Whether you love photography or simply just want to document moments of your life, there's nothing quite like an instant camera. Take the shot and watch it eject and develop in front of your eyes – 78 years on from the debut of the Polaroid Land Camera, it's still a magical process.

I'm lucky enough to test a wide variety of modern instant cameras here at T3, with a personal collection of vintage cameras extending beyond that as well. But the one I use more than anything else is dinky, simply and on sale right now!

When I first got my hands on the Polaroid Go (Gen 2) way back in 2024, I was instantly hooked in. Sure, the smaller film size means you don't get the same resolution as you might in the larger Polaroid images, but that's not necessarily the biggest draw for this format anyway.

For me, instant photography is all about capturing moments and memories. And really, there's no better format for doing that than Polaroid, complete with its pastel hues and dreamy softness.

The smaller size is actually a benefit for me. It's cheaper, pulling it broadly in line with Fujifilm's Instax film on a per-shot basis, but it also makes the camera much less cumbersome.

I'm able to simply pop this into a backpack, a travel sling or even a generous pocket, and head out to take photos. And for me, that's perhaps the biggest part of the charm. Yes, I'd love a little more control over the image capture, and no, it's not going to satisfy pixel-peepers, but for simply documenting life and having fun, I really don't think there's a better camera out there.

This deal, complete with a two-pack of film cartridges, is a total bargain! You're getting a killer camera and enough film to get you started for just £74.99 – it's so good I'm tempted to nab a second one!

It’s no secret that Leica cameras are some of the most popular and beloved in history. For over a century, the brand has been producing exceptional bodies and lenses, beloved by everyone from Jason Momoa to the late Queen Elizabeth II.

Now, the brand has unveiled the SL3-P. That’s a ‘Pro’ monikered version of the Leica SL3, which was first unveiled a couple of years ago.

I spent a week in Germany with the brand to test it and it left me with a contentious statement to make – I think this is the best Leica camera ever made.

The ethos behind the camera is simple – remove the ‘but’ which arises when people compare the brand’s previous models. Usually, you’d hear statements along the lines of “I love this camera but…” followed by a list of reasons why it’s impractical, or otherwise unsuitable for that user.

Having spent a good deal of time with the camera, testing it in different environments and shooting scenarios, I can certainly feel that. There doesn’t really seem to be much of a compromise with this body, which is capable of turning its hand to fast-paced sporting action as well as the slower, more intentional shooting which Leica is renowned for.

A big part of that comes down to the burst mode, which is capable of up to 40fps. That came in handy multiple times – whether out in the street trying to nail the perfect shot of an overactive drummer, papping a flower swaying in the wind or attempting to nail focus on a passing car.

In practice, it’s as good as I’ve used on any other camera out there, save, perhaps for the Sony A1 II. That’s pretty stiff competition, though.

What this can also do is nail those classic Leica shots. Scenes come alive with really characterful colours, and portraits look like a moment in time without really having to do much to them.

The so-called “Leica Look” is something we’ve all heard about over the years. It’s a pretty intangible thing for most people, but it’s definitely real. And despite the SLR-style body, autofocus capabilities and massive, traditional lenses, this thing delivers it in spades.

For me, that’s always been the charm of the SL series. Leica’s M series will always be renowned for its history, while models like the Leica Q3 definitely offer something appealing for modern users, with its fixed-lens simplicity.

But the SL3 series – and, indeed, this SL3-P – takes the magic of Leica and adds it to a body which is capable of shooting in modern environments and scenarios.

Let’s also take a moment to talk about that sensor. At 44MP, it’s a pretty decent halfway house between the Leica SL3-S (24MP) and the SL3 (60MP). And while some may look as it as a downgrade on the base model SL3, I don’t think that’s the case.

In my experience, image quality remains as high as you could imagine, and allows significant room for punching in where needed. In real world use, I can’t imagine a single scenario where you’d need more than is available here.

It also has a secondary benefit. Smaller sensor means quicker readouts and, crucially, smaller file sizes. In the current RAMageddon hellscape, that’s nothing to scoff at, with data storage now costing a fortune for many photographers.

Autofocus is also given a boost here. A staggering 819 AF points are in use, with reworked algorithms to offer the best autofocus performance of any Leica, ever. In reality, I found it to be exceptional, locking on to subjects with ease and ensure pin-sharp images.

To really get the most out of this AF, you’ll want to familiarise yourself with the different settings for tracking things like cars, humans and animals. Those are going to be quicker and more effective than you or I, but setting the appropriate option is a must to really make it work.

It’s also not a camera which forgets about video shooters. Users can enjoy full sensor video, complete with options for 4k120 and 8k open gate. That’s a seriously stacked spec sheet, and while it’s unlikely to be the first choice for dedicated cinematographers, it should be quite comfortable as a hybrid camera.

Overall, I can see a lot of users dismissing this camera before it’s even had a chance to impress them. After all, it’s far from cheap, and will be a lot to justify for all but the most professional of shooters.

Controversially, I actually think this might be one of the better value Leica cameras ever. Now, I know what you’re thinking, but hear me out.

If you’re shopping at RRP, you’re going to spend around the £8,000 mark for a Leica M series camera. A Q3 is less, but also limited with a fixed-lens. By that standard, I’ve always felt that the SL range offered something unique in the brand’s catalogue.

Now, the SL3-P takes the promise of the SL and delivers it with gusto. You'll pay £5,150 / €5,990 / US$6,690 excluding VAT (approx. AU$9,845). I can’t see that there’s an argument to opt for another brand on specs or performance now, and the pricing for top models isn’t too far removed from here.

Throw in the iconic Leica image quality and I think this could be a popular pick.

Action camera innovation has plateaued slightly in the last couple of years, at least when it comes to traditional GoPro-style models. There is a physical limit to how small optics and components can be without compromising the minimum focusing distance, and higher resolutions and frame rates will only get people so excited.

The new battleground among compact camera brands, seemingly, is vlogging gimbals. DJI had immense success with its Osmo Pocket series, so much so that it became the number one action camera brand in Japan in 2025. The DJI Osmo Pocket 4 added 107GB of internal storage and 4K/240fps slow motion to the already excellent camera.

It was only a matter of time before other brands decided to get in on the action, and while there are quite a few companies trying to launch their own take on the concept, the one rival everyone's been waiting for is Insta360. The 360º camera expert has teased its upcoming Osmo Pocket rival for quite a while, but now, it's finally here.

I’ve been testing the flagship Luna Ultra for almost a month, and I’m thoroughly impressed with it. The camera borrows a fair amount of its design from the big rival; as with action cams, there are ergonomic limitations to vlogging gimbals. However, it offers a ton of exciting new features, not to mention the excellent specs and camera performance.

Insta360 Luna Ultra review

Price and availability

The Luna Ultra was officially announced on 10 June 2026 and is available to buy now in Cosmic Black and Stellar White at Insta360, Amazon, Best Buy, and select retailers worldwide for $769.99 (~£575 / €667 / AU$1,098). The company says availability in Germany will follow at a later date.

At the time of writing, it's unclear how much the unit will cost in markets other than the US. The DJI Osmo Pocket 4 retails for £445 / €499 / AU$769, but it lacks the second camera, unlike the Osmo Pocket 4P, which is yet to be released and therefore isn't officially priced yet.

(Of course, DJI's vlogging camera isn't available in the US, so Insta360 has a big advantage over its imaging rival with the Luna Ultra.)

Design and build quality

One thing I noticed immediately as I lifted the gimbal out of its box is just how substantial it feels. At 233g, it's hardly heavy, but it's more than 20% heavier than the Osmo Pocket 4 and taller and wider, with a robust camera unit.

The latter is understandable, considering there are two lenses on the Luna Ultra. The dual Leica Summicron lenses offer up to 12x zoom and 6x lossless zoom. There are also 2x and 3x zoom options, which I assume are cropped versions of the second, 6x zoom lens.

The Luna Ultra uses a 1-inch sensor, which is quite large for such a small camera, allowing more detail to be captured and better low-light performance. For comparison, the GoPro Mission 1 Pro, DJI Osmo Action 6, and the Osmo Pocket 4 all have the same sensor size. Of course, physical sensor size is one thing, but it certainly doesn’t mean all of these cameras perform the same way.

In the case of the Luna Ultra, the unit adds a "triple AI chip" setup, which includes a 4nm chip and dual imaging chips, for better low-light performance. Historically, Insta360 cameras have been criticised for being too noisy in low-light scenarios, sacrificing colour accuracy for brightness. The Luna Ultra’s 1-inch sensor definitely helps with this.

The Insta360 X5 already has a triple-chip architecture, but it’s different from the Luna Ultra’s. For one, the 360-degree camera uses a 5nm AI processor, while the vlogging camera swaps it for a newer 4nm AI chip alongside dual imaging processors. To take low-light performance even further, the Luna Ultra also has the 4K60fps PureVideo mode, a dedicated setting to enhance clarity in low-light situations.

Back to the physical specs of the camera, the Luna Ultra has an “industry-first” detachable controller that lets you use the panel as a remote control. I’m not 100% sure it’s necessary to have on a camera with gesture control; how often would you need to control the gadget remotely?

I found myself not really using the controller off-camera, only when I shot 360 panos, but that’s such a niche use case that it doesn’t really justify the structural danger a detachable control panel poses.

It’s a moving part and, by default, more prone to damage. The gimbal head is already a liability, so it makes little sense to add even more risky components to the mix. The spring or plastic buttons that hold the controller in place can break, and it’s also more likely that you’ll lose the panel somewhere, rendering your Luna Ultra unusable.

The controls are also more laggy when the panel is detached (not terribly, but still), especially if you’re playing around with the zoom. This could be down to my using an early software version, but if you think about it, the remote is a sliver of a device, so it will have limited space for transmission components. There will be compromises.

On that note, Insta360 came up with a solution, not just to protect the remote but the gadget as a whole. The case is quite basic and makes the Luna Ultra bulkier, but it certainly does a decent job of easing your concerns about chucking the gimbal in your bag. Plus, it has accessory slots, such as for the wide-angle lens, that attach magnetically. Sweet.

The button layout on the Luna Ultra is slightly different from that of the Osmo Pocket 4. In addition to the joystick and record button, Insta360 included a zoom slider at the lower end of the handle. The two customisable buttons are located at the bottom of the rotating display, a better solution than DJI’s, which hides them under the display in vertical mode.

Performance

The Luna Ultra can shoot 8K video at up to 30 fps and 4K slow-motion video at up to 120 fps, while the low-light PureVideo mode is 4K@60fps. In addition to high-resolution videos, the Luna Ultra handles colours well and can shoot in Dolby Vision.

Dolby Vision is a high-dynamic-range (HDR) imaging technology that is said to enable “dynamic optimisation for every scene, or even every individual frame.” One of the main benefits of the technology is that it’s used by other companies and apps, enabling a more seamless post-production process.

One very cool thing about the Luna Ultra’s zoom capabilities is that it can do macro photos. The minimum focusing distance is 15 cm (~5.9 inches), but with the 12x zoom (equivalent of a 240mm telephoto lens!), you’ll get plenty close to your subject. 12x zoom isn’t lossless, but the camera retains a significant amount of detail.

There is only one issue with macro photography. As of now, there is no focus peaking on the Luna Ultra, so it’s pretty much impossible to tell where the focus is on the tiny display in broad daylight, or even in a decently lit room. I hope this will be added soon via a software update!

(The above video was shot on the Luna Ultra.)

On the question of 8K footage, there are very few platforms where you can showcase videos with such high resolution, so it’s best to treat the feature as what it is: a tool that enables you to crop into footage without sacrificing 4K resolution. Plus, it’s useful for things such as 12x zoom, which, again, looks pretty crisp considering it’s only digital magnification.

I was very pleased with the Luna Ultra's photographic performance. The images aren’t as sharp as a DSLR or a mirrorless, but the camera unit is a lot smaller, so what do you expect? The camera can shoot in RAW, with the maximum resolution in UltraPhoto mode being 37MP.

One of the many benefits of the Luna Ultra’s 3-axis mechanical stabilisation (it also has Electronic Image Stabilisation) is that even when you’re zoomed in, the footage isn’t shaky and photos aren’t blurry, either. Try holding a mirrorless with a 240 mm equivalent telephoto lens attached with one hand, and tell me the Luna Ultra compact form factor isn’t impressive.

Videos look balanced, and the camera provides plenty of settings to tailor the footage to your liking. In Basic mode, you can adjust exposure (I’d recommend going down to -0.3 or even -0.7 EV as default) and choose between the many colour profiles provided by the Luna Ultra.

You’ll find three Leica-branded options, as well as film-style filters I enjoyed using on the GO 3S Retro Bundle. Positive and negative film, CC (Colour Chrome or Colour Color-Positive) film, and vintage film look are just some of the options. You can also shoot in Dolby Vision and I-Log if you prefer to adjust colour in post.

I’ll be 100 per cent honest: I haven’t been playing around with the professional colour modes, purely because the footage coming out of the Luna looks good as it is, especially in good lighting conditions.

As for low-light performance, I couldn’t spot a significant difference between standard video and PureVideo modes in dimly lit scenarios (not full-on night). As long as there is some light, the triple AI chip and large sensor will do their magic without triggering any special modes. I’ll report back once I've tried the Luna Ultra in an after-dark setting.

Battery and charging

Battery life is one of the Luna Ultra's stronger points. The camera uses a 1,550mAh battery, with Insta360 claiming up to four hours of runtime. While I didn't manage to completely drain it in a single session, my testing suggests that figure isn't unrealistic under lighter workloads.

Using a USB-C PD charger, the Luna Ultra jumped from 18% to 60% in just nine minutes and reached 77% after 16 minutes. The camera hit full charge in roughly 20 minutes, closely matching Insta360's claim of reaching 80% in 23 minutes.

During charging, power draw initially hovered around 42W before gradually tapering off as the battery filled. The body became slightly warm but never uncomfortably hot, with charging speeds occasionally dropping to protect the battery from overheating.

One interesting quirk is that the detachable control panel isn't prioritised during charging. The main camera unit is replenished first, before power is redirected to the controller.

For battery testing, I recorded 4K/60fps video continuously for 22 minutes, followed by a short cooldown period and then 44 minutes of 8K/30fps footage. After a combined 66 minutes of recording, the battery still had 59% remaining.

The camera became warm during extended recording sessions but never excessively so, and there were no overheating warnings or unexpected shutdowns.

Based on these results, the Luna Ultra appears capable of comfortably handling a full day of casual shooting, while the rapid charging speeds make topping up between filming sessions refreshingly painless.

Verdict

The Luna Ultra is a compelling first entry into the vlogging camera category from Insta360. Rather than producing a straightforward Osmo Pocket clone, the company has added enough genuinely useful features to make the camera feel distinct. The dual Leica lens setup, up to 12x zoom, strong macro capabilities and surprisingly photography-focused feature set give it a character of its own.

Video quality is excellent, with crisp 8K footage, Dolby Vision support, effective low-light performance and stabilisation that remains impressively smooth even when shooting at longer focal lengths. Add in fast charging, strong battery life and expandable storage, and the Luna Ultra feels like a mature product rather than a first attempt.

Not everything is perfect. The detachable controller feels more like a solution looking for a problem, and its removability introduces another potential point of failure on a device that already carries a delicate gimbal mechanism. The lack of focus peaking is also frustrating, particularly given how much emphasis Insta360 places on macro photography and zoom shooting.

Those shortcomings feel more like software and design niggles than fundamental flaws. What impressed me most during testing was how versatile the Luna Ultra proved to be. It's an excellent video camera, a surprisingly capable stills camera and a genuinely creative tool that encourages experimentation. If Insta360 can continue refining the software experience, DJI's dominance of the pocket gimbal market might not look quite so secure anymore.

Just when you thought Leica cameras couldn't get any better looking, the brand has unveiled a new range of metallic grey models. Those sit across four core parts of the brands catalogue.

You'll be able to buy the Leica M11-P along with a matching APO-Summicron 50mm f/2 lens, the iconic Leica Q3 and even the Leica D-Lux 8 in the new hue. It's worth noting that the M-series additions are available right away, though the Q3 and the D-Lux 8 will only be available from the 16th of July.

Each of the different models pairs the metallic grey with black, offering a two-tone appearance which still has a hint of monochrome about it. Of course, the iconic Leica red dot is present and correct on both the Q3 and the D-Lux 8 models, marking a familiar splash of colour.

The models also feature some more subtle changes to the design. Both the Q3 and the 50mm lens feature red engravings for the feet and f-stop scales, which ties in nicely with the brand's signature colour.

The D-Lux 8 takes a slightly different approach, with the metallic grey hue also appearing on the FN buttons. That's designed to help it stand out against the black body, without losing the monochromatic appearance.

Alongside the slew of camera kit on offer, there's also a bevy of accessories to go with them. It's far too much to list here in its entirety, but it encompasses everything from matching metallic grey batteries for the M11-P, to wrist straps, carry straps and cases.

Pricing for the camera kit can be found in the table below, and sits broadly in line with the standard variants on offer. Personally, I think that makes for a pretty compelling package – something just nice enough to stand out, without losing any of the characteristic charm.

HoverAir’s long-awaited Aqua is finally available to buy globally, and it might still be one of the strangest and most interesting drone launches we’ve seen in years.

The brand first teased Aqua back in 2025, promising a fully waterproof flying camera designed specifically for watersports and marine adventures.

Now, after a successful crowdfunding campaign and months of anticipation, the self-flying drone has officially hit shelves in more than 50 countries.

The headline feature is, of course, the IP67 waterproof construction, allowing the Aqua to take off directly from the water, land on it, float if it crashes, and relaunch.

This is something no DJI models can do at the moment, but knowing the drone giant, an alternative might already be in the works.

Built for the waves

The water-based operation opens the door to aerial filming scenarios that are either extremely difficult or downright impossible with most consumer drones.

HoverAir is pitching Aqua as the ultimate hands-free camera companion for activities such as kayaking, wakeboarding, kitesurfing and paddleboarding.

The drone uses autonomous flight modes and subject tracking to follow users automatically, removing the need for a dedicated pilot.

According to the company, Aqua can track action at speeds up to 55km/h and withstand Level 7 winds, which is impressive considering the drone weighs under 250g.

It also packs fairly serious imaging hardware for such a compact machine, including a 1/1.28-inch CMOS sensor capable of shooting 4K video at up to 100 fps for slow-motion footage.

HoverAir says the drone also uses a hydrophobic lens coating, anti-fog technology and corrosion-resistant materials to survive harsher marine environments.

One of the more intriguing additions is the new Lighthouse wearable controller, which creates what the company calls a “Virtual Tether” experience, essentially allowing you to control the drone hands-free while remaining focused on the activity itself.

The US misses out

Despite becoming available globally, HoverAir says Aqua is currently unavailable in the US due to “administrative and regulatory complexities”.

That means the drone is launching in markets including the UK and Europe first, while American buyers will have to wait for further updates.

Pricing starts at £1,129 for the Standard Combo and rises to £1,299 for the Fly More Combo, both at 20% off the recommended retail price.

Head over to HoverAir to find out more.

GoPro has been busy so far in 2026. Not because the company launched a flood of new products, but because it spent much of the year preparing for what might be its biggest release in years.

The Mission Series is the company’s most important product in years, not just because it uses a brand-new chip, but also because a lot is riding on its success. So, how good is it?

"It's not Hero 14. It's Mission 1."

Before we go any further, it’s important to note that the Mission cameras aren’t to replace the Hero series. GoPro says the Hero line has been pulling the company in two directions for years, with some consumers wanting smaller, lighter, simpler cameras, while professionals demanded better image quality, low-light performance and production features.

The Mission Series is designed for the latter group. If you want a do-it-all compact camera for POV videos, the GoPro Hero 13 Black is still your best option. However, if you prioritise low-light performance, image quality and battery life, the Mission Series appears to offer significant advantages over the Hero line.

GoPro says a huge amount of time has been devoted to optimising the Mission Series’ performance via the new one-inch sensor, larger pixels and GP3 processor; the company clearly sees low-light performance as one of the headline upgrades over Hero and rival action cameras.

Professionals will also appreciate features such as 10-bit colour, GP Log 2, timecode sync, 240 Mbps recording, HDMI output, 32-bit float audio, and the interchangeable-lens Mission One Pro ILS. The Mission cameras also allow filmmakers to record footage using the full sensor width and height (“open gate”), providing more flexibility in post-production.

"It's really a cinema camera."

I’ve been testing the Mission 1 Pro for a few days, and it’s an impressive piece of equipment. It has a distinctly GoPro feel, but the camera is much more versatile than the Hero ever was. I’m not a professional camera operator, even though I made money in the past as a photographer (mainly properties and weddings).

I mention this because my testing probably doesn't reflect exactly how GoPro intends the Mission 1 Pro to be used. In the last few days, I couldn’t help but treat the camera as a GoPro, looking for ways to capture action or POV footage. As mentioned above, the brand says the Hero is better for these purposes.

What should one use the camera for, then? I tried shooting portraits, but the lens is quite wide, meaning I had to get uncomfortably close to people to fill the frame. That's fine for landscapes or action, less so for human subjects.

I’m yet to test low-light performance, as there is plenty of light around at the moment, so I will have to create low-light scenes at home somehow to see how the Mission 1 Pro performs in lower lux levels.

Dynamic range is impressive. Backlit subjects, even when the light source is the midday sun, will have plenty of details left to work with in post. Not to mention, the bright blue sky remains recognisable with minimal loss of detail. So far, dynamic range has been one of the camera's strongest attributes.

"You just don't need to worry."

Battery life saw a massive boost, thanks to the new chip. GoPro claims the camera won’t overheat even in an unventilated room, which has historically been an Achilles' heel for the brand. I’ve been using it during the hottest bank holiday weekend in recent memory, and not once has the Mission 1 Pro maxed out from the heat.

It’s all the more impressive considering the actual camera body isn't much larger than the Hero 13 Black. The lens housing is noticeably larger to accommodate the bigger sensor, yet the camera still uses the same Enduro batteries as previous generations. You can use standard Enduro batteries, and they will work just fine in the Mission Series.

If it uses the same batteries as before, how can the Mission 1 Pro run for so much longer without overheating? It’s all down to the new GP3 chip, optimising tasks in the background. GoPro has clearly found a way to utilise AI effectively, rather than just giving you yet another AI assistant.

"We're never interested in generating any type of content."

GoPro's approach to AI is focused on machine learning rather than content generation. Instead, the brand positions AI as a behind-the-scenes assistant that helps optimise settings, colour and stabilisation rather than inventing pixels or creating content.

Even though the emphasis is on the pro users, the Mission 1 Pro has a ton of preloaded shooting modes, including Sport POV, dive, vlog, etc. The camera can also track subjects, a feature I thoroughly enjoyed using. Essentially, the Mission 1 Pro can ‘follow’ you around without moving (to a certain degree), creating more dynamic footage than standard action cams.

AI is also used to further enhance low-light performance. The new GP3 processor includes a dedicated Neural Processing Unit (NPU), which GoPro says is heavily involved in its low-light processing pipeline. The company claims it uses AI models for noise reduction, detail preservation, dynamic range optimisation and balancing image cleanliness against excessive processing.

“The ultimate versatile camera"

I’m a bit torn when it comes to evaluating the GoPro Mission 1 Pro. On the one hand, it is the most impressive camera GoPro has ever put out. The large sensor, new processor and improved battery life make it the most capable camera GoPro has produced to date.

On the other hand, the brand wants the Mission Series to transcend action cameras and to be treated as an alternative to larger cine cameras. GoPro isn’t trying to create a better Hero; instead, it wants the Mission Series to be used for Netflix movies and other professional productions.

It's impressive in practice, not just on paper, but I need more time with the camera before deciding if it truly delivers on GoPro's ambitions. So far, the signs are encouraging.

The Mission 1 Pro is available to pre-order now from GoPro UK, GoPro US, GoPro EU and GoPro AU, with prices from £600 / $700 / €700 / AU$1,100.

I love Insta360’s approach to making the most of its “old” tech instead of just churning out newer and newer products just to claim higher frame rates or more pixels than its competitors.

Last year’s Flash Print Bundle is a good example of this, adding a printer to the Insta360 Ace Pro 2 and effectively turning it into a high-resolution Polaroid rival. It was a clever accessory to an already handy product, extending its versatility beyond what was originally intended.

The brand’s latest launch doubles down on this mentality, but instead of using the flagship model, it focuses on another fan-favourite model, the dinky Insta360 GO 3S.

The pill-shaped camera has been popular with creators thanks to its compact form factor and 4K resolution, but the new bundle might make it equally sought after among those who care little about action cameras.

Pocket spy fantasy

The GO 3S Retro Bundle combines the GO 3S with the Retro Viewfinder accessory, creating a small camera akin to one James Bond might have used on a mission in the 70s. You know, the one he took out of his tuxedo pocket to snap some sneaky photos of documents.

As the name suggests, the accessory has a physical viewfinder, something even modern mirrorless cameras often lack. Granted, it’s a pretty simple setup and consists of a small angled mirror in the Retro Viewfinder’s body, but it does make a difference when you’re framing your shots.

The only caveat of the viewfinder is that it only really works when you look at the camera from above. Rotating it for vertical shots turns the viewfinder to the side, which means you have to shoot towards one of your sides if you want to see what’s going on in the viewfinder.

Tiny camera, surprisingly versatile

The GO 3S is still the same with its 39 weight and 4K video capability. You can use the camera without the Retro Viewfinder, opening up a whole host of creative use cases. As I mentioned in pretty much all my GO Series reviews (most recently in my Insta360 GO Ultra review), the only limit to its use is your own creativity, not hardware limitations.

Well, there is another one, namely battery life, but Insta360 thought of this, too, with the GO 3S Retro Bundle. The included Battery Pack extends recording time to up to 76 minutes and supports charging while recording. Neat.

Retro looks, modern workflow

App connection has always been an integral part of the Insta360 experience, and it’s the same with the GO 3S Retro Bundle. The camera can be operated without touching your smartphone, but the film filters – Negative Film, Positive Film, CC Film, NC Film, GR-F, Mono, and Vintage Vacation – can only be accessed via the app.

This created a funny situation where I often had the app open, cycling through the different filters while holding the camera with my other hand. A mix of retro and modern shooting, I say! Of course, you can just pick a filter before you set off and use that all day, which is probably the most hassle-free option.

Charm doesn’t always mean practicality

It’s probably just me being a fan of stills, but I mainly used the GO 3S Retro Bundle to shoot photos, even though it’s actually perfectly capable of recording 4K videos.

And despite my best efforts to time the shutter, I ended up with a bunch of odd photos with the camera half-rotated or in the process of being put away. The beep is quite loud, so I turned it off, but since there is no other feedback (e.g., tactile) when the camera is exposed, you can only guess whether you’ve taken the photo or not.

Another thing to note with the GO 3S is that, like most action cameras, it has a wide-angle lens, equivalent to a 16mm lens on a 35mm camera. So wide, in fact, that it’s easy to get your finger, the one pressing the button, to appear on the image. For the same reason, don’t expect the GO 3S to be amazing for portrait photography.

It’s not impossible to shoot good portraits, but you have to be very close to your subject, which makes it only suitable for photos of people who know you’re taking a photo of them. Again, there are a ton of creative uses I probably haven’t even thought about, let alone tried, but portrait or macro photography ain’t those.

One extra trick too many

The Bundle comes with an NFC Custom Skin, allowing you to tap the camera with your phone to access the Insta360 app. I found this feature somewhat redundant, since opening the app on the phone is hardly cumbersome. I appreciate that some people appreciate not having to look for the app on their phones, though.

Imperfect photos never looked so good

All that said, I love the vintage-y look of the photos coming out of the camera. The sensor is tiny, so it certainly isn’t worth pixel-peeping your images, but they have a cosy feel and a pleasing colour balance. The fact that you can choose between quite a few built-in (and handsome) filters is a real boon.

The Insta360 GO 3S Retro Bundle is available today from the Insta360 store in Canvas White and Classic Red. It includes the standalone camera, Retro Viewfinder, Battery Pack, NFC Custom Skin, a Strap, Magnet Pendant, Lens Guard (pre-installed) and a USB-C to A Cable.

Two storage options are available: 64GB and 128GB, priced at $300 / £260 / €300 / AU$470 and $320 / £240 / €280 / AU$500, respectively.

For those who already have a GO 3S, the Retro Viewfinder is also available on its own for $48 / £46 / €55 / AU$80.

It's no secret that compact cameras are all the rage right now. People are searching for something which can fit in their pockets, but still offers exceptional image quality and features.

For many, that search has led to the Fujifilm X100VI, making it one of the most popular cameras of the modern age. But now, it could have some real competition on its hands.

To celebrate 25 years in business, Lumix has unveiled the Lumix L10. That's a premium compact camera, which has been designed to appeal to those shooting street, travel and everyday photography.

The model will be available in three different colours – black, silver and a titanium gold special edition model, which also comes with colour-matched software and accessories.

You'll find a Leica lens on the front, with an equivalent focal length of 24-75mm. That sits in front of a 20.4MP 4/3 sensor, which should offer decent resolution and performance for the size.

All of that sits inside of a 508g body crafter with a metal exterior including a magnesium alloy front case. That's finished in saffiano leather, which should provide a good degree of grip and offer an extra luxurious look.

Photographers and videographers will also rejoice when they find the back panel. That features a fully articulating screen, and a viewfinder – no corner cutting here!

Pricing sits at £1,299 (approx. €1,499 / US$1,750 / AU$2,420) for the black and silver models, and £1,399 (approx. €1,615 / US$1,890 / AU$2,600) for the titanium gold limited edition model.

Personally, I think that represents really killer value. Sure, it's a 4/3 sensor, and that won't be everyone's cup of tea, but it's still a fantastic option, especially with a smaller body.

For the majority of people – enthusiasts seeking a capable, small option, right through to those seeking a simple camera to capture moments of their everyday life – this might just be perfect.

GoPro could be heading toward one of the biggest shake-ups in its history after the company confirmed it is exploring a potential sale or merger following growing interest in its defence and aerospace ambitions.

The action camera giant revealed during its Q1 2026 earnings call that it has formally launched a strategic review process following multiple inquiries related to its recent expansion beyond the traditional creator and consumer camera markets.

GoPro founder and CEO Nicholas Woodman said the company believes there is “unrealised value” in its technology, intellectual property and manufacturing capabilities, adding that the board is now evaluating “strategic alternatives” to maximise shareholder value.

“We received several inbound inquiries related to M&A,” Woodman explained during the earnings call. “The range of interest led us to make the decision that we should run a process to evaluate what kind of value we could unlock on behalf of shareholders.”

The move follows GoPro’s April announcement that it was formally exploring opportunities in the defence and aerospace sectors with the help of consulting giant Oliver Wyman.

The company said its cameras are already used in “demanding defence, government, and aerospace applications” where durability, stabilisation and image quality are mission-critical.

From mountain bikes to space missions

GoPro’s growing aerospace ambitions already appear to be gaining traction.

During the call, Woodman revealed that modified GoPro cameras were recently used externally on NASA’s Artemis II Orion spacecraft, while off-the-shelf models were also deployed inside the spacecraft to capture footage for an upcoming National Geographic documentary.

“Everyone at GoPro is deeply honoured that our cameras played even a small role in the historic Artemis II mission,” Woodman said. “It’s incredibly meaningful to all of us.”

A very different kind of GoPro camera

The strategic announcement also arrives just weeks after the launch of the new MISSION 1 Series, which arguably represents GoPro’s most ambitious hardware push in years.

The lineup includes the MISSION 1, MISSION 1 PRO and MISSION 1 PRO ILS, the latter featuring an interchangeable lens system compatible with Micro Four Thirds lenses.

Woodman described the cameras as “the world’s most compact cinema camera line” and said the new models are designed to appeal to professional filmmakers, television producers and high-end creators in addition to existing GoPro users.

The new cameras also introduce a 50MP 1-inch sensor and GoPro’s next-generation GP3 processor, with the company heavily emphasising professional-grade video performance, thermal efficiency and reliability.

It’s a notable shift for a company that has spent years competing largely in the action camera category against rivals such as DJI and Insta360.

The financial backdrop paints a tougher picture

The strategic pivot comes amid a difficult financial period for the company.

GoPro reported Q1 revenue of $99 million, down 26% year over year, while camera sell-through fell 29%. Subscription revenue remained flat at $27 million, while subscriber numbers declined 8% to 2.26 million.

The company’s gross margin also dropped sharply from 32.1% to 4.3%, partly due to component purchase commitments and slow-moving inventory charges.

Even so, GoPro appears keen to frame the current moment as the start of a broader transformation rather than a retreat.

“We’ve just entered a new era of professional performance capability with the launch of our new MISSION 1 series of cameras,” Woodman said. “We’re excited for the impact they can have on our business.”

[via GoPro Investor Relations]

DJI had a crazy month in April. The brand has launched a ton of highly anticipated products, including the Osmo Pocket 4 and the successors to what is surely DJI's most popular beginner drone, the Mini 4K. And since the company wasn’t dominating the drone market quite enough (?), it decided to offer two new models: Lito 1 and the Lito X1.

Rumours about the Lito Series have been swirling around for months, so I can’t say I was massively surprised when the company started teasing the upcoming release earlier this month. And because it’s DJI, I just assumed they would be of decent quality.

I wasn’t wrong. I’ve been testing the more premium of the two models, the Lito X1, for a little over a week, and it made me seriously question who might need a DJI Mini 5 Pro other than people who fly drones for a living. It has everything from long battery life and forward-facing LiDAR to high-resolution photos and videos and easy controls.

Best of all, it’s cheap as chips, making it the beginner drone to beat in 2026 (and probably beyond). Some pilots might still opt for the entry-level Lito 1 – which I’ll be testing next – but the Lito X1 is really just an amazing drone for not a lot of money.

If you haven’t already bought the Mini 4K, or bought it a while ago, or have a Neo or a Flip and want to take your piloting, photography and videography to the next level, read my full DJI Lito X1 review below. Let’s get started.

DJI Lito X1 review

Price and availability

The Lito X1 was announced on 23 April 2026 and is available to buy now at DJI for the recommended price of £369 / €379 / AU$619 (Drone only). The Lito X1 Fly More Combo (DJI RC 2), which includes the RC2 controller with a built-in screen, three Intelligent Flight Batteries, a charging hub and a shoulder bag, sells for £599 / €619 / AU$1,069.

Sadly, just like the Osmo Pocket 4, the DJI Lito series will not be available in the U.S. market as the application for authorisation is still pending. A crying shame for beginner pilots over yonder!

Design and build quality

The Lito X1 is a compact, sub-249g drone with foldable arms and a front-mounted gimbal. Mine came at 248 grams, just under the limit. It measures 144×94×62 mm when folded and 183×251×79 mm when flight-ready. It’s quite small and lightweight, all things considered.

The drone doesn't come with propeller guards like the Neo 2, but DJI included a gimbal cover, which is as awkward to take off as always. This covers the camera unit and the two LiDAR sensors, the latter of which are located above the gimbal. You’ll find two more (optical) sensors at the top and bottom of the Lito X1.

The gimbal itself is a 3-axis mechanical gimbal (tilt, roll, pan) with a mechanical range of -126° to 67°. Of this, the controllable range (tilt) is -90° to 40°, allowing you to point the camera directly towards the ground and slightly up. DJI claims the angular vibration ranges ±0.01° – excellent in this category.

The Lito X1 is equipped with a 2,788 mAh Li-ion battery (Intelligent Flight Battery), which weighs approximately 74 grams. This is, of course, included in the drone's overall weight. The Lito X1 has 42 GB built-in storage, continuing the trend of DJI adding this feature to most of its newer products.

Camera performance

The Lito X1 has a 1/1.3-inch CMOS sensor with 48MP effective pixels – a lot larger than the Mini 4K’s camera unit. The lens has an FOV of 82.1°, equivalent to a 24 mm lens on a full-frame camera, and an aperture of f/1.7. The minimum focusing distance is 1 metre, which is more than enough, considering it’s unlikely you’ll be flying the drone that close to anything or anyone.

The maximum resolution is 8,064 × 6,048 pixels (48 MP), but the Lito X1 can also shoot 12 MP photos, both JPEG and RAW (and JPEG+RAW). It’s pretty cool to have raw functionality on a beginner drone, along with manual exposure control options.

As for video, the Lito can deliver up to 4K (3,840×2,160) videos @ 100 fps, full HD (1,920×1,080) @ 200 fps and 2.7K (1,512×2,688) vertical videos at 60 fps. The Lito X1 can shoot 'true vertical' videos like the Mini 5 Pro; instead, it downsamples 4K landscape footage to 2.7K vertical.

The maximum bitrate is 130 Mbps, and thanks to the built-in storage, you don’t have to worry about getting a fast enough microSD card.

(The Lito X1 supports microSD cards up to 1TB and recommends either Lexar’s Silver Plus or Kingston’s CANVAS GO! Plus models.)

Even though the Lito X1 has only one lens, it offers up to 3x zoom. It’s all digital, of course, but that larger sensor enables the drone to produce a 2x zoom that’s almost surprisingly not digital-looking. The 3x zoom is usable, but doesn’t quite look as good as the 1x or 2x zoom.

As always, it’s best to step down the exposure compensation to -0.3 or -0.7, as the Lito X1, like most DJI drones, tends to slightly overexpose images and videos. I was testing the drone early-ish in the morning on nice, sunny days, and the sensor was clearly trying its best to account for the huge dynamic range.

Sure, the videos don’t look quite as good as the Mini 5 Pro's, but considering the Lito X1 is a beginner drone, I’m thoroughly impressed with how well it performed in the camera department.

Features and flight performance

It probably doesn’t come as a surprise, but the Lito X1 is a much more capable drone than the Mini 4K in terms of features and flight characteristics. I already mentioned the forward-facing LiDAR – those little cameras above the gimbal unit – that allow the drone to navigate even in low light conditions.

The Mini 4K doesn’t have obstacle avoidance, while the Lito X1 sports omnidirectional sensing and can recognise and manage hazards around the drone.

I flew the Lito X1 directly towards me, and it slowed down and then stopped well before it could hit me. I mostly use the drone in ‘Normal’ mode, which balances speed and battery life, but if you switch to ‘Sport’ mode, the Lito X1 disables the obstacle-sensing feature – something to be aware of.

Speaking of Sport mode, the drone's maximum speed is 18 m/s, which is 2 m/s faster than the Mini 4K’s maximum speed (16 m/s). It’s on par with the Mini 5 Pro but much slower than the much larger Mavic 4 Pro, which has a top speed of 25 m/s in Sport mode. 18 m/s is more than fast enough for beginner pilots, anyway.

Wind resistance is the same as before, with the Lito X1 being capable of managing gusts up to 10.7 m/s (Level 5). The dinky drone will, of course, struggle in higher winds, and trying to maintain a stable hover when gusts push the Lito X1 around will also drain the battery. Overall, the drone is satisfactory in this department.

A big upgrade is dynamic autonomous tracking. The Lito X1 can not only lock onto stationary subjects – something the Mini 4K can also do – but also continuously follow a moving subject, predict motion, adjust its path, and reframe in real time. Plus, the new model now has MasterShots as well as QuickShots, which string together a few shots and can be edited into a short video in the DJI Fly app.

MasterShots are an easy way to create good-looking social media clips with absolutely no effort.

Battery life and charging

Battery life (i.e., flight time) improved from 31 minutes on the Mini 4K to 36 minutes on the Lito X1 when using the 2,788 mAh Intelligent Flight Battery. It’s a decent increase, but as always, impossible to achieve in real-life flying conditions.

I tested a fully charged battery, hovering the Lito X1 in a room with just enough breeze to keep it from overheating for as long as it could. I flew for 38 minutes and 26 seconds, with the plane beeping excessively for the last 10 or so minutes, warning me that the battery was dangerously low before force-landing the unit.

The Lito X1 still had around 7% battery left at this point, so in theory, it might have been able to fly for longer, but no drone will let you drain its battery completely while it's airborne. I’d say, if you’re flying the Lito X1 in comparatively windless conditions, you’ll be able to get around 23-25 minutes of flight time.

Battery charging speed is far from mind-blowing at around 70 minutes with the battery in the drone using a 65W charging cable and block. Using the Charging Hub improves things and can reduce charging time to 45 minutes. Charging three batteries simultaneously with the Charging Hub is the most efficient way, as they will all be ready to go in just under 90 minutes.

Verdict

The DJI Lito X1 is an amazing beginner drone. In fact, it’s more than just a cheap flying tripod; the premium Lito bridges the gap between basic and intermediate drones, and does it for an incredibly low price, too.

What makes it stand out isn’t just the longer battery life or the faster top speed, but the intelligence packed into such a small, affordable package. Features like dynamic subject tracking and omnidirectional obstacle sensing fundamentally change how the drone behaves in the air and make it easier to get usable footage without constantly thinking about flight control.

It doesn’t quite match the Mini 5 Pro in outright image quality or flight refinement, and more experienced pilots will still appreciate the extra polish of DJI’s higher-end models. But for everyone else, the Lito X1 hits a sweet spot that’s hard to ignore.

For beginners, it’s approachable, and for upgraders, it’s a genuine leap forward. And for DJI, it’s a clear sign that “entry-level” no longer means stripped back.

Antigravity is rolling out a major firmware update for its 360º drone, introducing a suite of new features designed to make flying safer, easier and more creative.

The update, known as U3, focuses on improving safety, simplifying controls and enhancing creative tools.

It marks one of the most significant upgrades to the Antigravity A1 to date, the world's first 360º drone, which, since then, received company in the form of DJI's Avata 360.

The latest update follows another rollout earlier this year, which introduced a virtual flight simulator in the Vision Goggles to help new users get to grips with its motion-based controls.

A smarter way through the air

The drone now has omnidirectional obstacle avoidance and can detect obstacles in every direction, including above and below, rather than just in front or beneath it as before.

It can also actively navigate around obstacles instead of simply stopping, making the flight smoother and more reliable.

Antigravity is also introducing voice control, allowing users to operate the drone using simple spoken commands.

Functions such as take-off, recording and return-to-home can now be triggered hands-free via the Vision goggles, reducing the need to interact with physical controls.

Flying starts to feel like a game

On the creative side, the update adds a third-person virtual cockpit view alongside the existing first-person perspective.

Users can switch between the two mid-flight, creating a more dynamic and game-like flying experience.

The company has also upgraded its Auto Edit feature, which now uses AI to generate more varied camera movements, including 360-degree motion and FPV-style shots.

It also introduces built-in sound effects and improved editing logic to produce more polished videos with minimal input.

Small tweaks that unlock bigger shots

Further updates include enhanced flight path tools with customisable path marker visuals, assigning different camera angles at each waypoint and combining these routes with the virtual cockpit mode for more cinematic footage.

A new timelapse feature is also included.

The firmware is expected to roll out in mid-April via the Antigravity app.

You can buy the A1 drone directly from Antigravity.

DJI has officially unveiled its long-rumoured Lito drone series, introducing two beginner-friendly models designed to make aerial photography more accessible without sacrificing key features.

The new lineup consists of the DJI Lito 1 and the more advanced Lito X1, both positioned as entry-level camera drones that sit above the Neo and Flip (selfie-focused) range while effectively replacing the Mini as DJI's go-to options for beginner pilots seeking the 'proper' flying experience.

Both are designed with first-time flyers in mind, combining lightweight sub-250g builds with automated shooting modes and improved safety systems.

ActiveTrack, QuickShots, MasterShots and Hyperlapse are included on both, allowing you to capture complex shots with minimal input.

According to DJI, the aim is to “lower the learning curve” while still delivering high-quality results from the first flight.

Two models with a clear split

While the two drones share a similar design and core feature set, the Lito X1 offers several upgrades for users who want better image quality and more advanced flight performance.

The Lito 1 uses a 1/2-inch sensor, while the Lito X1 steps up to a larger 1/1.3-inch sensor, which should improve low-light performance and dynamic range.

Both can shoot 4K video, but the X1 adds HDR recording and D-Log M colour profiles for more flexibility in post-production.

The X1 also gains forward-facing LiDAR, enhancing obstacle detection and helping the drone navigate more complex environments with greater confidence.

All current-gen Litos feature omnidirectional obstacle sensing, a notable addition at this price point, alongside up to 36 minutes of flight time and long-range (15 km) video transmission.

The DJI Lito series is now available from DJI UK, DJI EU and DJI AU in multiple configurations.

The Lito 1 starts at £299 in the UK, €309 in Europe and AU$539, while the Lito X1 is priced from £369, €379 and AU$619.

Fly More Combo bundles push pricing up to £599 and AU$1,069, depending on the model.

Sadly, neither is available in the US for now.

DJI has officially unveiled its new Lito series, a beginner-focused drone lineup that effectively replaces the long-running Mini range. Positioned above the more playful Neo and Flip models, the new drones follow the long tradition of making 'proper' aerial photography and videography more accessible for beginners.

It's an interesting choice from DJI to effectively split the incredibly popular Mini 4K into two separate drones. The Mini 4K was well-known for providing a superb flying experience for beginner pilots, something the Lito Series promises to continue.

With two models to choose from at launch – Lito 1 and Lito X1 – I wondered what the key differences between the two new drones would be, so I read through the official specs and feature lists to find out. I found the six below the most striking.

1. Sensor size and image quality

The biggest gap between the two is sensor size. The Lito X1 uses a larger 1/1.3-inch sensor, compared to the 1/2-inch sensor in the Lito 1. Both offer 48MP resolution, but the X1 should deliver better low-light performance, improved dynamic range, and more flexibility when editing footage.

Both sensors are larger than the Mini 4K's 1/2.3" sensor. The Lito 1's 1/2" sensor is the same size as the DJI Neo 2, and the image quality on that is more than good enough. Not many drones, DJI or otherwise, use a 1/1.3-inch sensor, but interestingly, it's the same size as the DJI Osmo Pocket 4 gimbal. Coincidence? I think not.

2. HDR and colour grading options

The Lito X1 punches above its weight, thanks to HDR video support with up to 14 stops of dynamic range and 10-bit D-Log M for colour grading. Quite a few DJI drones, including the Mini 4 Pro and the Air 3, have D-Log M, but these are mid-range and above, not true beginner drones. The Lito 1 sticks to standard video profiles, so what you shoot is more or less what you get.

3. Obstacle sensing and LiDAR

Both drones feature omnidirectional obstacle sensing, a big deal at this level, but the X1 goes a step further by adding forward-facing LiDAR. LiDAR works by firing out tiny laser pulses and measuring how long they take to bounce back. From that, the drone builds a precise 3D map of its surroundings in real time.

This improves precision when flying in complex environments or lower light conditions. The Lito 1 relies purely on vision-based sensing, which is still solid but slightly less advanced.

4. Internal storage

DJI started adding internal storage to some of its newer products. The aforementioned Pocket 4 now has over 100 GB of internal storage, and so does the Osmo Action 6 Pro. The Lito X1 doesn't quite have the same internal memory prowess, but it comes with 42GB of built-in storage, meaning you can shoot even without a microSD card. The Lito 1 doesn’t have this, so you’ll need a quick enough memory card for shooting videos.

5. Price and value positioning

I'm sure it's obvious to most people, but the two Litos are sold for different prices. The DJI Lito 1 starts at £299 in the UK, €309 in Europe, and AU$539, while the Lito X1 comes in at £369, €379, and AU$619, with Fly More bundles pushing prices up to £599 and AU$1,069, depending on the model.

The Lito 1 is around £50 more expensive than the Mini 4K, which currently sells for £242 at DJI UK, yet offers a larger sensor, better frame rates, omnidirectional obstacle sensing, longer flight times (36 vs 31 minutes), and more advanced automation.

The Lito X1 also offers a lot of bang for your buck compared to D-Log M models such as the Mini 4K, which had an RRP of £589, over £200 more expensive than the new premium Lito. Not to mention the Air 3, selling for close to £1,000.

6. Who each drone is really for

DJI has drawn a pretty clear line between the two Litos. The Lito 1 is aimed at complete beginners who want a straightforward, affordable way into aerial photography. The Lito X1, conversely, is for users who care more about image quality and want features that won’t feel limiting after a few months.

DJI seems to understand that not all pilots are obsessed with chasing more advanced specs and features. For many, the Lito 1 will provide more than enough scope for their aerial photography.

After all, if there is anything we learned from NASA's recent Artemis II mission, it is that old gear is perfectly good for capturing amazing photos – as long as you know how to use it.

GoPro has finally revealed how much its new Mission 1 cameras will cost, and the numbers confirm what many suspected from the start.

The standard Mission 1 will retail for $599 / £529 / €599 / AU$950, while both the Mission 1 Pro and the upcoming Mission 1 Pro ILS are priced at $699 / £599 / €699 / AU$1,100.

In the case of the flagship Mission 1 Pro ILS, this price is for the body only, so the lens price will be added on top.

GoPro doesn't seem to be selling Micro Four Thirds (MFT) lenses on its website and relies on third-party products to kit out its new camera.

On a mission to move up

All three Mission cameras are built around the same core platform, built around a 1-inch, 50MP sensor and GoPro’s new GP3 processor.

The base model supports 8K at 30fps, while the Pro pushes to 8K at 60fps, alongside high-speed modes reaching 960fps at 1080p.

The inclusion of 10-bit GP-Log2 colour, up to 240 Mbps bitrate, and Open Gate recording further reinforces that the Mission 1 Series is designed with post-production in mind rather than quick social clips.

The cameras support 32-bit float recording via a four-mic array, a feature typically reserved for dedicated audio gear.

Why GoPro thinks it can charge more

GoPro is clearly trying to move away from the standard action camera market with the Mission 1 Series.

The company appears to be targeting creators who want a single, compact camera capable of both rugged shooting and high-end production workflows.

That’s reflected in features like log colour profiles, extended dynamic range (up to 14 stops), and improved thermal performance for longer recording sessions.

GoPro has spent years competing on stabilisation, durability and ease of use, but rivals like DJI and Insta360 have caught up, and, in some areas, overtaken it.

Moving upmarket allows GoPro to differentiate again, this time on image quality and professional-grade capabilities.

A different kind of GoPro

At $599–$699, the Mission 1 series is undeniably expensive compared to the rest of the action cam market.

But the larger sensor, high-bitrate 8K video, pro-level audio, and, in the case of the ILS, interchangeable lenses, make these cameras sit closer to compact cinema tools than helmet-mounted rugged units.

That, ultimately, is why GoPro believes it can get away with the premium pricing. Will they succeed? We'll find out soon enough.

Head over to GoPro for more information on its new cameras.

[via Yahoo Tech]

Insta360 has officially brought its upcoming Luna vlogging camera to NAB 2026, but you’d be forgiven for missing the details.

The company, best known for its 360º action cameras, is showcasing the device behind a frosted glass display that obscures most of the design, turning what should be a product reveal into something closer to a controlled tease.

Even through the haze, a few key details are now confirmed, including the names of the two models, Luna Ultra and Luna Pro, with the former sporting a dual-lens setup.

The dual-lens approach, if accurate, could address one of the biggest limitations of devices such as the DJI Osmo Pocket 4, which has only one optical unit with a 2x 'lossless' zoom option.

The Luna Ultra's second lens would open the door to optical zoom or multiple focal lengths, bringing the shooting experience closer to what creators expect from smartphones.

DJI is rumoured to launch a Pocket 4 model with two lenses, but nothing has been confirmed by the brand, which is busy working through its busy April release schedule.

No confirmation but plenty of clues

Insta360 hasn’t confirmed specifications yet, but the company has made one partnership very clear.

Leica branding is prominently displayed alongside Insta360 on the booth, reinforcing that the camera is co-engineered with the German optics specialist.

This mirrors the approach Insta360 took with the Ace Series and suggests the Luna will benefit from Leica-tuned colour profiles, imaging algorithms, and potentially lens-design input.

The partnership also puts Insta360 on a similar path to DJI, which has long worked with Hasselblad on its higher-end drones, such as the Mavic 4 Pro.

Similarly, the Ace Series was initially launched in two versions, Ace and Ace Pro, although the non-Pro version didn't make it to the second generation.

A calculated tease

The decision to hide the camera behind frosted glass looks deliberate, with trade shows often used to generate buzz ahead of a full launch

This approach allows Insta360 to confirm key features without giving away the full design or final specifications.

Two colour options, black and white, are also visible through the display, hinting at a more lifestyle-focused positioning alongside its technical ambitions.

Insta360 hasn’t shared a release date yet, but with Luna already on the show floor, a full reveal is likely not far off.

Rode has unveiled Sonaura, a new microphone platform, and while it’s being pitched as a major leap in audio engineering, the real story is what it could do for the gadgets you actually use.

Announced at this year’s NAB Show in Las Vegas, the same event where brands like GoPro, DJI and Insta360 are showing off their latest cameras, Sonaura is designed to bring high-end sound recording to devices that have always struggled with audio.

Most compact devices, such as drones (or drone controllers), wireless mics, and even smartwatches, rely on tiny microphones that prioritise size over quality.

That’s why even the best action cams can shoot stunning 4K footage but still sound thin, noisy or distant.

Sonaura, a new type of MEMS (micro-electromechanical systems) microphone, aims to change that.

It was developed in partnership with Infineon, measuring just 4mm by 5mm, and Rode claims it can deliver audio quality close to that of much larger, studio-grade microphones.

Traditional microphones, like Rode's NT1, are often hand-assembled, which can lead to small inconsistencies between units.

Sonaura, on the other hand, is built using semiconductor manufacturing, the same kind of process used to make chips, which allows for far greater precision and consistency at scale.

As a result, Rode says the mic has extremely low self-noise, meaning less background hiss, and can handle very loud sounds without distortion.

It’s also more resistant to interference and environmental factors like dust and moisture, thanks to a sealed dual-membrane design.

Because Sonaura is so small, the tech can be integrated into devices where high-quality audio was previously impossible.

For brands like GoPro and DJI, that could mean future cameras that no longer need external mics to sound good.

For creators, it could remove one of the last major compromises in portable setups.

Rode calls Sonaura the biggest leap in microphone design in over a century – a bold claim.

The reality will depend on how the tech performs once it starts appearing in real products.

The first device to use it will be a next-generation lavalier mic from Lectrosonics, with wider adoption expected across Rode’s own lineup and beyond.

Head over to Rode to learn more about the new technology.

I test a ton of camera gear at T3, so I hope it makes sense that, now and again, I will miss one. I remember when DJI’s Pocket 3 was launched. I was up to my neck in work, so I passed on the opportunity to test it, thinking it was just another gimbal camera. DJI must have had a drone coming out at the same time, so I decided to focus on that.

Little did I know how influential the Pocket 3 would become over the next couple of years. People absolutely gobbled it up, and it ended up disrupting the vlogging/creator community, thanks to its compact form factor, excellent video quality and ease of use. In fact, the camera was so successful that it made GoPro the best-selling action camera brand in Japan for the first time.

I was kicking myself for missing the chance to try the Pocket 3, so when rumours started circulating about its successor, I knew I had to seize the chance to try it. The Osmo Pocket 4 is here, and it’s no longer a vlogging camera: it’s an ultra-compact cine camera for prosumers and professional creators alike.

I’ve been testing Pocket 4 for the last couple of weeks and was thoroughly impressed with its performance, from subject tracking and battery life to low-light performance and beyond. Similar to the company’s Mini drone series, the Pocket 4 stops just short of being a professional piece of video-creation tool, all in a rather user-friendly package.

DJI Osmo Pocket 4 review

Price and availability

The standard Osmo Pocket 4 is priced at £445 / €499 / AU$769, with the Essential Combo at £429 / €479 / AU$749, and the Creator Combo at £549 / €619 / AU$959. It's available now at DJI.

That places it marginally under the Osmo Pocket 3’s original launch pricing of £489 (standard) and £619 (Creator Combo), suggesting DJI is keeping the entry point competitive despite the spec upgrades.

These days, DJI sells the Pocket 3 for less at £389 / £499 (Standard and Creator Combo, respectively), and there are often offers that push the price all the way down to £329. Overall, not a huge price increase (or, looking at the original selling price, a reduction), which puts the Pocket 4 spec and feature upgrades in a much better light.

As it is these days, sadly, DJI doesn’t officially sell the Pocket 4 in the US through its official website. You will likely be able to find it through third-party retailers. Availability in the UK, EU and AU looks pretty straightforward.

Design and build quality

The Osmo Pocket 4 retains DJI’s signature pocket-sized form factor, but the specs show a slightly more substantial body than before. It measures 144.2 × 44.4 × 33.5 mm (L×W×H) and weighs 190.5g, giving it a more solid, balanced feel in the hand while remaining compact enough for everyday carry.

The vertical design is unchanged, with the camera and gimbal housed at the top of the unit and the controls and display integrated into the slim handle.

At the front, the Pocket 4 features a 2-inch touchscreen with a resolution of 556 × 314 and a peak brightness of 1,000 nits, a big brightness bump over the predecessor.

The screen continues to act as both a monitor and a primary control interface. You can turn the camera on and off by twisting the display, which locks into place with a satisfying click.

The Pocket 4 retains a joystick-style controller, but this now offers more precise input, with gimbal speed increasing the further the stick is pushed.

Alongside this, DJI has introduced a clearer button layout, including a dedicated zoom control for quickly switching between focal lengths and a customisable function button that can be mapped to frequently used settings such as recentering the gimbal or switching shooting modes.

A small caveat of the new button layout is that the additional buttons are hidden under the rotating screen, so they aren’t visible or, in fact, usable when the Pocket 4 is in vertical mode.

The camera module is built around a 1-inch CMOS sensor, paired with a 20mm equivalent lens with an f/2.0 aperture and a focus range from 0.2 metres to infinity.

This sits on a three-axis mechanical gimbal, offering a wide range of motion across all axes, including tilt from -180° to 98° and roll from -220° to 63°. The system supports a maximum controllable speed of 180° per second.

Audio hardware is also integrated into the body, with three built-in microphones supporting spatial capture. Another big upgrade is the generous 107GB of built-in storage, which has transfer speeds of up to 800MB/s, along with microSD card support.

New features

The Osmo Pocket 4 builds on the foundation laid by its predecessor, focusing on expanding its capabilities. The camera system pairs a 1-inch CMOS sensor (same size as before) with support for 4K video at up to 240fps in slow motion, alongside an expanded 14-stop dynamic range and 10-bit D-Log recording.

These new additions alone push the Pocket 4 further into enthusiast and semi-professional territory, offering greater flexibility for colour grading and high-contrast scenes. The accompanying app hasn’t quite caught up with the professional processing idea (as far as I know) and only supports basic processing of 10-bit D-Log footage, which isn’t what most people would consider full colour grading.

A huge-huge upgrade is the introduction of 2x lossless zoom, giving you more control over composition without sacrificing image quality. The Pocket 4 also features the latest and most advanced subject-tracking system from DJI to date, with ActiveTrack 7.0, bringing improved stability, broader subject recognition, and support for tracking at higher zoom levels.

The Pocket 4 supports four-channel audio recording when paired with compatible DJI microphones, with the onboard system using three built-in microphones for spatial capture – good for group shots and interviews alike.

Camera performance

The Osmo Pocket 4 uses the aforementioned 1-inch CMOS sensor, paired with a 20mm equivalent f/2.0 lens. The focus range ranges from a fairly close 0.2 metres (well outside arm’s length) to infinity, making the camera versatile enough for everything from close-up vlogging to wider landscape shots.

I found the standard 1x zoom to produce quite a tight selfie composition, making it hard to cram more people into the frame, even with my long monkey arms, in vertical shooting mode. There is plenty of space for even three or four people if you’re shooting horizontally, though.

The camera supports 4K horizontal recording at up to 60 fps in standard mode, along with a full range of frame rates across 4K, 3K, and 1080p resolutions. Vertical video is also supported at up to 3K, which is plenty for TikTok and YouTube Shorts.

(In fact, both platforms will likely compress a 3K video into something closer to a 1080p resolution.) For slow-motion capture, the Pocket 4 can shoot 4K at up to 240fps, a massive increase from the Pocket 3’s 120 fps.

Image quality is backed up by a maximum photo resolution of 7,680 × 4,320 (approximately 37MP), with a wide ISO range of 50–12800 for stills. The electronic shutter spans from 1/8000s down to 4 seconds in photo mode. In video, shutter speeds adjust automatically or can be manually set within a more limited range, depending on the shooting mode.

The camera also supports a range of creative shooting modes, including timelapse, motionlapse and hyperlapse, with automated intervals and speed adjustments built in. Low-light performance is supported via a dedicated video mode up to 4K/30fps; however, it only works in landscape mode.

As well as the ‘lossless’ 2x zoom, the Pocket 4 also offers up to 4x zoom, although this is not available in certain modes such as low-light, slow motion and time-lapse.

Subject tracking and stabilisation

The Osmo Pocket 4 continues to rely on its three-axis mechanical gimbal, which, unlike purely electronic stabilisation systems, physically counteracts movement along the pan, tilt, and roll axes. Gimbal performance is smooth as butter, with the end footage looking shake-free even when you move the camera from side to side quite energetically.

Subject tracking has been upgraded to ActiveTrack 7.0, which supports tracking people, vehicles, pets, and other objects and can maintain focus even when subjects move unpredictably or briefly leave the frame. Tracking also works in conjunction with 2x zoom, making it easier to follow subjects at a distance without losing framing.

In my experience, the Pocket 4 locked onto subjects accurately. The camera will automatically highlight faces and objects, such as pets, in the frame; double-tapping them will activate tracking. The camera will continue to track objects even if they are temporarily obstructed until it reaches the extreme ends of the gimbal range. Tapping the screen again will immediately drop tracking.

Battery life and charging

The Osmo Pocket 4 is powered by a 1,545mAh lithium-ion battery (11.95Wh), which DJI says can support up to 240 minutes of operating time. By comparison, the Osmo Pocket 3 typically delivers around 160-166 minutes of runtime, meaning the newer model can run significantly longer before needing a recharge.

Charging speeds remain broadly similar. The Pocket 4 supports fast charging, reaching 80% in just 18 minutes and a full charge in approximately 32 minutes, closely mirroring the Pocket 3’s already quick top-up times. I can confirm that charge times are lightning-fast. I popped the Pocket 4 on the charge with 71% battery left, and 15 minutes later, it was already in the high 90s.

Verdict

As someone who’s a self-proclaimed expert on all things DJI but new to the Pocket series, I had a blast testing the fourth iteration of the camera. It’s an extremely capable recording device, and if you liked the previous version, you’ll love the Pocket 4. It’s better in almost every conceivable way and sells for less than the Pocket 3's original RRP.

That said, if you already own the Pocket 3, there’s little reason to rush out and upgrade unless you’re a professional creator or videographer. The older model isn’t just cheaper these days, it’s also every bit as capable as it was at launch.

If anything, recent high-profile shoots, including footage captured during the Artemis II mission, serve as a reminder that great photos and videos come down far more to how you use the gear than the gear itself.

Even though the upgrades are significant, the Pocket 4 doesn’t reinvent the vlogging camera formula, only improves it. The 2x zoom is nice, and so is the better subject tracking and slower slo-mo, but the Pocket 3 does have zoom, is very good at subject tracking and has 120 fps slo-mo.

All things considered, the DJI Osmo Pocket 4 is a brilliant evolution of its predecessor and offers all the features people love about the pocketable vlogging camera, and then some. If you’ve been thinking about getting a Pocket 3 but couldn’t quite convince yourself yet, the Pocket 4 might just be the nudge you’ve been waiting for.

GoPro has unveiled its highly anticipated Mission 1 Series a few days earlier than expected.

Even though we knew the brand was about to unveil new cameras at NAB this week, we didn't know just how far the GoPro was willing to go to change the narrative.

That said, based on the teasers the company has been putting out in recent weeks, we knew the new cameras would push the devices beyond traditional action cameras and into compact cinema territory.

“Anything you could do in Photoshop”

The range includes three models: Mission 1, Mission 1 Pro, and Mission 1 Pro ILS, built around a new 50MP 1-inch sensor (roughly 4× larger in surface area than the GoPro Hero 13 Black's 1/1.9" sensor) and the GP3 processor, with a focus on higher resolution, improved low-light performance, longer runtimes, and greater thermal efficiency.

Ahead of launch, GoPro’s Senior Manager of Image Processing, Alex Cashman, said that the goal was to bring advanced image processing directly into the camera.

“Anything you could do to an image in Photoshop is what my team trains the camera to do live while you’re recording,” he explained.

He said that with the Mission series, the team's aim was to deliver professional-level output without adding complexity for the user.

The Mission 1 Pro and Mission 1 Pro ILS support 8K video at up to 60 fps, 4K at up to 240 fps, and 1080p at up to 960 fps, as well as 50 MP stills and open-gate capture for flexible editing.

The standard Mission 1 offers 8K30 and 4K120 but retains the same sensor and processor.

GoPro is also pushing data rates higher, with bitrates reaching up to 240 Mbps, alongside 10-bit colour, HLG HDR, and the new GP-Log2 profile for more flexible grading.

While action cams have been pushing pixel count and low-light performance for years, the above specs are more often associated with far larger and more expensive camera systems.

Low light is no longer a weakness

Low-light performance has been a known limitation for GoPro, and it has been directly addressed here.

The combination of a larger sensor and updated image processing delivers up to 14 stops of dynamic range, improving detail in both shadows and highlights.

Cashman said the shift reflects how people now use GoPro cameras.

“We saw people using them more for vlogging and filming in cities at night. We wanted to make sure we did it right.”

Thermal performance and battery life have also been prioritised, with GoPro claiming more than five hours (!) of recording at 1080p30 and over three hours at 4K30 on a single charge, supported by the new Enduro 2 battery and GP3 efficiency gains.

“Unless you’re shooting in the most extreme mode, your camera’s going to run until it runs out of battery,” Cashman said.

A processor that actually changes things

The GP3 processor underpins most of these improvements, and, according to Cashman, it dynamically manages performance to balance power and efficiency.

“It knows when it doesn’t have to be working hard and when it does. It just runs much more efficiently across the board.”

The chip also enables AI-assisted image processing and scene optimisation.

GoPro is introducing 13 capture modes designed to handle specific scenarios, from vlogging and low-light shooting to underwater use.

These modes use scene detection and machine learning to automatically optimise settings, while manual controls remain available for more advanced users.

The Mission 1 Series uses a four-microphone setup with improved stereo recording and wind noise reduction, and supports 32-bit float audio to prevent clipping.

Bluetooth audio and external mic support via USB-C are also included.

The interchangeable lens twist no one expected

The new flagship Mission 1 Pro ILS is the most significant addition, as it creates a new class of ultra-compact mirrorless cinema camera.

It introduces a Micro Four Thirds mount, allowing you to attach interchangeable lenses.

Of all the upgrades, Micro Four Thirds support is the clearest sign of where GoPro is heading.

The Mission 1 Pro ILS is no longer limited to a fixed ultra-wide lens and can tap into a vast ecosystem of existing optics, from fast primes to telephoto zooms.

The Mission 1 Series as a whole also features a larger rear OLED display, redesigned buttons that are easier to use with gloves and a new lens system with a removable hood to reduce glare and improve durability.

The cameras are waterproof to 20 metres without a housing, with an optional case extending that further.

GoPro is aiming higher

Alongside the cameras, GoPro is launching a broader ecosystem, including a wireless mic system, an updated Media Mod, a new grip, ND filters, a higher-capacity battery, and creator-focused bundles with additional audio and stabilisation tools.

With the Mission 1 Series, GoPro is expanding beyond action cameras and targeting creators who might otherwise use mirrorless or compact cinema setups.

Cashman summarised the positioning clearly, saying that the goal is to deliver a professional-grade camera that retains GoPro’s durability and ease of use.

As he put it, “It’s everything a GoPro has ever been turned up to about a thousand.”

More information about the new cameras, including price and availability, is expected to be announced in the next couple of months.

DJI has officially confirmed the name of its next drone, the DJI Lito, alongside a launch date of 23 April 2026 at 12 PM (GMT).

The teaser, shared on the brand’s social channels, explicitly spells out “NEW DRONE” before revealing the Lito name, followed by DJI’s familiar “Just Fly” tagline.

While the clip doesn't show the drone itself, the confirmation of the name signals that a full launch is imminent.

DJI hasn’t directly referenced the Mini 4K, but the timing and positioning strongly suggest the Lito is its successor.

The Mini 4K has been one of DJI’s most accessible and popular drones, offering stabilised 4K video, a sub-250g design and a beginner-friendly feature set at a relatively low price.

That makes the Lito an important release for the brand, and early leaks hint at how DJI might evolve the formula.

Clear Mini 4K successor

One of the most talked-about upgrades is built-in storage, with rumours suggesting the base model could include around 20GB onboard memory.

There are also indications that DJI could introduce a two-tier lineup, with a more advanced variant sitting above the standard Lito.

This higher-end version has been linked to improved obstacle avoidance, potentially using LiDAR-style sensing to enhance tracking and flight safety in more complex environments.

The Lito will almost certainly stay under the 250g threshold, keeping it accessible in most regions and in line with the Mini 4K’s appeal as a low-barrier entry point into drone flying.

Camera details are still under wraps, but expectations are for at least parity with the Mini 4K’s 4K video and three-axis stabilisation, with incremental improvements rather than a dramatic overhaul.

A busy moment for DJI

The Lito is just one part of a wider rollout from DJI. The company has already teased the Osmo Pocket 4, which is expected to bring built-in storage and iterative hardware upgrades.

The Power 1000 Mini global release date has also been announced, expanding DJI’s portable power station lineup, and there are hints of a new audio product on the way.

With the launch date now locked in, more details about the Lito are likely to emerge in the coming days.

Given the popularity of the Mini 4K, expectations for the Lito will be high, especially in the entry-level segment where DJI continues to dominate.

Insta360 has released a new teaser for its upcoming compact camera, and it adds a key detail that shifts this from rumour to something much more tangible.

The device will be demoed at NAB 2026, and it looks ready to take on DJI’s Osmo Pocket line head-on.

Shared on Instagram, the teaser invites visitors to see the new product at the company’s booth in Las Vegas.

The image itself is deliberately blurred, but the camera appears to feature a dual-lens setup, something we haven’t seen in this category from DJI.

Even with heavy pixelation, the device looks like a compact, gimbal-mounted camera with two lenses sitting side by side.

That lines up with earlier hints from Insta360’s CEO, who appeared to reveal multiple unreleased cameras in a previous post.

Those earlier clues pointed to a project often referred to as “Luna”, described as a handheld creator camera designed to rival DJI’s Pocket series.

This new teaser doesn’t confirm the name, but it does reinforce the idea that Insta360 is about to enter this space in a serious way.

Two lenses could change how these cameras are used

A second lens opens up a range of possibilities that go beyond what current pocket cameras offer.

It could enable true optical switching between focal lengths or improve subject tracking by combining data from both sensors.

There’s also a strong chance Insta360 will lean into its software strengths.

The company already leads in areas like reframing and AI-assisted editing, so bringing that into a gimbal-style camera could give it a meaningful edge.

A timely challenge to DJI

The timing of the teaser feels deliberate, with NAB shaping up to be a major moment for creator gear, and DJI is widely expected to unveil the Osmo Pocket 4 around the same time.

GoPro is also said to reveal its new camera range, albeit aimed more at professional users.

Specs, pricing and release timing are still unknown, but the company has confirmed that attendees will be able to get hands-on with the camera at NAB between April 19 and 22.

That means we won’t have to wait long to see what this thing can actually do.

DJI has dropped a new teaser for the upcoming Osmo Pocket 4, and it doesn’t take much decoding.

In the short clip, the deliberately out-of-focus camera appears to “eat” a row of microSD cards before casually walking away.

It’s a playful way of suggesting that the next Pocket camera might not need them at all.

The brand even doubles down with the caption “More storage. More stories”, hinting that storage will be one of the headline upgrades when the camera launches on 16 April.

A not-so-subtle hint at internal storage

DJI Osmo Pocket 4 hasn’t been officially detailed yet, but leaks have been pointing in the same direction for a while.

Rumours suggest the camera could feature over 100GB of built-in storage, a significant jump from DJI’s usual reliance on removable microSD cards.

Action cameras like the DJI Osmo Action 6 already include built-in memory (around 64GB) alongside a microSD slot, but the Osmo Pocket 4's memory could far surpass this.

Internal storage is typically faster and more reliable, reducing the risk of corrupted files or dropped frames when shooting high-bitrate video.

It also simplifies the experience, removing the need to juggle cards and manage storage formats.

For a device like the Pocket series, which is designed for quick, handheld shooting, that kind of frictionless workflow could be a big win.

The trade-off creators might not love

The flip side of having built-in memory only is that external cards are cheap, easy to swap, and effectively give you unlimited storage on long shoots.

If DJI kills the SD card slot in favour of, let's say, better weather proofing, the camera could introduce new limitations, especially for creators shooting extended footage or travelling without access to a laptop or backup drive.

Hopefully, the Pocket 4 will offer the best of both worlds: speed and convenience on one hand, flexibility on the other.

Visually, the teaser doesn’t point to a major redesign. The silhouette of the camera is almost identical to that of the current model, suggesting DJI is sticking with a proven form factor.

DJI will reveal the Osmo Pocket 4 later this week, on 16 April 2026 at 12 PM GMT (8 AM ET / 5 AM PT).

You can sign up for updates about the Osmo Pocket 4 at DJI.

If you've been following the Artemis II story – the NASA-launched mission, which embarked on a lunar flyby mission in the Orion spacecraft – then you've probably seen some of the images that the crew took.

If not, then behold: the shot of Earth, above, was taken by Artemis II Commander, Reid Wiseman, through the Orion craft's window, once the trans-lunar injection burn was completed.

It's not an ad-hoc shot taken on his iPhone, though, as Wisemen and the Orion crew, had access to Nikon D5 DSLRs. Cameras launched over 10 years ago – and discontinued more than five years back – but which still made the cut for the most important of documentation missions.

The above image, titled 'Hello, Earth', shows two auroras to the top right and bottom left, plus zodiacal light that's visible to the bottom right, as the Earth was eclipsing the Sun at the time the photography was taken.

Not only is it beautifully detailed, it's also the full uncropped image – all 20.8-million pixels (5568 x 3712 is what the Nikon D5 shoots natively) – direct from the full-frame 'FX' sensor, with no alterations made.

The Nikon D5 was released at the beginning of 2016, quickly becoming many professionals' tool of choice for a variety of reasons. It wasn't running the resolution race like some other options, opting instead for speed and high sensitivity as priority.

Even today, that remains a big part of the reason why the D5 has stood the test of time. A number of shots in the NASA 'Artemis II: Journey to the Moon' gallery (a selection of which are in the above gallery) had little light available and had to be shot at high sensitivity – even up to ISO 51,200.

If you're unfamiliar with camera terminology, then the ISO sensitivity is the scale for measuring a camera sensor’s sensitivity to light. A high ISO means you can expose a shot where less light is available – such is typical in space, hundreds of thousands of miles from the Earth's surface.

Problem is, high ISO shots typically produce increased 'image noise', which presents as grains that diminish the quality of a shot. The Nikon D5, however, was always a champion when it came to keeping this low – the benefit of a large sensor with relatively moderate resolution, paired with engineering know-how and top-tier processing.

In addition to the raft of Nikon D5 cameras on board, one Nikon Z9 – that being the brand's pro-grade mirrorless camera; in essence the D5 DSLR's replacement – was also loaded, to explore next-gen kit for future mission viability.

While the best camera is the one that's on you – which so often these days is the phone in your pocket – in the case of the Artemis II mission, it's a good job those cameras were tried-and-tested pro DSLRs from Nikon. Proving that even last-gen technology can still cut it.

GoPro has quietly dropped some of the most striking space images we’ve seen in years, and they didn’t come from a traditional space camera.

The Artemis II mission will go down in history for a number of reasons, one of which is the variety of cameras the crew used to capture stunning photos of the Earth and the Moon.

Some of the most iconic shots we've seen so far were captured with an iPhone, while others were shot with a 10-year-old DSLR (the very capable Nikon D5) to capture those stunning space shots.

And while all images are beautiful, the ones that really blew my mind are GoPro's, which shared five photos from the mission on its social media over the last few days.

These include everything from Earthset behind the Moon to a near-total solar eclipse seen from deep space.

One frame captures the Moon in shadow with a glowing halo of sunlight, while another shows the Orion spacecraft drifting past a sharply detailed lunar surface.

There’s even a shot featuring Saturn and Mars as tiny points of light, something you’d expect from a telescope, not an action camera.

According to the captions, the footage was captured using a GoPro mounted on the Orion spacecraft during the crew’s journey.

Crucially, GoPro hasn’t confirmed which camera was used, a not-so-subtle hint at what’s coming next.

The omission that feels deliberate

As previously reported, GoPro is expected to unveil a new generation of cameras at NAB 2026 next week, powered by its upcoming GP3 chip.

The company has already teased major improvements in low-light performance, and if the space photos were taken using the next-gen GoPros, they appear to back that up.

Capturing usable footage in space is no small feat: lighting conditions shift dramatically, contrast levels are extreme, and noise can easily ruin darker scenes.

Yet these images look clean, detailed, sharp and surprisingly well-exposed.

It's worth reiterating that even though GoPros were always famous for their image quality, the photos shared by the brand are next-level stuff.

If this is indeed early output from a GP3-powered camera, it suggests that GoPro is finally addressing one of its biggest weaknesses: low-light shooting.

That said, the gorgeous photos raise more questions than they answer.

Is the camera positioned inside or outside the craft? How big is it? Does it use interchangeable lenses? Is GoPro operating it remotely, or are NASA / the astronauts responsible for the images?

The mission behind the moment

The Artemis II mission marks a major milestone for NASA, sending astronauts on a crewed journey around the Moon for the first time in over 50 years.

The Orion spacecraft has been orbiting and documenting the lunar environment, with astronauts expected to return to Earth shortly after completing their planned trajectory around the Moon.

While the mission itself is historic, it’s also becoming an unexpected showcase for consumer camera tech operating in one of the harshest environments imaginable.

And if these images are anything to go by, GoPro’s next move could be its most important in years.

DJI has officially confirmed when its next pocket camera, the Osmo Pocket 4, will land.

In a short teaser shared across social media, the brand revealed a launch event titled “The World In My Pocket”, scheduled for 16 April 2026 at 12 PM GMT (8 AM ET / 5 AM PT).

The video itself is deliberately vague, showing little more than a silhouetted device and a close-up of a lens element.

DJI hasn’t revealed any specs yet, but the teaser suggests the same compact, gimbal-stabilised form factor returning once again.

That’s no surprise, given how well the formula has made the Osmo Pocket 3 one of the most popular compact cameras of 2024/2025.

A familiar idea, ready for an upgrade

The Osmo Pocket line has always been about portability first, offering a tiny stabilised camera that can slip into your jeans pocket.

The current generation already delivers solid video performance, with a 1-inch sensor, 4K/120fps recording and excellent three-axis stabilisation.

Rumours and early chatter suggest DJI might introduce a larger sensor, which would improve low-light performance and dynamic range.

There’s also talk of enhanced subject tracking, likely building on DJI’s increasingly reliable AI-powered tracking seen in its drones and gimbals.

A bigger or brighter display, better audio options, and more seamless wireless connectivity are also all on the card.

One thing the video doesn't show is a dual lens setup, which was one of the earlier rumours about the upcoming camera.

It's also possible that DJI wants to keep things under wraps for as long as possible.

Most of the brand's products have been leaked to death before launch, so it makes sense that DJI wants to keep some info hidden until launch.

Small camera, big expectations

The teaser’s tagline, “The World In My Pocket”, hints at a continued focus on portability, but expectations are higher this time around.

With rivals pushing image quality and features further, the pressure is on DJI to deliver more than just incremental updates.

Still, if the company can combine improved imaging with its class-leading stabilisation, the Osmo Pocket 4 could once again become one of the easiest ways to capture smooth, high-quality footage without fuss.

Whatever the upgrades may be, we won’t have to wait long to find out.

You can sign up for updates about the Osmo Pocket 4 at DJI.

If you've used a Polaroid camera in the modern day, you'll know the experience isn't always seamless. The company was reborn from the ground up, and is still experimenting all the time to make improvements to its film chemistry.

Still, if you want perfect photos in the iconic square format, there's another solution. The brand has just unveiled a new printer – the Polaroid Hi-Print 3x3 – which offers the ability to print 3x3 images with ease.

It's the first time the brand has offered a printer in the iconic square format – other versions include the 2x3 and 4x6, which are both rectangular. As such, you'll need specific cartridges of paper to use with this printer.

The 3x3 paper is pricier than older cartridges, too. A single pack on the brand's website will set you back £22.99 / €24.99 / US$24.99 / AU$45 for 30 sheets, dropping to around £20 / €22 / US$22 / AU$40 per pack if you buy in bulk.

That's a hair more costly than the 2x3 paper, but still significantly more on a shot-by-shot basis than the 4x6. It's worth noting if you're cost conscious, though neither of the other formats offer the Polaroid square look.

The printer itself includes paper for ten shots to get you started, and will retail for £99.99 / €109.99 / US$119.99 / AU$196. Personally, I think it's a brilliant addition to the range.

While it is more costly than the other printers, it's still drastically cheaper than Polaroid film, which often works out in the region of £/€/US$2 per shot. And while that's a cost worth bearing for some of us, I can certainly imagine it isn't for others – particularly younger users, or those moving to physical print for the first time.

For that demographic who still want the iconic square appearance, I think this is a great option. You can even store the prints in the printer itself, which doubles as a photo frame, making this a real all-in-one solution.

Insta360 has unveiled one of its most unusual accessories to date, and it might quietly solve a problem most smartphone users have learned to live with.

The Snap Selfie Screen, which works with both iPhones and Android devices, is a compact, magnetic display that attaches to the back of your phone and mirrors its screen in real time.

The action camera brand says it can help you frame yourself better using the rear cameras, which are often significantly more capable than the typically lower-quality front camera.

It’s a concept that feels like a natural evolution of the tiny mirrors found on some phone cases, but taken several steps further.

With a live preview and touch controls, Snap removes the need to flip your phone back and forth just to check framing or tweak settings.

A smarter way to use your phone’s best camera

Most modern smartphones pack their most advanced sensors and lenses on the rear, yet selfies and vlogs are still largely captured with front-facing cameras for convenience.

Snap aims to change that by offering a real-time preview of your shot, even with ultra-wide rear lenses.

The mirrored display also supports touch input, so you can adjust settings, start recording, or fine-tune composition without reaching around the device.

The experience is plug-and-play via USB-C, with no pairing required and minimal lag, making it feel more like an extension of your phone than a separate gadget.

A creator tool with a slightly unexpected twist

There are two versions available: a standard model and one with a built-in rim light developed in collaboration with AMIRO, designed to provide adjustable brightness and colour for more flattering shots in tricky lighting conditions.

Both models are powered directly by the phone, meaning there’s no separate battery to charge, although it does mean you’ll be drawing from your handset’s power while shooting.

Physically, the Snap is slim and pocketable, with a protective cover that doubles as a screen guard when not in use.

It's also handy when the Snap is in use, preventing you from accidentally touching your smartphone's large front display.

The Snap is available at Insta360 now for a recommended price of $80 / $90 in the US, £73 / £88 in the UK, €86 / €96 in Europe and AU$140 / AU$155 in Australia.

Dedicated vlogging cameras are being squeezed by everything from smartphones to action cameras. This doesn’t seem to deter established camera brands like Canon from releasing them, and if the reception of the PowerShot V1 is anything to go by, people still seem to like them.

It’s been a while since I last played around with a Canon camera, and not surprisingly, it was another vlogging model, the PowerShot V10. I loved the feeling of handling a compact Canon, even though it was very different from the 6D I used to use. The PowerShot V1 has the same ‘compact Canon’ energy, yet feels more substantial than its predecessor.

I spent three weeks testing it, and I was surprised by how much fun I had with the PowerShot V1. There is something tactile about using a dedicated digital camera for monkeying around, even if the footage you create won’t go viral online.

That said, the PowerShot V1’s image quality does help videos and photos stand out. Colour rendition is excellent, and image stabilisation is also on point, even though there is excessive cropping in certain modes. Is it worth the cash, though, in a world where you can own DJI’s Osmo Pocket 3 for less than half the price?

Canon PowerShot V1 review

Price and availability

The Canon PowerShot V1 went on sale in April 2025, for the recommended price of £960 / $900 (before tax) / €999 / AU$1,449. It's available to buy directly from Canon and third-party retailers.

These days (April 2026), you can buy the camera for less, though it's still not cheap. Offers often bring the price down to $800 in the US, around £750–£850 in the UK, €850–€950 in Europe and AU$1,300–AU$1,450 in Australia.

For comparison, Sony’s ZV-1 II, another popular dedicated vlogging camera, sells for a little less at £750 / $800 / €800 / AU$1,200. DJI’s ultra-popular Osmo Pocket 3 (Standard Combo) is a lot cheaper at £389 / $519 / €439 / AU$799. The Canon PowerShot V10 is around a quarter of the price of the PowerShot V1.

Design and build quality

The Canon PowerShot V1 sits in the middle ground between traditional compact cameras, such as the beautifully retro PowerShot G7 Mark III, and small mirrorless bodies (including my Fuji X-T30 II). Measuring 118.3 × 68.0 × 52.5 mm and weighing 426g (with battery and card), it’s noticeably larger and heavier than older 1-inch compacts (e.g. Sony’s RX100 series), but still small enough to carry in a jacket pocket.

The body feels dense and solid, with a pronounced grip that makes it more secure for handheld shooting, especially when vlogging. It’s not weather sealed, but the overall construction leans more towards a mini mirrorless-style camera than a slim point-and-shoot.

I expected it to be slimmer based on the images online, but I was really happy with the slightly larger body, which made it much easier to hold with my big hands. The chunky, compact approach also makes the PowerShot V1 feel more substantial. Despite the size, the camera fits easily in the Peak Design Travel Crossbody 3L.

Up front, the fixed lens offers a 3.1x optical zoom (8.2–25.6mm, equivalent to 16–50mm), paired with a variable aperture of f/2.8–4.5 and a relatively complex 9-element, 8-group design. This wide-angle approach is clearly aimed at vloggers, offering a generous field of view at arm’s length, though it sacrifices reach compared to travel compacts.

Around the back, you get a 3.0-inch fully articulating touchscreen with 1.04 million dots, which flips out to the side for self-shooting and handles most menu navigation. There’s no electronic viewfinder, so all framing is done via the screen.

Some reviews noted the lack of a viewfinder, but in my opinion, it isn’t a deal-breaker for the PowerShot V1. Even though there seems to be space for one on the camera body (I appreciate it’s debatable, as I know nothing about designing cameras), Most vloggers wouldn’t use the viewfinder for framing.

As sad as it is, optical and digital viewfinders are old tech, and smartphone-trained people don’t need them. As such, companies don’t include them, as I can only assume it saves money and allows other components to spread out, so to speak. A fully articulated screen, which the PowerShot V1 has, is more important.

Control-wise, Canon sticks to a familiar layout, for better or worse. You’ll find the shutter button where you’d expect it, surrounded by the zoom lever. Next to it is the video button, and at the back of the top panel is the mode dial. The microphone is nestled between the hot shoe and the mode dial.

I found the Control ring around the lens interesting. This lets you apply quick adjustments to settings like aperture, ISO, and shutter speed, but I couldn’t get the hang of it and ended up using the touchscreen instead. The PowerShot V1 also has ports like USB-C, micro HDMI, and mic/headphone inputs.

One thing I missed is a built-in flash. Overlit images are quite popular, and a continuous LED fill light would also have been great for selfie videos.

Features

The Canon PowerShot V1 is built as a video-first compact, and its feature set reflects that. It has a 22MP 1.4-inch CMOS sensor, which is significantly larger than the typical 1-inch sensors found in most compact rivals, and I’m sure most people who might read this review understand that's a good thing for low-light performance and image quality in general.

The V1 can shoot 4K at up to 60 fps, alongside Full HD at 120 fps for slow-motion footage, with full-width 4K available at 30 fps and a slight crop applied at higher frame rates. Canon also includes C-Log3, letting you colour grade footage properly in Premiere Pro / Final Cut, which is unusual at this level.

One of the cooler additions is the built-in ND filter, which lets you maintain natural motion blur or balance exposure in very bright conditions without cranking up shutter speed. It’s a 3-stop filter, enough for most daylight scenarios, and better still, it removes the need for screw-on filters.

Autofocus is handled by Dual Pixel CMOS AF II, with reliable subject detection for people and animals, and fast, accurate tracking that’s inherited from Canon’s higher-end mirrorless cameras, such as the Canon EOS R5. I found autofocus fast and reliable in most everyday scenarios. Whether it was face or eye detection, the PowerShot V1 picked up the subject quickly and hung onto it.

Beyond recording, the PowerShot V1 can be connected directly to a computer via USB-C and used as a plug-and-play webcam, delivering a Full HD (1080p) feed without additional software or a capture card.

I appreciated the versatility the USB-C connectivity provides, especially for streaming, where you won’t need higher quality than 1080p. If you have a decent lighting setup, it’s more than enough, anyway. If you want higher quality video, you can use the HDMI connection and a capture card instead.

Image stabilisation

Image stabilisation on the Canon PowerShot V1 is handled through a combination of optical stabilisation in the lens and digital stabilisation for video, rather than in-body stabilisation.

The built-in optical system is rated at up to 5 stops of compensation (CIPA), which is solid for a compact and helps keep stills sharp at slower shutter speeds. For video, the camera adds Movie Digital IS, which further smooths out footage when shooting handheld, albeit with a slight crop applied to the image.

Whether it’s slight or not comes down to personal preference. I found the crop good for single-person vlogging scenarios, when you’re pointing the camera at your face while walking. You won’t get a bust shot unless you have really long arms, but the crop is usable and shows the main features (face, shoulders, etc.).

There’s also a more advanced stabilisation, including Subject Tracking IS, which prioritises stabilisation around your subject rather than the centre of the frame, helping keep faces steady even when you’re off-centre. In practice, this makes the V1 far more usable for walk-and-talk vlogging than older compacts, especially when paired with its wide 16mm equivalent field of view.

That said, it’s not a perfect system. There’s no in-body image stabilisation (IBIS), and stabilisation is not available when shooting 4K at 60fps, meaning you’ll need to drop to 4K/30p for steadier handheld footage. Even with digital stabilisation enabled, you’ll still see some movement when walking, so it sits somewhere between traditional compacts and fully stabilised systems like gimbal cameras.

Image quality

The Canon PowerShot V1 punches above its weight when it comes to image quality, largely thanks to its 22MP 1.4-inch CMOS sensor, which, as I mentioned above, is noticeably larger than the 1-inch sensors used in most compact rivals.

That extra sensor area pays off in day-to-day use, with images showing strong detail, good dynamic range and improved low-light performance, particularly when compared to cameras like the Sony ZV-1 II.

I love Canon’s colour science, and it really shines in the PowerShot V1. Skin tones look natural, colours are well balanced without appearing overly saturated, and JPEGs straight out of camera require very little tweaking.

There’s a pleasing level of contrast, too, which helps images look punchy without losing detail in highlights or shadows. Better still, when you send the images over to your iPhone via the Camera Connect app, the smartphone seems to understand the image better than when I use my Fujifilm XT-30 II, which allows me to use the built-in photo editor.

Sharpness is generally consistent across the frame, especially at the wider end, though the slower aperture at the telephoto end does impact low-light performance and background separation.

For stills shooting, the V1 is more capable than its video-first positioning suggests. With burst speeds of up to 30fps using the electronic shutter, it can handle fast-moving subjects well. I haven’t noticed the rolling shutter effect, either, although I can’t say I was pushing the PowerShot V1 to its absolute limits.

Battery life and charging

The Canon PowerShot V1 uses the LP-E17 battery, a unit widely used across Canon’s mirrorless lineup, making replacements and spares easy to find. In terms of capacity, it’s rated at around 1,040mAh, which isn’t huge, but it's said to be enough to deliver approximately. 260 shots when using the rear screen.

For stills, it’s enough for casual shooting throughout the day, but for video, battery life drains more quickly, particularly when recording in 4K or using features like digital stabilisation and the cooling fan.

You can run the PowerShot V1 continuously while plugged into power. In most modes, it can run for as long as there is memory left for the camera to record, although Canon caps the maximum clip time at six hours. I haven’t tried recording for six hours, though, so I can’t verify this.

There’s no external charger included as standard, so charging is typically done in-camera, although spare batteries are relatively affordable given the LP-E17’s widespread use.

Verdict

I’m in a bit of a pickle with the Canon PowerShot V1. As a long-time fan of the brand, I genuinely enjoyed using it for both photos and video. There’s something satisfying about shooting on a dedicated camera again – the tactile controls, the colour science, the overall feel – and the V1 delivers all of that in a compact, well-thought-out package.

Image quality is excellent for the category, and the larger 1.4-inch sensor gives it a clear edge over smartphones and most vlogging cameras. Stabilisation is good enough for handheld use, and features like the built-in ND filter, C-Log3 and USB streaming make it a versatile tool for creators.

The issue is price: at around £750–£850, it sits in an awkward position. The DJI Osmo Pocket 3 remains the benchmark for easy, stabilised vlogging and costs significantly less, while many people will find their smartphone “good enough” for everyday content.

That doesn’t make the PowerShot V1 a bad camera; far from it. It’s a capable, enjoyable and surprisingly well-rounded compact, albeit a bit niche. If you want a dedicated vlogging camera that also takes genuinely good photos, it’s one of the best options out there. If not, there are cheaper and simpler ways to get similar results.

Whether you're a lover of vintage tech, a photography superfan or just someone who likes to document life in a retro physical form, it's hard not to love Polaroid. The modern company exists as a love letter of its own, existing only because the team behind it couldn't bare to see it go under.

Buy Polaroid Go Gradient Frames film on the Polaroid website

One of my favourite models in the current catalogue is the Polaroid Go (Gen 2). The brand's dinkiest camera and format makes for a cute shooting experience which is also incredible easy to carry around everyday. In fact, it's become one of my most used cameras for that reason alone.

Recently, the brand announced a new film for the format. Called the Polaroid Go Gradient Frames, this pack surrounds your frame with a gradient of colour instead of the usual white border. It's something we've seen before on the i-Type film, though that was a few years ago now.

I got my hands on a sample for testing, to see if it's worthy of the hype. Overall, I was seriously impressed with the quality, which is pretty much on par with the standard Go film. It's no secret that the brand's chemistry can be a little finnicky, but I had no issues with the quality on offer in this batch.

The coloured borders are an interesting prospect, and they really do alter the feel of the image. It's something you'll see on any of Polaroid's coloured border series'.

It's worth noting that the small size of the prints means the effect of the gradient is sometimes hard to spot. There are a couple which I've got where they look more like a block colour frame than a real gradient. Still, that's no bother to me, and it's unlikely to be for you.

There's also no way of knowing exactly what's coming next. As far as I can tell, there's no rhyme or reason to the order of the colours, meaning you'll only know what colour surrounds your image when it pops out of the camera.

The film is available directly through Polaroid's website, where a twin pack costs £20.99 / €21.99 / US$23.99 / AU$40. That's a hair more costly than the standard film packs, though not so much that it should induce wincing of any kind. As a fun option for a fun camera system, it's a no brainer – I for one hope it's not the last addition to this range in 2026.

DJI has launched its hotly anticipated 360-degree drone after months of rumours and weeks of teasing on social media.

The Avata 360 is now official, and while leaks got a lot right, the full picture reveals a more ambitious device than expected.

Rather than simply adding a 360 camera to an FPV drone, DJI has built what it calls a flagship 360 aerial system, designed to capture everything in a single take and let creators decide the framing later.

The bigger picture

One of the biggest unknowns ahead of launch was imaging hardware, and DJI has gone further than expected.

The Avata 360 uses 1-inch-equivalent sensors in its 360 lens, capable of shooting 8K/60fps HDR video and 120MP photos.

The larger 2.4 μm pixels and emphasis on dynamic range suggest this is aimed squarely at serious content creation rather than novelty capture.

Alongside full 360 capture, the drone features a Single Lens mode that records in 4K/60fps, effectively turning it into a more traditional Avata-style camera when needed.

That dual approach makes it as much a conventional aerial camera as it is a 360 device.

Safety was another area where details were thin before launch, but DJI has confirmed omnidirectional obstacle sensing alongside integrated propeller guards.

The Avata 360 offers full omnidirectional sensing across all axes, with forward LiDAR-assisted detection extending to 20 m and a downward 3D ToF sensor with a 10 m precise hovering range.

DJI has also addressed one of its long-standing weaknesses by focusing heavily on the editing experience.

The Avata 360 introduces in-app reframing via GyroFrame, along with a Virtual Gimbal that lets footage be rotated and reframed in virtually any direction after capture.

Features such as ActiveTrack 360° and Spotlight Free aim to automate subject tracking and camera movement, bringing the kind of workflow typically associated with dedicated 360 camera brands into DJI’s ecosystem.

The weight tells its own story

Another key detail that only became clear with the official specs is the weight.

At approximately 455g takeoff weight, the Avata 360 sits well above the sub-250g category.

That decision explains much of the hardware on board, including larger sensors, full obstacle sensing and robust flight systems, all of which come at a cost.

Speaking of cost, pricing is arguably the most surprising element.

The Avata 360 starts at £409 for the drone-only version, rising to £639 with the DJI RC 2 controller and £829 for Fly More and Motion controller bundles.

That positions it aggressively against its closest rival, the Antigravity A1, which currently sells for significantly more.

In a category with only a handful of true 360 drones, DJI’s pricing could prove disruptive, especially if real-world performance matches the spec sheet.

Flight performance itself is broadly in line with expectations, but now confirmed.

The drone offers up to 23 minutes of flight time and uses DJI’s O4+ transmission system to deliver a 1080p/60fps live feed with a maximum range of up to 20km.

There is also 42GB of internal storage, which DJI says is enough for around 30 minutes of 8K 360 footage, along with Wi-Fi 6 support for faster file transfers.

Real-world image quality, stitching performance and how intuitive the editing tools feel in practice will ultimately decide how successful this drone becomes. DJI has revealed almost everything.

The DJI Avata 360 is available for pre-order starting today at DJI and at authorised retailers. Shipping begins in April 2026 and will vary by region

With the launch of the Avata 360, DJI has officially entered the 360º drone market. The new model has been teased by the brand for weeks, and rumours have circulated for months, but even with all that, the final product still surprised everyone, including the brand's fans.

DJI’s take on the concept follows the release of Insta360-incubated Antigravity’s A1, the first 360-degree drone ever. It was launched in December 2025, and offered a new take on piloting, thanks to its clever camera mechanism and “shoot first, edit later” approach borrowed from action cameras like the Insta360 X5.

The two drones are in direct competition and offer similar feature sets, but there are key differences in how they operate and in the footage you can capture with them. Antigravity’s approach is to offer a more playful, almost gadget-like experience with the A1, while the Avata 360 builds on DJI’s years of experience as a drone maker and undercuts the rival by a large margin.

Both have their place in the drone market, but the aggressive pricing strategy certainly puts Antigravity on its back foot. That said, the A1’s lightness means that more people will be able to use it without restrictions, and it might also be a better choice for hobbyists. Which is the best drone for 360º footage, and should you buy… either? Let’s find out.

DJI Avata 360 vs Antigravity A1

Price and availability

DJI decided to price the Avata 360 rather aggressively. The drone starts at £409 for the standalone unit, rising to £639 with the DJI RC 2 controller, and £829 for the Fly More Combo and Motion Controller bundle. It is available to pre-order now, with shipping expected to begin in April 2026.

The Antigravity A1, which launched at the end of 2025, carries a much higher price tag, starting at $1,599 / £1,219 / €1,399 / AU$2,199 for the Standard bundle, with higher-tier packages approaching $2,000 / £1,500 / €1,700 / AU$2,900. Recent discounts have brought the entry price down slightly, but it remains firmly in premium territory.

Winner: DJI’s Avata 360 is hands down the cheaper option.

Design and build quality

The weight difference between these two drones is the first thing that defines them. The Antigravity A1 weighs 249 g with its standard battery, which falls under the EU C0 classification threshold. The weight rises to 291 g with the High-Capacity Flight Battery, nudging it into C1.

The DJI Avata 360 tips the scales at 455 g from the outset, a C1 drone by default. That's an 83% weight premium over the A1's base configuration, and you not only feel the gap immediately in the hand, but you will also need an appropriate licence to fly it.

Dimensionally, the two drones take opposing approaches to the same problem. The A1 folds to 141.3 × 96.2 × 81.4 mm, deploying to a 308.6 × 382.3 mm footprint with propellers extended, optimised for transport and rapid deployment.

The Avata 360 follows the design language of its predecessors and is fixed at 246 × 199 × 55.5 mm, with integrated propeller guards that eliminate the need for a folding mechanism.

Both drones feature user-replaceable lenses, which makes sense in the A1’s case, as it uses the Insta360 X5’s camera unit. DJI’s own 360-degree camera, the DJI Osmo 360, doesn’t have this feature, but clearly, the brand added it on the drone for convenience.

Winner: The A1 can be flown in more areas and requires a less advanced licence.

Camera performance

The two drones use fundamentally different imaging technologies, and the specs clearly show this. The Antigravity A1 is built around a pair of 1/1.28-inch sensors shooting in 360°, while the Avata 360 steps up to dual 1/1.1-inch square CMOS sensors, larger in both area and effective pixel count, at 64 MP per sensor.

Both use wide, fast apertures designed to maximise light intake: f/2.2 on the A1, f/1.9 on the Avata 360. That half-stop advantage is modest on its own, but combined with the larger sensor area, the Avata 360 has a meaningful edge in low-light capture.

The A1 tops out at 55 MP stills (10496 × 5248) and 8K video at up to 30 fps, with 5.2K available at 60 fps and 4K at up to 100 fps for slow-motion work. The Avata 360 can do 120 MP stills (15520 × 7760) and 8K video at up to 60fps, double the A1's peak frame rate at maximum resolution. For video, both cap out at 180 Mbps bitrate on the Avata 360 versus 170 Mbps on the A1, a negligible difference in practice.

The A1 relies on a single-axis mechanical gimbal paired with FlowState electronic stabilisation, inherited directly from Insta360’s action camera line. The Avata 360 uses a single-axis mechanical gimbal on the tilt axis supplemented by a 360° virtual gimbal, enabling infinite tilt and roll adjustment in post. For pilots using DJI Goggles, RockSteady 3.0 and HorizonBalancing are also available in single-lens mode.

Colour science is another differentiator. The Avata 360 supports D-Log M across its full resolution range, enabling more pro users to edit footage more effectively in post. The A1 shoots in a fixed colour profile with no log option, which simplifies the workflow but limits flexibility in post-production.

Both drones support intelligent tracking, though their implementations differ. The A1’s Deep Track can lock onto subjects in any direction after capture, since everything is already recorded in 360°, removing the need to frame shots precisely during flight.

However, the A1 is not limited to post-flight tools: its Sky Gene system also enables in-flight subject tracking and automated camera movement, bringing it closer to DJI’s real-time approach than it might initially appear.

The Avata 360 offers ActiveTrack 360°, which tracks subjects in real time across the full spherical frame, with Standard and Cycling modes automatically adapting to subject behaviour.

Winner: The Avata 360 leads in raw imaging capability, with larger sensors, higher-resolution stills, 8K60fps video, and D-Log M support, giving it more latitude for serious creative work, although the A1’s combination of in-flight automation and post-capture reframing makes it a more flexible option than the specs alone suggest.

Flight performance

The two drones approach flight from opposite ends of the control philosophy spectrum. The Avata 360 is a conventional fixed-guard FPV aircraft, piloted via DJI’s RC 2, RC-N2 or RC-N3 remote controllers, or, for a more immersive experience, via DJI Goggles paired with the RC Motion 3.

The A1 dispenses with traditional sticks entirely, using the Grip motion controller and Vision Goggles as its primary interface. You steer by pointing, not by pushing sticks, which makes the A1 feel closer to a first-person flying experience than a conventional drone, particularly for beginners or those transitioning from action cameras rather than drones.

Both are rated for a maximum wind resistance of Level 5 (10.7 m/s), and both achieve ±0.1 m vertical hovering accuracy with vision positioning active, putting them on a broadly equal footing for stability in real-world conditions.

In terms of speed, the Avata 360 can reach 18 m/s in Sport mode (vs the A1’s 16 m/s), and its maximum ascent and descent speeds of 10 m/s in Sport mode exceed the A1’s 8 m/s. The Avata 360 can also take off from altitudes of up to 4,500 m, compared with the A1’s 4,000 m, although this is unlikely to affect most users outside high-altitude environments.

Sensing systems are another area where the two initially diverged. The A1 provides forward binocular vision sensing from 0.5–18 m and downward 3D infrared detection from 0.3–7.5 m, offering a practical safety layer for forward flight and landing.

However, this setup is being significantly expanded, with a firmware update introducing full omnidirectional obstacle avoidance already rolling out to some users.

By comparison, the Avata 360 offers full omnidirectional sensing across all axes out of the box, with forward LiDAR-assisted detection extending to 20 m and a downward 3D ToF sensor with a 10 m precise hovering range, giving it a more mature and fully integrated system at launch.

In terms of video transmission, the A1 uses OmniLink 360, with a maximum range of 10 km under FCC standards and an average latency of approximately 150 ms. The Avata 360’s O4+ system reaches 20 km under FCC, with a lowest latency of approximately 130 ms at 1080p/60fps, giving DJI the edge for long-range flying and responsiveness.

Intelligent flight modes are more closely matched than they first appear. The Avata 360 includes features such as Spotlight Free, ActiveTrack 360° with Standard and Cycling modes, and a Virtual Gimbal enabling infinite tilt and roll during flight.

The A1, meanwhile, combines its Deep Track post-flight reframing tools with in-flight automation via its Sky Gene system, which enables subject-aware flight paths and intelligent capture in real time. This means the A1 is not limited to post-production workflows, but instead offers a hybrid approach that blends automated capture with flexible reframing after the fact.

Winner: The Avata 360 remains the more mature platform, with higher speeds, longer transmission range and a more fully established sensing system, but the gap is narrower than it first appears, particularly as the A1’s software capabilities continue to evolve.

Battery life and charging

Flight endurance figures favour the A1 on paper, though with an important caveat. With its standard 2,360 mAh Flight Battery, the A1 is rated for up to 24 minutes, rising to 39 minutes with the optional 4,345 mAh High-Capacity Flight Battery.

The Avata 360 is rated for approximately 23 minutes from its 2,700 mAh cell. On standard batteries, the gap is narrow, but the A1's high-capacity option is in a different class entirely, offering nearly 70% more flight time at the cost of increasing the aircraft's weight from 249 g to 291 g and pushing it out of the EU C0 weight bracket.

The A1's Explorer and Infinity bundles include a charging hub, which is essential for back-to-back sessions, given the drone's reliance on goggles and controller batteries, as well as the flight pack itself.

The Vision Goggles draw from a separate 4,500 mAh, 32.85 Wh external battery rated for up to 2.5 hours, and the Grip controller carries a 2,300 mAh cell good for approximately 4 hours. Managing three independent power sources isn’t ideal, but it’s a price to pay for cutting-edge technology.

The Avata 360's battery charges via USB-C and benefits from DJI's established charging ecosystem, with Fly More Combo options providing additional batteries and a multi-bay hub for sequential charging.

Winner: The A1 wins on maximum endurance if you're willing to carry the high-capacity battery and accept the regulatory trade-off.

Verdict

These two drones are more complementary than they are direct competitors, and choosing between them comes down to a clear set of priorities.

The Avata 360 makes a compelling case on almost every technical metric. Its larger sensors, higher resolution, 8K60fps video, D-Log M colour profile, omnidirectional obstacle sensing, O4+ transmission and 20 km range represent a meaningfully more capable package.

Plus, at a starting price of £409 for the drone alone, it undercuts the A1 by a considerable margin.

For creators who want serious imaging performance and the flexibility to fly with either a conventional remote or immersive goggles, DJI's offering is difficult to argue against.

The A1 occupies a different position. It was first to market with a fully realised 360° drone experience, and the motion-controlled, headset-first flight system it introduced remains genuinely distinctive.

Its “shoot-now, frame-later” workflow suits travel photographers and creators who prioritise flexibility, and the high-capacity battery option gives it the upper hand in terms of endurance over the Avata 360 (for now).

That said, at £1,219 for the Standard Bundle, nearly three times the Avata 360's entry price, it faces a significantly harder sell now that DJI has entered the category with comparable imaging and superior flight capability at a fraction of the cost.

The arrival of the Avata 360 has sharpened the competitive landscape considerably.

Antigravity deserves credit for building the category from scratch; however, as expected from DJI, it has responded to the challenge with a drone that matches or exceeds it in most measurable areas while also making it a lot cheaper.

Unless the A1's unique motion-control experience or its extended battery life is a specific priority, the Avata 360 represents the stronger overall proposition at launch.

Overall winner: DJI Avata 360. Better imaging, broader sensing, longer range and a dramatically lower price point make it a more compelling buy for the majority of creators entering the 360° drone space. A small caveat is that the drone is certainly aimed at more experienced pilots and enthusiasts rather than beginner pilots. They are better off splashing the cash on the A1.

GoPro has confirmed it will unveil a new generation of cameras at the NAB Show 2026, and these are likely to include models beyond just action cameras.

"Our customers have made it clear they want more of everything from GoPro—larger sensors, world-class low-light performance, higher resolutions and frame rates, next-level image quality, improved audio capabilities, longer runtimes and bulletproof reliability in high-heat conditions…everything, and more," said GoPro's founder and CEO, Nicholas Woodman.

"And that's exactly what we're giving them with our newest line of GP3-powered cameras, debuting at NAB this April."

The brand recently teased “next-generation” footage on social media that looked nothing like typical action camera output.

The clips featured shallow depth of field, macro detail and controlled low-light scenes, visuals that strongly suggest larger sensors and more advanced optics.

GoPro says it will debut multiple new cameras in Las Vegas between April 19 and 22, all powered by its new GP3 processor.

The GP3 chip is the turning point

Announced earlier this month, GP3 is GoPro’s most powerful imaging processor to date, built on a 5nm architecture with more than double the pixel-processing power of GP2.

It also introduces a dedicated AI neural processing unit, enabling real-time scene recognition, subject detection, and more advanced image processing, features typically reserved for higher-end cameras.

GoPro says the chip will deliver major gains in low-light performance, resolution, frame rates and thermal efficiency, while also unlocking longer runtimes.

The company has already confirmed it’s designed to power a wider range of devices, including vlogging cameras and even compact cinema-grade systems.

A shift the CEO has already hinted at

Speaking during the company’s latest earnings call, CEO Nicholas Woodman described GP3 as the most significant leap in GoPro’s imaging technology to date, with the potential to push the brand into entirely new categories.

That lines up with both the teaser footage and the wording in the chip announcement, which repeatedly points to a move upmarket.

The NAB announcement confirms GoPro will showcase several new cameras, not just one.

Combined with everything we’ve seen so far, that strongly suggests a broader portfolio push.

Action cameras will almost certainly remain part of the lineup, but they may no longer be the main event.

Between the cinematic teaser, the GP3’s capabilities and the company’s own messaging, GoPro appears to be targeting creators who want more control over image quality, depth and low-light performance.

There are still plenty of unknowns, including product names, pricing and exact form factors.

But taken together, the teasers, the chip launch and now the NAB confirmation point to GoPro is preparing its biggest reset in years, and this time, it’s aiming well beyond action cameras.

GoPro will exhibit at Central Hall, Booth C5519, at the Las Vegas Convention Centre.

[via PR Newswire]

YoloLiv is a relative newcomer in the world of webcams for content creators, especially in comparison with heavyweights like Logitech and Razer, but the two cameras launched in the second half of last year are already making waves.

There's the reasonably priced YoloCam S3, with a 1/1.28-inch sensor and 4K30 / 1080/60 capture, and the flagship YoloCam S7 with a Sony IMX 4/3-inch sensor and interchangeable lens system.

The latter is compatible with Panasonic Lumix lenses, among others, but now the brand has introduced its own Micro Four Thirds Lens to offer the complete pro-streaming package.

The YoloCam S7 looks similar to a compact system camera, but without a rear screen. It is designed for high quality streaming and therefore connects to PC or Mac via a single USB-C cable.

It sports its own real-time autofocus functionality, supports HDMI out, and can stream/capture in up to 4K/60fps. It is also HDR enabled and is fully plug and play.

The new YoloLiv Micro Four Thirds Lens has a focal length of 18mm, with an f1.4 aperture.

It adopts a seven-element in seven groups optical structure, with a nano multi-layer coasting process, and there's a manual focus ring on board too, to ensure you can adjust the scene exactly as you'd like. You can also attach separate 46mm filters.

The YoloCam S27 is usually priced at $899 / £833, but you can buy it from multiple retailers on sale right now, like Amazon where it's £730 in the UK.

The M43 Lens will be available from the end of March/early April for $299 (around £259).

If you like the sound of YoloLiv's content creation products, it's also worth checking out the YoloCam S3. I've been using one myself for a while, with a full review coming up soon. That's priced at a more budget-friendly £209 on Amazon UK, $199 in the US

A few weeks ago, I got to get my hands on a camera that could just be the perfect solution for travel photography, and it's made me think my Fujifilm X100V might not be quite as future-proof as I've been hoping.

Panasonic has now finally announced the Lumix TZ300, taking the wraps off a gorgeous compact design that hides the potential for staggering 15X optical zoom, with a lens that just keeps extending once you start to stretch it. Its 1.0-type 20.1MP BSI CMOS sensor should ensure you get pretty ruddy crisp photos, too.

When I bought my X100V, there was no getting around its price tag, but I've loved practically every photo I've taken on it since. This Lumix will not be quite so steep, coming in at £869 or €999, but it also doesn't have quite the same film recipe setup to boast.

Lumix has baked in some 22 filter modes for people to use, like in acknowledgement of how Fujifilm has created a huge niche for itself, but the bigger focus in the TZ300 is surely how enormously adaptable it is.

Getting my hands on the camera in Munich, I was impressed by how small it is – Panasonic really can say it's pocketable, in my view. It also has a nice, straightforward design that I think should age well both in the grey or black version, with a lot of metal making it feel really solid in the hand.

Plus, of course, there's that zoom. We were in a fairly harshly lit warehouse environment, and I couldn't save any sample images, but my brief experiments with the zoom left me impressed – especially since I'm used to having no zoom at all on my Fuji camera.

For those concerned with video, the TZ300 can manage 4K video (3840×2160) or 120fps at FHD, which should make it similarly quite handy for creators. Even in photo mode, it can shoot at 30fps, to ensure you get a big burst of images to pick from.

Crucially, it has optical image stabilisation, too, to minimise blurring in low-light situations or when you're moving around while shooting. That's great for urban photographers, particularly.

All in all, this looks like an incredibly attractive proposition for photographers who don't want a massive case clogging up their luggage when they go on holiday. It has everything you'd need to come back from trips and days out with memorable photos, and is visibly more conveniently sized than plenty of similar competitors. It'll be out in early May, apparently, so we can look forward to that.

The world of instant cameras has been growing significantly in recent years. Whether you opt for Fujifilm's Instax or the revived Polaroid system, there are a range of cameras and film formats to take your fancy.

In the last year or so, a new model from TTArtisan has grabbed a lot of attention online. That model – the TTArtisan 203T – is set to launch soon, and the brand has taken a notably strange approach to the unveiling.

That sees wannabe owners charged a staggering US$400 (approx. £300 / €345 / AU$575) to take part in the beta testing programme. For that price, you'll be shipped a random colour from the four – black, red, orange or blue – and you won't be able to return it unless it's broken. It's a tall ask.

Still, I'm excited to see how good the camera is. Designed to look, feel and operate much like the folding medium format film cameras of old, the design should feel instantly familiar to anyone who has used something like that.

While that format in an instant camera will be fun, I'm more excited for what the success of the project could yield further down the line. If the mechanics of the design work, there's no reason why the brand couldn't make a few tweaks to unveil a brand new, medium format film camera, too.

That would be quite a big deal. While we have seen a couple of modern film cameras – both the Pentax 17 and the Lomography MC-A come to mind – those are both 35mm cameras.

The popularity of medium format film cameras would make a modern equivalent quite an attractive prospect to the burgeoning community of film shooters out there. Of course, there's a long way to go before that's a prospect, but I – and I'm sure countless others – will be watching the reception to this camera very closely indeed.

If you're as big of a fan of instant photography as I am, the Instax Wide 400 probably exists as a kind of love-it-or-hate-it model. On the one hand, it exists as the only current Instax Wide camera in the brand's arsenal, which makes it an important device for Fuji's largest instant film type.

On the other hand, the model is far less complex than many had hoped for. While lots of us begged for a 'pro-grade' Instax Wide camera, this isn't it, instead having a fairly point-and-shoot design to its operation.

Many have called for a new model which aligns more closely with the Instax Mini 99, complete with its sharp optics and manual control. That's not what we've got here, but the brand has unveiled a new model which fixes one other common gripe.

The new model comes in a sleek black finish, which is much more traditional compared to the sage green hue of the original. When it was first unveiled, that green hue did spark some commentary – not least because it was the only finish option offered.

This new black version is certainly more classic and understated. It's the perfect look for professional photographers who want a quick and easy instant option that doesn't undermine their curated, professional appearance.

Beyond the colour, though, nothing has changed. The model still operates without any manual control, so you'll be solely reliant on the metering system in the camera to ensure proper exposure.

You'll still get the mechanical self-timer, plus the two-zone focusing system built into the lens. So, while it's not exactly the revelation we'd been hoping for, this does seem like a smart addition to the Instax range.

Regardless, I'm all for it. Anything which sustains the Instax Wide format is a plus in my book, and if this convinces the brand that there's a market for a more 'pro-grade' version, then it's a good thing indeed.

GoPro has shared a new teaser on social media showing off what it calls footage captured on the “next generation of GoPro,” but the clips look nothing like what you’d expect from a traditional action camera.

The short montage features a series of striking shots, including a close-up of flames, detailed macro footage of foliage, a crisp view of the moon and an extreme close-up of a human eye.

Across each scene, a caption reads: “Captured on the next generation of GoPro.”

The simple teaser raises a bigger question: what exactly is GoPro preparing to launch?

This doesn’t look like action cam footage

GoPro cameras have long been defined by their ultra-wide field of view, deep focus and rugged versatility.

That’s what makes them ideal for capturing fast-moving action, but it also means they rarely produce the kind of shallow depth of field seen in this teaser.

The latest GoPro Hero 13 Black does feature a macro lens attachment, but I can confidently say the quality of the macro shots is nowhere near the ones showcased in the social post.

Several shots in the clip show pronounced background blur, precise subject isolation and a level of macro detail that would typically require a much larger sensor or dedicated optics.

The low-light scenes, particularly the fire and moon footage, also appear cleaner and more controlled than what we’ve historically seen from GoPro’s existing lineup.

The footage suggests this wasn’t captured on a conventional action camera, or at least not one that behaves like any GoPro we’ve used before.

GoPro has already hinted at a shift

GoPro has been laying the groundwork for a broader imaging strategy over the past year, most notably with the introduction of its next-generation GP3 processor.

The company says the new chip will power a wider range of devices beyond action cameras, including more advanced imaging products aimed at creators.

Improvements tied to GP3 include significantly better low-light performance, enhanced image processing and AI-assisted scene handling, all areas where GoPro has historically lagged behind larger camera systems.

More tellingly, GoPro has also referenced plans to move into higher-end categories, including ultra-premium compact cameras designed for more cinematic use cases.

A new category for GoPro?

GoPro has been busy building an empire beyond action cameras, a space increasingly saturated by up-and-coming brands and giants such as DJI and Insta360.

And even though the company has burned itself with projects like the Karma drone, the new approach feels much more on-brand and grounded in what GoPro is best known for: incredible camera performance and reliable hardware.

The teaser footage aligns closely with the brand's ambitions, shifting the tone to a new type of GoPro device.

Instead of competing purely with the best action cameras, the company may be positioning itself closer to creator-focused tools like handheld gimbal cameras or compact cinema rigs.

There’s also the possibility that GoPro is simply demonstrating what its next-generation processing can achieve across future products.

For now, GoPro hasn’t confirmed what hardware the footage was shot on or when these next-generation products will arrive.

But based on what we’ve seen and what the company has already said, it looks increasingly likely that GoPro is preparing to expand well beyond its action-camera roots.

The start-up named I'm Back is, well, back. The company is renowned for its hybrid analogue/digital camera kits and has now come up with an APS-C sensor that will give your old analogue snapper a digital update.

Revealed on its own Kickstarter page, the Swiss company behind this innovative camera upgrade says it was designed to turn a vintage 35mm camera into a digital equivalent.

This is done using an APS-C sensor kit that fits into the film cartridge space of the camera. The company's previous version of this was limited to Micro Four Thirds.

How does the I'm Back camera adapter work?

One of the stand-out features here is that you get digital photos but in a screen-free way. In fact, the outer body of the camera remains near identical, with a simple remote externally used to activate the sensor inside.

Unlike many of the dedicated screen-free digital cameras out there right now, this adds a larger sensor for capturing quality imagery. The Leica M11-D, for example, is a rare alternative which also offers higher quality.

While the Leica is modern, the I'm Back module represents a way to get APS-C level quality in a retro frame. It will support RAW and JPEG as well as 4K – and may even work with underwater cameras.

The company already sells a Micro Four Thirds 20-megapixel film roll adapter, but it looks like these older models are near sold out, with few plans to re-stock ahead of this new upgraded version launching.

At time of publishing the I'm Back APS-C sensor module is "Launching soon".

I'm a real instant camera lover – some might even say addict – with a collection of different cameras which all offer something unique. I'm also a big advocate for them, often suggesting that anyone can find one to add some fun to their memory making.

One which I've really had a hankering for lately is the Fujifilm Instax Wide 400. That's currently the only all-analogue offering in the brand's Instax Wide catalogue, offering a simple way to get massive Instax prints.

With the Amazon Spring Deal Days event happening now, I had hoped to snag a decent deal on one. Sadly, that doesn't seem to have materialised, though there are a few other instant cameras on offer which are tempting alternatives.

Polaroid Go (Gen 2)

The Polaroid Go (Gen 2) is probably the camera I use more than any other. Still the smallest instant camera money can buy, this pocket-sized powerhouse is an amazing way to capture instant prints on the move.

Right now, you can snag one with a small discount. It may not be much, but the device is already good value.

FILM: Polaroid Go film

LEGO Polaroid OneStep

While I wait to grab another instant camera for my collection, this Lego model of the iconic Polaroid OneStep might just keep my attention. Comprising of 516 pieces, the kit looks like a nice build to sit on the shelf next to the real deal.

It's not just the camera, either. There's also a pack of film and a trio of images to build, making the whole thing a little more interactive.

FILM: Plastic brick film

Polaroid Now+ (Gen 3)

If you're looking for a standard Polaroid camera with a handful of features and simple operation, the Now+ (Gen 3) is a really good option. This camera can do fun things with the app, but there's no need to use that if you're looking for an easier device.

The current deal might not look like much, but the package includes two packs of film, which is worth about £30 on its own. That makes this one a bit of a bargain, and perfect for first timers.

FILM: Polaroid i-Type film

DJI has officially confirmed the launch of its next drone, and all signs point to the arrival of the long-rumoured DJI Avata 360.

The company announced a launch event scheduled for 26 March at 12 PM GMT, accompanied by the tagline “Above It All, See It All.”

The teaser image features a prominent curved lens element, strongly suggesting a camera designed to capture a full panoramic view.

While DJI hasn’t revealed any specifications yet, leaks and early reports suggest the drone could mark a significant shift for the company’s FPV lineup.

A new kind of FPV camera drone

If rumours prove accurate, the Avata 360 will combine FPV flight with a dual-lens 360-degree camera system, capturing everything around the drone at once.

That would allow pilots to reframe shots after filming, much like creators use 360-degree action cameras, including the DJI Osmo 360.

Instead of lining up the perfect angle during flight, users could simply fly the drone while it records the entire environment.

The drone is expected to build on the design of the DJI Avata 2, retaining the compact cinewhoop-style frame with enclosed propellers that make FPV flying safer around obstacles.

A direct rival to Insta360’s drone ambitions

If confirmed, the Avata 360 will also place DJI directly in competition with the Antigravity A1, a drone developed by Insta360-incubated Antigravity brand that focuses on fully reframable aerial footage.

Instead of treating the camera as a fixed lens pointing in one direction, the drone records a full spherical view, allowing creators to choose framing later in editing.

DJI may be planning an aggressive price

Reports suggest DJI could price the Avata 360 aggressively in order to put pressure on Insta360’s new drone category.

Antigravity's drone received a price cut earlier this year, likely to take the wind out of DJI's sails before the 360º drone launch.

It wouldn't be unprecedented for DJI to use a cut-price strategy to ensure its market-leading position stays.

The company has used a similar strategy before when DJI launched the DJI Flip.

The drone entered the market at a price designed to compete directly with the HoverAir X1, a compact autonomous flying camera.

If DJI follows the same playbook here, the Avata 360 could arrive as a more affordable entry point into the emerging 360-drone segment.

DJI will reveal the drone officially during its launch event on 26 March, when we should finally learn how the Avata 360 fits into the company’s rapidly expanding drone lineup.

If the rumours prove accurate, it could mark the beginning of a new category of consumer drones, one where pilots focus on flying while the camera captures everything around them.

GoPro has hinted that its next generation of cameras could expand far beyond traditional action cameras, as the company prepares to launch its new GP3 processor later this year.

Speaking during the company’s latest earnings call, GoPro founder and CEO Nicholas Woodman described the upcoming chip as a turning point for the brand’s imaging technology.

“Our new exclusive GP3 processor represents the most significant advancement in processing power and image quality in GoPro’s history,” Woodman said.

According to the company, the chip will power a new wave of GoPro cameras launching from Q2 2026 onwards.

While GoPro hasn’t revealed specific models yet, comments from executives suggest the processor could enable entirely new models alongside the company’s traditional action camera lineup.

A move beyond action cameras

One of the most telling remarks during the call concerned GoPro’s ambitions in low-light imaging.

Woodman acknowledged that the company’s previous GP2 processor, which powers current-gen cameras, including the Hero 13 Black and MAX 2, is limited in its performance in low-light conditions, which held the brand back in certain parts of the camera market.

“GP2’s low light constraint hampered GoPro’s ability to compete in the fast-growing premium low light-capable camera category,” Woodman said.

That category, he noted, represents a market of roughly 2 to 2.5 million units annually. With GP3, GoPro appears intent on targeting that segment more aggressively.

The new processor is built on a 5-nanometre architecture, compared to the 12-nanometre design used in GP2, and features more than double the pixel processing power of its predecessor.

It also introduces a dedicated AI neural processing unit (NPU) designed to improve image quality, particularly in challenging lighting conditions.

In internal testing, GoPro claims the chip delivers 40% to 90% longer camera runtimes than competing devices, alongside improved thermal performance and better image quality.

New professional product categories

Perhaps the most intriguing comment from the call was Woodman’s suggestion that the chip could help GoPro expand into new areas of the digital imaging market.

“GP3 will serve as a pivotal growth catalyst for GoPro, enabling us to lead in our existing core and gain meaningful share in new professional product categories.”

While the company hasn’t detailed what those categories might be, earlier hints from executives suggest GP3 could anchor cameras designed not just for action sports but also for vlogging, creator workflows and higher-end compact video formats.

If that proves accurate, the move would position GoPro closer to devices like creator-focused compact cameras and vlogging rigs, rather than competing solely with other action cam brands.

A broader ecosystem strategy

The company has already begun experimenting with partnerships outside its traditional product lineup.

Earlier this year, GoPro collaborated with ASUS on a GoPro-branded laptop, highlighting a willingness to extend its brand and technology beyond standalone cameras.

At the same time, the company is exploring new revenue streams tied to its software and cloud ecosystem.

GoPro revealed during the call that more than 500,000 hours of user-generated video have already been submitted to its AI training programme, which licenses footage to AI companies to help train computer-vision models.

Seemingly, the company appears to be positioning the new chip as the foundation for a broader push into new hardware categories and imaging workflows.

With the first GP3-powered cameras expected to arrive in the second quarter of 2026, the coming months should reveal exactly how far GoPro intends to expand beyond its action camera roots.

With Mother's Day right on the horizon, many of us will be looking to find the perfect gift. It's not always an easy task – anyone looking to break the cycle of generic flowers and chocolates will surely need some inspiration.

One of the gifts I've most enjoyed giving was an instant camera. These little boxes of joy are great fun for just about anyone, with simple operation and a physical photograph to hold and love at the end.

As T3's chief tester of these natty little devices, I've rounded up five of my top picks for anyone looking to gift something to their loved ones.

1. Polaroid Flip

In my humble opinion, this is the best instant camera on the market right now. It's much cheaper than the more pro-grade Polaroid I-2, but still manages to offer a lot of features for experimentation.

Those are semi-hidden, though, which helps to make sure this camera doesn't feel too daunting. There are only three buttons, which is simple enough for anyone – yes, even Mum's with flip-out phone cases who scroll with a single index finger.

Bonus points here for using Sonar autofocus, too. That was massive back in the 1970s and 1980s for Polaroid, and returns here to deliver crisp, cool imagery.

FILM: Polaroid i-Type film

2. Instax Wide 400

Hands down my favourite camera in the Instax line-up right now is the Instax Wide 400. Why? Well, simply put: because it's the only one which uses the magnificent Instax Wide frame.

That is the largest Instax format – the same size as a Polaroid, albeit with a horizontal orientation rather than a square one. It's a super simple camera, and the resulting images are big enough to see without glasses on.

FILM: Instax Wide film

3. Polaroid Go (Gen 2)

If you're looking for the dinkiest instant camera on the market, congrats – you've found it in the Polaroid Go (Gen 2). This is my personal go-to as it's small enough to slip into bags and even large pockets, making it the perfect everyday carry camera.

The film it uses is also adorably tiny, taking the classic Polaroid frame and shrinking it to give you unparalleled retro vibes at a lower price point. This format is seriously underrated.

FILM: Polaroid Go film

4. Instax Mini 99

The only camera on this list which I haven't personally gotten hands on with, the legend of the Instax Mini 99 precedes it. Seen by many as the best example of an analogue Instax camera right now, it's perfect for those wanting a premium experience.

I love the quirky lights in the frame, which allow you to mimic some of the softer Polaroid colours, while a three-zone focus system and exposure compensation ensure this is a system which can grow with you as you get more creative.

FILM: Instax Mini film

5. Instax Mini Link+

As something of a curveball at number five, the recently unveiled Instax Mini Link+ isn't actually a camera. Instead, this little printer allows you to get an instant photo printed from any other phone or camera.

This is perfect for anyone who loves the idea of gifting a camera, but knows it probably won't actually be used in place of a phone. This is the most recent addition to the range, too, which should ensure it stays supported for years to come.

FILM: Instax Mini film

DJI has launched the DJI Inspire 3 Basic Package, a streamlined bundle that significantly lowers the entry price of the Inspire 3 platform.

Previously available mainly as a comprehensive Combo kit aimed at professional film productions, the Inspire 3 typically retailed for around £13,000 in the UK.

The new drone bundle brings the starting price down to the mere pocket change of £7,099, cutting the cost of entry by thousands of pounds (£6,320 / 47%, to be precise) while keeping the same aircraft and camera system.

Same drone, different package

Importantly, the Inspire 3 itself remains unchanged. You still get DJI’s flagship aerial cinema platform built around the Zenmuse X9-8K Air full-frame camera, capable of capturing up to 8K video with professional formats such as Apple ProRes RAW and CinemaDNG.

The Inspire 3 also features DJI’s CineCore 3.0 image processing system, RTK-powered centimetre-level positioning, and the company’s O3 Pro transmission system, designed to deliver stable long-range video feeds for complex film productions.

Like the standard Inspire 3 kit, the aircraft uses interchangeable DL-mount lenses and dual TB51 batteries, offering flight times of up to around 28 minutes depending on conditions.

The drone’s distinctive transforming design allows the landing gear and arms to lift out of frame, enabling unobstructed 360-degree camera movement for cinematic shots.

While the original Inspire 3 Combo shipped with multiple batteries, charging hubs, storage drives and transport accessories, the Basic Package removes several of these extras.

In the box, you’ll find the Inspire 3 aircraft, the Zenmuse X9-8K Air gimbal camera, four TB51 Intelligent Batteries, and the Inspire 3 trolley case, along with a dedicated camera case for the Zenmuse unit.

Other accessories, including the RC Plus remote controller, can be purchased separately, allowing filmmakers to build out the kit to suit their existing setup.

That makes the new bundle particularly appealing to production houses, rental companies and experienced operators who already own Inspire accessories and simply want another aircraft or camera platform without paying for duplicate kit.

For smaller studios or independent filmmakers looking to step into DJI’s highest-end drone ecosystem, the lower entry price could also make the Inspire 3 platform far easier to justify.

Even with the reduced price, the Inspire might be overkill for non-professional creators – they are better off with something like the DJI Mavic 4 Pro.

The DJI Inspire 3 Basic Package is available now from authorised retailers and DJI’s online store, with UK pricing starting at £7,099 / €7,999 (~$9,293 / AU$13,171).

I'm a massive fan of Polaroid cameras, and that's unlikely to be news to anyone who has been reading T3 for a while. My collection of the brand's instant cameras includes the dinky Polaroid Go (Gen 2) and the new Polaroid Flip – complete with its Batman-grade sonar autofocus.

I've even delved into the world of vintage cameras with an old Polaroid SX-70, along with a few others along the way. Like I say, I'm something of an enthusiast or an addict – in this sense, they're basically one and the same.

Now, the brand has unveiled a new pair of finish options for the Polaroid Now (Gen 3). That's the most basic i-Type camera in the range, and offers a simple point and shoot experience which is perfect for stress-free shooting.

Now available in both pink and teal, the camera has never been more summer-ready. In fact, the only really tough choice you'll have is working out which of the two you're more of a fan of – I'm a sucker for anything in pink, but that teal hue looks delightful in the images shared by the brand.

Regardless of which you opt for, you'll get the same feature set as the other models in the range. That includes a two-lens autofocus module, which flips between a lens made for subjects between 0.4m and 1.3m and one optimised for 1m to infinity.

There's also a self-timer built into the camera, which can be useful for group selfies or tripod-mounted, shake-free shots with longer exposures. And for when you want to get creative, there's a double exposure mode, which allows you to layer two shots on top of one another.

Priced at £119.99 / €129.99 / US$129.99 / AU$230, this sits in a nice price point for most people. Personally, the original colours of the Polaroid Now (Gen 3) were a little underwhelming to me, so I'm delighted to see a couple with added panache included in the range. It's time for a Polaroid summer.

GoPro has just revealed its most advanced custom imaging processor yet, the new GP3 chip, setting the stage for its next generation of action cams, vlogging gear and even compact cinema-grade cameras.

The GP3 is a 5-nanometer System-on-a-Chip (SoC) designed entirely in-house and promises more than twice the pixel-processing power of GoPro’s existing GP2 chip.

The GP2 was launched in 2011, with the GoPro Hero 10 Black being the first camera to use the processor.

Since then, it's been utilised in every camera the brand has launched, including the flagship Hero 13 Black and the latest GoPro MAX 2.

A serious silicon upgrade

According to the brand, the new chip will deliver noticeably improved image quality, low-light performance, higher resolutions and faster frame rates, all while offering best-in-class energy efficiency and thermal management for longer runtimes.

The GP3 houses a dedicated AI Neural Processor Unit (NPU) and specialised cores for scene recognition and subject detection, enabling GoPro cameras to intelligently adapt settings in real time.

This kind of on-device AI has traditionally been found in flagship smartphones and high-end mirrorless cameras, and now it’s coming to GoPro’s compact systems.

GoPro says the GP3 will debut in “new GoPro cameras” launching in Q2 2026, though specific models haven’t been announced yet.

Rumours and early hints from company executives suggest the chip will anchor cameras not just for traditional action use but also for vlogging and ultra-premium compact cinema formats, broadening GoPro’s appeal beyond its core sports audience.

The company has been undergoing significant changes, investing heavily to diversify its product portfolio and respond to growing pressure from rivals such as DJI and Insta360.

This next-gen silicon could help GoPro better compete with both dedicated imaging rivals and high-end smartphone video features that have eaten into the action camera market in recent years.

How much can GoPro's new products, powered by the GP3 chip, change the current status quo? We'll find out later this year.

[via PR Newswire]

In 2026, there's a good chance that most of the images we see and take on a daily basis come from a phone. These pocket powerhouses have come on leaps and bound, with imaging solutions which are convenient and offer incredible quality.

Now, Leica has put its iconic red dot on an Android phone for the very first time. Dubbed the Leitzphone, the model is crafted in partnership with Xiaomi – a brand which Leica has a long-running history with.

Now obviously this phone is going to be pretty well-geared for photographic applications, but that's not the only area where Leica has made its mark. The brand's design ethos of reduction to the essential has been employed here, to help keep everything as simple as possible.

The defining part of the design is the mechanical camera ring, which sits around the camera. That's designed to make the experience of shooting with this phone similar to doing to with a camera, and can be customised to control things like zoom, exposure value, ISO and shutter speed.

The triple camera setup on the rear is also designed to meet the brand's impeccably high standards for image quality and and optical performance. That covers a total equivalent focal length range of 14-100mm, with apertures ranging from f/1.67-f/2.9.

The main camera uses a one-inch, 200MP sensor, complete with something called LOFIC, which significantly expands the dynamic range. The telephoto sensor is also a 200MP unit, meaning there's lots of resolution on offer.

Crucially, this model also makes use of the Content Authenticity Initiative, which is something we've seen on some of the brand's cameras like the Leica M11-D. That's a really important addition, which hard codes metadata into every image to prove it isn't the product of AI generation.

Now, all of that doesn't come cheap. Priced at £1,700 / €1,999 (approx. US$2,300 / AU$3,200) this is one of the most costly phones out there. Is it worth the cash? It's too early to say – watch this space for a fuller review in due course – but for those who really value phone photography, this certainly seems like an appealing offering.

It's no secret that compact cameras are having a real moment right now. Everything from the Fujifilm X100VI to the brand's diddier Fujifilm X Half have wowed fans, alongside similar offerings like the Canon Powershot G7X Mk III.

More recently, there has been a surge in the popularity of keychain cameras. Popular suspects include the Kodak Charmera, which has been incredibly popular with photo lovers around the world.

Now, another model has come to that sector – and it might blow the competition out of the water. As noted by T3's sister brand, Digital Camera World, the Haru Mini Retro sounds like a pretty compelling offering in the diddy camera stakes.

Unlike other keychain options, which usually top out around the 2MP mark, this one packs in a whopping 20MP sensor. On top of that, videographers can look forward to 2k video capabilities, ensuring this one has much more resolution to offer.

It's also a truly pocketable design. Measuring just 50 x 40 x 17mm, this one is more likely to go missing among your spare coins than to struggle fitting into a pocket.

On the rear of the device, you'll find an LCD display which measures a hair under 1.5-inches across. That's not exactly the largest out there, but should give you something to frame with when using the camera.

The Haru Mini Retro also includes a MicroSD card slot, which should allow for the storage of as much media as you like. It's also got a USB-C slot, which can be used to charge the camera.

It also features a neat, retro design, which is made to look like a vintage film SLR. It's very en vogue and should make this a popular pick for anyone seeking an easy-to-carry camera and who doesn't care too much about the resolution.

Priced at just US$38 (approx. £28 / €32 / AU$54) this one should be a popular pick for anyone already into the keychain camera craze.

The company’s CEO has confirmed a new dual-camera handheld device is on the way.

The product was teased only three weeks ago, but now Insta360 has officially revealed that it’s working on a new pocket-sized camera designed to compete directly with DJI’s Osmo Pocket line.

The device, called Luna, was announced publicly by Insta360 CEO Liu Jingkang and is being positioned as a dual-camera handheld system that could challenge DJI’s dominance in the compact gimbal camera category.

It's a very strange way to announce a new product, especially from action camera giant Insta360, which usually launches products globally, but the new camera is in fact real, and it’s coming in 2026.

What’s been confirmed

At this stage, the company has confirmed only a handful of key details.

First, Luna will feature a dual-camera system, similar to the upcoming DJI Osmo Action 4 Pro, even though DJI has yet to confirm the model's existence.

While Osmo Pocket 3 uses a single 1-inch sensor with a rotating touchscreen for front- and rear-facing shooting, Luna is expected to incorporate two lenses into the body itself.

Insta360’s CEO has also made it clear that Luna is not based on DJI technology and is being developed independently.

The camera is expected to launch in the first half of 2026, though no exact date or pricing has been revealed.

Not another DJI Pocket rival?

DJI has effectively owned the pocket-gimbal market since the original Osmo Pocket launched in 2018.

The current Osmo Pocket 3 remains one of the best compact vlogging cameras available, thanks to its 1-inch sensor, 3-axis mechanical gimbal and strong low-light performance.

If Insta360 can genuinely bring something new to the category, it could create the first serious alternative in years.

That said, other companies, such as vivo, are also planning on launching their own take on the concept soon.

Insta360 already dominates in 360-degree cameras wth its X range, including the latest Insta360 X4 Air, and has built a strong reputation in action cameras with the Ace and Ace Pro series.

What to expect

Even though the “dual-camera” description is the biggest clue so far, there are a few likely directions Insta360 could take:

• A dedicated front-facing lens for vlogging and a rear lens for standard shooting
• A wide + ultra-wide combination
• A modular-style approach similar to previous Insta360 products

Given Insta360’s history of computational features, including AI reframing, horizon levelling, and advanced stabilisation, Luna could rely heavily on software alongside its hardware.

Without confirmed sensor sizes, resolution details or gimbal specifications, it’s too early to predict how it will compare to DJI’s Pocket 3 in image quality.

Can Insta360 realistically disrupt DJI here?

Right now, DJI’s Pocket line benefits from mature stabilisation, strong image processing and a well-established accessory ecosystem. Luna will need to match or exceed that, not just add a second lens.

Still, Insta360's public entry into this space is the first credible sign in years that DJI may finally face direct competition in the compact mechanical-gimbal category.

More details are expected in the coming months. Until then, Luna remains one of the more intriguing camera launches on the 2026 horizon.

It's no secret that compact cameras are having a moment right now. Models like the Ricoh GR III and the Fujifilm X100VI have proven that there's a substantial appetite for little cameras with impressive spec sheets.

Now, Canon has released a new version of its current compact flagship – the Canon PowerShot G7 Mark III – to celebrate 30 years of its PowerShot lineup. That debuted all the way back in June 1996, with the PowerShot 600, and has been a core range for the brand ever since.

Things have changed quite a bit since that first camera, though. That one packed in a 50mm field-of-view (28mm was also possible with an external adapter) and a whopping 1MB of built in storage.

The newer PowerShot G7 X Mark III Anniversary Edition is much more suited to the needs of the modern photographer. That features a one-inch stacked CMOS sensor, with a 20MP resolution on offer.

That sees the light via a 24mm lens, with a 4.2x optical zoom ensuring you've got a really usable range on offer. That's also a wide aperture lens, with an f/1.8-f/2.8 variable maximum aperture across the zoom range ensuring lots of light can be captured.

For this special anniversary edition, the camera comes in a limited edition graphite colour, features a twill pattern on the front ring and the 30 year anniversary logo printed on the body. It's a seriously good-looking thing, with an overall look reminiscent of classic titanium-bodied cameras.

There's no word on exactly how limited this camera will be, or for the pricing of the variant, though I'd expect it to not be too far removed from the standard model. That's often quite hard to come by, too, which should make this version even more popular. Stock of the model is said to arrive in April 2026, so there will be a little wait for those interested in adding one to their collection.

The compact camera market, long dominated by brands such as DJI, Insta360 and GoPro, is growing steadily, drawing in new challengers looking to capitalise on the creator boom.

The latest to enter the conversation is vivo, a Chinese smartphone maker that appears to be exploring its own take on the vlogging camera.

According to a recent post in Jiemian News, a prominent Chinese digital news media outlet focused primarily on business, finance and economic reporting, vivo has "internally initiated a Vlog camera project at the end of 2025, with the product positioned to compete with DJI's Pocket series." (translated from Chinese)

The outlet reports that the product's name has not yet been officially confirmed, and that it is expected to be released in 2026.

If true, DJI's upcoming Osmo Pocket 4 camera will enter a crowded market, with many brands vying for attention.

The camera that changed the conversation

Drone giant DJI has been branching out in recent years, entering new product categories seemingly every month.

The company now has its own portable power station line, robovac, and various creator equipment, including action cameras and gimbals.

The Osmo Pocket 3, launched on 25 October 2023, was a global success, with the Chinese brand surpassing GoPro as the top-selling action camera brand in Japan in 2025.

Offering a different user experience from DJI's 'traditional' Osmo Action action cam, the Pocket series is praised for its compact form factor, excellent stabilisation and cinematic footage.

Understandably, hype around the upcoming Osmo Pocket 4 has been at an all-time high in recent months, even though DJI has yet to confirm any details, including the launch date.

A crowded pocket

Vivo isn't the only company looking to take a slice of the creator pie. Dreame, known for its robovacs, has announced its Leaptic sub-brand at CES 2026, along with its first product, the Nano.

The Leaptic Nano is an 8K action camera reminiscent of the DJI Nano, featuring a 155-degree ultra-wide lens and a large 1/1.3-inch CMOS sensor.

SJCAM, an affordable action camera brand offering low-cost alternatives to GoPro that punch above their price point, also has an Osmo Pocket alternative.

The SJCAM C400 features a modular design and can be used as either a handheld vlogging camera or an action camera.

In terms of price, the SJCAM C400 costs half as much as the Osmo Pocket 3 – although there probably are some quality trade-offs to consider.

Whatever vivo is planning to do with its upcoming camera, it might take some wind out of DJI's sail. How much, we'll see.

[via TechNode, Jeimian News]

DJI appears to be preparing a refresh of its most accessible consumer drones, with two new models, the Lito 1 and Lito X1, now semi-confirmed through regulatory listings and certification documents.

The upcoming drones were first spotted in filings with the US Federal Communications Commission (FCC), and while DJI has yet to formally announce either model, the appearance of both names in official documentation strongly suggests a launch is on the horizon.

A new entry-level direction

Based on the information available so far, the Lito 1 and Lito X1 look positioned below DJI’s prosumer offerings, instead targeting first-time flyers and casual creators, a space currently occupied by drones such as the incredibly popular DJI Mini 4K, as well as DJI Neo 2 and DJI Flip models.

The Mini 4K was launched on 29 April 2024 and features a 1/2.3-inch CMOS camera capable of shooting 4K video at up to 30 fps and 12 MP stills, with stabilisation via a three-axis gimbal for smooth aerial footage.

It offers a maximum flight time of around 31 minutes, up to 10 km of video transmission range with DJI’s O2 system, and a suite of intelligent modes like QuickShots and GPS-assisted hovering.

Both upcoming drones appear to prioritise simplicity and ease of use, with integrated internal storage among the clearest confirmed features.

The Lito 1 has 22GB of onboard storage, while the Lito X1 increases this to 42GB, reducing reliance on microSD cards.

Crucially, nothing in the leaked material suggests these drones are intended to replace higher-end Mini models.

The DJI Mini 5 Pro, which sits firmly in the prosumer category thanks to its advanced camera system and flight features, appears unaffected by the Lito series based on current evidence.

What the filings reveal (and what they don’t)

Beyond storage capacity, the FCC documents confirm that both drones use DJI’s latest wireless transmission hardware, with the Lito X1 expected to support a more advanced version than the standard Lito 1.

While reports speculate about extended range and enhanced obstacle sensing on the X1, DJI has not yet confirmed camera specs, sensor size, video resolutions, or flight times.

The presence of FCC certification typically indicates that a product is moving closer to market.

Confidentiality deadlines attached to the filings point to late spring as the latest possible window for a public announcement, making a Q1 or early Q2 launch plausible.

If that timeline holds, DJI could soon be refreshing its beginner-friendly lineup while leaving its prosumer Mini range untouched — a sensible move at a time when drone regulations, pricing pressure, and ease of use matter more than ever.

[via Notebookcheck, NewCamera]