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

Think Peak Design and you’re probably thinking photo bags and backpacks, and those clever Peak Design Slide camera straps with their quick-release mechanisms. However, the company also makes general travel luggage, outdoor gear, phone cases, wallets, and even gadget mounts for cars and motorcycles. The California-based outfit was founded in 2010 with a mission to ‘build happy and meaningful lives for the people that work there', and, hopefully, some of that meaningful happiness will spill over to people who buy their products.

Fast-forward to 2020, and the company launched its first and so far only tripod, in the somewhat revolutionary shape of a very distinctive travel tripod. We’ve reviewed it very favorably in both of its Peak Design Travel Tripod (Aluminum) and Peak Design Travel Tripod (Carbon Fiber) editions. The company designed and launched its first tripod off the back of a crowdfunding campaign, which is its go-to business method, and the result is undeniably one of the best travel tripods on the market.

The new Peak Design Pro Tripods inherit the innovative design and features of the original Travel Tripod and build them into a (mostly) full-sized range of kits. As such, the new models are available in Pro, Pro Lite, and Pro Tall versions, each of them aiming to be among the best tripods for photography, as well as being among the best carbon fiber tripods. As you’ve probably guessed, though, the Pro Lite is relatively lightweight and downsized, compared with the other two more full-sized sticks.

Peak Design Pro Tripod: Specifications

Peak Design Pro Tripod: Price

Full-sized, heavy-duty, carbon fiber tripod kits that are also reasonably lightweight and fold down small for the journey don’t come cheap. One of my all-time favorites is the 3 Legged Winston Pro 2.0 kit, complete with AirHed Pro Ball Head, which will set you back around $500 / £400 / AU$750. Then there’s the somewhat legendary Manfrotto MT055CXPRO3 Carbon Fiber Tripod (legs only) for around $500 / £399 / AU$850, but it’s also available in kit options with various heads.

In that context, the Peak Design Pro Tripod kit looks pretty pricey at $900 / £800 / AU$1,500, whereas the Pro Tall is understandably even more expensive at $1,000 / £900 / AU$1,700, as there’s simply more of it, and the least expensive Pro Lite is still very dear at $800 / £700 / AU$1,400. On the face of it, none of these three tripods looks like they’re going to win any ‘Great Value’ awards, but considering the innovative, no-compromise designs, they could still be very well worth the money.

Peak Design Pro Tripod: Design & Handling

After decades of being a keen photographer, it’s very rare that a tripod walks into my studio and really grabs my attention. The Peak Design Travel Tripod did exactly that a few years ago, with sufficient wow-factor to make me actually open my mouth and say ‘wow’. Looking as super-skinny as a catwalk model, the tripod was designed with oval-profile legs that wrap around a triangular center column.

The net result is that the tripod is incredibly slim when folded, while also avoiding the time-consuming chore that you get with the vast majority of travel tripods. That’s because with the Peak Design and its integral head, you don’t need to fully extend the center column and swing the legs up to achieve a compact stowage size. All of these design facets in regard to the legs, center column, and head are inherited by the next-gen ‘Pro’ tripod range.

One notable difference is that the Pro tripods have four sections in each leg rather than five, which makes setup and takedown quicker and easier, as there are fewer leg section clamps to contend with. The leg sections themselves are made from the good stuff. Like anything else, carbon fiber isn’t all created equal, but this tripod is constructed from premium-grade 3k weave, 2x2 twill carbon fiber, along with CNC-machined and anodized 6061-T6 recycled aluminum for the ball head, hub, load hook and leg locks, rather than using any die-cast parts.

As with most tripods great and small nowadays, it’s not just the height of the legs that you can adjust, but also the angle from vertical. True to form, the Pro has three lockable leg angles when unfolded for use. The wider angles enable greater stability and resistance to the tripod toppling over when it’s set to a short operating height. Multiple angles also make it easier to work on uneven terrain and around obstacles.

The ball head is equally innovative as the tripod legs, and a crafty bit of design in its own right. The compact, integrated design helps to keep stowage size to a minimum, but it’s nevertheless full of clever tricks. A twist-action lock at the base of the head allows for super-fast release and locking of the ball and socket clamp. The only slight downside is that you have to raise the center column slightly to enable anything more than a slight range of tilting movement of the ball head, and to enable shooting at extreme angles and vertically upwards or downwards, as well as for swapping from landscape to portrait orientation shooting, unless you’re using an L-bracket.

While the ball head has a good range of adjustment if you raise the center column a smidge, there’s also a full 360-degree of independent lateral rotation, thanks to a separate panning lock. The panning mechanism has a marked scale and a lovely fluid feel, making the head well-suited to shooting video as well as stills.

One particularly nice touch is the bubble level. It protrudes from the outer circumference of the camera platform and also acts as the lock/release catch for the Arca-Swiss type quick-release plate. And to avoid any expensive accidents if you inadvertently knock the bubble assembly, there’s also a sliding safety lock with marked open and closed positions.

The QR plate itself is a fairly small, square affair, but you can use other plates if you feel the need. My only complaint about the supplied plate is that it can’t be fastened to your camera without the use of a hex key, but at least one is supplied with the tripod, as pictured below. If you'd prefer a more 'hands-on', tool-free QR plate, the Peak Design Field Plate is available as an optional extra.

There’s more trickery down below. A weight hook is featured at the bottom of the center column and, unlike those that need endless twisting on a thread to fit or remove them, this one secures or releases with a spring-loaded lock and a one-third twist.

What’s more, with the weight-hook removed, the dual-sized hex wrench tool that’s stowed inside the center column pops halfway out by a further spring-loaded mechanism, while the use of magnets stops it from falling all the way out unless you actually tug on it. If my memory serves me rightly (and I’m pretty sure it does), the Peak Design Travel Tripod comes with an additional Mobile Phone Mount, but you can buy that separately for use with the Pro, at a cost of around $20 / £20 / AU$55.

Moving further down, right to the bottom of the tripod, sturdy rubber pads are the footwear of choice. Made from non-slip TPU (Thermoplastic Polyurethane), they’re extremely durable and work well on most surfaces. For very soft or loose ground, you might be better off with metal spikes, and these are available as an optional extra, costing around $50 / £45 / AU$80.

Finishing with a flourish, the tripod kit is all wrapped up in a very nicely tailored and padded soft case with a single zippered opening and an adjustable shoulder strap.

Peak Design Pro Tripod: Performance

Peak Design points out that it developed the Pro range of tripods in collaboration with the renowned photographer and filmmaker, Jimmy Chin. It also says that they’re based on the groundbreaking architecture of Peak Design’s original Travel Tripod, but scaled up to offer significantly greater stiffness and maximum operating height. I’d say these comments are bang on and that, as I’d expect from a tripod co-developed by a photographer and filmmaker, it works well as a hybrid stick for both photography and videography. That’s mostly thanks to its clever head, which enables fluid panning as well as quick and easy ball and socket adjustments.

I’d also agree that one of the most crucial aspects of the Pro tripods is that you can shoot from a higher maximum height, as I found the Travel Tripod quite restrictive in this regard. Even so, the maximum height of the Pro tripod isn’t exactly towering at 168.4cm / 66.3 inches.

Being quite tall and liking to keep my shooting options as open as possible, I went for the Pro Tall version of the tripod, which extends to a more impressive 197.4cm / 77.7 inches.

The Pro Lite edition is certainly smaller and more lightweight for the journey, but only rises to a maximum height of 162.5cm / 64.0 inches, and has a lower payload rating of 15.9kg / 35lb, compared with the 18.1kg / 40lb of its heftier siblings.

It’s not just height that I’m interested in. I also like to shoot from really low angles sometimes, for creative effect. In time-honored tradition, the Pro tripods enable you to remove and invert the center column, thus shooting out from between two of the legs with the camera inverted, right down to ground level. That’s all well and good, provided that you don’t mind shooting with your camera upside down, which definitely isn’t preferable for videography.

A more convenient but more long-winded approach to ultra-low-level shooting is that you can tilt the ball head through 90 degrees, loosen a screw, and remove all but the very top of the center column. This enables you to shoot from as little as 15.9cm / 6.3in, 17.3cm / 6.8in, or 15.8cm / 6.2in above ground level, with the Pro, Pro Tall, and Pro Lite versions of the tripod, respectively.

Those specializing in videography rather than stills photography might like to go a little further with filmmaking features. Catering to these needs, Peak Design offers a Leveling Base for an additional $120 / £110 / AU$220. This enables you to level the head even if the tripod legs aren’t precisely leveled, so that your horizon doesn’t go on the slant when you start panning. And if you want to add a fluid tilt action to the head’s existing fluid pan abilities, there’s an optional Tilt Mod for $150 / £135 / AU$300.

Peak Design Pro Tripod: Verdict

I’ve tried many and varied Peak Design products, and they always give me a real feel-good factor. The company makes bold claims regarding the design, features, build quality, and performance of its Peak Design Pro Tripod range. I love it when products live up to and even surpass their billing, and that’s my experience of the Pro Tall tripod kit that I tested and immediately fell for.

Highlights for me are that the design neatly cuts out any wasted space, the specially profiled legs snugly wrapping around the center column for incredibly slimline stowage. The integral head also helps to keep packing size to a minimum, so everything’s neat and tidy. Better still, the tripod has super-fast setup and take-down times, apart from its fiddly tool-driven quick-release plate. Best of all, the kit gives rock-solid support for stills and video shooting, with a nice fluid panning feel for the latter, and remains really steady and stable even at its maximum height with all of the leg sections and center column fully extended.

The only catch, as far as I’m concerned, is the price. It’s a very expensive tripod by any standards, but I feel that Peak Design has really gone the extra mile with its no-compromise design and build, making the Pro range of tripods well worth the money.

Alternatives

Hawlowe, a brand arguably best known for its retro-styled camera lights, has unveiled a new tripod – and the company says it weighs only about as much as a water bottle. The Harlowe Rocket Air is a carbon fiber travel tripod with a fluid head that weighs about 2.2 lbs / 1 kg yet can accommodate up to ten times that weight in camera gear.

But, beyond the more compact size, what caught my eye about the Harlowe Rocket Air is that it’s also designed to hold multiple devices at once. The tripod supports up to two accessory arms, which can hold things like a smartphone to record behind-the-scenes content, lights, or other accessories.

Folded, the tripod’s four leg sections allow it to stow away at 19.7 inches / 50 cm, but at full height can reach 58.7 inches / 149cm. The center column can be reversed to hold the camera upside-down for extreme low angles, while three leg positions also allow for a range of different working heights.

Much of the tripod’s lightweight design comes from its carbon fiber build. A counterweight hook on the bottom of the center column allows creators to add a weight for more stabilization.

The tripod legs can support up to 22.05 pounds / 10 kg, but the fluid head has a lower weight rating at 6.61 lbs / 3 kg.

Those legs use twist-style locks, a design that the company says allows creators to deploy to full height in around three seconds.

The tripod includes a fluid head that has a ten-degree leveling adjustment for uneven terrain, as well as supporting smooth pan and tilt movement.

While Harlowe is perhaps best known for its retro-styled lights, the Rocket Air follows last year’s Rocket, a multi-purpose stand that can be used as a light stand as well as a modular tripod and monopod.

The Harlowe Rocket Air retails at $399 / £303 / CA$576. That includes the tripod and detachable fluid head along with a carrying bag and allen wrench; accessory arms are not included with the standard ¼”-20 thread type arms supported. The tripod is available from Harlowe, as well as select retailers.

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It’s been two and a half years since I reviewed the original 3 Legged Thing AirHed Cine, and I was very impressed at the time. It was everything I’d come to expect from the company behind it – an innovative design that packs an array of useful features, with excellent build quality and an impeccable finish.

Enough said? Well, while I’ve been steadily adding to my personal collection of 3 Legged Thing photo and video equipment over the years, the new and improved AirHed Cine CC is destined for a place on my shopping list, with its ability to turn pretty much any set of legs into one of the best video tripods. It certainly looks and feels right at home on my prized 3 Legged Thing Winston 2.0 sturdy carbon tripod.

3 Legged Thing AirHed Cine CC: Specifications

3 Legged Thing AirHed Cine CC: Price

Specialist video heads are often big, heavy, unwieldy, and very expensive to buy. The 3 Legged Thing AirHed Cine CC is ideal in my books (and those of my accountant), in that it’s relatively compact, lightweight, and reasonably priced, at $249 / £229 / AU$799. Considering the feature set and quality of construction, it’s a bit of a bargain.

3 Legged Thing AirHed Cine CC: Design & Handling

I didn’t find much of anything wrong with the original version of the 3 Legged Thing AirHed Cine fluid, video head, but the updated ‘CC’ adds some neat new tricks. Let’s not get ahead of ourselves, though, and start with the basics. The head is designed primarily with videography in mind, but it works just fine for shooting stills as well, especially if panning is the name of the game for tracking sports or wildlife subjects. It’s also a good fit for a large spotting scope.

A key feature of any video head is that it enables smooth pan and tilt movements, and, just like the original, the CC has a lovely fluid feel to it, based on a quality design and spring-loaded counterbalance mechanism. That said, the counterbalance is not adjustable to accommodate different sizes and weights of camera, but the omission is what I’d expect from a relatively compact, lightweight, and affordable video head, such as this one.

Crucial to panning and tilting is the panning handle itself, as your primary point of physical contact with the head. The handle is completely revamped in the new version, the main difference being that it has a retractable design. Not only does it enable you to choose the length that feels most comfortable and natural in use, but it also makes it less likely that you’ll need to remove it and stash it separately when stowing the head. The images above and below show the panning handle in its retracted and fully extended states.

True to type, the panning handle is mounted on splines, which enable a wide range of rotational adjustment as well as ensuring a secure fitment that avoids any slippage or wobbling. The arm release knob can be pulled out and rotated on a six-sided head to ensure it doesn’t stick out in the wrong direction and get in the way when fastened.

Also, as I’d hope for in a video head, the panning handle can be attached to the left or right side, catering not only to left-handed and right-handed users but also to individual preference. Some right-handers will prefer to use the panning handle with their left hand, to leave their right hand free for operating the mounted camera.

At the center of the left side of the head is the main tilt-action lock and release knob. It operates with smooth simplicity and can lock off the tilt very securely for fixed position shooting. Only minimal turning is required to lock or release the head’s tilt mechanism. A generous 165 degrees of tilt is on offer, from 90 degrees forward to 75 degrees backward.

Above and to the front of the tilt knob on the side of the head is a mounting socket with a standard 1/4-inch thread. You can use this to attach accessories like a microphone, LED lamp, or video monitor. 3 Legged Thing offers two sizes of optional ‘Pivot Magic Arms’ for the task.

Down at the bottom of the left-hand side is the panning lock/release knob. Like the release knob for the panning handle, this one is spring-loaded and sits on a six-sided head, so you can pull it out and rotate it to your preferred position. Loosening the lever enables a full 360-degree panning rotation. To help keep tabs on movement, there’s a 360-degree scale on the base, numbered in 15-degree intervals and marked with lines at smaller 2.5-degree increments.

To help with leveling your tripod legs, which in turn helps to ensure that everything stays on the level when you’re panning, there’s a bubble level built into the lower section of the head. A secondary bubble level is fitted to the main clamp at the top, for assistance with leveling the tilt mechanism.

Another upgrade over the original version of the head is that the clamp up on top can be removed by undoing four hex screws, and rotated laterally through 90-degree intervals. The bonus here is that you can change the orientation of the QR plate from running front-to-back to side-to-side. This can be a big advantage if you’re using a camera with an L-bracket or a cage.

The Arca-Swiss compatible quick-release plate is also redesigned. For starters, it’s longer at 100mm instead of 90mm, giving more scope for centering the weight of your camera on the head. It also features a sliding camera screw sled and spring-loaded locator pin, plus a cable management hook at the front. The QR plate also adds compatibility for 3 Legged Thing’s growing range of ‘Xpand’ accessories, cheese plates, and risers, and features multiple 1/4-inch and 3/8-inch threaded screw holes.

The images above and below show the top and bottom of the ‘XP 100 Ultra Plate’, 3 Legged Thing’s redesigned Arca-Swiss compatible quick-release plate that’s supplied with the head.

Last but not least, the head is supplied complete with 3 Legged Thing’s handy ‘Toolz’ multi-tool, which features hex keys, a flat-blade coin key, a keyring clip, and a carabiner for attaching it to whatever you see fit. It even works as a bottle opener if things get really tough.

3 Legged Thing AirHed Cine CC: Performance

I’m impressed that despite having a compact size and weighing in at just 690g / 1.5lb, the AirHed Cine CC has a beefy maximum payload rating of 10kg / 22lb. As I’ve mentioned, it doesn’t feature an adjustable counterbalance system, but I found it worked well with everything from small, lightweight cameras to big, hefty outfits comprising large camera bodies with super-telephoto lenses.

Any video head lives or dies by the smoothness of its pan and tilt mechanisms, and the AirHed Cine CC has a really nice fluid feel to it. The new extending panning handle is a joy to use, and all the controls feel smooth, precise, and intuitive. Suffice it to say, you can devote your entire attention to shooting rather than wrestling with the head to get what you want out of it.

It can be a bit tricky to level the legs of your tripod, which can be essential to ensure your camera stays on the level during panning. One elegant solution is to add a 3 Legged Thing LevelHed Levelling Base into the mix, but it’s pretty pricey at an additional $140 / £130 / AU$259. Something I’ve seen in some video and hybrid heads, like the Benro FS20PRO Video & Foto Head, is a secondary panning plate on top of the head, which enables you to just level the head for panning rather than the legs or a leveling base as well, but this is omitted in the AirHed Cine CC.

3 Legged Thing AirHed Cine CC: Verdict

The 3 Legged Thing AirHed Cine CC is a great fit for me and my gear. It’s conveniently compact and lightweight, so I can stash it away in my photo backpack and grab it whenever I need to swap from shooting stills to video. It actually works really well as a pan-and-tilt head for shooting stills in addition to video, especially if you add in an L-bracket for portrait orientation shots. The laterally rotatable clamp makes the new CC version of the head all the more ideal for this, as you can use the QR plate or slot in an Arca-Swiss compatible L-bracket running sideways instead of just front-to-back.

I also like the redesigned, retractable panning handle, as it enables me to select the length that I want to use, as well as saving on storage space without feeling the need to remove the handle every time I pack the head away. The tricked-up replacement ‘XP 100 Ultra Plate’ is yet another improvement, and I like the way that I don’t even have to use the QR plate at all if I’m shooting with big, heavy telephoto lenses that have an Arca-Swiss profile mounting foot in their tripod mounting collars. All in all, the ‘CC’ is a worthy upgrade over the original. With its clever design, rich feature list, excellent build quality, and stylish finish, this one’s a keeper.

Alternatives

Keychain cameras like the Kodak Charmera have gone viral – but that’s not the only photo gear shrinking down to fit on a key ring. Joby, the same brand behind the flexible GorillaPod, has launched a mini tripod that clips onto a belt loop or a bag that weighs just 106g / 3.7 oz.

The Joby HandyPod Clip Extend is a mini tripod built for smartphones, compact cameras, and action cameras. While the compact tripod itself is only around six inches, the built-in extending selfie stick can also be used to extend the tabletop tripod to a height of 33.5 cm / 13.19 inches.

One of the tripod’s legs has a built-in carabiner, allowing creators to clip the tripod to a belt loop or backpack. The mini tripod’s folded length under 16mm / 6.5 inches makes it larger than a keychain camera, but still fairly portable for a tripod.

I can see the new mini tripod attracting creators on the go who want to pack light. The carabiner will also allow the tripod to be attached to lanyards or camera straps.

The HandyPod Clip Extend uses a standard 1/4-inch tripod thread, allowing it to accommodate a variety of different types of cameras. Those cameras should be under 1 kg / 2.2 lbs, but that still allows the tripod to support smartphones, compact cameras, action cameras, and even some lighter travel mirrorless cameras with lightweight lenses.

True to Joby’s roots, the tripod isn’t meant to spend its life on a tabletop. The legs have clips that allow the camera to enter what the company calls “mantis mode” and cling on to the side of railings and chain link fences.

A ball head allows creators to further adjust the camera’s angle, including supporting both horizontal and vertical positions.

The tripod also has an integrated cold shoe to add a light, mic, or another accessory.

The tripod also doubles as a selfie stick and handheld grip.

Last year, Videndum – the same brand that owns Manfrotto and Lowepro – sold the Joby brand to the Chinese manufacturer Vijim. At the time, Videndum said the move would help them narrow their focus on more pro-oriented gear.

Since then, Joby, who is still based in California, has continued to launch portable camera accessories. The June 09 launch of the HandyPod Clip Extend follows a GripTight Cold Shoe mount that allows smartphones to be held from a shoe mount, also announced in June.

The new launch isn’t Joby’s first tripod with a carabiner, but the June 2026 launch takes on a different design and adds an extension selfie stick compared to earlier options like the HandyPod Clip and HandyPod Clip Action.

The Joby HandyPod Clip Extend sells for about $35 / £31 / AU$58 / CA$57. Some retailers have already opened orders, including B&H in the US and Joby's online store.

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Take a deep dive into the best tabletop tripods or the best selfie sticks.

Benro is renowned for offering solid support to photographers and videographers. The Chinese manufacturer has been going for 30 years and counting, creating a diverse range of products. I’ve been impressed by many and varied bits of Benro kit, including the Benro Cyanbird Carbon FS30 travel tripod kit, Benro SupaDupa Pro MSDPL46C monopod, Benro FS20PRO Video & Foto Head, Benro GH5C gimbal head, and the Benro QRB95DUAL Quick Rotation Lens Bracket, to name but a few.

The Benro A572LLKH Lightning Lock Aluminum Video Tripod Kit that I’m reviewing this time around is from a new series of video tripods, their main claim to fame being the ‘lightning lock’ leg system. As its name suggests, the design aims to be super-fast for setting up the tripod and packing it away again after a take. Available in both aluminum and carbon fiber versions and with different heads, it aims to be one of the best video tripod kits on the market. I put the aluminum kit with the KH fluid head to the test.

Benro A572LLKH Lightning Lock: Specifications

Benro A572LLKH Lightning Lock: Price

The current range of Lightning Lock-series legs and complete kits starts at a very competitive price and stays very reasonable through to the top end. Kicking off the selection is the set of aluminum legs on their own, priced at $175 / £220. Adding the KH fluid head for a complete kit brings the price up to $280 / £330. The carbon fiber legs on their own are slightly pricier than the complete aluminum kit, priced at $300 / £340, while the range-topping carbon kit with head sells for $380 / £450. Even that’s very affordable for a pro-grade video tripod.

Benro A572LLKH Lightning Lock: Design & Handling

Following something of a time-honored tradition for video tripods, the legs are constructed from twin-tube sections. The idea is to maximize the overall stability while reducing the risk of tortional flexing and twisting while you’re panning. As such, the top and middle sections of the 3-section legs have double tubes, and the bottom section has the usual single tube.

When folded out, the legs have the usual look of five tubes in a row. At least, that’s how things look when the tripod is set to its minimum height. As you extend the legs for loftier operation, the top two sections extend in pairs of tubes, and the single bottom tube of each leg also extends.

Another bit of video tradition is that the Benro features a spreader between the legs. Again, this is to enhance stability and to make sure that the legs stay evenly and securely positioned while the tripod is in use. The spreader is typically hinged so that it folds out automatically as you pull the legs out from their folded position. As such, the tripod doesn’t feature alternative locking leg angles for operational use, and clips are included for holding the legs together when the tripod is folded down.

Getting on to the hotter news about extending and contracting the legs to alter the height, the tripod features Benro’s new ‘lightning locks’. I’m a fan, liking that each leg has just a single lock/release lever for height adjustment, making them very quick and easy to adjust. You simply pull each lever outwards from the leg to release all three sections, make the necessary height adjustment, then push it back in again. As well as speeding up the process of height adjustments, the system also makes it easier to level the legs.

While the lightning locks enable quick and broadly accurate leveling, you still need the platform that supports the head to be perfectly leveled if panning is on the cards. That’s so that the horizon doesn’t start to tip over at an angle during panning. As such, the tripod features a 60mm leveling bowl and a simple lock/release knob underneath the main platform. Again, it’s a quick and easy system to use, as you just have to loosen the knob, make the leveling adjustment, then tighten it back up to lock the platform in place.

As an aid to leveling, there’s a bubble level on the platform, and I’m pleased that it’s comparatively large and easy to see, unlike the tiny bubble levels of some tripods. Naturally, most cameras these days feature an artificial horizon that can be more accurate than using a bubble level, but every little helps.

I’ve found that some video heads have a panning action that’s a little too loose for my liking, whereas others feel a bit tight and stiff. A neat feature of the Benro is that, as well as the pan lock/release knob, there’s an adjustable fluid drag control. This has a twist action that enables you to set just the right amount of fluid drag that you’re most comfortable with, for the job at hand.

The tilt mechanism is relatively straightforward, with a simple lock/release knob. This gives some control over the amount of drag for front-to-back tilting, but not so much as with the panning adjuster. As I’d expect, there’s a spring-loaded counterbalance system but, again, this is quite a simple affair and the head doesn’t feature an adjustable counterbalance mechanism for tailoring it to different weights of camera.

To further enhance the feel of the tilt and panning action, the head features a generously long panning handle. It has the usual elbow that angles its shaft, and is mounted on splines that avoid any risk of slippage or wobbling. The grippy rubberized hand grip area of the panning handle is also comfortably large and feels good to the touch.

As is often the case with up-market video heads, a splined attachment bracket is featured on both the left and right sides of the head, to accommodate comfortable panning with either your left or right hand, respectively.

The clamp up on top is industry-standard 501 compatible and comes complete with a quick-release plate. The clamp has a rotary lock-release knob plus a security pushbutton at the rear, to avoid any nasty surprises with the plate sliding out accidentally.

The QR plate itself features a sliding mounting screw saddle for attaching your camera, cage, or lens with a tripod-mounting collar. There are also three spring-loaded security pins and a calibrated scale along both sides of the plate, for precision placement.

The tripod comes with large, rubber pads which give a firm and stable footing on hard flooring and ground. They’re removable, to reveal dual spikes as alternative footwear that’s more suitable for soft flooring and loose ground. It’s nice to have the choice, my only slight complaint being that I found the rubber retaining straps that hold the rubber feet in place to be quite stiff and fiddly for removal and replacement.

The image above shows one of the large rubber foot pads, whereas it has been removed for the image below, which shows the dual metal spikes.

Benro A572LLKH Lightning Lock: Performance

A key performance plus point is that the ‘lightning locks’ live up to their billing and enable super-quick setup of the tripod. That can be a massive bonus if you need to react quickly to an unfolding storyline at weddings and other events, and for shooting sports or wildlife. The bowl mechanism in the head is similarly speedy for quick and accurate leveling, so you’re ready to roll in no time at all.

There’s a fairly decent height range on offer, from a minimum operating height of 75cm / 29.5 inches, up to a maximum of 151cm / 59.5 inches. That should suffice for most scenarios, but won’t cover you for ultra-low-level shooting or for getting an overview with a really tall perspective.

Stability and rigidity are impressive, and the tripod is very resistant to flexing and vibrations when panning and tilting. Pan and tilt themselves operate with the requisite fluidity for videography, and I’m very happy with the adjustable fluid drag control for panning. The lack of an adjustable counterbalance system can be less rewarding, especially if you’re using hefty camera and lens combinations. The maximum payload rating of the kit is 6.8kg / 15lb, which again should suffice for most needs but isn’t overly generous. There’s also no threaded socket for attaching accessories like an LED lamp, microphone, or monitor screen via a magic arm.

Ultimately, the Benro won’t win any prizes for its range of height adjustment or maximum load-bearing capability, but performance is very pleasing within the design parameters. It’s a quick and easy video tripod to use, without being too big, heavy, and cumbersome.

Benro A572LLKH Lightning Lock: Verdict

There’s a lot to like in the Benro A572LLKH Lightning Lock Aluminum Video Tripod Kit. Living up to its billing, the new ‘lightning lock’ system enables super-fast height adjustments and leveling of the legs, while the 60mm bowl mechanism in the head allows for ultra-precise leveling adjustments. As well as being quick and easy to set up, the tripod operates with smooth efficiency and features an adjustable fluid drag mechanism for panning. That’s backed up by good resistance to unwanted flexing and vibrations.

The maximum load rating isn’t overly generous, there’s no adjustable counterbalance system, and the feet require a bit of effort to swap them between rubber pads and dual metal spikes. Even so, the Benro is simple to use, highly effective in most shooting scenarios, and very good value for money.

Alternatives

Carbon fiber tripods tend to hold heavier loads, but come at a premium cost. Really Right Stuff (RRS), the U.S.-based company known for its high-end carbon pro fiber camera support systems, believes its new Core Line offers a compelling solution.

According to RRS, the new Benchmark and Benchmark Inverted tripods are the most affordable carbon fiber tripods the company has ever produced, costing up to 32% less than comparable in-house alternatives.

The Core Line is RRS's first tripod series produced entirely at its facility in Lehi, Utah, from raw fiber to finished legs. That, the company says, is one of the main reasons the new options are more affordable than the brand's previous supports.

The Benchmark is a four-section carbon fiber tripod designed for maximum stability, reach, and load capacity. It offers four leg-angle positions (24°, 44°, 64°, and 84°), weather-sealed twist locks designed to prevent over-twisting, and magnetic pull tabs that make adjustments easier, even while wearing gloves.

Built for heavier camera setups, the Benchmark supports up to 75 lb (34 kg), with a height range of 4.2 in (10.7 cm) to 69.7 in (177 cm). It weighs 3.8 lb (1.7 kg) and folds to 23.6 in (60 cm). While suitable for travel and hiking, it is less compact than many dedicated travel tripods when folded.

The Benchmark Inverted shares the same core features but uses a three-section design with an inverted leg system that allows the tripod to be extended or collapsed from the top. RRS says this enables photographers to adjust the tripod without changing their position.

The Benchmark Inverted supports up to 40 lb (18 kg), weighs 3.6 lb (1.6 kg), and offers a height range of 4.6 in (11.8 cm) to 61.1 in (155.2 cm). It folds to 26.5 in (67.3 cm). Although relatively lightweight, its folded length may make it difficult to fit inside some backpacks.

The Core Line is available for preorder exclusively on the RSS website, with prices starting at $945 (£701 / AU$1,315) for the Benchmark and $795 (£589 / AU$1,106) for the Benchmark Inverted.

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Check out our expert review of the Peak Design Travel Tripod (carbon fibre), which tops our list of best travel tripods.

[HeaderNot every digital camera has in-body or lens-enabled image stabilization, and even those that do need a little extra help from time to time. Especially in low light, where I might not want to simply crank-up ISO sensitivity or deploy artificial lighting.

Enter the camera tripod, which has been around as long as photography itself. Think metal sheet or glass plate photographs from the 19th Century that required excessively long exposures to produce an image. Not only did subjects need to remain as static as corpses, but the camera did too.

Nearly two hundred years later, however, I’m still yet to encounter the perfect camera or the perfect camera tripod. Even finding a tripod that matches my personal needs most of the time can be tricky, and nigh impossible if embarking on both stills and video capture, with the latter requiring a smooth panning head capability and seamless real-time adjustment.

I blame the basic laws of physics; which, having suffered through physics lessons and exams as a teenager, I’m always happy to do. 

If I want a lightweight and portable tripod, it’s not going to be able to cope with my large camera body and heavyweight telephoto lens. And if I compensate by going for a larger, heavier tripod, it’s obviously not going to be as portable. Yes, some tripods will allow me to hang a balancing weight from a hook at the base of the center column, to lower the centre of gravity and increase stability, but not all.

Therefore, the rule of thumb I go by is to always opt for the sturdiest possible example, which typically means the heaviest tripod I am prepared to carry. There’s no point in buying something I’m going to struggle to transport and use; it’ll just get left at home. The warhorse of a Velbon CX 540 tripod and three-way PH-656Q pan-and-tilt head has served me well for the past 25 years. Yes, I could spend more on a carbon fiber tripod for maximum strength and a relatively lightweight build over a heavier aluminum model at a lower cost, but, whichever, there is always a compromise to be made.

And whether I choose a ball head, a three-way head, a two-way head, a geared head or a fluid video head is an article all to itself. Types of leg lock also differ; but basically, I’m looking at something that is quickly adjustable yet provides maximum flexibility in terms of height and stability with it. Three-section legs with lever locks have served me just fine.

Alternatively, to throw a cat amongst the pigeons, might a monopod with height adjustable sections and a tripod-like base occasionally suit you better than a tripod? I’ve found monopods useful when needing to gain height in a narrow or confined space, when shooting alongside other people, or over the heads of a crowd.

But while, ultimately, I don’t believe there is a one-size-suits-all solution, it’s safe to say that any camera tripod (or monopod) is better than no tripod at all.

Check out our full guide to the best tripods for photography

You might think that camera insurance is only for serious pros, but I’d make the case that more casual photographers should consider taking out a policy as well.

When you work as a photographer for a large corporation, as I did for many years, you’re usually covered by the company’s insurance policy for all sorts of things. But the big one is public liability – in case you cause harm to a third party, such as clients or the general public.

(This article refers specifically to insurance in the United Kingdom, but the general principles apply everywhere.)

It was reassuring to have the backing of a publisher such as Future PLC, when I was the deputy editor for PhotoPlus: the Canon magazine from 2019 until its closure in 2025. But when I stepped into the world of freelance last year, I knew that insurance needed to be something I sorted ASAP.

When my camera insurance was renewed recently, it got me thinking about how useful this would be not only for working pros, who often need to prove they’re covered before they can shoot at certain venues, but also for more casual photographers.

Would you be covered if somebody tripped over your tethering cable, if your light stand scratched an expensive floor or your tripod toppled over and smashed a priceless antique?

Insurance comes in all sorts of levels, from contents to fire and theft, accidental damage, professional indemnity and public liability. Public liability is the one that I think more casual shooters should consider.

When first starting out, the value of your camera and lenses may not be high enough to consider insuring, though if you’re particularly clumsy then accidental damage cover could be worth considering.

If you shoot any sort of events or wedding photography, either as a hobbyist or professional, you may find that many venues such as hotels or churches won’t allow you to operate on their property without providing proof of your cover – usually requiring at least £2 million of public liability insurance.

Producing such a policy is also a great way of showing your clients that you’re serious and helps give you credibility.

You may think that your home insurance policy covers this, and you’ll need to read the fine details to double-check. Many won’t, though, if your camera kit is over a certain amount, as it may need to be listed as a named item – and some brokers won’t cover items like cameras if they're used professionally, so you'll need special insurance for this instead.

Dedicated camera insurance from providers such as The Photographer’s Emporium or Photoguard offer varying levels of cover, ranging from public liability to professional indemnity to accidental damage, and the list goes on.

So my parting advice is, you may not need to cover the camera bodies and lenses themselves, but you should certainly consider public liability insurance to save you a headache if you get yourself into a situation on a shoot where it’s needed – it’s probably cheaper than you think and in my opinion is well worth it for peace of mind.

One final tip: the best resolution to theft or losing your camera kit is prevention – so be extra careful when you’re out and about in cities, use camera straps to keep them secure and place trackers like Apple Air Tags on your camera and in your camera bag to give you as much help as possible tracking down lost or stolen kit.

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Want to know more? Take a look at the best camera insurance.

Flexible tabletop tripods take tiny camera supports higher by clinging to objects – but one photography accessory brand is building a full-size tripod that can cling to railings, trees, and other objects.

The Silence Corner Viperpod is a full-sized tripod that can hook onto vertical surfaces when space is limited, the ground is uneven, or the photographer needs to get an even higher perspective.

The Viperpod “defies gravity” with the same concept as Silence Corner’s Mambapod – a hook. Placing this hook over the top of a railing with the legs adding support on the sides allows photographers and videographers to shoot on narrow balconies, uneven terrain, and other scenarios where a traditional tripod may not work.

But unlike tabletop tripods like the Mambapod, when there’s plenty of space for a traditional tripod, the Viperpod can be used as a classic, full-height tripod. The Viperpod reaches up to 61.8 inches / 157 cm, while the smaller Viperpod Light sits at up to 51.2 inches / 130.1 cm.

The ability to cling to railings isn’t the only unusual design feature. The center column is an external one rather than sitting inside the center. This design allows the center column to tip forward for low angles, rather than requiring disassembly. The center column also doubles as a pan and tilt handle for the included ball head.

Moving the center column to the exterior also allowed the designers to create a packed diameter that’s around 20 percent smaller than the tripod would have been with the more traditional design. Folded, the Viperpod measures 45 cm and weighs 2.55 lb /1.16 kg; the Light sits at 39.2 cm and 2.1 lb / .96 kg.

The tripods are built with five leg sections, which are adjusted with twist-style locks. Along with the hook to cling to objects, the tripod also has a hook on the center column for added support.

Like Silence Corner’s earlier products, the Viperpod is launching on Kickstarter. If the project is successful, early backers could get the Viperpod Light for $279 / £207 / AU$390 / CA$382 or the Viperpod for $309 / £229 / AU$432 / CA$423.

All Kickstarter projects carry more risks than purchasing through reputable retailers. However, the Viperpod project has already surpassed the funding goal and follows five other successful crowdfunding campaigns from the California-based company.

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Take a look at the best tripods or the best travel tripods.

I will admit that the best tripods offer stability, help avoid camera shake, and allow you to avoid losing image quality by shooting at low ISOs. These are all things that I've learned over time when it comes to shooting landscapes, but I’ve come to the conclusion that shooting handheld presents you with so many more opportunities.

My parents bought me my first DSLR camera, a Canon EOS 700D (Rebel T5i), when I was around 15 years old studying photography at school. I had always been interested in landscape photography, and this was my chance to finally give them a go. One of my first memories using this camera was atop Solsbury Hill in Bath, UK, near where I grew up, on a thick and foggy atmospheric morning.

I was clueless when it came to camera settings, but I tried my hand at capturing the fog nevertheless. I didn’t have a tripod at the time, so I took these images handheld, foolishly at a narrow aperture of f/18. When shooting handheld at this kind of aperture you really need to have steady hands if you want to avoid camera shake. A total understatement that is!

Surprisingly, the images came out fine (as you can see above). Yes, if I had used a more suitable aperture I would have captured a crisper image, especially with the detail in the distance. But I was inexperienced, just learning the ropes. I enjoyed the experience in terms of being flexible, moving around freely and trying a variety of angles to shoot from.

As I got older, I eventually succumbed to purchasing a tripod as most landscape photographers that I saw had one. It was just a standard tripod, so it fitted nicely in my bag along with my camera. I had always assumed that for landscapes to be extremely detailed they needed to be taken on a tripod and at a narrow aperture of around f/18 – f/22. I soon realized this wasn’t the case.

There are benefits with using a tripod, but I also feel restricted when using one. The thought of carrying it around and adding weight to my bag instantly puts me off. When I shoot landscapes handheld I open my eyes more, I’m able to take images from various angles, angles which I can’t with a tripod.

When I found out that the aperture sweet spot for landscapes was between f/8 – f/13, this eliminated the need for a tripod for me. The image below supports this; it’s a very similar shot to my previous image but was taken at an aperture of f/10. Because of this I was able to use a faster shutter speed to eliminate camera shake, while avoiding diffraction, boosting the level of detail throughout.

I prefer to travel light when going out on shoots, as I’m an avid walker. When I see an inviting scene to photograph, I instantly want to capture it. But with a tripod I’d have to get it out of my bag, set it up, then make sure it’s stable and at the right height. I’d recommend purchasing a tripod when starting out as you’ll be unfamiliar with what settings to use, what works and what doesn’t.

But when you gain experience, ditch the tripod and see for yourself, you’ll appreciate the freedom. Ultimately, I believe landscape shots taken handheld are better because you can position yourself and your camera wherever you want. When using a tripod, you’re at its mercy.

The image above is a perfect example of this, I was walking around Solsbury Hill on another occasion and spotted this cow staring at me, perfectly placed composition wise. As I was shooting handheld, I could compose my shot and capture it instantly. But with a tripod on the other hand, this might not have worked.

This is because I was shooting on a slope at an angle, a tripod would have made this very difficult. And by the time I set up the legs, position, height, and attached the camera the cow would have likely moved and the opportunity would have been squandered. I also prefer to have my camera firmly in my grasp rather than in the hands of a tripod.

Do you agree? Maybe I’ve inspired you to ditch your tripod more often. Hands at the ready everyone!

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Want to eliminate camera shake? Then you'll need to know the reciprocal rule. If you're still a tripod stalwart, ask yourself: Are you using the right tripod head for landscape photography? And if you're not quite ready to take control of all your camera settings, it's time to learn the exposure triangle.

Think tripods, and Manfrotto is a name that trips off the tongue. The legendary Italian company set out to make some of the best tripods on the market in the 1970s, and is still one of the best and most innovative manufacturers in its field, half a century later. As if to ram home the point, the company launched the Manfrotto ONE Hybrid Tripod and 500X Fluid Head kit in the fall of 2025. I tested this new tripod kit at length and found that it gave solid, stable support, while living up to its ‘hybrid’ claims of being very versatile, enabling quick and easy swapping between stills and video capture with speed and ease.

That’s all very well, but as photographers, we haven’t all become ‘hybrid’ content creators just yet, and I hope it stays that way. For those of us who specialize in stills, or shoot still images exclusively, the ONE Hybrid Tripod is more complex than necessary, and that added complexity comes with an inflated price tag, forcing you to pay for stuff you don’t need. Enter the pared-down ONE Photo Tripod, aiming to give photographers what they want at a keen and more affordable price. With that in mind, it aims to be one of the best tripods for photographers, instead of doubling up as one of the best tripods for videographers to boot.

Manfrotto ONE Photo tripod: Specifications

Manfrotto ONE Photo tripod: Price

When it comes to pricing, please indulge me a moment while I set the scene. A set of Manfrotto ONE Hybrid aluminum legs will set you back $500 / £375 / AU$900, or a pricier $720 / £539 / AU$1,250 if you trade up to carbon fiber. Add the Manfrotto 500X Fluid Head and the complete aluminum or carbon fiber kits cost around $680 / £519 / AU$1,200 or $880 / £669 / AU$1,500, respectively. Suffice it to say, they get pretty pricey, pretty quickly.

The ONE Photo legs are only currently available in aluminum but by shedding some of the ‘hybrid’ components that are more necessary for leveling the legs and swapping between different heads, the price comes down to a relatively affordable $329 / £269 / AU$675. Again, kits are also available so you can add either the Manfrotto XPRO Ball Head or Manfrotto XPRO 3-Way Head, for a total price of $515 / £399 / AU$999 for either option. There are considerable savings to be had.

Manfrotto ONE Photo tripod: Design & Handling

Travel tripods are all the rage nowadays, and I’ve tested plenty of the best travel tripods on the market over the last few years. Sure enough, I like the way they fold down to such conveniently compact dimensions and are so easy to carry around, but setup tends to be a genuinely time-consuming chore. Take a travel tripod with 5-section legs and a 2-section center column, for example. This requires loosening and retightening up to 14 individual twist- or flip-action clamps. And then you have to go through the whole process again to pack the tripod away afterwards. By stark contrast, the Manfrotto ONE Photo couldn’t be quicker and easier to use.

The big trick in the design is that the ONE Photo features Manfrotto’s new XTEND system. It’s broadly similar to the mechanism in each of the legs of the Manfrotto 504X Fluid Video Head with 635 Fast Single Leg Carbon Tripod that I tested a few years ago. The killer feature is that there’s only one single flip-action clamp in each leg. Flipping the clamp open or shut releases or locks all three of the sections in the leg, making it lightning fast to extend them for use and retract them again when your work is done.

Playing all the angles, it’s similarly quick, simple, and intuitive to engage any of the three lockable angles for each of the legs. Each leg has a sliding lever at the top, which you can operate with your thumb to give instant access to any of the 20, 50, or 81.5 degree leg angles on offer. Wider angles from the vertical are advantageous for low-level shooting, not only lowering the head but also giving greater stability with less risk of the tripod toppling over if it gets accidentally knocked. Using different legs at different angles can also be helpful when shooting on tricky, uneven terrain and for working around obstacles.

Okay, so the inclusion of multiple locking leg angles certainly isn’t an innovation and has been featured in most tripods for many years now. Many recent tripods have also featured a pivoting center column. Even so, the relatively new Q90 system in the ONE Photo tripod is supremely simple to use. Release the center column locking screw, raise the column to its maximum height, press a button at the bottom, and hey presto, you can flip it through 90 degrees for use as a horizontal boom. Why would you want to? Well, it’s great for ultra-low-level shooting as well as for macro photography. It’s also really useful for shooting with ultra-wide-angle or fisheye lenses, so that the tripod feet don’t creep into the shot.

Weighing in at 3.1kg / 6.9lb and measuring 65.5cm / 25.8in when folded, I certainly wouldn’t class the Manfrotto ONE as a travel tripod. It’s relatively big and chunky, but with that comes a beefy 12kg / 26.5lb maximum payload rating. Another interesting feature of the design is that the leg sections all have a rounded rectangular profile, rather than being circular, designed to keep unwanted flexing to a minimum, thus maximizing rigidity and resistance to vibrations.

Other design flourishes include Manfrotto’s Easy Link system, based on a threaded connection socket with anti-rotation protection. This is for adding accessories like a microphone, monitor and photographic lighting, either directly to the tripod or via an extending, adjustable arm.

There’s also a neat bubble level to help with leveling the legs. Situated on the spider of the tripod, the bubble level is built into a holder that you can rotate through an entire 360 degrees, so it’s easily visible from any angle. Down below the spider, a weight hook is built into the tripod, so you can hang some ballast to add stability without hampering the action of the pivoting center column.

Naturally, you might already have a perfectly good tripod head that you want to use with the legs. There’s a mounting platform with a circular base that has a fairly standard 60mm / 2.4in diameter. And if you don’t have something suitable, the ONE Photo tripod is available as a complete kit with either the Manfrotto XPRO 3-Way Head or Manfrotto XPRO Ball Head. They’re among the best pan and tilt heads and the best ball heads, respectively.

As I mentioned at the start, the money-saving opportunities in the ONE Photo Tripod and complete kits are thanks to some of the more ‘hybrid’ oriented features being stripped out. For example, leveling the tripod legs rather than just leveling the camera is most important if you’re going to be panning while shooting video rather than stills. The ONE Photo Tripod, therefore, doesn’t include the leveling component and modular center column that you get with the ONE Hybrid kits.

You also don’t get the XCHANGE quick-release system that’s included with the ONE Hybrid kit, for quickly and easily swapping between a video head and a photographic head. Even so, the XCHANGE unit is available to buy separately and, for my money, I think it’s well worth it if you have multiple photographic heads. For example, you might want to swap between one of the best ball heads, 3-way heads, geared heads, and gimbal heads, depending on what you’re shooting and how you’re shooting it.

The XCHANGE system is like a quick-release system for swapping between heads, rather than just mounting your camera or lens to a particular head. It costs around $54 /£39 / AU$89 for a complete kit plus $22 / £16 / AU$43 for additional CHANGE Plates. The way it works is very similar to the excellent but now-discontinued Manfrotto Move Quick Release Catcher System that I’ve tested in the past, enabling you to fit or remove a head with a simple twist of the locking ring.

One thing that does follow through from the ONE Hybrid Tripod is that the supplied feet are interchangeable. You can therefore swap out the default rubber pads for metal spikes, the latter being more suitable for loose ground and soft surfaces.

Manfrotto ONE Photo tripod: Performance

For many photo opportunities, timing is everything. There’s no point in ensuring the best possible image quality by using a tripod if the moment has passed by the time you’ve finished setting it up. A key performance benefit of the Manfrotto ONE Photo is that it’s so massively quick to deploy. Not only is it relatively rapid to adjust the overall height, but also to level the legs using just one locking/release clamp per leg, which works with all of the incumbent sections.

Naturally, being able to set up a tripod quickly is a moot point if its rigidity isn’t up to muster. The rectangular-profile leg sections pay dividends here, and I found the Manfrotto to be entirely stable and rigid in use, right up to its maximum height with the center column fully extended. Aluminum sometimes gets a bad press for being less resistant to vibrations than carbon fiber, but I found the ONE Photo to be at least as good as many leading carbon fiber tripods in this respect, and better than some.

Manfrotto ONE Photo tripod: Verdict

I’d sort of assumed that the Manfrotto ONE Hybrid tripod got its ‘ONE’ title for being a single tripod that worked equally well for shooting stills and video. The ONE Photo has made me think again, as it’s more of a stills specialist but is nevertheless ‘one’ tripod that works equally well in the studio, out on the road, and pretty much anywhere and everywhere I’d want to use a tripod. And of course, there’s that innovative ‘one’ locking clamp per leg that acts on all three of its sections.

The main advantages, to my mind, are the relatively speedy setup and pack-away times, coupled with rock-solid support. Neat extras include the 90-degree pivoting center column, the accessory attachment system, and the interchangeable feet. For my personal requirements, I wish that the XCHANGE quick-release system were included with the legs and as part of either of the kits that include a ball head or 3-way head. However, that’s just because I personally like to shoot with different types of head in different situations. It actually makes more sense to be able to buy into the XCHANGE system as an optional extra, if and when you want to actually use it.

All in all, both of the full Manfrotto ONE Photo kits and the legs on their own are great buys, but I’ll be interested to see if Manfrotto subsequently launches a more luxurious carbon fiber option.

Alternatives

Vanguard has launched three new tripods aimed at enthusiast and pro photographers. All use carbon fibre for their legs and are designed to support heavy camera gear.

Alta Pro 3 263Alta Pro 3 303

The two new Alta Pro 3 tripods are a traditional tripod design, with an extendable center column and a built-in low-angle adaptor. The key difference between the two models is their leg diameter, which is either 26mm or 30mm. Both use 3-section legs, which should offer greater stability and rigidity compared to a 4-section design, albeit with an inevitable portability trade-off (folded length is 69.5cm for the Alta Pro 3 263, and 72.5cm for the Alta Pro 3 303).

The legs have three angle settings, which when combined with the low-angle adaptor means you can shoot as low as 24cm from the ground. Each new Alta Pro 3 incorporates an aluminium central column with a hexagonal cross-section that allows the legs to fold closed to a diameter of under 10cm. Maximum extended height for the Alta Pro 3 303 is 150cm, or 176cm with the center column extended; the Alta Pro 3 263 is around 5cm shorter for both settings.

But where the new Alta Pro 3 tripods really make a case for themselves is their ability to support a serious amount of weight. Even the smaller Alta Pro 3 263 is rated to carry 20kg of gear, while the 303 will stand strong under a whopping 25kg. Despite this sturdiness, the Alta Pro 3 303 weighs a manageable 2kg, and the 263 is just 1.65kg.

Both tripods are supplied with Vanguard's LBP-55S ball head - a professional quality, low-profile dual-axis design that features an oversized ball for maximum grip, and a friction control lock for increased control. This makes the head suitable even for longer lenses, while the dual axis allows you to easily level your camera on any terrain, then pan/reframe your shot using the top axis.

Vanguard supplies the Alta Pro 3 263 and 303 with a padded tripod bag, and the tripod is backed by a 2-year warranty (extendable to 10 years if registered with Vanguard). Both are available to buy now: the Alta Pro 3 263 is priced at £350, and the 303 is £400 (US pricing as yet unknown).

Alta Pro 3X 304

The third tripod in the new Alta Pro 3 range is the Alta Pro 3X 304. This is also constructed from carbon fibre and has the same generous 30mm leg diameter as the Alta Pro 3 303, along with 23-, 50- and 80-degree leg angle settings. It differs from the other tripods by not having an integral center column. Instead, Vanguard supplies a separate column which can be fitted directly to the tripod's canopy to extend overall height from 150cm to 182cm.

The advantage to keeping the center column separate is the legs can fold tighter together when packed, resulting in an 8.5cm folded diameter. Packed length is also shorter than the other Alta Pro 3 tripods at 61cm, thanks to the Alta Pro 3X having 4-section legs rather than 3. Overall weight is a reasonable 1.68kg. What's more, despite having an additional leg section, which can sometimes compromise rigidity, the Alta Pro 3X can still support a mighty 25kg of kit. 

As with the other Alta Pro 3 tripods, the 3X 304 is supplied with a LBP-55S ball head and a padded tripod bag. RRP is £350 (US pricing not yet known).

In the fall of 2025, we brought you a full review of the Manfrotto One Hybrid tripod, a brand new offering from the legendary tripod manufacturer, aiming to give solid, stable but versatile support to hybrid creators swapping back and forth between stills and video capture. Various kits were launched, featuring either aluminum or carbon fiber legs and a choice of heads (or no head at all if you’d rather use your own).

Following up on the ‘Hybrid’ kits, Manfrotto is now launching a more stills-centric, aluminum ONE Photo tripod range at this year's The Photography & Video Show in the UK. Design highlights inherited from the original Hybrid sticks include Manfrotto’s XCHANGE quick-release system for quickly and easily swapping between heads on a single set of legs.

Hybrid shooters would generally use this for alternating between photo and video heads but, in the context of stills photography, you might well want to swap between, say, one of the best ball heads, 3-way heads, geared heads and gimbal heads.

Another inherited feature is the Q90 mechanism, which enables similarly quick and easy pivoting of the center column, so you can use it as a horizontal boom that’s more ideal for ultra-low-level shooting and macro photography. Next up, there’s the same XTEND Leg System, which allows you to alter the working length of multiple leg sections with a single lock/release clamp. The idea here is that it can be a whole lot faster to set the height of your tripod and level it off, compared with using a whole bunch of conventional, individual twist-locks or flip-locks.

Again, a core strength (so to speak) of the Manfrotto One Photo range is that the tripod legs have an oval profile to enhance rigidity and stability. An integral bubble level assists with setup, and modular rubber pads and spiked feet give you a firm footing on different types of terrain.

With so many similarities, you might be wondering what the differences are between the ONE Hybrid and ONE Photo designs. The main change is that the ONE Photo does away with the modular center column and leveling components, both of which are of more use in videography than for shooting stills. The net results are that the ONE Photo is simpler to use and less expensive to buy.

Speaking of which, whereas the aluminum edition of the ONE Hybrid Aluminum Tripod legs costs $499 / £375, the ONE Photo Aluminum Tripod legs represent a significant cost saving at $329 / £269, and it’s $515 / £399 for a complete ONE Photo kit that includes either a Manfrotto XPRO 3-Way Head or a Manfrotto XPRO Ball Head, as shown in the two images in the gallery above. All in all, they promise to be high-quality tripod kits at keen prices.

Mini / tabletop tripods don't often stand out, but here's a distinctive new model from Leofoto. The MT-03mini is actually the smallest in a range of three 'crab leg' tripod offerings from the brand and weighs a mere 130g. Thanks to its folding legs, it packs down to just 105mm long (without head), but with the two-section legs unfolded, you get a maximum height of 170mm.

The legs have three angle settings and can lower the shooting height to just 65mm. Combined with those 'crab' feet, the tripod can cope with very uneven surfaces. Multiple 1/4-20 mounting points along each leg enable fitment of small accessories like LED lights. Four color options are available: black, silver, green and orange.

Pricing is quoted at 21,120 Yen, which converts to $136. That's a lot for a mini tripod, and far more than the larger MT-03 model currently sells for (around $70). We'd surprised if the new baby version ends up costing more than its bigger sibling. So if you want a mini tripod that's as flexible as a GorillaPod but looks sleeker, check out the Leofoto MT-03mini.

When the Joby GorillaPod arrived on scene, it redefined the idea of a tripod with its twisty legs that could grip any number of objects and surfaces. I’ve used some of Joby’s flexible tripods to take steady shots without hauling a giant tripod around, but I’ve never seen prices quite this low as a handful of the popular Joby flexible tripods drop to prices starting at about $10.

Joby is arguably most known for its GorillaPod and its sibling, the PodZilla. These unusual tripods take the short-legged tabletop tripod and turn the legs into flexible tubes that can wrap around objects. That allows creators to carry a tiny tripod yet shoot from taller heights by wrapping around objects like fence posts, trees, signposts, and more.

Job’s flexible tripods that are made for compact cameras and smartphones tend to run around $40-$60, but B&H’s Deal Zone has discounts as high as 90 percent off Joby right now, making it possible to pick up one of the popular flexible tripods for under $10.

I’ve used Gorillapods in the past, and they’re quite handy for stabilizing smaller cameras without the bulk of a traditional tripod. The under $10 PodZilla and under $15 Gorillapod deals are steep discounts – but, depending on what you shoot most, a content creator kit outfitted with lights and mic may be the better deal.

These deals are scheduled to last through February 12, 2026, but could end early if supply runs out.

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Not quite right? Take a look at the best tabletop tripods or the best iPhone tripods instead

I need a good travel tripod to snap shots of the night sky when I travel – and the Peak Design Travel Tripod is one of my favorite options when I need something that will fit in a carry-on suitcase. My biggest complaint, though, is the price – except for 24 hours only, the tripod is a massive 45 percent off.

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

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

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

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

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Browse the best travel tripods or the best cameras for travel.

A tripod is the one accessory I try never to leave the house without when going on a landscape shoot, but the bulky size and cumbersome weight of some tripods can make them not that appealing to strap to my backpack when hiking to scenic spots.

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

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

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

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

Check out the best Black Friday camera deals

A tripod is the one accessory I try never to leave the house without when going on a landscape shoot, but the bulky size and cumbersome weight of some tripods can make them not that appealing to strap to my backpack when hiking to scenic spots.

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

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

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

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

Check out the best Black Friday camera deals

Sometimes a deal seems too good to be true, yet it is, and that's the case with this unbelievable Gitzo carbon fiber tripod that comes with not one but two heads. Gitzo is well known as the most premium of tripod brands, and it's not often that any of its gear can be labeled as a 'bargain'. I've tried plenty of its gear but never owned any, as I've never been able to afford it – until today!

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

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

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

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

Check out the best Black Friday camera deals

American-made tripod brand Really Right Stuff is increasing prices beginning on December 01.

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

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

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

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

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

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

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Browse the best tripods or the best travel tripods.

I first discovered Freewell while hunting for camera accessories that are built for real-world use but that didn’t carry a premium price tag. The brand has a reputation for thoughtfully engineered gear, such as filters, gimbals, and tripods, that feel professional and get the most out of accessories.

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

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

Freewell FW-T1 Carbon Fiber Travel Tripod: Specifications

Freewell FW-T1 Carbon Fiber Travel Tripod: Price

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

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

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

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

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

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

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

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

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

Freewell FW-T1 Carbon Fiber Travel Tripod: Performance

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

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

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

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

Freewell FW-T1 Carbon Fiber Travel Tripod: Verdict

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

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

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

Alternatives

If I had to name an equivalent to the ‘Rolls Royce’ motoring brand in the field of tripod design and manufacturer, it would be Gitzo. To me they’ve always created tripods and accessories of absolutely the finest quality, at the most premium prices. The company itself has French origins dating back to 1917, concentrating on tripods and supports from the 1950s onwards. A key facet of Gitzo design is the pioneering use of carbon fiber and magnesium alloy to create super-sturdy yet relatively lightweight tripods. It’s perhaps not surprising that Gitzo became part of what is now the Videndum Group in 1992, a company that also features Manfrotto in its portfolio.

The Gitzo GHF3W 3-Way Fluid Head is a typically luxurious product, designed to be a perfect match for Gitzo Series 2 and larger Mountaineer and Systematic ranges of tripods. However, it has pretty much universal appeal for anyone who wants one of the best 3-way heads for any make and model of tripods for photographers.

Gitzo GHF3W 3-Way Fluid Head: Specifications

Gitzo GHF3W 3-Way Fluid Head: Price

Ouch! This tripod head costs $690 / £487 / AU$1,330, although you can often find it quite heavily discounted if you shop around. Even so, the perfectly respectable Manfrotto X-PRO 3-way head only costs around a quarter of the price, at $220 / £129 / AU$289. Some say you pay through the nose for the Gitzo badge and that the brand is very overpriced.

On the other hand, I’ve met a couple of pro photographers who bought Gitzo tripod kits decades ago and are still using them after many years of daily grind in the most demanding conditions, without even a sniff of a problem. One of them said to me he was confident that his Gitzo would be the only tripod he’d ever need to buy. Maybe this head is actually very good value, if you can afford to take the long view.

Gitzo GHF3W 3-Way Fluid Head: Design & Handling

Gitzo products are undeniably stylish, but I’ve never felt they were a case of style of substance. The Gitzo GHF3W 3-Way Fluid Head is definitely substantial, with a payload rating of 13kg / 28.7lb. That’s a lot more than the rating of many a set of tripod legs and certainly more weight than I’d ever need to throw at it. Even so, the head itself is surprisingly lightweight at just 0.96kg / 2.1lb, thanks to clever design and the use of magnesium alloy as the main construction material.

Sometimes I feel that 3-way heads are substantial in a bad way. Compared with relatively streamlined ball heads, they often have long operating handles that stick out and enlarge the stowage size, as well as having a knack of catching on things as you’re walking around. By contrast, the Gitzo is remarkably compact for such a heavy-duty 3-way head, its packing size being diminished by retractable operating handles for tilt and swivel. It’s certainly not unique in this respect, but the mechanisms are engineered very well with sturdy square shafts.

While the handles slide smoothly on their shafts, movement is even more silky when it comes to adjusting the head. This is thanks again to high-quality manufacturing, but also due to the fact that independent fluid cartridges are fitted for each axis. These give a suitably fluid feel to movement. The two retracting handles for tilt and swivel are supplemented by a fixed knob for panning lock/release. As with the other two handles, the panning knob has a graphic that indicates variable friction damping is available – the more you turn the knob, the freer and easier panning becomes.

At the base of the head is a clearly marked panning scale. It’s marked in 15-degree intervals with long lines, and at smaller 5-degree increments with shorter lines. Numbered values are shown at 45-degree intervals, so everything is nicely covered off. I find the calibrated scale especially useful when shooting a sequence of panned shots that I intend to stitch into a panorama at the editing stage.

There’s a generous range of tilt and swivel available on both axes, with -70 to +90 degrees front tilt and -30 to +90 degrees laterally, but the Gitzo has another trick up its sleeve. Just below the camera platform there’s a black lever with an arrow printed on it. Move the lever in the direction of the arrow (how can you resist?) and you’re able to rotate the camera platform through 90 degrees. This enables you to quickly and easily swap the axes for tilt and swivel.

Another bit of trickery is designed into the bubble level. Instead of being fixed, the large and easy-to-view bubble level is mounted on a 90-degree rotating base. The idea (and I think it’s a good one) is that you can simply twist the bubble level housing so that the same level works in either landscape- or portrait-orientation shooting.

The quick-release plate locking mechanism is safe and secure, with a pushbutton lock-release feature. It works a treat and while the official Gitzo quick-release plate has a product code of GS5370DR, you can use any Arca-Swiss plate. That’s especially handy if you’re using big, heavyweight lenses to take advantage of that generous payload rating, as many of these now feature tripod mounting rings that have integral Arca-Type feet, so you can plug them directly into the platform on the head.

The camera platform itself is beautifully engineered and impeccably finished, fully in keeping with the rest of the head, as shown below.

Down below, the mounting plate for attaching the head to a tripod has a smart black anodized finish. It’s the same plate that has the panning scale marked on its upper surface. The circular plate has a diameter of 60mm / 2.36”. This makes it an ideal fit for Gitzo’s heavy-duty tripods with similar payload ratings, as well as the vast majority of heavyweight tripods from other manufacturers.

Gitzo GHF3W 3-Way Fluid Head: Performance

I have to admit to finding ball heads something of a revelation, a few decades ago. After many years of using 3-way heads, I was really taken with the speed and ease of setting up a ball head. The Manfrotto XPRO Ball Head is one of my favorites. More recently, I’ve rather come full circle, and I’m not just talking about the merits of a 360-degree panning facility. I’m happy to take a little longer setting up a shot, and generally prefer the greater attention to detail that a 3-way head can give me, with its independent locks for tilt, swivel, and panning.

I should also confess that I don’t have the patience of a saint and don’t want to waste time fiddling around for ages when setting up a tripod head. I found that the Gitzo gave me the best of both worlds. It enabled ultra-precise adjustments in any and all directions, while also being quick, easy, and painless to use. Better still, the lock/release handles work with such a sublime feel, partly thanks to their independent fluid cartridges, that I got a genuine feel-good factor from using the head.

And when it comes to the crunch, I found that I could load up the head with hefty camera and lens combinations, and it gave me rock-solid support with no unwanted flexing, sagging, or vibrations. I also really like the 90-degree rotational mechanism for quickly and easily swapping the tilt and swivel axes around, as well as the bubble level that works so well in both landscape and portrait orientations.

Gitzo GHF3W 3-Way Fluid Head: Verdict

I think that the Gitzo GHF3W 3-Way Fluid Head really looks and feels the business. Designed and manufactured in Italy to the highest standards, it’s the tripod head equivalent of jumping into an exotic Italian supercar. Compared with run-of-the-mill tripod heads, the Gitzo is an absolute joy to use and I feel that it’s a thing of engineering beauty in its own right.

Ultimately, performance is exceptional in every area, doing full justice to the design excellence and manufacturing quality of the head. It also goes a long way towards justifying the asking price, although, when we get right down to the bottom line, the Gitzo costs more to buy than many of us would be prepared to pay for a 3-way head, even for one which will probably last a lifetime.

Alternatives

When it comes to tripods, Manfrotto is the first name that springs to my mind. The Italian company has become a legend in its own lifetime, creating some of the best sticks and heads on the market since the mid-1970s. The company was actually founded by photojournalist Lino Manfrotto in the 1960s, but started off making light stands and booms, moving into its mainstay of tripods a few years down the line.

The vast majority of tripods, past and present, cater either to stills photographers or to videographers. And there’s the problem. In these mirrorless days, there’s a host of ‘content creators’ wanting to make the most of everything on offer, inventing or reinventing themselves as hybrid shooters and capturing stills and video in equal measure. The Manfrotto One Hybrid tripod was created from the ground up, with and for content creators, aiming to be equally adept for shooting stills and video. As such, it aims to be not only one of the best tripods for photographers, but also one of the best tripods for videographers, and an all-in-one solution for those of us who shoot both.

Manfrotto One Hybrid Tripod: Specifications

Manfrotto One Hybrid Tripod: Price

Pay your money and take your choice. There are four versions of the Manfrotto One Hybrid up for grabs, to suit varying needs and budgets. First up is the set of aluminum legs on their own, at $500 / £375 / AU$900. Add the Manfrotto 500X Fluid Head, which is an utterly perfect pairing for the legs in every way, and you’re looking at $680 / £519 / AU$1,200 for the complete kit.

Trade up to carbon fiber instead of aluminum, and the legs cost $720 / £539 / AU$1,250, or you can pay top dollar for the complete kit of legs and head at $880 / £669 / AU$1,500. The 500X head costs $220 / £164 / AU$390 on its own, so there’s a slight discount if you buy a complete kit. None of the options is exactly cheap, but you do get a good deal for your money.

Manfrotto One Hybrid Tripod: Design & Handling

Some say that you don’t need a tripod at all in this day and age of high-performance image stabilization, featured in both camera bodies and lenses. I completely disagree, finding a good tripod to be an essential aid for precisely composing critical stills shots and for long exposures, even more so for shooting video. What I’m a lot less keen on is needing to buy, store, and carry two different tripods, one for stills and one for video.

That said, I do tend to compromise to some extent by carrying one set of sturdy legs and swapping between a ball head or 3-way head for stills, and a fluid pan head for video. Even so, that’s still extra kit that you have to buy and carry, as well as enduring the chore of swapping between them. From the range of Manfrotto One Hybrid options, I opted for the set of aluminum legs, complete with 500X Fluid Head, which really does set out to answer every stills and video need in one package. The big question is, can this Manfrotto really pull it off and live up to its claims?

Unpacking the kit from its box, it’s already starting to look every inch a video tripod. There are some design elements that I’ve seen before, particularly in the Manfrotto 504X 635 Fast Single Leg Carbon video tripod. That was the first tripod I saw with Manfrotto’s ‘fast leg’ design. In that case, you twist the leg and all internal sections would release for expansion or contraction, after which you can tighten them all up again with another single twist in the opposite direction. The legs for the One Hybrid are equally ‘fast’ but this time have a single locking lever for each leg.

There are three sections in each leg, the central one having the largest profile. The medium thickness section extends from the top and the narrowest section from the bottom. Undo all of the locking levers (there’s one for each leg) and you can simply lift the tripod to your required operating height, jiggle it around until it’s approximately level, and then tighten each of the clamps again. One thing that I particularly like is that where most tripods have circular profile legs, this one uses oval profile legs, that make them more rigid, with more tortional resistance. This makes them less likely to bend and flex while you’re panning.

When I said about getting the tripod ‘approximately level’, the upside is that you don’t need to ensure the legs are absolutely level if you’re going to be panning for video or a sequence of stills. That’s because, like most video rather than stills tripods, this one features a leveling system so that you can ensure the base of the head is level. It’s an important point because, if you use adjustments in the head to compensate for the legs not being level, your camera will go on the skew when you start panning.

One aspect in which the tripod differs from most video tripods and is more like a stills tripod is that it has an extending center column. Naturally, this enables extra height, and, indeed, the tripod has a lofty maximum operating height of 181cm / 71.3", with the center column extended. But there’s more. As well as having a built-in leveling system, the column has a ‘Q90’ mechanism plus a modular design.

The Q90 is a trick bit of the kit that enables you to pivot the center column through 90 degrees and use it as a horizontal boom. It’s ideal for shooting directly downwards, for example, taking stills or video of objects laid out on the ground or on a tabletop. It’s also useful for shooting extreme close-ups and for use with ultra-wide-angle lenses, and is another reminder of features I’ve previously seen in Manfrotto tripods, like the Manfrotto 055 MT055CXPRO3.

Other highlights of the legs include an Easy Link socket with anti-rotation, ideal for adding an accessory arm and attaching the likes of an LED lamp, microphone, or video display monitor. There’s also a bubble level at the top of the legs, which you can freely rotate through 360 degrees to get it into the most convenient position.

At the very top of the legs is a Manfrotto Xchange system for easily swapping between different heads, and it works equally well for moving heads (and mounted cameras) between different supports. However, if you're going to use the One with the 500X Fluid Head permanently, then you don't need to use the Xchange plate at all, and in fact, Manfrotto recommends removing it entirely. Nevertheless, it's handy to have, and I’ve seen something similar, in the shape of the excellent Manfrotto MOVE Quick Release System, which I’ve invested in for some of my personal sets of legs and heads. With both systems, you can simply twist a locking ring, then pop the head off the tripod, and snap it onto another one, or place a different head on your legs. It really couldn’t be any quicker or easier.

Enough talk of legs. Let’s get into the 500X Fluid Head. It’s pretty chunky, which I like as it gives a sense of solidity and robustness. I’ll start off with my one and only criticism, which is that the supplied panning handle only fits on the right-hand side, whereas most video tripod heads enable you to fit the handle on the right or left-hand side, depending on your preference.

Back on the positive side, the head features a counterbalance system, which you can engage or disengage with a knob on the side. When engaged, it has a set counterbalance weight of 2.4kg / 5.29lb. In practice, I found it worked well with a variety of different camera and lens combinations.

Shift over to the left-hand side of the head, and there’s a locking/release knob for forward and backward vertical tilt. It’s something that’s equally necessary for stills and video, and I’m pleased that it has a generous range of movement, equating to almost 180 degrees and enabling vertical downward shooting, even without pivoting the center column.

Around the back is the lock/release knob for panning, which is equally necessary for both stills and video. Just above this knob is a bubble level built into the head, which you can use in conjunction with the one in the legs.

One thing that’s lacking in video heads is a 90-degree swivel facility. That can be a critical problem if you want to shoot stills in portrait orientation mode. The ‘hybrid’ nature of the Manfrotto comes to the fore again, this time with a release button that enables you to pivot the camera platform through 90 degrees for portrait-orientation shooting. So there you have it – true hybrid functionality.

Manfrotto One Hybrid Tripod: Performance

Sometimes time is of the essence, particularly if you’re shooting stills and video at events like weddings and sporting occasions. I find that the ‘fast legs’ live up to their billing, making it very quick and easy to set up the tripod at the height I require. Similarly ensuring the tripod is completely level also proves quick and simple, thanks not only to the fast leg latches but also to the leveling mechanism for the center column.

For creative effect, I often like to shoot both stills and video from ultra-low angles. The Manfrotto obliges with its modular center column. A simple release catch makes it easy to slide off the bottom section of the center column and remove it completely, enabling use of the legs’ widest angular setting.

I found that the tripod gave me the perfect blend of solid support and fluid movement when shooting video. I was also pleased that it proved really solid and sturdy for stills, being very resistant to any unwanted flexing or vibration. For portrait orientation shooting, you might prefer using one of the best L-brackets currently available. If not, the ability to quickly swivel the camera through 90 degrees can be vital for stills.

Dedicated video tripods rarely feature a center column. That can be a limiting factor if you need to shoot from a lofty height. I’m pleased that the Manfrotto not only features a center column, but that it also has a pivot feature, which is ideal for shooting vertically downwards over a table and for various other scenarios. All in all, this ‘hybrid’ tripod can do pretty much anything, and in fine style.

Manfrotto One Hybrid Tripod: Verdict

Hybrid creations have quite a history, from mules to automobiles, and you can often make things better if you mix them up a bit. There’s a joke here… What do you get if you cross a dinosaur with a pig? Jurassic pork! Sorry, back to the business at hand. The Manfrotto One Hybrid tripod is genuinely different from other tripods that I’ve seen, used, tested, and reviewed before. And I’ve seen a lot.

It really is ‘one’ tripod that’s a true ‘hybrid’, making it a dual-purpose tool for both stills and video. It’s quick and easy to set up, simple to use, and combines super-steady support with wonderfully fluid movement. I’d definitely go for one of the aluminum or carbon fiber full kits that includes the head, as the two go so brilliantly well together. The complete kits really are more than the sum of their parts. They’re all pretty pricey to buy but are still very good value, considering their design, features, and performance.

Alternatives

Joby, the maker of the iconic flexible Gorillapod mini tripods, has a new owner. On September 03, the London-based Videndum announced an agreement to sell the Joby brand to Vijim – a photography accessory brand owned by a China-based company.

The move means that Joby gear will be under new ownership and marks a shift to focusing on high-end pro gear for Videndum – the company that owns Avenger, Gitzo, Lowepro, Manfrotto, Savage, Sachtler, Litepanels and several other photo and video brands.

“This sale supports the Company’s strategy to focus on core professional markets,” Videndem wrote in the announcement.

The company did not disclose the amount agreed upon for the sale of Joby, but said that the proceeds will be used to pay down the group’s debt. In the first half of 2025, the company reported 25% lower revenue than the same period in 2024, leading to an adjusted operating loss of £7 million (around $9.48 million / AU$14.4 million) and putting the company’s net debt to £137.7 million ($186.5 million / AU$283.4 million).

In 2024, the company announced a plan to increase operational efficiency and reduce spending amid “a challenging macroeconomic backdrop.” In the first half of 2025, the company said tariffs and increased demand led to limited inventory in the US, leading to lower revenue than initially anticipated. However, the company says much of the difference was offset by the its previously announced restructuring and cost management plans.

As Videndum shifts towards higher-end gear, the company has decided to sell off the Joby brand. Joby is arguably most known for its Gorillapods, a line of tripods whose standout feature is flexible legs that can be wrapped around anything from fence posts to tree branches to create more height flexibility from a small tabletop tripod.

Along with the Gorillapods, which span from smartphone to DSLR-ready models, Joby also produces microphones, lights and other accessories for content creators. While best known for the Gorillapod, Joby also offers full-sized tripods geared towards content creators, as well as kits that mix tripods, mics and lights into one set for creators.

The Joby brand was originally launched in the San Francisco area but was later acquired by Videndum in 2017.

Vijim is a sub-brand of Ulanzi, which is owned by Shenzhen Vijim Technology Co Ltd, based in China. The company’s line of products ranges from modular photography kits to folding smartphone tripods to lights.

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Browse the best smartphone tripods or the best mini tripods.

Vanguard has been making a variety of photographic kit, binoculars, spotting scopes, and gadget bags for many years now, starting its business back in 1986. Although the current product range is very diverse, if I had to sum up what immediately springs to my mind when I hear the word ‘Vanguard’, that word would be ‘tripods’.

The company makes a huge range of tripods – large, small, and in-between – to suit all wants and needs. The catalog includes some of the best tripods for photographers, best tripods for videographers and best travel tripods. The Vesta TB 204CB tripod kit that I’m reviewing sets its sights not only on being a travel tripod in general, but also one of the best budget tripods in particular. It seems to be impossibly great value for a complete carbon kit.

Vanguard Vesta TB 204CB: Specifications

Vanguard Vesta TB 204CB: Price

Think carbon fiber tripod kits and you’re probably thinking big bucks. And you’d nearly always be right. The luxurious yet lightweight material is used in some of the world’s best tripods, but they tend to command hefty purchase prices. As a complete kit with ball head, the Vesta TB 204CB is not only refreshingly lightweight but has a comparatively featherweight price tag of $120 / £100. The big question is, “Is it worth it?”

Vanguard Vesta TB 204CB: Design & Handling

When I’m travelling, there’s usually a flight involved somewhere along the line. That can cause a bit of a problem as I like to take my camera gear as cabin luggage, so it has to fit into one bag. The Vesta TB 204CB fits the bill perfectly, as its folded length of 37.5cm / 14.8" and weight of just 0.78kg / 1.72lb make it easy to slip into a small bag, along with the rest of my gubbins. Maybe that’s why this travel tripod isn’t supplied with a bag of its own. The more likely reason is that, unlike the vast majority of carbon fiber tripod kits on the market, it’s priced to appeal to those on the tightest of budgets.

Let’s kick off with the legs, which seems entirely natural. They’re made of carbon fiber, and not just any old carbon fiber but from an up-market cut that really looks and feels the business. And unlike some tripods that have carbon legs but a metal center column, the Vanguard is made from carbon fiber throughout.

Each leg comprises four telescoping sections, which is par for the course when it comes to travel tripods. Unlike with three-section legs, the extra section enables a taller maximum operating height along with a smaller folded height, for easier stowage. As with almost every travel tripod on the market nowadays, the Vanguard has a swing-up design for the legs, so that the feet encircle the extended center column when folded. This tends to take about 20cm / 8” off the folded height, so that you can squeeze the tripod into the smallest of spaces.

The clamps for releasing and fastening the legs are twist-locks, which I tend to favor over flip-locks. They’re good ones, too, with only minimal rotation being required to release and lock the legs. It’s also easy to grab all the locks in one handful when the legs are retracted, saving time and effort.

The outer or top leg section has a diameter of 20mm, and there’s a drop of 3mm as you work your way down towards the bottom. As a result, the very lowest section of each leg has a relatively thin and spindly diameter of just 11mm. That might compromise the rigidity of the overall tripod when the bottom sections are extended, but we’ll see how it works out later when I get to ‘performance’.

A bit of a ‘must-have’ feature for any tripod, as far as I’m concerned, is ‘multi-angle legs’. These make it much easier to work on uneven terrain, or around obstacles, as well as making the tripod more secure in low-level shooting. I’m happy that the Vanguard has three locking leg angles, and they’re engaged by a simple spring-loaded lever at the top of each leg.

At the bottom of each leg, the feet are of the rubber pad variety. It’s a safe bet that works well on most surfaces but the pads don’t feature retractable metal spikes, which can work better on loose ground or carpet.

To further shrink the minimum shooting height, the center column has two sections rather than one, each of which has its own twist-clamp, similar to the ones featured in the legs. I’m a little surprised that the outer section of the telescoping center column isn’t full-length, which would enable a greater maximum operating height when the inner section is extended. As it is though, you can shrink the minimum shooting height down to 30cm / 12”. If you want to go lower still, you can reverse the center column and shoot right down to ground level with the camera inverted.

Up on top, there’s a ball head that fits nicely with the design of the legs. It’s quick and easy to use, with just a single lock/release knob. There’s therefore no pan-only release (despite a calibrated panning scale being featured), nor an independent friction adjuster. What you do get is a bubble level to aid leveling the head, as well as an Arca-Swiss type quick-release plate.

Vanguard Vesta TB 204CB: Performance

The legs have quite a large number of adjustments, based on nine leg section twist-locks, two center column twist-locks and three multi-angle levers. Given that you’ll most likely swing the legs upwards for minimum stowage size, the net result is that the tripod can take a bit of time and effort to set up for shooting and to fold down again afterwards. Even so, it’s a relatively simple and painless procedure.

I like to explore all the angles when shooting and I’m particularly pleased that the multi-angle legs and telescoping 2-section center column enable ultra-low-level shooting without having to invert the camera and shoot with it upside down. That’s still an option if you feel the need.

Despite the reservations that I expressed earlier, it turns out the tripod legs remained pretty rigid and resistant to flexing and vibrations at full extension, even with the thin bottom sections brought into play. At least that’s what I found during testing, with the center column retracted. To gain extra height by extending the bottom section of the center column, I found that the tripod felt rather less rigid. Extending both sections of the center column to enable the full operating height of 130cm / 51" made the tripod very susceptible to vibrations and oscillations. That’s rather disappointing, especially considering that the maximum height is pretty modest anyway.

Vanguard Vesta TB 204CB: Verdict

There’s a lot to like about the Vanguard Vesta TB 204CB tripod kit. As a travel tripod, It’s suitably small when folded, measuring just 37.5cm / 14.8", and it’s refreshingly lightweight at just 0.78kg / 1.72lb, despite having a decent maximum payload rating of 3kg / 6.61lb. It also has a luxury look and feel, based high-quality carbon fiber for the legs and center column. The ball head is none too shabby either. The whole kit is outrageously inexpensive, considering its feature set, but it’s disappointingly wobbly at its maximum height. If you can set your sights a little lower, so to speak, and can avoid the maximum operating height, it’s a smart bit of kit.

Alternatives

Vanguard has made a name for itself as a high-ranking manufacturer of tripods, monopods bags, cases and other photographic accessories, as well as binoculars and spotting scopes, with an illustrious history that stretches back to 1986. Although the company’s current product range is very diverse, ‘tripods’ are always the first thing that springs to my mind when the name crops up. Indeed, Vanguard makes some of the best tripods for photographers, best tripods for videographers and best travel tripods.

The tripod that I’m reviewing here doesn’t fit into any of those categories, although it’s sufficiently lightweight to classify as a travel tripod. Instead, the Vesta 203AP aims to be one of the most inexpensive complete tripod kits on the market, and is definitely a contender as one of the best budget tripods, if you’re after a set of sticks for minimum outlay.

Vanguard Vesta 203AP: Specifications

Vanguard Vesta 203AP: Price

Vanguard makes a huge range of tripods to suit every need and budget. But when it comes to ‘budget’, you’d struggle to find a complete tripod kit from a reputable manufacturer that costs less than the $70 / £50 / AU$100. That’s the selling price of the Vanguard Vesta 203AP. Ultimately, it’s a fraction of the price of many a set of legs or a head, sold individually rather than as a complete kit, potentially making it a bargain buy.

Vanguard Vesta 203AP: Design & Handling

The Vanguard Vesta 203AP looks and feels pretty small and lightweight, but it’s not advertised as a ‘travel tripod’. That’s a fair point, as the vast majority of travel tripods these days have swing-up legs, so the feet encircle the extended center column when folded down, to reduce the stowage size. But you pay a price for those space-saving designs, in that it takes longer to set up your tripod and pack it away again. Instead, the 203AP has regular legs that simply hinge out through a small arc. Even so, the tripod folds down to just 57cm / 22.25", complete with head, so it can still fit into small spaces for stowage.

As I’d fully expect at this price point, the leg sections and center column are made from aluminum rather than carbon fiber. A downside is that they feel cold to the touch in chilly weather and, in keeping with the minimalist design and pricing, there’s no comfort padding on any of the legs. There are also only three sections per leg, rather than the four or five often featured in travel tripods.

That compromises the maximum operating height as well as smallness when folded, but, again, there’s an upside in that with only two clamps per leg, rather than three or four, it’s relatively quick and easy to set up the tripod and fold it down again. The sections are released and clamped with flip-lock levers. Twist-locks are often preferred as they don’t tend to stick out as much, but the levers in this tripod are very slimline.

Another advantage of the tripod only featuring three sections per leg rather than four or five is that it avoids the bottom leg sections being too thin and spindly. As such, the diameter of the top section is 20mm and the inner ones measure 17mm and 14mm, so even the bottom one isn’t super-skinny.

One thing I really do miss in this tripod is that it only has one locking angle for the legs. I’m more used to three angles, so I can splay the legs further apart. It can be very useful for shooting on uneven terrain and for working around obstacles. It’s also great for enabling really low-level shooting, while also adding stability at short operating heights, making the tripod less prone to toppling over. With just one angle on offer, the minimum height is relatively tall at 53.5cm / 21.1".

On the plus side, the textured rubber feet enable a slip-resistant footing on rough and smooth surfaces. At full stretch with the leg sections and center column fully extended, the maximum operating height is a little disappointing at 155cm / 61", or just an inch over 5 feet. The center column has a locking screw that, again, is quick and easy to use. However, you can’t remove and reverse the center column, which would have enabled ultra-low-level shooting, albeit with the camera inverted.

I’m pleased that despite the bare-bones nature of the tripod, Vanguard has included two bubble levels, one on the platform at the top of the legs and one on the head. These are handy for leveling the camera. Leveling can be an important factor given that the tripod features a panning head. Correct leveling ensures that the camera stays on the level when panning, even through a whole 360 degrees, which is ideal for shooting video as well as taking a sequence of stills to stitch into a panorama.

Although it looks and feels like a 2-way pan head, with an operating handle and independent panning lock, there’s a neat trick to add versatility. An additional panning lock on the other side of the main one enables you rotate the upper platform on which the camera sits, in relation to the rest of the head. Rotate it through 90 degrees and you can use the tilt mechanism to swivel the camera into portrait orientation instead of the regular landscape orientation.

Another little luxury that you might not expect in a bargain-basement tripod is that this one features a quick-release plate. It features a D-ring and slot for securing it to your camera with a finger and thumb of coin, and a sprung pin that can help to avoid the camera unwantedly twisting or working loose on the plate.

Vanguard Vesta 203AP: Performance

Performance is pretty impressive in terms of the speed with which you can set up the tripod and start shooting. It’s certainly quicker to put up than typical travel tripods, thanks to its relatively simple design. However, what you gain in speed, you lose in compactness for stowage. With only three leg sections and no multi-angle leg facility, nor the ability to reverse the center column, the range of operating heights is comparatively limited. It ranges from a minimum of 53.5cm / 21.1" to a maximum of 155cm / 61". Ultimately, the tripod is too tall for ultra-low-level shooting and you might feel it’s too short for comfortable shooting at its maximum height.

The lack of wider leg angles also makes the tripod feel a little prone to toppling over at its minimum operating height. Up towards the maximum height with all of the leg sections and center column extended, the tripod is quite prone to vibrations and feels a little lacking in rigidity. Sure, it only has a fairly modest maximum load rating of 3.5kg / 7.78lb but simply feels a bit wobbly. The highlight of performance is that panning and tilting work smoothly, courtesy of the panning handle, which makes the tripod good for tracking action with a camera or birdwatching with a spotting scope.

Vanguard Vesta 203AP: Verdict

High-quality tripods often cost a small fortune, so it would be unfair to expect too much from a complete kit that’s priced at just $70 / £50 / AU$100. Sure enough, the Vanguard Vesta 203AP is relatively simple in its design and basic in its feature set. Rigidity isn’t altogether convincing either, but, for the money, it works pretty well. It’s sufficiently compact and lightweight to take along for the ride, quick to set up, and easy to use. The 2-way motion of the pan/tilt head enables smooth and wide-ranging movement, and the additional upper panning mechanism gives the option of switching to portrait orientation shooting. As a basic tripod, it’s really pretty good, and they don’t come any more affordable than this.

Alternatives

When we buy a tripod kit, it invariably comes complete with a ball head. And with good reason: they are compact, easy to use, quick to operate and effective. But for all their merits, they are simply not as accurate as a pan-and-tilt tripod head, commonly known as a 3-way.

With a ball head, a single clamp grips the ball upon which the camera mounting plate is positioned. This is what makes them so fast and easy to use; a quick twist and the camera is locked in place, ready to shoot.

However, that simplicity comes at the price of accuracy; if your composition is generally good but the horizon is a teeny bit off kilter, then unlocking the clamp loosens the whole kit and caboodle. So you may find that in attempting to fix your wonky horizon, you inadvertantly tilt the camera up or down by a couple of degrees – thereby ruining your carefully crafted composition.

Then there's the dreaded ball sag; it's common for a ball head to dip just a teeny bit once you lock the clamp and then let go of the camera. And the heavier your setup, the greater the degree of danger.

A 3-way tripod head, by contrast, has separate locking controls for panning, tilting side to side, and tilting up and down. So while they are slower to use – necessitating the use of three separate controls and locks – they are far more accurate.

You can concentrate first on leveling your horizon and, once that's bang-on, panning to perfect your angle of view, then you can lock that off and get your angle of elevation just right. For lovingly composed landscapes, there's simply nothing better.

Taking things a step further, a geared tripod head is essentially a pan-and-tilt head that is permanently solidly locked in place, but can be adjusted in all three planes in microscopic amounts with a geared knob. They are even slower still, but supremely accurate. And let's face it: if you're up at dawn waiting for the sun to peep above the horizon, then you have the time.

Naturally, Digital Camera World has buying guides dedicated to helping you find the best pan-and-tilt head and the perfect geared head for you. But if you insist on sticking with a ball head, then why not invest in a better one? We have a guide to the best ball heads, too.

So when it comes to a 3-way, don’t be shy, give it a try!

The Freewell Vlogpod is a tabletop mini-tripod that has three strong but flexible legs. The idea is that as well as popping it on a table, the legs can be wrapped around posts, poles, branches – or any other similar object that may be to hand – to shoot from an elevated height.

As the 'Vlogpod' name suggests, Freewell is aiming it at vloggers, but it's equally as useful to photographers who need a light and portable support without carting around a bigger travel tripod. Indeed, it has a nicely designed ball head topped by a camera mount that converts to a smartphone cradle, so is in the running to be both one of the best mini tripods, and iPhone tripods and smartphone supports. Let's see how it stands up to the competition.

Freewell Vlogpod: Specifications

Freewell Vlogpod: Price

While the list price is $50 / £45 / AU$90 is a bit pricey, I found some retailers were offering generous discounts at the time of writing, so it pays to shop around (our price-finding widget should hunt out the best prices for you). If you can pick it up for around the $35 / £40 / AU$78 that I found it for, then that's a little more palatable, and closer to the price you might expect to pay for a regular mini tripod.

That said, the Vlogpod's trick of being able to latch on pretty much anything could make it worth the extra if you like to shoot from up high but don't want to carry a big and heavy traditional tripod around with you.

Freewell Vlogpod: Design & Handling

The Vlogpod is 328mm long when folded, but when its legs are splayed for tabletop use, its maximum height is reduced to around 280mm. There is no center column for height extension, as found on some competing mini tripods; however, this is largely academic, as the product is designed not only to be used on a table or wall, but wrapped around a fence post or the branches of a tree, so it can go as tall as the objects in your environment. It does make it tricky to get the precise height you want, though.

When it comes to low-level shooting, the legs can be bent to achieve a lower height of about 150mm. Alternatively, they can be manipulated to different heights to form a level shooting platform when used on uneven surfaces.

The Vlogpod's flexibility comes from a seven-strand aluminum core, encased in ABS plastic reinforced with polyamide glass fiber (PA GF). The legs have a textured outer grip that is comfortable to hold, and the underside is ribbed to provide a firm grip. It is easy to bend the legs into shape with a little force, and they hold their shape well, gripping onto objects and supporting their payload without working loose. At the top of each leg is a 1/4"-20 socket for the attachment of extension arms and the like.

The legs are topped by a removable ball head that offers 360 degrees of panning movement, plus there's a cutout to enable vertical shooting. It moves smoothly and is firmly clamped with a locking screw. A regular tripod screw attaches cameras, or this can be recessed, and the base flipped out to reveal spring-loaded clamps to hold a phone.

There's a further 1/4"-20 socket on the ball head should the other three not quite be enough for you, as well as a pair of cold shoes at each side of the mount, though it has to be said that these are only likely to be of use when used with a phone, as they would sit underneath the mount when a camera is attached.

Freewell Vlogpod: Performance

There have been plenty of flexible tripod designs in the past, and the true test is how well its legs hold their shape once contorted into position. I'm pleased to report that the Vlogpod does this admirably. I tried it with phones, compacts and DSLRs, and found that I could trust it to keep its rigidity with quite heavy payloads. Its stated 3kg is pretty generous for a mini tripod like this, though you do have to make sure the legs are firmly wrapped with heavier camera and lens combos.

Part of this strength is due to its size, and while it's compact compared to a 'proper' tripod, the legs are quite thick, although their triangular shape means they fold together neatly. They're quite long too, but this enables them to keep a firm grip on supports of various sizes. It's pretty light, but still quite bulky to carry around without a bag, and there's no extending center column, so getting it to the desired height relies on finding suitable objects to put it on/strap it onto.

The ball head rotates smoothly and locks firmly, so once you've attached your phone/camera to a handy branch, it can be leveled up for straight compositions. The dual phone bracket and camera mount is a nice touch too, and handy if you like to switch between devices.

The four accessory screw sockets add to its vlogger-friendly credentials, enabling the attachment of all sorts of accessories such as mics and lights. The cold shoes are a nice-to-have bonus, but aren't of much practical use when shooting with a camera due to their positioning.

Freewell Vlogpod: Verdict

Mini tripods with bendy legs have been around for quite a while, but I was really impressed with the rigidity of the Vlogpod, which proved its worth by staying firmly in place once manipulated into the desired shape under a fairly hefty payload. It certainly feels like a better solution than the ball-and-socket designs of some competitors. It's a lot comfier to hold, too, so much so that it could also double as a selfie stick, albeit one with a pretty limited extension, as there's no extending column.

This lack of extension won't be a problem in tripod use, as long as you're in an environment with tall things to wrap it around. It's definitely lightweight, tipping the scales at just one pound (456 grams), but is a bit too bulky to stick in a pocket, and you'll need to tuck it into a bag. But it's a necessary tradeoff as its size gives it its strength and ability to wrap around an impressive variety of girths.

Alternatives

Vanguard is a global company with headquarters in Myanmar and branches in many other countries around the globe. It’s been making high-quality tripods and other photographic accessories as well as the likes of binoculars, spotting scopes and gadget bags, building up an extensive catalog over the last 40 years or so. The company has a knack of dreaming up innovative ideas and successfully turning them into useful products. A case in point is this Vanguard VEO PH-38S 3-way pan head, which is almost like a 4-way head, thanks to its dual-axis panning system. As such it aims for a spot in the best 3-way heads hall of fame, and then some. Let’s take a closer look.

Vanguard VEO PH-38S 3-way pan head: Specifications

Vanguard VEO PH-38S 3-way pan head: Price

What price a good 3-way head? It often depends where in the world you’re buying it. For example, Manfrotto products tend to vary considerably in price from one world region to another. As such, the Manfrotto X-PRO 3-way head costs $220 in the USA and £129 in the UK. It’s therefore very good value in the UK, less so in the USA. This Vanguard head is currently priced more competitively in the States, at $160 but is still pretty good value at £150 in the UK.

Vanguard VEO PH-38S 3-way pan head: Design & Handling

Although ‘different by design’ and decidedly innovative, the Vanguard does include a feature that I like and have seen before in various other 3-way heads. I’m talking ‘retractable handles’. The levers for both tilt and swivel have long metal shafts with comfortably large and grippy textured knobs. Better still, the knobs extend and retract along the shafts, with locking positions at each end. The bonus is that you get more leverage for easy and precise adjustments when they’re extended, along with space-saving retraction for stowage.

The tilt and swivel handles have the same textured knobs, although the shaft of the swivel handle is a little longer. Both have a fairly generous range of overall movement, equating to -30 degrees to +91 degrees. The larger 91-degree directions offer vertically downward shooting (front/back) and portrait orientation shooting (lateral) respectively, the latter without the need for using an L-bracket. It’s good as far as it goes although some might miss the provision of marked reference scales, which can be handy for replicating a previous setup.

The main panning mechanism fits with tradition by being at the bottom of the head. Unlike tilt and swivel, this one is calibrated. It’s numbered at 45-degree intervals with large lines at 15-degree intervals and short lines at 5-degree increments. There’s a small locking lever for the lower panning mechanism, which is very different from the large handles for tilt and swivel.

The tricked-up bit of the design is the secondary panning mechanism, which is situated between the tilt and swivel mechanisms, a bit like the filling of a sandwich. But why would you want this anyway? For one thing, you can rotate the upper handle on its X-axis so that both of the long handles are in line. This saves the levers sticking out in two directions and is more ideal for use with an L-bracket or a large lens that sits on a tripod mounting ring. In both cases, you don’t need a lateral swivel adjustment, as that’s taken care of. Vanguard points out that you can also configure the tripod head for left-handed use by laterally rotating the upper handle through 180 degrees, in relation to the lower one.

Up on top, there’s a single bubble level. This is less useful than a combination of three spirit levels, at least when it comes to leveling the camera in portrait orientation. In regular landscape orientation as well as when using an L-bracket or a lens with a tripod mounting ring, the bubble level is perfectly sufficient.

For attaching a camera, the head features an Arca-Swiss type quick-release plate, which ensures the greatest amount of universal compatibility. A growing number of L-brackets and the feet of tripod mounting rings now use this system, so you can slot them straight into the head without even using the quick-release plate. A security pin in the base avoids the QR plate sliding out accidentally, and it retracts when using other kit, if it needs to fit flush with the base and there’s no clearance for the protruding pin.

The bottom of the head has the usual circular profile for attaching it to a set of tripod legs, and a diameter of 58mm. That’s a good match for like-minded, heavy-duty tripods, the head having a 10kg / 22lb payload rating. A smaller version by the name of the Vanguard VEO PH-36S 3-way pan head is also available which has a 6kg / 13.2lb payload rating and a 50mm diameter base.

Vanguard VEO PH-38S 3-way pan head: Performance

For conventional use, I found the Vanguard 3-way head worked really well. The telescopic arms for tilt and swivel enable enhanced handling, making it easy to apply very fine and precise adjustments, as well as more sweeping changes. The lower panning section also works similarly well. However, I’m less convinced about the upper panning section. After fully releasing the locking mechanism, I found the panning action was disappointingly stiff and lacked any kind of fluid feel.

Perhaps I was expecting too much, but I was hoping to be able to use this for panning when shooting video. An upside in this respect is that, so long as the lower tilt adjustment is leveled even on sloping ground, the upper panning mechanism keeps everything on the level when you’re panning, which is a boost for videography as well as for taking a series of shots to stitch into a panoramic image.

Over the last couple of weeks, I’ve been testing a number of 3-way heads with a Sony A7 II body and a Viltrox AF 85mm f/1.4 Pro lens. The combination weighs a not inconsiderable 1.4kg / 3.2lb and the lens doesn’t feature a mounting ring, so the weight shifts to being significantly off-axis in portrait orientation shooting. I found that the Vanguard head did an impressive job of supporting the load in both landscape and portrait orientation shooting, with minimal flexing or vibration. I checked this by manually focusing the lens and using an enlarged preview in the camera with image stabilization switched off.

Vanguard VEO PH-38S 3-way pan head: Verdict

I always think it’s nice to see things that are a bit different. The dual-axis panning facility in this Vanguard certainly gives it a novel look and feel, compared with the vast majority of 3-way heads on the market. If the upper panning mechanism worked with more of a fluid, free-flowing feel, my joy would be complete, as I’d feel the head was equally viable for shooting stills and video. That’s not really the case but, even so, it’s a highly impressive 3-way head that mostly works a treat and offers satisfyingly solid support.

Alternatives

Benro has built a solid reputation on suitably solid tripod systems over the last 30 years. I’ve been particularly impressed with some of the company’s recent and more innovative products, including the Benro FS20PRO Video & Foto Head, which is like a ball head and a pan and tilt head, all in one package. The Benro HD2A 3-way head that I’m reviewing here is a more traditional 3-way head, aimed squarely at stills photography.

It’s the middle option in a set of three, having an 8kg load rating, whereas the HD1A is rated at 5kg and the HD3A supports up to 12kg. The smallest in the range lacks reference scales but all are built to the same overall design principles, aiming to be among the best 3-way heads on the market.

Benro HD2A 3-way head: Specifications

Benro HD2A 3-way head: Price

The photographic market, like many others, is awash with Chinese products that are super-cheap but of questionable quality. Benro has been a Chinese company since its inception in 1996 but has never skimped on quality, instead focusing on high-end design and manufacture. The HD2A 3-way head is a classic case in point, with a competitive but certainly not cheap price tag of $110 / £110 / AU$199. That makes it a bargain of varying degree depending on world region, compared with the likes of the Manfrotto X-PRO 3-way head which costs $220 / £129 / AU$289.

Benro HD2A 3-way head: Design & Handling

The design looks pretty standard fare for a 3-way tripod head but there’s a little more to it than meets the eye. High-quality black anodized metal surfaces have a durable and attractive eggshell black finish. Typical of Benro products, there are contrasting blue accents, which I’ll come to later. The tilt and swivel handles are comfortably long, with grippy rubber knobs on metal shafts, enabling accurate and precise adjustments with good leverage. Unlike in some designs, however, the handles aren’t retractable to reduce stowage size.

The front/back tilt range is generous, stretching from 35 degrees upwards to 90 degrees downwards, thus giving a 125-degree range in total that includes vertically downward shooting. Unlike the smallest HD1A in the range, the adjustment comes complete with a reference scale, which has numbered positions of 35 (upward), 0 (level), 45 and 90 degrees (downward), along with long marked lines for 15-degree intervals and shorter lines for intermediate 5-degree increments.

Lateral swivel has a relatively limited range of 15 degrees clockwise and 90 degrees counter-clockwise, although this serves its main purpose of enabling portrait orientation shooting without the need to use an L-bracket, or when using large lenses that rotate within a tripod mounting ring.

As is often the case with 3-way heads, the lock/release knob for panning is relatively short and stubby. Again though, it’s nice and grippy with a textured, rubberized surface. Loosening the knob enables smooth and free panning through a complete 360 degrees. Again, there’s a reference scale marked in 5-degree intervals, this time being particularly useful for taking a calibrated series of panned shots for subsequently stitching into a panoramic image. The reference markings for all three axes are also handy for replicating setups if you need to repeat a shot.

Given that 3-way heads are ideal for architectural and landscape photography, where you want to position the camera exactly on the level, I’m pleased to see the inclusion of three separate spirit levels. Using an alternate two out of three enables precise leveling of the camera in either landscape or portrait orientation mode.

The reference markers that I’ve mentioned represent an upgrade over the previous version of the head. The other update is an Arca-Swiss compatible quick-release system. This enables maximum compatibility with other kit and is particularly useful given that many large lenses now feature tripod mounting rings with an Arca-type foot. Many L-brackets also have an Arca-type profile, enabling them to slot straight into the base plate of the head. When you do need to use the QR plate, it’s impressively long at 70mm / 2.76in, making it easy to center a wide range of cameras.

Flip the head over and you’ll find a typically circular base plate. It has a fairly large but not massive 52.5mm / 2.1in diameter, making it an ideal match for intermediate sized tripods with a similar payload rating to the 8kg / 17.6lb of the head. The height of the head is also of medium size, measuring 12cm / 4.7in.

Benro HD2A 3-way head: Performance

I found the ergonomics of the Benro head to be deeply satisfying. The controls for tilt, swivel and pan all work with smooth efficiency, requiring minimal effort to loosen them for adjustment and lock them up again afterwards. Really precise adjustments are quick and easy to achieve, while panning has a free-flowing feel to it. Another performance boost, if you can call it that, is that I didn’t drop my camera on the floor. Seriously, the lock/release knob for the quick-release plate has a special safety feature that requires you to pull it out and give it an additional twist to release the plate. The plate also features security studs to stop it sliding out to one side or the other.

The six rubber pads built into the quick-release plate aren’t the firmest in the world that I’ve ever used but nevertheless provide a solid and sturdy seating for the camera, while also potentially absorbing a little unwanted vibration. I’ve recently been testing 3-way heads with a Sony A7 II body fitted with a Viltrox AF 85mm f/1.4 Pro lens. The combination has a weight of 1.4kg / 3.2lb and the lens doesn’t feature a mounting ring, so the weight is significantly off-axis in portrait orientation shooting. The Benro was easily able to support the load and proved very stable and rigid, as confirmed by manually focusing and using an enlarged preview with image stabilization switched off.

Benro HD2A 3-way head: Verdict

What you see is what you get. I really like that this Benro head looks immaculately engineered and beautifully finished. Not just a case of style over substance, those good looks translate into excellent performance. Good things seem to come in threes, with refined 3-way adjustment, three reference scales and three spirit levels. There aren’t really any fancy tricks or design innovations, but the head is simple and intuitive to use, and offers really solid support. It’s a win as far as I’m concerned.

Alternatives

There’s nothing really wrong with plastic, although it’s been getting an awful lot of bad press lately. This Manfrotto tripod head certainly isn’t a ‘single-use plastic’ item, so that’s definitely something in its favor. In fact, it should last for years and indeed, Manfrotto is sufficiently confident in its build quality to offer a free 10-year warranty, as with most of its products.

I can bear testimony to its hard-wearing nature as the sample that I’m using for this review has pretty much been to hell and back, being used and abused by hard-working photographers on our team for many years. The plastic itself goes by the name of a ‘technopolymer’ or technical polymer, and it’s not the first time I’ve seen it. I actually own a Manfrotto XPRO Geared 3-way Head, which is made from the same material. That one aims to be one of the best geared heads, whereas the 804 that I’m reviewing here sets its sights on being one of the best 3-way heads.

Manfrotto 804 3-way head: Specifications

Manfrotto 804 3-way head: Price

The Manfrotto 804 is pretty good value in the UK but comparatively expensive in the USA and Australia. Selling for $147 / £89 / AU$239, it’s less expensive than the more heavy-duty Manfrotto X-PRO 3-way head which is made of aluminum rather than plastic. That’s entirely to be expected.

Manfrotto 804 3-way head: Design & Handling

Technopolymer or technical plastic tends to be lighter than aluminum and sure enough, this head is only three-quarters the weight of the aluminum Manfrotto X-PRO 3-way head, at 0.75kg / 1.65lb compared with the latter’s 1kg / 2.2lb. They’re roughly the same size, although the 804 is a little shorter, at 12cm / 4.7in versus 13cm / 5.1in. It also lacks the adjustable friction dampers for tilt and swivel, featured in the X-PRO 3-way head.

The head is labelled as a ‘Mark II’ in some regions, and as an ‘Adapto’ here and there. The main difference between older and newer models is that, again, like the X-PRO head, the newer version features retractable handles for tilt and swivel. As such, the rubberized parts that you grip with your hand can slide in and out on their metal shafts. Retracted, they cut down the stowage size of the head. Extended, they give you greater leverage for making adjustments.

A bonus of the 804 over the X-PRO is that you get calibrated scales for tilt, swivel and pan, instead of just for panning. The tilt range which you’d typically use for front/back adjustments has a scale on the side and a range of 30 degrees upwards and 90 degrees downwards. The 0-degree level position is clearly labelled, with -30, 45 and 90 degrees numbered on the scale, with 15-degree major intervals and 5-degree minor increments.

Similarly, the swivel adjustment nominally for swapping between portrait/landscape orientation shooting has a range of -30 degrees to 90 degrees, the scale again being marked in the same 5-degree increments and numbered in the same way.

As is often the case with 3-way heads, the panning lock/release knob is somewhat smaller than the ones for tilt and swivel, and the shaft doesn’t extend so far. This time, as I’d expect, you get a full 360 degrees of panning rotation and again, it comes complete with a calibrated and numbered scale for reference. That can be handy if, for example, you’re shooting a series of stills to stitch into a panoramic image.

Whereas the X-PRO 3-way head has three spirit levels, the 804 features a single bubble level. It’s arguably quicker and more intuitive to use in landscape orientation shooting but completely useless for portrait orientation shooting, unless you keep the platform level and use an L-bracket with your camera.

For connecting a camera (or lens with a tripod mounting ring) to the head, the 804 relies on Manfrotto’s time-honored 200PL type quick-release plate. I actually really like these plates but many prefer a more universal Arca-type plate, especially as the style is now being adopted in a growing range of feet on the tripod mounting rings of hefty lenses.

Down below, the base of the head has a diameter of 60mm / 2.36in, which is par for the course for Manfrotto’s heavy-duty heads and a perfect fit for its similarly heavy-duty tripods. Naturally, the head is equally well suited to tripods made by the vast majority of other manufacturers, so you can mix and match legs and heads.

Manfrotto 804 3-way head: Performance

It’s quick and easy to make precise adjustments to both tilt and swivel. In the later version of the head, it’s best to extend the knobs on their shafts, giving you greater leverage and precision, akin to using the knobs of the original edition in its standard trim, which lacked any retractability. The panning axis works equally smoothly through its entire 360-degree rotation.

Despite being plastic rather than metal, the head feels easily tough enough for its 10kg payload rating. As with other 3-way heads that I’ve recently tested, I mounted a Sony A7 II body fitted with a Viltrox AF 85mm f/1.4 Pro lens. The combination has a weight of 1.4kg / 3.2lb and the lens doesn’t feature a mounting ring, so the weight is significantly off-axis in portrait orientation shooting. The head was easily able to support the load but, in both landscape and portrait orientation shooting, it wasn’t quite as firm and stable as Manfrotto’s X-PRO 3-way head, and a little more prone to flexing, wobble and vibration.

Manfrotto 804 3-way head: Verdict

I’m not plastic-averse and I like the weight-saving build of the Manfrotto 804 3-way head. The later edition with the retractable handles is more compact for stowage. In both versions, quick, easy and precise positioning is assured in all three axes of tilt, swivel and pan. However, for outright performance in terms of steadiness and resistance to flexing and vibration, most aluminum rather than plastic heads have the edge.

Alternatives

Manfrotto is a name that’s synonymous with top-end tripods, tripod heads and other supports. Products are typically built as well as designed in Italy, combining flair, practicality and robustness. Honing in on the XPRO range, I think that the Manfrotto XPRO Ball Head with Top Lock is arguably the best ball head on the market, while the Manfrotto XPRO Geared 3-way Head is a very good (although not entirely perfect) geared head.

Without the spinning wheels of a geared head, this more conventional 3-way head has all the requisite tilt, pan and swivel movements required for stills photography, with a couple of extra design flourishes that make it stand out from the crowd. All in all, it aims to be one of the best 3-way heads on the market.

Manfrotto X-PRO 3-way head: Specifications

Manfrotto X-PRO 3-way head: Price

You often see the same actual numbers quoted for the price of photo gear on either side of the Atlantic, whether the currency is in US dollars or UK pounds. That’s certainly not the case here, as the Manfrotto X-PRO 3-way head costs $220 in the USA, £129 in the UK and AU$289 in Australia. Suffice it to say that it’s good value for money in the UK, less so in the USA.

Manfrotto X-PRO 3-way head: Design & Handling

3-way heads are a pain, right? Compared with the speed and ease of adjusting a ball head with it’s single locking knob, there are no less than three locks to contend with on a conventional 3-way head. But hang on a minute. You can often find there’s a bit of sag with a ball head, once you tighten the knob and let go of your camera. It might still be perfectly positioned on one axis but not the other (or other two). Getting all three axes exactly right with a ball head can end up being a time-consuming chore, and a bit like a game of hit and miss – mostly miss. When precise positioning is called for, it can often pay dividends to adjust each axis individually so that everything’s exactly as you want it. That’s where 3-way heads come to the fore.

Typical of the breed, this Manfrotto has individual lock/release knobs for tilt, swivel and pan. Better still, the first two for forward/backward tilt and landscape/portrait orientation swivel feature locking knobs that are mounted on retractable shafts. You simply pull them out to enable greater leverage and easier fine adjustments when in use, and push them back in again to reduce the stowage size. That neatly avoids the criticism of 3-way heads having long levers that stick out and demand greater storage space.

And there’s more. The tilt and swivel clamps come complete with adjustable friction dampers, which is somewhat unusual in 3-way heads. The bonus is that you can adjust the torque needed to make tilt and swivel adjustments when the locking knobs are released. This effectively makes the head easier to use, and with greater finesse, tailoring it to different weights of camera and lens combos. And the maximum loadbearing ability of the head is pretty strong, with a payload rating of 12kg / 26.5lb.

The panning knob is a more straightforward affair. As I’d expect, it has neither a retractable design nor an adjustable friction damper, which is fair enough. Unlike the tilt and pan adjustments, however, it does have rotational scale marked in 5-degree increments. That can be handy when you’re taking a sequence of shots to stitch into a panoramic image and want to make precise incremental changes.

To help keep things on the level, there are no less than three separate spirit levels. These are arranged so that you can use two out of three to ensure the camera platform is level in both forward/backward and side-to-side planes, whether you’re shooting in either landscape or portrait orientation.

Up on top, the head features a Manfrotto 200PL-14 quick-release plate. Some might be upset that it’s not an Arca-type fit, especially with more and more large lenses being designed with tripod mounting rings and feet that are directly Arca compatible. However, the proprietary QR plate is featured in a huge range of Manfrotto heads and has definitely proved itself over many years.

Down below, the base plate has a circular profile and a 60mm / 2.36in diameter. This makes it a great fit for many heavy-duty tripods, from all sorts of manufacturers and of course, from Manfrotto itself. The platforms of many tripods feature grub screws which can lock the head in place. The main attachment thread is the usual 3/8-inch variety, which you can use with a 1/4-inch adapter if your tripod legs use the smaller size attachment stud.

Manfrotto X-PRO 3-way head: Performance

I remember buying a heavy-duty Velbon Sherpa Pro CF-630 carbon fiber tripod kit from WEX about 20 years ago. Nice legs, shame about the head. I phoned their customer support line, complaining the quick-release plate felt spongy and they offered to exchange the head for a Manfrotto that featured a 200PL-14 QR plate. I’ve been a fan ever since, as it gives really solid support. That’s certainly the case when used with this X-PRO 3-way head.

Adjustments are smooth and effortless through the entire range of -30 to +90 degrees of both front/back and lateral tilt. The same goes for the 360-degree panning facility. I found that the click-steps for the two adjustable friction dampers enabled a better feel with varying kit of different weights. And when locked off, clamping is really firm and solid in all three tilt, swivel and pan axes. The three spirit levels help with leveling the camera but, to be honest, I found it easier and more accurate to use the camera’s own virtual horizon.

The head feels easily strong enough for its 12kg payload rating. To test the firmness and stability of the head, I loaded it with a Sony A7 II body mounted with a Viltrox AF 85mm f/1.4 Pro lens. The combined weight is 1.4kg / 3.2lb and, as the lens is quite heavy but doesn’t have a tripod mounting collar, the combination is quite front-heavy and a stern test. I switched the camera to manual focusing and turned of image stabilization, then used maximum magnification for image preview. This revealed that the head was indeed very resistant to wobbling and vibration.

Manfrotto X-PRO 3-way head: Verdict

I feel that the Manfrotto X-PRO 3-way head is simple and intuitive to use. It enables a good range of movement with very precise positioning, and is rock-solid when locked off. I like the adjustable friction dampers which work independently for tilt and swivel, which is quite a rarity for 3-way heads. I also like the retractable handles, which save space for stowage. The proprietary rather than Arca-type quick-release plate won’t be to everybody’s taste, but I’ve always found it to be a high-performance item that’s quick and easy to use. All in all, this is a very clever head.

Alternatives

The KraftGeek Variety Tripod is a combined selfie stick and tripod designed to hold small cameras or phones, and one of its main selling points is the large number of cold shoes that can be independently rotated to hold all manner of accessories. It will be welcomed by vloggers and other video presenters who need to add lighting and better quality sound recording to their setup.

It also reaches taller than most competing products, at 62.5 inches (a little over five feet), and its two-section legs extend for a wider, and thus more stable, shooting base. All this makes it a real contender as one of the best selfie sticks, mini tripods, and iPhone tripods and smartphone supports available.

KraftGeek Variety Tripod: Specifications

KraftGeek Variety Tripod: Price

The Variety Tripod has a list price of $60 / £45 / AU$86 and is available on Amazon, as well as KraftGeek's website. However, at the time of writing, it was being sold at a discounted price, so keep an eye out for offers. The standalone kit has a ball head for cameras and a universal mount for phones, but it is often bundled with KraftGeek's Flexy Mount, which can hold tablets and other wide devices, too.

It's not the cheapest option on the market, costing a little more than the same company's JustTap Magnetic Phone Tripod, which stretches taller but is strictly for phones – and only ones with a MagSafe connection at that. So, does the Variety Tripod's added versatility make it worth the extra? Let's plough on.

KraftGeek Variety Tripod: Design & Handling

The KraftGeek Variety Tripod measures 12.3 inches when fully stowed and extends simply by pulling the extending column until it reaches the desired height, up to a maximum of 62.5 inches. It's fairly stiff to ensure that it can manage loads of up to 2kg. It can be used as a selfie stick or a tripod, thanks to two-stage pull-out stabilizing legs that form a broad base.

A ball head offers 360 degrees of panning and 110 degrees of tilt for phones and action cams, and a pair of rotating cold shoes at either side allow the attachment of mics, lights, and so on. It comes with a universal phone cradle that flips easily from landscape to portrait orientation and is equipped with a further cold shoe. There's also a Bluetooth controller that connects magnetically to a recess on the main column.

KraftGeek Variety Tripod: Performance

Extending to a decent 62.5ins (158cm), it's designed with shooting to-camera presentations in mind. However, it remains over a foot long when folded for stowage, which is the unavoidable downside of having such a tall maximum reach. As such, it's not going to slip into a spare pocket, but is perfectly carryable if you have a suitable bag.

The ball head rotates smoothly through 360 degrees, while 110 degrees of tilt enable versatile shooting angles. A thumb-operated wheel locking mechanism allows a variety of cameras to be easily attached via a standard 1/4’’-20 tripod mount socket, up to a load capacity of 2kg (4.4 lbs). It's suitable for action cams, compacts, and lightweight mirrorless or DSLR cameras, although I wouldn't go much bigger than a Nikon Z50 II or D3500 and kit lens (or equivalent combos). The ball head is flanked by two cold shoes that rotate through a full 360 degrees, enabling accessories to be positioned as you like and further adding to the Variety Tripod's vlogger-friendly credentials.

For phone shooters, a universal cradle is supplied that screws onto the top of the ball head. This all-metal cradle has a neat design that enables it to flip from horizontal to vertical shooting orientations (or at a jaunty 45º angle, should you wish) and makes it ideal for shooting both B-roll and phone-viewable-friendly video. There's a further cold shoe on the phone mount, should the other two not be enough. You can substitute this cradle with KraftGeek's Flexy Mount for tablets, which is available as an extra or in a bundle with the base kit.

It converts from a selfie stick to a monopod by pressing a button on the bottom that unlocks the three legs to form a 20cm (7.9in) radius base. That's fine for table-top use, but when the center column is fully extended, each leg can be pulled out to create a wider (and more stable) 28cm (11in) radius base.

A Bluetooth remote attaches magnetically to one of the tripod legs. The rechargable device is good for 20,000 shutter activations before it runs out of juice, which can be topped up via USB-C. It's a doddle to connect to any modern smartphone, though it should be noted that this only works with phones, not cameras.

KraftGeek Variety Tripod: Verdict

Aimed squarely at influencers, its 62.5-inch extended height should be tall enough for most to-camera video applications, and it can be used with a wide variety of cameras and phones, plus all manner of accessories, thanks to multiple cold shoes. Attaching mics and lights in this way helps add a professional air to your video productions.

When used as a tripod, its two-stage fold-out legs provide a reasonably solid base, but the center column is a little spindly for my liking, and I'd feel nervous trusting it with anything more than a compact camera. But it does its job admirably as a phone tripod and selfie stick, and I think its main appeal will be to smartphone shooters.

At over a foot long when packed away, it's not the most portable option if you like to tuck things into a pocket, but it's unavoidable in a product that both stretches so tall and provides a decent level ot stability.

Alternatives

The KraftGeek JustTap Magnetic Phone Tripod is a combined selfie stick and tripod designed for mobile phones with a MagSafe connector. It extends to a generous five-and-a-half feet in height and has a wide set of legs that pop out with a tap, making it ideal for eye-level selfies. It's certainly a contender as both one of the best selfie sticks and best iPhone tripods on the market. Let's see what else it has to offer.

KraftGeek JustTap Magnetic Phone Tripod: Specifications

KraftGeek JustTap Magnetic Phone Tripod: Price

The tripod has a list price of $50 / £38 / AU$79 and is available on Amazon, as well as KraftGeek's own website, but at the time of writing was being sold at a discounted price, so keep an eye out for offers. Considering its lofty height, generous load rating, strong magnetic connection, and the inclusion of a Bluetooth remote, that makes it pretty good value.

KraftGeek also makes a non-MagSafe version of the JustTap tripod that instead has a traditional phone clamp, and is a little cheaper with a list price of $40 / £30 / AU$62.

KraftGeek JustTap Magnetic Phone Tripod: Design & Handling

The JustTap Magnetic Phone Tripod measures 13 inches when fully stowed and extends to 66 inches at full height. The tripod is extended simply by pulling the extending column until it reaches the desired height, and has a stiff resistance so that it won't collapse under heavy loads. The 'JustTap' in the product name refers to its pop-out legs. Tap a button on the base (or drop it gently on the ground) and its three stabilizing legs pop out to form a base.

It uses a MagSafe magnetic connection to attach your phone to the tripod, and also comes with an adhesive magnetic ring to attach to devices that aren't MagSafe-compatible. There's also a Bluetooth controller that connects magnetically to a recess on the main column.

KraftGeek JustTap Magnetic Phone Tripod: Performance

Its lofty five-and-a-half-feet extended length should enable it to reach eye level for most people (unless you're a giant), thus making it ideal for natural-looking selfies. The downside of its impressive reach, however, is that it remains necessarily long when folded down, at just over a foot in length – it's certainly not pocket-sized, so you'll need a generously sized bag to carry it in.

The pop-out legs work brilliantly, springing out effortlessly as you tap the base of the device on the ground, enabling one-handed setup (for the legs, at least; you'll need to firmly tug the center column to extend it). The legs form a base with a decent 22.5cm radius, which is strong and stable enough to withstand all but the most powerful gusts of wind, even when fully extended.

The MagSafe connector provides a strong and secure connection, and is rated to secure loads of up to 2.5kg, which is far in excesss of any smartphone, MagSafe is a propriery Apple connection, but there are plenty of magnetic Android phone cases that provide similar functionality, and KraftGeek provides a self-adhesive magnetic ring in the box that can be stuck to the back on non-Apple phones.

The Bluetooth remote is turned on with a long press of the button and is easily synced with your phone. A short press then activates the shutter, while a long press turns it back off again. KraftGeek says that it should keep going for 20,000 shutter activations on a single charge, after which it can be recharged via USB-C.

KraftGeek JustTap Magnetic Phone Tripod: Verdict

Measuring a huge 66 inches long, this goes much further than many competing products, and is equally handy as a generously proportioned selfie stick or a solid tripod that can meet your gaze for eye-level selfies. It does remain pretty long even when folded, though, so it's the most pocketable of solutions.

It's easy – fun, even – to convert it from a selfie stick to a tripod with a light tap of the base, and I found that the product feels robust and well built enough to trust it with my iPhone. Speaking of which, it is best suited to owners of Apple phones due to the proprietary MagSafe connection.

Alternatives

If you’ve been on the hunt for a carbon‑fiber tripod that combines pro‑grade durability with feather‑light portability, you’ll want to take note of this gem.

The Manfrotto MT057C3-G 057 Carbon Fiber Tripod falls to its lowest price of the year, now available for just £507.62.

That’s a tidy saving of £241.38 off its usual £749 asking price, and offers rare value for anyone serious about minimizing their kit weight without compromising stability.

This tripod has been a trusted companion for photographers aiming for precision and portability - and while carbon fiber always carries a premium, this sale brings it within reach of more creative professionals. Throughout the year, prices have consistently trended higher, but this sub‑£510 mark is hands down the lowest we’ve seen, and it’s one of those deals you’ll want to jump on before it disappears.

Lightweight yet rock‑steady, the MT057C3‑G is perfect for destination shoots, hiking treks, or any situation where every gram counts. It’s sturdy enough to support your gear in challenging outdoor conditions, yet it won’t slow you down when you’re on the move—literally saving you weight and metaphorically saving you pounds.

In short, this isn’t just another tripod deal - it’s an opportunity to upgrade your setup with professional‑grade quality that doesn’t weigh on your shoulders… in more ways than one.

Whether you’re coming from a budget aluminium tripod or are ready to add a carbon fiber option to your kit, this one deserves a place in your bag - and it’s priced to move.

Check out our guides to the best tripods for photography and to the best video tripods 

I spend most of my days checking through our buying guides to ensure that they offer the very best recommendations, replacing older products when new and better options come along. The other day, it was the turn of our budget tripods buying guide. The guide was a bit woolly when it came to exactly when a tripod was determined to be ‘budget’, so I decided to set a rule that to make it into the guide, any product had to have a widely available street price of under $200 / £200 / AU$400, and preferably a lot less, while still being a quality and reliable piece of kit.

During my research, I found the UK price of the Manfrotto Befree GT Pro 3-Way is just £149 at one of my trusted go-to retailers; this was well within the criteria and an astonishingly good price for such an advanced tripod. It was definitely going into the guide! It not only has a three-way head, as opposed to the cheaper ball heads that most budget tripod kits tend to have, but one with a clever folding design that makes it take up no more space than a ball head when stowed for transportation. And it features a 'Fluid Drag System' that enables smooth movements necessary for video capture, which is unheard of for a tripod from a reputable manufacturer, such as Manfrotto, at this price point. The UK deal I found is below (apologies to readers in other territories!).

The alarm bells were ringing: surely it’s too good to be true? Further research found it priced at £199 at another retailer, so under the price barrier I’d imposed, but only just. Another retailer listed it at £285 – the retail price at the time the review was penned, and a much more realistic price for a product of this calibre.

Checking US retailers, I couldn’t find it anywhere under $200, so, alas, it fails on the ‘widely available street price’ count and ultimately couldn’t claim its place in the guide, even if it is an absolute bargain at one UK retailer listing it at this price. Perhaps they were clearing stock? Perhaps it was a mistake? And perhaps it would be going up to the more realistic price tomorrow, which is no good for a guide that requires longevity, so that people can rely on it for solid buying advice.

The moral of the story? Something can be both too good to be true and also true at the same time. And when that’s the case, jump on it!

See our full Manfrotto Befree GT 3-Way review

I'll be honest: I don't think any tripod is worth 600 bucks. And yet, I own the carbon fiber Peak Design Travel Tripod because quite frankly it's that bloody good.

Luckily for you, if you don't already own one, you don't have to pay 600 bucks! Right now this amazing tripod that everybody wants has been slashed to just $399 – a huge saving of 33%!

(This is an open box price, which comes with limited lifetime warranty.)

As soon as the photography world saw the Peak Design Travel Tripod, everybody wanted one. Finally, a tripod that didn't waste needless space between the legs when you folded it down! Finally, a travel tripod that actually packed down small enough to travel with! Finally, a tripod with all the bells and whistles you could ask for at a price that… actually, no, the $599 price tag was simply out of reach for most people.

And yet, as soon as 99% of people see this camera in action, they know it's perfect for them. So at this $399 price I can finally say that it's a reasonable price that will mean you're able to look your spouse in the eyes when you buy it.

It's the tripod I always reach for first, whatever I'm shooting. With a 60-inch maximum extension, it's got more height than any of my other tripods. I love that the legs have flip locks instead of twist locks, given that I have two very expensive doorstops in the form of tripods whose twist locks no longer allow the legs to collapse.

The ergonomic ball head is a revelation as well, doing away with cumbersome conventional locking mechanisms in favor of super-svelte locking and adjustment rings. And not only is the hex key ingeniously stored in a magnetic leg compartment, there's also a hidden mobile mount if you want to shoot with your phone – and you can go Peak Design or Arca Plate, depending on your preference.

ABOVE: Take a look at the tripod in action

This tripod goes everywhere with me when I'm shooting, or even when I'm thinking about shooting – it's so slim and light that it truly takes up minimal space (unlike my other bulky tripods, which waste so much space between the legs that I have to make conscious sacrifices in order to pack them).

The old adage is that the best camera is the one you have with you – and the exact same thing can be said about tripods. They do you no good at all if they're so hard to pack that you don't bother bringing them – but the Peak Design Travel Tripod isn't just super compact and convenient, it really is just that bloody good.

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Check out the best travel tripods from all brands to see how the Peak Design matches up, and take a look at the best tripods for photography across all genres to make sure you get the one that's right for you.

The strangely named SmallRig x Potato Jet Tribex Hydraulic Carbon Fiber Tripod Kit doesn't sound so strange once you realize it's a colab between accessory maker SmallRig and American YouTuber Potato Jet (which, I'll admit, is a darn-sight cooler moniker than his real name, Gene Nagata). Famed for his videos on shooting video, Potato Jet wanted to create his ideal tripod for quick and easy setup, and this tripod, with its groundbreaking hydraulic leveling and locking system, is the result.

During the Prime Day shopathon, the SmallRig x Potato Jet Tribex is available with a 25% discount, which sees the tripod drop from its regular price of $499.99 to just $374.99! That's a pretty attractive asking price for a regular carbon fiber tripod anyway, let alone one that features this innovative hydraulic X-Clutch system.

• See all of today's Amazon Prime photo deals
• Check out our guide to the best video tripods

At the heart of the SmallRig x Potato Jet Tribex is the X-Clutch Hydraulic Technology, which enables all legs to extend instantly, allowing quick leveling within seconds. Squeeze the lever and the tripod legs drop down; release it and they lock firmly in place. It enables rapid, one-handed setup and a perfectly level shooting platform even on the most uneven terrain.

Built with carbon fiber, it's both lightweight and rugged, making it ideal for all manner of shooting environments. Its compact design (66cm stowed length) ensures it fits effortlessly into standard luggage, enhancing portability. Despite weighing only 2.6kg, it can support a substantial load capacity of 25kg, making it a robust option for heavier camera setups on the go. Its detachable center column allows for a wide working height range (27cm to 168cm), enabling shooting from high to ultra-low-angle shots.

The tripod can be purchased standalone or in kit form with an optional video head for $599.99 (down from $799.99 during Prime Day). This silky-smooth fluid head has professional-grade drag that is perfect for cinematic pan and tilt movements. A four-step dynamic counterbalance ensures stable, fluid movements with payloads up to 6kg.

But perhaps it's best to leave it to Mr Potato Jet himself to explain the benefits of the Tribex, as he does enthusiastically in (where else) this YouTube video…

We all know the importance of a good, solid tripod. Not only do they keep your camera still for the duration of the exposure, making them the landscape photographer's best friend for shooting in low-light conditions, but they're also a vital compositional aid.

Once you've roughly set up your composition, you can tweak the framing to an infinitesimal degree, to ensure that the camera is perfectly level and that no distractions are creeping into the edges of the frame, before finally hitting the shutter release to nail the shot.

But while it's the tripod that provides you with the stable shooting platform, it's the head on top of it that enables the fine tuning. How many times have you lined everything up perfectly, tightened the locking knob on the tripod head, only to see the camera slowly sag disapointingly by a degree or two when you let go?

When we buy a tripod, it normally comes as a kit, complete with a ball head. The trouble is that these kit ball heads are often built to a cost, to enable the overall legs-and-head combo to be sold at an attractive price point. As we start our photography journeys, budget is often a key consideration, so we'll look for a product that offers good value. And once we've made our purchase, we tend to stick with our tripod for years to come, perhaps only finally upgrading when the legs show signs of wear and tear.

But I would argue that, if getting your composition precisely bang-on is important to you, it's the head that you need to upgrade first. That's why I've just updated my buying guide to the best ball heads. There's one for every budget, from less than a hundred bucks to ones touching a thousand, but each is a solid, dependable device guaranteed to keep your camera locked in place just as you want it. I urge you to check it out today!

Benro has officially launched its NBBH Series Ball Heads, developed in collaboration with German manufacturer Novoflex.

After previewing early models at The Photography & Video Show 2025, the final models are now available with confirmed specs and pricing. This partnership combines Novoflex’s precision engineering with Benro’s experience in camera tripods.

The NBBH Series includes three models designed to suit different types of photographers. The NBBH2 is a compact, lightweight ball head supporting up to 5kg, making it a good fit for popular compact cameras like the Fujifilm X100VI. It’s ideal for street and travel photographers who need smooth motion and portability.

The mid-range NBBH3 supports up to 8kg, suitable for larger mirrorless cameras with fast primes or small zooms. It offers a balance of strength and precision, well-suited to portrait, wedding, or lifestyle photography.

At the top end, the NBBH4 can handle up to 12kg. It’s built for medium format cameras such as the Fujifilm GFX, professional telephoto lenses, and cinema cameras, making it a strong choice for wildlife, sports, or landscape photographers.

All three models feature all-metal, CNC-machined construction, delivering smooth operation and durability. Notable features include adjustable ball tension, a dual panning system for panoramas, and an Arca-compatible clamp with a pull-and-twist mechanism. This clamp also hides a built-in Allen key and a thread converter for direct camera or lens mounting.

The NBBH Series is now available, priced at $159.95 / £150 (approx. $190 / AU$290) for the NBBH2, $199.95 / £180 (approx. AU$350) for the NBBH3, and $219.95 / £210 (approx. AU$410) for the NBBH4. These ball heads offer a solid option for photographers who prioritize precision and durability in their gear.

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Check out our guides to the best tripods for photography and the best tripod ball heads.

For photographers who travel light but refuse to compromise on quality, the Gitzo Traveler tripod is the gold standard. Known for its ultra-lightweight carbon fiber construction, compact folding design, and exceptional stability, it’s a must-have for serious shooters on the move.

Now, thanks to a limited-time exclusive B&H Bild Expo deal, the Gitzo GT2545T Series 2 Traveler Carbon Fiber Tripod is just $449, down from its regular price of $789. That’s a solid $340 saving on one of the best travel tripods ever made.

But make sure you act quickly, as it's only available at this price until midnight tonight!

This kit features Gitzo’s Series 2 Traveler legs made from Carbon eXact tubing for maximum strength and minimal weight, paired with the sturdy and smooth GH1382QD Center Ball Head. Despite weighing just over 3 pounds, this setup supports up to 26 pounds of gear, making it perfect for full-frame DSLRs, mirrorless systems, and longer lenses - ideal for landscape, travel, and outdoor photographers who don’t want to leave performance behind.

The Traveler design uses a reverse folding leg mechanism, allowing the tripod to collapse down to just 17.5 inches—easy to fit into backpacks, carry-ons, or strapped to the outside of a camera bag. Setup is quick and intuitive, thanks to Gitzo’s G-lock leg system, and the included Arca-type ball head offers precise, fluid control for both stills and video framing.

What makes this tripod truly stand out is its combination of elegance and engineering. The magnesium components, premium leg locks, and sleek design speak to Gitzo’s heritage of craftsmanship and durability. Whether you’re scaling mountains, exploring cities, or shooting in remote locations, this tripod is built to deliver top-tier support in a travel-friendly package.

This B&H Bild Expo exclusive brings pro-grade stability and craftsmanship within reach at an unbeatable price. At $499, this Gitzo kit is not only a smart investment for demanding photographers - it’s also one of the best tripod deals currently available. If you’ve been waiting for the right time to upgrade your support system, this is it.

See more of the B&H Bild Expo camera deals, that run until midnight tonight (EST)

I love lots of dials and controls on my camera, but I prefer my tripods to just support my camera without getting in the way. Which is why when Peak Design reached out to me with not one but three new tripods, I knew I wanted to try them out for myself. The Peak Design Pro Lite, Pro, and Pro Tall tripods, which launched on Kickstarter on June 17, continue the streamlined design of the Travel Tripod but add more stability, higher weight capacity, taller heights, and a newly redesigned ball head.

The original Peak Design Travel Tripod initially grabbed my attention because its unusually shaped legs helped the camera support system pack down quite slim. The new Peak Design Pro series feels just as minimalist and streamlined, but sacrifices some of the portability for the sake of stability.

The Peak Design Pro Lite tripod packs down to the same diameter as the Travel Tripod – but it’s a bit taller. With four leg sections instead of three, even the smallest in the Pro series felt quite a bit sturdier than the Travel tripod, and increased the weight capacity from 20 lbs / 9.1kg to 35 lbs / 15.9 kg.

The Pro and Pro Tall take that even further with larger legs that support up to 40 lbs / 18.1 kg. The Pro tops out at 66.3 inches / 168.4 cm while the aptly named Pro Tall can reach up to 77.7 inches / 197.4 cm. Importantly, the Pro Tall doesn’t reach those heights with more leg sections, just longer leg sections, so the tallest tripod didn’t feel any less stable than the Pro.

Beyond the added stability, all three of the new tripods use the Pro Ball Head. Like on the travel tripod, this ball head is sleek with minimal protrusions. The ball locking mechanism is a ring that wraps around the head itself. But unlike the Travel Tripod, the Pro series has built-in panning and there is a small knob for that, allowing the camera to pan around in a nice smooth motion.

The Pro Ball Head uses a quick-release plate that snaps in and automatically locks when pressed into position. There’s a second locking switch for added security, along with a bubble level and a set of labels for the panning feature.

Like on the Travel Tripod, the center column has a weight hook, which removes for hidden storage. This is where the hex key will hide, which is used to adjust the tension on the flip locks. I’m a bit disappointed that the mobile mount costs extra, not because smartphone photographers need heavy-duty tripods, but because I like having the ability to pull off my mirrorless camera for a quick iPhone video for social media.

Peak Design is also launching a Tilt Mod, which converts the ball head into a pan-and-tilt head with a video handle. The handle removes and snaps on with magnets, so this add-on doesn't take up much room. A Pro Leveling Base will also be available for use with third-party tripod heads.

While I loved the sturdy yet portable design, what I enjoyed most about using the Pro series tripods is that I could focus more on the photos on less on fiddly tripod adjustments. The tripods were easy to set up and quick to adjust with a simple yet smart design. I also appreciated the compact design, packing all three of them to test on a road trip.

I would have liked a rotating center column for flay lays, which this series lacks. And, the price feels a bit steep, starting at $799.99 / £699.99 for the Lite, up to $999.99 / £899.99 for the Pro Tal at retail price, with Kickstarter discounts. But, then again, tripods with high weight capacities and smart designs tend to sit at the higher end of the price range. Otherwise, I had relatively few complaints.

While the Peak Design Pro series is launching on Kickstarter today, the three that I tried were pre-production samples. They felt quite close to completion, but I’m holding off on my final verdict until then. For now, read the full Peak Design Pro tripod early review.

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Browse the best tripods, or the best tripods for travel.

LeoPhoto Japan is set to release glow-in-the-dark tripod feet on June 20. That’s according to Japanese website, Impress Watch. It also revealed that the accessories will be available with 1/4- or 3/8-inch screws, dubbed LF-13 (Firefly) and LF-22 (Firefly), respectively. The feet will have an approximate illumination time of 20 minutes, which suggests they’ll be most useful when setting up as opposed to keeping you from tripping up or jogging the tripod long into the night.

Imagery indicates that a green illumination will be available, but there’s no word on other colors. The LF-13 (Firefly) will weigh 15g and measure (L)41 x (W)26mm, and the LF-22 (Firefly) will weigh 49g and measure 45 x 38mm. Both are set to be priced at 1,650 yen, which is approximately $11 / £8 / AU$18.

I can’t help but wonder how visible these little feet will be in long grass, but it’s certainly an idea that should interest astrophotographers and other low-light creatives. A quick look on the web, and although glow-in-the-dark feet are definitely a thing for telescope tripods, I’m struggling to find them for the best tripods for photography.

Whether or not these accessories prove any easier than using a headtorch with a red light remains to be seen. But the way I see it, anything that makes your kit more visible at night can only be a good thing.

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Check out the best low-light cameras and the best star tracker camera mounts for astrophotography. Plus, here's how to photograph the full moon.

For years, hybrid cameras have catered to both still photography and video. But, Manforotto says a tripod hasn’t catered to both types of creatives – until now. The Manfrotto One Hybrid Tripod uses an unusually versatile center column to cater to tasks like flat lay photography and video transitions, all from one support system.

Manfrotto says that the One is the first tripod that’s designed for both photos and video, geared specifically for content creators who work in both formats. The Manfrotto One, announced on June 11, will be available in carbon fiber and aluminum variations and with or without the new 500X Fluid Video Head.

The key to the Manfrotto One’s versatility? The center column. Besides being used for added height like a traditional tripod, the center column can be used horizontally. That’s not just for flat lays for still photos, though. In the horizontal position, the center column can also rotate, a tool designed for creating video transitions. The center column can also be removed to allow for shots close to the ground. Manfrotto says the center column can also help level the shot without repositioning the legs.

Moving beyond that center column’s versatility, Manfrotto also launched a new quick release system, Xchange. Xchange is designed for quick swaps of the tripod head, allowing content creators to swap between setups like the tripod head and a video slider in less time.

The center column and new quick swap head system sit atop three oddly shaped legs that are designed specifically for both stability and resisting torsional movement when panning. The three legs self-deploy all at once and use flip locks.

With three leg sections, the tripod is 24 inches / 61 cm when packed, with a 67 inch / 170.2 maximum height and a 3.5 inch / 8.9 cm minimum height. The carbon fiber version weighs 4.3 lbs / 2 kg and supports up to 44 lb / 20 kg, while the aluminum version weighs 7.5 lbs and supports up to 33 lbs.

The Manfrotto 500X Fluid head supports up to 11 lbs / 5 kg and weighs 2.68 lbs / 1.22 kg.

The carbon fiber variant starts at $719.99 / £539, while the aluminum legs retail for $499.99 / £375. The Manfrotto 500X Fluid Head retails for $219.99 / £164. The legs and head will also be sold together as complete kits, at $679.99 / £519 for the aluminum and $879.99 / £669 for the carbon fiber. The tripods are available for pre-order now.

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Read about the best tripods, the best video tripods, or the best travel tripods.

Benro has earned an excellent reputation as a manufacturer of high-quality tripods and other supports, operating out of China since 1996. The Quick Rotation Lens Bracket that I’m reviewing here is typical of Benro’s innovative ideas and clever design work, the ‘dual’ edition taking over from the original. It aims to enable switching between landscape and portrait orientation shooting with ease, going up against some of the best L-brackets on the market.

Benro QRB95DUAL Quick Rotation Lens Bracket: Specifications

Benro QRB95DUAL Quick Rotation Lens Bracket: Price

Benro’s Quick Rotation Lens Bracket sells for around $90 / £90 / AU$199. I think that makes it quite a bargain, compared with much more basic tripod mounting collars that are sold for specific lenses as optional extras, and cost much more to buy. The Benro is comparatively sophisticated, with many parts that are precision-engineered to offer a wide-ranging solution for most cameras when using small to medium sized lenses. And naturally, large lenses come with their own rotating tripod collars anyway.

Benro QRB95DUAL Quick Rotation Lens Bracket: Design & Handling

You can often gauge the quality of equipment just by its look and feel, and that’s the case with this Benro bracket. All of the components are precision-engineered and immaculately finished in gunmetal gray. Even so, it can look a little daunting when you take all the bits and pieces out of their packaging and lay them out on the desk.

Let’s kick off with the part of the kit that sits under the lens and attaches to the tripod. Unlike the original version of the kit, the ‘dual’ version features a reversible plate. You can therefore attach it to the rotation arm either way up, enabling compatibility with either Arca Swiss clamps or a larger Manfrotto 501PL clamp.

The camera plate fits to the other side of the rotation bracket and is similarly well-crafted. It serves as an Arca Swiss compatible quick-release plate in its own right and comes complete with a clamp lock knob at one end.

The remaining main component of the kit is the rotation bracket. Again, it’s beautifully turned out, and this item features a lock/release lever for rotation. As is often the way, the lever is spring-loaded so that you can pull it out and relocate it on its shaft, putting it in its ideal orientation.

Allen screws are provided for fitting all of the parts together, and the Allen key for this can be stored in the rotation bracket, with magnetic attraction. In the image below, I’m securing the tripod-mounting plate to the bottom of the rotation bracket, in its Arca Swiss rather than Manfrotto 501PL orientation.

To ensure the axis of rotation is in exactly the right place, so that the viewing position doesn’t shift when rotating the bracket between landscape and portrait orientation, you need to center the lens within the collar. This is done by adjusting the height block accordingly.

The complete assembly is shown in the image below. There are actually two pairs of holes for attaching the height block to the rotation clamp. One enables use with cameras that have a distance between the base of the body to the optical center of the lens of between 36.7mm and 50.7mm, the other pair is for distances of between 65.7mm to 79.7mm. That covers most, if not all, eventualities.

Benro QRB95DUAL Quick Rotation Lens Bracket: Performance

Setup isn’t entirely straightforward but only takes a few minutes to complete. The trickiest bit is ensuring that your lens is exactly centered within the rotation bracket, but even that’s not a major challenge. As I’ve mentioned, the calibrated scale on the height block enables you to keep a note of the settings if you’re using the bracket with multiple outfits.

A simple twist of the lock/release lever is all that’s needed to enable rotation of the camera within the bracket. Unlike using an L-bracket, you don’t have to disconnect the camera from the tripod and remount it again. A further bonus is that rotation is silky smooth throughout the full extent of 90-degree movement.

Up on top of the rotation bracket there’s a cold shoe for mounting extras like a flashgun or LED lamp. There’s also a 1/4in threaded hold for adding other accessories, further enhancing the versatility of the bracket.

Another little bonus is that the rotation bracket has calibrated markings at 15-degree intervals, between 0 degrees (landscape) and 90 degrees (portrait). It can come in useful if you need to replicate shots that you took earlier.

Benro QRB95DUAL Quick Rotation Lens Bracket: Verdict

There’s a little time and effort involved in setting up the Benro QRB95DUAL Quick Rotation Lens Bracket to suit your camera but once it’s done, it’s done. It fulfils its brief by enabling quick and easy rotation between landscape and portrait orientation, and anything in between, while keeping the weight of the camera centered on the tripod. I hate the way that if you rotate a camera that’s fixed directly to a tripod head for portrait orientation shooting, the weight shifts off-axis. Another upside is that you can orient your camera in portrait mode with the shutter button at the top so it feels natural, with no risk of the camera working loose on its mounting screw. All in all, it’s a smart bit of kit that’s well worth the money.

Alternatives

Traditional monopods use flip or twist locks to adjust each leg section, but a new monopod series from the Hong Kong-based Coman height-adjusts all four sections in seconds with the press of one handle.

The Coman Go M1 series is a line of monopods with one-click height adjustments that reach heights of more than five feet without extension tubes.

The Go M1 isn’t the first monopod line to height adjust from one control, but the company says that it’s the first four-section one-key tripod to do so – enabling the M1Pro V5, the largest in the series, to reach a height of 5.74 ft / 1.75mm.

The three monopods in the series also include the M1S, which reaches up to 5.42 feet / 1.66mm, and the M1V5, which reaches up to 5.58 ft / 1.77mm.

All four leg sections adjust in under a second, according to the company. Pressing the release button while pulling up the handle adjusts the height of the tripod without needing to separately adjust each leg section.

ABOVE: Watch the Coman M1 launch trailer

The flagship model, the Coman M1 Pro V5, also uses a foot pedal inside the support feet to release the monopod and enable the monopod to tilt, allowing for camera movement beyond the capabilities of the included fluid head.

A control at the foot also enables creatives to adjust the range of movement of that foot.

That foot also has a quick release that enables the head to work with the foot and without the leg sections for a tabletop mini tripod that shoots from heights as small as 10 inches / 25.5cm.

That fluid head supports 360° horizontal movement and 90° pitch adjustments and includes a retractable video head handle. The monopods are also designed to work with gimbals, with the V5 variants’ quick-release plate working with DJI RS2-4 stabilizers. The monopod can also double as a rocker arm for gimbals.

All three tripods can handle up to 44.1 lbs / 20kg of gear or 17.64 lbs / 8kg with a load-bearing hydraulic gimbal.

But there are a few key differences between the basic M1S, the mid-tier M1V5 and the M1Pro V5. The M1Pro V5 has the foot pedal and quick release to use the head with the support feet as a tabletop tripod, while the other two do not.

The Pro variant also uses a fluid head with a quick-release module. The M1V5 uses just the fluid head while the M1S uses a bowl head. The M1S uses an Acra-Swiss-style quick-release plate, while the pair of V5 models use Manfrotto-style plates.

The monopod’s carbon fiber construction is designed to help keep the camera support’s weight down, with the M1S weighing in at 3.85 lbs / 1746g, the M1V5 at 5.08 lbs / 2306g and the M1Pro V5 at 5.51 lbs / 2500g.

The Coman Go M1 series launched on Kickstarter in March, but the campaign has already reached more than $140,000 / £100,000 / AU$210,000 in funding, well exceeding the original $5,101 / £3,783 / AU$7,907 goal, with the campaign open to backers until June 14.

All crowdfunding projects come with risks, but the company has already shipped out the first two batches to early backers.

Backers can get as much as 50% off the expected retail price, with the early rewards for the M1S going for $199 / £147 / AU$306, the M1 V5 for $319 / £235 / AU$490, and the M1 Pro V5 $349 / £257 / AU$536.

Editor's note: As with all crowdfunding projects, there is no guarantee that the final product will match the early depictions in the campaign – or that the final product will be completed or delivered at all. DCW does not endorse this or any other crowdfunding campaign.

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ChromLives might be a name you’ve never heard of but it crops up on Amazon in many countries around the world. It’s a Chinese manufacturer of camera brackets and grips, phone mounts, articulated boom arms, lens cap straps and more besides. The item I’m reviewing here aims to be among the best L-brackets and is certainly one of the cheapest, but probably isn’t what you’re expecting.

ChromLives Camera L Bracket: Specifications

ChromLives Camera L Bracket: Price

I’ve recently reviewed the 3 Legged Thing Zelda QD, a dedicated L-bracket for various Nikon cameras. It’s typically L-shaped and very well presented, with an asking price of $100 / £90 / AU$210, which is entirely reasonable. The ChromLives bracket is a more or less L-shaped piece of metal with some add-ons but only costs $12 / £12 / AU$45. Bargain? Let’s see.

ChromLives Camera L Bracket: Design & Handling

I thought I knew all about L-brackets for cameras, having reviewed a number of competing dedicated and universal examples of the breed. The premise is always the same. It’s an L-shaped bracket that fits to your camera with the long side along the bottom and the short side up the vertical. Arguably more of an L lying on its side. The idea is that you can quickly and easily take the bracket off your tripod head, rotate it through 90 degrees, and pop it back on again.

The main advantage is that the center of gravity remains, well, ‘centered’ for portrait as well as landscape orientation shooting. Further bonuses are that the position of the lens remains unchanged when switching between landscape and portrait orientation, and if you like portrait mode shooting with the shutter button at the top, you don’t risk the camera coming unscrewed on its mounting plate. None of that is what this L-bracket is all about.

For starters, you can leave your tripod at home. The ChromLives L-bracket is built around a sculpted hand grip which is comfortably grippy. It’s a bracket that serves as a handholding tool for shooting stills and is perhaps even more suitable for shooting video.

The bottom section (at least if you’re shooting in landscape orientation) is quite long and features a slot that runs almost its entire length. Through the slot fits a standard 1/4in locking screw that connects directly with the tripod mounting socket of your camera. So instead of having the likes of an Arca Swiss plate for mounting the bracket on a tripod, you attach the camera to the bracket and hold it in your hand by its rubber grip.

The shape of the bracket is less of a classic L shape, more a series of angles at about 45-degree intervals that see you through four stages to a total of 180 degrees. The first turn transitions from the base to the rubberized grip. The second steps up to the first of two cold shoes. I’m particularly impressed with these. Following the aluminum theme set by the main bracket itself, the cold shoes have a robust metal build, complete with a clamping mechanism and locking screw. Suffice it to say I’d trust them with an expensive flashgun or other accessory.

The two cold shoes are set at 90-degree angles to each other. One is at right angles to the camera, the other is directly above it. This gives the versatility of fitting, say, a flashgun or LED lamp so that it’s significantly higher but on the same axis as your camera, the other enables the light to be positioned directly above the camera if you’re shooting in portrait orientation. It’s a neat way of achieving off-camera flash (or other lighting) without having to hold two different bits of kit, one in each hand.

ChromLives Camera L Bracket: Performance

The rubberized hand grip of the aluminum bracket feels comfortable, and the long rubberized bottom plate fits securely to your camera. The result is that the clamp feels solid and reliable when you’re using it for handheld shooting.

For when you’d like additional height between the camera and flashgun, for example to minimize the risk of red-eye, you can use the top cold shoe, as shown below. However, you’re likely to need a remote trigger or flash able if your camera and flashgun don’t support standalone remote flash triggering.

In the example image below, I’ve attached my flashgun to the side cold shoe instead. You can still use this configuration in landscape orientation shooting, if you want to fire light in from the side rather than from above. Alternatively, if you rotate your camera for portrait orientation shooting, the flash will be directly above.

ChromLives Camera L Bracket: Verdict

With it being so cheap to buy, the only real questions regarding the ChromLives Camera L Bracket Mount Video Grip are whether it’s any good or not, and whether it’s actually useful. It’s actually quite nicely made using aluminum for the main bracket, a rubberized grip and very sturdy cold shoes. So yes, it is actually rather good and works well. Whether you’d actually feel the need to use it or not is a question that only you can answer. It’s going in my drawer of random bits of camera kit for the time being, and I can’t imagine I’ll be getting out again any time soon.

Alternatives

Manfrotto is a company that needs no introduction. The Italian outfit has been responsible for some of the most legendary tripods and other photographic supports since 1974, moving into other areas of design and manufacture for the likes of backpacks and various accessories more recently. The Q2 L-bracket is designed to enable you to quickly swap between landscape and portrait orientation shooting. It’s adjustable to fit different cameras but certainly isn’t ‘universal’. The lack of complete adaptability makes it struggle to be one of the best L-brackets that you can buy.

Manfrotto Q2 L bracket: Specifications

Manfrotto Q2 L bracket: Price

As L-brackets go, the Manfrotto Q2 is pretty pricey at around $147 / £129 / AU$288 at the time of writing. Even so, it’s ideally suited to big and chunky pro-grade cameras, so the price is likely to be in keeping with other accessories you might buy as part of a high-end kit.

Manfrotto Q2 L bracket: Design & Handling

The Manfrotto Q2 L Bracket is supplied as a kit of parts, intending to enable you to fit it to a wide range of cameras. The components include the L-bracket itself, an Allen key for making adjustments, a longer version of the screw that adjusts the side plate, and a Y-shaped ruler for lining everything up.

Attaching any of my cameras to the Q2, I immediately ran into problems. The supplied ruler enable you to measure the distance from the bottom of the lens to the horizontal, base section of the L-bracket. The idea is that you move the camera laterally so that this distance is the same as that between the lens and the side arm of the L-bracket. I tried three different mirrorless cameras and found that even with them moved over as far as possible towards the side arm, the distance to it was significantly greater than to the bottom section.

I started to wonder if the poor fit was something to do with mirrorless cameras being smaller. After retrieving my ancient Nikon D300 DSLR from the attic, I found exactly the same problem with that camera. It’s then that I noticed that the step-by-step setup guide that comes printed on a sheet of paper with the Q2 uses a ‘pro-grade’ camera with an integral vertical grip in all the illustrations. These naturally have a taller build with a significantly greater distance between the bottom of the lens and the bottom of the camera body.

If you’ve got a sufficiently large camera that you have to actually move it away from the side arm, there’s an additional security feature. This is in the form of a side plate which is mounted on a screw and extends sideways from the bottom of the side arm. You simply adjust its fixing screw so that it extends towards the camera body and clamps up against it with its protective rubber pad. This also ensures that the horizontal positioning of your camera remains the same if you remove it from the L-bracket and subsequently refit it.

Getting back to measuring things up, the supplied ruler has a Y-shaped design. That’s so that you can fit it up against the bottom and side of the lens successively and adjust the bottom quick-release plate so that the distances are the same. That’s the theory, at least.

The next step is to place the ruler at the side of the lens, make sure the ruler is level, then use it as a guide for placing the quick-release plate of the side arm. The goal is that the optical axis of the lens is centered. This ensures that the lens remains at the same position on the horizontal axis when swapping between landscape and portrait orientation shooting.

Tightening the quick-release plates brings up another issue with compatibility. The L-bracket uses proprietary Manfrotto 200PL-14 quick-release plates. They’re naturally compatible with a wide range of Manfrotto tripod heads, but not all of them. However, Arca Swiss has become much more of an industry standard and, if you don’t use a Manfrotto head with this particular type of quick-release clamp, the L-bracket will be incompatible.

Little extras include a safety peg, which pulls out and rotates after loosening an Allen screw with the same sized head as the others, so everything works with the same Allen key. On one end of the base section there’s also a bubble level, although it naturally only works when the camera is in portrait orientation.

Manfrotto Q2 L bracket: Performance

The Manfrotto Q2 L-bracket is certainly tough and sturdy. The main body of the bracket is machined from a single piece of magnesium alloy and has a mighty 15kg payload rating. That’s an overkill really because if you’re using a big heavy lens, it’ll have its own rotational tripod mounting collar anyway, helping to give a much better center of gravity. Either way, the Q2 is certainly very strong and resistant to any flexing or wobble, whatsoever.

When it comes to switching to portrait orientation shooting, the Q2 covers half the brief. It’s quick and easy to remove the bracket from the tripod head, rotate it through 90 degrees and mount it back on again. The camera feels equally well balanced on the head, with the shooting button at the top so it feels natural, and without any risk of the camera loosening on its fixing screw. That covers most of the attraction of using any L-bracket, but not all of it.

For me, the only real problem is that all of my cameras have a fairly small distance from the bottom of the body to the lens mount, as they lack a built-in vertical grip. I can adjust the side arm’s quick-release plate so that the same lateral position is maintained when switching between landscape and portrait orientation shooting. However, the height changes. Sure, it doesn’t change very much but the optical axis rises noticeably when swapping from landscape to portrait, and that’s a major minus point for an L-bracket, as far as many photographers are concerned.

Manfrotto Q2 L bracket: Verdict

The Manfrotto Q2 L Bracket is certainly tough and dependable, its body being made from a single piece of magnesium alloy with a load rating of 15kg. It succeeds in making it quick and easy to swap between landscape and portrait orientation shooting, as well as maintaining a good balance for your camera on the tripod in both situations. There’s a flaw, however, in that there’s not enough latitude in the ‘universal’ adjustment to maintain the same optical axis when rotating the bracket through 90 degrees. On top of that, the proprietary Manfrotto 200PL-14 quick-release plates aren’t even compatible with all of Manfrotto’s tripod heads, let alone those of other manufacturers. All in all, it’s a good L-bracket but only ideally suited to a relatively small number of users.

Alternatives

Rock up to an air show with your heavyweight camera and telephoto lens combo and you might be in for a tiring and uncomfortable day out if you’re shooting handheld. The same applies to photographing birds, wildlife, action, sports and anything else that involves tracking movement for long periods of time. That’s especially true if the object you’re tracking is moving up and down as well as from side to side.

One solution is to use a monopod but, if you’re like me, you’ll find that while it supports the weight of a heavy lens, tilting and panning feels less than intuitive. Engineered to be one of the best gimbal heads on the market, the Benro GH5C sets out to transform your shooting experience with heavy lenses, effectively making them weightless while enabling a full and fluid range of movement. It’s almost like an anti-gravity machine.

Benro GH5C gimbal head: Specifications

Benro GH5C gimbal head: Price

Good gimbal heads don’t come cheap and this Benro is one of the more expensive examples of the breed. Even so, I feel that the selling price of around $435 / £485 / AU$900 is very reasonable, given the exotic carbon fiber construction, which sets it apart from the usual aluminum or magnesium alloy fare.

Benro GH5C gimbal head: Design & Handling

Benro has been in the business of making tripods for almost 30 years. Naturally, a good set of legs isn’t much use without a smart head and, sure enough, I’ve been impressed by Benro’s range of tripod heads which often combine design flair and innovation with quality materials and precision engineering, like the Benro GD3WH Geared Head and Benro FS20PRO Video & Foto Head. The GH5C that I’m reviewing here is very different from both of those, firstly because it’s designed as a gimbal head for heavyweight telephoto lenses, and secondly because it’s made from carbon fiber.

The Benro comes out of its smart blue retail box with fitted foam insert in two pieces, plus a bag of bits. The bag of bits in question includes a couple of extra 1/4in fixing screws for the quick-release plate, a 1/4in to 3/8in adapter (more on those later), an Allen key and an instruction booklet. The two main components of the gimbal head are easy to join together in no time at all.

Once you’ve joined the two separately packed pieces together, the gimbal head is pretty much ready to roll but I couldn’t help taking a few minutes to be thoroughly impressed by the look and feel of its carbon fiber construction. Akin to a specialist automotive part from a top-spec racing car, the Benro is more lightweight than it looks and doesn’t feel cold to the touch, unlike metal gimbal heads. That can be a big bonus in terms of handling if you’re out on a long shoot in chilly weather.

Typical of Benro kit, this gimbal head has blue accents and, starting at the bottom, these include the panning base. It’s calibrated through its whole 360 degrees of operational movement, with numbered markings at 15-degree intervals and incremental lines every 5 degrees.

At the back of the lateral section of the main L-shaped arm is the lock/release knob for the panning clamp. It’s comfortably large and rubberized for a secure grip, and requires very little rotation for locking off the base plate or enabling panning.

Another feature that’s highlighted with a blue accent is the top of the panning mechanism on the base of the main L-shaped arm, which includes a bubble level. This can come in handy for leveling the legs of your tripod before you start shooting, especially if you’re working on tricky and uneven terrain.

The swinging arm is again calibrated, this time in millimeters along its vertical height. If you’ve got a good memory for numbers, this enables you to quickly and easily return to the ideal height adjustment for your lenses, so that the height is centered in line with the tilting pivot at the top of the gimbal. The tilt mechanism has a similar lock/release knob as the panning mechanism, but this time it’s larger and placed at the top of the main bracket instead of at the bottom. Again, that’s the typical convention for gimbal heads.

The bracket for holding the lens via its tripod mounting collar and foot has an Arca Swiss type quick-release plate. I like that the plate is relatively long, making it possible to fine-tune the balance for long lenses when they’re fitted. Again, there are calibrated markings along the top of the bracket, which you can use as a ready reference when refitting the same camera and lens combo.

If you’re in the habit of panning vigorously in an anti-clockwise direction, you might have experienced the mounting foot of a lens’s tripod collar working loose on its quick-release plate. Those additional fixing screws that I mentioned earlier can help to avoid the problem, as some large lenses have multiple threaded fixing holes in their tripod feet, and you can use the 1/4in to 3/8in adapter for one of them if the foot has large and small sockets.

Benro GH5C gimbal head: Performance

You can lock off this Benro gimbal head so it’s solid and stable, and simply won’t budge. The carbon fiber build is an additional asset, as it’s resistant to vibrations. However, that’s not really the point. The whole idea of using a gimbal head is to enable a free range of movement, and it’s here that the Benro really excels. I tested it using a Nikon Z6 II and Nikon Z 180-600mm f/5.6-6.3 VR telephoto zoom, with a combined weight of 2,845g / 6.27lb.

Spend a little time and effort ensuring that the lens and its attached camera body are properly balanced front-to-back, and that the center of the lens along its length is in line with the upper pivot. You’ll then be richly rewarded with an effectively weightless heavyweight lens that you can tilt and pan with the touch of a finger and no effort whatsoever. Performance is simply superb, with a wonderfully smooth and fluid feel in both lateral and vertical planes. There’s also full 360-degree rotation on offer in both planes, although unlimited tilting relies on the lens being short enough to clear the base of the main arm.

Benro GH5C gimbal head: Verdict

I think the Benro GH5C gimbal head is a fabulous bit of kit. It gives solid, sturdy support and really comes into its own for enabling freedom of movement with big, heavy lenses that attach via tripod collars. With the front/back adjustment balanced and the lens positioned on the level with the upper pivot, the Benro enables wonderfully responsive movement in what essentially becomes a weightless setup.

Alternatives