Summer season is also foldable phone season, it seems. Following on the heels of the Samsung Galaxy Z Fold 5 and the impressively slim Honor Magic V2 (along with smaller models from Samsung and Motorola), it's now Xiaomi's turn to unveil its annual refresh. The aptly named Mix Fold 3 offers several expected improvements in terms of folded thickness (5.26mm), unfolded thickness (10.86mm) and weight (255 grams). Honor still has nothing to worry about when it comes to thinness and lightness, but Xiaomi's latest contender has gained a 5x periscopic zoom camera and, at last, a selfie camera, all of which would seem to address some of the last-gen model's more obvious pain points. 

Another notable addition is 50W wireless charging alongside the original 67W wired option. Depending on which charging method you use, the company says it takes 55 minutes or 40 minutes, respectively, to fully charge the slightly denser 4,800mAh battery. (If you're comparison shopping, Honor forfeited wireless charging on the Magic V2 to meet its aggressive thickness target.) The Mix Fold 3's wireless charging should pair well with Qualcomm's latest Snapdragon 8 Gen 2 "Leading Version" processor, with its primary core capable of up to 3.36GHz of clock speed — handy for video editing on the larger screen.

Xiaomi

Thanks to its beefed-up camera setup, the Mix Fold 3 packs a total of four Leica-enhanced on the rear: a 50-megapixel f/1.77 main camera (Sony IMX800, 23mm equivalent) with optical stabilization, a 12-megapixel f/2.2 ultra-wide camera (15mm equivalent), a 10-megapixel telephoto camera (75mm equivalent) and the handy new 10-megapixel f/2.92 periscope camera (115mm equivalent). 

Like before, you can always toggle the external screen to leverage any of these rear-facing cameras for better selfies, but for general video conferencing, you now have the option to toggle between the 20-megapixel front cameras on both the 6.56-inch external screen (2,520 x 1,080, 120Hz) and 8.025-inch flexible screen (2,160 x 1,916, 120Hz). 

Xiaomi

The screen sizes here are practically identical to the last-gen model, except both are now upgraded with Samsung's E6 OLED display technology for improved efficiency and outdoor visibility; you get up to 2,600 nits of peak brightness on the external panel. 

Meanwhile, with Xiaomi's improved hinge, the company can finally disclose a durability figure of 500,000 folds (certified by TÜV Rheinland). As a bonus, the Mix Fold 3 finally supports hover mode from 45 degrees to 135 degrees, meaning you can prop up the rear cameras to attempt more artistic angles or timelapse shots — just make sure you don't accidentally scratch the external screen. 

Xiaomi is taking pre-orders for the Mix Fold 3, with prices ranging from 8,999 yuan or about $1,240 (12GB LPDDR5X with 256GB UFS 4.0 storage) to 10,999 yuan or around $1,515 (16GB RAM and 1TB storage). You'll be able to choose between a 5-layer composite material body (black only) and a more classic glass finish (black or gold). Like last year, all versions include a familiar-looking kickstand back cover in the box, but now with a bonus protection frame for the upper part of your foldable. However, Engadget understands that Xiaomi will once again be limiting its latest device to the Chinese market, which is probably a relief for the likes of Samsung and potentially Honor in the rest of the world.

DJI is one of the most innovative gadget companies out there, constantly trying new things with its drones like a triple-camera setup on the Mavic 3 Pro. With the launch of the mid-sized Air 3 camera drone, the company has introduced a new trick called dual primary cameras. That means the telephoto camera has the same specs as the main camera, rather than being relegated to lesser quality like it was on the Mavic 3. That opens up new possibilities for pilots, giving them two ways to create cinematic shots.

It also has numerous improvements over the Air 2 and Air 2S. It uses DJI’s new O4 transmission system that greatly increases range, while bringing the Waypoint feature to Air drones for the first time. It also has much improved battery life and is considerably quieter. Otherwise, it matches the Mavic 3 Pro feature for feature, with obstacle detection all around, focus tracking, Hyperlapse and more.

Some buyers might see the 1/1.3-inch sensors as a downgrade compared to the 1-inch sensor on the Air 2S, however. How does it stack up against that model, and how does it fit in with the Mavic 3 Pro and Mini 3 Pro models? I took it flying in France’s Loire valley with my drone pilot friend to find out.

Design and performance

With a dual-camera module up front and similar design, the Air 3 (no more Mavic in the name) looks more like the Mavic 3 than the Air 2 and Air 2S. It has the same frog-like design, and folds up exactly like the Mavic 3, collapsing into a compact size for travel. The body has omnidirectional sensors all around for obstacle detection. For storage, it comes with the usual microSD storage slot and has 8GB internally that’s really for emergency use only. It’s also considerably heavier than the Air 2S, tipping the scales at 720 grams compared to 595.

At the same time, it has borrowed some aerodynamic tricks from the Mini 3 Pro, particularly the larger propellers that reduce noise down to 81 decibels — making it near-inaudible when flying at over 100 feet or so. The body is also more aerodynamic, giving it better range in forward flight and the ability to handle stronger winds than past models.

Much of the extra weight comes from the new 4,241 mAh batteries that weigh 267 grams more than an entire Mini 3 Pro. They have nearly the capacity of the Mavic 3 Pro’s batteries, greatly boosting the Air 3’s range to 46 minutes, up from 34 minutes on the Air 2S.

In real-world use, we saw flight times of around 35 minutes before the return-to-home warning went off, depending on flying style and winds. That generally allowed us to fly for a full day with three charged batteries. DJI also introduced a new charging feature with the updated battery hub, letting you transfer power from two weaker batteries to the most charged at the touch of a button. Doing so allows for longer flights if you’re in a location with no charging available. The one drawback of the higher-capacity batteries is that charging speeds are relatively slow.

Steve Dent for Engadget

Another key feature is the next-gen O4 video transmission system that boosts range from 15 to 20 km (9.3 to 12.4 miles). Drone range can be a big problem in Europe, because laws significantly reduce transmission power compared to the US. To help compensate for that, DJI added a new 5.1GHz frequency in Europe that appears to have a large impact on range and transmission dropouts in tricky terrain, from what we saw in our tests in France.

In terms of maneuverability and speed, the Air 3 offers a good compromise between stability of the Mavic 3 Pro and the agility of the Mini 3 Pro. The latter makes it great for following fast-moving subjects like mountain bikers and vehicles, but it’s also steady in stiff breezes. At the same time, if a subject is moving through trees, obstacle avoidance with APAS 5.0 is outstanding, with less risk of crashing than the Mini 3 Pro thanks to the extra sensors — particularly from the side and rear.

All of DJI’s tentpole features like Active Track, Master Shots, Quickshots and Timelapse are available on the Air 3 and work on both cameras. Active Track, used to lock onto and follow subjects, works about the same on both cameras. As with DJI’s other drones, it’s generally reliable, but if you’re chasing a mountain biker through the trees, it can lag a bit and the tracking can switch off without warning.

Steve Dent for Engadget

Quickshots features like Dronie and Rocket are more interesting with the addition of the tele camera that can add extra intimacy and drama. The obstacle detection is handy there as well. Because the drone flies automatically once you hit “go,” it’s easy to misjudge boundaries, so it’s good to know it’ll abort if it gets too close to something.

On top of those flight modes, DJI has brought the Mavic 3’s Waypoint flight mode over to the Air series for the first time. It lets you plan flight and camera moves in advance, letting you repeat a flight precisely for multiple takes, Timelapse videos and more. It requires some time to learn and set up, but it delivers consistent results. It also opens up creative possibilities, like doing a Timelapse during the day and at night, then seamlessly blending them together.

Along with the Air 3, DJI has introduced the new RC-2, DJI’s third screen controller after the RC and the RC Pro. It’s a good compromise between the two, as it’s significantly cheaper than the $1,200 RC Pro. At the same time, it has a brighter screen, more substantial feel and more precise controls than the RC. It’s available either separately or in a bundle with the Air 3 Fly More kit. DJI also announced another new controller, the RC-N2, effectively a refresh of the RC-N1, with the main benefit being the new O4 transmission system.

Cameras

The big idea with the Air 3 is that the quality of the two cameras is the same. As such, it comes with a 1/1.3-inch 24mm (35mm equivalent) f/1.7 main and 70mm f/2.8 telephoto camera. Those focal lengths match the two primary cameras on the Mavic 3 Pro, with the sensor size being the same as the Mini 3 Pro and the tele camera on the Mavic 3 Pro.

The 70mm lens is particularly good for action or hero shots, adding excitement and a more natural perspective. With a perfect portrait focal length, it’s great for people shots at weddings, for example. It also lets you stay a greater distance from subjects for safety or other reasons, while compressing the space between them. As usual, the main wide camera can be used for establishing, overhead, follow and other shots. And with identical sensors, it’s easy to match footage from the two cameras while editing.

The sensors have dual native ISO support for improved light sensitivity, and deliver 4K 60p in HDR or 4K at up to 100 fps with slo-mo only playback. 1080p can be shot at 200 fps with slo-mo playback as well. The camera module can be tilted down 90 degrees and up 60, and it’s the first Air series drone supporting 2.7K vertical 9:16 video.

Both cameras support 10-bit 4:2:0 D-Log M and HLG HDR for improved dynamic range and reduced banding, something that can be an issue when shooting skies. DJI’s regular D-Log mode, which offers even more dynamic range, is not available on the Air 3, though. It also lacks a variable aperture found on the Mavic 3, so the optional ND filter kit (available in the Fly More combo) is desirable for sunny day flying to allow for lower shutter speeds and thus smoother video.

With the same 1/1.3-inch dual native ISO sensor and resolution as the Mini 3 Pro, image quality is similar — but there are some improvements on the Air 3. D-Log M offers better dynamic range, particularly in challenging contrasty shooting conditions. It also offers mildly better low-light capability, with less noise in shadows for nighttime cityscapes, for example.

The Air 3 delivers as good or even better video and photo quality than the larger sensor on the Air 2S, likely because the size difference is slight and the Air 3 has higher resolution. That said, it’ll be interesting to see if DJI releases an Air 3S, possibly with a larger sensor.

Wrap-up

Steve Dent for Engadget

DJI has another winner with the Air 3 thanks to the dual cameras. By elevating the tele to the same importance as the main camera, it opens up new cinematic shooting options. It should prove popular with event and wedding pros who are willing to pay a few hundred dollars more than the Mini 3 Pro. In return, they get additional creative options, plus a more stable and secure camera drone.

Image quality might not be good enough for some pros when compared to the $2,200 Mavic 3 Pro, But at $1,100, it’s considerably cheaper, more maneuverable, and offers the same features (including Waypoints) and level of obstacle protection. At the same time, it has a leg up on the Mini 3 Pro in terms of image quality thanks to the D-Log M option.

At $1,100 with the non-screen RC-N2 controller, the Air 3 is $330 more than the DJI Mini 3 Pro with the same controller. That goes up to $1,550 with the RC 2 Fly More kit, compared to $1,253 for the Mini 3 Pro in a similar kit. At those prices, its main competition is Autel’s similarly priced 6K EVO Lite+ and the Mini 3 Pro itself. In any case, it’s a great new option for drone buyers who might like the idea of two primary cameras and can’t quite afford a Mavic 3 Pro.

Canon’s mirrorless EOS R mirrorless camera family now sits at a healthy 11 members, but most of those to date have been high-end models priced at over $1,000. Recently, though, the company has been wooing budget-minded shoppers with models like the $480 R100 and the subject of this review – the $680, 24-megapixel R50.

The R50 uses a 24-megapixel APS-C sensor from the $980 EOS R10, so image quality should be on par. Otherwise, you can think of the R50 as an RF-mount version of the older M-mount M50 Mark II – but with updates like uncropped 4K that make it better for creators. At the same time, it’s even lighter and smaller, so it’s ideal for travel, street photography and more.

Where the $480 R100 is aimed at the bottom end of the mirrorless market, the $680 R50 is targeting users a bit more serious about photography and content creation. Does it have enough going for it to entice such users? Let’s take a look.

Body & Handling

The EOS R50 is diminutive in both weight and size, weighing in at just 375 grams with a battery and memory card. With a similarly light and small lens, like the 18-45mm kit or the new 28mm pancake model, it can easily slip into a small bag. Travelers and tourists will often settle for a smartphone rather than lugging around a heavy camera, but the R50 removes that barrier.

There’s a price to be paid in terms of usability, however. It has a relatively small grip that’s effectively unusable with large lenses, though it does have a nice rubber material so it shouldn’t slip out of your hands.

The R50 is also lacking in controls compared to other models. It has just a single dial to change settings, meaning you have to hit the exposure compensation button to toggle between shutter speed and aperture in manual mode. But since the camera is designed for beginners used to smartphones, it’s essentially designed to be controlled by the touchscreen. That works well enough, but the main menu items are a little small and fiddly.

The 2.95-inch touchscreen is nice though, with a relatively high 1.6 million dot resolution. As with all other Canon EOS R cameras, it fully articulates, making it useful for selfies and vlogging. The electronic viewfinder is on the low end though, being relatively small and with a low 2.36-million dot resolution.

With the same small battery as the EOS R10, it gets just 370 shots on a charge – perhaps the camera’s biggest weakness. It is, however, a significant improvement over the 305 shots you get with the original M50 II. Other features include a mic but no headphone port, a single slow UHS-I card slot, USB-C and micro HDMI ports and yes, a built-in flash that’s perfect for its target market.

Performance

One significant problem with budget-oriented cameras is the lack of a good autofocus system – something that’s crucial for camera novices. Luckily, the R50’s hybrid phase-detect autofocus is very solid. A simplified version of the AF from high end cameras like the R3, it tenaciously follows subjects and captures sharp photos.

It can track eyes, faces and heads, along with animals including dogs, cats, birds and horses. It also tracks vehicles like race cars, bicycles, trains and airplanes. You can either let the system choose a subject, or tap the touchscreen to select it yourself.

Steve Dent for Engadget

Performance is a little less dependable for animals and vehicles than it is for people. And subject tracking will often drop the subject if you’re too far away from it. But overall, the AI system is dependable, particularly with people.

That serves it well for burst shooting, which is surprisingly fast for such a small camera. It can grab frames at up to 12 fps in mechanical shutter mode or 15 fps in silent electronic mode. However, you’re limited to 42 JPEG images in a burst and just 7 uncompressed RAWs, due to the small buffer and slow memory card slots.

On top of the usual manual and auto shooting modes, the R50 has creative settings for beginners including something called A+ Advanced Auto. If it detects a scene that’s tricky to shoot due to high contrast or darkness, it takes four shots and combines them into a single JPEG image, much like smartphones have done for years. The results can be pleasing, but may also look overprocessed.

As you’d expect, there’s no in-body stabilization, so you’ll need to rely on optically stabilized lenses for that – and there are only two of those in the APS-C lineup. Those only deliver 4 stops of shake reduction, but it’s enough to allow for sharp shots at 1/10th of a second or so. When using the silent shutter function, beware that some rolling shutter effect is present, but it’s reasonably well controlled.

Image quality

As the R50 shares the R10’s 24-megapixel sensor, photo quality is nearly the same. For normal shooting, I saw color accurate photos with skin tones leaning on the warm side as is typical with Canon’s color science. JPEGs strike a good balance between sharpening and noise reduction, while RAW files allow for a decent amount of room to tweak images.

Low-light performance isn’t amazing, though. ISO 6400 is pretty much a hard limit, and even then you won’t have a lot of room to boost blacks without getting tons of noise. And you don’t have in-body stabilization to help at low shutter speeds.

Luckily, the R50 does have a built-in flash that can fill in if you’re lacking light. Just make sure to dial the illumination levels down in the settings to avoid blowing out your subject.

Video

Where the EOS R10 offers cropped 4K 60p video, the R50 is limited to 4K 30p. Luckily, that is uncropped, however, and supersampled from 6K. You’re limited to 1080p for slow-mo, but luckily it can shoot up to 120fps, though 60fps is considerably sharper.

It’s the cheapest camera on the market by far with 10-bit mode via the HDR PQ mode, though the footage requires some tweaking for normal usage. A C-Log mode that might boost dynamic range isn’t available, but it’s not really necessary for its intended market segment.

Steve Dent for Engadget

For a relatively small and cheap camera, the R50 offers excellent video quality. The oversampled video is very sharp, and colors are accurate and human friendly. The fact that 4K video isn’t cropped is a huge plus for vloggers.

The autofocus is also outstanding for a camera in this price bracket, with tenacious tracking that keeps focus sharp in most circumstances. It also has a “close-up demo mode” that works much like Sony’s product showcase mode, quickly switching focus from your face to any object you bring up to the camera.

The digital stabilization is OK for walking and talking, as long as you try to move smoothly. All of these things make the R50 an excellent camera for vloggers and content creators ready to step up from a smartphone.

Wrap-up

Steve Dent for Engadget

With the R50, Canon has found a good balance between power and affordability. Where the R10 has a lot of competition at its higher $980 price point, the $680 R50 has only a few rivals

Its main competition is Sony’s $700 ZV-E10, which is slightly better for vlogging but not as good for photography. Another option is the $700 Nikon Z30, which offers a similar feature set but lacks an EVF and has less reliable autofocus.

If those models are too much, Canon just released the $480 R100, the least expensive new mirrorless camera on the market. Content creators may lean toward the Sony ZV-E10, but if you’re looking for a solid hybrid camera that can do everything, Canon’s R50 is a great choice.

Sony has produced numerous full-frame cameras of late, but just a single APS-C model over the last four years — the vlogging-oriented ZV-E10. Now, the company has finally rectified that with the launch of the 26-megapixel (MP) A6700, it's new flagship APS-C mirrorless camera. It's particularly strong for vlogging thanks to features like 4K 120p video, active mode stabilization and AI auto-framing — but it's not cheap, either.

The A6700 looks like other Sony A6000-series models at first glance, but there are some considerable improvements. The grip is now bigger for improved handling and stability, and it introduces an assignable front dial that makes manual shooting easier. It has a vari-angle LCD (rather than a popup LCD as before), along with a low-res (2.36 million dot) but fast (120fps) electronic viewfinder. It's fairly compact, being 35 percent smaller and 21 percent lighter than Canon's $1,500 R7. 

Engadget

Sony has also introduced a still/movie/S&Q dial with dedicated settings for each, along with a new and far more intuitive main menu and menu structure. It comes with mic and headphone ports (plus a digital audio interface via the hotshoe), USB-C 3.2 Gen1, a micro HDMI port (not full-size, unfortunately), and a single SD UHS-II card slot on the side, rather than on the bottom in the battery compartment as before. It's dust and moisture resistant if you're shooting in inclement weather and supports 4K30p webcam capture. 

The A6700 doesn't improve on the A6600's shooting speeds, grabbing bursts at the same 11 fps (in both mechanical and electronic shutter modes) with autofocus and auto-exposure tracking. However, it can capture far more photos at a time, with the new larger buffer letting you capture 59 compressed RAW and over 1,000 JPEGs before it stops. 

Engadget

The autofocus is improved as well, thanks to a faster backside-illuminated (BSI) sensor and processor that's eight times quicker than past models. Sony promises "reliable real-time tracking" for humans, animals and birds, insects and vehicles (cars, trains and planes). Human eye AF performance is up by 60 percent from previous models, while animal/bird eye AF speeds increased by 40 percent. 

It should also take better photos in low light, again thanks to the BSI sensor and improved processor. Finally on the photo side, it now offers selectable RAW options including lossless and compressed, along with JPEG, HEIF and HLG still images.

Engadget

While Sony already has a vlogging-oriented camera in the ZV-E10, the A6700 is even stronger in this regard. You can shoot 4K video at up to 120fps with 10-bit 4:2:2 quality (FHD at 240p) all with AF/AE, besting all APS-C rivals except Fujifilm's $2,000 X-H2S. Better still, it's super-sampled from 6K "resulting in high-resolution 4K with minimal moiré and jaggies," Sony says. 

You can record in Sony's XAVC format at up to 600 Mbps with I-frame codecs that are easier to edit. It supports S-Cinetone and Sony S-Log3 mode to boost dynamic resolution up to 14+ stops (matching its Cinema line cameras), along with user-assignable LUTs so you can get a better idea of what you're shooting.

Engadget

For those who do a lot of tracking shots or walk-and-talk vlogging, the A6700 has "active mode stabilization" that uses both software and optical tricks to reduce camera shake. Video autofocus mode supports the same range of subjects (people, animals, vehicles) as photo AF, with Sony promising real-time recognition in all cases. Another nice feature borrowed from the ZV-E1 full-frame camera is AI-based auto framing that lets the subject move around while staying centered in the frame — with varying levels of cropping and tracking speeds. And like other recent Sony models, it supports digital focus breathing compensation with select lenses. 

We had the camera for a short time, and found that it handled much better than any previous Sony A6000-series cameras. At the same time, it's compact and light enough to take on trips. It's certainly not an impulse buy, though. The A6700 starts at $1,399 (body only), or $1,499 with a 16-50mm kit lens and $1,699 with the 18-135mm lens. Pre-orders are now open, and it's set to start shipping in early August. 

If you're looking for a camera (or drone) for content creation, travel photography and more, Amazon Prime Day has some great deals, including rare sales on popular models. For example, Sony's latest A7 IV model is on sale for the first time at $2,400, or $2,600 with a 28-70mm kit lens — saving you $100 on each. DJI, which doesn't often discount its popular drones, is selling the Mini 3 Pro with DJI RC remote for $729. Meanwhile, Canon is selling its R50 creator's kit for $850 for a savings of $150, Panasonic has its full frame Lumix S5 on sale with two lenses (including a prime) for $1,700 (40 percent off) and OM System is selling the OM-D E-M1 Mark III mirrorless camera for just $1,300, for an impressive $500 discount. There are plenty of other deals as well, and if you don't find what you want at Amazon, some of the products come with the same discount elsewhere. 

Sony A7 IV

Sony’s A7 IV is a successful follow-up to its popular mainstream A7 III. Resolution is up considerably to 33 megapixels, and image quality is much improved overall. Video is now on par with rivals with 4K at up to 60p with 10 bit 4:2:2 quality. Autofocus is incredible for both video and stills, and the in-body stabilization does a good job. The biggest drawbacks are rolling shutter that limits the use of the electronic shutter and the relatively high price — but the $100 discount helps ease the latter a bit. The sale is on now, but extends to July 16th. 

Sony A7 III

When it first came out, I said that Sony's 24.2-megapixel A7 III was a "near-perfect all-around camera." That still applies. The already excellent 693-point hybrid phase detect autofocus system has been updated via firmware with the real-time eye and animal AF features introduced with the A6100/A6400 models. On top of that, you can shoot bursts at up to 10 fps with continuous autofocus and auto exposure. On the video side, however, it's been surpassed by the like-priced Z6 and S1 models from Nikon and Panasonic. As mentioned, the deals are good until July 16th, but act soon before stock runs out. 

DJI Mini 3 Pro drone with DJI RC screen remote

The DJI Mini 3 Pro is a lightweight drone under 250 grams, but it’s loaded with features found on bigger models like the Mavic 3. It has some of the best image quality specs on a lightweight drone, including 4K 60p, 1080 120p and 48-megapixel photos. It also offers most of the AI and tracking features found on the Mavic 3, like ActiveTrack, QuickShots and more. DJI also introduced the screen-equipped RC remote that’s more convenient than using a smartphone. The Mini 3 Pro is a bit expensive at $909 with the RC remote, but it's far more palatable at $729.

Canon R50 Content Creator Kit

Canon’s 24-megapixel EOS R50 is the company’s third APS-C camera to launch in the EOS R mount ecosystem. Weighing just 375 grams and packing a built-in flash, it’s extremely portable so it’s great for travel, parties, street photography and more. At the same time, it can shoot images at up to 15 fps, outputting high-quality, human-friendly photos. It’s capable for video as well, with 4K 30p supersampled from 6K, with 10-bit capability via HDR PQ. With features aimed at creators, you can grab it in a kit with a stereo microphone, tripod grip, wireless remote and an S18-45mm lens — saving you $150 on the kit. 

Sony 24-70mm f/2.8 G Master full-frame zoom lens

Sony's FE 24-70mm f/2.8 G Master full-frame lens covers the standard zoom range, so it's great for all kinds of shooting. It offers incredible G Master optics, but it's currently on sale at $1,598, the lowest price we've seen to date. 

Panasonic Lumix S5 with two lenses

With the arrival of the Lumix S5 II, Panasonic is offering some stellar deals on its predecessor, the S5. It’s smaller and costs less than the Lumix S1, but it actually delivers better video features. That includes a flip-out display, five-axis in-body stabilization and 10-bit 4K recording at up to 60 fps. The autofocus is faster and more accurate than the S1, but not as good as Sony and Canon’s systems for video. Still, at this price, it's one of the best cameras currently available for content creators. 

OM System E-M1 Mark III

Despite being a few years old, the 20-megapixel OM System (formerly Olympus) E-M1 III is still one of the best wildlife photography cameras available. It offers excellent image stabilization, fast shooting speeds, a compact, weather-proof body, flip out screen and accurate colors. It's also a solid choice for content creators, with 4K 30p video and OM-Log mode to boost dynamic range. Best of all, powerful telephoto lenses are relatively inexpensive compared to other brands. It's now on sale for $1,299, saving you $500 over the regular price. 

Sony A7C

Sony’s 24.2-megapixel A7C is a slightly smarter version of the popular full-frame A7 III in the smaller body of the crop-sensor A6600. That means it’s easy to carry around, but has worse handling than the A7 III. It has very similar image quality, shooting speeds and video specs as the A7 III, but uses Sony’s latest AI smarts to improve autofocus tracking. The A7C isn’t quite as capable as recent cameras like the Canon R6, but it’s a bit cheaper. Overall, it’s a good choice for hybrid shooters that lean to the photo side who want a lightweight, modestly priced full-frame camera.

Sony A6600

As Sony’s flagship APS-C camera, the 24.2-megapixel A6600 has a lot to offer. It comes with features like real-time AF tracking, a pop-up screen, in-body stabilization, solid battery life and awesome photo quality. It's also a great travel camera thanks to the compact size. It is a bit old now, having come out in 2019, but it's an attractive option at this low price. 

These are the best deals we've found, but there are others as well. Sony in particular is active, with savings on no less than seven cameras and multiple lenses. For example, the 62-megapixel A7R IV is on sale for $2,998 (6 percent off). In addition, it's fastest prime lens, the FE 50mm f/1.2 model, is discounted $100 to $1,898. You can also grab the Panasonic S5 (body only) for $1,298 if you don't need the lenses, saving 35 percent off the regular price. 

There are some notable deals on accessories, too. Lexar's V60 II memory cards (250MB/s read and 120MB/s write) are up to 31 percent off, with the 128GB model priced at just $31 and the 256GB model at $62. The faster V90 II cards are marked down up to 44 percent, with the best deal on the 128GB card ($96). You can also grab deals on the company's microSDXC cards, with the best deal on the 1TB Play card ($63 or 52 percent off). And if it's a camera backpack you're looking for, LowePro's Slingshot Edge 250 AW is marked down to just $74, or 56 percent off the regular price. And one its best backpacks, the ProTactic 450 AW II is on sale for $205, for a savings of 45 percent. 

Earlier this year, Panasonic launched the S5 II and S5 IIX full-frame cameras, finally embracing phase-detect autofocus that puts it on par with rivals. I’ve already tested the S5 II and found it to be one of the company’s best cameras yet for content creators. Now, we’re looking at what I think is the more interesting model, the S5 IIX.

It has an identical design and shares many of the same features as its sibling, like the new autofocus system and highly effective in-body stabilization. However, it adds a key function: the ability to record high-quality, easy-to-edit ProRes video internally onto SSDs via the USB-C port. With a bit of rigging, you can record hours of 4K or even 6K video to a relatively inexpensive drive.

What’s surprising is that the S5 IIX only costs $200 more than S5 II. ProRes RAW is also included for free, whereas it’s a $200 upgrade on the S5 II. To see if it’s worth that, I shot photos and videos in Paris, Brittany and elsewhere around France.

Body and Handling

I’ve already looked at the S5 II’s body and controls, and the S5 IIX has an identical layout – but it’s worth revisiting them briefly — particularly in the context of video and content creation.

One key difference is the general appearance. The S5 IIX has a distinctive dark design, with a black logo and subtle gray graphics on the controls. The only dash of color to be found is the red record button. Quite a number of bystanders have oohed and aahed over the black-on-black look.

Like the S5 II, the X model is a nice handling camera. The grip is large and uses relatively tactile materials, and features a ridge at the ring finger so it won’t slip out of your hands. The controls are spot on, with the record button in an easy-to-find location on top. That said, it would’ve been nice to have another one on the front like the GH6. The menus are also among the best among camera companies (and nearly the same as the GH6), with most settings easy to find.

It weighs 714 grams, a bit more than Sony’s A7 IV and the Canon EOS R6 II. An external SSD can also add 100 grams or more, making it a bit heavy if you’re holding it out at the end of your arm while vlogging.

The screen fully articulates for self-shooting and has a sharp 1.84-million-dot display. It features a 3.69-million dot electronic viewfinder with resolution that’s comparable to rivals and easily enough to check focus when shooting on a bright day. It has a full-sized HDMI port that’s key for a camera with RAW video output, and USB-C for capturing internal video.

The S5 IIX also includes dual UHS-II SD card slots, headphone and mic ports, plus the same battery as the original S5, GH6 and other models. You can get about 370 shots on a charge by CIPA stands, fewer than most of its rivals. For video, you can shoot for about 45 minutes at 4K 60p, again, a touch less than rivals.

If you’re planning to rig the S5 IIX to use SSDs, many folks are using the SmallRig universal holder with a hotshoe mount, though any clamping type device will work (I’m using a smartphone tripod mount from Joby). If you need to use a shotgun microphone along with the SSD, you may need to mount it elsewhere on the camera, though, or use a cage. As for SSDs, Panasonic lists models from Samsung and SanDisk compatible with the GH6 (which has the same USB-C feature) and those should work for the S5 IIX as well. Other high-speed models should work as well.

Video

Yes, the S5 IIX is a hybrid camera, but video is the main attraction. With high-quality ProRes capture to an SSD, plus RAW video over the HDMI port, it offers a lot of capability for the price.

First, let’s look at capture via the USB-C port. It supports internal 10-bit ProRes capture to supported SSDs, which is a huge benefit to videographers. Media is relatively cheap, and there’s no need to transcode or even transfer footage – you can just hook up an external drive to a PC or Mac and start editing.

Image by Steve Dent for Engadget

In ProRes USB-C mode, there’s a strange mix of recording formats. It captures 5.8K 17:9 30p footage in either ProRes HQ (1.6Gbps) or regular ProRes (1.1Gbps), but not at 16:9. It can only capture 17:9 C4K at 60p with a crop, or 30p supersampled video without a crop. But again, not 16:9 Ultra HD. The 17:9 part isn’t a huge deal as you can crop the edges, but it’s odd considering most vloggers shoot 16:9 UltraHD. Perhaps that’s something Panasonic can address in a future update.

Luckily, you can capture 16:9 5.9K 25p footage and 4K 60p and 30p at 16:9 in the .MOV format. The latter supports All-I with data rates up to 800Kbps when capturing to USB-C, which is nearly as good as ProRes quality-wise though a bit slower for editing.

On top of that, you can record 12-bit ProRes RAW or Blackmagic RAW files to Atomos or Blackmagic recorders via HDMI. It supports recording up to 5.9K 30p at 16:9 and not 17:9, or the rather odd 4.1K 4,128 x 2,176 17:9 format. Again, not a huge issue as you can crop the sides, but also a bit weird.

Image by Steve Dent for Engadget

As with other Panasonic models, you can capture “open gate” 6K 3:2 footage that uses every pixel on the sensor. That allows content creators to easily output both horizontal and vertical formats, but also to capture anamorphic video with supported lenses.

Finally, you can record to regular old SD UHS-II cards. Where the S5 II is limited to recording longGOP files that aren’t very easy to edit, the S5 IIX can do most formats using an All-I codec at up to 600Mbps.

So how is the quality of all the video? Mostly excellent, depending on the format. 4K 30p video is supersampled, so it’s extremely sharp. Panasonic’s colors are accurate, quite natural and easier to work with than Sony’s files, I find. Skin tones aren’t as flattering as Canon offers, though.

4K 60p video is cropped to an APS-C size which isn’t ideal, considering Canon’s like-priced R6 II has uncropped 4K 60p. Sharpness also drops a hair, as it’s pixel-for-pixel instead of supersampled. 5.9K video is also captured on a pixel for pixel basis, but I like that format as it allows for a lot of cropping options.

Compared to other mirrorless cameras with the same resolution, it has good low-light capability. The Dual ISO system does a good job keeping noise down at ISOs as high as 12,800 or even 25,600.

Image by Steve Dent for Engadget

Panasonic’s V-Log delivers extra dynamic range, particularly with ProRes. Of course the best option, quality-wise, is V-Log RAW video. That lets you edit video just as you would with RAW photos, with a lot of room to recover highlights and shadow details. With those things together, the S5 IIX delivers results in line with expensive, professional video cameras.

Pros will also appreciate the new hybrid phase-detect autofocus. It’s designed to eliminate the wobble inherent in Panasonic’s past contrast-detect AF camera, and it does that very effectively.

The S5 IIX offers continuous AF modes along with subject tracking, for both humans and animals. It’s not quite up to Sony and Canon models like the A7 IV and R6 II, as subject tracking isn’t quite as fast or reliable. However, it’s as good or better than Nikon and Fujifilm’s latest models.

Image by Steve Dent for Engadget

The S5 II has updated in-body stabilization borrowed from the GH6, and it’s powerful and impressive – the best on any camera on the market for video. It can’t match a gimbal, of course, but the electronic mode smooths out steps much better than the S5, despite some side-to-side sway.

It also has a “Boost IS” for handheld video with no movement, keeping shots locked off like the camera’s on a tripod. One cool feature not seen on too many other cameras is full stabilization support for anamorphic lenses (most types) via a setting.

And finally, it supports high audio quality either through the mic port or an XLR adapter that attaches to the hotshoe.

Photography

If you need to use the S5 IIX for photography from time to time, it’s not bad at all. You can shoot at up to 7 fps with the mechanical shutter or 30 fps in electronic mode. The buffer is quite impressive, as it allows for 200 shots in RAW before throttling. Oddly though, a USB-C drive doesn’t improve that number much compared to an SD card.

The autofocus can keep up as well, but as with video, it’s not quite as fast or smart as the AF on recent Sony cameras. It’s particularly noticeable when using the AI subject modes — for example, it can lose a subject’s eyes if they turn their heads. Tracking is also a bit more limited than Sony and Canon models. Still, for vlogging and most types of content creation, it performs well.

The stabilization system is rock solid for photos. And photo quality is outstanding, with dynamic range comparable to Sony and Nikon’s latest models. You also get natural looking colors and skin tones. It also shines in low light situations thanks to the stabilization, dual ISO system and relatively large pixels.

Wrap-up

Image by Steve Dent for Engadget

When I reviewed the S5 II earlier this year, I said that its biggest competition would be the X version, and now I’m sure of that. Simply put, this is a $2,200 near-professional camera with the image quality and most of the features a content creator needs.

The new autofocus is good but not quite up to the Sony A7 IV, and it lacks full-frame 4K 60p video like the Canon R6 II. It’s far better for video than both of those models, though, thanks to the ProRes and other features nowhere to be found in either rival model. And the AF is as good or better than you’ll find on like-priced Nikon and Fujifilm models, with the focus wobble of past models a thing of the past.

One thing that might give you pause is the L-Mount lens choice and value. However, Panasonic recently lowered the prices on key lenses, including this 24-70m f/2.8 model. It now has 14 of its own lenses, on top of 31 from Sigma. All told, if I was looking for a new camera system for around $2,000, I wouldn’t hesitate to grab the S5 IIX.

Canon has long been synonymous with traditional photography, but the company could be preparing to take a more definitive step into the world of virtual reality. At the Photo Next 2023 show in Japan, the company showed off a prototype convertible camera. The unnamed device features a nifty folding mechanism that allows it to capture both 360-degree video and 180-degree 3D content. As a handful of websites, including PetaPixel and DIY Photography, have noted, the prototype bears more than a passing resemblance to the Insta360 EVO, which also makes use of a folding mechanism to offer 180-degree 3D capture. According to Pronews, Canon did not share any details on specs, pricing or availability.

Canon has previously only dabbled with virtual reality. In 2021, for instance, the company released a dual fisheye lens for its RF mirrorless camera system. The camera Canon teased at Photo Next features the company’s V branding, which it typically reserves for consumer-facing products. That would suggest Canon could be ready to take VR more seriously. While the company has sometimes been slow to embrace new technologies, Canon’s usual slow pace could work in its favor this time around. Consumer VR has been slow to take off, but with Apple’s recent entry into the space, the camera manufacturer could be ideally positioned to take advantage of growing interest in the format once the market is more mature.

Dads love cameras, both as a way to capture special moments and just as fun gadgets. If your father wants to go beyond their smartphone, a new camera would certainly be a welcomed gift. The question is, what type does he need and how much should you spend? We found some of the best models with the latest tech, like fast shooting speeds, sharp video and incredible autofocus. Better still, they cover a wide range of prices, and we’ve also recommended some accessories to complement the gear your dear father already owns.

GoPro Hero 11 Black

GoPro didn’t change the design on its latest model, but it has a larger sensor that enables a couple of cool features – Horizon Lock stabilization and Full Frame mode that makes it easier to shoot for, say, TikTok and YouTube at the same time. Otherwise, the Hero 11 Black offers better video quality than ever (up to 5.3K 60p), Hypersmooth stabilization that’s still the best in the business (by far), battery life that’s improved by 40 percent over the last model, and more. The best action product on the market is not the cheapest – but if your dad is serious about filming his exploits, it’s well worth it.

Canon EOS M50 II and EOS R100

Canon’s EOS M50 II is three years old, but with current deals, it’s the best value camera you can give your dad right now. It offers features like a 24.2-megapixel sensor, flip-out screen, tap-to-record and focus, plus 4K video with a 1.5x crop. Its light weight makes it a great travel camera, with the flip-out display allowing your father to shoot selfies or do some vlogging. If you want to pay less and your dad can wait an extra month, though, Canon just released the 24.2-megapixel R100. It has most of the features of the M50 II, but lacks a flip-out display. It’s priced at just $480 for the body only, or $600 with a 16-50mm lens, which makes it the cheapest mirrorless camera on the market. You can pre-order it now, but shipping is set for July.

Canon EOS R50

Still in the budget category but stepping up a notch is Canon’s 24-megapixel APS-C R50, which will suit your dad whether he does photography or video. It can shoot bursts at up to 15 fps in electronic shutter mode, and offers 4K 10-bit video at up to 30p with supersampling and no crop. It has a fully articulating display, and unlike other cameras in this price range, an electronic viewfinder. It uses Canon’s Dual Pixel AF with subject recognition mode, and even has a popup flash. The only drawback is the lack of in-body stabilization, but the electronic stabilization is very effective with the price of a slight crop.

Sony Alpha ZV-E10

If your father is a content creator, Sony’s 24.2-megapixel ZV-E10 APS-C camera is a strong budget option. It can shoot sharp, downsampled 4K video at up to 30 fps with a 1.23x crop (or 1080p at 120 fps) and uses Sony’s fantastic AI-powered autofocus system with face and eye detection. It also has a few creator-specific features like Product Showcase and a bokeh switch that makes the background as blurry as possible so your subject stands out. Another nice feature is the high-quality microphone that lets you vlog without the need to buy an external mic. The main drawbacks are the lack of an EVF and rolling shutter.

Nikon Z5

Nothing will enhance your father’s photos like the sweet bokeh of a full-frame camera, and the 24-megapixel Nikon Z5 is a stellar deal right now. It’s mostly aimed at photographers, with features like hybrid phase-detect autofocus and Nikon’s excellent color science. And for such a budget option, it has desirable features like five-axis in-body stabilization, dual fast UHS-II card slots, a 3.69 million dot OLED electronic viewfinder and a tilting touch display. Video isn’t a strong point, but it can handle 4K 30p with a crop and 1080p at 60fps.

Canon EOS R8

Moving up in price, Canon’s EOS R8 is a better-rounded option if your dad likes shooting video as much as taking photos. It has the company’s excellent Dual Pixel AF with subject recognition AI, and can shoot bursts at up to 40 fps. It's equally strong with video, supporting oversampled 10-bit 4K at up to 60 fps. The R8 also offers a flip-out display, making it great for vloggers. The main drawback is a lack of in-body stabilization.

Panasonic Lumix S5 II and S5 IIX

For dads who take their content creation very seriously, check out Panasonic’s full-frame S5 II. It’s the company’s first camera with hybrid phase-detect AF designed to make focus "wobble" and other issues a thing of the past. He can shoot sharp 4K 30p video downsampled from the full sensor width, or 4K 60p from an APS-C cropped size, all in 10-bit color. It even offers 5.9K 30p capture, along with RAW 5.9K external output to an Atomos recorder. It also has a flip-out screen for vlogging and updated five-axis in-body stabilization that’s the best in the industry. The main drawback is the slowish burst speeds, but it’s made for video more than photography. If you don’t mind spending an extra $200, the S5 IIX lets you record in the Apple ProRes format directly to an SSD, or in RAW modes (Apple or Blackmagic) via the external HDMI port.

Peak Design Everyday Messenger

With its rugged, practical design, Peak Design’s Everyday Messenger Bag is an ideal gift for adventurous or photo-shooting dads. It’s built with a lightweight yet durable 100-percent waterproof recycled 400D shell with the ingenious Flexfold dividers in the main storage area. It also offers a pair of zipped pockets, two elastic side pockets and a compartment big enough for a 13- to 15-inch laptop. I own one myself and find it practical both for work and daily activities, letting me fit a camera, lens and laptop along with my wallet and keys. At $230, it’s not the cheapest bag out there, but your dad won’t have to buy another for a good while.

Magnus VT-4000 tripod

For dads serious about video, the Magnus VT 4000 is the best budget tripod option. It’s stout enough to handle a mirrorless camera and accessories weighing up to 8.8 pounds, more than the eight-pound weight of the tripod itself. That lack of heft makes it practical for travel, while the fluid head helps you tilt and pan smoothly. Other features include a middle spreader to keep things steady and legs that extend up to 64 inches so you can match the eyeline of your subjects. All of these features come for $199, a relative steal considering the quality.

Joby GorillaPod 3K mini tripod

The most useful accessories out there for vlogging dads are Joby’s famous mini-tripods, and the best one for the money is the GorillaPod 3K. Attaching your camera couldn’t be easier thanks to the secure clip-in mounting plate with a built-in level. The flexibility also lets you set your camera anywhere to shoot, or even wrap it around a tree or other object. And, of course, you can bend them out for the ideal vlogging angle and steady out your shooting, to boot.

Lexar V60/V90 UHS-II SD cards

Camera-loving dads can never get enough memory cards, but they can be a pretty pricey gift. One of the best budget options is Lexar’s V60 UHS-II SD cards, which offer a good balance between speed and value. The 120MB/s write speeds are enough for most H.264/H.265 4K video modes, and you can then transfer files to your computer at up to 250MB/s. If that’s not fast enough, Lexar’s new 1800X V60 II cards offer 270/170MB/s read/write speeds at good prices, and for the best performance, check out their V90 UHS-II cards, which deliver read/write speeds of 300/260MB/s.

Microsoft has deployed a critical troubleshooter update for Surface Pro X devices that will give users access to their camera again. On May 23rd, plenty of Surface Pro X owners reported that their cameras had stopped working entirely. Based on stories posted on Reddit, Twitter and the company's own support forums, reinstalling the camera's driver didn't work. Tweaking the device's date and rolling it back to May 22nd did, but it came with its own set of potential issues, such as authentication and scheduling problems. 

In its new patch notes, the tech giant said the affected devices are powered by Qualcomm 8cx Gen 1, Qualcomm 8cx Gen 2, Microsoft SQ1 and Microsoft SQ2 processors. The troubleshooter update will be automatically applied to affected devices, and owners can check if it has been installed by going to their "hardware and devices troubleshooter" history and then looking for an entry that says "[a]utomatically change system settings to fix a problem on your device."

As Ars Technica notes, users are reporting on the Microsoft support forum that the troubleshooter worked sufficiently, save for some posters saying that their cameras were working in slow motion outside of Teams or Zoom. Microsoft admitted in its announcement this workaround isn't perfect — it is, after all, only meant to be a temporary fix. It might "disable some features of the camera or lower the image quality," but it will make the camera functional until Microsoft comes up with a permanent fix. The tech giant is currently working with device manufacturers to release updated camera drivers expected to restore full camera functionality. It doesn't have an ETA for the driver rollout yet, but it promised to share more information when it becomes available. 

Fujifilm is trying to beat Sony at its own game with the launch of the 26-megapixel X-S20, a content creation-oriented camera. Though it has a similar body and the same sensor as its predecessor, the X-S10, it offers some major improvements in terms of video quality and more. At the same time, it's considerably more expensive than the X-S10 was at launch. 

"X-S20 is truly a dream camera for any content creator looking to take their photos and videos creation to the next level, but especially for the ones that are documenting their lives, traveling the world, or streaming their stories online,” said Fujifilm's Lisa Baxt, essentially describing the camera's market and purpose. 

Though it has the same last-generation 26-megapixel X-Trans sensor as the X-S10, it uses the company's new X-Processor 5. That allowed Fujifilm to install its latest deep learning AI autofocus technology that boosts speeds and allows the camera to detect animals, birds, cars, motorcycles, bicycles, trains, insects and drones, much like the higher-end X-H2 and X-T5. Plus, it can detect all of those automatically, so the user doesn't need to pick a subject before shooting. 

Fujifilm

That also boosted the camera's video powers considerably. Where the X-S10 was limited to 4K 30p 10-bit video, the X-S20 can shoot 6.2K 4:2:2 10-bit open gate video that can be cropped into any horizontal or vertical format you want. It can also handle DCI 4K at 60 fps and super slow-mo 1080/240p video. In addition, it supports F-Log2 with up to 13-plus stops of dynamic range (DR), where the X-S10 was limited to F-Log with a stop less DR.

It offers a much higher 360Mbps bit-rate thanks to support for faster UHS-II cards, though there's still only a single card slot. You can also record 12-bit Apple ProRes and Blackmagic RAW video at 6.2K 30p and 5.2K/30p externally, either to Atomos or Blackmagic recorders. Finally, Fujifilm is offering an optional external cooling fan that allows for 6.2K video recording for up to 80 minutes, compared to 40 minutes without the fan. 

Fujifilm flattered Sony by imitation with its dedicated "Vlog" function on the mode dial. This new setting gives you direct access to a vlogging touch menu that offers functions like product priority focus mode, background defocus, high-speed recording, face/eye detection and more. Much like Sony's V-series models, product priority mode disables face/eye detection so the camera will focus on a product placed in front of it, while background defocus opens the lens aperture as wide as possible for more background blur. 

Fujifilm

Also new is UVC/UAC support that lets the camera work directly as a webcam by just plugging it into your PC. You can also stream 4K/60p video live online using OBS studio.

For photography, the X-S20 can fire bursts at up to 8 frame per second in mechanical shutter mode, or 20 fps in electronic mode. The buffer supports over 1,000 JPEG or compressed RAW images in mechanical mode — considerably more than before. However, it's limited to 35 frames for uncompressed RAW images, about double the X-S10. In electronic mode, the buffer can handle 79 compressed RAW images before filling, or 28 uncompressed RAW shots. 

As before, it comes with five-axis in-body stabilization, though Fujifilm has boosted the power from six stops to seven with supported lenses. It also has a fully articulating 3-inch display, with resolution boosted to 1.84 million dots, up from 1.04 million. The OLED electronic viewfinder has 2.36 million dots of resolution and a 100 fps refresh. 

It retains much the same body design with a slightly larger grip, and 491 gram weight that's a touch heavier — but it's still pretty light for such a powerful camera. Other features include microphone/headphone and HDMI micro ports, and yes, the pop-up flash is back. 

The X-S20 is priced at $1,300 (body) only, which is considerably more than the $1,000 launch price of the X-S10. You can also grab it in a kit with XC15-45mm f/3.5-5.6 lens for $1,400, or with the XF18-55mm f/2.8-4 lens for $1,700. Shipping starts on June 29th. 

Along with the camera, Fujifilm unveiled the XApp designed to control X- and GFX-series camera for remote shooting, file transfers and more. The company said it "listened carefully to user feedback" when developing the app, so here's hoping it's a large step up from the previous (dreadful) app. Fujifilm also unveiled the ultra-wide-angle XF8mmF3.5 lens ($800) shipping on or around June 29th, 2023. 

Fujifilm