Before DJI rose to world domination in the best video accessories and best drones, the Zhiyun Crane was the name on the lips of every YouTuber and indeed a good number of people who actually used them in anger every day. Zhiyun is still making the Crane and, along with its lower cost Weebill series, offers twelve proper-camera gimbals for sale – including this top of the range Zhiyun Crane 4. 

Zhiyun Crane 4 – at a glance:

• £750 for the combo kit
• Lightweight gimbal for heavier camera/lens kits
• Built-in LED bi-colour light
• Built-in battery
• USB and Bluetooth camera controls
• Sling handle and wrist-rest in the ‘combo kit’
• uk.zhiyun-tech.com

I’m not sure exactly when the handheld gimbal for real cameras was invented, but I’m pretty sure we’ve had them for about ten years. I don’t mean Steadicams and the beasts used for Hollywood movies, or the balancing tripod heads we loved for long lens wildlife in the olden days. I’m talking about the kind of gimbal you can hold in one hand, with a camera on top, and film nice steady footage with a regular DSLR or mirrorless set-up. You’d think that would be something everyone wanted and that there’d be a queue of companies offering them, but actually the list of manufacturers designing and building these things is remarkably short, and untroubled in recent times by new entrants. 

Zhiyun Crane 4 – Key Specifications

• Strong motors: When well balanced the Crane 4 can cope with pretty heavy camera/lens set-ups without struggling
• Long Arms: The longer arms allow more accessories to be mounted on top of the camera without them hitting the structure of the gimbal
• Warning lights: The elbow of each arm has a ring-shaped light that glows white when the gimbal is well balanced, but which will go red when the balance is off

Zhiyun Crane 4 – Features

The Zhiyun Crane 4 is designed for users of heavier mirrorless or DSLR cameras as well as for those shooting with smaller cinema cameras. The company doesn’t offer suggested lower or upper weight limits, but the stated compatibility with models from the Fujifilm X-T5 to the Canon EOS-1D X Mark lll with a pro lens certainly gives us a clue. 

The gimbal offers us Tilt movements between +142° and -72°, Roll of +71 to -251° and 360° of Pan – so it can point the camera in pretty much any direction you want it to. A slightly unusual feature is the built-in LED that is intended to light your subject – or at least fill shadows in bright conditions. Mounted on the front of the Tilt axis arm, the rectangular light is rated at 10W and comes with a detachable diffusing cover to soften the illumination. It’s a bi-colour too, so we can alter the colour temperature between 2700 and 5500k, and the maximum luminance we should expect is 3200lux. 

I was sent the Combo kit for review, which comes with a wrist rest and a sling grip for more comfortable handling during long shoots. Obviously, this kit costs a little more than the standard kit – there’s £50 difference. 

Other accessories available for the Crane 4 include a focus/zoom motor for lens control, a wireless video transmitter, and an external battery pack. The latter is needed instead of spare batteries, as the Crane 4 has a built-in battery pack that can’t be swapped out. The pack contains four 18,650mAh batteries that together take 1 hour 50 minutes to charge with a 15V fast charger, and which we’re told will last for 12 hours on the go. It’s worth noting that Zhiyun’s quoted run-time has been measured with the gimbal mounted with a Canon EOS 5DS R with the EF 24-105mm lens mounted, but in a static position, so not especially close to real-life user conditions. 

We have Bluetooth connections to compatible cameras for shutter triggering, and cabled USB connections for others that can’t use the wireless controls, and there’s an app for controlling the movements remotely. Those who want to attach microphones or monitors to the gimbal while also using the sling handle and wrist rest will be disappointed as the only other mounting point is on the end of the sling handle – which isn’t ideal. 

Zhiyun Crane 4 – Handling

Once assembled, the balancing act is pretty straightforward. Straight out of the box, the arms were a bit stiff to adjust, and I was able to appreciate the Teflon coating applied to the arms of the DJI Ronin 4 series. But with use, things eased up enough that small adjustments could be made. Each arm is equipped with a ring-shaped light on the elbow which lights red when we haven’t done a good job and white when we have. It’s a quick and handy reference. 

The rear-facing control panel allows us touch selection through a pretty straightforward menu system, so we can tune motors and determine which motion mode we want to use. We also have a finger trigger that lets us quickly navigate between modes and lock motion, and a forward control wheel that’s used for controlling optional lens motors for focusing or zooming, as well as any camera controls we have access to, such as ISO or aperture values. We can also use this wheel to roll the camera, or to move it about the other axes.

On the right side of the body we have a smaller wheel that is pressed to switch on the light and turned to control the brightness or the colour temperature. And, on the left – where right handed folk will find their thumb – we have a joystick controller to move the camera through all angles, a red button for activating AF/the shutter for stills or video when the camera is connected to the gimbal, and a mode switch that takes us through the gimbal modes one by one. There is a lot to remember at first, but with practice you’ll come to know what each button does, and how to customise it. 

When you want to shoot upright video, the main camera mount slides off and slips over the arm on the tilt axis. You’ll need to rebalance the whole gimbal when you do this, but it doesn’t take long. 

While the light is a great feature, it also presents a minor hindrance on the movement of the camera when shooting from a low angle. When the gimbal is tilted forwards so that the camera is at ground level the physical housing of the light clashes with the tilt arm of the gimbal if you want a looking-up perspective. We then have to sling the gimbal over so the camera is slung below to get round this. But this is a small price to pay for the utility the light offers. 

Zhiyun Crane 4 – In use

This is actually a very nice gimbal to use, and I found the sling arm and wrist rest made a massive difference to the comfort of operation, the stability, and the length of time I could operate without needing to put it down. The device itself isn’t especially heavy either, which helps. With a Panasonic Lumix S5llX mounted in the saddle with one of the Panasonic Lumix S f/1.8 fixed focal-length lenses attached, I also found that I got very smooth motion and not a single incidence of the motors giving up and throwing the camera into a spin. That’s partly down to the ability to see immediately how well balanced the camera kit is, and also because the gimbal motors are strong enough to hold the kit comfortably. 

The controls fall nicely to hand/finger/thumb and they are easy to operate while watching the gimbal’s screen and the back of the camera. 

I was concerned that the battery isn’t removable, but the quoted battery-life partly reassured me – although only partly, because I know I’m not always good at recharging directly after a shoot so like to have spares hanging around for surprise occasions. I guess some tighter management might be needed to ensure we have enough power all the time. 

The built-in light is an interesting idea and one I thought a bit of a gimmick at first, but it turned out to be quite useful. It’s twice the size of the light Zhiyun used on previous models, but it isn’t going to light up the room. A small source that close to the lens is never going to be a flattering main light, but it’s enough to fill shadows and to throw a sparkle into the eyes of your human subjects. If you are using a large lens there’s a good chance part of the barrel will cast a shadow, but you may find it useful with many mid-smaller lenses. 

The physical size of the gimbal’s arms means we have lots of space within the area in which the camera will be moving about, so mounting microphones on top of the camera won’t prevent you from shooting low angles. I added a Joby Wavo Pro DS to the hotshoe of the Lumix S5llX and only had to remove the fluffy wind muffler for underslung shots – and even then it was only brushing against the backside of the Roll Axis motor. 

When mounting bigger kit it’s useful that we have two methods of balancing the Roll axis – via the Roll axis arm itself, as well as a pretty long plate that the camera mount sits on. This adds a bit more flexibility, particularly if you are adding accessories to the side of the camera or the lens – such as focus motors. 

I suspect the performance of the ZY Play app is somewhat dependent on the spec of your phone, but I found it easy enough and convenient to use. However, upgrading the firmware via the app is an extremely lengthy process, so use the desktop tool instead. 

Zhiyun Crane 4 – Verdict

There’s a lot to like about this gimbal, and the negative points I’ve highlighted are mostly quite minor and can be worked around. I like that the arms are long, the motors are strong and the gimbal itself is relatively lightweight. Handling is immeasurably better with the sling arm and wrist rest, so I’d recommend this Combo kit over the standard option that comes without them. The controls are good to use, stabilisation is so excellent this is the first time I’ve mentioned it, and the little LED light is remarkably useful. I’m still a little concerned that I can’t switch batteries out, but so far I’ve found I haven’t run out of juice when I needed it. 

Related reading:

• Zhiyun CRANE-M2S gimbal launched
• Zhiyun introduces SMOOTH-Q4 smartphone gimbal
• Zhiyun gimbal features flip-out touchscreen ‘command centre’
• Zhiyun unveils WEEBILL 3 gimbal for filmmakers

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The Deuter Jaypack 34+ is a purpose-built camera backpack designed for photographers who want to carry a lot of kit. As such, it measures 60 x 30 x 22 cm and weighs 2.16kg, giving a substantial capacity of 34L. Thankfully, Deuter’s Alpine Back System also ensures comfortable carrying, aided by well-padded adjustable shoulder straps, a sternum strap and stabiliser or load adjustment straps at the top of the main straps.

Deuter Jaypack 34+ at a glance:

• $310 / £300
• Rear and top-opening backpack
• Integrated camera compartment
• Weight: 2160 g
• Volume: 34 L
• Dimensions (L x W x D): 60 x 30 x 22 cm
• deuter.com

An internal flexible steel frame maintains the backpack’s shape and helps distribute the load for better balance, making the pack feel good even when fully loaded. There’s also a removable waist belt with two handy zip-close pockets which enables some of the load to be carried on your hips, reducing the strain on your shoulders.

Inside, the main compartment is spacious enough to accommodate a pro-level DSLR or a dual-grip mirrorless camera, along with a clutch of lenses, including one with a focal length up to 800mm. You can anticipate squeezing in a couple of camera bodies and around six lenses, plus a few accessories. 

As usual, the layout is customisable thanks to densely padded dividers of different sizes. The whole bottom, sides and rear of the main compartment are compatible with the Velcro along the bottom edges and ends of the dividers, which means the storage is highly configurable.

Deuter supplies 14 dividers in five different sizes, which I found to be more than I need. But it means there’s plenty of scope for fitting in different types of gear.

Deuter Jaypack 34+ key features:

• Top and Rear Access: The main compartment can be accessed via the zip around the outer edge of the rear section or via the zips at the top.
• Removable Waist Belt: The padded waist belt can be removed if necessary
• Flat Base: The rugged, flat base of the backpack means it is stable on the ground
• Laptop Sleeve: There’s room for a 15-inch laptop in the front sleeve
• Load Adjustment Straps: Straps at the top of the shoulder straps help manage the load

Kit access is straightforward with the main opening being around the back, so the straps and back panel don’t get dirty when you take the pack off to get at your gear. There’s also a top opening which, with correctly configured dividers lets you reach your camera or a lens quickly.

Alternatively, the dual-zip arrangement means you can create a useful top section with 4L extension capacity  for carrying accessories or personal items.

For smaller items like filters and memory cards, there are three zippered pockets on the reverse side of the back panel. Meanwhile the inside of the front panel has a few organisational pockets and a sleeve that can accommodate a laptop of up to 15 inches in size.

Externally, the Jaypack has multiple attachment points. Four gear straps, plus a side strap with an aluminium hook buckle, are provided to secure items like a tripod or jacket.

Deuter suggests attaching a tripod at the middle-front section of the bag using the straps, but I prefer to put a leg in one of the side pockets and use a strap to keep it in place.

The Jaypack 34+ comes in two colour options, ‘Redwood’ and ‘Black’, and it’s constructed from 330D Textured REC PA fabric made from recycled pre-consumer waste. The polyester and polyamide fibres are water and abrasion resistant.

Deuter Jaypack 34+: Our Verdict

The Deuter Jaypack 34+ strikes a good balance between durability, comfort and customisability. It also maximises the space available for camera and lens storage, which means you can carry a lot of gear if you want. The shoulder straps are nicely shaped and padded, and this combined with the padded back panel, sternum strap and waist-belt, makes the backpack comfortable to carry. I like the clean unfussy lines overall, but it looks a bit like a jetpack on my 5-foot 2-inch frame.

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The PNY RP60 is a rugged portable solid-state drive (SSD) designed for photographers and  videographers on the go. It employs a USB-C connector for use with computers, smartphones, tablets and other devices, promising read speeds up to 2,000 MB/s and write speeds of 1,800 MB/s. With a silicone-coated outer shell, it’s designed to be water, dust and drop-resistant.

PNY RP60 portable SSD at a glance:

• £91 (1TB), £233 (2TB)
• USB-C connection
• 2,000 MB/s read; 1,800 MB/s write
• Water, dust and drop resistant
• 100 x 60.3 x 12.4 mm, 54.8g
• For Windows, Mac, Android and iOS devices
• pny.com

SSDs have become the preferred form of portable storage due to their small size, high speed, and inherent reliability compared to hard disc drives. This makes them ideal both for backing up your files while you’re out shooting, and as working drives for processing your photos and videos. A select few cameras can even record directly to SSD.

Most such drives use the same USB-C connector, but that doesn’t mean they’re all created equal. Instead, they employ obtusely named interface variants with different data transfer speeds. Usually, faster speeds mean higher prices. But with the RP60, PNY is promising the speed of USB 3.2 Gen 2×2, but at a price close to other brands’ USB 3.2 Gen 2×1 drives, which are inherently limited to being half as fast.

PNY RP60 Portable SSD: Key features

• Loop: A clip loop on one corner allows the drive to be securely attached to a camera bag for easy access
• USB-C cable: A generously long 30cm USB-C to USB-C cable is supplied. But there’s no USB-A cable or adapter
• Speed: To get the fastest transfer speeds, your computer needs to support USB 3.2 Gen 2×2
• Rugged: The drive is dust, water, and drop-resistant. Unusually, the USB-C port even has a plug-in cover

As to whether you’ll actually get the promised speeds in real life, that depends on various factors, including what size files you’re working with, and the capabilities of your host device.

To assess the RP60’s performance in practice, I compared it side-by-side to a Lexar Armor 700 SSD with the same interface (2000MB/sec read and write), and to a Sandisk Extreme drive of the USB 3.2 Gen 2×1 type, rated to 1050MB/sec read and 1000MB/sec write. Both are more expensive, at £148 and £100 for 1TB, respectively.

Using the CrystalDiskMark benchmarking software, all three drives gave similar numbers, with sustained read and write speeds of about 940MB/sec. This mainly reflects the fact that my 2019 Dell XPS 15 Windows 11 PC doesn’t support USB 3.2 Gen 2×2 very well, although it’s fully capable of exploiting the newer and faster USB 4.0.

I also measured how long it took to copy a 40GB folder of raw and JPEG files to each drive from my laptop’s SSD. Again, the PNY drive matched the Lexar at about 88 seconds, with the Sandisk taking 40 seconds longer. So here USB 3.2 Gen 2×2 does measurably better. To my mind, these all probably count as ‘fast enough’ for most purposes, but if you’re copying a lot of raw files or video, that extra speed could well be valuable.

I had no problems with compatibility. I used the PNY R60 with both Windows and Mac computers, and my iPhone 15 Pro Max, with no trouble at all. I also used it as a working drive for browsing and processing 50MP Sony Alpha A1 II raw files in Adobe Camera Raw, and it worked perfectly.

In fact, about my only real criticism of the PNY drive is that its plastic casing flexes a little when you squeeze it. This doesn’t inspire quite as much confidence in its robustness compared to the more solid feel of its competitors. It’s also just fractionally larger than most other portable SSDs, but not in a way that makes it inconvenient to carry.    

Ruggedness ratings

PNY specifies the drive should survive drops of up to 3m and work at operating temperatures of 0-70 °C. Its IP65 rating means it’s dust-tight and protected against low-pressure jets of water from any angle. However, it shouldn’t be treated as fully waterproof (i.e. able to survive full immersion).

PNY RPS 60 Portable SSD: Our Verdict

PNY has a habit of delivering high-performance storage devices at a lower price than its rivals, and once again, the RP60 delivers. Its matches much more expensive drives in terms of speed, and while it may not withstand as much abuse, it should be absolutely fine in normal use.

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The 3 Legged Thing AirHed Trinity is a compact, lightweight pan-and-tilt tripod head. Built from aerospace-grade magnesium alloy, it combines strength and durability with a sleek, portable design. While it’s primarily aimed at videographers, it’s an attractive choice for stills photography and wildlife watching.

3 Legged Thing AirHead Trinity at a glance:

• $89.99 / £79.99
• 38mm Arca-Swiss compatible clamp
• 170˚ range of tilt
• 5 kg load capacity
• 7.7 x 21 cm (H x W) with arm
• Weight 374g
• 3leggedthing.com

However, despite its name, the AirHed Trinity is actually a 2-way, or pan-and-tilt head. That means it’s designed primarily for landscape-orientation shooting. Consequently, photographers wishing to shoot in portrait orientation need a lens tripod collar with a foot to rotate the camera easily into the correct orientation. Thankfully, they are supplied with most long, heavy lenses.

The head is compatible with tripods, monopods, sliders and clamps featuring a standard 1/4″-20 or 3/8″-16 connector. It enables fluid panning and tilting, with a 360-degree panning base and a tilt range of 170 degrees (+90° upward, -80° downward). Meanwhile, its Arca-Swiss type quick-release plate means it’s compatible with a range of plates and brackets.

3 Legged Thing AirHead Trinity: Key features

• Detachable panning arm: The panning arm can be detached for transport and mounted on either side for use
• Durable build: Aerospace-grade magnesium alloy construction
• Lock knobs: The panning and clamp locks both have knurled metal knobs
• Panning base: There’s 360° panning movement
• Scale markings: The clamp and panning base have markings for accurate positioning

Weighing 374g with the tilt arm attached, the head is light to carry, yet it can support a load of up to 5kg. As a result, the AirHed Trinity is capable of handling most camera setups, including large telephoto lenses.

At 7.7cm tall, the AirHed Trinity is compact yet its solid magnesium alloy build impresses with a reassuringly robust feel. The pan and tilt controls have knurled metal knobs, providing excellent grip and precision as well as imparting a high-quality feel. The tilt friction is easy to adjust to suit different lenses and the head locks securely in place without slippage.

The 20cm pan/tilt arm, complete with a safety retainer, is detachable for storage and can be flipped to the opposite side for left-hand use. The ratchet mechanism allows fine angle adjustments, though the arm swivels slightly within its retainer, which may take getting used to.

During my testing, the AirHed Trinity performed well with a Nikon D7100 and an 80-400mm lens, giving excellent, stable support for exposures of several seconds when mounted via the lens collar.

Videographers will appreciate the smooth panning and tilting movements, which make tracking subjects seamless. There’s also minimal adjustment required when switching between different lenses, making it a practical option for both still and video work.

3 Legged Thing sells the AirHed Trinity either by itself, or in video kits with its Corey, Travis, Patti, Billy, and Brian 2.0 tripods. There are also monopod ‘superkits’ that include any of 3 Legged Thing’s Punks or Legend monopods and the Docs foot stabiliser.

3 Legged Thing AirHed Trinity: Our Verdict 

The 3 Legged Thing AirHed Trinity is a robust, portable tripod head offering smooth operation and strong support. Its compact design and intuitive controls make it a reliable companion for both photographers and videographers. While a lens tripod collar is essential for portrait orientation shooting, the AirHed Trinity’s build quality, ease of use and affordable price make it an attractive choice for anyone looking to support heavy lenses while photographing sport or wildlife. It’s a great partner for a monopod.

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While the DJI Air 3S tips the scales at 724g, over the magic 250g weight that attracts the lowest level of regulation, it strikes a nice balance between portability, performance and value. That makes it a strong contender in the mid-range drone market, it will likely make it to out best drones with cameras list as well. Its extra weight means it’s considerably more robust than lightweight drones like the DJI Mini 4 Pro while being far more affordable than the premium DJI Mavic 3 Pro.

DJI Air 3S at a glance:

• $1,099 / £959 with RC-N3 Controller
• $1,399 / £1,239 Fly More Combo with RC-N3 Controller
• $1,599 / £1,439 Fly More Combo with RC2 Controller
• 50MP, 24mm equivalent camera with 1-inch type sensor
• 48MP, 70mm equivalent camera with 1/1.3-inch type sensor
• 4K video recording at 24/25/30/48/50/60p/120fps
• 48GB internal storage and micro-SD slot
• 3-axis mechanical stabilisation
• Weight 724g

Like DJI’s other recent drones, the Air 3S is very easy to fly but it’s essential to make a few checks and update the firmware before your first flight. With charged batteries, the drone and controller connect quickly and the propellers are easy to fit (taking note of their diagonal pairing). If you’re unsure of the Drone Regulations, visit the CAA’s website at caa.co.uk/drones to check you’re ready to fly legally. 

As usual, the Air 3S has three flight modes, Cinematic, Normal and Sport, that are selectable via a switch on the controller. Cinematic mode is a great choice when you’re shooting video because the flight movements, including acceleration and deceleration, are super-smooth. The drone zips about at up to 10m/s in Sport mode, which is fun, but use it with caution because it’s easy to overshoot your intended stopping point. Thankfully, the gimbal does a great job of ironing out the jerks from poor piloting or breezy conditions.

FC9113 · f/1.8 · 1/120s · 8.67mm · ISO100

DJI Air 3S – Key features:

• Folding design: the Air 3S’s arms fold against the body to make it easier to transport
• Bayonet-fit propellers: the four propellers are easy to fit and replace with no tools required
• Omni-directional object detection: sensors around the drone help it avoid objects and stay safe during flight
• Twin Cameras: the two cameras are well-matched with a 24mm f/1.8 50MP wide-angle and a 70mm f/2.8 48MP short telephoto

DJI Air 3S – Dual Cameras

At the heart of the Air 3S is a dual-camera system, comprising a primary camera with a 50MP 1-inch CMOS sensor paired with a 24mm equivalent lens, and a 48MP 1/1.3-inch CMOS telephoto camera with a focal length equivalent to 70mm. This combination enables a level of creative flexibility familiar to anyone used to zooming from 24mm to 70mm on a full-frame camera, or 16-50mm on an APS-C format model. The main camera’s larger sensor and bigger aperture enhances its low-light capability and give it the edge for still image quality. But both cameras support 12MP or full-resolution stills-shooting and 4K video recording up to 60fps, or 120fps in slow motion mode.

FC9113 · f/1.8 · 1/15s · 8.67mm · ISO400

The cameras also support advanced video modes, including 10-bit D-Log M and HDR, for creators looking for greater flexibility in post-production. DJI also promises up to 14 stops of dynamic range for more natural gradations and better tonal detail in high-contrast scenes. In practice, this means detailed footage even in challenging lighting, such as during sunrises or sunsets, and raw files with a good level of latitude.

DJI Air 3S – Automated features

The Air 3S introduces a ‘Free Panorama’ mode, which simplifies capturing wide scenes with multiple frames and stitching them together in-camera. Alternatively, you can combine the images manually for greater control. This feature is particularly useful for landscapes and architectural photography, however, the 70mm lens is a better choice if you want to avoid the distortion associated with combining images captured using the wide lens.

FC9113 · f/1.8 · 1/120s · 8.67mm · ISO100

DJI has equipped the Air 3S with a collection of safety features, including an omni-directional obstacle-sensing system. Six vision sensors and downward-facing infrared sensors enable obstacle detection even in low light, for greater flight safety. They work well, but I shied away from flying the drone towards objects in Sport mode to see if it would stop in time.

The Smart Return to Home (RTH), Advanced Pilot Assistance Systems (APAS), ActiveTrack 360 and Subject Focusing also work seamlessly to prevent collisions and help you get smooth, sharp footage.

The Air 3S’s maximum flight time is listed as 45 minutes, but I found that in normal flying conditions, 32 to 38 minutes is a more realistic duration. The controller gives you plenty of warning when the battery life is low and will activate the Return to Home feature when there’s around 5 minutes left. You can override this to get more flying time but expect lots of alarm beeping.

DJI Air 3S – ND Filters

The Air 3S’s camera lenses are protected by a filter that can be removed with a slight twist and replaced with a neutral density filter. In sunny conditions, an ND filter is essential to keep the shutter speed down to a level suitable for recording video. DJI sells a set of three ND filters separately and in the Fly More Combo kits. 

FC9113 · f/1.8 · 1/100s · 8.67mm · ISO200

DJI Air 3S – Verdict

The DJI Air 3S is an excellent drone that bridges the gap between lightweight models and premium offerings. Its dual-camera setup, advanced safety features and robust flight performance make it a versatile choice for photographers and videographers alike. It’s also capable of producing video footage that will impress and still images that stand scrutiny. Flare can be an issue in sunny conditions, but it tends to appear as a small hotspot that can be cloned out.

The DJI RC 2 Controller, which has its own screen, is a much nicer option than the DJI RC-N3 Controller. But it bumps the cost significantly.

Related reading:

• DJI Mavic 3 Classic Review
• DJI Mini 4 Pro review – drone above others for value
• DJI Mini 3 Review – high flyer at a lower price

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Ever since full-frame mirrorless became the dominant format for high-end cameras, there’s been an arms race between manufacturers to produce exotic large-aperture lenses that wouldn’t previously have been possible. The Sony FE 28-70mm F2 GM is a standard zoom that’s designed for photographers who shoot such things as weddings and events, and who want to use a larger aperture than f/2.8 without giving up the flexibility of a zoom.  As part of the premium G Master range, it promises top-quality optics and pro-level handling, meaning it should be one of Sony’s very best lenses.

Sony FE 28-70mm F2 GM at a glance:

• $2699 / £3049
• Sony E-mount (full-frame)
• 86mm filter thread
• 38cm minimum focus
• 92.9mm x 139.8mm length; 918g

With a hefty price tag of $2900 / £3049, though, the FE 28-70mm F2 GM is anything but a casual purchase. It costs considerably more than the superb Sony FE 24-70mm F2.8 GM II, which until now was the firm’s benchmark standard zoom. And that ultra-large aperture comes with some real penalties, most notably a shorter wideangle end and significant extra bulk.   

While this the largest aperture zoom Sony has ever made, it’s not the first of its type. Canon kicked things off with its RF 28-70mm F2 L USM back in 2018, while Sigma has gone faster still, with its 28-45mm F1.8 DG DN Art being the largest-aperture full-frame zoom ever made. Meanwhile for those who don’t mind a variable aperture, the Tamron 35-150mm F/2-2.8 Di III VXD and Samyang AF 35-150mm F2-2.8 FE offer an intriguing combination of brightness and extended zoom range.

While all these lenses offer interesting creative possibilities, they’re inevitably large and unwieldy, with focal-length ranges that don’t necessarily sit well within the conventional trio of wide, standard, and telephoto zooms. But the Sony FE 28-70mm F2 GM might just be different, with a relatively familiar-looking range and reasonable size. So is this the kind of halo product that mainly exists to make the overall system look good, or is it a genuinely practical lens?

Features

Optically, the Sony FE 28-70mm F2 GM employs a complex optical formula with 20 elements in 14 groups, including 3 Super ED, 1 ED, 3 Aspherical, and 3 XA (eXtreme Aspherical) elements. Together, these aim to suppress aberrations and give sharp images with no colour fringing, along with attractive bokeh. Nano AR II coating is on board to suppress flare and ghosting.

Four XD linear motors are required to move the lens’s large, heavy focus groups. Even so, the lens is designed to keep up with continuous autofocus while shooting stills or video at 120 frames per second. A floating focus system promises high close-up performance.

The minimum focus distance is 38cm over the entire zoom range, with a maximum magnification of 0.23x at the 70mm position. Focus breathing is suppressed optically, and the lens is also compatible with in-camera breathing suppression. Linear response MF is included for manual focusing.

Despite its ultra-large aperture, the lens accepts 86mm filters. It comes with a petal-type hood that features a locking button, and which reverses snugly when it’s not in use. The hood also has a neat sliding, captive door that allows polarisers to be rotated relatively easily.

Build and handling

Sony says that restricting the wide end to 28mm has helped keep the lens’s size manageable, at 93mm in diameter, 140mm in length, and 918g in weight. While that’s 223g heavier than the FE 24-70mm F2.8 GM II, remarkably it’s more than 500g lighter than Canon’s equivalent design. In context, plenty of 24-70mm f/2.8 zooms for DSLRs were larger and heavier than this.

There’s no getting around the fact that this is still a fairly hefty lens, but I was pleasantly surprised by how manageable I found it in reality. I mainly shot it on Sony’s Alpha 1 II and Alpha 7R V bodies, both of which have decently large handgrips, and found those combinations worked very well.

However, I also tried it on my old A7 II, which has a much smaller grip, and on which it felt distinctly front-heavy and unwieldy. Chances are it will feel equally unbalanced on Sony’s small A7C-series cameras, which employ a very similar grip.

As usual for the GM line, the barrel boasts dust and water-resistant construction, and there’s a fluorine coating on the front element to repel grease and water. The front extends on zooming, but not very far (about 15mm). This means the balance shouldn’t shift significantly for videographers using a gimbal.

In terms of controls, the lens includes everything we’ve come to expect on Sony’s latest designs. The broad zoom ring falls naturally to hand, and has two torque settings, which are set via a switch labelled Smooth and Tight. These settings turn out to be somewhat oddly named: ‘tight’ enables smooth, controlled zooming during video recording, while ‘smooth’ is ideal for quick and accurate composition for stills photography.

Closer to the camera, the aperture ring is marked in one-third stop steps from f/2 to f/22, with a further A position that transfers control to a dial on the camera. It can be switched between clicked operation for photography, and continuous adjustment for video.

The aperture ring can also be locked either into, or out of the A position using an Iris Lock switch. But the ring requires distinctly more force to go between f/22 and A anyway, so this isn’t even that necessary. 

You get a pair of focus hold buttons, positioned for easy operation by your left thumb during horizontal and vertical shooting. Their function can be customised via the camera body, but not individually – they always do the same thing. A conventional AF/MF switch rounds off the control set.

Autofocus

You could be forgiven for assuming that autofocus speed might be an inevitable compromise with such a large-aperture zoom. But that’s not really the case here. Instead, autofocus is startlingly quick and essentially silent. Naturally, that generous opening means it continues to focus extremely well in low light. Videographers will be pleased to learn that breathing is minimal at all focal lengths.

ILCE-1M2 · f/8 · 1/200s · 35mm · ISO200

In situations where you might prefer to use manual focus, this works extremely well too. As usual it’s electronically controlled, with the manual focus ring driving the focus motors, and rotating smoothly with no end stops. A basic focus scale in the viewfinder shows roughly where you are within the focus distance range, and Sony’s linear response MF provides a very intuitive feel for making precise adjustments.

ILCE-7RM5 · f/2 · 1/80s · 70mm · ISO200

Coupled with tools such as peaking and live-view magnification, this makes it easy to nail perfect focus. This can be really handy when you need perfect focus for close-ups, for example.

Performance

Ultimately, any exotic lens like the Sony FE 28-70mm F2 GM will stand or fall based on its optical performance. Nobody in their right mind is going to spend so much money if it doesn’t deliver top-notch results. Thankfully, though, buyers shouldn’t be be disappointed, as the image quality it delivers is extraordinary.

ILCE-1M2 · f/2 · 1/250s · 70mm · ISO200

When it comes to detail resolution, the lens is incredibly sharp in the centre of the frame, even at f/2. This detail rendition is maintained well over a large proportion of the frame, right out to the edges.

The extreme corners are just fractionally – and I mean fractionally – softer when examined close-up onscreen, but that’s pretty much irrelevant, as shallow depth-of-field effects will usually far outweigh this. Naturally the corners sharpen right up on stopping down, and by f/5.6, images are bitingly sharp across the entire frame.

Diffraction starts to take the edge off pixel-level sharpness beyond f/11, but you’ll only really see this if you stare at your files closely on a computer. Often, the extra depth-of-field from closing the aperture right down will be far more important pictorially than any such softening, even at the smallest aperture of f/22.

This fantastic level of resolution means that, when used on cameras like the Sony A1 II or A7R V, you can crop in heavily and still get lots of detail. This makes it more versatile than you might at first think. The image below is a 6MP crop from a 50MP A1 II file, which gives a 200mm equivalent view.

ILCE-1M2 · f/4 · 1/100s · 70mm · ISO400

As usual, Sony makes use of software compensation to remove distortion, colour fringing and corner darkening. But the lens is, in fact, extremely well-corrected optically, so this is essentially just a tidying-up process.

Turn off lens corrections and you’ll find there’s some curvilinear distortion, which starts off as barrel distortion at 28mm, goes through a neutral point somewhere around 45mm, and turns to pincushion distortion at 70mm. But it’s never very strong. It’s also easy to fix when necessary, even without using profiled corrections.

ILCE-1M2 · f/4 · 1/1000s · 52mm · ISO100

Chromatic aberration is notable by its almost complete absence. With this kind of lens, I’d usually expect to see some colour fringing in out-of-focus regions are large apertures. But in this case, I only even saw a hint when shooting extreme close-ups. Generally, it’s no problem at all.

Unsurprisingly, though, fairly strong corner darkening is visible at f/2 if you choose to disable shading compensation. But it diminishes on stopping down and pretty much goes away by f/4. Leave compensation turned on, and you don’t have to worry about it in either JPEG or raw files.

ILCE-7RM5 · f/2 · 1/400s · 67mm · ISO100

Of course, one of the main reasons to buy this lens is for shallow depth-of-field and subject-isolation effects. With its f/2 aperture, it’s capable of dissolving away backgrounds just that bit more than conventional f/2.8 zooms. Bokeh is generally very pleasant, too, even with relatively messy backgrounds that some lenses can struggle with.

ILCE-7RM5 · f/2 · 1/20s · 70mm · ISO800

If I’m being super-picky, occasionally a little structure can be visible in out-of-focus highlights. But it’s not something I’d personally worry about.

Sony FE 28-70mm F2 GM: Our Verdict

With the FE 28-70mm F2 GM, Sony has once again defied our assumptions about what’s possible in terms of lens design. A decade ago, we probably wouldn’t have believed that such a thing could even be made. When Canon’s arrived, we accepted that it would inevitably be huge and heavy. Now Sony has produced one that’s much smaller – and it’s brilliant.

In fact, I’m struggling to think of anything to criticise. The optics are exceptional, and size-wise it’s entirely practical on cameras like the A1 II and A7R V. Impressively, there’s no real penalty for the ultra-large aperture in terms of autofocus speed or accuracy. Sony has become such an accomplished lens maker that we almost expect it to deliver the extraordinary as a matter of course, but let’s be clear: this is a real achievement. 

ILCE-7RM5 · f/2 · 1/160s · 70mm · ISO1600

Of course, I’m not going to suggest this lens is for everyone – the price alone precludes that. Chances are that most photographers will stick with their 24-70mm f/2.8s instead. But for those who can afford it and are prepared to carry it around, it offers something just a little bit different and special.

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Sony FE 28-70mm F2 GM full specifications

The post Sony FE 28-70mm F2 GM review: setting a new standard appeared first on Amateur Photographer.

Fujifilm’s latest compact, lightweight entry-level camera in its APS-C format X-system, the Fujifilm X-M5 was announced in October 2024. The firm says it’s aimed at “everyday storytellers” who are stepping up from a smartphone for the first time, and like to record both still images and video equally. At £799 body-only, or £899 with the XC 15-45mm F3.5-5.6 kit zoom, it’s one of the most affordable Fujifilm cameras, alongside the older SLR-style X-T30 II.

Fujifilm X-M5 at a glance:

• $799 / £799 body-only
• $899 / £899 with 15-45mm zoom
• 26.1MP X-Trans CMOS 4 APS-C sensor
• ISO 125-12,800 (standard)
• 8fps shooting; 30fps with 1.25x crop
• 6.2K 30p, 4K 60p, and Full HD 240p video recording
• 3in 1.04m-dot articulating screen

Design-wise, the X-M5 is a fairly simple camera, with a small, box-shaped body, no viewfinder, and a fully articulating screen. Fujifilm first used this body style with the original X-M1 back in 2013. There haven’t been any other X-M models in between, but instead a range of similarly styled X-A models up to the X-A7 of 2019.

Like the X-M1, the X-M5 employs Fujifilm’s proprietary X-Trans CMOS sensor, in contrast to the X-A cameras that used conventional Bayer-type sensors.

Unlike the superficially similar Sony ZV-E10 II, or the full-frame Panasonic Lumix S9, the X-M5 is not designed mainly as a vlogging camera. Instead it has a good set of photography features and controls, including a mechanical shutter. In this respect it’s more like the Nikon Z30 and Olympus PEN E-P7.

Fujifilm X-M5: Photo Features

While Fujifilm’s other recent models have used 40MP sensors, the X-M5 is built around a 26.1MP sensor. However, it boasts the firm’s latest X-Processor 5, which means that it shares a lot of its siblings’ latest features, including subject-detection autofocus and a full set of Film Simulation modes.

This sensor and processor combination is also employed by the Fujifilm X-S20, which sits above the X-M5 in the firm’s line of ‘hybrid’ models. So we can expect the X-M5 to deliver pretty much identical performance and image quality to the X-S20 – which means very good indeed.  

In terms of photographic specifications, the X-M5 naturally has a lot in common with the X-S20. The sensor offers a standard sensitivity range of ISO 125-12,800, extendable to ISO 25,600. Shutter speeds cover 30sec to 1/4000sec, or as fast as 1/32,000sec using the electronic shutter.

Continuous shooting is available at up to 8 frames per second using the mechanical shutter, 20fps with the electronic shutter, and 30fps with the electronic shutter and a 1.25x crop.

Subject detection covers animals, birds, cars, motorcycles and bikes, airplanes, and trains. As usual for Fujifilm, human face/eye detection is also available, as a separate but mutually exclusive option.

There’s no in-body stabilisation, so the camera relies on in-lens optical stabilisation for stills, which is complemented by electronic stabilisation for video.

Fujifilm X-M5: Video features

Video features are impressive for the price, with the X-M5 capable of 6.2K 30p ‘open gate’ recording, which uses all the sensor pixels for cropping to different aspect ratios in post-production. The camera can also record in 4K at up to 60fps, or Full HD up to 240fps. Uniquely, there’s also an option to record vertical Full HD video while holding the camera horizontally.

While many of the X-M5’s video modes use the full sensor width, chances are you’ll want to enable digital stabilisation, which imposes a 1.32x crop. This will take the 15-45mm kit zoom from 23mm equivalent at the wideangle end to 30mm.

In terms of recording times, the camera should keep going for up to an hour at 25 °C and is compatible with Fujifilm’s add-on fan unit for extended durations at higher ambient temperatures.

One notable new feature is the addition of a third capsule to the built-in microphone. This allows the recorded sound to be weighted in various different ways: front priority, back priority, front-and-back priority, and full surround.

Fujifilm says it has also improved the wind filter, and added a new option for suppressing continuous background noise such as air conditioning.

One nice touch is the inclusion of a headphone socket for monitoring audio, which is inexplicably missing from similarly shaped cameras. It’s also on the handgrip, along with the USB-C and HDMI ports, where it won’t interfere with the screen.

Fujifilm X-M5: Key features

• Audio: The camera has three built-in mics that offer a range of directional sound recording modes.
• Video: Vlog-friendly features include 6.2K open gate recording and a unique vertical Full HD option with the camera held horizontally.
• Viewing: There’s no electronic viewfinder, with the camera relying purely on a fully articulated rear screen.
• Retail box: Fujifilm has switched to more eco-friendly packaging, with a brown box made from recycled paper that minimises ink use and has no plastic laminate. 

Fujifilm X-M5: Build and handling

Despite its compact size and light weight, the X-M5 handles quite nicely, thanks to a small finger grip on the front and a thumb hook on the back. I think it looks pretty stylish in its silver incarnation, although the black version is somewhat plain in comparison. But this is very much a matter of personal preference.

Fujifilm has made good use of the limited body space to offer a decent set of controls. You got two electronic dials to change exposure settings, front and rear, while a small joystick on the back is used to move the focus area and change onscreen settings. The front dial can be clicked inwards, which provides quick access to ISO setting.

I found this to be a little challenging to get used to, at least at first. I managed to accidentally change the ISO when I didn’t want to on a number of occasions. With time you do get used to the placement and essentially train yourself to avoid it, but it’s something to think about when first using the camera and perhaps something for those with larger hands to consider, too.

There’s a new Film Simulation dial which sits on the top left of the body. Some will like this, others will prefer an unmarked dial that could be used for other purposes. Your feelings on it likely depend on how much you tend to use the different film simulation modes. I don’t mind it, but, I rarely find myself in such a desperate hurry to change film simulations that I feel the need for a dedicated deal. It’s a good reminder to use them though, so there is that.

It is after all one of the great attractions of Fujifilm cameras that they have such excellent film simulation modes. With them you can get a good range of different looks that unlike some other brands don’t look tacky or gimmicky – they’re genuinely ones you might want to use more than once. Everybody has their favourites – I like Classic Chrome and the new Reala Ace mode, while Acros has always been a winner for black and white.

During this review, I’ve been using the X-M5 with the XC 15-45mm F3.5-5.6 lens, which you can get with it as part of a kit. This is a great pairing in terms of size, and is a good walkaround option covering a 22.5-67.5mm equivalent in 35mm terms. You can pair the X-M5 with other X series lenses, of course, but it pays to be mindful of exactly which ones to go for, as any of the larger ones will likely be a bit of an imbalance and feel awkward to use.

To that end, I also used the XF23mm F1.4 R LM WR lens with it, a prime lens giving you a 35mm equivalent. This was just about acceptable paired with the X-M5, albeit a little bit front heavy. For a similar focal length, the XF27mm F2.8 R WR lens would be a good option for keeping things as small as possible, though of course you don’t get that lovely wide aperture.

Just to see what it was like, I also used the XF70-300mm F4-5.6 R LM OIS WR lens for wildlife shots. This was pretty cumbersome, but if it’s something you’d only do occasionally, it wasn’t too awful. If you’re likely to find yourself shooting with long lenses regularly, I really wouldn’t recommend the X-M5 as the right camera for you. But it’s good to have the option nonetheless.

Fujifilm X-M5: LCD Screen

As the X-M5 doesn’t have a viewfinder, you always have to use the LCD to set up your shots. This being at the lower end of Fujifilm’s range, the screen specification isn’t as high as those found elsewhere in the range. As such, you get a 1.04m-dot screen, compared with say the 1.84m-dot device of the X-S20. The X-M5’s screen fully articulates, rather than tilts, so you can film pieces to camera, and it is touch sensitive so you can do things like change the focus point by simply tapping where you want it to be within the frame.

With its small, unobtrusive size, the X-M5 could arguably be a good idea for street photography. However, for this I’d prefer a tilting screen where you could hold the camera at waist level and still get a good idea of what you’re shooting – things become a little more obvious when the screen is pulled out to the side.

Video users should be pleased that the articulation hinge of the X-M5’s screen isn’t impeded by any cables that you may have plugged in, such as for a microphone. Its port is on the back of the body, while the HDMI output is on the opposite side .

The lack of a viewfinder is going to be off-putting to some, and irrelevant to others. If you’re used to shooting with a smartphone, and have perhaps never even used a viewfinder, you might not be bothered at all. Similarly, if you’re mainly shooting video, then a viewfinder (or lack thereof) simply won’t be an issue. Personally, I struggle to fully get on board with using the screen only – and in bright light it can be a little annoying trying to angle it away from glare, but that’s exactly why Fujifilm makes other models in the range that you can opt for instead if you prefer.

Fujifilm X-M5: Autofocus

As already mentioned, the X-M5 inherits many of its specifications from elsewhere in the Fujifilm range. That includes subject-detection autofocus, which covers a range of subjects including animals, birds, cars, motorcycles and bikes, airplanes and trains. You can also switch on human face/eye detection, but this is available separately and can’t be used in conjunction with the other subject detection modes.

X-M5 · f/5.6 · 1/900s · 300mm · ISO640

I didn’t try it with every subject listed here, but I found that it works very well for animals and birds, doing pretty well to keep up with – admittedly reasonably placid – birds flying and swimming around my local lake.

For humans, it also did very well, locking onto the eyes for portraits with great effect almost all of the time. If you have a particularly erratic subject – such as a small child – and you’re shooting in lower light, you might find the kit lens doesn’t cope as well as some of the higher-end lenses. But that would be a challenging test for even the best of cameras.

X-M5 · f/1.4 · 1/100s · 23mm · ISO4000

With other general shooting scenarios, such as landscapes and architecture, I found the X-M5 locked on well most of the time, too.

Fujifilm X-M5: Performance

As the sensor and processor in the X-M5 is exactly the same as that which is found in the X-S20, I knew that the image quality would be excellent. Essentially, whether you’re interested in buying this camera comes down to how you use it, not whether or not the image quality is any good – as that’s already a given.

X-M5 · f/6.4 · 1/480s · 15mm · ISO160

Per Fujifilm’s usual output, the JPEG images are wonderful, with excellent colours that are consistent. Here is where your film simulation modes will be added too – I like to shoot in raw format as well so that I can go back to a “standard” look if I prefer, but I know some people who are so pleased with Fujifilm’s JPEGs that they don’t even bother to hedge their bets.

X-M5 · f/11 · 1/160s · 15.2mm · ISO160

Similarly, exposures are well balanced in the majority of situations, and I rarely felt the need to dial in some exposure compensation when shooting in my favourite mode (aperture priority).  

X-M5 · f/3.5 · 1/70s · 15mm · ISO12800

Shooting in low light yields some very good results too. You get nice and clean images up to ISO 640, and while it is obviously visible at ISO 3200 it’s not displeasing at this point. At ISO 12800 it’s a bit more apparent again, but for sharing or printing at small sizes it’s not obtrusive.

I accidentally switched to ISO 51200 on a couple of occasions when photographing my daughter at home. This is not an ISO speed I’d recommend, but even the grain in these isn’t totally offensive – so long as you accept them for what they are.

X-M5 · f/5.6 · 1/480s · 258.4mm · ISO800

One thing to think about here is that the X-M5 doesn’t offer in-body image stabilisation, whereas the X-S20 does. That’s fair enough at this price point, but it may mean at times you need to up the ISO – again, if consistently shooting in low light is your thing, this probably isn’t the camera for you.

Fujifilm X-M5: Value for Money

You can buy the X-M5 for less than $800/£800 body only, or less than $900/£900 if you also want it bundled with the 15-45mm lens, making it one of the most affordable Fujifilm cameras you can buy right now.

If you’re keen to get into the Fujifilm ecosystem, it’s a good place to start for that reason – but you should think about exactly what you intend to do with the camera.

For those who want a hybrid model, do a lot of video shooting, or perhaps just aren’t bothered by viewfinders, it’s a good shout. However, if you lean more towards photography, then you can get the older Fujifilm X-T30 II for around the same price.

Both have the same 26MP sensor, but the X-M5 has a newer processor, giving better autofocusing, and also better video specs, such as improved 6K recording. You also get other benefits with the newer model, such as new film simulation modes. The body is also smaller and lighter, but that may not necessarily be a good thing if you miss having a viewfinder.

Looking outside of Fujifilm, there’s the recently announced Nikon Z50II (£849 body only/£999 with 16-50mm lens). Not only is this more expensive, but there’s very few APS-C lenses available for Nikon Z mount. Not to mention, the X-M5 is certainly a lot more aesthetically pleasing, so the Fujifilm has the edge for sure in this respect.

Fujifilm X-M5: Verdict

The Fujifilm X-M5 is a lovely little camera, and is capable of producing excellent results. I’m not particularly in favour of viewfinder-less cameras, but, of those of its kind, this is probably my favourite – if for nothing else than style and looks alone.

Others will be far less bothered by the lack of a viewfinder than I am, and it’s that consumer that this model is aimed at. Those who are perhaps coming over from a smartphone, for example, or those who are true hybrid shooters and are equally at home shooting video as they are taking photographs.

For a sub $800/£800 camera (body-only), it’s very impressive. To have pretty much the same image quality as the excellent X-S20, as well as some advanced specifications such as subject-detection autofocus, is a clear winner.

The small size of the camera is a good thing on the whole, particularly for those who don’t want to cart around heavy gear. But there are some compromises to consider – the button layout can at times lead to accidental settings changes (especially when you’re new to the camera), and if you ever want to use larger lenses, it’ll probably feel a bit awkward. But, pair the X-M5 with appropriate glass and you’ve got a lovely little shooting companion.

For now at least, the SLR-style X-T30 II remains on sale, and it’s currently about the same price as the X-M5. You don’t get so many advanced specifications, but you do get a viewfinder and a slightly more comfortable body.

If I were buying, that would probably be that one I’d go for. But if you’re not so worried about that kind of shooting experience, the X-M5 is a great choice.

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Fujifilm X-M5: Full Specifications

The post Fujifilm X-M5 review: Small and (almost) perfectly formed appeared first on Amateur Photographer.

When Sony launched its original Alpha 1 at the start of 2021, it offered an unprecedented combination of resolution and speed. This was a camera that could shoot 50MP images at 30 frames per second and record 8K 30p video. Now the firm has transplanted these features, along with all its latest technologies, into a hugely upgraded body design borrowed from last year’s sports focused A9 III. The resultant Sony Alpha A1 II is, without doubt, the best Sony camera yet.

Sony Alpha A1 II at a glance:

• $6500 / £6300 body-only
• 50MP full-frame stacked-CMOS sensor
• 30 frames per second shooting
• 8K 30p, 4K 120p video recording
• 5-axis in-body stabilisation: 8.5-stop centre, 7.0-stop edge
• 9.44m-dot, 0.9x, 120fps OLED viewfinder
• 3.2in, 2.1m-dot 4-axis multi-angle LCD

When the original Sony Alpha 1 first appeared, it felt like a ground-breaking product, as the first camera of its type to work convincingly for any kind of shooting, either stills or video. But the market has moved on significantly since then, and its successor finds itself up against a couple of very impressive rivals, in the shape of the Nikon Z8 and Canon EOS R5 Mark II. Both can do essentially all the same things, but for a lot less money than the $6500 / £6300 Sony wants for the A1 II.

Naturally the A1 II gains a few new tricks of its own, although arguably, nothing that clearly makes it stand apart. Sony has finally added an Auto mode for its subject detection system, plus a Pre-capture option for burst shooting. But both Canon and Nikon offer these features, too. So the question is, does the Sony A1 II jump back to the top of its class, or has it now been overtaken by its competitors?

Features

In terms of its core photographic features, the A1 II offers much the same as the A1 did. It’s built around the same 50MP full-frame stacked CMOS sensor which offers a sensitivity range of ISO 100-32,000 as standard, with extended ISO 50-102,400 options also available. The mechanical shutter maxes out at 1/8000sec, while the electronic shutter extends this even further to 1/32,000sec, and you get a very useful 1/400sec flash sync, too. That stacked sensor means you don’t have to worry too much about rolling shutter distortion.

For shooting bursts, you get 10 frames per second using the mechanical shutter and an impressive 30fps with the electronic shutter. Both come with continuous autofocus and subject tracking while shooting full-resolution raw. Sony promises a buffer of at least 80 frames for uncompressed raw and JPEGs together, rising to 240 frames with compressed raw.

When it comes to video, alongside the headline 8K recording at 30fps, you also get 4K 120fps with a 1.1x crop, and 4K at 60fps from the full sensor width. Along with Sony’s standard S-Log 3 and S-Cinetone options, the camera can store 16 LUTs for custom colour output. Subject detection AF is available during video recording.

Some may be disappointed that there’s no headline speed or resolution update over the A1 here. But this is typical of how Sony operates: it tends to use the same sensor for two generations of camera, with much the same core specs, and update everything else in between. And let’s be clear, these numbers are still entirely competitive with the Nikon Z8 and Canon EOS R5 Mark II.

What you do get on the A1 II, of course, are all the features Sony has introduced over the past four years. Foremost among these is the addition of Sony’s AI processor, which brings a significant boost to the camera’s autofocus capabilities. It also promises improved exposure, colour, and auto white balance.

In a long-overdue move, Sony has finally brought its subject detection system up to date, with a new Auto mode that understands the subject type automatically, rather than needing it to be set in advance. Otherwise, the subject detection is the same as on the A9 III, being able to recognise humans, animals, birds, cars, trains, airplanes, and insects. Sony is promising a 30% – 50% improvement in subject detection performance over the original A1, thanks to the AI processor.

There are some other welcome updates to the autofocus, too. The system boasts 759 selectable focus points, with 92% frame coverage and the ability to operate in low light of -4 EV. New XS and XL focus area sizes are available, plus the option to set three custom focus areas with user-specified heights and widths.

The A1 II also gains Sony’s best-ever in-body image stabilisation. It’s rated for 8.5 stops of shake reduction in the centre of the image, and 7.0 stops at the edge, compared to 5 stops for the original A1. There are updates for video stabilisation too, with both Active Mode IS and Framing Stabiliser IS on board.

Sony has included various multi-shot modes, promising increased resolution or decreased noise. Unfortunately, these don’t produce composite files in-camera, but require processing on a computer in Sony’s Imaging Edge software. They’re probably best seen as niche options for special situations, and arguably exist more for marketing purposes than real-world use. 

More usefully, though, you don’t have to shoot huge 50MP files all the time. Instead, you can record both raw and JPEG files at reduced resolutions of 21MP or 12MP. You can also switch to a 21MP APS-C crop mode, which can be especially useful for sports and wildlife shooters.   

Pro-spec connectivity is built-in, including 2.4GHz / 5GHz Wi-Fi, Superspeed (10Gbps) USB 3.2, and 2.5Gbps wired LAN. Neither of its main competitors have an ethernet port built-in, which for pro sports shooters, may look like a clear advantage for the A1 II at first sight. But you can add one to the EOS R5 Mark II via a vertical grip, or with the Nikon Z8, simply plug an ethernet adapter into one of its two USB-C ports.

The A1 II does gain one small but welcome design update compared to the A9 III. Open the port covers, and you’ll find that the HDMI connector has swapped positions with Sony’s multi-connector socket. This is more convenient both for photographers plugging in a remote release, and videographers setting up a rig.

Sony Alpha A1 II: key features

• Viewfinder eyecup: While the camera comes fitted with a standard eyecup, a new, deeper, soft silicone option is also included in the box.
• Power: Sony’s standard FZ100 battery is notionally rated for 420 frames with the EVF and 520 with the LCD, but you can get many more shots than that when shooting bursts. It can be charged via USB-C, and a high quality USB-C dual battery charger comes as standard.
• Vertical grip: The A1 II is compatible with the same VG-C5 vertical grip that was introduced with the A9 III. It holds two batteries and boasts a full set of duplicate controls for vertical shooting.
• Connectors: On the side, there’s a comprehensive set of ports: microphone, headphone, USB-C, full-size HDMI, RJ 45 ethernet, Sony micro-USB multi-connector, and a PC flash sync socket.
• File storage: There are two card slots, each of which can accept either UHS-II SDs, or the faster CFexpress Type A media. The camera can’t record directly to SSD, though.
• Multi-interface shoe: Sony’s multi-interface (MI) hot shoe accepts both flash units, and Sony’s own microphones without needing a cable.

Build and Handling

To all intents and purposes, the Sony Alpha A1 II uses the same body design as the sports-focused Sony A9 III. This means you get a very similar control layout to the original A1, including all the same buttons and dials in all the same places. But the new version also gains the various updates and refinements Sony has introduced in the meantime.

Most obviously, the body is wider and boasts a much-improved handgrip, with more space between the grip and mount. This means it handles much better with the large lenses that are likely to be used on this kind of camera.  It’s also much easier to use when you’re wearing gloves in cold weather. However, the flipside is that it no longer has such a clear size advantage over its competitors. At 136 x 97 x 83 mm and 743g, it’s essentially the same size as the Canon EOS R5 Mark II (however, the Nikon Z8 is noticeably bulkier).

Elsewhere, the exposure compensation dial is now unmarked and rotates freely, so it can be re-allocated to other settings. A separate switch beneath the exposure mode dial selects between still, video, and S&Q (slow and quick motion) shooting. There’s also a new C5 button on the front that’s set to engage speed boost during continuous shooting. You get a much more flexible 4-axis multi-angle screen, too.

No fewer than four electronic dials are onboard for changing exposure settings, and that’s not even counting the aperture ring that’s found on most recent Sony lenses. There’s a conventional mode dial on top (which is unusual for a camera of this type), which has three custom positions alongside the familiar PASM modes. A switch underneath selects between stills, video, and quick/slow motion. On the top left, you get physical dials for selecting focus and drive modes, each with a locking button to prevent accidental operation.

A large AF-ON button is placed above the AF-area selector joystick, and you can customise it to activate tracking too, which I find really useful. Meanwhile the video button is tucked away next to the viewfinder. All the controls are highly customisable, so it should be possible to get the camera working the way you want.

One point worth considering, though, is that those AF and drive mode switches complicate using custom modes to switch quickly between camera setups. You always have to ensure those switches are set correctly, too. In contrast, on the EOS R5 Mark II in particular you can quickly change the entire camera setup by engaging a custom mode.

Sony’s menu system is still as huge and incomprehensible as always, with fully 64 pages of options. It also includes some horrible abbreviations that are impossible to parse (Cnt Sht Spd Bst Settings, anyone?). It’s in serious need to simplification, and as with all cameras, would benefit massively from some kind of search function. It’s worth compiling options you may wish to change into the customisable My Menu. Thankfully this is an unusually straightforward process – just press the delete key when you have a menu option selected. 

Overall, though, the A1 II still just slightly lacks the sheer refinement that comes from Nikon and Canon’s decades of working with professional photographers. I tested it immediately after reviewing the EOS R5 Mark II, and it’s noticeable how many small quality-of-life design details favour that camera. For example, its lens release button is much larger, making it easier to swap lenses in a hurry, and Canon includes a dedicated button for rating images in playback. These are little things, but they do make your life easier.

Viewfinder and screen

One area where the Sony Alpha A1 II is still indisputably class-leading lies with its viewfinder. It’s large and detailed, with a 9.4m-dot OLED panel and 0.9x magnification. It’s also free of any blackout during continuous shooting. Sony now even includes a second eyecup in the box, which is much deeper and made of a soft silicone material to block stray light better. It’s a real improvement and I’d be inclined to use it all the time.

The A1 II also incorporates the same excellent screen design as the A9 III and A7R V. It’s a 3.2in, 2.1m-dot LCD that combines both tilting and side-hinged articulation mechanisms. This gives the best of both worlds – you can point the screen in almost any direction you like shooting at awkward angles, while still having it tilt up and down behind the camera for waist-level or overhead shooting.

Sony previews colour, exposure and depth-of-field by default, which means you get a very good idea of how your images are going to turn out. A comprehensive array of viewing aids is available, too. You can display a small live histogram and electronic levels, although annoyingly, not at the same time. But there’s no option to get the viewfinder to emulate an optical finder, which both Canon and Nikon offer.

Autofocus

With its stacked CMOS sensor and AI processor, it almost goes without saying that the Sony Alpha A1 II’s autofocus is exceptional. With static subjects, it focuses instantly, silently, and perfectly accurately, no matter where the subject is within the frame. With moving subjects, it’ll lock on and follow them reliably.

ILCE-1M2 · f/8 · 1/200s · 35mm · ISO200

Click on any sample image to see the full-resolution version

Sony’s subject recognition is as near-magical as ever, at least when using the pre-set subject modes. It understands people, animals, birds, insects, cars, trains and airplanes, and has no problem with keeping track of even small, erratic subject such as birds in flight. It doesn’t necessarily need Sony’s own lenses, either; I used the affordable Sigma 100-400mm F5-6.3 DG DN OS and still got a high hit-rate. But while this kind of autofocus felt ground-breaking on the original A1, now it almost seems unremarkable – the other cameras at this level have caught up, too.

While Sony’s new Auto option generally works well, in my experience it gave a surprising number of false positives. For example, it confidently drew subject detection boxes around such things as Tower Bridge or an oak tree. With the latter, I established that the camera thought it was an insect, which suggests the system has no sense of scale.    

ILCE-1M2 · f/6.3 · 1/2000s · 383.4mm · ISO8000

In a way, this is just quibbling; the camera still focused on the subject I wanted it to, and you can always turn subject detection off when you don’t need it. You can also disable certain subject types in Auto mode, which can help narrow down the camera’s attention onto the things you want to shoot. But then again, you don’t need to do this with Canon and Nikon’s subject detection systems, because they’re not so over-complicated in the first place and have simpler, more sensible options. 

Performance

As we’d expect from a top-of-the-line professional camera, the Sony Alpha A1 II performs superbly while shooting. It’s ready to shoot the moment you flick the power switch and responds instantly to all inputs. The mechanical shutter is nice and quiet, too, firing with just a soft, unobtrusive clunk. If you want the camera to operate completely silently, you can switch to the electronic shutter with minimal image-quality penalty.

ILCE-1M2 · f/8 · 1/80s · 44mm · ISO100

There’s nothing to complain about regarding battery life. Sony specifies 420 shots per charge using the viewfinder, but this is using the CIPA standard test, which is representative of taking single shots at a time. However, this is a camera where you’ll probably spend just as much time in burst mode. In this kind of mixed scenario with single frames and bursts, I got as many as 900 shots per charge. Replacement FZ100 batteries are easy to find and reasonably affordable, too.   

Continuous shooting performance is, of course, remarkable. Even if you use a UHS-II SD card, and shoot full-resolution raw and Fine JPEG files together, the camera will happily deliver bursts of over 100 frames at 30fps before pausing or slowing down. Switch to a CFexpress Type A card, and it’ll fire off about 150 frames at 30fps, before first throttling back to 15fps for another 50-odd frames, and then settling down to 10fps indefinitely (i.e. until you run out of card space, battery power, or motivation).

ILCE-1M2 · f/6.3 · 1/2000s · 400mm · ISO1250

Of course, few people want, or need to shoot this fast for this long. Aside from anything else, sorting through all the files is a nightmare. But at times, the capability can be genuinely useful.

I was lucky enough to get to shoot a Premier League football match between Manchester City and Nottingham Forest, courtesy of Sony UK. Here, the A1 II’s combination of speed and resolution allowed me to experiment with shooting wide – sometimes extremely wide – and cropping heavily after the event. You can see this in the example below.

This is a 100% crop showing Kevin de Bruyne scoring on a rare good night for the club during a spell of poor form. It’s not super-sharp, but let’s zoom out a bit and show more context…

This crop shows a rather wider view of the action, and actually looks decently sharp. But it’s still only 4MP. Let’s see what the full image looks like…

ILCE-1M2 · f/4 · 1/200s · 18mm · ISO1000

That’s right, this image was shot at 18mm to cover the entire pitch, using the Sony FE 16-35mm F4 ZA lens wide open at f/4. The 100% crop is a little blurry as the shutter speed is probably a bit too slow. Obviously this isn’t how you’d shoot sports most of the time, but it still illustrates the sensor’s huge cropping potential.

In the less glamorous surroundings of my local park, I was also able to record precise moments of action, such as with birds squabbling or touching down on water. In short, the A1 II helps you capture exactly the moment you want with relative ease, and with lots of leeway for cropping. For sports and wildlife photographers, this can be invaluable. Here’s another example, this time shot slightly more conventionally with the FE 70-200mm F2.8 GM II lens.

ILCE-1M2 · f/2.8 · 1/500s · 80mm · ISO800

To get the best performance, though, you need to shoot in Sony’s compressed raw format. However, this comes with a risk of posterization in very dark tones, so it’s better to use uncompressed raw whenever you might encounter extreme dynamic range, such as for landscapes.

Thankfully, you can set up custom modes so they record different raw file types, and even use different memory card slots. So you could have a sports/action mode sending compressed raws to CFexpress, and a studio/landscape mode that records uncompressed raw to SD when you don’t need the same speed.

ILCE-1M2 · f/2 · 1/13s · 34mm · ISO400

In-body image stabilisation is crucial with this kind of camera, as it helps you to get the most from that high-resolution sensor without having to worry too much about keeping shutter speeds high to counter camera shake. Here, the A1 II’s IBIS system is very capable indeed. Using the superb FE 28-70mm F2 GM lens, I was able to get consistently sharp images hand-held at shutter speeds in the vicinity of a second.

Given somewhere to rest my elbows, I could get entirely usable results with even longer exposure times around 2.5 seconds. This allows you to shoot such things as night-time cityscapes without necessarily needing a tripod.

ILCE-1M2 · f/5.6 · 1/0s · 55mm · ISO100

If you are prepared to carry around a tripod, you’ll find that Sony’s multi-shot modes work pretty well – technically at least. The 16-shot, 200MP pixel-shift mode delivers genuinely higher levels of detail, with minimal processing artefacts and the ability to suppress ghosting from objects that move between frames.

The problem, though, is that the files take up a massive amount of card space, and annoyingly, you have to manually identify each set for processing in Sony’s Imaging Edge Desktop software (unlike Fujifilm’s software, it’s not smart enough to find them for you within a folder of images). So while these modes can sometimes genuinely be useful in some studio still-life situations, but they’re impractical for most shooting.

ILCE-1M2 · f/11 · 1/80s · 400mm · ISO100

As with the A9 III, I was generally very impressed by Sony’s metering and white balance. On the whole, the camera does a great job of protecting highlight detail from blowing out and losing detail irretrievably. Likewise, the auto white balance system gives a reliable starting point for getting your colour right, with very few of the colour casts that used to bedevil older Sony models.

Sony’s default colour profile is tuned very much for accuracy rather than attractiveness. But it doesn’t quite have the punch and impact of some other brands’ colour modes. It’s pleasant enough, and the camera is capable of producing perfectly acceptable JPEG output, especially for portraits where overblown colour is a bad thing.

ILCE-1M2 · f/2 · 1/250s · 70mm · ISO200

Like other recent Sony cameras, there’s a set of ‘Creative Looks’ onboard, but they’re labelled only by incomprehensible two-letter abbreviations. Ironically the firm is quite happy to tell you what these all stand for in the Imaging Edge Desktop software, just not on the camera itself. They give some interesting alternative options to play with, but I don’t find them especially compelling.   

With the camera using essentially the same sensor as the original A1, image quality is unsurprisingly very similar. Which is to say, more than good enough for almost any purpose. That 50MP sensor is capable of delivering a huge amount of detail when paired with Sony’s G-master lenses – I mainly used the A1 II with the remarkable FE 28-70mm F2 GM that was announced alongside it, and the results were truly exceptional.

ILCE-1M2 · f/2 · 1/3s · 39mm · ISO100

High-ISO noise is also kept well under control, with the camera delivering entirely usable images up to ISO 25,600 at least, even without resorting to AI noise reduction in raw processing. This is complemented by substantial dynamic range, especially at lower ISO settings. Using Adobe Camera Raw, it’s possible to extract four or five stops of additional shadow detail without noise being a significant problem.

This isn’t quite the best image quality you’ll get from a full-frame camera – than honour still goes to 60MP models such as the A7R V – but it’s very close indeed.   

Sony Alpha A1 II: ISO and Noise

At low sensitivities, the A1 II’s 50MP sensor delivers exceptional levels of detail. This is maintained very well up to moderately high ISOs, with barely any visible loss of quality at ISO 1600. Go beyond ISO 3200 and shadow details starts to get crushed and disappear, but even so, I’d be happy shooting at up to ISO 25,600 as a matter of course.

ILCE-1M2 · f/6.3 · 1/640s · 400mm · ISO12800

The extended ISO 51,200 and 102,400 settings aren’t great when examined closely onscreen, but still deliver perfectly recognisable images when needed, especially with AI noise reduction applied in raw processing.

Below are 100% crops at various ISOs from our standard studio, shot in raw and processed using Adobe Camera Raw at default settings. Click on any thumbnail to see the full-size image.

Sony Alpha A1 II: Our Verdict

Let’s get one thing straight. There’s no doubt that the Alpha A1 III is the best camera Sony has ever made. It includes all the best bits of the A9 III but is much more versatile, thanks to its 50MP sensor. While its sibling is highly sports-focused and makes little sense for other purposes, the A1 is capable of handling pretty much anything you might ask of it. Regardless of whether you shoot sports, wildlife, portraits, weddings, landscapes or events, it’s got you covered.

In almost every practical respect, the A1 II is also every bit as good as both the Nikon Z8 and Canon EOS R5 Mark II. Like those two cameras, it offers more capability than most photographers are normally likely to require. No matter what you’re doing, chances are it shoots faster, focuses better, and delivers higher resolution and dynamic range than you need. There’s very little to choose between them, although the Canon arguably does have a killer feature, in the shape of eye control focus – at least for those who can get it to work reliably.

There are, perhaps, a few question marks around detail aspects of the A1 II’s usability. But they’re mostly quite minor, and can generally be overcome if you’re prepared to battle your way through the menus and fine-tune how the camera works. Sony’s new auto subject-recognition option returned more false positives than I expected, but it’s not a massive problem.

ILCE-1M2 · f/11 · 1/50s · 35mm · ISO100

It is, however, impossible to ignore the A1 II’s sky-high price relative to its rivals. It costs almost half as much again as the Canon EOS R5 Mark II, and practically double the Nikon Z8, without really doing anything extra. You could argue that the A1 II should be compared to the Canon EOS R1 and Nikon Z9 instead, but that doesn’t really hold water – the sports-specialist A9 III goes head-to-head with those two models.

Of course, that price has to be weighed up against the cost of changing systems, and most users will likely be too heavily invested in lenses to consider it seriously. And the A1 II really can do pretty much anything – if you don’t get the shot, there’s no blaming the camera. For professional Sony shooters, it’s the obvious choice.

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Sony Alpha A1 II: Full specifications

The post Sony Alpha A1 II review: crazy good, crazy expensive appeared first on Amateur Photographer.

Oppo Find X8 Pro at a glance

• 50MP f/1.6 main camera, 23mm equiv. OIS
• 50MP f/2.0 ultra wide camera, 15mm equiv.
• 50MP f/2.6 telephoto, 73mm equiv. OIS
• 50MP f/4.3 “ultra telephoto”, 135mm equiv. OIS
• 32MP f/2.4 selfie camera (no AF)
• 4k video recording, 30/60fps
• 6.78-inch FHD+ (2780 x 1264 pixels), 120Hz, 4500 nits peak brightness AMOLED,  Corning Gorilla Glass 7i
• 5770mAh battery with 80W fast charging, up to 50W wireless charging
• MediaTek Dimensity 9400 processor
• Android 15

For the last few years, Oppo has been responsible for creating some of the best smartphones for photographers on the market – however, they haven’t always all been available around the globe.

For example, the Oppo Find X6 Pro was easily one of the best smartphones of 2023, but only being available in China was a real shame for anyone anywhere else.

Fortunately, this time around, the Find X8 Pro has been granted a wider release, including in the UK and Europe. Sadly, it doesn’t seem to be widely available for sale in the US – though you can import it via the likes of eBay and so on.

Features

Oppo has once again teamed up with Hasselblad for the Find X8 Pro, but there has been some changes to the camera set up compared to the Find X6 Pro.

You now get four lenses, instead of three, however, the main sensor in the previous model was a large one-inch type, whereas now, it’s a more conventional 1/1.4” sensor.

All four of the sensors are 50MP resolution. Alongside the standard (23mm equivalent) lens, there’s also a 15mm ultrawide and two zoom lens (73mm and 135mm). Personally I’d have preferred to keep the larger sensor and lose the extra lens, but we’ll see how they perform a bit later on.

The selfie camera is a high-resolution 32MP, but unlike its predecessor, it now no longer has AF, which again is a shame.

Both of the zoom lenses are periscope type, making it the first “globally available” smartphone to have dual periscopes. Oppo claims that using this design allows them to fit high-performing zoom lenses on top of excellent sensors, but again, I’ll evaluate that a bit more closely in time. There’s also an “AI Telescope Zoom”, which uses AI to enhance digital zooming – it automatically kicks in when working at 10x or above and promises sharper images than its rival.

Other useful photography specs here include “Lightning Snap”, where 7fps shooting is activated if you hold down the shutter button, Hasselblad portrait mode, which gives you the option to recreate the look of six different Hasselblad lenses, and 4K video recording.

Looking elsewhere on the specs sheet, we’ve got up to 80W super fast charging, up to 50W wireless charging (you’ll need compatible chargers, sold separately), IP69 waterproofing and a 4500-nits peak brightness display.

Handling and Design

With its 6.78” screen, the Oppo Find X8 Pro is pretty similar to other smartphones in this sector. You might find it a little on the large side if you’ve small hands, but it’s pretty par for the course these days. It’s smaller than some of the very largest flagships out there, such as the Samsung Galaxy S24 Ultra and the iPhone 16 Pro Max.

It’s slightly lower in resolution than its predecessor, but it has a higher max brightness, so photos and videos continue to look great on the screen.

In terms of outward design, it’s got sleekly rounded corners and a smooth finish to the back. I’ve been using the Pearl White version, which looks very nice and doesn’t leave you with fingerprints or a smudged back. Additionally, apparently no two of the Pearl White phones look the same, so that’s a quirky feature.

Perhaps more importantly, the phone has “Oppo Armour Shield” which is designed to keep the phone safe from damaged. It goes beyond the pretty standard IP68, giving you IP69 waterproofing, meaning not only is it waterproof but it can apparently also withstand jets of 80 degree water being sprayed at it. This isn’t something I’ve tested it for, but, I can say it’s survived normal wet use.

The screen also seems to have withstood scratches perfectly well, too. One thing to note here is that it’s a curved display, which seems to have fallen mostly out of favour with other manufacturers. Oppo calls this “Infinite View Display”, pointing out the sides are only “slightly” curved, so as not to affect on screen content that delivers the “best of both worlds.” It seems to work well, but if you’re insistent on the completely flat displays of Samsung, Google et al, then you’ll be out of luck here.

You can double tap either of the volume control buttons to quickly launch the camera when the screen is off. This is handy when you quickly want to grab an unfolding moment. Note however, that if you have the screen unlocked but you’re in a different app, then it won’t work. You can also use the volume button to fire off the shutter, or if you prefer you can change this to control zoom instead.

An interesting new feature is the “Quick Launch” button, which doesn’t feel like a button at all, as it’s flush to the side of the phone body and uses haptic touch to work. With this, you can double tap it to open the camera from wherever you are in the phone, and you can also tap it to take photos or videos. You can also slide your finger along it to control the zoom – making it a little bit like the iPhone’s Camera Control button.

The difference here is that there’s no “protection” to stop you from accidentally touching it, so when you’re first getting to know the camera/phone, it’s very easy to accidentally zoom in and out when you didn’t mean to. It’s something you do get used to eventually – and note that it only works in landscape orientation anyway. You can also switch it off if you find you’re doing it far too often.

Native camera app

There’s lots of different shooting modes to choose from with the Find X8 Pro, so it’s worth spending a decent amount of time getting to know it, especially if you’ve not used an Oppo before.

The default shooting mode is “Photo”, where you can access all four of the phones native lenses, as well as the digital and AI zoom options. You’ll also notice if you tap on the word Photo, you’ll be able to choose one of the “Smart Scenes”, which you can use if you’re photographing a concert, a silhouette or some fireworks.

If you tap the 1x lens, you can also access 28mm (1.2x) and 35mm (1.4x) options – similar to what we’ve seen on the iPhone 16 Pro Max. Here however you can also tap on the 3x lens, and also access 85mm (3.5x), or tap on 6x and access 300mm (13.3x) or 600mm (26.6x). If you want to zoom further than this, you can pinch on the screen to reach up to 120x.

In this mode, you can also access a range of digital filters, including some which are designed to emulate film stock from Hasselblad. You can also alter exposure compensation, switch on or off Auto HDR, change the aspect ratio and more besides. A set of extra settings can be adjusted by tapping an icon at the top of the screen, including changing shooting formats and so on.

For macro work, you can either bring the lens closer to a subject and a macro mode will automatically activate, or you can swipe down from the top of the screen and select “macro shot”, at which point telephoto macro will activate. Similarly, if you find yourself in low light, night mode will automatically switch on, but there is also a separate night mode which you can find under the “More” tab.

The new “Lightning Snap” is activated by simply holding down the shutter button. These will then be grouped together when you come to look at them in playback, so you can choose the best moment.  

If you head into “Master” mode, then here’s where you’ll find the ability to adjust settings such as ISO, white balance and shutter speed. You can also shoot in raw format, should you wish to.

The Portrait mode is designed to recreate the look of six different Hasselblad lenses. You can choose between 1x (23mm), 1.4x (35mm), 2x (48mm), 3x (73mm), 3.5x (85mm) and 6x (135mm). Oppo claims that this is the first “globally available” smartphone to include a 135mm option in its portrait mode – it’s true that most others on the market top out at 5x (120-125mm) – it’s not a huge difference as such, but it’s a nice thing to add into the marketing.

Other photographic modes of note include the XPan option, which my colleague is a big fan of, Hi-Res and Long Exposure.

There are of course a number of video options too, at a variety of frame rates and resolutions, as well as an “Ultra Steady” option and mode which is optimised for recording concerts.

Image Quality and Performance

While the Oppo Find X8 Pro delivers very good results across a range of scenarios, I’m disappointed by the decision to remove the one-inch sensor that was found on the X6 Pro.

In essence, it’s reduced the overall image quality from excellent down to simply very good. There may be some people who are more interested in the additional zoom, but I would wager that most would prefer excellent performance from the main sensor instead.

Now, that’s not to say that there isn’t lots to like. Colours are vibrant without being oversaturated and unrealistic – something which happens a lot elsewhere, and details are also pretty good. We see the best results in good light, and generally I’m happy with what we get here – it’s certainly comparable to many other flagships on the market, but it still seems a shame to not have the best possible image quality available if you can.

When it comes to the zoom options, as we’d expect, we see the best results from the 1x lens, with good results also coming from the 2x crop which uses the 1x sensor. The ultrawide lens performs well in good light, and the 3x lens is also a good performer. Things are less impressive with the 6x lens, with some noticeable loss of detail – however when looking at files at a small size on your phone screen, they still appear to be very good. It’s great that the colours between all four of the lenses appear to be well-matched, too.

Going beyond this, we’re entering into “AI Zoom” territory. At 10x, the results are still pretty good and clear – and again, so long as you’re looking at fairly small sizes, they’re usable enough. The maximum reach of 120x is best avoided however, as details are completely smudgy – this is another case of marketing, rather than a setting anybody is realistically expected to use.

In low light, the Find X8 Pro performs reasonably well, but, thanks to the smaller sensor size, it’s not as good as the Find X6 Pro. We get the best results still from the 1x sensor, with a reasonable performance from the ultrawide, too. By the time the 3x lens is engaged, results are much less impressive, with noticeable loss of detail. The 6x lens I would avoid using in low light situations altogether.

OPPO Find X8 Pro · f/1.6 · 1/68s · 6.06mm · ISO400

As mentioned, there are two options for macro. The one where you simply get close to the subject works well enough, but you will see better results by engaging the telephoto macro option. Here, the results are pretty good – again especially at small sizes. You can see some smudging if you look closely enough, but the overall effect is quite good.

OPPO Find X8 Pro · f/4.5 · 1/120s · 13.85mm · ISO250

Portrait mode works quite well. I’m not sure I’d go so far as to say that it perfectly emulates shooting with a Hasselblad – come on, of course it doesn’t, but it’s good to have the different focal length options. The background blurring is reasonably convincing too, and it even copes fairly well with fussy outlines such as hair.

OPPO Find X8 Pro · f/4.5 · 1/51s · 3.23mm · ISO100

Oppo has taken away AF from the selfie lens, but it still produces perfectly serviceable results, especially in good light.

Value for Money

There’s no real getting around the fact that this is an expensive phone – especially for one from one of the less well known brands.

That said, what you get for your money arguably exceeds what you see from other high-end expensive flagship. For example, the Oppo Find X8 Pro might be about the same price as iPhone 16 Pro Max, but with the latter you only get three lenses.

One of the other major big names offering four lenses – the Samsung Galaxy S24 Ultra – also offers four lenses, but it costs significantly more than the Oppo Find X8 Pro.

So, while it is expensive, the fact that you get four lenses plus a range of other appealing features perhaps makes it reasonably good value for money.

As always, it’s worth remembering that when it comes to resale, it’s probably fair to say that the Oppo will hold its value less well than an iPhone or a Samsung, so that is also worth considering too.

Verdict

I was excited when I heard the Oppo Find X8 Pro was getting a wider release than the Find X6 Pro, as that phone was one of my favourites of the last couple of years.

However, while the Find X8 Pro is excellent, the decision to go with four lenses rather than keep the large sensor for the main lens is a disappointing one for me. It keeps the Find X8 Pro back from greatness, which is a shame. In essence I’ve been spoiled by seeing what is possible, and I don’t want to go back now.

OPPO Find X8 Pro · f/1.6 · 1/901s · 6.06mm · ISO50

Overall, it’s a very well performing device, but it’s reasonably similar to others of its type. The four lenses are all good, but the second of the zoom lenses isn’t amazing, and therefore doesn’t make up for reducing image quality elsewhere – yes I’m complaining about the one-inch sensor being missing, again.

That said, there is still plenty to like here. Image quality is probably about on a par with something like the Samsung Galaxy S24 Ultra – but with nicer, less overly vibrant colours – and there’s an excellent macro mode. It also performs similarly to the Google Pixel 8 Pro, but again, with a better macro performance and the additional lens does have its uses every now and then.

It’s quite an expensive phone, especially for a Chinese brand, but it offers good value for money when compared with other flagships on the market.

I hope for the next iteration of the Find series, Oppo makes the decision to bring back the one-inch sensor. For now, for me, it still doesn’t unseat the Xiaomi 14 Ultra, but it should still sit quite happily on our list of the best smartphones for photographers.

The post Oppo Find X8 Pro Review – FOUR premium cameras but one big problem appeared first on Amateur Photographer.

SmallRig’s RC 60B is a powerful but miniature bi-colour LED video and photography light that has its own battery built into the body, and which presents pretty amazing value for money. It’s really not that long ago that LED lights were big, very expensive and not very powerful, but all that has changed dramatically in the last few years. Finding one that didn’t need mains power or a massive battery would have also added to the cost of buying it and inconvenience of using it. 

SmallRig RC 60B LED – At a glance

• $199 / £191
• Small bodied LED light
• Powerful 60W output (11200 lux)
• Warm, white and cool temperatures
• Built-in battery delivers 45min of full power
• Mount for range of accessories
• Easy to control
• Weight: 680g
• smallrig.com

Things have clearly moved on at pace, and while we’ve seen pricing coming down, units getting smaller, lights getting more powerful and units that can run on a battery, this little cube of a light seems to have combined all of those advances into one. The SmallRig RC60B is only just bigger than a mini V-Lock battery, and will fit into the slot of your camera bag where you’d keep a camera or a fast standard zoom. It should provide enough light to illuminate a portrait or a still life indoors, and to fill some shadows outside on a sunny day. Plus it has enough juice in its built-in battery to last us 45 minutes on full power. To me, that all sounds enticing. 

SmallRig RC 60B LED – Features

The SmallRig RC 60B is the smaller of the SmallRig RC series of COB (Chip On Board) lights that are designed for stills photographers and videographers. Previously it took a larger body to house a 60W light, but this one comes in a body that measures 100x110x85mm, and which weighs 680g. Technically the maximum power of the light is 63W which should, according the SmallRig’s figures, give us 11200 lux at 1 metre, with the supplied reflector fitted and the colour temperature set to 5600K. 

We have a decent set of colour temperatures to choose from, running from a very warm 2700K to a cool 6500K, which nicely takes in the typical tungsten setting of 3200K and daylight at 5200K. The colour of the light is straight warm, neutral or cool – there is none of the green/magenta adjustment we might get on more expensive lights for fine tuning. SmallRig claims this head has a CRI of 97+ and a TLCI of 98+, so we should expect the colours in our subjects to be rendered very accurately to the eye and on the camera’s sensor. 

Power can come from a range of sources, not least of which is the on-board 3400mAh battery. For context, that’s about the same power you’d expect from one and a half mirrorless camera batteries, or two thirds of a Sony NP-F750 block-type battery. When the light is on full power, SmallRig says we should expect 45 minutes of life, while in Eco Mode we’ll get 75 minutes. Eco mode runs the light at 60% full power and on a lower fan setting. 

If the internal battery doesn’t offer enough run time, we have other options via the unit’s USB-C port. This can be connected to any power supply delivering between 43W and 100W to power the light, and this range and below to charge its battery – it takes 63W to run the light at full power. The most convenient methods of powering the light once the internal battery is dead will be mains power via the USB-C port, or a mini V-lock battery if you are on location.

A small reflector dish comes with the light, but other accessories and modifiers can be fitted via the bayonet mount around the LED. The mount is non-standard so only compatible with accessories specifically designed for this light – a mini parabolic softbox and a mini square softbox. 

The SmallRig RC 60B comes in a neat zip-up case along with long and short USB-C cables, a screw-in handle, an angled mount to fit the light on a regular lighting stand, and a clamp to attach a power bank or v-lock battery to the back of the light’s body. 

Key features

• Power options: Built-in 3400mAh battery as well as USB-C PD for mains, power bank or V-Lock battery 
• Eco Mode: runs light at 60% brightness for longer battery life and almost silent fan
• Display Panel: Nice clear screen for monitoring settings, power remaining, and power coming in

SmallRig RC 60B LED – In use

The light is very easy to use, as it features only two knobs and three buttons. While few control points can sometimes make life hard, in this case they are just enough – and actually there isn’t too much to control. One knob controls intensity and the other the colour temperature. Both are large enough to find, and are simple to operate. A slow turn gets you small incremental adjustments while a spin lets us jump more quickly, and a press takes us directly to a number of pre-determined oft-used settings. 

As well as the continuous lighting mode, we have a collection of FX effects – flashes, fireworks, broken TV, fire, etc. Again, these are easy to access, and simple to customise to the frequency of flashes/modulations and the colour we want to use.

All these modes and adjustments can be monitored on the little screen mounted on the side of the body. The text and icons shown here are clear and pretty straightforward, the screen responds quickly when we make changes, and it displays all the things we’d need to know – including how much longer we can expect from our battery at the current level of output. It is small and simple, but it’s actually pretty good.

The base of the body has a regular 1/4in 20 thread for the sort of tripod screw you’d use with your camera, and it has a couple of smaller holes either side to allow anti-rotation pins to be accommodated when required. The angled adapter that comes in the kit screws into this so we can use the RC 60B with regular light stands, and so we can fit a brolly. 

I didn’t notice at first, but there are also little indents top and bottom of the rear of the light that fit the battery clamp that comes with the kit. This clamps on over the back panel – still giving access to the buttons –allowing us to attach a mini V-lock battery or a power bank. I’m not sure I’d want to hand-hold the light with a V-lock hanging off the back of it as it doesn’t feel entirely secure, but it’s certainly good enough for when the light is stationary on a stand.

A fan helps to keep the light cool while in operation, but it isn’t especially noisy. You can certainly hear it when the light is at full power, but in Eco mode it’s very quiet indeed.

Unlike so many other LED lights on the market at the moment, the SmallRig RC 60B doesn’t have Wi-Fi and it doesn’t connect to an app for remote operation. That’s a bit of a shame, as these little lights are ideal for hiding somewhere that we don’t want to have to keep going back to. But if you are just going to stick it on a stand at head height the lack of app probably won’t bother you. 

SmallRig RC 60B LED – Performance

A 60W light is primarily aimed at those shooting indoors or those needing a fill light outside on a bright day. It won’t be overpowering the sun, even in the UK. Indoors though we can get some decent enough readings, and this light performed as I’d expect. Whatever the lux figures SmallRig quotes, the reality is that when you’ve set ISO 400 on your camera and you have a shutter speed of 1/60sec, you can expect a subject at 2m to need between f/5.6 and f/8. 

The light is reasonably consistent across the colour temperature range, which is nice, dropping only just over ½ stop from one extreme to the other. At 6500K I got a reading of f/5.6 7/10, at 5200K f/5.6 8/10, at 3200K f/5.6 5/10 and at 2700K f/5.6 2/10, so we lose a bit of power as the colour temperature gets warmer – but not a whole lot.

Colour temperature is also really quite consistent as we alter the power, with the brightest settings being a tiny bit red and the lower power settings being a tiny bit blue. The internal battery lasts pretty much as long as advertised and it charges nice and quickly too. 

Verdict

Almost every time I review a new LED light, I’m delighted with the advances made since the one I tested last week, and this SmallRig RC 60B is one of those that has made me very pleased. I like that it’s small and light, that it has a decent internal battery that means you don’t always need to carry more power, and that it’s easy to use. What makes me more delighted is that it offers the power it says it does and that the colour it produces is mostly neutral – certainly neutral enough. 

The kit it comes with is also well thought out, and we are immediately well equipped for using it straight away. So, in all, it’s a very nice little light that can be had for very little money. An app would be nice for remote control, but perhaps we’ll see that next time. 

Related reading:

• Essential Guide to Lighting and Studio Setup for Boudoir Photography
• Nanlite launch: Forza 60 II and Forza 60B II and more
• Moonside MagLight Review – Light up your portraits

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