The Godox ML series consists of a series of modular continuous LEDs. I use the term modular because you can attach a range of accessories to them, such as magnetically attached diffusers or a twist-and-lock ML-CS1625 soft tent (which is basically a little soft box). You can also power them wirelessly using a clip-on Godox ML-BA battery, or use the ML150Bi’s supplied ML-VMA battery plate to attach Godox or third-party V-mount batteries to the LED.

The Godox ML range starts off in terms of affordability and power with the palm-sized ML-40Bi. At the top of the ML range, we have the Godox ML150Bi. This is the bigger brother to the similarly specced Godox ML80Bi, a key difference being that the ML150Bi produces a much brighter continuous light source for photographers and videographers to enjoy, even in the brightest of outdoor locations.

Both the ML80Bi and the ML150Bi ship with an ML-Z Zoom Reflector, so when this accessory is set to spotlight, the ML80Bi can emit 29,600 lux. On the same reflector setting, the ML150Bi produces 61,054 lux. Time for your model to put on some shades!

The term "Bi" pops up a lot in this introduction. The entire ML series consists of bi-color lights, meaning that they can emit a range of light color temperatures in degrees Kelvin. The ML150Bi can be adjusted – via button rotation or a swipe of a slider in the Godox Light smartphone app – to emit light that has a color temperature between a warm 2800K and a much cooler 6500K.

Being able to control the LED’s color temperature means that you can complement existing light sources, such as dialing in a cool daylight temperature of 5600K to add fill light that’s compatible with the location’s natural outdoor key light.

If you need a more colorful light source (such as purples, greens, and reds), then you need to look for an RGB LED, not a bi-color one. I can recommend the Neewer HB80C for both creative color and Kelvin scale illumination, among other continuous LED options in our buying guide to the best video lights.

Godox ML150Bi: Specifications

Godox ML150Bi: Price

The Godox ML150Bi retails at $259/£229. Its weaker little brother, the ML80Bi, retails at $229/£203. So for only around $30/£30 extra, you can purchase a more powerful 150W LED (compared to the weaker 80W device). So on paper, it seems like a no-brainer to go for maximum power for an extra $30.

However, I do have a word of caution. The cheaper ML80Bi ships with a dockable ML-BA battery that matches the white design of the lamp. The more expensive ML150Bi doesn’t ship with the ML-BA battery, so you’ll need to power the ML150Bi by its supplied mains cable or use its supplied ML-VMA battery plate to attach a V-mount battery (not supplied). You can buy an ML-BA battery to power the ML150Bi, but that will add another $89/£73 to your costs.

Personally, I like the fact that you can power up the cheaper ML80Bi out of the box thanks to its supplied battery (after charging it via its USB-C cable). I did have a V-mount battery to attach to the ML150Bi’s adapter plate, so that was fine for my test, but bear this powering issue in mind when considering a purchase.

Godox ML150Bi: Design & Handling

After unboxing the Godox ML150Bi, it looks like an elongated version of the Godox ML80Bi, with the same distinctive plastic white body material. The bigger ML150Bi features extra grilles and ventilation holes to help dissipate the extra heat that its 150W produces (plus an internal fan is on hand to keep the lamp cool). As with its little brother, the ML150Bi has an identical control panel that has an On/Off button and a Mode button to jump between controlling color temperatures in CCT Mode or choosing animated lighting effects in FX Mode.

A ridged plastic control wheel enables you to scroll through various menu items or adjust the frequency of lighting flashes, for example, and a central Set button lets you commit to your desired settings. A little OLED screen tells you all you need to know about the properties of the currently selected mode, and you can use that to activate Bluetooth, which enables you to control every setting via the Godox Light smartphone app.

The control dial/button (or the Godox Light app) enables you to adjust color temperature between a range of a warm 2800K to a cooler 6500K, so you can mimic candlelight, a sunset, or average daylight with ease. There are also 11 animated lighting effects – Lightning, Flash, Cloudy, Broken Bulb, TV, Candle, Fire, Fireworks, Explosion, Welding, and SOS.

As it’s a bi-color light, the lighting effects can use a mix of warm and cold color temperatures – such as creating cold flashes of lightning using a color temperature of 5400K, or a flickering fire at 2800K. If you want to mimic the flashing blues and reds of an off-screen police car, then you’ll need an RGB-capable LED such as the Neewer HB80C (which has 18 lighting effects, compared to the 11 from the ML150Bi).

The rear of the ML150Bi is initially hidden by a white plastic panel. At first, it was a bit of a challenge discovering how to remove the panel, but all you need to do is slide it up. Behind the panel are docking clamps that enable you to connect the LED’s body to a Godox ML-BA battery (not supplied). Fortunately, the kit does ship with the Godox ML-VMA battery plate, so I was able to pop a Neewer PS099F V-mount battery onto the plate and power the light during my test shoot.

Also included in the sturdy carry case that ships with the ML150Bi is an ML-Z Zoom Reflector. This mounts onto the front of the LED and can be rotated to create a wider or narrower (and more intense) beam of light. The front of the reflector is magnetic, enabling you to easily attach diffusers to subtly change the light’s properties. The Godox ML-D diffusers (sold separately) are designed to pop straight into the reflector. I found the diffusers to be a bit too subtle when out in a busy city location, but they may be more attractive (and more noticeable) if you’re shooting in a studio against a plain backdrop.

Godox ML150Bi: Performance

Since the ML150Bi didn’t ship with a battery, I popped on its supplied adapter and slid a Neewer PS099F V-mount battery I already had onto it. The Neewer battery’s display informed me that it was 80% charged, so I thought that would be more than enough power for a one-hour test shoot with Maddy, the model.

The ML150Bi’s sturdy black and branded carry case fitted nicely into my Gomatic 25L Camera Backpack, alongside a variety of accessories such as mini tripods, a Hohem iSteady V3 Ultra gimbal (to record my intro for the video review), and a spare iPhone 17 to capture some B-roll clips for my video review. The Neewer V-mount battery fitted in there too, so I found the backpack quite heavy to carry as I wandered through London to my shooting location – the Barbican Centre.

I’d previously tested the smaller Godox ML80Bi on a model portrait shoot in the Barbican Centre, so I decided to repeat the shoot with the ML150Bi. The weaker ML80Bi needed a Fresnel lens attachment to boost the light when shooting outdoors. The more powerful ML150Bi did not!

I started by using the bright sun as a key light, but this plunged parts of my model’s face into harsh, contrasting shadows. I was then able to position the ML150Bi on a lighting tripod to fill in the harsh shadows with a complementary daylight color temperature. I also enjoyed placing the LED behind the model to create a rim light that helped her stand out from the background. This extra light source helped "sculpt" her face with a key, fill, or rim light, giving it a more interesting three-dimensional look.

To make the ML150Bi’s light a little less harsh, I removed the reflector and slotted the Godox ML-CS1625 Soft Tent onto the LED, courtesy of the soft box’s supplied Godox mount adapter. The soft box reduced the intensity of the LED, so I needed to place the light in the shot while I snapped portraits for this review with my iPhone 17. It was an easy job to paint out the light stand and its shadow using Photoshop’s Generative Fill tool, so I was happy to keep the light in the shot when capturing wide shots of the model. For tighter portraits, I was able to keep the ML150Bi out of the shot.

I then moved into the shadow of the tall Barbican towers, which had a cooler, darker, and flatter lighting that was no good for portrait photography. Fortunately, after adjusting the LED via its tactile switches and dials, I was able to summon a strong golden-hour sun to be a key light in the gloom. This enabled me to capture some attractive sunset portraits (and slow-motion video of the model’s hair being backlit by the "sun").

Finally, I headed to a darker shaded area and used the ML150Bi as a harsh key light to capture film noir-style portraits with stark shadows. I also experimented with using some of the lighting effects while shooting video on the iPhone 17. The Broken Bulb effect in particular worked well with the grungy mise en scène of the urban environment, so these lighting effects should make the ML150Bi appeal to video creators as well as portrait shooters.

My hour-long shoot took place in four different locations that were relatively close together, so the light was on more than it was off! Given my V-mount battery started at 80% charge, I was lucky to have around 4% of power left at the end of my shoot, so I’d certainly recommend taking a spare battery along with you, especially due to the 150W power of the Godox ML150Bi.

I have one little niggle regarding the performance of the Godox ML150Bi. I turned the LED off between the various location setups to save battery power. To turn it on, you need to press the power button. A little icon appears on the OLED screen indicating that you then need to rotate the plastic dial in a clockwise direction to activate the LED. Sometimes this operation didn’t work, so I needed to press the power button again and have another go at rotating the dial. This did slow me down a little.

Oh, there was also a little bright orange rubber stopper that fitted onto the end of the metal lever that releases objects mounted to the front of the LED, such as the supplied reflector. This rubber stopper kept dropping off and, as I expected, it got lost during the shoot. However, it doesn’t affect the performance of the light in any way, so it is negligible, but I do like to be thorough in my reviews.

Godox ML150Bi: Verdict

I enjoyed using the Godox ML150Bi during my model portrait test shoot. As it was considerably more powerful than the ML80Bi, I could travel lighter without needing the brightness-boosting Fresnel lens that the ML80Bi required when shooting outdoors. However, I missed the Godox ML-BA battery that is supplied with the ML80Bi. My Neewer V-mount battery powered the ML150Bi throughout the shoot, but its bulky black casing looked out of place against the LED’s white body. Godox’s white ML-BA battery blends much more neatly with the white plastic bodies of its ML series LEDs, although buying one to power the ML150Bi would cost an additional $89/£73.

All in all, the Godox ML150Bi deserves a place in your kit bag as it elevates portraits from good to great. You can fill in harsh shadows or add a key light that accentuates the shape of your model’s face. Videographers might find the animated effects useful for adding drama, but the lack of RGB lighting effects (such as Squad Car) means that the effects from this bi-color light are less useful.

Alternatives

Godox has revealed an affordable new compact flashgun compatible with a variety of camera brands and models. The iM30Pro Mini Flash measures just 62 x 64 x 48mm (2.5 x 2.4 x 1.9") and weighs only 121g, making it suitable for almost any size kit bag. Thanks to its simple single-contact hot shoe design and standard PC sync port for triggering, the iM30Pro will work with a huge range of cameras, including classic film models. A built-in photocell also allows the flash to be triggered remotely for off-camera use.

Read more: the best flashguns for your camera

Despite its basic connection format, the flash still features an automatic mode: simply set the camera’s aperture and sensitivity, then the flash automatically calculates the correct exposure. Alternatively, a manual mode allows flash power adjustment down to 1/128 in 1/3-stop increments.

Unlike many budget flashguns that are powered by AA batteries, the iM30Pro packs a built-in 7.4V, 700mAh rechargeable lithium battery. It's capable of up to 550 full power flashes per charge, with a recycle time of just 1.5 seconds at full GN15 flash power. Battery charge level is displayed on a small color display on the rear of the flash, and this display also makes it easy to adjust flash settings.

Though it appears to be a fixed, forward-facing flash design, the iM30Pro is actually capable of firing vertically to bounce flash. The small flash head can be tilted upward, with a choice of four angles - 45, 60, 75, and 90 degrees - enabling various creative lighting possibilities. There’s even a pack of optional magnetic color gels and modifiers available separately which can be attached to the flash head to create additional special lighting effects.

The Godox iM30Pro is available to pre-order now from B&H, priced at $44.90. It is said to be compatible with select Canon, Nikon, Fujifilm, Olympus, and Sony cameras.

Flash photography has never really been a major part of my photographic career. Like many photographers, I have used flash when I absolutely needed to, usually in poorly lit rooms, dark venues, or situations where the available light simply was not doing enough. It was always more of a practical necessity than a creative choice.

But over the years, as camera technology improved, I slowly put the flash down. Modern cameras have become so good in low light, with incredible ISO performance, better sensors, and cleaner files, that flash started to feel less essential. Why carry another piece of kit when you can simply raise the ISO, open the aperture, and let the camera do the work?

That was my thinking for a long time, until recently, when I picked up a cheap camera flash for my Leica (a Zeniko ZA-12S, costing $40 / £48) and decided to take it out for a walk. There was no big plan, no technical experiment, and certainly no grand creative project behind it. I simply wanted to see what would happen if I added flash back into my photography, not in a studio or a dark interior, but out in the real world during daylight hours.

While exploring my local area, I stumbled upon a church and started taking photographs. Then I fired the flash. Suddenly, the images had something different. There was a punch, a lift, and a sense of separation that I was not expecting. The light gave the scene a different character, almost as if it had woken up certain parts of the image that would otherwise have sat quietly in the shadows.

What surprised me most was not that the flash worked, but that it made photography feel fun in a slightly different way. It forced me to think again. Instead of only reacting to the natural light, I was adding something to it. I was shaping the image in a small but deliberate way, and that changed how I approached the scene in front of me.

This is where I now see the real appeal of using a camera flash as a fill light during daylight hours. It is not about blasting a subject with artificial light or making an image look obviously flashed. Used carefully, flash can simply lift the shadows, add a little sparkle, and create a more balanced photograph. It can bring out detail in a face, a doorway, a stone wall, or a subject standing against a strong backlight.

For years, I thought of flash as something you reached for when the light was bad. Now I am beginning to see it as something you can use when the light is good, but it needs a little help. That is a very different way of thinking, and it has made me look at a familiar piece of kit in a new way.

There is also something wonderfully freeing about using a simple, inexpensive flash. It does not need to be complicated. You do not need a full lighting setup, stands, modifiers, or a studio bag full of accessories. Sometimes, one small flash on top of the camera is enough to completely change how you approach a walk around town.

Of course, this is not going to replace my love of natural light, and I am certainly not about to turn every photograph into a flash-heavy experiment. But it has reminded me that photography should be playful. It should involve trying things, making mistakes, and occasionally rediscovering tools you thought you had left behind.

For me, adding a flash back into my camera bag has been one of those small creative jolts that makes photography feel exciting again. It has made me slow down, experiment, and look for ways to add light rather than simply chase it. And, perhaps most importantly, it has reminded me that sometimes the cheapest bit of kit can have the biggest impact on how you see the world.

Check out our guide to the best camera flashguns

As a portrait photographer, I think the bigger the light source is, the better. The problem is that large light sources are, well, large – and getting them on site can be problematic. The latest lights from Godox, however, use inflatable heads to create a travel-friendly, versatile light source.

The Godox LC500R Air takes inspiration from the existing LC500R and swaps out the solid head with an inflatable one, making the constant LED light wand around 30 percent lighter than the solid model at about 532g / 1.17 lbs.

The light-saber-like wand, however, also launches alongside the LR150 Air inflatable ring light for flattering portraits and circular catchlights. The two lights are modular, allowing the handles to swap out different inflatable heads and accessories.

The light’s power rests in the handle, where a built-in battery offers over 90 minutes of run time at full power for both lights. The wand light is capable of 2,660 lux, which Godox says is 3x brighter than similar lights in this category. The ring light, meanwhile, can send out up to 1,760 lux.

That light can be adjusted through the control panel on the handle or through a smartphone app. Along with being handheld, the light also has a tripod thread mount and a magnetic mount.

The Godox LC500R Air comes with the inflatable wand head, while the LR150 Air ships with the inflatable ring head. Additional diffusers and grids for the wand, as well as an optional MagSafe mount, are sold separately.

The LC500R Air retails for $99, with the ring light LR150 Air sitting slightly higher at $109. International pricing has not yet been announced, but that converts to about £74 / AU$141 / CA$138 and £81 / AU$155 / CA$152. Pre-orders have opened at some retailers, including B&H and Adorama in the US.

That puts the inflatable series not only lighter than the earlier model with a solid head, but more affordable as well. The earlier LC500R remains the more powerful option, however, rated at 5800 Lux.

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On-camera flashes tend to create harsh shadows that are unflattering for portraits, but off-camera flash is not only challenging to learn, but also bulky to pack. But retro-styled light maker Harlowe has an unusual solution: a flash with “legs.”

The Harlowe Pocket Flash is a small camera flash that also doubles as a constant LED light for video. But what caught my eye – and immediately reminded me of the classic bionic detective Inspector Gadget – is that the little flash has legs.

I’m a portrait photographer, and on-camera flash tends to be unflattering for this genre (unless you’re intentionally going for a retro look or a paparazzi feel). But learning off-camera flash is a challenge, and packing one takes up a lot of space in my bag – not to mention requiring a light stand.

Harlowe’s solution is to give the Pocket Flash a lift system. By putting the light a bit higher than the camera lens, Harlowe says the flash creates shadows that are angled in a more flattering way – and it also helps fix the common problem of reflections on glasses.

The Z-lift system raises the flash about four centimeters (about 1.5 inches) from the hot shoe slot. That’s not a lot – larger pro hot shoe flashes will also sit a bit higher than the hot shoe flash. But the Z legs also look like it gives the small flash the ability to tilt and bounce – two features that will help create even more flattering light. The flash also supports magnetic diffusion domes and colored gels for more flexibility.

The Harlowe Pocket Flash doesn’t solve problems that high-end lighting gear already solves, but the ability to shoot higher, tilt, and bounce are features that are difficult to find on pocketable budget flash systems. The flash weighs just 125g or 4.4oz, which Harlowe boldly claims is less than some of the larger telephoto lens caps.

As an added bonus, the flash is also capable of continuous output, so it can be used as a video light too, or to check the angle of those shadows before shooting stills.

The USB-C rechargeable battery is good for up to 700 full-powered flashes, while photographers can dial down the intensity to as low as 1/64th power. As a continuous LED, the light can run between two to seven hours, depending on the brightness levels.

Small flashes aren’t as powerful as larger setups, but the Pocket Flash offers 2W in standard mode and 4W in boost mode. The color temperature of the light is also adjustable from 2700K to 6500K.

The Harlowe Pocket Flash launches at a $150 / £114 / CA$211 list price, but it’s also available in a Creator Kit with diffusers, gels, bounce cards, and a case for $199 / £152 / CA$281. The new flash is available directly from Harlowe as well as from retailers, including B&H in the US.

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I have been using Zhiyun's lighting gear for a few years now, and I have been continually impressed by the power output, design ethos, and affordability. So, when I got the chance to try out the brand's latest portable light, designed to work like a "miniature Arri SkyPanel X", I jumped at the chance.

The Fiveray M60 Ultra is a pocket-sized panel light with a staggering 60W output. It has RGB functionality, an all-in-one design with a sizable battery, and magnetic attachments for diffusion and light-shaping.

With an MSRP of just $129, it seems like a great deal for anyone seeking powerful continuous lighting in a portable package. Is it too good to be true? I've been using it for the past few weeks to find out.

Specifications

Price

The Zhiyun Fiveray M60 Ultra has an MSRP of £129 / $129 / €139 from Amazon or Zhiyun's official store, which is very affordable considering the features on offer here.

The closest panel light I could find, matching the 60W output and RGB functionality, is the Amaran Pano 60C, which currently retails for $165. However, this alternative doesn't have a built-in battery, and it's significantly larger.

You have far more options if you're open to COB lights, but if you're keen on a compact panel light, the M60 Ultra stands out as a unique option.

Design & Handling

One of the things I really like about Zhiyun products is that they don't try to blend in. Not every piece of pro camera equipment needs to be an anonymous black rectangle, and love it or hate it, the M60 Ultra certainly looks unique.

This light is around the same size as a modern smartphone, and about as thick as three of them stacked on top of each other. It comes with a beige/cream housing, with bright orange accents and contrasting black sections. It gives me a sort of retro-futuristic, rugged, and utilitarian vibe. It wouldn't look out of place on Tatooine.

The M60 Ultra is designed with cooling in mind, and despite its high power output and small size, there's plenty to ensure it doesn't get too hot. There are vents cut into almost every surface, a large fan in the centre of the rear panel, and the insides look to be mostly filled with heat sinks.

The front panel is entirely transparent, with no bezels, and a strong magnet in each corner. It almost looks unfinished, as you can quite clearly see the LEDs and PCB through the frosted plastic front panel. However, when you attach the magnetic modifiers, it looks much more polished. There's a honeycomb grid and a plastic domed diffuser included in the box, both of which can be magnetically stacked on the front panel.

On the base, there's a 1/4-20 tripod mount and a USB-C port for charging. I was pleased to learn it charges very quickly, too - supporting up to 18W speeds with a suitable USB PD plug, but you don't get one in the box, only a USB-C cable.

The unit is turned on and off via a large orange rotating switch on the top side. It's well protected by raised plastic lips around the edge, so you'll certainly never turn it on or off by accident, but it's quite stiff and a little fiddly. Still, I'd rather it be a little fiddly than open my backpack to find a blisteringly hot light that's been running for hours.

The rest of the functions are controlled via two control knobs and a tiny colour screen on the rear. Navigating the numerous options on this tiny screen can also take some getting used to, but it's well thought out, and after some trial and error, I managed to adapt. I really like that you access just about everything on the light itself, rather than needing to rely on a smartphone app, just expect a bit of a learning curve when trying to remember which knob does what.

That said, the M60 Ultra also supports wireless control via the ZY Vega app for Android phones. There's not currently an iOS equivalent, but Zhiyun says it's in the works and should be available in the near future.

The app is really handy, especially if you're trying to dial in a specific colour, as it gives you multiple tools for doing so. You can point your phone's camera at an object or another light, and it'll do its best to match it. I was really impressed with how quickly the light responds to changes in the app; it's almost instant. And if you have multiple Zhiyun lights, it gets even better, as you can control all of them at once.

Overall, I'm very impressed with the build quality. Despite being made from plastic and full of airflow holes, the M60 Ultra feels solid and robust. Of course, with such a cooling-focused design, I don't expect it to have any kind of water resistance, but you can't have everything in a footprint like this.

Performance

Considering that it can fit in your pocket, the Fiveray M60 Ultra is astonishingly powerful. It wasn't long ago that a light this powerful would have been a hefty unit requiring mains power; it's awesome to see the progression.

I've been using it almost every day for the past few weeks, either lighting my product shots for reviews like this or lighting talking heads and top-down shots in my YouTube videos.

For product photography, I mainly used the light without any diffuser, and I found I rarely needed to exceed 10% power. It puts out a fairly focused beam, which I found surprising, given its panel shape, and any spill can be reduced further using the magnetic honeycomb grid.

For talking head shots, I used the M60 Ultra as a key light with the supplied plastic diffuser. It does a great job of softening the light, but I was shocked at how much it reduced the output. In a well-lit room, I had to almost max it out to get the desired result. Of course, in a dimmer location, you wouldn't need to push it quite so hard.

The built-in fan only activates when it's needed, and it's barely audible when it does. I usually shoot in the same room as my desktop PC, and I never noticed the sound of the M60 Ultra over the constant background hum of the PC's fans. I often use Zhiyun's older pocket light, the Fiveray M40, and that fan is significantly louder, so I'm happy to see improvements in this area.

The M60 Ultra colour temperature can be adjusted from 2500k to 10,000k in its standard CCT mode, so you shouldn't have much trouble matching existing light sources. It also has full RGB support, and if you switch into HSI or RGB mode, you'll have millions of colours to choose from.

The RGB mode is a great way to add a splash of colour to an otherwise uninspiring scene. I found it really useful to spruce up talking head shots with a colourful wash on the background. It's still bright when using a colourful hue, but not as bright as the white mode, so I found that it's best used without any diffusion in front of it.

The M60 Ultra also has some special effects built in, and they're all somewhat customisable. You can replicate the look of police sirens, a fire, a flickering lightbulb, fireworks, and more. For most people, these effects will be of limited use, but they're quite impressive. If you're working on a short film, they could come in handy.

The light has a built-in 4500 mAh battery, and Zhiyun claims that it'll get you 160 minutes of runtime at 20% brightness. If you max it out at 100% brightness, it should still give you over 30 minutes on a charge.

As mentioned, I was usually running the M60 Ultra at less than 20% brightness, and the battery life really impressed me. That said, if you need the maximum output for longer, that's no issue, as it can be charged while in use. Zhiyun recommends a 60W or higher power source for this, and my 100W Sharge power bank was able to keep it running at full power without issue.

Verdict

If you need a super-powerful panel light that's compact and portable, few options are as compelling as the Fiveray M60 Ultra. It's reasonably priced, the battery life is solid, and it's very easy to transport.

Most 60W portable lights tend to be COB lights with a harsher output; pocket panel lights with such a powerful output are few and far between. Sure, there are products like the Amaran Pano 60C, but that's much larger, heavier, more expensive, and requires mains power. The M60 Ultra stands out as a unique offering.

So, if you're finding that your pocket panel light doesn't quite have the guts to keep up with your shooting needs, the M60 Ultra is very easy to recommend. I've had a great time shooting with it, and I don't plan to stop anytime soon.

Alternatives

The word photography combines two Greek roots that literally translate to “drawing with light.” But perhaps no genre quite takes that translation so literally as light painting, the long-exposure technique where artists use a light source to draw shapes in a photograph. Now, a photographer known for his viral light painting videos has built a literal light pen designed specifically for the craft.

You may not be familiar with the name Darren Pearson – but odds are good that you’ve seen a video from Dariustwin pop up in your feed. Pearson has been creating light paintings for nearly 20 years – and sharing the results with his followers at Dariustwin, a name inspired by a video game he used to play with his twin brother in the 1990s.

But, over his nearly two decades of light painting, Pearson has been searching for the right light to work with before finally realizing that such a light didn’t exist – so he created his own. The photographer has been building his own light painting tools since 2015 and recently launched his latest light writing pen.

Night-Writer is a light painting pen with 11 built-in colors, adjustable brightness, and USB-C recharging – it even has a memory recall and programming. The pen has three neutral colors along with 8 rainbow hues. The buttons on the pen are also symmetrical, allowing the pen to be used for right and left-handed light painters both.

While Pearson has shipped around 900 handmade light pens over the years, the new Light-Writer was built in collaboration with both a mechanical engineer and an electrical engineer.

“I wasn’t satisfied with other lights that were available, I needed something that didn’t exist,” Pearson explained. “So, I took it upon myself to try and create the best tool for drawing with light. It needed to be precise, quick, intuitive, ergonomic, color changing. I designed something that worked less like a flashlight and more like a marker built for illustration.”

Building the Night-Writer – which is Pearson’s 13th light writing pen he designed – came with a lot of problem-solving. But, that’s not unlike the genre of light painting itself. “Experiment often, challenge yourself, get outside, and make it a nightly routine to progress quickly. Have a vision you are striving for,” he said.

The biggest challenge for the photographer, who captures both light painting photographs and stop motion animations, has been sitting still. “The biggest challenges are the creative plateaus that inevitably happen in between the productive streaks,” Pearson said. “Sometimes it’s hard to sit still, but often your next best ideas will emerge from the quiet. It’s best to be patient and let them arrive when they are ready.”

Fittingly, Pearson was first inspired to try light painting when he saw a photograph of a painter. He explained that he came across a 1949 photograph of Picasso, illustrating with light in an image captured by Gjon Mili. The image inspired him to try to create his own light painting. “It was an intersection of art and technology that seemed uniquely relevant with the change from analog to digital cameras in the early 2000’s,” Pearson said of his start in the genre in 2007.

“I think light painting is one of the least explored facets of photography, and one that can still deliver the most interesting results if used correctly and under the right environmental circumstances,” Pearson said.

The photographer, who works with his wife Jordan Pearson on creative concept and editing and even gets his young son involved behind-the-scenes, shares the process behind his work across several social media channels, including over a million followers on Instagram and TikTok. “Try to deliver something your audience hasn’t seen before, build a style that is your own,” Pearson advises creatives.

But, the creative was quick to add that sometimes it’s the algorithm, not the art, that's limiting reach. “Remember, just because the audience isn’t there or favored by an algorithm doesn’t mean that the work is not great,” he said. “Sometimes the timing has to be perfected - hit the zeitgeist, organize your work, and try again when the timing is better or more relevant.”

The new Night-Writer has already sold out in its first production run, but Pearson encourages fans to sign up for his newsletter for stock updates. The Night-Writer sells for $249 on Pearson’s website – though it currently only ships within the US. Fans can also find prints, clothing, and accessories from Pearson’s online store.

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Godox has released a new macro flash unit that offers a twin-strobe arrangement for close-up photography. The new Godox MF-T76 is very similar to the previous Godox MF-R76 - except for the fact that instead of a circular ring flash design, this offers to separate flash units that can be independently placed around the front of the lens. The MF-T76 will be available in three different dedicated TTL versions for Sony, Nikon and Canon interchangeable lens camera systems.

Ring flash and twin flash units are widely used in close-up photography - fitting on front of a macro lens to ensure even illumination, even when the camera and photographer are throwing the subject into shadow. As well as being used by wildlife photographers for close-ups of flowers and creepy-crawlies, they are widely used by medical photographers, forensic investigators and dentists.

The flash power from the two units is 76Ws - with manual power settings range from full down to 1/256 power at one-third of a stop increments. As well as offering TTL automatic metering, there is a High Speed Sync, allowing you to use your camera's highest shutter speeds. The units also offer 2.4G Wireless X System compatiblity, so can work in unison with other Godox wireless flashguns. Built-in modelling lights to allow you to preview the lighting ratios, and to aid focusing.

The full range of compatible cameras according to the manufacturer's instruction manual is as follows:

F-T76 C (For Canon):
A type cameras: 80D, 90D, 7D, 6D, 70D, 750D, 760D, 5DMark IV, EOS 1DX, 6D Mark II, 77D, 800D, 5D Mark III, 5D Mark II, 60D, 7D Mark II, 200DII, 1500D, 3000D
B type cameras: 600D, 50D, 30D, 500D, Digital X
C type cameras: M5, M50, R, RP, R7

MF-T76 S (For Sony):
α77ll, α99, a77, DSC-RX10, α6000, α7R, α350, α7R ll(4.0), α7R lll, α7 III, α9, α7R IV, α7 R5、α7MIV, ZV-E10, A9lll, A7C, A7Cll, a6400, α6500

MF-T76 N (For Nikon):
D800, D750, D700, D610, D500, D200, D300S, D5, D4, D810, D780, D5300, D5200, D5100, D5000, D3300, D3100, D60, Z6, Z7 II, Z8, Zf

The Godox MF-T76 flash units are now on sale costing $249/£221/AU$389 – which is significantly cheaper than twin flash systems sold by Canon and Nikon. The US, the MF-T76 strobes will also be available from Adorama under the Flashpoint brand.

See our full guide to the best ring flash units for macro photography

Godox has launched the ML40Bi / ML40R handheld portable LED video lights for photographers and filmmakers needing high-intensity illumination for on-the-go shooting without breaking the bank.

This is the latest portable LED release from the brand as part of a growing lineup of budget-friendly, travel-ready lights that Godox hopes will fulfill increasing demand from the creator economy, with the manufacturer touting the ML40Bi / ML40R for delivering professional-level output in an ultra-compact body.

Available in both full-color and bi-color versions, the ML40Bi / ML40R aims to produce “true-to-life” tones with a CCT range of 2,800K–6,500K.

Compact video lights tend to have lower strengths, but Godox is using a modifier trick to give creators a brighter output in a smaller design. The ML-L10 lens reflector, designed specifically for this new system, boosts light intensity, with the manufacturer claiming up to 24× brighter output for the ML40Bi and 16× brighter output for the ML40R compared to the light used without a modifier.

For a palm-sized device, those specs certainly raise eyebrows. However, with a runtime of just 43 minutes at full output from the built-in lithium battery, creators shooting for extended periods might find themselves short on power. That said, the device can be charged while in use.

As with other Godox portable LEDs, the ML40Bi / ML40R is compatible with a range of accessories for improved creative control. And with NFC pairing for mobile app control, usability appears straightforward.

All specs considered, you might be asking what sets the ML40Bi / ML40R apart from the Godox FL15Bi, the handheld flashlight-style fill light also released recently. While the FL15Bi prioritizes handheld simplicity and outdoor shooting thanks to its IP54-rated weather resistance, the ML40Bi / ML40R pushes further into professional mobile production territory with higher-output performance and broader mounting and accessory flexibility.

However, both systems are geared toward run-and-gun workflows prioritizing backpack-sized builds, with the ML40Bi / ML40R weighing just 422g and measuring 97 × 46 × 91mm, while the FL15Bi weighs a mere 253g and measures 45mm × 36mm × 14.5mm.

The ML40Bi / ML40R system is available for pre-order now from authorized Godox retailers, including B&H in the US, with a list price of $99 (approximately £73 / AU$138) for the ML40Bi and $119 (approximately £89 / AU$166) for the ML40R. The reflector is included, while other modifiers are sold separately. Godox says prices may vary depending on your region.

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Canon has introduced a new adaptor that finally allows you to use all of its RF macro lenses with its specialist Canon MT-26EX-RT Macro Twin Lite flashgun.

Launched alongside the sexier Canon EOS R6 V camera and RF 20-50mm f/4L IS USM PZ zoom, the Mount Ring A allows you to mount the twin-tube flash system for use with a further three RF lenses – the two remaining RF macros, and the popular 'nifty fifty' RF 50mm f/1.8.

The three lenses that now gain compatibility are:

• Canon RF 24mm f/1.8 Macro IS STM (using supplied Macrolite Adapter LC)
• Canon RF 85mm f/2 Macro IS STM (using supplied Macrolite Adapter LB)
• Canon RF 50mm f/1.8 STM (using supplied Macrolite Adapter LD)

Originally launched back in 2017, the Canon Macro Twin Lite MT-26EX-RT was designed to work with EF DSLR lenses, so has up until now only being compatible with selected RF lenses. The full range of lenses that the flash is compatible with before today was:

• RF 35mm f/1.8 Macro IS STM
• RF 100mm f/2.8L Macro IS USM (requires additional Macrolite Adapter 67)
• EF 50mm f/2.5 Compact Macro
• EF 100mm f/2.8 Macro
• EF 100mm f/2.8 Macro USM
• EF 100mm f/2.8L Macro IS USM (requires additional Macrolite Adapter 67)
• EF180mm f/3.5L Macro USM (requires additional Macrolite Adapter 72C)
• EF-S 35mm f/2.8 Macro IS STM
• EF-S 60mm f/2.8 Macro USM
• MP-E 65mm f/2.8 1-5x Macro

The Twin Lite system is primarily designed for use with macro lenses, allowing you to get even, shadowless lighting with close-up photography. This ring flash type of lighting is useful for those who specialize in taking photos of insects, jewelry, or coins. But it is also widely used by dentists and crime scene investigators.

The Mount Ring A adaptor set is expected to retail for $179.99 / £199.

Godox has launched the FL15Bi bi-color LED fill light designed for creators who want portable yet versatile lighting for content production, livestreaming, and outdoor shoots.

Weighing just 253g and retailing for an eye-catching $99 (approximately £75 / AU$135), the device combines magnetic light shaping, app-based wireless control and IP54 weather sealing in a travel-friendly package.

As the creator economy continues to grow, Godox is clearly targeting photographers and videographers who regularly shoot on the move and need lightweight, portable production kits.

While the recently released Godox RS100Bi/R also fits that bill, the handheld FL15Bi is much more geared toward creators on tighter budgets who want a simpler lighting setup.

Portability is the name of the game here. The FL15Bi weighs just 253g, and its slim flashlight-style design means it can fit into almost any backpack without taking up much room – making it especially appealing for outdoor creators.

Godox touts the Fresnel lens as boosting optical efficiency to deliver “brighter, smoother light transitions.” And the flexible silicone design also enables users to adjust light angles by folding the lens into different positions, helping achieve softer and more natural-looking illumination.

Despite its budget-friendly focus, Godox says the FL15Bi doesn’t compromise on versatility. The light offers a correlated color temperature (CCT) range of 2800K for warmer tones up to 6500K for daylight-balanced lighting, making it suitable for a wide variety of shooting scenarios.

Godox has also built 11 FX lighting effects into the device, including fireworks and candlelight modes. For more creative applications, the Torch mode enables light painting.

The FL15Bi gains points for usability as it can be controlled from up to 30m away via the BLE mobile app. However, while the IP54 splash- and dust-resistant build adds some protection, the lack of higher-grade weather sealing means it still won’t be suited to harsher environments despite Godox’s claims.

The Godox FL15Bi is available now from authorized retailers in the US for $99 and in Europe for €119, although Godox says pricing may vary depending on region.

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Godox has unveiled the RS100Bi/R, an LED location lighting system geared toward mobile filmmakers. The company says that these compact units bring studio-grade light intensity to even the most diverse shooting environments while eliminating the need for external battery packs and complex cabling.

Despite their “backpack-ready” size, the RS100 series seemingly packs a significant punch, delivering up to 28,600 lux at 1m (at 5600K).

The series offers two distinct types of illumination: the RS100Bi, a bicolor unit with a CCT range of 2800K-6500K, and the RS100R, a full-color RGB fixture featuring a respectable 1800K-10,000K range and advanced HSI, RGBW, and gel simulation modes.

Both illumination modes feature what Godox says is “professional-grade” dimming precision, enabling increments as small as 0.1% and a true 0.0% minimum for cinematic fades.

The standout feature of the RS100 series is the integrated power system, featuring a built-in battery that provides up to 52 minutes of runtime at full output.

Supporting USB-C PD fast charging (18W–140W), Godox says a full charge can be achieved in roughly two hours even while the light is being used, and a real-time runtime countdown display enables crews to monitor power levels.

Godox has also introduced the SP36/50K ultra-mini projection attachments alongside the lights. These modifiers are smaller than traditional attachments, with a view to offering precise light beam shaping and pattern projection without the bulk.

The lights integrate into Godox’s broader S-Mount ecosystem and feature NFC tap-to-pair for remote control via the Godox Light App.

The RS100Bi and full-color RS100R are available for pre-order from authorized Godox retailers for $229 (approximately £168 / AU$316) and $319 (£234 / AU$440), respectively.

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I’ve reviewed a few smartphone ring lights for Digital Camera World, including the Godox Litemons LR30Bi. Like the LR30Bi, the AJ-19 Selfie Ring Light is a ring of LEDs (light-emitting diodes) designed to physically clip onto the top of your smartphone and illuminate your face while you snap a selfie or present a 'talking head' video sequence for your YouTube channel, for example. The extra illumination provided by a ring light enables you to fill in harsh shadows caused by available light (such as the sun shining through a window). More light means that your smartphone can use a faster shutter speed and avoid motion-blurred selfies. Extra light also minimizes artifacts such as noise in smartphone-captured clips and stills. A ring light also produces a characteristic circular reflection (or catchlight) that helps add life to your eyes.

The AJ-19 Selfie Ring Light is made by Xinbaohong, a China-based company that has a track record of producing affordable LED selfie lights and video conferencing lights. I tested the device with an iPhone 17, though as it attaches via a large sprung plastic clip, it should fit onto any smartphone.

Xinbaohong Selfie Ring Light AJ-19: Specifications

Xinbaohong Selfie Ring Light AJ-19: Price

The Xinbaohong Selfie Ring Light AJ-19 is widely available via Amazon worldwide, in countries including the USA, UK, and Australia, for under £20 / $20 / AU$30. At that price, it falls in the entry-level of the smartphone ring light price spectrum, but as you’ll see from the footage and stills accompanying this review, it can make a difference to the quality of your smartphone-captured assets. Sure, it’s not the brightest LED on the market, but for the low cost, it provides a device that can make you look better on a Zoom call or capture a less blurry portrait while on the go.

Xinbaohong Selfie Ring Light AJ-19: Design & Handling

The first thing that struck me as I took the Selfie Ring Light AJ-19 out of its box was how light it was. I couldn’t find the weight on any specifications, but by popping it on my kitchen scales, it weighed in at a super light 1.6 oz (45g). This meant that its weight was completely negligible when I mounted it on my iPhone 17. I’d previously tested the Godox Litemons LR30Bi, another smartphone ring light, which was a relatively heavier 2.9 oz (83g). I preferred the lighter weight of the Selfie Ring Light AJ-19; plus, as it overlaps your smartphone, it’s less top-heavy than the Godox Litemons LR30Bi.

The Selfie Ring Light AJ-19’s lack of weight is down to the ABS (Acrylonitrile Butadiene Styrene) material from which it is constructed. ABS is the type of plastic used to create Lego bricks, so it’s fairly tough and durable. Despite the durability of the casing, the manual warns you not to vigorously shake the product, or it might fail. This could be down to the fragility of internal components such as the circuit board or the LED beads inserted into the ring. I didn’t treat the device vigorously during the test just in case of failure.

Inside the opaque ring on the front of the ring light that acts as a flattering diffuser, there are 40 LED beads. Twenty of these produce a white light. The other 20 produce a yellow light. A single switch enables you to toggle between a mixture of white, yellow, or white and yellow LED activation, which changes the color temperature output of the ring light.

The rear of the LED ring consists of an identically sized clip. Strong springs ensure that the clip will cling onto your smartphone securely (fitting smartphones up to a width of 0.6 in [16mm]). The Selfie Ring Light AJ-19 fitted onto my iPhone 17 even when it was encased in its Apple-branded protective case.

Xinbaohong Selfie Ring Light AJ-19: Performance

Once I’d clipped the Selfie Ring Light AJ-19 to my iPhone 17, it was a simple matter to press the single button on the edge of the ring to toggle between three color temperature settings. The device’s official specifications give a color temperature range between 3500K and 6000K. In practice, this means you can emit a warm light, a cool light, or use a combination of both white and yellow LED beads to create an intermediate, more neutral wash of light.

The specification sheet also claims that you can have three levels of brightness, which I found wasn’t accurate. You can change the brightness by long-pressing on the single button, but in practice, all this seemed to do was gradually dim the illumination to a less-than-useful light level. Therefore, most people will use the standard illumination setting that the device defaults to, rather than the super-dim alternative.

If you double-tap the button on the side, this causes the LEDs to flash in a repeating sequence. This sequence consists of three short flashes followed by three long flashes, followed by three short flashes – SOS in Morse code. This could be a useful tool in certain situations, but luckily I didn’t need to send out any distress signals during my test. The Selfie Ring Light AJ-19’s publicity material suggests you could clip it onto a bike to make yourself more visible as you cycle. This could be a situation where the flash mode might be useful.

The Selfie Ring Light AJ-19 slides over the top of your smartphone so that it encircles the selfie camera on the front of your device. As you can see from my test footage and stills, this adds a fill light to your face and a catchlight to your eyes when using your smartphone’s front-facing camera.

However, when clipped to the top of your smartphone, the large circular clip at the rear of the LED overlaps your smartphone’s superior rear-facing lenses. So you can’t use those lenses when the light is attached to your device in its selfie deployment. I found that when I wanted to film using the rear-facing cameras, I was able to clip the light onto the side of my iPhone 17. This made it able to illuminate products that I wanted to film with the rear-facing cameras, without the clip getting in the way of the lenses. I was also able to clip the ring light onto my Apple MacBook Air. This made my face look brighter and clearer when making video calls, and the catchlight reflecting in my glasses indicated that I’d spent money on some third-party lighting!

Xinbaohong Selfie Ring Light AJ-19: Verdict

So, for less than $20 / £20 / AU$30, the small and portable Selfie Ring Light AJ-19 is an accessory that won’t break your budget, but it will improve the image quality of your photo and video selfies. It’s not the brightest LED ring light on the market, but when clipped to your smartphone and held at arm’s length, it’s bright enough to make a difference (and add a sparkle to your eyes). It’ll also brighten up your face when clipped to a laptop.

It only offers three CT (color temperature) settings, but at this price, I would not expect you to be able to dial in specific settings in the Kelvin scale. The main downside to the design of the unit is that the large clip obscures the rear-facing cameras. If you want a selfie ring light that enables you to illuminate your face when using front-facing or rear-facing cameras, then check out our review of the slightly more expensive Godox Litemons LR30Bi.

Alternatives

Canon has issued an updated service notice warning photographers not to use lithium or lithium-ion batteries in its flash units – but the advice goes far beyond one brand.

While the notice specifically covers Canon products, the same caution applies across the industry, with manufacturers such as Sony, Panasonic, and Nikon all advising against using certain AA lithium batteries in their flashes.

It's a little-known issue – but an important one. Using lithium batteries in portable strobes and speedlights can lead to overheating, reduced performance, and, in extreme cases, damage to your gear or even a fire risk.

The risks Canon is warning about

In the official notice, Canon states, "Please note that lithium batteries and lithium-ion batteries cannot be used with the Speedlites/Macro Ring Lites/Macro Twin Lights, and compact battery packs in general.

"Please be aware that using certain lithium and lithium-ion batteries will result in an extremely high temperature of the battery." For more details, see Canon's service notice here.

The better battery choice

AA lithium batteries are popular because they're convenient. But convenience doesn't always equal compatibility – and in flash units, "higher-end" batteries can create more risk than benefit.

Many photographers simply aren't aware that manufacturers restrict lithium AA batteries in speedlights, or they don't check their flash manuals.

This is especially important in fast-changing or low-light environments such as weddings and events, where reliable flash performance is essential. It also applies to portrait photographers, while macro shooters often depend on flash for precise, close-up lighting.

For safer and more consistent performance, most manufacturers recommend switching to Ni-MH rechargeable batteries, which remain the most reliable option for professional flash use.

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Discover the best flashgun or strobe and the best photography lighting kits.

Godox has revealed a new line-up of softboxes that fold flat in an instant and can be re-opened in seconds - no messing about with fiddly poles or multiple parts.

Called EazyFlow, the softboxes are designed for ultimate portability. Each modifier packs down to a slim, travel-friendly folded profile which enables them to slide easily into a backpack or stack neatly inside a hard case - ideal for photographers who need to travel light.

Godox hasn't sacrificed ease of use with the design, either. EazyFlow softboxes can be set up quickly on location thanks to a quick‑release mechanism that snaps them open and locks them in place within seconds. Breaking them down is just as quick - simply squeeze the release buttons and everything collapses immediately. The result is a modifier built for fast‑moving environments.

EasyFlow softboxes are available in a range of sizes and shapes, including square, rectangular and octagonal. You can go as large as a 90x90cm square softbox, or down to a super-portable 30x45cm rectangular model. Octagonal EasyFlow Octa soft boxes come in four size options, ranging from 150cm diameter down to 60cm, plus there's an extra-long 40x90cm softbox that's perfect for lighting full length portraiture.

Whichever size or shape you choose, you'll get a softbox lined with a silver reflective interior and fronted by a dual-layer diffusion panel that should reduce hot spots to produce soft, even and flattering illumination. Inner and outer diffusers are included, as is a fabric grid that will allow you to focus light more directly. Everything is supported by a metal mounting ring which can be coupled with various interchangeable speed ring adaptors: a Bowens mount is included, but optional Godox, Profoto and Broncolor speed rings are also available.

Godox EazyFlow softboxes are available to pre-order from B&H, with prices ranging from $49 for a 30x45cm or 40x40cm softbox, up to $99 for the largest 150cm diameter EazyFlow Octa.

Truly compact camera flashes typically feature a simplistic design without a tilting head, but the Wescott S18 Mini Flash miniaturizes the hot shoe flash without skipping the ability to bounce light off the ceiling or walls.

For an appealing $39.90 / £39, the S18 Mini combines a tilting flash head, 19-step manual power control, and a USB-C rechargeable battery into a body weighing just 3.5 oz (100 g) and measuring 2.4 x 2.1 x 0.9 inches.

The -3° to 72° tilting head allows you to bounce light off surfaces to diffuse it for a dreamier look and feel. And with multiple optical slave modes, the S18 Mini also supports multi-flash configurations for comprehensive lighting setups.

While attention-grabbing considering the price point, these features alone don’t set the S18 Mini Flash apart from competitors such as the Godox iA32. The latter features a -7° to 90° head tilt range and both manual and auto modes, unlike the Westcott S18 Mini, which is manual only.

However, despite the reduced functionality compared to the iA32, the Westcott S18 Mini supports more productive workflows thanks to a USB-C rechargeable battery that delivers up to 500 full-power flashes on a single charge, recharges in approximately 2.5 hours, and can be recharged while being used. The Godox iA32, in comparicon, takes two AA batteries, which run out of juice after 490 shots.

A straightforward display highlights battery level on the S18 Mini and provides seemingly easy access to manual flash settings, with power being adjustable across 19 steps in a 7-stop range (3.0–9.0) with 0.3-stop increments.

Westcott says the S18 Mini Flash is compatible with “most” cameras from all of the major camera manufacturers via a universal single-pin hot shoe. Along with the flash, your package includes five color gels (Diffusion, CTO, 1/2-CTO, Yellow, and Red), a travel case, and a USB charging cable.

The S18 Mini Flash is available for preorder via the Westcott website for $39.90 / £39; some retailers have already begun taking pre-orders, including Adorama and B&H in the US.

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Profto has released its latest high-end LED panel – and it's designed to deliver both powerful and soft light. The Profoto ProPanel 3x2 is an RGBWW soft panel with an ultra-wide correlated color temperature (CCT) range, which the company touts as the most powerful soft LED panel for high-end film, TV, and commercial productions.

Filmmakers have traditionally faced a tradeoff between soft light and powerful light. While soft light is covered for the dreamy, flattering look it creates, it typically comes at the expense of light intensity.

To get the best of both softness and intensity, production crews have typically needed large diffusion rigs or multiple fixtures.

The Profoto ProPanel 3x2 comes as an ambitious solution to this tradeoff, packing 2000W of output, a CCT-range of 2,000k-15,000k, and the Profoto Core LED engine, which Profoto claims provides “unmatched color rendering” with TLCI 97 into a large LED panel surface.

The ProPanel, however, is a soft panel, a category that uses built-in diffusion, unlike hard panels. Creators can also soften the light further with a range of modifiers. The light is dimmable down to 0.1 percent.

With six different light modes: CCT, HSI , RGBW, XY, Gels, and Effects, and proclaimed “flicker free” shooting at any frame, Profoto says this is the lighting solution for all workflows, no matter the creative ambition.

While touted as a single-light solution, the Profoto ProPanel 3x2 is also designed to be operated by a single person. Featuring a 360° aluminum railing system and Profoto’s Speed Clamp, the ProPanel 3x2 can be mounted quickly and in any orientation without overheating, the company says.

Profoto has paid attention to weight too, as the ProPanel 3x2 comes in at 62lbs (28kg), which the company says is 50% lighter than competing LED panels. With IP-65 weather sealing, the Profoto Propane 3x2 is protected against liquids and dust too.

While Profoto's latest LED rig comes in as an all-in-one lighting solution, the claims of being the “world’s brightest panel” will depend on measurement conditions, beam angle, and just how creative producers want to get.

The ProPanel 3x2 was announced last summer, later earning a Cine Gear Technical Award, but has now started shipping to creators.

The ProPanel 3X2 is now available through authorized dealers for $14,995 (£11,067 / AU$20,901).

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The market for lighting is pretty saturated, with options for all levels of budget and with an astounding variety of capabilities, so you’d think that advances in the tech might be done with. To an extent, there is some truth in that, with lights now mostly being all LEDs and with a fairly predictable range of intensities, but that’s only a part of the picture. Size, weight, and heat are large elements of lighting, as are other features like effects, the interface, and overall user experience, and it is here that companies seem to be putting their focus.

Amaran lights come in all shapes and sizes, with the 120-watt models being very popular, so what has Amaran done with this new model, or is it just a rehashing of previous offerings? Well, I have used and own many lights, from a range of developers, so I was keen to discover what, if anything, is better about the Ray 120C.

Amaran Ray 120c: Specifications

Amaran Ray 120c: Price

At around $255 / £255 at the time of writing, the Ray 120 falls into the more affordable range of lights, making it perfect for small studios, indie filmmakers, and creators, but it’s even more of a good deal when you consider it ships with a case, a softbox with diffusion and grid, as well as a handgrip. It’s available now from most common video and photography resellers.

Amaran Ray 120c: Design & Handling

You’d be forgiven for thinking this might be a rehoused, slightly updated version of older lights, but the Ray is actually a completely new device, and it feels it in every way. The casing itself is a very high-quality plastic that looks and feels great. The body is very slim too, at around an inch thick, plus the bowens mount, it can easily fit into spaces other lights can’t. It’s also IP56 rated, meaning you don’t need to fret if the weather changes on a shoot. Oh, and if you are shooting away from mains power, you can keep the Ray alight with a USB-C cable, either from Amaran’s own battery grip or using the supplied handle, which has space for the power brick or a battery bank, held in place by a hefty rubber strap. I’ve been using this on a light stand indoors too, with the power brick held in place there. The AC in is threaded too, so no anxiety about pulling on the cord for accidental cutoffs.

Mounting the light is well catered to, with both a 3/8th and 1/4 20 combo with Arri locating pin holes and Amaran’s Ace E lock, which the supplied handle uses.

To get set up, you can either dive straight in using the onboard controls or you can pair it with the Amaran app, which is done automatically if your phone has NFC, via a single tap, which works flawlessly, and I hope more devices start doing this.

There are a few controls on board, but the interface is very well designed. A power, back, and confirm button are all that’s needed, paired with the scroll wheel, which sits on the corner for easy access from different angles. This wheel sounds like a gimmick, but in real-world use is one of the nicest I’ve used. It has haptics built in, and when making small adjustments, it feels like a regular clicking control knob, but when you want to make larger adjustments, or scroll to the start or end of a range, give it a firmer spin, and it acts like a motorised pot, spinning freely. You can either let it run its course or touch it at any point to stop it. It’s very intuitive and is one of those quality of life details that makes more difference than you might imagine.

The Ray has a small colour screen for navigating menus and changing settings. It’s bright and clear and easy to read in all conditions.

The front face has the large COB, which has Amaran’s new light engine (more on that later) surrounded by a standard Bowens mount for your modifiers. This does get pretty hot when the light is on, and there’s a warning suggesting the use of gloves.

Lastly, the rear face has the vents for the fan, which is nearly silent. Even in smart mode.

The Ray 120c is well built, with excellent handling and some really nice touches that do make a real difference. I’ve been using an older Amaran 120 light for interiors, which I’ve been very happy with, but the new Ray 120c is a huge upgrade in terms of handling and, as you’ll see, performance.

Amaran Ray 120c: Performance

Let’s start with the menus. A double click of the power button turns the light on, and within a second, the menu appears. You get both icons and text on a horizontally scrolling menu, a press of the confirm button opens up the sub menu, and the back button takes you up a level. The haptic scroll wheel changes settings and highlights menu options. All very quick and easy.

Of course, you can also use Amaran’s app to control the light, as well as set up groups and scenes, etc. The app is very stable and logically laid out, and it’s great to have options for various setups.

The actual COB and its output are all new here, too, not a repackaged legacy light, and it makes some significant improvements upon previous generations. The new OmniColor light engine has more individual colours to start with, making it far more accurate in terms of colour reproduction, so matching lights or daylight is much better. With an SSi in the upper 80s, it’s a good deal more accurate than the low 70s I get from the last generation. This may not seem massive, but in use, it makes a big difference, outputting far more natural colours, and if that’s not enough, say you're using modifiers that skew the hue a little, there is an option for green/magenta tint too.

Then there’s the power. The Ray 120c may be rated at the same wattage as previous 120 lights, but the output in lux is almost double, at 6,850 lux at one meter. That’s an impressive number and enables the Ray to take on jobs that would have previously meant much more powerful lights, plus the weight, size, heat, and power consumption they bring with them.

The Ray has a number of operational modes from CCT to CCT+, which widens the range to 1,800k to 20,000k, to RBG and HSI.

Noise can often be a problem with lights on set, as fans come on as the lights warm up. The Ray has a silent mode, which throttles the output to 20%. That might sound too limiting, but when you consider the output it’s capable of, that isn’t too bad. That said, when set to smart mode and the fan does come on, it is almost imperceptible even a couple of feet away, so unless you mount it right next to your microphone, you should be fine.

For studio shooters who prefer to have lights set up for regular use, there is a mode on a single switch to do this, which is handy to have. I also noticed that the wireless range is really impressive and very stable, even at a maximum of 80 meters

The size of the Ray 120c, even with the included 30cm softbox attached, makes it ideal for smaller spaces, or for traveling with, and considering what it offers, I’d suggest this over pretty much any other light.

Amaran Ray 120c: Verdict

There's really not much to complain about here. The modifier mount gets a bit hot, which is the only sticking point, and that's not even close to a deal breaker. The Ray 120c does exactly what you want of it, plus more, all with ease of control, plenty of modes, and extra tools to help it sit in any workflow. The build is great, the interface intuitive, and the output is better than the price would suggest. Highly recommended.

Alternatives

One of the easiest ways to improve the quality of your ‘talking head’ smartphone video footage is to add an LED light to your setup. In low light, your smartphone-sourced video footage may suffer from noise artifacts or look fuzzy and pixelated. The AiXPi Ring Light 10" offers a highly affordable way to give your smartphone camera much more light to work with, leading to better-looking footage and higher production values.

I’d not tested and reviewed an AiXPi product before, but this China-based company produces a wide range of ring lights, aimed at meeting the lighting needs of YouTube content creators and influencers without blowing their budgets. The AiXPi Ring Light 10" is designed to hold smartphones with a universal spring-clip mount, and it had no trouble holding my iPhone 17, even in its protective case.

But will this be enough to earn its place as worthy of inclusion in our best ring lights buying guide? Well, let's see!

AiXPi Ring Light 10": Specifications

AiXPi Ring Light 10": Price

The AiXPi Ring Light 10” officially retails at £24.99 on the Amazon UK website, though the official AiXPi Amazon Store was offering it for £16.95 at the time of writing, which makes it a more attractive purchase.

It is also available in a variety of alternative configurations, such as with a taller floor-mounted tripod, for a little extra. However, the AiXPi Ring Light 10” was listed as ‘currently unavailable’ on the US and Australian Amazon stores, suggesting that they are awaiting stock.

With its mixture of plastic and metal components, the phrase ‘you get what you pay for’ certainly applies to the AiXPi Ring Light 10". The illumination from the 120 LEDs in the 10-inch plastic ring does make a considerable difference to the quality of your video footage, but as we'll see below, I have concerns about the build quality, and the smartphone mount’s ballhead in particular.

AiXPi Ring Light 10": Design & Handling

The main component of the AiXPi Ring Light 10" is a ring constructed of a lightweight plastic ring mounted with 120 LEDs (light-emitting diodes). However, much of the kit is made of metal, including its tripod legs and the bodies of the two ball-head mounts that enable the ring light itself or a smartphone mounted within the ring to be tilted.

The LED ring light can be rotated through 360º on its ballhead mount, though you’ll most likely want to point it in the same direction as your smartphone. After tilting the smartphone on its mount, you need to tighten the ballhead’s hinge with a small plastic handle. This handle feels rather flimsy, and after rotating the mount to change my iPhone from landscape to portrait orientation and then back to landscape, I found that the ballhead had become very loose, and I struggled to tighten it back up again. While I eventually did get the ballhead tightened sufficiently to keep the phone in position, I’m not confident that this small but important tightening handle is built to last.

As the ring light’s LEDs are powered by a USB cable plugged into a power source, there’s no danger of the kit running out of power during a live streaming session, for example. The cable features a small control unit containing four buttons: an on/off switch, '+' and '-' buttons to toggle the LED brightness up and down in 10 increments, and a color temperature control that toggles between the unit’s three presets, achieved by turning separate cool or warm LEDs on or off to create a warm or cool mix.

There’s no way to dial in a specific color temperature in CCT values. The border of each button lights up when you plug the USB cable into a power source, though only the On and '+' buttons seem to illuminate.

AiXPi Ring Light 10": Performance

To test the AiXPi Ring Light 10”, I placed it on my desktop and connected it via its USB-C power cable to my MacBook Air. As you’ll see from my supporting video, I started the test by talking to my MacBook’s built-in FaceTime HD camera using available light from my office window to illuminate my face. The footage looked flat-lit, slightly soft, and had low contrast.

By popping my iPhone 17 into the universal smartphone spring mount in the centre of the ring light, I was able to send a wireless feed from the iPhone to my Mac (courtesy of the QuickTime app, which I used to make the supporting video for this review). This iPhone footage was far superior to the clips captured by my MacBook’s built-in camera, with a higher contrast, more vibrant colours and sharper details. I then tapped the On button on the AiXPi’s cable to fire up the 120 LEDs within the plastic ring surrounding my iPhone. By default, the illumination was too bright to look at comfortably, so I tapped the '-' button to dial down the intensity of the LEDs by a few increments.

The daylight from my window was a little cool, so I was able to toggle between the ring light’s three colour temperature increments to get a compromise between the warm tungsten interior light of my office and the cooler daylight from the window.

To start with, I mounted my iPhone horizontally, so that it was filming me with its superior back-facing cameras. The iPhone’s display wasn’t visible to me, but I could monitor the composition of my face (and check exposure and color temperature) as the iPhone’s footage was being fed wirelessly to my MacBook’s display.

I then decided to record directly onto the iPhone’s front-facing camera in portrait mode. This involved removing the iPhone from the LED’s clip mount, then removing the mount itself and re-attaching it via a different screw socket. I also had to loosen the smartphone holder’s ballhead so the holder could tilt by 90º, enabling me to place the iPhone in a vertical position. Many social media content creators will want to shoot vertically, so this was an important part of my test. However, as I mentioned in the handling section, the smartphone holder’s ballhead can become very loose, and it takes a bit of time to get it tight enough to hold the phone in a specific position.

AiXPi Ring Light 10": Verdict

The AiXPi Ring Light 10” can make a considerable improvement to the quality of your selfie footage; however, you are very limited in adjusting its color temperature to complement the available light. An adjustable ballhead enables you to orient your ring light-mounted smartphone to shoot in portrait or landscape orientation, but the flimsiness of its tightening handle doesn’t bode well for the product's longevity. I feel that the smartphone mount’s ballhead is the Achilles’ heel of this otherwise effective and highly affordable ring light.

Alternatives

Smartphones, such as the iPhone 17 (with its 18MP front-facing camera), enable filmmakers to capture high-quality video clips or portraits. When shooting in low light, however, your clips and photos may be blighted by picture noise caused by the camera’s need to use higher ISO speeds. Some smartphones use computational processing in an attempt to hide noise in clips and stills, but this can result in a loss of detail.

The Godox Litemons LR30Bi offers an effective solution to recording smartphone footage in low-light locations. It’s a highly portable mini ring LED that you can pop in your pocket and quickly attach to your smartphone to capture better-looking footage on the go. The best ring lights are often positioned so the lens shoots through the hole, for flattering all-around lighting that surrounds the subject, as well as producing donut-shaped catchlights in the eyes.

Godox has a long-established reputation for producing flash and continuous LEDs for photographers and videographers. I’ve reviewed several Godox-branded LEDs for Digital Camera World, such as the ML80Bi, and that particular model has become my ‘go-to’ LED when shooting professional portraits on location. The smaller and cheaper LR30Bi ring light is aimed at the consumer market, so it will suit travel vloggers who need to add extra light to their selfies without lugging around a heavy LED panel.

Alongside the LR30Bi, I was also given an additional LED panel to test – the Litemons LR15Bi. This mini LED is cleverly designed to complement the LR30Bi, and is well worth adding to your smartphone lighting kit, as I’ll explain.

Godox Litemons LR30Bi: Specifications

Godox Litemons LR30Bi: Price

The Godox Litemons LR30Bi will only set you back around $25 / £23 / AU$46, so buying one is a no-brainer given the improvement it will bring to the production values of your smartphone selfie footage, especially in low-light locations. It’s not the brightest LED on the market, but it doesn’t need to be, as it is designed to be mounted on your handheld smartphone a few inches from your face.

If you do need a boost in light intensity, then an additional cost of $16 / £14 will enable you to slot the LR15Bi into the body of the larger LR30Bi. This combined output from the LR15Bi and the LR30Bi raises their intensity from 48 to 77 Lux (when set to 6500K), giving you more light without blowing your budget.

Godox Litemons LR30Bi: Design & Handling

After unboxing the Godox LR30Bi, the my first impression was how remarkably light it felt, which indeed it is, at a mere 83g. Its cream body is constructed from plastic, which is no surprise given its affordable price. The LEDs are mounted within a circular white plastic ring, which will fit comfortably in the palm of your hand.

As its name indicates, this is a bi-colour light, so you can change the color temperature of the LEDs to complement existing light sources on location. Pressing the CCT/On button fires up the LEDs in the ring. You can then press the same button to quickly toggle between five color temperature presets in degrees Kelvin, from a warm candlelight-emulating 2800K, through an average daylight setting of 5600K, to a cooler 6500K. The adjacent Dim button toggles between five brightness level presets.

At the base of the unit is a clip to attach the ring light to any smartphone. The clip has a hinge that enables the LED ring to be tilted and even rotated by 180º to illuminate a subject at the rear of your camera instead of shooting a selfie. At the centre of the LR30Bi’s LED ring is a mini mirror designed to help you compose a selfie using your smartphone’s superior rear-facing cameras. Intriguingly, this mirror can be removed and replaced by the smaller (separately sold) Godox Litemons LR15Bi. More on that modular feature in the next section…

Godox Litemons LR30Bi: Performance

To test the Godox LR30Bi, I hired a model, Antonia (Instagram: @antonia_sabato), whom I met in the Shad Thames area of London. This location features small alleyways full of interesting brickwork that make a great backdrop to an urban portrait shoot. However, these alleys tend to be quite gloomy, so my iPhone portraits can suffer from computationally processed smoothing artifacts that look a bit pixelated. As well as providing extra light that assists the camera in capturing more detail, the LR30Bi also adds a catchlight to the model’s eyes, which helps bring portraits to life.

Since the LR30Bi is primarily a selfie LED, I popped it onto my iPhone 17 and gave it to Antonia to test out. She started by using the iPhone’s front-facing camera to capture some selfies and was able to compose her shots using the iPhone’s generous 6.3in display. A couple of taps on the CCT button enabled her to make the ring light’s output complement the daylight that was entering the location from her left. So the sun provided a key light, while the LR30Bi filled in the harsh shadows and added a sparkle to her eyes.

The rear cameras on the iPhone 17 can capture a higher resolution, so Antonia was able to rotate the iPhone to use those cameras and rotate the LR30Bi 180º on its hinge so that it continued to light her face. She could check that she was still in shot by referring to the selfie mirror mounted at the centre of the LED ring. Thanks to the iPhone 17’s open-gate sensor, she could shoot selfies in portrait and landscape orientation without needing to rotate the iPhone (though the LR30Bi’s spring clip does enable you to fix the light to a horizontally or vertically held smartphone).

To add extra light to the location, I replaced the LR30Bi’s selfie mirror with the optional LR15Bi LED. This combination of the docked LEDs boosts the unit’s output from 48 to a maximum of 77 lux (when set to 6500K). The modular design of the LR30Bi and the LR15Bi is very clever. When the two are docked together, you can use the main unit’s CCT and Dim buttons to consistently adjust the color temperature and intensity of both LEDs simultaneously.

Another useful design touch is that both lights feature magnets. The smaller LR15Bi has two strong magnets on its rear. I was able to clamp it to a rail next to Antonia and add a little rim lighting to the side of her face (instead of flat-lighting her from a camera-mounted LED). The mirror at the centre of the LR30Bi also has a magnet, so I was able to clamp the brighter LED to the same rail to boost the intensity of the side light.

The specs for the LR30Bi claim a battery life of one hour and 15 minutes. This doesn’t sound like a lot, but it was enough to illuminate Antonia on our two-hour test shoot, bearing in mind that it was turned off between different setups. If you do need to light it for longer, you can always charge it up from a power bank via its USB-C socket while you take a coffee break.

Godox Litemons LR30Bi: Verdict

The Godox Litemons LR30Bi is an essential accessory for travel vloggers who need to talk to the camera in a range of locations, especially in low light. Its affordability and portability should make it an attractive purchase, and the extra light that it casts on your smartphone-sourced selfies should lift your production values above those of your peers who are only using available light (and those improved production values might earn you a few more YouTube subscribers).

The modular nature of the LR30Bi makes the smaller and cheaper LR15Bi a sensible addition to your LED selfie kit, as it almost doubles the output of your smartphone-mounted light source.

Alternatives

There has been a flurry or ‘retro’ mini flashes recently, from the likes of Godox and other manufacturers, as well as the Viltrox Vintage Z1. The Z1 marked the company’s first foray into the on-camera flash market, followed by the uber-modern ‘mech-inspired’ Viltrox Spark Z3. The latest Z2 reverts to retro styling but like the Z3 and unlike the Z1, it’s a dedicated rather than manual-only flash, again available in Canon, Fujifilm, Nikon and Sony options.

Designed to be compact, lightweight and easy to use, the Z2 aims to be one of the best flashguns on the market, at least if you’re after a low-budget retro TTL option and don’t mind a modest maximum power rating and a relatively basic set of features.

Viltrox Vintage Z2: Specifications

Viltrox Vintage Z2: Price

Own-brand dedicated flashguns from camera manufacturers can be notoriously expensive. By stark contrast, the Viltrox Vintage Z2 is incredibly inexpensive, with a list price of just $36.99 / £31.99 / AU$ TBA. Sure, it’s ‘only’ a mini-flash with a fairly basic set of features but even so, it’s great value for money. For comparison, the Viltrox Spark Z3 which is available in the same range of dedicated options, sells for more than twice the price at $79 / £66 / AU$119.

Viltrox Vintage Z2: Design & Handling

Adhering to the ‘KISS’ principle (Keep It Simple, Stupid), the Viltrox Z2 looks disarmingly straightforward. There’s a small flash tube up top, somewhat reminiscent of the pop-up flash built into a number of cameras. That said, the number of recent cameras that actually feature a pop-up flash is somewhat diminished, making the addition of a separate mini-flash all the more desirable.

Flip the flash around in your hand, from front to back, and you’ll see a similarly simplistic rear panel. There’s no LCD info screen, let alone a color touchscreen as featured in a growing range of larger flashguns. Instead, you get a basic rank of status lamps, the first indicating that the flash is in Auto (TTL, Through The Lens) flash metering mode, where the output power is adjusted automatically depending on the shot conditions and the distance to the subject.

The rest of the status lamps in the line-up indicate manual power settings. There are only five in total, ranging from 1/16^th to full 1/1 power settings, with no interim one-third or one-half EV steps. Most full-sized flashguns go right down to a minimum power setting of between 1/128^th and 1/512^th but the Z2 has a relatively modest maximum output, so the minimum value of 1/16^th is a fair shout. Similarly, the lack of a bounce and swivel head is entirely reasonable, as there’s not really enough power on tap to effectively bounce the flash off walls or ceilings to soften the lighting effect.

Flashguns that run on AA or AAA sets of batteries are a dying breed. Like most recent releases, the Z2 relies on Li-ion power and in this case, it has a built-in, internal battery rather than an interchangeable battery. The only real downside with that is that you can’t buy a separate, spare battery, which can come in useful if you’re on a long shoot and need to pop in a replacement battery rather than waiting around for the internal one to recharge. On the plus side, the internal battery has enough juice for around 700 full-power flashes, so there’s plenty of stamina.

Recharging is courtesy of a USB-C port and takes around 70 minutes. That’s if you’re using a basic USB charger with a conventional 5V / 0.5A output. As is often the case nowadays, you’ll have to supply your own charger as there isn’t one supplied with the flash.

The flash has a nominal daylight color temperature of 6500K +/-200K. Another vital statistic is the flash duration, which ranges from 1/16,500s to 1/50,000s, depending on power setting. As usual, the flash nods off to sleep mode after a period of inactivity, which equates to 15 minutes. After that, you need to press the power button to wake it up again. As I’ve mentioned, the Z2 is very small but not all versions are exactly the same size. The Canon, Fujifilm and Nikon dedicated options all measure 38x65x33mm (WxHxD) whereas the Sony version is 2mm or just under a tenth of an inch taller.

Viltrox Vintage Z2: Performance

For the most part, performance comes down to power and speed. I wouldn’t expect a mini-flash to boast much in the way of maximum power and sure enough, the Z2 has a meagre 10Ws power rating, resulting in a Guide number of Gn 6 / 20 (ISO 100, meters / feet). For the sake of comparison, that’s slightly less than the rating of the built-in pop-up flash of the Nikon Z50 II, and marginally more than the tiny Godox iM20 and Godox iM22 manual mini-flashes. It’s also less than only half that of the Viltrox Vintage Z1 manual flash, at Gn 12 / 40.

In practical terms, the maximum flash power is sufficient for close-ups and to supplement ambient lighting in dull, indoor shooting conditions, as well as to add a little fill-in flash for sunny-day portraiture. However, if you’re relying on the flash to illuminate larger spaces, you’re likely to need to bump up your camera’s ISO setting somewhat.

The spread of illumination covers the same width as using a 28mm lens on a full-frame camera (about 18mm for APS-C), which is pretty reasonable. A push-fit diffusion dome is supplied with the flash, which spreads the beam angle and softens the light, at the expense of reducing the maximum available power (by 1.33 EV in my tests).

It bears repeating that the modest maximum output power is insufficient for effective bounce and swivel flash, off ceilings and walls. Unsurprisingly, the Z2 therefore lacks a bounce and swivel head. There are also no RF (Radio Frequency) nor infrared slave modes, so wireless remote off-camera flash isn’t within the Z2’s remit. Again, the emphasis is on straightforward simplicity, the idea being that you simply pop it into your camera’s hot-shoe and fire at will. That’s fine as far as it goes, but the lack of bounce, swivel and off-camera flash means that the ‘direct’ lighting effect is bound to be relatively harsh and two-dimensional.

As I've mentioned, the supplied diffusion dome softens the quality of light a little. The pair of example shots in the following gallery are lit from the Z2 flash, first without and then with the diffusion dome fitted. TTL flash metering proved consistently accurate during my testing and manual power adjustments are easy to apply in full EV steps.

Some flashguns can be prone to sluggish recycling speeds, towards the high end of their output range. There’s no such problem here, the Z2 recycling almost instantaneously through much of its power range, and being ready for action just 2 seconds after a full-power flash. If you’d rather go Auto TTL rather than setting the flash power manually, I found that TTL metering was consistently accurate when testing the Nikon dedicated version of the Z2 with my Nikon Z6 III and Nikon Z fc cameras.

Viltrox Vintage Z2: 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 table below shows both 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 for the same settings.

The maximum output power is fairly muted, in keeping with the very compact size of the flash. Fitting the supplied diffusion dome reduces the intensity of light at each power setting by 1.33EV. Recycling speeds are good, being almost instantaneous at the lowest two power settings and rising to just two seconds after a full-power flash.

Viltrox Vintage Z2: Verdict

The Viltrox Vintage V2 makes me feel like repurposing the ‘KISS’ principle as ‘Keep It Small & Simple’. I love that it’s sufficiently compact to be eminently pocketable, and that it’s a real featherweight. The combination makes it easy to pack and carry, and the load is also pretty much unnoticeable when it’s mounted in your camera’s hot-shoe, for portrait as well as landscape orientation shooting. For portrait orientation shooting latter, I find that big, hefty flashguns can feel a bit unwieldy, especially on smaller cameras.

Naturally, the small, lightweight build comes with compromises. The maximum available power is somewhat limited and there are no fancy frills like bounce, swivel and zoom, nor any advanced flash modes like high-speed sync or programmable repeat. Even so, I feel the Z2 accomplishes its aim in being a simple yet effective and inexpensive mini-flash in Canon, Fujifilm, Nikon and Sony dedicated options, ideal for adding a little light when and where you need it most. And for the budget-conscious, it's definitely one of the most inexpensive dedicated flashes on the market.

Alternatives

PocketWizard has launched its smallest-ever transceiver: Plus Ve. Aimed at all photographers, from novices to experienced professionals, this remote flash and camera trigger is designed to be easy to use, yet feature-packed. It boasts Auto-Sensing Transceiver Technology, allowing it to instantly and automatically switch between transmitter and receiver modes on the fly. It utilises PocketWizard's E Release firmware protocol, which is said to offer extended range (up to 500 meters) and increased signal reliability. There's even a long-range setting that can increase range to as far as 6.4 kilometers / 4 miles!

The transceiver has 32 flash Channels and 6 zones, plus 80 Long‑Range Camera Channels with 5 Zones, making it possible to configure and trigger a variety of lighting set-ups, with multiple light sources covering different angles. A backlit color OLED display provides clear, easy to read channel and group information, and you control the Plus Ve using an intuitive user interface and soft-touch keypad.

The device is powered by an 800mAh rechargeable lithium ion battery which is user-replaceable and capable of running the Plus Ve for around 35 hours. It’s fully compatible with any existing PocketWizard using the same frequency, providing it's able to be upgraded to the E Release protocol (the Plus Ve is not backwards compatible with PocketWizard radios using Legacy firmware - Plus, Plus II, Max, MultiMAX, MultiMAX II).

Despite its rich feature set, the Plus Ve measures only 9 x 5.1 x 1.8cm and weights just 68g. Its antenna is concealed within the transceiver body so is much less vulnerable to damage. To use the Plus Ve, simply slide it into your camera's hot shoe - no other cables required. A single do-it-all sync port takes care of remote duties, using an industry-standard miniphone connector (dedicated remote camera triggering cables are also available for popular camera systems).

The PocketWizard Plus Ve is available to pre-order now, priced at $159.

The Lume Cube Studio Panel Lighting Kit is a portable two-light setup built around a pair of bicolor LED panels that boast Lume Cube’s Edge-Lit technology. The California-based Lume Cube has made a name for itself within the content-creation sphere thanks to a plethora of well-regarded lighting solutions, including the RGB Tube Light Mini, RGB Panel Pro 2.0 and, of course, the product that started it all, the Lume Cube (now in its second generation).

If you’re looking for the best photography lighting kit, the Studio Panel Lighting Kit is designed to cater to those looking for an affordable, portable, and continuous-lighting setup. And while flash is unmatched in terms of power and arguably control, continuous lighting is favored for its flexibility in both photo and video uses, as well as its simple what-you-see-is-what-you-get workflow.

I’ve reviewed plenty of Lume Cube products over the years and regularly use Lume Cube lighting for toy and product photography. So, I was extremely excited to get my hands on the Studio Panel Lighting Kit and see how it fared on test.

Lume Cube Studio Panel Lighting Kit: Specifications

Lume Cube Studio Panel Lighting Kit: Price

The Lume Cube Studio Panel is available in four packages: Studio Panel, $149.99 (approx £110/AU$212), Single Studio Panel Lighting Kit, $219.97 (approx £162/AU$311), Studio Panel Lighting Kit, $399.99 (approx £295/AU$565), Studio Panel 3-Point Lighting Kit, $599.99 (approx $442/AU$848). Each kit comes with a remote and enough Tilt Mounts and power adapters to match the number of lights. With that in mind, the Studio Panel features a single light (no barn doors), the Single Studio Panel Lighting Kit features a single light and stand, the Studio Panel Lighting Kit features two lights and two stands, and the 3-Point Lighting Kit features three lights and three stands.

This is roughly what I’d expect for a Lume Cube product. The company sits somewhat in the middle ground in terms of pricing and quality. You can find panel lights for much cheaper on Amazon, but don’t expect to receive the same amount of light or hardware quality. I bought a Raleno Video Light a few years ago, which I still use, and it cost me around £55 (approx $75 / AU$106) for the panel, mount, and adapter. The Lume Cube Studio Panel is far superior in terms of both build and light quality.

Lume Cube Studio Panel Lighting Kit: Design & Handling

As mentioned, the Lume Cube Studio Panel occupies something of a middle ground in terms of LED lighting solutions. It looks like a lot of the cheaper LED panels you buy on Amazon, but comparing it to my own Raleno panel, it’s not only superior in terms of the light it produces, but it’s built better, too. It’s much more solid in the hand.

And that extends to the lighting stands, which can be set from 18 to 70in tall. I was expecting some very cheap stands for the price, but was pleasantly surprised by how robust they are. They could do with a little bit of tightening in places, but overall, they’re good quality and a step up from a cheap, unbranded lighting stand.

The legs can be positioned in a wide stance, too, so there’s no fear of the light toppling (not that the light panels are particularly big and heavy). I wouldn’t rate them for arduous outdoor use, but they’ll suffice on reasonably flat ground, and you could always use a beanbag or counterweight to make them more stable. I would, however, suggest caution in wet or sandy locations because these stands are not built to withstand rugged conditions.

The biggest disappointment is the Tilt Mount. It’s serviceable, but the largely plastic construction makes it feel cheap. This is evident when tightening both the tilting axis and the screw that connects to the light panel. In both instances, they never feel 100% tight; as such, they’re prone to overtightening. The latter is particularly frustrating, because it uses a small plastic wheel that’s difficult to tighten/untighten. This is the only component I’d want to upgrade within the kit.

The panel itself is nice and solid, as are its physical controls. I’ve been slightly critical of Lume Cube’s physical controls in the past, but I’m pleased to say that I like the Studio Panel’s controls. In a world where electronics tend to have tiny switches or small buttons that you have to long-press, a simple, sizable on/off switch is very welcome. The color temperature and brightness wheels are similarly simple and get the job done, too.

The roughly 1.5-inch LCD screen is clear enough, and the usual battery indicator, which shows how long the light will last at its current brightness, is always useful. Apart from the single Studio Panel, the rest come with barn doors. They’re plasticky like the tilt stand, and I’m slightly concerned they could begin to sag after constant use, but they serve a purpose. They can also be easily removed since they just clip on/off the panel.

I like the remote control. It feels decent quality for what it is and is certainly a nice addition to have. The power adapter is what you’d expect at this price range. I found the lead to be long enough for home studio use, but you’ll need to pair it with an extension lead in a larger studio setting.

The final item is the carry bag, which is only included in the Lighting Kit and 3-Point Lighting Kit. It’s a surprisingly nice bag for the price range. The outside is made from a durable canvas-like material with a little padding on the inside to keep everything safe. You would want to shove loads of heavy kit on top of it, but it’s great for carrying the lights to and from a shoot in dry-ish weather.

However, while it has provision for everything within the two-light Lighting Kit, the 3-Point Lighting Kit inexplicably comes with the same bag, so you’re left with nowhere to stow the third light and its accessories. Even if you’re just using the lights in a home studio, it would be nice to have the option to pack them away in the bag. Because this is a review of the standard two-light kit, I won’t be marking it down, but if you are considering purchasing the three-light kit, this is a substantial oversight as far as I’m concerned.

Lume Cube Studio Panel Lighting Kit: Performance

The first thing I noticed when I turned on the Lume Cube Studio Panel is how bright it is in comparison to my other LED panels. This is presumably down to Lume Cube’s proprietary Edge-Lit technology. Each Studio Panel features 200 inward-facing LEDs with a built-in diffuser. According to Lume Cube, this provides “perfectly balanced light that’s powerful but soft with even coverage.” And I have to agree. The panel emits an attractive beam that can be ramped up without ever feeling overly harsh.

It’s important to note that while the light is powerful enough for some limited daytime outdoor uses, I wouldn’t recommend it for regular outdoor use. For starters, you cannot compare a 10-inch LED panel to a powerful strobe light. This isn’t a light that’s going to compete with the sun, nor is it a light you’ll want to position too far away from your subject (due to dropoff). It’s also not rugged enough for regular outdoor use.

The stands are good quality, but I wouldn’t want to be using them regularly on wet, muddy, or sandy surfaces. And while the 80-minute battery life at full power is decent, a light like the Rotolight Anova PRO 3 would be a more suitable outdoor choice because it has a removable battery, so you can bring spares on the shoot. If the Lume Cube Studio Panel runs out mid shoot and you’ve no access to a power supply, you’re stuffed.

What the Lume Cube Studio Panel does have in its favor is its portability. If you’re an outdoor content creator looking to carry around a light panel as an emergency light source for when the sun begins to dip, conditions are flat and overcast, or when it begins to get dark, and you want to squeeze out a few more shots, I think the Studio Panel could provide the solution.

In a controlled, indoor environment, the Studio Panel really comes into its own. I shoot a lot of product photography using my Raleno Video Light and a few smaller Lume Cube lights, and the Studio Panel Lighting Kit immediately bested my setup and slotted effortlessly into my workflow.

The beam is more than powerful enough for product photography, given that the lighting is often placed closer to the subject. However, you can certainly use the kit to light human subjects in a controlled environment.

You get a versatile kelvin range of 2700K – 7500K and a CRI rating of 96+, so you’ve plenty of color temperature wiggle room, and you can be sure that your subject is illuminated accurately. Some might be disappointed by the lack of RGB colors and special effects present in other Lume Cube lights, such as the RGB Panel Pro 2.0 and Tube Light Mini. And while a more feature-rich light wouldn’t be unwelcome, something I really like about the Studio Panel is its simplicity.

In a world where most tech strives to do more, the Lume Cube Studio Panel is simple in both its feature set and execution. The panel’s three controls make operation a breeze, and the remote control is a fantastic extra that’s simple to use and super responsive. You can set up to 9 channels. To set a new channel, you hold down the ‘CH’ button on the panel, wait for the ‘CH’ on the LCD screen to flash, and then use the color temperature wheel to cycle through the channels.

And if you’re really set on colorful lighting, the presence of barn doors means that you can easily attach colored gels if you want to. Having barn doors is a nice addition, providing extra control, but as mentioned, I do worry that they might loosen over time. Already, they don’t lie completely flat over the lighting panel when stowed.

That said, it’s a shame the Studio Panel isn’t compatible with the Lume Control app. I tend to operate my lights via the on-board controls anyway, but I do think the app works very well and is a useful asset to have. I’m sure Lume Cube’s intention was that the remote fills that gap, but for existing customers who have a large number of Lume Cube lights, this does feel like an unnecessary omission.

Another boon for simplicity’s sake is that these lights can be run via mains power. I totally get why ultra-portable LED lighting solutions don’t come with an AC adapter – it defeats the purpose – but there’s nothing worse than settling into a photography session only for a light to run out of juice.

Having the option to use an AC adapter reduces so much hassle. If you forget to charge the device or the shoot is taking longer than expected, you simply don’t have to worry. This speeds up your workflow, too. When I’m using my smaller lights, I’m constantly switching them on and off to conserve power, but with the Studio Panel plugged into the mains, I don’t have to worry.

Lume Cube Studio Panel Lighting Kit: Verdict

If you’re looking for an LED panel lighting kit that you can rely on, long term, then the Lume Cube Studio Panel Lighting Kit is a great shout. Not only does it come with everything you need to get started, fresh from the box, but the meat of the setup – light panels and stands – are great quality for the price. The kit is let down a little by a pair of cheap lighting mounts and while the barn doors fare better, I’m not convinced they’re built to last.

Still, what really counts performs well. The LED panels emit strong, even beams of light and while you could be disappointed by the lack of RGB features, the unbloated feature set makes each light easy to set up and use. And I like that. I am disappointed by the lack of Lume Control app support, but the decent remote control does at least half-fill that gap.

I wouldn’t rate these lights for rigorous outdoor use. For starters, they’re not really powerful enough, and secondly, they’re clearly not built for rugged outdoor use. However, that’s not to say that on-the-go content creators can’t make use of them outside in a pinch. I’m also pleased that they run on AC power. This really elevates them to studio status, and while they run on batteries, the ability to plug them in and not worry about losing a light mid-shoot is a huge boon.

Alternatives

The Photography & Video Show has always been a calendar highlight for photographers, but if you still think it’s just about mirrorless launches and lens announcements, 2026 is shaping up to prove otherwise.

One of the standout additions to this year’s program is a paid workshop led by Finnish director of photography Jenni Suitiala, and it firmly plants the show in serious filmmaking territory.

Suitiala is no armchair educator. She’s a working cinematographer who moves fluidly between documentary and narrative film, with credits spanning documentaries screened on Channel 4 and Sky, as well as feature films and high-end television lighting crews. Alongside her production work, she serves as a visiting tutor teaching lighting and cinematography at multiple universities and NFTS North, bringing real-world, on-set experience straight into the classroom. That blend of practical craft and academic rigor is exactly what makes this workshop one to watch.

At The Photography & Video Show 2026, Suitiala will host an exclusive session on March, 15 2026 from 11:00-12:30 in the Toute Suite (just outside the Hall 5 of the NEC, where the main show is taking place). 

This session which will focus on how to set up and light a master documentary interview. This isn’t theory-heavy fluff. It’s a practical, demonstrative workshop designed to show how a professional DP approaches shaping light, controlling contrast, and building mood in a documentary setting where time, space, and resources are often limited. For anyone who has ever struggled to make a talking head look cinematic rather than flat, this is the kind of session that can shift your entire approach.

What I particularly like about this addition is what it says about the direction of the show. Yes, there will be cameras, lenses, tripods, and all the kit we obsess over. But by platforming a working DP with credits across broadcast and film, The Photography & Video Show is making it clear that storytelling, lighting craft, and professional-level filmmaking are just as central to the event. It’s a reminder that the industry doesn’t stop at stills, and neither should we.

• The Photography & Video Show 2026: everything you need to know
• Get 20% off tickets of your tickets with our exclusive money-saving code!

If you’re planning to attend, it’s important to note that this is a paid workshop, costing £24. You’ll need to purchase a ticket for admission to The Photography & Video Show 2026, and then book your place separately on Suitiala’s workshop.

Spaces are limited, and sessions like this tend to fill quickly, especially when they promise hands-on insight you can immediately apply to your own work.

For filmmakers, hybrid shooters, and photographers who are increasingly stepping into motion, this feels like one of those quietly essential sessions.

A well-lit interview can elevate a documentary from competent to compelling. Learning how a seasoned DP builds that look, step by step, is the kind of investment that pays off long after the show floor lights dim.

Find more information on The Photography & Video Show website

You can book for additional workshops and photo walks using this link.

Godox has just announced the new V1 Mid camera flashgun, geared towards photographers “demanding professional lighting in a more compact form”.

According to the manufacturer, the new V1 Mid flashgun achieves “brighter output, more even illumination, and smoother light transitions” in an even more portable design.

This V1 Mid is the latest flashgun in Godox’s TTL Li-ion Round Head lineup – the round head providing more natural, soft light fall-off at the edges of objects compared to traditional rectangular flash heads.

Godox has designed the V1 Mid implementing its optimized optical lens group which shapes light at the output stage. In theory, this further enhances smooth transitions and even lighting across the frame.

The new V1 Mid can take up to 650 full-power flashes on a single charge with a 1.7-second recycle time. While not the fastest flash on the market, the high output and decent response time suit to photographers needing to work quickly.

Godox has slimmed the V1 Mid down, packaging its professional power into a lightweight 14.5 oz (413g) with a battery inserted. Compared to the V1 Pro, which comes in at 20.4 oz (580g), and the V100, at 21.8 oz (619g), the weight savings are significant.

However, saving weight comes at the expense of versatility. Unlike the V1 Pro and V100 models, the V1 Mid flashgun is not compatible with the SU-1 sub flash – meaning less potential to achieve more contrasty, harsher images.

The V1 Mid features a user-friendly touchscreen for easy navigation and changing settings. Another nifty feature is that the battery supports USB Type-C charging as well as charging via a standard adapter.

All in, the new Godox V1 Mid camera flashgun looks to be a good choice for photographers wanting professional-grade lighting that can easily be packed away, but who don’t mind compromising slightly on functionality.

Godox has stated an RRP of $179 (approximately £131 / AU$256) for the V1 Mid flash, but prices may vary depending on your location.

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Our take on the best flashguns and strobes for mirrorless and DSLR cameras.

Godox has earned an excellent reputation for its flashguns, studio and portable flash heads, wireless triggers and wide-ranging accessories. In terms of flashguns, there’s plenty to choose from, starting with tiny, universal units like the Godox iM20 and Godox iM22, right up to the powerful and sophisticated Godox Ving V860III and Godox V100, featuring rectangular and round-head flash tubes respectively.

This iT32 & X5 kit is something rather different, and a bit of a game-changer when it comes to flashguns. The iT32 is the flash side of the equation but unusually, it has no mounting foot. You therefore can’t slot it directly into your camera’s hot-shoe. That’s taken care of by the X5, which connects to the flash with a simple push fit and is held in place by magnetic attraction. The X5 also serves as an RF wireless trigger that’s compatible with the full range of Godox X-system flashes. The kit is a really clever bit of design, the components of which work together with the aim of being one of the best flashguns on the market.

Godox iT32 & X5: Specifications

Godox iT32 & X5: Price

Own-brand flashguns from camera manufacturers tend to be notoriously expensive, but Godox has a reputation for manufacturing top-end equivalents at much more affordable prices. Even so, the sophisticated and powerful Godox Ving V860III costs around $229 / £220 / AU$400, and the Godox V100 lists for about $349 / £330 / AU$600. They’re certainly not ‘cheap’.

The complete kit of Godox iT32 flash with your choice of X5 hot-shoe mount/trigger is very keenly priced at just $99 / £89 / AU$179. Separate/additional components are also available, with the iT32 flash unit costing $79 /£71 / AU$143 and the various dedicated versions of the X5 costing $19 / £22 / AU$57. The Sony versions of the complete kit and separates are slightly more expensive.

Godox iT32 & X5: Design & Handling

This flashgun kit is different by design. Picture this… you’re doing a shoot with two different brands of camera, probably with different types of lenses, swapping between them as necessary on a shot by shot basis. Normally, you’d need a separate, dedicated flashgun for each camera. Not so with this kit. The iT32 flash is pretty much universal yet enables full dedication with TTL flash metering. That’s thanks to the separate X5 hot-shoe mounting module that’s available in Canon, Nikon, Sony, Fujifilm and OM System options. The iT32 flash is a simple push fit for the X5, the two locking together magnetically. You can therefore buy the requisite dedicated X5 modules for your different cameras, mount them in the hot-shoes, and simply move the iT32 back and forth as you please.

Okay, I concede that most people aren’t like me and probably only shoot with one make of camera. Even so, the iT32 & X5 still have a lot to offer in this scenario. That’s because the X5 isn’t just a hot-shoe mount, but is also a dedicated TTL wireless flash trigger in its own right. This makes it equally quick and easy to join the two components together for on-camera flash, or separate them for using the iT32 off-camera, for more creative lighting effects. Now that’s what I call versatile.

The dedication doesn’t just cater to TTL flash metering. It also includes front- and rear-curtain flash and high-speed sync, typically up to 1/8000^th of a second but including 1/80,000^th of a second for Sony cameras that feature a global shutter. There’s also programmable strobe/multi flash on the menu, for firing multiple flashes during a long exposure. And as well as magnet-mounted connectivity and remote RF wireless, there’s also the option of using a sync cable with a regular 2.5mm jack plug.

Most of what I’d expect to find in a regular dedicated flashgun is present and correct. It has a bounce and swivel head, onboard controls, and an LED modelling lamp. However, these are implemented with varying degrees of completeness. Talking of ‘degrees’, the bounce facility is -7 degrees (slightly downwards) to 90 degrees (vertical), so there’s no ability to flip it up and over for a slightly rear-facing orientation, unless you also employ the lateral swivel facility. This itself offers a full 180 degrees to the right, but only 90 degrees to the left. I’m more than able to forgive the relatively limited range of movement in bounce and swivel, because the iT32 is so quick and simple to swap to off-camera flash, where you can naturally point the flash in any direction you wish.

Taking a leaf out of the Godox V100’s interface, as well as that of the companion Godox X3 (Xnano) and Godox X3 Pro wireless triggers, the iT32 has a color touchscreen interface, rather than a more conventional array of pushbuttons. Suffice it to say that if you’re a typical C21st human with a smartphone, you’ll feel right at home with the tap and swipe control system of this flashgun. Even so, I’m pleased that Godox has also built a rotary control dial into the right hand side of the flash, which enables precise scrolling through power adjustments and menu options without an overload of tapping and swiping of the touchscreen.

Let’s talk of power. The stated Guide number for maximum output is Gn 18 / 59 (ISO 100, m /ft). That’s a lot more powerful than a pop-up flash if and where featured in a camera body, and beats most on-camera mini-flashes. Even so, it looks a fair way short of most ‘proper’ flashguns, which tend to be anywhere between around Gn 40 / 130 and Gn 60 / 200. But that’s not quite the whole story. Most serious flashguns have a motorized zoom head that stretches to a maximum focal length of between 105mm and 200mm, in full-frame terms. The maximum Guide number is generally stated at the long end of the zoom range, where the narrowed beam of light is at its most intense. With no zoom head, the iT32 is fixed at its most wide-angle setting, where its maximum power is more similar to that of other flashguns. On the plus side, I don’t feel I’m missing much with the lack of a zoom head in this case, as I’ll come to later.

The other side of the power equation is the batteries that run the kit. In keeping with modern designs, rechargeable Li-ion power packs are used in preference to AA or AAA batteries. As such, the iT32 features a 7.4V / 900mAh battery and the X5 has s smaller 3.8V / 100mAh. The upshot is that the flash has sufficient stamina for around 510 full-power flashes, many more at lower power settings. The other main plus point of Li-ion batteries is that recycle speeds tend to be a lot quicker, in this case equating to 1.5 seconds after a full-power flash. The X5’s battery lasts for around 16 hours and takes about 3 hours to fully charge when connected to the iT32.

As I’ve mentioned, the flash tube isn’t the only light output from the iT32. It also has an LED modelling light. That’s something I really like, as it enables you to preview the lighting effect and how it falls on the subject, especially when you’re using the flash off-camera. The other benefit is that, unlike DSLRs, mirrorless cameras can’t use the red autofocus-assist beam from old-school flashguns, so the modelling LED lamp also helps with autofocus under very low ambient lighting conditions.

I’d be content with just a modular flash and hot-shoe base / wireless trigger, but this kit also includes some smart extras as part of the retail package. The iT32 comes complete with a diffusion dome for softening the light, two color correction filters, a magnetic stand for off-camera use, a USB-C charging cable and a carrying pouch. Optional extras include a wider range of color filters, a wide-angle diffusion panel and additional, mix and match X5 bases / triggers. However, if you buy additional X5 units on their own, they’re not supplied with a carrying pouch or case.

Godox iT32 & X5: Performance

Flash is often called ‘the most available light’. If I’m in situations where I’m using a flashgun as the main or supplemental source of light, time is often of the essence. For weddings, events and other scenarios where you have to capture the action as it unfolds, you don’t have time to mess around with settings, and you generally have to get things right first time.

A critical performance factor of the iT32 and X5 is that they’re incredibly quick and easy to set up. Everything just ‘works’, whether you’re using the flash on-camera or off-camera, with amazingly fast switching between the two. On top of that, the color touchscreen interface makes it equally speedy and painless to make adjustments on the fly, so you can be confident of not missing crucial shots.

For comparison, I took three sample shots of a motorcycle model (7 inches in length) on a sheet of white paper. For the first shot, shown above, I used direct on-camera flash, with the inevitable results of a rather flat, 2-dimensional look and dark shadows.

For the second shot, again shown above, I used the flash on-camera again but bounced the flash off the ceiling, which gives a much softer lighting effect, along with a more 3-dimensional appearance. Notice how bounce flash has also banished those dark shadows from beneath the bike, compared with direct on-camera flash.

Although the maximum power output is very respectable for a ‘mini-flash’, I found that it’s only equivalent to using a quarter of the available flash power from my full-sized Godox Ving V860III at the latter’s 24mm zoom setting. The upshot is that when using bounce flash with relatively high ceilings or at greater distances, you’re more likely to need to bump up your camera’s ISO setting.

For the third and final shot, shown above, I separated the iT32 flash from the X5 and used the latter as a wireless trigger. Using off-camera, remote flash, I positioned the flash low down and to the right hand side of the model, to give a dramatic lighting effect.

With no motorized nor manual zoom head, the maximum power output looks a little underwhelming. However, the wider, fixed beam angle gives a good spread of light and delivers a softer effect when bouncing the flash off adjacent walls or ceilings. I always bounce my flash whenever possible, as it delivers an effectively larger source of light than using a zoomed, narrow beam directly. Bounced flash typically gives a much better, 3D look to images, and off-camera remote flash is so readily available that the lack of a zoom head is of even less consequence.

There’s also the possibility of removing the flash from its X5 base and physically moving it nearer the subject for direct flash, in lieu of a zoom facility. Ultimately, I found the power of the flashgun sufficient for indoor use, and the high-speed sync comes in handy for applying fill-in flash under a glaring sun. I found TTL flash metering pretty accurate and consistent when using all of my Nikon and Sony cameras.

Stamina from a fully charged pair of batteries for the iT32 and X5 lived up to expectations in my tests, as did the fast recycle speeds between even full-power flashes. At lower power settings, recycling speeds are pretty much instantaneous, and there’s also a programmable strobe / multi-flash option which you can set at up to 100 flashes at 100Hz.

Sometimes more is better. Multiple flashguns or studio flashes enable more exotic, creative lighting effects, so I’m happy that the X5 makes for easy triggering not only of the iT32 but also for other flashes in the Godox X system 2.4GHz RF wireless family, like my pair of Godox Ving V860III flashguns and the Godox AD200 Pro II and Godox AD600Pro II studio/portable flash heads.

There is a caveat though. While disengaging the X5 from the iT32 enables seamless switching to wireless triggering, without the need to manually pair the two, the wireless range shrinks from 80m to 20m. The X5 also has no onboard display screen, so for effectively controlling and triggering multiple flashes across the Godox X system, you really need to have the iT32 plugged into the X5, so you can make use of all the options enabled by its touchscreen control panel. That’s no big deal as far as I’m concerned and if it is for you, you can always get an additional standalone trigger like the conventional Godox XPro TTL/HSS or touchscreen-controlled Godox X3 (Xnano) or Godox X3 Pro.

Godox iT32 & X5: 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 table below shows both 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 for the same settings.

The maximum power output is fairly generous for a ‘mini-flash’ but only equivalent to about one quarter power output from most full-sized flashguns, at their 24mm zoom setting. Recycling speeds are fast, being virtually instantaneous at most power settings and dropping to a still quick 1.5 seconds after a full-power flash.

Godox iT32 & X5: Verdict

I’ve often been frustrated by the time and effort that it takes to switch between on-camera flash and off-camera remote flash, for different lighting effects. For the latter, you generally need to use a curly connection cable which is restrictive and inconvenient, or set up a wireless trigger and put your flashgun into receiver mode, which can be a bit long-winded. To my mind, the killer feature of the iT32 and X5 kit is that you can simply pull them apart for off-camera flash, and everything sets itself up automatically, then snap them back together again for on-camera flash. It really couldn’t be any more quick and easy.

I also like being able to use the same flash with additional X5 triggers to swap between Canon, Nikon, Sony, Fujifilm and OM System camera systems, rather than needing to buy complete flashguns for each type of camera. Sure, the iT32 isn’t the most powerful flashgun around and lacks a zoom head, but it has a smart range of features and intuitive handling based on a color touchscreen interface. The X5 module isn’t as fully featured as high-end wireless flash triggers but the iT32 and X5 combine to make an excellent kit, at a very competitive price.

Alternatives

Update: if you're in the UK and want to experience the Wescott FJ250 strobe first-hand, you'll find it on display at The Photography and Video Show 2026 , held 14-17 March at the NEC, Birmingham.

Wescott’s newest strobe light packs 850 full-power flashes into one charge – yet it’s also one of the lightest lights in the series. This week, Wescott unveiled the FJ250 250Ws Touchscreen strobe, a mid-tier light geared for on-location lighting as well as accent, rim, hair, and backlighting multi-light studio setup.

The FJ250 Touschreen Strobe is neither the cheapest nor the most expensive in the series, sitting at about $400 / £449. But while the 250Ws light may not pack quite as much power as the series’ 400Ws and 800Ws options, Westcott says the light still boasts industry-leading recycle times between .01 and .9 seconds.

The light’s 850-shot battery life is also the best out of the FJ series, with the battery pack also being compatible with the FJ400 II and FJ800. High-speed sync is included, and the strobe also has a Freeze Mode, which handles up to 50 fps bursts. Additional high-end shooting options include Creative Masks, which allows photographers to pre-program up to six multi-light combinations to shoot in a row.

Those settings are controlled with a full-color OLED touchscreen, while the light is compatible with all FJ series wireless triggers.

The new strobe option is also the lighter choice among the series, weighing about 4.2 pounds / 1.9 kg.

The strobe uses a native Bowens mount for modifiers and also has a 12W bi-color modeling light for previewing light placement.

The Wescott FJ250 is available in single or two-light kits at B&H.

• The Photography & Video Show 2026: everything you need to know
• Get 20% off tickets of your tickets with our exclusive money-saving code!

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The original Godox AD100Pro quickly became one of those flashes I found myself reaching for far more often than expected. Its tiny size made it an easy light to throw into a bag “just in case” – and more often than not, it ended up doing far more work than its pocketable proportions suggested. Now Godox has given that compact strobe a refresh with the new AD100Pro II, focusing less on headline-grabbing power boosts and more on the sort of practical refinements that make a difference in real-world shooting.

The AD100Pro II retains the same 100Ws maximum output, which remains a sweet spot for portability for off-camera lighting, whether you’re working with fill light outdoors, lighting a small portrait setup, or building a compact multi-light kit.

Instead, the new update adds revamped thermal management. Godox has added an internal cooling fan, allowing the flash to deliver 60 to 100 consecutive full-power flashes without overheating, which will be a significant upgrade for photographers who rely on sustained bursts rather than single pops. Recycle times are quick for a flash this size, ranging from around 0.01 seconds at low power to roughly 1.5 seconds at full output.

Visually, the flash gains a clearer TFT display, but the most noticeable design tweak is the addition of 16 colour-coded group indicator lights around the body. It might appear a minor change, but it should be one that makes a surprising difference when you’re working with multiple Godox units and want to know, at a glance, exactly which light is in which group – and with a memory as bad as mine, it’s something I’ve often found myself wishing for.

Wireless control is built in, supporting both 2.4GHz and 433MHz transmission, and the AD100Pro II integrates with Godox’s X-series triggers and Flashpoint R2 system, so it should slot straight into most existing Godox lighting kits. TTL is supported across Canon, Nikon, Sony, Fujifilm, OM System, Panasonic, Pentax, and Leica cameras, along with high-speed sync up to 1/8000s.

Color output is rated at 5600K ±200K, while a 5W adjustable LED modelling lamp is included to help preview light direction and fall-off before shooting. Power comes from a 3300mAh USB-C rechargeable battery, which Godox rates for around 490 full-power flashes per charge.

Despite the upgrades, the AD100Pro II remains impressively compact. With the battery fitted, it weighs around 565g, and it keeps the familiar cylindrical design that makes it easy to pack alongside lenses and accessories. A built-in magnetic mount supports Godox’s AK-R1 modifier system, and with an optional S3 adapter, the flash can also be used with Bowens-mount modifiers.

The AD100Pro II doesn’t try to reinvent what already worked, but it refines it. For photographers already invested in the Godox ecosystem – or those building a lightweight off-camera lighting kit – this might be the update you’ve been waiting for.

The Godox AD100Pro II is available now, priced from $299 / £299. The flash will also be sold as the Flashpoint XPLOR 100 Pro II R2 TTL at Adorama.

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Photography lighting giant Godox has a new portable flash for on-site photography – and it packs in 300Ws of power in a light that’s roughly the size of a 70-200mm f/2.8 lens. The Godox AD300ProII brings more versatile performance, longer battery life, and quick one-tap syncs to a popular on-site photography strobe light.

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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Many photographers will already be familiar with Godox lighting solutions, such as the Godox V480 compact on-camera flash or the Godox AD200 Pro II off-camera flash. Godox is certainly a go-to brand due to its products' combination of quality and affordability. As a long-term Canon user, I stuck to my trusty Canon Speedlite for a couple of decades until I discovered continuous LEDs, such as the Godox ML80Bi.

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 been a big Godox fan for a couple of years, but the Neewer Z3 is enough to make me think about jumping ship. The Neewer company has been going since 2011 and has built up a big fan base across the world. The name has become synonymous with high-performance photographic kit at very competitive prices. That’s a heady mix. Headline acts include a variety of flashguns and studio/location flash heads, LED panels, ring lights, video lights, and related add-ons such as soft boxes, brollies, reflectors, and triggers, to name but a few.

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

The most frustrating part of learning off-camera flash is getting the flash to sync with the camera consistently every time – but an unusual new flash has arrived that doesn’t need manual pairing when used off-camera. The Godox iT32 is a modular flash with a magnetic hotshoe that doubles as a wireless transmitter for unusual versatility on-camera and off.

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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At the start of 2025, I tested and reviewed a couple of LED lights from Neewer. One of them – the Neewer AS600B 600W Bi-colour LED – was a very powerful and heavy 600W studio light, weighing in at 5 kgs (11 lbs). It was so heavy that it shipped with a wheeled carry case.

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

Using your flash off-camera enables a massively wider and better range of creative lighting effects. Historically, remote flash comes courtesy of a curly cable that runs between your camera’s hot-shoe and the flash itself. Obvious drawbacks are that the distance is very limited and the arrangement is quite cumbersome. Wireless flash triggers are a much more elegant solution, cutting the cord and extending the range. ‘Dedicated’ wireless flash triggers are even better, as they enable a full range of flash modes and functions for specific camera systems, typically including the likes of automatic TTL (Through The Lens) flash metering and high-speed sync.

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

Godox has released the ML80Bi and ML150Bi bi-color LED lights, designed to deliver at high outputs, while maintaining compact and portable form factors.

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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I’ve been highly impressed with Viltrox lenses for Fujifilm X, Nikon Z, and Sony Alpha mirrorless cameras over the last couple of years, ranging from unfeasibly compact, lightweight, and affordable ‘Air’ series lenses to top-notch ‘Pro’ and ‘Lab’ lenses. While the company majors in lens design and manufacture, it also produces camera monitors, photographic lights, and lens adapters.

Viltrox has recently branched out into on-camera flash units, and I was quick to snap up a Viltrox Vintage Z1 Retro Flash, which I reviewed recently. I liked that it had a pretty much universal fit, suitable for any camera with a central firing pin in its hot-shoe, but the flipside is that without a dedicated design, auto TTL (Through The Lens) flash metering is off the menu. You therefore have no other option than to dial in the flash power setting manually. The Spark Z3 that I’m reviewing here goes the other way, being available (so far) in Fujifilm, Nikon, and Sony dedicated options, all with Auto TTL flash metering in addition to manual settings. Let’s see what it has to offer.

Viltrox Spark Z3: Specifications

Viltrox Spark Z3: Price

Own-brand flashguns from camera manufacturers tend to be pretty pricey, even for fairly entry-level models like the Canon Speedlite EL-10 at $219 / £280 / AU$350 and the Nikon SB-700 Speedlight at $418 / £310 / AU$450. Third-party alternatives tend to offer much better value, one of my favorites being the relatively powerful and feature-rich Godox Ving V860-III at $229 / £175 / AU$350. However, all of these are full-sized flashguns. 

The Godox Spark V3 is much more compact and lightweight, and relatively basic, although it does include Auto TTL flash metering. I reckon the early prices popping up around the Internet of $79 / £66 / AU$119 make it potentially great value for money. For comparison, the fully manual and less powerful Viltrox Vintage Z1 Retro Flash costs around $50 / £48 / AU$76.

Viltrox Spark Z3: Design & Handling

I used to be able to guess what a flashgun would look like before even seeing it, and I’d be right pretty much every time. I’m guessing you’re the same. But a couple of recent retro styled flashes have taken me by surprise, and in a good way. The first one was the Godox iA32 and the other was the Viltrox Vintage Z1 Retro Flash. The Godox isn’t as basic as it looks at first sight, as it has auto flash metering (not TTL) and an internal bounce facility with an operating knob on the side. The Viltrox is a purely manual flash but looks just the ticket on retro-styled mirrorless cameras, and both models feature dual optical slave modes – more on that later.

The Viltrox Spark Z3 that I’m reviewing here looks and feels very different to both of the above. Let’s start with its looks. It’s styled differently to any other flashgun that I can think of, with what Viltrox calls ‘a mech-inspired design with visible photon core.' To my mind, it has a sci-fi look to it that wouldn’t be out of place on a film set. And that’s not all. The ‘visible photon core’ refers to a transparent section of the top cover so that you can see the electronic components laid out on their circuit board beneath. All very trick!

More than just tech-mech style over substance, the Z3 currently comes in three dedicated versions to suit Fujifilm, Nikon and Sony cameras, with rumors of a Canon dedicated version to follow. The key advantage is that automatic flash metering works ‘through the lens’. As such, when in automatic mode, the Z3 fires pre-flash pulses, which the host camera registers through its lens and works out the appropriate power setting accordingly. That’s all well and good but I often find that the theoretically ‘correct’ flash exposure that automatic TTL flash gives me isn’t what I want in practice, so auto flash exposure compensation is often required. Digital cameras beat analog film cameras hands down in this respect, as you can simply review images as you’re shooting and adjust the flash power as necessary.

In fact, after many years of trying to rely on TTL flash metering and being disappointed along the way, I tend to favor manual power settings most of the time nowadays. The Z3 again obliges with a simple Auto/Off/Manual knob on its rear panel. When the flashgun is turned off and you power it up, you can therefore simply turn the knob to the left for Auto TTL mode or to the right for Manual power settings.

While the transparent section of the top cover gives you something interesting to look at, there’s no LCD info screen, which would arguably be of greater use. There aren’t even any indicator lamps for power settings. Indeed, TTL flash exposure compensation needs to be set by using the menu system of the host camera, rather than directly on the flashgun. And for power adjustments in Manual mode, there’s a rotary knob just next to the Auto/Off/Flash knob. Instead of a rank of indicator lamps, which are often featured in flashguns that lack an LCD display, the knob simply has power values printed on it, comprising 1/64, 1/32, 1/16, 1/8, 1/4, 1/2 and 1/1 settings. As such, you can set anything from minimum to maximum power, nominally in full EV steps. That might well leave you wanting finer, intermediate settings and indeed, most flashguns enable you to adjust the power in much smaller increments of 1/3^rd EV steps.

Fancy a little something on the side? A switch on one side of the casing hints at the Z3 having another trick under its see-through hood, in the shape of dual optical slave modes. Sure, it doesn’t have the luxury or range of RF (Radio Frequency) wireless communication, but you can set the flash to be triggered by a master flashgun in a multi-unit setup. Moreover, the two operating modes enable the Z3 to be triggered by a main flash in Auto TTL or manual mode, the latter also catering to studio flash heads as it ignores any pre-flash pulses.

One thing that’s lacking in the Z3 is a bounce and swivel head, although that’s not surprising given the compact and lightweight form factor. Even so, it can be a bit of a blow if you like bouncing flash off a ceiling or wall for a softer lighting effect. On the plus side, the Z3 is supplied complete with a white diffusion panel that you can clip onto the front. This not only softens the quality of light but also gives more wide-angle coverage.

Viltrox Spark Z3: Performance

The time-honored tradition is for flashguns to run on either two or more commonly four AA batteries. More recently, that’s given way to flashguns featuring rechargeable Li-ion batteries, either as a clip-in battery pack or an internal battery. The Z3 backs up its futuristic looking design with an internal 3.7V, 1800mAh Li-ion battery. Typical advantages over AA batteries are faster recycle speeds after high-power flashes, and greater stamina in terms of the total number of flashes you can get before you need to change or recharge the batteries. In this case, the internal battery can deliver 650 full power flashes (very many more at lower power settings), after which it takes about 70 minutes to recharge, via the Z3’s USB-C charging port.

I think the number of full-power flashes per charge is very impressive, considering that the maximum output is a pretty meaty 26Ws, equating to a claimed Guide number of Gn 16 / 52.5 (ISO 100, m / ft). The maximum output itself is rated a lot higher than the pop-up flash of most cameras. For example, that of the Nikon Z50II is rated at Gn 5.6 / 18. Either way, the Z3 actually delivered a maximum power equivalent to Gn 11 / 36.1 in my tests, one stop less than the claimed figure. On the plus side, the full step EV adjustments in manual power settings proved accurate in my tests, from full power down to 1/8^th, although they were less consistent in the lowest part of the range between 1/4 down to the minimum of 1/64^th.

I did miss being able to adjust the manual power setting in finer increments than full EV steps. The following gallery demonstrates the minimum available adjustments. The first shot in the sequence has what I feel is the correct flash exposure, at a power setting of 1/16^th. For the second shot, flash power was decreased by as little as possible to 1/32^nd and for the third it was increased by the minimum amount to 1/8^th. I could have done with some finer incremental adjustments.

When it comes to recycle speeds, Viltrox claims a super-fast time of just 1 second after a full-power flash, before the Z3 is ready to fire again. In my tests, the Z3 lived up to these claims and as I’d expect, recycle speeds after low-power flashes are virtually instantaneous.

I tested the Nikon-dedicated version of the Z3, using my Nikon Z6 II and Nikon Z fc cameras, plus my old Nikon D7100 DSLR. I found that Auto TTL flash metering gave me consistently ‘correct’ exposures when using a number of different lenses and shooting various subject matter over different distances. The accuracy was borne out when taking test shots of a grey card and checking the histograms of the resulting images.

The quality of light from the Z3 proved very good and with a manual white balance setting, the color temperature was very consistent over the whole power range. With my Nikon-dedicated version of the Z3, I found that a wide range of flash modes was available through the camera’s menu system, although high-speed sync is not supported so you’re limited to the regular sync speed of the host camera body. That can be a bit of a pain when using flash to fill in shadows during sunny day portraiture.

The diffuser panel is of value for softening the light a little although, with no bounce or swivel modes being available, it has little effect on dark shadows. The following pair of shots was taken of some flowers in a vase from slightly above, with and without the diffuser panel fitted. The diffuser does soften the light and reduce the hardness of shadows but those shadows are still very deep.

I found the optical slave options worked well with good reliability, in both available modes. S1 mode is for use with a master flashgun in TTL mode, S2 when there are no pre-flash pulses. Either way, you can only use the Z3 as a slave flash in Manual power mode settings.

Viltrox Spark Z3: Lab Results

We test all available features for each flashgun that goes through out labs. To test power output, we used 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 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 table below shows both 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 for the same settings.

Viltrox Spark Z3: Verdict

Many modern mirrorless cameras don’t feature a pop-up flash, all three of mine included. I like that the Viltrox Spark Z3 stands in admirably for this omission, being small enough to fit in a spare coat pocket yet slipping into a hot-shoe and delivering a sizeable chunk of power, surpassing that of any pop-up flash I’ve ever used in my older cameras. The Auto TTL metering is reliable and proved consistently accurate in my tests. Manual power output is quick and easy to adjust, although I wish there were finer increments on tap, rather than just full EV step changes. The ‘mech-inspired’ design is a matter of taste but I rather like it, and the supplied diffusion dome is a nice add-on. All in all, the Z3 is a really handy little flash and great value at the price.

Alternatives

When it comes to wireless flash triggers, most of us want one thing: reliability. If it fires when I press the shutter, I’m happy. That’s why I was pleasantly surprised when the Godox X3 was introduced a while back; it not only worked flawlessly with my setup but actually made lighting feel simpler. It’s been a game-changer for my shoots, connecting instantly and never misfiring once.

Now Godox has announced the X3 Pro, and it feels like it's taking that already rock-solid formula and evolving it into something far more ambitious.

The X3 Pro is more like a command center for your lighting than a flash trigger. The first thing you notice is the 2.4-inch touchscreen, which replaces fiddly button-driven menus I’ve grown used to over the years.

It supports up to four groups simultaneously for real-time monitoring and control, but the system can handle up to sixteen groups in total. That’s a big deal if you’re running multi-light setups, as it eliminates guessing. No more menu-diving; just tap, adjust and shoot.

The creative shutter control features are exciting. You can now program single-shot, time-lapse and long-exposure sequences directly through the trigger itself – no extra intervalometers or clunky workarounds. This versatility saves time on location and opens up new ways to work with both flash and ambient light.

Connectivity has also been taken up a notch. The X3 Pro has Bluetooth integration, enabling you to pair it with the Godox Flash app to adjust power, groups and settings from your phone or tablet. I can already see how handy this would be on larger shoots, where the trigger isn’t always in reach or when I want to fine-tune lighting without walking back to the camera.

Under the hood, the X3 Pro builds on the proven 2.4GHz Godox Wireless X system, which I’ve come to trust. With 32 channels and 16 groups, it’s designed to stay rock-solid even in busy environments where interference could be an issue. And for those who like precision, there’s compatibility with the Sekonic L-858 light meter, which means meter-based syncing for ultra-accurate results.

Power isn’t going to be a problem, either. The built-in lithium battery promises up to a month of standby time and, with USB-C fast charging, you’re fully recharged in just two hours!

ABOVE: Watch the X3 Pro launch video

From my perspective as someone who’s lived with the original X3, this new Pro model looks like the natural evolution. I’ve relied on the X3 for its consistency and I’ve yet to see it miss a beat. Knowing Godox, I expect the X3 Pro will keep that same reliability while adding layers of control that will appeal to working photographers who demand speed and precision.

So why should you care? If you’re already in the Godox ecosystem, this feels like the most complete, forward-thinking trigger they’ve ever released. It’s compact, powerful, and designed to keep pace with the realities of modern shooting.

The Godox X3 Pro Wireless Flash Trigger is available for Canon, Nikon, Fujifilm, Sony, and OM System cameras. And available to order now for $99 (UK and Australian pricing to be confirmed)

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When it comes to flash, I’ve invested in Godox for work and play. I’ve been using a pair of Godox Ving V860III flashguns and a companion Godox XPro i-TTL RF wireless trigger for a couple of years now, for paid photo assignments and just for fun, pairing them with my Nikon Z system cameras. I’ve also been impressed with the Godox V1, Godox V1 Pro and Godox V100 flashguns, all of which feature a round rather than rectangular flash tube. For my money, they’re among the best flashguns on the market, and there are also the relatively tiny Godox iM20 and Godox iM22, which are manual flashes designed to work with a wide range of cameras.

The ML-150II Macro Ring Flash follows suit, with ‘universal’ appeal that enables it to work with any camera that has a central triggering pin in a standard-sized hotshoe. There are therefore no dedicated options and, unlike the more advanced, retro-styled Godox iA32, it lacks auto flash metering courtesy of a built-in light meter or optical slave modes. Even so, it aims to be a worthy competitor as one of the best macro ring flash kits on the budget-friendly side of the market.

Godox ML-150II: Specifications

Godox ML-150II: Price

Advanced macro flash kits from the likes of Canon and Nikon can cost anything up to $1,079 / £1,129 / AU$1,749 for the Canon Macro Twin Lite MT-26EX-RT, or $880 / £900 / AU$980 for the Nikon R1 Close-Up Speedlight Remote Kit and SU-800 commander unit. That’s a lot of money, even if you’re a pro photographer specializing in macro.

At the budget end of the scale, there’s the K&F Concept KF-150 Macro Ring Flash in Canon and Nikon dedicated versions, at $116 / £100 / AU$180, and the Neewer RF1 Macro Ring Flash at $108 / £130 / AU$168, which comes in Canon, Nikon and Sony dedicated options. In some world regions, the Godox ML-150II Macro Ring Flash undercuts them all, with a typical purchase price of $89 / £99 / AU$170, but it's a comparatively straightforward kit.

Godox ML-150II: Design & Handling

Think macro ring flash and you’re probably thinking of a two-piece kit that includes a control unit and a circular flash unit, joined together by a curly cable. And you’d be absolutely right in this case. While some macro flash kits like the Canon and Nikon ones I mentioned earlier have dual flash heads that you can position at various angles, ‘ring’ flash has a circular tube, as its name suggests. That’s definitely the design ethos behind the Godox ML-150II, but it’s a little different than most.

The K&F Concept and Neewer kits that I’ve mentioned above come in various dedicated options, to suit specific camera brands. Typical advantages include automatic TTL (Through The Lens) flash exposure metering and both of these kits also deliver programmable ‘Multi’ stroboscopic/repeat flash modes. That said, you might well not feel the need for a Multi flash mode in macro shooting, and the K&F Concept kit that I tried in its Nikon dedicated version only enabled Auto TTL flash with select DSLRs, but not with mirrorless Z-system cameras. That puts the Godox on more of an equal footing. It can be a bit of a moot point anyway, as many photographers (myself included) prefer to set the flash power manually for extreme close-up shooting.

The only real inconvenience is that with no dedication, the host camera doesn’t even know there’s a flash unit slotted into the hotshoe, switched on and ready to roll. With mirrorless cameras, you’re likely to need to switch off ‘live exposure preview’, as well as shooting in Manual exposure mode and changing the white balance to its ‘Flash’ setting.

A telltale sign of the lack of dedication is that the hotshoe of the Godox control unit only has a single connection pin at its center, rather than any peripheral pins. This is used for triggering the flash from any camera that has a regular hotshoe. And even if it doesn’t, you can often get a hotshoe converter for cameras that feature a non-standard hotshoe. There’s also a PC Sync socket on the side for cable-fed triggering.

With no alternative flash modes nor any auto flash metering and therefore no flash exposure compensation, the layout of the control unit is very simple. Instead of the usual LCD information panel and plethora of pushbuttons, plus a 4-way pad or rotary dial, the Godox gets back to basics. All you have to contend with is an on/off switch, a test fire button, and a pair of +/- buttons for turning the brightness up or down. It really couldn’t get any simpler, but you do get an illuminated display to show the current power setting.

The overall power range stretches from 1/32^nd to 1/1 full-power output. That’s not overly generous, considering that many macro ring flash kits offer two further full EV steps of power reduction, down to 1/128^th, and that the power is adjustable in 1/3^rd EV increments rather than the half EV steps of the Godox.

While the control unit is pretty much as universal as possible, the same goes for lenses with which you can use the kit. There’s a generous provision of eight attachment rings supplied in the kit, catering to lenses with a filter thread of 49, 52, 55, 58, 62, 67, 72 or 77mm in size. That covers all popular options from a very small 49mm right up to 77mm. As is usually the case, 77mm is the largest you can go, as it’s somewhat governed by the size of the flash unit itself. Suffice it to say that the kit should be compatible with pretty much any and every macro lens.

It’s not just the control unit that’s pared down for the ultimate in simplicity. The same applies to the flash unit. Most macro ring flashes that I’ve used have independent semi-circular tubes on the left and right, as well as LED lamps at the top and bottom. Both of the K&F Concept and Neewer kits are designed in this way. A key factor of ring flash for macro photography is that it delivers uniform, shadowless lighting. However, if you have two left and right tubes, you can alter the power ratio between them, to add a desired amount of shadow and 3D modelling.

That’s not possible with the Godox, as it simply has a single, fully circular tube. The lack of LED lamps at the top and bottom means there’s also nothing on offer for AF-assist or modelling lamps. One plus point of having a single, uninterrupted and fully circular tube is if you’re using the flash for portraiture rather than macro photography. In this case, you’ll be able to get those desirable and perfectly circular, halo-shaped catchlights in the eyes of the person you’re photographing. There’s always an upside!

Most of the Godox flashguns I’ve used, both large and small as well as in-between, feature a rechargeable Li-ion battery pack. It tends to be hot-swappable in the medium to large flashguns and built into the small ones. Advantages typically include super-speedy recycle speeds even after a full-power flash, and plenty of stamina so you can keep shooting long after traditional batteries have died.

This macro ring flash kit takes a more conventional approach, running on a set of four AA batteries. Godox reckons you can get from 300 to 1,000 flashes from a set of batteries, depending on power settings, and claims a nippy recycle speed of 2 seconds after a full-power flash. Naturally, you can use alkaline batteries, but I’d always go for a set of the best rechargeable AA batteries, which maintain relatively fast recycle speeds until they’re exhausted, and are then easy to recharge so you can use them over and over again.

Godox ML-150II: Performance

I’m not actually a massive fan of Auto TTL flash metering. That’s especially true when it comes to extreme close-up and full macro photography. I think it’s easy to get a feel for how much flash power you need when working at very short distances. It’s simple to dial in the required manual power setting, review the results as you shoot, and make any fine-tuning adjustments as you go. I tested the Godox ring flash with my trusty Sigma 105mm f/2.8 EX DG OS HSM Macro, which has a fairly typical working distance between the front of the lens and the subject of about 6 inches, at its shortest focus setting for maximum macro magnification. That really is close, so you don’t need a whole lot of flash power.

As it turned out, the absolute minimum power setting of the Godox was about right for an aperture of around f/11 to f/16, depending on subject matter, when using my camera’s base sensitivity setting of ISO 100. Again, that’s at the shortest focus length and a working distance of 6 inches or so. I used these settings to take the following test shot of a Rotary wristwatch.

The quality of light in terms of white balance and color spectrum remain impressively consistent throughout the entire flash range, right down to the lowest power settings. That’s a particular challenge for flash technology, based on IGBT (Insulated Gate Bipolar Transistor) electronics. The color pencils in the following shot have accurate color rendition but, without the split/dual left and right flash tubes, I was unable to accentuate texture and shadows in the bare wood areas of the pencils around the sharpened tips.

The claimed maximum power output of Gn 12 (ISO 100, meters) is only about as strong as you might expect from a tiny pop-up flash, if and when featured in a camera. It bears repeating, though, that relatively little power is required, due to the flash ring being positioned on the front end of a macro lens for extreme close-up photography, at very close working distances. Indeed, too much flash power at the minimum setting can be more of a problem.

When testing the Godox with a flash meter, I got a reading of Gn 8 at the maximum power setting. That’s rather lower than the claimed Gn 12, but I often find this scenario when testing flashguns. The built-in diffusion cover no doubt reduces the power of the bare flash tube, but has the advantage of softening the quality of light and reducing unwanted specular highlights. Either way, I found that at greater distances for looser close-ups, there was still plenty of power on tap.

Performance in terms of recycling speed proved pretty good. I found that the Godox nearly lived up to its claims of a 2-second recycling speed after a full-power flash, turning in a time of 2.4 seconds. As I’d expect, recycling after relatively low-power flashes is virtually instantaneous – time to get snap-happy!

The Godox has done well to reveal the finest levels of detail in the macro shot of a cut flower above, and of a tray of seeds below.

Godox ML-150II: 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 table below shows both 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 for the same settings.

Godox ML-150II: Verdict

These days, many of us are big fans of automation, from our coffee machines to the transmission in our automobiles. Delegate the work to someone/something else. This Godox macro ring flash is a purely manual affair, requiring a tiny bit more effort. But do you know what? I just don’t care. I think there’s a lot to be said for being Lord Of The Flash and being in complete control, having things exactly like you want them to be, and that goes for the intensity of ring flash in close-up photography.

Sure, I do miss the ability to set different power settings for a ratio between the left and right side of the ring flash, but the Godox is supremely straightforward and easy to use. It excels in delivering uniform, shadowless lighting for macro photography. All things considered, it’s a good bit of kit at a very affordable price.

Alternatives

If you go online and look for photographic accessories ranging from anything from camera batteries and grips to tripods, stands and other paraphernalia, it won’t be long before Neewer pops up in the results. The company has been going about its business since 2011 and has built a good reputation for designing and manufacturing quality kit at very affordable prices.

Despite a rapidly growing range of accessories in all areas, Neewer is best known for its lighting systems, which include flashes, LED panels, ring lights, video lights and related add-ons like soft boxes, brollies, reflectors, and triggers, to name but a few. The item I’m reviewing here is the Neewer RF1 Macro Ring Flash, which comes in dedicated options to suit Canon, Nikon and Sony cameras. I went for the Nikon dedicated version but all three aim to be among the best macro ring flash options currently available, especially if you’re on a tight budget.

Neewer RF1: Specifications

Neewer RF1: Price

What price a good macro flash kit? Own-brand options from camera manufacturers typically command serious money, like the Canon MR-14EX II Macro Ring Lite Flash at around $590 / £600 / AU$865 and the Nikon R1 Close-Up Speedlight Remote Kit at around $580 / £550 / AU$600, the latter also needing a Nikon SU-800 commander unit at $300 / £350 / AU$380, if your camera doesn’t have a pop-up flash capable of triggering it. By stark contrast, the Neewer RF1 Macro Ring Flash only costs around $108 / £130 / AU$168, despite coming in three dedicated options for Canon, Nikon and Sony cameras. That makes it potentially a top bargain buy.

Neewer RF1: Design & Handling

The RF-1 looks instantly familiar if you’re accustomed to ring flash kits. Eminently suitable for macro photography, it’s based on two separate control and flash units, joined together by a stretchable curly cable. As usual, the control unit slots into your camera’s hotshoe, while the flash unit mounts onto the front end of your lens. Some photographers use this type of flash for creating halo-shaped catchlights in people’s eyes during portraiture, but extreme close-up macro photography is their main claim to fame.

Typical of the breed, the control unit looks like the bottom half of a regular flashgun, but without the bounce/swivel flash tube on top. The control layout is also like that of many conventional flashguns, with a backlit LCD display panel and a collection of buttons and dials. Indeed, there’s the time-honored row of four context-sensitive buttons just below the LCD, along with dedicated buttons for Mode and Menu, and a Test button. There’s also a rotary dial with a Set button at its center. This again is fairly common, although many flashguns substitute the rotary dial for a 4-way pad.

The layout of controls and their operation is mostly intuitive, quick, and easy to use. For example, the Mode button comes with no unwanted surprises and simply cycles through the various TTL auto metering, Manual, and Multi (programmable strobe) modes on offer. In each of these modes, the left-hand and right-hand buttons of the 4-button strip are labeled on the LCD screen as Ratio and LED, respectively. I like that the illumination for the info screen lights up when you press any of the buttons or turn the rotary controller, making it easy to see and use in the dark.

My only slight complaint is that the rotary controller can be more fiddly to use than a 4-way pad. For example, the latter often enables full EV step changes if you press the left or right button, and smaller incremental changes of 1/3EV if you press up or down (or vice versa). The rotary dial isn’t too much of a faff if you’re adjusting TTL flash exposure in 1/3EV increments through a maximum of +/-3EV, but it can be a bit of a chore going through the whole 1/128^th to 1/1 power range in 1/3EV increments when using Manual mode.

The cable joining the control unit and flash unit is a heavy-duty affair and features anti-stress cushioning at each end. Naturally, the whole idea of the ring flash is that it connects to the front of your lens, whether it’s a macro or regular optic. Lenses come with a fairly vast range of attachment threads so it’s good news that the RF1 is supplied with no less than eight separate attachment rings. They go from little to large, the whole set comprising 49, 52, 55, 58, 62, 67, 72 and 77mm rings.

There are four lock/release latches for securely fixing the flash unit to whichever attachment ring you’re using, all of which have the same outer diameter. There’s a pair of spring-loaded pushbuttons on either side of the flash unit to enable quick and easy fitment and detachment.

Like many macro ring flash units, the RF1 features two separate semi-circular flash tubes, one on each side. This is by far my preferred arrangement, as it allows the power output of each side to be set independently, using the Ratio function. Each side tube isn’t quite a full semi-circle, which leaves space for two LED lamps, one at the top and one at the bottom. You can turn these on and off with the LED function, using them for AF-assist, modelling, or for filling in the blanks between the two side tubes when taking a shot.

Increasingly, I’ve seen flashguns for sale that feature a rechargeable Li-ion battery pack, which tends to deliver excellent stamina and very fast recycle speeds between full-power flashes. The RF1 is a more old-school design, based on the use of four AA batteries. Alkaline batteries are moderately suitable but recycle speeds tend to drop off noticeably after fairly little use, and you have to throw them away afterwards. I much prefer using a set of the best rechargeable AA batteries, which maintain relatively fast recycle speeds until they’re exhausted, after which you can simply charge them up and use them over and over again.

An alternative to using AA batteries is that you can power the RF1 from an external power pack. This is available as an optional extra, and has a connection cable that plugs into a socket on the front panel of the control unit, revealed by pulling out a weather-resistant flap.

An excellent accessory that’s supplied as part of the standard kit is a selection of white, red, yellow and green color filters. Each comes as a pair and fits individually over the left and right semi-circular flash tubes, so you can even mix and match if you feel the need. The white pair have added value, as I’ll come to in a moment.

Neewer RF1: Performance

When using flash in general shooting, especially outdoors or when bouncing it off high ceilings or distant walls, it can be easy to feel there’s never enough power. I found quite the opposite with the RF1. I tested it with my Sigma 105mm f/2.8 EX DG OS HSM Macro, which like many macro lenses has a working distance of about 6 inches from the front of the lens to the subject when using the shortest focus distance, for maximum macro magnification. That puts the flash unit incredibly close to what you’re shooting, so very little power is required.

I found that the TTL automatic flash metering worked with a good degree of accuracy and consistency but I prefer using manual mode for macro shooting and most other scenarios, so I can be in complete control. Switching to manual, I dialed in the absolute minimum of 1/128^th power for both sides of the flash unit. At a 6-inch range, I found that with my camera’s sensitivity at its base ISO 100 setting, I still had to use a really narrow aperture of f/22 for a properly exposed result. Yes, I know that narrow exposures are great for macro photography, so you can get more than a negligible amount of depth of field. Even so, the minimum power setting puts things pretty much on the limit.

That’s where I found the white color filters came in most useful. As well as diffusing the flash from the tubes, they cut down the effective output by about 1EV, enabling an aperture of f/16 rather than f/22 at my lens’s shortest focus distance. It would be even more necessary if your macro lens has a shorter minimum focus distance that you want to take advantage of.

Neewer claims a maximum power output of Gn 15 (Guide number, ISO 100, meters). When testing flashguns, I invariably find that the maximum output doesn’t quite live up to the manufacturer’s claims but, in this case, the RF1 delivered on its Gn 15 promise. Going down to the minimum power setting for using both tubes, I got a power of Gn 1.8, theoretically equating to the use of an f/1.8 aperture when shooting at a distance of 1 meter, with a sensitivity of ISO 100. Naturally, you’re a lot closer than a meter from the subject in macro photography, hence the need for a much narrower aperture for a correct exposure.

Like most flashguns, large and small, recycling speeds are pretty much instantaneous through most of the power range. I didn’t notice any delay at all at settings from 1/128^th up to 1/8^th power, using both left and right tubes. Recycling slowed down to 1 second at 1/4 power, 2.2 seconds at half power and 3.8 seconds for full power, using both sides in all cases. That’s slower than the 2.7 seconds claimed by Neewer but pretty much what I’d expect.

Neewer RF1: Lab Results

We test all available features for each flashgun that goes through out labs. To test power output, we used 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 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 table below shows both 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 for the same settings. The tubes of both sides of the flash unit were used at the same power settings throughout the tests.

Neewer RF1: Verdict

I really like the Neewer RF1. It works great as a macro ring light, giving me all the power I need (actually, rather more than I need) along with excellent versatility. And yes, it really is versatile, with separate left and right flash tubes and the availability of ratio settings between them, LED supplemental lights top and bottom, a huge range of eight attachment rings, plus a handy color/diffuser set of four pairs of filters.

There’s yet more versatility in the provision of TTL auto, manual, and programmable repeat flash modes, while build quality feels reassuringly robust. I found the rotary dial a bit fiddly for manual power adjustments, and recycling after a full power flash could be faster. However, overall performance is excellent, making the Neewer great value at the price.

Alternatives

K&F Concept has been designing and manufacturing photographic accessories including tripods, filters and lens adapters since 2012 and has earned a solid reputation along the way. I’ve been impressed by some of its products, and I’m not the only one. The company won a Japanese Digital Camera Grand Prix award five years on the trot, the German Red Dot Product Design Award and other accolades.

Renowned for making good products at very competitive prices, K&F is a global player with distributors in 56 countries, including ‘Kentfaith’ websites in the USA, UK and Australia. The product I’m reviewing here is the K&F Concept KF-150 Macro Ring Flash, which is made in two dedicated options to suit Nikon and Canon cameras. Both editions aim to be among the best macro ring flash kits on the market, I’ve gone for the Nikon dedicated version.

K&F Concept KF-150: Specifications

K&F Concept KF-150: Price

Typical of K&F Concept kit, the KF-150 Macro Ring Flash is very competitively priced, selling for around $116 / £100 / AU$180. That’s just a small fraction of the price of own-brand alternatives like the Canon MR-14EX II Macro Ring Lite Flash at around $590 / £600 / AU$865 and the Nikon R1 Close-Up Speedlight Remote Kit at around $580 / £550 / AU$600, the latter also needing a Nikon SU-800 commander unit at $300 / £350 / AU$380, if your camera doesn’t have a pop-up flash to trigger it.

K&F Concept KF-150: Design & Handling

The design of the KF-150 is typical of macro ring flash kits. As such, it comprises two main components, joined together by a coiled connection cord. The control unit sits in your camera’s hotshoe, and the flash unit connects to the front end of your lens. Generally, you’d use this and similar flash kits for macro shooting but it can also be used for portraiture, where it creates signature halo catchlights in the eyes.

The control unit itself has a layout of controls that will look familiar to most photographers. There’s an illuminated LCD display screen, below which sits a rank of pushbuttons that include a strip along the top and four buttons configured as a 4-way pad with a button at their center.

I found the control system to be clear and intuitive. The Mode button enables you to cycle through the various TTL, Manual and Multi (programmable strobe) modes on offer. There’s a Lamp button for illuminating a pair of LEDs and a Ratio button – more on those later. There’s also a button for back-illuminating the LCD display, making it easier to see when you’ve gone to the dark side.

In TTL mode, the 4-way pad gives access to flash metering compensation of up to +/-3EV in one-third EV increments, as well as flash exposure bracketing. For manual power adjustments, I like that you can use the left and right buttons on the 4-way pad for full EV step changes, and the up and down buttons for smaller 0.3EV increments.

The flash unit sits at the end of a reassuringly thick, heavy-duty cable and, as I’ve mentioned, connects to the front of your lens. Naturally, macro lenses as well as regular lenses come with a wide range of filter attachment threads, so the KF-150 is supplied with a fairly generous collection of six attachment rings, catering to threads of 52, 55, 58, 62, 67 and 77mm in size.

A pair of pushbuttons on either side of the flash unit act as release/clamp catches for mounting and removing the unit from the attachment ring once you’ve screwed it onto your lens. It’s simple and effective.

Rather than having a single, complete flash ring, the KF-150 adopts a familiar layout of having two nearly full semi-circular flash tubes, one on each side. This enables you to use the Ratio button that I mentioned earlier to fire each side at different power settings. At the top and bottom of the circular array, there are two LED lamps, which you can configure with the Lamp button on the control unit to act as AF-assist lamps or modelling lamps, or turn them off altogether.

Unlike many recent flash units that run on a rechargeable Li-ion battery pack, the KF-150 runs on the time-honored fitment of four AA batteries. You could use alkaline batteries but recycle speeds after full-power output tend to drop off quite drastically after the first few flashes. I’d always go for a set of the best rechargeable AA batteries, which maintain relatively fast recycle speeds until they’re exhausted, and are then easily recharged again for further use.

While the batteries slot into the right-hand side of the control unit, there’s an additional flap on the left-hand side. Open this and you’ll get access to a PC sync terminal for triggering the flash via a cable, and a socket for powering the kit from an external battery pack.

The kit is supplied with a chunky, multi-lingual user manual and a tabletop stand, the latter of which also has a threaded receptacle for mounting it on a tripod. Everything’s wrapped up in a neat padded carrying bag, which has a loop on the back for passing a belt or strap through it.

K&F Concept KF-150: Performance

I’m not generally one to complain that a flash has too much power, especially if I’m wanting to bounce flash off high ceilings or distant walls with a regular flashgun. However, macro photography is more of a game of inches. I tested the KF-150 with my trusty Sigma 105mm f/2.8 EX DG OS HSM Macro, a lens that I’ve owned and loved for many years but which is now sadly obsolete. Even so, it’s still an excellent second-hand buy for Canon and Nikon cameras.

Like many macro lenses with a favored focal length of around 90mm to 105mm, the working distance of my Sigma between the front of the lens and the subject shrinks to around 6 inches at the shortest focus setting, for maximum macro magnification. The net result is that the flash unit mounted on the front of the lens is extremely close to the target. I found that even with the minimum flash power of 1/128^th dialed in for both sides of the flash unit, I generally had to set my camera’s sensitivity to its base regular value of ISO 100 and use a very narrow aperture of f/16 for well correctly exposed results.

Naturally, narrow exposures are often preferred for macro photography, so you can gain more than a tiny depth of field. Even so, the strong minimum power doesn’t leave a lot of room for maneuver. I also found that when setting the minimum flash power manually, there was often some variation between successive shots, sometimes by as much as 0.5EV.

The claimed maximum power using both left and right tubes is Gn 14 (Guide number, ISO 100, meters). That’s frankly overkill for ultra-short-range macro photography, but useful for more generalized shooting. In my tests, the maximum output power equated to Gn 11, which is still plenty, shrinking to Gn 1.4 at the minimum 1/128^th setting for both sides.

In my tests, recycling speeds were virtually instantaneous when using a set of NiMH rechargeable batteries, at all power levels from 1/128^th up to 1/8^th power. Speeds slowed down to 1.3 seconds at 1/4 power, 2.6 seconds at half power and 3.8 seconds for full power, using the flash tubes on both sides in all cases. That’s pretty much what I’d expect, although K&F claim a faster 2.9 second recycling speed after a full-power flash.

What I didn’t expect is that the flash wouldn’t work in TTL mode with my Nikon Z6 II or Nikon Z fc mirrorless cameras. When I tried the flash with in TTL mode with both of these cameras, the results were massively overexposed, the KF-150 seemingly firing at pretty much full power all of the time. That said, compatibility is only claimed for a variety of DSLRs, comprising the Nikon DF D5500 D3200 D3100 D3300 D5000 D5100 D5200 D5300 D7000 D7100 D600 D610 D750 and D90, so perhaps I shouldn’t have been surprised. On the plus side, TTL flash metering certainly worked fine with my D7100 camera.

K&F Concept KF-150: Lab Results

We test all available features for each flashgun that goes through out labs. To test power output, we used 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 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 table below shows both 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 for the same settings. The tubes of both sides of the flash unit were used at the same power settings throughout the tests.

K&F Concept KF-150: Verdict

I found the K&F Concept KF-150 Macro Ring Flash simple and effective to use. It’s a shame that TTL flash metering doesn’t work with my Nikon Z6 II and Z fc mirrorless cameras, even though it works fine on my Nikon D7100 DSLR. That’s not a deal-breaker for me though, as I prefer to set flash power manually for macro photography, as well as for most other types of shooting.

The control unit is well laid out with a clearly labeled and intuitive interface. The flash unit has the versatility of two left/right tubes for different lighting effects, plus dual AF-assist/modelling LEDs. I found that flash output at the minimum power setting was a bit of a movable feast and rather inconsistent, but overall performance is very good, making the KF-150 a smart buy at the price.

Alternatives

Nanlite has just announced two new compact round panel LEDs, the Miro 30c and Miro 60c, offering a small footprint, bright output, and natural round catchlights, all powered by Nanlite’s Nebula C4 light engine. For anyone working in streaming, podcasting, or content creation, that combination is a winner.

Both lights are more powerful than they appear. The Miro 30c consumes just 30 W, and the 60c doubles that at 60 W, but at one meter, they produce 4,854 lux and 8,382 lux respectively at 5600K. This is more than enough to serve as a key light for creating content at your desk or workstation.

Each light includes a magnetic diffuser you can swap in and out depending on whether you want soft fill or crisp punch, and both are certified RG0 for safe, comfortable long-term use.

Above: The video trailer for the Nanlite Miro Series

Colour control is where these new panels stand out. Nanlite’s Nebula C4 system combines RGB and white LEDs, providing a full CCT range from 2700–7500K, plus green/magenta adjustment for easy matching with other fixtures. Switch into HSI mode and you get access to 36,000 colour options, while the 14 built-in effects cover things like hue loops and fire simulations. That’s a lot of flexibility for fixtures starting at this price.

The practical setup looks straightforward. There’s a circular 1.28-inch display that clearly shows settings, and the stepped yoke rotates 360° with 20 preset tilt positions, making it easy to dial in a desk setup without awkward clamps. Mounting options include a 1/4"-20 thread and a supplied 5/8" adapter, allowing it to work with tripods or light stands.

Power is via USB-C PD or Sony NP-F batteries, which is great for creators moving between desk, studio, or location. The Miro 30c runs for about an hour on a single NP-F750 or up to 1.5 hours on an NP-F970, while the bigger 60c manages nearly 100 minutes on dual NP-F970s. There’s also an optional holder for a power bank if you want to extend runtimes.

In addition to the physical interface, the lights can be controlled wirelessly through Nanlite’s Nanlink App 2.0 over Bluetooth, supporting both individual and group control. Effects, scene recalls, and firmware updates can all be handled directly in the app.

Cooling is vital and is handled by a low-noise fan, rated at just 20 dBA, which should be quiet enough for podcast or streaming setups. Both models come in either mint blue or midnight blue and include a carry bag in the box.

The Miro 30c is priced at $119 / £99 and the Miro 60c at $159 / £133, with shipping expected to begin in October 2025.

That positions them close to recent releases from Amaran and other compact LEDs, but with a round design that looks especially appealing for anyone spending hours on camera.

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I feel the Godox XPro TTL/HSS flash trigger is a little reminiscent of the pro-grade Canon Speedlite Transmitter ST-E3-RT in its look and feel, which is no bad thing. Having bought and extensively used various Canon Speedlites and Nikon Speedlights, I’ve been a convert to Godox since testing and reviewing the Godox VING V860III TTL back in 2021. I went straight out and bought two of these flashes, complete with the XPro trigger, and have never looked back.

I’ve since been equally impressed by the round-headed Godox V1 and Godox V1Pro, even more so by the newer Godox V100 with its color touchscreen control panel. Touchscreen control is also featured on the updated Godox X3 (Xnano) flash trigger but the relatively old-school XPro is still a keeper as far as I’m concerned, and one of the best wireless flash triggers on the market.

Godox XPro TTL/HSS: Specifications

Godox XPro TTL/HSS: Price

In its various dedicated versions for Canon, Nikon, Sony, Fujifilm, Micro Four Thirds and Pentax cameras (make sure you buy the right one), the XPro trigger costs around $69 / £66 / AU$138. That’s outrageously good value for such a full-featured, dedicated trigger that supports so many flash modes and functions.

Godox XPro TTL/HSS: Design & Handling

For the last few years, Nikon has been my go-to camera brand so, naturally, I invested in the Nikon-dedicated XPro N version of the trigger, which I use with a similarly Nikon-dedicated pair of Godox VING V860III TTL flashes. Unlike the latest Godox V100 that has a color touchscreen, my flashes have a conventional set of control buttons and a mono LCD display, which matches the style and layout of the XPro trigger to a tee.

The 2.4GHz ’X’ wireless system isn’t just limited to the XPro trigger and like-minded Godox flashguns. You can add Godox X1R hot-shoe receivers to other brands of flashguns, and the trigger is also directly compatible with the Lencarta WaveSync 2.4Ghz and XTR16 receivers, in addition to the Godox AD, VING, Lencarta ATOM and Lencarta Flash ranges. So for example, I could use my two V860III TTL Godox flashes with the trigger, plus an own-brand Nikon Speedlight SB-700 mounted in the Nikon-dedicated version of the Godox X1R receiver, which costs about $40 / £36 / AU$69.

For using multiple flashes, as well as ensuring that someone else isn’t triggering your flashguns, you can assign flashes in up to 16 separate groups, in as many as 32 different channels. And while it’s a wireless trigger, that’s not the whole story. Physical connection ports include a sync socket on the side and a USB-C port. The first makes it possible to fire flashes from a wired connection or even to trigger your camera while leaving the hotshoe vacant. The USB-C port enables firmware updates if and when needed.

Although its not a new-fangled touchscreen, the mono LCD is much larger than the ones often featured in wireless triggers. That makes it much easier to see and to read all the displayed information. I also like that it’s easy to read in the dark, thanks to a blue backlight.

Just to the left of the LCD screen are five ‘Group’ buttons for easy access. These enable you to control numerous groups and keep a ready reckoning of what’s going on via the screen. Down below are the main control buttons. There include dedicated flash mode, menu, TCM and flash test buttons, placed around a rotary dial with a Set button at its center. Immediately below the screen is a row of four context-sensitive function buttons, which mimic the controls of my V860III flash and many other conventionally styled flashguns from a variety of manufacturers. At the bottom right of the front panel is a multi-color status lamp.

All in all, the control system is fairly intuitive but you might need to take an occasional glimpse at the user guide until you’ve learned all the ropes. For example, there are two on/off buttons on the right hand side of the trigger. The labelling doesn’t make their actions entirely obvious but, as it turns out, one is the main on/off button and the other is for activating or deactivating the red AF assist lamp that’s built into the base of the trigger.

Another feature that might be new to you is the TCM mode, the button for which I mentioned earlier. This is a Godox trick mode that uses TTL flash metering to get into the right ballpark for the power output setting that’s required for the flash. It then translates the automatic value into a manual setting, which you can use as a base for making adjustments. Manual power adjustments for each group of linked flashguns is available in one-third stop increments, while Auto TTL flash metering compensation is also available in the same increments, to a maximum of +/-3 stops.

Other features that are available depending on flashguns and camera systems include HSS (High Speed Sync), for using flash at shutter speeds that exceed the sync value, often up to 1/8000 sec. You might also have access to controlling the modelling lamp in studio flash heads, and the programmable strobe (multi-flash) output of flashguns. The latter is useful if you want to fire a number of flashes during a long exposure.

Custom functions include the likes of sleep and standby timers, and whether or not a confirmation beep is sounded. Everything I need and want is covered, but, to be super-picky, there are a couple of points that could be improved upon.

Firstly, I like that the trigger has a battery level indicator and that the two AA batteries have an expected lifespan of around 200 hours. I’m not so keen that the level indicator is based on alkaline cells. I’m much more likely to use some of the best NiMH rechargeable batteries. Due to the lower 1.2V output of these cells, compared with 1.5V for throwaway alkaline batteries, the indicator shows minimal charge or none at all, even when inserting freshly charged NiMH batteries.

The other minor frustration is that while the hotshoe has a sturdy metal foot, its locking mechanism is based on a screw-action ring rather than a lever. I find the latter quicker and easier to use.

Godox XPro TTL/HSS: Performance

I’m not going to pretend that the Godox XPro TTL/HSS flash trigger is entirely straightforward and simple to use. It’s a very sophisticated bit of kit that supports many and varied flash modes, where available in different flashguns and camera systems. These can include Auto TTL flash metering complete with flash exposure compensation, high-speed sync, programmable stroboscopic repeat mode and manual flash modes. And that’s before you get into the business of controlling individual, multiple or groups of flashguns remotely, off-camera.

What I will say is that while some of the finer points of the trigger can take a little working out, the learning curve is smooth and not at all steep. The 2.4GHz radio frequency connectivity really does work over distances of up to 100m, as well as being able to transmit through or around obstacles, unlike infrared flash triggering. Over the last four years with extensive use, I’ve found triggering to be absolutely reliable both indoors and outdoors, which I certainly can’t say for infrared triggering.

I also love that the trigger has excellent stamina, based on its two AA batteries. The only slight niggle from a performance standpoint is that, as with a red AF-assist lamp in a flashgun as well as in this flash trigger, it’s fine for use with DSLRs but of no use for mirrorless cameras.

Godox XPro TTL/HSS: Verdict

I like that the Godox XPro TTL/HSS flash trigger is powerful, with a wireless range of up to 100m, and that it’s so versatile with support for TTL (Through The Lens) flash metering, HSS (High Speed Sync) and various other flash modes supported by compatible flashguns and camera systems. It feels solid, sturdy and very well made, although the interface looks a little dated and can be a bit confusing in places, and the battery level indicator doesn’t really work with NiMH batteries. Ultimately though, it’s an excellent flash trigger that’s great value for money.

Alternatives

Swiss lighting brand Broncolor has unveiled the Stelos 800 L, a high-end professional monolight engineered for ultimate on-location flexibility and studio-quality lighting.

Combining 800 joules of flash energy with a compact, intuitive design, the Stelos 800 L delivers high-end performance for photographers, videographers and creative professionals who demand precision, speed and reliability in every environment.

Designed and manufactured in Switzerland, the Stelos 800 L brings premium Broncolor light quality to both studio and location shoots. Its high-contrast LCD screen with configurable display modes enables photographers to switch seamlessly between minimalist and full-control interfaces using just two buttons and a rotary / push encoder.

The monolight introduces adjustable flash color temperature, a feature traditionally limited to premium photography lighting kits with power packs, alongside high-speed sync (HSS) support and Speed Mode, making it perfect for fast-paced commercial, portrait, fashion and event photography.

Flash recycling times range from just 0.008 to 2.5 seconds, enabling quick shooting at any power level, while a single battery can deliver around 300 full-power flashes, ensuring reliable performance on long shoots.

The integrated 49-watt LED modelling light offers variable color temperatures from 2700 to 6500K, delivering consistent, high-quality lighting that adapts to any ambient environment. A temperature-controlled fan ensures the monolight stays cool during extended use, even at full power.

Powered by a universal V-mount battery system, the Stelos 800 L supports batteries from Broncolor or other leading brands, while also allowing simultaneous charging via USB-C, compatible with standard laptop chargers or the included 140-watt adapter. This flexible battery system reduces operational costs, increases portability and minimizes environmental impact compared to proprietary lithium battery solutions.

Despite its compact 270 x 165 x 167 mm form factor and lightweight 3.39kg body, the Stelos 800 L supports the full range of Broncolor light modifiers, including the largest softboxes, beauty dishes and umbrellas. This ensures maximum creative freedom and consistent lighting across any setup.

The monolight features a robust mounting bracket with 90° tilt capability for precise positioning, and integrates seamlessly with Broncolor workflows through RFS 2 and 3 radio transmitters, the bronControl app via built-in WiFi, and bronAPI for custom integration. Multi-color cognition lights further simplify device identification on larger sets, streamlining professional photography and studio production.

ABOVE: Watch a video of the light in use with photographer Karl Taylor

Developed in collaboration with working photographers, the Stelos 800 L incorporates user-driven innovations such as full device control, portable design, versatile V-mount battery operation, adjustable flash color temperature, and a temperature-controlled cooling system.

Whether for commercial shoots, editorial photography or even video production, the Stelos 800 L offers professional-grade lighting wherever it is needed.

The monolight will be available through all official Broncolor stockists in September 2025, solidifying its position as a must-have tool for photographers seeking premium, high-performance lighting solutions.

The Broncolor Stelos 800 L will go on sale from September for $3,800 / £3,246.

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Take a look at the best photography lighting kits along with the best softbox lighting kits and the best flash diffusers, softboxes and lighting modifiers.

I’ll come straight out with it – I’m a big Godox fan when it comes to flash. A pair of Godox Ving V860III flashguns and a companion Godox XPro i-TTL RF wireless trigger has been my go-to flash setup for my Nikon Z system cameras over the last couple of years. I’ve also been impressed with the Godox V1, Godox V1 Pro and Godox V100 flashguns, all of which feature a round rather than rectangular flash tube. All of these rank as some of the best flashguns on the market, but they’re all powerful, full-sized affairs.

More recently, I’ve reviewed the Godox iM20 and Godox iM22, which are comparatively tiny, lightweight and simple, designed to fill in for the pop-up flash which is lacking in so many recent mirrorless cameras. However, they’re very basic, fully manual flashes with no dedication for varying camera systems. This iT30 Pro is a little larger but still very compact, while packing an exotic feature set and being available in dedicated versions to suit Canon, Fujifilm, Nikon, Olympus, Panasonic and Sony cameras. It’s also available in black or silver, to suit the color of your camera.

Godox iT30 Pro: Specifications

Godox iT30 Pro: Price

Godox flashes large and small all tend to be great value for money. The iT30 Pro weighs in at $75 / £67 / AU$145, which is very reasonable for a dedicated flashgun that includes a host of flash modes, wireless master and slave functions and even a color touchscreen. Sure, it’s relatively small and the maximum power output is a little meagre, but it’s super-handy for fill-in flash and can easily fit in a spare coat pocket.

Godox iT30 Pro: Design & Handling

I sometimes feel that flashguns are a bit like tripods. They’re really useful bits of kit but their size and weight makes them likely to be left at home if you’re in the mood for travelling light. The first thing you notice about the Godox iT30 Pro is that it’s not much bigger than a matchbox and really lightweight, measuring 65x46x47mm / 2.6x1.8x1.9in and weighing just 120g / 4.3oz. And that’s including a built-in, rechargeable 900mAh Li-ion battery. Like the best travel tripods, that makes it a flash that’s easy to take anywhere and everywhere, even when stowage space is at an absolute premium.

The small nature of the design does result in a physically small flash tube that sits relatively low in the camera’s hot-shoe. In some ways, it feels more like using a pop-up flash rather than a separate flashgun, and the quoted maximum power output of Gn 15 / 49/2 (ISO 100, m / ft) isn’t a whole lot more than that of some pop-up flashes. But that’s where the similarities end.

I’m frankly amazed that Godox has managed to shoehorn so many features and functions into this little flash. Often reserved for the highest echelon of camera manufacturers’ own-brand flashes, the iT30 Pro features a full range of first-curtain, second-curtain, TTL, manual, high-speed sync and even programmable multi (repeat / stroboscopic) flash modes. Indeed, the high-speed sync mode of the Sony dedicated flash that I’m testing doesn’t just top out at a shutter speed of 1/8,000^th of a second, but is compatible with the 1/80,000^th speed of a second global shutter.

Then there’s wireless sync. The flash can work as a slave in two optical modes, enabling it to be triggered from a master flash with or without pre-flash pulses. On top of that, it has a built-in 2.4GHz wireless transceiver that enables it to team up with other Godox flashes as both a master or slave, or to be fired remotely by a Godox wireless trigger, all with a range of up to 100m / 330ft.

You might think that all these features and functions would make the little Godox tricky to use, with a cramped set of operating buttons. Another surprise, given the price point, is that it features a 2.8-inch color touchscreen that enables all the options to be accessed and adjusted with touch and drag simplicity. The interface is really well thought out and brilliantly simple and intuitive to use.

Another space-saver is that, while many flashguns come with the option of a diffusion panel that enables a softer quality of light and spreads the beam for ultra-wide-angle shooting, the Godox has one of these built-in. There’s a handy quick-access lever on the side with clearly marked N and W positions so you can engage the diffusion panel quickly and easily.

Everything’s powered from a built-in rechargeable Li-ion battery. The flash is supplied complete with a USB-C charging cable but typical of modern gadgets nowadays, you have to supply your own mains charger. When the battery is fully charged, it has sufficient stamina for 560 full-power flashes – many more at lower output levels. The only downside is that, unlike flashguns that run on regular batteries or slot-in Li-ion power packs, you can’t quickly swap the battery out for a spare if it runs flat while you’re shooting.

Godox iT30 Pro: Performance

Flash is often called ‘the most available light’ but that’s only true if you actually have a flashgun with you at the time. A key performance factor of the Godox iT30 Pro is that it’s compact enough to take anywhere, anytime. Performance is arguably a little limited in respect of the maximum output power, which worked out to be a little less than the claimed value in my tests. Bounce flash isn’t available anyway (which typically needs more power) but the power range is ample for short- to medium-range direct flash when using it as the main light source, and for fill-in flash on a bright, sunny day. Giving a nicely natural look to eyes in sunny-day portraiture is certainly within its remit, neatly avoiding eyes turning into black holes of deep shadow.

I’m used to fast recycling speeds from flashes that feature a Li-ion battery pack and sure enough, recycling times are pretty much instantaneous with the iT30 Pro, all the way from the minimum 1/128^th power setting all the way up to 1/8^th power. At 1/4, half-power and full-power settings, recycling speeds were still quick in my tests, at 0.4s, 0.7s and 1.5s respectively.

Syncing proved to be reliable, not only with the flash sitting in the hot-shoe of my Sony camera, but also in optical slave mode and wireless master/slave configurations. The same goes for hi-speed sync, enabling use of flash (albeit with reduced maximum power) at really fast shutter speeds.

The built-in diffusion panel proved its worth for wide-angle shooting but had relatively little effect on the softness of light. To a certain extent, that’s only to be expected considering the physically small size of the flash tube, and that you’re not bouncing the light off a wall or ceiling to soften the blow. I found that engaging the diffusion panel knocked about 1EV step off the maximum output.

Godox iT30 Pro: Lab Results

We test all available features for each flashgun that goes through out labs. To test power output, we used 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. This is done for flash zoom settings of 24mm, 50mm and 105mm (in full-frame terms), where available.

We also check the accuracy and consistency of electronic/intelligent TTL (Through The Lens) flash metering, where featured, and the speed with which each flashgun can recycle to a state of readiness after a full-power flash, using both Ni-MH and alkaline cells, or a Li-ion power pack where supplied.

Power output:

In my tests, maximum power output was almost a stop short of that claimed, equating to Gn 11, rather than Gn 15 (ISO 100, meters). From full power down to 1/32 power settings, each full stop gave an accurate equivalent reduction in light output, the reductions being a little less at the lowest f/64^th and 1/128^th power settings.

Recycle speed:

Recycle speeds are pretty much instantaneous all the way from the lowest power setting of 1/128^th up to a comparatively strong 1/8^th power setting. It’s only at 1/4 power that you start to notice a short delay of 0.4 seconds, rising to 0.7 seconds at half power output, and 1.5 seconds at the full-power setting. Even that’s pretty brisk for such a physically small flash.

Godox iT30 Pro: Verdict

Think feature-rich dedicated flashguns with built-in RF transceivers and you’re probably thinking of big, hefty affairs. I love that the Godox iT30 Pro manages to squeeze a full raft of top-end features, functions and flash modes into a relatively tiny and very lightweight package. It’s great for fill-in flash on a sunny day, as well as for use as the main lighting source indoors, at least for short to medium shooting distances. Sure, it doesn’t have the big maximum power output of chunky guns but it’s a brilliant little flash for when you want to travel light.

Alternatives

Godox has officially unveiled the AD400 Pro II, the long-anticipated update to its popular mid-range portable studio flash head, available to preorder now for $649 / £663 / AU$971. The new strobe will also be sold as the Flashpoint XPLOR 400 Pro II in the US, for $649 at Adorama.

The release brings many of the refinements first introduced in the AD200 Pro II and AD600 Pro II, giving this 400Ws strobe new levels of speed, precision, and usability.

I’ve used Godox photography lighting kits for years, and this feels like an important step forward. The AD200 Pro built much of my portrait career, while the AD600 Pro gave me the power I needed for bigger commercial shoots. When the second-generation versions arrived, their refinements were immediately noticeable, and now those same improvements have made their way to the AD400 Pro II, the model that sits perfectly between portability and punch.

Above: The video reveal of the Godox AD400 Pro II

One of the biggest changes is One-Tap Sync with the Godox X3 Trigger, for instantaneous connection straight out of the box. Godox has also added 16 color group indicator lights, a small but incredibly useful detail for quickly identifying and adjusting multiple lights on set.

Performance-wise, the AD400 Pro II delivers 400Ws of output with up to 460 full-power flashes per charge. It supports high-speed sync up to 1/8000s and introduces a Freeze mode capable of flash durations as short as 1/27,770sec. With recycle times as quick as 0.01s, it’s built for capturing fast action without missing a moment.

The 30W bi-color modeling lamp offers adjustable brightness and color temperature from 2800K to 6000K, making it useful not just for stills but also for limited video work. Fine control is another highlight, with 10 steps of power adjustment from 1/512 to full power, allowing for precise and repeatable results.

Godox has also focused on versatility with modifiers. The AD400 Pro II includes both a native Godox mount and a Bowens adapter, letting photographers swap easily between two of the most widely used modifier systems without compromise. For even greater flexibility, an optional H400P flexible extension head enables the light source to be positioned in tight spaces or mounted overhead while the main body stays safely out of the way.

Like the rest of the Godox ecosystem, it runs on the 2.4GHz Wireless X System, working seamlessly with the X3, XPro II, X2T, and X1 triggers, while maintaining full TTL compatibility across Canon, Nikon, Sony, Fujifilm, Olympus/Panasonic, Pentax, and Leica. The bright HD color display and streamlined controls make adjustments quick and intuitive, whether in the studio or on location.

Charging is fast and flexible too, as the battery can be topped up in just 1.5 hours using the UC46 USB charger, or the unit can run indefinitely on AC power with the optional AC400 adapter.

What makes the AD400 Pro II stand out to me is how well it fills the middle ground. The AD200 Pro II is perfect for ultra-portability, the AD600 Pro II is built for maximum power, but the AD400 Pro II offers the best of both worlds; compact enough to travel with, powerful enough for demanding location work, and now refined with the same upgrades that have already proven invaluable in the rest of the Godox lineup.

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Check out our guides to the best photography lighting kits. You may also want to check out my reviews of the Godox AD200 Pro II and the Godox AD600 Pro II.

The Ricoh GR IV has been one of the most anticipated cameras for street photography in recent years. Its compact, stealthy design and exceptional image quality make it perfect for shooting unobtrusively, but one thing lacking is a built-in flash.

Ricoh is now addressing that with the GF-2 External Flash, a super-compact, lightweight unit designed specifically for the GR IV. For street photographers, this small addition finally brings the ability to add fill light without compromising the camera’s portability.

Weighing just 19 grams and measuring 51 x 31 x 17mm, the GF-2 is small enough to fit in a pocket even while attached to the camera. Despite its tiny size, it offers a guide number of 3 (metres at ISO 100) and can fire up to 270 times on a full charge.

It has a built-in lithium-ion battery that charges via USB-C, ensuring consistent output without draining the camera’s power. When used in ISO Auto mode on the GR IV, the camera automatically adjusts guide number and ISO settings based on subject distance, making casual flash photography effortless; ideal for the fast pace of street photography.

The GF-2 can also be mounted on other GR-series cameras, though it only operates in full-discharge mode outside the GR IV. A firmware update planned for October 2025 will extend automatic exposure adjustment to GR III cameras. Charging takes about two hours, and the flash recycles in roughly two seconds, keeping up with the rhythm of shooting on the street.

I’ve been waiting for the Ricoh GR IV for a long time, and I’m genuinely excited by its launch. The GF-2 is certainly something I’ll add to my setup. It’s tiny, matching the energy of the camera, whether it’s on or off, and will be perfect for low-light moments that benefit from a pop of fill light. The images it will create should have a retro digital camera feel, which is a look I’ve always loved, especially for street photography.

The GF-2 External Flash will be available in September 2025 at $119.95, giving Ricoh GR IV users a highly portable solution for adding light whenever they need it on the street.

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Godox is launching a new hotshoe riser accessory that will solve a number of annoying problems that frustrate flash photographers.

The Godox TR-S TTL Hot Shoe Riser is one of those brilliant little gizmos that is so simple you would have thought someone would have made one years ago.

In essence, it does two things. Attaching to your camera's hotshoe, it rises the level of an accessory flashgun - whilst also offering a tilting platform, that will provide the bounce option that is missing from small flash units.

Unlike the hotshoe risers of old, however, this version retains all the contacts between flash and camera, to retain all TTL and other dedicated features. Versions will be available for Sony, Nikon, Canon, Fujifilm, OM System and Panasonic flash systems.

The unit will be particularly well suited to the range of mini flash units that Godox has been launching recently – such as the iM20, or the iM22, or IT30Pro. The height of the flash is raised by 3cm, and the angle of the head can be adjusted from 0 to 90°.

Raising the flash higher is particularly useful for those who have problems with wide lenses casting a shadow across the strobe's output. And the extra separation will also help to reduce redeye.

One Reddit contributor also pointed out that this device was exactly what they had been looking for to enable the use of a Godox X3 transmitter on a caged Sony A7 IV.

The Godox Hot Shoe Riser will go on sale later this month, with Essential Photo in the UK already taking orders at £17 a piece. In the US, they are already being listed by Amazon for $18.90.

The Neewer Q6 600 W studio-style flash has been designed for use both in the studio and out in the field. It features AC mains power and a swappable battery pack that provides enough capacity for around 400 full-power flashes per charge.

Neewer has a long-standing reputation for affordable yet quality camera accessories, and this latest Flash is part of its expanding Q series of portable lighting. The series marks a shift in the company's design approach, with a flash head whose boxy looks are quite different from traditional studio flash units.

The compact design enables everything to be packed neatly into a small, portable case. While the change in form factor is quite unique for a flash unit of this type, Neewer has still ensured full compatibility with the Bowens light modifier mounting system and offers a 5/8inch spigot socket for lighting stands, so while you can use Neewer's own modifiers and stands, you can equally use those from other manufacturers.

Neewer isn't alone in offering high-power portable studio flashes. Profoto and Broncolor dominate the top end, while closer in specification and frankly, more affordable competitors to the Q6 include the Godox AD600 and Pixapro CITI600.

The Q6 is aimed at professionals and higher-end enthusiast photographers who shoot events or outdoor portraits, where balancing sunlight with creative lighting is essential.

There are relatively few studio heads in this specialist sector. However, Neewer's integration of the Q6 into its wider lighting ecosystem, along with full compatibility with the Q wireless flash trigger and, of course, the price, should appeal to both professionals and enthusiastic amateurs. I've taken the Q6 for a test both out in the field and back in the comfort of the studio. Ultimately, with the Bron and Profoto gear being priced out of reach for the majority of us, will the Neewer Q6 600W pack enough power and features to truly meet the demands of use outdoors?

Neewer Q6: Specifications

Neewer Q6: Price

At present, the Neewer Q6 is on pre-order for $699 / £749.99. Alongside the Q6, it's also worth factoring in the wireless flash trigger, additional parabolic quick-release softboxes, and 300 cm stainless steel stand so that you have the complete set ready to go. If you are looking to do some more complex lighting setups, then it's worth looking at one of the smaller Q lights, such as the Q4, as a secondary flash.

Neewer Q6: Design & Handling

Neewer has been working hard to make its products stand out, and the main competition at present is the formidable Godox, with its strong range and the AD600, something of a go-to for many enthusiasts and professional photographers. Neewer has responded with the updated Q design, featuring a more boxy, compact form factor, as seen with the Q300 and other previous Q series flash heads. This shape makes the unit far more portable, and with a metal carry handle on top, it's a versatile option in almost any shooting scenario.

In use, the compact body, although slightly wider, offers more flexibility. The larger back panel with neatly laid-out buttons makes direct adjustments far easier. Neewer has also considered more modern workflows by allowing operation via the Q Pro wireless flash trigger or the Neewer app, just as with the smaller Q4 model.

Physically, the Q6 continues the Q range's design ethos, with the bulb mounted within the front and a standard Bowens-fit mount. This ensures compatibility with a wide range of light modifiers, including Neewer's own, as well as many third-party options that can often be found second-hand at low cost.

The outer casing is high-quality, durable plastic, likely ABS, rather than metal, yet still feels tough. The lightweight metal carry handle adds to portability, making it much easier to move around than traditional cylindrical flash heads. On the side is a good level of venting, and the swappable battery pack clicks securely into place. A battery check button lets you check power levels before shooting.

Around the back are nine clearly marked buttons, including a set button surrounded by a dial. Controls include group, channel, menu, mode, slave 1 and 2, high-speed sync, the set dial, modelling light power, and a flash test button. Above these, two small LCD screens display key settings. The left screen shows group/channel and connection details, while the right covers flash mode, power, and battery level. Any changes made via the wireless trigger or app are instantly updated on both displays.

On the right side is a 3.5mm sync socket for use with traditional equipment, plus a USB Type-C port for firmware updates. On the base is a standard quarter-inch thread with a removable plate that may allow different mounting adjustments.

The kit comes in a semi-hard case, which keeps the Flash protected. There's room for an additional battery and the Q Pro trigger, making for a compact, well-organised portable setup; only the modifier and stand are stored separately.

Neewer Q6: Performance

Getting started with the Q6 is straightforward, with my review sample arriving with the main flash head and the Q Pro wireless flash trigger. In addition to completing the kit, I utilised an old Bowens light modifier and compatible stand. When it came to the camera choice, I used the Sony Alpha 7 Mark IV to give it a good test both out in the field and back in the studio.

I've used a few of the Q series Studio Flash heads in the past, and whilst I've always been impressed with the build quality, I have found that the wireless flash transmission can be just a little bit glitchy, especially on the Sony systems. Sure enough, just getting started and setting my Sony Alpha 7 Mark IV with the Q Pro wireless flash trigger and making sure everything was connected, I found that the hit rate of the Flash firing wasn't 100%, and not due to having to wait for the Flash to recycle. This is a quirk with the transmission distance setting on the flash trigger, and is quick to resolve once you realise what the issue is.

Starting out at relatively low power, after all, this is a 600 W flash, and setting the shutter speed to 1/200 with an aperture of f/11, I set the channel and group and began taking some very simple outdoor shots of early summer flowers and wildlife. Initially, the flash was hit and miss on firing; however, as I've used these flashes before, I know that there are a few little quirks, and delving into the menu system of the trigger, sure enough, the distance options needed adjustment.

For some reason, the transmission distance of the trigger to the flash is set as default between 1 and 100 m, whereas I was using the flash trigger at less than a metre from the Flash. Changing the DIST setting from 1–100 to 0–30m, instantly fixes the issue, and the flash became faster and ultimately more responsive, and ultimately easier to use.

Going through each of the settings and assigning the power I wanted from the flash trigger just made things incredibly easy. With the camera mounted on a tripod, I was able to adjust the flash settings either through the wireless trigger or directly on the back of the unit itself. It's all self-explanatory, and the big LCD screen, or rather, the two of them, visually make things a lot easier.

What I also really like is the fact that you have the Neewer app, and this enables you, once again, to go into the settings and make adjustments while still shooting. I found the app useful when I began shooting video using the 30 W modelling bulb. Being able to go in and adjust the bi-colour LED was extremely useful. While 30 W isn't a great deal of illumination for modelling or, for that matter, for use as a video light, it's still significantly more than traditional studio flashheads, and the fact that it offers bi-colour adjustment really does add another element to this portable system.

Outdoors, shooting both portraits and a few close-up wildlife shots, I was impressed with just how reliable the system was. The colour balance of the Flash seemed good, and the reliability of shot after shot was exceptionally good, after that initial hurdle of adjusting the distance setting within the wireless flash trigger. Throughout the session outdoors, I kept the flash power down to between ¼ and 1/32. That seemed more than adequate, and I only increased it when I was trying to shoot portraits directly into the sun to avoid silhouettes.

Essentially, the power of the 600 W bulb is enough to balance out the light of the sun and to get some really dramatic effects. In the pictures, you can actually see the illumination from the flash head on the ground, and this isn't just sunlight.

Also worth noting, though the four-hour session I spent out with the Flash, first and foremost, it is very easy to carry around. The small semi-hard case is nice and comfortable to carry, especially with the shoulder strap to go with it, and everything fits inside nice and tight. The only thing is that there's no room for the lighting modifier or flash stand, so these go on the back of your backpack. But ultimately, considering what's on offer here, a 600 W outdoor studio flash, the fact that you can easily carry it around, and it comes with its own small battery pack, just adds to its usability.

One of the features I wanted to try out both in the field and in the studio was the high-speed sync. First of all, opening up the aperture to let plenty of light in and then blasting the image with Flash would usually just create a completely blown-out image. But here, what I wanted to do was to use high-speed sync and take that shutter speed right the way up to 1/8000 of a second. This should essentially enable me to shoot at f/2.8 in bright sunlight and still use a little bit of Flash, using the sun as my backlighting and the Flash just to illuminate the portrait.

The high-speed sync works exceptionally well, with the option becoming available by simply pushing the sync button on the Q Pro wireless. Once that option is selected, it automatically syncs with the flash head. Then, you can adjust the shutter speed of your camera, open up the aperture, and you're ready to shoot. Obviously, there's a little more balancing to do, but ultimately, the Q6 enables you to shoot these quite dramatic portraits with that huge power behind it. Also, the form factor allows larger lighting modifiers to be attached, which really helps to diffuse the light more than just using a small strobe on top of your camera.

To finish off the test, I returned to the studio and connected the Flash to AC power. Again, utilising some old Bowens-style modifiers, I spent some time taking a few more still lifes and self-portraits. Once again, the Flash acted precisely, with a good response time overall. What I really wanted to test in the studio were two of the other features, again, high-speed sync, just to capture some flying objects, and also the strobe mode for exactly the same reason.

Finding the high-speed sync option is quick and easy, as is activating strobe mode, just once again by pushing the sync button, and the flash sync mode changes. In both situations, the results are impressive, although some experimentation is needed.

As a standalone unit, and when coupled with the Q Pro wireless flash trigger, the Q6 performs exceptionally well out in the field as well as in the studio. The fact that it has that small power pack does make a difference, and performance-wise, the brightness is exceptionally good with plenty of flexibility.

It does take a little bit of time to get used to all of the intricacies, and on a few occasions, I had to reset the Q6 in order to access the channels and groups, as for some reason, the channel/group button became unresponsive, even after powering down the unit.

Initially, there were also quite a few misfires, and whilst these improved after I changed the distance setting, there were still occasions where the high-end reliability I get from my Profoto B10s wasn't quite matched.

However, when you consider the price and the additional power that the Q6 offers, its relatively compact size, and compatibility with the Bowens mount, you get an awful lot of flash for the money.

Neewer Q6: Verdict

The Neewer Q6 is marketed as a professional outdoor flash with 600 W of power. It has more than enough capability to illuminate subjects, even on bright, sunny days. That level of output is substantial, and the inclusion of a standard Bowens mount gives users access to a wide variety of lighting modifiers, both from Neewer and third-party manufacturers.

The setup is straightforward, provided you have the Q Pro wireless trigger. With that in place, setting up and operating the system is simple. Channels and groups are easily accessible via both the Q6's rear screen and the wireless trigger, using physical buttons and dials for quick adjustments.

In the field and mounted on a standard lighting stand, the Q6's unique shape doesn't hinder compatibility. All fittings, from bracket mount to modifier mount, use standard connections, ensuring they work with existing gear and widely available accessories.

Reliability improves significantly by adjusting the default distance setting from 1–100 m to 0–30 m. It's unclear why this isn't set from the outset, but once changed, the Flash responds far more consistently. While the hit rate isn't perfect, this tweak makes a noticeable difference.

On a couple of occasions, the channel and group buttons became unresponsive, though a quick reset resolved the issue.

The Neewer Q6 offers a good balance of power, usability, and compatibility at a competitive price. The design has its quirks, and the occasional reset may be necessary, but for photographers seeking a cost-effective alternative to pricier systems, the Q6 is a good option, but against the Godox AD600 Pro II it really comes down to the fact that you have two very similarly featured products and it will be personal preference over the form factor, or have already invested in one or the others existing product that should be the deciding factor.

Alternatives

Sometimes, lighting a scene requires more than a boring steady white light – and a new pocketable light from Nanlite gives creators the ability to mimic the light from fires, lighting, or a dozen more scenarios all inside a pocketable LED. The Nanlite Pico LED Mini Pocket Light is a compact, color-adjustable light for creators.

Announced earlier this week alongside the new Lumo smartphone ring light, the Nanlite Pico LED Mini Pocket Light includes 14 preset lighting effects, a list that includes the red and blue flashes from emergency lights, the orange of a fire, the flicker of an old light bulb, or even the flash from paparazzi.

Of course, the Pico has traditional steady illumination too. The constant LEDBW light gives creators the ability to adjust the hue and saturation that the light gives off. At the brightest setting, the 4W light is ranked for 4211 at .3 meters or one foot away.

The light’s settings are adjusted using a small 1.28-inch screen on the back of the light, along with a dial and two buttons. Or, the light can also be controlled remotely with the Nanlite app.

The light sits on a tilting base to help creators get the right angle. That base is also magnetic to mount the light in a variety of different locations. A cold shoe adapter will also house the light on top of a camera. A magnetic diffuser is also included with the light.

Despite the light’s versatility, Nanlite describes the Pico as pocketable. The Pico weighs 130g.

The light’s battery is rated for up to 6.5 hours, and the battery recharges via USB-C.

The Nanlite Lumo is a folding smartphone ring light

Nanlite also announced the Lumo earlier this week, a folding MagSafe ring light that magnetically attaches to smartphones. The light also includes a magnetic adapter for smartphones without built-in magnetic charging.

Besides delivering the flattering ring of light situated around the smartphone’s camera array, the folding design of the Lumo allows the light to double as a phone stand. The single button design allows users to choose from three brightness levels with a short press and use a long press to change the light’s color temperature.

Like the Pico, the Lumo recharges with USB-C. The battery life is rated for up to five hours and 30 minutes.

The Nanlite Pico retails for $59 / £35 / AU$68 and is already available at multiple retailers – it’s currently discounted to about $35 in the US at Adorama.

The Nanlite Lumo is expected out in August for about $40.That converts to about £30 / AU$61.

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Compact cameras are surging in popularity – and so are tiny accessories. The Godox iT20 is a tiny rechargeable flash that weighs just 45g, which is about the same weight as a golf ball. Despite the flash’s small size, the iT20 delivers more than 700 flashes in one charge with a 1.5-second recycle time.

The Godox iT20 launched alongside the slightly larger iT22. Both compact flashes have both auto TTL and manual modes, the latter of which is adjustable from full power to 1/32 power. A simple mode button on the flash and plus and minus buttons with a small screen aid users in choosing the flash power.

The flashes are powered by a rechargeable li-ion battery that the company rates for up to 700 flashes, even at full power.

Both flashes are compatible with magnetic modifiers. A spreader and two colored filters are included with the flash itself, while additional magnetic diffusers, colored gels, and even a honeycomb grid are available to purchase separately.

The iT20 is the smaller, lighter of the two flashes, coming in at 41.5mm×41mm×32mm and about 45 g. The iT22 has the same battery capacity and range, but sits higher in the hot shoe mount to reach over larger lenses. The iT22 weighs around 52g and measures 40mm×64mm×28mm.

Photographers who want both the height and the small profile can pick up an optional TR TLL hot shoe riser, which will give the iT20 lift over larger lenses when needed, as well as a 90-degree tilt.

Both flashes list for about $45 in the US and about £52 in the UK, making them an affordable accessory for compact cameras and entry-level mirrorless cameras. As budget flashes, they leave out a few advanced features, including HSS for using the flash with fast shutter speeds. The flash also lacks an adjustable tilt position in order to bounce the light off of walls and ceilings. The iT20 and iT22 sit behind compact flashes like the Godox iT30, which offers HSS and wireless off-camera capabilities.

Godox has not yet shared the flash’s guide number, a rating that indicates how powerful the light is by listing how far the light will reach. As a budget, compact option, the small flash is likely to have more limited reach than Godox’s larger lights.

The Godox will be available in variations to support TTL on Canon, Nikon, Sony, Fujifilm, OM System, and Panasonic camera bodies. The flash is already available at some retailers, including Amazon.

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