Introduction

Rangefinder-inspired compact and mirrorless cameras are having their heyday, thanks in part to a social media frenzy stirred up by Fuji’s phenomenally popular X100 series. Rivals are now hoping to muscle in by going even smaller, fitting larger sensors, or adding interchangeable glass into the mix. The Panasonic Lumix S9 asks: why not all three?

Essentially a Lumix S5 II in a much, much smaller body, the Lumix S9 makes the diminutive Sony a7C II look huge in comparison – and is somehow even smaller than the fixed-lens Fujifilm X100VI (although that quickly changes once you bolt anything other than a pancake lens to the front). Yet inside there’s a stabilised 24MP full-frame sensor that can also film in 6K. Panasonic has also put realtime LUTs front-and-centre, giving easy access to colour effects through a dedicated button.

Launching at £1499/€1699 body-only, or £1799/€1999 with a 20-60mm f/3.5-5.6 kit lens, it undercuts the Sony and is a third of the price of the fixed-lens Leica Q3. Can such compact dimensions make it a go-to for creators that are regularly on the move?

Design & build: open range

Instead of its usual ‘SLR on a smaller scale’ approach, Panasonic has given the Lumix S9 a rangefinder-style body – a first for the S series. I got real Leica Q3 vibes from my black review unit, which is quite the compliment given one of those will set you back north of £5000. The alloy construction lacks the Leica’s milled metal wow factor – but it helps keep weight down to a mere 486g before you fit a lens. This is a fantastically portable camera.

That you can also pick one up in Crimson Red, Dark Olive and Classical Blue colours hints that Panasonic isn’t exactly aiming the Lumix S9 at traditionalists. The other giveaway is the absence of a viewfinder. I spent my first few hours raising the camera to my eye expecting one to be there; given the S9’s closest rivals all have some sort of viewfinder, it feels like a major omission here.

Instead, composition is done entirely via the 3in touchscreen, which also rotates out for vlogging. I like that it can be flipped over to keep the screen safe from scratches while the camera is in your bag, though – neither the pricier Leica nor the Fujifilm X100VI can do that. It was bright enough to see clearly during a particularly sunny weekend, but can’t rival an EVF for reflection-busting isolation.

Panasonic has kept things nice and simple on the top plate, with a shooting mode dial, command dial around the shutter button, power switch, and buttons for exposure control and video recording. There’s an accessory mount here too, but it’s a cold shoe; with no electrical contacts you can’t power external flashes and the like.

Everything else is found at the rear, including the button dedicated to real-time LUTs. Every button can be reached with either your thumb or index finger, and I found the scroll wheel/directional pad combo very intuitive for navigating Panasonic’s comprehensive menu system. The thumb grip above means you can wield this camera one-handed if you like – but I’d still fit a neck or wrist strap to avoid accidental drops.

Features & battery: that’s your LUT

Panasonic has sensibly stuck the micro HDMI and USB-C ports on the right side of the camera, well away from the articulating touchscreen; cables could easily block the screen on the otherwise very video-friendly Lumix S5 II, which had its ports on the opposite side. The 3.5mm mic input is high enough up that wires didn’t get in the way when I fitted a shotgun microphone.

You’re limited to 10 minute clip lengths at 6K resolution, but the Lumix S9 is otherwise a very capable film camera. That’s because it can do open-gate recording, capturing the sensor’s entire output and picking an aspect ratio later, and has a new MP4 Lite file type that’s 41% smaller than regular old MP4, making transfers to a PC or smartphone that much quicker. Panasonic’s real-time LUTs are a great way to apply colour treatments in-camera, too.

In some ways they’re better than Fuji’s crowd-pleasing Film Simulations: you can create your own LUTs, download ones created by other photographers, and store up to 39 on the camera itself. Having a dedicated button makes it a breeze to apply them quickly without hunting through menus, too.

Panasonic’s Lumix Lab smartphone app doesn’t entirely streamline the process, though. It’s much quicker to Bluetooth pair devices than the firm’s previous efforts, sure – but you can’t copy new LUTs and have automatic image transfer active at the same time. The app has to be open to send images, with no notification prompt on your phone that the camera is waiting to transfer. Establishing a Wi-Fi connection every time takes a while, too.

There’s just room for a single SD card inside the battery bay, which supports UHS-II speeds. Dual SD slots would’ve been a challenge given the S9’s size, but a microSD slot for redundancy, a la the Nikon Zf, would’ve been nice. The battery itself is the same capacity as the Lumix S5 II, and is good for a similar 470 shots – which is decent rather than impressive. USB-C charging meant I could top up on the move from a portable power bank.

Performance: stable AF

The Lumix S5 II had impressive in-body stabilisation, and Panasonic has managed to squeeze the same system inside the S9. It’s a welcome inclusion in a rangefinder-style compact, which isn’t always as easy to grip steadily like an SLR-style mirrorless camera, and allowed for very stable panning and tilting video footage at my review unit’s maximum 60mm zoom.

It also did a great job once I enabled Hybrid Zoom, one of two new zoom options specific to the S9. It combines sensor cropping and optical magnification, more than tripling the magnification of the 20-60mm kit lens. Details were wonderfully preserved at 187mm. The Crop Zoom does exactly that, cropping in on lenses that would otherwise restrict you to a single focal length in-camera.

The autofocus system is also a match for the Lumix S5 II, with both contrast and phase detection as well as human, animal and vehicle subject recognition. It’s just as speedy here, locking on and maintaining focus, even if you’ve got to remember to swap between the different modes when changing subjects. Sony still has the lead here, I feel, but it’s on par with anything from the Nikon and Fuji camps at this size and price.

It’s a great pairing with the burst shooting mode, which can manage up to 9fps normally, and 30fps in high speed mode. My cat, which normally refuses to sit still for pictures, was no match for it.

Image quality: in the frame

It might be outdone on pixel count by APS-C rivals, but the 24MP Lumix S9 isn’t short on detail – and doesn’t overdo it on sharpness in an attempt to squeeze out more perceived resolution either. The full-frame sensor captures natural-looking images with very good dynamic range. I did experience a few blown-out skies, but RAW processing is able to pull back a lot of the highlights.

Officially this isn’t the same sensor as the one found in the Lumix S5 II, though it has the same resolution. As with that camera, the Lumix S9 isn’t the cleanest at high ISOs, making ISO6400 about as high as I was happy to shoot at.

If you’re shooting JPEGs there’s a handful of baked-in colour modes to pick from, on top of the real-time LUT function. Vivid amps up the vibrancy a tad, if you’re a fan of the modern smartphone look; I preferred the more film-like L.ClassicNeo and L.Monochrome.

LUTs are the big draw, of course; after pairing to my phone and installing the Lumix Lab app, I could scroll through a large selection of Panasonic- and content creator-made options, with a neat before/after slider to see the difference before you hit the download button. Once sent to the camera, I could quickly activate them with a few taps.

They’re not as carefully curated as Fuji’s film simulations, but the handful of LUTs I tried made for dramatic, impactful shots. That you can then tweak them further to your own tastes via the phone app is a big win, too.

The Lumix S9 isn’t short on options when it comes to glass, with over 80 Panasonic, Sigma and Leica lenses available via the L Mount alliance. It will launch alongside a 26mm pancake lens, which lets Panasonic say its full-frame interchangeable compact is smaller than Fuji’s APS-C fixed-lens option – but I don’t think that holds up in reality.

That’s because it’s a manual focus lens, which makes it less practical for point-and-shoot photography. Even with focus peaking, I found it tricky to get tack-sharp shots on account of the touchscreen not being as high-res as an EVF would be. The 20-60mm kit lens is a larger, but much easier to use, option.

Panasonic Lumix S9 verdict

Before the Lumix S9 landed, anyone wanting interchangeable lenses and a full-frame sensor in a rangefinder body had to shop Sony; that’s no longer the case. Panasonic has delivered a brilliantly compact camera that takes gorgeous stills and high quality video. While real-time LUTs aren’t entirely new, the S9 capitalises on them to tempt photographers previously swayed by Fuji’s Film Simulations – although the companion app that transfers them to the camera could stand to be a bit slicker.

This is also a keenly priced camera, relatively speaking. A Sony A7C II with 28-60mm kit lens will set you back £2249; here a 20-60mm kit starts at £1799. That’s not a whole lot more than the fixed-lens Fuji X100VI, which also has a smaller APS-C sensor.

I think the lack of a viewfinder, either optical or electronic, is a real downer in a camera that otherwise excels at street photography. But not everyone will feel that way. If going touchscreen-only isn’t a dealbreaker, this could be a fantastic travel companion.

Panasonic Lumix S9 technical specifications

Introduction

Is the title a reference to a mysterious door that needs to be opened in order to save the world, or how long it’s taken for this game to come to modern audiences?

Only ever released for the GameCube, Paper Mario: The Thousand Year Door has long been considered a cult favourite in the role-playing game spin-off series. I also remember it being pipped by insiders as bound for Nintendo Switch since before the console even launched, only for nothing to materialise year after year.

But it was only a matter of time, given that the original Paper Mario landed on the Nintendo Switch Online service via the Expansion Pack in 2021 while last year saw the remake of Super Mario RPG, which had kickstarted the plumber’s foray into the RPG genre. Being its 20th anniversary this year, it also just makes sense.

The question is, has the wait been worth it, or will those who have hesitated over forking out for its outrageous prices on the retro market wonder what all the fuss is about?

Paper cut

In contrast to Mario’s usual platforming adventures, Paper Mario sees the story takes centre stage. Aside from the vocal utterances (presumably reusing the original audio since Charles Martinet is still credited, despite having retired from the iconic role), he’s still your typical silent protagonist – but that just means the rest of the cast have plenty of great lines that poke fun at and subvert expectations.

Some traditions stick, though. Princess Peach gets kidnapped once again, and your mission to rescue her also involves finding seven Crystal Stars to open the titular Thousand Year Door. But it’s everything that happens within this seemingly rote plot that makes TTYD special. Just about every stock character from the Mushroom Kingdom has their own unique twist and personalities, especially the ones that join your rich and varied party roster. The brainy but gutsy student Goombella; the initially timid Koops; old washed-up sailor Admiral Bobbery; they’re not just well-written, but have their own unique abilities in exploration and battle.

Each area you visit is also vastly different from the next, and more than just travelling to a town and dungeon. Sure, you’ll first storm a castle and fight a dragon, but you’ll also be solving a mystery onboard a train, and finding yourself shipwrecked on a deserted island. Some fights have unexpected quirks, beyond the charming framing of these all taking place on a theatre stage. One encounter isn’t even a fight but a quiz show.

There’s a darker tone lurking beneath the surface, though. Never mind the fact the main hub of Rogueport has a gallows in the town square – it’s incredible how the original game got away with stretching innuendo to breaking point. Who imagined squeaky clean Nintendo would approve of scenes implying Peach has her kit off? That’s not even mentioning the design of Madame Flurrie, who joins you as a party member. Amazingly this has all been faithfully preserved, and with a PEGI-7 rating to boot.

Master craft

It may look like more of a straight port than 2023’s Super Mario RPG Remake, but that’s more a testament to the series’ timeless paper cutout aesthetic. The visuals have actually been brought a little more in line with 2020’s The Origami King, though it lacks the same tactile papercraft charm as more recent (if gimmicky) Paper Mario instalments.

You do get a bit of it through Mario’s unlockable abilities, such as fitting his flat self through narrow gaps, or folding into a paper plane to traverse the air. The more traditional turn-based battle gameplay, with an emphasis on well-timed button taps or holds for bonus damage, remains.

On the whole, there aren’t many quality-of-life improvements. Unlike the Super Mario RPG remake, there’s no easy mode option, so expect some grinding when you run into the occasional difficulty spike. A partner wheel at least makes it quicker to cycle through party members now, instead of repeatedly going into menu screens. Goombella also provides more useful hints if you’re stuck, even when she’s not your partner.

The script has seen a bit of an update, finally giving one of Mario’s party members the correct gender identity – something that had been erased in English-language versions of the original release. There’s also a new score arrangement, but the moment I unlocked the option to return to the original score, I did so – it still sounds terrific.

There and back again

For all of its weird and wonderful aspects, Paper Mario TTYD isn’t without its shortcomings – namely pacing. Working your way up to champion in the Glitz Pit or playing detective on the Excess Express are fun ideas, but tend to drag. The less said about one late-game wild goose chase, the better. It’s not nearly as egregious as more modern RPG examples, but at times it feels the writing and humour are doing a lot of the heavy lifting.

There are playful asides that follow the end of each chapter, one where a captive Peach strikes up an intriguing relationship with a super computer that’s fallen in love with her. Bowser (not the chief villain, as tends to be the case in this spin-off) is also playable through pastiches of 2D Mario levels. You can even chat to Luigi, who turns out to be having his very own epic adventure happening in parallel.

These still don’t quite make up for an awful lot of backtracking before you can continue the main quest. There’s also a whole laundry list of side quests you can take on at the Trouble Centre, though I soon also found it rather tedious and focused on the main story instead.

Some abilities do alleviate some of the backtracking, and fast travel is worth the initial faff it takes to set up. But some newer ways to speed up or smooth these moments would have really helped.

Paper Mario: The Thousand Year Door verdict

20 years later, it’s great to finally be able to play TTYD on a modern platform. But while its visuals and RPG-lite gameplay remain timeless, there are a few trade-offs. The original GameCube version runs at 60 FPS, while this one is capped at 30 FPS – although it’s so consistent I suspect most people won’t notice. I also find the original score a much better fit compared to the new orchestral arrangement.

Nintendo and Intelligent Systems could’ve done more to tackle some of the more annoying backtracking moments, but this is still going to be the best way to experience a cult classic without getting ripped off at CEX or eBay. It’s taken its time, but I’ll call that a win.

Introduction

The original Hellblade wasn’t just an indie-sized team punching above their weight, using the latest graphics tech to tell a powerful story. Senua’s Sacrifice had the lofty aim of discussing mental health through a narrative action-adventure. The numerous awards it won and the subsequent Microsoft buy-out are clear signs developer Ninja Theory stuck the landing. Seven years on, it has returned for the follow-up.

A bigger budget has meant it meets the usual sequel expectation of being grander in scale – at least in terms of the setting, which goes beyond the dark recesses of the mind and to the gorgeous haunting landscapes of Iceland. Senua’s Saga launches during America’s annual Mental Health Awareness Month. But is there more to it than just a pretty-looking lesson on psychological well-being?

To Hell and back

Miss the first game? An optional recap fills you in: you play as Pict warrior Senua during the Celtic middle ages, on a quest to rescue the soul of her lover who was brutally sacrificed by viking invaders. She also struggles with psychosis, a mental condition that’s depicted by her hearing voices in her head (referred to in-game as furies) and seeing things that may or may not be connected to reality. Whether she actually faces otherworldly enemies or descends into Helheim is therefore up for debate – but the story focuses on accepting the condition that has tormented her throughout her life is also a part of her. Saga picks up from here.

Senua’s attention has turned to the Northmen who pillaged her land, allowing herself to be captured and taken aboard a slaver’s ship to Iceland where she seeks revenge. Unlike the introspective original game, here things open up to a wider world of Norse culture and mythology. And what a setting too, as the story takes you across the unspoiled Icelandic geography.

A bigger budget let Ninja Theory bolster the sequel’s cast. The first game blew most of its resources on capturing Senua (once again played by the award-winning Melina Juergens), transposing live-action and post-processing tricks; this time there are other flesh-and-blood characters long for the ride.

They all put in a good performance, but the real showcase here is Unreal Engine 5’s remarkable tech. Facial expressions look eerily close to the real thing and environments feel indistinguishable from a photograph. Naturally there’s a photo mode just a button press away.

Ragna-not

This sequel isn’t Ninja Theory’s God Of War: Ragnarok, though. The larger narrative depicts how others see Senua and how she can in turn help them, eventually shedding vengeance in favour of healing and redemption. But it’s not like the studio has suddenly ballooned to the size of Sony Santa Monica. The game is on par with its predecessor’s playtime of seven hours, and retains much of the same linear structure. You’ll quickly come up against the environments’ visible and invisible barriers.

It’s not like I’m asking for more scope, as there’s been a fair bit of video game bloat in recent years. But after seven years of development, I was also expecting Saga to give you a bit more to do. Surviving the opening shipwreck looks incredibly cinematic, maintained by the 2.39:1 aspect ratio that leaves black bars top and bottom throughout the game – but there are moments I struggled to discern whether Senua’s actions were just automated.

The first Hellblade‘s strongest gameplay aspect was its gruelling sword combat. Things are visually more visceral this time around, with more enemy variety (including human enemies with visible faces, rather than nondescript helmeted foes like before), but the mechanics haven’t changed at all. You use light or heavy attacks and dodge or guard, while a focus mode slows the action to wail on an enemy.

It’s also gotten worse as it’s limited to one-on-one encounters, with no strategy for taking on multiple enemies that might surround you. Gnarly enemies like Draugrs rip the heads off their victims and drink their blood – but they’ll patiently wait their turn to fight you. That makes each combat encounter drag, and if you die I can’t even say how far back the checkpoint is. It does at least have a dynamic difficulty on by default, an improvement from its predecessor, which deceived players into thinking too many deaths would result in permadeath.

Dark descent

Environmental puzzles remain the other major gameplay element. These also tie into Senua’s condition, being able to perceive another reality or seeing signs by holding down a trigger to focus. One sequence where you’re focusing on an orb that shifts environments from being obstacles to paths you can pass through aside, there’s little that isn’t a repeat of the first game, to the point of tedium for returning players.

The game likes to remind you the depiction of Senua’s condition is based on real research – there’s even a short documentary that includes interviews with a psychiatric consultant and people who live with psychosis. As far as I can tell, it does very faithfully bring to life what it’s like to experience these symptoms, especially when it comes to the voices in Senua’s head. Binaural audio means playing with headphones is absolutely recommended.

It does, however, feel largely like a repeat of what players got in the first game. The furies echo Senua’s very worst negative thoughts, casting those bad vibes outwards to other characters, yet sometimes actually encouraging her. More clumsily, they can feel like an excuse to offer hints and narration of the player’s actions.

In its oppressive horror, the first game had depicted her condition as a ‘curse’, one that straddled a thin line between being something you can either try to get over or even benefit from as a kind of superpower. Saga feels like a narrative improvement in showing how Senua copes with this condition, debating whether she should open up to someone else or not let it get in the way of her capabilities as a warrior. But then this story also casts her as a kind of chosen one who can solve the problems of a land plagued by giants because of how she sees the world differently; that feels either patronising or pandering, which I doubt was the intent. Simulating the experiences of a mental condition is one thing, but when trying to think of what the developer has to say about psychosis or for people living with it, it’s still on wobbly ground seven years later.

Senua’s Saga: Hellblade II verdict

On the surface, Senua’s Saga is what you would expect from a blockbuster sequel: a grander landscape and a bigger cast, in one of the best showcases of what Unreal Engine 5 can achieve.

But it’s often a torturous, oppressive slog. The grimmest, most nightmarish scenarios are on par with The Last of Us Part II as one of the most harrowing games in recent years – but without the same engaging gameplay to make up for it.

It’s disappointing that in the seven years since its predecessor, Saga often feels like more of the same. And while it may want marks for representing a serious psychiatric condition with all the seriousness that warrants, it doesn’t seem to have much new to say about it.

Introduction

980g. It’s the sort of measurement you see written in recipe books, not on laptop spec sheets. And yet that’s precisely what the new Huawei MateBook X Pro tips the scales at. It undercuts everything on Stuff’s best laptops list, and is a substantial 30% less than the outgoing model – which was hardly a porker to begin with. Yet Huawei hasn’t skimped on hardware in order to reach featherweight status.

This is the first MateBook to get an Intel Ultra 9 CPU, and is rocking a retina-soothing OLED display. An LG Gram 14 might also sneak under 1kg, but it has yet to be updated to Intel’s new CPU generation – and also makes do with an IPS screen. As far as portable potency is concerned, it would seem little can match it in the Windows world.

It even stacks up well against the mighty MacBook Air M3 – which by the time you’ve ticked a few options boxes, will set you back more than the Huawei’s £2099 asking price. But with Copilot+ PCs now a thing, and Huawei’s access to Intel CPUs seemingly hanging in the balance, should you rush out to get one while you can?

Design & build: weight watcher

Sure, it looks familiar – but compared to the previous generation, this new MateBook X Pro has been on a weight loss programme worthy of a Hollywood movie star. This laptop tapers down to just 4mm, and only measures a mere 13.5mm at its portliest point. At 980g, it weighs less than pretty much any laptop I’ve reviewed, short of those ridiculously diddy netbooks from the late 2000s.

Mass has been shaved off everywhere possible, from the keyboard to the cooling system. The motherboard is now split into three parts, shrinking total surface area by 8% and freeing up space for things like larger cooling fans and a bigger battery. There aren’t many laptops you can hold one-handed without your wrists complaining.

Styling-wise Huawei has kept the same rounded corners, subtly curved sides and plain yet prominent company logo on the lid as before. The blue colour scheme is a lot lighter this time around, almost looking grey from certain angles. I’m a big fan; it’s not trying to replicate any of Apple’s shades, and treads a fine line between businesslike demeanour and style icon. I asked but it sounds like there are no plans to bring other colourways to the UK. The texture feels premium, too – much nicer than any plastic or polycarbonate rival.

It’s great Huawei has managed to keep the upward-firing speakers that flank the keyboard tray, but it has compromised a little on connectivity. There are now just three USB-C ports – two on the left and one on the right, down from four on the outgoing model. There’s no 3.5mm headphone port either, meaning it’ll be Bluetooth or a USB dongle for any private listening. The firm does at least include one USB-C to USB-A dongle in the box.

Screen & sound: eye candy

Huawei has switched from LCD to OLED for the 2024 MateBook X Pro. Having spent a few weeks with one as my go-to travel laptop, the screen might be the most compelling reason to buy one. The flexible panel used here is 51% lighter and 57% thinner than the old model’s screen, with satisfyingly skinny bezels on all four sides.

The 14.2in size and 3:2 aspect ratio are unchanged from last year. The wonderfully sharp 3120×2080 resolution is a match for the outgoing laptop, too. But the 120Hz refresh rate is a welcome step up, making cursor movement and Windows UI elements feel even more fluid in motion than they did on the old unit’s 90Hz panel. Brightness now maxes out at 1000 nits peak for HDR content, too – double that of last year’s effort. It copes well outdoors in bright sunshine, and looks wonderfully bright and vibrant indoors.

Huawei has calibrated the screen for the Adobe RGB colour space, on top of sRGB and DCI-P3, which will be great news for creative types that need accurate colours. It’s quick to switch modes, and all are impressively accurate. Flicker-free dimming and a low blue light output meant it was comfortable to use in darker environments, and the multi-layer reflective coating did a decent enough job of diffusing light – though this is still a glossy panel at the end of the day. You’ll have to head to Huawei’s tablet line-up for a reflection-beating PaperMatte panel.

The topmost glass layer has a 9H hardness level to withstand scratches. I certainly didn’t leave any scars when testing the 10-point touchscreen, which was responsive and recognised multi-touch gestures.

Speaker driver chambers that are 22% larger than the previous MateBook X Pro lets this Huawei laptop output impressively clear and loud audio. The side-firing speakers don’t have much in the way of bass, so can’t match the best MacBooks (which are still some of the best-sounding laptops ever), but I didn’t feel the need to grab my headphones every time I wanted some background music or watch a YouTube video.

Keyboard & touchpad: under pressure

Huawei hasn’t gone for radically different key switches in its pursuit of thinner and lighter laptops (after all, that worked out so well for Apple), meaning the keyboard is pretty much unchanged from the previous generation. Half-height function and arrow keys aside, everything is full-size, with a good amount of bounce from each key and quite a bit of travel. It surprised me how comfortable typing was, given the machine’s skinny nature.

The entire keyboard is LED backlit, with minimal light leakage around each key, and the white lettering on coloured key arrangement will be perfectly legible at all times of day or night. It’s not the quietest keyboard I’ve tapped away at, but it won’t irk those around you.

I’m happy to see the fingerprint reading power button make a return; it was so convenient on the old model, powering on and skipping the Windows lock screen in a single press. It’s also far enough removed from the keyboard tray you won’t hit it by accident when reaching for the delete key.

Huawei has carried over the pressure-sensing touchpad from last year, complete with haptic vibrations and multi-touch gestures. Considering the firm has saved weight everywhere else that sounds a little complex, but I can’t deny it works very well, vibrating convincingly with each press. scrolling up and down the far sides of the pad to adjust screen brightness and volume is convenient, too. The “tactile glass” felt smooth under my finger, with just the right amount of friction for quick yet accurate cursor movement.

Performance & battery life: no compromise

I was surprised when Huawei’s reps revealed the MateBook X Pro would land with an Ultra 9 processor – and not just because it meant the firm had squeaked in a shipment of Intel’s latest silicon before the terms of its Trump-era US trade license expired. The Ultra 9 185H is a mighty chip, with 16 cores and 22 threads that can hit a peak 5.1GHz when thermal limits allow. To fit one in a machine so svelte speaks wonders about its cooling ability.

A pair of larger, redesigned ‘shark fin’ fans are enough for the chip to draw 40W under load. That’s a significant 10W increase over the previous-gen model, which wasn’t exactly hurting for performance. Here it’s paired with 32GB of RAM and a 2TB SSD, making it a monster among ultraportables. There’ll be versions on sale in certain territories with Ultra 7 CPUs, 16GB of RAM and 1TB of storage, but they won’t be coming to the UK.

Naturally this hardware combo delivers fairly epic performance for a laptop of this size. In some synthetic tests it drew level with an M3-powered MacBook Air, and was either on par or faster than other Windows-powered 13in and 14in ultraportables that use Intel Ultra 7 CPUs. A 14in MacBook Pro still takes the performance-and-portability crown, but the MateBook puts in a fantastic showing here. The fans do spin up under load, but not to an obnoxious volume, and thermal throttling wasn’t a concern during everyday use.

It’s only 3D-accelerated tasks that reveal any weakness, but only if you’re comparing to larger rivals with dedicated graphics chips. Intel’s integrated Arc GPU can handle a bit of light gaming, though, and edits photos easily enough. You’ll only want to look elsewhere if you do a lot of on-the-go 4K video edits or rendering work.

Huawei says the 70Wh battery is good for about six and a half hours of daily use, or eleven hours of video playback. I found that something in the middle was more representative of real-world use, and only after making sure Huawei’s system-wide Super Turbo function wasn’t kicking in for things like video playback. It’s a bit obscure as to which apps are benefiting from it, so I turned it off whenever I planned a full day away from a mains socket. Five hours was typical with a bunch of browser tabs, Spotify streaming and some occasional image editing.

This still falls short of the latest MacBook Air’s epic longevity, and now has to contend with equally long-lasting Copilot+ PCs with Snapdragon X Elite silicon – but I still found it had enough juice to last a regular working day, which is great considering it weighs less than any rival.

Chinese variants of the laptop are good for 140W fast charging over USB-C, from a brick barely larger than what you top your phone up with; UK-bound models stick with the same 90W adaptor seen on previous versions.

Huawei MateBook X Pro (2024) verdict

I thought the outgoing MateBook X Pro was as thin and light as it got in Huawei land, but the 2024 edition shows just how much room there was for improvement. This is now an incredibly light machine, but one that doesn’t compromise a jot on performance. The impactful OLED display is the icing on the cake.

It gets close enough to the MacBook Air on battery life, and the revised cooling system’s ability to cope with a Core Ultra 9 running at full whack is rather impressive. UK pricing puts it dangerously close to a 14in MacBook Pro, though, which is a phenomenally capable laptop. Newly-announced Copilot+ PCs running Qualcomm’s Snapdragon X Elite system-on-chip should last even longer, and cost less to boot – though that’s only on paper until I review one.

That said, Windows users who are always on the move will struggle to find anything else that can lighten their load as effectively as this.

Huawei MateBook X Pro (2024) technical specifications

Introduction

In recent years, Google’s Pixel A-series (A standing for affordable, presumably) has dominated the market for the best mid-range smartphones. They’ve delivered outstanding value, by including many of the brand’s flagship features (think amazing cameras and slick software) and only cutting the corners you’re less likely to notice. The Google Pixel 8a continues this tradition.

Google has taken the best features of its more expensive and well-reviewed Pixel 8, and slightly scaled them back to achieve a more budget-friendly price point. The result has made me question whether you need to spend more than $500 / £500 on a smartphone.

Inside is Google’s flagship Tensor G3 chipset, as well as higher-end features such as a brighter display with a higher refresh rate, upgraded IP67 rating and a 64MP camera. It’s not just hardware that Google has focused on, however; the Pixel 8a is equipped with many of the same AI features as the Pixel 8 and Pixel 8 Pro, like Gemini, Best Take and Audio Magic Eraser.

Is the new Google Pixel 8a good enough to tempt you away from getting a flagship smartphone? Let’s take a look in more detail…

Design & build: fun, fresh design

The Pixel 8a is the most refined Pixel A-Series phone yet. Compared to the Pixel 7a, the Pixel 8a feels even better in your hands with soft rounded edges, a matte back and a polished, recycled aluminium frame. The rear shell is still made from polycarbonate, but the matte finish is now less prone to fingerprints. 

At first glance, it looks and feels identical to the pricier Pixel 8, but closer inspection will reveal a few key differences. For a start, the display bezels are slightly thicker, and everything is just a bit more rounded. I really like the Pixel 8a design and actually prefer it to the Pixel 8. The matte back provides more grip compared to the glossy Pixel 8, and the camera bar is slimmer and less intrusive.

As well as being more refined, the Pixel 8a is also the most durable A-Series phone yet, with an IP67 rating (meaning it can handle slips, spills and dust) and features a Gorilla Glass 3 display.

I’m reviewing the ‘Porcelain’ (AKA white) Pixel 8a, but you can also choose Obsidian (black) or two new A-series colours, Bay (blue) and Aloe (a limited-edition, mint green colour).

You have the option of face and fingerprint unlocking, though only the fingerprint can be used for banking apps and similar services. Both methods quickly recognized me, and I didn’t notice any difference between it and the more premium Pixel models.

Screen & sound: bright and beautiful

Staying relatively compact, the screen size and resolution haven’t changed from last year, meaning the Google Pixel 8a gets a 2400×1080 OLED panel stretched across 6.1in. I really appreciate that Google has resisted the urge to supersize its affordable phone.

The big upgrade here, however, is to the brightness and refresh rate. The new Actua display is 40-percent brighter than the Pixel 7a, and the refresh rate tops out at 120Hz. This is a welcome change, as it can now match its rivals, such as the Nothing Phone 2, for fluid motion. It’s also a big improvement over the Pixel 7a and its 90Hz display. 

It’s worth noting you can’t force it to constantly run at 120Hz, with Google dynamically switching between 60 and 120Hz depending what’s onscreen. It’s also disabled by default, which means you need a trip to the Settings menu to turn it on. But I think the smoothness of every swipe and scroll makes the minor hit to battery life worth it.

Deep blacks and vibrant colours are standard for an OLED panel, and the Pixel 8a makes no exception. It’s a lovely display to look at, with both still images and videos looking punchy, yet true to life. 

Personally, I find the default setting feels a little too saturated, so opt for the Natural colour preset which tones it down a bit. Whichever profile you opt for, you’ll get a sharp, saturated, and well-defined image.

As previously mentioned, the screen is noticeably brighter than the previous model. While previous A-series Pixel phones couldn’t match the brightness of more expensive models, the Pixel 8a matches the same 2000 nits peak brightness as the Pixel 8. It’s clear to use in direct sunlight and has excellent viewing angles.

The Pixel 8a’s stereo speakers do a decent enough job for general podcast listening or YouTube playback. The down-firing driver and earpiece tweeter don’t produce any real bass, but the vocals are clear and I found the volume to be ample. If you want a more personal listening experience you’ll have to opt for Bluetooth headphones, as there is no 3.5mm headphone port here.

Cameras: point-and-shoot

Last year Google gave the Pixel 7a the same 64MP main snapper as the Pixel 7 and Pixel 7 Pro. It had a significantly higher pixel count than the Pixel 6a and the sensor was physically larger as well (meaning it could capture more light). For the Pixel 8a, Google has decided to stick with this great sensor.

The images taken in the phone are downsampled to 16MP, but the big draw of Pixel phones is that you get Google’s superb image processing algorithms perfecting each image before you get a chance to see the finished shot.

I am constantly amazed at how good the more affordable Pixel phones are when it comes to photography. The amount of detail in the images is really impressive, with Google nailing both close-up and distance shots. In my opinion, this is the best camera phone you can get for under $500/£500.

Google’s processing is consistent across all Pixel phones, so with the 8a, you’ll still get the trademark heavy shadows and a more natural colour balance when compared to either Samsung or Apple. I think the resulting images are very dynamic and close to what your eyes actually see. Exposure, noise, and dynamic range are all handled very well, creating a balanced, pleasing image to look at.

Skin tones remain very well judged thanks to the firm’s Real Tone skin tone mapping, and autofocus was always quick to pick out my subjects. As a point-and-shoot experience, I don’t think it can be beaten.

Night Sight kicks in automatically in very low light, and while it still needs a second or two of steady hands for the sharpest shots, the detail is very impressive and the noise is kept to a minimum.

The main camera is paired with a 13MP ultrawide lens, which misses out on the Macro Focus close-up abilities of the pricier Pixel 8. Once again, colour balance, dynamic range, and exposure are very closely matched, and the level of detail is impressive. There’s some softening and distortion at the edges, but really, it’s another area where the Pixel 8a outperforms its rivals.

Unsurprisingly, there is no dedicated telephoto lens, but Google’s Super Res zoom adds up to 8x magnification using software tricks. While these images don’t fare as well under close scrutiny, they remain perfectly usable between 2x and 4x zoom.

Finally, the 13MP selfie camera is also identical to the Pixel 7a. In good lighting conditions, the shots captured by the Pixel 7a’s front-facing camera are detailed, colourful, and devoid of noise, with only a minor step-down in quality once indoors. It excels in capturing finer facial details, and its dynamic range is quite respectable.

The real game changer when it comes to Pixel photography is the addition of Google’s AI-powered editing tools enabled by the G3 chip. These include features like Best Take, which lets you choose the best expression for everyone in a group shot, and Magic Editor, which lets you reposition and resize subjects. I find them really user-friendly in use, and think it’s great they’re now available at a more accessible price point. 

Software experience: AI everywhere

The Pixel 8a inherits Google’s Tensor G3 CPU from its bigger brothers, meaning this mid-range phone has the firepower of a full-on flagship. Android feels perfectly responsive, swiftly opening apps and smoothly handling split-screen multitasking. With 8GB of RAM, it excels at multitasking, while Google’s custom Titan M2 chip ensures robust hardware-level security. While most Snapdragon 8 Gen 3-powered phones outperform the Pixel 8a in benchmarks, unless you’re deeply concerned about having the fastest phone available, you’re unlikely to notice a significant difference.

The entry-level Pixel 8a comes with 128GB of storage, which is about what I’d expect for the cash, but for the first time, Google now also offers a 256GB version. This addresses a gripe we had with previous A-series phones. If that’s still not enough, buyers qualify for discounted Google One cloud storage.

The Pixel 8a dropped with Android 14 on board, and will naturally be among the first in line for Android 15 once Google releases that version to the public. If you feel the need to have the latest software available, a Pixel remains your best bet. 

Adding to this, Google has promised at least seven years of security patches, which is outstanding if you’re shopping for a long-term handset. You’ll also get semi-regular Feature Drops like the rest of the Pixel line-up.

Of course, being a Pixel phone, the 8a doesn’t have any pre-installed bloat, just a full selection of Google-made apps, and the interface is just as Google intended. It’s simple to navigate and looks great in my eyes.

The big story this year is AI. The Pixel 8a is packed full of features to make your life easier. From Circle to Search to the At a Glance widget, both of which are neat little additions to make this affordable phone more practical.

Two notable additions are the AI-powered Pixel Call Assist features (like Call Screen, Direct My Call, Hold for Me, and Clear Calling), as well as the introduction of Audio Emojis, which aim to make your phone calls more expressive and engaging. Just tap on an emoji to trigger an audio reaction and visual effect – I like to use the laughing emoji after telling a joke, because I’m deeply insecure.

In the US, Pixel 8a users can access Google’s Gemini AI chatbot, but that’s currently unavailable in the UK and Europe.

Performance & battery life: business as usual

Pixel phones aren’t really known for their battery endurance, and the Pixel 8a doesn’t change that. With a 4492mAh battery, the Pixel 8a squeezes in a few more cells than the outgoing 7a, but in reality the difference will be negligible.

Google estimates a 24+ hour battery life which is achievable if you’re at home or in the office all day barely using your phone, but if you’re streaming music, using Google Maps, and doom-scrolling on a train, I’ve found you’ll probably need a battery top-up in the evening/overnight.

Extreme battery saver can get you out of a pinch by pausing everything except critical apps, boosting standby time to as much as three days. But this limits you to only using your phone for calls or texts while it’s enabled.

When it does come to charging, you’ll be doing it at 18W when plugged in, or 7.5W wireless. We said this in our Pixel 7a review, but this is the bare minimum for a modern phone and means it’ll take multiple hours to fully refuel the battery. It’s not outstandingly bad, but it’s not particularly great either. Chinese alternatives like the Redmi Note 13 Pro+ remain leagues ahead here.

Google Pixel 8a verdict

With swift performance, sleek AI-powered software, and outstanding camera capabilities for its price, the Google Pixel 8a once again dominates the affordable smartphone market. It proves that you don’t need to spend over $500/£500 to get an excellent smartphone anymore. Its upgraded design and brighter screen give it the look and feel of a more expensive handset, pushing rival smartphone makers to catch up. When compared to the likes of the Samsung Galaxy A55 and Nothing Phone 2, there really is no competition.

To increase the value proposition even further, Google will support this phone for seven years, which is very commendable in my eyes.

Okay, the charging speeds remain slightly behind rivals, and not all AI features are available to buyers in the UK and Europe, but unless you’re willing to spend nearly double the money on a flagship with even more versatile cameras, the Pixel 8a is everything you’ll ever need.

Google Pixel 8a technical specifications

Introduction

Huawei’s Watch Fit wearables always felt a little too close to its more basic fitness bands. Once the firm started going super-high end with its circular smartwatches, that gulf only got bigger. That all changed in 2024. The Huawei Watch Fit 3 swaps a rectangular screen for a square one, in a move that’ll have Apple Watch SE owners doing a double-take.

A bigger battery and more advanced fitness tracking then look to raise its profile from humble fitness tracker to fully-fledged smartwatch, for those who like the modern look over a more traditional timepiece. Yet pricing has barely changed, starting at £140/€159 in the UK and Europe.

Does that take the Watch Fit from a Fitbit rival to a true Apple Watch alternative?

Design & build: flat packed

The Huawei Watch Fit 3 is thinner and lighter than either a Fitbit Versa 4 or an Apple Watch SE 2, at just 26g for the watch body and only 9.9mm at its thickest point. It looked especially svelte on my wrist, but not to the point it looked ridiculous. I maintain Google should’ve sold the Pixel Watch 2 in multiple sizes in order to appease those with wrists like mine, but the single 43x36mm case option seen here looks spot on.

The Watch Fit 3 gets a matte aluminium body, with straight sides and softly curved corners. It gives me real iPhone vibes, at a time Apple is still all-in on bulbous proportions for its non-Ultra watches. It feels like a higher-end watch than the price suggests.

The whole thing is 5ATM waterproof, so can be worn in the swimming pool as well as the shower; rain never caused me any concerns throughout my testing.

There are a bunch of case colour and watch strap combinations to choose from. My review unit was green, with a green fluoroelastomer plastic strap; it’ll set you back £140/€159, as will the Black, Pink and Moon White models, and the Grey version that comes with a nylon strap. There’s also a Pearl White model with a leather strap, which costs £160/€179. If you like your tech to make a statement, I’d suggest the Pearl White version, which gets a gold finish. The Moon White and Grey versions are a bit more subtle, with a splash of red on the digital crown giving them more wrist presence than the rest of the line-up.

The rotating crown is as satisfying to twist as all smartwatch crowns are, with a continuous motion rather than distinct ratcheted notches. It works brilliantly for scrolling through app screens. The other side button proved handy for quickly activating fitness tracking.

Huawei has gone for proprietary strap connectors here, with release mechanisms built into the body of the watch. There’ll be an accessory to use standard watch straps if you prefer those, but at the time of writing I couldn’t find it for sale on the Huawei website. The mechanism just takes a push to unlock each strap – no tools required – and holds the bands in place firmly. My review unit’s fluoroelastomer strap held up well after several weeks of testing, showing no permanent marks or damage, though personally I’d prefer the nylon strap for 24/7 wear.

Screen: sharp looking

The move to a square screen was, I think, a smart one. The outgoing Watch Fit 2’s rectangular display could look a little out of proportion on smaller wrists, but the 1.82in AMOLED used here will suit all sizes. It’s shorter yet wider, and with skinnier screen bezels that embarrass the Google Pixel Watch 2.

The 2.5D glass is beyond subtle, curving into the metal frame but otherwise feeling like a flat panel. The frame hopefully puts enough distance between it and anything you might bash the watch into to prevent (or at least minimise) any damage. The few accidental knocks I managed throughout my testing left it no worse for wear.

The 60Hz AMOLED panel looks sharp, bright and colourful enough for a smartwatch. Huawei claims of a peak 1500nits brightness; I couldn’t confirm that exact figure, but had no trouble seeing the watch face clearly when outside on particularly sunny days.

There’s an always-on display mode, which the watch warns you could slice battery life in half if you enable it. It wasn’t quite that impactful in my testing, but definitely meant I spent more time tethered to mains power than when I stuck with the usual ‘raise to wake’ and ‘tap to wake’ gestures. That said, I like that the plentiful selection of watch faces almost all had always-on modes.

Software experience: in perfect harmony

Huawei has overhauled the Watch Fit interface into a square-ified version of the HarmonyOS software found on its other watches. It’s simpler, with more colour and a card-based layout that’ll feel familiar to WearOS and Apple Watch owners. You swipe sideways for different cards, up for unread notifications, and down for the quick settings screen.

It’ll pair with iOS and Android devices, though the latter is limited by Huawei’s banishment from the Play store. You’ll have to sideload it, either directly from the firm’s website or its AppGallery. The Health App is coming to Samsung’s Galaxy Store, at least, which will make it easier for Galaxy owners to get on board – though at the time of writing it hadn’t shown up yet. Once you do, you won’t find much in the way of third-party app support.

The UI felt instantly familiar, with the same icons I’ve seen on other Huawei watches. The feature list is similar, too, with Bluetooth calling via your phone, SMS and third-party chat app replies from your wrist using canned responses, and even a flashlight app that can cycle between different colours. Apparently it’s one to bring out at nightclubs and music festivals.

Naturally it’s fitness where things are most comprehensive, with over 100 different sports and activities available for tracking using Huawei’s TruSeen 5.5 sensor. This can track SpO2 and heart rate, as well as sleep tracking and womens’ cycle tracking. I like that only a bunch of sports are shown by default, so you don’t have to scroll through a bunch of obscure ones to find Swimming or Tennis. Guided fitness animations also now show you how to perform warm up stretches across seven different workouts, and the watch can broadcast your heart rate to supported fitness equipment – though I didn’t make it to a gym during testing to confirm which brands.

New additions include contextual suggestions, such as “it’s hot, maybe exercise inside today” or “you’re falling behind, maybe lower your intensity”, and an AI running plan. This has an in-run pace setter, predicts times for various disciplines based on your prior performance, and even has a precision track lane mode for accurate splits when on a purpose-built surface. I’m not much of a runner, usually sticking to a couch-to-5K podcast when I do put my trainers on, so can’t say whether this will make a big difference to anyone who regularly chases personal bests at park runs – but the way the UI changes colour to represent heart rate zones is definitely appreciated.

Getting a GPS connection wasn’t the quickest, but once locked the routes I recorded were on par with a much more expensive Polar running watch. Heart rate and sleep tracking were also a very close match too, which to me says you’re getting excellent health and exercise records with one of these on your wrist.

Performance & battery life: week-long warrior

Huawei doesn’t make a big song and dance about the chipset, memory and storage of its wearables. I can sort-of understand the first two; as long as the UI feels responsive and you’re not left waiting for apps to open, it shouldn’t matter whether there’s own-brand silicon or an off-the-shelf CPU inside. The firm’s knack for battery life that’s five times longer than the average WearOS watch is a big clue it’s doing things its own way, rather than tapping up Qualcomm for anything from the Snapdragon Wear line-up.

Keeping storage a secret makes less sense when one of this watch’s selling points is local music playback through a pair of Bluetooth earphones. There’s no clue to be found in the Settings screen, or the companion app. It was only when I tried to add a big batch of MP3s I got a warning saying the watch only had 1520MB of available capacity.

At least the interface was responsive, opening apps at a decent lick, and reacting quickly to swipes and taps. Which is pretty much all you can ask from a fitness watch on the performance front.

Battery life is what separates the Watch Fit 2 from other smartwatches. The 400mAh cell inside is good for a comfortable 10 days of ‘typical’ use, which for me meant a few exercise sessions a week, a decent amount of incoming notifications from my paired smartphone, and 24/7 fitness monitoring. If you think nothing of a daily 10k, with location and heart-rate tracking, you’ll need to plug in sooner than a once-a-week gym visitor. Still, that’s a league ahead of either the latest Apple Watch SE or almost any WearOS watch.

The charging cable uses a proprietary connector with magnetic pins, but name me a wearable not made by Apple or Samsung that isn’t these days. Huawei says a 10 minute refuel is enough for a full day of use, and that largely bore out in my testing.

Huawei Watch Fit 3 verdict

Previous Huawei Watch Fits were unmistakably value-focused fitness trackers. They could track plenty of sports, lasted a long stretch between charges, and had sharp screens – but the sizes didn’t suit all wrists, and the materials quality was a step behind the firm’s more traditionally styled smartwatches. The Watch Fit 3 addresses that.

It looks and feels like a more expensive model, even though pricing hasn’t actually gone up compared to the previous generation. Any square-faced smartwatch risks inevitable comparisons to the Apple Watch, but Huawei has sidestepped that neatly with flat glass and an angular body.

I still have reservations about the companion app, which remains a faff to get running on Android phones, and the proprietary strap mechanism is an extra step for anyone who likes to regularly change their bands. But there’s otherwise enough sporting pedigree that square-faced smartwatch fans should definitely give it a sniff.

Huawei Watch Fit 3 technical specifications

Introduction

CSC converts have plenty of reasons to flock to Fuji mirrorless cameras – but the firm has also managed to lure smartphone snappers with its extensive collection of Film Simulations. The Fujifilm X-T50 is the first system camera to put them front-and-centre, with their own dedicated dial.

It’s smaller and lighter than the flagship Fujifilm X-T5, yet has the same 40.2MP X-Trans CMOS 5 HR sensor and X-Processor 5 image processor. In-body image stabilisation is new for the X-Txx series, but battery life matches that of the outgoing X-T30 II. Autofocus has also taken a big step up from that model.

So, however, has the price. The X-T50 is going on sale from June 17 for $1399 / £1299 / €1499 body-only, or $1799/£1649/€1899 with Fuji’s new 16-50mm kit lens. That’s a big jump from the X-T30 II, which launched at $899/£749 body-only – and remains on sale as the unofficial ‘entry-level’ X-series. I spent a few days testing the X-T50 out in a range of lighting conditions, to see how it stacks up – and whether those film simulations are worth the outlay.

Design & build: smaller, similar

The Fujifilm X-T50 has the firm’s familiar layout, with a modest hand grip and distinctive top plate filled with control dials. You get three, plus two customisable command dials within easy reach of your right thumb and index finger. The dials are single-stacked here, instead of the double-stacks seen on the firm’s pricier models. The new film simulation dial takes pride of place on the left side.

At the rear, X-T30 veterans will find most of the buttons are that little bit larger now. They stick out a bit further too, which makes them easier to find and press while wearing gloves. The touchscreen LCD tilts in two directions for high- and low-angle shooting, but it doesn’t flip out for vlogging – or rotate inwards to protect the LCD while the camera is in a bag.

You won’t find a dedicated video recording button anywhere on the camera either, highlighting Fuji’s thinking that it will mostly appeal to stills snappers. A 3.5mm microphone input and micro HDMI out means it can get the job done, of course, but 3.5mm headphone monitoring has to be done via a USB-C adapter.

You can pick up an X-T50 in black, silver, or charcoal silver colours; I thought the latter struck a great balance between the subdued black and more retro-tastic silver. It’s smaller than the X-T5 in every dimension, and at just 438g without a lens, this is a wonderfully compact system camera. I had no trouble slinging it over my shoulder for a day of shooting, even with a sizeable zoom lens bolted on. Pancake lenses won’t give you much to grip onto, though, so a strap – either the freebie included in the box or a third-party one – would be a wise investment.

This isn’t a weather-sealed camera; for rain protection you’ll need to step up to the X-T5, although that’s only a concern if you’re willing to get wet to get your shot.

Features & battery life: life’s a simulation

The new film simulation dial replaces the X-T30 II’s Drive dial, with drive modes being relegated to a button on the rear of the camera. Personally I think this is a great move; it’s the same setup I have on my personal camera (a Fujifilm X-S20), albeit without the useful icons to represent the various simulation options.

Here you can quickly scroll through seven different colour treatments (eight if you also count the standard Provia recipe), configure a further three FS presets, and assign a single Custom mode. There’s currently no way to assign your own custom-recipes to the three FS stops, though. Fuji’s newest simulation, Reala Ace, is of course present and correct, with twenty total to choose from.

I also like the Auto lever built into the shutter speed dial; Fuji knows many X-T50 customers aren’t always going to want to set up their shots manually, just pick a film simulation and press the shutter button – flicking this lever is a fast way to do that. It was the same on the X-T30 II, of course, but I think is even more relevant now.

There’s just a single SD card slot at the bottom of the camera, inside the battery compartment. For on-the-fly backups, you’ll need to use Fuji’s X-App smartphone companion app, via the X-T50’s built-in Bluetooth and Wi-Fi connections.

You’ll also want a speedy UHS-II type card for shooting RAW+JPEG bursts, or high resolution video. It can do 4K/60p in-camera, and with an external recorder connected it can manage oversampled 6K/30p footage in 10-bit, 4:2:2 RAW. Just keep in mind clip length is also thermally limited; with no external cooling fan accessory, it will do 60 minutes at 25 degrees, or just ten minutes in 40 degree heat.

Fuji says the X-T50 can last around 390 shots between charges – which is on par with the X-T30 II, despite the new camera gaining in-body stabilisation. That largely bore out in my initial testing, with performance mode and keeping the LCD on information draining a cell in four hours of continuous use.

Performance: X marks the spot

The X-T5 might maintain its position as Fuji’s flagship X-series CSC, but the X-T50 is a very close second place. Its X-Trans CMOS 5 HR sensor and X-Processor 5 combo up for an impressive base ISO of 125, allow for 180,000sec shutter speeds, and can also manage 8fps burst shooting with a mechanical shutter. Sports photographers will probably demand more, but I found it was plenty fast enough during a safari park walk-around, freezing animals that refused to sit still in brilliant sharpness.

That was partly down to the excellent autofocus system (there are 50% more phase-detection autofocus points here than you got on the X-T30 II) and partly Fuji’s eerily accurate animal subject detection. Even through chainlink fences, it could pick out moving monkeys, bears and deer, and would work in conjunction with the eye autofocus mode.

It helped that the 2.36million dot OLED electronic viewfinder was up to Fuji’s usual high standard, with a quick 100Hz refresh rate ensuring I didn’t miss any key moments. It’s not as high resolution as the X-T5’s, but there’s still plenty of detail on display.

The in-body image stabilisation made the biggest difference when shooting from a moving 4×4; even at extreme zoom ranges, the seven stops of stabilisation meant I got more usable snaps than I did duds. This alone is reason enough to consider the X-T50 over the cheaper X-T30 II, as far as I’m concerned. That it doesn’t harm battery life compared to the previous generation is a slam-dunk.

Image quality: animal magic

On paper, the X-T50 should deliver identical image quality to the fantastic X-T5; both have the same sensor and image processor, after all. That absolutely bore out in my testing, which was done with a mix of glass including the new XF16-50mm f/2.8-4.8 lens, which will be going on sale separately at the same time as the camera for $699/£699. And while I appreciate the huge 150-300mm f/5.6 is unlikely to be an X-T50 owner’s first lens purchase (it’ll set you back £1900), it let the sensor shine for wildlife photography.

The above samples have been resized from their original resolution, but show Fuji’s colour science is as retina-pleasing as ever. Noise is well maintained as ISO levels creep up and light levels drop, and sharpness is on point across the frame. As APS-C sensors go, it copes brilliantly in darker environments. JPEGs show plenty of dynamic range with ample shadow detail, while RAWs leave lots of picture information for further off-camera processing.

With film simulations being so easy to switch between, I used them more than I might’ve done with an X-T5 in my hands. Reala Ace, Nostalgic Negative and Eterna were already some of my go-to’s, and they worked to brilliant effect here as the sun began to set. Photographers that scoff at the thought of ‘digital filters’ need to get with the times; there’s a lot more nuance here than anything you’ll find on Instagram.

Fujifilm X-T50 initial verdict

After only a few days, I’m not yet ready to give a final review score – but first impressions are the Fujifilm X-T50 might be the new X-series sweet spot for a lot of photographers. Ones that think a fixed-lens camera like the X100 VI will be a little limiting, and who think the flagship X-T5 too far out of their price range – even if recent price drops mean there’s not as much clear air between the two as you might expect.

Yes, it’s costlier than its predecessor – but the X-T50 is so much more accomplished, courtesy of a higher resolution sensor, faster processor and in-body image stabilisation. The film simulation dial is also a welcome addition, putting one of the firm’s most popular features in easier reach. For quickly giving your photos dramatically different colour treatments, in-camera, nothing else comes close.

Fujifilm X-T50 technical specifications

Introduction

Fujifilm is one of just a few manufacturers flying the flag for mirrorless cameras with medium format sensors – and practically the only one suggesting you take them outside of a studio environment. The original GFX100S proved the GFX range was good for more than just static subjects and landscapes; now the sequel wants to do even better, courtesy of improved in-body stabilisation and an all-new sensor.

While the GFX100 II is mainly aimed at professional photographers, the GFX100S II has enthusiastic amateurs in mind. Or at least very well-heeled ones, given it’ll set you back £4999/€5499/$4999 body-only (US pricing also being before sales tax) when it launches on June 17. That’s more affordable than its predecessor was at launch, though. So, should wildlife and sports snappers now sit up and take notice? I put one to the test at a safari park, ahead of Fuji’s official unveiling, to find out.

Design & build: a familiar face

Fuji has reused the original GFX100S’ body shell for the sequel, rather than mixing things up too much – but there are one or two differences. The most obvious is the new grip texture, which covers pretty much the entire camera save for the metal top plate. It’s identical to the material used on the GFX100 II, and helps create plenty of purchase when wielding the camera one-handed.

This is still about as small as medium format cameras get, and considerably more compact than the bulky, dual-orientation full-frame rivals aimed at sports and wildlife photographers. A weather-sealed body was reassuring when I got caught in an early morning rain shower. At 883g it’s not overly heavy, but I definitely still needed the included neck strap once I’d bolted on the huge new GF 500mm f/5.6 telephoto lens.

The button layout is unchanged, with two customisable command dials on the right where your thumb and index finger rest around the shutter button, and a shooting mode dial on the right with six customisable presets. There are still plenty of Fn buttons for tweaking the setup to suit your preferences, along with a rubberised focus point joystick that’s easy enough to adjust while wearing gloves.

Features & battery life: professional yet portable

Arguably one of the GFX series’ best features is how easy each camera is to pick up and shoot with. The menu system and button layout are almost identical to Fuji’s more mainstream models, with a few additions that appeal to pros and newcomers alike. I love the e-ink top plate, which puts key info at a glance without eating into your precious battery life, and stays visible when the camera is powered off. It’s customisable, too, replicating traditional circular command dials if you’re not a fan of simplified, modern layout.

The three-way tilting touchscreen is clearly aimed at stills photographers, with no way to flip it outwards or face forwards for vlog-style filming. The up and downward tilt was ideal for high- and low-angle shooting, whether I was holding the camera in portrait or landscape, and the screen was plenty bright enough for daytime visibility. The electronic viewfinder, meanwhile, is considerably sharper than the previous version, with a 5.76 million-dot resolution – though that’s still about half of the one fitted to the GFX100 II.

There are two SD card slots at the side of the camera; these are easier to reach when mounted to a tripod than if they shared a space behind the battery door in the bottom of the body. I was a bit surprised Fuji didn’t add at least one CFexpress slot, which would surely be a better choice for 102MP RAWs and 4K video recording, but my UHS-II SD card was at least able to keep up with the former when not shooting extended bursts.

The battery itself is the same size as before, so 400 shots between charges shouldn’t be out of the question. I managed to drain it in a day of stills shooting with the rear touchscreen on more often than not.

Performance: object detected

It might have the same humungous pixel count as the GFX100 II, but Fuji has introduced an entirely new CMOS sensor here. Base ISO is an impressively low ISO80, and burst shooting with mechanical shutter tops out at 7fps. It’s still paired with the firm’s X-Processor 5 image processor, which previously put in epic performances in the X-T5 and X100 VI.

I continue to be impressed by the very effective subject detection autofocus, which can recognise animals with astonishing accuracy. Eye detection then comes into the mix, and was almost always on point.

The old camera was no slouch when it came to in-body image stabilisation – it’s what made it a more capable all-rounder camera than virtually any other medium format rival – but the GFX100S II goes even further. It has eight full stops of IBIS, which worked to brilliant effect while riding in the back of a 4×4; the sun was setting, yet I still managed to capture some impressively sharp images.

Fuji hasn’t neglected video either – it reckons GFX models are now in regular use on film and TV sets as B- and C-cameras, after all. The GFX100S II can manage 4K/30p in-camera, with F-Log 2 and 4:2:2 10-bit colour. ProRes and BlackMagic RAW can be shot to an external recorder over micro HDMI, too. There are 3.5mm ports for a microphone and headphones, and the USB-C port supports external SSDs.

Image quality: see every hair

With a sensor that’s 1.7x larger than one you’ll find in a full-frame mirrorless camera, I was never in any doubt the GFX100S II could capture astonishing detail. I just didn’t expect it to be so adept at it when the subjects refused to sit still. It performed brilliantly at Port Lympne nature reserve, capturing wild animals as if they were posing for their portraits.

The above shots were taken using the new Fujinon GF 500mm f/5.6 telephoto lens, which is similar to the existing 250mm zoom for size and weight yet gets doubly close to your subject. It’s going on sale alongside the GFX100S II for £3499/$3499/€3899. Images were taken straight from the camera, but have been resized from their native resolution.

Clarity is incredible, even at relatively low shutter speeds to account for fading light at the end of the day. You can almost count the hairs on the grazing wildebeest, which is also a testament to the lens construction. Exposure and dynamic range were handled as deftly as I’ve come to expect from Fuji cameras, and the firm’s colour science delivers striking natural hues.

Of course that’s before Fuji’s fantastic film simulations come into play. There are 20 to choose from through the Q menu (there’s no dedicated dial here like you’ll find on the Fujifilm X-T50), including the latest, Reala Ace. Personally I love the retro vibe Nostalgic Negative gives my images, but Velvia’s more vibrant hues were also an ideal choice for bringing out rich greens from grass.

Fujifilm GFX-100S II initial verdict

As much as I liked previous GFX cameras, I wasn’t entirely convinced a medium format sensor made sense for every kind of photography. The GFX100S II might’ve just changed my mind. Though I’ve only spent a few days with one so far, it’s impressively capable in the real world, away from static subjects and controlled lighting, while offering resolution and clarity even full-frame rivals struggle to match.

With no updates planned for the GFX50 (why would there be, now APS-C sensors nudge 40MP and full-frame ones are north of 60MP), this is now Fuji’s medium format entry-point. Given it’s smaller and lighter than either a Nikon Z9 and Canon EOS R3, and with a more traditional form factor, I can see it having real crossover appeal. That it costs less than a Sony A1 is another big plus point.

OK, with the cheapest GF Mount lens being enough to nudge this system north of $6500/£6000, it’s never going to be mainstream – but if pixel precision is how you define a fantastic photo, you’re unlikely to be disappointed with one of these in your hands.

Fujifilm GFX-100S II technical specifications

Introduction

Each previous Xperia 1 generation never quite managed mainstream appeal, but I still put them among the best smartphones on account of Sony’s willingness to cater to pros. Manual camera modes, creator-friendly apps and features long since abandoned by the rest of the phone world set each new flagship apart in the best way possible. The Xperia 1 VI gives up a few of the aspects that made its predecessors unique – but in the process could find a much wider audience.

The 21:9 display aspect ratio is gone, as is the 4K resolution – which was always more of a spec sheet boast than a must-have. Sony has also added more computational photography to help less serious snappers gets the most from its rear lens trio. It’s a full-on flagship everywhere else, with the latest Snapdragon silicon and a beefy battery. But with video-specific tools not available at launch, and a price that hasn’t exactly nosedived in line with its display pixel count (expect to pay £1299 SIM-free), has Sony done enough to sway shoppers that aren’t already Xperia converts?

Design & build: not no narrow anymore

It’s no longer a skinny twig, but the Xperia 1 VI otherwise follows Sony’s well-established norms: flat glass up front, grooved lines on all four sides for some welcome extra grip, and a micro-dot textured rear panel. The colours (Black, Khaki Green and Platinum Silver) are carried over from the previous generation. And would it truly be an Xperia 1 without a 3.5mm headphone port, or a physical camera shutter button? I think not.

Of course there’s both IP65 and IP68 resistance, so rain and dust aren’t a concern. Gorilla Glass Victus 2 protects the display and there’s regular Victus glass on the rear. Samsung still has the monopoly on reflection-busting Gorilla Armor, at least for now.

Up front, the top and bottom screen bezels are thicker than most – but that’s purely to make room for front-facing stereo speakers. It also means the selfie camera doesn’t have to sit in a notch or punch-hole cutout, leaving the 6.7in OLED completely unobstructed.

Sony has done well to keep the rear cameras close to the phone body, with just the slightest of bumps. It’s a refreshing change from the increasingly large camera modules I’ve been seeing on rivals like the Xiaomi 14 Ultra. I love how easily it slips in a pocket, too, at just 8.2mm thick. This isn’t a heavyweight handset either, weighing 192g – that’s lighter than a Galaxy S24+.

Even with the wider screen, I had no more trouble reaching the fingerprint-sensing power button than I did on the outgoing phone. It’s just as responsive, and sensibly placed half-way up the right side for both lefties and right-handers to reach. The tool-free SIM tray is as convenient as ever, and can still swallow a microSD card; handy if you ever fill the 256GB of on-board storage, and something that sets the Sony apart from pretty much every other 2024 flagship.

Screen & sound: a more mainstream OLED

What was uncool is suddenly cool again. Sony’s insistence on flat glass displays across Xperia 1 generations has come full circle, with the rest of the phone world rallying against curved-edge panels. Bigger news is the switch to a 19.5:9 aspect ratio, and the resolution drop from 4K to FHD+. I’m all for both changes.

As much as a 21:9 screen made previous Xperia 1s easy to hold, there just wasn’t enough cinema-scale content to make it truly worthwhile. I’d much rather have fewer black bars when watching YouTube. And as for 4K? Only a few apps could actually show content at that resolution. The 6.5in, 2340×1080 panel used here is still wonderfully crisp and detailed at arms’ length, and holds up well under closer inspection. Sure, a 2.5K screen would’ve better matched display heavy hitters such as the Pixel 8 Pro and Galaxy S24 Ultra, but it means the chipset doesn’t have to work quite so hard when gaming.

Even better, Sony has finally been able to add a 1-120Hz adaptive refresh rate, which balances motion smoothness and battery life better than any previous model. It was always quick to react to my swipes, so web pages simply glided up and down. Previous Xperia 1s made you pick either 60Hz or 120Hz, so this is a major step forward.

Brightness has also been amped up a considerable amount, with a Sunlight Vision mode promising a 50% increase over the previous model when stepping outside. Sony doesn’t quote specifics, so doesn’t claim to be any brighter than its rivals, but I certainly had no trouble using it in bright sunshine.

In all other respects the display is a stunner, with impeccable contrast, colour and clarity courtesy of Bravia image processing. Black levels are practically perfect, viewing angles are excellent, and colour tones are all very natural-looking.

The Xperia 1 VI doesn’t disappoint on sound, either. Front-facing speakers remain sacrosanct in Sony’s world, producing a balanced stereo sound that rivals with down-firing main drivers simply can’t match. Volume has been boosted compared to the previous generation, though not to the point songs become unpleasant or harsh when you crank it up. Certain rivals are louder still, but lack the tonality of the Sony. The 3.5mm headphone port returns, of course, and now the Asus ROG Phone 8 Pro has ditched its front-firing speakers, the Xperia is arguably even more appealing to gamers.

Cameras: closer than ever

Sony’s phones have long catered to photography fans, with some of the best manual controls in the business – though they often came at the expense of point-and-shoot ability. Having multiple camera apps only added to the confusion, so this time out there’s just one. There’s still a Pro mode that borrows settings from the firm’s Alpha series SLRs, except now it’s inside the main camera app, rather than waiting back on the Android homescreen.

Hardware-wise, the Xperia 1 VI is a refinement of last year’s effort, rather than an all-new setup. There’s still a home-grown Exmor T for Mobile main sensor, with a stacked CMOS design for improved low-light performance. 48MP of its 52MP total pixel count is available for stills shooting. Usually pics are pixel-binned down to 12MP, but there’s now a full-resolution shooting option if you want to maximise details. It’s a large enough sensor to get convincing natural bokeh from close-up subjects without relying on portrait mode, although not to the extent of the larger 1in sensors seen seen on the likes of Oppo’s Find X7 Ultra or the Xiaomi 14 Ultra.

The 12MP ultrawide lens is largely unchanged from the previous phone, except it gets new macro focusing abilities – more on those below. The biggest upgrade is to the continuous zoom telephoto, which now gets even closer to subjects without needing any digital trickery. It now goes from 3.5x at f/2.3 (85mm in old money) to 7.1x at f/3.5 (or 170mm). That’s a welcome step up from the Xperia 1 V’s 5.2x maximum, and more than you’ll get from either a Pixel 8 Pro or Galaxy S24 Ultra. Sony has also been realistic with its digital zoom. The Xperia 1 VI tops out at 21x, which is a lot more usable than the 100x or greater offered by certain phones.

Daytime image quality from the lead sensor is phenomenal, and easily on par with any current rival. There’s exceptional levels of detail on show in every frame, and next to no noise. Sony has tweaked its HDR algorithms this year, allowing for brighter highlights alongside the firm’s distinctive shadow details. Image processing in general has taken a step up in auto mode, meaning you don’t have to reach for the Pro mode quite as often anymore.

Colour rendition remains a Sony strong point, with natural hues that still have plenty of impact. There are five creative effects available if you want things to look a little punchier. They remind me of film simulations on Fujifilm DSLRs; far more subtle than your typical instagram filter. The tiny icon meant I regularly forgot that I’d activated one, though.

Sharpening was always handled carefully, even when using 2x zoom to crop in on the sensor. The fact it can do all this for 30fps bursts, with HDR, is mighty impressive for a phone.

The ultrawide is a very close match to the main sensor for colour, contrast, and exposure. Detail is maybe a half-step behind, but you’ll only notice when peeping at pixels. Edge sharpness is excellent, with effective lens correction.

Macro mode kicks in once you’re 15cm or so from your subject, with good (if not spectacular) results. I found the telephoto macro, which is a separate mode you have to manually activate, let me get in much closer, with dramatic bokeh to boot.

The telephoto sensor hasn’t grown at all for 2024, meaning the optics are the only major change. That’s great for colour and exposure consistency with the main lens, which Sony absolutely nails here. Certain shots had a little less dynamic range, though, and leaned towards overexposure on the highlights; some manual tweaking produced better results here.

There’s ample amounts of detail on show at 3.5x, and plenty of it at 7.1x too, although sharpening becomes more evident the further you zoom. A Xiaomi 14 Ultra handles fine detail like loose hair strands slightly better. I liked the natural bokeh on display when shooting closer subjects with the zoom, though.

Sony’s automatic night mode returns, and is just as conservative as it was last year. That’s great, as it lets the main sensor take darker, more lifelike images when there’s still a decent amount of light available. There’s great consistency across all three lenses, though it’s the lead snapper that does the best job with noise and detail.

Having no Pro Video mode at launch is a huge disappointment. Previous Xperia 1s were fantastic content creation tools, with full manual shooting modes. Sony plans to add this in later down the line, but to not have it ready at launch feels like an own goal as far as fans wanting to upgrade are concerned.

Software experience: hip to be square

Sony’s stripped-back take on Android has always been a breeze to navigate, with just a few mild tweaks and extra customisation options. That’s still true here. The pop-out dashboard returns for easy split-screen multitasking, letting you create app pairs and change quick settings without stretching up to the top of the screen.

The Quick Settings menu itself has seen the biggest visual shake-up, swapping round pill-shaped buttons for shorter square ones. That means more can fit onscreen at once, putting eight shortcuts a single swipe away from the homescreen.

Sony has a handful of own-brand apps, both new and returning, that are mainly aimed at creators. Everything else has been left up to Google’s defaults. Video Creator, Music Pro and External Monitor will only prove useful to creators, and the Headphones app is useless if you don’t own a pair of Sony’s (admittedly excellent) wireless earbuds or over-ear cans. At least they can mostly be uninstalled if you don’t want ’em.

It all sits on Android 14, with Sony promising three Android generations and four years of security updates. That’s a decent showing, if a long way behind the likes of Samsung and Google; if you want to keep your handset for five years or more, a Pixel or Galaxy remain better investments.

One thing you won’t find here? Any whizz-bang AI additions. Some will see that as a breath of fresh air; others will feel like Sony has missed a trick compared to the Pixel 8 Pro and Samsung Galaxy S24 series.

Performance & battery life: snap to it

Sony largely addressed its historic heat issues with last year’s Xperia 1 V; the VI truly banishes them with a vapor chamber cooling system that made sure the Snapdragon 8 Gen 3 delivered a flawless performance in daily use. I also imagine it’s easier to dissipate heat in a phone that no longer has super-skinny dimensions, particularly when the chipset is also more efficient.

Either way, 2196 and 6653 in the Geekbench 6 single- and dual-core benchmarks puts it up there with 2024’s other hero handsets. I could run two apps in split-screen with no slowdown or sluggishness, and Android in general felt super-smooth. 12GB of RAM is quickly becoming the flagship standard, but here it kept plenty of apps in memory without needing to reload.

Better yet, it managed half an hour of 4K video recording without throwing any sort of temperature warning, and could handle extensive gaming sessions without seeing frame rates tumble. Even demanding titles such as Call of Duty Warzone Mobile default to high settings and comfortably manage 60fps during hectic moments.

Sony continues to stick with what it knows on the battery front, meaning a 5000mAh cell that can refuel at 30W via USB-C or 15W on a Qi wireless charging pad. A Galaxy S24 Ultra is faster, but both fall a long way short of what Chinese rivals such as the OnePlus 12 and Oppo Find X7 Ultra can manage. A 50% top-up takes about half an hour; a full charge needs an hour and a half. Assuming you have a 30W power brick lying around, of course – you don’t get one in the box.

It’s not like I spent a lot of time tethered to mains power, though. Sony reckons the Xperia 1 VI can manage a whopping 36 hours of local video playback; I didn’t see longevity on quite that scale, but two days of use if you’re sensible isn’t out of the question. I spend a bit too much time gaming, taking photos and streaming videos to manage that, but could usually get through an entire day and night before needing to plug in.

Sony Xperia 1 VI verdict

Instead of stubbornly doing its own thing like past efforts, the Xperia 1 VI feels like a more conformist take on the Sony flagship formula. The screen aspect ratio, resolution and refresh rate are more in keeping with the rest of the phone world, as does the more hands-off photo processing. There aren’t multiple manual camera apps to overwhelm less experienced snappers, either. I still think there are better choices for point-and-shoot photographers, but there’s much less in it than previous generations.

It still looks the part, has all the fan-favourite features, and delivers excellent battery life. Performance is easily on par with high-priced rivals, and those stereo speakers are a treat for the ears. The combo makes this my new favourite phone for gaming, too; shove it into a Backbone controller and little else can match it.

Rivals do promise longer-term software support, and the £1299 price means brand-agnostic shoppers may not be entirely swayed when a Galaxy S24 Ultra costs less, but Sony fans should absolutely consider upgrading from their older Xperia 1s. Unless they make regular use of the Pro Video app, that is – in which case maybe wait for the updated app to be released later in the year.

Sony Xperia 1 VI technical specifications

By any stretch of the imagination, it can’t be said the iPad Pro premium tablet is underpowered.

With a brand new chip that’s later in generation than anything in a Mac, Apple is hoping to boost flagging iPad sales by putting out a device that’s not only Apple’s thinnest ever, but with unbelievable power, too.

And with a new Apple Pencil Pro, it’s a serious upgrade. And those who use an iPad Pro for any kind of art or design work will definitely benefit from the new Pencil.

We’re testing out the 13in model (which replaces the 12.9in), but there’s a 11in model and both are available in 256GB (a new starting size), 512GB, 1TB and 2TB versions. This time around both sizes have the same spec sheet; the only difference is the size.

Design: the thinnest of them all

What is particularly stunning is just how thin the iPad Pro is. It was pretty thin anyway, but the new 13 incher (no, not 12.9 anymore but 13) clocks in at a mere 5.1mm. It’s the thinnest product Apple has ever made, even more so than the iPad nano – you probably know that already, even if that maybe has to do with an ill-received marketing campaign. The 11in model is a little thicker at 5.3mm.

Some are concerned about the bendability of this design and time will tell whether this will be an issue. Our 13in model certainly didn’t feel like it had any flex and of course in a case such as the Smart Folio (now with more viewing angles) this will offer some protection.

In a practical sense, it’s not the thinness that’s actually appealing, but the gains it makes in terms of weight. The last iPad Pro wasn’t the lightest and adding a keyboard meant it weighed more than the MacBook Air, If you add the new Magic Keyboard to the 13in tab, it’s noticeably more lightweight – around 150g less in total.

Without the keyboard, the 13in model is 579g, while the 11incher is 444g. For the 2022 refresh, these figures were 682 and 466g.

Apple has moved the camera to the top edge of the tablet. This is much more useful than on the top edge, partly because our finger kept obscuring the camera unit for Face ID with our 2022 model.

The device is available in both silver and space black. We’ve got the space black but teamed it with the white and silver keyboard raher than the black/grey one.

Display: packing an incredible punch

The OLED display (labelled Ultra Retina XDR) is a real stunner. It will be an incredible tool for viewing content with great contrast even though the peak brightness of 1600nits hasn’t increased over the previous generation.

There’s also a nano-texture glass option ($100/£100 extra) for the 1TB and 2TB models should you want it – although we haven’t seen it out of the launch space, this is absolutely stunning to look at with super-low reflectivity even in a bright room.

Performance and key specs

The reworked slab has Apple’s M4 chip on board as opposed to the widely expected six month-old M3 and it’s more graphically capable. It’s 3nm again, but it’s a ‘second generation’ manufacturing process. It’s shockingly powerful for a tablet chip even if multi-core performance doesn’t live up to the hype. The single-core performance scores are quite incredible though, even beats Intel’s top-line Core i9-14900KS.

• Apple iPad Pro OLED vs MacBook Air M3

Naturally, there’s a step up across the board from the M3, but this time there’s a redesigned CPU with extra efficiency cores (6) as well as the neural engine which is 60x faster than Apple’s first neural engine back in 2017’s A11 Bionic. We feel like there have to be more reasons why Apple has stepped forward to M4 rather than using M3 and we reckon we’ll hear more about that at Apple’s developer conference next month.

Software: there has to be more soon

We can’t help but think we’re only getting half the story in terms of the software side with the iPad Pro and Apple surely has to act here. Apple clearly isn’t about to bring macOS to the iPad, even though that’s actually what a lot of people want (or say they want). Instead, we’re faced with a device with software in the form of iPadOS that’s still a smartphone or tablet OS with some multitasking bits tacked on.

Let’s take an example. I got some files emailed to me, some on Google Drive and some on OneDrive which I need to get into Dropbox. On the Mac, I simply open both links in the browser, download them and drag them into Dropbox. On the iPad, I need to export each via the relevant apps and then share it across to the Dropbox app in a lot more steps. It’s not even about multitasking or power – it’s more the logic of working across several apps.

We know there will be new AI-powered elements from Apple’s software side and it’s interesting to hear Apple using AI termology during the iPad Pro’s launch (like Intel’s favoured ‘AI PC’ lingo) to replace the Machine Learning label it has used for years.

Apple says the M4’s Neural Engine is capable of up to 38 trillion operations per second “which is faster than the neural processing unit of any AI PC today… M4 makes the new iPad Pro an outrageously powerful device for artificial intelligence.” More to come here, we feel.

Connectivity and camera: one plus one

Naturally, there’s also support for the latest Wi-Fi 6E standard as well as 5G eSIM with cellular models.  There’s no physical SIM slot. Or a headphone jack for that matter since if you want wired headphones you can just plug them into the USB-C port with an adapter.

In terms of cameras, both front and back are 12MP (back: wide, front: ultrawide). There’s a single camera on the rear now, but it’s joined by a LiDAR scanner and new True Tone flash designed for better document scanning.

Audio playback has always been a strength of the iPad Pro thanks to the quad speakers and that hasn’t changed here despite the thinner design.

Apple Pencil Pro: a welcome addition

The Apple Pencil Pro is also a new and somewhat impressive partner, too. It’s only compatible with the new iPad Air and Pro and it apparently has a new charging architecture, but in reality that capability works very similarly to the existing Pencil 2 (which isn’t compatible with the new devices).

It can be found using Apple FindMy, which is excellent news for those who regularly lose them – it can get knocked off its magnetic base too easily.

• Apple Pencil models compared: which is best for you and your iPad?

The powerful part is that there’s a new sensor in the barrel that you can squeeze. This brings up a tool palette on the display which means you can switch brushes/tools as well as select line weights and colours.

You can also double-press to invoke the eraser. There’s also a gentle haptic engine with a light tap that provides confirmation, too – this all works really well and we found that by the second go we had got used to it.

Rotating the barrel changes the orientation of your selected tool and you can see that on the display with Apple Pencil Hover. If you want a cheaper Pencil, you can also choose the Apple Pencil USB-C but because of the lack of pressure sensitivity, we wouldn’t recommend this unless it’s just for note-taking.

The Magic Keyboard has also been redesigned this time out and it looks a lot better than last time around which marked easily and generally didn’t look like it cost $299/£299. This time around it is still eye-watering in price at $349/£349 but you do get a keyboard that is similar in quality to that on a Mac with a large trackpad to boot.

Apple iPad Pro verdict

As you’d expect, 2024’s iPad Pro makes gains. But the performance gains here are quite staggering. But the question is why has Apple upgraded the Pro quite so much? Is it to take people away from their Macs? Is it to discourage others from even trying to develop tablets? To revive iPad sales? Is it all of the above?

Also, whisper it quietly, but we’re at a stage where the iPad Air also now has an M2 chip and even the base level iPad has a lot to offer, now at a cheaper price point (RIP the home button). The iPad Pro now offers a level of power that most people won’t ever need – it’s for the 1% who design or draft with the Apple Pencil and as such the Pencil Pro is also a serious upgrade for them.

• iPad Pro M4 (2024) vs iPad Air M2 (2024): which should you pick?

Apple is also targeting Pro users who haven’t upgraded from much earlier models, but there has to be more to come in the iPadOS department at Apple’s developer conference next month. Surely there has to be to power up the software to match the terrific power on show here.

Apple iPad Pro tech specs

• Apple’s AI is coming: could a Siri successor arrive at WWDC in June?