Sirui SVM-145P: two-minute review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sirui SVM-145P: key specs

Sirui SVM-145P: Price and availability

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

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

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

Sirui SVM-145P: Also consider

Should I buy the Sirui SVM-145P?

Buy it if...

Don't buy it if...

How I tested the Sirui SVM-145P

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

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

First reviewed October 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Buy it if...

Don't buy it if...

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

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

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

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

First reviewed October 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Freewell Real Locking VND/CPL Mega Kit: key specs

Freewell Real Locking VND/CPL Mega Kit price and availability

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

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

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

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

Buy it if...

Don't buy it if...

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

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

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

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

First reviewed October 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

PolarPro VND Filter Peter McKinnon Edition II: Price and availability

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

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

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

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

Buy it if...

Don't buy it if...

How I tested the PolarPro Peter McKinnon VND Edition II filter

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

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

First reviewed October 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

PolarPro VND Filter Peter McKinnon Edition II: Price and availability

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

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

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

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

Buy it if...

Don't buy it if...

How I tested the PolarPro Peter McKinnon VND Edition II filter

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

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

First reviewed October 2025

Ulanzi GlideGo Travel Tripods: two-minute review

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

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

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

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

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

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

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

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

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

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

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

The standard ball head version offers a height range of 16.1x72.4in / 41-184cm and weighs 3.44lbs / 1.56kg. The video version provides a height range of 17.3x73.6in / 44-187cm and weighs 3.88lbs / 1.76kg. Let’s just forget the numbers for a second and put it into context. This means that you can position your camera at over six feet with these tripods, which is high for compact travel tripods.

Both tripods have a max payload of 39.68lbs / 18kg, which is slightly misleading because this figure refers to the legs, while the head has a maximum payload of 11lbs / 5kg. This is still a commendable payload that can comfortably support the vast majority of camera and lens combinations, but a far cry from the headline figure.

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

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

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

Ulanzi GlideGo Travel Tripods: key specs

Ulanzi GlideGo Travel Tripods: Price and availability

The Ulanzi GlideGo Travel Tripod and GlideGo Video Tripod were announced on 28 July 2025 and can be ordered directly from Amazon, the Ulanzi website and online photographic retailers, so they’re easy to get hold of.

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

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

Ulanzi GlideGo Travel Tripods: Also consider

Should I buy a Ulanzi GlideGo Travel Tripod?

Buy it if...

Don't buy it if...

How I tested the Ulanzi GlideGo Travel Tripods

• Tested for several weeks
• Handling, stiffness and rigidity tested
• Ball head operation and features

The Ulanzi GlideGo Travel Tripod and GlideGo Video Tripod were tested over several weeks for stills photography and videography to test the specific features and functionality of each.

This was with several different camera and lens combinations, shooting subjects including landscape, cityscape and for video, the focus was on B-roll capture to test the movements possible with the GlideGo Video Tripod.

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

First reviewed August 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NiSi V7 with True Color NC CPL: key specs

NiSi V7 with True Color NC CPL price and availability

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

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

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

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

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

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

Buy it if...

Don't buy it if...

How I tested the NiSi V7 with True Color NC CPL

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

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

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

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

First reviewed July 2025

Insta360 Mic Air: two-minute review

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

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

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

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

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

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

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

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

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

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

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

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

Insta360 Mic Air: specs

Insta360 Mic Air: price and availability

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

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

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

Should I buy the Insta360 Mic Air?

Buy it if...

Don't buy it if...

Insta360 Mic Air: also consider

How I tested the Insta360 Mic Air

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

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

First reviewed July 2025