Since being founded in 2018, Light Lens Lab has built a stellar reputation among Leica fans for its M-mount lenses for Leica cameras.

Some LLL lenses are a love letter to rare Leica lenses that very few people get to see, let alone touch or use, painstakingly recreated down to the minute details, including the choice of metal and characterful signature optical quality.

Others are reimagined vintage Leica lenses with reworked optical constructions for improved image quality.

But what all LLL lenses have in common is that they are way more affordable than the real thing, while still giving users the closest possible experience of these desirable Leica M lenses.

Take the Leica Summilux 35mm f/1.4 ('11873') – a rare double aspherical lens produced in the early 1990s, limited to a sub-2,000 production run. It'd set you back around $25,000 / £20,000 / AU$40,000, yet LLL has recreated the lens to a 98% match, and sells its creation for a fraction of the price, around $1,500 / £1,043 at its online store.

YouTuber Bobby Tonelli describes the original as a 'Holy Grail' of Leica lenses, and compares it with the LLL homage on his YouTube channel – let's just say he's seriously impressed with the affordable LLL alternative.

Recently, Tonelli was able to do something no one else has before: arrange a video interview with the founder of Light Lens Lab, Mr Zhou.

Their 20-minute discussion (linked below) unpacks the story behind Light Lens Lab, digs deeper into some of the high-profile LLL lenses available for purchase, its lens roadmap, and other upcoming projects, including reworking a classic Chinese TLR camera and making its own film. The chat is well worth a watch.

‘We want to reach that level'

The story behind Light Lens Lab is actually rather heart-warming. This is no soulless business, but one born out of fandom. In his own words, Mr Zhou is a huge Leica fan and once owned more than 200 Leica bodies and Leica M-mount lenses. He was a regular member of Leica groups in China, where the idea was born to tear down and recreate Leica lenses.

His first project was another 35mm lens, an 8-element from 1953. He didn't have the design ability to remake the lens, but its patent had fully expired, the patent documents were publicly available, and he was able to follow Leica's prototype to create a complete replica with fine attention to detail.

The more he used Leica lenses, the more he was impressed with the performance and quality of such a small optics, the type he chooses to recreate. Zhou says, "In such a small package, to reach the highest possible quality – Leica did it very well and it's hard to surpass."

"So I've always tried to walk the path Leica walked, and that's why, in terms of workmanship and quality, we've earned broad recognition."

Other projects include a rare $50,000 Elcan lens – again, Leica had published the Elcan optical patent – plus a 1966 Noctilux, which took four years to make. One hurdle was that two of the glass types in the original are long discontinued, but with the help of the Shanghai Institute of Optics and Fine Mechanics, Zhou was able to match the original 70-year-old formula by re-melting/remaking this special glass.

The results? Equally small and light lenses of similar optical quality, if not better, exhibiting what are essentially the same characterful looks, including bokeh.

• 2025 was a good year for cameras, but it was even better for lenses – these are my 5 innovative new favorites

Certain Leica lenses can be both pricey and hard to find, so it's little wonder that so many Leica fans appreciate the dedication of Light Lens Lab in remaking rare Leica optics. I'm yet to try a LLL lens, but I've read enough online reviews from discerning Leica fans to believe the hype.

And Zhou isn't stopping with vintage Leica lenses. He's remaking modern Leica lenses, again selling his creations for a fraction of the cost, and has earmarked an 'ACDK' series (Angineux, Cooke, Dallmeyer, and Kintoptic) – lens types with a signature look; if you're a cinema lover, you will be familiar with the legendary Cooke look.

Zhou also revealed another long-term project: reworking a traditional Chinese TLR film camera with modern design to achieve better mechanics and optics, as well as manufacturing his own film, much like Leica recently did, and of course, in the footsteps of Fujifilm.

Manufacturing lenses, cameras, and film. "We want to reach that level", says Zhou, and honestly, I'm rooting for him.

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The Sigma 12mm f/1.4 DC | C is the latest, and widest, lens to join Sigma’s comprehensive list of primes with a fast f/1.4 maximum aperture, complimenting the 16mm, 23mm, 30mm and 56mm f/1.4 primes in its Contemporary range.

All five f/1.4 primes are specifically designed for mirrorless APS-C cameras, and as such are small and portable. The Sigma 12mm f/1.4 DC | C is available for Sony E and Fujifilm X, but also for Canon RF, with the brand now opening up to third-party lenses with autofocus on its APS-C cameras.

Speaking of mount options, on Sony E and Fujifilm X bodies with a 1.5x sensor crop the 12mm lens behaves more like an 18mm focal length (full-frame equivalent), whereas on Canon APS-C mirrorless cameras with a 1.6x crop factor it will feel a little more zoomed in, and behave more like a 19mm focal length.

So if you own one of these APS-C mirrorless camera bodies should you run out to buy the Sigma 12mm prime? Well, it's not the widest prime on the market – that title goes to the Sony 11mm f/1.8. However, if you don't mind it being a little more zoomed in at 12mm, and prefer the brighter f/1.4 maximum aperture, then it's an absolute no-brainer.

If your budget can't quite stretch to the Sigma 12mm, or you shoot on Sony mirrorless, then you'll want to see what other options are available for you below.

Sigma 12mm f/1.4 DC | C: Price and availability

• Priced at $579 / £519 / AU$1,000
• Lens hood included
• Announced August 2025

Sigma announced the 12mm f/1.4 DC | C on August 19 2025, and it started shipping later in September.

It's available for Sony E, Fujifilm X, Canon RF mounts and costs $579 / £519 / AU$1,000. To put that into context, its rivals are the Sony E 11mm f/1.8, which costs $699 / £477 / AU$799, the Viltrox AF 13mm f/1.4 STM, which costs $429 / £440 / AU$624, and the Samyang AF 12mm f/2, which retails for $499 / £348 / AU$598.

While it can’t match the Sony’s wide focal length, it does offer a great balance of a still very wide 12mm focal length and that super-wide f/1.4 aperture, all wrapped up in a very small and portable package.

It's a little more expensive than the Viltrox and Samyang offerings, so those on tighter budgets may prefer to save money and miss out on the better features found in the Sigma 12mm. Sony users will be faced with a tougher choice, as they'll have to also weigh up the Sony E 11mm f/1.8, which has a wider focal length at the cost of a slower maximum aperture.

For me, the Sigma 12mm f/1.4 DC | C lens would have been even better value for money if it had included an iris ring lock and MF/AF switch on the barrel, though I think for most people these will be minor gripes in an otherwise stellar lens that combines brilliant portability with great image quality and a super-fast and wide aperture and focal length.

Sigma 12mm f/1.4 DC | C: specs

Sigma 12mm f/1.4 DC | C: Design

• Some level of weather-sealing that's usually reserved for more premium Art lenses
• Very lightweight at 7.9oz / 225g
• Sony and Fujifilm versions have an iris ring, while Canon version has a Control Ring

The Sigma 12mm f/1.4 DC | C is perfectly small and portable, with super-sleek dimensions of 68 x 68.4mm and a weight of just 225g, which makes it well matched with the smaller APS-C bodies it’s designed to be used with. You can also use it on a full-frame camera, but you’ll need to use the camera's APS-C crop mode to accommodate the smaller imaging circle this lens produces.

With not a lot of lens barrel to play with, the exterior design has been kept simple, with just an electronic fly-by-wire focus ring and also an iris ring to control the aperture – the latter is a ‘Control’ ring on Canon RF cameras, which can be assigned to a range of functions, including, but not limited to, aperture.

There are, however, no switches on the barrel itself, which means you’ll need to dive into the menus to switch between AF and MF. There’s also no switch to lock the iris ring in its ‘A’ mode to prevent it from slipping, and the iris ring is also clicked, with no way to switch it over to a de-clicked mode – two features which I’ve become accustomed to after using Sigma Art lenses such as the 135mm and 17-40mm. While not a dealbreaker by any means, these would have been welcome inclusions here.

Inside, the lens is constructed from 14 elements in 12 groups, and includes three aspherical elements, plus two SLD (Special Low Dispersion) elements.

It has a rounded 9-bladed aperture design which can be opened as wide as f/1.4 or closed to f/16. The minimum focus distance is also just 17.2cm, so close-up shots with blurry backgrounds are very possible (see my test shots in the Performance section).

On the front of the lens is a filter thread which takes 62mm screw-in filters. A LH652-01 petal lens hood is included, which is equally as petite as the lens itself, and helps to block out stray light rays to reduce flare.

The front element also has a water- and oil-repellent coating that compliments the dust and splashproof design of the lens. Sigma’s more budget-friendly line of Contemporary lenses don’t usually get the weather-sealed treatment, but this 12mm is somewhat protected, as it has a rubber gasket around the rear lens mount.

The lens is as fast as or faster than its main competition, including the Sony E 11mm f/1.8, Viltrox 13mm f/1.4 and Samyang 12mm f/2, though it’s not quite as wide-angle as the Sony model. It’s also the most expensive of the pack – more than twice the price of the Samyang. It’s similar in size and weight to the Samyang and Sony, though the Viltrox model is notably larger and heavier. However, if the speed of the faster aperture or shallow depth of field are your priority and money is no object then the Sigma is definitely one to consider.

Sigma 12mm f/1.4 DC | C: Performance

• Very small and portable
• Bright f/1.4 maximum aperture makes it a beast for low-light shots
• Sharp details and smooth bokeh
• No switches on lens barrel, making it a little difficult to switch settings

I was able to test the Sigma 12mm f/1.4 DC on both an APS-C Sony A6700 and full-frame Sony A7R IV in crop mode, both of which delivered images around 26MP.

Autofocus was fast and reliable – it took a brief moment to lock on but was overall impressively fast and quiet. Sigma claims the stepping motor delivers ‘minimal’ focus breathing, and in my testing I would have to agree. The autofocus was also accurate when locking on to subjects with low contrast, and it kept up well with the Sony A6700’s subject-detection and tracking, too.

It would have been nice if the lens featured optical image stabilization; however this wasn’t too much of an issue, considering most modern mirrorless cameras have sensor-based IBIS and you also have that super-wide f/1.4 maximum aperture, so you rarely capture shaky shots or footage. Many low-light shots. such as traffic trails or astrophotography. also require a tripod, so the lack of optical image stabilization for these types of shots isn't an issue.

Image quality was overall impressive, with decent center sharpness from the get-go, though that super-wide f/1.4 aperture did contribute to a little softness around the edges and corners, but these areas became sharp very quickly by f/2.8. The corners were also quite dark in the raw and JPEG files, though again this was remedied by f/2.8, and this vignetting is easily fixed in post-production.

The in-camera lens correction profiles did a good job at creating sharp and mostly distortion-free photos. There was also impressively virtually no chromatic aberration, and the lens handled flare when shooting towards the sun very well.

As is to be expected from a lens with such an extreme wide-angle focal length, Sigma’s 12mm does show some signs of barrel distortion around the edges, but this is by no means fisheye, and is overall it's very well handled. Straight lines of buildings do tend to bow a little when shot from up close, so if buildings and architecture is the top of your mind you’ll almost certainly be better off with a tilt-shift lens. Aiming the lens up at buildings exaggerates the barrel distortion the most.

However, for an everyday walkabout lens for city shots it’s a great choice. While perhaps not the best option for exterior architecture, it would be a fantastic lens for interiors, where the wide focal length will help you squeeze more of small spaces into the frame, and its bright f/1.4 aperture will help you get good results even in dark interior spaces.

Should you buy the Sigma 12mm f/1.4 DC | C?

Buy it if...

Don't buy it if...

How I tested the Sigma 12mm f/1.4 DC | C

• I used the lens extensively for a month, shooting around busy cities in both during the day and at night
• I paired it with the Sony a6700 APS-C body as well as a Sony a7R IV full-frame body in crop mode
• I took wide-angle shots of cities, sunsets, low-light scenes, starscapes, and more

I got hold of the Sigma 12mm f/1.4 DC | C and Sony A7R IV and A6700 bodies for a month to give the lens a thorough testing over an extended period.

Due to its small size and portability the lens quickly became my go-to option when I needed to bring a camera with me for days out around cities such as London, where I shot everything from landscapes to cityscapes, sunsets, astro and still life.

I took a range of pictures with in-camera lens corrections enabled, and also turned off to see the comparison. I shot in raw and JPEG formats, and shot at all of the various apertures to gauge how things like corner sharpness and vignetting changed throughout the aperture range.

• First reviewed January 2026

Right now, the camera starts at £1,259 (was £1,599) at Wex and Jessops, which is a new record-low price for the body only. It's a discount that appears to be tied to the January / Winter sales at these retailers, but it's a deal that actually beats the record from Black Friday last November.

It's a great price on a model that we gave TechRadar's 'camera of the year' award for 2025, thanks to its value for money, image quality, and usability. Of course, higher-end cameras do beat the Z5 II in areas such as video specs or burst rates, but Nikon's 'entry-level' model is a fantastic option for most people – even those looking to take photography or videography seriously.

Today's best Nikon Z5 II deal

• See more: check out all of today's deals at B&H Photo

One of 2025's best value cameras

When I tested the Nikon Z5 II, the thing that impressed me the most was its excellent autofocus. Previously, the brand's older Z cameras tended to lag behind the competition when it came to autofocus, but the Z5 II finally brings similar performance from the higher-end Z8 and Z6 III to a more reasonable price.

It's a feature that makes the Z5 II a very compelling option in its own right. If you don't need the speedy burst rates or video specs from the Z6 III, then the Z5 II is the natural option for everyday shooting – and one that's almost £500 cheaper today at major retailers.

At this price, the Z5 II is also a strong contender to the likes of the Sony A7 III (£1,169) and Canon EOS R8 (£1,099). In terms of specs, the A7 III is the closest to the Z5 II, but Nikon's camera is much newer and features more effective IBIS, a better EVF, and a useful flip screen. The EOS R8 is a great choice if you want something super lightweight, but it does lack the Z5 II's excellent IBIS, so bear that in mind.

Previously, the drone was sitting at $239, which was the Black Friday price for this particular model. Now, it's an even better value, so if you missed my initial news post last week, then this is another fantastic opportunity to pick up a model that we rank at number one on our best budget drone buyer's guide.

If you're looking for an entry point into drones, look no further. Weighing just 249g, the Mini 4k is impressively compact, yet it still delivers up to 31 minutes of flight time, a control range of up to 10km, and sharp 4K video. Its Level 5 wind resistance and three-axis gimbal help keep footage smooth and stable, even in less-than-ideal conditions.

It’s also very beginner-friendly thanks to the DJI Fly app, which offers features like one-tap takeoff and automatic return-to-home. Just keep in mind that this model doesn’t include obstacle avoidance, so it’s worth flying with a bit of extra care - especially on your first few outings.

DJI Mini 4K drone deal at Amazon

• See more: check out all of today's drone deals at Amazon

Are DJI drones still a smart buy?

If you're a beginner drone pilot, you may be wondering how the 2025 ban affects the DJI 4K Mini. Well, the ban is enforced on new drones imported from overseas, so older stock like the 4K Mini is essentially unaffected.

Because of that, you can fly your drone in peace (and responsibly) for the time being. As of writing, there's nothing to suggest that the US government will enforce a full ban on drone flight, so we're still happy to recommend the DJI 4K Mini if you're looking for a powerful, yet compact model.

For more information, check out our full DJI 4K Mini review for a detailed breakdown of this model, including sample pictures and footage from our testing.

Right now, it's an even better value, too, as B&H Photo currently has the body listed at just $1,596 (was $1,846), which is a match for the record-low price from Black Friday.

The Z5 II's price has had a pretty wild ride over the past year. It was originally debuted at $1,699, then was hiked up to $1,799 within a few months due to tariffs. A couple of deals reduced it back down to $1,699, but the first 'real deal' on the camera was this same price cut over Black Friday.

Essentially, I see this as a $100 discount on the body itself, but B&H is also throwing in a free SD card and premium camera bag as gifts here, which really makes this a nice overall package.

Today's best Nikon Z5 II deal

• See more: check out all of today's deals at B&H Photo

The best full-frame at this price right now

I had the opportunity to really put the Nikon Z5 II through its paces last year, and I found it a really compelling package overall.

What impressed me the most, aside from the value, is that Nikon has managed to really nail the autofocus performance on a relatively affordable body - something that the brand had really struggled with previously. Now, you get roughly equivalent autofocus with the brand's higher-end models like the Z6 III, Z8, and the ZF.

The Z5 II does lag behind the other models in terms of burst rates (and video specs), but it's a very, very good compromise for most people. If it were my money, I'd probably opt for the Z5 II over the Z6 III simply because I don't need the super-speedy burst rates that the latter's partially stacked sensor provides.

I've tested plenty of the best camera bags over the last 15 years (seriously, I've got quite the collection), but only recently got my hands on Wandrd gear for the first time. Of course, I had to start with the established American accessory maker's best-selling PRVKE, which is now in its V4 version.

It's a stylish roll-top backpack, available in seven muted colors and three sizes, with an optional cube insert designed to stow camera gear.

Wanting a slimline day pack, I opted for the mid-size 21L version in 'Sedona Orange' – the boldest look of the lot – with the cube insert. There's an even smaller 15L version (the only size in the range with the camera compartment built-in) or a larger 31L size. Wandrd has seemingly ditched the 41L size from the previous version of the PRVKE.

I also picked up the D1 fanny pack (also in Sedona Orange) at the same time, to complement the bag for essentials.

What I particularly appreciate about the PRVKE V4 is how good it looks without the usual camera bag tell-tale signs. No, this looks like a regular roll-top bag that I see so often on commuter trains in the UK, and a particularly stylish one at that.

Inside, however, I could pack several thousand dollars/pounds worth of camera gear (in the 'Essential Camera Cube'), squeeze in my 17-inch MacBook Pro, and fill a number of the small zipped pockets with accessories such as charging cables.

And there's still space in the open third at the top, which is accessed through the roll-top, for day items such as a sweater and tupperware container.

It took me a little while trying out the various compartments with my gear, seeing what combinations would easily fit in the cube, and at first, I wasn't convinced I had picked the right size for my mid-range mirrorless camera and lenses.

However, with a little endeavor, I squeezed in my mirrorless camera with lens attached, an additional lens, and various accessories, including a small LED light panel.

I've happily used the PRVKE V4 21L for commuting and day trips, although it'd be a stretch using it for a weekend – I reckon the 31L version (which I haven't tried but has the same layout) would be ideal for that.

The PRVKE V4 truly looks the part – I really like the wide choice of muted colors it's available in, which now total seven in all, especially the orange that I went for – but it's also practical too.

The shoulder straps and back are lined with a padded mesh, making a long day of lugging gear a comfortable experience.

On one side, a stretch pocket easily holds a water bottle or tripod, with an additional strap to secure taller items. On the other side, a zip pocket accesses where the cube sits – directly to your camera gear. Not all of today's discreet camera bags offer such direct access to gear, so points to the PRVKE V4 there.

I like the handle on the top, too, with the two straps fixing to each other magnetically. They make picking up the bag a breeze, as does the additional handle on the back, which can conveniently slot over a suitcase handle for air travel.

The PRVKE V4 is not quite perfect, mind you. I found dirt a little sticky on the smooth back of the bag, and the roll-top design isn't the most weatherproof. I don't think all of the pockets are necessary either, but that might not be true of the next person.

It's also a shame that the key camera gear accessory – namely the cube insert – is a pricey extra for what is already a relatively expensive bag (15L aside, which has the camera compartments fixed in place).

Overall, these are minor drawbacks for what is clearly a well-designed backpack. I can easily see myself relying on the 21L bag for days out, commuting, and, with the cube removed, even a weekender pack. If you want a weekend bag with camera gear, I'd recommend the 31L version instead.

There's a reason the PRVKE has proved such a hit these last few years, and now, in its updated V4 form, I'm glad to have joined the party. This will no doubt be my go-to day bag for the foreseeable future.

Wandrd PRVKE V4: price and availability

• Available in 15L, 21L and 31L versions
• There are seven muted colors to choose from
• Prices start at $234 / £207 (Australia availability and pricing vary), the camera cube costs extra

The Wandrd PRVKE has been available for a number of years, and this review is of the current V4 version.

The PRVKE V4 can be purchased in one of seven muted colors at the Wandrd store: Black, Aegean Blue, Wasatch Green, Yuma Tan, Sedona Orange, Rhone Burgundy, and Atacama Clay. It's available in three sizes: 15L, 21L, and 31L – the smallest is the only one to feature a camera gear compartment. Here's a breakdown of the prices:

The 15L version costs $279 / £246 (no need for an optional cube insert), the 21L bag only is $234 / £207, and the 31L bag only is $254 / £224.

The Photography bundle includes the Essential Camera Cube and adds $85 / £74 to the cost of the 21L and 31L versions, while the Pro photography bundle includes the larger Pro Camera Cube and add $120 / £105 to the cost. Those accessory prices are a little steep in my opinion.

The former version of the PRVKE bag also came in a larger 41L version, which is still available at various retailers for around $273 / £242.

Wandrd PRVKE V4: specs

Should I buy the Wandrd PRVKE V4?

Buy it if...

Don't buy it if...

Also consider

How I tested the Wandrd PRVKE V4

• I had the 21L version of the PRVKE V4, with the 'Essential' cube insert
• I used the PRVKE for over a month, mainly as a day or weekend bag

Wandrd arranged a long-term loan of the PRVKE bag for me – the 21L version with cube insert.

I've used the PRVKE as my primary bag for commuting, simple day trips, and the occasional weekender.

It has stored a range of my camera gear – from mid-range mirrorless models with a couple of lenses, to smaller vlogging gear with a range of accessories such as LED lights. I've also stored a 17-inch MacBook Pro inside.

Throughout my testing, the bag has been subject to inclement weather and used in a range of environments, including large cities. This is a true long-term review.

First reviewed January 2026

We have Insta360 to thank for some of the best action cameras in the business – as well as several other innovative gadgets – and it looks very much like we've got a couple more cameras from the company to look forward to in the near future.

Insta360 CEO Jingkang Liu has taken to Chinese social media site Weibo (via PetaPixel) to share a teaser image, alongside the caption "go to a new focal segment". That sounds like an upcoming camera to us.

As pointed out by The New Camera, there are actually two unknown cameras in this picture: the camera that we can see being used to frame a photo, and a second camera that's visible through the viewfinder of the first one.

We're well used to rumors and teases and hints for Insta360 products at this stage, but this is a sort of hybrid combination of an official unveiling and a product leak that we don't often see, and we're rather intrigued as to what it could be pointing to.

Camera spotting

The first camera in this image – the one that's being used to frame and take a photo – looks unlike anything Insta360 currently makes. PetaPixel speculates that it might be a compact, fixed-lens camera along the lines of a Canon PowerShot.

We can see some controls around the side of the viewfinder, which include buttons for toggling between video and photo modes, and a playback button for reviewing videos and photos captured by whatever camera this is.

As for the second camera that the first mystery camera is taking a picture of, The New Camera suggests this is a pocket vlogging camera along the lines of the DJI Osmo Pocket 3 (with the DJI Osmo Pocket 4 waiting in the wings).

That latter camera is probably closer to being launched – perhaps as early as February or March – whereas the compact digital camera may still be in the prototype stage. It seems that it won't be too long before we have more Insta360 cameras to enjoy.

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The camera is now listed at $1,699 at Adorama today, which is a brand new record-low price for the body-only. It's a deal that beats the previous record from Black Friday by $100, in fact.

As a brief overview, the OM System OM-3 is a Micro Four Thirds camera that melds a vintage retro vibe with an excellent range of the latest tech. Under the hood, it's essentially the same camera as the flagship OM System OM-1 Mark II, which means a 20MP stacked sensor with blisteringly quick burst rates, innovative computational modes, and excellent subject-detect autofocus. It's a camera that looks retro, but you still get all the latest features and ease of use.

OM System OM-3 record-low price at Adorama

• See more: check out all of today's deals at Adorama

A viable alternative to Fujifilm at this price

At this price, the OM-3 is much closer to APS-C rivals like the Fujifilm X-T50 and Fujifilm X-E5 - both of which are carrying the brand's latest 40.2MP sensor. In comparison, the OM-3 doesn't boast anywhere near as much resolution, and you're also lacking support for 6K video and Fujifilm's famous film sim recipes.

It's a closer run thing than you would think, however. If you don't need that resolution, for example, then the stacked sensor in the OM-3 is a real selling point. Not only does it enable handy little tools like Live ND and Live GND, but you get 50fps burst rates and very minimal rolling shutter in video. If you need more resolution, then there's also the option to use the 50MP hand-held high-res feature, which works well for static scenes.

In short, it's very easy to recommend the OM-3 as a versatile photography option because you can leave the filters and tripod at home. That's particularly good for landscape or travel photographers, but I think street photographers will also appreciate the OM-3's wide selection of excellent (and relatively cheap) Micro Four Thirds lenses.

Better still, thanks to a £200 cashback deal, you can now snap up the silver variant of the five-star OM System OM-5 Mark II at Wex for just £855 (was £1,055). Black and the rather fetching Beige alternatives are also available for £899.

The cashback can be claimed on the official OM website once you've purchased the camera. It's as simple as entering in a few details about the camera before submitting the form. You'll also get a 5-year warranty and a battery thrown in for free, further sweetening the deal on this exceptional travel camera.

Today's best OM System OM-5 Mark II deal

It's not every day that we give out five stars, but we had absolutely no reservations about doing that for the OM System OM-5 Mark II. We said, "If what you need is a small, affordable and supremely versatile camera that can follow you anywhere, then this is it."

We found the detail rendition to be excellent with OM Pro lenses like the 12-45mm f/4 pro and OM primes like the 17mm f/1.8, 25mm f/1.8 and (especially) the 45mm f/1.8. The dynamic range is fantastic, although not as accomplished as a larger-sensor camera.

One of the highlights of the design is the weather sealing, which means you can use it in wet weather conditions without any concern of damaging the internals. It's also got excellent top-mounted twin control dials

If you're looking for a higher-specced alternative and aren't concerned about a little bit of additional weight, why not check out our guides to the best cameras for photography and the best mirrorless cameras?

Cast your mind back to 2013 and Sigma had just brought out its 18-35mm f/1.8 DC HSM | Art lens – the world’s first zoom with a fast, constant f/1.8 aperture – and was set to revolutionize the photography industry.

Over a decade since that lens pushed the boundaries of what a zoom lens could do, the world's largest independent lens manufacturer has gone one better with the Sigma 17-40mm f/1.8 DC | Art, which like its predecessor boasts a constant and bright f/1.8 aperture and promises to deliver exceptional image quality comparable to a prime, but with an expanded zoom range, all while being more than 30% lighter than its predecessor.

The lens is specifically designed for mirrorless cameras with an APS-C sensor and is available in L-mount, Sony E, Fujifilm X, and Canon RF versions. I've spent a month testing an E-mount version of the lens mounted on a Sony A6700, to see if this optic really can do the job at least three primes.

The TLDR is that it absolutely can, and I thoroughly enjoyed hitting the streets to use it for all sorts of photography, from city shots to portraits, shallow-depth-of-field still-life shots, and even low-light scenes like traffic trails and stars.

While the 17-40mm f/1.8 DC | Art builds on its predecessor in pretty much every way, it's not free from faults. It's an APS-C lens with a smaller imaging circle, so it's less future-proof if you upgrade to a full-frame camera later down the road. It's also very expensive, and costs significantly more than its predecessor did back in 2013.

If money is no limit, and you love to shoot at a range of wide-angle focal lengths while also having the versatility of a fast f/1.8 aperture, this is the lens for you, providing you shoot on an APS-C mirrorless body. However, if you're on a stricter budget, and prefer smaller lenses and don't mind switching between them, then you may be better off with one or two cheaper prime lenses instead – provided you're not shooting weddings and other events where you may have less time to swap your optics over.

Sigma 17-40mm f/1.8 DC | Art: Price and availability

• Priced at $919 / £779 / AU$1,650
• Lens hood included
• Announced in July 2025

The Sigma 17-40mm f/1.8 DC Art costs $919 / £779 / AU$1,650. That’s more than Sigma’s original 18-35mm f/1.8 DC HSM Art, which retailed for $799 / £699 (around AU$1,150) at launch. However, this higher price is to be expected given more than a decade of inflation since then, and tariff increases have likely impacted US pricing too. Regardless, I think the extra money is justified in the US and UK by the suite of upgrades that come with the new and improved version.

It’s difficult to say exactly who this lens is for, as I personally found it a bit frustrating with it either being not wide enough or not telephoto enough for my shooting style, though as someone who regularly likes to shoot with 35mm prime lenses, there were times when the extra versatility from its small zoom range was welcome. It is a bit like a souped-up kit lens, but one that costs significantly more.

If you’re on a tighter budget, and not fussed about that wide f/1.8 aperture, or you’re looking for something a bit more portable for your everyday carry lens, then the Sigma 18-50mm f/2.8 DC DN Contemporary would be a better choice. Similarly, if you don’t want a zoom and simply want a smaller prime lens there are options like the Canon RF 35mm f/1.8 IS Macro STM that are lighter, smaller and a little bit cheaper, too. So it really comes down to what you want to use the lens for.

However, for events and wedding photographers shooting with APS-C bodies I can see this lens being a game changer, giving those photographers extra focal length options and a fast f/1.8 aperture when they may not have the time to change lenses.

Sigma 17-40mm f/1.8 DC | Art: Specs

Sigma 17-40mm f/1.8 DC | Art: Design

• Some degree of weather-sealing, usually saved for more premium Art lenses
• Combines a versatile zoom range with a fast f/1.8 maximum aperture
• Switches on the lens barrel to control AF/MF and iris ring functions
• Much longer than most prime lenses with a length of 115.9mm

The Sigma 17-40mm f/1.8 DC Art lens improves on its predecessor in virtually every way. Not only is it 34% lighter, tipping the scales at 18.8oz / 535g, it’s also 6.5% leaner in diameter and 4.2% shorter in length. Despite being a skinnier and lighter model it manages to pack in a 2.35x optical zoom, with a more expansive focal range of 17-40mm, whereas the original 18-35mm fell just shy of 2x optical zoom, so the overall zoom range has been expanded by roughly 18%.

As in the 18-35mm f/1.8 the optical design comprises 17 elements, but there’s one fewer aspherical and one fewer SLD (Special Low Dispersion) elements this time around, meaning there’s a total of three aspherical and four SLD elements inside the barrel.

The aperture has been upgraded however, and instead of the old nine-bladed design, we now have a more premium 11-bladed design, which should deliver better-rounded bokeh.

The rear mount is brass and also weather sealed, confirming the dust and splash-proof credentials of the optic. The lens is available to fit L-mount, Sony E, Fujifilm X and Canon RF, and factoring in the 1.5x crop factor of APS-C sensors the lens will behave much more like a 25.5-60mm, with the exception of Canon cameras, which have a 1.6x sensor crop and with which the lens will be have a slightly tighter perspective at 27.2-64mm.

On the outside of the lens barrel are the zoom and focus rings, which are a decent size and have a knurled rubber finish, making them very grippy and comfortable to use. Because this new lens is designed for modern mirrorless cameras it has an electronic fly-by-wire focus ring rather than a mechanical one, and this also means we’ve lost the focus distance window on the top. Both rings turn smoothly and are easy to operate.

A third ‘iris’ ring sits closest to the lens mount and is for controlling the aperture. This also has a lock to keep it securely in the ‘A’ position if you prefer not to use it, and there’s also a switch to enable or disengage the click – videographers will likely prefer the smoother declicked option when recording footage. It’s also worth noting that on the Canon RF version this is instead a Control ring which can be assigned custom functions for all sorts of settings, including but not limited to aperture.

The zoom is internal, so the lens remains compact and doesn’t rack out when zooming in or out. The throw from 17mm to 40mm on the zoom ring is also quite short, and certainly less than 90 degrees, so you can zoom fully in or out very quickly.

Also on the barrel is a switch to control AF/MF, and there are two AF-L buttons for holding focus, though these can be assigned different functions via the menu.

Heading to the front of the lens we see the front element, which isn’t overly large considering it has a wide f/1.8 max aperture, and this is also where you’ll attach the 67mm screw-in front filters. The front element also has a water- and oil-repellent coating to make it more durable in harsh outdoor environments.

Also in the box is a LH728-02 petal-shaped lens hood, which is part plastic and part rubber for a premium feel, and also has a nice chunky button to lock it in place and release it. This fits on the lens backwards to take up less space when not in use.

Sigma 17-40mm f/1.8 DC | Art: Performance

• Chromatic aberration and flare handled well
• Bright f/1.8 aperture makes it great for low light and blurry backgrounds
• Corner details a little soft and vignetting at f/1.8 but cleared up by f/2.8
• Autofocus is fast, quiet and accurate

When it comes to assessing performance, we first need to consider who the Sigma 17-40mm f/1.8 DC lens is for. It clearly excels in low light with its fast maximum aperture of f/1.8, though its wider focal range of 17-40mm makes it a bit too wide for portraits, so it’s likely to be better suited to indoor events, astrophotography, and perhaps as a wide option for wedding photographers who don’t have time to switch lenses and need its versatility.

It is designed for use with APS-C cameras, which means its imaging circle is too small for full-frame cameras, with which you would see a pronounced vignette. That said, you can still pair the lens with a full-frame camera using the camera’s APS-C crop mode. The downside to this approach is that you won’t be making the complete use of the sensor – effectively throwing away pixels.

I took the lens out around London for several days, using it as my main lens for street photography. In this setup I found it to be a little on the large side, not in terms of width, but in overall length – it’s easily twice the length of, say, my Canon RF 35mm f/1.8 Macro IS STM. This made it more difficult to keep a low profile and take candid shots of people going about their lives without me being noticed, though this is the cost of having a more versatile zoom range.

With its focal length of 17-40mm it’s fair to compare the lens to an 18-55mm kit lens, but with a little less telephoto power – it falls frustratingly short of that magical 50mm focal length which works wonderfully well with a wide aperture of f/1.8 for wider mid-length and head-and-shoulders portraits.

With all that being said, it is a big step up from the old 18-35mm f/1.8 DC HSM Art lens – the new version is 34% lighter, 6.5% shorter and 4.2% thinner, all while boasting two more aperture blades and being able to focus 2cm closer. While these may sound like minor updates, when combined they make the lens feel like a big upgrade overall.

On to image quality, and I have to say that considering its broad zoom range and constant f/1.8 maximum aperture I was quietly impressed. Corners were a little soft and showed some vignetting when shooting wide open at f/1.8, though this was pretty much cleared up by f/2.8 and was easy to fix in software. Impressively, there was very little sign of chromatic aberration, and flare was handled well when shooting towards the sun.

There is a little barrel distortion around the edges when shooting at the wider focal lengths, which as expected starts to disappear as you zoom in – at 40mm the distortion has completely vanished. What distortion there is is very minor and testimony to the new lens element construction, and the in-camera lens corrections do a good job at ironing this out, though further correction can be applied in post-production to straighten out vertical lines more.

Autofocusing was a joy thanks to the High-response Linear Actuator motor, with the lens being very speedy, silent and reliable in achieving focus even in low light.

Should you buy the Sigma 17-40mm f/1.8 DC | Art?

Buy it if...

Don't buy it if...

How I tested the Sigma 17-40mm f/1.8 DC | Art

• I used the Sigma 17-40mm f/1.8 DC | Art extensively for a whole month and regularly took it out on day trips around busy cities in both day and night
• I paired it with the Sony a6700 APS-C body as well as a Sony a7R IV full-frame body in crop mode – both of which delivered 26MP stills
• I took shots at all focal lengths and apertures of cities, sunsets, low light scenes, stars and more

I got hold of the Sigma 17-40mm f/1.8 DC | Art and Sony A7R IV and A6700 bodies for a month to give the lens a thorough testing over an extended period.

Due to its small size and portability the lens quickly became my go-to option when I needed to bring a camera with me for days out around cities such as London, where I shot everything from landscapes to cityscapes, sunsets, astro and still life shots.

I took a range of pictures with in-camera lens corrections enabled and also turned off to see the comparison. I also shot in RAW and JPEG formats and shot at all of the various apertures to gauge how things like corner sharpness and vignetting changed throughout the aperture range.

• First reviewed January 2026

The GoPro Hero 13 Black has only been cheaper than this one time, and that was all the way back in December 2024 – just a few months after this model was released. Today's price, while not quite as good (it reached $299 before), is the same as the one on Black Friday just passed, so it's a fantastic deal in its own right.

The GoPro Hero 13 Black is an exceptional action cam if you're serious about getting good footage. We tested this model extensively during our GoPro Hero Black 13 review and we were suitably impressed by its 5.3K video and battery life. So impressed, in fact, that we awarded it four and a half stars out of five and placed it right at the top of our best action cameras buyer's guide.

GoPro Hero 13 Black deal at Adorama

• See more: check out all of today's deals at Adorama

GoPro is a great choice, even with strong rivals

The Hero 13 Black is definitely a relatively iterative upgrade from the 12, sharing the same sensor (5.3K video and 27MP photos) as the previous few generations. It's also sitting in an increasingly competitive field, with compelling options from rival brands like DJI, Osmo, and Insta360 coming to the fore in recent years.

The Hero 13 Black impressed us, however, with the excellent range of accessories that are available. It's a key advantage because no other brand (yet) boasts such a range of useful additions. This includes things like Ultra-Wide, Macro, and Anamorphic lens mods, as well as plenty of ND filters. The Hero 13 also incorporates a magnetic mount with a useful auto-detect feature to make everything super-easy to use.

I've had the opportunity to take a peek inside Yodobashi Camera, Japan's – and indeed the world's – largest camera store, and it was a memorable experience for someone like me, packed as it is with isle after isle of camera gear new and old.

I visited Yodobashi Camera while in Tokyo for the launch of the Fujifilm X100VI, which was the most pre-ordered camera in history on its announcement, and tops our list of the best compact cameras. Two years later it's still a fan favorite according to Yodobashi, which recently revealed its best-selling cameras for 2025, with the X100VI topping the list.

The retailer's best-selling cameras list reveals a surprising trend: compact cameras are in. Eighteen of the 20 cameras on the list are compacts, and the other two entries were two different bundles of the same Sony vlogging camera, the Sony ZV-1 II (this E-mount mirrorless camera is actually smaller than some of the compacts in the list).

In one sense the list is hardly surprising – cheap cameras will shift in larger volume than pricey mirrorless models. But here's the thing: a number of the premium compact cameras in the list cost several thousands of dollars / pounds, including the Fujifilm GFX100RF, Sony RX1R III and Leica Q3, so price is clearly not the only factor here.

Yes, despite the advance of smartphone camera tech, compact cameras are still popular among photography fans.

I found the best-selling lenses list equally surprising – of the 20 optics featured, there's not a single prime lens. All 20 are zoom lenses, with Sony's FE 24-70m F2.8GM II taking top spot (and it's 70-200mm F2.8 GM II in third), while Canon boasted a brand-high of seven entries.

A breakdown of the best-selling lists for 2025

Here are the best selling cameras at Yodobashi Camera for 2025:

1. Fujifilm X100VI – it's also our favorite compact camera overall
2. Canon PowerShot SX740 HS – a six-year-old point-and-shoot travel zoom
3. Panasonic Lumix ZS99 / TZ99 – re-release of a point-and-shoot travel zoom
4. Ricoh GR IV – the recent update of Ricoh's small fixed-lens APS-C camera
5. Fujifilm X half – the quirky half-frame film photography-inspired model
6. Sony ZV-1 II – the only mirrorless camera in the list, a small vlogging E-mount
7. Ricoh GR IIIx – the previous-generation GR with a tighter 40mm f/2.8 lens
8. OM System Tough TG-7 – the undisputed best waterproof camera
9. Sony ZV-1 II Shooting Grip Kit – vlogging mirrorless camera with accessories
10. Kodak PixPro C1 – a super cheap, lo-fi point-and-shoot
11. Fujifilm GFX100RF – a medium-format monster with class-leading photo quality
12. Canon IXY 650 – Canon re-released a similar model last year with USB-C charging
13. Sony RX1R III – a full-frame 61MP model, coming 10 years after its predecessor
14. Leica D-Lux 8 – Leica's premium compact with Micro Four Thirds sensor
15. Canon PowerShot G7 X Mark III – a vlogging compact that trended on TikTok
16. Canon PowerShot V1 – new, improved from the G7 X Mark III with bigger sensor
17. Nikon Coolpix P950 – a bridge camera with mega 83x zoom
18. Leica Q3 – Leica's full-frame 61MP premium compact with fixed 28mm f/1.7 lens
19. Nikon Coolpix P1100 – a record-breaking bridge camera with 125x optical zoom
20. Sony Cyber-shot RX100 VII – long-in-the-tooth, versatile compact with zoom

And Yodobashi Camera's best-selling lenses for 2025 were:

1. Sony FE 24-70mm F2.8 GM II
2. Nikon Nikkor Z 24-120mm f/4 S
3. Sony FE 70-200mm F2.8 GM OSS II
4. Canon RF 100-500mm F4.5-7.1 L IS USM
5. Canon RF 100-400mm F5.6-8 IS USM
6. Tamron 28-200mm F/2.8-5.6 Di III RXD (E-mount)
7. Canon RF 70-200mm F2.8 L IS USM Z
8. Canon RF 70-200mm F2.8 L IS USM
9. Canon RF 24-70mm F2.8 L IS USM
10. Nikon Nikkor Z 180-600mm f/5.6-6.3 VR
11. Hasselblad XCD 2.8-4/35-100E
12. Nikon Nikkor Z 28-400mm f/4-8 VR
13. Nikon Nikkor Z 70-200mm f/2.8 VR S
14. Sigma 28-70mm F2.8 DG DN | Contemporary (E-mount)
15. Nikon Nikkor Z 24-70mm f/2.8 S II
16. Canon RF 200-800mm F6.3-9 IS USM
17. Sigma 16-300mm F3.5-6.7 DC OS | Contemporary (RF-mount)
18. Canon RF 24-105mm F4 L IS USM
19. Tamron 28-75mm F/2.8 Di III VXD G2 (E-mount)
20. Sigma 24-70mm F2.8 DG DN II | Art (E-mount)

So what are we to make of these lists?

Photography enthusiasts are seemingly keen on small, money-no-object premium compact cameras, while equipping their mirrorless cameras with high-end pro zoom lenses.

The latter point speaks volume of the quality of today's zoom lenses for mirrorless cameras – users clearly don't feel that they need a prime lens for outright quality, and that zooms win out for versatility.

What do you make of the two lists? Which of the above products do you own, or have your eye on? Let me know in the comments below!

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There was a timeless beauty to those photos, which were painstakingly made with a large-format Deardorf 8 x 10 bellows-view camera – if you're interested, she outlines her workflow in this CBS Mornings feature.

It's a film format that she's continued using over the following decades, shooting monochrome-only, until her recent switch to a digital camera, revealed in conversation during her appearance on the BBC Radio 4's long-running Desert Island Discs show in the UK.

"I've started taking pictures with a digital camera", said Mann. "It's so great, I'm just loving it! It's so easy, color is so easy, and so much fun! I'm shooting down in the Mississippi delta where you can't take a bad picture because of the gorgeous lyricism and dream-like quality of the light down there, and I'm doing it in color."

We don't know Mann's specific camera of choice, but when asked about what prompted her to make the switch to color and a digital camera, she was quick to pinpoint the practical implications of shooting with film.

'I'm in the modern world, finally!'

Mann explained, "It's so time-consuming and laborious to work with an 8 x 10 view camera, and the film now is so expensive. I hate spending that much money on each shot.

"And so you're always second-guessing yourself, saying, 'Is that good enough? Is that really worth $12?' But with digital, you just shoot, and if you don't like it, boom, gone, off your computer."

Sally Mann, who was born in Lexington, Virginia, where most of her best-known photos were made, is now 74 and embracing new camera gear with an infectious enthusiasm, even if she has kept a foot in both camps.

"I have this funky old lens and it doesn't handle light well, so there's this little glow to everything. I had the lens before the [digital] camera – it's a 1940's old Leica lens," she explained.

And she added that retirement is not on the cards: "I'm a workhorse. I'm a peasant, I just put on the harness every day."

Mann has an upcoming touring exhibition with the Gagosian gallery network, featuring intimate portraits spanning decades with her husband of 55 years, Larry, who has muscular dystrophy.

"I do hope that the work is viewed in its entirety as a whole," she said. "I don't want to be always known just for the family pictures. There's so much more and more to come."

The full conversation is available at the BBC's Desert Island Discs page for UK viewers.

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The C50 and the R6 Mark III share the same excellent 33MP full-frame sensor and the vast majority of video specs, but the former comes in at a hefty $3,899 versus the R6 Mark III's relatively affordable $2,799.

As someone who reviewed the R6 Mark III, I can also attest to it being an excellent camera. However, I still think there's a very, very strong argument for the Canon EOS C50 if you're a serious videographer.

Yes, you'll have to spend a little more, but you get a much more well-rounded package. Not only do you get an XLR handle included, but the C50 also features internal fans for completely unrestricted video capture. The R6 Mark III, by comparison, features restrictions on 4K 60p footage and above.

Also, key R6 features like IBIS and a viewfinder are very likely to be redundant for more serious videographers. If you're someone who prefers to use a gimbal or an external display, then the C50 is definitely the natural choice with its various mounting points.

Canon EOS C50 available at Adorama

• See more: check out all of today's video camera deals at Adorama

The perfect option for indie filmmakers

I really think the C50 shines as a lightweight run-and-gun camera for indie productions, or perhaps more serious YouTube applications. At 670g, it's not a super lightweight body, but it's much more manageable than a beast like the higher-end C80.

I've only tested the R6 Mark III, but the C50's sensor is capable of fantastic footage, and with an internal fan, you won't encounter any issues with recording limits, even if you make full use of the 7K 60P internal RAW or 4K 120P recording.

For more details and sample footage, you can check out our hands-on Canon EOS C50 review. We only had a few hours with this particular model, but we were suitably impressed by its handling, autofocus, and stacked line-up of video features.

I'm a big fan of Nikon cameras and Viltrox lenses, but it seems that all is not well between the pair according to The New Camera, who reports that Nikon is suing the cheap Chinese lens maker for alleged Z-mount patent infringements.

Reports on Chinese social media suggest the infringements relate to a “dispute regarding royalties during the temporary protection period of an invention patent”. It's not clear which Viltrox lens(es) are in question, although there is speculation around the 135mm f/1.8 LAB, which costs just a fraction of the pricy Nikon 135mm f/1.8 S Plena – two incredible prime lenses that I have tested.

The timing of Nikon's action is hardly surprising – Viltrox is one of the fastest growing third-party lens makers and is likely now in a position to settle any royalty fees it may or may not be required to pay.

Nikon Rumors further unpacks the case, suggesting several potential outcomes, the most drastic of which could be a cease and desist, as per the Canon vs Viltrox case in 2022 regarding Canon's RF-mount.

Nikon fans will surely be hoping for a different outcome and that Viltrox is able to continue launching new and affordable Z-mount lenses. After all, Viltrox's recent autofocus lenses are superb quality, being affordable alternatives for Nikon users looking for high-quality primes, even if Viltrox is yet to make zoom lenses.

The counter argument is that because Viltrox is known to reverse engineer lenses (allegedly with no license), while other third-party lens makers such as Sigma and Tamron license their own lenses for different mounts, that it's only fair for Viltrox to pay Nikon some kind of royalties.

A potential middle ground would be that Viltrox continues to launch new Z-mount lenses, while paying Nikon royalties, which would inevitably increase the prices of Viltrox lenses. Sony's E-mount, on the other hand, is seemingly completely open to third parties such as Viltrox. But how could the case affect current and future Viltrox Z-mount lenses?

'Will my [Viltrox] lens become a brick?' – potential outcomes of the case

Understandably, users of Nikon cameras and Viltrox Z-mount lenses are concerned about the impact on their existing lenses. 'Will my [Viltrox] lens become a brick?' is a question cropping up on Chinese social media.

There's a fear that Nikon could release a camera firmware update for its current cameras, such as the Z6 III, Z8, Zf and others, that breaks compatibility with Viltrox lenses. Such a concern, which there's currently no evidence for, is leading users to suggest avoiding camera firmware updates until they know more.

Of course, we're getting ahead of ourselves here, given that the case is still rumored and not even underway. We don't know if Viltrox had or did not have a license for the alleged infringement.

But as a user of Nikon's Z-mount cameras and lenses and Viltrox Z-mount lenses, I hope that I continue having the wide lens choice that I currently have, and that more lenses from both are in the pipeline.

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Timelapse cameras are specialist devices designed to do one job, and that’s to capture timelapses over short and long periods, as long as months or even years, and in all weather and lighting conditions. There are a handful of these specialist models available, and one that's a definite contender to top our list of the best timelapse cameras is the Enlaps Tikee 4.

This rather strange-looking camera can capture up to 6K timelapse videos with a 220-degree view captured across two cameras and lenses. Photos are then combined into a video after you upload the image files to the myTikee website. What’s more, if the camera is connected to a Wi-Fi or LTE network you can control the camera, access images, and process timelapse videos remotely.

This is one of the easiest timelapse cameras to use, both in terms of capture and processing. The camera is point-and-shoot, so the most involved part of the capture process is setting up the project interval – and actually this is incredibly easy. Without Wi-Fi or LTE, you can connect to the camera using the Tikee Remote app over Bluetooth, although functionality is reduced compared to the other connection methods.

The Tikee 4 costs $2,215 in the US for the camera only. For UK and Australian buyers the Tikee 4 is priced in euros at €1,590, which converts to around £1,400 / AU$2,800 at the time of writing. The Tikee 4 Pack, which is a comprehensive kit including a hard case, mounting adaptors, a microSD card and other accessories, costs $3,169 or €2,298, which is around £2,000 / AU$4,000.

You’ll also need a myTikee subscription to take full advantage of the myTikee website, and the most useful option for most people costs $96 / €104 plus VAT per month.

Enlaps Tikee 4 specs

Enlaps Tikee 4: Design

• Compact considering its features
• Built-in solar panel
• Unique design

The Tikee 4 looks pretty much identical to previous models; it’s a tried and tested design that works, so it appears that Enlaps hasn’t felt the need to change it. It's a bold move in some ways, but why waste time redesigning the exterior when it’s the hardware itself that makes the difference? The overall design is unique, but it works extremely well, and it means the Tikee 4 can be left to work in even remote locations.

The overall design is simple, with the square 7.87 x 7.87 x 2.76-inch / 200 x 200 x 70mm body having two cameras on the two front corners of the camera body, and a solar panel on the top that can be left flat or angled for the best results. The design is simple, minimalistic even, with all operation via the Tikee Remote phone app or the myTikee website. The camera weighs 3.53lbs / 1.6kg, so it’s around the same weight as a full-frame mirrorless camera and standard zoom.

With this simple design, there are two buttons on the rear, a microSD card slot, a USB-C port, a micro SIM slot and a power connector. The power connector design makes it waterproof, and you can attach the Tikee 4 to the mains or to a larger, separately available Enlaps solar panel. All ports have rubber covers that maintain the weather resistance of the camera.

The build quality is excellent, and the camera feels solid, as you’d expect for the price. It’s undoubtedly a high-quality product, offering IP66 weather resistance, which allows it to withstand even the harshest weather conditions. This is particularly beneficial, as the camera will spend most of its life outdoors. It can operate in temperatures between 14F / -10C and 122F / 50C.

Moving back to the camera design, other features on the camera body include a metal hoop to attach an anti-theft cable, a rubber square on the bottom so it can be positioned on flat surfaces without slipping, and a standard 1/4-inch screw thread for attaching the camera to any kind of support. For long-term projects, a mounting arm and an anti-theft cable are essential accessories, and these are included in the kit, making the Tikee 4 Pack an attractive option.

The internal battery has a 25,600mAh capacity, and Enlaps claims that without any solar input the Tikee 4 can take one photo every 15 minutes, 24 hours a day, for up to 36 days without any data transmission. With data transmission of photos uploaded to myTikee the battery lasts up to 12 days. In most situations, the solar panel would be charging the battery during daylight hours, so the operating duration could be indefinite.

Enlaps Tikee 4: Performance

• Fantastic image quality
• Panoramic field of view
• Easy to use

The Tikee 4 may be an odd-looking timelapse camera with its two cameras on each of the front corners of the square body, but each features Sony 12MP 1/2.3-inch sensors to produce a 220-degree horizontal and 90-degree vertical field of view. What’s more, you can capture panoramic views in up to 6K with dimensions of a whopping 7360 x 2650 pixels. Output is available at 1080p, 4K and 6K.

Timelapse intervals are available from five seconds to 24 hours in Long-term mode, and from five seconds to 45 seconds in Event and Burst modes. This allows you to capture both shorter- and longer-duration timelapse projects.

It’s for longer-term projects where the Enlaps Tikee 4 excels, thanks to remote access to the camera and images when connected to LTE or Wi-Fi networks. These connection options offer a much better experience than using just Bluetooth to connect the camera to the Tikee Remote app to set up projects.

Image quality is fantastic, and you can capture sequences in both raw and JPEG formats. With the former, this means you can optimize image quality using the raw-processing tools in software such as Adobe Lightroom. You do, however, have to output images in JPEG format in order to upload them to the myTikee website.

Enlaps Tikee 4 timelapse video

The camera is completely automatic, which makes timelapse capture incredibly simple, particularly with long-term projects during which light will constantly change. The downside is that backlit scenes can be forced into underexposure, so this is why, for the best results, capturing in raw and manually bulk-processing images is the best option. The camera also produces much better results in brighter conditions, like drones and action cameras with similarly small sensors.

Once you’ve captured your images from the left and right cameras, you then have to upload them to the myTikee website, where the images will be merged to create the 220-degree panoramic view, and video up to 6K can be output. In some situations you can see the stitch, and you’ll notice it in the example video above if you look closely. It’s minor, though, and it certainly doesn’t ruin timelapses.

The myTikee website is easy to use, but subscriptions aren’t cheap, and naturally add to the overall cost of owning and running a Tikee timelapse camera. The basic Capture subscription costs $45 / €54 per month plus taxes, while the intermediate and arguably most attractive subscription costs $96 / €104 plus taxes, and you can save 25% with an annual subscription. Alternatively, there’s a bespoke Enterprise option, with pricing available upon request. Without a subscription, I was able to output a basic 1080p video with a watermark.

Two add-ons are available. Storage costs $49 / €39 per month plus taxes and, as you'd expect, gets you more online storage for photo uploads, while AI Dashboard costs $99 / €89 per month plus taxes and delivers some clever analysis features. These include the analysis of a range of elements within scenes, such as vehicles and whether PPE is being worn.

Should you buy the Enlaps Tikee 4?

Buy it if...

Don't buy it if...

How I tested the Enlaps Tikee mini+

• Tested using a Bluetooth connection
• Used to capture shorter timelapses
• Tested in a busy city

I tested the Tikee 4 in shorter bursts rather than for long-form timelapse capture, as testing it to the extremes of its potential for longer-term capture could take months.

I used my smartphone for Bluetooth connection rather than installing a SIM card for remote access to the camera. The Tikee 4 was tested in a busy city to capture as much movement in the scene as possible. It was also tested in low-light situations.

With nearly 30 years of photographic experience and 17 years working as a photography journalist, I’ve used many of the cameras and lenses that have been released in that time. As a working photographer, I aim to test cameras and lenses from a photographer’s point of view.

• First reviewed December 2025

The Sony A7 V is currently smashing it on the sales front, and that comes as no surprise to me – after all, our in-depth review from late last year described it as writer Peter Fenech's "favorite Sony camera ever".

But before I get into why this 33MP full-frame camera exudes so much appeal, let's look at the latest sales figures. Japanese site Getnavi.jp reports that retailer Yodobashi ranks the A7 V as its top selling camera for the period covering the second half of December 2025, despite it being a brand-new release. Meanwhile, Sonyalpharumors.com reports that the camera is also the top seller at US retailer B&H Photo.

That's impressive stuff, considering it's a model that costs US$2,899 / £2,799 / AU$4,699 body only and has only just been released. But the Sony A7 V also tops two of TechRadar's own lists, being recently ranked number one following updates to our Best Camera for Photography and Best Mirrorless Camera buying guides.

Why we rate the Sony A7 V so highly

Here's why the sales figures don't surprise us: the Sony A7 V is a truly wonderful camera. It all starts with its 33MP full-frame sensor, which is partially stacked and delivers a class-leading 16 stops of dynamic range while fixing the rolling shutter problems that plagued the A7 IV.

The camera also offers blistering 30fps continuous stills shooting and the best autofocus performance we've seen from a Sony body. And, thanks to ditching the separate AI-powered autofocus and processing chips of previous Sony models in favor of a single chip that does both, battery life is class-leading to boot.

That's not to say the A7 V is the perfect mirrorless camera, of course – our review mentions the fact that less experienced buyers will find its extensive toolset a little too complicated for comfort, plus fact that video-first users may find the lack of open gate or 6K/8K recording a bit disappointing.

But, for the money, the Sony A7 V is a hell of a camera and arguably the best Sony camera overall, and for hybrid users who want to make use of both its stills and its video capabilities, it's a very, very tempting prospect – particularly for those who've already invested in Sony E-mount lenses.

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So I was excited to see what Dreame would be showcasing at CES 2026. I was expecting a new robot vacuum, perhaps some innovative air purifiers. What I was not expecting was for Dreame to announce its entry into literally every corner of the home. I'm not exaggerating – if you can think of a home appliance, Dreame now has one in its lineup.

It has a TV, soundbars, a projector, a surround sound speaker setup. There's a Dreame action camera, smart rings, smart glasses and a smartwatch. It has smart lights in all shapes and sizes. It has security cameras, smart locks and motion sensors.

There are fridges, a dishwasher, a microwave and a selection of ovens. There are air fryers, coffee machines, and a stand mixer. It has a washing machine, tumble dryer, and steamer. There's a chainsaw and a hedge trimmer, electric toothbrushes, razors, IPL machines and an LED face mask.

It's still at prototype stage, but there was even a car sitting incongruously on the Dreame stand.

The vision, according to the press release, is to evolve from "a standalone smart device brand to a comprehensive provider of connected lifestyles with an ecosystem now covering the home, garden, outdoors, and on the move". The tagline it's going with is "All dreams in one Dreame", which makes no sense at all.

Too far, too soon?

I've tested a number of Dreame gadgets, and have almost always been impressed, but I'm wary of this latest expansion. It all just seems too fast and too wide-reaching for it to have been done with the required care and expertise. The difficulty I've had in getting any information about the individual products I was most interested in hasn't reassured me any further.

Previously, Dreame's category expansions have made sense. There's crossover between the mechanics of a vacuum cleaner and a hair dryer, for instance. I can see how a brand that knows its way around a robot vacuum could also make a great lawnbot.

But I'm struggling to see how those skills might translate into coffee machines or TVs – both categories that are highly specific, and which require specialist knowledge and skills to excel in. The same goes for things like smartwatches and action cameras.

Of course, I haven't tested any of the new gadgets yet – I've only seen them displayed and demoed, which isn't a reliable way to judge any product. The proof will be in the testing, and I hope to be pleasantly surprised.

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The Fujifilm Instax Mini Evo Cinema takes instant cameras in a new direction, and let me tell you, it’s heaps of fun. It’s a 3-in-1 digital ‘hybrid’ instant camera; being a stills camera, an instant printer and the very first Instax that shoots video.

We know the instant photography part already: the Mini Evo Cinema packs much of the same lo-fi tech as the Mini Evo – 5MP digital photos through a 28mm f/2 lens, which are saved onto micro SD, that you can select in the camera’s gallery or through a companion app to print instantly onto Instax Mini paper. In this case, the printing process uses an analog-style lift and twist lever.

But it’s the camera's design where things get really interesting. This is a nostalgic, slimline Super 8 camera-style body – which is supposedly inspired by Fujifilm’s ‘Fujica Single-8‘ from 1965 – that easily sits in the hand with the shutter button at your trigger finger.

And for me, it’s the video features that drew me in rather than the traditional Instax photography experience, even if each of the three functions seamlessly blend together.

Then there's the main event – the Eras Dial™, with a look for every decade spanning the last 100 years. Fujifilm says these looks ‘pay homage to the characteristics, media and playback devices that defined that time’. My brief hour with the Evo Cinema wasn't nearly enough time to decide which ones were my favorites, and I definitely didn't have the time to fine tune each of those 10 profiles spanning 1930 through to 2020.

There's a scale of 1-10 for various 'expressions' of each decade, adjusting either the strength or the look of each style. So yes, that makes 100 styles, all of which work for photos and videos.

Fujifilm is no stranger to introducing never-before seen controls in its recent cameras, from the Film Mode in the fun X half to the aspect ratio dial in the serious GFX100RF, it keeps delivering surprising new features, and the Eras Dial™ is more than just a novelty.

Even videos can be shared through an Instax Mini print – the Mini Evo Cinema selects a frame from the video and prints it with a QR code for access to that clip through Fujifilm’s servers.

I was given a print with a QR code attached, which took me online to the highlight reel that a Fujifilm X-Photographer (a brand ambassador directly associated with Fujifilm) had created. You can also check out and share photos and videos using the free Instax Mini Evo app, including making short video edits from your 15 second video clips.

I'm yet to try the app with the Evo Cinema photos and videos I shot on launch day, but will surely do so for my full review.

Inside the box, you get the camera, viewfinder eye cup for the 1.5-inch 170k-dot LCD screen (see it in action, below), a grip extension and a strap.

The Mini Evo might look toy-like, but it is in fact a premium-feel product, everything from the grip to the dials, switches and buttons feel solid.

Performance, on the other hand, during my hands-on was pretty sluggish – the Evo Cinema's wheel of death appeared almost every time I recorded a video, taking a few seconds to be ready to use again. I'll reserve judgement until I complete a full review.

I actually think the Mini Evo Cinema is the most intriguing Instax camera to date – it feels like the Instax camera that the digital generation has been waiting for.

Its Super 8-style body is a perfect form to host Instax Mini printing, and the multi-media output makes this feel like a camera that'll keep my interest for much longer than a simple instant photography Instax. This is a proper good times camera.

True, I’ve only had an hour or two using the Instax Mini Evo Cinema, but it already feels like the one that appeals to me the most in the many years that I've been testing Fujifilm products. If I was to sum the Mini Evo up in a single word, it would be fun. Fujifilm is having a real go at making cameras fun again with a string of quirky products, and the Evo Cinema could just top the lot. I'll report back soon once I've had more time with it.

Sample photos – 1930 through to 2020

The 10 photos above cover each of the 10 settings in the Eras Dial™, from 1930 to 2020. I kept the 'expressions' control to its auto setting rather than experiment with the 10 different looks available for each of the decades on the dial. Stills are recorded as JPEGs onto microSD, at 1920 x 2560 pixels.

Sample video – 100 years in a minute

I repeated the process for video, capturing each of the 10 Eras Dial™ looks. The lo-fi video quality is captured at 600 x 800 pixels for every setting except 2020, which is a higher quality 1080 x 1440 pixels.

Fujifilm Instax Mini Evo Cinema: price and release date

• Costs $419 / £329 / AU$599
• There's viewfinder, grip extension and strap accessories included
• Sales are expected from January 28, 2026

The Fujifilm Instax Mini Evo Cinema is due to go on sale globally from January 28 2026, with a price of $419 / £329 / AU$599.

In the box you'll also find the viewfinder attachment, grip extender, strap and USB-C cable. A purpose-made leather case will be available too, for $40 / £35 (about AU$65).

Fujifilm Instax Mini Evo Cinema: specs

How I tested the Fujifilm Instax Mini Evo Cinema

• I had just one hour with the Evo Cinema ahead on its launch day
• I used it with the viewfinder and grip accessories
• I tried all the Eras Dial™ settings for photo and video

I had just one hour with the Evo Cinema on its launch day, during which time I got a feel for how it handles. I recorded the same video in a studio of a model, using every one of the 10 Eras Dial™ settings, and repeated that process for photos, printing out each one.

I've tried the Evo Cinema with and without its viewfinder and grip accessories. I'm yet to try out the Mini Evo app. The optional case was not available for a look on launch day.

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

Sony launched its original FE 90mm f/2.8 Macro G OSS back in 2015, just two years after the company revealed its innovative A7 full-frame mirrorless camera to the world.

While the Sony FE 90mm f/2.8 Macro G OSS has been a reliable macro lens for Sony macro photographers, it’s been the only first-party Sony option for over a decade, so all eyes were on Sony when it announced its new Sony FE 100mm f/2.8 Macro GM OSS in September last year.

I was lucky enough to get my hands on a review sample, as well as a Sony A7R V with its large 61MP full-frame sensor, so I was able to zoom into its huge images to assess the new FE 100mm f/2.8 Macro's sharpness and image quality.

As a lover of macro photography who regularly shoots everything from close-ups of interesting textures to insects and mushrooms to pocket watches, I was particularly keen to see how the new Sony FE 100mm f/2.8 Macro GM OSS performed.

At $1,498 / £1,399 / AU$2,599 it's among the most expensive consumer full-frame macro lenses on the market, and 70% more expensive than its predecessor. So should owners of the now decade-old Sony FE 90mm f/2.8 Macro G OSS rush out to buy one?

Simply put, no. The older, more affordable version will suffice for the majority of casual shooters. However, for serious professionals shooting on Sony systems the Sony FE 100mm f/2.8 Macro GM OSS will be well worth the high asking price, delivering as it does incredible image quality, rock-steady stabilization, 1.4x magnification and teleconverter compatibility.

Simply put, it's the best Sony lens for macro photography fans, though you'll have to be prepared to put a sizable dent in your wallet to get one.

Sony FE 100mm f/2.8 Macro GM OSS: Price and availability

• Priced at $1,499 / £1,399 / AU$2,599
• ALC-SH173 lens hood and soft case included
• Announced in September 2025

The Sony FE 100mm f/2.8 Macro GM OSS retails for $1,499 / £1,399 / AU$2,599, and is the successor to the now decade-old Sony FE 90mm f/2.8 Macro G OSS, which can be picked up now for around $1,050 / £819, though this price hasn’t changed all that much since it was released back in 2015. The Sony FE 100mm f/2.8 Macro GM OSS was always going to be a more expensive option with new tech, advanced features and more modern conveniences, and it works out 70% more expensive in the UK, or around 40% more expensive in the US.

Is it worth the extra money? For casual shooters probably not, but for serious working pros I think the extra upgrades, better stabilization and stunning image quality make it good value for money. It’s also a much stronger competitor to the Canon RF 100mm F2.8L Macro IS USM, which Canon users have been enjoying since April 2021, and a true competitor for which has been sorely missed in Sony’s range up until now.

For those on tighter budgets there is of course the original Sony FE 90mm f/2.8 Macro G OSS. There are also third-party options like the Sigma 105mm f/2.8 Macro DG DN Art and Tamron 90mm f/2.8 Di III Macro VXD – while both of these lack optical image stabilization, they are considerably cheaper, and will be a better choice for those on stricter budgets looking to get into macro photography.

Sony FE 100mm f/2.8 Macro GM OSS: Specs

Sony FE 100mm f/2.8 Macro GM OSS: Design

• Focus ring has a clutch mechanism to switch between AF/MF and Full AF quickly
• Switches on lens barrel for focus distance limiter, OSS, iris ring lock and declicking
• Quite long for a 100mm macro lens, measuring 147.9mm
• Built to be compatible with Sony's 1.4x and 2x teleconverters

The Sony FE 100mm f/2.8 Macro GM is very similar in terms of size and weight to the older FE 90mm f/2.8 Macro G OSS, although it has the benefit of being a little more zoomed in at 100mm, and offers a higher maximum magnification of 1.4x over the older optics’ standard 1:1 life-size reproduction ratio, so macro lovers will be able to get even closer. It’s about 7% heavier at 646g and is 2.4mm wider in diameter, and it’s about 17mm longer. So far, it’s bigger and better in every way.

I have no issues with the lens being a little larger; it feels really nice and secure in the hand, and the large focus ring, which is about 1.5 inches wide, is perfectly positioned for your thumb and forefinger to wrap around. Like the old model, the new macro lens uses a push/pull clutch, allowing you to push or pull the entire focus ring to quickly switch between AF/MF and Full MF.

There's also an AF/MF switch on the side of the lens barrel, which shouldn’t create quite as much motion. The manual-focus ring also has a focus distance scale on the lens barrel, which comes in handy when you want to specifically dial in a magnification such as 1:1 life-size, or go even closer.

Other switches on the side of the lens include a full-time DMF toggle to enable the Direct Manual Focus to override the autofocus when needed, which I found to be very useful. There’s also a focus limiter switch which can be set to Full, 0.26-0.7m or 0.5m to infinity to speed up autofocus operation when you know you’re working with subjects either very close or far away, as it prevents the camera from hunting outside the set range.

There’s also a dedicated switch for enabling OSS (Optical Steady Shot), Sony's optical image stabilization tech. It’s rated for 4-4.5 stops on the FE 100mm f/2.8 Macro, which is an improvement over the 3-4 stops you got with the older model. Even more stabilization can be achieved with Sony bodies that have sensor-based IBIS, though Sony doesn’t give an exact figure of how much stabilization can be achieved.

To add context, both of Sony’s lenses are the only optically stabilized macro lenses for Sony FE mount – as mentioned, the Sigma 105mm f/2.8 Macro DG DN Art and Tamron 90mm f/2.8 Di III Macro VXD don’t have optical stabilization, though they are considerably more affordable as a result.

Also on the outside of the lens barrel you’ll find an iris ring to control the aperture, which can be locked in the ‘A’ position if you prefer to set this via the camera body. The aperture click can also be enabled or disabled via a switch – helpful for videographers who prefer a smooth action when filming. We’re also treated to two customizable focus-hold buttons on the side of the lens barrel.

As one of Sony’s top-flight G Master lenses, the Sony FE 100mm f/2.8 Macro GM is of course weather sealed, and to that end there's a rubber seal around the metal lens mount.

In the box you’ll also find its ALC-SH173 lens hood, and a soft case to keep it protected when stored or in transit.

A rather odd feature that I’m glad to see included on the new Sony lens, and one I can’t recall seeing on other recent macro lenses, is the ability to use the Sony FE 100mm f/2.8 Macro GM with Sony’s SEL14TC and SEL20TC teleconverters to extend its macro capabilities even further.

While I don’t think this is essential, I do think some wildlife and nature photographers who already own these extenders for long telephoto lenses will benefit greatly and get extra use out of them. However, more casual shooters will probably still find better value in a set of extension tubes that usually cost around $100 compared to the SEL14TC and SEL20TC which both cost $598 / £479 / AU$799 and also allow you to get closer to your subject.

That said, as somebody who owns a 180mm f/2.8 macro lens, I can see the merit of using a 2x teleconverter as a cheaper and more convenient alternative to owning a telephoto macro lens as well as a 100mm one.

Sony FE 100mm f/2.8 Macro GM OSS: Performance

• Excellent image quality but autofocus not the fastest
• OSS makes it easier to shoot handheld close-up photos
• 1.4x magnification and teleconverter support make it easier to get closer

As one of Sony’s top-flight G Master lenses you’d expect the Sony FE 100mm f/2.8 Macro GM to deliver a solid performance, and I’m delighted to say that this is very much the case.

Considering that the lens has not one, but four of Sony’s XD Extreme Dynamic linear motors the autofocus wasn’t the snappiest I’ve ever seen from a mirrorless lens. Instead it took a little moment to smoothly transition the focus, although this will perhaps be preferred by videographers.

That said, Sony claims the autofocus is 1.9x faster than its predecessor so it's still a decent improvement, and the autofocus was accurate once it acquired the subject. I also found it invaluable to have the ability to pull the focus clutch ring to engage full-time manual focus at any time.

Image quality is excellent, with the lens employing both flourine and Nano AR II coatings on the front element to make it oil and water-repellent, and to counter flare when shooting towards a light source. The lens features 17 elements arranged in 13 groups, two of which are XA (extreme aspherical) elements and two of which are ED (Extra-low Dispersion) elements.

Of course, depth of field is limited when shooting close-up at f/2.8; however in-focus areas of images look very sharp, even when shooting wide open. Flare was controlled well, contrast was punchy, and images were free from chromatic aberration. The sharpness of the lens was able to meet the resolution of the 61MP Sony A7R IV I tested it with, producing beautifully clean images with virtually no distortion or vignetting.

In my tests shooting handheld I was able to take sharp shots at around 4-4.5 stops slower than would normally be required, though this was paired with a Sony A7R IV, which has sensor-based IBIS that also helps. This meant that where a shutter speed of 1/100 sec was required to take a sharp shot I was able to lower my ISO or close the aperture until my shutter speed was 1/5 sec and still get a usably sharp image when shooting handheld – impressive!

Should you buy the Sony FE 100mm f/2.8 Macro GM OSS?

Buy it if...

Don't buy it if...

How I tested the Sony FE 100mm f/2.8 Macro GM OSS

• I used the lens for a month, capturing close-up shots of nature as well as controlled still-life setups at home
• I paired it with the 61MP Sony a7R IV full-frame body, zooming in on images to assess resolution and clarity
• I took shots throughout the aperture range, focusing up close and further away, and used the lens with Sony's 2x teleconverter

I used the Sony FE 100mm f/2.8 Macro GM OSS with a Sony A7R IV for a month to give the lens a thorough testing over an extended period. Sony also kindly loaned me its SEL20TC 2x teleconverter, and I also took test shots with this sandwiched between the lens and camera body to see what difference it made.

The lens became my go-to for taking close-up shots over this time, and in particular when we had a cold snap in the UK, where I'm based – I loved heading out with it to capture stunning details of frost patterns and ice.

I took a range of pictures with in-camera lens corrections both enabled and disabled to see the difference. I also shot in raw and JPEG formats, and shot at all of the various apertures to gauge how things like corner sharpness and vignetting changed throughout the range.

• First reviewed January 2026

Ricoh has actually just done me a favor. You see, I was so excited for the Ricoh GR IV Monochrome – the first in the series of premium digital compacts that's optimized for black-and-white photography – that I was ready to buy it. However, it has been launched today with a shocking price bump, and the deal is off. So I guess that's a saving.

Let's be clear – I've not used the GR IV Monochrome but, even still, I know I wanted it. You see, I really do love black-and-white photography and I'm a fan of the Ricoh GR series.

I recently published my Leica Q3 Monochrom review – which unpacks the gains and pitfalls of a black-and-white only camera – and my first-hand experience with that premium compact, coupled with the regular Ricoh GR IV too, only whet my appetite for the GR IV Monochrome.

I count the GR IV a decent upgrade from my GR III – I have the 'x' version of the GR III which I've used regularly for years. Again, there was a price hike there from the GR III, but the GR IV's new 26MP sensor with five-axis stabilization, improved lens, better battery life and increased internal memory add up to make the regular GR IV worth it.

Even still, when I heard about the monochrome version ahead of its announcement today, I thought that's the camera for me, given that I tend to shoot a lot with my own Ricoh GR IIIx in black-and-white.

I expected a small bump in price given how incredibly niche this black-and-white-only version if the GR IV is, and the presumably shorter production run. That's true of the Leica Q3 Monochrom, which costs more than the regular Q3. However, I was thinking a sub 10% increase, not a whopping 25% in the UK (and more in the US)!

At $2,200 / £1,600, I could pick up a Fujifilm X100VI instead of the GR IV or, more temptingly, a Nikon Z6 III – and that's a serious mirrorless camera.

I love black-and-white photography, especially with a Ricoh GR camera, and I really, really like the GR IV – size to quality, it's the best compact camera available – so I was banking on the GR IV Monochrome being my next camera.

However, I don't think those incremental gains of a model optimized for black-and-white photography are worth this extra outlay. If anything, my attention is back on the regular GR IV instead, which feels like a wiser choice now.

Charting the price of the Ricoh GR series

I purchased the Ricoh GR IIIx back in 2022 for £1,000 in the UK (the 'x' version in the GR series features a 40mm f/2.8 lens rather than a 28mm f/2.8 lens), at which point the original GR III (launched in 2019) cost $1,100 / £900. I counted that price as fair.

Given its popularity, GR III cameras saw a small price bump over the years. Then came the Ricoh GR IV at the end of 2025 for $1,500 / £1,200. I initially thought that price hike was unfair, but the upgrades in that model just about merited the bump, which didn't exactly favor those in the US hit by additional tariff-related price increases.

Now we have the Ricoh GR IV Monochrome, which costs $2,200 / £1,600. In the US, that's twice the price that the GR III was and $700 more than the Ricoh GR IV. It's a 25% increase in the UK. Let that sink in.

You've got to really, really love black-and-white photography to buy the GR IV Monochrome over the GR IV. I expect many people still will, because what optimized alternatives are there? The Leica Q3 Monochrom costs much more (but it is much more camera).

I'm now in for the GR IV instead. But what do you make of the new monochrome version? Is it worth the extra cost? Let me know your thoughts in the comments.

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It took me a while to get my hands on the Kodak Charmera – such is the viral popularity of this $30, 30g keychain digital camera, that it sold out on its release day late last year (with what felt like minimal advertising), and it only came back in stock as I publish this review a month later. Who knows, it might be out of stock again by the time you read these words.

And I can see the appeal – the Charmera is cheap, tiny, retro, it’ll easily fix to your keyring, and it’s an actual working camera with a screen.

What's more, there are six 1980s-inspired colorways, plus a limited edition see-through version, and you don’t know which version you’ll get since it comes in a 'blind box'. That’s got gift idea written all over it.

When I unboxed mine, cue disappointment – the black version with rainbow frontage – the one pictured on the box that appealed to me the least. Still, inside the box, a nice poster, a collector card, and a small charging cable.

I charged the Charmera up and slotted the thumb-sized camera into my pocket where it would live for the following weeks.

The Charmera shoots tiny 1.6 megapixel JPEG photos and HD video (1400 x 1080p at 30fps) through a fixed 35mm f/2.4 lens, has seven photo filters and four animated borders to choose from, stores onto micro SD (which needs to be purchased separately), and has a (predictably) tiny internal battery that is recharged through USB-C.

There’s a tiny 16:9 LCD screen with live view that in practice is even smaller given that images are captured in 4:3, a miniscule LED light that illuminates closeup subjects, and possibly the smallest viewfinder I've ever used, which is novel and in a way works.

Honestly, that’s about all the features and design aspects worth knowing about, but what is the Charmera actually like to use?

Menus are simple enough to navigate; turn the camera on, and you select either photo, video, or set date using the three buttons on the rear, with the playback button doubling as select.

The power button doubles up as a back button, and then there's the shutter button to shoot photos and video. It takes barely a minute to figure this all out.

Everything about the Charmera is tiny: a tiny thumb-sized body, tiny screen, tiny images. And it's actually kind of fun to shoot with...in the moment. I was certainly charmed by the Charmera, and I think many others will be too.

It's when you plug the camera into a computer or hook up the memory card to view any images taken with the Charmera that the warm fuzzy feeling quickly vanishes.

The Charmera's photo quality is about the worst I've seen from a digital camera in my lifetime – and I've been shooting digital since consumers could, when 16MB memory cards existed (yes, megabytes).

With a resolution being a truly retro 1.6MP and a barely existent dynamic range, photos are more impressions than anything else. A collection of pixels, pieced together.

And that's me commenting on the regular color profile. Use any one of the monotone filters, and things get super abstract.

Photos are like one of the novel, abstract filters you get with a decent digital camera. I guess such dated quality could charm some. For me, it screams short-lived novelty; for others, it could be the camera they always have with them.

My own gripes aside, I also think that the Charmera is so small and so distinct, that I'll keep it on me every day for the months to come.

It's a conversation starter. A whimsical capturer of moments (assuming it's tiny battery isn't flat when you pull it out of the pocket – that'll happen).

The Kodak Charmera certainly ain't good quality. But that's hardly the point, is it? This is a cheap, charming retro gift for the photography lover in your life, that should get more use than a foot spa or marmite-scented deodrant (the UK's most unwanted Christmas gift for 2025). That's the hope from me as someone who hates waste.

The Charmera is far from being one of the best compact cameras, even the best cheap compact cameras, but I don't expect that to slow down its sales.

Kodak is killing it right now with multiple best-selling cheap cameras – like the recent Ektar H35N half-frame film camera, and the PixPro C1 – and the Charmera could just be the pick of the pack in terms of concept (not quality). It's a marketing masterstroke. Who knew a keychain camera could be so popular?

Kodak Charmera: price and availability

• Announced in November 2025 and sold out in a day
• Priced at $30 / £30 / AU$54.95

The Kodak Charmera costs $30 / £30 / AU$54.95 for a single 'blind box', or you can buy the whole set of 6 for $180 / £180 to guarantee getting each colorway. There's a 1 in 48 chance of scoring the limited edition transparent version.

Scalpers have been selling the Charmera for extortionate prices, and some retailers have bumped the price a little, but you should be able to pick up the Charmera for its fair, original price through one of the links below.

Kodak Charmera: specs

Should I buy the Kodak Charmera?

Buy it if...

Don't buy it if...

Also consider

How I tested the Kodak Charmera

• I got the Charmera last year and it's mine to keep
• I've used it sporadically over a couple of months
• I've tried the various color filters and animated borders

I'm not going to dig into technicals of how I've tested this novel point-and-shoot camera. In short, I've rattled off hundreds of photos in good light and bad, played with the various color filters and shot short video clips. Image quality is predictably bad, but short battery life is particularly unfortunate.

First reviewed January 2026

If you’ve ever struggled to identify the birds visiting your garden, or want a better view of your feathered visitors, the Camouflage EZ Birdfeed could be the exact gadget you’re looking for. This smart bird feeder not only captures photos and videos of visiting birds, it can also identify a whopping 11,000 species, which on its own makes it a candidate to be one of the best bird feeder cameras you can buy.

Thanks to the Bird Lover app, you can keep an eye on visitors live and via alerts, thanks to the feeder's Wi-Fi connectivity. You can also connect to the bird feeder remotely when you're away from home.

Set-up and installation of the EZ Birdfeed are simple. Beyond needing a drill and a screwdriver, you get everything you need to mount the bird feeder in your garden. You don’t even need to position the EZ Birdfeed close to your Wi-Fi router because running on the 2.4GHz band means it will work over reasonably long distances, and I was pleasantly surprised in this department.

Image quality produced by the EZ birdfeed isn’t going to win any awards, but it’s good enough, and on a par with other smart bird feeders. Most importantly, it will give you a clear and intimate view of feathered garden visitors from the comfort of your sofa, without running the risk of scaring the birds away.

Camouflage EZ BirdFeed 1: price and availability

• Attractive mid-range price
• Comes with an installation kit
• Available from multiple retailers

The Camouflage EZ Birdfeed was announced during the summer of 2024, and the price of the birdfeeder has come down nicely since then to £139. I checked for availability of the birdfeeder in the United States and Australia, but could only find it on sale in Europe from multiple online retailers.

The EZ Birdfeed comes in a kit with everything you need to easily mount it in your garden, whether that’s to a tree, fence or shed. This is done using screws, but the mounting bracket does have two slits, so you could strap it to a tree rather than drilling it in with screws as the instructions suggest, although a strap isn’t included in the kit, so you’ll have to source one.

Camouflage EZ BirdFeed 1: specs

Camouflage EZ BirdFeed: design

• Easy to install
• Dual solar panels
• Great build quality

The EZ Birdfeed follows a fairly common smart birdfeeder design with two solar panels on the roof section. The roof flips back to allow you to fill the bird food storage section. This then fills a tray area at the bottom with a perch in front where a water bottle is also attached. I was sceptical about the water bottle, but birds did use it to my surprise.

The solar panels connect to the camera and keep the 5,200mAh battery charged. As part of the setup, you have to charge the battery, and during testing, it never dropped below 95% according to the Bird Lover app. The camera sits recessed into the food storage area, and can be tilted forward and backwards if necessary to adjust the camera angle.

It’s a simple design with the motion sensor and lens being the most prominent features on the front. There’s also an indicator light, an Infrared LED, a microphone and an indicator light. On the top is an area covered by a kind of rubber bung where the microSD card slot can be found, the on/off switch, a sync/reset button and a charging port. On the back is just a mounting hole and a speaker.

Build quality is good overall, and the EZ Birdfeed offers IP65 water resistance. The operating temperature is -5°F to 120°F / -20.5°C to 48.5°C, so it’s going to work in most conditions unless you live in a country that experiences extreme weather. In winter, depending on its location, you may need to top up the battery with a mains charge via USB, but you may not need to if the chosen location gets enough sunlight.

Camouflage suggests that you can attach the EZ Birdfeed to trees using the included wall plugs and screws, although it will work well attached to a fence post or even just a post, as long as the bird feeder is positioned at least 1.5 meters above the ground. Beyond this requirement, the only other thing you have to do is clean the birdfeeder occasionally and make sure that the food doesn’t get mouldy.

Camouflage EZ BirdFeed 1: performance

• 2MP / 1080p resolution
• 130-degree angle of view
• Bird identification of 11,000 species

Like most, if not all, smart bird feeders, image quality is extremely limited with heavy JPEG processing visible in photos and a similar ‘waxy’ processing visible in videos. Resolution is extremely modest from the 2MP camera, with photos and videos recorded at 1080p/Full HD. When you’re viewing both live and captured video on your phone in the Bird Lover app it looks fine, but it’s limited if you want to print a photo.

The camera provides a wide 130-degree angle of view and detection angle. There is some barrel distortion visible, but this doesn’t negatively impact photos and videos when birds are sitting on the perch.

When positioned here, the birds are nice and sharp, but if they happen to hop into the food tray, they’re captured blurry due to the minimum focusing distance of the camera. The camera captures in color during the day and in black & white at night, where photos and videos are illuminated by six No Glow 940NM IR LEDs.

My favourite feature of the EZ Birdfeeder is the bird identification, which uses AI to recognise 11,000 species. I didn’t manage to put that anywhere close to a full test since my garden has been taken over by great tits and blue tits, but I love the fact that you can click on the bird identification button and be taken to a Wiki page for the bird that has been identified. This is a fantastic feature for newcomers to birdwatching and more experienced twitchers when a rarer bird is captured.

One aspect of the EZ Birdfeed that I’m not a fan of is that all photos and videos can only be accessed through the app on your phone. You cannot remove the microSD card from the camera and access these files on your computer. I found this out the hard way after removing the microSD card when the review unit was sent back, as I intended to download everything, only to discover this wasn’t possible.

I had fortunately sent some photos and videos to friends, so they had been saved to my phone. Once the EZ Birdfeed is removed from your WiFi network, you can no longer access the photos and videos on the microSD card. This ultimately means that when the EZ Birdfeed is capturing multiple visits from birds during the day, you have to laboriously scroll through the timeline for the day to find the video captures.

Aside from the frustrating aspect of the Bird Lover app, where you have to trawl through the timeline to find captures, the app is easy to use and does send notifications when birds are spotted. These alerts can become annoying when your phone is vibrating or beeping every couple of minutes throughout the day. It is, of course, useful when you want to be alerted.

A simpler way of accessing videos captured would be most welcome. Not to mention, the ability to access photos and videos directly from the microSD card to bulk download would be great. It seems that this sort of thing is a common issue with smart birdfeeders. Sure, app control is most often the most convenient option, but functionality and a simple file-saving system can’t be ignored

Should you buy the Camouflage EZ BirdFeed 1?

Buy it if...

Don't buy it if...

How I tested the Camouflage EZ BirdFeed

• Connected to a home WiFi network
• Tested during fall/winter
• Tested in a city garden next to a park

I tested the EZ Birdfeeder over the course of a couple of months in two different gardens, with the most effective being a city garden next to a park. The birdfeeder was connected to a dual-band WiFi network where the router was at the front of the house, and the birdfeeder was in the back garden, putting connectivity to the test. Testing took place during fall / early winter, and once birds in the area became aware of it, it received many visitors.

With nearly 30 years of photographic experience and 17 years working as a photography journalist, I’ve used many of the cameras and lenses that have been released in that time. As a working photographer, I aim to test cameras and lenses from a photographer’s point of view.

• First reviewed January 2026

It's called the DJI Mic Series Mobile Receiver, and it's designed to make DJI microphones much easier to use with your smartphone. It's a decent pitch, but DJI mics already work with smartphones, so why has this accessory got me so jazzed up?

What problems does the Mobile Receiver solve?

Let me start by explaining the current pitfalls. To use a DJI wireless mic with your phone – and you should because it makes some of the best wireless mics, including the DJI Mic 2 or Mic 3 – you can either pair it over Bluetooth, or use the on-camera receiver connected to the phone's USB port.

Bluetooth connectivity is convenient, but trust me the quality is awful. Honestly, it sounds so bad that you'd be better off using your phone's built-in microphone most of the time. Using the receiver (pictured below), produces the high quality audio you'd hope for, but the form factor is far from ideal.

The wireless receivers that come included with the DJI Mic 2, Mic 3, and Mini are all designed with mirrorless cameras in mind, not phones. This means they have a cold-shoe connection and a relatively bulky housing. They do work with smartphones, thanks to clip-in USB adapters, but they stick out in a weird way, and I'm always scared of accidentally knocking the receiver out of place or, worse still, damaging the USB connector.

There are other issues, too, like the fact that you can't charge your phone while the receiver is attached, as there's no pass-through power. To make things worse, you actually have to remember to charge the receiver before shooting - which is something that has caught me out more than once.

How the Mobile Receiver works

The Mobile Receiver fixes all of these issues and adds a few more perks besides. It's a tiny device that's less than 9mm thick, about the same width as most flagship phones. It sticks out from the USB-C port on the base of your phone by about a centimetre, and it weighs almost nothing. You'll never have to worry about knocking this one loose.

In addition, it's powered by the phone itself, so there's no charging to worry about. It also features a USB-C port with pass-through power, so you can keep your phone topped up during longer shoots. Honestly, these features alone are enough to make this an essential purchase for anyone who regularly shoots video with a phone, but it gets better.

I personally own the DJI Mic 2 and the DJI Mic Mini. With my Osmo Pocket 3, I can record audio with both simultaneously, but with my mirrorless camera and phone, I have to choose one or the other, as they come with different receivers.

However, the Mobile Receiver allows me to pair both mic at the same time, just like I do with the Pocket 3 - it's so handy.

It's not just phones that this receiver is good for, either. It might be ancient in tech terms, but I still use my DJI Action 2 action camera quite often. The problem is that it came out before DJI's wireless mics, and therefore lacks compatibility with any of them.

Thankfully, plugging in the mobile receiver just works; no setup needed. I'm sure it'll be a similar situation with Insta360 cameras and GoPros, too. It's another reason that the tiny form factor is crucial. Sure, you could use the full-size receiver, but that'll look crazy hanging off the side of an action camera. This is so small that it should hide between the stitch lines on a 360 camera.

How to use the Mobile Receiver

If you're an astute observer, you may have noticed that there's no screen on the Mobile Receiver. So, how do you change settings? Thankfully, that's something that DJI has taken into account.

There's a three-position slider on the base of the unit, which lets you change the level of noise-cancellation, and there's also a physical pairing button, but otherwise, everything is handled by the DJI Mimo app on your phone.

The Mobile Receiver pairs up just like a DJI camera would, and within the app, you can access all the same in-depth settings that are found in the standard receiver's menu. There are all the basics, like gain adjustment, stereo mode, and low-cut options. As well as more niche features, like the ability to turn off the LED indicators.

If you own a DJI Mic 2, Mic 3 or Mini (it doesn't work with the original DJI Mic), and if you ever shoot with your phone, I think the DJI Mic Series Mobile Receiver is a must-buy. For just $14 / £14, this little accessory has completely changed my shooting process. It adds so much versatility for such a low price that I think it's a no-brainer.

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That time is now because the Nikon Z6 III is on sale at Adorama for $2096.95 (was $2696.95). That's unbelievable value for money, and a return to the record-low price that we last saw on Black Friday back in November.

With both the recently released Sony A7 V and Canon EOS R6 Mark III retailing at $2,799, the discounted price of the Z6 III looks especially tempting. While the rivals have very much provided stiff competition to the Z6 III, Nikon's mid-range hybrid is still a winner if you're looking for maximum bang for the buck this week.

Today's best Nikon Z6 III deal

Everything you need to know about this incredible five-star mirrorless camera is contained within our extensive Nikon Z6 III review. We run through the design, features, performance, and of course the image quality. We found the camera boasted incredible stills output, fantastic autofocus and one of the best EVFs we've ever used.

As you'd expect with new cameras these days, there are a lot of features directed towards video content creators. These include the impressive 6K video and the new articulating screen that makes it easy to record selfie videos.

In terms of handling, our reviewer found it a pleasure to use "with a class-leading viewfinder and a mostly intuitive button setup." Overall this is a solid and reliable performer that is guaranteed to get the job done.

Even at this price, it's still a heck of a lot of money to part with. We'd therefore recommend checking out our extensive guide to the best mirrorless cameras. We offer up a range of the best options and lead you through all the pitfalls of buying a new camera.

As originally reported by DPReview, this freebie is a little bizarre in the fact that it's only available with a black X-T5 and 16-80mm kit combination. Using any other color/lens combination, or body only, means you can't claim the X-Half.

The Fujifilm X-Half has proven to be a pretty divisive camera - which, alongside the X-T5's relatively advanced age, is probably why Adorama is throwing it in as a bundle. With that said, it's definitely an interesting freebie -and the X-T5 itself is $100 off right now as a seasonal bonus.

Get a free Fujifilm X-Half with an X-T5 at Adorama

• See more: check out all of today's camera deals at Adorama

I suspect that some photographers will baulk at this bundle, but I think it's one of the best Fujifilm deals I've seen in a long time. There's a small $100 price cut on the X-T5 right now, and the X-Half is still worth $649 bought new.

Yes, the X-Half is more of a novelty, but I actually think it's a great accompaniment to the X-T5. The X-T5 is perfect for 'serious' work, while the X-Half is more of a fun point-and-shoot that enables you to really stretch your legs creatively. You still get access to Fuji's excellent film simulations, as well as a unique 'film roll' mode and a tool for composing side-by-side diptychs. It's a cool and quirky option for a lightweight everyday camera, for sure.

And, the X-T5, of course, is a great choice by itself if you need a powerful hybrid camera that can handle both stills and video. Our Fujifilm X-T5 review showcases what the camera's 40.2MP APS-C sensor is capable of, with an in-depth overview of performance and features. Scoring an impressive four and a half stars out of five, the X-T5 is still a great choice - even three years after its initial release.

As we reported recently, the so-called "DJI ban" recently implemented in the US is actually a ban on all new foreign-made drones, which seems likely to make buying drones harder and more expensive in the country.

But here's something to cheer up US-based drone users hunting for nuggets of good news amidst the doom and gloom: the Department of Commerce has decided not to make things even worse by restricting the import of all Chinese-made drones into the country.

This proposed ban (which is separate to the FCC ban introduced on December 23 2025) would have restricted fresh stock of previously approved drone models like the DJI Mavic 3 Pro, HoverAir X1 and Antigravity A1 from being imported into the US for sale.

The future remains murky

According to Reuters, this move may come as a result of a partial thaw in relations between the US and China ahead of a meeting between the countries' respective presidents Donald Trump and Xi Jinping in April 2026.

While this means it won't get immediately worse for anyone trying to buy a Chinese-made drone in the US, the future is much murkier. The FCC's separate ban covers any foreign-made drones that have yet to receive FCC approval, which means future DJI, Autel, Antigravity and Zero Zero Robotics (the owner of HoverAir) models are unlikely to be available in the States barring intervention from the US government.

The FCC ban does include a provision for specific future models to be approved and allowed in for sale, but this doesn't seem likely to happen in the current climate, and the uncertainty surrounding the rules (not to mention the tariff situation) may discourage companies like DJI from participating in the US market at all.

With no US-based drone manufacturers currently offering genuine competition to DJI, the outlook for consumers isn't particularly rosy, but they'll be able to continue buying previously approved Chinese-made models – for now, at least.

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We're still wrapping up our CES 2026 coverage, such was the breadth of tech on display, and I just had to put the spotlight on Birdfy's new range of bird feeder cameras revealed at last week's show in Las Vegas.

As someone who has reviewed their fair share of the best bird feeder cameras, I must say that the new Birdfy Feeder Vista looks like the new model to beat for immersive views of backyard birdlife.

It's a world-first 360-degree bird feeder camera, designed to be placed freestanding in a backyard, that delivers 6K video with slow motion recording up to 120fps, plus 14MP stills.

Birdfy also unveiled Bath Pro and Hum Pro feeder cameras, plus Birdfy Ornisense, the latter of which it describes as the "world’s first LLM-powered birdwatching AI", improving Birdfy's app with natural language interactions.

While rival Birdbuddy added the ability to identify birds by their song with the new and affordable 2 Mini also at CES, for me it's Birdfy's new bird feeder cam that I'm most intrigued by.

The ultimate bird feeder camera experience?

Like any of the best 360 cameras from the likes of Insta360, the Birdfy Feeder Vista features twin ultra-wide angle lenses to cover off the full 360-degree view, and users can choose between a 360-degree image, or a single lens ultra-wide image (which would presumably be between 2K and 3K).

An unimpeded view necessitates an entirely new design, which has ultimately resulted in Birdfy addressing a common headache with standard bird feeder cams – keeping seed fresh and free from contamination.

Traditional bird feeder cams utilize a gravity-based seed compartment surrounding the camera, with seed potentially piled up dormant for some time, whereas Birdfy's has a new bottom-up air pump system.

Bird feed is kept within an airtight antibacterial container, and then delivers seed to the top mounted feeding tray. Users can control how much feed is released via Birdfy's app.

The feeder is also equipped with precision weight sensors which trigger the camera to capture feathered visitors, rather than traditional motion sensors which are liable to capture random movement.

And Birdfy's app has been improved with Birdfy Ornisense, an LLM named Joy that encourages natural language interaction. For example, you can ask Joy questions about any of your feathered visitors such as "is this bird fat?", or hone down finding specific videos such as recorded territorial fights, plus the reasoning behind bird identification.

Given the design, Birdfy's new feeder needs to be positioned where it can enjoy a 360-degree view rather than being attached to a tree. However, with a bottom-up seed container, the perch is out in bright light which should return the best possible image quality.

My first impressions are that the Birdfy Feeder Vista looks like the new bird feeder camera to beat, even if I'm unsure how (or if) it can utilize continuous solar power, and I'll be getting a sample in for testing as soon as possible, when I will further unpack what this innovative device is capable of.

There's no pricing on sales start date information yet, but there's a notify when available page at the Birdfy website.

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The Canon R6 Mark III is the brand's latest enthusiast-level hybrid camera, and successor to one of Canon's most popular models. It's perhaps the clearest expression of a 'hybrid' Canon camera yet within its price range, with a fresh 33MP sensor that not only offers a significant bump in resolution (from 24MP), but a host of new video features such as 7K open-gate.

Outwardly, you could be mistaken in thinking that the Mark III offers a relatively iterative upgrade versus the previous generation. The overall design of the camera is essentially identical. Under the hood, however, subtle tweaks and improvements provide an upgrade that's bigger than the sum of its parts.

Everything is just a little bit better with the Mark III. You get a nice bump in resolution, a massively expanded video tool-kit, and useful autofocus features from the higher-end bodies like Priority People Detect. Even minor annoyances like video white balance have been smoothed out. Overall, it's an incredibly refined and well-designed camera that simply just works without any fuss. That's high praise, indeed.

In real-world testing, the R6 Mark III is also a stunning stills and video camera, capable of producing superb results in both fields. In a field where competitors are eager to champion stacked BSI sensors, the Mark III proves that you need neither to achieve great performance. Images are detailed with great dynamic range and flexibility, and you still get an impressive 40fps burst rate, despite the significant jump in resolution.

Perhaps the biggest stumbling block for the R6 III isn’t necessarily the camera itself, but the increasingly competitive field it sits within. Rival brands are not only producing exceptional cameras currently, but they do so on democratized and open lens mounts.

For example, the Nikon Z6 III undercuts the R6 on price, the Panasonic S1 II features more powerful video tools, and the Sony A7 V falls back on its vast lens ecosystem. In comparison, the R6 III looks like the jack of trades - a safe, if somewhat unexciting pick in the best mirrorless cameras landscape.

Those already faithful to the Canon RF-Mount will be overjoyed with this camera, however. As previously stated, there's a refined assuredness to the R6 Mark III that makes it a reliable hybrid workhorse. Regardless of whether you're a professional wedding photographer, amateur videographer, or even a serious beginner, it's hard not to recommend the R6 Mark III because of its compelling mix of usability, image quality, and value. Yes, it's pricier than the Mark II, but considering the new sensor (and inflation), you definitely get a good amount of camera for the money here.

Canon EOS R6 Mark III specs

Canon EOS R6 Mark III: Price and availability

• Announced November 6th, 2025
• Body only price of $2,799 / £2,799.99 / AU$4199.95
• Kit options available, including RF 24-105mm f4 L IS

The R6 Mark III retails for $2,799 / £2,799.99 / AU$4199.95, which makes it pricier than the previous iteration by a few hundred dollars / pounds. Interestingly, the EOS R6 II isn’t being discontinued (at least, immediately), and instead will be available for a list price of 1,979 / £1,918 / AU$3,099.

The Mark III is essentially slotting in the market between its two major competitors - the Sony A7 V for $2900 / £2800 and the Nikon Z6 III for $2700 / £2500. Of the three, however, it’s worth noting that the Z6 III has been on the market for the longest time and tends to be particularly partial to price cuts. You’ll likely have to wait a while to find an R6 Mark III or Sony A7 V for anywhere near as cheap as Nikon's alternative.

• Price score: 4/5

Canon EOS R6 Mark III: Design

• New CF-Express Type B card slot
• 3.69M dot 120Hz OLED EVF
• 3.0-inch 1.62M dot panel articulating rear display

What can I say about the design of the R6 Mark III? Well, it’s typical Canon, in the most refined and best manner possible. If you’re familiar with the Mark II, the design is essentially identical, with only a few minor tweaks to the buttons surrounding the shutter, a new tally light, and revisions to the mode dial.

Is it boring? Well, it’s certainly sensible. All of the camera’s main functions are laid out in a purposeful and meticulous manner. The thumb, for example, naturally rests next to the back-button focus, an AF joystick, and an autofocus mode quick select. On the top, you have the typical three-way on-off switch, top-mounted dial, and extremely useful M-Fn quick dial menu that are again extremely easy to operate.

All of the above, of course, are fully mappable with the camera’s extensive customization options. A total of nine buttons are fully mapable, so you have plenty of options here for both video and photo applications.

If you’re already a Canon shooter, no doubt you’ll be right at home here. My only minor criticism is that I wish Canon would add a second ring/middle finger button on the front of the body next to the grip. It’s something that’s featured on the higher-end Canon bodies, but it’s conspicuously missing from the R6 and R5 line. With such expansive customization features, it would be a fantastic addition to the body in my opinion.

In the hand, the R6 Mark III is sturdy and solid, with a generous grip that pairs well with popular lenses like the 24-70mm f/2.8. As part of the review process, Canon also sent me the EOS R8, and in comparison to the lower-end model, the R6 Mark III is much better suited to the chunkier RF glass. Unlike the feather-weight R8, the R6 Mark III balances well with fast primes like the 20mm f/1.4 and 85mm f/1.4 - both of which are noticeably front-heavy on the entry-level model.

In terms of viewfinder and display, you get a 3.69M dot 120Hz OLED and 3-inch 1.62M dot panel respectively; both of which are holdovers from the previous model. The R6's displays are bright, relatively wide, and easy to use. No complaints here, although it's worth noting that both the Nikon Z6 III and Sony A7 V do have a slight edge over the R6. In the case of the Nikon, you get a higher-res 5.76M dot EVF, while the Sony A7 V features a 2.1M dot rear display that both articulates and tilts - a handy feature for both stills and video.

For ports, one of the main changes from the second-generation model is that the Mark III now features one CFexpress Type B slot and one UHS-II SD instead of two of the latter. Upgrading to a CFexpress card will incur a slight cost, but you’re going to need it if you want to record Raw video internally or make full use of the uncapped 40fps burst rate. Videographers will also be pleased to note that the Mark III now features a full-size HDMI port rather than the MicroHDMI on the previous iteration.

The R6 Mark III now utilizes the newer LP-E6P battery from the R5 Mark II. The older LP-E6NH batteries are still technically supported, but you'll need to use the newer iteration to fully unlock all the R6 Mark III's features. In this case, smartphone connectivity and the full array of 6K open-gate video modes.

Note that the R6 Mark III's battery is rated for 270 shots with the viewfinder and 510 with the rear screen. On paper, that's significantly lower than the Sony Alpha A7 V's rating of 630 / 750 shots respectively. I wouldn't say battery life is particularly poor, however. In real-world testing, I found the battery life to be far better than the ratings would suggest, with more than enough juice for a full day of stills photography. Videographers may want to pack a second battery just in case, though.

• Design score: 5/5

Canon EOS R6 Mark III: Performance and features

• Reliable autofocus for stills and video
• Registered People Priority mode
• 7K footage at 30p ‘open-gate’

The R6 Mark III is interesting in that it lacks a few of the high-end features from the R5 II like the ability to control the focus point with your eye, in-camera 'AI' upscaling, and Action Priority modes. What it does offer, however, is rock-solid performance for a vast range of both photo and stills applications.

As the ‘enthusiast’ level body in the range, the R6 has a lot of ground to cover, but it essentially achieves the mark on all counts. Using the camera, is again, a very refined experience in terms of operation and ease-of-use.

For example, the R6’s autofocus performance is accurate and reliable even with fully automated operation. A simple press of the ‘set’ button will engage subject tracking, which is easily one of the ‘stickiest’ I’ve ever used on a camera. Even without the advanced bells and whistles of the R5, the R6 Mark III is exceptional at both subject tracking and detection.

There were only a few rare occasions when the autofocus missed the mark. For example, a case in a relatively dimly-lit room where the camera failed to focus on my parents’ cat’s eyes. This subject, with his black coat, is notoriously difficult to photograph. Even specifically engaging the R6 MIII’s animal detection mode gave me a few examples where the camera focused on his ears or whiskers rather than his eyes.

Another extreme example was a moving human target in a low-light situation. Even with a high-contrast backlit scene the camera slightly missed the mark when shooting with a 20mm prime fully wide open at f/1.4.

Are these fair use cases? Well, certainly they are extreme situations where any camera would be tested. By most accounts, the R6 Mark III’s autofocus is still one of the best I’ve ever used on any camera.

We’re reaching a point now where all major camera brands have excellent out-of-the-box autofocus performance on reasonably priced bodies, but Canon does still have a few unique tricks. The Registered People Priority mode, for example, is the closest thing to a 'killer-app' I've seen on an enthusiast-level camera.

As a brief overview, this feature allows you to map autofocus tracking to specific faces, with the idea that the camera will prioritize them even in crowded scenarios. If you have a reference shot like a group headshot, then the camera detects and allows you to pick a specific face via the RPP mode.

During my testing, I didn't have a scenario where I could really stress-test this feature with large groups. In small groups of two to three people, however, the tracking was reliable. Overall, the Registered People Priority mode definitely has the potential to be a useful feature for certain scenarios, like event or wedding photography.

In terms of video, the R6 Mark III features an impressive array of recording options. There's not only the option for oversampled 4K up to 120p, but 7K footage at 30p ‘open-gate’ on the camera’s native 3:2 aspect ratio. For maximum post-production flexibility, there’s the option to shoot in Canon’s proprietary Cinema Raw format or the brand’s Clog 2 or Clog 3 profiles.

If all these features look familiar, it’s because the R6 Mark III shares the same sensor and bones as the Canon EOS C50. Unlike its video-centric sibling, however, the R6 doesn’t feature an in-built fan, so you will face restricted recording times for the heavier open-gate and 7K capture modes. That's also a key advantage of the rival Panasonic S1 II, alongside support for 120p at 4K.

One other upgrade for the Mark III is the camera’s overall burst-rate performance. While the camera lacks the Action Priority autofocus mode from the higher-end Canon bodies, it manages to retain the 12fps mechanical / 40fps e-shutter burst rates from the previous model despite the significant jump in resolution. You’ve still got the helpful inclusion of pre-burst capture here, but unlike the Mark II, the III doesn’t feature a standalone “Raw Burst mode” to enable it. It’s instead now integrated into the standard drive mode menu.

• Performance score: 5/5

Canon EOS R6 Mark III: Image quality

• 33MP resolution (up from 24MP)
• Pleasing, warm colors
• Sharp video with flexible profiles

The Canon R6 Mark III is somewhat unusual in its peer group in that its sensor is neither back-side-illuminated nor ‘stacked’ like rivals from Sony or Nikon. It's an interesting distinction because rivals have long trumpeted the various advantages of these additions in a world where sensor development has seemingly slowed in recent years.

On paper, a stacked sensor does enable faster readout speeds, whereas a back-side-illuminated sensor should, in theory, give you cleaner images at high ISO. Recent testing has even proven that the Sony A7 V and Panasonic S1 II have slightly better ISO invariance than the Canon R6 Mark III thanks to dual-gain readouts.

So, does the Mark III lag behind the competition in terms of image quality? I'd have a hard time believing so. Based on real-world testing, I've found the camera to produce consistently excellent stills.

Out in the wild, I imagine the differences between all of these cameras is likely to be so minimal that you'd almost certainly not notice outside of incredibly niche use cases. It certainly shouldn't be the main deciding factor behind these cameras; ergonomics, video features, and available lenses are all much more important.

In terms of dynamic range, for example, you have heaps to work with here. Despite the significant increase in resolution from the previous iteration, the R6 Mark III produces lovely, clean RAW files (and even JPEGs) with ample headroom.

On several test shots, I was able to salvage significant details from a scene without much color cast or noise. Zooming in, noise is certainly still present, but it's relatively well controlled and very much in line with other modern full-frame bodies.

In low light the R6 Mark III handles exceptionally well, too. I shot a few hundred images in a local indoor amusement park that features a host of strobe and fluorescent lighting. It's the kind of environment that not only tests autofocus to the extreme, but often results in strange colors that are a nightmare to post-process.

When I pull up the files from the R6 Mark III, colors are well captured, even at ISO 10,000 and over. The first example in the gallery below was shot at that ISO, and the colors are absolutely spot-on for the scene, despite there being noise present in some of the shadows. Again, the R6 Mark III is an extremely capable stills camera in real-world testing.

Briefly touching on resolution; the upgrade from 24MP to 33MP does give you a nice bump in cropping potential without resulting in massive file sizes. Arguably, 24MP is still more than enough for most use cases, but 33MP is definitely a 'nice to have'. I certainly appreciated the little bit extra when cropping all the sample images on this page from the camera's native 3:2 to a web-friendly 16:9 format.

Colors are gorgeous, too. Even with RAW files, the images have a pleasing warmth to them without being overbearing. Skin tones look great straight from the camera, and in all cases, the files were great to work on in Adobe Lightroom.

In the gallery below, you can see a selection of RAW files. The opening shots are tweaked in Lightroom to my own tastes, whereas the following portrait shots show you both RAW files and a few of the camera's built-in JPEG profiles.

For video, you have a flexible set-up thanks to the R6 Mark III's myriad record modes and support for Clog2 and Clog3 formats. Of the two, the former gets you a flatter image with the most dynamic range possible for color grading, while the latter offers a more saturated and clean image for quick and easy editing. In either case, you can upload your own LUTs to the camera, and white balance can also be set in video mode, which was a common annoyance with the previous model.

As you'd imagine with a body that shares the same sensor as the Canon EOS C50, the R6 Mark III captures excellent footage. In my testing, I mostly used Canon's proprietary Canon 709 standard color profile (non-flattened), and the 4K footage in particular was fantastic. Colors were rich but true-to-life, the image was detailed, and there was plenty of dynamic range.

For an easy video workflow, there is very little to fault the R6 Mark III on. Even if you're a video-heavy hybrid shooter, don't overlook the Mark III in favor of the C50. You get a great video toolkit here with the added benefit of image stabilization and a mechanical shutter for stills.

• Image quality score: 4.5/5

Canon EOS R6 Mark III: testing scorecard

Should I buy the Canon EOS R6 Mark III?

Buy it if...

Don't buy it if...

Also consider

How I tested the Canon EOS R6 Mark III

• I tested a full production model
• I used several lenses, including the RF 24-105mm f/4 kit lens
• Samples were shot in a diverse range of environments, including low light
• Subject detection was tested using real-world situations

Canon loaned me the R6 Mark III alongside the R8, R6 Mark II, and several lenses for an extensive three-week period. In that time, I was fully able to test the camera in a range of scenarios for both stills and video.

As an overview, the lenses used include the RF 20mm f/1.4, the RF 85mm f/1.4, the RF 24-70mm f/2.8L, and the RF 24-105mm f/4 - the latter of which is available as a kit lens for the R6 III. All of the above image samples on this page were taken with these lenses in various scenarios, including both mid-day and difficult low-light environments.

• First reviewed December 2025

Money no object, I'd probably pick the Leica Q3 as my favorite compact camera. It's a fabulous 61MP full-frame camera with an extremely sharp, fixed 28mm f/1.7 wide-angle lens, and the ultimate everyday carry.

I'm also partial to black-and-white photography, especially on sunny days when light and shade are the stars of the show. So it was a delight to kick off 2026 by getting out and about on frosty mornings in the UK, with the low-lying sun illuminating my surroundings and the Leica Q3 Monochrom in my hand – it's identical to the original Q3 in practically every way, except that it only shoots in monochrome.

This camera is as niche as they come, and for many it also begs the question: why would you pick a camera that only takes black-and-white images when you can simply select a black-and-white color profile in a regular camera, like the original Q3, which also shoots in color when you want to? Why restrict yourself? That was the focus of my testing over the course of three weeks with the Q3 Monochrom.

For me, the reasons I would opt for a camera like this are twofold – one technical, and one creative. The creative reason is simple: its restricted parameters. I can't switch to color. I'm seeing the real-time image in black and white, and it helps me to truly appreciate light and shade, form and composition.

Shooting in black-and-white can be a great exercise to help you elevate the quality of your photography in general, should you bring color into the equation at other times. You can, however, get this experience with a 'regular' camera by using a black-and-white color profile, so that by itself is not enough reason. The second technical reason is, though – and that's increased light sensitivity.

In simple terms, all sensors in digital cameras see in black and white. To produce color images, a color filter array is placed in front of the sensor, the most common of which is the Bayer pattern with red, green and blue pixels (RGB – with twice the number of green pixels).

The drawback is that a color filter array reduces light sensitivity, leading to an increase in noise and decreased sharpness. In short, it reduces image quality by a small amount, which is seen more clearly in challenging light conditions.

So – and particularly if you mostly like to shoot black-and-white images anyway – a color filter is more of a hinderance than a help. With those image quality drawbacks, it's like watering down juice when you could otherwise enjoy the full flavor straight from the source.

A monochrome-only digital camera offers the purest form of black-and-white photography you'll get from a digital camera; and from my experience with the Q3 Monochrom, there's something a little extra about the quality of the black-and-white images it produces. A subtle improvement, a pleasing grain rather than noise, and filmic quality. Highlight clipping is, however, a major drawback to this kind of sensor.

Yes, the Leica Q3 monochrom is as niche as they come, and it costs a pretty penny too at $7,790 / £5,800 / AU$12,090. But, if you love black-and-white photography, it's the ultimate everyday carry, and one of the best compact cameras around.

Leica Q3 Monochrom: price and availability

• Announced on November 20, 2025 and available now
• Priced from $7,790 / £5,800 / AU$12,090

Leica unveiled the Q3 Monochrom in November 2025 and it went on sale immediately, costing $7,790 / £5,800 / AU$12,090. That's a mark-up of about 5% over the Q3, which was launched in 2023.

The Q3-series models use the same BP-SCL6 battery, while Leica sells a variety of accessories at its online store, including a leather half case, thumb supports, and carrying straps.

Leica Q3 Monochrom: specs

Leica Q3 Monochrom: design

• Same design as the Q3, save for Monochrom logo
• Divine lens quality and handling
• Awkward tilt touchscreen

The Q3 Monochrom essentially has the same premium, minimalist design as the original Q3, save for its suitably monochromatic logo. That means it operates in exactly the same way as the original model, for good and for bad.

The 28mm lens is the star of the show, not only in terms of the images it produces, but because of how it handles; it's equipped with decent autofocus, but is designed in a way to please manual-focus fans, with autofocus activated via a well-hidden button on the manual-focus ring.

It also looks just like a manual-focus-only lens. There are focus distance markings, and a macro mode that's activated by turning a dial which reveals new focus distance markings – a design masterstroke.

Other design features are the same, too. We have a decent 5.76m-dot viewfinder, plus a crisp 1.84m-dot tilt touchscreen. I'm not a fan of the tilt design, though – it protrudes from the back of the camera and it's awkward to grip and pull out for waist-level shooting. For the next Q installment, Leica should take notes from Fujifilm and others.

Every touch screams premium quality, from the knurled control dials with just the right amount of resistance, to the pop-out battery and the viewfinder's pop-out diopter adjustment. The memory card door design could do with a little tweaking because it feels like one weak point, but quality-wise I can't otherwise fault the Q3 Monochrom.

For a deeper dive into the design of the Leica Q3 Monochrom, check out my Leica Q3 review.

Leica Q3 Monochrom: features and performance

• High-resolution 61MP sensor with digital crop modes
• Reasonable autofocus performance and precise manual focus
• Average battery life

There's no change from the original Q3 regarding features or performance, either, save for the monochrome-only images, which is what I'll double down on in this section.

To summarize the other aspects first, the Q3 Monochrom's startup time is rapid, battery life is average at best, autofocus accuracy and speed are good, while in-body image stabilization performance is only okay, but certainly welcome in a camera capable of capturing such high-resolution photos.

And with 61MP to play with there's huge scope for cropping into images to emulate the look of tighter lenses – a feature that can be accessed directly using one of the two buttons above the LCD screen (the gallery below shows a selection of digitally cropped images using the maximum in-camera crop setting, then the full un-cropped version for comparison). The other button above the LCD switches from stills to video, with 8K video recording once again present.

The macro setting of the lens reduces its close-focusing distance, making it possible to capture flowers and other small subjects in exquisite detail – that's another string to the bow of the Q3 series (see the gallery directly below).

I also love how the maximum aperture of the lens is nice and bright at f/1.7. Pair that with the image stabilization, and Q3 cameras feel more versatile overall than the stunning Fujifilm GFX100RF, even if that camera has an even sharper lens – check out my Q3 vs GFX100RF real-world test to see how those premium compacts compare.

The 28mm lens also produces some of the crispest sunstars I've seen (check out the backlit tree image two galleries down); again, for more details, check out the Q3 review.

Now, let's get on to black-and-white image quality. Firstly, there are three main monotone profiles to choose from: natural (which is the profile I used for most of this review), plus a sepia and a blue-tone look.

I was surprised and disappointed to see how limited the customization options are for these profiles, though. For example, contrast can be tweaked for these presets, but you can't apply a filter effect, as you can to, say, Fujifilm and Ricoh alternatives.

That said, it's possible to upload LUT profiles to the camera from the Leica app for other creative styles, or of course attach a physical filter to the 28mm lens. I like using an orange filter to create dramatic skies with an infrared-type look, while a green filter can emphasize skin tones.

I've taken photos with the Q3 Monochrom in a wide range of scenarios, shooting all images in RAW (DNG) and JPEG. When comparing the two, the natural profile brightens shadows, at the cost of rich contrast.

In all images detail is seriously sharp, with a pleasing fine grain – kind of like an ISO 50 film photography feel.

Sadly, I didn't have the original Q3 at the same time as the Q3 Monochrom to make direct comparisons. However, I have prior experience for such comparisons, and so I know that images shot in black-and-white on a color camera have more pronounced noise, and detail is slightly softer.

I've since done a little research, and found that YouTuber Florian Froschmayer has posted a really useful video which shows the ins and outs for each Q3 model, with comparisons that back up my experience.

His video also hammers home a major warning for using a monochrome-only digital camera: highlight clipping is unforgiving. If you were to overexpose an image – that is, with highlights blown out – you wouldn't be able to recover this detail to nearly the same extent as with a color model, like the original Q3.

Already knowing this, I factored in underexposing when shooting with the Q3 Monochrom. To a degree, this approach can offset the image-quality benefits of its better light sensitivity, but the fact remains that its images are sharper and cleaner than the Q3's when viewed closely. If you're into black-and-white photography, with a good handle on exposure, the Q3 Monochrom's black-and-white image quality exceeds the Q3's.

Should I buy the Leica Q3 Monochrom?

Buy it if...

Don't buy it if...

Also consider

How I tested the Leica Q3 Monochrom

• Leica loaned me the Q3 Monochrom for three weeks
• I used it as my everyday carry, shooting images in a variety of scenarios
• I shot all images in RAW and JPEG, and used the macro setting and all focus modes

I spent three weeks using the Leica Q3 Monochrom as my primary camera, shooting all photos in RAW and JPEG. I've used the macro setting for close-up photography, tested the digital crop mode, and swapped between manual and autofocus modes.

When editing, I've looked at shadow and highlight recovery, and taken a close look at the quality of detail, especially in low-light photos where this type of sensor excels.

First reviewed January 2026

At the tail end of last year, the US Federal Communications Commission (FCC) added any foreign-made drone not already approved for sale to its "Covered List", essentially banning all such future drones from sale.

Despite being informally dubbed the "DJI ban" by much of the world, this ruling applies to any non-US drone maker – a troubling reality that Zero Zero Robotics may be attempting to negotiate right now.

The Chinese company was poised to start shipping its highly anticipated HoverAir Aqua drone in February 2026. For the unversed, the Aqua is a unique camera drone in that it's fully waterproof, and designed to autonomously fly alongside surfers, kayakers and water-skiers in order to capture their splashy escapades in a way that other drones just aren't cut out for.

The Aqua raised over $2 million from over 1800 backers through an Indiegogo crowdfunding campaign, but as it does not currently appear on the FCC's list of approved devices, it seems destined to fall foul of the same rules which prohibit all future DJI drone releases for being sold in the US.

Being already approved for sale in the US, Zero Zero Robotics' existing range of drones, like the HoverAir X1, HoverAir X1 Pro and HoverAir X1 ProMax will remain in stores. But the fate of future launches, including the Aqua, is murky at best.

It's bad news for Zero Zero Robotics of course, but spare a thought for the hundreds of US-based backers of the HoverAir Aqua's Indiegogo campaign. They've already paid out money for a product they assumed they may get in December 2025 (the original targeted shipping date), only for it to be first delayed to February 2026 and then pitched into "possibly never" territory.

Raining on the Aqua's parade

At present, the prospect of backers receiving anything – even potentially a refund – seems distant. On January 8 2026, a Zero Zero Robotics rep posted the following comments on the Aqua's Indiegogo page:

"Due to a sudden regulatory change in the United States, we have temporarily paused accepting new orders for shipment to U.S. addresses. We are actively exploring all compliance pathways and engaging in relevant communications. Once we have a clearer understanding and concrete conclusions, we will share them with you promptly. According to Indiegogo’s rules, backers cannot refund their orders once payment has been completed. If you need any assistance, please contact our support team at support@hoverair.com. We’ll be happy to help!"

"Regarding the new FCC's rule and its impact on Aqua, we are actively exploring all compliance pathways and engaging in relevant communications. Please rest assured that we are committed to keeping you informed about any impacts on the US market and will continue to communicate and assess the situation closely. Once we have a clearer understanding and concrete conclusions, we will share them with you promptly."

The FCC's rule does include an exception process whereby specific drone models can be determined to be risk-free and effectively cleared for import and sale. However, this needs to be done by the US Department of Defense or Department of Homeland Security, who might have bigger priorities than assessing and approving consumer drones for sale.

The HoverAir Aqua should still be launching in other territories, and we're keen to get our hands on a review sample as soon as possible.

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A fresh leak for the DJI Avata 360 has shown up online – this will be DJI's first 360-degree camera drone, expected in the very near future – and it points to an advantage that the flying machine may have over its Antigravity A1 rival from Insta360.

The leak is courtesy of seasoned tipster @Quadro_News, and shows a couple of unofficial pictures of the DJI Avata 360 (see below), together with a selection of accessories. We can see the standard DJI RC controller, for example.

There is a shot of the DJI RC showing live footage from the drone, which suggests it's going to come with a single-lens mode. In other words, you'll be able to use just one of the lenses to shoot standard, non-360-degree photos and videos.

This trick will seemingly come courtesy of a rotating camera unit. Upward and downward facing lenses will capture 360 degree videos, and it looks like the unit itself will rotate 90 degrees to front-face one of those lenses for single lens video.

That's something the Antigravity A1 doesn't have – its lenses are fixed and it can only shoot in 360 degrees. If you're trying to make a decision between these two drones then that's worth considering, though of course nothing is confirmed about the DJI Avata 360 yet.

The Avata 360 being part of DJI's FPV drone family could also mean that its flying speeds and aerial manouvers trump those of the somewhat pedestrian Antigravity A1.

An aerial DJI Osmo 360

One of the two leaked pictures also shows a battery charging hub of the sort typically included in Fly More Combo packs, with three batteries loaded in. We've previously heard about some of the bundles that might be available with this drone.

We've heard plenty of rumors around the DJI Avata 360 to date, and it seems as though it will be heavily based on the DJI Avata 2 that launched in April 2024. Given how many leaks we've seen already, a launch for this drone can't be far off now.

We're expecting to see 8K video recording capabilities, with dual 1/1.1-inch CMOS sensors – presumably the same used by the DJI Osmo 360 action camera – and a battery boost over the DJI Avata 2 predicted. Obstacle avoidance and a follow mode have also been tipped by those in the know.

Of course in the background of all this there's the ban on new DJI products that's just come into force in the US – so the DJI Avata 360 won't be available there. For the rest of us, it seems as though the wait is almost over.

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Fujifilm Japan is wasting no time in making its mark on 2026, releasing what might be one of the most unusual cameras of recent years. The Fujifilm Instax Mini Evo Cinema is a hybrid digital-instant film camera (I know, it took me a while to get my head around what that meant too), that aims to blend the very best elements of modern camera technology and nostalgia-inducing classic flair.

There are several headline-grabbing features to the latest addition to the Instax family, which are traditionally amongst the best instant cameras on the market, not least of which is its crown as the first Instax to be equipped with video. While Fujifilm made the curious decision to add audio-recording to the Instax Mini LiPlay+, this was still a purely photo-only camera, merely adding the option to pair sound with a slideshow of captured images.

The Instax Mini Evo Cinema captures both still images and videos, the latter of which it then converts into a QR code that can then be printed, along with an image taken from a frame in the clip. By scanning the code, viewers can revisit a video at any time along with related still images in print form.

The videos themselves can be edited using a dedicated mobile app, which allows the usual splicing and cutting of clips in addition to being able to introduce cinematic opening and ending templates. It’s an intriguing approach to keeping Instax instant cameras relevant in the video-centric era in which we live.

Speaking of eras, probably the biggest feature of the Instax Mini Evo Cinema, one that Fujifilm is going all-out to promote, is the ’Eras' dial. This physical control on the camera body allows the user to scroll through a number of preset image styles inspired by different decades. Beginning in 1930 and the very start of commercial film-making, the dial offers ten positions all the way through into the 21st Century, the last stop being 2020.

Standout eras that are likely to get most of the attention are the 1980s setting, which gives a 35mm color negative feel, and the 1960s era which Fujifilm explains is a recipe based on the look of Super 8. This one is especially relevant given than the body of the Fujifilm Instax Mini Evo Cinema is itself styled around 1965’s FUJICA Single-8 camera, an 8mm model that used a similarly eye-catching vertically oriented handgrip.

For someone of my age, it’s the 2000 and 2010 positions that stir up the bittersweet pang of nostalgia, bridging the gap between the early days of digital photography and the smartphone age. Clicking the Eras dial to 2010 will apply a style based on the look of time-relevant smartphone editing apps. I’m hoping the 2000 detent doesn’t pixelate images or take what feels like an hour to process each shot, much like some of the compact digital cameras I experienced circa 2005, but we’ll have to wait and see as Fujifilm didn’t provide a sample of this notch in its press release.

A retro record

Fujifilm is no stranger to camera oddities – I’m looking at you Fujifilm X-Half – but the Mini Evo Cinema truly doubles down on the retro trend of the Instax family. Without seeing samples first hand, it’s too early to review the quality of the results, and we don’t even know what sensor size the camera will be equipped with. It’s safe to assume that it won’t be able to match the the best video cameras available today for absolute image integrity, but being able to “hand over a video” as Fujifilm puts it is undeniably a unique idea that the emerging Tik Tok savvy generation will love, given that these users also show an affinity for retro designs.

To round off the feature spec, the camera also functions as a portable smartphone printer thanks to the integrated Direct Print Function.

I’ll reserve judgement until the TechRadar team can perform a thorough review, but I’d be surprised if this didn’t prove to be another solid performer in the enviable line of successful Instax products. The caveat is that Fujifilm have, so far, only announced the Mini Evo Cinema for the Japanese market, with no mention of availability in other territories. The current information omits a launch price and full specification, but if you happen to be in Japan soon and want to pick up a unit, it begins shipping on January 30.

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Nikon has expanded its range of lenses for full-frame mirrorless cameras with the new Nikkor Z 24-105mm f/4-7.1, which looks like a versatile and portable travel zoom, well suited to mid-range models such as the award-winning Nikon Z5 II.

In fact, the 24-105mm can be purchased as part of a kit with the Nikon Z6 III or Z5 II, or separately for just $549 / £529 / AU$899. And at just 12.3oz / 350g (about the weight of a soda can), it is perfectly matched to those cameras, tipping the scales just over 1,000g when paired with the Z5 II.

Serious photographers will likely be better served by the long standing Nikkor Z 24-120mm f/4 S for travel, which has a constant f/4 aperture throughout the zoom range – whereas the 24-105mm's reduces to f/7.1 at 105mm – but that older lens weighs and costs about 40% more.

Instead, the 24-105mm f/4-7.1 is a properly lightweight and versatile travel zoom ideal for those who don't demand a bright aperture at all focal lengths, especially since it has close focusing down to 0.20m (or 0.28m at 105mm), which unleashes half-size (0.5x) macro photography skills.

Its technical specifications might not excite, or make for one of the best Nikon Z lenses, but the 24-105mm does make a lot of sense in Nikon's full-frame system.

Is there a better kit for first time full-frame buyers?

I wouldn't class the 24-105mm f/4-7.1 as an exciting new lens, but it certainly is an impressively compact and affordable creation.

And that's the point, really. With the Nikon Z5 II redefining what entry-level full-frame cameras can do (and currently on sale), scooping our top best camera of 2025 award, it now has a versatile zoom with a focal length range that covers most scenarios to complete the package for first time full-frame buyers.

Nikon knows how to make excellent quality kit lenses, and I expect the Nikkor Z 24-105mm f/4-7.1 to be more of the same, even with that modest f/7.1 aperture at the telephoto end.

What do you make of the new Nikon lens? Let me know in the comments.

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CES 2026 is well underway, having opened to the public on January 6, and the world's biggest tech show has debuted some wild new camera gear which has caught my eye.

Birdbuddy's 2 Mini stands out – it's an affordable bird feeder camera that can identify birds by sight and sound. And there's a surprising new player in the action camera market – robovac maker Dreame, with what looks like a DJI and Insta360-beating modular action cam. Hohem also unveiled probably the most advanced camera gimbal I've seen yet – the Hohem iSteady MT3 Pro.

I've rounded up those three intriguing new cameras and accessories below and more, and will add to this list should there be any further announcements during the show that are worth digging into.

Birdbuddy 2 Mini – a bird feeder camera that can see and hear birds

• Birdbuddy's smallest and most affordable bird feeder camera
• It's like the 'Shazam for birds', able to identify birds by their song

Following up its flagship Birdbuddy 2 bird feeder camera announced last year, Birdbuddy unveiled the 2 Mini at CES. The second generation models share the same core specs; an upgraded 2K camera that's able to shoot video in horizontal or vertical format, faster wakeup time, slow motion recording, plus AI bird detection that can see and hear birds. That's right, with upgraded mics, Birdbuddy can identify birdsong – consider it the 'Shazam for birds'.

Where the two smart bird feeder cameras differ is in design – the new 2 Mini is smaller and lacks an extended perch, while it's powered by a (rechargeable) internal battery only. The larger Birdbuddy 2 has built-in solar panels for continuous power. Despite its simpler design, the 2 Mini could even be the better option for tight spaces, apartments and balconies, thanks to its smaller housing, plus it costs around 35% less (unless you fork out for the optional solar panel).

The Birdbuddy 2 Mini costs $129 (compared to $199 for the Birdbuddy 2), and pre-orders are expected to open mid-2026 at Birdbuddy and shipped later on this year. UK / Australia pricing is TBC.

Dreame Leaptic Cube – a tiny, modular 8K action camera

• Robovac makers Dreame branch out into action cameras with the Leaptic Cube
• It's a '8K AI tiny' modular action cam like the DJI Osmo Nano

Robovac makers Dreame had a surprise up its sleeve for CES – it debuted the Leaptic Cube, it's first ever action camera. I've not tested the Leaptic Cube yet, but its design bears a striking resemblance to the DJI Osmo Nano – a tiny modular action cam that can magnetically attach to a pod with a screen.

And Dreame looks to up the ante over DJI and indeed Insta360, with 8K video recording in 10-bit, 50MP stills and a 1/1.3inch sensor. It says the Leaptic Cube has gyro AI stabilization – a feature usually reserved for bulkier action cams – 200 mins run time, pre-recording, wireless control from the pod and gesture control.

There's also AI editing skills which should speed up producing dynamic videos. It all sounds very promising, and refreshing to see a new player in a space dominated by DJI and Insta360. We'll be reviewing the Leaptic Cube soon, while pricing is TBC.

Hohem iSteady MT3 series – our favorite gimbal maker's most advanced model yet

• Hohem's latest camera gimbal with increased payload and advanced subject detection skills
• It comes with a 1.4-inch touchscreen module for remote control

We rank Hohem's iSteady M7 as the best phone gimbal, and much of its smart tech – including AI subject detection tracking and a 1.4-inch touchscreen module for wireless control – can be found in the serious new MT3 Pro and MT3 camera gimbals.

The new MT3 series of gimbals is a heftier proposition than those for mobile, being designed for larger cameras, and it supercedes the existing MT2 series with improved torque, higher payloads, and refined AI subject detection skills.

DJI might enjoy a lion's share of the camera gimbal market, but Hohem seemingly deserves a slice of that pie with what looks like a formidable camera gimbal. We've already received a sample of the MT3 Pro advanced kit to test and will share our review soon. Cost-wise, the MT3 Pro will be $449 while the Pro Kit will be $549, with an estimaed sales start date of January 20.

SmallRig's logo-free mic

• SmallRig unveils a tiny, discreet, logo-free wireless mic
• The kit is powerful and super affordable

OK, so discreet design is hardly innovative, but it is completely welcome when we're talking wireless mics. Take a look at my best wireless mics guide and you'll find plenty of tiny options like SmallRig's new S70 Wireless Microphone, but none like it where logos can easily be completely hidden. That's how you wear the S70 tie clip mics – with the 8.8mm tiny clip front-facing, and the SmallRig logo hidden.

On the technical front, SmallRig says its new S70 wireless mic is tuned by a Grammy Award Winner, delivering 24-bit in 360 degree clarity, with 3-level noise reduction and clipping protection, backed up with 40 hour battery life. The kit pictured above which comprises two transmitters (mics) and two receivers only costs $90 (around £66 / AU$134), too, with a bonus mobile receiver included for free at launch. That's what I like to hear!

TechRadar will be extensively covering this year's CES, and will bring you all of the big announcements as they happen. Head over to our CES 2026 live news page for the latest stories and our hands-on verdicts on everything from 8K TVs and foldable displays to new phones, laptops, smart home gadgets, and the latest in AI.

You can also ask us a question about the show in our CES 2026 live Q&A and we’ll do our best to answer it.

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If you need to, you can check out our APS-C vs full-frame explainer which unpacks the key differences, including the pros and cons to each sensor format. In short – APS-C sensors are smaller and therefore more affordable than full-frame sensors, meaning camera bodies (and lenses) can be made smaller and for less.

In fact, you can fit two APS-C sensors inside a full-frame 35mm one with a little room to spare. The drawback is that it's more difficult to squeeze so many pixels on to such a small chip without degrading image quality and noise handling. Depth of field also cannot match a full-frame chip, but shallow depth of field effects (blurry backgrounds) are still much better than on cameras with smaller sensors such as compacts and smartphones. Image quality is known for being very good, too.

Fujifilm, Sony, Canon, Nikon and Ricoh / Pentax all have their skin in the APS-C game and, according to tipsters, Nikon could up the ante in this format this year. So as we transition into 2026 let’s have some fun crystal ball gazing and try to make some predictions on what Nikon could bring out this year if it did bring out some new APS-C mirrorless cameras.

Nikon Z500

The Nikon D500 holds a special place in my heart because it was one of the first ‘professional’ cameras I owned. The now 10-year-old APS-C DSLR was aimed at professionals who demanded the speed of rapid burst rates and smaller files that came from its smaller APS-C sensor and was a hit with wildlife, sports and events photographers.

I used my Nikon D500 for all sorts of photography that required a high frame rate, from confetti throwing at wedding ceremonies to long summer evenings in my local kingfisher hide hoping that its 10fps would catch the precise action moment I was looking for. The Nikon D500 was of course a DSLR and it hit the shelves in 2016, but since then we’ve seen Nikon make the shift to mirrorless cameras and this flagship APS-C line has seemingly been left behind. Could 2026 be the year that this changes?

We of course have the Z50 II, Z30 and Zfc, all of which I think have their own chance of being updated soon (read more below). However, these cameras aren’t too different from the now decade old D500, with all having a 20.9MP APS-C sensor and top frame rate of 11 fps. Mirrorless cameras can however, shoot much faster than this so if Nikon were to bring out a D500-style mirrorless – let's call it a Z500 – camera I would expect it to have more resolution, possibly 26MP or 30MP, a faster burst rate and a more professional body with comprehensive weather sealing, possibly even borrowing the body of the Nikon Z6 III. I would also want a joystick on the back of the camera to change the AF point quickly.

Nikon doesn’t really have a flagship APS-C camera for professionals at present, yet Canon dropped its EOS R7 some time ago, which has a weather-sealed body, 32.5MP APS-C sensor and 15fps burst mode. With the Canon EOS R7 coming up to four years old it’s likely due an update soon, so Nikon will need to bring out something special to compete with it, so here's hoping whatever Nikon brings out it's an absolute belter!

Nikon Z30 II

August this year marks the four year anniversary of the Nikon Z30, the company’s popular APS-C camera which is a great choice for those getting into photography with its budget-friendly price point and great image quality from its 20.9MP sensor.

The Nikon Z30 lacks some desirable features like an EVF (electronic viewfinder) and headphone jack, but its low price of $697 / £479 make it the most affordable mirrorless APS-C camera currently in the Nikon lineup. An updated Z30 II could feature more megapixels to go head-to-head with Sony’s 24.2MP ZV-E10 II and Canon’s 24.2MP EOS R50V, because at just 20.9MP it does lag a little behind the competition.

The Nikon Z30 is no slouch when it comes to video though, so I think its 4K capabilities will be enhanced, with potentially better heat management or more efficient processing included to help extend recording times. I also think it would be a good move for Nikon to include open gate recording which will make it more appealing to video and content creators.

In-body image stabilization (IBIS), an EVF and a headphone jack would be welcome upgrades. Sadly, I don’t think we’re likely to see these as Nikon tends to save them for its more premium cameras and omitting them also helps keep the price of the Z30 range down so that it’s more accessible to entry-level photographers.

Nikon ZR C

While we have no concrete evidence, several rumor sites online claim that we’ll see a Nikon ZR C in Q4 of 2026. If true, the ZR C will be a cheaper alternative to the already popular Nikon ZR released back in October 2025 and was the company's first Nikon-Red hybrid camera to employ Red color science and R3D RAW workflow.

The Nikon ZR uses a partially stacked full-frame 24.5MP chip and is therefore quite expensive, costing around $2200 /£2199. There could therefore be room for a more affordable video-centric Nikon-Red body using a smaller APS-C chip which would make it more affordable.

Smaller APS-C video-first cameras have been all the rage in recent years, with Canon creating a video version of its popular entry level Canon EOS R50 with the Canon EOS R50 V, and the Sony Cinema Line FX30. I would guess if Nikon did come out with a Nikon ZR C it would sit towards the higher end for more professional video creators and go toe-to-toe with Sony’s FX30.

Nikon Z fc II

It’s been a hot minute since we’ve had a new retro-style camera from Nikon, with the likes of the Nikon Z fc in June 2021 and the Nikon ZF following shortly after in September 2023.

While the ZF came out more recently, it’s a full-frame body costing more than twice the price of its APS-C Nikon Z fc counterpart. June this year will take us to the five year anniversary of the Nikon Z fc, so it could be the perfect time for Nikon to bring out an updated replacement and money is tight so we’d all appreciate the more attractive price-point that comes from an APS-C sensor body.

• Check out our Best Nikon cameras guide

Technology moves fast in the world of photography and a lot has changed since June 2021 when the original Nikon Z fc was released. If a mark II update did come to fruition I would expect Nikon to improve its 20.9MP APS-C sensor, boosting the resolution perhaps to either 26MP or 32MP to make it a bit more competitive to its Canon and Sony rivals. I would also like to see the sensor become partially, or preferably fully, stacked to bolster the dynamic range, too.

The Expeed 6 processor found in the Nikon Z fc is also a bit long in the tooth now and I would expect this to be updated to the current Expeed 7 processors used in cameras such as the Nikon Z8 and Nikon Z9. This could mean faster burst frame rates than the Nikon Zfc’s 11fps, I would also expect video features to be improved as a result, too.

Potential full-frame updates

I’d be astonished if Nikon kept the new camera releases solely to APS-C this year. And of the full-frame updates we're overdue, both the Nikon Z9 and Nikon Z7 II are likely candidates. Could 2026 be the year we get new models in these lines?

Many rumors pointed to an announcement window in October / November 2025 for the long-awaited Nikon Z9 II, though this never materialized. The original Nikon Z9 made its debut in October 2021 so the camera is over four years old at this point and with Sony and Canon timing their flagship full-frame models around the Olympics, it could perhaps be a good strategy for Nikon to time its release of its Z9 II for the winter Olympics this year.

If a Nikon Z9 II did hit the shelves (and slopes) this year, a global shutter, Expeed 8 processor, 4-axis screen and Red video tech would be high up on my personal wishlist.

Lastly, we have the Nikon Z7 series and with the Nikon Z7 II releasing all the way back in 2020 it’s seriously overdue an update. I’d expect to see a higher pixel count than the Z7 II, potentially 61MP or greater to compete with the Sony A7R V, Expeed 7 processor for faster frame rates and better video, potentially 8K 60p, too. But we’ll just have to wait and see what 2026 brings for Nikon and to see which of our predictions come true.

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Birdbuddy is a leading name in bird feeder cameras, and it has just unveiled its latest model at CES 2026 – the Birdbuddy 2 Mini.

The 2 Mini has the same core specs as the Birdbuddy 2, which was announced last year (and which we are currently testing), including an upgraded camera with 2K video in horizontal or vertical format, slow motion recording, plus smart AI bird detection that's now based on visual and audio cues. That's right, Birdbuddy can identify birdsong.

Where the two latest generation of smart bird feeder cameras differ is in design. As its name suggests, the new 2 Mini has a smaller form factor and seed capacity, while it's powered by a (rechargeable) internal battery only – the Birdbuddy 2 has built-in solar panels for continuous power. There is an optional solar panel for the 2 Mini, but that does add to the cost.

Even with its simpler design, the 2 Mini could even be a better option than the flagship model thanks to its smaller housing – I'm thinking for tight spaces, apartments and balconies.

It's also Birdbuddy's most affordable bird feeder camera to date, being around 35% cheaper than the Birdbuddy 2.

The Birdbuddy 2 Mini costs $129 (compared to $199 for the Birdbuddy 2), and pre-orders are expected to open mid-2026 and shipped later on this year (UK and Australia pricing TBC). The sold-out pre-orders for the Birdbuddy 2 from last year are set to be shipped next month.

Getting you closer to your backyard wildlife

I've tested some of the best bird feeder cameras, and can testify just how enjoyable these gadgets are.

Like most bird feeder cameras, Birdbuddy's latest models activate when birds are detected by motion sensing, but they up the game by adding audio cues to give you a remote live feed of the birdlife visiting the feeder.

Whether you're miles away or in your front room, seeing the visiting birds in your backyard in real time, with the option to record 2K video is a novelty that doesn't wear off – especially with smart bird detection skills helping you identify any species you're unfamiliar with.

And I love the idea of the Birdbuddy 2 Mini – being a smaller and affordable package that brings this delightful experience to more people.

Birdbuddy certainly ranks among the best in this space, and I'm looking forward to seeing how far it has been able to improve the experience with its second generation of bird feeder cameras. It says the new cameras wake up faster than the first generation models, and feature Gorilla Glass-protected lenses and upgraded built-in mics.

TechRadar will be extensively covering this year's CES, and will bring you all of the big announcements as they happen. Head over to our CES 2026 news page for the latest stories and our hands-on verdicts on everything from wireless TVs and foldable displays to new phones, laptops, smart home gadgets, and the latest in AI.

And don’t forget to follow us on TikTok and WhatsApp for the latest from the CES show floor!

The DJI Mini 4K continues to be our favourite budget option when it comes to the best drones. For the money, you'll get 4K UHD resolution support and a 31-minute maximum flight time. And if it's slow-mo footage you love, then you can capture up to 60fps at 2.7K resolution.

This is a fantastic low price for an excellent beginner drone. In fact, it's only ever been £6 cheaper, so this is extremely close to a record-low price. Snap it up while you can.

Today's best DJI drone deal

Budget 4K drones don't get much better than the DJI Mini 4K. We love it so much that we rated it 4.5 out of five stars. Considering five-star ratings are only very rarely given out, this number of stars shows how good it is. Our cameras editor, Timothy Coleman, loves the excellent value and 4K video quality that beats rivals.

It's worth pointing out that the drone doesn't feature object collision sensors or subject tracking, but at this price, that's no surprise. If you plan on being in the open air with simple flight routes, then you won't be missing out.

That being said, there's a lot to commend about the DJI Mini 4K, including 2x video support, Level 5 wind resistance and dynamic movements such as Helix, Circle and Boomerang. You'll look like a pro without having to pay for the privilege.

This is a seriously good deal, but if you'd like to explore other options, then we recommend checking out our comprehensive best drones guide. We also have a dedicated guide to the best DJI drones if you're set on the DJI brand.

DJI and Insta360 could have a new rival on their hands, after a new Chinese company called Leaptic teased a modular action camera that will be unveiled at CES this week.

The teaser on X (formerly Twitter) reveals the silhouette of the '8K AI tiny action camera', and it looks a lot like the profile of the modular DJI Osmo Nano.

Like the Insta360 Go 3S before it, the Osmo Nano is a truly tiny thumb-sized action cam which can fit in tight spaces for creative angles and worn as a body camera, but being modular it also attaches magnetically to a pod with a screen for a traditional action camera design.

Leaptic's offering appears to have a strikingly similar design to the Osmo Nano, but we know precious little else about it other than will shoot video at a higher 8K resolution.

Another post shared on Instagram in September 2025 seemingly reveals Leaptic's AI action camera, if indeed this is the same camera, calling it a 'next-gen AI action camera redefining sports filmmaking', armed with a 'disruptive end-to-end AI concept'.

It says the camera will weigh just 35g, is equipped with voice control, plus it features what sounds like 'AI' subject and action detection and auto editing to speed workflow.

This all sounds intriguing, and with CES kicking off tomorrow on January 6, we'll soon have more concrete detail about the tiny 8K action camera from the horse's mouth, and if indeed it has what it takes to break into this competitive space.

TechRadar will be extensively covering this year's CES, and will bring you all of the big announcements as they happen. Head over to our CES 2026 news page for the latest stories and our hands-on verdicts on everything from wireless TVs and foldable displays to new phones, laptops, smart home gadgets, and the latest in AI.

And don’t forget to follow us on TikTok and WhatsApp for the latest from the CES show floor!

Then, of course, there’s the stratospheric rise of AI and the polarizing views of how this is going to shape the future of virtually every corner of the creative sphere. If I could sum up this topic in as few words as possible, I’d just use the now ubiquitous “well, that escalated quickly” meme of Anchorman’s Ron Burgundy.

Predicting what gear, features and industry trends we might see for the year ahead used to be a fairly straightforward affair, but today, anything is possible. We can take some educated guesses about which camera models might be announced, which lenses might be added, and how AI might look this time next year, but rather than speculate on exact products, here I’ve outlined the direction I’d like to see the industry move. This includes the types of camera I want, design trends in camera development, lens mount growth, and new features.

Consider this my camera tech Christmas wishlist for the year ahead.

My dream camera for 2026

For a while, retro-designed cameras were largely the reserve of Fujifilm, with fan favorite models like the X-T5, X-T30III, and X100VI providing a feeling of yesteryear charm but with all of the modern bells and whistles demanded by a digital content creator. It seemed like a relatively niche market at first, but with Fujifilm’s move into retro-aesthetic Medium Format cameras like the GFX 50R and, more recently, the fixed-lens GFX 100RF, it became clear there was a real appetite for cameras inspired by the designs of decades past.

Then, Nikon went all-in with the Nikon Z fc and full-frame Nikon Z f models, and the concept suddenly felt mainstream. So, how long is it until Canon jumps on the bandwagon? I hope it’s not too long.

A retro-inspired design based around a film camera like the Canon F-1 or AE-1, but fitted with the contemporary RF Mount would be my ideal camera on several metrics. Bringing one of those classics into the 21st Century, by arming it with features seen in some of the Best Canon Cameras in 2025, would create a sturdy, tactile but compact camera which looks as good as the pictures it could take.

Imagine a Canon EOS R-A1 or R-F1 fitted with the advanced autofocus of the Canon EOS R3, the superior low-light performance of the Canon EOS R6 Mark III, or the high-resolution stills and video capabilities of the Canon EOS R5 Mark II. Or, if we let our imaginations venture into the more obscure, a digital version of the now highly sought-after Canon VI L would make a refreshing substitute for the now defunct Canon M system.

It would be a compact-form model with a thin profile and minimal handgrip, but with either a full-frame or APS-C sensor and access to the growing family of top-quality RF lenses.

Such a camera would be glued to my hip and fitted with a Canon RF 35mm F1.8 IS Macro STM, or Canon RF 16-28mm F2.8 IS STM lens. To add a cherry on top of this hypothetical cake, which has already been discussed, I’d love a retro-inspired lens range to go with the body. Nikon did this with the NIKKOR Z 28mm f/2.8 SE and Nikon Z 40mm f/2 SE to pair well with the Z fc and Zf, so it’s not too much of a stretch to suggest Canon might follow suit.

Lenses galore: give me more third-party mirrorless optics

We’ve finally started to see more third-party lenses in the big two mirrorless mounts; Canon RF and Nikon Z. Despite there being a seemingly endless supply of lenses for Sony E Mount, some of them rated as highly as the Best Sony Lenses in 2025, such as the Viltrox AF 16mm F1.8 or Sigma 135mm F1.4 DG Art, up until recently there have been limited options for Canon and Nikon users.

Sigma is making waves with a range of bargain f/1.4 primes for Canon cameras, but I’d really like to see two of my favorite lens brands get in on the RF action. Irix and Tokina have long impressed me with their build quality, sharp optics, and affordable pricing. They also look good. If Irix in particular could bring their Dragonfly series to the RF mount, it would give Canon users an additional range of wide-aperture, manual focus lenses at a competitive price point.

This isn’t too much of a step into wishful thinking territory since the DSLR-centric Irix lenses were aimed mainly at Canon EF and Nikon F users. With DSLRs fading into history, it wouldn’t be a big jump to re-engineer the lens family for mirrorless use. This would involve down-sizing and making the construction more lightweight, but the result would be an excellent evolution of an established lineup.

Tokina might be more of a wildcard, but the FíRIN range is already available for Sony E Mount and other models can be bought for Fujifilm X. Having models like the atx-m 23mm F1.4 X PLUS for APS-C format Canon cameras could also come in useful if, as discussed earlier, Canon were to introduce a more retro-styled camera, thanks to the manual aperture ring and compact form. Of course, Canon will need to allow third parties to make lenses for its full-frame cameras first – they are currently locked out. All current third party lenses for Canon mirrorless cameras are for APS-C cameras (RF-S).

Let’s rethink camera and lens design

Cameras have looked fairly similar for the majority of the history of photography. Yes, it’s a tried and tested design based largely on practical and technical requirements, but in the digital age, manufacturers have far more latitude to get creative with control layouts than they’ve so far demonstrated.

Take a look at the Sigma BF, or the Sigma FP lines. They aren’t to everyone’s tastes, but there’s no denying that they are different. They represent a new direction in camera design thinking that starts to give us a glimpse of what a digital camera could look like. Sigma is no stranger to pushing boundaries like this, with a history of camera oddities like the SD Quattro H, which served a similar purpose. I don’t think all cameras should be like this, but I’d like to see further development, with a follow-up to the BF and the concept of a modular camera system, allowing photographers to build the camera that’s right for their style of shooting.

There is an argument that cameras can only get so clever before they stop being cameras. Autofocus is now powered by AI and takes much of the work out of the hands of the photographer; before we know it you’ll simply have to point the camera in the general direction of your subject and it will find them, follow them and pick the areas to focus on. We’re virtually there now, and before long re-focusing in post-production will be commonplace. Equally, it’s possible to shoot at up to ISO25,600 and above without much of a noise penalty.

In other words, camera tech is already near-perfect, so how much better can it get? I’d like to see more cameras and lenses with unique character, and less of a focus on absolute quality. People buy Leica cameras and lenses, such as the Leica M EV1, for their signature style, and I want more of that.

In 2026, my hope is that Typoch expands its unique Simera lens range for multiple mounts, and brands like Voigtlander develop lenses like their Nokton 50mm f/1.0 Aspherical. These optics aren’t always the absolute sharpest on the market, but they are still exceptional and bring a style of contrast and color reproduction that is unique to them.

Do we really need as many features?

In 2026, I don’t personally have much need to get excited by yet another generation of AI-driven subject tracking, but that doesn’t mean I wouldn’t like some features already found in some camera families rolled out to others. Let’s start with the humble memory card. I know that CFexpress cards are the future, but I have more high-performance SD cards than I can count, which irritates me slightly.

If I have a camera with dual card slots, I want both to accept the same format. That’s why I like the Canon EOS R6 Mark II and Fujifilm X-T5 – they are high-end cameras but don’t substitute one card slot with a CFexpress or XQD port like the Nikon Z6 III or Nikon Z8. I get the rationale: it allows photographers to slowly build up their stock of the newer format, but that doesn’t mean it isn’t a pain in the backside.

Sony cameras like the A7 VI and the recent A7 V, along with the A7R V, have dual slots that accommodate both types of memory card, allowing the use of a two-card setup even if you only have a single format. It’s a relatively simple solution to an otherwise significant inconvenience, and I’d love to see more brands implement it. Should a Canon EOS R5 Mark III make an appearance or a Nikon Z7 III, those would be the ideal opportunities.

Internal memory is another handy feature seen in the likes of the Leica M11, but is noticeably missing from other brands. This seems like another oversight and it’s something that should definitely be normalized in camera design.

What I don’t want to see from cameras and lenses in 2026

There are some directions that camera brands could take their products that I don’t feel would benefit the photography world in a meaningful way. I’d like to see a Leica M12 show up in 2026, potentially with a new processor and improved LCD screen, but what I don’t want is a departure from the established M-system design.

I don’t want the M12 to feature an electronic viewfinder, as seen on the M EV1, as I think this defeats the purpose of owning a rangefinder in this family. I doubt this would happen, as Leica generally knows their audience, but the allure of something shiny and new, especially if the M EV1 sells well, might be enough to dazzle the development team into heading down the wrong path.

I would also prefer that AI stays out of consumer-level cameras. While I’m not anti-AI, I think we need to make the distinction between traditional photography as an art form and AI-driven commercial appeal and convenience. I actually think that marrying cameras and AI could be a ticket towards prolonging the perceived relevance of the high street photographer – take the new Nano Banana-equipped Caira Camera – so long as it’s made clear that proper photographic understanding is required to create authentic moments.

For example, in-camera auto retouching, like the removal of obvious blemishes, might be a huge time-saver for wedding and portrait photographers. You’d shoot a reference image and highlight the bits that weren’t desirable, then the camera would filter these out for you. It would probably have to be done in RAW+Jpeg mode, so you had the unedited files to work on if needed, but it would be a genuinely practical use of AI to increase a photographer’s turnover.

You know what they say; if you can’t beat ‘em…

My 2026 Christmas camera wishlist

• A retro Canon camera
• Irix and Tokina to go mirrorless
• A follow-up to the Sigma BF and/or FP
• More Thypoch Simera lenses (specifically a Thypoch Simera 85mm f/1.4)
• A Leica M12 (with rangefinder)
• Universal memory card slots on more cameras
• More cameras with internal memory
• In-camera AI editing features
• Less industry consolidation: more products with unique design and aesthetic qualities

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We reported on the changes when they dropped, but as a recap: the first change is to how drones are classified – it’s no longer based simply on weight as some safety features will be considered too, but weight still plays an important part – and the second change is that you’ll need to turn on your drone’s remote ID, while the third is that most of you will now need to get your Flyer ID – which means you’ll need to pass a test.

It’s all well and good to know what changes have occurred, but it's also important to understand what you have to do. So here’s a handy guide to finding your Remote ID and taking your Flier ID test so you can make your drone compliant with the new rules.

How to turn on Remote ID

You can imagine Remote ID as a sort of drone license plate; it digitally broadcasts your aircraft’s serial number, real-time position data, and your operator ID – though it won’t share more personal info or a live video feed if your drone has a camera.

Many drone classes must have their Remote ID attached as of January 1, 2026, for several categories, including some drones grandfathered in under the old system. You won’t need to sort out Remote ID until January 1, 2028. Still, I’m a cautious person, and I’d just get it sorted for all your drones now if you can.

You can view your Remote ID number in the ‘My registration area’ on the CAA website. You’ll then need to look up the exact instructions for your drone on how to enter your remote ID into your device. However, it should be an option in your settings – usually under the Security, About, or dedicated Remote ID section.

How to get your Flyer ID

If you were already flying a drone that is 250g or heavier, you should already have a Flyer ID – that is, unless you like breaking laws. Now, the rules have changed, so you’ll need a Flyer ID for drones 100g or heavier, which will be anything other than simpler toys. I.e. your DJI drone.

The good news is a Flyer ID is completely free, and lasts for five years after you receive it – a much better deal than the Operator ID which you need to renew annually and pay £11.79 for. The bad news, you’ll need to pass a test to get a Flyer ID.

To access it, you can head to the CAA’s Get a Flyer ID page and press the big “Take the test and get a Flyer ID.” You’ll need an email address and a payment card on hand if you plan to renew your Operator ID at the same time.

The test should take you around 30 minutes, but there’s no time limit, and you can have the UK CAA’s Drone and Model Aircraft Code open in another tab to help you answer questions. You’ll need to get at least 30 out of the 40 questions correct, and you can always try again if you fail.

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It was a year in which often fairly iterative improvements to hardware were overshadowed by rapid and significant advances on the computing side of things. I’m talking, of course, about AI, which is now so dominant within the tech world that it’s increasingly hard to find a device that doesn’t have an AI brain.

Not that I’m complaining, because the leaps made in 2025 by the likes of OpenAI’s Sora and Google’s Gemini were truly astonishing; the pace of change is such that it feels like we’re squeezing about a decade’s worth of advances into each year now, and I wouldn’t like to predict what the state of play will be in 12 months’ time. Well, other than to say that we’ll be taking for granted things which seem almost impossible right now – although as our AI Editor Graham Barlow notes below, maybe we’re already doing that.

In comparison, it often looked in 2025 as though things were slowing down on the hardware side. Could Apple really make its already-excellent MacBooks much better? Could Samsung improve much on the superb Galaxy S series? Was there much scope for OLED TVs or wireless headphones or mirrorless cameras to develop?

The answer was yes, yes and yes. Though the upgrades to many models may not have been as big as those on the software side, they were frequently excellent in their own right. The improvements to battery life, screen tech and camera lenses may not be as flashy as those on the AI front, but they can make a real difference to how we use our devices on a daily basis. In many ways, tech fans have never had it so good.

Whether that will continue in 2026 remains to be seen. AI now looks to be having a direct – and negative – effect on component prices, which could make your favorite new phone or laptop more expensive in the coming year. We might also see stock shortages in some areas, which could further inflate those price tags.

It looks like we’re set for another year of exciting, chaotic, frustrating and interesting news, then – and we’ll be here with you every step of the way. Until then, I hope you’ve enjoyed reading TechRadar in 2025, and have a happy New Year!

My year in tech

I bent reality, but I failed to bend an iPhone

This year was marked by astonishing leaps in AI capabilities, which I tried to not only report on but experience in full. From my first experience with ‘vibe coding’ to wild leaps of fancy with Veo 3 (and later the Sora app) to creating my own digital double, AI’s fast-changing capabilities constantly amazed me.

Never in four decades of covering emerging technologies have I seen anything like it: AI’s rise continues to be a heady mixture of enthusiastic adoption tinged with white-knuckled fear about what it all means for jobs, and for humanity, and nothing we saw in 2025 did much to resolve that anxiety.

However, it was my conversations with those leading the AI and wider innovation charge that stood out. My interviews with Amazon’s Panos Panay about Alexa+ and Google’s Sameer Samat about the future of Android were particularly memorable, as was the moment when one of Apple’s top executives threw his brand-new iPhone Air to me during a video podcast and insisted that I try to bend it.

The rise of humanoid robots was a trend that shocked and pleased me in equal measure, though I’ve tried to temper my enthusiasm with the knowledge that clever marketing and eye-popping videos will only get us so far. We all want the ultimate home robot, but I still don't think many of us are willing to pay $20,000 to get it.

Away from all the AI and robots, I spent much of the year trying new phones, including redesigned iPhones and an incredibly thin folding Samsung phone, along with a wide range of wearable technology that included the Galaxy XR headset, and some very exciting AR glasses from Meta and Google’s Android XR group. Experiencing these felt like peering into our near technological future, which increasingly will be filled with on-demand AI, flexible phones, and maybe those robots.

The year in AI

This was the year we started taking AI for granted 

For all the talk of breakthroughs and hype, 2025 felt less like the year AI changed everything and more like the year it quietly became unavoidable. While the much-hyped arrival of super-powerful artificial general intelligence (AGI), predicted for 2025 by many, simply hasn’t materialized, the year has still been a strong one for companies such as OpenAI, xAI, Anthropic, and Google. That said, there have also been some massive flops; and as for Apple, it feels like yet another year in which it slipped further behind in the AI race.

ChatGPT maintained its vice-like grip as the most popular AI chatbot in the world, though it hasn’t been plain sailing for OpenAI. Legal challenges, particularly the copyright infringement claim brought by The New York Times, have continued to dog the company, and in June its servers crashed for a couple of days, giving the world a brief taste of life without the ubiquitous chatbot.

OpenAI then fumbled the ball with the release of its GPT-5 model, which came across as cold and unemotional compared to the previous GPT-4o. For millions of users who’d come to rely on the chatbot as something closer to a trusted companion it felt like a best friend had undergone a personality transplant overnight, forcing OpenAI to make the legacy 4o model available again.

The company has also lost a little ground to Google’s Gemini in recent months. The arrival of Gemini 3 Pro in November was well received, and on the image front, Gemini’s Nano Banana and Nano Banana Pro proved superior to ChatGPT for image generation. OpenAI responded with a new image-generation model in December.

AI-powered pets and toys also began to appear this year. We took Moflin for a spin, until we accidentally fried its battery. More broadly, the dominant theme of the year was that every product must now have AI built into it in some form, and no company exemplifies this approach better than Microsoft, which has spent the year enthusiastically stuffing Copilot into just about everything it makes.

Finally, the year looks set to end on a high note for Amazon. Alexa+, the AI-powered version of Alexa that Amazon has been promising all year but hasn’t yet managed to fully roll out, may finally be getting a web version, at least in the US.

THE YEAR IN PHONES

Slim pickings for thin phones, and hints of a tri-fold future

2025 was the year of the super-thin phone, writes Roland Moore-Colyer, Managing Editor, Mobile Computing, with the release of the Samsung Galaxy S25 Edge in the first half of the year, and the iPhone Air in the second. These handsets grabbed headlines with their svelte proportions, but so far sales figures have yet to match the hype.

That’s likely due to their relatively high prices in the face of already pretty slim iPhones and Galaxy and Pixel handsets, all of which saw the expected yearly upgrades with the iPhone 17, Galaxy S25 and Pixel 10 lines respectively. While the upgrades to the iPhone 17 family appeared incremental at first glance, I'd argue they're a bigger deal when you dig into the details: there was a new design and cooling system for the Pro phones, the standard model finally got a 120Hz display, and Apple's 48MP 'Fusion' camera came to every iPhone in the lineup, including the Air (the Plus model went the way of the dodo).

AI found its way into more phones and more features, with Google’s Pixel phones in particular boasting a whole host of genuinely useful smart tools. Meanwhile, Apple just about managed to distract us from the shortcomings of Apple Intelligence with its flashy Liquid Glass design and the eye-catching Cosmic Orange iPhone 17 Pro.

Some of the most interesting phones came from smaller brands, with the Nothing Phone 3 offering something a little different without scrimping on flagship features. There was the Oppo Find X9 Pro with its strange but useful camera kit, while the OnePlus 15 was the only phone to earn a maximum five-star review from us this year. There were also a clutch of affordable phones from the likes of Motorola and Xiaomi, proving that you don’t have to pay a lot to get a very capable smartphone these days.

We saw further evolution in the folding phone space, with the Samsung Galaxy Z Fold 7 leading the way, and Samsung also unveiled its first tri-folding phone, with the Galaxy Trifold joining Huawei's Mate XT, and teasing a future of devices that truly blend phones and tablets. We may even see a foldable iPhone in 2026, but don’t hold your breath.

THE YEAR IN COMPUTING

RAM drama enlivens a year of evolution over revolution

When it came to computing, 2025 didn't start off as the most promising year. While 2024 felt like a year of revolutionary change, with the explosive growth of AI, the fall of Intel, and the rise of Arm-based laptops that were actually worth buying, this year has felt more like we're in a holding pattern, as the innovations of the past few years are iterated on and refined.

The year kicked off with Nvidia launching its latest generation of consumer graphics cards, the RTX 5000 series, at CES 2025, and they encapsulated the ‘evolution, not revolution’ theme, with some great new features that haven't fundamentally shaken up the industry, as the introduction of ray tracing with the RTX 2000 series did. Of course, making a great product even better is no bad thing, and our components editor and GPU expert John Loeffler was suitably impressed, enthusing in his RTX 5090 review that “If you're a gamer, you'll still get impressive gen-on-gen performance improvements over the celebrated RTX 4090, and the Nvidia RTX 5090 is really the first consumer graphics card I've tested that can get you consistent, high-frame-rate 8K gameplay.”

I have an RTX 5090 and I love it, and I've also been impressed by its 8K performance in modern games, but with the majority of PC gamers still playing at 1080p, this high-end GPU might be a bit too expensive to justify. Other releases from AMD and Intel, plus Apple’s latest M5 chip, continued the theme of impressive releases that don’t massively change the computing landscape.

Perhaps the biggest event in 2025 was the continued rise of AI. Recently, the AI boom has led to a global shortage of memory, which has in turn caused an increase in the prices of devices that use it. All of a sudden, PCs, RAM, and GPUs look set to get increasingly expensive, though some, like our computing editor Christian Guyton, aren’t too worried – yet. Personally, the end-of-year drama is making me nostalgic for those early months when 2025 felt rather boring.

THE YEAR IN TVS

The era of giant, cheap TVs is here

This year saw two really interesting developments in TV technology, with the first being the arrival of a whole new kind of ‘Tandem RGB’ OLED TV panel from LG. This appeared in the LG G5, helping it to score the maximum five stars in our review, and in the fantastic Panasonic Z95B, enabling both TVs to hit stunning levels of brightness and color depth, but with reduced power consumption.

However, this new screen technology didn’t win either of those sets our TV of the Year award – that went to the Samsung S95F, which not only earned its own perfect 5-star review, but was also voted the top TV in the most categories by the judges in our flagship OLED TV showdown, which pitted it against the LG G5, Panasonic Z95B, and Sony Bravia 8 II.

The second big tech development was the arrival of RGB mini-LED tech – and, make no mistake, this is the next big thing. It’s more efficient than current mini-LED tech, and is capable of richer colors and less light leakage from bright areas to dark ones, and it could be the tech to finally knock OLED off its perch.

We know that Samsung, LG, TCL and Hisense will all launch RGB mini-LED TV ranges in 2026, but the Hisense UX116 was the only TV to use it in 2025 – and it was a mixed bag, with performance issues that disappointed given its eye-wateringly high price. Still, we’re excited to see how this tech develops.

But the biggest thing in TVs this year was the TVs themselves – as in, they got big and they got affordable. TCL and Hisense launched 85-inch and 100-inch TVs that were within the budgets of regular mortals, and 75-inch TVs are becoming positively cheap, while still being good. While new tech is exciting, huge TVs like the Hisense U8N and TCL QM7K becoming more affordable is the change that made the biggest difference for customers.

THE YEAR IN VR/AR

Android XR arrives to challenge Meta’s dominance

This year XR or 'extended reality' took center stage, thanks in large part to Android XR hardware finally breaking cover in the shape of the Samsung Galaxy XR headset. We also tested prototype Android XR glasses ahead of their expected release in the coming year, and they’re impressive (the glasses at least, the headset less so right now). Google, along with its Android partners, looks set to seriously challenge Meta in 2026.

For its part Meta debuted several new smart wearables over the past 12 months, including two pairs of Oakley smart glasses – the stylish HSTNs and the sporty Vanguards, the latter of which are perfect for runners when used with a compatible Garmin watch. We also saw a Gen 2 model of the Meta Ray-Bans, and the company's latest step towards full-on AR specs, the Meta Ray-Ban Display glasses, which as you can probably guess feature a display for the specs to relay info visually. We’ve tested them, and they’re everything Google Glass wanted to be, but right now they're not easy to get hold of.

What about VR headsets proper? Valve surprised no one (because the device was so heavily leaked before launch) with its Steam Frame headset announcement. Key details like the price are still a mystery, but it will be landing in 2026 – and when it does, the spec sheet teases a device that could seriously challenge the reigning champion of VR, the Meta Quest 3. Depending on how Valve handles the launch, I wouldn’t be surprised if it makes all other headsets feel obsolete – even the Galaxy XR and Apple Vision Pro.

Talking of Apple's mixed-reality spatial-computing headset, we got a new version with an M5 chip and comfier strap, but while it's a worthwhile upgrade the price still feels too high.

THE YEAR IN AUDIO

The year the big dogs bit back

If 2024 was the year niche UK hi-fi brands took over the dance floor amid a hiatus from audio's heavy hitters (see Bowers & Wilkins' fantastic Pi8 earbuds or Cambridge Audio's inaugural, affordable, adorable P100 cans), 2025 was the year the big dogs returned to the party and got their groove back.

We got five major headphones releases in 2025, starting with the Beats Powerbeats Pro 2 earbuds in February. The hotly anticipated update to the 2019 Powerbeats Pro proved that Apple could indeed deliver heart-rate monitoring in its earbuds.

Cut to May and Sony's WH-1000XM6 landed, to finally knock the 2020-issue WH-1000XM4 off the top spot in our best headphones guide. It was a similar story with the June arrival of the Bose QuietComfort Ultra Earbuds (2nd Gen), quickly followed by the Bose QuietComfort Ultra Headphones (2nd Gen) in September – a two-pronged attack on the market that saw Bose reinstated as the king of ANC.

However, this roundup wouldn't be complete without a nod to the biggest launch of them all: the fall arrival of Apple's AirPods Pro 3. The shape's different, the ANC is twice as good, and yes, like the Powerbeats Pro 2 they also keep tabs on your ticker, in a slightly different way, and with increasing third-party fitness-app support. Still the most popular earbuds in the world? Absolutely.

Elsewhere, Spotify Lossless finally landed, at no cost to Premium subscribers, offering almost-as-good-as-Apple-Music resolution at up to 24-bit/44.1kHz. While Lossless wasn't a huge hit with fans initially, the big green streaming machine's popularity continues to grow, despite concerns over artist payments.

Oh, and if you take note of just one audio brand name this year, let it be WiiM. As Sonos continues to tackle trust issues among its once-loyal fanbase, the plucky multi-room underdog unveiled its WiiM Sound (and now the WiiM Sound Lite) premium hi-res speakers – and the firm would love to help you build your wireless sound system around them.

THE YEAR IN CAMERAS

A memorable year for glass as well as for cameras

2025 was full of pleasant surprises for photographers. The Sigma BF was truly out of the ordinary, being dubbed ‘the camera Apple would have made’, while the Caira with its Nano Banana AI skills showed us a glimpse of how on-the-go generative editing can work in an actual camera.

Fujifilm and OM System showed us that user experience matters with the quirky X half and retro OM-3 respectively, while Hasselblad and Nikon delivered strong offerings of their own – my favorite stills camera ever, the X2D II, and a new player in the cinema-camera game, the Nikon Zr. A special shoutout goes to Nikon for becoming the best-value camera brand this year, notably for the excellent Z5 II, which is our Camera of the Year, and Z50 II.

It was arguably an even better year for new lenses than cameras, with Sigma, Sony and Viltrox in particular knocking it out the park with world-first and affordable optics. Canon continues to lock out third parties from its full-frame camera lineup, but that decision feels more justified after it launched the affordable and capable 45mm F1.2 STM prime.

A sense of order was restored towards the end of the year when Canon and Sony launched their anticipated mid-range full-frame cameras: the EOS R6 III and A7 V, both of which are integral to their lineups.

The long-threatened US ban on DJI products finally came into effect, and we saw a couple of major product launches from the brand in the build-up to it: the incredible (sort of) sub-250g Mini 5 Pro, and the DJI Osmo 360 – its first foray into 360 cameras, and rival to both the Insta 360 X5 and GoPro’s new Max 2. DJI is also being tipped to launch its first 360 drone soon, but Insta360 got there first with the truly innovative Antigravity A1.

Overall, it’s been a good year for camera fans, with demand seemingly remaining strong in the face of competition from increasingly capable smartphones. I’m predicting that the consumer and cinema camera spaces will continue converging in 2026, and I hope the likes of Viltrox expand our options with new and affordable autofocus zoom lenses.

The year in gaming

The Switch 2 makes waves, and GTA 6 looms over 2026

Gaming in 2025 was largely dominated by the arrival of the Nintendo Switch 2. It’s a safe improvement on the original Switch, and one that epitomizes the ‘evolution not revolution’ approach to console development.

The specs sheet won’t blow anyone’s socks off, but it’s a superb package that cements the Switch's position as the go-to handheld console; and it was so popular in the pre-order and launch phases that it took months for retailers to catch up with demand. It’s been backed up by some excellent games too, including Mario Kart World, Donkey Kong Bananza, Metroid Prime 4: Beyond, Kirby Air Riders, and Pokémon Legends Z-A.

Sony had its own say in the gaming handheld space, breathing new life into the PlayStation Portal handheld device, which is now capable of excellent cloud streaming. This has elevated the handheld, which we were already big fans of, to impressive new heights.

The PS5’s game library got a bump with Death Stranding 2: On the Beach and Ghost of Yotei, as well as titles including Borderlands 4, Battlefield 6, Arc Raiders and TechRadar Gaming’s Game of the Year, Clair Obscur: Expedition 33. Elsewhere, indie games ruled, with the likes of Blue Prince, Hades 2, and Hollow Knight: Silksong proving standouts in a strong year for releases.

It’s been a year to forget for Xbox, however, and its woes only accentuated the aforementioned successes for Nintendo and Sony. For starters, more Xbox games – including Gears of War: Reloaded – arrived on PS5, while others are set to follow, including the symbol of Xbox itself, Halo. Meanwhile studios were shuttered and prospective games cancelled, and to make matters worse the Xbox X/S were outsold by a tiny family console, the Nex Playground, over Black Friday. All in all it’s been tough going for Team Green.

As for 2026, it’s beginning to feel like the pace of progress towards next-gen consoles will quicken, and the game release calendar looks well stocked. However, a titan looms: Grand Theft Auto 6 is now slated for release in November after being originally planned for late 2025, and the whole gaming world is going to revolve around its arrival.

THE YEAR IN FITNESS

Time’s finally up for wasteful wearables, thanks to Google

Last year, I ended my contribution to this round-up by predicting a move away from fitness watches towards screenless trackers, such as a new WHOOP model, writes Matt Evans, Senior Editor, Fitness, Wellness & Wearables. Well, we got not one, but two new WHOOPs, and they were… fine. But, as prices rose, I found the ongoing subscription model far too expensive.

However, my prediction that we’d move away from smartwatches hasn’t really been borne out. Wearable tech isn’t changing much in the mainstream, with the highest-profile releases being a slate of new watches from Garmin, Apple, Samsung, Google and OnePlus, and they’ve been as popular as ever.

Look beyond those big releases, however, and interesting new stuff is out there. A subscription-free WHOOP competitor band was launched by Polar, while Core Devices, the resurrected Pebble watch company led by its original founder, unveiled a pair of watches inspired by the original Pebble designs, complete with low-power LCD-style screens, and open-source software that anyone with the know-how can tinker with.

Core Devices also launched a new kind of smart ring with a button and a microphone, which the company says acts as “external memory for the brain”. Elsewhere, the AirPods Pro 3 now have built-in heart rate sensors, and Meta teamed up with Garmin to bring us the Oakley Meta Vanguard sports specs. Cool new wearable innovations are happening, but it all still feels quite fringe.

My innovation of the year, however, came from Google. The Google Pixel Watch 4 is the first properly repairable smartwatch, as you’re able to take it apart and replace the battery and display. This enables you to change individual parts rather than the whole watch, reducing your contribution to e-waste, and saving you money in the long run.

Almost every other piece of wearable tech from every other company is still a sealed unit that will ultimately end up being disposed of, and I hope Google's move could be the catalyst for change that the wasteful wearable tech industry sorely needs.

THE YEAR IN ENTERTAINMENT

Streaming sensations, box-office flops, and merger madness

The biggest story of 2025 broke late in the year, and it concerned off-screen studio machinations rather than on-screen drama. Netflix’s $82.7bn bid for Warner Bros. sent shockwaves through the industry when it was announced in early December, and provoked a counter-bid from Paramount Skydance. There’s still a long way to go before a deal is approved, but should Netflix acquire one of the film world’s most iconic studios it would be a landmark moment for the streaming sector, and would represent a seismic shift for the entertainment industry as a whole.

Turning to the year's big theatrical releases, and numerous new movies flopped at the box office, including some with huge names attached (I’m looking at you, Dwayne Johnson and The Smashing Machine). Heck, with Captain America: Brave New World, Thunderbolts*, and The Fantastic Four: First Steps all underperforming, even the usually reliable Marvel Studios didn’t have a money-spinning hit on its hands. I wonder how many people predicted that animated and live-action/CGI hybrids would rule the theatrical roost, led by multi-billion dollar-spinning flicks like Lilo & Stitch, Zootopia 2, and Ne Zha II…

As for the major streaming services, users endured more of the now-customary annual price hikes, while Max raised eyebrows by rebranding itself – again – to HBO Max. On the screen, unexpected hits such as HBO medical drama The Pitt, plus Netflix's ‘one-shot’ drama Adolescence and pop-culture phenomenon Kpop Demon Hunters, proved that not even the savviest industry exec can really be sure what viewers will latch onto. Add in the return of unmissable shows including Severance and Stranger Things amid the glut of great and not-so-great film and TV releases, and there was plenty to keep our eyeballs engaged. Now, what have you got in store for us, 2026?

The Year in Smart Home

If the subscriptions don't get you, the fridge ads will

It's been a slow but not insignificant year in home technology as legacy brands scramble to keep pace with bigger, already tech-savvy players vying for their spot in our homes – whether that's Breville reinventing the toaster with a proprietary optical sensor, IKEA launching new renewable energy solutions, or Eufy and Dreame duking it out to give us the most effective stair-climbing robot vacuum.

Some brands were less innovative than others though. Dyson left some of us feeling snubbed with its 'new' (read: decade-old) vacuum, while Shark's TurboBlade Cool + Heat failed to impress despite its noble attempt at mimicking other SharkNinja product's viral fame.

Elsewhere we saw big plays from Amazon and Google in the smart home space, with the arrival of their AI-bolstered home assistants. Amazon's Alexa+ and Google's Gemini for Home both entered Early Access beta in the US, and while the early reviews for both have been mixed, it's a promising glimpse into the future of the connected home.

Both of those services are subscription-based offerings, and subscriptions look set to become a major battleground for smart-home brands, and a bone of contention between brands and their customers, as companies attempt to lock users into their ecosystems, as we've already seen with video doorbells. Between that, and brands like Samsung using screen-loaded appliances as advertising billboards around the home, now might be a good time to really think about which brands you want want to invest in as you build your smart home.

Take a peek at our list of the most exciting cameras to expect in 2026, and you'll see there's a mention of the DJI Avata 360 – and a fresh leak has now given us some additional information about the first 360-degree drone from DJI.

Veteran tipster @Quadro_News has posted an image that purportedly shows off the bundles we can expect the DJI Avata 360 to be available in. As you would expect, they pretty closely match what's available with the existing DJI Avata 2.

We've got a choice of options with additional batteries and carrying cases, as well as bundles with or without the DJI RC 2 remote controller (so if you already have one, you don't need to buy another).

The most expensive bundle appears to include both the DJI Goggles N3 for a truly immersive viewing experience, and the DJI RC Motion 3 controller, for controlling the flying machine via gestures rather than joysticks.

Pricing and power banks

We get some pricing on these bundles as well, though the numbers listed are in Chinese yuan. Direct currency conversions are unlikely to apply here once all of the taxes and duties and tariffs are taken into account.

To give you a rough idea though, the cheapest combo comes in at 2,988 yuan, which is about $425 / £320 / AU$640 using the currency rates at the time of writing. The most expensive bundle is close to double the price.

Of course there's a big caveat here: DJI drones are now banned in the US, so the DJI Avata 360 won't be launching in that country. For everyone else, this competitor to the Antigravity A1 from Insta360 should arrive sooner rather than later.

Meanwhile, the same leak from @Quadro_News also teases a DJI portable power station called the DJI Power 1000 Mini – which, judging by the name, will be a smaller version of the original DJI Power 1000 that launched back in 2024.

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I had a couple of misses. A new Pentax SLR film camera is yet to materialize (though I did note it was unlikely for 2025), while the Lumix S1H II, which I really did expect, turned out to be a Lumix S1 II, my video camera of the year. Not a bad track record.

Some brands make this game easy – we can typically expect new Samsung Galaxy flagship phones in Q1 every year, and the latest iPhone around September. Others are less predictable, but as a camera nerd it's nonetheless fun to dream about what could be.

For me, 2025 was full of pleasant surprises. Sigma's fabulously unique BF camera was truly out of the ordinary – being dubbed 'the camera that Apple would have made' – while the Caira camera with its Nano Banana skills showed us a glimpse of how on-the-go AI generative editing can work in an actual camera.

Fujifilm and OM System showed us that user experience matters with the quirky X half and retro OM-3 respectively, while Hasselblad and Nikon bucked rising prices with some strong offerings of their own: my favorite stills camera ever, the X2D II, and a new player in the cinema camera game, the Zr.

Beyond cameras, it was arguably an even better year for new lenses, with Sigma, Sony and Viltrox in particular knocking it out the park with world-first and affordable optics.

So what does 2025 teach us as we look ahead to the coming year? There will be a few of the usual annual launches, but hopefully plenty of surprises, and ased on products past, current rumors and a little wishful thinking, I've put together my 12 most exciting cameras for 2026, in reverse order of desirability – let me know which cameras you're most excited for in 2026 in the comments below.

The list

12. Samsung Galaxy S26 Ultra

• Likelihood rating: 5/5
• Excitement rating: 2/5

Samsung Galaxy flagships are almost always launched in the first quarter of every year, and so we probably don't have long to wait for the S26 line, which usually includes three variants spearheaded by the 'Ultra' model.

So far, Galaxy S26 rumors have underwhelmed for photography fans – in short, we're not expecting the kind of camera array shake-up seen in the latest iPhone 17. For example, the S26 Ultra is tipped to feature the same 200MP main camera, 50MP ultra-wide camera, and 50MP periscope camera with 5x zoom as the S25 Ultra. There could be a minor bump in resolution for the additional telephoto camera, from 10MP to 12MP, but otherwise that could be it for the Ultra model upgrades, while the S26 and S26 Plus could also inherit that 12MP telephoto camera.

That's not to say there won't be any surprises in store – and in fairness to Samsung the S25 Ultra already possesses one of the best camera phone setups around.

11. GoPro Hero 14 Black

• Likelihood rating: 3/5
• Excitement rating: 3/5

2025 was the first year in a decade that we didn't see a new GoPro Hero Black model – but the brand assured us that its flagship action camera isn't dead, it's just resting. We got other new GoPro cameras in 2025 (the GoPro Max 2 and the GoPro Lit Hero), and we suspect the brand has slowed its Hero Black cadence not only to make room for those, but to see what competitors like Insta360 and DJI are up to.

There's a feeling that the next Hero Black needs to be a bit special, and a minor evolution of the excellent GoPro Hero 13 Black wouldn’t have cut it in the current market. So what are the big changes we might see in a Hero 14 Black? A new sensor and processor capable of 8K video capture could be on the cards, and GoPro could certainly make improvements to the Hero Black's low-light image quality, either through the new sensor or a faster lens.

And there's likely to be more than the Hero Black on the way, too. We're still awaiting GoPro's first motorcycle helmet, which should integrate tech derived from Forcite, the Australian smart helmet manufacturer acquired by GoPro in 2024. GoPro could also launch totally new action cams in 2026, according to CEO Nick Woodman. All in all, 2026 could be a bumper year for the brand.

10. DJI Osmo Pocket 4

• Likelihood rating: 5/5
• Excitement rating: 4/5

The heavily rumored DJI Osmo Pocket 4 looks set to shake up the vlogging camera market with two game-changing features: a dual-camera setup and a second screen. The dual sensors could enable simultaneous front and rear recording – perfect for capturing both the action and your live reaction – while rumors suggest video capabilities will jump to 4K at 240fps, up from the Osmo Pocket 3's 60fps maximum.

Some leaks even hint at 6K recording with 10-bit color depth, though multiple variants (including a Pro model) might be on the cards. We could also see a battery bump from 1,300mAh to 1,545mAh, and the whole package might come in a slightly taller body. It's set to be an aggressive upgrade that addresses the main criticisms of the Pocket 3 while maintaining the gimbal-stabilized form factor that's made it a hugely popular vlogging camera.

The Osmo Pocket 4 has already cleared approval with US regulators, and could arrive any day now, with the frequency of recent leaks suggesting an imminent announcement. However, there's one major complication for US-based consumers – the government's blanket ban on all DJI products, which suggests the Osmo Pocket 4 won't be launching at all stateside.

9. Sony FX3 II / A7S IV

• Likelihood rating: 4/5
• Excitement rating: 4/5

Sony surprised us all when it dropped the RX1R III premium compact last year without even a murmur on the rumor front, and also because it came a full 10 years after the RX1R II. We thought the line was dead – turns out it wasn't! Could Sony do the same thing with its 4K video specialist E-mount camera series, updating the A7S III from 2020? I'm not so sure about a rumored A7S IV, but stranger things have happened.

What is perhaps a wiser bet is upgrades to any one of those Sony full-frame cameras that use the same 12MP sensor as the A7S III, which excel in low light in particular, and they include the Sony FX3 and Sony ZV-E1. Indeed, Sony FX3 II rumors surface regularly, especially since Canon and Nikon piled on the pressure with the EOS C50 and Zr respectively.

So what can we expect from Sony? The rumors suggest that a 24MP stacked sensor will be rolled out to multiple Sony cameras, with triple base ISO, 6K video up to 120fps, and 4K 120fps oversampled from 6K. There's also a suggestion that open gate video will feature. All of these features would represent a significant step up from the FX3, A7S III and ZV-E1, while a successor to the FX6 Cinema Line full-frame camera has also been mentioned.

If I was to place a bet on any of the above getting a successor this year it would be the FX3, and an FX3 II would cement Sony's position as a go-to camera maker for small-production filmmakers.

8. iPhone 18 Pro / Pro Max

• Likelihood rating: 4/5
• Excitement rating: 4/5

After years of iterative upgrades, the iPhone 18 Pro might be the big leap forward we've been waiting for. If rumors are correct, the headline feature may be a variable aperture for Pro models – finally giving us real control over light intake and depth of field rather than software approximations – which would put Apple on par with the few Android manufacturers brave enough to include the feature. Analyst Ming-Chi Kuo has reported that Apple has placed a huge order for variable-aperture lenses and shutters, seemingly destined for the iPhone 18 Pro.

Pro models are also rumored to get a new triple-layer Samsung sensor promising faster response times, better dynamic range and cleaner low-light shots, according to an X post by serial leaker Jukan. Meanwhile, there are rumors that under-display camera tech could finally see the awkward notch we've lived with since the iPhone X ditched, creating an uninterrupted screen that'll make composition more immersive.

Chuck in other rumors, like the jump to 3nm chipsets for serious computational photography muscle, 12GB of RAM across all models and the potential for 10x optical zoom on the Pro Max, and you've got a package that could finally silence critics who say iPhones have fallen behind rivals in the camera stakes.

Current rumors suggest the iPhone 18 Pro and Pro Max will launch in September 2026, so expect plenty more rumors in the meantime.

7. Ricoh GR IV Monochrome

• Likelihood rating: 5/5
• Excitement rating: 4/5

Ricoh announced the excellent GR IV premium compact camera in mid-2025, and it was launched globally a few months later.

The GR IV came six years after the GR III, and delivers a respectable set of upgrades, not least of which is a new 26MP APS-C sensor with 5-axis stabilization, which is squeezed into an even smaller body that slips into a pocket, supported with improved battery life and more internal storage.

It wasn't the upgrade I'd specifically hoped for, but I expect the GR IV to be a top seller nonetheless. What really grabbed my attention, though, was that shortly after the GR IV launch Ricoh told us that a GR IV Monochrome is in the works. It will likely be identical to the GR IV, but with the color filter array removed so that, as its name suggests, it's monochrome-only.

The upshot will be better sensitivity to light, and a more natural grain in images with a filmic quality, based on my experience with other monochrome digital cameras. I tend to shoot mostly in black and white with my own GR IIIX, and so this niche version of the GR IV is of particular interest – and it will be priced much more accessibly than the pricey Leica Q3 Monochrom.

We can be pretty confident that this camera will indeed see the light of day, though at the time of writing there's no word on a time frame – I'm hoping we'll see it by mid-2026.

6. Nikon's next cinema camera

• Likelihood rating: 3/5
• Excitement rating: 4/5

Nikon acquired major cinema player RED in March 2024, and just 18 months later it has already relaunched two existing RED cameras with Nikon’s Z-mount – a new and more affordable V-Raptor XE, plus a completely new line of Nikon Z 'Cinema Cameras', kicking off with the Nikon ZR.

Branded Nikon RED, the ZR was surprisingly polished, inheriting a lot of tech from the Nikon Z6 III, including 6K 60fps video recording with in-camera 12-bit RAW. However, it added a new RED R3D 'NE' codec, 32-bit float audio capture, and a rival-beating 4-inch touch display, all squeezed into an impossibly small body, and available at an affordable price that heaped the pressure on Sony, Canon and Panasonic.

At the IBC show in September, Nikon also announced that it's making cinema lenses, so it's clearly investing in this space. However, it's the prospect of another Nikon Z cinema camera that has serious videographers excited. The Zr was clearly designed to be as light and small as possible, like the Sony ZV-E1, but a chunkier model with proper connectivity and modular design would really make the cinema camera world sit up and take note.

There are no credible rumors yet, so will such a camera come in 2026? The safer bet would be 2027, if at all, but given that Nikon is putting on the afterburners in this space, don't be surprised if a bigger sibling to the Zr arrives this year. Or, Nikon could go the other way and make an even more affordable version of the ZR with a smaller APS-C sensor. Either way, I'm expecting plenty more action in the prosumer cinema camera space following a bumper year in 2025.

5. Leica M12

• Likelihood rating: 4/5
• Excitement rating: 4/5

Rumors about Leica's next fully fledged M series camera began circulating in the middle of 2025, with leaked images hinting at some impressive updates to the classic rangefinder design – a larger rear screen (3.9-inch as opposed to the current Leica M11's 2.95-inch display), a new dial behind the shutter button, and potentially the removal of the ISO dial completely. The overall result appears to be more minimalist than previous M-series models, with fewer buttons and dials overall.

Mockups obtained by Leica Rumors suggest the rangefinder setup itself may be evolving into a hybrid design combining the benefits of optical and electronic viewfinders. It's something we've not seen from Leica before, but Fujifilm's X100 series has something similar. Leica users are famously very fond of the uique experience offered by the M series' optical rangefinder, but the brand has shown a willingness to stray from its traditions recently with the EVF-equipped Leica M EV1. Perhaps the M12 will offer something in the middle, pleasing traditionalists and casual users alike.

4. Canon PowerShot V3

• Likelihood rating: 3/5
• Excitement rating: 4/5

Canon was one of few leading brands to launch a genuinely new and exciting compact camera last year – the excellent PowerShot V1. The vlogging camera featured a new 1.4-inch sensor and Canon's best autofocus performance in a PowerShot to date, plus video-friendly features such as a built-in ND filter.

So what's next from Canon in this space? According to repeated albeit soft rumors throughout 2025, including after the launch of the V1, it could be a high-quality travel zoom compact with the same 1.4-inch sensor, called the PowerShot V3.

The camera's rumored specs read like a wishlist for point-and-shoot camera fans, with that 1.4-inch sensor, a 20x optical zoom and improved EVF, and they might just be that – wishful thinking. However, the space has proven popular yet unserved in 2025 with new models, that it's about time leading brands stepped up and delivered.

At this level, Sony has diverted its attention to the vlogging camera space, while Panasonic is pretty much inactive besides occasionally rehashing an old model, as it did with the Lumix ZS99 / TZ99; so what say you Canon? Will you deliver a stunning point-and-shoot more aimed for photographers this year? If anyone can, it's you.

3. Fujifilm X-Pro 4

• Likelihood rating: 3/5
• Excitement rating: 4/5

We've been hearing rumblings about a Fujifilm X-Pro 4 for over two years now, and with no sign of the premium APS-C rangefinder in 2025, a 2026 release seems plausible. The X-Pro 3 was released way back in late 2019, so it's high time Fujifilm got round to rolling out a proper replacement. While we adored the recently arrived Fujifilm X-E5, it's an entry-level rangefinder, rather than the premium camera we believe the next X-Pro will be.

According to PetaPixel, which interviewed Fujifilm imaging executive Yuji Igarashi in March 2025, the reason we haven't already seen an X-Pro 4 is that Fujifilm wants this camera to be more than just another iterative release. Igarashi confirmed that a new X-Pro camera will be introduced one day, but said it would need to be "something which would satisfy the expert users". Whether that means it's coming with some game-changing new feature, or simply promising top-line performance, we don't know.

The X100VI and X-E5 have already introduced 40MP sensors, the X-Processor 5 and in-body stabilization to Fujifilm's lineup, so the X-Pro 4 will need to go further if it wants to truly impress – and that means we may not see one for quite some time yet. As Igarashi himself told PetaPixel, "We probably made it difficult for ourselves, because we perhaps made the X-Pro [range] too special."

Expectations and excitement are high for this potential 2026 release, but we know next to nothing about what shape the X-Pro 4 might take, or when it might arrive. It might not be the only new X-series camera arriving in 2026 either – rumors abound that an X-T6, a follow-up to the wonderful Fujifilm X-T5, is also in the works.

2. Canon EOS R7 Mark II

• Likelihood rating: 4/5
• Excitement rating: 5/5

Of all Canon's current mirrorless camera lineup, it's probably its flagship APS-C model that's most due an update. The EOS R7 was launched back in 2022, and a potential successor has been one of the most rumored cameras over the last 12 months. Could 2026 finally be the year?

Should the EOS R7 Mark II land, it will likely be among the most powerful crop-sensor cameras ever made, especially for photographers. Rumors suggest it'll be like a crop-sensor alternative to the full-frame EOS R5 Mark II, with a likewise faster stacked sensor and potentially 32MP stills as before, or a higher-resolution 40MP to rival Fujifilm.

There could be the same processor and DIGIC accelerator as in the EOS R5 Mark II and EOS R1, 40fps burst shooting with pre-capture, plus clever in-camera upscaling. There are also suggestions that its chassis could be inherited from the EOS R5 Mark II. Put simply, the EOS R7 Mark II would put other high-speed APS-C cameras in the shade, and would be an excellent sports and wildlife photography camera, assuming Canon delivers some high-end RF-S glass to capitalize on its potential.

1. DJI Avata 360

• Likelihood rating: 5/5
• Excitement rating: 5/5

The world's first 360 camera drone, the Antigravity A1, arrived just before the end of 2025 – but it won't be operating in a category of one for long. Despite the now-in-effect US ban on its products, drone market leader DJI is rumored to be preparing its own 360 drone, reportedly named the DJI Avata 360. Like the A1, this apparently comes bundled with a set of FPV goggles for immersive flight control, and will reportedly use dual 1/1.1-inch sensors to capture full 360-degree 8K video of everything around it. Users will then be able to reframe shots in using DJI's mobile or desktop apps.

The Avata 360 sounds, essentially, like a flying DJI Osmo 360, which is no bad thing – the Osmo 360 is a superb alternative to the Insta360 X5, despite being DJI's first effort in the 360 market.

Much will depend on how the Avata 360 differs from the Antigravity A1, which impressed in many ways but comes with a very steep asking price. There's a suggestion that its camera unit will be able to rotate 90 degrees to switch between 360 capture (with up-facing and down-facing cameras), to a single-lens FPV mode (with the camera facing forward) – that sounds truly smart. If DJI can undercut its rival on cost, while delivering a similar experience, it could become the go-to 360 drone maker – outside of the US, at least.

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Drone laws in the UK have just changed – as of January 1, 2026, the UK Civil Aviation Authority has rolled out a major overhaul of drone regulations, introducing UK-specific class markings and phased Remote ID requirements that will affect everyone from casual hobbyists to professional operators.

There are two big changes. The headline one is the introduction of UK Class Marks – labels ranging from UK0 to UK6 that show a drone meets specific safety and technical standards. Similar to the EU's C-class system, these markings will be mandatory for all new drones sold from 2026 onwards, with each class determining where and how you can fly.

A UK0 drone (under 250g) can fly over people but not crowds, while a UK1 (under 900g) comes with built-in safety features like geo-awareness. UK2 drones (under 4kg) are designed for "near people" operations if you hold an A2 Certificate of Competency, while UK3 and UK4 cover heavier aircraft and traditional model aircraft respectively.

If you already own a drone, don’t panic. Legacy drones (in other words, drones purchased before January 1, 2026) remain completely legal to fly, but will operate under weight-based rules rather than class-based ones.

A sub-250g legacy drone can still operate in the A1 subcategory (renamed "Over People" for clarity), while drones between 250g and 25kg default to A3 ("Far from People") unless you hold an A2 Certificate of Competency.

The catch? Legacy drones won't benefit from the reduced separation distances that class-marked models offer, so pilots who want maximum flexibility may want to upgrade.

Show me your ID

The other major change is Remote ID – essentially a digital license plate that broadcasts your drone's identification and location data during flight.

As of January 1, 2026, this becomes mandatory for UK1, UK2, UK3, UK5 and UK6 drones, with the requirement extending to all drones 100g or heavier with cameras (including legacy models) from January 1, 2028.

The system broadcasts your operator ID, the aircraft's serial number and real-time position data, but not video feeds or personal information. Operating a drone without Remote ID after the applicable deadline will be a criminal offense.

Registration thresholds have been tightened up too. Previously, you needed a Flyer ID for drones 250g and above; from 2026, that drops to 100g. Similarly, Operator ID registration now applies to any drone 100g or heavier with a camera, or 250g or heavier regardless of camera.

It's a small change, but one that brings more drone users into the formal registration system.

What this means for drone hobbyists

For the average recreational pilot flying a DJI Mini 4K or similar sub-250g drone, the practical impact of these law changes is relatively modest.

You'll need to register from 100g rather than 250g, and enable Remote ID by 2028 if your drone has a camera. Otherwise, the fundamental freedoms remain unchanged – you can still fly over people (though not over crowds) and enjoy the same operational privileges you have today.

If you're flying something heavier, the picture is slightly more complicated. Legacy drones will default to the more restrictive A3 subcategory unless you've obtained an A2 Certificate of Competency, in which case sub-2kg drones can operate in A2 with a 50-meter separation from uninvolved people. To access the closer proximities that UK2 class-marked drones offer – 30 meters standard, or just five meters in low-speed mode – you'll eventually need to upgrade to a class-marked model.

There's a grace period built in, thankfully. EU C-class drones will continue to be recognized as equivalent to their UK counterparts until December 31, 2027, meaning a C1 drone from DJI or another manufacturer will be treated as UK1 until that date.

This means, for example, that the C1-rated DJI Air 3S will be subject to fewer flight restrictions, as it’ll drop from a 250g-plus drone to a UK1-rated drone – until the end of 2027, at least. It gives the market time to adapt and manufacturers time to bring UK-certified products to market.

One final requirement to note: from 2026, all drones flown at night must carry a flashing green light visible to others, helping to distinguish them from manned aircraft.

The CAA is positioning this all as an evolution of the existing rules, rather than a drastic overhaul. Kevin Woolsey, Head of Remotely Piloted Aircraft Systems at the UK Civil Aviation Authority, said the changes are "a major step in creating a regulatory framework that is ready for the future" while enabling the sector to grow and innovate.

For UK-based hobbyists, the message seems to be: your current drone stays legal, but greater accountability through Remote ID and registration is required. Thankfully, that seems to be balanced by greater freedom through the introduction of UK-specific class-marked aircraft.

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And yes, so-called ‘intelligent’ features have been present in applications like Adobe Photoshop for a while, but at nowhere near the level of sophistication we’re seeing today. Compared to apps like Firefly and ChatGPT, they’re chalk and cheese.

Of course, that is changing, with the announcement that Adobe Photoshop is now built into ChatGPT for free. From what we've seen so far, it looks as though this is going to be another great practical tool for photographers.

Since the dawn of generative AI, most of the conversation has been focused on the potential negative consequences for photographers – if it will take our jobs or render cameras redundant – but there has been relatively limited discussion about how the use of AI can enhance how we take images.

The internet is buzzing with articles describing technical features like AI-integrated autofocus systems, subject recognition, and AI-driven upscaling etc., but what about the human element?

It’s important not to forget that all AI models are trained on content created by humans. In other words, using all of the web as its inspiration, AI is actually geared to offer an overview of how humanity interacts with the world and how this makes us feel: the Human Condition.

I was recently contemplating why I take photos in the first place, and how my images reflect my personality. And what better way to explore this than with some healthy critique by someone (or something) that potentially knows me better than I know myself?

I decided to see how ChatGPT might approach a review of my images. I suspected that some feedback would be generic in its focus, clearly drawn from pre-existing reviews of similar photographic works. Understandably, AI would be technical in its choice of elements to review, but I was especially interested to see if it could offer tailored suggestions for how I specifically could improve my photography, while remaining true to my interests, values, and artistic preferences.

As a framework for testing how ChatGPT responds to my prompts, I’m looking for each answer to hit one of three pillars: honesty, breadth of analysis and understanding. Honesty is fairly self-descriptive – how much does it tell me what I might not want to hear?

Breadth refers to the amount of detail responses go into and the demonstration of photographic expertise. Finally, understanding means the extent to which the AI can show it recognizes human traits and creative influences.

Question 1: basic query

Can you critique this cityscape image from my portfolio?

I thought I’d start by giving ChatGPT as little direction as possible. I uploaded an example image in isolation, introducing myself to the algorithm, as it were, and let the AI pick which elements it thought worthy of analysis. Its first response was typically upbeat.

“Thanks for sharing this—there’s a lot working very well here.”

Thanks! However, if I were talking to a human, I’d be expecting a ‘but’ to follow. I was pleasantly surprised.

“The lighting is the standout strength of this image. Golden-hour backlighting creates a warm, atmospheric mood and gives the scene a strong sense of time and place. The low sun adds depth through long shadows and rim light around the figures. The flare and haze feel intentional rather than distracting. They soften the scene and enhance the cinematic quality. Highlights are well controlled overall. The sunlit pavement is bright but not blown out, which suggests good exposure discipline.”

I can already make an interesting observation: ChatGPT can identify which characteristics of my shot other humans are likely to find attractive. I’d expected it to start with the technical aspects, such as my choice of shutter speed, metering mode, and f-stop (later, it did identify that the camera – a Sony A7 V – must have a good dynamic range), but instead it honed straight in on the aesthetics.

This is definitely a human-like reaction. When was the last time you showed someone an image and the first thing out of their mouth was “I love your choice of ISO”? It’s far more likely they’d reference the sunlight, the shadows, how autumnal the image looked, or what it made them feel. I then got my first bit of gentle criticism.

“One small consideration,” ChatGPT begins, like a friend who’s afraid to hurt my feelings. “the brightest area near the top center pulls the eye quite strongly. That’s not necessarily a flaw, but slightly reducing highlight intensity there (either by framing or post-processing) could help keep attention more firmly on the pedestrians”.

Hmm, okay, I take the point. I wanted to introduce a hazy wash of light, so it was intentional, but at least the AI seems to have guessed this was the case. Other suggestions included cropping in a little tighter using a telephoto lens, a trend we’ll discuss again soon, and lifting the shadows on the left of the frame. Overall, this response managed to hit two of our three pillars, Honesty and Breadth.

ChatGPT feedback: This is a strong, confident street photograph with a cinematic feel. The light is used deliberately, the composition feels thoughtful, and the technical execution supports the story

My impressions: ChatGPT is capable of seeing an image from the viewer’s perspective, but given a generic prompt, it’s likely to keep feedback generic.

Question two: chasing criticism

Give me a review of my cityscape photo. Tell me what you think about the quality of the lighting, the composition, and the technical considerations such as my choice of shutter speed, aperture, white balance etc. What can I do better?

Next, I provided a prompt with greater specifics of the parts of an image on which I wanted feedback. With this question, I was looking for harsher criticism on areas I might not have considered.

“The image succeeds as a dynamic, energetic urban scene. The long-exposure light trails immediately communicate movement and modern city life, while the historic architecture anchors the frame and gives it identity. It’s visually engaging and clearly well executed,” is ChatGPT’s initial observation.

Once again, it starts with a reinforcing positivity, which I suppose I would mirror when reviewing a stranger’s photography. I do suspect this is to ensure people keep coming back to the app. This is followed by a more direct criticism.

“Saturation is pushed fairly hard, especially in the reds and purples. It looks good at first glance, but on longer viewing it edges toward “HDR cityscape” territory.”

I was kind of hoping it would notice this, as it was the image parameter I would probably have highlighted first if I were performing a portfolio review. The saturation on this shot had been turned up in Affinity Photo for a specific paper stock; in print it would look fine, but the JPEG does look overcooked. The rest of the feedback on my choice of camera settings was complimentary, but the final word surprised me.

“The composition is very centered and very balanced. While this works, it also makes the image feel a bit safe.”

I don’t actually agree with it in this case, since the placement of the clock tower was largely dictated by editorial requirements, but of course, ChatGPT didn’t know that. What’s interesting is that without too much of a detailed prompt, it was encouraging me to take risks with my framing.

This is excellent as many beginners don’t really know what to ask or that central framing might be considered a bad thing. The AI was able to provide some professional insight, the type I’d hope to receive on a one-to-one workshop with a pro. This fulfilled the second of our three pillars, Breadth of analysis.

ChatGPT feedback: This is a polished, technically accomplished cityscape, and it would sit comfortably in a curated urban portfolio. Bringing a bit more of your personal voice or risk-taking into images like this would be the next exciting step.

My impressions: Describing your intent is necessary for targeted, practical feedback, but AI can recognize common beginner mistakes and competently offer advice for improvement.

Question three: advanced prompt

I'm curating a portfolio of seascape imagery. How would this more abstract image sit alongside other, more traditional, coastal photography? Can you give me some for improvement when capturing this style of image?

So far, ChatGPT has been able to point out minor areas of improvement, but I still suspect much of this is pulled from stock answers and generic photography reviews. Yes, it has pointed out some specifics in my images, but I’m not yet convinced it understands my intentions and creative outlook. Therefore, for my next prompt, I gave it a more conceptual image to analyse along with a two-component question, asking for ideas on the frame itself and its wider use in a portfolio.

“This image would actually strengthen a seascape portfolio—provided it’s curated thoughtfully”, it begins, with the ubiquitous em-dash included to remind me I’m talking to AI. “It plays a very different role from classic coastal vistas, and that contrast can be an advantage rather than a liability.”

The model then goes into some depth on how an abstract image differs from something more literal. I guess this could be considered an understanding of intention, although my direct reference to abstract photography in my prompt could have given it a head start. I felt it was more creative in its advice for how I could incorporate the image in a portfolio or book.

“Where it wouldn’t work is as an opener or a dominant style unless the entire portfolio leans abstract,” it points out. “Instead, this is best placed after a calm, minimal horizon image. Think of it as poetry between prose.”

ChatGPT feedback: This image doesn’t dilute a seascape portfolio—it deepens it. It shows sensitivity to time, movement, and human presence, which are all intrinsic to the coast. The key to improving this style isn’t more blur or more abstraction—it’s precision within softness. The more intentional your choices feel, the more powerful these images become.

My impressions: The more detailed your enquiry, the more targeted and specific ChatGPT’s response. It helps if you already know what you’re looking for and the types of feedback you require.

Question four: testing understanding

I'm having trouble defining my photographic style. Based on these images and the ones you've already seen earlier, how would you describe my artistic style? How do my images stand out from other photographers and what more can I do to further develop my signature 'look'?

For my final attempt, I thought I’d really test ChatGPT’s ability to demonstrate that it understood me as a photographer, and what I am often trying to achieve as a creative person. This is often what separates a good tutor from a great one. General overviews of someone’s portfolio are useful, but it won’t always help a student learn to express themselves creatively. After showing it a selection of images, the AI opened with predictable optimism.

“This is a really good—and very honest—place to be in your development. The fact that you’re questioning your style now usually means one is already emerging.”

Helpfully, it then goes on to give its impression of what my style actually is, something I’ve not been able to easily extract from other human photographers over quite a few years. And this is where things got really interesting.

“You photograph atmosphere more than subjects, and time more than place,” it highlights. Yes, I’d say that’s true. I rarely chase specific subjects and find myself trying to isolate details in whatever location I happen to be in. I don’t often go somewhere with a precise idea of what I’m going to shoot.

“You are not a “decisive moment” photographer. You are closer to a temporal photographer, someone interested in what happens between moments,” it tells me. I was quite taken aback by how insightful this comment is, and am somewhat relieved to hear confirmation of something that has long concerned me about my style.

“You’re Consistent in Intent (Even If Not in Genre). Although your subjects vary (city, coast, landscape, abstraction), your intent is consistent. Many photographers shoot multiple genres without coherence. You don’t. The emotional register of your images is remarkably steady. That’s already a style.”

I’d say that just about hits our third pillar, understanding.

Conclusion

The Instagram gods don’t especially like my wide variety of chosen subjects, but that hasn’t deterred me from exploring them. I do indeed like a cinematic lighting style, and I have always tried to apply this to a multitude of genres. AI successfully identified this and I was surprised by its interpretation of my creative intent. It was spot on. And it was good to hear some reaffirmation that I have been able to apply something resembling a uniform style across all of my subject matter.

I do have some general observations of ChatGPT’s ability to interpret a prompt in this context. Firstly, don’t think that just because it isn’t a person that it won’t try to people-please. Unless you ask it to be harsh, and even when you do, there is a trait of cautious positivity. Inevitably, AI companies want happy users, because these are more likely to continue using the product. While this might do wonders for your ego, it’s better to ask for specifics.

AI is very good at technical analyses. After all, it has literally billions of images from which to draw inspiration. It can tell you if something is sharp, if the composition adheres to established framing conventions, and if your f-stop is appropriate. However, ChatGPT has demonstrated that it can also identify the elements of an image that a human would find appealing.

I wouldn’t choose to speak to AI before going on a workshop with another photographer, or reading a succinct piece of editorial on an esteemed tech website just yet (cough*), but with careful prompts, it can work as a fantastic mirror to discover what you hope to get from photography.

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Not that the Lumix ZS99 / TZ99 is a bad camera per se, and to be fair no other leading brand released a new camera this year like this, at such a low price point. It sits in my best point-and-shoot cameras guide, too.

However, the point is that the Lumix ZS99 really isn't a new camera at all, just a tiny update of a six-year-old model, now with USB-C charging. Worse still, Panasonic removed the electronic viewfinder from the older model – presumably to keep costs down – taking what feels like a backwards step.

It's a sad reality that a point-and-shoot camera for 2025, with a 30x optical zoom, flip up screen and huge potential, could be worse than in 2019, rather than reaping the benefit of its maker's latest features in what could have been a tasty upgrade.

Is there really no business case for new point-and-shoot cameras?

I'm no business expert, but it feel as though the trending point-and-shoot and compact camera markets are worth exploring, yet it's a space that Panasonic, Sony, Nikon and others continue to ignore.

And like Sony, Panasonic feels particularly well placed to take advantage of the surge in interest – after all it made some of the best point-and-shoot cameras from the last decade, such as the Lumix LX100 II and Lumix ZS200 / TZ200.

Since the Lumix ZS99 / TZ99's predecessor, the Lumix ZS80 / TZ95 from 2019, however, Panasonic has invested heavily in hybrid full-frame cameras instead, plus a little in Micro Four Thirds (MFT), making some of the best video cameras in each format, such as the Lumix S1 II and Lumix GH7. It hasn't brought any of that tech into new and improved point-and-shoot cameras.

Instead, we get a rehashed Lumix ZS80 / TZ95, whose only improvement is the admittedly useful addition of USB-C charging, offsetting the backwards step of removing the viewfinder from the older model. Besides it having a 30x zoom, a decent camera phone will likely take better pictures than the ZS99.

True, you won't find many other new cameras like the ZS99 from leading brands at this price point, and I was happy that Panasonic kept its series also known as travel zooms alive, but I still don't think it's unreasonable to expect better upgrades.

Canon, on the other hand, is to be commended for its new PowerShot V1, which is a fabulous point-and-shoot for vlogging, with a new sensor, Canon's best autofocus yet in a (PowerShot) compact camera, and other upgrades.

If I was in Panasonic's shoes, I would be diverting some attention to affordable point-and-shoot models. There are even growing calls from Lumix fans for the return of Panasonic's smallest MFT mirrorless cameras, as powerful everyday cameras for 2025, since Fujifilm popularized such cameras.

Should Panasonic be doing more in this space? Let me know what you think in the comments below.

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Have a read through our DJI Osmo Action 6 review, and you'll see we were very impressed with the action camera – it got four-and-a-half stars out of five – but the device is now even better, as its latest firmware upgrade ups the maximum video recording resolution to 8K.

News of the update was posted to Instagram by DJI (via PetaPixel), and you can see from the post that that 8K recording is now available at 30 frames per second, at a 16:9 aspect ratio. It's a pretty sweet free upgrade for owners of the camera.

There's more in the update too: it also adds the ability to upload footage direct from the camera to various cloud services, including OneDrive and Google Drive, or a personal NAS. This can be done automatically or manually as needed.

Owners of the action camera now have access to new film-style tone presets in Photo mode as well, plus additional customization options, and a few other minor tweaks (the grid overlay in Custom mode has been tweaked for the better, for example).

Better than ever

The DJI Osmo Action 6 was already one of the best action cameras on the market, and these new upgrades improve it even further. It offers excellent photo and video quality, in a wide range of lighting conditions, and an easy-to-use interface.

"With the Osmo Action 6, DJI cements its position as a real threat to GoPro's dominance in the action camera market," we wrote in our review. "The Osmo Action 6 is yet another step in the right direction for DJI."

If you own one of these cameras, you can get the new update through the DJI Mimo app – it should appear automatically as a prompt on screen inside the app, when it's ready (firmware 01.02.05.21 is the version you're looking out for).

It's another reminder that software updates don't just have to be about bug fixes: they can also bring with them genuinely useful improvements that add extra value for money when companies invest enough time and effort into them.

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It's not like there's been a shortage of new cameras in 2025, but it's in the lens market that design innovation has impressed me the most, with multiple first-of-a-kind optics, and new players emerging as impressive alternatives to leading camera brands.

I'm here to give some of the best new lenses for 2025 the recognition they deserve. After all, it's cameras that typically get most of the attention and fanfare, but as a photographer I know the importance of great glass.

I've had the pleasure of testing many of the latest lenses from Sony, Canon, Nikon, OM System, Viltrox and more, and below I've listed my top five.

Before we dive in, I must give honorable mentions to a few lenses from this year that I'm yet to try, and which didn't make the selection below. They are the Sigma 17-40mm F1.8, Sigma 12mm F1.4 DC Contemporary, Nikon Z DX 16-50mm f/2.8 VR (for APS-C), Sigma 135mm F1.4 DG Art, Sony FE 28-70mm F2 GM and Sony FE 100mm F2.8 Macro GM (for full-frame).

Now, let's unpack my five personal favorites, and why they stood out.

Sony FE 50-150mm F2 GM

• Release date: April 22
• Verdict: 5 / 5

I wasn't initially convinced by the specs of Sony's 50-150mm F2 GM, nor its premium price tag, but once it was in my hand I was so impressed that I awarded it five stars out of five in my in-depth review. It also took the title of the Best Camera Lens in the 2025 TechRadar Choice Awards 2025, scoring the most votes from our readers and expert TechRadar team alike.

I even described the 50-150mm F2 GM as a lens "worth switching systems for" – high praise indeed. So what makes Sony's unique pro zoom stand out?

Users will appreciate the constant f/2 max aperture whatever the focal length, which makes the 50-150mm a dream lens for events, weddings and portraiture. Focus is fast and silent, optical quality is top drawer whatever the lens settings, and bokeh is dreamy. Besides missing out on optical stabilization (and the matter of that heavy price tag), the Sony FE 50-150mm F2 GM is essentially flawless. I've never been more jealous of Sony shooters.

Read my Sony FE 50-150mm F2 GM review

Sony FE 50-150mm F2 GM sample photos

Nikkor Z 24-70mm f/2.8 S II

• Release date: August 22
• Verdict: 5 / 5

I didn't think Nikon's original Z 24-70mm f/2.8 S lens needed a successor, but when the mark II version landed in August it improved on the superb original in multiple ways, and is arguably the finest standard professional zoom lens available from any brand.

I own the original model and I'm more than happy with it, so it's all the more impressive that Nikon has been able to improve on the 24-70mm f/2.8 S in several ways. The new mark II version features an internal zoom which means the lens barrel doesn't extend as you zoom, and in my book that improved robustness is welcome, especially for the demanding shoots for which that I would typically use this lens, like events. The new version is also now the lightest 24-70mm f/2.8 lens for any full-frame camera, so more points to Nikon there.

As for image quality, it's fractionally better than the original, and pin-sharp from edge to edge at any setting. Bokeh is smooth, sunstars are crisp, and distortions are non-existent. Autofocus is snappier too. I'm still not about to sell my original 24-70mm f2.8 to upgrade, but that's no reflection on a lens that scores top marks in every metric (and which has already dropped in price).

Read my Nikon Z 24-70mm f/2.8 S II review

Nikon Z 24-70mm f/2.8 S II sample gallery

OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro

• Release date: September 10
• Verdict: 5 / 5

The world's first 100-400mm (equivalent) lens with a constant f/2.8 aperture across its zoom range is truly special. I first got to try the 50-200mm F2.8 IS Pro out at a wetland center in the UK which is home to an abundance of birdlife, and was immediately impressed by the lens' versatility and quality. Even better, its reach can be further extended with a 1.4x teleconverter to create a 560mm f/4, or a 2x teleconverter for a 800mm f/5.6.

OM System doubled down on its outdoor photography credentials, ensuring the 50-200mm is properly weather sealed, something that's helped by an internal zoom. Pair it with a camera like the OM-1 II and you have a super-lightweight setup considering what the combo is capable of, including smart subject-detection autofocus, rapid burst shooting, and phenomenal image stabilization performance.

Fussy bokeh in certain scenarios, such as backlit macro photography shots, was a slight letdown, but otherwise the pin-sharp optical quality seriously impresses. There's a severe leap in price from the 40-150mm F2.8, but I think this new zoom is worth every penny. It's an incredible lens, especially for wildlife photography, with decent close-focusing skills adding extra shine. I'd go so far to say as this lens tops my wishlist, being the one that would make the biggest difference to my own setup.

Read my OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro review

OM System 50-200mm F2.8 sample gallery

Viltrox 135mm F1.8 LAB

• Release date: March 19 (Z-mount, late 2024 for Sony E-mount)
• Verdict: 4.5 / 5

Viltrox is rightly gaining a solid reputation as a high-quality, affordable alternative to pricey proprietary lenses, and fully deserves to be featured in this article. We've reviewed several of the Chinese lens maker's optics, including the five star 35mm F1.2 LAB, but it was the 135mm F1.8 LAB for full-frame cameras that impressed me the most.

Perhaps it was because I had previously tested the Nikon 135mm f/1.8 S Plena and declared it my dream portrait lens, only for Viltrox to pull it's own version out the bag for just 30% of the asking price.

Yes, the Viltrox version is weightier, but beyond that there's really not all that much to choose between to the two, except for the huge gap in price. Viltrox currently makes lenses first for Sony E-mount, and a number of those also are made for Nikon Z and Fujifilm X-mount further down the line.

Viltrox also joined the L-mount alliance in September, and so we should expect further options for its most popular lenses, one of which is 2025's impossibly small 28mm F4.5 pancake. My hope for 2026 is that Viltrox branches out from primes and into high-quality zoom lenses.

Read my Viltrox 135mm F1.8 LAB review

Viltrox 135mm F1.8 LAB sample gallery

Canon RF 45mm F1.2 STM

• Release date: November 6
• Verdict: Not yet rated

The one lens in this roundup that I'm yet to get my hands on is the Canon RF 45mm F1.2 STM, which is a never-before-seen f/1.2 prime lens without Canon's pro 'L' moniker or premium price tag. This is Canon sticking one back to cheap Chinese alternatives.

I know it won't be up to the same standard as a pricey pro prime equivalent like the RF 35mm F1.4L VCM – even the sample images provided by Canon demonstrate pronounced lens distortion (see below) – but it doesn't need to. What the 45mm F1.2 STM does is bring a super-bright-aperture prime, with its shallow depth of field potential, to beginners who would otherwise be priced out of owning such a lens.

Canon deserves kudos here – of all the leading camera brands, it's the one that's giving the widest camera and lens choice for users of all experience levels and budgets, from the award-winning pro EOS R5 Mark II to the EOS R100 (which is the cheapest mirrorless camera available) and now this cheap f/1.2 prime.

Canon is full of surprises, and while it continues to keep its full-frame RF lens mount closed to third parties, a lens like this finally makes that strategy feel justified.

Canon RF 45mm F1.2 STM sample gallery

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Other outstanding lenses for 2025

For such tasks, I want a lightweight setup of the highest possible quality, fuss-free, to make my solo shooter life as fuss-free as possible. I have fine-tuned my gear selection over a couple of years with several top products that are fit for the task.

I'm not saying my selections are the best picks for everyone, which is why I have included additional options in my best vlogging cameras, best wireless mics, best camera bags, and best camera phone guides – you'll be sure to find your dream vlogging gear in one of those guides.

But which items are my personal essentials? Let’s take a look at each item one by one and why each item has made a home in my bag, starting with the bag itself!

What's in my bag

• Ulanzi 9L bag sling bag
• Xiaomi 15 Ultra camera phone
• Godox Cube-C wireless mic kit
• SmallRig Mini LED Video Light 25W (x2)
• Neewer neck holder
• Mini selfie stick-cum-tripod

Ulanzi 9L Sling Bag

• Rating 5/5

Small, lightweight, comfortable, rugged, protective, surprisingly spacious, and quick access to what’s inside, those are the attributes I look for in a bag for my content creation gear, and the Ulanzi 9L Camera Sling Bag ticks all of those boxes.

Slung over one shoulder and resting on my midriff, with a top zipper for the main compartment and a padded divider inside (which can be folded away inside the bag to create one single large compartment, I have quick access to all of the items listed above, right from where my hand can rest.

A full-size backpack, though it could fit a wide range of camera gear, is excessive for my needs, and most such bags are slow to access gear. No, I need the smallest possible bag with easy gear access, and Ulanzi's does the trick!

See my Ulanzi 9L Camera Sling Bag with Tripod Holder B122 review for more details.

Xiaomi 15 Ultra

• Rating: 5/5

You’d think my camera of choice would be a ‘proper’ one – a top vlogging camera like the DJI Osmo Pocket 3 (which I do indeed also use), or a video heavyweight mirrorless camera from the likes of Sony, Canon, or Panasonic. But alas, for vlogging content, I usually rely on a flagship smartphone, and all throughout 2025, my go-to has been the Xiaomi 15 Ultra.

I’m not going to split hairs about whether and why it is the best camera phone of them all, but it’s certainly up there, especially with its easy interface, Google connectivity (I use G Drive for collaborative projects), a high-quality 1-inch sensor main camera, and superb telephoto cameras.

For more details, read my Xiaomi 15 Ultra feature where I spent a month with it as my main camera for photography, and our in-depth 15 Ultra review.

Godox Cube-C wireless mic kit

• Rating 4.5/5

After a top-quality camera phone, I need pro-quality audio (arguably even more important), and for that, I’m not going to rely on a camera’s internal mics, good as they can be. No, I'm going to connect to a portable wireless mic instead.

I’ll be clear from the off – there are numerous wireless mics available, and I’ve tested a bunch of them, including the powerful DJI Mic 3, tiny Mic Mini, and budget-friendly Boya Mini – check out my best wireless mics guide. But I’d like to put the spotlight on the superb Godox Cube-C kit today.

I’ve been using the comprehensive Godox Cube-C kit for many months, and without wanting to sound like an ad, it has never let me down. The same can’t be said for several other kits that I have come and gone in my life because I couldn’t rely on them. And the best part? The Cube-C complete kit costs just $103 at Amazon / £94 at Amazon.

The Godox Cube-C kit comprises two mics (transmitters), a mobile receiver (plugged into the USB-C of my Xiaomi 15 Ultra), a receiver for cameras (which slots into a hotshoe and connects to the 3.5mm mic jack), a charging case, wind muffs, and various magnetic mounts to attach the mics to clothing in a choice of ways.

The mics are tiny and don’t tug on clothing, and the 24-bit output and noise reduction render fantastic audio quality.

I have two issues with the kit – the mics seem particularly sensitive to rustling noise from clothing. If you come across this issue as I have, it's in the back of your mind to position the mics with particular care and limit body movements to avoid it.

Also, I wished the key components would fit in the charging case, which only has space for the 2x mics and the camera receiver, not the mobile receiver or wind muffs. Because it doesn't, I've needed to carry it all in the bulky case if I want the gear protected properly. I don't usually want to carry all of the components, though, so I've tended to opt for a soft case to store just the bits I need for any given shoot.

SmallRig Mini LED Video Light 25W

• Rating: 5/5

If I can, I tend to use natural light for vlogging, because using artificial light is one more thing to think about (and potentially carry for a shot). However, I'll always pack a mini LED video light in my sling bag just in case I need it, especially for product b-roll.

My choice of lighting gear for solo vlogging is the lightweight SmallRig Mini LED Video Light 25W, which costs $59 at SmallRig or £59 at Amazon. I have two, and with dimensions of 4.4 x 2.9 x 1.1in / 112.5 x 74.0 x 29.2mm, I can easily fit one of those into my sling bag, both of them at a push.

I've been so impressed with SmallRig's video lights – they are powerful, versatile, and dependable.

Battery life has proved to be longer than other lights I've used, with up to 50 minutes at full power, and USB-C fast charging on the go, which is also possible while the lights are in use. I can't tell you how many times other lights have let me down with poor battery life.

SmallRig's full color spectrum Mini LED Video Light 25Ws lights come with a (magnetic) diffuser, and three settings: white/warm light (with a 2,500 to 10,000 kelvin range and CRI 96 color accuracy), RGB, or a range of 14 different effects, such as lightning and flame.

You navigate between the three settings using a button, and circle through the options in each one, color temperature or power output, using a control wheel – it's all super simple, which is what I want when solo vlogging.

It's possible to attach the lights to magnetic surfaces or to stands/selfie sticks using the tripod thread on the underside. The only cons to these lights are the relatively slow start-up time and slightly noisy fans (whatever output you have the lights set to).

Alternative: Ulanzi LED20 RBG video light for $40 at Amazon / £48 at Amazon

Neewer neck mount

• Rating 4/5

For those POV shots when I'm hands-on with the gear, I need both of my hands free, which means that I can't be holding the camera. My solution, although it's hardly the stylish look I want while filming, is a neck mount. Needs must!

I use the Neewer GP-16, which costs around $25 at Amazon / £25 at Amazon. Prices can vary ± $10 / £10 at any time, but I got mine for £23 at Amazon UK earlier this year.

The idea is that you wear the flexible neck strap and then attach your camera to the mount – the Neewer GP-16 package I bought includes options for mounting a phone magnetically, or a small action camera through a universal threaded mount.

Whether I'm hands-on with gear or simply want my POV at any given moment, this neck holder does the trick!

Insta360 2-in-1 Mini Tripod

• Rating: 4/5

For walking-and-talking clips, I need a selfie stick to maintain the proper distance between me and the camera to frame the shot correctly. Rather than a dedicated selfie stick, however, I find the Insta360 Mini 2-in-1 Mini Tripod is a versatile alternative, and it costs just $30 at Amazon / £27 at Insta360.

Firstly, the mini tripod can angle the phone, and secondly, it features built-in tripod legs, so I can set the camera on a convenient surface for hands-free filming where suitable.

For use with the Osmo Pocket 3 or an action camera, the mini tripod setup is easy. However, for a bulkier camera phone without a tripod mount, I've needed to pick up a cheap phone clamp that screws into the mini tripod, any generic clamp with tripod mount sub $5 / £5 will do.

I'd like a slightly larger and sturdier version for use with a phone, with a longer maximum height and greater stability – the Insta360 Selfie Stick + Throwpod has caught my eye – but if I'm only using one support, this is the one that slips inside my sling bag.

An alternative that I use occasionally, because I can attach it to the tripod holder of my sling bag, is the mini tripod that features within the Heipi 3-in-1 travel tripod. The included head in this tripod has a hidden phone clamp, making it ideal for vlogging.

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