I’ve reviewed a few of these myself, including the Laowa 90mm f/2.8 2x Ultra Macro Apo, Laowa FFII TS 100mm f/2.8 Macro 1X and Laowa 8-15mm f/2.8 FF Zoom Fisheye.

The relatively recent Laowa Aksen 1-5x Ultra Macro Apo kicks off with full 1.0x macro magnification and zooms in to no less than 5x magnification at full stretch. I say ‘stretch’ but the physical length of the lens remains the same at all settings, as does the fixed focus distance.

That makes the Laowa easier to use than some high-power macro lenses, like the now-obsolete Canon MP-E 65mm f/2.8 1-5x Macro. All in all the Aksen and simultaneously launched Laowa Aksen 5-10x Ultra Macro Apo (with even greater powers of magnification) aim to be among the best macro lenses on the market.

Laowa Aksen 1-5x Ultra Macro Apo: Specifications

Laowa Aksen 1-5x Ultra Macro Apo: Price & Availability

A kind of cross between a camera lens and a scientific tool, the Laowa Aksen 1-5x Ultra Macro Apo is a high-precision instrument that’s meticulously engineered.

As such, it commands a fairly serious purchase price of $749 / £799 (Australian price TBA) despite being a fully manual ‘dumb lens’ with no electronics. The sibling 5-10x lens lists at the same price in the USA but costs more in the UK, coming in at $749 / £899.

Venus Optics also offers a twin lens bundle at $1,399 / £1,679, while little extras listed in the USA include a tripod collar with rods at $80, a Leofoto MP-180S macro focusing rail at $139 and a WeMacro electronic slider bundle for $599.

A USB Coaxial Light is also available for $50, but that’s only compatible with the 5-10x lens. As with many other pursuits, a serious macro habit can ramp up in cost.

Laowa Aksen 1-5x Ultra Macro Apo: Design & Handling

The Laowa Aksen 1-5x Ultra Macro Apo has a focal length of 45mm and an aperture range of f/2.8 to f/11. Like other macro lenses, light transmittance through the lens drops off at shorter focus distances, or in this case at greater magnification / zoom settings.

I make the point because this lens actually has a fixed focus distance and an internal zoom mechanism that alters the magnification ratio between 1.0x and 5.0x.

Theoretically, once you position the camera and subject to achieve ‘correct’ focus, it should stay the same regardless of changes in the magnification / zoom setting.

Venus is keen to point out that its fixed focus distance and groundbreaking parfocal zoom mechanism mean that focus remains locked on the subject as you change magnification, so you can sweep through the zoom range without needing to reposition your camera or lighting.

The focus distance itself, or rather the working distance between the front of the lens and the subject, is quoted as 41.35mm / 1.63in. The fact that the working distance is specified to a tolerance of 1/100^th of a millimeter gives more than a subtle hint as to just how precise your positioning needs to be to attain in-focus results.

I found the lens virtually impossible to use without at least the addition of a macro focusing rail and, while I didn’t opt for the Leofoto MP-180S which is offered as an optional extra, I do own the excellent NiSi NM-200s Macro Focusing Rail, which serves the same purpose. More on that when we get to Performance.

Build quality feels very good, combining high levels of precision with a robust metal barrel. The lens is fully manual, so there are no electronics at all.

Naturally, there’s no autofocus because there’s actually no focus mechanism of any kind. However, the lack of electronics also means that you have to set the aperture manually and that no lens-based EXIF data is recorded in image files.

A bonus of having no electronics is that it’s relatively simple to make the lens in a large variety of mount options, which include Canon EF, Canon RF, Nikon Z, Nikon F, Sony E, L-Mount, Fujifilm X and Micro Four Thirds. Pentax K is a notable omission.

From a handling perspective, the zoom control ring operates smoothly and is clearly marked with white numbering.

Like the zoom ring, the aperture control ring has a nice tactile feel and is clearly marked. It rotates in full f/stop click steps, from f/2.8 through f/4, f/5.6 and f/8 to the narrowest available aperture of f/11. The aperture diaphragm is very well-rounded, based on 11 curved blades.

The optical layout features 13 elements in 9 groups, whereas the 5-10x lens has an additional 4 elements and 3 extra groups. The 1-5x lens includes 3 ED (Extra-low Dispersion) elements and 4 UHR (Ultra High Refraction) elements, aiming to boost clarity and minimize color fringing.

Indeed, this claims to be an Apo (Apochromatic) lens that eliminates color fringing as well as delivering ultra-high resolving power.

The lens has a relatively small-diameter protruding front section, as shown in the image above. This enables the easy fitment and removal of a slip-over hood, as shown below.

There’s no filter attachment thread, which doesn’t surprise me as space between the front of the lens and the subject is at a premium, and there’s not even enough room to attach macro lights or a ring light via a filter attachment thread.

Continuing the theme from the barrel and hood down to the mounting plate, the lens has metal rather than plastic mounting plate.

Again, as a fully manual lens, there are no electronics, so none of the various mount options features any data contacts and there’s no need for a USB port for applying firmware updates. Perhaps a more disappointing omission is that the mounting plate also lacks a weather-seal ring.

Laowa Aksen 1-5x Ultra Macro Apo: Performance

To test the lens, I used a Canon EOS R5 mounted on a sturdy Peak Design Pro Tripod and the NiSi NM-200s Macro Focusing Rail that I mentioned earlier. The fixed working distance of 41.35mm / 1.63in means that lighting can be a challenge, but I used LED light panels to supply sufficient illumination.

Naturally, as the focusing distance is fixed, you need to move the camera and / or the subject to achieve focus, and you can’t use the lens as a portrait prime or for other longer-distance shots, like you can with the vast majority of regular macro lenses.

I shot a range of subject matter including a small section of pixels on my 27-inch 1080p LCD computer monitor and a variety of objects, as shown in the gallery below.

One thing became immediately obvious, in that accurate focusing is absolutely essential – especially towards the largest magnification factor that’s on offer. Even using a sturdy tripod and a macro focusing rail, focusing is a fiddly business due to the incredibly tight depth of field.

Even touching the camera can result in small positional changes that can affect the accuracy of focusing. Extreme magnification, especially combined with a magnified live preview in a mirrorless camera, also reveals that the camera can take a long time to settle after being touched.

I used a ten-second self-timer delay and fully electronic shutter to keep movement at bay. Even then, I noticed vibrations caused by passing traffic on the street in front of my house.

With a lot of care and painstaking setup, the lens is capable of very pleasing results. True to its claims, there’s excellent sharpness and clarity on tap, along with minimal color fringing. Distortion is also of a very low order, which is a good thing as automatic in-camera correction is unavailable.

Ultimately, the image quality of the lens rewards the effort that you need to put in to get satisfying shots.

Laowa Aksen 1-5x Ultra Macro Apo: Sample Images

The following gallery consists of a series of pairs of shots, each pair taken at both the lens’s minimum 1.0x magnification and maximum 5.0x magnification.

Subject matter includes standard-sized body text (Aptos 12pt) printed onto plain paper with an inkjet printer, a postage stamp, a wristwatch day / date mechanism, a leaf, colored pencils, a textile flower and a nutcracker ballet doll.

Laowa Aksen 1-5x Ultra Macro Apo: Lab Results

Due to the fixed and very short focus distance of the lens, it’s impossible to take shots of the test charts that we use for capturing and processing lab test data for regular lenses. As such, we’re unable to provide any lab test results for this lens.

Laowa Aksen 1-5x Ultra Macro Apo: Verdict

I feel that the Laowa Aksen 1-5x Ultra Macro Apo raises the bar for high-magnification macro photography, leaving regular 1.0x ‘full’ macro lenses trailing behind.

The maximum 5.0x magnification enables you to capture incredibly fine detail in tiny objects, and to massively enlarge it when viewing the resulting images on screen or in print.

However, all that magnification comes at a cost – not just financially, but in the painstaking effort that it demands to get things ‘right’ when taking each and every shot. Thankfully, the performance of the lens is sufficient to make all that hard work pay off.

Alternatives

Examples that spring to mind, and that I’ve reviewed in the past, include the Laowa 90mm f/2.8 2x Ultra Macro Apo, the Laowa FFII TS 100mm f/2.8 Macro 1X which features full tilt and shift functions as well as 1.0x macro magnification, and the Laowa 8-15mm f/2.8 FF Zoom Fisheye that delivers both circular and diagonal fisheye effects for full-frame cameras at either end of its zoom range.

A relative newcomer on the oddball scene is this Laowa Aksen 5-10x Ultra Macro Apo, which hits the ground running with 5.0x macro magnification, then zooms all the way to a monster 10x magnification at full stretch. Thankfully, there’s no physical ‘stretch’ involved as the lens retains the same overall dimensions at all settings.

A major claim to fame is the lens’ novel ‘parfocal zoom’ mechanism, which maintains the same focus distance throughout the entire zoom range. This makes the Laowa easier to use than some high-power macro lenses, like the legendary Canon MP-E 65mm f/2.8 1-5x Macro, which is now sadly obsolete.

In short, the Aksen 5-10x and simultaneously launched Laowa Aksen 1-5x Ultra Macro Apo (with more modest magnifying power) aim to be among the best macro lenses on the market.

Laowa Aksen 5-10x Ultra Macro Apo: Specifications

Laowa Aksen 5-10x Ultra Macro Apo: Price & Availability

The Laowa Aksen 5-10x Ultra Macro Apo is the embodiment of ultra-high-precision design and manufacture. It’s hardly surprising then that it comes with a fairly hefty price tag of $749 / £899 (Australian price TBA), despite lacking any electronics whatsoever.

The sibling 1-5x lens costs the same money in the USA but is less in the UK, at £799. Venus Optics also offers a twin lens bundle at $1,399 / £1,679.

A variety of optional accessories are advertised in the USA, including a tripod collar with rods at $80, a Leofoto MP-180S macro focusing rail at $139 and a WeMacro electronic slider bundle for $599. There’s also an optional USB Coaxial Light for the 5-10x lens at $50, but that’s incompatible with the 1-5x lens.

Laowa Aksen 5-10x Ultra Macro Apo: Design & Handling

The Laowa Aksen 5-10x Ultra Macro Apo has a focal length of just 17.5mm and an aperture range of f/1.7 to f/5.6. That might sound like a very ‘wide’ aperture range for a macro lens, but it comes with the 10x territory – and, like other macro lenses, light transmittance drops off at greater magnification settings.

Those equate to longer zoom settings in this case, rather than shorter focus distances, as the lens has a fixed focus distance.

The big idea of this macro zoom lens is that once you position the camera and the object you’re shooting so that the latter is in focus, it should stay that way throughout the entire magnification/zoom range.

The Laowa is advertised as having a fixed focus distance and groundbreaking parfocal zoom mechanism that results in focus remaining locked at any zoom setting, avoiding the need to reposition the camera or the object that you’re shooting.

The fixed working distance between the front of the lens and the subject is quoted as 22.48mm / 0.89in, so it’s less than an inch. In more worrying news, that working distance is specified to a tolerance of 1/100^th of a millimeter, or about a hair’s breadth.

Suffice it to say that positioning your camera and the object you’re shooting is a very precise affair. In practice, I found the lens virtually impossible to use without at a macro focusing rail.

I’d have been tempted by the optional Leofoto MP-180S, but I already have an excellent NiSi NM-200s Macro Focusing Rail, which serves the same purpose. I’ll come back later to how that worked out during my testing.

The lens is fully manual so there are no internal electronics. In fact there’s neither autofocus nor manual focus, due to the fixed object distance. The lack of electronics also means that you have to set the aperture manually and that no lens-based EXIF data is recorded in image files.

On the upside, the purely mechanical nature of the lens makes it relatively easy to manufacture in a wide variety of mount options, which include Canon EF, Canon RF, Nikon Z, Nikon F, Sony E, L-Mount, Fujifilm X and Micro Four Thirds. Pentax shooters might feel a bit left out at this point.

Like the zoom ring, the aperture control ring has a nice tactile feel and is clearly marked. It rotates in full f-stop click steps (or thereabouts) from f/1.7 to its narrowest aperture of f/5.6. Another noteworthy point is that the aperture diaphragm is based on 11 curved blades and is very well-rounded.

In terms of optical design, the Laowa 5-10x is more complex than its 1-5x sibling, with additional elements in extra groups.

In total, there are 17 elements in 12 groups, with the inclusion of 5 ED (Extra-low Dispersion) elements and 3 UHR (Ultra High Refraction) elements, aiming to boost clarity and minimize color fringing.

As with the 1-5x lens, the 5-10x is advertised as an Apo (Apochromatic) lens that effectively eliminates color fringing.

The design also features a relatively small-diameter protruding front section, as shown in the image above. As I’ve mentioned, the fixed working distance of the lens is very short, so it can be a challenge to channel sufficient light in towards the subject.

There’s no filter attachment thread for adding macro lights or a ring light, as there’s simply not enough room to play with. Instead, Venus Lens offers a USB-powered coaxial LED lamp which costs $50 and screws into the front section of the lens. It’s certainly a workable solution for illuminating your subject, if you feel like splashing out.

The relatively small-diameter front section also enables the easy fitment and removal of a slip-over hood, as shown below. Like the lens barrel, the hood is made from metal rather than plastic and feels like a quality item.

Continuing the theme from the barrel and hood down to the mounting plate, the lens has a metal rather than plastic mounting plate.

Again, as a fully manual lens, there are no electronics, so none of the various mount options features any data contacts and there’s no need for a USB port for applying firmware updates. Perhaps a more disappointing omission is that the mounting plate also lacks a weather-seal ring.

Laowa Aksen 5-10x Ultra Macro Apo: Performance

I used a big gun to test the lens, in the shape of the mighty 45MP Canon EOS R5, the resolution of which is a stern test for any lens. I mounted the camera on a sturdy Peak Design Pro Tripod via the NiSi NM-200s Macro Focusing Rail that I mentioned earlier.

A couple of things immediately became obvious. The first was that the fixed working distance of less than an inch put the front of the lens very close to whatever I was shooting. Lighting was a challenge but I used LED light panels to supply sufficient illumination, rather than adding the optional coaxial lamp.

The other instantly noticeable factor was that accurate focusing is absolutely essential. It proved a tricky task even when using my macro focusing rail to enable very small adjustments. The fiddly business of focusing, or rather camera and object placement, is due to the incredibly tight depth of field.

Anyway, I started off by shooting a small section of pixels on my 27-inch 1080p LCD computer monitor, to give a sense of the magnification on offer.

I found that even just touching the camera resulted in small positional changes that could affect the accuracy of focusing.

Combining the extreme levels of magnification with a magnified live preview in a mirrorless camera also revealed that it can take a long time for the camera to fully settle and for vibrations to fade away, after being touched.

During testing, I used a ten-second self-timer delay and fully electronic shutter to make the camera as motionless as possible. Even then, it was still susceptible to vibrations caused by passing traffic on the street in front of my house, so good timing was of the essence.

Putting a lot of care and attention to detail in setting up a shot can reward you with very pleasing images. Living up to its billing, the lens exhibits excellent sharpness and clarity, along with negligible color fringing.

Distortion is also very well controlled, which is just as well as the fully manual nature of the lens makes automatic in-camera correction unavailable.

The bottom line is that if you put the effort in, this lens can reward you with spectacular results.

Laowa Aksen 5-10x Ultra Macro Apo: Sample Images

There’s more to the following gallery of example shots than meets the eye, in more ways than one. A third of the shots weren’t even taken with the 5-10x lens that I’m reviewing here. Basically, I’ve included sets of three shots for each subject.

The first image in each threesome was taken at 1.0x magnification using the sibling Laowa 1-5x lens, to set the scene, and is just for reference so you can see what the usual 1.0x magnification looks like for each subject. The next two shots in each group of three were taken at the 5-10x lens’s minimum 5x and maximum 10x magnification factors.

Subject matter includes standard-sized body text (Aptos 12pt) printed onto plain paper with an inkjet printer, a postage stamp, a wristwatch day/date mechanism, a leaf, colored pencils, a textile flower and a nutcracker ballet doll.

Laowa Aksen 5-10x Ultra Macro Apo: Lab Results

Due to the fixed and very short focus distance of the lens, it’s impossible to take shots of the test charts that we use for capturing and processing lab test data for regular lenses. As such, we’re unable to provide any lab test results for this lens.

Laowa Aksen 5-10x Ultra Macro Apo: Verdict

I found that using the Laowa Aksen 5-10x Ultra Macro Apo was challenging and rewarding in equal measure. The high magnification factors involved make shooting a fiddly and sometimes arduous business, requiring a lot of attention to detail, exacting technique and a little frustration along the way.

Get everything right, however, and you’ll be rewarded with spectacular imagery that goes far beyond what the naked eye can see in real life.

Alternatives

The Falcon 10x50s are at the bulkier end of Praktica’s lineup, so if you’re after something to slip into a pocket or daypack, these aren’t it. But if it’s raw enlarging power you need, then, on paper at least, the 50mm objective lenses and 10x magnification should provide enough welly for everything from trainspotting to stargazing.

So, what does the world look like through a pair of bargain-basement binoculars? Will you be tickled pink, or seeing red? And are they among the best budget binoculars you can buy?

Praktica Falcon 10x50: Specifications

Praktica Falcon 10x50: Price

The Praktica Falcon 10x50 binoculars are available from various retailers for a paltry $55 / £40 / AU$78. That’s at the very bottom end for a pair of nockers of this spec, and is less than a third the price of Nikon’s equivalent, the Action 10x50s.

A rifle through the internet throws up an array of alternatives for similar money – it’s a crowded market for cheap binos – but Praktica’s offering at least has some kind of brand heritage behind it.

Praktica Falcon 10x50: Design & Handling

Given the budget price, don’t expect a premium unboxing experience. The basic cardboard packaging contains the binoculars themselves, a simple, lightly padded case, a lens cloth, and a hardly confidence-inspiring strap that you’ll need to thread into place yourself and hope for the best. Think “My First Spy Kit” and you won’t be too far off the mark.

However, the actual binoculars themselves have a reasonable solidity to them, with a vaguely rubber-like coating and knobbly grips in all the right places. Ignore the odd blemish and wonkily applied logo, and some dubious flexing of the eyecups, and there’s little to complain about. My pair sports a classic black finish, but there’s also a beige option for covert desert ops.

Lens caps are provided for both front and rear sets of glass, but don’t expect them to remain in your possession for long. They’re slack-fitting and fall off at the slightest provocation – I defy anyone to squeeze these binos back into their case without dislodging at least one cap – so it’s only a matter of time before you’re down to three, then two…

Glasses wearers are catered to by fold-down eyecups. At least, that’s the theory. In practice, I found that with just 13mm eye relief, they swiftly flip back, unbidden, to their original position, and no amount of refolding will persuade them to stay put. Thankfully, the diopter adjustment works a treat, and there’s also some spare focus adjustment beyond max range, so many of us should be able to fling our jam jars aside and rely on Praktica’s optics for 20/20 vision.

Where the Falcon 10x50s really begin to turn things around, though, is in the quality of the mechanicals. Both hinge and focus adjustment are surprisingly smooth, weighty, and stable, and wouldn’t embarrass a pair ten times the price. These things are a genuine pleasure to operate. But can they really be any good to look through?

Praktica Falcon 10x50: Performance

Given the measly price tag and the various build-quality niggles, I was almost scared to lift the Falcon 10x50s to my eyes. But orders are orders, and, to my amazement, with a tweak of the focus wheel, the vista ahead of me shimmered into view with near-perfect clarity. Distant blobs became living, breathing sheep and cows. Indistinct squiggles resolved into crisply defined foliage. And overhead, I was able to zero in on what turned out to be a kestrel, individual feathers twitching as it circled above its quarry.

The Prakticas’ innards, as might be guessed from their old-school appearance, consist of traditional Porro prisms coupled to "multi-coated" lenses. (Coated with what, they’re not saying.) And everything works together absolutely splendidly. The hefty 50mm objective lenses draw in enough light to give a bright, colorful image even on a dreary day, and they carry on performing at night, with the moon’s craters rendered in crystal clarity and not a trace of chromatic aberration around its edge.

A 122m field of view at 1,000 compares favorably to rival binos, particularly given that the entire image remains impressively sharp and bright almost to the edges.

The high magnification means these are best used with elbows propped on something to keep the image stable, but their somewhat plastic build has the advantage of keeping the weight down a little, so they’re not overly tiring to hold. While they won’t tripod-mount directly, a cap unscrews to reveal a thread for a tripod adapter. You’ll need to fork out for that separately, though.

There’s no mention in the specs of waterproofing, so it's probably best to check the weather forecast before slinging these over your shoulder on your way out.

Praktica Falcon 10x50: Verdict

Praktica’s Falcon 10x50s are so cheap they can’t possibly be any good… and yet, they somehow produce admirably clear images, equal to many a much more expensive pair.

From their don’t-look-too-closely finish to their no-frills case and strap, they aren’t pretending to be anything but a budget option. But once you start adjusting and focusing them, there’s really nothing to complain about: they hinge smoothly, and the focus is rock-solid. And Praktica itself seems supremely confident in its quality control, throwing in a reassuring 25-year warranty with every pair.

One thing to bear in mind: that meaty magnification comes at the price of portability, so these aren’t the best choice to keep about your person in the hope you might one day hear the elusive squawk of a capercaillie.

But if you essentially want to, well, make things look bigger, and don’t care what anyone else thinks, these fit the bill perfectly, and you’ll struggle to do better without splurging significantly more on a premium-brand alternative.

Alternatives

The GoBirding Vision Master APL-ETF-M1 wants to change that. This is what GoBirding describes as a smart spotting scope, combining a powerful long-range optic with autofocus, focus-by-wire manual control, optical image stabilization, a built-in imaging sensor, 4K video and, perhaps most interestingly, AI-powered bird recognition.

Having spent a full month using the Vision Master, I think GoBirding has managed to create something far more interesting than just a spotting scope with a built-in camera.

The technology actually changes how you can use a spotting scope in the field. I could observe a bird, identify it, capture a photograph or video, send the view to my phone or tablet, and log the sighting through the GoBirding app, all without swapping between several different pieces of equipment.

That makes the Vision Master particularly appealing for somebody beginning their birding journey. You don't necessarily need years of identification knowledge to understand what you're looking at, because the scope can help you along the way.

Equally, I can see enormous appeal for experienced birders who already recognize the familiar species around them but occasionally encounter something unusual and want a second opinion.

And importantly, none of these smart features stop it from functioning as a spotting scope. You don't have to identify every bird, connect a phone every time you use it or constantly record footage. If you want to observe something in the distance, you can do exactly that.

This balance between traditional spotting and smart functionality is one of the Vision Master's greatest strengths.

The Vision Master is expected to launch on Kickstarter around August 20 2026, with Early Bird pricing starting at $649 – approximately £490 / AU$940. Once it reaches general retail, the official price is set to rise to $999, which works out at around £750 / AU$1,450.

That is certainly premium territory but, given just how much technology GoBirding is combining into one device, it also makes the early Kickstarter offer particularly attractive.

GoBirding Vision Master APL-ETF-M1: Specifications

Zoom: 30x optical, up to 120x hybrid

Sensor: 1/2.7-inch CMOS

Video: Up to 4K/30fps; 1080p/120fps

Viewfinder: 1080p Micro OLED, 0.49-inch

Stabilization: OIS (optical image stabilization)

Storage: microSD, up to 512GB (not included)

Battery life: Around 6 hours of continuous use

Waterproofing: IP65

Dimensions: 11.7 x 3.22 x 4.3 inches / 297.6 x 82 x 110mm

Weight: 32.8oz / 932g (inc tripod mount)

GoBirding Vision Master APL-ETF-M1: Key features

A lot is going on inside the Vision Master, but its defining feature is undoubtedly its AI bird identification system.

Using it couldn't be much simpler. Press the dedicated AI button on top of the scope and a red identification box appears within the display. Position your bird inside that box, give the system a moment to examine the subject, and the Vision Master attempts to tell you exactly what you're looking at.

I particularly like that GoBirding hasn't made this functionality dependent on having your phone connected or a perfect internet connection. More than 1,500 species can be recognized directly by the scope, making the system genuinely useful when you're somewhere remote.

Connecting to the app opens up the much larger cloud-based database, which expands that figure to more than 10,000 species.

There is also something rather addictive about being able to log sightings as you go. Birdwatching has always had a wonderful collecting element to it, with many enthusiasts recording species they've seen, locations they've visited and particularly memorable encounters. The Vision Master brings that experience neatly into the digital age.

However, I don't think the Vision Master should be thought of purely as a birding product. Remove AI identification from the equation, and you still have a stabilized electronic spotting scope capable of autofocus, manual focusing, photography and 4K video.

That makes it perfectly usable for observing other wildlife, landscapes or any distant subject where a conventional spotting scope might otherwise be used.

The ability to connect a phone or tablet is another surprisingly useful feature. Looking through a spotting scope has traditionally been a rather individual experience, but putting the live image onto a larger external screen immediately makes it much easier to share an observation with another person.

This could be fantastic for families, wildlife guides, educational groups or anybody introducing someone else to birdwatching. Instead of continually adjusting the tripod and swapping people behind the eyepiece, everyone can see what the scope is seeing.

GoBirding Vision Master APL-ETF-M1: Build & handling

For a completely new category of spotting scope, GoBirding has hit the nail on the head when it comes to build quality.

My immediate impression when taking the Vision Master out of the box was just how premium it felt. There is a reassuring solidity to the body, the controls feel purposeful and nothing about it gives the impression that GoBirding has treated the hardware as secondary to the technology inside.

That is particularly important because smart optical products can sometimes feel like electronic gadgets first and serious optics second. The Vision Master doesn't. It feels like something designed to be taken outside and used as an actual piece of field equipment.

What impressed me even more was that all this technology hasn't resulted in an unnecessarily complicated user experience. I've used plenty of smart products where simply pairing the device to a phone, navigating menus or activating supposedly simple features feels like an exercise in patience.

The Vision Master is refreshingly different. The interface is logical, connecting it to the GoBirding app is straightforward, and I think even somebody with limited experience of connected devices could become comfortable with it remarkably quickly.

That accessibility is important if GoBirding wants this technology to appeal beyond early adopters. Someone buying a spotting scope shouldn't need to be an expert in wireless networks and smartphone settings before they can enjoy watching wildlife – and thankfully, the Vision Master never gave me that feeling.

Operationally, it also manages to strike a nice balance between automatic and manual control. Autofocus is extremely convenient when moving between different subjects or distances, while the focus-by-wire manual system gives you greater control when you want to precisely place focus yourself.

I did occasionally find the autofocus a little slower than I would have liked, particularly when dealing with subjects where there wasn't an immediately obvious point for the system to lock onto. However, having that manual option means it never becomes a major limitation.

In many situations, I actually enjoyed manually focusing the scope, and the electronic viewing system makes it easy to see when your subject snaps into focus.

As with any high-magnification spotting scope, I would still favor using the Vision Master on a tripod whenever practical. The optical stabilization is useful, particularly at the lower and middle parts of the zoom range, but once you begin pushing toward extreme magnifications, a solid support makes the entire experience more enjoyable.

GoBirding Vision Master APL-ETF-M1: Performance

After a month with the Vision Master, the AI bird recognition has been the feature that impressed me most. In straightforward conditions, it is extremely quick. Press the AI button, position the bird inside the identification area, and within seconds the scope can return an identification.

There isn't a complicated procedure to learn and that immediacy makes the feature something I genuinely wanted to use, rather than something I tested once for the sake of the review. More importantly, the recognition itself is remarkably intelligent.

I decided to see whether I could fool it. Rather than pointing the Vision Master toward an actual bird, I tried fake birds and even bird-shaped toys, including a seagull dog toy. I expected that at some point I'd convince the AI that one of these objects was alive.

I failed.

I tried multiple times, but the Vision Master refused to identify my fake birds as genuine species. In the end, it turned out that I was the fool rather than the AI.

It sounds like a slightly ridiculous test, but I think it demonstrates something important about the sophistication of the recognition system: it isn't simply looking for something vaguely bird-shaped and throwing out the nearest match.

That gives me considerably more confidence in the feature as a practical birding tool. No identification system should replace learning about the wildlife around you, and there will always be difficult subjects, unusual angles or poor viewing conditions that challenge recognition. But I found the Vision Master to be impressively reliable throughout my time with it.

I also think the AI makes the Vision Master useful for a surprisingly broad range of birders. Beginners can use it almost like an interactive field guide, building their knowledge as they discover new species. More experienced birders can simply leave identification switched off most of the time, then activate it when something unfamiliar appears.

Then there is the camera.

I've tested plenty of binoculars, monoculars and spotting scopes with built-in image and video capture, and there is often an obvious imbalance between the two. One mode might produce respectable results while the other feels included merely so the manufacturer can put another feature on the specification sheet.

That isn't my experience with the Vision Master. Still images have a very respectable level of resolution and detail for an integrated spotting-scope camera sporting a small sensor, especially when shooting within the optical zoom range.

Fine feather detail is well represented when the light is good, and photographs are more than capable of documenting a sighting properly rather than merely providing a blurry reminder of what you saw.

The ability to capture RAW files is another welcome addition, particularly for photographers who want greater control over their images afterward.

I don't think anyone should expect this small-sensor system to replace a dedicated mirrorless wildlife camera and a large telephoto lens, but that isn't really the point. A camera setup capable of offering comparable reach can become large, heavy and considerably more expensive.

What the Vision Master gives you instead is the ability to observe a bird one moment and capture a photograph of the same view the next.

Video performance is equally impressive. Within the optical zoom range the 4K footage can look good, retaining a good degree of detail and producing genuinely useful wildlife clips rather than simply recording shots.

Once you push beyond optical magnification into the digital portion of the zoom range, detail inevitably becomes softer. That isn't something unique to the Vision Master; digital magnification always comes with some image-quality penalty because you're effectively enlarging information already captured by the sensor.

Even so, I've used plenty of competing optical devices claiming similar photographic and video capabilities, and I think the Vision Master performs extremely well by comparison.

I would personally keep image and video capture predominantly within the optical range when quality is the priority, treating the additional digital reach as something to use when seeing or identifying the subject is more important than extracting maximum detail.

Everything is recorded directly to a microSD card, which also makes the workflow refreshingly straightforward. You can view footage through the GoBirding app while you're in the field, or remove the card and transfer the files to a computer when you get home.

That combination of observation, identification and imaging is what ultimately makes the Vision Master so compelling. None of these functions feels completely isolated from one another. You spot the bird, focus on it, identify it, photograph or record it, and then log what you've found. It's one continuous experience.

GoBirding Vision Master APL-ETF-M1: Verdict

The GoBirding Vision Master APL-ETF-M1 is one of those products that initially sounds like it might be trying to do too much. An autofocus spotting scope, camera, 4K video recorder, AI bird guide and connected smartphone device all rolled into one could easily have become a complicated technological experiment.

Instead, after using it for an entire month, I've come away genuinely impressed. The build quality is excellent, the controls and interface are remarkably approachable, and the AI identification feels genuinely useful rather than gimmicky.

Being able to point the scope at a bird, press one button and have the species identified within seconds is an incredibly powerful tool, particularly when combined with the ability to build a record of what you've seen.

Its photographic and video capabilities also surprised me. I've used enough image-capturing optics to approach these features with relatively modest expectations, but the Vision Master produces some of the best results I've seen from this category. Stick to its optical zoom range, and both stills and 4K footage can contain an impressive amount of detail.

There are limitations. Autofocus isn't always instantaneous, and digital zoom inevitably softens fine detail. And the eventual $999 (approximately £750 / AU$1,450) retail price puts this firmly into premium territory.

But groundbreaking technology rarely arrives at bargain-basement prices – and when you consider how many separate functions the Vision Master combines, the price becomes considerably easier to understand.

More interesting is the Kickstarter Early Bird price. With pledges expected to start at $649 (£490 / AU$940) when the campaign launches, there is a sizeable $350 saving compared with the eventual retail price.

At $649 I think the Vision Master becomes considerably easier to recommend, especially for someone who may otherwise be considering buying a spotting scope, camera adapter and other birding accessories separately.

As with any Kickstarter campaign, early backing is naturally different from walking into a retailer and buying a finished product off the shelf. However, based purely on the Vision Master I've spent the past month using, GoBirding already has an impressively polished product on its hands.

It's also worth remembering that some premium smart binocular systems occupy significantly higher price brackets while offering their own variations on identification and connected functionality.

In that context, even the Vision Master's $999 retail price starts to look interesting, while the $649 Early Bird offer looks particularly strong.

Most importantly, I think GoBirding has done something genuinely difficult here. It hasn't allowed technology to get in the way of birdwatching. Instead, the technology adds another layer to the experience.

You can still simply point the Vision Master toward a distant bird and enjoy watching it. But when curiosity gets the better of you, one press of a button can tell you what you're looking at. Another can capture a photograph or start recording 4K video. Open the app, and that fleeting encounter can become part of a permanent record of your birding adventures.

For a first-generation smart spotting scope, that's an extraordinary achievement. The GoBirding Vision Master doesn't just feel like another spotting scope with some clever electronics inside; it feels like the beginning of an entirely new category. After a month of using it, I'm very excited to see where GoBirding takes the idea next.

Editor's note: As with all crowdfunding projects, there is no guarantee that the final product will match the early depictions in the campaign – or that the final product will be completed or delivered at all. DCW does not endorse this or any other crowdfunding campaign.

You might also like…

Complement your spotting with the best cameras for wildlife photography along with the best lenses for bird photography and wildlife.

Almost inevitably, the world went crazy for what we've called the 'pocket gimbal camera', and DJI company kept refining their offering – the DJI Pocket 3 sold by the millions. The recently released Pocket 4 added a raft of refinements, but stuck to the single camera system and same sized image sensor. For those already equipped with a Pocket 3 there wasn't a "big thing" to upgrade for.

The Pocket 4P, though, is another matter. It brings all the refinements of the Pocket 4 and, crucially, a second camera. mimicking the multi-camera approach used by premium phones to improve telephoto range. Is it the "pocket cinema camera" that is suggested? How does it hold up against the new competitor in town (the Insta360 Luna Ultra)? I've been testing both and here is my verdict...

DJI Pocket 4P Value

When released globally on July 30 (except the USA because of legal issues), the Osmo Pocket 4P had a starting price of £529 (around $710), which represents solid value, considering that the Pocket 4 comes in at £445.

DJI Pocket 4P Specs

DJI Pocket 4P Build and handling

The DJI Pocket 4P feels a lot like its predecessors, which is to say that the handle is superbly well-built of tough plastics with a very convincing grip.

Atop it is a new feature for DJI – a dual camera system with a 20mm EFL camera boasting a 1-inch CMOS sensor with LOFIC (this is a system which adds capacitors to capture additional highlight detail, reducing the chance of over-exposure). The 60mm one is a more standard 1/1.28-inch.

The screen is on a rotating mechanism that also serves as the on-off switch, an elegant piece of design on the Pocket 3, which has been stepped up a level with the arrival of two customisable buttons that are revealed when the camera is active. The left of these is a 'zoom' button by default, quickly switching from the 20mm to the 60mm view (though with a half-second 'zoom' rather than an instant jump).

You can also turn the screen back to vertical and tap the screen before it powers off to easily switch to vertical shooting. This won't actually rotate the camera – but will give you a larger view (at the expense of hiding those two new buttons!)

Control is by those physical buttons, a '5D' thumb joystick, and that OLED touchscreen, the 1,000 nits of brightness serving well even in bright daylight.

The size of the screen is just big enough that it's possible to put a button in each corner and for them to be easy to press. In addition, swiping from the sides reveals features like playback (from the left), settings, resolutions, or the Pro options.

Described like this, it might sound overwhelming, but they are neatly categorised and relatively soon become second nature. For me there was one exception: the thumbstick is switched between operating the camera direction and the zoom level with an icon on the screen. A separate physical zoom slider (as seen on the Luna Ultra) would be a lot easier, ergonomically.

Much of the time, too, you can rely on the camera's ActiveTrack 8.0 feature to keep your subject in shot; it can recognise people and other objects and keep them in frame with the gimbal. This is the true appeal to a solo operator.

Using the same grip makes it compatible with most of the same accessories, but it does mean that it is notably 'top-heavy'. To be honest, I think this is fine, and since I found myself using the battery handle (an added accessory, but one I'd recommend) that is completely offset anyway.

A nice touch is that DJI has stuck to the handle dimensions of the Pocket 3, so if you have the battery handle accessory from that generation, it'll work. It won't deliver quite as much power as the new one, but it'll fit, and it'll work.

The battery life is a solid 210 minutes, about half an hour less than the Pocket 4 standard because of the heavier gimbal, though it will come down if you move around more.

DJI Pocket 4P Performance

Image quality from the Pocket 4P is striking, and I have no complaints about the mechanical stabilization.

The 4K video quality is excellent with natural colors, and I shot in D-Log, D-Log 2 (the new color profile which takes advantage of the LOFIC sensor) and the normal modes.

It was a little irksome that the camera's new D-Log 2 color profile is only available for some of the shooting modes, easily explained by the fact only the 1-inch sensor on the 20mm camera has the LOFIC tech, but less so by some of the other modes that won't play ball, like slo-mo.

Regardless the 60mm telephoto lens is perfect for achieving the background compression from real depth of field, not the horrible simulated alternative offered digitally by phones, and it looks great.

Paired with the camera's ability to act as a receiver for a DJI Mic (all part of the ecosystem), it takes seconds to set up an on-location piece to camera which is then recorded with synced sound.

Battery life is impressive, and the refinements to the newer battery handle are appreciated, That said, I did a lot of my testing in 4K60fps and it will plough through the power notable faster. Hyperlapse and slow-mo had similar issues.

On a long days shooting I found myself topping up the charge with my portable power station, but it wasn't an issue – it fast-charges to 80% in under 20 minutes. Copying files from the device is also pleasingly painless thanks to DJI's Wi-Fi 6 and USB 3.1 support so even 200kbps videos flow off very quickly.

DJI's default shooting modes produce very natural color, and significantly better image quality than a phone. The 60mm lens is f/1.8, so it's very much like a classic portrait lens, but it's also worth remembering that 2x is effectively lossless at 4K (as is 6x zoom). There is even 12x zoom and that does show signs of digital zoom but I was impressed that not only is it 'good enough' when needed, but the subject tracking was still easily able to cope at this distance.

While the D-Log and D-Log 2 confusion is an irritation, it isn't a tragic loss. The camera makes very sensible choices if you shoot in normal mode. If you are determined to use the best possible color science for each shot as you'll need to switch between them in the menus, and ideally a different LUT for each.

The other crucial factor, focus, is generally pretty reliable, too. The camera generally stays on the selected subject or main face in the shot which is crucial for a pocket gimbal camera as it isn't a control you'd want to be handling, given how much movement can be going on. I was genuinely surprised how rarely the camera focused on anything other than my choice of subject – meaning it'd probably make a great choice for product photographers too.

DJI Pocket 4P Overall Verdict

As soon as I knew there was a 4th generation of DJI's Pocket coming along, this was the camera I wanted. First came the Pocket 4, though, and I found myself complaining: "Where is the other lens, from all the rumors?" As someone who wants to be able to put the camera a little way away, trust the camera's subject tracking, and shoot pieces to camera while out alone, this was the upgrade I was waiting for.

So here it is and, honestly, there are very few frustrations. Admittedly, I'd prefer the new Log 2 mode to be available across the lenses, and I still find the 5D joystick somewhat fiddly (especially now I've used the Luna Ultra and know there is an alternative approach).

And I still don't fully understand why there isn't a tripod thread on the standard camera – just a USB-C socket in the base and a plug-in box/handle extension (I get that USB is also the means to connect to accessories, but why not use something like the pogo-pin contacts on the gimbal head, leaving room for a tripod thread?

This, though, was not an issue for the success of the previous generation and, to be honest, if your hands are the size of mine, leaving the handle extension on all the time (except when you have the battery handle) improves the ergonomics anyway.

Would I upgrade for the extra dynamic range and the Log-2? No. But that doesn't matter – the 60mm lens is reason enough.

Alternatives

How I test?

I've tested multiple generations of this camera and other gimbal cameras, and many drones and gimbals, so have built up years of expertise. I've found that the best thing to do is to use it in 'real life' circumstances, so, for the Pocket 4 series, that involved taking the device out into the world and shooting videos, some of which you can see cut into the video at the top of this piece.

I tested with a device DJI loaned me before the release, giving me something of a head start. In that time I was also able to I compare it to the Pocket 3, the Pocket 4 and the Insta360 Luna Ultra.

The DH4300 Plus features a Rockchip A76+A55 processor compared to an A72+A53. In addition to this, there is 8GB LPDDR4X rather than 4GB. And finally, and maybe most importantly for photographers and videographers, are the 2.5 GbE LAN ports compared to just 1 GbE on the DH2300.

As is the case with the DH2300, the DH4300 Plus is marketed towards users who want a private cloud solution as an alternative to paying monthly subscriptions for either Google One, iCloud, or the like. With better specs, the DH4300 Plus is also a more viable alternative for 4K media streaming, whether that be for editing or viewing.

UGREEN NASync DH4300 Plus: Specifications

UGREEN NASync DH4300 Plus: Design & Handling

Following along the same lines as all UGREEN devices that the brand has produced in recent years, the DH4300 Plus is a superbly designed NAS with a classy two-tone grey aesthetic. For the price I would have expected a metal case, but it appears that UGREEN wants to keep the weight down and not overcomplicate the material palette.

If your idea of NAS is a blocky, archaic-looking box that gathers dust in the corner of a room, then UGREEN is looking to address misconceptions and offer a much more modern alternative. In reality, the DH4300 Plus effortlessly blends into any interior and could even be positioned in a living room without looking out of place.

The four bay trays are located underneath a removable top hood which easily slides off without any need for a catch which could fail over time. Unfortunately, like the DH2300, the trays are constructed of thin and flimsy plastic, which is far from ideal in terms of longevity. Thankfully, once your storage drives are inserted, you shouldn't need to touch the trays very often at all.

These trays are able to house 3.5-inch or 2.5-inch drives and can be secured using small screws which are provided as part of the package. It's a rudimentary solution that is inferior to alternatives such as the WD My Cloud Pro Series PR2100 that provides a sufficiently snug fit to not require screws.

All of the status indicator lights are positioned on the front face so you can quickly and easily see if everything is running smoothly or if you're running into problems. At the front you'll find a single USB-C port with all other ports (2x USB-A, 4K HDMI, Ethernet, and power) located at the rear. Unfortunately there's no SD card slot, which isn't ideal for creatives wanting to dump data directly from their shoots.

UGREEN NASync DH4300 Plus: Performance

Having already tested the very similar DH2300, it was no surprise to discover that the NAS was effortless to set up. All I had to do was power up the NAS, connect the Ethernet cable to my router, download the UGREEN client, wait a few seconds for the NAS to be found, and walk through the guided setup. In a very short time, with no hiccups, I was ready to use the NAS.

The primary thing I wanted to know was whether the NAS could handle 4K video editing. So I enabled the SMB service within the UGREEN client, uploaded my 4K footage, and connected to the server on my Mac. From there I was able to import the footage into Premiere Pro. All of this was super simple and straightforward thanks to the user-friendly UGREEN tools.

I began by streaming the 4K footage directly from the NAS, and I had no problems achieving smooth playback even at full resolution. I then added a few effects, including a blur and distort effect. Again, these played back smoothly.

To take my test up a notch, I added a Lumetri Color effect and performed a number of color corrections using dial adjustments and curves. At this point, I experienced some lag and stutter, which wasn't ideal but far from a game changer. This can be improved by moving the media cache folder locally, but if you'd like to use the NAS exclusively, then I'd say it's still absolutely possible, assuming you can put up with some small delays or drop the viewing resolution.

As mentioned before, the DH4300 Plus is powered by a Rockchip A76+A55 processor and 8GB LPDDR4X. This all keeps things running smoothly. Transmission tops out at 2.5 GbE, which is sufficient for most workflows, but if you'd like buttery smooth video editing in almost all cases, then a 10 GbE NAS is what you need.

It goes without saying that backing up photos, videos, and other files is fast, seamless, and absolutely sufficient for the NAS to act as a reliable and usable private cloud. You can even set it up as a dedicated photo storage device so you can see your photo library on your phone.

If you plan on using the NAS with all your family members or for a small business, then UGREEN provides a number of user features so admins can control who has access to what. These tools are available through the UGREEN Client and are straight forward to use, even for complete NAS beginners.

UGREEN NASync DH4300 Plus: Final Verdict

The UGREEN DH4300 Plus is an ideal solution for anyone who wants reliable photo backup and 4K video editing capabilities. I was able to back up my files quickly and without issue, and when I edited a 4K video directly from the NAS, I ran into very few problems.

With a reliable 128GB capacity, you'll be able to keep your media safely backed up and access it directly in your workflow. If you choose to use it as a photo management tool, then you'll love the AI-driven photo management app, which automatically sorts images for smart and easy access.

The design is modern and sleek, looking the part whether placed in an office, studio, or even in a living room. As with the DH2300, the DH4300 Plus is also lacking support for M.2 NVMe drives, Docker, and virtual machines, so it offers very limited scalability, meaning power users may need to look elsewhere.

This new foldable sits in the middle of the lineup; it's more premium than the Flip 8, but the cameras aren't quite as advanced as the Ultra model. Samsung reckons it's the model to choose if you're all about content consumption, but that doesn't mean it can't make content, too.
The Z Fold 8 might lack a telephoto camera, but it has some surprisingly advanced features for photography and video. There's RAW shooting, a Log profile, and the fancy new APV codec - to name but a few. Plus, by all accounts, it seems to be the same shape that Apple's first foldable will adopt, so it might be a taste of things to come. I've been using it for the past week to find out what it's like to live with.

Specifications

Price & Availability

The Samsung Galaxy Z Fold 8 is up for pre-order now, and it's expected to land on store shelves and with customers around August 7th (at least in the UK).

There are three versions to choose from. The base model comes with 12GB of RAM and 256GB of storage for £1699 / $1899, there's a 12GB+512GB version for £1869 / $2099, and a 16GB+1TB model that will set you back a whopping £2119 / $2499.

It's available in Graphite, Cream and Lavender as standard, with a rather fetching Pistachio colourway exclusive to Samsung's online and retail stores.

Design

The Galaxy Z Fold 8 is unlike any phone I have used before. It's almost exactly passport-sized, and while other devices have toyed with this form factor before (like the OnePlus Open and the original Pixel Fold), I think this one is noticeably shorter and more compact.

It immediately sparks excitement and intrigue; everyone who sees it is desperate to have a go with it. And that makes sense, as phones, even foldables, have become quite homogeneous, and this stands out as something truly unique (for now),

Aside from the shape, though, the Fold 8 retains Samsung's signature look. It has sharp corners, just like the last few Folds, flat edges, and the classic traffic-light-style camera layout (with one less camera). The front is covered with a flat pane of Gorilla Glass Ceramic 3, while the back is made from Gorilla Glass Victus 2, with a smooth matte finish.

Just like last year's Fold 7, the Fold 8 is impressively skinny. It measures just 4.3mm thick when unfolded, and 9.7mm when closed. It's also very lightweight, tipping the scales at 210g. This means it's lighter than the S26 Ultra, and not too much thicker, either.

One of the more subtle changes is that Samsung has added a new bevelled edge and changed something about the magnets to make the new foldables easier to open. It's almost impossible to notice, visually, but the difference is very noticeable in practice.

The crease has also been greatly reduced thanks to a new display manufacturing technique that incorporates a flexible titanium layer. When viewed head-on, you can barely notice the crease at all, and you'll barely feel it with your fingers, either.

To make matters even better, the screen is far less shiny, so you won't get as many distracting reflections. I was a little concerned that the less-shiny screen would be a fingerprint magnet (as they often are), but this one fares well. It might not be quite as smudge-resistant as the Fold 7, but I think it's a fine tradeoff overall.

Both screens are brighter than ever, now able to reach 3000 nits at peak, which makes them very easy to see outdoors. However, it's worth noting that the Z Fold 8 dims both displays to prevent overheating, and with the recent spate of hot weather in the UK, that happened to me a lot, which was quite frustrating.

The best thing about these screens is the aspect ratios. The cover display is 16:10, a lot like a laptop screen (when held horizontally), while the inner display is 4:3, like a retro TV or an iPad Mini. Usually, foldable phones give you a pretty normal phone shape when folded shut, and open into an almost-square shape, so this feels extremely unique.

It means that there's a very big difference using the foldable screen in portrait or landscape mode, and the experience is much closer to a traditional tablet screen. Held vertically, it's amazing for watching TikToks, browsing websites and reading ebooks or comics, and horizontally, it's excellent for watching YouTube, movies and gaming.

My favourite thing to do with the 4:3 screen is watch old TV shows and skate videos, as they're natively 4:3 and fill the entire display. For the same reason, it's also perfect for emulating old game consoles from the SNES to the PS2. It's also great for reviewing images, as a lot of cameras shoot 4:3, so it has the same benefit.

16:9 content is also great, as the black bars are much smaller than they are on a traditional folding phone. However, don't go into this thinking the screen will be significantly larger than a book-style fold, because the actual size of the content is about the same - it just takes up more of the screen.

The cover display is more of a mixed experience. It's adorably tiny, and some apps look great on it, while others can feel a little cramped.

Typing is the most divisive thing about it. The on-screen keyboard takes up about half the screen when it pops up, and if you're using both hands, it feels excellent. It's significantly wider than normal, which makes it much easier to type on. The flip side of that is that typing with one hand is pretty challenging, especially if you have smaller hands. It's a real stretch to reach the left side of the screen, and that can get tiresome.

Camera Performance

The Samsung Galaxy Z Fold 8 only has two cameras on the rear. There's a 50MP 23mm equivalent with an f /1.8 lens and a 1/1.56-inch sensor, and a 50MP ultrawide with an f/1.9 lens and a 1/2.51-inch sensor. Each screen also gets a 10MP punch-hole selfie camera, but the one on the folding screen has a wider FOV than the cover selfie camera.

Obviously, the biggest downside to this configuration is the lack of a telephoto camera. Natively, you can choose from a wide shot or an even wider shot, and that feels extremely limiting. Of course, there is digital zoom, but you can't go much past 4x before seeing an obvious drop in image quality. It maxes out at 10x, and doesn't look great when you go that far.

Photos taken on this phone have the signature Samsung look to them. They're very sharp, with natural colours and a pronounced HDR effect. They seem inoffensive by design; they'll rarely exceed your expectations, but they'll rarely let you down. It's essentially the polar opposite approach to the Honor Magic V6 that I tested recently.

I like my photos to have a little more personality than the default look delivers, but thankfully, that's not hard to achieve. You can either play with the built-in filters, which are all highly customisable, or you can shoot RAW and process the images as you see fit.

Daylight photography is where this device shines, and despite wide apertures and fresh imaging pipelines, low light is still a weak point. In fairness, nighttime images are well exposed and don't require super-long exposures, but they're pretty grainy compared to the competition.

The selfie cameras are decent enough, but they're not going to knock your socks off. I like how wide the internal selfie camera is; it's well suited to video calls, and that's likely how it'll be used most often.

The portrait blur effects are quite reliable, which adds to the appeal, but with a device like this, you can easily use the rear cameras and get some genuine background softness from the larger sensors.

When it comes to video shooting, I was pleasantly surprised by the wealth of options available. The Fold 8 has a Pro Video mode, complete with Log recording options, audio meters and APV codec support. Samsung is one of the few brands offering PAL recording formats in its default camera app, too. So if you need to shoot at 25p or 50p, it's all right here.

You can shoot at up to 8K30 on both rear cameras, and the main camera can shoot 4K120 for some buttery-smooth slow-motion shots. As ever, the stabilisation is solid, and the microphones are very decent, too.

Samsung also gives you some fun new video tools to play with. There's full 360 horizontal lock, just like we saw on the S26 Ultra, and a new dual-video recording mode that lets you capture your face and your surroundings at the same time.

The FanCam mode is particularly novel. If you have a wide shot, you can select a subject in the frame, and the software will automatically crop in and follow this person about in an aspect ratio of your choosing. I don't have a particular need for this feature, but I suppose it's an alternative to having a gimbal follow you about when shooting solo.

Phone Performance

The Samsung Galaxy Z Fold 8 has the Qualcomm Snapdragon 8 Elite Gen 5 inside, and it's a specially tuned "for Galaxy" version. If you opt for the 256GB or 512GB version, you'll get 12GB of RAM, while only the pricey 1TB variant gets 16GB of RAM. I have the 12+256GB model in for testing.

For the most part, the Z Fold 8 is as powerful as its specs suggest. Apps open quickly, multitasking is a breeze, and it'll run almost any game you throw at it. Popular titles like Genshin Impact are very well optimised on this device, but newer, heavier titles like Wuthering Waves pose more of a challenge.

To play at 60fps on the folding display, I had to lower the graphics preset to "balanced", and even on this setting, the frame rate would often dip to the low 40s. It's perfectly playable like this, and still looks good, but with my other 8 Elite Gen 5 foldables (like the Oppo Find N6) I am able to bump up the graphics settings a couple of notches and achieve similar performance.

I believe it's all due to thermal throttling. The Fold 8 has plenty of power on tap, but there's much less surface area to dissipate the heat, so it has to rein itself in. It's all the more disappointing because games scale so much better to this 4:3 screen than they do on other foldables.

Of course, this only matters if you're trying to play graphically demanding games. Most mobile games will run perfectly, and if you're into retro emulation, you're going to have a field day with this 4:3 screen.

Samsung has finally started experimenting with silicon battery tech, and as a result, the Z Fold 8 gets a bigger battery than the Fold 7, despite being significantly smaller. It's now 4800 mAh, up from 4400 mAh, and it charges faster, 45W with a wire and 25W wirelessly.

These figures don't sound too impressive, with Chinese brands touting 100W+ speeds and 6000mAh+ packs, but the reality is better than you'd expect. For instance, I found that the Fold 8 could go from 0 to 70% charged in just half an hour - keeping pace with the 80W Honor Magic V6.

The battery was also good enough to last me through the day with ease. I had to charge it every night without fail, but considering how often I was using the larger folding display and how many photos I was taking, that's a very good showing.

As for the software, Samsung hasn't rewritten the formula with its latest updates, so it'll look and feel very familiar if you've used a recent Samsung flagship.

The things I love are all still present, like the customisation options, the smooth, speedy animations and the slick default look, but the downsides are still there, too. My main issue with One UI is that it feels cluttered, as it comes loaded with all of Samsung's first-party apps and most of Google's, too. A lot of these apps serve the same purpose, which can make things confusing and messy.

The update I'm most excited about is the ability to run three apps side-by-side in split-screen mode. It really takes advantage of the wider format screen, and it turns this pocket-friendly device into a productivity powerhouse.

There's also a new app from Google called Notebook, which allows you to upload almost any kind of media: audio, video, PDF documents, etc. Then you can generate audio summaries, infographics, or just chat with Gemini about the contents. It seems to be a rebranding of Google's web-based Notebook LM, but it's a handy tool, and it's now easier to access.

There are, however, a few areas where One UI doesn't feel like it's fully optimised for this new shape. The one that bugs me the most is that it will only allow four apps on each row on the homescreen. Weirdly, the home row can have five. Every Samsung phone I have used, even relatively narrow ones like the Fold 7, allows for more apps on the grid, so I have no idea why this wider display is so restricted.

Another annoyance is that your apps change positions when you rotate from horizontal to vertical on the main display, and you can't add apps to the homescreen when it's held vertically. It's a minor issue, but when you're used to your apps being in a certain order, it can be quite frustrating.

I'm sure Samsung will iron out these issues before long, and it has plenty of time to do so, as this phone should receive updates and security patches for the next seven years.

Final Verdict

The Samsung Galaxy Z Fold 8 is one of the most interesting phones I have tested in recent years. And while rumours say there will be many more like it in the near future, for now, this is a wholly unique experience.

It's really fun to use, and the new shape has some tangible benefits, especially for content consumption and gaming. The cameras, though, aren't too special, and the lack of a telephoto is hard to deal with - especially at a price like this. I do wonder if the novelty will wear off and the small frustrations will begin to overshadow the fun that this shape brings - but after using it for a week, that hasn't happened yet.

As ever, whether or not you should buy this phone all comes down to your personal needs. I'm a photographer who enjoys playing graphically intensive games, so it's probably not the ideal device for me, but the shape shows real promise.

If you don't have such high performance demands, and you're just looking for a compact phone that can extend to give you a big screen experience, you will almost certainly fall in love with this device.

Alternatives

This is a drone not built to take on all the other camera drones out there, but to provide extra functionality, especially for people like paddleboarding, kayaking, surfing, boating, jet skis, and e-foils.

If you're looking to share these activities on social media – and especially if you want to shoot them alone using the drone's subject tracking – this is your only option.

A secondary market might be operators looking to fly over water who just don't like the risk of the drone sinking should an unlikely failure happen.

So, for both of those scenarios, the key question is the same? It's innovative, sure, but is this drone actually going to do what you expect of it? It's not just that the manufacturer's claims have a lot to live up to – but the practicalities and usability when you're on the water are even more demanding. Here's what I found when I tried it…

HoverAir Aqua: Price

• Launch price $1,299 / £1,129 / AU$1,999 for 1-battery "Standard" bundle
• I tested the $1,399 / £1,299 "Fly More Bundle" with 2 extra batteries

The HoverAir Aqua is a revolutionary product – at the time of launch there are literally no other consumer drones able to land on water, let alone right themselves and get back to work. It is fully waterproof, and self-piloting

This is a drone not built to take on all the other camera drones out there, but to provide extra functionality, especially for people like paddleboarding, kayaking, surfing, boating, jet skis, and e-foils.

If you're looking to share these activities on social media – and especially if you want to shoot them alone using the drone's subject tracking – this is your only option.

A secondary market might be operators looking to fly over water who just don't like the risk of the drone sinking should an unlikely failure happen.

So, for both of those scenarios, the key question is the same? It's innovative, sure, but is this drone actually going to do what you expect of it? Just the manufacturer's claims are a lot to live up to – but the practicalities of usability when you're on the water are even more demanding. Here's what I found when I tried it…

HoverAir Aqua: Specifications

HoverAir Aqua: Build & handling

The back of the drone is the battery, with the main power button – large enough that you're unlikely to miss it (though there are no simple power indicators on the battery).

Instead, clipping and unclipping it is a slightly frustrating process (or at least it was on my sample), I can only assume because the seal has to be tight to keep water away from the metal contacts.

At the front, above the camera, is a screen and beneath it four tiny buttons

The other key means of control is the "Lighthouse," which is worn on the arm using a strap. This provides a remote control you're unlikely to drop, as well as signalling your location to the drone, in a single unit.

The beacon is also orange, with a rubber ring acting to cover most of the buttons. The button functions are not especially clearly marked, I found, but tactile. There are ridges at the 12 o'clock, 3 o'clock, 6 o'clock and 9 o'clock positions and another four buttons (marked by recessed icons) beneath the halfway points – a total of eight control points on a relatively small ring.

In addition, there is a take-off and landing button and, tucked on the side, a power button. At the base is a rubber-sealed USB-C port for charging.

The Lighthouse has two means of communication – a very loud speaker which barks status updates, and a light which shows different colors / flashes.

Also in the box, as well as the drone itself, there is a waterproof bag for each battery; these use plastic seals and wrap-around folding to keep the water out. I tested the Fly More Kit with three batteries, and it also included a charging hub – also in matching orange. It can charge 2 (not three) batteries at once.

Oddly, though, there is no case, even with the Fly More bundle that I'm testing. There isn't even one with the most premium set. That despite the fact that the outer polystyrene rim of the aircraft is more vulnerable than the rigid plastic of other drones.

The Aqua has arguably more need for a specifically designed case than any other drone – and yet there isn't one.

HoverAir Aqua: Performance

To my mind this drone is for confident drone users – it feels like it is all about the hand-launch, for example.

Selecting a mode is done with the buttons beneath the 1.6-inch screen and, sure, the AMOLED is bright enough for a sunny day, but the buttons beneath it are a bit strange. The icons confused me a bit (they are, as near as emoji will let me: – 🔴 ⏎ –). What the drone's OS thinks of as a 'back' button looks like the 'return' on my computer – so it acts in the opposite way to the one I expect!

Instead, the second button from the left, the red dot, usually means perform this function, as opposed to 'record' – which will happen automatically when the drone is doing its thing.

Which leads me to the automated following, which the drone relies upon from its main camera and the Lighthouse and, to its credit, it seemed capable of even on land with more obstacles that it might expect on the water.

Water landing was a scary idea to me at first, but by the end of my review I was happily throwing the drone so it'd land upside down, confident that I'd be able to get it to flip itself right again.

Much more unsettling from my perspective was the apparent connection difficulties between Lighthouse and drone, even testing in good weather. Often there would be a loud voice shouting "connection lost" before almost instantly assuring me it was restored – this feels like something that firmware could resolve as I suspect the connection loss was not that long.

The upshot, though, is concern, which isn't really what you want.

I tested the drone in winds at the edge of its acceptable speeds and it did survive, despite the relatively large surface area of the frame, but the battery time dropped well below the promised 23 minutes.

HoverAir Aqua: Overall Verdict

Ultimately this is a drone you buy because it is the only one you can buy to do the job. Image quality is fine, but not the best – the 4K quality is pretty average and the 1-axis image stabilizer on the camera means that everything else needs to be done by digital image correction.

That's fine – it's the same principle as the HoverAir X1 and the DJI Neo – but of course the price here is significantly higher. It's important to remember that what you're paying for is the unique ability to use the drone, without help, over water.

My confidence in those abilities is high. After testing in a few locations I found myself happy to just throw the drone into the water and knew that it would take off on my command. I wish that a few of the irritations could be solved – not least the connection frustrations. I imagine that firmware updates will come along for this. A longer battery life would be wonderful, of course, but staying under 250g is probably more useful and it's hard to believe both are possible with current battery tech.

In summary, then, this seems a great choice as a second drone for people who know why they need it. It will do the job. If you're not venturing over the waves, though, there are better, cheaper choices.

Alternatives

Rather than recommending an alternative drone, because there is no other drone (yet) capable of landing on water, I'd suggest you consider an alternative workflow. Get someone to stay on land and film you using a drone from our guide to the best camera drones.

If you have this kind of money to spend, an excellent choice that would offer a bonus perspective would be the DJI Air 3S, which not only boasts a 3-axis gimbal, but a telephoto camera as well (plus a good radio control range).

The model I've been testing recently is the AeroTek T03 2K, which, you guessed it, shoots a 2K video resolution. Other features include a 40 MP photo resolution, a two-inch color display, a 3000 mAh battery, and infrared lights for better night vision.

The lack of 4K video, GPS tracking, and dashcam mounting will put more serious security professionals off, but for less than $100 you really do get an impressive set of specs. In fact, if you're new to this world and need an entry-level camera to get started, the T03 2K is well worth a look.

If you're more keen on a discreet wearable for capturing the moments of your life, then you'll be better served by one of the best action cameras or best POV cameras instead. These are compact, cute, and usually a lot better looking than the range of cameras that the T03 2K fits into.

AeroTek T03 2K: Specifications

AeroTek T03 2K: Price & Availability

The AeroTeK T03 2K Body Camera retails at $99.99. If you were interested in similarly specced and priced alternatives, then the BOBLOV KJ23PRO 2K, at $109, is your best bet.

The T03 package includes the camera, a USB charging cable, and a 64 GB MicroSD card. If you'd like more storage, then the slot supports up to a 512 GB MicroSD card, although you'll need to buy this separately.

If you like the camera but require 4K resolution, then AeroTek sells the T05 Mini 4K for $189. This model includes a higher resolution and GPS tracking. Or, if you're looking for a more lifestyle wearable camera, then the Boblov W4 that I reviewed recently is an attractive proposition.

AeroTek T03 2K: Build and handling

The first things that grabbed me when I unboxed the AeroTek T03 are the nice design accents located on the front face, which are usually absent from most brands of body cams, which look frankly quite utilitarian. AeroTek has opted for a red ring around the lens and a red block right at the bottom. These give the device some much-needed identity and character.

In terms of portability, the T03 is both compact and lightweight. As a result, it is effortless to carry around, either while shooting or transferring files to a computer. The lightweight construction is a positive for portability, but it does leave the unit susceptible to damage, especially when knocked either during a scuffle or when impacted against a solid surface. Rubber padding would help with this.

In terms of mounting, the device ships with a short clip and a longer alternative designed for shoulder mounting. Both supply sufficient grip on clothing, but I do have a couple of issues with their implementation. The first is that the short clip covers a portion of the display and therefore limits visibility. I'm not sure why AeroTek didn't design it so the clip sits slightly higher (although this flaw isn't unique to this brand).

The second issue is with the long shoulder clip, which can become obstructed by the main body of the camera and become stuck if you're not careful. Again, a small change in the limit of the rotation would solve this. The only additional note for mounting is that there's no dash cam attachment like there is with the AeroTek T05 Mini 4K, but that's no surprise at this price point.

The two-inch color display sits flush with the case around it, and despite no advertised specs on its resolution, it provides enough clarity to review footage on the device. Unfortunately, the lack of zoom capabilities while reviewing video or photos is a little restrictive and disappointing.

The T03 features an IP64 rating, which promises protection against dust and splashes. To test the claim, I sprayed water on all sides of the unit and, after a quick dry-off, found the device continued to perform with no problems at all. The rating is sufficient for any professional providing security at a pub or live music event where drinks might get spilt or thrown.

AeroTek T03 2K: Performance

Operating the device is simple and straightforward thanks to a series of easy-to-press buttons on the left- and right-hand sides as well as underneath the display. Unfortunately, I quickly ran into issues trying to remove the microSD card from the camera. More specifically, I was unable to remove the rubber slot using my fingernail and had to resort to using a single prong of a fork. This was far from ideal and resulted in me scratching the plastic around it.

Once I managed to get the microSD card out of the camera and into my laptop card reader, I downloaded the captured footage without any problems. The 2K footage is clear, vibrant, and relatively free from low-light noise. When the dynamic range of the shot is too wide, the sensor struggles to expose correctly across the entire image. Despite this, the camera generally picked the 'best' objects to expose for. Video footage is more than suitable for evidence capture.

The T03 is also capable of recording nighttime video courtesy of its seven infrared lights. These can be set to work automatically so that you don't have to remember to turn them on manually when the light levels drop. The camera manages to capture reasonable light levels, but the video is both blurry and grainy.

Photos are captured at an 8000 x 6000 px resolution, and even though this is a respectable image size, the sensor just can't handle delivering what's required when it comes to clarity and correct exposure. I took a photo of myself indoors with one side of my face brightly lit and found the output to be severely overexposed, with exposure issues creeping into the mid-tones.

In addition to video and photo, the T03 is able to capture sound clips, which it does admirably. Audio is recorded with clarity and detail, no matter whether the audio is coming from in front, behind, or even to the side of the device. Audio is recorded in the popular WAV format.

The T03 features a powerful 3000 mAh battery, which provides up to 12 hours of continuous recording. This is sufficient for most work shifts, although you'll have to carry out a full charge after every single one.

AeroTek T03 2K: Overall Verdict

The AeroTek T03 body camera offers a reasonable set of specs given the sub-$100 price tag. Its core function of capturing wide-angle video footage is respectable, especially if you're filming during good lighting conditions. It's also straightforward to operate and lightweight to carry.

But, despite doing a good job with video, AeroTek hasn't been able to deliver the same quality with photo capture. Unfortunately, results are blurry and lacking clarity. Issues continue with nighttime recording, so if you work a lot of night shifts, I wouldn't recommend buying the T03.

Despite these issues alongside a lack of 4K video and GPS tracking, if it's a basic, budget-friendly body cam you're looking for, then the T03 should make anyone's shortlist.

You might also like...

It's well worth checking our guide to the best body cameras, though if your needs tend more toward video quality than long battery life, perhaps check the best action cameras. Don't forget you might even save on your car insurance with one of the best dash cams.

The TourBox Elite Plus is identical to the TourBox Elite in that it provides tactile control over creative software settings, providing precise adjustments using buttons, wheels and dials rather than clicking and dragging your mouse. The TourBox software allows you to use TourBox software presets; you can download user-created presets and/or create your own.

Where the Elite Plus differs from the Elite is that the former can also be connected to iPads and Android tablets via Bluetooth, making it the obvious option of the two if you use a tablet for creative tasks. Compatibility is much greater with iOS, with more app presets available, although you can create your own if you need to.

The TourBox Elite Plus can be connected to your computer wirelessly via Bluetooth while being powered by two AA batteries, or it can be connected and powered with a USB-C cable. As previously mentioned, it can also be connected to iOS and Android tablets via Bluetooth.

The TourBox Console software is easy to use and makes it easy to set up the device. There is both a desktop app and a tablet app version of the software available.

TourBox Elite Plus: Specifications

TourBox Elite Plus: Price

The TourBox Elite Plus can be purchased directly from the TourBox website, Amazon and other online retailers. You can buy the individual device for $297 / £297, while the Accessory Package, which includes a carry case and a USB cable, costs $55 / £55. This is sometimes on sale for $30 / £30. This is more expensive than lower-level models, and the Elite is a better option if you have no plans to use the TourBox with a tablet.

The Elite Plus is available in Frost White, Glacier Blue, Ice Translucent and Midnight Indigo. The optional carry case, part of the optional Accessory Package, is a great addition if you plan to travel with the TourBox, as it keeps it safe during transport.

TourBox Elite Plus: Design & Handling

The TourBox Elite Plus is a fairly compact device that’s not much larger than a mouse, but is almost a square shape. This makes it fit well on even smaller desks, and when you power it with batteries and connect to your computer via Bluetooth, being cable-free makes it a great-looking and unobtrusive device.

The Elite Plus is just 4.57x3.98x1.73in / 116x101x44mm, with a weight of 13.26oz / 376g without batteries. This weight, alongside the rubber feet on the bottom, keep it firmly in place on your desk, with no slipping and sliding during use. If you choose to use battery power and connect via Bluetooth, batteries are claimed to last up to two months.

Battery life depends on the haptic feedback setting selected and whether or not you switch it off after use. It does, however, go into sleep mode when not in use to conserve batteries. The USB connection is also useful if you’d prefer not to risk running out of batteries, although this does mean a less tidy desk.

Build quality is excellent throughout, with every control feeling solid, tactile and built to withstand years of regular use, although only long-term testing can truly confirm its durability. The Elite Plus also benefits from a UV antibacterial, fingerprint-resistant coating that helps keep the controller looking clean despite extended use.

The controller itself offers an impressive selection of inputs, including a wheel, knob, dial and 14 buttons. The wheel, knob and dial also function as clickable buttons, while four of the buttons form a convenient D-pad. This generous layout provides plenty of assignable controls without making the device feel cluttered or intimidating to use.

None of the controls feature printed labels, which makes perfect sense given that the TourBox is designed for use across a wide range of creative applications rather than a single program. TourBox supplies an extensive library of software Presets, while custom Presets allow the controller to work with virtually any application.

Remembering every assignment may seem daunting at first, but this quickly becomes second nature with regular use. Alternatively, optional HUD overlays display each control's current function on-screen, providing a clear visual reference that's especially helpful when learning new layouts or switching between applications.

TourBox Elite Plus: Performance

The Elite Plus, just like the Elite, is a great creative software controller that does exactly what it says on the tin. There is a small learning curve, or should I say, you need to get used to it, but once you do, it’s one of those devices that makes you wonder how you managed without it. What makes all the TourBox models so useful is that when combined with keyboard shortcuts, you can drastically speed up your editing workflow.

The haptic feedback on the wheel, knob, and dial is fantastic and adds another layer of tactility to the device. It just feels so much better when you have a sense of resistance and movement rather than a smooth rotation. There are two levels of intensity available, as well as the option to switch it off.

The TourBox is controlled through the TourBox Console software, which is intuitive and easy to use. It includes ready-made Presets for many popular creative applications, while also allowing you to create your own from scratch or download user-created versions from the TourBox website. Presets define what every button, dial and wheel controls, with assignable functions including shortcuts, macros, mouse actions and the TourMenu.

The TourMenu is an on-screen menu that provides quick access to software controls, making frequently used functions much faster to reach. One slightly confusing aspect of the software is that the wheel, dial and knob speed and haptic feedback settings are located within individual Presets rather than the global settings menu. Although this initially suggests they're application-specific, any changes are actually applied across all Presets.

TourBox Console also automatically switches Presets as you move between supported applications, creating a seamless workflow when using multiple creative programs. While you can disable this feature, there's little reason to. Then there’s Dynamic Panel V2, which makes using TourBox models with Lightroom Classic even more intuitive.

Dynamic Panel V2 makes editing in Lightroom Classic a much more refined editing experience by replacing Adobe's side panels with a floating, fully customisable control interface. This gives instant access to essential tools at the touch of one of four buttons to settings including Tone controls, the Tone Curve, Crop, Colour Grading, Presets and Masking. This is an impressive update and makes Lightroom editing more fluid than ever before when paired with TourBox.

As previously mentioned, the Elite Plus can also be used with iOS and Android tablets, with more presets available for iOS apps than Android. In fact, the only preset available on Android is for Clip Studio Paint. You can use it with other apps, but you have to create your own custom presets. iPad owners have many more app presets available and, of course, also have the ability to create custom presets.

TourBox Elite Plus: Verdict

The TourBox Elite Plus is the top-of-the-range model that provides the ability to use the device with an iPad or Android tablet. The latter is much more limited, but iPad compatibility is much more baked in. Whether you opt for the Elite Plus or the Elite will depend on whether you’ll use it with a tablet.

The Elite Plus can be connected via Bluetooth or USB cable when used with a computer, while the device as a whole brings tactile control to your fingertips. Haptic feedback and a good weight to the device make it feel both high-quality and solid.

The TourBox is designed in such a way, and thanks to the Tourbox Console software, that you don’t have to look at it while editing, and that’s incredibly useful. The on-screen HUDs across all compatible software and the Dynamic Panel V2 for Lightroom Classic make using the device a breeze.

Alternatives

The market has moved enthusiastically towards AI bird identification and apps that let you keep tabs on the local birds through your phone. And the big brands that dominate today’s best bird box cameras and feeder guides have mostly abandoned wires in favor of all-in-one plastic gadgets that gamify wildlife watching.

But I’ll be honest; I’d like to revisit a time when watching birds didn't require a strong Wi-Fi signal or an app update every few weeks. Cue the Green Feathers cable-connection bird-box camera starter pack. This includes a physical cable to transmit nesting action directly to a TV or monitor, and in the case of the kit I’m testing, a nest box.

It's a system you can set up quickly in theory, but you'll need some level of patience to work out how to wire your box to the house and potentially feed and waterproof cables. The well-crafted wooden nestbox is designed to frame the camera, paired with an RCA-to-HDMI adapter to send the signal (or the direct AV connections if your TV, like mine, is old enough to have these). You can also buy this camera without a box for a more modest price, and fit it to your own house, making it a versatile buy.

Older analog cameras often locked users out of modern HD televisions unless they bought expensive extra splitters. By packaging this universal adapter directly into the kit, I can see Green Feathers bridging the gap for less tech-savvy users, traditional nature lovers, or photographers who want a Wi-Fi-free birding window.

There are obvious compromises to this simpler system, of course; the lower 700 TV Lines resolution will be disappointing to HD lovers, and without smartphone connectivity, you can only watch the box in real time. But I’ve been very keen to discover if this hardwired classic can still hold its own against the modern smart tech dominating, or if it feels too archaic for modern users and modern screens.

Green Feathers TV connectable camera: Specifications

Green Feathers TV connectable camera: Price

The Green Feathers cable-connected camera is at the DIY, affordable end of the bird camera market, and it's refreshing to find a product without any smart features to bump the price up. The company is based in the UK, and prices start from £55 (approx. $73) for just the camera and a 20m power cable. You can buy cables up to 50 meters at £84 (~$112), or go for a full kit with a sturdy bird box included (£99/$132). Green Feathers sent me this cable-connection bird-box camera starter pack for testing.

It’s a fairly budget-friendly buy compared to unbranded, standalone Wi-Fi cameras on Amazon that often require you to source your own nesting box and separate adapters. Near £100 isn't pocket change for an analog TV setup, but I think the handmade, 21mm thick sustainable wooden box and a dedicated HDMI converter sweeten the deal. I'll go into the design and build quality in more detail below, but both are worthy of the retail price.

This kit is much cheaper than app-driven alternatives like Green Feathers’ own 3rd Gen Wi-Fi camera bundle, which is closer to £150. It also avoids the premium smart tech tax of trendy AI options like the Birdfy Nest Duo or Birdbuddy ecosystems that can exceed $250/£200.

Features-wise, you have to get comfortable with what you're getting for the low price tag – a very basic 700 TV lines analog resolution with a 512 x 582 pixel count and no phone alerts or storage. If you want a reliable, lag-free live stream of nesting birds wired straight to your TV without faffing around with apps and Wi-Fi signals, though, the value is very reasonable.

Green Feathers TV connectable camera: Design & Handling

The Green Feathers' TV connection bird box camera looks almost identical, with a blue square around the lens instead of green (matching the box's labels).

If you’re getting used to modern Wi-Fi and smartphone app setups, opening up and setting up the Green Feathers TV-connectable camera might feel like stepping back in time. Its design and wired cabling immediately took me back to my university days (as a wildlife photographer) and a simpler, far more traditional era of wildlife surveillance.

The core bit of kit in the box is a compact metal cube measuring 44 x 44 x 33mm. I tested this as part of a complete setup with the Green Feathers bird box, but the camera is sold as a standalone unit you can use with an existing wooden nest box or even a hedgehog house.

Physically, the camera unit looks almost identical to its Wi-Fi-enabled alternative, with the same pinch-sized metal box, bar a subtle visual distinction. Where the Wi-Fi model features a green square accent frame around the lens, this TV-connectable version has a blue one.

What I found less straightforward was working out where all the power and video cables should go. A thick power and video cable emerges directly from the top of the casing, no problem. The rest of the bundled cabling setup felt thick and well-made, with the HDMI converter box and heavy-duty AV lines well-labelled and colored. The only component that’s a bit cheap by comparison is the indoor transformer plug and its power lead. Though practically speaking, since this section is set to be indoors by a television, it’s not a dealbreaker.

This camera demands more patience than modern smart setups during physical installation. Choosing a site for your bird box isn't just about finding a sheltered, enticing spot for garden birds; you also have to factor in how on earth you’re going to route a long physical cable (the length is up to you at the point of purchase) back into your house to reach the television.

Getting the wiring sorted took a good hour or more of trial and error as I scouted out a sensible path that wouldn't be disturbed, less a trail across the garden for my dog to untangle, etc. I eventually managed to feed the wire through the same exterior wall opening used by our home internet router, threading it from the outside in.

It’s a far more involved, traditional process than popping a wireless smart camera onto a wall plate, but this approach has the benefit of being both satisfying and simple (once the cables are tucked away and connected to your TV's HDMI port). You get an immediate and direct physical feed on the big screen every time you switch on your television. And as there’s no app to set up or talk about, the handling largely, neatly, ends there.

Green Feathers TV connectable camera: Performance

Note: As I'm testing this system outside the UK's bird-nesting window, the sample TV screen images show the interior perspective, depth of field, and image clarity inside the timber nest box. It’s also not possible to take direct shots from the camera, as it’s a live feed only.

Using the Green Feathers TV-connectable camera delivers an immediate advantage over its Wi-Fi sibling: visual stability. Though hugely helpful for keeping an eye on boxes that might be remote (or just peeking at activity when you’re away from home), with wireless wildlife cams, you’re relying on good signal strength. Here, the video feed travels over a direct physical cable straight to your television’s HDMI port, meaning the connection is solid and immune to home Wi-Fi drops (which happen a lot since I changed providers). The moment you switch the TV to the designated HDMI channel, the feed is just there, live and available.

When reviewing the image quality of this camera, I first wanted to be mindful that I was viewing the picture on a much bigger screen (50-inch) than my smartphone. And with the daylight feed on a modern LCD, the optical performance looked surprisingly strong. I also found that the manual focus ring helped here. Though I had no birds to monitor, I found that the image resolves fine micro-details across the interior pretty crisply. Looking at the screen, the grooves of wood grain and rough saw marks on the back panel were clearly visible.

Color accuracy and white balance were also good when viewing the feed. The natural pine box looked rich and warm without being saturated, which bodes well for colorful feathers. Dynamic range was more predictably mixed. The sharp contrast between the wooden interior and the daylight piercing through the entrance hole and floor seams results in noticeable highlight clipping. But the camera balances shadow detail across the lower corners so that the dark floor space is visible without becoming too noisy.

When light levels drop inside the box (mainly at night), the built-in infrared night vision is activated. On-screen, the monochrome IR feed looked evenly illuminated. The invisible IR LEDs cast a soft light across the box without any major hot spots directly under the lens. And because these LEDs emit no visible red glow, the TV feed can run indefinitely to monitor nocturnal roosting activity without disturbing the birds.

Of course, because you’re viewing a raw live feed rather than with an accompanying smart app on your phone, you can't record or grab instant snapshots at the touch of a button. What you see on the screen really is strictly real-time viewing.

Despite this (or maybe because of it), there’s something deeply satisfying about the TV-connectable setup. It’s powered continuously by mains electricity, so I don’t have to measure the battery or solar performance like I often would with bird feeder cameras. I found I had a permanent (clear enough) window into my nest box whenever I wanted it, without waiting for a signal buffer or battery recharge.

Green Feathers TV connectable camera: Verdict

I’ve been rethinking my use of tech (mainly my smartphone) recently, so testing the Green Feathers TV-Connectable Camera came at a fortuitous time. I found its old-school simplicity delightful, though I know many won’t get on with the wiring and planning required. But in a time when wildlife camera tech is about app notifications and AI, this system strips away all the noise to give you a direct, uninterrupted connection to your living room TV via HDMI.

Routing the long physical cable from my garden wall, through the router port, and into the TV was definitely a project that took an afternoon of trial and error. Though once I did get those wires channelled away, I didn’t have to think much more about them. And now, if I toggle over to the HDMI channel, I can view an uncompressed 1080p live stream that doesn’t suffer from buffering.

The optical quality inside the box isn’t bad given the camera’s low specs, and being able to manually adjust the focus ring means you should be able to get a decently sharp picture in different-sized boxes or houses. Yes, you lose out on smartphone convenience here, but without a battery to recharge or subscription costs to worry about, I think there’s still a clear market for this affordable bird camera. It’s a dedicated, zero-latency wildlife monitoring device that traditionalists and tech-averse nature lovers will get a lot from, without spending a lot.

Alternatives

Check out our full guides to the best bird feeder cameras, and to the best birdbox cameras

It’s also a pretty decent RAW processor, offering local adjustments, a choice of profiles, AI noise reduction, lens and perspective corrections, tone and color adjustments, and many of the RAW adjustments you get in Lightroom and Adobe Camera Raw. You can create AI subject and background masks, sky masks, luminosity masks, new depth masks and more. And I'm still only on the Develop panel!

The real jewel in the crown is ON1 Photo RAW’s Effects module, where you can browse and apply a wide range of striking and inspirational preset effects or mix and match around 50 individual filters to make your own. Keep in mind that this is all part of a non-destructive workflow, so you can rework or replace effects at any time, including things like borders, textures and blur effects.

ON1 Photo RAW can also carry out sky replacements using a large selection of replacement skies organized into categories, and there’s also a dedicated Portrait mode with AI-powered tools for enhancing skin tones, face shape, eyes, lips, teeth and more. As if that’s not enough, you can create Photoshop-style layered images with masks and blend modes, and even though this does mean the creation of a new file, it’s still within ON1 Photo RAW’s non-destructive workflow.

In fact, the list of things this program can do is so long, it’s embarrassing. This alone surely makes it one of the best photo editing software applications on the market. I’m here to determine whether it’s a case of quantity over quality or quantity and quality. Let’s find out…

ON1 Photo RAW 2026: Specifications

ON1 Photo RAW 2026: Price

The regular edition of ON1 Photo RAW 2026 costs $99/£92.86 (about AU$141), while the MAX edition costs $199/£157.87 (around AU$283). At the time of writing, it was being sold at half price or thereabouts, though that may have changed by the time you read this.

Even at retail price, ON1 Photo RAW 2026 is less than half the cost of one year on the Adobe Photography Plan, and even the MAX edition, with its Lightroom- and Photoshop-compatible ON1 Resize AI, ON1 NoNoise AI, ON1 Portrait AI and ON1 Effects plug-ins and its remarkable Restore AI tool, is cheaper than the Adobe alternative, and with the added benefit of a perpetual license.

ON1 also sells subscription packages including both programs, additional content and cloud storage. You don’t have to choose this option, but options are not always easy to navigate on the ON1 site, so you might need to do a little digging. Given what it can do, ON1 Photo RAW 2026’s pricing is extremely competitive, even without discounting.

ON1 Photo RAW: Design & Handling

In a bid to make the ON1 Photo RAW experience simpler, ON1 has added a Home screen, which is displayed when you first launch the program. There are buttons for opening photos, browsing folders or importing from a device, and sections showing recent folders and albums, recent edits and a learning hub. Is it useful to new users? Perhaps.

You can also swap straight to the regular Browse view, which has tabs for Browse, My Catalogs and Presets. What’s the difference between Browse and Catalogs? You can browse folders and create albums in both, but with catalogued folders you can create Smart Albums and drill down through the dates your photos were taken on.

To edit a photo, you just double-click on it, and this is where the tools in the right sidebar come into play (also ON1’s selection of presets in the left sidebar). The Develop tab is where you fix up your RAW files and make general adjustments. The Local tab is for local adjustments and masking. The Effects tab is for viewing and adjusting the filters used by ON1 presets. While the Sky and Portrait tabs are for dedicated sky-replacement and portrait-enhancement workspaces.

It’s all logical enough, once you figure it out. A key distinction is that the Develop tab is for regular image adjustments, while the Effects tab is for ON1 Photo RAW’s effects filters. There is a lot of crossover in the tools, and you can apply both at the same time.

The masking options can be powerful but confusing. There’s a set of AI masking tools at the top of the right sidebar and a Mask button in the left tool panel that displays masking controls on a top bar, but these are regular non-AI masks.

You can use masks in the Local tab for overall image adjustments, but you can also create masks for individual filters in the Effects tab and for layers when you’re working on composite images. Yes, it’s a powerful set of masking options, but you need to keep your wits about you. ON1 Photo RAW 2026 crams a lot of functionality into an interface that’s very well managed overall but can sometimes feel crowded and confusing.

ON1 Photo RAW 2026: Performance

ON1’s RAW processing is not bad. I wouldn’t put it on a par with Capture One or DxO PhotoLab 9, but it’s not hard to extract decent image quality from your RAW files, especially with ON1’s NoNoise AI and Tack Sharp AI processes.

Two things really stand out in ON1 Photo RAW 2026. The first is its catalog of preset effects. These are easy to browse; they’re previewed directly on the image you’re working on and they can be applied with a single click. Once that’s done, you can inspect the filters and settings used in the right sidebar and modify as necessary.

ON1 Photo RAW’s effects make an interesting comparison with the DxO Nik Collection, as they cover the same range of effects but within a single module rather than spread across several plug-ins.

The new Restore AI process deserves a special mention, too. It’s available only in the MAX edition, and it does appear to use cloud-based processing, but the results are outstanding. It’s in a completely different league to the rather weak photo restore tool in Photoshop Elements 2026, for example.

Restored images are upscaled to 4K UHD resolution, even from lower-resolution scans; creases and spots are removed as if by magic, detail is restored very convincingly and the face recovery is amazing. Sometimes the likeness isn’t quite right, mostly when the original is small or blurred, but you can adjust the strength of the restoration for each face to help recover a proper likeness.

The results from ON1 Photo RAW 2026 are not always great without a little more work, and some of the presets are just way over the top for sharpening, saturation and ‘hyper-reality’, but at other times the preset effects can transform your images or give you ideas you might never have had. The range of effects and the scope offered by this program are pretty extraordinary.

ON1 Photo RAW 2026: Verdict

ON1 Photo RAW does so much that you might be wondering what the catch is. It's true that not all of the processes are best-in-class. DxO’s AI noise reduction is better, Lightroom and Capture One are slicker and faster at RAW processing, and while ON1’s masking tools are effective, they can also be pretty confusing. The standout features here are the creative effects and presets on offer, the easy image browsing and the fully non-destructive workflow. You can even create virtual copies to try out different effects on the same image.

The regular ON1 Photo RAW 2026 version is the best value, but if you have a lot of old photos you want to restore or you want to use ON1’s tools as plug-ins for Lightroom or Photoshop, the MAX edition is the one to go for.

Alternatives

The Huawei Pura 90s Pro Max is the return to the global stage for Huawei flagships, which, in recent years, have rarely launched outside China. Why the international model has gained an additional “s” remains something of a mystery, but the important differences are the global version of its EMUI 16 software and international network support, including 5G.

The Pro Max is the largest and most camera-focused model in the Pura 90s range. Its headline feature is a 200MP periscope telephoto camera with a large 1/1.28-inch sensor, but it also includes a 50MP main camera with a physical variable aperture and a 40MP ultra-wide camera.

With specs like that, Huawei is clearly targeting photographers who might be browsing our guides to the best camera phones or the best Android phones for photography. However, it enters a market now packed with impressive alternatives from Oppo, Xiaomi, Vivo, Samsung, Google, and Apple, several of which offer equally ambitious camera hardware without Huawei’s software complications.

Specifications

Design

The Huawei Pura 90s Pro Max looks gorgeous. The Orange Ocean version I tested blends blue at the top into a rich orange across the lower portion of the rear panel. Huawei says the same transition continues around the aluminum frame, although it mostly just looks gold to me; however, it is still very pretty and complements the finish nicely. It is not a phone for anyone hoping to go unnoticed. The ombré effect is bright and eye-catching. More restrained buyers can choose Blush Gold or Graphite Black.

The phone feels suitably premium in the hand. At 230.5g, it is weighty without feeling excessively heavy, although it remains amongst the larger flagship phones, sitting around the same weight as a Vivo X300 Ultra or Oppo Find X9 Ultra. The outer frame is smooth but not particularly slippery, and the gently tapered edges prevent it from digging into my palm during longer periods of use.

Huawei has also returned to a completely flat screen, which I much prefer for photography, reviewing images and video (and just in general). Curved displays should be consigned to a footnote of phone design. The display itself is excellent. The 6.9-inch LTPO OLED panel is sharp, bright, and richly saturated, with strong viewing angles. Its adaptive refresh rate ranges from 1Hz to 120Hz, which keeps motion smooth while allowing the phone to reduce power consumption when the screen is static.

The front uses Huawei’s Anti-Reflection and Scratch-Resistant Kunlun Glass. Huawei claims this reduces reflections by up to 70%, increases scratch resistance by 16 times, and improves drop resistance by 25 times compared with conventional glass. The phone also carries both IP68 and IP69 ratings. I don’t tend to throw my review units around or drown them, but from sliding in and out of bags and pockets, getting splashed and bumping up against my keys quite a few times, it's still looking good as new.

The P90s’ camera island remains one of the most unusual designs on any phone. I’m not sure how I feel; I don’t love it, but I certainly do not hate it. The rounded triangular arrangement spreads the three lenses across the upper-left corner rather than collecting them into a huge central circle or a small squircle like almost every other phone. It is noticeably different from almost everything else available, and I respect that.

That positioning has one practical advantage: my fingers rarely wandered over the lenses while I was holding the phone. I cannot say the same for several devices with large, centrally positioned camera modules. The bump itself is significant, although Huawei has softened its effect with a sloping outer edge. There is some minor table wobble, but it is less severe than on phones where several individual camera rings are clustered along one side *cough* Samsung. Because Huawei’s module occupies more of the phone’s width, it distributes the weight a little more evenly.

Box contents likely vary by region. Huawei included a charger, USB-C cable, and transparent case in my review unit.

Camera Performance

The Pura 90s Pro Max has three rear cameras. The main camera uses a 50MP, 1/1.28-inch RYYB sensor behind a 24mm-equivalent lens. Its standout feature is a 10-step physical aperture that moves between f/1.4 and f/4.0, with optical stabilization also included.

Beside it is the headline 200MP telephoto. This uses another big 1/1.28-inch RYYB sensor, but places it behind an 89mm-equivalent f/2.6 periscope lens. That provides approximately 4x optical zoom. Although interestingly, Huawei offers a 10x crop as the default “optical” zoom in the camera app, which defies the usual optical crop of twice the standard focal length, which shows how confident Huawei is in its zoom. Finally, there is computationally enhanced zoom for 20x and beyond.

The third camera is a 40MP, 13mm-equivalent ultra-wide with autofocus. Huawei also adds a dedicated True-to-Colour Camera 2.0 sensor to gather additional color information and produce more accurate white balances and skin tones, similar to what we have seen from Oppo and others on recent models.

At their optical focal lengths, all three cameras are very good. The main and telephoto cameras are the clear standouts, but the ultra-wide also produces very nice images, and doesn’t feel like the usual afterthought.

With the Pura 90s Pro Max its just remarkably easy to get good photos. In its standard photo mode, point it toward a scene, and I know I will reliably get a well-balanced, usable image. Exposure is consistently good, white balance is usually effective, and skies in particular retain a realistic blue.

However, while Huawei’s processing does an excellent job of giving photographs immediate impact, it can become overenthusiastic. Images are slightly over-reliant on sharpening, even at the cameras’ native focal lengths. This makes photographs look crisp and detailed at normal viewing sizes, but zooming in reveals fine textures taking on a slightly squiggly, processed appearance. It is not bad, and most people will never notice it. However, it prevents images from looking quite as natural or photographic as those from the best modes available on Oppo and Xiaomi phones with their Leica and Hasselblad input.

HDR is similarly aggressive. The Pura 90s Pro Max is exceptionally good at preserving highlights and pulling detail from shadows, but the result can be a photograph in which almost all the highlights are borderline too bright. I could not find a way to disable HDR capture in the standard camera mode, which is an odd quirk. HDR has its place, particularly in strongly backlit scenes, but I do not necessarily want every photograph to look that way. Editing afterward can tone down some of that effect, but I would prefer more control at the point of capture.

Color consistency across the three cameras is good, but not perfect. Each lens can produce a slightly different white balance, which becomes noticeable when shooting a sequence intended to sit together. The differences are not dramatic, but they make matching photographs more work than it should be. Below you can see the color and contrast become a little moodier between the 1x and 4x cameras, with the 4x not quite capturing the warmth of the day as well.

The 200MP telephoto is enormously capable. At its native 4x focal length, it captures excellent detail with attractive compression and dependable exposure. Results beyond the optical range are also impressive. Huawei’s high-resolution sensor gives the processing system plenty of data to work with, so photographs at 8x and 10x remain incredibly usable and up to optical quality.

However, some limitations appear once I examined the files a little more closely. At approximately 240mm equivalent and beyond, I occasionally saw odd blurring around the edges of subjects, along with small processing artifacts in areas of complicated texture. These effects become more obvious as the light falls and the phone has less genuine image information to work with.

Huawei’s 20x output can look remarkable at first glance, but it should not be confused with optical zoom. It remains a crop enhanced by significant computational reconstruction. It works well for a record shot or social-media post, but pinch in, and there are a lot of smoothed textures and digitally sharpened outlines.

Macro performance is excellent. Both the ultra-wide and telephoto cameras can focus at close distances, giving me a choice between an exaggerated wide-angle perspective and a tighter telephoto composition. The telephoto macro is particularly impressive. I could photograph extremely fine details without placing the phone directly on top of the subject, and in one image of a bee, individual grains of pollen were visible among the hairs on its body. This is one of the best macro cameras I have used on a phone.

The main camera’s variable aperture is another welcome feature, although it's not the game-changer that it could be. On a sensor this small, changing from f/1.4 to f/4 does not transform depth of field in the way it would on a mirrorless camera, but it can help control exposure and extend shutter speeds for more creative long exposures. I would love to see Huawei push the concept further. A smaller minimum aperture, combined with more direct manual control, could make the feature even more valuable for light trails or moving-water effects.

The camera application itself is straightforward, but it has several unnecessary frustrations. There is no direct 20x shortcut, nor are there convenient buttons for intermediate focal lengths such as 1.5x or 2x. Most rival applications let me tap or cycle through their zoom icons to reveal additional options, while Huawei makes me use the imprecise zoom slider.

Pro mode offers manual exposure control, but creative customization is limited. The main color options are essentially Standard, Vivid, and Bright. Oppo’s Hasselblad Master Mode and Xiaomi’s Leica profiles offer much more control over the character of an image, including less-processed output and customizable recipes.

Video quality is good in the standard mode, and the phone can record up to 4K at 60fps from every rear camera and the front camera. Footage is clean, detailed, and easy to capture, while the stabilization makes longer telephoto clips much more practical than I expected.

Unfortunately, the more advanced options fall behind rival flagships. There is no Log capture or LUT support, manual controls are limited, and Huawei’s Advanced Image Stabilization restricts recording to 2.7K. Subject tracking is more limited still, topping out at 1080p. That is difficult to overlook when phones from Apple, Samsung, Vivo, Oppo, and Xiaomi are offering Log profiles, 4K120 recording, advanced codecs, LUT previews, and support for external storage.

Phone Performance

My global Pura 90s Pro Max uses Huawei’s Kirin processor, paired with 12GB of RAM and 512GB of storage. The international model also restores 5G connectivity, something that had been missing from several previous Huawei flagships sold outside China.

In ordinary use, I had few complaints. The phone feels quick when browsing, switching between applications, streaming video, and navigating the camera interface. I did not encounter meaningful hangs or slowdowns, and it handled on-device photo and video editing without any obvious difficulty.

However, Geekbench 6 figures show that Huawei remains considerably behind the latest Qualcomm-powered flagships. Devices using Qualcomm’s Snapdragon 8 Elite Gen 5 deliver more than twice Huawei’s multi-core result. Those benchmark differences do not make the Pura feel slow in normal use, but they matter for demanding games and heavy use.

The more significant issue is EMUI 16. Huawei’s interface is clean, responsive, and generally easy to use, but the global phone does not include Google Mobile Services. That means there is no native Google Play Store, Google Wallet, Android Auto, or properly integrated Gemini. Huawei offers alternatives through AppGallery, Huawei Wallet, Celia, Petal Maps, and Huawei Cloud, and many of those applications are perfectly competent.

The problem is that much of my digital life is tied to Google. My files are in Google Drive, I sign into countless services with my Google account, and I use Google’s applications across several other devices. Replacing one app is manageable, but replacing an entire connected ecosystem is considerably harder.

There are third-party methods for installing many Google applications, including containerized services and manually installed APK files. These can work surprisingly well, but they remain workarounds. They do not provide the same deep system integration, and applications that rely closely on Google Play Services, device certification, payment security, or background synchronization may behave unpredictably.

The global model also has a confusingly restricted set of AI editing tools. Huawei promotes AI De-glare, AI Move, AI object removal, and other generative features in some markets, but the global version is missing these options. That leaves the global Huawei well behind Google, Samsung, Oppo, and several other brands for AI-assisted photo editing, despite the strength of the cameras producing those photographs.

Battery life is excellent. My review unit comfortably lasted around a day and a half with a mixture of photography, video recording, browsing, and general use. Huawei officially rates the battery at 6,000mAh outside the European Union, while the EU version has a 5,270mAh rated capacity. Charging is very fast. The phone supports up to 100W wired charging and up to 80W wireless charging with compatible chargers.

Final Verdict

The Huawei Pura 90s Pro Max is a hard phone to assess. It has built an excellent camera system and wrapped everything in one of the most distinctive designs around. It is comfortable to hold, the display is excellent, battery life is strong, and ordinary performance is smooth.

The cameras are capable of producing outstanding images, particularly at their native focal lengths. I also enjoyed how little effort was needed to get a successful photograph. Exposure, color, and white balance are usually dependable without intervention. However, the processing can look too sharp and too HDR-heavy, while Huawei provides fewer tools than its competitors for dialing that processing back. Its video hardware is impressive, but the lack of Log recording, LUT support, and full-resolution stabilization makes it a less convincing choice for serious video makers.

Then there is Google. Many applications can be made to work, but I never stopped noticing what was missing. The limited AI editing tools on my global unit were also missed. For photographers willing to accept those compromises, the Pura 90s Pro Max is a remarkable imaging device. For everyone else, other Android and Apple phones offer more complete all-round experiences.

Alternatives

As such, it was with mixed feelings that I unboxed the Rokid AI Glasses Style, the more lightweight and affordable counterpart to the Rokid Glasses, lacking the display technology of their bigger brother. Equipped with a 12MP sensor capable of capturing stills and video, these glasses also benefit from an AI assistant you can talk to in real time via the built-in mics and speakers.

They look the part – but are they capable of capturing decent-enough imagery to be considered among the best camera glasses? I took the Rokid AI Glasses Style out for a test to find out.

Rokid AI Glasses Style: Specifications

Rokid AI Glasses Style: Price & availability

The Rokid AI glasses can be bought directly from the manufacturer’s website, at time of writing for a starting price of $349 (roughly £262 / AU$500). That’s a little cheaper than the Ray-Ban Meta Gen 2s, which start at $379, but a lot more expensive than the previous gen of Ray-Ban Meta Gen 1s, which are currently sitting at around $225.

So, it’s about the standard market price for a pair of flashy camera glasses with AI features. If you just want the camera bit, don’t care about AI features and aren’t too fussed on image and video quality, then you have many, many cheaper options, such as the Oho Sunshine Camera Glasses, or any number of anonymous products on Amazon.

Rokid AI Glasses Style: Design & handling

If you’ve been admiring the style of the Meta Ray Ban glasses, then you might well find the Rokid pair to be hauntingly familiar. They’re sleek, black and fairly anonymous-looking. The right arm features a function button that can be used to quickly capture photos and videos, and a touchpad that can be used to control things like music playback. I found the shutter button to be well-situated and more enjoyable to use than having to talk to the glasses or fiddle with the app – you tap it to take a photo, and long press to start/stop recording video.

Audio playback comes via two small speakers on the arms, and there is a four-mic setup for picking up your own voice as well as video sound. These are what you use to communicate with your AI assistant. I’ll talk more about this process in the next section, but as far as mic-pickup goes, I found them to be consistently pretty reliable, able to consistently pick up me saying ‘Hi Rokid’ in all but the quietest of voices.

The glasses are fairly sizeable, and I found them to be perfectly comfortable to wear for long periods, with no uncomfortable pinching or squeezing. The shaded lenses can be swapped out to clear or prescription lenses if you prefer. Charging is straightforward via the supplied magnetic charger, and the glasses come with a standard protective case – you do have the option to fork out $99 for a charging case.

The camera module is situated beside the left eye. On the other side is the recording light, and I have to say that this is one of my big issues with the Rokid AI Glasses Style. The recording light is a small, dim, white LED, a dot that is hard to see when you’re indoors, and in full daylight is all but invisible (you can see it close-up at the end of the video clip featured below).

Frankly, this is not good enough. If the light is supposed to clearly notify others that they’re being recorded, then there’s no reason for it to be so small and dim, nor for it to be white rather than red, a color that has been near-universally understood to mean ‘recording in progress’ since the days of camcorders.

Rokid’s AI claims the glasses will refuse to record when the light is covered – but in my testing, this didn’t actually appear to be true. The speakers play a warning to uncover the light, but the recording continues. As such, this tokenistic gesture makes me deeply sceptical that Rokid are particularly bothered by issues of privacy or transparency.

The light is on the other side of the glasses, so it isn’t going to interfere with the camera. I think it should be ten times brighter. Red, flashing and unmissable. And frankly, if you care about camera glasses as a technology, you should be calling for this too – because the tech is never going to shake its reputation for irresponsible use when manufacturers make irresponsible use so easy.

Rokid AI Glasses Style: Performance

AI features work via the Hi Rokid app, available for iOS and Android. The Android version is a little temperamental and prone to crashing – and it took me several attempts to establish the initial connection. Judging by the ‘made for iPhone’ slogan proudly touted on the box, I suspect the iOS experience might be smoother.

The Rokid Glasses Style’s AI assistant apparently uses a combination of both OpenAI’s ChatGPT and Google’s Gemini. I’m not entirely sure how this works in practice (though the voice replying to you often changes), but using the assistant is fun, if intermittently janky.

I took the glasses around London’s Kew Gardens, asking them to identify plants, objects, buildings and sculptures. I achieved about a 60% success rate, with the remaining 40% consisting of a range of error messages – ‘server busy’, ‘connection unstable’, ‘service error’. Thinking times also varied wildly. It’s diverting enough, but in my view, a bit too unstable to really slot into one’s life in a useful way.

More interesting is the camera module. It uses a 12MP Sony IMX681 sensor, which is the same resolution as the sensor in Meta’s glasses – in fact, I can’t fully confirm this, but I think it might well be the exact same sensor. As such, images are similarly bright and vibrant, with pleasingly natural-looking colors and a decent level of detail.

Like many images taken on these kinds of sensors, they look fantastic on a phone screen, and okay on a monitor. Images are captured in the camera’s native 3:4 aspect ratio – you also have the option of cropped 9:16 portrait or 4:3 landscape, the latter in 3K rather than 4K. Also, I do appreciate the automatic horizon calibration, as someone who naturally tilts their head quite a bit.

Video-wise, it’s a similar story – footage looks decent enough, especially on a small screen, but isn’t about to give proper vlogging cameras any sleepless nights. It shoots by default in 2.5K 30p in a 3:4 aspect ratio, and once again you have a few different aspect ratio options if you wish. It does wobble quite a bit when walking – some stabilisation wouldn’t have gone amiss – and outdoors, the audio is pretty susceptible to wind noise, so bear that in mind if you wish to record speech.

Also, Rokid claims that the 210 mAh battery will give you up to 12 hours ‘typical’ use, but I’m not sure about that – the first couple of hours of messing about in Kew Gardens knocked about 40% off my unit’s battery indicator.

Rokid AI Glasses Style: Sample images

This gallery of sample shots was taken around London’s Kew Gardens on an extremely sunny and bright day with minimal cloud cover, including both exteriors and interiors.

Rokid AI Glasses Style: Video

Above is a compilation of a few short clips captured with the Rokid AI Glasses Style using the camera's native 2.5K 30fps 3:4 mode.

Rokid AI Glasses Style: Verdict

Fundamentally, if you want a decent pair of camera glasses with AI smarts – here it is. In pure imaging terms, the Rokid AI Glasses Style don’t bring anything new to the table, with a 12MP sensor that produces images that look much like everything else. The combination of ChatGPT and Gemini powering the AI smarts certainly creates a different user experience to Meta’s AI, but also one that feels a little byzantine and unstable.

I’d feel a lot more comfortable recommending the Rokid AI Glasses Style if the privacy features weren’t so lacklustre. I’m aware this is pretty much the standard for camera glasses, but I don’t have to like it, and I don’t have to like the implications of it.

My wishlist for a future update to these glasses would be pretty straightforward. In addition to a clearer recording light, I’d love a smoother app experience on Android, and perhaps seeing some of those AI smarts put to work on features like stabilisation or noise reduction. Until then, I can only call these what they are – a perfectly adequate and fairly unexciting pair of camera glasses.

Rokid AI Glasses Style: Alternatives

Fast forward to the 21st century, and I’ve just tested a descendant of my primitive 80s camera tracking system - the Andoer L4 Pro. This device is a small, battery-powered camera slider (or as it says in the manual - an ‘autodolly’) that can dolly, track, or pan the attached camera or smartphone - as long as you find a smooth, flat surface for it to drive on. Lots more about that limitation in the Performance section of this review.

Andoer produces a wide range of photographic equipment, from green screen backdrops to LEDs and soft boxes. They also produce a large range of affordable compact digital cameras, as well as larger camera dolly rail-based set-ups. Interestingly, I discovered that the Andoer L4 Pro is identical to a Neewer branded three-wheeled tracker - more on that in the Price section.

The Andoer L4 Pro isn’t the first electronic camera mover that I’ve tested for Digital Camera World. Back in 2022, I tested the Joby Swing - an electronic smartphone slider. The tripod-mounted Swing was very limited in the speed and distance that it could move the camera, whereas thanks to its three rubber-clad wheels, the Andoer L4 Pro can keep on tracking until it runs out of a surface (such as the end of a park bench!).

Some would argue that in the age of the camera gimbal a camera slider is a relatively inferior solution to making smooth moves. A gimbal enables you to pan, track and dolly your camera manually - adding motion to your footage. You can pop a gimbal on its mini tripod and use its AI tracker to tilt and pan the camera to follow your every move, or use its joystick to perform a smooth pan. So, why and when would you use a slider instead of a gimbal? Is a slider worth buying. The short answer is a firm ‘yes’, but I’ll clarify and unpack that answer later in this review.

Check out our guide to the best camera sliders.

Andoer L4 Pro: Specifications

Andoer L4 Pro: Price

The Andoer L4 Pro retails at £75.29 on the UK Amazon Store. You can see the Andoer L4 Pro. In the USA, this model is most easily found being sold under the Neewer brand for $73.89 on the Amazon US Store – but this doesn’t include a ball-head. The Neewer branded version of the tracker is also available on the UK Amazon store for £78.99.

On the UK Andoer store the Andoer L4 Pro is pictured wearing an Andoer branded ball-head camera mount, though the version that I tested didn’t include this rather useful ball-head accessory. I could pick up a compatible 1/4” thread ball head from Andoer for under a tenner. To attach my iPhone 17 Pro to the Andoer L4 Pro I used a Joby-branded smartphone holder that I already owned.

The Andoer L4 Pro won’t blow your budget, and even if you already own a gimbal, it could still come in handy when you want to capture a quick pan, tracking shot or dolly move without the faff of unpacking and setting up a large stabiliser. It could also be a useful tool for stock videographers, enabling them to add movement, life and energy to otherwise static scenes, such as landscapes where there is little action within the frame.

Andoer L4 Pro: Design & Handling

The Andoer L4 Pro autodolly is a compact, three-wheeled device that fits comfortably in the hand when folded. It also takes up very little space in a kit bag, which is a big plus for me as I prefer to travel light.

The specifications state that the autodolly is made from “high-quality plastic”, although it also contains several metal components. Its two folding legs (with wheels attached) are metal and are connected to a metal bracket that secures them to the rectangular plastic body. At the opposite end is a third wheel, which is the only motor-driven wheel. As it rotates, it propels the autodolly along on all three wheels. The metal components make the L4 Pro feel satisfyingly solid and heavy, though it still weighs in under 300g.

By adjusting the angle of the two hinged rear wheel legs, you can make the dolly travel in a straight line for a tracking or “crab” move, or follow a curved path to create a pan. The legs can be adjusted in increments to produce a tighter or wider curve, resulting in a faster or slower pan. Helpfully, each hinge is marked with a small protractor graphic, making it easy to set both legs to the same angle and achieve a smooth tracking move, pan or even a full rotation. Each of the three wheels has a rubber ‘tyre’ that enables them to have traction on a variety of surfaces.

On one side of the rectangular body you’ll find the on/off switch and a USB-C port for charging the internal battery. On the opposite side are two plastic buttons. One, helpfully labelled “Speed”, lets you cycle through three settings. The selected speed is indicated by one green light for 1.4cm/s, two lights for 2.4cm/s and three lights for 3.0cm/s. I’ll discuss speed in more detail in the Performance section, as there are ways to make the attached camera travel faster. There’s also a button that enables you to make the motorized wheel rotate the opposite way, so this lets you change the direction of travel. The motorized wheel does make a little whirr which can be picked up by a smartphone’s mic, but on the whole the whirr is negligible, as you’ll hear from see my supporting video.

Speaking of cameras, the top of the L4 Pro features both 1/4-inch and 3/8-inch mounting threads. The device also comes with a circular mounting attachment, so it was a simple matter to screw a smartphone holder onto it and clip my iPhone 17 Pro into place. You can also attach a compact or mirrorless camera to the Andoer L4 Pro, but as my colleague Chris George says in the best camera sliders buying guide - “While it’s definitely best suited to smaller cameras – it won’t take a C500 cine camera with a 70-200mm lens – you’ll still be able to get a mirrorless camera on it with a 50mm lens onboard if the need arises.”

The Andoer L4 Pro’s orange wheels and mounting attachment are remarkably similar in colour to the iPhone 17 Pro’s Cosmic Orange finish, making it an especially attractive accessory for owners of that model. The complementary colour scheme is entirely coincidental, however, as the L4 Pro has been on the market for several years.

Oh, one last design point to mention is the inclusion of a remote control unit. This small plastic unit is designed to let you toggle between the L4 Pro’s three speeds and change its direction from a distance of up to 6m. I confess that although the light on the remote showed that the battery was active, I couldn’t get it to control the L4, which did make testing it a bit trickier as you’ll see in the Performance section (and in the supporting video).

Andoer L4 Pro: Performance

Above: watch my video showing the Andoer L4 Pro in action in the City of London

To test the Andoer L4 Pro, I popped it and my iPhone 17 Pro into my McKinnon 8L Camera Sling bag and headed into the city to capture some photogenic clips. I occasionally shoot editorial-style footage to sell on stock video sites such as Storyblocks.com, so I was keen to see whether the L4 Pro was fast enough to add sufficient movement to my clips. A slight pan or tracking move is a great way to bring extra life to a shot, especially when there isn’t much movement happening within the frame. I only earn around $50-60 per month from my stock video clips but that’s a regular passive income from clips I’ve uploaded over the years.

To be honest, I wasn’t expecting too much from this autodolly, although its maximum speed of 3cm/s is at least a little faster than the snail-like 1cm/s pace of the Joby Swing slider. But the more I used it, the more impressed I became with it.

As you’ll see in this section’s supporting video (above), my first test location was a scenic city park. This immediately presented a challenge: finding a surface that was sufficiently flat and smooth for the L4 Pro’s small, rubber-clad wheels to move freely.

I placed the L4 Pro on a park bench, adjusted the two hinged legs so that their wheels ran parallel with the motorized wheel, and flipped the power switch to On. I couldn’t get the supplied remote control to communicate with the L4 Pro, but it was a simple matter to press the direction button on the L4 Pro itself to set it in motion, having first started recording on the dolly-mounted iPhone 17 Pro.

When the L4 was travelling in a straight line, I didn’t notice much difference between the first and third speed settings, so I generally left it at its maximum speed of 3cm/s, as indicated by three green lights. I then walked into shot and admired the Art Deco building in the distance while the autodolly carried my iPhone through a tracking move.

Because I was looking towards the building, I was slightly concerned that the autodolly might roll off the end of the bench behind me and fall to the ground, so I kept each take relatively short. One of the L4 Pro’s wheels also had a tendency to drop into the gaps between the bench’s wooden slats, causing a small bump in the footage. This resulted in a few retakes and, as you’ll see in the supporting video, the camera movement in my first test clip was subtle because of the distance between the autodolly and the subject.

As I discovered when using the Joby Swing, camera movement becomes more noticeable when you place an object close to the lens. A nearby foreground object appears to move across the frame more quickly than subjects in the distance, creating a stronger sense of motion.

By positioning a bollard between myself and the iPhone 17 Pro mounted on the Andoer L4 Pro, I was able to capture a much more noticeable tracking effect. I then angled the two hinged legs slightly so that the device travelled in a gentle curve. This enabled me to track past a foreground railing and reveal the Art Deco building in the background with a more cinematic camera move, as you can see in the supporting video.

This is the kind of movement I couldn’t easily capture while filming myself with a gimbal. A gimbal can pan and tilt to follow me as I walk through the frame, but when mounted on mini tripod legs it remains in a fixed position. The Andoer L4 Pro, by contrast, physically travels across the ground, enabling a different and more dynamic type of tracking shot.

My third test location was the Barbican Centre, with its towering Brutalist architecture. Unfortunately, it wasn’t especially friendly terrain for the Andoer L4 Pro’s small rubber wheels, as almost every available surface was heavily textured. The floors were covered in chunky tiles, while the broad tops of the walkway walls were clad in rough, pebble-dashed concrete.

After some wandering, I eventually found a flat metal air-duct cover that was smooth enough for the L4 Pro’s small rubber wheels to traverse. I tilted my Joby smartphone mount upwards, switched the iPhone 17 Pro to its ultra-wide camera and angled the adjustable wheels to create a tight curve. This enabled me to capture a dramatic, low-angle circular move past the Barbican’s tall towers, while long plant stems swept more quickly through the foreground and enhanced the sense of motion.

While wandering through London, I enjoyed being able to quickly pull out the Andoer L4 Pro whenever I spotted an opportunity to add movement to a short stock video clip. I particularly enjoyed using it at the top of the Sky Garden, which offers panoramic views across London. By angling the L4 Pro’s two unmotorized wheels closer together, I made the device travel in a tight, fast circle. With the smartphone mount tilted upwards, this enabled me to capture dramatic and slightly dizzying low-angle footage of the building’s curved glass roof. I must thank fellow photographer Shaughn Malcom for filming me setting up and using the Andoer L4 Pro for this review’s supping video

Finally, I found myself on the banks of the Thames, where I wanted to capture tracking shots that followed the movement of passing boats — an ideal subject for stock video. However, as the Andoer L4 Pro trundled across the rough, gritty surface I had placed it on, I could see in the iPhone’s viewfinder that the footage looked rather bumpy. To my surprise, however, the recorded footage played back remarkably smoothly. This was thanks to the iPhone 17 Pro’s combination of electronic stabilisation and sensor-shift optical image stabilisation, which physically moves the sensor to compensate for camera shake. This gave me the freedom to use the L4 Pro on surfaces that weren’t perfectly smooth, greatly increasing the number of locations in which it could be used. Check out the supporting video to see the results for yourself.

Andoer L4 Pro: Verdict

I initially approached the task of reviewing the Andoer L4 Pro as something of a chore, as I couldn’t see how it would add much to my smartphone footage. However, within half an hour of testing, I began to appreciate its potential for bringing stock-footage subjects to life. It works particularly well when you compose a shot with objects in the foreground, as these move more noticeably across the frame and create a stronger sense of motion.

I can also recommend the Andoer L4 Pro to smartphone filmmakers who want to add a gentle tracking or panning movement to a shot. On the downside, it is dependent on a reasonably smooth surface if you want to produce a smooth track, dolly move or pan. Even so, I was pleasantly surprised by how well I could use it on slightly uneven surfaces, with the iPhone 17 Pro’s stabilisation ironing out the resulting bumps and wobbles during my test.

For smartphone filmmakers, the Andoer L4 Pro could prove to be a handy and affordable accessory - and it looks particularly smart when paired with the similarly coloured Cosmic Orange iPhone 17 Pro. In fact, it is such an eye-catching little device that two people stopped to chat to me while I was testing it, so hello to you chaps if you’re reading this!

Alternatives

I was keen to review the Green Feathers WiFi Bird Box Camera (3rd Gen), as I've watched the brand from afar for many years as a nature nerd. Green Feathers is UK-based and has spent over a decade creating dedicated habitat surveillance options. This tiny bird box camera is specifically designed to capture bird habitats and looks nothing like the recycled indoor security cams you get in some bird feeders. It’s an upgrade to the 2nd Gen model and now links to the free Green Feathers mobile app.

In the past, I’ve struggled with oversized cameras that crowd out nesting spaces. The camera itself is a 44 x 44 x 33 mm metal cube that mounts to the ceiling of a bird box, leaving plenty of room for the feathered subjects inside. On-paper specs don’t always explain much, but here they include 1080p (Full HD) resolution, a wide-angle 2.8mm lens with a 103-degree field of view, and a built-in microphone. There are also four invisible infrared LEDs for night vision without disrupting the birds' sleep.

As mentioned, the camera is designed to be used in combination with the official Green Feathers app to send you real-time motion detection alerts, taking it a step closer to the AI-powered options from the likes of Birdfy. Are most nature-lovers really better served by an all-in-onesetup like the Birdfy Nest Duo, or does this tiny camera provide greater versatility and value? Sadly, I’ve missed the thick of spring – and UK nesting season – but I'll still be testing the camera thoroughly over several weeks to bring you the verdict.

Green Feathers WiFi bird box camera: Specifications

Green Feathers WiFi bird box camera: Price

The Green Feathers WiFi HD camera comes in at the more premium price point end of the nesting market, at around £149 (approx. $195) on its own and currently £184 (approx. $240) for a starter pack that includes Green Feathers’ well-built nesting box, ten-meter power extension cable, and a daytime LED lamp to boost the light on dark days. This is the bundle I'll be using and reviewing.

Unlike cheap and cheerful generic indoor smart cams that users try to retrofit outdoors, this camera is a specialized option. It’s ultra-compact, and its IP54-rated housing is designed to survive tight, humid nesting environments without overheating. There aren’t any ongoing subscription fees either, which I love, keeping the long-term running costs at zero.

If I compare this WiFi HD camera bundle to its closest competitors – the dual-camera Birdfy Nest Duo springs to mind – this device strikes an interesting balance. It trades off advanced features like AI species recognition for a stripped-back focus on reliability.

What you get is a great 1080p digital stream, and I think it's a very fairly priced intermediate option for wildlife enthusiasts who want modern phone integration but still want a more traditional-looking setup.

Green Feathers WiFi bird box camera: Design & Handling

The foundation of the system is the Green Feathers Wi-Fi camera, a delightfully small (green) 44 x 44 x 33mm cube. While I tested this as part of the Starter Pack, it's worth making clear that the camera is sold as a standalone unit that you can easily retrofit into an existing wooden nest box or a hedgehog house – Green Feathers sell these too – if you already have one set up in your garden or designated wildlife area.

Despite its pinch-sized footprint, the camera’s physical details are cleverly thought through for life inside an animal habitat. Underneath the body is a microSD slot, which Green Feathers helps you to protect with the inclusion of a thick, heavy-duty sticker cover. It’s a simple way to keep bird debris and feathers from mucking up your storage over time.

The centrally-positioned camera lens on the front comes with a protective rubber cap for transit and installation, which easily pops off and stows away once you're ready to set up. Attached to either side of the camera is a robust metal bracket that arches forward and back on a smooth rotating mechanism. This has one central screw hole, so mounting it into any wooden structure requires just one easy fixing point. It looks almost identical to Green Feathers' TV connection bird box camera, but with a green square around the lens instead of blue.

On top of the camera you’ll find a top-mounted Wi-Fi antenna (which to me does feel a little flimsy but is unlikely to be disturbed inside the box) and a thick power cable. Because this is a mains-powered setup, you'll need to route the trailing lead out of your box. Green Feathers includes a 10-meter power extension cable in the starter pack, giving you plenty of slack to reach a shed or even an indoor plug socket, but this is very different to the Nest Duo that runs off a rechargeable battery and can be topped up with solar.

Buying the camera solo is one option, but opting for the WiFi Bird Box HD Camera Starter Pack only adds around 20% to the cost, and I think it’s worth it as you get a purpose-built, complete housing right out of the box. The bundled bird box is a super sturdy piece of woodwork. With a solid timber thickness of over 2cm and a generous height of 47cm, it feels substantial and provides ample head height between the top-mounted lens and the nest floor.

To look at, I actually prefer it to the sleeker, molded look of the bamboo Birdfy Nest Duo. Although heavier, its traditional construction feels more naturalistic when mounted against a tree trunk or garden shed. The only minor trade-off is the entrance hole. It comes as a standard 32mm opening, meaning you don't get the interchangeable size plates that bird boxes like the Nest Duo include to target specific species.

Getting the camera installed inside the Starter Pack box is fairly straightforward, though it requires minor DIY. I started by removing the top two front panels with a standard screwdriver to open up the space. Inside, at the top-back, there’s a pre-drilled central hole; I simply needed to align the camera bracket and push the included screw through the exterior wood to lock the unit in place.

The cavernous interior layout makes it easy to get your hands inside to tilt and fine-tune the downward camera angle toward the nest floor. My advice is to make sure you're totally happy with your framing before reattaching the wooden front panels. You’ll also need to thread the trailing power lead out through the specially designed air ventilation slots positioned just under the roofline, but the fit is neat – something another nestbox might not have.

Before closing everything up, it’s best to pair the camera with your smartphone while you still have clear sight of the printed QR code label on the power cable. This code triggers a step-by-step walkthrough of instructions in the free Green Feathers app to pair the camera to your Wi-Fi network. I’d guess that from unboxing and hunting down screwdrivers to reading the manual (which is laid out brilliantly and simply) and getting the unit fully wired up, the whole assembly process took me around 45 minutes.

When it comes to mounting the completed bird box kit to a wall or tree, Green Feathers has supplied two long metal fixing plates and screws. Compared to the heavy-duty wall plate included with the Birdfy Nest Duo, these brackets feel a little less substantial – especially considering the weight of the thick timber box. But while they lack chunkiness, they seem more versatile, and can be configured in three different orientations, giving you plenty of flexibility to secure the box regardless of your chosen tree or wall layout.

Once you’re mounted, day-to-day operation is handled by the basic (in a good way) Green Feathers app. I found it refreshingly clear and straightforward to navigate, with the device shown on the home screen, and one tap needed to bring up the live feed. This is also clean, with highly responsive ‘buttons’ for instantly grabbing a snapshot, triggering a manual video recording, or changing settings like motion and sound detection. Pushed notifications stack on your phone if allowed, making the live feed feel practical and stress-free to monitor throughout the day.

Green Feathers WiFi bird box camera: Performance

Above: Sample clips from the Green Feathers HD bird box camera
Note: As I'm testing this system outside of the UK's bird nesting window, the clips and images demonstrate the perspective, focal depth, and image clarity inside the timber nest box. Sadly, there were no live subjects.

I’ve had the Green Feathers WiFi Bird Box HD Camera Starter Pack set up in my garden for several weeks now. Sadly, testing this out of nesting season means I’m still waiting for my first feathered residents to move in, but putting the hardware through its paces has still given me a clear picture of how this system would perform in terms of image quality and everyday usability.

One quick win for me is the responsiveness of the Wi-Fi connection and live feed. With some smart wildlife cameras I’ve tested, opening a live view often feels like a test of patience as you stare at a buffering wheel and wait for the screen to load. Here, tapping into the Green Feathers app brought up the stream almost instantly, making it quick and painless to check in on the box throughout the day.

I positioned the box at the end of my garden too, and found little drop in Wi-Fi signal (something you can monitor as a percentage on the feed itself). While you can zoom in considerably to the live feed from the app by pinching the screen, images are only saved at the wide view.

The camera has a 1080p HD resolution; not massive by modern standards. But the image quality inside the box has impressed me more than I was expecting, particularly when it comes to fine detail. The camera’s fixed focus is dialed in well for the tight interior dimensions of the box, and when I look closely at the test footage, I can see the ridges of the wood grain, saw marks, and specks of dust on the nursery floor are resolved crisply.

If I imagine the box filled with baby birds and nest material, I think the feathers would be equally finely resolved. However, it's worth pointing out that the feed quality peaks and drops depending on your WiFi signal, and there's an indication of the KB/s in the corner of the live feed.

The depth of field covers nearly the entire cavity, keeping a sharp focus from the mid-ground floor right up to the back panel, which bodes well for keeping both adult birds and tiny hatchlings sharply in focus wherever they settle. I wasn't able to fully analyse how good the 15fps video rate was for capturing the motion of birds in and out of the nest.

I think that the color rendering is another high point. Unlike the heavily processed, neon-green bias common in outdoor trail cameras or cheap webcams that have been adapted for bird feeders, the white balance here feels neutral and true to life. The natural pine grain presents rich, warm amber tones without looking artificially cooked or oversaturated.

One downside is the dynamic range when bright daylight streams into the box. There’s a strong contrast between the dark interior and the light piercing through the entrance hole, and ventilation seams cause some highlight clipping, blowing out those small entry points into bright white patches. However, I think the camera still balances interior shadows well, preserving detail in the upper corners without letting them collapse into digital noise.

The wide-angle lens does have some visible barrel distortion – giving the square interior a slight tunnel perspective – but for a tight nest-box environment, this wide field of view is a necessary choice to ensure you don't miss action that’s happening near the walls.

When the light levels drop, at night or on dull days, the camera automatically switches to its invisible infrared night vision mode, and I found that the built-in IR LEDs cast a soft, even flood of light. Based on my sample images, if a parent bird or nesting chick were to sit directly beneath the lens, I reckon their feathers would keep their contrast rather than blowing out heavily.

With the monochrome infrared footage, I noticed that the fine wood-grain details on the walls softened slightly into a smooth, speckled grey. But the camera's fixed-focus kept the central floor crisp. As the IR LEDs operate completely invisibly without emitting a red glow, you can keep a close eye on nocturnal birdy activity without startling or disturbing the birds in the dark.

Because this is a mains-powered setup, with a long power extension lead rather than a battery-and-solar hybrid, there’s no anxiety of a camera running out of battery mid-brood. I enjoyed not having to worry about disturbing a nest to retrieve a battery pack or hoping for enough sunny days to keep a solar reservoir topped up. Once the camera is plugged in, power is a non-issue for the season.

Of course, there’s no AI species recognition or nesting-phase categorisation found on high-end competitors like the Birdfy Nest Duo. The Green Feathers system focuses on getting the core essentials right, and will send notifications for movement and noise promptly on your phone.

The notifications came too often when nothing was entering or leaving the box, but as mentioned in the handling section, the stream was always smooth and reliable. The Green Feathers app just works. And if you're happy to forego smart AI fluff in favor of sharp, naturalistic 1080p footage, I’d say it delivers a brilliantly clear view into the hidden world of a nest box.

Green Feathers WiFi bird box camera: Verdict

After testing the Green Feathers WiFi Bird Box HD Camera Starter Pack and mentally comparing it to what I see as its main (AI-heavy) competitor, the Birdfy Nest Duo, I have to say that I personally found it far more fun to use overall.

As a lapsed wildlife photographer by training, I'm used to manually ID-ing birds and constructing funky contraptions to photograph flighty wildlife. By doing without smart species recognition and automated nesting timelines, the Green Feathers system gives you a less cluttered bird box experience, and one that I think traditionalists – folks with a bit more basic bird knowledge – might enjoy more.

There were still a few downsides of the kit, and the one that did annoy me was how often alerts triggered, when the wind rustled the entrance hole or created dappled light inside of it. I couldn't find a way to dial in the sensitivity settings to avoid nuisance triggers, but you can turn them off entirely from the app.

Rather than using battery packs and solar power, the HD camera has a trailing mains power lead that you need to work out what to do with. While routing a cable to an outdoor (or indoor, if your setup allows) socket might annoy some users, I didn't mind it, especially as it means you don't have to check on the battery again.

You can buy optional cloud storage from the Green Feathers app, but I reckon a microSD will suit most users. The company quotes that a 64GB microSD card gives you around 32 hours of local recording, and you can set the card to overwrite once it's full, seeing as it's not easy to get inside the box once birds are nesting.

Ultimately, this Green Feathers setup is going to give you a fuss-free but reliable video stream that you can easily download and then share with others. For me, it strikes a great balance between modern connectivity and common-sense usability. Whether you use Green Feathers' own bird box or your own, the small-sized kit is a superb, stress-free bird box camera.

Alternatives

Check out our guides to the best bird feeder cameras, and to the best bird box cameras