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.

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.

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.

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.

• 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.

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

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

• 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.

You might also like

• Is the DJI Mini 5 Pro a legal nightmare?
• These are the best DJI drones you can buy
• Our full review of the DJI Mic 3

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

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

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.

You might also like

• I tried an entry-level AI telescope and all I learned is that tech doesn’t make everything better
• I tried the first smartphone-based telescope and got next-level photos of the moon – next up, galaxies and nebulae
• I’m an amateur astronomer and this is the stargazing app I can't live without

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

The Sigma BF is 2025’s most talked-about camera, and you only need one look…and feel… to see why.

It’s been likened to Apple products – a minimalist creation unbound from conventional camera design.

The weighty body – available in silver or black – is machined from a single block of aluminum, a process that takes seven hours, with production limited to nine units per day.

The result? Meticulous clean lines, a sculpted corner and thumb grip for your holding hand, a frontage half decked with the body’s matt finish, the other half textured.

Every detail is a nod to the BF being comfortable in its simplicity, its uniqueness and its assured quality.

Sigma spared no expense with the full-frame BF and, unusually, that goes for the camera's body cap too.

I've tested interchangeable lens cameras of all shapes, sizes and price points over the last 15 years, and none of those plastic caps compare to the BF's. It feels like such a small detail to get excited about, but hear me out.

An extension of the camera

Sigma supplied me with the silver version of the BF for my upcoming in-depth review, together with a new silver version of the Contemporary 35mm f/2 DG lens.

The camera and lens are a heavenly match, plus the BF's body cap is equally delightful – I can't remember ever seeing a body cap like it.

Like the BF's body, the body cap is premium metal, and its form, unfussy. It features a notched rim for grip that mimics the textured half of the BF's front. It also includes a rubber seal, ensuring the camera remains weather-sealed with the cap in place.

Effectively, the BF's body cap is an extension of the camera, and this detail matters.

After all, when you have a camera with such a distinct design as the BF, slapping a black plastic cap on it spoils the package somewhat, and I should know.

What lens cap and rear cap are supplied with the new silver version of the 35mm f/2 DG lens? The same black plastic ones as the original black version. Shame.

Sigma got the most important part right in making a new silver version of the lens to complement the silver BF. And the slight drawback to the new silver lens' caps makes me appreciate the BF's premium body cap all the more.

Sure, like all such cameras, you can leave a lens on the Sigma BF, largely rendering the body cap surplus to requirements. However, why would you when the camera looks so beautiful tucked up for the night with its body cap on?

Never has a camera's body cap made more sense.

You might also like

• The Leica M11-D costs over $9,000 and doesn't have a screen – and I still really, really want one
• Sirui joins L-Mount Alliance to deliver its superb budget lenses for Leica, DJI, Sigma and Panasonic cameras
• I tried the Sigma BF camera everyone is talking about – it's truly stunning, but has one fundamental flaw

• The new hand luggage-compliant roller-case is available in three colorways
• It's part of Peak Design's ecosystem, with a new purpose-made XL Camera Cube
• Priced from $599.95, with crowdfunding campaign running from March 4 to April 17

Peak Design has unveiled its first roller-case, the premium Roller Pro, with innovative features and familiar design touches taken from its camera accessories ecosystem.

The hand-luggage compliant roller is available in three colorways – black, eclipse (a burgundy-ish shade) and sage – and is currently being crowdfunded from March 4 to April 17 with a backer price of $599.95, and is due to land on the Peak Design website from late June.

There's also a new dedicated Camera Cube (XL) that's designed to maximize the internal storage of the Roller Pro for camera gear that needs extra protection, which costs $139.95 (UK and Australia pricing for both items is TBC).

Of course there are no guarantees with crowdfunding campaigns, but I've already had my hands on a sage Roller Pro prototype for weeks (and I've tested numerous Peak Design products down the years, primarily camera gear, such as the Outdoor Backpack, Camera Cubes, Travel Tripod and Camera Sling), and I can imagine Peak Design's latest product becoming my go-to roller case for many years to come. Let's take a look at what it offers.

A pricey roller that's a dream to handle, and built to last

Peak Design sent me a prototype of the Roller Pro several weeks ahead of its announcement, and I can tell you that it's an entirely different proposition to budget roller cases made from off-the-shelf parts.

This a premium Peak Design product through and through, with an ultra-smooth and agile four-set of wheels, plus a low-profile handle made from solid single pieces of carbon fiber, rather than rickety telescoping tubes. The handle slots into an aluminum chassis and takes up less space inside the roller case, meaning more space for your stuff.

The roller's exterior is a durable-feeling and expandable soft-shell type, with a familiar Peak Design look and an additional top soft handle (easing that temptation to hoist the loaded case up by the extending handle), while a polycarbonate hard shell structure inside provides rigidity and protection for what's inside.

I love how the main compartment opens for packing and unpacking. Unlike other rollers that double in footprint when you open them up, the Roller Pro's drawbridge top sits vertically up – ideal for when you're in tight spaces trying to access camera gear, or in an airport frantically searching for that thing you need.

With so many camera accessories in its portfolio, naturally Peak Design has put plenty of thought into gear storage. There are dedicated and secure compartments for items such as a laptop, small interior zipped pockets for important items like a passport and memory cards, plus a wide variety of protective Camera Cubes – including the new XL version, meaning you can customize how you split camera gear / personal items storage for your needs, for a each trip.

It's still early days for my Roller Pro testing, but I can already see it becoming my go-to roller case for many years of traveling and photography trips. The elephant in the room is the product's list price – around $600 for the case only is pretty steep, and that's before you add the cost of accessories for camera gear, such as Camera Cubes.

Still, if it's as durable and versatile as my time with it so far indicates, the Roller Pro could ultimately turn out to be excellent value. I'll share more thoughts further down the line by way of a long-term review.

You might also like

• Peak Design’s ingenious camera cubes could kill off dedicated camera bags – here’s why
• Gomatic McKinnon Camera Pack 35L review: one for the road
• Best camera bag 2025: top backpacks, holsters and cases for protecting your camera gear

DJI RS 4 Mini: Two-Minute Review

Gimbals have gone from dedicated filmmaking accessories to must-have tools in the arsenal of every content creator. DJI is almost single-handedly responsible for that, bringing stabilized video to the masses with its range of accessible smartphone gimbals and camera gimbals. The RS 4 Mini is the latest addition to that line-up and – based on my experience – it’s the best DJI gimbal to date for YouTube and Instagram videographers.

One look at DJI’s description of the RS 4 Mini confirms that this is a gimbal targeted at content creators. Its spec sheet reads like an influencer’s wish list: it supports vertical shooting; it works with both cameras and smartphones (using the optional Mini Phone Holder); and the new Intelligent Tracking Module enables automatic face tracking to keep solo videographers in the frame.

Beyond those headline additions, you also get a raft of improvements that make it a much more complete gimbal than the RS 3 Mini. In physical terms, it borrows a number of premium features from DJI’s flagship RS4 gimbal. That includes automatic axis locks which unlock seamlessly when the gimbal powers on, as well as physical switches for gimbal and joystick modes, plus a fine-tuning knob for balancing the camera mounting plate.

All of these tweaks improve a hands-on experience which was already solid. You get the same 1.4-inch color touchscreen, which is as responsive to swipe inputs here as it was before. There’s also a comfortably positioned trigger and front scroll wheel, which can be used to control one of several functions on a connected camera. (Note that the multi-camera control cable bundled with the RS 4 Mini is a USB-C number. For certain models, including the Sony A7S III I shot with, a different cable is required.)

The RS 4 Mini matches the high production standard of any recent DJI product, with a robustness to the build that suggests it’ll be shooting with you for many years to come. That’s despite weighing just a smidge more than the RS 3 Mini at only 890g. It packs down just as tidily too, measuring 236 × 64 × 316mm in folded form (versus 195 x 98 x 323mm for the RS 3 Mini).

Setup still starts with balancing the axes, which is an unfortunate necessity with any gimbal. Instruction videos in the Ronin app do make this as painless as possible and the upgrade to Teflon interlayers means the RS 4 Mini’s arms slide more smoothly through the brackets. They can still be a bit grippy when trying to find the sweet spot with a heavier camera though.

This only really becomes frustrating when you want to switch from horizontal to vertical shooting, because you’ll need to rebalance the axes each time. Still, that switch has been made simpler with the RS 4 Mini: you no longer need to remove the camera from the mounting plate. Instead, you loosen and press a knob, allowing you to detach and remount the plate vertically with the camera still in place. Clearances are quite tight in this orientation, mind.

As above, the DJI RS 4 Mini can also be used to stabilize smartphones with the optional Mini Phone Holder. This simply slots into place on the mounting plate. Its performance capabilities mean the RS 4 Mini is overkill if you only shoot content on mobile, but the option adds welcome flexibility for those who work across multiple devices.

Other improvements also proved welcome in practise. The built-in battery still isn’t removable, but it is bigger at 3,100mAh. The claimed maximum of 13 hours (up from 10 hours) is based on the gimbal being stationary, which isn’t reflective of real-world usage for most users. In testing, we averaged around half of that, which is still better than the RS 3 Mini. Arguably more important is the fact that DJI has shaved an hour off the recharge time, bringing it down to 1.5 hours. That reduction means you can get back to shooting more quickly.

Despite its Mini moniker, the gimbal’s maximum payload is an enthusiast-friendly 2kg, which means it can handle a full-frame mirrorless camera body attached to a relatively weighty lens. Fully loaded, its shorter handle does offer less ergonomic support than the RS4 or RS4 Pro. In testing, I found the redesigned RS Briefcase Handle a help here: lighter and smaller than the previous version, it mounts to the side of the gimbal and adjusts to different angles, giving your supporting hand something to grip.

In performance terms, the RS 4 Mini has the chops to compete with pricier gimbals. It should come as no surprise that stabilization is simply superlative, thanks to DJI’s 4th-gen algorithm – the same one used by the RS4 and RS4 Pro. It effortlessly smooths out motion across all three axes, even when you’re walking along with your subject. Movements from carrying a camera by hand are almost entirely eliminated in the resulting footage.

Controlling a gimbal can be a bit of an art form, but the RS 4 Mini smoothes the learning curve. Its joystick makes panning and tilting a fluid experience, while a new ‘Responsive’ follow mode reacts more rapidly to hand movements when circling a subject. Fire up the Ronin app and you’ll also find the option to use your smartphone as a virtual joystick via Bluetooth, plus creative modes for shooting panoramas, timelapses and more. You’ll be hard-pushed to find a more intuitive gimbal.

Nowhere is that more evident than with the RS 4 Mini’s party trick: subject tracking. The key to this is the optional Intelligent Tracking Module, which attaches magnetically to the top of the mounting arm. Fronted by a small camera lens, it uses AI to detect faces and deploys the gimbal’s motors to track them.

The effectiveness of this tool can’t be overstated. For filmmakers, it allows you to move around a subject without having to manually pan and tilt to keep them centered in the frame. It’s also a boon for content creators working alone. With the RS 4 Mini stood on its tripod base, users can move around the camera and it will follow their face through a full 360-degree horizontal arc.

These dual uses are reflected in the ways you can enable ActiveTrack. The first is with a single press of the trigger (there needs to be a face in the frame for this to work, which it took me a while to figure out). The second is by using gesture controls: stand in front of the RS 4 Mini and you can throw up the relevant hand signal to start or stop tracking, as well as recording. When the mode is active, a ring light around the Module’s lens turns from red to green (this can be disabled if the situation demands subtlety).

This feature is a lot less gimmicky than it might sound. I can see influencers, content creators and would-be presenters using gesture activation to easily control the tracking feature from afar. Not least because the feature proved incredibly reliable in testing, never once missing a signal.

ActiveTrack proved no less consistent, locking on to faces with remarkable accuracy. That makes sense, given that DJI has been perfecting the system on its drones and pocket gimbals for years. Its application here is game-changing because it allows you to use the tracking tech with any camera or smartphone that can sit on the gimbal.

Add up the RS 4 Mini's features and you're looking at a compact gimbal which can keep you automatically framed in stabilized high-res video shot vertically on a full-frame camera. When you consider that it costs the same as the RS 3 Mini did at launch – and not too much more with the Intelligent Tracking Module factored in – that makes the RS 4 Mini a strong contender for the best-value camera gimbal you can buy right now.

DJI RS 4 Mini review: Price and Availability

• Released on February 20, 2025
• Standard DJI RS 4 Mini priced at $369 / £339 / AU$539
• Combo kit with Intelligent Tracking Module costs $459 / £419 / AU$659

DJI announced the RS 4 Mini on February 20, 2025. The gimbal is available to order now, priced at $369 / £339 / AU$539. That’s identical to what the RS 3 Mini cost when it went on sale in January 2023, which we think represents good value, given its upgrades and performance. The standard kit includes the following components:

• DJI RS 4 Mini gimbal
• Quick-release mounting plate
• RS 4 Mini tripod base
• Multi-camera control cable (USB-C)
• Charging cable (USB-C)
• Screw kit

The DJI RS 4 Mini is also available as a Combo kit, which additionally includes the RS Intelligent Tracking Module for AI-powered subject tracking, as well as the new RS 4 Mini Briefcase Handle, which serves as an adjustable second grip. The Combo kit costs $459 / £419 / AU$659.

It’s worth noting that the Intelligent Tracking Module is also available to buy separately, meaning users can upgrade their shooting setup down the line. It’s priced at $69 / £59 / AU$99. Given its impressive tracking capabilities, we think most users will want to equip their RS 4 Mini with the optional module.

Also available as a standalone accessory is the DJI RS 4 Mini Phone Holder, which allows users to attach a smartphone to the gimbal’s mount. While the DJI Osmo Mobile 7/7P is a more natural fit for content creators who only shoot with a smartphone, the holder gives owners of the RS 4 Mini the flexibility to use it with both a camera and a mobile device.

DJI RS 4 Mini review: specs

DJI RS 4 Mini review: Also Consider

Should I buy the DJI RS 4 Mini?

Buy it if...

Don't buy it if...

How I tested the DJI RS 4 Mini

• I tested the DJI RS 4 Mini gimbal for a fortnight
• I used it with a Sony A7S III, Nikon D7100 and iPhone 12
• I shot with it handheld and stood on its tripod base

DJI supplied me with a sample unit of the RS 4 Mini gimbal for this review, along with the Intelligent Tracking Module, the Mini Briefcase Handle and the Mini Phone Holder.

Over the course of a fortnight, I tested the gimbal and its full complement of accessories. I primarily shot with a Sony A7S III attached to the quick-release plate, paired with an FE 28-70mm F2 GM lens. That combination sat towards the upper end of the RS 4 Mini’s payload capacity, hitting the scales at close to 1.7kg.

To see how the RS 4 Mini performed as a smartphone gimbal, I used it with my iPhone 12 mounted in the Mini Phone Holder. That same phone was paired with the gimbal using a pre-release version of the Ronin app.

And because I had it to hand, I also mounted my Nikon D7100 to the gimbal with a 50mm prime lens, simply to see how well its subject tracking worked with a legacy DSLR model.

I spent several hours shooting handheld with the RS 4 Mini. I attached the optional Mini Briefcase Handle for some of this period, to understand how the grip improved handling with weightier cameras.

I also shot with the RS 4 Mini on its tripod base, primarily to test the effectiveness of its Intelligent Tracking Module for solo content creators. I used gesture controls to control the gimbal in my living room.

I test a lot of cameras and lenses for TechRadar, and I regularly write about DJI. I’ve also tested the DJI RSC 2 in the past, so I’m well-placed to review the RS 4 Mini.

First reviewed February 2025

AnkerWork M650: one-minute review

The wireless microphone market is a crowded one. Whether you shoot with one of the best camera phones or a dedicated video camera, content creators are spoilt for choice when it comes to upgrading their voiceover audio. Among the best wireless mics at the moment are the Rode Wireless Micro and the DJI Mic 2, both of which are rated highly for their ease of use and sound quality.

It’s into that busy fray that the AnkerWork M650 steps. A two-mic kit shipped with a touchscreen receiver and packaged in a tidy charging case, the M650 promises high-quality audio recording with cross-platform compatibility. In the box come both Lightning and USB-C connectors for hooking the receiver up to your smartphone. It can also slot into a camera’s hot shoe, with a 3.5mm cable included for connecting to a microphone port.

On paper, the AnkerWork M650 offers a feature-packed setup. It promises dual-channel lossless pickup with optional noise cancelling and on-board storage for up to seven hours of uncompressed audio. Transmission range is a useful 200m, while the receiver has a streamlined touchscreen interface with access to a range of settings, including gain adjustments.

In practise, the AnkerWork M650 delivers on almost all fronts. Pre-paired out of the charging case, the kit is foolproof to use. Open the lid and you’ll find the two mics good to go, with a receiver that comes alive in a blink, instantly displaying audio levels on its bright screen. Key controls can all be accessed with just a few swipes of the icon-based interface.

The transmitters themselves are bigger than those of the Rode Wireless Micro and DJI Mic Mini, but their circular design looks subtle enough. Attaching them is a cinch with the built-in clips, which also double-up as magnetic mounts which can be rotated through 90-degree increments. The transmitters are relatively weighty at 30g apiece, but they hold firm however you wear them.

Recording performance impressed me in testing. Dialogue sounds clear and natural by default, with the option to adjust the EQ through the AnkerWork software. Noise reduction is also effective in outdoor environments, although it can be aggressive on its highest setting, giving vocals a processed tone.

Battery life is decent but not exceptional. The transmitters and receiver are rated for six hours on a single charge, with a further nine hours available from the charging case. At a total of 15 hours, the AnkerWork M650 is outgunned by the DJI Mic 2.

Still, with a raft of useful features, I think the AnkerWork M650 strikes an excellent balance of performance and usability. Options such as real-time monitoring will appeal to seasoned creators, while the intuitive setup makes it satisfyingly simple to operate. That includes neat design touches, such as the twist-to-lock smartphone adapters.

There are cheaper, screen-free options available if you only want to record audio to a smartphone. But if you need the flexibility to record quality audio with a range of shooting tools, I think the AnkerWork M650 is a good value alternative to the DJI Mic 2.

AnkerWork M650: price and release date

• $199.99 / £249.99 / AU$199.98 for the complete kit
• Includes 2x mics, a receiver and a charging case
• Available now in black and white with swappable back covers

The AnkerWork M650 wireless mic launched in March 2023. It’s available now, priced at $199.99 / £249.99 / AU$199.98. That makes it quite a bit cheaper than the twin-transmitter DJI Mic 2 Combo, which is arguably its closest like-for-like competitor. Unlike the DJI Mic 2, the M650’s component parts can’t be bought separately: it’s only available as a kit. Luckily, it’s a complete one.

The kit includes a pair of transmitters, a receiver and a charging case. You also get USB-C and Lightning smartphone adapters, as well as USB-C and 3.5mm audio cables, reflecting the universal connectivity of the kit. Adding further value to the bundle is a pair of wind shields, a travel sleeve and two swappable transmitter shells.

It’s available in black or white, with the color scheme reflected across the case, transmitters, receiver and smartphone adapters. The black kit comes with one gold and one green replacement back cover for the transmitters. The white kit includes blue and purple shells.

There are simpler wireless mic kits which can be picked up for significantly less than the AnkerWork M650, including the DJI Mic Mini and the Rode Wireless Micro. Taken together, though, I think the contents of the AnkerWork kit make it excellent value for content creators who are likely to use it with both a smartphone and a camera.

AnkerWork M650: specs

AnkerWork M650: Design

• Circular transmitters with swappable back plates
• Built-in clips or magnetic attachment
• Receiver with levels monitoring and 1.47-inch touchscreen

The AnkerWork M650 follows the same basic formula as most wireless mic kits. You get a pair of transmitters, plus a receiver that connects to your camera or smartphone. These all live inside a charging case. Open it up and everything is automatically paired, ready to go.

There are a few design touches which set the AnkerWork M650 kit apart. Its transmitters are unique among the wireless mics we’ve tested in being circular. Measuring 45.5mm across, they are larger than most and relatively weighty at 30g. Despite their size, the domed shells give them a good dose of subtlety. They look less obviously like microphones than many transmitters. They also have a party trick: the back covers can be swapped for different color shells.

There are two easy ways to attach the transmitters to your clothing. The first is to simply latch them to a hem, collar or lapel using the built-in clip. Alternatively, pull on the clip and you’ll find it’s one half of a magnetic mount: put it under a layer of clothing and it can hold the transmitter in place on the other side. This magnetic setup also allows you to rotate the clip through 90-degree steps, so you can always make sure the pick-up is facing your mouth.

On the transmitter itself is just a single button, which can be used to mute the microphone (turning the indicator light red). This also serves as a way to manually power the transmitter off, in the unlikely event that you don’t have the case handy. Each transmitter also has a port which can be used to connect a lavalier mic. This is the same jack used to fix the optional wind shields in place.

The receiver is just as neat. A tidy little brick with a bright 1.47-inch touchscreen, it’s the hub through which audio is relayed to your devices. It also has just a single physical button, which is used to lock the touchscreen. Everything else is controlled via the intuitive, icon-based interface. There’s very little learning curve here: almost every key setting can be accessed with just a couple of swipes – and even for big fingers, the touchscreen is sized just right.

The main screen features two side-by-side graphics which display info from each transmitter in real time, including battery status, signal strength and audio level. Swiping left or right brings up settings for each transmitter, including gain adjustment, which can be boosted or lowered in 3dB increments. Swiping up lets you control the mics in sync, while swiping down lets you adjust the receiver settings, including the degree of noise reduction.

Connecting the receiver is equally straightforward. Your options here are plentiful. The clip underneath doubles up as a hot shoe mount, with USB-C and 3.5mm audio ports on the side for wiring up to a camera. If you’re pairing it with a smartphone, take a bundled Lightning or USB-C adapter, slot it into the mount on the back of the receiver, then twist to lock it in place. From there, the receiver sticks directly into the port on the bottom of your phone. The fit is firm and the position is a natural one for the receiver’s modest dimensions.

That 3.5mm audio port can also be used for real-time monitoring, which is a feature that more experienced content creators will appreciate. Equally, if you need to capture standalone audio, simply hit the record button on the receiver and it can save up to seven hours of lossless audio to its built-in storage. This can be accessed later by dropping the receiver into the case and connecting it to a PC or Mac using a USB-C cable.

AnkerWork M650: Performance

• Dual-channel pick-up with VoiceShield noise reduction
• 6 hours battery life (transmitter), 9 extra hours battery life (receiver)
• Omnidirectional audio and up to 200m range

Each transmitter is equipped with an omnidirectional pick-up that’s capable of capturing 24-bit audio at 48Khz. This isn’t as flexible as the 32-bit float audio support offered by the Mic 2, which can better avoid clipping if volume spikes, but its quality will be more than good enough for most content creators.

It’s worth noting that there’s no equivalent of Rode’s Intelligent GainAssist, which automatically adjusts audio levels to suit the environment. You’ll need to monitor levels using the readout on the receiver and make any necessary gain adjustments manually. In general, though, by keeping the mic a consistent distance from my mouth, I didn’t have any issues with clipping.

Nor did I encounter any problems with pairing, syncing or storing recordings during testing. I didn’t test the claimed 200m transmission range to its limit, but I found the connection stable and reliable even when roaming a fair distance from the receiver.

To assess sound quality, I recorded voiceovers in a range of settings, indoors and out, both quiet and noisy. Overall, I found results clean and natural. Audio captured by the M650 had significantly more clarity and depth than output from the built-in mics on my smartphone and DSLR camera. WAV files saved directly to the receiver were particularly clear.

If your ears are keen enough and you want a slightly warmer tone or more low-end depth to your voiceovers, you can adjust the EQ through the AnkerWork desktop software. That’s also where you can configure the low-pass filter.

Windy conditions are the biggest challenge for any wireless mic and the AnkerWork M650 is no exception. It features two levels of VoiceShield noise reduction which can be enabled using the receiver’s touchscreen. The feature is very effective at isolating vocals, even when there’s a lot of background hubbub. The drawback is that, when the system is battling noise at its highest setting, voices can sound digitally compressed and over-processed.

I found the best balance for recording outdoors was to attach one of the included dead cat wind shields and set the noise reduction level to low. This did allow a little more noise into recordings but not enough to be distracting, while crucially having a less noticeable impact on audio quality.

For content creators who want to upgrade their audio, you can really hear the difference in quality versus a device’s built-in microphone. The lack of Bluetooth connectivity might be a dealbreaker for some, but the added flexibility would likely come at the cost of bit-rate. For most, its reliable 24-bit recording and decent noise-cancelling tech will make the M650 worth the money.

In terms of battery life, the nine-hour boost offered by its charging case is less than some, but you’d need to be using the AnkerWork M650 kit pretty heavily to exhaust its full capacity in a single shoot. In reality, I never once encountered a dead battery. Both the transmitters and the receiver are rated for six hours on a charge, which is plenty. Plus most users are likely have the kit in and out of the case regularly.

Should I buy the Ankerwork M650?

Buy it if…

Don’t buy it if…

AnkerWork M650: also consider

How I tested the Ankerwork M650

• Used regularly for several weeks
• Paired with both cameras and smartphones
• Tested in a range of recording environments

To fully explore the capabilities of the AnkerWork M650, I tested it regularly over the course of several weeks. I used it to record voiceovers in a range of scenarios, from quiet home environments to noisy outdoor settings.

Paying particular attention to the effectiveness of its noise reduction feature, I used the AnkerWork M650 on a number of windy days. I tested it with VoiceShield switched off, set to low and at its highest setting, both with and without the optional wind shields installed, before comparing the results.

Because the M650 is such a complete kit – and one which content creators are likely to use in a number of different ways – I tested it with both a smartphone and a camera. I attached the receiver to my iPhone 12 via the Lightning adapter. I also used it on the hot shoe of my trusty Nikon D7100, connected via the 3.5mm audio cable. For completeness, I also used the AnkerWork M650 as a standalone solution, recording audio to its on-board storage.

Throughout my tests, I interacted with the wireless mic kit as real users would. That meant monitoring levels in real time on the receiver’s touchscreen and adjusting gain settings. I also tried attaching the transmitters to different items of clothing, used both the clip-on and magnetic solutions, to see how effectively they held.

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

Boya Mini: one-minute review

Beginner content creators on a shoestring budget who are looking to up their audio quality will struggle to find better value than that offered by the Boya Mini wireless mic. For less than half the price of leading models like the DJI Mic Mini you get a reliable twin-mic kit, and while the 16-bit audio is admittedly modest, it's quality is perfectly acceptable for the likes of TikTok and Youtube Reels.

Naturally, for such a low price, there are a few compromises; build quality is so-so, there's no option for a 3.5mm connection (just USB-C or Lightning, which counts out most dedicated cameras), nor is there audio monitoring of any kind, or manual control over levels. This is a simple plug-and-go mic that, much like the Rode Wireless Micro, is designed for smartphones, laptops, or even the DJI Osmo Pocket 3 – basically any USB-C device. And for such users, the Boya Mini's simplicity works a treat.

The mics are super-tiny and weigh just 5g, so they don't tug on clothing. The receiver is also tiny, which means it doesn't get in the way when connected to your phone's charging port. I've found the mics quick to connect and reliable time and again, while the audio quality for vlogging is perfectly acceptable, and certainly much better than a phone's built-in mic. The fact that noise reduction features is a nice bonus too. If you're looking for a no-frills, reliable and cheap wireless mic, the Boya Mini is an easy recommendation.

Boya Mini: price and release date

• Prices start at $45 / £52.99 / AU$83 for kits with charging case
• Available in kits with USB-C and / or Lightning adaptors
• Available now, in black or white finishes

The Boya Mini's list price is $45 / £52.99 / AU$83 at Amazon for the twin mic kit with charging case and USB-C connector. The kit is also available with Lightning connector instead, or in some regions for $59.99 / £69.99 with both connectors; or you can save money by opting for just a single mic and receiver kit. Should you click through to the Boya website, then you get redirected to a discount site where the price is even lower.

The mics feature clip-on foam covers, and all the components fit inside the charging case, while a soft case is also included. For the money, you'll struggle to find a better-value wireless mic.

Boya Mini: specs

Boya Mini: Design

• World's smallest and lightest wireless mic, weighing just 5g
• Components are available in black or white finishes
• Tiny receiver, available in USB-C or Lightning versions

'Mini' is doing a slight disservice to the Boya Mini wireless mic kit – It's billed as the world's tiniest wireless microphone, measuring just 31 x 15 x 16.4mm. And given that it weighs just 5g, it might just be the lightest of its kind too.

Such miniscule proportions are handy in two ways; the mics are discreet, and nor do they tug on clothing. The mics are clip-on only, unlike pricier rivals that feature versatile through-clothing magnetic mounting. That means you need to find an edge in clothing, like a collar or pocket or button hole to attach the mic to.

The clip is metal, so if you source your own magnet you could fix the Boya Mini magnetically through clothing. The only reason I can think of why Boya didn't include magnets in the kit is that the mic and its clip are so small that it wouldn't be possible to securely fix it to clothing that way.

Build quality of the Boya Mini's components is so-so, and over the month or so testing the gear I've been conscious to treat it with care, especially the mic's clip, which is small enough to struggle to gain a secure hold on thicker clothing.

I was using the Rode Wireless Micro alongside the Boya Mini, and there's an obvious gulf in build quality – the pricier Rode model looks and feels the business.

As mentioned, you can buy the Boya Mini as a complete kit which comprises two transmitters (mics), a receiver (you choose which type you need – USB-C, Lightning or both) and a charging case.

The mics utilize clip-on foam covers to dampen audio that, handily, can remain in position on the mics and the components will still fit into the charging case. The Rode Wireless Micro comes with clip-on wind muffs, but these don't fit it in the case so, you'll have to find somewhere else to stow them when not in use. Boya has the practical advantage here.

Like the mics, the receiver is super-tiny. It attaches to your phone, laptop or tablet's charging port, and you'll barely notice it's there while filming. You need the receiver for the mics to work because, unlike the DJI Mic Mini, they don't feature Bluetooth connectivity.

If you're a wireless mic first-timer, you'll be up and running with mic'd audio in no time at all. Once you attach the receiver and select the video option in your camera app, you should get a prompt to select the wired mic option in the settings menu (rather than the phone's built-in mic) – that's my experience using a Pixel 8 Pro. Then you're good to go.

The whole process from unboxing to getting started is as easy as can be, and consistently reliable. It might be cheap, but it's certainly worth it.

Boya Mini: Performance

• Transmission range up to 100m
• 6 hours operating time, with an additional four charges from the charging case
• Three-level noise cancellation, plus a gimmicky Human Voice Enhancement mode

Despite its tiny size, battery life is practically on a par with bulkier, pricier alternatives. You get up to six hours record time per mic, and Boya says the charging case with its 260mAh battery provides additional charges that total 30 hours record time. That's enough juice for several days of moderate vlogging.

Transmission range is rated up to 100m in clear sight. I haven't personally tested the limits of the Boya Mini's transmission range, but I can vouch for the stability of the connection when vlogging. Note, you'll get interference at a much closer proximity than 100m if your device and the mic lose line of site, for example if you turn your back to the camera.

Where the Boya Mini most obviously comes up short as a cheap wireless mic is that audio bit-depth maxes out at 16-bit, and output is mono only. Splash out thrice the cash on a leading alternative, and you'll be getting richer 24-bit audio with the option for stereo output. Oh, and there's no low-cut filter, either, so low frequencies such as the hum of an air conditioner aren't filtered out.

No low-cut filter isn't a big deal, though – the Boya Mini features one-click noise cancellation, activated through the one physical button on the mic. There are three levels of strength, though honestly I didn't notice a huge difference in any of the settings. You'll know when noise cancellation is active because the blue light on the receiver that indicates an active connection turns green.

There's also Boya's version of voice enhancement, which sounds impressive but don't be fooled – it's a gimmick. Think of it as voice distortion – one setting makes your voice deep, one high-pitched, and one normal. It might be a fun feature to play with once or twice for the laughs, but that's the extent of it.

So what do I make of the audio quality of the Boya Mini? I think the maximum possible quality has been squeezed out of its humble hardware.

If you're a casual vlogger, and need clear and crisp vocals across a range of scenarios, you'll get that with the Boya Mini. It lacks the finesse of a 24-bit alternative, but it certainly is a mark-up from your smartphone's mic. In fact, I've been happy enough with the quality that I've mic'd up with the Boya Mini for a few videos that I've shot for TechRadar's TikTok channel.

It's also versatile in that you can use it easily with a camera like the Osmo Pocket 3 (especially given how small the receiver is), with a laptop for work calls, and yes, with your smartphone for shooting Youtube, TikTok and Instagram content.

I'd be remiss not to address the technically-minded, so here are a few of the mics audio specs: it has a 20Hz to 20kHz frequency range, a maximum 120db SPL, and a 80db signal-to-noise ratio. Those are solid specs for such a cheap device.

Should I buy the Boya Mini?

Buy it if…

Don’t buy it if…

Boya Mini: also consider

How I tested the Boya Mini

• I had the complete kit with charging case, plus USB-C and Lightning connectors
• I used it regularly for a variety of vlogs for over a month
• Tested alongside the rival Rode Wireless Micro
• Paired primarily with a Google Pixel 8 Pro

With its automated audio recording plus one-click noise reduction and voice enhancement features, there's not a lot to get your head around, and that's the beauty of simple wireless mics like the Boya Mini.

I had the complete kit with charging case, and found the kit to be completely reliable, with the receiver connecting securely to my Pixel 8 Pro phone. I drained the battery of the mic and recharged it through the charging case to test the battery life.

I tested audio quality in a range of scenarios, both indoors and outdoors, and in quiet and noisy environments. I ran comparison tests with the Rode Wireless Micro.

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

• Hollyland announces new Lark M2S wireless mic to rival DJI and Rode
• The M2S is available in twin mic / receiver kits for around $139 / £130
• It features a discreet logo-free design and weighs just 7g

There's no shortage of wireless mics for content creators in 2025, with the likes of the DJI Mic Mini and the Rode Wireless Micro being two fine examples. So how is it possible to stand out in an increasingly saturated market? By being practically invisible, as it turns out.

The new Hollyland Lark M2S has a feature set to rival the DJI Mic Mini, but with the design that DJI wishes it had: the Lark M2S is not only the smallest wireless mic we've seen yet when clipped to clothing, but it's also logo-free.

A discreet and logo-free mic that weighs a mere 7g and won't tug on clothing is a win in our book – too many wireless mics are all too visible in content that floods social media. You only have to look at the wireless mics we use on TechRadar's TikTok channel to appreciate where we're coming from.

Just because the Lark M2S is tiny, however, that doesn't mean that Hollyland has scrimped on features. You get smartphone-beating 24-bit audio, a single push environmental noise cancellation feature (ENC), a 70dB signal-to-noise ratio (SNR), plus a 116dB maximum Sound Pressure Level (SPL).

Battery life is rated at up to 9 hours of record time for each mic, which can be extended with the charging case to 30 hours, while the maximum transmission range is up to 300m.

Those are solid specs for a wireless mic system that can be purchased as a kit comprising two transmitters (mics), two receivers (a basic one for USB-C smartphones, the other for cameras with a 3.5mm port), plus charging case, for just $139 / £130 – that's a fraction less than the Mic Mini. Oh, and a Lightning cable for older iPhones is chucked in for good measure – see all that's included in the Max combo in the image above.

The best of both DJI and Rode in a single package?

So how does the Hollyland Lark M2S stack up against DJI and Rode rivals? Specs-wise, favorably; it seemingly offers the best of both the DJI Mic Mini and Rode Wireless Micro models in a single package.

You get a small receiver for use with smartphones and a larger one with manual controls for use with cameras. Rode's package only offers the former and only works with smartphones, while DJI's only offers the latter which works with both cameras and phones, but is clunky when attached to a smartphone.

We can't comment on the actual audio quality of the Lark M2S yet, but our in-depth review is in the pipeline so do look out for that. What we can say off the bat is that the Lark M2S design and overall package looks stellar. You can pre-order now using the links above.

You might also like

• DJI Mic Mini review: the tiny wireless mic to beat for smartphone-first content creators
• Boya launches the world's smallest and lightest wireless mic, and it's super cheap
• Sennheiser Profile Wireless review: a well-designed DJI alternative

When it comes to watches, TechRadar is more used to dealing with the smart variety, such as the Apple Watch Series 10 or some of the best Garmin watches. But there are times when our gaze is averted, and this time it’s been caught by the Leica ZM 11 watch.

While Leica is best known for its high-end cameras, its founder Ernst Leitz trained as a watchmaker before he moved to photographic gear, and there’s a throughline of the precise engineering and mechanics needed for watchmaking into camera manufacture. So, Leica popping up and making what’s now its second watch isn’t a huge surprise.

Of course, the idea of a mechanical watch in 2024, when smartphones can tell more accurate time, can be a hard square to circle. But as I’m a newly minted watch nerd, Lecia’s watch was a hard one to resist when it landed on my desk.

However, at $7,325 / $6,125 (around AU$11,700), this is very much a luxury watch up there with the likes of Rolex and Omega; you'll need deep pockets in order to buy it on a whim. That said, after wearing it for a bit, I really didn’t want to part with it.

Leica ZM 11: what is it?

In short, the Leica ZM 11 is a three-hand watch with a date complication, all powered by an automatic mechanical movement, meaning it winds with the wearer’s movement, rather than relying on manual winding or a battery.

It's available in three different models: the Launch Edition, with a titanium case and black-to-red dial; the Midnight Blue, with a blue-to-black-dial and a steel case; and the Coffee Black, with its titanium case and warm black dial – with the option of an integrated bracelet, rubber or fabric straps. I tried the Coffee Black model on a thick textile strap with a titanium buckle.

Sporting a rather simple rounded case and a prominent screw-down crown – which gives the watch a 10 atmospheres / 100 meters of water resistance, meaning you could swim with it – in the style of military-esque field watches, the ZM 11 isn’t hugely flashy until you look deeper into it.

The most-striking feature is the dual-layered 41mm dial that features horizontal slats etched into it; these echo the focus rings on Leica lenses, and when angled play with the light. On the Coffee Black mode they throw off a warm hue, while on the Launch Edition the slats hide red accents that hark to the iconic red of Leica's camera shutter buttons.

Then, hidden from direct view unless you have the eyes of an eagle, is a minute track encircling the edges of the dial and almost curling up the side of the watch, towards the domed sapphire crystal with its anti-reflective coating on both sides. It all looks rather neat, especially the diamond-cut hands and indices (there are no numerals on the dial beyond the date at the three o’clock position), which are pleasingly rounded and filled with luminous paint.

Flip the ZM 11 over and you’ll be greeted by a clear caseback where you can peer at the custom-made movement that powers the watch.

Created in partnership with Chronode, the calibre LA-3001 is accurate from minus 4 seconds to plus 6 seconds a day and has a power reserve of 60 hours when fully wound and away from one’s wrist.

For the watch geeks, the movement sports 35 jewels and has a frequency of 4Hz, which means it has 28,800 beats per hour.

Beyond the moment, there’s an ‘Easy-change System’ which uses red-tipped buttons to quickly release the strap from the watch’s lugs in order for quick changes to a compatible bracket or another strap. Again, it’s a neat nod to the red of Leica’s branding and cameras.

Leica ZM 11: what makes it special?

At a quick glance, the Leica ZM 11 isn’t a particularly striking watch. It has a definite veneer of quality, but it doesn't scream luxury like some premium watches, say a Cartier Tank or Rolex Submariner. Yet, that’s a very good thing, as often less is more.

The special sauce of the Coffee Black ZM 11 is in its low-key quality. While titanium may be common on the Apple Watch Ultra 2, that’s grade 2 titanium; the ZM 111 uses top-quality grade 5 titanium and so feels super light but also very robust.

It’s a watch I can easily wear both to the office and on a walk through the likes of Epping Forest as I hunt for interesting routes to explore and things to capture on camera, all without the fear of damaging the pricey timepiece.

I love how well-engineered the watch feels too, from the tactile click of the buttons on the quick-release strap mechanism, to the crown that’s neither oversized nor hard to grasp when indulging in a bit of manual winding or time setting.

At first I thought the thick textile strap was a little odd, but it’s well-made and comfortable. Plus it looks like it would survive a minor apocalypse… or at least a tough week in the Scottish Highlands.

The ZM 11 is basically swaddled in the practical luxury that one associates with a Germanic brand like Leica, with a key example of that being found in its movement.

A custom mechanical movement for some six grand is actually pretty special, but unlike the in-house movement from the likes of Omega (and I’m speaking as a proud owner of the Omega Seamaster Aqua Terra), there’s no fancy finishing or Geneva striping on the movement; instead, the matt and brushed surfaces of the ZM 11's movement communicate a practical ‘industrial luxe’ style that lets the engineering speak for itself.

Given the size and semi-rugged design of the ZM 11, especially with its chunky fabric strap, I was a little stuck with how to define the watch. While it looks great with a smart-casual outfit, it doesn't have the finely tuned elegance of a dress watch. Nor does it quite feel like a luxury sports watch, given the arguably simple rounded case design.

Then it struck me: this is a photographer's watch. As my colleague and Cameras Editor Timothy Coleman has said before, there’s something about going out into the world and photographing things without a care about emails or Slack messages or social media posting. This is hard when you have a smartwatch constantly tracking you and poised to ping you with alerts.

In contrast, a mechanical watch that just tells the time and the date is an ideal accessory for a bout of photography that you can immerse yourself in without completely losing track of time. And I think that’s what really makes the ZM 11 special.

Lecia ZM 11: is it worth it?

Discussing the value of a watch worth thousands of pounds or dollars is a difficult prospect. A simple super-cheap Casio watch can tell time just as well as, if not better than, the ZM 11 and other much more expensive mechanical watches.

But then compared to similar watches at this price point, the ZM 11 offers an original movement, interesting design, superb quality and high-grade metal that established watchmakers would ask a lot more for.

That being said, at this price you’d need to make a distinct choice to go for the ZM 11 over say an Omega Seamaster or Rolex Oyster Perpetual – two watch models from long-established Swiss watchmakers, and ones which have the scope to retain their value, especially the Rolex.

Then again, if you’re into watches the ZM 11 offers something a bit different to models from big Swiss watchmakers. And that uniqueness is a value in itself.

Equally, you don’t have to spend thousands for a good mechanical watch. For the past little while, I’ve been using the Christopher Ward C65 Dune (pictured below), a £1,000-ish field watch with some great finishing and details, plus a robust automatic movement from Swiss manufacturer Sellita, all encased in bronze that patinas nicely over time. It can't quite compete with the quality of the ZM 11, but it’s certainly not some six times less of a watch.

So if the C65 Dune is anything to go by, then I can thoroughly recommend Christopher Ward watches, of which there’s a sizable range.

I also recently went hands on with the new Glenbeg Blue (see below) from UK watchmaker Marloe, which sports a Swiss-made moment, sapphire crystal, and some rather neat design flairs delivered in partnership with whiskey maker Ardnamurchan Distillery.

If that watch is a mark of Marloe’s watch quality, then I can also recommend checking out the brand’s timepieces, as they come in at well under £1,000 and have designs that embrace being outdoors and on adventures.

Ultimately, I think the Leica ZM 11 is worth it if you’re a keen photographer with an affinity for Leica’s cameras and want a luxury watch that's a bit different.

But if it’s a little too much for you, then don’t be put off, as there’s a whole range of more affordable mechanical watches that can have the history, heritage, engineering and design flairs that make an Apple Watch seem like a dull, soulless wrist-computer. Just be aware that once the watch bug gets you, it can be hard to shake it off.

You might also like

• Unbelievably, I've fallen in love with these sub-$20/£18 wireless earbuds, for two big reasons
• Forget 4K Blu-ray, this pricey media server is the ultimate movie player
• Stretch goals – the 8 best money-no-object hi-fi gadgets we tested in 2024

I recently reviewed the DJI Mic Mini and Rode Wireless Micro – both are superb quality wireless mics for content creation, designed to be ultra simple for capturing better audio with smartphones.

I'd recommend either in general, but if I were to pick one for myself, it would be the teeny tiny DJI Mic Mini, no question. Overall, it's a more versatile bit of kit for smartphones and cameras, with reliable connectivity via its receiver or Bluetooth, and the price difference between the two kits is negligible.

If you shoot with DJI cameras such as the Osmo Pocket 3 or Osmo Action 5 Pro, it's an even easier choice because those cameras feature built-in receivers for streamlined pairing with DJI's mics, including the pricier DJI Mic 2 – our camera accessories product of the year.

What's more, you can buy Mic Mini components individually, meaning you can save yourself a packet just picking up a mic for those DJI cameras, rather than the full kit with receiver.

All that said, more people shoot video just with smartphones, and for those people the simpler Rode Wireless Micro takes the DJI out with a knock-out punch.

The winning one-trick pony

DJI's Mic Mini works for cameras and smartphones, while the Rode Wireless Micro is just for smartphones. I shoot with both so the choice is clear. But for smartphone-only creators, I think Rode's mic makes more sense.

The best method to connect the mics with your phone is through a receiver. That's the only method for Rode's mic, and the receiver slots neatly across the underside of your phone, connected to your USB-C (or Lightning) charging port (see gallery below). It's slim and it's simple too – there are no controls on it or the mics whatsoever.

You plug the receiver into your phone, follow the on-screen prompts (which might include selecting the wired mic option in favor of your phone's built-in mic in the camera app menu) and you're up and running in seconds. Everything is automated.

The Mic Mini's receiver is bulkier. Every time I used it with a phone, I was concerned I would snap it off – it sticks out, it's a little awkward, and a better fit with cameras, like into the hotshoe / coldshoe port. DJI's offering has another trick up its sleeve though that bypasses the receiver.

You can also connect the DJI Mic Mini to your phone using Bluetooth, meaning no receiver whatsoever. However, I wouldn't trust a Bluetooth connection for video recording in the same way that I would a purpose-made receiver, and audio quality drops from 24-bit depth to 16-bit depth when using Bluetooth instead of the receiver.

Bluetooth connectivity is fine at a pinch and still beats the audio quality of your phone's built-in mics, even when you're armed with voice enhanced audio, like you get with the latest Google Pixel handsets.

The Mic Mini also has a few manual controls to play with. There's a one-push noise reduction mode, plus ±12db audio level control on the receiver. These are great tools to have, but for phone users I think Rode's simpler approach – an automated 'Intelligent GainAssist technology' – again makes more sense.

And so while the DJI Mic Mini outstrips the Rode Wireless Micro in most ways, it's the Rode mic's outright simplicity that wins through for smartphone creators. I just hope Rode makes the Wireless Micro components available individually in the future – some of us could save a few pennies that way, especially if replacement parts are needed.

You might also like...

• The best cameras for vlogging: top choices for every budget
• Boya launches the world's smallest and lightest wireless mic, and it's super cheap

• Boya claims its debut wireless mic is the world's 'smallest and lightest'
• It's looking to take on DJI and Rode with a more affordable rival
• The Boya Mini Mic kit looks ideal for beginning vloggers

The market is becoming saturated with wireless mics for content creators, so to hold the 'smallest and lightest' title is no mean feat. Enter the Boya Mini, which can claim exactly that – a new featherweight 5g, thumb-sized wireless mic for smartphones.

Moreover, the Boya Mini mic kit is super cheap at just $44.99 at Amazon in the US or £50.90 at Amazon in the UK, and is available now following its November 25 unveiling. For the money you get two mics, otherwise known as transmitters, a receiver (which is available in USB-C and Lightning versions), all of which are stowed in a charging case.

If the mic is smaller and cheaper than rivals, surely there's no competition, right? Not quite – the Boya Mini is a stripped-back mic whose specs and features cannot compare to pricier models such as the Rode Wireless Micro and the DJI Mac Mini.

Still, the Boya Mini should get you smartphone-beating audio, equipped with environmental noise canceling, and it looks ideal for beginning vloggers. Let's quickly run through the Boya Mini's features and see if it's right for you.

The ideal starter mic for smartphone content creators?

The Boya Mini is designed specifically for smartphones – you simply plug the receiver into your smartphone's USB-C / Lightning port, and it'll sync to the mics (transmitters). If you use a dedicated vlogging camera, the Mini isn't for you, although Boya says a camera-compatible version is in the pipeline.

The Mini mics are properly tiny and clip onto clothing, although they lack the magnetic through-clothing attachment of pricier alternatives. You can get the kit in black or white versions, while Boya also has a few accessories for the Mini mic, like a necklace for when you're struggling to find a place to clip the mic. Additionally, there is a butterfly pendant to hide it, although that might bring more attention than simply having the mic in a shot.

Audio quality is at the starter end, with a 16-bit depth and 48 kHz sample rate – for context, the aforementioned Rode and DJI rivals have richer 24-bit audio with a 96 kHz sample rate.

You do, however, get a one-push noise reduction control for Boya's AI-driven Environmental Noise Cancellation, which filters out background sounds to enhance vocal clarity in various environments. There are also three voice modulation modes to customize sound for different recording styles, such as live streams, vlogs, and interviews.

Bang for buck, the Boya Mini looks like a highly promising wireless mic kit at just $44.99 / £50.90. We are getting hands-on with it soon and will report how it compares to pricier alternatives.

You might also like

• The best cameras for vlogging 2024: top choices for every budget
• Rode Wireless Micro review: DJI-beating audio for smartphone creators?
• DJI Mic Mini review: the tiny wireless mic to beat for smartphone-first content creators
• Saramonic’s new wireless mic kit is a low-cost Rode and DJI alternative with advanced features

Rode Wireless Micro: one-minute review

Rode's Wireless Micro is its smallest-ever wireless mic system, designed squarely for smartphone content creators, especially vloggers. It's the audio giant's simplest wireless mic yet: you can be up and running within seconds and recording smartphone-beating audio quality, all the while being cable-free and discreet.

It's a complete kit that includes two mics (also called transmitters) with magnetic attachments, plus one receiver, all of which are stored in a charging case – these components are available in black or white finishes. Additionally, you get two windshields plus a charging cable, though neither of those fit in the case.

Collectively, the mics, receiver and charging case are a featherweight 3.6oz / 102g, with each mic weighing just 0.42oz / 12g and measuring 40 x 20 x 17mm. It's a properly tiny kit, and even though the mic units are physically larger than the rival DJI Mic Mini's, the whole kit is much smaller, and purpose-built for smartphones.

If you're looking for a compact, dedicated wireless mic that'll deliver excellent audio for your smartphone vlogs, the Rode Wireless Micro is hard to beat.

Rode Wireless Micro: price and release date

• $149 / £134 / AU$259 for the compete kit with 2x mics, receiver and charging case
• Receiver available in USB-C and Lightning versions
• Available now, in black or white finishes

The Rode Wireless Micro's list price is $149 / £134 / AU$259, and for that you get a compact charging case with two transmitters (mics, with magnetic attachments), plus one receiver, all in black or white. Also in the box are two wind shields and the necessary charging cable. You'll need to select which version of the receiver you need, USB-C or Lightning, because the connector is built-in.

Unlike the rival DJI Mic Mini, the components are not available separately, and I think Rode is missing a trick here, because not every user needs two mics. However, probably nine out of 10 users will want the complete kit, and for those the Rode Wireless Micro is excellent value.

Rode Wireless Micro: specs

Rode Wireless Micro: Design

• The whole kit weighs just 102g and fits in a tiny charging case
• Components are available in black or white finishes
• Receiver has a USB-C or Lightning adapter built in

Rode has designed the Wireless Micro to be the most straightforward user experience possible for smartphone content creators, and it's done an excellent job of it – you couldn't hope for an easier-to-use and more reliable wireless mic.

The mics and receiver are automatically paired by virtue of living in the same charging hub. You simply plug the receiver into your phone and then follow the message that flashes up on your phone's screen.

If you have Rode's free app installed (available for iOS and Android) you'll be taken to the app, where you can pair the mics and receiver, and choose to how route the receiver input: split for left and right channels, or merge audio into one channel. You can also update the mic's firmware through the app and check sound levels.

For me, using a Google Pixel 6, I needed to select the wired mic option in my phone's video menu in the camera app (it otherwise automatically selects the phone's built-in mic). But once those options are all sorted, setup is complete and away you go.

You can be up and running in seconds after plugging the receiver into your smartphone's charging port, and armed with a wireless mic system that takes care of all the audio levels for you – Rode says its Intelligent GainAssist technology gets "perfect audio every time".

The mics can clip onto clothing, or attach magnetically with a strong hold through thin clothing, and they're available in black or white, so you can choose the finish that's likely to blend in with your clothing better.

The connection type is built in to the receiver, so you need to select the USB-C or Lightning version at the time or purchase, and there's full compatibility with both Android and iPhone models. The DJI Mic Mini, on the other hand, has a slot to fix the USB-C or Lightning connector into place, so you only need one receiver even if you use both connection types (though the Lightning adapter is a separate purchase).

The DJI Mic Mini also features Bluetooth connectivity, and you can therefore bypass the receiver altogether for 16-bit audio (although a receiver provides a stabler connection and, in the Mic Mini's case, 24-bit audio), whereas the Wireless Micro relies on its receiver.

Wind shields are built into the mics as part of Rode's patent-pending acoustic chamber design, plus there are additional furry windshields in the box that clip around the receiver for clearer outdoor recording on breezy days, although these additional windshields won't fit into the charging case.

Rode Wireless Micro: Performance

• Transmission range is over 100m
• 7 hours operating time, charging case can provide another two charges
• No noise reduction, but Intelligent Gain Assist gets you clear vocals

My experience with the Rode Wireless Micro has been as headache-free as I could hope for. Once I had the Rode app installed (though you don't have to use the app to use the mic), I was up and running and capturing high-quality 24-bit audio with my Google Pixel 6 phone in a matter of seconds.

Rode says the Wireless Micro's transmission range is over 100m, which is harder than you might think to fully test in the real world; how often – and indeed, why – would you need to record audio onto a phone camera from over 100m away?

The upshot is that for vlogging, the Wireless Micro provides a stable and reliable connection, with an operating time for each mic being around seven hours.

That operating time can be extended through the charging case, which features a 490mAh battery and can charge a transmitter an additional two times, effectively delivering an overall operating time of 21 hours. In short, with a charged case you'll have enough juice for a weekend of vlogging.

If you want to know a few of the technicals, the Wireless Micro features 24-bit audio, a 20Hz to 20kHz frequency range, a maximum 135db SPL, a 73db signal-to-noise ratio and an A-Weighted equivalent noise of 21dBA. For reference, those specs are roughly similar to those of the Rode Wireless ME, a pricier wireless mic that also works with cameras.

Rode's 'Intelligent GainAssist' tech automatically controls audio levels for well-balanced sound, enhancing vocals, and freeing you to focus on creating. You miss out on noise reduction, but unless you're in particularly loud environments it's not a problem – I've been able to get clear recordings of my voice in a noisy soccer stadium, even if the animated crowd added to the video's feel.

I've recorded vlogs in a range of scenarios; indoors, outdoors, and in noisy environments, and I've been very happy with how crisp my voice sounds. Put simply, if you want better audio without the fuss, this Rode mic is sure to delight.

Should I buy the Rode Wireless Micro?

Buy it if…

Don’t buy it if…

Rode Wireless Micro: also consider

How I tested the Rode Wireless Micro

• Used regularly for over a month in quiet and noisy environments
• Tested alongside the rival DJI Mic Mini
• Paired primarily with a Google Pixel 6

There aren't a lot of ways in which you can test the Rode Wireless Micro: it handles audio levels, clipping and vocal enhancement automatically, and that's it appeal for most users. The mics and transmitter are auto-synced through the charging case, you plug the receiver into your phone, and away you go.

I did however make sure to test the audio quality of the Wireless Micro in mixed environments – the quiet indoors, the still outdoors, in wind, and in noisy environments. I was also reviewing the DJI Mic Mini at the same time, and so was able to run comparison tests to see which came out on top.

Almost all tests were done by pairing the Wireless Micro to my Google Pixel 6.

• First reviewed: December 2024
• Read more about how we test

DJI Mic Mini: one-minute review

You're hardly short of options if you're looking for a new wireless mic. My recent favorite is the DJI Mic 2, which is one of the best wireless mics on the market, boasting pro-quality features such as 32-bit float audio. However, for many content creators, especially those who shoot mostly with a smartphone, the Mic 2 is overkill. That's where the Bluetooth-equipped DJI Mic Mini steps in: it's a smaller, simpler and cheaper alternative, with the same DJI reliability that I've come to appreciate over years of using its devices.

The Mic Mini is positively tiny, weighing just 0.35oz / 10g (without magnet), and it pairs easily with smartphones and cameras for better quality audio on the fly. Oh, and it's half the price of the Mic 2.

Its natural rival is the recently announced Rode Wireless Micro; however Rode's new wireless mic is only for smartphones, whereas the Mic Mini can be used with cameras too, via its 3.5mm jack, which means it's more versatile. It's not a sweeping victory for the Mic Mini, though – if you're only going to shoot with a smartphone, the Rode Wireless Micro might be the better pick because its receiver is tiny and sits flush along the underside of your phone, whereas the Mic Mini's receiver sticks out awkwardly.

Audiophiles will probably prefer the Mic 2 over the Mic Mini too, not just for its pro audio quality with forgiving 32-bit float capability, but because the transmitters feature built-in storage and can be used independently, while you can monitor levels on the receiver's LCD touch display for peace of mind.

Having used all three of the above mics extensively, I would personally go for the Mic Mini. The audio quality from all three is fantastic, but for outright ease of use, value, reliability, and versatility for phones and cameras, it's the one that ticks all the boxes. DJI has created another trustworthy wireless mic; and trust me, reliability is an unsung attribute. I've ditched many other wireless mics for letting me down at crucial moments, leaving me without proper audio. I would have no such concerns with the Mic Mini, and it earns my five-star seal of approval.

DJI Mic Mini: price and release date

• $169 / £145 / AU$245 for the compete kit with 2x mics, receiver and charging case
• Components available individually
• Available now

DJI sells the Mic Mini components individually but also as a complete kit, whereas the Rode Wireless Micro is a complete kit only, and you need to select the USB-C or Lightning receiver version.

The Mic Mini transmitters (mics) are available in Infinity Black or Arctic White. One transmitter costs $59 / £49 / AU$69, a transmitter with receiver costs $89 / £79 / $AU125, while the complete kit, which includes two transmitters, a receiver and a charging case, costs $169 / £145 / AU$245. The complete kit is probably your best bet if you're starting from scratch.

The receiver is attached to a phone using a USB-C connector, but if you're using an iPhone with Lightning port you'll need to purchase the adapter separately for $19 / £19 / AU$39. When connecting to a camera, you use a 3.5mm jack instead.

The list price for the kit is similar to that of the Rode Wireless Micro, despite the Mic Mini's greater versatility – it's roughly $15 / £10 / AU$20 more than Rode's offering – while it's around half the price of DJI's Mic 2. I think it's excellent value.

DJI Mic Mini: specs

DJI Mic Mini: Design

• Tiny, discreet and available in black or white
• Easy clip or magnetic attachment
• Receiver with manual audio levels gain, but no monitoring

The neat thing about DJI's Mic Mini is that there are several ways you can connect to your phone or camera, and several ways to buy; individual components, a mic and receiver kit, or the complete kit which contains two mics (with magnets), one receiver, a charging case, plus wind muffs for the mics.

I had the complete kit for this review with USB-C connector, though technically you only need a single mic to get going with the Mic Mini because it can connect to your phone via Bluetooth. For manual control of audio levels, plus the added stability and richer audio quality, I prefer connecting a phone to the mic through the Mic Mini receiver, rather than relying on Bluetooth.

The mics, also called transmitters, are tiny and easily droppable, but they attach easily to clothing using the built-in clip, or the magnetic mount, one half of which fixes to the back of the clip, with the other half going inside your jacket or similar – DJI knows how to make a powerful magnet with a reliable hold. If you want a discreet mic in your shots, you'll struggle to find a smaller alternative, plus you can buy the mics in black or white to blend in with clothing.

When using a camera, you can slot the receiver into the camera's hotshoe / coldshoe and then connect it using a 3.5mm jack (the cable is provided). The receiver is a good fit for cameras, but it is a little awkward with a phone when attached via the phone's USB-C / Lightning port, because it sticks out a lot and the connection feels a little loose (see image below).

The receiver is a simpler offering compared to the one you get with the Mic 2. It features a power button, pairing button, 3.5mm jack and a ±12db audio level dial. That's it. The Mic 2 receiver features a basic LCD touch display through which you can monitor audio levels for both mics and make more advanced audio adjustments. The bulkier Mic 2 transmitters also feature built-in storage, and can be used independently of your camera of choice, or used as a backup device.

DJI Mic Mini: Performance

• Two-level noise reduction, and Automatic Limiting to prevent audio clipping
• 11.5 hours battery life (transmitter), 10.5 hours battery life (receiver)
• Omnidirectional audio and up to 400m range

Where DJI's wireless mics differ here is that the pricier Mic 2 features 32-bit float audio that can more effectively avoid clipping when your audio suddenly gets loud, and internal storage for direct recording so that you can use it independently of a camera or as a backup, while its receiver features a display to let you monitor audio levels.

The Mic Mini is a much simpler device, with its receiver offering basic manual ±12db audio level control, but otherwise it's really for those who want the mic to capture excellent quality audio with minimal fuss.

I used the Mic Mini complete kit over several weeks and found it to be completely reliable and glitch-free, whatever phone or camera I paired it with. It's transmission range is rated up to 400m (with clear line of sight), which is plenty enough for any conceivable scenario – I've never been even close to that distance from my camera when recording audio wirelessly.

As for audio quality, I've recorded clips using a Bluetooth connection and the receiver in the quiet indoors, outside in the wind, and in noisy environments, and in general the Mic Mini captures clear audio in any of those scenarios. Vocals aren't quite as rich as with the Mic 2, but for 99% of people the difference won't be noticeable. You should also note that audio drops from 24-bit to 16-bit if you connect via Bluetooth, so there's not quite the same richness in vocal quality.

Having such relatively limited control over audio settings was a little disconcerting at first, especially compared to using the Mic 2, but the real plus to the Mic Mini is its sheer simplicity – you can rely on its connectivity and two-level noise reduction to do the job, including the one-touch denoise control when in particularly loud environments.

What I didn't do for this test was pair the Mic Mini kit with a DJI camera, such as the DJI Osmo Pocket 3 – a top-rated vlogging camera – or the Osmo Action 5 Pro. Doing so affords additional benefits courtesy of the DJI ecosystem – for one, the cameras have a built-in receiver, so you only need a transmitter from the Mic Mini kit. I've previously paired the Mic 2 with the Osmo Pocket 3 and found the experience completely seamless, so if you're using a DJI camera it makes sense to opt for a DJI mic over rivals.

Should I buy the DJI Mic Mini?

Buy it if…

Don’t buy it if…

DJI Mic Mini: also consider

How I tested the DJI Mic Mini

• Used for several months
• Paired with cameras and smartphones
• Used Bluetooth and receiver connection methods

I've been using the DJI Mic Mini on and off for months, both with mirrorless cameras like the Panasonic Lumix GH5 and smartphones such as the Google Pixel 6. I've paired the Mic Mini to a phone using Bluetooth and via the receiver attached to my phone. I haven't used the Mic Mini with DJI cameras such as the Osmo Pocket 3 and Osmo Action 5 Pro (though I have used the Mic 2 with them), for which the compatibility is even easier given they both feature a built-in receiver.

I've made sure to test the mic in a range of environments: the quiet of indoors, in still outdoor conditions and in wind, and in noisy places too, with and without denoise applied. I've also been able to compare it directly to the Rode Wireless Micro which I was testing at the same time.

• First reviewed: December 2024
• Read more about how we test

• Leaked pictures show Insta360 Flow 2 Pro packaging
• The Flow Pro was only launched a few months ago
• This would be Insta360's next iPhone gimbal

Our Insta360 Flow Pro review is barely three months old, but Insta360 already looks set to launch a successor, the Flow 2 Pro. Well, that's if leaked pictures shared by @Quadro_News on X (formerly Twitter) are anything to go by.

In the leaked pictures (see below), we see what appears to be the Insta360 Flow 2 Pro packaging, with all four sides of the box showing the key features of the gimbal and action camera specialist's upcoming phone gimbal.

Like the Flow Pro, it looks like the Insta360 Flow 2 Pro is billed as an 'AI Tracking Stabilizer', with AI-powered tracking capabilities. It is also a foldable gimbal with built-in tripod, selfie stick, magnetic clamp and one-step rapid deploy.

It also appears to be armed with three-axis stabilization, infinite 360-degree pan tracking, Apple Dockkit tracking, and 10-hour battery life. Going from the packaging alone, which is all we have to go on, it looks like little has changed, but this is Insta360 we're talking about.

So what exactly is new?

We already rate the Insta Flow Pro as the best phone gimbal for iPhone, thanks to its world's first Apple subject-tracking tech. However, that gimbal was only launched a few months ago, so what could a second iteration bring to the table, coming so soon?

All we have to go by is the Flow 2 Pro packaging pictures which highlights key specs and features, all of which appear to practically be the same as before. So what's new? Seemingly not much. That said, Insta360's gimbal and action camera departments are moving faster than most, and so there could still be exciting developments in its latest gimbal, if these pictures are indeed authentic.

One feature of note is an AI Module Editing Suite, which could offer next-level video editing based on your tracked subjects – but we simply don't know about this yet. If indeed a new Flow 2 Pro is boxed and ready to go, we won't have long to find out.

You might also like

• The best phone gimbals 2024: the best mobile stabilizers from DJI, Zhiyun and more
• Insta360 Flow Pro review: the dream iPhone gimbal
• Calling content creators – Amazon just slashed the price of DJI’s best-ever phone gimbal

DJI has unveiled its tiniest wireless mic, the Mic Mini, which weighs just 0.35oz / 10g and pairs easily with smartphones and cameras for better quality audio on-the-fly.

Rivaling the recently announced Rode Wireless Micro, which is just for smartphones, DJI has taken a different approach in creating a Bluetooth mic that'll work with cameras too, even if its receiver is chunkier (see the picture below showing it attached to a smartphone).

The mics, also known as transmitters, attach easily using a clip or magnetic mount, and are like a shrunk-down version of DJI's Mic 2, which we crowned the best camera accessory in the TechRadar Choice Awards 2024.

DJI sells the components individually and also as kits, with the transmitters (mics) available in Infinity Black or Arctic White. One transmitter costs $59 / £49 / AU$69, a transmitter with receiver costs $89 / £79 / $AU125, and a kit which includes two transmitters, a receiver and a charging case, costs $169 / £145 / AU$245. The complete kit is probably your best bet if you're starting from scratch.

The receiver includes a USB-C connector, but if you're using an iPhone with Lightning port you'll need to purchase the adapter separately ($19 / £19 / AU$39). The list price for the kit is similar to the Rode Wireless Micro despite the Mic Mini's greater versatility, while it's around half the price of DJI's Mic 2.

DJI Mic Mini vs DJI Mic 2: which is right for you?

Both the Mic Mini and Mic 2 work with smartphones and cameras. They connect to your phone via Bluetooth, or to a phone or camera via a wireless receiver which connects directly through USB-C.

Where DJI's wireless mics differ is that the pricier Mic 2 features 32-bit float audio that can more ably avoid clipping when your audio suddenly gets loud, and internal storage for direct recording so you can use it independently of a camera or as a backup, while its receiver features a display to monitor audio levels.

The Mic Mini is a much simpler device, with its receiver offering ±12db audio level control, but otherwise it's a simple experience and, crucially, a reliable mic system. We've already been testing the Mic Mini for several weeks, and we'll publish our review very soon. Spoiler alert: DJI has knocked it out of the park again with a slick, glitch-free, and well-built mic.

So which model is best for you? I'd recommend the Mic Mini to those who need a simple experience and mostly use their phone for creating content. It's half the price, and twice as simple to use.

The Mic 2 on the other hand offers seriously powerful audio features, and would hands-down be the better option for serious creators who care about audio quality. Both are excellent options for use with the best mirrorless cameras, and will make a perfect pairing with the DJI Osmo Pocket 3, a top-rated vlogging camera.

It's a tougher call between the Rode Wireless Micro and Mic Mini. If you're only creating video with a smartphone, then Rode's offering makes more sense, because its receiver is much smaller and fits snuggly into your USB-C charging port, whereas the Mic Mini's receiver sticks out and can get in the way. However, you don't have the option to use the Rode Wireless Micro with a camera should you ever step up.

You might also like

• DJI Mic 2 review: simply smart first-rate audio
• Rode’s new Wireless Micro is its smallest wireless mic kit yet, made just for smartphones
• Calling all content creators - Shure has unveiled the world’s smallest dual-channel clip-on microphone

• iMicro Q3p is a fingertip-sized microscope lens
• Attaches to your smartphone camera for 1200x magnification
• It's now available to back on Kickstarter for as little as CA$55

Fitting a microscope in your pocket is generally a bit of a challenge, unless that microscope is the iMicro Q3p. The latest in a six-year line of fingertip microscopes funded on Kickstarter, the Q3p is a tiny lens that attaches to your smartphone’s camera, putting pro-grade magnification in your pocket.

Like the iMicro Q3 announced late last year, the Q3p is powerful enough to view objects at a sub-micron level – or less than one micron. For reference, the average human hair measures 70 microns, while a red blood cell measures eight. That makes the Q3p an incredibly powerful optical tool.

By combining optical magnification with the digital magnification of your smartphone’s display, it’s also capable of rendering objects at up to 1200x their actual size. That’s significantly more than you can achieve with one of the best macro lenses, or with the 40x microscopic sensor on the Realme GT 2 Pro.

What the Q3p crucially gains this time is a polarizer. As with the Q2p before it, this enhances the contrast and color of images viewed through it. It’s particularly effective when it comes to viewing the structures of crystals and minerals. Because these materials are birefringent, their visual properties depend on the direction that light travels across them. The polarizer lets you adjust for this.

By adding a low-profile polarizer to the most powerful iMicro to date, the Q3p becomes an even more versatile piece of imaging kit. Remarkably, it measures just half an inch, weighs less than 0.5g and costs just CA$55 (around $39 / £31) to back on Kickstarter. That makes it orders of magnitude more portable and less expensive than a professional desktop microscope.

Look closer

The applications for a fingertip microscope are many and various. From science classes to industrial settings, the ability to view and measure high-resolution polarized images at 1200x magnification has educational, research and commercial potential. The ability to do so with minimal expenditure – and using the smartphone that’s already in your pocket – democratizes that potential.

Like the original iMicro that launched back in 2018, the Q3p sticks to your smartphone using thousands of nano-sized suction cups, which act like a gecko’s foot. This means it can attach any of the best camera phones, regardless of make or model, without the need for additional mounts or casings. It can also be removed and reused, without leaving any residue, allowing multiple users to share the same Q3p lens.

Also available with the Q3p is a focusing stand. Created based on the feedback of previous backers, the stand offers more granular control when focusing on objects at high levels of magnification. It’s cleverly stored together with the Q3p in a tidy, card-sized package, making it properly portable and genuinely useful.

So, too, is the inclusion of a stage micrometer in the kit, which allows users to take accurate scale measurements of magnified objects when calibrated with the i-Seeing app. While it might not replace the desktop microscopes found in professional laboratories, with their high-end optics and precision controls, the Q3p unlocks similar performance at a much lower price point, with a form factor that’s a lot more convenient.

You might also like...

• Realme GT 2 Pro microscope photos show how far camera phones have come
• The best camera phone for mobile photography
• Best macro lenses

• Rode's smallest and lightest-ever mic at just 0.42oz / 12g
• Available in black or white versions and for USB-C or Lightning connection
• Automatically controls audio levels for well-balanced sound

Rode has unveiled its smallest-ever wireless mic system, the Wireless Micro. Designed for smartphone content creation, the Wireless Micro is the audio giant's simplest wireless mic yet, offering next-level audio quality while being cable-free and discreet.

The dual-mic kit includes two mics (otherwise known as transmitters) and one receiver, all of which are stored in a charging case. The entire kit, including the case, weighs just 3.6oz / 102g, with each mic weighing just 0.42oz / 12g and measuring 40 x 20 x 17mm. That's properly tiny.

To get started, you simply plug the (also tiny) receiver into your smartphone's charging port, and it'll sync to the mic(s). Depending on your smartphone, you might first have to manually select the external mic option in your phone camera's video menu (rather than the phone's built-in mic), as was the case for me when using a Pixel phone. Otherwise, that's it – you're up and running in seconds, equipped with Rode's Intelligent GainAssist technology for "perfect audio every time".

The mics can clip onto clothing or attach magnetically, and they're available in black or white. There are USB-C and Lightning versions of the Wireless Micro for full compatibility with both Android and all iPhone models.

Wind shields are built in as part of Rode's patent-pending acoustic chamber design, plus there are additional furry windshields in the box that clip around the receiver for clearer outdoor recording on breezy days, although these additional windshields won't fit into the charging case.

The Wireless Micro's list price is $149. We'll update this article with UK and Australia pricing, as well as an on-sale date, as soon as we get this information from Rode.

The smart choice for smartphone content creators

We've had some hands-on time with the Rode Wireless Micro, and will share our thoughts soon in a full review. What we can say at this stage is that the Wireless Micro is a breeze to use – you can be up and running, and capturing high-quality audio for your smartphone videos in seconds.

The Wireless Micro boasts a transmission range in excess of 100m, and during testing we were able to connect reliably to an Android phone. The operating time for each mic is a generous seven hours, plus you can recharge the mic's battery through the charging case, which features a 490mAh battery, effectively extending the overall operating time to 21 hours. Impressive stuff.

You can record video with the Rode Wireless Micro audio through your phone's camera app, plus it works with the free Rode Capture video recording app, which adds features such as sound-level monitoring. There are pros and cons to working with either of those options, so it's good to have the choice between the two.

A note for audiophiles: the Wireless Micro has a 20Hz to 20kHz frequency range, a maximum 135db SPL, a 73db signal-to-noise ratio and an A-Weighted equivalent noise of 21dBA. Those specs are roughly similar to those of the Rode Wireless ME, a wireless mic that also works with cameras.

Intelligent GainAssist automatically controls audio levels for well-balanced sound, freeing the user to focus on creating. While we'll need to fully assess audio quality in our review, the Wireless Micro looks like a great addition to Rode's range of wireless mics. I can see this being one of Rode's most popular products to date.

You might also like

• DJI Mic 2 review: simply smart first-rate audio
• Saramonic’s new wireless mic kit is a low-cost Rode and DJI alternative with advanced features
• Calling all content creators - Shure has unveiled the world’s smallest dual-channel clip-on microphone
• Rode Wireless Go II review

Peak Design Outdoor Backpack 25L: two-minute review

Peak Design's Outdoor Backpack range is the latest series of bags from the US-based camera accessory maker. It's available in three colors and in 25L and 45L versions, and is due to hit the market on November 21 2024 after a successful crowdfunding campaign, with retailers already taking preorders.

I was among the first group of reviewers to receive a review sample, and I've been using the Peak Design Outdoor Backpack 25L, in white, as my primary bag for the last three months ahead of its launch. I've found it to be a highly versatile bag that has rewarded the time I've invested to customize it for my needs.

I'm a photographer, commuter and serial outdoors adventurer, and Peak Design's Outdoor Backpack and has proven itself to be apt companion for all these scenarios, becoming my first-choice bag these last couple of months. It's not a dedicated camera bag per se, but it'll do the trick for a little bit of camera gear, with the right Peak Design accessories.

Peak Design Outdoor Backpack 25L: price and availability

• Two sizes: 25L and 45L
• Three colors: white, black or dark red
• Preorders now, global launch due late November

The Peak Design Outdoor Backpack is available in two sizes: 25L and 4L, and in three colors; Cloud (white) Eclipse (dark red) or Black – the white 25L version is pictured throughout this review. The 25L version costs $249.99 / £249.99 and the 45L version is $329.99 / £329.99. The bag is due to go on sale globally in late November.

Peak Design Outdoor Backpack 25L: specs

Peak Design Outdoor Backpack 25L: design

• Daisy-chain loops to fasten cords to
• Weather-resistant exterior but not waterproof
• Accessories include raincover, hip belt and more

For commuting, I usually pack a 17-inch MacBook Pro laptop, mirrorless camera with lens, a spare change of clothes, as I often run to work, plus a few accessories (in a Peak Design Camera Cube), all of which fit snugly into the 25L version of the Peak Design Outdoor Backpack. I slip a water bottle and a travel tripod into the elasticated side pockets and I'm good to go.

There's no dedicated place to store camera gear – the Outdoor Backpack's main compartment is single open space, without the padded dividers you typically get in a dedicated camera bag. If you want to pack you camera and accessories you can pick up one of Peak Design's Camera Cubes, which will slot in nicely to securely hold that pricey gear. You just need to ensure that it's the right-size cube for the size of bag – there's guidance on Peak Design's website, plus new soft-shell Packing Cubes. A decent alternative to a Peak Design Cube is a gear wrap like 3 Legged Thing's Wrapz.

For daily use over months, the Outdoor BackPack 25L has proven itself durable, comfortable, and versatile. Its shoulder straps are well padded, and are fastened to the bag through a loop rather than being stitched on. This excellent design touch removes the stitching stress point (lesser-quality straps can become un-stitched) and should ensure that the straps last for many years of heavy use.

Both of the straps also feature an elasticated pocket that will comfortably fit a large phone – my Pixel handset slotted in comfortably and securely.

Elsewhere on the outside are the aforementioned elasticated side pockets, and what I've seen Peak Design call a 'daisy chain' of loops along most of the bag's seams that you can feed cords through, several of which there are included, to secure larger items such as a travel tripod. The ways to customize the Outdoor Backpack based on what you're carrying feel endless, even if some are a little fiddly.

I have regularly used the bag for short runs (around 6km) from a train station to my workplace, and even with a full load it sits comfortably on my shoulders, especially with the optional hip belt in place for additional lumbar support. However, on my runs, and on hikes in hot weather, I found that got more sweaty than I'd like to; it would be great to have better breathability on the back.

I also found the two zips to the main compartment, when closed together at the top of the bag, came loose during running and on a couple of occasions I had to rescue the contents as they spilled out. Closing the zips towards the bottom of the bag on once side instead avoided this issue.

There are two ways to access the main compartment: the zips, which open the entire back, or the soft roll-top magnetic-clasped opening. For the former, you lie the bag down on its front to open it up and access the entire contents, while using the latter you can keep everything inside and rummage through the contents via the top opening.

The roll-top pocket is fitted securely inside the bag's weatherproof exterior with a cord, which is released for access via a neat pull-tab. To pack the top away, you pull at the cord to close down the opening (see gallery below). It's a very clever bit of design, and reassuringly robust, locking the cord securely with whatever tension you like. I regularly crammed a sweater or light rain jacket outside the main compartment but inside that adjustable weatherproof exterior, securing it in place with the cord. It's just a shame that there's no obvious place to put that cord when the top is closed off, as it simply dangles and is at risk of snagging.

There are no interior pockets in the main compartment, just a laptop sleeve. Peak Design says the 25L bag can hold a 16-inch laptop, but I found the stretchy sleeve snuggly held my 17-inch MacBook Pro.

There are no dedicated padded dividers, which I understand helps to keep the bag light and customizable. However, even with one of Peak Design's (add-on) Camera Cubes in place to secure gear in its padded dividers, access to gear is slower than I'd like.

Speaking as a photographer, I would love quicker access to gear, say through a side-access zipped opening. A few design tweaks like these could realize the Outdoor Backpack as the perfect versatile camera bag.

With a fully loaded bag and a Camera Cube positioned inside at the top, it doesn't take too long to access your gear, but you will have to take the bag off your shoulders.

I wouldn't describe this as a dedicated camera bag, nor would I specifically call it an outdoors bag; but it does a decent job of both, even if there are better alternatives out there that are focused on one or the other. As an all-in-one option, the Peak Design Outdoor Backpack has served my daily needs, photography and otherwise, better than any bag I've used for quite some time.

Should I buy the Peak Design Outdoor Backpack 25L?

Buy it if...

Don't buy it if...

How I tested the Peak Design Outdoor Backpack 25L

• Two months of daily use
• Commuting, outdoor hikes and photography walks
• Paired with Peak Design Camera Cubes

I used the Peak Design Outdoor Backpack 25L as my primary bag for a few months ahead of its official launch and writing this review. It has been on my shoulders for commuting, running and hiking. I've paired it with Peak Design's Camera Cubes to improve the overall handling of the bag for securely storing camera gear.

First reviewed November 2024

What do people like me who review camera gear for a living hoard? Camera bags. Designed to offer supreme protection and easy access to your gear, camera bags are a big camera accessory business, and they sure do stack up.

However, just because you’re carrying camera gear, that doesn’t necessarily mean you want a dedicated camera bag for it all the time. I’ll level with you – sometimes I just want to use my own regular bag rather than one dedicated for cameras.

My logic depends on the situation. Sometimes I don’t need to pack a lot of gear for when I’m going on a family day out or commuting, in which case a bag that's full of internal padded dividers is overkill.

Sometimes I just want a camera with a lens, and it’s at such times I’ll usually toss the gear into a regular bag, maybe wrap it in an item of clothing. It’s not ideal, but it’s the length I’d go to to have a camera on me on a regular day, just in case.

Dedicated camera bags have further issues: they can be super pricey and, in many cases, ugly and obvious to would-be thieves.

More recently I’ve come across decent alternatives to the traditional camera bag, such as 3 Legged Thing’s Wrapz, which do a much better job protecting gear than a sweater I’ll tell you, and they don’t take up much additional space in your bag. Then there’s the subject of this article, Peak Design’s Camera Cube V2's.

A versatile choice for securing your camera gear

Peak Design’s Camera Cube V2's essentially replicate the padded dividers of a dedicated camera bag, but are designed to slip inside the main compartment of any bag instead. Genius.

Peak Design itself has a range of bags that can be used as ‘normal’ bags, in other words, with a divider-less main compartment, like the Traveller Backpack, pictured above in blue. These bags are designed for a snug fit with the Camera Cube V2's. However, the beauty of the cubes is that you can use them with any bag.

Take my satchel. It’s my go-to commute bag. Designed for regular use, it has a main compartment, a laptop sleeve, a small internal zipped pocket and a zipped exterior pocket, as well as open side pockets for items like a water bottle.

This regular bag simply works for me, for my regular days that I want to pack light, and it looks great. However, it isn’t designed to securely host my camera. Step in Peak Design’s Camera Cube V2, size Small. It slips right into the bag’s main compartment and its zipped top can be closed or left open for quicker access, even if that open option is a little awkward.

With the Small cube in place in my satchel, I have my securely held mirrorless camera and spare lens, together with laptop and everyday items.

It sounds minor, but photographers like me face daily camera storage headaches. We need large bags with secure storage for gear when out on photography trips and for work, but we also do everyday life for which it’s nice to pack a simple bit of camera gear.

There never really was a solution that covered both scenarios – I wished for some time that someone would bridge the regular and dedicated camera bag gap. Peak Design has done it.

What’s great is that Camera Cube V2's aren’t fixed in place, so I can customize my bags depending on how much camera gear I want to carry, if any at all. I can fully load the main compartment with multiple cubes, or just pack one cube and leave an open space for other items, like clothes for a weekend.

No longer do I have to choose between a regular bag or a dedicated camera bag, one bag can be either / or and both, with the removable Peak Design Camera Cube V2's.

Camera Cube V2's are available in a range of sizes; X-Small, Small, SMedium, Medium and Large, with prices starting from $49.95 / £49.99 / AU$119.95 for the X-Small and up to $109.95 / £99.99 / AU$219.95 for the Large.

They’re designed to fit snuggly with Peak Design’s own bags such as the aforementioned Traveller, and for various sized camera gear, be it one of the best cameras or the best drones.

In my case, I found a cube that fits perfectly in my regular satchel – the measurements can be found on Peak Design’s website. The Traveller Backpack can fit the Large and Small Camera Cube V2's side by side, or a configuration of other cubes. Camera Cubes are well made, even if a little pricey for what they are.

Does all of this mean that Peak Design’s Camera Cube V2's could kill off dedicated camera bags? Yes and no.

Many dedicated bags have a side access pocket for direct and quick access to your camera in its padded compartment. Camera Cube V2's do not, they are more about providing secure storage.

It wouldn’t take much for Peak Design to rework the design to create a cube with quick access to what’s inside, in line with the design and external pockets of its own bags.

Also, I still need one (or two, or three) dedicated bags for photography work when I am packing a lot of gear, and when I simply need function over form.

It’s just that Camera Cube V2's are the versatile choice, transforming any bag into a secure place to store your camera gear, especially on those regular days.

You might also like

• Best camera bag 2024: top backpacks, holsters and cases for protecting your camera gear
• Peak Design’s Slide is now my favorite camera strap – here are four reasons why
• Gomatic McKinnon Camera Pack 35L review: one for the road

Considering that the world's best SD cards have now hit the 8TB mark it's surprising that most are still encased in flimsy plastic – and if you've had the misfortune of breaking one and losing a heap of precious data, you might be interested in Lexar's new Armor cards, which it says are the first to be made from stainless steel.

The Lexar Armor Gold SD UHS-II and Silver Pro SD UHS-II cards were first teased at the NAB 2024 video and entertainment showcase in Las Vegas, but have now been given a full unveiling at Berlin's IFA 2024. They're made from '316 stainless steel', to be precise, an alloy that's particularly resistant to corrosion and water damage.

Unusually for SD cards, this means that both have an IP68 rating, which denotes their resistance to small dust particles and water submersion. That stainless steel shell also gives them bend resistance, which should prove handy if they come loose from their case in a bag or pocket.

Like Sony's SF-G Tough series cards (which are also among the few to have an IP68 rating), the Armor Gold and Armor Silver Pro are pretty high-end affairs aimed at pro shooters. For a start, both are UHS-II rated, which means they have a second row of pins for faster transfer speeds.

On the speed front, the Armor Gold naturally edges it with a 280MB/s max read speed and a peak write rate of 210MB/s, making it capable of 8K or 4K video recording. The Silver Pro, meanwhile, matches its 280MB/s read speeds, but has a lower write speed of 160MB/s (meaning slower data transfers to your computer).

You'll be able to buy both Armor SD cards in 128GB, 256GB, 512GB or 1TB capacities – pricing hasn't been announced yet, but we've asked Lexar for an update and will update this story when we hear back. 

Not the speed kings

While many of the best CFexpress cards have metal casings for extra durability, SD cards are generally flimsier affairs – so it's good to see some tougher, premium options, particularly as mirrorless camera manufacturers are still largely refusing to include built-in storage in their new bodies.

But while Lexar's new Armor cards are tough, they aren't its speediest SD cards – that honor goes to its new Professional Gold Pro SDXC Express Card. Because it follows the SD 8.0 specification, which the SD Association announced way back in May 2020, it can hit lightning-fast read speeds of 1,700 MB/s and write speeds of up to 1,000MB/s.

That's actually up there with some of the best CF Express 4.0 cards, and is significantly speedier than most other SD cards – albeit with the caveat that those are advertised speeds, so may vary from real-world performance. Still, if you have a camera that's compatible with the SD 8.0 standard’s PCIe 4.0 tech, it could be a solid new option for demanding video shoots.

If you're lucky enough to have a camera with a CFexpress 4.0 slot instead, Lexar has an even faster option for you – its new Professional Diamond CFexpress 4.0 Type B card, which can hit read speeds up to 3,700 MB/s and write speeds up to 3,400 MB/s. You'll also likely need to write a significant check to buy one – we'll update this story as soon as we get pricing from Lexar.

You might also like...

• The best SD cards for 2024: top memory cards for your camera
• SanDisk announces the world’s first 8TB SD card – the biggest memory card we’ve ever seen
• World Exclusive: We tested the first 2TB microSD card and no, it's not a fake — AGI's card defies laws of physics with record-breaking storage capacity on pinkie-size surface area

Running out of camera or gaming storage could soon be a thing of the past – SanDisk owner Western Digital has announced a pair of ground-breaking memory cards: the world’s first 8TB SD card, alongside the world’s first 4TB microSD card. Whether you’re shooting stills or video, both capacities could unlock huge creative flexibility – assuming you look after them.

When it comes to memory cards, it’s always been a race for space. These new cards put Western Digital right at the head of the field, pushing the boundaries of portable storage – and they quickly follow the announcement of the first 4TB SD card, which was unveiled in April.

With a SanDisk 8TB SDUC UHS-I card in one of the best mirrorless cameras, you’d be able to shoot approximately 165,000 raw files at 24MP. Whatever your industry or genre, that’s a huge volume of stills on a single card. Similarly, with a SanDisk 4TB microSDUC UHS-I in a Nintendo Switch, you could store a library of more than 660 games with a 12GB file size. That’s significantly more than anything else in our list of the largest microSD cards.

Announced as part of the Future of Memory and Storage Conference in California, the two SanDisk cards set a new benchmark for digital storage. Both use the Secure Digital Ultra Capacity (SDUC) standard, which is theoretically capable of up to 128TB storage capacity.

Western Digital has already raised the bar once this year, announcing that 4TB SD card and a 2TB microSD card at the NAB Show in April. These new cards go another step further, unlocking twice as much capacity again – although we don't yet know when they'll go on sale or how big their price tags will be. For reference, it's 1TB Extreme Pro card go for $140 / £135 on Amazon, so expect an 8TB version to cost considerably more.

More space than most people need?

In today’s era of 8K video and high-res stills, storage capacity is crucial to a seamless workflow. High-capacity memory cards mean you can shoot for longer before having to switch to a different card. For professionals, an 8TB SD card offers the tantalizing prospect of using a single card for an entire shoot.

A 4TB microSD card does the same for the best drones, most of which use microSD storage. So, too, do many the best smartphones and handheld gaming devices, including the Nintendo Switch and Steam Deck. With the new SanDisk card, you would no longer need to carry a wallet of microSD cards.

However, there are a couple of caveats here. Both of the new memory cards announced by Western Digital are UHS-I. That means they’re slower than many of the best SD cards and best microSD cards, which are rated at UHS-II. So while you’re getting a lot more storage space, you’ll get slower transfer speeds.

Western Digital also hasn’t shared the V classification for either card. Its existing SanDisk 1.5TB Ultra microSDXC UHS-I card has a V10 speed rating, meaning minimum transfer speeds of a lowly 10MB/s. The SanDisk 4TB Extreme Pro SDUC announced in April fares better with a V30 rating, which means a minimum of 30MB/s transfers. Even that, though, has the potential to throttle burst speeds and video frame rates.

Speed aside, there remains a concern over loss or failure. It’s long been best practice to use backup cards, but also to spread your data – whether that’s images, video or files – across multiple cards. That way, if any one fails or gets lost, you don’t lose your entire library. While an 8TB offers a huge convenience gain, many people will likely prefer to use several smaller cards for peace of mind.

Even so, there’s no denying that Western Digital has achieved something impressive here. When you consider that the largest SD cards in 1999 had just 32MB of storage capacity, an 8TB memory card is a major advancement. There’s no official word on pricing yet, but don’t expect the new cards to come cheap.

More from TechRadar

• The best SD cards for your camera
• The best microSD cards you can buy
• The largest microSD cards you can buy

DJI, known for drones and other gadgets, is rolling out a new firmware update to its Osmo Mobile 6 and Osmo Mobile SE gimbals, allowing users to control them with just an Apple Watch. 

According to the release notes, the smartwatch will have access to various functions like viewing the camera feed, changing the gimbal direction, adjusting the composition, and switching between portrait and landscape mode. Once you’re done shooting, “the captured photo or the first frame of the video” will appear on the watch face.

To use the feature, you need an iPhone and one of six supported Apple Watch models like the Series 9. The full list of devices can be seen on DJI’s FAQ page. There aren’t any restrictions on iPhone models, although they need iOS 16 or later. Similarly, the Apple Watches must have watchOS 9 or later onboard.

Assuming you have the right hardware, the next step is to update the DJI Mimo app to version 2.0.4. Once the firmware has finished installing, connect your Apple Watch to your iPhone, then open the Mimo app on both devices.

Remote operating

The FAQ then offers a few pieces of advice and things to be mindful of when using the remote control feature. 

Apple Watches have a restrictive “video transmission bandwidth," meaning the video feed you see on the watch face may look worse than the recording from the attached camera. This quality can vary between models, but DJI says there is no need to worry because the resolution on the final video won’t be affected.

It is possible to operate the gimbals from a distance. The company recommends being in an open area without any obstacles in the way and having the devices within eight meters (roughly 26 feet) of each other. DJI also suggests not using other Bluetooth devices or the DJI Mic 2 alongside an Apple Watch. Due to the way Bluetooth connections work on Apple hardware, you may experience interruptions.

If you are going to use something like the Mic 2, the company suggests connecting it to the rest of your setup “via the included mobile phone adapter.”

Other updates

There is more to the update beyond the remote control function, as DJI is optimizing two other features. ActiveTrack will perform better than before, “providing more stable subject tracking and a smoother shooting experience.” The AI Editor for Parents & Kids Mode is seeing a similar upgrade. Recordings “can be automatically edited and generated” onto the Mimo app.

Be sure to keep an eye out for the patch as it rolls out, as DJI notes that if the update fails, they recommend restarting the gimbal, relaunching the app, and reestablishing your smartphone’s Bluetooth connection. Install the patch again once you've completed these steps.

It’s unknown if DJI plans to expand the remote control option to other gimbals like OM 5. We reached out for more information. We’ll update this story if we hear back.

Until then, check out TechRadar's list of the best Apple Watches for 2024.

You might also like

• Your DJI drone might soon be banned in the US – and yes, this news is just as bad as it sounds
• Best DJI drone 2024: the finest flying cameras from its impressive range
• The best action camera for 2024: top cameras for adventures

Heipi 3-in-1 Travel Tripod W28: two-minute review

Heipi was a totally new brand to me when I was contacted about its versatile travel tripod. (I’m not even sure how to pronounce the name – does it sound like you're greeting a fruity baked dessert?) However, just because it’s a new name, that doesn’t mean Heipi should be dismissed. In fact, the Heipi 3-in-1 Travel Tripod is one of the most relevant travel tripods today, able to transform for multiple tasks and various camera gear in a way that almost all other tripods can’t. 

The average photographer doesn’t use very heavy gear in 2024; the kind of gear that needs an equally robust and heavy support. Mirrorless cameras and lenses are, overall, smaller and lighter. Heck, people shoot with their phones just as much as a 'proper' camera. Heipi’s tripod is for those photographers, the ones using small cameras like a Canon EOS R10 and one of the best cameraphones, who still need a lightweight and versatile support.

Regardless of size, a tripod still needs to provide firm footing, and unless you’re standing on a gusty cliff face, the Heipi tripod will offer shake-free support for moderate-size gear. A max capacity of up to 55lbs / 25kg feels fanciful, but I'd be happy adding an enthusiast-level mirrorless or DSLR camera with a moderate-size zoom lens.

As a travel tripod that weighs just 3lbs / 1.35kg (with ball head included) and packs away to just 17.7in / 45cm in length, something has to give, and that something is its max reach. It can’t provide the tallest level to work from, just 59in / 150cm with the center column fully raised. 

As its name suggests, this 3-in-1 tripod has many guises. For one it’s a regular, lightweight travel tripod that packs away more compact than most, in its supplied case. That's thanks to its four leg sections, each a smidge smaller than average.

I’ve reviewed heaps of tripods over the past fifteen years, yet Heipi's creation has a design feature I’ve never seen in a tripod before, an innovative center column. You can’t really call it a center column but it does perform as one. 

It's effectively a mini tripod that’s folded into the main tripod with its three legs locked vertically as a column. You can then pull it out and lock it off as a column to extend the reach of the main tripod or remove it completely to gain a hefty and stabler-than-most tabletop tripod: the tripod's second guise.

Tabletop tripods are particularly popular for vlogging, and the Heipi 3-in-1's robust center column-cum-tripod is more than able to support the best vlogging cameras for such purposes. 

It's a party piece that should be enough to make the Heipi 3-in-1 Travel Tripod stand out, but as its name suggests, it has another trick up its sleeve. 

Remove the tripod plate from the ball head and tucked away is a mobile phone clamp that can be pulled out, transforming the tripod into a mobile phone support (see below). 

The clamp extends enough to support large phones like an iPhone 15 Pro Max in horizontal format. Should you need to shoot in vertical format with your tripod-mounted phone, it's fiddly to rotate the ball 90 degrees, but it's doable if you persevere. 

Heipi's tripod is impressively versatile and lightweight, but what’s it like to use?

I'll start by reiterating just how compact the tripod packs down, and how light it is. I've been inclined to add it to my camera bag 'just in case', as it really doesn't add much weight to the overall package.

The main legs tuck very tightly together in between the mini tripod's legs. They fold out easily too, although I pinched my fingers several times in the fiddly locks that further open the maximum angle you can spread the legs. You have to repeat the motion many times to get the pain-free hang of it.

I also found the leg section locks unnecessarily long, they can snag during hectic moments on a shoot, and are fiddlier than most to open and close. However, they provide a secure lock and the process of extending all four leg sections and locking them off is speedy.

When the tripod is fully extended you get a modest maximum height. And if you need to increase the height by extending the center column, the column is quite sticky. 

Doubling up the center column as a mini tripod is a really clever idea, but in its role as a center column, it's not the slickest operator. 

The tripod comes with a matching ball head, while another type of ball head with a different locking mechanism is available as a pricier bundle. Check the prices above if you missed them. 

In terms of strength, the tripod legs lock off tightly and you get a strong support. Despite the claimed 55lbs / 25kg weight capacity, this is designed for those on the move with enthusiast-level camera gear, not those that need the largest and sturdiest support available for bulky gear. 

Ultimately, the Heipi 3-in1 Travel tripod lives up to its name and comes with the TechRadar recommendation.

Heipi 3-in-1 Travel Tripod: key specs

Heipi 3-in-1 Travel Tripod W28 price and availability

The Heipi 3-in-1 Travel Tripod W28 is available now and costs from $399 / £317 on the Heipi website and from $399 on Amazon US. You can buy it with optional accessories such as a QR plate or opt for a different type of ball head in a pricer bundle. 

Heipi 3-in-1 Travel Tripod W28: Also consider

Should I buy the Heipi 3-in-1 Travel Tripod W28?

Buy it if...

Don't buy it if...

How I tested the Heipi 3-in-1 Travel Tripod W28

• Long term use
• All three facets properly tried out
• Camera gear of various size and weight

I've had the Heipi 3-in-1 Travel Tripod for some months and it's had moderate use in this time, traveling many miles with me. I still don't feel like I can say I've properly tested its durability – you need years not months to test a tripod properly and be sure it'll last the distance – but so far, it's withstood the rigors of moderate use as a full tripod and tabletop tripod. It's an ideal travel companion. 

First reviewed June 2024

Shimoda Urban Explore 25: one-minute review

There has clearly been a lot of thought put into the design of the stylish and simple Shimoda Urban Explore 25. The bag's layout is quite conventional, with a top compartment for everyday accessories, a main camera core at the heart of the bag, and various pockets throughout for productive storage.

Whilst there is nothing massively groundbreaking, the small design touches add up: rubber grips on pockets to prevent items from slipping out, handles on three sides of the bag, a cable management pocket, USB power passthrough, a strap loop for a camera clamp, a dedicated Apple Air Tag pocket, and a secret passport pocket.

The padding provides a good balance between comfort, security, and weight, and I found the bag comfortable to wear all day.

We're not looking at perfection: access to the waterproof cover is tricky and there's  no dedicated spot for a USB battery for the passthrough hole. But these are quite trivial points that don't detract from the overall quality of the Shimoda Urban Explore 25 bag.

Shimoda Urban Explore 25: design

When worn on the back, the Shimoda Urban Explore 25's minimalist look could fool you into thinking that the bag might be somewhat basic, which is anything but the truth. Beneath the strong, tough Cordura material and stylish leather zip-pulls are discerning features that will appeal to those wanting a photo backpack for that weekend city break. 

The bag layout is quite conventional: there's a main compartment with a removable camera core should you wish to use it as a regular backpack, a top compartment ideal for accessories, plus two pockets one on each side for either a tripod or a drinks bottle. These side pockets are unzipped, with one allowing quick access to the main camera compartment (which can also be zipped closed internally for extra security). In contrast, the other side opens and reveals a pocket and elasticated loops for keeping all those essential cables neat and tidy. Within each of these compartments are plenty of pockets and even hidden spaces, which we will come on to later. 

Shimoda Urban Explore 25: performance

There is a decent amount of space in the removable camera core. I added a Sony A7 IV with a Sony FE 24-70mm f/4 lens mounted to it. This was easily accessible when I needed access from the side compartment. It is worth adding here that access to the camera core can be zipped shut so that even if the side of the bag is open, it requires an additional 'unzipping' before your kit can be accessed; again, this adds a touch more security from prying hands. If you want quick access, the side access flap can be tucked into the inside flap of the camera bag, which keeps everything neat and tidy.

In addition to the camera and mounted lens, I could fit a FE 70-200mm f/4 lens as well as a couple of smaller lenses and a flashgun. In summary it has the space you need for a weekend shooting. The camera core also has a hard metal internal frame on one side to prevent your gear from getting crushed in an overhead plane compartment. There is a second metal frame around the edge of the rear of the bag, again preventing it from being crushed easily but also allowing it to keep the bag shape and sturdy.

Getting access to your laptop is easy. The laptop compartment is accessible from the top compartment, and it runs down the front of the bag rather than sitting against your back, which is more common. Instead, it is the tablet compartment that takes up this spot on the back of the backpack, and it is accessed from the main camera compartment.

There is plenty of space in both the laptop and tablet compartments. The laptop compartment measures 25W x 35.5H x 2D cm / 9.8W x 14H x 0.8D in, meaning it should fit a 16-inch laptop with no issues. I used it for my 13-inch MacBook Air, and it was swimming around in there. My laptop also fits in the tablet compartment, so iPad Pro users shouldn't have any issues.

The straps on the bag are nicely padded, offering a comfortable carrying experience. They are also adjustable at the top, allowing the user to get a good fit over the shoulder as well as being able to adjust the length. One of the straps also has a little accessory mount, allowing a camera clip, such as the Peak Design Capture Clip, to be easily attached.  

A chest/sternum strap allows for a snug fit, but sadly, there is no waist strap, although there is a way of adding a third-party one behind the cushioning on the bottom of the rear of the bag. All of that said, this is very much a city bag rather than one you will be taking out on technical hikes, so the lack of a waist strap is completely understandable.

There are some lovely design touches on the bag, including an easy-access Apple Air Tag pocket – it is nice to have a dedicated place for it within the bag.  The passport pocket is tricker to find and access, as it should be; no one will be slipping their hand in your bag and getting your passport out.

For storing accessories, the bag has plenty of space. The top compartment has a zipped mesh pocket, with two individual pockets inside for storing smaller items such as batteries and memory cards. These pockets have a little rubber grip at the top, helping to prevent any items in the pocket from slipping out or shifting around too much; it is a simple touch that adds to the quality feel of the bag. There is also a quick-release loop in this pocket, which could be used for keys or an appropriate accessory.

The top compartment is spacious and can easily hold a pair of headphones and a compact camera; like most top compartments, its location means it is best for things you need quick access to. Interestingly, the entire top compartment can be unzipped. Along with the ability to remove the camera core, this means that the Urban Explore can be used as an everyday backpack when you don't need all your camera gear.

I found the main front compartment to be another useful pocket for easy access to items. The size is perfect for holding a notebook or documents, while the internal plastic pocket is good for smaller general items such as tickets or pens.

Having a dedicated pocket on the side for cables is great and helps to keep everything tidy and easily found. The USB passthrough comes through this pocket, and one of the few criticisms of the bag is that there isn't a dedicated space to put a USB battery, although it is easy enough to put it in the main camera core or even thread a long enough cable through the top compartment; it isn't a big deal but seems something of an oversight when so much great design has been implemented elsewhere.

Besides the camera core, the main compartment is spare, except for a plastic pocket, which is effectively the rear of the top compartment. This pocket isn't the easiest to access, so it is suitable for things that you may need less often—lens and sensor cleaning kits, spare cameras and lens caps, batteries, etc.

The only other thing of note is that the bag's waterproof cover is tucked into a fold at the bottom of the main compartment. While the bag is water resistant, in a really heavy prolonged rain shower, the rain cover isn't the easiest to access when you really need it. And it could potentially mean exposing your camera gear to the elements to retrieve it. Again, the bag is designed for the city, so you should be able to find shelter somewhere; so for the target market, it isn't a deal breaker by any means, but you would have thought there could be a better place for the cover or at least a better way of retrieving it.

One thing I liked was the fact that the bag has handles on the side, top, and bottom. You can grab it easily and securely from any angle, which is reassuring when you need to put it in an overhead locker on a plane or generally just move it around.

Carrying a bag with a mid-size tripod was no issue. I just about managed to squeeze all three legs into the side pouch designed for a bottle or tripod legs. Smaller travel tripods will fit comfortably and won't shift around, and for larger tripods, you can just put two legs in and use the straps to tighten everything in place.

Should I buy the Shimoda Urban Explore 25?

Buy it if...

Don't buy it if...

How I tested the Shimoda Urban Explore 25

• I used the bag as a daily camera backpack
• Walk around 5k with the bag on my back
• Packed it with as much gear as possible

I have tested the Shimoda Urban Explore 25 by using it as an everyday camera bag. I carried my laptop in the backpack and set off to work in a coffee shop, taking all my weekend camera kit with me for some shooting before and after.

While out and about, I used the bag as I normally would, taking items in and out of the compartments and pockets to use them, all the time thinking about the bag's weak points and whether anything could be designed differently to speed up access or make things more secure. 

It is very difficult to design bags that are overtly different. Most backpacks have standardized layouts, so I was looking for small features on the bag that would make a difference in how I would use it. 

First reviewed June 2024

Camera straps aren't exactly sexy, but they're an essential accessory for photographers who regularly lug camera gear around. 

The trouble is, most 'proper' cameras, including the best mirrorless cameras, only come with a basic strap that threads through the camera's eyelets and is fixed in position, making any adjustments a slow and awkward process; and that's not to mention the modest quality of the straps themselves.

The new(ish) Peak Design Slide is an altogether different proposition.

I've been using the Slide strap for several months as my primary camera strap for multiple cameras, including a mirrorless camera, and more recently when I dusted off my DSLR to use it for the first time in years; and it has transformed the way I carry gear.

From quick adjustments and changing configurations to switching between multiple cameras, plus the strap quality, here's why I rate the Slide so highly – and why you should seriously consider making it the next accessory you buy.

1. The modular Anchor Link system

The Slide – there's also a Slide Lite for smaller cameras – doesn't attach directly to your camera, but rather to 'Anchor Links' that remain fixed to the camera's eyelets, or the supplied 'Anchor Mount'. You then slide the strap's buckle into the Anchor Link and it clicks securely into place, and it can be quickly removed by pressing in the Anchor Link to release.

Both Slide straps are supplied with an additional pair of Anchor Links, so you can have two cameras ready to go with a single Slide strap – in my case a Nikon Z6 II and a loaned Nikon Z fc (pictured) – plus you can buy additional Anchor Links if you need them ($24.95 / £24.99 / AU$39.95) or if you love the system but prefer an alternative strap to the Slide.

You also get a tiny 'Anchor Mount' base plate (see below) in the box that attaches to the camera's tripod thread, and can accept the Anchor Links for a different Slide configuration depending on how you want to carry your camera: using a sling, neck or shoulder strap. The speed and ease of attaching, adapting, and removing the strap is super-handy, though the Anchor Links can knock against the side of your camera when a strap isn't in play.  

2. Easy use with a tripod

Because the cord of Peak Design's Anchor Links has such a low profile, you can place it between your camera and a tripod plate and securely fix it in place. With the Anchor Link beside a tripod plate on the underside of your camera (the above picture is the Anchor Mount and not a tripod plate), you can quickly switch between carrying your gear with the Slide strap and mounting your camera to a tripod – you simply unclip the strap. 

Ideally, you don't want a strap attached to your camera when you're using a tripod – it can get in the way and even compromise the stability of your setup on windy days. And there are many photo and video creatives like me who regularly switch between handheld and tripod use, so speeding up the process is supremely helpful. 

3. Quick and easy adjustments

It's called the Slide for a reason. One side of the strap's surface is smooth and glides, which prevents the strap from sticking to your clothes when bringing the camera to your eye. There's also a grippy side for when you want the strap secure on your shoulder. 

What's even handier is the clip lock over the strap-length adjuster. When sitting flush against the strap, the strap length is secure, but pull up the clip lock and it provides a firm grip to adjust the length of the strap, which is now unlocked. 

Being able to quickly adjust strap length is again really useful. For example, if you're moving about or out biking you really don't want the camera swinging around on a long strap. With the Slide, you can quickly shorten its length to bring the camera tight to your body.

4. Superb quality

I've been using the Slide heavily for a few months now, and it hasn't worn one bit. The quality of the strap and the Anchor Links is top-drawer, and they can withstand heavy use without becoming damaged. Also, the tiny cord of the Anchor Links is strong enough to securely carry particularly heavy gear. 

It's also a comfortable strap, despite the lack of shoulder padding, thanks in large part to the fact that you can easily modify the strap to a length and carrying style that suits you. Put simply, the Peak Design Slide should provide years of dependable use, offering a quick and easy way to carry gear across multiple scenarios. 

I'd recommend the Slide Lite for most of today's mirrorless cameras, including the best travel cameras, while the thicker Slide fits better with heavier models, such as the best professional cameras. 

You might also like

• Best camera bag 2024: top backpacks, holsters and cases for protecting your camera gear
• The 8 Fujifilm X100V accessories I can’t live without
• The best travel tripod for 2024: finest lightweight tripods for your camera

Serious filmmakers go to great lengths to get steady footage, even on low-budget indie productions, donning bulky shoulder mounts, setting up a complicated rigs, or attaching a gimbal.

The latter is the most compact and popular option, but users will be all too familiar with how gimbals can be extra fiddly to initialize, and prone to unwanted shakes on set. And with the best mirrorless cameras offering increasingly effective in-body image stabilization, is there still a place for the humble camera gimbal? Looking at the new DJI RS 4, we'd have to say yes.

DJI has long been the top name in the stabilization game, as seen in our favorite vlogging camera, the gimbal-equipped Pocket 3, superb drones like the recent TechRadar Choice Awards winner the DJI Mavic 3 Pro, and more serious filmmaking gear like the full-frame DJI Ronin 4D 8K. Now we have the latest generation of camera gimbal designed for mirrorless camera systems, and we wax lyrical about it in our RS 4 review. It's the best camera gimbal of its kind that we've ever used. 

The DJI RS 4 was launched alongside the DJI RS 4 Pro and the DJI Focus Pro system, which offers focus-assist tools such as a LiDAR autofocus system for manual focus lenses. The RS 4 costs $549 / £469 / AU$799, while the Combo kit is $719 / £619 / AU$999 and adds some follow-focus tools: a Focus Pro Motor, Focus Pro Motor Rod Mount kit, and Focus Gear Strip. The RS 4 Pro is designed for weightier camera and lens pairings, and costs $869 / £749 / AU$1,299 as a standalone or $1,099 / £949 / AU$1,599 for the Combo kit.

Focus Pro items such as the LiDAR can be purchased individually, or you can get the whole lot in the DJI Focus Pro All-In-One Combo for $1,849 / £1,449 / AU$2,799. 

Versatile, feature-packed, and easy to use

There's no getting around the common frustrations that come with gimbals, and which only intensify when you're under pressure on set. It's enough of a stress to make you consider shooting handheld instead, especially when you consider the excellent video stabilization offered by cameras such a the Sony ZV-E1 and Panasonic S5 II. However, best-in-class in-body image stabilization still doesn't compare to the smoothness you get with a gimbal. If only a gimbal could be super-quick and painless to set up and versatile for shooting at awkward angles… Well, with the RS 4, that's now a reality.

In testing for our review, the RS 4 proved super-easy to use. It's easy to make adjustments on the fly, and with its extra long arm and redesigned horizontal plate it's easier than ever to transition between vertical and horizontal modes, as well as attaching extra camera accessories without impeding the gimbal's function. It'll accept a camera and lens combination up to 6.6lbs / 3kg (if your gear is heavier then the Pro version is the better option, with a max payload of 10lbs / 4.5kg).

With the Combo kit you get a Focus Pro motor that makes manual focusing much easier, because you can avoid touching the lens itself. But if you want DJI's best LiDAR powered autofocus for manual-focus lenses, or remote monitoring, you'll need to fork out extra for some of the Focus Pro items. 

There's no getting around how expensive the DJI RS 4 and DJI RS 4 Pro are, especially when you add in some of the Focus Pro items, but there really is no rival that offers such excellent features. You might not need all of what's on offer, but knowing just how versatile and easy to use, this camera gimbal system is, and how effectively it produces smooth footage, will only make you want to use it all the more. For more details check out the DJI website.

You might also like

• DJI RS 3 Mini is the super-light gimbal YouTubers have been waiting for
• The best YouTube camera 2024: top choices for your new channel
• DJI Ronin 4D-8K finally hits the shelves – and it’s a mega all-in-one 8K rig

DJI RS 4: two-minute review

The RS 4 is the latest in line of handheld gimbals to demonstrate why DJI is the biggest name in this market. Gimbals can be a nuisance to use, taking too long to set up and being given to outbursts of freakish behavior in polite company, which is why many videographers try to avoid using them whenever possible.

DJI, however, has recognised and acknowledged this common perception, and has continuously worked to iron out the many niggles that plague gimbal users, and the RS 4 is its next step is the process of making the operator-gimbal encounter stress-free. DJI had gone quite a long way on that journey with the Ronin RS 3, but this new model brings a host of changes that make life quite a bit better.

One thing that all videographers will appreciate immediately is the Teflon coating on the arms of the gimbal. Along with the micro-adjustment knob on the camera mounting that was introduced in the RS 3, this makes balancing and rebalancing the gimbal much easier. The Teflon surfaces enable users to make tiny shifts of the axis mounting points with less effort, instead of having to put lots of pressure on the arms to overcome inertia, only to find the shift has gone too far. With the large locking clasps on the arms, what might seem a minor change actually makes a big difference, and I had the gimbal balanced with my camera very quickly. I also was quite happy to add extras to the camera after balancing, as I knew it wouldn’t be a huge drama to rebalance the system. 

On the subject of balancing, the RS 4 has a longer tilt-axis arm than its predecessor, which makes it possible to add more accessories to the camera without running out of arm to balance it all. The arm is 8.5mm longer than the arm on the RS 3, which is enough to allow the user to add microphones on top of the camera and/or a pile of filters on the front of the lens. In total the Ronin RS 4 can carry up to 6.6lbs / 3kg, which is the same as the capacity of the RS 3, but the new arm means that weight doesn’t necessarily have to be placed right around the center of gravity of the camera.

The other big difference in this model compared to the previous one is the way you can shoot vertical video. With the RS 3, you needed to set Portrait mode in the PTF settings, but with the RS 4 you just unclip the camera mounting plate and stick it on the other way. The camera mount has two connection points – a regular one on the end and one underneath – and a quick-release button. You simply unlock the plate, release it, and reattach it using the connection point underneath so that the camera is held in the vertical position. It’s very quick to do, the camera doesn’t need rebalancing, and you have the full range of follow modes available, as well as the movements you can create via the joystick. It feels like a much more satisfactory solution. 

Another important upgrade is the introduction of a 4th-generation stabilization algorithm that not only improves stabilization in horizontal orientation when things are bumpy, such as when you’re running, but which is also better optimized for vertical shooting.

If you go for the RS 4 combo kit you’ll get the lens control motor in the box. The Focus Pro Motor can be used to turn zoom rings as well as focus rings on your lens, and can be controlled either via the joystick for zooming or the front dial for focusing. This new version of the motor is 30% faster than the previous model, but still offers users the chance to adjust its speed, torque and direction via the menu. 

As before, the gimbal’s control buttons and dials can be used to control certain elements of compatible cameras, so you can stop/start recording, take a photo, and adjust some exposure settings. Depending on the model of camera, these things can be achieved wirelessly via Bluetooth or via a USB connection to the body of the gimbal. 

The DJI Ronin RS 4 is not entirely without its complexities, but so long as you dedicate the time and effort to familiarize yourself with its workings it will reward you will good faithful service. In the past I’ve often felt I was working harder than the gimbal I was using, but in the case of the Ronin RS 4 that balance is switched – the gimbal is definitely putting in a good shift and working hard to make the life of the operator a lot easier. 

Of course footage is smooth when walking with the head in the standard position, but anyone can do that. What counts here is that you can throw the camera around, take it high and drop it low, and the motors can cope – even when you’ve added a load of extras to the lens or the hotshoe. 

Fast walking and running scenes are also very well compensated for, but it is the Ronin’s ability to make all the same right moves in vertical mode, with a 10-second adjustment, that marks it out for me.

DJI RS 4 price and availability

The DJI RS 4 is available now standalone for a pricy $549 / £469 and includes the gimbal, battery grip, USB-C cable, lens-fastening support, extended grip (plastic), quick-release plate, multi-camera control cable and screw kit. The Combo kit costs $719 / £619 and adds Focus Pro Motor, Focus Pro Motor Rod Mount kit, Focus Gear Strip, additional Multi-camera control cable, briefcase handle and carrying case. 

If you have a weightier camera and lens combo then you'll need the RS 4 Pro instead, which is available for $869 / £749 (standalone, with a metal extended grip rather than plastic) or $1,099 / £949 in the Combo kit. 

In addition, the DJI Focus Pro system can add superb manual focus assist tools including a LiDAR powered autofocus system for manual focus lenses. The All-In-One Combo costs $1,849 / £1,449 although items such as the Focus Pro LiDAR / Focus Pro Motor can be purchased separately. More details on the DJI website.

Should I buy the DJI RS 4?

Buy it if...

Don't buy it if...

How I tested the DJI RS 4

I used this gimbal with the Panasonic Lumix S5 ll and the Lumix GH6, and fitted both cameras with a variety of big and small lenses, including some heavier manual-focus anamorphic lenses, to see how it performed in a range of situations. And I found that it performed very well – it’s easy to adjust when you’re changing lenses and cameras, and when adding extras on top.

I’ve used a lot of gimbals, and find that I often want to revert to my shoulder-mount rig because it’s less hassle to operate, but this model has me convinced that the right gimbal can offer similar stability and ease of use.

I’ve been working as a photography journalist for 28 years. I experienced the advent of handheld stabilization devices as they were conceived, and I’ve followed them closely as they’ve evolved, and become smaller, stronger and very much better. 

First reviewed April 2024

Shure boasts some of the best audio tech with an extensive range of headphones, microphones, speakers, and network interfaces. Now it’s about to take professional audio recording a step smaller with MoveMic - the world’s smallest wireless direct-to-phone microphones. 

Shure says the MoveMic is the world’s smallest, best-sounding dual-channel microphone making it an ideal companion for content creators, mobile journalists, and videographers, offering professional audio quality playback. 

MoveMic is available now to purchase online from the Shure store, and at selected retailers, in three kits; a stand-alone single-channel MoveMic One for $249/ £259, dual-channel MoveMic Two for $349/ £349, or a receiver kit for $499/ £499. Current pricing pitches it against the DJI Mic 2 and Rode Wireless Go II. 

Associate Vice President of Global Marketing and Product Management, Eduardo Valdes, stated that "the rise in this style of content has created an ideal opportunity to introduce an incredibly discreet, extraordinary-sounding wireless lavalier microphone system like MoveMic”. 

With MoveMic, we can see why. There’s a growing number of online creatives who rely on lavalier microphones for audio recording and MoveMic’s compact size and light weight 8.2g means it’s designed with discreet placement in mind, and its compatibility factors with video recording apps seem pretty reliable. 

Both single and dual microphones can be seamlessly paired with Shure’s MOTIV audio and video apps, but you may ask; what about third-party apps? That’s where its new receiver come into play, with the standard MoveMic Receiver or the MoveMic Two Receiver kit providing universal compatibility. 

Despite its small but impressionable design, Shure’s new microphones will pack a multitude of features and capabilities for on the go use. MoveMic’s custom built-in acoustic design gives the microphone its ability to record broadcast-quality audio while eradicating background noise, therefore making MoveMic suitable for use in loud and busy environments. 

Shure’s latest venture into recording equipment promises to solve your audio problems with one miniscule microphone, and its capabilities and intricate engineering could do just that - but only time will tell. We’ll be reviewing MoveMic in due course, so do keep an eye on the Techradar Tiktok – the audio for our channel could be delivered by the MoveMic soon.

You might also like

• Rode launches successor to one of the best wireless microphones for YouTube
• Best DJI drone 2024: the finest flying cameras from its impressive range
• Saramonic’s new wireless mic kit is a low-cost Rode and DJI alternative with advanced features