I think I've just found my daughter's first camera! Arriving just in time for the release of Toy Story 5, Kenko Tokina has launched the Toy Story Kids Camera… but only in Japan.

The fifth Disney-Pixar's animated movie starring Tom Hanks, Tim Allen and co hits theaters on June 19, so the timing is perfect for this Woody and Buzz-themed compact camera designed for kids.

In addition to adorning the front of the camera, Woody and Buzz's voices actually play when you turn the camera on or off, and when you take pictures. If that's not enough to encourage little ones to get snapping, there are 20 character-themed frames to decorate their shots.

The Toy Story Kids Camera is specced as you might expect for a camera for kids. It's built around a sensor that produces interpolated 5MP images – but its true resolution is closer to 0.3MP. Indeed, it natively shoots VGA (640 x 480) video, but it can produce interpolated footage up to FullHD 30p.

It does, however, feature a front and back camera to enable kids to take selfies using the rear screen. And it boasts internal memory that holds up to 30 photos, though it also supports up to 64GB microSD cards.

Of course, kids won't really care about any of that; it's all about the colorful silicone case featuring Toy Story's stars, Woody and Buzz Lightyear. (As with most kids' cameras, these removable skins dress up the basic compact camera nested inside, rather than being molded plastic bodies.)

There are also three built-in games to keep them busy when they're not taking pictures, which will no doubt be a welcome additional distraction for parents.

The Toy Story Kids Camera is price ¥7,700 (approximately $49 / £35 / AU$69). It's a Japan-only product but if (like me) you want to pick one up for your kids, it's available from Amazon Japan. You can find out more on the Kenko Tokina website.

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Fresh sales data from Japan suggest that one of photography's most unexpected trends is showing no signs of slowing down. While smartphone cameras continue to become more advanced – consumers are increasingly turning to compact cameras that come cheap.

According to the latest sales figures from Japanese retailer BCN, many of Japan's best-selling compact cameras are the most affordable ones on the market. The Kodak Pixpro FZ55, which once again tops the chart, costs $139.99 / £114. The Kodak Pixpro C1, which is in both second and third place, is even cheaper, available for $99.99 / £79.

Japan's best-selling compact cameras aren't premium models packed with advanced features – they're inexpensive point-and-shoot models that prioritize simplicity and ease of use and feature something smartphone cameras can't.

BCN+R compact camera ranking (May 26)

1. Kodak Pixpro FZ55 | Black
2. Kodak Pixpro C1 | Black
3. Kodak Pixpro C1 | Brown
4. Fujifilm Instax Mini Evo | Black
5. Canon IXY 650 M (aka Elph 360 HS A / Ixus 285 HS A) | Silver
6. Fujifilm Instax Mini Evo | Brown
7. Panasonic Lumix TZ99 / ZS99
8. Canon IXY 650 M (aka Elph 360 HS A / Ixus 285 HS A) | Black
9. OM System Tough TG-7 | Red
10. Kenko Tokina KC-AF 11 | Black

Sales data compiled by BCN+R, which aggregates nationwide sales figures from major electronic retailers and online platforms across Japan.

The rise of smartphone fatigue

The popularity of these compacts may also reflect a growing trend often referred to as "smartphone fatigue."

Smartphone cameras have never been more capable. Flagship devices now feature larger sensors, advanced computational photography and image processing developed in partnership with established camera brands like Leica and Hasselblad.

Yet, for some users, taking photos on a smartphone no longer feels like using a camera at all.

A dedicated compact camera – even a 'simple' one – offers a different experience no smartphone can give shooters. There's a physical shutter button, a separate device devoted entirely to photography, and a more intentional shooting process.

Many of the top-performing models feature simple interfaces, physical controls, and retro-inspired styling. Unlike enthusiast cameras, they require little photographic knowledge and can be picked up without knowledge of shutter speeds, aperture settings, or ISO settings.

For many buyers, that's the appeal.

In Japan, compact camera buyers are not chasing the latest technology; affordable, straightforward models win again – and this trend is not expected to change.

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Japanese brand Kenko’s boast for its Vc Smart Light range is that they’re its smallest and lightest binoculars to offer built-in ‘Vibration Control’, more commonly termed as 'image stabilization'.

'VC’ or 'IS' aside, the core features are a decent 14x magnification married to a large-for-its-dimensions 30mm objective lens. The larger the magnification and lens, the larger the binoculars’ dimensions, traditionally, especially when there’s a built-in gimbal to provide a steady view. So, I’m on a constant quest to find that sweet spot between a good specification, a practically portable size, and, of course, a great performance. Has Kenko provided that here?

Specs aside, of course, we must also weigh up the cost. As anyone who has considered buying an image-stabilized pair before will know, adding ‘IS’ typically makes them more expensive than regular unstabilized binoculars. So, it’s worth considering whether you really need this feature.

It can certainly come in useful for reducing visual judder due to hand tremors and easing eye strain with it, making for a more comfortable viewing experience if hand-holding for long periods.

Let's see if Kenko's Vc Smart 14x30 Light binos are ultimately worth looking into…

Kenko Vc Smart 14x30 Light: Specifications

Kenko Vc Smart 14x30 Light: Price

I’m well aware that adding image stabilization to any binoculars immediately pushes up the price. So, while it helps make a 14x magnification twinned with a 30mm objective lens very usable in practice, the Kenko Vc Smart 14x30 Light is rather pricey. At the time of writing, the cost was settling in the region of $1,275 / £790 / AU$1,600.

That makes these more of a mid-range IS-equipped binoculars option, rather than a budget one. As ever, it will pay to shop around to get the best deal.

Kenko Vc Smart 14x30 Light: Design & Handling

Classic roof prism-style image-stabilized binoculars can weigh a ton. But powered by a single AA battery, the Kenko Vc Smart 14x30 Light lives up to its name by feeling manageable when held in the palm. Its 462g weight is broadly comparable with a compact mirrorless camera and pancake lens.

My review unit came without an AA battery included – native Japanese buyers apparently get two – however, this isn’t an issue, as I always have a handful of rechargeables at home, and most of us have spares lying around. Amazingly, the claim is that just the one cell will last 28 hours of continuous use, which is impressive given that rivals typically manage half that.

In some ways, that’s just as well, as I found unscrewing and re-attaching the cap for the battery compartment to be awkward, due to snug positioning up against the lens.

Overall, I do like the Vc Smart’s flat profile, with its slightly coarse surface aiding finger purchase when held. I don’t have huge hands, but the sausage-fingered might be advised to try it out in person before buying, as not everyone is seeking the most compact pair possible.

The binoculars arrive with a padded carry pouch with a Velcro-style fastening and a neck strap included out of the box. The eyepieces are protected by slip-on plastic eyecups, but there was no protection provided for the front lenses with my review sample. Luckily, then, these are recessed and possess a generous lens surround to prevent scratching or finger smears when in use. In addition, a small lens cloth is provided in the box.

As with many examples of their ilk, the inter-pupillary distance between the eyepieces can be manually adjusted to a limited extent to better line them up with your own eyes. The right-hand eyepiece features a dioptric adjustment ring for fine-tuning focus, with the main ridged focus wheel located between the front two lenses and falling ergonomically under my middle fingers as the binoculars are gripped by both hands, for the steadiest hold possible.

While using both hands feels most comfortable, the weight is manageable enough to allow for single-handed operation, if preferred. The expected feature of twist-up eyecups is present and correct here too, allowing for further adjustment for comfort, dependent on whether the user is wearing spectacles or not.

As with any binoculars worth their salt, operation is very intuitive, and, for me, the components have just the right amount of ‘give’. They feel neither too loose nor too stiff when adjusting on the fly.

There’s no screw thread for tripod mounting for anyone engaged in longer periods of observation, but, in fairness, given the compact dimensions and manageable weight, I didn’t expect to find one provided.

Kenko Vc Smart 14x30 Light: Performance

It’s not just the better-than-average 30mm objective lens that lets light flood in to boost image clarity, but the expected inclusion of fully multi-coated optics maximizing light transmission. Once focus has been precisely determined, we get an almost three-dimensional-looking image, where the subject matter sharply stands out against the foreground and background. This was particularly noticeable, I found, when observing a bird perched on the branches of a tree, where there might be potentially distracting leaves or twigs in proximity.

I flicked the top plate on/off switch with my thumb once I’d located my subject, and it immediately felt like I had my own Steadicam operator. While there’s sufficient heft to the Kenko Vc Smart 14x30 Light that they can be used without too much visible image wobble/judder even without two-axis gimbal-equipped image stabilization activated, once it is, use becomes noticeably more comfortable and, yes, smooth.

To give one example of its usefulness, at one point during testing, I couldn’t make out from afar whether a black blob on the surface of the water was a piece of wood or a young bird. But upon activating ‘Vibration Control’, I was able to determine in an instant that yes, it was just a piece of flotsam.

While a small and unobtrusive ‘pilot’ light at the back illuminates in green when ‘Vc’ is active, there is a small sliding cover that can be nudged with the thumb to obscure it – especially useful if observing subjects at night, where a distracting light wouldn’t be welcomed. Interestingly, Kenko has removed the automatic power-on/off feature on this model, so it no longer deactivates after 10 minutes. Observation can continue uninterrupted for longer stretches.

If being picky, I did notice occasional instances of purple fringing when observing contrasty subjects in bright conditions: for instance, a white feathered swan nudging against the deep green of a riverbank, or a grey bird on a tree branch set against a clear blue sky. But in fairness, any instances of chromatic aberration were only noticeable when I was actively looking for them.

Overall, I was as impressed by the clarity of these binoculars as I have been by past Kenko iterations. If you’re looking for a decent device at a fair price that has the bonus of built-in image stabilization, then you can’t go far wrong here.

Kenko Vc Smart 14x30 Light: Verdict

The Kenko Vc Smart 14x30 Light hits the sweet spot where compactness, a rugged build, a good performance, a decent specification, and price meet, which isn’t the easiest to achieve.

While not quite a sharpness match for much more expensive binoculars I have used from the likes of Swarovski or Leica, I was immediately impressed by the clarity provided here, with the image stabilization feature allowing me to more accurately identify subjects from afar, free from any visible judder magnified by using them handheld. It all adds up to a good mid-range option for those seeking a high-quality performance without breaking the bank.

Alternatives

Japan's latest compact camera sales rankings are in – and the familiar champion is back on top. According to BCN Ranking's January 2026 data, Kodak once again dominates the chart, with its ultra-budget Pixpro FZ55 reclaiming first place.

What makes this result particularly striking is how concentrated the top of the chart is. The top three best-selling compact cameras in Japan right now are effectively just two models – the Kodak Pixpro FZ55 and the Kodak Pixpro C1 – with the third position taken by the same C1 in a different color.

These affordable cameras (FZ55 is available for $139.99 / £114 / AU$218, and the C1 is priced at of $99.99 / £79.99 / AU$198), continue to offer exactly what buyers want: easy operation, compact bodies, and no learning curve. Together, they underline just how strong demand remains for simple point-and-shoot cameras.

BCN+R compact camera ranking (Jan 26)

1. Kodak Pixpro FZ55 | Black
2. Kodak Pixpro C1 | Black
3. Kodak Pixpro C1 | Brown
4. Canon PowerShot SX740 HS | Silver
5. Canon PowerShot SX740 HS | Black
6. Fujifilm Mini Evo | Black
7. Canon IXY 650 M (aka Elph 360 HS A / Ixus 285 HS A) | Silver
8. Fujifilm Instax Mini Evo Cinema
9. Kodak Pixpro WPZ2
10. Kenko Tokina KC-AF11 | Black

Sales data compiled by BCN+R, which aggregates nationwide sales figures from major electronic retailers and online platforms across Japan.

Kodak's ultra-budget compacts dominate again
Kodak's appeal is clear: not every biyer wants cutting-edge specs. For many, ease of use and affordability still matter most. The no-nonsense formula: simple controls, lightweight bodies, and prices that stay well below premium territory.

Canon and Fujifilm stay in the mix
We see familiar brands holding their ground: Canon's PowerShot SX740 HS appears twice in the top five, in both Silver and Black finishes, reinforcing its status as one of the country's most reliable long-zoom compacts.

Fujifilm's Instax Mini Evo, last month's chart-topper slipts to sixth place but remains a strong seller. The arrival of the new Instax Mini Evo Cinema at number eight gives Fujifilm two positions in the top ten.

Rounding out the ranking, the Kenko Tokina KC-AF11 climbs into tenth place after sitting just outside the chart last month.

Simplicity leads Japan's compact camera sales

While premium and enthusiast compacts continue to attract attention, volume sales are still driven by simplicity.

Older designs, color variants, and modest updates. are more than enough to keep budget point-and-shoots ahead of far more advanced – and expensive – rivals.

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Japan's first compact camera sales rankings of 2026 are in – and the market has flipped – again.

After dominating the charts at the end of 2025, Kodak's affordable $99.99 / £79.99 / AU$198, retro-inspired Pixpro C1 compact camera has completely disappeared from Yodobashi's top 10, making way for a familiar face at the top: Sony's ZV-1 II.

According to Yodobashi Camera's best-selling compact digital camera ranking for the first half of January 2026, Sony's creator-focused compact has claimed the number one spot – its first chart-topping appearance in over two years!

Yodobashi's 10 best-selling compacts (1st half Jan)

1. Sony ZV-1 II Shooting Grip Kit Black | White
2. Canon PowerShot SX740 HS / Lite Silver | Black
3. Ricoh GR IIIx
4. Sony ZV-1 II Black | White
5. Canon PowerShot SX70 HS
6. OM System Tough TG-7 Red | Black
7. Ricoh GR III
8. Nikon Coolpix P950
9. Sony RX100 VII
10. Kenko KC-ZM08

Sales data collected between January 1-15, 2026, from Yodobashi.com and 24 Yodobashi Camera stores nationwide.

Sony's ZV-1 II is number one in Japan

The Sony ZV-1 II Shooting Grip Kit takes first place in Yodobashi's ranking, marking a major comeback after briefly dropping out of the charts late last year.

Originally released in 2023, the ZV-1 II remains one of the most popular compact cameras for vloggers, content creators, and hybrid shooters, thanks to its fast lens, reliable autofocus (AF), and creator-first feature set. Sony also tops No.4 with the ZV-1 II body-only model.

Canon, Ricoh and OM System hold steady

Canon's aging zoom compacts refuse to die
Canon places two cameras in the top 10, led by the PowerShot SX740 HS / Lite in second place. Originally launched in 2018 and refreshed with the Lite edition in 2024, the pocket-sized compact remains hugely popular thanks to its 40x optical zoom (24-960mm).

Canon also charts with the PowerShot SX70 HS at No.5, a DSLR-styled bridge camera with a massive 65x zoom. While far from cutting-edge, its long reach and physical controls keep it relevant.

Ricoh's cult APS-C compacts thrive on backorders
Ricoh secured third and seventh place with the GR IIIx and GR III, despite both models being currently out of stock at Yodobashi.com – so, the strong demand remains for Ricoh's minimalist, photographer-first APS-C compacts, even at luxury price points.

OM System's go-to rugged compact reappears
The OM System Tough TG-7 returns to the charts at No.6, making its first appearance in two months. While largely unchanged from the TG-6, it remains the go-to rugged compact, offering waterproofing, shot resistance, RAW shooting, and 4K video in a near-indestructible body.

Comeback: Nikon's superzoom and Sony's premium compact
The Nikon Coolpix P950 lands in eighth place, reappearing after more than nine months away, thanks to its colossal 83x optical zoom. Image quality may lag behind newer rivals, but for sheer reach in a relatively portable body, it continues to attract an audience.

Meanwhile, Sony's RX100 VII returns at No.9, marking its first appearance in nine months. Despite its high price and cramped ergonomics, its speed, AF performance, and 4K video keep it relevant.

Kenko's budget selfie compact debut
The Kenko KC-ZM08 makes its first-ever appearance in Yodobashi's rankings, offering something rarely seen in compact cameras: a rear-facing secondary camera.

Designed to function like a smartphone, the KC-ZM08 allows you to switch cameras at the push of a button, making selfies and casual social shooting far easier. With ¥24,940 (approx. / $160 / £117 / AU$230), it's one of the most affordable models in the top ten.

Insights from Yodobashi's top 10 compact cameras

While ultra-budget compacts drove short-term volume in January, brand trust, practical features and sustained demand continue to steer Japan's buyers back toward established and long favored models.

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The BCN Award 2026 has been announced, revealing the best-selling camera brands in Japan's digital camera and imaging market.

Based on nationwide retail sales data from January to December 2025, the award reflects actual purchase figures collected from 20 major electronics retailers, including Amazon, Bic Camera, and other leading chains across the country.

This year, Sony claimed the mirrorless camera crown for the third consecutive year and sixth time overall, while Canon continued its long-standing dominance of the DSLR segment with an 18th straight win.

In a first-time achievement, Kodak earned the top spot for compact cameras, and DJI took home the crown in both the video camera and action camera categories.

Unlike product-based honors, the BCN Award recognizes manufacturers rather than individual camera models, ranking brands by total sales volume and overall market popularity.

Let's take a closer look at the top three brands in each category and the companies shaping Japan's highly competitive camera market in 2025…

Compact

1. Kodak: 24%
2. Fujifilm: 13.9%
3. Kenko Tokina: 13.3%

Kodak takes the top spot in Japan's compact camera category for the first time, claiming 24%. The Kodak Pixpro FZ55, a simple, affordable point-and-shoot, dominated monthly sales charts and highlights the ongoing comeback of budget-friendly compact cameras.

Fujifilm follows with 13.9% of sales, led by its popular X100 series and the Instax hybrid instant cameras. Fujifilm's GFX100RF, a groundbreaking 102MP compact medium-format camera, was recognized with the DGP Imaging Award, one of Japan's most prestigious honors.

Tokina takes third at 13.3%. maintaining a steady popularity in Japan's compact camera segment.

Mirrorless

1. Sony: 29.9%
2. Canon: 27.4%
3. Nikon: 15.1%

Sony continues its dominance in Japan's mirrorless camera market, winning the BCN Award for the third consecutive year and sixth overall, with 29.9% of annual sales. Canon follows closely with 27.4%, while. Nikon holds third place at 15.1%, maintaining its position from the previous year.

The market has been defined by Sony and Canon. Sony's A7 V, released mid-December 2025, instantly became Japan's best-selling mirrorless camera in the second half of December.

Canon's high-end EOS R6 Mark III and entry-level R50 V, along with Nikon's Z5 II, are 2025's product examples that continue to be celebrated in Japan's competitive mirrorless market.

DSLR

1. Canon: 44.3%
2. Nikon: 38%
3. Pentax: 17.7%

Canon remains the undisputed leader in Japan's DSLR market, winning the BCN Award for the 18th consecutive year and 20th overall, with 44.2% of annual sales. Nikon holds second place with 28%, while Ricoh Imaging (Pentax) captures 17.7%.

Despite the mirrorless boom, DSLRs are far from obsolete. Canon's EOS 5D Mark IV continues to dominate the professional and enthusiast workflows, while models like the 1D X Mark III are still popular.

Nikon remains strong with, for example, the D850 and D780, while Pentax appeals to a dedicated niche with models such as the K-1 Mark II.

Canon's dominance isn't a surprise. It ships the majority of DSLRs worldwide. Even with mirrorless growth, nearly 800,000 DSLRs were shipped in 2024, underscoring that the DSLR experience remains valued among photographers.

Video

1. DJI: 64.7%
2. Panasonic: 18.9%
3. Sony: 11.1%

DJI had taken the top spot in Japan's video camera market for the second year in a row, capturing an overwhelming 64.7% share. Panasonic followed with 18.9%, and Sony held 11.1%.

Key DJI releases include the Osmo Action 6, launched late 2025, and the Osmo Pocket series – a compact handheld solution that some observers argue could also fit under action cameras due to its portability, though officially classified in the video camera category for BCN Award purposes.

Among Panasonic's most popular devices for professional video are the Lumix S5 IIX, and it updated its hybrid lineup with the Lumix S1 II, and camcorders such as AG-CX20. Sony continues to impress with the FX6, FX3, and hybrid models like the A7R V and A6700.

Action

1. DJI: 40.1%
2. Insta360: 37.9%
3. GoPro: 18.9%

DJI claimed the top spot in Japan's action camera category for the first time, capturing 40.1% market share. Arashi Vision (the company behind Insta360) followed closely with 37.9%, while GoPro fell to third place at 18.9%.

DJI's success in 2025 was highlighted by the Osmo Action 6 and the Osmo Nano, a tiny wearable camera, while the Osmo Action 4 and 5 Pro offered strong budget and professional options.

Arashi Vision continued to push innovation with the Insta360 X5 (8K 360°) and maintained strong momentum with the Ace Pro 2. Meanwhile, GoPro focused on its Max 2, while the Hero 13 Black remained a popular choice.

As Chinese manufacturers, DJI and Insta360 continued to gain ground, GoPro's market share declined amid intensifying competition.

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Japan's latest compact camera ranking for November 2025 is in – and the champion hasn't changed. According to monthly sales data compiled by BCN+R, which aggregates sales numbers from major electronic retailers and online platforms including Amazon, the Kodak Pixpro FZ 55 is once again the No.1 best-selling compact camera in Japan.

Yes – a no-frills, ultra-budget, point-and-shoot camera released years ago (2023) continues to outperform the competition. And this month's data introduces some surprising challengers from Fujifilm's Instax lineup, fresh Canon movement, and a new seasonal release entering the top 10 for the first time.

Let's dive into the numbers...

BCN+R Compact Camera ranking (Nov 25)

1. Kodak Pixpro FZ55 (Black)
2. Fujifilm Instax Mini Evo (Black)
3. Panasonic Lumix TZ99 (Black)
4. Fujifilm Instax Mini Evo (Brown)
5. Kodak Pixpro C1 (Black)
6. Canon Powershot SX740 HS / Lite (Silver)
7. Fujifilm Instax Mini Evo Gentle (Rose)
8. Kenko Tokina KC-AF11 (Black)
9. Canon Powershot Sx740 HS / Lite (Black)
10. Kodak Pixpro FZ45 (Black)

Fujifilm surges: Instax Mini Evo variants jump into the top tier
Fujifilm has had an impressive November, claiming three separate positions in the top 10 thanks to the Instax Mini Evo – the OG analogue-style hybrid instant camera. The Instax Mini Evo Black rockets from No.5 to No.2, while the Brown edition climbs from No.6 to No.4.

But the headline grabber is the new Instax Mini Evo Gentle Rose, released in November and debuting straight into 7th place, highlighting the seasonal gift effect and Fujifilm's strong instant-camera momentum.

Panasonic's do-everything travel zoom holds position
The Panasonic Lumix TZ99, one of Japan's most consistent compact cameras of 2025, slips only slightly – from second to third. With its 24-720mm zoom and long-lasting popularity among travelers, it remains the "premium but still affordable" compact point-and-shoot that appeals to shoppers who find higher-end models too pricey.

Canon makes a comeback – again
Canon's PowerShot SX740 HS Lite continues its surprising late-2025 resurgence, with the Silver model jumping from out of range to 6th, and the Black version climbing to 9th. The SX740 HS was first released back in 2018. The Lite version features its original seven-year-old tech, proving buyers gravitate toward reliability and familiarity.

Kenk Tokina holds steady, Kodak expands
Kenko Tokina's budget-friendly KC-AF11 stays at 8th, maintaining solid performance among price-conscious users.

Kodak, meanwhile, fills three out of ten top spots – FZ55 (No.1), C1 (No.5), and FZ45 (No.10). Kodak dominated much of 2025 in various retail datasets, and November shows continued demand for simple cameras that do exactly what users expect: turn on, zoom, and shoot.

Why the Kodak FZ55 stays Japan's top compact

The Kodak Pixpro FZ55 is an anomaly – in the best possible way. In a market where premium niche models make headlines (think Ricoh GR IV, Fujifilm GFX100RF, Sony RX1R III, and, by instant-camera nostalgia (Instax), the FZ55 stands as one of the last true mainstream point-and-shoots from a recognizable brand.

It shows: Consumers simply want a real camera that's cheap, compact, reliable, and easy. It's fun, durable, and simple, featuring a 16MP 1/2.3in sensor, a 5x zoom, no complicated modes, no pairing with apps or settings overload, in a pocket-friendly size.

And at just $139.99 / £114 / AU$250, it's no wonder Japanese retailers can't keep it off the charts. It offers value that few compact cameras can touch. Its price truly undercuts most major competitors – often by half.

As we wrap up 2025's second-to-last monthly ranking, the message from Japan's compact camera market is clear: simplicity sells.

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Kodak took over Japan's compact camera market in September. According to BCN Retail's latest rankings, its PixPro series now occupies half of the top 10. But there's more to the story: Panasonic's modern superzoom and Fujifilm's retro-inspired Instax Mini Evo are holding their own.

The PixPro FZ55 (black) takes the number one spot this month, rising from second in August. It's joined by three other Kodak models in the top 10 – the WPZ2 at No.3, the new C1 at No.6, and the FZ45 at No. 7. A red version of the FZ55 rounds things out at No.10.

That's five spots in the top 10 for Kodak – half the list. What's striking is not just Kodak's volume, but how low-profile these cameras are. They're not front-page launches. They don't chase the latest AI autofocus or 6K anything. They're built in a simple way and are easy to stock.

BCN’s top 10 best-selling compact cameras 09/2025

1. Kodak PixPro FZ55 Black
2. Panasonic Lumix TZ99 Black
3. Kodak PixPro WPZ2
4. Kenko Tokina KX-AF11 Black
5. Fujifilm Instax Mini Evo Black
6. Kodak PixPro C1 Black
7. Kodak PixPro FZ45 Black
8. Panasonic Lumix TZ99 White
9. Fujifilm Instax Mini Evo Brown
10. Kodak PixPro FZ55 Red

Panasonic's TZ99 – one of the few truly new compacts on the list – climbs to second place this month in black, and makes a surprise reappearance at No.8 in white after jumping two spots. The TZ99 is an old-school superzoom in a modern shell: smart, pocketable, with a 30x optical zoom and updated internals.

Kenko Tokina continues its quiet march upward too – the KC-AF11 rises from No.10 to No.4. This isn't a name that comes up often in global camera conversations, but in the domestic Japanese retail ecosystem, Kenko Tokina's low-cost compacts are moving steady numbers.

Then there's Fujifilm, which isn't playing the traditional compact game – and still managed two entries. The Instax Mini Evo, both black and brown versions, hold No. 5 and No.9, respectively. Technically hybrids, these are part instant printer, part digital camera.

So where's Canon? Or Sony? For all the mirrorless dominance they enjoy, neither brand has a competitive compact lineup in 2025 – at least not at the price points that matter here. What we're seeing instead is a split market: Kodak floods the budget shelves, Fujifilm redefines the product category, and Panasonic and Kenko Tokina hold up in the middle with newer hardware and local reach.

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Astro-lovers delight! Kenko’s PRO1D Prosofton Clear (W) filter claims to produce clearer shots of starry skies. It does this by softening the image which may sound counter-intuitive, but by slightly blurring the stars they can appear larger and more prominent in your night sky photographs, or at least that's the theory anyway.

Kenko claims this filter, the Prosofton Clear (W), is designed to deliver ‘optimal’ soft filter results for nightscape photography with just enough softness to bring out detail in starry constellations, yet retain sharp detail in the foreground. Its softening effect is also half that of Kenko’s Prosofton Clear (A) filter.

Kenko also says its image-softening qualities also make the Prosofton Clear a good choice for adding a gentle diffusion and soft glow to cityscapes and portraits too. We got hold of one and headed out to put it to the test...

Kenko Prosofton Clear Specifications

Kenko Prosofton Clear Build & Handling

The Kenko Prosofton Clear PRO1D (W) is available in regular filter sizes spanning between 49mm and 82mm. The largest 82mm version costs around $52(US) or £52 on Amazon, though you’ll pay less if you opt for a smaller size (about $20/£20 for the smallest 49mm option), this of course depends on the filter thread of your lens.

Whichever model you go for the filter has an ‘ultra-thin’ frame that is just 6mm deep (4mm when mounted), so we’re glad to report we had no issues with vignetteing even when shooting ultra-wide angle at 16mm on our full-frame Canon EOS R6 Mark II test camera, though this could become an issue if you wanted to stack multiple filters together and shoot at wider focal lengths.

Some of the best lenses for astrophotography such as the Sigma 14mm f/1.4 DG DN | Art have a bulbous front element so screw-in filters can’t be attached. But most allow sheet-type filters to be rear-mounted at the back of the lens. The good news is that Kenko’s Prosofton Clear is also available to buy in sheet form as a set of three in varying strengths (see below).

Like many of Kenko’s premium filters such as the Black Mist No.1 filter I reviewed earlier this year, the Prosofton Clear is made in Japan and has a high build quality. It's made from premium materials with an aluminum frame, the frame is also partially knurled to give you some decent grip when screwing it into the front filter thread of your lens.

It also comes with a plastic UV-absorbing hard case to keep it protected when not in use or in transit to your location.

The glass used is Kenko’s ‘optical glass’, which is the same quality as the Black Mist No.1, Black Mist No.05, White Mist, and Twinkle Star filters. Like those filters, the Prosofton Clear features an anti-reflection coating. Unlike the Black Mist No.1 and Black Mist No.5 however, the Prosofton Clear doesn’t get the water-repellent treatment.

Kenko Prosofton Clear Performance

When it comes to astrophotography I found the effects of the Kenko PRO1D Prosofton Clear (W) to be quite subtle though it does make a difference. It's likely even more noticeable with Kenko's Prosofton (A) filter which is twice as strong as the (D) filter we had on the test.

Shooting on a clear night under a 'new' moon to keep light pollution low, many of the brighter stars appeared at least four times larger compared to shots taken with no filter attached. This is because they had a more diffused glow around them from the softening effect. The foreground also doesn't seem to be negatively impacted too much by the softening effect, something Kenko claims is an advantage over other soft filters on the market.

It's worth noting that although designed for astrophotography, the Prosofton Clear (W) doesn't feature any sort of light pollution cut. Instead, Kenko recommends it is paired with a light pollution cut filter, or instead use the Kenko Starry Night filter which combines both a soft effect with light pollution cut all in one. However, it's also over twice the price at $110/£114 for the largest 82mm version.

This is a bit disappointing as we'd really rather have one filter that can do it all, rather than stacking filters together which is not only more expensive but will degrade image quality and could cause problems with vignetting at wider focal lengths.

In these test shots, I used a wide-angle Canon EF 16-35mm f/2.8L II USM lens mounted to my test Canon EOS R6 Mark II via a Canon EOS R-EF mount adapter and pointed it directly at the galactic core overhead. I gave both RAW files identical treatment in Adobe Camera Raw and there's a negligible difference to the Milky Way. However, some of the larger stars have been diffused nicely by the Prosofton filter making them bigger and therefore more clear to see.

When my local fair was in town I wanted to head out to capture the fairground lights reflecting in puddles due to heavy rain. I didn’t have a UV filter to hand so used the Prosofton Clear (W), if only to keep the rain off the front of my lens.

It also had the positive benefit of blurring the fairground lights in a similar way to the Kenko Black Mist No.1, albeit not quite as strong of a diffusion effect but still very pleasing, producing images with a dream-like quality to them (below).

Looking closely at the surface of the Prosofton Clear reveals quite a notable mottled pattern on the glass compared to the Black Mist No.1, however, the Black Mist has a more washed-out grey hazy sheen across its glass and the Prosofton is more clear to look through.

Kenko Prosofton Clear Verdict

It's hard to knock the Kenko Prosofton Clear PRO1D (W) filter as it does everything it sets out to achieve. In a backward way by softening the image, it does produce bigger and brighter stars. While it's not going to revolutionize your astro photos, and its effect on our galactic core was rather negligible, it does make singular stars larger and more prominent in the night sky.

Ideally, any filter primarily designed for astrophotography should have a light pollution cut to help reduce the glow of street lamps on the horizon and boost contrast, such as in Kenko's more expensive Starry Night Prosofton filter which is both a light pollution cut and softening filter in one. However, I appreciate that leaving this feature out helps Prosofton Clear PRO1D (W) keep an attractively low price point.

The Prosofton Clear (W) does however score heavily for its premium build quality, materials, and image quality – despite being a soft filter, the foreground of images is rendered nice and sharp and isn't turned into an unusable blurry mess. It's also packed to the rafters with handy features to cut down on internal reflections and is a versatile option not only for astrophotography but cityscapes and portraits too.

If you want a filter that can do all of this then the Prosofton Clear (W) is the filter for you, if however you also need a light pollution cut you'll be better off with the Kenko Starry Night Prosofton filter, and photographers using lenses with a rear filter mount will need Kenko's sheet style Prosofton Clear filters instead.

Alternatives

There are as many creative filters out there for photographers as there are photographic applications, and each new filter to the market promises to do something different or better than the last. The best variable ND filters reduce the light entering your camera, slowing down exposures for expressive movement, or balancing scenes with different light levels.

Variable neutral density filters are my go-to for achieving wide apertures in super-bright situations like the midday sun because I can control the amount of light entering the camera and still create a shallow depth of field. And that's not something I can fix or add in post-production.

The Pro1D Smart Variable NDX filter offers densities between ND3 to ND450. You can change the strength infinitely by rotating the filter, and vary the light entering the camera from a minimum of 1.5 to a maximum of 9 stops. As an entry-level option, it's not got the coatings and glass kudos of more expensive options like the Urth ND1000 and the largest size you can get is an 82mm thread. However, it makes a great starting point for landscape and portrait photographers who want to start experimenting with long exposures.

Confusingly this filter isn't part of Kenko's Instant Action range, which has a magnetic adapter to allow the quick switching of magnetic filters in the field. It has the same NDX3-450 filter as the Kenko Pro1D+ NDX3-450+C-PL I've previously tested but without the built-in polarizer. I thought that filter was a jack of all trades, and that a solo ND option would have been better than a combined product. So Kenko has almost answered my wishes with the PRO1D Smart Variable NDX, and I was eager to see how the traditional screw-on design would compare to a magnetic or slide-in alternative.

I've had the largest 82mm filter in my bag for over a month now, screwing it onto my Canon RF 24-70mm f/2.8L IS USM lens every time I've wanted to slow down the exposure – either for extended exposures or shallower depths of field beyond what the ambient light allows. If you're looking for one of the best variable ND filters, read on to find out whether the Kenko Pro1D Smart Variable NDX filter makes the cut, and if so, whether it's the right cut for you.

Kenko Pro1D NDX3-450 filter: Specification

Kenko Pro1D NDX3-450 filter: Price

None of the filters in Kenko's Pro1D (and magnetic Pro1D+) range are particularly expensive, which is just as well given they come in basic plastic cases and offer few real "features" worth paying a premium for. The Smart Variable NDX filter costs between $30/£30-$45/£45, depending on the thread size you need, which is on the budget side for adjustable ND filters.

Unlike the Kenko Pro1D+ UV filter and its water-repellent, anti-reflection, and anti-stain coatings – something you need on an everyday filter – Kenko doesn't mention any coatings on the Pro1D NDX3-450. By contrast, the LEE Elements Variable ND filter has anti-reflective, hydrophobic, and oleophobic coatings to resist fingerprints, but then you're looking at a price around six times as much. For such a steep investment, I'd rather be extra careful not to touch the front of the filter.

I don't know what the glass is, either, so you can assume it isn't German-made SCHOTT. I don't want to sound too disparaging, though. The Pro1D smart Variable NDX is keenly priced for its target market of hobbyists.

Kenko Pro1D NDX3-450 filter: Design & Handling

The Pro1D NDX3-450 filter comes in an unassuming gray cardboard sleeve that's worlds away from the bright, cheerful Kenko Pro1D+ range. But let's not judge a book by its cover, or a filter too harshly by its packaging. It comes well-protected in a hard, square plastic case, and inside this, there's a perfectly sized hole cut for slotting the filter into so that it doesn't rattle around in transport.

If I was being picky, I found the filter case hard to open, and imagine it being more so when you're shooting an early landscape with cold hands, or wearing gloves. The upside is that the case shuts securely, and there's little chance of it coming open in your bag and the filter getting scratched by the contents. It isn't labeled either, so if you have several of these cases in your bag you might find it hard to tell between them.

Physically, it's much slimmer than the Pro1D+ CPL ND, which must be because it doesn't have to incorporate a polarizing filter into its dimensions. On immediate handling, I'd say that it felt sturdy, being made from a strong but still lightweight magnesium, which blended well on the end of my Canon RF lens. Mounting the filter was painless, which sounds strange to mention, but cheaper filters often have poorly machined threads that make them fiddly to screw on.

Once mounted, the filter rotated smoothly in a full 360-degree motion, and I was pleased that there wasn't any grating. There's some subtle resistance, which is what you want to avoid the filter moving during a shot, but just enough for the movement to feel smooth. Helpfully, there are minimum and maximum markings on the perimeter of the ND filter, and these are incredibly useful when trying to work out where you are on the density scale.

Where UV filters are usually designed to allow a lens cap to sit on the end, the Pro1D Variable ND filter wasn't compatible with my lens cap. This is a shame, as several times I took a shot, walked five or ten minutes to another spot, and had to take the filter on and off each time to put my camera in my bag. The filter has different sized diameters on its front and back, and I've since discovered that if you want to attach a lens cap, you'll need it to be one size larger than your lens' thread.

Kenko Pro1D NDX3-450 filter: Performance

While the Pro1D NDX3-450 filter is a simple, affordable variable ND filter, it still needs to deliver clear, sharp images that make the most of your lens' tech. I'm pleased to report that I couldn't spot any image quality issues when it was mounted. I tested the filter at a range of focal lengths with my telephoto and there was no noticeable vignetting (darker edges of the frame) or drops in contrast or clarity. Some ND filters can affect the color temperature and often run a touch cool, but I didn't notice any casts when using the Pro1D NDX3-450 either. The white balance was identical to control shots without it.

While you can theoretically darken your exposures in post-processing software, you can't slow the shutter speed and capture motion blur after the event. This is where the Pro1D NDX3-450 was key for me. I experimented with exposures between half a second to twenty seconds and was satisfied with the results.

For me, that's where this filter wins over a fixed-density option like the Urth ND1000 Filter Plus, even with its well-labeled case and 20-layer nano-coating. That being a fixed 10-stop ND filter, it can't offer you the more subtle light-blocking capabilities that the Kenko does. Being able to adjust the ND density infinitely from ND3 to ND32 makes it a very adaptable accessory in many environments, including if you're using it for video and need to stop down to a suitable shutter speed. And as you don't have to stack a set of ND filters, you won't get the vignetting that comes with that.

I used it a lot during bright sunshine to set a low ISO speed and take advantage of my lens's maximum f/2.8 aperture for a blurred background. During these daylight situations, being able to twist the filter and work in manual exposure mode allowed me to choose the balance of settings precisely, but given that the filter blocks light in real-time, a semi-automatic Aperture Priority mode also worked well.

When I used the filter near or at its Max setting, I noticed an X-shaped dark pattern in the frame. Kenko says that this is a normal effect, can't be prevented due to the filter's construction, and that adding a stopper would have made it less versatile for getting a wide range of densities. I was surprised by the dark, muddied effect at first, but it's not a problem or a defect of the product, and even more reason to use the handy markings on the filter's edge for guidance so that you don't use it past the maximum point.

Kenko Pro1D NDX3-450 filter: Verdict

Overall, I'm impressed with Kenko's Pro1D NDX3-450 filter. If a range of ND strengths is what you're after – to completely blur movement in your landscapes or just slightly affect the exposure to reach the optimum shutter speed in your video – then this filter does exactly what it's designed to do. And by doing away with coatings or fancy glass, it can be sold more cheaply than Lee or Tiffen equivalents.

The screw-on filter design offers a secure fit on the lens, and the ability to alter the ND strength with a gentle twist. However, the disadvantage compared to a slide-in filter is that you'll have to buy several duplicates if you want to use filter thread sizes on different lenses. As I generally have one workhorse lens this isn't a problem, nor will it be for many landscape shooters who stick to a single wide-angle. And the competitive pricing means you could still buy several filters for a fraction of the cost of the premium brands mentioned above.

Does the Kenko Pro1D NDX3-450 offer the same clarity you'd get for a filter five times the price? Probably not. But I'd say the difference in quality is entirely negligible unless you're a fine art photographer making a living from giant prints and image excellence. For most, it'll provide an easy way to tweak their exposures with minimal effort, time, and investment.

Kenko Pro1D NDX3-450 filter: Alternatives

As an occasional landscape photographer, I like using filters for the odd blurry coastline but don't want to invest in professional-grade glass. As someone who's also made a point of cutting down their kit in recent years (I now use a 24-70mm lens for almost all my work), I don't want to carry multiple filters and holders around if I don't have to.

Many shooters share this niche – they're neither pros nor total hobbyists and have a desire to make exposure changes in-camera without spending a fortune. The Kenko Pro1D+ NDX3-450+C-PL filter then feels like the perfect option, which as the name suggests is a variable ND and circular polarizer in one. 

It's part of Kenko's Instant Action range, which uses a magnetic adapter screwed onto your lens to allow the quick adding and removing of filters in the field. Having tested several Pro1D+ filters, I've been pleased with their performance. With the Kenko Pro1D+ CPL filter, I liked that it didn't affect image quality, while I found the Kenko Pro1D+ UV filter gave equally good clarity but was let down by a weak magnetic attraction. 

The NDX3-450+C-PL is the third on test, but will it be third time lucky? As much as I like saving weight in my kitbag, I'm always dubious when a photography accessory tries to do too much for fear that it'll do everything poorly. And given the size of filters, do we really save that much space or time by using a combined product?

On paper, the NDX3-450+C-PL neutral density filter (Kenko refers to it as a variable ND filter with polarizing functionality) is a very convenient way to maintain exposure control. You can vary the light entering the camera from 1.5 to 9 stops, which means being able to control motion blur or depth of field by choosing just the right shutter speed.

I've been testing the 82mm version (on and off) for several weeks on my Canon RF 24-70mm f/2.8L IS USM lens, and I've shared my honest thoughts below. Read on to discover whether the Kenko Pro1D+ NDX3-450+C-PL is the handy all-in-one filter the manufacturer promises and whether it beats buying the best variable ND filters and best polarizers separately.

Kenko Pro1D+ NDX3-450+C-PL filter: Specification

Kenko Pro1D+ NDX3-450+C-PL filter: Price

Kenko's Pro1D+ filter lineup isn't premium in price, but it's not at the value end of the scale either. It's sensibly priced, boring even, and the Kenko PRO1D+ Instant Action Variable NDX3-450+C-PL is available as a solo package (filter only) or as a set (with a magnetic adapter). It's nice to have the solo option, as it brings down the cost if you already have an adapter from buying another filter in the range.

Like other Pro1D+ filters, there are few real "features" to warrant a high price anyway, and Kenko doesn't mention there being any water-repellent or anti-stain coatings as you get on the UV version. It also doesn't state what glass is used for the filter, so you wouldn't expect to pay for the German-made SCHOTT glass on Urth's Magnetic CPL Polarizing Filter Plus+ range.

Availability of the NDX3-450+C-PL is patchy, but where sold it comes out about the same price as buying the Kenko Pro1D+ CPL filter and an average variable ND separately. Overall I'd say it was good value, but I'm disappointed in the build quality of the plastic filter container whereas other brands give you a premium metal tin to store your glass safely in.

Kenko Pro1D+ NDX3-450+C-PL filter: Design & Handling

Like other PRO1D+ Instant Action filters, the NDX3-450+C-PL comes in a cardboard box with a bold hue – this time violet. Inside, the filter is kept in a round plastic case with a foam base for protection, which screws shut to prevent it from opening during storage but feels too brittle to last long out in the wilderness. You get a packaged magnetic filter of the same thread size (unless you've bought the solo version).

There are simple line diagrams on the back of the box to illustrate that you need to screw on the magnetic adapter ring to your lens first and attach the filter on top. It took twenty seconds at most to follow these steps with my Canon RF 24-70mm f/2.8L IS USM lens, and the filter gripped firmly to the front thanks to a strong magnetic pull. It also didn't rattle around in the holder as I rotated the filter threads.

In terms of handling, I wasn't initially sure how to use the filter and control both the ND and polarizer elements. I didn't even notice the tiny metal "knobs" inside the box until I'd had a Google, visited the Kenko website and found a how-to method. Essentially, screwing two gold-colored metal poles onto machined holes on the inner ring it makes it much easier to rotate it.

The filter is noticeably thicker than Kenko's UV filter or C-PL filter; because there are two rotating threads you need room to rotate both portions separately. This build isn’t a problem in itself, but it doesn't allow you to mount a lens cap on top.

The idea is that you set the density first by rotating the thinner outer ring. There are printed arrow markings between Min and Max to guide you, but I'm still unsure where you're meant to line them up to achieve said densities. Next – and you must set the ND first, C-PL second – you control the polarization effect by rotating the bigger outer frame using the knobs.

The problem I found with this is that it often ended up just rotating the whole frame, and I'd have to try and hold the ND thread in place while setting the polarizer. Not always easy when you're also looking through the viewfinder or on the screen to check settings.

Kenko Pro1D+ NDX3-450+C-PL filter: Performance

I'll be honest; when I started using the Kenko Pro1D+ NDX3-450+C-PL to smooth water on a bright, sunny day I was worried and disappointed by the results. But that's because I hadn't read up on how to use the filter, or thought I needed to. At first, I was rotating the inner and outer rings with abandon, using the camera's LCD screen to check the effect on exposure.

It wasn't easy to tell whether the polarizer was having an effect on reflections or how strong the ND filter was. In several images, there was a complete cast over the frame that looked like the edge of a filter, while in others there was a strong color cast at the edges. Frustrated, I did some more research and discovered that there was a method for using this filter. Kenko explains that "due to the specific construction of the filter, the polarization effect changes when adjusting the density" and that you need to adjust the density first and the polarization second.

Doing this required me to approach each scene more thoughtfully, and think about my intentions for it. Not necessarily a bad thing. I've already shared my misgivings about the design, but it didn't take too long to get the hang of using both filters independently. Image quality was also better when I wasn't pushing the density ring past its maximum.

I have few complaints about the filter's effect on image sharpness, but I did notice some serious vignetting at the higher ND strengths – despite Kenko's claims that with this product you'll "forget about vignetting caused by stacking several ND filters." Optically, wide-angle lenses are more prone to vignetting at the edges of images anyway, but the effect was pronounced from 24mm.

Overall, the Kenko Pro1D+ NDX3-450+C-PL images required heavier processing than I'd usually do to boost the shadows and saturation in these areas. I made sure to test the filter on a very bright, sunny day, and the polarizer element was able to boost the blue skies. It also allowed me to set far wider apertures without the risk of overexposing the frame. This gave me more creative shooting options when I didn't want to set a narrower aperture with my ISO already as low as possible.

Kenko Pro1D+ NDX3-450+C-PL filter: Verdict

Overall, I think this filter is a good buy for enthusiast landscape photographers who are just starting to experiment with long exposures and don't want to buy several different products. It’d make a good first filter, especially as you get the magnetic adapter in the box for extra value and an easy setup.

Although using a variable ND filter should be fairly self-explanatory, I’d like Kenko to provide better instructions for the Pro1D+ NDX3-450+C-PL. Even as an experienced photographer, it wasn't always obvious how best to use the two filters together but Kenko does advise that you adjust the density first and the polarization afterward.

If you’re looking for a good value ND and polarizing filter in one, and don’t mind a bit of image editing when you get home, this Kenko Pro1D+ will be just what you need to extend your shutter times and boost your skies. They say practice makes perfect, and that's the case here. Expect a bit of faff with the turning mechanism and a learning curve to get results that aren't too dark or too muddy, but you'll soon be shooting an array of scenes with just one accessory.

Kenko Pro1D+ NDX3-450+C-PL filter: Alternatives

You can successfully recreate the look of many filters in post-processing, but a polarizer is something you need to have on your camera at the time of capture. I've used the best polarizing filters for decades, mainly for enhancing the colors of landscapes or adding contrast during unavoidable shoots in the midday sun when the vibe is washed out. Circular polarizers are designed to filter out polarized light, and by doing so they reduce or remove reflections from shiny surfaces like water, glass, and metal. They can have a practical as well as creative use case.

Traditionally, you'd buy a circular polarizer, screw it onto the end of your lens thread and then unscrew it when you're finished. This approach isn't complicated, but it can take time – time that might mean you're missing out on moments and other filters. That's where Kenko's Pro1D+ CPL filter comes in. 

As part of the manufacturer's Instant Action range, this round filter doesn't have a thread but instead attaches to your lens with a magnetic adapter that comes in the box. The adapter also works with other filters in the Pro1D+ range, including a UV Filter and Variable ND filter, to give you an arsenal of exposure-controlling accessories you can swap in and out rapidly. Or stack on top of each other.

This filter system is completely new for Kenko – a brand that has been making reliable, middle-of-the-road filters for decades. But does the magnetic design add to the performance or detract from it? I tested the 82mm version (on and off) for several weeks on my Canon RF 24-70mm f/2.8L IS USM lens to find out. If you're looking for a polarizer to cut down reflections and give contrast a boot, read on to discover whether the Kenko Pro1D+ CPL is the right fit for you.

Kenko Pro1D+ CPL filter: Specification

Kenko Pro1D+ CPL filter: Price

Kenko's Pro1D+ filter lineup is middle of the range in terms of price, and its CPL filter is no different. I've seen plenty of cheaper non-magnetic options, but these don't offer the water-repellent or anti-stain coatings as Kenko, or the added adapter ring.

The only thing that makes me question the value for money here is that Urth's professional Magnetic CPL Polarizing Filter Plus+ is priced similarly, but features German-made SCHOTT glass (Kenko doesn't share how its glass is manufactured) and offers a lifetime warranty. And in terms of protection, Kenko only gives you a cheap plastic container with some very thin foam, while Urth offers a premium-feeling metal tin.

Kenko Pro1D+ CPL filter: Design & Handling

Like all the filters in the PRO1D+ Instant Action range, the C-PL comes in a brightly colored, square cardboard box. Inside this pleasingly pink box is the polarizing filter (in a round protective plastic case) and a filter adapter matching the thread size. I don't think you need instructions to use a polarizer, but there are some simple line diagrams on the back of the box showing that you need to screw on the adapter ring first and then pop the filter on top.

Having already tested the PRO1D+ UV filter, I already had the adapter ring attached to my Canon RF 24-70mm f/2.8L IS USM lens and was able to remove that and attach the C-PL in its place within seconds. In that respect, it definitely lived up to the "Instant Action" Name. I was pleased to find that the filter was machined to fit snugly within the adapter and although there's a minuscule amount of give around the outside, it didn't feel loose or rattle around as some magnetic versions can do.

I was pleased to be able to stack this polarizer with other filters in the Pro1D+ range and didn't find the level of magnetism tweaked when I had two filters attached simultaneously. If anything, the bond was stronger. On the downside, the polarizer isn't designed to accommodate a lens cap on top, and this meant I had to remove it every time I put your gear away. Given how quick the filter is to remove this isn't a dealbreaker, but it does add a few seconds to your workflow and can be fiddly if you're short on hands or juggling equipment.

As for polarizing operation, the filter's knurled edge makes it easy for you to get a handle on it. But I found it unpleasantly scratchy to turn in the adapter, with an annoying grating sound that sounded as if it was causing damage (it wasn't). We found the same problem while testing the Urth Magnetic Circular Polarizer, but it's not something you encounter with screw-in rotating CPL filters. If you're a professional needing an incredibly precise filter rotation this might put you off, but otherwise, it was easy to see the effects of the polarizer through the viewfinder and on my camera's LCD screen.

Kenko Pro1D+ CPL filter: Performance

Despite the Pro1D+ CPL design making the filter's rotation slightly janky, I have very few complaints about its effect on images and the quality that it gives you overall. With some polarizers, I've found it hard to tell whether the filter is having an effect, and which way I need to turn it. Not so with the Kenko Pro1D+. It's immediately obvious when the filter is at maximum strength – both through the viewfinder and the LCD screen – and I could see the sky darkening in real time.

If I were being picky, I'd say the contrast is slightly less natural than Urth's magnetic CPL, but only by a whisper. I made sure to test the filter on a very bright, sunny day, and it added a real punch to blue skies, elevating the white fluffy clouds and reducing reflections in the ocean. Overall, this gave me much more detail when processing the images (the before and after shots below haven't been edited).

On another test, I wanted to trial the CPL's reflection-reduction capabilities (try saying that quickly) specifically, and I pointed it at a tributary of water that had run into the harbor from the sea. With a quick twist around, I was amazed to see that it had cut out the reflections from the water almost entirely. This isn't the most aesthetically pleasing shot, but it proves how well the filter does its job.

I used an Auto White Balance for all my testing and didn't notice any color casting caused by using the filter. Some polarizers cause a cool cast, which is easy to fix in post but shouldn't be the case when spending more on a filter. The light transmission and overall sharpness were unaffected too, and I felt very confident using the filter in a range of conditions.

Kenko Pro1D+ CPL filter: Verdict

If I grade the Kenko Pro1D+ CPL filter purely on its polarizing powers, I'd say it was almost an entirely positive result. While its polarization effect might be a bit intense and overcooked for some photographers, the fact it doesn't noticeably degrade or change the lens quality is a real relief.

The magnetic design is the real selling point of the Pro1D+ CPL over other Kenko filters or indeed, cheaper choices. So is it worth it? Yes, for swiftly removing or mounting the polarizer and stacking it with other filters in Kenko's Pro1D+ Instant Action range. However, I think brands are still struggling with making rotational filters that are both magnetic and smooth in operation. I found the scraping noise of the Pro1D+ CPL slightly annoying, and while it didn't affect my picture quality, it did hinder my overall enjoyment.

Kenko Pro1D+ CPL filter: Alternatives

For landscape photographers, twilight offers some of the best lighting to bathe your scenes in, from the rich golden hour tones around sunrise and sunset or the more muted pastel colors you see when the sun dips below the horizon.

Kenko's MC Twilight Blue and Red filters claim to help you "take inspiring photos of the sky during twilight" and are color filters designed specifically for dawn and dusk photography.

While both filters have been designed to work around twilight, the Red filter is best for enhancing the naturally warm colors around sunrise and sunset when the sun is above the horizon, while the Blue iteration is better for the cooler tones found in blue hour when the sun has set. 

It's also worth noting that both Red and Blue filters suppress the green light pollution that comes from mercury and fluorescent lights so they're ideal for early morning or late evening cityscapes too.

Samuel Throneley, from Kenko Tokina Co Ltd, Global Sales Division says the filters produce a "more authentic representation of color that is difficult to reproduce in software".

We got hold of the 82mm versions for both MC Red and MC Blue, then headed to the coast to shoot in the magical golden and blue hours at sunset to give them a thorough test and find out if they deserve your hard-earned cash.

Specifications

Build & Handling

Kenko's MC Twilight Blue and Red filters are both manufactured in Japan, denoting high quality and a premium build. The pair of filters both aimed at sunrise and sunset shooters come available in a broad range of sizes to fit lenses with filter threads ranging from 49mm all the way up to 82mm and all the common sizes in between. 

The filters also come well packaged in a hard plastic UV cut case for storage, with Kenko suggesting you keep the filters in the case out of direct sunlight and away from high temperatures when not in use. Presumably, this is to prevent sun bleaching from extended direct sunlight exposure.

The filters both have a depth of 6mm, though only protrude by 4mm when attached to your lens as its male thread measures 2mm. 

Both the MC Twilight Blue and Red filters can also be stacked together for unique purple tones that work well in either the golden or blue hours around sunrise and sunset.

If you were wondering what the 'MC' stands for in the product name, it's Multi-Coat. It employs multiple AR (anti-reflection) coatings to prevent optical flares and random reflections when shooting towards the sun which is how the filters are designed to be used for sunrise and sunset photography. Sadly, they don't feature a water-resistant coating but this shouldn't be too much of an issue as you'll likely to be shooting in clear, sunny conditions at dawn or dusk.

Performance

Both filters halve the lightflow into the camera, in other words, they reduce the light by about one full f/-stop. This can somewhat work to your advantage when shooting at twilight where you might want to underexpose your images to create striking silhouettes in your landscape scenes or extend the shutter speed to capture motion in waves or clouds.

Even when the bright sun had set below the horizon it was still quite tricky to balance the exposure between bright sky and deep dark foreground, especially as the filter halves the lightflow. We found it sometimes worked best to zoom in on faraway subjects to avoid including any foreground altogether.

We didn't see any signs of vignetteing with either of the filters even at the widest end of our 16-35mm lens. Though it did become an issue when stacking the Blue and Red filters together - but could be remedied with software or zooming into around 20mm to crop out the most offending dark areas.

This also makes it trickier to use the filters in conjunction with other filter favorites for landscapes, like a circular polarizer (CPL), neutral density (ND), or graduated neutral density (GND) filters. Again we had to zoom in to around 20mm to stop our LEE filter holder appearing in the frame when it was attached to one of the Twilight filters.

The twilight filters each halves the light coming into the lens so perhaps the need for a neutral density filter would be somewhat negated anyway.

You can also stack both the Twilight Red and Blue together to create purple tones, though vignetting is a problem when stacking at ultra-wide focal lengths like 16mm on a full-frame body. As each of the filters reduces the flow of light by a full stop, stacking them together will leave you with just one-quarter of the natural light coming into the camera, so you'll need a slower shutter speed, wider aperture, or higher ISO to compensate, or use the reduced lightflow to create striking silhouettes. This also means a tripod is a smart idea when using them.

If you have Auto White Balance enabled on your camera it will try to correct for the blue and red color cast, so you need to remember to set your camera to a custom WB setting and then also fine-tune the colors when editing the RAW files back in editing software such as Adobe Photoshop CC or Lightroom Classic CC to get the colors looking perfect.

Verdict

We were able to find all of Kenko's MC Blue and Red Twilight filters in stock on Amazon for all of the filter thread sizes from the smallest 49mm, up to the largest 82mm.

Prices for both start at $33 / £27 and gradually increase up to $80 / £70 for the largest option. We would always suggest buying the filter size that fits your largest lens so that you can use cheap step-up rings to make the filters compatible with lenses that use a smaller front filter thread as this is more economical than purchasing a set of filters for every lens.

For the 58mm at the time of review, it's not cheap but it's also by no means the most expensive filter in the world - these smaller sizes are likely to work well with kit lenses such as Canon's EF-S 18-55mm f/3.5-5.6 IS STM. The price point also makes it an ideal gift that won't break the bank.

For more professional lenses, including ultra-wide angles, and zooms like the Canon EF 16-35mm f/2.8L USM we used for our testing, you're going to have to spend more to cover their larger filter thread attachments.

As you're going out to take pictures at sunrise and sunset anyway it probably makes sense to stock up on both the MC Twilight Red and Blue versions so you can make the most of both the golden hour and the blue hour that precedes or follows it (depending on whether you go out in the morning or evening). This also then allows you to stack the two together for unique purple tones so you get the full potential from the two filters.

For professionals with larger wide-angle lenses you're looking at spending about $160 / £140 for the pair, so is it worth it? If you're really into landscapes and love shooting sunrise and sunset scenes, and you also find that your colors are coming out a little flat straight from camera then these would be a great option. Although a tad pricey, they do have a premium Japanese build, top image quality, and multiple coatings which all help boost their value.

Alternatives

Released in July 2021, Kenko's Twinkle Star or PRO1D R-Twinkle Star (W) to give its full name, features a cross-star pattern allowing bright highlights in low light scenes to take on a strong glimmer and create "moderately sized light streaks". 

Kenko claims the PRO1D R-Twinkle Star (W) filter can shape the light captured in your pictures into twinkling stars, saying "From illuminations to fireworks and stars, this filter is effective on different light sources, including light reflections on water surfaces or sunlight filtering through trees."

The company also claims that traditional star filters produce light rays that can turn out excessively long, while Kenko's Twinkle Star filter reigns this in for shorter trails for more neatly shaped "cartoon-like" twinkling star patterns.

In this review, I got hold of the 82mm version and fitted it to my Canon EF 16-35mm f/2.8L USM lens then headed to our local fairground after sunset where there was no shortage of bright twinkling lights to test it out on. Here's how I got on...

Specifications

Build & Handling

Kenko's Twinkle Star filter is a screw-in star filter designed to make bright highlights take on a starry flare quality and is especially impactful in night scenes featuring street lamps, neon signs, LEDs, or string lights.

Like many of Kenko's other filters, it's made from optical glass and boasts an Anti-Reflection (AR) coating and Kenko's DCM (Digital Multi-Coat). Many of Kenko's top-end filters like the Black Mist No.1 are manufactured in Japan and this Twinkle Star filter is in the same club, though unlike the Black Mist No.1, it doesn't boast a water-repellent coating, which is a little disappointing considering its high price point. 

The frame is constructed from Aluminum and comes in common filter thread options ranging from 49mm all the way up to 82mm, we got hold of the 82mm version for our tests.

Many of Kenko's screw-in filters, such as the Black / White Mist series are 6mm in depth, though the Twinkle Star is a little taller at 7mm. This is most likely because the Twinkle Star features an adjustable front frame that can be turned to change the direction of your stars from a + to an x symbol and this is a lovely extra touch you won't find on cheaper star filters.

The front ring also has a knurled texture to it so it's nice and grippy, it's also slightly recessed from the main filter ring which makes it easier to find and operate when looking through the viewfinder. The adjustable ring is quite stiff so once it's been set in the position it's not likely to unintentionally move out of position. Like many of Kenko's other filters, the frame is constructed from Aluminum.

Performance

Kenko says the Twinkle Star filter boasts an ultra-thin frame despite being 1mm taller than many of Kenko's other filters with a depth of 7mm, though this extra space is needed for the adjustable front frame to change the direction of the stars and is a welcome feature. That said, Kenko says its ultra-thin frame is designed for wide-angle lenses. In our testing even at 16mm on a full-frame body, we found little signs of vignetteing.

It's not all about low-light photography though, under daylight conditions Kenko says the Kenko PRO1D R-Twinkle Star (W) can produce a delicate softening effect for portraits, nature, and landscapes. The softening effect will be amplified when using a telephoto lens too.

The Kenko PRO1D R-Twinkle Star (W) is a 4x star filter so highlights take on the appearance of a cross with four points, though the company also makes a Twinkle Star PRO1D R-Twinkle Star 6x (W) which produces stars with six points, or the Kenko PRO1D R-Twinkle Star 8X (W) for eight points.

The filter has a cross-shaped pattern which gives your light sources a chance to bounce off and create a star-shaped flare. Having this pattern on the glass will inevitably soften the details of everything else in your photos too.

Verdict

With prices very reasonable for the smallest 49mm version and going up to the 82mm version we used, the Kenko PRO1D R-Twinkle Star (W) 4x filter is a good value proposition for adding a bit of extra flare to your images without breaking the bank. We think it's actually pretty good value considering the filter is high quality having been manufactured in Japan and could just give your low-light shots the edge if shooting landscapes or cities after dark is your thing.

As with all screw-in filters we always recommend buying the largest iteration to fit your biggest lens and then using step-up rings so that you can use it with other lenses if needed as this works out much more affordable than buying individual filters to suit all of your different lenses and various filter threads.

Premium Japanese quality aside, what stood out about the Kenko PRO1D R-Twinkle Star (W) was its adjustable front ring that allows you to rotate the orientation of the star flare patterns in your shots, though if you'd rather have stars with six or eight points Kenko also make 6x and 8x point options.

Alternatives

I've always used UV filters as one of the best protection filters for lenses, as it's much cheaper to replace a scuffed, scratched, or dented filter than a premium bit of glass. Accidents happen, and I rely on a UV filter to give my optics a layer of protection. Unlike just using a clear filter, I also like that they block ultraviolet light waves and reduce haziness in images.

UV filters vary in price, depending on their optical quality and coatings. But most share a similar circular design which either screws onto the lens ring or attaches via a magnetic system. Kenko's Pro1D+ UV filter does the latter and is part of the company's Pro1D+ Instant action filter range (which includes a circular polarizer, variable neutral density filter plus polarizer combo, and even close-up filters). The magnet-attaching system means you can swap the filters almost instantly, which might be particularly important to landscape photographers working in changing light.

I've significantly reduced the number of lenses I use over the past few years, and my daily workhorse is now the Canon RF 24-70mm f/2.8L IS USM. Given that this lens is more expensive than my camera, I wondered whether it was time to upgrade my decent but slightly basic Urth UV filter. I wanted to see whether spending more on a UV filter could improve the image quality and whether Kenko's "Instant Action" magnetic filter system would allow me to switch between filters more easily in reality. Here's what I made of the Kenko PRO1D+ Instant Action UV Set (in 82mm on my Canon lens).

Kenko Pro1D+ UV filter: Specification

Kenko Pro1D+ UV filter: Price

The Kenko Pro1D+ UV filter is available in nine different diameters between 49 mm and 82 mm, with the smaller sizes being cheaper. Urth offers UV filters up to 95mm, as does Canon with its clear protection filters (although these are expensive) so it's a shame that Kenko hasn't made its Pro1D+ UV filter available for the very widest lenses.

I couldn't find the filters on sale without the adapter, which is slightly annoying as I have several Pro1D+ filter sets and therefore have several magnetic filter adapters I don't need, as I only mount one at a time. Strangely though, you can buy the adapter ring on its own (from £16 here in the UK) – perhaps if you lose or damage it.

The price of the Pro1D+ UV is about average as far as UV filters go, and they're a hard product category to judge value in as they're so nebulous. But I know this; Kenko's magnetic filter range doesn't represent a basic, cheap option, but you're not stretching to a premium piece of glass here either. It costs just under double my current screw-on Urth UV filter, and given the magnetic design and inclusion of the adapter in the box, this feels reasonable. 

Kenko Pro1D+ UV filter: Design & Handling

Like other Kenko Pro1D+ products, the UV filter comes packaged in a bright cardboard box – this time turquoise – and inside, the circular filter is protected by a round, plastic container. You also get a sealed "Instant Action adapter" of the same thread size which gets screwed onto the lens first and can then be used with any filter in the Pro1D+ range.

I screwed the adapter ring onto my Canon RF 24-70mm f/2.8L IS USM lens in a few seconds, and then simply plopped the UV filter on top where it attracted neatly onto the front. So far, so good, regarding the "Instant Action" Name. I've also tested the Kenko Pro1D+ CPL filter, and I was happy to find that the UV filter is machined to fit much more closely within the adapter than Kenko's magnetic polarizer, meaning it doesn't rattle around at all during use. I was confident that it wasn't going to fall off or move during shooting at any angle.

That's where my praise for the design ends, however. Kenko states that you should be able to attach "common" lens caps to the UV filter so that you don't have to take it off every time your camera goes in your bag. In theory, you can add a lens cap (see above) but I found that doing this would cause the whole filter to slide off the magnetic adapter ring in my bag, leaving my lens completely uncovered and unprotected. During testing, I also noticed that small marks had appeared on the inside ring of the filter, which had been caused by friction from my lens cap. It's a standard Canon product, so it feels unfortunate this happened, and something that most users will experience.

I also want to moan about the cheap plastic case that Kenko gives you to protect the Pro1D+ filters. Despite having nothing heavy to press on it in my camera bag, I noticed a large crack across the case after a few days of use. And because the foam padding inside is flimsy and thin, the filter rattled around inside it too. I'd have preferred thicker padding, and a tighter container size to avoid it moving around.

Kenko Pro1D+ UV filter: Performance

Given that, in many cases, a UV filter is designed to be left on and forgotten about, I'm pleased to report that I noticed no overall reduction in image quality, no loss of sharpness, and no intentional flares or aberrations when using the Kenko Pro1D+ UV filter.

Generally speaking, it's hard to tell the difference in image quality when using a UV filter (although you'll probably be able to if you're using a very cheap one). I couldn’t notice any major changes to sharpness with and without the filter.

I used the filter for several weeks and captured plenty of test shots in bright sunshine. If I’d been shooting in a very hazy environment I would have seen some improved clarity. But in reality, the images look identical to my eye.

That’s not necessarily a bad thing. After all, most photographers will use a UV filter as a protective barrier between the environment and your lens. Especially in dusty, sandy, or windy spots. So if the filter has no discernible effect on image quality, so much the better.

As for the filter's water-repellent coating, I tested this with drops of water and was disappointed to see that they’d left smeary marks on the lens, rather than running off completely clear. I don’t know how the anti-stain coating works, but I'm not convinced it'd be effective in heavy rain.

Apart from that minor pain point, I found the Pro1D+ UV filter easy to use on a landscape shoot when I wanted to keep switching up my filters or adding a polarizer. But when I know I’ll keep a UV filter on for long periods (and don’t want it to slip off in my bag) I’ll probably stick to my dependable screw-in Urth UV filter.

Kenko Pro1D+ UV filter: Verdict

Optically, the Kenko Pro1D+ UV filter is a great bit of glass that keeps your image sharpness and color balance completely pristine. However, I found its design to be somewhat less reliable than screw-in UV filters, as it kept coming off the magnetic adapter in my camera bag when my lens cap was attached.

It's a shame that the concept isn't quite there yet, because it's very quick and easy to use Kenko's magnetic system and stack other filters in the Pro1D+ range together to tweak your landscape photography in the field. If you want an affordable way into a range of filters and plan to use the whole Pro1D+ lineup, swapping them in or out regularly, then Kenko's Instant Action filters are a good way to go. If you're just looking for a UV filter to protect, and crucially stay on your lens, I think there are less frustrating options out there.

Kenko Pro1D+ UV filter: Alternatives

Kenko’s Black Mist filters have been on the lips of many professional photographers in recent years so it was about time we checked them out and had a look at what all the fuss is about.

As the name implies Kenko’s Black Mist filter has black diffusing material melted into its glass to make scenes appear softer by suppressing highlight and shadow contrast for a more cinematic style. Kenko offers the Black Mist filter as the No.1 which offers the ‘full-fat’ mist effect, a Black Mist No.05 which offers half the mist effect, a Black Mist Protector which is a general filter to protect your lens with just one-quarter of the mist effect found in the original No.1 version. Kenko also makes a White Mist No.1 and a bunch of other soft-effect filters such as the Duto and Prosofton Clear options, so the brand certainly has you covered if adding mist and flare to your photos and videos is your thing.

In this review, we put it to the test to find out if it deserves your hard-earned cash.

Specifications

Filter type: Soft effect
Mount: Screw-in 
Thread diameter range (mm): 49, 52, 55, 58, 62, 67, 72, 77, 82
Filter material: Optical glass
Frame material: Aluminium
Thickness: 6 mm

Build & Handling

If my guitar collection is anything to go by then having a stamp on a product that proudly says ‘Made In Japan’ is certainly a very good thing and separates it from many of the ‘cheap and cheerful’ budget filters mass-produced in China.

A closer inspection of the filter confirmed that the filter is indeed a top-quality product, with an anodized aluminum frame and featuring Kenko’s AR glass with a water-repellent coating. It also comes well packaged in a hard plastic UV cut case for storage and Kenko suggest keeping it in the case out of direct sunlight and away from high temperatures when not in use.

The height of the filter is 6mm, though 2mm of this is taken up by the male threaded area that screws onto the front filter of your lens, so the filter only protrudes 4mm when in use. While it isn’t one of Kenko’s slimline style filters, we didn’t see any significant vignetteing in our images even when shooting at 16mm on our full-frame Canon EOS 6D Mark II test camera. The filter also has a front filter thread of its own allowing multiple filters to be stacked, however, we suspect that in doing so you would start to see more noticeable vignetting, especially at wider focal lengths, so we wouldn't recommend adding extra filters on top such as a neutral density, ND grad or polariser (unless you're zoomed in).

Performance

It may seem odd to test the image quality of a filter that has been designed to soften its images. While the Black Mist No.1 is designed to soften details and reduce contrast, we don’t, however, want to see any other optical defects creeping in such as vignetting where the corners appear notably darker, or chromatic aberration (also called fringing) where lines of high contrast show an unpleasing green or purple color cast. Luckily in our testing, the filters performed brilliantly and we didn’t note any adversary optical defects, so it scored top marks for image quality!

When it comes to modern digital photography many filters that photographers used to rely upon have since been replaced with editing effects in post-processing software such as Photoshop. This is with the exception of a few key filters, like a Circular Polarising filter (CPL) which physically blocks polarised light to cut through reflections on water and glass, as well as boosting blues in the sky, or Neutral Density (ND) filters which block out light a bit like sunglasses for your lens and enable you to shoot much longer exposures with dramatic movement in the skies or other moving parts of your scene such as rushing water. Both of these effects are still hard to achieve back at your computer even with the latest Photoshop Firefly AI. 

When using Kenko’s Black Mist No1 filter we found the available natural light had a massive impact on our results. When shooting on an overcast day with low contrast the filter had minimal effect, adding just a smidge of haze to scenes and this could have been easily reproduced in editing by rolling off on the Clarity slider in Photoshop. However, that all changed when shooting in contrast-heavy direct sunlight.

Shooting towards a bright sunrise in the golden hour and the highlights were transformed into incredible diffusion which worked great for cinematic stills photography and atmospheric video all-the-same. See our test shots from a sunrise in Bluebell Woods to see the difference for yourself between no filter, Black Mist No.1, Black Mist No.05 (half strength), and also White Mist No.1.

Verdict

We were very impressed by Kenko’s Black Mist No.1 filter. If soft focus, hazy shots with a dreamy and atmospheric feel are what you’re after then this filter does exactly what it says on the box and it's less expensive than the equivalent filters from its competition at K&F and Tiffen, making this one a no brainer.

One inherent downside of any screw-in type filter is that you may need to purchase duplicates of the same filter to suit the different filter threads of all your lenses, or simply purchase the largest 82mm version with the needed step-up filters to work with your other lenses. That said, Kenko’s Black Mist filters are very competitively priced so it won’t dent your wallet too much if you did decide to purchase a few variations to suit different lenses and it's just as useful for atmospheric stills as it is for ethereal videos so rightly earns its place in any budding photographers or videographers alike.

Alternatives

Released back in April 2021 Kenko’s Black Mist No.05 filter is the sibling to the company's popular Black Mist No.1 filter, which adds a hazy glow to contrast-rich scenes, though offers half the mist effect.

Much of what we said about the original Black Mist No.1 applies to this newer filter: the premium build quality is identical, and it comes in the same range of screw-in filter threads ranging from 49mm all the way up to 82mm, though we have found it at retailers to be a little less expensive.

We got our hands on the largest 82mm version and fitted it to our Canon EF 16-35mm f/2.8L II USM lens on our Canon EOS 6D Mark II to thoroughly test it against Kenko’s original Black Mist No.1 filter as well as putting it against Kenko's White Mist No.1, to see if this is the soft-effect filter that deserves a place in your kit bag.

Specifications

Filter type: Soft effect
Mount: Screw-in 
Thread diameter range (mm): 49, 52, 55, 58, 62, 67, 72, 77, 82
Filter material: Optical glass
Frame material: Aluminum
Thickness: 6 mm

Build & Handling

Like Kenko’s original Black Mist No.1 filter, the No.05 has also been manufactured in Japan, a hallmark of high product quality. This soft effect filter suppresses highlight and shadow contrast, boosting flare and diffusion, albeit at half the strength of Kenko’s ‘full-fat’ No.1. This means the effect is much more subtle, though Kenko also makes a Black Mist Protector which is just one-quarter of the strength if you want to roll back on the effect even further.

The filter is made from Aluminum which has been anodized with protective black paint, while the glass is Kenko’s optical glass with an AR and water protective coating and has special fine black diffusing material melted into it. It also comes packaged in a clear plastic UV-cut hard case to keep the filter protected when not in use. 

The filter features a front filter thread allowing other filters to be stacked. While we didn’t find any signs of vignetteing when using the filter by itself, we suspect that when stacking multiple filters together this would start to become a problem, especially when shooting at wider focal lengths such as 16mm on a full-frame camera.

Performance

The Black Mist No.05 has been designed to work best at night where light sources softly bleed into the surrounding image for more cinematic and atmospheric stills photography and video. Kenko claims the filter is ideal for shooting in rainy low-light conditions where street lamps and lights are given an appropriate diffusion effect, and where the full-strength Black Mist No.1 might be too overwhelming.

It’s also ideal for shooting in contrast heavy backlit situations, whether it’s portraits at sunset or landscapes and its hazy effect is also useful for softening skin in portraits for a more gentle and diffused lighting with a dreamy aesthetic. See in the test shots below how the Black Mist No.05 renders just a little more detail in the starburst of this sunrise scene when compared to the Black Mist No.1.

Kenko claims “the No.1 is catered towards the early hours and when there is weak lighting whereas the No.05 is recommended for night photography and during sunset when there is plenty of backlight”.

Impressively we found the filter didn’t add any vignetting or chromatic aberration (fringing) and details were inevitably sharper than the Black Mist No. 1 filter as the soft effect has been halved.

Verdict

Kenko's Black Mist No.05 impressed us with the same build and image quality that we loved from the original Black Mist No.1 filter. The use case for this filter is undoubtedly more niche, though will be ideal for photographers and videographers looking for a soft effect filter that isn't quite as overwhelming as the original No.1. 

The only issue I have with the No.05 filter is that because the effect is quite subtle you can somewhat replicate its effects in editing software such as Photoshop CC by rolling off the Clarity and Dehaze sliders at the RAW editing stage. That said, it may be more useful for videographers where this might be more difficult, or also for photographers that aren't editing-savvy and would rather get everything right in-camera.

This small issue aside, it's less expensive than its full-strength brother while boasting the same premium build quality. Because it doesn't put too big a dent in your wallet it's worth taking a chance on this filter if you have even the slightest interest in soft effect photography and would like to experiment with hazy, atmospheric shots. Just be sure to buy the size that fits your largest lens, so you can use step-up adapters to work with all of your other optics, as we find this a better route than buying lots of individual filters to fit lenses with different filter threads.

Alternatives

I’ve tried every filter-adding app out there, from Instagram to VSCO. And I’ve been playing around with presets and filter tools in Lightroom for just as long. I even have a folder called "lens flares and light leaks" which I'll occasionally open in Photoshop when I need to jazz up a landscape image in a hurt. So what?

Despite all that, I still firmly believe in using the best filters over adding digital ones in the editing suite. The visuals are just better when you filter the light during capture, especially for creative effects. The results are more accurate. More realistic and more believable. But only if you have good quality glass. That’s why I was interested to try the relatively new Kenko Anamorflare filters, designed to replicate the characteristic flare you get from anamorphic lenses... without the cost and faff of actually using anamorphic lenses.

Kenko released its set of six Anamorflare filters in late 2023. It claims they help photographers and videographers to capture "impressive light rays without impacting your budget". Once mounted, you can capture and angle flare from strong light sources and recreate the look of your favorite cinematic movies in-camera. But are the results a gimmick, or do the Anamorflare filters have a place in the kit bag of creators? I tried them all to find out.

Kenko Anamorflare filters: Specifications

Kenko Anamorflare filters: Price

Kenko's Anamorflare filters come in six different flare colors: blue, green, yellow, red, clear, and rainbow. Currently, the filters are only available in an 82mm thread size, but you could use a stepping ring to convert them for different lenses. 

The filters aren't yet widely on sale in the US, but are available on Kenko's website for $109. In the UK the filters are available on Amazon for between £100-£120 at the time of writing. This sounded pricy to me at first, especially if you want to get a few for different colored flares. Similar alternatives (albeit from lesser-known names) also cost a third of Kenko's version. Still, I suspect you're paying for the brand, its associated quality, and the currently limited availability. And you'll spend much less sticking one of these filters on your lens than investing in an anamorphic lens setup.

Kenko Anamorflare filters: Build and Handling

The design of the Kenko Anamorflare filters will come as no surprise if you've ever used Kenko filters before, or circular polarizing filters, for that matter. The round, slim black frame is made from sturdy aluminum that doesn't feel like it would dent or bend easily. 

There's a thin textured thread on the inside of the filter to mount it onto your lens and a rotating ring on the exterior which you turn to angle the flare in an image (more on that later). Each filter contains straight lines across in the corresponding color to the flare produced.

Anamorflare filters only come in an 82mm thread size, which was ideal for testing with my Canon RF24-70mm F2.8 L IS USM lens but could be slightly limiting if you don't have a lens to fit already. I guess Kenko is still testing the appetite for these filters or a wide lens area is needed to create the pronounced flare effects.

Screwing the filter onto the lens takes seconds, and once it's on securely there's no way that you can unscrew it accidentally. I like that the filters are designed to allow a lens cap to sit on top so you can replace it and protect the filter in between shots. Changing filters is easy too, and Kenko provides a clip-shut rectangular plastic box with foam padding to store the filter in. It's not the most luxurious container, but it feels hardwearing and stows in a camera bag neatly.

Kenko Anamorflare filters: Performance

Once mounted, the Anamorflare filters work best when pointed toward a strong light source such as the sun, car lights, or streetlights. It doesn't need to be a direct light, and I got some pretty, diffused results when I used the rainbow filter and caught rays of light dappled through a woodland. The effect of the rainbow filter includes the colors you get when shooting through a prism, which makes sense. It's the filter I used and enjoyed the most,

I tested all six filters, including the clear, colored, and rainbow versions. It's hard to describe the visual results you get in one or two sentences, as these depend so much on the light source, and its strength and distance. But in the same situations, I found that each filter produced an equally strong light ray effect. The clear filter is best when you want neutral flares, such as in strong daylight, but I also found myself matching the filter color to the light source for a complementary effect.

One of the features of the filter is that you can alter the angle of the light beam by rotating the front element to change the direction of the lines on the filter. I found this very agile for angling the light around a subject but with the rainbow filter it also changed the order of the colors. I was pleased to note that none of the filters introduced a noticeable color cast or vignetting to my images, although Keno does suggest leaving the camera's White Balance in Auto mode for the best results.

The focal length affects the appearance of the light ray, and Kenko suggests using anything from 50mm and longer. That's because when you go wider than this the ray will distort and no longer appear as a straight line. Aesthetically, I don't have a problem with the curved flare lines, it just isn't necessarily something you'd get from a traditional anamorphic lens. Like all creative outputs, it's yours to make your own.

I did have a slight problem with the stripes appearing in the out-of-focus areas (the bokeh) which Kenko says is down to the structure of the filter. These aren't obvious unless you zoom in slightly and look for it, but once I'd noticed the effect, I found it quite irritating in my stills at wider apertures. And speaking of apertures, smaller apertures can break up the light rays, but I found I could shoot up to around f/8 without encountering this.

When you introduce creative filters onto the front of a lens, there's always a worry that it will impede the autofocus speed and accuracy. And I thought the filters' lines would cause my lens to hunt for the right subject. It's also difficult for any lens to focus onto a thick beam of light if that's where you're pointing it, but there were only a few rare instances where I struggled to lock on to the right target with the filters attached. When this happened, I simply shifted my focus position slightly and got a sharp, well-focused result.

Kenko Anamorflare filters: Verdict

If I'm assessing the Anamorflare filters purely on whether they do what they're designed to, I have nothing but praise. Each filter achieves a distinct and noticeable light ray when pointed toward a light source, and the ability to angle the ray allows you to tailor the shot to your subject - be it a portrait or a scenic. Changing the flare direction is also a cool effect when filming, and the filter rotation is just smooth enough to avoid camera shake (although it could do with a few notches for more control).

These filters add a distinct creative effect to your content, but it won't be for everyone. Some may find the flare effect too overcooked for their tastes and may lament the ability to remove it after a shoot. Generally, I found the filters upheld the quality of my telephoto lens well, which is another bonus for pros. For creators who love the look of flare and want to enhance the colors of lights in their stills and videos, I can see the Anamorflare filters being a great tool. Yes, you can add flare in post-production, but nowhere near as organically or intensely.

Alternatives

In a world where we seem to be constantly marching closer towards ever-increasing clarity from sharper lenses and higher megapixel counts, it’s refreshing to see a product like Kenko's White Mist No.1 which diffuses and softens images, embracing haze and flare, playing on the nostalgic film look from a bygone era. Released in April 2023, it's the follow-up to Kenko's Black Mist No.1 and No.05 filter which both debuted in 2021 and have been well-received since.

As the name implies, Kenko’s new White Mist No.1 filter has been designed with diffusing powder melted into the glass to boost flare and bolster the appearance of a white hazy mist in your shots. Kenko claims that its filter reduces contrast for soft and pale tones to help give images a vintage aesthetic, with more gentle contrast under normal lighting conditions, and boosting flare in backlit environments for a more cinematic look. It’s also useful for reducing harsh lighting in portraits too, where a softer and more gentle light could be more flattering.

In this review, we got hold of the largest 82mm version and attached it to our Canon EF 16-35mm f/2.8L II USM lens on our test Canon EOS 6D Mark II to see if it’s worthy of a spot in your kit bag.

Specifications

Build & Handling

Like its Black Mist No.1 and No.05 siblings, the White Mist No.1 has been manufactured in Japan and has the exact same premium quality we've come to expect from Kenko filters.

It features Kenko's optical glass with AR and water-repellent coatings and comes in a clear UV-cut hard case to keep it protected when not in use.

The White Mist No.1 comes in the same range of filter thread options ranging from the smallest 49mm all the way up to the largest 82mm version, the latter was the iteration that we got hold of to test on our Canon EF 16-35mm f/2.8L II USM lens. 

It's not one of Kenko's slimline filters, so it measures 6mm in depth and sticks out 4mm from your lens as 2mm is taken up by the male filter thread attachment. We didn't notice any significant vignetting in our test shots, though the filter boasts a female front filter thread allowing others to be stacked. However, we'd expect to see vignetting become more apparent at those wider focal lengths and this could make it a problem when pairing it with a neutral density filter for example.

Performance

You might think it's a moot point to test a soft effect filter for image quality. But, while the Kenko White Mist No.1 features melted particles inside of the glass to diffuse the light, we don't however want to see adverse image quality defects creeping in, such as vignetting: where corners appear darker, or chromatic aberration (also called fringing): where lines of high contrast can take on an unsightly green or purple color cast.

We're happy to report that in our testing we couldn't see any signs of vignetting, even when shooting at our widest focal length of 16mm. Nor could we see any signs of chromatic aberration. Our Canon EF 16-35mm f/2.8L II USM test lens does suffer from a little fringing naturally, but we couldn't see the filter amplify this, so it scores top marks for image quality.

The filter gets its White Mist name because it makes tones appear a little paler and more washed out with more of a bleed between tones for a vintage hazy look that mimics the appearance of flare you might get on an old film lens. In backlit conditions, the filter creates a more diffused effect and is more noticeable.

The difference between our test shots with the White Mist No.1 attached and shooting without a filter is clear to see, though comparing it to Kenko's Black Mist No.1 and No.05 filters it's much more subtle. Look closely at the colors in our sunrise test shots and you'll see they're warmer and more saturated in the Black Mist photos compared to the White Mist which is very similar, though is more desaturated and washed out.

Verdict

Kenko's White Mist No.1 filter is in general a little more expensive than its Black Mist No.1 sibling, though we must caveat that prices from retailers do change regularly.

However, at this price point at the time of review, it is a little hard to justify going for the White Mist option when the Black Mist No.1 costs less and produces fairly similar results - you could even roll back on the Clarity, Saturation, and Dehaze sliders to mimic the vintage tones of the White Mist when using the Black Mist No.1 filter if you wanted to.

Overall, the White Mist No.1 undoubtedly impressed us with the same high premium Japanese build quality of its Black Mist No.1 and No.05 siblings, but for our money, the Black Mist No.1 would be the more versatile option if you could only choose one. That said, for enthusiasts of the vintage and retro filmic quality this filter will be a joy to use and we're sure you'll get plenty of use out of it. It would certainly be more cost-effective than shooting and developing film! With very affordable prices it'd also make a great gift for that photography lover in your life.

Alternatives

A UV filter can be a savvy investment for the vast majority of photographers. As most modern digital cameras come with a UV cut filter on the camera sensor itself, a UV filter which screws into the front filter thread of your lens, like Kenko's Air II UV filter, will have a minimal effect on your images.

So you may think it pointless attaching a filter to your lens which has a minimal effect on your shots... However, having the filter attached to your lens can be a brilliant protective measure to prevent dust, dirt, water or even greasy fingerprints getting on to the front element of your lens. It's also much more cost effective to replace a UV filter which has become scratched or broken than the front element of your expensive lenses.

The UV filter on trial here in this review belongs to Kenko's AIR II range: an entry-level and easy-to-use range of filters that can absorb and cut UV rays while delivering a permanent protective layer to your lens.

Specifications

Build & Handling

Many of Kenko's more premium filters are made in Japan, though the Kenko AIR II UV is manufactured in the Philippines. This is perhaps no surprise given the filters have an enticingly low RRP which is great for tight budgets.

It boasts a high-quality aluminum frame that has a depth of 6mm, though only protrudes by 4mm when it's screwed into your filter's front thread. It also comes in a range of sizes to fit a wide variety of lenses with different filter threads from the smallest 49mm to the largest 82mm. Prices fluctuate depending on size between $12 - $15 / £6 - £14, so the filters are incredibly cheap and one of the most affordable photographic accessories.

The Kenko AIR II UV boasts standard (blue) glass. Sadly, it doesn't feature any coatings such as Kenko's AR (Anti-reflection coating) or any sort of water-repellent coating as seen on Kenko's more premium filters like the Black Mist No.1. This is a bit of a shame as it would have made the filter much better to use in inclement weather with any water drops and splashes beading off the glass rather than gathering in pools and 'sticking' to the filter glass (see below).

It's worth noting that screw-in filters such as the Kenko AIR II UV will only work with lenses that have a relatively 'flat' front element and feature a front filter thread. That means there is a small selection of lenses with a bulbous front element such as the Canon EF 11-24mm f/4L USM or Sigma 20mm f/1.4 DG HSM | Art lenses where front filters cannot be attached, so you can't protect them in this way.

Performance

Kenko claims the AIR II UV can cut out UV light to reduce haze and sharpen your final images. However, its UV-cutting ability is likely to vary a little depending on the camera you're using it on, as there is more often than not a UV cut on the filters of most modern digital cameras. On our Canon EOS R paired with a Canon EF 16-35mm f/2.8L USM II lens the effect was negligible though perhaps reduced haze and sharpened details by a fraction (see below).

While not being one of Kenko's slimline filters, the AIR II UV has a depth of 6mm (4mm when attached), we didn't find any signs of vignetting even when shooting at the widest focal length of 16mm on our Canon EF 16-35mm f/2.8L USM. However, we could see vignetting become more of an issue if you wanted to stack filters together, especially at wider focal lengths.

There's an argument to suggest against putting a cheap filter costing just a few bucks on an expensive lens that could cost thousands of dollars. When taking a key shot in the past we'd have been tempted to remove our UV filters temporarily to take a shot with the ultimate image quality, however looking at the image quality results here we don't think there's much in it – if anything images with the filter attached seem to be improved by a very minor margin.

Verdict

The Kenko AIR II is a UV filter with very few bells and whistles. While we would have loved it to feature anti-reflective and water-repellent coatings, we can't really argue with its enticingly low price point.

You get a lot of bang for your buck, considering we found its image quality to be very good and protects your expensive lenses for very little outlay. If having anti-reflective and water-repellent coatings is important to you then it might be worth spending the extra on a more premium UV filter, however, if you're not bothered by its lack of coatings, or you're just on a super strict budget then Kenko's AIR II UV is a great one to go for.

Alternatives

Reminding us of the kind of kids’ storybook viewer into which slot circular wheels of film frames, this similar retro feel device likewise features two eyepieces, and indeed two lenses. Where it differs is via its neat clamshell-like design that flattens everything down for easy, pocket friendly transportation. Indeed, when shut, the Kenko Pliant 3x25 Slim opera glasses sport a depth that is slimmer than a pack of playing cards. Thanks to its silver, albeit plastic-y finish, the Japanese made device for a pocket money price most closely resembles a business card holder. So if we’re seeking an obtrusive viewing aid for a night at the opera, or even pantomime, this is it.

While it looks the part from a practical perspective and is priced very favourably too, how does it measure up in practice?

Specifications

Magnification: 3x

Objective lens diameter: 25mm

Field of view: Not given

Closest focusing distance: 2 metres 

Eye relief: Not given

Weight: 65g

Dimensions:  115x64x20mm

Key features

While most opera glasses resemble miniature binoculars, this device takes a different tack, enabling a set up that is as compact as possible. And that’s the reason why most of us will be considering these Kenko Pliant 3x25 Slim opera glasses, aside from the provided 3x magnification twinned with 25mm objective lens, a combination best described as adequate. We had the metallic silver version in for review, although baby blue and pastel pink cased alternatives are also listed, which look distinctly more toy-like to our discerning eyes. The main selling point and indeed feature here is being able to pop up and open the device for viewing, or fold it down for easy transportation in a pocket or purse. And, aside, from a central focus wheel to make fine-tune adjustments in situ, that’s really all there is to it.

Build and handling

If you’ve not heard of Kenko, you might well have heard of optical specialist Tokina, the two companies having merged in 2011, with currently a head office in Tokyo. That pedigree led us to believe we might be getting more from this viewer than its build and cheap price tag might initially suggest. However, we were to be slightly disappointed. While the Kenko Pliant 3x25 Slim opera glasses are distinctly plastic-y in feel, they are also a little stiff in operation. We had to press the ‘push’ button quite hard to get them to ‘pop up’ into their viewing position. 

Shutting them once we’re done is much easier – and just involves gently pressing down on the lid to enable them to click back into their flattened position. Aside from the modest 3x magnification which is of course better than nothing, the main selling point here is the compact and very lightweight form factor at a mere 65g, and for portability and convenience this device very much delivers.

Rivals

Resembling something a Second World War spy might have had in their tool kit, the Kenko Pliant 3x25 Slim opera glasses differ from the majority of alternatives on the market thanks to their flattened profile when not in use. Competing opera glasses are typically a little more expensive not to say larger, while at the same time more obviously resembling miniaturized binoculars. A case in point is the glitzy, metal construction Eschenbach Glamour 3x25 binocular/ opera glasses and the lighter weight and more outwardly modern looking 4x10 Carson Operaview OV-410 binocular. 

While the basic spec of the Kenko Pliant 3x25 Slim opera glasses and the Eschenbach Glamour 3x25 is identical on paper, using them is a whole different experience. That’s partly because we’re paying up to 5x the price at some retailers for the more solid feel, metal build of the latter. While not perfect, we feel the Eschenbach is a distinct step up.

So too is the Carson alternative. While this option is also plastic-y and lightweight in feel, it does the job and we appreciated the slightly better 4x magnification, especially if residing in the cheaper seats.

Performance

With a focus adjustment wheel provided between the eyepieces of the Kenko Pliant 3x25 Slim opera we were able to get a good clear view, though the actual field of view isn’t that wide at all. Nor is the 3x magnification that impressive. It’s better than nothing, for sure, but we’d prefer something with a bit more poke – even if that means taking along an actual 8x compact binocular that we can still secrete in a jacket pocket on a night out. 

The Kenko Pliant 3x25 Slim opera glasses are fine if we’re only a few rows away from the action on stage and want to get a better look at performers facial expressions, but will feel frustratingly underpowered if we’re going to be viewing proceedings from the cheaper seats up in the gods.

Verdict

Thanks to their pocket money asking price, the Kenko Pliant 3x25 Slim opera glasses have obvious gifting potential – perhaps something to include as an ‘extra’ with a main present of tickets to the theatre? The 3x magnification only gives a slight boost, but, we feel is better than nothing, while the compact size and lightweight build means that we're more likely to slip these into a pocket or purse than some alternatives. 

While we’re not wild about the plastic-y construction and stiff operation, this needs to be considered alongside the unit’s ‘cheap as chips’ asking price. 

Ultimately if you're a regular theatre or opera go-er you might want to spend a bit more on a product that’s more substantial. But for casual or occasional users, or those wanting something that’s a bit of fun for not a great deal of money, these will do just fine.

Check out our guide to the best opera glasses. Also, see our other binocular guides:
• Best budget binoculars
• Best binoculars for kids
• Best binoculars
• Best night vision binoculars

If you're new to flash photography, the Kenko AB600-R AI could be for you. An experienced photographer knows that bounce or swivel flash can give a softer, more three-dimensional looking lighting effect, compared with direct flash. However, not everyone is confident about working out the angles to fire the flash for best effect, and even the best flashguns can leave this crucial technique down to guesswork. Taking a lead from Canon’s revolutionary Speedlite 470EX-AI, this Kenko flashgun employs artificial intelligence to work out the angles.

A button on the rear panel glows orange for manual mode, or blue for AI mode. In the latter, you can press any of the surrounding up, left or right cursor buttons to bounce the flash off the ceiling or adjacent walls respectively. After pressing your chosen directional button, a test flash is fired direct at the subject, after which the flash head tilts or swivels and a second test flash is fired off the ceiling or wall. The head then automatically adjusts its position for the optimum bounce or swivel angle. The whole process takes less than five seconds to accomplish. If you move position, the angle of the head adjusts automatically to maintain the ideal angle.

If you prefer to set the angle yourself, you can do this in manual bounce/swivel mode, then press the AL (Auto Lock) button to store the angle in memory. Again, the position of the flash head will adjust automatically if you move your position.

Specifications

• Dedication: Canon or Nikon
• Max output (ISO 100, metres): Gn 60
• Bounce (degrees): 0-120 degrees
• Swivel (left/right): 180/180 degrees
• Zoom Range: 20-200mm
• Manual Power Settings: 1/1 to 1/128
• AF-assist beam: Red lamp
• Wireless: Master/Slave RF
• Additional Flash Modes: HSs, RC, Slow, Strobe
• Supplied accessories: Pouch, stand, dome
• Dimensions (WxHxD): 80x62x196mm
• Weight (excl batteries): 470g

Key features

The headline feature of the AB600-R is naturally its artificially intelligent motorised head. To optimise versatility, it has a particularly generous bounce range of 0-120 degrees, as well as a full 180 degrees swivel to both left and right. The upshot is that, in either landscape or portrait orientation shooting, the flashgun can point backwards to bounce the light off an area of ceiling or wall that’s behind you. And if 120 degrees isn’t enough in landscape mode, the flash head will automatically spin around through 180 degrees to enable a greater angle.

As well as going large on bounce and swivel angles, the head has a generous motorised zoom range, equating to 20-200mm in full-frame terms. There’s a retractable wide-angle diffuser but no pull-out reflector card. Power output is impressive, with a Gn 60/197 (Guide number, ISO 100, metres/feet) at the long end of the zoom range.

The flashgun is most at home sitting in the hotshoe of your camera but also works well for off-camera remote shooting. Thanks to a built-in 2.4GHz radio frequency transceiver, it boasts wireless master and slave modes for multiple flashgun setups. There’s a comprehensive range of flash modes too, with TTL or TTL-BL (Balanced Light) options for Nikon, and ETTL for Canon, plus high-speed sync, slow-sync, rear-curtain sync, and even a programmable multi-flash stroboscopic mode. A variety of lighting patterns are also on offer, with ‘evenness’ and ‘centre’ options as well as the regular ‘standard’ illumination. +/-3EV flash compensation can be dialed in for TTL flash modes, as well as a range of 1/128th to full-power settings in manual mode, all with one-third EV increments.

Build and handling

The artificial Intelligence aspect is most useful for beginners but the flashgun certainly isn’t short on build quality. There’s a neat locking lever rather than a rotating knob to firmly fix the metal mounting foot in place, along with a weather-resistant rubber shroud that encompasses the foot assembly.

Further luxuries in the build include an external flash sync socket, a USB port for applying firmware updates, and a socket for connecting an external power supply. All of these are mounted beneath rubber weather-seal covers. The optional external Kenko BP-1 Battery Pack is pretty pricey at £119/$129, and accepts four or eight AA cells rather than being a rechargeable Li-ion power pack.

Standard accessories included with the flashgun include the now common range of soft case, table-top stand with a tripod socket on the underside, and a clip-on diffusion dome, all of which are of good quality.

Handling is very good overall but the menu system is less than intuitive in places, and the backlit mono LCD is fairly basic. Even so, the artificial intelligence system is well implemented and basic adjustments to flash mode, power output and zoom settings are quick and easily to apply.

Performance

Kenko says it can take up to five seconds for the artificial intelligence system to calculate the angles and adjust the flash head, but we found it usually took just three seconds. Power output lives up to its claims, our tested levels matching those of most competing Gn 60 rated flashguns. Manual alterations of flash power are pretty accurate in one-third EV increments throughout the power range, as is the application of +/-EV steps in TTL flash mode. The colour temperature of the flash output becomes slightly warmer at very low power settings of 1/64th to 1/128th but that’s not uncommon in flashgun technology.

TTL flash power accuracy proved both accurate and consistent in our tests, using both the Canon and Nikon dedicated versions of the flashgun. Recycling is swift and silent, taking 1.5 or 2.5 seconds after a full-power flash on NiMH or alkaline batteries respectively. After a half-power flash, the respective times drop to 0.9 or 1.4 seconds.

Lab data

Flash power

As you’d expect, maximum power output increases at longer zoom settings, as the beam of light becomes more tightly focused. The actual power range compares favourably with other Gn 60 rated flashguns.

Recycle speed

As is usually the case, recycle speeds are significantly faster when using NiMH rather than alkaline batteries. Either way, the Kenko’s recycle speeds are impressively quick.

TTL accuracy

Nothing to see here, but that's a good thing! In our tests, the TTL Flash output remained very accurate and highly consistent on a shot-to-shot basis, throughout the zoom range of the flashgun. There was no unexpected over or under exposure, which would be indicated by larger bars on the chart above.

Verdict

The Kenko AB600-R certainly isn’t just a gimmick. Its artificial intelligence system really does help to optimise bounce and swivel angles for getting a better, softer and more three-dimensional lighting effect. This flashgun isn’t just for beginners either, as it has impressive build quality, powerful maximum output, an extensive zoom range, fast recycling speeds and a good range of high-end features including RF master/slave connectivity and a full range of advanced flash modes, including programmable multi-flash output. Even so, it’s a bit on the pricey side if you’re confident in setting your own flash angles and don’t need the artificial intelligence.

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Kenko - a brand usually associated with lens filters and teleconverters - is out to dazzle the flashgun market with this, its first ever flashgun: the AB600-R AI. We wrote about the arrival of this new strobe last year, but we are not told that the hotshoe flashguns have now gone on sale in both Nikon and Canon fittings.

The 'AI' part of its model name gives you a clue as to its standout feature - like Canon's trailblazing Speedlite 470EX-AI, it boasts an Auto Bounce head that automatically calculates and moves the head to give you optimal bounce angle for more flattering flash illumination. The feature works whether your camera is in landscape or portrait orientation, and it can bounce sideways off a wall, or upwards off a ceiling.

The head also incorporates an Auto Lock function that lets you fine tune the automatically calculated bounce angle and the system will remember the altered setting and automatically re-adjust the head when you move your camera between horizontal and vertical orientation.

It's not just the fancy new head that impresses. There's also plenty of lighting power thanks to a GN60 output rating (ISO100 at 200mm), and the trick head also incorporates a motorized zoom to adjust the flash burst to suit lens focal lengths between 18mm and 200mm.

Handy extras include TTL automatic metering, and a built-in 2.4GHz radio receiver in addition to an optical slave sensor for wireless off-camera and multi-flash shooting. The radio receiver can even allow a master AB600-R AI to remotely control the auto bounce angle of a slave AB600-R AI.

There's also the usual compliment of 1st and 2nd curtain sync modes, along with high-speed sync.

Power comes from 4x AA batteries that enable recycle times of 0.1-3.5 seconds, or alternatively there's the optional Kenko BP-1 Battery Pack, costing $129 / £119, which can be loaded with up to 8x AA batteries to further reduce recycle times and increase run-time.

The Kenko AB600-R AI is now available, priced at $399 / £399 in both Canon and Nikon variants.

Main Features

• Guide Number: Max. 60 (ISO 100 at 200mm)
• Zoom Range: 18-200mm (18mm using wide panel)
• Flash Modes: i-TTL-BL / i-TTL / M (manual) / RPT (multiple flash)
• Flash Frequency Range: 1~200Hz
• Flash Test Function: Horizontal -180~180° / Vertical 0-120°
• Wireless Communication System: Optical/radio (2.4GHz)
• Supported Sync Modes: 1st/2nd curtain sync, high-speed sync
• Bounce Mode: Auto bounce / Manual bounce (both with angle lock function)
• External Connection Terminal: Micro USB terminal (for firmware updates) / Sync terminal / External power supply terminal
• Exposure Correction: -3.0~+3.0 in 1/3 EV steps (TTL)
• Power Output Adjustment: 1/1~1/128 1/3 EV steps (manual)
• Temperature Warning Function: Yes
• AF light beam assist: 29 point AF
• Recycling Time: Approximately 0.1-3.5 sec (using NiMH rechargeable batteries)
• Power: 4x AA type (alkaline / nickel hydride)
• Dimensions (WxHxD): 80 x 196 x 62mm
• Weight: 470g (without batteries)
• Accessories: Soft pouch case

Read more:

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Kenko is upgrading its teleconverters with its new HD Pro range. Replacing the previous PRO300, the new converters have been redesigned optics and multi-layer coatings, to match contemporary high-resolution DSLR cameras and lenses. 

Teleconverters are designed to fit between the lens and the camera body – increasing the focal lenthg of the lens being used. 

The Teleplus HD Pro 2x DGX is acts as a double – increasing the focal length of compatible lenses by a factor of two. So that a 70-200mm becomes a 140-400mm, for instance. Weighing 180g, this accessory has a depth of 40mm – and will go on sale for a recommended price of £269, in a choice of Canon EF or Nikon F mounts. It is constructed of 7 elements in 5 groups. As usual for a 2x converter this will give a two-stop reduction in the maximum aperture of the lens.

The Teleplus HD Pro 1.4x DGX meanwhile extends the focal length by a factor of 1.4 times... so that a 200-200mm becomes approximately a 100-280mm. This converter has a depth of 20mm, weights 128g. Constructed from five elements thin four groups, it has a price of price of £219, with both Nikon F and Canon EF options. The 1.4x converter, as usual, reduces the maximum working of the aperture by one stop.

Optical construction has been redesigned by implementing additional optical elements and improved multi-layer, anti-reflection coatings. The external design has been re-finished in a black leather tone to perfectly match with the latest lenses and DSLR cameras.

The teleconverters have electrical contacts to maintain communication between the camera and the lens. The focal length and aperture values are recorded in image EXIF data and converted to the actual shooting values with the teleconverter attached. 

As with all teleconverters, they are not suitable for all lens and cameras. You should check compatibility for a particular lens/camera combinations on the Kenko webpage.

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