• The FCC wants to take 'military-grade' DJI drones off sale
• Numerous DJI models would be affected
• You can comment on the proposals until September 2

There's been a ban on new DJI drones and cameras in the US since last December, but now the Federal Communications Commission (FCC) is making moves to retroactively take some models off shelves that were approved before the ban came into effect.

Specifically, the FCC wants to pull "military-grade" drones from stores (via PCMag), which apparently includes every model with LiDAR obstacle avoidance or thermal cameras. That would affect drones such as the DJI Air 3S, the DJI Avata 360, the DJI Mini 5 Pro, and the DJI Mavic 3T, for example.

Drones that weigh over 55 pounds (nearly 25 kilograms) will be included in the retroactive ban, as well models that use docking stations. The criteria laid out by the FCC is broad enough to cover a substantial number of drones in DJI's current range.

Now, if you've already bought one of these drones in the US, the FCC isn't going to come and take it off you. However, unless the regulator changes course, these models won't be available to buy in the US from September 2.

You can take action

DJI has already complained long and hard about the original ban, pointing out that its drones were blacklisted for security reasons without any actual security audit taking place. It's also taking a very dim view of the new proposals by the FCC.

"People could continue using DJI products they already own, but the same models in use today might no longer be available to purchase in the future," says DJI in a blog post. "This is a total reversal from the FCC's previous position, and it is U.S. operators that would bear the cost."

DJI argues that safety agencies, small businesses, and farmers in the US who rely on DJI equipment will be faced with more expensive and difficult upgrades in the future, and it's asking for the public's support while the FCC proposal is considered.

You can have your say during the public comment period up until September 2: head to the Drone Advocacy Alliance website to make your feelings known, and to explain to the FCC how you use drones and their capabilities for non-military purposes.

GoBirding Vision Master: One-minute review

Bird-spotting scopes have remained stubbornly analog for a very long time: you point some glass at a distant feathered friend, squint, and hope you remembered your spotter's guide. The GoBirding Vision Master Smart AI Spotting Scope, or the APL-ETF-M1 to give it its slightly snappier model name, wants to drag that experience kicking and screaming into the smartphone era.

It does so by squeezing a 4K camera, on-device AI bird identification and smartphone-friendly connectivity into a 30x optical zoom scope. It's certainly an ambitious concept; and after spending a few weeks testing it, I came away impressed in some ways and frustrated in others.

The build quality is a positive: the scope feels solid rather than plasticky, and the design manages to be fairly discreet too. At 932g with the tripod mount attached, it's not a lightweight in absolute terms, but it's manageable enough for a session in the field. The front and eyepiece caps, though, have an annoying habit of working themselves loose when the scope is packed away in a bag — worth knowing if you're the sort who likes to keep your gear spotless.

The headline feature — AI bird identification — works, but with caveats. GoBirding claims the M1 can ID over 1,500 species offline, and over 10,000 when connected to the internet via your smartphone, and in practice it correctly called out everything from common cormorants and herring gulls to species I hadn't heard of, like the water pipit. It's less confident with distant or backlit subjects, though, and it drew a blank on a peregrine falcon I spotted, likely because the bird was too well camouflaged against its perch for the system to extract enough detail; you need a clean, in-focus shot for reliable results, and that's not always easy to get.

Which brings me to the scope's chief weakness: autofocus. It's sluggish, and for fast or skittish birds, I found myself reaching for manual focus. It's a similar story with the image stabilization; GoBirding recommends a tripod over handheld use, and having tried both, I heartily agree. Mounted up, footage steadies out nicely; handheld, especially at higher magnifications, it completely fails to remain level.

Image quality itself is a mixed bag. 4K/30fps video looks reasonably sharp at native zoom, but push into the digital range beyond 30x and detail falls off fast. Colors also tend toward the oversaturated — skies in particular can look implausibly turquoise — and the bokeh has an odd, angular quality unlike anything I've seen from a superzoom camera, more chain-link fence than creamy blur.

The companion app is spotty too. Second-screening — letting someone else see what you're viewing through the scope on their phone — works well, and is genuinely useful for shared birding trips. But other features feel unfinished: the app never once managed to log my location correctly, defaulting instead to a spot on the equator, and it doesn't automatically record the time or place of AI-identified sightings, which feels like a missed opportunity given how central data-logging is to the scope's appeal.

Pricing, like a skittish sparrow, remains something of a moving target. GoBirding has confirmed an official retail price of $999, with Kickstarter backers able to secure an Early Bird unit for significantly less depending on tier; there will also be an as-yet-unspecified Super Early Bird VIP discount available too. The Kickstarter campaign is expected to arrive around August 20, with shipping to follow in batches after that — but I should caution that all of this remains subject to change.

GoBirding Vision Master: Price and availability

• Official retail price set to be $999 (about £750 / AU$1,450)
• Kickstarter Early Bird pricing from $649 (about £490 / AU$940)
• Kickstarter campaign expected to launch around August 20, 2026

The M1 isn't on sale yet. GoBirding's Kickstarter campaign is expected to launch around August 20, 2026, offering backers an Early Bird price from $649 to $699 depending on tier. That's well below the $999 official retail price, which will apply once the M1 reaches general sale. A further Super Early Bird VIP discount has also been promised, though GoBirding hasn't yet specified the terms.

GoBirding hasn't published official GBP or AUD pricing, so the conversions above are calculated at current exchange rates rather than confirmed figures. Production is reportedly already underway, with shipping to begin shortly after the Kickstarter campaign wraps and orders are confirmed. There's no word yet on wider retail availability beyond that, however.

At $999, the M1 sits close in price to premium bridge cameras like the Nikon Coolpix P1100, but well below high-end AI optics like the Swarovski AX Visio. My gut feeling is that it's a rather steep price to pay for a scope that doesn't feel completely finished in terms of features and has some image-quality issues, but given that there's not really anything else like it on the market, it's hard to say what something like this should cost.

GoBirding Vision Master: Specs

GoBirding Vision Master: Design

• Solid, weatherproof IP65 build
• Tripod-ready straight out of the box
• Weighs around 32.8oz / 930g

Picking up the M1, the first thing I noticed was the heft-to-size ratio — it's a dense, reassuringly solid object, rather than something that feels hollow or plasticky. The forest-green and gunmetal-grey colorway feels like an appropriate choice for a birding tool, and should blend into foliage far better than a garish action-cam-orange scope would.

The controls are nicely tactile and have a rubbery finish, which suits outdoor use: there's a push-pull zoom joystick (which can be tilted left and right to manually focus), a dedicated AI recognition button, and separate stills/video capture controls, and they're all operable by feel alone, which is helpful when you're trying to keep your eyes on a parakeet rather than the top of the scope. The eyepiece itself houses a 1080p micro-OLED display, is angled nicely for extended viewing sessions, and can be twisted to adjust focus. As a glasses wearer, I found it comfortable and easy to get a nice sharp view.

A pull-out rubber flap protects the microSD slot and USB-C port. I found that I wasn't able to transfer videos and images over to my MacBook Air via USB (the scope didn't show up as an openable drive in Finder) so I had to pop out the card, put it in a card reader and do it that way. Also, my sample didn't come with a microSD card, so you may need to buy one if you don't already have one going spare.

A tripod mount is attached to the underside, and given how much GoBirding leans on tripod use for its stabilization claims (more on that in the Performance section below), it's good that they haven't made you buy one separately or hunt for a compatible adapter. The mount can be removed by loosening a nut if you want to slim things down a bit and shoot handheld, but I kept it attached the whole time I was testing.

In the box you get a drawstring storage bag, a microfiber cleaning cloth, and protective push-on rubber caps for both the front element and the eyepiece. The caps are a nice idea in theory, but in practice they had an irritating habit of working themselves loose while the scope was in my backpack.

GoBirding Vision Master: Performance

• AI recognition impresses more often than it disappoints
• Autofocus is the scope's biggest let-down
• Image quality is solid in good light, shakier elsewhere

The M1's AI bird identification is simple to use — you just tap the AI button to toggle on a red box indicator, then center the bird within the box until the name appears on-screen — and mostly delivers on its promise. GoBirding claims 1,500 species identifiable offline and over 10,000 via the companion app, and across my testing it correctly called out common species like cormorants, rock pigeons and herring gulls, alongside less familiar ones — the water pipit, Caspian gull and great black-backed gull all got flagged, the latter two of which I'd wrongly assumed were regular herring gulls. I also tested it on a batch of still photos, and it was accurate the vast majority of the time, with only the occasional misidentification.

It's not infallible, though. The system needs a clean, sharply-focused subject to work with, so extreme-range or backlit birds (reduced to little more than silhouettes) routinely trip it up. It also failed to recognize a peregrine falcon I spotted perched on a distant church tower, most likely due to both the range and because its plumage blended in too well with the stonework for the AI to extract meaningful detail.

Autofocus isn't a strong point. It's noticeably sluggish and inaccurate, and for anything fast-moving or skittish I found manual focus the faster and more reliable option. Combine that with image stabilization that GoBirding itself admits works best with a tripod, and handheld shooting at higher magnifications becomes frustrating. Mounted up, footage steadies out nicely, but when you're shooting freehand, especially at the long end of that zoom range, you'll struggle to keep it level. Even when using a tripod, I found it almost impossible to get steady footage at 120x zoom.

Image quality is a mixed bag, and here the small 1/2.7-inch CMOS sensor is a limiting factor throughout. In good light, 4K/30fps footage and 8MP stills at native zoom look reasonably crisp, but push into the digital zoom range beyond 30x and detail falls away quickly, as you'd expect from a sensor this size.

Colors also look oversaturated by default — skies in particular can be implausibly turquoise — and bokeh has an odd, angular character, more chain-link fence than the smooth, attractive background blur you'd get from a larger-sensor camera.

Should you buy the GoBirding Vision Master?

Buy it if...

Don't buy it if...

Also consider

How I tested the GoBirding Vision Master

• Tested over several weeks in several locations including a country park, the seafront, and a local churchyard
• Shot in a range of light conditions during the UK summer
• Tested handheld and tripod-mounted

I spent several weeks testing a review sample of the GoBirding Vision Master supplied to me by the manufacturers, across a range of locations near my home, aiming to put its birding-specific features through their paces in the kind of everyday settings a typical user would actually experience.

A local country park with a birding hide, and my town's seafront gave me a good mix of woodland, marshland and open-water species to test the AI recognition on. A nearby churchyard, home to a resident family of peregrine falcons, gave me the chance to test the M1 against a truly challenging subject: a stealthy bird of prey that spends much of its time perched high and partially obscured.

Across all locations, I tested both handheld and tripod-mounted use. I used the on-device AI identification extensively in the field, and separately tested it against a batch of still photos to assess accuracy outside of live conditions.

All shooting was carried out during a hot, dry summer spell, so while I can vouch for the M1's performance in strong sunlight, I wasn't able to test its weatherproofing in wet or cold weather.

First reviewed July 2026

• New accessory for Luna Ultra synchronizes the camera with the user's head movement
• POV Head Tracker simplifies shooting hands-free first-person footage
• It costs $69.99 / £67.99 / AU$115.99

Do you ever shoot first-person-view (FPV) video content? Well, Insta360 has a new accessory that's designed to simplify the whole experience: the POV Head Tracker. And it might just tempt you to switch to the Luna Ultra.

The coin-sized 0.2oz / 6.4g device connects to the Luna Ultra compact vlogging camera over Bluetooth and, once paired, it synchronizes the camera with your head movement in real time, for what Insta360 says is "immersive POV footage".

It's designed to completely free up your hands, but goes one step further than a simple chest mount by synchronizing head and camera movement, so you shouldn't have to worry at all about composing the shot.

To me, the POV Head Tracker sounded like a dream accessory for shooting video solo — so I had to try it out for myself.

A game-changing accessory?

The IPX4-certified device measures just 1.0 x 1.0 x 0.5 inches and comes in a hard0shell USB-C battery case along with an ear mount, strap, clip, adhesive mount and motion adapter. It has has a 7-hour battery life — enough for a full day of shooting.

Insta360 also sent me a neck mount that's designed to hold the Luna Ultra. With the camera slotted into the neck mount and the POV Head Tracker in the supplied ear mount — which is right ear-only — I gave the combo a spin to see if it delivers on its lofty promises.

Setup takes a few seconds, via a simple device calibrate process: you look straight ahead for three seconds, then look straight down for three seconds. Done.

Once the devices are paired and calibrated, you control which way the camera points simply by where you look. Doing a hands-on product review? Look down at the product. Doing a travel vlog and the point of interest is off to the left? Look left. It really is that simple.

It really was like the camera was my second pair of eyes — and it's the biggest nod so far to Insta360 founder and CEO Liu Jingkang's 'photography robot' vision, which I spoke to both him and Insta360 about.

Is the POV Head Tracker perfect? I'm not so sure. It appears as though you can't use Insta360's Mic Pro simultaneously via Bluetooth, plus I found the tracker strayed off sync a little, and that slight difference was highlighted when employing the Luna Ultra's tighter 3x telephoto camera rather than the ultra-wide.

I needed to recalibrate the device from time to time (which can also be done by looking straight ahead and then double-tapping the Luna Ultra's button that recenters the camera).

Still, that's where the camera's detachable LCD screen module came in handy — you can leave the camera on the neck strap over your chest, but view what the camera sees on the detached module, for example if you do need to recalibrate or zoom.

The Luna Ultra with POV Head Tracker felt like a camera setup from the future. A future where people walk around with discreet cameras strapped to their chests, recording what they're looking at. Whether you want that future or not is another matter; but for now Insta360's new accessory feels like a revolutionary device.

It's another form of camera intelligence akin to the Luna Ultra's subject-tracking skills which, when combined with the detachable module, is like having a cameraperson filming you. These smart features make life for solo creators so much simpler, and broaden the range of shots possible.

The POV Head Tracker costs $69.99 / £67.99 / AU$115.99 while the Luna Ultra Neck Mount costs $24.99 / £23.99 / AU$39.99.

DJI Osmo Pocket 4P: One-minute review

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

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

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

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

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

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

DJI Osmo Pocket 4P: price and release date

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

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

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

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

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

• Price score: 5/5

DJI Osmo Pocket 4P: specs

DJI Osmo Pocket 4P: Design

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

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

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

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

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

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

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

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

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

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

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

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

• Design score: 4.5/5

DJI Osmo Pocket 4: Performance

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

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

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

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

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

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

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

• Performance score: 5/5

DJI Osmo Pocket 4: Image and video quality

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

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

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

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

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

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

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

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

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

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

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

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

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

• Image and video quality score: 5/5

DJI Osmo Pocket 4P: testing scorecard

Should I buy the DJI Osmo Pocket 4P?

Buy it if...

Don't buy it if...

DJI Osmo Pocket 4P: also consider

How I tested the DJI Osmo Pocket 4P

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

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

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

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

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

Insta360 founder and CEO Liu Jingkang, aka 'JK', recently shared a potentially controversial post on Chinese social media platform Weibo, which translated reads:

“Our product vision is to build a ‘Cameraman’ — an intelligent photography robot capable of automatically composing shots and capturing moments like a professional photographer, allowing users to remain fully immersed in the present.

"Today, AI is rapidly evolving, we believe the Cameraman’s 'brain' is becoming increasingly capable, unlocking new possibilities for creative imaging.

"In the long term, the ideal end state for cameras is to progressively become imperceptible, even to ‘disappear,’ until recording no longer consumes effort and becomes a natural part of life.”

As a concerned photographer (and as a concerned human being) I wrote a response to that post, and asked Insta360 for comment.

JK provided me with a statement addressing my concerns and elaborating on his vision, and he and Insta360 also answered a number of specific questions I put to them about the company's potentially game-changing plans for its future cameras.

Below you'll find JK's response, followed by my interview with JK and an Insta360 spokesperson.

JK's response: I’ve always believed imaging serves three fundamental human needs: to record, to share, and to create.

AI will undoubtedly reshape parts of this industry, especially in sharing and commercial creation. But when it comes to recording our lives, I believe there is a line AI cannot cross. Technology can make tools easier to use, but it cannot replace the human qualities behind truly meaningful work — judgment, emotion, taste, and the creative energy that come from lived experience.

For me, a photo I take of my daughter’s smile is priceless not because of technical perfection, but because I was there. I felt that moment. AI can generate, enhance, and imitate, but it cannot experience life on our behalf.

Human beings are the measure of all things. You should not hand over experiences that ought to belong to you to algorithms and machines.

So when we talk about the future of the camera, we are not talking about replacing people. We are talking about building tools that help people capture life more freely, more naturally, and with less friction. The future is not about making machines more human — it is about helping humans be more present, more creative, and more themselves.

The interview

TC: What does this 'cameraman' look like? Is it one entity or multiple products?

JK: For us, the future cameraman is a product vision rather than a single device.

Insta360: The core idea is to create a camera that can automatically compose shots, capture key moments, and produce finished content for the user, so people can stay fully immersed in the moment without missing what matters.

When you’re traveling or watching a live event, you often end up holding up a phone the entire time and looking at the screen instead of the experience itself. Our long-term vision is for the camera to work more like a professional photographer: you stay present, and it helps take care of the filming for you.

We’re still exploring what the ideal form factor looks like, so in the near term there won’t be one final ultimate product. But we’re already bringing elements of that vision into existing products. For example, Luna Ultra's POV head tracker enables a more seamless, almost invisible shooting experience, and we see that as an important early form of the future cameraman.

TC: Are we to take it that the 'intelligent photography robot' will be fully automated and independent?

Insta360: First, it’s important to clarify that the future cameraman doesn’t mean a humanoid robot. It’s a product concept and a long-term vision for how cameras should evolve.

The idea is to free users from complicated operation so they can be truly present in the moment while still getting professional-looking results. In that sense, the camera starts to play more of the role of a photographer. Imagine a family outing where the system can automatically frame, capture, edit, and output content end-to-end, without someone constantly needing to manage the device.

That said, this isn’t about a camera acting independently without the user. It’s about highly intelligent operation under user direction, intent, and control. The camera should be able to automate far more of the process, including recording comprehensively when the user wants it to, but always within boundaries set by the user. Our goal is for the experience to feel effortless and natural — even to the point where the camera becomes almost imperceptible in everyday life.

TC: Can you describe the composing, shooting and editing functionalities?

Insta360: To build the future cameraman, a camera needs to do three things well: see, understand, and act.

First, it needs to see more of the world. That’s one reason 360 imaging matters so much to us. A traditional camera captures only a narrow frame, while a 360 camera captures the full scene. That gives both the user and the AI much more context, reduces the risk of missing important moments, and creates a stronger foundation for tracking, reframing, and scene understanding.

Second, it needs spatial intelligence. The camera has to understand depth, motion, orientation, and what’s happening in the environment — not just record pixels, but actually interpret the scene.

Third, it needs to act in real time. That means tracking subjects, stabilizing footage, composing shots, predicting movement, and eventually making smarter filming decisions automatically based on the user’s intent. If it can’t respond instantly, it doesn’t really behave like a cameraman.

JK: The cameraman sits at the intersection of sensing, on-device AI, and computational imaging. The goal is for the camera to stop being just a recording tool and start becoming an active creative partner.

TC: Could you unpack a specific future feature being explored that leads Insta360's camera to being an 'active creative partner'?

Insta360: When we talk about an ‘active creative partner,’ we mean an intelligent imaging solution that better understands the scene and helps users capture it more intelligently. In dynamic environments, it can keep up with subjects with less user intervention, so people can stay focused on the moment while the camera handles more of the technical work.

To support that vision, we’ve already built a strong technical foundation, including panoramic generation and a panoramic metric depth model. We’ve already open-sourced these technologies for the industry, and they have potential applications not only in 360 cameras, but in other products and fields as well.

TC: How is the 'cameraman' different from existing cameras and Insta360 models?

Insta360: Insta360 already has some of the foundational capabilities needed for the future cameraman. Features like AI stitching, FlowState stabilization, subject tracking, reframing, auto-editing, and on-device image processing are all part of the camera’s evolution toward more intelligent and autonomous capture. That said, today’s products are still early versions of what that fully realized experience could become.

We’ve spent years building deep expertise in 360 imaging, and that gives us a strong foundation in spatial intelligence. Compared with a traditional camera that records only a single frame, 360 imaging data provides a complete field of view and continuous spatial context. Combined with our work in spatial modeling and generative intelligence, that helps AI move from simply “seeing” the world toward actually understanding it.

That’s a key difference in how we think about the future of imaging. And going forward, we’ll continue investing in areas like panoramic depth estimation, world models, and autonomous follow systems.

TC: What's the timescale for this 'cameraman'?

Insta360: This is a long-term vision, and we expect to realize it through continuous product iteration over time. Rather than arriving all at once in a single product, we see it developing step by step as the underlying technologies mature and become ready for real-world use.

TC: Does this 'cameraman' record autonomously? If so, couldn't that be a privacy concern?

Insta360: This is one of the most important questions in the age of AI hardware. Our view is that future intelligent imaging devices should be able to automate recording much more deeply — even to the point of capturing everything the user wants preserved — but always under the user’s authorization and control.

The core idea behind cameraman is not uncontrolled, limitless recording. It’s about turning the camera from a manually operated tool into an intelligent companion that understands what the user wants to capture and helps do that more effectively. That may require environmental awareness and autonomous recording when the user explicitly enables them, but those capabilities should always be bounded by clear user intent, permissions, and controls.

In other words, autonomy is important, but user agency is essential. We believe that’s the right balance for the future of intelligent imaging.

TC: Does Insta360 envision the system ultimately replacing professional content creators, or is the vision aimed at consumers?

Insta360: No — this is not about replacing photographers, videographers, or creators. It is mainly about helping consumers capture moments more easily, with less friction and less fear of missing the shot.

For professionals, we see these capabilities as assistive tools, not substitutes for human creativity. Great photography and filmmaking still depend on judgment, storytelling, taste, and human connection. Our goal is to reduce technical friction in capture, not replace the creator behind the camera.

The right side of the line?

It remains to be seen just how autonomous Insta360 cameras could become, but Insta360's response somewhat allays my fears about where its camera tech could be heading. And I get the logic — the ease of use and streamlined workflow of Insta360's consumer cameras in particular, which include leading 360-degree and vlogging cameras, are integral to their success.

Cameras such as the Insta360 X5, and Insta360's companion app are already packed with smart tools that make 360-degree video content easier to capture and edit. So, thinking ahead, why make the process unnecessarily difficult for the sake of user agency, when an intelligent camera knows which direction to point in?

Why pour over lengthy 360-degree video clips to manually piece together an edit, when AI knows where the best action is happening and can suggest / make the edit for you?

It's this intersection of human creativity and automated AI tools where we might start to see more intelligent functions assisting users in shooting, editing and sharing, freeing them up to "be more present" as JK puts it, rather than being bogged down with camera operation. And if any company is in the position to advance this kind of intelligent camera tech, it's Insta360.

The analog resurgence has been one of the biggest tech trends of 2026 after making a slow comeback last year.

Whether you’ve made the switch from a smartwatch to a Casio or you’re taking a trip down memory lane with your old iPod, more users are reverting to analog devices to escape brain-rotting algorithms and indulge in nostalgia. The same goes for the best compact cameras — and Lola is one of the next emerging brands to embrace this simplicity.

In October 2024, Lola launched its flagship $109/ £79/ AU$159 camera, a compact device that leans into early Y2K digital photography but with smartphone connectivity features. The camera was a response to the rising lo-fi tech craze, gaining exponential traction among Gen-Z users, and I grew increasingly curious.

Retro tech has become quite a prominent theme in my life at the moment. Recently I ditched Spotify and spent some time with the Miko cassette player by Gadhouse, but coming across the Lola camera online unlocked memories of my childhood I’d completely forgotten about.

I haven’t used a digital camera for the best part of 15 years, so it was time for a reunion.

A tiny camera, but a big first impression

For the past few weeks, the Lola camera has lived inside my everyday bag, and I used it at every opportunity I could — but I will never forget how I felt when I first took it out of the box.

First of all, the camera is absolutely tiny with dimensions of 3.75" x 0.75" x 2.25" and a weight of 0.5lbs (approximately 225 grams). I can’t remember if that’s always been the standard size for a digital camera, but I felt like a giant holding it in my hands. That said, it’s a handy pocket-sized device with a simple design to go with it.

Just like your average point-and-shoot camera, Lola has a built-in flash, supports SD cards, and packs an array of 19 fun effects, as well as 9 scene modes including Party, Beach, Night, & Portrait. One of the biggest differences is its USB-C charging port, which also comes in handy for transferring images to your smartphone.

Lola has numerous editions of its digital camera, including a cute Betty Boop-themed version and one in a clear shell finish that lets you see the inner workings of the camera. I quite like the stripped-back standard silver version because it’s minimal, but can still turn heads.

Then it was time to put the pedal to the metal.

Classic, but with a twist

Overall, Lola is a camera that’s bound to satisfy casual users who want to revert to a compact smartphone alternative for snapping images and creating memories. It’s great for taking photos to fill up a scrapbook or for your next Instagram photo dump, but it’s not one for established photographers who want crisp results. If anything, it’s for those who want to embrace imperfection.

Going into it, I knew that it wasn’t going to give picture-perfect results like professional cameras, but I developed a quick admiration for it as a beginner-friendly device. While its 8MP resolution is low by modern standards, it’s more than enough in this case, producing clear-looking images with a soft lo-fi finish that looks more authentic than a retro smartphone app filter — particularly for outdoor shots.

I found taking photos outside much easier than taking photos indoors, and for the most part, the camera adapts very well to natural environments. In some cases, however, it can be quite sensitive to sunlight, resulting in harsh, overexposed spills in the images.

This can be fixed with a few minor tweaks in the settings, and they don’t require a lot of photography knowledge. All I did was bring the exposure down to -1, increase the ISO to 100, and enable the Daylight preset in the White Balance setting. You can see the difference it made in the images below.

While these amendments made a big difference, it does mean that some parts of your image will appear darker than others in order to balance out the harshness of the light. In the second image, you can see the footpath and trees are slightly darker, but the grass patch in the background isn’t as overexposed, so for me it’s not too much of a setback.

But another feature that caught my eye was Lola’s surprising x20 digital zoom, which goes further than you think. Of course, the further you zoom in, the more crunchy your image will turn out, but zooming roughly halfway to two-thirds in is great for spotlighting the finer details of architecture and infrastructure, or for framing subjects in an entirely different way.

Lola takes everything you loved about your 2006 digital camera and puts it back into a refreshed device, but this is the 2020s, and the company is fully aware of your social media-posting intentions. This is where the SD card adapter comes in handy.

One of the biggest pain points I found with digital cameras 15 years ago was the importing process, which usually required a laptop or computer to transfer your images, since smartphones weren't as advanced as they are now. Admittedly, I was probably just too lazy to do this.

With the Lola camera, all you have to do is insert the SD card into the adapter, which goes into your phone’s charging port. You can then select the images you want to import right from your camera roll, and they’re imported in seconds, making it a lot easier to share them with your friends. For me, this was the icing on the cake.

Digital photography is timeless

There’s a handful of elements with the Lola camera that could do with some improvement (mainly its sensitivity), but for a $100 digital camera I think it has solid value for casual users. But beyond that, reverting to a digital camera removed the obsession with the finer details, evoking a deeper appreciation for being in the moment.

Sure, you can add effects and filters on the camera, but you can’t fine-tune individual settings such as saturation, contrast, shadows, and highlights on the device itself. That way, you have no choice but to embrace the realness and humanity of capturing what's before you.

I recently attended a bridal fitting for one of my closest friends, and instead of using my phone, I captured everything with Lola (I haven’t shared the images for obvious reasons). Though these photos have since been imported to my iPhone gallery, they stand out differently because I know how they were taken, and I look back at them filled with the same feelings of excitement from that day.

Simple, effective, and raw at its core, I’m going forward with a new attitude to memory-making. For some reason, somehow you remember the joy of each moment more vividly.

Earlier this year, I had the pleasure of attending the Sony World Photography Awards (SWPA) 2026. During the evening ceremony where this year's victors were announced, I met Will Burrard-Lucas, an award-winning wildlife photographer whose work I was already familiar with.

Burrard-Lucas took home another award that night, the SWPA 2026 wildlife and nature category, with a series of photos of a rhino, giraffe, elephants and more in Kenya's Maasai Mara National Reserve, captured with remotely-triggered Canon DSLRs. He filled in the blanks for me on how he created these photos — and you can read that interview in full.

He used his self-developed infrared camera 'traps', which can wirelessly connect to a pro-grade camera — Burrard Lucas actually recommends old DSLRs — and trigger the shutter when motion is detected, and which are available on his own website.

These sophisticated devices are called Camtraptions, and their automated function sounded much more appealing than my prior rudimentary setups for garden wildlife photography, which required a lot of involvement on my part that I didn't necessarily have the time or patience for.

And so, I cheekily requested to try out these Camtraptions devices for myself, and Burrard-Lucas happily obliged, sending me a full kit that I planned to test in my garden at home. Could I photograph next-level garden wildlife photos with this newfound setup? I'm here to share my experience.

What is a 'Camtraptions' camera trap sensor and how does it work?

Cameras that use infrared to detect motion and in turn take photos or videos, remotely capturing the action, are nothing new. Two popular examples are budget trail cams and bird feeder cams, and you're not short of choices for either type.

The problem with these convenient devices is the quality they produce; they tend to take JPEG photos just 2-3MB in size and HD video, using a tiny imaging sensor through a sub par lens. In short, they are highly convenient, but image quality is poor. These rugged devices are designed to be left on location for long periods for monitoring purposes — but no serious photographer would prize the quality of the photos they take.

For high-quality and intimate images of wildlife fit for photo contests, that you simply couldn't capture in person, a Camtraptions Passive Infrared (PIR) device with reliable remote capture, paired with a pro camera, could be the ticket.

Burrard-Lucas actually recommends old DSLRs when photographing wildlife remotely using his Camtraptions PIR devices, because he tends to leave the camera on location for months at a time, and these cameras represent a sensible cost to quality ratio. They also work reliably with flash.

There are plenty of great value secondhand options at leading retailers such as MPB (UK) and Adorama (US), but I already had my own Nikon D800 in mind — a 36MP full-frame model from 2012 that I hadn't used for over two years.

The Camtraptions device loaned to me uses infrared to detect motion and wirelessly trigger the camera using its built in transmitter. You simply connect a separate Camtraptions receiver unit to the camera and sync the pair on the same channel. There are detailed manuals on the Camtraptions site — the one I needed being a full 85 pages!

Camtraptions have been developed over years and the most recent is the V4, which is packed with handy features; near and far infrared range options, doors that can narrow the otherwise wide scan area to a focused spot, multiple frames per second triggering and so on.

Ultimately, I breathed new life into my otherwise out of action Nikon D800 and F-mount lenses, setting it up on location in my garden over warm, rainless summer months, in the hope of capturing garden wildlife photos otherwise not easily possible.

My first test — daytime bird photography

I started out with the simplest setup of all; my tripod-mounted Nikon DSLR with 70-200mm f/2.8 lens and the Camtraption device on another tripod. They were a few feet apart, both pointing at an old branch I had collected, which was baited with bird seed.

Because birds are fast moving creatures, I selected a 1/500sec shutter speed, f/9 aperture for sufficient depth of field with the full-frame sensor and 200mm focal length, and auto ISO with a maximum ISO 3200 sensitivity to cover daylight and dawn / dusk. I dialled in -0.7EV exposure compensation, and otherwise left the camera to calculate exposure with that -0.7EV latitude for keeping highlight detail on a bird's bright plumage in sunkissed scenes — better to brighten an image later than suffer highlight clipping.

I placed the setup in a spot of my wild garden that I know is already popular with birds, and I kid you not, a few hours later, having carried on with my day job writing camera articles like this, I returned to the camera to find dozens and dozens of perfectly composed shots of the common birds that frequent my garden — I've added some of my favorites, below, including some moodier shots at dusk.

Besides setting up the scene and the gear, I had no involvement, and came away with multiple keepers. This was too easy, so I gave myself a trickier challenge; nighttime garden wildlife.

My second experiment — nighttime with flash

Deer, foxes and badgers visit my rural garden from time to time, especially in the quiet and nighttime hours. My Birdfy Bird Bath Pro inadvertently recorded a deer munching on a bush in the background at first light one morning, while I recently saw a badger scuttle across my driveway as I pulled in late at night. However, I've never got even close to photographing these creatures.

The first challenge was one pretty much out of my control; knowing where to place the camera and Camtraptions gear. That's because there were no signs of regularly trodden trails, gaps in foliage or dug up routes underneath fencing where I could be confident of capturing the action. No, I had to hedge my bets, and our garden is wild and fairly open.

I opted for visualizing and composing the shot I wanted — a narrow opening between bamboo, where I hoped that wildlife would walk through — and added a little incentive of the culinary persuasion (badgers love peanut butter).

Next challenge was a technical one; lighting. Setting up the gear for the twilight and evening hours outside of bright daylight meant I needed to rely on flash. Flashguns can be purchased at the Camtraptions site, along with the compatible wireless receivers. (Camtraptions wireless receivers and transmitters effectively work in the same way as regular flash triggers from other brands, and are competitively priced.)

So, this nighttime version was more complex than my previous setup, adding two tripod-mounted flashguns each fitted with remote receivers, plus a remote transmitter to the camera which is already fitted with a receiver to accept the signal from the Camptraptions device. It's a chain of command: Camptraptions camera trap sensor transmits to camera which transmits to flash guns.

That's a lot of batteries, by the way, and I needed to splash out for additional ones before I could get started. Each wireless receiver / transmitter required 2x AAA batteries, the flashguns 4x AA batteries each, while the Camtraptions camera trap sensor took 6x AA batteries in a custom FZ casing (but which is compatible with various Sony FZ batteries). In total, I had 22 rechargeable batteries on the go.

Exposure is slightly more complicated, too. I set the camera to 1/200sec — the top speed I could use for synchronizing flash and camera, and the minimum I would want to freeze the action fully — the aperture to f/10, and ISO to Auto with a maximum ISO 3200 given the age of my camera and it's relative poor low light performance. If trying this type of setup out for yourself, do check your own camera's max flash sync speed.

Then in situ in the garden, I took the time to photograph a test subject (me) to ensure the flash power and camera exposure settings were nicely matched for punchy results with a little bit of background detail, as opposed to a fully black background. In this case, the ideal setting was a manual 1/32 strength for the front flash, and 1/64 strength for the rear flash.

I used a wider angle lens than my prior test — a 35mm f/1.4 optic — given I was hoping to photograph larger creatures, and I wanted a closeup wide-angle look that I've rarely achieved, rather than a distant telephoto position. I tweaked composition and so on and lined up the Camtraptions device with its doors narrowed in order to trigger the camera once a creature had walked into a specific part of the frame.

That's the beauty with remote trigger photography — you spend your efforts composing a beautiful shot by visualizing it ahead of time, helped by the Camtraptions camera trap sensor's fine-tuned range. The hard work is put in before, rather than reacting to a moment. Sure, I'd rather the rush of seeing an animal first hand and that feeling of pressing the shutter, but this new technique didn't feel so different — the rush comes later when you revisit the camera to see what you've photographed.

I eagerly returned to the camera after night one, hit the playback button and...a handful of wild rabbit photos appeared. Although I didn't manage to photograph any of the larger mammals that I had hoped for, the technical quality was there — good lighting and rich detail (see below).

That's not bad for my first night with an automated camera setup, and of course I tried again, especially since I could leave the camera gear in situ — it was no extra effort on my part.

I rechecked the battery life of the camera, flashguns and Camptraptions device (which were still full), walked into the Camtraption's infrared scan area to check all the devices were still communicating, and sure enough the camera fired off some shots with both flash guns, so all good on that front, and then left the devices for another night.

More rabbits. Not that I'm complaining. I was going to need patience, but when you have an automated setup like this, time is on your side. And at that rate, I estimated that battery life on the devices would be good for around a month.

I fiddled about with some bamboo cuttings to disguise the camera gear a little better, and with no rain forecast for the following couple of weeks I left the devices be. Of course, for wet weather I would need to protect the gear from the elements, even with rudimentary solutions such as clear plastic bags and cable ties (through which the flashguns would still work fine).

I haven't got the photo I hoped for yet, but I'm confident that I will. And if anything else, I've breathed new life into my old Nikon DSLR gear. The quality of the photos I already have is streets above a regular trail cam, and the basic costs of the setup is pretty reasonable. I might have just found my next photography obsession.

We'd love to hear from you

Burrard-Lucas' Camptraptions gear combined with DSLR camera gear and all the necessary supports and power sources is pretty pricey compared to a regular cheap trail cam, but you're getting reliable gear and professional results fit for a portfolio and, with the right environment and subject, potentially even contest worthy. In that respect, I think it's excellent value.

On that note, I'd love to hear from you — have you had any joy photographing garden wildlife photography? How did you get the pictures that you're happy with? You can share your experiences in the comments section.

• Canon registered three cameras with the wireless certification agency, indicating three more cameras will come soon
• Rumors suggest we’ll see an EOS R7 Mark II, an EOS R10 Mark II and an EOS R8 Mark II
• The EOS R8 Mark II may well be a retro-styled tribute to the analog AE-1, which turns 50 this year

The first half of 2026 was pretty dry for camera releases, but as we enter the second half of the year, manufacturers have been making up for lost time. Canon in particular looks like it’s going to have a busy back half of the year, with not one, not two, but three new EOS R mirrorless cameras setting the rumor mill alight.

It should be stressed that currently this is all unconfirmed — we don’t know that Canon is going to release anything. But Canon has registered three new cameras with the wireless certification agency, which is generally the point that you know that something is coming very soon. And reporting by the oft reliable Canon Rumors indicates that Canon is updating three of its most popular EOS R cameras, and one in particular looks like a very exciting prospect indeed.

And if that weren’t enough, we’re also potentially due a new PowerShot compact, with Canon looking to capitalize on the success of its phenomenally popular PowerShot G7 X Mark III compact. But we’ve more details on the mirrorless side of things, so let’s take a closer look at what could be coming…

Canon EOS R8 II — could it be the digital AE-1 we’re all hoping for?

Rumors indicate that Canon’s lightweight full-frame EOS R8 is likely to get a successor in mid-September. As that camera is now more than three years old, this is about the time we might expect an update to come along. However, the really exciting news is that the new version may be an entirely new prospect — a retro-styled Canon AE-1 throwback that fans have been begging the company to make for years.

There have been rumors for quite some time that Canon is working on a retro-styled digital camera, just like Nikon did with its Zf, and given that this year marks the 50th anniversary of the AE-1, a legendary film SLR beloved by amateur photographers for its streamlined controls and ease of use, it makes sense that this could be the year.

The rumored specs for the EOS R8 II are that it’ll use a 32.5MP full-frame sensor, 40fps burst shooting via the electronic shutter, in-body image stabilization, oversampled 4K video and two UHS-II SD card slots. Pretty much what you’d expect for a mid-range full-frame camera.

I’ll be interested to see if the retro styling is purely cosmetic — it might even be the case that Canon releases a ‘standard’ EOS R8 Mark II version as well as the retro-tinged variant — or if it has any bearing on how the camera operates. There’s nothing in the rumor mill to suggest this, but personally, I think it would be smart for Canon to dip its toe into film-style looks for images, similar to Fujifilm’s Film Simulations or Panasonic’s in-camera Real Time LUTs.

Yes, Canon has its ‘Picture Styles’, but let’s be honest: nobody uses them, and they don’t have the cool factor of Fujifilm’s Film Simulations. I’d love to see Canon throw its weight into some really crisp, dynamic, analog-style looks for shooters who want great-looking JPEGs straight out of camera. And come on — there will never be a better opportunity to debut them than in a digital AE-1!

Canon EOS R7 II — let’s see a stacked APS-C sensor!

Also on the rumored docket is an update to the Canon EOS R7, a mid-range APS-C mirrorless camera that arrived in 2022. The original EOS R7 was something of a speedster, with burst speeds of 15fps with the mechanical shutter and up to 30fps with the electronic. And if rumors are correct, Canon might be doubling down on this by giving the EOS R7 II a stacked sensor design.

This would be the first stacked APS-C sensor for Canon’s lineup — indeed, currently the only APS-C camera with a stacked sensor is the Fujifilm X-H2S. A stacked sensor design moves the circuitry to the rear for faster readout, enabling higher burst speeds, superior autofocus tracking and blackout-free viewfinder shooting.

Considering that the EOS R7 was already an impressively speedy shooter, a stacked sensor design would push a mark II to pretty impressive heights — we could see autofocus and speed-shooting performance on par with professional or serious enthusiast cameras. Rumors also indicate that the sensor resolution might be upped to 39MP, from 32.5MP on the original EOS R7.

Canon EOS R10 II — the new beginner mirrorless to beat?

Rumors also indicate that we’ll see an update to Canon’s popular beginner model, the EOS R10, in the form of the EOS R10 Mark II. Details are very thin on the ground for this one, beyond the fact that it is on its way and due in the latter half of 2026. This is also likely to be the first of the new models we see.

The Canon EOS R10 has been a huge seller for Canon since its release in 2022 alongside the EOS R7. It’s not the cheapest in the EOS R lineup, with both the EOS R50 and the EOS R100 coming in under its price, but it’s a pretty affordable camera, with a lightweight build, intelligent autofocus and reliably solid image quality.

Personally, I doubt the boat will be rocked much here. Were I a betting person, I’d say that we’d expect to see improvements in the subject-recognition autofocus, more sustained burst speeds with a deeper buffer (the original EOS R10 could shoot at 15fps, but not for very long), and perhaps a nudge-up of resolution from 24.2MP to 32.5MP, so as to better distinguish the EOS R10 from its cheaper siblings.

What do you make of Canon's rumored upcoming models? Have your say in the comments below.

Fancy taking to the skies? DJI is the brand you're probably looking at — it's the name behind almost all the best drones around right now. If you're new to the world of drones, figuring out your options is tricky. This article is here to guide you through your options. I'll run through the main DJI ranges and who they're aimed at, and then once you've narrowed things down you can hop to the relevant section to read our reviews for each model. Let's get started...

Note: You'll only be able to see product cards for the models currently available to buy in your region. Due to FCC issues, not all DJI drones are available in the US. Hit the More details button to read our main takeaways for each model, and for a link to the full review.

DJI range guide

DJI Mini
DJI's flagship compact drones, and the best-selling range for beginner pilots. These are all sub-250g models, which means they come with little-to-no flight restrictions, depending on where you fly.
• Check out the Mini lineup

DJI Air
A step up from the Mini series, aimed at enthusiasts. These drones fall into the next weight category up, which means they're sturdier and you'll be able to fly for longer, but you'll need your region's equivalent of a certificate of competency before you fly.
• Check out the DJI Air lineup

DJI Mavic
Top-tier consumer drones with industry-leading camera performance. These are another step up from the DJI Air range, and again you'll need a certificate of competency before you fly.
• Check out the DJI Mavic lineup

DJI Neo
The cheapest, smallest, lightest and simplest DJI drone. It comes with single-push take-off from your hand, designed for aerial selfies (this kind of drone is sometimes referred to as a selfie drone).
• Check out the DJI Neo lineup

DJI Avata
FPV (first person view) drones, designed to be used with goggles for immersive high-speed and responsive flight — legally you need a 'spotter' with you when flying drones through goggles.
• Check out the DJI Avata lineup

There are a few standalone options to be aware of. The Lito is a straightforward beginner drone at an extremely wallet-friendly price — it's a step down from the Mini range in both price and capabilities. The DJI Flip is another beginner drone with vlogger-friendly features. At the other end of the scale is the DJI Inspire range, aimed at professionals — the kind of thing that might be hired for productions.

DJI Mini drones

DJI Mavic drones

DJI Air drones

DJI Neo drones

DJI Avata drones

Outliers

In my work, my absolute favorite days are the ones where I just get to take pictures. I’m testing a new camera or a new film stock, and so I’ve got nothing on the agenda other than heading to some locations that are beautiful or interesting (or, ideally, both) and capturing images of them. At the end of the day I’m normally tired, sweaty, have new blisters on my feet — and feel fantastic.

But those days are quite rare. Often I’m consumed with other things, the nitty-gritty of writing, work, life-admin and everything else. Trying to be more efficient, for money and time reasons, means that I tend to do my photography in big infrequent chunks — and some research I’ve seen is making me reconsider that approach.

The benefits of a regular photography habit for mental health are well-documented. British photo retailer MPB, in announcing its partnership with mental-health charity Mind, points to a study in the peer-reviewed journal Health which finds that taking a photo every day provides tangible benefits in terms of mental well-being.

British photographer, broadcaster and passionate nature advocate Chris Packham is a huge believer in the power of photography to effect a positive mental change. ‘Photography has always been a conscious way of addressing chronic or specific mental health issues in my life,’ he says.

‘When I'm peering down the lens, I'm so engrossed in the objective, so intensely involved with the technical and creative process, that the rest of the world vanishes. It's just me and the photo. The exterior anxieties are relegated to oblivion, and I get maximal relief.’

‘For me, photography is a key part of a portfolio of tried and tested therapies which consistently enhance positive mental health outcomes.’

And it’s not just taking photos! Even the simple act of viewing them can have a positive effect. MPB also cites a 2024 survey undertaken by Fujifilm, in which 80% of respondents reported that viewing old photos brought them feelings of happiness and calm, and helped to reduce anxiety.

Building a daily habit

I'm grateful to MPB and Mind for making me think more mindfully about how I engage with photography. It's also worth noting that the retailer is putting its money where its mouth is, and donating £1 to Mind for every item bought or sold on its marketplace this August, working towards its goal of £50,000 a year for the charity.

The campaign has got me thinking that I’m missing out on the mindful benefits of a daily (or near-daily) picture-taking habit. When I’m using my camera, I’m not looking at my phone. I’m not even thinking about the cursed thing; it’s normally in my backpack. I think this could be of much greater mental benefit if I were doing it regularly for shorter sessions.

Our cameras editor Tim Coleman tried screen-free photography for a week and found it made him feel more immersed and connected with his shooting. Even when using a digital camera, it felt like a digital detox — something that people frequently say they want more of!

So if you, like me, tend to plan your photo-taking around long days that you only get to enjoy every so often — it might be worth thinking about ways you can incorporate a more frequent habit, too.

Bringing the camera on a walk to the station to capture details of your local community. Building a twenty-minute walk into your lunch break to see what sights unfold around you. It won’t just benefit your photography, but could also have a real, positive, tangible impact on your mental well-being.

• New Sony FX5 is the successor to the FX3 compact cinema camera
• A raft of upgrades include a new sensor, processor, battery and open gate recording
• Pricing starts at £4,700 and availability is from August

The industry's most popular compact cinema camera, the Sony FX3 from 2021, just got a huge upgrade. And having shot multiple productions with this very camera, I can tell you now that its successor, the new FX5, is going to be a big hit.

Last year I drafted in a pro filmmaker who I've worked with on many shoots to share the 5 upgrades he most wanted to see in a FX3 mark II, a camera that we now know is actually called the FX5, and almost every one of his wishes has been granted — and there are other improvements too.

Sony has finally included open gate video recording for the first time, meaning users can take advantage of the full height and width of the all-new 16.6MP stacked full-frame sensor's 3:2 aspect ratio, rather than being restricted to 16:9 or narrower like before.

That new sensor brings a welcome resolution increase from the FX3's 12MP, and open gate bumps up video resolution from 4K to 5K. Frame rates have been upped to 120fps in 5K and up to 240fps in 4K, too, so slow-motion recording is well catered for.

There's now internal 16-bit RAW recording, meaning no external monitor is needed for this high-quality format, plus a triple-base ISO, and A7R VI-grade in-body image stabilization.

In fact, every major feature has been upgraded from the FX3. We also get the same Bionz XR2 twin processor and AI chip as the new Sony A7R VI, which delivers enhanced subject-tracking autofocus, and what Sony says is better low-light performance.

The FX5's form factor is largely similar to the FX3, and at 750g it's only 35g heavier. There are still multiple on-body mounting points and custom buttons, but there's now a chunkier handgrip which houses Sony's latest and higher-capacity NP-SA100 battery, which was introduced in the A7R VI and increases battery life by approximately 30% for approximately 170 minutes of 5K recording.

The FX5 also inherits the same video-only UI as Sony's high-end cinema cameras, the Venice, Burano and FX6, and gets several design tweaks, including a multi-function dial as on the Venice, as well as a multi selector (joystick) and a tally lamp.

False color, waveform, vector and focus map video monitoring tools have all been added — which is a first for a Sony camera at this level — in addition to the existing histogram, zebra, and peaking tools.

Sounds amazing, so what's the catch?

It's not all good news, mind you. The FX5's dual card slots are still designed to take SD and Sony's exclusive CFexpress Type A cards, rather than Type B. A word of warning here: if you don't already own some Type A cards, they cost a bomb.

And on the note of cost, prices for the video-only FX5 start at £4,700. That's the body-only price, while the bundle with the new top handle costs £5,200 (available separately for £780). I'll update this page with US and Australia pricing once I have it.

I expect most folks ready to splash the cash on the FX5 will opt for the handle bundle, withwhich they will gain 32-bit float audio recording.

There's also a new 7.07m-dot tilt OLED viewfinder, which looks particularly neat, even if it costs £650 and can't be used at the same time as the top handle, despite having its own port alongside the hotshoe.

The camera and accessories will be available from August, with the option to (irreversibly) disable in-body image stabilization ahead of purchase.

Not all of the aforementioned FX5 features will be ready to go, either. Sony says the following will only be available after a V2 firmware update: 4K240p, 5K120p, vertical UI, screen-grab function and Open Gate in XAVC codec. The timing of this firmware update is TBC.

Still, I expect the Sony FX5 to become a mainstay across low-budget productions. It delivers all of the upgrades that FX3 users wanted and more, and I can't wait to test it out on set.

• Prototype drone spins its entire body up to 25 times per second to blur itself into near-invisibility
• Phantom Twist's single motor spins the whole airframe in one direction and its propeller in the other
• AI design pipeline tested 20,000 possible layouts to find the optimal configuration

Drones have a visibility problem. Whether they're filming guests at a wedding or hunting for candid shots of nesting birds, the moment a drone is noticed, it can change the behavior of whatever it's observing — wildlife scatters, people act differently, and you end up with iffy results.

A team of engineers at Illinois' Northwestern University may have found a way around that, and it has nothing to do with camouflage. Their prototype drone, dubbed "Phantom Twist," doesn't try to look like its surroundings. Instead, it spins itself into a blur so fast that the human eye simply can't keep up.

The drone rotates up to 25 times per second — well beyond what the eye can resolve into a distinct shape. The drone doesn't disappear outright, but becomes what the researchers describe as a faint, semi-transparent smudge that blends into the sky or landscape behind it. It's not invisibility in the sci-fi sense, but according to the team it's about ten times harder to spot than a conventional quadcopter.

You spin me right round

The trick lies in the design itself. A typical quadcopter has four rotors spinning while its main body stays completely still, which is exactly why you can still pick it out against the sky — the frame doesn't move, so your eye locks onto it. Phantom Twist ditches that setup entirely. It runs on a single motor and single propeller, with the propeller spinning one way and the rest of the drone's body spinning the opposite way. There's no stationary part left for your eye to latch onto.

Building something that flies stably while spinning that fast isn't a simple engineering job, though, so the team leaned on AI to do the heavy lifting. The process started with around 20,000 computer-generated drone layouts, each one checked for steady flight. From there, optimization algorithms repeatedly shuffled the position of the drone's key components — motor, propeller, circuit board, battery and counterweights — so they'd never overlap visually as the whole thing spun.

Every candidate design was then simulated spinning against 100 real-world photo backgrounds and scored using a model built to approximate human vision, with the 500 lowest-scoring designs pushed through further rounds of optimization before the final version was built.

The result spreads its components out at different heights and angles, so when it's in motion, everything blurs into a soft haze. It's clever stuff, and a reminder of how much of what we "see" comes down to how our eyes process motion over time rather than snapping a perfect still image.

It's worth being clear about what Phantom Twist is and isn't, though. This is a university research prototype, not a product with a release date or price tag, and it's still some way from ready for real-world deployment.

The propeller is audible even if the body isn't very visible. There's also no camera or imaging payload on the current build, which raises an obvious question for its stated wildlife-monitoring and infrastructure-inspection ambitions. It feels like a drone spinning 25 times a second would need some serious image stabilization or de-rotation trickery before it could shoot anything usable. The team hasn't detailed how (or whether) they plan to solve that yet.

There's an inevitable privacy angle to any drone that's harder to see, too, and it's not hard to imagine less charitable uses for the same principle down the line. For now, though, this remains a lab experiment funded by the National Science Foundation, aimed squarely at reducing wildlife disturbance rather than sneaking up on anyone — and there's no indication the spinning-body approach is heading toward consumer hardware anytime soon.

• The Valoi easy35 V2 is an at-home film scanner for digitizing 35mm film negatives
• It requires a digital camera, a 1:1 macro lens, and negative conversion software
• It's a compact, portable unit with a built-in light source

Shooting film is an expensive business, and I’m always on the lookout for ways to make it cheaper. As such, the Valoi easy35 v2 immediately caught my attention, with its promises to make the process of scanning film negatives at home into something, well, easy. Okay, I’m interested.

Paying to get negatives scanned and digitized is an ongoing cost that adds up over time — and since I live in a fairly small apartment in a city, a large flatbed film scanner isn’t a practical option for me. The Valoi easy35 V2, however, is a compact cube with about the same desk footprint as a large coffee mug. Even with its raft of accessories, it’s easy to store, easy to transport — and at $272 / £199 / AU$337, it’s cheaper than high-end scanners, too. Color me even more intrigued.

But before you get too excited, be aware that this is not a standalone film scanner. Portable self-contained film scanners do exist, like Kodak’s ultra-cheap Slide N Scan, but their quality is pretty poor. Instead, the Valoi Easy 35 V2 works by connecting to your high-resolution camera and your 1:1 macro lens. You do have a high-resolution camera and a 1:1 macro lens, right?

Indeed, this isn’t necessarily the super-simple, anyone-can-do-it film scanner that the word ‘easy’ in the name perhaps implies. But if you’ve got the kit and you scan a lot of film, it could save you money in the long run — and as I found when I tried it out, the process can get pretty addictive.

Valoi easy35 V2: In use

The Valoi easy35 V2 comes as a kit — as well as the cube-shaped scanning module itself, with its built-in light source, you also get a couple of extension tubes for ensuring your lens can operate at the correct focal distance, and some step-up adapters that allow you to connect lenses of various filter thread sizes to the 62mm-thread tubes. While the unit itself is smooth plastic, these accessories are all metal, and feel suitably premium as a result.

In terms of compatible lenses, the distance between your negative and the front of your lens needs to be less than 230mm. Valoi recommends that if you’re using a full-frame system, you’re best off with a lens with a focal range between 55mm and 105mm; for APS-C, it’s 40mm to 70mm; and for Micro Four Thirds, the makers recommend between 35mm and 60mm.

I was using a Fujifilm X-T5, since with its generous resolution of 40.2MP, it would easily offer enough pixels to make the scanning process worth the effort. I paired it with the TTArtisan 40mm F2.8 — an affordable manual focus macro lens that is Valoi’s budget recommendation for use with the scanner.

Fitting the parts together is simple enough — I only needed to use one adapter and extension tube, but depending on your lens, you may need to stack multiple. The unit itself has one-button operation; you simply turn it on to activate the light (it's battery-powered and recharges via USB-C). Negatives are loaded carefully into the holder at one side, fed through the scanner for your camera to snap, before emerging out of the other side. You'll need to ensure that the negative is correctly focused — it helps to use a nice clear shot with a well-captured subject, ideally a person. And then, you’re away.

That’s when I started to get addicted. See, I have a lot of negatives. Like, a lot, a lot. And once the Easy 35 V2 is in position and your lens and camera are set up correctly, the process of scanning is incredibly quick — feed, snap, feed, snap. You can scan entire rolls in minutes. I will say that on my first few attempts, a lot of my scans came in a little crooked and I couldn’t quite figure out what I was doing wrong — but fortunately I had enough latitude to crop and straighten without impacting the image too much.

Of course, once you’ve got those digitized negatives, you still need to convert them. You have a number of options — it brings me no pleasure to say this as I am on the record as an Adobe critic, but by far the quickest and best is pairing Lightroom Classic with the plugin Negative Lab Pro, the latter of which offers a free trial of 24 conversions and then costs a one-time price of $99. There are other options, but they tend to be either excessively complicated (Darktable) or a bit too rudimentary (Lomography’s free online tool).

Negative Lab Pro takes the RAWs of your digitized negs (oh, yes, you really should shoot in RAW) and automates the conversion process into a single click. Once this is done, it provides an editing panel, and you shouldn’t be afraid to get stuck in and make the final image look the way you want it, editing attributes like color temperature and tint to taste. If you don’t have the time or patience to tweak sliders, NLP offers a few presets for a quick spruce-up — I found that the ‘Kodak’ profile generally delivered pleasing results from Kodak negatives, naturally. You can see a few of my resulting scans below.

Valoi easy35 V2: Is it worth it?

I love this thing. I really love it. Setting it up was a pain — I had to get hold of some pretty specific gear, and lay it all out on my floor for want of a better working surface. It all feels a bit rustic and inelegant — for me, the camera and the box didn’t sit level when connected. I ended up wedging the spare film holder underneath to balance it, and was later amused when I watched a video on Valoi’s YouTube channel and they recommended doing exactly that.

However, the scanning process itself was unbelievably fluid, easy and even fun. I could have fed my negatives through this thing for hours. I still might! And having this setup on standby at home would mean I’d never have to pay to have negs scanned again, which is a mightily tempting thought.

I don’t think it's true to say that the Valoi Easy35 V2 makes scanning accessible to the masses. The masses don’t all own sharp macro lenses with the correct filter thread size (you should have heard the noise I made when I realised that the Fujifilm XF 30mm f2.8 R LM WR Macro wasn’t going to fit, even with all those step-up adapters). But for those who have the capacity, it makes negative scanning at home joyous and fun, and on that note I’m going to step away from my keyboard so that I can go scan some more.

With thanks to Wex Photo Video (UK) and Fujifilm who loaned some of the equipment used for this article.

Historically, the DJI brand has been all about drones. It remains an undisputed leader in that category, but in recent years its also solidified a name in compact cameras for content capture.

The two key ranges are the Osmo Action and the Osmo Pocket. The Action is DJI's classic action camera, with a rugged build designed to happily capture high-quality content no matter how much you bump, drop, submerge, freeze, or generally throw it about. The Pocket is a compact, image-stabilizing gimbal camera designed for vloggers. It can easily switch between vertical and horizontal shooting, and is set up to make selfie capture easy. There are also a couple of outliers: the Osmo 360 360-degree camera and the tiny, wearable Osmo Nano.

Most of these cams are leaders in their respective categories — this brand crops up in numerous best-of lists, including the best action camera, best 360 camera and best vlogging camera. If you're thinking of buying one but aren't quite sure of your options, or which to pick, you've come to the right place.

Our camera review team has tested every single one of the DJI cameras currently available to buy, and below you'll find a quick guide to the different models, plus summaries of our main testing takeaways, and links to read the full review for each (hit the More details button).

Note: You will only see cards for the products available to buy in your region. Due to FCC fun and games, not all new models are available in the US.

DJI Osmo Action

Osmo Actions are traditional action cameras — DJI's answer to a GoPro. They sport an all-in-one design, with all the hallmarks you'd expect from a good action cam: a robust, waterproof, compact design, front and back screens, mics, and features like time-lapse, slow-mo and (on newer models) subject tracking.

The current generation is the Osmo Action 6, but the Osmo Action 5 Pro (there's no not-Pro version, so treat this like a naming quirk) and the Osmo Action 4 are widely available too, including direct from DJI. It's also quite easy to get hold of an Osmo Action 3.

The specs and features differ slightly from model to model — you can see our review of each one by hitting the 'More details' button, and this DJI Osmo Action comparison page is useful for highlighting the differences.

You'll struggle to find either now, but the two previous models are the Action 2 and the original Osmo Action. The Action 2 was a particularly interesting swerve from DJI — it looked completely different from the rest of the range, with a modular build. For the third gen, DJI pivoted straight back to a more traditional all-in-one design, and that's what it's stuck with ever since.

DJI Osmo Pocket

Osmo pockets are compact, gimbal-stabilized 4K cameras designed specifically for vlogging. The current model is the DJI Osmo Pocket 4 — although it's not yet sold in the US. The Osmo Pocket 3 is still widely available to buy, as (to a certain extent) is the DJI Pocket 2.

Both the 3 and 4 boast a compact design, excellent video stabilization, crisp 4K video, the ability to swap easily between vertical and horizontal shooting. The 4th gen version polishes things up a bit, improving the slow-mo mode, bumping up the video specs, tightening up the subject tracking and making it available in more modes, boosting battery life and increasing the internal memory. It also adds a magnetic gimbal arm, onto which accessories such as fill lights can be snapped.

If you're not quite sure about the Pocket range, another option for content creators is to stick with your phone for recording, but add in a DJI Osmo Mobile — a smartphone gimbal with advanced tracking capabilities.

Outliers

Finally, there are a couple of (as-yet) standalone DJI cameras. The DJI Osmo Nano is a shrunk-down and stripped back version of its Action series. Small enough to be mounted on a pendant or hat, it's designed for on-the-go content capture. The magnetic, modular design makes it nice and versatile.

The Osmo 360 is a DJI's first 360-degree camera, and we thought it was "undeniably extremely compelling" first effort. We were impressed with the pricing too, which is very competitive within that particular market.

• Tornyol's drone tracks mosquitoes by their wingbeat and takes them down mid-flight
• Can autonomously patrol areas of up to 5 acres
• Preorders are open with a refundable $100 deposit, ahead of a targeted 2027 US launch

Tornyol, a San Francisco-based startup backed by Y Combinator, has built an autonomous micro-drone whose sole purpose is finding mosquitoes and flying straight into them. Forget spray, swatters and stinky citronella candles that go out halfway through your al fresco dinner — this propellered assassin can keep your yard bug-free all on its own.

Or at least, that's what its makers claim. Tornyol's drones use ultrasonic phased-array sonar — the same basic principle behind a car's parking sensors — paired with smartphone-grade microphones and custom signal-processing software. The system listens for the specific wingbeat frequency of a mosquito, distinguishes it from harmless insects like bees, and then closes in for a mid-air kill, using its whirring propellers as the business end. In other words, the mosquito is chopped to bits.

The company says its base station carries a 380-microphone array capable of tracking targets in real time to a distance of around 8m, with future planned drone versions likely to bring that sensing ability onto the aircraft itself.

Each drone flies for around five minutes at a time before heading back to its base station to recharge, a process Tornyol says takes about 30 minutes. The idea is a relay of short, targeted flights rather than a drone loitering in the air all evening. A single unit is pitched as capable of covering up to five acres (over 20,000 square meters).

As for safety, Tornyol cites the drone's tiny size and shrouded propellers as proof that it's safe to have buzzing around family and pets.

You can reserve one right now for a refundable $100 deposit. Once the drone is ready to ship, you'll be given a choice between an ongoing $50-a-month subscription or a one-off payment of $1,100 to own the hardware outright. A US launch is pegged for 2027, but availability everywhere else is TBC, pending local drone and pest-control regulatory approval — which, given what this thing actually does, may take a while.

It's pitched as being about more than backyard convenience, too. Tornyol frames its tech as a public health boon: mosquitoes are linked to roughly 700,000 deaths a year worldwide through diseases like malaria and dengue, and the company claims its approach could eventually slash the cost of mosquito control.

Right now, though, the achievements are more modest: on July 14, Tornyol co-founder Alex Toussaint posted a video of the drone's first confirmed "air-to-air kill": a moth, in a curtained-off test area, rather than a mosquito in the wild.

Here's the buzzkill

So: a small, autonomous, AI-guided drone that identifies living targets and kills them on sight, patrolling your garden 24/7. What could possibly go wrong?

I'll admit that my sympathy for the mosquito is limited. Few people are going to find issue with a device that quietly thins out a blood-sucking insect responsible for ruining many a summer evening. If Tornyol's drones work as advertised and stay in their lane, this is about as palatable a "killer robot" as killer robots get.

But that's the thing about a system built to autonomously identify a target by sound and eliminate it: the target list is a software decision rather than a hardware one. Tornyol's own marketing boasts of distinguishing mosquitoes from "beneficial" insects like bees — which suggests the drone's kill criteria are, by design, adjustable. Currently it's tuned to a mosquito's wingbeat, but what's stopping a future firmware update — or a different customer altogether — from retuning it for something else?

And once you're comfortable with an autonomous hunter-killer aircraft policing the back garden, the scope creep writes itself. Mosquitoes today. Flies tomorrow, probably without much complaint either. But mice? Rats? Pigeons? Those are bigger, warmer-blooded and considerably more sympathetic targets, and if we're talking about robots that hunt and kill creatures on your property, where does the line get drawn — and by whom?

Tornyol's engineers appear to be solving a real problem, and it's a no-brainer to root for a tool that could put a dent in a global killer like malaria. But there's something dystopian about killer domestic robots too, and this is a solid first step to putting them in our homes.

• Reto Project has released a new Kodak-branded film camera, the Kodak EC35
• It’s a total point-and-shoot, with focus and all settings fixed
• However, it features a stylish sliding lens cover, in the style of the Olympus Mju from the early 1990s

A new Kodak film point-and-shoot camera has just been announced. And the reason for the tortured use of the passive voice in the previous sentence is that it isn’t actually made by Kodak.

The Kodak EC35 is a 35mm film camera made by Reto Project, a company that licenses the Kodak name to produce a range of both analog and digital cameras. While my personal favorite is the Kodak Snapic A1, a sleek little 35mm film, its most popular release by a considerable margin has been the little digital keychain camera, the Kodak Charmera.

Reto generally produces simple point-and-shoots, and the Kodak EC35 is exactly that. It takes 35mm film, and all its settings are fixed, with a 1/100sec shutter speed and f/10 aperture. The lens is fixed-focus — there isn’t even the option to switch from near to far focus like there was on the Snapic A1 — and is a 25mm optic. The camera also has a built-in flash.

What really caught my attention about this camera, however, is its design. Specifically, the fact that it has a gorgeously curved sliding lens cover that protects the optic when it’s not in use. It’s a chip off the Olympus film camera block — the iconic Olympus Mju immediately comes to mind.

All style, some substance

While I tend to associate sliding lens covers with the Olympus XA2 that’s sitting on my desk as I write this, with the curved design of its plastic body, the Kodak EC35 is pretty clearly meant to evoke the look and feel of the Mju.

And I also like the idea of having a lens cover in a practical sense — not just aesthetic! A lot of these cheap film compacts, like the Snapic A1, the Ektar H35N, etc, don’t have a lens cap or lens protection of any kind, meaning it’s easy for the lens to get dirty, dusty or bashed around. The cover also doubles as a shutter lock, meaning that the camera won't end up accidentally firing off shots while it's in your bag.

The EC35 is being released in an attractive range of colorways: Midnight Black, Vanilla White, Butter Yellow, Lavender, Powder Blue, Blush Pink and Avocado Green. I’m normally ‘give me black or give me death’ when it comes to cameras, but I’ll admit, that yellow version is pretty striking.

The EC35 is powered by a single AA battery (which is only needed for the flash), and weighs a pleasingly slender 102g. It’s available on its own for $34.99 / £35.99 (about AU$50) or in a bundle with a 24-shot roll of bright and colorful Kodak Ultramax 400 for $44.99 / £45.99 (about AU$65).

GoPro Mission 1 Pro: One-Minute Review

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

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

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

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

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

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

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

GoPro Mission 1 Pro: Price and release date

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

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

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

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

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

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

• Value score: 3/5

GoPro Mission 1 Pro: Specs

GoPro Mission 1 Pro: Design

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

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

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

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

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

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

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

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

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

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

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

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

• Design score: 5/5

GoPro Mission 1 Pro: Performance

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

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

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

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

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

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

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

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

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

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

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

• Performance score: 4.5/5

Testing Scorecard

Should I buy the GoPro Mission 1 Pro?

Buy it if…

Don’t buy it if…

Also consider

How I tested the GoPro Mission 1 Pro

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

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

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

First reviewed: July 2026

Panasonic made quite a splash when it announced the Lumix L10 at its Lumix 25th anniversary event in May this year. I called it 'Panasonic's prettiest Lumix in years', and many tech journalists, myself included, have compared it to the viral Fujifilm X100VI.

These are two premium compact cameras with retro design and high-end features, but both take a different swing at the format. For example, the Lumix L10 packs a 20MP Micro Four Thirds sensor and 24-75mm f/1.7-2.8 lens, while the X100VI shoots 40MP stills with an APS-C sensor and fixed 35mm f/2 lens.

I've already compared the two based on specs and my extensive experience with each camera separately in my Lumix L10 vs X100 VI article. But I was keen to see which one I personally prefer based on using the cameras side by side — it had been a while since I last used the X100 VI.

So, with my loan samples in hand, I headed out, taking the same photos with each camera in a variety of scenarios, including travelling, commuting and weekends exploring. Objectively, each camera has its practical advantages over the other, but there was one camera that truly gave me the feels...

The head

If I'm to make a list of pros and cons based on features and specifications, then each model has distinct advantages over the other.

In favor of the X100VI: its 35mm f/2 prime lens quality, 40MP resolution (which is twice that of the Lumix L10), in-body image stabilization, quicker start-up time, fancier viewfinder, and its next-level retro aesthetics.

There's plenty going for the Lumix L10, mind you: its versatile 3.1x optical zoom lens, superior battery life, Real Time LUTs profiles (which for me outdo Fujifilm's film simulations), superior burst shooting speeds, snappier autofocus, vari-angle screen, plus its video performance has the edge. Oh, and it costs less — depending on which region you live in, the price difference can be pretty sizable.

Speaking objectively, I believe I'd get more use from the Lumix L10, especially the telephoto end of its 24-75mm f1.7 to f/2.8 lens. It is overall a more versatile camera. However, objectivity goes out the window when considering creative tools such as cameras for personal use.

We can talk features all day, but you really need to get a feel for a camera, and the only way to do that is to get properly hands-on, which is exactly what I did with the L10 and X100VI side by side. And in doing this direct comparison, a favorite quickly emerged.

The heart

Rather than getting bogged down in features and specifications, I'm going to articulate what it felt like to use each camera, because honestly that's more important in the long run, especially for this kind of premium compact camera designed for personal, daily use. (My workhorse mirrorless camera is another matter — it's there to do a job efficiently and reliably.)

I'm going to come right out and say it — I enjoyed the X100 VI more. Aesthetically, it has the edge: both cameras are retro, but the X100 VI is next-level with its manual exposure dials and hybrid viewfinder. With the two slung over my shoulder, it was the X100VI that I wanted to reach for first.

When I did, the X100 VI required more effort to master; there's more involvement in operating the exposure controls and such, which I actually preferred as a serious photographer. I liked how much more premium it felt in the hand too: the weightiness, the dampened shutter button...the X100VI just felt... better.

I also appreciated its quicker start-up time, and liked how much more compact its prime lens is. The hybrid viewfinder was more enjoyable too, especially since I'm in the small camp of photographers who genuinely enjoy the optical viewfinder.

Sure, I'd rather that autofocus was as good as the Lumix L10's. And for a variety of scenarios, wished that I could zoom the lens. And it's not like I didn't get any feeling with the Lumix L10 — how its lens handles in particular is a delight. But for feeling alone, and that sense of pursuing a craft, the X100VI captured my heart all over again.

Lumix L10 vs Fujfilm X100VI: the images

A collection of Panasonic Lumix L10 pictures. I have matched the Fujifilm X100VI's 35mm focal length in most of these samples, but I have also included some at different focal lengths to show how versatile it can be.

And the comparisons with the Fujifilm X100VI. For both cameras, I set the color profile to the standard setting, but in reality I would be playing around with various looks and making selective exposure adjustments.

How a camera handles is a major part of the equation — but the resulting images need to be easy on the eye too.

With wildly different sensor sizes, number of pixels, and types of lens, it's tough to pick one camera over the other, plus some assumptions about image quality need to go out the window.

For one, despite having the smaller sensor, the Lumix L10 actually has bigger pixels and light-gathering potential, so don't assume that the X100VI is better in low light. Also, beyond sensor size and pixels, the Lumix L10's autofocus is overall more reliable, so you're more likely to get a sharp image in the first place, depending on the scenario and camera settings.

But for direct comparisons, as in matching the X100VI's 35mm f/2 lens with the Lumix L10 as close as possible (35mm f/2.3), I think what pleased me the most overall is the X100VI's superior control over depth of field.

When I took street portraits at 35mm, the X100VI's images were easier on the eye. I also liked having 40MP to play with and the greater level of detail in the pictures. The X100VI was also less susceptible to lens flare.

That said, the Lumix L10 has that zoom lens versatility, and when set to 75mm and f/2.8, it is very capable of shallow depth of field portraiture too, with a greater compression effect that I prefer.

As for color, I didn't have a strong enough feeling scouring my images to recommend one camera over the other, though the Lumix L10 Real Time LUTs profiles are more versatile.

Conclusion

If you're considering the Lumix L10 or the Fujifilm X100VI, then the choice is tough, and, in truth, you'll be happy with either model! They are two of the best premium compact cameras, with a string of unique advantages over the other.

For me, however, the decision goes beyond specifications and features, and to an underlying feeling that I would get more joy in using the X100VI regularly than I would with the Lumix L10, even though the L10 is more practical. My head says Panasonic Lumix L10, my heart says Fujifilm X100VI.

• Viltrox has announced its new AF 26mm F2.8 EVO lens
• It's available in Sony E and Nikon Z-mount versions, and costs $299 / £279
• It measures 23.8mm thick and weighs 4.6oz / 130g

Chinese lens manufacturer Viltrox is having a prolific year, and it's now followed up a recent pair of medium-telephoto primes for APS-C cameras with a completely new 26mm f/2.8 pancake lens.

The AF 26mm F2.8 EVO is part of the same mid-range series as my recently tested AF 90mm F2.2 EVO, and is available for Sony E and Nikon Z-mount cameras at launch. It costs $299 / £279.

Compact size and light weight are the aim here — the 26mm F2.8 is just 23.8mm thick and tips the scales at 4.6oz / 130g. I can see it pairing nicely with a Sony A7C / A7C II or Nikon Zf as a casual, everyday lens offering surprisingly sharp image quality.

It's not the smallest autofocus full-frame lens in Viltrox's range, mind you — that accolade goes to the AF 28mm F4.5. However, given the bright f/2.8 aperture and the features on board, the new 26mm lens seems impossibly small.

Those features include a dust- and splash-resistant machined metal construction, dedicated aperture and focus rings, a metal rear mount with a USB-C port for firmware updates, and a STM focus motor for snappy autofocus.

And there's more: the AF 26mm F2.8 EVO ships with a magnetic lens cap that snaps into place, eliminating the fiddling that comes with traditional pinch-release lens caps.

It's part of a lens cap system which includes a magnetic lens hood, which also works with magnetic lens filters. Alternatively, traditional screw-on filters work too, via the 43mm thread.

I hope other lens manufacturers follow Viltrox's lead — lens caps can be a real pain to remove and re-attach, but a magnetic type simplifies the process.

Optically, we have a simple construction of eight elements in six groups, with a minimum focus distance of 0.2m which results in a 0.2x maximum magnification, for reasonable close-up photography.

The Viltrox AF 26mm F2.8 EVO is available immediately in Sony E and Nikon Z versions from Amazon US and Viltrox's official store. There's no word yet on whether L-mount or Fujifilm X-mount versions are on the way.

Yes, Fujifilm X is APS-C format, but I can see the full-frame Viltrox lens working well with these crop-sensor cameras, even for Sony and Nikon, on which it would offer an equivalent 39mm focal length.

It's yet another new Viltrox lens available for Nikon Z cameras, which suggests that the Nikon vs Viltrox lawsuit from earlier this year has quietly been resolved. I hope that's the case, because Viltrox has consistently produced excellent optics, and the AF 26mm F2.8 EVO looks like an impressive addition. Look out for my in-depth review, coming soon.