Aura Carver Mat: Two-minute review

Aura is a well-known name in our best digital photo frames guide, regularly making an appearance. A leading name in home displays, the brand is responsible for the budget-friendly Aura Carver. The Aura Carver Mat on review here shares many similarities with the regular Carver, only it comes with a more classic finish.  

It's a tablet-sized 10.1-inch display designed to sit on a sideboard rather than being mounted to a wall, featuring an approximate half-inch border that takes the total diagonal dimension up to 10.5 inches.

I prefer the classic-frame look of the Carver Mat over the Carver – it's super-slick and looks the part positioned on anything from a desk to a bookshelf or a piano. The ridged frame of the Carver, on the other hand, looks cheaper in my opinion.

The quality of the Carver Mat's 16:10 aspect display is superb. Photos are punchy in dim light and natural in daylight, with the 1280 x 800-pixel display rendering crisp detail. However, there are two things that make other frames a more tempting proposition, including Aura's own Mason frame. First, the display is landscape format only, and second, the optimum viewing angle is narrow. 

I'll discuss those to limitations further down; but in every other regard, the Carver Mat is a gorgeous little frame that's super easy to use, and even allows you to share photos with loved ones, who can upload their own photos onto the frame remotely through Aura's slick app. 

The Carver Mat is a hit in the looks department and in terms of user experience; it's just a shame that it's limited to landscape format viewing.

Aura Carver Mat: design

• Well built and a classic look to suit many a home
• Landscape format only
• Neat touch bar panel

The Aura Carver Mat frame is superbly crafted with its matte-black frame and white border, while its generous 10.1-inch display is of a size that many people will be familiar, given its dimensions are roughly the same as the classic iPad, if a little smaller.

It features a thicker underside so it can stand up independently, although therein lies its fundamental design flaw: the Carver Mat can only be positioned in landscape format. In 2024, when so many images are shot in portrait format, particularly on phones, the Carver Mat's design feels particularly limiting. 

You can display portrait format pictures on the Carver Mat, but they won't fill the frame. Other models, such as Aura's own Mason and Walden models, allow you to flip the frame between landscape and portrait format and use the whole display; the Mason is only a fraction pricier than the Carver Mat, which makes it the better choice.

Aura frames feature a neat touch bar panel – here, on the top of the frame – that allows you to turn the frame on and off and includes functions such as swipe to next image, plus press and hold to reveal image information such as who uploaded the picture.

Elsewhere, I welcome the choice of power cable – it has a cream-colored fabric exterior that will easily blend into the background of many a home's decor. An ugly trailing cable along a wall or a side could have proved an eyesore. 

Getting started with the frame is fool-proof. You download the free Aura app, which is available for both iOS and Android devices, follow the pairing instructions to become a "member" and, once you're connected to the frame, you can start uploading images from your phone / tablet's gallery. 

Multiple Aura frames can be added to your Aura app, and you can invite family and friends as members to upload images to the frame, too. 

The whole image upload experience is seamless, and the collaborative aspect is superb, too, making Aura frames a brilliant gift. For example, as a member, I could upload the latest photos of my kids to my parent's Aura frame from anywhere with an internet connection. 

Aura Carver Mat: performance

• Crisp and natural-looking display
• Decent for daylight and night-time viewing
• Narrow viewing angle

So how good is the display itself? Well, the 16:10 aspect display has a resolution of 1280 x 800 pixels, which is roughly 150 pixels per inch. That's a decent enough display, rendering crisp detail when viewed from an optimum distance of around a few feet away. 

The display itself has a glossy finish and suffers from reflections, more so than the Aura Walden. If you look at the two images below, you can see the difference when viewing the Carver Mat straight on or to the side – position yourself at an angle and reflections can impede clear viewing. 

In addition, at night when the backlit display is luminous, it loses its luminosity when viewed from an angle. Again, for the brightest and punchiest viewing experience, you'll need to be straight on to the frame. 

Otherwise, there's little else to say – the Carver Mat packs good detail with punchy and faithful colors, while it's simple to modify the images that are on display and for what length of time through the app, although you'll need to edit your images to taste before importing them. 

Aura Carver Mat: price and release date

• Available in the US and UK for $179 / £179
• Look out for deals 

The Aura Carver Mat is available now and costs $179 / £179 on the Aura website – although, at the time of writing, it's reduced to $149 in the US. 

US and UK shipping is free. The Carver Mat is also available in Canada, France and Germany, although it isn't currently available in Australia.

Aura Carver Mat: should I buy?

Buy it if...

Don't buy it if...

Aura Carver Mat: How I tested

• A long-term fixture at home
• Image uploads through the Aura Android app
• Viewed in daylight and at night

The Aura Carver Mat has been living in my home for a couple of months at the time of writing this review, positioned on a window-lit sideboard. The display is mains-powered and is automatically active during daylight hours, and automatically powers off when it's dark to conserve power. 

I’ve uploaded digital photos through the Android version of Aura's app – although, sadly, the frame is limited to landscape format orientation. I've scrolled through the gallery of images using the frame's touch panel and have regularly updated the images in the gallery through the app. 

I’ve checked out the quality of the display in daylight and at night, from close-up and from far away, straight on and from the side to check the viewing angles and also if the frame suffers from reflections. 

• First reviewed May 2024

Fujifilm Instax mini 99: One-minute review

The Instax mini 99 is the latest addition to the ever-growing and evolving Fujifilm Instax family. It's a delightful addition to the range, too, and likely to seduce photographers beyond the ‘typical’ Instax crowd, along with anyone with a keen interest in instant photography. Its design, vibe and feature set feel inherently more ‘photographic’ and less ‘toy-like’ than some other Instax cameras. 

Not only does it look more serious than its brightly colored cousins, but its range of extra controls and funky effects add to the creative possibilities. You have the option to tweak exposure using the Brightness dial, along with a modest selection of shooting modes such as Sports Mode, Bulb Mode (for long exposures) and even Double Exposure, and the Instax mini 99 really comes into its own with a palette of cool color effects, adding funky hues to your prints by exposing the Fujifilm Instax mini Film to LED lights in the camera.

However, while initially seduced, I can't see a compelling reason why I wouldn't plump for a digital hybrid instant camera, such as the slightly more expensive Fujifilm Instax mini Evo, or even the comparatively priced Fujifilm Instax LiPlay. While the Instax 99 might tick the analog box for ‘purists, it’s the tangible-ness of the print that entices me to the Instax cameras, and not necessarily how I got there. The digital hybrids allow for a little less guesswork and, as such, are a more economical option in the long run.

Fujifilm Instax mini 99: design

• Classic retro look
• Lens with a macro mode but no selfie mirror
• Rechargeable lithium-ion battery

The overall design, aesthetics and ergonomics of the Instax mini 99 are lovely. It feels slick and stylish, and it will appeal to ‘photography’ folk more than some of the youth-oriented lollipop color palettes of other instant cameras in the Instax family. It's solid but not too heavy, and it feels well made and balanced in the hand.

You switch on the Instax mini 99 by twisting the lens, and the camera’s three shooting modes – Landscape, Standard, and Macro Focus – are also accessible by twisting the lens. Landscape Mode focuses on subjects positioned at a distance of 3.0m to infinity; Macro Mode is perfect for close-ups and selfies taken at between 0.3m to 0.6m, and Standard Mode covers everything in between. Once the camera was on, I repeatedly forgot to change the lens settings; fortunately, defaulting to Standard seemed to cover most subjects well enough.

The Fujifilm Instax mini 99 is powered by a 680mAh lithium-ion battery, unlike some other Instax models, which use AA batteries. Annoyingly, though, the battery can't be charged through the camera, and you’ll need to remember to take the small charger and USB-C cable with you. This isn't necessarily a hassle, but it is yet another charging accessory to potentially forget, and you’ll be in a real pickle without it.

While I’m no stranger to being aware of and dealing with parallax, it seemed harder to calibrate my eye/brain with the Instax mini 99. I guess with more time this would become less of an issue, but the difference of view between the lens and viewfinder seemed especially displaced. The viewfinder, too, felt strangely awkward to look through at first.

The Instax mini 99 is not aimed as directly at the ‘selfie’ audience as other members of Fujfilm Instax family, such as the brightly colored Instax Mini 12; that said, it wouldn’t have been a stretch for Fujifilm to have included a front-facing mirror to help users compose and pose for some more accurate naval-gazing. 

Fujifilm Instax mini 99: Performance

• Manual control over brightness
• Fun shooting modes including multiple exposure and color effects
• Handy Instax UP! app to digitize your prints

Unlike other cameras in the Instax range, the Fujfilm Instax mini 99 gives you considerably more control over image brightness, which is great. The Brightness Control dial, which looks and feels like a typical exposure compensation dial (it’s even in the ‘right’ place on the top plate), offers five levels of dark and lightness: the Light (L+) setting selects the brightest exposure; the L, D, and N settings offer a normal range of brightness; and the Dark (D-) setting represents the darkest available brightness level. However, you’ve got to wait 90-odd seconds to see and to assess exposure, which can be frustrating. However, this is really just part of the slow, mindful, creative experience, which is fundamentally a good, albeit a relatively expensive, thing. Generally, in ‘normal’ conditions, I found ‘underexposing’ by one value to work best.

The Instax mini 99 comes into its own with some fun and funky shooting modes, with a wide variety of options to enhance the shooting experience. Indoor Mode is designed for low-light situations, Sports Mode increases the shutter speed for action shots, Double Exposure Mode lets the user combine two images into one, and Bulb Mode increases the amount of light let in when shooting a night view, for example. I gravitated to Multiple Exposure as the most potential fun, but I ran out of Instax mini color film before I’d nailed the technique.

When you want to really flex your creative muscles, the Instax mini 99 features a cool creative palette of fun and funky color effects, which are accessed via the Effects dial on the top plate. You can select from one of six snazzy looks: Faded Green, Warm Tone, Light Blue, Soft Magenta, Sepia, and Light Leak. Light Leak was my favorite. 

Unlike the Instax mini 99’s hybrid digital cousins, the effects are cleverly driven by LED lights inside the camera; the Colour Effect feature exposes the chosen color onto the Instax mini instant film, creating the desired effect on the print. It's pretty clever, and very cool. The effects are marginally cooler than similar ‘emulated’ effects on some of the Instax digital hybrid cameras; it's only a small margin, but you will bag more analogue kudos points.

The Vignette switch is an interesting new function. Located on the lens housing, it can darken the corners and edges of the frame for artistic purposes. It’s a nice touch.

Making instant prints will always be more expensive, period. That said, Instax mini prints do offer the best value for money. A twin-pack of Instax mini color film, each containing 10 exposures, costs $20.99 / £14.99 / AU$28, and in this digital day and age it’s making an actual physical print that makes Instax such a delight. However, if you want to digitize your instant photo print, you can scan and share on social media platforms using (another) new app released by Fujifilm called INSTAX UP! The smartphone app most usefully allows you to scan your work, crop to the corners, and even remove reflections. It also has a bunch of album features, enabling users to organize, store, and share their digital Instax photos. I found the scanning feature the most useful.

Should I buy the Fujifilm Instax mini 99?

Buy it if...

Don't buy it if...

How I tested the Fujifilm Instax mini 99

• I used two packs of Instax Mini film
• I tried all the creative color effects
• I experimented with the Shooting Modes

Using the Fujifilm Instax camera for a week with two packs (20 shots) of Instax mini film, I carried the camera with me on several walks in and around my local area - South-West UK. Unlike its digital hybrid cousins, such as the Instax Evo, I had to be more considerate, mindful, and measured in my shooting, as every click of the shutter cost money. This slightly discouraged the spirit of experimentation, and every action was tinged with economic anxiety. Just like life! That said, working on location and waiting 90 seconds to see results was also a refreshing and exhilarating way to work in the field. It encouraged a slow and considerate approach to photography, which I think is good.

First reviewed May 2024

Sony FE 16-25mm F2.8 G: two-minute review

Cameras are getting smaller, but lenses – especially zoom lenses – appear to be getting bigger. It’s normal now to be shooting with a mirrorless camera with a compact body but a big, hefty standard zoom that makes it feel front-heavy and unbalanced. 

Sony, however, has started turning its attention to more compact lens designs, refusing to compromise on performance but instead sacrificing a little focal length or zoom range in exchange for smaller, lighter and perhaps cheaper optics.

The Sony FE 16-25mm F2.8 G is an excellent example. It has the same constant f/2.8 maximum aperture as Sony’s flagship FE 16-35mm f/2.8 G Master II lens, but in a smaller, lighter design that’s also little more than half the price. It doesn’t have that premium G Master label, but Sony’s regular ‘G’ lenses are now so advanced, both optically, physically and in AF technology, that it’s getting increasingly hard to see a difference.

The one compromise in the FE 16-25mm F2.8 G is its focal range. Most lenses in this category are 16-35mm zooms, but this lens stops at a maximum focal length of 25mm. It covers the same ultra-wide angles of view, but is less versatile if you need a more general semi-wide angle of view.

Does this matter? On paper it gives the FE 16-25mm F2.8 G an almost laughably limited 1.6x zoom range, but in practice that may be all you need in an ultra-wide zoom. Whether it's landscapes, architecture or interiors, you're very often going to be shooting in this narrow focal range. If you’re also carrying a regular 24-70mm, 24-105mm or Sony’s new FE 24-50mm f/2.8 G lens, it just means you’ll swap to your standard zoom sooner. You’ll get the same overall focal range from a wide/standard lens combination, just with less overlap in focal lengths.

So is the size saving worth losing that extra focal range. Sort of. The FE 16-25mm F2.8 G is certainly smaller and lighter than a regular 16-35mm f/2.8 lens, but it’s still not exactly small. I tested it on a Sony A7C II, and it still felt pretty big on that. It would balance nicely on a regular A7 body, though.

Sony FE 16-25mm F2.8 G: price and release date

At the time of writing, the Sony FE 16-25mm F2.8 G is on pre-order, but with supplies expected around May 10th – so by the time you’re reading this, it’s probably available amongst the major resellers. The US price is around $1,198, in the UK it’s £1,249, while in Australia it's AU$2,189. You wouldn’t call it a cheap lens, but it’s way cheaper than Sony’s other constant f/2.8 ultra-wide G Master zooms. 

It looks very good value for an own-brand lens with a sophisticated optical construction, fast and silent dual linear AF motors and excellent external controls. It’s also weather-sealed with a fluorine-coated front element to repel oil, grease and water.

Sony FE 16-25mm F2.8 G: design

Sony certainly hasn’t stinted on build quality and controls. This lens uses ‘engineering plastics’ to keep the weight down, but there’s no harm in that and the finish is excellent. The aperture control ring is first rate too, with firm and positive clicks between each 1/3 aperture setting and an extra firm detent at f/22 to switch it to auto aperture control. 

If you’re shooting video and changing aperture/iris settings while filming, you can use a Click On/Off switch on the underside to enable stepless silent aperture adjustment.

Focusing is so fast as to be practically instantaneous, and silent too. This is where you’re likely to notice most difference between Sony’s newer own-brand lenses and cheaper third-party alternatives. There’s a slightly stiff AF/MF switch on the barrel, and in manual focus mode the focus ring at the front of the lens feels a fraction light but offers progressive and accurate focus control.

This lens is compatible with Sony’s focus breathing compensation mode, depending on the camera you’re using. The focus breathing doesn’t seem particularly strong, though objects do appear to grow somewhat smaller as they go out of focus. 

There’s one other external feature worth highlighting – the FE 16-25mm F2.8 G has a very compact front element that doesn’t protrude, so it’s perfectly possible to attach regular filters and it has a pretty common 67mm filter thread, so you may not have to buy any outsize filters just for this lens.

Focusing is full internal, and while there is a change in the length as you zoom from one end of the range to the other, it’s only a few millimeters, so if you’re balancing a gimbal you probably only need to do it once and not keep changing it for different zoom settings.

The limitations of this lens's focal range are obvious, but its build quality, handling, features and performance are a pleasant surprise, and it certainly feels as if you're getting your money's worth.

Sony FE 16-25mm F2.8 G: sample images

Should I buy the Sony FE 16-25mm F2.8 G?

Buy it if...

Don't buy it if...

How I tested the Sony FE 16-25mm F2.8 G

The weather was not kind during testing, so I mixed indoor and outdoor shots. The indoor shots were good for checking angles, of view, distortion and close focusing capability, while the outdoor shots were at a motorcycle meet that tested the practicality of this 16-25mm zoom range for this kind of walkaround shooting. I also did a brick wall test at both ends of the zoom range to check for optical quality across the aperture range.

I also paid attention to the autofocus performance, both for speed and silence, to see how effective Sony’s dual linear motor setup actually is, and I paid particular attention to the feel and operation of the external controls, as these are a significant selling point for this lens.

I also wanted to find out how the Sony FE 16-25mm F2.8 G handled on the smaller A7C series body (OK, as it happens), whether it was especially nose-heavy on a tripod and how easy it was to balance on a gimbal. My Ronin SC had a long enough camera plate and fore-aft adjustment to cope easily, and the very small lens extension when zooming meant no rebalancing was necessary.

• First reviewed May 2024

Two-minute review

Nikon's Nikkor Z 40mm f/2 is one of two lightweight, inexpensive prime lenses for the Z-mount - the other being the wider 28mm f/2.8. 

At 40mm, it’s currently the closest match to the ‘nifty fifty’ lenses of old, aiming to provide a lightweight lens with a compact footprint, flexible focal length, and a relatively fast aperture. Above all, it’s cheap - really cheap for a proprietary lens sitting at just £259 / $289 /AU$310 new. Compared to the Nikon S 50mm f/1.8 or the S 35mm f/1.8, the 40mm comes in at under half the price while still offering some form of weather sealing and excellent performance.

Optically, this lens has a few idiosyncrasies - namely corner sharpness and coma - but the 40mm is innately usable in a wide range of situations. It’s wide enough for some landscapes and close enough for most portraits. Personally, I find the 40mm focal length more usable than 50mm for a walkabout lens - and f/2 is plenty outside of extreme situations.

I tested on a full-frame Nikon Z6 but the lens is also compatible with the 'DX' APS-C Nikon Z-mount cameras. In this case, the focal length becomes 60mm. It’s getting into portrait lens territory for APS-C here although it would also be a good choice for a shy street photographer who wants some distance from their subject.

Nikon Z 40mm f/2: design

The Nikon Z 40mm f/2 features an entirely plastic build that feels well engineered and deceptively robust in the hand. Overall, it’s a solid and well put together lens but the plastic thread and mount do cheapen the overall feel somewhat. You’re never tricked into thinking this is a premium lens, even though its output is excellent. 

The Nikon Z 40mm f/2 is, however, extremely light - weighing just 6oz / 170g. Pairing this lens up with my Nikon Z6 results in a package that weighs just over 21oz / 600g, which rivals crop sensor setups for sheer portability. While I’d never call this pairing ‘pocketable’, it’s a featherweight combination for a full-frame system and perfect for every day shooting.

And, I have to say - the 40mm pairs nicely with the Z6’s relatively minimalist, being workmanlike in its design since there are no external AF switches, custom control rings, or any other kind of outward flare to speak of. I'd say it looks decent enough on one of Nikon’s more modern bodies. Is it boring? Maybe, but it doesn't look out of place. 

It’s worth noting here that the Nikon Z 40mm f/2 comes in two variations - the standard version that I tested and a more retro-themed ‘SE’ variant. If you're looking for a prime to pair up with the much more old-school-looking Nikon Zf or Nikon Zfc then you'll want to make sure you're checking out the SE for maximum retro effect.

Neither variant ships with a first-party lens hood but both are dust and drip-resistant, which is a major selling point for a lens this inexpensive. In recent years, third-party manufacturers (most notably Viltrox) have started to offer compelling budget alternatives to entry-level first-party lenses but weather sealing is one area where most are severely lacking. And, I can personally attest that the splash resistance of this lens is fantastic - having been soaked from head to toe on Dartmoor during field testing.

Nikon Z 40mm f/2: performance

Thanks to built-in lens corrections on Z-mount bodies, you'll get extremely good results out of camera with the 40mm. For the price, the lens is impressively sharp even at f/2 and exhibits minimal chromatic aberration or vignetting. Flare is also controlled - despite this lens likely not featuring Nikon’s higher-end coatings. 

I’ve shot thousands of images with the 40mm and I’ve come to appreciate how it renders a scene. I've read some describe this lens as 'classic' in character and while its sharpness is certainly more akin to a modern lens, colors certainly do pop under the right circumstances. Bokeh-wise, the 40mm is also relatively circular/puffy in the center but becomes less bloomier and more defined around the edges. 

As with most lenses, the sharpness sweet spot for the 40mm is around f/5 to f/8 but even at these optimal apertures the 40mm is notably sharpest in the centre. Depending on what you're shooting the 40mm will exhibit some softness at the extreme corners - as with this sample image of a dock leaf taken at f/5.6.

Despite having a minimum focus distance of 11.8in / 30cm the lens is also quite soft when close focusing. You can narrow down the aperture for more sharpness but you’ll miss out on that creamy DoF (depth of field) up close, which means the 40mm can suffer for specialized applications like floral photography. Just below you can see a specific example of a flower taken at around a foot distance, where the focus point was set directly on the central bud.

The 40mm also exhibits some coma, which can result in noticeably smeared lights during night photography towards the extreme edges of the frame. In real-life testing, I found this to be an incredibly minor issue that only cropped up on a few niche cases such as the attached scene just below. Astrophotographers will likely skip this lens over in favor of the wider (and similarly priced) 28mm but note that this lens does feature some astigmatism if you're deadset on edge-to-edge clarity. 

That’s where my criticisms end, however. In practical use the 40mm performs admirably. Autofocus is extremely quick and minimal focus breathing means this is a versatile lens that can also handle video. Note, however, that my lens has a slight whirring sound when focusing - an absolute non-issue for me as a photographer but videographers may notice. I wouldn't rule out copy variation here since it's not a widely reported issue, though.

Nikon Z 40mm f/2: sample images

Should I buy the Nikon Z 40mm f/2?

Buy it if...

Don't buy it if...

How I tested the Nikon Z 40mm f/2

• Regular use for over a year and counting
• Used in fair and inclement weather
• Day and nighttime use

I've had the Nikon Z 40mm f/2 in my kit for over a year now; in which time I've used it extensively for general purpose photography both home and abroad. Subsequently, I've been able to thoroughly test the lens in a variety of situations to determine its strengths and weaknesses.

Since Nikon openly advertises this lens as weather-sealed, I've made sure to test this lens in adverse conditions, particularly in rainy environments. I've also extensively tested this lens at night, making use of its wide aperture of f/2. 

Insta360 X4: two-minute review

The best handheld 360-degree camera just got better with the latest iteration, the Insta360 X4. It builds on the X3, most notably bumping up the video resolution from 5.7K to 8K – and when we're talking about such a wide field of view from twin ultra-wide lenses, resolution matters.

8K video up to 30fps trickles down improved capabilities at lower resolutions, too, with 5.7K video up to 60fps and 4K video up to 100fps. The single-lens mode also gets a bump in frame rate, with 4K up to 60fps.

Video can be shot in a standard mode with choice of standard, vivid and flat color profiles, plus there's a HDR video option for increasing perceivable detail in bright highlights and dark shadows – something the X4's small 1/2-inch and high-resolution sensor otherwise struggles with.

With its improved capabilities, the X4 feels like a more versatile pocket camera. Like the X3 it offers neat video modes you don't get on the best camera phones, like a 360-degree field of view that enables a shoot-first reframe later way of shooting, and creative effects such as Bullet Time and hyperlapse, but it now also feels like a highly capable action camera, BTS and vlogging tool, and – particularly for motorcyclists – dash cam.

Video modes are supported by superb image stabilization that smooths out the shakes in your action footage, plus 360-degree horizon lock, which levels your edited footage when the camera rolls with the action.

Insta360's clever ‘invisible’ selfie stick allows you to film everything around you from a third-person view, whether it's mounted to bike handlebars or in the hand, while the extra-long selfie stick can give you a drone-like perspective. This is also a fully waterproof camera up to 33ft / 10m, so most experiences are covered.

We get a lovely new 2.5-inch touchscreen with tough Corning Gorilla Glass and simple interface, while a beefier battery has been squeezed into a body that’s roughly the same size as before, albeit around 10% heavier, and gives a huge bump in battery life.

The most capable rivals, such as the GoPro Max, Kandao Qoocam 8K, and Ricoh Theta X, are either dated or pricier – or both – and until they’re replaced, the X4 is 2024's unrivaled 360-degree camera, and could be the one extra pocket camera in addition to your smartphone that you choose for getaways, gatherings, and events. It handles superbly, and captures the kind of video footage you simply can't yet shoot with a phone.

Insta360 X4: price and availability

• Launched worldwide in April 2024
• Costs $499/ £499 / AU$879

The Insta360 X4 is available worldwide now following its April 16 announcement, and costs $499.99 / £499.99 / AU$879.99 – that's roughly a 10% markup from 2022's X3. Given inflation and the new camera’s improved capabilities, that price increase seems fair, although the X3 has fallen in price since its release, and will likely drop in price further following the X4’s launch, and is a compelling cost-effective alternative.

There are a host of optional accessories in the Insta360 ecosystem, including various selfie sticks (one of which is designed to enable you to capture ‘bullet time’ effects), mounts, and an underwater housing. In the box you get the X4's new detachable lens protectors (replacement protectors are available separately), while you'll need a microSD memory card to store photos and videos. The X4 is also available in various bundles that come with different accessories – visit the Insta360 store to see all the accessories on offer.

• Price score 4.5/5

Insta360 X4: design

• Slightly bigger and heavier than the X3
• Similar X3 design includes large touchscreen and 1/4-inch threaded port for a selfie stick
• Waterproof up to 10M
• New screw-on lens guards

The stick-like design of the Insta360 X4 is very similar to the X3, and that's a good thing, because the X3 is one of the most user-friendly 360-degree cameras available. Its grippy exterior is easy to hold, or you can attach one of Insta360's invisible selfie sticks using the threaded mount point on the bottom.

Twin bulbous ultra-wide lenses cover the entire 360-degree field of view – these are the part of the X4 that really needs protecting, and to that end the camera comes with ultra-light clear lens protectors that can be screwed on and off, whereas the X3 uses non-reusable sticky lens guards.

Build quality is superb: the camera is fully waterproof up to 33ft / 10m, with all ports rubber sealed (though I haven’t had the opportunity to test the waterproofing out properly, yet). You’ll know if the seals aren't fully locked, thereby compromising waterproofing, as the orange coloring inside the catch will be visible – a neat bit of design.

You get a USB-C port for connecting and charging the camera, plus a hefty 2,290mAh battery that can record for up to 135 minutes – that's a huge increase from the 81 minutes provided by the X3's 1,800mAh battery.

The X4 records onto microSD memory cards, and naturally, because of the waterproof design, the card slot is inside the camera's battery compartment rather than directly accessible outside, as is the case on the less-robust and action-averse DJI Osmo Pocket 3.

There's a slight increase in size from the X3, though it’s barely noticeable, plus a 10% increase in weight – the X4 weighs in at 7.16oz / 203g, and feels reassuringly solid for its diminutive size.

There are four direct physical controls around the camera: robust power and quick menu buttons on the side, plus shooting mode and record buttons under the generous 2.29-inch touchscreen. Most of the action happens through the responsive touchscreen.

By default the customizable options displayed on screen for quick access include the shooting mode and resolution settings, the lens, plus the lens perspective. At a push you can switch between viewing 360-degree footage from the front or rear lens (in the single-lens mode, this option selects the lens you're recording with).

The user interface is simple and quick to navigate, though a little keen to go idle – I've needed to reopen the menu many times to confirm video mode selections.

Physical controls are hard to access when the camera is out of reach on a selfie stick, and that's where voice and gesture controls come in. You can command the X4 to start and stop video recording – which proved super-handy when I had it mounted three meters above my head on the extra-large selfie stick, while a peace sign gesture will trigger the timer for taking photos. The mixture of audible and visual commands covers you in most scenarios, including underwater.

There's more to dig into by swiping the touchscreen. Flicking from right to left reveals exposure settings including color profile, while swiping left to right opens up your photo and video gallery for playback, and during playback you can swipe the screen to move around the 360-degree perspective.

Swiping down from the top of the screen opens up the main menu, through which you can activate and deactivate a number of controls such as gesture and voice commands, and connect to compatible Bluetooth-equipped devices such as headphones and remotes. You can also adjust the screen brightness here.

Explanatory on-screen text appears for most of the operational controls and shooting modes, which is super-handy when you’re getting started, especially for getting the most out of the shooting modes.

The X4 is designed to be used in vertical orientation, and as such your handling and viewing experience is largely in the 9:16 ratio and hardly sizeable. You can record in horizontal format using the single-lens mode, and there’s also a multi-aspect FreeMe mode where you can choose the aspect ratio, but overall the user experience is geared to content creators and mobile users familiar with the vertical format.

During recording, the X4 can get warm quickly, especially in the power-hungry high-resolution video modes. If you're using the X4 for shooting action, your movement will go some way to cooling the camera down, but if you're recording while largely stationary or in particularly warm environments, things can get moderately warm.

Overall, the X4 handles superbly for users of all experience levels and abilities.

• Design score: 5/5

Insta360 X4: features and performance

• Huge 135-minutes of recording time 
• Especially capable image stabilization
• Intuitive mobile editor
• Decent range of shooting modes

As already noted, the X4 has significantly better battery life than the X3, a camera that was already one of the best of its kind. The new 2290mAh battery betters the X3's 1800mAh unit, providing up to 135 minutes of recording time – that's 67% longer than the X3's 81 minutes.

To conserve power, the camera automatically switches off the display after recording for a certain time, which is necessary especially when you're recording videos over a long period, such as timelapses. Ultimately, I've been able to use the X4 heavily over the course of a day and still have juice left, and you can also charge the camera on the go via USB-C.

Aside from a sluggish startup time – you have to wait 2-3 seconds after pressing the ‘on’ button before you’re able to record – the X4 is a responsive camera in every way. Voice and gesture commands are fairly reliable, with the tally lamp confirming you're in business.

Insta360's FlowState image stabilization is superb. The ultra-wide perspective of the lenses provides plenty of latitude for applying stabilization, and also for the 360-degree Horizon Lock, which can level your footage when the camera is moving at all angles.

There are also plenty of shooting modes to have fun with – and having fun is one of the huge draws of the X4. I shot plenty of Bullet Time effect videos with the help of accessories supplied by Insta360 for this review – you attach the selfie stick to a mini tripod that doubles up as a handle, and then swing the selfie stick with attached X4 over your head – the technique takes a little practice.

Bullet Time shoots at 120fps, which marries up with the fast speed at which you swing the camera above your head to produce a 360 rotation with you at the center of the action.

Hyperlapse is designed for speed ramps when you're on the move – a fun effect for showing off new places – while timelapse is designed more for when the camera is stationary, such as capturing the transition from golden hour to nighttime.

Single-lens modes include the MeMode, with subject tracking that automatically keeps you (selfies) or your subject at the center of the action. FreeFrame is super-handy, too, providing an adjustable aspect ratio, so you can decide if you'd rather have a horizontal or vertical aspect for social later on.

There are too many modes to fully unpack here – suffice to say the Insta360 X4 combines a plethora of fun shooting modes with a simple user experience.

• Features and performance: 5/5

Insta360 X4: image and video quality

• 8K 360-degree video up to 30fps, with flat color profile and both H.265 and H.264 codecs
• Single-lens 4K video up 60fps 
• Slow-motion 100fps now in 4K

The Insta360 X4's headline feature is its 8K video recording, a bump from the 5.7K resolution of the X3. Given the particularly wide field of view of the twin lenses, the extra resolution gives you much greater flexibility when editing your 360-degree videos to focus in on key action areas, and detail looks nice and crisp from what I've seen so far.

There's also a greater range of frame rates, and you can record slow-motion video up to 100fps in 4K (the X3 recorded 100fps in 3K), and the single-lens mode can now shoot in 60fps where the X3 was limited to 30fps. This increased flexibility enables you to mix up the feel of your shots, and also makes you feel like the X4 is a competent standard action camera, especially with modes like FreeFrame, which enables you to mix up aspect ratios. 

The X4 isn't just a video camera, and can record 360-degree photos up to 72MP and 18MP HDR photos. Switch to the single-lens mode and photo resolution is 36MP, and there's an easy to set gesture-controlled timer for any photo mode, giving you time to get ready for your close-up.

The high-resolution 1/2-inch sensor is pushed to the limit indoors, and indeed in bright sunlight, especially when you consider that the X4 records everything around you, from bright sky to deep shadows.

As such, it's worth thinking through which video modes you'll use for scenes. HDR video captures more detail in bright highlights and deep shadows, with the downside being footage that looks visibly processed rather than natural. A decent alternative for those who don't mind editing is shooting in the Flat color profile, and then grading the footage afterwards. 

Like with most small-sensor cameras, the X4's image quality is crispest in bright light, while the camera and Insta360's software is working hard to reduce noise in low light.

First of all, you also get an on-screen recommendation to lower video resolution from 8K to 5.7K if the camera detects you're shooting in low light. Low light images look fairly clean after being processed through Insta360's mobile and desktop editors, albeit a little smudgy as a result of noise reduction.

However, I don't think the X4 is any worse than the X3 in low light, nor indeed any other 360-degree cameras. And given the added versatility gained with more pixels and higher-resolution video, the choice to go 8K is a resounding success.

• Image and video quality: 4.5/5

Insta360 X4: Sample videos

Insta360 X4: Test scorecard

Should I buy the Insta360 X4?

Buy it if...

Don't buy it if...

Insta360 X4: Also consider

If our Insta360 X4 review has inspired you to think about other options, here are two more cameras to consider…

How we tested the Insta360 X4

• Sporadic use over a few weeks
• Bike rides and vlogging in various lighting conditions
• Bullet time, hyperlapse, and regular video recording using a variety of color profiles and resolutions

We had our hands on the Insta360 X4 for several weeks before its official launch. Sadly we've not used it for the kind of adrenaline-filled extreme sports that you see in the launch videos, although it's still had extensive real-world testing. 

We've run it in 8K capture for long periods to test its power and stamina, used it for vlogging on the move, and for moderate sports such as road biking and running. We've tried out the various video resolutions, color profiles and HDR video capture to see how the small 8K sensor copes in bright and low light. 

The various video modes have been played with too, including bullet time and hyperlapse, plus we've taken still photos in the various options. 

First reviewed April 2024

Nons SL660 two-minute review

As TechRadar’s Cameras Editor I see all kinds of weird and wonderful devices for capturing stills and video, but just when I thought I’d seen it all, the Nons SL660 popped up in my YouTube feed and piqued my curiosity. It’s an instant camera, but not as we know it, being an angular hunk of metal – an SLR with passive Canon EF lens mount, that captures to readily available Fujifilm Instax Square film.

Nons makes two lenses that are directly compatible with the SL660’s Canon EF lens mount – a 35mm f/2.8 and a 50mm f/1.8 – plus a range lens adaptors for other popular SLR lens mounts, including Nikon F and Pentax K. When I requested a loan sample from Nons for this feature, I asked for the Canon EF to Nikon F adaptor because I own a few excellent Nikon lenses, including the full-frame Nikon 20mm f/2.8D AF.

There’s also a Nons SL645, camera, and the key difference between that model and the SL660 is that it records onto Instax Mini film instead. Personally, I much prefer the size of Instax Square prints (and the larger-still Polaroid film even more), so the SL660 was the obvious choice for review. 

Unlike most simple point-and-shoot instant cameras that only offer auto exposure, the Nons SL660 is SLR by design, and entirely manual in operation. You’ll need to select the shutter speed and lens aperture, with an exposure meter above the lens telling you what aperture to use with the selected shutter speed. Your frame is viewed through a pentaprism viewfinder, focus is manual, and you even have to manually eject the print when you’ve taken the shot – a feature that enables multi-exposure shooting. 

This is truly a photographer’s instant camera, and to that end you can swap lenses to mix up the type of shots you can make. It’s also one of, if not the most, expensive instant cameras available. It’s pricier because it’s made of tough metal and in smaller batches versus the standard plastic used in most other mass-produced instant cameras like the Fujifilm Instax SQ40; the Nons SL660 is an altogether different camera to those, and the high-end build quality goes some way towards justifying the significant outlay. 

The SL660 is a bulky and heavy instant camera, and the image quality it's capable of producing is ultimately limited by the Instax Square film it uses – you will, for example, need an ND filter in bright light. Despite its constraints, I'm charmed by it, and I suspect that of all the best instant cameras you can buy, the Nons SL660 is the one that photographer me will come back to again and again. 

Nons SL660: price and release date

The Nons SL660 camera alone costs $599 / £603 from the Nons website or from Amazon, and with its passive Canon EF lens mount it's best suited to manual-control Canon EF lenses. If you use modern Canon EF lenses you might sacrifice aperture control (if your lens doesn't have an aperture ring) and even manual focus control ('STM' lenses). You can also purchase the SL660 as a bundle with the 35mm f/2.8 lens for $709 / £717, with the 50mm f/1.8 lens for $649 / £660, or with any one of a number of lens adaptors for $609 / £615. This high-end pricing pits the SL660 firmly against the Polaroid I-2 – the two cameras are in a different league to point-and-shoot instant cameras. Pricing for the Nons SL645 starts at $539 / £541. We'll update this review if and when pricing and availability for Australia are confirmed.

Nons SL660: design

Images of the Nons SL660 online didn’t prepare me for what I set my eyes on when unboxing the gear – this looks like no other instant camera. It’s a love it or hate it brutalist block of aluminum with defined features: a genuine wooden grip, a crank to engage the viewfinder, a pronounced shutter button, and striking shutter speed dial. 

There’s an optical viewfinder with through-the-lens display, so the perspective is correct to the attached lens. The display is dim, but I like its grainy filmic quality. There’s a portion of your instant print that you don’t see through the viewfinder display – when shooting with the thick border at the bottom of your Instax Square print, the unseen section is to the left. It takes a couple of shots to get used to this, and thereafter you can factor this in to make the best possible composition.

To shoot the ‘correct’ way, with the thicker border positioned at the bottom of your print, you need to flip the camera 90 degrees with the grip at the top – vertical if you will – otherwise the thick border will be on the left-hand side of your print, which looks weird unless that’s your intention.

The Nons SL660 is powered by an internal battery topped up via USB-C (using the supplied USB-C to USB-A cable, not just any USB-C cable) and is rated for around 100 shots on a full charge. A tiny top LCD displays battery life along with the number of prints remaining in the inserted film pack (the shot counter failed in my review sample after a couple of packs of film), plus the aperture setting needed on your lens to get the correct exposure for the selected shutter speed, based on the camera's exposure metering.

If you're shooting in bright light you'll need an ND filter for your lens, or else your shots will be overexposed – a 3EV to 7EV variable ND is perfect. The Nons 35mm f/2.8 lens I had has a 52mm thread. Because the exposure meter is separate to the lens (ie., not TTL), you'll need to calculate the exposure settings based on the strength of the filter, or place it in front of the meter to get the reading first, and then attach it to the lens. The 'reflective' exposure meter calculates an evaluative reading for the whole frame.

By today’s standards the Nons SL660 is awkward to hold, and by heck is it chunky, primarily because it needs that extra depth for the Canon EF-mount flange focal distance. This is no pocket camera. It’s also a paradox – a custom-made one-of-a-kind feel, yet it captures onto the most popular and accessible instant film. I had several packs of regular Instax Square film for this review, and there are a few readily available alternatives, like a monochrome film, too.

Stylistically I like the pronounced shutter button. However, it’s all too easy to press it unintentionally, which results in a wasted print. I almost lost that screw-on button, too, as it unthreaded itself more than once. The reason that the button is detachable in the first place is to allow you to swap it out for a cable release for hands-free operation, which is neat, but a tighter thread is needed for a secure fix.

Nons SL660: performance

Long before I'd received the Nons SL660 or taken any shots with it, I had formed a certain expectation regarding the quality of instant prints it could make. After all, it comes with a proper Nons lens, plus, in my case, I can use it with some excellent Nikon lenses. Rival instant cameras like the Instax SQ40 are restricted to a built-in, low-cost lens. 

Surely, then, the instant photos made with the Nons SL660 would be superior to anything else before it? Well, yes and no. Despite the superior optics, we’re still shooting onto the same film type – an ISO800 stock with limited dynamic range. Also, the print area of Instax Square film only measures 62mm x 62mm, and so it’s hardly big enough to really show off lens quality. 

Rather than outright image quality, the real appeal of the SL660 over cheaper and simpler rivals, besides its unique design, is that you can swap out lenses and therefore mix up the focal length and perspective of your shots. Unfortunately, my telephoto macro lens for Nikon F-mount lacks an aperture ring, and I was unable to get a good shot with it. Get the right manual lens, however, and great fun can be had.  

Almost all the instant photos I took with the SL660 for this review were taken with the Nons 35mm f/2.8 lens. For full exposure control when adapting an alternative lens, like I did through the Nikon F-mount adaptor, you need a lens with aperture control. That counts out most modern DSLR lenses from Canon, Nikon and Pentax. When using a Nikon lens without an aperture ring, the aperture is automatically set to its smallest setting, while some Canon lenses are set to their widest aperture setting. (I also had a great struggle removing the adaptor ring from my Nikon lens after use.) Besides Nons' own lenses, an old Canon EF lens with aperture ring makes the most practical sense. 

To get prints with the correct brightness, I needed to experiment a little to understand the behaviour of the SL660’s auto-exposure metering. If you follow the suggested aperture settings to a tee, then prints tend to come out a little dark for my liking, but when I increased the exposure by around 1EV, by opening the aperture up or halving the shutter speed, the results were better. 

Apply this knowledge about the camera's exposure metering and most your shots will come out fine. However, alternatives like the Fujifilm Instax Square SQ40 shoot in auto-exposure only, with a built-in auto flash, and with those cameras you'll get fewer wasted prints. 

You also need to understand the limitations of Fujifilm Instax film. It has an ISO 800 sensitivity rating, which is bang on with the fastest possible 1/250 sec shutter speed and f/4 aperture (approx) when shooting in cloudy weather, but when the sun comes out you need to stop the aperture right down, to nearer f/22 or even beyond the limit of the lens.

I prefer the look when shooting with a wider aperture, not least to make subjects stand out better, but also in this case for a brighter and clearer view through the viewfinder (it gets dimmer as you reduce the aperture size), and so a ND filter is a must-have accessory – otherwise the SL660 is practically unusable in bright light. 

There’s also a hard limit on the dynamic range of the film – if you shoot scenes with high contrast, like a backlit portrait or a white overcast sky, you’ll need to choose between a brightness for highlights or shadows; you can’t have both. An ideal scenario is even lighting: soft sunlight on your subject and background, or at least a darker background so the subjects pops.

There's a standard hotshoe to attach an optional flash. Nons doesn't sell its own flash, nor did I use the SL660 with a flash for this review – that's a whole other creative technique I look forward to exploring with this camera. I’ve complained about certain Fujifilm Instax cameras with built-in flash in the past because some models auto-fire the flash for every photo you take, whether you need it or not. However, that’s a better option than the SL660, which has no built-in flash at all – at least you can cover an Instax camera's flash with your finger when it’s not needed. 

Once your shot is ready, you hard-press the eject button and out pops the print. This manual-eject control also enables a multi-exposure function. You’ll need to recalculate the correct exposure for each shot depending what’s in each frame, and the results can be excellent if you know what you’re doing, or at least be prepared to waste a print or two experimenting. For example, I shot a self-portrait silhouette against a bright sky in one exposure, and then another one of closeup details of flowers that visibly populates the silhouette –  a classic double-exposure effect. 

Overall, if you’re using the Nons SL660 with the 35mm f/2.8 lens without ND filter or flash, it’s fairly limited as to what scenes it's suitable for. But if you're equipped with accessories and willing to experiment, great results can be achieved. 

Should I buy the Nons SL660?

Buy it if...

Don't buy it if...

How I tested the Nons SL660

I had the Nons SL660 SLR instant camera for a couple of months, and I went through a fair few packs of regular Instax Square film. For the majority of the review I used the Nons 35mm f/2.8 lens, although I did adapt a couple of my Nikon F-mount lenses with mixed success. 

Testing the camera in a variety of lighting conditions that ranged from sunny weather to indoors, I experimented with various shutter speeds and lens apertures, and took both single-shot and multi-exposure photos. I've not used the Nons SL660 with a hotshoe mounted flash, nor used the bulb mode or attached a cable release. 

First reviewed April 2024