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GoPro Hero 12 Black review: edging closer to perfection

7:48 pm | October 2, 2023

Two-minute review

The GoPro Hero 12 Black is a variation on a tried and tested GoPro formula. GoPro has an Apple-like ability to refresh its line without overhauling it to great effect, and this year there isn't much that's new in the way of hardware for the 12 Black. That said, familiar hardware might not be an issue given the upgraded software experience, particularly for filmmakers and anyone craving external wireless audio support.

Let's start with what's returning for 2023 from last year's GoPro Hero 11 Black. Firstly, there's that 27MP 8:7 sensor that can capture 16:9, 9:16, and 8:7 footage without needing to reorient your camera. It can shoot at up to 5.3K 60fps and 4K 120fps, and if you want to drop the resolution to 2K, it even captures 240fps, something the DJI Osmo Action 4 can't do.

Next, GoPro's Hero design is back for round six – or is it seven? Seriously, GoPro is very wedded to the style introduced on the Hero 5 Black, so it hasn't deviated too much from its overall aesthetic.

GoPro also brings back the same battery used in past Hero cameras, though, as in the Hero 11 Black, it's the higher-specced GoPro Enduro (1720mAh) cell. And the 12 Black has the same dimensions, processor, and weight as the 11 Black.

Given all these similarities, you might be asking yourself what's new, and whether the Hero 12 Black stands a chance of being rated as one of our best action cameras when its predecessor, the GoPro Hero 11 Black, costs less while offering similar features.

GoPro Hero 12 Black specifications

Sensor: 27MP 1/1.9-inch
FOV/focal length: 156 degrees
Max photo resolution: 27MP 8:7 (5568 x 4872)
Video: Up to 5.3K 60fps / 4K 120fps (16:9)
Stabilization: HypserSmooth 6.0 with AutoBoost
Front screen: 1.4-inch Color LCD
Rear screen: 2.27-inch Color LCD
Mount: Action camera + 1/4-inch thread
Battery: GoPro Enduro (1720mAh)
Connectivity: Bluetooth, USB-C and Wi-Fi

Probably the most instantly useful addition to the Hero 12 Black is the 1/4-inch thread mount between its flip-out feet, perfect for mini tripods. GoPro has also added HDR capture to improve how the camera handles highlights and shadows, and this works to great effect.

Filmmakers who want to dig a little deeper can activate GP-Log capture for even greater dynamic range footage and 10-bit color, so video can be easily spliced into a timeline with clips from other cameras and easily color-matched.

Audio options have also been improved, with the 12 Black now supporting wireless audio from a Bluetooth microphone. This works with any Bluetooth earphones or headphones, so if you've got a pair of the best wireless earbuds available, you can just pair them with your GoPro and hit record – it really is that simple.

Whether you're using an external Bluetooth microphone or the Media Mod, GoPro's modular housing that upgrades audio and connection options, the new Hero 12 Black can also capture two audio channels, which you can access through the GoPro Quik app or in Premiere Pro. What's so cool about doing this with the Media Mod is that it captures the device audio or the Mod's own mini boom mic so that you can mix down directional and ambient tracks for the perfect clip.

A photo of the GoPro Hero 12 Black — (Image credit: Basil Kronfli)

In a nutshell, while there are a lot of familiar features, GoPro levels up the Hero 12 Black just enough to meaningfully make it a more versatile and powerful action camera than the Hero 11 Black.

As for how it stacks up against the competition, the Hero 12 Black's stabilization is fantastic, dialing up or down based on what you're doing, thanks to HyperSmooth 6.0 and AutoBoost. It outperforms the DJI Osmo Action 4 in this regard, and I also prefer the tone of GoPro's video versus DJI's. Footage looks more crisp and less subdued – precisely what I want from my action camera. Having said that, the Action 4 does a better job of capturing a wider soundscape from its mics, while the Hero 12 Black focuses more on voices.

Low light is where GoPro has consistently dropped the ball, and while the Light Painting night modes are fun additions, they don't make up for the grainy video when recording in dimly-lit scenes. DJI takes the crown here.

Generally speaking, the action camera race has never been tighter, with DJI and GoPro almost neck and neck with their latest offerings. Whichever you go for, you're getting a fantastic action camera, but the Hero 12 Black edges ahead for anyone who mostly shoots in the day and wants the best stabilization available. It's also ideal for vloggers who want to cut up 16:9 and 9:16 content from the same clip, or GoPro users who already have compatible accessories like the Media Mod, and want to upgrade their camera but not their extras.

GoPro Hero 12 Black: release date and price

Available to buy now for $400 / £400 / AU$650
Accessories bundle costs $450 / £450 / AU$730
Max Lens Mod bundle costs $500 / £500 / AU$820

The GoPro Hero 12 Black is available now, with the lowest-priced Standard Combo package costing $400 / £400 / AU$650 – that's slightly pricier than the DJI Action 4. Interestingly, the Hero 11 Black is still on sale alongside the 12 Black on GoPro's website, and has seen its price drop to $350 / £350 / AU$579.

If you want to pick up an extra Enduro battery, GoPro's Handler grip, a head strap, and a carrying case, then the $450 / £450 / AU$730 accessories bundle is for you, and that price is slashed by around 20% if you have a GoPro subscription.

If you don't need all those extra peripherals but fancy the new Max Lens Mod 2.0, which GoPro announced alongside the camera, for a class-leading wide field of view, the Max Lens Mod bundle costs $500 / £500 / AU$820. Once again, if you have a GoPro subscription, you can enjoy a discount of around 20% on this combo.

While GoPro sold its Hero cameras at a discount with a subscription and a sky-high subscription-free price in previous years, it has simplified things this year. In turn, it's great to see that the standalone 12 Black has one fixed price that's lower than the list price of the 11 Black at launch.

So, while the Hero 12 Black isn't cheap by any stretch, it's great that its value for money isn't held back by what has, in the past, felt like inflated non-member pricing. This subscription-free model makes GoPro's latest camera much more competitive out of the gate.

Price score: 4/5

GoPro Hero 12 Black: design

Identical weight and dimensions to Hero 11 Black
New 1/4-20 tripod thread mount
Waterproof up to 33ft / 10m

At first glance, the GoPro Hero 11 and 12 Black look almost identical, apart from some speckled blue styling that differentiates the latest edition. Both cameras weigh 154g, sport the same dimensions (71.8 x 50.8 x 33.6mm), and have removable doors behind which are a USB-C port, battery cavity, and microSD slot.

The removable lens protects familiar f/2.5 aperture glass that delivers a 151-degree field of view, which is slightly less wide than the DJI Osmo Action 4's 155 degrees. The Hero 12 Black, however, can be bumped up to a class-leading 177 degrees with the Max Lens Mod 2.0.

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On to mounting, and the camera's base features GoPro's familiar flip-out feet that make traditional action camera mounting possible, and this year the Hero line gets a 1/4-inch mount too, so it works with traditional tripods and action-camera mounts alike. This is brilliant for anyone like me, who uses a Manfrotto Pixi or an alternative vlogging tripod with their main camera, saving the need to pack a separate grip when traveling light.

Having tested out the DJI Action 4 and Insta360 Go 3, both with magnetic mounting support, I do miss the feature when using the Hero12 Black. If GoPro manages to fit magnets into next year's 13 Black, then its action camera will have the holy trinity of mounting options; as it stands, though, two out of three isn't bad.

Just like the Hero 10 and 11 Black, the 12 Black has two color displays, one on the front and the other on the rear. Unlike DJI's latest action camera, only the rear screen is touch-sensitive. This isn't the end of the world, but it was handy to be able to vlog on the Action 4 without having to flip it around to make basic shooting adjustments.

The main screen on the rear measures 2.27 inches. It gets bright enough for comfortable viewing indoors and out, and unlike older GoPros, specifically the Hero 9 Black, it's super-responsive.

The 12 Black's physical controls include a record button at the top and a power button on the side. Pressing the record button when the camera is off activates quick-fire recording, and pressing the power button when the camera is on changes modes.

One of the big benefits of picking up a GoPro over a competitor is accessories – both first-party and third-party options. While DJI does a great job with its Action 4, offering an ND filter system and a host of magnetic mount tools, GoPro's ecosystem is richer.

From GoPro's own camp, the Media Mod is the most powerful addition to the Hero 12 Black if you're concerned about sound quality. This upgrades the audio with a directional mic while adding a 3.5mm microphone port for wireless solutions like the excellent Rode Wireless Go 2, as well as a micro HDMI port and an easy-access USB-C port, and there's nothing quite like it in the DJI camp.

Design score: 4.5/5

GoPro Hero 12 Black: features and performance

Excellent HyperSmooth 6.0 stabilization
Super-fast wired file transfer via USB-C
New Bluetooth microphone support

The key advantage the GoPro Hero 12 Black has over the DJI Osmo Action 4 is resolution. Yes, its sensor is physically smaller, but its 27MP stills and 5.3K 8:7 video wipe the floor with DJI's 10MP stills and 4K 16:9 video – on a sunny day when light is abundant, it's unsurprising that the Hero 12 Black's picture is noticeably crisper.

GoPro's 8:7 aspect-ratio sensor is poised to capture footage that's primed for editing. Max out the resolution to 5.3K, capture with an almost square aspect ratio, and your clips can be cropped easily in the GoPro Quik app to 1:1, 16:9, or 9:16 while still retaining a sky-high resolution.

GoPro's frame rates are also best-in-class, with 5.3K footage captured at up to 60fps, 4K footage at up to 120fps, and 2.7K footage at up to 240fps. GoPro even offers this super-fast frame rate with Horizon Leveling active, so you can compensate for tilts without them making it through to your final footage.

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One GoPro Hero 12 Black feature I love is that you can transfer files to your phone using a USB-C cable, so no more painfully slow wireless transfers. This feature is back from the 11 Black, and it's supported by Android phones with a USB-C port, and by the new USB-C-equipped iPhone 15 range.

GoPro includes a 1720mAh Enduro battery with the 12 Black, though the camera is compatible with the standard, non-Enduro variety, albeit with shorter run times. The battery performance best suits anyone who shoots clips shorter than 20 minutes. While there were reports of older GoPros overheating, I had relatively good experiences with the Hero 11 Black, and the 12 Black fares even better.

If you're shooting stationary on a hot day, you may experience overheating, but out and about in the UK and Berlin, in around 70F / 20C ambient temperatures, I shot for over 30 minutes at 5.3K without any issues.

The Hero 12 Black also plugs into the GoPro Volta grip and other power sources when you need more capture time than the battery offers, and you can also pack spares, with an Enduro battery capturing over an hour of continuous 4K 60fps video.

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GoPro has streamlined the interface slightly for 2023, leveling up the Easy Mode, while adding 8:7 capture to all modes.

If you haven't come across GoPro's Easy Mode, it's an alternative interface to Pro Mode, and makes all the decisions for you. All you need to decide is whether you're taking a photo, video, or timelapse, and choose a quality level, and Easy Mode will adjust the settings accordingly.

Pro Mode has a steeper learning curve, but if you want to access GP-Log, HDR capture, or control the stabilization and frame rates, Pro is the mode for you.

I found that results from Easy Mode were excellent in my first few days with the camera, and it's a great way to ease into the GoPro way of shooting. Once I found my feet, though, the mode felt restrictive, and I jumped to Pro Mode.

GoPro's stabilization for 2023 is HyperSmooth 6.0 matched with AutoBoost. This incredible system doesn't just make super-smooth capture possible; it also supports horizon locking, so you can literally loop-de-loop in a plane or on a rollercoaster, and your footage will mask the spins.

AutoBoost dials the field of view up and down based on how much stabilization you need, so you always get the most information in frame. We didn't even notice the feature in action, which bodes well for GoPro's latest iteration of HyperSmooth, and footage always looked well held together.

GoPro also adds Bluetooth microphone support to the Hero 12 Black, with support for a total of four Bluetooth devices, be they a mic, a phone, a wireless shutter, or another GoPro for synchronized capture.

Your microphone will entirely dictate quality from Bluetooth audio sources. We tested the Hero 12 Black with the OnePlus Buds Pro 2, as demonstrated in the sample video, and the audio wasn't impressive. The Huawei FreeBuds 4 did a better job, and a dedicated microphone did a better job still.

While handy for anyone wearing a helmet or far from your camera, Bluetooth Audio will unlikely be able to match the quality of dedicated wireless mics like the stellar DJI Mic, which can be used out of the gate with the Action 4 if you have both gadgets.

What is smart with GoPro's new external audio recording is that it captures two audio channels and bakes them into the video file, so you can access both in Adobe Premiere Pro or another video editor, or through the GoPro Quik app.

It's worth noting, for 2023, that GoPro has ditched GPS, a feature that's been on GoPros for generations. I haven't missed it in my time with the camera, though only you can say how much the lack of geotagging will impact your action-cam experience.

Features and performance score: 4.5/5

GoPro Hero 12 Black: image and video quality

High-resolution 27MP stills
10-bit 4K video quality
New HDR and GP-Log color profiles

While the new 1/1.3-inch sensor is the headline feature of the DJI Action 4, the headline feature of the GoPro Hero 12 Black's sensor is its 8:7 aspect ratio matched with its 27MP resolution.

While DJI has low light covered, GoPro's latest action camera crams in more resolved detail when the light is right. This is evident when playing back 4K video, or grabbing a still from a clip, or taking a photograph.

GoPro's default shooting modes do an excellent job of making daytime footage look zingy, crisp, and smooth. HDR capture is a welcome addition that makes a tangible difference in bright environments, while the GP-Log capture extends the dynamic range further to great effect.

The Hero 12 Black's 10-bit 4K video also looks impressive, with lively colors and extensive scope for editing. The key limiting factor when it comes to any GoPro's camera quality is ambient light, and when the lights drop, the Hero's video quality does too.

GoPro includes fun night modes for light painting-style video capture, and photos shot in dimly-lit scenes and timelapses can look respectable. That said, the 12 Black should be put in a bag and your phone should be taken out if you're capturing candlelit dinner scenes or nighttime strolls on the beach – your mobile will probably cope better.

GoPros are excellent vlogging tools, and handle faces and skin tones better than DJI's Action 3 from experience. The Hero 12 Black's Horizon Lock feature is also more powerful than DJI's, looking great at up to 5.3K resolution, while DJI's caps out at 4K.

As with most action cameras, the GoPro Hero 12 Black has a fixed-focus lens, which means it isn't suited to close-up shots or videos, though there are macro lenses available that can bring this nearest focus distance close if you want to invest in the Hero ecosystem.

With 5.3K 60p 10-bit video, and impressive 120fps 2.7K slow-motion, GoPro brings back timelapse and hyperlapse modes, and some creative photography modes geared to helping the GoPro not become redundant in low light.

The 12 Black's microphones do a great job of capturing voices, making it our choice for vlogging, especially compared to other cameras including the DJI Osmo Action 4, which did a better job of pulling in more ambient sounds.

Image and video quality: 4/5

Should I buy the GoPro Hero 12 Black?

Buy it if...

Don't buy it if...

Also consider

Testing scorecard

How I tested the GoPro Hero 12 Black

While it's always ideal to get time off to test an action camera, I wasn't so fortunate in my fortnight with the GoPro Hero 12 Black, so exercised my city adventurer status, taking it on work trips to Berlin and Barcelona, while conducting lab tests on home turf.

I used the Hero 11 Black more like a vlogging and travel camera while out and about, and conducted stabilization tests at home, strapping it onto a remote-control car and taking it on runs. I also tested run times in various temperature conditions.

Having been a Hero 11 Black user, I wanted to focus on the new features for the 12 Black, so captured an abundance of GP-Log and HDR video, and tested it with different Bluetooth microphones, from AirPods Pros to over-ear solutions like the Sony WH-1000XM5.

First reviewed October 2023

Nikkor Z DX 24mm f/1.7 review – the perfect pocket partner

1:00 pm |

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

Nikkor Z DX 24mm f/1.7: Two minute review

Nikon has taken some time to release the Nikkor Z DX 24mm f/1.7 Lens. It is the company’s first for its mirrorless Z-mount cameras with APS-C size sensor (Nikon calls this lens format 'DX'), the first of which, the Nikon Z50, was unveiled in 2019, a year after the first full frame Z mount cameras (which Nikon calls 'FX'). As I write this in 2023, there are now a total of three APS-C cameras in the system, with the retro-inspired Z fc and Nikon Z30 joining the ranks.

With the 'DX' cameras being some of the best beginner mirrorless cameras and appealing more to the entry-level market, it is logical that to date, all four of the Z-mount DX lenses are zooms, with focal length coverage from 12mm all the way to 250mm, plus fairly modest aperture settings. There is an obvious gap for prime lenses with large apertures, but up to now, this has been covered by using a full-frame Z-mount lens on DX-format cameras.

Now, Nikon has introduced the Nikkor Z DX 24mm f/1.7 - a compact prime lens that provides roughly the equivalent field of view to a 36mm lens on a full-frame sensor camera, such as Nikon’s popular Z6 II or the Nikon Z8. However, it’s really best to think of this as a 35mm equivalent focal length lens, for all intent and purposes.

The Nikkor DZ DX 24mm f/1.7 lens sits on a log — (Image credit: Future)

The 35mm equivalent focal length is always a good place to start when you introduce prime lenses. The field of view offers a natural feeling, close to that of human vision, but allows some periphery so that images and video created don’t feel too close and tight. The f/1.7 aperture setting offers an equivalent depth of field to an f/2.5 full-frame lens, so it is a nice combination for creating shallow natural-looking images and depth of field.

Externally, there is little to talk about on the lens. It has a very basic design with a small section of barrel, with most of the circumference being taken up by a ribbed manual focus ring. Besides the lens designation and branding, there is little else to note.

It is as small and light as you would expect, weighing just 135g and measuring 70mm x 40mm. It has a small 46mm filter thread, and with the front lens element being much smaller than the barrel, the included HN-42 lens hood cones slightly inward to prevent light from hitting the lens element at acute angles. Overall, the build is best described as being ‘neat’.

Internally, the construction comprises 9 elements in 8 groups, with two aspherical elements, and the aperture features seven rounded blades. The only real item of note looking at the specifications is that the minimum focus distance is a reasonably close 18cm, which makes the lens an interesting choice for close-up work, particularly for those who are shooting video.

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Nikkor Z DX 24mm f/1.7 lens mounted on a Nikon Z fc camera. The lens hood is off to one side. — (Image credit: Future)

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Nikkor Z DX 24mm f/1.7 lens with lens hood set to one side — (Image credit: Future)

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Nikkor Z DX 24mm f/1.7 lens side view with the lens mounted on a Nikon Z fc camera — (Image credit: Future)

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I had the Nikon Z fc for my test of the 24mm f/1.7 lens, and they made a perfect pair, being pocketable if you happened to be wearing a parka jacket with huge pockets. Still, for the rest of us, it would slip very easily into small sling bag, making the combination ideal for a weekend away.

While away for a few days and also shooting a little bit closer to home. I found the Z fc and 24mm f/1.7 combination snuck into a small sling bag that was actually designed to hold a tablet and a few accessories, so it was a nice size to carry around. Photographing my kids playing, as well as general snaps of animals at a petting zoo and some landscape shots in less-than-ideal lighting, the lens performed well. The autofocus of the lens and camera kept up – although it wasn’t lightning-quick, I also wouldn’t expect it to be.

What it did do is live up to my expectations; it was a great carry-around lens that, with a 35mm equivalent lens, gave a similar field of view that I am used to having on a smartphone, but offering much better image quality and sharpness that I would ever get from even the latest phone.

Nikkor Z DX 24mm f/1.7 lens pictured in hand showing how small and light the lens is — (Image credit: Future)

Nikkor Z DX 24mm f/1.7: Price and release date

The Nikkor Z DX 24mm f/1.7 Lens costs £289.99/US$279.95/AU$499 and is on sale now. As it it is the first Nikon DX prime lens, there is little to compare it to within the range. The most obvious alternative lens from within the range is the NIKKOR Z DX 16-50mm f/3.5-6.3 VR lens, which should prove to be a great all-purpose lens, although it lacks the larger f/1.7 aperture for low light shooting. It costs £329/US$309.95/AU$449.

Sigma produces a series of 3 lenses DX lenses for the Nikon Z, the same lenses available for most other APS-C and Micro Four Thirds mounts. Of these, the Sigma 30mm F1.4 DC DN is the closest match to the Nikkor 24mm f/1.7. The Sigma lens has a narrower field of view at 45mm equivalent lens, which, along with the f/1.4 aperture, makes it more suited to portrait shots but less useful as an everyday walk-around lens. It costs US$399 / £349/ AU$699.

A picture of a goat taken with the Nikon Nikkor Z DX 24mm f/1.7 — (Image credit: Future)

Nikkor Z DX 24mm f/1.7: Image quality

The beauty of a fixed focal length in this standard range is that detail is usually pin-sharp, and the 24mm f/1.7 is no exception. In the very center, details such as hairs on animals – in the case below, a goat – are perfectly defined.

There is impressive detail resolution, even when shooting wide open. However, it is at f/2.8 to f/4 that I found the sharpest of the aperture settings. There is some drop in quality towards the edges of the frame, but the quality is impressive, especially when the lens's size and price are considered.

100% pull-up of an image of a goat taken with the Nikkor Z DX 24mm f/1.7 lens and Nikon Z fc — (Image credit: Future)

I didn’t notice any chromatic abberation in my real-world images, but by shooting through trees into a bright, overcast sky, I could force the issue by overexposing slightly and then viewing the image at 400%. Then, I could see some magenta along the edges. No one in their right mind would do this, so rest assured chromatic aberration isn’t an issue, and again, there is in-camera correction.

There is some vignetting with the correction turned off. Shooting a brick wall as part of my testing (brick wall construction is not a hobby of mine), shots taken at f/1.7 had heavy vignetting in the corners that took a +100 adjustment in Adobe Camera Raw to correct. Stopping down to f/4, and the shading in the corners had gone. All that said, vignetting correction is just a few button presses away, and it gets rid of vignetting entirely, even at f/1.7, so unless you are an absolute lens purist, you don’t ever have to worry about it.

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Image of a brick wall taken with the Nikkor Z DX 24mm f/1.7 lens to show vignetting (Image credit: Future)

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Image of a brick wall taken with the Nikkor Z DX 24mm f/1.7 lens to show vignetting correction (Image credit: Future)

Animated Gif showing the curvilinear distortion from the Nikkor Z DX 24mm f/1.7 lens and the in-camera correction — (Image credit: Future)

Again, with curvilinear distortion correction turned off in the camera, some pincushion distortion is present. A quick shift of the distortion correction in Adobe Camera Raw to -6 straightened everything up, and the image looks virtually identical to the image straight out of the camera with the in-camera correction switched on.

The overall conclusion is to leave the in-camera corrections all switched on and shoot away quite happily, knowing the images will be virtually perfect.

Nikkor Z DX 24mm f/1.7 sample images

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A still life shot of orchids shot with the Nikkor Z DX 24mm f1/.7 lens — (Image credit: Future)

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Landscape shot with the Nikkor Z DX 24mm f/1.7 lens — (Image credit: Future)

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a squirrel sits on a fallen tree whilst looking in to the lens - shot with the Nikkor Z DX 24mm f/1.7 lens — (Image credit: Future)

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An image of nuts on a tree showing the background bokeh and specular highlights of the Nikkor Z DX 24mm f/1.7 lens — (Image credit: Future)

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A window covered in sheets of newspaper showing how sharp the Nikkor Z DX f/17 lens is at the center and edges — (Image credit: Future)

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Photograph of steps to a building taken with the Nikkor DX Z 24mm f/1.7 lens — (Image credit: Future)

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A photograph of the word SLOW written on a road taken with the Nikkor Z DX 24mm f/1.7 lens — (Image credit: Future)

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A photograph of a rotting tree trunk from a silver birch tree taken with the Nikkor Z DX 24mm f/1.7 lens — (Image credit: Future)

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A photograph of woodland scene taken with the Nikkor Z DX 24mm f/1.7 lens — (Image credit: Future)

Should I buy the Nikkor Z DX 24mm f/1.7 lens?

Nikkor Z DX 24mm f/1.7 lens front view with the lens mounted on a Nikon Z fc camera — (Image credit: Future)

Buy it if...

Don't buy it if...

How I tested the Nikor 24mm f/1.7 lens

I tested the Nikor 24mm f/1.7 lens by taking it away with me for a few days away. I used it on a Nikon Z fc and took various images, just as someone would take it with them on their travels. This included scenic images, shots of my children, shots of animals at a petting zoo, as well as some detail shots to test the close-up ability and to see what the background bokeh looked like.

During the real-world testing of the lens, I used a variety of different aperture settings and focusing methods to see how the lens performed.

I accompanied these images with some test shots of a brick wall to test vignetting and curvilinear distortion, as well as the tried and tested method of looking for chromatic aberration by shooting an overcast sky through tree branches.

First reviewed October 2023

Potensic Atom review: one of the best beginner drones

10:00 pm | October 1, 2023

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

One-minute review

Potensic is a familiar name in the beginner drone arena and enjoys a loyal following, with its Atom range, comprising last year’s Potensic Atom SE and the more advanced Potensic Atom, which was released in September 2023, helping to redefine the low-cost beginner drone market.

The Atom is one of the best beginner drones available, offering performance that belies its low cost. I was impressed with the Atom SE when I reviewed it last year, but I was also acutely aware of its shortcomings, and Potensic has wholeheartedly addressed those here.

Its latest 249g drone sits somewhere between the DJI Mini 2 SE and DJI Mini 3 in terms of features and functionality; it's arguably more of a competitor to the latter, but with a much lower cost that’s comparable to the likes of the Holy Stone HS720R, Bwine F7GB2 and Ruko F11GIM2.

In some cases, despite being a much more able performer in terms of both flight and image quality, the Potensic Atom Fly More Combo is even less expensive than the competition, if not similarly priced – it's excellent value.

The beginner end of the drone market is experiencing a welcome trickle-down of high-end features, and although collision avoidance remains absent at this level for now, many new models, including the Atom, are offering 3-axis mechanical gimbals for smoother video capture.

The Atom features a 12MP 1/3-inch Sony CMOS sensor with a fixed f/2.2 aperture, and a lens that provides a 78-degree field of view. Photos can be captured in raw and JPEG, while video can be captured up to 4K at 30fps, with manual camera control available in both shooting modes. It’s certainly impressive on paper, but let’s take a closer look at how it performs overall.

Potensic Atom: Release date and price

Available from September 15 2023
Costs from $299 / £279 / AU$505
Standard kit and Fly More Bundle available

The release of the Potensic Atom was delayed by a few months, and it was announced on September 15 2023. It's available to order from the Potensic website initially, with availability on Amazon coming soon. There are two kits available: the Standard kit and the Fly More Bundle, with the latter providing the best value for money in terms of both price and the fact that all the included extras are extremely useful.

The Standard kit costs $299 / £279 / AU$505 and includes the Atom drone, a remote controller, one battery, four pairs of spare propellers, eight spare screws, a gimbal Protector, a screwdriver, a USB-C charging cable, and three adapter cables (micro USB, USB-C and a Lightning connector).

The Fly More Bundle costs $399 / £379 / AU$673, and includes all of the above plus two additional batteries, a fast-charging hub with a power adaptor, four extra pairs of spare propellers, eight additional propeller screws, and a carry bag. At the time of writing, and for a limited amount of time, the Fly More Bundle also includes a free 64GB Lexar microSD card.

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Potensic Atom carry bag — (Image credit: James Abbott)

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Potensic Atom fast charging hub with three batteries — (Image credit: James Abbott)

Potensic Atom: Design and controller

Small and lightweight folding design
Unique controller design
Intuitive app

Being a 249g folding drone, the Atom is small and palm-sized, measuring 3.5 x 5.6 x 2.3 inches / 88 x 143 x 58mm when folded, which extends to 8.3 x 6 x 2.3 inches / 210 x 152 x 58 mm when unfolded. The light-gray airframe accommodates the 2230mAh battery at the rear, and offers an advertised flight time of up to 32 minutes. During testing, each battery lasted around 25 minutes before Return to Home was initiated once the battery level reached 16%, which is fairly standard for drones of this type.

Despite its small size and light weight, the Atom offers level 5 wind resistance, which translates to up to 24mph. And during testing in gusts of around 21mph, the Atom performed well, although flight times were reduced to around 23 minutes per battery. In this situation, at higher legal altitudes where wind speeds were higher, the Potensic Pro app did warn of high wind and suggested a reduction in altitude.

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Screengrab from the Potensic Pro app for the Potensic Atom drone — Potensic Pro app manual camera settings (Image credit: James Abbott)

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The Potensic Pro app is new with the Atom, and works with other Potensic drones including the lower-spec Atom SE. It's easy and intuitive to use once your phone is connected to the controller; the user interface isn’t dissimilar to the DJI Fly app, so everything is where you’d expect it to be, with the main advantage over the old PotensicFly app being that manual control over camera settings is available alongside auto options if you prefer a quicker and easier shooting experience.

The controller itself is unique in that it extends lengthways to hold the phone between the two handgrips on which the control sticks are situated, which provides a comfortable and balanced control setup. For testing, I used a Samsung Galaxy S23 Ultra, which is pretty much the largest smartphone the controller can accommodate.

The thumb sticks screw into position, and can be stowed away at the bottom of the controller. There’s a Return to Home button, gimbal control, video record button and a shutter button for photos. Unfortunately, though, there’s no flight mode switch, so you have to use the Potensic Pro app to move between Video, Normal and Sport modes; the app will always revert to Normal mode when the drone is switched off.

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Potensic Atom unfolded on a wooden table — (Image credit: James Abbott)

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Potensic Atom and controller side by side — (Image credit: James Abbott)

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Potensic Atom controller folded — (Image credit: James Abbott)

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Potensic Atom controller with a phone running the Potensic Pro app — (Image credit: James Abbott)

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Top of the Potensic Atom when folded — (Image credit: James Abbott)

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Bottom of the Potensic Atom — (Image credit: James Abbott)

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Potensic Atom close-up of the camera and 3-axis gimbal — (Image credit: James Abbott)

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Potensic Atom controller stick storage at the bottom of the controller — (Image credit: James Abbott)

Potensic Atom: Features and flight

Smooth flight controls
Improved GPS positioning
Effective subject-tracking algorithms

The Atom is by far the best drone that Potensic has made to date, offering a reliable balance of cost, features, and flight performance that make it one of the best drones available for under $300 / £300 / AU$550 (for the Standard kit) if not the best. Flight performance is reliable overall, with the Video, Normal and Sport modes offering different flight speeds. I noticed that when I was flying forwards or backwards and then released the pitch and roll control stick to enter a hover, if the gimbal was pointing the camera straight down it tended to lift slightly, and I had to adjust it to maintain a straight-down viewpoint.

With no collision avoidance, you have to take care when flying manually or when using the subject-tracking features if there are trees or other obstacles nearby. The lack of collision avoidance is unsurprising for a drone of this price, and on the plus side the Atom has improved positioning compared to other Potensic drones, using GPS, GLONASS, Galileo, BeiDou systems. Then there’s Return to Home, which can be initiated manually using the button on the controller, or activated automatically when the battery is running low.

The connection between the Atom and the controller is solid within realistic and legals distance for a drone of this size, although Potensic's PixSync 3.0 transmission technology is claimed to provide a maximum video transmission of up to 3.7 miles / 6km to provide improved connectivity over the Atom SE. This couldn’t be tested to the extreme because of local aviation laws, but it suggests why the transmission at shorter distances is undoubtedly reliable.

In terms of flight features, there are QuickShots automated flight patterns, which include Pull-away, Rocket, Circle, Spiral, and Boomerang. Plus, there are the subject-tracking modes which use a new algorithm to identify and track the moving subject; these are easy to set up and use, with a few parameters that can be adjusted, and they're highly effective despite the absence of collision avoidance. However, once again, you have to be mindful of your surroundings when using these features to avoid a potential collision.

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Photo of boats from above taken with the Potensic Atom drone — (Image credit: James Abbott)

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Photo of the coast taken with the Potensic Atom drone — (Image credit: James Abbott)

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Photo of derelict boats taken with the Potensic Atom drone — (Image credit: James Abbott)

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Photo of yachts taken with the Potensic Atom drone — (Image credit: James Abbott)

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Photo yachts taken with the Potensic Atom drone — (Image credit: James Abbott)

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Photo of a pier taken with the Potensic Atom drone — (Image credit: James Abbott)

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Photo of sea defences taken with the Potensic Atom drone — (Image credit: James Abbott)

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Potensic Atom: Image quality

12MP photos and 4K 30fps video
3-axis mechanical gimbal
Photos can be captured in DNG format

With any camera drone, even beginner models like the Atom, image quality for photo and video capture is incredibly important. And, thanks to a 3-axis mechanical gimbal, video capture is indeed smooth, with an equally smooth tilt range of +20 to -90 degrees. Some lower-cost beginner models feature a rather unrefined gimbal tilt that’s unusable during video capture, but the Atom performs more like DJI and Autel drones in this respect.

The camera itself features a 12MP 1/3-inch Sony CMOS sensor, paired with a lens that has a fixed f/2.2 aperture and provides a 78-degree field of view. This is also a fixed-focus lens, relying on hyperfocal distance to ensure sharpness throughout the scene. In stills, closer subjects are much sharper than those in more distant scenes, which are only acceptably sharp rather than pin-sharp, and subjects with bright areas in the frame exhibit a haziness. There’s also subtle yet noticeable vignetting in photos, so hopefully these deficiencies can be ironed out with future firmware updates.

Video capture, on the other hand, doesn’t suffer from these issues, and 4K video looks great. The only downside here is that there are no ND filters available to control shutter speed in brighter conditions to maintain the 180-degree shutter rule for capturing natural-looking movement. Video can be captured in 4K up to 30fps, 2.7K up to 30fps, and 1080p up to 60fps in the H.264 codec.

Just like the Atom SE before it, the Atom can capture photos in both JPEG and raw formats (in 16:9 ratio), which is rare for drones at this level, and a hugely useful feature for photographers. Manual control over ISO, shutter speed, white balance, video resolution and frame rates is also available alongside automatic shooting, so you can take as little or as much control over the camera as you want.

Potensic Atom 4K 30fps video

Should I buy the Potensic Atom?

Potensic Atom in flight — (Image credit: James Abbott)

Buy it if...

Don't buy it if...

How I tested the Potensic Atom

I tested the Potensic Atom over a couple of weeks, initially with the developer version of the Potensic Pro app and then with the full-release version. Testing was conducted in a range of locations, environments, and weather conditions (excluding rain) to test flight performance, flight features, overall handling, and image quality for both photo and video capture. All testing was conducted in compliance with local aviation laws and restrictions.

Drones are always tested using manual flight patterns for video that are typical of professional aerial video capture to shoot visually interesting footage. This also provides the opportunity to test aspects such as the connection between the drone and controller, latency between the two, and the accuracy of the controls and flight in general. Automated flight features are also tested to assess their accuracy and overall performance.

I have nearly 30 years of photographic experience and 15 years working as a photography journalist, and I’ve been writing about and reviewing drone reviews for a number of years. As well as flying most consumer and prosumer models, I’ve previously held a PfCO (Permission for Commercial Operations) issued by the Civil Aviation Authority in the UK, and now fly under an A2 CofC (A2 Certificate of Competency).

First reviewed September 2023

Fujifilm Instax Pal review: a pocketful of fun

8:33 pm | September 29, 2023

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

Fujifilm Instax Pal: Two-minute review

Today’s cameras are so good, and so serious, that it’s proved cathartic to review the Instax Pal, a camera that’s seriously enjoyable and no more.

This fuss-free ball of fun – it's about the size of a golf ball, to give you an idea – is suitable for all ages, and the closest a camera can be to a digital pet; it lights up and emits a happy jingle when powered on, and a sad sound when inactivity sends it to sleep, while the compatible Instax Pal app gifts you digital rewards for your activity. Tamagotchi, eat your heart out.

As a self-respecting adult I didn’t fall for such blatant manipulation to motivate me to use the app (okay, I did). And you only have to make the Pal available to the whole family – which you can, because you don’t need to be precious about this low-cost snapper – to appreciate that it speaks to all ages.

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Instax Pal app device pairing process on phone display, with white Fujifilm Instax Pal in the background — (Image credit: Future)

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White Fujifilm Instax Pal alongside smartphone with Instax Pal app on the display — (Image credit: Future)

This is an Instax camera that might actually be used day-to-day, and not stowed away in the cupboard once your film supply has run dry, as is so often my experience with analog Instax cameras.

The Pal might well have the Instax name, but it’s not an instant camera as we know it. It’s a digital-only camera that fits better in the hand, printing via one of Fujifilm’s Instax Link printers, which come in ‘Mini’, ‘Square’ or ‘Wide’ formats; directly via a Bluetooth connection; or through the new Instax Pal app.

So while you don’t get the analog-only experience of traditional Instax cameras, which can be a wonderful remedy in this digital world we live in, you're more likely to take your tiny Pal with you everywhere, and you’ll also print your candid moments with one of Fujifilm’s portable Link printers more often than you would with a desktop printer.

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White Fujifilm Instax Pal in the hand — (Image credit: Future)

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White Fujifilm Instax Pal in the hand with power button illuminated blue — (Image credit: Future)

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Underside of the White Fujifilm Instax Pal showing the tripod thread and photo mode switch — (Image credit: Future)

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White Fujifilm Instax Pal resting on the detachable ring on a wooden table — (Image credit: Future)

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White Fujifilm Instax Pal with detachable ring attached to the top — (Image credit: Future)

To me, the Pal feels like the best of both worlds; it’s a camera that’s not weighed down by a built-in a printer, while the shoot-to-print experience – either directly, or through the app – is seamless.

You can print blind the old-school way, directly to a Link when the switch on the underside of the camera is set to ‘L’, or be selective via the convenient app, and not waste your expensive film by using the ‘F’ setting instead. That’s not the analog soul, but these days I’d rather have the control.

I’m a big fan of Fujifilm’s Instax Link portable printers – and it was the Instax Square Link printer that really completed my Pal experience. You can also use this printer to print the higher-quality photos in your phone’s gallery using the relevant Link app.

The Pal doesn’t even have a screen on which to compose and view your ultra-wide angle snaps, like the Instax Mini Evo hybrid Instax does, and nor does it produce technically excellent image quality images – this is essentially a basic 2560 x 1920 pixel stills-only camera, clothed in cuteness.

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White Fujifilm Instax Pal in the hand with a white table in the background and harsh shadows — (Image credit: Future)

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The rear side of a white Fujifilm Instax Pal, in the hand, with a white table in the background and harsh shadows — (Image credit: Future)

As a camera, the Pal isn’t great. But what it does bring to the table is a fine-tuned experience with the app and printer, in colorful packaging for all to enjoy, and it has one or two surprises up its sleeve.

Selfies and group shots are made easy via the self timer on the app, with the camera supported by the included detachable ring (that you’ll need as a kind of wrist strap if you don’t want to keep dropping the ball-like camera). The Pal even has a tripod thread that's compatible with small table-top tripods.

Also, it was a real curveball to discover that the Pal is a discreet snapper; no one batted an eyelid as I took candid street photos around London with the Pal nestled into the palm of my hand (although the automatic fill-in flash caught me out a few times).

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Digitized instant photo taken with the Fujifilm Instax SQ40 of DJ indoors in darkly lit bar — (Image credit: Future)

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Digitized instant photo taken with the Fujifilm Instax SQ40 of a London bar with person in motion blur walking past — (Image credit: Future)

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Digitized instant photo taken with the Fujifilm Instax SQ40 of highrise buildings reflected in water — (Image credit: Future)

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Digitized instant photo taken with the Fujifilm Instax SQ40 of selfie with two people on colorful backdrop — (Image credit: Future)

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Digitized instant photo taken with the Fujifilm Instax SQ40 of old building along a canal on sunny day — (Image credit: Future)

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Digitized instant photo taken with the Fujifilm Instax SQ40 of London streets on a sunny day — (Image credit: Future)

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Fujifilm has put a lot of thought into the new app, too. Automatically wiping photos from the 50-shot internal memory once they’ve been uploaded to the app is a smart move, while there’s also a micro SD card slot for those that want to double up on storing their photos.

In-app images filters, basic edits, plus output to the various Instax Link printers cover your bases and ensure that you remain active, provided you don’t run out of paper. And the beauty is that when you do run out you can keep using your digital Pal until you top up your supply again.

The Fujifilm Instax Pal is not one of the best instant cameras – it’s not even an instant camera, technically – and on paper it can’t compete with the Instax Mini Evo. However, sometimes you’ve just got to go with the feeling, and Pal gives all the feels.

Ultimately, Pal isn’t a technically great camera, but it is one that I want to use more than most others, and that says a lot.

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Blue Fujifilm Instax Pal on a white background — (Image credit: Fujifilm )

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Green Fujifilm Instax Pal on a white background — (Image credit: Fujifilm)

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White Fujifilm Instax Pal on a white background — (Image credit: Fujifilm)

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Pink Fujifilm Instax Pal on a white background — (Image credit: Fujifilm )

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Gem Black Fujifilm Instax Pal on a white background — (Image credit: Fujifilm)

Fujifilm Instax Pal: Price and release date

Available in the US, bundled with the Mini Link printer only, for $199.99
Available in the UK and Australia as the camera only, from £89.99 / AU$149

The Instax Pal is available in five exotically named colorways: Milky White, Powder Pink, Pistachio Green, Lavender Blue, and Gem Black.

In the US the Instax Pal is bundled with the Instax Mini Link printer only, for $199, while in the UK and Australia you buy the camera separately, for £89.99 / AU$149 respectively (while the Gem Black version with a shiny, reflective surface costs £104.99 in the UK).

In the box you get a detachable ring that can act as a support to rest the Pal on, or slide onto the top as a 'viewfinder' (you don't need to do that), or, most helpfully, use as a kind of wrist strap.

As for the cost of paper, that depends on which format printer you're outputting to; Mini, Square, or Wide. Twin packs of 10 sheets of Instax Mini film start from $14.99 / £14.99 / AU$34.95

Fujifilm Instax Pal: Should I buy?

Buy it if...

Don't buy it if...

Fujifilm Instax Pal: also consider

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

Fujifilm Instax Pal: How I tested

All the family played with our new Pal
Printing directly to portable Link printer, and via the app

I had the Instax Pal in my pocket for over a week, and in my family home with two generations getting to grips with it. Throughout this time, I've became very familiar with the accompanying Instax Pal app, through which you can access most of the Pal’s functions. The camera device itself is super-simple, and I also operated it bypassing the app altogether and making direct-to-Link prints, for a more ‘authentic’ Instax experience.

I’ve used the camera for family snaps, as a discreet street photography snapper, and for all-round every day moments. I played around with the in-app editor, and made lots of prints from the Instax Link Square printer, which is my favorite size of Instax print, collecting plenty of in-app rewards in the process.

First reviewed September 2023

Sony FE 70-200mm F4 Macro G OSS II review: a superb multi-purpose tool

4:53 pm | September 28, 2023

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

Two-minute review

Sony’s 50th full-frame lens, the FE 70-200mm F4 G OSS II, is a comprehensive update of the (almost) 10-year-old Sony FE 70-200mm f/4 G OSS stalwart. It’s part of a recent wave of smaller and lighter second-gen Sony lenses, in this case, it's 15% smaller and lighter than its predecessor, weighing 794g / 28.1 oz, and measuring 149mm / 5.8in long.

Lens size is a big deal when you shoot with Sony cameras – they are smaller than most and can feel off-balance with a big chunk of glass on the front. I paired the 70-200mm F4 II with the Sony A7C R, which is one of the best travel cameras, plus the crop-sensor Sony A6700 (with which the lens focal length is increased 1.5x), and both cameras proved an excellent fit with the lens.

If this mark II version of the lens was only smaller and lighter it could be worth an upgrade for that reason alone, but it’s also the beneficiary of a total redesign, which has given it sharper image quality, faster autofocus and next level macro focusing. Yes, it’s smaller, lighter, sharper, quicker and more versatile than the original, and one of the best Sony lenses around.

Sony FE 70-200mm F4 Macro G OSS II lens in the hand attached to Sony A6700 — (Image credit: Future)

The 70-200mm lens is already a versatile focal length – my own Nikon 70-200mm F2.8 G DSLR lens was my most-used lens for many years for portraits, weddings and events, and also proved to be an adept tool for sports, wildlife, landscape photography and more. Sony’s 70-200mm F4 II happily works in these fields, but also adds class-leading macro focusing capability, up to 0.5x magnification at any focal length, with a minimum focus distance of 0.26m / 0.86 ft at 70mm, and 0.42m / 1.38ft at 200mm.

Add the 2x teleconverter with an unchanged minimum focus distance and the macro capability is doubled to 1.0x magnification – that’s 1:1 life size. I’m generally not a fan of teleconverters; even the very best soften the image and can affect color rendering. In fact, you can see the minimum focus distance in action, plus the color shift of the same scene shot with and without Sony's 2x teleconverter, in the sample images below. In any case, the 0.5x magnification without teleconverter beats any other 70-200mm lens and adds another string to the bow of this versatile zoom lens.

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Macro 0.5x magnification of a lego figure, made with the Sony FE 70-200mm F4 G OSS II lens — The maximum magnification is 0.5x at its minimum focus distance (Image credit: Future)

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Macro 1.0x magnification of a lego figure, made with the Sony FE 70-200mm F4 G OSS II lens and 2x teleconverter — With the 2x teleconverter attached, the maximum magnification is doubled to 1.0x (Image credit: Future)

This is also a well-made and complex lens, with customizable function buttons and no fewer than five switches covering features such as a focus range limiter (including a new macro setting), full-time direct manual focus, SteadyShot optical stabilization and a zoom-lock that fixes the lens in its closed position when not in use – otherwise the lens barrel extends when zooming.

Sony also says its new linear XD focusing technology, comprising four ‘high-thrust’ focus motors, increases autofocus tracking precision, even while zooming, and ultimately achieves what is 20% faster focusing than in the 2014 version.

Camera tech has moved on in the 10 years since the original 70-200mm F4, too, and when you use the 70-200mm F4 II’s new focusing skills with a Sony camera equipped with the latest Bionz X processor and AI-autofocus chip, focusing is super intelligent, quick and reliable. For this review, the 70-200mm F4 II and A7C R have given me lightning-quick and reliable autofocus for photos and smooth video autofocus.

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Close up of Sony FE 70-200mm F4 Macro G OSS II lens zoom ring — (Image credit: Future)

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Close up of Sony FE 70-200mm F4 Macro G OSS II lens customizable AF button — (Image credit: Future)

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Close up of Sony FE 70-200mm F4 Macro G OSS II lens controls — (Image credit: Future)

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Close up of Sony FE 70-200mm F4 Macro G OSS II lens nomencalture — (Image credit: Future)

Sony FE 70-200mm F4 Macro G OSS II: price and release date

The Sony FE 70-200mm F4 Macro G OSS II lens costs $1,699 / £1,749 / AU$2,699 and includes a lens hood and removable tripod collar. It was available from August 2023. That's an understandable price increase given the improvements in this second-gen model, somewhere between the F4 original version, and the current pro-level Sony FE 70-200mm F2.8 II version.

Sony FE 70-200mm F4 Macro G OSS II: Image quality

An array of advanced aspherical and extra-low dispersion elements suppress lens distortion and render sharp detail, while the 9-blade aperture produces what Sony describes as ‘exquisite full-frame bokeh’.

You can see from my self portrait below (taken remotely using the Sony Creators' app, at the lens' widest possible F4 aperture) that bokeh is smooth with no aberration or onion-ring distortion, while the shape at F4 is fairly round in the center of the frame, yet distinctly cat-eye in the corners. I’ve included cropped areas of the picture for a better look.

If I were to take the exact same picture under identical conditions with Sony's 70-200mm F2.8 lens instead, or a prime lens with an even wider aperture, then bokeh would appear larger, and most likely even rounder. For an F4 lens, bokeh is actually very pleasant, but portrait specialists would choose an F2.8 or wider for that 'exquisite' bokeh.

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Outdoors telephoto portrait at the widest F4 aperture and 200mm focal length of the Sony FE 70-200mm F4 G OSS II lens — Portrait made with 200mm F4 lens settings, eye AF and using the Sony Creators' app remote shooting (Image credit: Future)

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Close crop to show bokeh in outdoors telephoto portrait at the widest F4 aperture and 200mm focal length of the Sony FE 70-200mm F4 G OSS II lens — Closeup of bokeh, cat-eye shaped in the corners, relatively circular in the middle (Image credit: Future)

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Close crop to show sharpnress in outdoors telephoto portrait at the widest F4 aperture and 200mm focal length of the Sony FE 70-200mm F4 G OSS II lens — Close up revealing sharp detail in the portait, at the F4 aperture (Image credit: Future)

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Backlit close up of a spider and web made with the Sony FE 70-200mm F4 G OSS II lens — (Image credit: Future)

Flare is also really well controlled in this backlit scene, and I’ve included a different macro photo of a spider and its web (in the same gallery) with stronger backlighting, and flare is mostly absent in that example, too. The included lens hood helps to reduce flare in these kind of scenarios.

A close look at the detail in the eye of the same self portrait reveals super-sharp detail, right where it matters. This single portrait photo alone displays many excellent attributes of what is an impressive telephoto zoom, paired with a reliable autofocus system in the latest Sony mirrorless camera.

Cast your eye over a wide range of photos, some of which are included in the gallery below to show the breadth of subjects you can capture, and it's clear the 70-200mm F4 II is a highly capable all-rounder. Image sharpness is maintained from the center to the edges of the frame, there's virtually no barrel or curvilinear distortion (the 70-200mm lens isn't known for either), and even in the corner of woodland photos with bright background light punctuating the tree cover, there's virtually no chromatic aberration. Put simply, there's very little fault to pick at in this excellent lens.

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Telephoto portrait in a crowd at an event made with the Sony FE 70-200mm F4 G OSS II lens — The 70-200mm lens is ideal for events photography especially at its telephoto setting (Image credit: Future)

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Telephoto wildlife photo of a duck in a canal, made with the Sony FE 70-200mm F4 G OSS II lens — You can get close enough to various wildlife at 200mm (Image credit: Future)

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Street vendor waiting for customers in multi-color food van, made with the Sony FE 70-200mm F4 G OSS II lens — (Image credit: Future)

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Flowers close up made with the Sony FE 70-200mm F4 G OSS II lens — The 70-200mm F4 G OSS II lens is great for closeup photography (Image credit: Future)

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Outdoors portrait made with the Sony FE 70-200mm F4 G OSS II lens — At 200mm, F4 provides an extremely shallow depth of field on a full-frame camera (Image credit: Future)

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Street photo in a grey modern London, made with the Sony FE 70-200mm F4 G OSS II lens — (Image credit: Future)

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The image quality disparity between the pricier and heavier Sony FE 70-200mm F2.8 pro lens and this second-gen F4 model has diminished somewhat and arguably the choice isn’t about overall image quality anymore – or even depth of field, because the F4 aperture gives an extremely shallow depth of field with a full-frame camera. Instead, it comes down to whether or not you need the extra stop of light, or particularly big bokeh.

Personally, I regularly rely on the wider F2.8 aperture for events and wedding photography in particular, where light is often dim. However, that Sony F2.8 lens is much heavier, and if you mainly shoot in daylight and would prefer a travel-friendly lens, then the F4 II is a no brainer.

Overall, the second-gen 70-200mm F4 lens is notably better - and more versatile - than its predecessor in almost every regard. The sting is the costlier list price, although it’s worth the extra money if you want a lighter lens better balanced with your Sony camera, together with its refined image quality and closer focusing.

Should I buy the Sony FE 70-200mm F4 Macro G OSS II lens?

Buy it if...

Don't buy it if...

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Sony FE 70-200mm F4 Macro G OSS II lens attached to a Sony A6700 — (Image credit: Future)

How I tested the Sony FE 70-200mm F4 Macro G OSS II lens

I've had my hands-on the Sony FE 70-200mm F4 lens on several occasions, for short and extended periods of time. I used it extensively while I was writing my Sony A7C R review, in a generous variety of scenarios that allowed me to fully test its capabilities.

At a pre-launch event I was able to test its close-up photography opportunities with the 2x teleconverter that increases its maximum 0.5x magnification to 1.0x. I've also happily used the lens for macro shots without the teleconverter at my own leisure.

It's been attached to the travel-friendly A7C R and A6700 cameras, making for an ideal size-match, and I've shot everything from portraits to landscapes with it, plus low light sequences that push the lens' AF motors. I've also used it for general travel photography, for which this lens is a lovely companion.

First reviewed September 2023

DJI Mini 4 Pro review: minor update or serious upgrade?

4:01 pm | September 25, 2023

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

One-minute review

The arrival of the DJI Mini 3 Pro in May 2022 was a game-changer in the drone world, bringing more professional-friendly features to a sub-250g model that made it the best drone in its class by far. When I reviewed the DJI Mini 3 Pro, I was so impressed with its image quality, small size, light weight and features that I bought one myself. The DJI Mini 4 Pro builds on those qualities to become the new benchmark for what sub-250g drones can deliver.

One aspect of the Mini 4 Pro that can’t be ignored, though, is that despite being the closest Mini-series drone to the DJI Mavic 3 models and the DJI Air 3 in terms of flight and safety features, and some camera functionality, it’s more of an incremental update over the Mini 3 Pro than a radical upgrade; it looks remarkably similar, performs pretty much identically in flight, and even uses the same impressive 1/1.3-inch sensor. And for current Mini 3 Pro owners there could be a sense of frustration, as many of the camera upgrades could likely have been delivered via firmware updates.

This begs the question: if you’re a Mini 3 Pro owner, should you upgrade? And the simple if unhelpful answer is that only you can decide. The Mini 3 Pro remains a fantastic drone, despite not being quite as robustly featured as the Mini 4 Pro. But if you’re upgrading from an older model, or coming to the Mini series for the first time, the Mini 4 Pro is an excellent choice. Whether you’re a professional drone pilot using the Mini 4 Pro as a second drone who can benefit from the D-Log M video color consistency with your Mavic 3, or an enthusiast looking for something small and lightweight, the Mini 4 Pro is undoubtedly the best sub-250 g drone available.

DJI Mini 4 Pro: Release date and price

Available now, priced from $759 / £689 / AU$1,119
Two kits to choose from
Fly More Bundle offers value for money

The DJI Mini 4 Pro was announced on 25 September 2023, and is available to buy from the DJI Store and authorized retailers. It's available in two kit options, with the smart controller option also offered in a Fly More Bundle. And despite the impressive features on offer that set this new model apart from its predecessor, pricing is almost identical to the Mini 3 Pro at launch.

The DJI Mini 4 Pro (DJI RC-N2) kit costs $759 / £689 / AU$1,119, while the DJI Mini 4 Pro (DJI RC 2) kit costs $959 / £869 / AU$1,419. These kits include the drone, the relevant controller, one Intelligent Flight Battery, a pair of propellers, a Screwdriver, a DJI Mini 4 Pro Gimbal Protector, a DJI Mini 4 Pro Propeller Holder, and a Type-C to Type-C PD Cable.

If you’d prefer better value and a host of useful accessories, a Fly More Bundle is available for the Mini 4 Pro (DJI RC 2). Although the obvious caveat here is that you have to opt for the more expensive controller. This kit option costs $1,099 / £1,149 / AU$1,699. In addition to the above, you also get two extra Intelligent Flight Batteries, two additional sets of propellers, a DJI Mini Shoulder Bag and the DJI Mini 4 Pro/Mini 3 Series Two-Way Charging Hub.

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DJI Mini 4 Pro folded showing top of drone — (Image credit: James Abbott)

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DJI Mini 4 Pro folded showing bottom — (Image credit: James Abbott)

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DJI Mini 4 Pro DJI RC 2 smart controller — (Image credit: James Abbott)

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DJI Mini 4 Pro rear of the DJI RC 2 smart controller — (Image credit: James Abbott)

DJI Mini 4 Pro: Design and controller

Small and lightweight folding design
Looks extremely similar to the Mini 3 Pro
Two controller options

DJI Mini-series drones need little introduction in terms of design these days. Alongside its highly portable and regulator-friendly diminutive size and weight, and folding design, the Mini 4 Pro looks very similar to the Mini 3 Pro, the main visual difference being the additional Omnidirectional Collision Avoidance sensors on the top of the airframe and an Auxiliary Light on the bottom.

Most of the upgrades are under the hood, so to speak, in the form of software and feature enhancements. Even the 12/48MP 1/1.3-inch sensor is the same as the Mini 3 Pro's, albeit with image processing upgrades, but that’s no bad thing, because it’s a fantastic sensor that's capable of producing excellent image quality despite its small size when compared to the sensors in flagship Mavic 3 prosumer models.

The new features on offer, which we’ll go into much more detail about later, make the Mini 4 Pro much closer to Mavic 3 models in terms of flight and video features. This is fantastic news for professional drone pilots looking for greater consistency in their workflow, while enthusiasts can simply enjoy an improved Mini Pro model.

Depending on your budget and needs, the Mini 4 Pro is available with two controller options: the DJI RC-N2, which features a telescopic phone holder and no screen, so you have to use a smartphone with it, and the DJI RC 2 smart controller. The DJI RC 2 features a 5.5-inch screen with 700-nit brightness, and provides a much more convenient flight experience with faster set-up times.

DJI Mini 4 Pro: Features and flight

Omnidirectional Collision Avoidance
ActiveTrack 360°
Advanced Return to Home

The Mini 4 Pro's flight times are almost identical to its predecessor's, with the same flight time that’s advertised at up to 34 minutes with the standard Intelligent Flight Battery; flight times typically come in at around 20-25 minutes until Return to Home is initiated at 20% battery, depending on how vigorously the drone is flown and environmental factors such as wind and temperature. There's also an Intelligent Flight Battery Plus, available separately, that increases flight times to an advertised duration of 46 minutes, but this takes the weight of the drone above 250g and isn’t available in Europe.

The most significant feature to arrive with the Mini 4 Pro is Omnidirectional Vision Sensing, which is Omnidirectional collision avoidance to you and me. This uses four fisheye vision sensors, downward binocular vision sensors, and a 3D ToF sensor that aid flight safety in complex environments.

This system works well, and together with the Advanced Pilot Assistance Systems (APAS), it certainly provides confidence; the Bypass/Nifty mode allows you to fly through trees and even indoors, but you still have to take great care, and the DJI Fly app does warn of the risk. More confident and experienced pilots may find that flight is ultimately smoother with collision avoidance switched off, but this comes at the expense of a much greater risk of collision.

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DJI Mini 4 Pro from above — (Image credit: James Abbott)

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DJI Mini 4 Pro close up of camera — (Image credit: James Abbott)

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DJI Mini 4 Pro close up of camera and propeller arm — (Image credit: James Abbott)

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DJI Mini 4 Pro close up of collision avoidance sensor — (Image credit: James Abbott)

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DJI Mini 4 Pro close up of gimbal and bottom sensors — (Image credit: James Abbott)

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DJI Mini 4 Pro close up of battery inserted into the drone — (Image credit: James Abbott)

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DJI Mini 4 Pro carry bag — (Image credit: James Abbott)

Omnidirectional Vision Sensing also delivers a series of additional advanced features including ActiveTrack 360,° which is more reliable from a safety point of view and more effective than ActiveTrack on the Mini 3 Pro. Another feature is Advanced Return to Home, which incorporates Obstacle Avoidance into plotting the most efficient route back to the take-off point. So, from a safety and autonomous flight point of view, the Mini 4 Pro beats the Mini 3 Pro hands down.

Other features include Hyperlapse, MasterShots, Quickshots, Digital Zoom and QuickTransfer (of files to a phone without having to switch on the controller). Then there’s the LightCut app, which can be used to create AI-edited videos at the touch of a button. This is perfect for quick and easy video creation, although it's certainly not a professional tool. There’s also a Cruise Control feature, as on higher-end DJI drones, which can lock the drone in flight so that you don’t have to continue pushing the control sticks when performing a long maneuver.

DJI Mini 4 Pro: Image quality

Same sensor as the Mini 3 Pro
D-Log M color profile
New image processing technologies

The image quality produced by the Mini 4 Pro is impressive overall, and extremely similar – practically identical in most shooting modes – to the Mini 3 Pro. Both drones use the same 12/48MP 1/1.3-inch quad bayer sensor with large 2.4μm pixels that produces excellent 12MP results in low light, and up to 48MP high-resolution photos when the light is good – a similar approach to the iPhone 15.

The camera itself can still be rotated 90 degrees for vertical shooting, and the gimbal can be tilted between -90 degrees and 60 degrees. There’s also a DJI ND filter pack for controlling shutter speed and a wide-angle lens attachment available to extend the field of view of the 24mm equivalent f/1.7 lens from 82.1 degrees to 100 degrees. There is some barrel distortion with this lens when shooting close-up, which naturally reduces with more distant subjects and scenes.

This all sounds extremely familiar; so what sets the Mini 4 Pro apart from its predecessor? Well, alongside the features we’ve already discussed, the camera upgrades appear to be software rather than hardware-based. While some do enhance and improve image quality in some modes, others focus purely on functionality, which has been extended. One such feature is the Night Mode, which optimizes noise handling when shooting video in low light.

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Photo of a river sluice taken with the DJI Mini 4 Pro — (Image credit: James Abbott)

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Photo of a river taken with the DJI Mini 4 Pro — (Image credit: James Abbott)

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Photo of the interior of a derelict building taken with the DJI Mini 4 Pro — (Image credit: James Abbott)

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Photo of a BMX track taken with the DJI Mini 4 Pro — (Image credit: James Abbott)

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Photo of a bridge and trees taken with the DJI Mini 4 Pro — (Image credit: James Abbott)

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Photo of an urban scene taken with the DJI Mini 4 Pro — (Image credit: James Abbott)

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Photo of graffiti under a bridge taken with the DJI Mini 4 Pro — (Image credit: James Abbott)

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Photo of farmland taken with the DJI Mini 4 Pro — (Image credit: James Abbott)

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Photo of the interior of a derelict building taken with the DJI Mini 4 Pro and the wide-angle lens attachment — (Image credit: James Abbott)

Video capture has been improved in several areas, with the introduction of 4K shooting up to 100fps for slow motion, while 1080p can be captured at up to 200fps. Video can be captured in Normal, HLG (HDR) and the flat D-Log M profile rather than D-Cinelike. D-Log M is available on Mavic 3 drones, and its inclusion in the Mini 4 Pro will undoubtedly provide greater consistency in professional workflows when a sub-250g drone is required. You can also now control the sharpness and noise reduction in video, which is a handy feature for more advanced users aiming for more cinematic-looking footage.

But even if you’re an enthusiast, having all of this functionality at your fingertips is fantastic, because it means you can grow into the drone rather than growing out of it when features are more limited. Photo functionality remains much the same as the Mini 3 Pro, but that’s no bad thing because it can’t be faulted. SmartPhoto is claimed to greatly improve on previous-generation HDR capture, although for advanced users, shooting in Raw and using Auto Exposure Bracketing is the best route to take in high dynamic range situations.

DJI Mini 4 Pro Video in 4K at 30 fps

Should I buy the DJI Mini 4 Pro?

DJI Mini 4 Pro in flight in front of trees — (Image credit: James Abbott)

Buy it if...

Don't buy it if...

How I tested the DJI Mini 4 Pro

I tested the Mini 4 Pro over a week of flying in a range of locations, environments and weather conditions (excluding rain) to test flight performance, flight features, overall handling and image quality for both photo and video capture. All testing was conducted in a way that meets local aviation laws and restrictions to ensure that all flights were safe and legal.

With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve been covering drones in terms of shooting and editing techniques, alongside writing drone reviews, for a number of years. As well as flying most consumer and prosumer models, I’ve previously held a PfCO (Permission for Commercial Operations) issued by the Civil Aviation Authority in the UK, and now fly under an A2 CofC (A2 Certificate of Competency).

First reviewed September 2023

Sony A7R V review

4:06 pm | January 16, 2023

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

Editor's Note

• Original review date: January 2023
• Sony's best AI-powered autofocus performance
• Launch price: $3,899 / £3,999 / AU$5,899 (body only)
• Official price now: $3,199 / £3,699 / AU$5,499 (body only)

Update: February 2024. The full-frame A7R V's max 61MP resolution is only matched by Sony's own A7C R and various Leica cameras including the Q3. Put simply, in this sensor format you won't get better detail in your pictures. Furthermore, it's autofocus is powered by a dedicated AI chip for improved subject detection, and that's still the best AF performance in any Sony camera, now matched by the A9 III. It's one of the best professional cameras that has also dropped in price on Sony's website since its January 2023 launch, making it better value, too. The rest of this review remains as previously published.

Sony A7R V: Two-minute review

Sony released the first high-resolution full-frame mirrorless camera – the A7R back in 2013 – and we’ve had an updated model every couple of years since, culminating in the fifth iteration of the series, the A7R V. A lot has changed in the cameras since then in terms of the ergonomics, handling and, of course, the technology employed. But with more rivals on the scene now, the A7R V is up against some stiff competition from the likes of the Canon EOS R5 and Nikon Z 7II.

The Sony A7R V on a table straight from above with lens attached — (Image credit: Future)

Being the newest model on the block, and offering some impressive specs, the A7R V ultimately has little to worry about, despite not providing the highest performance in all areas. Features include a new 61MP sensor and Bionz XR processing engine, up to eight stops of in-body image stabilization, increased burst shooting and AI-powered subject recognition to improve autofocus. Then there’s video capture up to 8K at 24fps and 4K up to 60fps.

Sony A7R V specs

Sensor: 61MP BSI full-frame CMOS
Processor: Bionz XR (with AI processing unit)
Autofocus: 693-point phase-detection
AF subject recognition: human, animal, bird, insects, car, train, automobile
EVF: 9.44-million dot Quad XGA
In-body stabilization: up to eight stops
Continuous shooting: 10fps
Continuous shooting buffer: 184 raw (compressed)
Video: 8K/24p, 4K/60p, 10-bit 4:2:2

Image quality is, as you’d hope, excellent for both photos and video. But with the high-resolution sensor, you’ll need to use Sony’s best lenses in the G and GM ranges with the resolving power to complement the camera. It’s unlikely that you’d be using lower-end lenses if you’re prepared to pay approximately $3,900 / £4,000 / AU$5,900 for a camera body so it shouldn’t be a problem, but if you’re upgrading from a lower-resolution A7 model and already have some cheaper lenses, it’s certainly something to bear in mind.

Sony A7R V: Release date and price

Went on sale in December 2022
Launched with a list price of approximately $3,900 / £4,000 / AU$5,900
Price close to medium format

The A7R V was announced in October 2022, and was available to buy from December 2022, costing approximately $3,900 / £4,000 / AU$5,900. We might have expected a slightly higher price given the launch price of the A7R IV and the consequent rise in camera prices over the last year or two.

The Sony A7R V on a table straight on front — (Image credit: Future)

That said, the cost of the camera is getting close to that of medium-format models. For instance, the Fujifilm GFX 100S costs approximately $6,000 / £4,800 / AU$9,300 body-only. Those shooting faster subjects such as sport and wildlife, and/or video, the A7R V is undoubtedly the better option, but landscape, portrait and studio photographers could benefit from the larger sensor (1.7x) and higher 100MP resolution of the GFX 100S.

Price Score: 4/5

Sony A7R V: design

Versatile 4-axis articulating touchscreen
Moderate 10fps continuous shooting
Dual SD/CFexpress Type A card slots

The overall design of the A7R V is extremely similar to that of previous models, with most innovations occurring under the hood, although there are a few design tweaks that improve upon the A7R IV. Current Sony users will almost certainly feel at home, and newcomers should be able to navigate the main settings with little to no problems.

On the back of the camera is a new 4-axis 3.2-inch articulating touchscreen, which allows the screen to be tilted and flipped out sideways, and twisted to face forwards; perfect for both stills photography and video. This makes the screen slightly bulkier than on the previous two models, which only had a tilting screen, but this doesn’t impact overall handling. The electronic viewfinder is the same one as on the A7S III, and features an excellent 9.44-million dot resolution with 0.9x magnification.

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The Sony A7R V on a table from above with screen flipped out — (Image credit: Future)

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The Sony A7R V on a table with dual hinge screen flipped out — (Image credit: Future)

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The Sony A7R V on a table straight on back with screen on — (Image credit: Future)

Moving up to the top of the camera, the exposure compensation dial is now unmarked, and like most of the buttons and dials it can be set to perform another function if users wish, although having it set to exposure compensation is the most convenient option, despite the almost infinite ways in which you can customize Sony cameras.

Just like previous A7R models, there are two card slots on the side of the grip that can be set to record in several different ways when two cards are installed. On the A7R V, the card slots can take both SD and CFexpress Type A cards, with the latter being the faster of the two options. This is great if you prefer the cost and capacity benefits of SD cards, but to realize the full speed potential of the camera, considerably more expensive CFexpress Type A cards are a must

The Sony A7R V close up of the ports — (Image credit: Future)

Shooting speed has also been improved, and the buffer is also larger, with a continuous shooting speed of 10fps available. Sony claims that up to 583 compressed raw images can be captured in Hi+ mode with compressed raw files. For testing, we used a 128GB Kingston Canvas React Plus SD card with transfer speeds of up to 300MB/s. This allowed us to separately shoot 170 JPEGs in Fine quality, 100 Compressed raw files and 50 uncompressed raw files before the camera began to stutter. It’s a far cry from the claimed buffer performance, but is still respectable, and more than most photographers would ever need.

This card was absolutely fine for shooting 8K video, and the camera was able to shoot for 30 minutes. The camera body did heat up during recording in a 64.5F / 18C room, which wasn’t an issue, but in warmer temperatures when shooting outdoors this could be problematic. One way to aid heat dissipation in warmer temperatures when shooting video is to open the battery door on the bottom of the camera, although this presents obvious risks.

Design 5/5

Sony A7R V: features and performance

Subject-recognition autofocus
8-stop image stabilization
Improved Pixel Shift Multi Shooting

While the A7R IV didn’t offer a great deal more to entice A7R III owners to upgrade, the A7R V aims to address the deficiencies of its predecessor, and is a much more well-rounded camera overall. The improvements Sony has implemented, alongside the inclusion of some welcome new features, make it significantly more attractive, whether you’re upgrading from an earlier model or switching to Sony from another brand.

One new feature, which is designed to address sensor dust complaints from A7R IV users, is the ability to have the shutter close when the camera is switched off. This might work, but after only using the camera for a few weeks it’s impossible to test this claim. Although, given that DSLR shutters close after each shot has been taken, and these cameras still suffer from sensor dust, whether it’ll be effective is questionable.

The Sony A7R V on a table without a lens — (Image credit: Future)

Image stabilization has been improved, with up to eight stops of compensation available when shooting stills. During testing, it was easy to shoot sharp handheld images with a shutter speed of around 1/8 sec, and with a particularly steady hand it was even possible to shoot as slow as one second. For video, Active Mode image stabilization aids smooth handheld shooting, and can be paired with some lenses that feature optical image stabilization for even smoother video.

Pixel Shift Multi Shooting has also been improved. In this mode the camera captures 16 frames, with the sensor position shifted slightly between each, which can then be merged into a huge 240.8MP image that’s claimed to be better corrected for minor movement in scenes. This requires Sony’s Image Edge Desktop software to be used, but it would be much more convenient if these composite images were merged in-camera.

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The Sony A7R V on a table angled front with lens — (Image credit: Future)

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The Sony A7R V on a table straight close up of top controls — (Image credit: Future)

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The A7R V features 693 AF points and offers Real-time Recognition AF, enabling you to select from Human, Animal/Bird, Animal, Bird, Insect, Car/Train and Airplane. The Human option is much more advanced than simply eye or face detection, and can identify people in wider scenes. The feature generally works well across subjects, but it’s not perfect, and turning off subject recognition requires delving into the camera menu. The best way to switch Real-time Recognition AF on and off is to include this in My Menu, which is the camera’s custom user menu.

My Menu is incredibly useful overall, because Sony cameras are infamous for their labyrinthine menu systems. Another feature worth including here is Bulb Timer Settings. With this, when shooting in Bulb mode you can select any exposure duration from two to 900 seconds, which is incredibly useful when shooting long exposures. With this setting turned on, you can use the self-timer to release the shutter and the camera will time the exposure for you – fantastic when using a Big Stopper.

Features and performance 4/5

Sony A7R V: image and video quality

New 61MP Exmor R sensor boasts 15 stops dynamic range
Impressive ISO handling
Sharp video up to 8K video

Image quality in many respects comes down to the optics you attach to the camera, with higher-quality lenses naturally offering the best possible image quality. And with the A7R V, this is certainly the case – you’ll get the best results using higher-quality Sony G lenses such as the 20mm F1.8 and 90mm F2.8 Macro and the flagship G Master lenses. The high-resolution sensor is unforgiving when the camera is paired with cheaper and lower-quality optics, so you do need to avoid these if you want the A7R V to achieve its potential.

With high-quality lenses, image quality for both stills and video is excellent thanks to the new 61MP Exmor R sensor and Bionz XR processing engine. Dynamic range is advertised at 15 stops, and you can certainly increase the exposure of underexposed raw files considerably before image degradation becomes problematic. Photo capture is available in 14-bit raw, compressed raw, HEIF and JPEG, so you’ve got plenty of options.

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A long exposure seascape taken with the Sony A7R V — (Image credit: Future)

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Details of a bridge against a sunny sky taken with the Sony A7R V — (Image credit: Future)

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Details of crumbling wall taken with the Sony A7R V — (Image credit: Future)

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A modern building on a sunny day taken with the Sony A7R V — (Image credit: Future)

ISO performance is impressive within the native ISO 100-32,000 range, with the expanded range taking settings from ISO 50-102,400. The best quality comes at settings up to ISO 1600, with images shot at up to 6400 still looking reasonably good, and those taken at up to ISO 25,600 providing usable results. Beyond this, noise and color loss become very evident, leaving images pretty much unusable.

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Inside an abandoned building taken with the Sony A7R V — (Image credit: Future)

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Beach homes in the sun taken with the Sony A7R V — (Image credit: Future)

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A river and sunny landscape taken with the Sony A7R V — (Image credit: Future)

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A cityscape reflected in water on a sunny day taken with the Sony A7R V — (Image credit: Future)

Video quality is equally impressive, with 8K video available at 24fps, 4K up to 60fps, and FHD up to 120fps in NTSC or 100fps in PAL, with a 4:2:2 10-bit color depth available. Color profiles include S-Cinetone and S-Log3 among others, so there’s plenty to keep hybrid stills/video shooters happy. Videographers will find the A7S III is a better camera overall for shooting video; you could certainly shoot professional video with the A7R V, but it’s not the best Sony A-series camera for the job.

Image and video quality 5/5

Should I buy the Sony A7R V?

Don't buy it if...

Also consider

If our Sony A7R V review has you wondering about alternatives, here are two rivals to consider.

Sony A7R V: testing scorecard

First reviewed: January 2023

OM System OM-5

7:54 pm | November 4, 2022

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

Editor's Note

• Original review date: November 2022
• Launch price: Body only $1,199.99 / £1,199 / AU$2,150
• Official price now: Body only $1,199.99 / £1,199 / AU$2,150

Update: March 2024. OM System does compact mirrorless camera systems for photography better than anyone, using a micro four thirds sensor that strikes an excellent balance between performance and size, not to mention a huge range of lenses available for all types of photography and budgets. The OM-5 feels great in the hand, looks the part and boasts superb image stablization meaning you can ditch the tripod and pack light. It was a minor update of the EM5 III, but in 2024 it remains one of the best travel cameras for enthusiasts.

OM System OM-5: two-minute review

The OM System OM-5 is kind of new, but not in a big way. It’s really a refresh and an update of the Olympus OM-D E-M5 Mark III, with new branding, improved stabilization and weatherproofing, and a couple of new features from higher-end models, including starry sky AF, and live ND filters for longer exposures in bright light.

The main specs stay the same, including the 20MP MFT sensor, 121-point phase-detect AF, and video up to 4K 30p. That might sound a little disappointing, but there’s more to the OM-5 than the headline specs.

OM System OM-5 specs

Sensor: 20.4MP MFT Live MOS

AF points: 121-point phase detect

Video: C4K 24p, 4K 30p, FHD 60p, High-speed 120p FHD

Viewfinder: OLED 2.36m-dot

Memory card: Single SD/SDHC/SDXC UHS-II

LCD: 3-inch vari-angle touch 1.04m-dot

Max Burst: 10fps mechanical shutter (buffer unlimited JPEG / 149 raw), 30fps electronic shutter (buffer 20 JPEG / 18 raw), 30fps Pro Capture

Connectivity: Wi-Fi, Bluetooth, Mic, HDMI Type D, USB 2

Size: 125.3 x 85.2 x 49.7mm

Weight: 414g (inc. battery and SD card)

For a start, like the E-M5 III before it, it packs a lot of features, controls and performance into a very small body. This is a pocket-sized interchangeable lens camera that can shoot at 10fps, or 30fps with 14-shot pre-buffer in Pro Capture mode. It has Live Bulb and Live Composite modes for watching exposure build ‘live’ at night, and its pixel-shift High Res capture mode can create 50MP images handheld, and 80MP images on a tripod.

The external controls are remarkably well laid out for a camera so small, with a real quality feel to them, and as well as an EVF you get a vari-angle screen. OM System is pitching this as a go-anywhere adventure camera and it’s certainly one of the best travel cameras you can buy, thanks in part to some excellent, compact and affordable lenses.

The OM-5 may not break any technical barriers, but as a piece of intelligent product design, it’s pretty remarkable.

OM System OM-5: price and release date

• OM System OM-5 body only: $1,199.99 / £1,199 (about AU$2,150)
• OM System OM-5 with 12-45mm f/4 Pro lens: $1,599.99 / £1,499 (about AU$2,850)
• OM System OM-5 with 14-150mm f/5.6 II lens (UK only): £1,499

The previous Olympus OM-D E-M5 III was never a cheap camera, and that’s worth mentioning, because although the OM-5 has a new maker and a new model name, it's largely the same camera.

So if the OM-5’s predecessor seemed stubbornly pricey back then, the same applies now. The OM-5 is a powerful little camera, but it does not do anything remarkable for the money; it's worth its price tag in our opinion, but you're not getting a bargain in terms of value for money.

It’s up against some good cameras in the same price bracket, including the Canon EOS R10, Fujifilm X-S10, Nikon Z50 and Sony A6400, all of which have APS-C sensors. But then the Canon and the Nikon don’t have any lenses to speak of (it’s true!), and the A6400 is an old camera with no IBIS, which leaves the Fujifilm X-S10 as the most serious competitor.

The OM-5 has a smaller MFT sensor, of course. A lot of folk are convinced this gives it a serious image quality disadvantage – wrongly, as it happens. What it also has is a range of lenses that's broadar then those of it's rivals, and the lenses themselves are physically smaller. You can’t use a camera without lenses.

• Value rating: 4/5

OM System OM-5 design and handling

• Mini-DSLR style design
• Flip-out vari-angle screen
• Single SD card slot
• Twin control dials
• Dual mode function lever

For a camera packing this performance, power, and range of features, the OM-5 is very small. This could be a good thing or a bad thing, depending on whether you're using big professional, constant-aperture lenses, or the smaller zooms and primes from the Olympus range – and whether you're looking for a tiny travel camera or a big do-it-all mirrorless with serious grunt.

With smaller lenses, the OM-5 is just divine. If you want to use larger lenses, it really needs the optional grip (this doesn't take extra batteries; it's just a bigger grip) in order for it to feel balanced and comfortable.

Regardless of that, OM System (not ‘Olympus’, remember) has done a remarkable job of getting a lot of very usable physical controls onto such a small body.

The EVF is good enough, though it lacks the outright resolution of newer and more expensive rivals, and the flip-out vari-angle screen on the back is a nice feature on a camera as small as this, and a useful one too.

The single SD card slot might deter power users looking for the additional security and backup options of a dual-card setup, but there’s a limit to how much you can fit into a body as small as this. One reason for choosing two card slots is to cover the possibility of card failure, which is rare. Another is to separate stills and video, JPEGs and raw, captures and backups – all of which are reasonable pro requirements, but somewhat outside the remit of a camera like this.

There are two control dials on the top of the E-M5 and these work really well, and are given extra versatility by the dual-mode lever on the back of the camera which switches their functions. You do have to remember what you’ve set these dials up to do for each function mode, but if you can do that you’ll get a very quick system for changing a multitude of settings from shutter speed to aperture, and from white balance to EV compensation.

The OM-5’s external controls have a quality feel, and a logic that’s very endearing. Olympus (sorry, OM System – it still takes some getting used to) is very good indeed at making the controls on small cameras work as well as, or better than, those on larger ones.

• Design score: 5/5

OM System OM-5: features and performance

• 6.5-stop IBIS (7.5-stop with sync IS)
• Extensive and customizable Art Filters
• Pro Capture with pre-shot buffer
• In-camera focus stacking
• 50MP/80MP High Res Shot
• Live Composite, Live Bulb, Live ND

Practically every camera maker in the world now offers 5-axis in-body stabilization systems which it considers the best on the market. But OM System (see, we didn’t say ‘Olympus’!) and Panasonic between them have, we would say, the best. It’s perhaps to do with the smaller sensor size and mass, or the algorithms used, but the OM-5’s stabilization is pretty remarkable. It has its limits for video – an IBIS system simply can’t smooth camera movements like a gimbal – but for all the perceived ‘faults’ of MFT systems, the stabilization is remarkable.

The OM-5 has many other strengths. One of these is its Pro Capture mode, which can capture still images at 30fps with a 14-shot pre-capture buffer to allow for your reaction time. So you can half-press the shutter release for a ‘rolling’ capture, then press it the rest of the way when the action starts, and the camera will record the half-second of action while you were still thinking about it. That’s clever. The only drawback is that the focus is fixed from the start – but that’s fine for setups where you know where the action is going to happen, such as the jumps in a horse race or the bar in a high jump.

The OM-5 uses a lot of computational features that include in-camera focus stacking, which you can use handheld, and a 50MP High Res Shot mode, also handheld, for those times when you might actually need the resolution of a high-res full-frame camera – and it really does generate natively higher-resolution images, not some kind of lame substitute.

On top of that, you've got Olympus’s Live Composite, Live Bulb and Live ND modes. The first two are really good for night shots – once you’ve worked out the settings and parameters – while the second promises the same effect as ND filters for blurring skies, surf and water. This is limited to a 4-stop reduction, however, when for long exposures in bright light you really need a 10-stop reduction.

Finally, Olympus’s Art Filters are worth a mention. These are not the pretty plain 'looks' you might get from other cameras, but actually rather good analog effects.

• Features and performance score: 5/5

OM System OM-5: image and video quality

A lot has been said, and probably will continue to be said, about the perceived deficiencies of the Micro Four Thirds format. First, it's half the size of APS-C; however, it's also far larger than the 1-inch sensor format widely employed in compact cameras, and far larger again than the sensors in phones and point-and-shoot compacts.

At low-medium ISO settings, you won’t see much difference in quality between the OM-5’s images and those from an APS-C camera. At higher ISOs you might start to see more difference, but again, it’s not huge. If you compare the OM-5’s results to those from a full-frame camera you'll see more difference but, even here, you have to weigh this against the OM-5’s far lower price, its portability and unobtrusiveness, and the performance of its image stabilization system.

This is extremely effective for stills photography, and pretty good for video too. For static handheld shots it’s so steady that images can look as if they were filmed on a tripod, and with care it’s possible to produce smooth panning movements too. It’s less effective for walking and filming, but that’s true of every mirrorless camera's IBIS system. The stabilization in the OM-5 is just about the best on the market, aided no doubt by the smaller sensor.

The autofocus is competent without being game changing. It doesn’t have the AI subject recognition found in the latest cameras like the Sony A7R V or Canon EOS R6 II, but its face recognition and tracking seem to be pretty ‘sticky’. It’s easily good enough for casual vlogging and photography, especially since the shorter focal lengths used with MFT systems give you more depth of field latitude anyway.

For its size, this camera delivers excellent video and stills quality, with a stabilization system that gives you a really high hit rate of sharp shots.

It’s also worth mentioning the lenses. We tested the OM-5 with three Pro f/4 Olympus lenses: the 12-45mm f/4, the 8-25mm f/4, and the 40-150mm f/4 (which is actually branded OM System). These f/4 lenses are a good match for the OM-5’s size and price (the f/2.8 Pro lenses and f/1.2 primes are a little large). All three are really well made and finished, and deliver excellent results.

The OM-5 isn’t just small and powerful in its own right; it comes with a small and powerful lens range too, which isn’t just lighter than larger-format alternatives, but cheaper too.

• Image and video quality score: 4/5

Should I buy the OM System OM-5?

Buy it if...

Don't buy it if...

Also consider...

Testing scorecard

Fujifilm X-H2S review

2:50 am | September 7, 2022

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

Editor's Note

• Original review date: September 2022
• Still the only 'stacked' APS-C sensor
• Launch price: $2,499 / £2,499 / AU$4,449 (body only)
• Official price now: $2,499 / £1,999 / AU$3,999 (body only)

Update: February 2024. The X-H2S remains the quickest camera around with APS-C sensor. It's the only camera in this format to feature a stacked sensor that offers unparalled speed for action photography and video, with 40fps burst shooting and 6.2K 10-bit internal video, plus in-body stabilization. It's still the most expensive APS-C mirrorless camera, but price reductions particularly in the UK make the X-H2S one of the most compelling video cameras and stills camera especially for sports and wildlife. The rest of this review remains as previously published.

Fujifilm X-H2S: Two-minute review

The Fujifilm X-H2S is an incredibly powerful mirrorless camera for sports and action photographers who also want to shoot pro-quality video. It’s expensive for an APS-C camera and features like 40fps burst shooting will be overkill for many. But the X-H2S is also a hybrid camera with few peers, and its all-round performance also justifies that price tag.

The key to its power is a new, stacked 26MP X-Trans CMOS 5 HS APS-C sensor. So-called ‘stacked’ sensors, which have a design that delivers incredibly fast read-out speeds, have so far only appeared in flagship full-frame cameras like the Nikon Z9, Sony A1 and Canon EOS R3. But the X-H2S brings some of that performance to a camera with the comparatively ‘low’ price of $2,499 / £2,499 / AU$4,449 (body only).

The X-H2S may have a smaller sensor than those full-frame cameras, but it’s definitely capable of pro-quality results. Thanks to the combination of that new sensor and an X-Processor 5, it offers blackout-free continuous shooting at 40fps (with the electronic shutter), plus some impressive subject-tracking skills, and the option of shooting 6.2K/30p or 4K/120p video with 4:2:2 10-bit color depth.

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The Fujifilm X-H2S camera sitting on a wooden bench — (Image credit: Future)

Fans of Fujifilm’s signature retro look, which usually includes the tactile dials seen on old film cameras, might be disappointed by the design of the X-H2S. It’s very much a modern brute of a camera, with a more clinical focus on performance. But while it lacks the charms of the X-T series, the X-H2S is an incredibly fun camera to use.

It has one of the best electronic viewfinders we’ve used, while the subject-tracking autofocus (which now recognizes animals, birds, cars, motorcycles, bicycles, airplanes and trains) makes it by far the best Fujifilm X-series camera for shooting moving subjects. Video shooters are also incredibly well-served by a sparkling spec sheet that includes internal ProRes recording.

There’s no denying that the X-H2S is expensive, and many photographers will probably be better off buying an X-T4 plus a lens or two with the considerable spare change. After all, 40fps burst shooting isn’t ideal for your editing workflow and Fujifilm’s autofocus, which is still a little short of the flagship performance offered by its rivals, is more hit-and-miss in this top mode.

But if you do regularly shoot speeding subjects and also need a pro-quality video camera that’s more travel-friendly than many of its full-frame rivals, the X-H2S makes a very compelling argument for being top of your shortlist.

Fujifilm X-H2S: Release date and price

Available to buy now for $2,499 / £2,499 / AU$4,449 (body-only)
Similar price to some full-frame cameras like the Sony A7 IV
X-H2S has a smaller sensor but superior performance to its full-frame rivals

The Fujifilm X-H2S is available to buy now for $2,499 / £2,499 / AU$4,449 (body-only). Some new X-H2S accessories are also now available, including the VG-XH vertical battery grip ($399 / £399 / AU$749) and, for video shooters, a FAN-001 Cooling Fan ($199 / AU$369).

This price makes the X-H2S one of the most expensive APS-C cameras around and it’s a pretty big step up from the Fujifilm X-H1, which arrived in 2018 for £1,699 / $1,899 / AU$3,399. But the X-H2S does combine a new 26.1MP stacked sensor with the X-Processor 5, which allows it to make improvements across the board to autofocus, video, burst shooting and more.

The X-H2S faces stiff opposition in its price bracket, including the Canon EOS R6 ($2,499 / £2,499 / AU$4,499), Sony A7 IV ($2,499 / £2,400 / AU$$4,299) and Panasonic Lumix S5 ($1,999 / £1,799 / AU$3,199).

All of those cameras have larger full-frame sensors, but none offer the speedy all-rounded performance of a stacked APS-C sensor, which is the USP of Fujifilm's new flagship.

Price: 4.5/5

Fujifilm X-H2S: design

Has ‘PASM’ control setup rather than Fujifilm’s traditional dials
Excellent 5.76-million dot viewfinder and articulating screen
Tough, weather-sealed body with useful top-plate LCD

The Fujfilm X-H2S looks and feels like a professional camera. This may disappoint fans of Fujifilm’s retro dials, but its pronounced grip, top-plate LCD screen and overall heft helps to balance out the longer lenses you'll likely want to pair it with. The X-H2S also has one of the best electronic viewfinders (EVF) we’ve used on any camera.

Weighing in at 660g, the X-H2S is slightly smaller and lighter than the X-H1. But it also borrows many of its design cues from Fujifilm’s medium format GFX series. Its top plate, for example, is pretty similar to the one on the Fujifilm GFX50S II.

This all means that the X-H2S does away with Fujifilm's signature array of manual dials, instead adopting the PASM (Program, Aperture, Shutter Speed, Manual) approach favored by its rivals. You’ll largely be changing shutter speed or ISO using the front and rear dials, which will be a comfortably familiar experience for most non-Fuji fans.

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While some may miss the dedicated dials of the X-T series, this approach makes sense on a camera like the X-H2S, where settings like shutter speed will be largely tweaked while looking through the viewfinder at speeding subjects. Fuji has also previously stated that many photographers have been put off from switching to the X-series because they find its dials too confusing.

This PASM dial, with its seven custom modes, sits to the left of the viewfinder, though it’s a shame there’s no handy ‘drive mode’ switch underneath for quickly switching between. Still, on the right-hand side of the top plate you'll find that useful LCD screen (for quickly checking settings like shutter speed, aperture and ISO) on the right next to buttons for ISO, white balance and video recording.

Unlike cameras like the Canon EOS R7 and Sony A7 IV, the X-H2S only has a standard hot-shoe rather than a 'multi-function' one that can power or transfer data to external accessories. If you regularly use flashes or external microphones, you might find the setup of those rival cameras to be a bit simpler and cleaner due to the lack of cables.

Around the back, the Fujifilm X-H2S is pretty similar to the X-H1. There's a fully articulating touchscreen, which flips around the front for video shooters. One of the main changes is a new AF joystick, which is larger than before and has moved up next to the viewfinder. While we initially found this AF stick to be a bit of a stretch for our thumb, we soon got used to it and found the X-H2S to be very comfortable to shoot with.

One significant upgrade that the X-H2S has over the rest of the X-series is that impressive 5.76-million dot OLED viewfinder. Thanks to its size (it has an equivalent 0.8x magnification), resolution and 120fps refresh rate, we found it to be one of the best viewfinders we’ve used. The resolution remains high whatever focusing method you’re using and it makes the EVFs on the rest of the X-series, and even rivals like the Sony A7 IV, look dated.

Overall, the X-H2S has great handling and is a lot of fun to use. The lack of a drive mode switch beneath the main dial is a bit annoying, as is the absence of a focus mode switch on the front. We also wish the front and rear dials were still clickable like on other Fuji cameras. But the X-H2S otherwise offers a very polished, and customizable, shooting experience for both stills and video shooters.

Design and handling: 4.5/5

Fujifilm X-H2S: features and performance

Maintains 40fps speeds for over three seconds with CFexpress card
Impressive subject-tracking autofocus, if not quite class-leading
Useful in-body image stabilization and no overheating issues

The X-H2S is by far the most powerful Fujifilm camera to date and one of the best hybrid cameras for stills and video that you can buy. It may not offer the dynamic range or low-light performance of full-frame rivals like the Sony A7 IV, but it more than compensates with the burst shooting, autofocus and video skills that are unlocked by its stacked sensor.

Like the OM System OM-1, the X-H2S focuses mainly on speed for wildlife and sports shooters (hence the ‘S’ in its name). It can blast through stills at 40fps (raw or JPEG) when using the electronic shutter, all with full AF / AE tracking and with no blackout in the viewfinder. But how usable is this burst shooting in practice?

We did some burst-shooting tests using both a CFexpress card and SD card to find out. You can see our results below. The conclusion is that you’ll definitely want to use a CFexpress card to unlock the true potential of the X-H2S.

This will let you hit the top 40fps speed for just over three seconds until the buffer slows things down, or over five seconds when shooting at 30fps. While the 20fps mode isn’t quite unlimited, we found you can keep going for at least 15 seconds at these speeds, which is more than enough for most situations.

There are a few caveats to add to this, though. Firstly, we found the autofocus performance to be a little more hit-and-miss when shooting fast-moving subjects like motocross riders at 40fps.

This means that you’re better off switching to ‘only’ 20fps or 30fps during particularly challenging scenes. Also, while the rolling shutter is minimal when using the electronic shutter, it hasn’t been completely eliminated for fast panning shots. This means you’ll still want to use this camera’s 15fps mechanical shutter mode on some occasions.

Lastly, the final thing to bear in mind when shooting at 40fps is that it’ll leave you with some considerable photo-culling to do before editing. So while it’s definitely a useful more to have for extreme situations, you may not ultimately use it that often for those reasons.

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A young fox in a garden — (Image credit: Future)

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How does the X-H2S’ autofocus perform overall? In our tests, very well. It isn’t a huge leap up from the Fujifilm X-T4, and its tracking isn’t quite as unerringly confident as the systems on flagship rivals like the Canon EOS R5 or Sony A7 IV.

But it’s still certainly good enough for high-end sports and wildlife shooting, once you’ve tailored it to your needs.

A football player pointing and shouting — (Image credit: Future)

Alongside the usual ability to track human faces and eyes, the X-H2S can track animals, birds, cars, motorcycles, bicycles, airplanes and trains, as long as you’ve selected the right one in the menu.

One day, cameras will be able to automatically apply the right AF mode to whatever you’re looking at, but for now you still need to manually pick your subject in the menus.

We found the eye detection worked well for portrait shots or soccer matches, proving pretty sticky whether our subject was moving or not. Animal detection, meanwhile, was versatile enough to recognize subjects like foxes and lock onto their eyes.

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A rally car turning the corner of a race track at Goodwood — (Image credit: Future)

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Switching to car and bike autofocus mode at the Goodwood Festival of Speed produced similarly impressive results, with the X-H2S quickly drawing a tracking box around our speedily-moving subject before locking onto a face or head.

For cars, it’d often default to the front of the car if it couldn’t find a helmet through the windshield. Our autofocus hit-rate was again best when using either the 15fps or 20fps burst modes, so we generally stuck to these for the best results.

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A car racing on as track at Goodwood — (Image credit: Future)

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When it comes to stabilization, the X-H2S is pretty similar to the Fujifilm X-T4. On paper, these cameras offer six-to-seven stops of compensation when shooting handheld, although in our experience that’s closer to four-to-five stops with most lenses and does vary depending on which lens you’re using.

Still, you certainly get a useful helping hand when using longer lenses and the combination of in-body stabilization with Fujifilm’s digital image stabilization (DIS) can produce tripod-style results when handholding. It’s less useful for moving shots, though, so you’ll definitely still need a gimbal when doing walk-and-talk style vlogging.

Lastly, battery life and overheating. The X-H2S offers a fairly standard battery performance for a high-end mirrorless cameras, lasting for 390 shots per charge when using the EVF or 580 when shooting with the LCD. That might sound a bit limiting, but you’ll get a lot more shots than that in reality when using burst mode – we took over 1,000 photos before needing to change batteries. You can also add an optional VG-XH grip ($399 / £399 / AU$749) to triple the camera’s endurance.

Video shooters will be pleased to hear that the X-H2S doesn’t have any overheating limitations either. Without any of the old recording limits that we’ve seen on previous Fujifilm cameras, we were able to shoot in 4K for over two hours before the battery gave out. This makes it a good choice for those looking to shoot longform interviews, particularly as the eye-tracking works best in fairly static scenes.

Features and performance: 5/5

Fujifilm X-H2S: image and video quality

For photos, the Fujifilm X-H2S offers no major image quality upgrades over its cheaper siblings like the X-T4. That might sound a bit disappointing considering the camera’s price, but the benefits of its new 26.1MP X-Trans CMOS 5 HS sensor are its fast readout speeds, which mainly affect autofocus and burst shooting (alongside video).

Those features can definitely help you get shots that aren’t possible on cameras like the X-T4, particularly when it comes to moving subjects. But because the X-H2S has the same 26.1MP resolution as previous X-Trans IV cameras, you won’t see any major quality improvements in the shots themselves.

This is no bad thing. We’ve long been impressed with the results produced by X-series cameras, including the ‘color science’ behind that unique X-Trans design. And it’s no different on the X-H2S, which produces some lovely JPEGs and raw files with a good few stops of editing leeway.

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A young deer calling at Bushy Park — (Image credit: Future)

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Our ISO tests produced very similar results to our X-T3, with results very acceptable up to ISO 6400 before smoothing becomes visible due to some increased luminance noise. This is where full-frame cameras still have the slight edge, but the X-H2S’ results from ISO 12800 or above are still certainly usable in emergencies.

Fans of Fujifilm’s Film Simulations – which are based on its classic film stock – will also be pleased to see that all 19 options, from Classic Chroma to Eterna, are available to add a quick bit of personality to JPEGs.

But it’s video where the X-H2S really does feel like a step up from previous X-series cameras, particularly when it comes to the resolutions, frame-rates and bit-depths that are available.

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You can shoot 6.2K/30p video internally with 4:2:2 10-bit color depth, or 4K/120p slo-mo video if you're prepared to accept a 1.29x crop. Unfortunately, there is also a slight crop when shooting Full HD/240p video and that mode is pretty soft, but the sensor's speedy read-out speeds largely control any rolling shutter issues.

Pro videographers will also be pleased to see support for the flat F-Log2 profile, which offers 14 stops of dynamic range for color-grading in post. If you bring a CFexpress card to the party, there's also support for three Apple ProRes codecs: ProRes 422 HQ, ProRes 422, and particularly useful ProRes 422 LT. Perhaps our only complaint here is how labyrinthine all the menus are.

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A man's face on the sidelines of a football match — (Image credit: Future)

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A BMX rider doing a jump on a track — (Image credit: Future)

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The front of a supercar in the paddocks — (Image credit: Future)

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The grill of a supercar at Goodwood — (Image credit: Future)

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Three boys watching a crowd — (Image credit: Future)

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The front of a racing car in the paddocks — (Image credit: Future)

Whatever settings you choose, the X-H2S’ video quality is generally clean and crisp, even if its slo-mo modes are slightly disappointing – the 4K/120p mode incurs a 1.29x crop, while the 240p mode is best avoided. But overall the X-H2S is a powerful, pro-quality video camera, which is pretty impressive when you consider how capable it is for stills, too.

Image and video quality: 4.5

Should I buy the Fujifilm X-H2S?

Buy it if...

Don'y buy it if...

Fujifilm X-H2S: also consider

Testing scorecard

Canon EOS R10 review

9:31 pm | September 3, 2022

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

Editor's Note

• Original review date: September 2022
• Mid-level mirrorless camera with Canon's RF mount
• Launch price: $979 / £899 / AU$1,499 (body only)
• Official price now: $879 / £999 / AU$1,729 (body only)

Update: May 2024. Nearly two years after its launch, Canon’s mid-tier mirrorless camera remains our top pick among the best beginner cameras you can buy. We continue to rate its handling, autofocus performance and rapid bursts speeds. In terms of overall value, it’s a camera that offers a huge amount of potential for novices, as well as versatility for hobbyists. In certain regions, including the UK and Australia, it actually costs more from Canon now than it did at launch. However, many online retailers offer it for less than the official price, so it’s worth shopping around, especially if you’re looking for a lens bundle. We’ve also seen its price reduced during seasonal sales events, including a £326 saving versus the RRP in January of this year. In the US, the EOS R10 costs $100 less in 2024 than it did in 2022, making it even better value. The rest of this review remains as previously published.

Two-minute review

There's been a hole in the middle of Canon's mirrorless camera lineup for a few years now, but the Canon EOS R10 finally fills it. If you're a beginner looking to expand your photographic horizons, or an existing Canon fan who wants a fun second camera for everyday shooting, it's now one of the best cameras around, and thanks to its small size and weight, it's also one of the best travel cameras.

While it's a little more advanced and expensive than traditional entry-level cameras, like the Canon EOS Rebel SL3 / EOS 250D DSLR, the EOS R10 is a considerable upgrade on those models and well worth its price tag. It's really an evolution of the double-digit DSLRs like the Canon EOS 90D, cameras that became firm favorites with those who wanted to snap their family, vacations and day-to-day lives with smartphone-beating quality.

The key to the Canon EOS R10's charm is its Digic X processor, which helps unlock the latest autofocus tech and some impressive burst-shooting speeds for its price. You get Dual Pixel CMOS AF II and 15fps continuous shooting (albeit with a firm brake applied by the EOS R10's buffer), which make this camera more than capable of snagging a shot of the family dog's winning goal in the garden water polo.

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The Canon EOS R10 camers sitting on a wooden bannister — (Image credit: Future)

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The EOS R10 can track a wide range of subjects, including people, animals (dogs, cats, birds) and vehicles, and follows them around pretty tenaciously. This is a really useful tool that lifts this camera above rivals like the Fujifilm X-S10, although that camera does fight back with in-body image stabilization and (right now) a bigger selection of lenses.

Ah yes, lenses. Along with a slightly small viewfinder (with 0.59x magnification), these are the EOS R10's main weakness. At the time of writing, Canon has only made two native lenses for the EOS R10 and its EOS R7 sibling: the RF-S 18-45mm f/4.5-6.3 IS STM and RF-S 18-150mm f/3.5-6.3 IS STM zoom. This is pretty paltry compared to Sony and Fujifilm, although you can use both Canon's full-frame RF lenses and older EF ones on this camera with an optional adaptor.

How important this is very much depends on your photographic preferences and experience. There are some affordable RF lenses that will work nicely with the EOS R10, including the RF 50mm f/1.8 ($180 / £220 / AU$340), RF 16mm f/2.8 ($299 / £320 / AU$479) and, for wildlife snappers, the RF 600mm f/11 ($699 / £860 / AU$1,399). We also tested it with the RF 85mm f/2 Macro ($550 / £670 / AU$1,049), which is a versatile prime lens.

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There's a good chance that these options will tide you over until Canon gets around to launching some new APS-C lenses. But if you want more options out of the gate, or don't like the uncertainty, then a camera like the Fujifilm X-S10 or Fujifilm X-T30 II could be more suitable.

If you're just starting out and want a lightweight camera that'll grow with you, though, then the Canon EOS R10 is one of the best beginner cameras around. Its new 24MP CMOS sensor produces some lovely images with enough leeway for you to claw back some details from shadows, even if you won't want to regularly push it beyond ISO 6400. You can also shoot some impressive video, even if the 4K/60p mode does come with a 1.56x crop.

Despite its relatively old-fashioned sensor, which isn't backside-illuminated, the EOS R10's powerful processor, autofocus experience and versatile controls give beginners a great camera to start with and a powerful one to grow into. That means you can have plenty of fun with it while you wait for Canon to make some more native lenses.

Canon EOS R10 price and release date

Available to buy now for $979 / £899 / AU$1,499 (body only)
Also available in two different kit lens bundles
Slightly cheaper than the Fujifilm X-S10

The Canon EOS R10 is available to buy now in a few different bundles, with the cheapest one being its body-only price of $979 / £899 / AU$1,499.

If you'd rather buy it with one of Canon's new RF-S kit lenses, you can pick it up for $1,349 / £1,249 / AU$2,049 with the RF-S 18-150mm kit lens, or $1,099 / £999 / AU$1,649 with the RF-S 18-45mm f4.5-6.3 IS STM kit lens.

This is pretty reasonable pricing that has echoes of the Canon EOS RP, a full-frame camera that landed for $1,299 / £1,399 (body-only) back in 2019.

The EOS R10 slightly undercuts the Fujifilm X-S10 ($999 / £949 / AU$1,699), although that camera does offer in-body image stabilization, which is useful for preserving image quality and shooting video. And it's priced similarly to the Nikon Z50, another relatively compact APS-C camera that's now a little behind the EOS R10.

Price score: 4/5

Canon EOS R10: design

Small and lightweight, weighing only 429g
Deep grip makes it comfortable to hold with most lenses
Small viewfinder magnification (0.59x) and no weather-proofing

The Canon EOS R10 probably isn't going to win any Red Dot Design awards, but it does fulfill its brief of being both impressively small and comfortably familiar to anyone who's used a Canon DSLR.

In your hand, the little thing is quite reminiscent of a Canon EOS Rebel SL3 (otherwise known as the Canon EOS 250D, outside the US), which actually weighs 20g more than the 429g EOS R10.

Realistically, this is about as small as RF-mount cameras are likely to get – which is to say, not quite as diddy as EOS-M series like the Canon EOS M50 Mark II. Those cameras will live on, albeit looking wistfully through the garden fence as photographers play fetch with Canon's new APS-C darlings, the R7 and R10.

The top of the Canon EOS R10 camera sitting on a wooden bench — (Image credit: Future)

On top, the Canon EOS R10 again looks like a Rebel SL3 / EOS 250D, with a mode dial joined by front and rear command dials, a multi-function button and a video record button. One useful addition, though, is the inclusion of Canon's multi-function accessory shoe, which can both power and send data to accessories like shotgun mics. Considering this is a feature you don't even get on the full-frame cameras like the EOS R6, it's another reason to feel smug about owning an R10.

Around the back, it's a similar setup to the pricier Canon EOS R7. There's a fully articulating touchscreen that can flip forwards for video shooters and, helpfully, an AF joystick. This is a feature that affordable cameras often jettison in the name of simplicity, but it's a real boon for photographers who are looking to quickly move AF points. And that's likely to be the case when you have a powerful autofocus system with 651 AF points, like on the R10.

One slight disappointment with the EOS R10 is its small viewfinder. While this EVF has a similar 2.36-million dot resolution to the one on the EOS R7, its limited 0.59x magnification does feel a bit stingy. It works well enough in practice and can be customized with handy tools like live histograms and gridlines, but other cameras at this price point do offer better views of your scenes.

The Canon EOS R10 camera sitting on a wooden bench — (Image credit: Future)

There are a couple of other design downers on the EOS R10 that are a little more understandable for the price. The EOS R10 lacks the weather-proofing you get on the EOS R7, which means you'll need to look after it that little bit more. There's also only one UHS-II card slot, rather than two. And while the EOS R10 does have a microphone input, you also lose the headphone jack for monitoring your audio when shooting videos.

All in all, though, we really enjoyed shooting with the Canon EOS R10 during our time with the camera. Like the Nikon Z50, it has a pretty deep grip for such a small camera, which means you can pair it with relatively long lenses if needed. But it's also a neat, lightweight little bundle when combined with primes like the RF 50mm f/1.8 STM lens and is a camera you'll look forward to taking out.

Design score: 4/5

Canon EOS R10: features and performance

Can briefly hit 15fps speeds with the mechanical shutter
Electronic shutter brings a higher top speed but also rolling shutter limitations
Impressive autofocus tracking for a mid-range camera

Like the Canon EOS R7, one of the most appealing things about the EOS R10 is its combination of modern autofocus smarts and pretty rapid burst-shooting speeds. The R10 isn't quite in the same category as the R7 for the latter, but it's still an improvement on mid-range DSLRs like the Canon EOS 80D and even the EOS 90D.

Canon's specs sheet says that the EOS R10 can shoot at an impressive 15fps with its mechanical shutter or at 23fps with its electronic shutter. And out tests backed up these claims, even if the camera's buffer couldn't maintain those speeds for as long as the official specs claim.

We were able to shoot uncompressed raw files for 15fps for one second using the mechanical shutter, before the buffer slowed things down to around 7fps. When shooting JPEGs, we were able to keep going at 15fps for a more useful six seconds, before it dropped to around 12fps.

Switch to the electronic shutter and you're able to briefly hit 23fps speeds. There are a couple of reasons why this is best avoided in most situations, though. Firstly, the electronic shutter is much slower than the mechanical one over extended bursts in this mode. Also, shooting moving subjects with the electronic shutter can produce warping issues (otherwise known as rolling shutter), which means you're best off sticking to the mechanical one most of the time.

Fortunately, the EOS R10's autofocus is able to keep up with these decent burst-shootings skills. Its Dual Pixel CMOS AF II setup, seen in more advanced forms on cameras like the professional Canon EOS R3, is both impressive and intuitive, too. You get a total of 4,053 AF points, which is impressive for an entry-level camera, and moving around them is easy thanks to the inclusion AF joystick (another feature that's often jettisoned on beginner cameras).

We tested this AF system on a wide range of animals, including cats, deer and a very speedy cockapoodle. And while the hit-rate certainly wasn't 100%, the EOS R10 did a good job of finding eyes and locking onto them, even from distances of 5-10 meters away.

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A dog running in a garden — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/1000 sec at f/4, ISO 320 (Image credit: Future)

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A running cockapoo dog in a garden — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/1000 sec at f/4, ISO 250 (Image credit: Future)

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Unlike previous autofocus systems, this tracking is available across most of the EOS R10's AF modes, and it'll automatically switch to a face or body if it can't find any eyes. Switch to continuous AF (or 'Servo', as Canon calls it) and the EOS R10 will also track any subject you choose to lock onto around the frame, which puts it ahead of rivals like Fujifilm.

Where the Canon EOS R10 is slightly weaker than some rivals is battery life and the lack of in-body image stabilization (IBIS). The Fujifilm X-S10, for example, offers IBIS for a similar price to the R10, and this can be a useful way to preserve image quality when shooting handheld in lower light (thanks to longer shutter speeds).

The EOS R10's battery life isn't terrible in comparison to other mirrorless cameras. Its CIPA rating (which is a standardized metric for camera battery life) is 340 shots per charge, or 210 if you're solely using the EVF. While Sony cameras tend to fare a little better, that's only just below par for mirrorless cameras.

DSLRs like the Canon EOS Rebel T8i / EOS 850D (which uses the same LP-E17 battery as the EOS R10) can keep going for 800 shots, though, because they use optical viewfinders rather than electronic ones. We still think the EOS R10's overall advantages make it the better buy, but it's something to bear in mind if you're planning to take it on long days out. Getting a spare battery is likely a wise idea.

Features and performance score: 4.5/5

Canon EOS R10: image and video quality

Image quality impresses despite sensor's lack of backside-illumination
Shoots uncropped 4K/30p video that's oversampled from 6K capture
No headphone jack or 'flat' log video profile for color graders

The EOS R10 has a new 24.2MP sensor, but this chip isn't backside-illuminated (BSI). As the name suggests, BSI sensors have their circuitry on the back of the sensor rather than in front of the light-sensitive photosites, which traditionally means they have less noise and better all-round image quality.

This could have been a black mark against the EOS R10, but overall we've been impressed with its image quality. Photos look very clean and detailed up to ISO 1600, with pleasing colors and skin tones.

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A deer standing in a field — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/800 sec at f/5.6, ISO 500 (Image credit: Future)

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The head of a black and white cat — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/100 sec at f/4.5, ISO 125 (Image credit: Future)

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Noise starts to become slightly noticeable from ISO 3200, but results are certainly still usable here and at ISO 6400. It's really only ISO 12800 and above that should be considered emergency options for particularly gloomy situations.

In short, the image quality is very similar to APS-C rivals like the Sony A6400 and Nikon Z50. Only the Fujifilm X-S10 and X-T30 II hold any advantage at this price point, because they use BSI CMOS sensors that should (in theory) give them a slight advantage at higher ISO sensitivities. But we haven't been able to do a side-by-side comparison between the EOS R10 and those cameras yet.

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A man standing in the shade at a station reading his phone — Canon EOS R10 with RF-S 18-45mm f/4.5-6.3 IS STM, 1/800 at f/7.1, ISO 100 (Image credit: Future)

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A man sitting outside a train station — Canon EOS R10 with RF-S 18-45mm f/4.5-6.3 IS STM, 1/320 at f/7.1, ISO 100 (Image credit: Future)

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Slightly more impressive, compared to the competition, are the EOS R10's video skills. Some occasionally temperamental autofocus aside, it impresses with the ability to shoot uncropped 4K/30p that's oversampled from the sensor's 6K resolution.

While this isn't the case for the camera's 4K/60p mode (which as you can see below, incurs a 1.56x crop), this is still a useful tool for vloggers and YouTubers. The benefit of 60p mode is that you can slow it down to half-speed to create some nice cut-scenes.

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The petals of a red flower in a garden — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/125 at f/6.3, ISO 100 (Image credit: Future)

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A purple and white flower in a garden — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/250 at f/6.3, ISO 160 (Image credit: Future)

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A flower in front of the sky — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/1250 at f/4.5, ISO 160 (Image credit: Future)

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A pink flower in a garden — Canon EOS R10 with RF 85mm f/2 Macro IS STM, 1/40 at f/7.1, ISO 100 (Image credit: Future)

Other video bonuses include the ability to shoot 1080/120p slo-mo and an 'HDR PQ' mode that delivers 4:2:2 10-bit quality. Unfortunately, there's no 'flat' log option on the EOS R10, though, which means keen color graders will need to consider the EOS R7 or rivals like the Fujifilm X-T30 II. And the lack of a headphone jack means there's no way to monitor audio when you're out in the field.

Still, there's no 30-minute video recording limit on the EOS R10, which means you can shoot clips for up to two hours (depending on battery life and card capacity). And pair the camera with a slightly better lens than Canon's two RF-S kit zooms, and you have a very capable video tool for shooting clips alongside your snaps.

Image and video quality score: 4/5/5

Should I buy the Canon EOS R10?

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Testing scorecard

First reviewed August 2022

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