Until now, DJI's compact wireless mic lineup has had a clear budget option in the Mic Mini series and a clear flagship in the Mic series, with a gulf of features and price separating the two. The Mic Mini 2S changes things, and slots right into that gulf. It's not quite a flagship-killer, but with this release, DJI now has three tiers of small wireless mic — and this middle one is very appealing.

Much of the flagship DJI Mic 3's DNA has trickled down into the Mic Mini 2S: internal recording, 32-bit float support, AI-driven noise cancellation, adaptive gain modes, fast file transfers. These were all things that, until now, meant paying a premium. The Mini 2S borrows them wholesale, wraps them in the same pocket-sized transmitter and case as the standard Mic Mini 2, and undercuts the Mic 3 comfortably on price.

Audio quality is superb. Whether I was recording via the receiver connected to a camera or going wireless direct to an OsmoAudio device, the results were clean, full-bodied and detailed. An impressive feat for a supposedly budget offering.

Noise cancellation is another highlight. The new AI-assisted system handled everything I threw at it, from a droning desk fan to a chatter-filled pub garden, with a level of polish that puts some real distance between the Mini 2S and its S-less little sibling. It's not quite at the level of the class-leading Insta360 Mic Pro, but it's a comfortable step up from the standard Mic Mini 2's basic noise reduction.

Having tested both the Mic Mini 2 and Mic 3 extensively as well as the Mini 2S, I'd say the average creator might struggle to justify paying the Mic 3 premium now. Those with more demanding needs still have reasons to look past the Mini 2S, though: the Mic 3 offers more than double the onboard storage per transmitter, a touchscreen receiver display for on-the-fly monitoring, dual-file recording, onboard timecode, and more granular gain control — stuff which probably matters for professional productions.

For everyone else, the Mini 2S is the new sweet spot in DJI's range. It's a tiny mic that really punches above its weight.

DJI Mic Mini 2S: price and release date

• Released August 4 2026, priced from £59 / AU$99 to £183 / AU$328
• Sold in four separate bundles, plus individual transmitters, charging cases and cover sets
• Available globally — aside from in the US

The Mic Mini 2S launched globally on August 4 2026, not long after the Mic Mini 2's April 2026 arrival. I say "globally", but as with every other DJI product released recently, it isn't officially available in the US, with the company blaming ongoing regulatory hurdles.

The Mini 2S comes in a wide range of configurations. At the low end, a single transmitter (TX) costs £59 / AU$99, while receivers (RX) add to the cost. The core bundles are the DJI Mic Mini 2S (1 TX + 1 RX) and the DJI Mic Mini 2S (1 TX + 1 Mobile RX + Charging Case), both priced at £79 / AU$149. Stepping up, the DJI Mic Mini 2S (2 TX + 1 RX + Charging Case) costs £169 / AU$279, while the priciest option, at £183 / AU$328, has 2 TX + 1 RX + Charging Case as well as a Mobile RX.

It's a big price jump over the Mic Mini 2, where equivalent bundles cost roughly half as much: £29 for a standalone transmitter and £89 for the full 2 TX + 1 RX + Charging Case kit. It also puts the Mini 2S's 2 TX + 1 RX + Charging Case at the same price as the entry-level Mic 3 bundle (£169 for 1 TX + 1 RX).

DJI Mic Mini 2S: specs

DJI Mic Mini 2S: Design

• Looks nearly identical to the Mic Mini 2
• Features swappable magnetic covers in range of colors
• Redesigned charging case now fits the 3.5mm cable

If you've seen the Mic Mini 2, you already know what the Mini 2S looks like. DJI has barely touched the exterior: the transmitters are the same size with the same interchangeable magnetic front covers (available in the same range of colors, from timeless black to a fetching shade of magenta). The receiver, too, is essentially unchanged, which means there's no onboard display to keep an eye on gain or adjust settings; you'll need to open up the Mimo app on your smartphone to do that.

The family resemblance is generally no bad thing. At just 0.4oz / 12g with a cover attached, I barely noticed the transmitter magnet-attached to my shirt, and I couldn't feel it at all when clipped to the peak of a baseball cap. The detachable clip still rotates through 360 degrees (in 90-degree increments) so the mic capsule can be aimed correctly whichever way you've mounted it, and the magnet option remains handy for thinner fabrics where a clip might snag.

There is one small but positive design change: DJI has found room for the 3.5mm cable inside the charging case (something the Mic Mini 2's case couldn't manage) which means the entire two-transmitter setup, cables, windshields and mounting options included, now fits in one pocketable case. With portability being a huge part of the appeal for a mic like this, it's a step in the right direction.

DJI Mic Mini 2S: Performance

• Offers internal recording with 14.5GB of storage space on transmitters
• Includes AI noise cancelling, improving on the Mic Mini 2's system
• Transmitter battery life roughly in line with Mic Mini 2's, and better than Mic 3's

The Mic Mini 2S's marquee upgrade over the Mic Mini 2 is internal recording, which I think is a huge deal. Every previous Mic Mini had to transmit to something — either a receiver, or an OsmoAudio device — to be of any use, but the Mini 2S transmitter can function just fine all on its own. With around 14.5GB of usable storage on each transmitter, it can store up to 28 hours of 24-bit recordings, or around 22 hours of 32-bit float recordings.

For those who aren't familiar, 32-bit float (which is available on the DJI Mic 3 but not the Mic Mini or Mini 2) doesn't inherently make your recordings sound better, but rather dramatically widens the available dynamic range. If levels unexpectedly spike or dip during a recording, 32-bit float gives you far more room to correct for that in post without clipping or losing detail. It's less about raw quality and more about insuring you're covered when recording in unpredictable environments.

Another upgrade over the Mic Mini 2 is 4TX + 1RX support, meaning you can record from four separate transmitters onto a single receiver. I'd say this is a much more situational addition: handy if you're recording podcasts, panel discussions or similar, but not something most solo creators will need day to day.

File transfers are roughly twice as fast as the Mic Mini 2's when pulling recordings off the transmitter via the charging case. If you're regularly transferring lengthy 32-bit float recordings, those saved minutes might add up — but again, it's a situational improvement.

Noise canceling is where I noticed the clearest real-world improvement over the Mic Mini 2. The Mini 2S's AI-assisted system does a better job than the older mic's more basic noise reduction: it very nearly eliminated a loud desk fan running in my office, and noticeably cut through background chatter when I tested it in a busy pub garden so that my and my wife's voices remained nice and clear. For context, I still rate the Insta360 Mic Pro as the best noise-canceling wireless mic I've tested, but it also costs considerably more than this.

Alongside noise canceling, the Mini 2S also gets DJI's adaptive gain features, Clipping Control and Loudness Balance (previously available on the DJI Mic 3 but not the Mic Mini 2). The former automatically pulls back gain to stop sudden loud moments from distorting, while the latter lifts quieter sounds to even out levels — useful if you're recording somewhere volume might swing unpredictably.

The Mic Mini 2S's audio quality is superb no matter how you use it. It supports quality up to 96kHz/24-bit with the receiver connected to a camera, or up to 48kHz/24-bit over a direct OsmoAudio connection, plus the aforementioned 32-bit float. Frankly, I don't think most people (myself definitely included) would be able to reliably pick a Mini 2S recording out from one made on the considerably pricier flagship Mic 3, which says a lot about how good this is for a supposedly budget microphone.

On the battery life front, things are roughly the same as they were on the Mic Mini 2: a transmitter can record for a round 11 hours on a full charge, while the receiver can keep going for around ten. With two transmitters, the receiver and a charging case, you can expect around 40 hours of combined use before needing to track down a power socket.

That's a bit worse than the Mic Mini 2 (which offers 11.5 hours, 10 hours and 48 hours across the transmitter, receiver and charging case), but much better than the Mic 3 (8 hours, 10 hours and 28 hours respectively).

Should I buy the DJI Mic Mini 2S?

Buy it if…

Don’t buy it if…

DJI Mic Mini 2S: also consider

How I tested the DJI Mic Mini 2S

• Two weeks of testing indoors and outdoors
• Connected to Panasonic Lumix GH6, iPhone 13, OnePlus Pad and DJI Osmo Action 6
• Also tested using internal recording without a receiver or camera

I was sent a review sample of the DJI Mic Mini 2S (2 TX + 1 RX + Charging Case) kit, and tested it for a couple of weeks, putting it through its paces in a range of indoor and outdoor conditions from quiet offices to windy walks and busy public spaces. I paired it with my Panasonic Lumix GH6 mirrorless camera, my iPhone 13, a OnePlus Pad tablet and the DJI Osmo Action 6 via OsmoAudio, testing both wireless transmission and manual connections. I also tested the Mini 2S's headline new feature directly, using the transmitter as a standalone recorder with no receiver or camera involved at all.

• First reviewed: August 2026
• Read more about how we test

If you're searching for a high-quality and compact lens for your Sony or Nikon mirrorless camera, then the excellent value Viltrox AF 26mm F2.8 EVO is well worth considering.

Compared to Nikon and Sony's own alternatives, the Viltrox 26mm f/2.8 strikes a balance of premium design, compact size and reasonable pricing most compellingly of all.

For $299 / £279 (approximately AU$500), you get a wide-angle prime with bright f/2.8 aperture, rugged metal body that measures just 25.8mm in length, rubber-sealed mount, twin dials and a fabulous magnetic lens cap design.

Not only is the Viltrox lens around half the price of the Nikon alternative, but it packs more features, while Sony's closest alternative is a physically larger and pricier 24mm F2.8.

Viltrox's lens isn't perfect, mind you; optically it's not the sharpest lens I've used and the maximum f/2.8 aperture setting is prone to flare, which reduces contrast. Autofocus can be a little fussy too.

Those drawbacks aside, the Viltrox AF 26mm F2.8 EVO is another high-quality hit from the established Chinese lens manufacturer that deserves to live on your Sony or Nikon camera.

Viltrox AF 26mm F2.8 EVO: price and availability

• Available in Sony E and Nikon Z-mount versions
• It costs $299 / £279 (around AU$500), with a 10% discount at launch
• A magnetic lens cap and filter is supplied

The Viltrox AF 26mm F2.8 EVO full-frame lens launched for Sony E-mount and Nikon Z mount mirrorless cameras. It can also be used with either's APS-C cameras, with which it has an effective 39mm focal length. The lens costs $299 / £279 (not directly available in Australia), but I regularly see 10-15% discounts on the Viltrox site and at Amazon. At the time of writing, there's 10% off the 26mm lens.

Viltrox has another autofocus pancake lens, the 28mm f/4.5, which is just one third of the price. However, that lens is much more basic, and for a fair comparison on value, consider Nikon's own 26mm f/2.8 pancake lens, which has a slightly simpler design yet is almost double the price.

Sony's choices are much more varied — there are low-cost (and lower quality) options such as the 20mm F2.8, while premium options such as the 24mm F2.8 are pricier and physically much larger. TTArtisan sells a AF 27mm f/2.8 pancake lens that costs around $130 / £110 less, but I've not tested that lens.

So while the 26mm F2.8 EVO is hardly cheap for a Viltrox lens, it is still excellent value considering its quality and the available alternatives. I think it's an excellent quality to size and price ratio. For other primes, check out my best Sony lenses and best Nikon lenses guides.

Viltrox AF 26mm F2.8 EVO: specs

Viltrox AF 26mm F2.8 EVO: design

• Just 25.8mm in length and 6oz / 170g
• Metal components, rubber-sealed mount
• Clever magnetic lens hood

Lightweight, rugged and convenient, the Viltrox AF 26mm F2.8 EVO fits the bill for everyday photography.

It's clearly made from premium materials, with a metal barrel and rear mount with rubber seal to keep out moisture and dust.

And despite its compact dimensions, the lens fits an impressive number of controls, squeezing in focus and aperture control rings. Unsurprisingly, each ring is very narrow, and getting a secure grip on the focus ring is a little fiddly, but I certainly prefer having those shrunk-down controls rather than none at all.

The aperture ring is clicked with no option to de-click it for video use. Again, I'm not surprised about this given how small the lens is — there really is no spare space to fit this control.

Like all recent Viltrox lenses, the 26mm pancake features a USB-C port in its rear mount, through which firmware updates can be installed.

The simple optical construction comprises eight elements in six groups, and includes two aspherical elements. The front lens element is tiny. In fact, the 43mm filter thread isn't even built into the lens itself, but the supplied lens hood.

Said dual-purpose lens hood is suitably compact, but I found it didn't provide the sort of protection against lens flare that I would hope for (more on this in the performance section).

The lens hood has a neat trick up its sleeve mind you — it's magnetic. The supplied lens cap snaps onto the lens hood magnetically, doing away with the traditional pinch lock lens cap design. The hood screws onto the lens, but you can bypass the hood because the front of the lens is also magnetic.

Viltrox's neat magnetic system is a revelation, and I hope other lens manufacturers follow suit. It might not be suitable for all lens types mind you, say those with floating lens elements which use electromagnetism, such as Viltrox's own 85mm F1.4 Pro.

Close focusing goes down to 0.2m, which delivers a maximum 0.2x magnification. This is no close up lens, therefore, but I've certainly tested plenty of lenses with a lesser maximum magnification factor.

At launch, the 26mm lens is available in Sony E and Nikon Z-mount versions. There's no word yet on L-mount or X-mount versions (nor Canon RF, as per usual).

To truly appreciate the benefit of its compact dimensions and lightweight 6oz / 170g design, cameras such as the Sony A7C series and the Nikon Z f series are a good bet. And as a full-frame lens, you can also use it with APS-C cameras with a 1.5x crop factor, such as the Sony A6700 and Nikon Z50 II. It could be a fabulous option with the Lumix S9 or Sigma BF too, should an L-mount version land.

Viltrox AF 26mm F2.8 EVO: Performance

• Bright maximum f/2.8, but risk of strong lens flare at this setting
• Detail is impressively sharp for such a small lens
• Autofocus is decent, but I've used snappier lenses

Viltrox's smaller 28mm F4.5 lens wins for compact size and price, but for image quality, the 26mm F2.8 EVO is a step up.

True, it's not the sharpest lens I've ever used, but optical quality impresses, especially given how small and lightweight the lens is.

I regularly used the lens' maximum f/2.8 aperture setting, with which it's possible to get shallow depth of field and pleasant enough bokeh. There's no discernible drop in sharpness at this setting from the peak f/5.6 to f/8 settings, either.

However, lens flare is prominent at f/2.8 when shooting towards the sun and strong light sources, which massively reduces contrast. In some scenarios I rather liked the effect — it was at times characterful and dreamy. At other times, I wished the distortion was better controlled.

Vignetting (darker corners) is also visible at f/2.8, though nothing too dramatic, and remains even up to f/8. The worst of these lens distortions would be less noticeable when pairing the lens with an APS-C camera where the outer portion of the image is cropped out. Otherwise, using f/4 to f/11 aperture settings delivered impressively sharp images, generally free from severe lens distortion.

I tested the lens exclusively with a Nikon Z6 II camera. Not the latest mirrorless camera by any means (that'll be the Z6 III), but one with snappy autofocus and subject detection modes. Even still, I found myself fighting focus hunting more than usual when using the Viltrox lens, compared to a lens like, say, my Nikon 24-70mm F2.8 S.

I'll try the Viltrox 26mm lens with another camera when I get the chance, but so far I'm not fully impressed with its autofocus performance.

Should I buy the Viltrox AF 26mm F2.8 EVO?

Buy it if...

Don't buy it if...

How I tested the Viltrox AF 26mm F2.8 EVO

• Viltrox sent me the Z-mount version of the 26mm lens
• I paired it with my own full-frame Nikon Z6 II
• I regularly used the lens for a month, across a wide range of scenarios

I used the Z-mount version of the Viltrox AF 26mm F2.8 EVO lens with my own Nikon Z6 II full-frame mirrorless camera regularly over the course of one month. My main focus was real world use over technical studio-based tests, though I typically use lenses in scenarios that test their technical capabilities.

For example, I took the same photo in a sequence to see how quality compares using each of the lens' full aperture settings, starting at f/2.8 through to f/16. I checked for bokeh, lens distortion and sharpness at each setting, too.

I was particularly keen to check quality of the maximum f/2.8 aperture, and how the lens copes in strong daylight, especially with such a small lens hood supplied. I photographed landscapes, portraits and documentary-style moments.

First reviewed August 2026

10 years after Insta360 launched its first 360 camera, the X6 arrives as the anniversary flagship — and it arrives in a much, much busier 360 camera market. This time, Insta360 is defending its home turf against a resurgent GoPro Max 2 and a highly capable debut from DJI in the Osmo 360. There's a feeling, then, that the X6 has to be something more than just an annual refresh.

For the most part, it delivers. The squat body houses a pair of larger 1/1.1-inch sensors, and while I wouldn't call the resulting jump in image quality dramatic when set directly against the X5's footage, its effect on where the X6 sits against the wider field is significant.

The GoPro Max 2 has owned daylight sharpness in this category since launch, and the Insta360 X5 has owned the night. The X6 is the first small 360 camera I've tested that doesn't ask you to pick one or the other — it's excellent in both conditions, which makes it, in my view, the best-performing 360 camera you can currently buy.

It's a similar story with durability. Waterproof to 20m without a case and 60m with one, the X6 comfortably out-swims both the Osmo 360 and the Max 2, and its lenses remain just as easy (and now cheaper) to replace if you scratch one . Battery life is another strong point: Insta360's 140-minute claim at 8K/30fps held up closely in my testing, with zero overheating during continuous filming.

Where things get messier is the software. The X6 introduces some exciting additions for serious creators, like 10-bit color across every shooting mode including low light, native Dolby Vision, and forthcoming native DaVinci Resolve support, but the mobile app I tested struggled badly, crashing repeatedly during editing and export. I'm hoping the launch app is a lot more robust. The desktop app fared much better, but lacks the AI auto-editing tools that make the mobile experience so appealing on paper.

All of this comes at a premium price, too: the X6 is comfortably the most expensive small 360 camera around. Whether that premium is worth paying will come down to how much you value best-in-class image quality and hardware.

I've also directly compared the Insta360 X6 and Insta360 X5 in real video recording scenarios — check out my early verdict.

Insta360 X6 specs

Insta360 X6: Price and availability

• Launched worldwide on August 12, 2026
• Standard bundle costs $699.99 / £619 / AU$1,049.99
• Essentials Bundle is $799.99 / £709 / AU$1,159.99

The Insta360 X6 launched on August 12, 2026, priced from $699.99 / £619 / AU$1,049.99 for the Standard bundle. This gets you the camera itself, a USB-C cable, a protective pouch, a lens cloth and a quick-start guide, but nothing else.

Also available is the Essentials Bundle, priced at $799.99 / £709 / AU$1,159.99. This adds a second Xtreme battery, a 114cm invisible selfie stick, a rubber lens cap, a fast-charge case and an extended warranty, and it might be a sensible starting point if you think you'll use those accessories.

It's quite a price jump over where the X5 launched ($549.99 / £519.99 / AU$929.99 for its own Standard bundle), and it also puts real distance between the X6 and rivals like the DJI Osmo 360 (priced from £409.99 / AU$759 at launch) and GoPro Max 2 ($499.99 / £449.99 / AU$849.95). The X6 is the priciest small 360 camera on the market.

One thing worth budgeting for regardless of which bundle you choose: while the X6 has 47GB of usable built-in storage, 8K footage eats through that fast (more on this in the Design section), so factor in a high-capacity microSD card if you don't already have a spare lying around.

• Price score: 3.5/5

Insta360 X6: Design

• IP68-rated and waterproof to 20m (60m with optional dive case)
• Replaceable lenses claimed to be 5x more scratch-resistant than X5's
• 2.32-inch OLED touchscreen with always-on support

The X6 weighs 6.9oz / 196g, and is noticeably squatter and squarer than its X4 and X5 predecessors, a change I'd put down to the need to accommodate the larger 1/1.1-inch sensors inside. That extra width also allows room for a wider screen (albeit one that's slightly smaller than the X5's): a 2.32-inch OLED display that supports an always-on mode, a step up from the screens on the last couple of Insta360 X cameras.

That screen also introduces a pressure-sensitive, haptic touch interface, requiring a firmer press to access certain options. It's a clever party trick, but in practice I didn't find it added much to the experience — it feels more like a gimmick for now than a true usability upgrade.

For mounting purposes, you get the same setup as the X5: a standard 1/4-inch tripod thread and Insta360's proprietary magnetic clip mount on the bottom. Between these and adapters for GoPro-style mounting fingers, you can securely bolt the X6 to pretty much anything. During testing, I used the supplied selfie stick for on-foot and cycling footage, and also tested the SmallRig Vehicle Suction Cup Support Kit for car-mounted shots, both of which worked brilliantly.

On the durability front, the X6 is IP68-rated and waterproof to 20m without any additional housing, rising to 60m with Insta360's official dive case (which costs a whopping $179.99 / £158.99 / AU$269.99). This comfortably outclasses the competition: the DJI Osmo 360 tops out at 10m (and DJI itself discourages underwater use, citing stitching issues), while the GoPro Max 2 manages just 5m. If unhoused underwater shooting matters to you, the X6 is the clear class leader.

Insta360 says the X6's lenses are five times more scratch-resistant than the X5's, and cheaper to replace, too. I didn't manage to scratch mine during testing — which speaks well of that durability claim — so I didn't get to experience the swap process, but the X6 offers the same easy-replacement design as the X5, with the replacement kit including all the tools you need to quickly remove the old lens, clean up any debris and attach a new one.

Alongside the usual microSD card slot, the X6 packs 47GB of usable built-in storage — enough for around 50 minutes of 8K/30fps footage, and a useful safety net if you forget a card or fill one up mid-session. Getting footage off the camera is quick, too: Wi-Fi 6.0 supports wireless transfers of up to 100MB/s, while wired USB 3.0 hits 450MB/s. Both speeds are worth having, because as I found out during testing, the X6's video files get enormous very quickly (more on that in the Performance section).

• Design score: 5/5

Insta360 X6: Performance

• Insta360 claims 140 minutes of 8K/30fps recording; I got 136 minutes in testing
• On-device AI Director auto-edits your day's footage overnight
• The mobile app was prone to crashing during testing, especially on older phones

The X6's 2600mAh Xtreme battery is rated for 140 minutes of continuous 8K/30fps recording, a claimed 51% improvement over the X5. I put that figure to the test, and got 136 minutes before the battery gave out, so Insta360's number holds up well in practice. I also didn't experience any overheating during that stretch, which is impressive given that I was testing through an unusually hot UK summer. Charging is fast, too: Insta360 claims 0 to 80% in 24 minutes with a fast charger, and I found those figures accurate.

Insta360 positions the X6 as "three cameras in one": a 360 camera, a single-lens action cam, and a subject-tracking gimbal-style vlogging camera. In practice, I gravitated almost entirely toward the 360 mode. The X6's size and shape make it a bit unwieldy for hardcore action-camera use compared to something like a GoPro Hero or Insta360's own Ace Pro 2, so I'd treat that mode as a useful fallback rather than a primary draw. The vlogging mode fares better: InstaFrame 2.0 does a genuinely good job of replicating a gimbal-mounted vlogging camera, keeping a chosen subject framed, horizon-levelled and stabilized regardless of how the X6 itself is positioned. You select your subject with a simple double-tap on the screen.

On the color and post-production side, the X6 supports the 10-bit I-Log flat profile, and — significantly for demanding creators — that 10-bit depth now carries across every shooting mode, including the PureVideo low-light mode, which wasn't the case on the X5. It's also the first 360 camera with native in-camera Dolby Vision. Perhaps the biggest software win here is native DaVinci Resolve compatibility, a first for a 360 camera — though this requires Resolve 22, which wasn't available at the time of testing, so I wasn't able to try it pre-launch. As a Resolve user myself, I'll be checking this out as soon as it lands.

The headline software feature is AI Director, an on-device auto-editing system clearly designed around a simple pitch: shoot footage throughout the day, plug the X6 in to charge overnight, and wake up to a finished (but still adjustable) vlog ready to watch in the app.

Unfortunately, my experience with the Insta360 app itself was rocky. I tested beta versions on both an iPhone 13 and a OnePlus Pad Android tablet, and on the iPhone the app struggled badly, crashing repeatedly during anything demanding — including simply exporting an edited video. This isn't a new problem in my experience reviewing Insta360 cameras, but it was pronounced here; Insta360's own reviewer notes suggest an iPhone 15 is the oldest model considered capable of running the app properly, which is a tough ask given that not everyone upgrades their phone every couple of years.

The app fared somewhat better on the OnePlus Pad, letting me test AI-assisted editing of individual clips, though longer clips took a while to process. Results were generally solid, if not something I'd say beats a hand-edited video. I wasn't able to test the app's other AI editing trick — stitching together multiple shorter clips automatically, complete with transitions and music — on either device: it crashed the iPhone app outright, and simply refused to let me add clips to the editor on Android.

One other app frustration: there's no way to switch between color profiles remotely. If you want to shoot in I-Log or Dolby Vision rather than the standard profile, you have to make that change on the camera itself, which is annoying if, say, the X6 is mounted on a pole on top of your car, as it was during part of my testing.

The desktop Insta360 Studio app, run on my M2 MacBook Air, offered a much more stable experience, though it lacks the AI auto-editing tools found on mobile. What it does offer is more precise manual editing on a larger screen, which I personally find easier to work with regardless of stability. I was able to trim, reframe and export finished clips directly from the X6 to my SSD without needing to move the original files off the camera first, which was a lifesaver given the next issue.

That issue is file size: 8K/30fps footage eats through roughly 1GB of storage per minute, so the X6's 47GB of built-in storage fills up fast, and I ran into storage problems fitting longer clips onto both my phone and my laptop. Factoring in the mobile app's instability — which I do expect to be much improved after launch — I found it far easier to manage and trim footage using the desktop app instead.

Audio is handled by a new 360-degree windproof mic array that "actively filters" wind noise, plus a dedicated hidden mic built specifically for motorcycle riders, designed to cut wind further and clarify engine sound — a niche inclusion, but I suppose a welcome one if it applies to you.

I tested the built-in wind filter, and it works, up to a point: noise was noticeably reduced compared with other modes, but not eliminated. For that, I'd recommend pairing the X6 with Insta360's Mic Pro, which I also tested alongside the camera — it essentially eliminates wind noise altogether, and offers the best noise-cancelling I've experienced from a small wireless mic.

• Performance score: 4/5

Insta360 X6: Image quality

• Dual 1/1.1-inch sensors, up from the X5's 1/1.28-inch pair
• 360 video now tops out at 8K/50fps
• 10-bit available across all video modes, including the PureVideo low-light mode

The X6's biggest hardware change is its new dual 1/1.1-inch square sensors, up from the 1/1.28-inch sensors in the X5; that's 33% more sensor area, and around four times the light intake per frame versus its predecessor. That upgrade also brings a higher frame-rate ceiling in 360 mode, with 8K now available at up to 50fps, versus the X5's 30fps cap. Photo resolution climbs too, topping out at 120MP for 360 shots and 42MP in flat mode.

In good lighting, the difference between X5 and X6 footage is there, but it's incremental rather than transformative. I do have to mention AdaptiveTone 2.0 though, which captures two exposures per frame for noticeably better handling of bright skies and high-contrast scenes than I've seen from Insta360 before. I would have previously said the GoPro Max 2 offered the best 360 image quality in good lighting, but now I think the X6 might have equalled or possibly even bettered it.

It's after dark that the X6 really separates itself from the pack, though. The PureVideo low-light mode was already a strength of the X5, but the combination of the larger sensors and 10-bit color now being supported across every shooting mode — including PureVideo itself — pushes noise levels down further still. Neither the DJI Osmo 360's SuperNight mode nor the GoPro Max 2's standard mode (which lacks a dedicated low-light option entirely) come close. I can comfortably say the X6 is the best 360 camera for low-light shooting currently available.

So that's daylight footage that rivals the sharpest in the category, and the best low-light performance by a mile. The X6 is the first small 360 camera I've tested that doesn't force you to accept a trade-off between the two. Where I'd previously have pointed daylight shooters toward the Max 2, and night owls toward the X5, the X6 simply offers the best all-round image quality on the market, in any light.

• Image quality score: 5/5

Insta360 X6: testing scorecard

Should I buy the Insta360 X6?

Buy it if...

You want the best 360 camera image quality around
The X6 delivers the sharpest, cleanest footage overall of any small 360 camera I've tested — no more choosing between daylight sharpness and low-light performance.

You need serious underwater durability
IP68-rated and waterproof to 20m without a case, or 60m with Insta360's official dive housing, the X6 comfortably out-swims both the DJI Osmo 360 and GoPro Max 2.

You're a demanding video creator
10-bit color across every shooting mode, native Dolby Vision, and forthcoming native DaVinci Resolve support make the X6 suited to serious post-production work.

Don't buy it if...

You're on a budget
At $699.99 / £619 / AU$1,049.99, the X6 is now the most expensive small 360 camera around, and by some margin. The DJI Osmo 360 and GoPro Max 2 both undercut it significantly.

You own an older phone
Insta360's guidance recommends an iPhone 15 or newer to get a stable experience from the mobile app. I found it crashed repeatedly on my iPhone 13, particularly when editing or exporting footage.

You want flawless software out of the box
Between the app's instability and its inability to switch color profiles remotely, the X6's hardware is currently running ahead of its software. This should improve post-launch, but it's worth going in with realistic expectations.

Also consider

How I tested the Insta360 X6

• I tested a full production unit (with beta firmware and software) for three weeks
• I shot day and night footage during a hot English summer
• I tested the X6 with and without Insta360's Mic Pro wireless microphone

I tested the Insta360 X6 for three weeks, shooting throughout an unusually hot English summer to see how it handled sustained use in warm conditions. I recorded both day and night footage across a range of situations, mounting the camera on the supplied selfie stick for on-foot and cycling shots, and on a SmallRig suction cup mount for car-mounted clips.

I tested audio both with the X6's built-in mics and paired with Insta360's Mic Pro wireless microphone, to compare the camera's own wind reduction against a dedicated external solution.

For editing, I reframed and trimmed footage using the Insta360 Studio desktop app before exporting for final edits and color grading in DaVinci Resolve.

• First reviewed August 2026

The Pocket 4P marks a big moment in DJI’s hugely popular series of compact vlogging cameras, being the first model with two lenses, even if Insta360 stole its thunder with the Luna Ultra, which it released in June.

I’ve already reviewed the single-lens Pocket 4, and it’s a brilliant handheld 4K camera. The ‘P’ version is largely identical but for its dual-lens array and a ‘refined’ 1-inch sensor that's equipped with LOFIC tech, plus a new D-Log 2 color profile.

For the most part, you can discover all you need to know about the Pocket 4P's design and performance in my Pocket 4 review. In this write-up, I'll focus on the new features of the bulkier model, and the real difference they make.

And I can say this right now: now that I’ve tried the Pocket 4P, it’ll be hard for me to return to single-lens models like the Pocket 4. That additional 3x telephoto lens unleashes a wide variety of shooting options to complement the highly capable ultra-wide main camera. On-the-go sequences with DJI's superb subject tracking in play, for example, can be particularly dynamic. It really is like having two cameras in one tiny device.

That being said, there is an inevitable design compromise: twin lenses make for a bulkier camera unit, with inexplicably no protective housing currently available, and a top-heavy design. If you already own a Pocket, and are wondering if the new Pocket 4P is worth it, or if it’s worth jumping ship from DJI to the Insta360 Luna Ultra, check out my Pocket 4 vs Luna Ultra article.

For me, the first-generation Luna Ultra is a compelling alternative with its 8K video and detachable module, but I can also tell that the Pocket 4P is a fourth-generation product — it feels more polished overall. It has neat accessories of its own, too, such as the magnetic fill light and remote module. As such, DJI's dual-lens Pocket 4P is now my top compact vlogging-camera pick.

DJI Osmo Pocket 4P: price and release date

• Announced on May 14 2026 at Cannes Film Festival, available from July 30
• Available in black or white versions, priced from £529 / AU$959. No US availability at launch
• Variety of bundles available, including a Vlog Combo kit for £605 / AU$1,099

Despite essentially having no competition in markets such as drones and, previously, gimbal vlogging cameras, DJI has always priced its products competitively. It usually undercuts rivals where actual alternatives exist, too, such as GoPro and Insta360 action cameras.

Insta360 outright said it wasn’t going to compete on price, but rather on features when speaking about its Luna Ultra, and that has turned out to be the case. Where the Luna Ultra starts at $770 / £650 / AU$1,230, the Pocket 4P comes in at £529 / AU$959 — though it's not available in the US at launch. Meanwhile, the single-lens Pocket 4 costs from £429 / AU$749.

Considering that the Pocket 4P has the extra camera with its own sensor, that price increase over the Pocket 4 feels completely justified, and in my book the Pocket 4P is excellent value, especially when you consider the quality of the 4K video footage it's able to produce.

The Pocket 4P is available in Black or White versions, and there are bundles available. The Vlog Combo, for example, includes the DJI Mic 2 Mini wireless mic, remote controller, fill light, tripod stand and tripod grip, and costs £605 / AU$1,099 — that's the bundle I'd go for.

• Price score: 5/5

DJI Osmo Pocket 4P: specs

DJI Osmo Pocket 4P: Design

• Dual 20mm f/2.0 and 60mm f/1.8 lenses
• Otherwise the same design as the Pocket 4, with rotating screen and gimbal-mounted camera
• USB-C charging and 107GB of internal storage in addition to micro SD

Save for the bulkier dual-camera system and a total weight of 8.1oz / 230g, the Pocket 4P’s design is identical to the Pocket 4; it’s extremely compact, features a 2-inch touchscreen which rotates 90 degrees between vertical and horizontal formats, and a customizable five-button array, with a joystick that controls gimbal movement or zoom.

The extra two buttons, revealed when the screen is rotated to horizontal, help speed up access to various settings. For example, the C button can be assigned for direct access to two custom profiles — handy if you regularly switch between, say, color settings such as D-Log and shooting modes such as slow motion.

It certainly pays dividends to spend time customizing the camera to suit how you use it, so that you’re not fussing with settings when you're out and about.

For me, the single-lens Pocket 4 feels perfectly balanced, and it’s notably smaller than Insta360’s Luna cameras. The 4P, however, somewhat sacrifices that advantage on the alter of dual-camera versatility — it’s a little top-heavy, and I found it more comfortable to use with a tripod grip and mini tripod attached. The Luna Ultra feels more balanced because its handle is bulkier (see the Pocket 4 / 4P / Luna Ultra comparison photos, below).

Gimbal movement still feels smooth, and the shots steady and smooth, despite the extra weight of the cameras.

At launch there's no hard-shell protective case for the Pocket 4P, as there is for the Pocket 3, nor a slimline gimbal protector, like you get with the Pocket 4. This means the bulkier camera module remains somewhat unprotected, which is something DJI needs to be rectify ASAP.

There are also no dedicated ND filter kits from DJI at launch, though I fully expect that situation to change very soon through third parties (it might even have done so by the time you read this).

As with the Pocket 4, there’s the fill-light accessory, which attaches magnetically to the gimbal’s arm and is powered by the camera, and which lets you choose between three brightness levels and three color temperatures.

The light won’t make much of a difference to your images in bright daylight, but in low light and for indoors, it’s game changing for vlogging. I found the warm setting at the medium brightness level was a sweet spot for the times I wanted to use the light.

Then there’s the tiny remote control, borrowed from the Osmo Mobile 8P. This easily connects to the Pocket 4P over Bluetooth, and can be used to remotely view and control the camera. It’s a neat answer to Insta360’s modular controller in its Luna cameras, though the DJI module doesn’t feature a built-in mic, as Insta360’s does.

For occasions when you're taking hands-free shots with the Pocket 4P rested on a surface or support, the remote controller is super-handy. The controls are slightly stripped back versus the camera’s control layout, but the key controls, such as touch subject-tracking, record, and gimbal movement / zoom are there.

• Design score: 4.5/5

DJI Osmo Pocket 4: Performance

• Improved subject tracking
• 107GB of built-in memory added
• Higher-capacity battery extends record times

A major feature in Pocket cameras is subject-tracking autofocus. You really don’t want to be messing around moving the gimbal manually with the joystick, which can be fiddly and jerky. Thankfully, subject tracking, the latest version of which DJI calls ‘ActiveTrack 7.0’, is super-reliable — you double-tap on the subject, and the camera does the rest. For me, it performs slightly better than Insta360 Luna’s tracking, even if it does at times feel like its ‘keeping up’ with fast-moving subjects rather than keeping them central.

Battery life is solid, though you will notice it drop quicker with certain modes, such as 4K 60fps video recording, hyperlapse, and slow-motion 240fps. The camera also gets pretty warm pretty quickly when using these modes, though I’ve not had it overheat and shut down during my testing.

With compact vlogging cameras such as the Pocket series, the battery is non-removable, so you are relying on that USB-C rechargeable internal unit. I found myself conscious of having to charge the camera on heavy use days — that’s life with a Pocket. There is, however, an optional battery grip available to extend shot life.

In addition to a microSD card slot, DJI includes a generous 107GB of built-in storage. That’s enough for a lot of 4K clips, even when utilizing the maximum 200Mbps bit rate.

Recording internally, you'll need to transfer files either over Wi-Fi or wired USB-C. Thankfully, there’s next-gen Wi-Fi 6 and USB 3.1 support on board, delivering fast transfer speeds and making for an efficient workflow on the move.

As with other Pockets, the 4P can get a little warm when you're using its more power-hungry features, such as 4K 60fps and hyperlapse. I've not had any overheating issues to the point where the camera shuts down, but I was aware of the camera warming up while holding it.

• Performance score: 5/5

DJI Osmo Pocket 4: Image and video quality

• 1-inch sensor ultra-wide camera, and a new 3x telephoto, up to 12x zoom
• D-Log2 profile with up 17EV dynamic range
• Low-light further boosts the improved 14 stops dynamic range

There is one minor difference between the Pocket 4P and Pocket 4’s ultra-wide 20mm f/2.0 camera: the ‘refined’ 1-inch sensor, which unleashes a new log color profile, D-Log 2.

DJI says the refined sensor features LOFIC tech — which in simple terms is like super HDR, only it works in real time, which differs to HDR. I first came across the term LOFIC when reviewing the Oppo Find X9 Ultra phone.

The fruit of LOFIC and D-Log 2 is an expanded 17 stops of dynamic range, while the regular Log profile has around 14 stops. D-Log 2 is only available with the ultra-wide camera because it’s linked to the sensor tech, whereas the new 3x telephoto camera uses a separate 1/1.28-inch sensor.

D-Log 2 also isn’t available in every shooting mode, such as Slow Motion 240fps, although like the Pocket 4, that 10x slo-mo is available in 4K, or up to 200fps when using the 3x telephoto camera.

I’ve shot the same clips in D-Log 2, D-Log and ‘Normal’ color profiles (all 10-bit) to make quality comparisons, especially regarding dynamic range, and to see how easy it is to grade the footage for a consistent look. I’ve also shot using some of the built-in color profiles, such as ‘NC film’ and ‘Movie’.

The level of detail that the Pocket 4P is able to hold, especially in D-Log 2, is majorly impressive, especially for such a small and affordable camera. For me, outright 4K image quality is where DJI has the edge over Insta360, and most leading smartphones.

Is D-Log2 enough reason to upgrade from the Pocket 4? Not for me, but there is a more compelling reason: the second camera. The 60mm f/1.8 telephoto optic is essentially a 3x portrait lens, with a pleasant shallow depth of field for upper-body vlogging and shooting closeup details. It’s limited to D-Log or Normal color profiles, but the overall quality is really, really nice, and the footage gives a totally different perspective to the ultra-wide camera's.

Where that 3x lens really shines is when it’s coupled with some of the Pocket 4P’s major features, such as active tracking. With the tighter perspective, creative camera movements tracking a subject on the move can look particularly dynamic, especially where there are other objects in the foreground.

The zoom capabilities are further extended — where the Pocket 4 was limited to a 2x lossless zoom and 4x digital zoom, the Pocket 4P again has the 2x lossless zoom with the ultra-wide lens, plus 6x lossless with the telephoto lens and up to a 12x digital zoom.

The quality of that 12x zoom is okay at a pinch, but if quality is your main concern, I wouldn’t go beyond the 6x setting.

I don’t like the way the heavier dual-camera setup impacts how the camera feels in the hand, but it’s a game-changing feature for this type of camera, and for me it now feels impossible to return to the single-lens format.

The Luna Ultra goes one step further for resolution, with 8K video recording. Personally, I’m happy with a camera that is limited to 4K recording, but whose quality at this resolution, especially regarding dynamic range and color, is more pleasing on the eye. That's the Pocket 4P.

• Image and video quality score: 5/5

DJI Osmo Pocket 4P: testing scorecard

Should I buy the DJI Osmo Pocket 4P?

Buy it if...

Don't buy it if...

DJI Osmo Pocket 4P: also consider

How I tested the DJI Osmo Pocket 4P

• DJI loaned me the Pocket 4P Vlog Combo kit for a couple of months ahead of the July 30 release
• I shot plenty of 4K footage with the various color profiles, and used the various accessories
• I compared it to the single-lens Pocket 4 and dual-lens Insta360 Luna Ultra

I used the DJI Pocket 4P for almost two months ahead of my review embargo, during which time I regularly shot 4K video using the 20mm and 60mm lenses, the various frame rates up to 240fps, and the range of color profiles, including the new D-Log2. I tried the various shooting modes too, such as hyperlapse, and took photos in the regular and SuperPhoto modes.

In the Vlog Combo kit was a DJI Mini 2 Mini, remote module and fill light, and I tested both those accessories. I generally recorded onto the camera's internal memory, transferred files through USB-C and checked transfer times, ran the camera battery down, and checked recharge times using the supplied USB-C cable.

During my review period I also had the Pocket 4, enabling me to assess the key differences between the single- and dual-lens models. I also had the rival Insta360 Luna Ultra, again allowing me to make direct comparisons.

• First reviewed: July 2026
• Read more about how we test

The Mission 1 Pro is as rugged as you’d expect any GoPro action camera to be, with a highly water-resistant design — even without an additional casing — and a shock-resistant body that can survive tumble after tumble, but with 8K recording quality it enables you to capture footage with a real cinematic feel.

Thanks to impressive subject tracking and GoPro’s HyperSmooth stabilization tech, the Mission 1 Pro can capture the action smoothly whether you’re wearing it yourself, or following your subject along a trail or down a piste.

Plus, thanks to the new larger 1-inch sensor, low-light video quality is better than ever for a GoPro — letting you take advantage of the roughly two hours of 4K 60p recording time available to you on a single charge even as the sun starts to set.

Meanwhile, HLG HDR format and GP-Log2 support, control over ISO, EV, white balance and shutter speed, and the freedom to record in 8K/30p open gate — the full height and width of the versatile 4:3 aspect ratio sensor — will give you more artistic and post-processing options that make this action camera feel more like a professional piece of kit.

The downside of all this is that the Mission 1 Pro doesn’t come cheap. It’ll set you back $699 / £599.99 / AU$1,099.95 if you aren’t already a GoPro member, while members can take advantage of a healthy discount, with prices starting at $599 / £509.99 / AU$949.95. This sure is pricey even for one of the best action cameras when DJI rivals cost substantially less, but if you’re going to take full advantage of its cinematic capabilities, it’s certainly one to consider.

The only real disappointment is that its photography capabilities left me wanting. With its optional point-and-shoot camera-style grip I had hoped that the GoPro Mission 1 Pro might perform well as a stills snapper, but it did struggle at times. Hopefully, the ILS model with its Micro Four Thirds lens mount will deliver a more all-round performance when it debuts later this year.

The grip does at least help make the Mission 1 Pro much easier to handle when shooting video, and it feels like a useful upgrade for anyone who plans to use this GoPro as their new vacation camera, and take advantage of its improved video and audio quality, and durable design.

GoPro Mission 1 Pro: Price and release date

• $699 / £599.99 / AU$1,099.95 (non-member price)
• $599 / £509.99 / AU$949.95 (member price)
• Other models in the series are the Mission 1 and Mission 1 Pro ILS

The GoPro Mission 1 Pro is available to buy now for $699 / £599.99 / AU$1,099.95 (non-member price, or $599 / £509.99 / AU$949.95 for members), while the more basic Mission 1 will cost you $599 / £529 /AU$949.95 (non-member price, or $499 / £439.99 / AU$799.95). The Mission 1 Pro ILS costs the same as the Pro, but it won’t launch until later in 2026.

Other bundles include one with a point-and-shoot camera-style grip, which I had for my review. This bundle feels quite pricey at $779.99 / £679.99 / AU$1,229.95, seemingly with no member discount at the time of writing.

The Mission 1 Pro and Mission 1 share a lot of the same features and hardware, but the Pro version unlocks 8K 60fps footage and 8K Open Gate 4:3 filming for greater editing flexibility. You’ll also unlock slow-mo 4K video at 240fps, and 1080p up to 960fps for more extreme slow-mo shots.

Meanwhile the ILS model is interesting as it takes away some features — such as built-in autofocus and the ultra-wide lens of the regular Pro — to give you more control, with manual focus control and a Micro Four Thirds (MFT) mount, enabling you to attach a wide variety of lenses for different cinematic effects. If you’re more of a cinematographer than a casual user, the ILS model could be what you’re after.

That said, even the base-model Mission 1 is a fair bit pricier than the GoPro Hero 13 Black — our current pick for the best overall action camera. If you care about low-light shots the Mission 1 could be worth the price premium, but for a lot of people who are just looking to capture fun clips of their action sports escapades even the basic model may be overkill.

• Value score: 3/5

GoPro Mission 1 Pro: Specs

GoPro Mission 1 Pro: Design

The ideal action camera is one that can handle just about anything you throw at it, and the GoPro Mission 1 Pro GoPro is a camera that’s designed to be pushed to its limits.

If you’re a fan of underwater video, the Mission 1 Pro boasts a design that’s waterproof to 66ft / 20m without the need for a housing — plus the hydrophobic lens cover should help keep water splashes and droplets from obstructing your view massively when you’re using the camera above the waves.

It’s also rated to work in temperatures between -20C and 45C, with its power and shoot buttons designed to make them easier to press while wearing the kind of thick gloves that are necessary in frigid climates.

The Mission 1 Pro’s shock-resistant body can also survive tumbles and drops, giving it an almost indestructible feel. While I never pushed the Mission 1 Pro too far, I never felt like I needed to be careful with it.

Moving on from the action-focused aspects, the 2.59-inch OLED rear touchscreen display offers enough real estate for you to easily manage and track your settings while also leaving plenty of room to clearly see your compositions.

Meanwhile, the 1.4-inch front LCD is a good size for vloggers to track what is/isn’t in frame as they talk to camera, with a convenient and concise readout of your shot settings letting you know that you haven’t, for example, accidentally swiped to a different mode while turning the camera 180 degrees.

Included in the box are a lens hood to help reduce glare — just note that it can fall off easily, so keep an eye on it, or be prepared to pick up replacements — a 2150mAh Enduro 2 battery, an adhesive mount, mounting buckle and a thumb screw.

You’ll need to provide your own microSD card, as there’s no internal storage. The Mission 1 Pro relies on V30 and Class A2-rated microSDs for the best performance; A1 cards will work, but will encode more slowly.

You can pick up a series of attachments for this camera, including ND filters; however, the bigger sensor size of this camera means the Hero 13 Black’s suite of lens attachments can’t be used here, and sadly there aren’t, as yet, equivalent accessories for the Mission Pro 1.

Other GoPro attachments, such as harnesses or helmet/bike mounts, should be compatible, as the Mission 1 Pro relies on the same bracket as models that came before.

Lastly I’ll mention the point-and-shoot camera-style grip attachment, which was supplied to me for testing alongside the Mission 1 Pro and can be purchased separately ($99.99 / £89.99 / AU$154.95) or as part of a bundle. The grip is incredibly simple, yet effective at transforming the Mission 1 into something that feels more like a regular point-and-shoot compact.

When it comes to capturing quick videos, such as clips at the beach or at a festival, the grip makes it easy to hold the camera without the risk that your hand will get in the way of the lens, although as mentioned, the Mission 1 Pro doesn’t perform as well as a stills camera — more on that below.

• Design score: 5/5

GoPro Mission 1 Pro: Performance

To make video capture easier than ever the Mission 1 Pro features a slew of preset capture modes that adjust settings based on your needs, with modes for Vlogging, SportPOV, TimeLapse, Open Gate, SlowMo, Low Light, Dive and plenty more.

You can tweak the settings for each mode to fine-tune your image quality needs, and also manage modes by hiding ones you never use, or adding custom settings that are your go-tos.

For most scenarios, I found the 4K open gate option to be the most versatile. The image quality is solid, and you have the option to reframe the footage to 16:9 or 9:16 later based on your needs — plus it’s less of a drain on the battery than shooting in 8K.

Vlog-style recording is made easy thanks to the front screen, and automatic subject tracking that centers you in the frame — ideal for casual vloggers who constantly find they steadily drift out of shot unless they pay close attention to the camera they’re holding.

The audio quality is decent too, picking up voices and essential sounds, but cutting out wind noise.

Slow mo is also a lot of fun, though as you’ll see in my example video above, raw untuned footage at resolutions lower than 4K can start to look grainier than is ideal — upscaling and/or sharpening the image with editing software is essential to get things to look better.

The larger sensor also helps in low-light conditions, especially with the new Low Light shooting mode. Unsurprisingly, in proper darkness the camera still struggles, but with some illumination remaining the camera performs well in this mode.

Where I’m less convinced of the Mission 1 Pro’s abilities is when it comes to stills photography, which is a massive shame considering you have the option to add the point-and-shoot grip.

Whenever I tried to take photos I found myself fighting against its lack of autofocus — or even manual focus — and the less-than-ideal zoom quality. The camera has a fixed focus with a minimum focus distance around 60cm — which counts out close-up photography — and an optimal focal distance of about 1.5m. This also means it isn’t focused to infinity, so landscapes will appear a little soft in your shots, especially since the larger sensor has a shallower depth of field than previous GoPros.

In addition, as soon as you zoom in you’ll find the image quality drops a fair amount, although this is to be expected from the digital zoom this camera uses.

The overall quality isn’t terrible, though, and the point-and-shoot grip does offer some useful versatility for video recording beyond the more traditional action camera use-cases.

• Performance score: 4.5/5

Testing Scorecard

Should I buy the GoPro Mission 1 Pro?

Buy it if…

Don’t buy it if…

Also consider

How I tested the GoPro Mission 1 Pro

I spent just over a month with the Mission 1 Pro, taking it out on excursions to snap photos and videos to test its capabilities not just as an action camera, but as a point-and-shoot video capture tool — with that latter case aided by the point-and-shoot grip.

If you’re planning to use the GoPro Mission 1 Pro as your vacation camera — aided by its durable design and waterproofness — the grip is super helpful at helping to keep you hands out of frame, and as a pure action camera the GoPro fits the same mounts and accessories as previous models like the Hero 13 Black (save for the lens attachments).

Inspired by shows like Hunted and Jet Lag The Game, a lot of my testing focused on running and vlogging with the action camera to capture my fitness progress and to record personal cuts of games of hide-and-seek across London — passing the camera between my friends so they could record their stints too. They found the GoPro super easy to use, with the smoothing tech and subject tracking ensuring thaty vlogs and action shots look great without requiring constant focus on what the camera is doing — you just press go and it’ll come with you.

First reviewed: July 2026

If you follow my camera coverage at TechRadar, you'll need no introduction to Viltrox, a Chinese lens manufacturer who's rapidly becoming a major player by delivering high-quality and particularly affordable optics.

Viltrox's most recent efforts are the 75mm f/1.8 and 90mm f/2.2: a twin-like pair of lightweight primes for APS-C cameras from its mid-range 'EVO' series, available in Sony E, Nikon Z and Fujifilm X-mount versions.

Viltrox offered to send me a lens to test, and I strategically asked for the Fujifilm X-mount version of the 90mm f/2.2, because it was the only option with a proprietary alternative for me to pit it against: Fujifilm's XF 90mm f/2 R LM WR. A 'character rich' XF 90mm f/2 APD was also listed in a public poll earlier this year among lenses that Fujifilm would love to make — but we don't know if it will be made.

Could the Viltrox 90mm do the unthinkable — beat Fujifilm's legendary portraiture lens? I called in the Fujifilm lens, and tested the pair using a Fujifilm X-T5, and much of my test focuses on how viable an alternative the Viltrox lens is.

For context, a fast aperture 90mm lens for APS-C has a 135mm equivalent focal length in full-frame terms, meaning it's a mid-telephoto focal length, delivering a highly compressed background and dreamy bokeh — the hallmarks of high-end portraits. At this focal length, you'll need the freedom of moving a decent distance away from your subject, so it's not necessarily one for tight studio spaces.

I shot self portraits controlling the camera remotely from my phone using the Fujifilm X app, and various closeups with low-lying sunlight involved, plus a range of other shots just with the Viltrox lens. Overall, I've come away majorly impressed, especially when you consider just how small, lightweight and affordable the Viltrox 90mm f/2.2 is.

The bulkier Fujifilm lens wins for the dreamiest bokeh and will be worth the extra outlay for portrait specialists. If I had the choice, I'd probably still go for this lens. However, for most people, the Viltrox is a stellar alternative, and furthermore the only one of its kind for Sony and Nikon crop-sensor mirrorless cameras, and I highly recommend it for both — after all, Nikon especially has so few options for its crop-sensor cameras such as the Z50 II.

Once again, Viltrox has delivered an excellent value autofocus prime lens.

Viltrox AF 90mm f/2.2 EVO: Price and availability

• Costs $369 / £359 / Australia price TBC
• Available in Sony E, Fujifilm X and Nikon Z-mount versions

The Viltrox AF 90mm f/2.2 EVO is available in Sony E, Fujifilm X and Nikon Z-mount versions, and I tested the Fujifilm version, not least of which because Fujifilm has its own legendary 90mm lens and I was keen to see how the two compared. Sony and Nikon have no such lens for APS-C — and the closest alternative would be a full-frame optic.

Viltrox's EVO lenses are almost always way more affordable when compared to the closest proprietary alternatives. Costing $369 / £359, that's certainly the case with the Viltrox AF 90mm f/2.2 EVO, when you consider how the Fujifilm 90mm lens costs between 2-3x the price. It's the small, light, and affordable choice.

Viltrox AF 90mm f/2.2 EVO: specs

Viltrox AF 90mm f/2.2 EVO: Design

• Just 11.3oz / 320g — lightweight and compact for a lens of this type
• Modest 0.74m minimum focus distance — not one for closeup photography
• Very well-made, with rubber sealed mount

As an APS-C lens, the 90mm focal length is equivalent to 135mm in full-frame terms, which is a classic portraiture lens. I've tested my fair share of full-frame 135mm lenses, including Viltrox's own 135mm F1.8 LAB and indeed Fujifilm's own 90mm f/2 for APS-C, and the Viltrox AF 90mm f/2.2 EVO is the smallest and lightest of the lot by some margin.

I've shared some comparison photos below alongside the Fujifilm 90mm f/2 to illustrate the difference — at 11.3oz / 320g, the Viltrox lens is not far off being half the weight. When paired with an X-T5, I thought both lenses balanced well, but with a rangefinder-style camera such as the X-E5, the Viltrox would win for balance.

Don't let its size and price fool you, though — the Viltrox 90mm is very well made, with an all metal body, rubber-sealed lens mount, while both control rings handle beautifully: the focus ring is smooth and light, the knurled aperture ring precise. No doubt it would be a bigger and heavier lens if it had a larger maximum f/2 aperture like the Fujifilm.

The metal barrel of some of the previous Viltrox lenses that I've tested has scratched easily. I didn't thrash the 90mm lens around particularly, so it remains mint. I'll update this review if I discover it also scratches easily.

Curiously, the X-mount version of the Viltrox 90mm f/2.2 EVO has no buttons or switches, whereas the Nikon Z and Sony E-mount versions (which I didn't ask to test) have three; an AF/MF switch, customizable function button and a click switch for the aperture ring.

Omitting the click switch especially is an oddity given that Fujifilm cameras also shoot video — Fujifilm X users here are stuck with a clicked aperture ring. As a result, despite being excellent value, it feels like Fujifilm users are shortchanged. That being said, however, the Fujifilm 90mm f/2 lens also has zero buttons or switches.

The STM stepping motor makes light work of the 10 lens elements in 8 groups, for snappy and quiet autofocus. Of course autofocus performance accuracy and speed are affected by which camera system and autofocus mode is in use, but I never felt like the lens was slowing down the X-T5 camera's autofocus.

Minimum focus is 0.74m, which delivers a maximum 0.14x magnification. Put simply, this is not a lens for closeup photography, though neither is the 75mm f/1.8 EVO which has a 0.12x magnification, nor most 135mm lenses I've used.

Viltrox AF 90mm f/2.2 EVO: Performance

• Optically very sharp
• Smooth bokeh, but with cats-eye shaping. Minor chromatic aberration and vignetting
• Snappy and quiet autofocus

I've included a range of photos taken with the Viltrox and Fujifilm 90mm lenses below, matching the lens settings where possible (though the Fujifilm lens has an extra photo at f/2), and you can read on for my analysis of the images.

Viltrox

Fujifilm

Viltrox's lens portfolio is split into various series, being topped by the LAB series of full-frame lenses, which is followed by its Pro series, and then below that the Evo series. Evo lenses are mid-range; small, lightweight, excellent value, with one or two concessions.

For me, all of the Evo lenses I've tested are an easy recommendation for enthusiast photographers, including the AF 90mm F2.2. Optically its sharp. Not the sharpest lens I've ever seen, but in a similar league as the pricier Fujifilm 90mm nonetheless.

Where sharp detail is top concern, stopping the aperture down to f/4 yields better results than wide open at f/2.2. You'll see a reduction in vignetting and chromatic aberration by doing so, too. Those lens distortions are only minor at f/2.2, but they are present.

The main topic for a wide aperture 135mm equivalent lens is bokeh — the quality of out of focus areas — and I have good news, with two caveats.

Viltrox

Fujifilm

Bokeh is deliciously smooth. You can see the smooth edges in the dappled light in my self portraits and the series of photos of a fern (above). This is the most important attribute of bokeh, and the Viltrox 90mm nails it.

Bokeh is clearly cats-eye shaped, mind you, not fully round like you might find in the very best portrait lenses, such as the Nikon Plena. Personally, I don't mind cats-eye shaping in bokeh at all, while you might think it's ugly — it's subjective. What's not subjective, is bokeh smoothness, and like I say, the Viltrox lens scores highly.

The other caveat is the maximum f/2.2 aperture, which is slightly smaller than the f/2 of the Fujifilm lens I was comparing the Viltrox lens with. While this minor difference doesn't particularly affect depth of field, I did find the Fujifilm lens' bokeh to be even bigger and rounder at f/2 compared to the Viltrox lens at f/2.2.

If bokeh is a top concern, money is no object and you don't mind a larger lens, then the Fujifilm XF 90mm f/2 is the better pick (see comparisons, above).

I've included a general sample gallery and included notes with further comments on the lens quality.

Viltrox AF 90mm f/2.2 EVO sample images

Should you buy the Viltrox AF 90mm f/2.2 EVO?

Buy it if...

Don't buy it if...

How I tested the Viltrox AF 90mm f/2.2 EVO

• Viltrox sent me the X-mount version of the AF 90mm f/2.2 EVO lens
• I paired it with a Fujifilm X-T5 camera
• Fujifilm loaned me the XF 90mm f/2 R LM WR lens at my request, to make comparisons

Viltrox sent me the X-mount version of the AF 90mm f/2.2 EVO lens and I paired it with a Fujifilm X-T5 camera. It's also available for Sony E and Nikon Z-mount cameras.

I tested the lens over the course of two weeks, alongside the Fujifilm XF 90mm f/2 R LM WR lens, which Fujifilm loaned to me at my request, and I have shot like-for-like images with both lenses to make comparisons.

As with all of my lens reviews, I have put the Viltrox 90mm through a number of real world tests, including a series of the same image at the various aperture settings, and situations where strong light could induce lens distortions such as flare and chromatic aberration.

I always shoot in both RAW & JPEG format, and turn off in-camera lens corrections, checking the unprocessed RAW files. I also use each lens for the situations that it is designed for, in this case portraiture and for isolating subjects.

First reviewed: July 2026

Just when you thought bridge cameras had been sunsetted, Sony returns after a nine-year gap with the new RX10 V — and it’s a genuine upgrade of the Cyber-shot RX10 IV, which was already the best camera of its kind.

We get the same winning combination of a 1-inch stacked 20MP sensor and 24-600mm F2.4-4 lens, but the mark V model has been enhanced with Sony's latest Bionz XR processor and AI chip, enabling improved burst shooting speed, 4K video features, and, most importantly, better autofocus performance.

Sony has also implemented multiple design tweaks to the control layout and ergonomics, and as a result the RX10 V looks much more like an Alpha camera than the RX10 IV, which feels more Cyber-shot compact, did. For a more detailed breakdown of the differences, check out my RX10 V vs Cyber-shot RX10 IV article.

There are additional exposure dials, an AF joystick has been added (thank you, Sony!), as has a USB-C terminal, and the higher-resolution viewfinder is larger, more pronounced, and easier to see.

Throw in a bigger and comfier grip, which hosts the larger NP-FZ100 battery for a 50% boost in shot life, and the RX10 V is all round a slicker camera than the discontinued RX10 IV.

It's not all good news, mind you, depending on which way you look at it — the weather-resistant body misses out on a built-in flash and top LCD, both of which were present in the older model.

And some of the old drawbacks remain, such as the relatively sluggish zoom of the lens, which is 'just' a 25x optical zoom. I like that range, but other lesser-quality bridge cameras zoom further, such as the Nikon Coolpix P1100.

A significant sticking point is price — the RX10 V had to cost more than its nine-year-old predecessor, which was already pricier than any other bridge camera available. It's a big price to pay for this type of camera, even if you are getting a lot of camera for your money.

All that said, I've thoroughly enjoyed my lengthy review period with the Sony RX10 V, during which I've shot everything from travel to bird and macro photography, with the camera handling those and other subjects with aplomb.

It's a neatly packaged camera, especially when you consider you're getting a 600m f/4 lens when fully zoomed in. The RX10 V is a dream all-in-one camera, especially for enthusiast wildlife photographers with deep pockets.

Sony RX10 V: price and release date

• Announced on July 9 2026
• It costs $2,300 / £2,200 / AU$3,499

Sony's premium RX10 bridge camera series was always pricey compared to lesser-quality alternatives, and the latest version, the RX10 V, is even pricier. I'm not surprised: the RX10 IV launched for $1,800 / £1,500 / AU$2,000 almost nine years ago, and we should expect an inflation-based price bump at least. Still, $2,300 / £2,200 / AU$3,499 for a camera of this kind is a fair whack of anyone's money, let alone the enthusiast wildlife photographers that this camera is practically perfect for.

So what else could you get for similar money? If you already own a Sony mirrorless camera, the 400-800mm super-telephoto zoom lens is worth a look, especially if wildlife and bird photography are key reasons why you're considering the RX10 V. Or, if its zoom range alone that you want, and you're less concerned about outright image quality, the Nikon CoolPix with its monster 125x zoom is another option, and it costs almost half the price.

All things considered, though, I think the RX10 V is reasonable value for money, considering what you get.

• Price score: 4/5

Sony RX10 V specs

Sony RX10 V: Design

• Same 24-600mm F2.4-4 optically stabilized zoom lens as the RX10 IV
• Larger and more pronounced EVF with higher resolution and refresh rate
• Improved ergonomics and joystick added, but flash and top LCD removed

People buy a bridge camera primarily to get a superzoom lens, and the RX10 V has the exact same 24-600mm F2.4-4 lens as the RX10 IV — that’s a 25x optical zoom, with macro focusing up to a 0.49x magnification. Put simply, you’re covered for everything from landscapes and bird photography to close-ups of insects.

While the RX10 V is the same form factor as the RX10 IV, it has had a fairly major brush-up, and it feels a much better camera for it.

For one, the grip is comfier. It's a new shape with better ergonomics, and that's able to fit a physically larger battery than the previous model could, with a 50% boost in shot life.

If you're familiar with the RX10 IV, the top plate of this camera will take some getting used to; there are additional exposure control dials (one of which can be locked off) making quick changes to settings easier, while the shooting mode dial has been shifted to the right-hand side where a top LCD used to be. Personally I preferred the old setup.

Another major change is that the built-in flash has been removed, though a hotshoe remains for use with accessories such as an external flash.

Also, the viewfinder is more pronounced, which makes it easier to look into, helped by the fact that it's a larger 0.5-inch unit with more-detailed 3.68m-dot display, whereas the RX10 IV has a 2.36m-dot 0.39-inch unit. Put simply, the viewfinder is a major upgrade.

On the camera's back side, an AF joystick has been added (Sony calls it a 'Multi selector'), which is a control I love to have for the likes of manual AF-point selection. For wildlife photography, I used it a lot, and can't imagine how I would have coped so easily in such a scenario with the older camera.

Spin to the side, and the camera's ports are now neatly tucked away under rigid protective doors, with headphone and mic ports, plus a USB-C terminal has been added. The fact that the RX10 IV doesn't have a USB-C terminal is likely a reason it was discontinued, as per the EU's common charger regulations.

The tilt touchscreen is again a 3-inch type. It gets a small boost in resolution, and while that in itself isn't much of upgrade, its improved touch functions, and the fact that you can switch to a vertical format, are.

It’s possible to customize some of the buttons, including a speed-boost function during burst shooting — you can temporarily increase a medium speed, say of 10fps, to the maximum 30fps when the action begins. It’s a neat feature inherited from Sony's pro cameras, which minimizes how many photos you shoot, but the button placement is awkward for this feature — I would have liked a custom button on the front of the camera instead. A tally lamp has been added for video recording.

• Design score: 4.5/5

Sony RX10 V: Performance

• Sony's latest Bionz XR processor with AI chipset
• Burst shooting upped to 30fps, with Sony's most up to date autofocus system that includes a wide range of subject detection modes
• Now uses Sony's NP-FZ100 battery, delivering a 50% boost in shot life

Power and speed are where the major improvements are at. The RX10 V uses the same Bionz XR processor as the Sony A7 V mirrorless camera, with a combined AI chipset. The result is improved burst-shooting speeds and autofocus performance, and what Sony says is better color accuracy.

Burst-shooting speeds are boosted from the RX10 IV's 24fps to 30fps, when using the electronic shutter — which, in a camera like this with a stacked sensor, I have no problem doing. I'd hardly call this improvement in speed a reason to upgrade, though, especially since the mechanical shutter's maximum 10fps speed is enough for most scenarios.

When I was photographing action, such as for my child's sports day, or at my local nature reserve doing bird photography, I generally kept the camera to its 10fps setting, with one of the custom buttons set to a 30fps speed boost for when the action got really interesting.

This has allowed me to minimize the number of photos I've taken, while the way the camera groups burst sequences in playback makes files easier to navigate.

Something that makes the RX10 V feel like a snappier camera than the RX10 IV is that there is no viewfinder blackout, even for the 30fps setting, which is supported by continuous autofocus with Sony’s latest subject-detection autofocus.

Compared to the RX10 IV, the RX10 V is able to detect a wider range of specific subjects with real-time recognition, including dedicated modes for birds, cats, and more.

I generally made sure I selected the specific subject when I knew that was my focus, such as with bird photography, and have been seriously impressed by how sticky autofocus is. Even when birds were small in the frame, the RX10 V was regularly able to pick them up with the camera's autofocus area set to wide.

I had more issues when photographing my child's sports day, given that there were so many faces in a lot of the photos. For such scenarios, a quick jig of the autofocus area to a small area can help to avoid the camera focusing on people in the background instead of the subject.

I've mentioned it already, but like most of its recent mirrorless cameras the RX10 V also uses Sony’s popular NP-FZ100 battery, which is a longer-lasting unit than the NP-FZ50 in the RX10 IV.

Sony quotes shot life as up to 630 shots compared to 400 for the RX10 IV, which is a huge performance boost. Add on-the-go UBS-C charging, and the RX10 V is a better camera for heavy photography days.

For me, all the above performance improvements are key for a camera that people typically buy as an entry point for wildlife photography.

• Performance score: 5/5

Sony RX10 V: Image and video quality

• Same 20.1MP 1-inch sensor and 24-600mm lens as used by the RX10 IV
• New processor boosts color and autofocus accuracy
• 4K video frame rates upped to 60fps (no crop) / 120fps (with crop)

Considering the versatility of the 25x optical zoom lens, image quality is impressively sharp, while the bright aperture helps with low-light quality, and is easily able to blur backgrounds when using the telephoto settings.

That being said, there are no major image-quality improvements over the nine-year-old RX10 IV; we're still getting 20.1MP photos in RAW & JPEG, and 4K video recording.

It's largely the indirect factors that positively improve image quality: better autofocus performance and subject recognition, enabling an increased hit ratio of sharp photos, and images with greater color accuracy based on detected subjects.

Other more direct improvements include a boost in 4K video frame rates: the RX10 IV was limited to 30fps, whereas the RX10 V goes up to 60fps with no crop, or 120fps with a crop. Like before, we still get a 240fps, but only in Full HD format.

And then there are the new color profiles to choose from, including Sony's popular S-Cinetone and S-Log3 for video, and the ability to import up to 16 custom LUTs profiles.

There are a bunch of extra features that make the RX10 V a better camera for video than the RX10 IV; a tally lamp, enhanced audio workflows, and it's also now possible to record an in-camera time-lapse sequence.

If you already own a mirrorless camera, you're probably wondering if the RX10 V's quality is sufficient to replace a supertelephoto lens for photographing distant subjects. I was curious to find out, so I took the same photos of birds with the Sony A7R V professional mirrorless camera and Sony's longest telephoto lens, the 400-800mm, which is a similar price to the RX10 V.

You can see the direct comparisons between the RX10 V and Sony A7R camera with 400-800mm lens in my separate write-up. But to summarize here — yes, the RX10 V's detail is impressively sharp for a camera of this kind, but there is a reasonably obvious gulf in outright clarity from the larger and pricier Sony mirrorless setup.

• Image and video quality score: 4.5/5

Sony RX10 V: testing scorecard

Should I buy the Sony RX10 V?

Buy it if...

Don't buy it if...

Sony RX10 V: also consider

How I tested the Sony RX10 V

• Sony loaned me the RX10 V for the three weeks prior to its announcement
• I took it travelling and on regular trips to my local nature reserve
• I've used all the major camera and lens settings, plus made direct comparisons with Sony mirrorless gear

I made the most of my lengthy review period to properly test the RX10 V. I took it travelling where it was used in bright sunlight and hot weather, to my child's sports day, to my garden for macro photography, plus I regularly visited a nearby nature reserve which is a very popular spot for birding.

Across the various scenarios, I tested the different lens settings — the entire zoom and aperture range. I shot 20MP stills and 4K video clips, pushed the 30fps Drive Mode to its limits, tested the camera's close focusing capabilities, and shot until the battery drained.

And because I feel most people are interested in the RX10 V for wildlife photography, especially bird photography, I tested the various subject detection autofocus modes and pitted the premium bridge camera against Sony's longest lens, the 400-800mm F6.3-8, to see how it fared.

• First reviewed: July 2026
• Read more about how we test

DJI's dominance of the consumer drone market is so total that you have to wonder whether any rival can land a meaningful blow. The Ruko U11Mini 4K is the latest contender to step into the ring, and on paper it looks like a credible one: a sub-250g folding quadcopter with a 1/2-inch CMOS sensor, 4K video, and an optional touchscreen controller that's clearly modeled on DJI's own RC series.

Unfortunately, the closer I looked, the more the U11Mini 4K's limitations revealed themselves, and the gulf between Ruko and DJI's similarly-priced beginner drones remains huge.

In the air, the U11Mini 4K is a mixed bag. Flight is reasonably stable in calm conditions, but it's easily pushed around by wind, and during one flight I experienced an alarming voltage drop that triggered an unscheduled emergency landing. The touchscreen RC3 controller is a solid piece of hardware, and a smart way to sidestep the usual phone-pairing headaches, but its joysticks lack the precision of DJI's equivalents, making smooth, cinematic camera moves a struggle.

There's no obstacle avoidance whatsoever, and the automated flight modes feel half-baked: Point of Interest mode, for instance, simply circles wherever the drone happens to be, rather than the subject you actually want to showcase.

The camera quality is similarly inconsistent. 4K video in good light is detailed and perfectly watchable, if a little flat and lacking in dynamic range, but stills are a different story; the U11Mini 4K's exposure metering routinely blows out highlights, and there's no way to fix this reliably even when dialing back the EV.

Storage is another sore point: the drone does have a small but usable amount of internal storage, but with no USB port on the aircraft itself, getting your footage off it is a major chore, and I'd recommend sticking exclusively to a microSD card instead. One that you'll have to supply yourself, as none are included in the box.

All of this would be more forgivable if the U11Mini 4K were a budget bargain, but at around £300 (rising to £499 for the bundle I tested, with its two batteries, hard case and that RC3 controller), it's pitched at almost exactly the same price as the DJI Lito 1 — a drone that beats it comprehensively on image quality, obstacle sensing and battery life. The U11Mini 4K isn't a complete disaster, but nobody should pick one over DJI's equivalent.

Ruko U11Mini 4K: Price and availability

• Priced from around $339.99 / £300 / AU$549.99
• Touchscreen RC3 controller bundle costs $424.99 / £499
• Available now direct from Ruko and via Amazon

The Ruko U11Mini 4K is available now, sold directly through Ruko's website and via Amazon in the US, UK and Australia.

Pricing varies considerably depending on region and bundle. In the UK, the base package costs around £300, rising to £499 for the bundle I tested, which includes two batteries, a hard case, and the touchscreen RC3 controller in place of the standard smartphone-based remote.

US pricing follows a similar pattern, though at the time of writing Ruko's online store had both bundles discounted. The two-battery, hard case, RC3 controller bundle was priced at $424.99 (down from $599.99), while a separate three-battery bundle with a hard case and smartphone controller (rather than the RC3) was available for just $339.99 (down from $509.99) — making it the cheaper option overall despite the extra battery.

In Australia, Amazon lists a single-battery, smartphone controller bundle for AU$549.99, with a three-battery, hard case and smartphone controller bundle priced at AU$699.99.

In the UK and Australia, its direct rival is the recently launched DJI Lito 1. This costs £299 in the UK, while in Australia it's priced at AU$539 for the basic bundle (one battery and the RC-N3 smartphone controller) or AU$779 for the Fly More Combo (three batteries, RC-N3 controller, charging hub and shoulder bag). I'd say it's a much better value prospect than the Ruko, and shoppers should definitely consider it if they're hunting for a good entry-level model.

US buyers don't have that option, however, since due to the current DJI ban the Lito 1 isn't sold in America. That leaves older models like the DJI Mini 4K as the more relevant comparison stateside — and despite its age, it's still a better drone than the U11Mini 4K.

• Price score: 2.5/5

Ruko U11Mini 4K: Specs

Ruko U11Mini 4K: Design and build quality

• Folding design, weighing under 249g
• Optional touchscreen RC3 controller
• microSD slot supports cards up to 256GB

The U11Mini 4K follows the same folding quadcopter template as most sub-250g drones on the market right now, including DJI's own Mini and Lito series.

It's made from hard plastic, and folds down to a genuinely pocketable size (if we're talking coat rather than trousers, mind you). At under 249g, it sits just inside a weight threshold that exempts it from the strictest drone registration requirements in the UK, US and elsewhere.

Round the back, you'll find a microSD card slot, supporting cards up to 256GB. There's also internal storage built into the drone itself, but accessing it is far more trouble than it's worth.

That's because, bafflingly, there's no USB port anywhere on the drone. The only way to get photos and video off the internal storage is via the controller, transferring wirelessly to an app like Google Photos — a process that, in my testing, also downgraded my 4K footage to 720p in the process. So I'd strongly recommend buying a microSD card (none is included in the box) and ignoring the internal storage altogether.

A clip-on cover is supplied to protect the camera and gimbal during transport, which is a sensible inclusion — if a little fiddly to fit and remove. Depending on the bundle you buy, you may also get a nicely sturdy hard-sided storage case, which comes with internal spaces for the controller, drone and up to two additional flight batteries.

The RC3 controller from the bundle I reviewed is pretty impressive, at least at first glance. Its built-in touchscreen is clearly inspired by DJI's RC series, and it's a decent effort: solid in the hand, with a bright, crisp display. But it came with its own set of connectivity issues, refusing to play nicely with my home Wi-Fi network and preventing me from downloading the latest firmware updates. I was able to connect it to my iPhone's hotspot, so the Wi-Fi antennas evidently do work in some circumstances, but the fact they wouldn't hook up to a network that works fine with every other drone I've reviewed recently suggests there's a deeper issue here.

• Design score: 3/5

Ruko U11Mini 4K: Features and flight performance

• 32-minute quoted battery life; around 20 minutes in real-world testing
• No obstacle avoidance
• Automated flight modes feel underbaked

Ruko quotes a battery life of 32 minutes for the U11Mini 4K. In my testing, which happened mostly in fairly breezy coastal conditions, I got closer to 20 minutes before the low battery warnings kicked in.

That discrepancy might be partly down to the wind, which the U11Mini 4K isn't great at handling. Despite Ruko's claimed Level 5 wind resistance (a tolerance of 19-24mph), I watched the drone get visibly knocked around by some standard coastal gusts. You can see the resulting unevenness in the horizon line on some of my footage.

One flight also threw up a worrying issue. A few seconds after take-off, with the battery indicator initially showing around 75%, a low voltage warning flashed up, the battery indicator dropped instantly to around 10%, and I immediately effected a panicked return to home (not wanting the drone to drop straight into the sea). When I checked the battery afterwards, it was still showing roughly 75% charge. Whatever caused that mid-air voltage drop, it's not a reassuring thing to experience while flying.

Flight itself is reasonably stable and responsive in calm conditions, but the RC3 controller's joysticks let the side down. There's a wide dead zone before inputs register, which makes smooth, considered camera moves all but impossible, and as far as I can tell there's no way to adjust stick sensitivity to compensate. With a DJI drone, the slightest stick pressure produces an immediate and proportional response; here, you're fighting the controller as much as the wind.

Obstacle avoidance is non-existent, so pilots will need to take a lot of care when flying. There's no forward, downward or omnidirectional sensing of any kind, which is a significant omission next to the DJI Lito 1's full suite of vision sensors.

The automated flight modes are similarly disappointing. Point of Interest mode, for instance, should really let you tap a subject on the touchscreen and have the drone circle it automatically; instead, it just flies in a circle around wherever it happens to be at the time, regardless of whether there's anything interesting in front of it. There's also a tracking mode that follows your phone, though I wasn't able to test this myself, since I was flying with the RC3 controller rather than a paired smartphone.

• Flight performance score: 3/5

Ruko U11Mini 4K: Image and video quality

• 1/2-inch CMOS sensor, 4K video at 30fps
• Stills are overexposed and oversharpened
• No flat/log color profile available

The U11Mini 4K's camera is built around a 1/2-inch CMOS sensor and f/1.8 lens, which on paper is perfectly respectable for a drone at this price. There's no fundamental reason a sensor of this size can't produce good aerial photos and video, but in practice, the U11Mini 4K struggles to get the most out of it.

Stills are the weaker of the two. Exposure metering is unreliable, and the camera has a strong tendency to massively overexpose, particularly in bright conditions. Even dialing back the EV compensation for photos didn't fix this consistently; I was left with whites that were blown out and stripped of any detail far too often. Zoom into the shots even slightly and they're aggressively oversharpened and algorithmically upscaled in a jarring way, too.

Video fares slightly better, for reasons I couldn't quite pin down. At its top quality setting — 4K at 30fps — footage is detailed and rich in good lighting, even if it lacks dynamic range and punch compared to the best in this class. Bright areas can still blow out, while shadows tend to lack detail and look slightly underexposed, but overall it's a far more usable result than the stills.

One thing that might have helped close that gap is a log color profile, but sadly there's nothing of the kind available. A log format may have given me more room to fix the exposure issues in post-production grading, but here what you capture in-camera is largely what you're stuck with, unfortunately.

• Image and video quality score: 3/5

Ruko U11Mini 4K: Testing scorecard

Should I buy the Ruko U11Mini 4K

Buy it if...

Don't buy it if...

Ruko U11Mini 4K: also consider

How I tested the Ruko U11Mini 4K

• I tested all available flight modes and control methods
• I captured stills and video in a range of lighting and weather conditions
• I assessed battery life, wind resistance and file transfer in real-world use

I flew the U11Mini 4K over several sessions, in a mix of calm and breezy UK coastal conditions, to get a feel for how it handled real-world flying rather than just ideal, sheltered conditions. I tested manual flight extensively, paying close attention to stick precision and responsiveness, and also tried out the drone's automated modes to assess how well they lived up to their billing.

On the camera side, I shot both stills and 4K video in a variety of lighting conditions, later reviewing the footage and photos on a larger screen to properly judge exposure, detail and dynamic range. The footage you see embedded above was edited in DaVinci Resolve, but not color corrected. Photos were tweaked slightly in Adobe Lightroom.

I also tested battery life under real-world conditions rather than relying on Ruko's quoted 32-minute figure, and ran through the process of transferring footage off the drone via both the microSD card and the internal storage, to evaluate how easy (or otherwise) that process is for a typical buyer.

• First reviewed: July 2026
• Read more about how we test

The Leica SL3-P is not a camera for everyone, and it knows it. There's no red dot logo on the front — that easy-to-spot symbol of prestige has been deliberately omitted in favor of a clean, all-black anonymity. Only the word 'LEICA' in white block capitals above the lens mount gives the game away. This is a camera built for photographers who'd rather be invisible than show off, and that philosophy runs all the way through it, with minimal controls, a stripped-back UI, and a design language that says a lot through everything it leaves out.

Getting to grips with it takes some patience if you're arriving from a more conventional mirrorless system. With only four labelled buttons on the body, a lot of control is handed off to the touchscreen, which is polished and logically organized once you learn its rhythms. The rear LCD tilts but doesn't swivel, which is an unusual limitation for a camera at this price — and with a serious L-mount lens fitted, the combined weight is considerable. But pick it up, hold it to your eye, and look through that large, crisp EVF, and something clicks. This is a camera that feels like it was made to be used, not admired.

Image quality is exceptional — unsurprising given the 44.7MP BSI sensor, which is of the same type used by the superb Panasonic Lumix S1R II — and battery life is impressive. The autofocus is competent and handles moving subjects well enough, though it won't trouble Sony or Canon on raw speed. At around £5,150 (US pricing TBC), it's an expensive proposition. But as a pure expression of what a modern Leica should be, the SL3-P makes a very strong case for itself.

Leica SL3-P: Price and availability

• Priced at $6,690 / £5,150 body-only
• Also available in three zoom lens kits

It's unlikely to come as a shock to you that the Leica SL3-P is a very expensive camera. Its launch price, for the body only, is $6,690 / £5,150 (Australia pricing is still TBC at the time of writing).

Leica is also releasing the camera in three kit bundles, each of which includes at least one Vario zoom lens. The SL3-P with a Leica 28-70mm lens is $7,790 / £6,100; with a Leica 24-70mm it's $8,390 / £6,480; and with both the 24-70mm and a 70-200mm it's $10,995 / £8,560.

Leica SL3-P: specs

Leica SL3-P: design

• All-black, badge-free design with minimalist controls
• Premium full-metal construction with IP54 weather sealing
• Large, comfortable EVF with twist-barrel diopter adjustment

The absence of Leica's red dot is the first thing you notice, and it sets the tone for everything that follows. The SL3-P is clad entirely in black, with only 'LEICA' in white block capitals on the EVF housing to identify it. Four buttons across the whole body are labelled (one of which is the power button). It's a stealthy, understated thing — clearly designed for people who want to use a Leica but aren't fussed about being seen with one.

The German-made full-metal body felt exactly as solid and premium as I'd expect from the brand, and comes with IP54 weather sealing for extra outdoors reassurance. There's a large grip covered with a textured material that provides a secure hold even when conditions aren't ideal, and the supplied neck strap is thick and well-padded, which I appreciated given how much weight a serious L-mount lens adds to the equation.

With so few physical controls, much of the camera's operation is routed through the touchscreen. The UI is stylish and well organized, with photo and video modes color coded distinctly in red and yellow respectively. And while the layout takes some adjusting too if you're used to a more button-heavy system, the logic is coherent, and settings are never difficult to locate. Touch-to-focus on the screen works exactly as expected, and custom button assignments help flatten the learning curve further.

The EVF is large, crisp and comfortable thanks to its 5.76-million dot resolution and 0.76x magnification, and as a glasses wearer I really liked the satisfying diopter mechanism that simply requires twisting the EVF barrel rather than hunting for a small dial.

The top-plate display is a genuinely useful feature, giving you a quick rundown of current settings without you having to lift the camera to your eye. The rear LCD, however, only tilts: up to 90 degrees upward and around 45 downward. That covers most tripod and arm's-length scenarios, but there's no forward-facing position for self-shooting, and no side-to-side articulation, which feels like an unusual limitation at this price.

On a practical note, I will say that the SL3-P is not a lightweight system, especially when teamed with some high-quality glass. The Summilux-SL 50mm f/1.4 lens I used with it added over a kilogram to the body, and while the grip is secure and comfortable, a long day of handheld shooting (covering a child's birthday party, in my case) does become fatiguing. That's less a criticism — after all, there are plenty of heavy cameras around — and more of a warning about how and when it can be used.

Leica SL3-P: Performance

• Exceptional image quality from a 44.7MP BSI full-frame sensor
• Competent hybrid autofocus with broad subject detection, including birds
• Impressive battery life and extensive video options including 8K and ProRes

The SL3-P shares its 44.7MP BSI full-frame CMOS sensor with the Panasonic Lumix S1R II — a camera I've tested and rate very highly — and the image quality is, predictably, exceptional.

Raw files processed in Lightroom offer tremendous latitude, with smooth tonal gradation, wide dynamic range and excellent high-ISO performance. JPEGs are very good straight from camera too, and five film-look presets — three color, two monochrome — add some welcome creative options. The high-contrast black-and-white preset is particularly striking, and feels authentically Leica in character.

Video capabilities are more extensive than the camera's photographer-first positioning might suggest: 8K Open Gate, ProRes to 5.8K, 4K at 120fps, L-Log, 12-bit RAW and 4:2:2 10-bit are all available. It's a serious toolkit, even if the handling feels more naturally attuned to stills.

The hybrid autofocus combines 315 contrast AF points with 819 phase detection points, with human, animal (including birds) and car detection. Tracking held up well in practice; testing on an active cat, the camera maintained focus through erratic movement without significant trouble.

Outright acquisition speed with the Summilux 50mm f/1.4 in AF-C is where it falls short of class leaders; it's capable rather than decisive, and anyone shooting fast action should look elsewhere. For portrait, street or documentary work, though, it certainly gets the job done.

Five-axis IBIS rated at up to five stops works quietly and effectively, and battery life is a genuine highlight. After a full charge I shot well over 100 frames across a lengthy session, and the indicator remained full. That seems in line with Leica's claimed 383 shots per CIPA standard cycle.

Should you buy the Leica SL3-P?

Buy it if...

Don't buy it if...

How I tested the Leica SL3-P

• Leica loaned me a sample for over a week, along with a 50mm prime lens
• I used it indoors and outdoors for several days, shooting photos and video
• All sample photos were shot in raw and processed in Adobe Lightroom

Leica loaned me a review sample of the SL3-P camera to test out in real-world use, a few weeks ahead of the official release.

I reviewed the Leica SL3-P over the course of a week, using it exclusively with the Leica Summilux-SL 50mm f/1.4 ASPH. prime lens. My shooting covered a wide range of scenarios: street photography and candids outdoors, landscape work, and indoor shooting in both natural daytime light and normal interior lighting at night — the latter without flash or studio lighting assistance of any kind.

All sample images were captured in raw format and processed in Adobe Lightroom.

First reviewed June 2026

Despite being Insta360’s first vlogging camera with multiple Insta360 firsts, the Luna Ultra, overall, feels like a polished and bold product. Its triple chipset ably supports powerful features — especially the gimbal-stabilized 8K 30p video with 10-bit color depth and 4K 120p slow motion video recording, Log color profile, autonomous subject tracking autofocus and 32-bit float audio.

With dual 20mm f/1.8 and 60mm f/2.0 lenses, each with its own sensor, you truly are getting two cameras in one. And having enjoyed the Luna's ultra-wide and impressive 3x telephoto versatility for a month, it will be hard for me to go back to a single-lens compact vlogging camera.

The detachable remote module — which features the two-inch OLED touchscreen, main camera controls and built-in microphone — has, understandably, won many admirers. It's such a clever and well-implemented design feature that truly enhances the user experience, especially for solo vlogging.

Initially I had a few minor niggles navigating various camera settings, and it certainly paid dividends to spend time customizing the Luna Ultra to the way I like to shoot. It's also notably bulkier than DJI's Pocket 4 vlogging cameras, and pricier than single-lens alternatives.

Despite its infancy in this space, Insta360 has to its credit already produced crucial supporting accessories — including tripod and battery grips, plus the Insta360 Mic Pro wireless mic for top quality audio — meaning you can stick within the Insta360 ecosystem and enjoying the best possible user experience and compatibility, including full Bluetooth support.

Yes, DJI has been in the compact vlogging camera space for much longer and has refined its Pocket series with every iteration, but the Luna Ultra enters with a bang and is an impressive alternative.

Insta360 Luna Ultra: price and release date

• Full release on June 12 2026
• Available in black or white with prices starting at $769.99 / £649 / AU$1,229.99
• Multiple bundles to choose from, including the Creator Bundle

"We're not going to compete on price" is what Insta360's co-founder Max Richter told me at a pre-launch event for the Luna Ultra, the company's first vlogging camera and DJI Osmo Pocket series rival.

And the Luna Ultra is much pricier than previous Pocket cameras. However, those were single-lens models and, like DJI's most recent Pockets, the single-lens Pocket 4 and dual-lens Pocket 4P, the Luna comes in two varieties: the single-lens Pro and the dual-lens Ultra.

Prices for the Ultra start at $769.99 / £649 / AU$1,229.99. That’s a fair whack more than the latest single-lens models, but you are truly getting two cameras in one device.

Insta360 sent me the Creator Bundle to review, which includes multiple extras such as the Mic Pro transmitter and battery grip and costs $969.99 / £829 / AU$1,549.99. I expect the dual-lens Osmo Pocket 4P to cost less than the Luna Ultra, but it won't be available in the US because of the DJI ban.

Both Luna models are available in black or white versions, and in a further variety of bundles that cater for various use cases; Standard, Essential, Endurance, VLOG, POV and Creator.

• Price score: 4/5

Insta360 Luna Ultra specs

Insta360 Luna Ultra: design

• First compact vlogging camera to land with dual lenses, ahead of the Pocket 4P
• Similar design cues to the DJI Pocket series (but a little larger), with stick-like form factor and camera supported by a three-axis gimbal
• Unique detachable controller which includes a two-inch OLED screen and built-in mic

The Luna Ultra’s form factor is familiar — it's a bit like the compact, stick-like design of DJI’s Pocket series. DJI isn’t happy about it, by the way; it has filed a lawsuit accusing Insta360 of patent violations (which Insta360 has responded to with a countersuit).

However, there are some key design differences. Lunas are slightly larger than Pocket models. Not majorly so, but the difference is clear when you hold them side by side as I did (albeit the dual-lens Ultra alongside the single-lens Pocket 4).

In practice, I didn’t really feel that the Luna’s extra weight and size negatively affected its handling — it’s easy in the hand for on-the-go vlogging. If you want the absolute smallest option, however, DJI is your best best. Even the dual-lens Pocket 4P is smaller.

There’s a good reason why the Luna cameras are bigger, and that’s for a super clever and unique feature: a detachable remote control, which is a module that packs the camera's main controls and rotatable two-inch OLED screen. Simply squeeze the red buttons on either side of the Luna, and the module pulls away from the body.

The module has a 20m transmission range and operates exactly the same way as if it’s on the camera, with the touch display offering a remote view, and the main camera controls on hand, including gimbal, zoom and record. Transmission range is impacted by the surroundings — I found the feed froze inside 15 meters when other people passed in front of me in a busy urban space — but I could see it happening on the screen in my hand and could rectify the situation.

What’s really neat is that the module has a built-in microphone, so you can easily check your frame and present to the camera. It’s certainly better than using the on-camera mic, though a wireless mic such as Insta360’s own Mic Pro with its customizable E Ink display is an even better pick for audiophiles. The camera has direct Bluetooth support for this mic and Insta360’s Mic Air. The video below gives an idea of what the module is like to use remotely.

I really appreciated how much easier it was to frame my shots with the controller module in hand. There’s also smart subject tracking and autofocus (more on this in the performance section), meaning the camera can track you as you move around, within the gimbal’s range, keeping you or your subject centered in the frame. Controlling the Luna using the module and tracking is like having your own cameraperson filming you, provided you can find a secure surface to rest the camera on or a support to fix it to.

On that note, the Luna Ultra can stand freely on flat surfaces, while the battery grip, which extends battery life plus the physical height of the camera, features tiny flip-out tripod feet for extra stability.

The battery grip is larger than the regular tripod grip and extends the battery life of the camera, which was already impressive being rated at up to four hours of 1080p filming. Not bad for a 1,550mAh unit that can be recharged to 80% in just 23 minutes.

At first I had a few niggles with the handling of the Luna Ultra from how it comes straight from the box. Beyond finding it physically clunkier than the Pocket 4, I needed to change various settings to taste, such as its behavior when rotating the two-inch touchscreen.

Overall, however, I can't find much fault with the Luna Ultra's design, which is seriously impressive for a first generation product.

• Design score: 4.5/5

Insta360 Luna Ultra: Performance

• Triple chipset, with 4nm and AI chips ensures smooth operation
• Smart subject tracking and autofocus, but it's not perfect
• Can get a little warm when using the most powerful features

The Luna Ultra is equipped with a triple chipset, comprising powerful 4nm and AI chips. As such, I never really experienced any performance issues, even shooting a lot of 8K video (though never for more than 10 minutes at a time).

The camera does get a little warm when using power-hungry features such as 8K video, and I did see a lag when switching from the 12x zoom back to 1x using the stepped zoom control on the touchscreen. However, those were my only issues.

In addition to regular 8K video, the Luna Ultra has a range of shooting modes, including; Slow Motion up to 240fps (in Full HD), Timelapse, TimeShift and Barrel Roll. I've included some slow motion clips in a sample video below.

Both Luna cameras accept a micro SD card up to 1TB, and include 47GB internal storage — less than DJI’s Osmo Pocket 4 / 4P, which have more than double the capacity. I shot plenty of video clips and photos directly onto the internal memory, and still had plenty of space left over — the maximum 120Mbps bitrates of video files are fairly low and don't take up too much memory.

And there’s plenty more for audiophiles, namely a decent wind guard for the camera’s internal four-mic array, plus 32-bit float audio. This pro-level setting avoids clipping, and is ideal for unpredictable and noisy environments, but for simpler audio edits, the 24-bit setting is probably your best bet.

The quality of the detachable module's built-in mic impressed me, though for the clearest pickup it's pretty fussy about how close you hold it and the angle it's pointed in.

Subject tracking is impressively sticky, though I did find that it switches to a new subject a little more easily than the DJI Pocket 4. In one situation, I was walking with the camera tracking me when other people came between me and the camera and tracking stopped.

In another scenario as I held a product up to the camera for it to focus on, the camera focused back on my face in the background all too keenly when I came back into view. In such a scenario, I think DJI's tracking performs better.

• Performance score: 4.5/5

Insta360 Luna Ultra: Image and video quality

• Dual 20mm f/1.8 (1-inch sensor) and 60mm f/2.0 (1/1.3-inch sensor) cameras are effectively like having a decent zoom
• 8K 30p and 4K 120p video with color grading-friendly I-Log profile — a first for Insta360
• 9MP photos are decent enough, especially in RAW format, and can be upped to 37MP in UltraPhoto mode

The Luna Ultra ups the ante in this camera category with 8K video — double the resolution of the Osmo Pocket 4, which shoots in 4K. It’ll shoot 8K up to 30fps, complete with Dolby Vision (aka HDR) and I-Log color profile.

This is the first Insta360 camera with Log, a flat color profile that pros like to use to maximize the color grading potential and for the most dynamic range possible from their camera, which in this case is up to 14 stops.

DJI has billed the Pocket 4P as having 17 stops dynamic range with its new D-Log2 profile — I look forward to comparing the footage of both cameras to see which is better once I have my hands on the Pocket. 4P.

Insta360 thinks its night mode is superior to DJI, with its PureVideo mode boosting dynamic range in 4K 60p videos. That’s another comparison test I’m looking forward to conducting. From the shots I've taken at night in this mode, detail looks impressively sharp, though of course no match for the quality of daytime footage.

Insta360’s Leica partnership goes beyond the Luna’s Leica-branded lenses and into various Leica color profiles. If you like the simplicity of attractive color profiles with no need for color correction, then the Luna has some great alternatives to Log.

I was impressed with the 3x telephoto camera — provided the subject isn't too far away, it's possible to throw depth of field for punchy portraits. I'm talking upper body shots with notable shallow depth of field.

The zoom of that lens can be further extended with a 6x 'lossless' zoom, a term that suggests you shouldn't notice a drop in image quality — I certainly didn't. I can't say the same for the 12x digital zoom setting, which looks a little more pixelated on close inspection. Still, that 12x zoom is a handy addition should you really need to zoom closer.

Honestly, having enjoyed the variety of two lenses in such a small camera, and how impressive the quality of the telephoto camera is (the sensor is bigger than the main sensor in most smartphones), I know I'll struggle if I have to go back to a single-lens compact vlogging camera.

Video is, of course, the primary use for the Luna Ultra, but it shoots decent-quality 9MP photos too, in JPEG and RAW format, albeit with just eight-bit color depth. I've included a couple of scenarios below, taking JPEG and RAW (DNG format) photos simultaneously at night and in daylight, with the 1x and 3x lenses.

I haven't edited the RAWs so you can see the kind of processing that takes place for JPEGs. All the photos are 9MP, but there is also an UltraPhoto mode which quadruples resolution to 37MP.

Insta360 Luna Ultra photo gallery

• Image and video quality score: 5/5

Insta360 Luna Ultra: testing scorecard

Should I buy the Insta360 Luna Ultra?

Buy it if...

Don't buy it if...

Insta360 Luna Ultra: also consider

How I tested the Insta360 Luna Ultra

• Insta360 supplied me with the Luna Ultra Creator Bundle, which includes 2x grips, Mic Pro transmitter, soft carry case and more
• I tested the camera regularly for a month shooting day and night, mainly focusing on video content. I've tried the monitor in various configurations
• I was testing the DJI Osmo Pocket 4 simultaneously, and could draw comparisons

I had early access to the Luna Ultra Creator Bundle ahead of its launch, and tested the kit out over the following weeks before writing this review. During this review period, I also had the single-lens DJI Osmo Pocket 4, meaning I was able to make comparisons.

The camera shoots decent still photos with RAW format editing flexibility, but my main focus video performance. I've shot horizontal and vertical vlogging-style videos in the various resolutions and frame rates available in each format, and experimented with various color profiles.

I've made sure to try out all of the accessories supplied to me and the various configurations of the detachable monitor. I've checked the camera and detachable monitor's audio quality, and how easily and reliable it pairs with an Insta360 Mic Pro wireless mic.

• First reviewed: June 2026
• Read more about how we test

Cards on the table: I love Polaroids. I’m of the right generation to have grown up with these instant-film wonders on holidays and at parties, and I was thrilled when the brand was properly revitalised in 2017 under new ownership. From the early OneStep cameras to more recent efforts like the Polaroid Flip (which I currently own), I’ve used a lot of nu-Polaroid’s offerings, and I was thrilled to try out the Polaroid Go Gen 3.

The Go series are Polaroid’s range of super-small instant cameras. They use their own dedicated ‘Go’ film, producing prints measuring 66.6mm x 53.9mm with an image area of 47mm x 46mm (for context, a full-size I-Type print measures 107mm x 88mm with an image area of 79mm x 77mm). They still have that Polaroid look, that lo-fi charm, that iconic square format. They’re just smaller.

The Go Gen 3 is the smallest camera the series has yet produced. It is clearly pitched at a younger crowd — festival-goers, beach-enjoyers, selfie-takers, and it has a selfie mirror to facilitate this. Its controls are extremely simple; you can’t control settings, you just point and shoot.

Most of this was also true of previous Go cameras, such as the Go 2, so what exactly is new here? Well, as well as the reduced size, Polaroid has outfitted the Gen 3 with a boosted flash and a redesigned lens sporting a narrower focal length of 63.75mm, compared to 51.1mm on the Gen 2. This gives you a slightly tighter perspective, gets you closer to your subjects, and makes your selfies that little bit more flattering.

So, it's a much simpler offering than the Flip, which has a fancy four-zone focus system and offers full settings control via the Polaroid app. The Polaroid Go Gen 3 does have a shutter speed range of 1/500–1sec and aperture settings of f/14.4 and f/32, but it will be selecting those for you. However, that’s not to say you’re completely without agency. You can turn the flash on and off via the flash control button, which also activates a self-timer mode and a double exposure mode — meaning you can expose the same frame twice for surreal, creative effects.

I used the Polaroid Go Gen 3 for about a week, mostly capturing shots on photo walks outdoors, but also making use of the selfie mirror to shoot some self-portraits indoors. I’ve been very impressed with the level of quality those little prints are able to display — when the light’s been right, I’ve found myself absolutely poring over images, appreciating all the subtle details that are conveyed in these tiny prints. Even in the smaller size, you still get the feeling of Polaroid’s signature lo-fi tones.

It’s not perfect. I found ultra-bright sunlight to be a problem, with the prints easily becoming blown out and overexposed on sunny days — which also seem to me like the days you’re most likely to want to use the camera. However, the relative affordability of Go film compared to I-Type makes me much more willing to play, experiment and have fun with the Go Gen 3, and not sweat my mistakes too much. Which as far as I’m concerned, is what instant photography should be all about.

Polaroid Go Gen 3: price and availability

Polaroid has been cannily stalking the Instax market share with the Go series, and part of that has been keeping the cameras nice and cheap. The Go Gen 3 comes at a reasonable launch price of $89.99 / £79.99 / AU$150, which is about the same as the comparable Instax camera, the Instax Mini 13, and similar to cheap lo-fi digital cameras like the Camp Snap.

However, as it’s a film camera, you have ongoing costs to factor in. Polaroid Go cameras use dedicated Polaroid Go film, which costs around $21.99 / £18.99 / AU$39 for a pack of sixteen shots (two cartridges of eight). Again, this is similar to Instax mini, which is slightly cheaper at around $20.99 / £14.99 / AU$34.95 for a pack of twenty.

Happily, it’s much more reasonably priced per shot than full-size I-Type film. As much as I love proper Polaroids, $18.99 / £16.99 / AU$32 for just eight shots is really quite brutal, and makes the experience a bit less fun. You don’t kick yourself for a fluffed Go shot in quite the way you do for a fluffed I-Type shot, and it makes the Polaroid Go Gen 3 a more realistic option for kids and families.

Polaroid Go Gen 3: Design

• Super small, trop mignon, fits in the palm of your hand
• Very simple operation with just three buttons
• No tripod thread, but there are lugs for a strap (and one is supplied)

Polaroid Go cameras have always been cute — it’s practically their key USP — and the Go Gen 3 is the cutest yet. The makers call it the world’s smallest instant camera, and I certainly can’t think of a challenger. This thing is tiny, sitting comfortably in the palm of a hand. It measures 106.5 x 83.8 x 64.6 mm and weighs just 8.9oz / 251g.

As such, there isn’t a whole lot of room for bells and whistles, and operation of the Polaroid Go Gen 3 is no-frills. There are just three buttons — power, shutter, and flash control, the latter of which also activates self-timer and double-exposure modes. The entire bottom of the camera is taken up by the film door, meaning there’s no tripod screw thread — best find a flat wall if you actually want to use that self-timer. There also isn’t any of the app-based camera-trigger functionality that you get with the likes of the Polaroid Flip, which also means you won’t be capturing long exposures or anything like that.

The viewfinder is small but lovely. I really enjoy looking through it; I just love that square frame. It really fires my imagination compositionally, and if I hadn’t been limited by how much film I had on hand, I would have been firing off shots left and right. Flip the camera around, and you’ll see that the front of the viewfinder is reflective. This is the selfie mirror, and I have to say, it works exactly as intended.

On the side, there’s a USB-C port for charging, and at the back are two lugs on the right and left for attaching straps, and a rope-style wrist strap is included in the box. And, well, that’s pretty much it! This is a very simple offering, something that works in its favor as a lo-fi camera for fun, friends and family. It’s a camera so simple a child could use it, something I tested by giving it to a three-year-old, who — with a little coaching — did indeed manage to capture a photo. If you’re looking for a camera with kid-appeal, I can attest that the Go Gen 3 has it in abundance.

It’s available in five stylish colorways: white, black, teal blue, ice blue and purple. As you can see, I had the white version, and as I took it out and about, it did draw a few comments and compliments from passers-by. This is a nice-looking camera.

Polaroid Go Gen 3: Performance

• Lovely detail and tonality in prints, even with small size
• But ultra-bright sun can easily overwhelm images
• Flash is always on, so you need to remember to turn it off every time if you don’t want it

When a Polaroid works, there’s nothing like it. Even in the smaller Go size, I’m really impressed by the level of detail and tonality you can get out of this thing. For me, it beats Instax any day of the week. In good light, with a well-chosen subject, you can make images that absolutely sing, and I genuinely adore some of the shots I’ve captured with this camera.

One thing that really impressed me was the selfie-taking capability. The Polaroid Go Gen 3’s reworked lens and powerful flash are designed to facilitate just that, and using the mirror as a compositional aid, I was able to capture selfie images that were vivid, detailed and true-to-life, the flash comfortably illuminating the scene without blowing it out.

Out in the big wide world, of course, you can and will run into issues. While I was testing the Gen Go 3, we were blessed with several days of glorious sunshine, and in very bright conditions — you know, the exact kind of conditions where you might find yourself saying something like, ‘Darling, it’s lovely out, shall we bring the Polaroid?’ — it’s easy for those little frames to just be overwhelmed.

More than a few of my images were quite significantly bleached by very bright sunlight, even when I remembered to turn the flash off — and you have to do this manually every single time, because the camera will always turn it back on. Even, as I discovered, halfway through a double exposure.

I’m generally a bit wary of double-exposure modes on instant cameras; I feel like most of the time, I’m likely to end up wasting a frame on a blurry, muddled mess. However, the lower cost of the Go film made me much more willing to give it a try than I ever am with my Polaroid Flip, and I ended up with a decent image — though I think it would have been better without that unexpected blast of flash halfway through.

Ultimately, as with any Polaroid camera or indeed any instant camera, the Polaroid Go Gen 3 is solid knockabout fun. You’ll get some images you like, and some that feel like a bit of a waste of film. That’s just the game, and it’s a much easier game to enjoy when the film is more reasonably priced than full-size I-Type.

Polaroid Go Gen 3: Should you buy?

Buy it if...

Don't buy it if...

How I tested the Polaroid Go Gen 3

• I received a sample camera from the manufacturers, along with some Go film
• I took the camera on several photo excursions, mostly shooting outdoors
• I shot with and without flash, and tested the double-exposure mode

I’ve had the Polaroid Go Gen 3 with me for the past couple of weeks, and I’ve taken it on excursions around London, as well as on a trip to Bradford-upon-Avon. During that time I’ve gone through a double pack of Polaroid Go film, and have tested out the camera in different scenarios and lighting conditions, with a particular focus on seeing how it renders different colors.

I have shot outdoors and indoors, both with and without the flash. I also gave the double-exposure mode a whirl, using it to create a composite image of my own face from different angles. I shot selfies with flash using the selfie mirror as a compositional aid.

First reviewed June 2026

From a simple idea, Camp Snap is building an empire. The concept of an ultra-cheap point-and-shoot digital camera with no screen — meaning you can’t see the photos you take until you download them after the fact — proved to be a massive hit, and the original Camp Snap camera has since been joined by the video-focused Camp Snap CS-8, and the upgraded CS-Pro, which doubles the resolution from 8MP to 16MP. And now, we have the Camp Snap 2.

The makers are clearly keen not to mess with success, because the Camp Snap 2 keeps the feel and concept of the original camera very much intact. This new model keeps an 8MP sensor, and it once again has no screen, just a small panel with a running shot counter, a fixed-focus lens, and an LED flash. So, you might ask, what actually is new?

A few things, but the most significant is the new ‘Filters’ button, which allows you to select from a series of vintage-style looks for your images. This was an idea already explored on the CS-Pro, but the Camp Snap 2 ups the ante with six filters rather than the Pro’s somewhat paltry four. While you have to invest some time into learning which filter is which and what they look like (since you can’t check your images mid-shoot), this makes the Camp Snap 2 a more varied and versatile camera to use than the original, adding greater scope for creativity.

This is an important addition, given that there's little room for creativity elsewhere — the lens is fixed-focus and there’s no settings control. Furthermore, the Camp Snap 2 adds a tripod mount, a 33.5mm filter thread on the lens and lugs to attach a strap (though one isn’t supplied). These additions combine to make the Snap 2 feel a bit more like a proper camera than the original ever did. Its image quality is still no great shakes, but the Camp Snap 2 offers more scope and variety without sacrificing its identity as a camera that basically anyone can use — like the original, it’s very kid-friendly.

I’ve taken the Camp Snap 2 everywhere with me for a couple of weeks, and I can say that I thoroughly enjoyed it. The newly slimmed-down body makes it easy to slip into a pocket and pull out for quick grab shots here and there, and with no screen, you can’t spend time fussing over them after the fact.

Normally, when a successor camera is this iterative and minor an upgrade, we reviewers tend to say things like 'If you already own the original, save your money.’ But this is a bit of a different situation. Because the Camp Snap 2 is so cheap, I’d say that if you already own, like and use the original Camp Snap — hell yeah, you might as well upgrade. The filter button adds depth and variety, and one of the most irritating features of the previous model — the shutter lag — has mostly been dealt with.

I’d also go so far as to say that for many users, this is probably a better buy than the more expensive CS-Pro. You get a more pocketable camera for a lower price, and for the types of people who are shooting with Camp Snaps, I don’t think an extra 8MP of resolution is all that useful, particularly when the sensor is not especially larger. The main reason you might prefer the Pro is that its filters are more dramatic and distinctive, though there are fewer of them.

So, if you like the original Camp Snap, and like the sound of the Camp Snap 2 — yes, I feel comfortable recommending you buy it too. At this price, why not?

Camp Snap 2: price and availability

Camp Snap hasn't got carried away with its success, and the Camp Snap 2 is still very attractively priced indeed, launching at $69.95 / £53 (around AU$130). This is at about the same level as the original Camp Snap, and comes in way less the CS-Pro, which goes for $99 / £90 (around AU$180).

Snap 2 is currently available from the Camp Snap website, and I expect before long it’ll also make its way to major retailers, the way the original Camp Snap has.

Frankly, this pricing is perfect. For a fun, knockabout digital camera that doesn’t offer much in the way of image quality and is all about the ultra-simple point-and-shoot vibes, nobody should be paying more than this. It’s a camera that pretty much anyone can instantly pick up and use, at a price that lots of people can afford.

Camp Snap 2: design

• Even slimmer and lighter than the original, just 3.8z / 108g
• All-plastic build with LED flash and fixed-focus lens
• Point-and-shoot operation, but adds button to switch filters

The original Camp Snap was already slim, but the Camp Snap 2 is even slimmer — around 15% slimmer according to the manufacturers. It is genuinely pocketable in a way that not all cameras that make ‘pocketable’ claims actually are, and at 3.8oz / 108g it’s a true featherweight. The body is all-plastic, of course, but the front has a nice textured surface for a bit of extra grip, and there’s an indentation on the rear panel for your right thumb to rest. On the sides there are lugs for attaching a strap, though no strap is supplied with the camera.

On the top you have just a single button: the shutter. This is of course a point-and-shoot, so you won’t be fiddling with settings dials. On the front you have the LED flash and the fixed wide-angle lens — and, a new addition, a 30.5mm filter thread on the lens. Though this was on the CS-Pro, it wasn’t on the original Camp Snap, and it allows you to attach screw-on filters to imbue your images with specific effects — as one reader suggested, a good fit for the Camp Snap would be a mist filter to enhance the lo-fi, retro feel of images. Camp Snap has also not-so-subtly hinted that Camp Snap-branded filters will be coming in the future.

At the rear you have the simple screen, which displays a shot-counter and lets you know which filter you currently have selected. As well as the aforementioned thumb groove, you also have the power switch, which doubles as a flash toggle, and the tinny speaker that plays the stock ‘shutter release’ sound effect. The viewfinder is a perfectly serviceable optical type — if you’ve ever used an old-school disposable, it’ll be familiar. It’s nothing special but it does the job.

To the right of the screen, there’s the new filter select button. Pressing this button allows you to cycle through the filter selection. It can also be held down for ten seconds to activate ‘Camp Lock’ — which locks the button to make the camera more useable for children (negating a scenario in which they accidentally take all their pictures in black and white). Hold down for ten more seconds to unlock. Also, while testing this, I inadvertently discovered that tapping the filter button twice in quick succession will cause the camera to take two photos. Not sure why, but there you go.

At first it seems like the Camp Snap 2 doesn’t have a battery indicator like the four LEDs on the CS-Pro. In fact, it does, but you could be forgiven for not noticing it. When you boot up the camera, the screen will briefly display a number between 0 and 100, before reverting to your current shot counter. This is, I believe, a percentage-based battery indicator. It’s not exactly advertised, and easy to miss given that your shot counter will likely be a quite similar number, but it is there.

Color-wise, the Camp Snap 2 is available in a selection of standard shades — green, black, white, yellow and brown. However, it can also be bought in a selection of rather stylish translucent ‘jelly’ colorways, evoking the early-millennium trend for translucent tech. I’ll admit that I think these versions are pretty cool, and my partner (who isn’t into cameras) independently showed me them on Instagram because she liked the look of them. I suspect they’ll be very popular.

Camp Snap 2: performance

• Image quality is a bit scuzzy, but it's part of the lo-fi charm
• Operation is very easy, and the shutter lag from the original has been dealt with
• New filters add creative options, but aren't as striking or distinctive as those on the CS-Pro

As mentioned, the Camp Snap 2 uses the same sensor as the original, so raw image quality is identical. You still get 8MP images with limited dynamic range. Blown-out highlights are a fairly common sight, as are muddy and indistinct shadows. In the latter situation, the LED flash can be helpful, though it’s nowhere near as powerful as a proper Xenon flash (which the CS-Pro has).

The new filter dial really does add some welcome creative depth. You have six options — first there’s the Standard (S) look, which produces naturalistic but warm colors. Then you have Vintage 1 to 3 (V1, V2, V3). V1 ups the saturation and has a slight purple tint; V2 is almost identical to Standard, but slightly cooler; V3 has a distinctly sunny yellow cast.

Next, there’s the black & white mode (BW), which delivers decent contrast for striking monochrome. And lastly there’s the interestingly named Analog (A). I was expecting this to be covered in artificial film grain, something that Camp Snap experimented with on the CS8. But in fact, it’s the warmest look of the bunch, with muted colors and a slight magenta cast, and it proved to be my favorite.

I was surprised by how subtle the filters were, especially coming off the back of the CS-Pro, in which they are very striking. Someone looking for a dramatic image effect might come away a little disappointed; V2 in particular is so similar to Standard that I questioned the point of having it. I think in practicality, most users will probably just figure out which is their favorite and stick with it, occasionally switching to BW when the moment calls. I can't exactly picture myself agonizing over whether this pub garden sunset deserves V2 or V3.

One oft-criticized aspect of the original Camp Snap was its shutter lag — the appreciable delay between the user pressing the shutter button and the photo actually being taken. This was significantly improved in the CS-Pro, with a more powerful processor, and in the Camp Snap 2 it seems to have been somewhat improved.

However, I would note that the lag seems to be mostly confined to the cosmetics — the shot counter and the shutter release sound effect. On a few occasions, I pressed the shutter and then heard the MIDI ‘clunk’ half a second after moving the camera away, and chastised myself for missing a shot through impatience. But later, when I reviewed the image, I seemed to have gotten away with it. And I can live with the sound effect being slow if I still have the shot in the bag.

It’s also worth noting that the Camp Snap 2 has a new feature called QuickDraw. After a period of inactivity, the camera sleeps to save power, but you can press the shutter button while it’s in this state, and it will wake and quickly take a picture. Note that I said ‘quickly’, not ‘instantly’ — it does take a moment to bestir itself. I’ve seen a few comments online complaining about shutter lag, and I actually think this is probably what they’re referring to. When the camera was awake, I experienced no real shutter lag issues.

Should I buy the Camp Snap 2?

Buy it if...

Don't buy it if...

How I tested the Camp Snap 2

• I received a loan unit of the Camp Snap 2 for testing
• I have taken it out on a number of photo excursions, as well as to a sporting event and to a concert
• I’ve shot in variable light conditions throughout June, though with mostly very bright and sunny weather

I received a review sample of the Camp Snap 2 from the manufacturers, and had it in my pocket and about my person for a couple of weeks. I took it on excursions around London, as well as on trips south to Bradford-on-Avon, Frome and Bath, during which time I used it to capture more than 100 photos using all of the filters, in a range of weather and lighting conditions.

First reviewed June 2026

The Kodak PixPro WPZ2 is a budget waterproof camera aimed squarely at adventurers who want to take their photography somewhere a smartphone or regular point-and-shoot can’t follow.

It costs a fraction of what you’d pay for a premium rugged compact like the OM System Tough TG-7, and the trade-offs are exactly what you’d expect at this price: a fairly basic feature set, modest image quality and 1080p/30fps video recording that feels pretty old-school in 2026. But after spending some time with it at my local beach, I found plenty to like.

For one, it certainly looks the part. The WPZ2’s yellow-and-black color scheme, chunky G-Shock-esque lens barrel and prominent rivet-like screws on the front give it an appropriately ruggedized aesthetic. It’s also smaller than it looks, and I managed to squeeze it into my jeans pocket, protruding lens barrel and all.

Build quality feels solid, and the double-locking battery and card compartment is a reassuring design choice that should prevent any accidental pop-opens while you’re underwater. I tested it in saltwater rock pools and have no reason to doubt Kodak’s 15m waterproofing claim. There was no lens fogging when transitioning between underwater and above-water shooting, either. One note of caution: the front element doesn’t appear to be noticeably hydrophobic, so water droplets will cling on after submersion. My advice? Pack a microfiber cloth or two.

There are some usability niggles, though. The rear screen is small and dim – even at maximum brightness I found it difficult to gauge exposure or compose shots with any confidence. The zoom rocker requires a very firm press to register, which is understandable given the waterproofing demands, but isn’t much fun with wet hands. And getting a microSD card in and out of its deeply-recessed slot in the battery chamber is really fiddly, to the extent anyone with larger fingers is going to struggle.

Image quality is in line with what the specs would lead you to expect: JPEGs that lack saturation, contrast and dynamic range, with some over-sharpening and noticeable corner softness. That said, the macro mode produced some impressively sharp results in my testing, with good central detail and pleasing colors.

The 4x optical zoom is a useful range to have, but engage the digital zoom beyond the optical and quality falls straight off a cliff. Low-light shooting is another weak point, though the built-in flash does keep the camera functional after dark.

Video maxes out at 1080p/30fps, which feels like a big limitation in this day and age. My underwater rock pool footage looked fine for casual use, but above-water clips suffered from the same flatness and over-processing that characterizes the still shots.

Battery life is one of the more pleasant surprises. The CIPA-rated 200 shots held up well in real-world use, and USB-C recharging felt reassuringly quick. For a day’s casual shooting, you’re unlikely to run dry.

Oh, and a small bonus if you’re a music fan: the five-note power-on chime is an uncanny dead ringer for the opening of Prince’s “Diamonds and Pearls.” Not a reason to buy, obviously, but I enjoyed it every single time.

The WPZ2 certainly won’t trouble the OM System TG-7 or Ricoh WG-8 in a straight image quality fight. But as an affordable way to get a camera into the water without worrying too much about the consequences, it fits the brief well.

Kodak PixPro WPZ2: Price and availability

• Priced at around $189 / £149 / AU$279
• Available in three color finishes

The Kodak PixPro WPZ2 is available now, priced at $189 / £149 / AU$279, though you may find it slightly cheaper (or pricier) depending on where and when you look. It comes in three colorways (yellow, red and blue) and is widely available through major retailers including Amazon, Best Buy and B&H Photo in the US, and their international equivalents.

As well as the camera and a single battery, the box includes a wrist strap and USB-A to USB-C charging cable. Note that a microSD card is not included, and with only 8MB of space on the camera's internal memory, you'll need one.

At this price it sits well below the premium rugged compact options on the market. The OM System Tough TG-7 commands around $400, so the WPZ2 undercuts it by a significant margin. The more relevant question is whether you’d be better served by choosing a similarly-priced action camera instead — and that probably depends on whether you're primarily shooting photos or video.

Kodak PixPro WPZ2: specs

Kodak PixPro WPZ2: design

• IP67-rated rugged build
• 176g weight and pocketable size

Pick up the WPZ2 and the first thing that strikes you is how proudly it wears its ruggedness on its sleeve. Where most compact cameras at least try to look sleek, this one leans into the industrial; the visible screws on the faceplate, the thick black grip and the chunky lens housing all read less “camera” and more “piece of heavy equipment.”

The Caterpillar digger-style yellow-and-black colorway I tested reinforces that impression, but red and blue options are available if you’d prefer something that looks a little less like it came straight off the construction site.

Despite its bulk-suggesting aesthetics, the WPZ2 is actually very small and manageable in the hand. It slipped into my jeans pocket without much protest, which is more than you’d expect from something that looks so burly. At 176g / 6.2oz it’s light enough that you’ll almost forget it’s there between shots, too.

The double-locking mechanism on the battery and card compartment is one of the smarter design decisions here. It takes a deliberate two-step action to open, which inspires confidence that it’s not going anywhere mid-dunk. Less impressive is the microSD slot itself, which sits so deep within that compartment that swapping cards becomes a two-handed exercise in patience. Larger fingers will find it particularly trying.

On the back, the controls are straightforward enough. This is very much a point-and-shoot in its operational philosophy, with no pretensions toward manual control complexity.

The main frustration is the rear LCD, which is both small and insufficiently bright; even cranked to maximum, it struggles in daylight conditions, making exposure assessment and framing more of an educated guess than a precise exercise. The zoom rocker, necessarily stiff to maintain its watertight seal, demands a firmer press than feels natural, which is something I noticed most acutely when my hands were wet.

Kodak PixPro WPZ2: Performance

• Camera performs best in good lighting
• No raw shooting option and video limited to 1080p
• 4x optical zoom

The WPZ2’s natural habitat is somewhere sunny, shallow and wet, and that’s precisely where it performs best. My rock pool testing on a bright day returned some pleasing results, particularly in macro mode, where the camera locked on with decent accuracy (if not much speed) and rendered the finer details of shells, barnacles and seaweed with more sharpness and color fidelity than I was expecting at this price point. Keep the light on your side and you’ll come away with shots you’re happy to share.

Step outside those ideal conditions, though, and the limitations become harder to overlook. The JPEGs have a processed, over-sharpened quality to them, and what the camera gains in apparent edge definition it loses in natural color rendition; images tend toward the flat and undersaturated rather than the vivid. Dynamic range is modest, so high-contrast scenes (bright sky against dark water, for instance) will test it. Corner sharpness drops off noticeably, too, which is worth bearing in mind if you’re framing wide shots.

The 4x optical zoom covers a useful range for a camera of this type, but treat the digital zoom as decorative – image quality deteriorates the moment you engage it, and by the time you reach the maximum combined 24x, you’re looking at something closer to an impressionist painting than a photograph.

Low-light shooting is perhaps the WPZ2’s most significant imaging weakness. Without a flash, the results are soft and noisy, and the camera gives you no shutter speed readout when shooting manually, which makes managing camera shake largely a matter of luck. The flash rescues things for indoor and after-dark shots, but don’t expect miracles.

Video maxes out at 1080p/30fps, a spec that would have felt reasonable a few years ago but stands out as a limitation today, when even mid-range smartphones routinely shoot 4K at 60fps. My underwater footage of the rock pools was perfectly watchable for casual use, but the above-water clips exhibited the same flatness and over-processing that characterises the stills. There’s no optical stabilization either, only digital, so handheld video isn't particularly smooth.

Battery life is one of the more pleasant surprises. The CIPA-rated 200 shots held up well in real-world use, and USB-C charging felt reassuringly quick. For a day’s casual shooting, you’re unlikely to run dry.

Should you buy the Kodak PixPro WPZ2?

Buy it if...

Don't buy it if...

Also consider

How I tested the Kodak PixPro WPZ2

• Test sample purchased from Amazon UK
• Tested in and outdoors on English coast
• All images and videos shot at highest quality settings

TechRadar purchased the Kodak PixPro WPZ2 from Amazon UK for my testing purposes.

I tested the camera over several days, using it primarily at a local beach where I shot stills and video in and around saltwater rock pools. This gave me a real-world sense of its waterproofing credentials, image quality in both macro and wider shooting scenarios, and general handling in wet conditions. I also tested it indoors and in lower-light situations to assess flash performance and the limits of its low-light capability.

All sample images and video were shot using the camera’s highest quality settings.

First reviewed June 2026

Panasonic marked the 25th anniversary of Lumix cameras by announcing the attractive Lumix L10 premium compact camera. If it looks familiar, that's because its retro design cues are taken directly from the popular LX100 series — the most recent being the Lumix LX100 II from 2018 — while its form factor brings to mind the popular Fujifilm X100VI.

Unlike other recent Lumix compact cameras, such as the ZS300 / TZ300, there are genuine upgrades in the Lumix L10 — it's fitted with Panasonic's latest 26.5MP Micro Four Thirds sensor, processor, and autofocus system, a higher-capacity battery, and it even has a viewfinder!

The 24-75mm f/1.7 to f/2.8 Leica Summilux lens with 3cm macro focusing is based on the lens in the LX100 II, with Panasonic saying it's been refined for the L10's higher-specced sensor. How exactly, is unclear, but the user experience is essentially the same, for better or worse; the sharp detail and bright aperture are a major boon, but it's not weather-sealed, and it slows the camera's startup and shut-down time.

In the hand, the Lumix L10 is a joy to use, and it's quickly become one of my favorite compact cameras. Beyond its charming retro design there's a decent 2.36m-dot OLED viewfinder, a bright 1.84m-dot vari-angle touchscreen, and a proper hotshoe for accessories such as a flash.

The lens is beautifully crafted, and offers direct aperture control, a zoom ring and a customizable switch, with a choice of functions including a stepped zoom, Real Time LUTs, and aspect ratio selection.

Speaking of aspect ratios, it's a cinch to switch between 4:3, 16:9, 1:1 and 3:2, which aids composition for various outputs including social, but the drawback is that not all of the sensor's pixels are usable because of the imaging circle of the lens. 4:3 stills get you the highest-resolution stills at 20.4MP, while 1:1 is an oddity in that it technically doesn't use all of the pixels that it could (based on the imaging circle of the lens).

If you compare the L10 to the older Lumix LX100 II, the latest model is feature-packed and snappier in operation, while video performance is in another league, with 5.7K recording, Log color profile, and Real Time LUTs downloadable through the Lumix Lab companion app. Lumix Lab, by the way, is one of the best apps around, with new features regularly being added, the latest being raw editing. (You can shoot raw with the L10 without needing editing software such as Lightroom.)

Battery life is better too, with a larger and higher-capacity battery slotted inside the grip. The downside is that the L10 is notably bigger than the LX100 II, which is a real shame if you like your cameras extra-small. That being said, the size and form factor are a good fit in the hand, and already-available extras further improve the camera's handling — I had the excellent the SmallRig thumb grip and hand grip for my review.

Overall, the Lumix L10 is exactly the kind of camera Panasonic fans — and, indeed, any compact camera fan — needed. There's no other model like it with such a heady mix of powerful features, large sensor, versatile 3.1x optical zoom, in an attractive retro body.

I'm not convinced the L10 is totally for me — I like my sensors big and bokeh extra creamy, meaning I'm in the "please Panasonic announce a full-frame Lumix S9 with a viewfinder" camp — but the L10 should be the one for many photographers hoping for a powerful everyday and travel camera that's simply enjoyable to use. The zoom-lens versatility is the real winner.

Panasonic Lumix L10: price and release date

• Announced on May 12 2026 to mark the 25th anniversary of Lumix
• Available in black or silver versions for $1,499 / £1,299 / A$2,599 from June 2026 
• The Titanium Gold Special Edition (pictured) costs $100 / £100 more and comes with extras, with limited availability from July 2026

The Lumix L10 costs $1,499 / £1,299 / A$2,599, which feels about right for this type of camera, and one with such powerful features, and the current market conditions. That's a full $400 / £300 less than the Fujifilm X100VI, which has a fixed lens, but which overall feels a little more premium.

If it's a purely compact package you're looking for, then another option is picking up a full-frame Lumix S9, which body-only costs hundreds less. Add the tiny new 40mm F2 or the collapsible kit zoom lens, and the package is around the same price as the Lumix L10. You'll miss out on a viewfinder, but you will have an L-mount camera with a powerful full-frame sensor, and a wider choice of colors.

The Lumix L10 pictured throughout this review is the Titanium Gold Special Edition, which costs an additional $100 / £100, and is available through select outlets, namely Panasonic's store (and it's not available in every region). You're not paying a premium just for the color — the kit also includes a titanium-colored auto lens cap, a Lumix-branded leather strap, and a dedicated L10 lens cloth. The menus of the camera are suitably monotone to match the warm tones of the camera, and the camera model name is etched onto the camera's lower right-hand side on the back.

• Price score: 4/5

Panasonic Lumix L10 specs

Panasonic Lumix L10: design

• The prettiest Lumix in years, available in silver, black or a limited-edition Titanium Gold
• Roughly the same design as the Lumix L100 II, which also has a 24-75mm f/1.7-f/2.8 lens, but overall it's bigger
• There's a flip-out touchscreen and a handy EVF

Design-wise, the Lumix L10 is very much the spiritual successor to the Lumix L100 II, which remains a popular and versatile everyday camera for keen photographers.

And if it ain't broke, don't fix it; there's essentially the same control layout, 24-75mm f/1.7-f/2.8 lens, vari-angle 1.84m-dot touchscreen and 2.36m-dot EVF, and every part works perfectly well for casual photo and video use.

One key difference is the size and weight of the 2026 model — the L10 is noticably bigger and a little heavier than the L100 II, with a strikingly similar profile to the Fujifilm X100 VI.

A chief reason for the larger body is that the L10 is fitted with a larger battery — the same kind used in Panasonic's mirrorless bodies such as the Lumix GH7. Of course, a bigger battery means better battery life, and it's also better able to support more powerful features.

The actual difference in battery life isn't so much as you might imagine, though; the L10 runs for up to 420 shots compared to the L100 II's 350 shots. However, the L10 also packs better-quality video, and video capture is more demanding of power.

The lens is a defining feature of the camera — it's a versatile 24-75mm optic which is improved from the Lumix 100 II's, although Panasonic hasn't made clear how, besides describing it as being fine-tuned for the L10. It's impressively sharp, and the maximum aperture is bright throughout the zoom range, and able to produce reasonable subject and background separation, especially using the telephoto setting.

Macro focusing is down to 3cm, but that's at the wide-angle end of the lens. Zoom in to 75mm and the minimum focus distance is more like 30cm, which is hardly 'macro' — see my comparison photos below to get an idea of how close the camera is able to focus at either end of the zoom range.

The lens still isn't weather-sealed — and users of the LX100 series have reported dust ingress in the lens, so that's very much a possibility with the Lumix L10. And with a slightly plasticky feel in parts, it's a camera that probably needs to be looked after, rather than tossed into a bag or used in extreme conditions.

Besides the lack of an AF joystick, there are plenty of external controls at your fingertips, most of which can be customized to taste, and it certainly pays dividends to take the time assigning the L10's custom controls to your regularly used settings.

Take the switch on the lens, which can be used to control anything from aspect ratio to stepped zoom or Real Time LUTs color profiles — that's a handy range of controls.

Despite its decent video credentials, the L10 is very much the stills-oriented camera by design. Yes, there's a mic jack, but no headphone or HDMI. The camera can be charged via USB-C.

The rangefinder-style 2.36m-dot OLED viewfinder and 3-inch 1.84m-dot vari-angle screen make viewing and composing images a cinch in just about any scenario — even if both units are a little dated now.

Overall, I have no major complaints about the L10's design. It's highly enjoyable to use, and it's a very attractive camera too, which made me want to use it all the more.

• Design score: 4.5/5

Panasonic Lumix L10: Performance

• Panasonic's latest 26.5MP MFT sensor and processor, but the sensor is not stabilized
• Snappy and reliable hybrid phase-detection autofocus with subject detection
• Startup / power down time is slowed by the lens extension / retraction

The L10 is an altogether different kettle of fish compared to recent Lumix compacts (which were basically re-releases with USB-C added, but, annoyingly, with the viewfinder removed). It's a genuine upgrade from the eight-year-old LX100 II, equipped with Panasonic's latest sensor, processor and autofocus system.

Throughout my three weeks and counting of testing, the camera has never missed a beat; it happily rattles through 11fps burst shooting sequences, and records high-resolution 5.6K video with no lag and minimal rolling-shutter distortion.

Autofocus is snappy and reliable, and includes subject detection for humans and animals (including pose recognition), plus vehicles and more. At times, however, I missed having a joystick for quick and easy manual selection of autofocus points. The camera offers this control through two steps: pressing the autofocus mode option on the D-pad, then pressing down on the D-pad, at which point the pad can be used to shift the autofocus points in play.

If there's one drawback in using the Lumix L10 for everyday and street photography, it's the retractable lens design. From powering up, there's around a two-second wait for the lens to extend before the camera is ready to shoot, and around the same time for it to retract when turning the camera off.

We get the same 26.5MP MFT sensor as used in recent mirrorless cameras such as the Lumix GH7, but with one major difference: the sensor isn't stabilized (the lens is), which can limit the camera's handheld use, especially in low light or for creative long-exposure photography, for which you'll want a support for the camera.

Rival cameras including the Ricoh GR IV and Fujifilm X100VI have in-body image stabilization (IBIS), as do most MFT mirrorless cameras at this sort of price point, including the OM System OM-5 II and Lumix GH series.

Overall, however, there are few cameras that are able to perform as smoothly as the L10 while offering such processor-intensive features — inside that retro body is some serious grunt.

• Performance score: 4.5/5

Panasonic Lumix L10: Image and video quality

• Multi-aspect stills up to 20.4MP, from the 26.5MP sensor
• The lens is sharp and bright
• A wide range of color profiles, including Real Time LUTs

I've had more than enough time with the Lumix L10 to get a feel for its capabilities and image quality, and it's really grown on me.

When I started writing this review, I was ready to table my request for a fixed-lens Lumix with full-frame sensor instead, or a Lumix S9 Mark II with a viewfinder; but I've come to appreciate the versatility of the L10's 24-75mm lens, which I value more than prime-lens image quality for everyday photography (see the range above).

The lens is impressively sharp, and crucially its maximum f/1.7-2.8 aperture is plenty bright. This is a camera that's as comfortable with street photography scenarios as it is for macro photography or portraiture.

Lens distortions are kept to a minimum — there's only an occasional touch of chromatic aberration in out-of-focus areas, and rainbow flare when shooting towards bright sunlight, while sunstars are crisp (check out the gallery below).

The unfortunate drawback to the camera's design is that the imaging circle of the lens cuts into the sensor area, meaning that not all of the sensor's 26.5 megapixels are usable — the maximum photo resolution is 20.4MP.

That's still a big resolution bump from the LX100 II, which had an effective 12MP resolution, but some way behind high-resolution alternatives such as the 40MP Fujifilm X100VI.

The low-light quality of a Micro Four Thirds sensor is also limited compared to larger-sensor alternatives, especially since there's no IBIS which would otherwise enable users to use longer shutter speeds when shooting handheld.

Detail across the aperture range is surprisingly sharp for a zoom lens, and you'll struggle to find a better-equipped compact camera for video at this price point — just what I would expect from a modern-day Lumix.

And then there's the unsung highlight of a photographer's life with a Lumix camera: attractive color profiles and free Real Time LUTs uploads from the always-improving Lumix Lab app.

I've easily paired the L10 with the Lumix Lab app to remotely control the camera and view scenes, and upload Real Time LUTs profiles directly onto the camera (remember there's a switch on the lens which can be assigned as direct access to these profiles). These profiles can be used for photo and video.

Put simply, it's straightforward to get the look you want for photo and video in-camera, minimizing time needed with editing software. I've never been more tempted to save space on my memory cards and shoot JPEG-only.

Panasonic Lumix L10 sample gallery

• Image and video quality score: 4/5

Panasonic Lumix L10: testing scorecard

Should I buy the Panasonic Lumix L10?

Buy it if...

Don't buy it if...

Panasonic Lumix L10: also consider

How I tested the Panasonic Lumix L10

• I've had the Lumix L10 since its global announcement, meaning 3 weeks and counting at the time of writing
• It's been by my side daily, capturing every day moments and travel scenes
• I've compared image quality at various aperture settings and focal lengths, and experimented with various color profiles

Panasonic handed me the Titanium Gold Special Edition of the Lumix L10 one day ahead of the camera's global announcement, together with the limited edition accessories plus a thumb grip and hand grip made by SmallRig. I've used all of these accessories for my review.

The camera has been slung over my shoulder a lot of the time throughout the three weeks and counting that I've had it, during which time I've been on two trips and also used the camera to capture every day moments, day and night.

I've tried the various aspect ratios, color profiles, video settings and fully tested the lens's capabilities across its various aperture settings and focal lengths, plus its macro focusing skills. I continue to fine tune the camera settings to my own preferences. I've made sure to assess battery life and autofocus performance too.

• First reviewed: June 2026
• Read more about how we test