Laowa has announced the Aksen, a new series of full-frame “ultra macro” lenses that together cover a 1–10x magnification range. The lineup consists of two offerings: the Aksen 45mm F2.8 1-5x Ultra Macro APO and the Aksen 17.5mm F1.7 5-10x Ultra Macro APO, each offered in both photo and cine versions.

One of the key features of both lenses is the parfocal magnification zoom design. The lenses behave like primes in terms of focal length (the 45mm and 17.5mm focal lengths don’t change), but they incorporate an internal mechanism that changes the magnification. This parfocal magnification system allows photographers to move through the 1-5x or 5-10x range without refocusing or changing the working distance. Additionally, because the zoom is internal, the barrel doesn’t extend and won’t interfere with flash diffusion or subjects.

Another distinguishing feature of the Aksen 5-10x is the option for a version with a coaxial lighting block built into the lens. It delivers high-contrast shadowless illumination, a technique borrowed from machine vision that Laowa says it is now making more accessible. It’s also similar to some of Laowa’s probe lenses, which feature built-in lights. The 5-10x lens is also available without coaxial lighting for $100 less.

Both lenses use an apochromatic (APO) design to reduce chromatic aberrations, which can be exaggerated at such high levels of magnification. Laowa says the Aksen series eliminates fringing for greater clarity. The 45mm 1-5x lens features 13 elements in 9 groups, while the 17.5mm 5-10x lens comprises 17 elements in 12 groups. Both feature an 11-blade aperture diaphragm. The 45mm 1-5x accepts 65mm filters, while the 17.5mm 5-10x uses 42mm filters.

The photo versions of the lenses come in Sony E, Nikon Z, Canon RF and EF, L mount, Fujifilm X and MFT mounts and cost $749, or you can buy both in a bundle to save $100. Laowa is also making video-focused versions with focus and zoom rings geared to work with cine equipment, though those versions are substantially more expensive.

Reports are emerging that Nikon has had one of its Z-mount patents invalidated in China, opening the door a little further to third-party access.

Nikon Rumors reports that one of Nikon’s fundamental patents relating to the Z-mount has been invalidated in China, having been challenged by Viltrox’s parent company.

The report, based on AI translations of court documents, suggests that the patent in question is one that sets out the basic physical description and behavior of the mount, constructed in a way that tries to make well-established features, such as the design to prevent incorrect mounting of the lens and a method for preventing damage to the electrical contacts sound original and novel. Patents are only supposed to protect original inventions that would not be obvious to someone working in that field.

Nikon took Viltrox to court in China earlier this year in a separate case, ostensibly to recover license fees but also, we suspect, in the hope that a Chinese court would establish a precedent of its patents being enforceable. As Professor Robert Newman explained in Amateur Photographer magazine at the time, there are at least 13 patents covering various aspects of the Z-mount’s design and operation, including one he described as relating to “a detail of the physical design of the mount, and I would be surprised if that would withstand court scrutiny.”

This description corresponds well with the details being reported by Nikon Rumors, right down to Prof. Newman’s assessment of its likely fate.

The invalidation of this patent doesn’t, in itself, clear the way to third parties being able to produce Z-mount lenses, as there are multiple other patents that describe the communication methods used by the Z-mount. Those would not be affected by this specific patent being invalidated.

It’s notable, though, that Viltrox has added to its range of autofocus Z-mount lenses since the original court case was meant to be heard. Other third-party makers, such as Meike, which briefly removed reference to Z-mount lenses from its website, also have a range of Z-mount options available again.

If, as seems to be the case, non-licensed third-party makers are feeling emboldened to produce AF Z-mount lenses, it puts Nikon in an awkward position with the companies that have been formally licensed to make lenses for the system. Those companies are presumably paying license fees and have to seek approval on a lens-by-lens basis, while their competitors undercut them without any such restrictions.

We have approached Nikon for a statement on this story.

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Last week, DJI finally launched its dual-camera DJI Osmo Pocket 4P outside of China. If you’re living in the parts of the world where it’s now on sale (a list that unfortunately doesn’t include the US) and are curious about it, here are a few great videos you can watch to get up to speed on it.

DPReview’s overview

Our very own Mykim Dang had the chance to spend 48 hours with the Osmo Pocket 4P, putting it to the test on a trip to Toronto, Canada that DJI put on. Her video breaks down what it is, and how it compares to the pocket camera that many creators already carry around with them: a phone.

The reigning champ versus the upstart

The DJI Osmo Pocket series has been around a while, and has become the de-facto pick for people who want a vlogging camera that produces a high-quality image and steady footage, thanks to the built-in gimbal. But like it did with action cameras, Insta360 is now making a play for the market with its very comparable Luna Ultra camera. Shahbaz Sheikh does a great job of breaking down the differences that don’t show up on the spec sheets, but that really matter.

Stay for the cinematography and story

To test the Osmo Pocket 4P, Brandon Li decided to shoot a beautiful short documentary about a very interesting subject as a preface to his thorough explanation of what the camera is. While the video is sponsored by DJI (a fact that Li is up-front about), he also doesn’t shy away from covering some of the camera’s downsides and some of the things it doesn’t do as well.

Why is this a big deal?

If you’re not sure why people are so interested in a small gimbal vlogging camera, this video by YouTuber Chollette will explain it. It was actually made using a previous version, the Osmo Pocket 3, but it shows what kind of content people are using this tool to create… or, at the least, the kind of videos people imagine they’ll be able to make when they buy one.

Want to go more in-depth?

If you have any more questions about the Osmo Pocket 4P and the market it’s launching in to, our coverage of its launch in China and, later, globally should answer them.

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Updated August 2, 2026

Travel can expose you to once-in-a-lifetime sights and experiences, and a good camera can be the perfect way to preserve those memories. We’ve looked at a range of models that offer great image quality, good autofocus and excellent video, so you’ll be prepared to capture whatever you run into.

We’ve also tried to select relatively small cameras so they don’t interfere with your trip, though it’s worth touching briefly on lens size. If you choose a system with a Four Thirds or APS-C sensor, you’ll be able to use lenses that are lighter and more compact than their full-frame counterparts. Full-frame sensors, however, offer the potential for even better image quality, so it’s worth considering whether portability or image quality matters more to you and doing some research on what types of lenses you’d like to use and how big the full-frame versions are.

Our recommendations

• Portable full-frame: Sony a7CR
• All-round compact capability: Sony a6700
• The great travel kit: Fujifilm X-T50 with 16-50mm F2.8-4.8
• The ready-for-anything option: OM System OM-3
• The stylish travel companion: Nikon Zf
• Best pocketable travel camera: Ricoh GR IV
• The classic choice: Fujifilm X100VI
• The fun-to-use compact with a zoom: Panasonic L10
• The portable option with a ton of reach: Sony RX10 V
• The best video camera for travel: DJI Osmo Pocket

Portable full-frame: Sony a7CR

Richard Butler

The Sony a7CR is a relatively compact full-frame camera with an image-stabilized 61MP CMOS sensor. You sacrifice the convenience of an AF joystick and get a pretty small and basic viewfinder to keep the camera’s size down, but there’s little else that delivers this much image quality in such a compact package.

You’ll need to pick your lenses carefully to keep the camera portable but the a7CR’s autofocus means it can respond rapidly to just about anything you encounter on your travels.

Read our full Sony a7CR Review

See the Sony a7CR studio scene

All-round compact capability: Sony a6700

Richard Butler

The Sony a6700 is built around a 26MP APS-C-sized sensor. Its excellent autofocus performance means it excels at both stills and video capture. There’s a good choice of relatively compact lenses available, too. We’d suggest avoiding the really small 16-50mm F3.5-5.6 though: it’s not the lens to get the most out of this camera.

Fast, dependable autofocus with a selection of subject recognition modes means the a6700 will help maximize your chances of capturing the unexpected moments on a trip.

Read our full Sony a6700 review

See the Sony a6700 studio scene

The great travel kit: Fujifilm X-T50 w/ 16-50mm F2.8-4.8

Richard Butler

The X-T50 can be purchased with Fujifilm’s excellent 16-50mm F2.8-4.8 kit lens, which provides a versatile focal length for travel and should be able to keep up in darker environments. Fujifilm also sells a wide variety of relatively fast, compact primes.

Read our full Fujifilm X-T50 review

See the Fujifilm X-T50 studio scene

The other APS-C options

If you’re looking for an APS-C camera that’s even smaller than the X-T50, the Fujifilm X-M5 may be worth considering. It’s substantially cheaper, though it’s easy to see where the company has saved money: it uses a lower-resolution 26MP sensor, which isn’t stabilized, and there’s no EVF. It does have the same film simulation dial and autofocus subject recognition modes, though, so those tradeoffs may be worth it if size or price are your top priority.

The Nikon Z50II is also a strong all-around contender, but its lens selection isn’t as strong as Sony or Fujifilm’s, nor does it have a stabilized sensor. However, it does have solid autofocus performance, a viewfinder, and a sub-$1000 price point.

The ready-for-anything mirrorless: OM System OM-3

Mitchell Clark

The OM-3 is well-suited to traveling, as the Micro Four Thirds system lets you use especially compact lenses, and its Stacked sensor gives it fast autofocus, incredible burst rates for shooting even the fastest subjects, and the ability to use computational modes to adapt to a wide variety of situations. It also sports an IP53 rating for dust and water resistance, so you won’t have to worry if it starts raining.

Read our OM System OM-3 review

See the OM System OM-3 studio scene

The other Micro Four Thirds options

OM System’s OM-5 is substantially cheaper than the OM-3, though you give up the speed, USB-C port and advanced subject recognition autofocus, as well as a few of the computational modes. It is, however, slightly more compact if space is at a premium in your pack.

The stylish travel companion: Nikon Zf

Richard Butler

The Nikon Zf is a classically styled full-frame camera built around a 24MP full-frame sensor that’s used by many of its peers. The angular 80s-style body isn’t the most comfortable to hold in your hand for extended periods, but the lack of stick-out grip makes it smaller than many of its rivals, making it a tempting travel companion. However, like with the a7CR, many of the full-frame lenses available for it will greatly increase its size and weight.

At least in its all-black form, there’s a chance of it being mistaken for a film camera, which may help avoid the wrong kind of attention when you’re out and about in an unfamiliar setting.

Read our review of the Nikon Zf

See the Nikon Zf studio scene

Best pocketable travel camera: Ricoh GR IV

Richard Butler

The Ricoh GR IV is the latest entry in the company’s series of classic compact cameras with large APS-C sensors and a 28mm equivalent lens. It’s not the most flexible camera, but it has engaging controls and is one of the most pocketable models with a large sensor, which is probably why the GR series has built up a dedicated following of photographers who find it a joy to shoot with.

Our one concern with using the GR IV for travel is that some users of the previous generation model reported dust getting into the lens. Ricoh has said it’s made a few changes that should help prevent that, but still doesn’t make any claims of weather sealing, so it may be worth keeping it in protective bag and putting it away in particularly unpleasant weather.

There’s also the GR IIIx , which has the previous generation sensor and processor, but with a longer, 40mm equivalent lens. This may be a little tight for documenting your travels, but it’s historically a popular focal length. Ricoh also sells a GR IV Monochrome, though a camera that only shoots black and white probably wouldn’t be our first pick for travel photograph.

Read our Ricoh GR IV review

See the Ricoh GR IV studio scene

Other compacts

Canon has recently announced that it plans to increase its production of compact cameras, citing an increasing number of orders for the PowerShot G7 X III , which has a 24 – 100mm (equiv.) zoom lens, providing a solid range for travel photography. Its autofocus isn’t

The Leica D-Lux 8 features a larger sensor than the G7 X III – it uses up to up to 83% of the area of a Four Thirds (17.3 x 13 mm) sensor, while the G7 X III has a Type-1 (13.2 x 8.8 mm) sensor – and has a photo-focued interface that we particularly like. However, its slow zoom, only decent image quality and substantial price tag make it hard to recommend to all but the most Leica-faithful.

The classic choice: Fujifilm X100VI

Richard Butler

Like the Fujifilm X100V before it, the Fujifilm X100VI is a classically styled fixed lens camera with a 35mm equivalent F2 lens. Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI’s $200 increase in list price to $1,600.

It’s not smallest or most inconspicuous camera, but its fixed focal length means you develop an ‘eye’ for the photos it’ll take, essentially making it a better quality, more engaging alternative to snapping away with your phone.

The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.

The X100VI brings a level of polish you would expect from a sixth iteration of a camera. Fujifilm has done a great job keeping the X100-series up to date without messing with the formula that’s made it so popular. No surprise, this is the best X100 yet.

Unfortunately, despite ramped-up production, demand for the X100VI seems to have outstripped supply with the camera already on backorder at virtually all dealers.

Read our Fujifilm X100VI review

The fun-to-use compact with a zoom: Panasonic L10

Mitchell Clark

The L10 takes a lot of what the Ricoh GR IV and Fujifilm X100 VI get right – it’s relatively small, engaging to use, and has great image quality – and pairs it with a zoom lens instead of a prime one. While primes definitely have their place, it can be hard to tell what you’ll run into while traveling. If you want the experience of a compact but the flexibility of a 24-75mm equiv., the L10 is the camera to pack.

Read our Panasonic L10 review

See the Panasonic L10 studio scene

The portable option with a ton of reach: Sony RX10 V

Richard Butler

The Sony RX10 V is built around a Type 1 (116mm2) 20MP Stacked CMOS sensor, and features a far-reaching 24-600mm equiv. F2.4-4 lens.

For many of us, traveling somewhere and looking at faraway things is a big part of vacationing. And with its 24-600mm equiv. zoom, blistering fast burst rates and best-in-the-business autofocus, the Sony RX10 V is the perfect tool for photographing things in the distance (while still being engaging for capturing nearer subjects). It’s not the smallest compact ever, but almost anything else with this kind of reach would be much bigger, heavier and more expensive.

While we haven’t completed our full review of the camera yet, we’ve used it enough to know that it belongs on this list. It provides good image quality, is engaging to use, and features Sony’s latest autofocus tech, which is still among the best in the business.

Read our Sony RX10 V review

See the Sony RX10 V studio scene

The best video camera for travel: DJI Osmo Pocket

Richard Butler

DJI’s Osmo Pocket series of cameras feature a stabilized handheld vlogging camera, designed for on-the-move vlogging. The main cameras on them are built around a type 1 (13.2 x 8.8mm) sensor mounted on a tiny gimbal, meaning it can deliver stabilized footage with smoother motion than any conventional camera or phone.

When you’re traveling in an unfamiliar place, there are a million things to focus on; the Pockets let you capture it all, without requiring much effort on your part. It can also natively film in horizontal or vertical, which can be useful if you’re looking to share footage from your travels on social media.

The reason we’re referring to multiple cameras is that the Pocket’s availability will vary depending on what region you’re in. If you’re in the US, the latest version you have access to is the Pocket 3. In the rest of the world, though, the Pocket 4 is now available, adding integrated storage, high framerates and better controls, along with a few other improvements. There’s also the Pocket 4P, which adds a second 60mm equiv. camera with a Type 1/1.28 (75mm²) sensor and features better dynamic range on its main camera.

The Pockets’ small sensors mean they works better in well-lit situations, though a reasonably bright F2.0 lens on the main camera mean they’re usable indoors, too.

It can shoot 4K 16:9 video or, by rotating the screen into the upright position, 3K vertical 9:16 footage. A small joystick lets you control the camera’s movement, and tapping the joystick button flips between the camera pointing toward you or away from you.

The older Pocket 3’s reliance on contrast-detection autofocus means its focus can be prone to hunting, though the cameras’ face-detection mode works well enough that this is rarely a problem when talking to the camera.

The video quality isn’t always the highest, and the autofocus can occasionally lead to frustration, but overall the quality and convenience of the Pocket as a package is really hard to beat.

Read our hands-on impressions of the Osmo Pocket 3

Why you should trust us

This buying guide is based on cameras used and tested by DPReview’s editorial team. We don’t select a camera until we’ve used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

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