The foldable iPhone Duo may have stolen much of the limelight at the iPhone 18 launch event, but Apple was also keen to show off its new variable aperture lens that fronts the primary camera in the iPhone 18 Pro and Pro Max. Along with a new 48MP sensor, it's made this "the most advanced camera Apple has ever made".

The camera can automatically select an aperture setting depending on whether a faster shutter speed or greater depth of field is to be prioritised, or users can manually chose between four aperture settings in the Camera app. The aperture diaphragm is comprised of six laser-cut blades controlled by a new rotor mechanism, which apple states will smoothly transition between f/4 and the maximum f/1.48 aperture.

It all sounds mightily impressive, but it raises a couple of questions: why don't all high-end camera phones have a variable aperture camera lens? And considering these lenses are nothing new, why has it taken so long for Apple to embrace this technology?

Firstly, though variable aperture lenses aren't common in camera phones, the iPhone 18 Pro is far from the first phone to use one. In 2022 Huawei gave us a variable f/1.4-f/4 aperture lens in its Mate 50 Pro, and Xiaomi used a similar variable aperture a year later in its flagship 14 Pro handset. Even back in 2018 you could have had a dual-aperture camera lens, courtesy of the Samsung Galaxy S9/S9+. And yet despite the technology clearly being viable for years, it's yet to become the norm in the camera phone sector.

There's actually good reasoning for this. A variable lens aperture is essential in a lens designed for a conventional, large-sensor camera like a full-frame DSLR or mirrorless body. This is because the larger the sensor, the shallower the depth of field at a given aperture. With a full-frame camera, if you want a subject close to the camera and a distant background to both be in focus, you'll need to significantly reduce the lens aperture. But shrink the sensor down to the size of a typical camera phone sensor - 1/1.28", in the case of the iPhone 18 Pro - and, even at the lens' f/1.48 max aperture, there'll still be a huge depth of field.

So if a camera phone is inherently good at producing a deep depth of field, there's little reason for having a lens with a variable aperture. You may as well fix the aperture to be as large as possible to get the maximum amount of light through to the sensor, thereby keeping shutter speeds high and ISO sensitivity low - the ideal recipe for sharp, low-noise shots.

Apple is keen to show off the benefits of a variable aperture lens in its press material for the iPhone 18 Pro, with several sample images demonstrating how the new lens can give you the best of both worlds: a wide aperture for better low light image quality, and a narrower aperture for when you want a greater depth of field to keep subjects at different distances in focus. It sure looks impressive from the press material, but having reviewed camera phones for many years and seen just how much depth of field you can get from a large aperture, I’ve almost never wished I had the ability to stop down.

And this may answer the question of why Apple hasn't seen fit to use a variable aperture lens sooner. This isn't cutting-edge tech - it could have implemented it years ago - and yet it didn't. Could that be because Apple also knows that this really isn't a game-changer for camera phone image quality? I can only speculate as to why it's now chosen to incorporate this tech into the iPhone 18 Pro and Pro Max, but my best guess is that at least it represents some form of hardware improvement, even if the real-world benefits may be marginal. In a world where most phone camera 'upgrades' now come in the form of AI, Apple likely needed to do something different to stand out, and a variable aperture lens, if nothing else, is indeed different.

The iPhone 18 Pro Max is Apple's top-of-the-line iPhone, at least until the folding iPhone Duo comes along in October. And when you've invested $1,299 / £1,299 / AU$2,299 the first thing you'll want to do after taking it out of its box is put it straight into a protective case.

Apple, of course, makes its own range of cases, but they are on the pricey side and – dare I say it – a little boring. But there are plenty of third-party options available, too, and these tend to be a little more adventurous in their design.

Here's my pick of cases that I've personally tried and tested. These are all for the iPhone 18 Pro Max, but most are also available in variants to fit the smaller iPhone 18 Pro. If you're sticking with the previous-generation iPhone 17 Pro / Pro Max, but fancy treating it to a new case, the good news is that there's precious little difference in the form factor between generations, so all the cases in this guide will also fit and protect the iPhone 17 Pro Max.

Indeed, you may see cases variously labeled as for 'iPhone 18 Pro Max' or 'iPhone 18 / 17 Pro Max', and both will fit either generation of phones nicely and snugly. But while a case designed for the 'iPhone 17 Pro Max' will phyically fit the newer phone, its camera bump is slightly deeper, so an older case might not quite offer the same level of protection.

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Best iPhone 18 Pro Max case for photographers

Peak Design has earned an enviable reputation among photographers, with a range of reliable, well-designed, no-nonsense products including camera straps, bags, and tripods, and the company is also beginning to make a name for itself as a maker of quality phone cases, too.

The Everyday Case is, in fact, the name for a range of elegantly designed but protective cases made from various materials, including nylon canvas, full-grain leather, and a vegan leatherette for the ecologically minded. All cases in the range feature machined aluminum buttons that complement the main color, a responsive camera control passthrough, and MagSafe charging and connection.

You then have the choice of the rear of the case being plain, featuring a pull-out finger loop for more secure handholding, having a Slimlink recess that locks mechanically to car or bike mounts, or both the loop and Slimlink. All cases are Fair Trade Certified and are backed by Peak Design’s lifetime guarantee.

Prices vary quite considerably depending on the materials and features selected, but I think it's worth paying the extra for the all-bells-and-whistles variant with the Slimlink connector and finger loop – both hold your phone more securely on mounts and in the hand, while adding negligible depth to the size of the case.

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Best iPhone 18 Pro Max case for fashionistas

If you want an eye-catching case that's as individual as you are, then one of the Burga Tough iPhone 18 Pro Max cases will be right up your alley. With well over 500 designs on offer, from cute cats and animal prints to geometric patterns and mirror finishes, there's bound to be one that suits your sense of style. Anti-fade printing ensures the design holds its color.

All cases are MagSafe compatible, and the CloudGuard 2-in-1 Defense System features a dual-layer construction: a shock-absorbing silicone inner lining wrapped in a hard polycarbonate outer shell to protect against drops. Raised 2mm bezels around the display and camera lenses keep delicate glass surfaces elevated in the case of flat drops, while a microfibre lining prevents scratching from within.

You can buy each iPhone case design alongside matching AirPod case covers, power banks, and magnetic ring holders for an accessorized look. For those who like to change their style as their mood suits them, Burga has a 'buy 4, pay for 2' offer, so you can swap cases as the whim takes you. In addition to the Tough line, Burga also offers Elite cases, with a similar seemingly endless choice of designs along with tougher rubberized edges for even greater protection.

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Best slim iPhone 18 Pro Max case

While your shiny new iPhone 18 Pro Max demands protection from the rigors that daily life can throw at it, it can seem a shame to hide that sleek form factor with an overly bulky case. The Pitaka Edge case aims to remedy this with an incredibly thin and light construction: it's just 1.2mm thick and a featherweight 25 grams.

It's crafted from aerospace-grade aramid fiber, a high-tech woven material that Pitaka says is five times stronger than steel, while being much, much lighter. It really, truly adds no noticeable size to the phone, and has a lovely, elegant textured feel. There are lots of design options, with colors applied to the woven fibers for a cool and distinctive pixelated look, with names such as Milky Way Galaxy and Glints of Gold.

A raised camera bump protects the precious lens array, and it's MagSafe compatible too. A PitaTap Camera Control cover transfers full functionality to the Camera Control button it sits over, while preserving the sleek lines of the case; however, none of the physical buttons are protected, but have cutouts instead.

Pitaka also makes the Cairn, which is essentially the same case with added corner bumpers and button covers for even greater protection, at the expense of the ultra-slim form factor.

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Best budget iPhone 18 Pro Max case

The Gripmunk with MagSafe is Smartish's most basic iPhone 18 Pro Max case (aside from the GripMunk without MagSafe), but there's little price difference between them, and I'd pay the extra for the version that is compatible with magnetic chargers.

There may be cheaper cases than the Gripmunk, but probably not at this level of quality. It is available in a wide range of colors, both opaque and translucent, with bold and striking designs that not only look great, but also provide great value.

Despite the low asking price, the case edges are gently contoured with finger-shaped indents for grip, and the case offers plenty of protection; Smartish says that it has been 'drop-tested 50 times from a six-foot height'. I can't claim to have tried this myself with my own phone!

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Best iPhone 18 Pro Max case for grip

A step up from the Smartish Gripmunk case, the Gripzilla has more deeply contoured finger grooves and textured sides designed to help you grip the case firmly in hand. But should the worst happen, and you allow the phone to slip from your grip, this case offers an even greater level of protection, with raised corner bumpers and built-in air pockets to better absorb shocks from drops.

Unlike the Gripmunk, the Camera Control is covered with a conductive strip, rather than being open, which still enables you to use the camera functionality. It's fully MagSafe compatible and comes in a range of bold and beautiful designs.

The enhanced protection does add quite a bit of bulk to the size and shape of the case, but it feels very well guarded. If you're particularly accident-prone, this could well be the case for you!

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Best iPhone 18 Pro Max case for carrying cards

Many of us use our iPhones to pay for everything these days, but it's wise to carry a traditional credit card for emergencies, not to mention other everyday fantastic plastic, such as a driver's license, key passes, and so on. The Wallet Slayer Vol. 1 can stash up to four cards in a slot at the rear, which are held firmly in place with a spring mechanism, but can be easily slid out via a thumb recess.

The front of the phone and rear camera are well-protected by raised bumpers, and air pockets provide additional protection against drops and impacts. The phone's Camera Control is exposed but deeply recessed to enable direct operation.

There are various colors and patterns available, as is par for the course with Smartish gear. It certainly adds less bulk than folding wallet-style cases, but the ability to stash cards in the slot around the back means this case forgoes MagSafe functionality.

If you want the best of both worlds, Smartish also makes a Side Hustle Vault that snaps onto other cases (or the bare phone itself) via MagSafe, though it's a little bulkier than the all-in-one case. It has the added benefit of RFID protection, so your card details can't be read by unscrupulous types in crowded places.

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Best leather iPhone 18 Pro Max case

For a touch of timeless elegance, nothing beats the look, feel, and smell of leather. Casebellé's cases are made from responsibly sourced materials from Leather Working Group Gold-rated tanneries. Color options include Burgundy, Racing Green, Umber, and Glacier Blue to match the latest colorways of the iPhone 18 Pro and Pro Max series, and there are a couple of distinct leather finishes on offer, too.

The Timeless Luxe Collection is crafted from full-grain Italian nappa leather and maintains a smooth, pristine look that resists daily scuffs and water. But if you ask me, the best leather cases are those that age with time, and the Vintage Luxe Collection is made with Tuscan vegetable-tanned vachetta leather to develop a rich, personalized patina with everyday wear and tear. You can personalize the cases further by embossing them with up to four initials in gold, silver, or a 'blind' stamp.

But it's not all style over substance. Powerful N52SH magnets ensure reliable MagSafe compatibility, while a plush internal microfiber lining safeguards the phone's back glass from scratches. Drop protection is ensured by a raised screen lip, reinforced corners, and a 1.8 mm bumper to shield the camera lenses.

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Best clear iPhone 18 Pro Max case

You spend ages deliberating on which color of iPhone to buy, only to hide it away in a case. But it doesn't have to be this way. The Mous Clarity case is transparent to enable the full beauty of your shiny new iPhone 18 Pro Max to shine through. And, as it has been constructed from PCTG co-polyester with UV-resistant technology to resist yellowing, the case should look as good a few years down the line as the day you bought it.

There are a lot of cheap and nasty clear cases on the market that offer little in the way of grip or protection, but that's certainly not the case with this case. While the main body is clear, it is built around an aluminum frame and has an opaque textured surface for improved grip in stone or black colorways. This frame hides an AiroShock protection system built into the edges of the case, focused on the corners to protect against drop damage, and has a reinforced ring around the camera bump. Indeed, Mous is famed for videos of lobbing brand-new phones in Mous cases off tall buildings and surviving with not so much as a scratch.

The case comes with black or stone-colored edges, and this color option is mirrored in the MagSafe ring (non-MagSafe versions are also available, but there's not much price difference). They really do offer the best of both worlds: a see-through case that is grippy and protective.

In addition to the clear case, Mous also has non-transparent Limitless cases in various patterns and materials, including leather and aramid fiber, and even an Intralock case for active types that clips into mounts for bike handlebars, all with the same AiroShock protection system. You can further modify the cases with a pop-in camera kickstand or lens guard; the basic lens bump pops out, and the replacement pops into its place.

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How to choose the best iPhone 18 Pro Max case

I've tested these cases on the iPhone 18 Pro Max, but there are variants for the Pro, Air, and standard iPhone too, so make sure you pick the correct one for your phone model. The dimensions of the iPhone 18 and 17 Pro Max are identical, so a case labelled for one will work just as well on the other. If you're upgrading to the iPhone 18 Pro Max from an iPhone 17 Pro Max, you could simply use your existing case, although with the 18's camera bump being a little deeper, an older 17 case may not offer optimum protection. However, if you're upgrading from an iPhone 16 Pro Max or earlier, then you will need a new case.

A good level of protection should be your top priority. All the cases in this guide are from reputable manufacturers that claim to have proven the integrity of their products with drop and impact tests. I advise steering clear of cheap unbranded cases.

For many, MagSafe compatibility is a must; so many cases have a built-in magnetic ring that enhances the attachment properties of the phone to chargers and stands, while ensuring inductive charging remains efficient. Ensure your chosen case supports this feature if you plan to use MagSafe chargers or accessories.

Last but certainly not least, there's the look of the thing. You may prefer a translucent design that lets the beauty of your phone show through, sleek lines that show off its form factor, or bold patterns that mirror your personality. Helping you pick the best for you is the purpose of this guide!

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How we test

I have personally tried and tested all the cases in this guide, checking for a snug fit, evaluating their grippiness and protective capabilities, ensuring that all the controls work correctly and MagSafe charging is not impeded, and reporting on their standout features and unique selling points.

But I also understand that a phone case is more than just a protective accessory; its look is important – after all, you don't want to encase your beautifully engineered smartphone in something boring to behold – so I tell you what I think of its design qualities too!

Other iPhone accessory guides
Best iPhone charger
Best iPhone gimbal
Best iPhone printer
Best iPhone microphone

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With the exception of Adobe Photoshop, Nik Collection is perhaps the oldest photo-editing tool on the market. And yet, thanks to DxO's constant development, it remains right at the forefront of creative photographic techniques, embracing analog effects, contemporary photographic styles and effects, and some of the best black and white editing tools you can get.

You can use the Nik Collection plug-ins from within Adobe Lightroom Classic, Photoshop, Photoshop Elements and Affinity. However, each plug-in will also work as a standalone application, so you can use them as external editors for programs like Capture One, which don't support Photoshop-style plug-ins.

So just how good is the Nik Collection, how do its plug-ins stack up today, and does it still deserve to be considered among the best photo editing software applications on the market?

DxO Nik Collection 9: System requirements

Compatible host applications for plug-in: DxO PhotoLab 8 and DxO PhotoLab 9, Adobe Photoshop 2025, 2026, Adobe Photoshop Elements 2025 and Adobe Photoshop Elements 2026, Adobe Lightroom Classic 2025, 2026, Serif Affinity Photo 1 and 2, and Affinity by Canva (NB: Nik HDR Efex merge feature and Nik Collection Switch to mode are not compatible with Affinity).

DxO Nik Collection 9: Price

Nik Collection 9 costs $179.99 / £149.99 (about AU$257) for a new licence, while existing Nik Collection 7/8 owners can upgrade for $99.99 / £79.99 (about AU$143). It’s not especially cheap, especially considering you might not get full use out of all the plug-ins, but the creative tools, controls and presets in Analog Efex, Color Efex and Silver Efex are so good that you could argue they carry the whole suite on their own.

The upgrade price for existing users is fair, too, given that this is a substantial upgrade, but given that the Nik Collection plug-ins are not dependent on updates for new cameras and lenses, say (that’s handled by your host software), even older versions may offer all the creative inspiration you need right now.

DxO Nik Collection 9: Interface and usability

What I would call the ‘core’ plug-ins – Analog Efex, Color Efex and Silver Efex – adopt the same interface setup, so it’s easy to swap between them. You have preset effects and individual filters in the left sidebar and a filter ‘stack’ in the right sidebar. This shows all the filters and settings applied by the current preset – and you can edit these at will – or the settings for any filters you select and apply manually. It’s a straightforward system used almost universally by effects software.

Each of the filters you apply can have its own masks, or local adjustments, and in Nik Collection 9 these include AI masks alongside DxO’s regular non-AI control point, control line and control polygon masks. Wisely, I think, DxO has kept the AI masking options simple, with basic object selection and area selection options, and no attempt at subject recognition. This makes the new AI masking both powerful enough and simple enough to be genuinely useful.

HDR Efex hasn’t seen any major changes for some time, and while the craze for HDR might have faded somewhat (thank goodness), it still does a good job. As usual for HDR applications, it invents some tools and adjustments you won’t see in regular photo editors, but it doesn’t take too long to work out what everything does.

Viveza is a bit of an oddity. It’s set up for detailed global and local color adjustments, but that’s pretty much all it does. It’s the kind of thing you might do in your host software instead, or Color Efex – indeed, three of Viveza’s core adjustments are now included in Color Efex’s list of filters. Viveza is easy enough to use but hardly seems to do enough to justify its inclusion as a separate plug-in.

Dfine is distinctly disappointing too. Superficially, it looks like a powerful little plug-in that can analyze the noise profile of the image you’re working on and apply a tailored noise reduction process both globally and locally. However, it only works on already-processed images, so it’s trying to fix a problem too late. It can’t reconstruct lost detail either, in the way that today’s AI raw denoising tools can, so it does feel like a relic of a different age.

Sharpener is interesting for its ability to tailor the sharpening level for different output devices. You can sharpen for screen output, though with today’s website content management systems and social channels, you don’t have a lot of control over the sizes images are displayed at. This could be useful for prints, though curiously it doesn’t display image size sliders by default.

DxO Nik Collection 9: Performance

There are two aspects to any software application’s performance – its speed and responsiveness and the quality of the results. Speedwise, I found it OK but not instantaneous. Analog Efex presets took a couple of seconds to apply, for example, and this was on a 32GB M2 Max Mac Studio. Some of these processes are complex, though, so you can’t expect too much.

The results, at least from Analog Efex, Color Efex and Silver Efex, are stellar. Analog Efex recreates the look and feel of old analog processes and cameras brilliantly – it’s way better, in my opinion, than DxO’s rather dour FilmPack application. It’s a shame the new Halation filter in Nik Collection 9 didn’t appear here rather than Color Efex, since halation is really an analog effect.

Color Efex offers a huge range of more contemporary photo effects, from film simulations (modern and vintage) through graduated filters, tonal contrast enhancement, and so much more. It’s a shame that the new Glass filter in Analog Efex wasn’t used here because it’s a graphic style that might suit Color Efex’s approach better. There’s also some crossover – Color Efex’s Old Photo filter is really good, and Analog Efex doesn’t have anything quite like it. There are some filters you might never use (Duplex? Color Styliser? Indian Summer?), but overall there’s so much in Color Efex that you might never exhaust its potential.

This has been magnified massively by another new feature in Nik Collection 9 – blend modes. Each filter can be assigned a blend mode (not just ‘Normal’ now), which completely changes the way it interacts with the image. For example, the paper textures in Analog Efex take on a whole new life with different blend modes.

Silver Efex, meanwhile, continues to shine as perhaps the best tool there is for black and white photography fans. It can reveal depth and tonality in black and white images that’s hard to replicate in other software. It also uses sliders and adjustments that seem to speak directly to darkroom photographers and how they think, with dedicated film types and grain patterns. It would be nice if there was some kind of blur/bokeh tool and a wider choice of border styles, though.

DxO Nik Collection 9: Verdict

The Nik Collection does feel like a plug-in suite of two halves. Analog Efex, Color Efex and Silver Efex are the creative center, and offer presets, filters and inspiration that’s hard to find anywhere else. HDR Efex is a good tool for an image style that’s perhaps gone out of fashion, and Viveza, Dfine and Sharpener definitely feel past their sell-by dates. Would I buy the Nik Collection for Analog Efex, Color Efex and Silver Efex alone? Yes, I probably would.

Alternatives

When the Canon EOS R5 Mark II and R1 launched in 2024, they joined the ranks of the manufacturer's most powerful full-frame mirrorless cameras. Now, both models have received a fresh firmware update, bringing a handful of enhancements, bug fixes and improvements to operational stability.

In our R1 review, we wrote, "The sports camera king is back to reclaim its throne," highlighting how its combination of AI features and AF (autofocus) performance makes it a formidable camera for sports photography. The R5 Mark II, on the other hand, was described as "the company's most important – and most powerful – camera."

Despite their different target audiences, the cameras share much of the same advanced technology. So it's perhaps no surprise that the latest firmware update includes several improvements shared by both mirrorless models, including live view, linked shooting fixes and improved stability, while the R5 Mark II also gets a fix for unwanted restarts when shooting with Dual Pixel RAW enabled.

Canon EOS R1

Version 1.3.2
UK download link: macOS + Windows
US download links: macOS, Windows

Enhancements and fixes
1. Improves a delay that may occur in the live view display when shooting with the EOS Multi Remote app
2. Fixes an issue that may cause the receiver camera to fail to capture images during linked shooting with EOS Multi Remote when the sender camera is connected to an FTP server
3. Improves operational stability

Canon EOS R5 Mark II

Version 1.3.2
UK download link: macOS, Windows
US download links macOS, Windows

Enhancements and fixes
1. Improves a delay that may occur in the live view display when shooting with the EOS Multi Remote app
2. Fixes an issue that may cause the receiver camera to fail to capture images during linked shooting with EOS Multi Remote when the sender camera is connected to an FTP server
3. Fixes an issue that may cause the camera to restart during shooting when Dual Pixel RAW is enabled
4. Improves operational stability

Pro Advice

If you caught Episode 4 of Bokeh Face: Digital Camera World podcast, above, we discussed the best time to install firmware updates, why they matter, and what issues they can cause. It's a helpful listen if you're unsure when – or whenever – you should update.

It's smart to wait a week or two after release to see if any users hit snags. In the past, brands have had a few hiccups with major updates – for instance, introducing memory-setting bugs or minor interface glitches before being reissued.

You might like...

Browse the best lenses for the Canon EOS R5 Mark II and the best Canon cameras.

The iPhone Duo (or iPhone Fold) brings inferior specs and a new premium price – the only thing it will do is separate real photographers from so-called "Pro" customers who just buy the top-of-the-line without thinking what that means.

Until now, the top of the line – measured in cost – was also the best iPhone for photography. It had Apple's best arrangement of cameras, a three camera array, and I had little trouble persuading myself to "invest" in one each year. OK, a depreciating asset isn't really an investment, but I could at least tell myself that I'd have the best cameras I could get without leaving iOS.

Now the advantages of a folding phone – principally a larger inside screen for enjoying content and for productivity – come at a compromise: fewer cameras in the array. Specifically, there is no telephoto camera, which is the one which boasted a similar EFL to a traditional portrait lens and (when cropped and digitally zoomed) also provided half-decent telephoto.

So if you use the device to create content, you're better off with one of the iPhone 18 Pros. If you use it to view it then the folding phone will afford you a bigger screen. So there is no one 'best' iPhone.

And that makes it very difficult for me, and, oddly, it brings another voice that usually loses out entirely in the excitement that comes when a new iPhone is announced. The voice that says; "If the choice isn't obvious, why buy a new iPhone at all?"

That isn't to say I'm going to switch platforms. I regularly test Android-based phones, and I have no problem with the system, but I'm also well into the Apple ecosystem and I find I get on better with it.

And that hints a little at the situation I suspect many will now find themselves in.

Apple has gone to great pains to cultivate an ecosystem – if you own an Apple phone you'll find life is a good deal easier if you also have an Apple Mac computer and (if you're so inclined) an Apple Watch, Apple's own headphones, and an iPad.

And, though it isn't always easy for people who grew up with computers at the top of the tech tree, the iPhone is the key to this empire. Despite a lot of diversification, 50% of Apple's $416 billion revenue last year came from the iPhone – and there are thought to be around 1.5 billion active iPhones out there.

For contrast, the iPad made $28 billion and the Mac $33 billion in the same period.

Even if you can't conceivably afford the best of every part of your Apple ecosystem (and who needs a fully specced out Mac Studio with a five-figure price tag?) it was easy to have the best iPhone, and so the best 'key'.

Having the best phone was something that was within reach for many, and a pretty simple choice, which is why around 40-50% of sales come from the Pro or Pro Max line, and the Pro Max is routinely the top-selling single flagship phone.

I strongly feel that by making the premium phone a compromise, Apple has shot itself in the foot.

If I buy the folding phone, I'll feel I've finally got a new and exciting form factor. But the first time I go to take a photo of something a little distant from me I'll be disappointed.

And for a device that carries the price premium, there shouldn't be a compromise. Certainly not one that doesn't seem beyond the bounds of possibility to fix.

After all, the cameras tend to be on a stick-out module anyway, so it can't be that difficult to add three rather than two.

So why would Apple do this? Sure it'll save a gram or two and perhaps even make the phone a little more compact, but forcing me and others to make a difficult choice – essentially to have no one 'best' phone – is going to be hard work.

It won't make life easy for Apple Store staff, for a start.

And it'll create disappointment among many buyers too. Especially photographers, who will have seen the iPhone 18 Pro opening Apple's event on September 9 – and heard from new CEO John Ternus about a true adjustable aperture in the camera.

The iPhone 18 Pro also gets a 6-Core A20 Pro CPU with 7-core GPU and accelerated "Neural Accelerators" and 32-core Neural Engine cores, like the Duo, but only on the Pro presentation did Apple discuss thermal management which (hopefully) will keep the SOC cool this time. (I experienced a lot of overheating with my iPhone 17 Pro Max on holiday in Spain last August.)

The iPhone Duo also has slightly inferior battery times and, despite fast charging, tops up only 5 rather than 6 hours playback from the same 5 minutes charging.

The "Biggest camera improvement in years" forced Apple to explain the Aperture to consumers, but the 100mm EFL lens is there.

The main camera on the 18 Pro Max is upgraded with a "48MP Fusion" main camera with 6-blade variable Aperture (f/1.48 - f/4). There is a new Pro interface to access this, and timelapse is upgraded to Dolby Vision HDR 4K.

The Duo's main camera, though, is a f/1.6 fixed aperture (though the phones share the same ultra-wide camera).

The camera also boasts subject tracking similar to that on action cameras that can handle subjects leaving and re-entering the frame.

Surveys (and sales in the Android world) have shown that not many customers are interested in folding phones. But perhaps the compromises are the reason.

Then again, the Samsung Galaxy Z Fold 7 managed three cameras last year.

Perhaps Apple will eventually address it with a Pro version with the same 'sacrifice' of a little more weight for more capable cameras?

So everyone who buys the first generation will be forced to upgrade in the end?

That's disappointingly plausible, isn't it?

Apple's launch also talked about "Rethinking design principles that have been set for years." How long will it take to recover from the inevitable dent to years of use experience?

In exchange, the main screen is only 50% bigger than the iPhone Pro Max, while you lose Face ID – it only has Touch ID.

Though there is another feature: Apple also announced "Handoff" which will let you attach a second phone to the same phone number.

So perhaps the solution Apple wants is for you carry two iPhones.

$1199 for iPhone Pro 256GB will be available for pre-order on Saturday, while the Duo will be $1999 and not available for pre-order until October. Will it be the best iPhone for photography? The Duo doesn't seem to want to be!

Adobe is continuing to invest heavily in AI, and the demo I attended to showcase the latest developments in its flagship video editing software, Adobe Premiere, as well as Adobe After Effects, appears admittedly impressive. But in spite of the vocal pushback against AI, Adobe’s 2026 Creators’ Toolkit Report, at least, suggests that the majority of creators aren’t averse to using AI tools, citing that “nearly nine in ten” use AI creative automation to grow their businesses or audiences.

The photo editing software giant’s goal is to streamline video production “pain points” and “automate tedious tasks” in a bid to give more time back to the creative. That’s where Premiere’s Generative Media Tool comes in. This headline new feature is a fast-track to genAI content by allowing the creator to generate clips and sounds without leaving Premiere – and very often the timeline itself.

Generative Media Tool

Obviously, I saw choice examples of this working in Adobe’s demo, but it’s not just the convincing generated content that’s impressive; it’s the fact that you can fill gaps in your timeline seamlessly, right up to the second.

In the demo by Adobe’s Anton Knoblach, a drone shot was generated to fill a gap. This is performed in a generative taskbar that appears at the top of the timeline so you no longer have to leave Premiere in order to implement genAI content. As you’d expect, you can select your preferred model, be it Firefly or one of Adobe’s partner models.

You can further refine your content by selecting options such as the resolution and aspect ratio. What’s most impressive about all of this is that existing clips within your timeline are used for context. You simply select which clips you want to sample and the AI model will do the rest.

In the demo, the filmed footage looked like it was shot in a desert in the American Southwest. By sampling a few clips to provide context, the AI was able to generate a drone shot that looked like it was captured in the same landscape. Not only that, but the footage matched the grade of the contextual footage.

And all of this extends beyond Generate Video, with Generate Sound Effects bringing similar functionality. The update also introduces Generate Soundscape and Generate Music, which are both currently in beta. During the demo, I was shown a video of a rally car thundering through the desert, and all of the audio was AI-generated.

The sounds didn’t always fit with the rally car; there were some odd gearbox changes, and the squealing tyres sound effect was far too overpowering for a sliding car on a dirt track, but this was very impressive nonetheless. And again, this was all done inside Premiere, without leaving the project. Obviously Adobe is going to refine all of this in the future, but I can see it being a very useful conceptual tool straight off the bat for illustrative rough edits or first drafts at the very least.

Another example of generative audio was the implementation of a jacket zipper sound. Again, using the Generate Sound Effects tool within the Premiere timeline, Anton was able to generate a selection of zipper sounds, while also using their own voice to precisely time the length of the sound. By recording a “zzzzzzzzzzzip” sound, the AI was able to replicate the cadence of the voice while replicating an authentic zipper sound.

Refine audio and colors

That’s not all, Adobe Premiere also boasts “smarter audio” by bringing new AI audio tools into public beta, including Enhance Audio, Separate Crosstalk, and Dynamic Auto Ducking. The former allows users to enhance a variety of sounds, including dialogue, music, sound effects, and ambience, by removing elements, adjusting layers and muting dialogue.

Separate Crosstalk is used to identify speakers that overlap, placing their audio onto separate tracks. And the latter is said to automatically balance sounds without the need for manual keyframes.

Adobe Premiere is also getting an updated Color Mode (currently in beta), which is said to deliver “a first-of-its-kind grading experience”. Like the Generative Media Tool, this lives directly within Adobe Premiere edits, enabling users to make use of the new Auto Color tool. In one click, this automatically sets the color temperature and exposure of a video clip, group, or whole sequence. New Style Modules are also present, such as Vignette and Midtones, allowing you to do more without leaving the edit.

After Effects updates

Adobe After Effects is also getting in on the action, with an AI Assistant now in public beta. This is designed to take some of the load, distilling more complex multi-step workflows into automated processes. However, Adobe is quick to point out that the user remains “in complete creative control,” telling the AI Assistant what and what not to handle, while also shaping “every editable outcome”.

The AI Assistant can be implemented into a whole project, enabling editors to create motion effects without having to code, fix technical issues in the background, and organize large multi-layer projects, for example. According to Adobe, it’s often able to turn hours of work into minutes.

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While most phones are just slabs with a side of glass, the Xsnap 7 Pro attempts to do merge something a little unusual – being rugged – with something wholly unique: a built-in detachable action camera. That earned it an Innovation Award at IFA 2026.

The concept seems to have a little in common with the best POV cameras – like the Insta360 Go Ultra or the DJI Osmo Nano – but the detachable camera pops out of a phone, not just a charging case, as we see in my colleague Gareth's reel:

The 'rugged' phone category is a major niche, popular amongst tradespeople and people who'd just rather the handset – rather than a case – could survive a few impacts. the best rugged phones have also been home to some of the most interesting experimental features, with thermal and night vision cameras, not to mention laser measures amongst some of the options out there.

Indeed, this device also features a 64MP night vision camera, but that's far from unique.

The Xsnap 7 Pro builds on this tradition, but targets creators with a detachable POV (Point Of View) camera. This is a tiny action camera, like a tiny GoPro.

The device isn't going to trouble the best action cameras in terms of resolution – it maxes out at 2.7K – but so too did the Insta360 Go 3, and that device, so light it could easily be worn on a helmet, or tied to a pet's collar.

The detachable camera is a 50MP unit and uses magnets to keep it in place (and charge itself via pogo pins on the device). It can, thus, be easily popped out and attached to any ferrous metal structure: the fridge door, a railing, a tent pole and so on.

Accessories available include a charging dock and a magnetic pendant, not unlike those seen with other POV action cameras.

Away from the phone, the 39g camera has up to 40 minutes of recording time.

It has a dedicated capture button on the camera, and a 133-degree field of view, as well as image stabilization software called 'SteadyX' which even features a horizon lock function, as well as slow-mo, distortion correction, and free-frame video, putting it up there with recent action cams.

The phone also boasts a 6.67-inch AMOLED display, 12GB RAM, MediaTek Dimensity 8400 chipset, and a 9300mAh battery (enough to recharge the detachable camera 20 times).

There are more details of the Xsnap 7 Pro on RugOne's own site, but until we test it here, we can't vouch for the quality. And, despite an award at IFA, the camera also has a "Launching Soon" page on Kickstarter, which suggests that the company might not be as confident as the award suggests.

IFA was the official debut, so perhaps that Kickstarter just needs tidying away?

The original Meeting Owl, and its successors, are iconic products for huddle meetings – able to be simply placed in the middle of a meeting room and provide a live AI video feed concentrating on the active speaker.

This can be connected to platforms like Google Meet and Zoom to deliver a more personal view from a room than having a ton of separate cameras all delivering postage-stamp sized images, mostly of people not talking.

The concept is based on a single lens at the top which is fish eye and sees 360-degrees around the room, while AI (and in this case an arrangement of 8 microphones) detects the active speaker and zooms in.

This new model brings more features, at a higher price. Is it worth the upgrade?

Meeting Owl 5 Pro: Price

Coming in at $2,599 / £2,399 this is significantly more expensive than the smaller, more portable Meeting Owl 3 ($999) – and quite a hike above the Meeting Owl 4+ ($1,999). That price premium buys features that will matter in some enterprise environments and large conference rooms, but perhaps not all.

Meeting Owl 5 Pro: Specs

Meeting Owl 5 Pro: Build and Handling

The Meeting Owl 5 Pro looks like what it is, a robust speaker with a fisheye camera at the top. The wide base is where much of its significant 2Kg heft sits, building confidence in the meeting room once you've plopped it in place.

The cute special feature, seen on other Owl conference cameras, is that – when it is in use – eyes "appear" from behind the all-round speaker grille which combine with the logo strip to give the stylistic impression of an owl. To reinforce this, the startup sound is a 'twit-twoo' owl noise.

The buttons at the base are mute, volume up and down, and a customisable button (it can be configured in the app), but by default cycles through different views.

The mute is made clear all the way around the device with a red light that sits between the speaker and base. The buttons (and owl face) are repeated opposite each other, so it ispossible for participants of a meeting either side to reach them easily and see the visual feedback.

It's not just a speaker, of course. It also conceals an array of eight microphones, which the system uses to detect the active participant, as well as to capture the sound and apply the on-board processing to deliver clear audio.

This all happens very simply, although I was a little surprised that the maximum volume of the speaker didn't impress as much as I'd hoped it would.

What the system did do very well, however, was detect when there was speech in the meeting room and turn down the speakers; it wasn't harsh or jarring but it was enough that the conversation in the room was always audible.

Meeting Owl 5 Pro: Performance

The video performance is notably better than the Meeting Owl 3, with the system clearly benefiting from a a more powerful image sensor.

The system also had no trouble detecting us in one of our meeting rooms which can comfortably accommodate 6 people, which was reassuring.

I used the settings menu to turn on and off the optional 'whole room panorama' effect at the bottom of the video, but regardless of the resolution we chose, the result still didn't seem to handle the admittedly mixed light in our meeting room. We have natural light from both sides and artificial light from above.

The quality beats everyone having to sit next to each other and face a laptop, but probably doesn't beat a dedicated PTZ camera, which would (I'd hope) be better able to handle the dynamic range and tone.

To my mind the resulting images were not sharp enough for 4K either, although it's fair to say that many conferencing platforms would reduce the video to 1080P anyway, and at least it has more detail to work with.

Meeting Owl 5 Pro: Overall verdict

The Meeting Owl does a fine job of identifying the participating speaker, and the video quality of the output stream, at a full 4K where available, is

On the downside, this is physically bigger and less portable than its brethren from the Meeting Owl range, as well as more expensive, so it's important to decide whether you actually want the boosted processing power and imaging. I'd absolutely make sure that your preferred conferencing platform is

If you're looking for a device you don't move too often, and has premium capabilities like daisy-chaining, then this seems a fine option. If you're more

Alternatives

This week, Camera Intelligence revealed the latest generative AI features in its Caira camera: adding Nano Banana video editing to its genAI photography. It was the latest reminder that the imaging industry, like the rest of the world, is doubling down on AI in its products – including the generative kind.

No hate, no shade. But it reminded me of a conversation I had with Canon earlier this year, when I asked the Japanese leadership about the subject of AI – and they were crystal clear about what is and what is not off limits when it comes to artificial intelligence.

"AI is going to keep on playing an important role for any shooting experiences for our products," said Tetsushi Hibi, advisory director of Canon's Img Optical Business Unit 1, behind closed doors at the CP+ 2026 show in Japan.

"So this is Canon’s stance: we are going to use AI not to generate imagery, but to capture scenes as close to the reality of shooting as possible – noise reduction, color correction, distortion correction, aberration – so those are the functions we are aiming to put it onto in our products."

We've already seen this in practice, particularly with the Canon EOS R1 and R5 Mark II – both of which use Canon's neural network image processing (NnIP) for features like 400% in-camera upscaling and 2-stop noise reduction. And of course, the many algorithmic subject detection and tracking options.

It is heartening to know, however, that generative AI imaging is not on the table for Canon – particularly with the company having rolled out its Authenticity Imaging System in May, offering content compliance to help verify the authenticity of images (and, by proxy, policing image manipulation and AI embelishment).

Where Canon definitely is implementing AI, however, is in the design phase.

"We have started our attempt to use AI for design," notes Hibi, which is born out by a recent company report that AI will be used in the early prototyping phase to simulate things like drop tests and assess thermal performance.

"We have no choice but to use AI in the design department," adds Go Tokura, executive vice president and head of Canon's Imaging Group. He's also sure to point out that the fruits of the technology will still be distinctly 'Canon', rather than resulting in homogenized products that are the same as other brands.

"When it comes to design, it is said that the AI can bring up the best possible solution. And you may think, if that’s the case, every single company will come up with the same new products.

"We have our own accumulated technology – not just designing capabilities, but also production technology as well, and materials. So even if we use AI for design, AI will consider all these unique capabilities to come up with the best solution for Canon.

"So even if the solution is generated by AI, that could be a good solution that will be able to differentiate our product from the others."

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Take a look at the best Canon cameras along with the best Canon lenses for DSLRs and the best Canon RF lenses for mirrorless. To see how Canon is employing AI in its top-tier cameras, check out my Canon EOS R1 review and my Canon EOS R5 Mark II review.

The weirdest camera in Nikon’s lineup has just received a small firmware update. If you’re a Nikon Coolpix P1100 owner you can benefit from firmware update version 1.1, which Nikon says fixes the following two issues:

• Camera stops responding when adjusting zoom during burst photography (rare).
• Some timestamps in metadata of video files differ from actual date and time of recording.

As always, it’s worth making sure you know how to update your Nikon camera’s firmware before performing the update. While issues are rare, you may also wish to wait a week or two to ensure that there are no problems with the update before updating your camera.

What is it? Nikon Coolpix P1100

The Nikon Coolpix P1100 is the only bridge camera in Nikon’s current lineup – and beyond its predecessor, the Nikon Coolpix P1000, there really isn’t anything else quite like it. The camera’s main selling point is its humongous 125x optical zoom, which equates to 24-3000mm in 35mm terms.

It’s built around a 1/2.3-in CMOS sensor and, while it doesn’t deliver the very best image quality in the world, nothing is going to get you closer to faraway subjects, so the trade-off is well worth it if you ask me.

This is the kind of camera that sports, wildlife and lunar hobbyists will have an absolute blast with. You’re unlikely to capture award-winning images with it but, if your goal is simply to record what you see in the distance, you’re unlikely to find a cheaper or more compact option.

Even if it is an absolute monster-sized bridge camera.

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Camera Intelligence is a startup which has decided to change cameras – it might not be for everybody, but the company thinks its Caira camera might sell to ten times as many to creatives than the entire mirrorless market. Until today, I wasn't sure why.

Last year we covered the Kickstarter for the Caira, in which Camera Intelligence CEO Vishal Kumar unveiled a Micro Four Thirds camera system which – he says – attaches to a phone and bridges the gap between the photographic aspirations of people who buy the 'iPhone Pro' series (of whom there are 100 million every year) and the desire for simplicity and easy of use which limits real camera purchase to 10 million a year.

The result is a piece of hardware with a SnapDragon processor and a touchscreen that has similar power to a smartphone, and a MFT 4:3 image sensor.

A subscription will be needed for the use of the Nano Banana feature, but I was able to test it out in person and I can see the appeal.

Some of the most impressive effects demonstrated were video – from a simple instruction and a short clip the camera could create a whole clip with consistent style – for example by telling it: "orbit this statue like a drone."

The device, called an "AI-native Micro Four Thirds" was backed with $459,000 (670 backers) and the devices are now shipping as they are delivered.

As of today's event, new generative features on the device included Nano Banana for video editing, which is part of the Gemini Omni 1.1 Flash "any-to-any" model introduced at Google I/O as well as Runway's Aleph 2.0 which adds "real-world understanding" (helping it create effects and even apparent 3D motion to clips which have already been captured).

The ultimate goal for Camera Intelligence is to eliminate the three stage workflow that photographers presently work through, especially creators in a hurry. By eliminating the memory card and on-computer edit, and instead achieving video and photo editing in device (or, at least apparently), before sharing directly through your phone's usual means.

Now of course we have seen some of these features – tone adjustments and the like – in other cameras, but I was astounded by the demonstration I saw, inspired by the Harry Potter movies, no doubt – in which a photo of St. Pancras Station in London was turned into a drone-style flypast.

This was made possible with the new AI tools that create and extend video from that you shoot in device. The high-speed integration of this feature (it's only been days since it was announced) gives an idea of how this camera works with software agents first and foremost.

The problem that the company has set out to solve is not that there aren't professionals looking for professional workflows, but that there is a camera workflow that hasn't changed in 30 years, which puts creators spending 20% of their time creating on device, and 80% editing.

By attaching a MFT system to a phone, and Google's "Edge" TPU on device, as well as a Wi-Fi connection to the phone, everything is there for computational photography not just in the 'iPhone sense', but LLM instructions. This combines to form what Kumar called a "Vertically integrated platform."

So, can Camera Intelligence find a market for cameras that has eluded the rest of the world? I don't see why not myself. After all, many people are happy to buy phone accessories (especially if they'll last multiple generations), and many find traditional camera system menus somewhat bewildering.

Being able to interface with your serious camera via a phone-like touchscreen app seems to bridge a lot of that gap (and might do so even more for younger users with no prior experience of cameras).

There will be frustrations. The Nano Banana – and any other AI image generator which is integrated onto the device at a later date – will need to be paid for by subscription.

There are also, in the form I tried, limitations which seem a good idea – AI content is generated from material you take, and cannot do things to change people's appearance.

In the world where you need to publish 3-4 times a week to stay relevant, a device with AI on hand could help out. I can only imagine more need for features like this. Of course, if features are added by a simple app update, is there a line that can be drawn? I'm not sure, but I am more than intrigued.

The final hardware and software are expected in Fall 2026, with generative video only available in the USA and UK at first.

Poco’s wallet-friendly flagship destroyer is back, just 8 months after the last one. But this early arrival has a downside: it means that the F9 Ultra doesn't get Qualcomm's next-gen processor, and instead uses the same Snapdragon 8 Elite Gen 5 as its predecessor.

In lieu of a processor upgrade, Poco has super-sized the battery, upgraded to a brighter, faster display, and added a 200MP main sensor.

Are these changes enough to remain competitive? I’ve been using it as my main phone for the past week to find out.

Specifications

Price

The Poco F9 Ultra starts at $799, with early bird deals bringing that down to $729. Last year's F8 Ultra started at $729, so the price has increased by $70.

There are three models to choose from. The base model gets 12GB of RAM and 256GB of storage, while the 512GB model and (all-new) 1TB variant both get 16GB of RAM. They cost $949 and $1,199, respectively, but each has its own early-bird discounts available.

The pricing puts the phone in competition with other upper-mid-rangers like the Oppo Reno 16 Pro, Honor 600 Pro, and Xiaomi 17T Pro. It's also up against the base model Samsung Galaxy S26 and iPhone 17. In any case, the spec sheet holds up well against all opponents. It has the largest battery, the best processor around, and solid cameras, too.

Design & Handling

The Poco F9 Ultra looks very similar to its predecessor; only this time, there's no crazy denim-coated option. Instead, you can choose between a rather understated Black model or a slightly more eye-catching Dark Cherry, and I have the latter in for testing.

I absolutely love the colour. It manages to stand out from the crowd without being too bright or garish. The hue is perfectly matched on the aluminium side rails and camera island, and the glass-fibre rear panel has a smudge-resistant finish with a little texture to it.

It's no doubt an iPhone-inspired design, and rumors say Apple will have its own Dark Cherry colourway, but the Bose-branded subwoofer helps to ensure that it doesn't look too much like a copycat. There's a hidden new feature with this button-shaped speaker grille, too. It now has a white LED backlight encircling it, and it can pulsate along with your music, or when someone calls you. It's not the most useful addition, but it's cool, and I think that matters.

The phone is as sizable as ever, with a 6.9-inch display, and it's fairly hefty, at 235g. This is essentially a gaming phone, though, and that comes with territory. Unlike some competitors, there are no extra buttons or triggers, just the usual volume rocker, lock button, and SIM tray.

I was pleased to see that Poco has kept the ultrasonic fingerprint scanner; it's incredibly quick and reliable, outshining most similarly-priced competitors. It's also IP68-rated and has Corning Gorilla Glass 7i protecting the screen, along with a factory-applied plastic screen protector and a free hard-shell clear case included in the box.

The display has a blazing-fast 185Hz refresh rate, making it one of the fastest we've ever come across. Sadly, apps that will make use of this feature are few and far between, but at the very least, it should offer a competitive advantage in games like CrossFire: Legends and Blood Strike, while games like Call of Duty will cap out at (a still impressive) 165Hz.

It's also a super-bright panel. Poco says it can reach 10,000 nits covering 1% of the display area, or 4500 nits for 25% of the display. They're slightly confusing metrics, but all you really need to know is that it's one of the brightest screens around, and it's more than bright enough to compete with direct sunlight. Equally important, it can dim all the way down to 1 nit for late-night doomscrolling.

Otherwise, it's the type of crisp, vibrant OLED panel that you'd expect from a 2026 flagship, with fairly slim symmetrical bezels on all sides. Strong haptic motors aid the gaming and typing experience, but the speakers are the real star of the show.

Poco has, once again, teamed up with Bose to engineer a 2.1 sound system with a dedicated subwoofer. This time, Poco says the system has been refined to produce deeper bass and clearer sound overall.

I never tried the F8 Ultra, but I spent a lot of time with the Honor Magic 8 Pro, which also comes with a built-in subwoofer. I often found Honor's solution to be too bassy, and eventually ended up turning the bass down in the software, so I didn't have the highest hopes for the F9 Ultra, but it surprised me.

These speakers are shockingly well balanced. The bass is deeper and fuller than most phones, without being overpowering; the mids and highs are clean and detailed, and there's a good amount of stereo separation. It makes for a great experience when watching videos or playing games around the house.

Of course, we are still talking about phone speakers, so keep your expectations in check. They can't match an affordable Bluetooth speaker or a pair of headphones, but they come closer than most.

Camera Performance

The Poco F9 Ultra's main camera has been upgraded significantly. It now uses a 200MP 1/1.56-inch sensor from the HP5 family. It's slightly smaller than last year's 50MP 1/1.31-inch sensor, but the extra resolution should help a lot with digital crops between 24mm and 115mm, before the dedicated telephoto takes over. I think that's a good thing, because I find 5x telephotos to be a little more zoomed-in than I'd like for a lot of situations.

Said telephoto is unchanged from last year, but that's fine, because it was already pretty great. I believe it's also the same unit that the Xiaomi 17T Pro uses, and I was impressed with it there, too. I just can't help but wish it was an 85mm-equivalent instead.

The ultrawide is also unchanged, with a 50MP resolution and a respectable 1/2.88-inch sensor size. Its weakness is that it's fixed focus, so it's no good for close-up shots. The selfie snapper is 32MP. It does a decent job and has a nice wide FOV, but the lack of autofocus means you have to stand in the sweet spot to get the sharpest shots.

Aside from the lack of AF on the ultrawide and selfie camera, it's a very well-rounded camera setup. All sensors are high resolution, and the main camera can focus pretty close up; combined with a bit of digital zoom, it does a solid job for macro capture. The telephoto is also decent; it has a minimum focus distance of around 30cm, but with its 115mm equivalent focal length, you can get nice and close for some detail shots.

Poco lets you zoom up to 100x in the camera app, but I wouldn't recommend pushing it that far. The AI image processing gets very heavy-handed at such zoom levels, and the finer details become filled with oil-painting-like artifacts. At 10x, though, the image quality is superb, and you can even push it a bit further when the situation calls for it.

In low-light conditions, you'll want to stick to the main camera as often as possible. The larger sensor, combined with pixel binning and software enhancement, results in the cleanest images of the trio, mostly free from noise and blurring. The other cameras do a decent job, but smaller sensors mean they're quite prone to motion blur

If you want to give your photos some more personality, there are lots of filters to choose from in the camera app. They're mostly the same as the ones you'll find on other Xiaomi phones, but of course, you don't get the Leica-branded ones. That said, my personal favourites, the Positive and Negative film simulations, are both available here - and they look as excellent as ever.

Video capture is also impressive on this phone. Not only can you shoot at 4K 60fps on every single lens, but you can do so with Log enabled, and you can even apply preview LUTs. You can also shoot at 8K, if you fancy, but that only works on the main camera.

Sadly, there's no 4K120, but there's nothing unusual about that in this price bracket. The Poco F9 Ultra still offers more than most of its direct competition.

Phone Performance

The Poco F9 Ultra, somewhat strangely, is powered by the same Qualcomm Snapdragon 8 Elite Gen 5 processor as its predecessor. Normally, the Poco F-series devices always feature the latest Snapdragon chip, but this time, the brand has jumped the gun and released devices before Qualcomm’s next-gen chips are announced.

I suspect this was done to keep the phone in its affordable price bracket without sacrificing specs elsewhere. That's fine by me; it's still the fastest SoC that money can buy (right now), and it's more power than most users need.

This move also means that we haven't seen a RAM downgrade, as we have elsewhere. The 256GB base model still comes with 12GB, and the higher storage capacities both come with 16GB. I have the fully loaded 1TB option for testing.

Unsurprisingly, the phone is a rocket. It’ll handle all of your daily needs without breaking a sweat, and if you're into graphically intensive games, the F9 Ultra will handle them with finesse.

I loaded up my usual performance-hungry favourites, NTE and Wuthering Waves, and the phone was able to run both on high graphics settings at 60fps. It didn't get too hot in the process, and a solid game overlay let me tweak my settings further.

The experience is made all the more pleasurable by the super-bright screen, powerful speakers, and absolutely gigantic 8050 mAh battery.

The Poco F9 Ultra has the largest battery capacity of any phone I have tested to date, and despite frequent gaming sessions and plenty of camera use, I was getting two days from a charge on a regular basis. You could probably go longer with more conservative usage.

What's more, it charges super quickly. It supports up to 100W speeds with a wire or 50W wirelessly, with a compatible Xiaomi charging stand. There's no charger in the box, though, just a USB cable.

As for the software, it's the usual Hyper OS experience. I found it to be reliable and bug-free throughout my testing, and it's extremely customisable, so you can easily make it your own.

It isn't my favourite Android skin from an aesthetic standpoint, but that's easy to tweak. And there's a bit of bloatware when you first set it up, but it's all easy to remove.

There aren't really any standout features to mention; you get all the same stuff that we've seen on recent Xiaomi and Poco devices. That includes plenty of AI assistance like translation, transcription, and photo editing tools - plus the usual Google goodies like Gemini and Circle to Search.

Poco says you can expect six years of security patches and four major OS upgrades for the F9 series. It's not a class-leading promise, but decent enough at this price.

Verdict

Historically, Poco phones have been my go-to recommendation for people who want flagship-level gaming at an affordable price. Now, though, I feel like Poco has something to offer for just about everyone.

The F9 Ultra has one of the biggest batteries around; it's super powerful, it looks and feels premium, the speakers are top-notch, and the cameras are really impressive, too. No matter what you want from your phone, you'll likely find it here.

At this price, I don't think you'll find a better all-rounder - and with the way prices are trending, I don't see that changing any time soon.

Alternatives

Samsung's budget-conscious almost-flagship for 2026 has arrived, and if you were hoping for big updates, you might be a little disappointed. Aside from the obligatory processor upgrade, some minor aesthetic tweaks and some new colours, the hardware is very, very familiar.

Thankfully, on the software side, there are many new features making their FE-series debut. Most are pulled from either the Z-series foldables or the mainline S26 models, but they've never been available at such a low cost. Let's dive in and figure out exactly what's new.

Design

So, let's start with the things that have changed. The S26 FE uses Samsung's own Exynos 2500 chip, rather than the 2400. It's still one generation behind the base-model S26, but it should be more than powerful enough for most people's needs. It still starts with 128GB of storage; 256GB and 512GB versions are also available, and each comes with 8GB of RAM.

The only other change is with the design. The camera lenses are now on a slightly raised island, matching the other S26-series handsets, but otherwise the phone is just about the same size and weight as its predecessor.

It's available in three new colours, Graphite, Blueberry and Pistachio. Each has a fairly glossy finish, which looks great, but is a bit of a fingerprint magnet. Meanwhile, the side rails have a contrasting brushed aluminium finish. It's a nice-looking phone overall, and I'm particularly keen on the Pistachio option.

Otherwise, everything is carried over from the previous model. You still get an IP68 rating for dust and water resistance, a 4900 mAh battery with 45W wired and 15W wireless charging, and a 6.7-inch 120Hz OLED screen with a peak brightness of 1900 nits.

The cameras are unchanged, too. It has a 50MP main camera, a 12MP ultrawide, and an 8MP 3x telephoto on the back. Around front, there's a 12MP punch-hole selfie snapper.

Performance

While the hardware offers very little to get excited about, the software has lots of new features to try.

Starting with the cameras, the S26 FE now has full 360-degree horizontal lock stabilisation, which debuted on the S26 Ultra earlier this year. In addition, zoom quality is said to be improved, as is nighttime video. But as I've only tried it in a controlled-lighting environment so far, it's hard to comment on how much of a difference it makes.

My Fancam, a feature that launched with the Z Fold 8-series last month, has been ported over, too. This lets you take a wide video clip, choose a subject from that video, and it'll automatically crop and follow them around the frame. You can choose from a wide range of aspect ratios, very handy if you need to repurpose landscape videos for a vertical format, for example.

Audio Eraser is also included this time around, and it'll work to remove distracting background sounds on both videos that you have recorded and on apps like YouTube. On a slightly less exciting, but still useful, note, Samsung has also added its new Document Scan mode.

Most of the flagship Galaxy AI features are also present here, including Now Brief, which provides at-a-glance updates to help plan your day. Samsung has upgraded this feature with the ability to add custom cards to your Now Brief. So, for example, if you want more health metrics included, you can add them manually.

Now Nudge has all the latest updates and should appear automatically in the right situations. For instance, if someone texts you suggesting a meeting time, Now Nudge might pop up and ask if you want to add this event to your calendar.

Of course, Samsung's close collaboration with Google continues here as well. Gemini has more features than ever, and it can take more agentic actions, performing complex tasks across multiple apps. Circle to Search and Gemini Live both have enhanced capabilities, too.

Early Verdict

Samsung's FE models always have the same problem. They launch a lot later than the main S-series models, so while they are a cheaper option, the main S-series phones have usually already been reduced to narrow the gap.

This year, the problem is even worse. Thanks to the AI-induced component shortage, the S26 FE is more expensive than usual. The 128GB base model is $699/£699 and the 256GB is $799/£799. Compared to last year, that's a $50 price hike on the 128GB model, and a $100 increase for the 256GB.

The base model S26 (256GB) currently sells for £779 brand-new here in the UK on Samsung's official website. So (assuming you want 256GB), it's actually cheaper to get the real flagship. It's a smaller phone, with a smaller battery, but otherwise, it's better in just about every way.

Of course, that only applies if you're buying outright; I'm sure there will be plenty of contract offers to sweeten the pot. I'll reserve my judgement until I've spent more time with it, but on first impressions, last year's model seems like a smarter buy.

All-in-one super zooms, also known as workhorse lenses, give photographers incredible versatility from a single lens. The Sigma 16-300mm f/3.5-6.7 DC OS | C is a prime example. Designed for APS-C mirrorless cameras, it offers an impressive 18.8x zoom range, covering everything from wide-angle to telephoto without changing lenses.

Now, Sigma has released a new firmware update for the superzoom, improving AF (autofocus) operation speed, tweaking peripheral illumination correction, and fixing occasional blackout/freesing issue when used with the Canon EOS R6 Mark III.

The latter hints at why photographers shouldn't get too excited. While the 16-300mm f/3.5-6.7 DC OS | C is available for Canon RF, Fujifilm X, Sony E and L-mount, the firmware update is only for the Canon RF version.

Firmware overview

Ver.1.0.1
Download link Windows
Download link Mac OS

Improvements
• Fixed an isolated issue where the monitor blacks out and the camera freezes during shooting when used with the Canon EOS R6 Mark III
• Improved autofocus (AF) operation speed
• Optimized peripheral illumination correction data to improve correction accuracy

Pro Advice

If you caught Episode 4 of Bokeh Face: Digital Camera World podcast, above, we discussed the best time to install firmware updates, why they matter, and what issues they can cause. It's a helpful listen if you're unsure when – or whenever – you should update.

It's smart to wait a week or two after release to see if any users hit snags. In the past, brands have had a few hiccups with major updates – for instance, introducing memory-setting bugs or minor interface glitches before being reissued.

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New photo printers are becoming something of a rarity these days, but Epson is aiming to make the idea of printing exciting again with the launch of the impressively affordable new Expression Photo XP-980 all-in-one A3 printer.

It’s aimed at creative households and hobbyists and is designed to deliver high-quality results with the minimum of effort. Consequently, it’s a comparatively compact unit which won’t take up a lot of space on the desktop and it can operate wirelessly from a computer, tablet or smartphone via Wi-Fi Direct. As an all-in-one model, it incorporates both a scanner and copier for up to A4 size originals.

The XP-980 uses Epson’s Claria Photo HD dye-based inks with six colors – cyan, magenta, yellow, black, light cyan and light magenta – to give extended colour depth and saturation. Print sizes range from 3.5x5.0 inches up to borderless A3 at 11x17 inches. The maximum print resolution is 5760x1440 dpi and the printer has dual front-loading trays (one for up to 100 sheets of plain paper and one for heavier photo papers that takes up to 20 sheets) and a rear specialty media feed.

As the front photo paper tray only accepts up to 5x7 inch sheet sizes, the rear eed is for the larger sheet sizes and can only be done one sheet at a time. The printer supports gloss, semi-gloss, matte and lustre photo paper surfaces.

A neat feature is that the output tray automatically extends from its closed position when a print job starts. Also convenient is automatic print head alignment and control is via a 10.9 cm colour touch screen panel. Alternatively, the Epson Smart Panel app enables the printer to be controlled from a mobile device for set up, monitoring, printing and scanning.

The XP-980 has an SD memory card reader plus USB and Ethernet ports and wireless connectivity via Wi-Fi (2.4 and 5.0 GHz) and Wi-Fi Direct. The printer also supports wireless printing via Apple AirPrint and Mopria Print Service.

The Epson Expression Photo XP-980 photo printer is priced at $279.99 / £249.99 / AU$399.

In November, a fledgling awards event that celebrates films made with artificial intelligence (AI) comes to London. The second edition of the AI Movie Awards (AIMA), which debuted in March in Spain, will recognize creations across a host of categories including feature films, short films, advertising clips and even music and art.

These awards are another in the growing number of events now recognizing films and photos generated using AI instead of with production crews, sets and actors. And, in one sense, I do believe that AI can be used creatively and that truly great AI creations are the result of a creative mind – not simply prompts and a click of a button.

But then, I remind myself that AI companies scrape copyrighted content – images, text and videos that an artist poured blood, sweat and tears into making – in order to sell subscription-based access to their tools without any sort of financial kickback to the creator whose work they’ve "borrowed".

I’d love to say "stolen", but this is such a legal grey area – with ongoing suits all over the world between AI platforms and publishers – that unfortunately, according to the law, I’m not even sure I can say that they’re stealing, even though it definitely feels this way.

Perhaps I’m succumbing to some sort of “AI overload.” You know, like when any other new, controversial thing is released and your resistance gradually turns to acceptance once you realize it’s here to stay.

And maybe it’s this that’s shifted my perspective on recognizing AI creations – and not that I actually think a movie generated purely with software deserves an award.

Or perhaps it’s that this new event in London is just one of many recent societal shifts toward accepting AI creations, even at the highest levels of cinema.

Take the AIMA 2026 judging panel, for instance. Sitting on this is Tommy Harper, a Hollywood and TV producer known for some pretty big titles, including the Star Trek reboot films.

And with Tribeca becoming the first ever film festival to recognize a fully AI-generated feature film this summer, these are people and institutions whose opinions on filmmaking carry weight – and I certainly think they’re worth considering.

However, I’m still unsure whether these awards should recognize creations brought about by the use of tools that, in part, run on copyrighted content.

I do think truly creative AI films and images can be recognized. But at the same time, I fear that it only helps legitimize the practice of using other people’s work without compensating them.

What are your thoughts?

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The UK’s Royal Navy has released a new short feature film on YouTube, throwing us right into the action with its official photographers.

Life Through The Lens documents what it’s like to be a camera operator in the British Royal Navy, from documenting the split-second chaos of combat to the drawn-out, somber funerals of those lost in the line of duty.

Much like Capa, McCullin and other famed war photographers of the past, the interviewed Navy personnel tell gritty stories of documenting some of the most emotionally and physically challenging moments of their lives.

But unlike the famous photojournalists of conflicts gone by, they face a new challenge – one they say will never be able to create something as “visually strong” yet “authentic to military life” as they can: artificial intelligence (AI).

ABOVE: Watch Life Through The Lens

According to former Royal Navy photographer Sean Clee: “AI can’t replicate what we do. It can’t go out on the ground. It can’t search out human interest stories.” Clee served for a quarter of a century in the Navy, the latter 15 years with a camera in hand.

While on deployment in Afghanistan, he captured the immediate aftermath of a rocket-propelled grenade explosion close to his unit. “There’s gotta be a face out there,” he said, adding that “AI can’t find these things.”

And it would appear that, at least for now, the UK military forces have no plans to replace their photographers with AI in any way. Wording in JSP 936, the Ministry of Defence (MOD)’s principal policy framework, states that the UK armed forces reject the use of AI that risks harming institutional credibility.

Credibility is what Chief Petty Officer Hoare – also interviewed in the featurette – says is at the heart of Royal Navy photographers’ work.

“Imagine using an AI image of made-up sailors instead of sailors that are actually doing the job,” he said. “We’re capturing real life […] we don’t lie about what we do.”

Life Through The Lens, the new photography mini-documentary from the Royal Navy, is now available to watch on YouTube (embedded above).

It’s not only a visceral insight into what these photographers endure to capture their images, but also a real-world refute of AI – demonstrating the limits of the technology through a unique line of photography.

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MorningBlues is a maker of high-end audio equipment that is as much about artistic form as it is about functionality. Its range includes the S1 Nightstand combined bedside chest and speaker system, the Record S1 freestanding speaker with a circular screen that displays song lyrics, the SonicGlass A1 translucent box that overlays graphics over the innards of the speaker system, and the product I'm looking at here, the Gallery T2, which combines a stunning 30-inch art display with MorningBlues' trademark high-end speakers.

The multifunction display can showcase artworks and comes packed with paintings from world-renowned artists, show song lyrics in time to the music set against mesmerizing animated backdrops, and, yes, display your own photographs in stunning detail, putting it firmly in Digital Camera World's wheelhouse and offering something a little different from the best digital photo frames.

MorningBlues T2: Specifications

MorningBlues T2: Price

With a list price of $1,499 / £1,499 (Australian pricing TBC), the MorningBlues T2 is hardly an impulse purchase, and far more expensive than typical 'large' frames, such as the Aura Walden, which goes for around $299/£299. However, not only is it a very large frame with a 30-inch diagonal display (compared to the Walden's piffling 15 inches), but it's a multifunctional device, with a library of licensed artworks and top-quality speakers built in. It is available internationally directly from MorningBlues, as well as other retailers, depending on the territory.

It does come on offer from time to time, making the purchase price a little more palatable; I've seen it variously as a two-for-one deal or discounted to $999, and our price widget below works hard to find the best current deal for you.

MorningBlues T2: Design & Handling

It's impossible not to be a little taken aback by the T2's size. Its 30-inch screen isn't far off the real estate of a living room TV, and adding the thickness of the frame that surrounds it takes the overall dimensions to 25.2 × 19.3 × 2.1 inches (641 × 491 × 54 mm). It's no lightweight, either, tipping the scales at 23.6 lbs (10.7 kg). Should you want to hang it on your wall, clearly a regular picture hook won't do, and a substantial mounting bracket, along with a pair of self-expanding bolts, is supplied to secure it.

Note that it can only be wall-mounted in portrait orientation, and while the frame can display horizontal artwork and images, it is primarily designed as a vertical-orientation device; indeed, its speaker grilles are at each side of the frame, and so one channel would be blocked and muffled were you to prop it on its side, not to mention the stereo coming from above and below, rather than left and right.

If you don't wall-mount it, you'll need to place it against a flat surface, leaning it so the top of the frame is supported by a wall, as no prop is included. That said, it would have to be a very substantial prop indeed to securely support a device of this size and weight.

The 30-inch screen is surrounded by a deep black minimalist outer frame about an inch thick on all sides. There's no card-effect inset as I've become used to seeing on many competitors' frames, but most of the provided artworks are set within a virtual inner frame sized to fit the currently displayed picture, complete with fake shadows to give it a 3D look. This virtual frame can also be used to frame your own photos.

The screen isn't of the touchscreen variety, but there's a swipeable 'rainbow' bar on the side, along with an on/off/sleep push-switch, volume controls, and an 'OK' button. A one-fingered swipe moves between the previous and next image or artwork, while a multi-finger gesture switches between the various display modes. It's fairly intuitive once you're used to it, and I must say that I prefer this to touchscreens on photo frames, as the last thing you want are greasy finger marks smeared over the display.

A companion app also allows you to control the frame and offers more functionality, such as controlling the frame brightness. You can set day, night, and cloudy modes, which are essentially different brightness levels, or set a schedule to switch between them. There is no auto-dimming feature, however, to suit the ambient light levels of the room, as some frames have. The app also enables you to create albums of artwork, upload images, and a whole lot more besides, as we'll get to.

MorningBlues T2: Performance

The 1898 x 1420 pixel display is a reasonably high-definition 2K screen; although spread over 30 inches, this equates to a fairly modest pixel density of 79ppi. However, this is a display to be admired from afar rather than up close, so the overall effect is crisp and clear, and the anti-glare matte finish gives it the look and feel of a true work of art rather than an overly bright monitor screen.

And while it is perfectly capable of displaying photos, it's more than simply a digital photo frame. First and foremost, it's a fine art display, and comes wth 100 inbuilt works of art, fully licensed from some of the world's most prestigious fine art institutions, including works from old masters such as Rembrandt, Degas, Renoir, among many others, as well as more contemporary artists.

You can upload them to the screen as the mood takes you, or pop your favorites into a folder and select a time duration for the frame to automatically switch between them. If you want to discover more about a particular painting, tapping an icon brings up the title, the institution where the original hangs, and a short caption similar to the information typically found next to artworks in galleries.

One curious thing is that while the frame is designed to display portrait-oriented images, quite a number of the supplied artworks are landscape. As I mentioned, you can always rest the frame on its side to display these images, but you can't wall-hang it, and you'll be blocking one of the speakers.

Next up is the Scene Lyrics mode, and this really is fun. You can stream music from your favorite streaming app (all the big ones, including Apple Music, Spotify, Amazon Music, and YouTube, are supported), and the lyrics are overlaid onto animated backdrops, synchronized to the music. There's a sailing boat on rolling waves, a dancing couple, a manga-style cartoon with the words in speech bubbles, and Bauhaus-inspired (the artist, not the ’80s goth band) block graphics, among my favorites, and it's truly mesmerizing to see in action.

The sound is most definitely a cut above the tinny efforts you'd find on typical smart speakers; the not-insubstantial frame houses a pair of powerful hi-fi-quality stereo speakers that fill the room with deep bass and rich vocals, and the sound can be further enhanced by applying Panoramic Sound, Live Rhythm, and Pure Vocals audio filters, depending on your preferences.

You don't need to be in the Scene Lyrics mode for the frame to play music; it can carry on banging out the tunes with artwork, photos, or anything else displayed. You just won't get to see the lyrics. Effectively, the frame functions as a Bluetooth speaker, with all the benefits and drawbacks that this has. Anyone with permission can sync the frame to their phone via Bluetooth, but equally, the phone needs to remain within Bluetooth range to continue streaming music. Move out of range, and the music cuts out, unlike with a smart speaker, such as Google Nest, which you can link to your music library to play tunes independently of your phone.

While you can skip forward and back through the selected playlist and set the volume from within the MorningBlues app, if you want to do anything more complicated, such as play a different artist or another playlist, then a fair amount of app-hopping is involved.

The Albums mode is where you upload your own photographs (or other artwork). Like most other photo frames I've used, you give the MorningBlues app access to your phone's photo library, then simply pick the images you'd like to include. But, as the frame is geared to displaying portrait-orientation images, any landscape shots will need to work cropped to 4:3 aspect ratio portrait images. There's no intelligent smart cropping here, but you manually select the crop on each image as you upload it.

As the frame displays images so large, you will probably want to limit it to your most professional-looking shots, rather than casual snaps, so if this means taking images shot on a dedicated camera rather than a smartphone, you'll have to transfer them to your phone image library first. There's no way to transfer them directly from your computer.

You can set up three 'Private' galleries and set the frame to roll through slideshows. They are displayed brightly and crisply, and I can totally see this being used as a way to showcase images in a photo studio, for example. There's also the option to share galleries with other users via a code; they will also have to download the MorningBlues app. Further options enable you to display a Photo Wall made up of 35 individual images set into small squares, or videos, though of course these need to be shot in portrait orientation rather than the more traditional landscape format.

Meditation mode is less interesting. It displays time-lapses and aerial videos of various world locations, although only six are preloaded. And while Clock mode tells the time as you might expect, it does so via a cool montage of miniature clock faces or by spelling out the time in words. It's all very chic.

MorningBlues T2: Verdict

The MorningBlues Gallery T2 is much more than a simple digital photo frame. It's also a high-end speaker system and art frame, and if you're not going to use that functionality, you'll be spending way over the odds. It is as much an objet d'art as a functional device, and I can see it taking pride of place in upmarket residences, arty studios, or trendy workplaces alongside the foosball table and beanbags.

And while dedicated photo frames from the likes of Aura offer better functionality, its gorgeous 30-inch 2K display does show off photographs in beautiful, larger-than-life clarity. It is limited to vertical-orientation images only, so you'll have to pick images with care.

Yes, it's undeniably expensive, but let's not forget that you have access to a library of beautifully reproduced fine art paintings from some of the world's most famed artists. And it's a lot cheaper than a genuine Rembrandt.

Alternatives

Godox has just extended its tentacles even further into the wider realm of photographic accessories, challenging the best portable printers from Canon, Instax, Polaroid and Kodak.

The Godox P100 Portable Color Photo Printer offers portable, even pocketable, credit card-sized printing. However, unlike many affordable pocket printers that use underwhelming Zink technology, the P100 employs high-end dye-sublimation printing.

The dye-sub process delivers rich colors and deep blacks that are near-photographic print quality, with a laminated top layer to protect the image from handling.

It produces 86 x 53mm prints (on 97 x 53mm paper) at 300dpi, with 1,256 printhead heating elements able to render 16.7 million colors. These specs put it in competition with the likes of the Canon Selphy QX20 and Polaroid Hi-Print 2x3, both of which are actually slightly lower in resolution.

However, Godox doesn't state how fast the P100 prints – only that it delivers "quick printing, fast results" – so it will be interesting to see how it compares to the Selphy's 40-second prints and the Hi-Print's 60-second offerings.

The P100 pairs with the Godox app, available for iOS and Android, which offers features like ID photos, filters, frames, stickers and collages. The device also works via Bluetooth and even supports NFC for quick connection.

At just 142.5 x 86.8 z 26.8mm and 320g, it's the perfect size for throwing in a shoulder bag or leaving on the table at parties and events. And I personally think it's a much prettier little printer than its rivals.

Much as I love my Selphy, it's a pretty generic-looking box, while the Polaroid and Kodak options are downright unsightly. But the P100 has a soft, soapbar-like shape more along the lines of the Mini Links than its angular, garish competitors.

The Godox P100 doesn't appear to be widely available outside China yet, where it launched at ¥699 (approximately $104 / £76 / AU$144), but is already listed at Amazon US priced $119 with a 10-sheet paper / ink cartridge or for $138 with an extra 20-sheet cartridge. Additional Godox CP220 20-sheet cartridges sell for $19.

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Light is the single most essential part of a great photograph – and now Photoshop is giving photographers a non-destructive layer just for light. On August 27, Adobe announced a long list of refreshes for Photoshop, including a new Light Adjustment Layer, along with new tools and more control over using AI inside the popular photo editor.

Editing light has long been a part of Photoshop’s workflow, but the addition of the Light Adjustment Layer brings several of those tools into a non-destructive layer. The new adjustment layer adds a dedicated space for adjusting exposure, contrast, highlights, shadows, whites, and blacks, with the ability to go back and tweak those controls later on.

Photoshop already has Exposure Adjustment Layer and Curves Adjustment Layer options, but the addition of the Light Adjustment Layer adds more nuanced control with the ability to also control highlights, shadows, whites, and blacks.

Unlike the curves layer, adjustments to the new Light layer use a simple set of sliders that will look immediately familiar to any photographer who has used Lightroom before.

Adobe says that the new layer delivers “Camera RAW-level results” without having to go back into Adobe’s RAW adjustment tool.

I do most of my editing in Lightroom Classic, pulling up Photoshop when I need to make more specific, fine-tuned adjustments. I’ve long had a photo open in Photoshop only to realize I still need more tweaks using Lightroom’s light-based sliders, and now Photoshop has a non-destructive tool with similar controls.

The August 2026 Photoshop update also adjusts several AI tools

The new adjustment layer launches alongside a handful of refreshes to Photoshop’s AI-based tools and interface, including updates to localized AI edits and a separate interface dedicated to prompt-based editing, a tool that’s still in beta.

First, Adobe says that Firefly Image 5 understands the photograph’s context better. Instruct Edit with Masks allows users to describe precise edits using prompts and leave the unmasked areas untouched.

Creators will also be able to draw over where Firefly should make any changes using a Markup tool. Adobe says users can now sketch arrows or brush in a rough shape for the software to recolor an area or add in new elements.

Photoshop’s prompt-based editing, which is a beta tool that allows users to describe what they want and have the GenAI assist, also now has its own separate user interface. AI-Assisted Editor is a new separate workspace from Photoshop’s usual one that creates a dedicated space for asking the chatbot for help with images.

Inside the new AI-Assisted Editor space, users can use natural language prompts to ask for help, along with using tools like background removal, generative expand, the remote tool, generative fill, and generative upscale, all in a new space built for working with AI edits.

Adobe says the usual interface will still be available using the Contextual Task Bar inside Photoshop’s usual user interface to access AI tools.

The new AI Assisted Workspace looks like it could be a simplified way for creators new to Photoshop who are using the chatbot to learn the ropes without so many daunting controls. But I do wish that Photoshop would also do the opposite and add in a master switch for turning off all Generative AI rather than adjusting each tool one-by-one.

The August 2026 update also includes an update to Dynamic Text that allows text to follow any custom shape or path, along with a new Adobe Stock panel that puts stock images into a dockable panel.

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The Redmi Note series has always occupied that incredibly competitive space between cheap phones that simply get the job done and more ambitious mid-range models that start borrowing features from flagships.

However, for Digital Camera World readers, the Pro Max moniker doesn’t signal better camera sensors or a collection of more elaborate lenses, as it might do on other devices like the iPhone.

Xiaomi still talks up the phone's photography credentials, including a 50MP optically stabilized main camera, 4K video, Pro modes and a collection of AI-assisted editing tools, but the hardware itself is relatively simple. Alongside the main camera, there is just an 8MP ultrawide, with, like last year, no dedicated telephoto at all.

However, the phone does pack in a frankly ridiculous 10,000mAh (9,210mAh on the European model) silicon-carbon battery, paired with 100W charging, inside a phone that remains just 8.65mm thick in most finishes.

Xiaomi has also given the Note 17 Pro Max an impressive 6.83-inch 1.5K AMOLED screen, Snapdragon 6 Gen 5 processor, up to 12GB of RAM, and a tougher body protected by Gorilla Glass Victus 2.

So has Xiaomi created the perfect mid-range all-rounder, or does the Note 17 Pro Max leave photographers wishing some of that enormous battery had been traded for another lens?

Specifications

Price & Availability

At £499, the Redmi still offers excellent value, with an excellent AMOLED display, unusually robust construction, fast 100W charging and, above all, that enormous 10,000mAh / 9,210mAh battery.

There are compromises, though. The Snapdragon 6 Gen 5 is perfectly capable rather than particularly powerful, and photographers are getting just a 50MP main camera and 8MP ultrawide, with no 200MP sensor (as found on the Redmi Note 15 Pro+) or dedicated telephoto lens. That puts it up against the Pixel 10a with its two-camera system.

But as an all-round phone, particularly for anyone who values battery life, I think there is plenty here for the money.

Design

The Redmi Note 17 Pro Max is a perfectly nice-looking phone, although my black review unit is especially understated and hard to really get excited about. There is little accenting or contrast between the back and sides, and while there is nothing inherently wrong with that, it isn't exactly eye-catching. Xiaomi also offers more interesting Green, Purple and Cloud Blush versions.

Cloud Blush is the most glamorous. Xiaomi says its fiberglass back uses photochromic technology to shift from white towards a pink-orange finish when exposed to sunlight. I haven't had that version to test, but from the marketing images it reminds me strongly of some of the finishes Vivo has used in recent generations. It is eye-catching, certainly, although not enormously original.

This isn't really a Xiaomi problem specifically. Smartphone design has reached the point where an awful lot of devices from Vivo, Oppo, OnePlus, and Xiaomi are converging on essentially the same formula: flat sides, softly rounded corners, a large rectangular screen, and a camera block pushed into the top-left corner. And yes, a lot of them owe at least some debt to recent generations of iPhone.

Still, I prefer this design to the previous generation of Redmi Note. Moving the cameras into the corner rather than placing them inside a large circular central island makes more practical sense to me. It keeps my fingers further away from the lenses while I am holding the phone, which means fewer greasy fingerprints and fewer opportunities to get my fingers in photos.

The actual camera bump is refreshingly small. I spend a lot of time testing Ultra phones with huge camera housings, so having something this restrained is a pleasant change. Of course, Xiaomi has managed that partly because there simply isn't a telephoto camera hiding underneath it.

The Black version feels fine in the hand, although the rear panel has a slightly hollow sensation when handled. But it doesn't feel fragile, and Xiaomi has given the phone its latest Titan build. Gorilla Glass Victus 2 protects the display, while the phone carries IP66, IP68, IP69, and IP69K dust and water resistance, so you can take it swimming in fresh water.

Xiaomi also cites certified testing involving drops of up to three meters onto granite and water immersion at two meters for as long as 72 hours. I have dropped the phone a few times (onto concrete, not granite) to investigate that claim, and it has held up fine with some minor scratches to the frame.

What impresses me much more is what Xiaomi has managed internally. The Note 17 Pro Max contains a colossal 9,210mAh silicon-carbon battery (10,000mAh in some markets) yet measures only 8.65mm thick in the Black, Green and Purple versions. At 225.1g, it doesn't feel disproportionately heavy against rivals considering the battery capacity.

There are the usual power and volume controls around the edge. I am quite glad Xiaomi hasn't felt compelled to add one of the increasingly common dedicated camera buttons, which I still don't find especially necessary on most phones. I would, however, happily take a customizable Action-style button on the opposite side for launching a favorite setting or function. That would be more useful to me on a daily basis.

My sample also came with a simple silicone case. There is nothing particularly luxurious about it, but I will always take a functional case in the box over having to go online and overpay for one.

The under-display fingerprint reader is quick, but it sits noticeably lower than on many phones I use, below the point where my thumb naturally lands when I pick up the device. I eventually adapted, but even after several days I still found myself having to slightly reposition my grip.

Xiaomi has fitted an excellent screen for its class. The 6.83-inch AMOLED panel has a 2772 x 1280 resolution and refresh rate of up to 120Hz, and it looks fantastic. It is sharp, colorful and, to my eyes, pleasingly accurate. Brightness is impressive. Xiaomi quotes a peak of 3,500 nits, and I had no difficulty using the display in brighter conditions outside.

There is also 12-bit color, DCI-P3 coverage, HDR10+, Dolby Vision, and 3840Hz PWM dimming, alongside TÜV Rheinland certifications for low blue light, circadian-friendly viewing, and flicker reduction.

Camera Performance

The camera system consists of a 50MP main camera with optical image stabilization and an f/1.5 aperture, paired with an 8MP f/2.2 ultrawide. There is then a 32MP front-facing camera. This has been reduced from the 200MP sensor included in last year's Redmi Note 15 Pro Plus, and again, there is no dedicated telephoto lens.

That is the single biggest weakness of the Note 17 Pro Max as a photography-focused smartphone. I don't necessarily expect every mid-range phone to offer some enormous periscope camera, but a useful short telephoto would have made this a substantially more compelling all-round camera.

The main camera itself is respectable. In good conditions it can produce plenty of detail, and one area where I think Xiaomi has done particularly well is color. Images generally looked true to life, without excessive saturation or dramatic tonal shifts. Although there is none of the Leica co-engineered processing here from more premium Xiaomi phones.

Xiaomi's default sharpening and processing can be a little overeager. Photos often have a slightly crisp, processed appearance when viewed closely. I wouldn't describe the results as bad, but there is a visible "phone photo" quality that keeps them from feeling particularly natural.

HDR performance could also be stronger. On bright days, I encountered blown highlights in skies where I would expect a more sophisticated camera phone to recover substantially more information.

The 2x option is useful and produces perfectly respectable results in decent light. Beyond that, things deteriorate quickly. This is where the 200MP sensor, or a dedicated telephoto, would transform the experience. The phone has a good-enough main camera, but I think it's asking too much for a 50MP 1x camera to handle zoom for anything past 4x, at a push, in good light.

There is no dedicated macro camera or macro mode that I could find either. Instead, I relied on the main camera and its 2x option to get closer to subjects. It can focus reasonably close, and the results are usable for details and casual close-ups, but I wouldn't call it true macro photography.

Portrait mode fares better. The artificial background blur looks reasonably convincing and subject separation is generally good. Hair remains the classic issue, and the Note occasionally gets confused by finer strands, but overall I was pleased.

There is also a Pro mode for both stills and video. Phones obviously have fixed apertures, so you don't get anything resembling the complete creative control of an interchangeable-lens camera, but having access to manual shooting controls remains useful. You can also switch into the full 50MP mode when maximum resolution matters.

There is a trade-off, however. Shooting at full resolution means giving up some of Xiaomi's computational low-light processing, so bigger numbers don't automatically translate to better pictures in every situation.

The camera app includes several built-in filters. I find some of them a little tacky straight out of the box, but Xiaomi at least allows adjustments to color, contrast, and other characteristics, which makes them much more useful.

One slightly worrying performance quirk appeared when I launched the camera and immediately hit the shutter. On a handful of occasions, the resulting image came out completely corrupted (see below), producing a kaleidoscopic nightmare. It wasn't frequent enough to really cause an issue, but it also wasn’t a one-off occurrence. Hopefully this is the sort of software problem Xiaomi can eliminate with an update.

Phone Performance

The Redmi Note 17 Pro Max is powered by Qualcomm's Snapdragon 6 Gen 5, which is clearly a compromise to keep the overall device cost down, as it's actually a weaker processor than the Qualcomm Snapdragon 7 Gen 4 that powers other devices in this bracket.

Storage configurations run from 8GB RAM and 128GB of storage up to 12GB and 512GB. One detail worth noting is that the 128GB model uses slower UFS 2.2 storage, while the 256GB and 512GB capacities move to UFS 4.1.

My Geekbench results came in at 919 single-core, 2,829 multi-core, and 3,279 for the GPU test. (3DMark was not available at the time of testing).

Those aren't numbers that are going to trouble many new phones, but my day-to-day experience was largely fine. Apps opened quickly enough, general navigation felt smooth, and I didn't encounter persistent hanging, with only some minor operating-system sluggishness.

However, editing photographs in Xiaomi's Gallery app can take a beat longer to preview changes than I am accustomed to on more powerful phones. It doesn't ruin the experience, but there is a noticeable difference if you regularly use premium devices.

Xiaomi's HyperOS 3 is generally straightforward to navigate, although it has some quirks and a fair bit of bloatware out of the box. But I particularly like Xiaomi’s built-in Gallery editor. It strikes a nice balance between giving me useful tools without being overly complicated.

There is also the now-obligatory collection of AI features. Xiaomi offers generative expansion, object removal, sky adjustments, simulated bokeh, and other computational edits.

For straightforward jobs, they can be genuinely handy. Removing a small reflection or adding a little artificial background blur can work surprisingly well. But more complicated edits reveal that Xiaomi still has some catching up to do with the best tools I've used from Adobe and Google.

The AI eraser in particular can struggle around shadows and complex edges. Generated areas can appear visibly softer or more pixelated than the surrounding photograph, and I occasionally saw repeated textures that gave away exactly where the image had been reconstructed.

Finally on to the mammoth battery. Xiaomi has achieved that 9,210 mAh capacity using silicon-carbon battery technology, with 100W wired charging and up to 27W wired reverse charging also supported.

In my own use, battery life was outstanding. With a mixture of web browsing, streaming, photography, photo editing, and general everyday use, I comfortably exceeded two days between charges. For lighter users, it could go substantially further. I left the Note 17 Pro Max sitting on standby largely untouched for four days, and it used only around 20% of its battery.

Final Verdict

So Xiaomi has chosen the Pro Max in the Redmi Note 17 Pro Max to represent battery capacity, rather than cameras. And I can’t really fault that. I comfortably got more than two days of fairly heavy use from it, while lighter use can stretch much further. More importantly, Xiaomi has achieved this in a device still just 8.65mm thick. There is also an excellent 6.83-inch AMOLED screen, good durability, and smooth enough everyday performance – despite the processor downgrade.

But the camera system has taken a bit of a backseat. The 200MP sensor in last year's model has become a 50MP main camera. It takes decent photographs with pleasantly realistic color, but processing can be too aggressive, and HDR needs improvement. The 8MP ultrawide is fairly basic, while the complete absence of a telephoto camera feels like the most obvious compromise Xiaomi has made.

That won't matter to everyone. But for Digital Camera World readers, and anyone buying a phone partly because they want a versatile camera in their pocket, this might be the deciding factor.

Alternatives

Canon has announced a raft of firmware updates for its Cinema EOS series of cameras for filmmaking, adding new functionality and compatibility as well as general operability improvements.

The cameras getting the updates are the Canon EOS C80 (1.0.7.1), EOS C400 (1.0.7.1), EOS C50 (1.0.5.1), EOS C70 (1.1.4.1) and the Canon EOS R5 C (1.1.3.1).

The C80 and C400 are getting a new ‘Cinema Exposure’ mode. This is designed to improve highlight performance when shooting above base ISO levels (up to two stops) and streamlines the menus for log shooting. The intention, according to Canon, is to provide users with as much shooting ease and flexibility as possible in challenging shooting environments.

All cameras are gaining compatibility with the CN30x40 IAS J R1/P1 lens, a powerful 30x zoom in RF and PL mounts with a built-in 1.5x teleextender. The mirrorless EOS R5C – a camera that some users wondered if Canon had given up on – is also gaining a few new features, as well as some bug fixes.

There was a little strangeness around the rollout of some of this firmware, with the European versions being released a month in advance, but Canon says this was simply an operational error and not to read anything into it – YouTuber Ordinary Filmmaker has a good rundown if you’re interested.

Let’s take a closer look at what each of these cameras are getting…

EOS C80

Canon EOS C80 – Version 1.0.7.1

UK: More information & download link
US: More information & download link

1. Adds a new [Capture Mode], enabling selection of the new [Cinema Exposure] feature in addition to the existing [Custom Picture].

Enables adjustment of the dynamic range balance (allocation between highlight and shadow ranges) based on ISO sensitivity in [Cinema Exposure].

2. Adds compatibility with the "CINE-SERVO" cinema lenses "CN30×40 IAS J/R1" (RF mount) and "CN30×40 IAS J/P1" (PL mount).

3. Adds [S&F External Audio Output] during Slow & Fast Motion recording. When this audio option is set to On, it allows audio output via external outputs (SDI/HDMI/headphones).

4. Improves operational stability.

EOS C400

Canon EOS C400 – Version 1.0.7.1

UK: More information & download link
US: More information & download link

1. Adds a new [Capture Mode], enabling selection of the new [Cinema Exposure] feature in addition to the existing [Custom Picture].

Enables adjustment of the dynamic range balance (allocation between highlight and shadow ranges) based on ISO sensitivity in [Cinema Exposure].

2. Adds compatibility with the "CINE-SERVO" cinema lenses "CN30×40 IAS J/R1" (RF mount) and "CN30×40 IAS J/P1" (PL mount).

3. Adds [Auto Exp. Ramping Comp.] (Auto Exposure Ramping Compensation) to [Camera Settings].

Applying in-camera gain compensation according to the zoom position, maintains image brightness.

Compatible lenses:

- CN7×17 KAS S/E1

- CN10×25 IAS S/E1

- CN20×50 IAS H/E1

- CN8×15 IAS S/E1

- CN7×17 KAS T/R1

- CN5×11 IAS T/R1

- CN30×40 IAS J/R1

4. Adds [S&F External Audio Output] during Slow & Fast Motion recording. When this audio option is set to On, it allows audio output via external outputs (SDI/HDMI/headphones).

EOS C50

Canon EOS C50 – Version 1.0.5.1

UK: More information & download link
US: More information & download link

1. Adds compatibility with the "CINE-SERVO" cinema lenses "CN30×40 IAS J/R1" (RF mount) and "CN30×40 IAS J/P1" (PL mount).

2. Improves operational stability.

EOS C70

Canon EOS C70 – Version 1.1.4.1

UK: More information & download link
US: More information & download link

1. Adds compatibility with the "CINE-SERVO" cinema lenses "CN30×40 IAS J/R1" (RF mount) and "CN30×40 IAS J/P1" (PL mount).

When connected to external devices using the XC protocol, if the T value is 10 or greater, only the integer part is displayed on the external devices.

2. Fixes an issue that may interfere with the camera's ability to connect to an FTP server.

3. Improves operational stability.

EOS R5 C

Canon EOS R5 C – Version 1.1.3.1

UK: More information & download link
US: More information & download link

1. Adds compatibility with the "CINE-SERVO" cinema lenses "CN30×40 IAS J/R1" (RF mount) and "CN30×40 IAS J/P1" (PL mount).

2. Changes the color of the level indicator when the orientation of the camera is level.

3. Enables the playback of RAW clips in Media mode with Lens Corrections settings, such as Distortion Aberration Correction.

4. Fixes an issue that may interfere with the camera's ability to connect to an FTP server.

5. Fixes an issue that may cause the camera to not be recognized when connected to a smartphone via USB.

6. Improves operational stability.

You might also like…

Take a look at the best Canon cameras along with the best Canon RF lenses and the best Canon EF lenses.

Apple has introduced new versions of the photographer's favorite Mac Mini featuring the new M6 and M5 Pro processors, while increasing prices significantly. At the same time the premium Mac Studio has seen the arrival of the new chips too.

Apple's M-series processors (based on ARM architecture) are divided into the generation, e.g. M5, M6 etc. while the more powerful versions of each chip feature the suffix 'Pro' and 'Ultra', each offering more cores and bandwidth.

The M6 features 12 cores (six 'efficiency' cores, four 'performance' and two to manage the system) as well as a 12-core GPU. In addition it has a 16-core 'Neural Engine' to help with on-board AI and push memory bandwidth to 153 GB/s, plus a built in 'Media Engine' for accelerated encoding and decoding in H.264, HEVC, ProRes, and ProRes RAW.

The M5 Pro might start with an earlier sounding name, but takes all this a step further with 307 GB/s memory bandwidth from either 15 CPU and 16 GPU cores, or 18 CPU and 20 GPU cores.

The M6 can handle RAM options of 16GB, 24GB or 32GB, while – even in the Mac Mini – the Pro also supports 48GB and 64GB options.

In terms of storage, the cheapest M6 starts at just 256GB, expandable up to 2TB; the M5 Pro versions start at 512GB and rise to 8TB.

You can connect up to three external displays (if you can find the ports!)

The price of entry has changed quite significantly, though. The previous Mac Mini (16GB RAM, 256 storage) launched at $599 (though was pushed up to $799 in Apple's May price rises). The new M6 with the same memory and storage configuration is $899 / £799.

Depending on how you look at that, the price of the new Mac Mini is 50% again on top of the price just a year ago, or 12.5% more than you'd have paid for the basic model last week.

In exchange for that Apple says you are looking at a "20 percent more multithreaded performance," on its new 2nm chip process (M5 and before are 3nm).

I have to say that certainly wouldn't be enough for me to upgrade from an M6 or even an M4 Mac Mini. Similarly, the 10% improvement in memory bandwidth doesn't seem a phenomenal leap, so while it's great news Apple can improve efficiency with tiny transistors, and creators can still love the Mac Mini, it's an incremental improvement that Apple is charging you for.

That said, some with heavy video processing tasks might see it differently; Apple has tests that find it "up to 4.8x faster than M4" in certain processing contexts. The flip side is that, since the Mac Mini is the entry point for the Mac range, the company has also effectively made it harder for those who don't need that power to choose Mac.

Will it be the right choice? Can it remain the best desktop computer for photo editing? I'm not certain. The Mac Neo laptop is now the cheapest entry-level Mac.

The new Mac Mini and Mac Studio (with M5 Max and M5 Ultra) models are now available for pre-order, and will ship on September 22.

This will be CEO Tim Cook's last product announcement; the new iPhones (with their own price hikes) are expected to be unveiled by incoming CEO John Ternus in two weeks.

If you're in the market for a new high-end camera phone, three brands are likely to spring straight to mind: Apple, Google and Samsung. Thanks to their huge marketing might, they enjoy unrivalled brand recognition. It's therefore easy to assume that these industry titans must produce the best camera phones on the market - after all, how could a smaller brand possibly compete?

But the reality is that the competition isn't just catching up, or even equalling the camera phone giants - it's already overtaken them. Massive brand recognition can become an easy way to generate sales, reducing the need for genuine hardware innovation. We’ve seen exactly this from the last few generations of iPhone and Galaxy S Ultra phones, with the latter reusing camera sensors not just for one phone generation but three, and counting. Incremental upgrades are now the order of the day. This is currently somewhat understandable, as the skyrocketing cost of NAND flash is increasing the overall price of camera phones, thereby preventing manufacturers from making substantial camera hardware upgrades without raising unit costs still further. However, this alone doesn't excuse what is now multiple years of stagnating camera phone hardware from the major players.

So if the latest iPhone or Galaxy S Ultra isn't going to give you the most advanced camera experience available right now, what will? For that you need to turn to China. Not content with dominating almost every other area of consumer electronics, China also now gives us the most innovative and impressive camera phones on the market. The three brands at the top are Vivo, Xiaomi and Oppo. For the last few years all three have consistently produced more compelling flagship camera phones than anything from Apple, Samsung or Google. The Chinese contenders pack bigger image sensors, more optical zoom, and extra features that make recent iPhones and Galaxy S Ultra handsets look downright dull.

I've been lucky enough to long-term test Oppo's current flagship, the Find X9 Ultra, for the past three months. With a launch price of £1449, it can't rely on being substantially cheaper than its rivals, but it doesn't need to be. In its Tundra Umber colorway, it's immediately more distinctive than the comparatively bland Galaxy S26 Ultra, even to those not in 'the know'. And if you are a photographer that recognises the Hasselblad design cues, the Find X9 Ultra just looks better still.

Start shooting and the consistency of image quality from the four separate camera modules is immediately apparent. There's seamless focal length transitioning from 0.6x (ultrawide) through to the maximum 10x optical (230mm-equivalent) zoom. But the Find X9 Ultra’s zoom capability doesn't stop there. Through a combination of on-sensor cropping and clever AI zoom, up to 120x reach is possible, and with surprisingly competent image quality. Stick with the default photo mode and shots look immediately appealing, with strong vibrancy and contrast, as well as bags of fine detail. Dynamic range is high, but thankfully stops short of looking over-processed. If you'd rather have an even more natural image aesthetic, there's always Hasselblad Master mode. This has been tuned to emulate the more subtle image quality from Hasselblad's medium format cameras, and it opens up various manual controls. I’m also a fan of the X-Pan mode, which enables instant panorama recording and is a lot more convenient than using the much slower and fiddly sweep panorama mode.

All well and good, but most flagship phones have plenty of optical zoom, along with manual control and a plethora of shooting modes. Where the Find X9 Ultra really pulls ahead of its rivals is its ability to be teamed with Oppo’s Hasselblad Earth Explorer Kit. This contains a bespoke 300mm teleconverter lens, along with a special phone case to which the lens mounts, plus a tripod collar and other small accessories. You might assume this is all a bit gimmicky – after all, clip-on telephoto lenses can be plasticky garbage – but you’d be very wrong. With aesthetics and build quality that are truly befitting of the Hasselblad branding, this is so much more than just a publicity stunt: it turns what’s already a darned good camera phone into a genuinely usable option for capturing sports and wildlife. Check out our full review of the teleconverter lens for more details.

Oppo isn’t the only Chinese brand pushing camera phone boundaries. Vivo also offers a similar case+teleconverter kit for its flagship camera phone, the X300 Ultra, and though I’ve yet to test this, it looks just as impressive as Oppo’s implementation.

I fully admit that optional teleconverter lenses aren’t going to change the camera phone world: as effective as they are, they’ll always be a niche product. Rather, Oppo and Vivo’s camera cases and teleconverters serve as symbols of China’s desire to innovate and enhance the camera phone industry, while also highlighting the comparative lack of hardware development we've seen from the more established brands.

So when the time comes to choose your next phone, and you want something that’s been designed for enthusiast photographers, I implore you: don’t just default to the current iPhone/Pixel/Galaxy S: check out the competition from Oppo, Vivo and Xiaomi, as these are now the brands at the forefront of phone camera development.

If you like foldable phones, it's the best time of the year. Samsung's latest just landed, with an exciting new form factor in the mix, and it sounds like Apple is gearing up to deliver something similar in the near future.

Google, though, has not jumped on the bandwagon. In fact, the Pixel 11 Pro Fold looks almost identical to its predecessor at a glance.

Of course, there's a new processor and fresh colours; there's even a fancy LED indicator on the rear, but does the Google Pixel 11 Pro Fold do enough to keep up with the innovations elsewhere? Let's find out.

Specifications

Price

The Google Pixel 11 Pro Fold starts at $1899 / £1799 / €1999 for the base model with 16GB of RAM and 256GB of storage. That's a £50 price hike in the UK, and a $100/€100 jump in the US and EU.

As always, we have the RAM shortage to thank for that, but at the very least, we can be thankful that it still comes with 16GB of RAM in every storage configuration.

Compared to the competition, the Pixel 11 Pro Fold is firmly in the middle. It's cheaper than Samsung's book-style Z Fold 8 Ultra, but it's pricier than the short/wide Z Fold 8. Similarly, it's cheaper than the Magic V6 (at full MSRP), but it's more expensive than the ongoing introductory price of £1499.

Design

As I mentioned, the 11 Pro Fold looks quite similar to the 10 Pro Fold, and it's almost the exact same size, but if you look closer, there are a few more differences.

For starters, it's slimmer. Only by about 1mm, but you can just about tell when you're holding it in your hand. The camera island also has a fresh new design, with the dark glass camera coverings spanning the entire width of the module.

Hidden inside this camera module, there's a new feature called HiLight, an array of RGB LEDs that illuminate around the flash unit. I'm always a fan of superfluous lighting; I love what Nothing has been doing for the past few years, for example, but Google's implementation left me wanting more.

As it stands, the HiLight only does two things: it shines when you're talking to Gemini, and it can flash in a colour of your choosing when a contact calls you. Google hasn't confirmed if it will ever do anything else, but I certainly hope there's more planned.

The animation that shows you when Gemini is listening or talking is really well done. It looks like a shifting aurora, which is super neat. However, I'm not fully convinced that it's necessary. I know when Gemini is listening or responding because I have ears, and Gemini makes sounds. As for the call indicator, I'm not sure what the prerequisites are, but it never seemed to illuminate for me.

Google has switched up the colours for the new release, and the Olive option I have for testing is particularly fetching. It has a matte green rear panel with contrasting dull-golden accents on the sides and around the camera. If that's not your thing, there's an Obsidian option with darker grey hues throughout.

The Pixel 11 Pro Fold is aiming to be one of the hardiest foldables around. It's still one of the only folding phones with an IP68 rating for dust and water resistance, and a new glass ceramic coating on the cover screen should help to prevent scratches. The inner screen should be stronger, too, thanks to a thicker coating and dual layers of anti-impact film.

Another thing it has going for it is built-in PixelSnap magnets. Just like an iPhone, this phone can attach to MagSafe accessories without a case attached. I'm not sure why Google is still the only Android brand to do this; it seems like an easy win to me - regardless, as of right now, that's just a Pixel thing.

The screen specs are quite similar to the older model, with the largest difference being the peak brightness. Both panels can now reach 3600 nits, up from 3000. The cover screen also has slimmer bezels, which brings the screen size to 6.5 inches from 6.4 inches, without increasing the size of the phone.

Of the two changes, the bezels make the biggest impact. The Pixel 11 Pro Fold looks so much more modern because of it, and it feels closer to a normal phone when folded shut. The Pixel 10 Pro Fold was already bright enough for my needs, but more brightness never goes amiss.

Google has also improved the crease on the folding display; it's not a massive change, but it's visibly a bit better. What makes a bigger difference is the way it feels. The older model had a weird bump on the hinge that always drove me crazy, and that seems to have been fully flattened out. Unfortunately, of all the foldables I have tested this year, this crease is still the most noticeable.

The speakers seem to be unchanged, but they're still decent. They're plenty loud enough and can produce some bass despite the slender chassis. I also appreciate that you get a stereo effect in almost every orientation, although it can be quite easy to muffle one speaker with your palm in landscape mode.

Camera Performance

Only the main camera of the Google Pixel 11 Pro Fold has been upgraded. It now sports a 48MP 1/1.56-inch sensor, while the older model only had a 1/2-inch sensor. This means it's now equivalent to the base model Pixel 11, but still behind the Pro models.

You also get a 10.5MP 1/3.4-inch ultrawide with macro focusing and a 10.8MP 5x telephoto with a 1/3.2-inch sensor. Each screen has its own 10MP punch-hole selfie snapper, too.

Starting with the new main sensor, it's a notable improvement. Images look cleaner in low-light situations, shutter speeds are slightly faster, and there are fewer denoising artifacts. You'll even get a bit of background softening on close-up shots.

The other lenses, as the spec sheet suggests, aren't quite so impressive. I'm not a big fan of the 5x focal length; it's too zoomed in for a lot of situations, and combined with its poor minimum focus distance, it's only really useful for taking photos of things that are far away.

Google has increased the maximum digital zoom to 30x, rather than 20x, but I'm not really sure why. This tiny, low-resolution sensor can't deliver anything usable at such distances, and while computational image processing does its best to clean things up, it can't quite manage.

The ultrawide is decent, and it can focus extremely close up - but the distorted image of an ultrawide is never my favourite for macro shots. It also struggles in low-light situations, as many ultrawides do, but Google's Night Mode always ensures a decent exposure (if a little on the noisy side).

Arguably, the biggest upgrade to the Pixel 11 Pro Fold cameras is not the hardware, but the software. All of the Pixel 11 phones now give you much more control over the way that your images look. You get four default looks to choose from: Original (the normal Pixel look), Natural, Shadows, and Vanilla.

The differences are subtle, but all of the new options produce colours that are a bit less exaggerated than classic Pixel shots. I preferred Vanilla in most situations; it adds a bit of extra warmth to the shots, which I think looks quite good.

If you want to take things a step further, there are six additional looks that can be applied on top. They're a bit like filters or film simulations, but they're built into the imaging pipeline, so you can't apply them after the fact. This list includes pretty dramatic styles like "Black Tie" which is a very high-contrast black-and-white option, or "Digi" which delivers low-dynamic-range shots that look like they came from an old compact digital camera.

You also get some familiar Pixel-exclusive features like Camera Coach, which is designed to help newbies frame better shots. There's still the group photo-faking Add Me feature, and Made You Look, which plays animations on the cover display to get the attention of babies and young kids. The latter has a couple of new animations to choose from, too.

There's a new addition called Magic Capture, which can automatically pull still frames from a short video clip and apply light edits like cropping, straightening, and unblurring. As a photographer, this one doesn't really appeal, but if you ever find that you can't decide between shooting a video and taking some snaps, maybe it'll be useful.

Google has also been hard at work improving its video performance. Video stabilisation has been improved, and the recordings should be better quality, too. In addition, there's a new suite of creator-focused tools to help with the video-making process.

You can now bring up a smart teleprompter that keeps pace with your speech, an audio visualiser to monitor mic levels, and gridlines to help you frame vertical videos for TikTok or Reels. There's even a new way to manage your files, and you can sort your video clips into project folders to keep things nice and organised.

What frustrates me, though, is that despite the "Pro" moniker, the Pixel 11 Pro Fold is lacking any real pro video features. There's still no Log profile, no APV codec, no high frame rate 4K options, and so on. It's behind almost all of the competition in this area.

Phone Performance

The Google Pixel 11 Pro Fold has the Tensor G6 chip inside, just like the rest of the Pixel 11 lineup. Google tells us it's 25% faster in web browsing, opens apps 15% quicker, and has 50% more TPU compute for local AI tasks.

It comes with 16GB of RAM in every configuration, and you can select either 256GB, 512GB, or 1TB of storage depending on your needs (and budget).

Google neglected to mention any improvement in graphics performance, and in my testing, it doesn't seem like there is any. Graphics benchmarks score similarly to the previous model, and games play similarly, too. Considering it was already behind the competition, that's not great news for gamers.

When I played some Wuthering Waves, I had to lower the graphics settings by a couple of notches compared to the Galaxy Z Fold 8 or Honor Magic V6 to get the same kind of performance. And the game looked far less pretty because of it.

Of course, that only matters if you're into graphically demanding games. This phone can breeze through daily tasks without a hiccup, and it always feels quick. At a price like this, though, you shouldn't need to make performance compromises, and you are.

Another strange concession is that the battery is actually smaller this time around. It has a 4806 mAh pack, down from 5015 mAh. In fairness, it seems to last just as long, and the phone is slightly slimmer and lighter than before - but personally, I'd take a bigger battery over marginal weight savings.

One upside is that the wireless charging speed has improved; it's now 25W, up from 15W, taking full advantage of the Qi2.2 charging standard. Wired charging is still 30W, which isn't too impressive, but it managed to reach just under 60% in half an hour by my count, which is hard to argue with.

The Pixel 11 Pro Fold runs Android 17 with Pixel UI on top. Previous Pixel owners will feel right at home here, as it doesn't shake up the formula too much.

There are a lot of great things about this software, including fantastic features like Now Playing, Call Screening, and At a Glance updates. There are still a couple of things that drive me crazy, though. You still can't select multiple apps on the home screen and move things around in bulk. You also can't get rid of the Google search bar on the home screen, for some reason.

Multitasking is a big deal on foldable devices, and sadly, I think Pixel UI does it worse than most. You can only have two apps side-by-side in split-screen mode, and there's no easy way to switch the position or orientation of these apps when they're open.

A new feature called Bubble Anything aims to improve matters, and it does, but it's not the most elegant solution. You can now open apps in bubbles, a lot like what Facebook Messenger does by default. You can move these bubbles around on the screen, or they'll dock in the corner of the folding display, and then open them as required in a smaller floating window. I never really liked this feature on Messenger, so unsurprisingly, I'm not a big fan of it here either.

One feature I actually do love is called Rambler. This is built into Gboard, and it's a new AI-assisted speech-to-text tool. You just hit the button, speak naturally with all the usual pauses, "ums", and repetition, and Google's AI model will clean it all up, turning it into intelligible sentences with perfect grammar. It works exceptionally well, but it won't be exclusive to Pixel for long. Samsung already teased the feature on its Z Fold devices, and I believe it'll be rolling out to other Android handsets, too.

There are many more Gemini Intelligence features to come. Some are restricted to certain regions, while others will roll out globally, and it's not clear which will remain exclusive to the 11-series phones. Soon Gemini will be able to take agentic actions on your behalf, Maps will use Gemini to suggest dishes or find loyalty cards, and Circle to Search will work with the camera so you can search in real life, too.

As we've come to expect, Google promises seven years of software updates and security patches for the Pixel 11 Pro Fold, matching the likes of Samsung and Apple.

Verdict

The Pixel 11 Pro Fold is a lovely-looking phone that feels extremely high quality and well built. I really want to love it, but the sad fact is that it's a long way behind the competition, and it's just as expensive.

For instance, the Samsung Galaxy Z Fold 8 Ultra has a slimmer chassis, a shallower crease, a bigger battery, better multitasking, better cameras, and a more powerful processor. Sure, it's a little more expensive, but all the same could be said of the Honor Magic V6, and that currently sells for less than the Pixel.

If you love Pixel UI and want PixelSnap magnets, the Pixel 11 Pro Fold is the way to go - but with so few upgrades since last year, you could save a tonne by opting for the Pixel 10 Pro Fold. You needn't feel like you're missing out on much.

Alternatives

Patent applications are always worth keeping an eye on for a hint of what might be coming down the pipeline from major manufacturers – and Canon has just filed an interesting one.

Patent JP 2026-132879 (P2026-132879A), just published by the Japanese Patent Office and reported by Japanese news outlet Asobinet, was filed by Canon and includes multiple lenses with a diffractive optical system that are designed for use with very small sensors – the kinds of sensors that are used in camera phones.

The three lenses themselves are listed as having focal lengths of 5.53mm, 6.79mm and 8.70mm, which on a smartphone sensor would work out to equivalent focal lengths of 45mm, 55mm and 70mm. The listed f-numbers for the three lenses are f/2.5, f/2.7 and f/2.9 respectively.

Naturally, patenting the lenses could mean any number of things. Personally I doubt that Canon is about to start producing its own smartphones, but it could be that the manufacturer is planning on releasing standalone lens attachments for smartphones.

Alternatively – and personally I think this is most likely – it could be that Canon is partnering up with a smartphone manufacturer to lend its tech to a handset’s camera module, the way that Leica does with Xiaomi phones like the Xiaomi 17 Ultra and Hasselblad does with the Oppo Find X9 Ultra.

Our own Gareth Bevan described the Oppo in particular as one of the best camera systems he had ever used on a phone.

I’d definitely be excited to see a smartphone come equipped with Canon camera tech – particularly if Canon’s excellent color science also arrived as part of the package!

Like many tech companies, Canon files patent applications all the time – indeed, it has actually been the Japanese company that files the most patents for more than two decades – and many of them never become released products.

Nevertheless, I’ll be keeping an eye on this one and will be interested to see whether anything more comes of it – after all, Canon has time and again shown itself to be a manufacturer that isn’t afraid to take risks and try new things.

You may also like…

Check out our roundups of the best Canon cameras and the best camera phones – and who knows, maybe one day soon we will see some crossover between the two?

Nikon has released a pair of firmware updates: one for the Nikon Coolpix P1000 bridge camera and another for the Nikon Z5 II entry-level mirrorless camera.

Firmware version 1.9 for the P1000 sorts a rare yet serious issue that would cause the camera to temporarily freeze when adjusting the zoom while in burst mode.

Firmware version 1.20 brings a host of updates to the Z5 II, including more versatile aperture control when recording video and a host of changes to the settings menus.

Nikon Firmware Downloads

Firmware version 1.20 (Nikon Z5II)

Firmware version 1.9 (Nikon Coolpix P1000)

It’s a good idea to hold off downloading the latest firmware for a few weeks. This should give enough time for any new issues to arise in community chatter, and for Nikon to address them. Keep an eye on Digital Camera World and we'll let you know about any problems.

Nikon hasn’t given any technical explanation as to why the Coolpix would freeze while zooming in burst mode. However, it’s thought that processor-heavy burst sequences could overwhelm the camera buffer, causing the device to stop responding.

Arguably, the two most practical updates to the Z5 II are the ability to save focus position to user settings and an extension of the ISO auto shutter-speed threshold.

The former enables your saved custom shooting modes (U1 / U2) to remember your preset focus distance, which is especially useful for tripod or fixed studio setups. The latter offers finer control over when the camera steps up ISO versus dropping the shutter speed, helping avoid unwanted motion blur when shooting handheld.

There’s also a new “auto-switch” option under the Setup menu, giving you more control over toggling between the rear LCD screen and viewfinder. And a new FTP inactivity timeout automatically manages idle connections to preserve battery life.

So, a major update for the Coolpix P1000, which will hopefully solve what was a serious issue for a small number of users. Whereas the Z5II gets a suite of tweaks which, together, could bolster workflows meaningfully.

You might also like…

Here’s our pick of the best Nikon cameras, and here’s our say on the best Nikon lenses for DSLR.

When it comes to videogames, there are two certainties in life: Guile's theme goes with everything and everything can play Doom.

From ATMs to calculators and even pregnancy tests, the groundbreaking MS-DOS videogame from 1993 has been played on what seems like every piece of technology. And now, the latest tech to answer the question "Can it play Doom?" is a DSLR that's over a decade old.

The Canon EOS 550D – known as the Rebel T2i in the US and the Kiss X4 in Japan – isn't just one of the best cameras for beginners; it's the best camera if you want to play one of the most iconic first-person shooters of all time.

While it was reported back in May that someone got Doom running on a Nikon Zf, there is some doubt online as to whether it was real or a sneaky bit of video playback.

However, the feat has been performed on the 550D using Magic Lantern – custom firmware developed in 2009 for Canon cameras that runs from a memory card and adds a host of features such as dual ISO, RGB histogram, zebras, new grids like the Fibonacci spiral… and now, the ability to run Doom, as you can see below:

Canon is always telling us how clever its Digic processors are, but I'll bet the company never envisioned that the Digic 4 chip in its 2010 camera would be used to run a videogame!

As you'd expect, the D-pad on the back of the camera is used to navigate while the SET button fires your weapon. The hack even employs the 550D's speaker to emit in-game audio and effects, which again is something I bet Canon's engineers could never have predicted.

According to Tom's Hardware, the developer said that the port only works on a Canon EOS 550D running firmware version 1.0.9, specifically noting, "Do not install this binary on another camera model or firmware version."

There are full instructions on how to install and run everything in the Tom's Hardware report, but I cannot stress strongly enough that Magic Lantern is a completely unofficial project and is in no way endorsed or supported by Canon.

In fact, running it could potentially brick your camera and also invalidates your warranty – so think carefully before you go blasting Martian monsters on your camera.

You might also like…

Take a look at the best Canon cameras along with the best Canon lenses for DSLRs and the best Canon RF lenses for mirrorless models.

The 2026 solar eclipse brought troves of viewers across the path of totality, many equipped with cameras and smartphones – but some viewers walked away with impossible photos that would only happen if the Earth happened to have two moons.

Several failed eclipse photos are making the rounds on the internet, where users snapping photos with a smartphone realized that the phone had "captured" what looks like the moon passing in front of…another moon.

Across Reddit and Twitter, several smartphone photographers have shared photos taken during the eclipse that turn the sun’s orange glow into what looks like the surface of the moon.

The culprit? Several posts – and one comparison between a handful of different smartphones – suggest that the impossible photo of the Moon blocking what looks like another Moon comes from the supermoon mode on the Xiaomi 17 Ultra, suggesting the use of AI-enhanced photography in the supermoon mode.

The smartphone’s supermoon mode uses computational photography to enhance photos of the moon. As one user on X described (translated from Spanish), “It detected a bright sphere in the sky, went into 'supermoon' mode, and straight up invented the entire surface.”

While enhancing the surface of the moon may be less obvious under a more typical scenario, photographing the eclipse requires using a protective filter, turning the sun into a dark orange orb. The mishap seems to be one of mistaken identity, misreading the sun as the moon when the moon was a dark shadow. The scenario isn't likely to pop up very often – after all, the 2026 eclipse was the first time mainland Spain has been in the path of totality since 1905.

Thankfully, the mode is something that can be turned off. Another user commented that disabling supermoon mode on the phone fixed the issue and returned the photos to the expected solar eclipse shots.

I find the gaff rather humorous, though admittedly it would have been frustrating to experience. After all, why take the time out of a celestial phenomenon that only lasts for a few minutes to take a photo that AI could generate anyway?

The viral posts over the glitch echo a similar controversy from a few years back when Samsung users found that the camera was enhancing the texture of the moon.

As a photographer, the viral posts over the supermoon mode eclipse mishap illustrate why generative AI doesn’t belong inside cameras.

Standard AI already powers excellent camera features like subject detection and autofocus. But generative AI, where a computer is creating something that’s not there, shouldn’t be trusted inside the devices that capture memories.

You may also like

Take a look at these telephoto shots that enlarge the eclipse, or NASA's top shots of the 2026 solar eclipse.

It’s been a bit of a rough month for smart camera glasses like the Ray-Ban Metas.

While this tech has been gathering a lot of hype and interest of late, it has also suffered a number of damaging PR scandals after stories have emerged of camera glasses being used to stalk and harass women in spaces like offices and gyms.

It has given rise to an unfortunate nickname for the tech – ‘pervert glasses’ – that is beginning to stick.

The tech’s increased notoriety is having predictable consequences. In the UK, where I live, the glasses have been banned in all judicial buildings (such as courtrooms and their surroundings), as well as in the popular pub chain Wetherspoons, which operates more than 800 venues across the country, and at Comic-Con UK following incidences of non-consensual filming.

All this has me wondering – can the tech recover its reputation at this point or is it too far gone?

Those of a certain age will recall the infamous 2011 launch of Google Glass, a pair of proto-smart glasses that were essentially mocked into oblivion, with its users dubbed ‘glassholes’. Meta glasses and their imitators have proved more tenacious, but the ‘pervert glasses’ moniker could ultimately prove just as fatal.

Granted, manufacturers can’t always control what users do with their products. Smartphones and regular cameras have certainly been used to harass people and take non-consensual photos, and nobody’s suggesting banning them. However, camera glasses just make it so easy – and to my mind, manufacturers are not convincingly demonstrating that they care.

Recently I reviewed the Rokid AI Glasses Style for DCW – they’re essentially a copy of the Meta version using a combination of Google’s Gemini and OpenAI’s ChatGPT rather than Meta AI. I enjoyed using them and was genuinely impressed by the tech, but something I had difficulty getting past was how lackluster the privacy features are.

The white LED designed to alert others to the fact that you’re recording is dim, unobtrusive and easy to miss – I’m going to guess that not a single person I passed while testing them at London’s Kew Gardens noticed it.

The glasses are also supposed to stop recording if the privacy light is blocked, but I tested this and… they don’t. They play an automated message in your ears, notifying that the light is blocked, but recording continues.

If you’ll forgive me for quoting myself, what I said at the time was: "[camera glasses] tech is never going to shake its reputation for irresponsible use when manufacturers make irresponsible use so easy."

The recording light on Meta Glasses, too, is white (not red) and fairly unobtrusive, and it is difficult to think of non-pervert explanations for why this is the case.

The firm's quiet embedding of a facial-recognition system in its glasses platform also garnered unwelcome attention – and the company backed down and removed it after public outrage. Now, I can think of non-pervert reasons why this tech might be useful in a pair of camera glasses – but the pervert ones do spring to mind more readily, don't they?

Meta is committed to its camera glasses and other manufacturers are following suit, with Apple and Google planning to launch their own intelligent eyewear later this year.

All I can say is: they should be careful. This backlash is not going away any time soon and, unless these manufacturers can seriously demonstrate their commitment to preventing their products being used for nefarious purposes, that ‘pervert glasses’ nickname is going to keep on sticking.

You may also like...

Our guides to the best camera glasses and the best wearable cameras.

Meta has found itself in hot water thanks to growing concerns about the privacy implications surrounding the Meta Glasses with built in cameras. Apple is planning on putting cameras into AirPods, but solving privacy by not using the cameras to take photos or video.

What is it for then? Apple's integration of cameras into AirPods is designed he process might be quite advanced, as the leaking of this promo video – doing the rounds everywhere today – shows.

The video in the tweet shows Siri's upcoming "visual intelligence" feature, so the cameras are helping it see the world around the user but not being used to record images, which (arguably) solves privacy concerns.

It certainly would silence the immediate worries of many about capturing photos and video by stealth.

Except, well, there is a bit of a problem.

Firstly the video, leaked by @Aaron, doesn't appear to feature the same camera lenses seen in some other rumor images? Is it a fake? That'd be my immediate suspicion were it not for the fact that the video has been reposted online by probably the most famous Apple rumor merchant, Mark Gurman (see his re-post on x.com here).

That lends a degree of credibility. Not only that, but according to Gurman and other sources, Apple has been investigating these privacy issues and perhaps even delayed its own Meta-like glasses as a result.

These were internally codenamed N50, but Apple has had to face the reality that courts in New York, among others, have established bans (not to mention some casinos). It's also true, of course, that the Apple Vision Pro goggles don't seem likely to win the mainstream market.

AirTags were once also associated with stalking – privacy-related publicity seems like an area Apple is keen to avoid, even if it means being slow to the mark in this fast-growing category.

All of which adds up to Apple wanting to get a product out in this growing space, but having good reasons not to get involved in ongoing privacy debates. So, in short, restricting access to cameras to the AI and not a camera app makes sense.

It also, of course, sidesteps any discussion about image quality from such a small device.

Will the cameras actually see the world well from the ear? That'll be another question for another day...

As well as Meta, other brands are releasing glasses. Google is expected to this fall, featuring Gemini integration, built by Samsung and powered by Qualcomm chips. They will bear no relation to the Google Glass I wasted my money on to be part of the future in 2013!

A new study carried out by the folks behind an AI-powered photo editing software has found that the vast majority of its users don’t like the way its AI adjusts photos, often leaving creators with an “unnatural” final result.

The survey was carried out by Skylum, the parent company of Luminar, which found that, of 1,328 survey respondents, 76% who use Luminar on their smartphones dial back the AI suggestions to create a more “authentic” feel.

What’s more, according to the data, 93% of respondents, whom Skylum has defined simply as “photographers,” said they want results that look “natural.”

I don’t think this study reveals anything starkly different to what the photography community already feels towards AI in general: that part of the problem with the technology is that it can create results that just don’t feel right.

But I do think the study highlights that there is an acceptance within the community to use AI in post-production, as long as it doesn’t edit images in a way that you wouldn’t.

After all, 73% of respondents said staying “natural” mattered more to them than looking “flawless,” while only 39% of respondents said they hold back from AI editing altogether, which leads me to believe that photographers want the time-saving benefits of AI without feeling like AI has taken the reins.

Skylum also said that 80% of respondents would rather a photo captures “feeling” than “technical details”, which I guess does allude to a new insight that there may be a general feeling among photographers that AI oversharpens images, for example. However, that’s my take, as the company didn’t clarify what “technical details” meant.

I think the overall takeaway here is that, among Luminar users at least, there’s no issue with using AI, as long as it edits images in a way that reflects what they actually saw when pressing the shutter – and that the final result doesn’t deviate from the creative vision they had.

You might also like…

Here’s our roundup of the best AI image generators as well as our take on the best photo editing software.

After a long series of teasers, the first smartphone to come from the partnership between cinema camera maker ARRI and Chinese mobile phone brand Honor is here – but the unusual Honor Robot Phone may be just the start of the collaboration.

Unveiled on August 12, the much-teased Honor Robot Phone has an unusual camera design: a folding gimbal that sits at the top of the phone. That gimbal camera powers steadier video, but also tricks like following subjects as they move and stitching three photos together for a wider group shot. The gimbal even has a party trick – it can dance if you ask the Yoyo AI assistant.

That gimbal houses a 200MP telephoto camera and a 50MP wide-angle camera. There’s a 50MP selfie camera too, though the gimbal can turn the camera around as far as 300 degrees.

The gimbal tucks away into the back of the phone when not in use, despite still being under 10mm (0.37 inches) thick. Weather resistance is still part of the Robot Phone’s design – though not as much as some devices, and the camera needs to be tucked away to earn the IP54 rating.

Beyond the camera’s unusual gimbal design, cinema camera maker ARRI’s influence is evident. The Robot Phone uses ARRI color science, but the brands say the colors were rebuilt specifically for a smartphone’s smaller sensors and optics.

Integrating ARRI camera tech into a smartphone puts capture and editing in the same device. The camera captures 10-bit ARRI Log C3, allowing for more highlight and shadow detail, while Looks and Wide Gamut 3 help boost color edits.

The Honor Robot Phone, however, has so far only been announced in China – availability in additional countries has not yet been released, and Honor does not currently have a presence in the US. Regardless, the unusual design is eye-catching.

The two brands' partnership points to the potential for further collaborations down the road.

“The companies’ joint imaging technology lab is exploring further developments in three areas: sensor-level optics and dynamic range; end-to-end cinema industry workflows from capture through postproduction; and imaging realism and aesthetic standards in the era of AI,” the announcement reads. “As part of this ongoing work, the companies will continue to refine and advance the integrated imaging technologies.”

In China, the Robot phone costs 9,999 RMB, which is about $1,483 / £1,099 / AU$2,100.

You may also like

Take a look at the best smartphones for photography, or dive into gimbal cameras like the DJI Pocket 4 or the Insta360 Luna Ultra.

Google has just unveiled the latest Pixel camera phones – the Pixel 11, Pixel 11 Pro and Pixel 11 Pro XL – with promises including "major camera upgrades", Google's "fastest, most powerful chip" and, of course, lots of AI.

There's also a new, one-swipe Magic Capture mode "which catches the moment while you live it".

In terms of the cameras, the Google Pixel 11 boasts a larger 48MP main sensor (1/1.56-inch) that the company claims will deliver 56% more light sensitivity. The 5x telephoto lens takes advantage of the new Tensor G6 processor to deliver 30x Super Zoom.

The Google Pixel 11 Pro and Pro XL likewise get a brand new sensor in the main 50MP camera (1/1.3-inch) that is claimed to be "Pixel's best camera yet". The 48MP telephoto also gets a larger sensor (1/1.95-inch) with 30% more light sensitivity and Portrait Mode at up to 5x, with up to 120x Pro Zoom.

The Google Pixel 11 Pro Fold gets upgrades that appear to be in line with the base Pixel 11, in the form of a new 48MP main camera (1/1.56-inch) and up to 30x Super Zoom.

Google Pixel 11 series camera specs

What is Magic Capture on Google Pixel 11 phones?

New to the Pixel 11 generation is Magic Capture mode, "which catches the moment while you live it".

According to Google, "You don’t have to stress out over perfectly timed shutter taps, or stare at your viewfinder the whole time you’re capturing content. With one tap, get a video and high-quality photos which are share-ready, thanks to automatic cropping and unblurring."

Google does, however, point out in the small print that "results may vary".

Also new this year is Camera Looks, which enables you to "create your own set of distinct, professional-grade film styles and unique photo aesthetics, so you can take HDR+ photos that feel true to you.

"Developed with Pixel’s Real Tone philosophy in mind, Camera Looks ensures that even with highly stylised or personalised effects, we still deliver consistent, equitable results across all skin tones."

All four phones are available for pre-order now, with an August 20 official on-sale date. Prices start at $899 / £879 for the Pixel 11, $1,099 / £1,079 for the Pixel 11 Pro, $1,299 / £1,279 for the Pixel 11 Pro XL and $1,899 / £1,799 for the Pixel 11 Pro Fold (international pricing to follow).

You might also like…

See how the new Pixels compare to the best camera phones and the best iPhones for photography.

Leica has rolled out a slew of firmware updates for a host of its cameras.

Firmware version 4.1.1 for the Leica Q3, Q3 43 and Q3 Monochrom forms the meat of the news, while smaller and seemingly less important updates have been rolled out for the Leica SL2 and SL2-S along with the D-Lux 8.

The company hasn't gone too in-depth with the details but, from what I can gather, the Q3 cameras get important fixes for bugs affecting auto-shutdown and remote app control, while the SL2 models and D-Lux 8 see their operational stability bolstered.

Leica firmware downloads

Here are the firmware downloads, all of which I’ll explain below:

Download firmware 4.1.1 (Leica Q3 / Q3 43 / Q3 Monochrom)

Download Firmware 1.9.0 (Leica D-Lux 8)

Download firmware 6.3.0 (Leica SL2 and Leica SL2-S)

It’s a good idea to hold off downloading the latest firmware for a few weeks. This should give enough time for any new issues to arise in community chatter, and for Leica to address them. Keep an eye on Digital Camera World and we'll let you know about any problems.

Firmware 4.1.1 (Leica Q3 / Q3 43 / Q3 Monochrom)

The Leica Q3 series brings high-end, full-frame compact digital cameras known for their solid build quality, 60MP sensor, and fixed prime lenses. Firmware 4.1.1 brings a trio of main updates for these cameras:

• A fix for a bug preventing the camera from turning off automatically during wireless charging in “certain situations”. Leica hasn’t elaborated on what these are, but has confirmed the Q3 models now turn off automatically as soon as wireless charging is detected.
• A fix for a bug causing the camera to unexpectedly switch to the default user profile in “certain situations”. Again, we don't know what the exact situations were, but if you were facing it, Leica says the issue is now resolved.
• A fix for a bug causing Bluetooth connection failure between the Leica Fotos mobile app and a Q3 camera after a remote wake-up with certain Leica Looks (in-camera profiles) or AF mode settings applied. Leica hasn’t clarified which Looks or AF settings were triggering the error.

Firmware 1.9.0 (Leica D-Lux 8)

The Leica D-Lux 8 is a premium pocket-sized compact camera featuring a 17MP Micro Four Thirds sensor and a fast 24–75mm equivalent f/1.7–2.8 zoom lens.

Leica says that the latest firmware fixes existing “bugs in the firmware” without going into any details whatsoever. This is likely a routine firmware update to maintain stability.

Firmware 6.3.0 (Leica SL2 and Leica SL2-S)

The Leica SL2 and Leica SL2-S are full-frame mirrorless rigs sharing the same weather-sealed metal body and in-body image stabilization, but featuring different sensor resolution, speed, and video capabilities.

Leica hasn’t published release notes for firmware version 6.3.0, so we don’t actually know what the update entails. I’ll keep my eyes peeled for any new information and update this article accordingly.

You might also like…

Our in-house Leica expert, Seb Oakley, has out together his pick of the best Leica cameras. He knows more than a few things about these rigs, so you're in trusted hands!

ChatGPT can now use more than 70 different tools from Adobe apps like Photoshop, Lightroom, and Premiere without leaving the chatbot, thanks to a new Adobe plugin in ChatGPT.

Announced on August 06, the Adobe plugin allows ChatGPT users to type prompts across photos, videos, and designs, then allow the AI to run an Adobe-powered workflow without leaving the AI program.

The move builds on previously released tools by bringing more than 70 different tools using a plug-in for the AI. The plug-in is designed for ChatGPT’s more advanced Work and Codex, two components of the ChatGPT desktop app.

Adobe explains that the plugin allows users to upload multiple photos, describe the look they want, then get a consistently styled edit across the entire set of images, with the collection saved to the Creative Cloud.

For videos, the plugin can help build a short highlight video from a longer project, along with resizing videos to fit different social media platforms.

The plugin also works with Adobe apps beyond photo and video, including Acrobat for building PDFs as well as InDesign and Illustrator for graphic design.

“The Adobe plugin in ChatGPT isn’t a replacement for our flagship apps that creative professionals rely on every day,” said Forest Key, vice president of Adobe Firefly & Agentic AI at Adobe. “It brings Adobe’s trusted, pro-grade creative and productivity tools into the flow of conversation, so more people can create high-quality content the moment inspiration strikes. Our flagship apps go deeper when projects call for hands-on precision and creative control. Together, they give more people more ways to create with Adobe.”

Adobe says that the plug-in uses the same trusted tools found inside Adobe apps and, when users need a tool not found inside the plug-in, a partially finished edit can be opened inside Photoshop for further adjustments.

ChatGPT users first need to open the ChatGPT app, navigate to plugins, then find and install the Adobe plugin. After installation, users can use “@Adobe” to tell the chatbot to work within the Adobe ecosystem.

Logged-in Adobe account holders will have access to more generative capabilities as well as Creative Cloud file storage, but Adobe notes that guests can use the tool without signing in as well.

The Adobe ChatGPT plug-in is rolling out globally from August 06.

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Take a look at the best photo editing software, or the best monitors for photo editing.

Think DSLRs are dead? Not quite, even in 2026. Nikon may have moved firmly into the mirrorless era, but it hasn't forgotten its high-end DSLRs.

Nikon's D780 and flagship D6 are both six-year-old full-frame DSLRs, but both have just received new firmware updates that fix a handful of exposure-related bugs.

There are no flashy new features here, but it's a reassuring sign that Nikon is still ironing out the quirks of these older DSLRs.

Firmware overview

Nikon D780
Ver 1.21 – Download link for Windows and Mac OS

Nikon D6
Ver. 1.71 – Download link for Windows and Mac OS

Improvements

Nikon D780
• Fixed an issue where photos taken would sometimes be underexposed when zoom was adjusted during burst photography in high-speed continuous release mode

Nikon D6
Fixed the following issues:
• Photos taken would sometimes be underexposed with a D-type lens attached
• Recalling shooting functions would sometimes limit the shutter speed to 1/250 s with auto FP high-speed sync

Pro Advice

If you caught Episode 4 of Bokeh Face: Digital Camera World podcast, above, we discussed the best time to install firmware updates, why they matter, and what issues they can cause. It's a helpful listen if you're unsure when – or whenever – you should update.

It's smart to wait a week or two after release to see if any users hit snags. In the past, brands have had a few hiccups with major updates – for instance, introducing memory-setting bugs or minor interface glitches before being reissued.

You might like...

Browse the best Nikon cameras, the best Nikon lenses for DSLRs, the best Nikon telephoto lenses, and the best Nikon portrait lenses.

Last week the media was in uproar about a major photography gallery in Belfast, Northern Ireland, displaying AI-generated images in an exhibition.

In fact, the chief executive of the Belfast Exposed gallery, the institution under fire, recently defended the decision in a BBC article, as did the creator of the images, Johnny Sheridan, a Master of Fine Arts (MFA) graduate from Ulster University.

I’m sure many of you would scoff at Sheridan's defiantly saying that creating imagery using AI takes “far more than pressing a button,” but I agree with him. Even as a photographer who dislikes generative AI for all sorts of reasons which I won’t get into in this piece, I have to admit that Sheridan is right.

In my view, there’s a huge difference between simply “pressing a button” and articulating a creative prompt that conveys your vision effectively, so much so that an AI is able to bring to life an idea that existed in your mind, just as if you designed it yourself with a tool like Photoshop.

I don’t know about you, but I see using AI and graphic design, or any other type of creative visuals, as different approaches to the same goal. This doesn’t mean I’m OK with generative AI – I still hate the thought of using it to create images to my bones. But, as a creative, I have to acknowledge that going back and forth with an AI until it renders your idea as you envisioned is a form of creativity.

Now I’m not saying that Sheridan’s images are the best example of this. Admittedly, the bizarre creations, which supposedly convey undertones of anti-misogyny, seem more like dystopian takes on the Kill Bill films. You’ll know what I mean when you look at them and see the woman’s yellow outfit.

Perhaps Sheridan’s AI tool even referenced Kill Bill when creating the scenes, which brings up another thought I recently pondered: AI movie awards celebrating creations that might have infringed on copyrighted content.

But my point is that Sheridan is absolutely right when he says that AI imagery can be much more than button pushing. And while his work might not be the best example of this, I have seen plenty of AI-generated videos in particular that are, and it’s mainly because of the human who prompted the AI.

Hopefully this doesn’t read as a defense of generative AI. It’s not, and I want generative AI to disappear just as quickly as it took the world by storm. But right now we’re talking about recognizing the use of AI as a legitimate form of creativity, not simply button pushing, to which I say it can be.

You might also like…

Here's our rundown of the best AI image generators, or, if you prefer, here’s our pick of the best photo editing software to add the finishing touches to your human-crafted images.

A lightweight 130g prime has just received a free firmware update that promises faster autofocus (AF) and fixes an issue that could prevent continuous AF from working correctly during video recording on some camera models.

The SG-Image AF 25mm f/1.8 Micro Four Thirds (MFT) gets firmware Ver. 1.1, with the update specifically targeting AF performance. While the lens is available in several mounts, including Sony E, Fujifilm X, and Nikon Z, this particular update is for the MFT version.

For photographers and videographers using the compact budget prime, the update should make focusing more responsive while addressing a potentially frustrating AF-C issue when shooting video.

New firmware Ver. 1.1

SG-image AF 25mm f/1.8 Micro Four Thirds
Ver. 1.1 – Download link

Improvements
- Improved AF (autofocus) speed
- Fixed an issue where continuous autofocus (AF-C) might not function correctly during video recording on some models

SG-Image on how to update your lens
1) Download it to your computer
2) Link your lens to your computer through the USB-C port on its side, and it should show on your computer as "SG-image"
3) Copy and paste the firmware from your computer to your lens, and that's it

There is a txt file on the lens that shows the firmware version and its release date. It should show the firmware version you upgraded it to.

Pro Advice

If you caught Episode 4 of Bokeh Face: Digital Camera World podcast, above, we discussed the best time to install firmware updates, why they matter, and what issues they can cause. It's a helpful listen if you're unsure when – or whenever – you should update.

It's smart to wait a week or two after release to see if any users hit snags. In the past, brands have had a few hiccups with major updates – for instance, introducing memory-setting bugs or minor interface glitches before being reissued.

You might like...

Browse the best Micro Four Thirds cameras, and the best Micro Four Thirds lenses.

Samsung just launched its latest foldable phones, and alongside the usual Flip and Fold formats, there's a new, shorter, wider model, shaped a lot like a passport. Somewhat confusingly, it's just called the Galaxy Z Fold 8, while the traditional book-style foldable is now called the Fold 8 Ultra.

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

Specifications

Price & Availability

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

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

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

Design

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Camera Performance

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

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

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

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

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

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

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

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

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

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

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

Phone Performance

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Final Verdict

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

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

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

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

Alternatives

We're fast approaching the 25th anniversary of the camera phone, at least in the West. Sure, the first commercially available camera phone - the Kyocera Visual Phone VP-210 - launched in 1999, but that was a Japan-only product. It wasn't until late 2001 that Nokia announced its first camera phone - the 7650 - and Europe got its first look at a digital camera packed into a mobile phone.

This was seriously cutting-edge kit. Standalone digital cameras were still in their infancy in 2001, with it being a couple more years until sales of digital cameras would overtake film. So to have a digital camera built into a svelte slider phone must have seemed almost worthy of something Q might give to James Bond.

The quality of the 7650's camera was never going to compete with a half-decent digital point-and-shoot of the era, as it had to make do with a VGA (0.3MP, 640 x 480 pixels) sensor, but it was the novel ability to have a camera with you wherever you went that set the 7650 apart.

And the cost to be at the bleeding edge of mobile imaging? 600 Euros, or around 1000 Euros in today's money. That might sound pretty reasonable in comparison to the cost of a flagship phone today, but for perspective, the legendary Nokia 3310 would have cost roughly one quarter of the price at the time.

This 2001 BBC news report covered the phone's announcement, but it wasn't only the camera hardware that made the 7650 special. Nokia didn't just want you to snap photos with the phone; it also wanted you to share them. Of course, this was years before social media and internet-based instant messaging services, so the only way you’d be able to wirelessly send photos (beyond line-of-sight infrared transfer) was using the (then) new MMS service.

The Multimedia Messaging Service was devised as an upgrade to existing SMS tech and meant that it wouldn’t just be text messages that could be sent between phones; you’d also be able to send photos. However, while the future was bright back then, the sun hadn't quite risen above the horizon for the mass sharing of camera phone images.

I was 16 in 2001, and therefore exactly in the demographic that had made SMS so popular. Back then in the UK a single 140-character text message cost 10 pence to send, and we would try our hardest to ruin the English language in order to send as much information as possible within that 140-character limit. Conversations that read like 'U gota d8 w/ ur gf l8r?' became standard between teens in the early 2000s, such was the financial constraints placed upon us by the strictly limited phone credit at our disposal (go just 1 character over that 140 limit and you're paying twice as much - the jeopardy was real!). Now consider that a single MMS would cost around three times the price of one SMS, while also requiring you and your recipient to both have compatible high-end handsets, and you can appreciate why the industry experts featured in that 2001 BBC report didn't expect the camera phone and instant picture messaging to take off straight away. In my personal experience, it wasn't really until 3G-capable phones and internet-based messaging took off in the late 2000s that mobile image sharing became commonplace, as there was no longer a specific cost associated with sending a photo between phones.

So next time you’re casually sharing a snap in Instagram or WhatsApp, remember that at the start of the millennium most would have thought that was science fiction.