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

If the intriguing 'poetry camera' were in my hand now, that’s the kind of end product it could reveal on its tiny scroll of paper, rather than a pixelated thermal-printed image of my messy desk in a pokey, dimly-lit home office. 

It may well resemble a Fujifilm Instax instant camera, but the poetry camera utilizes AI instead to turn what it sees through the lens (a Raspberry Pi camera module) into a short poem, sonnet, or haiku. It’s essentially a reverse AI image generator, image-to-text if you will, using AI to piece together words from a real-world moment in time. 

Creators Kelin Carolyn Zhang and Ryan Mather describe the open-source passion project on the poetry camera’s website as a “new way to make memories – away from screens, notifs, and apps” and it's the kind project to warm the heart. 

Ryan Mather has shared videos of the poetry camera in action In Washington Square Park on Instagram through the account @flomerboy (see below), where members of the public have agreed to "have a poetry taken of them". That phrase was enough to reel me in.

Like a cash register, poetry camera proceeds to print out a short, one-of-a-kind singular poem on a receipt-like piece of paper using its internal thermal printer, which is then shared with the group, much to their amusement.

Kelin and Ryan just wanted to "have fun with technology again", and have created the poetry camera using Raspberry Pi components, open source software, OpenAI's GPT-4 and 3D printed the camera body, sharing instructions on how to build your own. For the clued-up, it's possible to modify the kind of poetic forms created.

My word skills hardly compare to those of the GPT-4 AI-powered poetry camera, which puts into practice the 'picture is worth a thousand words' adage – or at least worth a short-form poem glittered with metaphors. 

The makers share monthly updates through their newsletter and those that sign up are the first to know about limited-edition product drops, though there's no indication of what price the poetry camera will be. It's a novel project and a utilization of AI in a camera that I can get behind. 

A novel project
The poetry camera
Prose over pixels

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Don't get me wrong, I'll come away from this walk in my local woods that's bursting with fragrant bluebells and wild garlic with some pictures I'm super-excited about (see below), but boy do I have to work that much harder to get the results I want. And without wanting to lug a tripod around, I actually can't get the same degree of sharpness in my pictures from this day in the dim conditions under a dense tree canopy. 

There are aspects of the Nikon D800's handling that I really enjoy and mixing up creative tools keeps me fresh as a photographer, but overall my mirrorless camera is a much more streamlined experience and I'm still glad that I made the leap from a Nikon DSLR to the Z6 II. Let's look at where my DSLR struggles begin. 

1. Carrying the gear

My Nikon D800 from 2012 is an extra 50% heavier than the Nikon Z6 II I'm now used to, and also the Z7 II that is arguably my DSLR's modern day equivalent. The 70-200mm f/2.8 F-mount lens is also heavier than the mirrorless Z-mount version, although not by much. Overall, there's approximately a 20% reduction in weight in the mirrorless version of my DSLR camera and lens pairing. 

The DSLR camera body is also bulkier, and I notice this quickly with the chunkier handgrip. In some ways it's actually a better balance with the fairly large telephoto lens than what my mirrorless camera offers, but in practice I'm wanting to place the DSLR down quicker than mirrorless. 

When you're repeating the motion of bringing the camera's viewfinder up to your eye to compose a shot, the strain starts to take hold quite quickly. 

2. Composing the shot

I like the D800's optical viewfinder (OVF), a lot. It's a bright and big display through which I can immerse myself in the scene. And it's one less digital screen to look at, and I'm all for that. 

However, what you don't get with an OVF, like you do with a mirrorless camera's electronic viewfinder (EVF), is exposure preview, which is supremely helpful as you go about taking photos. You get a bright display but potentially a very different looking final image, both in brightness and depth of field / bokeh. 

That can cause a problem for me because I tend to fiddle with exposure compensation based on the mood I want in the picture. It's all too easy to leave the camera at -2EV for a low-key effect and unwittingly carry on shooting dark pictures because the end result is not reflected in the OVF display. Overall, I prefer an optical viewfinder display for the feeling and an electronic viewfinder to meet my practical needs. 

Another point regarding my D800 is that its screen is fixed, whereas my mirrorless camera has a tilt display which is super helpful for shooting at low angles, which I often do especially in scenarios like this. Some DSLRs like the Nikon D850 also have a moveable screen, but most don't, and once you're used to working from a tilting or swivel screen, it's hard to go back to a fixed one. 

3. Focusing issues

Focusing isn't bad with the D800. It's actually very good, but it's not as refined as the Z6 II mirrorless camera. It's evident as I pinpoint certain bluebells – the focus points simply aren't small enough. I wrestle with autofocus as it hunts for the subject that's right there, more so than with mirrorless. 

If I was taking portraits today, I'd be much more relaxed with my mirrorless camera too thanks to its reliable subject and eye detection autofocus, whereas my D800 has regular back-focusing issues.

I've also become accustomed to composing shots through the Z6 II's LCD display, often instead of the viewfinder. If I try to do the same – autofocusing through the D800's Live View – it is a significantly worse experience, too. Nikon DSLRs aren't really designed to be used for photography with autofocus through Live View, though Canon DSLRs do a better job. 

That said, I tend to use my DSLR's Live View when manually focusing for landscape photography instead of the viewfinder. With Live View I get focus magnification for a closer look so I can be sure I've acquired sharp focus where it matters. Again, it's just a shame that the LCD screen is hard to see at awkward angles. 

4. No image stablization

The single thing I miss the most when opting for my DSLR over mirrorless is in-body image stabilization, which in the Z6 II enables me to shoot handheld in more situations. 

I remember when I first bought my D800 just how unforgiving its 36MP sensor was regarding camera shake and its resulting effect – softening detail. At the time, my golden rule to calculate the minimum acceptable shutter speed for sharp shots was shutter speed equals the focal length of your lens – for example, 1/200sec when shooting at 200mm. 

That rule went out the window with the D800, the highest resolution full-frame sensor ever, and I would have to be conservative by around 2EV. At the same 200mm focal length a faster than normal 1/1000sec was as slow as I could go really. Or I could bring out the tripod to eliminate camera shake.

I don't want a tripod for my shooting techniques where I need maximum portability, like this day in the woods, nor do I want to damage the woodland and bluebells – I need a light footprint. No, I'm going handheld all the way.

Now I'm in these woods shaded by a dense tree canopy and the shutter speed I need to use with the 70-200mm lens requires a high ISO, even with the f/2.8 aperture. Put simply, the quality of detail I can get in this scenario cannot match what I can with my mirrorless camera which is equipped with image stabilization and able to shoot at slower shutter speeds and low ISO because it compensates camera shake.

The photos I came away with using my DSLR

Visually most woodlands are messy. You have to search long and hard for tidy compositions such as a single tree standing out from the rest. Or you can embrace and work with the chaos. 

I've intentionally used a telephoto lens and shot through branches and leaves to add layers, a sense of depth and to bring in those elements that you otherwise have to work so hard to avoid. And I'm certainly not about to cut away branches or rip up flowers to get the shot I want.

My overall experience bringing my DSLR back out of retirement was fine, but it has reminded me how mirrorless has evolved the camera experience for the better. Ultimately mirrorless is a more refined experience than a DSLR in just about every department. 

Images are better, too. I haven't been able to shoot handheld at ISO 100 under dense tree cover like I could with mirrorless, and there's just an edge of softness in my pictures caused by subtle camera shake that I don't have with mirrorless. I'm less concerned with my DSLR's inferior corner sharpness and pronounced vignetting compared to mirrorless. 

I'm not about to sell my DSLR – I'll give it another run out soon. It's just I've been reminded the extra dedication needed to the craft in order to come away with the pictures that I'm happy with. As I own both a DSLR and mirrorless camera, opting for the DSLR feels like taking the hard path. 

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Notable mentions include a massive $500 discount on the excellent Nikon Z8 flagship, which is sitting at $3,496 at Adorama and B&H Photo today, and the Nikon Z7 II for $1,996.95 (was $3,996).

Those looking for more wallet-friendly options will find the Nikon Z6 II for $1,496.95 (was $1,996) and the superbly priced Nikon Z5 entry-level body for $996.95 (was $1,396). There are all record-low prices respectively for some of the best Nikon cameras on the market.

In addition to superb discounts on bodies, today's massive sale at Adorama, B&H Photo and the official Nikon retailer also includes great options for both kits and lenses. I've rounded up a full list of today's Black Friday-level deals below, including both prime and zoom lenses, as well as Nikon's awesome range of APS-C crop sensor cameras.

Today's best Nikon camera deals

More Nikon camera and lens deals

Cameras

• Nikon Z 30 DX (APS-C): was $706.95 now $606.95 at Adorama
• Nikon Z50 DX (APS-C): was $856.95 now $756.95 at Adorama
• Nikon Z fc DX (APS-C): was $956 now $856.95 at Adorama
• Nikon D7500 DLSR (APS-C, F-mount): was $996 now $896.95 at Adorama
• Nikon D850 DSLR (full-frame, F-mount): was $2,996 now $2,196 at Adorama
• Also available at B&H Photo and Nikon

Prime lenses

• Nikon Z 28mm f/2.8: was $296 now $226.95 at Adorama
• Nikon Z 40mm f/2: was $296 now $226.95 at Adorama
• Nikon Z DX 24mm f/1.7: was $276 now $226.95 at Adorama
• Nikon Z 26mm f/2.8: was $496 now $396.95 at Adorama
• Nikon Z 50mm f/1.8 S: was $626 now $526.95 at Adorama
• Nikon Z MC 50mm f/2.8: was $646 now $596.95 at Adorama
• Nikon Z 85mm f/1.8: was $796 now $696.95 at Adorama
• Nikon Z 35mm f/1.8 S: was $846 now $696.95 at Adorama
• Nikon Z MC 105mm f/2.8 VR S: was $1,046 now $846.95 at Adorama
• Nikon Z 24mm f/1.8 S: was $996 now $896.95 at Adorama
• Nikon Z 20mm f/1.8 S: was $1,046 now $946.95 at Adorama
• Nikon Z 50mm f/1.2 S: was $2,096 now $1,896.95 at Adorama
• Nikon Z 85mm f/1.2 S: was $2,796 now $2,596.95 at Adorama
• Nikon Z 400mm f/4.5 VR S: was $3,246 now $2,996.95 at Adorama
• Nikon Z 600mm f/6.3 VR S: was $4,796 now $4,296.95 at Adorama
• Nikon Z 800mm f/6.3 VR S: was $6,496 now $5,996.95 at Adorama
• Also available at B&H Photo and Nikon

Zoom lenses

• Nikon Z DX 12-28mm f/3.5-5.6 PZ VR: was $356 now $296.95 at Adorama
• Nikon Z 24-200mm f/4-6.3 VR: was $896 now $796.95 at Adorama
• Nikon Z 28-75mm f/2.8: was $1,196 now $896.95 at Adorama
• Nikon Z 17-28mm f/2.8: was $1,196 now $996.95 at Adorama
• Nikon Z 70-180mm f/2.8: was $1,246 now $1,046.95 at Adorama
• Nikon Z 14-30mm f/4 S: was $1,346 now $1,146.95 at Adorama
• Nikon Z 24-70mm f/2.8 S: was $2,396 now $1,996.95 at Adorama
• Nikon Z 14-24mm f/2.8 S: was $2,496 now $2,096 at Adorama
• Nikon Z 70-200mm f/2.8 VR S: was $2,696 now $2,296.95 at Adorama
• Nikon Z 100-400mm f/4.5-5.6 VR S: was $2,696 now $2,496.95 at Adorama
• Also available at B&H Photo and Nikon

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

In the US there's $500 off the Canon EOS R5 which is available from B&H Photo for $2,899 and from Adorama – who also throws in some useful accessories for no extra cost.

Meanwhile, in the UK, there's a huge £780 discount on the Canon EOS R6 II which can be had for £1,999 at WEX – a record-equalling low price. 

The widespread rebates on Canon gear coincide with rumors that there are up to five new Canon cameras on the way, making it a great time to get a decent saving on existing models that are still excellent in 2024. 

There are several camera and lens deals to check out so we've listed the top picks below. Many of these are record-low prices for the best Canon cameras and best Canon lenses 0 once the rebate is applied. There are more deals listed further below, too.

Canon camera and lens deals in the US

Canon camera and lens deals in the UK

Other Canon US deals

Most of the following deals are available at both Adorama and B&H Photo so you can take your pick which retailer to purchase from. There are more deals, too, so do double check if there's a particular lens you're after if it's not included below. 

• Canon EOS R3 was $4,999 now $4,499 at B&H Photo
• Canon RF 100mm f/2.8 L Macro IS USM Lens was £1,199 now $999 at B&H Photo
• Canon RF 100-500mm f/4.5-7.1 L IS USM Lens was $2,899 now $2,699 at Adorama
• Canon RF 70-200mm f/2.8 L IS USM Lens was $2,799 now $2,499 at B&H Photo
• Canon RF 24-240mm f/4-6.3 IS USM Lens & Accessories Kit was $899 now $799 at Adorama
• Canon RF 14-35mm f/4 L IS USM Lens was $1,399 now £1,299 at B&H Photo
• Canon RF 100-400mm f/5.6-8 IS USM Lens & Accessories kit was $649 now $599 at Adorama
  

Other Canon UK deals

• Canon EOS R3 was £5,499 now £5,049 at WEX
• Canon RF 15-30mm f/4.5-6.3 IS STM was £619 now £569 at WEX
• Canon RF 16mm f/2.8 STM was £319 now £299 at WEX
• Canon RF 24-50mm f4.5-6.3 IS STM was £379 now £359 at WEX
• Canon RF 100-400mm f5.6-8 IS USM was £699 now £669 at WEX
• Canon RF 800mm f11 IS STM was £1,099 now £1,049 at WEX

As photographers and videographers, sometimes we just want to pack one lens that can do it all, but this comes with a few drawbacks. Typically, the broader the focal range and faster the maximum aperture, the bigger, heavier and ultimately more expensive the lens. The good news for Nikon shooters is that the Nikkor Z 28-400mm f/4-8 VR lens – which the manufacturer refers to as its ‘superzoom’ – is the lightest full-frame lens in its maker’s line-up while offering a maximum focal length of 400mm. As well as being useful for bringing the faraway closer, the telephoto end is also well suited to portraiture, for when we want to attractively throw the background out of focus and achieve attractive bokeh, while keeping our subject pin-sharp. 

With a minimum focus distance of 0.2m at its widest setting allowing for reasonable close-ups of flora and fauna, and a still-useful 1.2m at the telephoto end, those shooting handheld in more demanding lighting conditions are aided by Nikon’s built-in Vibration Reduction image stabilization, here providing equivalent to up to five stops. This is boosted to 5.5 stops when the lens is used with a Nikon camera, such as the Z f, that has a Synchro VR feature. This allows for image-stabilized camera bodies and image-stabilized lenses to work in tandem – an automatic process if the user has already activated it, the result being less pronounced blur caused by camera shake. For the record, other Nikon camera bodies with this feature aside from the Z f include its flagship Z 8 and Z 9 mirrorless models.

At its widest 28mm setting this lens also proves perfectly suited for landscape and travel photography – it’s wide, without being so wide as to cause fisheye or barrel-like distortion – while nudge a bit further up the zoom range and it’s great for street photography and people watching. In short, yes, this is a single lens that can do it all.

It’s a contender for one of the best Nikon Z lenses, and of course you’ll need one of the best mirrorless cameras from Nikon to pair it with. I used the impressive retro-styled Nikon Z f for the duration of my test, which felt like something of a perfect marriage, in that the camera body and lens are almost identical in weight, so the combination doesn’t feel too ‘front-heavy’ in the hand.

Nikon Z 28-400mm f/4-8 VR: price and availability

• Costs $1,299.95 / £1,399 / AU$2,199
• Available to buy now
• Lens hood is supplied

The Nikkor Z 28-400mm f/4-8 VR was announced on March 26 2024, and costs $1,299.95 / £1,399 / AU$2,199

While it’s not a cheap lens, having spent some time shooting with it the price feels fair (and it’s much better value for Nikon users in the US than in the UK).  That’s not just because of build quality and performance, but because it’s basically capable of replacing a whole bag full of prime lenses that would otherwise be necessary to cover anything approaching the broad focal range on offer here. 

On top of that, most of us don’t want to kart a lens the size and weight of a dedicated 400mm around with us for day-to-day shooting, on the off-chance that we might actually need it – even if Nikon claims its Nikkor Z 400mm f/4.5 VR S is the lightest lens in its class at 2.75lb / 1,245g. Similarly, at the other end of the scale, a 28mm focal length might not be quite what we always have in mind for the treatment of a particular subject.

A possible alternative to the Nikkor Z 28-400mm f/4-8 VR is the Nikkor Z 24-200mm f/4-6.3 VR if you’re after a catch-all zoom for this specific mount. It starts out wider and only has half the reach of the 28-400mm, but it’s also less expensive at around $899.95 / £899 / AU$1,599.

Nikon Z 28-400mm f/4-8 VR: design

• 14.2x optical zoom
• Extending barrel
• Rubber-sealed and weather resistant

We get the equivalent of a generous 14.2x optical zoom, with common focal distances/framing options marked in millimeters at regular intervals on the barrel itself. Just behind these sits a control ring with a rougher feel and which is assigned to manual focus by default, although it can be assigned to adjust aperture, exposure compensation, or ISO. When set to manual focus, twisting the ring will momentarily override autofocus. 

The focus markings on the lens barrel start out at the maximum 28mm, progressing through 35mm, 50mm, 70mm, 105mm, 200mm and 300mm before arriving at 400mm. At this point the almost comically fully extended lens barrel resembles a child’s kaleidoscope, and not just the look but also the feel of this lens reminded me of a ‘super-zoom’ bridge camera like the Nikon Coolpix P1000. The lens’s ridged rubberized surface enables a nice firm grip when holding or rotating the barrel to cycle through its broad focal range.

The design of the Nikkor Z 28-400mm f/4-8 VR is further practical in offering a degree of weather resistance, with Nikon helpfully providing sealing around the mount and its moving parts. I was testing the camera in the UK in April, a month that’s prone to sudden rain showers, and while I made sure that neither the lens nor the camera got too wet, a light drizzle didn’t stop me from continuing to shoot.

A lens hood is included to prevent instances of possible flare in brighter conditions, and this can be ‘worn’ in reverse/inverted on the lens for easier transportation without affecting lens use. There’s also a lens lock to prevent the barrel from being accidentally nudged and extending as you’re walking around with it, although I didn’t often feel the need to engage this.

Nikon Z 28-400mm f/4-8 VR: Performance

• Only 1.6lbs / 725g
• Balances well with Nikon's smaller Z-mount cameras
• Speedy autofocus

This lens is as much about portability and practicality as it is about performance, and Nikon has attempted to balance these attributes without too much obvious compromise. A good start is that the lens weighs a manageable 1.6lb / 725g, which makes it fairly evenly balanced when twinned with a body such as the 1.57lb / 710g Nikon Z f I tested it on. The pairing makes for a very solid and sturdy combination that gave me confidence from the off. I carried the camera with lens affixed around for the day without experiencing neck or shoulder ache, although it’s probably at the limit of what I’d feel comfortable traveling with or taking on holiday.

The beauty of this lens’s multi-purpose nature is that if you suddenly come across practically any image opportunity when out and about, you have the tool in your hands to be able to capture that image. Autofocus is both rapid and accurate, and unless there’s busy foreground detail getting in the way you have a high likelihood of achieving the shot you want, which is worth its weight in gold, creatively.

While to my eye results at maximum telephoto weren’t always quite as razor-sharp as from a dedicated 400mm prime lens married to a full frame sensor – and I occasionally got some slight image blur at maximum telephoto when shooting handheld – that’s to be expected. On the whole, I was more than satisfied, and I reckon that all but the most demanding of enthusiasts and amateurs will find detail both plentiful and sufficient for their needs.

Generally speaking, images are consistently sharp across the frame, whether shooting at maximum wide-angle, extreme telephoto, or pretty much any point in between. Where I occasionally got a softer frame, this was often down to the fact that I was shooting handheld, and simply reframing an image and trying again with my palm wide open and supporting the lens barrel yielded a sharper result. Throughout my test period I kept Vibration Reduction active.

While a lot of zoom lenses have photographers wishing for just that bit more poke at the telephoto end to get them that bit closer, I found the Nikkor’s 400mm maximum setting useful and versatile. For those who prefer shooting with autofocus, I’m pleased to report that the lens’s stepping motor is as quiet as Nikon claims – imperceptibly quiet in fact. I was able to take several shots of a nearby robin perching on a tree branch at eye-level without startling it.

Nikon Z 28-400mm f/4-8 VR: sample images

Should I buy the Nikon Z 28-400mm f/4-8 VR?

Buy it if...

Don't buy it if...

How I tested the Nikon Z 28-400mm f/4-8 VR

• A mixture of landscape, wildlife and portrait photography
• Used in changeable weather

Nikon pitching the Nikkor Z 28-400mm f/4-8 VR as a jack-of-all trades option, I tested it in a variety of shooting scenarios, and the lens generally proved to be a capable performer. Landscapes, wildlife, portraits – we shot them all, with consistently pleasing results. I was ‘blessed’ with changeable weather conditions during my testing period, allowing me to put it through its paces in less than ideal light, and it coped ably with a variety of conditions.

Should such a camera be on the way, it would be a rival to the Fujifilm X100VI and Leica Q3, and I’m all for it – and Panasonic is the perfect company to break into this digital compact camera space. 

These days Panasonic is better known for making the best video cameras for consumers, like the excellent Lumix S5 II, but it also has a decent track record in making premium compact cameras such as the Lumix LX100 II. However, enthusiastic forum comments responding to the Panasonic speculation focus on an all-new full-frame compact, rather than a replacement for the micro four thirds (MFT) model or indeed any other existing Lumix. 

Fujifilm and Ricoh produce crop-sensor (APS-C) compacts, while Leica is the only company actively producing a full-frame compact, with the Sony RX1-series of full-frame compacts appearing to be dead in the water despite the cult following they gathered – the latest RX1R II model is almost 10 years old. 

Premium compact cameras have gained popularity over the last few years, and it's become increasingly difficult to acquire one of the leading models such as the Fujifilm X100VI, my personal favorite camera in 2023 the Leica Q3, or Ricoh’s GR III / GR IIIx. And with its track record in producing high-quality and affordable MFT and L-mount full-frame cameras, Panasonic could be best placed to offer a fresh alternative.

I don’t think Panasonic can rival the Leica Q3 for looks and handling, and to an extent it doesn’t need to. What it needs to create is a low-cost alternative to the $6,000 / £5,300 / AU$10,300 out-of-stock red-dot compact. Sony tried its luck with the RX1 series, but its cameras were always too close in price to the Leica Q series to tempt enough people away.

As to affordability, it would make more sense that a potential Lumix full-frame compact camera has the same 24MP sensor as found in the S5 II, rather than the pricier higher-resolution 47.3MP sensor in the Lumix S1R.

However, if Panasonic could sell a premium compact with the higher-resolution full-frame sensor for under half the price of the Q3, that would be enough of a saving to opt for Lumix instead.

There’s no word on potential product specs – there’s not even a suggestion of a name for what would be a totally new Lumix camera. But a feature-set somewhat in the mold of the Leica Q3, with its 28mm f/1.7 lens, without the hefty price tag, would have me on board.

A full-frame fixed lens Lumix compact could be extremely popular, especially if it adopts the kind of retro-looks that clothe cameras like the rangefinder-style Lumix GX9 too.

In general, camera rumors and speculation are usually based on what has come before – updates of current models and so on. This rumor is a little leftfield, and feels more like wishful thinking – but I’ll certainly be having my fingers crossed.

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A DJI spokesperson exclusively told us: "The bill sets a dangerous precedent for allowing baseless allegations and xenophobic fears to drive public policy decisions that could negatively impact public safety and the U.S. economy".

The reason for those public safety claims are because DJI drones are widely used in the US and worldwide for many non-commercial purposes, including helping first responders at land and sea.

The DJI spokesperson added: "Our drones are used by federal agencies, local law enforcement, and emergency response teams to keep communities safe. They have spawned entire industries of small businesses – from real estate to agriculture, transportation and beyond – who rely on access to DJI drone technology to support their businesses."

Of course, DJI isn't the only drone maker in the US, but it is still by far the most popular. So why is the Countering CCP Drones Act, a US bill that was recently passed unanimously by the House Energy and Commerce Committee, so keen to ground DJI's drones?

The familiar concern for those who've been following TikTok's similar issues is that "DJI presents an unacceptable security risk”, according to one of the bill’s sponsors, Representative Elise Stefanik of New York. Another is that the US wants to foster a "competitive… drone industry”, as Representative John Moolenaar of Michigan put it.

But DJI told us that it adamantly refutes the security concerns. Its spokesperson told us: "DJI’s drones are the most innovative, easy to use and affordable of any on the market today. We created the market for ready-to-fly civilian and commercial drones almost two decades ago and have invested heavily in robust safety and security protections as well as expanded user privacy controls for our products".

Whether or not these arguments are enough to stem a growing chorus in Washington calling for an FCC ban of DJI drones remains to be seen. The legislation will now progress to a floor vote in the House of Representatives over the next couple of months, and potentially then onto the Senate and US president.

What does this mean for DJI drones?

This new legislative threat for DJI drones in the US is far more serious than the one it faced in 2020, when it was placed on the same trade blacklist that Huawei found itself on in 2019.

Back then, the US Department of Commerce's decision didn't ban DJI from selling its drones in the US – instead, it restricted DJI's access to US technology. As DJI told us back then: "DJI is disappointed in the U.S. Department of Commerce's decision. Customers in America can continue to buy and use DJI products normally."

But DJI's fiery new statements reflect the seriousness of the new Countering CCP Drones Act. It had already stated its position in a lengthy blog post, but it's now seemingly going on an all-out attack to defend itself against legislation that could be bad news for both DJI and US drone fans.

If the act is passed, DJI drones would go on an FCC list that bans communications hardware or services that "pose a national security risk from entering US networks". In other words, the sale of DJI drones could get a blanket ban in the US, even for consumers. A potential workaround is DJI licensing its tech to other hardware companies, as it has done recently with Anzu Robotics.

It's not yet clear what this means for those who have already bought a DJI drone in the US. In the case of the Huawei ban in 2019, phones bought prior to the ban continued to operate as normal and receive security updates. But the ban blocked Huawei's future access to Android updates and services, which naturally had a big impact on Huawei's launches in the US.

So while it's possible that existing DJI drones would continue to work and receive updates in the US if the Countering CCP Drones Act is passed, it would still have big knock-on effects in the country and worldwide – and that would be a big shame for drone fans everywhere.

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DJI's latest entry-level drone appears to be just like the Mini 2 SE, only it brings 4K video to the table whereas the Mini 2 SE only shoots in 2.7K. There's no official word as to whether it will replace the Mini 2 SE, but that looks like a good bet, especially given the similarities between the two, which includes the Mini 4K's launch price which is the same as the Mini 2 SE's most recent price. There is, though, a small discount on the older model at the time of writing. 

The Mini 4K is available now at Amazon US and UK for $299 / £269 or $449 / £399 for the Fly More Combo that includes an extra two batteries – that's actually cheaper than the Mini 2 SE was at launch. The Mini 4K will sit at the bottom of DJI's Mini-series of drones, below the Mini 3 (which could be replaced fairly soon given DJI's breakneck product launch speed) and the Mini 4 Pro – the best sub 250g drone available.

• The DJI Mini 4K costs $269 on Amazon US or its $449 for the Fly More Combo.
• Buy the DJI Mini 4K from Amazon UK for £269 or the Fly More Combo for £399.

That increased video resolution also comes with improved video bit rates, up to 100Mbps, and a 2x digital zoom. Stop down to 2.7K resolution and we believe the 3x digital zoom is still available. 

Besides the improved 4K video resolution and higher bitrates, it's as you were. Like the Mini 2 SE, the Mini 4K is a foldable, sub 249g drone currently not requiring an FAA registration or Remote ID in the US, though given it has a camera UK users need to register with the CAA.

Its camera also packs a 3-axis gimbal supported by electronic image stabilization, while flight features include downward object sensing, Level-5 wind resistance, and up to 10km HD 720p video transmission.

You can fly for up to 31 minutes on a fully charged battery, again like the Mini 2 SE. Purchase the Fly More Combo kit and an extra two batteries are supplied, effectively tripling your flight time.

Beginners can enjoy flight tutorials in the DJI Fly App, through which the Mini 4K flight can be controlled, with easy QuickShots moves like Helix, Rocket, Circle, and Boomerang quickly elevating the quality of your flight moves and videos.

We've long rated DJI as the industry leader for drones, even if it is now railing against the prospect of a US ban. Now that it's made a drone that can shoot 4K video for less than $300 / £270, with excellent hardware and flight features, it's an even harder task for rivals to compete. 

There isn't much new here in the Mini 4K that we haven't seen already in the Mini 2 SE, but it'll likely become the most popular first-time drone for aerial photography and video. 

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