Z9 for example, making the A1 II a more versatile camera for flash photography, especially if you like using a wide aperture.

Image 1 of 4

Sony A1 II mirrorless camera outdoors on a tripod with autumn leaves background — (Image credit: Future / Tim Coleman)

Image 2 of 4

Image 3 of 4

Image 4 of 4

Sony A1 II mirrorless camera with FE 28-70mm F2 lens, outdoors on a tripod with autumn leaves background — (Image credit: Future / Tim Coleman)

The A1 II is also an extremely rugged weatherproof camera, with nicely designed rigid doors on the connection ports that stay out of the way when the ports are in use, while the dual memory card door features a push lock and is a better design than Nikon's, which can easily be knocked open.

Check out our A9 III review to learn more about the A1 II's design – the two cameras share practically the same design.

Sony A1 II : features and performance

Improved image stabilization, up to 8.5EV
Same 759-point AF array, now with AI processing unit for subject detection
30fps burst shooting for up to 153 raw images, now with pre-capture

Sony has delivered one notable hardware improvement. adding an AI processing unit that was debuted in the A7R V. This should deliver better subject-detection autofocus for photo and video compared to the A1, though we haven't tested the A1 II against the A1, both of which share the same 759 AF point array, to see just how much of a difference it makes.

Having used Sony's previous professional Alphas, I was most keen to test out the new Auto subject-detection autofocus mode. Frustrated by what feel to me like unnecessarily complex subject detection choices that you need to manually select ahead of time – humans, birds, animals, car, insects, planes, trains and so on, I've called on brands to add an auto mode that simplifies the experience. Cue the A1 II and its new mode. I haven't tested the camera for long enough to know if it works well versus using a dedicated mode (which you can also do), but I'll be doing that for my full A1 II review. However, it worked absolutely fine when shooting portraits of people during my hands-on testing, locking reliably onto my subject's eyes.

Image 1 of 2

Sony A1 II mirrorless camera's LCD screen displaying the autofocus modes, outdoors on a tripod with autumn leaves background — (Image credit: Future / Tim Coleman)

Image 2 of 2

Sony also says the next-gen autofocus is able to recognize the head and body of humans / animals, and that its performance is 30% more effective than the A1's for detecting human and animal eyes, while the camera's autofocus can operate effectively in low light down to -4EV.

Closeup of the Sony A1 II mirrorless camera's drive mode dial, outdoors on a tripod with autumn leaves background — (Image credit: Future / Tim Coleman)

Another similarity between this camera and its predecessor is that both can shoot at a burst rate of up to 30fps for a similar length of time before slowing down – a little over 150 raw frames or close to 180 JPEGs. For such occasions, that speed-boost button is infinitely helpful for improving efficiency and workflow by enabling you to adapt your shooting rate.

The A1 II also gets a handy pre-capture feature. Pre-capture is nothing new, although Sony was late to the party, only introducing it to an Alpha camera with the A9 III. Put simply, pre-capture can buffer up to one second's worth of photos – in this case 30 photos – before you fully press the shutter button to start capturing a high-speed sequence. That one second of grace when you're slow to react could be the difference between capturing the moment and missing it completely.

Sony A1 II: image and video quality

50MP stills and 8K/30p video
4:2:2 10-bit color depth and Sony's S-Log3, S-Cinetone, plus LUT imports
Pixel Shift and Noise Reduction shooting modes

Sony's 50MP full-frame stacked sensor is a proven performer, delivering sharp stills with up to 15EV of dynamic range. The A7R V's 61MP sensor gets you marginally better detail, but the A1 II is a much faster performer. Furthermore, in-body image stabilization is improved over the A1, and you'll often getting slightly sharper end results when shooting handheld, depending on the camera's shutter speed and how steady your hand is.

Once again Sony's Pixel Shift Multi Shooting mode features, combining up to 16 shots for one larger 199MP composite image. It's not as effective as Canon's in-camera AI upscaling feature in the EOS R1 / EOS R5 Mark II, especially if there's any movement in your shot. However, in situations such as still lifes in the studio it increases detail by up to 400%. Sony has also added a new Noise Reduction shooting mode that, like Pixel Shift, combines multiple images but in this case for a cleaner image, especially in low light.

Image 1 of 2

Head and shoulder portrait of a man with autumn leaves in the background, taken with the Sony A1 II — The Auto subject-detection mode worked fine in this portrait, with the focus pin-sharp on the eyes (scroll to next image to see a close-up). (Image credit: Future / Tim Coleman)

Image 2 of 2

Closeup of the eye in portrait of a man with autumn leaves in the background, taken with the Sony A1 II — (Image credit: Future / Tim Coleman)

Outright image quality is, in effect, the same as from the A1, which is a good thing, with clean images up to ISO 12,800 from the A1 II's ISO 100-32,000 range. The almost four-year-old sensor has stood the test of time. Where we really see improvements in image quality is in the positive effect of improved image stabilization for handheld shots and even more reliable subject-detection autofocus for shooting animals, vehicles, people, and so on.

How I tested the Sony A1 II

Sony A1 II mirrorless camera in the hand — (Image credit: Future / Tim Coleman)

I tested the camera for a week with the FE 28-70mm F2 GM lens
This was a full-production model with final firmware
I used it with Sony's Creator Cloud app

I tested a final firmware version of the Sony A1 II, together with the new Sony FE 28-70mm F2 GM lens, for a week. The A1 II's raw files were not readable in editing software ahead of the camera's launch.

I've been shooting with a CFexpress Type A card to get the best possible performance from the camera, and recorded burst sequences at TechRadar's standard camera testing settings: 1/250 sec, ISO 200, and continuous AF.

Sony's Creator Cloud app works with the A1 II, and I used the app to remotely shoot images with the camera and upload images too. I shot portraits of humans and animals with the various subject-detection autofocus modes.

First reviewed November 2024

myFirst Camera 50 review: child-friendly introduction to photography, video, and social media

12:43 pm | November 15, 2024

Author: admin | Category: Cameras Compact Cameras Computers Gadgets | Tags: Australia, UK, US | Comments: Off

myFirst Camera 50: Two-minute review

As technologies continue to collide, cameras for kids become more and more like camera phones, compared to the point-and-shoot cameras of yesteryear. The myFirst Camera 50 is a prime example: effectively, it's a tiny 4-inch tablet with a custom Android operating system that runs the camera and editing features. There's a 20MP rear camera, and for young content creators there's also a 16MP rear-facing camera and a built-in soft selfie light.

This might sound like a lot of technology for a child to manage, but with the camera designed to be used by children aged from 5-12, the controls are simple. There are just three buttons: the power button, a button to turn the light on and off, and the shutter button. The shutter button acts like one on a ‘proper’ camera, with a half-press focusing and a full press taking the photo.

There are, of course, the usual onscreen controls, such as another shutter button and the ability to touch the screen to focus. There's even the usual slider to adjust exposure. Holding down the onscreen shutter button switches to video recording, and while there's no optical zoom, there is the option of a 1x, 2x, or 3x digital zoom.

The camera is powered by a 2,000mAh built-in battery that's claimed to have a life of up to 240 minutes. In practice, how long it will last depends on what you're doing with the camera, but in the hands of a child, expect it to last a few days before it needs charging via the USB-C socket on the side.

Although the myFirst Camera 50 couldn’t be described as a tough camera, it does have a rubberized plastic finish that will help kids grip the camera, and there is a nice pronounced grip. Personally, I would also add a screen protector, as kids will be kids and the camera will get dropped. Within the box, you should find a wrist strap and lanyard so that kids can hold it safely, but these items were missing from my review sample.

Image 1 of 2

Image showing the sides of the myFirst Camera 50 — (Image credit: Future)

Image 2 of 2

What kids really want from their cameras these days is the ability to edit images and add photos and stickers, and the myFirst Camera 50 offers this and more.

The custom Android operating system that powers the camera also enables image-editing features. There's a good selection of different filters that can change the color and brightness of images, as well as a few different effects, such as Fisheye, Cross Process, and Vignette.

There's also the option to draw on images or add stickers – kids love stickers. The small array of cartoon stickers proved particularly popular with my children, who enjoyed adding sunglasses and random slices of watermelon to their photos.

Older children will also enjoy the myDiary journal feature. This can be password-protected so that children have some privacy. It allows them to save voice notes alongside images and videos, and then it presents these in a calendar view so that kids can look back on their adventures without needing to have a social media account.

Image edited with the in-camera stickers from the myFirst Camera 50 — (Image credit: Future)

Something else that can be saved to the myDiary are the AI-generated videos. The user selects a series of photos or videos, and the camera uploads these to a server which analyses the content and edits it to create short video complete with music. I found that it did this chronologically, and I’m not entirely sure how much true AI goes into the process, but it does an okay job of creating short highlight videos. (NOTE: When I was writing this review, there appeared to be a bug with saving the AI-generated videos to the camera and uploading them to myFirst Circle).

Those who are more hands-on can use the built-in templates to load their photos and videos, then have the video edited and music added. It's a basic introduction to video editing and is easy to use, although it may be too basic as your child gets older.

One of the key selling points of the myFirst Camera 50 is its integration with the myFirst Circle messaging service. Once you've connected the camera to a Wi-Fi network you're prompted to download the myFirst Circle app and link your camera to an account. Once set up, photos and videos can be uploaded. Parents can invite family and friends to download the app, and can authorize who's able to see their child’s posts and interact with them.

It is a great way to teach children about social media, and about what they may or may not want to share. It's also great for grandparents and other family members to see what the children are up to and keep in touch with them. It also works with the myFirst Frame Live or Doodle, which are Wi-Fi-enabled digital photo frames; when new photos or videos are uploaded to your myCircle account, they will be shown to those within your circle on the digital photo frame. Again, this allows for a passive way for friends and family to share moments almost in real time.

Image 1 of 4

Screenshots of the various features of the myFirst Camera 50 — (Image credit: Future)

Image 2 of 4

Image 3 of 4

Image 4 of 4

I found the process of setting up the Wi-Fi on the camera, and also a myCircle account on my iPhone, straightforward. The app feels rather basic and simple, which is largely by design to make it easy to use. It feels safe and secure, as much as sending any of your images to a random server could be.

Personally, I would rather wait until my child is a little older before they start getting too involved in social media, but a device like the myFirst Camera 50 and myCircle app seems like a good way to develop an awareness of the social etiquettes and understanding of posting online.

Image 1 of 1

The myFirst Camera 50 laying amongst some toys — (Image credit: Future)

Going back to the image quality of the camera, the images produced are about on par with what you would expect from a cheap smartphone. With good light, colors, and exposure, they look good, although the detail and sharpness of the image do break down when you view at 100% – the deterioration in quality is due to the small size of the sensor and the associated noise reduction. That said, given that most images will only ever be viewed on the camera, or on a smartphone or tablet screen, they're acceptable.

It's a similar story with the selfie camera, with images showing even lower quality when zoomed. The selfie light works surprisingly well, although the soft, warm light can often cause bits of the face that are in shadow to shift to a much cooler color.

Image 1 of 7

Image taken with the myFirst Camera 50 — (Image credit: Future)

Image 2 of 7

Image take with the myFirst Camera 50 — (Image credit: Future)

Image 3 of 7

Image 4 of 7

Image 5 of 7

Image 6 of 7

Image 7 of 7

Video is a little below par. While the myFirst Camera 50 can record at Full HD 1920 x 1080, there's no stabilization, and footage can be very shaky as a result. Exposure and autofocus also tend to jump very noticeably when shooting video.

Again, though, most children, certainly younger ones, will care little about these technicalities, and will simply be delighted to capture and share their moments.

All the images and videos can be saved to the built-in 4GB memory, or to a microSD card up to 128GB. It's worth noting that if you save images to the internal memory you will need to connect the camera to a computer to save them; they can't be transferred to a microSD card or via a Bluetooth or WiFi connection. Images also can't be downloaded via the myFirst Circle app.

Overall, the myFirst Camera 50 is a simple camera with basic features that will keep a young child entertained while encouraging their creativity.

Image 1 of 2

Image of the Blue myFirst camera — (Image credit: myFirst)

Image 2 of 2

Image of the Purple myFirst camera — (Image credit: myFirst)

myFirst Camera 50: Price and release date

Available now in the US, UK, and Australia for $129/ £109 / AU$149

The myFirst Camera 50 is available in Vibrant Blue or Cool Purple colors and comes with a wrist strap, lanyard, and some fun stickers so that your child can decorate their camera. It's available to buy now and costs $129.99 from the myFirst store (US) / £109 from myFirst's UK store and AU$149 from the myFirst Australia site.

myFirst Camera 50 amongst a selection of children's toys — (Image credit: Future)

myFirst Camera 50: Should I buy?

Buy it if...

Your kids constantly want to take photos with your smartphone
The easy-to-use camera is essentially the same as a smartphone camera. If your children are constantly borrowing your phone to take photos or videos, this should offer them some independence, while you can continue scrolling Instagram.

You want to teach your children about social media
The secure, closed-loop MyCircle app allows children to upload videos and images, but parents have the reassurance that they can see all of the images, and have complete control over who sees the images. It's also great for family members who don't see your children often.

You want to foster child's creativity
Not only does the first Camera 50 provide a means of taking photos and video, it also offers the ability to edit images and video, and even use templates to add music and voiceovers, while the diary feature encourages journalling and reflection. It's great for creative young minds.

Don't buy it if...

You have an older child
Although the camera is recommended for children up to 12 years old, I feel that by the time most children reach around 10 they'll probably be ready for something more advanced in terms of features, particularly when it comes to editing photos and videos, areas where the camera is kept simple by design.

You have a younger child
Although my younger 5-year-old son was fine using the camera and taking photos, some of the editing features were still too complex and caused him a little frustration when he started to use them. It's something that he will grow into, but I would say around 7-10 years old is probably the sweet spot for this camera.

You want the best image quality.
The camera is inexpensive, and although it can produce half-decent images in good light it falls behind contemporary smartphones. If it's important to capture your child's images in as high-definition as possible, let them use your smartphone, or better yet, buy them an entry-level mirrorless camera.

myFirst Camera 50 on a park bench with the image preview screen showing — (Image credit: Future)

myFirst Camera 50: also consider

If our myFirstCamera 50 review has you interested in instant cameras, here are a couple of other options to consider...

Fujifilm Instax Pal
Not much larger than a golf ball, the Fujifilm Instax Pal is tiny camera that connects to a Fujifilm Instax Link printer via Bluetooth of via the Instax app. Your kids will have the freedom to run around snapping away without staring at a screen, with the fun of seeing the photos later, and printing them off so they can share them with family and friends.

Read our full Fujifilm Instax Pal review

Camp Snap
The Camp Snap is a modern reimagining of a disposable camera. It's a basic digital camera with no screen; you must transfer your images to a computer to see your photos. This makes it perfect for those who want their children to live in the moment rather than spending time staring at a screen looking at or editing images. The image quality may not be very good, but for children, the experience and simplicity make up for it.

Read our full Camp Snap review

myFirst Camera 50: How I tested

My two children aged 5 and 8, both used the camera on holiday
I also tried all of the camera's features

I set up the myFirst Camera 50 and made all the relevant Wi-Fi connections, before I passed it over to my 8-year-old daughter, who used it while on a few days of holiday. She happily shot family photos, mostly of her brother and me, while doing mundane things like eating lunch. She also shot some selfies and even a short vlog, needing no assistance from me.

I then used the camera on our return. I was able to see how easy it was to adjust the exposure and the overall image quality, and how difficult it was to use some of the more advanced features of the camera, such as social media and video editing and creation.

Finally, I connected the camera to my MacBook and transferred the images so that I could view them on a larger screen and upload them for this review.

First reviewed November 2024

Peak Design Outdoor Backpack 25L review: a versatile backpack that’s great for commuting and outdoor adventures, as well as for stowing camera gear

6:00 pm | November 2, 2024

Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Peak Design Outdoor Backpack 25L: two-minute review

Peak Design's Outdoor Backpack range is the latest series of bags from the US-based camera accessory maker. It's available in three colors and in 25L and 45L versions, and is due to hit the market in November 2024 after a successful crowdfunding campaign, with retailers already taking preorders.

I was among the first group of reviewers to receive a review sample, and I've been using the Peak Design Outdoor Backpack 25L, in white, as my primary bag for the last three months ahead of its launch. I've found it to be a highly versatile bag that has rewarded the time I've invested to customize it for my needs.

I'm a photographer, commuter and serial outdoors adventurer, and Peak Design's Outdoor Backpack and has proven itself to be apt companion for all these scenarios, becoming my first-choice bag these last couple of months. It's not a dedicated camera bag per se, but it'll do the trick for a little bit of camera gear, with the right Peak Design accessories.

Image 1 of 3

Peak Design Outdoor Backpack 25L in white, on a rustic bench — (Image credit: Future / Tim Coleman)

Image 2 of 3

Peak Design Outdoor Backpack 25L in white, on a man's shoulders — (Image credit: Future / Tim Coleman)

Image 3 of 3

Peak Design Outdoor Backpack 25L in white, on the grass by concrete posts — (Image credit: Future / Tim Coleman)

Peak Design Outdoor Backpack 25L: price and availability

Two sizes: 25L and 45L
Three colors: white, black or dark red
Preorders now, global launch due late November

The Peak Design Outdoor Backpack is available in two sizes: 25L and 4L, and in three colors; Cloud (white) Eclipse (dark red) or Black – the white 25L version is pictured throughout this review. The 25L version costs $249.99 / £249.99 and the 45L version is $329.99 / £329.99. The bag is due to go on sale globally in late November.

Peak Design Outdoor Backpack 25L: specs

Peak Design Outdoor Backpack 25L: design

Daisy-chain loops to fasten cords to
Weather-resistant exterior but not waterproof
Accessories include raincover, hip belt and more

For commuting, I usually pack a 17-inch MacBook Pro laptop, mirrorless camera with lens, a spare change of clothes, as I often run to work, plus a few accessories (in a Peak Design Camera Cube), all of which fit snugly into the 25L version of the Peak Design Outdoor Backpack. I slip a water bottle and a travel tripod into the elasticated side pockets and I'm good to go.

There's no dedicated place to store camera gear – the Outdoor Backpack's main compartment is single open space, without the padded dividers you typically get in a dedicated camera bag. If you want to pack you camera and accessories you can pick up one of Peak Design's Camera Cubes, which will slot in nicely to securely hold that pricey gear. You just need to ensure that it's the right-size cube for the size of bag – there's guidance on Peak Design's website, plus new soft-shell Packing Cubes. A decent alternative to a Peak Design Cube is a gear wrap like 3 Legged Thing's Wrapz.

For daily use over months, the Outdoor BackPack 25L has proven itself durable, comfortable, and versatile. Its shoulder straps are well padded, and are fastened to the bag through a loop rather than being stitched on. This excellent design touch removes the stitching stress point (lesser-quality straps can become un-stitched) and should ensure that the straps last for many years of heavy use.

Both of the straps also feature an elasticated pocket that will comfortably fit a large phone – my Pixel handset slotted in comfortably and securely.

Elsewhere on the outside are the aforementioned elasticated side pockets, and what I've seen Peak Design call a 'daisy chain' of loops along most of the bag's seams that you can feed cords through, several of which there are included, to secure larger items such as a travel tripod. The ways to customize the Outdoor Backpack based on what you're carrying feel endless, even if some are a little fiddly.

I have regularly used the bag for short runs (around 6km) from a train station to my workplace, and even with a full load it sits comfortably on my shoulders, especially with the optional hip belt in place for additional lumbar support. However, on my runs, and on hikes in hot weather, I found that got more sweaty than I'd like to; it would be great to have better breathability on the back.

I also found the two zips to the main compartment, when closed together at the top of the bag, came loose during running and on a couple of occasions I had to rescue the contents as they spilled out. Closing the zips towards the bottom of the bag on once side instead avoided this issue.

Image 1 of 4

Close up of the Peak Design Outdoor Backpack 25L's shoulder straps — (Image credit: Future / Tim Coleman)

Image 2 of 4

Close up of the Peak Design Outdoor Backpack 25L's shoulder straps with phone inside sleeve — (Image credit: Future / Tim Coleman)

Image 3 of 4

Closeup of the laptop compartment of the Peak Design Outdoor Backpack 25L in white, — (Image credit: Future / Tim Coleman)

Image 4 of 4

Close up of the Peak Design Outdoor Backpack 25L's bungee cords attached to daisy-chain clips — (Image credit: Future / Tim Coleman)

There are two ways to access the main compartment: the zips, which open the entire back, or the soft roll-top magnetic-clasped opening. For the former, you lie the bag down on its front to open it up and access the entire contents, while using the latter you can keep everything inside and rummage through the contents via the top opening.

The roll-top pocket is fitted securely inside the bag's weatherproof exterior with a cord, which is released for access via a neat pull-tab. To pack the top away, you pull at the cord to close down the opening (see gallery below). It's a very clever bit of design, and reassuringly robust, locking the cord securely with whatever tension you like. I regularly crammed a sweater or light rain jacket outside the main compartment but inside that adjustable weatherproof exterior, securing it in place with the cord. It's just a shame that there's no obvious place to put that cord when the top is closed off, as it simply dangles and is at risk of snagging.

There are no interior pockets in the main compartment, just a laptop sleeve. Peak Design says the 25L bag can hold a 16-inch laptop, but I found the stretchy sleeve snuggly held my 17-inch MacBook Pro.

There are no dedicated padded dividers, which I understand helps to keep the bag light and customizable. However, even with one of Peak Design's (add-on) Camera Cubes in place to secure gear in its padded dividers, access to gear is slower than I'd like.

Image 1 of 4

Close up of the Peak Design Outdoor Backpack 25L's pull cord — (Image credit: Future / Tim Coleman)

Image 2 of 4

Image 3 of 4

Close up of the Peak Design Outdoor Backpack 25L's roll top — (Image credit: Future / Tim Coleman)

Image 4 of 4

Close up of the Peak Design Outdoor Backpack 25L's open top with Camera Cube — (Image credit: Future / Tim Coleman)

Speaking as a photographer, I would love quicker access to gear, say through a side-access zipped opening. A few design tweaks like these could realize the Outdoor Backpack as the perfect versatile camera bag.

With a fully loaded bag and a Camera Cube positioned inside at the top, it doesn't take too long to access your gear, but you will have to take the bag off your shoulders.

I wouldn't describe this as a dedicated camera bag, nor would I specifically call it an outdoors bag; but it does a decent job of both, even if there are better alternatives out there that are focused on one or the other. As an all-in-one option, the Peak Design Outdoor Backpack has served my daily needs, photography and otherwise, better than any bag I've used for quite some time.

Should I buy the Peak Design Outdoor Backpack 25L?

Buy it if...

You carry just a small amount of camera gear alongside daily items
The 25L Outdoor Backpack can hold a little bit of camera gear, but not a lot.

You demand excellent quality
There's no doubt this is a high-quality backpack, from its premium materials to cleaver design touches.

Don't buy it if...

You're looking for a dedicated camera gear bag
With no padded dividers or quick side access, photographers will find a dedicated bag an easier companion.

You're on a tight budget
The bag is pricey, and so too are the additional accessories needed to optimize your experience.

How I tested the Peak Design Outdoor Backpack 25L

Two months of daily use
Commuting, outdoor hikes and photography walks
Paired with Peak Design Camera Cubes

I used the Peak Design Outdoor Backpack 25L as my primary bag for a few months ahead of its official launch and writing this review. It has been on my shoulders for commuting, running and hiking. I've paired it with Peak Design's Camera Cubes to improve the overall handling of the bag for securely storing camera gear.

First reviewed November 2024

HoverAir X1 PRO review: the ultimate selfie drone

8:53 pm | October 31, 2024

Author: admin | Category: Cameras Computers Drones Gadgets | Comments: Off

HoverAir X1 PRO & PROMAX: one-minute review

With all the recent hype surrounding the launch of the DJI Neo, we can't forget that it was the HoverAir X1 that originally delivered highly effective and, indeed, exciting selfie drone functionality to the mainstream. Building on the success of the HoverAir X1, ZeroZero Robotics has created two new models aimed at more demanding users, with upgraded cameras, improved performance and some interesting new accessories.

The HoverAir X1 PRO and HoverAir X1 PROMAX are more advanced models that will sit alongside the original HoverAir X1. So, this puts more advanced selfie drones at a total of four to choose from. I've flown and reviewed both the DJI Neo and the HoverAir X1, and although both are fantastic drones, for me it's the HoverAir drones that excel in this niche yet growing corner of the drone market.

HoverAir X1 PRO / PROMAX in hand — (Image credit: James Abbott)

With camera drones and FPV drones dominating, the success of selfie drones is a welcome surprise, and they offer something different. The HoverAir X1 PRO is aimed at snow sports and cycling, while the higher-end HoverAir X1 PROMAX is aimed at professional content creation. However, both perform equally well in those scenarios, so cost and camera requirements will be the deciding factor for many people.

Without going into too much detail, and focusing on the profound similarities between the HoverAir X1 PRO and HoverAir X1 PROMAX, both drones offer a variety of intelligent flight modes with drone-only activation, and manual flight control with the smartphone app and a separately available controller.

So, what are the key differences between the two models? We'll go into more detail later, but the PRO can capture 4K video up to 60fps with FHD available up to 120fps, while the PROMAX can capture 8K video up to 30fps with 4K and FHD available up to 120fps alongside 4K 10-bit HLG up to 60fps. Both capture photos in JPEG format.

HoverAir X1 Pro: specs

HoverAir X1 Pro: release date and price

Released September 26 2024
Several kit options are available
More expensive than the DJI Neo

The HoverAir X1 PRO & PROMAX were first available via Indiegogo after a successful crowdfunding campaign, and are now available on the HoverAir website with a shipping date of November 2, with multiple kit options and accessories available. The Standard kit, which includes the drone, one battery, a USB-C cable and a soft storage bag costs $499 / £459 for the PRO while the PROMAX costs $699 / £639. Pricing for Australia is in USD.

The Combo kit includes all of the above plus a second battery, charging hub, 65W power adaptor and a combo case. The PRO version costs $679 / £629 while the PROMAX version costs $879 / £799. This does make the two drones quite expensive for the two main kits that are available, and will likely mean they face fierce competition from the less expensive DJI Neo.

There are also several accessories available, so here's a breakdown of the prices for some of the options available. The PowerCase is $169 / £155, the Beacon and Joystick bundle is $228 / £208, the Multi-function Carry Bag is $79 / £69, the HandleBar Mount is $20, and the ND Filter set is $69 / £65. Buying a Combo kit and several accessories takes the cost of a HoverAir X1 Pro or PROMAX kit into the same price bracket as the DJI Air 3, so this is something to consider.

Price score: 4/5

HoverAir X1 PRO / PROMAX OLED screen — (Image credit: James Abbott)

HoverAir X1 Pro: design and handling

Compact folding design
Enclosed propellers
Excellent manual flight control via the app

Both the HoverAir X1 PRO and PROMAX feature an identical lightweight folding design that makes them a similar height and width, but slightly shorter than a VHS cassette when folded. At just 6.75oz / 191.5g and 6.79oz / 192.5g respectively, you'll barely even realise you're carrying them, and both will easily fit inside a jacket pocket.

HoverAir X1 PROMAX key specs

Camera: 1/1.3in CMOS & 16mm lens
Video resolution: Up to 8K
Frame rates: 8K up to 30fps, 4K up to 120fps, 10-bit HLG up to 60fps, FHD up to 120fps
Video transmission range: Phone (App): 500 m / Beacon (Controller) up to 1km
Flight modes: Manual flight and multiple intelligent flight modes
Battery: 1920mAh / up to 16 minutes flight time
Charger type: USB-C cable, charging hub, 65W power adapter
Weight: 6.79oz / 192.5g
Dimensions: 4.13 x 5.86 x 1.34in / 105 x 149 x 34mm folded / 6.81 x 5.86 x 1.53in / 173 x 149 x 39mm unfolded

The overall design is minimalistic, with just a single button surrounded by a directional selector button with a small OLED screen above. This is all you need to initiate flight with just the drone, although to adjust settings and intelligent flight mode parameters you will need to connect the drone to the smartphone app.

The propellers are fully enclosed in a tough plastic frame that keeps the propellers, people and objects safe. Plus, they can withstand bumps and crashesm – and, yes, this was put to the test when I turned quickly on a skateboard ramp and knocked the drone out of the air onto concrete.

The PRO and PROMAX are great at following subjects, but erratic movements where direction is changed in a split second can be problematic, because the drones can't respond quickly enough. Most of the time in these situations, the drones simply lose the subject.

The 1920mAh batteries are advertised to provide up to 16 minutes of flight time, and I was achieving flight times close to this in autumn temperatures, so this appears to be reliable.

Of course, this is nowhere near as long as a traditional camera drone, but the PRO and PROMAX are more suited to short bursts of flight, whether using the intelligent flight modes or manual control. Thermal batteries are available separately for use in cold climates with temperatures as low as -4F / -20C.

Image 1 of 5

HoverAir X1 PRO / PROMAX unfolded for flight — (Image credit: James Abbott)

Image 2 of 5

HoverAir X1 PRO / PROMAX bottom of drone — (Image credit: James Abbott)

Image 3 of 5

HoverAir X1 PRO / PROMAX enclosed propellers — (Image credit: James Abbott)

Image 4 of 5

HoverAir X1 PRO / PROMAX combo case with drone and accessories — (Image credit: James Abbott)

Image 5 of 5

HoverAir X1 PRO / PROMAX combo case — (Image credit: James Abbott)

To prepare the drones for flight, you simply fold the propeller guards out from beneath the airframe and you're ready to go once they're switched on and the desired mode is selected. This can be with just the drone, using the Hover X1 app or using a physical controller that's available separately and we'll cover that in the next section. Once you've finished flying, simply switch off and fold the drone and the gimbal tilts down to protect the lens.

Hover X1 app showing manual flight controls — (Image credit: James Abbott)

Going back to the Hover X1 app, the manual flight interface has been drastically improved and now works in horizontal mode with left and right virtual controls, overlaid on the large camera view, which allows you to enjoy the same level of control as a physical controller.

Admittedly, it's not as good as a physical controller, but I was able to achieve complex maneuvers using both controls at the same time while also incorporating gimbal movement.

This may not sound overly impressive, but for app-based drone control I was hugely impressed and this is the best application of virtual controls that I've ever used. I can confidently say that even if you were to not buy the physical controller, you can still enjoy camera drone-style manual flight, albeit at a shorter distance, with just the Hover X1 app.

Design score: 5/5

HoverAir X1 Pro: features and performance

Fast follow flight speeds
Intelligent flight modes
Palm take off

The main flight aspect of the HoverAir X1 PRO and PROMAX is the intelligent flight modes that use advanced AI algorithms to both track the subject and keep them in the centre of the frame. Just like the original HoverAir X1, the PRO and PROMAX perform superbly when tracking or flying around both static and moving subjects. One feature that makes flying and landing simple is palm take-off and landing, although you can land the drones like a camera drone when using the physical controller.

Both drones can achieve a follow flight speed of up to an impressive 26mph, with bursts up to 37mph. During testing, while cycling, both had no problems keeping up, but what was interesting and to a degree frustrating was the seemingly slow horizontal flight when flying manually. This was even after increasing the speed rates for the drones within Joystick settings in the Hover X1 app where 22.3mph should be possible.

The PRO and PROMAX have wind resistance Level 5, which equates to 24mph and is high when you consider the size and weight of the drone. It wasn't tested in winds of this level, but in gusts approaching 20mph, the two drones showed no signs of struggling and video remained smooth. Both can also fly over water, snow, cliffs and at night when OmniTerrain is active.

Image 1 of 3

HoverAir X1 PRO / PROMAX OLED screens — (Image credit: James Abbott)

Image 2 of 3

HoverAir X1 PRO / PROMAX together — (Image credit: James Abbott)

Image 3 of 3

The PRO and PROMAX, unlike the HoverAir X1, feature active collision detection with the PRO having active rear-side collision detection thanks to a proximity sensor, while the PROMAX offers this alongside vision-based rear-side collision detection using a vision sensor for more effective collision avoidance. Both systems work well when using the intelligent flight modes, but collision avoidance on the whole isn’t as effective as a 360-degree system.

The intelligent flight modes include Hover, Zoom Out, Follow, Orbit, Bird's Eye, Dolly Track and Side Track. All of these work as you'd expect, with Follow, Dolly Track and Side Track being the most fun.

Tracking performance is also excellent and the drones were able to navigate complex environments with ease. There's also Return to Home functionality that's particularly useful when flying the drone manually, but you do have to keep an eye on the video feed for potential obstacles.

Another difference between the two drones is the amount of onboard storage they offer, with the PRO having 32GB and the PROMAX packing in 64GB. This makes sense since the PROMAX is capable of capturing 8K video which has high storage demands. Both can also take microSD cards up to a 1GB capacity.

One aspect of the PRO and PROMAX that hugely improves useability and extends performance is the optional accessories. Whether or not you'll need these will come down to you, but they are all cleverly designed and transform the PRO and PROMAX into more of a drone system than simple selfie drones.

The Beacon is a small unit with a screen that improves subject tracking and can even be used to control the drones manually, although this is fiddly. The Beacon does improve tracking and provides the ability to change intelligent flight modes alongside displaying the camera view where you can capture video and shoot photos.

Image 1 of 6

HoverAir X1 PRO / PROMAX one handed controller — (Image credit: James Abbott)

Image 2 of 6

HoverAir X1 PRO / PROMAX carry bag — (Image credit: James Abbott)

Image 3 of 6

HoverAir X1 PRO / PROMAX beacon and joystick bundle — (Image credit: James Abbott)

Image 4 of 6

HoverAir X1 PRO / PROMAX beacon attached to bike — (Image credit: James Abbott)

Image 5 of 6

HoverAir X1 PRO / PROMAX joystick controller — (Image credit: James Abbott)

Image 6 of 6

HoverAir X1 PRO / PROMAX ND filters — (Image credit: James Abbott)

This does undoubtedly provide reliable tracking as tested when cycling using the HandleBar Mount, but the tracking the drones are capable of without the Beacon is so effective that it's not possible to say how much better the Beacon is. The Beacon screen with video record and photo buttons alongside the Live View is still useful and using the Beacon does instil confidence.

The Beacon is best paired with the Joysticks that can be used to create a one-handed motion controller, used together with the Beacon screen providing the camera view, or all of the above with your smartphone acting as the screen. The Joysticks attach to the end of the Beacon with grips that fold down to provide an impressive controller option.

Using the Beacon alone or as part of a controller option extends the range of the drone from up to 1640ft / 500m with the app to 3280ft / 1km with the Beacon. For the former, I'm not sure how reliable this is because when flying at 80m directly overhead I lost the video feed in the Hover X1 app, although I did maintain control of the drone.

Beacon-based control works well, although using early firmware has thrown up some connectivity issues when using a phone attached to the controller; these were being ironed out with updates during the testing period. There's also a Magnetic Clip for the Beacon to attach it to clothing, a Magnetic Adaptor Mount and a Handlebar Mount which make attaching the Beacon to yourself or your bike incredibly simple.

Image 1 of 2

HoverAir X1 PRO / PROMAX power case — (Image credit: James Abbott)

Image 2 of 2

One accessory that's incredibly innovative and, indeed, useful, is the PowerCase for X1 PRO and PROMAX. This is a hard case where you attach an adaptor to the PRO or PROMAX and the case provides around 2.5 battery charges. There's a window that allows you to see the current charge level on the drone's OLED screen, and a strap can be attached for easy carrying. This case allows you to take out just the drone and a single battery, with plenty of charge for a day out.

Other accessories include a set of four ND filters for controlling shutter speed when capturing video. These are comprised of ND8, ND16, ND32 and ND64 filters in a small hard case. There's also a Multi-functional Carry Bag, which is a great way to carry the drones around and the bag can also be attached to the crossbar of bikes by unzipping the centre of the bag and using the enclosed Velcro straps.

Features & performance score: 5/5

HoverAir X1 Pro: image and video quality

PROMAX offers the best image quality
Video is great with both drones
Photo quality is good but not great

HoverAir X1 PRO / PROMAX camera — (Image credit: James Abbott)

Being a selfie drone with intelligent tracking capabilities, both the PRO and PROMAX produce better quality video than photos, with the PROMAX being the superior of the two. It's also the camera department where these two near-identical drones differ with the PRO sporting a 1/2in CMOS sensor with an equivalent focal length of 17mm. The PROMAX features a 1/1.3in CMOS sensor and 7-layer lens, alongside up to 14 stops of dynamic range and an equivalent focal length of 16mm.

The operation of the cameras and settings is identical for each drone, but the PRO is capable of capturing video in 4K at up to 60fps and 1080p at up to 120fps for slow motion capture. The PROMAX expands greatly on this with 8K up to 30fps, 4K at up to 120FPS for slow motion capture, 4K 10-bit HLG up to 60fps and 1080p up to 120fps. Image quality from both is great overall, although the PROMAX does excel here with improved image quality for both photos and videos.

File sizes for 8K videos are huge, and the need for most people to export at this resolution is limited. But with the PROMAX you can capture at 8K and export at 4K to produce sharp results with a future-proofed original resolution. But only if you have the storage available to keep such large video files. There are also 2.7K and 1080p vertical video options with both drones at frame rates up to 60fps.

Image 1 of 10

Photo taken with the HoverAir X1 Pro / PROMAX — (Image credit: James Abbott)

Image 2 of 10

Image 3 of 10

Image 4 of 10

Image 5 of 10

Image 6 of 10

Image 7 of 10

Image 8 of 10

Image 9 of 10

Image 10 of 10

Photo quality is good, but you can only capture stills in JPEG format and JPEG processing is visible at all ISO levels. Plus, naturally, color rendition is reduced as the ISO setting is increased so higher ISO photos do appear less saturated than those taken at lower settings. With the PROMAX being aimed more at content creation, the ability to capture photos in DNG format would make sense but is unfortunately unavailable.

The PRO captures photos at 4000x3000px with the ability to use a 2X zoom that produces photos at this resolution with little loss in image quality. The PROMAX can capture in this mode with the zoom feature available, or at a higher 8000x6000px resolution. The larger sensor of the PROMAX undoubtedly produces better image quality, but the PRO remains impressive overall.

Image and video quality score: 4/5

X1 Pro Max Beacon tracking video

X1 Pro Intelligent flight modes video

X1 PRO App and controller video

HoverAir X1 PRO & PROMAX: testing scorecard

Should I buy the HoverAir X1 PRO or the PROMAX?

Buy it if...

You want to track your adventures
The HoverAir X1 Pro and PROMAX are the best selfie drones available and are fantastic at tracking moving subjects, both drone-only and using the Beacon.

You value innovative design
These drones and their companion accessories are incredibly innovative and easy to use. They offer a true balance of style and substance.

You'd like a compact selfie drone
The folding aspect of the PRO and PROMAX makes them incredibly portable alongside their compact and lightweight design.

Don't buy it if...

You would like a more powerful drone
The HoverAir X1 PRO and PROMAX offer a wind resistance of Level 5, but larger medium-sized camera drones are much more suited to windy conditions.

You don’t want or need tracking functionality
The main point of selfie drones is their subject-tracking capabilities, so if you don’t want a drone primarily for this the PRO and PROMAX aren’t for you.

You're on a budget
The HoverAir X1 PRO and PROMAX aren't the cheapest selfie drones available, so if you're on a tight budget consider the DJI Neo which is much less expensive.

HoverAir X1 PRO & PROMAX: also consider

DJI Neo

The DJI Neo is a beginner friendly selfie drone with several different flight control options available to meet the needs of different types of drone pilot. It's capable of autonomous flight for capturing fast-paced action using AI algorithms and can capture up to 4K video and JPEG photos for a lower cost than the X1 PRO and PROMAX.

Read our in-depth DJI Neo review

How I tested the HoverAir X1 PRO & PROMAX

All features and functions tested
All accessories tested
Flown in challenging conditions

The HoverAir X1 Pro and PROMAX were tested primarily for their subject tracking capabilities using slower and faster-moving activities to test this. Each flight mode was used alongside manual flight with the Hover X1 app and the Joysticks attached to the Beacon for a camera drone-like experience.

All video and photo modes were tested in a range of lighting conditions extending from bright sunlight to overcast to low light at dusk to push ISO settings. All accessories were also tested to see how much and how well they enhanced the overall useability of the PRO and PROMAX.

Having previously reviewed the HoverAir X1 and the DJI Neo, I was aware of what to expect with drones of this type. But with enhanced features including faster flight speeds, it was possible to push these drones harder to fully experience their capabilities.

First reviewed October 2024

Leica Q3 43 review: a stunning premium compact with a unique focal length

8:28 pm | October 29, 2024

Author: admin | Category: Cameras Compact Cameras Computers Gadgets | Comments: Off

Leica Q3 43: two-minute review

You know a camera’s special when you don’t want to return it after a review. Almost as soon as I got it in my hands, I knew that would be the case with the Leica Q3 43. To call this one of the best compact cameras is to do it a serious disservice: we’ve already waxed lyrical about how incredible the Q3 model is in our full Leica Q3 review – and this edition shares the same core qualities.

All of the Leica hallmarks are here: beautiful design, stunning build quality, and tactile handling. You get a powerful 60.3MP full-frame sensor, comfortably the most capable you’ll find in any compact camera, with support for 8K 30p video. You also get the same niggles as the standard Q3, including relatively average battery life and autofocus that’s bettered elsewhere. And, of course, there’s the eye-watering Leica price tag.

What sets this edition apart is the glass. This is still a fast, fixed-focal length affair, but the clue with the 43 is in the name: it’s fronted by a 43mm prime lens that’s meant to mimic the natural perspective of your eyes. Wider than 35mm, tighter than 50mm, that focal length offers an unusual field of view which somehow feels instantly and intuitively familiar.

Leica Q3 43 camera in hound, outside — (Image credit: Future)

Even more so than the standard Q3, the Q3 43 feels like the perfect everyday camera. Set aside the cost factor and you’ve got a sublime camera with a focal length that really invites you to view the world, and which also gives you the tools to capture it effectively. With a fast f/2 aperture at its widest, the specially designed APO-Summicron lens nails all of the benchmarks: beautifully smooth bokeh, minimal distortion, and absolutely pin-sharp detail.

That, combined with the high-resolution sensor, makes the Q3 43 a camera that's at home in almost any scenario. Having shot with it for a week, the 43mm focal length lends itself wonderfully to street portraiture, producing stills with a real sense of intimacy. Should you need to re-frame, you have a whole lot of pixels to play with.

There are many things that make the Leica Q3 43 truly unique. No other compact ships with a 43mm prime lens. And you don’t find too many cameras of any description with a 60MP full-frame sensor inside, let alone one that looks and feels this good to shoot with. In short, the Q3 43 is everything a compact camera should be. If you can afford its inordinate price tag, it’s one you’ll never want to leave home without.

Leica Q3 43 camera in hand, outside — (Image credit: Future)

Leica Q3 43: Specs

Leica Q3 43: Price and availability

Launched on 26 September 2024
Priced at $6,295 / £5,900 / AU$11,890

The Leica Q3 43 was released on 26 September 2024. It’s priced at $6,295 / £5,900 / AU$11,890, which means it will set you back more than many of the best mirrorless cameras. It’s an undeniably premium piece of kit with niche appeal. Red-dot cameras never come cheap, and what you’re paying for here goes beyond the spec sheet; it’s the Leica design, build quality, and shooting experience.

The 43 is slightly more expensive than the standard Leica Q3, which is priced at $5,995 / £5,300 / AU$9,790. At this end of the price spectrum, though, you won’t be choosing between the two cameras based on cost. Instead, it’ll come down to whether you’d prefer your full-frame Leica compact with a 28mm or 43mm focal length.

Leica Q3 43: Design

Identical body to the Leica Q3
Modern, minimalist design
Tactile controls and tilting touchscreen

Besides the lens, everything about the 43 is physically identical to the Leica Q3. That means you get the same weighty, magnesium die-cast construction, with the same beautifully pared-back design and the same wonderfully tactile control layout. There’s nothing quite like it at any price point, and you really have to hold the Q3 43 in your hands to appreciate the way it feels.

Everything about this camera is premium, from the weighting of the body to the perfectly judged resistance of the control rings. This is a camera that you want to handle, and one that rewards you with satisfying physical feedback at every turn. The manual focus ring is just one example: it’s so enjoyable to use that you might forget the Q3 43 also has an excellent autofocus option. It's the same story with the macro ring, which twists to reveal a different set of markings for close-up focusing.

This is the kind of camera that you’ll come back to, when it’s sitting on your kitchen counter or entrance hall table, just to pick it up and appreciate it. It's a camera that you’ll never want to leave home without – not only because you want to shoot stills with it, but because the Q3 43 makes it such a joy to do so.

That also extends to the interface, both physical and digital. Pressing and holding to customize buttons makes it easy to adapt the user experience to your liking, while the quick touch menu on the screen feels responsive and intuitive.

Image 1 of 3

Leica Q3 43 camera on a wooden table — (Image credit: Future)

Image 2 of 3

Image 3 of 3

That’s not to say it’s a perfect camera. Like the Leica Q3, the 43 has a small indentation on the rear which serves as a thumb rest, but the compact dimensions mean there isn’t much room for ergonomic sculpting – there are more comfortable cameras to grip over long periods.

As in our review of the Leica Q3, we also felt that the tilting touchscreen isn’t perfectly implemented. While it’s theoretically useful when you're shooting from the hip, it’s not the easiest display to pull out and adjust. During our time with the 43, we were more naturally drawn to the high-res 5.76m-dot viewfinder.

Really, though, it’s very hard to pick fault with a camera that feels as good to use as the Q3 43. Shoot with it for a day, and you’ll wonder how you’ll ever fully enjoy a different camera again.

Leica Q3 43: Features and performance

Phase detection autofocus
Lens-based image stabilization
Single SD UHS-II card slot

In most respects, the Leica Q3 43 shares its spec sheet with the Leica Q3. That includes the 60.3MP full-frame sensor, 8K 30p video recording, and Leica’s best phase-detection autofocus to date, complete with human tracking that’s broadly sticky. And like the Leica Q3, it also has some features which highlight its status as an everyday camera – albeit a very expensive one.

There’s the maximum burst speed of 15fps, which you can only use with the electronic shutter. You also get just one SD UHS-II card slot, while the lens-based image stabilization still can’t compete with the best. You can read more fully about how these features perform in our Leica Q3 review, but the takeaway is that this isn’t a camera with the outright performance to rival the best mirrorless cameras.

What you’re getting here is not a heavyweight workhorse, but a sublime tool for everyday use. That’s reflected in features such as Leica Looks: preset image styles which can be loaded via the Leica Fotos app over Wi-Fi, allowing less-experienced photographers to achieve different and dynamic effects with no editing. The original DNG files are kept, so it’s non-destructive.

Image 1 of 3

Image 2 of 3

Image 3 of 3

Leica Q3 43: Image quality

60.3MP full-frame sensor
Fixed 43mm f/2 prime lens
Digital cropping up to 150mm

Where the Leica Q3 has an uncropped 28mm field of view similar to that of your smartphone’s primary camera, the 43 mimics human vision with its APO-Summicron 43mm f/2 ASPH lens. That gives you a slightly tighter crop than the more familiar 50mm prime, but a wider angle than the Q3, or any 35mm lenses you might have used. While it’s an unfamiliar number, it’s also an incredibly intuitive one.

By offering a natural, distortion-free view, that glass offers an intimate perspective. It’s one that invites you to look at the world and capture it, whether that’s a portrait, a street scene or something else entirely. Both when framing and reviewing what you’ve shot, there’s a sense of scenes being true to life, both in stills and video.

Specially designed for the 43, the APO-Summicron lens is tightly packaged and pin-sharp. Thanks to its fast f/2 aperture it’s capable of soft backgrounds and beautifully smooth bokeh, strengthening its credentials as a portrait star. We also detected minimal distortion in stills.

Image 1 of 6

Sample image shot with the Leica Q3 43 — (Image credit: Chris Rowlands)

Image 2 of 6

Image 3 of 6

Image 4 of 6

Image 5 of 6

Image 6 of 6

Paired with the Q3 43's 60.3MP full-frame sensor, this is a lens that can produce stunning images in a whole range of scenarios, from high-contrast backlit portraits to detailed macro shots. Low light wasn’t an issue either: the lens and sensor pairing seemed able to gather a fair amount of light, and where it was necessary to bump up the ISO we didn’t notice a huge loss of detail in the fine grain of noise.

Like the Leica Q3, you have the option to apply a digital crop. This doesn’t alter the perspective or depth of field, but it does give you the versatility to frame in on subjects. Starting at 43mm, you can apply the digital crop all the way up to 150mm, which is notably tighter than the 90mm maximum of the Leica Q3. It’s a useful trick, although I would generally prefer to crop in after the fact. Helpfully, the crop is only applied to JPEG files, with the full area retained in DNG raw files.

On the standard setting, JPEG images out of the Q3 43 are pleasingly sharp and dynamic. Colors can feel a little understated, but there’s a realism to JPEG stills that nicely complements the 43mm field of view. That said, we’d always advise recording shots in both JPEG and Leica’s DNG format, to give yourself maximum editing flexibility.

Image 1 of 3

Image 2 of 3

Image 3 of 3

Should I buy the Leica Q3 43?

Leica Q3 43 camera — (Image credit: Future)

Buy it if...

You want the ultimate compact camera
With a high-resolution sensor, an incredibly sharp lens and a beautifully designed body, the Leica Q3 43 sets the benchmark for what a premium compact should look, feel, and shoot like.

You want a fresh, unique perspective
Giving a natural and intuitive perspective similar to that of the human eye, the 43mm prime lens is a unique proposition among premium compacts, offering a real sense of immersion.

You want to fall in love with photography again
Quite simply, the Leica Q3 43 is a sublime camera to shoot with. From the tactile handling to the familiar field of view, it’s exactly what photography should feel like.

Don't buy it if...

You’re on any kind of budget
The Q3 43 is a stunning camera in almost every respect, but you’ll also have to pay a hefty sum for the privilege of owning it. Its price tag will mean it stays in wish-list territory for most people.

You want different focal lengths
You can crop in on the 60.3MP sensor to simulate zoom up to 150mm, but you’ll need to look elsewhere if you want the genuine versatility of different focal lengths.

You shoot a lot of video

While it can record 8K footage at 30fps, recording limits, the absence of a 3.5mm input, and average image stabilization mean this is a camera for stills first and foremost.

How I tested the Leica Q3 43

I used the camera for a week
I shot more than 300 stills
I took pictures in a range of conditions

Premium or not, the Leica Q3 43 is pitched as the kind of compact you’ll want to take with you everywhere – so that’s exactly what I did. With a loan period of only a week, I made the most of every day: it went wherever I went. That meant taking the 43 about town, on a drive to the beach, and just about everywhere else.

I shot more than 300 stills over the course of seven days, covering a whole range of scenes and conditions. That included the brightest sunlight that an autumn day in the UK could muster, the more familiar cloudy skies of September, the honey tones of the golden hour, and dark nights sat by a fire pit.

Because the 43mm prime lens is what distinguishes this edition from the standard Q3, I paid particular attention to how that felt when framing different subjects in different scenarios. That spanned taking portraits, street shots, landscapes, and close-ups, to get a full impression of how it feels to work with that unique frame of view.

First reviewed October 2024

Nikon Z 50mm f/1.4 review: portraiture on a budget

7:54 pm | October 25, 2024

Author: admin | Category: Camera Lenses Cameras Computers Gadgets | Comments: Off

Nikon Z 50mm f/1.4: two-minute review

The nifty-fifty lens is a staple in many a photographer's camera bag – a typically compact lens for portraiture that offers good control over depth of field to make your subjects stand out. It's the lens that I would recommend to beginner photographers having grown out of their kit lens and looking for a second lens to elevate the quality of their photos – and if they have a Nikon camera I would recommend the new Nikkor Z 50mm f/1.4.

Where mirrorless lenses can often be much pricier than DSLR equivalents – the classic 50mm f/1.8 lens for Canon and Nikon DSLR cameras is just about the cheapest lens you can buy at around $100 / £100 secondhand – Nikon is looking to buck this trend by creating affordable options for mirrorless, and the new Z 50mm f/1.4 is its cheapest Z-mount f/1.4 lens so far.

This isn't Nikon's first 50mm lens for its mirrorless cameras. It follows the optically-excellent Z 50mm f/1.8, which was one of Nikon's first lenses for its Z-mount, launched back in 2018, while there's also the 50mm f/1.2 pro lens with 'S' moniker, and the beastly 58mm f/0.95 Noctilux which costs a cool $9,000. However, the new Z 50mm f/1.4 is a stripped-back variation, with minimal external controls, a lightweight build, and offering decent rather than spectacular image quality.

Nikon Z 50mm f/1.4 lens in the hands — (Image credit: Future / Tim Coleman)

It's pretty much in the same mold as the Nikkor Z 35mm f/1.4 lens which I reviewed recently – the pair share practically the same size, weight, 62m filter size and design. One on hand I respect what Nikon is doing; where Canon launches the pro-grade RF 35mm f/1.4 for mirrorless which costs around $1,500 / £1,820 / AU$2,699, Nikon is launching a lens for enthusiast photographers for around a third of the price.

The downside, however, is that optical quality, while very sharp, is decent rather than outstanding, especially when it comes to bokeh. You're not getting buttery-smooth out-of-focus light balls, but a slightly 'fussy' bokeh instead. I pitted it against the F-mount Nikon 50mm f/1.4G AF-S lens for DSLRs launched in 2008 (you can see the two lenses side by side, below) and the older lens has smoother bokeh.

However, bokeh is more circular in shape with the new Z-mount 50mm f/1.4, while its clarity wipes the floor with the F-mount 50mm f/1.4 G when shooting at f/1.4, which is what I suspect many photographers will be doing. In-focus detail is so much sharper at f/1.4, and even skin tones are more accurate – there can be a slight yellow-ish hue with the DSLR version of the lens.

That superior performance when shooting with the aperture wide-open is what you can expect with the best Nikon mirrorless cameras and lenses, while autofocus is snappier and more reliable too.

Nikon Z 50mm F1.4 alongside Nikon's F-mount 50mm f/1.4G lens — Nikon's new Z 50mm F1.4 lens alongside Nikon's F-mount 50mm f/1.4G lens with Nikon Z-mount to F-mount adaptor (Image credit: Future / Tim Coleman)

My F-mount 50mm f/1.4G AF-S, which by the way is almost the same price as the Z 50mm f/1.4, has notoriously bad back-focusing issues when used with a DSLR – you think the focus is on the eyes of your subject, only for it to be on the ears. When you're shooting at f/1.4 with such shallow depth of field, it's noticeable. This issue is somewhat improved when the lens is used on a mirrorless camera via an adapter, but the mirrorless lens still has the edge.

With mirrorless cameras, such as the Nikon Z6 III for which the Z 50mm f/1.4 is a perfect fit, you get the latest subject-detection and eye-detection autofocus, which will nail sharp focus on the eyes. And it's this performance which makes a Nikon mirrorless camera with this new 50mm lens an easy recommendation, even if the icing on the cake would be slightly better bokeh.

Like the 35mm f/1.4, I expect the 50mm f/1.4 to prove popular, even if it's not one of Nikon's best lenses. If you're upgrading from existing DSLR gear, of the two, I would buy the 50mm lens before the 35mm.

Nikon Z 50mm f/1.4 specs

Image 1 of 5

Nikon Z 50mm f/1.4 lens viewed from above — (Image credit: Future / Tim Coleman)

Image 2 of 5

Profile of the Nikon Z 50mm f/1.4 lens attached to a Nikon Z6 II

(Image credit: Future / Tim Coleman)

Image 3 of 5

Closeup of the Nikon Z 50mm f/1.4 lens' control ring — (Image credit: Future / Tim Coleman)

Image 4 of 5

Closeup of the Nikon Z 50mm f/1.4 lens front element — (Image credit: Future / Tim Coleman)

Image 5 of 5

Closeup of the Nikon Z 50mm f/1.4 lens aperture blades — (Image credit: Future / Tim Coleman)

Nikon Z 50mm f/1.4: Design

Small and simple
Decent pairing with Nikon's smallest mirrorless cameras like the Z6 III
Quick and quiet autofocus
Maximum 0.17x magnification ratio for moderate close-up photography

The Z 50mm f/1.4 design is pretty much a copy-and-paste of the Z 35mm f/1.4, meaning it's a small and simple lens. The lenses are practically the same in size and weight, with the Z 50mm a hair's breadth longer at 88.5mm in length, and tipping the scales at 14.9oz / 420g – that's just 5g more than the 35mm lens.

Nikon's equivalent F-mount lens for DSLRs – the 50mm f/1.4G – is smaller and lighter still, but so far as Nikon Z-mount lenses go, this is one of the smaller ones.

I tested the lens with a Nikon Z6 III and the Nikon Z6 II, mid-sized cameras for which the Z 50mm f/1.4 is perfectly balanced, being compact in form. Unlike those cameras, however, the Z 50mm f/1.4 isn't officially weather-sealed, and so it's probably best to treat it with care. Sure, the occasional light shower is no problem, but sand, dust, and heavy downpours could eventually prove the lens' undoing.

There's not a single button or switch on the lens, and as someone who regularly switches between manual and autofocus, I've missed having a direct control on the lens. I'd love to know Nikon's reasoning for omitting a MF / AF switch – surely it can't be a cost-saving exercise.

The only exterior controls are a generously-sized focus ring, plus a customizable control ring. The latter can be set to various functions, one of which is as a click-less aperture ring, which is a particularly handy control for filmmaking.

Image 1 of 3

Nikon Z 50mm f/1.4 lens in the hand — (Image credit: Future / Tim Coleman)

Image 2 of 3

Closeup of the Nikon Z 50mm f/1.4 lens rear mount — (Image credit: Future / Tim Coleman)

Image 3 of 3

Nikon Z 50mm f/1.4 lens attached to a Nikon Z6 II, in the hand — (Image credit: Future / Tim Coleman)

The minimum focus distance is 1.22ft / 0.37m, which results in a magnification ratio of 0.18x, which again is very similar to the Z 35mm lens. In real terms, you can easily fill the frame with close-up subjects like flowers, but this is no macro lens.

Autofocus is impressively quick and quiet. Pair this lens with the Z6 III, which boasts eye-detection autofocus and Nikon's best subject-detection autofocus performance, and you have a powerful tool for portraiture. Put simply, you can rely on this lens, mounted on one of Nikon's latest mirrorless cameras, to hit sharp focus where it matters most.

Autofocus is a refreshing and reliable experience when compared to shooting with my Nikon D800 and 50mm f/1.4 G AF-S lens, which I can't trust and; to be blunt, using it can be a little stressful, especially in pressure moments such as a portrait shoot or a wedding. I'm so glad that I upgraded from DSLR to mirrorless years ago, and it's lenses like the new Z 50mm f/1.4 that make the experience so enjoyable.

Image 1 of 2

Image 2 of 2

Nikon Z 50mm f/1.4 lens on a Nikon Z6 II — (Image credit: Future / Tim Coleman)

Nikon Z 50mm f/1.4: Performance

Very sharp detail
Handy wide aperture for shallow depth of field and low-light scenes
Bokeh quality is just 'good'

Autofocus is quick and reliable with one of Nikon's latest mirrorless cameras, like the Z6 III, which is an excellent foundation for portraiture photography. Knowing that you're getting sharp focus on the eyes is one less thing to worry about, helping you relax into portrait shoots. But what is optical quality like beyond accurate focusing? Overall, it's just decent rather than spectacular.

Detail is very sharp. If you're shooting with the aperture set anywhere between f/2 and f/8 you can expect tack-sharp detail across the entire frame for subjects within the field of focus. Even at f/1.4 detail is very sharp, and this lens wipes the floor with the F-mount DSLR equivalent, the 50mm f//1.4G, which is much softer at f/1.4.

The optical construction, as with most 50mm lenses, is relatively basic. There are nine aperture blades for a rounded aperture, and bokeh is nice and round at f/1.4, especially when compared to the bokeh produced by the F-mount 50mm f/1.4G, which is more cat's-eye in shape in the corners of the frame. However, if you stop down the Z-mount lens to f/2.8 you'll see the more octagonal-like shaping.

Image 1 of 4

Head and shoulder portrait, outdoors, shallow depth of field, dappled light through tree leaves — Detail from the Nikon Z 50mm f/1.4 is sharp at f/1.4, and bokeh rounded. With lens corrections active, aberrations are controlled better. Stop the aperture down and bokeh becomes less rounded (Image credit: Future / Tim Coleman)

Image 2 of 4

Image 3 of 4

Image 4 of 4

It's the bokeh quality that could be a deal-breaker for professional portrait photographers, for whom the Z 50mm f/1.2 is the better choice, provided you can afford it (it's almost five times the costs of the f/1.4 lens). For everyone else, bokeh quality is fine.

If you look closely at images with the f/1.4 lens, the edging of bokeh 'balls' is a little pronounced, rather than them having a nice smooth fall-off. Thankfully there's little sign of aberrations in those edges, which would otherwise be impossible to fix at the click of a button. Only in the most extreme scenarios, like backlit water droplets (see above), will you see pronounced aberrations.

Vignetting – which is the light fall-off in the corners of images – is pretty standard. At f/1.4 it's clear to see, while those darker corners significantly brighten at f/2, and the effect is all but gone by f/4. Below you can see the same image shot at f/1.4, f/2, f/2.8, f/4 and f/5.6, so you can compare bokeh, aberrations, and vignetting.

Image 1 of 7

Backlit heather and dew-covered grass closeup — Left: f/1.4 aperture and aberrations in bokeh Right: f/5.6 fussy bokeh less rounded in shape Note, all lens corrections are switched off (Image credit: Future / Tim Coleman)

Image 2 of 7

Backlit heather and dew-covered grass, taken with the Nikon Z 50mm f/1.4 at its various apertures — f/1.4 (Image credit: Future / Tim Coleman)

Image 3 of 7

Image 4 of 7

Image 5 of 7

Image 6 of 7

Image 7 of 7

Nikon Z 35mm f/1.4: sample images

Image 1 of 9

Footpath lined with long grass at first light, taken with the Nikon Z 50mm f/1.4 lens — (Image credit: Future / Tim Coleman)

Image 2 of 9

Deatils of heather and cobwebs, taken with the Nikon Z 50mm f/1.4 lens — (Image credit: Future / Tim Coleman)

Image 3 of 9

Grass and flowers in morning light, taken with the Nikon Z 50mm f/1.4 lens — (Image credit: Future / Tim Coleman)

Image 4 of 9

Head and shoulder portrait, taken with the Nikon Z 50mm f/1.4 lens — (Image credit: Future / Tim Coleman)

Image 5 of 9

Backlit portrait, taken with the Nikon Z 50mm f/1.4 lens — (Image credit: Future / Tim Coleman)

Image 6 of 9

Mushroom, taken with the Nikon Z 50mm f/1.4 lens — (Image credit: Future / Tim Coleman)

Image 7 of 9

Mushroom from ground perspective, taken with the Nikon Z 50mm f/1.4 lens — (Image credit: Future / Tim Coleman)

Image 8 of 9

Tips of grasshead covered in dew, taken with the Nikon Z 50mm f/1.4 lens — (Image credit: Future / Tim Coleman)

Image 9 of 9

Cobweb on heather, taken with the Nikon Z 50mm f/1.4 lens — (Image credit: Future / Tim Coleman)

Should you buy the Nikon Z 50mm f/1.4?

Buy it if...

You take a lot of portraits

There's a reason that wide-aperture 50mm lenses are popular for portraiture – you get a flattering perspective and shallow depth of field.

You want an affordable fast-aperture lens

This is Nikon's most affordable Z-mount lens with a f/1.4 maximum aperture.

You don't need the bells and whistles

Its stripped back design is best suited to those who are happy to let the camera take control, for instance mainly relying on autofocus.

Don't buy it if...

Bokeh matters most to you

Slightly fussy bokeh is the singular biggest disappointment in this low-cost portrait lens.

You like to take control over focusing

With no direct manual / autofocus switch, it's a time sink switching between the two through the camera.

You work in tough environments

No official weather sealing means you'll need to act with a degree of caution in inclement weather and tough environments.

How I tested the Nikon Z 50mm f/1.4

Regular use over one month
Paired with the Nikon Z6 III and Nikon Z6 II
Like-for-like tests with the F-mount Nikon 50mm f/1.4 for DSLRs

Nikon loaned me the Z 50mm f/1.4 for a whole month, and it was my primary lens during this period. I've taken it on early morning photo walks, made portraits, and used it in a wide range of stills and video scenarios. It has tackled some tough tasks, such as shooting close-up photos of water droplets into the light.

All in-camera lens corrections were turned off, and I took all photos in raw and JPEG format to compare the results un-corrected and the processed results. As always, I took several series of an identical image, working down the aperture range (in this case f/1.4, f/1.8, f/2, f/2.8, f/4 and f/5.6) to see how sharpness and bokeh compares at the various settings.

I also dug out my old F-mount 50mm f/1.4 lens, which I've previously used with a Nikon D800 DSLR, and took like-for-like photos with it alongside the Z 50mm f/1.4 on the Nikon Z6 III (via an adaptor for the F-mount lens). The resolution of the full-frame cameras used for this test was 24MP. I avoided using the camera in heavy rain, but felt comfortable using it in cold and moderately wet weather.

First reviewed October 2024

Insta360 Ace Pro 2 review: a coming of age

4:00 pm | October 22, 2024

Author: admin | Category: Action Cameras Cameras Computers Gadgets | Comments: Off

Come for the promise of game-changing 8K action cam footage, stay for the genuinely great-looking, great-sounding 4K footage. That’s the top-line story with Insta360’s new flagship action camera, the Ace Pro 2, which makes a big deal of its class-leading 8K video resolution – even if it’s a feature very few owners will end up using due to its file sizes and various limitations.

What they’ll quickly discover instead is that the Ace Pro 2 excels at delivering smooth, stabilized and crisp-looking 4K footage, which it can capture at up to 60fps in regular video modes and 120fps for slow motion playback purposes. It’s particularly impressive in low light conditions (at least by action camera standards) and offers log recording to support post-production tweaking to color and exposure settings.

Insta360 Ace Pro 2 action camera on a rainy day — (Image credit: Future | Sam Kieldsen)

It does all of the above while offering the usual action cam advantages: it’s small, lightweight, waterproof, rugged, simple to operate, blessed with long battery life and able to be fixed onto all manner of first- and third-party accessories like selfie sticks, mini tripods, bike mounts and helmet mounts.

With all that being said, there’s not a lot between any of the main three action camera flagships at this point (the other two being the DJI Osmo Action 5 Pro and GoPro Hero 13 Black). The Insta360 Ace Pro 2 does distinguish itself from its rivals not only with the 8K recording option but its single flip screen, which offers a larger display than the camera’s dual-screened competitors.

Put simply, the Ace Pro 2 warrants careful consideration for anyone shopping for a fully featured flagship action camera, and fully deserves its place as an alternative to its DJI and GoPro competitors.

Insta360 Ace Pro 2: price and release date

Priced from $399.99 / £389.99 / AU$689.99
Available from October 22 2024
Sold in Standard and Dual Battery Bundles

The Ace Pro 2 is available to order from October 22 2024, and sold via the Insta360 web store and a host of other online retailers.

There are two packages available at launch. The Standard Bundle ($399.99 / £389.99 / AU$689.99) contains the camera, a wind guard, a microphone cap, one battery, one standard mount and one USB-C cable. The Dual Battery Bundle ($419.99 / £409.99 / AU$719.99), as its name suggests, features two batteries rather than one, but is otherwise the same.

Note that neither of Insta360’s bundles come with a memory card which, given the Ace Pro 2’s lack of built-in storage, is something you’ll need. So, if you don’t already have a microSD card, make sure to obtain one at the same time as the camera. It accepts cards up to 1TB in capacity.

The Ace Pro 2’s pricing is in the same ballpark as its closest action camera competitors such as the GoPro Hero 13 Black and DJI Osmo Action 5 Pro (although, at around $50 cheaper, the latter would leave you a little extra money left over for accessories).

Price score: 4/5

Insta360 Ace Pro 2: key specs

Insta360 Ace Pro 2: design and handling

Integrated microphone wind guard
Waterproof to 12m/39ft
Flip-up touchscreen
Quick-release magnetic mount system

The Ace Pro 2 looks a lot like the original Ace Pro. A quick side-by-side comparison reveals a few minor differences in styling and size, but it shares the same standard action camera look – blocky, squat and with as few buttons as possible – and red and black color scheme. The detachable, replaceable lens guard has been upgraded according to Insta360, giving a small boost to its protection and dive capabilities.

Probably the biggest difference of note is the new microphone wind guard, a removeable metal grille, lined with acoustic foam, that protects the front mic port from wind noise. It’s inconspicuous and adds virtually nothing size-wise, so can be left in place most of the time while the camera is in use.

The only time it needs to be removed and replaced by the standard mic cap is during underwater use. On that note, the Ace Pro 2 can dive to a depth of 39ft / 12m without additional protection (a slight improvement on the 33ft / 10m of the Ace Pro). Bolder swimmers can fit the optional dive case accessory and take it all the way down to 197ft / 60m.

The control system is simple and straightforward, with only two physical buttons on the Ace Pro 2 itself: one on the side to power it on and off, which doubles as a shooting mode switcher; and a shutter button on top. Everything else is taken care of via touchscreen controls or, if you prefer, the Insta360 mobile app (more on that in the next section of this review). I found the touchscreen controls generally simple: you swipe down to open the main settings menu; right to open the gallery; left to open settings for the current shooting mode; or up to open yet more settings for the current shooting mode.

Image 1 of 3

Insta360 Ace Pro 2 action camera indoors — (Image credit: Future | Sam Kieldsen)

Image 2 of 3

Image 3 of 3

The screen itself is a major differentiator between Insta360’s action cameras and those of its main rivals GoPro and DJI. The Ace Pro 2, like the Ace Pro, uses only one screen where its competitors put one at the back and one at the front (that front screen you see is just for menus). The screen here, a nicely crisp and colorful 2.5-incher, can flip up 180º to face forwards, which has its plus and minus points for me. The plus is that it’s a lot bigger than the front-facing screens you get on those rival cameras, giving you a clearer view and more space for touchscreen tapping (it also doubles as a t-shirt clip or bite adapter for POV shots). The minus is that you have to physically flip it back and forth every time you switch from front to back shooting, which is more effort than simply spinning the camera round and continuing to shoot.

One thing I do like a lot is the magnet- and clip-based mounting system, which allows for fast fixing and unfixing of the Ace Pro 2 to mounts and accessories. This is similar to the systems used by the DJI Osmo Action series and latterly the GoPro Hero 13 Black, however, so I can’t say the Ace Pro 2 does any better than its rivals here.

The Ace Pro 2 has two secure flaps on its body, which lock in place when closed and require a button press to open. One flap protects the microSD card slot and USB-C port, while the other protects the removable battery.

Design score: 4.5/5

Insta360 Ace Pro 2: features and performance

1800mAh battery and Endurance Mode
Compatible with Insta360 Android/iOS app
Two levels of electronic image stabilization

The Ace Pro 2’s removable batteries boast a larger capacity than the Ace Pro’s (1800mAh opposed to 1650mAh). Insta360 claims it can record for longer as a result, providing a figure of 180 minutes of 4K/30p recording on a full charge – a lot better than the 100 minutes offered by the original camera. Keen to find out if these claims hold water, I performed my own tests. I found that I could get 69 minutes of stabilized HDR footage at 4K/60p. Switching the camera into Endurance Mode, which limits video resolution and frame rate and turns off certain functions, I was able to record about 140 minutes at 4K/30p before the battery died. So, not quite as high as Insta360 claim, but impressive nonetheless.

The battery also supports reverse charging via USB-C, so in a pinch you can use the Ace Pro 2 as a portable power bank for your phone or other portable gear. The USB also supports a webcam function when plugged into a computer.

Overheating can be an issue, if not a major one. When recording at 8K resolution, the Ace Pro 2 will eventually get too warm to function and shut itself down as a result. I tested it at room temperature conditions, finding it was able to record 8K/30p footage for 43 minutes before overheating, and think that’s fine. 8K recording is probably something you’ll use situationally rather than all the time, after all.

Image 1 of 3

Insta360 Ace Pro 2 — (Image credit: Future | Sam Kieldsen)

Image 2 of 3

Insta360 Ace Pro 2 and Insta360 companion app on iPhone 13 — (Image credit: Future | Sam Kieldsen)

Image 3 of 3

As mentioned above, one way to control the Ace Pro 2 is using the Insta360 smartphone app. Connecting via Wi-Fi, it allows users to change the camera settings (and update its firmware), take photos and videos, browse through photos and videos they’ve taken, edit together content and share it on social media. I’ve always found the app an intuitive and stable method of remotely controlling Insta360’s various cameras, and as is customary in 2024 it also features an AI-powered auto editor to swiftly assemble and score short videos from your captured content.

Image stabilization is a vital feature for any self-respecting action camera, and the Ace Pro 2 is well-served in this area. There are two levels of ‘normal’ image stabilization (Standard and High) plus two horizon levelling options (45º and 360º). I found all to be very effective. Being electronic-based, all apply a crop (of varying degrees) to the image.

Other video-centric features include gesture and voice controls, timecode for multi-cam synching, a new dashcam mode and a pre-recording video mode, which records up to 120 seconds before the shutter button is pressed. All useful in certain situations.

The Ace Pro 2 is also compatible with several types of Bluetooth-based wireless microphones (including the DJI Mic and Mic 2, Rode Wireless series and Hollyland Lark series) and several Bluetooth motorcycle headsets (for hands-free camera control while riding).

Features and performance score: 4.5/5

Insta360 Ace Pro 2: image and video quality

Upgraded 1/1.3-inch 50MP sensor
F2.6 lens with 157º field of view
Video up to 8K/30p, 4K/120p or FHD/240p

The original Ace Pro’s headline feature was 8K/24p video recording, and the Ace Pro 2 takes things further, if only ever so slightly; you can now record 8K footage in 25 and 30fps as well. The image sensor, while remaining the same 1/1.3-inch size, has been upgraded to also allow for 13.5 stops of dynamic range and 4K/60p Active HDR recording, and is bolstered by the addition of a new 5nm AI Chip that sits alongside the image processing Pro Imaging Chip. Insta360 say this doubles the computing power of the Ace Pro 2 compared to the original Ace Pro. The lens, made by Leica, has also been slightly improved and now offers a wider field of view: 157º opposed to 151º.

Personally, I find 8K to be a bit of a gimmick, especially on a camera so small. The vast majority of us watch videos on devices with 4K or smaller resolutions, so 8K capture feels like massive overkill unless you’re planning on cropping down the video later on. I should point out here that the field of view when capturing 8K is smaller than with 4K, 2.7K or Full HD recordings. 8K also doesn’t support the best level of image stabilization, doesn’t allow you to use the flat I-log color profile and, despite the bump up to 30fps, still limits frame rate compared to the lower resolution modes.

As a consequence, I found myself much more drawn to 4K which, as on the Ace Pro, is excellent. Most of the vlogging footage you see in the embedded sample video here was shot using the I-log profile and color graded and corrected in post, but the night time footage uses the low light PureVideo mode, while the cycling footage below uses the standard color profile with the Active HDR turned on.

Low light footage is strong by action camera standards but still a weakness compared to even a modestly priced mirrorless camera. Insta360 can throw all manner of algorithms at the footage to sharpen, denoise and bring out the detail in gloomy areas, but it’s still coming from a small sensor with limited light-gathering potential. When viewed on a smartphone screen PureVideo footage looks clean and clear, but on a larger monitor or TV strange artefacts and effects become much more prominent. Still, the Ace Pro 2 is much better at low-light video than a GoPro Hero 13 Black and on a par with the DJI Osmo Action 5 Pro, although their characteristics are quite different. I've created a short comparison video of the Ace Pro 2 and Osmo Action 5 Pro so you can see for yourself how they fare.

All in all, it’s a very impressive showing. In general, I still think straight-out-of-the-camera videos from a GoPro Hero 13 Black taken in good lighting look slightly more appealing, but for those who like to put in a bit of work in post-processing the Ace Pro 2 is every bit as capable as the Hero 13 Black and DJI Osmo Action 5 Pro.

Audio is unexpectedly clear when using the built-in microphones. The wind guard seems to do its job admirably and voices are picked up well. The camera comes with three AI-assisted audio modes: standard stereo, wind reduction and voice enhancement. Living by the sea, I kept my Ace Pro 2 set to wind reduction at all times and was pleasantly surprised by the results.

Image 1 of 5

Insta360 Ace Pro 2 action camera sample still photos — (Image credit: Future | Sam Kieldsen)

Image 2 of 5

Image 3 of 5

Image 4 of 5

Image 5 of 5

The Ace Pro 2 can also take photos (in JPEG and/or DNG RAW) at 12.5MP or 50MP resolution, and while I’ve personally never been a fan of using action cameras for still photography, it does as good a job at it as any of its major rivals. The JPEGs tend to look over-processing and over-sharpened; when I shot images in RAW and processed them myself in Lightroom I was able to achieve much more natural-looking results.

Image quality score: 4.5/5

DJI Osmo Action 5 Pro: testing scorecard

Should I buy the Insta360 Ace Pro 2

Buy it if...

You absolutely must have 8K footage
Currently this is the best 8K action camera on sale, so if you really require video recording in this resolution it’s the top choice.

You want an all-round image quality performer
With its excellent video performance in good lighting and more than acceptable performance in low light, it’s a jack of all trades.

You hate tiny screens
The Ace Pro 2’s 2.5-inch screen beats its rivals’ dual-screen setups for size. Ideal if you want clearer-looking previews and menus.View Deal

Don't buy it if...

You're expecting 8K recording to transform your life
You probably don’t need 8K video, and the Ace Pro 2’s execution of it comes with loads of caveats. It’s still a niche recording mode.

You like to switch between front and back recording quickly
The dual-screen setups of DJI and GoPro rivals suit this style of shooting better than the Ace Pro 2’s flip screen.

Insta360 Ace Pro 2: also consider

GoPro Hero 13 Black

GoPro’s flagship is a polished performer, recording gorgeous 5.3K video and supporting a wide range of accessories – including the auto-detected Lens Mods that drastically widen its creative options. It also features built-in GPS, and finally supports the faster magnetic mounting system already used by rival action cam makers.

Read our in-depth GoPro Hero 13 Black review

DJI Osmo Action 5 Pro

Stacked with unique features like wireless Hi-Res audio recording when using a DJI Mic 2 and blessed with excellent battery life, class-leading waterproofing and a generous 47GB of built-in storage, the dual-screen Action 5 Pro is a worthy alternative to the Ace Pro 2. It’s also cheaper than its close rivals, although it doesn’t record 8K, maxing out at 4K/120p.

Read our in-depth DJI Osmo Action 5 Pro review

How I tested the Insta360 Ace Pro 2

A week of vlogging and biking
Various weather conditions and times of day
Footage edited using Davinci Resolve Studio 19

I spent a week using a pre-release version of the Insta360 Ace Pro 2, capturing vlog-style and cycling videos at different times of the day and in different weather conditions. I also tested battery life and heat management by allowing the camera to continuously record until the battery died or the camera overheated and shut down.

I recorded video at different resolutions and frame rates, using different color profiles and video modes and with the various forms of stabilization on or off. Footage was later edited on my MacBook Air using Davinci Resolve Studio 19 software, which I used to color grade and correct some clips.

First reviewed October 2024

DJI Air 3S review: soaring closer to camera-drone perfection

4:02 pm | October 15, 2024

Author: admin | Category: Cameras Computers Drones Gadgets | Tags: DNG, JPEG | Comments: Off

DJI Air 3S: one-minute review

The Air 3S is the latest flagship model in DJI’s mid-range Air series of consumer camera drones, supplanting the July 2023-launched DJI Air 3. Like the Air 3, the Air 3S’s main draw is its two-camera setup: instead of a single camera for aerial photos and video, its camera module pairs wide-angle and medium-telephoto cameras, mounted on a three-axis gimbal on the drone’s nose.

In many ways – physical design, specifications, battery life, and pricing – the Air 3S and Air 3 are close, if not virtually indistinguishable. That being said, the Air 3S does offer a couple of notable improvements over its predecessor: a larger image sensor on one of its cameras, and a more effective omnidirectional object-sensing system to help it avoid mid-air collisions with obstacles. With the front-facing sensors now powered by LiDAR rather than standard vision tech, DJI says the Air 3S is better at navigating tricky terrain at night. It’s also packed with technology that makes it easy to fly, including automatic take-off and landing, advanced return-to-home flight, and super-stable video transmission courtesy of DJI’s O4 system. The battery life is very impressive too, with a full charge providing up to 45 minutes of flight time.

The cameras are both excellent, able to shoot raw photos and 10-bit 4K video at 60fps (120fps in slow-motion mode) with HLG or D-Log M color profiles that allow more flexibility in post-production. Users can expect up to 14 stops of dynamic range, plus superb stability in footage thanks to the three-axis gimbal. The new larger sensor on the wide-angle camera, meanwhile, gives the Air 3S a distinct advantage over the Air 3 when it comes to shooting in lower-light conditions.

DJI Air 3S camera drone photographed from above — (Image credit: Future | Sam Kieldsen)

DJI suggests that the Air 3S’s compact size and camera arrangement make it ideal for travel photography and video, but potential buyers should note that its take-off weight puts it in a class of drone that requires much more regulatory and administrative hoop-jumping than an ultra-lightweight model like the DJI Mini 4 Pro. EU- and UK-based users will need to have completed a paid competency course and passed an exam in order to fly it in almost any public space or built-up area, and US-based users will have to register the drone and pass an exam.

If you can live with the paperwork and revision, however, the DJI Air 3S is a truly fantastic mid-range camera drone that’s safe and easy to fly, capable of capturing gorgeous photos and videos, and only a little more expensive than the Air 3. If you already own the latter, we’d suggest you stick with it for now, but for anyone upgrading from an entry-level drone, the Air 3S represents a logical progression.

DJI Air 3S: release date and price

Released October 15 2024
Base kit costs $1,099 / £959 / AU$1,699
Fly More Combo bundles from $1,399 / £1,239 / AU$2,129

The DJI Air 3S is available to buy from the day it was announced to the world: October 15 2024.

At launch, it’s available in three different configurations. The base kit, which consists of the drone, a single battery and an RC-N3 controller, costs $1,099 / £959 / AU$1,699, and there are also two Fly More Combo bundles available. These include the drone, three batteries, a battery charging hub, an ND filter set and a shoulder bag, in addition to a controller. The Fly More Combo with an RC N3 controller costs $1,399 / £1,239 / AU$2,129, and the Fly More Combo with an RC N2 controller costs $1,599 / £1,439 / AU$2,429.

This makes the Air 3S slightly more expensive than the Air 3, as you’d expect, slightly cheaper than the larger Mavic 3 Classic and significantly cheaper than the Mavic 3 Pro.

Price score: 4.5/5

DJI Air 3S: specs

DJI Air 3S: design and handling

Compact folding design
Weight puts it in UK A2 subcategory
Level 6 wind resistance (up to 12m/s or 26mph)
42GB of internal storage plus microSD card slot

The Air 3S sports a folding design that’ll be familiar to anyone who’s encountered a DJI Mini, Air or Mavic drone before: a blocky main body with a gimbal-mounted camera at the nose and space for a battery at the back, plus four fold-out arms holding the motors and rotors that keep the drone airborne.

When fully folded it’s compact and lightweight enough to carry around in a small bag – although with extras like a controller and spare batteries you’ll probably want to carry it in something with a bit of room and extra protection. I found that the shoulder bag that comes with the Fly More Combo bundles does the job perfectly, as it features padded partitions to keep all the elements snugly and safely in place, plus a zip-up pocket for cables, spare propellers, ND filters and the like. DJI also supplies the Air 3S with a hard plastic cover to keep the delicate camera and gimbal protected during transport.

Image 1 of 4

DJI Air 3S camera drone — (Image credit: Future | Sam Kieldsen)

Image 2 of 4

Image 3 of 4

Image 4 of 4

At 724g take-off weight, the Air 3S is subject to more restrictions on its use than a sub-250g drone like the DJI Mini 4K. In the US, for instance, recreational Air 3S users will need to register their drone with the FAA and have passed the TRUST exam. In the UK, recreational users, in addition to getting a flyer ID and passing the CAA’s free online theory test, will also need to fly the Air 3S at least 50m away from people and 150m from ‘residential, commercial, industrial or recreational areas', with the latter including parks, beaches and the like. UK pilots who take and pass the A2 CofC course (which costs around £100 and requires taking a 90-minute invigilated exam) will be able to fly their drone in the above areas, provided it remains at least 50m from people.

So, the Air 3S’s weight does present an issue that sub-250g drones do not. It’s not a deal-breaker by any means – anyone willing to put in a bit of time, effort and money into learning how drones work can have a lot of legal fun with this thing – but I think it’s enough to put off casual users. They should just get a Mini or DJI Neo instead.

I found the Air 3S to be a solidly constructed piece of equipment and, while I’ll talk about its flight capabilities in the next section of this review, its sturdiness and motor power mean it can stand up to pretty strong winds, hovering in place in gusts of up to 12m/s or 26mph.

It’s flown with a remote controller. For this review, I used the touchscreen-equipped, 420g RC 2 controller, which is also solidly built and comfortable in the hand. It has a bright 5.5-inch Full HD screen, 32GB of storage capacity, and controls for both flight and camera functions. It connects to the drone in seconds, and it’s just excellent all-round, and I much prefer it to having to mess around with my iPhone and a smaller controller.

The drone’s connectivity is nice and simple. At the back there's a USB-C port which can be used to charge the battery or transfer data, plus a microSD slot for storing videos and photos. However, you may not need to use the latter, as DJI has added 42GB of on-board storage here – room enough for about one hour of 4K/60p footage, 2.5 hours of FHD/60p footage, over 2,200 raw photos or 5,400 JPEGs.

Design score: 4.5/5

DJI Min 4K: features and performance

Up to 45 minutes flying time per battery
Automatic return-to-home feature
Omnidirectional obstacle sensing including forward-facing LiDAR
Up to 20km transmission distance

When it comes to flight performance and safety, the Air 3S improves even on the strong showing of previous Air and Mavic drones.

The battery life is roughly the same as the Air 3’s, lasting an impressive 45 minutes in ideal conditions. In reality, due to wind speed and other factors, you’ll get significantly less, but I never felt any major anxiety over the battery running low while flying due to the strong starting point. I also had two additional batteries to use as I was sent the Fly More Combo for testing, so I could land the drone, quickly swap out a flagging battery for a fresh one and get back in the air, all within a minute or so.

Batteries can be charged on the go ‘in-drone’ using the USB-C port, but the Fly More Combo’s charging hub does things much better. Not only can it accommodate three batteries at once, charging them in sequence; it can also consolidate the remaining battery power from two half-spent batteries into a third. Charging speed varies depending on the power adapter used, but a DJI 100W adapter will refill an empty battery in about one hour.

Image 1 of 2

DJI Air 3S camera drone battery charging hub — (Image credit: Future | Sam Kieldsen)

Image 2 of 2

DJI Air 3S camera drone RC 2 controller — (Image credit: Future | Sam Kieldsen)

Flying itself is about as simple as it gets. The controller’s flight app takes care of a lot of the busy work (you press a button on the touchscreen to take off, for instance), and GPS means the drone can be brought back to its home point at any time for a safe landing; it’ll also return to home automatically in the event of the signal being lost or the battery reaching low levels. As with most DJI drones there are three flight modes: Normal, Cine (which slows things down to help you get smooth video), and Sport, which turns off safety features and increases the top speed to around 21m/s (or about 50mph).

The twin stick controls are easy to learn, and the Air 3S flies much like any other quadcopter – as someone who’s been flying them for over a decade now, very little has changed except for battery life and the level of safety features, both of which just keep getting better. The Air 3S has omnidirectional object sensing, allowing it to avoid crashing into trees, lampposts and the like (either by braking automatically or re-routing itself around them), and is DJI’s first drone to use LiDAR for the front-facing sensors. DJI claims that this helps to make the obstacle detection far more effective at night, where traditional vision-based sensors can fail to spot objects.

Due to UK restrictions about flying in public parks or built-up places, I wasn’t able to test the Air 3S’s obstacle-dodging capabilities as rigorously as I would have liked, but even during some dusk-time flying I noticed the directional sensor indicators blinking on the controller’s screen when I was taking off and landing the drone. I would say, though, that the front-facing LiDAR isn’t going to help object sensing with obstacles to the side or rear of the drone at night. These sensors still use vision to detect things, and in low light they don’t work as well. So you'll still need to exercise caution at night.

DJI’s O4 video transmission system (the same as used on the Air 3) is robust and slick, beaming a low-latency FHD/60fps image live from the Air 3S’s camera to the RC 2’s screen. I never had it cut out or even stutter during the week I was testing the drone. That said, even though the transmission’s theoretical range is up to 20km I never flew the Air 3S further than a few hundred meters from me due to UK drone laws dictating that drones must remain in visual range of the operator.

In terms of special flight modes, the Air 3S features ActiveTrack 360º, which debuted on the DJI Mini 4 Pro and was later added to the Air 3 via firmware update. This feature allows you to drag a box around a subject on the touchscreen and have the drone perform movements around it while keeping it centered in the shot, all while using its obstacle detection system to avoid crashing. The idea is that you can walk, run, ride a bike, ski or skateboard and the drone will automatically follow along, effortlessly dodging potential obstacles while moving around you and creating cinematic shots.

Features score: 4.5/5

DJI Air 3S: image and video quality

Dual-camera setup (wide-angle and medium-tele)
1-inch (wide-angle) and 1/1.3-inch (medium-tele) sensors
4K video at up to 120fps and 2.7K vertical shooting
DNG raw and JPEG still photos

Folded DJI Air 3S drone with camera — (Image credit: Future | Sam Kieldsen)

The Air 3 has a dual-camera array, with wide-angle (equivalent to 24mm on a standard 35mm camera) and medium-telephoto (equivalent to 70mm) options to switch between. The Air 3S has practically the same setup but better, thanks to DJI upping the physical size of the wide-angle camera’s CMOS sensor from 1/1.3-inch to 1-inch. The tele camera keeps the same 1/1.3-inch CMOS as the Air 3’s. Both cameras’ lenses are fixed-aperture, so videographers will probably want to ensure they get hold of DJI’s ND filter set in order to use slower shutter speeds on sunny days.

I think having more than one camera on a drone is a brilliant asset. The tele lens really expands the Air 3S’s creative options, both by allowing it to get ‘closer’ to subjects while staying physically far away and by giving it the ability to compress perspective to give a scene a different look. There’s a digital zoom option for both cameras, but it does noticeably soften the video quality, and I tried to avoid using it in order to keep my videos and photos as sharp and crisp as possible.

Image 1 of 9

Aerial photographs taken using the DJI Air 3S drone — DJI Air 3S shot with wide-angle camera (Image credit: Future | Sam Kieldsen)

Image 2 of 9

Image 3 of 9

Image 4 of 9

Image 5 of 9

Image 6 of 9

Night-time aerial photo of harbour taken with DJI Air 3S drone — (Image credit: Future | Sam Kieldsen)

Image 7 of 9

Image 8 of 9

Image 9 of 9

DJI has packed a lot of video and photo options into the Air 3S, albeit nothing that really surpasses the range of options that comes with the original Air 3. Both the wide-angle and tele camera can capture 4K video at 24/25/30/48/50/60/120fps (with 120 reserved for slow-motion footage), FHD video at the same frame rates plus 240fps (again, with 120 and 240fps reserved for slow-motion), and TikTok-friendly 2.7K vertical 9:16 video at 24/25/30/48/50/60fps. Video can be captured in normal, HLG and D-Log M color modes, with 8-bit and 10-bit options for normal (HLG and D-Log M are always 10-bit) encoded in H.264 or H.265.

Photos can be capturing in DNG raw format and/or JPEG. The wide-angle camera takes photos at 12MP or 50MP resolution, while the medium tele takes them at 12MP or 48MP resolution.

The major difference between the cameras here and on the original Air 3 is the larger sensor on the wide-angle camera, which boosts its performance, particularly in low-light situations.

As you can see from the photo and video samples above, image quality is generally excellent – including in those tricky dusk and night-time conditions. I thought the Air 3 was a fine performer in this regard already, but the Air 3S’s larger sensor bumps the wide-angle camera’s low-light capabilities; these images look clean, clear and noise-free in situations where smaller sensor 4K cameras, like the one on the DJI Mini 4 Pro, would struggle.

I had a blast color-correcting and grading the footage shot in 10-bit D-Log M. I used DaVinci Resolve Studio 19 for this, which already includes some DJI LUTs for converting D-Log M footage. There was plenty of scope for grading here, and aerial videographers who want to create great-looking footage and have maximum control over the end results will love what the Air 3S’s cameras can do.

Image quality score: 4.5/5

DJI Air 3S sample video 4K

DJI Air 3S: testing scorecard

DJI Air 3S drone hovering in flight — (Image credit: Future | Sam Kieldsen)

Should I buy the DJI Air 3S?

Buy it if...

You need a two-camera drone
The Air 3S’s dual-camera setup opens up a world of new shooting possibilities. If you’re used to wide-angle only, having the extra camera feels like a breath of fresh air.

The Mavic 3 Pro is too expensive
The triple-camera Mavic 3 Pro is still the pinnacle of DJI’s consumer range – and still pricey. If you want something approaching its capabilities at a much cheaper price, the Air 3S is ideal.

You want great battery life
Up to 45 minutes from a full battery takes much of the time-related anxiety out of flying. And you'll get three times that with the Fly More Combo bundle.

Don't buy it if...

You want a casual camera drone
The price and weight class of the Air 3S makes it more suited to drone experts than beginners. If you’re starting out, a cheaper sub-250g drone like the DJI Mini or Neo is a much better choice.

You already own a DJI Air 3
The Air 3S is an improvement on its predecessor, but not enough of one to warrant an expensive upgrade – unless you’re really picky about low-light video performance.

DJI Air 3S: also consider

DJI Mini 4 Pro

Currently our favourite sub-250g drone around, the Mini 4 Pro is an ultra-lightweight folding drone that can be legally flown almost anywhere. It doesn’t lack for advanced features, though, with omnidirectional object avoidance tech and a fantastic gimbal-mounted 4K camera.

Read our in-depth DJI Mini 4 Pro review

DJI Mavic 3 Pro

The world’s first triple-camera consumer drone is about as versatile and high-quality as it gets for aerial imaging without spending many thousands of dollars or pounds. It’s easy and safe to fly too, but its 900g weight means it’s subject to the same legal flight restrictions as the Air 3S.

Read our in-depth DJI Mavic 3 Pro review

How I tested the DJI Air 3S

DJI Air 3S drone landed on deck — (Image credit: Future | Sam Kieldsen)

One week of use
Flown with the DJI RC 2 Controller
Camera tested in sunny, cloudy, windy and low-light conditions

I’ve been testing the DJI Air 3S for a week using pre-launch firmware and the Fly More Combo, which meant I had a couple of extra batteries and the RC 2 touchscreen controller, plus the ND filter set and a nice sturdy bag to carry everything around in.

I flew the drone in a variety of locations near my home on the English coast, including in potentially tricky windy and low-light conditions, although legal restrictions meant I couldn’t fly it close to buildings or in public parks, which did make testing out the drone’s obstacle avoidance system quite hard.

I captured photos and videos in a wide variety of formats, editing and adjusting my images and clips using Adobe Lightroom and DaVinci Resolve 19 on my computer.

First reviewed October 2024

Fujifilm X-M5 review – a tiny powerhouse of a vlogging camera

5:02 pm | October 14, 2024

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Comments: Off

Fujifilm X-M5: two-minute review

Fujifilm's new X-M5 is a dinky and stylish beginner mirrorless camera with a focus on video, delivering sharp 6K video recording in color-rich 10-bit. It also features 4K up to 60fps for cinematic half-speed effects, plus open gate video recording, which means the camera can take information from the full height and width of the 3:2 sensor, rather than being restricted to 16:9 or wider.

Open gate 6K video allows for a new 9:16 vertical video mode without you having to rotate the camera 90 degrees, with the new social media-focused mode cropping the central vertical portion of the frame at 1080p resolution, complete with handy preset recording times of 15, 30 or 60 seconds.

The X-M5 is also equipped with an improved wind filter and three internal directional mics, whereby you can employ any of those mics individually or together based on your video needs, with options for surround, front or back priority, or front and back priority. Alternatively, you can use an external mic for even better audio, connecting via the 3.5mm jack and securing it into the X-M5's hotshoe.

Fujifilm X-M5 camera with flip-screen out, on a marble surface with rich blue background — (Image credit: Future / Tim Coleman)

There are some well-considered design touches: the mic port has been positioned on the rear above where the screen sits, while the other ports are on the right-hand side of the camera rather than the left, which means they don't interfere with the flip-out touchscreen when in use. As on the X-T50, you also get a film simulation dial for quickly switching between Fujifilm's legendary color profiles, with three slots for custom profiles.

Price-wise, and indeed for a large part features-wise, the X-M5 matches and therefore sits alongside the photography-focused X-T30 II, and below the X-S20, as an excellent-value starter mirrorless camera for those who shoot more videos than photos. Yet with its tiny form-factor – this is the smallest X-series camera in 2024's lineup – the X-M5 is also a decent walkaround camera, say for street photography, especially with Fujifilm's tiny XF 27mm f/2.8.

Given its low price, naturally there are compromises. The X-M5 does not feature in-body image stabilization, which you get in the pricier X-S20, and which is supremely helpful for smoothing out handheld videos. Instead it employs electronic stabilization which works pretty well, but it incurs a 1.32x to 1.44x crop of the image area, depending on your shooting mode.

That flip-out touchscreen is a lower 1.04m-dot resolution compared to those on other Fujifilm cameras, like the 1.84m-dot one on the X-S20, plus there's no viewfinder as on the X-T30 II, and so the X-M5 might not prove to be the easiest camera to use in bright light. Design-wise, the X-S20 is a better option for enthusiasts – it offers the best of the X-M5 and X-T30 II in one camera, and it has much better battery life, plus image stabilization, although it costs a fair bit more.

Overall, the dinky X-M5 is a highly capable little camera that's not for everyone, but for those starting out making videos it could be one of the most powerful tools available for the money, that's set to trouble our best vlogging cameras guide.

Fujifilm X-M5: price and release date

X-M5 body only: $799 / £799 / AU$1,449
X-M5 with 15-45mm lens: $899 / £899 / AU$1,649
On sale November 14

You can pick up the X-M5 with the 15-45mm kit lens for $899 / £899 / AU$1,649 when it goes on sale on November 14. If you don't need the lens, the X-M5 can be picked up body-only for a little less, at $799 / £799 / AU$1,449.

That price point matches the X-T30 II exactly, making the feature-rich X-M5 one of the cheapest mirrorless cameras available in 2024 with arguably the biggest video bang for buck.

Price score: 5/5

Fujifilm X-M5 specs

Fujifilm X-M5: design and handling

Tiny and lightweight
No viewfinder
Film simulation dial

Tipping the scales at just 12.52oz / 355g, the X-M5 is one of the lightest mirrorless cameras around, and it's properly dinky too. I actually found it a little too small at times, regularly knocking controls, unintentionally taking pictures and so on, but I can certainly see the appeal of its tiny proportions, especially as an everyday walkaround camera.

I was testing the X-M5 with the 15-45mm lens, which is available as a kit with the camera, and is a decent pairing physically. With the camera's modest-sized handgrip and such a tiny body, Fujifilm's larger lenses will feel like a bit of mismatch, and the sweet spot will be smaller zoom and prime lenses – I'd especially like to try the X-M5 with the XF 27mm f/2.8 pancake lens as an alternative to my Ricoh GR IIIx every day camera.

Image 1 of 5

Top plate of the Fujifilm X-M5 camera on a marble surface with rich blue background — (Image credit: Future / Tim Coleman)

Image 2 of 5

Underside of the Fujifilm X-M5 camera on a marble surface with rich blue background — (Image credit: Future / Tim Coleman)

Image 3 of 5

Image 4 of 5

Closeup of the Fujifilm X-M5 camera's flip screen, on a marble surface with rich blue background — (Image credit: Future / Tim Coleman)

Image 5 of 5

Fujifilm X-M5 camera on a marble surface with rich blue background — (Image credit: Future / Tim Coleman)

The Fujifilm X-M5 is sporting the classic Fujifilm retro look with faux-leather finish, plus a top plate (available in black or silver – I had the all-black version) with shooting mode and Film Simulation dials. Like the X-T50, the most popular film simulations are present, plus three customizable slots for your other favorites or recipes. The dial cannot be changed to control something else.

The flip-out screen is unimpeded, unlike on so many other cameras. That's because Fujifilm has smartly positioned the ports on the opposite, right-hand side of the camera. There's also a new position for the mic input, just above where the screen rests. It's a logical placement near the hotshoe, which is where you can secure an external mic, meaning your cable doesn't need to get in the way of camera controls or the screen either.

Image 1 of 6

Closeup of the Fujifilm X-M5 camera's top plate, on a marble surface with rich blue background — (Image credit: Future / Tim Coleman)

Image 2 of 6

Closeup of the mic port of the Fujifilm X-M5 camera, with rich blue background — (Image credit: Future / Tim Coleman)

Image 3 of 6

Closeup of the Fujifilm X-M5 camera's ports, on a marble surface with rich blue background — (Image credit: Future / Tim Coleman)

Image 4 of 6

Rear of the Fujifilm X-M5 camera with screen folded away, on a marble surface with rich blue background — (Image credit: Future / Tim Coleman)

Image 5 of 6

Image 6 of 6

The battery and a memory for the Fujifilm X-M5 camera on a marble surface — (Image credit: Future / Tim Coleman)

That 3-inch touchscreen is the lowest-spec screen in Fujifilm's range of cameras, with just a 1.04m-dot resolution compared to the 1.62m-dot and 1.84m-dot screens of the X-T30 II and X-S20 respectively. Still, you get a revised user interface with handy short cuts to shooting modes such as the new vertical video mode.

The X-M5 is powered by Fujifilm's NP-W126S battery, which is the same battery as found in the X-T30 II and other models like the X-T50 and X100VI. Here you get a 440-shot battery life, which is an improvement on some other models, thanks in part to Fujiflm's latest X-Processor 5 engine, although battery life is reduced to more like 330 shots if you're not in Eco mode, nor is it a patch on the X-S20 which goes for much longer.

The key difference between the X-M5 and Fujifilm's other entry-level camera, the X-T30 II, is that the latter has a viewfinder, which can be very helpful for composing photos in bright light. I mainly used the X-M5 in cloudy weather during which detail on the screen was clearly visible. During a bright sunrise, it was a little more challenging to view the screen clearly, but at least it can angled away from glare and reflections.

During that same sunrise shoot I was also taking photos with a thrice-the-price full-frame mirrorless camera. The contrast between how these cameras felt in the hand was clear, with the latter feeling much more premium. Still, for beginners the X-M5 is going to feel the part.

Design score: 4/5

Fujifilm X-M5: features and performance

60-minute video record time
Three internal directional mics
Less effective digital image stabilization only
8fps / 30fps for up to 173 JPEGs

The X-M5 packs a lot of power for such a small camera, but there are also compromises. For example, like the X-S20 it can shoot up to 8fps continuous burst sequences (using the mechanical shutter) or 30fps (with the electronic shutter), but the pricier model is able to squeeze out more frames.

Both cameras use the same processor, so I can only assume that the limited performance of the X-M5 – a still respectable 173 JPEGs or 25 raws in continuous high mode – is due to the fact that it records onto UHS-I SD memory cards, while the X-S20 is compatible with the faster UHS-II SD-type memory card. The X-M5 is no slouch by any means, but it's a shame that it isn't compatible with the latest SD cards.

Offloading those files onto a smartphone should be a breeze. You don't even need to mess around with unreliable Bluetooth connections and slow transfer speeds – the X-M5 offers high-speed file transfer to a smartphone via USB connection, with Fujifilm's XApp. There's also frame.io camera to cloud storage and sharing available for subscribers. These are super handy features for connected content creators.

Fujifilm has equipped the X-M5's autofocus system with its latest subject-detection algorithms, including animal eye AF and touch tracking autofocus for video. In fact, it's better than Fujifilm X-S20 right now, although we were told that the X-S20 will be improved with this latest algorithm via a firmware update.

Image 1 of 2

Closeup of the Fujifilm X-M5's screen with new UI and the 9:16 portrait video mode — (Image credit: Future / Tim Coleman)

Image 2 of 2

Closeup of the Fujifilm X-M5's screen with the built-in microphone direction menu — (Image credit: Future / Tim Coleman)

For me, a major downside to the X-M5 is that it lacks in-body image stabilization. To be clear, I wouldn't expect such a feature in a beginner camera given that you won't find it at this price point anywhere else. It just feels like a video-focused camera can really benefit from it, and if I was getting serious about video I'd turn my attention to the X-S20 instead.

The X-M5 utilizes digital image stabilization (DIS) instead, should you need it, and you sure will for handheld videos. The X-S20 also features DIS, which incurs a 1.1x crop of the image area; however, that crop is much more severe in the X-M5 – at least 1.32x and up to 1.44x depending on the video modes and frame rates.

If you want steady video, say for handheld vlogs, your frame will be cropped. That means you need a seriously wide-angle lens to fit yourself in the shot, otherwise vlogging won't really be possible with DIS employed. Alternatively, you can buy a gimbal to stabilize footage and keep DIS switched off. However, adding a gimbal pushes the price up, perhaps to the point where you might as well have bought the X-S20 in the first place.

Don't get me wrong, the X-M5's digital stabilization performs pretty well, but you need to be aware of the limitations that come with using it. A saving grace is that Fujifilm has a superb range of lenses, including ultra-wide angle options which will give you the extra space in your shot when vlogging with DIS active.

Audio recording quality is impressive. The X-M5 features three directional mics (there are two on the X-S20 and X-T30 II) that can be isolated or used together – so for example you can have the mics picking up just your voice vlogging, or audio from in front of and behind the camera for the camera-person and subject conversing, or complete surround sound that captures the ambient sound too.

Fujifilm says the X-M5 has an improved wind filter – though I can't vouch for how this has been improved from my testing – plus 'steady state' noise reduction. There's a mic input too, should you need even better audio recording. I attached a receiver into the mic input and did some vlogging with the wireless mic attached to my clothing, and the whole experience was flawlessly smooth.

Despite some of its flaws regarding features and performance, the X-M5 gets it right where it matters the most for video.

Features and performance: 4.5/5

Fujifilm X-M5: image and video quality

26MP stills and 6K/30p video
10-bit color depth and wide range of bitrates for various qualities / file sizes
New vertical video mode for social media

The X-M5 use the same tried and tested 26MP X-trans CMOS 4 sensor and X-Processor 5 engine as the Fujifilm X-S20, which shares the same 6K video resolution and frame rates. Both cameras are capable of recording superb-quality videos, plus decent photos.

There are two key differences between the X-S20 and X-M5. The X-S20 features in-body image stabilization for smoother handheld video clips, plus a higher maximum 360Mbps bitrate to the X-M5's 200Mbps, meaning its best-quality video is less compressed. The X-S20 also imposes just a 1.1x crop when using its digital image stabilizer, while the X-M5's crop is more severe at 1.32x and higher.

Image 1 of 8

London street photo of a red telephone box and black shop front, taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Image 2 of 8

Closeup of London souvenirs in a shop, taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Image 3 of 8

London street photo of a pub sign taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Image 4 of 8

Dark alleyway with a lone silhouette and bar sign above, taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Image 5 of 8

London street photo of fallen hire bikes, taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Image 6 of 8

London street photo of a lady with dog, taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Image 7 of 8

China Town in London street photo taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Image 8 of 8

The lack of in-body image stabilization will probably have the most noteworthy adverse impact on video quality, especially for those who shoot handheld vlogs. Digital image stabilization (DIS), which works with the lens' optical stabilization, is less effective, and using it incurs that severe 1.32x crop, so you'll need to use a particularly wide lens with the camera for vlogging, or splash out on a gimbal. Still DIS does a reasonable job smoothing out footage for gentle walking and talking scenarios.

Fujifilm has introduced additional 8Mbps and 25Mbps low bitrates for those who want to work with super-small video files sizes and don't mind the additional compression that affects outright quality. These low bitrates are not proxies recorded alongside higher bitrate videos – you choose the bitrate you want and that's that. Low bitrates are handy if you need to work fast on location, and don't have the time or capacity to work with large file sizes. If your videos are only going to be viewed on phones, these low bitrates are an acceptable option.

Image 1 of 10

Autumn sunrise over a common in the UK, taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Image 2 of 10

Autumn sunrise over a common in the UK, with a wooden boardwalk, taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Image 3 of 10

Image 4 of 10

Tree silhouettes at first light, taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Image 5 of 10

Backlit cobweb in a tree during sunrise, taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Image 6 of 10

Woman walking on a boardwalk among pine trees at first light, taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Image 7 of 10

Man's selfie at first light, taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Image 8 of 10

Portrait of a male at first light with a still lake backdrop, taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Image 9 of 10

Cobweb between long blades of grass over water, taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Image 10 of 10

Cobweb among ferns, taken with the Fujifilm X-M5 — (Image credit: Future / Tim Coleman)

Otherwise, there's not a lot to choose between the two cameras, which reflects well on the X-M5 because it's so much cheaper, at just 56% the cost of the X-S20. The X-S20 has loads more going for it regarding its build and handling, but the X-M5 offers excellent bang for buck in terms of video quality.

Image and video quality: 4.5/5

Fujifilm X-M5: testing scorecard

Should I buy the Fujifilm X-M5?

Buy it if...

You want the best value 6K camera
Open gate 6K video in 10-bit with attractive color profiles? That's some serious video grunt for $800 / £800.

You’d like a tiny every day camera for photos
Paired with a pancake lens like the XF 27mm f/2.8 and you have a tiny snapper ideal for documenting every day life and street photography.

You want a simple, low-cost second camera
Although it's designed for beginners, I can see the X-M5 being popular with hobbyist photographers who already own another Fujifilm camera but are looking for a simple second camera for the every day.

Don't buy it if...

Your focus is on run-and-gun filmmaking
Being limited to digital stabilization means the X-M5's footage will look shaky if your movements are particularly erratic.

You have big hands
If you have large hands you might unwittingly find yourself nudging the X-M5's controls – they are tightly packed together.

You're primarily a photographer
As a primary camera, the X-M5 sure is designed for video. If you take a lot of photos, a camera with a viewfinder like the X-T30 II might be the sensible alternative.

Fujifilm X-M5: also consider

Fujifilm X-S20

A step up from the X-M5 for more serious creators, the X-S20 has better battery life, a viewfinder, a larger body with comfy grip, compatibility with quicker UHS-II SD cards, plus in-body image stabilization. However, the cameras share the same sensor and processor, both shooting 10-bit 6K video and 26MP still, meaning pretty much the same image quality potential (besides the positive impact of image stabilization), and the X-S20 costs a lot more. If you're a photographer first and not wanting to spend extra over the X-M5, then the X-T30 II is a decent alternative.

Read our in-depth Fujifilm X-S20 review

Sony ZV-E10 II

There's not a lot to choose between the Fujifilm X-M5 and Sony ZV-E10 II. Both are super-compact vlogging cameras with vari-angle touchscreen, built-in multi-directional mics and a 26MP APS-C sensor with 10-bit video recording, although the ZV-E10 II caps out at 4K / 60p whereas the X-M5 can shoot video in 6K. Sony's ZV-E10 II has better battery life and a comfier grip, plus Sony's renowned autofocus skills. However it costs around 20%, while the X-M5 has its own tricks such as its open gate sensor and vertical video. Both cameras enjoy a huge choice of lenses, while neither has in-body image stabilization. In many ways, these are two evenly matched cameras, which is credit to Fujifilm whose camera is costs less.

Read our in-depth Sony ZV-E10 II review

How I tested the Fujifilm X-M5

Fujifilm X-M5 camera with 15-45mm lens, in the hand, with screen flipped out — (Image credit: Future / Tim Coleman)

A week-long loan period of the camera with the 15-45mm lens
Full-production model with final firmware
Paired with wireless mic gear
Vlogging and photography in a range of scenarios

Following an in-depth briefing with Fujifilm and a central London shooting session ahead of the X-M5's launch, I was loaned a full-production version of the camera, with final firmware, for a one-week period, together with the XF 15-45mm kit lens.

I've used the camera for vlogging, testing its internal mics but also pairing it with an wireless mic kit, plus taken plenty of photos in various scenarios, including a sunrise hike.

First reviewed October 2024

Ricoh GR IIIx HDF review: a street shooter with a dreamy diffusion filter

6:55 pm | October 7, 2024

Author: admin | Category: Cameras Compact Cameras Computers Gadgets | Comments: Off

Ricoh GR IIIx HDF: two-minute review

With its large APS-C sensor and fixed 40mm f/2.8 lens, we already rated the Ricoh GR IIIx as one of the best premium compact cameras for travel and street photography. This version features a niche tweak that gives it a specific appeal: where the original had a built-in ND filter, the GR IIIx HDF instead has a highlight diffusion filter.

There’s no software trickery at work here. This is a physical filter that's built into the shutter unit and is enabled with a push of the Fn button, and it reduces contrast and blurs bright whites, producing soft, dreamy stills with an ethereal glow that harks back to the days of analog.

Based on our time with both the GR IIIx and the HDF version, the latter is the more creative tool. Whether you're capturing reflections shimmering off water or sunlight through leaves, it allows you to experiment with unique, film-like lighting effects.

Ricoh GR IIIx HDF compact camera, rear side controls in a hand — (Image credit: Future)

The GR IIIx HDF also benefits from a couple of new firmware features: there’s support for up to three custom white balances, while zone-select AF gives you more flexibility to target automatic focusing within the center area. These are minor tweaks which will also be introduced to the GR III / IIIx down the line.

Otherwise, the GR IIIx HDF is identical to the existing version. That includes everything from the pocket-friendly dimensions and direct access controls to the APS-C sensor and 40mm lens combination we praised in our original review. It also retains the same drawbacks, though, including average battery life and a fixed screen.

The GR IIIx HDF isn’t the major update that many Ricoh fans were hoping for, and it’s certainly not worth buying if you already own the GR IIIx. But if you’re choosing between the two versions, we think the highlight diffusion filter makes it the more artful and unique option, especially if you’re a fan of the vintage aesthetic. It costs marginally more, but it’s the one we’d pick.

Ricoh GR IIIx HDF compact camera front side, in hand — (Image credit: Future)

Ricoh GR IIIx HDF: price and availability

Launched on 28 March 2024, alongside the GR III HDF
Priced at $1,146 / £1,099 / AU$1,899

The Ricoh GR IIIx HDF was announced in March 2024 with a launch price of $1,146 / £1,099 / AU$1,899. That makes it $147 / £100 / AU$120 more expensive than the standard Ricoh GR IIIx, which already commanded a pretty premium ask. At that price, the GR IIIx HDF is close to mid-range mirrorless money, with cameras like the Sony A7 III available for a similar amount.

While that might seem hard to justify for a compact with a fixed lens, the point here is that Ricoh is making a niche version of an already niche camera. You’ll buy the GR IIIx HDF not because you want the best possible performance for the money, but because you want a sharp-shooting compact with a relatively large sensor, with the added value of a unique built-in filter.

If you’re in the market for one of the best travel cameras, the GR IIIx offers better value objectively. Whether the highlight diffusion filter is worth the extra expenditure will come down to how you plan to use the camera and whether you’ll appreciate the creative aesthetic it’s capable of. But for our money, it’s the more compelling proposition, even with the increase in cost.

Ricoh GR IIIx HDF: design

Physically identical to the GR IIIx
Truly pocketable dimensions
3-inch, 1.03 million-dot touchscreen

Other than its silver shutter button, the GR IIIx HDF is identical to the GR IIIx. That means it’s a genuinely pocket-friendly compact, measuring a tidy 109.4 x 61.9 x 35.2mm and weighing an impressively light 262g, including the battery and an SD card. It’s pretty much as small as a camera with an APS-C sensor inside can be, making it a portable yet powerful shooting tool.

Not only do those dimensions mean the GR IIIx HDF is a convenient camera to travel with, but it’s also one you can comfortably use with one hand, making it ideal for discreet street photography. Ergonomically, there’s enough of a front grip to get your fingers around, with a moulded thumb rest on the rear.

Direct-access controls are plentiful, including a mode dial and scroll lever for adjusting exposure, and are neatly set out within easy reach of your thumb. Most prominent among them is the function button, which by default is used to activate the highlight diffusion filter. The control layout doesn’t clutter the body, but the camera’s proportions mean some of the rear inputs do require a bit of nimble finger-work to avoid accidentally hitting other buttons.

Image 1 of 5

Ricoh GR IIIx HDF compact camera in hand — (Image credit: Future)

Image 2 of 5

Image 3 of 5

Image 4 of 5

Image 5 of 5

Like the GR IIIx, the HDF version has a fixed 3-inch LCD touchscreen. It’s sharp enough at 1.03 million dots, although it’s not the brightest, which can make framing in direct sunlight slightly tricky. That’s not helped by the absence of an electronic viewfinder and, while there is a hot-shoe mount on top of the body, the only optional viewfinders available from Ricoh are analog ones.

All that being said, the GR IIIx HDF is just as fun to use as the standard GR IIIx. The touchscreen is responsive, and touch-focus support makes it as easy to shoot with as any smartphone. Its point-and-shoot design also strikes a good balance between accessibility for beginners and creative control for more experienced users.

Ricoh GR IIIx HDF: features and performance

Highlight diffusion filter
Fixed-focal-length f/2.8 lens
New zone-select AF functionality

The headline feature of the GR IIIx is its highlight diffusion filter, which replaces the neutral density filter found in the GR IIIx. The HDF is a physical filter that’s part of the shutter unit, and it has the effect of reducing contrast and softening bright whites when enabled. The net effect of this is dreamy stills with a blurry glow that mimics the look of film photography.

Based on our tests, it’s more than a gimmick. The effect’s strength depends on what and where you’re shooting, but it can be surprisingly potent. In backlit or overcast scenes we found that it could lead to unwanted halo effects; but in the right conditions, such as warm sunlight filtering through trees or lights reflecting off water at night, the filter makes the GR IIIx HDF capable of producing some genuinely unique, creative images.

Image 1 of 4

Ricoh GR IIIx HDF in hand — (Image credit: Future)

Image 2 of 4

Image 3 of 4

Image 4 of 4

On paper, it’s a niche feature. But at a time when analog is all the rage again we can see it appealing to a lot of people. Not only does the GR IIIx HDF produce images with a film-like aesthetic, it does so by way of a genuine physical filter, which lends the results a feeling of authenticity which can’t be achieved with post-processing. It also makes the GR IIIx HDF feel like a fun tool to experiment with creatively, with none of the associated costs of film.

Otherwise, the Ricoh GR IIIx HDF shares most of the rest of its features and spec sheet with the standard version. That’s true of the effective sensor-shift shake reduction system, useful Snap Focus tool and decent macro mode. Unfortunately, it’s also true of the modest 200-shot battery life, lazy burst speeds, and maximum Full HD video resolution.

Also inherited is the 40mm f/2.8 lens, which offers a focal length that’s more versatile for portrait work than the 28mm lens of the GR III. The depth of field is lovely and shallow, although you do need to be careful when using Snap Focus as it’s easy to miss your focus point. Rather than repeat the same observations here, we recommend reading our GR IIIx review for a full insight into how these features stack up in real-world use.

Image 1 of 6

Ricoh GR IIIx HDF test image — (Image credit: Future)

Image 2 of 6

Image 3 of 6

Image 4 of 6

Image 5 of 6

Image 6 of 6

Operation of the HDF version is just as quick as with the GR IIIx, with rapid start-up and shutter response times. Less impressive is the autofocus performance, which suffers from the same laggy tracking as before. One thing that is new for the GR IIIx is zone-select AF. This essentially allows you to zone the AF in on a specific region within the auto-area AF coverage. We could see this being useful for street portraits, but it’s a relatively minor addition, and one that’s also due to be added to existing models in a later firmware update.

More useful is the introduction of three programmable white balance settings, which means you can easily shift between different custom presets without having to dive into the manual settings. We think many users of the GR IIIx HDF are likely to use auto white balance, but it’s nevertheless a welcome addition.

Should I buy the Ricoh GR IIIx HDF?

Ricoh GR IIIx HDF camera on a table — (Image credit: Future)

Buy it if...

You like the idea of an analog-style filter
Enabling the highlight diffusion filter gives images a soft, dreamy glow that, in the right lighting, can produce properly creative images with a film-like look.

You want a sharp-shooting street compact
Sharing most of its features with the GR IIIx, the HDF edition stacks up just as well for discreet street photography, with a travel-friendly body that captures sharp stills.

You want first access to the latest features
The GR IIIx benefits from three pre-programmable white balance settings and zone-select autofocus, which will only be added to existing models with down the line.

Don't buy it if...

You don’t need the highlight diffusion filter
The added cost of the GR IIIx HDF can only be justified if you’re excited by the idea of shooting with a unique physical filter; otherwise, the standard version is better value.

You want the best possible value
The GR IIIx HDF is priced in mid-range mirrorless territory, and it’s possible to get better performance and features from other APS-C cameras with interchangeable lenses.

You shoot a lot of video
With a video resolution that maxes out at Full HD, the Ricoh GR IIIx HDF is very much a camera for stills photographers first and foremost.

How I tested the Ricoh GR IIIx HDF

I used the camera for two weeks
I shot more than 150 stills
I took pictures in a range of conditions

Testing the Ricoh GR IIIx HDF involved taking it out into the world and using it as I would use any camera day to day. I took more than 150 photos over the course of a fortnight, in a whole range of shooting scenarios and lighting conditions, from day to night, and from portraits to street details.

As the highlight diffusion filter is the key point of difference between this camera and the standard GR IIIx, I focused in particular on capturing images with the HDF enabled. I also shot a range of reference images across different shooting modes, to assess the actual effect of the filter.

First reviewed October 2024