I’m used to much smaller 360 and action cams — devices you barely notice in a bag. The MAX2 isn’t that. It’s bulkier, heavier, and unmistakably more ‘pro’. But once I started swimming, snorkelling and shooting outdoors in Thailand, that trade-off made sense.

This is the kind of camera you bring when you want confidence — in the water, on the beach, moving fast, or when conditions aren’t predictable.

Design and build

There’s no getting around it: the MAX2 is chunky. If you’re coming from something ultra-compact, you’ll feel the difference immediately. It also doesn’t ship with a mount, so a selfie stick or grip is essential — and once I added one, the camera became far more practical to use.

That said, it feels like a GoPro should: solid, well-sealed, and made for abuse. Having a premium camera in the water — diving, snorkelling, swimming — felt reassuring rather than stressful. The replaceable lenses are a big psychological win, too. You’re far more relaxed using it when a scratch doesn’t feel like a death sentence.

Shooting experience

I shot a lot of beach footage, outdoor scenes, underwater clips and general travel moments — mostly in short bursts. That’s where the MAX2 works best.

The 360 footage gives you huge creative freedom, but the novelty does wear off. Eventually, you realise most people are still watching on flat screens, and you end up reframing down to traditional-looking shots anyway. The difference is that you didn’t have to think about framing at the time.

You shoot first. You decide later.

That flexibility is the real strength here. Whether I was snorkelling, jumping into the water, or just grabbing quick B-roll, I never felt rushed or constrained by angles. It’s a very forgiving way to shoot.

Usability and software

This is where the MAX2 reminds you it’s a premium, slightly demanding tool.

The interface takes time to get comfortable with, especially if you’re not already deep inside the GoPro ecosystem. Editing on the go is possible — but realistically, you’re pushed toward a premium software subscription if you want the smoothest experience and the best tools.

That friction is noticeable. Production is still work, especially if you’re shooting a ton of clips. I ended up pulling together multiple small shots in the app rather than creating longer, cinematic edits — which suited travel use, but won’t appeal to everyone.

Performance and battery

The camera runs warm — sometimes very warm — and battery life won’t get you through a full day if you’re shooting heavily. That matches what most long-term reviews have found. Carrying spare batteries isn’t optional; it’s part of the deal.

Still, nothing about the experience felt unreliable. It never let me down in the moments that mattered, and that counts for a lot.

GoPro MAX2 Verdict

The GoPro MAX2 isn’t trying to be the simplest camera you can buy — and that’s fine.

It’s a premium, flexible, pro-grade action camera that rewards those willing to spend more time learning it. It gives you incredible freedom, especially when you’re travelling, swimming, or moving constantly and don’t want to think about framing in the moment.

Yes, it’s bulky. Yes, it runs hot. Yes, the software nudges you toward subscriptions. But it also delivers something genuinely valuable: the ability to live the experience first, and shape the footage later. That makes it a great companion — not just a clever gadget.

Writer/reviewer: Craig Leppan

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There’s plenty to like about the Monarch M7. They’re fairly rugged, compact, lightweight (as 10 x 42s go), and feature excellent optics for their R11,900 price. That price puts these into the mid-range as far as binocular optics go. They’re no Swarovski NL Pure 10 x 42s, but they’re also not priced like them either.

Birds in the hand

Nikon’s Monarch M7 weighs in at just shy of 700 grams, but the weight is packed into a delightfully compact roof prism frame that makes them easy to handle. You’ll get some forearm strain if you’re observing elevated positions for a while (and aren’t used to it), but general use will be remarkably fatigue-free.

The 42mm objective lenses incorporate ED (extra-low dispersion) elements, offering better colour correction than cheaper sets that do without. Nikon also uses phase-correction coatings, with the glass surfaces treated with a multilayer dielectric coating that promotes light transmission. We’ll get to how that affects the view through the generous field lenses in a bit.

A couple of neat features are worth noting. Lens caps and one of Nikon’s straps live inside the Monarch M7’s box, as does a rugged nylon case. The M7 itself is fog- and waterproof (up to 1 metre, so don’t take them diving), but there’s one more bit we particularly liked. The diopter focus on the right-hand eyepiece can be locked down once the compensation is dialled in, meaning that fumbles when packing and unpacking won’t mess up your arrangement. Just pick your target, swirl the central focusing knob, and off you go.

An eye on the birdie

The Monarch M7’s are, strictly speaking, optimised for daytime use. Think game drives, sporting events, that sort of thing, but the specs and performance suit them for pretty much any conditions, whether that’s lighting or weather. During the day, we found that the M7s provided a clear, bright image — a product of Nikon’s coating expertise and those ED glass elements that outdid anything we had to compare them with.

That said, the lens quality is typical of mass production. We stacked these up against a vintage pair of Carl Zeiss Oberkochen 8 x 30s and, in terms of sharpness, the old German binoculars have a distinct advantage. But that advantage doesn’t last. The Oberkochens suffer, as many older (and cheaper) binoculars do, when lighting isn’t ideal. Overcast conditions, or when low-angle light (just after sunrise) is prevalent, can often fog out some of the view. The Monarch M7, thanks to its modern coatings and the excellent baffling visible through the objective lenses, suffers almost no ill effects in these situations.

The result is crisp, clear visuals during the day. Focus is smooth and controlled at any distance, colour correction and chromatic aberration are exceedingly well handled, and if you wanted to spy on rare avians in your back yard, this is the set of binoculars you should do it with. Unless you can afford a pair of modern Zeiss or Leica roof prisms, in which case you don’t need to read this assessment.

For the birds?

Night-time performance is equally good, though we’d prefer 50mm objectives for scanning the skies in the dark. We stacked these against a pair of Nikon Sporter EX 10 x 50s at night and the visual quality was about even, despite the Sporter’s being almost twenty years old. It’s not exactly a fair fight, however. The older bins’ increased objective size made for a brighter image with more reach, whether we were scanning star fields or observing the moon. Lunar features were also more visible, as they tend to be at 10x vs 8x.

That said, the Monarch M7’s night escapades were enormous fun. Colour rendition of stars were better here — again, Nikon’s modern coatings and particularly the phase correction layer do what they were designed to. Light loss through glass elements is kept at a minimum, while flooding from side light sources (whether it’s coming in to the objective or eyepiece) is kept at a minimum.

Speaking of side light, there’s plenty of eye relief in the Monarch M7s. Nikon reckons there’s 16.5mm, we reckon there’s more than enough space to see the entire field while wearing glasses. For finicky types, the eyepieces feature twist-up eyecups, which seat themselves at graduated stops, so you’ll always have your own personal eye placement perfect.

Nikon Monarch M7 10 x 42 verdict

Are we going to recommend the Nikon Monarch M7 10 x 42s? Absolutely. If you’re looking to purchase a single, multi-role set of binoculars that will work day or night, these are an excellent candidate for your cash. Whether you’re bird- or star-watching, a clean, bright image that can be maintained with little effort is the main drawcard. The rugged features and ED glass help to justify the price tag as well.

There are better binoculars out there. Some of them were made in the 1960s. But, much like Sony’s headphones, competitors may do one or more things slightly better than the M7s can, but few at this price will be the complete package. Excellent performance and the compact frame combine to form images that you’ll find yourself staring at for far longer than you’d expect you would.

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The clip below is from the course, with editing done via the paid version of GoPro’s app.

I also did a time-lapse of the river. That video is below.

Design and build

GoPro hasn’t reinvented the wheel with the Hero 13, and that’s not a bad thing. The familiar form factor is still the industry standard: a compact, rugged block that looks like it could survive being dropped down a flight of stairs, dunked in the pool, and still be ready for your next adventure. Waterproof out of the box (10m without a case), it remains the go-anywhere camera.

The build quality strikes the right balance—reassuringly solid without being too heavy. Buttons are tactile, the lens cover is replaceable, and the new coatings do a better job of handling smudges and glare. For creators moving between golf courses, cycling routes, or casual travel vlogging, it’s still one of the easiest “throw-in-the-bag” tools you can own.

Video and photo quality

Video remains GoPro’s calling card, and the Hero 13 Black delivers. It shoots crisp 5.3K video with excellent dynamic range. HyperSmooth 6.0 stabilisation is still the standout feature: whether you’re bombing downhill on a bike or filming handheld at Leopard Creek, the footage looks eerily smooth. Slow-motion at 4K/120fps effortlessly turns sunsets or water splashes into cinematic B-roll.

Photos are serviceable but not the star. You’ll get decent 27MP stills, and the new HDR processing helps in tricky lighting, but this is very much a video-first machine. If you want serious stills, you’ll probably pair it with a smartphone or DSLR.

Usability and interface

GoPro has refined its interface so it’s simple enough for beginners and efficient enough for pros. The touchscreen is bright and responsive—even outdoors—while the menus are logical. You can swipe quickly into preset modes, which makes it easy to jump from “cycling POV” to “golf vlog” to “slow-mo sunset” without digging through settings.

Voice commands remain surprisingly handy when your hands are busy. And for those who like tinkering, Pro controls let you dial in bit rates, white balance, and shutter speed.

Ecosystem and cloud workflow

This is where the GoPro Hero 13 earns both applause and groans. GoPro’s Quik app pairs easily, and the automatic cloud upload is slick—your footage is waiting on your phone or computer before you’ve unpacked. But the editing tools, the real meat of the experience, are tied behind a subscription.

It’s convenient if you’re all-in on the ecosystem, but it feels like a cash grab if you only use the camera occasionally. By contrast, smaller competitors like Insta360 bundle free editors, which makes GoPro’s “pay to unlock the workflow” model harder to swallow.

Performance in the field

In practice, the GoPro Hero 13 does what it says on the tin. Out cycling, you can mount it and forget it—the footage will look polished without babysitting. On the golf course, handheld vlogs and swing shots come out steady and clear. The sunsets at Leopard Creek showed off the improved HDR, balancing sky detail with shadows nicely.

Battery life is good but not groundbreaking. You’ll get about 1.5 to 2 hours, depending on resolution and features, which is fine for day-to-day shooting but might push you to carry a spare for longer trips. The Enduro batteries from the Hero 12 are compatible, which is a win for anyone upgrading.

Value and rivals

At its core, the Hero 13 is a refinement, not a revolution. It costs more than many of the newer compact rivals, and the subscription upsell makes the ecosystem pricier still. But the competition still lags in stabilization, ruggedness, and all-around dependability.

Insta360, DJI, and even some budget brands are nipping at GoPro’s heels with creative features and more affordable workflows. But if you want a camera you can trust in any environment—from surf to snow to safari—the Hero 13 is the safer bet.

GoPro Hero 13 verdict

The GoPro Hero 13 won’t shock anyone, but it doesn’t need to. It doubles down on what GoPro has always done best: rock-solid design, silky-smooth video, and a workflow that delivers pro-quality results with minimal fuss.

Yes, it’s expensive. Yes, the subscription-heavy ecosystem will annoy some. But when you actually take it into the field, those frustrations fade—the footage speaks for itself. For creators who value reliability and quality over gimmicks, the Hero 13 remains the benchmark action camera.

Craig Leppan conducted the GoPro Hero 13 Black review for Stuff. 

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Instead, you can stick the V380 Pro on a pole or a handy recess yourself. It’s recommended to power the unit via the mains, but it’s designed to run off the small solar panel that comes in the box. It’s decently low-power when the sun is out, while an internal battery provides the power needed to work at night.

Eye in a box

Everything users could need is included in the box. A 4G-capable SIM card is needed for remote access outside of WiFi range (one is included), and you get a 64GB microSD card for local storage (it will support up to 128GB). The latter isn’t essential. The V380 Pro offers cloud storage packages that upload events to a remote computer for later perusal — handy if someone manages to steal the camera itself.

In the package are the antennae-mounted camera unit, the screws you’ll need to mount it and the included solar panel, the cabling for hooking it up to mains power (it’s about as long as a cellphone charge cable, calm down), and a template for ensuring that you’re drilling holes in the correct places. These bits make installation pretty trivial if you’re able to hold a power drill the right way around on the second attempt. After that, it’s screwdrivers and plug-and-play all the way.

Okay, fine, you’ll also have to insert a couple of cards and navigate the app setup. As long as you follow instructions — and we mean all of them — you’ll be connected in no time.

Lightbulb moment

The V380 Pro is sheathed in what we persist in thinking of as networking appliance plastic. The main body holding the rotating gimbal, light, lens, and sensors is Router White, textured about the same as any internet device you’ve seen. V380 has provided an IP65 rating. It’ll handle rainy weather, but will explode if you install it underwater. Or if your mounting platform tips over into a puddle.

The main sensor area is a black plastic that connects to a couple of soft-touch motors that will rotate easily enough by hand during setup. The overall effect is of an old-style light, something you might have seen from the late to the mid-20th century. Odds are you’ve seen them in 2025, but they’re packing sodium-vapour or tungsten filaments instead of LEDs and other smart tech.

The camera sensor is a mere 3MP, which doesn’t sound like much in an age of 200MP phone cameras. You’ll pay upwards of R20k for that smartphone. Do you really want to do that for a surveillance camera? What are you hiding?

Don’t skip the rotation

The V380 Pro boasts full 360° rotation on the horizontal and 270° on the vertical (like dogs, the V380 Pro can’t look up). From an elevated vantage, it’ll give you full coverage of a set area. Motion detection will grab and focus on a human being from up to ten metres away, while an internal speaker lets you a) yell at trespassers over your phone or b) activate an internal warning and, eventually, a siren to scare them off.

The included app is competent enough to get the job done, letting you complete setup (again, do what they tell you to) and then access the camera remotely. You might have to fiddle with the network settings to suit your situation, but the result is near-real-time details from the device.

The camera can be manually panned, a process that delays enough to tell you how low-end (and low-power) the computing hardware is. It’s far simpler to pick your default surveillance angle and then turn on motion detection than it is to peer over the fence at what the neighbours are doing. 10x digital zoom will get you closer to what’s going on, but image quality from the 3MP sensor drops. As you’d expect. Still, throw in night vision and an LED light (manually or automatically activated), and you’ve got a decent feature set from the V380 Pro. Let’s see the insurance company deny your claim now.

V380 Pro 4G camera verdict

Dropping R2,000 on the V380 Pro, a price that includes 6GB of data and the SIM card you’ll need for that remote connection, isn’t outlandish. The security camera market resembles the printer one in that you almost never buy one because you want one. That makes them a tough sell at any time, but this critter is simple enough for the ham-fisted to install and set up, with enough features to let you side-step cloud services and the like if you want to. You’re taking a risk, since stealing the camera means stealing the footage in that case, but opting for the full-service option lets you keep footage on hand even if the light-fingered prove able to climb a three-metre gum pole. For viewing the outskirts of your property (or livestock) from the comfort of your home (or holiday destination), without running infrastructure underground, the V380 Pro will weather most elements.

The post V380 Pro 4G solar camera review – Remote viewing appeared first on Stuff South Africa.

Yellow jacket

Anyone who remembers old disposables from the 1990s will be at home here, more or less. The Kodak FunSaver is as uncomplicated as it gets. The ISO 800 film is pre-loaded, the built-in flash… isn’t. There’s a button on the front of the bright yellow body that’ll charge it up for your shot. Then there’s a shutter button on top and the little ratcheting wheel to move along to the next exposure. That sound alone will bring back a few memories or create some new ones.

Some versions of this camera offer a mere 27 images, but the newest edition bumps that up to 39 shots before you need to send it to a lab. If the little number counter on the top of the Kodak isn’t enough of a hint, the scroll wheel no longer clicks to a stop when you’re done.

Point-and-shoot?

If using the camera is super simple, there is something to be said for the skills needed to operate an old 35mm film camera. Once upon a time, everyone had a decent grasp of how to take acceptable images with these. Now… not so much. We’ve all been spoiled by the instant nature of digital and the option to just take it again if someone’s eyes were closed.

Instant gratification is further delayed by another factor we thought we’d seen the back of. The Kodak FunSaver actually has to be sent to a lab (you’ll find a list of the nearby options at kodakprofessional.com), meaning you’ll only know how ham-fisted you were when the prints come back. Okay, you can get digital versions of your shots from the lab too, but where’s the fun in that?

Battery included

Not much has changed in terms of usability. It’s still simple to operate. It’s easy enough to use that we gave it to a two-year-old to pop off a few pics. It was the work of minutes for them to get the hang of the flash and start snapping away, though operating the frame advance wheel caused issues for a few minutes longer. Even that was mastered by the time we were two-thirds of the way through the included 39 exposures.

As with disposables from the distant past, the flash must be pre-loaded before you trigger a shot. The front button handles this, with a simple red LED telling you that it’s ready to go. It’s hardly instant, but the battery-operated flash is powered by an included (and sealed-in) battery that will absolutely outlast the camera. Unless you do something silly like snap a few shots and then leave it in a cupboard for several months, but you’d never do that. Right?

Kodak FunSaver 35mm verdict

Purchasing the R400 Kodak FunSaver 35mm disposable is something you’ll only do if you want to. Sure, the camera is cheap, but developing film can be a schlep, and basically any camera phone will offer up better photos in 2025. But distribute a few of these disposables at a party and you’ll see people posing like it’s 1994 all over again. Expect a clamour for the prints later, so everyone can see how your photography skills have atrophied in an age when the assists are always on.

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Like its smaller sibling, the Instax Mini Evo, it has the same charming blend of retro design and digital convenience. But does it make sense in a world where your phone is likely a ‘better’ camera?

Wide load, instant mode

The Instax Wide Evo brings the big guns: it shoots onto Instax Wide film (62mm x 99mm), which gives you about double the print area of the Mini film (62mm x 46mm). That means roomier group shots and landscape scenes that don’t feel squished. Even more so when you switch the lens to wide-angle mode via a switch on the front.

Just like the Mini Evo, the Wide Evo lets you choose which images to print, so no more wasted film on your cat looking away or blinking mid-shot. You just scroll through the images on the 3-inch LCD, pick your favourite, and joyfully crank out prints with the analogue lever. We cannot overstate how enjoyable that crank was, we even got excited watching others giving it a spin.

At the heart of the Wide Evo is a 16MP digital sensor paired with a fixed 16mm f/2.4 lens (that’s roughly 35mm full-frame equivalent). It’s sharp enough for Instax’s print quality and great for wide-angle selfies or group shots. You get ten lens effects and ten film styles to mix and match — double exposure, retro, monochrome, you name it. That makes for 100 different combinations to choose from, and the camera allows you to save your favourites for quick reuse.

Built to be handled

Fujifilm nailed the retro-futurist vibe with the Instax Wide Evo. It’s quite… wide, but it’s not as chunky as the Instax Wide 400, surprisingly light, and all the controls are laid out for intuitive two-handed use.

The highlight? That print crank. It’s fun, tactile, and makes the whole process feel special. There’s also a slick, flat on/off switch, a faux shutter lever, and clicky knobs for zoom and settings. Nothing protrudes awkwardly, so it slips into a tote or camera bag easily, even with the wide film format.

Beyond just looking good, the Wide Evo offers a functional menu system with the basics: exposure, timer, white balance, and flash settings. There’s face detection too, but you don’t get to choose which face it locks onto if there’s more than one.

The Wide Evo’s print quality is classic Instax: a slightly soft focus with a warm, filmic tone that feels more nostalgic than precise. It’s not clinical, but that’s the aesthetic — and part of the charm when you’re flipping through a stack of prints rather than scrolling through a gallery. You can tweak brightness, contrast, and saturation in-camera, though don’t expect Lightroom-level finesse. You can also boost colour vibrancy by switching to Instax Rich mode, compared to the more subdued Instax Natural mode.

Party trick with a purpose

Do yourself a favour and slot in an SD card. Internal storage only stores the photos that you have printed, so the SD card allows you to delete with a little more hindsight. The camera occasionally freezes (especially if you’re hammering buttons), but a small reset pinhole will sort that out.

In real-world use, the battery gives you around 30 shots and 8 prints per charge. It charges over USB-C and can operate while plugged in. There’s a tripod mount, but it’s slightly off-centre to make space for the film ejection. A bit awkward, but not a dealbreaker.

The Wide Evo app lets you transfer printed photos immediately, shoot remotely, and even print straight from your phone. There’s also a “Discover” feed for sharing effect combos, which is a cool way to get inspired without diving into trial-and-error mode.

Fujifilm Instax Wide Evo verdict

The Instax Wide Evo adds a physical, interactive layer to your photography, especially in social settings. You might not get pixel-perfect clarity or pro-grade control, but you can get that in a decent smartphone. Being able to choose what you print is a genuine game-changer, and the larger Instax Wide format gives your memories more room to breathe. The fact that all this comes packed into a sleek, lightweight body is another win, just like the much-needed upgrade to USB-C charging.

At R6,600, it costs just over double the Instax Mini Evo — fitting, since the prints are almost twice the size. Sure, the digital photos probably won’t win any photography awards, but they’re perfectly suited to the instant format and come with a healthy dose of charm. It’s more than a gimmick — it’s a modern take on the instant camera that’s actually fun. And sometimes that’s exactly what your camera collection needs.

The post Fujifilm Instax Wide Evo review – Prints Charming appeared first on Stuff South Africa.

Are you just happy to see me?

The Fujifilm X-M5 weighs only 355g and fits in the palm of your hand. This makes it an easy addition to a handbag or even certain pockets. The X-M5’s size and form factor are a big win for vloggers, mainly because of its reversible touch screen. The Fujifilm TG-BT1 Tripod Grip made a huge difference for vlogging in selfie mode. We would have liked a wide-angle lens like the Fujifilm XF 18mm f/2 R to help us grab more of the surroundings and look less like a dad who accidentally found the selfie camera and insists on using it.

The Fujifilm X-M5 isn’t just for video wannabes. It comes with the film simulation dial we saw in the X-T50 which make Fujifilm’s film simulations more accessible. This is a good way for Fuji to lean into its history as film producers, especially in the form of its uncanny vintage-looking top dials. Where there’d usually be two dials for shutter speed most X-T cameras there’s now only one that serves that purpose. The second dial is used for selecting the mode you want to shoot in.

A little give and take

The big question you need to ask when considering the X-M5 is what you’re willing to sacrifice. If you’re looking for a nice viewfinder, you should look elsewhere. The camera’s small size meant components packed close together led to overheating with heavy use. Heavy use also put the smaller Fujifilm Original NP-W126S battery under pressure.

Read more: Fujifilm’s X-M5 is a vlogger’s dream, resembles the X-T50 for a whole lot less

When it comes to battery life you get 330 Frames per charge (440 in Eco mode) and about 1 hour and 30 minutes in video mode. With a USB-C charging port the time spent plugged in depends on the power brick but we needed only an hour with a 66W charger to return to full battery. If you anticipate heavy usage like a live streaming day of heavy shooting, we’d recommend a cooling fan, spare batteries, and a charger.

Super sub

The fact that the Fujifilm X-M5 is an interchangeable lens camera is nearly its biggest highlight. The first recommended lens is the XC 15-45 mm. It’s on the more affordable side of Fuji’s lenses and offers you the ability to zoom without being too clunky. It also pairs nicely with the Fujifilm TG-BT1 Tripod Grip which lets you zoom without touching the lens.

If vlogging isn’t a priority but photography is, a prime lens like the XF 23mm F1.4 R is an excellent choice. That low focal length produces some of the most crisp portrait photos we’ve taken. The lenses are where you’ll experience the highest upside and the X-M5 is the perfect starting point for exposing yourself to Fujifilm’s range.

I can’t believe it’s not premium

Internally the Fujifilm X-M5 has an X-Trans CMLS 4 sensor we also saw in the X-T4. While it may not be the latest CMOS 5HR 40.2MP from the X-T50 and X-T5, the 26.1 MP sensor does a decent enough job. It does however include the latest X-Processor 5 which allows for HEIF compression. This also gives it AI-driven subject detection autofocus for a state-of-the-art point-and-shoot experience.

The Fujifilm X-M5 also does well to provide a state-of-the-art video-making experience. The most functionality is found in vlogging mode thanks to the touchscreen interface. Here you’ll select if you want stabilization with OIS or OIS + DIS, microphone direction settings, and even portrait mode without tilting the camera. You can also select a reduced max bitrate to transfer files to your phone with the Fujifilm Camera Remote app even faster. When in the normal video mode you can shoot 6.2K at 30p, 4K at 60p, and FHD at 240p if you want slow-mo footage.

Fujifilm X-M5 value verdict

The biggest highlight of the Fujifilm X-M5 is its price tag. You can grab it without a lens for just R16,250 which is an excellent price for a mirrorless camera. If it’s your first camera and you want to add the XC 15-45mm lens, you’ll pay R18,700 which is R17,930 less than the X-T5 with a starter lens.

The Fujifilm X-M5 compromises in the right places to provide the biggest bang for your buck. Giving up a viewfinder, the latest processor, and longer battery life so that you pay almost half the price is a no-brainer. Especially since what you get in return is incredible portability, up to 6.2K resolution video, and the opportunity to try all the different lenses with the money you’ve just saved.

The post Fujifilm X-M5 review – Small camera, huge value appeared first on Stuff South Africa.

Normally this would be a problem, and it does make a review more challenging, but the Z6 III is handily capable of standing up on its own. As full-frame mirrorless cameras go, Nikon has tried to strike a balance between price and performance here and has mostly straddled the line that appeals to folks on both sides. It’s not a bargain snapper by any means but nor is it priced like a second-hand dealership car.

Weather the storm

You’ll have experienced something like the Nikon Z6 III’s rugged frame at some point. Whether you’ve handled an older pair of binoculars of dubious provenance or tweaking the settings on a high-end camera from Japan, the Z6 III’s black textured surface will feel familiar. The ergonomics might also ignite a memory-holding neuron or two but Nikon has made this one extraordinarily comfortable to use. If anything, the frame might be too compact.

Much of this is the right-hand grip but dial and button placement and the 670-gram weight have their part to play. That last number is for the body only. Add one of Nikon’s lenses, like the Z 35mm or the Z 180-600mm, and you’ll add anything from 400 grams to two kilograms. Assuming you’re normal, snapping off shots with the 35mm lens is a balanced experience. Forearm fatigue is kept to a minimum but you’ll have your work cut out replicating that with Nikon’s VR lens.

Button placement is on par with high-end cameras and users will find little to complain about. Everything is within easy reach of curled fingers. Some practise will see even novices swapping modes and settings while tracking an object through the excellent viewfinder. The body is weatherproofed and will handle most conditions short of a frozen wasteland or the Sahara desert. It can’t swim, though.

Solidly stacked

We’ll get to the other bits and pieces, including the excellent rear LCD panel. First, a word about the Z6 III’s sensor. Nikon calls it a “partially stacked” sensor. Unlike the better-stacked Nikon Z8 and Z9, the Z6 III integrates a portion of sensor circuitry in front of and behind the 24.5MP CMOS sensor the Japanese brand serves up here. Performance is improved enough to make it a compelling choice at this price point but not so much that it threatens Nikon’s flagship devices. Fully stacked sensors integrate more, resulting in a better speed boost at a much higher price point.

Autofocus gets a significant boost from the new sensor with object recognition and eye-tracking skills allowing for faster, cleaner shots. Burst speed is also tweaked, up to 20fps with the electronic shutter. This cuts back on the rolling shutter effect at high speeds but it’ll still show up in extreme cases. For the target user, though, the Z6 III’s acquisition and capture skills should prove more than adequate.

Image stabilisation is also uniformly excellent thanks to that partially-stacked sensor. Couple this with the ability to shoot 6K (6,048 x 3,404) video at 60fps in ProRes RAW or RAW and Nikon’s camera looks more like an essential for semi-pros.

Mic and the mechanics

There’s much to be said about the video skills the Z6 III brings to the loosely hanging camera bag. It’s not just the speedy capture of motion at high speed. Nikon has also thought to see the body with a stereo microphone and headphone ports, letting you spec the frame into something a little more studio-worthy. The 3.2in LCD has no small part to play in turning the Z6 III into a one-man rig.

It swivels out 180°, rotating to face outward. If you’re filming a vlog, interview, or anything else that requires you to be in front of the lens, Nikon’s large, bright screen is an essential addition. It makes the purchase price more palatable if you know what you’re looking for.

Quantities of quality

There are a lot of words here about what the Nikon Z6 III is. How about how it performs? In practice, it’s as simple as sticking something in front of the lens and clicking the shutter. It’s possible to take shoddy photographs but you’ve almost got to work at it. Autofocus will spit out competent shots for the clueless amateur to show off their picture prowess with but exploring everything the Z6 III has to offer takes a bit more learning.

Nikon lets users set exposures to anywhere from thirty seconds to 15 minutes, making this a candidate for serious night-time photography. On a tripod, please. We’d hate to see a handheld 15-minute exposure, no matter how steady your hands are. Pre-release burst, a feature of other Nikon cameras, makes its way here too. It buffers a second before and after you depress the shutter and could be the difference between making and missing your shot. If you’re still learning, the Z6 III offers some forgiveness for tardy fingers.

For R50,000, there’s almost no such thing as a poor image. It’s down to the user at this point but if you’re even vaguely educated in how to use your camera, the Nikon Z6 III will ensure you’ve got something solid to work with. If you’re a pro, then you’ll find that swinging this camera around is more fun than wielding a serious slab of hardware.

Nikon Z6 III verdict

Will you be pleased to fork over R50,000 for a shiny new Nikon Z6 III? If you’re the type to take your photography seriously then yes. It’s not a beginner’s rig and you’ll need either existing lenses, a pricier package, or an extra purchase to get your photographic ball rolling. but you’ll be well-served by what Nikon has provided here. The build is excellent, image quality is fantastic, and Nikon’s autofocus skills will help you level up your own.

The price is a limiting factor. Not everyone has fifty grand to throw at their hobby. Those that do will be happy with the performance here across the board. Pros might find something to complain about but the average camera-savvy user will encounter very little that fits in the Cons column. Our only real complaint? It’s been too long since we had a new Nikon to play with. Still, the dry spell is broken. Hopefully, there will be more camera-spitting clouds on the horizon.

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In some ways, the Fujifilm X100VI has a lot to live up to. While it has a successful blueprint to build from, it is also at risk of falling short and becoming nothing more than an overpriced disappointment.

Always meet your heroes

Whether looking at or looking through the hybrid viewfinder, the X100VI captures the classic and makes it contemporary. We cannot get enough of Fujifilm’s physical knobs, even more so in the X100 range.

The X100VI has a stylish twist with the ISO dial located inside the shutter speed knob. Moving most of the knobs, dials, and buttons to the right of the body means there’s space for the hybrid viewfinder on the left without ruining the camera’s compact and ergonomic layout – for right-handers at least. A dial in front toggles the viewfinder between optical and electrical. With the customisable functions of buttons and dials it’s like using a camera in the X-T range, besides the fixed lens of course.

The Fujifilm X100VI keeps the 23mm f/2 lens from the X100V. While you sacrifice flexibility by having the lens permanently attached, it makes for a compact package that thankfully comes with a stylish lens cap. One can add wide and telephoto lens converters but those are sold separately. We found ourselves accidentally changing the focal length when we tried to zoom, old habits and all that. Digital zoom exists and is supported here but we avoided using it. Image quality degradation reasons. The built-in neutral density filter also came in handy when natural light was overabundant and messed with our exposure.

The X100VI’s 23mm lens complements its 40.2-megapixel X-Trans CMOS 5 HR sensor but the X-Processor 5 is probably the biggest talking point of this camera’s internals. It is responsible for handling the aforementioned HEIF format and its better compression efficiency. Better than the now 32-year-old JPEG format, anyway.

The newer format produces better results from cameras like this one with its 10-bit colour profile. With a higher bit depth and a wider range of colours, HEIF images have smoother gradients, resulting in less colour banding. The processor also boasts an updated subject detection autofocus algorithm for animals, birds, cars, motorcycles, bicycles, aeroplanes, trains, insects, and drones. You know, moving things.

As compact and portable as the Fujifilm X100VI is, it still weighs 521g. A whole 43g heavier than the X100V. However, the new in-body image stabilisation (IBIS) accounts for most of that. Add to that its weather resistance and it’s difficult to see an adventure you wouldn’t want to take the X100VI along.

The smaller NP-W126S battery was chosen over the NP-W235 in the X-T5 to save space. The optical viewfinder you’ll hear a little more about later puts less pressure on the battery giving you up to 450 shots. With the combo of the HEIF format and portability going for it, the Fujifilm X100VI makes a good case as one of the best point-and-shoot cameras in 2024.

Fujifilm’s secret sauce

KFC has 11 secret herbs and spices and Fujifilm has its film simulations. That makes a lot of sense seeing as Fujifilm used to produce its own film (it’s right in the name) along with lenses and camera bodies. The film it produced had colour specialists who spent every waking professional moment creating these simulations. We’ve always been inclined towards more true-to-life, filter-free photography, but we figured we’d give it a spin with the X100VI. After our experience, we can see the appeal and may even be converted into an advocate for filters – especially when they’re this good.

The potential for adding to the mood of your images is endless. We found that Provia was good for a wide range of subjects. It’s a good place to start if you’re taking pictures and don’t have time to be picky. Colours are closest to what you see with your eyes. For more tender moments, Astia gave us shots with a softer tone and contrast while Velvia cranked the contrast up to make colours pop. Once we got the hang of these simulations they gave us less to do in post. On top of that, you’re getting classic film simulations that past colour specialists have worked on.

With the film simulations making post-production less necessary, image compression enters the conversation. The Fujifilm X100VI has the option for shooting in the HEIF format as opposed to the JPEG format which has been the industry standard for years.

While the industry hasn’t yet moved away from the JPEG format entirely due to its far-reaching compatibility, adoption of the HEIF format and all its variants has steadily increased in the last few years. That’s thanks to its modern compression algorithm which takes better advantage of newer higher resolution cameras while offering smaller file sizes than JPEG images of similar quality. The X100VI’s combination of film simulations and HEIF support does a lot to get you from the picture-perfect moment to the final product without little effort on your part.

The photo-taking experience of the X100VI is also enhanced by its hybrid viewfinder. It’s a hybrid between an electronic viewfinder that mirrors the touch screen and an optical viewfinder with overlays that feel like Dragon Ball Z scouters. Located in the corner of the camera, much like an Instax camera, it helps make the camera a little more compact and easier to wield.

The optical viewfinder gives you a little electronic screen at the corner of the frame when using manual focus. It did make us feel like we were missing out on a wide-angle lens since you’re only taking a picture of what’s within the frame seen. It took some getting used to as we’re accustomed to centred viewfinders found in mirrorless and DSLR cameras, like the X-T4. Besides providing a more retro feel, the Fujifilm X100VI’s hybrid viewfinder and the two-way tilting LCD made for a more dynamic shooting experience.

Light camera’s action

While most of the hype about the Fujifilm X100VI is for the pictures it takes, there’s a lot to be said about its video-shooting smarts. You can shoot videos in up to 6.2K resolution (6,240 x 4,160) at 30 frames per second with the X100VI. A minor drawback for some of the shooting modes is the cropping. Shooting video at 50 frames per second introduces a 1:1.1 crop while you’ll get a 1:1.23 crop at 6.2K and 4K HQ resolutions although the quality bump from shooting at higher resolutions makes the crop tolerable enough.

We anticipated that the high-quality video recording would put a strain on the battery but we were pleasantly surprised.  We shot just over an hour of footage in 4K at 25fps before the camera battery ran out. This was without any stopping due to the camera overheating which is remarkable for a camera of this size. When shooting 4K HQ it only lasted about 30 minutes before overheating which isn’t bad either.

Its improved video skills are definitely what sets the Fujifilm X100VI apart from the X100V. The aforementioned IBIS makes static handheld videos significantly less shaky and Digital Image Stabilisation further helps your wobbly hand. Moving the camera is above the IBIS’s pay grade so get a gimble (and the wide-angle lens converter) if you’re looking to do moving vlogs.

Fujifilm X100VI verdict

Our time with the Fujifilm X100VI is a time we remember fondly. It’s a great companion for capturing special occasions because of its portability. We enjoyed spending a little extra time thinking about the mood we wanted to create with the film simulations. The support for high-quality HEIF images often meant that we had to spend less time editing before they were ready to be shared. As a video camera, the ability to shoot in 6.2K or 4K resolutions together with IBIS is remarkable for a point-and-shoot of this size.

The Fujifilm X100VI has a lot going for it but it’s not for everyone. For some, the flexibility you give up with the 23mm f/2 fixed lens is a bit of a turn-off. We’re sure some people will think the same of the R31,600 price tag but you are getting a lot of quality stuff for your money.

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This makes the R3,500 price tag a little hard to bite down on. Three and a half grand for a low-tech camera that runs on AA batteries stings a bit. Add an extra two hundred bucks every time you want to fire off ten images and you really have to want to own one of these. Thankfully, Fuji makes it easy to get into that mindset.

Block of history

If you’ve got any hopes for especially hardy construction from the Instax Wide 400, we suggest you recheck the price on the receipt. It’ll never match up with a starter-grade DSLR and even an older compact digital will have a tougher chassis. That isn’t to say that the Wide 400 is flimsy. The chunky package in your hands is made almost entirely from a lightweight plastic that should shrug off most attempts to destroy it. Even so, we’d be loathe to drop it on a concrete surface from a moderate height. Bits would probably fly off.

Considering how simple the Instax Wide 400 is, any bits are likely to be important. There’s a single large compartment for the four AA batteries you need to power the thing, an integrated flash, and the lens. The ring around the lens, which causes it to extend, also acts as the power button. The bulge on the front left (if you’re staring into the lens) hosts the shutter button and the toggle on the right of the lens is the timer, so you can get out into the group shot. Images pop out of the slot at the top.

Finally, there’s an optical viewfinder and a compartment at the rear for the Instax Wide film packs. Operation for the latter is simple. Stick in the film, ensuring that you line up the yellow bit in the compartment with the yellow bit on the back of the foil-wrapped film pack. It’s almost idiot-proof.

WYSIWYG

Barring an upgraded form of idiot, putting the Instax Wide 400 into operation is incredibly simple. Load the film, pop out the lens, and press the button (once) to eject the film pack’s cover. After that, you’ve got ten shots before you need to reload your photographic carbine. Point. And shoot. Preferably using the small optical viewfinder, which has guides that help you get your subject in the centre, whether you’re using the 95mm f/14 lens in its 0.9m to 3.0 configuration or have it set from 3m to ∞. A secondary guide lives in the optical viewfinder. That’s for when you’re attempting extreme closeups with the included adaptor, which offsets the lens’ centre point.

Image quality? Sure, it would be nice if there was some. Instant photographs, dating back to their inception in 1948, have always had a certain dated look. All of your shots will end up either over or under-exposed unless you’re really certain of what you’re doing. Others will pop out with perfect colour rendition. If you’re really lucky, that’ll be the shot where everyone’s eyes are open. But if you’re quibbling over quality, you’re missing the point of the Instax Wide 400.

You can see the whole camera in action. Pry open the back and turn that lens dial on the front (without an open pack of film in, please). You’ll see the whole workings pop into position, ready to irrevocably capture an instant in time. There are no second chances or take-backs. It’s just you and your subject and the world at the time, which is a form of artistry in itself. You don’t need talent. Just a chance moment, captured at the perfect time. There are surprisingly more of those than you’d expect.

Fujifilm Instax Wide 400 verdict

Do you need one of these? No. You’ve got a smartphone. It’s got a better lens. You can take several images and choose the best one, or some sort of AI will do that for you. But the Instax Wide 400 comes from a different time, where the images you took were the images you got. The need to develop the film yourself, or take it to an expert in a store, has been removed, letting you see your artistry (or lack thereof, which is a form of art) in roughly 90 seconds.

It’s a tangible way to chronicle events in the moment and the iconic click-and-whirr of an instant photo will have folks crowding you in a way your smartphone snaps just won’t. It’s just worth remembering that the Instax Wide 400 isn’t a once-off purchase. You’ll pay at least R2,000 for film packs by the time you need to swap out the AA batteries, each time you do that. For some folks, that’s a worthy cost. For others… maybe stick with your smartphone and an Instax printer. It’s less sexy but you’ll always know what you’re getting.

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