The iPhone Duo, Apple’s first folding phone, is set to come out in just a few days, but the reviews are out now. In aggregate, they paint a picture of a complicated phone that feels highly refined in some ways, and first-gen janky in others, especially when it comes to third-party apps.

While it may be a bit too late to get a pre-order in (at least, if you want the phone in a timely manner; at time of writing delivery dates are already pushed to next year), the reviews we’ve listed below tell the story of the Duo both for those curious about it as a tech object, and for anyone actually considering buying it.

The photographer’s perspective

Tyler Stalman does a great job of reviewing phones from the perspective of a working photographer and content creator, so his take on the Duo is one of the ones we were most anticipating.

Overall, his takeaway about the phone is that it’s better at productivity and media consumption than creation, though he does a good job of comparing it to the iPhone 18 Pro across a variety of scenarios, and at breaking down the roles of each of the phone’s four cameras. One of the most interesting takeaways from this review, at least for me, is that the Duo doesn’t make as good a teleprompter/camera combo as I thought it might, thanks to where the cameras are in relation to the front screen.

Hear from the tech enthusiasts

Marques Brownlee, or MKBHD, has long been one of YouTube’s premier tech reviewers, and for good reason. His review of the Duo is both a visual treat and an in-depth look at Apple’s philosophy behind its foldable, how well it executes those ideas, and whether they’re good ideas in the first place.

Tech review veteran iJustine has also taken a look at the Duo, which does a good job of illustrating what it’s actually like to live with the phone.

What about a foldable fanatic?

There are few as dedicated to the foldable cause as Michael Fisher aka Mr. Mobile. His experience with testing basically every phone in this form factor means he’s well-equipped to discuss how it stacks up to the competition, and he does so in his trademark poetic style.

For what it’s worth, he calls the iPhone Duo’s cameras the best you can get in a foldable in the US. That’s despite the Z Fold 8 Ultra having unambiguously superior hardware, though, given his comparison between the Z Fold 8 and the Duo, he hasn’t had a great experience with Samsung’s processing.

The in-depth look

While The Verge has produced one of its trademark cinematic reviews for YouTube, anyone actually considering buying a Duo should read its written review, which goes in depth in a way that is really difficult in a video. We know our audience appreciates a thorough examination of a new device, and Nilay Patel and Allison Johnson deliver.

Full disclosure: I was predisposed to like this one: Allison is a DPReview alum, and I also worked with her during my two-year stint at The Verge, an outlet I still deeply respect for its commitment to examining the big picture beyond the specifics of any particular gadget.

The wrap-up

The impression I got from the countless reviews I’ve watched about the Duo is that it’s both exactly what we expected and a bit of a surprising release from Apple. The company is known for releasing products polished to a mirror finish, and while it seems the hardware and Apple app experience has received that treatment, there are still a lot of rough edges.

A lot of that comes down to software. Apple was very late in getting developers the tools they need to make their apps work for the Duo, so anyone buying one needs to be ready for what feels like a very beta user experience. There will probably be a lot of people who end up disappointed that their $2000-and-up displays their favorite apps as a small, floating rectangle in a sea of black on the inner display.

I suspect many major apps will be updated relatively quickly (though there will be stragglers), and the bugs with the OS will be ironed out. Once that’s happened, users will be left with the phone that the iPhone Duo appeared to be when it was announced: a first-generation foldable that, yes, has a lot of polish, but that’s still a fair bit heavier than the competition, and which asks you to give up quite a bit to be among the first iPhone users to adopt a new form factor.

That includes compromises to the cameras: the reviews mostly settled on them being fine, for a foldable, and many reviewers missed a telephoto option, though the experience of being able to easily use the phone’s main camera for selfies was near-universally lauded.

We’re hoping to get our hands on an iPhone Duo so we can bring you our own thoughts, but until then you can read some of our existing coverage below.

Leica has announced a Formula One-branded special edition of the Q3 43. The special edition marks the start of a licensing partnership between the two brands. One that they say embodies their “shared values: precision, teamwork and
craftsmanship.”

The $9950 Q3 43 F1 edition will come with a carbon fiber version of the Q3-series wireless charging accessory grip, along with a soft release with carbon weave and a carbon fibre thumb rest, clipped into the hotshoe. The body features a “Microvelour” coating, to evoke the steering wheel of a Formula 1 car. The camera’s top plate and lens cap feature the current F1 logo.

Leica

The soft-touch shutter button and some of the camera’s shutter buttons have red accents to mimic the buttons on a modern F1 car’s steering wheel. The camera also comes with a rope-style camera strap with F1 branding.

In most other regards, the camera will behave like a standard Q3 43 (to which we gave our Gold award, when we reviewed it), but with the addition of an exclusive “Formula One” color mode. Leica says the F1 Look provides: “a rendering that complements the world of motorsport. Higher contrast and richer saturation capture the atmosphere of the racetrack and paddock in the final image.”

Leica

There are some cynics who might say that Formula One isn’t what it once was. And that, for all its shows of impressive engineering, has become an exclusive pursuit, entirely disconnected from the rest of automotive, and from its origins in which the skill of talented individuals overcame everything, delivering memorable moments seen the world over. But, if nothing else, it knows the power of branding.

Leica’s press release doesn’t reveal how many Q3 43 F1 Edition models will be made but, as ever with special editions, we look forward to seeing them come up for auction, above their original list prices, in a few years’ time.

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Last year, Insta360 announced that it was entering the drone market with its Antigravity brand and A1 drone, which comes equipped with a 360 camera. Now, the company is launching a new “Follow Me” bundle, which pairs the drone with a few new accessories aimed to make it even easier to film yourself. It also provides a substantially less expensive way to buy the drone, though there’s a big catch to anyone looking for a drone to use casually.

Like many other drones, including models from DJI, the A1 is able to track a recognized subject, following them without needing to be manually controlled. With the Follow Me bundle, Antigravity is introducing a watch you can wear to make tracking more reliable, even if the drone loses sight of you behind an obstacle, such as a row of trees.

Antigravity

The watch has a 1.7″ display, which you can use to watch a live view from the drone’s camera and to control things like recording, video mode and which subject the drone is tracking (though it’ll be best equipped to follow the person wearing the watch). According to the spec sheet, the drone has a maximum tracking speed of 10 meters per second (22.4mph).

The bundle also includes a new ring accessory, which the company says enables a “Drag-to-Fly” mode where you can “grab” the drone by pointing at it and pressing a button on the ring. You can then move your arm to control its position. Swing your arm over your head, and it’ll go from following you from behind to filming you from the front, or move your arm left to right to have the drone execute a pan. You can also do a twisting motion to have the drone fly away from you, showing more of the surroundings.

This is somewhat similar to how the drone works already worked in its “FreeMotion” mode when paired with the motion-sensitive remote that came in the standard bundle, but the ring will theoretically be a bit harder to notice in the actual footage. The A1 offers 8K 360 capture at up to 30p, recorded from two cameras with Type 1/1.28 (76mm²) sensors and F2.2 lenses.

Antigravity

Both the ring and the watch are IP67 rated, so you should be able to wear them even during sweaty or water-based activities.

The bundle also includes a new set of propeller guards that Insta360 says will fully enclose the blades for added safety, along with four extra propellers, a crossbody bag, a USB-C cable for charging the drone (though no charging brick) and the brand’s high-capacity battery. That latter inclusion is a critical one, for reasons we’ll cover in just a moment.

What the bundle doesn’t have are the “Vision Goggles” that came with the standard A1 bundle. Nor does it come with the motion controller. These let you fly the A1 from a first-person view, and look around your scene while doing so, thanks to the drone’s 360-degree camera. Of course, the standard bundle will still be available alongside the Follow Me one.

Antigravity

Not including the headset apparently means Antigravity can sell the drone for substantially less than it has previously. The “Standard bundle,” which until now has been the entry point for the A1, costs $1599 but the Follow Me bundle, which is available starting today, comes in at just $799. If you already own an A1 and want the watch and ring, the company is also making those available for $340 at retail, though it says it’s offering a 20% discount for “existing A1 users” (which, to me, seems to encompass everyone who would be interested in buying them).

The Antigravity press release says that the new bundle makes the drone a good option “for family outings and sporting activities, giving people an easy way to capture memories while staying in the moment.” While the price makes it seem like a reasonable pick for those scenarios, especially in the US where DJI’s models are harder to come by, the use of the high-capacity battery rather than Antigravity’s standard one means that the drone included in this bundle has a takeoff weight of 351g. Consequently, you’ll have to take some extra steps to fly it legally in the US and EU, which isn’t the case for the Standard bundle version of the A1, as it comes in right at the 249g limit with its non-extended battery.

The spec sheet for the Follow Me version of the A1 has some other differences compared to the one in the standard bundle, too, with substantially shorter flight time and max flight distance than even the version with the smaller battery, lower top speed, and less wind resistance. However, Antigravity says this is this is only the case with the full-coverage propeller guards installed; without them, it will perform the same.

All of this makes it hard to know what to make of this bundle. Had it included the standard battery, it’d be a much more straightforward story: a cheaper version of the drone that’s a bit better equipped to follow someone for vlogging style content and more casual shooting. But, at least to me, the people in that audience are the least likely to want to have to get a license to fly a drone, especially when the higher-end version doesn’t require that (at least, until you get into the even more expensive bundles that come with the high-capacity battery).

Still, the A1 is an interesting drone, and this offers a less expensive way to buy it for those who are interested and willing to go through some hurdles to fly it, be they registering the drone or buying one of the standard batteries to try and get it under that 249g weight limit.

Antigravity

Antigravity A1

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DxO has announced ViewPoint 6, the latest version of its software for correcting perspective, lens distortion and stretched subjects in photographs. The update adds direct Raw support to the standalone application, along with AI-assisted subject selection and a more flexible correction mesh for precise, local adjustments.

Raw support

ViewPoint 5 only worked with JPEG and TIFF files, meaning that photographers had to process Raw files in a separate program before bringing them into ViewPoint to adjust perspective and distortion. ViewPoint 6, however, can open Raw files directly, rendering them with DxO’s camera profile in its Wide Gamut working space.

While ViewPoint 6 is far from a full Raw editor, the added support allows photographers to make basic tonal and color adjustments before tackling geometry. That includes exposure compensation settings from -4 to +4 EV. It also offers white balance controls with temperature and tint sliders as well as a neutral-point eyedropper.

DxO says that all corrections are written to sidecar files that save as photographers work. That means the original is untouched, but users can reopen the file and come back to those adjustments. Photographers can export finished images as JPEG files or 8- or 16-bit TIFF files.

AI masking and refined local adjustments

DxO

The other major update is AI-assisted masking in ReShape Fusion, the tool DxO introduced in ViewPoint 5 for moving, scaling, rotating and correcting individual parts of a photograph. In version 6, photographers can draw a rectangle around a subject, and the software identifies the element inside and creates a mask following its outline.

ViewPoint then builds a correction mesh around that outline, concentrating control points where finer adjustments are needed rather than relying on a uniform grid. Users can subdivide or merge mesh regions and enable or disable individual control points.

DxO says that AI handles the selection, while the photographer still makes the geometric adjustments. It also emphasizes that the AI is non-generative: it selects existing subjects rather than inventing content or filling image borders.

DxO

The more precise local adjustments could make the tool more useful for correcting a leaning building without transforming the entire scene or adjusting a stretched face near the edge of a group photograph. DxO says users can also control how adjustments extend into neighboring areas, an important consideration when reshaping one subject that could then distort what surrounds it.

Price and availability

DxO ViewPoint 6 is available for macOS and Windows for $130, with upgrades from ViewPoint 5 priced at $85. A 30-day free trial is also available. The software runs as a standalone application, supports plugin workflows with Lightroom Classic, Photoshop and Capture One, and integrates with PhotoLab 10.

If you’ve spent any time taking pictures of people, you’ll probably know the pain of photographing someone with an almost-perfect expression… only to realize that their eyes are closed. Adobe is looking to solve that problem, with a new feature for Lightroom for mobile that it calls “Open Eyes.” And, of course, it uses generative AI.

The way it works is relatively simple: if you open a photo that has someone with their eyes closed in it, there’ll be an option called “Open Eyes” in the Quick Actions menu. Tap it, and the app will use generative AI to composite in a new set of eyes for them that are, well, open. The company says that if you have other pictures of the person in your Lightroom library, it’ll use data from those to match their eye shape, color and size for an “even more accurate” result. The feature works on shots of individuals, as well as groups, and the company says it only targets “the area that needs adjustment,” without messing with the rest of the person’s face, letting you “save an otherwise great photo without losing what made the moment special.”

A before / after example created using the “Open Eyes” feature, provided by Adobe.

Of course, it’s not like this kind of thing was impossible to do before. Even well before the age of generative AI, Adobe Photoshop Elements had a similar feature, which worked by pulling an image of the person’s eyes from another picture you took. If you didn’t have one, or if the lighting didn’t match, or if the result looked odd because they were making a facial expression that would usually force someone’s eyes closed, you were out of luck.

You could also do this relatively easily in modern versions of Photoshop using the Generative Fill tool, though obviously that requires having a subscription to Photoshop and being willing to go through the few extra steps required. Adobe gives people using the free version of Lightroom mobile two uses of the Open Eyes feature before asking them to subscribe to an AI or Creative Cloud plan. Interestingly, when I tested the feature out, the UI implied it was using a third-party image generation model – Google’s Nano Banana – rather than Adobe’s own FireFly one.

I suspect many of our regular readers won’t be in love with the idea of this feature, as it’s the latest in a not-so-slow march of tech that makes us ask “so what really counts as a photo?” And indeed, it’s hard to imagine myself ever using this kind of feature; I’m not particularly interested in sharing moments that didn’t happen, and I think there’s something special about a laugh or a smile so intense you couldn’t possibly keep your eyes open during it. However, I suspect there will be many out there who will find this kind of feature useful, because they just need one more shot to round out a social post, or couldn’t get all the kids smiling with their eyes open at once. Phone makers have been playing around with similar features for a while, most of which typically rely more on combining multiple pictures than wholesale generation, but that step is starting to feel inevitable.

Adobe’s “Open Eyes” feature is now available in the Lightroom mobile app. Like the rest of the Quick Actions system, it doesn’t currently appear to be available on the desktop version of Lightroom.

Flashback, the company behind the disposable-inspired One35 digital camera, has announced its next offering, the One75. The new digicam takes on the half-frame format and brings a more premium aesthetic.

Flashback says the One75 is inspired by classic half-frame film cameras, and, like those, it produces vertical photos. The company says it takes 13MP photos, though it doesn’t specify a sensor size or sensor resolution. It also didn’t specify the lens’s focal length, though the sample photos suggest a fairly wide-angle view. Unlike its vertical frame competitor, the Fujifilm X half, the One75 can capture Raw photos (in DNG format), though you’ll have to plug it into a computer to access them, rather than using the Flashback app, which can access the JPEGs.

Flashback

There are other film-inspired features, too. The camera supports up to 27 photos at a time (like a small roll of film), with a frame counter on the OLED display and a mechanical winder for advancing the “roll.” Users then need to transfer images to the app or a computer using Bluetooth, Wi-Fi or USB-C. That transfer triggers a reset on the camera, like putting in a new roll.

Photographers can choose to wait 24 hours to view the photos (using Film Camera Mode) or use Digicam Mode to see photos instantly in the Flashback app. The camera also offers a double exposure mode and eight built-in film types for different looks, which can be changed on-camera.

Flashback

The One75 isn’t technically screen-free, as it features an OLED display on the top of the camera for adjusting settings. However, it lacks a display for viewing photos. Users will need to use the free companion app or transfer the files to a computer to see them. There is a portrait-oriented optical viewfinder for composing images.

Instead of a full plastic build like the One35 and many other film-inspired digicams, the One75 features aluminum top and bottom plates and brass controls. It also offers a tripod mount and self-timer, giving photographers more flexibility with how they use the camera. In addition, the lens features a 25mm threaded mount, making it compatible with filters and add-on lenses. It also includes a xenon flash.

Flashback

The Flashback One75 is available for pre-order now for $179 (no, that’s not a typo, it doesn’t cost $175), with the company stating that pre-orders will arrive before Christmas. It comes in Brushed Aluminum (silver and black) or Noir (all black).

The Micro Four Thirds standards group recently posted a warning on its site saying that it can’t guarantee that products made by companies not in the group will work as expected. The message, a link to which is prominently displayed in the site’s top navigation bar, doesn’t name any specific brands or products, but comes at an interesting time for the Micro Four Thirds system.

The official statement says that “the Four Thirds Office does NOT guarantee that products manufactured or sold by non-member companies comply with the Micro Four Thirds System standard or are compatible with individual devices.” It also tells users to check specific compatibility information with the manufacturer or seller of whatever gear you’re trying to buy.

Micro Four Thirds

When we first saw the warning at DPReview, we thought it might be related to the recent GoPro Mission 1 Pro ILS. That camera has a Micro Four Thirds mount, but without any electrical contacts, so most of the lenses for the system from OM System and Panasonic won’t work, since they require those contacts to control aperture and focus.

That’s something potential buyers of the camera should be aware of, and it’s probably the most prominent instance of a product that uses the mount but that’s incompatible with many other products in the system. However, it also seems unlikely that the warning is referring to the ILS: while GoPro wasn’t a member of the group when that camera launched, it has since joined, and the warning explicitly calls out products from non-member companies.

So why was it issued? Honestly, there’s no clear answer. We’re not aware of any major scandals in the Micro Four Thirds world recently, though there have been rumors swirling around Insta360 using the mount for the cameras it’s currently working on. As of the time of writing, it isn’t listed among the supporting companies on the Micro Four Thirds website.

There’s also, as was pointed out several times in a Reddit thread, the case of SG-image, a budget lens company which is also not part of the Micro Four Thirds group. It has released one lens for the system that, according to several reports, doesn’t work at all with older cameras, and has some limitations on several newer models too. However, that lens has been out for a few months, so it would be a bit odd for the group to issue a warning about it only now.

Of course, it’s also possible that it’s just a general message, issued as a standard bit of housekeeping as an increasing number of companies release gear with Micro Four Thirds-shaped mounts without official support. As always, it’s worth reading a variety of reviews before spending your money on a product, especially if you’re going a bit off the beaten path.

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This week, Time published its list of the Best Inventions of 2026, and three cameras were among the 300 honorees: the Nikon ZR, the GoPro Mission 1 Pro ILS and the Fujifilm Instax Mini Evo Cinema. According to Time, it gathers nominations from its editors and correspondents as well as through an online application process – meaning companies can nominate their own products – then evaluates each nominee based on “originality, efficacy, ambition, and impact.” But its write-ups on each product are very brief.

We’ve covered all three of these cameras since they were announced, so here’s what our experience with them adds to the picture – including where we might disagree with Time’s editors.

Nikon ZR

Nikon

The Nikon ZR is Nikon’s inaugural take on a video-first body, and the company’s first camera to carry both Nikon and Red branding. Under the hood, it’s essentially a Z6III without the viewfinder or mechanical shutter, but with a boxy body that sports a 4″, 1000-nit screen, internal 32-bit float audio and Red’s R3D (NE) Raw codec at up to 6K/60p. And at $2,199, its launch price landed $500 below the Z6III’s.

Time pitches the ZR (or, as it calls it, the “Nikon RED ZR”) as a tool for emerging cinematographers, but our take is slightly different. Despite the Red branding, the ZR has more in common with creator-focused cameras like the Sony ZV-E1 and Panasonic S9 than with cinema cameras like the Sony FX3. That’s not a criticism: our review found it to be one of the best vlogging cameras we’ve tested, earning it a Gold award. That said, we’d steer photographers away from it entirely, no matter how much they fall in love with the camera’s looks.

GoPro Mission 1 Pro ILS

GoPro

The Mission 1 Pro ILS is GoPro’s first interchangeable-lens camera. It’s essentially a Mission 1 Pro, with the same 50MP Type 1 sensor and 8K/60p capture, but with a Micro Four Thirds mount where the fixed wide-angle lens would be. And at $700, it’s an inexpensive entry point to 8K open gate and 4K/240p slow-motion video.

Time’s article cites a GoPro product manager who imagines the same camera “careening down a mountain” and capturing valley flowers après-ski, but our experience with the camera points to a more specialized audience. The lens mount has no electronic contacts, meaning there’s no autofocus, and it can’t drive the focus-by-wire or electronic apertures found in most Micro Four Thirds lenses. Pulling focus by hand on a 2.59″ screen is no easy feat – especially while careening down a mountain.

As we noted in our earlier coverage, this is a cinema tool built for rigs and crews, not a take-everywhere pocket camera, and GoPro’s recent beta firmware, which adds anamorphic support, reinforces that.

Fujifilm Instax Mini Evo Cinema

Fujifilm

The Instax Mini Evo Cinema is Fujifilm’s first Instax camera to shoot video. With a design reminiscent of Fujifilm’s 1960s Fujica Single-8 cine camera, it captures stills and 15-second clips, prints on Instax Mini film, and can print a frame from a video clip with a QR code that plays the video back on a phone. The camera’s “Gen Dial” applies effects inspired by ten different eras, ranging from the grainy 1930s to the modern look of the 2020s.

Time says the camera offers “oodles of analog charm in a digital friendly package.” On paper, though, it’s a tougher sell, which is why we called it divisive when it launched. It’s built around a tiny 5MP Type 1/5 sensor – smaller than those in even budget smartphones. Most of its video modes top out at 800×600 pixels, and the video “memory” in each print isn’t permanent; Fujifilm only stores clips for 24 months, so you’ll want to download them. And then there’s the price: at $410 before you even buy film, it feels like an indulgence.

When our team went hands-on with the camera, the takeaway was that it’s a fun device, built around nostalgic looks, and that one of its core appeals was transforming digital clips into keepsakes using QR-coded prints. It’s a camera you buy for the experience, not the image quality.

All three are innovative takes on what a camera can be, and it’s nice to see companies experimenting with different camera formats. However, if one of these catches your eye, just make sure it’s built for the way you actually shoot.

Nikon

Nikon RED Z Cinema | ZR Cinema Camera | 32-Bit Float Audio RED Color Science 6K Full-Frame Camera Body with 4" DCI-P3 Monitor

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Last month, Yashica announced it was working on the Y16, a tiny pocket camera that mimics the design of the Y16 released in 1959 by the original Yashica company. While details on the camera were slim, the company has now fully revealed it, giving us its specifications, price and release date.

The Y16 has a 12MP ~18mm² sensor paired with a 27mm F12 equiv. lens. Like many of the other cameras the company makes, this means its image quality will be far lower than that of a typical smartphone, though for some, that’s part of the charm. Alongside the announcement, Yashica has shared some sample images from the camera, which you can see in the gallery below.

What phones don’t have is a proper xenon flash built-in, which will help in low-light situations. The company says it should work at up to 2m (6’6″) away from your subject. The camera also features an optical viewfinder, and a 1.45″ display.

Yashica

Physically, it’s minuscule, weighing only 93g (3.3oz). It measures 91 x 45 x 29mm (3.6 x 1.8 x 1.1″), so it should fit in most pockets and pretty much any purse or bag.

The Y16 has a microSD card slot for storage, and actually comes with an 8GB card. While that’s not huge, it should hold quite a few of the relatively small JPEGs the camera produces. Plus, given the price, it’s hard to complain about included storage: the Y16 will retail for $119. The company says it’s currently still in production, but it’s available for pre-order now and is expected to ship in late November.

The Yashica of the 1950s isn’t the same as the one today, as in the 1980s it was sold to Kyocera, which has since licensed the name to other companies. The current crop of Yashica cameras appears to be sold by the Hong Kong-based 100 Enterprises.

Manufacturer samples

Godox has announced the A2, a flash that’s designed to attach to the back of your phone. While almost every smartphone has a flash built-in, they’re almost always LEDs, which aren’t particularly powerful, and don’t really produce the look most people associate with flash photography. The A2, meanwhile, has a xenon flash tube, like you’d find on a traditional compact or flash gun.

It magnetically connects to the back of your phone, providing the classic front-on flash look that is nostalgically associated with photos from compact cameras. However, since it’s wireless, you’re also free to detach it from your phone and use it as a bounce or fill light. The company says its bluetooth connection should work at up to 15m (49′) away.

Godox

Unlike most cameras, phones don’t really expect you to be using them with an external flash, which means you can’t use the A2 with your phone’s built-in camera app. Instead, Godox is providing its own app, which lets you either shoot in auto mode, which decides how bright the flash should be and your exposure settings for you, or in a fully manual mode that gives you control over all those settings.

Godox

Godox says that, at launch, the app will work with the iPhone 15 or newer running at least iOS 18. The company promises that versions for Android and Huawei’s HarmonyOS are in the works.

The flash is small enough to fit in most pockets once detached from your phone, so it’s not surprising that it’s not the most powerful light out there, with a guide number of 15. The company says that, for best results, you should have the flash within 2m (6’6″) of your subject. But while it’s not particularly powerful in the world of standalone flashes, it’s still much brighter than the flash included on your phone.

The A2 also has a 3W bi-color modeling light built-in, which you can use to make focusing and composing easier in dark environments, or as a video light with adjustable color temperature. The company says you should be able to leave it running at full power for up to an hour off of the 500mAh internal battery, which is also good for up to 400 full-power flashes.

Alongside it, Godox is releasing several optional accessories that you can use to shape the light and change its look, and that give you more options for positioning it. The magnetic ring that lets you attach the flash to your phone also means you can theoretically mount it to any magnetic surface.

The A2 seems like a very interesting product for anyone who’s serious about phone photography, and we’ve enjoyed Godox’s flashes in the past. It will, however, be interesting to see how well its camera app works, and whether it comes with a hit to image quality. So much of mobile photography comes down to multi-shot exposures and computation, and it’s unclear whether Godox’s app will have any of that (and, if it does, how well it’ll play with flash).

Godox

Thankfully, Godox isn’t demanding too high a price for the A2: it retails for $85, and comes with a diffuser dome and carrying case. It’s also available in four colors which, perhaps unsurprisingly, match this year’s crop of pro iPhones: silver, black, light blue and dark red.