Camera
Review: The Kensington StudioDock *almost* turns your iPad into a desktop computer
Kensington StudioDock™
From $379 | Kensington.com
One of the best ways to set yourself apart in a crowded market is to find a niche in need of attention and develop a product specifically to fill that gap. Kensington, a computer accessories manufacturer, has done just that with the introduction of its StudioDock, an all-in-one hub and stand for Apple’s latest line of iPad devices.
While the iPad is still limited compared to a more traditional laptop computer due to its reliance on Apple’s iPadOS operating system, it’s still a capable device, especially since Apple switched over to using a USB-C port instead of its proprietary Lightning port. This move, when paired with Apple’s improved support for external storage in iPadOS, has made it much easier to use various USB-C hubs and adapters to plug multiple devices in at once.
Kensington StudioDock specs and pricing:
- Three USB 3.0 ports, two USB-C ports, 3.5mm audio input/output, HDMI 2.0 output, Gigabit Ethernet port, 20V power port.
- Two Qi wireless charging pads (one 5W, one 7.5W)
- $379.99 for the iPad Pro 11″ (2018 or newer USB-C) or iPad Air (2020+)
- $399.99 for iPad Pro 12.9″ (2018-2020, newer M1 iPad Pros won’t fit)
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While there are some iPad-specific USB-C hubs on the market, there hasn’t really been an all-in-one workstation solution for docking an iPad so it can be used in a more desktop-style fashion. That is, until now, thanks to Kensington’s StudioDock.
As I described in our original news coverage of the device, the StudioDock effectively turns your iPad into an iMac-like workstation, complete with built-in chargers for your phone, wireless headphones and other Qi-enabled devices. It’s not cheap and it’s certainly not for everyone, but if you’re an iPad power user looking for a desktop-style experience, you won’t find a much better setup than this.
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| A 27″ LG monitor hooked up to the Kensington StudioDock via the HDMI 2.0 output. |
Even for those who haven’t gone all-in on the iPad-only workflow, the StudioDock is a great option for anyone looking to dabble with the idea using a newer iPad as your main computing device.
Design
Without the iPad mounted, the Kensington StudioDock looks similar to the $999 stand Apple released alongside its Pro Display XDR. While Apple’s stand is effectively just a hunk of metal with some springs inside, the StudioDock is a dedicated hub packed with various ports, Qi wireless chargers and a mounting point for an iPad Pro or iPad Air.
One of the first things I noticed upon taking the StudioDock out of the box is how heavy it is. It’s constructed almost entirely out of aluminum, which gives the StudioDock a premium feel and also serves to better keep the stand in place when attaching, rotating and tilting the iPad. Whereas other tablet stands I’ve used in the past can get wobbly (even ones half as tall), the StudioDock doesn’t budge when I’m adjusting my iPad or using an Apple Pencil to write notes on my iPad while it’s still attached.
The StudioDock hugs onto an attached iPad using the mounting plate, which works alongside the magnets inside the iPad, as well as the physical USB-C port on the iPad, to keep the device in place. The mounting point can tilt roughly 270-degrees and rotate 90-degrees, so you can use an iPad in either portrait or landscape mode.
The base of the StudioDock features a pair of Qi wireless chargers on the front — one 5W charger and one 7.5W charger. This duo works perfectly for charging a phone and a set of wireless headphones as you do your work and proved to save space on my desk compared to using separate, dedicated chargers for my iPhone and AirPods.
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| The left side of the device, which houses the power button and a USB-C port. |
On the left-hand side of the stand, Kensington includes a USB-C port and a power button. On the right-hand side is a UHS-II SD card reader and a standard 3.5mm audio jack for both inputting and outputting audio.
The rear of the base features one Gigabit Ethernet connection, three USB 3.0 ports, one HDMI 2.0 port capable of 4K 60Hz output and a power input port.
In use
The StudioDock is a niche product for a very specific subset of people. Not only is the device specifically for iPad users, it’s for iPad users who want to effectively turn their iPad into a desktop-style workstation with all the I/O ports you’re used to seeing on desktop computers.
To that end, it not only lives up to its specifications but surpasses my expectations, even as someone who came into this review with fairly high standards. For this review, I told myself I would truly put the StudioDock to the test by only using my 11″ iPad Pro (2020) for all of my DPReview work for two weeks. Well, here we are two-and-a-half weeks later. And, despite having a newly purchased M1 Mac Mini sitting next to me on my desk, I haven’t had to touch it since the StudioDock arrived.
To that end, it not only lives up to its specifications but surpasses my expectations
Clearly, this wouldn’t work for everyone, as not everyone can get away with using only iPadOS applications to get their work done. But that’s almost entirely due to the limitations of iPadOS, not hardware. As such, I’ve written this review without taking into account the software limitations imposed by the iPad-only workflow, since that’s well out of Kensington’s hands.
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| The StudioDock can hold an iPad in landscape or portrait mode. |
One of the benefits of the StudioDock is how it elevates your iPad, bringing the screen closer to eye-level with its floating design. While the height Kensington chose is a nice balance, it’s still shorter than most desktop monitors. This might not be a problem for those under 6ft tall, but I stand at 6’2″ and if I’m sitting, using the StudioDock on the same surface that my keyboard is on, I’m still looking down at my iPad’s screen.
Now that iPad OS has proper mouse and trackpad support, I didn’t find myself using the touchscreen much
For this reason, I would’ve liked to see Kensington include at least a few levels of adjustment. But I have a feeling if Kensington went any higher the center of gravity would be affected to the point of making the StudioDock too top-heavy when an iPad is attached and you’re attempting to tap/swipe/draw on the screen.
Now that iPadOS has proper mouse/trackpad support as well as the ability to use external keyboards, I didn’t find myself using the touchscreen much, but it is still an option while attached to the stand.
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Before getting to the rest of the I/O options present on the StudioDock, I want to focus on the UHS-II SD card reader on the right-hand side of the device. I don’t know if you’ve ever tried to look for a USB-C hub for the iPad that offers UHS-II speeds, but they’re simply non-existent in hub-powered devices and not necessarily easy to find on wall-powered hubs either.
Now, not everyone’s camera uses SD cards, but for anyone who relies mostly on SD cards for their photography work will appreciate the speeds this reader is able to perform at. In my testing, I was able to import 600 25MB Canon CR3 files into Lightroom for iPad in just two minutes. That works out to about 125MB per second, which is the best average speed I’ve seen from any UHS-II card reader I’ve used with my iPad, and that doesn’t take into account any overhead caused by Lightroom.
For comparison, my dedicated Sony UHS-II card reader plugged directly into the USB-C port averaged only 80-100MB per second with the same set of images.
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| The right side of the device, which houses the UHS-II SD card reader and a 3.5mm audio port. |
With that out of the way, let’s talk about the rest of the I/O options present on the StudioDock. Starting off with the left-hand side of the device, Kensington includes the sole USB-C input and a single power button1. I would’ve liked to see one more USB-C port available on the StudioDock, but considering the entire device is connected to the iPad through a single USB-C port, the reality is you’d only ever be able to get half the maximum bandwidth of a USB-C connection, even if no other ports were being used.
So, while it would be more convenient since more and more devices are starting to use USB-C connections, it wouldn’t be able to offer any additional bandwidth.
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Speaking of bandwidth, let’s move on to the rear of the device, which offers a Gigabit Ethernet connection, three USB 3.0 ports and an HDMI port. It’s a solid array that should be more than enough for almost any workflow, especially considering you may not need to use any USB-A ports for adding chargers since the StudioDock has the two wireless chargers built into the base.
On to the ethernet port. Unfortunately, due to the limitations of my internet plan, I wasn’t able to test out the maximum speeds to see if the Ethernet port was indeed faster than Wi-Fi, but I can say both options topped out my 500Mbps download speeds in various speed tests. One bonus though is that the Ethernet port makes for a slightly more stable connection.
Aspect ratio aside, outputting the iPad’s screen to a dedicated monitor worked well
The HDMI port was also great for those times when I wanted to edit images on a larger screen. At this time, though, iPadOS doesn’t have full external display support. So, even though the HDMI 2.0 port on the StudioDock supports ‘4K’ output, it’s limited to the 4:3 aspect ratio of the iPad’s screen, which leaves black letterboxing on the edges of 16:9 monitors. Aspect ratio aside though, outputting the iPad’s screen to a dedicated monitor via the HDMI port proved to work well. Hopefully Apple can improve external monitor support in a future version of iPadOS, but for the time being, the StudioDock makes the most of the support Apple offers.
Last up is the right-hand side of the StudioDock, which features the aforementioned UHS-II SD card reader and a single 3.5mm audio port. The 3.5mm port worked great for both outputting audio to speakers and headphones, as well as inputting audio from a microphone setup. I didn’t notice any latency, which helped while working on some video files in LumaFusion on my iPad.
Bottom line
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The StudioDock is unlike anything on the market. Yes, it’s expensive, but it offers a user experience no other stand/hub combination offers. Not only does it add more I/O options than most other USB-C hubs on the market, but it also adds the ergonomic benefits of raising the iPad closer to eye level and throws in a pair of Qi chargers to further save space on your desk and keep any unnecessary cables at bay.
It’s not for everyone. In fact, unless you plan on using your iPad as a laptop – or even desktop – replacement, it’s probably not for you. But for anyone who is seriously considering going all-in on using an iPad as their main device, the StudioDock stands alone. No, it won’t fix the inherent limitations of Apple’s iPadOS, but the StudioDock will ensure you can make the most of everything iPadOS and the hardware has to offer.
What we like
- Improves ergonomics
- Articulating mounting plate
- Lots of I/O
- UHS-II SD card reader
- Built-in Qi chargers
What we don’t like
- Expensive
- Too few USB-C ports
1 It bothers me more than it should that the power button isn’t perfectly centered with the frame.
| Photo: Richard Butler |
The Camera and Imaging Product Association (CIPA) recently published its total production and shipment data for January. The latest data shows that demand for compact cameras remains strong. Shipments of interchangeable lens systems also increased year over year, while those of SLR systems slowed.
CIPA breaks down its data into camera types, with dedicated sections for cameras with built-in lenses and interchangeable lens systems. It also differentiates between SLRs and mirrorless cameras and provides specific data regarding various regions. All digital still cameras saw a 6% increase in shipment compared to January 2024 data, while interchangeable lens cameras were up 5% year-over-year.
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| A graph showing the total number of shipments of digital still cameras. |
Built-in lens systems, though, saw the biggest increase of all categories. With 124,085 units shipped in January, cameras with integrated lenses saw an increase in shipments of 11% compared to January last year. Also notable was the 50% increase in the value of shipped compact cameras compared to January last year. The fact that the value is increasing faster than the number of units shipped indicates prices are higher for those cameras.
The growth in value isn’t entirely surprising, given that demand for compacts is high right now. Cameras like the Fujifilm X100VI have been extremely popular. According to Map Camera, one of the largest photography retailers in Japan, the Fujifilm X100VI was its best-selling camera in February 2025. The buzz surrounding the Canon Powershot V1, which was only recently announced at CP+, is also significant. The Powershot V1 is only available in Asia and wasn’t scheduled to start shipping until April. Despite all that, DCWatch reported that Canon has already announced it is experiencing supply shortage issues and that delivery times may be longer than usual as a result.
While that growth in compact camera shipments is interesting, it seems to be largely the result of two regions. China saw the greatest increase; shipments of compact cameras grew substantially year-over-year, with just 6,055 units shipped in January 2024 versus 18,955 units shipped in January 2025, a 213% increase. Asia (excluding China and Japan) also saw an increase, though at a more modest 22%. Europe and the Americas, however, actually saw a few thousand fewer shipments of compact cameras year-over-year (around a 6% fall).
While compacts saw an increase in shipments, SLRs saw a decline in January 2025 compared to January 2024. Shipments of SLRs were down 16% year-over-year. This isn’t much of a surprise, given that the last DLSR that was released was the Pentax K-3 Mark III in March 2021, and Canon and Nikon last released DSLRs in 2018 and 2020, respectively. Sigma is also no longer developing new DSLR lenses. Needless to say, it seems the sun is setting on DSLRs, so it makes sense that shipments would be slowing.
| Image: Insta360 |
Insta360 and Leica Camera AG first teamed up in January 2020 with the Insta360 One R action camera. More recently, they collaborated on the Insta360 Ace Pro 2. That cooperation isn’t over, as the two companies have announced an extension of their partnership, bringing continued collaboration to Insta360’s action cameras.
The Ace Pro 2 featured a Leica Summarit lens and Leica color profiles, so it seems likely that we will see more Leica optics and colors in future Insta360 products. The announcement reveals that “exciting developments are already on the horizon,” suggesting that a new product is already in the works. It goes on to say that there will be “more cutting-edge imaging solutions across new product lines in the near future.”
“Insta360 and Leica share a vision of creating the most advanced imaging tools possible,” said Max Richter, Vice President of Marketing at Insta360. “With this renewed partnership, we are excited to continue our journey together, empowering creators to capture like nothing else out there.”
The Insta360 Ace 2 Pro has been very well regarded with impressive quality, so if that’s a sign of what this partnership can yield, then exciting things could indeed be on the way. The two companies didn’t provide any additional details about what product lines may involve Leica’s input, so for now, we will have to wait.
Insta360 and Leica Camera AG extend Partnership: Advancing the Action Cam Industry
Insta360, a leader in 360° and action cameras, is proud to announce an extension of its partnership with Leica Camera AG, the legendary brand renowned for over a century of excellence in imaging. This continued collaboration aims to bring elite performance to Insta360’s range of AI-powered action cameras and more.
Leica’s heritage in crafting high-quality lenses and pioneering advancements in optical engineering aligns seamlessly with Insta360’s mission to redefine what’s possible in action and 360° imaging. Together, the two brands have delivered industry-leading innovations, with the latest offering, Insta360 Ace Pro 2, proving to be a smash hit among users worldwide.
With this partnership evolving, exciting developments are already on the horizon. While we can’t share specifics just yet, creators can expect more cutting-edge imaging solutions across new product lines in the near future. This extension sets the stage for further innovation, reinforcing both brands’ commitment to pushing the boundaries of what’s possible in action and 360° imaging.
A Partnership Rooted in Innovation
“Insta360 and Leica share a vision of creating the most advanced imaging tools possible,” said Max Richter, Vice President of Marketing at Insta360. “With this renewed partnership, we are excited to continue our journey together, empowering creators to capture like nothing else out there.”
As the action camera market continues to demand ever-better image quality, this partnership ensures that Insta360 continues to lead in imaging excellence.
“For over a century, Leica has stood at the forefront of optical innovation, and our partnership with Insta360 allows us to continue this legacy in the dynamic world of action cameras.
Together, we strive to push the boundaries of imaging excellence, offering creators tools that inspire their creative journeys,” said Marius Eschweiler, Vice President Business Unit Mobile, at Leica Camera AG.
Insta360 Ace Pro 2 – The Latest Evolution of Insta360 and Leica’s Collaboration
The latest product of this partnership is the recently launched Insta360 Ace Pro 2, a flagship AI-powered action camera designed for professionals and enthusiasts seeking the highest image quality.
Built with a Leica SUMMARIT lens and unique Leica color profiles, the latest addition to Insta360’s wide-angle camera lineup sets a new standard in action photography and videography.
With industry-leading low-light performance, superior dynamic range, and refined image processing, Insta360 Ace Pro 2 is engineered to capture life’s most thrilling moments with the precision and quality expected from Leica optics.
Creators can rely on Insta360 Ace Pro 2’s enhanced stabilization and AI-powered features to ensure smooth and professional-looking footage every time.
Looking Ahead
The renewal of this partnership signals an exciting future for creators and action camera enthusiasts alike. With Leica’s legacy in optics and Insta360’s expertise in imaging technology, the next generation of cameras will continue to set new benchmarks in performance and creativity.
Shop the Insta360 Ace Pro 2 here, and be sure to explore Leica’s latest offerings via their official website.
A couple of weeks ago, DPReview attended the 2025 CP+ Expo in Yokohama, Japan, the annual camera industry trade show sponsored by the Camera & Imaging Products Association (CIPA). CP+ is an opportunity for us to meet with senior executives from across the camera industry, but it’s also a chance to gauge the market’s health more indirectly.
After going through years of contraction, the past few years have generally been a period of stabilization for the camera industry. We’re not returning to the heady days of DSLRs and compact models flying off the shelves in the tens of millions, but industry executives have consistently told us that the market has reached a point of equilibrium and is even growing a bit.
However, despite the positive outlook from industry leaders, it’s hard to ignore that, for the past couple of years, the CP+ Expo lacked a certain energy that we used to see at camera trade shows. In 2025, however, we saw several signs that CP+, and possibly the industry, are regaining some of that past mojo.
The crowds were bigger
It’s no secret that camera trade shows have been hit hard over the past few years, with stalwarts like Photokina and PMA falling by the wayside and becoming historical footnotes. Trade shows, in general, have been flagging as companies discover new ways of connecting with customers, and the camera industry is not immune to that.
“We saw several signs that CP+, and possibly the industry, are regaining some of that past mojo.”
CP+ was hit particularly hard by the global pandemic in 2020, which resulted in a three-year hiatus before an in-person expo returned in 2023. And, while there was clearly excitement among attendees and manufacturers to be back in action, one couldn’t help but notice that the crowds felt smaller and the energy levels lower. It didn’t portend an exciting future.
What a difference a year makes: in 2025, CP+ felt busy and vibrant again. There were lines outside the expo hall snaking back and forth well before the doors opened, packed with consumers eager to see the latest gear. The expo hall was crowded, the booths were busy, and even the aisles were filled with excitement and energy that have been largely absent since the pandemic.
The attendees are changing
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CP+ attendees listen to a speaker in the Sigma booth. It seemed like there were more women at CP+ than in the past.
Frame from video: Dale Baskin |
Yes, the crowds are getting bigger again. But what may be even more important is who we saw in attendance.
Typically, we would expect to see traditional camera enthusiasts at CP+, the type of person who has a collection of cameras and lenses at home, and we saw plenty of attendees with current models slung around their necks. To be sure, there were plenty of these people at the expo, and that’s a good thing for the industry.
What jumped out, however, was the number of young people we saw in attendance, and it was common to see them in sections of booths specifically targeting ‘creators.’ You found them in other places, too; at least anecdotally, the industry’s efforts to connect with this up-and-coming customer base may be paying dividends.
Additionally, it seemed like there were more women in attendance this year. I don’t have any hard data to back this up, so you’ll have to trust my observations, but it’s certainly a good sign if the industry is more effectively connecting with women photographers.
Companies are timing product launches around CP+
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DPReview was the first publication to get our hands on the new Canon V1, a compact camera announced to coincide with CP+ 2025.
Photo: Dale Baskin |
The CP+ Expo hasn’t historically been an anchor event camera companies use to announce new products. It wasn’t uncommon for a few products to be announced in the weeks leading up to the event, and companies occasionally used CP+ for big announcements, but it was the exception rather than the rule.
Suddenly, CP+ is a hot place for announcements.
Panasonic announced its new Lumix S1RII high-resolution flagship camera, Canon had its just-announced Powershot V1 compact model on display, and Sony revealed its new 16mm F1.8 G and 400-800mm F6.3-8 G lenses. Even Zeiss got in on the action, announcing new Otus 50mm F1.4 ML and 85mm F1.4 ML lenses.
On top of that, Sigma announced its new BF camera, along with new 16-300mm F3.5-6.7 DC OS and 300-600mm F4 DG OS lenses, at its own event in Tokyo earlier in the week, clearly designed to coincide with CP+, and the expo was the first opportunity for customers to get their hands on the products.
And this doesn’t even include all the new lenses revealed by the up-and-coming Chinese lens manufacturers. Speaking of which…
Chinese lens companies have arrived in force
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Chinese lens companies unveiled numerous new lenses at CP+ 2025, some designed to go head-to-head with the camera manufacturers’ own lens options.
Photos: Richard Butler |
Over the past few years, Chinese lens companies have transformed the camera market, becoming competitive manufacturers capable of producing sophisticated autofocus lenses with impressive optics.
This isn’t the first year these companies have been at CP+. However, in 2025, they collectively made their presence felt like never before, unveiling no less than ten lenses between them, including several that ought to get the attention of first-party manufacturers.
Viltrox jumped in with its AF 35mm F1.2 LAB FE and AF 85mm F1.4 PRO FE lenses for Sony E-mount, along with a full-frame compatible AF 50mm F2.0 Air and APS-C AF 25mm F1.7 Air, both available for multiple mounts. Laowa joined the party with full-frame 8-15mm F2.8 Fisheye and 15mm F4.5 0.5x wide-angle macro lenses, and even a 35mm F2.8 Tilt Shift lens for Fujifilm GFX.
“Chinese lens companies unveiled numerous new lenses at CP+ 2025, some designed to go head-to-head with the camera manufacturers’ own lens options.”
Not to be left out, 7Artisans showed off full frame 24mm F1.8 and 35mm F2.8 lenses in multiple mounts and APS-C 25mm F1.8, 35mm F1.8 and 50mm F1.8 primes, also available in multiple mounts. Even Samyang got in on the fun, unveiling its AF 14-24mm F2.8 zoom for E-mount, co-branded with Schneider Kreuznach.
If this trend continues, CP+ could become a very exciting venue for new lenses.
What does it mean?
It’s one thing for camera industry executives to tell us the industry is headed in a positive direction. It’s another to walk the aisles of an expo hall teeming with excited consumers who telegraph that message in the real world. Seeing younger generations out in force and excited about using cameras is particularly exciting.
It’s also been a long time since we’ve seen this many big industry announcements centered on a single event. However, if the industry can coalesce around CP+, it presents an opportunity for manufacturers to generate industry-wide excitement about new products at a level we haven’t seen since the days of Photokina, and that would undoubtedly be a positive thing for the industry as a whole.
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