Insta360 jumped headfirst into the pocket gimbal camera market all guns blazing with the spectacular – but premium – Luna Ultra camera. The company is now teasing features for a less costly single-lens edition called the Luna Pro, and the latest news is that it will boast true vertical 4K video.

Insta360 first teased the camera three days ago, based on a joke that the number of product launches from the company could be a bit much for the marketing team!

The gimbal camera pictured in the teaser looks like the company's recently launched Luna Ultra camera, except that the camera at the top seems to only have a single lens.

The implication is that we're about to see, on September 10, the Luna Pro, which has already been released in China.

The camera still boasts a 1-inch sensor, 8K video and the detachable remote control screen, enough for Insta360 to describe it as a "flagship" even though it clearly plays second fiddle to the Ultra.

Insta360's real competitors, though, are the DJI Osmo Pocket 4 (with one camera) and Pocket 4P (with two).

As well as distinguishing itself with the detachable remote, Insta360 has given the camera the ability to shoot in 4K vertically as well as horizontally (at up to 4K60). Both of DJI's offerings switch to a 3K mode in vertical operation.

Although there is only one physical lens, the Insta360 Pro's digital zoom will be boosted to 4x, which the company says represents "80mm portraits."

While the Luna Pro has been seen at IFA Berlin, so it isn't just confined to China, the show is still running as I post this. It does at least confirm the name as well as the spec, but we don't expect to hear final pricing until September 10, a little behind Bejing's August 20.

Unlike DJI, which has been forced by US import law to stick to the Pocket 3, the Luna Ultra is and, presumably, the Luna Pro will be available to American customers. Soon we'll see the result on our guide to the best pocket gimbal cameras.

Outdoor photography is not always the relaxed, leisurely pursuit it might appear. Camera bodies might be getting lighter, but once you add a couple of lenses, a tripod, filters, batteries, food, water, and perhaps a drone, you’re dragging around half a studio on your back. But Hypershell might have a solution: what if you could make the photographer stronger?

Unveiled at IFA 2026, the new Hypershell Halo is a full-leg consumer exoskeleton designed to assist movement across difficult terrain. For photographers who regularly hike with heavy gear, this could seriously help mobility.

Rather than simply providing power at the hips like previous models, the Halo uses four powered joints covering both the hips and knees, coordinating them as a single system to provide propulsion, weight-bearing support, descent control, and cushioning when landing or moving over uneven ground.

The Halo's HyperDrive Pro system produces up to 1,490W of peak output and can assist users at speeds of up to 17km/h. Hypershell also claims the system can reduce knee-muscle fatigue by as much as 40% during squats, while helping lift the wearer during climbs and absorbing some of the impact on descents. A swappable 370g battery promises up to 20km of range.

Despite strapping four motors to your legs, Halo itself weighs 2.6kg. Its carbon-fiber and titanium construction folds down to less than eight liters. It is also IP54 rated against dust and splashing water, which should make it better suited to the sort of environments landscape and wildlife photographers tend to find themselves in.

It's 2026, so of course there is plenty of AI involved too. More than 30 sensors monitor movement while Hypershell's HyperIntuition 2.0 system attempts to predict what the wearer intends to do around 200 milliseconds in advance, adjusting assistance up to 2,500 times per second. Over time, it can also adapt to an individual's gait and movement habits.

Whether photographers are really ready to strap on an exoskeleton to go out shooting is another question. The Hypershell Halo costs $2,299, which is an investment, but is less than the cost of a lot of the other gear in a kit bag.

But if the choice is between leaving gear at home or getting robotic assistance up the mountain, I can certainly see the appeal.

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For more camera support in the great outdoors check out our guides to the best carbon fibre tripods for lightweight options.

Godox has just launched an ingenious contraption for extreme close-up photography that offers a precision macro lighting set-up that insect and plant photographers will love. The Godox MA2 Flexible Macro Twin Light is a hotshoe-mounted device that has two LEDs on a pair of stalk-link arms. The power and the color temperature of each of these lights can be independently controlled from the panel that sits on top of the camera.

For further lighting control, each LED lamp has a hotshoe above and below, allowing you to place one or two mini strobes on each side to enable shorter effective exposures to freeze movement and to use small apertures to maximize depth of field.

The maximum weight of the flash units used needs to be under 90g. But thankfully highly-affordable units, such as the Godox iM20 (around $28/£25 a piece) have become popular of late, since camera manufacturers have stopped providing a built-in pop-up flash.

Although the flash units cost extra, the basic unit is supplied with a large diffuser panel to ensure even lighting from the lighting rig. A bigger diffuser box is available as an optional accessory.

The LED panels are powered by an integral 3300mAh lithium-ion battery, which is said to give over three hours of running time at 100% brightness. This is recharged via a USB-C connector, which takes 2 hours and 20 minutes to recharge. The panels offer a color range from 2800-6500K.

The Godox MA2 Flexible Macro Twin Light will for $79 / £69 and is expected to be in stock by the middle of September.

Above: YouTube video showing the Godox MA2 in operation

See our full guide the best ring flash for macro photography

From phones to glasses to keychains, it seems like there’s nothing the consumer tech industry won’t stick on the end of a camera. And now, Dyson, the English tech company famed for its household appliances, has launched a toothbrush with a built-in camera. The Dyson CameraJet uses what it calls Gap Optical Targeting to shoot jets of liquid between hard-to-reach gaps in teeth.

It does this by using a 100,000-pixel camera with a tiny macro lens to capture and analyze 28 images per second. Combining this with AI algorithms that are said to detect, track and predict gaps, as well as a 257Hz stroboscopic light to illuminate the mouth, allows it to precisely target jets of liquid and ‘floss’ the user’s teeth.

According to Dyson, the camera’s ability to target gaps is what sets the CameraJet apart from the competition. It took six years of research and development to come to fruition and is priced at an eye-watering $499.99 / £419.99 / AU$799.

Founder James Dyson said of the CameraJet: “By combining a camera, machine learning, precision fluid dynamics, advanced brushing technologies, connectivity and WiFi, Dyson CameraJet introduces an entirely new way to keep your mouth healthy.”

It’s not the first time a company has attempted to merge toothbrushes with cameras. Onvi announced the Prophix Video Toothbrush back in 2016, which was intended to stream footage from inside the mouth to the user’s phone so they could make sure they were reaching the right spots, but it never actually hit shelves.

It’ll be interesting to see how Dyson’s camera-infused toothbrush fares on the market. Premium toothbrushes are nothing new and Oral-B’s range-topping iO brushes aren’t priced too dissimilarly to the CameraJet. So there you have it, what’s next? A camera with a built-in toothbrush?

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Want more weird and wonderful camera tech? New compact camera is a colorful analog shooter for experimental fisheye photography. Camera accessories should be practical – not just look pretty – and this new LED hot shoe cover is the perfect example of something I'd never buy. Neck warmers for Nikon lenses? These FTZ adapter covers give DSLR lenses a glow-up when used on modern mirrorless cameras.

If I’m going to lighten my wallet and weigh down my camera further with an accessory, then that accessory needs to either improve my images or my workflow in some way. If it doesn’t, then for me, personally, it’s a waste of materials and money.

A waterproof cover, a clip for mounting your camera to your backpack shoulder strap, and lens filters – I’ll buy these all day long. But a custom silicone lens sleeve, a decorative shutter button, or a creative hot shoe cover – not a chance.

That brings me to Godox’s LT1 LED Creative Pixel Light, which is essentially a hotshoe cover with a screen that you can program to display graphics using the accompanying mobile app.

And this new camera accessory, which is technically a cold shoe attachment as it doesn’t have any electrical contacts, is the perfect example of what I’m talking about.

I can understand that there is some level of aesthetic appeal here, especially to collectors who like quirky photography items, but what will this thing actually do for your images?

The LED screen might display something cute, like an animal or a name, but that doesn’t help you shoot better images in harsh light. The built-in Godox light control button could be handy, but to use it, you need to already own compatible Godox lights.

I did notice in the comments section of the LT1 promotional video on YouTube that someone said the device will be great for photographers working with children.

And maybe it will help these photographers to better engage their subjects, but just maybe. After all, it’s not like the hotshoe cover will help children to look directly at the lens…

The good thing is that, priced at $33.90 (approximately £25 / AU$47) on B&H Photo – currently for preorder – the LT1 won’t lighten your wallet too much, although I'll be saving my money.

However, I encourage you to watch the promotional video and also check out the product specs before forming your opinion. While I'm never a fan of these sorts of accessories that do nothing for my images, Perhaps for you, personally, this funky, albeit seemingly impractical device would come in handy.

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Here's our pick of the best camera accessories – these essential photography gadgets and add-ons are workflow bolstering!

Samsung has launched two new super-fast portable SSDs promising incredible transfer speeds. The Samsung Portable SSD P Series consists of P9 and P7 models, both being built around a super-fast USB4 interface.

Portable SSD P9

The top-tier P9 boasts incredible read speeds of up to 4,000 MB/s and sequential write speeds of up to 3,800MB/s. This makes the P9 around twice as fast as existing USB 3.2 Gen 2x2 SSDs which max out at 2000MB/s, and it means the P9 supports 12K direct recording for professional production workflows.

The P9 is available in 1TB, 2TB, 4TB, and 8TB capacities; the latter being the world's first 8TB USB4 portable SSD. As you might imagine, this much speed doesn't come cheap, especially with today's sky-high NAND flash pricing. Expect to pay $339.99/£296.09 for the entry-level 1TB capacity, with the 2TB, 4TB and 8TB drives costing $649.99/£591.99, $1,349.99/£1,184.49, and $2,699.99/£2,342.79, respectively.

Portable SSD P7

The Portable SSD P7 shares the same capacity options as the P9, but at slightly more accessible price points of $289.99/£246.79 for the 1TB version, $549.99/£493.49 for the 2TB, $1,149.99/£986.99 for the 4TB, and $2,289.99/£1,952.29 for the range-topping 8TB capacity. Transfer speeds for the P7 have yet to be announced, but we'd expect the P7 to be only marginally slower than the P9, as it also uses the same super-fast USB4 interface.

The P7 also benefits from drop protection from heights up to 2 meters, along with shock and vibration durability. Samsung states that the P7 will offer broad compatibility with a wide range of host devices, including desktop computers, laptops, smartphones, games consoles, and cameras.

If, like me, you're one of the millions who bought a DJI Osmo Pocket gimbal camera – or you're thinking about it – checking out the accessories is a good idea.

A good line of accessories can make or break a pocket gimbal camera's long-term usefulness, so it's already a good start that sales have been high; that means there are millions of reasons out there to offer accessories!

This guide covers both the DJI Osmo Pocket 3 and Osmo Pocket 4, as the devices have a lot in common. The connection at the base with a USB-C port and clips is the same, as is the magnetic lens attachment (except for the 4P, which boasts an extra lens and thus needs different covers). Where there are crucial differences, I've noted them.

The other reason you might be looking for accessories is that there are a lot of bargains around, especially for the older Pocket 3 model. As I've said elsewhere, of the Pocket 3 vs Pocket 4, the available bargain bundles often leave you wondering what accessories you need – or don't.

That's why I compiled my list of core accessories for these cameras and picked out the most useful ones, and why.

Best accessories for the DJI Osmo Pocket 3 and Pocket 4: Microphones

In essence there are two approaches to wireless microphones out there, depending on your budget and needs, and the Osmo Pocket cameras are equipped to make both work. All things being equal, the most convenient is normally going to be the winner.

DJI's Mic Mini 2 system includes a receiver (RX) that plugs into a USB-C socket on a phone, but if you only want the wireless mic (TX) for your Osmo Pocket you don't even need the RX: Osmo Pocket cameras have a built-in receiver (RX) for DJI's own microphone system.

That means you can record from the 11g TX (microphone with transmitter) straight onto video as you go, with no need for editing. Light and convenient to carry, too, as you can just keep the tiny mic with the camera.

Where you do need more quality and backup recording for editing emergencies, the DJI Mic Mini 2S or DJI Mic 3 series are steps up the range. They can both record 32-bit float (the audio equivalent of a RAW file) directly onto the microphone so, if anything goes wrong, you have rescue room.

If you just get one mic, when you need to charge it, it drops onto a magnetic adapter that plugs into a USB-C port – for the 2S this is also how you download files. All you need to do is not lose it.

There are pricier bundles with charging cases and connectors for a full range of cameras it can charge in the case, too. That gives you more flexibility with the microphone if you sometimes prefer to use it with your phone camera.

You can see my full review of the Mic Mini 2 and Mic Mini 2S.

Best accessories for the DJI Osmo Pocket 3 and Pocket 4: Battery Handle

The Osmo Pocket's battery handle is hot-swappable and – crucially, for the big-handed like me – improves the camera's ergonomics by extending the handle. There is one for each camera series, but they are cross-compatible (up to a point).

At best, shooting at 4K 60fps, you'll see under 2 hours without the battery handle – and realistically less, as the battery does slightly drain all the time. Add the battery and you should see that surpass 3 hours (officially it's 116 to 186 minutes, a 62% improvement).

It also adds a tripod thread at the base, rather than a USB-C port, which is handy in a lot of scenarios. Otherwise, you need to attach the shorter cube-like base that is shipped with the standard Pocket just to be able to attach a tripod.

In other words, you have an accessory a bit like this already, so why not get the bigger one that'll grant you longer shooting time?

For me the answer is easy. The benefit of this depends entirely on whether you're able to top up the charge as you go – if you already carry a big power pack, this might be unnecessary. As I said, though, the longer grip can make the device feel.

Incidentally, the Pocket 3 battery handle has 950mAh and the Pocket 4 battery has a little more oomph with 1,080mAh. My first instinct might be to opt for the cheapest on the day, but getting the correct one for your camera's generation also means the battery charge level can be detected by the device – and other features that rely on subtleties of the USB (fast transfer, microphone pass-through) can be affected.

See the DJI Osmo Pocket 4 Battery Handle details at the DJI store.

Best accessories for the DJI Osmo Pocket 3 and Pocket 4: Lens Filters

DJI's simple set of three filters attaches magnetically and is compatible with both the Pocket 3 and Pocket 4 cameras, so there is little to complain about.

They help you achieve a cinematic look with a slower shutter speed on a bright day, even if you let the camera itself handle the settings in auto mode.

Brands like Neewer offer an even more extensive range – including bundles with lens adapters for wide-angle and tele, but we haven't had the opportunity to review it yet at DCW. If you just need a simple set of the core options, however, then DJI's own offering is ideal.

DJI's hard-shell plastic with high-quality foam also feels thoroughly convincing, a great balance between low weight (retaining the portability the device is known for) and a good level of protection.

Best accessories for the DJI Osmo Pocket 3 and Pocket 4: Tripod base

What makes DJI's own-brand tripod base appealing is that it color-matches the camera, it's solidly built and it manages to be very lightweight and yet sturdy at the same time.

It is not solid plastic, but the molding of each fold-out leg is an ABS-style plastic with a pattern of triangular beams for structural strength – and each has a rubber foot, so you can place the tripod on a flat surface like a glass table without worry of it slipping.

The hinges, too, have a nice feel to them. When I open and close them they stay exactly where I leave them, which just feels premium (in so far as any product in this category can).

Remember, by the way, you need to attach either the Battery Handle or standard Handle extension as these have the 1/4-inch thread needed.

Oh, and this is included in some of DJI's bundles, like the Creator Combo, so make sure you're not getting it already!

Best accessories for the DJI Osmo Pocket 3 and Pocket 4: Fill light

There are times when a little extra light is a good thing. While this isn't the equivalent of professional studio lighting, it is a handy addition that can overcome a difficult shadow or add some sparkle in the subject's eye.

Weighing just 16g and offering a trio of brightness settings (12, 25, or 40lux) and color temperature options (warm, neutral or cool), this is ideal. It also takes very little space and, because it mounts to the gimbal, it turns with the camera lens(es).

I tested the fill light when I reviewed the camera, and I found myself making use of it and enjoying how easy it was to pop on and off. The buttons make it easy to cycle through the settings, and there are neither too few or too many. Since it fits in the camera bag, it's hard to argue with this design (and it's nice that I can use it on both the 4 and 4P)

Compatibility

As I mentioned, the Pocket 3 and Pocket 4 series (made up of the Pocket 4 and Pocket 4P) share a lot of common elements and specs.

All the lower attachments – handles and grips – that work with the Pocket 3 and Pocket 4 will work with the other – but the software might not always recognize it.

DJI did improve the battery handle between generations, for example, but the Pocket 3 might have trouble working out the power remaining on a Pocket 4 handle.

Where things differ is at the top. Both the 4 and 4P, but not the 3, have a set of pogo pins on the side of the gimbal where the fill light accessory can be mounted, and perhaps others to come. These aren't compatible with the 3 because it doesn't have this connector.

The other difference is the magnetic lens mounts. These are the same between the 3 and 4, but (perhaps obviously) not the 4 and 4P, which have different camera setups.

Godox has been on something of a tear recently with innovative and unusual new products, such as the Godox C100 half-camera, half-light-meter… thing.

The latest lighting product from the company – which started as a lighting specialist, after all – is a suction-based mount that provides a unique means of setting up your lights. You can attach them to the wall!

Or a window. Or a desk. Basically any flat surface, really. The Godox ES01 is essentially an electronic flash base with a suction cup on the bottom and a built-in battery to keep it attached. Supporting up to 1.3lbs / 590g of weight, it is compatible with a number of small Godox flashes and LEDs – and should work with any flash below the weight limit.

This means you’ll be able to use the mount with some of the diminutive Godox flashes that have impressed us recently, including the Godox iT32 – which comes with a trigger kit that enables it to be used completely off-camera.

Weighing just 2.4oz / 69g itself, the Godox ES01 is an absolutely tiny piece of kit, measuring 2.7 x 2.7 x 1.7 inches / 68 x 68 x 42mm.

To mount it, you simply press the silicone suction cup down on a flat, non-porous surface; the motorized pump will then activate to remove the air and secure the mount. Attach your flash, shoot your shot and then when you’re done, press the release button to break the air seal.

Given its tempting list price of just $29 (around £20 / $AU40), I can see the ES01 having a lot of appeal for budget-conscious portrait photographers and vloggers – especially those working in cramped indoor environments, where you don’t necessarily have space to maneuver with a tripod or a desk to mount a mini one.

The full list of compatible lights supplied by Godox is as follows: the TT350, V350, iT32, iT30Pro, iT22, iT20, iM22, iM20, iM30Pro and iM30 flashes, and the LED6R and LED6Bi compact LED lights.

Plus, if you want to mount a larger flash or light unit, Godox is also selling the product in three-mount kits with a three-pointed base, enabling you to use the suction power of three simultaneously. The K3 kit has a screw mount in the center and costs $79 (£59 / AU$110).

We’ll have to wait to get our hands on the Godox ES10 to see if it works as advertised, but you can head to the Godox website for more information.

As part of its 30th anniversary celebrations, The Pokémon Company has unveiled its latest collaboration: a collection of Pokémon x SanDisk mobile storage drives themed around fan-favorite characters Mew and Mewtwo.

"Crafted for creators, collectors and Pokémon trainers alike", the lineup marries tactile 2D likenesses of Mew and Mewtwo with the high-capacity, high-performance power of SanDisk flash drives and portable SSDs.

The SanDisk Pokémon Portable SSD Mewtwo Edition challenges you to "carry even more and channel Mewtwo's strength", with capacities of 500GB and 1TB, and transfer speeds up to 5 times faster than traditional portable hard drives.

Just like Mewtwo, this pocket-sized SSD is one tough customer; it's able to withstand drops of up to 6.6ft / 2m, and can operate in temperatures as low as 32°F / 0°C and all the way up to 113°F / 45°C. It can even store your data in temperatures as extreme as -4°F / -20°C to 176°F / 85°C.

The SanDisk Pokémon USB-C Flash Drive Mew Edition, meanwhile, promises to "bring Mew's playfulness to your flash drive". Ideal for cross-platform storage and transfer, this 128GB drive works across phones (via the SanDisk app), PCs and Macs, boosting your storage space to up to 5,000 photos with 250 MB/s read speeds "faster than Mew’s evasive maneuvers".

Both drives come with the SanDisk app for mobile and desktop, which makes it easy to move, copy, protect and automatically backup your files.

"Pokémon has sparked creativity, imagination and personal connections for generations," said Susan Park, SanDisk's VP of consumer product management. "As fans celebrate 30 years, we wanted to create products that feel worthy of that legacy."

"Iconic and powerful, Mew and Mewtwo are among the most beloved and instantly recognizable Pokémon. By combining the enduring appeal of these two Pokémon with Sandisk’s proven performance and reliability, we’re giving fans new ways to carry the moments, memories, and creations that matter most."

Both products are available now, with the SanDisk Pokémon Portable SSD Mewtwo Edition starting at $149.99 / £106.99 and the SanDisk Pokémon USB-C Flash Drive Mew Edition priced $34.99 / £28.99 (Australian pricing to be confirmed). For more information, visit the Pokémon x SanDisk page.

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Take a look at these Pokémon x Polaroid cameras, similarly launched to commemorate the 30th anniversary, and check out this Pikachu-themed Canon camera that's the worst camera I've ever bought!

Peak Design’s clever new Field Bracket has officially moved beyond its hugely successful Kickstarter campaign and is now available to order, bringing its modular take on the traditional camera L-bracket to photographers using Sony, Nikon, Canon, Fujifilm and Leica cameras. The crowdfunding campaign ultimately raised $678,868, suggesting there is clearly plenty of appetite for an L-bracket that does a little more than simply help you turn your camera sideways.

At its heart, the Field Bracket is still designed to do exactly what you would expect from a good L-bracket, providing Arca-type mounting surfaces for quickly switching between horizontal and vertical tripod shooting. However, Peak Design has made the system modular, with a camera-specific baseplate machined from recycled aluminium and a removable upright section that can be attached, repositioned or removed without having to reach for a collection of tools.

One of its smartest features, though, is a hidden compartment inside the bracket designed to take Peak Design’s optional Beacon Finder Tag. Think of it as an AirTag-style tracking system built directly into your camera setup, with the tag supporting both Apple Find My and Google Find Hub. The Beacon Finder Tag is IP67 rated, uses a replaceable CR2025 battery, and is rated for around six months of continuous use, which could make it a very reassuring addition for anyone travelling with expensive camera gear.

Compatibility is already impressively broad. Peak Design lists support for cameras including the Canon EOS R5, R5 II and R6 series, Nikon Z5 II, Z6 II, Z6 III, Z7 II and Z8, Fujifilm X-T5 and X100VI, Leica Q3, and a long list of Sony bodies including the A1, A1 II, A7 IV, A7R V, A7C II, A7CR and A9 III. Because each bracket is shaped around a particular body, however, it is worth checking Peak Design’s compatibility list carefully before ordering.

The Peak Design Field Bracket is priced at $149.95 at B&H, with listings currently available to preorder ahead of stock arriving. It certainly isn’t the cheapest L-bracket around, but this feels like much more than a simple piece of metal screwed to the bottom of your camera. Between the modular design, portrait and landscape tripod mounting, optional tracking, and the wider Peak Design accessory ecosystem, the Field Bracket could be one of those accessories that ends up staying attached to your camera far longer than you originally expected.

Check out our guide to the best L-brackets for cameras

Early video tripods used a series of loud gears, but then in 1946, a father and son in Australia patented a new design: the fluid tripod head. The company behind that game-changing invention, Miller Camera Support Equipment, has announced that it is shutting down next month.

In a letter, small business owners Mark and Diane Celementson announced their retirement, which will bring Miller Tripods to a close on September 30.

Eric Miller, working with his son Bob, introduced the first fluid tripod head in the 1940s. The design solved a key problem with early tripod systems: noise. Before the fluid head, tripod heads used gears that introduced noise into the footage. Panning was difficult before the fluid head, and Miller Tripods says that diagonal camera movements were “virtually impossible.”

The arrival of the fluid tripod head in the 1940s is made all the more impressive considering where video technology was at the time. The earliest videos used stationary cameras, with the first panning shots arriving in filmmaking in the early 1900s.

Camera movement like panning didn’t become mainstream until the 1920s, but when audio arrived on the scene in the 1930s, camera movement halted again – the loud cameras needed to be locked in soundproof boxes too large to move.

As video camera technology shrank down, cinematic camera movement re-entered the scene, but there was still a problem – the typical video tripods used noisy gears.

Eric and Bob Miller patented the first fluid head in 1946, later creating the company in 1954 to sell those tripod heads, and eventually the first fluid head tripod made its way to Hollywood in 1958.

Rather than gears, the fluid head uses a liquid-filled chamber to allow videographers to create smooth camera movements. Miller’s first fluid head had a fixed resistance, but the format would move on to introduce adjustable resistance and counter-balance systems for handling heavy cameras.

While Miller got its start from tripod heads, the company also developed full tripod sets shortly after. The first tripod from Miller Tripods looked quite a bit different than today’s design, including wooden legs.

By the 1970s, Miller Tripods’ specialty shifted to creating camera support systems for news and broadcast. According to the company’s website, the tripods are used by more than 265 television networks. The company's camera support systems are used in more than 65 countries.

“From those early beginnings, Miller grew into an internationally respected manufacturer, supporting broadcasters, cinematographers, filmmakers, and content creators across the world,” Mark and Diane Clementson, owners of the company for the last 55 years, wrote in a letter announcing the decision. “Through changing technologies, evolving production environments, and generations of industry professionals, our commitment to innovation, quality, and customer service has remained central to who we are.”

The Australia-based company says that operations will cease on September 30.

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Nikon Image Space is shutting down. The imaging giant announced that the cloud storage service will begin shutting down on October 15, closing the chapter on the dedicated storage space while opening up 5GB of free storage on Nikon Imaging Cloud.

Nikon Image Space is the brand’s dedicated cloud storage platform that included 2GB of free storage, or 20GB of free storage by registering a Nikon camera. Launched in 2013, the platform serves as a backup and cloud storage solution for Nikon photographers.

Nikon says that the Nikon Image Space service will shut down on October 15, after that date, all features will be disabled except for the bulk download tool. Nikon is giving photographers a few more months to save their images using that bulk download tool, until April 15.

Nikon isn’t shutting down Image Space without offering an alternative. In an email to users, Nikon said that the company is adding storage and sharing features to Nikon Imaging Cloud instead. After Nikon Image Space begins the shutdown process on October 15, Nikon will add up to 5GB of storage to Nikon Imaging Cloud.

That's lower than the 20GB formerly part of Image Space with a registered camera, however, and Nikon Imaging Cloud also isn't directly compatible with Nikon's DSLRs.

The move adds more long-term cloud storage to Nikon’s app that already offers unlimited temporary storage for 30 days. Nikon Imaging Cloud is also used for firmware downloads and saving image recipes. Axing Nikon Image Space moves Nikon’s software to fewer, more streamlined options.

Nikon Image Space will shut off every feature except for bulk downloads on October 15 at 9 AM Japan Standard Time – which is 1 AM BST on October 15 and 7 PM EST on October 14.

Nikon Image Space will fully shut down on April 15, 2027 at 1 PM JST (5 AM BST / 12 AM EDT) – after that, any photos and data left on the platform will be permanently deleted.

In a notice announcing the change, Nikon said the move was “due to changes in the market environment,” but did not specify what those changes are.

Camera makers as well as cloud service providers are facing the after effects of the rise in artificial intelligence creating high demand for storage. That demand is increasing the cost of memory components for camera makers, including Nikon, and is also driving up demand and use of cloud storage.

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The memory crisis is showing no signs of stopping. For photographers and tech consumers alike, it’s an alarming time. I bought a Nintendo Switch 2 this month; I’d been mulling over the idea for a while, but an impending price increase strong-armed my decision. Then a colleague of mine bought an Apple MacBook Neo for his daughter’s birthday, and I was surprised to find it had increased by $100/£100.

All across the consumer tech industry, prices are increasing. And although the memory crisis isn’t solely to blame – tariffs, component shortages, and a rising cost of living – it’s having a huge impact. As a photographer, it’s especially worrying because we rely heavily on storage. Memory cards and SSD drives were expensive enough – now they’re through the roof!

But a strange byproduct of all this is that I now find what I once considered aging tech – the humble SD card – to be an absolute lifesaver. Don’t get me wrong, many SD card prices have risen exponentially, too. But they still pale in comparison to XQD and CFexpress prices.

Thankfully, all but the very pro-tier, flagship cameras tend to have either an SD card slot or a dual SD and CFexpress slot. And I have to wonder if that trend will continue as long as the memory crisis. It seems remarkable to me now that Nikon launched its full-frame mirrorless Z mount back in 2018, with two cameras that only contained a single XQD/CFexpress slot.

I mean, cameras are expensive enough as it is, but now the camera and the lens and the spare battery aren’t enough. You’ve got to spend $100/£100+ on a CFexpress card. Don’t get me wrong, CFexpress cards are certainly preferable to their SD card counterparts. They’re faster, more robust and more reliable. But they’re also a lot more expensive.

There is another angle, and that’s built-in storage. I’ve just recorded another episode of Bokeh Face: The Digital Camera World Podcast, and in our Gear Up section we talked about the Sigma BF. Not only is it a gorgeous-looking camera with some impressive specs, but it also doesn’t have a memory card slot. Instead, it has 230GB of internal memory.

Don’t get me wrong, a device with built-in memory isn't immune to the memory crisis, but at least you don’t have to worry about buying a collection of cards. And in 2026, a few CFexpress cards could set you back $400/£400+. That’s madness!

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It’s been about five years since I discovered 3 Legged Thing, a British company specializing in tripods and other supports. My first encounter was with the Winston 2.0 and AirHed Pro kit. I instantly fell for Winston, and it’s still my favorite full-sized tripod to this day. Even so, a lot has happened in the last five years, and 3 Legged Thing has branched out in all sorts of different directions, currently catering to photographers and videographers, as well as ramping up its endeavors for field sports and birding, plus shooting and target sports. I’ve reviewed many 3 Legged Thing tripods and heads, desk mounts, window mounts, phone mounts, microphone arms, light stands, L-brackets, camera straps, and other items along the way, being highly impressed by pretty much all of them.

Bringing things up to date, there’s a dynamic duo of new 3 Legged Thing video tripods in town, going by the names of Ridley and Wes. They’re both similar in many ways and are named after master movie directors. Ridley (Scott) is the larger three-section tripod of the two, whereas Wes (Anderson) is the smaller sibling, with a travel-friendly, fold-down-small five-section leg design. Both carbon fiber tripods are available as sets of legs on their own, or as full kits with the same fluid head. They aim to be among the best carbon fiber tripods and the best video tripods, while the Wes that I’m reviewing here also eyes up a spot as one of the best travel tripods for videographers.

3 Legged Thing Wes: Specifications

3 Legged Thing Wes: Price

Quality seldom comes cheap, and sure enough, a set of the premium Wes travel tripod legs will set you back $399 / £379 (AU$ TBA). Go for the complete kit with the addition of a high-performance fluid head, and you can expect to pay $599 / £569. They’re both fairly substantial chunks of money, but the features, design and build quality make them well worth the outlay, especially as both options feature a built-in leveling base, smart padded soft case and handy little extras. All in all, they’re very competitively priced.

3 Legged Thing Wes: Design & Handling

Wes Anderson has proved himself as an ingenious, stylistic, and very versatile movie director over the last 30 years, so Wes is an inspirational and aspirational name for this new video travel tripod from 3 Legged Thing. Available in gray and black with orange accents or in all-black, the legs are made from premium Japanese eight-layer carbon fiber with an aerospace-grade magnesium alloy canopy. But when shooting a video narrative, I feel that legs are only half the tripod story, so I went for the full kit that adds a fluid head. More on the head later, but I’ll begin with the legs.

The small stowage size of the Wes tripod legs equates to just 44cm / 17.3in in length, or 54.8cm / 21.6in with the fluid head fitted. To my mind, that makes the kit small enough to take on pretty much every journey to any location, whether I’m pounding around local city streets or jetting off to the other side of the world. For the latter, the tripod is small enough to fit within the cabin baggage regulations of most airlines.

Fully extending all five sections of each leg reveals ever-decreasing circles, in terms of the relative diameters. Even so, the thinnest bottom sections have a perfectly respectable 14mm diameter. Not only is that significantly greater than in many travel tripods that I’ve seen and used, but it also enables a strong payload rating of 14kg / 30lb, even when the tripod is at full stretch.

There are a couple of potential drawbacks to five-section legs that can outweigh the allure of compact stowage. First up, each joint is a possible point of weakness, where flexing and wobbling might be introduced. The second is that you end up with no less than 12 separate leg section locks to contend with when fully extending and contracting the tripod. That can equate to a lot of time and effort.

Thankfully, the twist-action section locks featured in the Wes only require minimal rotation to unlock and relock them. You can easily grab the full set of them for each leg when the sections are contracted, and tighten or loosen them with a single flick of the wrist. Ultimately, they’re surprisingly quick and easy to use, while maintaining super-solid locking that avoids any unwanted flexing or movement when the tripod is in use.

While the twist-locks for the leg sections are a brilliant piece of design that’s thoroughly well executed, the same applies to the locks for the three alternative leg angles. The leg angles themselves measure 23, 55, and 80 degrees from the vertical, so there’s plenty of room for maneuver. Moreover, the simple yet highly effective spring-loaded, push-lever locks ensure maximum speed and ease when playing all the angles. Unlike many travel tripods, including the more stills-centric 3 Legged Thing Leo 2.0 + AirHead Pro, there’s no time wasted swinging the legs up around the center column for compact stowage, as the Wes has no center column anyway.

One place you generally don’t want any angles coming into play is in the platform on which the head is mounted. If you try to compensate by adjusting the level of the head itself, you’ll find that your horizons go wonky as soon as you start panning. One method is to meticulously adjust the overall height of each leg, so that the tripod canopy is level. However, this tends to be an arduous, time-consuming process, especially if you’re working on uneven ground.

To make things quick, simple, and highly effective, the Wes features a built-in leveling base that is an absolute doddle to use. It has a single locking screw with a spring-loaded handle mounted on a six-sided shaft, so you can pull out the handle and rotate it for your favored orientation. Another aid to leveling up is that the base features a bubble level, which can be rotated through a full 360 degrees for easy viewing from any angle.

With the opposite of a soft underbelly, Wes has a pair of solid, robust weight hooks extending from the bottom of its magnesium alloy leveling base. They’re ideal for adding ballast to avoid the tripod swaying in the breeze if you’re shooting outdoors in windy conditions.

Intent as ever to cram as many crafty design flourishes into a tripod as possible, 3 Legged Thing has doubled up the usefulness of the weight hooks. The hooks also form the T-section of an Allen key that mounts to the underside of the leveling base via a QD (Quick Detach) mechanism. A simple press of a button is all that’s required to release the Allen key, which you can then use for securing your camera to the head’s quick-release plate, or for anything else that uses the same-size Allen key.

I’ve written a full, standalone review of the revamped and updated 3 Legged Thing AirHed Cine CC fluid head, and as part of the complete kit, it’s an ideal match for the Wes tripod legs. It ensures wonderfully smooth tilt and pan operation and excellent all-around performance. The favorable feature set includes an adjustable, telescopic panning arm that can mount on either side for left-handed or right-handed use, and an extra-long XP100 Ultra Plate quick-release plate, which is Arca-Swiss compatible.

Another bonus is that you can use that QD-mounted Allen key that I mentioned just now to remove four screws and rotate the orientation of the head’s camera platform through 90-degree increments. The upshot is that the long QR plate can run from side to side instead of just from front to back. The sideways orientation can be more ideal if you’re using a cage, and definitely if you’re using an L-bracket like one of 3 Legged Thing’s camera-specific L-brackets or the universal 3 Legged Thing Lexie.

Going from top to bottom, or rather from head to foot, the legs are fitted with rubber pads that give a very firm and stable footing on most surfaces. There’s also a variety of alternative footwear on offer from 3 Legged Thing as optional extras. These include Heelz (metal spikes), Stilettoz (elevated metal spikes), Clawz (metal ice/rock grips) and Vanz (dual metal spikes and rubber pads).

There are many and varied tripods on the market, in which you can unscrew one of the legs and use it as a monopod instead. It’s a good idea in that it saves carrying two separate bits of support kit. With the Wes, however, you can remove all three legs if you wish, which adds even greater versatility.

A neat trick is that if you remove all three legs, you can use the canopy of the Wes with the optional Vanz footwear that I mentioned just now. These dual metal spikes with rubber pads can screw directly into the canopy, effectively transforming the Wes into a tabletop tripod.

There’s a handy multi-function tool supplied with the tripod kit, aptly named the 3 Legged Thing Toolz2. It has a keyring attachment and includes two different sizes of hex keys, a coin/flat blade key, a bottle opener, and a carabiner. It comes in useful for a whole range of tripod/photographic tasks, as well as for popping the tops off bottles when all that videography makes you work up a thirst.

Attention to detail in both design and manufacture is carried over from the tripod itself to the high-quality padded soft case that it’s supplied in. The case features a pair of internal securing straps for the tripod and an internal mesh pocket, all with Velcro fasteners. There’s also a side pocket for additional storage complete with a zippered three-section organizer (the zippers have comfy pullers for easy opening and closing). There’s a detachable, adjustable shoulder strap, a carrying handle, plus a carabiner-style hook. The hook is ideal for attaching the bag to one of the weight hooks on the tripod after popping a few weighty objects inside.

3 Legged Thing Wes: Performance

Travel tripods sometimes get a bad press, not least from me. Sure, I like that they tend to be lightweight to carry and fold down to unfeasibly small dimensions, but I feel that the lack of rigidity and meagre maximum operating height often makes them somewhat unfit for their intended purpose. I’m happy to report that while the maximum operating height of the 3 Legged Thing Wes kit isn’t exactly towering, it’s definitely tall enough for the vast majority of videography shooting scenarios, equating to 134.5cm / 53in complete with its fluid head. That’s actually pretty generous for a videocentric travel tripod that omits a center column.

Just as important, or maybe more so, is the fact that the Wes supplies firm, solid, and stable support even at its maximum operating height, with all of the leg sections fully extended. That’s no mean feat for a relatively lightweight tripod with 5-section legs.

Another factor that I’m happy to include under the ‘performance’ umbrella is that I like a tripod to enable ultra-low-level shooting without too much fuss and bother, or the need to invert the center column and shoot with the camera upside down, which is a bit of a non-starter for videography anyway. With its head in place, the Wes can shoot down to nearly ground level for creative effect, with a minimum operating height of just 21cm / 8.3in.

I found that the multiple leg angles made it easy to work around obstacles like low walls and staircases, as well as catering to rough terrain. Another bonus is that the middle leg angle setting enables a firmer footing when shooting from fairly low operating heights, adding stability and making the tripod less at risk of being knocked over accidentally or falling foul of very windy conditions.

I’m tall at 6ft 5in and found that the Wes was a little short for me in regular monopod mode, at least when using the viewfinder of a camera. Even so, I didn’t have to crouch very much, and like many of us, I’m much more likely to shoot video using the rear screen of a camera rather than putting my eye to the viewfinder. In this configuration, the monopod proved tall enough for me at its maximum height with the head fitted. And if you hanker after a taller monopod, you could connect two or even three legs, top to toe, after removing the feet from two or three of the legs, respectively.

3 Legged Thing Wes: Verdict

The 3 Legged Thing Wes ticks all of the boxes on my wish list for a video travel tripod. It folds down small and is very lightweight to carry, yet reaches a decent maximum operating height while being sturdy and resistant to flexing and vibrations. I’m generally wary of tripods with five-section legs because the bottom leg sections are often very thin and spindly, resulting in a drop in rigidity and stability when they’re extended. There was no hint of this when using the Wes, and I found it gave solid support throughout its entire operating range, from just above ground level to its maximum height.

The premium carbon fiber legs with their aerospace-grade magnesium alloy canopy are a great buy on their own. However, the recently updated 3 Legged Thing AirHed Cine CC fluid head is such a great match for the legs that I feel the complete kit is the best option. As a complete travel tripod for videographers, it’s hard to beat.

Alternatives

I’ve been reviewing 3 Legged Thing gear for five years and counting, since first encountering the rather epic Winston 2.0 and AirHed Pro kit from the Pro 2.0 range. Indeed, it’s been my go-to full-sized tripod ever since, and I’m no stranger to the company’s supersized video tripods either, like the 3 Legged Thing Legends Tommy. Over the ensuing years, I’ve also tested and reviewed a bunch of other 3 Legged Thing tripods great and small, desk mounts, window mounts, phone mounts, microphone arms, light stands, L-brackets, camera straps, and other paraphernalia. The company’s product catalog is nothing if not diverse, ranging from photography and videography kit, through field sports and birding, to shooting and target sports supports and accessories.

One constant is that I’ve always been impressed by 3 Legged Things’ design flair and the company’s ability to turn its clever design concepts into expertly engineered and beautifully finished products. The set of Ethan 4 tripod legs that I’m reviewing here is a mighty, super-strong set of carbon fiber legs that aims to stick with that tradition, billed as a professional hybrid photography and tactical tripod system for photo, video, shooting, and tactical pursuits. Let’s see if it lives up to its claims, not just as one of the best carbon fiber tripods, best video tripods, and best tripods for photographers, but for a variety of other duties as well.

3 Legged Thing Ethan 4: Specifications

3 Legged Thing Ethan 4: Price

A full-sized tripod with a mighty 60kg / 132lb payload rating and built from premium Japanese carbon fiber and aerospace-grade magnesium alloy, the Ethan 4 doesn’t come cheap. The legs list at $499 / £429 (AU$ TBA), and bear in mind that you’ll have to factor in a head and maybe a leveling base, if you don’t have them already, which will add to the cost. Even so, I think the legs are set at a very fair price, considering their specifications, so long as the build quality and performance stack up. That’s what I’m here to test.

3 Legged Thing Ethan 4: Design & Handling

Designed as a ‘tactical’ tripod for shooting and target sports as well as photography and videography, Ethan 4 takes its name from Ethan Hunt of Mission: Impossible. As such, it’s ‘engineered for chaos, built for legends’, as 3 Legged Thing likes to say. It’s certainly very tough and endlessly adaptable. In the realm of shooting pictures, I’d say that pro-grade videography is its best fit.

Suitably hard as nails, Ethan 4 is made from premium 3K weave Japanese carbon fiber with an oversized outer leg section diameter of 32mm. Metal parts are constructed in aerospace-grade magnesium alloy, and fixings are made from corrosion-resistant stainless steel. For the style-conscious, the tripod is available in Darkness (black), Olive Drab Green, and Lava colorways; the last of these with orange accents.

With four telescoping sections in each leg, a bonus of the chunky 32mm outer is that even the narrowest bottom sections have an impressive girth to them. The upshot is that the tripod has a super-sturdy payload rating of 60kg / 132lb. Naturally, you’ll be hard-pressed to find a camera and lens combination that weighs anywhere near that much, but the Ethan 4 can also support additional accessories, as I’ll come to later.

There’s an endless debate over whether twist-locks or flip-locks are better for tripod legs. Personally, I generally prefer twist-locks, especially if they’re the kind featured in this tripod, labelled as ‘Oversized Helical Strake’ leg locks. As such, they’re quick and easy to use with minimal rotation required to loosen or lock each section. As with other elements of the tripod, they have a top-quality look and feel, and are fitted with grippy rubber pads. They’re also designed for quick and easy strip-down and reassembly if and when they need cleaning.

While the twist-locks are pretty standard fare, the three-position leg-angle locks have a new patented trigger-pull design. The idea is that you can pull out the mechanism in the more time-honored fashion, or simply squeeze a trigger-action release with your finger.

As I mentioned at the outset, the Ethan 4 is sold as a set of legs, rather than as a complete kit. Especially for videography, to which the tripod legs are ideally suited, you’re best off adding either of 3 Legged Thing’s LevelHed Leveling Base or 75mm Half Bowl, as well as a fluid head. The tripod is supplied with a flat plate for the former, and there’s an optional 75mm bowl mount that you can swap to if you buy it separately.

Naturally, you can attach your camera or whatever else you’re shooting with to the flat plate itself, without using a leveling aid or tripod head. With that in mind, the plate features a dual 1/4in mount with a 3/8in adapter sleeve, catering to both industry-standard threaded sockets.

Keeping moving parts to a minimum, the bubble level is fixed on the side of the chassis, rather than having a rotating base. Being positioned off to the side, it’s easy to keep an eye on and is large enough to see clearly when leveling the tripod.

The Ethan 4 can support more than just its primary load. A threaded socket on the side of the chassis enables the attachment of a magic arm, LED lamp, microphone mount, monitor screen or just about anything else you might want to add on.

Going one better than the standard threaded accessory mount, the tripod chassis also includes a QD (Quick-Detach) socket. Compatible with 3 Legged Thing Axis QD straps and all sorts of other gadgets that use this kind of mount, it enables ultra-quick-and-easy mounting and detachment with a simple pushbutton mechanism.

A ballast hook is featured under the flat mounting plate and also serves as the grab handle for tightening or loosening the main dual 1/4in and 3/8in threaded mounting screw with sleeve. Using the ballast hook enables you to hang a weight off the tripod, again taking advantage of its hefty payload rating and adding stability if you’re shooting in windy conditions.

When it comes to tripod heads, you can naturally fit pretty much anything that takes your fancy. One that works particularly well for videography with the Ethan 4 is the revamped and revitalized 3 Legged Thing AirHed Cine CC fluid head, which I’ve reviewed separately and very favorably in the past. The head has a list price of $249 / £229 and is available in black or grey colorways.

The tripod comes with chunky rubber feet, which give a very firm and stable footing while also doing a good job of absorbing vibrations. They’re not the only choice, however, as alternative footwear is available as optional extras from 3 Legged Thing. Choices include smaller Little Bootz (rubber pads), Heelz (metal spikes), Stilettoz (elevated metal spikes), Clawz (metal ice/rock grips), and Vanz (dual metal spikes and rubber pads).

In keeping with the multi-talented nature of Ethan 4, you can remove one, two, or all three of the legs. Each of the legs can work independently for monopod duty, and leaving two of the legs attached to the chassis enables use as a bipod. Removing all three legs might sound counterproductive, but I’ll come back to that in a moment.

Getting back to the optional Vanz footwear that I mentioned just now, these dual metal spikes with rubber pads can serve up a neat trick. If you unscrew all three legs from the chassis and then screw the Vanz into the empty sockets that are revealed, you can effectively transform the Ethan 4 into a tabletop tripod, stretching its versatility even further.

The tripod comes with a 3 Legged Thing Toolz2. It’s a neat multi-function tool, with a keyring. It acts as two different sizes of hex keys, a coin/flat blade key, a bottle opener, and a carabiner. It’s handy for a whole range of tripod/photographic tasks as well as for grabbing a quick drink when the going gets thirsty.

It annoys me when some of the most famous tripod manufacturers sell very expensive tripods and don’t bother to bundle a carrying bag of any sort. The situation here is quite the reverse. The Ethan 4 comes with a very high-quality padded soft case and, typical of 3 Legged Thing, it’s not short of crafty design flourishes. There’s an internal mesh pocket and two securing straps, both with Velcro fasteners. You also get a side pocket with additional room and a zippered three-section organizer. The zippers themselves have comfy pullers for easy operation. There’s also a detachable, adjustable shoulder strap, a carrying handle, plus a carabiner-style hook. I’d use the last of these for attaching the bag to the ballast hook on the tripod, after popping a weighty object or two inside.

3 Legged Thing Ethan 4: Performance

Let’s cut to the chase. Performance of the Ethan 4 is exemplary in every respect. It gives rock-solid support for even the heaviest of cameras and accessories, right up to and including its maximum operating height of 162cm / 64in (without head). The legs and rubber feet combine to give excellent resistance against unwanted flexing and vibrations, even when the leg sections are fully extended.

As with most video-friendly tripods, there’s no center column, but an upside of this is that when the legs are splayed to their widest locking angle, you can shoot from ultra-low levels for creative effect, without the center column getting in the way. Again, without an attached head, the minimum operating height is a mere 14cm / 5.5in. The 4-section legs also enable a fairly compact carrying length of 61cm / 24in.

While the maximum payload rating is a huge 60kg / 132lb, the tripod itself is easy on the back for carrying around, weighing in at 2.4kg / 5.3lb. It’s also very easy to live with from an operational perspective. The twist locks work with simple efficiency, requiring minimal rotation to lock and unlock the leg sections. The trigger-action leg angle locks are similarly simple and intuitive. As well as enabling ultra-low-level shooting and working on uneven terrain or around obstacles, the multi-angle legs add stability at their intermediate setting when shooting at low to middling heights.

Not just a tripod, the Ethan 4 works equally well in bipod mode or with any of the three legs removed for monopod duty. You can attach a camera or anything else to the mounting screw in the flat base, but the addition of a head makes monopod shooting more refined.

3 Legged Thing Ethan 4: Verdict

Ethan Hunt is a very ingenious, versatile, and action-packed (if fictitious) character, giving his namesake tripod, the Ethan 4, a lot to live up to. True to the role, however, this 3 Legged Thing tripod can take on a barrage of different scenarios and win out against seemingly impossible odds, delivering a sure-fire success rate.

I love that the Ethan 4 tripod is so rock-solid and utterly dependable, and so resistant to any unwanted flexing or vibration. The twist-locks for the leg sections work impeccably, and the new trigger-action leg angle locks are a pleasure to use. Ultimately, this tripod offers wide-ranging versatility while also being entirely intuitive and simple to use, so you can concentrate on your creative flow rather than wrestling with a finicky tripod.

The fact that it also works flawlessly as a bipod or monopod reinforces its credentials as a ‘tactical’ tripod for photography, videography, shooting, and target sports. Just add a head, and you’re good to go.

Alternatives

3 Legged Thing is a British company that’s earned a really solid reputation over the years, mostly for making really solid tripods and other supports. The current catalog caters to photography and videography, field sports and birding, and shooting and target sports, covering a very wide remit. I’ve reviewed many 3 Legged Thing tripods, desk mounts, window mounts, phone mounts, microphone arms, light stands, L-brackets, camera straps and other bits and pieces over the years, generally being so impressed that I’ve bought a few myself, and the Winston 2.0 and AirHed Pro kit that I first encountered five years ago remains my personal full-sized tripod of choice.

The Ridley I’m reviewing here is from a dynamic duo of new videocentric tripods that take their names from movie directors; this one is named after Ridley Scott, while the smaller sidekick Wes is named after Wes Anderson. There’s also a simultaneously launched set of hybrid photography and tactical tripod legs by the name of Ethan 4, after Mission: Impossible’s Ethan Hunt. The Ridley and Wes are both carbon fiber tripods that are available as legs-only or as full kits with a fluid head. Ridley is the larger of the two, with 3-section legs, whereas the Wes is a more travel-friendly option with 5-section legs. Both aim to be among the best carbon fiber tripods and the best video tripods, while the Wes is also a contender as one of the best travel tripods for videographers on the move.

3 Legged Thing Ridley: Specifications

3 Legged Thing Ridley: Price

Pay your money and take your choice. The complete Ridley kit with fluid video head costs $649 / £619 (AU$ TBA). If you’d rather bring your own head or have one already, you can buy just the Ridley legs with built-in leveling base and padded soft case for $449 / £429. Neither is a cheap option, but I feel that the prices represent great value considering the features, design, and build quality. Ultimately, of course, it all comes down to performance, which I’ll get to later.

3 Legged Thing Ridley: Design & Handling

The sci-fi sensations Alien and Blade Runner absolutely blew me away when they first came out, and have definitely stood the test of time, so the 3 Legged Thing Ridley has a lot to live up to, being named after the movies’ director, Ridley Scott. The tripod is available in gray and black, or all black, the latter looking suitably dark and menacing – that’s the one that I went for. I also went for the complete kit that includes not only the set of legs made from premium Japanese carbon fiber with an aerospace-grade magnesium alloy canopy, but also the fittingly epic 3 Legged Thing AirHed Cine CC fluid head, which I’ve recently reviewed as a revamped video head in its own right. But let’s kick off with the legs, which seems only logical.

There’s a lot to be said for tripods with four or even five sections in each leg, at least in terms of compactness for stowage. I personally don’t mind tripods being a bit longer when carrying them around, and generally prefer three-section legs for ease and speed of setup, with fewer section clamps to contend with. Another bonus is that the bottom section of each leg tends to have a wider diameter and is thus sturdier.

Another factor in the speed and ease of setup and takedown is the efficiency of the section clamps. Some like twist-locks; others prefer flip-locks. I’m in the twist camp, so long as they release smoothly and lock firmly with minimal rotation. That’s certainly the case here, and adjusting the leg sections is a very speedy, smooth, and simple operation. I also like the grippy rubber pads on each twist-lock, making them feel nice to the touch.

Another potential pitfall is that leg angle locks often seem to be more fiddly than they need to be. Again, the Ridley wins out with simple, spring-loaded catches that have a push-to-release action. Like the twist-locks, they have non-slip textured rubber pads for an extra feel-good factor. Three lockable leg angles are available: 23, 55, or 80 degrees from the vertical. The upshot is that it’s easy to adapt to tricky terrain or work around obstacles when you’re setting up the tripod.

A key element of setting up a video tripod is that you level the platform on which the head sits, rather than making leveling adjustments via the head itself. The latter will result in your horizon going on the slant as soon as you start panning. To ensure accuracy with fast and simple setup, the tripod features a built-in leveling base. A single lock/release screw has a handle that’s mounted on a six-sided shaft, so you can pull it out and reposition it for your preferred fit.

To further enhance leveling up, the adjustable base comes complete with a bubble level that’s large enough for a clear view. It’s also mounted on a rotating platform, so you can swing it around to whatever angle works best for you, through an entire 360 degrees.

Down below, the leveling base has two weight hooks. These are ideal for adding ballast to steady the tripod if you’re shooting outdoors in windy conditions. Adding some ballast to the soft case that’s supplied with the tripod is a handy option, but more on that later.

A clever design flourish is that the weight hooks aren’t just weight hooks. They also form the T-section grip of an Allen key that mounts to the bottom of the leveling base via a QD (Quick Detach) mechanism. As such, you can push the QD button and simply pull out the Allen key to secure your camera to the head’s Arca-Swiss-compatible quick-release plate, or for anything else that uses the same size Allen key.

I won’t talk too much about the 3 Legged Thing AirHed Cine CC fluid head that’s part of the complete kit, as I’ve already created a full, standalone review of it. Suffice it to say that it’s an ideal match for the Ridley, offering wonderfully smooth tilt and pan with excellent all-round performance. The head features an adjustable, telescopic panning arm that can mount on either side for left-handed or right-handed use, plus an extra-long XP100 Ultra Plate quick-release plate, which is Arca-Swiss compatible.

Another nice touch is that you can use the QD Allen key that I just mentioned to remove four screws and rotate the orientation of the head’s camera platform through 90 degrees. This enables the long QR plate to run from side to side instead of from front to back. It can be a more ideal orientation if you’re using a cage, and definitely if you’re using an L-bracket like the universal 3 Legged Thing Lexie, or one of the camera-specific options in the line-up.

Dropping down from head to toe, the legs feature removable feet. The supplied feet are chunky rubber pads that give a very firm and stable footing while also doing a good job of absorbing vibrations. However, they’re certainly not the only choice. As alternative footwear, 3 Legged Thing offers a range of optional extras. These include smaller Little Bootz (rubber pads), Heelz (metal spikes), Stilettoz (elevated metal spikes), Clawz (metal ice/rock grips) and Vanz (dual metal spikes and rubber pads).

I’ve often seen tripods in which one leg can be unscrewed and used on its own as a monopod, either with or without attaching it to the center column. Typical of video tripods, the Ridley doesn’t actually have a center column, but you can use any leg as a monopod, unscrewing it from the canopy and attaching the head directly to it. Moreover, you can unscrew all three legs from the canopy if you wish, but why would you want to? Let’s see…

Unscrewing a single leg gives the option of using the tripod as a bipod, or the removed leg as a monopod. However, if you remove all three legs, you can use the canopy with the optional Vanz footwear that I mentioned just now. These dual metal spikes with rubber pads can screw directly into the canopy, effectively transforming the Ridley into a tabletop tripod and adding yet more versatility.

A nice little extra included with the tripod is the 3 Legged Thing Toolz2. It’s a smart multi-function tool, with a keyring attachment. It includes two different sizes of hex keys, a coin/flat blade key, a bottle opener, and a carabiner. It’s handy for a whole range of tripod/photographic tasks as well as for grabbing a quick drink during thirsty work.

3 Legged Thing generally goes the extra mile, and that’s certainly the case (so to speak) with the Ridley. It comes complete with a high-quality padded soft case that packs plenty of design flourishes, as well as the tripod kit itself. There’s a pair of internal securing straps for the tripod and an internal mesh pocket, all with Velcro fasteners. A separate zippered side pocket gives additional storage complete with an internal zippered three-section organizer. There’s a detachable and adjustable shoulder strap as well as a carrying handle, plus a carabiner-style hook. I’d use the last of these for attaching the bag to one of the weight hooks on the tripod, after popping a suitably weighty object inside.

3 Legged Thing Ridley: Performance

The sheer quality of the 3 Legged Thing Ridley is so impressive that I’m happy to just sit and look at it, or play with its cleverly designed features. But naturally, the kit’s performance as a tripod is what really counts. There’s good news all around, as it gives really solid support for even heavyweight cameras, boasting a payload rating of 14kg / 30lb. The tripod retains excellent resistance to unwanted flexing and vibrations, all the way up to its maximum operating height of 164cm / 64.6in (including head). That’s pretty lofty for a three-section tripod, considering that there’s no center column, as is the case for most video tripods.

Although the built-in leveling base precludes the addition of a center column, a bonus of this is that when the legs are splayed to their widest locking angle, you can shoot from ultra-low levels for creative effect, without a center column getting in the way. With the fluid head in the mix, the minimum operating height gives you the literal lowdown at just 24.5cm / 9.6in. And despite having 3-section legs, the folded length of the complete kit for stowage is reasonably compact at 79cm / 31.1in.

The complete kit (including fluid head) weighs in at 2.4kg / 5.3lb, so Ridley is easy to take along for the journey. From a performance standpoint, it’s also very quick and easy to use. The twist locks only require minimal rotation for locking and unlocking the leg sections, and the leg angle locks are similarly simple and intuitive. The multiple leg angles also make it easy to work around obstacles or on very uneven terrain, as well as enabling ultra-low-level shooting.

Remove a leg, and Ridley works well as a monopod with the head attached. I’m 6ft 5in tall and didn’t think that a 3-section leg would extend to a sufficient height for my personal monopod use, without a center column to add into the mix. However, full extension in monopod mode worked out just fine for me. If you’re a complete giant, you could always remove two legs and one of the feet, then screw the top of one leg into the bottom of the other to double the available height.

3 Legged Thing Ridley: Verdict

I just love the 3 Legged Thing Ridley tripod. It’s a first-class, fully pro-grade set of legs that’s easy to live with and genuinely fun to use. The built-in leveling base works a treat for videography and for shooting sequences of stills for stitching into panoramas. The twist-clamps for the extending leg sections and the pushbutton leg angle locks couldn’t be any quicker or easier to use, and everything’s cleverly designed, expertly engineered and immaculately finished.

So yes, the Ridley is a great set of legs, but I’d definitely go for the complete kit that includes the similarly fabulous 3 Legged Thing AirHed Cine CC fluid head. Not only is the head a perfect match in terms of design, features, and performance, it’s also available in the same choice of colorways, satisfying my sense of style (if I actually had one). Sure, neither the legs on their own nor the complete kit come cheap, but they’re both worth every cent of their asking prices and more besides, if you’re in the market for some pro-grade support.

Alternatives

Most multi-colored lights can only reach maximum brightness on the white color setting, but the brand known for its retro-styled lights has introduced a light that can still hit full power up to 120W at every one of its 36,000 possible colors. The Harlowe Max Spectra is a portable LED video light that is not only built for color but uses a “magic lens” to project moving special effects.

Harlowe says that no other light in the same class can create such a wide range of colors at full brightness. The difference comes from designing the LED light so that every color channel has its own power allocation. The light can blend the red, green, blue, cool white, and warm white channels into thousands of different colors, without losing brightness.

While the ability to switch colors without loosing power is key, Harlowe also gave the Max Spectra another unusual feature: a “magic” lens that allows the light to project different patterns. Those patterns can be mixed with the color capabilities to build creative effects, like imitating the look of water ripples.

Harlowe says the lens attachment can be used to create special effects without a gobo projector or VFX, creating special effects – or custom backdrops from a plain white background – using the light and lens attachment.

Besides the lens attachment, the lens uses a magnetic mount that supports modifiers, with a barn door, frosted dome, and honeycomb grid included with the light. A fresnel lens attachment will also be available to boost the light’s brightness by four times.

The light comes in at three different available strengths. The 40W is the lightest and most affordable, the 80W sits in the middle, and the 120W is the most powerful in the lineup. All three lights use the same battery pack, so the 40W can get about 2 hours and 18 minutes at full power, while the 120W can get about 40 minutes at full power.

The light is built to be used on-site with an aluminum build and an IP65 weather-proof 99.36W battery, but the light is also compatible with AC power for studio use. The light can be controlled from the built-in screen and dials, or using a wireless connection to a smartphone app.

The Harlowe Max Spectra launches in three different power variations, but each light also comes in either a standard Creator Kit that includes modifiers, a handle, an AC adapter, and a carrying case, while the Magic Kit adds the lens for creating patterned light. The 40W Creator Kit starts at $849 / £649.20 / CA$1,195.

The light is available directly through Harlowe, with pre-orders also open in the US at B&H Photo.

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It's become an all-too-familiar story: the rising cost of memory. Thanks to the insatiable appetite for HBM (High Bandwidth Memory) from AI data centers, memory manufacturers have been diverting their resources to produce this highly lucrative commodity, leaving reduced supply of the NAND flash used in camera memory cards and SSDs. And as we know, when supply is tight, prices rise, which is why we've seen such a relentless increase in the cost of memory cards throughout 2026.

Many will therefore be hoping for a reprieve, but according to Samsung, one of the world's largest memory manufacturers responsible for around a third of global memory production, the situation is likely to get worse, not better.

Samsung has stated that it expects the memory supply to be even tighter in 2027 due to even greater demand from AI companies, and things may not get much better in 2028. It’s not just Samsung that predicts such a dire outlook for memory pricing. SanDisk is another major player in the memory market, and it too has forecast significant supply constraints, while having multi-year contracts with AI clients consuming its manufacturing capacity for the immediate future.

It's not just memory cards and SSDs that have seen steep price rises in 2026. Any consumer electronics requiring fast NAND flash has been subject to the memory shortage, from camera phones to games consoles. As long as memory producers like Samsung, Micron and SanDisk have their order books filled for years to come by AI companies willing to pay top dollar for HBM, everyday consumers like you and me wanting a new CFexpress card or portable SSD will find a dwindling supply with inflated pricing.

The next few years could be less bleak if you're a shareholder in one of the memory giants though. The stock price of Samsung Electronics, SanDisk and Micron have skyrocketed in the last 12 months, and analysts predict they could rise still higher thanks to unprecedented AI demand.

Pelican is arguably a brand best known for its hard cases for cameras, but the company also has a series of soft-sided camera bags designed for adventure. The Pelican Aegis series is now as much as half off, steeply discounting slings, backpacks and rolling camera duffles.

The sale comes as Pelican recently sent adventure photographer Chris Burkard across sand, storms and even a powered hang glider flight to demonstrate the versatility of the Aegis series.

As mishaps like a broken-down truck shifted plans, the adventure photographer grabbed a different bag – and kept shooting.

ABOVE: Watch Burkard's adventure with Aegis bags

While the Chris Burkard project is an excellent short film about overcoming challenges, what really caught my eye is that several bags in the series are steeply discounted right now, as much as 22% to 53% off in the US.

While the Aegis series doesn’t use Pelican’s well-known hard-sided shells, the series still uses the brand’s compression-molded design to help absorb impact to any gear inside.

Pelican's hard cases aren't meant to be worn, but that's where the Aegis series' soft-sided design comes in with slings and backpacks designed for that purpose.

🇺🇸 Save up to 53%

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Take a look at our top-tested picks for the best camera backpacks or the best rolling camera bags.

Billingham has introduced the Icon Messenger Bag, a new everyday carry option inspired by the timeless appearance of its much-loved Hadley range. Designed for commuting, travelling and carrying daily essentials, the new bag combines the British manufacturer’s traditional styling and craftsmanship with the practical features expected from a modern messenger bag.

Although Billingham is positioning the Icon primarily as an everyday messenger rather than a dedicated camera bag, there is nothing stopping photographers from turning it into a discreet mobile shooting solution. Add a suitable protective pouch or Billingham’s optional Capsule 1 insert, and there is enough room for anything from a premium compact camera to a Leica M and small lens, while still leaving space for the everyday items you need. Billingham specifically recommends the Capsule 1 for carrying camera equipment inside the Icon without taking over the entire bag.

The Icon also includes a full-width internal pocket capable of holding a laptop measuring up to 14 inches, although Billingham recommends placing the computer inside its own protective case. Alternatively, that space should comfortably accommodate an iPad or another tablet, making the Icon a tempting choice for photographers who want to shoot, transfer and edit their images while away from home.

Elsewhere, the bag features a dedicated internal bottle holder, multiple internal slip and mesh pockets, a wide zipped rear pocket and a traditional brass key loop. There is also a discreet compartment for hiding an Apple AirTag, while the luggage retainer strap allows the bag to slide over the handle of a suitcase when travelling. The removable H1 shoulder sling and included SP50 shoulder pad should also make it comfortable to carry during longer days on the move.

The Icon Messenger Bag has a 12-litre internal capacity and is available in several of the company’s familiar canvas, FibreNyte and leather combinations. It is priced at $377 / £330, placing it firmly within premium messenger bag territory, but its ability to carry a compact camera setup alongside a laptop or tablet could make it the perfect mobile solution for photographers who want to shoot and edit on the go without carrying an obvious camera bag.

Check out our full guide to the best camera bags

After a very positive experience with the UGREEN NASync DH2300, I was keen to find out if there were any reasons to buy the more expensive four-bay DH4300 Plus instead. Other than a greater storage capacity made possible by two extra bays, I wanted to know if the superior chip, extra RAM, and faster Gigabit Ethernet (GbE) rates made a significant difference.

The DH4300 Plus features a Rockchip A76+A55 processor compared to an A72+A53. In addition to this, there is 8GB LPDDR4X rather than 4GB. And finally, and maybe most importantly for photographers and videographers, are the 2.5 GbE LAN ports compared to just 1 GbE on the DH2300.

As is the case with the DH2300, the DH4300 Plus is marketed towards users who want a private cloud solution as an alternative to paying monthly subscriptions for either Google One, iCloud, or the like. With better specs, the DH4300 Plus is also a more viable alternative for 4K media streaming, whether that be for editing or viewing.

UGREEN NASync DH4300 Plus: Specifications

UGREEN NASync DH4300 Plus: Design & Handling

Following along the same lines as all UGREEN devices that the brand has produced in recent years, the DH4300 Plus is a superbly designed NAS with a classy two-tone grey aesthetic. For the price I would have expected a metal case, but it appears that UGREEN wants to keep the weight down and not overcomplicate the material palette.

If your idea of NAS is a blocky, archaic-looking box that gathers dust in the corner of a room, then UGREEN is looking to address misconceptions and offer a much more modern alternative. In reality, the DH4300 Plus effortlessly blends into any interior and could even be positioned in a living room without looking out of place.

The four bay trays are located underneath a removable top hood which easily slides off without any need for a catch which could fail over time. Unfortunately, like the DH2300, the trays are constructed of thin and flimsy plastic, which is far from ideal in terms of longevity. Thankfully, once your storage drives are inserted, you shouldn't need to touch the trays very often at all.

These trays are able to house 3.5-inch or 2.5-inch drives and can be secured using small screws which are provided as part of the package. It's a rudimentary solution that is inferior to alternatives such as the WD My Cloud Pro Series PR2100 that provides a sufficiently snug fit to not require screws.

All of the status indicator lights are positioned on the front face so you can quickly and easily see if everything is running smoothly or if you're running into problems. At the front you'll find a single USB-C port with all other ports (2x USB-A, 4K HDMI, Ethernet, and power) located at the rear. Unfortunately there's no SD card slot, which isn't ideal for creatives wanting to dump data directly from their shoots.

UGREEN NASync DH4300 Plus: Performance

Having already tested the very similar DH2300, it was no surprise to discover that the NAS was effortless to set up. All I had to do was power up the NAS, connect the Ethernet cable to my router, download the UGREEN client, wait a few seconds for the NAS to be found, and walk through the guided setup. In a very short time, with no hiccups, I was ready to use the NAS.

The primary thing I wanted to know was whether the NAS could handle 4K video editing. So I enabled the SMB service within the UGREEN client, uploaded my 4K footage, and connected to the server on my Mac. From there I was able to import the footage into Premiere Pro. All of this was super simple and straightforward thanks to the user-friendly UGREEN tools.

I began by streaming the 4K footage directly from the NAS, and I had no problems achieving smooth playback even at full resolution. I then added a few effects, including a blur and distort effect. Again, these played back smoothly.

To take my test up a notch, I added a Lumetri Color effect and performed a number of color corrections using dial adjustments and curves. At this point, I experienced some lag and stutter, which wasn't ideal but far from a game changer. This can be improved by moving the media cache folder locally, but if you'd like to use the NAS exclusively, then I'd say it's still absolutely possible, assuming you can put up with some small delays or drop the viewing resolution.

As mentioned before, the DH4300 Plus is powered by a Rockchip A76+A55 processor and 8GB LPDDR4X. This all keeps things running smoothly. Transmission tops out at 2.5 GbE, which is sufficient for most workflows, but if you'd like buttery smooth video editing in almost all cases, then a 10 GbE NAS is what you need.

It goes without saying that backing up photos, videos, and other files is fast, seamless, and absolutely sufficient for the NAS to act as a reliable and usable private cloud. You can even set it up as a dedicated photo storage device so you can see your photo library on your phone.

If you plan on using the NAS with all your family members or for a small business, then UGREEN provides a number of user features so admins can control who has access to what. These tools are available through the UGREEN Client and are straight forward to use, even for complete NAS beginners.

UGREEN NASync DH4300 Plus: Final Verdict

The UGREEN DH4300 Plus is an ideal solution for anyone who wants reliable photo backup and 4K video editing capabilities. I was able to back up my files quickly and without issue, and when I edited a 4K video directly from the NAS, I ran into very few problems.

With a reliable 128GB capacity, you'll be able to keep your media safely backed up and access it directly in your workflow. If you choose to use it as a photo management tool, then you'll love the AI-driven photo management app, which automatically sorts images for smart and easy access.

The design is modern and sleek, looking the part whether placed in an office, studio, or even in a living room. As with the DH2300, the DH4300 Plus is also lacking support for M.2 NVMe drives, Docker, and virtual machines, so it offers very limited scalability, meaning power users may need to look elsewhere.

I hate carrying things. I try to keep my photography kit as light and minimal as possible, but sometimes (well, a lot of the time) I need a tripod.

Travel tripods are usually an exercise in deciding which compromise will annoy me least. The lightest models can feel flimsy, the reassuringly solid ones are too heavy to carry all day, and the clever designs that balance both often come with a price that makes me reconsider whether I really need a tripod at all.

So when I got a chance to test the Heipi 3-in-1 W28S Travel Tripod, I jumped at it. A lightweight carbon fiber tripod with all the bells and whistles, but for half the price of Peak Design’s version – sounds great!

Its defining feature is the unusual three-pillar center column. Pull it out and it becomes a second, aluminum mini tripod, complete with adjustable leg angles and accessory threads.

The supplied low-profile ball head reveals a spring-loaded smartphone holder hidden beneath its Arca-type plate. And at 1.4kg, it is light enough to travel; it folds to 45cm long and just 7.5cm across, yet reaches 152cm and carries a quoted 20kg payload.

In our review, my colleague Matthew Richards called it “very good value for a tricked-up carbon fiber travel tripod,” and that is where the W28S really wins me over.

It costs $399 / £349, compared with $599 / £599 for Peak Design’s carbon fiber Travel Tripod and $900 / £800 for the newer Peak Design Pro Tripod. Peak Design’s models remain beautifully engineered and more polished, but the Heipi offers an enormous amount of functionality for considerably less.

It is not flawless. The 12 fliplocks on the legs are stiff and slower to open individually, while the 5-section legs taper to fairly spindly 14mm lower sections.

Our tests found some flex and vibration near maximum height, although Matthew still judged it “more sturdy and rigid than many travel tripods on the market.” The mini tripod can also flex when its legs are spread especially wide.

However, in my endless quest for something light enough to pack, solid enough to trust and more reasonably priced, the W28S balances all three better than almost anything else I have seen. My travel tripod search might finally be over.

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Take a look at the best travel tripods and see how they compare to the best tripods for photography across all categories.

Recently, there’s been a resurgence in interest in the original Google Pixel smartphone, which was released back in 2016 with a modest single rear 12MP camera, a Sony sensor, and 32GB of base storage. However, it’s not for nostalgia or some kind of retro kick.

In an aggressive marketing bid, the search engine hegemon offered all Pixel 1 customers lifetime unlimited original-resolution, uncompressed photo and video storage. And now, people are buying up Pixel 1 phones – which you can find on eBay for under $100 (approximately £75 / AU$140) – hoping to take advantage of this deal, which Google still honors to this day.

The only caveat was, and still is, that files need to be uploaded via the Google Photos app from the Pixel 1 device, which isn’t ideal. Still, it means users can get around any current storage plan limits by first transferring files from other devices to the Pixel 1 before uploading them to the cloud.

Above: this tutorial shows exactly how people are exploiting the Google Pixel 1 unlimited storage hack

It’s a seemingly fail-safe hack, too. Even though it’s been 10 years since the Pixel 1 was unveiled, if Google decided to revoke the deal, it would likely need to navigate a legal minefield of breach-of-contract clauses.

I really don't think the tech giant is worried about these storage hackers taking up too much real estate on its servers either.

While by 2023 an estimated 40 million Pixel units across all generations had sold, the company revoked the unlimited storage benefit from Generation 6 (2021) onwards. In fact, Google had already downgraded the unlimited storage deal to compressed-quality files by the release of Generation 5 the previous year.

But do I recommend exploiting this hack? Honestly, no. While it can save you money in the long run, transferring all your files to an early-generation Pixel device, either manually or via a syncing app, is a hassle. Plus, the whole scheme relies on an old smartphone that may or may not give out after long.

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Here’s our expert pick of the best camera phones and also the best portable hard drives and SSDs.

If there’s something that Peak Design is known for beyond its line of photography accessories and bags, it’s record-breaking Kickstarter campaigns – and the brand’s latest has already surpassed half a million dollars for a modular L-bracket dubbed the Peak Design Field Bracket.

Peak Design’s crowdfunding approach has been an overwhelmingly successful one. In 2019, the company broke the Kickstarter record at the time for the most money raised with more than $12 million for the Travel Tripod. That record no longer stands, but last year, Peak Design raised even more for the Roller Pro at over $13 million.

The Peak Design Field Bracket’s half million may seem like pocket change compared to the brand’s record-breaking launches, but the campaign has already surpassed more than ten times the original goal on a campaign that only launched last week – and the pledges start at $125 compared to $415 for the Roller Pro.

On the surface, the Peak Design Field Bracket is an L-Mount bracket, a longstanding simple camera accessory that allows creators to quickly switch from horizontal to vertical when using a tripod.

But the Field Bracket uses a modular design that aims to offer more than quick horizontal and vertical shots. The base plate hides a Peak-Design-made Bluetooth tracker, aiming to ward off lost or stolen gear by putting a tracker directly on the camera instead of inside a camera bag.

Peak Design isn’t the first to try to hide a Bluetooth tracker directly on the camera, but Peak Design made its own tracker instead of using an existing tracker like an AirTag or Tile (though it still works with both Apple Find My and Google Find Hub). Beyond tracking, the tag powers left-behind alerts.

The design makes the tracker look like just part of the bracket, Peak Design says, and while the vertical piece of the L-bracket can be removed without tools, the base plate uses a tooled installation in order to prevent thieves from easily removing the tracker.

The L-bracket uses a modular design that also allows users to swap the vertical piece out for a cheese plate, which can be used to add accessories like mics, lights, and external monitors. While cheese plates tend to be more popular for video rigs, I can see photographers using the set-up to attach an action camera for shooting behind-the-scenes footage as well.

The L-bracket also supports a wrist strap and, for the Fujifilm X100Vi and Leica Q3, the L-bracket also gives compact cameras a beefier grip.

Unlike Peak Design’s popular bags and straps, the L-bracket is camera-specific, which means the accessory has to be matched up with a compatible camera – a list that so far includes several Sony, Canon and Nikon models, as well as two Fujifilms and two Leicas.

The Field Bracket is Peak Design’s 17th Kickstarter campaign. The crowdfunding closes August 21. A retail launch is planned for March 2027. The Kickstarter has the bracket for a 17 percent discount from the expected retail price at $125 (about £93 / AU$179 / CA$175.

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When I first started making videos for a living back in the late 80s, my video production team used two long, smooth pieces of wood as tracks for the wheeled ‘dolly’ that was attached to the base of our chunky video camera’s tripod. This enabled us to add smooth camera moves to shots, such as dollying forward towards an actor, or tracking (crabbing) left or right to add a bit of motion and life to a static scene. When not in use, we kept the two wooden tracks in a plastic body bag (I’m not sure where my video unit got that from!).

Fast forward to the 21st century, and I’ve just tested a descendant of my primitive 80s camera tracking system - the Andoer L4 Pro. This device is a small, battery-powered camera slider (or as it says in the manual - an ‘autodolly’) that can dolly, track, or pan the attached camera or smartphone - as long as you find a smooth, flat surface for it to drive on. Lots more about that limitation in the Performance section of this review.

Andoer produces a wide range of photographic equipment, from green screen backdrops to LEDs and soft boxes. They also produce a large range of affordable compact digital cameras, as well as larger camera dolly rail-based set-ups. Interestingly, I discovered that the Andoer L4 Pro is identical to a Neewer branded three-wheeled tracker - more on that in the Price section.

The Andoer L4 Pro isn’t the first electronic camera mover that I’ve tested for Digital Camera World. Back in 2022, I tested the Joby Swing - an electronic smartphone slider. The tripod-mounted Swing was very limited in the speed and distance that it could move the camera, whereas thanks to its three rubber-clad wheels, the Andoer L4 Pro can keep on tracking until it runs out of a surface (such as the end of a park bench!).

Some would argue that in the age of the camera gimbal a camera slider is a relatively inferior solution to making smooth moves. A gimbal enables you to pan, track and dolly your camera manually - adding motion to your footage. You can pop a gimbal on its mini tripod and use its AI tracker to tilt and pan the camera to follow your every move, or use its joystick to perform a smooth pan. So, why and when would you use a slider instead of a gimbal? Is a slider worth buying. The short answer is a firm ‘yes’, but I’ll clarify and unpack that answer later in this review.

Check out our guide to the best camera sliders.

Andoer L4 Pro: Specifications

Andoer L4 Pro: Price

The Andoer L4 Pro retails at £75.29 on the UK Amazon Store. You can see the Andoer L4 Pro. In the USA, this model is most easily found being sold under the Neewer brand for $73.89 on the Amazon US Store – but this doesn’t include a ball-head. The Neewer branded version of the tracker is also available on the UK Amazon store for £78.99.

On the UK Andoer store the Andoer L4 Pro is pictured wearing an Andoer branded ball-head camera mount, though the version that I tested didn’t include this rather useful ball-head accessory. I could pick up a compatible 1/4” thread ball head from Andoer for under a tenner. To attach my iPhone 17 Pro to the Andoer L4 Pro I used a Joby-branded smartphone holder that I already owned.

The Andoer L4 Pro won’t blow your budget, and even if you already own a gimbal, it could still come in handy when you want to capture a quick pan, tracking shot or dolly move without the faff of unpacking and setting up a large stabiliser. It could also be a useful tool for stock videographers, enabling them to add movement, life and energy to otherwise static scenes, such as landscapes where there is little action within the frame.

Andoer L4 Pro: Design & Handling

The Andoer L4 Pro autodolly is a compact, three-wheeled device that fits comfortably in the hand when folded. It also takes up very little space in a kit bag, which is a big plus for me as I prefer to travel light.

The specifications state that the autodolly is made from “high-quality plastic”, although it also contains several metal components. Its two folding legs (with wheels attached) are metal and are connected to a metal bracket that secures them to the rectangular plastic body. At the opposite end is a third wheel, which is the only motor-driven wheel. As it rotates, it propels the autodolly along on all three wheels. The metal components make the L4 Pro feel satisfyingly solid and heavy, though it still weighs in under 300g.

By adjusting the angle of the two hinged rear wheel legs, you can make the dolly travel in a straight line for a tracking or “crab” move, or follow a curved path to create a pan. The legs can be adjusted in increments to produce a tighter or wider curve, resulting in a faster or slower pan. Helpfully, each hinge is marked with a small protractor graphic, making it easy to set both legs to the same angle and achieve a smooth tracking move, pan or even a full rotation. Each of the three wheels has a rubber ‘tyre’ that enables them to have traction on a variety of surfaces.

On one side of the rectangular body you’ll find the on/off switch and a USB-C port for charging the internal battery. On the opposite side are two plastic buttons. One, helpfully labelled “Speed”, lets you cycle through three settings. The selected speed is indicated by one green light for 1.4cm/s, two lights for 2.4cm/s and three lights for 3.0cm/s. I’ll discuss speed in more detail in the Performance section, as there are ways to make the attached camera travel faster. There’s also a button that enables you to make the motorized wheel rotate the opposite way, so this lets you change the direction of travel. The motorized wheel does make a little whirr which can be picked up by a smartphone’s mic, but on the whole the whirr is negligible, as you’ll hear from see my supporting video.

Speaking of cameras, the top of the L4 Pro features both 1/4-inch and 3/8-inch mounting threads. The device also comes with a circular mounting attachment, so it was a simple matter to screw a smartphone holder onto it and clip my iPhone 17 Pro into place. You can also attach a compact or mirrorless camera to the Andoer L4 Pro, but as my colleague Chris George says in the best camera sliders buying guide - “While it’s definitely best suited to smaller cameras – it won’t take a C500 cine camera with a 70-200mm lens – you’ll still be able to get a mirrorless camera on it with a 50mm lens onboard if the need arises.”

The Andoer L4 Pro’s orange wheels and mounting attachment are remarkably similar in colour to the iPhone 17 Pro’s Cosmic Orange finish, making it an especially attractive accessory for owners of that model. The complementary colour scheme is entirely coincidental, however, as the L4 Pro has been on the market for several years.

Oh, one last design point to mention is the inclusion of a remote control unit. This small plastic unit is designed to let you toggle between the L4 Pro’s three speeds and change its direction from a distance of up to 6m. I confess that although the light on the remote showed that the battery was active, I couldn’t get it to control the L4, which did make testing it a bit trickier as you’ll see in the Performance section (and in the supporting video).

Andoer L4 Pro: Performance

Above: watch my video showing the Andoer L4 Pro in action in the City of London

To test the Andoer L4 Pro, I popped it and my iPhone 17 Pro into my McKinnon 8L Camera Sling bag and headed into the city to capture some photogenic clips. I occasionally shoot editorial-style footage to sell on stock video sites such as Storyblocks.com, so I was keen to see whether the L4 Pro was fast enough to add sufficient movement to my clips. A slight pan or tracking move is a great way to bring extra life to a shot, especially when there isn’t much movement happening within the frame. I only earn around $50-60 per month from my stock video clips but that’s a regular passive income from clips I’ve uploaded over the years.

To be honest, I wasn’t expecting too much from this autodolly, although its maximum speed of 3cm/s is at least a little faster than the snail-like 1cm/s pace of the Joby Swing slider. But the more I used it, the more impressed I became with it.

As you’ll see in this section’s supporting video (above), my first test location was a scenic city park. This immediately presented a challenge: finding a surface that was sufficiently flat and smooth for the L4 Pro’s small, rubber-clad wheels to move freely.

I placed the L4 Pro on a park bench, adjusted the two hinged legs so that their wheels ran parallel with the motorized wheel, and flipped the power switch to On. I couldn’t get the supplied remote control to communicate with the L4 Pro, but it was a simple matter to press the direction button on the L4 Pro itself to set it in motion, having first started recording on the dolly-mounted iPhone 17 Pro.

When the L4 was travelling in a straight line, I didn’t notice much difference between the first and third speed settings, so I generally left it at its maximum speed of 3cm/s, as indicated by three green lights. I then walked into shot and admired the Art Deco building in the distance while the autodolly carried my iPhone through a tracking move.

Because I was looking towards the building, I was slightly concerned that the autodolly might roll off the end of the bench behind me and fall to the ground, so I kept each take relatively short. One of the L4 Pro’s wheels also had a tendency to drop into the gaps between the bench’s wooden slats, causing a small bump in the footage. This resulted in a few retakes and, as you’ll see in the supporting video, the camera movement in my first test clip was subtle because of the distance between the autodolly and the subject.

As I discovered when using the Joby Swing, camera movement becomes more noticeable when you place an object close to the lens. A nearby foreground object appears to move across the frame more quickly than subjects in the distance, creating a stronger sense of motion.

By positioning a bollard between myself and the iPhone 17 Pro mounted on the Andoer L4 Pro, I was able to capture a much more noticeable tracking effect. I then angled the two hinged legs slightly so that the device travelled in a gentle curve. This enabled me to track past a foreground railing and reveal the Art Deco building in the background with a more cinematic camera move, as you can see in the supporting video.

This is the kind of movement I couldn’t easily capture while filming myself with a gimbal. A gimbal can pan and tilt to follow me as I walk through the frame, but when mounted on mini tripod legs it remains in a fixed position. The Andoer L4 Pro, by contrast, physically travels across the ground, enabling a different and more dynamic type of tracking shot.

My third test location was the Barbican Centre, with its towering Brutalist architecture. Unfortunately, it wasn’t especially friendly terrain for the Andoer L4 Pro’s small rubber wheels, as almost every available surface was heavily textured. The floors were covered in chunky tiles, while the broad tops of the walkway walls were clad in rough, pebble-dashed concrete.

After some wandering, I eventually found a flat metal air-duct cover that was smooth enough for the L4 Pro’s small rubber wheels to traverse. I tilted my Joby smartphone mount upwards, switched the iPhone 17 Pro to its ultra-wide camera and angled the adjustable wheels to create a tight curve. This enabled me to capture a dramatic, low-angle circular move past the Barbican’s tall towers, while long plant stems swept more quickly through the foreground and enhanced the sense of motion.

While wandering through London, I enjoyed being able to quickly pull out the Andoer L4 Pro whenever I spotted an opportunity to add movement to a short stock video clip. I particularly enjoyed using it at the top of the Sky Garden, which offers panoramic views across London. By angling the L4 Pro’s two unmotorized wheels closer together, I made the device travel in a tight, fast circle. With the smartphone mount tilted upwards, this enabled me to capture dramatic and slightly dizzying low-angle footage of the building’s curved glass roof. I must thank fellow photographer Shaughn Malcom for filming me setting up and using the Andoer L4 Pro for this review’s supping video

Finally, I found myself on the banks of the Thames, where I wanted to capture tracking shots that followed the movement of passing boats — an ideal subject for stock video. However, as the Andoer L4 Pro trundled across the rough, gritty surface I had placed it on, I could see in the iPhone’s viewfinder that the footage looked rather bumpy. To my surprise, however, the recorded footage played back remarkably smoothly. This was thanks to the iPhone 17 Pro’s combination of electronic stabilisation and sensor-shift optical image stabilisation, which physically moves the sensor to compensate for camera shake. This gave me the freedom to use the L4 Pro on surfaces that weren’t perfectly smooth, greatly increasing the number of locations in which it could be used. Check out the supporting video to see the results for yourself.

Andoer L4 Pro: Verdict

I initially approached the task of reviewing the Andoer L4 Pro as something of a chore, as I couldn’t see how it would add much to my smartphone footage. However, within half an hour of testing, I began to appreciate its potential for bringing stock-footage subjects to life. It works particularly well when you compose a shot with objects in the foreground, as these move more noticeably across the frame and create a stronger sense of motion.

I can also recommend the Andoer L4 Pro to smartphone filmmakers who want to add a gentle tracking or panning movement to a shot. On the downside, it is dependent on a reasonably smooth surface if you want to produce a smooth track, dolly move or pan. Even so, I was pleasantly surprised by how well I could use it on slightly uneven surfaces, with the iPhone 17 Pro’s stabilisation ironing out the resulting bumps and wobbles during my test.

For smartphone filmmakers, the Andoer L4 Pro could prove to be a handy and affordable accessory - and it looks particularly smart when paired with the similarly coloured Cosmic Orange iPhone 17 Pro. In fact, it is such an eye-catching little device that two people stopped to chat to me while I was testing it, so hello to you chaps if you’re reading this!

Alternatives

If you need an absolutely gargantuan amount of storage space for saving huge uncompressed 8K video files or similar, TerraMaster has the solution for you. The new D8 Hybrid 2 can combine up to 4 SATA HDDs/SSDs and 4 M.2 NVMe SSDs in a single enclosure. This design claims to provide a flexible, high-performance platform for video editing and media libraries, with support for up to 152 terabytes of total capacity, depending on drive configuration. Just remember that the D8 Hybrid 2 is a drive enclosure - you need to choose and purchase the HDDs and/or SSDs to fit inside it separately.

To ensure your data can be accessed quickly, the D8 Hybrid 2 uses a USB 3.2 Gen 2 interface, enabling read speeds of up to 1020MB/s with a single NVMe SSD. Equip the enclosure with four HDDs and read speeds could top out at 980MB/s, depending on RAID configuration. This performance translates to a 5GB HD movie transferring in around five seconds.

The D8 Hybrid 2 features TerraMaster Power Management technology to improve energy efficiency, enhance reliability, and deliver faster drive wake-up times. The enclosure also benefits from improved internal airflow, with active cooling coming from an intelligent temperature-controlled fluid dynamic bearing fan rated for over 50,000 hours operation. Tool-free drive trays permit simple and secure installation of HDDs and SSDs: M.2 NVMe SSDs can be installed using a side sliding cover and hand-tightened screws.

Designed for modern hybrid workflows, the D8 Hybrid 2 supports hot and cold data separation. This allows users to store frequently accessed 'hot' data on NVMe SSDs for high-speed access, while archival data can be stored on high-capacity hard disk drives for cost-effective backup. This two-tier arrangement makes the enclosure ideal for studios, photographers and videographers that manage large volumes of mixed-use data.

The D8 Hybrid 2 is compatible with Windows, macOS, Linux, NAS systems, and a wide range of file systems. It can connect directly to computers, servers, TVs, set-top boxes, as well as Thunderbolt devices. TerraMaster also includes its complimentary TPC Backupper software for Windows backups, and it works with Apple Time Machine.

The TerraMaster D8 Hybrid 2 is available now at Amazon US for $299.99 (currently $239.99 with 20% coupon) and at Amazon UK for £299.99.

One of the best manufacturers of camera bags and accessories, along with the likes of Manfrotto and Tenba, Peak Design started life in a similar way, with a man on a mission. In this case, it was Peter Dering, who toured the world back in 2010 with a large camera kit and a disappointing way of carting it around. He promptly quit his job, designed his own way of carrying a camera, launched it on Kickstarter and hasn’t looked back. Peak Design has gone from strength to strength in the following years, following the same crowdfunding principles, so they can create products on their own terms with no interference from investors.

With a diverse product range, Peak Design makes and sells camera bags and straps, general travel luggage, outdoor gear, phone cases, wallets and even mounting systems for attaching gadgets to cars and motorcycles. Then there are tripods, including the groundbreaking Peak Design Travel Tripod (Aluminum) and Peak Design Travel Tripod (Carbon Fiber). I’ve recently been particularly impressed with the new and improved Peak Design Pro Tripod range.

Getting back to camera straps, one of the best on the market is the Peak Design Slide Lite, to which my colleague awarded a perfect 5/5 rating in his review. I personally wasn’t so completely won over, as I found the large overlapping loops of wide strap and chunky buckles a bit of a hindrance. There’s no such problem with the more minimalist Peak Design Form Rope, which is available as a basic ‘Neck’ version and three alternative lengths of Crossbody options, all of them aiming to be among the best camera straps on the market.

Peak Design Form Rope: Specifications

Peak Design Form Rope: Price

The Peak Design Form Rope comes in three alternative Crossbody – Short, Standard and Long Crossbody editions, all of them listing at $50 / £45 / AU$100. That might sound a bit on the pricey side for a camera strap, but each edition is actually a comprehensive kit of parts. The more basic Form Rope Neck edition costs a little less at £45 / £40 / AU$90. For further price comparison, the popular Peak Design Slide Lite is more costly at around $70 / £60 / AU$135.

Peak Design Form Rope: Design & Handling

How do you like to wear your camera? Going back to basics, the whole concept of ‘wearing’ a camera might seem strange to the uninitiated, but most photographers that I know wear their cameras around their necks. Indeed, a neck strap is generally included in the box of bits when you buy a camera, although just like with ‘kit lenses’, they’re not always of the best quality and generally lack any innovative extras or clever design flourishes.

I’m also not a fan of own-brand camera straps that have the make and model emblazoned in large print along them, which I often think loosely translates as ‘mug me right now’. The Peak Design Form Rope is very much the opposite, which it kind of needs to be if it’s going to tempt you to upgrade from your basic ‘free’ camera strap.

The picture on the front of the retail box shown above tells it like it is – it’s a crossbody camera strap. But there’s more. Flip the box around and you get visual pointers to alternative ways that you can wear your camera using the Form Rope and its accessories. The most basic ‘Neck’ edition comes in one length of strap (78.5cm / 30.9in) with two anchors, a microfiber pouch and two oval split rings. The Crossbody editions come in short (103.5cm / 40.75in), standard (118.5cm / 46.65in) and long (134cm / 52.75in) editions. In each case, the ‘rope’ itself is 10mm / 0.39in in diameter.

Each of the three editions of the Crossbody Form Rope doubles up on anchors, so you get four rather than the two that are supplied with the Neck edition. The extras enable you to make the most of how you attach the rope to your camera and other accessories, and how you wear them. One thing that’s held in common is the rope itself, and it’s not just any old rope. Instead of rough and ready rope that can feel quite abrasive, the specialist basket-woven, nylon/poly rope was specifically designed to combine the strength, padding and stretch needed for a comfortable camera-carrying experience.

Color options include black, ocean, and kelp. I went for the last of these, and I like the way that the colorway extends to the anchors as well as the rope. The anchors themselves are made from glass-reinforced nylon and are the latest V5 edition of Peak Design’s low-profile design of quick-release connectors. Not only quick and easy to connect to the rope, the anchors each have a mighty individual payload rating of 90+kg / 200+lb. The attachment cord might look like a weak link, but it’s really not, and I like the three-layer design so that in the unlikely event of the cord getting damaged or worn, there are clearly visible yellow and red warning signs.

I had no problem threading the anchor cords through the attachment rings on my cameras, but some camera bodies and other accessories might have eyelets that are simply too small to accommodate the cord. That potential problem is neatly solved by each of the kits including a pair of split rings with specially shaped covers and a little tool for making it easy to attach the split rings to your camera’s eyelets.

Most cameras have ‘proper’ strap attachment rings, so it’s simply a case of threading the cord through, looping it over the anchor, and you’re ready to roll. I really like the quick-release system. The circular anchors are very secure but quick and easy to remove from the rope, with a press-and-slide mechanism. The system has been widely adopted by many manufacturers, because it simply works and works simply.

The only occasional criticism that I’ve heard is that if you’re using them with the strap removed, for example on a tripod in a stiff breeze, the anchors can knock against the side of the camera and the noise can be recorded by the camera’s microphone when you’re shooting video. I’ve not encountered that particular problem myself.

Again, I like that the color scheme is maintained between the rope and the anchors, so the whole kit looks entirely consistent. The image below shows how the connection looks when the rope is attached to an anchor. As I’ve mentioned, the quick-release action is simply a case of pressing the circular anchor downwards and sliding it towards the center of the receptacle.

Whether with or without split rings, you don’t actually have to attach anchors to your camera’s strap rings or eyelets at all. Another option is to attach an anchor to the tripod socket on the base of the camera. A screw-in plate and additional anchor are supplied for just this purpose, as shown below. It also gives a useful extra option if you want to use one rope with two different cameras.

The screw-in plate can also be used on other accessories that have a standard 1/4in threaded socket, as well as lenses that have the same kind of mounting thread on a tripod mounting collar. For a secure connection, the screw has a hex head, and there’s a companion hex key that’s also provided as part of the kit.

Peak Design Form Rope: Performance

One of my concerns about the Peak Design Form Rope was that it would be uncomfortable to wear with heavier camera and lens combinations, at least compared with relatively wide flat straps. I needn’t have worried, however, as I found the specially woven rope wonderfully comfy, even with heavy loads. Speaking of which, the rope is very lightweight, ranging from 42.5g / 1.5oz to 68g / 2.4oz depending on length, yet has a huge payload rating of 82kg / 180lb (90+kg / 200+lb for the anchors).

You’re somewhat spoilt for choice when it comes to how to wear your camera, but I started with my Crossbody – Standard kit by wearing it as a basic neck strap. I found that the length of the rope was ideal for this, and that the camera rested at the same height that I normally set when using an adjustable strap.

Taking my cue from the product name, I next tried the Crossbody – Standard edition by wearing it messenger-style, across my body. Again, the length was spot on for my preferences. If you’re not of the same opinion, short and long versions are also available.

Another option is to secure the rope to a single anchor on one side of your camera, and use another of the four supplied anchors in the accessory loop that’s fixed around the rope. I say ‘fixed', but it’s perfectly sized so that you can easily move it along the rope to adjust the overall length, without it sliding up and down of its own accord. You could also use the loop separately, for attaching other accessories via one of the additional supplied anchors.

A twist on the attachment method shown above is to leave the camera’s strap rings out of the equation altogether and to use the tripod mounting socket as the sole attachment point, as shown below. This can also work well with telephoto lenses that have a 1/4in threaded socket on a tripod mounting collar, and a variety of other accessories.

Peak Design Form Rope: Verdict

I’m a fussy customer when it comes to camera straps, and the ones that are supplied with cameras rarely satisfy my cravings. I usually go for fairly wide, flat straps with a bit of padding, so that they’re comfortable for long periods of time, for example when I’m shooting weddings, sporting events, wildlife, or just pounding city streets. My initial concern was that the Peak Design Form Rope would be relatively uncomfortable and tend to cut into my neck or shoulder, but I actually found it to be as comfortable and practical as it is stylish, and I do think it’s very stylish.

Plus points are that the Crossbody editions can be worn in a whole variety of ways, around the neck, over the shoulder, or crossbody, complete with an equally generous range of attachment options for your camera and/or other accessories. The quick-release anchors work blissfully well, and all the components of the kit are robust and durable yet beautifully finished, in an attractive range of color options. Sure, it’s relatively expensive for a camera strap, but your camera is worth it, and so are you.

Alternatives

I’ve been using tripods for about 50 years but just when I thought I knew them inside out, something new has taken me by surprise. Based in Shenzhen, China, Heipi isn’t a company that’s really been on my radar but they’re now celebrating their 7^th anniversary. The brand is the brainchild of an engineer who’s also a passionate wildlife photographer. Combining these two facets of his skills set, he launched his first tripod launch in 2019, and the company made a big splash three years later with a 3-in-1 travel tripod, based on a Kickstarter campaign that raised a million dollars in a mere 30 days, from 3,000 backers.

The new Heipi 3-in-1 Travel Tripod W28S that I’m reviewing here is the company’s new, updated and upgraded flagship tripod kit, joining the other tripods, tripod heads, clamps, mounts, magic arms and accessories already in the Heipi catalog. Innovative, cleverly designed and nicely built with impressive attention to detail, the W28S aims to be one of the best travel tripods on the market, or perhaps I should say that it aims to be two of the best travel tripods plus a selfie stick, all rolled into one travel-friendly package.

Heipi 3-in-1 Travel Tripod W28S: Specifications

Heipi 3-in-1 Travel Tripod W28S: Price

What price a pair of travel tripods plus a selfie stick and a low-profile ball head, all bundled into a single product and wrapped up in a stylish travel bag? The Heipi 3-in-1 Travel Tripod W28S lists at $399 / £349 / AU$649, which is very reasonable for just one carbon fiber tripod (the smaller one in the dual-tripod design is actually aluminum), especially considering that it’s such a comprehensive kit with such a rich feature set.

A comparably compact carbon tripod is available in the space-saving shape of the Peak Design Travel Tripod carbon fiber, which costs $599 / £599 / AU$1,169, and the newer Peak Design Pro Tripod which is even pricier at $900 / £800 / AU$1,500. On the face of it, the Heipi looks a proper bargain.

Heipi 3-in-1 Travel Tripod W28S: Design & Handling

The 2-in-1 or even 3-in-1 design, depending on which way you look at it, isn’t the only crafty concept behind the Heipi’s build. When I said I thought it was reminiscent of the Peak Design Travel Tripod carbon fiber, it’s not just because both are made from carbon fiber, but because they both have a similar space-saving design element.

For a while now, the travel tripod trend has been to have swing-up legs, which save space if you fully extend the center column and then invert the legs so that the feet encompass the head. It takes a bit off the stowage height but makes setup and takedown more of a time-consuming chore. Like the Peak Design, the Heipi doesn’t have swing-up legs but does have center column that uses the space between the legs, but in a different way. The Peak Design has a triangular section center column and specially shaped legs that wrap around it, thus filling the gaps.

The Heipi doesn’t really have a center column as such. Instead of a central column that sits between the tripod legs, it has three triangular profile blades (for want of a better term), that take up the spaces between the legs, but on the outside. The net results is pretty much the same, in that all of the available space is used and nothing goes to waste in the pursuit of compactness.

From an operational perspective, the 3-pillar column works like any other center column, in that you can loosen a locking mechanism (this time a rotary dial at the top) and extend the column upwards. Just pay attention to the warning line at the bottom of each mini tripod leg, indicating the maximum safe extension height. Go beyond this and you can pull the center column out altogether and transform it into a mini tripod, complete with adjustable leg angle locks and a 1/4-inch threaded socket on each leg for attaching a accessories or a magic arm (Heipi can sell you one of those as well).

Not just for doubling up on tripods, removing the 3-pillar column has the advantage that you can invert it and slide it back in to the main tripod again, from underneath. This enables shooting right down to ground level, with the usual caveat that the camera is inverted. More on low-level shooting later but for now, I’ll reiterate that while the main tripod has carbon fiber legs, those of the 3-pillar column / mini tripod are made from aluminum.

Some like to twist, others prefer to flip. Again like the Peak Design travel tripod, the Heipi has slim profile flip locks which take up very little space and only stick out from the legs by a tiny amount, thanks to the way they’re shaped. A key difference is that they’re quite stiff to operate and it’s a real struggle to grasp them all in one hand and open them with a single gesture. You’re more likely to settle on working them one by one, which can take a while as there are no less than 12 of them altogether.

An upgrade to Heipi’s original flip lock design is that the new and improved version gives a stronger locking force with uniform pressure applied around the entire circumference of the leg sections. The new locks are also easier to detach for cleaning and maintenance. The leg sections themselves start with a reasonably sizeable 26mm diameter at the top, working downwards in 3mm increments to a relatively spindly 14mm at the bottom. The bottom sections do look and feel a little flimsy but that’s the price you usually pay for space-saving 5-section legs, compared with 3-section or 4-section legs. To be fair, I’ve seen thinner bottom leg sections on some up-market travel tripods.

Most tripods have three separate locking angles for each leg, which can help if you’re working around obstacles or setting up on tricky terrain. Many of them use spring-loaded locking mechanisms that you either pull out or press in. The Heipi adopts a mix and match approach, with locks that pull out for the main tripod and push in for the mini tripod. It makes sense as you can’t have anything that sticks out in the mini tripod legs, or they wouldn’t be able to slide all the way into the platform on the main tripod.

Many tripods feature a weight hook, which is useful for hanging ballast and reducing the risk of them swaying in a breeze. The Heipi has a variation on the theme in that it has a loop of weight rope instead. That’s all well and good if you’ve got a carabiner or some other method of attaching a weight but is arguably less convenient than just having a simple hook to hang something on. Naturally, the normal practice of fixing a weight hook on the bottom of a tripod’s center column wouldn’t work with the Heipi’s 3-pillar design.

Switching from top to bottom, the feet are formed from removable rubber pads. Unscrewing the feet reveals 30mm metal spikes which you can again unscrew and invert, so that they stick out from the bottom of the foot instead of from the top. This effectively transforms the feet from pads to spikes, the latter giving a firmer footing on loose ground.

The metal hooks have eyelets in them for inserting a tool and twisting them around to unscrew them from the top or bottom of the feet and reinsert them in the other.

Enough talk of legs, let’s move onto the head. It’s a rather clever one, after all. It can attach directly to either the main legs or small legs but in the normal configuration of the tripod, it’ll fit to the small legs which are then inserted into the main legs to form the 3-pillar column. Naturally, the only thing you can’t do is to attach the head to both sets of legs at the same time, as you only get one head in the kit and not two, unless you buy a second one separately. That said, pretty much any tripod head should be compatible with the kit, so long as it has a standard 3/8in threaded socket and its mounting disk fits within the 60mm diameter of the center column locking ring.

The low-profile ball head looks right at home when fitted to either tripod, as well as to the smaller when used in center column mode. In case you’re wondering, the platform of the main tripod has a spring-loaded, retractable mounting screw that neatly moves out of the way when the 3-pillar column is inserted.

The lock/release mechanism for the Arca type quick-release plate relies on twisting the upper section of the head. A protrusion on either side helps to enable a firm grip but there’s no additional security lock to avoid accidental release. The camera platform of the head also features a bubble level, to aid accurate leveling.

The underside of the QR plate reveals the attachment screw for the camera. It can be tightened or released with a hex key (supplied) or a coin, but there’s no D-ring for fastening it or undoing it with just a finger and thumb.

Another hidden gem of the design is that the ball head features a pull-out smartphone mount. Like other elements of the tripod, it’s spring-loaded for convenience. One thing that’s less convenient about it is that if you have even a thin cover on the back of your phone, you might need to remove it as there’s only a narrow gap to push it through. Even so, it adds credibility to the Heipi’s claim of working as a selfie stick.

The main ball action of the head relies on a single twist-clamp lever for loosening and locking it. The usual cutout in the ball socket enables 90-degree rotation of the camera for portrait orientation shooting, in the absence of an L-bracket. Slight negative points are that there’s no independent friction adjuster to tailor the action to alternative lightweight and heavy camera combos, and the locking lever needs to be fairly precisely positioned. You might well find that you need to pull it out, slip it over its splines and re-engage it again to avoid it fouling on other parts of the head.

One thing that I always like to see, and that’s present and correct in the Heipi ball head, is a separate pan-only lock. Not only does it have one, but it comes complete with a 360-degree scale marked in 5-degree increments. What’s more, a secondary screw with a hex head enables you to swap between smooth panning and high-precision 10-degree click steps. It’s a bit like using the aperture control ring on a lens that has a click/de-click switch.

One of my pet hates is instruction leaflets for all manner of gadgets, that have such tiny print that you can’t actually read them. I’m happy that the guide supplied with the Heipi is not only entirely legible, but includes color photos of various parts, functions and facilities, enabling a better understanding of the various features and facilities on offer.

The tools supplied with the tripod comprise hex keys in three different sizes, as shown below. That’s really all you need for any operational or maintenance task.

Everything wraps up safe and sound in a weather-proofed bag that’s supplied with the tripod. It’s a snug fit, so there’s no wasted space and the carrying size is as small as possible. It also has an adjustable, detachable shoulder strap that fastens to loops at either end of the bag with Velco strips.

Heipi 3-in-1 Travel Tripod W28S: Performance

I like my tripods to be big and small in equal measure. I want them to be tall enough at their maximum height for comfortable shooting (and I’m 6ft 5in), but nice and small when folded down so that they’re compact travelling companions. The Heipi serves mostly well on both counts. The maximum operating height with the 3-pillar center column fully extended is a fairly modest 152cm / 59.8in, but that’s still taller than a number of travel tripods that I can think of. Meanwhile, the folded height of just 45cm / 17.7in enables it to stow away in tight spaces, as does the 7.5cm / 3.0in diameter, courtesy of the space-saving leg/3-pillar column design.

A key performance benefit is the whole ‘dual tripods’ thing. The main tripod works well as a regular, go-to tripod for all sorts of shooting scenarios, while the mini tripod is great for tabletop use, ultra-low-level shooting (without inverting the center column) and for selfie stick action. In its regular configuration as one complete tripod with a 3-pillar center column, the Heipi has a hefty payload rating of 20kg / 44lb. That seems a bit ‘optimistic’ to my mind, given the relatively thin bottom leg sections, but I’m never likely to put that much load on it anyway.

The maximum height of a tripod is one consideration, but the minimum shooting height can be equally important from a creative perspective. Both of the main and mini tripods that make up the kit can shoot very close to the ground, with a minimum operating height of just 6cm / 2.4in. That’s thanks to the adjustable locking leg angles and the removable nature of the center column / mini tripod. However, I found that the mini tripod was quite prone to unwanted flexing and sagging when the legs were splayed to wider operating angles.

The head (or heads if you buy and use an extra one) can attach to both the main and mini tripods. The platform in the main tripod features a large bubble level to aid with leveling, and it’s a lot more useful than the miniscule bubble levels featured in some tripods. Correctly leveling the legs ensures that panning will also be on the level, rather than the camera going on the slant during the panning process. That’s an important consideration when shooting video, or a sequence of stills to stitch into a panorama.

The only slight issue with the large bubble level is that you have to raise the 3-pillar column a little to get a really clear view of it. Back on the plus side, both platforms in the main and mini tripods feature a grub screw for firmly locking the head in place. This can be very useful as it effectively guards against the head coming unscrewed on its main mounting screw if and when you’re panning in an anti-clockwise direction.

I’ve saved arguably the most crucial performance factor until last, and that’s the rigidity of the tripod and its resistance to unwanted flexing and vibrations. I’ve touched on this for the small mini tripod, which is made from aluminum, but the main carbon fiber legs have their own story to tell. And that story is that they’re made from a mix of T700 high-tensile fibers and T400 impact-resistant fibers, designed to enhance stability and weight loss. However, there’s no getting away from the fact that 5-section legs result in spindly bottom sections and I found that at or near its maximum operating height, the tripod was a little prone to flexing and vibration. However, it’s still more sturdy and rigid than many travel tripods on the market.

Heipi 3-in-1 Travel Tripod W28S: Verdict

There’s a lot to love about the Heipe 3-in-1 Travel Tripod W28S, and top of the list is that there’s not a lot of it. I like that it folds down nice and small, making it an ideal travel companion for the journey, which is mainly what travel tripods are all about. Thanks to the 5-section legs, it reaches a decent if modest maximum operating height, in conjunction with the 3-pillar extending center column, which itself is what sets the Heipe apart from the crowd of its 3-legged cronies. I’m so impressed that you can remove the center column and use it as a whole other mini tripod or selfie stick, that I’m frankly amazed the design isn’t featured far and wide in other tripods.

I’m not going to give the Heipe a completely glowing report, however. Little niggles include spindly bottom leg sections that impair rigidity at or near maximum operating height. Those 5-section legs also equate to a lot of flip locks to contend with, each of which is surprisingly stiff and unyielding. The Heipe also doesn’t conveniently convert into a monopod, although that’s certainly not unusual amongst travel tripods rather than full-sized sticks. All in all, this tripod, or perhaps collection of tripods, is a crafty design that’s very well implemented, and very good value at the price.

Alternatives

As a regular reviewer for Digital Camera World, I tend to test gadgets such as smartphone and mirrorless camera gimbals, wireless microphones, webcams, and continuous LED light sources like the Neewer FS60B. LEDs are among my favorite products to review, as they give me an excuse to leave the office, hire a model, and demonstrate the different looks that a portable continuous light can add to both stills and video. After all, a well-lit model portrait makes for a far more appealing review image than a shot of me staring into a webcam!

The FS60B is a 60W LED light from Chinese manufacturer Neewer. As well as manufacturing continuous LEDs, Neewer produces a wide range of kit including on-camera flashes, teleprompters, and V-mount batteries.

LED stands for light-emitting diode, so the light is produced by an array of small beads rather than a traditional bulb. Having grown up using old-school bulb lights during my career, I much prefer LEDs. There are no bulbs to keep replacing, and as they tend to run cooler than traditional lamps, you don’t have to wait around for the light to cool down before you can pack it away (though I did feel the heat on one occasion with this particular LED, as I’ll explain in the performance section).

The Neewer FS60B is a bi-color light, which means it contains a mix of 'warm' and 'cool LEDs that can be blended to produce color temperatures ranging from a warm 2700K to a cooler 6500K. This gives you the flexibility to mimic the glow of a sunset or add fill light that matches a cooler midday key light.

In addition to bi-color lights, Neewer also makes RGB lights, such as the flat-panel PL60C. These use a broader mix of colored LEDs to produce thousands of creative hues. Bi-color lights such as the FS60B are less versatile when it comes to producing color effects, but they tend to emit a brighter output because more of their similarly colored diodes can be illuminated at the same time.

Both the Neewer PL60C and the Neewer FS60B are 60W lights that are among the best LED lights for filmmaking and vlogging, but the latter is much lighter and smaller, so it will suit 'run and gun' photographers/videographers who need to fit a powerful yet portable light source in their kit bag.

Neewer FS60B: Specifications

Neewer FS60B: Price

The Neewer FS60B 60W Compact Pocket Bi-Color LED Light officially retails at $119.99 (around £100). Given the portability offered by its pocket-sized build and its astonishingly powerful 34,300 lux output (with supplied reflector attached), this is a small price to pay for such a portable and powerful LED.

The FS60B ships with a 20V DC power supply that you can plug into the mains. However, if, like me, you want to shoot in a location without access to a mains socket (such as a city street), then you’ll need to provide a portable power source such as the Neewer PS099E V-mount battery, which will add $179.99 to the price. You can link the battery to the FS60B via a USB-C cable, which is what I did when testing the light on location. The FS60B is also compatible with the Neewer PH99E Battery Grip, which attaches to the FS60B’s 1/4-inch threads – though that costs as much as the FS60B itself!

If you need a bi-color LED that ships with a supplied chargeable battery, then check out the Godox ML80Bi (see Alternatives section below). However, at $299, the Godox LED does cost a lot more than the Neewer FS60B, though you don’t have the inconvenience of having a separate battery attached to the LED via a USB-C cable.

Neewer FS60B: Design & Handling

My first impression on opening the Neewer FS60B’s box was, "where’s the light!?" For a second or two, I thought that someone must have pinched it while the package was in transit. Then I realized that a thin, silver-colored rectangular plastic unit inside the packaging was actually the LED itself. It was much slimmer than the usual box-shaped LEDs that I test (such as the Godox ML80Bi). The FS60B was also very light – weighing in at just under 0.66lb (300g).

Neewer describes the FS60B as a "pocket" light, and at 5.9x3.5x1.3in (15x8.9x3.3cm), it did indeed fit into the pocket of my shorts – I’m writing this during a heatwave! However, it isn’t the most comfortable pocket-dwelling gadget, as two chunky plastic control knobs protrude from the rear.

These two knobs let you adjust lighting properties such as brightness and color temperature, as we’ll explore in the Performance section. They also double as buttons. Press the brightness control on the left, for example, and you can jump through the intensity range in 20% increments from 0 to 100, rather than turning the dial manually. The right-hand knob can be pressed to cycle through settings when using the light’s animated effects, such as the frequency of a simulated lightning flash, for example.

On the opposite side of the unit is a slightly raised circular metal housing containing the LEDs. This section needs to be made from metal because the LEDs can generate a considerable amount of heat (see Performance section). Surrounding the LEDs is a circular plastic grille through which you can see the unit’s essential cooling fan.

Set into the metal housing around the LEDs are three Neewer Mini Mount slots, enabling you to attach compatible accessories, including the reflector supplied with the light. Standard Bowens-mount modifiers can also be fitted, although this requires Neewer’s optional CHB1 Mini-to-Bowens adapter.

Neewer FS60B: Performance

Because the Neewer FS60B provides a continuous light source, I decided to hire a model and film some footage of her using my iPhone 17 Pro in the atmospheric (but gloomy) corridors of London’s Barbican Centre. The LED’s powerful 34,300 lux output was more than bright enough to capture footage free from high-ISO artifacts, and it also added drama to the clips by casting a strong shadow of the model on the location’s textured concrete walls.

As I also planned to shoot portraits with my iPhone, I used the FS60B as a key light (and sometimes a fill light, depending on available light sources). By positioning the LED to one side of my model, I was able to create a more sculpted, three-dimensional illumination in much the same way as I would with a DSLR’s external flash – but with the advantage of seeing the lighting effect on the model before pressing the shutter. I found it easy to use the FS60B’s two knobs/buttons to adjust brightness and choose a color temperature that complemented the warm interior available light in the location.

Before meeting Maddy, my model, I sat down on the location’s carpeted floor to check my kit. The FS60B was resting face down on my leg while I used the Neewer Studio app on my iPhone 17 Pro to switch on the LEDs. I soon felt their heat against my bare skin, as I was wearing shorts for this heatwave test shoot! I was surprised by just how hot the LEDs felt, as I hadn’t noticed much heat from other continuous lights that I’ve tested. Then again, I’d never placed one directly against my skin before. Lesson learned.

As the shoot was taking place on location, I didn’t want to rely on the kit’s supplied mains adapter to power the light, as this would limit me to staying close to wall-mounted power sockets. Instead, I carried a Neewer PS099E V-mount battery in my backpack, along with the longest USB-C cable I could find. The cable connecting the battery to the LED was only a couple of feet long, so I decided against bringing a standard (and tall) lighting stand along for the ride. I didn’t want the chunky PS099E battery dangling by its cable from a light mounted on a tall stand.

Instead, I packed a small Joby GorillaPod, whose flexible legs can be used as a miniature tripod or wrapped around a railing. The Barbican has plenty of raised surfaces where I could position the light securely and rest the battery nearby, without putting pressure on the power cable.

The Neewer FS60B has 1/4-inch threads on both its base and side, so I was able to mount it on the GorillaPod with ease. As the LED weighs less than 0.66lb (300g), it remained stable despite the GorillaPod’s relatively short legs. Check out the supporting video to see the FS60B in action.

The FS60B ships with a small reflector that attaches to its Neewer Mini Mount slots with a push and a twist, boosting the light’s output to an impressive 34,300 lux. As this more-focused beam could cast harsh shadows on my model, I attached the supplied rubber diffuser to the front of the reflector to soften the light.

The LED’s Neewer Mini Mount slots also enabled me to attach a larger Neewer lantern softbox. This created a broad yet powerful studio-style light source that worked particularly well for some of my model portraits, as you’ll see from the portraits accompanying this review.

As well as providing continuous illumination, the Neewer FS60B can produce intermittent lighting patterns at color temperatures ranging from 2700K to 6500K. Its 12 lighting presets include effects such as flashes of lightning and a flickering broken bulb.

As I had both a model and a long, dark, suitably spooky corridor at my disposal, I used the control knobs and Mode button to select the Broken Bulb effect. The FS60B was powerful enough to illuminate my model from a distance (see video), while also revealing plenty of detail in the surrounding architecture. Each time the simulated bulb flickered out, the corridor was momentarily plunged into gloomy shadow, making this preset particularly effective for adding drama and atmosphere to my mini-thriller sequence.

On a previous test shoot with the Neewer PS099E V-mount battery as a power source, I ran out of power in one hour. This was because I was testing the much more power-hungry Godox ML150Bi, which is a 150W light compared to the FS60B's 60W. As a result, I had plenty of juice left in the battery after filming and shooting portraits for the first hour of the shoot.

I used this extra power to set up a shoot in a nearby alley adjacent to the Barbican Centre. Despite strong sun overhead, the alley was in shadow, so the FS60B became a key light. Given the GorillaPod’s short legs, I illuminated Maddy from a low angle. This added a mix of dramatic highlights and shadows to her face that suited the grungy urban alley. The low-angle light from the floor-mounted FS60B created a mean and moody look that suited my model’s dramatic location and streetwise look.

I did take the light along to a more conventional model shoot, and it was very useful when I could shoot the model with the light at head height. However, due to the short cable between the light and the battery, I often had to shoot from a low angle, and the resulting shadows didn’t flatter my other model’s face, emphasizing features such as eye bags.

Neewer FS60B: Verdict

I thoroughly enjoyed using the Neewer FS60B on my urban model test shoot. Its compact size meant that I could travel light, while its 60W output and supplied reflector provided enough power to capture clean video footage in relatively gloomy interiors without excessive high-ISO noise. The animated effects, such as Broken Bulb, also helped me capture an atmospheric mini-thriller sequence, which made the test shoot even more enjoyable. The FS60B also worked well as a powerful, dramatic key light in shady outdoor alleys, enabling me to capture some suitably edgy street portraits.

Its main drawback is the lack of a built-in rechargeable battery. An internal battery would have made it easier to mount the light on a tall stand and position it at a more flattering side angle. Because the FS60B was connected to a V-mount battery by a relatively short USB-C cable, I often had to find a raised surface that could support both the light and its power source (or pop the light and its mini tripod on the floor).

I enjoyed shooting from lower angles, as this added drama to my portraits, but for illuminating more conventional lifestyle images, I would have preferred the flexibility to position the light higher, without being constrained by a battery attached via a cable. I appreciate that you could power the FS60B from the mains using its supplied power unit, which has a cable long enough for you to mount the light at head height on a stand. However, I like to shoot on location, so I had to use a battery-powered solution.

Alternatives

The camera L-bracket is a longstanding accessory that allows photographers to quickly swap from horizontal to vertical shots on a tripod – but photo accessory brand favorite Peak Design is bringing the standard accessory into 2026 – and making it a bit less boring. The Peak Design Field Bracket is a modular L-mount bracket that goes beyond fast tripod orientation swaps by allowing creators to customize their rig with anything from lights to a camera tracker.

The Field Bracket starts with a camera-specific baseplate that needs to be matched to the right camera body in order to hug the camera body. While the base plate is specific to each camera model, it has a latch that allows it to connect to the more universal Field Latch, creating the traditional L-shape. The upright portion of the L can also be adjusted to allow access to the camera’s ports at the side.

But perhaps what’s more unusual about the Field Bracket is that the design is modular, allowing creators to customize their camera setup. The upright bracket can be swapped with a Cheese Plate instead, which has multiple mounting points and a cold shoe to attach lights, mics, and other accessories.

Another option is the new Beacon Finder Tag, which puts a Bluetooth tracker inside an Acra-compatible camera plate that fits most tripods. Peak Design says this is a discrete way to attach a tracker to a camera itself, rather than leaving a tracker in a camera bag.

The modular system also supports a hand strap. Peak Design says the design is meant to allow photographers to continue to use a variety of accessories, including access to side ports.

“The best camera accessories disappear into your workflow until you need them. That idea shaped every decision we made with Field Bracket,” said Peter Dering, Peak Design’s Founder and CEO. “Instead of asking photographers to permanently attach functionality they only use some of the time, we built a system that can transform in seconds while remaining just as rigid and dependable as a traditional L-bracket.”

The Peak Design Field Bracket is the brand’s 17th Kickstarter campaign, which opened on July 21. The crowdfunding comes with an early pre-order discount before the system launches in retail stores. The Field Bracket is expected to list for $149.95 (about £112 / AU$214 / CA$211), with the modular pieces beginning at $39.95 (about £30 / AU$57 / CA$56).

The system launches with plates designed to custom fit with several cameras, including several full-frame Sony models and most Canon EOS R5 and R6 series bodies (excluding the R6 V). For Nikon, the bracket fits with the Nikon Z5 II, Z6 II and III and Z7 II cameras as well as the Z8. The system will also support the Fujifilm X100VI and X-T5 as well as the Leica Q3.

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Take a look at the best L-mount brackets or the best tripods.

A lot of recent lenses for mirrorless cameras are pretty clever but they’re not exactly ‘smart’ by the current popular definition of the word. That all changes if you plug in the Tamron-Link to the USB-C port featured in most recent Tamron lenses. I say ‘most’ because Fujifilm X-mount versions of Tamron lenses don’t feature a USB port, making them incompatible with the adapter, and it doesn’t really work with Canon RF versions of Tamron lenses, at least not as yet. However, you can still update the firmware of Canon RF mount Tamron lenses that feature a USB port, using the Desktop version of the free Tamron Lens Utility program for Apple and Windows computers.

It’s much better news for most (but not all) recent Tamron lenses for Nikon Z and Sony E mount cameras, although some might need a firmware update to be applied via the desktop app before you can use the Bluetooth adapter. The end result is that you can add a whole bunch of smart features for customization and remote control of compatible Tamron lenses, via the Tamron Lens Utility app, offered as a free download for Apple and Android smartphones. Understandably, you have to buy the actual Tamron-Link Bluetooth adapter itself, but I think it’s well worth the outlay as it brings a whole new, enriched experience to using compatible Tamron lenses.

Tamron-Link: Specifications

Tamron-Link: Price

The Tamron-Link Bluetooth adapter costs around $50 / £59 / AU$80. I think that’s very good value for money, considering the electronics that it features and the comprehensive, companion smartphone app that’s available as a free download. Ultimately, you get the adapter plus the app for less than the price of some plastic lens hoods that Canon & Co sell as ‘optional extras’ for all but its exotic L-series lenses, and they’re just bits of dumb molded plastic. Bring on the smartness.

Tamron-Link: Design & Handling

It’s tiny and weighs next to nothing. Taking miniaturized, minimalistic design to a new level, the Tamron-Link is only an inch long and about a quarter of an inch high and wide, excluding the USB plug that hides itself away within the lens. And it tips the scales at an almost imperceptible 2g or 0.07oz. The upshot is that when you plug it into a lens, you won’t notice any difference in size or weight.

Considering its lack of size and heft, there’s a lot packed into this tiny gadget. Actually, to be fair, the physical part of the Tamron-Link is only a Bluetooth adapter, so I’d expect it to be small and light. All the clever stuff is built into the software that runs in the lens that it’s plugged into, and the companion mobile app for iOS and Android.

The Tamron Lens Utility mobile app is free to download and to use, so there’s nothing to pay for apart from the Tamron-Link Bluetooth adapter itself, and of course the Tamron lenses with which you wish to use it. After downloading it, the first step in setting it up is to pair it with your smartphone, which follows typical Bluetooth protocols.

The app itself is based on four main sections. Apart from the Info section that I’ve already mentioned above, there’s Lens, Remote and DFF (Digital Follow Focus). Let’s take them in order. The ‘Lens’ section is sub-divided into separate menus for Custom Switch and Focus Ring, correlating with the physical switch and control ring on the lens itself.

There’s a long list of custom settings that you can assign to the Custom switch of compatible lenses. The options range from helpful tools for shooting extreme close-ups, to infinity and beyond (almost). To put that into perspective, Focus Time Lapse is great for focus stacking in macro shooting, whereas Astro Focus & Fine Adjustment takes in a panoply of stars when shooting the heavens in the dead of night. There’s even a Night Mode that adapts the screen for more comfortably taking a shot in the dark. For the screengrab above, I’ve selected three options for the Custom switch, including Focus Time Lapse, Focus Preset and Linear/Non-Linear Switching.

For the second position on the Custom switch, I selected the option of Focus Preset. This assigns a specific focus distance, which you can switch to by pressing the Function button on the lens. Better still, the option comes complete with the option to set up a delay timer, so that you can define whether the focus transition starts immediately when pressing the button, or activates after a set time. On top of that, you can also set the duration of the transition between the starting point of the focus position and its assigned end point.

Can’t decide between Linear and Non-linear manual focusing? I’ve assigned both options to the third position of the Custom switch. This time around the supplementary options include whether the change in the action of the lens’s manual focus ring is immediate when pressing the Function button, or that you have to press and hold the button for a second for the change to be applied. The latter helps to avoid accidental mode swaps.

There’s more fun and games when moving from Custom Switch to Focus Ring in the Lens section of the app. You’re rewarded by a comprehensive range of options for how the ring operates, including Default or Reverse for the direction of rotation, Linear and Non-linear manual focus modes, plus overall manual focus rotation angles of 90, 180, 270 or 360 degrees, and overall rotation angles for using the ring to adjust the lens aperture, this time with options of 45, 60, 75 or 90 degrees.

The Tamron-Link has a lot to offer videographers, with a range of helpful options on its Remote and DFF (Digital Follow Focus) menus. Starting off with remote focusing, you can set multiple focus points and arrange their sequential order, the delay between each change, and the speed with which the lens transitions between preset focus points. This enables you to configure focus pulls on a fully automated and easily repeatable basis. Simplified A-B focus transitioning is also available in the app.

For shooting video, the app really comes into its own with ‘Digital Follow Focus’. In essence, the feature turns your smartphone into a pocket controller for both focusing and aperture. The system enables you to set up precise parameters for both focusing and aperture control, complete with adjustable transitions on an individual basis. You can operate it on the fly during a take, as well as setting limits for both functions, so you don’t overstep the mark accidentally. However, aperture control via DFF including the Iris Marker and Ring Stopper functions isn’t available for Tamron’s Nikon Z-mount lenses, which is a pretty major upset.

Tamron-Link: Performance

When it comes to performance, the Tamron-Link simply works and just as importantly, it works simply. It’s quick and easy to set up, being just a matter of plugging it into a compatible Tamron lens and downloading the companion app on your mobile phone. From then on, everything is plain sailing for customizing your lens and controlling it remotely. And if anything’s not clear, there are plenty of help sections along the way.

That said, nothing is entirely perfect and there are certain limitations. First up, it doesn’t work with Tamron’s Fujifilm X-mount and Canon RF-mount lenses, the former lacking a USB socket and the latter not featuring the requisite software compatibility. Some of the features available for Sony E-mount lenses are also lacking in their Nikon Z-mount counterparts.

Furthermore, not all of Tamron’s lenses that feature USB sockets are compatible with Tamron-Link Bluetooth adapter, so it pays to check first before purchasing. Last but not least, you’re limited by the usual 5m / 16.4ft range of Bluetooth wireless connectivity and if you’re camera goes into standby mode, the Bluetooth connection between your smartphone and the lens is severed. These factors aside, the system works very well indeed and performance is excellent.

Tamron-Link: Verdict

It’s often said that the best things come in small packages, and they don’t come much smaller than this. I love the tiny yet solid build of the Tamron-Link, and that it barely weighs anything at all. Simply plug it into a compatible Tamron lens, download the smartphone app and you’re good to go.

I’m less happy that it only fires on all cylinders with compatible Sony E-mount versions of current Tamron lenses. Tamron’s Nikon Z-mount lenses lose a couple of features in translation, and the adapter is of little or no use on Canon RF and Fujifilm X versions of Tamron lenses, the latter not even having a USB port for attaching it.

Back on the upside, the interface is clear and intuitive, yet fun to use, almost turning customization and remote control of your Tamron lenses into a kind of computer game. But the mobile app definitely has a serious side as well, enabling complex focus and aperture transitions easy to achieve, both on the fly and as programmable and precisely repeatable operations. All in all, I think it’s a worthy add-on for Nikon Z-mount Tamron lenses, and a no-brainer for Sony E-mount editions.

Say ‘Manfrotto’ and the word ‘tripod’ almost inevitably follows. The company has made some of my all-time favorite tripods and tripod heads, and goes all the way back to the 1960s when the Italian photojournalist Lino Manfrotto started selling light stands. In more recent times, the company has gone large on camera backpacks, bags, and roller cases, with several product lines becoming available. The latest of these is the ‘Uncover’ collection, which so far features a pair of backpacks and a pair of messenger / sling bags.

The idea behind all four Uncover bags and backpacks is that they can adapt to your needs on a day-to-day or even minute-by-minute basis. That’s thanks to two crucial design elements. Firstly, they all have a removable camera insert, which you can fill with a camera, lenses, and other photo accessories, or ditch altogether so that you can use the outers as general-purpose backpacks and bags. Secondly, they all have a roll-top facility, so they can expand to carry more stuff, or shrink to smaller sizes to suit the journey and the load.

Focusing on the messenger bags, there’s the smaller Uncover Messenger / Sling 7L and the larger Uncover Messenger 12L. The 7L has a capacity range of 7.5L to 9.5L, and includes a small camera insert that can accommodate a camera body and one or two lenses. The 12L has a larger 10.5L to 14.5L capacity and a bigger camera insert that can hold a camera body with up to three lenses or a mini drone. Both aim to be among the best messenger bags for photographers on the market.

Manfrotto Uncover Messenger / Sling: Specifications

Manfrotto Uncover Messenger / Sling: Price

There’s no shortage of manufacturers making photo-friendly messenger bags these days. Big names that spring to mind include Billingham, Lowepro, Vanguard, Tenba, and Peak Design, to name but a few, and of course Manfrotto. The price range kicks off from bargain-basement buys to luxury bags at premium prices.

The new Manfrotto bags occupy the middle ground, with the smaller Uncover Messenger / Sling 7L costing $139 / £99 / AU$199 and the larger Uncover Messenger 12L priced at $179 / £129 / AU$269. But more than just camera bags, these are bags for life, adapting to varying needs with or without carrying a camera, potentially making them good value for money, as you’ll get maximum use out of them.

Manfrotto Uncover Messenger / Sling: Design & Handling

There are some clever design touches sprinkled throughout these messenger bags, more so with the larger 12L one than the smaller 7L version, but I’ll start at the top with something they both have in common. That’s the expandable roll-top section, which enables the bags to grow to meet your needs when you have more stuff to carry.

The roll-top concept is a neat idea but one thing I’ve found less ‘neat’ about them in the past is that they can tend to look a bit messy when rolled up for compactness. There’s no hint of that here. Instead of rolling up, the expanding section simply folds over and is held in place by hidden magnets. It’s an elegant solution that gives a more elegant look to the bags.

Another potential problem area is the placement of the shoulder strap. If it’s ideally positioned for when the bag is compacted, it’s often less than ideal when it’s expanded. Again, Manfrotto has come up with a clever solution in that the bags feature two pairs of strap attachment loops, while the strap itself has spring-loaded metal catches at each end. The upshot is that you can quickly and easily snap the strap onto whichever pair of loops fit the bill.

The modern, stylish look of the bags extend to the straps, which I’d describe as being made from seatbelt-like material, wrapped in a padded outer. They’re as good as they look, with a generous range of adjustability and being very comfortable to wear. They’re also quite resistant to unwantedly slipping off your shoulder, so you can safely wear the bags as shoulder bags as well as in cross-body messenger style.

One thing I always like to see is a grab handle, so I can conveniently pick up the bag with one hand as an alternative to hanging it off a shoulder. The larger version comes complete with a long rope-style grab handle on the back (in addition to the front grab handle) which is comfortable and dependable, and there’s also a small loop just above it. There’s also a flat pass-through strap just below, for securely attaching the bag to the handle of a luggage trolley. The scaled-down 7L bag has neither the rear grab handle nor the trolley pass-through – just the small upper loop.

Getting back to things featured in both bags, the ‘FlexGrid’ front panel is made from tough, dual-laminated Cordura with laser-cut holes. Another neat idea, this enables you to hang all sorts of bits, bobs and accessories off the front of the bag, simply by attaching them or tying them to the FlexGrid.

There’s an additional slim pocket on side of the 12L bag, and a larger expandable pocket on the other side. The latter is big enough to take a drinks bottle or other similarly sized extra, putting it within easy reach and without taking up precious room inside the main compartment of the bag. However, both of these are omitted in the 7L bag, which has no side pockets at all.

I personally find a slim rear pocket very useful in any shoulder/messenger bag and this is very much present and correct in both of the 7L and 12L Uncover bags. It’s great for keeping paperwork, travel documents and other thin stuff in a self-contained area, out of harm’s way.

A quick look underneath the 12L bag reveals a pair of adjustable straps with fasteners. You could use these for attaching a wide variety of things, like a short umbrella, but in a photographic context, I’d use them for attaching a travel tripod. Again, you don’t get this facility with the 7L bag, which is strapless underneath.

It’s not really a problem but you can’t actually get into the main zippered compartment of the bags without first lifting up the expanding section to its full height. The quick-action folding design with magnetic attraction again comes to the fore. Once opened, the camera insert can seem a little buried away, far down inside the compartment.

As I mentioned earlier, one of the things I like most about the Uncover design is that you can remove the camera insert altogether when you’re not carrying your camera, and use the entire main compartment for daily or travel essentials. The removable camera insert itself has a fully zippered top flap and a carrying handle, enabling it to work as a camera bag of sorts in its own right.

The camera insert comes complete with adjustable dividers that you can fold and bend into the ideal configuration for your kit, as well as placing them in the best locations thanks to Velcro strip fasteners. Folding one or two of the dividers can work well if you have thin lenses or other accessories and don’t mind double-stacking them.

The 12L bag comes with three dividers in total, that have differing designs. The two darker grey dividers are just crying out to be folded into specialist shapes, and even the light grey ‘flat’ one can be folded over to make an elongated cube, as shown above.

Carrying a bag around with an expensive camera kit inside it can be a nerve-wracking experience. To give a little peace of mind, both bags feature a small hidden pocket, designed to hold an AirTag or similar tracking device.

The main compartment of both bags also features a tablet sleeve with its own secure closure. Only the size differs, the 12L bag accommodating an 11-inch tablet and the 7L bag being able to hold an 8.5-inch tablet, like an iPad mini. However, a major drawback for some prospective buyers is that neither of the bags features a laptop sleeve.

Last but not least, there’s a mesh pocket that runs full width along the inside front of the main compartment. It’s zippered and offers a dedicated area for keeping small but sensitive or precious items.

Manfrotto Uncover Messenger / Sling: Performance

There’s always a feel-good factor in having a bag that you like the look of, and I think the Manfrotto Uncover bags do look attractive. However, they’re only available in a single black/grey colorway option, which might not be to everyone’s taste. From a performance perspective, a more vital aspect is that the bags are robust, resilient, and give good protection to whatever you're carrying inside them. That’s especially true for carrying camera kit.

Toughness is ensured by Manfrotto’s custom ‘TriTex’ three-layer fabric, from which the bags are constructed. The material is designed to be highly durable and water-resistant, and the bags also feature weather-sealed YKK zippers. The net result is that you don’t need an additional slip-over weather-proof cover, as supplied with many bags, which can take up space and be a chore to use.

An upside of the ‘bag within a bag’ design is that camera kit gets double the protective padding in its dedicated insert. However it also means that kit isn’t quite as immediately accessible and that precious room is used up by basically stowing one bag inside another one.

I was a little disappointed that even with the larger 12L bag, I packed my Nikon Z6III camera with mounted Z 24-70mm f/4 S lens in its retracted state, along with a second similarly sized lens, and pretty much all of the space in the camera insert was used up, as shown in the image above. Sure, you could squeeze in a few more items if you had a more compact camera and smaller lenses but let’s face it, the Z6III and its retractable kit lens isn’t exactly a big camera.

I don’t have one of those super-small ‘travel tripods’ with swing-up legs, which would be an ideal fit for attaching to the 12L bag, courtesy of the adjustable bottom straps. Even so, my not overly large Manfrotto 190go! Tripod doesn’t look entirely out of place. Either way, the 7L omits the tripod straps.

Manfrotto Uncover Messenger / Sling: Verdict

I’m all for versatility and adaptability. I like that the roll-top design of the Manfrotto Uncover Messenger / Sling bags enables them to grow and shrink on demand, accommodating different amounts of daily paraphernalia. I also like that the camera inserts, which are a bit like camera bags in their own right, are easily removable in just a few seconds. The bags, therefore, convert from photo bags to regular, general-use bags on the fly. Further plus points are that the bags are very durable, attractively styled, and comfortable to carry.

It’s not all great news. The ‘bag within a bag’ design eats into the available space, and even the larger 12L version has relatively little room for photo gear in its camera insert. Naturally, the 7L bag has even less. The 7L bag also lacks side pockets, a rear grab handle, a baggage trolley pass-through, and tripod tethers. Unless you’re desperate for the smallest bag you can get away with, the 12L has a lot more to offer. Even so, I feel that the fairly small amount of camera kit that it can carry is a limiting factor.

Alternatives

It's become an all-too familiar story: the global memory chip shortage causing the price of memory cards and SSDs to skyrocket. This situation has been ongoing for almost a year now, and the latest news suggests prices might not fall for some time.

According to Kwak Noh-jung, CEO of Korean chip giant SK Hynix, the global memory chip market "will face unprecedented supply shortages in 2027". Furthermore, Kwak predicts that the chip shortage is likely to continue past 2030. Other analysts agree that the chip shortage won't be over soon: UBS predicts the global DRAM market will remain undersupplied until at least Q2 2028, while Bank of America estimates that datacenter capital expenditure will hit $851 billion this year and rise to around $1.15 trillion next year – in other words, the demand for memory will rise over the next 12 months.

The chip shortage is due to the unprecedented demand for HBM (high bandwidth memory) chips, which are being voraciously consumed by AI datacenters. SK Hynix produces around 58% of the global HBM chip supply and is investing heavily in in new semiconductor production facilities, with $4 billion allocated to build an advanced chip packaging plant in Indiana.

It should be noted that high bandwidth memory isn't actually used in products like consumer memory cards and SSDs, yet these products have still seen huge price rises as a direct result of the HBM chip shortage. The reason for this is likely due to chip manufacturers diverting manufacturing capacity to the more lucrative HBM sector, and away from the NAND flash used in memory cards. And it's this reduced supply of NAND chips that has caused the price of SD and CFexpress cards to increase so dramatically.

So if you’re in need of a new memory card, check out what we rate as the best memory cards for your camera, with the best prices available right now.

Story credit: NewsBytes

Think Manfrotto and you’re probably thinking tripods, ranging from budget-friendly sticks right up to top-flight professional options. However, the Italian outfit has been operating since the 1960s, so it’s no surprise that it’s diversified along the way. There are light stands and accessories, which is also no surprise as the photojournalist Lino Manfrotto originally started the business by selling light stands. More recently, Manfrotto has designed and manufactured a wide range of camera bags, backpacks, and roller cases. The latest and arguably greatest of these are from the new ‘Uncover’ collection.

Typical of Manfrotto, there’s some snazzy Italian design flair and quality construction behind the Uncover range of backpacks and messenger / sling bags. The backpack that I’m majoring on here is the Manfrotto Uncover Backpack 30L, while also checking out the smaller 24L version. Both are very similar in terms of design, features, and construction; it’s just that one’s bigger than the other. That filters down to the camera inserts themselves.

The camera compartment of the 30L is designed to accommodate a mirrorless camera body or compact DSLR, along with three to five lenses, or a small drone kit. The 24L can take a compact camera body and up to three lenses, or a small drone. Both also serve as a daypack for your daily essentials, with an expanding roll-top design, and you can convert them to full-sized, general-purpose backpacks by quickly and easily removing the camera inserts. All in all, they aim to be among the best backpacks for photographers.

Manfrotto Uncover Backpack: Specifications

Manfrotto Uncover Backpack: Price

The Uncover Backpack 24L launched with a price of $300 / £229 / AU$429, while its bigger sibling, the Uncover Backpack 30L, came in at $330 / £239 / AU$439, so there’s not much difference between the two in terms of cost.

For the sake of comparison, one of the biggest names in the camera backpack market is Lowepro, and the Lowepro ProTactic BP 350 AW III (one of my favorite camera backpacks) costs around $300 / £211 / AU$530, which is pretty similar in most world regions but rather pricier in Australia.

Manfrotto Uncover Backpack: Design & Handling

When you want to pack a camera kit and all the stuff you need for a day out into one backpack, you can soon find yourself running out of space. On the other hand, you don’t want to be lugging around a backpack that’s bigger than you need it to be. The Manfrotto Uncover grows or shrinks to order, accommodating larger or smaller collections of kit and caboodle for any particular journey. That’s thanks to a roll-top design, enabling you to unclasp the top section and roll it out to a greater height.

The height range on offer equates to 40.5-62cm / 15.9-24.4in for the 24L, and 44-64.5cm / 17.3-25.4in for the 30L. In terms of capacity, the range is 20.5L to 28.5L for the smaller backpack and 25L to 33L for the larger one. In practice, the amount of extension feels considerable, allowing you to pack quite a bit of extra stuff when you need to, and to save space with a smaller backpack when you don’t.

It’s only natural to think of any backpack as something you wear on your back, but I do like a grab handle to be featured in the design. This makes it easy to pick up the bag with one hand and move it around when the need arises. Sure enough, the Manfrotto features a rope-style strap at the top of its back, underneath which there’s also a handy small loop.

For longer journeys that involve airports and other travel terminals, a luggage trolley can help take the strain. The backpack can conveniently attach to the handles of these trolleys, thanks to a trolley pass-through which doubles as a padded back panel for when you’re actually wearing the backpack.

Like the back panel, the shoulder straps are generously padded to enhance comfort. They’re also durable, the backpack in general being based on Manfrotto’s custom ‘TriTex’ three-layer fabric, which is designed to be highly durable and water-resistant, along with weather-sealed YKK zippers and a PU-coated base, thus avoiding the need for an additional slip-over weatherproof cover. Getting back to the shoulder straps, I like that they have a big range of adjustment and that both feature a handy attachment loop.

When the going gets tough, and you’re trekking across rough terrain or generally making life difficult for yourself, you can find that backpacks tend to slide around, and the straps can slip off your shoulders. To help avoid this particular problem, the Manfrotto has a chest strap, which makes the backpack feel more secure, as well as keeping the shoulder straps in place. Like the shoulder straps, it has a wide range of adjustment and this time features an elasticated section to enhance comfort. However, unlike many camera backpacks, there’s no waist strap for keeping it in place, for example, when you’re climbing over obstacles. Ideally, I’d have liked a removable waist strap to be included, giving the option of using it or not, as needs dictate.

I’ve often seen webbing and attachment loops featured extensively on backpacks and think they’re a great idea. It’s really useful to be able to add extra pouches and various paraphernalia, fastening them securely to the outside of the bag. Manfrotto’s take on it for the Uncover range is to construct the front panel from ‘FlexGrid’, made from dual-laminated Cordura with laser-cut holes. This gives the option of attaching carabiners, tools, accessories, and pretty much anything else you can tie on or attach to it.

There’s a slim pocket featured on one side of the bag. The reason that it’s so slim is that it’s actually integrated into a larger zippered flap that enables access through the side of the backpack, right through to the camera compartment. As has become popular in many camera backpacks of late, the side flap gives the advantage that you can grab your camera with attached lens in double-quick time, without having to open the whole backpack and dig it out.

The side pocket on the other side of the backpack has relatively generous dimensions, expanding to accommodate the likes of a drinks bottle or tripod. Again, it’s opened and closed with a weather-sealed YKK zipper, just like all the other zippers featured around the bag.

The main compartment of the backpack that holds the camera insert opens from the rear. I like this arrangement, as it means that I don’t need to lay the rear of the backpack (that I’m subsequently going to wear against my back) on mucky ground to get at my camera kit. What I’m less keen on is that this sort of design often demands that you rotate the shoulder straps around to the front of the backpack before you can open the zipper. There’s no need for that here, as the shoulder straps don’t interfere with the path of the zipper track.

Opening the rear zipper also reveals the upper compartment with its mesh lid, as shown in the image above. Undoing an additional zipper gives access to this compartment, typically used for daily essentials. As I’d expect, you can also get into the upper compartment through a zipper on the top of the outer shell. Manfrotto’s ‘SmartLift’ system enables you to adjust the placement of the floor of the upper compartment, in conjunction with altering the roll-top height, as well as converting it into a full-height backpack with the camera insert removed.