Peak Design has launched a new modular camera bracket designed to adapt to different shooting styles without permanently encasing your camera in a bulky metal frame.

The Field Bracket is the brand's take on the traditional L-bracket, used by photographers to quickly switch between landscape and portrait orientations when shooting from a tripod.

Its key feature is a removable upright section secured using the brand’s new Field Latch mechanism.

This allows photographers to transform the accessory from a relatively discreet baseplate into a complete L-bracket in seconds, and, most importantly, without reaching for a screwdriver or Allen key.

Each Field Bracket uses a camera-specific baseplate precision-machined from recycled aluminium.

Peak Design says the plates follow the contours of individual camera bodies while preserving access to their ports, controls and battery compartments.

Versions will initially be offered for selected Sony, Canon, Nikon, Fujifilm and Leica cameras.

From tripod plate to video rig

The Field Bracket serves as the foundation of a wider collection of optional accessories.

You can replace its standard upright with Peak Design’s Cheese Plate, which adds 1/4-inch-20 and 3/8-inch-16 threads, along with cold-shoe mounting points.

These can accommodate accessories such as microphones, external monitors and compact lights without requiring a conventional full-size camera cage.

A dedicated Hand Strap attaches directly to the bracket for more secure handheld shooting.

The system also remains compatible with Peak Design’s Capture camera clip and camera straps, as well as Arca-type tripod heads and various third-party accessories.

Perhaps its most unusual add-on is the Beacon Finder Tag. Peak Design describes this as the first tracking device designed specifically to fit inside an Arca-compatible camera plate, providing a more discreet alternative to attaching a conventional tracker to a camera bag or strap.

“The best camera accessories disappear into your workflow until you need them,” says Peak Design founder and CEO Peter Dering.

“Instead of asking photographers to permanently attach functionality they only use some of the time, we built a system that can transform in seconds while remaining just as rigid and dependable as a traditional L-bracket.”

As usual from the brand, Peak Design just launched the Field Bracket on Kickstarter (this is its 17th crowdfunding campaign).

Early customers will be offered a limited-time discount ahead of the eventual retail release.

The Field Bracket has a suggested retail price of $149.95 (~£114 / €131 / AU$214), while optional accessories will start at $39.95 (~£30 / €35 / AU$57). UK and European pricing has yet to be confirmed.

For more info, head over to Peak Design.

DJI's Mini 4K beginner drone became a bit of a pilot favourite in recent years, thanks to its versatility and affordable price point. It was so popular that DJI decided to create not one but two successors, the Lito 1 and the Lito X1. Now, the former received its first-ever price cut, knocking 10% off its RRP.

Shop all DJI deals on Amazon

Better still, as far as I can tell, today is the first day you can get the drone for less, which is pretty special. If you like the Mini 4K, the Lito 1 will feel like an excellent update without pushing you too much into pro-pilot territory. Plus, it's pretty affordable at full price, let alone with a bit of a discount.

The DJI Lito 1 is an affordable, beginner-friendly camera drone that weighs under 249g, which falls within the least restrictive flying category in the UK.

Its camera combines a 1/2-inch, 48-megapixel CMOS sensor with an f/1.8 aperture and a three-axis mechanical gimbal. It can record 4K video at up to 60 fps, capture 4K slow-motion footage at 100 fps, and shoot stills at up to 8K resolution.

Despite its entry-level positioning, the Lito 1 features omnidirectional obstacle sensing and ActiveTrack 360°, allowing it to follow moving subjects while helping inexperienced pilots avoid collisions. QuickShots, MasterShots, Hyperlapse and Panorama modes provide automated options for creating more polished footage.

The standard battery delivers up to 36 minutes of flight time, while DJI’s transmission system provides a maximum 15km video range. Wi-Fi 6 QuickTransfer supports file transfers at up to 50MB/s, and the foldable design makes the drone easy to carry between locations.

Many years ago, I principally reviewed cameras – seeing literally hundreds of different models over the years. My job evolved to covering wider consumer tech, as the humble camera market became less and less relevant.

In time, the best phones became the best cameras for many of us. After all, as the famed Chase Jarvis quote goes: "The best camera is the one you have with you". Phone-makers saw the opportunity, invested heavily, even signing lucrative collaborative deals with the likes of Hasselblad and Leica.

But while dedicated camera sales have declined 90% since 2010, this month – after a 9-year hiatus – Sony has proven once again why cameras truly still matter. The Japanese giant's reveal of the RX10 V puts dedicated superzooms back on the map, showing there's a market for what phone cameras frankly cannot deliver.

Superzooms are back

Now, I know what you're thinking: "A £/$2,200 bulky camera – who's going to want that?!". But given its unique position in this market, Sony's release of this product at this moment asserts there's a demand.

It's fair to call it niche, but a camera such as this can do so much more than any mobile phone. That's down to a number of factors, with the lens – able to deliver a 24-600mm equivalent zoom – and 1-inch sensor size being particularly vital.

True enough, some camera-focused phones, such as the Oppo Find X7 Ultra and, more recently, Xiaomi 17 Ultra, have used 1-inch sensors to up their game. But such a physically large sensor in a phone has the knock-on effect of making for a much larger device overall. And for phones that's simply not desirable.

It's also true that phone-makers have been pursuing greater zoom capabilities from clever designs, with the Oppo Find X9 Ultra, for example, delivering a first-of-its-kind quintuple prism mechanism for a 10x zoom (equivalent to 230mm). Still, that's not a patch on the RX10 V's 600mm at its fullest extension.

A large sensor without an over-the-top resolution has the benefit of capturing more light per 'pixel', which gives advantages for cleaner processing and results. Sony's choice to maintain a 20.1-megapixel chip only heightens that – as there's less division than the 50MP sensor used in both the Oppo and Xiaomi phones.

AI can't solve all

There's more about the RX10 V that appeals too. There are design fundamentals to consider, for example, with the pull-out LCD display on the rear allowing for more creative framing. It also features a built-in OLED viewfinder, which you can press against your face when shooting, adding stability to compositions and helping to nail sharper images.

Those physicalities can't be replaced by artificial intelligence (AI), which is where the phone-makers are going all-in with applying AI to processing. The concept makes sense, as AI can analyse an image's context, but the processing can sometimes get outlandish – and effectively 'create' small parts of a scene that don't truly exist. Sometimes this can look downright wrong.

Sony doesn't lean on AI for this kind of processing. Instead it relies on deep knowledge and experience in the imaging industry – after all, it's been producing electronic cameras since the 1990s; its purchase of Konica Minolta in 2006 birthed what would become Sony Alpha; and since the brand has gone on to dominate in the mirrorless market and in production of high-end lenses.

The RX10 V acquires much of that know-how in a single-body solution. It does use AI, but for scene context – for recognising people, birds or other animals, for example, and quickly assisting with focus. Again, no phone-maker has got anywhere near the kind of autofocus systems that Sony can offer.

Much as I love the best phone cameras on the market and applaud the ongoing innovations in that space, for me Sony's launch of the RX10 V after almost a decade-long hiatus is such a stellar move. It shows there's still a need for dedicated cameras and that design, features, autofocus, sensor type, processing and zoom still simply can't be matched by something you can slip into your pocket. And I'm just fine with that.

Cameras are enjoying something of a renaissance, as photographers turn their back on the convergence that's defined the last decade of technology. They are looking again for better quality and a more authentic experience than smartphones offer.

And that's largely why Sony has just announced the RX10 V, some nine years after the previous version.

Sitting in what used to be called the "bridge" category, the advantage that the Sony RX10 V offers is a proper lens, with a range from 24-600mm, the equivalent of 25x optical zoom.

While some smartphones will offer high zooms, they lean on digital zoom with AI processing, captured through lenses that are comparatively small compared to a traditional camera. The advantages are stacked in the favour of the Zeiss lens, combining years of optical knowhow into Sony's RX10 V.

Yes, the RX10 V is larger than a smartphone: you can't slip this into your pocket, but that's partly the point. It offers a real photography experience, with plenty of control from the f/2.4-4.0 lens, through to the 30fps high speed capture (with full autofocus and auto exposure tracking) and 4K 120fps video shooting.

There's 1-inch type stacked 20-megapixel CMOS sensor, with BIONZ XR image processing engine, and the battery now offers 630 shots, a big increase on the previous version of this camera.

While it offers a more authentic approach to photography, the Sony RX10 V uses AI to help with real-time autofocus. This can recognise people, animals, birds, insects, cars, trains and aircraft, so the camera knows what you're trying to focus on and keep things sharp.

Fast moving capture is no problem, with the camera calculating AF/FE 60 times a second, something that Sony has long had a great reputation for.

The return of Sony's bridge isn't a surprise: the RX10 IV has been popular, long after it was discontinued, offering a versatile set of features without having to worry about changing lenses. It's a great choice for those who want a camera that does everything.

There's been a price hike, of course, with the previous model costing around £1,500: the new model costs £2,200, with pre-orders now open. That sounds like a lot for a bridge camera, but we're in an era where technology prices are soaring.

Ultimately, cameras like the Sony RX10 V offer respite from the happy snappy automation that smartphones offer. You'll still have your phone in your pocket for that low light selfie, but if you want something a little more tactile, a little more authentic, then the Sony RX10 V just about does it all.

I've long been an advocate for adding an instant camera to your life. In the modern age, where all of us are so infested with digital products, taking a fully analogue image and watching it develop in front of your eyes offers a bout of therapeutic respite.

For me, the Polaroid Go (Gen 2) has been the main camera I've used over the past could of years. It's dinky size and (relatively) low-cost film made it the perfect companion to take with me wherever I wandered.

So, you can imagine my excitement when a few weeks ago, the new Gen 3 version was unveiled. On the face of it, there wasn't too much difference – a new design and a few tweaks, but overall a gentle revision rather than a sweeping change. But to find out for sure, I've been testing it for a few days.

Polaroid Go (Gen 3): Price and Availability

The Polaroid Go (Gen 3) retails for £79.99 / €89.99 / US$89.99 / AU$159.99. It can be purchased directly from the Polaroid website, as well as from third-party retailers like Amazon, Argos and Wex Photo Video.

Polaroid Go (Gen 3): Features and What's New

As mentioned at the top of the page, there are only a handful of differences in this new model. The main difference you'll spot right off the bat is the fresh new look, which feels delightfully 70s in its design.

There's also a stronger flash, while a reworked lens is cropped tighter for more "zoomed-in" selfies. The other change which I haven't seen mentioned elsewhere is the design of the lens surround. It's much deeper than on the previous model, which should help to minimise light flares and reflections.

Polaroid Go (Gen 3): Performance

As someone who uses the older Polaroid Go on a near-daily basis, I was desperately hoping that this new model wouldn't be worth the upgrade. Sadly – and from pretty much the first shot – it became clear that the improvements made to the lens make this a night and day difference.

Images aren't just sharper or tighter – the flare control means contrast is better and that plays into nicer colours and sharper looking results. I actually did a quick A/B test with my older Gen 2 model and the difference is marked.

I'm also a big fan of the new focal length. The difference doesn't look like much on paper, but in practice it's a significant change which just feels more homely. I'd say it's like the difference between 28mm and 35mm on a full frame camera – noting that I have no idea what the actual equivalent focal lengths are – with each simply needing a little compositional intention to get the most from them.

It's not perfect, of course. I tested a couple of shots with the sun lighting the back of a subject, which is still a step too far for the internal light meter to work with. And this feels like the perfect time to press Polaroid to make a more capable Polaroid Go camera – one with controls over things like aperture and shutter speed, to improve the creative control on offer.

My only real gripe with this camera is that it's noticeably slower to turn on than the previous generation. In fact, the first time I used it, I had to double check that it wasn't broken, as the start-up function takes a longer hold of the power button and then flashes what looks like an error code until it kicks into life.

It's a peculiar change, and one I'm hoping is either an issue with my unit or with the early firmware. If not, it makes it a lot harder to quickly snap those fleeting moments, which is a big part of what I love about this camera.

Polaroid Go (Gen 3): Verdict

Overall, I think the Polaroid Go (Gen 3) is an obvious choice for anyone coming to instant cameras for the first time. I love the smaller form factor, and the revisions here make it better without jacking the price up unnecessarily.

If you already own the older Gen 2 model, it's a slightly tougher decision. Having used the camera for a while, though, I do think it's worth the upgrade if you're serious about extracting the most potential from the Polaroid Go film. At this price, it's not too hard to justify, and should make a formidable companion for daily shooting.

Credit where it’s due – Potensic is arguably the sole remaining consumer camera drone manufacturer with enough clout and expertise to regularly take on the might of DJI.

Yes, there’s also Autel (who now appear to be concentrating on the commercial market) and, of course, HoverAir and its small but perfectly-formed fleet of excellent personal follow-me models.

I’m also fully aware that Amazon is filled with a wide range of cheap-as-chips ‘4K UHD’ camera drones with prices too low to be believable, but we’ve given up looking at them because they’re almost universally awful in every conceivable respect.

Shenzhen-based Potensic, on the other hand, has continued to innovate since its inception in 2014, and you don’t survive that long against a reliable, premium brand like DJI unless you consistently provide products people want at a price that undercuts at least some of the competition. That’s the Atom 3 in a nutshell.

Potensic Atom 3 review

Price and availability

The Potensic Atom 3 is available across the UK and much of Europe, with launch stock appearing through Potensic and selected retailers like Amazon. In the UK, pricing starts at around £329.99 for the Standard Kit, rising to around £579 for the Fly More Combo with the new RC PTD 2 controller we’re reviewing here. European pricing ranges between €359 and €659, depending on bundle configuration.

As with DJI, US buyers may not get the chance to fly this little tyke because it’s unavailable as of writing, though Potensic does list a US price of $679.99.

Specifications

• Dimensions (L×W×H): 236 x 168 x 63mm (unfolded), 91 x 148 x 62mm (folded)
• Weight: 249 grams
• Flight time: 40 mins
• Max transmission range: 16 km‌
• Max flight speed (Sport mode): 35mph / 58km/h
• Max Wind Speed Resistance: 24mph / 38.5km/h (Level 5)
• Built-in GPS: Yes
• Intelligent QuickShot modes: Multiple
• Tracking: Yes – AI Visual Tracking
• Internal storage: No
• Sensor: 1/1.3-inch CMOS image sensor
• FOV: 84˚
• Max aperture: f2.8
• Max photo resolution: 50MP JPG
• Max video resolution: 4K (3840×2160) @ 60fps (horizontal shooting); 2.7K (2704X1520) @ 60fps; FHD: 1920x1080 @ up to 60fps
• Slow motion: 1080p - 4, 5, 6, 7x
• Image stabilisation: 3-axis mechanical gimbal (tilt, roll, pan)
• Connectivity: WiFi / Bluetooth

Design and build quality

The new Atom 3 is a major upgrade over its Potensic Atom 2 predecessor, specifically in the camera department. While the Atom 3 remains just one gram under the CAA’s sub-250g drone category for hassle-free flying without having to meet a surfeit of aeronautical legalities, it’s actually a few centimetres larger in stature than the Atom 2 and equipped with a much better camera. I’m not sure how Potensic’s designers managed that, but a tip of the hat to them.

At 91 x 148 x 62mm when folded and 236 x 168 x 63mm (excluding props) when unfolded, the Atom 3 comes in a more rounded fuselage that looks a little more premium even though you won’t notice this once it’s in flight.

The main thing here is that it is still compact enough to slip into a backpack, shoulder bag (as supplied with the Fly More bundle reviewed here) or even a roomy jacket pocket.

Also, it’s refreshingly quick to deploy and pack away since it comes with a well-designed gimbal and props protector that is much easier to fit than the DJI Mini 4 Pro’s one-direction-only plastic arrangement that somehow never seems to fit without a degree of faffing.

Let’s skip straight to the camera since that is the Atom 3’s most promising new facet. At 1/1.3-inches, its new CMOS sensor is the same size as that fitted to the DJI Mini 4 Pro and capable of capturing 50MP stills and recording 4K video at up to 60fps, which immediately puts it in more serious company than most entry-level rivals.

While its maximum aperture of f2.8 is mysteriously smaller than the Atom 2’s f1.8, its all-new AI Night Mode makes a very good fist of boosting image clarity and brightness while reducing excessive noise in low-light conditions. The camera can be used in both horizontal and vertical formats.

The Atom 3 also supports RAW image capture, HDR and a P-Log profile for those who like grading footage afterwards, while the bitrate tops out at an impressive 120Mbps.

I also rate the digital Medium Tele mode, which functions as a 2x mid-telephoto crop that utilises the drone's 50MP sensor and AI image optimisation to retain very decent clarity. However, while the tele mode adds a touch of cinematic compression to your shots and is equally useful when using the Atom 3’s Dolly Zoom feature, it does have its limits.

Also, I’m surprised Potensic still continues to omit any onboard storage, as I discovered on arrival at my test site. Thankfully I was within walking distance of home to retrieve a MicroSD, but had I been out in the sticks I would have been really miffed. After all, every other decent drone comes with onboard storage as a basic requirement.

Another possibly very important element that this drone lacks is obstacle avoidance. If your flying style involves threading through trees, skimming buildings or generally relying on electronic safety nets, this might not be the drone for you.

Personally, I’ve rarely needed the obstacle avoidance system on my Mini 4 Pro because I prefer to keep visual contact and avoid risky manoeuvres altogether, but different pilots fly in different ways.

On the plus side, the Atom 3 comes with three speed modes. Video mode is ideal for gentle movement and cleaner cinematic footage while Normal mode strikes a good balance between agility and control.

However, switch it into Sport mode, and the Atom 3 becomes way more responsive, accelerating briskly and covering a huge amount of ground surprisingly quickly for its size. In Sport mode, the Atom 3’s top speed is a very respectable 35mph.

Now here’s the really good bit. The Atom 3 Fly More bundle I received ships with Potensic’s new RC PTD 2 screen controller with a 1920 x 1080 resolution, 900 nits of brightness and 5.5 inches of screen estate that makes on-screen flight monitoring an unbridled joy.

You get a dedicated Return to Home button, a gimbal adjustment wheel, zoom control and a single shutter/record button that adapts depending on the selected shooting mode. Most importantly, there’s a physical flight mode switch – just like DJI’s controllers – for jumping between Video, Normal and Sport modes. This immediate access to Sport mode can be invaluable when a strengthening headwind suddenly turns the return journey into a battle of wits.

The controller also features Potensic’s PixSync 5.0 transmission system, offering a quoted maximum range of up to 16km – considerably further than most drone regulations would ever permit. Its integrated 5,000mAh battery, meanwhile, delivers up to four hours of operation and supports USB-C charging at up to 18W.

Flight performance

Like any DJI drone, the Potensic Atom 3 immediately puts any nerves at ease the moment it takes to the air. The controls are perfectly dialled for butter-smooth input without any sudden lurching, so I can’t see novices having any issues in this department.

Setup is pretty quick, too. Simply unfold the arms, power up the drone and controller, and you’re generally airborne within a minute or two. Granted, GPS lock isn’t the fastest I’ve seen, but the whole process feels streamlined rather than fiddly, especially when used with the all-in-one PTD 2 controller my press sample came with.

Once in the air, the Atom 3 delivers impressively stable performance for a lightweight sub-250g model (it features Level 5 wind resistance, which is good for wind speeds up to 24mph). The drone’s positional hold, too, is exceptional, even in a stiff breeze.

If the noise of a drone troubles you, you’ll be pleased to learn that this one is among the quietest I’ve ever reviewed. Its gentle hum is far removed from the frenetic swarm-like screech of the DJI Avata 360 and HoverAir Aqua.

I personally haven’t been able to detect any major differences between this drone and any from the DJI stable when flying it. It does exactly what you want it to do with no nasty surprises like transmission dropouts, lag, or any unusual behaviour traits. It just flies as you would expect of any modern drone, and that’s testament to great design, well-crafted flight controllers and reliable software.

Camera performance

For a drone that sits firmly in the affordable, sub-250g category, the Potensic Atom 3’s camera performance is surprisingly accomplished and a significant step forward over the previous Atom 2.

While it’s not attempting to dethrone premium aerial platforms or even the similarly sized DJI Mini 4 Pro and DJI Mini 5 Pro, the Atom 3’s little camera delivers footage with enough sharpness, colour accuracy and dynamic range to satisfy everyone from casual flyers to content creators looking for quick, polished results without the need for much colour grading. However, it’s not without some anomalies.

I noticed that it did tend to overexpose shots much more than most DJI models when taken facing the sun so you’re advised to tap on an appropriate area of the display screen before shooting to properly set exposure, or you may end up with an image with blown highlights which is very difficult to fix in post-production.

This is most noticeable when shooting with a lot of sky in the frame. When the footage was viewed on a MacBook Air, I also noticed more banding in some sky shots than I would consider acceptable. And while it features an AI-generated night mode, I wouldn’t say it’s as dynamic as the DJI Mini 4 Pro, which has a much larger aperture.

On the plus side, I’ve been impressed by the Atom 3’s mechanical 3-axis gimbal, which helps produce footage that stays level and smooth, even during directional changes or in breezy conditions. Likewise, this drone’s AI tracking is a marked improvement over the Atom 2 and locks on to a subject with great accuracy and with very little drifting, even when using the Circle QuickShot feature and the subject is moving.

Autonomous QuickShots

The Potensic Atom 3 comes loaded with a tranche of AI QuickShot modes, several of which can be seen in the accompanying video above. Simply draw a box around yourself or your chosen subject, select an autonomous flight function and let the drone do the rest.

Alongside familiar options like Circle, Pull Away, Spiral, Rocket, Boomerang, Drift and CineRoll (a 360˚ horizon spin), there’s also AI-enhanced subject tracking – including side tracking at head height – and a very effective Dolly Zoom mode that creates that distinctive cinematic Hitchcock-style effect where the subject remains the same size in the frame while the background appears to stretch or compress dramatically behind it.

You can also select four levels of slow motion (4x, 5x, 6x and 7x) and a handy Waypoints function which follows a pre-programmed flight path replete with different elevations and camera angles.

Verdict

The Potensic Atom 3 delivers a surprisingly mature flying and imaging experience for not too much wonga. Its new PTD 2 controller makes it quick to set up and easy to control, while its updated camera and refined 3-axis gimbal produce acceptably sharp and stable footage.

While it can’t match DJI’s more expensive Mini 4 Pro for outright image depth and sharpness, it gets close enough in my opinion, and that makes it a perfect choice for budgeteers looking for a camera drone that doesn’t feel like a compromise.

A big compromise in aviation is choosing between efficiency and control. Drones can hover and move precisely, but their propellers consume a lot of power. Fixed-wing aircraft are far more efficient, but can't stay suspended in one place.

Researchers at the Max Planck Institute for Intelligent Systems and the University of Stuttgart think they've found a middle ground. Their new robot, affectionately called Floaty, uses rising air currents to remain airborne while adjusting four movable flaps to control its position and stability.

Inspired by soaring birds, Floaty doesn't use propellers to stay in the air. Instead, it rides upward airflow and continuously changes its shape to control how air moves around its body.

The robot has been trained using an aerodynamic model developed from extensive wind tunnel testing, allowing it to recover from gusts of wind and even physical pushes without losing control.

Getting the design right wasn't straightforward. Early versions proved unstable, so the team lowered the robot's centre of gravity and redesigned its control flaps to help it automatically correct its position while airborne.

The result is a robot that can hover in vertical airflows of up to 10m/s while remaining very stable.

The biggest advantage is efficiency. According to the researchers, Floaty consumes around 10W per kilogram of weight, roughly an order of magnitude less power than comparable thrust-powered aerial robots.

While it's still a research project, the team believes the technology could eventually be used to inspect industrial chimneys, monitor weather systems or even help control spacecraft and rockets in airflow-rich environments.

If that happens, Floaty may represent a very different future for flight – one where robots work with the wind rather than fighting against it.

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!

Who doesn't like a cheap DJI drone deal? I sure do. As someone who spends more hours a day thinking and writing about the brand than I'd like to admit, it's always nice to stumble upon a good offer on DJI drones.

Sadly, this Prime Day, I can't say I've seen loads of excellent discounts on the Chinese electronics giant's products, apart from the cheapest ever deal on the Mini 4K Fly More Combo for just under £200.

But! There are DJI drone deals that are worth looking at, a few of them, anyway. The selfie drone Flip is also the cheapest ever, but I know some pilots take it as a bit of a toy drone (it really isn't, by the way).

Speaking of selfie/toy drones, the Neo is pretty cheap at the moment and an excellent choice for younger pilots and beginners alike. The camera performance is on point, and it weighs half as much as the Mini 5 Pro and has propeller guards, making it a lot safer to manoeuvre the dinky drone.

If you want something a bit more serious, the Mini 5 Pro is a tad cheaper than usual. It's an amazing drone with LiDAR and a beautifully-balanced camera. If you need something even more serious (?), the Mavic 4 Pro Creator Combo Drone is £150 cheaper than usual (still over £3,000, though),

Best DJI drone Prime Day sales (UK)

• Amazon: money off Mini 4K, Neo, Flip and more
• DJI: action cam, drone and power station deals galore
• Very: Mini 5 Pro and Mavic 4 Pro for less
• Wex Photo: Air 3S and Avata 2 offers
• Currys: drones and accessories

Best DJI drone Prime Day deals (UK)

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.

Amazon has some really good deals on gadgets, but only for those with a Prime Membership. And while I admit that, compared to a high-value tech product, Prime Membership isn't that much, you know just as well as I do that Amazon will try to find a way to get you locked in.

Shop Insta360's Big Deal Days sale

A better way to buy gadgets is to find them elsewhere – preferably at the brand's own shop, which is exactly the case with Insta360. Better still, the company slashed the price of what I think is still the best 360-degree action camera, the X5.

The Insta360 X5 is the latest flagship 360-degree action camera from Insta360, packed with features aimed at creators, adventurers and anyone who wants maximum flexibility from their footage.

It has dual 1/1.28-inch sensors paired with a triple AI chip system to improve image quality, dynamic range and low-light performance. The camera can capture 8K/30fps 360-degree video, alongside 5.7K/60fps and 4K/120fps recording modes.

Like other 360-degree cameras, the X5's can record every angle simultaneously and then reframe shots afterwards in the Insta360 app. New additions include InstaFrame, which automatically generates ready-to-share flat videos while also saving the full 360-degree file for later editing.

The X5 features user-replaceable lenses, improved waterproofing down to 15 metres without a housing, and a new magnetic mounting system for quicker accessory changes.

Battery life is among the best in the category, with the 2,400mAh battery delivering up to 208 minutes of recording in Endurance Mode and fast charging that can reach 80% in around 20 minutes.

FlowState stabilisation and 360 Horizon Lock keep footage smooth and level, while upgraded microphones and built-in wind protection improve audio quality for vlogging, cycling and outdoor adventures.

You know just as well as I do that if Amazon is having a sale, there will be DJI products on offer, and it's no different this time around. However, the quality of the deals can be a bit hit-and-miss. Not this time around, though! The offers are excellent, and some of them are downright unmissable.

Shop all DJI deals in Amazon's Prime Deal Days sale

One deal in the latter category is the DJI Mini 4K Fly More Combo, which has never been this cheap. The Chinese giant's affordable beginner drone has always been sought after, but at this price point, it's a must-buy.

The DJI Mini 4K might be the most accessible way into DJI’s ecosystem, but it still packs many of the features that made the Mini series so popular. Weighing under 249g, it sits below the threshold for many drone regulations, making it easier to fly in a wider range of locations while remaining highly portable.

The 4K camera is mounted on a three-axis mechanical gimbal for smooth capture and stabilised footage even in breezy conditions.

The drone can record 4K video at up to 30 fps and shoot 12 MP still images, while DJI’s QuickShots modes automatically perform cinematic flight manoeuvres such as Dronie, Helix and Rocket to create professional-looking clips with minimal effort.

The Mini 4K uses DJI’s OcuSync transmission system, offering a video range of up to 10km in ideal conditions, and includes useful safety features such as GPS positioning, auto take-off, auto return-to-home and hover stabilisation.

Wind resistance is rated to Level 5, helping to maintain stable flight in less-than-perfect conditions. At this discounted Prime Day price, it's one of the best-value camera drones available.

DJI launched its Prime Day deals a week early, it seems! I already reported on a brill Osmo Action 5 Pro offer, but after further inspection, I found an even better discount: the coveted Mini 4K is now only £169, which really is the cheapest the drone has ever been, at least as far as I can tell.

Shop all DJI early Prime Day deals on Amazon

The Mini 4K a bit of a fan favourite model from the Chinese drone giant, thanks to its camera quality, long flight time and beginner-friendly controls. You essentially get a drone that, even just a few years ago, would have been considered a top-of-the-range option for less than the price of a pair of running shoes.

The DJI Mini 4K is an entry-level camera drone designed to make aerial photography accessible without sacrificing the features that matter most. Weighing less than 249g, it features a 1/2.3-inch CMOS sensor capable of capturing 4K video at up to 30 fps and 12MP still images.

The camera is mounted on a three-axis mechanical gimbal to keep footage smooth and stable even when flying in breezy conditions. DJI's video transmission system offers a range of up to 10km, providing a reliable live feed back to the controller.

The Mini 4K can remain airborne for up to 31 minutes on a single charge, giving you plenty of time to explore a location and capture footage. It also offers Level 5 wind resistance, helping it maintain stability in winds of up to 38kph.

For beginners, DJI includes a range of intelligent safety and flight features, including automatic take-off and landing, Return-to-Home, GPS positioning and one-tap QuickShots modes that create cinematic flight paths automatically.

The drone can also capture panoramas, making it easy to produce wide landscape images without complex editing.

Prime Day only starts next week... or does it? It looks like the online retailer giant has pulled the trigger early in 2026, with some discounts already appearing online, including offers on drones and action cams from everyone's favourite Chinese tech company, DJI.

Shop all DJI deals on Amazon

One that caught my eye is a deal on the brand's top-rated action camera, the Osmo Action 5 Pro. Currently, Amazon is selling the Standard Combo for only £233, the lowest price it's ever been. That's a whopping £72 (24%) off the recommended retail price for an action camera that's well worth it even at full price.

The Osmo Action 5 Pro Standard Combo is DJI’s flagship action camera package, featuring a next-generation 1/1.3-inch CMOS sensor that captures 40MP photos and 4K video at up to 120 fps, delivering impressive detail and strong low-light performance for an action camera.

It offers up to 13.5 stops of dynamic range, along with support for 10-bit D-Log M and HLG, giving content creators greater flexibility when colour grading footage.

The included Extreme Battery Plus can provide up to four hours of continuous recording, a significant improvement over previous generations and one of the longest runtimes available in the action camera category.

The Action 5 Pro features dual OLED touchscreens, making framing and reviewing footage easy from either side of the camera. DJI's renowned RockSteady 3.0 and 360° HorizonSteady stabilisation systems help keep footage smooth even during intense activities, while built-in subject tracking can automatically keep a person centred in the frame.

Additional highlights include 47GB of usable internal storage, Wi-Fi 6 connectivity, direct pairing with DJI microphones, and waterproofing down to 20 metres without a housing. The Standard Combo includes the camera, battery, protective frame, quick-release adapter mount, adhesive base and USB-C charging cable.

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.

With the 2026 World Cup set to kick off this week, football fans around the world will be gearing up to watch the action as it unfolds over the following weeks. The competition will pit nations from around the world against one another, with the action taking place across the USA, Canada and Mexico.

For those of us not based in North America, watch parties look set to be the main way of watching. And while many will tell you that you need a new TV, soundbar or projector in order to enjoy the event, there's a much more affordable piece of kit I think you need.

Instant cameras might not be your first thought for something like this, but they make a great option for capturing the memories and magic. If you've got family and friends heading over to watch with you, these devices offer a great way to immortalise the action. I've picked out five of my top picks for capturing the memories.

Polaroid Go (Gen 3)

Just launched in the last few weeks, the Polaroid Go (Gen 3) is one of the best looking cameras I've seen in a long time. It's predecessor – the Polaroid Go (Gen 2) – is one of my most used cameras, with its dinky form factor making it the perfect option to carry around on a daily basis.

While I've not used this model yet, it seems like the perfect pick, with more affordable film and a selfie mirror to make sure everyone is in the frame.

Instax Wide 400

If you're expecting lots of friends to join you over the summer, the Instax Wide 400 is a must have to ensure everyone gets into the shot. The Instax Wide format is the widest instant film on the market, ensuring the whole gang can be captured in one go.

This particular model also features a self timer, with stands to prop the camera up and get a better angle.

Instax Mini 99

Another one which I've been using extensively, the Instax Mini 99 offers something no other Instax camera does. The colour dial allows you to hit the film with a fully-analogue blast of colour, which mimics classic film colours nicely.

It's also one of the most capable instant cameras out there right now, which makes it a nice addition even once the action is over.

Polaroid Flip

My personal favourite instant camera on the market right now is the Polaroid Flip. It's a classic design, complete with a hinged top panel and sonar autofocus.

This is unquestionably one of the best instant cameras on the market.

Fujifilm Instax Cinema Evo

A leftfield choice up last, but the Instax Cinema Evo certainly makes a compelling case for itself in this use case. Imagine capturing a video of the winning goal in a World Cup final, and being able to print it out to remember forever.

It's more expensive, but definitely a worthwhile choice for some users.

Drone pilots have been crying out for a drone that can be safely used on water without a chance of it sinking, and here it is, the new HoverAir Aqua in all its Day-Glo orange glory.

HoverAir has spent the past few years carving out a niche for itself with a small raft of compact, self-flying camera drones that prioritise simplicity, safety and automatic subject tracking over traditional piloting.

With the Aqua, however, the Chinese company has taken a leap and created the world's first consumer-priced waterproof flying camera designed to operate where most drones fear to tread – over lakes, seas, rivers, ponds, swamps, and swimming pools.

It's a concept that makes perfect sense given how many outdoor adventures take place on and around water, but the catch may be the price, which is higher than you might expect for a small personal follow-me drone.

Do the Aqua’s unique capabilities justify the significant investment of £1,129? In this day and age, not really, but it's still a darn fine opening salvo that works an absolute treat for those who can afford it. Let's get it on.

HoverAir Aqua review

Price and availability

The HoverAir Aqua is available now in the UK, where it can be purchased directly from HoverAir and other online stores like Amazon and Jessops.

Prices start at £1,129 for the Standard bundle, which includes the drone, Lighthouse tracking device and essential accessories. It is also widely available throughout Europe, where the Standard bundle retails at €1,299.

While this waterproof drone has officially launched globally, HoverAir has reportedly paused accepting US orders due to regulatory complexities and the FCC's ban on certain foreign drone brands.

Specifications

• Weight: 249g
• Dimensions: 20.19 × 20.59 × 6.25 cm (L×W×H)
• Max speed: Normal 34mph (55kmh)
• Max flight time: 23 mins
• Max flight distance: On water: 100-300m; On land: 500m (with phone); 1km with beacon
• Wind resistance: Level 7 (33 knots/38mph)
• Camera sensors: 1/1.28-Inch square CMOS
• Lens format equivalent: 24mm
• Max aperture: f/2.55
• FOV: 85˚
• Max video resolution: Horizontal: 4K + 1080p up to 100fps; Vertical: 4K up to 30fps
• Video modes: Standard, 10-bit H-Log, Slow-Mo, Vertical
• Max image resolution: 12MP (JPEG)
• Image stabilisation: Single axis mechanical + digital with horizon levelling
• Onboard Storage: 128GB
• MicroSD card slot: No
• Battery charging time: 52 mins
• Waterproof: IP67

Available combinations

The HoverAir Aqua is available in three main package configurations, allowing buyers to choose a bundle that matches their budget and intended use.

The Standard Bundle retails at £1,129 and includes the drone, waterproof Lighthouse controller, a single battery, a USB-C cable, a repair kit and a waterproof battery bag.

Stepping up a notch, the Fly More Bundle (£1,299) is designed for longer adventures and adds two extra smart batteries, extra waterproof battery bags and a charging hub.

Finally, at the top of the range sits the Land and Sea Bundle. This comprehensive package includes all of the Fly More accessories plus the Beacon and Joysticks control system, magnetic mounting accessories and a take-off/landing pad.

Design and build quality

I've been harping on for ages about the lack of drones that are able to survive a fall into water without sinking to the bottom like a stone. To my knowledge, only two drones have thus far been capable of flotation in an emergency: the extraordinarily expensive pro-spec SplashDrone and the now-defunct PowerVision Power Egg X.

There have also been many DIY attempts over the years, with users zip-tying polystyrene landing gear to conventional drones, but these have consistently compromised the craft's aerodynamics, especially in windy conditions.

Well, it seems that HoverAir has beaten DJI to the punch once again by closely observing the market and producing the Aqua, a one-of-a-kind drone that can take off and land on water. This is long overdue, since water – specifically salt water – is the number one enemy of any drone and the sole reason so many pilots are reluctant to fly over seas, lakes, and rivers.

The HoverAir Aqua is unlike any other consumer drone currently on the market – an autonomous flying camera with a fully waterproof design that makes it unsinkable. The fact that it's decked out in bright orange is not only a welcome change from the grey norm, but it genuinely makes it much, much easier to see in the air and on the water.

Purpose-built for watersports and other watery outdoor adventures, the Aqua carries an IP67 waterproof rating, which means it's watertight enough to survive submersion to a depth of up to one metre for up to 30 minutes. It also weighs just 249g, so it doesn't require anything beyond the easy-to-attain Flyer and Operator IDs to fly it.

Unlike the company’s land-based HoverAir X1 Pro, the Aqua has been designed as a one-piece fuselage for structural integrity so it cannot be folded.

At 20cm in length, 20.59cm in width and 6.25cm in height, it is far too big for any pocket and for some reason, none of the package configurations includes the official bag for the drone, so you'll have to purchase it separately or transport it as best you can without damaging the camera lens.

The HoverAir Aqua's build quality is excellent throughout with solid assembly and no creaks, flexing panels or obvious weak points. Its main means of flotation is a buoyant outer tube that feels like spongy memory foam under its tough nylon-like wrap. This tube also serves as a collision bumper, so there's very little chance of being injured even if it accidentally flies into you at speed.

The four mini props, meanwhile, are encased in the surrounding flotation tube, with soft plastic guards on top to protect your fingers when you hand-catch the drone from above. Oh, and you'll be very pleased to learn that even the Standard package includes a repair kit comprising a flotation tube, props and prop guards.

Amazingly, the Aqua can hit a top speed of 34 mph (55 km/h), which is easily fast enough to film the most rapid watersports like kiteboarding, sailboarding, and even skiing without leaving the drone behind.

Moreover, the Aqua's wind speed rating is an astonishing Level 7 (33 knots/38mph), one level up from the big DJI Mavic 4 Pro. You also get up to 23 minutes of flight time with this drone, and that's only a few minutes shy of the similarly sized but foldable DJI Flip.

While other follow-me drones use their cameras to track the user without requiring an app or controller, this one is more specialised and aimed at waterborne activities where signals can be easily interrupted.

Hence, the user is required to wear an arm-mounted bright orange transmitter called a Lighthouse so the drone can lock onto its subject and avoid being confused by water reflections, sea spray, or large waves.

One of the HoverAir Aqua's most impressive features is its integrated one-inch colour screen interface, which transforms what could be a complicated setup process into something a lot more straightforward.

The ultra-crisp, high-resolution display is really easy to read in a variety of lighting conditions while providing clear menus, large icons and a logical layout that makes everything easy to navigate.

Aside from essential information like battery status, camera settings, connection status and instant access to its wide range of follow-me flight modes (including their individual flight parameters), the screen interface also lets you watch the videos you've shot on the spot so you can instantly check whether you got something in the can or whether you need to do another take.

A series of very loud and clear voice alerts, meanwhile, keeps the pilot informed every step of the way.

Ways to use the HoverAir Aqua

The HoverAir Aqua has been designed essentially for use on water, though it's just as happy on land. Unlike the HoverAir X1 Pro I reviewed in 2024, which follows the user on land using advanced AI-powered vision-tracking algorithms combined with built-in cameras and sensors, the Aqua predominantly tracks the user by locking onto a wearable, waterproof tracker and control hub called the Lighthouse, which straps around the upper arm.

Instead of relying on camera vision alone, the Aqua uses centimetre-accuracy RTK GPS (Real-Time Kinematic) technology to create a virtual tether between the drone and the Lighthouse, ensuring it stays locked onto the individual even when its line of sight is temporarily blocked by waves or the user is obscured in a crowd.

Given that both the drone and Lighthouse beacon are fully waterproof, any water sport fan can now indulge in their favourite pastime and film themselves while doing it.

In fact, this drone is suitable for a wide range of water sports, whether it's shooting slower activities like paddleboarding and swimming or nippy sports like surfing, kitesurfing, sailboarding, and hydrofoiling. Even skiing is doable if the speed is less than the drone's maximum velocity of 34mph.

The Aqua can be flown in several ways. Obviously, the Lighthouse is far and away the best method when used on water, but you can also fly it using the HoverAir app's virtual joysticks or the optional Beacon controller with physical joysticks.

And if you select the tracking option in the app and draw a box on the screen around a subject, the drone will perform any number of pre-set tracking shots without the need for the Lighthouse beacon. You can read more about this drone's multitude of preset flight modes in the chapter below.

The HoverAir can take off and land from the hand, the ground or water. To use the hand method, hold the drone from above, tap the 'take off' icon on the Lighthouse, the main power button on the drone, or, more awkwardly, the take-off button in the app, and let go once the props start spinning.

To land it, either grab the top of the drone after you've initialised a return to home and flip it over quickly to shut the motors off or simply land it on water or solid land. If using the Lighthouse on water, tapping the landing button will have it return to you and hover nearby for 15 seconds, giving you time to grab it before it initiates an automatic landing sequence.

As an extra rescue bonus, if the drone hits an overhanging tree, sail or other obstacle and crashes into the water upside down, a simple tap of the 'take off' button on the Lighthouse will initiate a turtle flip before the drone lifts off. Very clever.

Another very cool feature when wearing the Lighthouse is the ability to adjust the drone's height, distance, and angle from the subject by tapping the Lighthouse's black directional buttons. This saves having to bring the drone back to you or reach for the app to make these changes.

Camera features

The HoverAir Aqua camera is equipped with a 1/1.28-inch CMOS sensor that supports various resolutions, including 4K and 1080p at up to 100 fps, and vertical 4K at up to 30 fps. Its photo resolution is 12MP.

The lens, meanwhile, boasts a format-equivalent focal length of 24mm, a maximum aperture of f/2.55, and an 85˚ field of view. The user also has a choice of several video modes: Standard, 10-bit H-Log, Slow-Mo and Vertical.

The camera itself is mounted on a single-axis mechanical gimbal with digital image stabilisation and horizon levelling, while a hydrophobic, anti-fog lens coating helps keep the lens clear in wet and humid environments.

For waterproofing, there is no MicroSD card slot on this drone, so it comes with a commendable 128GB of onboard storage, which is more than enough space for any all-day shoot.

Finally, you can copy Aqua’s raw video and photo files in two ways: wirelessly from the drone to a phone or tablet, or directly to a computer via its water-sealed USB-C port.

Unless you're editing footage on your phone or tablet, I would go for the USB desktop route every time. Simply turn the drone on, plug in the supplied USB-C cable, and look for its drive icon on the desktop.

Flight modes

The HoverAir Aqua comes with a banquette of 14 autonomous flight modes, tailored in some instances to specific water sport disciplines. Here's a handy breakdown:

Basic Modes

Follow: Automatically tracks and keeps you in the frame from the front, back or side.

Orbit: Rotates a full 360° around the subject with adjustable radius and speed.

Hover: Stays locked in a stationary position while swivelling to track the user.

Zoom Out: Flies backwards and upward to reveal the surrounding panorama.

Bird's Eye: Flies straight upwards with the camera facing directly down.

Water Modes

Kayak Mode: Optimised for low-profile tracking on rivers and open water.

Paddleboard (SUP) Mode: Tracks your full body and allows for one-handed angle adjustments via the wearable Lighthouse controller.

Surf Mode: Uses high-speed AI tracking (up to 34 mph) to follow and capture fast wave-riding.

Foil Mode: Tuned for wind surfing, sail boarding, hydro-foiling and other fast-moving watersports.

Cinematic Modes

Spiral: Flies upward in a spiral pattern to capture an evolving, dramatic scene.

Dolly Track: Maintains a fixed distance in front of you as you move toward the camera.

Angle Track: Tracks alongside to capture a side-profile view.

360 Spin: The drone spins 360˚ with the camera facing outwards for panoramic captures.

Orbit Follow: Combines circular movements with customisable speed and radius.

Flight and camera performance

I tested the Aqua in a field and also let it loose on a canal, and it flew like a trouper, even when the wind was strong enough to pitch it at a very acute angle. I’m not sure how HoverAir managed to make this light, not-especially-aerodynamic drone so wind-resistant, but hat’s off to them.

I've also been extremely impressed with this drone's ability to track a subject as if following a breadcrumb trail, especially during my land tests.

However, because it is locked to the Lighthouse beacon, which is worn on the upper arm, it does sometimes tend to favour one side more than the other, and you can see this in some of the videos I took at Cropredy’s canal-based kayak racing club.

In general, the Aqua mostly chose a central position when using the Kayak mode, but when the canal narrowed, it twice chose the side the beacon was on – the kayaker's right arm.

Since it doesn’t feature obstacle avoidance, the drone crashed into a canal boat on one occasion – remarkably surviving unscathed – and almost came a cropper on the return trip when it flew perilously close to a wall, brushing some overhanging leaves in the process.

It never truly recovered from this last event because it spent the next few seconds desperately trying to keep up with the kayak at racing speed. Its camera, too, seemed to bob up and down as if it were having trouble locking onto its target. But, hey, it missed the canal bridge and produced some fabulous footage in the process.

To be fair, this drone is designed for use in open water where it has space to breathe, but I have to say that I was pretty chuffed it performed as well as it did in a confined area, too.

No camera drone is worth its salt if the resulting footage is below par. From my experience, sharpness and definition tend to fall away the higher a drone flies, and this is most notable when flying over woodland, when everything becomes a wee bit smudgy.

However, when a drone gets much closer to its subject, everything in the frame pops with vastly improved sharpness and definition.

While the Aqua's imagery doesn't quite match the DJI Mini 4 Pro or Mini 5 Pro for overall video quality, I think it's spot-on perfect for close-quarters work from several metres away, which is what it was designed for.

Yes, you may notice some minor visual anomalies here and there on a desktop, but I believe it's more than good enough for tablet and phone use and for social media.

I've also been impressed with the camera's quick focusing, exceptional smoothness from the gimbal and its ability to keep the subject in frame, though I did make sure I had set the drone's distance to either medium or far (if set too close, there's a chance your head may be cut off in the frame). I was also pleased to see that none of the footage was affected by water droplets on the lens.

I guess the only annoying things about the whole experience were the insane noise it makes – especially when flipping it over to turn it off – and the propensity for disconnections and reconnections with the Lighthouse, sometimes within seconds of each other.

Mind, this mostly happened at the beginning of a session and seemed to have no bearing on the safety of the craft. Just as well, because I was getting quite irritated by the loud vocal alerts of 'Lighthouse disconnected, Lighthouse connected'. Perhaps a future firmware update will solve this issue.

Verdict

The new HoverAir Aqua stands apart from every other consumer drone I’ve tested thanks to its waterproof design and ability to operate effortlessly over water, even in a very stiff sea breeze.

Its intelligent armband-tracking technology reliably follows the user while capturing unique waterborne footage that traditional drones would struggle to achieve without falling in and sinking like a brick.

Compact, easy to use and packed with innovative features, this amazing drone offers plenty of appeal for water sport fans and even landlubbers. However, all this innovation comes at a high cost, placing it firmly in the territory of enthusiasts and wealthy boat owners.

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've been busy reporting on DJI Mini 4K deals, so I thought I'd switch things up by bringing you another 4K-capable DJI model, the Mini 3 Fly More Combo, which is currently selling for £399 at Argos, £110 off its recommended retail price.

Shop all DJI deals at Argos

I had a look, and this seems to be the lowest price, not just currently but ever. Amazon will tell you the bundle sold for a ridiculously low £239 at some point, but I can't see it anywhere in the product's price history, so it could just be an anomaly in the retail giant's data.

The DJI Mini 3 is an ultralight camera drone weighing under 249g and falls into one of the least restrictive drone categories in many regions, including the UK.

Despite its compact size, it packs a 1/1.3-inch CMOS sensor capable of capturing 48MP photos and recording sharp 4K HDR video at up to 30fps.

The drone has a true vertical mode, which rotates the camera to produce social-media-friendly portrait content without cropping.

The three-axis mechanical gimbal helps keep footage smooth and stable, even in breezy conditions. DJI’s intelligent flight modes, including QuickShots and automated return-to-home functionality, make cinematic aerial footage accessible to less experienced pilots.

The Fly More Combo expands the experience with two additional Intelligent Flight Batteries, bringing total flight time to well over an hour before recharging is required.

A two-way charging hub allows batteries to be topped up efficiently and can also function as a power bank for other devices.

The bundle also includes DJI’s RC controller with an integrated display, eliminating the need to connect a smartphone. A dedicated shoulder bag keeps the drone, controller, batteries and accessories organised for travel and outdoor adventures.

Despite the recent launch of DJI's Lito 1 and Lito X1 beginner drones, interest in the last-gen Mini 4K hasn't died down. And if you're one of those pilots interested in the brand's 4K flying camera, you'd be happy to know it's back down to its lowest-ever price on Amazon.

Shop all DJI deals on Amazon

The compact beginner drone has racked up over 7,000 reviews on Amazon and currently holds an impressive 4.5-star rating. One recent review calls it the "Perfect First Drone," adding that it's "So Easy to Use" – not bad for a 2-year-old drone!

The Mini 4K is effectively an upgraded version of the Mini 2 SE, reintroducing 4K recording while keeping the same compact, foldable design and beginner-friendly handling.

It launched in April 2024 as the brand’s most affordable 4K camera drone, aimed squarely at beginners who wanted a lightweight, easy-to-fly model without sacrificing image quality.

Weighing just 246g, it sits below the 250g threshold that keeps regulations relatively relaxed in many regions, which is a big part of the drone’s appeal.

The Mini 4K has a 1/2.3-inch CMOS sensor capable of capturing 12MP stills and stabilised 4K video at up to 30 fps. It also supports 2.7K video at 60 fps and Full HD at 60 fps, with footage stabilised by a three-axis mechanical gimbal to keep shots smooth while flying.

DJI also included QuickShots flight modes such as Dronie, Helix, Rocket, Circle and Boomerang, allowing beginners to capture cinematic footage with minimal input.

Despite its entry-level positioning, the Mini 4K offers up to 31 minutes of flight time and uses DJI’s OcuSync 2.0 transmission system, which provides a maximum video transmission range of up to 10km under ideal conditions.

The drone also features Level 5 wind resistance, automatic return-to-home functionality and downward obstacle sensing for safer landings.

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.

DJI recently announced its Lito 1 and Lito X1 drones, the successors to the brand's incredibly popular Mini 4K beginner drone. The latter is the premium version with omnidirectional obstacle avoidance, LiDAR, and stronger camera performance (RAW + 4K@100fps) – and now it's also cheaper.

Shop all DJI deals at Amazon

Admittedly, it's only £20 off for now, but considering the drone is already pretty affordable for what it offers, even 5% off its asking price feels like an excellent deal. The Lito 1 isn't on offer, so the Lito X1 is certainly the model to go after!

Weighing under 249g, the DJI Lito X1 falls into the beginner-friendly category in the UK and Europe, meaning it can be flown with fewer restrictions than heavier models.

It has a 1/1.3-inch CMOS sensor with an f/1.7 aperture, which supports 48MP stills and up to 4K/60fps HDR video recording. The drone can also shoot 4K/100fps slow-motion footage and supports 10-bit D-Log M colour profiles for more advanced editing workflows.

DJI says the larger sensor improves low-light performance and dynamic range, making the Lito X1 feel closer to a Mini 4 Pro than to a typical entry-level drone.

The drone features omnidirectional obstacle sensing alongside a forward-facing LiDAR sensor, helping avoid collisions in tighter environments and during low-light flights. DJI also includes ActiveTrack subject tracking, QuickShots, MasterShots and Hyperlapse modes to simplify cinematic footage capture.

Battery life is rated at up to 36 minutes with the standard pack, while DJI’s O4 transmission system enables 15km video transmission. The drone also comes with 42GB of internal storage for shooting without a microSD card.

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.

Seemingly, there is a bit of a lull in action camera innovation. One might argue that not much has changed since Insta360 launched its Leica co-branded Ace Pro camera, which was the company's first GoPro-esque model with 4K resolution and a flip-out display.

Shop all Insta360 deals on Amazon

It has now been superseded by the Ace Pro 2, but if there is anything we learned from the recent Artemis II NASA mission, it is that you don't need the latest camera gear to take amazing photos (being in space helps, though). The Ace Pro is currently 30% off at Amazon, the cheapest it's ever been!

The Insta360 Ace Pro is a flagship action camera designed to rival GoPro and DJI, with a strong focus on image quality and AI-assisted shooting.

It uses a comparatively large 1/1.3-inch sensor paired with a Leica-engineered lens, helping it capture more light and improve dynamic range, especially in low-light conditions.

Video is a headline feature, with support for 8K at 24fps, alongside 4K at up to 120fps and 1080p at 240fps for slow motion. Still images top out at 48MP, and the camera supports RAW shooting.

A standout design element is the 2.4-inch flip touchscreen, which makes framing yourself far easier than on most fixed-screen action cams. It also features Insta360’s FlowState stabilisation and Horizon Lock, plus AI tools like Highlights Assistant and low-light “PureVideo” mode.

Other key specs include waterproofing to 10m, fast charging (80% in ~22 minutes), and a 1650mAh battery delivering up to ~90 minutes of 4K recording.

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.

Insta360 is busy launching a million new products in the near future, branching out into new categories, but for now, the brand is best known for its 360º action cameras. And the best of the bunch is X5, which just hit its lowest-ever price on Amazon.

Shop all Insta360 deals on Amazon

The camera already dropped to this price briefly in early March, but quickly shot back up to full price – until now. Fancy saving £95 on some top tech? Of course you are. Thanks to its replaceable lenses, the X5 is pretty family-friendly and can be used on holidays in the pool and the sea.

The Insta360 X5 is a flagship 360 action camera built around dual 1/1.28-inch sensors, delivering significantly improved low-light performance and dynamic range compared to previous models. It captures 8K 360° video at up to 30fps, alongside 5.7K at 60fps and 4K at up to 120fps for smooth slow motion.

Still photography tops out at 72MP 360 images, with Insta360’s PureShot and HDR processing enhancing detail and colour. The camera can also function as a traditional action cam via single-lens 4K60 shooting, adding versatility.

A standout feature is its replaceable lens system, improving durability for action use. It’s also waterproof to 15 metres, weighs around 200g, and features a 2.5-inch touchscreen.

Battery life is strong, offering up to 185 minutes in endurance mode, supported by a 2400mAh battery and fast charging.

AI-powered features like reframing, invisible selfie-stick effects, and advanced stabilisation round out a camera designed for creators who want flexibility without sacrificing image quality.

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.

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.

With the mercury starting to rise and the sun beginning to shine, there's one thing which every household needs – a Polaroid camera. Throughout the warmer months, you'll often find me with a model in hand, wandering around and capturing memories.

If you don't have one yet, fear not – Amazon currently has a killer deal on the Now+ Gen 3, which is one of the best entry-level models there is. You can pick it up for just £99 right now – saving £40!

The model in question is one of my top picks for anyone looking for their first instant camera. The classic Polaroid shape should make this nice and familiar in the hand, but that's not why it's my top recommendation.

For me, the real perk here is that is straddles the line between being feature packed and easy to use. While you can dive into the nitty gritty of exacting apertures, shutter speeds and the like – all via the accompanying app – there's no need to.

If you want it to, this camera can simply be a point and shoot option, which will be a big benefit for a lot of first time users. Having the ability to use it as both a point and shoot and as a more professional unit makes this a brilliant camera to grow into.

This particular model also comes in the Arctic Blue finish. That's a gorgeous colour, and is just made to accompany your brighter, warm-weather outfits.

The model is often quite a good value option anyway, but shaving an additional £40 from the purchase price makes this a real bargain. Simply add some Polaroid i-Type film and you're good to go!

We're all eagerly waiting for DJI to drop the successor to the Mini 4K later this week, but in the interim, let's not forget about deals on the brand's current-generation drones. Chiefly among these is the Neo 2 Fly More Combo offer below, which is the cheapest it's ever been.

Shop all DJI drone deals on Amazon

The DJI Neo 2 Motion Fly More Combo is a full FPV-ready bundle that includes the Neo 2 drone itself, the RC Motion 3 controller for one-handed, gesture-based flying, and the DJI Goggles N3 for an immersive first-person view.

Alongside the core kit, you also get three Intelligent Flight Batteries and a charging hub to extend your flying time, plus the necessary transmission module and spare propellers.

The DJI Neo 2 has a sub-250g frame (around 151g) with full propeller guards, making it safe and approachable for beginners while remaining highly portable.

It features a 12MP 1/2-inch CMOS sensor paired with a 2-axis gimbal and electronic stabilisation, capable of shooting up to 4K video at 60fps or 100fps for slow motion, alongside vertical video options for social media.

Flight performance is boosted by omnidirectional obstacle sensing, including LiDAR and infrared sensors, helping the drone avoid collisions and fly confidently indoors or outdoors. Intelligent features such as ActiveTrack, SelfieShot and gesture control enable hands-free shooting and subject tracking in multiple directions.

The drone also includes 49GB of internal storage, up to 19 minutes of flight time, and multiple control options, including smartphone, remote controller and FPV accessories.

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.

DJI is rumoured to be working on the successor to one of its more popular beginner drones, the Mini 4K, which might explain why Amazon keeps selling the drone at such a low price. It was £100 cheaper at the end of March, then jumped all the way back up to £329, but now the Mini 4K is down again to its all-time low price.

Whether the DJI Lito arrives anytime soon doesn't change the fact that this is a very good price for a drone that shoots 4K video and stays airborne for over 30 minutes. No wonder the Mini 4K has been selling like hotcakes over the years! So much drone for so little money.

DJI's tiny flyer shoots crisp 4K video at up to 30fps via a 1/2.3-inch sensor, with a three-axis mechanical gimbal keeping things steady when conditions get a bit breezy.

It also captures RAW stills, supports 4x digital zoom, and features DJI’s QuickShots modes, letting it pull off cinematic moves on its own. Each of the two included batteries offers up to 31 minutes of flight time, giving you plenty of airtime before needing to land.

DJI’s O2 transmission system maintains a solid connection, with a claimed range of up to 10km in optimal conditions.

Beginner-friendly features like one-tap takeoff, auto Return-to-Home, and stable hovering take the stress out of flying, while built-in panorama modes make it easy to capture wide, sweeping shots.

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.

Are you sitting comfortably on your booty? Welcome to T3’s ridiculously long review of the DJI Avata 360, a sensational but perplexing hybrid do-it-all FPV drone with an omnidirectional camera system that captures the world from a multitude of angles.

Coming hot on the heels of the similar Antigravity A1, the Avata 360 promises to shake up the drone world with its high-speed skyjinx and ability to be flown FPV-style using goggles or conventionally with a standard remote control.

Make no mistake, this is one of the best camera drones on the market right now – and one of the cheapest – but there’s a ton of stuff to unpack here, so bear with me. Are you sitting comftybold two-square on your botty? Then I’ll begin.

DJI Avata 360 review

Price and availability

The DJI Avata 360 is available from select UK online stores with prices starting at £409 for the drone alone to £829 for the Fly More Combo (details below). Your first port of call should be the DJI Store, hotly followed by Amazon and Heliguy, until it becomes available everywhere else.

As of writing, the DJI Avata 360 is not available from official DJI US web stores due to regulatory complications, but who knows what the future holds?

Specifications

• Weight: 455g
• Dimensions: 246×199×55.5 mm (L×W×H)
• Max speed: Normal 27mph (43kmh); Sport 40mph (64kmh)
• Max flight time: 23 mins
• Max flight distance: 8.3 miles (13.5km)
• Wind resistance: Level 5 (24mph)
• Camera sensors: Two 1/1.1-Inch square CMOS sensors
• Max aperture: f/1.9
• Max video resolution: 8K at 60fps
• Max image resolution: 120MP
• Image stabilisation: Single axis mechanical + digital
• Onboard storage: 42GB
• MicroSD card slot: Yes

Available combinations

The DJI Avata 360 is available in four packages. You can purchase the drone on its own (£409) and use it with any compatible controllers you already have, or you can opt for the Avata 360 with DJI RC2 screen-based controller (£639).

If you want to splash more cash, try the popular Fly More Combo (£829) comprising the Avata 360, DJI RC2 controller, three batteries, charging hub and excellent sling bag or, for FPV fans, the exhilarating Motion Fly More Combo (also £829), which comes with the Avata 360, three batteries and charging hub, along with DJI’s latest Goggles N3 and DJI RC Motion 3 hand controller.

In other words, a lot of options to suit a wide variety of pockets and pilots.

Set up

I received the full monty from DJI, comprising the standard Fly More Combo with drone, RC2 controller and spare batteries. I also received DJI’s latest Goggles N3 and DJI RC Motion 3 hand controller.

I have to admit that I was dreading the process of setting them all up at the same time, but after following the basic instructions for all three packages, it miraculously turned out to be much more straightforward than I had envisaged.

Setting up and binding the drone and RC2 controller to your account is very straightforward and involves linking the RC2 controller to your WiFi and following the onscreen steps. However, registering and linking the Goggles N3 and RC Motion 3 controller requires using the DJI Fly app and the included USB-C cable between the phone and the goggles.

I genuinely expected chaos to unfold during this process, but, against all odds, both the goggles and the Motion Controller somehow synced perfectly with the drone, and all was well. Until the slew of firmware updates came pouring in for every item I had on the desktop.

Most people would advise using DJI’s Assistant desktop software for the complex updating process, but I stuck to WiFi, knowing full well how long DJI updates can take to complete using this method.

Since the updating process can take over 40 minutes to complete in some instances and the drone may be sitting in an ‘on’ state on the table, I would advise having a fan blow some cool air over it because, while any drone will cool itself in flight through the simple physics of fast air running over its ventilation intakes, when it’s sat on a table for ages it can easily overheat and switch itself off or turn off some of its settings, and that could affect the updating process.

What’s so great about the DJI Avata 360?

Just like the land-based DJI Osmo 360 and Insta360 X5 cameras T3 has already reviewed, the new DJI Avata 360 is equipped with two opposing vertical fish-eye lenses that record a spherical 360˚ view of everything around the drone, whether it’s ahead, behind, above or below.

In fact, having given this little tyke a few spins, I’m of the opinion that 360˚ videography is way more suited to aerial use than it is on the ground, mostly because hitting the airspace opens a zillion more doors to one’s creativity.

So what’s the point of having a 360˚ drone like the Avata 360 or even the popular Antigravity A1? Post-reframing is the answer.

Where a conventional drone uses a single camera mounted to the nose of the craft and requires the pilot to be creative in the moment, framing from different angles and trying to get the money shot before the drone’s battery runs out of juice, with the Avata 360, you simply fly a similar course or trajectory without much care about actual framing.

This is because the footage that comes out of the Avata 360 doesn’t just cover what’s ahead of the camera, but almost every part of the sphere the drone is flying within.

When you put this footage into specialised software like DJI Studio, you’re presented with a wide-angle wall of warped imagery that you can scroll around and zoom into using the mouse on a laptop computer or your finger on a phone if using the DJI Fly app. It’s like spinning a world globe, only you’re on the inside.

In essence, once you’ve found a specific aerial scene you like, you can flatten the image so it looks like an ordinary drone shot and then use a series of keyframes to change perspective from a myriad of angles, just by scrolling across the screen and choosing the best vantage point.

I should point out that the Avata 360 can also be used in single-lens mode, which produces flattish 4K footage almost on par with the DJI Mini 5 Pro. However, because this drone doesn’t have a 3-axis mechanical gimbal, the horizon in single-camera mode tilts left and right as the drone moves around, just like an FPV drone. Bear this in mind in case you want to use it like a conventional drone.

Another brilliant facet of this drone is the way it can accurately replicate FPV footage, especially after you’ve spent some time key-framing the footage in post-production. For this effect, you can use either the RC hand controller or, better still, the optional Goggles N3 and RC Motion controller.

Take the classic diving-down-a-waterfall FPV shot, for instance. With an FPV drone, the pilot has to fly to the edge and execute an acrobatic half-roll and half-loop to enter a vertical dive. This is followed by setting the throttle to zero and using micro-adjustments on the controls to steer it down while the chaos of air currents threatens to pull the drone into the falling water.

It is one of the most difficult and disaster-courting manoeuvres in drone-land, but when well executed, the pilot gets a million Hail Marys on his or her social media feed. Job done.

Conversely, with the Avata 360, you simply engage Sport mode, hover while you get your bearings (try that with an FPV drone in manual mode) and bring the drone downwards before following the flow of water along the river. The Avata 360 doesn’t physically dive nose-first; instead, it drops down in its usual horizontal flying position.

However, because the two cameras are capturing everything around the drone, you can select the best shots in post production (whether viewing the scene from above or below the cameras) and, if necessary, speed up the footage and add motion blur to make it look like you’ve skilfully dived down the waterfall at 50mph. It’s shots like these that could feasibly spell the end of the conventional single-camera FPV drone as we know it and kick-start a whole new slew of 360 drones.

The Avata 360’s multitude of FPV-style uses doesn’t stop here because it also comes with an Easy ACRO mode, which can only be experienced when using goggles and the Motion controller. If you’ve ever tried flying an FPV drone in manual ACRO mode, you’ll know how impossible it is to get a handle on.

Well, Easy ACRO perfectly replicates the action of an FPV drone doing aerobatics, in some cases without actually performing any physical aerobatics itself. Instead, for some of the tricks it uses the dual cameras and nifty software manipulation to recreate the visual effect of the drone performing a selection of preset trick moves in real time: Slide, 180 Drift, Flip and Juke Roll, which is a mid-air flip from front facing to backwards. You should try them, it’s fun.

My personal favourite feature on the Avata 360 is Head Tracking mode. When wearing the Goggles N3 and using the RC Motion 3 controller, it’s like being in Metaverse, only everything you see is the real thing. As if standing in an air balloon basket, you can have the drone hover in one spot at your preferred altitude and simply look all around you.

It’s a brilliant feature for scanning an area or even flying over a dangerous glacier to see it close-up from the air by using the Motion controller’s zoom wheel. Magic. By the way, the Avata 360 also comes with the same selection of Quick Shots featured with most conventional DJI drones, plus all-important subject tracking.

If all of these amazing features tickle your fancy and you wish to explore the sensational and immersive joys of FPV-style flying, the DJI Avata 360 is about as good as it gets.

What’s not so great about the DJI Avata 360?

Make no mistake, the Avata 360 is a brilliant do-it-all camera drone that offers an endless amount of creative freedom, but I see it being more suited to social media creators, avid videographers, FPV fans or anyone adept at quickly learning how to operate new software.

If you already have a drone but rarely edit any of the clips it’s taken into a complete video or perhaps a casual camera phone user who just shoots family or holiday clips but always leaves them untouched in the phone’s photo library, the Avata 360 is probably not the drone for you, and you’d be much better served with a conventional model like the amazing DJI Flip.

As briefly explained above, the Avata 360 records an almost full sphere of imagery all at once, as if filmed using two fish-eye lenses that have been fused together. The trouble is, the footage it shoots has to be edited – or at the very least watched – using specialised software like DJI Studio because its OSV files are not recognised by normal editing platforms such as FinalCut Pro or Adobe Premiere, let alone any current photo library apps like Apple Photos or Google Photos.

Since the 360 method of videography transfers the creativity process from flying the drone to editing the footage on a desktop, laptop or phone, when you get back home after capturing all your lovely clips you have to launch the DJI Studio app and sift through acres of spherical footage within a single clip, choose a specific camera angle and create a series of key frames to hold the angle in position.

In some instances, a single clip just five seconds long may require several keyframes to either hold the camera’s perspective throughout the clip or change it so the subject is being viewed from a different angle.

To say this process is complex, comes with a very steep learning curve and is extremely time-consuming, is an understatement. Put another way, I have been shooting and editing conventional drone footage – including a raft of presentation videos for the real estate industry – since the first DJI Phantom was launched and, while the Avata 360 is capable of generating sensational footage that swirls and dives like a Peregrine Falcon, the act of pulling it off successfully in the final edit requires a lot of pernickety fiddling and that can take a lot of time.

When I’m shooting with a conventional camera drone, I know exactly what kind of shots I want at that very moment, and I simply make two or three passes from slightly different angles using subtle stick control and a light touch on the camera’s gimbal wheel until I’m happy with what I’ve got in the can.

When I get home, I throw the universally compatible MOV or MP4 footage files into Final Cut – or any other editing app – edit the clips together, add a bit of colour grading, and the job’s done. I’d say the whole process of flying to a completed video edit using a conventional drone is nearly three times faster than when I’ve used the 360 method.

Although the resolution of the footage coming out of the Avata 360 is in a whopping 8K, when you flatten the imagery in DJI Studio and start selecting and zooming into specific perspectives, the resolution is reduced to 4K and even 1080p if zoomed in closer on a subject.

You won’t see any reduction in quality when the finished video is viewed on a phone or tablet, but you may notice some artefacts and a noticeable softening of the image when pixel-peeping on a desktop monitor.

Also, since 360 cameras stitch two half spheres together using software trickery, you might occasionally notice a wobbly, jelly-like band across the centre of the frame. DJI Studio comes with three stitching optimisation plug-ins that help smooth out some but not all stitching issues.

Another thing I’ve noticed when editing with DJI Studio is how processor-intensive the program is when editing a load of 8K footage. Although the file sizes don’t appear to be any larger than standard 4K files, my two-year-old MacBook Air M3 experienced some serious lagging issues, which made the clips I was viewing jerk across the screen.

And this anomaly suggests to me that you may require a very decent, up-to-date computer for the editing process. I also find DJI Studio quite glitchy when editing, with some annoying workflow anomalies.

Aside from the above-mentioned disadvantages, one of the most annoying things about the Avata 360 is its noise. And I mean a right old racket that’s so shrill it can be heard from around 150m away.

The reason for this is that its propellers are much smaller than, say, the DJI Mini 4 Pro, which can’t be heard at all beyond just 30 or 40m. If you don’t want to draw attention to yourself, this may not be the drone for you.

Now I know that there are quite a few negatives in this paragraph but, as an experienced drone flyer who has reviewed almost every model in DJI’s incredible fleet, I’m mindful that this unique and extremely capable model may be a tad too complex and the required editing process too long-winded for some casual users who may be overly flattered by the all-singing, all-dancing 360 moniker.

Hence, for newbie pilots and those who rarely edit their footage, I would instead consider one of DJI’s conventional drones, like the similarly-priced DJI Mini 5 Pro or the aforementioned DJI Flip.

Drone design and features

I’ll come straight to the point – DJI is unequivocally the world’s best consumer drone manufacturer and one of the leading lights in commercial drone production for agriculture, rescue and surveying. If anyone asks me which drone they should buy, I simply say ‘anything by DJI’.

Even if the Chinese behemoth is initially beaten out of the blocks by other manufacturers like Zero Zero with the HoverAir X1 or Antigravity’s A1, the sheer weight of DJI’s long-term expertise and immense marketing clout ensures that it always comes out on top. Well, here’s another one to add to its roster of remarkable sky machines.

The new Avata 360 is unlike any other DJI drone, and while it isn’t necessarily the most suitable model for some, it definitely deserves its own pigeon hole, mostly because it’s so different to anything else in the company’s fleet. Think cinewhoop-style FPV on steroids.

Instead of having a single front-mounted camera, this one has two vertical fish-eye cameras, and they point away from each other to capture a full sphere of imagery. These cameras are mounted to a single-axis gimbal, so all stabilisation is performed digitally. This also means that even when using single-lens mode, the footage shot will follow the craft's roll as it turns left or right.

The key takeaway here is that, unlike a conventional drone which requires the user to carefully compose a shot while the drone is in the air, with the Avata 360 you can roughly point its twin fish-eye cameras at a subject, hit record and when you get home watch the clip from a myriad of angles using DJI’s specialised DJI Studio editing software, which allows you to choose any perspective or camera angle you want for your final edited video.

The Avata 360 weighs in at 455g, and that means it requires a CAA Operator ID (for the owner/controller) and a Flyer ID for the pilot. At 246×199×55.5mm, the Avata 360 cannot be folded, so it won’t fit in a pocket, but thankfully, the Fly More Combo comes with a great shoulder bag.

Regarding its flight specs, the Avata 360 has a maximum speed of 27mph (43kmh) in Normal mode and a spritely 40mph (64kmh) in Sport mode, with a maximum flight distance of 8.3 miles (13.5km) and a flight time of 23 minutes per battery. It’s also good to fly in winds up to Level 5 (24mph/38kmh).

As a safety measure, the Avata 360’s four small props are encased in a tough cage that protects the drone in flight while also making it much safer to fly within the vicinity of people. It also comes with confidence-inspiring omnidirectional obstacle avoidance when flown in 360 mode – in single camera mode, it only has forward obstacle avoidance – and a precision Return to Home function.

Goggles N3 and RC Motion 3 controller

For those who wish to enjoy a full immersive in-flight experience or fancy flying the Avata 360 in true FPV-style, it is also available to purchase with DJI’s new Goggles N3 and RC Motion 3 controller (both models are also available separately).

Believe me, flying FPV-style while wearing goggles provides a whole new level of wow factor that’s akin to wearing a VR headset. It genuinely allows you to view the world as a bird sees it – while keeping your feet safely on the ground.

The Goggles N3 are the latest in the DJI lineup, and they don’t require any eye focus adjustment because there’s space on the inside to accommodate your reading glasses. Simply adjust the head strap with an integral battery for comfort and go flying. However, since my face is thin, I did find that the goggles pressed down on the bridge of my nose, which prevented me from wearing them for long periods of time.

I must add at this point that the law requires having a second person alongside as a spotter whenever flying a drone with goggles of any kind. Hence, I would think carefully about who you could call on to spend time watching the drone while you enjoy yourself flying it.

The best way to use the goggles is in conjunction with DJI’s clever Motion 3 Controller, though there is a learning curve attached to this, too. The Motion 3 steers the drone mostly by hand movement, though it is also equipped with a tiny joystick for up, down and lateral movement.

To use, push the mini thumb stick up, and the drone will ascend. Now gently pull the acceleration trigger, and the drone will move forward – a circular dot in the centre of the screen makes it very easy to aim the drone at a particular subject.

Likewise, to go left or right, just tilt your hand in the direction you want the drone to go. Finally, to lower the altitude, pull back on the joystick, and if you need to perform an emergency brake, tap the top orange button. You can also fly backwards with this controller by pushing forward on the trigger.

The Motion 3 Controller feels extremely comfortable in the hand, and all buttons and control sticks are well-positioned and differently textured so you can easily find them while wearing goggles.

Flight performance

As with absolutely every drone in the DJI roster, the Avata 360 is an unbridled joy to fly. Everything is butter smooth, reliable and confidence-inspiring.

Honestly, any nervousness you might feel when putting it on its accompanying launch pad evaporates the moment it lifts off. It’s also extremely fast and it swoops and dives like a dragonfly on steroids, making it a perfect drone for darting around obstacles, which is what FPV is all about.

Camera features and performance

As already mentioned, the Avata 360 comes with two cameras: one above and one below. When in standby mode, one lens points forward and the other to the rear. This is because the drone actually rests on the camera housing prior to take off.

However, as soon as it’s in the air, the lens mount swivels so its lenses are pointing up and down. Thankfully, DJI provides optional lenses that can be easily fitted by the user should either lens sustain damage in flight or on the ground.

The Avata 360’s dual cameras are equipped with a 1/1.1-inch square CMOS sensor in each, delivering crisp 8K spherical footage, even in very low-light conditions. Each f/1.9 lens has a super-wide 200˚ field of view with a 20˚ overlap between the two cameras, where the software stitches both half spheres together.

As a result, you may see some tell-tale signs of stitching which manifests itself as a wobble across the centre line. This anomaly is more noticeable when shooting a subject up close or occasionally when filming vertical objects like statues, buildings, etc.

In maximum 8K resolution mode, both cameras sport a variety of frame rates from 24fps to 60fps, while their 2.7K setting provides even faster frame rates of up to 120fps. Just remember that when you select a specific scene and flatten it in post-production, the resolution of the clip is reduced to 4K and 1080p if you’ve zoomed in closer.

The Avata 360 also comes with a simple Panoramic mode and a tranche of standard Quick Shots like Dronie, Helix, Circle, Boomerang, Rotate and Rocket. However, these Quick Shots aren’t available in single lens mode, at least not yet. For video and stills recording, the Avata 360 comes with an ample 42GB of onboard storage along with a sealed MicroSD card slot.

I’ve been very impressed with the footage from this little drone though I’m not sure it would replace my Mini 4 Pro anytime soon, and for a number of reasons. Firstly, the Avata 360 relies on electronic image stabilisation and its housing only has one axis, as opposed to the Mini 4 Pro which uses a mechanical three-axis gimbal for a rock-steady horizon even when the drone’s turning or battling against a cross wind.

Even in single-camera mode, the Avata 360’s footage rolls with the pitch of the drone, making the horizon tilt from side to side, which is great for FPV but not traditional cinematography. Also, I have found that the Avata 360’s images – specifically the outer edges of the frame when viewed on a large laptop or desktop computer – are less sharply detailed, especially when shot from higher altitudes.

In a nutshell, the Avata 360 is a specialised hybrid designed for speedy 360-degree capture to the tune of a Death Metal soundtrack, while the Mini 4 Pro, and others like it, are precision aerial tools designed for capturing languorous cinematic scenes to the sound of Chopin. Take your pick.

Verdict

The DJI Avata 360 is one of the most innovative FPV-style drones you can buy. It captures immersive 8K 360˚ video, allowing creators to reframe shots after filming for maximum flexibility while its robust cinewhoop-inspired design, obstacle sensing and intuitive controls make it great fun to fly. With prices ranging between £409–£829 depending on the bundle, this drone really is amazing value.

However, it may not suit everyone since 360 footage requires complex, time-consuming editing and up-to-date hardware, while the final reframed video can be less sharp than a traditional camera drone and occasionally spoiled by poor image stitching.

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.