Earlier this year, I had the pleasure of attending the Sony World Photography Awards (SWPA) 2026. During the evening ceremony where this year's victors were announced, I met Will Burrard-Lucas, an award-winning wildlife photographer whose work I was already familiar with.

Burrard-Lucas took home another award that night, the SWPA 2026 wildlife and nature category, with a series of photos of a rhino, giraffe, elephants and more in Kenya's Maasai Mara National Reserve, captured with remotely-triggered Canon DSLRs. He filled in the blanks for me on how he created these photos — and you can read that interview in full.

He used his self-developed infrared camera 'traps', which can wirelessly connect to a pro-grade camera — Burrard Lucas actually recommends old DSLRs — and trigger the shutter when motion is detected, and which are available on his own website.

These sophisticated devices are called Camtraptions, and their automated function sounded much more appealing than my prior rudimentary setups for garden wildlife photography, which required a lot of involvement on my part that I didn't necessarily have the time or patience for.

And so, I cheekily requested to try out these Camtraptions devices for myself, and Burrard-Lucas happily obliged, sending me a full kit that I planned to test in my garden at home. Could I photograph next-level garden wildlife photos with this newfound setup? I'm here to share my experience.

What is a 'Camtraptions' camera trap sensor and how does it work?

Cameras that use infrared to detect motion and in turn take photos or videos, remotely capturing the action, are nothing new. Two popular examples are budget trail cams and bird feeder cams, and you're not short of choices for either type.

The problem with these convenient devices is the quality they produce; they tend to take JPEG photos just 2-3MB in size and HD video, using a tiny imaging sensor through a sub par lens. In short, they are highly convenient, but image quality is poor. These rugged devices are designed to be left on location for long periods for monitoring purposes — but no serious photographer would prize the quality of the photos they take.

For high-quality and intimate images of wildlife fit for photo contests, that you simply couldn't capture in person, a Camtraptions Passive Infrared (PIR) device with reliable remote capture, paired with a pro camera, could be the ticket.

Burrard-Lucas actually recommends old DSLRs when photographing wildlife remotely using his Camtraptions PIR devices, because he tends to leave the camera on location for months at a time, and these cameras represent a sensible cost to quality ratio. They also work reliably with flash.

There are plenty of great value secondhand options at leading retailers such as MPB (UK) and Adorama (US), but I already had my own Nikon D800 in mind — a 36MP full-frame model from 2012 that I hadn't used for over two years.

The Camtraptions device loaned to me uses infrared to detect motion and wirelessly trigger the camera using its built in transmitter. You simply connect a separate Camtraptions receiver unit to the camera and sync the pair on the same channel. There are detailed manuals on the Camtraptions site — the one I needed being a full 85 pages!

Camtraptions have been developed over years and the most recent is the V4, which is packed with handy features; near and far infrared range options, doors that can narrow the otherwise wide scan area to a focused spot, multiple frames per second triggering and so on.

Ultimately, I breathed new life into my otherwise out of action Nikon D800 and F-mount lenses, setting it up on location in my garden over warm, rainless summer months, in the hope of capturing garden wildlife photos otherwise not easily possible.

My first test — daytime bird photography

I started out with the simplest setup of all; my tripod-mounted Nikon DSLR with 70-200mm f/2.8 lens and the Camtraption device on another tripod. They were a few feet apart, both pointing at an old branch I had collected, which was baited with bird seed.

Because birds are fast moving creatures, I selected a 1/500sec shutter speed, f/9 aperture for sufficient depth of field with the full-frame sensor and 200mm focal length, and auto ISO with a maximum ISO 3200 sensitivity to cover daylight and dawn / dusk. I dialled in -0.7EV exposure compensation, and otherwise left the camera to calculate exposure with that -0.7EV latitude for keeping highlight detail on a bird's bright plumage in sunkissed scenes — better to brighten an image later than suffer highlight clipping.

I placed the setup in a spot of my wild garden that I know is already popular with birds, and I kid you not, a few hours later, having carried on with my day job writing camera articles like this, I returned to the camera to find dozens and dozens of perfectly composed shots of the common birds that frequent my garden — I've added some of my favorites, below, including some moodier shots at dusk.

Besides setting up the scene and the gear, I had no involvement, and came away with multiple keepers. This was too easy, so I gave myself a trickier challenge; nighttime garden wildlife.

My second experiment — nighttime with flash

Deer, foxes and badgers visit my rural garden from time to time, especially in the quiet and nighttime hours. My Birdfy Bird Bath Pro inadvertently recorded a deer munching on a bush in the background at first light one morning, while I recently saw a badger scuttle across my driveway as I pulled in late at night. However, I've never got even close to photographing these creatures.

The first challenge was one pretty much out of my control; knowing where to place the camera and Camtraptions gear. That's because there were no signs of regularly trodden trails, gaps in foliage or dug up routes underneath fencing where I could be confident of capturing the action. No, I had to hedge my bets, and our garden is wild and fairly open.

I opted for visualizing and composing the shot I wanted — a narrow opening between bamboo, where I hoped that wildlife would walk through — and added a little incentive of the culinary persuasion (badgers love peanut butter).

Next challenge was a technical one; lighting. Setting up the gear for the twilight and evening hours outside of bright daylight meant I needed to rely on flash. Flashguns can be purchased at the Camtraptions site, along with the compatible wireless receivers. (Camtraptions wireless receivers and transmitters effectively work in the same way as regular flash triggers from other brands, and are competitively priced.)

So, this nighttime version was more complex than my previous setup, adding two tripod-mounted flashguns each fitted with remote receivers, plus a remote transmitter to the camera which is already fitted with a receiver to accept the signal from the Camptraptions device. It's a chain of command: Camptraptions camera trap sensor transmits to camera which transmits to flash guns.

That's a lot of batteries, by the way, and I needed to splash out for additional ones before I could get started. Each wireless receiver / transmitter required 2x AAA batteries, the flashguns 4x AA batteries each, while the Camtraptions camera trap sensor took 6x AA batteries in a custom FZ casing (but which is compatible with various Sony FZ batteries). In total, I had 22 rechargeable batteries on the go.

Exposure is slightly more complicated, too. I set the camera to 1/200sec — the top speed I could use for synchronizing flash and camera, and the minimum I would want to freeze the action fully — the aperture to f/10, and ISO to Auto with a maximum ISO 3200 given the age of my camera and it's relative poor low light performance. If trying this type of setup out for yourself, do check your own camera's max flash sync speed.

Then in situ in the garden, I took the time to photograph a test subject (me) to ensure the flash power and camera exposure settings were nicely matched for punchy results with a little bit of background detail, as opposed to a fully black background. In this case, the ideal setting was a manual 1/32 strength for the front flash, and 1/64 strength for the rear flash.

I used a wider angle lens than my prior test — a 35mm f/1.4 optic — given I was hoping to photograph larger creatures, and I wanted a closeup wide-angle look that I've rarely achieved, rather than a distant telephoto position. I tweaked composition and so on and lined up the Camtraptions device with its doors narrowed in order to trigger the camera once a creature had walked into a specific part of the frame.

That's the beauty with remote trigger photography — you spend your efforts composing a beautiful shot by visualizing it ahead of time, helped by the Camtraptions camera trap sensor's fine-tuned range. The hard work is put in before, rather than reacting to a moment. Sure, I'd rather the rush of seeing an animal first hand and that feeling of pressing the shutter, but this new technique didn't feel so different — the rush comes later when you revisit the camera to see what you've photographed.

I eagerly returned to the camera after night one, hit the playback button and...a handful of wild rabbit photos appeared. Although I didn't manage to photograph any of the larger mammals that I had hoped for, the technical quality was there — good lighting and rich detail (see below).

That's not bad for my first night with an automated camera setup, and of course I tried again, especially since I could leave the camera gear in situ — it was no extra effort on my part.

I rechecked the battery life of the camera, flashguns and Camptraptions device (which were still full), walked into the Camtraption's infrared scan area to check all the devices were still communicating, and sure enough the camera fired off some shots with both flash guns, so all good on that front, and then left the devices for another night.

More rabbits. Not that I'm complaining. I was going to need patience, but when you have an automated setup like this, time is on your side. And at that rate, I estimated that battery life on the devices would be good for around a month.

I fiddled about with some bamboo cuttings to disguise the camera gear a little better, and with no rain forecast for the following couple of weeks I left the devices be. Of course, for wet weather I would need to protect the gear from the elements, even with rudimentary solutions such as clear plastic bags and cable ties (through which the flashguns would still work fine).

I haven't got the photo I hoped for yet, but I'm confident that I will. And if anything else, I've breathed new life into my old Nikon DSLR gear. The quality of the photos I already have is streets above a regular trail cam, and the basic costs of the setup is pretty reasonable. I might have just found my next photography obsession.

We'd love to hear from you

Burrard-Lucas' Camptraptions gear combined with DSLR camera gear and all the necessary supports and power sources is pretty pricey compared to a regular cheap trail cam, but you're getting reliable gear and professional results fit for a portfolio and, with the right environment and subject, potentially even contest worthy. In that respect, I think it's excellent value.

On that note, I'd love to hear from you — have you had any joy photographing garden wildlife photography? How did you get the pictures that you're happy with? You can share your experiences in the comments section.

I'm constantly on the hunt for spare batteries for my Sony Alpha a6000 APS-C camera, and now I think I've found the perfect Amazon Prime Day deal on compatible batteries and chargers. The llano 2-Pack NP-FW50 Batteries and Fast 18W Dual Charger offers two batteries and a charging case is just $54.99 (was $69.99).

At 21% off, this sounds like a fantastic deal, but I also have a complicated history with my Sony cameras and the batteries I can use.

• Browse all early Prime Day deals at Amazon

It's been 16 years since I first started using a Sony Alpha. First, the NEX-5 (until the display died on the viewfinder-less body) and then the exquisite Sony Alpha a6000. Paired with my 200mm lens, they've been the perfect setup for my bird and astrophotography. But I've struggled with the batteries.

The Sony-brand Lithium-Ion rechargeable batteries that shipped with the NEX-5 worked with the a6000 I bought second-hand (new, the a6000 will run you almost $1,000), but eventually they stopped holding their charge, and I balked at the $70-per battery for the Sony-branded replacements. After all, I could easily find cheap knockoffs on Amazon (Prime Day or not) for as little as $26 for two (including a charge base!).

It's not unusual for me to wait until Amazon Prime Day to pick up a couple more replacements, and so that's how I stumbled on this llano deal. The two packs of batteries and a charging case that includes both a screen readout to tell you the charge level for each battery and a pair of SD card storage slots (not readers!) for just $54.99 is quite a deal.

Granted, the box offers no extra battery power, which means that if you want to charge the batteries, you do have to plug it in, but after that, you can just take the case with you. It's an efficient way to store and transport the batteries and to know at a glance, which one has enough charge for a day of use. The included batteries do, by the way, also support other compatible Sony cameras, including my old NEX-5, the NEX-7, A3000, A5000, A64000, along with other Sony camera models.

It's also worth noting that Ilano ships the same system in multiple versions for different batteries types, covering some of the best Canon, Fujifilm, Nikon and other Sony cameras (I've included shopping links to other Illano versions, further below).

The big caveat here is that these third party batteries are not usually as good or long-lasting as Sony originals. One thing to note is that while the llano batteries are listed as 9 volts, the Sony original is a 1,020mAh battery. In my experience with knock-off batteries that are often manufactured in China, they lose their ability to hold a full charge more quickly and dramatically than the Sony batteries.

Part of this has to do, I think, with the less sophisticated charging bases many of them ship with. In all fairness to llano, they usually don't look like this. They're not closable cases with LCD readouts, just one to three open bays where you drop in the batteries.

Ultimately, you will spend less and may have short-term relief for your Sony Alpha battery issues (nothing like having a pocket full of batteries on a long shoot), but you should not expect these batteries to perform long-term, like Sony originals, which, by the way, I have never seen included in Amazon Prime Day sales.

More Prime Day deals in the US

• Amazon Devices: Fire Sticks & Echo from $18
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I've worked as a pro photographer and tech journalist for two decades, and that means one thing: I own a ludicrous number of camera bags. No one bag can do it all, am I right?

From day packs to travel cases and huge outdoor backpacks, I have bags to cover every single one of my always-changing photography needs. And I recently discovered a new favorite for causal photography days, the Wandrd Prvke V4.

What caught my eye in the first instance was the bag's attractive looks. In contrast to most alternatives, it's really a stylish roll-top backpack — the kind I regularly see when commuting — that just so happens to be kitted out to securely store camera gear, with quick side access.

I have the V4 21L Photo Bundle version, which includes an insert with padded compartments for camera gear, and features that roll-top upper compartment. Provided my gear for the day fits, the Prvke is my go-to camera bag.

It's a pricey bag, mind you. My 21L Photo Bundle version costs $319, the 15L version is $279, and the largest 31L (Photo Bundle) is $339. Ouch.

As such, I just had to share an amazing deal with you — 50% of the previous V3 version. The Wandrd Prvke V3 Photo Bundle 21L is now just $149 at B&H Photo. There are a couple of small caveats — that superb price is for the all-black version only (see below).

It's not the latest version either — that's the V4 that I have, which was released in 2025. I haven't directly compared the two versions, but there are plenty of tech reviewers that have, and the overall consensus is that there is little to differentiate between the two bags.

Wandrd itself spelled out the upgrades, but actual users suggest that the V3 remains a better bag in some ways. I do, therefore, still feel comfortable recommending this Wandrd Prvke V3 deal.

For further alternatives, be sure to check out my best camera bags guide.

Today's best Wandrd Prvke V3 deal

I don't know about you, but my fridge at home is decorated with numerous snapshots of family and friends spanning many years, precariously fixed in place with souvenir fridge magnets. It's into this mix that I've recently added a few Vidabay Snaps.

A Vidabay Snap looks like an instant-film print, but it is in fact a tiny, magnetic E ink display. So, unlike an actual print, you can change the picture displayed and easily attach it to a range of surfaces.

It's optimized for iPhone (and compatible with various Android devices), and any image from your gallery can be uploaded via the (free) Vidabay app using NFC, whenever you like.

Think of Vidabay Snaps as, like, tiny digital photo frames, just set within a Polaroid-style border, and with an E Ink display that's much more basic than the fabulous Aura Ink.

Vidabay Snaps are available from the Vidabay website in white, black, yellow or red (see below), with prices starting at $29.99 for a single Snap (was $35.99) or $86.99 for a pack of three (was $99.99). Vidabay ships to most regions, including the UK and Australia, and price is calculated at checkout.

A genuine instant print from the likes of a Polaroid Go Gen 3 or Fujifilm Instax Mini 13 costs around $1 / £0.80 / AU$1,50 a go — much cheaper than a Vidabay Snap. Even pricier (and larger) formats like Polaroid I-Type are around $3 / £2.50 / AU$4.50 per print, while regular photo prints from the lab are typically the cheapest of the lot. However, the image on a Snap can be changed as often as you like.

I have a small collection of the best instant cameras, and am not short of instant prints to put on my walls (and fridge). And now that it's been a month since I got my Vidabay Snaps, I can tell you they don't hold the same magic as an instant print.

My experience using Vidabay Snaps with an Android phone has been mixed, which I'll unpack next, but there's one fundamental flaw to the product — the frames don't display the color blue (not for me, anyway), which is very limiting for color images.

However, I can totally appreciate these neat, low-cost E Ink devices for what they are, and the concept is pretty well executed. And even though they feel pricey compared to prints, I believe Vidabay Snaps are great little gifts. Let's take a look at how they work.

How to get started

To get started, you need to pair a Vidabay Snap with your NFC-enabled device — they're optimized for iPhone, but I've done the whole process with an Android phone. Once that's done, you select the desired picture from your phone's gallery, choose the paired Snap, and then hold the two devices together to upload to the frame.

Using a recent Oppo Find X9 Ultra phone, I found the NFC connection for image uploads — which takes around 30 seconds to complete — exceptionally fiddly, but persevered for around 15 attempts each time before my first success.

The trick is locating NFC in your device, and Vidabay does point out that not all Android devices will work. The company says there's a Bluetooth dock on the way, which will simplify the process and widen compatibility for Android. Until then, you'll need to check with Vidabay if your device is compatible. I haven't tried a Snap with an iPhone, but I imagine the process will be much easier.

The Snap's display flickers as the uploading image appears, and then there you have it — a lo-fi E ink (aka E Paper) image in a handy magnetic display.

E ink displays like this are typically lo-fi — don't expect fine detail or a vibrant and wide color range. Quite the opposite, they don't even display the color blue, meaning that in a photo of my son with two teammates in their blue-and-black-striped soccer gear, the jerseys were essentially monochrome. You can imagine what happened when I attempted to load a photo of a sailboat out on the water on a sunny day. The screenshot (above) demonstrates the difference in quality between an original image and how it appears loaded on a Snap.

I picked up five Vidabay Snaps and had mixed success. Three of the five loaded fine (after several attempts); the other two refused to load in color, period, and I eventually gave up.

The app could also do with some work; there's no way of recomposing / cropping the photo within the square frame, nor can you rename a frame once it's registered. I had five frames all identically named, making it extremely difficult to track which frame was which in the app. Writing a number on the back of each one with a Sharpie was my solution.

Each Vidabay Snap has a magnetic back for attaching to surfaces like a fridge. It's also fitted with NFC for image uploads and charging. Being a tiny E Ink display, it consumes next to no power – a true lo-fi product. An individual Snap can be purchased with a leatherette tag to attach to something like your bag, and this bundle costs $48.99.

If you have that sentimental person in your life who happens to be an iPhone user, then Vidabay Snap is an easy, low-cost gift recommendation. Until the Bluetooth dock lands and it proves to address my user experience issues, I'm hesitant to recommend the product for Android users.

• Peak Design’s new bag series, initially exclusive to Kickstarter backers, is now available to all
• The new range consists of two backpacks, a crossbody sling bag and a duffel-style bag — and the new 2-in-1 backpacks look particularly interesting
• All are carry-on friendly, and compatible with Peak Design’s Camera Cubes

Travelling with photography gear can be a huge pain. Whether you’re someone who carries multiple camera bodies and lenses, or keeps it light with a single slim compact, keeping your gear safe and protected is hugely important and can be a great source of stress.

Step in Peak Design’s new series of travel bags for photographers, funded on Kickstarter and on general sale from today, which looks like it could be a great solution for a host of different types of photographer. The series consists of two backpacks, a crossbody sling bag and a duffel-style bag — and as someone who’s looking for a better travel solution for my cameras, one of the backpacks has grabbed my attention.

The Travel Backpack 2-in-1 ($399.95 / £349.99 / AU$$779.95) consists of a 34L main backpack and a standalone 16L daypack, which can also be zipped into the main bag for a combined 40L of capacity. I’m someone whose gear needs are quite elastic when I travel — on different trips, I’ve been both a ‘two bodies, four lenses’ guy, and a ‘single point-and-shoot’ compact guy. So the idea of a bag that could flexibly accommodate both of those scenarios is massively appealing to me, as is the idea of having a single bag where I could keep everything photo-related in one compartment, and everything else in another.

The rest of the series looks pretty cool too. The Travel Backpack 20L ($199.95 / £169.99 / AU$389.95) is a more straightforward and smaller 20L backpack for those who don’t need the 2-in-1 functionality, with a simple and clean exterior design that’s smart enough to get away with being business/casual, but still packing useful features like an expandable main compartment and a weatherproof shell.

For those using ultra-lightweight travel photography setups — a single slim compact like the Ricoh GR IV or Fujifilm X100VI — the Travel Crossbody 3L ($99.95 / £89.99 / AU$199.95) looks like it could fit the bill. It’s designed to be an essentials-only pouch for nimble, lightweight daytripping, with an eight-pocket internal layout allowing for clear organization, and a clamshell-style opening that makes it easy to pull out and access your camera at a few second’s notice.

And finally, there’s the Travel Weekender 25L ($199.95 / £169.99 / AU$389.95). As the name implies, this duffel-style bag is designed for trips of a few days, but it could also work as a carry-on companion to a larger roller bag, since its dual grab handles and removable padded shoulder strap mean it can be carried in a number of different ways.

All the bags are compatible with standard carry-on dimensions, and can also be used with Peak Design’s Camera Cubes, further isolating and protecting important cameras and lenses.

The Travel Backpack 2-in-1 is the most expensive of the lot, and I think it brushes the upper limit of what I’d be willing to spend on a camera bag. But quality is something you pay for, and I have to admit — I’m tempted.

Kickstarter-funded

Back in March of this year, Peak Design unveiled a Kickstarter campaign for a set of four travel bags for photographers. The series was billed as being designed to meet the hectic demands of modern travel, based on feedback and experience of users traveling with Peak Design’s previous products.

The campaign was a huge hit — as we would have expected. Peak Design funds all of its new products via crowdfunding campaigns, and it’s about as close as you get to a completely safe pair of hands on the crowdfunding platform — TechRadar has previously reviewed multiple Peak Design products, including the 5 star-rated Pro Tripod, the Roller Pro wheeled-case, Slide camera strap and a rugged Outdoor Backpack 25L.

At time of writing, the latest campaign has secured $2,428,996 (about £1,811,168 / AU$3,401,716) from backers who will already be getting their bags. The rest of us will be able to order from Peak Design from today.

Keen on exploring further options? We have an in-depth camera bags buying guide which covers a range of styles and needs for every kind of use.

Action cams are primarily for video, but how do they fare for photography? It’s an area that leading manufacturers, such as Insta360 and DJI, have been exploring recently with a glut of quirky accessories.

Take the Photography Grip for the Insta360 X5. It transforms my favorite 360 degree action cam into a point-and-shoot — a use case that I wouldn’t necessarily have otherwise considered.

Or how about the optical viewfinder for the Insta360 Go 3S, which is now available in a Retro Bundle? This, again, changes its primary function as a tiny 4K camera into a waist-level stills shooter.

Third-parties are in on the act too — SmallRig makes a cage for the DJI Osmo Action 6, which significantly improves its handling for photography, and our reviewer Sam Kieldsen loved it.

I was curious about these accessories that turn some of the best action cams into point-and-shoots — are they simple novelties, or are they genuinely useful? How suited are action cams really for photography? I had to find out for myself...

Getting a grip

Photography with action cameras is certainly possible, but there’s no doubt that these types of cameras are primarily designed and equipped for video. However, the Insta360 X5 Photography Grip — which costs $49.99 / £47.99 / AU$87.99 and is available in black or white at Insta360's store — certainly improves the camera's handling for photography.

It fixes to the tripod mount on the camera's underside, and connects through the USB-C port — all you need to do is open the X5's USB-C door to 90-degrees and then pull the cover completely off (and find a safe place for it as you'll need it again for regular use!).

The X5's Photography Grip is comfy to hold and features a simple shutter release button. It aids shooting at awkward angles and framing elements such as leading lines, because it’s positioned away from the camera and gives an easy hold to frame shots in vertical and horizontal perspectives.

I especially enjoyed holding the camera vertically with the grip at the top. And given the X5 is fully waterproof (to 16ft / 5m), its lens can be submerged in water too — this very feature enables creative shot such as above and below water simultaneously with the lens half-submerged. (Given the USB-C door needs to be removed to attach the grip, however, you can’t fully submerge the camera with grip because that port is consequently exposed.)

Besides design, many action cameras actually have decent specs for photography; the Insta360 X5 is able to shoot 72MP stills that cover 360-degrees, or 36MP stills in a single lens mode, which was my primary concern with the grip.

Most action cameras have a wide-angle FOV, the X5 even more so. If you want telephoto shots, then action cams aren’t for you, period. However, for scenes that feature a point of interest close to the camera, they can offer truly dynamic perspectives. The X5 specifically has Ultra, Dewarp and Linear options — the latter corrects image distortions and was my top pick for everyday photography.

And the latest action cameras typically major on attractive color science, such as the Insta360 Ace Pro 2 with its Leica-inspired looks (for which there's an Xplorer Grip Pro kit like the one SmallRig makes for DJI, which costs $99 / £99 / AU$180). The X5's range of color profiles, however, are much more limited, but it can shoot in RAW format to make color grading easier after the event. I'd like to see more photography-first features added by a firmware update.

Action cameras are also small and discreet, making them somewhat suited to street photography. So, with its wide-angle perspective, waterproof design and small body, the X5 with grip can actually be a surprisingly powerful every day photography camera. That said, it needs to process photos faster too to be taken seriously as a stills camera.

A niche accessory worth trying?

The Insta360 X5 will still primarily be a video camera for me. The same can be said for the Insta360 Go 3S even with the cutesy optical viewfinder that comes in the new Retro Bundle (and which can be purchased separately if you already own the camera).

However, don’t write these cameras off for photography, especially action cams such as the Ace Pro 2 and DJI Osmo Action 6, which are better equipped for stills. If you want an altogether different use for your action camera, and enjoy shooting a wide perspective with the freedom of a small, lightweight and rugged build, you might just discover a new niche with the help of one of these accessories.

I’m not the only one trying action cameras specifically for photography, with these new accessories; photographer Geit Eero has demonstrated the Xplorer Grip Pro kit in action on Instagram (see above).

Peruse the links above for the best deals on the weird and wonderful world of action cam photography accessories — you might just find a new use for your action cam.

Would you use a GoPro, DJI or Insta360 action camera for photography? Do these accessories sway your thinking? Have your say in the poll and comments below.

Let me be upfront: I'm not a typical action camera user, despite reviewing them for a living. I've always been more interested in photography, and general walkaround photography at that.

I own a DJI Osmo Action 6, and I think it's a hugely capable little video camera for vlogging and sports capture, but the idea of using it for street photography had never crossed my mind. Action cams work best strapped to helmets or surfboards, not clutched in the hand while wandering around a city in search of interesting faces, scenes and light. The form factor alone makes the whole experience feel wrong: too small to hold comfortably; buttons that require a firm press (which can nudge the camera just as the shutter fires); it's a photography experience that feels about as intuitive as taking snapshots with a bar of soap.

Then SmallRig sent me its Dedicated Street Photography Cage for the DJI Osmo Action 6, and everything changed.

The cage (which costs $59.49 / £63.90 / AU$109.90) is a surprisingly elegant piece of design for what, on paper, sounds like a purely utilitarian product. The black body with silver top trim is unapologetically retro, and it looks lovely — the kind of thing that would draw compliments rather than confused glances when you're out on the street.

More importantly, it feels great in my hand. The contoured, rubber-coated grip positions the user's forefinger naturally over a large orange shutter button, and the whole thing is substantial enough to hold with confidence without adding enough bulk to make it awkward. I took the setup on a long weekend away to East Sussex and, over several outings, it slipped into my jacket pocket between shots without any fuss.

There are some smart practical details here, too. A hollow section inside the grip can store a spare Osmo Extreme Battery Plus, boosting the Action 6's already formidable battery life. A cold shoe mount and two 1/4"-20 threaded holes (one up top, one on the bottom) offer plenty of expansion options too — I didn't attach anything extra during my testing, but the tripod mount on the base in particular feels like it significantly widens what this little camera can do.

DJI's own mounting points on the camera base remain accessible through the cage, too, which is a thoughtful touch. I could even use DJI's optional Osmo Action 6 Macro Lens or FOV Lens attachments with the cage attached, though I had to leave off SmallRig's own included lens protector. That's not a big issue, frankly: it looks nice but feels more like an aesthetic accessory than a functional one.

The cage also comes supplied with a sturdy shoulder strap, which is adjustable. It works perfectly well as a cross-body or shoulder carry strap, and you can also shorten it enough so that it'll sling round your neck like a classic point-and-shoot neck strap.

Does it actually take better photos?

No — but it was never going to. The image quality is identical to shooting with the uncaged Action 6, because the sensor and lens haven't changed. What has changed, and changed dramatically, is the shooting experience. The button travel issue that plagues hand-held action cam photography is solved here: you're now pressing a proper shutter button with a reassuring amount of feedback, rather than jabbing at a shallow rubbery nub and hoping the camera doesn't shift at the moment of capture. It sounds like a small thing, but it makes a huge difference.

I should be honest about one limitation: there's no viewfinder, and for someone like me who's always found composing shots through a screen somewhat unsatisfying, that does blunt the experience a little. The Osmo Action 6 in its cage is not going to replace a Fujifilm X100VI, a Ricoh GR IV, or a Leica M EV1 — those cameras offer a fundamentally different experience, with far more manual control and, yes, better image quality. What it does compare favorably to is shooting on a smartphone. It's more comfortable, more tactile, and — thanks to the retro-leaning design — considerably more discreet. While I was using it on the streets, nobody gave it a second glance.

If you already own a DJI Osmo Action 6 and you've ever wanted to use it for something other than action footage or vlogging, SmallRig's cage is a transformative add-on. It won't turn your action cam into Henri Cartier-Bresson's Leica. But it might well turn it into something you use a lot more often.

Insta360 Mic Pro: one-minute review

The Insta360 Mic Pro is Insta360's flagship wireless microphone system, and it enters the crowded small wireless mic sector with two features that its rivals (most notably DJI) simply can't match: a customisable E-ink display on each transmitter, and a three-microphone array that uses digital signal processing (DSP) to simulate different polar pickup patterns.

The E-ink screen is the more immediately striking of the two. Via the Insta360 app, you can push any image you like to the circular 1.22-inch, 6-colour display and it'll stay there persistently, even when the transmitter is powered off. And unlike an OLED display, E-ink consumes power only when refreshing the image, not while showing it, which means it adds almost nothing to battery drain. It's a clever and well-executed idea.

The selectable polar patterns are perhaps more interesting in theory than they proved in practice during my testing. The Mic Pro's three-microphone array uses DSP to synthesise four distinct modes: omnidirectional, super-directional, cardioid and figure-8. These are not true multi-capsule configurations (they're digitally constructed from omnidirectional inputs) but the differences are real. In everyday use, though, I found myself leaving the mic in omnidirectional mode most of the time. Where the polar patterns become more useful is when you mount the Mic Pro on a camera's cold shoe and switch to cardioid or super-directional mode, turning it into a passable on-camera directional mic — something DJI's Mic series doesn't allow for.

Elsewhere, the Mic Pro's spec sheet impresses: there's 32-bit float internal recording, 32GB of onboard storage, NPU-powered AI noise cancellation, timecode sync, up to 400m wireless range, and impressive multi-channel flexibility with 4-to-1 and 2-to-4 configurations. That last one — distributing two transmitters to four receivers simultaneously — may be particularly valuable for multi-camera productions.

In my testing, the feature that impressed most was the noise cancellation. Tested against a running fan in my office, the Mic Pro's Strong noise cancelling setting completely eliminated the background drone, easily outperforming the DJI Mic 3 in the same conditions. There are some minor design caveats worth noting, but the Mic Pro's core audio credentials are excellent.

Insta360 Mic Pro: price and release date

• Launched May 19 2026
• Priced from $99.99 / £89 / AU$159.99 for single transmitter
• Available in three options

The Insta360 Mic Pro is available now in three configurations. The entry-level option (£89 / $99.99 / AU$159.99) gives you a single transmitter only, which makes sense if you're buying into the Insta360 camera ecosystem and/or connecting directly via Bluetooth, or recording on the transmitter's own internal storage. The middle-tier 1 TX + 1 RX bundle (£179 / $199.99 / AU$319.99) is the obvious choice for solo creators, while the full 2 TX + 1 RX kit (£279 / $329.99 / AU$529.99) adds a second transmitter and charging case for two-person setups.

For context, the DJI Mic 3, the Mic Pro's closest competitor, currently retails at £269 for the 2 TX + 1 RX bundle, making the Insta360 £10 more for broadly comparable headline specs, though with genuinely different feature sets.

Insta360 Mic Pro: specs

Insta360 Mic Pro: Design

• Transmitter's E-ink display can be customized
• Clip or magnetic attachment
• Receiver features small OLED screen

The Mic Pro transmitter is a small cylindrical puck 38mm in diameter and just 12.2mm tall with the E-ink display taking up one face entirely. It weighs 19.7g without its clip or button magnet attached, making it light enough to clip to a lapel without dragging on clothing.

That E-ink display is the first thing anyone will notice about the Mic Pro, and rightly so. At 1.22 inches with a 197 PPI resolution, it's sharp enough to render logos and text cleanly, and its six-color capability means branded graphics translate well. The persistent display could be a practical boon for multi-mic setups where visual identification of TX units matters – and because E-ink draws power only during refresh, it barely contributes to battery use. It's a well-thought-through implementation of a novel idea.

For mounting, the Mic Pro follows the now-familiar dual-approach used by DJI and others: a small clip for collars, caps and lapels, and a button magnet for direct attachment to thinner fabrics. The Mic Pro clip doubles as a cold shoe adapter that lets you mount the transmitter directly onto your mirrorless camera — effectively transforming it into an on-camera directional microphone when paired with the cardioid or super-directional pickup mode. As far as I'm aware, this isn't something DJI's Mic series supports, and it expands the Mic Pro's versatility for run-and-gun filmmakers.

The receiver is a conventional rectangular unit with a cold shoe clip, USB-C and 3.5mm outputs, and a small display for monitoring levels and settings. It's not especially compact by current standards (it will feel a little awkward when plugged into your smartphone, for instance), but it does the job.

The charging case is where things get a little more mixed. It looks smart, with a transparent front panel that shows you what's inside — two TX units, one RX, plus dedicated spaces for clips and magnets, and two smartphone adapters. My concern is a practical one: that transparent panel will attract fingerprints and may scuff with regular use. The hinged opening also took some getting used to; it's not quite as smooth or intuitive as DJI's case designs.

There are two other niggles worth mentioning. First, there's no dedicated space in the charging case for the 3.5mm audio cable — a small but irritating omission. Second, the Mic Pro's included windshields don't fit inside the charging case either, which means they (like the audio cable) will need to go in the carrying pouch instead. DJI's windshields fit neatly inside the Mic 3 and Mic Mini 2 cases, which is a design touch that makes a difference if you're packing light.

On the subject of what's in the box: as mentioned, a soft zip-up carry pouch is included, big enough to fit the charging case plus cables and windshields. It's a welcome inclusion. Less welcome, for those like myself using older iPhones, is the absence of a Lightning adapter as standard — though with Apple's transition to USB-C, it's hard to be too surprised that Insta360 has made the Lightning plug an optional extra.

Insta360 Mic Pro: Performance

• 10 hours battery life (transmitter), 11 hours battery life (receiver)
• Up to 400m range
• Superb two-level noise reduction

The Mic Pro's audio quality is superb. Recordings are clean and clear, with a 48kHz sampling frequency and 24-bit wireless transmission that's standard for the class. 32-bit float recording is also supported but as always with these kind of mics, it applies only to internal onboard recordings, not to the live wireless signal.

That said, those internal recordings — stored on the transmitter's 32GB onboard memory — could come in very useful for demanding content creators. 32-bit float means you can recover audio from unexpectedly loud events in post without clipping or distortion, and the available recording durations are generous: up to 44.8 hours of 32-bit mono, or 22.2 hours of 32-bit stereo. The stereo internal recording capability (available due to the transmitter's three-mic array) is also a nice touch for recording ambient soundscapes and ASMR-style captures, and unique to the Mic Pro in this category.

The four selectable polar patterns — omnidirectional, super-directional, cardioid and figure-8 — are generated by combining the inputs from three microphone capsules using DSP rather than using discrete capsules for each mode, and I found the results to be good but not transformative. The differences between modes are audible, but in most recording scenarios omnidirectional will serve you perfectly well. Where pattern selection becomes most valuable is in cold shoe mounting: in super-directional or cardioid mode, the Mic Pro functions as a credible on-camera directional mic, giving you a single piece of hardware that covers both lavalier and shotgun mic duties. It could be very handy for solo creators looking to reduce the amount of kit they have to carry around.

The noise cancellation is where the Mic Pro most clearly distinguishes itself from the competition on audio quality, however. The system offers two levels — Weak and Strong — driven by an onboard NPU. In my testing with a fan running continuously in my office, the Strong setting completely eliminated the noise, with no audible trace remaining in the recording. I tested the DJI Mic 3 in the same conditions and found it less effective; the Mic Pro's Strong mode outperformed it clearly. Weak mode also did a solid job, which is important because there are real-world situations in which Strong mode can't be activated (such as when you're recording without a receiver).

The Mic Pro can pair directly with Insta360 cameras including the X5, X4 Air, Ace Pro 2 and Go Ultra via Bluetooth, delivering 48kHz audio without a receiver. In theory, it's a good way to cut down on complexity for anyone who owns a recent Insta360 camera. In practice, however, I found that when testing with an Ace Pro 2, I couldn't access noise cancellation or adjust the Mic Pro's settings (apart from gain) through the camera menu. It's possible this will be addressed through firmware updates but at the time of writing, DJI's OsmoAudio ecosystem integration feels considerably more complete and polished.

The maximum range from transmitter to receiver is quoted at 400m in open conditions, matching the DJI Mic 3, and the battery life of 10 hours for the transmitter and 11 hours for the receiver should see through a full shooting day with ease. A five-minute fast charge delivers 1.5 hours of additional use, too.

Should I buy the Insta360 Mic Pro?

Buy it if…

Don’t buy it if…

Insta360 Mic Pro: also consider

How I tested the Insta360 Mic Pro

• One week of testing indoors and outdoors
• Connected to Panasonic Lumix GH6 and Insta360 Ace Pro 2
• Tested indoors and outdoors

I've had plenty of time to test the Mic Pro in a range of scenarios and configurations: indoors and outdoors, in noisy and quiet environments and paired with the Panasonic Lumix GH6 mirrorless camera and the Insta360 Ace Pro 2 action camera. I've been able to test it clipped it to my clothes as well as mounted on the GH6 like a shotgun mic, and I was also able to compare its performance and noise cancelling capabilities directly with those of the DJI Mic 3.

• First reviewed: May 2026
• Read more about how we test

We rated the DJI Mic Mini as the best small wireless mic when it was launched in 2024, and it now has a successor in the shape of the Mic Mini 2. Both are 5-star products for content creators wanting an affordable, lightweight, and simple mic for better audio on the go.

If you already own a Mic Mini, there's very little reason to upgrade to the Mic Mini 2 because performance is practically the same; both mics feature clear 24-bit audio, two-level noise reduction, a transmission range up to 400m, healthy battery life, and a lightweight 11g build.

So what exactly is new? I've pinpointed the key differences below, chief among them being much better pricing this time around, plus a new bundle for mobile creators.

Surprisingly, however, DJI also revealed in its Mic Mini 2 press release that a Mic Mini 2S is in the pipeline for later this year. The 'S' version will add welcome upgrades missing in current models: internal recording, plus the capacity to sync up to four mics with one receiver. That's all we know about the Mic Mini 2S for now, but it sounds like it'll be worth the wait for Mic Mini upgraders.

Let's now see how the Mic Mini and Mic Mini 2 compare. You can find out more about each product in our full reviews via the links above.

1. Design

Both products are tiny, discreet, and lightweight — the Mic Mini 2 weighs just 11g by itself (not including the magnetic attachment). However, there's one new design trick in the Mic Mini 2 that could be worth an upgrade, depending on the user: magnetic covers.

The Mic Mini 2 has a magnetic surface that accepts covers, with a wide range of colors available, as you can see in the lead image of this article. There are further limited edition covers too (see above). There's a selection of covers included in the 2 TX + 1RX + Charging Case bundle (details below), while additional covers can be purchased separately.

If you're style-conscious and like the sound of a wireless mic that matches the color of your outfit, then this new feature could be worth the upgrade alone. However, if you don't mind the standard black or white options, then this upgrade could feel like a bit of a gimmick.

2. Voice tone presets

DJI has added three voice tone presets to the Mic Mini 2: regular, rich, and bright. The idea is that each preset optimizes audio quality based on the recording environment. However, our reviewer found that there was so little difference between the sound in each preset that it's barely worth the upgrade.

So if customizable colors aren't your bag, nor do the voice tone presets entice, there's essentially no reason to upgrade to the Mic Mini 2 from the Mic Mini. However, for those buying new, the biggest reason to be excited is a significant price cut, along with a new bundle designed for mobile creators.

3. Pricing and bundles

When the Mic Mini was unveiled in 2024, the 2 TX + 1RX + Charging Case bundle cost $169 / £145 / AU$245. It seems hard to believe, then, that the equivalent Mic Mini 2 bundle costs just £89 / AU$149 — that's a huge price cut, likely due to increased competition. As is the way with DJI currently, there's no US pricing or availability at launch.

There's also a new bundle designed for solo mobile creators, which comprises one mic, one mobile receiver (see our DJI Mic series mobile receiver hands-on), and a charging case, available for just £49 / AU$89. This kit includes a sleek receiver that slots into your phone's USB-C, whereas the bundle above includes the standard receiver, which is much clunkier when connected to a phone, and is a better fit for proper cameras.

The price for the mobile bundle is the same price that DJI was asking for a single mic when it launched the original Mic Mini. Sadly, it's not possible to buy a solo Mic Mini 2 mic just yet.

All that being said, the price of the original Mic Mini complete kit mentioned above has continually dropped during its two-year life, and can now be found for as little as £65 / AU$124 — that's less than the new version with its additional colored covers.

For me, those Mic Mini 2 prices are super competitive. Yes, the second-gen model is a tiny upgrade (customizable covers aside), but it led the way for value in an increasingly competitive space and is my new favorite small wireless mic. Whether or not the Mic Mini 2S reveal rains on the Mic Mini 2 parade, we'll have to wait and see.

DJI Mic Mini 2: one-minute review

The DJI Mic Mini 2 is DJI's second-generation entry-level wireless microphone system, replacing the late 2024-released Mic Mini, which we previously rated as the best small wireless mic.

The headline new feature is a set of interchangeable magnetic front covers for the transmitter units, available in colors ranging from white and black to a vivid magenta. Beyond the colorways, the other notable addition over the original Mic Mini is a trio of voice tone presets — Standard, Rich, and Bright — designed to let users subtly shape their vocal recordings.

Everything else will be instantly familiar to anyone who owns the original Mic Mini: the same compact and lightweight transmitter and receiver form factor, the same 24-bit 48kHz audio quality, the same maximum range of 400m with the standard receiver (or 300m with the mobile receiver), and the same claimed battery life of 11.5 hours for the transmitter and 10.5 hours for the receiver, extendable to 48 hours total using the charging case. Two-level active noise canceling is included, and the system is compatible with DJI's OsmoAudio ecosystem, meaning it connects wirelessly without a receiver to devices like the Osmo Action 6 and Osmo 360.

In my testing, audio quality proved crisp and clear, and the active noise canceling did a solid job of taming ambient noise. The voice tone presets, however, were a different story: the differences between Standard, Rich and Bright were so subtle in practice as to be barely worth mentioning, let alone factoring into a buying decision.

That verdict could stand in for the Mic Mini 2 as a whole, really. For buyers new to the world of wireless mics, it's an excellent option: lightweight, affordable, versatile, and easy to use. But for anyone coming from the original Mic Mini, the interchangeable covers and voice presets aren't a compelling reason to upgrade.

Also worth noting: DJI has confirmed that a Mic Mini 2S is coming this summer, bringing with it internal storage for solo recording and support for up to four transmitters simultaneously. If those features matter to you, it's worth sitting tight for now.

The Mic Mini 2 is a fine product sold at a great price. It just happens to be a product that DJI has already announced it will meaningfully improve in a matter of months – which makes it a harder sell than it might otherwise be.

DJI Mic Mini 2: price and release date

• Priced from £49 / AU$89
• Sold in two bundles – but transmitters not available separately
• Available now (except in the USA)

The DJI Mic Mini 2 was released worldwide on April 28 2026 – although, as with all recent DJI products, it will not officially launch in the USA. Not yet, anyway.

DJI offers the Mic Mini 2 in two bundles: the DJI Mic Mini 2 (2 TX + 1 RX + Charging Case) package costs £89 / AU$149 and includes two transmitters, a receiver, a charging case, two windscreens, two white magnetic front covers, two black magnetic front covers, two magnetic clips, two magnets, a carrying pouch, a USB-C mobile phone adapter, a 3.5mm audio cable, a USB-C charging cable and a box of multi-color magnetic front covers (see below).

Also available is the DJI Mic Mini 2 (1 TX + 1 Mobile RX + Charging Case) bundle, which includes a single transmitter, a mobile receiver, a small charging case, one windscreen, one black magnetic cover, one white magnetic cover, one magnetic clip, one magnet, one USB-C charging cable and a carrying pouch. It's priced at just £49 / AU$89.

Unlike the original Mic Mini, DJI doesn't appear to be selling Mic Mini 2 transmitters (mics) solo – at least not at launch. That's a shame – for some buyers using the Osmo Audio system or linking the transmitter directly to their phone via Bluetooth, a receiver and charging case may not be necessary.

However, the overall pricing seems much cheaper than the original Mini, which at launch cost £145 / AU$245 for the complete kit and £49 / AU$69 for individual TX units. So in terms of value, I think the Mic Mini 2 has a lot going for it.

DJI Mic Mini: specs

DJI Mic Mini 2: Design

• Transmitters support swappable front panels
• Clip or magnetic attachment
• Receiver offers manual audio gain, but no monitoring

If we're talking transmitters (also known as the TX units), the Mic Mini 2 looks a lot more like the full-size Mic 3 than it does the original Mic Mini. There's one key difference though: the Mini 2 supports swappable magnetic front covers, which can be prised off with a fingernail and replaced with another of a different color.

The DJI Mic Mini 2 (2 TX + 1 RX + Charging Case) bundle I was sent to review features a whole range of covers, from staid white and black to eye-popping magenta. These might come across a little gimmicky on paper, but they're harmless and fun – even if I can't really think of too many practical reasons why you'd need them (DJI markets them for outfit matching).

Besides the covers, the TX can be fitted with a clip-on furry windshield for outdoor use, as well as two other magnetic accessories for mounting: a small clip for attaching it to collars, caps and lapels, and a single (but sufficiently strong) magnet for clipping it directly to thinner fabrics. The clip's direction can be selected when attaching it, which is handy.

There's also an indicator light and a couple of buttons for powering on/off and pairing the TX with different devices, but other than that, the TX is pretty simple. It doesn't feature on-board storage and, with no USB-C port, can only be recharged in the charging case.

The standard receiver (or RX) looks identical to the original Mic Mini's to my eyes. It suffers from the same drawback, too: with no on-board LCD display, there's no way to monitor levels on the hardware. Still, I suppose that's what the more pro-friendly Mic 3 is for – the Mic Mini 2 is the affordable option, and cuts must be made somewhere. The receiver does have a clip for attaching to clothing, which can also slide onto a camera cold shoe, plus a USB-C adapter for plugging into smartphones (there's a Lightning adapter too, which I used with my iPhone 13, but it's an optional extra rather than included in the box). There's also a 3.5mm jack, dial for adjusting audio levels and power and pairing buttons.

Additionally, the new DJI Mic Mini 2 (1 TX + 1 Mobile RX + Charging Case) bundle comes with a mini receiver unit designed only for attaching to a mobile phone (as with the standard RX, this appears to be the same mobile RX that was available as an accessory for the original Mic Mini). I didn't test this myself (check out our experience with the receiver via the link above) but it's much lighter, smaller and more streamlined than the standard RX, and won't look as awkward when plugged into your handset.

DJI Mic Mini 2: Performance

• 11.5 hours battery life (transmitter), 10.5 hours battery life (receiver)
• Up to 400m range
• Two-level noise reduction and three voice tone presets

The Mic Mini 2 offers 24-bit 48kHz quality audio, just like the original Mic Mini. It's similar in other ways, too: there's a maximum range of 400m between TX and RX; the claimed battery life is the same (11.5 hours for a TX, 10.5 hours for the receiver and a total of 48 hours with the charging case); and there are two levels of active noise cancelling included. Both generations also feature automatic volume limiting to avoid clipping.

And, like the first Mic Mini, it also works seamlessly with OsmoAudio ecosystem products like the DJI Osmo Action 6 and Osmo 360 cameras and Osmo Mobile 8 smartphone stabilizer.

In fact, aside from the changeable covers, the only major difference I could find between this second-gen Mini and the first is the addition of three voice tone presets – Standard, Rich and Bright – which are designed to slightly tweak how vocal recordings sound. In practice, I found the differences between the three settings to be negligible, so I would say that owners of the original Mic Mini have no compelling reason to update to the new model.

Newcomers looking for a cheap wireless microphone option that performs well will be very happy with what's on offer here, though. I found the Mic Mini 2's quality to be crisp and clear, and a noticeable step up from the built-in mics found in smartphones, vlogging cameras and mirrorless cameras, and the mounting and connectivity options and general ease of use make it a joy to live with. The two-level active noise cancelling works well enough too – I tested it with a fan running in my office and, while it could still be heard whirring away even on the strongest noise cancelling setting, it was reduced enough to prevent it becoming an issue.

Interestingly, DJI tells me that a Mic Mini 2S is coming later in 2026, offering some real upgrades over the original Mic Mini. The Mini 2S's TX units will have internal storage space to support solo recording, and users will be able to connect up to four transmitters to a single receiver. It's launching this summer.

Should I buy the DJI Mic Mini 2?

Buy it if…

Don’t buy it if…

DJI Mic Mini 2: also consider

How I tested the DJI Mic Mini 2

• Several days of testing indoors and outdoors
• Connected to iPhone 13, DJI Osmo Action 6 and Panasonic Lumix GH6
• Tested with Bluetooth, OsmoAudio and RX

I've not had a huge amount of time to spend with the Mic Mini 2, but in the several days since my sample arrived I've managed to test it both indoors in quiet conditions and outside amongst traffic and wind noise. I've also paired with my iPhone 13, a DJI Osmo Action 6 action camera and my Panasonic Lumix GH6 mirrorless camera, testing it with and without the receiver unit involved.

• First reviewed: April 2026
• Read more about how we test

As someone who records vlogging content using smartphones, there's a glaring issue that's difficult to overcome; the selfie camera is the easiest option, as you can properly frame your shot using the screen, but that's usually the worst camera on your phone, while the best camera is around the back.

Quality matters to me so, a lot of the time, I flip the phone around and just guess my framing. Sometimes it works out, sometimes it doesn't — but so far, the solutions I have tried are far from ideal.

The idea that has previously made the most sense to me is a monitor that can mount to the rear of your phone to give you a preview of what you're recording. I've tried a few different versions, and SmallRig's attempt impressed me the most, but it's still a pain to use.

It connects to your phone wirelessly, which is a nice idea, but this wireless connection introduces latency, and it gets worse the longer you record for. It also lacks touchscreen controls, the screen isn't particularly bright, and the battery life isn't too impressive, either. It's still useful, but there's a lot of room for improvement.

Thankfully Insta360 has just stepped into the frame with its own solution, the Snap Selfie Screen, and it seems like it might address all of these issues. I've been testing it out for the past week to see how it stacks up.

Meet the Insta360 Snap Selfie Screen

The Insta360 Snap Selfie Screen has the same goal as the other models I've tried, but it does a few things differently. Firstly, it's a wired solution, powered by the phone, with no internal battery. As a result, it's able to be much slimmer and lighter, which makes it easier to bring with you.

Insta360's products have always impressed me with their thoughtful design touches, and the Snap Selfie Screen is made with the same attention to detail. It comes with a built-in screen cover to prevent scratches during transportation, and it flips around to cover your phone screen and prevent accidental touches when the Snap is in use.

The cable is permanently attached, but it has a built-in magnet that snaps to the screen cover and stops it from flopping around in your bag. It's not something that's strictly necessary, but it makes for a more polished experience. Insta360 is good at that.

As for how it works, it couldn't be easier. You attach the USB-C cable to your phone, a pop-up appears asking if you want to cast your display, you choose "Cast" and off you go.

The Snap Selfie Screen has MagSafe-compatible magnets inside, and if you have an iPhone, or an Android with a compatible case, you just slap it on the back of your device. If not, Insta360 includes a stick-on adapter ring in the box.

The Snap Selfie Screen has a touchscreen display, and if you're on Android, it'll just work instantly. On iPhone, you have to go to accessibility settings and enable "Zoom" to get it to function. It seems like a bit of an awkward workaround, but hey, it works.

What it's like to use

The best thing about the Insta360 Snap Selfie Screen is that it's convenient. You can set up to record yourself in a matter of seconds, and you can control everything from the monitor, rather than having to flip around to the main screen whenever you need to change a setting.

By contrast, with a wireless monitor, you need to set up a screen cast, which can be fiddly and varies from brand to brand. You'll also be contending with latency, and with an iPhone, the latency is so bad at 4K that it's basically unusable.

There are no such issues with Insta360's latest offering, but there is something you should be aware of. Not all phones support display output over USB-C, so you'll need to check carefully if it'll work with your phone before ordering.

I'm not just talking about budget phones, either. You'd be surprised how many premium handsets lack the feature. Vivo's X300 FE, despite being a brand-new flagship-series release, is not compatible, for instance.

The screen-covering flap is a great addition that helps with usability. There's a special area that blocks touch inputs, and so long as you train yourself to keep your fingers in that spot, it makes one-handed vlogging much more comfortable.

I can't help but wish this flap was removable, though. It's permanently affixed, and while it magnetically keeps itself closed when the screen isn't in use, it can flop around annoyingly if you aren't holding it in the intended fashion. It makes using phone clamps a little fiddly, too. Nothing some scissors can't fix, I suppose.

The Insta360 Snap Selfie Screen is easily the brightest selfie monitor I have tried, and that makes a massive difference when you're shooting outdoors. It's also the only one I've seen with the option of a built-in fill-light.

If you choose the pricier of the two models (which is the version I'm testing), you'll get a diffused LED border that surrounds the display, plus two buttons for controlling the color temperature and brightness level.

I'm not the biggest fan of on-camera lighting, so I haven't found myself turning it on very often, but it'll almost certainly look more flattering than the built-in LED flash on your phone. Plus, if you find yourself needing to vlog in a really dark location, it could save the day.

Should you buy one?

While I haven't been shy about the shortcomings of selfie screens like this, the truth is, I use them all the time. Being able to use the larger sensors on the rear of your phone makes such a dramatic difference to the quality of your videos. Until more manufacturers start putting screens on the back of phones (or dramatically improve the quality of selfie cams), accessories like these are a necessity for any mobile creator.

The Insta360 Snap Selfie Screen, while not flawless, is by far the best implementation I have come across. It walks all over my previous favorite from SmallRig, and it'll be staying in my kit bag for the foreseeable future.

It's more convenient, it's brighter, it's easier to use, and it's the most thoughtfully designed. Plus, it's not significantly more expensive than any of its competition. If you're in the market for a selfie screen, the Insta360 Snap is now the obvious choice.

Polaroid Hi-Print 3x3: review

I’m an instant photography fan, and a firm believer that one photographic print is worth a thousand forgotten files mouldering away in a cloud-storage account – so new products from Polaroid always grab my attention. Since its revival in 2017 – following the acquisition of the brand name by a group of analog evangelists named ‘The Impossible Project’ – Polaroid has gone from strength to strength, building up an impressive range of instant cameras and printers (my personal favorite is the Polaroid Flip).

The Polaroid Hi-Print 3x3 is the brand’s newest Bluetooth printer, designed to quickly turn images from your phone’s camera roll into real, tangible prints measuring 3x3 inches. It doesn’t take classic Polaroid instant film, instead using a heat-based dye-sublimation to quickly transfer images to paper. Very quickly, in fact – the Hi-Print 3x3 can spit out a print in comfortably under a minute.

Polaroid offers two other similar printers – the smaller Hi·Print 2x3 and the larger Hi-Print 4x6. However, the Hi-Print 3x3 offers two key USPs that make it more than just a gap-filler in the lineup.

The first, and most significant, is that the Hi-Print 3x3 has a built-in slot for a square photo on one side, with a transparent protective cover that can be placed over the top. Thanks to its boxy rectangular shape, it can be stood vertically on a flat surface and used to display the inserted image – meaning it functions as printer and frame all in one. Nifty!

The second is the fact that it prints images in square format, rather than the rectangular 2x3” or 4x6” formats of the other printers. Your mileage may vary on this one, but for me, a Polaroid isn’t a Polaroid if it doesn't have that distinctive square shape, and even though the prints from the Hi-Print 3x3 are made using an identical process to the other two printers, they just feel much more like Polaroids than the rectangular prints do.

Printing is done via your phone, using the Polaroid Hi-Print app available for iOS or Android. Be warned that the printer can only connect through the app – at first I tried connecting via Bluetooth directly, and was confused as to why it wasn’t working. Once I booted up the app, the pairing was instant.

Once you’ve selected an image to print from your phone’s camera roll, you are presented with a fairly comprehensive selection of editing tools, including sliders for brightness, contrast, shadows, highlights, saturation, etc, as well as cropping and straightening.

It’s the latter two compositional tools that will likely get the most use. As far as color, dynamic range and exposure are concerned, the majority of modern smartphones have automatic photo-processing that probably beats anything you’re going to achieve with a set of fairly imprecise sliders. However, since you’re printing in square format and your phone will shoot wider than that, your images are always going to be cropped, so it’s worth getting into the habit of ensuring the crop is where you want it, and the composition is to your taste.

There are also options to add stickers and text to your images, and the box contains a set of physical stickers for use on the finished print, if so desired. I did not desire, but you do you. The battery lasts well, and can quickly and easily be topped up via USB-C when needed.

The print quality itself, I would call pretty good. You’ll likely be pleased the first time a print comes out – the colors are big, bold and vivid. There’s none of the washed-out look that can plague some instant digital printers, especially those that use zero-ink (ZINK) printing like Kodak’s Printomatic camera or Canon’s Canon Ivy Cliq+2. In terms of visual impact, Polaroid has them both beat. It doesn’t quite have the lo-fi magic of Polaroid’s I-Type film utilized by cameras such as the premium I-2, but that’s what makes it much cheaper to run.

In my time with the Hi-Print I did run into one mis-print, caused apparently by paper misalignment. This necessitated a restart of the printer and a redo of the print, cutting my pack of ten down to nine. Not ruinous, but a shame, and since it was my first print, it wasn’t the best first impression!

The prints don’t hold up to super-close scrutiny, not that I’d expect them to. When inspected closely, fine detail can appear rather smudgy. Landscape-style images with distant detail tend to fare the worst – in general, the best subject for a print is one with a nice big subject, front and centre. The tonal range isn’t bad though – I fed through some images featuring sunset skies, and the printer did a better job than I expected of reproducing the subtle interplays of blues and oranges. Not amazing, but not bad.

The frame functionality may sound like a gimmick, but I found it rather charming, and I think it extends the fun factor of the printer. Being able to slot in different images whenever you want, according to your mood or the time of year or whatever else – it’s fun! I could especially see it appealing to a younger person who wants some changeable decoration for their room. The small dimensions and freestanding design of the Hi-Print allow it to easily be displayed on a shelf, windowsill or bedside table.

It’s nothing groundbreaking, but it’s a fun way to get photos off your phone and into the real world. I’ve enjoyed my time with it, and while digital instant printing doesn’t capture the alchemical magic of instant film, this for me is as close as it has ever come.

Polaroid Hi-Print 3x3: price & release date

Polaroid took the wraps off the Hi-Print 3x3 in April 2026. It’s available for a starting price of $119.99 / £99.99 / AU$ 194.00, and that’s with a set of ten sheets included. Once you’ve blown through those, a re-up cartridge of 30 sheets can be picked up for $24.99 / £22.99 / AU$44 (there are also bulk-buy packages that work out a little cheaper per sheet). True Polaroid I-type instant film is much pricier per print.

This starting price puts it in the middle of Polaroid’s printer range – the smaller Polaroid Hi·Print 2x3 Generation 2 is available for $109.99 / £89.99 / AU$176, while the larger-format Polaroid Hi-Print 4x6 starts at $149.99 / £129.99 / AU$264.

Polaroid Hi-Print 3x3: specs

Should I buy the Polaroid Hi-Print 3x3?

Buy it if…

Don’t buy it if…

Polaroid Hi-Print 3x3: also consider

How I tested the Polaroid Hi-Print 3x3

• I tested the Polaroid Hi-Print 3x3 using two full cartridges of paper
• I transferred and edited photographs from my phone using the Android version of the app
• I mounted the photos into the frame and displayed them at various points around my home

Polaroid sent me the Hi-Print 3x3 to try, along with several cartridges of paper. I downloaded the app to my phone and used it to connect to the printer, testing out the editing functions before sending images to the printer.

I selected a variety of different images, including landscapes, selfies, pet images, food shots and more, with a range of colour tones and compositions.

Once images were printed, I displayed them in the slot as specified, and placed them in various spots around my home to see how they looked.

• First reviewed: April 2026
• Read more about how we test

Vivo has proven its mobile photography prowess time and again over the years. It set the bar with the X100 Pro’s 1-inch-type main sensor in 2024 and has kept raising it ever since. The new Vivo X300 Ultra is no different.

The phone adds two 200MP sensors to the camera system and brings an all-new 400mm teleconverter lens, as well as an upgraded second-gen 200mm lens. Many might argue, "What’s the point of adding an external lens to a phone?" After all, phone cameras are meant to be more pocketable than dedicated cameras. So I took the Vivo X300 Ultra and its camera kit to Hong Kong to find out.

I forced myself to carry the phone through Ocean Park like a camera hanging over my neck with a lanyard (it’s part of the camera kit). And I’m glad I did.

I wouldn’t have gotten the same panda shots with digital processing or stabilized footage without the camera grip. After shooting hundreds of photos and videos, I’m left impressed. I don’t want to travel without these lenses and a camera grip anymore.

The hardware: more polished and more capable

Vivo is building an accessories ecosystem for its Ultra phone. Last year, it announced a 200mm teleconverter add-on lens for the X200 series, and this year, it's taking things to the next level with a dedicated camera kit. It consists of:

• A case to mount external lenses
• A lanyard
• Two televonvertor lenses (200mm and 400mm) with protective lens caps
• A protective filter for the phone’s camera lens in two colors
• A camera grip with a built-in battery to double as a power bank
• Two-piece tripod collars, including an Arca-Swiss tripod mounting plate

Starting with the camera grip, it has more controls than its predecessor. You get a video record button, a scroll wheel, a zoom lever, a flash button, a shutter button, and an additional customizable function button. It's more grippy, and you can further fine-tune your experience using software. For instance, you can make it so a double-press on the shutter button opens the Street Photography mode and takes the shot instantly.

I found myself using this grip all the time because it allows for more stabilized video footage. I have a neurological condition where my hands tremble 24x7, so I’m not fond of taking videos without turning on the Action mode. But this camera grip allowed me to shoot some wonderful videos with better stability.

As for the lenses, the new Vivo X300 Ultra is backwards compatible with the last-gen 200mm add-on lens. However, the 2nd-gen version of this 2.35x 200mm lens is smaller and slimmer.

Vivo says it has re-engineered the glass and lens structure inside to allow for a smaller form factor without losing image quality. It attaches to the 85mm focal length telephoto sensor and converts it to 200mm. On the other hand, the new 400mm add-on lens is comparatively big and hefty. It can go up to (a very capable) 3200mm with digital zoom.

Of course, you will need to carry a sling bag if you want to take these lenses with you all day long. They fit securely and safely in my Orbitkey sling bag.

The output: pleasing bokeh, rich details, and new compositions

The two lenses mount easily on the Vivo X300 Ultra with a rotate-and-lock system. Once attached, you need to toggle the Telephoto Extender mode in the Camera app. It’ll show a pop-up for you to select the lens you’re using (200mm or 400mm). Select one, and you’re ready to shoot!

I used the new 400mm lens to zoom in on a playful panda (see slide 6 in the above image gallery). It helped me get natural-looking bokeh and more details than you’d expect from a regular phone camera for a subject that far away. You can see individual hair strands on this panda’s fur as he bites his food!

I switched to the 200mm lens when the panda was moving. It was hard for me to focus at first, but the shutter button’s 'half-press to lock focus and exposure' feature helped make things easier.

For reference, here's what you can expect to get out of the 400mm add-on lens:

Vivo has also improved LOG video recording with a higher bitrate. Even without the add-on teleconvertor lenses, you can shoot 10-bit LOG across all three lenses with smoother lens switching. You also get one-tap access to color-grading with two built-in filters and a new “pro video” mode with a camera UI that resembles a cinema camera. All of this makes editing your footage easier than before.

Check out more video samples below:

You can’t get this level of quality out of a phone camera without an add-on lens, nor from AI-based artificial processing. All the photos I took have a more natural look because of Vivo’s new image processing pipeline, which reduces digital oversharpening.

I thought it’d be tedious to carry two teleconvertor lenses on my day out, but they were totally worth it. I had a lot of fun, thanks to Vivo’s mindful implementation on both the hardware and software fronts.

I used to limit myself to photography with the best cameras, but after seeing the output achieved by the Vivo X300 Ultra, I now want to go out and shoot more videos with this amazing camera phone.

Right now, the Vivo X300 Ultra is only available in China, but it just goes to show how far Chinese-made flagship phones have come in recent years. Thankfully, the similarly-specced Oppo Find X9 Ultra is being released 'globally' on April 21, so here's hoping we'll be able to put the two phones through a proper camera shootout in the coming months.

• DJI's X account teases new Lito 1 and Lito X1 camera drones
• Evidence points to the Lito being a new entry-level model
• A second teaser hints at new wireless microphones

DJI has just teased its next camera drone — and it's even announced the name of the product in the process: the Lito.

The tease came via a post on X (formerly Twitter), linking to a page on the DJI website. This page shows a message ticker displaying the words "New Drone", then the names of DJI's current drones flick by – Mavic, Air, Mini, Avata, Neo, Flip – before it finally settles on a new word: Lito.

The X post also features a date – 23 April 2026 – and some interesting hashtags, including #DJILitoX1 and #DJILito1, suggesting the Lito range will launch with two initial products.

Beyond that, it reveals very little about the new drone, but I think the fact that the current drone range names tick by in order of seniority, with the premium Mavic first and the affordable Flip last, suggests that the Lito might slot in after the Flip. In other words, it might be even more entry-level than the current entry-level choice.

While giving consumers more choice is rarely a bad thing, I do wonder if DJI launching yet another affordable and lightweight drone (if that is, of course, what the Lito is) feels entirely necessary. The company already offers the Mini series, plus the Flip and Neo, at this end of the spectrum.

Do we need a Lito?

With the arrival of the Neo 2 at the tail end of 2025, I feel like the Flip already feels somewhat redundant.

The Neo 2 (priced from just £209 in the UK and AU$409 in Australia) offers 4K video recording at up to 60fps with good stabilization, comes with almost 50GB of built-in storage, omnidirectional object sensing (plus LiDAR) and a host of excellent autonomous flight modes, and can be flown with everything from a smartphone to an FPV headset and motion controller. And all that in something that's light enough to dodge all major drone flight restrictions and small enough to fit into a pocket. A big pocket, yes, but a pocket.

The Neo 2 is still relatively new, so I can't see it being kicked out of DJI's line-up anytime soon. So where, exactly, will the Lito 1 and Lito X1 fit in?

One possibility is that the DJI Mini 4K, currently the company's cheapest Mini drone, could be on the way out — and the Lito models could be its replacement.

The Mini 4K's camera is worse than the Neo 2's, despite both models recording 4K footage, but it does offer quite a bit more battery life — up to 31 minutes of flight time compared to the Neo 2's 19.

So, a Lito with that extra juice but a better camera than the Mini 4K's, at price that's commensurate with the Neo 2's, could feel like something a little different from what DJI already offers.

That said, I'm more than happy to be surprised by some incredible feature, engineering advancement or design tweak that offers something completely new. DJI is the world leader in consumer drones for good reason, and whatever it has up its sleeve, it's likely to be compelling in some way, shape or form.

And the Lito isn't the only upcoming DJI product we got a sneak peek at this week, either. The company posted a second teaser on X that strongly hints at a new upcoming wireless microphone, along with the date 28 April 2026.

If the slogan "More Than Sound" wasn't enough to suggest a new DJI Mic is imminent, the animated video is further proof.

It starts with a series of brightly colored panels that eventually morph into what looks very much like the receiver of a DJI Mic Mini. I think this suggests we're about to get a DJI Mic Mini 2, along with interchangeable color panels that can be used to quickly identify different receivers — ideal for recording setups with multiple receivers in play.

With both the dates coming up very soon, we won't have to wait long for confirmation – and to find out just how the Lito differs from the DJI drones already in play.

• Polaroid's latest portable printer produces 3x3 prints through an app
• The device's unique built-in frame can house your prints
• It costs $119.99 / £99.99 and joins 2x3 and 4x6 versions in the Hi-Print range

Like Instax, Polaroid makes some of the best instant cameras, but today it revealed a different kind of product for instant photography fans — the Hi-Print 3x3 portable printer.

It's a unique rival to the Instax Mini Link series of portable printers — a smart alternative to dedicated instant cameras — printing onto Polaroid's Hi-Print 3x3 paper, and with a trick up its sleeve: it doubles up as a photo frame.

Printers can be pretty ugly, but the Hi-Print 3x3 is an altogether stylish alternative you'll want to display, with a slick all-white design that is essentially customizable by housing one of your smartphone prints, selected and edited from your phone's gallery / camera roll through Polaroid's free app (for iOS and Android).

The Polaroid Hi-Print 3x3 portable printer costs $119.99 / £99.99 (Australia pricing and availability TBC) and comes with a cartridge of 10 sheets for printing to get you started — a competitive price compared to Instax Mini Link alternatives.

A different kind of photo frame

I've been reviewing the best instant cameras and the best digital photo frames for years, and the new Polaroid Hi-Print 3x3 is, in a way, a unique hybrid of the two.

Unlike a dedicated analog instant camera, you get the freedom of choosing which images you'd like to print from your smartphone through the Polaroid app, with the option to add templates and stickers should you wish.

And this is not just a portable printer, but a frame too — those prints can snap onto the device within its lift-up frame.

Polaroid already has the Hi-Print 4x6 photo printer in its lineup, and an additional new Hi-Print 2x3 printer, which will easily fit into a clutch bag, but it's the new 3x3 version with its built-in frame that truly stands out to me.

Having never used a Polaroid Hi-Print device, I can't speak of the quality of the prints produced by the different paper types versus traditional Polaroid cameras such as the I-2, the Flip, or the Go 2, but I'm certainly interested in the 3x3 portable printer and hope to have a play with it soon.

My favorite vocal microphone is the Neat King Bee II. It’s a large condenser mic, sort of similar to the ubiquitous SM7B, but since the Neat brand is seemingly no longer active, it can be had for pennies. It makes voiceovers sound incredible, but the sad part is, I rarely actually use it.

The King Bee II is an XLR microphone that needs 48V phantom power to function. This means you need an audio interface and a computer hooked up to make the most of it. That’s fine if you’re streaming games on Twitch, for example, but my content typically takes me outside, away from the desk, and that means my favorite mic sits gathering dust until the next Zoom meeting.

Thankfully, that’s changing. Shure sent me its latest gadget, the MVX2U Gen 2 (catchy name, I know), and it has unlocked a whole new world of microphones for on-the-go content creation. I have been so impressed with this little gadget, and in this article, I’ll tell you why.

What is the Shure MVX2U Gen 2?

You can think of the Shure MVX2U as a USB audio interface. The biggest difference is that it's tiny and it’s certified to work with iPhones, iPads, Android phones, and more.

The MVX2U is only slightly wider than a typical XLR plug, but it supports phantom power, along with some pretty advanced EQ and compression options. Shure even managed to squeeze in a headphone jack for real-time monitoring.

It really makes me wonder what’s going on inside my desktop audio interface. Either Shure is the master of miniaturisation, or I’ve got a sizable empty box on my desk.

The MVX2U is designed to be stuck into the end of an XLR mic, and then you can connect it to a phone, tablet, or computer with a USB-C cable. Of course, you could also use an XLR cable between the mic and the adapter, for situations when you need to get further away.

How to use it

The thing that really shocked me about this setup is how hassle-free it is. I took the adapter out of the box, plugged it into my mic and phone (in this case, the Oppo Find X9 Pro), and that was it; it just worked.

It’s a stark contrast to my typical XLR setup for PC, where I’m constantly having to adjust the gain to stop the mic from clipping or sounding too quiet on a call.

The MVX2U just figured out everything for me. It recognised that the mic needed phantom power, and turned it on, and automatically adjusted the levels so that I could whisper or scream while the volume always sat around -3 dB.

Of course, you might want more control than that, and if you do, you’ll need to install Shure’s Motiv app. This will allow you to change the input level, the amount of compression, the tone of your recordings, and more.

I have somewhat mixed feelings about the default auto-level mode. I’m amazed by how well it works, and it’s incredibly convenient, but it’s so heavily compressed that it can sound a little unnatural. You can sometimes catch it off guard, too, like if you have a few minutes of silence followed by sudden talking, when it sometimes peaks for a split second before catching up.

If you’re serious about your audio, you’ll definitely want to dive into the Motiv app settings. That said, the auto level mode has its benefits. It means you can hand this kit to someone who doesn’t know the first thing about audio and know they’ll get solid results. It’s also more than good enough for short-form content like TikToks and Reels, so if you’re more focused on speed and convenience than polish, it could be the way to go.

Why should you care?

These days, I shoot most of my content with either a smartphone or a pocketable camera like the Osmo Pocket 3. Sure, professional mirrorless bodies have their advantages, but the video quality of these devices is more than good enough for most situations. Plus, with a phone, you can edit and publish your content all from one device, not to mention the fact that it's already in your pocket.

Phones make a lot of sense for recording long-form content like podcasts, too. They’re relatively cheap, small, lightweight, and easy to use. But there’s no substitute for good audio.

I tend to use my DJI Wireless Mics when I’m shooting with a phone, purely for convenience, and they usually get the job done perfectly, but sometimes you need something with a little more fidelity - like if you’re recording a lengthy voiceover, for example.

This handy adapter is a game-changer for mobile creators, as it unlocks the ability to use pretty much any professional microphone on the market. Want a Hollywood-level shotgun microphone for your next short film? No problem. This pocket-sized interface even allows you to plumb yourself into the mixing desk at a gig or a conference – something that could be incredibly useful for videographers.

With a list price of around $120 / £140, the Shure MVX2U Gen 2 is not exactly cheap, but it has already proven its worth to me. I dare say anyone who owns a nice XLR mic and shoots with a phone will feel the same way. Hats off to Shure for rethinking what an audio interface should look like in 2026. My YouTube videos are going to sound a lot better for it.

Haven’t you heard? Retro is back! As a reviewer of camera gear for over a decade I’ve had the privilege of test driving some of the latest, greatest and sharpest lenses ever to grace the photography world — but there’s still a time and a place for the dreamy softness, subdued colors and retro flare that comes from shooting with a vintage lens.

While maybe not the sharpest optics, vintage lenses are often budget-friendly and full of character, charm and not least — they’re incredibly fun to use and play around with! Legendary retro optics include the likes of the Olympus OM Zuiko 50mm f/1.8 which can be picked up secondhand for around $30, and if you’ve ever wanted to experiment with super wide apertures there’s the Canon FD 50mm f/1.2 which costs around $200. One of my favorite lenses from yesteryear is the legendary Helios 44-2 58mm f/2, renowned for its beautiful swirly bokeh that draws attention directly to your subject — it too can often be picked up for under $100.

Vintage glass is often cheap and fun to use — and the even better news is that they’re super easy to adapt to and shoot with using a modern mirrorless camera body. To pair your old vintage lens to a mirrorless camera you’ll need an adapter. Aperture and focus controls are generally set manually via the lens, meaning a simple, cheap and cheerful adapter will get your glass working with your camera body.

Here, I've listed my top picks of adapters for modern mirrorless cameras in this guide which will adapt everything from mounts including M42, Canon FD, Leica M39, Pentax K, Olympus OM and more! And they're available for popular mirrorless camera mounts such as Canon RF, Nikon Z, Sony E, Fujifilm X and Micro Four Thirds — so whatever system you shoot with, you can join in on the retro fun.

Most of my affordable choices are for adapting old lenses from film cameras to mirrorless cameras, but I’ve also included a Canon EF to Sony E adapter. This was Canon’s mount for its SLR (and DSLR) cameras — given Canon started production of EF lenses back in 1987, I think it’s fair to call this range retro too, almost 40 years later!

It’s never been easier to shoot with vintage lenses as modern mirrorless cameras often have features such as live exposure simulation so you can see how your exposure looks in real-time as you adjust the aperture ring on your lens. Many models also include focus peaking — a feature that puts a colorful bright line around edges of contrast in your scene so you can see which parts of your shot are in sharp focus — super handy! So, without further ado let’s take a look at the adapters I suggest to help you breathe a new lease of life into old lenses.

Vintage lens adapters for modern mirrorless cameras

• Rode announces a firmware update for Wireless Go (Gen 3) and Wireless Pro
• It adds a Direct Connect feature
• The update is available for free, starting today

If you own a Rode Wireless Go (Gen 3) or Wireless Pro microphone and have been eyeing the newer, cheaper Wireless Micro's feature list with envy, here's some good news: the company has just released an update that brings one of the Micro's handiest features to the Go and the Pro – and it won't cost you a dime.

The free firmware update allows the Wireless Go (Gen 3) and Wireless Pro to use Direct Connect, meaning their transmitters can pair directly with Apple iPhones and iPads via Bluetooth. That means that users running the iOS Rode Capture app can now record what Rode describes as "broadcast-quality audio" on their Apple mobile devices without the need to use a receiver or cable.

It's a brilliant feature for anyone looking to run a streamlined recording setup, and one that Rode Wireless Micro users have had access to since its launch in 2024.

When using Direct Connect and the Capture app, audio can be delivered in either merged or split modes. The former uses two transmitters to create and output a single stereo track, while the latter creates a separate track for each transmitter, giving the user more scope for adjustment in post-production. Of course, users can also deploy a single transmitter and record a single mono track.

No cable? No problem

"We’ve already witnessed the incredible impact Direct Connect has had on creators using the Wireless Micro," said Rode CEO Damien Wilson. "Since launch, feedback has been overwhelmingly positive, allowing creators more flexibility and versatility than ever before. It’s our duty as pioneers of the ultra-compact wireless microphone category to extend true wireless freedom to as many creators as possible. With Direct Connect now available on more Rode systems, we’re delivering exactly that."

With this update, and both the Wireless Go (Gen 3) and Wireless Pro dropping in price recently (to $199 / £179.99 and $299 / £269.99 respectively), there's perhaps never been a better time to grab one of Rode's premium wireless mics. But make sure you check out our in-depth wireless microphone buying guide before making any decision.

Think camera straps are boring? I don't blame you, but have you seen rope straps? They transform an otherwise functional product into something much more fashionable.

Engagement with my camera review videos for TechRadar prove it – if I’m wearing a rope strap, it’ll get more comments than the camera itself!

I’m hardly surprised. How a camera looks and feels is becoming as important as how it performs, and so an affordable strap that matches a camera's aesthetic is naturally where users might look next.

I’ve reviewed cameras that come bundled with a rope strap, such as the Fujifilm GFX100RF, but most cameras are still supplied with a plain, brand-adorned black strap.

So if you’re looking for a stylish rope strap instead, check out a few of my favorites below, with deals for a range of budgets. But first a word of warning…

Fashion over function

Using a rope camera strap is effectively the equivalent of wearing high heels (not speaking from personal experience).

Sure, they look great, and if you’re heading to a party or taking a city break, or even working as a wedding photographer, looks matters more. However, there are drawbacks to this type of strap.

Don’t expect a comfortable day’s shooting with a rope strap (with a few exceptions), or a secure fit, or a quick motion bringing your camera from your side and into action.

Most rope straps are truly fashionable over functional. They look the part and are generally highly durable. However, they can dig into the shoulder, especially if you’re carrying heavy gear. They tend to be a single length too, which means that they might not be the right fit, or could swing about if you’re being particularly active. It might take a little fiddling to bring your camera into position, too.

Functionally, they’re not all bad, mind you. I've certainly enjoyed pairing Fujifilm cameras with rope straps over recent years. And if these warnings haven’t put you off, check out my top recommendations below.

Prices vary wildly, but I’ve included my reasons for each one because there are subtle design differences that go beyond price considerations. Make sure you also scan further below for top alternative.

My camera rope strap recommendations (US)

Top alternative

My camera rope strap recommendations (UK)

Top alternative

Hohem iSteady MT3 Pro: two-minute review

If you’re serious about video capture, there’s a good chance that a gimbal is on your ever-growing shopping list. And if you’re looking for something that can support one of the best cameras for YouTube and general video capture, the Hohem iSteady MT3 Pro is an option you might want to consider.

This is a pro-spec gimbal that comes with a built-in camera for AI subject tracking and remote viewing, a touchscreen remote, impressive battery life, and a respectable 5.51lbs / 2.5kg maximum payload. It’s packed with features, and the Pro kit comes with a range of useful accessories for not much more than the price of the standalone Pro option.

The MT3 Pro even features a detachable 1.4-inch touchscreen remote, which can be used to control the gimbal from up to 32.8ft / 10m, with the ability to see what the AI tracking camera sees. This is fantastic, whether you’re capturing yourself or simply working at a distance from the camera. You can, of course, also access many gimbal settings via the remote, and there’s a mount that attaches the remote to the multi-angle arm that’s included in the pro kit.

In terms of build quality, there’s no faulting the MT3 Pro. It feels like a quality product, as you’d hope and expect for the price. It’s a surprisingly compact gimbal considering it has a maximum payload of 5.51lbs / 2.5kg, which is enough to support a range of different cameras and necessary accessories up to some professional options.

The MT3 Pro is comfortable to hold thanks to the contoured grip and the weight of just 2.36lbs / 1.07kg. Plus, the included mini tripod acts as both a stand and an extended handle / grip. The Pro kit also comes with a multi-angle handle, which is perfect for adding stability in ‘side handle mode’ and for capturing low-angle shots in ‘briefcase mode’. Another useful feature is the ability to switch the camera to portrait mode in a matter of seconds, without having to rebalance the gimbal.

A great aspect of the MT3 Pro is that it comes with everything you need to attach and stabilize smartphones, action cameras, compact cameras and larger mirrorless cameras, DSLRs, and video cameras. For most professionals and advanced users, a mirrorless or video camera will be the obvious camera of choice, but you never know when you may need to attach an action camera or smartphone, so this functionality remains useful – if you shoot just with a phone, however, you'll find a better alternative in our best phone gimbals guide which includes Hohem's own iSteady M7 in top spot.

The camera mount is Arca-Swiss compatible, which means you can attach your camera and camera cage to the gimbal. Like all gimbals, the MT3 Pro conveniently folds flat for transport and storage. Parts of the MT3 Pro are Teflon-coated, intended to make balancing easier when adjusting the tilt, roll and pan arms. The MT3 Pro was easy enough to balance, and the arms certainly moved with ease during the process.

One of the more interesting features is the AI subject tracking for humans, pets, vehicles, and pretty much any subject you might want to capture. The subject tracking works well, incredibly well, when it comes to locking onto subjects as you move around them, or if the subject itself moves – the gimbal will follow. 'Any subject' may seem vague, but during my testing I was able to select literally anything, and the MT3 Pro would dutifully lock on to it.

The gimbal achieves success here thanks to its 2MP AI camera. This not only allows the gimbal to see the subjects it's tracking, but, as previously mentioned, it also provides a live view of what’s happening in front of the camera. It’s not a live feed from the camera, but it remains useful by allowing you to select the subject to be tracked. You can set custom follow speeds to make the MT3 Pro quicker and generally more responsive when required. You can also use hand gestures to control some functionality of the gimbal, which is useful for vloggers.

The Hohem Joy app allows you to perform several tasks, including updating firmware, controlling the gimbal wirelessly, setting up shooting tasks such as timelapses, and smartphone camera control when stabilizing your smartphone. It’s not the best app of its kind, but it could be worse, and I was surprised to find a firmware update available for the pre-sale MT3 Pro I was testing.

One thing I did find tricky with the MT3 Pro is that some features and functions are tucked away behind multiple button presses, as well as being accessible on the remote. This is fine if you use gimbals daily, but for less frequent users it will take some time to learn what one, two, three or four presses, or a long press, of a button does. Not a dealbreaker, for sure – just something to be aware of.

The Hohem iSteady MT3 Pro is an impressive and useful gimbal thanks to these features and others, including the Spot Mini Motor, which can be set up to add easy motorized focusing of your lens / follow focus. This is only available in the Pro kit. Standard features include control of compatible cameras, and there’s also a built-in light. This has Kelvin and brightness control, and although it’s not the brightest it does add useful fill light in some situations.

This and the AI subject tracking will of course take their toll on battery life, but Hohem claims that the 4350mAh battery can provide up to 20 hours of use when these features aren’t being used. I wasn’t able to fully test that claim, but a single charge did more than cover my testing period, which spanned a couple of weeks and multiple shoots.

Hohem iSteady MT3 Pro review: price and availability

The Hohem iSteady MT3 Pro was announced on January 6 2026, alongside the Hohem iSteady MT3. The latter is a less expensive option with a lower maximum payload and fewer features. The iSteady MT3 models will initially be available in the United States with pre-orders open now. Hohem has suggested that a wider release to the UK, Australia and other regions could follow in March/April.

I reviewed the iSteady MT3 Pro kit, which costs $549, while the iSteady MT3 Pro costs $449. Without listing everything you get in the Pro kit, in addition to what comes with the MT3 Pro, you also receive a carry case, multi-angle handle, a focus motor and associated accessories, among other items, and for just $100 more it's an attractive option. We'll update this page when we have details of pricing and availability for regions outside the US.

Hohem iSteady MT3 Pro review: specs

Hohem iSteady MT3 Pro review: also consider

Should I buy the Hohem iSteady MT3 Pro?

Buy it if...

Don't buy it if...

How I tested the Hohem iSteady MT3 Pro

• I tested it over a couple of weeks
• I paired it with a range of cameras
• I tested all of its features

The Hohem iSteady MT3 Pro was tested over a couple of weeks indoors and out, with my smartphone, compact camera and full-frame mirrorless cameras, and with video accessories attached. The gimbal was tested according to what I was shooting, but emphasis was placed upon overall stability and the effectiveness of the AI-powered subject tracking. I also tested the touchscreen remote, the spot mini motor for focus control, and the other accessories included in the kit.

First reviewed January 2026

Wandrd PRVKE V4 bag: Two-minute review

I've tested plenty of the best camera bags over the last 15 years (seriously, I've got quite the collection), but only recently got my hands on Wandrd gear for the first time. Of course, I had to start with the established American accessory maker's best-selling PRVKE, which is now in its V4 version.

It's a stylish roll-top backpack, available in seven muted colors and three sizes, with an optional cube insert designed to stow camera gear.

Wanting a slimline day pack, I opted for the mid-size 21L version in 'Sedona Orange' – the boldest look of the lot – with the cube insert. There's an even smaller 15L version (the only size in the range with the camera compartment built-in) or a larger 31L size. Wandrd has seemingly ditched the 41L size from the previous version of the PRVKE.

I also picked up the D1 fanny pack (also in Sedona Orange) at the same time, to complement the bag for essentials.

What I particularly appreciate about the PRVKE V4 is how good it looks without the usual camera bag tell-tale signs. No, this looks like a regular roll-top bag that I see so often on commuter trains in the UK, and a particularly stylish one at that.

Inside, however, I could pack several thousand dollars/pounds worth of camera gear (in the 'Essential Camera Cube'), squeeze in my 17-inch MacBook Pro, and fill a number of the small zipped pockets with accessories such as charging cables.

And there's still space in the open third at the top, which is accessed through the roll-top, for day items such as a sweater and tupperware container.

It took me a little while trying out the various compartments with my gear, seeing what combinations would easily fit in the cube, and at first, I wasn't convinced I had picked the right size for my mid-range mirrorless camera and lenses.

However, with a little endeavor, I squeezed in my mirrorless camera with lens attached, an additional lens, and various accessories, including a small LED light panel.

I've happily used the PRVKE V4 21L for commuting and day trips, although it'd be a stretch using it for a weekend – I reckon the 31L version (which I haven't tried but has the same layout) would be ideal for that.

The PRVKE V4 truly looks the part – I really like the wide choice of muted colors it's available in, which now total seven in all, especially the orange that I went for – but it's also practical too.

The shoulder straps and back are lined with a padded mesh, making a long day of lugging gear a comfortable experience.

On one side, a stretch pocket easily holds a water bottle or tripod, with an additional strap to secure taller items. On the other side, a zip pocket accesses where the cube sits – directly to your camera gear. Not all of today's discreet camera bags offer such direct access to gear, so points to the PRVKE V4 there.

I like the handle on the top, too, with the two straps fixing to each other magnetically. They make picking up the bag a breeze, as does the additional handle on the back, which can conveniently slot over a suitcase handle for air travel.

The PRVKE V4 is not quite perfect, mind you. I found dirt a little sticky on the smooth back of the bag, and the roll-top design isn't the most weatherproof. I don't think all of the pockets are necessary either, but that might not be true of the next person.

It's also a shame that the key camera gear accessory – namely the cube insert – is a pricey extra for what is already a relatively expensive bag (15L aside, which has the camera compartments fixed in place).

Overall, these are minor drawbacks for what is clearly a well-designed backpack. I can easily see myself relying on the 21L bag for days out, commuting, and, with the cube removed, even a weekender pack. If you want a weekend bag with camera gear, I'd recommend the 31L version instead.

There's a reason the PRVKE has proved such a hit these last few years, and now, in its updated V4 form, I'm glad to have joined the party. This will no doubt be my go-to day bag for the foreseeable future.

Wandrd PRVKE V4: price and availability

• Available in 15L, 21L and 31L versions
• There are seven muted colors to choose from
• Prices start at $234 / £207 (Australia availability and pricing vary), the camera cube costs extra

The Wandrd PRVKE has been available for a number of years, and this review is of the current V4 version.

The PRVKE V4 can be purchased in one of seven muted colors at the Wandrd store: Black, Aegean Blue, Wasatch Green, Yuma Tan, Sedona Orange, Rhone Burgundy, and Atacama Clay. It's available in three sizes: 15L, 21L, and 31L – the smallest is the only one to feature a camera gear compartment. Here's a breakdown of the prices:

The 15L version costs $279 / £246 (no need for an optional cube insert), the 21L bag only is $234 / £207, and the 31L bag only is $254 / £224.

The Photography bundle includes the Essential Camera Cube and adds $85 / £74 to the cost of the 21L and 31L versions, while the Pro photography bundle includes the larger Pro Camera Cube and add $120 / £105 to the cost. Those accessory prices are a little steep in my opinion.

The former version of the PRVKE bag also came in a larger 41L version, which is still available at various retailers for around $273 / £242.

Wandrd PRVKE V4: specs

Should I buy the Wandrd PRVKE V4?

Buy it if...

Don't buy it if...

Also consider

How I tested the Wandrd PRVKE V4

• I had the 21L version of the PRVKE V4, with the 'Essential' cube insert
• I used the PRVKE for over a month, mainly as a day or weekend bag

Wandrd arranged a long-term loan of the PRVKE bag for me – the 21L version with cube insert.

I've used the PRVKE as my primary bag for commuting, simple day trips, and the occasional weekender.

It has stored a range of my camera gear – from mid-range mirrorless models with a couple of lenses, to smaller vlogging gear with a range of accessories such as LED lights. I've also stored a 17-inch MacBook Pro inside.

Throughout my testing, the bag has been subject to inclement weather and used in a range of environments, including large cities. This is a true long-term review.

First reviewed January 2026

Recently, I stumbled across a cheap accessory for DJI's wireless microphones, and I was shocked that more people didn't know about it. It costs just $14 / £14, and it's no exaggeration to say that it has completely changed my workflow.

It's called the DJI Mic Series Mobile Receiver, and it's designed to make DJI microphones much easier to use with your smartphone. It's a decent pitch, but DJI mics already work with smartphones, so why has this accessory got me so jazzed up?

What problems does the Mobile Receiver solve?

Let me start by explaining the current pitfalls. To use a DJI wireless mic with your phone – and you should because it makes some of the best wireless mics, including the DJI Mic 2 or Mic 3 – you can either pair it over Bluetooth, or use the on-camera receiver connected to the phone's USB port.

Bluetooth connectivity is convenient, but trust me the quality is awful. Honestly, it sounds so bad that you'd be better off using your phone's built-in microphone most of the time. Using the receiver (pictured below), produces the high quality audio you'd hope for, but the form factor is far from ideal.

The wireless receivers that come included with the DJI Mic 2, Mic 3, and Mini are all designed with mirrorless cameras in mind, not phones. This means they have a cold-shoe connection and a relatively bulky housing. They do work with smartphones, thanks to clip-in USB adapters, but they stick out in a weird way, and I'm always scared of accidentally knocking the receiver out of place or, worse still, damaging the USB connector.

There are other issues, too, like the fact that you can't charge your phone while the receiver is attached, as there's no pass-through power. To make things worse, you actually have to remember to charge the receiver before shooting - which is something that has caught me out more than once.

How the Mobile Receiver works

The Mobile Receiver fixes all of these issues and adds a few more perks besides. It's a tiny device that's less than 9mm thick, about the same width as most flagship phones. It sticks out from the USB-C port on the base of your phone by about a centimetre, and it weighs almost nothing. You'll never have to worry about knocking this one loose.

In addition, it's powered by the phone itself, so there's no charging to worry about. It also features a USB-C port with pass-through power, so you can keep your phone topped up during longer shoots. Honestly, these features alone are enough to make this an essential purchase for anyone who regularly shoots video with a phone, but it gets better.

I personally own the DJI Mic 2 and the DJI Mic Mini. With my Osmo Pocket 3, I can record audio with both simultaneously, but with my mirrorless camera and phone, I have to choose one or the other, as they come with different receivers.

However, the Mobile Receiver allows me to pair both mic at the same time, just like I do with the Pocket 3 - it's so handy.

It's not just phones that this receiver is good for, either. It might be ancient in tech terms, but I still use my DJI Action 2 action camera quite often. The problem is that it came out before DJI's wireless mics, and therefore lacks compatibility with any of them.

Thankfully, plugging in the mobile receiver just works; no setup needed. I'm sure it'll be a similar situation with Insta360 cameras and GoPros, too. It's another reason that the tiny form factor is crucial. Sure, you could use the full-size receiver, but that'll look crazy hanging off the side of an action camera. This is so small that it should hide between the stitch lines on a 360 camera.

How to use the Mobile Receiver

If you're an astute observer, you may have noticed that there's no screen on the Mobile Receiver. So, how do you change settings? Thankfully, that's something that DJI has taken into account.

There's a three-position slider on the base of the unit, which lets you change the level of noise-cancellation, and there's also a physical pairing button, but otherwise, everything is handled by the DJI Mimo app on your phone.

The Mobile Receiver pairs up just like a DJI camera would, and within the app, you can access all the same in-depth settings that are found in the standard receiver's menu. There are all the basics, like gain adjustment, stereo mode, and low-cut options. As well as more niche features, like the ability to turn off the LED indicators.

If you own a DJI Mic 2, Mic 3 or Mini (it doesn't work with the original DJI Mic), and if you ever shoot with your phone, I think the DJI Mic Series Mobile Receiver is a must-buy. For just $14 / £14, this little accessory has completely changed my shooting process. It adds so much versatility for such a low price that I think it's a no-brainer.

CES 2026 is well underway, having opened to the public on January 6, and the world's biggest tech show has debuted some wild new camera gear which has caught my eye.

Birdbuddy's 2 Mini stands out – it's an affordable bird feeder camera that can identify birds by sight and sound. And there's a surprising new player in the action camera market – robovac maker Dreame, with what looks like a DJI and Insta360-beating modular action cam. Hohem also unveiled probably the most advanced camera gimbal I've seen yet – the Hohem iSteady MT3 Pro.

I've rounded up those three intriguing new cameras and accessories below and more, and will add to this list should there be any further announcements during the show that are worth digging into.

Birdbuddy 2 Mini – a bird feeder camera that can see and hear birds

• Birdbuddy's smallest and most affordable bird feeder camera
• It's like the 'Shazam for birds', able to identify birds by their song

Following up its flagship Birdbuddy 2 bird feeder camera announced last year, Birdbuddy unveiled the 2 Mini at CES. The second generation models share the same core specs; an upgraded 2K camera that's able to shoot video in horizontal or vertical format, faster wakeup time, slow motion recording, plus AI bird detection that can see and hear birds. That's right, with upgraded mics, Birdbuddy can identify birdsong – consider it the 'Shazam for birds'.

Where the two smart bird feeder cameras differ is in design – the new 2 Mini is smaller and lacks an extended perch, while it's powered by a (rechargeable) internal battery only. The larger Birdbuddy 2 has built-in solar panels for continuous power. Despite its simpler design, the 2 Mini could even be the better option for tight spaces, apartments and balconies, thanks to its smaller housing, plus it costs around 35% less (unless you fork out for the optional solar panel).

The Birdbuddy 2 Mini costs $129 (compared to $199 for the Birdbuddy 2), and pre-orders are expected to open mid-2026 at Birdbuddy and shipped later on this year. UK / Australia pricing is TBC.

Dreame Leaptic Cube – a tiny, modular 8K action camera

• Robovac makers Dreame branch out into action cameras with the Leaptic Cube
• It's a '8K AI tiny' modular action cam like the DJI Osmo Nano

Robovac makers Dreame had a surprise up its sleeve for CES – it debuted the Leaptic Cube, it's first ever action camera. I've not tested the Leaptic Cube yet, but its design bears a striking resemblance to the DJI Osmo Nano – a tiny modular action cam that can magnetically attach to a pod with a screen.

And Dreame looks to up the ante over DJI and indeed Insta360, with 8K video recording in 10-bit, 50MP stills and a 1/1.3inch sensor. It says the Leaptic Cube has gyro AI stabilization – a feature usually reserved for bulkier action cams – 200 mins run time, pre-recording, wireless control from the pod and gesture control.

There's also AI editing skills which should speed up producing dynamic videos. It all sounds very promising, and refreshing to see a new player in a space dominated by DJI and Insta360. We'll be reviewing the Leaptic Cube soon, while pricing is TBC.

Hohem iSteady MT3 series – our favorite gimbal maker's most advanced model yet

• Hohem's latest camera gimbal with increased payload and advanced subject detection skills
• It comes with a 1.4-inch touchscreen module for remote control

We rank Hohem's iSteady M7 as the best phone gimbal, and much of its smart tech – including AI subject detection tracking and a 1.4-inch touchscreen module for wireless control – can be found in the serious new MT3 Pro and MT3 camera gimbals.

The new MT3 series of gimbals is a heftier proposition than those for mobile, being designed for larger cameras, and it supercedes the existing MT2 series with improved torque, higher payloads, and refined AI subject detection skills.

DJI might enjoy a lion's share of the camera gimbal market, but Hohem seemingly deserves a slice of that pie with what looks like a formidable camera gimbal. We've already received a sample of the MT3 Pro advanced kit to test and will share our review soon. Cost-wise, the MT3 Pro will be $449 while the Pro Kit will be $549, with an estimaed sales start date of January 20.

SmallRig's logo-free mic

• SmallRig unveils a tiny, discreet, logo-free wireless mic
• The kit is powerful and super affordable

OK, so discreet design is hardly innovative, but it is completely welcome when we're talking wireless mics. Take a look at my best wireless mics guide and you'll find plenty of tiny options like SmallRig's new S70 Wireless Microphone, but none like it where logos can easily be completely hidden. That's how you wear the S70 tie clip mics – with the 8.8mm tiny clip front-facing, and the SmallRig logo hidden.

On the technical front, SmallRig says its new S70 wireless mic is tuned by a Grammy Award Winner, delivering 24-bit in 360 degree clarity, with 3-level noise reduction and clipping protection, backed up with 40 hour battery life. The kit pictured above which comprises two transmitters (mics) and two receivers only costs $90 (around £66 / AU$134), too, with a bonus mobile receiver included for free at launch. That's what I like to hear!

TechRadar will be extensively covering this year's CES, and will bring you all of the big announcements as they happen. Head over to our CES 2026 live news page for the latest stories and our hands-on verdicts on everything from 8K TVs and foldable displays to new phones, laptops, smart home gadgets, and the latest in AI.

You can also ask us a question about the show in our CES 2026 live Q&A and we’ll do our best to answer it.

And don’t forget to follow us on TikTok and WhatsApp for the latest from the CES show floor!

As Cameras Editor, I shoot a fair bit of social media content for TechRadar – mainly solo on-the-go vlogging as I try out new camera gear, capturing my first impressions for TechRadar's TikTok and YouTube.

For such tasks, I want a lightweight setup of the highest possible quality, fuss-free, to make my solo shooter life as fuss-free as possible. I have fine-tuned my gear selection over a couple of years with several top products that are fit for the task.

I'm not saying my selections are the best picks for everyone, which is why I have included additional options in my best vlogging cameras, best wireless mics, best camera bags, and best camera phone guides – you'll be sure to find your dream vlogging gear in one of those guides.

But which items are my personal essentials? Let’s take a look at each item one by one and why each item has made a home in my bag, starting with the bag itself!

What's in my bag

• Ulanzi 9L bag sling bag
• Xiaomi 15 Ultra camera phone
• Godox Cube-C wireless mic kit
• SmallRig Mini LED Video Light 25W (x2)
• Neewer neck holder
• Mini selfie stick-cum-tripod

Ulanzi 9L Sling Bag

• Rating 5/5

Small, lightweight, comfortable, rugged, protective, surprisingly spacious, and quick access to what’s inside, those are the attributes I look for in a bag for my content creation gear, and the Ulanzi 9L Camera Sling Bag ticks all of those boxes.

Slung over one shoulder and resting on my midriff, with a top zipper for the main compartment and a padded divider inside (which can be folded away inside the bag to create one single large compartment, I have quick access to all of the items listed above, right from where my hand can rest.

A full-size backpack, though it could fit a wide range of camera gear, is excessive for my needs, and most such bags are slow to access gear. No, I need the smallest possible bag with easy gear access, and Ulanzi's does the trick!

See my Ulanzi 9L Camera Sling Bag with Tripod Holder B122 review for more details.

Xiaomi 15 Ultra

• Rating: 5/5

You’d think my camera of choice would be a ‘proper’ one – a top vlogging camera like the DJI Osmo Pocket 3 (which I do indeed also use), or a video heavyweight mirrorless camera from the likes of Sony, Canon, or Panasonic. But alas, for vlogging content, I usually rely on a flagship smartphone, and all throughout 2025, my go-to has been the Xiaomi 15 Ultra.

I’m not going to split hairs about whether and why it is the best camera phone of them all, but it’s certainly up there, especially with its easy interface, Google connectivity (I use G Drive for collaborative projects), a high-quality 1-inch sensor main camera, and superb telephoto cameras.

For more details, read my Xiaomi 15 Ultra feature where I spent a month with it as my main camera for photography, and our in-depth 15 Ultra review.

Godox Cube-C wireless mic kit

• Rating 4.5/5

After a top-quality camera phone, I need pro-quality audio (arguably even more important), and for that, I’m not going to rely on a camera’s internal mics, good as they can be. No, I'm going to connect to a portable wireless mic instead.

I’ll be clear from the off – there are numerous wireless mics available, and I’ve tested a bunch of them, including the powerful DJI Mic 3, tiny Mic Mini, and budget-friendly Boya Mini – check out my best wireless mics guide. But I’d like to put the spotlight on the superb Godox Cube-C kit today.

I’ve been using the comprehensive Godox Cube-C kit for many months, and without wanting to sound like an ad, it has never let me down. The same can’t be said for several other kits that I have come and gone in my life because I couldn’t rely on them. And the best part? The Cube-C complete kit costs just $103 at Amazon / £94 at Amazon.

The Godox Cube-C kit comprises two mics (transmitters), a mobile receiver (plugged into the USB-C of my Xiaomi 15 Ultra), a receiver for cameras (which slots into a hotshoe and connects to the 3.5mm mic jack), a charging case, wind muffs, and various magnetic mounts to attach the mics to clothing in a choice of ways.

The mics are tiny and don’t tug on clothing, and the 24-bit output and noise reduction render fantastic audio quality.

I have two issues with the kit – the mics seem particularly sensitive to rustling noise from clothing. If you come across this issue as I have, it's in the back of your mind to position the mics with particular care and limit body movements to avoid it.

Also, I wished the key components would fit in the charging case, which only has space for the 2x mics and the camera receiver, not the mobile receiver or wind muffs. Because it doesn't, I've needed to carry it all in the bulky case if I want the gear protected properly. I don't usually want to carry all of the components, though, so I've tended to opt for a soft case to store just the bits I need for any given shoot.

SmallRig Mini LED Video Light 25W

• Rating: 5/5

If I can, I tend to use natural light for vlogging, because using artificial light is one more thing to think about (and potentially carry for a shot). However, I'll always pack a mini LED video light in my sling bag just in case I need it, especially for product b-roll.

My choice of lighting gear for solo vlogging is the lightweight SmallRig Mini LED Video Light 25W, which costs $59 at SmallRig or £59 at Amazon. I have two, and with dimensions of 4.4 x 2.9 x 1.1in / 112.5 x 74.0 x 29.2mm, I can easily fit one of those into my sling bag, both of them at a push.

I've been so impressed with SmallRig's video lights – they are powerful, versatile, and dependable.

Battery life has proved to be longer than other lights I've used, with up to 50 minutes at full power, and USB-C fast charging on the go, which is also possible while the lights are in use. I can't tell you how many times other lights have let me down with poor battery life.

SmallRig's full color spectrum Mini LED Video Light 25Ws lights come with a (magnetic) diffuser, and three settings: white/warm light (with a 2,500 to 10,000 kelvin range and CRI 96 color accuracy), RGB, or a range of 14 different effects, such as lightning and flame.

You navigate between the three settings using a button, and circle through the options in each one, color temperature or power output, using a control wheel – it's all super simple, which is what I want when solo vlogging.

It's possible to attach the lights to magnetic surfaces or to stands/selfie sticks using the tripod thread on the underside. The only cons to these lights are the relatively slow start-up time and slightly noisy fans (whatever output you have the lights set to).

Alternative: Ulanzi LED20 RBG video light for $40 at Amazon / £48 at Amazon

Neewer neck mount

• Rating 4/5

For those POV shots when I'm hands-on with the gear, I need both of my hands free, which means that I can't be holding the camera. My solution, although it's hardly the stylish look I want while filming, is a neck mount. Needs must!

I use the Neewer GP-16, which costs around $25 at Amazon / £25 at Amazon. Prices can vary ± $10 / £10 at any time, but I got mine for £23 at Amazon UK earlier this year.

The idea is that you wear the flexible neck strap and then attach your camera to the mount – the Neewer GP-16 package I bought includes options for mounting a phone magnetically, or a small action camera through a universal threaded mount.

Whether I'm hands-on with gear or simply want my POV at any given moment, this neck holder does the trick!

Insta360 2-in-1 Mini Tripod

• Rating: 4/5

For walking-and-talking clips, I need a selfie stick to maintain the proper distance between me and the camera to frame the shot correctly. Rather than a dedicated selfie stick, however, I find the Insta360 Mini 2-in-1 Mini Tripod is a versatile alternative, and it costs just $30 at Amazon / £27 at Insta360.

Firstly, the mini tripod can angle the phone, and secondly, it features built-in tripod legs, so I can set the camera on a convenient surface for hands-free filming where suitable.

For use with the Osmo Pocket 3 or an action camera, the mini tripod setup is easy. However, for a bulkier camera phone without a tripod mount, I've needed to pick up a cheap phone clamp that screws into the mini tripod, any generic clamp with tripod mount sub $5 / £5 will do.

I'd like a slightly larger and sturdier version for use with a phone, with a longer maximum height and greater stability – the Insta360 Selfie Stick + Throwpod has caught my eye – but if I'm only using one support, this is the one that slips inside my sling bag.

An alternative that I use occasionally, because I can attach it to the tripod holder of my sling bag, is the mini tripod that features within the Heipi 3-in-1 travel tripod. The included head in this tripod has a hidden phone clamp, making it ideal for vlogging.

Sachtler Ace M MS Mk II: two-minute review

Many years ago I worked in a camera store, and a regular topic of conversation was how to make tripods sound exciting to customers.

Admittedly, they are accessories that many photographers see as necessary tools, but not ones worthy of the same attention as the latest cameras and lenses. I doubt every photographer would be as actively vocal about a new tripod as they might the release of the Canon EOS R6 Mark III, Leica M EV1, or even an action camera like the DJI Osmo Action 6.

Every so often, however, a tripod comes along that truly defines what every content creator should aspire to own in a camera support. These are the models that usually make it onto our list of the best tripods guide.

Some tripods, like the fabulous Manfrotto One hybrid photo and video tripod, hit the headlines due to their mainstream appeal, while others quietly fill a gap in the market for specific uses and a tightly-targeted customer base, and the Sachtler Ace M MS Mk II is one such model.

Before diving into what makes this set of legs the best for shooting video, it’s important to understand how a video-centric tripod differs in its features compared to one made solely for stills photography.

Unsurprisingly, a photo tripod is all about providing the ultimate stability for sharpness in a single frame. You need these models to allow you to precisely place the camera for a stationary composition. With a video tripod, meanwhile, you need the freedom to move the camera during a shot, to create a cinematic pan that follows the subject.

You need to keep the target in the frame as it moves through the scene, while maintaining smooth, fluid movement that isn’t jerky or rife with distracting micro-vibrations. If you're shooting with one of the best 4K cameras or best cameras for professional filmmaking, you want to ensure the quality of your footage isn't let down by your tripod.

Video models also have a greater provision of accessory attachment points, which allow the user to add audio and lighting equipment, a larger external monitor or teleprompter, for example. The Sachtler Ace M MS Mk II has three 3/8-inch accessory mounting points arranged around the tripod bowl, which not only enables multiple accessories to be added to your system but also allows you to select a position for the optimal balance of the setup.

Speaking of stability and balance, the Ace M MS Mk II features a mid-level spreader to prevent leg creep under the weight of a heavier cine camera system and to ensure that all of the legs are properly spaced. The camera level changing between shots is a pain for photographers, but a potential disaster if it happens mid-video clip. The unit on the Ace M MS Mk II is sturdily constructed, and easily removed when it’s not required.

I’ve always preferred a mid-level type, rather than ground-level, which might provide good stability in a studio setting but quickly becomes an obstruction and speed killer when on location. It’s ideal that such a spreader is removable, giving users the stability needed for high payloads, but the flexibility to spread the tripod and capture lower-level shots.

The Ace M MS Mk II an aluminum tripod, rather than carbon fiber, and with an aluminum design there is always going to be a weight penalty. None of Sachtler’s tripods could be described as lightweight, but this is not uncommon for video models; indeed, it’s necessary to provide the proper support for the larger gear they will be paired with.

Yet at 4.4kg, the Ace M MS Mk II is still highly manageable compared to other professional video products. The Manfrotto MVH502A, for example, weighs in at 11.7lbs / 5.3kg while supporting up to a 22lbs / 10kg payload. Meanwhile, the Sirui BCT-3203 matches the Sachtler’s weight exactly despite being made from carbon fiber.

Build quality is impressive throughout, from the aluminum tubes of the legs themselves to the high-impact plastic of the control points and bowl surrounds. All of the materials are solid to the touch, notably the plastic components, which have very little give when depressed. All threads and screws are precisely milled, and didn’t exhibit any sticking or slipping when operated during testing.

I liked that there didn’t seem to be many potential points for moisture and dirt ingress. Unlike the common stacked multi-segment leg design seen in many photo tripods, where one section collapses into the other, possibly taking contaminants with it that can cause seizing over time, most moving components are external and can be accessed on the Ace M MS Mk II. This makes cleaning and maintenance easier, and less likely to be neglected post-shoot.

Functionality is also excellent. The many dials, knobs, and locks take some familiarization when you first use the tripod, but every control is smooth and logically placed. The friction controls for both head pitch and pan movements are exceptionally effective, allowing fluid motion in dynamic footage. Meanwhile, when locked, static clips were sharp and generally vibration-free, at least in moderately still air.

The less rigid microstructure of carbon fiber means it has fewer resonant properties, so it transmits less vibration to the tripod head. Despite this, the overall weight of the aluminum Sachtler Ace M MS Mk II made it more resistant to wind buffeting than my Gitzo carbon tripod, and I was able to capture sharper images once the wind speed increased.

Similar to the excellent Manfrotto One hybrid tripod, the legs of the Ace M MS Mk II can be extended with a reduced number of actions. Rather than having to unlock each leg section individually, unscrewing the mid-level locks raises the head to chest height, and then the lower section can be further extended with the secondary screw locks. It’s not quite as smooth an operation as the Manfrotto One, but it still wins points for speed.

I must also give a mention of the tripod feet, which are both tough and easy to adjust. By simply rotating them on their screw thread, you can reveal or retract the spikes within, depending on the terrain type on which you plan to use the legs. It might sound like a minor point, but I really appreciate that they are also bright red. The weakness of this screw-thread design is that it’s not too difficult to over-loosen a tripod foot, which then detaches, and standard black rubber feet are easy to miss – I’m ashamed to add up how many tripod feet I’ve ‘misplaced’ like this over the years. Perhaps I’m just careless, but in the heat of a rapid shoot, where you're changing locations a lot, the highly visible color is a thoughtful touch.

Sachtler Ace M MS Mk II: key specs

Sachtler Ace M MS Mk II price and availability

The Sachtler Ace M MS Mk II video tripod was launched in April 2024 and is available from several specialist photographic retailers, bundled with the Ace M Fluid Head and flowtech®75 Mid-level spreader. The cost of the kit is $985 / £858 / AU$1,545.

The tripod is available across major markets, in the USA, UK, and Australia, although as this is a specialist video accessory it can be trickier to find at some mainstream retailers, or it is listed but with limited availability. We sourced examples at Adorama in the United States, WEX in the UK, and Videocraft in Australia.

Sachtler Ace M MS Mk II: Also consider

Should I buy the Sachtler Ace M MS Mk II?

Buy it if...

Don't buy it if...

How I tested the Sachtler Ace M MS Mk II

• I spent approximately one month testing the tripod in a variety of weather conditions
• I used the tripod to support my camera in various locations, across multiple types of terrain
• I mounted a variety of camera types on the tripod to test stability, from a lightweight mirrorless system to a pro DSLR

To ensure I got a representative idea of the capabilities of the Sachtler Ace M MS Mk II, I took it out on location with me several times over several weeks. These shoots covered landscapes, coastal shots, woodland scenics, and even low-light cityscapes.

I captured video footage and examined frame grabs to assess sharpness in windier conditions or when water was moving around the tripod feet. I also shot some long-exposure still images to get a better picture of the type and direction of vibrations, where present.

I tried using the legs with and without the spreader fitted. I placed the feet on different terrain conditions as a routine part of my test shooting, including waterlogged soil, sand, and concrete. I also used the tripod at various heights to test how stability and vibration absorption changed as the legs were extended.

First reviewed December 2025

Manfrotto One hybrid tripod: two-minute review

As soon as you pull the Manfrotto One out of its box, you can tell this is a tripod unlike any other. I’ve used many professional tripods over the years, such as the 3 Legged Thing Punks Brian 2.0 and Gitzo tripod Traveler series 1, but this feels less like a support for your camera gear and more like the center point of an entire system. An extension of the photo kit itself.

If you plan to use the Manfrotto One to its maximum advantage, then you’re likely a serious content creator, working professionally and on demanding assignments. And for such people, everything about the legs is geared towards ultimate stability.

The weight alone will reveal it isn’t made with an entry-level mirrorless camera in mind, rather professional camera bodies and motion-centric gear, amongst the best full-frame cameras and best cameras for video in 2025. I used a range of models with the tripod, from an older pro-level mirrorless setup, via a Leica Rangefinder system, to a medium-format camera. In each case, the legs felt perfectly balanced.

The extra mass of the center column pulls the center of gravity back to the mid axis of the legs, so that even when using a bulky f/2.8 telephoto zoom lens, the setup never felt like it might topple forward, something I always have to be conscious of when using other Manfrotto aluminium and Gitzo carbon fiber travel tripods.

Build quality is of the highest grade. There’s a solidity that is almost intimidating, and I wouldn’t advise leaving the Manfrotto One unsecured on the back seat of your car, for fear of the consequences should you firmly apply the brakes. Both aluminum and carbon fiber variants are available, although I only had time with the former.

During my tests the tripod was exposed to a wide range of weather conditions, from the dampness of a peat bog to the harsh salinity of the Tyne and Wear coastline. I was able to quickly and easily wipe the feet and legs clean with no sign of unexpected water or debris ingress. The same ruggedness applies to every knurled screw, flap, and locking mechanism.

Unless you regularly inflict your tripods to 30m vertical drops, with the proper maintenance I can see the Manfrotto One outliving many of its owners.

Earlier, I mentioned the weight and while this does provide stability, it might prove challenging if you have to carry the tripod far, especially if you have the optionally bundled 500X Fluid Head attached. This alone weighs 1.22 kg, so it isn’t a system for the average holiday shoot. In fact, it may even be a challenge to transport it on-location along with a full system of camera bodies and lenses, if you work alone. I often do and found it necessary to set up for my shoot in two stages; firstly, I put up the legs and attached the head and handle, then I returned to the car to retrieve my camera.

However, if this sounds like a major deal-breaker, it’s important to remember that Manfrotto has designed this product to cater for both photographers and videographers, removing the need to carry two separate tripods for each function. This effectively streamlines the modern content creator’s gear bag and brilliantly plugs a gap in the market.

To that end, the Manfrotto One has a few exotic handling features. Starting with the Fast Leg Technology, the traditional clip or twist locks for leg extension are replaced with a single vertically flipping lever lock per leg. With one action, all three leg sections are unlocked so you can simply lift the head to the desired height and close the levers to fix the legs in place. This makes it exceptionally quick to raise and lower the head, in those moments where individually unlocking each section would cost you successful shots.

The downside is that you need to be able to support the weight of the tripod until you safely close each clip. Ideally, I’d recommend setting up the legs before attaching the head, which is made easy with the next clever innovation.

The XCHANGE quick-release system allows the 500X Fluid Head to be mounted directly onto the XCHANGE base of the center column, a bayonet-like fitting comprising multiple spring-loaded attachment points. To remove the head all the user has to do is rotate the locking ring anti-clockwise. This works almost instantaneously and is by far the most rapid head exchange system I’ve seen in a tripod. You’ll need an XCHANGE-ready head, of which there are not too many examples currently available, or you can adapt another using an XCHANGE base and plate adaptor setup.

The Q90 and modular column system is not new to the Manfrotto range – I was a fan of the design on my now ancient 190XPROB – but it’s great to see it put to use in a professional tripod of this level. By pressing the base of the center column the user can rotate it by 90 degrees, quickly positioning the camera for flat-lay shots, vertical-orientation panoramas, and dynamic video transitions.

Since the movement is rotational, you’ll still have to watch out for parallax error between panorama frames (where the relative distance between the subject and background changes between segments, introducing stitching challenges), but it’s helpful when speed is of paramount importance. Videographers, meanwhile, will enjoy spinning the camera around a fixed point to introduce movement to their footage. The best option for regular pano creators is to buy an L-bracket to minimize parallax further, or to use a shift lens.

The levelling column is a huge feature for the video-shooting audience. It’s mounted on a ball fixture, so that by flipping up a clamp that’s handily engraved with ‘LVL’, the whole assembly can be pivoted until the head is perfectly aligned with the horizon. On other, larger and heavier video tripods, the levelling process is often a multi-step one which is inevitably slower.

As a frequent landscape and macro photographer, probably my favourite feature is the split center column design, the lower section of which can be removed, again with a single action. This enables easy and rapid ground-level work, without having to laboriously screw off the bottom of the column and reattach it when you suddenly need to use the tripod at its maximum height.

Manfrotto One hybrid tripod: key specs

Manfrotto One hybrid tripod price and availability

The Manfrotto One was released in June 2025 and is often bundled with the 500X Fluid Head, although it can be purchased as a legs-only option. The aluminium legs cost $499.99 / £375 / AU$900, while the 500X Fluid Head kit costs $679.99 / £519 / AU$ 1,200.

The Carbon Fiber model is also available in the above kits and costs $719.99 / £539 / AU$1,250 for the legs only, and $879.99 / £669 / AU$1,500 with the 500X head.

This represents a good price to buy the 500X Fluid Head, which costs approximately $219.99 / £164 / AU$389.95 alone. Meanwhile, the Manfrotto XCHANGE accessory can be purchased by itself for around $54.99 / £39 / AU$80, and the XCHANGE plate for $21.99 / £29 (AU$ price TBC), allowing other heads to be used with the Manfrotto One legs and vice versa.

Manfrotto One hybrid tripod: Also consider

Should I buy the Manfrotto One hybrid tripod?

Buy it if...

Don't buy it if...

How I tested the Manfrotto One hybrid tripod

• I spent around a month with the aluminum version of the Manfrotto One
• I tested its operational speed and efficiency, ease of use, build quality and stability
• I tried the XTEND system and 500X head, and mounted various mirrorless cameras and lenses to it, including a bulky f/2.8 zoom

I spent around a month with the Manfrotto ONE, so I had a good amount of time to use it on a variety of shoots, in a mix of conditions. A local heathland is a regular haunt of mine, and this commonly leaves my tripod feet caked in peat-heavy mud. It's also exposed to the elements. The tripod certainly got wet on a few occasions. However, moisture and dirt were readily wiped off, and the feet showed no sign of excessive scratching after use.

The aluminium version I was using did get cold to the touch (a frequent challenge in winter operations), but the Manfrotto One's hard-wearing plastic components made carrying it more comfortable than directly touching the metal.

Shooting in woodland is always tricky for levelling a tripod head, but the XTEND system and ball-mounted center column made controlling the center of gravity straightforward. Using a range of camera systems, at no point was I concerned that it might topple when set up on a hillside.

Meanwhile, after a coastal shoot, I didn't find the legs prone to seizing, which can happen after exposure to salty air. The 500X head, along with the Q90 rotatable column, made switching to portrait orientation for panoramic photography quick and maintained the balance of the system well.

I shot a variety of exposure durations while waves washed over the feet to see how many vibrations were transferred to the head-mounted camera, and the Manfotto One performed well. At both closed and maximum leg heights, there was no more loss of critical image sharpness than one might expect, although I'd quite like to compare the aluminium and carbon fiber versions for this.

First reviewed December 2025

Ulanzi 9L Camera Sling Bag with Tripod Holder B122: two-minute review

I increasingly find myself on days where I need just a small bag with quick access to camera gear, whether that's a day out with my compact or lightweight mirrorless camera, taking street photos, or work events where I'm shooting TikTok content with a smartphone, supported by wireless mics and portable lighting.

For such times, a backpack is excessive, and with which access to what's inside is typically slow and complicated. No, I need a small holder with quick access to gear, and that's where a bag like Ulanzi’s Camera Sling Bag (9L) is perfect and one of the best camera bags of its kind.

It takes the same crossbody bag form as the bags all the kids are wearing these days, but is also deeply practical (shh, don't tell them). It's larger than your average crossbody bag – aka a sling bag – meaning it's surprising just what can fit inside, without compromising on the advantages of such a bag type.

With it slung over one shoulder and resting on my midriff, right where I can easily unzip and switch gear, I can store a range of equipment. For a photography day, a couple of compact cameras / an enthusiast mirrorless camera with a short prime lens, wallet, phone, snacks, and a small drink (there's a stretch pocket on each side, but I struggled to find a drink container small enough to fit).

For content creation, a smartphone, wireless mic case, portable SmallRig mini LED Video Light 25W (I have two, and they are superb and worth a feature of their own - that's coming), mini selfie stick-cum-tripod / neck mount, phone clamp, mints, comb, the whole shebang. It all fits.

I'm currently using a Xiaomi 15 Ultra for social media video work, and it fits vertically in the Ulanzi sling bag, as do the lights and mini selfie stick-cum-tripod, which means I can fit way more in than if I had to stash them horizontally.

I was surprised to discover the Ulanzi sling bag is large enough to hold a regular tablet too (like a 10.9-inch iPad) – it's positively cavernous – while other nice touches include a hidden AirTag pocket.

Even with all of that gear inside, the Ulanzi sling bag is comfortable on a single shoulder, thanks to its padded strap and snug fit around the torso. It's designed to rest over the shoulder and at midriff height, with the main compartment accessed through the top zip, which runs across the entire width, for easy access.

The bag comes with an internal divider component. It can be laid flat to provide a firm underside and leave the main compartment completely open, or folded in on itself to create three separate compartments, dividing out gear to keep it protected from other items inside. It's great having the choice between open and divided, and that the divider can remain inside for either setup.

Build quality is particularly good - I'm expecting to get several years of use from the bag - the outer polyester material seems rugged. The main zip is weather-sealed and glides easily, too.

There's no rain cover provided, but I wouldn't expect water ingress – it has easily withstood light showers. Just to be clear, though, I haven't used the bag outdoors in sustained inclement weather, so I can’t vouch for it in those conditions yet.

There are external straps to fix additional accessories to, such as a small tripod on the underside. Side straps are included less so for accessories but rather to provide a grip that makes zipping and unzipping the main compartment a breeze.

Elsewhere, there is a disguised external pocket with a particularly sticky and widespread velcro fastening frontage – ideal for thin items such as a wallet. The cover can be tucked away to expose the velcro, and Ulanzi sells velcro badges to customize the exterior, which is something I didn't do.

Put simply, every aspect of the bag functions as expected. I can't find a single fault with the Ulanzi Camera Sling 9L bag, functionally at least, and it's reasonably priced too. I've found it for $49.95 at Amazon US, and at the time of writing, there's an additional $10 off coupon. Bargain. The price is a little different on the Ulanzi site, but there's international shipping (see details below).

The only criticism I have is subjective - the bag’s appearance. Its plain black exterior won't win any style awards, and I'm not convinced that optional velcro badges help matters. No, this is function over aesthetics.

Looks aside, if you need a small sling bag for day trips with lightweight gear or mobile content creation setups, you can't go wrong with the Ulanzi 9L Camera Sling Bag with Tripod Holder B122, and it fully deserves my highest recommendation.

Ulanzi 9L Camera Sling Bag with Tripod Holder B122: key specs

Ulanzi 9L Camera Sling Bag with Tripod Holder B122: Price and availability

I've found the Ulanzi camera sling bag (9L) on Ulanzi's own website for $61.79 or $67 with velcro badges (which converts to around £47 / AU$93), and international shipping is possible.

It's also available for less at Amazon in the US and Australia, where it costs $49.95 at Amazon US and AU$75 at the time of writing.

Ulanzi 9L Camera Sling Bag with Tripod Holder B122: Also consider

Should I buy the Ulanzi 9L Camera Sling Bag with Tripod Holder B122?

Buy it if...

Don't buy it if...

How I tested the Ulanzi 9L Camera Sling Bag with Tripod Holder B122

• I tested it for several months
• I stored various camera gear and tried various internal configurations
• It has seen various weather conditions

The Ulanzi 9L Camera Sling Bag with Tripod Holder B122 has been my go-to day bag for months, for when I need to carry lightweight camera gear and want quick access to that gear, such as for street photography with a mirrorless camera or premium compact camera, to everything I need for filming TikTok content.

It's held everything from a mirrorless camera with a short prime lens to a vlogging camera and mics, portable LED lights, and more. The bag has kept my gear secure on hectic days and in short bursts of inclement weather.

First reviewed December 2025

Sirui SVM-145P: two-minute review

Monopods are useful camera supports in a range of situations, and many tripods come with a detachable leg that can be converted into a monopod, a system that works extremely well. With this in mind, you might wonder why you'd need to buy a dedicated monopod. In a nutshell, the answer is that monopods like the Sirui SVM-145P bring something much more versatile and robust to the table.

Monopods are essentially a single tripod leg that can be used to provide stability, enabling you to shoot at slower shutter speeds than you could handheld. Plus, the SVM-145P has three metal feet to provide additional stability, making it perfect for video capture when you only need a simple camera support rather than the greater stability of a slower-to-use full-size video tripod.

As the name suggests, this is a monopod with a maximum height of 145cm, or 57.1 inches, while the P signifies ‘pedal’. The pedal is used to quickly release the lock at the bottom of the monopod to allow for 20 degrees of tilt and 360 degrees of rotation, providing the movement you need when the three metal feet are being used for stability.

An interesting feature is that there’s a friction control, which allows you to control how loose or restricted these two movements are. This is useful when shooting video because it allows for smoother pans and tilts.

You can, of course, attach a fluid tripod head for video and use this for panning rather than the monopod itself. My only criticism of the friction control is that the dial at the top of the feet section is itself stiff to turn. Stiff is good to avoid movements caused by accidental knocks, but it’s arguably too stiff.

You can, of course, keep the feet folded up, in which configuration the SVM-145P performs like a standard monopod with a rubber foot at the bottom that can also be rotated to reveal a spike. The feet can also be removed from the monopod, which reduces size and weight when you require only basic functionality.

Moving on to the minimum height of the SVM-145P, the minimum in monopod mode is 77cm / 30.3 inches, which isn’t particularly low. The SVM-145P, however, has another trick up its sleeve: quick-release feet and the mounting plate where a tripod head can be attached.

These can then be put together to create a desktop / mini tripod, which is roughly 20cm / 7.87 inches. The mounting plate also features a 1/4-inch or 3/8-inch self-adaptive thread to allow tripod heads with either thread size to be attached.

The desktop tripod's minimum height isn’t listed in the specs, only the minimum heights of the basic monopod and monopod-plus-feet configuration. Adding a tripod head to the feet with the base attached will inevitably increase the minimum height, but it remains low to the ground, or not too high when positioned on a desk or table. There’s no denying that it’s a useful and interesting feature for a monopod.

Operation of the SVM-145P is quick and easy, with a simple twist lock at the top for extending and retracting the monopod. Plus, there’s the quick-release mounting plate for switching between monopod and desktop modes.

The aim of this design is speed of operation, and it certainly achieves this. The ability to move the SVM-145P quickly and to easily set it up in seconds also makes it suitable for fast-paced shooting situations. It’s undoubtedly much quicker to set up than a tripod, for instance.

As far as monopods go, this one is pretty chunky, with the thickest tube having a 36mm / 1.42-inch diameter. The weight of the SVM-145P without a head is 1.49kg / 3.3lbs, so once a head is attached, it’s going to weigh as much as many travel tripods.

When you remove the metal feet, the overall weight is reduced by 720g / 1.6lbs. The maximum payload of the monopod is 10kg / 22lbs, which will include the tripod head if you attach one, but leaves plenty of room for many camera and lens combinations.

The SVM-145P doesn’t come with a head included. This frees you to choose your own head, as well as providing the ability to use different heads depending on what and how you’re shooting. This is standard in the world of mid-to-higher-end tripods and monopods, but more and more travel tripods come with a ball head included, which does reduce overall cost.

My biggest issues with the SVM-145P are that it weighs as much as some travel tripods that have multi-functionality, including monopod and desktop tripod modes, and the cost. The build quality and functionality are fantastic for a monopod, but it also costs the same as many travel tripods, which also come with a head included.

Sirui SVM-145P: key specs

Sirui SVM-145P: Price and availability

The Sirui SVM-145P is available now and costs $274 / £239, which puts it in a similar price range to many travel tripods, and the SVM-145P doesn’t even include a tripod head. You can use the monopod without a head, which is ideal when using it to support larger telephoto lenses, but for general photo and video capture a tripod head does improve handling and control.

With this in mind, the SVM-145P is quite expensive. On the other hand, it’s much more feature-packed than a basic monopod or one that’s just a converted tripod leg. If you’re looking for a high-quality monopod and will get plenty of use from it, this could be a fantastic option to consider. If, however, you only need to use a monopod occasionally, you might be better off with a cheaper alternative.

There are also several other monopods available in the SVM range, with different heights, with and without the foot pedal that allows you to switch between a locked monopod and pan and tilt movements when the feet are in use. This means you can choose the height and functionality that works best for you, but as the model that loosely sits in the middle, the SVM-145P is likely to be one of the more popular options in the range.

Sirui SVM-145P: Also consider

Should I buy the Sirui SVM-145P?

Buy it if...

Don't buy it if...

How I tested the Sirui SVM-145P

• I tested it in all configurations
• I used it with different camera and lens combinations
• I tested it with and without a tripod head

I tested the Sirui SVM-145P for more than a week in situations when a monopod is the most appropriate solution, using it to capture both a range of photographic subjects and video. I also tested it alongside a travel tripod, so that I could directly compare the pros and cons of each system.

First reviewed October 2025

Freewell Real Multi Tripod 5-in-1: two-minute review

We photographers often obsess over gear, even if we may try to deny it. Despite this uncomfortable truth, it’s always great when you find something that reduces the amount of kit you need, which is exactly what the Freewell Real Multi Tripod 5-in-1 does.

With Tripod, Desktop, Monopod and Trekking Pole Modes, plus the Smartphone Clip for attaching your phone to the tripod, the Freewell Real Multi Tripod 5-in-1 is one of the best travel tripods available. This level of versatility means you can have one tripod to provide a range of solutions, which can be unbelievably useful when traveling.

It’s a well-built tripod and looks and feels more expensive than it is. The ball head is also excellent quality and offers dual panning controls. The tripod plate is on the long side, extending beyond the edges of the head. This is because the Arca-Swiss compatible plate transforms into a smartphone holder for attaching your smartphone to the tripod.

Knobs and dials are finished in a pleasing red that contrasts with the chrome and black finishes elsewhere and match the leg angle release buttons and center column locking knob on the legs. However, I didn't find the chrome or chrome-look finish at the top of the three legs to be the most visually attractive.

The four-section legs are made of carbon fiber and feature twist locks. What I really like here is that the thinnest bottom leg sections are still chunkier than the middle sections of many other travel tripods. This makes the legs satisfyingly rigid when fully extended and improves stability as a result. The leg release buttons for changing the leg angle can be fiddly, but aside from this, they’re great.

The main limitation of the tripod, however, is that the maximum height is 1570mm / 5.15ft. On the plus side, the minimum height is 175mm / 6.9in, and the weight of the tripod and head is just 1.65kg / 3.64lbs. As a travel solution, this is perfect, but you’ll need a full-size tripod if you want something taller and/or weightier.

In the tripod kit, you also get three short carbon fiber legs made up of two sections, which feature a twist lock. These are for the Desktop Mode, which requires you to split the centre column using a hex key and then insert the shorter section with the base to attach the ball head. Transforming into this Mode is the fiddliest, but it’s still much more convenient, and reduces weight, compared to carrying both a travel and a desktop tripod.

Without the ball head attached and with the desktop legs angled out at 90 degrees, you can create a support for use in Monopod Mode. It’s nowhere near as effective as dedicated monopods with three mini legs built in, and certainly nowhere near as stable, but it’s still a potentially useful and welcome feature.

The Trekking Pole Mode simply requires you to remove the leg without the foam and extend it, although there’s nothing to suggest the two legs with foam couldn’t be used as a pair of trekking poles instead. When you use a leg, or two, in this mode, you have to remove the rubber foot at the bottom of the leg. This can be used to cover the screw thread at the top of the leg while also revealing the metal spike at the bottom.

The maximum payload of the legs is 20kg / 44lbs, but since the head’s maximum payload is 10kg / 22.04lbs, this is the figure to go with. However, 10kg is still a respectable payload and will accommodate the vast majority of camera and lens combinations. The maximum payload of the legs also explains how one leg, or possibly more, can be used safely as trekking poles.

The Freewell 5-in-1 is a fantastic tripod that does everything it claims to, and does it well. The only use of the five that doesn’t appeal to me is the Trekking Pole Mode, because if I know I'll need trekking poles, I’ll always take them with me. However, if you’re hiking and feel the need for a trekking pole, the ability to utilize the tripod leg or even a couple of them is useful.

I’m a fan of small desktop tripods with Arca-Swiss ball heads, so I can use L-brackets with them for low-level shots, and this one fits the bill. For me, it’s Tripod, Desktop and Monopod Modes which are the most effective. The robust metal smartphone holder built into the tripod plate is a work of genius. In fact, the overall implementation of the different Modes illustrates innovative design that takes the humble tripod beyond expectations.

Freewell Real Multi Tripod 5-in-1: key specs

Freewell Real Multi Tripod 5-in-1: Price and availability

The Freewell Real Multi Tripod 5-in-1 launched on October 8, 2025, and is priced in US dollars at $330, which at the time of writing converts to £246 / AU$500. This is a reasonable and attractive price for a carbon fiber travel tripod, and excellent value when you consider the versatility of this model. Amazon sells Freewell gear, so the tripod will likely be available on Amazon soon.

The tripod comes with a smart padded carry bag with handles and a shoulder strap. Inside the bag are the short Desktop Mode legs, a carabiner clip that can be screwed into the tripod to hang filter kits, and a couple of hex keys. The larger one is used to tighten the legs, and the smaller is used to split the center column. Splitting the center column allows you to set the tripod to Desktop Mode and also use the shorter legs as a base in Monopod Mode.

Freewell Real Multi Tripod 5-in-1: Also consider

Should I buy the Freewell Real Multi Tripod 5-in-1?

Buy it if...

Don't buy it if...

How I tested the Freewell Real Multi Tripod 5-in-1

• The tripod was tested for several weeks
• Handling, stiffness and rigidity were assessed
• All five uses were tested

I tested the Freewell Real Multi Tripod 5-in-1 over several weeks, mainly for stills photography but also for some videography, despite it not being a video tripod. The tripod was tested in all five modes to assess effectiveness and handling.

I used the tripod with several different camera and lens combinations, shooting subjects including landscapes, cityscapes and product photography. I carried the tripod extensively using the carry case and also with the tripod attached directly to my camera bag.

First reviewed October 2025

• An unboxing of the DJI Osmo Mobile 8 has appeared
• It could be launching in the coming days and weeks
• The gimbal succeeds the Osmo Mobile 7 and Osmo Mobile 7P

It seems that the successor to the DJI Osmo Mobile 7P is imminent, although nothing is official yet. In fact the launch of the Osmo Mobile 8 is now so close, a leaked unboxing video has made its way online.

The video comes courtesy of Camera Joint on TikTok (via Igor Bogdanov) and shows the DJI Osmo Mobile 8 from all angles. We also get to see it in operation with a phone attached, following people as they move around the room.

There's a built-in LED light here and the ability to charge a phone, as there is on the current model. The top of the gimbal is now much more extendable too, so you can use it in a wider variety of positions.

It's difficult to predict what other upgrades we might see. The obvious area to improve on a camera gimbal is battery life, but the DJI Osmo Mobile 7P and Osmo Mobile 7 were no slouches in that regard, both offering about 10 hours between charges.

Dates and pricing

We haven't heard too much in the way of previous leaks when it comes to the DJI Osmo Mobile 8 – other than rumors that its due in November. We might also see the DJI Neo 2 and the Mic 3 Pro at the same time, according to those in the know.

Pricing is of course going to be crucial. The DJI Osmo Mobile 7P launched at a starting price of $149 / £135 / AU$219, while the lighter Osmo Mobile 7, without module support, first went on sale at $89 / £85 / AU$159.

The DJI Osmo Mobile 8 is more likely to be priced around the more expensive of those two price points, given the AI tracking and lighting capabilities. That there's now an unboxing in the wild suggests boxes have already made their way to retailers.

This will be just one more launch in what's already been a hectic 2025 for DJI. Among the products that the company has already released we've had the DJI Mavic 4 Pro, the DJI Osmo 360, and the DJI Mini 5 Pro.

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Freewell Real Locking VND/CPL Mega Kit: two-minute review

Filters are an essential element of photography and video because, for the most part, they allow you to control exposure. Whether you’re aiming to manipulate shutter speed or to shoot at wider apertures than should be possible, filters are the way to achieve the desired results.

The Freewell Real Locking VND/CPL Mega Kit is a comprehensive filter kit built around a variable ND/polarizer and an ND32 filter, with a couple of video haze filters thrown in for good measure. This is a stackable kit, allowing you to combine multiple filters as required. Where this kit differs from others is in how the filters clip together and to the adaptor ring, rather than being magnetic.

Freewell rightly says clip attaching is a more secure system than magnetic, and results in less accidental adjustment of the variable ND. The only negatives to the system are that it’s not quite as convenient as magnetic systems, and you have to make sure the filter being attached is secure.

There are two Real Locking VND/CPL kits available: the Mega Kit and the All Day kit. I tested the Mega Kit, shooting both photos and videos to see how the kit as a whole and the individual filters perform. First, you have the base ring, and these are available from 49mm to 82mm with a lens cap that can be used with the ring left in place on the lens if desired. The filters are 82mm, so the adaptor rings step down, allowing you to use them across multiple lenses.

You can use the Mist filters, ND32 or any of the other separately available filters individually on the Base Ring. The variable ND is paired up with the polarizing filter, and using the two together works surprisingly well. To adjust the polarizing effect, you have to rotate the entire filter by releasing the rubber locking grips and turning it until the desired effect is reached. Then, to adjust the variable ND, you simply move the marker to the desired strength, which ranges from three to seven stops.

The kit also comes with an ND32 filter, which features a five-stop light-reducing density. This can be used in isolation or paired with the VND for up to a 12-stop light blocking density, so a couple of stops over a Big Stopper. With the VND at up to seven stops, there’s no color cast visible in photos, although there is a tiny hint of red or magenta when the ND32 is also attached.

When I say minor, I do mean minor – the color cast is only just visible to the color-trained eye, and this can be easily removed in editing software. When the ND32 is used in isolation, there is a slight cast that looks a little red, minimal again, like when stacked with the VND.

The ND filters are great for video, offering the ability to quickly control exposure while maintaining the correct shutter speed for capturing movement – the 180-degree rule. For landscape photography, you can extend exposure times to smooth water and blur clouds, while the filters also make it possible to shoot at larger apertures in bright conditions.

There’s no specific information about the glass construction of the filters, but you can see that they are coated, and image quality when using them is excellent. Color rendition is also excellent, with only the extremely minor aforementioned color cast issue. The two mist filters also work well and do what they’re claimed to do.

The Glow Mist 1/4 Filter blooms highlights slightly, smooths contrast and adds a cinematic haze without losing sharpness. With this filter, the haze spreads into midtones. In the examples below, you’ll see the sun star of the filter-free version remains, but with a bloom in the centre.

The Snow Mist 1/4 filter blooms highlights more than the Glow Mist 1/4 Filter and also smooths contrast, but with less spread into the midtones. This filter has completely bloomed the sun star into a circular highlight. Both of these filters can be used for all types of photography to apply cinematic haze effects, alongside being used for video capture.

My only minor gripe with the Mega Kit is that when the ND32 and two Mist filters are inserted into the smart leatherette Filters Case with a magnetic clasp, the middle and rear filters are a bit tight when removing them from the case. The case is, however, well-made and stores the entire kit away safely.

The lens caps have NFC built in, which takes you to the freewell website ‘Hub’ for tutorials, user guides and other stuff. It’s a bit of a gimmick and possibly unnecessary, but it’s certainly an innovative and unique feature.

The rear cap, which attaches to the VND/CPL, has a built-in gray card and white balance for color calibration. This, I have to say, is extremely useful, especially for video capture, where you can ensure color consistency when shooting without filters and with filters at different strengths.

Freewell Real Locking VND/CPL Mega Kit: key specs

Freewell Real Locking VND/CPL Mega Kit price and availability

There are two Real Locking VND/CPL kits available: the Mega Kit and the All Day kit. These are available now at Amazon and the Freewell website. The All Day Kit is available for $250 at Amazon US and includes the VND3-7/CPL Base, an ND32, an 82mm Base Ring, an NFC Front Lens Cap, a White Balance Back Cap, a Filters Case and a Cleaning Cloth for. The same All Day kit costs £227.43 at Amazon in the UK. Australia price TBC.

The Mega Kit includes all of the above, plus a Snow Mist 1/4 and a Glow Mist 1/4. This kit costs $350 and pricing for both is in USD on the Freewell website, meaning if you live outside the US you'll need to check the exact cost in your own currency at the time of purchase.

The kits aren’t cheap, but they’re priced similarly to magnetic filter kits. Other filters can be purchased separately, as well as additional Base Rings, which come with corresponding NFC Front Lens Caps.

Should I buy the Freewell Real Locking VND/CPL Mega Kit?

Buy it if...

Don't buy it if...

How I tested the Freewell Real Locking VND/CPL Mega Kit

• Used for photo and video capture
• Filters tested individually and stacked
• Tested in differing light conditions

I tested the Freewell Real Locking VND/CPL Mega Kit over a couple of weeks and used for a variety of photography and video shoots using different lenses with 82mm and 77mm filter threads. I used filters individually and stacked as required to assess performance in a range of configurations.

I also tested the filters in different light conditions to check their effectiveness in regard to the manufacturer's claims, as well as how the effects of the Mist filters work in different situations.

First reviewed October 2025

Boya Magic: one-minute review

One of the downsides to shooting video and content creation is the sheer amount of kit you have to carry; even the most pared-back setups require a plethora of accessories. Beyond that, how many different microphones might you need to cover a range of situations? It's an issue that's effectively addressed by the Boya Magic, a 4-in-1 wireless mic that's designed to be a jack of all trades.

Lavalier (lapel), on-camera, handheld and desktop are all forms the Boya Magic mic can take. The mic is available in several kits, but if you opt for the most comprehensive and still competitively priced of the three you can connect the mics to smartphones, computers and cameras using USB-C, Lightning, and 3.5mm TRS, making it a significant upgrade over the Boya Mini and potentially one of the best wireless mics.

Since this is a multi-purpose mic, we could discuss its performance and characteristics at length, but we’ll delve into those later. Focusing on the lavalier mics, which are the transmitters in all configurations, and the backbone of the mic, these two tiny 7g units can be attached to clothing with clips or magnets, and produce impressive 24-bit sound quality. They’re incredibly easy-to-use with excellent noise cancellation to boot.

I have to admit that when I first received the Boya Magic, I was sceptical about its performance, but I've been impressed while testing the mic in all four configurations, attached to my smartphone, computer and my camera.

Boya Magic: price and release date

• Available now
• Three kits to choose from
• Prices start at $93 / £89 / AU$159

The Boya Magic is available from the Boya website and Amazon. The USB-C kit costs $93 / £89 / AU$159, the USB-C & Lightning kit costs $140 / £119 / AU$209 and the USB-C, Lightning & 3.5mm TRS kit costs $151 / £129 / AU$229. All in all, it’s extremely good value for money, given the versatility of the mic.

One slightly frustrating aspect of the Boya Magic is that you have to purchase the Boya Mini Tripod separately, and this is required for tabletop and on-camera use of the mic. It’s not the end of the world, and it only costs $30 / £20 / AU$46 (currently reduced to $20 in the US), but it would be better if it were included in at least the kit option with the 3.5mm TRS.

Boya Magic: specs

Boya Magic: Design

• Innovative design
• Highly versatile
• Compact and lightweight

This 4-in-1 mic system is built around a compact charging case that triples up as the on-camera, handheld and desktop mic, with a foam and dead-cat wind cover in the kits. This measures just 141.3 x 26.5 x 21mm and weighs 62.5g. The lavalier mics are stored and charged inside, behind a clear plastic door. When used in these modes, it’s the lavalier mic at the top of the case, in the first slot, that records sound through holes in the glass door and at the top of the charging case.

The lavalier mics are the backbone of the system, and in my opinion, the most impressive; and for content creators who are using lavalier mics as handheld mics, this system provides a much more comfortable and professional-looking solution.

The two lavalier mics are incredibly compact and lightweight at just 35 x 15.2 x 13mm and 7g. There’s a clip on the rear for attaching the mics to clothing, as well as a magnet plate on each clip to increase the options for attaching the mics to your clothes in more imaginative ways, although I fear that these may be easy to lose over time. The kits come with a couple of clip-on dead-cat wind covers for the mics.

The build quality of all of the components is great, and the small carry-bag accommodates everything safely and neatly. The overall design of the kit is innovative, while operation is incredibly simple, with just a single button on each mic and the charging case. This can be used to switch the mics on and off, and to switch the AI noise cancellation on and off.

The USB-C and Lightning receivers are small and lightweight, slot neatly into your phone’s port, and are powered by the phone. The 3.5mm TRS attaches to the camera hotshoe and offers six hours of battery life. It’s designed simply, with just a power button, a volume/gain button and a 3.5mm jack. There’s no Bluetooth connectivity as in some mics, beyond a Bluetooth connection to the receivers, so these receivers are essential.

Boya Magic: Performance

• Incredibly easy to use
• Excellent AI noise cancellation
• 24-bit audio

Setting up the mic, from unpacking the kit to first use is incredibly easy. This is one of the more intuitive wireless mics I’ve used, and you can use the BOYA Central app to adjust settings including AI noise cancellation, the EQ, AI noise cancellation, and the limiter, and to apply camera gain presets and firmware updates.

The mics are omnidirectional, so they will pick up sound from all directions. This causes no issues when recording in quiet environments, but when there’s background noise you often need to use the AI noise cancellation, which is available with two strength settings depending on the level of background noise.

AI noise cancellation is powered by deep neural networks (DNNs) trained on over 700,000 real-world noise samples and 20,000 hours of deep learning. Boya claims it can separate voices from noise in milliseconds, with up to -40 dB suppression. In use, the AI noise cancellation is undoubtedly impressive, and it doesn’t distort voices or make them sound robotic.

Sound quality is fantastic, with audio recorded in 48 kHz/24-bit with an 80dB signal-to-noise ratio, a 144 dB dynamic range, and a frequency response from 20Hz to 20kH. You can set sound levels manually, but there’s also a handy built-in smart limiter to protect your audio from peaking. In addition, a second safety track is recorded at a lower (-12 dB) volume to ensure nothing is lost.

The transmission range is up to 100m without obstacles, and 10m with obstacles. During testing the connection was solid, and I never experienced any issues with any of the four mic configurations. Battery life is up to six hours per mic, with 30 hours in total available with the charging case. This is average, and is plenty of battery power for most situations.

Should I buy the Boya Magic?

Buy it if…

Don’t buy it if…

Boya Magic: also consider

How I tested the Boya Magic

• I tested it in all four configurations
• I used it attached to multiple devices
• I tested all its features

I tested the Boya Magic over several weeks in all four configurations: lavalier, on-camera, handheld, and desktop mic. I also attached the mic to my smartphone, computer and camera so that I could assess performance across the board in real-world situations.

I was sent the complete kit, which includes the USB-C, Lightning and 3.5mm TRS receivers. I recorded audio in different environments to see how well the mics perform with and without AI noise cancellation. I also used the Boya Central app to access settings and assess the overall ease of use.

• First reviewed September 2025
• Read more about how we test

PolarPro VND Filter Peter McKinnon Edition II: Two-minute review

The latest product of PolarPro’s ongoing collaboration with hugely popular videographer and YouTube creator Peter McKinnon, the VND Filter Peter McKinnon Edition II has become an interesting and valuable part of my camera setup over the past few weeks.

First, a quick explanation of what a ND filter does. One of the key principles of photography and videography is the so-called “exposure triangle” – the way that ISO, aperture and shutter speed interact to control the amount of light that hits an image sensor.

By adding a neutral-density (ND) filter – which reduces the amount of light coming in without affecting the color hue – to the equation, photographers gain one extra factor to influence how the camera behaves, and more control over shutter speed and aperture.

For photographers, the ability to reduce light means we can use longer shutter speeds than the lighting conditions would ordinarily allow. That means artfully blurred waterfalls, or night-time shots with streaking, laser-like car headlights. For videographers, control over shutter speed allows for motion blur and wide-open aperture shooting in brighter conditions.

The main selling point of the PolarPro VND Filter Peter McKinnon Edition II (also known as the PMVND II) is that it’s a variable ND filter. In other words, twisting the filter allows the photographer to select an ND value from anything between two and five stops, saving them the bother of having to add filters to and them filters from their lens. (PolarPro also sells a stronger 6-9 stop edition of the VND filter, plus mist-diffusion Black Mist versions of both).

Because my review sample sits at the weaker end of the range for ND filters, I found that it couldn’t stop enough light to get truly long exposures outdoors on a bright, sunny day. Even at its highest 5-stop setting, and with my camera at its lowest ISO setting, a shutter speed of anything longer than a second resulted in a blown-out, overexposed image. So, if you want to shoot multi-second daytime exposures on sunny days or in bright landscapes (like snowfields), you’ll want to have the 6-9 stop filter to hand. If you’re feeling flush, buying both filters provides a wide stopping range.

On more overcast days, at night or indoors, however, the two to five stop range feels very usable. Even during the day, it allowed me to set a wider aperture than I’d normally be able to use for video, resulting in a shallow depth of field with background bokeh while maintaining an ideal shutter speed (of roughly double my frame rate, as the rule of thumb suggests).

The filter glass is extremely clear and neutral, although it does appear to add a very slight warm color cast when compared to shots with no filter attached. I couldn’t spot a single incidence of ghosting or chromatic aberration, however – two issues that can plague cheaper filters. And it doesn’t seem to affect the sharpness of images at all, which is what I would expect of a filter in this price range.

I also encountered no vignetting when shooting with a wide-open aperture at my lens’ widest field of view (12mm on a Micro Four Thirds camera, equivalent to 24mm on a 35mm or full-frame camera). PolarPro claims the filter exhibits no vignetting right down to 16mm, but I wasn’t able to put that to the test myself.

I also noticed that a small amount of additional contrast could creep into shots as I moved up the ND stop range. That’s a side effect of the variable ND filter design, I think – VNDs require polarized glass to achieve their variable effect, and that will affect the final image slightly. If that’s a no-no for you, you’ll need to use regular, non-variable ND filters instead.

While performance is strong, build quality might be even better. I was sent a 67mm filter to review (it’s also available in 49mm, 77mm, 82mm and 95mm sizes), and used a step-up ring (also by PolarPro) to fit it to the 62mm thread on my Panasonic 12-60mm F2.8-4.0 lens. Both the filter and ring screwed on smoothly and securely, with no awkward threading.

The combined case and lens cap (known as the Defender 360) makes fitting even easier – and ensures greasy fingerprints stay well away from the filter glass. The cap features two parts, one metal (aluminum to be precise) and one rubber, with the rubber element gripping around the filter’s frame so that you can, with a twist, add or remove the filter from your lens. When not in use, the filter sits inside the rubber part while the metal screws back on over one side to keep it safe. It’s an ingenious piece of design.

The filter itself feels beautifully precision engineered. The machined ridges or knurls on the edge give your fingers plenty to grip onto, while the subtle 'click' expressed as each ND stop is reached is welcome (and useful) feedback. Of course, some users might prefer a completely smooth turn, particularly videographers who want to adjust the stopping value while rolling the camera. It’s something to note, but I personally found it a clever design touch.

And, while this is a subjective thing, I think the PMVND II looks really classy too, with its two-tone black and brass finish. It’s hydrophobic too, with water beading and running off the glass easily.

Overall, I’m hugely impressed by the quality of the PolarPro VND Filter Peter McKinnon Edition II. Yes, it’s expensive – but it’s also thoughtfully designed, impeccably constructed, and works exactly as a variable ND filter should. If you’re looking for an ND filter to expand your creative repertoire, this 4-in-1 champion should certainly be on your radar.

PolarPro VND Filter Peter McKinnon Edition II: Price and availability

The PolarPro VND Filter Peter McKinnon Edition II is available now worldwide, priced at around $150 / £150 / AU$260 for the 49mm size or around $250 / £240 / AU$450 for the 67mm, 77mm, 82mm and 92mm sizes.

The filter is available in two ND stop ranges: 2-5 (which I'm reviewing here) and 6-9, with both models additionally available in a Black Mist version designed to soften highlights for a different look.

These are high prices for ND filters, but I think the quality and adaptability of the PMVND II makes it well worth the price to the right buyer.

Should I buy the PolarPro Peter McKinnon VND Edition II filter?

Buy it if...

Don't buy it if...

How I tested the PolarPro Peter McKinnon VND Edition II filter

• I used it for several weeks
• I fitted it to a Panasonic Lumix GH6
• I tested it for photo and video capture

I used a 67mm PMVND II on and off for several weeks in the late summer and early autumn on the English south coast, threading it to a 12-60mm zoom lens on my Panasonic Lumix GH6 via a 62mm-to-67mm step-up ring (also supplied by PolarPro). I recorded video and shot photos using all of the filter’s ND levels, and tested it in various weather and light conditions, from overcast drizzly evenings to blazingly sunlit mornings.

First reviewed October 2025

In case you’ve somehow missed it, the iPhone 17 Pro has arrived, touting an impressive new camera array and functionalities that show Apple means business when it comes to professional-grade photography and videography.

I don’t fall into either of those categories, but I am a content creator; in addition to my writing, I’m a frequent contributor to TechRadar’s TikTok and YouTube channels. That involves an awful lot of content capture, often showing my hands-on experience trying tech – sounds fun, right? Well, instead, picture me holding my phone in my teeth while using my hands to operate a coffee machine and praying I don’t end up with a third-degree burn and a smashed phone.

There are ample tripods and phone mounts on the market, and I’ve tried a fair few; while image stabilization on iPhones is pretty good, these can really help the overall quality of your content by reducing interference, allowing you to step away from the viewfinder and even charge your phone during power-hungry creative sessions.

Specifically, my new favorite is KraftGeek’s new JustTap Magnetic Phone Tripod, which the brand sent to me along with the PowerShutter Power Bank Stand to try out, and I’m in love with these affordable, easy-to-use MagSafe accessories.

MagSafe and sound

Available in black and white, the tripod itself is lightweight at 15.8oz / 0.45kg and compact at 13 inches / 33cm long, and it’s super easy to use. Simply tap the base on the ground and the legs will spring forth; from there, it’s just a case of raising the telescopic ten-section aluminium rod to your desired height (up to 66-inches / 167cm) and, hey presto, you’ve got a tripod ready to go.

At the top sits the MagSafe phone holder, which can be tilted on a 180-degree axis and holds the phone in both vertical and horizontal orientations. It’s pretty damn solid too; I can afford to whack the tripod and wobble it around a fair amount before the phone inevitably falls off, but I wouldn’t recommend being too rough with it, regardless.

Embedded in one of the legs is a holder for the magnetic Bluetooth remote, which has a 32ft / 10m range and charges via. USB-C. That, of course, makes it easier to take great shots of yourself or capture action as it happens, but it pales in comparison to my favorite part of this bundle: the PowerShutter Power Bank Stand.

Instead of a remote control, this accessory features a tactile shutter button, but it also delivers 10W magnetic fast charging and is equipped with a 5000mAh battery. Shaped like the grip on a traditional camera, it snaps onto your phone to deliver charging, and has a second magnetic ring on the other side that allows you to attach it to another accessory; in my case, the tripod, but you could also opt for a MagSafe light.

I thought it to be a little gimmicky at first, but it’s actually become one of my most-used accessories. Not only is it great for stabilizing your shots and giving a bit more grip for one-handed photography, it’s also multi-functional; I use mine as a tabletop stand for watching media or scrolling one-handed.

Get creative

The tripod isn’t perfect - these kinds of pop-out, low-clearance stabilizing legs don’t offer much central support balance, so it’s prone to wobbling slightly, and especially so when the wind picks up. Plus, you can’t adjust the leg heights to work on less even surfaces, but these gadgets are not exactly rugged if you want to use them on the road, anyway.

Its durability is a little questionable, too; the telescopic main stem seems well-made enough in my month of semi-frequent use, but over time, I’ve seen these degrade in more budget-friendly devices.

Still, at $42.99 / £38 for the tripod and $36.99 / £25 for the shutter powerbank, I’m really impressed with these handy accessories, so don’t be surprised if you catch them in the reflection of my product review snaps!

Nikon launched its first Z-series Cinema Camera this week, the Nikon ZR, just 18 months after acquiring RED Digital Cameras – check out my Nikon ZR hands-on review for my early impressions. And hot on its heels we now have the first must-have accessory for the camera, in the shape of the SmallRig Cage kit.

The gist of my hands-on is that, while I'll need to test the Nikon / RED model over a longer period, I already think it's a highly capable video camera, thanks to its partially stacked 24MP full-frame sensor, in-body image stabilization, 6K 60fps video, internal 12-bit RAW recording, RED color profiles, internal 32-bit float audio, impressive internal mics, and mighty 4-inch touch display.

It's an instant major player in a new space for Nikon, with the skills to make pro-quality video in a compact weather-resistant package, for a rival-beating price of $2,200 / £2,199 / AU$3,499.

All that said, the ZR is clearly no high-end model. Nikon has prioritized compact dimensions over outright pro-grade cinema camera design, and that's no bad thing – I think there's a place for small, stripped-back cameras which you can bulk out with accessories to meet your needs.

Modifying a small camera can serve multiple purposes – you can keep it bare to fit into tight spaces, or add accessories to improve its handling.

I like the foundations the ZR has set, but to be a truly great run-and-gun camera, it needs an extra hand, and that just came in the form of the SmallRig Advanced Cage kit.

• 🇺🇸 Buy the SmallRig Advanced Cage Kit at B&H Photo for $164.99
• 🇬🇧 Buy the SmallRig Advanced Cage Kit at SmallRig for £149.90

Get a grip

Unlike bulkier alternatives, the Nikon ZR omits a viewfinder, while its flat-fronted body only offers a little purchase. Furthermore, there are no mounting points for accessories like you get with other cinema cameras, nor space to squeeze in a full-size HDMI port, just a micro-HDMI. This all feels like enthusiast-level design rather than pro.

My first thought when I got my hands on the ZR is that it would benefit from a better grip and easier way to mount accessories – step in SmallRig.

The Advanced Cage Kit, which costs $164.99 / £149.90 and is available now in the UK (Australia pricing and availability are TBC), has four main components: the L-Shaped Handle, Cage, Top Handle and Side Handle. If you don't want the lot, you can save money by opting for the L-Shaped Handle kit, Basic Cage kit or Top Handle kit.

With all four components in play the ZR looks infinitely more comfortable to hold, and the L-Shaped grip will certainly make vertical shooting comfier. The ZR has vertical video skills you'll want to use – its UI changes as you hold the camera vertically, and any videos shot this way are automatically recognized as 9:16 files when you come to editing.

The ZR already has in-body image stabilization but, like the Nikon Z6 III, which has identical sensor specs, it's not the best I've used – the Lumix S1 II's stabilization for video is another level. That's why the Top Handle and Side Handle look useful: they'll offer a more secure hold for smoother handheld shots, reducing the need for a gimbal.

Personally, I'm not fussed about mounting points for an external monitor – the ZR's 4-inch display is big and bright enough for run-and-gun recording. However, it is useful for accessories such as a wireless mic receiver and compact continuous light panels.

Sure, SmallRig's Cage kit can't change the ZR's hardware, like the fact we have micro-HDMI and awkward access to memory cards through the battery door, but it does transform the ZR into the ultimate run-and-gun video camera. Add the cage, forget using a gimbal and external monitor, and you have an ultra-compact and easily carried package – it's certainly the first ZR accessory I'd look to buy.

You might also like

• I tried the Nikon ZR – the smallest and lightest cinema camera around, with Sony and Canon-beating features
• The best vlogging cameras for 2025: top choices for content creators
• Nikon launches two cheaper RED cinema cameras plus its own cine lens – and it's a sucker punch to Canon

It's tiny, it's super-reliable, and for a limited time only, you can snap up the five-star-rated DJI Mic Mini at Amazon for $59 (was $89). Say hello to a new record-low price and, in my opinion, an absolute bargain.

Historically, portable tech has come at the cost of performance. The smaller and more compact you make a device, the fewer features it often has. Not so with the latest miniature microphone from DJI, which is a hit for social media and content creators alike.

The microphone can be used with both phones and cameras, which makes it beautifully versatile and able to fit into run-and-gun setups. What's not to love? Get it now for shade under $60.

Today’s best DJI Mic Mini deal

We don't award many five-star ratings, but when our cameras editor, Timothy Coleman, got his hands on the new tiny microphone from DJI, there were no doubts in his mind. Read more about that in his DJI Mic Mini review, including his verdict that it delivers "high-quality audio with minimal fuss".

We'd also say that this tiny wireless mic is the one to beat for smartphone-first content creators. Despite there being no way to monitor audio levels, we hands-down prefer it to the DJI Mic 2 and the Rode Wireless Micro.

The unit is tiny, discreet, available in two colors, and super-reliable, whatever device you're pairing it with. So, if you're looking for an audio capture solution that doesn't cost the earth and performs unbelievably well, look no further than the DJI Mini Mic.

If you'd like to explore the best alternatives, then we recommend taking a read of both the Rode Wireless Micro review and our DJI Mic 2 in-depth review.

The DJI Mic 3 has just landed, promising to be the ultimate wearable wireless microphone for podcasters, journalists, filmmakers and other content creators. To do that, it’ll have to supplant our current favorite wireless mic, the DJI Mic 2.

The DJI Mic 2 itself hasn’t been out for very long, so updating the range with a brand-new model only 18 months after its release is a bold move from DJI. So, how do the two DJI wireless mics compare? Should DJI Mic 2 owners switch or stick? And should prospective buyers pick up the new model or save money by opting for the old?

Having tested both the Mic 3 and Mic 2 extensively (do take a look at my full DJI Mic 3 review) I’m here to share my thoughts.

1. DJI Mic 3 vs DJI Mic 2: Audio quality

• Both cameras support 24-bit/48kHz and 32-bit float audio
• Mic 3 adds lossless recording, voice tone presets and two-level noise cancelling

When broken down to the raw specifications, there’s little to no difference between the DJI Mic 2 and Mic 3. Both record audio at 24-bit/48kHz quality as standard, and both support 32-bit float recording – an option designed to ensure recordings can be made to sound great in post-production, no matter what your gain setting is. Both also offer an optional low cut filter and active noise cancelling.

In reality, the Mic 3 features some new tricks that make it slightly better on the audio front. There’s Adaptive Gain Control, which dynamically adjusts the Mic 3 gain to cope with changing conditions, and a set of three vocal presets to slightly color the tone of recorded voices.

Finally, noise cancelling has two levels on the Mic 3, while on the Mic 2 it’s either on or off. I found the noise cancelling more effective on the Mic 3 too, as demonstrated in the video embedded below. Overall, while both microphones have excellent audio quality, I think the Mic 3’s extra features give it a clear edge.

• Audio quality winner: DJI Mic 3

2. DJI Mic 3 vs DJI Mic 2: Design and features

• Mic 3 transmitter weighs 16g; Mic 2's weighs 28g
• Mic 3 transmitter offers 32GB of on-board storage to Mic 2's 8GB
• Mic 3 supports timecode and 4 x TX / 8 x RX multi-cam support

One immediately clear difference between these microphones is the transmitter size. The Mic 2’s transmitters are on the large side and weigh 28g, while the Mic 3’s weigh just 16g and are about half as big. Both are easily wearable without discomfort, but I’d much rather be wearing the smaller one. And, despite being smaller, the Mic 3 has more on-board storage: 32GB as opposed to the 8GB of the Mic 2.

The Mic 2 transmitter’s size, however, means it has space for a USB-C port (which can be used for data transfer and recharging), an extra control button and a 3.5mm jack for a lavalier mic. The Mic 3’s more minimalist setup means no lav mic option and that charging and data must be handled wirelessly.

The Mic 3’s charging case is also smaller than the Mic 2’s, but manages to use its available space more efficiently. The Mic 2 case can’t accommodate the furry windshields that attach to the mic to muffle outdoor noise, but the Mic 3’s can – and I think that’s a bigger deal than it might sound. Having to carry them loose in your pocket is a pain, I’ve found.

On the features front, the Mic 3’s support for pro-level production features like timecode and multi-camera setups (it can support a system of up to four transmitters and eight receivers) makes it a clear winner.

• Design and features winner: DJI Mic 3

3. DJI Mic 3 vs DJI Mic 2: Performance

• Mic 2 has up to 18 hours battery life; Mic 3 has up to 28 hours
• Mic 2 max transmission range is 250m; Mic 3's is 400m

You might think a smaller size means a smaller battery, but no: according to DJI’s number, the DJI Mic 3 transmitter battery life is 8 hours, receiver battery life is 10 hours and the total operating time with a charging case is 28 hours. The DJI Mic 2, on the other hand, offers 6 hours, 6 hours and 18 hours respectively. So, with a full kit in your pocket, the new Mic 3 gives you up to 10 hours of extra recording time.

DJI has also boosted wireless transmission power. The DJI Mic 2 uses single-channel transmission and offers a respectable maximum working distance between transmitter and receiver of 250m in perfect conditions; the DJI Mic 3’s dual-channel setup works up to 400m in the same conditions.

• Performance winner: DJI Mic 3

4. DJI Mic 3 vs DJI Mic 2: Price

• DJI Mic 2 kits available from £139; DJI Mic 3 from £169
• DJI Mic 3 not officially available in the US at this time

When the DJI Mic 2 launched back at the beginning of 2024, it was priced at $349 / £309 for a complete kit (two transmitters, one receiver, charging case, USB-C and Lightning adapters) or $219 / £189 for a single transmitter and receiver package. That seemed like a good price at the time, and over the past 18 months or so it has dropped, in the UK at least, to £219 for the complete kit and £139 for the transmitter and receiver combo. (The Mic 2’s US price has remained the same, probably due to the tariff situation and the fact that the Mic 3 isn’t launching there.)

The DJI Mic 3 arrives at a lower price point of £259 for the complete kit (which now does not include a Lightning adapter – although it can be purchased separately) and £169 for the one-transmitter, one-receiver combo. It’s hard to argue that, given its clear advantages over the Mic 2, this isn’t a great deal.

• Price winner: DJI Mic 3

DJI Mic 3 versus DJI Mic 2: Early verdict

In conclusion, there’s really only one winner here: the DJI Mic 3. It’s smaller and more lightweight than the Mic 2, but offers far more audio features, better battery life, longer wireless range and more storage, plus a better charging case. In fact, the only thing the Mic 2 has the Mic 3 doesn’t is a 3.5mm input for lav mics on its transmitter – and that’s something of a niche advantage at best.

That’s not to say the DJI Mic 2 is bad at all. It was TechRadar’s top-rated wireless mic for a long time, and for many a good reason. If you already own one, there’s probably not pressing reason to immediately ditch it for the Mic 3 – unless of course there’s something on the new model you really, really want.

I myself own a Mic 2. Do I wish I’d waited a little longer and bought the Mic 3 instead? Yes. Am I going to sell my Mic 2 and replace it with its smaller and shinier successor? Not right now, but I can’t deny it’s tempting.

You might also like

• The best wireless mics of 2025, based on rigorous testing
• Insta360's first wireless mic is a solid entry-level choice – but it can't quite match the DJI Mic Mini
• I used the Hollyland Lark M2S Combo mic kit to record audio content – and I can’t believe how tiny it is

DJI Mic 3: one-minute review

The DJI Mic 3 is the latest premium release in the company’s popular wearable wireless microphone range, supplanting the DJI Mic 2. The Mic 2 was only released around 18 months ago, and has topped TechRadar’s best wireless microphone guide for some time, so I was a little skeptical about the need for a new model.

After receiving my review sample of the DJI Mic 3, though, it only took me a few seconds to see why people might want to upgrade from the Mic 2. The Mic 3’s transmitter component, or TX, is far more compact and lightweight than that of its predecessor, making it easier to wear on clothing.

And – praise be! – it’s now possible to fit not only two TX units and the receiver (RX) in the charging case, but accessories like clips, magnets, windscreens and even a 3.5mm-to-3.5mm cable. One of the irritations I’ve had with my own DJI Mic 2 over the past year is that the furry windscreens, which are all but mandatory when recording audio outside, don’t fit inside its charging case. To see that fixed here (as it was on the DJI Mic Mini) is wonderful.

Delving deeper over the course of testing the Mic 3, I found that DJI has made improvements elsewhere: there are now two levels of active noise cancellation rather than one; it’s possible to transmit lossless 24-bit audio from the TX to the RX; and there are three new voice presets to add instant color to vocal recording. All of these features are easy to use and add instant, tangible impact to recordings.

Another new feature is the dual-mode Adaptive Gain Control, designed to deliver balanced audio in trickier recording conditions. The Automatic setting is used to prevent audio clipping during unexpected rises in volume (I found it worked well when recording in unpredictable outdoor environments, such as walking around town where traffic noise can jump up at any second), while Dynamic is more situational, being designed for two-person recordings using a single TX unit in a more controlled environment like a studio.

And, while I wasn’t able to personally test this (having just the standard setup of two TX units and one RX in my possession), DJI says the Mic 3 is able to capture clear voices from larger gatherings of people thanks to 4TX+8RX group recording. It also adds support for timecode, which wasn’t on the Mic 2. So, the Mic 3’s professional production credentials are definitely a bit more impressive than the Mic 2’s.

The wireless transmission range has been increased from 250m to 400m, and battery life also gets a major bump, up from 18 hours (with the charging case and two TXes) on the Mic 2 to 28 hours (although it can’t come close to the Mic Mini’s imperious 48 hours). Oh, and the on-board storage space on the TX units has been increased fourfold, from 8GB to 32GB.

All of these are compelling reasons to make the upgrade from the Mic 2, and there’s very little missing feature-wise. The TX units no longer have a 3.5mm input for a separate lavalier mic, which might be an issue for users who want to hide it when filming, and the Safety Track recording mode has been dropped, but that’s about it.

In terms of general sound quality the Mic 3 is excellent, and similar to the Mic 2. With 32-bit float on board for those who need the extra level of safety and control, and 24-bit for everyday use, I think very few content creators will have issues with the audio side of things here.

With the Mic 3, DJI has managed to combine the best bits of its Mic 2 and Mic Mini into a single brilliant wireless mic – and one that, remarkably, is cheaper than the Mic 2 was at its launch. In fact, when compared to competitors’ pricing, it’s very hard to see how I couldn't recommend it to anyone on the hunt for a new premium wireless mic.

DJI Mic 3: price and release date

• Available to order now priced from £169 / AU$369
• Components available individually or in bundles
• No official US availability at the time of writing

The DJI Mic 3 is available to order from its launch date of August 28 2025, and the company is offering a range of bundles. For a complete package comprising two TX units, one RX, a charging case, cables, magnets and windscreens, the price is £259 / AU$569; for a simple one TX and one RX package, it’s £169 / AU$369. Buyers can also purchase individual components like the TX, RX, charging case, and new accessories available at launch include a Lightning adapter and alternate color windscreens.

I think the price is extremely reasonable given the Mic 3’s capabilities and specs, and I’m a big fan of the company selling individual components separately, as it gives consumers the opportunity to start small and upgrade over time.

There’s bad news for US-based readers hoping to get their hands on a Mic 3, however. As with other recently announced DJI products, the company isn’t officially launching in the US, in an apparent response to uncertainty surrounding tariffs. A company spokesperson told me the following:

“DJI Mic 3 is not in stock in the US upon the global launch. DJI remains committed to the US market and making our products and services available to our US-based customers. However, we’ve recently had to adjust our market strategies for certain products in light of evolving market conditions. While we do not have a timeline for when we can introduce the product to the U.S. market, we are closely monitoring the situation and actively exploring every possible solution.”

US-based consumers may be able to obtain the Mic 3 through third-party stockists, however, so it may be worth checking camera stores such as B&H.

DJI Mic 3: specs

DJI Mic 3: Design

• TX unit weighs just 16g with magnet
• RX has 1.1-inch AMOLED touchscreen
• Charging case now accommodates more components

I’ve already mentioned the smaller, lighter build of the TX units, but there are other clever design touches worth noting too. When using the clips, for instance, you can now rotate the TX orientation to ensure that the mic grille is pointing towards the sound source. The TX units are also now magnetized themselves, allowing them to be attached securely to metal surfaces.

The design of the receiver (RX), meanwhile, seems fundamentally unchanged from the Mic 2’s. There’s a bright, crisp 1.1-inch AMOLED touchscreen on the front, plus a rotating and pressable dial to help select and change settings. The design allows for a USB-C adapter to be attached (or Lightning, but that’s an optional extra), and the 3.5mm output now supports a locking screw to keep it in place.

The charging case, despite being smaller than the Mic 2’s, is a lot better. As I mentioned in the section above, it makes much more efficient use of its space, and can now accommodate not only two TX and one RX but attached windscreens and clips, with room for magnets and the 3.5mm to 3.5mm TRS cable in the lid.

Also included in the larger bundle are extra windshields (so two black and two grey in total), as well as a zip-up fabric bag for storing everything, including the charging cable.

DJI Mic 3: Performance

• Two-level active noise cancelling and voice tone presets
• Supports OsmoAudio direct connection
• Omnidirectional audio and up to 400m range

The Mic 3 seems to be built on similar audio bones to the Mic 2. That’s no bad thing, as it means users get access to 32-bit float recording (large file sizes, but ideal for users who want to ensure their audio doesn’t clip) as well as standard 24-bit recording with adjustable gain. Having used it extensively indoors and outdoors in a variety of conditions, I've found the Mic 3 to be a highly reliable recording partner, no matter what it’s paired with.

And it can be paired with a lot. The RX can hook up to cameras, computers, tablets and smartphones via its USB or 3.5mm outputs (or the Lightning adapter, should you buy it), and it’s also possible to connect the TX directly to recording devices via Bluetooth.

The TX is also compatible with DJI’s OsmoAudio ecosystem products, supporting 24-bit audio and even 32-bit float (which will be recorded as a separate, second file stored directly on the TX’s memory). I used it with the DJI Osmo 360 and DJI Osmo Action 5 Pro, and was highly impressed with both the ease of use and audio quality; it’s possible to control gain and other settings through the cameras’ menu screens, and the Mic 3 represents a massive improvement on those cameras' built-in microphones.

Noise cancelling manages to be highly effective without distorting voice recordings too much. You can hear for yourself in the embedded video above, which also demonstrates the new built-in voice tone presets and general audio quality straight from the mic.

As with the Mic 2, the Mic 3's TX units can also record on their own, acting as a completely independent mic thanks to 32GB of internal storage space.

Should I buy the DJI Mic 3?

Buy it if…

Don’t buy it if…

DJI Mic 3: also consider

How I tested the DJI Mic 3

• I used it for several weeks
• I paired it with cameras, computer and smartphone
• Running firmware 01.01.02.10

DJI sent me a review sample of the Mic 3 a couple of months ahead of its launch date, giving me the chance to spend a few weeks testing it in a range of environments and conditions. I connected to a range of devices: my Panasonic Lumix GH6 mirrorless camera, the DJI Osmo Action 5 Pro and DJI Osmo 360 action cameras, my MacBook Air laptop and my iPhone 13 smartphone. This meant I was able to test both its direct connection and receiver connection methods.

The firmware was updated to the newest available version at the time (v01.01.02.10) prior to the writing of this review, but manufacturers often release updates to coincide with the public launch – so please note that DJI may have tweaked performance slightly since this review was published.

• First reviewed: August 2025
• Read more about how we test

Ulanzi GlideGo Travel Tripods: two-minute review

When you think of the humble tripod and all of the variations available, it’s difficult to imagine that a slightly different take on the classic three-legged design is possible. But Ulanzi has shown that it is possible, with the Ulanzi GlideGo Travel Tripod and GlideGo Video Tripod.

Before getting into specifics, I should explain that these two tripods are exactly the same, except for the head, with both being built around the same legs and basic ball-head design; it’s only the video model’s fluid pan and tilt movements alongside the handle that differentiate the two.

There's even a craftily hidden tool kit in the handle for adjusting the tripod. This head makes the video model slightly taller and heavier than the standard model, but the movements it allows for are impressive.

Both tripods also feature an articulating center column, which is rare for travel tripods, and this enables you to position the camera at many different angles. Further to this, the video version can achieve gimbal-like movements thanks to this feature, alongside 360-degree pan mechanisms on both the centre column and the head.

I love this feature, and the creative camera angles and movements it allows for, which is something I’ve not seen with a tripod before, especially a video travel tripod. The head on this tripod features a fluid pan-and-tilt design that provides smooth movements without judder, which is essential for video.

One video tripod feature that is missing, however, is a leveling base – these are used to level the tripod head without the need to level the legs.

The way around this simply comes down to the fact that the video features of the head are built onto a ball head with the pan mechanism above the ball joint. This cleverly and effectively mimics the effect of a levelling base, while also providing fast set-up in a lightweight and highly portable travel tripod. Then there are some 1/4-inch and Arri mounting threads for attaching accessories.

The head itself is an integral part of the overall package with both models, and can’t be changed. It’s essential to be aware of this, because the head becomes an even more important part of the purchasing decision than a tripod on which the head can be changed. That said, the two head options do work extremely well, and eliminate camera slippage thanks to the clip lock that secures the ball joint perfectly.

I’ve not seen this design on a ball head before, and it’s more effective than low-end and mid-range ball heads that use the traditional locking knob/dial. The GlideGo tripods use Ulanzi Uka and F38 tripod plates rather than Arca Swiss, so you can’t use L-brackets with the heads unless the L-bracket has a 1/4-inch screw thread. There is, as with most ball heads, a notch allowing you to position the camera in portrait format, so you can shoot vertically.

The tripod plate uses a locking system where you push it into the head to engage the lock, push the button to the side to lock the button, and then slide and push the button to release. This is admittedly much quicker and easier to use than a knob-style lock, although I can’t say whether it’s better or worse – it’s simply another approach that works, and is a pretty neat way of locking and releasing.

The overall build quality of the two tripods is excellent, with four carbon-fiber leg sections that provide an impressive level of rigidity and support, especially considering the narrow diameter of the thinnest bottom section. Legs are secured by clips rather than twist locks, and I found them to be fast, reliable and positive in use when working with both tripods.

The standard ball head version offers a height range of 16.1-72.4 inches / 41-184cm and weighs 3.44lbs / 1.56kg. The video version provides a height range of 17.3-73.6 inches / 44-187cm and weighs 3.88lbs / 1.76kg. To put those numbers into context, this means that you can position your camera at over six feet with these tripods, which is high for a compact travel tripod.

Both tripods have a max payload of 39.68lbs / 18kg, although this is slightly misleading, because this figure refers to the legs, while the head has a maximum payload of 11lbs / 5kg. This is still a respectable payload though, and the head can comfortably support the vast majority of camera and lens combinations.

Moving back to the articulating centre column, which is one of the defining features of the tripods, this also offers a telescopic function. The articulating section is hidden within a vertical section until lifted out, and the outer section can then be left in position, or raised to increase the height of the tripod.

There’s a useful hook at the bottom of the outer section of the tripod to add weight and stability when required, alongside a smaller hook on the inner column to add counterbalance if required.

While this is all great when finding different angles and viewpoints, and for increasing the height of the tripods, it does mean you can’t splay the legs to articulate the centre column at a low angle. Instead, you can keep the legs at their ‘standard’ angle and articulate the inner section of the centre column downwards. This means the camera is upside down, but you can shoot at low angles. It’s strange, but it works.

Ulanzi GlideGo Travel Tripods: key specs

Ulanzi GlideGo Travel Tripods: Price and availability

The Ulanzi GlideGo Travel Tripod and GlideGo Video Tripod were announced on July 28 2025, and can be ordered directly from Amazon, the Ulanzi website and online photographic retailers.

Ulanzi is a photo accessory company you’ve probably come across, since there are many Ulanzi products available on Amazon. The company is well known for its low-cost accessories that are manufactured to a high standard, and although the GlideGo tripods are priced similarly to models from bigger brands, they're reasonably priced based on features and quality.

The JJ05 GlideGo Travel Tripod costs $269 / £300 / AU$359, while the JJ06 GlideGo Video Tripod is slightly more expensive at $299 / £320 / AU$389. The tripods come with carry cases, and the video tripod even has a handy toolkit hidden away in the tripod handle.

Ulanzi GlideGo Travel Tripods: Also consider

Should I buy a Ulanzi GlideGo Travel Tripod?

Buy it if...

Don't buy it if...

How I tested the Ulanzi GlideGo Travel Tripods

• I tested both tripods for several weeks
• I tested their handling, stiffness and rigidity
• I tested the ball-head operation and features

I tested the Ulanzi GlideGo Travel Tripod and GlideGo Video Tripod over several weeks for stills photography and videography.

I used them with several different camera and lens combinations, shooting subjects including landscapes, cityscapes and for video, the focus was on B-roll capture to test the movements possible with the GlideGo Video Tripod.

With nearly 30 years of photographic experience and 17 years working as a photography journalist, I’ve used many of the cameras and lenses that have been released in that time. As a working photographer, I aim to test cameras, lenses and accessories from a photographer’s point of view.

First reviewed August 2025

NiSi V7 with True Color NC CPL: two-minute review

When it comes to square filter holders, they’re surely all the same, aren’t they? In terms of basic design, they are, but build quality, functionality and value are another matter. For me, the NiSi V7 with True Color NC CPL is one of the best professional 100mm filter holders available, with an impressive performance that belies its attractive price.

100mm filter holders are typically used with lenses as wide as 15mm full-frame (or 10mm for APS-C). For lenses wider than this, you’ll need to move up to a cumbersome and painfully expensive 150mm square filter system.

150mm filters are also so large that they simply look ridiculous, and I have chuckled watching other photographers on location with me wrestle with their window pane-sized filters. But I digress.

The advantage of the Nisi V7 kit, like many 100mm filter holders, is that you can use up to three square filters at once alongside a polarising filter. So, that’s ND graduated filters, ND filters, color correction filters and special effects filters. Are three slots overkill? Definitely not – I often require all three slots when shooting in tricky lighting conditions while controlling exposure times.

One thing that I love about the NiSi V7 kit is that you get four adaptor rings, which means you can use the holder with four filter thread sizes straight away. These include 67mm, 72mm, 77mm, plus the main ring which has an 82mm thread. This covers the vast majority of landscape photography lenses, plus you can also buy adaptor rings for other sizes separately if you need them. For example, I own a 62mm ring that allows me to use square filters with my macro lens.

The V7 filter holder isn’t really suitable for smaller lenses with smaller filter threads, say in the 39mm to 67mm range. For example, I own some small Fujifilm prime lenses, plus some Micro Four Thirds lenses, for which the NiSi M75 II with True Color NC CPL is a better fit. The downside with this smaller holder only is that it only has two filter slots alongside the rear-mounted polarizing filter, rather than three.

Build quality of the V7 kit is excellent and the overall design is reasonably compact. The holder is a CNC-machined single block of matte black coated aeronautical aluminum, with three plastic filter holder slots screwed onto the front. The polarizing filter screws into the main ring, locking in place at around a 10-degree turn, while the holder clips onto the main ring and can be locked in place to avoid detachment of the two parts.

The main ring is also an 82mm adaptor ring, and is attached to the smaller adaptor rings when a smaller thread than 82mm is required. Practically speaking, these are best attached to the lens before the holder is attached. The polarizer can be rotated using a couple of small dials on the rear of the main ring. You can also use any 100mm square filters with this holder.

The advantage of the rear positioning of the polarizing filter is that the filter holder doesn’t vignette with lenses as wide as 15mm. NiSi even says that the Nikon Z 14-30mm f/4S doesn’t vignette at 14mm, although I haven't tried that lens with the holder. The rival LEE Filters LEE100 Polarizer mounts at the front, thereby creating a vignette with ultra wide-angle lenses – meaning Nisi has the advantage in this regard.

Unlike cheap polarizers, the supplied True Color NC CPL also produces clean images with no color casts at different rotations, which is exactly what you want.

In my experience, some filter holders can also be too tight, making it hard to slot filters in and out, to the point that this can risk accidental damage.

The V7, thankfully, provides just the right amount of resistance that filters are secure, but they’re easy enough to slot in and out of the holder when it’s attached to the front of your lenses.

The downside to a system like this, however, is that a set of filters and the holder take up space in your kit bag and can weigh more than other types of filters.

As magnetic and stackable filters are growing in popularity, you may be wondering what place there is for larger, heavier and more expensive square filters. The simple answer is ND grads. With square filters, you can get everything as right as possible in-camera, including the sky exposure.

With magnetic filters, the price you pay is no ND grads, so while you get a polariser, NDs and other types of filters depending on the kit, you have to shoot HDR to maintain sky detail. That naturally means you have to take more shots and spend more time at the computer editing. For me, square filters remain the optimal option for landscape photography.

NiSi V7 with True Color NC CPL: key specs

NiSi V7 with True Color NC CPL price and availability

The NiSi V7 with True Color NC CPL costs $259 / £199 / AU$389, which is an incredible price considering what’s included in the kit: a Filter Holder for three 100mm filters and a CPL, an 82mm main ring with polarizing adjustment, a True Color NC CPL (removable), three adapter rings (67/72/77), a soft case and a V7 Lens Cap.

To provide a point of reference, the LEE Filters LEE100 Polarizer filter alone costs as much as the NiSi V7 kit.

There are V7 kits available that also include several filters and offer excellent value for money compared to purchasing separately. The NiSi Starter Kit – V7 – 100mm Filters costs $499 / £345 / AU$849 and includes most of the above, a few additional accessories, a 3-stop medium GND and a 10-stop ND filter.

If you already own 100mm filters and would simply like a new filter holder, the NiSi V7 with True Color NC CPL is perfect for you. If you’re getting started with 100mm filters, I’d recommend the NiSi Starter Kit – V7 – 100mm Filters or one of the other kits that come with filters, because you will save money and have several filters to use from the get-go.

NiSi square filters themselves are expensive. They’re optically fantastic and made of high-quality optical glass, but expect to pay in the region of $245 / £95 /AU$279 per filter. The glass used is much better than traditional resin square filters in many ways, but they do cost more.

Should I buy the NiSi V7 with True Color NC CPL?

Buy it if...

Don't buy it if...

How I tested the NiSi V7 with True Color NC CPL

• Long-term test
• Tested with a variety of lenses
• Used for landscape, cityscape and astrophotography

I've tested the NiSi V7 with True Color NC CPL over many years, with a range of different NiSi filters in different combinations, for subjects including landscape, cityscape and astrophotography.

As my go-to filter holder, I've also used it with a wide range of lenses, including zooms and primes, ranging between 16mm and 200mm on a full-frame camera.

With nearly 30 years of photographic experience and 17 years working as a photography journalist, I’ve used many of the cameras and lenses that have been released in that time. As a working photographer, I aim to test cameras, lenses and accessories from a photographer’s point of view.

First reviewed July 2025

Insta360 Mic Air: two-minute review

Following in the footsteps of DJI, Rode, Saramonic, Hollyland and more, Insta360 brings us the Insta360 Mic Air, a compact, inexpensive wireless microphone designed with video creators in mind – particularly those who use the Insta360 X5 or Insta360 Ace Pro 2 action cameras.

The button-sized, ultra-lightweight Mic Air transmitter (aka the TX) can connect wirelessly to either of the above Insta360 cameras, either replacing or teaming up with the on-board mics. The idea is that it adds an instant upgrade to sound quality, offering 48kHz / 24-bit audio, optional noise reduction, and a furry attachable shield to cut down on distracting wind noise.

Having tested the Mic Air on a typically breezy day on the English coast, I’m very happy with the results. With the windshield carefully attached, the noise from occasional strong gusts was completely removed, as the video below illustrates. I say “carefully” because Insta360 has opted for a slightly unconventional method for attachment: the shield is mounted on a rubber ring that slips over the sides of the TX, and some care must be taken to ensure that it’s sited directly above the mic grille.

There’s also a form of noise reduction available, accessed by double-tapping the TX’s power button. It’s fairly effective, helping negate background drones and hums without overly distorting the final audio. You can also adjust the mic’s gain in the X5 or Ace Pro 2’s menu screens, and there’s an on-screen indicator while you’re recording to give you an at-a-glance view of the current gain.

Connected directly to the X5 or Ace Pro 2, the Mic Air has a short range – about 30 to 50m. But add the receiver (or RX) and things get a lot roomier, with the theoretical range going up to 300m (the real-world results are less thanks to interference and obstructions).

Note – at launch, the Mic Air is compatible with the X5 and Ace Pro 2 only. Insta360 says a firmware update is coming for the X4, while the Go 3 / 3S won't be compatible with it. The X3 and the Ace Pro aren't compatible either, but could be further down the line.

The receiver, which is also tiny and lightweight, has a USB-C connector that enables you to plug it into smartphones, tablets, laptops and other products, such as Insta360’s Flow range of smartphone gimbals. It then establishes a wireless connection with the transmitter, so that when you hit the record button on your device the audio recorded comes from the transmitter rather than your device’s own microphone.

I still use an older iPhone model with Lightning, so I wasn’t able to test this method on my smartphone (Insta360 has told me that a Lighting version is a definite possibility for the future). While I understand the decision not to offer a Lightning option at launch, it does leave some people out of the loop, as does the lack of a 3.5mm output for connection to cameras. Some other small, affordable mics, like the DJI Mic Mini and Fulaim X5M, offer wider connectivity.

I did, however, put the Insta360 Mic Air through its paces hooked up to an Android tablet, and found the audio quality a huge improvement over that offered by the built-in mic. You don’t have to use it just for video capture, either – it would also improve the quality of voice notes and recordings, Zoom calls, and anything else that requires the use of a mic.

One thing Insta360 has done really well with the Mic Air is offer a variety of mounting options. In the box there’s a button magnet, which lets you attach the TX to thin clothing, as well as a clip magnet that can grip onto collars, lapels, bag straps and even cap brims. I’ve seen those with virtually every wireless mic I’ve reviewed, but here there’s also a magnet pendant, so the user can wear the TX around their neck. It’s nice to have that extra option.

The magnet also comes into use when recharging the TX battery, locking it into position on its charging plate. The charging plate uses USB-A, which surprised me a little in 2025 where USB-C is ubiquitous, but I doubt many people will struggle to find somewhere to plug it in.

On the subject of the battery, the TX offers about 10 hours of use on a full charge, which is a little less than the DJI Mic Mini’s 11.5 hours, but still very respectable.

Insta360 Mic Air: specs

Insta360 Mic Air: price and availability

The Insta360 Mic Air is available now, with two options available. For buyers who own an Insta360 X5 or Ace Pro 2 camera and just need a mic transmitter to connect to it directly, the Mic Air Transmitter package costs $49.99 / £49.99 / AU$89.99. It comes with a single TX unit, charging base, button magnet, magnet pendant, clip magnet, windshield and carry case.

For those in need of more flexibility, there’s the Insta360 Mic Air (1 TX + 1 RX bundle), which includes all of the above plus one USB-C Receiver unit that can plug directly into smartphones, tablets, computers and more. This costs $69.99 / £69.99 / AU$129.99.

Insta360’s pricing seems very fair to me, although recent price drops have seen the DJI Mic Mini (1 TX + 1 RX) bundle fall to just $89 / £59 / AU$199, or £78 / $139 with a Lightning adapter. That’s probably a better deal than Insta360’s, if you can find it.

Should I buy the Insta360 Mic Air?

Buy it if...

Don't buy it if...

Insta360 Mic Air: also consider

How I tested the Insta360 Mic Air

• I used it for one week
• I tested it with an Insta360 X5 camera and Android tablet
• I used it indoors and outdoors

I tested a full production version of the Insta360 Mic Air over the course of a week, using it both with the Insta360 X5 and my OnePlus Pad Android tablet. With the X5, I went outside on both calm and windy days, vlogging with the setup as a means to test its wind-negating and noise-reduction capabilities.

First reviewed July 2025

• US stores see equipment prices rise by around 10%
• Canon EOS R1 price has increased by $500
• Further tariff-led increases could be on the way soon

Earlier this year, both Canon and Nikon warned consumers that prices of their products would be affected by US tariffs – and now those price hikes have begun in earnest. As reported by DP Review, who have been tracking the US prices of Canon and Nikon gear on the companies’ own websites as well as Amazon, there has been a clear spike in prices in recent weeks.

Nikon cameras and lenses, for instance, have risen by an average of 10.5%. Canon prices have jumped by as much as $500 on certain items (over the price listed when the product was first announced), and on average have increased by 9.7%. Other manufacturers have made similar increases; Sigma, for instance, bumped up its lens prices in the US by 10% earlier in June.

For Canon, the products that have most increased in price are higher-end cameras such as the Canon EOS R1 and Canon EOS R3, which have risen by $500 and $400 respectively over their launch prices. However, both models had been significantly discounted from their launch prices ahead of these recent rises, so the increases are actually much larger than they seem.

Nikon, meanwhile, seems to have hiked prices on all its lenses manufactured in China, with the biggest percentage increase going to the AF Nikkor 50mm f/1.8D prime: $134.95 to $199.95. That’s a price increase of almost 50%.

More rises on the way?

Not all items have been affected, but this could potentially due to stock from the pre-tariff era being still available. Once this has been sold and new stock needs to be imported from outside of the US, this stock could also be subject to price increases.

It’s a somewhat bleak picture for US-based camera consumers, and sadly it could yet get worse. On 9 July, the 90-day pause on reciprocal tariffs is due to end, which could mean countries where camera gear is manufactured, such as Japan, Thailand and Vietnam, could be subject to tariffs as high as 24%, 37% and 46% respectively. Companies may choose to absorb some or all of the tariff-led increases, of course; they could also hike prices even further in order to maintain their profit margin.

So, what does this mean for the US consumer? In all likelihood, it means that prices on cameras and lenses will rise even further – and that now might be the best time to invest in that piece of equipment you need. If you’re based in the US and are thinking of buying new gear, make sure to check out our buying guides for the best beginner mirrorless cameras, best compact cameras, best cameras for photography, best cameras for vlogging, best travel cameras and more.

You might also take the price hikes as a sign that you should master and maximise the equipment you already have rather than replace it with expensive new gear. Check out our camera how to guides and learn how to get more from your existing gear, whether it’s perfecting your astrophotography or using Adobe Photoshop to make your shots sing.

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PolarPro QuartzLine ND filter: two-minute review

In photography, we often want more light. It’s why people seek out larger sensors and wider apertures in their cameras and lenses – in order to capture a greater amount of light in a shorter space of time. That’s brilliant if you want a fast shutter speed to freeze the action – but what if you want to use a slower shutter speed, in order to capture the motion blur of a car racing past or turn a raging river into a smooth, silky ribbon of blue?

Achieving a slow shutter speed, particular on a sunny day, can be tricky – which is where ND filters like the PolarPro QuartzLine range come in. Available in a wide range of strengths, these circular filters screw onto the front of a camera lens and reduce light transference without affecting color rendition. At least, that’s the idea.

PolarPro sent me four ND filters to test, all in 67mm thread size (they’re also available in 77mm and 82mm), in ND8, ND16, ND64 and ND1000 strengths. The ND8 filter drops light input and increases exposure time by three stops; the ND16 four stops; the ND64 six stops; and the ND1000 filter 10 stops. Obviously, having a set like this in your camera bag would be handy if you want to cover every eventuality – but it’ll be mighty expensive too.

Each filter comes with its own hinged hard carry case and microfiber cleaning cloth, emphasising their premium positioning. The cases are hard plastic, but have a fetching brushed metal finish and magnetic closure, and each is helpfully labelled with the thread size and ND value, to reduce the time it takes to pull out the right one from your bag.

The filters themselves are well crafted and beautifully solid, so it does at least feel like that money is going somewhere. Made of brass and aluminum (and with a distinctive brass-colored finish), they’re reassuring tough, with pleasingly chunky ridges that gave me plenty of grip whenever I was attaching or detaching them from my Panasonic Lumix GH6’s lens (I used a 62mm to 67mm step-up ring, also made by PolarPro, in order to do so).

The brass frame construction should keep the screw threads in good shape too, in theory – so these filters should be fitting smoothly for many, many years to come. I found them very easy to fit, but you’d expect that from new filters. They also feature front threads, allowing other filters and attachments to be fitted over them.

The glass, dubbed Cinema Series Glass by PolarPro, is made in Germany. A series of coatings purportedly eliminate color shift (any sort of color cast being added by the filter), and PolarPro also claims its ultra-low refractivity keeps the effects of the light passing through so minimal that it can fully resolve sensors with up to 400MP resolution. The coatings add anti-scratch, anti-oil and hydrophobic qualities too.

My Lumix GH6’s sensor is just 25.2MP, so doesn’t really help in putting the refractivity claims to the test, but in terms of color shift I can say I’m impressed. Even the most powerful filter of the four I was testing, the ND1000, doesn’t add much of visible color cast to images – but when closely comparing test shots without the filters to those with, there is a slight warm tint visible in the filtered images.

I wouldn’t call this a huge drawback, particularly as I think anyone spending this much money on ND filters probably has some experience in post-processing and editing photos. It’s nothing that can’t easily be fixed in Lightroom or similar, and most observers wouldn’t even notice it unless they were looking, but it’s definitely present.

Using the filters, I was able to capture long exposures (10 seconds or more) on bright, sunny days by the sea. These photos smoothed out the motion of the waves and made the surface of the water more transparent to give my images a much more dream-like quality. They would have been completely impossible to take without an ND filter, as too much light would have entered the camera and blown out the image.

I was also able to use the filters to aid my videography by helping me to shoot video with a wider aperture (i.e. for a shallow depth of field) or slower shutter speed (for more motion blur). I did find this a little more challenging at points, as it involved swapping between filters a little too often – and it’s times like that when a variable ND (or VND) filter feels invaluable. These allow you to adjust ND strength by twisting the filter, offering a much more immediate solution. I’m also currently reviewing PolarPro’s own PMVND Edition II filter with a 2-5 stop range, so look out for an in-depth review of that soon.

While PolarPro QuartzLine ND filters are certainly expensive, I was thoroughly impressed by their premium construction, glass quality and general usability, and wouldn’t hesitate to use them in my own landscape photography and videography.

PolarPro QuartzLine ND filter: price and availability

In the US, PolarPro QuartzLine ND filters cost the same price, regardless of their thread size and filter strength at the PolarPro store. Whether you pick 67mm, 77mm or 82mm threads, or the ND8, ND16, ND64, ND1000 or ND100K strengths, every filter costs $99.99. Simple and, in my opinion, good value for money – particularly given that you also get a hard storage case and cleaning cloth with each filter.

In other countries, the price can vary a lot more. In the UK, for instance, the filters seem very expensive in comparison to US pricing, and thread size and ND value seemingly have little bearing on the cost – i.e. at Amazon UK, the larger thread sizes are sometimes cheaper than the smaller ones, where logic would dictate the opposite. It’s a slightly confusing situation, with some retailers offering decent discounts while others charge the full whack.

Should I buy the PolarPro QuartzLine ND filter?

Buy it if...

Don't buy it if...

How I tested the PolarPro QuartzLine ND filter

• One week of use
• Tested with photography and video capture
• Used with Panasonic Lumix GH6 camera

I tested these PolarPro QuartzLine ND filters over the course of a sunny summer's week by the sea in southern England – an ideal time and place to put this type of light-stopping filter through its paces. I tested four filters in the range, fitting them onto my Panasonic Lumix GH6 camera (with the help of a step-up ring) to capture both still photos and video, comparing the results against shots captured without the filter.

First reviewed June 2025

• Tiny magnetic transmitter weighs just 7.9g
• Compatible with Insta360 X5, Ace Pro 2, Flow series and more
• Insta360 Mic Air price starts at just $49.99 / £49.99 / AU$89.99

There’s no shortage of tiny digital mics designed for content creators on the market, and Insta360 has just entered the fray with its first ever wireless mic: the Insta360 Mic Air.

The Mic Air transmitter (or TX) is a coin-sized disc that can be clipped to a collar, fixed to a shirt with a magnetic clamp or even worn like a pendant. It comes supplied with a windshield to help cut down unwanted exterior noise, plus built-in noise reduction technology. It offers 10-hour battery life and a 300m wireless range.

Here's what's really neat – the Mic Air supports 48kHz/24-bit audio via a direct wireless connection with two of Insta360’s action cameras: the Insta360 X5 and Insta360 Ace Pro 2. A direct wireless connection between transmitter does away with the need for a receiver (RX), and is something that DJI's Mic Mini can do with DJI products.

If you mix brands, however, you lose that direct wireless connectivity, and would need a receiver instead. As such, it makes practical sense to brand match your action cam and wireless mic, so if you're an X5 or Ace Pro 2 user, the new Mic Air makes the most sense. Further Mic Air-compatible models will follow soon, according to Insta360.

The Mic Air can also be purchased in an RX (receiver) and TX (transmitter) bundle. The RX unit can be connected to smartphones, Insta360’s Flow gimbals and other devices, expanding the range of compatible hardware.

Already available to order

Designed to compete with the likes of the DJI Mic Mini, Rode Wireless Micro and Boya Mini, the Insta360 Mic Air is compact, lightweight (the TX transmitter being just 7.9g) and affordable: it’s available now at Amazon US and Amazon UK, priced at just $49.99 / £49.99 / AU$89.99 for a single TX, and $69.99 / £69.99 / AU$116.99 for the RX and TX bundle, and for the same price at the Insta360 store.

That’s roughly the same as the equivalent DJI Mic Mini bundles, although interestingly Insta360 has decided against selling a more complete package, such as two TX units, one RX and a charging case bundle – at least for now. These all-in-one packages, such as you can buy DJI's Mic Mini, offer a lot more battery life thanks to the charging case, plus a second TX for two-person audio capture. Seemingly these are two areas where Insta360 is clearly happy to concede the floor to rivals like DJI and Rode.

While the Mic Air is a pretty straightforward and even obvious addition to the Insta360 product line-up, it’s also a sign that the company’s ambitions seem to be growing. Just as DJI was once known mainly for its drones, but now also makes action cameras, gimbals, microphones, portable power stations, electric bikes and even, apparently, a robot vacuum cleaner, Insta360 is gradually increasing and diversifying its line-up.

It also means that Insta360 X5 (and Ace Pro 2) users looking for a wireless mic to level up their audio can stay on brand, rather than pairing the 360 camera with a mic from a rival brand, such as DJI, which feels like an obvious move on Insta360's part. In fact, the mic will be available with the X5 in an Ultimate Creator Bundle, for $669 / £669 (Australia price TBC).

A review sample of the Mic Air is on its way to us from Insta360, so look out for a full, in-depth review soon. We’re keen to see how it lines up against the DJI Mic Mini, which is widely regarded as the current market leader for ultra-compact affordable mics.

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Heipi 3-in-1 Travel Tripod W28S: two-minute review

Ask around, and most enthusiast photographers and creators are familiar with the accessory maker Peak Design, but newcomer Heipi? Nope.

Well, I have a welcome surprise – Heipi's carbon fiber 3-in-1 Travel Tripod W28S beats the Peak Design Travel Tripod in just about every regard, plus it's cheaper too. Three-Legged Thing's Punks Brian 2.0, however, provides stiffer competition for standard use – I explain why, below.

The W28S replaces the W28 – which I described as one of the most relevant and best travel tripods today in my in-depth review – delivering several refinements for a virtually complete and highly versatile three-legged support, in three ways.

Its 3-in-1 credentials cover regular tripod support for camera gear, the ability to support a phone instead via a clamp that's hidden in the integrated ball head, plus a generously-sized removable mini tripod, which is nestled inside the main legs, and which doubles up as a center column – the novelty of this feature hasn't worn off in this second-gen model.

Given that the main legs can tuck in between the gaps of the mini tripod legs when you're done, there's no wasted space and the Heipi 3-in-1 is able to pack away more compact than most, plus it comes supplied with a snug-fit carry case.

There are limitations though. I'd hesitate to mount particularly large and heavy gear – although that's true of all travel tripods – and the Heipi tripod's maximum height is bettered elsewhere. Also, despite its 3-in-1 party tricks, there's no monopod built into one of the legs. Nor can you swap out the supplied ball head for a fluid head, which would provide smooth panning movements for video.

If none of the above are dealbreakers, though, then Heipi's latest travel tripod is the complete package, with some unique features.

It's carbon fiber build quality is top-drawer, while improved leg locks are easier to lock-off and unlock than before. Also, they lock-off with even distribution on the leg sections (rather than a clamping lock), which reduces lateral movement between sections.

The addition of a bubble-level in the base is a neat touch, even if you can't see it properly when the center column is tucked away.

Heipi also offers handy extras for accessory-laden users, such as clamp arms, which easily screw into the mini tripod legs via a 3/8-inch screw. The arms Heipi supplied to me for this review can support accessories such as an external monitor, and can even work with Heipi's optional phone clamp, so you can support a camera and phone simultaneously.

I've been able to switch between using a phone and a mid-range mirrorless camera with moderate size lens, with ease. Panning movement? No problem, unlike the Peak Design which is locked off.

Even the design of the mini tripod, which easily rests on a table top for vlogging and is impressively sturdy with a 11lbs / 5kg max payload, has been improved. The previous version felt like it sacrificed ease of use for versatility, because it was stiff to extend and put away compared to a regular center column.

Now the mini tripod slides up and down much more easily, and when fully removed it even offers multiple leg angles to work from for a variety of shooting orientations, including close to the ground.

It can also be reversed and locked off upside down in the main legs in order to shoot from lower angles. Put simply, the mini tripod is one of the most sophisticated of its kind.

With camera gear generally getting smaller and lighter, and many creators using their phones as much as 'proper' camera gear, the case for the travel tripod grows as the need for bulkier supports diminishes.

And of all the many travel tripods I've reviewed, the Heipi 3-in-1 Travel Tripod W28S is the one I come back to most often – I reckon this is the best tripod for most people.

Is Heipi's travel tripod perfect? No. There were times that I wished I could work from a higher level than its 59-inch / 150cm maximum reach (with the center column fully raised).

However, given that it packs away with a tighter diameter than most and to just 17.7 inches / 45cm in length, while it weighs just 3lbs / 1.35kg (with ball head included), I'm happy to sacrifice any extra reach.

And one party trick it lacks, which you can find in many alternatives, is the option to remove one of its legs for used as a monopod.

If you can live with these few limitations, though, the Heipi 3-in-1 Travel Tripod W28S will be the most versatile tripod you've ever used, complete with a high-quality and lightweight carbon fiber build, plus tiny pack-away proportions.

If you want a lightweight support for a variety of camera gear, the Heipi would be my first recommendation.

You can discover more about the W28S's design and features in my W28 in-depth review – the two tripods share much in common, notwithstanding the design tweaks mentioned above.

Heipi 3-in-1 Travel Tripod W28S: key specs

Heipi 3-in-1 Travel Tripod W28 price and availability

The Heipi 3-in-1 Travel Tripod W28S with ball head is available now, from $399 / £325 on the Heipi website and from $399 on Amazon US or from AU$735 at Amazon AU.

There are also optional accessories such as a QR plate, and a different type of ball head in a pricer bundle. Heipi also sells clamp arms, an add-on phone clamp, plus a hammock for stowing accessories or even a weight to increase stability.

Heipi 3-in-1 Travel Tripod W28: Also consider

Should I buy the Heipi 3-in-1 Travel Tripod W28S?

Buy it if...

Don't buy it if...

How I tested the Heipi 3-in-1 Travel Tripod W28S

• I've used it over several months
• I've extensively tested its 3-in-1 features
• I've attached various mirrorless cameras and smartphones

I've had the Heipi 3-in-1 Travel Tripod W28S for several months, and it's been my go-to camera gear support during this period.

It has ably supported beginner, mid-range and pro mirrorless cameras, although I've drawn a line at the larger sports-focused bodies and bulky telephoto lenses.

I've also used the phone clamp to attach a variety of smartphones, the largest of which was an iPhone 15 Pro Max, and I've tried out optional extras, including clamp arms for an external monitor.

I've tested the mini tripod as thoroughly as the main tripod legs. Generally I've used the gear in fair weather, but it has also withstood moderate rain and use on sandy beaches.

First reviewed June 2025

Peak Design Pro Tripod: two-minute review

Peak Design’s tripods have a couple of unique design features. One is the leg design, which is not tubular but has a six-sided cross section with an inner edge that fits straight up against the center column, with no gaps. The center column is thinner than most but also has a six-sided cross section for the legs to fit neatly against the legs when folded. This non-tubular construction does seem to give both the legs and the center column unusual stiffness.

The other unique feature is a low-profile ball head with no protruding locking nut. Instead, it’s clamped with a rotating collar, and another, just above locks and releases the compact Arca Swiss compatible camera plate.

This low profile head design means that the original Peak Design travel tripod does not have to have its legs rotated 180 degrees from their folded position before you can use it. The low height of the ball head means that you can simply fold the legs in and pack it away without any complicated manoeuvers.

These design features made the original Peak Design Travel tripod very different to anything else. Now Peak Design has taken those same design concepts and scaled them up into a Pro version designed for serious professional use.

In fact, there’s not one Pro tripod but three. The regular Pro tripod is the one I spent most time with for this review, but I also got to try out the Pro Lite and Pro Tall variants. The Pro Lite is almost the same height and folded length of the regular Pro Tripod, but has a lighter construction for easier portability. The Tall version has longer leg sections and can even reach eye level for tall people without any center column extension – it exceeded my eye level!

The new Pro tripods aren’t just bigger and more substantial than the original Travel Tripod – they have a new Pro ball head that’s larger and more substantial than the original, plus it has a neat ‘inverted’ design so that the pan axis is above the ball not below it. This means that you can level the pan axis for panning shots and panoramas without having to fiddle around with the leg lengths. It’s not a huge range of adjustment but it might be all you need.

For more extreme pan axis adjustments, or if a lot of your work is video, Peak Design has you covered. There are two new ‘mods’ to go with these tripods: one tilt head for video work, and the other a leveling bowl which you swap out with the standard center column, and which has a regular head attachment screw so that you can use your favorite video head if you want to.

I love the original Peak Design Travel Tripod, so do the new Pro tripods leave me just as impressed? Yes! It is, literally, just like using scaled up versions of the Travel Tripod. The carbon fiber legs feel just as smooth and warm to the touch, the leg clamps are just as quick and positive, and because these Pro tripods have four leg sections rather than five, they’re a little quicker to set up.

The new Pro ball head is terrific. It’s big and chunky, it locks tight and it doesn’t add a whole lot to the tripod’s height when you’re packing away. As before, there are no protruding knobs or levers to get in the way either.

Peak Design’s use of a rotating collar to lock the QR plate does take a little getting used to. The head has two collars in close proximity and at first it can be a struggle to remember which does what and how they work.

The new Pro head, though, feels absolutely rock solid, and it’s with the pan and tilt mod that it gets really clever. All you need to do is take out the regular Arca Swiss plate and slot in the pan and tilt add-on for a proper fluid pan and tilt action.

There’s an extending panning handle which is stowed against the side of the head via a magnet (Peak Design loves magnets) and can be quickly screwed into the head ready for use. It sounds like a kludge, with one head mounted on top of another, but it absolutely isn’t. It looks like it was made to work this way, and feels like it too. The tilt axis is sprung, by the way, so if you use a longer camera plate you should be able to balance it up fairly well for light and controlled tilt movements.

The center columns on these tripods are longer than the one in the original Travel Tripod, which is useful, but even though they’re fixed with a small-looking locking knob, they lock down really tight and with no flex.

You can also get spiked feet but these are an optional extra, nor does it seem like Peak Design includes a phone clamp with these tripods, so that will be a paid extra too. It kind of makes sense because these Pro tripods are overengineered for phone use anyway. If you do get the phone mount, it will still slide up into the base of the center column for storage. Here, Peak Design has stuck with its slightly complicated pull-and-twist hook release which is easy when you’ve learned how it works but can be annoying at first.

So that’s a quick tour of the Peak Design Pro Tripods, but which is the best one to get? That’s quite tricky because they are somewhat similar, both in size and price. The standard Pro tripod is expected to sell for $899.95 when it goes fully on sale in November 2025, the lighter Pro Lite will be $799.95 and the Pro Tall will be $999.95. I haven't seen prices for the UK or Australia yet.

Personally, I wouldn’t go for the Pro Lite. I can understand the reasoning – it’s a slightly lighter, slightly cheaper alternative to the regular Pro model – but it’s not a lot smaller and I think I’d rather just pay the extra for the thicker legs of the Pro model. The Pro Tall is interesting, though. If I was 6ft tall and didn’t like using center columns, I would go for this one. It’s definitely longer when packed away, but all of these tripods are too long to fit inside a backpack anyway and would end up strapped to the outside. Besides, for those times when you didn’t need the extra height you could just extend three leg sections not four, for even more stability.

Peak Design Pro Tripods: key specs

Peak Design Pro Tripods price and availability

The Peak Design Pro Tripods launch on Kickstarter on July 17 2025 but are expected to go on general sale in November 2025. The Pro Lite tripod has an expected price of $799.95, the Pro tripod will be $899.99 and the Pro Tall will sell for $999.99.

The Tilt Mod and Pro Leveling Base will be sold separately and we’re currently waiting for price information on these, but we are told the option spiked feet will sell for $49.95.

Peak Design Pro Tripods: Also consider

Should I buy a Peak Design Pro Tripod?

Buy it if...

Don't buy it if...

How I tested the Peak Design Pro Tripods

• Operational speed and efficiency
• Stiffness and rigidity
• Ball head operation
• Effectiveness of add-ons

I had just two weeks to try out the Peak Design Pro tripods because loan stocks were in short supply and shared between many different reviewers. However, I know the original Peak Design Travel Tripod very well and I review tripods as part of my work, so I already had a list of what I was looking for and expected from these new Pro tripods.

I particularly wanted to test the speed and ease of deployment and was pleased to find it was just as slick as with the original Travel Tripod but quicker, thanks to the 4-section legs and larger leg clamps. I also wanted to check if the excellent stiffness of the original Travel Tripod had scaled up to these new, bigger sizes, and it has. I don’t remember any other tripods I’ve tested with more torsional rigidity and lack of leg flex than these.

I was also keen to check how the new Pro Ball Head worked. The original was good but quite small and fiddly. This one is much better. Not only does it clamp tighter and hold heavier loads better, the inverted ball design makes levelling the camera for panning shots so much easier.

Lastly, I spent some time trying out the Tilt Mod and Pro Leveling Base and came away impressed. The Tilt Mod fixes so well to the Pro Ball Head that they feel like a single (very smooth) unit and the Pro Leveling Base took a minute or so to swap out with the regular column but lets you use your own tripod head.

First reviewed June 2025

You don’t have to be a scientist to enjoy zooming in on things. Mousepad, pen nib or a rogue eyelash: stick anything from your desk under a microscope and you’ll find it looks fascinating when magnified a few hundred times. The world looks very different down there.

But to see all the small things, you normally need a big one. Because of the complex optics required to get a clear picture at micron scale, most quality microscopes demand a hefty slice of desktop real estate. And a good chunk of pocket money, too. Even junior zoomers come with a sizeable footprint.

Think back to your days mucking about with microscopes in the school science lab. The ones with the twisty focus knobs, fiddly slides and lenses that rotate to different zoom lengths. Fun but clunky. Probably not cheap. Certainly not pocket-sized.

The iMicro Q3p changes all of that. Barely bigger than a contact lens, it’s a fingertip accessory which claims to turn any smartphone into a 1200x microscope – simply by sticking to the camera. And it does so for a pledge of just CA$59 (around $43 / £32 / AU$67).

That’s a huge assertion for something so small. Yet it’s also one that’s won the iMicro thousands of backers. My interest piqued by its bold promises, I decided I had to try the Q3p for myself. A few emails later and I had it attached to my iPhone 12, hovering over a drop of coffee, trying to test its microscopic potential.

Scoping out the iMicro Q3p

I say ‘trying’ because the iMicro requires a frustratingly fine touch to get results worth writing about. Perhaps inevitably for something so small, working at such minute scale, the setup is very fiddly. Get it right and your reward is some seriously cool microscopic imagery (more on that below). But you’ll need real patience to reach that point.

Let’s zoom out for a moment. The Q3p is actually the sixth instalment in the iMicro lens line-up, which began with the original iMicro Q back in 2018. Since then, iMicro says it’s received more than 30,000 crowdfunding pledges and manufactured some 60,000 fingertip microscopes. Along the way, it’s refined the proposition with greater zoom, improved packaging and polarized optics.

Each iMicro version has followed the same basic formula. Sized like a coin cell battery, the lens sticks to your smartphone camera using a backing layer with thousands of nano-sized suction cups. This mounting method works with any mobile make or model. It’s also reusable and doesn’t leave a residue when you remove it, which means you can share your iMicro with fellow scopers.

Once the lens is attached to your phone, you simply hold it over a sample with your camera app open. You need a bright light source, the torch on your phone being the obvious answer. Then it’s simply a case of positioning your handset at the right distance from the object that you’re putting under the microscope.

That’s easier said than done. For a clear image, the iMicro has to be situated right up against the sample, almost touching it. With a tight focus window, there’s a very narrow operating margin. Factor in some handheld jerkiness and you’ve got a challenge.

Finding this focal sweet spot is fun when you’re first experimenting with the iMicro. But once you realise that you need to do it each and every time you swap a sample, it soon becomes a bugbear – especially if you’re trying to capture sharp images, which in itself requires a bit of finger Twister. This is a complaint that’s been voiced by users of previous versions and it’s why iMicro ships a focus stand with the Q3p.

Comprised of three laser-cut wooden props, the stand comes flat-packed in the plastic case. Two parts support either side of your smartphone, while the third is designed to raise and lower the base of your phone to ‘focus’ the image by moving the camera relative to the sample. Unfortunately, it’s broadly ineffective.

The maker describes it as a ‘precision-focused stand’ that’s ‘crucial when dealing with the elevated magnification levels of the iMicro Q3p’. It’s right about the latter: using the Q3p does require careful control. But the stand doesn’t offer anything close to precision. It is possible to prop your phone in a position where the subject is in focus, but the main wedge is too crude for fine adjustments.

The three-piece setup is also very easy to knock out of place, which makes it arguably more frustrating than trying to focus handheld. There is, it seems, a reason why most microscopes have movable stages with multiple focus knobs.

Zooming in with the iMicro Q3p

Still, I stuck at it and I’m glad I did. With perseverance, the Q3p delivers on its promise of turning your smartphone into a microscope.

Shipped in a case with the iMicro is a plain backing card, a transparent sheet of scale markers and some fabric swatches to magnify as samples. These work well as a way to get your bearings with the Q3p. The calibration markers don’t just let you measure things: they also make it easier to actually locate your sample when free-handing above it with your smartphone.

Initially, I had visions of walking around the house and magnifying the surface of things by pointing my iMicro-equipped mobile at them. In practise, it doesn’t really work like that. I was able to get a cool close-up shot of my MacBook’s body, but in general I found the best results came by using the plastic case as a sample tray with the scale card inside. Mainly because it kept things contained without blocking ambient light.

The included mesh samples are a good starting point. I found them forgiving to work with because the squares are relatively large and fully cover the scale markers. They also have large tabs attached, which makes them easier to manoeuvre beneath the lens. All of this is helpful: you might think it’s simple to find things at magnification, but I can tell you it’s not. Any reference point is a welcome one and bigger is better while you’re working out what’s what.

Working this way, the Q3p finally started to feed and satisfy the child-like curiosity which surely motivates most of its backers. There rendered large on my iPhone screen were the minuscule strands of mesh sitting beneath the lens. I could inspect the tiny fibres at several-hundred times their actual size, just as promised. All thanks to a little low-profile disc stuck to the back of my phone.

I found it easiest to do this with my iPhone set to video mode. This allowed me to keep the flash permanently on. It also meant I didn’t have to try and hit the shutter button while maintaining the correct focus distance, as I could instead take still frames from the footage later. (There is an official i-Seeing app with digital scale overlays, but this is so glitchy that it’s not even worth covering.)

Once I’d got the hang of the iMicro this way, I was able to experiment with smaller samples: hairs, pencil lead, a piece of aluminium foil. The world revealed by the iMicro was as remarkable as you’d expect, full of hidden details. As the little letter in its name suggests, the Q3p also benefits from polarization. This gives it an advantage when inspecting crystals and minerals, enhancing color and contrast for better definition.

While the quality of images is technically dependent on what phone you have, such is the calibre of modern smartphone camera sensors and lens optics that I’d wager you’ll have pretty much the same iMicro viewing experience with any contemporary handset. You will have to accept significant vignetting, though.

Question marks arise when it comes to the claimed magnification. Officially, the iMicro Q3p is rated at 1200x, which means it can resolve images below a single micron. That’s a range usually reserved for the most powerful desktop microscopes. Anyone with a working knowledge of optics would raise an eyebrow – and rightly so.

A deeper look at that claim reveals some fudging of the numbers. Only part of the zoom range is provided by the lens optics. The rest of the calculation factors in the scaling of the image from the camera sensor to fill your phone screen, as well as the digital magnification if you pinch to zoom on the image. That’s a long way from a genuine 1200x range.

I asked the iMicro team for some clarification. Like the calculation itself, the response was layered: ‘optical magnification alone is not a very meaningful measurement, as it must be considered together with the camera's lens, sensor and display’. This much is true, but the fact remains that most buyers will use magnification as a benchmark measurement.

The team did confirm that ‘the optical magnification of the lens is approximately 390×’. They went on to say that, ‘in terms of real-world imaging performance, when used with a smartphone, this lens is comparable to a 400–600× high-end compound microscope.’

Based on my experience, I’d say that’s accurate. It’s also mightily impressive for something so tiny. But I can’t escape the feeling that iMicro is slightly mis-selling its microscope by sticking the 1200x label on it.

Looking back on the iMicro Q3p

If that all sounds harsh, it’s because I dislike false advertising and really wanted the Q3p to deliver. Lofty promises aren’t uncommon in crowdfunding, but by claiming the Q3p can deliver 1200x magnification, iMicro has slightly set itself up for a kicking. In real terms, that simply isn’t the case. This isn’t something that can replace a professional microscope, which should perhaps be obvious from the fact that it weighs less than half a gram and costs next to nothing.

It would be better marketed as an optical toy instead of a serious scoping tool. Re-framed as an affordable plaything, I think the iMicro has plenty going for it. A stick-on lens that gives your smartphone the power of 400x magnification? That’s enough to make it entertaining for a few weekends. And it’s probably enough to justify spending CA$59 (around $43 / £32 / AU$67) to give it a go.

Yes, the bundled focusing stand is naff, which means you’ll need to tolerate a lot of wobble (unless you have the world’s steadiest hands). Yes, you’ll need to work out the best combination of camera mode and flash. And yes, even then, there’s an art to capturing sharp stills, which will have heavy vignetting in any case.

But if you buy it knowing all of that, you won’t be disappointed. All told, I came away impressed by the engineering that’s obviously gone into the Q3p. There’s a definite wow-factor here. If anything, the effort of finding focus only adds to the build-up, with a real moment of awe when you first see something up-close and magnified in all its miniature detail on your screen.

Keep your expectations in perspective and you’ll get a lot of joy from the iMicro Q3p. Just don’t go selling your other microscope.

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Billingham Hadley Pro 2020: two-minute review

Billingham began making bags in 1973. The world’s changed a lot since then, but its satchels have stood the test of time. Known for their premium materials and classic style, Billingham bags are the kind you can use for years, then gift to the next generation.

So it is with the Hadley Pro 2020. A gently updated version of the established Hadley Pro, it’s a camera bag built in the British tradition of leather and canvas craftsmanship. It’s also one that’s perfectly sized for most photographers on the go. Combining field-ready functionality with rugged good looks, it’s easy to see why the Hadley Pro is a best-seller.

Granted, it demands a pretty significant up-front investment. In our list of the best camera bags, you’ll find options that cost half the price of the Hadley Pro which can carry the same amount of gear (or more). But what you’re paying for here is enduring quality. Read around online and you’ll find praise from users who’ve carried a Hadley for decades.

Unboxing the bag, it’s immediately clear why. From the straps to the reinforced handle, every inch of the Hadley Pro 2020 gives a sense of durability. You can spec the bag with a cotton canvas or synthetic FibreNyte shell. Either way, you get three-layer waterproofing. That’s complemented by solid brass fittings and full-grain leather edging. It’s all got a hard-wearing, workhorse quality.

So much so, that I initially found the leather quick-release straps not so quick to release. I’m assured that these will ease up with use over time. In fact, the whole bag feels like one that will wear well. It’s certainly one that’s designed to adapt to your gear. Those buckles on the front allow you adjust how tightly the lid straps shut. You also have the option of looping extra accessory pockets onto each end.

Most users won’t need to do that. What appears at first glance to be a modest messenger bag actually turns out to be something of a Tardis. With the padded insert slotted into place, the capacity of the Hadley Pro 2020 is surprisingly cavernous. Thanks to its flexible sides, the satchel can swallow a lot of kit. You also get two vertical and two horizontal dividers which can be arranged using velcro tabs to help you manage the space.

It can comfortably accommodate an APS-C system with a trio of mid-sized lenses. Equally, I had no trouble fitting an enthusiast DSLR body with a nifty fifty attached, plus wide-angle and telephoto zooms. Those velcro dividers give you the flexibility not just to separate lenses, but also to create shelves which suspend smaller accessories closer to the top of the bag. The insert also has a padded lid piece as well, which can be folded back out of the way for easier access.

Longer lenses are where you’ll find the limits of the Hadley Pro. The bag isn’t exactly shallow, but bigger body and glass combinations will need to be laid sideways to fit in. If you want all of your kit stacked vertically, you’ll need to divide camera and barrel in the name of neatness. This is really the only compromise to speak of: the Billingham is bigger than you think.

The padded insert is complemented by front pockets that are similarly roomy. These are ideally placed for quick access to accessories. The 2020 version of the Hadley Pro also benefits from a weatherproof zip pocket for storing documents on the rear. What you don’t get is a dedicated laptop slot, although you can unofficially fit a 13-inch MacBook Air between the padded insert and the back wall of the bag.

In short, the storage capacity of the Hadley Pro is limited more by the weight you can bear than by space in the satchel itself. The advantage of a messenger bag is that you can keep your gear within arm’s reach, but the single-strap setup means the burden falls on one shoulder. You can also haul the Hadley Pro using its reinforced carry strap or sling it over a suitcase handle using the built-in retainer. But most users are going to rely on its removable shoulder sling.

And if you do, you’ll want to shell out for the optional SP40 shoulder pad. This clip-on leather strip is as beautifully made as the rest of the bag and ships in four colorways to match. For the price of the pack, it should really be included as standard. Without it, the cotton webbing can cut into your shoulder when the bag is heavily laden.

Still, in for a dime, in for a dollar. Adding the shoulder pad makes an already expensive camera bag that bit more costly. But it’s hard to feel hard done by. If you’re serious about photography, either as a hobby or a profession, this is a camera bag that will see you through. Count up the cost per use over the many years you’ll be toting it and the equation soon becomes a more reasonable one.

The Hadley Pro is certainly at home on the job. Its traditional aesthetic might not be to every taste, but the classic approach is both professional and versatile. It can go from wilderness to wedding and not look out of place. Plus it’s robust enough to survive both, a hundred times over.

If you really need room for more gear, the Hadley One is an even larger version with a proper laptop sleeve. But for my money, the Billingham Hadley Pro 2020 gets it just right. It’s a fantastic daily satchel for photographers. Practical to the core and well-crafted in every respect, it’s hard to find fault. If you like the look, this is a camera bag that’s very much worth the investment.

Billingham Hadley Pro 2020 review: price

Billingham released the Hadley Pro 2020 camera bag in August 2019. It’s a slightly updated version of the company’s best-selling Hadley Pro. New features for the 2020 edition include a reinforced carry handle, built-in suitcase retaining strap, removable shoulder strap and weatherproof document pocket.

The Hadley Pro 2020 is officially priced at $383 / £308 (around AU$625). It can be found for less from some online camera equipment stores. There’s no escaping that this is a premium camera bag, but you get what you pay for. Use it for decades and the real cost per use becomes very reasonable.

Every Hadley Pro 2020 has leather detailing and can be ordered with a canvas or FibreNyte exterior. The bag comes in eight standard color and material combinations:

• Navy canvas / chocolate leather (chocolate lining)
• Black canvas / tan leather (olive lining)
• Black FibreNyte / black leather (olive lining)
• Khaki canvas / tan leather (olive lining)
• Khaki FibreNyte / chocolate leather (olive lining)
• Burgundy canvas / chocolate leather (chocolate lining)
• Sage FibreNyte / chocolate leather (olive lining)
• Sage FibreNyte / black leather (olive lining)

Billingham Hadley Pro 2020 review: specs

 Should I buy the Billingham Hadley Pro 2020? 

Buy it if...

Don't buy it if...

Billingham Hadley Pro 2020 review: Also consider

How I tested the Billingham Hadley Pro 2020

• Carried around every day for two weeks
• Packed with a DSLR plus three lenses
• Used in different settings and conditions

If you’re buying a camera bag that promises to last for years, you’ll want it to perform in all kinds of shooting scenarios. So that’s exactly how I tested the Billingham Hadley Pro 2020. My aim was to get a first-hand impression of its durability and utility, working in a range of environments.

To test its carrying capacity, I loaded it up with all the gear I’d want to carry on a standard shoot. That included a DSLR body, a 50mm prime, a 70-300mm telephoto and a 10-24mm wide-angle zoom. I also packed out its pockets with accessories, including battery chargers, lens hoods and a compact flashgun.

I then took the Hadley Pro out and about, walking extensively through streets and fields alike. I tried carrying the bag both with and without the optional shoulder pad fitted, to see how much of a difference it made in terms of comfort. I also switched lenses from bag to body, to get an idea of how easy the Billingham would be to work with on the fly.

While the relatively brief duration of my test means I can’t give long-term feedback, a fortnight was enough time to form a detailed impression of the build quality and usability of the Billingham Hadley Pro 2020. It helps that I’ve been working with cameras – and carrying them around – for more than a decade, so I know what to look for in a good camera bag.

First reviewed June 2025

Lowepro Tahoe BP 150: two-minute review

The temptation for most photographers is to carry as much gear as possible. After all, you don’t want to get caught without the right kit for the situation. Many of the best camera bags will let you do exactly that: pack your entire arsenal of lenses and accessories, so you’ll never miss a shot.

That’s not what the Lowepro Tahoe BP 150 is about. This is a neatly packaged backpack with just enough space for your shooting essentials, plus a handful of extras. That limited capacity means most enthusiasts will need to leave a couple of lenses at home. But the pay-off is a pack that majors in portability.

It’s also one that balances functionality with affordability. One of the cheapest Lowepro backpacks you can buy, the Tahoe BP 150 is a no-nonsense solution for toting a lean photography setup on your travels. Impressively for the money, it’s also one that comes with very few compromises.

The main compartment might be relatively modest, but clever division allows you to make the most of the available space. The top third is taken up by a zippered box pocket which is stitched in place, with a flexible base that can be moved using velcro tabs. So can the padded walls which structure the rest of the space.

Depending on what you shoot with, you’ll need to spend a bit of time playing with the position of these dividers to find a layout which best suits your setup. With some experimenting, you’ll discover that the Tahoe BP 150 can carry quite a lot more than you’d first expect, although a couple more of the small dividers would make the space even more versatile.

As it is, the bag can comfortably fit an APS-C mirrorless body with a prime lens attached, along with a telephoto and a standard zoom, plus a charger with room to spare. You could squeeze a pancake lens and a small flashgun in there, too. A larger DSLR body makes for more of an awkward fit, while enthusiasts with top-tier glass will find that the capacity soon evaporates.

This might be a backpack for traveling light, but Lowepro has still put thought into optimizing it. There’s an SD card slot on the inside of the main flap, while the front panel is angled slightly to create a usable space in the secondary pocket. That’s where you’ll find a key clip, accessory slots and a tablet sleeve that’s just big enough to fit a 13-inch MacBook Air.

There’s also a solution for traveling with tripods. Elasticated mesh pockets sit on either side of the pack, together with clips for securing tripods in place. Realistically, the shallow depth of the pockets means you wouldn’t want to risk keeping anything taller than a mini-tripod on the outside of the Tahoe BP 150.

The only design blunder to speak of is the position of the tripod clips. These fasten across the zipper for the main compartment, which means you have to undo them every time you want to access your camera kit. This isn’t a quick-access pack at the best of times, with a fair bit of unzipping needed to get at your gear. Having clips in the mix quickly becomes frustrating.

Still, the LowePro Tahoe BP 150 is otherwise a camera bag that hits the sweet spot of practicality, price and protection. Despite its compact dimensions, the shell benefits from padding in all the right places. Granted, I wouldn’t want it chucked around on a baggage carousel, but I never felt that my gear was at risk while wearing it.

The same goes for the straps and back panel. This is far from a technical pack and you don’t get the kind of support or adjustment found on the Lowepro PhotoSport BP 24L AW III, but there’s enough cushioning to make the Tahoe BP 150 comfortable to carry fully loaded on a journey.

From the zips to the seams, the whole thing feels durable. That’s not a surprise from Lowepro, but it’s a welcome fact for the price. And it’s all the more impressive when you consider that the Tahoe BP 150 weighs just 800g, making it one of the lightest camera bags you can buy.

The one thing missing is a rain cover. The backpack is water-resistant enough to shake off a summer shower, but it’s not fully waterproof. Then again, given how affordable it is, you could always buy a third-party rain cover if you’re worried about downpours.

If you want an unfussy backpack with minimal bloat and travel-friendly dimensions, it’s hard to go wrong with the LowePro Tahoe BP 150. Other camera bags might be bigger and more adaptable, but this one gets the basics right at the right price.

Lowepro Tahoe BP 150 review: price

The Lowepro Tahoe BP 150 has been available to buy since 2015. At launch, it was priced around $95 / £85 / AU$175. The backpack’s price has dropped several times over the last few years and it can now be found online for around $75 / £65 / AU$100.

A quick look at price tracking websites also confirms that the Lowepro Tahoe BP 150 is regularly discounted during sale events, such as Amazon Prime Day. It’s already a great-value camera bag, but if you want an even better deal, we suggest holding out in case it’s reduced again in the next seasonal sale.

The Lowepro Tahoe BP 150 is available in four color variations: blue (as tested here), black, red and green (which features urban camouflage pattern detailing).

Lowepro Tahoe BP 150 review: specs

 Should I buy the Lowepro Tahoe BP 150? 

Buy it if...

Don't buy it if...

Lowepro Tahoe BP 150 review: Also consider

How I tested the Lowepro Tahoe 150

• Packed with a DSLR and two lenses, plus accessories
• Carried around daily for a fortnight
• Wore in all weather conditions

When testing the Lowepro Tahoe BP 150, my aim was to assess its real-world practicality for different photographers. That started with loading it up. To get an idea of its true capacity, I played around with fitting both APS-C and DSLR shooting setups into it. I re-arranged the internal dividers several times, to see what combinations of camera body, lenses and accessories it could take.

I also packed out the Tahoe BP 150 with as many accessories as possible, including a mini trip on the side and a laptop in the front sleeve. This was partly to see just how much gear it was realistically able to accommodate, but also to get a feel for how comfortable the bag was to carry when fully laden.

With that in mind, I walked with the Lowepro on my back every day for a few weeks. This first-hand experience gave me a genuine impression of what the Tahoe BP 150 is like to work and travel with, including how easy it is to access the various pockets and compartments on the move. I also wore the backpack in different weather conditions, to put its water-resistance to the test.

First reviewed June 2025

Hollyland Lark M2S Combo: two-minute review

Understatement isn’t a common characteristic among content creators, but it’s a winning feature for this wireless mic kit. With two tiny receivers weighing just 7g apiece, the Hollyland Lark M2S is designed to fly under the radar. Hooked over your collar, only a small part of each pick-up is visible. The result is an audio solution that doesn’t distract your audience.

It’s also a versatile one. Available in several variations, the Hollyland Lark M2S Combo kit on test here includes two transmitters, a USB-C mobile receiver and a cold-shoe unit that connects to cameras via USB-C or 3.5mm. There’s also a Lightning cable in the box for connecting to legacy Apple devices. That makes it a pretty complete kit, whatever you choose to shoot with.

Each transmitter is held in place by a rubberized clip, with grips at the tips for extra security. Many of the best wireless mics used magnetic backs to give you more flexibility when positioning. In practise, most users will want the mic on their lapel anyway – and even with the hook on show, the M2S is as subtle as they come.

Despite their discreet size, the omnidirectional pick-ups do a better job than any built-in mic, whether you’re shooting with a smartphone or one of the best video cameras. How the 24-bit audio signal is processed depends on the pre-amp inside your recording device, but voice clips are generally clear and rich enough for the casual listener.

Blustery conditions can be an issue. The bundled windshields do a good job of buffering against buffeting, though attaching them raises the profile of the mics. You also have the option of enabling noise reduction. This tends to flatten and crisp up the sound slightly, but it’s an effective solution where background noise would otherwise be too intrusive.

Noise cancellation can be activated by pressing the single button found on each transmitter, the button on the USB-C receiver or the dial on the camera receiver. The latter is also used to adjust the output volume, while a long-press switches between mono and stereo recording. That makes the interface sound more complicated than it is. There is a slight learning curve, but once you’ve got your head around the meaning of each indicator light, it’s intuitive enough.

Battery life is far from featherweight, with each transmitter rated for up to nine hours on a single charge. Returning them to the charging case yields a further 18, giving the whole package some serious longevity. Together with its neat proportions, that makes it an attractive solution for creators who need to shoot on the go – even though the case itself feels quite plasticky and the components are prone to rattling inside.

Other wireless mics feel more premium, while the DJI Mic Mini uses a neater single receiver. But if you want a compact and cost-effective way to upgrade your audio quality, the Hollyland Lark M2S Combo kit offers solid value.

Hollyland Lark M2S Combo: price and release date

• $149 / £140 / AU$269 for the Combo kit
• Includes 2x mics, 2x receivers, Lightning cable and charging case
• Several kit versions available for different devices

Launched in January 2025 as a follow-up to the Lark M2, the Hollyland Lark M2S wireless mic is available to buy now in one of several bundle variations. On test here is the Combo kit ($149 / £140 / AU$269), which includes the following:

• Transmitters x2
• Receiver (camera)
• Receiver (USB-C)
• Charging case
• Windshields x2
• 3.5mm cable
• USB-C to Lightning cable
• USB-A to USB-C cable

The Combo kit is designed to give content creators the flexibility to work with both smartphones and cameras. The Lightning cable allows you to connect the camera receiver to older Apple devices. The Combo kit offers good value for what’s included, but other options will be better suited to specific creator requirements.

The cheapest Hollyland Lark M2S option is the barebones USB-C kit ($119 / £110 / AU$219). This includes two transmitters and a USB-C receiver for use with a smartphone. With no option to connect to a camera, it’s the best choice for mobile-only recording.

The next step up is the Mini Combo ($139 / £130 / AU$249), which is the same as the Combo kit, except it doesn’t include a Lightning adapter cable. It’s the best choice if you want the flexibility to connect to a camera and USB-C smartphone.

Top of the pile is the Ultimate Combo ($159 / £150 / AU$289). In addition to the USB-C and camera receivers, this adds a dedicated Lightning receiver to the mix. Given that the Combo kit includes a Lightning cable, there are few people for who this will be a necessity. Unless you absolutely need a physical Lightning receiver, this version is best seen as a legacy option.

Hollyland Lark M2S Combo: specs

Hollyland Lark M2S Combo: Design

• Lightweight transmitters with built-in rubber clips
• USB-C receiver with two indicator lights
• Camera receiver with indicator lights and control dial

Dinky is the order of the day with the Lark M2S. From the tiny transmitters (7g each) to the compact camera receiver (12g), everything in the bundle is ultra-light. The components weigh less than almost every other kit in our list of the best wireless mics, including the DJI Mic Mini and the Rode Wireless Micro.

Despite being housed in plastic, the transmitters and receivers feel well-built and sturdy enough for long-term use. The little orange buttons on each device give satisfying feedback, as does the click-scroll of the control dial on the cold-shoe adapter. It’s only the charging case that lets the side down: the hinge for the lid creaks and moves, while the parts rattle around while charging inside.

Still, for a low-weight, low-cost kit, the Lark M2S feels like it’s been assembled with thought. Effort has certainly gone into the design of the transmitters. Most wireless mic kits have rectangular units held in place by a magnetic back. This gives you versatility when mounting, but means the pick-up is quite visible in video footage.

Hollyland has taken a different approach with the Lark M2S. The transmitters are attached by a U-shaped hook with a titanium arm inside. This clips over a collar, with rubber ridges on either side for extra grip. It’s a foolproof solution: it has enough flexibility to fit over different fabrics, with sufficient resistance to hold firm. No magnets means one less piece to lose – and most users will place the mic on a hem anyway.

The added benefit is that the larger side of the transmitter unit is hidden beneath your clothing. Only part of the arm and the smaller puck sits on the outside. The result is a very subtle setup. With mini dimensions and no branding, the mic could easily go unnoticed in interview footage. It’s a lot less distracting than larger alternatives.

That design does mean the button and indicator light on the transmitter are hard to access when you’re wearing it, particularly as the little LED is obscured beneath the hook arm. Helpfully, there are corresponding lights on the receiver units which indicate the mode and connection status.

The user experience differs slightly depending on which receiver you’re using, but the setup is the definition of plug-and-play. Recording on mobile couldn’t be simpler: remove the transmitters and mobile receiver from the case, insert the USB-C unit into your smartphone and the two LEDs will turn solid to show that everything is connected. The single orange button on the receiver toggles noise cancelling on (green light) or off (blue light). You’re good to go.

Connecting to a camera is no more complicated. Take the cold-shoe receiver and transmitters out of the case and they’ll pair automatically. Then simply hook it up to your camera via 3.5mm or USB-C (or both at the same time) and you’ll get an audio signal. You can also use the bundled USB-C to Lightning cable to connect the camera receiver to an older Apple device.

The camera receiver’s interface is a touch more complicated than the mobile one. You get the same LEDs for connection and noise cancelling status, plus an orange button for power. Then there's an arc of three additional lights to indicate the output volume, which can be adjusted by turning the dial. Pressing the dial changes the noise reduction setting, while a long-press switches between mono and stereo.

There’s a slight learning curve when it comes to the meaning of each LED, but it’s intuitive enough to get your head around after a few minutes. What you don’t get is any kind of display for real-time audio monitoring. That’s a luxury reserved for premium mics that cost and weigh more. It’s also one that’s absent from the DJI Mic Mini and Rode Wireless Micro.

Hollyland Lark M2S Combo: Performance

• Omnidirectional audio with optional noise cancelling
• 9 hours battery life (transmitter), 18 hours battery life (case)
• Up to 300m range

Rating audio quality is a tricky thing, because it depends on your expectations. If you’re a professional sound engineer, you’ll find things to fault with what the Hollyland Lark M2S produces. But if you’re comparing it to the built-in mic on your smartphone or camera, the M2S is leagues ahead.

The additional caveat here is that results are influenced by the device you’re using and its built-in pre-amp. Send the same signal from the Lark M2S to an iPhone and a DSLR camera, as I did, and you’ll notice differences which result from how each device processes the audio.

The Hollyland Lark M2S has strong foundations. It records 24-bit audio at 48khz, which sets it up well for capturing detail. You can also set the output level to high, giving your device more to work with. Serious users will balk at the lack of 32-bit float recording or on-board storage, but that reflects the target market of the M2S. There’s enough detail and depth here to satisfy content creators and anyone who wants to improve the quality of their voiceovers.

The omnidirectional pick-ups do a decent job of isolating speech against background hubbub. As with many wireless mics, though, wind noise is an issue. The bundled fluffy windshields help to tackle this, but also make the mics more visible.

Your other option is to enable Environmental Noise Cancellation. This is highly effective at limiting the impact of blustery conditions on your recordings. It also works well at reducing traffic noise to a barely audible level. The trade-off is that noise cancelling tends to make vocals sound slightly flatter and more processed – although not as significantly as some wireless mics.

You can adjust the level of noise cancelling through the LarkSound app, with high and low options. Usefully, the app can also be used to monitor the audio level from each mic in real time, giving you a visual indication of whether the gain setting needs to be changed to avoid clipping. This can be controlled in the app, as can the channel mode, which allows you to switch from mono to stereo recording when using the camera receiver.

Transmission range is rated at 300m. Unless you’re working at telephoto distances, there are few occasions when you’d need to be that far from your recording device. Still, with a clear line of sight from transmitter to receiver, I didn’t encounter any signal drop-out at a distance of about 100 paces. That changed as soon as something came between the two. In reality, most users will work at close range, where clear transmission won’t be an issue.

Longevity is also assured. Despite the miniature dimensions of the Lark M2S, battery life comes in at a competitive nine hours. The case can also recharge the components twice over, giving you a total recording time of close to 30 hours before you’ll need to use a wall charger. The case itself needs around 90 minutes to go from flat to full.

It’s unlikely that most users will encounter a shoot where they have to record for 9 hours straight, but it’s reassuring to know that the Lark M2S can live through a lot of takes before it needs returning to the case. Using it as many content creators would – on the move, taking out the components to record clips on location, then storing them back in the case – the M2S simply ran and ran. For such a compact kit, the battery life is seriously impressive. This is a wireless mic that’s easy to live with.

Should I buy the Hollyland Lark M2S Combo?

Buy it if…

Don’t buy it if…

Hollyland Lark M2S Combo: also consider

How I tested the Hollyland Lark M2S Combo

• Tested extensively over several weeks
• Paired with both the camera and USB-C receivers
• Recorded audio in a range of indoor and outdoor settings

Given that the Hollyland Lark M2S is a wireless mic kit that’s designed to let content creators capture quality audio on the go, that’s how I approached this review. I packed the kit in my backpack every time I headed out of the house, then recorded voiceover content wherever the day took me.

That meant I captured audio clips in a whole range of settings and scenarios, from noisy cafes to windy walks along busy roads. I tested the transmitters at all three volume levels, with and without the windshields installed, and with noise reduction enabled and disabled. This gave me a catalog of recordings with which to make comparisons on clarity and quality.

Because the Lark M2S Combo is pitched as a full kit for creators, I tested it with both the USB-C mobile receiver and the cold-shoe camera adapter. With the latter, I wired up to a Nikon D7100 using a 3.5mm cable, as well as using the bundled Lightning cable to connect an iPhone 12.

During my time with the Lark M2S, I tried to use it as someone might do in the real world. That meant clipping the transmitters to different items of clothing. I also purposefully interacted with interface before consulting the instructions in detail, to get a realistic idea of how accessible the system is for beginners.

• First reviewed: May 2025
• Read more about how we test