I loaded the Wandrd Prvke V4 21L up with gear (and non-photo gear) and boarded a plane to Los Angeles. The photo backpack is even more comfortable than the earlier version, while making a few small yet significant tweaks.

The Wandrd Prvke V4 is my new favorite camera backpack – this is why.

Wandrd Prvke V4: Sizes

The Wandrd Prvke comes in four sizes: 15L, 21L, 31L, and 41L. For this review, I tested the 21L variant, which is about enough for 1 mirrorless and around five lenses using the small camera cube. I only tested the 231L of the V4, though I’ve used multiple sizes of the previous version.

The other sizes will have similar pockets and comfort, but varying amounts of space for gear. The smallest 15L uses a built-in camera cube rather than a removable one. The 21L and 31L are for mid-sized kits with more lenses and flashes, while the 41L is deeper for cameras with built-in vertical grips, or big telephotos with built-in tripod collars.

Except for the 15L, photographers and videographers will need to choose the bundle that comes with a camera cube in order to carry gear. The Essential Camera Cube will take up the bottom section of the bag but leave the rolltop clear for non-photo items, while the Pro Camera Cube juts into the top compartment a bit to accommodate longer telephotos (or more lenses).

Wandrd Prvke V4 review: Price

In the US, the Wandrd V4 21L costs about $234 for the bag, but $318 once you add the Essential Camera Cube, or $354 with the larger Pro cube. In the UK, it’s about £234 for the bag only, £319 with the small camera cube. In Australia, the 21L with a camera cube retails for about AU$579.

One of my biggest complaints is that accessories are all add-ons. This makes the bag customizable, yes, but it can really add to the cost. You can pick up a waist belt for the bag, along with a rainfly, accessory straps, or even an extra cube. The photography bundle includes the bag, a camera cube, and accessory straps, but does not include the waist belt or rain fly.

Wandrd Prvke V4 21L Specs

Wandrd Prvke V4 review: Design

The Wandrd Prvke is a backpack with a main compartment that can be divided into two with a gear compartment and a separate roll-top, which is expandable depending on how tight you roll the closure. The rolltop closes with both velcro and a metal clasp.

The divider, however, tucks away for photographers who need the entire space for gear, or conversely, users who want to use the bag more as a standard backpack with a large main compartment.

The main access is through a fully unzipping back panel. Resting the zipper against your back can ease some of the concern over pick-pocketing, but it also opens completely for full access to gear. I also like this design, because if I need to sit the bag down in the dirt, I’m not mucking up the part of the bag that’s about to sit against my back.

For photographers and videographers, the Prvke’s main compartment needs to be paired with a camera cube. The small cube takes up the lower portion of the pack, while the large cube fills nearly the entire main compartment. The camera cube has a zippered cover that tucks away inside the bag, but keeps gear protected if you pull the cube out to use as a regular pack.

Above where the small camera cube sits, there’s a divider that slices the main compartment into two – this divider folds away when using the larger cube. That top section can be accessed from the rear zipper, the roll-top, or a zipper at the top. There’s also a zipper here for a roomy pocket large enough for my portable photo printer. This pocket doubles as a cover over the top compartment when using the rear access point, and it can be velcroed right to that divider.

The bag also has a side access point (with a matching zipper on the camera cube) where a camera body would sit in the main compartment. A small zippered pouch is tucked into this access door as well.

A padded laptop sleeve rests on the inside of the back panel; there are two slots here if you want to carry both a laptop and a tablet. In front of that, there are three additional pockets, which I use to store memory cards, quick-release plates, and spare batteries. One of the smaller pockets here also has a spot for an AirTag.

Outside of the main gear compartment and rolltop, there are a few more pockets to stash smaller items. A large zipper sits at the front, big enough to stash a notebook. There’s a small pocket on the side that’s the ideal size for business cards or a set of keys. And there’s also a hidden pocket so discrete I forgot it was even there – move aside the luggage trolley strap and there’s a hidden pocket meant for valuables like a passport.

Another zip that’s easy to forget exists? A small compartment on the bottom made for a rain fly (which is not included).

The side water bottle pocket has a zipper to expand, plus a strap at the top to use the same pocket for a tripod instead. Alternatively, you can also get accessory straps to latch gear to the front of the bag.

There are a few different ways to carry the bag. There are the shoulder straps that make it a backpack, which are also paired with a chest strap. Then there are the magnetic grab handles at the top, or the loop to rest the bag on the handle of a rolling suitcase.

Wandrd Prvke V4 review: Performance

I packed the Wandrd Prvke V4 on a trip to Los Angeles – and the camera backpack proved quite comfortable to wear on my trek to the city.

The straps are one of the key changes from the V3. On the V4, the straps are a little narrower, but the edge is every bit as padded as the center. The straps didn’t dig into my skin, though as with any bag, I find it a bit chaffe-y if I wear a tank top and have the straps against skin instead of clothing. The straps are well-padded, and I found the bag quite comfortable for the amount of gear that I packed inside.

The straps are nicely padded and curve to hug the torso. My only complaint on the straps is that the removable chest strap is quite difficult to get back on the bag. I overtightened mine, and one side popped off, and I couldn’t get the strap to slide back on easily. (I gave up, it’s still off.)

I tend to prefer backpacks that place the laptop in the front rather than against my back, as that makes the back panel a little too rigid. But, I didn’t find carrying a MacBook Air in the back panel to be uncomfortable. The back panel is well-padded and goes a long way in keeping the bag comfortable.

One of the reasons that the Prvke series has remained a favorite of mine are the materials that are durable and easy to wipe, yet feel a bit more upscale than a bag that’s 100 percent nylon. The Prvke is made with a mix of materials, including tarpaulin on the front and slides and ballistic nylon on the back and straps. This creates a weather-resistant but not waterproof exterior on the exposed portions of the backpack.

I was initially concerned because the V4 doesn’t have the shiny zippers that are on the V3, but Wandrd said they moved to coated DWR YKK zippers that are still weather-resistant, but easier to zip.

I emptied the bag, tucked some tissue inside, and poured a cup of water over the back. The water rolled off the back material (even though it doesn’t look like it would be water resistant), but a small amount of moisture did seep in at the zipper. When I repeated the test with the older V3, if anything, more water seeped in at the zip. I’d feel comfortable wearing the Prvke V4 in light to moderate rain, but would use an additional rain cover in heavy rain.

Wandrd Prvke V4 review: Verdict

I haven’t found a backpack to unseat the Wandrd Prvke V3 from being my go-to backpack – until the V4, that is. The straps are a bit more comfortable, the rolltop access easier, and there are simply a few design details that feel even more refined. The Wandrd Prvke V4 is my new favorite for carrying my photo gear.

My list of complaints is small. I had a hard time getting the chest strap to clip back on when I overtightened, and it popped off. The bag is weather-resistant, but needs a rain fly in heavy rain. There’s also no waist strap or rain fly included, and while the number of accessories helps the bag to feel highly customizable, it also drives up the price.

While the V4 feels more refined, there’s nothing wrong with my existing V3. One of the reasons I like the Prvke series is that it’s durable, and my V3 still looks new. Considering the expense, creatives currently using the V3 don’t really need to upgrade. Likewise, the V3 is now easier to find on sale, and if the refined straps, zippers, and subtle tweaks throughout don’t speak to you, the V3 is a bit more affordable.

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While having the option to use dedicated video transmission systems and field monitors is great, sometimes that just means more tech to ferry to and from a shoot, store, insure, and so on, when in actual fact you could take advantage of devices you already own and carry with you. Hollyland, developer of the fantastic Pyro systems, has taken this idea and run with it, with their new Vcore transmitter, which can send your videos to smartphones and tablets. It can also be paired with the Pyro, promising a versatile piece of gear.

Having used the Pyro, I had my expectations set pretty high, but read on to find out how I got on.

Specifications

Price

$219 / £177 might not be a trifling amount, but it does bring wireless video down to a level that is attainable for many more users than other systems that require dedicated monitors and receivers.

Design & Handling

Although the box is small, you get a lot in it. First up is the main unit, which is built from very high-quality plastics. This unit has a metal cold shoe on one side and a cold shoe mount on the other, for attaching to the camera. There areUSB-C in and out ports, a full-size HDMI 1.4 input port, and a rubber door covering a full-sized SD card slot. The bottom edge has a ¼ 20 threaded mounting point. Finally, there’s a small but very crisp and easy-to-read OLED display, a power button, and a multi-function button. Everything is easily accessible, feels nice to the touch, and the buttons, while having a very short throw, give a nice positive click.

I’m also a fan of the antennas here. Unlike some devices, which sport larger screw-in antennas, the Vcores are part of the main unit. They poke out less than an inch, keeping the footprint small and meaning there are fewer things to lose.

Alongside the main Vcore, you get a cold shoe to thread adapter, a phone holder, and a magnetic hold for those using their magnetic smartphones mounted on the main unit.

The magnet is very strong and helps my iPhone Pro Max stay in place with ease. No amount of vigorous shaking would dislodge it. Similarly, the sprung phone mount, for those without the magnetic option, is far superior to others I’ve used. Its slight soft-touch finish aids here, and it feels nice and sturdy. It also folds pretty flat, so storing it is less of a hassle.

Performance

The setup procedure for the Vcore is smooth and hassle free. Download the HollyView app first, switch on the Vcore and hit the multifunction button once to enter pairing mode, then connect to its wifi network on your phone and you’re done. Alternatively you can connect to the app using the USB-C cable, which is fine for on-camera use but obviously doesn’t work for remote viewing. For my first test, using a Sony A7r4, I was doing a piece to camera, so having the ability to check framing, focus and exposure from my mark made things far more efficient. The signal is strong and stable which is key but there’s a lot more to like.

First up you can use the app for simply viewing the footage as you shoot and, being on a portable device means you can put it pretty much anywhere, or hand it off to an AC or another team member. That alone is worth the asking price.

Things get even more interesting when you look at camera control. You can record and stop, all from your phone or tablet. For solo shooters this is a massive boon but do check compatibility before you purchase, as not all makes are supported. My Sony camera worked just fine but my Blackmagic Design Pyxis didn’t play ball. If you are covered then the ability to wirelessly start recording could be a big deal for you. It certainly makes my life easier.

On top of this you can use an iPhone to record Prores footage from your camera,a neat trick which I think will be appreciated by many. 422, 422HQ, 422LT and 422 Proxy options are all available, making your phone a mean video recorder too.

Hollyland could have made this a simple consumer/prosumer device so it’s really good to see they have designed the Vcore to grow with you, or enable it to fit into a larger existing setup. The Vcore can be integrated into a Pryo setup just as easily, connecting to multiple devices at one, so if you need a monitor for a director, another for a client and one for an AC, you are good to go.

You might be worried about the video quality but there’s more to love there, with 4k 30 transmission with negligible lag. All while being able to record proxies to the internal SD card (you’ll need to buy one separately) or on your phone.

I was very impressed by the range of the Pyro transmitters but worried that the Vcore, at this price, might be less reliable and, while the range isn’t as great at 100m, it is a robust signal that can penetrate solid walls and I haven’t once experienced an issue with stability.

While this review isn’t about the app, it is worth pointing out that HollyView is pretty fully featured. It has all the things you might expect, like a gallery section, with folders for organising not just your proxies but images too, so all you photographers can keep things in order. There’s a plugin for Capture One too.

For use as a field monitor you get all you could need for everything covering focus and exposure assistance. There’s false colour, zebras, peaking, guide lines for various aspects and, seeing as it’s based on an interface you use every day, interacting with it is a doddle.

Verdict

I can't praise the Vcore enough. My only gripe is that it is HDMI only and even that is being slightly unfair, as you wouldn't expect that at the price this comes in at. It's an impressively versatile piece of equipment, solidly built and that performs admirably. Combine it with your favourite handheld device and you're on to a winner.

Alternatives

The Peak Design Travel Tripod is impressively compact – I took one to New York City this summe,r and it fit right inside my carry-on bag. When I first tried it out, my initial thought was that it was very clearly designed by an engineer (or perhaps a travel photographer) because everything from the leg shape to the head is made to keep the tripod as small as possible.

The Peak Design Travel Tripod aluminum is a fantastic option if you need a tripod that’s as small as possible. With a 20-pound load capacity and a 60-inch maximum height, it’s not for every photographer, but it’s impressively small.

Peak Design recently launched more high-end Pro Travel Tripods, and they are noticeably sturdier, but also noticeably larger. Don’t get me wrong – the original tripod is still strong – but as per usual, larger tripods with fewer leg sections tend to be a bit sturdier.

We gave the Peak Design Travel Tripod (Aluminum) five stars in our review, but one of our biggest complaints was the price. The one-day deal makes the travel tripod a much, much better buy.

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So having two cameras is the important first step, a little secret tip is I also have my old DSLR in my car as a third backup too, just in case things go really pear-shaped! When choosing two cameras they don’t have to be identical models, though you may prefer them to be if you're after consistency between the files. It’s more important that they’re the same sensor size, such as APS-C or full-frame, and also from the same camera brand so that you can interchange the lenses easily. I currently use a Canon EOS R5 and Canon EOS R6 Mark II for my weddings, as this allows me to change cameras when I need the larger 45MP files from the EOS R5, or the lower megapixels and better noise handling of the 24.2MP R6 Mark II for low light situations.

You obviously can’t wear them both around your neck, so a dual camera harness is usually the way to go, though you can also get waist holsters if this is more comfortable for you. You’ll find a list here of what that I deem to be the best camera harnesses on the market.

When working with two cameras it’s best to do some house keeping by synchronising the date and time and setting custom filenames too, this will save you hours back at your computer.

Ensure RAW shooting is enabled on both and use cameras with dual memory card slots if possible so you can create a backup. If your camera has a CFexpress card and a slower SD card slot, you could save RAWs to the faster card and JPEGs to the SD, so at least you’ll have something in case one of the cards fails and take pressure off the camera’s buffer.

Note, you don’t have to wait until your cards are full before you change them – it’s actually not a bad thing to shoot on several smaller cards – if one corrupts, you’ll have mitigated your losses.

Now you’ve got your two camera bodies set up it’s time to decide on lenses. This is down to personal preference but having two cameras allows you to switch between two lenses rapidly and cover a larger range of focal lengths.

Many pros swear by 16-35mm, 24-70mm and 70-200mm optics all with fast f/2.8 apertures, often called the ‘Holy Trinity’ lenses. Though others prefer the shallower depth of field and better light gathering ability of primes like a 50mm f/1.8. It’s all down to personal choice and which glass suits your shooting style as well as help you get the job done. If you need a third lens handy, you could keep a rucksack of spare lenses in your car, or have a lens pouch attached to your belt – this also comes in handy for stashing spare cards and batteries.

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This type of gimbal is an ideal solution for solo creators who need to be able to accommodate multiple setups. Its ability to flip between portrait and landscape modes also makes it a perfect fit for social media creators who crave versatility.

The Smooth Q5 Ultra competes admirably for a place in our guide to the best smartphone gimbals, with direct competition coming from the Insta360 Flow 2 Pro and DJI Osmo Mobile 7P. Zhiyun's offering features some innovative accessories and a fill light, which help to set it apart.

Zhiyun Smooth Q5 Ultra: Specifications

Zhiyun Smooth Q5 Ultra: Price

The Zhiyun Smooth Q5 Ultra is available from Zhiyun's Official Store for $99.99 / £84.99. If you'd like the combo kit that includes the AI tracking module and wireless remote control, then that costs $119.99 / £99.99. Alternatives include the DJI Osmo Mobile 7P for $129.99 / £118.50 and the Insta360 Flow 2 Pro for $159.99 / £145. Each device offers a similar set of specs, with the Smooth Q5 Ultra proving to be the best budget-friendly option.

Zhiyun Smooth Q5 Ultra: Design & Handling

Having unboxed the gimbal, AI tracker, and remote control, I was fully up and running in around ten minutes. Everything shipped fully charged, and all I had to do was clip my phone in, attach the AI tracker, and pair it with my phone, and I was away. It could not have been easier.

The gimbal itself has a primary construction of plastic, which contributes to the overall lightweight design, weighing approximately 390g / 13.8oz. Holding it, even for long periods of time, didn't result in any arm, wrist, or hand strain, and for that I was grateful. It's marketed as a compact gimbal, and even though it's foldable, unfortunately, it's not small enough to fit comfortably in a pocket.

The design includes an ergonomic grip for comfortable single-handed operation, and the exterior boasts a matt white finish that is both scratch and stain-resistant. I have no concerns that it'll stay looking new for a long time to come.

At the top of the handle is a color display that keeps the user updated on the current state of the gimbal. This includes the amount of battery left, whether it's connected via Bluetooth, if the AI tracking is enabled, and a host of other indicators.

The clamp that holds the mobile phone is sturdy and strong, so strong that I nearly trapped my fingers in it while removing my phone. Take this as a positive rather than a potential health hazard. Zhiyun has also included an abundance of rubber grips inside the clamp to ensure your phone stays scratch-free.

At the bottom of the gimbal is a 1/4-20 screw mount that enables the attachment of a tripod or similar compatible accessories. There is a small tripod included in the kit, which is ideal for positioning the gimbal on a tabletop or even on the floor. There's also a 215mm extension pole built into the center of the gimbal. You wouldn't immediately know it's there, but if you push on the top of the handle, it'll begin to extend. This was super useful for capturing more arty, unusual shots.

A final feature that is worth mentioning is the inclusion of a fill light on the back of the gimbal. Using it will significantly reduce the battery life, but it is a handy little addition, especially for creators who want a lightweight run-and-gun setup.

The gimbal has a companion app called the ZY Cami App, which includes more intelligent tracking, an editor, and a slew of other additional features. It's not required, though, with the gimbal functioning fine with any mobile phone's default camera app.

Further to the core gimbal, the combo kit of the Smooth Q5 Ultra includes a detachable remote and an AI tracking camera. The remote allows for long-distance control, including the ability to hit record. The tracking camera attaches underneath the clamp mechanism and includes an indicator light that keeps you updated on its status.

Zhiyun Smooth Q5 Ultra: Performance

Overall, I was very impressed with the performance of the gimbal. As mentioned, it was very easy to set up, and I was quickly able to crack on with capturing photos and videos. The 3-axis operation was reliable and predictable 99% of the time, although there were a few occasions where it seemed to drift a little from what I expected. At that point, I was grateful for the ability to recenter the gimbal head with the quick press of a button.

Operating the gimbal was straightforward, and even my ten-year-old, who has no prior experience using a device like this, was able to quickly yield predictable results. The button and dial placement also meant that it was possible to change settings while operating the gimbal.

The AI tracker was able to track my face with no difficulty and yielded smooth results every single time. This tracker is able to pick up gesture controls such as an okay sign that enables tracking, double thumbs up to toggle between portrait and landscape orientations, as well as a peace sign to take photos or start filming. Unfortunately, the sensors' ability to recognise these gestures was so hit and miss that I wasn't able to use them predictably.

The small and handy remote control allows for operation up to 10m away from the gimbal. It works seamlessly and includes the ability to control the gimbal's orientation as well as start/stop recording. With the remote switched on, it's also possible to control the gimbal with voice commands. It was responsive and much more reliable than gesture commands. One change I would like to see in this feature would be a move away from direct commands towards an AI model that lets you use more natural language to get the same results.

In terms of battery life, the gimbal lasts up to 13.5 hours, although this is reduced to 5.5 hours with AI tracking enabled and the fill light turned on. This is just about sufficient for a full day's filming, and you can always turn the fill light off between shots. It only takes two hours to recharge, although it's not a removable battery, so you might find it hard to operate the gimbal while you're charging.

Zhiyun Smooth Q5 Ultra: Verdict

The Zhiyun Smooth Q5 Ultra is a lightweight gimbal that is quick to set up and generally reliable in its operation. With AI tracking and a detachable remote, the device offers several innovative features that elevate the user experience. I wasn't enamored by the gesture commands, but that aside, I found the gimbal to be reliable, predictable, and overall a joy to use.

Alternatives

When Digital Camera World’s Gareth Bevan reviewed the Godox AD300 Pro, he called it “one of the best off-camera flashes for most people” for its balance between power, portability, and price. Now, Godox has upgraded the portable flash with a handful of new features while keeping a similar portable size.

Like the predecessor, the Godox AD300ProII is a 300Ws light that recycles as fast as .01s to 1.5s on full power. But, the light’s power now has more fine-tuned control with a 10-stop range of control (compared to nine stops) that allows the light to emit as little as a 1/512 burst of light, adjustable in 0.1 stop increments.

Along with the expected TTL, Manual, and HSS capabilities, the Godox AD300ProII also has a freeze mode, which shortens the flash duration to freeze motion in high-speed photography. Multi or stroboscopic mode, which fires several flashes to repeat a moving subject in the frame, is also included. A 12W bi-color modeling light helps photographers position the light without test fires.

But one of the features that caught my eye is a one-tap sync. Godox says the light can sync in one tap when using a 2.4 GHz Wireless X System transmitter, rather than having to set the group and channel individually. The strobe also has a color-coded indicator light so photographers can see from a distance what group the strobe is set for.

The flash’s settings are controlled through a large touchscreen at the back, along with a dial and a handful of buttons. At the front, the light uses the native Godox mount for use with a variety of modifiers, and optional adapters help fit the light with additional modifiers.

The light’s battery life has bumped up from 300 full-power flashes to 350 per charge. Despite the changes, the light is still designed to be compact enough to tuck into a traditional camera bag. The light measures 7.36" by 3.94" by 3.54" – which is similar in size to some 70-200mm f/2.8 lenses – and weighs 1.2 kg / 2.2 pounds.

The Godox AD300PRo II is expected to retail for about $499 / £497 / AU$879 / CA$709.

US Retailer Adorama-exclusive brand Flashpoint has also announced a similar rebranded light, the Flashpoint XPLOR 300 Pro II TTL R2. The Flashpoint light has a similar set of features and price, though Adorama is including a free Flashpoint Nano R2 transmitter with pre-orders.

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The Speedlite EL-10 is a very capable flashgun and doesn’t break the bank, whereas the EL-1 is Canon’s best Speedlite to date and comes packed to the rafters with top features – it even gets a red ring around the flash head to show it’s built to the same L-series quality as Canon’s top flight optics, so is clearly aimed at professionals. But is it really five times better as the price difference would suggest? Well, I recently got hold of both to find out just that.

One of the biggest differences between the two is that the cheaper EL-10 uses Canon’s newer 21-pin Multi-Function shoe which is a more modern shoe for better communication and enhanced features. Rather annoyingly the more premium EL-1 (both Ver.1 and Ver.2) use the older 5-pin shoe design, though this means it will work with new and older Canon’s with no problems.

The guide number of the EL-1 is about 50% higher than the EL-10, so it’s hands-down the more powerful of the duo, it can also be stopped down to just 1/8192 power, where the EL-10 can only go as low as 1/1024, so there’s greater control across the board. The flagship EL-1 also comes with features desirable features including Continuous Shooting Priority, a fan for active cooling, weather-sealing, faster recycling times and clip-on color gels.

Rather annoyingly, the EL-10 lacks some of the hardware on the outside of the flash body that used to be fairly standard across Speedlite models. This means if you need a AF Assist Beam, external metering and optical transmission receivers or an external power supply port the you have no option but to splash out on the EL-1.

I still maintain that the Speedlite EL-10 offers brilliant bang for your buck and I’d bet most enthusiast photographers would get a lot of use out of it. If, however, you’re a working pro and you’re planning to put your kit through the wringer in harsh conditions, such as weddings or extreme sports, then I absolutely think the EL-1 is the way to go as it’ll be able to deliver the results in those harsh conditions.

If you’re still torn between these two camps, don’t forget there’s also Canon’s Speedlite EL-5 which sits sort of in-between the budget EL-10 and pro EL-1, with faster recycle times, a Li-Ion battery, better range of flash head movement and enhanced cooling. It usually costs £499/$499U, though at the time of writing was down to £349/$349which makes it an excellent choice if you need more power than the EL-10, but your budget doesn’t quite stretch to the wallet busting asking price of Canon’s flagship Speedlite EL-1.

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I prefer continuous lighting solutions like the Godox ML80Bi for several reasons. As a photographer, the continuous LED light eliminates the need to worry about the flashgun's infrared receiver pointing towards the camera-mounted remote trigger during portrait shoots, and thus the risk of misfires. This continuous light source also lets me see how the subject is illuminated and adjust the light stand or color temperature and intensity on the fly for a more flattering (or dramatic) look. Additionally, I shoot a lot of video, so a continuous light source is highly advantageous and a flash becomes redundant, especially in gloomy locations like the corridors in London’s Brutalist Barbican Centre.

As the ‘Bi’ in its name indicates, the Godox ML80Bi is a bi-color LED. This means it can emit a wide range of color temperatures, measured in degrees Kelvin, from a warm 2800K to a cooler 6500K. However, it isn’t an RGB LED, so you can’t dial in a more creative range of colors to simulate different-color gels. This lack of an RGB capability initially put me off, as I do like to get creative and add cinematic teals and oranges to my portraits.

However, as you’ll see from this review’s supporting clips and photos, I had a ball using the Godox ML80Bi, especially as my review sample shipped with optional accessories such as a soft box for more flattering portrait lighting effects, and is sure to earn its place as one of the best continuous LEDs.

Godox ML80Bi: Specifications

Godox ML80Bi: Price

The list price of the Godox ML80Bi is $299 / £203 / AU$383. The kit ships with the new ML-Z zoom lens reflector, which boosts the output of the LED by up to an impressive and eyeball-blinding 10x. It contains an ML-BA battery that docks to the LED via a secure push-and-click mechanism. For the price, you also get a sturdy yet compact carry case that should fit into most camera kit bags. Oh, there’s also an adaptor to attach the LED to a light stand (or you can screw it to a mini tripod via a thread on the bottom of the LED).

For the price, the ML80Bi is relatively expensive compared to the similarly specced but slightly cheaper 80W Neewer HB80C, which retails at $179.99 / £129. The ML80Bi also lacks the Neewer HB80C’s RGB ability to mimic a wide range of color gels. However, the ML80Bi is still a powerful and portable portrait light, and unlike the Neewer HB80C, you can adjust the focus of its reflector to get a wider or narrower beam of light. It’s also an attractive LED to look at, with a design that’s reminiscent of the stylish (and much more expensive) bi-color Harlowe Avant Max.

Godox ML80Bi: Design & Handling

As the number in its name indicates, the Godox ML80Bi is an 80W LED, though thanks to the supplied reflector, it can emit a 10x brighter output of 29,000 lux. On unboxing the LED, I was impressed at how heavy it felt, which gave me the impression of a well-built piece of kit. On the downside, the white plastic body of the main LED made me doubt that it would survive unscathed if I dropped it or knocked it over when mounted on a light stand.

The ML80Bi is a modular portrait light. In the sturdily built but compact carry case, you’ll find the body of the LED, plus a clip-on ML-BA battery. The battery is also constructed of white plastic, and when clipped onto the LED, it creates an attractive, sleekly designed light that looks like a boxy retro camera, especially when you clip on the supplied white plastic reflector, which looks a bit like a camera’s lens. The battery can be charged up by plugging in a USB-C power cable. This enables you to shoot in any location without requiring a cabled connection to the mains, which suits my needs as a ‘run and gun’ location-based portrait shooter. You can also power the Godox ML80Bi via NP-F batteries, but you’ll need to purchase the Godox ML-NPA battery adaptor plate to do that. You can also attach a V-Mount battery (sold separately).

As a bi-color light, the controls on the side of the lamp body are very easy to use. A circular textured plastic dial enables you to adjust the LED’s color temperature between a warm candlelight 2800K to a cooler daylight color temperature of 6500K. You can view the chosen color temperature on an LCD screen. After tapping the Set button, you can use the same dial to adjust the intensity of the LED. The mode button also enables you to access 11 animated special effects – Flash, Lighting, Cloudy, Broken Bulb, TV, Candle, Fire, Firework, Explosion, Welding, and SOS.

This isn't quite as many as the competing 80W Neewer HB80C can manage, which boasts an additional seven animated effects. This is because the Neewer LED is an RGB light, so it can produce a wider range of colors in its animated effects. The Godox’s ML80Bi bi-color nature means that its animated effects can only include warm or cold color temperatures rather than the creative reds and blues you’d need to mimic a police car, for example. But despite the lack of RGB colors, I still found the Godox’s ML80Bi capable of producing a range of colored light to complement and contrast with existing light sources on location.

Godox ML80Bi: Performance

To test the Godox ML80Bi, I popped its carry case into my favoured camera backpack of choice – the Wandrd Stratus Photo 18L. I then headed to London’s Barbican Centre for a photo shoot rendezvous with model Maryna. I planned to kill two birds with one stone by using the Godox ML80Bi to illuminate Maryna while testing the iPhone Air's camera capabilities.

In addition to the Godox ML80Bi, I also brought a Godox ML-S50 soft box and a Godox ML-CFL5 Collapsible Silicone Fresnel Attachment with me in the Wandrd backpack. These optional extras proved to be very useful accessories on my shoot, as I’ll explain.

As it was a cold day, we started our shoot in one of the Barbican Centre’s indoor corridors. My first corridor of choice had a stone ramp that made a perfect ‘catwalk’ for Maryna. The location was already illuminated by yellow and blue lights, so I mounted the Godox ML80Bi on a lighting stand, courtesy of the Godox kit’s supplied AD-E2 Stand Mount. As it was a full-size lighting stand, I was able to extend it to Maryna’s head height and shine a key light on her.

To magnify and direct the light, I attached the supplied ML-Z reflector to the front of my ML80Bi. Rotating the reflector adjusted its emission angle between 13º and 30º. A 13º angle produced a more tightly focused, stronger beam, while a 30º angle created a wider, slightly softer flood. The reflector’s bright key light was so intense that I had to reduce it using the plastic control dial on the LED’s body.

Inspired by its strong key light, I began my iPhone Air shoot with some ‘film noir’ style shots of Maryna. She was dramatically lit from the side, with half her face plunged into shadow, evoking the look of a mysterious Hollywood femme fatale. To contrast with the existing blue and orange light, I set the ML80Bi’s color temperature to a cool 5300K. The harsh light created a very striking and defined shadow, which complemented the film noir look of our first shots.

As Maryna was wearing a glamorous dress, I wanted to capture some less dramatic and more flattering photos of her, so I mounted the Godox ML-S50 soft box onto the ML80Bi. I felt really pleased to have a studio-style lighting setup on location and was delighted with the softer key light (and softer shadows) that the soft box produced. The soft box also provided enough light to make Maryna stand out from the background (and add some modelling light to shape her face) when I filmed her walking through the location to test the iPhone Air’s video recording capabilities.

Talking of video, the next part of the test involved testing the Godox ML80Bi’s 11 animated effect presets. I found a dramatically low-ceilinged corridor and asked Maryna to walk through it as if she were in a thriller movie (which was a bit of a challenge due to her high heels). I then used the Godox Light app on my phone to trigger the ‘Bad Bulb' effect on the LED. This intermittent flickering from the ML80Bi made it look like the location’s lighting was failing, which added a sense of drama to the scene. I was able to use the app to adjust the effect's properties, such as the flickering frequency, more quickly and easily than I could using the physical control dial on the body of the LED. I also used the ‘Lightning’ effect to add dramatic lighting to my footage, though this produced a colder-looking light than the warm ‘Bad Bulb’ preset.

After a change of outfit for Maryna (to add variety to my shots), we headed out into the cool November Barbican exterior. The sun was setting, which would normally allow me to capture my model bathed in a flattering golden-hour glow, but due to shadows from the urban location’s surrounding buildings, only the tallest towers were sunlit. Fortunately, I was able to dial in a golden hour color temperature on the ML80Bi, so it complemented the existing sunlight. Thanks to the LED’s adjustable color temperature, I was able to make it look like Maryna was lit by the same sunlight illuminating the distant tower, creating a dramatic golden-hour portrait that would not have been possible without the presence of the ML80Bi.

As the shadowed outdoor sections of the Barbican were quite gloomy, I popped the Godox ML-CFL5 Collapsible Silicone Fresnel Attachment (sold separately) onto the front of the ML80Bi. The accessory produced a much stronger and more directional beam of light, which enabled me to bring the setting sun down to earth and illuminate my model. The Fresnel attachment is made of silicone, so it can collapse flat and fit nicely into my Wandrd backpack alongside the ML80Bi. I can certainly see myself using this compact and portable collection of lighting equipment in future portrait shoots!

Godox ML80Bi: Verdict

Thanks to separately sold accessories, such as the Godox ML-S50 soft box and the Godox ML-CFL5 Fresnel lens, I was able to take my usual Barbican-shot portraits to the next level. Being at the mercy of available light can lead to gloomy and flat-looking portraits, but the customizable light from the ML80Bi helped me emphasize the shape of my model’s face and helped her stand out from the location’s gloomy background corridors.

By changing the LED’s color temperature, I was able to light her as if she were bathed in the same golden hour hue that was illuminating the background buildings, leading to a more attractive collection of outdoor portraits. The animated effects were fun to use when shooting video, though the lack of an RGB LED panel's more colorful gel effects makes the ML80Bi less useful for creative video makers, but still perfect for ‘run and gun’ portraits.

Alternatives

I’ve recently been impressed with the Neewer RF1 Macro Ring Flash, but the new Z3 looks and feels more like the Godox V100 flashgun that I reviewed a while ago. Like its Godox competitor, the Z3 is a 100Ws flashgun that features a built-in RF wireless transceiver for master/slave operation with multi-flashgun setups, or remote off-camera use with the similarly color touchscreen-based Neewer QZ hot-shoe trigger. The Neewer Z3 definitely has its eyes on the prize, aiming to be one of the best flashguns on the market, available in Canon, Nikon, Sony, and Fujifilm-dedicated options.

Neewer Z3 100Ws Flash: Specifications

Neewer Z3 100Ws Flash: Price

Everybody loves a bargain, right? The Neewer Z3 100Ws flashgun costs around $280 / £236 / AU$430. That’s a sizeable chunk off the similarly specced Godox V100, which sells for $349 / £339 / AU$610. It’s also a whole heap of money less expensive than own-brand flashguns from various camera manufacturers, which have relatively slim pickings in their feature lists. Potentially, this Neewer gun is standout value for money. Let’s see how the design, handling and performance stack up.

Neewer Z3 100Ws Flash: Design & Handling

The whole design and handling characteristics of the Neewer Z3 revolve around its comfortably large 2.75-inch color touchscreen, so it had better be a good one. And it is. Fitting seamlessly into the range of gadgets for the smartphone generation, you can go anywhere you want to go and do anything you want to do with the minimum of taps and swipes on this intuitive, responsive touchscreen display. And as you’d expect, you’re rewarded with instant feedback in the way of information displayed about flash settings and adjustments.

I’ve picked out four of the main screens from the interface for the gallery below, which show how the illuminated touchscreen looks in auto TTL (Through The Lens) flash metering mode, the underlying menu that’s revealed if you swipe upwards, and then manual flash mode and programmable repeat / stroboscopic mode. I’m sold on the intuitive convenience, but take a look for yourself and see what you think.

Not just a pretty interface, this Neewer flashgun has a clever head. With an octagonal profile, it’s more rounded than the letterbox shape of most flashgun heads and includes a frontal lens for evenly distributing the light. Compared with regular flashguns, the rounded head of this one delivers a softer quality of light that has a nicer fall-off towards the circumference.

And that’s not all. Bounce and swivel functions are taken care of, with an extravagant range in both respects, comprising -7-degree downward to 120-degree rear-facing bounce, and full 180-degree swivel rotation to both the left and the right. In a nutshell, you can bounce the flash off any nearby wall or ceiling, with a full range of movement.

Fancy taking a shot in the dark? No, I thought not. It’s nice being able to preview the effect of flash and, to this end, the Neewer features not one but two powerful modelling LEDs. You can switch them on and off and adjust their intensity. Not just for a preview of flash effect, they also work well as autofocus assist lamps when using mirrorless cameras. For legacy DSLRs (dare I say it), there’s also a red AF-assist beam that you can enable or disable in the menu system.

I’ll confess to having a love/hate relationship with TTL flash metering. When I’m in a big hurry and need to best-guess a flash power setting for a defining moment with no time to compose a shot, I’ll take TTL any time. But if time is on my side, I prefer to test the waters and tailor the strength of the flash in manual mode.

The Neewer makes it quick and easy to swap between both modes, not just through the touchscreen interface but also with a straightforward M/TTL switch on the left-hand side of the flashgun. Sometimes a physical, dedicated switch is hard to beat. Just below this is a test-fire button and, unlike the piffling equivalents in most flashguns, this one fires the flash at the strength you’ve preset. Lovely. And below that, there’s another physical pushbutton for quickly reverting to the previous menu level. All is good.

Let’s flip the flashgun over and take a peek at the right-hand side. Top of the tree is a power on/off button. Simply use a long-press to switch the flashgun on or off, with no need for supplemental touchscreen taps or swipes to confirm. Just below this is a dedicated button for turning the modelling lamps on or off. There’s also a 2.5mm sync socket for retro cable-linked rather than RF wireless sync. At least cable connectivity is catered for, although it’s not the favored option in this RF-linked day and age.

Next up are not one but two USB-C ports. The first one is colored black and is a data port for applying firmware updates if and when needed. The second is an integral part of the Li-ion battery that powers the flashgun, and is power color-coded in red. This one is for recharging the 3000 mAh battery, which takes around 90 minutes, if the battery is completely drained.

Some of the smaller Li-ion-powered flashguns I’ve seen of late have a built-in battery that’s fixed in place. I’m happy that the battery of this more powerful flashgun is an interchangeable unit. As such, you can buy a spare for backup if you tend to take on prolonged sessions. You can also charge up your spare battery while using the other one slotted into the flashgun. It’s a good way of keeping pace with the busiest workloads.

The collection can sometimes be more than the sum of the parts, and the Neewer comes on strong in this respect. I was pleased to find many and varied components in the box, including the flashgun itself, the Li-ion battery, a carrying case, a cold-shoe stand with a metal threaded 1/4-inch socket, a USB charging cable (but no mains charger), a clip-on diffusion dome, and even a rubber weather-seal shroud for the hot-shoe foot. All in all, it’s a very complete kit.

Back in days gone by, I used to religiously use a Sto-Fen Omni-Bounce diffusion dome with most of the flash-lit shots that I took. I’ve since moved on to using bounce flash more often, but a diffusion dome is still a great tactical weapon to have in your arsenal of winning flash accessories. A clip-on diffusion dome for the Z3 is supplied as part of the kit, giving you the opportunity of softening the quality of light without paying for optional extras.

Neewer Z3 100Ws Flash: Performance

There’s plenty of power on tap. In my lab tests using a Sekonic flash meter, the Neewer outgunned the Godox V100 round-headed flashgun for maximum power at longer zoom settings, the Godox also being rated at 100Ws. In old money, the Neewer equates to a Guide number of Gn 45 (meters, ISO 100) at the longest 105mm zoom setting.

The overall zoom range is actually the same as in the Godox, at 28-105mm. That’s fine as far as it goes, but wide-angle coverage is a little limited compared with most conventional flashguns that have a rectangular flash tube. On the plus side, the Neewer is supplied with a neat clip-on diffusion dome that spreads the beam to wider angles. It also softens the quality of light, reduces specular highlights, and makes shadows less harsh.

One slight niggle, as far as I’m concerned, is that I couldn’t find a menu option for changing the very fine 0.1EV adjustment steps to coarser 0.3EV steps. I often prefer to use larger step changes, and the option is available in the companion Neewer QZ touchscreen wireless flash trigger, but not in the Z3 touchscreen menu. I sometimes found it a bit tricky, for example, to increase or decrease the manual flash power by exactly a single EV step. I’d end up using the main touchscreen scale to make roughly the right change, then use the virtual + and - virtual buttons to home in on the correct value in 0.1EV steps.

As I’d expect from a flashgun that runs on a chunky Li-ion battery, recycling speeds are very quick. In my tests, recycling proved virtually instantaneous all the way up to 1/4 of full power, 0.5 seconds and half power and 1.5 seconds after a full-power flash.

There’s plenty of stamina as well, with the battery being rated at 530 full-power flashes and many more at lower power settings. It takes about 90 minutes to fully charge a flat battery, which again is pretty quick. In another element of stamina, resistance to overheating is also good, and you should be able to shoot a burst of up to 100 full-power flashes before things start to slow down and you need to give the Neewer a break. You’ll probably be ready for a break as well, after all that.

Neewer Z3 100Ws Flash: Sample images

The following gallery of example images was taken of a model car measuring about 20cm / 8 inches in length. I set the white balance of my Nikon Z 6II to Flash and used the Neewer in direct flash mode, then at a 60-degree upward angle with the diffusion dome fitted, then without the dome, but bouncing the flash at a rearward 120-degree angle off the ceiling. Finally, for creative effect, I fired the flash with the diffusion dome fitted again but remotely off-camera, using a Neewer QZ trigger. The last option gives the most creative freedom over lighting effects. See what you think.

Neewer Z3 100Ws Flash: Lab Results

We test all available features for each flashgun that goes through out labs. To test power output, we use a Sekonic flash meter placed at a distance of one meter from each flashgun. We check the complete range of manual power settings, in one-stop increments. Based on a sensitivity of ISO 100, the figures correlate directly with the Gn (Guide number) in meters. The results are double-checked by taking shots of a gray card with the appropriate lens apertures and using the camera’s histogram display in playback mode. We also use the gray card to test the accuracy and consistency of Auto and Auto TTL flash metering, where featured.

We check the speed with which each flashgun can recycle to a state of readiness, throughout its range of power settings, culminating in a full-power flash. We use freshly charged Ni-MH rechargeable batteries for this, or the supplied rechargeable Li-ion battery pack where featured in some flashguns. The graph below shows the power output (Gn, ISO 100, meters) at each full EV step through the complete power range, from minimum to maximum output. The recycle speed in seconds is shown at 1/8, 1/4, 1/2 and full power settings.

Power output:

As I’d expect, maximum power output rises at longer zoom settings but I’m impressed how the strength of the flash stays the same throughout the entire range in the shorter 28-50mm zoom range. At its maximum output setting and longest 105mm zoom setting, the Neewer edged ahead of the competing Godox V100 in my tests, returning a value of Gn 45 compared with Gn 38 (ISO 100, meters).

Recycle speed:

Recycling speeds are virtually instantaneous, from the minimum power setting of 1/256 all the way up to 1/4 power. Half a second is still very quick after a half-power flash, as is 1.5 seconds after a full-power flash. Unlike using alkaline batteries in a flashgun, there’s no slowdown as the Li-ion battery starts to discharge.

Neewer Z3 100Ws Flash: Verdict

I feel that the Neewer Z3 100Ws Flash is powerful and sophisticated, yet intuitive and easy to use. The color touchscreen interface makes everything I need very accessible and simple to adjust, and I like that the high-end features include a wealth of flash modes, along with a built-in RF transceiver, so it can be used as both an RF wireless master or slave in multi-flashgun setups.

There’s a nice range of extras included in the box, with a clip-on diffusion dome and rubber shroud that you can fit to the hot-shoe mounting foot. All in all, the Neewer is a great gun that delivers a lovely quality of light with excellent consistency. It’s also great value at the price. I’m hooked!

Alternatives

Flashpoint's range of Flashback Lux guns are oozing retro style and charm, designed to be compact reincarnations of the old school reflector flash designs of the 1930s and the original Automatic Speedlight from 1972.

But these aren't just novelty nostalgia pieces; they're incredibly capable flashguns that any pro would be proud of – and better still, they've been reduced by up to $49 in this Cyber Monday photography deal!

I'm in love with these flashguns on sheer style points alone, but they pack serious substance as well. Sold under the Godox Lux brand elsewhere in the world, these are fantastic flash units.

"The Lux Master is a great flash that looks vintage but shoots modern," wrote Kalum in his Lux Master review. It produces a great quality of light providing a high key light to subjects and scenes.

"As with most lighting, whether this is the right light for you depends on your style of shooting and desired output. The Lux Master offers a small light source, even when used with the softbox attachment, which means that the light on the scene or subject will be quite hard.

"Many photographers use this as a style choice, producing highly contrasted shots from the direct light, and it has a dramatic impact on portraits when shot in black and white.

"I had a great time with the Lux Master and I am already thinking of a project that can utilize its unique look!"

You might also like…

Check out the best flashguns and strobes, along with the best photography lighting kits – and if you fancy going a bit more modern, take a look at the best LED light panels.

Where many SD cards promise some level of durability, the Armor card is on an entirely different level. Thanks to its stainless steel construction, it claims to be 37x stronger than a regular plastic-bodied card, while also being IP68 dust- and water-resistant, plus magnet-, static-, X-Ray-, UV- and temperature-resistant. Oh, and it'll even survive a drop from up to 16.5 feet!

This kind of bragging is common in tech marketing, but I've personally put Lexar's toughness claims to the test and can report that this is not hyperbole: the Armor SD card really is shockingly strong. It absolutely will not bend. It's as waterproof as you could ever reasonably need it to be. Drops onto concrete will hardly mark it. Heck, I actually had to drive my car over the card to kill it, and even then the exterior still looked almost pristine.

My full (destructive!) review of the Lexar Armor Gold SDXC memory card

I reviewed the Lexar Armor Gold SD card, whereas this Amazon Cyber Monday deal is for the Armor Silver version. In terms of toughness, Gold and Silver are identical. Even the maximum write speed is the same, at 280MB/s. The only difference between the Silver card and the Gold card I tested is write speed, with Silver being capable of up to 160MB/s write speed, while Gold can manage up to 205MB/s.

But where a 256GB Armor Gold card will currently set you back around $120, the Silver version can now be had for just $84.49 with a 23% Cyber Monday discount.

Sure, most people will probably never subject an SD card to the kind of abuse that a Lexar Armor card can withstand. But when I'm capturing fleeting moments that may never be repeated, I love the reassurance that these precious shots are being stored on a memory card that's practically unbreakable.

The Manfrotto Befree GT Pro is the answer, with a fold-up design for compact stowage and an altogether reasonable 3.2lb weight. And the best news is that Wex Photo Video has just slashed the price of this fabulous travel tripod to under £100. It's going for the full £175 elsewhere, so this is a cracking deal!

The tripod is constructed from aluminum and finished in a smart satin black, and features a smart folding design where the legs swing upward for stowage, resulting in a highly compact folded height of just 45cm (17.7in). This makes it easy to carry, and it comes complete with a quality travel bag. The legs have four sections, secured by quick-release twist clamps that require minimal rotation to loosen and lock, offering robust support even at the maximum operating height.

It demonstrates impressive rigidity and vibration resistance even when fully extended, giving confidence when using its maximum load rating. While it's comparatively pricey for an aluminum travel tripod at its regular price, this sub-£100 offer is an absolute steal!

This price is (understandably) for the legs only, and you'll have to buy a head separately, but we've reviewed it as part of the Manfrotto Befree GT 3-Way kit, if you want to get the full skinny.

Check out the best Black Friday camera deals

The Manfrotto Befree GT Pro is the answer, with a fold-up design for compact stowage and an altogether reasonable 3.2lb weight. And the best news is that B&H Photo has just slashed the price of this fabulous travel tripod to less than half its 'regular' selling price. True, only a few places are actually selling it at the full $219.95, but the cheapest I've seen its competitor retailers selling it for is $143, so this is still a cracking deal!

The tripod is constructed from aluminum and finished in a smart satin black, and features a smart folding design where the legs swing upward for stowage, resulting in a highly compact folded height of just 45cm (17.7in). This makes it easy to carry, and it comes complete with a quality travel bag. The legs have four sections, secured by quick-release twist clamps that require minimal rotation to loosen and lock, offering robust support even at the maximum operating height.

It demonstrates impressive rigidity and vibration resistance even when fully extended, giving confidence when using its maximum load rating. While it's comparatively pricey for an aluminum travel tripod at its regular price, this sub-$100 offer is an absolute steal!

This price is (understandably) for the legs only, and you'll have to buy a head separately, but we've reviewed it as part of the Manfrotto Befree GT 3-Way kit, if you want to get the full skinny.

Check out the best Black Friday camera deals

Fortunately, Cyber Monday is a good day to stock up on cards – but do make sure you buy one that is the right format for your camera. Lots of cameras use SDXC cards - and smaller, lighter devices like drones and action cameras use microSD. Enthusiast mirrorless modes use CFexpress - Type A on Sony, and Type B on Canon, Nikon, and other brands. But do check!

Here are the very best Cyber Monday deals on memory cards available right now on each of these four key formats...

Cyber Monday memory card deals

Read more:

The best memory cards
The best microSD cards
The best camera phone
The best drones
The best action cameras

The thing is, either you (or someone you know) is trying to make it big on TikTok, YouTube shorts, or Instagram – or even one of the more classic horizontal-format platforms – and the way to create video that stands out is likely to be shooting on a phone (most phones, these days, take pretty good 4K video and people edit in the apps that belong to the platform).

My original review of the Osmo Mobile 7P

Where things tend to fall down is that people also hold their phones in their hands and are let down by the length of their arms or other artistic constraints. Wouldn't it be great to be able to put the camera down and have it follow you? Or hold it a little further away and know that any shake and wobble would be compensated so the video looks just a bit more pro (but not so professional that fans woudln't think you authentic... it's a fine line).

That's what makes this a great gift for the vlogger in your life (even if that's you) – because it can handle so much and it does so with the camera that, frankly, is probably the most convenient for the platform you're trying to break out with.

The files you shoot will go straight to your phone. That's where you edit for TikTok or YouTube shorts.

There is a lot of capacity for growth too, but the investment is relatively low, and the quality jump from hand-held is massive and noticable. It's also noticeable in a funny kind of way, because the video is still shot on a phone, so people will see your work as deeply authentic, yet also perceive that it is of better quality because of the reduced shake. Sure, phones do have software to correct this a little, but this is done digitally, and the result is never as good as when mechanics like this are involved.

It's a simple thing, but it'll also likely make it easier to hold the camera at a more flattering angle to your face. The controls are simple and natural, easily reached with a thumb if you're holding the device, and there is a well-designed app with a tutorial, so it will not be a difficult transition to level up your work, and increase your likes!

The thing is either you or someone you know is trying to make it big on TikTok, YouTube shorts or Instagram – or even one of the more classic horizontal-format platforms – and the way to create video that stands out is likely to be shooting on a phone (most phones, these days, take pretty good 4K video and people edit in the apps that belong to the platform).

Where things tend to fall down is that people also hold their phones in their hands and are let down by the length of their arms or other artistic constraints. Wouldn't it be great to be able to put the camera down and have it follow you? Or hold it a little further away and know that any shake and wobble would be compensated so the video looks just a bit more pro (but not so professional that fans woudln't think you authentic... it's a fine line).

That's what makes this a great gift for the vlogger in your life (even if that's you) – because it can handle so much and it does so with the camera that, frankly, is probably the most convenient for the platform you're trying to break out with.

The files you shoot will go straight to your phone. That's where you edit for TikTok or YouTube shorts.

There is a lot of capacity for growth too, but the investment is relatively low, and the quality jump from hand-held is massive and noticable. It's also noticeable in a funny kind of way, because the video is still shot on a phone, so people will see your work as deeply authentic, yet also perceive that it is of better quality because of the reduced shake. Sure, phones do have software to correct this a little, but this is done digitally, and the result is never as good as when mechanics like this are involved.

It's a simple thing, but it'll also likely make it easier to hold the camera at a more flattering angle to your face. The controls are simple and natural, easily reached with a thumb if you're holding the device, and there is a well-designed app with a tutorial, so it will not be a difficult transition to level up your work, and increase your likes!

Check out all the best gimbals for iPhones and smartphones

I started browsing through Amazon Haul as well as my favorite photo retailers on a mission to answer the question, and I was actually surprised to find a few accessories under $10 from some of my favorite brands on items that actually looked quite handy.

There are a few areas that I wouldn’t skimp on. Don’t trust an expensive mirrorless camera to a $5 strap, or risk losing images on a no-name memory card.

But these deals? These under $10 photo accessories come from either well-loved brands or have excellent user reviews.

• Looking for something more substantial? Browse the best Black Friday camera deals or follow our live coverage of the top Black Friday deals as they happen

You may also like

Browse more stocking stuffers for photographers, or take a look at the best Black Friday camera deals.

While photography can be an expensive hobby or profession, the truth is that you don't need the latest mirrorless camera to boost creativity, extend usability, or have more fun with your photography.

That's why I've put together my top 5 Black Friday photography picks – practical, budget-friendly items. These are tools and accessories that enhance your workflow, help maintain your gear, unlock new creative potential, and even extend the use of your existing kit, all without spending a fortune.

You might already have some of them, or they may not be for you, but this list is designed to inspire us to think differently and make the most of what we already own this Black Friday.

Top 5 Black Friday photography picks

1. Protect your memory cards

A memory card case might seem like a boring accessory, but it's absolutely essential to keep your photos safe. If you want affordable protection, this Pelican Memory Card Case is perfect. Damage or loose cards can easily fail, and once that happens, those precious photos might be gone forever – making a tough, protective case like this a simple but crucial safeguard.

2. Retro-styled digital compact without screen

If you love the idea of a disposable film camera without the waste or developing costs, the Camp Snap is a fun and refreshingly simple way to shoot. It may seem like a quirky, low-tech gadget, but that's exactly where its magic lies – perfect for slowing down, embracing imperfect snapshots, and enjoying photography without the distraction of a screen. Read our Camp Snap review.

3. Get creative with an infrared filter

If you want to boost creativity with the kit you already own, this IR filter reveals unseen details, colors, and high-contrast effects in nature and outdoor shots. Check here what infrared photography looks like. For context: Infrared photography is only possible with specialized filters, professionally converted cameras, or specialized thermal cameras – the latter two don't come cheap. So, this filter is making it easy to experiment. Read our Infrared (R72) Lens Filter Plus+ review.

4. Unlock close-up potential

If you want to explore macro without buying a dedicated lens, this affordable Viltrox kit fits between your camera and lens to move the lens farther from the sensor, letting you focus closer and capture finer details. Since dedicated macro lenses can easily cost $500+, this Viltrox set is a cost-effective entry into macro photography. It will let you experiment with close-up shots, revealing textures and details that were previously out of reach. If this set isn't suiting your setup, check the best extension tube sets here.

5. Lens protection on-the-go made simple

If you often fiddle with your lens caps, this 5-in-1 kit is great. With small straps that keep the caps attached around your lens, this kit makes it easy to pop the cap back on quickly. And the included microfiber cloth is always handy for wiping away dust, and more to ensure maximum photo clarity.

We say "generally", as not all Type A cards are inferior to their Type B siblings, and this Lexar card is a good case in point. It uses the next-gen CFexpress 4.0 standard, which makes it twice as fast as the first generation of Type A cards (confusingly called CFexpress 2.0). This makes CFexpress 4.0 Type A cards just as fast as version 2.0 Type B cards (CFexpress 4.0 Type B cards are twice as fast again, but precious few people actually need that much speed).

The Lexar Professional GOLD CFexpress 4.0 Type A card is available in five capacity options, from 256GB up to the 2 terabyte capacity we're testing here. All capacities boast read speeds of up to 1800MB/s and an impressive 1650MB/s max write speed. The larger capacity cards are also capable of a 1400MB/s sustained write rate, and though the 256GB and 512GB versions can 'only' manage a 1000MB/s sustained write speed, that's still more than fast enough to gain VPG400 certification. This means the card is guaranteed to sustain a minimum 400MB/s during video recording - ideal for capturing 6K or 8K footage.

Specifications

• Max read speed: 1800MB/s
• Max write speed: 1650MB/s
• Available capacities: 256GB, 512GB, 640GB, 1TB, 2TB

Build and handling

The Lexar Professional GOLD CFexpress 4.0 Type A card is exactly like any other Type A card, at least on the surface. That is to say, it's remarkably small. If you took a Type B card and split it in half widthways, each half would be around the size of a Type A card, only the actual Type A card would be thinner. A Type A card is also smaller in terms of length and width than an SD card, and only around 50% thicker. Considering this Lexar Type A card is around 6x faster than even the fastest UHS-II SD cards, you get an awful lot of performance crammed into a tiny form factor.

Lexar claims the Professional GOLD CFexpress 4.0 Type A card is IP68-rated against dust and water ingress, while also being drop-proof from heights up to 5 meters. The card is built to be bend-resistant, shock- and vibration-resistant, and it's able to resist pressures of up to 150 newtons. Lexar even states that it's been tested to withstand up to 12,000 insertion and ejection cycles.

Performance

To determine exactly how fast the Lexar Type A card really is, I fired up my memory card benchmarking software of choice: CrystalDiskMark. This is capable of extracting the maximum possible performance from a memory card, but only if the supporting hardware is up to the job. So to ensure no testing bottlenecks, I used a fast Windows 11 laptop with USB4 connectivity. USB4 has a maximum 40Gbps bandwidth, equating to around 5000MB/s - more than enough to max out any Type A card. I also used Lexar's WF370 Workflow CFexpress 4.0 Type A card reader, which is based around a USB4 interface, so it too should enable any Type A card to work at full speed.

And the results are pretty respectable. Though a little way short of Lexar's claimed 1800MB/s read and 1650MB/s write speeds, the difference isn't enough to be concerning, or particularly noticeable.

Storage benchmarks are all well and good, but to determine the real-world performance you're likely to get when using the card to transfer images or video to a computer for editing, I took a single large video file, as well as a folder full of small images, and moved them to and from the card to see what sort of read and write speeds you can expect during typical use:

These real-world results are a bit disappointing when you consider that the card was nearing 1700MB/s read and 1550MB/s write speeds in benchmarking software. Even so, this level of performance is still comfortably quicker than a CFexpress 2.0 Type A card, and way faster than any UHS-II SD card.

Verdict

If you're lucky enough to own a camera such as a Sony a1 II, a9 III or a7R V, you're going to want the fastest, most reliable memory card to use with it. The Lexar Professional GOLD CFexpress 4.0 Type A card fits the bill almost perfectly. It's easily fast enough for 8K Raw video recording, and it won't even break a sweat keeping up with the a9 III's 120fps burst shooting mode.

When it comes to transferring footage for editing, then that too will be blisteringly fast, assuming you've got a computer and card reader that are up to the job. It's a bit disappointing that we couldn't get closer to Lexar's speed claims when moving files between card and computer, though it's possible that's an issue confined to our particular test set-up.

But that's our only issue with this otherwise stellar Type A card. It also comes in a good range of capacities, is built to last, and is priced fairly for the performance on offer. If you need a fast, capacious, and reliable Type A card, the Lexar Professional GOLD CFexpress 4.0 Type A card should be high on your shortlist.

The 'Gitzo B&H Photo Special 50th Anniversary Kit' is a colab between the premium tripod manufacturer and camera retailer B&H, which bundles a top-quality GT2542 Mountaineer Series 2 Carbon Fiber Tripod and GH3382QD Ball Head kit, which normally retails for $1,699 on its own, and adds a GHF3W 3-Way Fluid Head, which has a regular price of $689.95. So the usual 1999.95 asking price for the Gitzo B&H Photo Special 50th Anniversary Kit seems pretty reasonable compared to the $2388.95 for buying the kit separately.

But reducing the price further to just $999.95 for this limited-time offer has to be the best deal I've seen anywhere this Black Friday (and I've been scouring the big retailers' deals day in day out, so you don't have to). Honestly, I've priced the same kit up on other dealers' websites (see below), and no one comes anywhere close to this…

At the core of this bundle is the GT2542 Mountaineer Series 2 tripod. Constructed with advanced Carbon eXact tubing, this four-section tripod can support a substantial 48.5lb load capacity and extends to a maximum height of 65.7 inches. The center column can be removed for ground-level shooting. Leg sections are secured by G-lock Ultra twist locks, which feature an internal O-ring to prevent dust from entering the leg system.

It normally comes as a kit with the GH3382QD Ball Head, which is very good in its own right, but this bundle adds the brilliant GHF3W 3-Way Fluid Head. This pan-and-tilt head features independent locks for vertical, lateral, and panning movements, each equipped with its own fluid cartridge for effortless, smooth motion. Despite its compact 4.5-inch height and 2.1lb weight, the head can support camera equipment up to 28.6lb. Plus, its handles are retractable for easy storage.

Check out the best Black Friday camera deals

• see all of today's Amazon Black Friday camera deals

Sure, 64GB might not seem like much in an era of 8K video and high-resolution sensors, but for everyday photography, it’s plenty - and at this price, they’re practically impossible to resist.

It’s become something of a ritual for me now. I ignore memory cards for most of the year and wait until Black Friday - or the days leading up to it - when prices start to tumble, and full-price suddenly looks ridiculous. SanDisk’s 64GB Ultra cards often drop into impulse-buy territory, and if you need more room, the 128GB and 256GB versions usually follow suit at prices that feel like a steal.

The real trick is having spares. I never head out without at least two or three extras in my bag. Cards fill up, fail, or simply vanish, and having backups means you’re never caught short - no deleting files on the fly or missing a shot while swapping cards. And when you’ve picked them up for less than the cost of a pub lunch, there’s no reason not to stock up.

SanDisk Ultra cards have always hit the sweet spot for me. They’re not overkill for everyday or even semi-professional use, yet they’re fast, reliable, and built for real-world shooting, whether that’s documenting family life, covering events, or spending an afternoon out with the camera. I’ve filled more of them than I can count, and not one has ever let me down.

So why pay full whack? Black Friday is basically a once-a-year restock event for me. I buy cards like people buy batteries at Christmas – just enough to get me through another season or two. It’s a small investment in peace of mind, and at Black Friday prices, it's hard to make a case against it.

If you shoot regularly and you’re not taking advantage of these sales, you’re missing a trick. The SanDisk 64GB Ultra SDXC UHS-I is always on offer, and if you need more storage, the 128GB and 256GB versions are rarely far behind. Just wait for the price to drop… and buy!

Shop the memory card

With fast transfer speeds, reliable performance and a price that’s hard to ignore, the SanDisk 64GB Ultra SDXC UHS-I is a smart addition to any camera bag – ideal for everyday shooting, and right now, it’s cheap enough to pick up without hesitation.

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Don't forget – the best memory cards need the best memory card readers to get the best out of them!

You can pick up a subscription to the industry-leading suite of creative software, as Adobe is offering 50% or more off a CC subscription.

The bargain subscription applies to the whole Adobe Creative Cloud suite, which includes everything you'd ever need to get creative with your photos and video.

The deal includes over 20 apps (see the full list below), from Adobe After Effects to Adobe XD. What's more, you'll be able to get creative with the recent tablet-based art apps Adobe Fresco, and Photoshop on iPad.

Black Friday Adobe deals in US

Black Friday Adobe deals in Canada

Black Friday Adobe deals in the UI

The full list of programs that come with Adobe Creative Cloud All Apps plan are: Acrobat Pro, After Effects, Animate, Audition, Bridge, Capture, Character Animator, Comp, Dimension, Dreamweaver, Fireworks, Fonts, Fuse, Illustrator, Illustrator Draw, Illustrator Line, InCopy, InDesign, Lightroom Mobile, Media Encoder, Muse, PhoneGap Build, Photoshop, Photoshop Express, Photoshop Fix, Photoshop Lightroom Classic, Photoshop Mix, Photoshop Sketch, Portfolio Prelude, Premiere Clip, Premiere Pro, Premiere Rush, Preview, Scout, Spark, Stock, Story and XD.

All the apps are fully integrated, meaning you can switch between them easily, whether you're working in the studio, or on the move. What's more, the apps come with templates that'll aid you in getting started, and tutorials to help you to hone your creative skills.

I first tested the Godox X3 Pro in the studio with my Fujifilm GFX, and within minutes, it had slotted seamlessly into my workflow. It connected instantly with my Godox AD600 Pro II, and the interface felt so natural that by the end of the session, I’d already decided it was replacing my long-standing XPro trigger. It really was that immediate: a tool that feels familiar yet markedly faster and more refined.

I’ve relied on Godox lighting for years, from on-location portraits to controlled studio setups. Its ecosystem has always offered the kind of reliability and creative freedom you usually expect from much pricier brands. Central to that has been the XPro trigger, which I’ve used religiously to control multiple lights from my camera.

So, when Godox announced the X3 Pro, a new model blending the compact form of the X3 with the multi-group control of the XPro, I was curious to see whether it was simply a cosmetic update or a genuine step forward.

After a couple of weeks of use, it’s clear that the X3 Pro is more than a refresh; it’s a rethinking of how a flash trigger should feel.

Godox X3 Pro Wireless Flash Trigger: Specifications

Godox X3 Pro Wireless Flash Trigger: Price & Availability

The Godox X3 Pro is available now for around £88 / $99 / AU$180. That puts it slightly above the standard X3 but below many flagship triggers from Profoto or Elinchrom; it offers remarkable value, considering the amount of control and polish it brings to the table. Not to mention that it looks fantastic!

Godox X3 Pro Wireless Flash Trigger: Design & Handling

The first thing I noticed about the X3 Pro was just how compact and refined it feels compared with the older XPro. The tall, boxy design of the original has been replaced by a sleeker, lower profile that sits comfortably atop the camera, without getting in the way of dials or viewfinders.

The most significant change is the 2.4-inch LCD color touchscreen. It’s bright, responsive, and immediately makes the experience of managing multiple lights far more tactile. You simply tap to select a group, swipe to adjust power or mode, and tap again to confirm. For anyone used to navigating the button-heavy interface of older triggers, it’s a breath of fresh air.

I especially liked how color-coded groups make it easy to identify which light you’re controlling; a small detail perhaps, but one that saves real time on set. When working with multiple heads, such as the AD600 Pro II and AD200 Pro II, I could see, at a glance, which was the key light and which was the fill.

There’s also a new self-locking hotshoe mount that’s genuinely brilliant in use. Instead of twisting a locking wheel, the trigger simply clicks into place when you slide it on and releases with a single button press. It’s a small design tweak that makes a huge difference when changing quickly between setups.

The X3 Pro comes with a carry pouch, which is a nice touch, although the original X3 included a more robust protective case, and it would have been great if Godox had offered the same for the Pro.

Build quality feels solid and professional, with just enough weight at 103g to feel premium without being cumbersome. The compact form makes it ideal for both studio and location work. It doesn’t have a tilting head, but the lower profile makes the screen easy enough to view from most shooting angles. And with USB-C charging, I can keep it topped up with the same cable I use for my camera or phone – no more rummaging for spare AA batteries.

Godox X3 Pro Wireless Flash Trigger: Performance

In use, the X3 Pro performs beautifully, and by that I mean unnoticed except for when it matters. When I mounted it on my camera and powered up the AD600 Pro II, the connection was instant. No fuss, no lag, just the simple, seamless sync to the built-in receiver; the kind of efficiency I’ve come to expect from Godox.

The trigger enables you to adjust flash output, modes, remote triggering, HSS – you name it. It does everything but physically position the lights. In that sense, it feels less like a trigger and more like a command centre sitting on top of your camera.

I also used it to control a modelling lamp and its intensity. Being able to increase the lamp’s power to nail focus, then dim it back down, all without moving from my shooting position, is a real time- and atmosphere-saver. It helps to keep the flow of the shoot uninterrupted and the subject relaxed, which is especially valuable in a studio setting.

The X3 Pro introduces a range of Pro Shooting modes. One-Shoot, which sends only the trigger signal, is perfect for simple single-shooter setups. All-Shoot delivers both settings and trigger signals, ideal for group sessions or multi-photographer teams. There is also an L-858 Mode, which works with Sekonic L-858 light meters for precise, meter-based flash control.

A Creative Shutter Control function lets you program single-shot, time-lapse, and long-exposure sequences directly via the touchscreen. You can control exposure duration, intervals, and shot count, and trigger via the PC sync port or Godox XR/TR-RX receivers, thereby minimizing camera vibration and freeing you from excessive menu-diving.

Adjusting settings is fast and intuitive with the touchscreen. Tap a group, slide the power, done. I was able to fine-tune my lighting while keeping my eye on the scene rather than being buried in menus, and forgetting which light was on which channel.

The touchscreen performed well in both bright and dim conditions, and I experienced no accidental taps or missed presses, which, for a touchscreen, was surprising. For those who prefer tactile control, however, there’s still a physical dial and a couple of key buttons, maintaining a good balance between touch and tradition.

The wireless range remains solid and dependable at a stated 100m. TTL and HSS worked flawlessly, and battery life was impressive. After several sessions, I’d barely dented the built-in lithium battery, and being able to top it up with USB-C charging made life even easier.

The X3 Pro also integrates neatly with the Godox app, enabling you to control your lights remotely from a smartphone or tablet. For me, though, the appeal of this new trigger lies in not needing the app at all; it’s so streamlined that everything I need is right there on the screen.

If you’re shooting tethered or managing complex multi-light setups, the combination of app and trigger offers an incredibly powerful ecosystem. But for day-to-day shoots, the X3 Pro alone handles everything with elegance and speed.

Godox X3 Pro Wireless Flash Trigger: Verdict

The Godox X3 Pro isn’t about reinventing flash triggering; rather, it’s about refining it. For years, the XPro was the workhorse that tied the Godox system together, but this new model brings a level of finesse and usability that makes lighting feel less like a technical chore and more like part of the creative flow.

It’s smaller, faster, and far more intuitive. The touchscreen, color-coded interface, and new Pro Shooting and Creative Shutter modes may sound like minor upgrades on paper, but in practice, they make a huge difference. And the built-in rechargeable battery is a winner.

Whether you’re a portrait photographer working with one key light or a professional managing a complex studio setup, the X3 Pro delivers fluid control that helps you stay focused on the image rather than the interface.

If you already own an XPro, you’ll recognize the familiar reliability, but the X3 Pro feels like the future of Godox lighting control.

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Wandrd’s camera bags are known for the durable exterior fabrics, smart interior organization, and comfortable straps. I test a lot of different camera bags and the backpack that I keep coming back to is the Wandrd PRVKE – which is also part of the sale.

Wandrd's Black Friday sale is expected to last through December 9, and it includes a new limited edition high-gloss black option.

Looking through the discounts from one of my favorite backpack brands, these are the Black Friday Wandrd deals most worth a look.

60 percent off the lightweight PRVKE Lite

The Wandrd Prvke is my all-time favorite camera bag for its mix of durability, comfort, and organization. The Prvke Lite is the smallest in the series and, unlike the others, includes the camera bag built-in, rather than sold separately.

The Prvke Lite has access to the main gear compartment through a large clamshell zip – which sits against your back while wearing for added protection. The Lite is the smallest bag in the Prvke series and won’t work for beefy telephotos, but it can still fit a 70-200mm f/2.8 and smaller lenses along with a mirrorless camera.

Up to 36 percent off larger Prvke backpacks

Prvke Lite too small? The rest of the series is discounted too, though not quite as steeply. The entire series has the same durable exterior materials and smart roll-top design, available in different sizes.

50 percent off a sleek minimalist camera backpack

The Wandrd Stratus is a sleek, minimalist camera backpack designed for everyday carry. The 18L bag is made for packing several lenses while still being lightweight. Access to gear is through a quick-access side panel rather than the back or front.

Stocking stuffers and affordable small gifts

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The new products address the practical challenges faced by wildlife, sports and outdoor photographers who rely on super-telephoto lenses in unpredictable environments. Both product lines prioritize quick deployment, weather resistance and comfortable transport for bulky optical equipment.

The new rain covers

The LCRE Series Rain Cover uses breathable, water-repellent material with vapor permeability rated at 20,000 g/m²/24h or higher, to prevent internal condensation during extended shooting sessions in rain or snow. In plain English, that means you should avoid the moisture build-up that can fog viewfinders or accumulate on internal elements during prolonged use.

A fitted eyepiece interface and transparent rear window enable you to access the electronic viewfinder, LCD monitor and camera controls while using the cover. Interestingly, a quick-attach fastening strap system allows you to quickly install it when the weather changes unexpectedly. This addresses a popular frustration with traditional camera rain covers, which can be cumbersome to fit in changing conditions.

When you don't need it, the cover folds into an integrated storage pouch attached to itself. It comes in two sizes – large (LCR-EL) and small (LCR-ES) – to accommodate different lens lengths. Both will be available from December for $189.99 / £150, in black or white colorways.

The new cases

The LCS Lens Soft Carrying Case Series boasts a conical design that follows the natural taper of super-telephoto lenses, creating a snug fit that minimizes movement during transport while reducing overall bulk and weight.

Three sizes accommodate Sony's range of long lenses: large (LCS-LTL), medium (LCS-LTM) and small (LCS-LTS). Each features a wide double-zipper opening running the length of the case. This enables you to remove lenses without wrestling them through a restricted opening; a particular benefit if you're using heavy glass that requires two-handed handling.

An internal anti-drop strap secures the lens when the case is open, providing insurance against accidental release if the zipper is left partially undone. Multiple strap configurations support hand carry, shoulder sling or crossbody wearing, giving you flexibility in how you transport your kit across varied terrain.

The soft construction protects against dust, scratches and minor impacts while remaining significantly lighter than hard shell alternatives. Whether you're hiking to remote locations, or moving quickly between shooting positions at sporting events, this weight reduction could prove meaningful over extended periods.

Available from January, pricing ranges from $229.99 / £150 for the small case to $249.99 / £170 for the large version.

These new covers and cases reflect Sony's continued expansion of its Alpha ecosystem beyond camera bodies and lenses. As the company's super-telephoto lineup has grown – particularly with recent 300mm, 400mm and 600mm prime lenses – the need for supporting accessories designed around these specific optical designs has increased.

Full compatibility lists for specific camera and lens combinations are available on Sony's website.

Nextorage may have the answer with its NX-B2 Pro+ series of Type B cards. Though still in the development stage, they're said to be capable of a blazing-fast maximum read speed of 3700MB/s, and an equally impressive 3600MB/s peak write rate.

But what really sets B2 Pro+ cards apart from the competition is their VPG1600 certification. VPG (Video Performance Guarantee) is a tightly-controlled testing procedure and certification that guarantees a memory card can sustain a minimum write speed when recording video. Plenty of SD and CFexpress cards have VPG200 or VPG400 certification, meaning they're guaranteed to maintain a minimum 200MB/s or 400MB/s write speed, but this is the first time we've heard of a Type B card with the latest VPG1600 rating. It certifies that a B2 Pro+ card will be able to sustain an incredible 1600MB/s minimum write speed while recording video.

Nextorage has some history with pushing VPG speed limits. Back in March it revealed its A2 Pro series of CFexpress Type A cards, which were the first-ever Type A cards to receive VPG800 (800MB/s minimum sustained write speed) certification.

Strangely, whether it be the VPG800 Type-A cards, or this latest VPG1600 B2 Pro+ Type B card, both still sport the older VPG400 icon in addition to their new VPG800/1600 certification. This is because these latest VPG speed standards don't actually replace the older VPG200/400 ratings; they instead supplement them. This is due to the VPG800 and 1600 ratings being part of the new Video Performance Guarantee Profile 5.0, released by the CompactFlash Association in February 2025. VPG-5 is not backward compatible with VPG Profile 4.0 (which covers the existing VPG200 and VPG400 ratings). As such, a VPG800 or 1600 card may not work with a camera recording mode that requires VPG200 or VPG400.

This is because to achieve the higher sustained write speeds of VPG800 and 1600, such a card must first be preconditioned (initialized) with low-level formatting. This preconditioning, which has not previously been necessary, essentially resets the card to its original factory condition, permanently deleting any previous data from the card. This in turn means the card is a perfectly clean 'blank slate' which has a large, contiguous storage space, onto which a continuous video data stream can be written at high speed. There's therefore no risk of recording speed being reduced or interrupted by the memory controller needing to allocate part of the recording to a different sector of NAND flash in order to work around any pre-existing data stored on the card.

This sounds perfectly reasonable but there's a catch: simply deleting a video from the card doesn't recover the corresponding storage space for future VPG800 / 1600 recordings - you're limited to whatever remaining storage space is left after the last preconditioning (low-level formatting). To restore the full capacity of the card for more VPG800/1600 recording, you must again perform a preconditioning. Thankfully this procedure doesn't appear to be necessary for general use, or for VPG400 recordings.

For more information on these latest VPG standards, and why preconditioning is necessary, check out the official guidance from the CompactFlash Association.

We don't yet have any pricing or availability information for NX-B2PRO+ Series cards; only that they could be launched in 660GB and 1330GB capacities.

If you need a super-fast CFexpress Type B card sooner, then consider Nextorage's existing B2 Pro (non '+') card, which is available to buy now and boasts the same 3700MB/s read and 3600MB/s write speeds, just without the VPG1600 certification.

Well, 2,516 backers later and the project has more than doubled that target, reaching $1,651,292 / £1,255,609 / AU$2,531,739. As of a November update, Lit Systems says it’s delivered over 1,300 units, with around 360-500 lightmeters received from the factory per week.

The light meter itself looks a little like a handheld games console – and technically it is (more on that later) – what with its sizable, color LCD display and d-pad. But what gives this plucky little device the ability to challenge the best light meters out there is that it’s designed to measure six different elements: color, exposure, flash, illuminance, spectrum, and flicker.

According to Lit Systems, it’s the first light meter in the industry to feature interference filter sensor technology, dual sensors for simultaneous measurements, light flicker metering, wireless connectivity, a high-speed, ultra-low-power MCU and memory chipsets, a USB-C port for power and firmware updates, battery charging (via compatible rechargeable AAA batteries), and sound effects, designed to help speed up workflows.

The bread and butter of any light meter is its ability to measure exposure. In the Lit Duo 1’s case, you can also apply ND filter and exposure compensation values, measure the difference or ratio between two points, input your camera’s exposure settings and measure the distance to that target, as well as measure flash exposure and deliver flash analysis.

Light meters are still an invaluable tool for filmmakers, and the Lit Duo 1 caters for both video and stills. A key feature is its ability to measure color “for any type or brand of light sources.” It can also measure the color difference between two lights, and deliver chromaticity values in CIE 1931 or HSI.

Along with the aforementioned special measuring modes: illuminance, spectrum, and flicker, you can also play Snake. That’s right, this little lightmeter comes pre-loaded with a version of Snake, y’know, that game you were addicted to on your Nokia 3310. As it stands, you can pledge what equates to roughly $678 / £516 /AU$1,039 to secure your own LIT DUO 1.

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If you're in the market for a light meter, but a much cheaper option, check out the TTArtisan Light Meter II. If you're looking for the best in-camera light meters, then you'll want to check out the latest and greatest mirrorless cameras. And click here for more camera news.

That puts a ton of digital storage into a card that’s 2.8mm / 0.11 inches thick. When I first read that the cards now come up to 2TB, I thought that sounded more like an external hard drive than a memory card.

That extends to the speed. The Gold CFExpress card has up to 1,800 MB/s read speeds and 1650MB/s write speeds, and sustained write speeds up to 1400MB/s. (The silver is a little slower at 1750MB/s read, 1650MB/s write, and 1300MB/s sustained write.)

That’s not going to beat the fastest SSDs, but the Lexar SL200 Portable SSD from our top picks for the best portable hard drives is rated for 550MB/s read and 400MB/s write speeds.

As a photographer still using a 26MP camera, I’m not exactly the type of creator who needs 2TB in a memory card. Lexar is directing the new cards towards videographers shooting 8K, with both cards supporting Sony Alpha and Sony FX cameras with CFexpress slots. At the highest bitrate, the Sony A1’s 8K files will eat up around 4.5GB per minute – the sort of camera that’s going to need memory cards measured in TB rather than GB.

Like earlier cards in the series, the CFexpress Gold and Silver cards are designed to withstand heat and vibration, with IP68 dust and water-resistant ratings and 150N of pressure durability rating. (I cannot imagine the heartache of losing 2TB on a memory card).

The cost of a memory card tends to climb with the storage, but in this case, the new 2TB cards are more affordable than buying two separate 1TB cards from the same series.

The 2TB gold comes in at about $700, and the Silver at $600 in the US. The cards are available to pre-order in the US at B&H and Amazon.

International pricing has not yet been announced, but that’s around £532 / AU$1069 / CA$981 for the Gold and £456 / AU$916 / CA$840 for the Silver.

The card joins Lexar’s lineup of memory cards, which also includes 2TB in the CFexpress 4.0 Type B format.

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The SanDisk Extreme Fit measures 0.73" x 0.54" x 0.63" (about 1.85 x 1.37 x 1.6 cm), excluding the USB-C plug, and weighs just three grams. A standard SD card weighs around two grams, making the thumb drive only slightly heavier. That's similar to a standard-sized game die, which is .63 inches on each side.

The company says that makes it the world’s smallest 1TB USB-C flash drive.

The Extreme Fit Drive’s small size is designed for creators who want to leave the drive plugged into a laptop, as traditionally sized thumb drives tend to stick out too far to tuck the laptop into a bag. The design is also made to remain plugged in with the laptop’s lid shut.

The small drive uses USB 3.2 Gen 1 to deliver read speeds of up to 400MB/s.

The USB-C drive is available in capacities between 64 GB all the way up to 1TB. The drive retails for $15.99 in the US for the smallest size to $179.99 for the 1 TB version. International pricing and availability have not yet been announced, but that converts to around £12 / AU$24.50 / CA$22 for the 64GB and £137 / AU$276 / CA$252.

The new drive is available on SanDisk and at Amazon.

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In an email to fans, Really Right Stuff said that prices on tripods are increasing on December 01. As an example, the company said that the Versa-34 that retails for $1,250 will list for $1,315 after December 01 in the US, which is a five percent increase.

While US photographers are no strangers to increasing prices in the wake of new tariffs, Really Right Stuff is a Utah-based company that makes its tripods in the US. A company representative told Digital Camera World that the increase is due to rising inflation and production costs.

“Due to rising inflation and production costs, we are raising our prices for the first time in two years,” the company wrote in an email. “RRS strives to keep our prices reasonable while ensuring the quality of our product, and this is a necessary measure in maintaining that high standard.”

According to the company’s website, RRS “proudly make[s] and hand-assemble[s] our products in the USA will never change.”

The company also designs its own soft goods, but unlike tripods, products like tripod bags and pouches are outsourced to a US company that sources from factories in Asia.

According to the email to fans, only tripod prices are indicated to be increasing.

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Available for pre-order now with dispatch expected for the week commencing 24 November 2025, the Capsule 1 positions itself as a versatile pouch with a wide doctor-bag style opening, ideal for slipping into a larger everyday carry bag or standing alone for compact gear use.

What truly sets the Capsule 1 apart is the thoughtful design details. Billingham notes that this piece features 5 mm foam padding and internal mesh pockets to help organise memory cards, cables, and other small essentials. The versatility claim is strong too - they suggest it can function as a camera bag, wash bag, or everyday pouch. The external dimensions are 290mm x 160mm, with an internal space of roughly 200mm x 85mm x 100mm and a capacity of approximately 1 litre - yes just 1 L — and a weight of 0.3kg. That tells me that Billingham is targeting the user who values minimalism and agility over bulk, someone who perhaps carries a compact mirrorless setup (or even a high-end point-and-shoot like a Leica) and wants an elegant “case inside a case”.

From my perspective, coming from the world of professional photography gear where we test bodies, lenses, weather sealing, and ergonomics, the Capsule 1’s simplicity is refreshing. There’s no over-engineered harness system, no giant padded compartments meant for multiple pro-zoom lenses. Instead, this is clearly meant as a companion item - either as a quick-grab bag for light travel or a smart insert into your main camera bag. Billingham’s heritage (manufactured in England since 1973) further supports the impression of durability and craft.

Color-wise the Capsule 1 offers several options: for example, Burgundy Canvas with Chocolate Leather, Khaki FibreNyte with Chocolate Leather, Sage FibreNyte with Chocolate Leather, and Black FibreNyte with Black Leather.

For someone who appreciates the style of your Leica gear and the kind of equipment you carry for luxury or lifestyle editorial work, these finishes will feel appropriately premium rather than sporty or tactical. In my role as ecommerce editor on camera and tech gear, I often see bags with impressive specs but lacking in finish; here, the aesthetic is clearly part of the assignment.

In short, the Capsule 1 is not aimed at the location photographer hauling bodies and 600mm lenses across the field (that remains with Billingham’s Pro or larger models). Instead, it addresses a growing demand for stylish, well-constructed solutions for light-kit travel and everyday carry.

The Capsule 1 will sell for $143 / £125.

Read more: the best on-camera monitors right now

But the Ninja TX GO isn't just a monitor: it can also record video at up to 6K 30p RAW over HDMI, either to a CFexpress Type B card, or external USB-C SSD storage. Supported codecs include Apple ProRes, ProRes RAW, Avid DNx, and H.265/H.264.

Where the TX GO improves on previous Ninja models is its integrated camera control. This allows direct adjustment of exposure settings such as aperture, shutter speed, and ISO. Supported cameras brands include Canon, Fujifilm, Nikon, Panasonic, Sony, Z CAM and others.

Ninja TX GO also packs built-in Wi-Fi, enabling effortless video transfer to cloud services like Frame.io and Dropbox, or the ability to live stream via NDI 6/HX3. Atomos includes 20GB of free ATOMOSphere cloud storage, enabling direct upload to ATOMOSphere.

Power is supplied by USB-C, an NP-F battery, or an AC adaptor, and the monitor connects to your camera via a robust locking cable system for HDMI and USB-C connections, ensuring reliability whatever the production demands.

The Atomos Ninja TX GO is available now, priced at USD $799 / £718 / AUD $1,319

Read more: the best gloves photographers

The outer mitt section combines expedition-level insulation with practical photography features.

The thumb and finger caps can be folded back when you need extra dexterity, then reattached magnetically, with a weatherproof zipper securely closing the finger cap. The weatherproof outer shell ensures your hands stay warm even in wet conditions, while wrist straps keep the mitts attached to you should the going get more active.

Inside the mitts are separate Senja liners. These function as an insulating base layer, or they can be used as standalone gloves during milder weather. Made from a merino wool blend fabric, the liners effectively control temperature and moisture. The fingertips are conductive, allowing touchscreen LCD operation without needing to remove the gloves. The faux suede palm material also features a non-slip grip pattern.

Vallerret Senja photography gloves are available now in XS to XL sizes. Expect to pay $39.95/£29.95 for the liners, and an additional $124.95/£103 for the mitts.

The Godox iT32 itself doesn’t actually have a hotshoe mount. For that, there’s the Godox X5, which is both the iT32’s hotshoe mount and a wireless trigger.

The iT32 connects with the X5 using magnets, which means photographers can move from on-camera flash to off-camera flash without unlocking the flash and sliding it out of the hot shoe slot.

But Godox also says that the iT32 doesn’t need to be manually synced with the X5 trigger. The iT32 syncs automatically with the X5 and automatically switches to trigger mode when detached, so photographers can pull the flash off the camera and keep shooting without manual pairing.

The X5 trigger is designed to simplify off-camera flash by functioning as both the transmitter and the iT32’s hotshoe slot. The X5 trigger isn’t as advanced as Godox’s other triggers, but if the X5 and iT32 are physically connected, it can control multiple Godox flashes.

Separated, the X5 can only control select 2.4GHz Godox lights up to 20 meters away, but the range is up to 80m when both the flash and trigger are used together to control other Godox lights. The X5 itself has no screen, though the transmitter’s two buttons can be used to remotely increase or decrease exposure and swap from TTL to manual mode and back.

When used together, however, the iT32 has a touchscreen that works to control the various options and settings along with the side dial and buttons. Those options include TTL and manual modes, high-speed sync, first curtain sync, second curtain sync, and multi-flash mode. The flash is rated to a GN18 guide number with a 1.5s recycle time and about 510 flashes per charge.

The other perk of the magnetic hot shoe design is that the iT32 works with any major camera brand. Photographers using multiple brands only need to purchase multiple X5 hot shoes (the cheapest component of the new modular flash) in order to use the same flash across multiple camera brands and still have full TTL functionality.

Besides the magnetic attachment to the hotshoe/transmitter, the Godox iT32 also supports magnetic flash gels and a diffuser.

While the X5 and iT32 are sold separately, both pieces are required to use the flash. The iT32 needs that hot-shoe component for on-camera and off-camera use.

The iT32 retails for about $79 (about £60 / AU$121 / CA$111), with the X5 trigger selling for around $20 to $25, depending on the mount (about £19 / AU$38 / CA$35). The flash system is available for pre-order, including at B&H in the US; Godox hasn’t yet shared a ship date.

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The subject of this review – the Neewer PL60C – is a much lighter, less powerful, and much more affordable 60W LED. Its lighter weight was fortuitous, as I couldn’t access my usual studio car parking space, so I had to carry the light and my camera gear for half a mile to the studio!

Like the Neewer AS600B, the PL60C is designed for studio use due to its requirement to be plugged into the mains (though you could buy a V-mount battery and a D-Tap cable if you did need to power it on location). For a more location-friendly Neewer LED, check out the Neewer HB80C, which has a more convenient internal battery for shooting outdoors.

Specifications

Price

The Neewer PL60C 60W retails at $209.99 / £158.99, which is a reasonable and competitive price for an LED of this specification, especially as it can produce a wide range of colours at the twiddle of a knob. As a 60W light, it’s more than powerful enough to add a strong key light to your subject, with a 23,000 lux output that kicks out the equivalent of 23,000 candles!

If you want to use a key light and a fill light to add a more three-dimensional ‘modelled’ look to your portraits, then you can pick up a 2-pack PL60C set for £312.80 on Neewer’s site. The 2-pack costs $459.99 / £288.79 on Amazon at the time of writing.

Design & Handling

Unlike the heavier and chunkier COB (Chip On Board) Neewer AS600B I mentioned in the introduction, the Neewer PL60C is a flat-panel LED, so it takes up far less space in the studio (and it’s also much easier to transport thanks to a branded carry case which features foam inlays that have been shaped to keep the lamp safe in transit).

The PL60C’s panel has 800 LED bulbs inserted into it, which cast a strong, wide, and even key light source onto your subject. The flat-panel LED unit is attached to a metal U-bracket with a socket at the base. This enables you to pop the light onto a studio lighting stand’s bayonet mount. You can then tilt the LED up or down via the U-bracket to suit your subject’s position. The front of the light has a set of aluminium barn doors, which you can adjust for a wider or narrower field of illumination.

On the rear of the light is a control panel that sits below two cooling fans (plus there’s a little plastic button to toggle between the three fan modes – Auto, Mid, and Mute). At the base of the rear unit is a power socket, which I used to power the LED via its supplied power adaptor, which I plugged into a studio’s wall-mounted power socket.

A colour LCD TFT (Thin-Film Transistor) display screen on the rear of the PL60C enables you to view a range of properties (such as the LED brightness and colour hue). A small plastic Mode button enables you to toggle between the PL60C’s six different light modes - CCT, HSI, RGBCW, Gel Mode, and FX Mode (more on these in the Performance section). You can then use two main control knobs to adjust a wide range of properties, such as choosing a specific industry standard lighting gel (from the Lee and Rosco scales) or fine-tuning a green or magenta tint, for example. The control knobs can also be pressed as buttons to change the property that you’re adjusting.

As well as the two main control knobs, there are four plastic buttons that can be used to trigger user-defined lighting presets. You can also select one of four dimming curves - Exponential, Logarithmic, S-curve, and Linear for use with DMX-controlled professional lighting set-ups. Another way to control the PL60C is via the Neewer app - more on that in the Performance section.

The whole unit is solidly built and mainly constructed from an aluminium alloy, but the two main plastic knobs (and the smaller inserted buttons) do feel a bit cheap. I presume these plastic components help keep the price down.

Performance

To test the Neewer PL60C, I took it to a TV studio. Unlike the super heavy AS600B 600W Bi-colour LED that I reviewed in the same location at the start of 2025, I was easily able to carry the PL60C in its carry case in my favourite 18L backpack, including accessories such as mini tripods, plus the two iPhone 16s that I used to record this review’s supporting video.

At 600W, the bigger Neewer AS600B that I mentioned earlier was far too powerful for my filming needs, so I was much happier to test and review the smaller 60W PL60C, as this type of LED better suits my requirements as a videomaker and portrait photographer. Plus, at well under $200, the PL60C is much more within my price range!

And as the AS600B was only a bi-colour light, it could only be adjusted in the Kelvin scale (from warm to cool light). The cheaper and lighter PL60C is both a bi-colour and an RGB LED, so it can produce a far wider range of colours for more creative-looking results (as well as the usual bi-colour scale in degrees Kelvin). To be honest, I’d never consider buying an LED that didn’t have an RGB adjustable output!

I started my test by controlling the output of the tripod-mounted PL60C using the buttons and knobs on its rear control panel. Since I didn’t have a model on this shoot (they cost almost as much as I get paid for a review!), I popped a flower in a vase in front of the cameras so I could demonstrate how the output of the PL60C affected a subject.

The PL60C’s rear-panel two-knob system was easy to use. The left knob changed the intensity of the selected mode (such as CCT - colour temperature). I could see the intensity value in the nicely designed full-colour TFT display. The right knob enabled me to adjust colour temperature through an impressive range, from a warm 2500K to a much cooler 10000K.

By pressing the right knob to treat it like a button, you can jump to other properties in a mode, such as accessing a green and magenta tint counteracting slider in the CCT mode. In the HSI (Hue, Saturation, and Intensity) mode, you can use the knob/button system to choose a wide range of colours from a colour wheel and change their Intensity (brightness), Hue, and Saturation.

Now, while the combination of the PL60C’s TFT display and the button/knob control mechanism works well, you do have to rotate the buttons a lot to dial in your desired attribute (especially when choosing a colour from a 360º control wheel). So I found it relatively time-consuming to set up a specific lighting scenario compared to doing the same thing via the Neewer app.

By using the Neewer app to remote control the PL60C, I was able to replace the potted plant model with me! I could then adjust a host of properties from in front of the light (and the camera) in a much faster time. Thanks to the app, I could instantly choose a specific colour from the GELS mode by tapping on it (rather than twiddling a knob to dial it in). The app also gave me more control over the FX mode’s 18 animated lighting effects.

For example, I could customise the flashing cop car effect to match the lighting pattern of various countries’ police cars (such as blue, red and blue or red, white and blue). A very useful FX setting is HUE Loop. This causes the light to cycle through a range of colour hues, which I find very useful when adding variety and atmosphere to a model shoot. Check out this review supporting video to see the Neewer app (and the light’s rear panel control knobs) in action. The app also enables you to toggle the lamp’s fan between Auto, Mid, and Mute modes, though I couldn’t hear the fan noise even when filming close-up on the sea of the unit.

As you’ll see, I enjoyed using the app, and having each mode’s properties available to adjust with a tap or a swipe made it far easier and more convenient for me to control the impressive output of the Neewer PL60C than by using the LED’s physical knobs and buttons.

Verdict

The Neewer PL60C offers a balance between affordability, portability, and power. At 60W, I found it more than powerful enough to light a typical studio subject, but it was also light enough for me to carry to the location over a distance. Indeed, I didn’t need to push the Intensity much above 50% to illuminate my subject in the studio around 10 feet away, so there’s plenty of power available to illuminate more distant subjects in larger locations.

The PL60C’s rear-panel physical control knobs work well (though they do take a lot of rotating to dial in specific colours or intensities), but the free Neewer app gives you more control from in front of the light and camera, making this a very useful accessory for solo shooters.

Personally I prefer using LEDs with a built-in battery for on location portrait shoots and street photography (such as the Harlowe Avant Mini Max, but if you do work indoors or in a studio then the Neewer PL60C will add effective drama, atmosphere and key (or fill) lighting to your clips and stills (plus the PL60C is hundreds of pound cheaper than the Avant Mini Max). Don’t forget to check out the supporting video in the Performance section to see me put the Neewer PL60C through its impressive paces.

Alternatives

The Tenba Roadie V2 is a series of rolling camera cases that mix the look of a carry-on with rigid sides, padded dividers, a laptop compartment and optional backpack straps.

Roller-backpack hybrids are a growing category catering to the creators who need a roller for the airport but a backpack on site. A number of these hybrids exist, but they usually have built-in straps that take up an entire pocket when not in use or employ a backpack interior that pulls out of the roller.

Tenba says the Roadie V2 is the first backpack-roller hybrid to use fully removable straps, preventing those straps from taking up extra space when unneeded.

While the removable backpack straps may be the biggest new feature, Tenba says it has spent years redesigning the Roadie collection for V2 to create a stronger and smarter bag. The bag uses custom-designed wide wheels for a smoother, more stable pull.

The exterior is designed to look like a typical carry-on so that it doesn’t advertise that pricey gear is tucked inside. But to protect that gear on the inside, the bag has rigid sides that are rated to 240kg / 500lb of pressure. A hidden AirTag pocket also enables photographers to track their bag.

Roller bags tend to be heavier than traditional backpacks when converted, considering the rigid sides, wheels and trolley system. But the added versatility may help in scenarios that require both a roller and a more mobile backpack.

The Tenba Roadie V2 comes in four different sizes. Three of those – the Spinner 21 International, Spinner 21 Air Case and Spinner 22 – meet international carry-on dimensions. The fourth, the Roadie Roller 24, is larger than carry-on and is designed to hold oversized gear, such as studio lighting equipment.

The bag series starts at $490 / £445 (about AU$755 / CA$690). The removable backpack straps are optional and sold separately for $40 / £52 (about AU$62 / CA$56).

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But not any more. With its Armor Gold SDXC card, Lexar has swapped the plastic for a stainless steel construction that's claimed to be 37x stronger than a conventional, plastic SD card.

Features

I have to admit that when I first saw the pre-launch press release for the Armor Gold SD card, I was sceptical. Sure, metal is usually stronger than plastic, but it can still bend, especially when it's as thin as an SD card. Could the Armor Gold card really be usefully stronger than a normal, plastic SD card?

Lexar, to its credit, does back up its toughness claims with some statistics. That "37x stronger" figure refers to the card being able to withstand 370 newtons of bending, compared to just 10 newtons that Lexar says a plastic SD card can survive (we'll be testing this claim later). Furthermore, the Armor Gold card is also IP68 dust- and water-resistant, it's built to survive drops from up to 5 meters, and it's said to be magnet-, static-, X-Ray-, UV- and temperature-resistant. That's a lot of resistance.

Then there are the subtle, yet commendable details: the write protect switch has been ditched, presumably to increase the rigidity of the metal body, and to help with water resistance (and let's face it, who actually uses the write-protect switch, anyway?).

I also appreciate that Lexar has deleted the thin plastic 'ribs' that sit between the contact pads on most SD cards, as these are always a vulnerable point of weakness. Finally, where most SD cards have a printed label to provide brand, speed and capacity information, the Armor Gold's graphics are laser-etched, so they're much less likely to wear away.

Despite all this extra toughness, Lexar maintains that an Armor Gold card is no thicker than a plastic SD card, so it should still fit in any compatible host device. What's more, with a metal rather than plastic shell, heat dissipation from the memory chips within should - theoretically - be improved.

The 1TB Armor Gold card we're testing here is rated at a maximum 280MB/s read speed and has a 205MB/s peak write speed. This is made possible by its UHS-II interface, which also helps it achieve a V60 video speed rating, meaning it should be capable of sustaining at least 60MB/s when recording video. While there are faster UHS-II SDXC cards on the market, the Armor Gold's performance specs are still respectable, and chances are if you've got a camera that needs even faster memory, you'd be using a CFexpress card anyway.

Armor Gold cards are available in 64GB, 128GB, 256GB, 512GB and 1TB capacities. The top three capacities have the 205MB/s max write speed, but strangely the 64GB and 128GB versions are a touch faster, at 210MB/s (usually smaller capacities tend to have slower speed ratings when it comes to memory cards and SSDs).

Performance

I ran my go-to speed test benchmarking software for memory cards - CrystalDiskMark - to test Lexar's speed claims for the Armor Gold card. I use a modern Windows laptop for my performance tests, as its USB4 connection is more than fast enough to max out the speed of any SDXC card, ensuring no hardware bottlenecks. My card reader of choice is a ProGrade Digital PGM0.5 SDXC/microSDXC UHS-II Dual-Slot Mobile Card Reader. This is a USB 3.2 Gen 2 reader which, like the laptop, is capable of maximum transfer speeds far higher than the Armor Gold card can reach.

But try as I did, I couldn't quite match Lexar's advertised speeds, being 30MB/s short of the claimed peak read speed, and around 15MB/s down on the specified write rate. Even so, my results are far from disappointing, as this is still a fast SD card.

To see how the Armor Gold card performs in real-world file transfers, I took a single large video file, as well as a folder full of small images, and moved both to and from the SD card, to see what sort of read and write speeds you can expect during typical use:

Moving multiple small files will always take a little longer than a single file of the same total size, so reduced transfer speeds are usually inevitable. However, the Armor Gold card achieved speeds impressively close to those recorded by CrystalDiskMark.

Toughness testing

At this point with most SD cards I'd go straight to my verdict. But the Armor Gold card is more about toughness than speed, so it'd be irresponsible not to test its ruggedness.

Firstly, bend resistance. Lexar states that the Armor Gold features "a bending resistance of up to 370 Newtons", and it has produced a seemingly rendered graphic to illustrate this. Consequently, it's not clear how Lexar actually conducted this test, as pressure is relative to the physical area across which it is being applied, and that crucial test detail isn't revealed.

So with insufficient information about Lexar's testing methodology to exactly replicate its bend test myself, I had to invent my own method. I positioned the SD card so it formed a bridge between two raised, stout surfaces, which would allow the center portion of the card to bend into the void when downward pressure was applied. I then partially slotted a strip of metal into a block of wood, so the exposed edge of the metal would contact straight across the width of the SD card.

Now all I needed was plenty of weight to stack on the card, via the metal pressure point and its wooden holder. For this I used the industry-standard tool for testing SD card bend resistance: house bricks. I bribed my 7 year old son to stack the bricks on top of the Armor Gold card one by one, while I steadied the wooden 'carrier' so all the pressure was exerted onto the SD card via the metal strip. Watch the video below to see whether the Armor Gold card survived:

I genuinely wasn't expecting the card to perform anywhere near as well as it did in this test. To hardly bend at all with that amount of weight concentrated across such a narrow sliver of card is incredible. The total weight of the four bricks plus the wooden carrier is 10kg. Now consider that that weight is focussed into a strip of metal just 1mm in thickness, resting on its edge across the middle of the SD card. An SD card is 24mm wide, so that's 24 square millimetres of contact patch. Convert 10kg and 24mm into freedom units and you get 22.05lb of force, multiplied by 0.0372 square inches of contact patch. Then scale the weight in line with the contact patch and you end up with a bending pressure of 593PSI.

All well and good, but for comparison we also need to know how much bending pressure a conventional, plastic SD card can withstand. So I performed the exact same test with just such a card, and the difference was profound:

Under the weight of just one brick, the card was visibly bending. By three bricks it was bent so badly that the internals had probably already been destroyed. Add the fourth brick and the plastic didn't split in two, but the electrical contacts did part company with the rest of the card, and the card won't be sliding into a camera any time soon.

The Armor Gold card worked just fine after my bend test, and it was also unscathed by a drop from over the rated 5-meter height. A dunking into a sink-full of water was of no issue either. I was fast running out of ways to kill the Armor Gold card, so I decided to give it the ultimate test: could it survive being run over by a car? To be clear, Lexar in no way suggests the card could survive this - I just wanted to try it for your (and my) morbid curiosity. And as this is a review sample card, my own money wasn't on the line!

I was assuming the card would emerge somewhat squashed, dented or bent, but it survived almost entirely unscathed - just one light scratch. I therefore had high hopes that I could plug the card right back into my computer and it would work perfectly, but alas, it was not to be. While the computer did detect the card upon insertion, it couldn't be accessed. I tried to reformat it using specialist software, but again, nothing. I suspect that although the metal casing evidently 'bounced back' from being squashed, the memory chips within were crushed to oblivion. Still, unless you're a complete klutz and leave your Armor Gold card directly in the path of a passing car, you can be confident that it'll survive all but the most gratuitous abuse.

Verdict

Innovation is hard to find in the SD card sector: you can make a card faster, and give it more capacity, and that's normally about it. But what Lexar has done here is quite remarkable. The toughness is certainly no gimmick: the Armor Gold card is way, way stronger than a regular SD card. It's so tough that, based on my testing, I'd trust it to survive any reasonable abuse without so much as a scratch.

In terms of file transfer speed, I couldn't quite match Lexar's read/write speed claims, but many other SD cards also come up a bit short in this respect, and the card is still comfortably fast enough for high-res continuous shooting or recording 4K video.

Naturally, you pay a premium for the Armor Gold's toughness: a (plastic) 256GB Lexar Professional Gold series UHS-II card with the same 280MB/s read and 205MB/s write speeds currently costs around $70, whereas a 256GB Armor Gold card will set you back $120. But there are also plenty of regular plastic SD cards that cost more than an equivalent capacity Armor Gold card - Lexar's pricing isn't unreasonable.

So if your data is precious, or if you regularly shoot in adverse conditions where there's a real possibility of card damage, paying a little extra for an Armor Gold card is well worth it for peace of mind.

This Neewer trigger offers a full range of features and functions, while also making them easily accessible and adjustable via a color touchscreen interface. It works seamlessly with Neewer flashes, including the Z2, Z2Pro, Z3, Z880, Q4, and Q6. You can also buy a companion Neewer QR Wireless Flash Receiver, so that you can use it with other brands of flashgun. However, the range of dedicated versions only stretches to Canon, Nikon, and Sony. Either way, the Neewer QZ aims to be one of the best wireless flash triggers that you can buy, if you use one of these camera systems.

Neewer QZ Touchscreen TTL Wireless Flash Trigger: Specifications

Neewer QZ Touchscreen TTL Wireless Flash Trigger: Price

Flash triggers that I’ve used and come to rely on include the comparatively conventional pushbutton-controlled Godox XPro TTL/HSS, which is relatively inexpensive at $69 / £66 / AU$138, and the universal Elinchrom EL-Skyport Universal Plus Transmitter & Receiver Set, which doesn’t enable any dedicated functions but includes a receiver as well as a transmitter, and comes in at $140 / £142 / AU$260.

A more direct alternative to the Neewer is the Godox X3 (Xnano), which has a similar touchscreen interface and costs around $89 / £82 / AU$145. That makes the Neewer look a bit on the pricey side at $120 / £130 / AU$160, but it’s a really smart bit of kit and I think it’s well worth the money. Let’s take a closer look.

Neewer QZ Touchscreen TTL Wireless Flash Trigger: Design & Handling

Front and center of the design and crucial to the handling of the Neewer trigger is its high-definition color OLED touchscreen. This measures about 5cm / 2in on the diagonal, is easy on the eye, and a pleasure to use. Anyone from the smartphone generation will instantly be able to glide around its interface with a tap here, a swipe there, and a general feel-good factor that puts a smile on your face.

Let’s talk wireless. The trigger communicates with like-minded Neewer flashguns and studio/portable flash heads over a range of up to 100m / 328ft, or with other brands of flash slotted into optional Neewer QR Wireless Flash Receivers. Either way, you can configure these in up to five individual groups, labelled A through E, operating on any of 32 radio frequency channels and wireless IDs of 1-99. That should cover pretty much any eventuality.

Switching on the trigger simply requires a long press of the on/off button, rather than any subsequent presses or swipes of the touchscreen. On startup, the touchscreen shows the setup for the first three of five groups, labelled A, B and C, with the status of each. You simply tap and group that you want to adjust, or swipe up for groups D and E. Typical adjustments include (but are not limited to) TTL/Manual power options, flash metering exposure compensation or manual power output, modelling lamp on/off and brightness, and zoom that often ranges from 20mm to 200mm.

Further flash modes include high-speed sync, first/rear curtain flash sync, and programmable repeat/stroboscopic modes, if and when available in wirelessly connected camera and flash modules. I have to confess that while I’m a fan of touchscreens, I’m not completely crazy about them in all respects. For adjusting the likes of power settings and similar functions, I sometimes prefer a simple scroll wheel rather than swiping left and right, or up and down. The Neewer obliges by making both options available, featuring a physical scroll wheel with a secondary pushbutton action, in addition to the main touchscreen interface.

The slightly angled section of the top panel behind the touchscreen plays host to a test fire button and M (Menu) button, as well as the scroll wheel/pushbutton that I’ve just mentioned. Just behind this on the rear panel itself is a sliding button for locking the trigger into the hot-shoe of your camera. I think it’s particularly elegant and easy to use, compared with screw-action clamps and even locking levers.

Turning our attention to the left-hand side of the trigger, there’s a power on/off button towards the front and a USB-C socket towards the rear. The USB-C port enables charging of the internal 3.7V 1000mAh Li-ion battery, as well as applying firmware updates, if and when needed. A cable is supplied, but you’ll need to bring your own charger. It takes around 2.5 hours to charge a completely flat battery, which is then good for around 6-10 hours of use. Suffice it to say that a fully charged battery should last you for even the longest shooting session.

The main screen for controlling each flash or group of flashes gives direct access to TTL or manual flash modes, flash exposure compensation or manual power adjustments, the brightness of modelling lamps (or turning them off), and either automatic or manual zoom settings. In essence, all the main controls and adjustments that you most often need are literally right at your fingertips, with a clear and colorful information display. Such is the joy of touchscreen technology.

A swipe down from the top reveals a secondary menu, giving easy access to beep settings, a lock screen to avoid any unwanted accidental adjustments, modelling lamp on/off, and TCM mode. The last of these is one of my favorites, as it enables you to use TTL flash metering to get yourself into the right ballpark, then automatically convert this to a manual power setting that you can use as a base before making any fine adjustments. Alternatively, a long press or the M button also gets you to the above set of functions. In both cases, a Menu section at the bottom of the touchscreen gives access to additional settings.

The additional settings in question include RF channel and ID options, distance, sync type, zoom and TCM. The ‘distance’ setting gets around a problem I’ve sometimes experienced with wireless flash triggers not working at very close range. Go to this menu option and you can select alternatives of 0-10m or 1-100m, making triggering more reliable at any range of distances.

There’s one more menu option that I find particularly useful. By default, the trigger enables adjustments of flash power with compatible Neewer flashes in tiny increments of 0.1EV steps. I can find that overly fussy and sometimes prefer to make adjustments in coarser one-third EV steps. The setup menu enables you to switch between both options, as well as dialing in the lowest minimum power setting that you want to be made available, for example, 1/128^th, 1/256^th, or 1/512^th. Sometimes a more limited range makes operation speedier in practice.

I think that the Neewer trigger is neatly designed and beautifully finished. To help it stay that way, it’s supplied complete with a smart carrying case that’s fitted on the inside, has a zip closure, and a wrist strap. It’s a nice little extra that I’ve not often seen supplied with wireless flash triggers.

Neewer QZ Touchscreen TTL Wireless Flash Trigger: Performance

Reliability and consistency are key factors in the performance of a flash trigger. Throughout my testing, I found that I was able to rely on the Neewer to effectively fire the flash every time, so I never missed a shot. The two different ‘distance’ settings are a bonus here, as you can tailor the connectivity for short-range or longer distances of up to 100m / 328ft. As I’d expect from an RF wireless trigger rather than an infrared remote, the signal cuts through obstacles in its path and works around corners.

The other element of performance that I find crucial is that a dedicated flash trigger should make it quick and easy to remotely control and make adjustments to the functions of the flashgun or studio/location flash head. The Neewer really excels here, with an intuitive touchscreen interface that makes it simple to apply all sorts of changes to pretty much any and every function and setting. All in all, this trigger simply works, and it works really well.

The main bonus of any wireless trigger is that you can use your flash remotely, off-camera. The example shot above is of a model car that measures about 20cm / 8 inches in length. It was taken with a Neewer Z3 100Ws flashgun aimed directly at the car, while mounted in the camera’s hotshoe. The result is a typically 2-dimensional ‘flat’ looking image with no real modelling. Using the flash remotely, you can play around with positioning to enable more creative lighting effects. For the shot below, I used the flash down low and off to one side to give a more interesting dynamic.

Neewer QZ Touchscreen TTL Wireless Flash Trigger: Verdict

I think that the Neewer QZ is a next-generation flash trigger that takes the breed to a new level in terms of performance, convenience, and ease of use. At its heart, the HD OLED color touchscreen enables wide-ranging adjustments with the minimum of fuss and bother, in double-quick time. Couple that with the 100 per cent reliability rate during my testing when triggering remote flashes, and you’re onto a sure-fire winner. It’s certainly not the cheapest flash trigger around, but it’s definitely one of the best and most desirable. It’s simply perfect for wireless-enabled Neewer flashes, but don’t rule out buying an optional Neewer QR Wireless Flash Receiver for use with other brands of flashgun.

Alternatives

Inside each backpack is a lower section for camera gear, and an open upper portion for daily essentials. The camera compartment is able to hold a full-frame camera (up to 15cm tall) with a 70-200mm f/2.8 lens attached, plus up to four additional lenses and multiple accessories. The entire rear panel of the bag can be opened for unobscured entry to your gear, or there's a separate side opening for rapid on-the-go camera access. Multiple accessory pockets are placed around the backpacks, while expandable side pockets provide a home for a water bottle or travel tripod. A 16" laptop (14" in the B20L) can be stored in a dedicated slot at the back of the bag. There's even a hidden AirTag pocket, though the bag's overall subtle styling should help keep you under a thief's radar.

Lastly, there's the £40 VEO Lite S2L Compact Shoulder Bag. This compact shoulder bag can be used as a standalone camera bag, or attached easily to the front of a VEO Lite backpack to expand its capacity. Inside is enough space for a compact camera or action camera kit, or even a smaller micro four thirds camera with lens attached.

The VEO Lite series will be available in November, in three color schemes: cream, navy blue, and red (only for the B20L backpack at launch). Until the end of November, Vanguard will give a free VEO Lite S2L shoulder bag to anyone who buys a VEO Lite backpack.

I can see this little OVF coming into its own when paired with a camera such as the Ricoh GR III, Fujifilm X-M5, or Nikon Z30, all cameras that rely entirely on rear LCD screens and don’t otherwise have a viewfinder.

This little external OVF provides a 35mm equivalent 28mm field of view, for a wide-angle perspective that SmallRig says is “optimized for street photography”. It has a built-in 4:3 rectangular viewfinder and is said to use “premium” optics, within its five-lens optical construction, delivering high-light transmission (98%) and “exceptional clarity with minimal distortion”.

This little device is built from aluminium alloy, weighs roughly around 23g and measures 29.0x25.9x21.0mm / 1.1x1.0x0.8in. Inside the box you get the viewfinder itself and a cleaning cloth.

SmallRig Camera OVF compatibility

• Canon EOS M5
• Canon EOS M6 Mark II
• Canon EOS M6
• Canon EOS R50
• Canon EOS R50V
• Fujifilm X100V
• Fujifilm X100VI
• Fujifilm X-T30
• Fujifilm X-T50
• Fujifilm X-H2S
• Fujifilm X-T4
• Fujifilm X-T5
• Fujifilm X-E4
• Fujifilm X-E5
• Fujifilm X-M5
• Fujifilm X-S20
• Fujifilm X-pro3
• Leica Q3
• Leica SL2
• Leica SL3
• Leica SL2-S
• Leica SL3-S
• Nikon Z 30
• Nikon Z 50 II
• Nikon Z fc
• Nikon Z f
• Ricoh GR III
• Sony ZV-E10
• Sony ZV-E10 II
• Sony ZV-1F
• Sony A6600
• Sony A6700

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My old DSLR made me realize how much I miss optical viewfinders – and how much I dislike EVFs. The Fujifilm X-M5 finally delivers on the compact promise of the mirrorless camera. Plus, the lack of viewfinders on modern mirrorless cameras is short-sighted, and I wish optional EVFs were on offer.

Now 3 Legged Thing (3LT) is stepping in to fix that problem with their new Magic Wraps; a flexible, self-gripping fabric designed to hug and protect your kit. In their own words, "We’ve always believed your gear deserves better than a zip‑lock bag and a prayer." Quite.

Magic Wraps are presented as a superior way to protect your equipment without adding bulk. They're made from a soft, double-sided material that firmly sticks to itself when pressed together, quickly forming a protective pouch or cocoon. The wraps come in four practical sizes, with prices starting at just $9.99 / £9.99.

Cheaper, quieter, cleaner

Magic Wraps aren't a completely new product, but an updated version of 3LT's existing Wrapz line. The original Wrapz came in various funky patterns and included a waterproof TPU layer. The new Magic Wraps line keeps the core function but makes two key changes: a simpler look and a lower price. The wraps are reversible orange and black for a cleaner, minimalist aesthetic.

Danny Lenihan, CEO and founder of 3 Legged Thing, explains the move. “We saw such an amazing success with our Wrapz when we introduced them a year ago that we felt like here was a product that should really be available to the entire world, and not just photographers. Magic Wraps are the answer – we’ve removed the TPU waterproof layer to make it more price accessible, and created customer friendly retail packaging for stores all over the world.”

Above: see the Magic Wraps in action in this video

So if we're losing the full waterproofing, where's the 'magic' exactly? Well, 3LT says it's in the fabric itself, which it calls "nano-tech-infused". One side is soft and looped, the other has tiny hooks. When they meet, they hold tight, keeping your lenses and camera bodies secure without rattling around.

For professional shooters, the biggest practical benefit might be the virtually silent operation. Traditional Velcro makes a loud, disruptive ripping sound, which will cause a huge issue during quiet moments like a wedding ceremony. Magic Wraps solve this because, in the words of 3LT: "Unlike traditional fasteners, separating the fabric is virtually silent," coming apart with just a "satisfying shhhp that won’t wake the dog or the client".

The four sizes offer flexibility for all kinds of photography gear. The smaller 30x30cm and 38x38cm sizes are designed for compact lenses, small bodies, or flash units. The larger 45x45cm and 60x60cm wraps can handle bulkier camera bodies, telephoto lenses, or even a laptop.

Early feedback on social media suggests the wraps are a hit, and the initial rush was so strong that 3LT went quickly out of stock online.

The new Fast & Light collection includes four bags – one backpack, three slings, and a photo vest – designed to accommodate gear from full-size mirrorless cameras in the biggest bags to compact cameras in the smallest bag.

Moment says that traditional photo bags haven’t shrunken down with cameras, so they started from scratch, designing the new series. A key to the series’ lightweight design is a new reinforced nylon fabric used across the entire series. Dubbed LiteWeave Ripstop, Moment says the material is lightweight but still weather-resistant.

The other key feature that continues across the series is that Moment took inspiration from running gear in the design. The company says the bags are designed to hug the body in order to keep gear close and comfortable to wear.

Each of the bags comes in multiple color options, but uses a bright salmon-colored interior, a decision that Moment says helps to spot gear in the dark.

Pre-orders for all four bags open today at Moment’s online store.

Moment Light & Fast Sequence Camera Backpack

The largest bag in the series is the Sequence, a 23L backpack that the company says is 30 percent lighter than the average pack. The main compartment uses Pop-Up Padded Panels (PUP) to easily convert between gear carry and a more traditional backpack design, including separating the main body of the bag from the top compartment. Main gear access is through a clamshell front zipper as well as a more traditional zip at the top of the bag.

Along with the main compartment, the bag uses two side mesh pouches for carrying items like water bottles and tripods, with an additional small pocket at the front.

The bag’s inspiration from running apparel led the designers to use a six-point adjustment strap system, with adjustment points at the waist belt, chest strap, and trapezoid ridge to customize the fit to different body types. That strap design also includes a zippered tech pocket and a mesh pocket on the shoulder straps for front access to a smartphone or other small accessories.

The bag’s exterior is made with the ripstop nylon used throughout the series with Urbangrid fabric and includes a PFAS-free coating for added weather-resistance.

The Sequence retails for $230 / £199 / AU$395 / CA$326.

Moment Light & Fast Balance 7L Sling

The largest of the three slings in the new series, the Balance 7L is still large enough to fit a full-size mirrorless with a zoom lens in the main compartment. The zippered sling uses the fold-down dividers to swap between carrying camera gear and everyday items. Another zippered compartment can accommodate up to a 9-inch iPad, and there’s also a hidden passport pocket.

A pocket built into the strap stashes a phone, keys, or other small items. The strap can also be removed from the bag and doubles as a camera strap.

The sling is designed to be worn crossbody with gear at the back for carrying, then swings around to the front for fast access.

The Balance 7L is expected to retail for $120 / £104 / CA$170 / AU$206.

Moment Light & Fast Slate 4L Sling

The series’ mid-sized sling can accommodate a full-size mirrorless body and up to a 50mm lens. Like the 7L sling, this smaller 4L sling can be worn front or back, but the smaller compartment also means it can be worn as a waist pack. Like the other bags in the series, gear can be organized with fold-down dividers, which can be tucked away for stashing other items.

The bag is designed with wings around the strap to hug the body, while the main strap adjusts length with one hand also includes a three-point stability strap. Lash cables allow a tripod, hiking poles, water bottle, or jacket to be attached to the bottom.

The 4L sling retails for $99 / £104 / AU$170 / CA$141.

Moment Fast & Light Take 1.5L Sling

The smallest bag in the series has just a 1.5L capacity for a minimalist carry, accommodating a compact camera or smartphone photography setup. A second zippered pocket stashes a wallet, passport, and other small items. Mesh pockets on the front accommodate smaller items like film or a phone.

Like the other slings, the Take can be worn crossbody along the back or front, and it also accommodates a waist-belt style carry. Moment says this smaller bag can be used for a waist belt carry over or under clothing.

The smallest sling retails for $55 / £48 / AU$95 / CA$78.

All four of the bags are available for pre-order from Moment;

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The Exposure vest uses the same new lightweight nylon material found in Moment’s new backpack and slings, also announced today. The vest itself weighs .8kg, but the fabric still has a double layer of PFAS-free NWR coatings for rain resistance.

While the vest looks like a running vest, it’s packed with pockets for carrying photo and video gear. That includes pockets on the lower back designed to be accessed without looking or removing the vest, stretchy side pockets, and zippered front pockets.

Those pockets include a main compartment that can accommodate a 14-inch laptop – or a hydration bladder. The vest has a channel to allow cords to loop through for front access, running from a dedicated battery pack to the front, which also supports MagSafe cables.

While many photo vests use a zipper to close, the Exposure uses two adjustable bungee straps at the front to close. That mixed with the stretchy mesh at the vest’s sides helps the vest fit adjust for more like a snug athletic vest, then adapt to a looser fit when warranted. The vest will be available in S-M and L-XL sizes.

The Moment Exposure photo vest is available for pre-order directly from Moment, retailing for $120 / £104 / AU$206 / CA$170.

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A constant theme, as far as I’m concerned, is that Elinchrom gear is always simple and intuitive to use, delivers consistent results of the highest quality, and is absolutely reliable and dependable. Ultimately, I can give my full attention to the creative process of shooting, rather than wrestling with needlessly complicated lighting setups. And the same goes for this transmitter and receiver set. Some of the later D-Lite ‘RX’ and other Elinchrom flash kits have the receiver electronics built into the actual flash heads, and even come complete with the trigger.

The EL-Skyport wireless radio remote system was actually launched back in 2005, and the Universal set that I’m reviewing here aims to be one of the best flash triggers for your camera, whichever camera system you happen to use.

Elinchrom EL-Skyport Universal Plus: Specifications

Elinchrom EL-Skyport Universal Plus: Price

I know plenty of professional photographers who rely on Elinchrom lighting and accessories and wouldn’t use anything else. The Elinchrom EL-Skyport Universal Plus Transmitter & Receiver Set is relatively straightforward, rather than having an overblown feature list and dedicated functions for individual camera systems. However, it’s made to work reliably and to be robust with pro-grade build quality, which makes the asking price of $140 / £142 / AU$260 very reasonable, as far as I’m concerned.

Elinchrom EL-Skyport Universal Plus: Design & Handling

I’ve said it once, but I’ll say it again: Elinchrom ‘RX’ flash heads have the receiver electronics of this kit built into them, so you only need to use the transmitter, which is often supplied as part of a complete kit anyway. However, the universal nature of this kit extends to use with pretty much any camera system, any flash head, and any flashgun or ‘speedlight’.

Let’s start with the transmitter. The whole set is of a certain age, so there’s no new-fangled touchscreen interface. In fact, there isn’t even a mono LCD panel. Guess what – I don’t care. The top panel of the transmitter gives me everything I need, with simple pushbuttons for setting up to four groups of lights in 16 channels. That said, eight channels are for normal sync and eight are for ‘speed’ mode, enabling high-speed sync with leaf shutter cameras. You should also be aware that only three of the channels are compatible with older EL-Skyport systems.

The full range of pushbuttons gives access to groups, mode, channels, power-up and power-down, as well as a test flash button. Altering the power of the flash is only available with Elinchrom heads that feature the EL-Skyport system, so if you’re using a flashgun or a different studio flash head, you’ll need to adjust the power manually.

Moving to the right-hand side of the transmitter, you’ll find a simple on/off switch and a 2.5mm sync socket. The sync socket extends the range of compatibility to include cameras that don’t feature a regular hotshoe. As such, you could either buy a hotshoe adapter or use the supplied sync cable to connect the transmitter to a camera’s PC sync socket.

Up front, there’s a status lamp, as also featured on the receiver unit. This flashes in green when the transmitter and receiver are in normal mode, and in red when they’re in ‘speed’ mode. Pressing the mode button on both units to make the change also results in the other status panels for groups and channels swapping between green and red accordingly. The front status lamps also flash when you press any of the buttons or release the camera’s shutter, for visual confirmation.

One of the things that really impresses me about this kit is its wireless range of up to 200m / 656ft. To help the radio frequency communication really go the distance, the transmitter has a 90-degree upright pivot facility, so you can alter the orientation for optimum connectivity. However, in speed mode, the maximum range is halved to around 100m / 328ft. That should still prove more than enough for most situations, as well as giving enough power to cut through obstacles or work around corners, unlike with infrared wireless communication. The image above shows the trigger and receiver in horizontal orientation, while below, both are upright.

Let’s move onto the receiver module. Again, this has a hotshoe mounting base, or rather a ‘cold-shoe’ as there’s no triggering pin underneath. That’s only natural, as the triggering is received by RF wireless transmission, which is the whole point of the kit. The foot has a standard threaded quarter-inch socket for attaching to a tripod or similar support, as well as mounting into a cold-shoe, complete with locking clamp.

The top of the receiver actually does have a hotshoe. Remove the protective rubber pad and you’ll notice that, as with the trigger, there’s only a single electronic connection pin. That’s because the kit is universal rather than coming in different dedicated versions for specific camera systems. The net result is that there’s no TTL flash metering nor high-speed sync on tap. The plus side is that you can slot a regular flashgun into the hotshoe of the receiver and trigger it remotely, while using manual flash power adjustments.

As with the transmitter, compatibility is stretched to the max by the receiver featuring a 2.5mm sync socket. You can use the supplied cable for triggering any flash head that features a standard 2.5mm jack socket for synchronization. That said, quite a few flash heads have a 1/4-inch jack socket instead, but no worries, the kit includes a 2.5mm to 1/4-inch adapter. The receiver’s sync socket is towards the rear of the right-hand side, which also features the on/off switch, plus the pushbutton and status display for the group settings, the latter with four options.

The left-hand side of the receiver has another pair of pushbuttons. The one towards the rear enables you to cycle through the various channels on offer, with a status display showing the current or new setting. Towards the front, there’s a Mode button for selecting standard or speed modes, which need to be matched to the setting on the transmitter. At the rear of the left-hand panel is a Micro-USB socket, which you can use to apply firmware updates as and when needed.

Elinchrom EL-Skyport Universal Plus: Performance

In terms of performance, the Elinchrom EL-Skyport Universal Plus Transmitter & Receiver Set only really has one goal. That’s to deliver 2.4GHz radio frequency wireless transmission between the transmitter and receiver, effectively and reliably. I need the peace of mind that comes from knowing that when I press the shutter release on my camera for that all-important, time-critical shot, the camera is going to fire the transmitter, the transmitter is going to communicate with the receiver, and the receiver is going to trigger the studio flash or flashgun.

Using the Elinchrom with studio flash as well as with flashguns, I’m happy to report that it gave me a 100 per cent success rate, which I certainly can’t say about some flash triggers that I’ve used. As advertised, it worked over large distances, through obstacles and around corners, both indoors and outdoors. It’s useful being to increase or decrease the power of Elinchrom flash heads that have built-in EL-Skyport connectivity but, for me, needing to manually change the power settings of flash heads and flashguns when this is unavailable certainly isn’t a deal-breaker.

Another aspect of performance is battery life. You need to be able to count on your batteries not going flat during a shoot and the system has plenty of stamina. I like that the transmitter and receiver each take a pair of standard alkaline or Ni-MH AA batteries, which are long-lasting, universally available and easy to replace, unlike small coin batteries.

You can expect fresh batteries in the transmitter to last for around 30,000 flashes, and the batteries in the receiver to last for about 30 hours of use. I use some of the best rechargeable AA batteries and, if I’m in any doubt, top up the charge before an important shoot. Both modules feature a power-saving standby mode, which activates after 30 minutes in the transmitter and after four hours in the receiver.

Elinchrom EL-Skyport Universal Plus: Verdict

If you’re after a ‘dedicated’ wireless trigger set to match your camera system, that enables TTL flash metering, high-speed sync and remote control of flashgun power adjustments, then the Elinchrom EL-Skyport Universal Plus Transmitter & Receiver Set isn’t for you. However, if you want a trigger with rock-solid dependability that works flawlessly even over long distances, both indoors and out, this is a great universal trigger set that you can use with all sorts of cameras, flashguns and studio flash setups.

Sure, you only get one receiver in the kit, but you can buy more separately if you need to. I find that triggering one flash with the kit and using other flashes in slave mode, when I’m using multi-flash configurations, usually works fine anyway. And if you’re using Elinchrom ‘RX’ flash heads with built-in RF receivers, the trigger also gives you the ability to increase or decrease power remotely. All in all, it’s a smart kit that combines excellent performance with really solid build quality.

Alternatives

Thankfully, somebody at Think Tank has seen sense, and the entire range is now available in standard black and Realtree APX Camouflage. The latter is a photo-realistic texture that’s said to replicate tree bark, moss, and foliage, so your camera can stay both dry and inconspicuous.

I’ve found black rain covers to be suitable in most situations, but if you’re an avid wildlife photographer, especially one who uses hides to photograph skittish subjects, then the camouflage variants will be extremely welcome. If you’ve not used a Think Tank rain cover before, the Emergency Rain Cover is the more portable and budget-friendly option. It comes in small, medium, and large sizes, can be packed down for stowing, features sealed seams, and has a waterproof window so you can still see the rear LCD, viewfinder, and controls.

The Hydrophobia 3.0 is the premium offering. It comes in three sizes: 24-70mm, 70-200mm, and 300-600mm. It’s heftier than the Emergency Rain Cover because it uses a 3-layer material for superior durability, and it still comes with sealed seams and a window at the rear. In fact, Think Thank calls it the “highest quality and most protective rain cover on the market”. The Emergency Rain Cover retails from $42.75 / £39 / AU$79.95, the Hydrophobia is priced from $139.75 / £129 / AU$262.90.

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A separate but similar version of this CFexpress CreateMate Card Reader Case is also available for those using the smaller Type A CFexpress cards, commonly used on Sony mirrorless cameras.

Specifications

Features

In its closed state, the CreateMate is a subtly designed device which effectively hides what lies within. Its soft silicone cover (available in black or Moss Green) provides protection against drops, though it can be removed to reveal a sleek aluminium alloy exterior that'll compliment most laptops. Even without the silicone skin, the CreateMate is IP54-rated against dust and water ingress.

To access your cards and reveal the card reader, simply press on one end and out pops a plastic inner section containing everything you need. The slide action is smooth yet with a reassuring amount of resistance, indicating the ingress protection seals are doing their job. To connect the CreateMate to a computer, you'll need to reveal the short USB-C cable. This is pressed into the edges of the plastic module: pull the small red tab and the end of the USB connector will pop out just enough that you can grip it and then pull the cable out from its recess that runs round the bottom and opposite edge of the device.

The CreatMate is compatible with Windows, Mac OS, Android and iPad OS - just plug and play - though you will require a Type-C to Type-A adapter to use it with an older computer which lacks Type C ports. The card reader uses a USB 3.2 Gen2 interface, which has a theoretical maximum bus speed of 1250 megabytes per second. In practice that'll be more like 1000MB/s in real-world use, which is significantly faster than a UHS-II SD card, but some way short of the maximum speed of some of the best CFexpress Type B cards, which can reach speeds approaching 4000MB/s. To enable the full speed potential of the latest CFexpress 4.0 cards, you'd need a USB4 or Thunderbolt 3/4 interface, but such card readers are still relatively uncommon, with most manufacturers still utilizing the USB 3.2 Gen 2 standard, like PGYTech.

Performance

PGYTech claims the CreateMate should be capable of Type B transfer speeds of up to 1000MB/s, and UHS-II SD / microSD card speeds of up to 312MB/s. To test this, I used the CrystalDiskMark storage benchmarking software, with the CreateMate connected to a USB4 port on a fast laptop. USB4 is 4x faster than USB 3.2 Gen 2, so there should be no bottlenecks when speed testing. My test cards of choice were a Delkin Black CFexpress 4.0 Type B card capable of up to 3530 MB/s read and 3250MB/s write speeds - again, more than enough to max out the CreateMate. I also broke out my fastest SDXC card - a UHS-II V90 card with a maximum rated speed of 285MB/s read and 180MB/s write.

The Type B card performed exactly as expected, being USB-bottlenecked to 1055MB/s read and 1000MB/s write speeds. Switching to the SD card resulted in a maximum read speed of 266MB/s - not far of the card's maximum rated read speed - while the 179MB/s write rate is pretty much exactly what the card should achieve.

Assessing peak transfer speeds using benchmarking software is fine, but there's still no substitute for measuring the speed of actual, real-world file transfers. So I used a 32 gigabyte video file and transferred it to and from the same Type B and SD cards, recording the average and peak read/write speeds for both:

I'd always expect real-world transfer speeds to be slightly lower than the figures recorded by benchmarking software, but the CreateMate did manage to record some pretty respectable read/write speeds from my test card. SD transfer speeds were equally impressive, exactly matching the results I recorded from the SD/microSD version of the CreateMate, as well as my usual go-to standalone SD card reader from Prograde Digital.

Verdict

I've seen plenty of multi-purpose devices over the years which claim to boost versatility and convenience, but end up being annoyingly compromised. That's not the case here though: the CreateMate is a genuinely useful tool for on-the-go creatives. If you shoot with a high-end camera that has SD and Type B slots, it's ideal, providing both storage space and ingress/drop protection for your precious memory cards. The device itself is reassuringly well made, and I found the card reader to perform as well as it could within the restrictions of the USB 3.2 Gen 2 interface.

It'd be easy to criticise PGYTech for using this USB standard instead of the faster USB4 revision, which could enable the latest CFexpress 4.0 cards to run unconstrained. But the reality is the majority of standalone Type B readers are also USB 3.2 Gen 2, and adopting a quicker revision would likely have increased the CreateMate's price too much. Even with the relatively 'slow' USB 3.2 connection, read speeds of over 800MB/s are not to be sniffed at. Unless you're transferring vast amounts of data on a daily basis, those extra few seconds of transfer time are unlikely to get frustrating. You're more likely to be annoyed by the relatively bulky size of the CreateMate, but that's a necessary side effect of the device's card storage space and water resistance.

Ultimately, if you need an all-in-one card reader and card storage solution that'll survive the demands of daily abuse, the PGYTech CFexpress CreateMate Card Reader Case won't disappoint.

Specifications

Features

Designed with drone and action camera users in mind, the SD+microSD variant of the CreateMate sports a dual slot card reader that can support data transfer from both card formats simultaneously. Transfer speed is advertised at up to 312MB/s, indicating the reader is compatible with faster UHS-II SD cards. In addition to the dual slot card reader, the CreateMate can store 4 full-size SD cards, a further 4 microSD cards (for some reason PGYTech call these TF cards - an obsolete name for the same card format - microSD cards are identical), along with 2 Nano SIM cards.

In its closed state, the CreateMate is an anonymous looking device that could easily be mistaken for a small power bank, thanks to its matte aluminium alloy shell. If you need toughness over style, then there's an included soft silicone skin that can be slipped over the aluminium to add drop and shock protection, though even without this the CreateMate is IP54 dust-and splash-resistant. You can choose between black or Moss Green colors for the silicone skin.

To reveal the cards within, you simply push on one end and out pops the reader, storage slots and integral USB lead, all in one unit. The slide action is satisfyingly smooth and precise - I found myself using it as a fidget toy for a while! When fully open, the internal section stays out and doesn't fall back into the shell. To connect the short captive USB-C cable, you first pull the small red catch on the edge next to the card reader slots. Then the USB plug pops out just enough for you to remove it from its stowage space.

The cable sits neatly in a recessed slot that runs round the base and opposite edge of the device - it can be pulled out easily, giving you a USB cable approximately 6 inches in length. On one side of the CreateMate there are slots for two SD cards and 4 microSD cards. Flip over and there are two more SD slots, a pair of Nano Slim slots, and even a handy SIM tray eject tool. When you're ready to pack up, just press in the cable and USB plug so they sit flush with the edges of the device, then the internal section can be slid back inside the outer housing.

Performance

To test whether the CreateMate's card-reading performance can match the quality of its design, I connected it to a fast laptop with USB4 connectivity. This is more than fast enough to max out the CreateMate's USB 3.2 Gen 1 (5Gbps) connection, so there would be no bottlenecks during speed testing. I broke out my fastest UHS-II V90 SDXC card and a UHS-II V60 microSD card, before running the CrystalDiskMark storage benchmarking app to measure the fastest read and write speeds that the CreateMate could facilitate:

I also tested the exact same SD and microSD cards in my usual card reader - a ProGrade Digital PGM0.5 SDXC/microSDXC UHS-II Dual-Slot Mobile Card Reader - and achieved almost identical results.

Assessing peak transfer speeds using benchmarking software is fine, but there's still no substitute for measuring the speed of actual, real-world file transfers. So I used a 10.4 gigabyte video file and transferred it to and from the same SD and microSD cards, recording the average and peak read/write speeds:

Again, these numbers are basically the same as with my ProGrade reader, indicating the cards are working at their full potential.

Verdict

PGYTech has come up with a genuinely useful product here. The CreateMate is an ideal travel companion for on-the-go creatives, housing your essential cards and a card reader in one handy package. My initial concern was that such an all-in-one device might be compromised in some way, but that's not the case. The design is excellent, from the neatly-stowed USB cable, to the satisfyingly smooth ejection/retraction mechanism. Factor the super-fast SD and microSD transfer speeds that are on par with my usual top-tier card reader, and there really are no downsides.

Naturally, the CreateMate is larger than a standalone SD card reader, but that's an unavoidable result of having multiple card storage slots and IP54 water resistance.

If you're after a fast SD card reader to take on location, the PGYTech CreateMate High-Speed Card Reader Case is a must-buy, especially since it's priced in line with many standalone UHS-II card readers. There are also two types of PGYTech CFexpress CreateMate Card Reader Case for those using Type A or Type B CFexpress cards.

Like Peak Design’s popular Slide and Slide Lite, the new Form series uses loop anchors to quickly connect the strap to the camera. But Peak Design redesigned the anchors for a slimmer, minimalist design to match the straps. The company says the new anchors are flatter, faster, and can accommodate up to 90kg / 200 lbs.

The Form series comes in two different materials. Firstly, as the name suggests, Form Rope is a rope-style strap that comes in four lengths plus a wrist strap variant. Peak Design says that it designed its own rope rather than using an existing climbing rope in order to blend strength, comfort and stretch.

The Form Rope comes with an aluminum accessory loop that enables the strap to be worn crossbody and with a single attachment point to the camera – as is common with many compact cameras that lack dual-sided strap anchors. The strap is rated to 82kg / 180 pounds and comes in black, Kelp green and Ocean blue colors.

The Peak Design Form Leather brings full-grain leather to the brand's strap lineup, coming in four neck strap lengths as well as in a wrist strap version. The company says that the full-grain leather is both soft and durable and, as with all real leather products, develops a patina over time. The leather option is available in black, tan or amber colors.

Like the rope strap, the Form Leather has an aluminum accessory loop that allows for use with cameras that have only a single anchor point and can also be used for storing the strap on-body in a cross-body style. The leather strap is rated to hold up up 45kg or about 99 pounds.

While the new straps use an upgraded anchor design that takes inspiration from those on the Slide and Slide Lite, the new rope and leather straps do not have the ability to adjust the length like the company’s straps made from a seatbelt-like nylon. The neck straps instead each come in four different lengths, while both the rope and leather option will also be available in wrist Cuffs.

Along with the new straps, Peak Design has also announced the new Field Plate, a quick-connect tripod plate that works with Peak Design Tripods, anchor straps and the Peak Design Capture V3, as well as most Arca-type tripod heads.

The CNC-machine aluminum plate has a pop-up connection screw that folds flat but allows for mounting on the camera without any tools. The pop-up thumb drive screw pops out with a press, then turns to tighten or loosen.

The Peak Design Form Leather retails for $79.95 in the US for the long, short, and standard sizes – which is the same as the retail price of the Peak Design Slide. The neck strap size retails for $10 less. The Form Rope Strap is priced at $49.95 for long, standard and short sizes and $44.95 for the neck size.

The Peak Design Cuff wrist straps retail for $59.95 for the leather variant and $39.95 for the rope. The new Field Plate sells for $39.95.

International pricing has not yet been announced, but that translates to about £60 / AU$123 / CA$112 for the leather, about £38 / AU$77 / CA$70 for the rope, £45 / AU$92 / CA$84 for the wrist leather, and £30 / AU$61 / CA$56 for the wrist rope and Field Plate.

The straps are available from Peak Design's webstore.

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This is possible due to the introduction of the ML-Z Zoom Lens Reflector, which is said to boost the ML80Bi's performance levels akin to conventional 100W LEDs, and increase the brightness of the ML150Bi tenfold. This results in the ML80Bi hitting 29,600 lux and the ML150Bi reaching 61,054 lux (both at 5600K, 1m).

The lights’ modular designs enable them to be paired with a range of magnetic accessories, including stackable diffusers and barn doors, alongside full compatibility with the Godox Mount ecosystem, providing access to softboxes, collapsible diffusers, and more.

Alone, the ML80Bi measures 3.78 x 3.58 x 2.91" and weighs 519g / 1.14lbs, with the ML150Bi measuring 3.58 x 4.53 x 3.58″ and weighing in at 770g / 1.70 lbs. Both lights can operate down to 14°F / -10°C, and boast a CRI and TLCI rating of 96.

The ML80Bi comes with the ML-BA battery, providing over 60 minutes of full-power output, while the ML150Bi comes with a wall-socket adapter. Both lights can be paired with NP-F and V-Mount-compatible plates. For the strongest output, Godox recommends pairing the ML150Bi with the ML-VMA adapter plate and a V-Mount battery.

Near Field Communication (NFC) technology can be used to control both lights via a proprietary bluetooth smartphone app up to a distance of 30 meters, while the ML150Bi also offers wireless DMX / CRMX for expanded control options in studio and broadcast environments.

In the box, the ML80Bi comes with a protective cover, storage bag, ML-BA battery, Holder AD-E2, ML-Z Zoom Lens Reflector and USB-C charging cord. The ML150Bi comes with a protective cover, storage bag, Holder AD-E2, ML-Z Zoom Lens Reflector, power cord, adapter and ML-VMA Adapter Plate.

The Godox ML80Bi retails for $229 (UK and Australian pricing to be confirmed) while the ML150Bi is priced at $259.

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Travel tripods have always been a tricky balance for me. I want something light enough to carry for hours along a coastline or through a city, yet rigid enough to support heavier cameras and lenses. Often, I’ve found myself frustrated with travel tripods that are so light they wobble, or so heavy they’re more of a burden than a tool.

That’s why the Freewell FW-T1 Carbon Fiber Travel Tripod caught my eye. It promises both portability and performance, two qualities I usually have to compromise between. It’s clearly aimed at travel photographers, vloggers, and content creators; people who need stability on the go without sacrificing convenience. Whether you shoot landscapes, cityscapes, or social content, this tripod positions itself as a versatile companion to carry along for the ride.

Freewell FW-T1 Carbon Fiber Travel Tripod: Specifications

Freewell FW-T1 Carbon Fiber Travel Tripod: Price

When I first checked the price ($299.99 / £299.99 / AU$399.99), I admit I hesitated for a second. It’s not a budget option, but compared to high-end carbon fiber travel tripods, it sits comfortably in the mid-range. And after using it, I feel it’s absolutely justified.

What you’re paying for is more than just lightweight carbon fiber construction: the FW-T1 has a full 360° ball head, monopod conversion, a smart quick-release system, and thoughtful extras like a phone holder and optional AirTag compartment. When I compare it to cheaper aluminum travel tripods I’ve used in the past, it feels like night and day in stability and usability. And compared to pricier carbon fiber tripods, it hits a sweet spot. Almost all of the premium features without the higher-end cost. For me, that makes it an excellent value for money.

Freewell FW-T1 Carbon Fiber Travel Tripod: Design & Handling

The moment I picked up the FW-T1, I was struck by how light it is, 0.9 kg (2 lbs). It folds down to just 42.8 cm (16.9 inches), which meant I could slip it into my backpack or the provided carry bag, along with my medium format camera and standard zoom lens, and barely notice the extra weight. Walking with it along the Gower coast, in South Wales, felt effortless compared to my larger tripods.

Setup is intuitive. The leg sections twist out smoothly and lock firmly, and the three angle positions of 20°, 55°, and 75° offer flexibility for all kinds of terrain. Even in windy coastal conditions, the tripod stayed rock solid, which instantly gave me confidence to leave my camera on it while adjusting settings or swapping lenses.

The ball head is another standout feature. It’s smooth, responsive, and can even hold my camera in portrait orientation without needing an L-bracket, which is a small but incredibly useful detail. Adjusting my composition was precise via the multiple articulation points, including pan and tilt, and once the camera was mounted, I didn’t have to worry about it slipping or rotating.

The quick-release plate design is pure genius, and a feature I had not yet discovered on a tripod. In addition to its traditional use, it doubles as a phone holder when you flip it upside down, which is perfect if you want to mix stills photography with social content creation. I could quickly attach my phone to capture clips or behind-the-scenes content without needing any extra gear, which is a real time-saver when shooting alone.

Other thoughtful features include the removable center column for low-angle or macro shots, a ballast hook for added stability, three 1/4 -20" expansion threaded holes for attaching extra gear like lights and microphones, and an optional AirTag compartment to keep track of the tripod. Small touches like these make the tripod feel like it was designed by someone who actually uses a tripod in the field, not just as a spec sheet exercise.

To further add to this tripod's versatility, one leg can be removed to convert the tripod into a monopod. I didn’t think I’d use this much, but it’s been perfect for situations where I need speed or where space is limited, like hopping between rocks on the coast.

Freewell FW-T1 Carbon Fiber Travel Tripod: Performance

I took the FW-T1 to the Gower coast with my medium format camera (Fujifilm GFX 50S II) and standard zoom lens (GF 35-70mm). I was impressed by how little extra weight it added to my kit; almost negligible. Even in gusty conditions, the tripod held firm, enabling me to shoot landscapes, long exposures, and low-angle shots without any wobble.

The ball head made framing easy, although with so many pivoting points, it took me a second to get used to which lever locked which point. To my surprise, tilting the ball head into a portrait orientation was rock solid, and I didn’t need to fumble with an L-bracket, although it is still the safest option. Switching between my camera and phone was quick and intuitive thanks to the dual-purpose Arca-Swiss quick-release plate. I could move seamlessly between capturing high-resolution stills and content for social media, which made shooting feel fluid rather than segmented.

The monopod conversion was useful for faster shots. For example, when I wanted to capture quick handheld-style panning footage along the cliffs, I could detach a leg, extend the monopod, and have a stable, mobile setup in seconds. The ballast hook on the removable center column came in handy, too. I added my camera bag for extra weight when the wind gusted, which made a noticeable difference in stability.

I also appreciated how the tripod performed in low-angle scenarios. The reversible center column allowed me to get creative with compositions close to the ground, something that would have been cumbersome or impossible with my previous tripod. Overall, the FW-T1 delivered on every spec it promises, but more importantly, it made the shooting experience smoother and more enjoyable.

Freewell FW-T1 Carbon Fiber Travel Tripod: Verdict

After spending a little time with the Freewell FW-T1 Carbon Fiber Travel Tripod in the field and filming content at home, it’s clear to me that this isn’t just a lightweight travel tripod, but a thoughtfully engineered, versatile tool for photographers and content creators.

It’s light enough to carry all day, compact enough to fit in a backpack, and stable enough to support medium format cameras, DSLRs, mirrorless systems, and smartphones. Features like the monopod conversion, its quick-release plate doubling as a phone holder, low-angle capability, and optional AirTag compartment elevate it beyond a simple travel tripod, and due to this, I think it is a good value for money.

As a travel tripod, it may not stack up to the relentless use and heavier gear associated with landscape or wildlife photography. But if you’re a travel photographer, vlogger, or content creator who wants a reliable, easy-to-use, and highly versatile tripod, the FW-T1 is an excellent choice. For me, it’s become a trusted companion on trips, and I genuinely enjoy having it as an option in my kitbag.

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