Cameras - Organizer

Nikon Z6 III review – an exquisite all-rounder that’s close to perfection

7:48 pm | July 26, 2024

Nikon Z6 III: two-minute review

Sitting at the more affordable end of Nikon’s range of full-frame models, the Z6 III is designed to be an all-rounder, which can tackle a variety of subjects, whether that’s for photo or video.

What makes it more affordable is its 24.5MP sensor, which is just shy of half that of other pricier models in the line-up, including the Z7 II, the Z8 and the Z9. However, it's an exciting new “partially stacked” sensor, which unleashes ultra fast shooting speeds available, making this a real powerhouse when it comes to sports and action - and marking a major improvement on its predecessor, the Z6 II.

There’s up to an incredible 120fps shooting available - with some big caveats - but up to 20fps at full resolution in raw with full AF/AE. In practice, this turns out to be more than you’ll need for most types of action and returns a fantastic hit rate where almost every shot is in focus thanks to the superb autofocusing system which has been brought over from the Z8 and Z9 cameras.

Nikon Z6 III with the 24-120mm f/4 lens — With the 24-120mm f/4 lens, a great all-rounder lens that suits the Z6 III incredibly well (Image credit: Amy Davies)

For video, there’s now 6K up to 60fps available, as well as 4K at a range of frame rates up to 120fps. Being able to create oversampled video at 4K thanks to its 6K shooting ability will be appealing to lots of content creators, and gives you scope to get more shooting angles from whatever lenses you have.

In terms of body design and layout, much has stayed the same or similar since the Z6 II, however the III is now toting a fully articulating screen, making it far more suited to video work than ever before.

We’ve also got a brand new viewfinder and it's Nikon's best yet, with a 5,760k-dot resolution and an ultra-wide color gamut, plus a 60fps refresh rate. These specs all combine to make the Z6 III’s viewfinder one of the best experiences on the market.

Nikon Z6 III with the screen folded outwards — The Nikon Z6 III has a new fully articulated screen (Image credit: Amy Davies)

Image quality doesn’t show a revolutionary improvement from the Z6 II, which is pretty much as we’d expect. However, it's easier to get the shots you want thanks to improved autofocus and burst shooting performance, so while individual shots might not be an improvement in terms of things like dynamic range, color and detail, the fact that you can get more shots in focus is what makes the big difference. Video quality is also great.

When it comes to pricing, the Z6 III is more affordable than the Z8 and Z9, but you will be paying a premium for how much better it is than the Z6 II, especially considering that camera is now on sale since the Z6 III was announced. In fact, you’ll also be paying a premium right now over the high-resolution Z7 II. Between those two cameras, it’s up to you to decide whether you want high resolution at the expense of speed, or the other way around.

If you mainly shoot landscapes and other still subjects, the Z7 II might be the better choice, but if you ever shoot anything moving - or at least think you might - then the Z6 III is a much better choice.

Nikon Z6 III: release date and price

Body only price is $2,496 / £2,699 / AU$4499
Available now

The Z6 series has always been on the more affordable end of Nikon’s pro-spec line-up. Although it’s higher in value than the Z5 series, it’s generally cheaper than the Z7, Z8 or Z9 cameras. That said, the feature-packed Z6 III will set you back more than its predecessor did at launch by around 25%, and with the Z6 II on sale, the Z6 III is £1000/$1000 more expensive for the body only version at the time of this review. Right now, the Z6 II feels like a comparative bargain, especially if you can live without some of the Z6 III's improved autofocusing and burst rates.

The Z6 III is also currently more expensive than the Z7 II, so if you need higher resolution, you might opt for that model instead - again though, you’ll be missing out on things like fast shooting. If Nikon hasn't given up on the Z7 series, we could see a speedier Z7 III, but that would be treading a little too close to the Z8 and we think a new Z7 model is unlikely.

Perhaps the best thing to compare the Z6 III within Nikon’s own line-up is the Z8, with which it shares similar focusing capabilities. Here you’ll need to fork out an additional £600, and use a larger and heavier camera - but you do get higher resolution.

In the end, it likely comes down to speed vs resolution. If you need speed, go for the Z6 III, if you need resolution, the Z7 II or the Z8 if you can stretch to that is the best choice.

What about compared to other brands? Well, the Z6 III is significantly more expensive than its current main competitors, the Canon EOS R6 II, or the Sony A7 IV - both models which are also ripe for an upgrade. Although more expensive, you will get more for your money from the Z6 III, so if you’re particularly after some of its impressive features, then it’s likely to be worth the extra expense.

Price score: 4/5

Nikon Z6 III: design and handling

New vari-angle touchscreen
Super high-res EVF
Chunkier grip
New additional battery grip

If you’re looking for a fast Nikon, then you might have had your head turned by the Nikon Z8 or even the Nikon Z9, but then been quickly put off by the size of either of those models. The Z6 III is a a much more easy-to-manage size than either the Z8 or the Z9, although it's little heavier than its predecessor (760g vs 705g body only) – that's mostly down to the chunkier hand grip which I'm all for because it gives a secure hold.

Layout and button placement remains largely unchanged from the Z6 II, with a mode dial to the left of the viewfinder, plus all of your regularly used buttons and dials on the right hand side. A relatively minor tweak, but one which makes a decent bit of difference, is the drive mode and playback buttons have been swapped over. This means you can hit playback with your right thumb, rather than having to bring in your left hand to quickly scroll through the images you’ve just taken. I find this particularly handy when I’m shooting and want to have a quick check in the viewfinder that whatever I’ve just photographed is in focus - then I can have another go if something hasn’t come out quite right.

Overall, the Z6 III is a fairly intuitive camera to use with everything pretty much where you’d like it to be. A useful joystick can be employed to move the AF point around, an "i" button houses a host of quick settings, and the rear and front dials work in tandem to control shutter speed and aperture.

Elsewhere, a pretty big difference compared with the old Z6 II is the new screen, which is now a fully articulated device designed to appeal to the video crowd. It’s also useful for shooting things like selfies, or anything awkwardly positioned that you want to frame vertically. Previously, we had a tilting display, which personally I prefer for stills, but I can see why articulating made more sense in this all-rounder model. The size and resolution of the screen, at 3.2”/2100k-dots remains the same as in the Z6 II.

Nikon Z6 III key specs

Sensor: 24.5MP
AF System: Hybrid phase-detection / contrast AF
EVF: 0.5in, 5760k-dot UXGA OLED electronic viewfinder, 0.8x magnification
ISO range: 100-64000 (50-204800 extended)
Video: 6K 60p / 4K 120p / Full HD 240p
LCD: Vari-angle TFT touch-sensitive, 2100k-dot
Max burst: 120fps (crop mode)
Connectivity: Wi-Fi 5GHz, Bluetooth 5.0
Weight: 670g (body only), 760g (with battery and memory card)

The EVF has also had a bit of a glow-up. While the previous 3,690k-dot resolution EVF of the Z6 II was by no means bad to use, once you look through the 5,670k-dot device found on the Z6 III, you might find the Z6 II's viewfinder has been well and truly ruined for you. Not only is the Z6 III's high in resolution, it has also got an ultra-wide color gamut (DCI-P3, the first time this has been used in a mirrorless camera), and a fast 60fps refresh rate for a smooth display even shooting at high frame rates.

As with the Z6 II, we’ve got dual memory card slots. One is for CFExpress B, and is also compatible with the older XQD format. Another is the more widely used SD format with support for the faster UHS-II version, which is good news for anyone who doesn’t necessarily want to fork out on expensive memory cards to use this camera.

If you want extra battery power, or better handling when shooting vertically, there’s an optional MB-N14 battery grip you can also buy. If you’ve already got an older battery grip, it’s a bit annoying that the old MB-N11 or MB-N12 battery grips from previous Z series models aren’t compatible here, though. On the plus side, the MB-N14 is compatible with both the newer and older models, so if you’re toting a multi-device setup, you can at least swap between the two.

Nikon Z6 III memory card slots — The Z6 III has two memory card slots available (Image credit: Amy Davies)

Design score: 4.5/5

Nikon Z6 III: features and performance

Up to 120fps shooting with Pre-Release Capture
World’s first partially-stacked 24.5MP sensor
8-stops in-camera image stabilization
3D tracking and subject detection focus, plus focusing down to -10EV
6K video up to 60fps
New Nikon Imaging Cloud service

The Z6 series has always been Nikon’s “all-rounder”, with a lower resolution sensor than the likes of the Z7 and the Z8/Z9, at a more attractive price and more-rounded feature set.

With the Z6 III, you really do get an incredibly versatile piece of kit that's markedly more powerful for landscapes to sports and action, as well as meeting video and content creators needs too.

Although resolution has stayed on the “low” side at 24.5MP (only by comparison with the super high-resolutions we’ve become a little bit spoiled by), we now have what’s known as a “partially-stacked” sensor which has been designed to be fast, without quite such a high-cost as we’d expect from a fully-stacked sensor found in the Z8 or Z9 camera. It’s also got the same EXPEED 7 processor as found in the Z8 and Z9.

So, while the Z6 III's sensor is still not quite as speedy as the Z8/Z9, it’s still 3.5x quicker than that found in the Z6 II, and what’s more, it’s better equipped to deal with rolling shutter distortion that you might expect to see when recording moving subjects.

Image 1 of 2

A sample image taken with the Nikon Z6 III — You can shoot at 20fps in raw with full AF/AE (Image credit: Amy Davies)

Image 2 of 2

As a result, we get up to a ludicrously fast 120fps shooting available - though you will have to shoot DX (APS-C) format JPEGs which end up at only 10MP. You do get full AF/AE while recording though.

For full-frame shooting, up to 60fps is available (JPEG only), which should still be more than you really need for most types of moving subject. As if that wasn’t enough, there’s also pre-release capture which will start recording frames before you’ve even fully engaged the shutter button - super handy if you’re not sure exactly when a piece of action is about to begin. If you want RAWs to go along with JPEGs, you can shoot at 20fps with the electronic shutter.

Having super-fast frame rates is no good without a great AF system to go with it and there's good news there too. You get the latest autofocusing system available from Nikon, as seen in the Z8 and Z9, to give you 3D tracking and subject-detection options including humans, animals and a range of vehicles.

It’s got to the point now where I’ve stopped using single-point AF, and leave it on automatic subject recognition and let the camera decide for me at least half of the time. If I’m photographing anything that is likely to move around the frame, such as my baby or my dog, then it just makes sense to let the tracking do what it does best and keep up with them.

Also new is the ability to focus down to -10EV, making it superb at locking onto the subject in low-light too. There’s no messing about here.

Image stabilization has also been given a boost, with the Z6 III benefiting from the same 8-stop system as seen in the Nikon Zf. This 8-stops is measured using the 24-120mm f/4S that I’ve been using myself during this review. I’ve found that I can happily shoot with the telephoto end of this lens, at a fairly narrow aperture, in less than perfect lighting conditions and still get sharp shots almost all of the time, and the same is true of using longer lenses too.

Content creators who crave decent video specs should find a lot to like about the Z6 III too, with this being a real hybrid shooter. There’s 6K recording and a variety of different frame rates, plus the ability to shoot at different bit rates and codecs including Nikon’s N-raw, Pro Res Raw HQ, ProRes 422HQ / H.265, H.264 codecs in 12-bit raw, and 10-bit log recording.

OK, so there’s no 8K available, but 6K gives you lots of flexibility to crop in and produce oversampled 4K video, which is the quality most people require right now. Other functions here include 240p slow-motion, up to 120 minutes of record time, and the ability to use an external mic as a line-level input for recording sound directly in camera as you go. Having the screen now articulating means that those who want to record pieces to camera can do so easily, too.

It’s worth mentioning Nikon’s new Imaging Cloud service here. This is an instant backup and transfer service that will store your images for free for up to 30 days after they’re first transferred. It’s a neat way to back up your images on the fly, and only requires setting up the service once. Then, so long as you can connect freely to a WiFi network you can use it easily - although it's worth noting that if you need to login via a web browser it won’t work, which could be a problem in public locations such as cafes and hotels.

As part of Nikon's new cloud service, you also get color-profile image recipes which can be transferred to the camera, as well as firmware updates that can be transmitted and either installed automatically or manually. For now, this is only available for the Z6 III, but it is due to come to other Nikon models at a later date.

Features and performance score: 5/5

Nikon Z6 III: image and video quality

Similar performance to Nikon Zf
Great detail and and sharpness
Good colors and dynamic range
Excellent video results

Although there will always be those who are drawn to very high resolution cameras, models such as the Z6 III show that you don’t necessarily need all those megapixels to still get excellent shots - and there’s actually plenty of benefits to sticking on the low side too.

Pair the Z6 III with excellent Nikon Z glass and you'll find that you’ve got some incredibly sharp images, and while you don’t have the kind of fine-grain detail you’d expect from the likes of the Z7 II, the Z8 or the Z9, for most ordinary all-rounders, you’ve got plenty to be getting on with here.

That said, with the lower pixel count, shooting in DX (APS-C) crop mode leaves you with only 10MP, which is a bit less usable than you would get from the same setup with Nikon's 45MP cameras. If this is something you think you’ll find yourself doing frequently, you might want to consider whether it’s worth paying the extra cash for the Z8.

That said, it really does depend on what you intend to do with your images. I’ve taken some impressively sharp images of my dog using the 120fps DX-crop mode, which are - as you might imagine - more than fine to share on social media, or print at what you might call “normal” sizes (A3 or below).

Image 1 of 10

Sample image taken with the Nikon Z6 III — Eye-detection works on different species, including birds (Image credit: Amy Davies)

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

There have been some reports that the new partially stacked sensor found inside the Z6 III performs worse for dynamic range than the predecessor, the Z6 II, in lab tests. While that may be true, it’s not something I can say I’ve noticed in my real-world shots, and I’ve actually found the colors and dynamic range to be excellent.

Most of the time the “Auto” Picture Style results in colors which are a decent blend of vibrant and realistic - if you're shooting in raw you’ve got plenty of scope to adjust colors exactly how you want after the fact, too. Nikon’s Active D-Lighting does a great job of producing well-balanced exposures that require minimal post-production tweaking too, with good detail in the shadows and keeping blown-out highlights under control. Similarly, automatic white balance generally produces accurate results in a variety of situations.

It’s often the case that lower resolution sensors perform better in low light situations, so if that’s something you do quite a bit of, the Z6 III could be a good choice. I’ve found it to produce very clean images in low light situations, with even very high ISO shots (such as ISO 64000) resulting in a high-detail, low noise JPEG. There’s more noise in the corresponding raw file, which gives you the option to tweak noise-reduction settings as you see fit.

Overall, image quality here is pretty similar to the Nikon Zf, which also has a 24.5MP sensor, as well as the Z6 II. There was never really an issue with the quality of the final image from the Z6 II, but it was undeniably more difficult to get what you desired if you were shooting fast-moving subjects - in short the new sensor and focusing system makes the journey to a great picture far more achievable.

4K video sample

6K video sample

Video quality is just as great as picture quality, with plenty of detail and very little in the way of rolling shutter effect, thanks to the new sensor. You don’t have 8K video here, but the 6K option is excellent, as is the oversampled 4K. The internal mic is fine for clips on the fly, coping relatively well with some background noise. Of course, serious content creators will likely invest in external audio kit. Either way, there’s really a lot for hybrid content creators to get their teeth into here.

Image quality score: 5/5

Nikon Z6 III: testing scorecard

Should I buy the Nikon Z6 III?

Buy it if...

Don't buy it if...

Nikon Z6 III: also consider

How I tested the Nikon Z6 III

Three week-review period
Paired with 24-120mm f/4, 50mm f/1.8, 14-28mm f/2.8 and 70-180mm f/2.8 lenses

I’ve had three weeks with the Nikon Z6 III, having previously used all of Nikon’s Z series since the format was first introduced in 2018.

During my two weeks with the Z6 III, I have tried it in a number of different shooting situations. I’ve photographed landscapes and interiors to get a feel for general image quality. I photographed my dog in action to give fast shooting and AF capability a good test run, as well as photographing birds to check that the Eye AF works across different species. I also photographed my daughter in a number of different situations to get a feel for how portraiture feels with the Z6 III.

I have been using the Z6 III with four different lenses. The 24-120mm f/4 lens was chosen for its versatility and used most frequently. It was joined by the 70-180mm f/2.8 lens for action and (fairly close) wildlife, as well as portraits, the 14-28mm f/2.8 for interiors and landscapes and the 50mm f/1.8 for portraits, street and candid shots.

First reviewed July 2024

Panasonic Lumix GH7 review: a high-performance hybrid

6:00 pm | July 23, 2024

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: AF, EVF, ISO, LCD | Comments: Off

Panasonic Lumix GH7: one-minute review

At first glance, the Panasonic Lumix GH7 is identical to its predecessor, the Lumix GH6. The two cameras’ bodies and control layouts may be the same, but Panasonic has spent the two years since the GH6’s arrival working out any kinks and building on its strong showing. The result is the GH7, a multi-talented mirrorless camera with no great weaknesses.

The GH6 had a dizzying range of video options, plus a built-in cooling system that allows for unlimited video recording; great connectivity, fast continuous stills shooting and incredibly effective in-body image stabilization. All of these things remain the case with the GH7, but its new sensor improves image quality, and its new phase-detection autofocus system fixes the one area where the GH6 felt noticeably behind the times.

It’s not the perfect camera, of course. The cooling setup makes it fairly bulky by Micro Four Thirds standards, with its body weighing more than the full-frame Panasonic Lumix S5 II, and its battery life still feels a bit stingy by modern standards. But it’s tough to find any truly significant faults, and given that the price is the same as the GH6’s was at launch in 2022, it feels like great value for money too. Bang for buck, the GH7 is one of the best video cameras available.

Panasonic Lumix GH7 camera in the hand — Big body, small sensor: the Lumix GH7 feels like a full-frame camera. (Image credit: Future | Sam Kieldsen)

Panasonic Lumix GH7: release date and price

Available now
$2,199 / £1,999 / AU$3,899 body only
Also sold in a kit with 12-60mm lens

The Panasonic Lumix GH7 is available now, with a list price of $2,199 / £1,999 / AU$3,899 body-only. It can also be purchased in a kit with a Leica DG Vario-Elmarit 12-60mm F2.8-4 zoom lens for $2,799 / £2,499 / AU$4,899. That’s the same list price at which the GH6 was launched a couple of years ago, so I have no complaints about Panasonic’s pricing decisions here.

Price score: 4.5/5

Panasonic Lumix GH7 camera and lens being adjusted — The Panasonic Lumix GH7 camera with 12-60mm Leica lens attached. (Image credit: Future | Sam Kieldsen)

Panasonic Lumix GH7: design and handling

Body and control layout virtually identical to GH6
Fairly bulky for Micro Four-Thirds camera
Articulated swivel-and-tilt touchscreen
Built-in fan cooling system

If you’ve used the GH6 you’ll find the GH7 pleasingly familiar. In fact, the two camera bodies are essentially the same – put them side by side and the name tag on the front is the only way to tell the difference. That’s not a bad thing by any means, although I will say that the GH7, like its predecessor, is bulky by Micro Four Thirds standards. At 25.4oz / 721g, the body is heavier than the full-frame Lumix S5 (26.1oz / 714g); it’s a chunky 138.4 x 100.3 x 99.6mm in size too. So, if you’re expecting its small sensor to result in a lightweight and easily portable camera, you’re going to be disappointed.

Still, I found it manageable, and it’s also important to note that MFT lenses are generally much lighter and smaller than full-frame L-mount lenses, so you’ll likely be reducing the overall weight by opting for the GH7 over a full-frame model. I also like the fact that it remains dust- and splash-proof, if not officially IP-rated or guaranteed to remain undamaged if it does get wet or sandy.

Panasonic Lumix GH7 camera's front with no lens attached — (Image credit: Future | Sam Kieldsen)

The built-in cooling system is the main culprit for the bulky build. As with the GH6, it sits at the rear of the camera, behind the screen, and uses a fan to suck in cool air and blow out warm air. This system is essential for one of the GH7’s key selling points, though: its ability to record unlimited 4K 60fps video clips. With many cameras limiting 4K clip duration due to overheating (and some requiring a lengthy cooldown period after the forced shutdown), I think the advantage of that cooling setup is a fair trade-off for the extra weight and size.

Panasonic Lumix GH7 key specs

Sensor: 25.2MP BSI CMOS MFT sensor
AF system: Phase-detection autofocus
EVF: 3.68m-dot OLED
ISO range: 100-25600 (100 to 12800 video range)
Video: 5.8K/30p 4:2:0, C4K/60p 4:2:2
LCD: 3-inch TFT free-angle touchscreen
Max burst: 14fps (continuous AF), 75fps (electronic shutter)
Connectivity: Wi-Fi 2.4/5GHz, Bluetooth 5.0 Low Energy
Dimensions: 138.4 x 100.3 x 99.6mm
Weight: 721g

As with the GH6, the 3-inch screen is excellent: not only does it flip out and swivel, it also features a two-stage tilting mechanism that enables you to move it away from any cables that might be plugged into the camera. Even if it didn’t originate on the GH7, it’s still probably the most flexible screen design I’ve seen on a mirrorless camera.

The control setup is great too, with plenty of easily accessible buttons. The highlight for me is the fact that there’s an extra record button on the front of the camera, which is something content creators who spend a lot of time filming themselves will appreciate. There are also front and rear tally lamps, making it immediately clear if you’re recording or not.

Top plate of the Panasonic Lumix GH7 camera — (Image credit: Future | Sam Kieldsen)

Connectivity remains as impressive as on the GH6. There’s a full-size HDMI output (capable of carrying 5.8K RAW video to an external recorder), USB-C (capable of recording directing to an SSD right out of the box), 3.5mm mic in and 3.5mm headphone out. There’s also a hot shoe for flashguns and accessories, while the dual-card storage setup has one CFexpress Type B slot (required when recording videos with 800Mbps or higher bit rates) and one SD slot.

There’s no USB-C webcam function here, which seems to be a Panasonic quirk, but you can live-stream directly from the camera to YouTube Live or other RTMP-based services if you wish. Both the USB-C and Wi-Fi connections support this.

Design score: 4/5

Panasonic Lumix GH7 camera's rear screen folded away — (Image credit: Future | Sam Kieldsen)

Panasonic Lumix GH7: features and performance

New phase-detection autofocus system
Excellent in-body image stabilization
14fps continuous shooting
Short-ish battery life
32-bit float audio recording (with XLR2 mic adapter)

Perhaps the biggest feature improvement in the Lumix GH7 is the addition of a hybrid autofocus system that includes phase-detection autofocus, replacing the pure contrast-based autofocus setup of the GH6. Where the GH6 could still hunt somewhat when attempting to lock on to a subject, the GH7 is deadly accurate; it locks on quickly and stays locked on, making life for vloggers and YouTubers who self-shoot significantly easier. It’s a major improvement over the GH6, bringing the GH7 in line with its competitors on the autofocus front.

The autofocus system can be set to recognise and stay locked onto humans faces and eyes, humans in general (which includes body shapes), animals, cars, motorcycles, trains, and airplanes. The menu gives additional control over how it behaves too, and overall it feels like a great system for content creators.

Image 1 of 4

Panasonic Lumix GH7 sample images, flower closeup — (Image credit: Future | Sam Kieldsen)

Image 2 of 4

Panasonic Lumix GH7 sample images closeup of a weed with turquoise background — (Image credit: Future | Sam Kieldsen)

Image 3 of 4

Panasonic Lumix GH7 sample images at a sunny UK coastal town — (Image credit: Future | Sam Kieldsen)

Image 4 of 4

The GH6’s in-body image stabilization system was excellent, and the GH7’s is just as good; and if you don’t mind a slight crop to your video, the additional electronic stabilization improves things further. Mount a lens with built-in OIS and things gets even better, with the systems combining to deliver an almost gimbal-like experience when shooting handheld. Again, it’s something vloggers and content creators will adore, as they can self-shoot beautifully stable walk-and-talk videos with little more than a GorillaPod or similar handle.

Another strong area of performance is shooting speed. When you’re shooting stills using its mechanical shutter, the GH7 can capture continuously at a brisk 14fps – and that’s with autofocus enabled. Switch to the electronic shutter and the speed goes up to 75fps with manual focus and 60fps with autofocus. That’s very fast indeed.

Connection ports on the side of the Panasonic Lumix GH7 camera — (Image credit: Future | Sam Kieldsen)

Battery life, on the other hand, is one of the GH7’s weaker aspects. In my experience, a fully charged battery was only good for around an hour of video recording, so you’ll want to pack extras if you’re planning a long day of shooting, although it’s worth noting that the USB-C port allows for easy on-the-go recharging and constant power supply too.

There’s another feature which I think deserves mention, even if it’s only available for users who buy the optional XLR2 microphone adapter: the ability to record in 32-bit float audio, which is a world-first on a mirrorless camera. 32-bit float is an audio format with much wider dynamic range, making it less prone to clipping and much more flexible when it comes to post-production adjustment. What shooting in raw is for images, 32-bit float is for audio.

Features and performance score: 4.5/5

Panasonic Lumix GH7: image and video quality

Same 25.2MP CMOS image sensor as G9 II
5.7K 30p ProRes RAW HQ internal recording
4K 120p and FHD 240p slow-motion video
Supports real-time LUTs

It wasn’t long ago that journalists and influencers in certain quarters were declaring Micro Four Thirds dead, but the GH7’s image performance is definitive proof of life. Like the triumphant Lumix G9 II launched earlier this year, the GH7 uses Panasonic’s new 25.2MP CMOS sensor, and its imaging performance appears to be largely identical.

In spite of its relatively small size, this sensor delivers excellent quality for both video and stills. While I’d still opt for a full-frame camera like the Lumix S5 II over the GH7 if I was primarily shooting in low light, the GH7’s Micro Four Thirds sensor feels like it can go toe-to-toe with the best APS-C cameras in any lighting condition, mostly thanks to a Dynamic Range Boost setup that captures and merges two outputs in parallel.

Image 1 of 9

Image 2 of 9

Image 3 of 9

Image 4 of 9

Image 5 of 9

Image 6 of 9

Image 7 of 9

Image 8 of 9

Image 9 of 9

The GH6’s sensor had the same Dynamic Range Boost setup, and while I personally encountered no great issue with it during my own review of that camera, many users complained of major problems in very high-contrast conditions. This seemed due to the fact that the base ISO started too high, and the result was the appearance of unsightly horizontal streaks. That’s been fixed now, thankfully, and you can pretty much shoot in any situation without experiencing anything except a mild bit of noise at higher ISOs.

Whether you’re recording video or snapping photos, there’s a huge dynamic range here considering the sensor size. Images are bursting with detail in both bright and darker areas, and the general color science and look of Panasonic’s standard shooting modes is as good as ever. For users who want to wring every bit of dynamic range from their videos, shooting in V-log gives you a whole extra stop according to Panasonic, taking the full range to over 13 stops (it’s over 12 in standard modes).

I don’t have the space here to detail every one of the plethora of video shooting modes available on the GH7. What I will say is that it’s a truly impressive lineup that caters to all levels of video creator (as was the GH6’s before it), including 5.7K 30p Apple ProRes RAW (with a staggering 4.2Gbps bitrate), 5.8K 30p/5.7K 60p 10-bit 4:2:0 MOV and C4K 120p 4:2:0 MP4. Like many Panasonic cameras it also offers ‘open gate’ recording, which captures video using the entire surface of the sensor – all the better for cropping to your desired aspect ratio in post-production.

The camera can also record 4K at 120fps and Full HD at 240fps for smooth slow-motion playback, both with audio included – although users should note that the Dynamic Range Boost is disabled for any recordings over 60fps, which does detract slightly from the image quality of high-speed recordings.

Panasonic has made it easy to apply LUTs in-camera too, allowing you to ‘bake-in’ LUTs to your photos and video as you shoot them. You can use the preset LUTs that come on the GH7 or add your own. The easiest way to do this is with a smartphone and the Lumix Lab app – the app lets you download LUTs made by Panasonic or other users and transfer them to the GH7, where they can then be accessed via the menu system.

Image quality score: 4.5/5

Panasonic Lumix GH7: testing scorecard

Should I buy the Panasonic Lumix GH7?

Buy it if...

Don't buy it if...

Panasonic Lumix GH7: also consider

How I tested the Panasonic Lumix GH7

One week review period
Vlogging plus run-and-gun videos
Used with two lenses: Leica 12-60mm F2.8-4 and the Leica 9mm F1.7

I tested the Panasonic GH7 for a week, using it in a wide range of scenarios: vlogging at home with a tripod and while walking around town with the help of a Joby GorillaPod; taking snapshots and landscape photos; and capturing b-roll footage in a range of different formats and frame rates. I used two Panasonic lenses during the review process: the Leica DG Vario-Elmarit 12-60mm F2.8-4 zoom and the Leica DG Summilux 9mm F1.7 wide-angle prime.

First reviewed July 2024

Canon EOS R5 II review – a polished upgrade

1:00 pm | July 17, 2024

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: AF, EVF, RF, SD | Comments: Off

How do you improve on one of the outright best cameras, the EOS R5? By making its successor quicker in just about every regard, which is what Canon has managed to do with the new Canon EOS R5 II.

It's a versatile professional camera that captures high-resolution 45MP stills and 8K video like the EOS R5, but with a few new features under the hood that improve overall performance, and an impressive array of video features and high-speed modes.

The sensor resolution stays at 45MP, but it's now a stacked sensor with faster readout that should eliminate rolling shutter distortion, as on the Nikon Z8. Canon says the EOS R5 II (and new flagship EOS R1) boast the fastest sensor readout speed on the market.

We also get what Canon calls a 'DIGIC Accelerator' – which is effectively a new second processor to bolster the DIGIC X and deliver faster processing speeds, resulting in faster burst-shooting speeds, now up to 30fps, that can be sustained for longer, with pre-recording up to 15 frames.

Another major new feature for the line is Eye Control AF (as used in the EOS R3) and the latest version of Canon's Dual Pixel Intelligent AF system, now equipped with what Canon calls deep learning and specific Action Priority modes including basketball, football, and volleyball. The autofocus system is able to recognize and store specific faces and body postures, and predict movement to focus sharply on what's important in the frame.

Canon EOS R5 II mirrorless camera — (Image credit: Future | Tim Coleman)

You could be forgiven for thinking that these new features sound like they should be in a pro sports camera, like the pricier EOS R1 announced on the same day; and indeed they are, so it's majorly impressive that Canon has also added them to a cheaper, all-purpose professional camera like the EOS R5 II.

Canon needed to add in these improvements really, because how else could it improve on the four-year-old EOS R5, a camera which has stood the test of time and remains one of the best cameras for photography?

For a certain type of photographer, though, the EOS R5 II is overkill, and the EOS R5 will do just fine: landscape and portrait photographers, stand down. But if you ever shoot action, or would like a better-equipped video camera, then the EOS R5 II steps in.

It's a faster camera in every way, impressively tracking subjects in high-speed action scenarios. However, I didn't have the older model to compare just how much faster and reliable the EOS R5 II is for action, impressive as the new AF modes appear to be. Image stabilization performance has, at least on paper, been improved too, while there are some intriguing new in-camera AI-powered image-editing tools, of which more later.

Outwardly the EOS R5 II has changed little compared to its predecessor, although I was pleased to see new cooling vents on the underside of the EOS R5 II to minimize overheating, which was a well-publicized criticism of the EOS R5. There are also not one, nor two, but three optional vertical grip accessories to choose from, one of which includes a cooling fan to extend video record times.

There's lots to talk about in the new model, but I've only had a day with a beta version of the EOS R5 II, and I'm still working on a more in-depth full review. For now, my first impressions are highly positive, and the Canon EOS R5 II could be the new full-frame mirrorless camera to beat.

Canon EOS R5 II: release date and price

Body-only price is $4,499 / £4,499 / AU$6,699
Available from August 2024
Three optional grips: Standard BG-R20, battery BG-R20EP and cooling fan CF-R20EP

The Canon EOS R5 II launches with a body-only price of $4,499 / £4,499 / AU$6,699, which is around 10% more than the launch price of the EOS R5. The price difference feels about right allowing for inflation and the new features on offer, although it would have been nice to see it priced a little closer to the EOS R5's launch price to better compete with the Nikon Z8. You can also pick up the EOS R5 II with the 24-105mm F4L lens for $5,699 / £5,799.99 / AU$8,549.

The EOS R5 II is set to be available from August 2024, and there will be no fewer than three optional grips to choose from (prices TBC), which is a first. The Cooling Fan grip improves video record times, but lacks the vertical grip control layout which you can find in the Battery Grip that can extend battery life.

Canon EOS R5 II: design and handling

New blackout-free 5.76m-dot OLED EVF with Eye Control AF
Cooling vents on the underside to minimize overheating
Dual card slots: CFexpress Type B and SD

Canon hasn't tinkered too much with the EOS R5 II design compared to its predecessor, and that's a wise move. It weighs just 26.3oz / 746g, and is a smaller camera than the Nikon Z8 – it's more in line with a Sony A7R V – though you can beef it up with an optional grip to improve the balance with larger lenses. Nonetheless, the EOS R5 II is comfortable in the hand over long sessions shooting with pro lenses, like the 24-70mm F2.8L that I used for most of this hands-on review.

Canon EOS R5 II key specs

Sensor: 45MP full-frame BSI stacked CMOS sensor
AF system: Hybrid with phase-detect Dual Pixel Intelligent
EVF: 5.76m-dot OLED
ISO range: 100 to 51,200 (ISO 50-102,400 extended range)
Video: 8K/60fps raw, 4K 120fps, Full HD 240fps
LCD: 3.2-inch vari-angle touchscreen, 2.1m-dots
Max burst: 30fps (electronic shutter, continuous autofocus)
Connectivity: USB-C 3.2, Wi-Fi 6GHz, Bluetooth 5.0
Weight: 656g (body-only), 746g including battery and card

Familiar it may be, the EOS R5 II actually has a few refinements over the EOS R5. The 5.76m-dot viewfinder is new: Canon says it's twice as bright, and it's blackout-free and equipped with Eye Control autofocus that's twice as responsive as on the EOS R3.

If you haven't tried Eye Control AF before, let me tell you: it's brilliant. It tracks your eye as you scan the scene through the viewfinder, and moves the focus point accordingly, pinpointed to where you're looking in the frame.

I initiated the autofocus function with two presets: one for horizontal shooting and the other for vertical, and the EOS R5 II had no problem recognizing my eye. In use, it performed really well, especially in tandem with subject-tracking autofocus.

Image 1 of 3

Image 2 of 3

Image 3 of 3

Build quality is excellent, with a magnesium alloy chassis, weather-sealed exterior, and robust controls. However, I was also testing the new EOS R1 at the same time as the EOS R5 II, and to me the pro sports model had a better feel overall. For example, the control wheel on the EOS R1's rear is nicely dampened and rotates smoothly, making the wheel on the EOS R5 II feel cheaper by comparison.

Filmmakers will appreciate the fact that the EOS R5 II has a full-size HMDI port (the EOS R5 doesn't) and a tally lamp to indicate when you're recording, and key info, such as waveform monitor, can be displayed on-screen.

Image 1 of 7

Image 2 of 7

Image 3 of 7

Image 4 of 7

Image 5 of 7

Image 6 of 7

Image 7 of 7

There are also cooling vents on the camera's underside. We don't have official information as to how much these vents alone improve the EOS R5II's ability to stay cool under heavy use. However, they do work with the optional Cooling Fan grip, and with this installed Canon says you'll get over 120 minutes of continuous video record time without overheating; and Canon will certainly want to avoid any of the overheating dramas that dogged the EOS R5.

Otherwise the EOS R5 II is standard fare for a camera at this price range. You get a typical array of controls that are well laid out, a back-illuminated top-LCD, an AF joystick on the rear, control dials for quick exposure changes, and twin card slots; there's one CFexpress Type B and one SD, and you'll need the former, which is the faster (and pricier) card type, to make the most of the EOS R5 II's high-speed features.

Naturally, there are both mic and headphone ports, plus USB-C for charging. The battery is the existing LP-E6P unit, which delivers up to 640 shots on a full charge, although that number will be a lot higher if you're capturing lots of high-speed bursts.

Image 1 of 4

Image 2 of 4

Image 3 of 4

Image 4 of 4

Canon EOS R5 II: features and performance

Improved in-body image stabilization up to 8.5EV
Refined 'intelligent' dual-pixel AF
Up to 30fps with pre-recording
Proxy recording can speed up video workflow

I had the opportunity to put the EOS R5 II through its paces in various high-speed scenarios, including basketball and breakdancing, rattling off thousands of frames over a relatively short period.

If you're going to be using the EOS R5 II for action you'll want to utilize the faster CFexpress Type B memory card. I was getting fairly short 30fps sequences when using an SD card, and the camera was getting a little warm to touch under heavy use (though that didn't affect performance). CFexpress Type B, on the other hand, lets you shoot for much longer – I'll confirm the numbers in my full review.

Pre-recording is new for the R5 line, and by half-pressing the shutter you can have up to 15 frames prepped before you fully press the shutter – that's up to half a second of additional time to react to the action and start shooting.

Image 1 of 1

Freezing the perfect moment using the 30fps burst shooting mode. (Image credit: Future | Tim Coleman)

Following the hands-on sessions, I put Canon's Product Marketing Manager, John Maurice, on the spot by asking him what Canon thinks is the single most notable improvement in the EOS R5 II over the EOS R5, and he said it was autofocus performance.

Put simply, Canon says the EOS R5 II's autofocus is more intelligent than the EOS R5. The 'intelligent' part of Canon's refined Dual Pixel Intelligent AF system refers to deep-learning technology, colloquially called 'AI autofocus'. There's plenty to get to grips with here: for one thing, the EOS R5 II can register people, and once that person's face is recognized they take priority, plus you have the option to quickly select from multiple registered faces for autofocus tracking using the AF joystick.

The EOS R5 II can store up to 10 faces, ideal for prioritizing the players of one football team, while if you're a wedding photographer, being able to prioritize the bride and groom among many people would be super-handy.

Image 1 of 7

Canon EOS R5 II sample images — images in this gallery were shot on pre-production Canon beta sample model and final image quality may vary. (Image credit: Future | Tim Coleman)

Image 2 of 7

Image 3 of 7

Image 4 of 7

Image 5 of 7

Image 6 of 7

Image 7 of 7

There are also three Action Priority sports modes covering football, basketball and volleyball. Canon says the EOS R5 II recognizes which player has the ball and can prioritize that person, plus it knows various key sporting moves to prioritize, such as a volleyball player spiking.

Intelligent autofocus all sounds highly impressive, but is it any good? I shot basketball as a test scenario and, once I started getting to grips with the settings, was getting virtually every photo in sharp focus where I wanted it, although I can't be sure yet if that success is specifically down to choosing the 'correct' autofocus mode. Was it better with Eye Control AF? Would I get the same results using the 'incorrect' setting? I'll need to do more testing with a full production model to find out for sure. But the bottom line is that my hit ratio of sharp action photos has been staggeringly high.

Canon EOS R5 II: image and video quality

Same 45MP resolution as the EOS R5, but the sensor is quicker
New AI-powered in-camera edits, including upscaling and noise reduction
8K 60p RAW video capture and slow-motion 4K

With speed being the name of the EOS R5 II upgrade game, and the new camera having the same 45MP resolution as the EOS R5, you could be forgiven for thinking that image quality would be essentially the same, despite there being four years between the two models. That might be true for single-shot photography in good light, but the quicker processor and sensor make a difference to image quality in high-speed scenarios. For example, Canon says the stacked sensor minimizes the rolling shutter distortion that can distort movement in photos and videos by up to 40%.

I tried the new in-camera upscaling and Neural Network noise-reduction functions, too. Upscaling works on an existing image, quadrupling its resolution, and when you're shooting 45MP stills already that means a huge 180MP image, or 16,384 x 10,928 pixels. Canon says upscaling is better than the 'high-res shot' modes found in other cameras, which effectively does the same thing but by another means, using pixel shift and rapidly shooting multiple images that are then combined into one larger image.

The problem with high-res shot modes is that images are taken sequentially, and so if there's any movement between those shots you get a ghosting effect. There are no such problems with upscaling, as you're increasing the size of a photo that you've already taken.

I used upscaling on a portrait, and for an image in which the subject only took up a small portion of the frame, with the idea of enlarging it to then crop in for a better composition. The AI upscaling does a decent job, but it's not perfect: there's a sort of processed look to upscaled photos when you're pixel peeping. The same can be said for the new Neural Network noise reduction, which can be applied to JPEG images in-camera. However, these images were shot and processed on a pre-production Canon beta sample model, so final image quality may vary; the upscaling. feature in particular has huge potential, if it can be applied effectively.

Image 1 of 5

Portrait of blonde model in a classic car, taken with the Canon EOS R5 II and RF 85mm F1.2L lens — I chose this photo to upscale from the original 45MP resolution. All images were shot on pre-production Canon beta sample model, so final image quality may vary (Image credit: Future | Tim Coleman)

Image 2 of 5

Closeup crop of a portrait of blonde model taken with the Canon EOS R5 II — A close up crop of the original 45MP file (Image credit: Future | Tim Coleman)

Image 3 of 5

Canon EOS R5 II portrait — The same crop on the upscaled 180MP, demonstrating how much bigger the file is (Image credit: Future | Tim Coleman)

Image 4 of 5

Image 5 of 5

There's a good range of video codecs and frame rates, which makes the EOS R5 II a more versatile tool for filmmakers than the EOS R5. You get 8K 60fps raw video (onto CFexpress Type B card, not SD), 4K up to 120fps in 10-bit, and even 240fps in 2K.

What's missing here is open gate recording, which for now remains a trump card for Panasonic and Blackmagic video cameras. With a generous 8K video resolution to play with, it seems like a missed opportunity to go up one on Sony and Nikon by offering open gate – which means recording from the full height and width of the sensor. We're instead limited to 16:9 and cropping into that frame for other aspect ratios used for social.

We'll be sure to run further image and video quality tests in a full review.

How I tested the Canon EOS R5 II

A single day with the Canon EOS R5 II and Canon EOS R1 at the pre-launch event for press in Munich, Germany
Pre production beta sample
Paired with the RF 24-70mm F2.8L and RF 85mm F1.2L lenses
Outdoor portraits, indoor sports, photo and video using the various shooting modes

My time with the Canon EOS R5 II was brief: just a day's session, when I also had the Canon EOS R1. It was also a pre production beta sample and so final image quality and performance may vary in finalized samples. However, I was given decent scenarios and lenses to use with both cameras to put them through their paces.

There were two sports scenarios: basketball and breakdancing, both indoors. Another indoor setup involved a skilled cocktail maker, plus an outdoor session with models and classic German automobiles. I was armed with the RF 24-70mm F2.8L and RF 85mm F1.2L lenses.

I had time after the shoot day to further familiarize myself with the camera and run some speed tests. Tests involved using the various burst modes and video capture to see how the EOS R5 II fared in heavy use, plus checking out the new in-camera AI-editing tools.

First reviewed July 2024

Sony ZV-E10 II review: small but mighty

5:00 pm | July 10, 2024

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: AF, EVF, ISO, LCD | Comments: Off

Sony ZV-E10 II: two-minute review

The ZV-E10 II is a highly recommendable compact vlogging camera. Its diminutive size is deceptive, as it houses a number of key components and features that are shared with Sony’s pricier and more advanced APS-C cameras.

This camera is built around the proven 26MP Exmor R sensor and BIONZ XR imaging engine combo, which is capable of producing crisp 4K video from an oversampled 6K readout. One of the biggest upgrades over its predecessor is that the ZV-E10 II is capable of recording videos in XAVC HS/XAVC S 10-bit 4:2:2 color up to 4K/60p with a data rate of up to 200Mbps. To take advantage of its dynamic range and color upgrade, it also comes with S-Cinetone and Log recording, along with the ability for users to upload a maximum of 16 LUTs via the Creators’ App, which can be baked into footage for quick delivery. It’s a much less elegant approach to deploying custom looks compared to Fujifilm’s famous film simulations or Panasonic’s seamless Real Time LUT and LUMIX Lab solution, but it’s a welcome addition to Sony’s entry-level offering all the same. It can also record proxy files in XAVC HS HD or XAVC S HD with a max data rate of 16Mbps, despite only having a single UHS-II card slot. The ZV-E10 II offers a strong set of features for what is ostensibly a beginner/vlogging camera.

However, considering that it’s built around the same sensor, processor and power platform as the A6700 and FX30, it’s a shame that Sony wasn’t able to include the 4K/120p video recording that’s available in those cameras, even if it came with a time limitation and the same 1.58x crop. It’s also disappointing to see that the mechanical shutter in the ZV-E10 has been ditched, meaning the ZV-E10 II is electronic shutter only. But with that said, the readout speed is fast, which will significantly negate the impact of rolling shutter in both video and stills. In terms of stabilization, the camera body has no sensor-shift IS, so you’re restricted to Optical Steady Shot (Standard) with compatible lenses or Active SteadyShot, which comes with a hefty crop. Alternatively, you can take advantage of Sony’s free Catalyst Browse desktop software, which uses gyroscopic metadata for the camera to stabilize your footage and reduce rolling shutter effects even further. The software works incredibly well, but it’s an extra step that some may find tedious, especially some people in the target audience for this camera.

Image 1 of 7

Sony ZV-E10 II on reflective surface and white background — (Image credit: Future | Jon Devo)

Image 2 of 7

Image 3 of 7

Image 4 of 7

Image 5 of 7

Image 6 of 7

Image 7 of 7

As you might expect, the autofocusing capabilities of this camera are second to none in its price range, and much better than those of rival APS-C cameras from competitors; the upgraded 759-point PDAF system finds subjects with ease and tracks them stubbornly. Like the ZV-E10, the newer model has a maximum continuous firing rate of 11fps, but with a more advanced AF system your ‘keeper’ ratio from mode shooting is going to be higher. Product focus mode was one of the standout features in this camera’s predecessor, and it works better than ever with this new model. When activated by pressing the trash icon, the camera will intelligently detect and seamlessly pull focus to a product when it's held up, then return to the person’s face when the product is lowered. It’s a unique feature that makes this an ideal camera for social media content creators who do tutorials, product reviews or promotions.

In terms of design, the ZV-E10 II is almost identical to its predecessor – the button layout is unchanged and the form factor will be familiar to owners of the older model, and while this camera being slightly larger and heavier, you couldn’t describe it as large or heavy relative to the competition. I like that it has a decent-sized grip, despite being super compact, and it feels great to hold and shoot with. Due to its size there’s no EVF, which may turn off some beginners who are more inclined towards photography – they might want to spend a little more and pick up the A6700.

Having only the articulated screen to compose shots on isn’t a problem, but it did become a bit of a struggle on sunny days, as I didn’t find it bright enough, even on its maximum setting. I also found the default Shooting Screen UI cluttered, but you can (and really should) make adjustments to the look and feel of it in the menu. To Sony’s credit, I love the fact that the whole UI rotates when you shoot vertically, making it a little bit easier to see your settings, whatever orientation the camera is in; it’s a small touch, but a nice one. Speaking of touch, the ZV-E10 II also adds direct touch as a means for changing settings and selecting subjects for the AF to track, touch functions not available on the ZV-E10. Again, it’s not a huge feature, but it significantly improves the functionality of the camera over its predecessor.

Image 1 of 3

Sony ZV-E10 II camera on a stone surface — (Image credit: Future | Jon Devo)

Image 2 of 3

Image 3 of 3

One of the ZV-E10 II’s USPs is its built-in three-way capsule microphone, which sits along the top of the camera. The unique design helps to isolate audio when the user is speaking to camera without external audio capture, whether holding the camera up vlogger-style or speaking from behind the camera. Sony says the latest version is “intelligent”, and should do an even better job of delivering clear audio. I didn’t have the previous model at the same time that I was testing the ZV-E10 II to compare the two, but I can confirm that the audio quality that’s recorded by the ZV-E10 II’s built-in mic system is good – it will be adequate for most quick shooting scenarios in public, and should certainly suffice for more controlled situations, such as shooting in a studio, although for the best results you’ll want to stay close to the camera, as it's not designed to pick up your voice from a distance. For higher-quality sound recording you have the option of inputting third-party audio sources through the 3.5mm socket. Alternatively, the camera’s digital multi-function hot shoe supports audio data transfer, allowing you to connect a Sony hot shoe mic like the ECM-G1 or a more advanced audio solution such as the Sony ECM-W2BT wireless microphone.

Live online content creators will enjoy the fact that the ZV-E10 II makes it easy to get connected and stream via a wireless network connection or USB-C, at up to 4K/25p with a max bitrate of 38 Mbps. Full HD streaming goes up to 60fps, and it’s also possible to record to the camera while streaming, which is handy for redundancy.

The ZV-E10 II is a camera that covers a lot of bases for content creators who have begun to experience the limitations of a smartphone and need reliability and quality in equal measure, but in a package that keeps things simple. If you can go without a viewfinder and can tolerate overheating limitations when shooting 4K video, the ZV-E10 II is well worth your consideration.

Sony ZV-E10 II: release date and price

$1100 / £950 body only
Available from July 10 2024
Can be bought as a kit with the new Sony E PZ 16-50mm F3.5-5.6 II $1200 / £1050

The ZV-E10 II is available to pre-order from July 10th, 2024, with sales starting at the end of July 2024. It can be picked up for an RRP of $1100 / £950 body only or for $1200 / £1050 with the new Sony E PZ 16-50mm F3.5-5.6 II as part of a kit. That’s a pretty big price hike from the Sony ZV-E10.

Price score: 3.5/5

Sony ZV-E10 II: design and handling

Body is almost identical to previous model
Features higher-capacity NP-FZ100 battery
Vari-angle touchscreen
Digital multi-function hot shoe

The Sony ZV-E10 II is a very compact camera, measuring 4.5 x 2.65 x 2.1 inches / 114.8 x 67.5 x 54.2mm and weighing 13oz / 375g. It’s almost 10mm thicker, a couple of mm wider and 32g heavier than its predecessor.

Sony ZV-E10 II key specs

Sensor: 26MP Exmor R sensor APS-C sensor
AF system: 759-point phase-detect
EVF: None
ISO range: 50 to 102,400 (ISO 100-32,000 video range)
Video: 4K/60p 4:2:2 10-bit internal
LCD: 3.0-inch vari-angle touchscreen
Max burst: 11fps (continuous autofocus), 30fps burst
Connectivity: Wi-Fi 2.4GHz/5GHz, Bluetooth 5.0
Dimensions: 114.8 x 67.5 x 54.2mm
Weight: 375g (Body only with battery and card)

The increase in size is in order to accommodate the NP-FZ100 battery, the same battery used by Sony’s APS-C flagship model, the A6700, as well as most of its recent full-frame E-mount cameras. This also means the memory card slot has been shifted over to the left of the camera body, sandwiched between the microphone and USB-C port at the top and the headphone and micro-HDMI socket at the bottom. The door cover of the UHS-II card slot locks into place and is easy enough to unhinge, even if you’re wearing gloves.

Its 3-inch flip-out articulated screen swings out smoothly and slaps back into place with a reassuring clasp. However, I didn’t like the fact that when the display is flipped all the way out it doesn’t sit flat – it’s at a slight angle. This means the screen doesn’t directly face you when flipped forwards, and it makes composing straight images at extreme perspectives frustratingly inconsistent. Another slight annoyance for me is that I found that some of the buttons and the zoom toggle are too easy to activate by accident, which occasionally led to missed shooting opportunities when trying to capture unanticipated fleeting moments. I do really like the dedicated photo / video / S&Q mode switch at the top of the camera though.

Image 1 of 5

Image 2 of 5

Image 3 of 5

Image 4 of 5

Image 5 of 5

A lot of useful and commonly used settings are buried within the menus, but fortunately Sony makes it relatively easy to curate a custom page under ‘My Menu’. Another positive is the fact that many of the camera’s buttons can also be customized for both photo and video modes, which gives you a lot of flexibility, and some time spent configuring your buttons and creating your own menu should pay dividends in improving your experience of using the ZV-E10 II. A final design touch that I’m a fan of is the inclusion of a red tally lamp on the front of the camera, just above the alpha logo, which turns on automatically when you press record. There’s also a red frame indicator that can be turned on and off to reassure you that you’re recording.

Design score: 3.5/5

Sony ZV-E10 II: features and performance

Best-in-class phase-detection autofocus
Solid battery life
No sensor-shift stabilization
Overheats when recording 4K/60p
Unique 3-capsule microphone array

The Sony ZV-E10 II stands on the shoulders of one of Sony’s most popular Alpha models ever, in the original ZV-E10 – and given that its predecessor doesn’t have a lot of competition, Sony arguably didn’t have to release an update this year. However, while there are a good few meaningful improvements overall, the ZV-E10 II isn’t perfect. Let’s start with the challenges.

As a compact camera with no fan, I wouldn’t expect the ZV-E10 II to deliver unlimited recording at maximum resolution and frame rates, and it turns out that it doesn’t. I found that the camera consistently overheated and shut down while recording 4K/60p video after 24 minutes, even with the screen flipped out which can help to disperse heat. I was able to get it to start recording again by rebooting the camera, and it rolled for another five minutes before stopping for a second time, then it would cut out repeatedly after a minute or two until it was left to cool down. When the overheating issues began the camera became very hot to the touch, and it wouldn’t function normally until it had cooled down; for reference the ambient room temperature was 70F / 21C. I experienced no overheating issues when filming in Full HD resolution.

Now that we’ve got the drawbacks out of the way, let me say that the ZV-E10 II shines when it comes to autofocus, although that’s a given when it comes to Sony cameras. The AF is quick and reliable, which means you can focus on capturing the content you want, whether it’s stills or video, and the camera will take care of the rest. It’s also much easier to shoot remotely and share your content, thanks to improvements Sony has made to the Sony Creators’ App experience. When paired, the ZV-E10 II has the ability to transfer content between the camera and your mobile device via 2.4GHz or 5GHz Wi-Fi. The process is quick, and far less frustrating than previous iterations of Sony camera/app file transfer that I’ve used.

When shooting Raw+JPEG you can get 30 frames at 11fps with AF-C in continuous burst mode, before buffering begins to kill your joy while you wait for the camera’s single UHS-II card to write – this is a camera that will be suitable for capturing brief bursts of action, but not extended sequences. If you want an easy way to slow down longer action sequences, shifting the camera into its dedicated S & Q (slow and quick) function is as simple as flicking a switch. The S&Q mode allows you to capture and view slow-motion video in camera, without sound. However, I’m disappointed that the ZV-E10 II maxes out 4K at 60fps, while its higher-end stablemates, with the same sensor and processor, offer up to 4K/120p.

I was impressed by the staying power of the ZV-E10 II. I could comfortably get through a day's photo and video capture thanks to the inclusion of the larger FZ-NP100 battery. It’s a cell that’s rated for roughly 550 shots, which is a lot for a camera in this class. The previous ZV-E10 was already a standout performer when it came to battery life, and the new model raises the bar further still.

Features and performance score: 4/5

Sony ZV-E10 II: image and video quality

Same 26MP sensor as pricier FX30 and A6700 models
Much improved video codecs
No in-body image stabilization means shakier video footage

The ZV-E10 II’s 26MP sensor delivers beautiful JPEGs in good light, and usable images in low light, while its raw files provide a good amount of dynamic range for pushing shadows and recovering highlights when needed.

Image 1 of 9

Sony ZV-E10 II sample image buzz lightyear toy in studio at ISO 50 — ISO 50 (Image credit: Future | Jon Devo)

Image 2 of 9

Sony ZV-E10 II sample images of buzz lightyear toy in dark studio taken at different ISO settings — ISO 50 (Image credit: Future | Jon Devo)

Image 3 of 9

Image 4 of 9

Image 5 of 9

Image 6 of 9

Image 7 of 9

Image 8 of 9

Image 9 of 9

In terms of its movie mode results, the introduction of 10-bit video, something that most of the competition offers, is a great benefit for people who have the time to grade their footage. Having greater color flexibility, including the addition of the S-Cinetone picture profile and log recording, opens up this camera for more professional uses, and I would happily use it as a B-roll camera, mixing in clips with footage from a higher-end Sony camera. At its best, 10-bit 4:2:2 4K/60p footage out of the ZV-E10 II, oversampled from its 6K readout, is reasonably gradable and looks clean when the ISO is kept below 6400. In video mode the ZV-E10 II has a maximum sensitivity range of ISO100 to 32,000, but beyond ISO6400 color shifting and noise starts to get distracting.

Image 1 of 5

Sony ZV-E10 II sample images of tree in a park — Highlights can be blown in scenes like this, which also force the camera's meter to slightly under expose (Image credit: Future | Jon Devo)

Image 2 of 5

Sony ZV-E10 II sample images of model wearing bright red clothes — This backlit portrait shows that the ZV-E10 II still focuses on faces well in challenging high contrast situations (Image credit: Future | Jon Devo)

Image 3 of 5

Sony ZV-E10 II sample macro images of an insect on a plant — The ZV-E10 II paired with the 16-50mm F3.5-5.6 II is a great everyday combination for subjects big and small (Image credit: Future | Jon Devo)

Image 4 of 5

Sony ZV-E10 II sample images of a skyscraper on overcast day — The ZV-E10 II offers a range of picture profiles that will allow you to capture your shots in whatever look you're interested in portraying (Image credit: Future | Jon Devo)

Image 5 of 5

Sony ZV-E10 II sample images of a skyscraper on a sunny day — The ZV-E10 II shines in good light, delivering punchy colors and vibrant tones (Image credit: Future | Jon Devo)

The lack of sensor-shift image stabilization is a miss here. However, when the camera is paired with an OSS Sony lens, footage is respectably stable, even if it can’t match the steadiness of a Lumix or Olympus alternative. Sony does have an ace in its hand with its Catalyst Browse desktop software though, and if you have the time and inclination you can achieve footage that’s stable enough to rival video captured with a dedicated gimbal.

Image quality score: 4/5

Sony ZV-E10 II: testing scorecard

Should I buy the Sony ZV-E10 II?

Buy it if...

Don't buy it if...

Sony ZV-E10 II: also consider

How I tested the Sony ZV-E10 II

I attended a pre-brief presentation, followed by one-week review period
I paired the camera with the new Sony 16-50mm PZ OSS F3.5-5.6
I connected the camera to the Sony Creators’ App

I had a short week with the ZV-E10 II, so my testing opportunities were slightly limited. However, I have experience with its predecessor, as well as the Sony A6700 and FX30, which share the same sensor, processor and battery as the ZV-E10 II, so I’m familiar with the capabilities and limitations of its core components.

The first thing I did when receiving the camera was conduct my endurance tests, which include battery run-downs and heat management. I set the camera up on a tripod in an ambient temperature environment of 70F / 21C, and left it filming continuously while connected to mains power and on battery power alone.

I took the camera out with me on a couple of walks and to a couple of daytime and evening events, using the Creators’ App to transfer and share images on the go. I performed sound-quality tests in a small studio environment, as well as in the street.

First reviewed July 2024

Pentax 17 review: a modern analog charmer

6:41 pm | July 3, 2024

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

Pentax 17: two-minute review

The Pentax 17 marks a big moment for film photography: it's the first new film camera in decades from one of the historically big names in the analog format. And it's not just a reimagining of a vintage Pentax model, but a completely new concept and design, and the first in what could be a number of cameras spawned by the Pentax Film Project.

I shared my initial thoughts in my Pentax 17 hands-on review when the camera was announced. It wasn't love at first sight, but in the couple of weeks since the Pentax 17 has charmed me – and the more I've thought about it, the more it makes sense for 2024 and beyond.

But what exactly is the Pentax 17? It's a compact film camera with a fixed wide-angle 25mm f/3.5 lens, and it's half-frame, which means it accepts the widely available 35mm film, but you get double the amount of pictures from a roll at half the size; the pictures are a vertical-format 17 x 24mm, hence the camera's name.

When we consider that it's a half-frame camera, the lens' effective focal length for a single photo is around 37mm – that's similar to the portrait lens of your phone, and the lens of the trending Fujifilm X100 VI digital compact, which has become 2024's most popular camera.

The Pentax 17 is similar in size to the X100VI, and the cameras look similar too, so we can see how Pentax is tapping into today's digital photography trends with its new film model. It also has the obligatory retro look and feel, complete with tactile response from the film crank, and audible feedback as you wind the film on – this could be the digital detox camera that a growing portion of Gen Z is looking for.

Loading film into the Pentax 17 camera — (Image credit: Future | Tim Coleman)

Half-frame cameras shoot vertical- or portrait-format photos, which is how most people compose photos on their smartphones and share images on social media, so it won't take newbies long to get to grips with the Pentax 17 (you can rotate the Pentax 17 by 90 degrees to vertical to get horizontal, or landscape, half-frame photos too).

Simply put, Pentax has delivered a point-and-shoot camera that taps into today's photography trends, and it might have arrived at the optimum moment to become a big hit. However, there's a sticking point: the camera's $499 / £499 / AU$899 list price. That's kind of high given the intended users, especially considering the Pentax 17's plasticky feel.

If it's a compact film camera you're after there are plenty of vintage alternatives on the secondhand market for less than half the price, such as the Canon Canonet 28 or Olympus Trip 35. And if you don't mind a simpler half-frame modern rival with a lesser-quality lens, the Kodak Ektar H35 is a snip by comparison at around a tenth of the price.

However, I think Pentax is onto a winner with the 17. Its lens is admirably sharp, it has some neat design elements, and its film format makes sense for today. I've really enjoyed my time with the camera, and I won't be the only one who will.

Pentax 17 compact film camera front-on, in the hand with boats in background — (Image credit: Future | Tim Coleman)

Pentax 17: price and availability

As mentioned, the Pentax 17 costs $499 / £499 / AU$899, and at first the price seems laughable: why so high? However, there isn't really a direct competitor to this camera, and the 17 is a better-quality compact than cheap point-and-shoot alternatives like the Kodak H35 Ektar; and in the digital space, this kind of camera would be retailing for around double the amount. I still think the price should be lower though.

You get a wrist strap in the box, but otherwise there are currently no real accessories to speak of besides a cable release, though you don't need to buy Ricoh Pentax's own version. I'd like to see a leather half-case and a full case for the 17 – it seems a shame that neither is available yet because this is the kind of camera that suits a case and, with its plasticky build quality, would benefit from one.

Pentax 17: design

Optical viewfinder has pretty accurate frame lines
Handy built-in flash for creative low-light shots
Decent grip and overall handling

At first sight and feel, the look of the Pentax 17 and the experience in the hand don't match. You expect the 17 to be weightier given its retro design and price tag, but it feels more toy-like. Apparently the top and bottom plates are magnesium alloy, but I scratched the top plate within the first day of moderate use.

It's a far cry from the all-metal, tough-as-nails SLR cameras from the 1970s and 80s, and you'll need to look after it – if I was buying a Pentax 17 I'd be on the lookout for a third-party protective case that compliments the retro look of the camera.

There are various textures going on: the faux-leather body, mag-alloy top plate, and the ridged hand grip, which by the way houses the included CR2 battery, which isn't rechargeable but should last for months if not years. Other than the lightweight and plasticky feel, the 17 has a nice balance in the hand, and is a good size for an everyday camera.

Image 1 of 6

Pentax 17 camera with film door open — (Image credit: Future | Tim Coleman)

Image 2 of 6

Image 3 of 6

Image 4 of 6

Winding on film in the Pentax 17 camera — (Image credit: Future | Tim Coleman)

Image 5 of 6

Image 6 of 6

Using the Pentax 17 camera film crank — (Image credit: Future | Tim Coleman)

On the top plate is a mechanism that you pull up to pop open the film door to load a film, and which you also use to rewind a film once you've used it up – if you're new to film, it's a super-simple process. The film-wind dial is also used to set the ISO speed, which you need to select based on the film that's inserted in the camera; if you want a visual reminder of this you can cut out the logo from your film roll's packaging and slip it into the window on the film door.

There's also a film crank for winding onto the next frame after you've taken a photo, complete with audible feedback, an operation which is pretty addictive, actually. There's a shooting mode dial with auto, program, bokeh, and night modes, plus you get a selection of modes that utilize the built-in flash. Bokeh keeps the 17 set to its maximum f/3.5 aperture, and you'll want to use this mode for portraits, although the program mode delivers similar results.

Image 1 of 6

Pentax 17 compact film camera front-on — (Image credit: Future | Tim Coleman)

Image 2 of 6

Pentax 17 compact film camera rear-on — (Image credit: Future | Tim Coleman)

Image 3 of 6

Pentax 17 compact film camera top down — (Image credit: Future | Tim Coleman)

Image 4 of 6

Close up of the Pentax 17 compact film camera's film crank — (Image credit: Future | Tim Coleman)

Image 5 of 6

Close up of the Pentax 17 compact film camera's top dials and film crank — (Image credit: Future | Tim Coleman)

Image 6 of 6

Close up of the Pentax 17 compact film camera's ISO dial — (Image credit: Future | Tim Coleman)

I love the optical viewfinder, which has frame lines so you can line up your shot. The outer lines are for distant focusing while the inner guides are for near focusing (parallax correction), and through the viewfinder you can see the active zone-focusing mode – it's a really neat bit of design. If you're shooting in the bokeh mode, you'll need to pay attention to zone focusing: the six modes cover close-up (0.82ft / 0.25m, indicated by the flower symbol) to infinity (indicated by mountains), so be sure to pick the right one for your subject.

At first you'll be semi-blinded by flashing orange and blue lights next to the viewfinder display, and you'll need to refer to the instruction manual to know what those lights indicate. Among other things they offer handy reminders that the film needs winding on (you can't shoot multi-exposures unfortunately), and that the lens cap is still on (the 17 knows because the exposure meter is built into the lens).

Overall, plenty of thought has gone into the design of the Pentax 17, and it's a sensible mix of point-and-shoot simplicity with a decent dose of manual control for creative shooting.

Pentax 17: performance

Half-size pictures make sense for 2024
Surprisingly sharp lens
Decent exposure metering

There's a reason that the Pentax 17 is pricier than a camera like the Kodak H35 Ektar: it's lens is much sharper. Its design combines elements of the lenses used in the Ricoh Auto Half and the Pentax Espio Mini, and results in a 25mm f/3.5 optic that's effectively a 37mm lens in the half-frame format. Put simply, it's a surprisingly sharp everyday lens

The 17 is primarily a point-and-shoot camera, but there is scope for some manual control, too. If you select auto, the brightness values are set by the camera, and there's really nothing else to do other than compose your shot and press the shutter button. However, there are other shooting modes that you can select for specific looks.

If you opt for the bokeh mode, the 17 will automatically try to shoot with a wide-open aperture. At f/3.5 and for single-person portraits (using the correct zone focusing mode), it's possible to get a shallow depth of field. Otherwise, in auto you'll pretty much always get everything in focus.

The exposure meter built into the lens automatically sets the shutter speed based on the shooting mode and ISO film selection. It's the perfect place to put the meter – the 17 will detect if the lens cap is left on, and won't take a photo until you remove the cap, plus it'll automatically adjust the exposure when you attach a filter to the lens that necessitates new exposure settings.

Image 1 of 10

Pentax 17 films scans of sailing and yacht details — (Image credit: Future | Tim Coleman)

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

Half-frame pictures are half the size of 35mm, and therefore an individual shot is half the quality in terms of resolution. However, the size is still big enough in my opinion to show good levels of detail, and it's much larger than the 110 film used in the recent Lomography Lomatic 110.

Ideally you'd ask the lab developing the roll of film to provide scans at the best possible resolution so that you have as many pixels to play with as possible. I received 6MP scans (2904 x 2048) with an average file size of around 4.5MB.

The look of your shots is down to what film you use. I had Kodak Ultra Max Color and Ilford HP5 to work with, and you can see the results for yourself above. The best camera apps like mood.camera, are doing an increasingly good job of rendering smartphone snaps into film-like photos, but the results don't usually compare to the real analog thing.

You also get another creative option with half-frame that you don't get so easily with full-frame: diptics. You can consider shooting complimentary pairs of images to sit side by side on the roll of film, for example a portrait alongside an abstract object.

Should I buy the Pentax 17?

Pentax 17 compact film camera front-on, in the hand with ocean backdrop — (Image credit: Future | Tim Coleman)

Buy it if...

Don't buy it if...

How I tested the Pentax 17

Pentax 17 compact film camera — (Image credit: Future | Tim Coleman)

I used the camera for two weeks
I shot three rolls of film
I took pictures in a variety of everyday scenarios

I shot three rolls of 35mm film with the Pentax 17, two color and one black-and-white. All rolls of film were ISO 400 with 24 exposures. Given that you get double the number of photos as you would when using a full-frame 35mm film camera, I've got around 150 photos altogether.

I mainly used the 17 to document everyday life, and I took photos in various scenarios, including outside in bright light by the coast, and indoors. I used all the different shooting modes, using the full range of fully auto and semi-automatic exposure modes, and I also used the built-in flash.

First reviewed June 2024

SeaLife ReefMaster RM-4K review

10:00 pm | June 19, 2024

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

SeaLife ReefMaster RM-4K: one-minute review

For taking photos underwater, or at the beach or in other situations where your camera could get wet, a dedicated waterproof and toughened compact camera has typically been the preferred solution, at least for consumers. Pro photographers and videographers who own a DSLR or mirrorless camera will alternatively look for specialist underwater housing for their camera, and these tend to be both bulky and pricey.

Falling somewhere in between these options is the small yet outwardly robust SeaLife ReefMaster RM-4K. At its core is a tiny, rectangular GoPro-like digital camera that’s no bigger than a matchbox, which, if used standalone, is not waterproof – though you can use it on land. To use the camera in water you have to secure it inside the provided rubber-sealed, screw-fastened plastic housing. The tiny camera-operation buttons are mirrored on the outer casing with much larger ones, which when pressed essentially operate the smaller buttons within.

SeaLife ReefMaster RM-4K waterproof camera on a stony waterside — (Image credit: Future | Gavin Stoker)

While this doesn’t make for the fastest or most responsive of setups, it works. The camera’s 140-degree fisheye lens enables the capture of up to 14MP stills and 4K video, and the combo is conveniently portable and amazingly lightweight at just 7oz / 200g. The price is comparable to that of a toughened, waterproofed point-and-shoot camera. While this is very much a specific tool for a specific job, you might also want to check out the SeaLife Micro 3.0, which in my opinion this is a slightly neater solution, in that it doesn’t require an external housing for the camera.

SeaLife ReefMaster RM-4K: price and availability

The SeaLife ReefMaster RM-4K is available to buy now, priced at $349.95 / £349.99 / AU$599 – so US buyers are getting a better deal than their British counterparts.

Though the palm-sized camera plus underwater housing combination may appear a little toy-like, its price suggests this is a direct competitor to the all-in-one toughened and waterproofed cameras that are available from the likes of Ricoh, Nikon and Fujifilm, which don’t require a separate waterproof housing.

The waterproof rating of those compact competitors varies from model to model, and some are more ‘jack-of-all-trades’ devices than dedicated underwater cameras. That being said, if they get covered in sand they can be simply rinsed clean under a tap, as can the housing of the SeaLife ReefMaster RM-4K; however, the camera element needs to stay protected at all times.

Viewed standalone, the SeaLife ReefMaster RM-4K may appear pricey for a matchbox-sized camera with a plastic-y outer housing, but its price is in part justified by its ability to capture 14MP stills and 4K resolution video down to depths of 40 meters. This allows you to capture underwater images and footage in situations where you wouldn’t dare to take your precious DSLR or mirrorless camera.

SeaLife ReefMaster RM-4K: design

The SeaLife ReefMaster RM-4K comprises a tiny matchbox-sized camera unit that forms the ‘brains’ of the setup, while the rugged plastic outer housing with oversized buttons provides the brawn.

Once you’ve placed the camera inside the cavity of the housing, you need to screw the unit tightly shut using a red plastic cog to make it waterproof. You’ll need to remove the camera from its housing to recharge its built-in battery via the supplied USB cable, or to insert or remove the microSD card. Slots for the memory card plus USB and HDMI ports are hidden under a plastic flap on one side of the camera, while two lozenge-shaped buttons on the opposite side are provided for tabbing through on-screen menu options. So far so intuitive.

Image 1 of 4

Image 2 of 4

Image 3 of 4

Image 4 of 4

Because the camera’s LCD screen is a tiny two inches in size, menu icons are necessarily large and obvious. The mode button that also doubles as the power on/off button brings up a brief array of options, while pressing the ‘OK’ button next to it confirms settings changes. This button also has a second use, acting as a shutter release / record button, depending on whether photo or video mode is selected. The buttons need to be pressed quite hard, and sometimes a couple of times, before they do what they’re supposed to, which – to look at it from a more positive angle – at least prevents accidental shots or menu activations. It’s not, though, as quick and responsive as a DSLR or mirrorless camera, so deciding on your settings before going shooting rather than making changes on the fly is recommended.

SeaLife ReefMaster RM-4K: performance

While the 2-inch rear screen on the SeaLife ReefMaster RM-4K is tiny and features a low-ish 230k-dot resolution, it’s bright enough to be able to be viewed clearly through the translucent back of the housing. The small size does make it difficult to assess detail, however, and to tell exactly which parts of your scene or subject are or aren’t in focus. Essentially it’s a case of pointing the camera, pressing the button, and hoping for the best.

Image 1 of 6

SeaLife ReefMaster RM-4K photos alongside a river front — (Image credit: Future | Gavin Stoker)

Image 2 of 6

Image 3 of 6

Image 4 of 6

Image 5 of 6

Image 6 of 6

While the SeaLife ReefMaster RM-4K is a cute and compact solution for anyone seeking to go diving or snorkeling and capture stills and videos, we’d have preferred a clamp-like fastening mechanism as a belt-and-braces solution alongside the hand-turned plastic cog that screws the back into place, mainly as extra reassurance that the setup is going to stay watertight at all times.

Most toughened compacts that don’t require extra housing feature the two-step mechanism of a sliding latch and another that turns to make sure their rubber insulated battery/card compartments are doubly protected, and I’d like to have seen something similar here. While the back of the SeaLife’s housing can be screwed tightly shut, and the housing itself feels robust, there still remains room for possible user error.

Image 1 of 7

SeaLife ReefMaster RM-4K photos on a river surface — (Image credit: Future | Gavin Stoker)

Image 2 of 7

Image 3 of 7

Image 4 of 7

Murky underwater photo taken with the SeaLife ReefMaster RM-4K — (Image credit: Future | Gavin Stoker)

Image 5 of 7

Image 6 of 7

Image 7 of 7

As for image quality, selecting the maximum 14MP setting delivers images approximately 5MB in size, which exhibit the familiar fisheye-like distortion that’s to be expected the closer you get to your subject. You can alter the field of view from the default 140 degrees to a narrower 100-degree setting that reduces distortion.

Image quality is generally okay, however, and of a snapshot-like standard, with whatever’s in the center of the frame appearing sharper than detail at the edges. This camera is all about capturing a moment rather than producing gallery-quality results, though, so griping about pixel fringing and the like feels like nitpicking here.

Should I buy the SeaLife ReefMaster RM-4K?

Buy it if...

Don't buy it if...

SeaLife ReefMaster RM-4K: also consider

How I tested the SeaLife ReefMaster RM-4K

As I was unable to scuba dive with the camera during my test period and don’t live near the sea, the camera was instead dunked in a river and the local pond, with the resulting images not offering much in the way of enlightenment, save for demonstrating the fact that the controls are large and obvious enough to operate even in poor visibility, or at the end of an extended arm. It also demonstrated that it’s best to configure shooting settings in advance, rather than in the moment.

I also delved into the camera’s shooting menu to adjust its field of view from the default 140 degrees of its fisheye lens to menu-selectable 156-degree and 100-degree settings, as well as trying out the exposure options, which range from the catch-all of auto to manually selectable dedicated settings for deeper water shooting and recording. I also kept a close eye on battery life – SeaLife claims that a fully charged battery is good for a generous 500 shots or around two hours of video, and over the course of a couple of days of use the battery icon on the rear screen had only dipped down by a third.

First reviewed June 2024

Panasonic Lumix S 28-200mm F4-7.1 Macro OIS review: the travel lens that puts the “super” in super-zoom

2:10 pm | June 14, 2024

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

Panasonic Lumix S 28-200mm F4-7.1 Macro OIS: Two-minute review

It has been said in the past that the selection of lenses for the L-Mount is too limited, however that can no longer be argued. Alongside the wide range of prime lenses, macro lenses, and high-performance zooms, there have been some key releases that have solved a real-world problem for everyday photographers. The Panasonic 28-200mm f/4-7.1 Macro OIS is just such a lens: it has come in as an answer to all of the photography enthusiasts and wanderlusters that want one lens that is compact, durable, versatile and affordable.

In all honesty, I have a rather low opinion of super-zooms as I feel they tend to sacrifice everything on the altar of versatility. This lens has somehow avoided that, maintaining impressive sharpness, autofocus performance, stabilization and build quality, despite its huge zoom range and compact size. Instead of sacrificing all of these things, Panasonic made the decision to make one key compromise: the aperture speed.

Panasonic Lumix S 28-200mm F4-7.1 Macro OIS specs

Type: Zoom
Sensor: Full-frame
Focal length: 28-200mm
Max aperture: f/4-7.1
Minimum focus: 5.5in / 14cm
Filter size: 67mm
Dimensions: 3.0in x 3.7in / 77.3 x 93.4 mm
Weight: 14.6oz / 413g

In a world of lenses like the Sigma 50mm f/1.2, many people will look at the range of f/4-7.1 and dismiss the 28-200mm out of hand, but that would be a mistake. The poor low-light performance is mitigated by the excellent Panasonic camera bodies, which offer Dual Native ISO and internal stabilization that means both photos and videos can be well exposed in low light without the issue of noise creeping in.

The only thing that cannot be overcome is the lack of subject separation at most focal lengths, meaning that this lens will not produce a large amount of bokeh unless you are taking advantage of the compression at 200mm.

So, portrait photographers aside, this lens will cater to a wide range of people, from landscape photographers to travel enthusiasts who don’t want to have to spend $2,000 / £2,000 / AU$3,500 on lenses to get the coverage they need. With dust- and weather-sealing included, there is little reason not to get this lens for your next holiday, and leave the rest at home.

Image 1 of 3

Panasonic Lumix S 28-200mm travel lens on a wooden table, retracted — (Image credit: Future | Tim Coleman)

Image 2 of 3

Panasonic Lumix S 28-200mm travel lens in on a wooden table with lens hood attached — (Image credit: Future | Tim Coleman)

Image 3 of 3

Panasonic Lumix S 28-200mm travel lens on a wooden table extended to its 200mm setting — (Image credit: Future | Tim Coleman)

Panasonic Lumix S 28-200mm F4-7.1 Macro OIS: price and availability

Costs $899 / £899 / AU$1,599
Available to buy now
Lens hood is supplied

The Panasonic Lumix S 28-200mm F4-7.1 Macro OIS was announced on March 26 2024, and costs $899 / £899 / AU$1,599 – a reasonable price for such a versatile lens.

There's no real Panasonic alternative that covers both wide and telephoto focal lengths, with the 20-60mm F3.5-5.6 covering the wide to standard end, and the 70-300mm F4.5-5.6 the telephoto end. The 24-105mm is a decent alternative for pros, but it's an altogether proposition, being weightier and pricier.

Panasonic Lumix S 28-200mm travel lens in the hand with leafy background and light rain — (Image credit: Future | Tim Coleman)

Panasonic Lumix S 28-200mm F4-7.1 Macro OIS: design

Decent balance with Lumix cameras
7x optical zoom
Optical image stablization included
Rubber-sealed and weather resistant

The small size and light weight of the Panasonic 28-200mm is immediately noticeable, and it balances very comfortably on cameras like the Panasonic Lumix S5 II. It is primarily a plastic build; however it doesn’t feel cheap or flimsy, with smooth resistance on both the focus and zoom rings.

There are just a couple of switches on the lens, including one for the OIS, which provides an excellent 6.5 stops of stabilization, coupled with an AF - MF selector switch. The metal mount and weather seal further enhance its credentials as a one-and-done travel lens.

I like the fact that the lens is slimmer than many zooms, with just a 67mm front thread, much like my beloved Sigma 28-70mm f/2.8. I find the large diameter of lenses like the Panasonic 24-105mm F4 to be unwieldy and uncomfortable, making you feel like you are carrying a far bulkier setup when travelling. Whipping my Lumix S5 II in and out of my side bag with this lens on was quick and easy, and it encouraged me to take more photos without feeling conspicuous.

Image 1 of 4

Image 2 of 4

Image 3 of 4

Image 4 of 4

Panasonic Lumix S 28-200mm F4-7.1 Macro OIS: Performance

Just 14.6oz / 413g
Impressive closeup photography ability with up to 0.5x magnification
Moderate flare and ghosting

Panasonic has been clever here: by offering what could be described as an unimpressive aperture range, f/4-7.1, it has allowed the lens to not only be compact, but also sharp and free of most image quality issues.

Professional photographers know that prime lenses are almost always sharper than zooms. However, their f/1.4 or f/1.8 apertures also cause chromatic aberration and fringing, as well as softness in the corners that is expensive to correct for. These are a non-issue with the 28-200mm, as the aperture range allows the lens to remain sharp from corner to corner, with no chromatic aberration or unwanted rendering elements that I could find.

The fact that this lens also offers macro capabilities is remarkable, and I was pretty stunned to see how close I could get to a subject while still being able to focus. At 28mm, I could capture something just 1.2in / 3cm away from the front element, which created sharp images with wonderfully soft out-of-focus areas.

Of course this won’t be the lens for serious macro photographers who need the reproduction ratio of lenses like the Panasonic S 100mm F2.8, but it is a great added feature for those who want one lens to cover all their bases.

Image 1 of 2

Sample photos taken with the Panasonic 28-200mm F4-7.1 lens and Lumix S5 II camera — (Image credit: Future | Joshua Chard)

Image 2 of 2

Autofocus speed and accuracy has been one of the key upgrades to the newer Panasonic line of cameras, and this lens doesn’t let down the team here either. Although it uses a linear motor, instead of the smoother stepping motors found in some of Panasonic’s other lenses, it snaps to the subject quickly and holds focus very well when zooming in and out.

I did have a few issues with unpleasant flaring and ghosting when shooting into the sun, which is common in super-zooms, so I would make sure to use the included lens hood when in those situations.

Panasonic Lumix S 28-200mm F4-7.1 Macro OIS: sample images

Image 1 of 7

Image 2 of 7

Image 3 of 7

Image 4 of 7

Image 5 of 7

Image 6 of 7

Image 7 of 7

Should I buy the Panasonic Lumix S 28-200mm F4-7.1 Macro OIS?

Buy it if...

Don't buy it if...

How I tested the Panasonic Lumix S 28-200mm F4-7.1 Macro OIS

A mixture of landscape, wildlife and portrait photography
Used in changeable weather

Panasonic was kind enough to let me take this lens around southern Egypt, where I put it through its paces for real-world travel photography on my Lumix S5 II. From the desert to the Nile, it came with me on boats, camels, to the hotel poolside and through the local streets and markets. For the days I was testing it, I didn’t use any other lenses and relied solely on it for all the moments I wanted to capture. While I take care of my kit, I certainly don’t baby it, and I got to test the ruggedness of the lens along with its performance.

First reviewed in June 2024

Insta360 Go 3S review: a worthy 4K successor to the Go 3

4:00 pm | June 13, 2024

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

Insta360 Go 3S: two-minute review

The new Go 3S is the latest in a line of the world's smallest action cameras by Insta360, with convenient magnetic mounting and useful accessories for hands-free operation and unique POVs. When your phone won't do or can't be risked, the tiny and fully waterproof Go 3S steps up.

It updates the one-year-old Insta360 Go 3 with some key upgrades, chiefly bumping video resolution up from 2.7K to 4K. This makes its handy multi-aspect video recording even more appealing for TikTok and YouTube reels. It's also equipped with Apple Find My, which is a useful addition to a tiny 1.38oz / 39.1g camera.

Higher resolution video is the main improvement here. Otherwise, there's nothing majorly new in the Go 3S and much of the information in our Go 3 review is relevant to the latest iteration. However, the Go 3S is still a worthy upgrade and one of the most creative and best action cameras available.

Insta360 Go 3 specs:

Weight: GO 3S camera: 1.38oz / 39.1g; Action Pod: 3.4oz / 96.3g
Dimensions: GO 3S camera: 1.0 x 2.1 x 1.0in / 25.6 x 54.4 x 24.8mm ; Action Pod: 2.5 x 1.9 x 1.2in / 63.5 x 47.6 x 29.5mm

Maximum video resolution: 4K: 3830 x 2160 pixels at 24/25/30fps

Maximum photo resolution: 12MP (4:3); 9MP (16:9)

Connectivity: USB-C 2.0, Bluetooth 5.0, Wi-Fi 5GHz

Storage: 32GB, 64GB, 128GB

Battery capacity: GO 3S: 310mAh; Action Pod: 1,270mAh

Quoted run time: Go 3S: 38 mins; Action Pod: 140 mins (for 1080p 30fps video

Its waterproofing depth, double the Go 3 at up to 33ft / 10m, increases slow motion frame rates with up to 200fps in 1080p and it comes equipped with a slightly wider lens.

There's also a neat trick – the Go 3S will automatically switch video aspect ratio based on whether it's horizontal or vertical when filming starts. Sporty types might be interested in the Garmin / Apple / Coros stats overlay option for Go 3S videos.

Gesture control has been added to voice command control, so you can position the Go 3S and start recording without needing to be hands-on, or have the Action Pod element to hand – the pod that's pictured below transforms the Go 3S into a Go-Pro-like action cam.

While the Action Pod transforms the Go 3S' handling and makes it a suitable vlogging camera, it isn't fully waterproof like the camera is, or a dedicated action camera like the DJI Osmo Action 4, so you can't use the pairing everywhere.

Insta360 Go 3S camera in its housing attached to a selfie stick, outdoors — Insta360 Go 3S inside the Action Pod and attached to the optional Insta360 2-in-1 selfie stick. (Image credit: Future | Tim Coleman)

Naturally, there are some compromises versus bulkier alternatives. Battery life from the tiny 310mAh battery is limited to 38 minutes when shooting Full HD video. That's less than its predecessor's 45 minutes and way less than other action cameras, such as the GoPro Hero 12 Black and Insta360's own X4 360-degree camera.

Overall image quality doesn't compare, either. Although Insta360 says the Go 3S is 'Dolby Vision-Ready' with new HDR technology, there's no HDR video mode like you'd get in a camera such as the DJI Osmo Action 4, meaning you lose out on highlight and shadow detail when lighting is less than perfect. Photos are capped at 12MP in 4:3 or 9MP in 16:9, too.

However, you're buying into the Insta360 Go series for its unrivaled versatility. It's why we rated the Go 3 as the perfect camera for FPV drones and a superb hands-free camera ideal for BTS video and first-person perspectives.

My kids have been super busy getting creative with the Go 3S, attaching it to the soccer goal in the garden, our family dog's collar on walks, and inside the guineapig hutch to see what our cute furballs get up to away from prying eyes (not much, it turns out).

A quick online search further reveals clever ways people have used a Go camera, shooting from angles you couldn't otherwise consider, such as inside a box for unboxing videos.

And when paired with the Action Pod its functionality is improved, as is battery life, boosted to 140 minutes of 1080p video recording. Being able to choose between the standalone camera and pairing it with the Action Pod further increases versatility.

It might not be perfect, but the Go 3S is edging ever closer and is an excellent smartphone alternative for creative filmmakers.

Insta360 Go 3S camera attached to a sweater magnetically — The Insta360 Go 3S camera magnetically attached to a sweater with the magnet pendant inside the clothing. (Image credit: Future | Tim Coleman)

Insta360 Go 3S: price and availability

Launched on June 13, 2024
Bundles from $399.99 / £349.99 / AU$719.99
Can be bought as a standalone without the Action Pod, from $239.99 / £209.99 / AU$429.99

The Insta360 Go 3S can be bought standalone or bundled with the Action Pod. Those that already have the Go 3 but want to upgrade to the Go 3S for its 4K video and new features can save a bit by opting for the standalone option. Like a phone, you can buy the Go 3S in different storage capacities, in this case, 64GB or 128GB versions – the Go 3S has internal memory only.

The Standard Edition Go 3S bundled with the Action Pod costs $399.99 / £349.99 / AU$719.99 for the 64GB version, or $429.99 / £369.99 / AU$769.99 for the 128GB version. The standalone 64GB Go 3S is priced at $239.99 / £209.99 / AU$429.99 and it's $269.99 / £229.99 / AU$479.99 for the 128GB one. Overall, the Go 3S hovers around the Go 3 launch price, give or take $20 / £20 / AU$40 – in the UK it's cheaper than before.

I had the Standard Edition bundle in 'Midnight Black'. In the box comes a magnet pendant (lanyard), pivot stand (tripod mount), easy clip (for hats and animal collars, etc), and an adhesive plate. That's a generous selection of accessories (see gallery, below), but additional accessories, such as the 2-in-1 selfie stick that you can see in some of the pictures, are also available on the Insta360 website.

Price score: 4.5/5

Insta360 Go 3S: design

The Insta360 Go 3S weighs just 1.34oz / 39.1g or 4.78oz / 135.4g with the Action Pod
Convenient magnetic mounting and handy supplied accessories
Increased waterproofing up to 33ft / 10m

The Insta360 Go 3S comprises two elements; the camera and the Action Pod – the latter transforms the Go 3S into a GoPro-style action camera. Without the Action Pod, you have one of the smallest and lightest action cameras available. It has has no real rival.

Both elements are made from rigid plastic. I'd be happy to put them in harm's way – they've taken the occasional knocks from fast-moving balls and clumsy drops, and come out unscathed.

The thumb-sized Go 3S is a twinge heavier and a fraction deeper than the Go 3 but, otherwise, maintains the same dimensions, meaning it'll work with the same accessories. Put the two cameras side by side and you'd be hard-pressed to note any difference: we're talking a few mere millimeters and grams.

Image 1 of 6

Insta360 Go 3S camera alongside all the supplied accessories on a wooden surface — The items in the Insta360 Go 3S box (Image credit: Future | Tim Coleman)

Image 2 of 6

Tiny Insta360 Go 3S camera only in the hand — (Image credit: Future | Tim Coleman)

Image 3 of 6

Insta360 Go 3S camera in its housing with rear selfie screen flipped upon a wooden surface — (Image credit: Future | Tim Coleman)

Image 4 of 6

Image 5 of 6

Insta360 Go 3S camera secured in a clip accessory — (Image credit: Future | Tim Coleman)

Image 6 of 6

Insta360 Go 3S camera in its housing and attached to an accessory on a wooden surface — (Image credit: Future | Tim Coleman)

It pairs with the exact same Action Pod to boost battery life and for easy navigation of settings, plus remote control and viewing. Those who already own the Go 3 but want the Go 3S can save a little by opting for the standalone camera over the bundle.

The camera element has just one button that starts and stops recording. It's equipped with a built-in microphone, internal memory (64GB or 128GB), and a magnetic mount along its back. This forms a strong connection with metal surfaces and Insta360 Go accessories, including into the cavity of the Action Pod.

The Action Pod is pretty simple, too. Its control layout includes a USB-C port for charging, lock button to release the docked camera, on/off button, quick menu for shooting modes, and a flip-up touchscreen that reminds me a lot of the Insta360 X4's: it's responsive and large enough to view clearly, and therefore very useable for remote functions instead of the Insta360 Studio app.

It also features a magnetic underside for snapping into place on accessories such as the Pivot Stand, although at almost 3.5oz / 100g the pod is too heavy for placing sideways onto metal surfaces.

Image 1 of 5

Image 2 of 5

Image 3 of 5

Image 4 of 5

Image 5 of 5

I love the versatility you get with the Go 3S. As a standalone camera, it's the smallest and lightest in the business and super convenient for hands-free videos. Inserted into the Pod, you get easy viewing for vlogs, selfies, and so on. There's a third option, too: remotely controlling and viewing what the camera sees through the Action Pod even when it's disconnected.

There are times you'll want just the Go 3S camera, such as in tight spaces and underwater: it's waterproof up to 33ft / 10m, but the Action Pod is only splash-proof. It may look like an action camera in the Action Pod, but only the camera element can be classed as an action camera.

Design score 4.5/5

Insta360 Go 3S: features and performance

Reliable Bluetooth connection between Go 3S and Action Pod, albeit with limited range
Modest battery life
Effective gesture control and voice command

Both the Go 3S and Action Pod are slick, quick to start up and pair effortlessly. The two elements enjoy a seamless Bluetooth connection when divided, and the Action Pod's real-time view and remote controls are super responsive.

There is a natural limit to the range the Bluetooth connection covers, so the Action Pod won't work for remote view and control in several scenarios. You'll lose connection beyond the range of a few meters, and sooner still with the Go 3S underwater.

You can also remotely control the Go 3S using the Insta360 app, although the dedicated user interface of the Action Pod will have you leaning to that instead of your phone.

Battery life is a sour note: 38 minutes is respectable for such a tiny camera, but one of the inevitable compromises versus a dedicated action camera. And battery life is less than the Go 3 camera in like-for-like tests recording 1080p video.

To counter this limit, the Go 3S can extend record times by going to sleep for video modes, such as TimeShift and Timelapse. And virtually all the shooting modes are super simple to use and create decent footage with.

You can also boost battery life by docking the camera into the Action Pod, which has a maximum 140-minute life.

Gesture control and voice commands are pretty reliable and it's handy having both options: when you're in noisy environments gesture control is useful. You also get confirmation that filming has started by way of the flashing red light on the front of the Go 3S.

Image stabilization is reasonable, but there are smoother systems out there and the best shots you get with the Go 3S are when it's mounted to a stationary object rather than strapped to a rapidly moving one. You'll get the best results by utilizing the gyroscope.

Features & performance score: 4/5

Insta360 Go 3S: image and video quality

Improved video quality, but still not quite as good as rival dedicated action cams
Wider and versatile lens
HDR is for photos only

Insta360 has addressed the limited video and photo quality of the Go 3 by increasing resolution. We now get 4K video and 12MP stills, versus 2.7K video and 6.6MP stills. If this increased resolution is all that Insta360 upgraded from the Go 3, it would be enough to greatly bolster the Go 3S' appeal, but there's more.

Videos are sharper than before, with Insta360 also pinpointing 50% increased CPU power and better dynamic range thanks to Dolby Vision-Ready HDR technology. You can see the difference from the Go 3 but I think that overall quality still lags behind the best action cams like the Osmo Action 4 and Hero 12 Black, especially when lighting is anything other than optimum.

Still, it's a price worth paying to obtain what are otherwise impossible shots.

Image 1 of 6

A dense woodland, taken with the Insta360 Go 3S — Detail is reasonably crisp in this woodland 12MP photo (Image credit: Future | Tim Coleman)

Image 2 of 6

Image 3 of 6

A backlit fire in the woods, taken with the Insta360 Go 3S — Dynamic range is pretty limited (Image credit: Future | Tim Coleman)

Image 4 of 6

Image 5 of 6

Boy doing peace sign in the passenger seat of a car, taken with the Insta360 Go 3S — This is an unprocessed DNG raw file. It has a fine grain to it, whereas the next image which is the JPEG version shows aggressive noise reduction and smudged detail. I prefer the raw file (Image credit: Future | Tim Coleman)

Image 6 of 6

Increased resolution is super handy for filmmakers regularly switching between vertical, square, and horizontal formats to shoot Instagram, TikTok and YouTube-ready content. The FreeFrame mode is particularly helpful for this, as you can shoot first and pick the aspect later. Multi-aspect shooting is also better supported by a slightly wider angle lens.

You also get tracking autofocus, with visual confirmation when faces have been detected on the Action Pod's screen proving useful when vlogging. The ultra-wide angle and small image sensor naturally provide great depth of field. There's no official minimum focus distance listed in the product spec sheet, but objects very close to the camera won't be in focus.

For photos, you do get an HDR option which generally gets you the best results. Overall, colors are pleasant and auto exposure works pretty well, plus you can override it with exposure compensation to brighten or darken the image where needed.

Videos are recorded onto internal memory. I had the 128GB version and shot a lot of footage before the card filled up. Thankfully, even the 4K video files only take up a sensible amount of memory.

Image and video quality score: 4/5

Insta360 Go 3S: testing scorecard

Should I buy the Insta360 Go 3S?

Buy it if...

Don't buy it if...

Insta360 Go 3S: also consider

How I tested the Insta360 Go 3

Used in mixed weather with and without the Action Pod
Long timelapse and video sequences that tested battery life
Experimenting with the various video and photo modes

I tested the Insta360 Go 3S much like any other action camera: playing with its various video and photo modes to record adventurous and creative content, without babying the hardware.

It's been used extensively to record hyperlapses (TimeShift mode) and slow motion sequences, while the multi-aspect ratio FreeFrame mode has enabled me to pick which format to export videos in using the Insta360 app.

I've also used the various accessories supplied with the camera: the magnetic pendant for underneath clothing, the magnetic clip, and the Pivot Stand. Insta360 also supplied me with the 2-in-1 selfie stick and Monkey Tail accessories for this review.

I don't own an iPhone so was unable to test the Apple Find My feature.

Videos and photos have been viewed and edited using the Insta360 Studio app. I then exported both edited and unedited files for clear viewing on a desktop.

First reviewed June 2024

Heipi 3-in-1 Travel Tripod review: party tricks abound in this modern tripod

12:01 pm | June 9, 2024

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

Heipi 3-in-1 Travel Tripod W28: two-minute review

Heipi was a totally new brand to me when I was contacted about its versatile travel tripod. (I’m not even sure how to pronounce the name – does it sound like you're greeting a fruity baked dessert?) However, just because it’s a new name, that doesn’t mean Heipi should be dismissed. In fact, the Heipi 3-in-1 Travel Tripod is one of the most relevant travel tripods today, able to transform for multiple tasks and various camera gear in a way that almost all other tripods can’t.

The average photographer doesn’t use very heavy gear in 2024; the kind of gear that needs an equally robust and heavy support. Mirrorless cameras and lenses are, overall, smaller and lighter. Heck, people shoot with their phones just as much as a 'proper' camera. Heipi’s tripod is for those photographers, the ones using small cameras like a Canon EOS R10 and one of the best cameraphones, who still need a lightweight and versatile support.

Regardless of size, a tripod still needs to provide firm footing, and unless you’re standing on a gusty cliff face, the Heipi tripod will offer shake-free support for moderate-size gear. A max capacity of up to 55lbs / 25kg feels fanciful, but I'd be happy adding an enthusiast-level mirrorless or DSLR camera with a moderate-size zoom lens.

Image 1 of 4

Heipi 3-in-1 travel tripod outdoors — (Image credit: Future | Tim Coleman)

Image 2 of 4

Image 3 of 4

Image 4 of 4

Heipi 3-in-1 Travel Tripod key specs

Total weight: 3lbs / 1.35kg (including ball head, or 2.35lbs / 1.07 without head)
Max height: 59in / 150cm (with center column fully raised, or 50in / 126cm without)
Legs locks: 4
Packed length: 17.7in / 45cm
Max capacity: Up to 55lbs / 25kg

As a travel tripod that weighs just 3lbs / 1.35kg (with ball head included) and packs away to just 17.7in / 45cm in length, something has to give, and that something is its max reach. It can’t provide the tallest level to work from, just 59in / 150cm with the center column fully raised.

As its name suggests, this 3-in-1 tripod has many guises. For one it’s a regular, lightweight travel tripod that packs away more compact than most, in its supplied case. That's thanks to its four leg sections, each a smidge smaller than average.

Image 1 of 4

Image 2 of 4

Image 3 of 4

Image 4 of 4

I’ve reviewed heaps of tripods over the past fifteen years, yet Heipi's creation has a design feature I’ve never seen in a tripod before, an innovative center column. You can’t really call it a center column but it does perform as one.

It's effectively a mini tripod that’s folded into the main tripod with its three legs locked vertically as a column. You can then pull it out and lock it off as a column to extend the reach of the main tripod or remove it completely to gain a hefty and stabler-than-most tabletop tripod: the tripod's second guise.

Heipi 3-in-1 Travel Tripod W28 price and availability

The Heipi 3-in-1 Travel Tripod W28 is available now and costs from $399 / £317 on the Heipi website and from $399 on Amazon US. You can buy it with optional accessories such as a QR plate or opt for a different type of ball head in a pricer bundle.

Tabletop tripods are particularly popular for vlogging, and the Heipi 3-in-1's robust center column-cum-tripod is more than able to support the best vlogging cameras for such purposes.

It's a party piece that should be enough to make the Heipi 3-in-1 Travel Tripod stand out, but as its name suggests, it has another trick up its sleeve.

Remove the tripod plate from the ball head and tucked away is a mobile phone clamp that can be pulled out, transforming the tripod into a mobile phone support (see below).

The clamp extends enough to support large phones like an iPhone 15 Pro Max in horizontal format. Should you need to shoot in vertical format with your tripod-mounted phone, it's fiddly to rotate the ball 90 degrees, but it's doable if you persevere.

Image 1 of 3

Image 2 of 3

Image 3 of 3

Heipi's tripod is impressively versatile and lightweight, but what’s it like to use?

I'll start by reiterating just how compact the tripod packs down, and how light it is. I've been inclined to add it to my camera bag 'just in case', as it really doesn't add much weight to the overall package.

The main legs tuck very tightly together in between the mini tripod's legs. They fold out easily too, although I pinched my fingers several times in the fiddly locks that further open the maximum angle you can spread the legs. You have to repeat the motion many times to get the pain-free hang of it.

I also found the leg section locks unnecessarily long, they can snag during hectic moments on a shoot, and are fiddlier than most to open and close. However, they provide a secure lock and the process of extending all four leg sections and locking them off is speedy.

Image 1 of 4

Image 2 of 4

Image 3 of 4

Image 4 of 4

When the tripod is fully extended you get a modest maximum height. And if you need to increase the height by extending the center column, the column is quite sticky.

Doubling up the center column as a mini tripod is a really clever idea, but in its role as a center column, it's not the slickest operator.

The tripod comes with a matching ball head, while another type of ball head with a different locking mechanism is available as a pricier bundle. Check the prices above if you missed them.

In terms of strength, the tripod legs lock off tightly and you get a strong support. Despite the claimed 55lbs / 25kg weight capacity, this is designed for those on the move with enthusiast-level camera gear, not those that need the largest and sturdiest support available for bulky gear.

Ultimately, the Heipi 3-in1 Travel tripod lives up to its name and comes with the TechRadar recommendation.

Heipi 3-in-1 Travel Tripod W28: Also consider

Peak Design Travel Tripod
For style and design, the Peak Design Travel Tripod is the first rival tripod that comes to mind. Of the two, Heipi's tripod is the more compelling option – its ball head has a panning motion, which Peak Design's tripod doesn't, plus you get those two Heipi party tricks AND it's much cheaper.

Read our Peak Design Travel Tripod review

3 Legged Thing Punks Brian 2.0
We rate the 3 Legged Thing Punks Brian 2.0 as the best travel tripod on the market. The reality is the two tripods are for different kinds of users. The 3 Legged Thing tripod is versatile for regular use – it's easier to use and make fine adjustments, and it has a better max height. Heipi's tripod is arguably better if you need to switch between gear, plus it's smaller and lighter. Both are highly recommended.

Read our 3 Legged Thing Punks Brian 2.0 review

Should I buy the Heipi 3-in-1 Travel Tripod W28?

Buy it if...

Don't buy it if...

How I tested the Heipi 3-in-1 Travel Tripod W28

Long term use
All three facets properly tried out
Camera gear of various size and weight

I've had the Heipi 3-in-1 Travel Tripod for some months and it's had moderate use in this time, traveling many miles with me. I still don't feel like I can say I've properly tested its durability – you need years not months to test a tripod properly and be sure it'll last the distance – but so far, it's withstood the rigors of moderate use as a full tripod and tabletop tripod. It's an ideal travel companion.

First reviewed June 2024

Shimoda Urban Explore 25 backpack review: a feature-packed pack

4:00 pm | June 8, 2024

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

Shimoda Urban Explore 25: one-minute review

There has clearly been a lot of thought put into the design of the stylish and simple Shimoda Urban Explore 25. The bag's layout is quite conventional, with a top compartment for everyday accessories, a main camera core at the heart of the bag, and various pockets throughout for productive storage.

Whilst there is nothing massively groundbreaking, the small design touches add up: rubber grips on pockets to prevent items from slipping out, handles on three sides of the bag, a cable management pocket, USB power passthrough, a strap loop for a camera clamp, a dedicated Apple Air Tag pocket, and a secret passport pocket.

The padding provides a good balance between comfort, security, and weight, and I found the bag comfortable to wear all day.

We're not looking at perfection: access to the waterproof cover is tricky and there's no dedicated spot for a USB battery for the passthrough hole. But these are quite trivial points that don't detract from the overall quality of the Shimoda Urban Explore 25 bag.

A close up shot of the Shimoda Urban Explore camera backpack — (Image credit: Future)

Shimoda Urban Explore 25: design

When worn on the back, the Shimoda Urban Explore 25's minimalist look could fool you into thinking that the bag might be somewhat basic, which is anything but the truth. Beneath the strong, tough Cordura material and stylish leather zip-pulls are discerning features that will appeal to those wanting a photo backpack for that weekend city break.

Shimoda Urban Explore 25 price and release date

The Shimoda Urban Explore 25 has a list price of $319.95/ £305 and is available in Anthracite or Boa color variants. There are also 20L and 30L versions of the bag, also available in Anthracite or Boa. The Urban Explore 20 is $279.95/£285, and the Urban Explore 30 is $339.95/£330.

Obviously, the smaller size will be preferential for those needing less camera kit and using smaller laptops or tablets, while the larger of the three will hold more kit and larger professional laptops. You can find full specifications for each of the bags on the Shimoda website.

The bag layout is quite conventional: there's a main compartment with a removable camera core should you wish to use it as a regular backpack, a top compartment ideal for accessories, plus two pockets one on each side for either a tripod or a drinks bottle. These side pockets are unzipped, with one allowing quick access to the main camera compartment (which can also be zipped closed internally for extra security). In contrast, the other side opens and reveals a pocket and elasticated loops for keeping all those essential cables neat and tidy. Within each of these compartments are plenty of pockets and even hidden spaces, which we will come on to later.

Shimoda Urban Explore 25: performance

There is a decent amount of space in the removable camera core. I added a Sony A7 IV with a Sony FE 24-70mm f/4 lens mounted to it. This was easily accessible when I needed access from the side compartment. It is worth adding here that access to the camera core can be zipped shut so that even if the side of the bag is open, it requires an additional 'unzipping' before your kit can be accessed; again, this adds a touch more security from prying hands. If you want quick access, the side access flap can be tucked into the inside flap of the camera bag, which keeps everything neat and tidy.

Image 1 of 3

Image 2 of 3

Image 3 of 3

In addition to the camera and mounted lens, I could fit a FE 70-200mm f/4 lens as well as a couple of smaller lenses and a flashgun. In summary it has the space you need for a weekend shooting. The camera core also has a hard metal internal frame on one side to prevent your gear from getting crushed in an overhead plane compartment. There is a second metal frame around the edge of the rear of the bag, again preventing it from being crushed easily but also allowing it to keep the bag shape and sturdy.

Getting access to your laptop is easy. The laptop compartment is accessible from the top compartment, and it runs down the front of the bag rather than sitting against your back, which is more common. Instead, it is the tablet compartment that takes up this spot on the back of the backpack, and it is accessed from the main camera compartment.

There is plenty of space in both the laptop and tablet compartments. The laptop compartment measures 25W x 35.5H x 2D cm / 9.8W x 14H x 0.8D in, meaning it should fit a 16-inch laptop with no issues. I used it for my 13-inch MacBook Air, and it was swimming around in there. My laptop also fits in the tablet compartment, so iPad Pro users shouldn't have any issues.

The straps on the bag are nicely padded, offering a comfortable carrying experience. They are also adjustable at the top, allowing the user to get a good fit over the shoulder as well as being able to adjust the length. One of the straps also has a little accessory mount, allowing a camera clip, such as the Peak Design Capture Clip, to be easily attached.

A chest/sternum strap allows for a snug fit, but sadly, there is no waist strap, although there is a way of adding a third-party one behind the cushioning on the bottom of the rear of the bag. All of that said, this is very much a city bag rather than one you will be taking out on technical hikes, so the lack of a waist strap is completely understandable.

There are some lovely design touches on the bag, including an easy-access Apple Air Tag pocket – it is nice to have a dedicated place for it within the bag. The passport pocket is tricker to find and access, as it should be; no one will be slipping their hand in your bag and getting your passport out.

For storing accessories, the bag has plenty of space. The top compartment has a zipped mesh pocket, with two individual pockets inside for storing smaller items such as batteries and memory cards. These pockets have a little rubber grip at the top, helping to prevent any items in the pocket from slipping out or shifting around too much; it is a simple touch that adds to the quality feel of the bag. There is also a quick-release loop in this pocket, which could be used for keys or an appropriate accessory.

The top compartment is spacious and can easily hold a pair of headphones and a compact camera; like most top compartments, its location means it is best for things you need quick access to. Interestingly, the entire top compartment can be unzipped. Along with the ability to remove the camera core, this means that the Urban Explore can be used as an everyday backpack when you don't need all your camera gear.

I found the main front compartment to be another useful pocket for easy access to items. The size is perfect for holding a notebook or documents, while the internal plastic pocket is good for smaller general items such as tickets or pens.

Having a dedicated pocket on the side for cables is great and helps to keep everything tidy and easily found. The USB passthrough comes through this pocket, and one of the few criticisms of the bag is that there isn't a dedicated space to put a USB battery, although it is easy enough to put it in the main camera core or even thread a long enough cable through the top compartment; it isn't a big deal but seems something of an oversight when so much great design has been implemented elsewhere.

Besides the camera core, the main compartment is spare, except for a plastic pocket, which is effectively the rear of the top compartment. This pocket isn't the easiest to access, so it is suitable for things that you may need less often—lens and sensor cleaning kits, spare cameras and lens caps, batteries, etc.

The only other thing of note is that the bag's waterproof cover is tucked into a fold at the bottom of the main compartment. While the bag is water resistant, in a really heavy prolonged rain shower, the rain cover isn't the easiest to access when you really need it. And it could potentially mean exposing your camera gear to the elements to retrieve it. Again, the bag is designed for the city, so you should be able to find shelter somewhere; so for the target market, it isn't a deal breaker by any means, but you would have thought there could be a better place for the cover or at least a better way of retrieving it.

One thing I liked was the fact that the bag has handles on the side, top, and bottom. You can grab it easily and securely from any angle, which is reassuring when you need to put it in an overhead locker on a plane or generally just move it around.

Carrying a bag with a mid-size tripod was no issue. I just about managed to squeeze all three legs into the side pouch designed for a bottle or tripod legs. Smaller travel tripods will fit comfortably and won't shift around, and for larger tripods, you can just put two legs in and use the straps to tighten everything in place.

Should I buy the Shimoda Urban Explore 25?

Buy it if...

Don't buy it if...

How I tested the Shimoda Urban Explore 25

I used the bag as a daily camera backpack
Walk around 5k with the bag on my back
Packed it with as much gear as possible

I have tested the Shimoda Urban Explore 25 by using it as an everyday camera bag. I carried my laptop in the backpack and set off to work in a coffee shop, taking all my weekend camera kit with me for some shooting before and after.

While out and about, I used the bag as I normally would, taking items in and out of the compartments and pockets to use them, all the time thinking about the bag's weak points and whether anything could be designed differently to speed up access or make things more secure.

It is very difficult to design bags that are overtly different. Most backpacks have standardized layouts, so I was looking for small features on the bag that would make a difference in how I would use it.

First reviewed June 2024