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Manfrotto Element MII Aluminium review: superb value
3:00 pm | March 17, 2024

Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Manfrotto Element MII Aluminium: two-minute review

Coming in at the cheaper end of travel tripods, the Manfrotto Element MII Aluminium is a budget option that does exactly what it’s designed for with a no-frills approach. I can appreciate that this may make the MII sound a little lacklustre but in all honesty, for the modest sum of just $155 / £109 / AU$259 at the time of writing, it’s undeniably great value for money that makes it an attractive travel tripod for beginners and those on a budget.

Not everyone has a huge budget for photographic accessories after buying expensive cameras and lenses. Not to mention, for many photographers, a small and fairly lightweight travel tripod that provides standard camera support is more than enough, making additional features superfluous. The great thing about the MII is that you get a basic and inexpensive tripod from a well-respected manufacturer.

The MII is undoubtedly well-made and can’t be faulted in this respect, although being a budget model it’s not made to the same standards as more expensive travel tripods. However, a sensible quality / value balance has been struck. As the name suggests, the MII is made of aluminum, which is a heavier material than carbon fiber so despite its compact size it weighs 3.4lbs / 1.55kg.

Manfrotto Element MII Aluminium carry bag on floor

(Image credit: James Abbott)

Its weight is mid-range for travel tripods, so it’s not a dealbreakingly heavy and fairly light considering it’s an aluminum tripod. Plus, the slightly more expensive carbon fiber version only weighs 7oz / 200g less. 

Adding further metaphorical weight behind the MII, it’s fairly compact when folded at 16.5 / 42cm with an impressive maximum height of 63in / 160cm with the center column extended, and a minimum height of 17in / 43cm.

You can also shoot at lower levels than this by removing the screw-in bung / hook at the bottom of the center column and inserting it into the legs upside down. The center column hook is an extremely useful accessory, particularly with lighter travel tripods, because it allows you to hang your kit bag from the hook to increase stability when required, such as in windy conditions where the tripod may otherwise get blown over.

The maximum payload of 17.6lbs / 8kg comfortably supports a camera and a 70-200mm lens. You wouldn’t want to push too far beyond a camera and lens combo like this because the ball head can slip with heavier set-ups. 

Looking at the design of the MII, it’s fairly basic with just two leg angles available using twist lock mechanisms unique to Manfrotto at the top of the four section legs. Otherwise, there's no particular additional features or functionality to speak of

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Manfrotto Element MII Aluminium leg locks

(Image credit: James Abbott)
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Manfrotto Element MII Aluminium leg twist locks

(Image credit: James Abbott)
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Manfrotto Element MII Aluminium folded on the ground

(Image credit: James Abbott)
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Manfrotto Element MII Aluminium at minimum height

(Image credit: James Abbott)

Simplicity may sound like a negative and, of course, additional features are always welcome in any tripod to increase its effectiveness in a wider range of scenarios. But simplicity when combined with the effectiveness of support in a compact and lightweight travel tripod can be a huge positive. The MII is quick and easy to use, and this ultimately comes down to the simplicity of the design and features.

The MII can’t be faulted in the support it provides in a lightweight package, and it packs down small for transportation which is exactly what most people want in a travel tripod. There is a small amount of flex in the legs when at their full extension, but the M11 maintains adequate stability and depending on your preference, it’s available with red, blue or black graphics on the legs.

Moving on to the ball head – this is a small and lightweight option that fits the overall size of the tripod perfectly, but it can be swapped if you need to use a different type of tripod head for any reason. The overall design of the head is simple with just the pan control and a main knob for adjusting the ball mechanism.

Manfrotto Element MII Aluminium tripod head in front of a brick wall

(Image credit: James Abbott)

The ball head isn’t as robust as the heads that come with more expensive travel tripods and can’t support as much weight. In its favor, it uses the popular Arca Swiss-style plate compatible with L brackets – impressive for such a budget model – while some other Manfrotto tripods use a less versatile Manfrotto 200PL Quick Release Plate that can't be easily used with an L bracket.

Overall, the Manfrotto Element MII Aluminium is a great travel tripod at the budget/beginner end of the market and is well-made for the low price. It’s never going to be as effective as more expensive alternatives, but its simple design and functionality is sufficient for lighter camera and lens combinations – fulfilling its fundamental task admirably.

Should I buy the Manfrotto Element MII Aluminium?

Manfrotto Element MII Aluminium at minimum height

(Image credit: James Abbott)

Buy it if...

Don't buy it if...

How I tested the Manfrotto Element MII Aluminium

The Manfrotto Element MII Aluminium was tested over a period of time using several different camera and lens combinations to test how the tripod stood up to standard use in travel-oriented scenarios. Cameras used included a premium compact, an APS-C mirrorless camera and a full-frame mirrorless camera. The tripod was also carried around with other photographic kit in my f-stop backpack to evaluate performance over longer shoots such as landscapes.

With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve been covering photographic accessories such as tripods for many years. As a professional photographer, I frequently use a range of accessories to enhance my photography and bring my real experience of using these to reviews where I can consider how effective photographic accessories are from both a professional and an enthusiast point of view.

First reviewed March 2024

Gomatic McKinnon Camera Pack 35L review: one for the road
4:00 pm | March 16, 2024

Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Gomatic McKinnon Camera Pack 35L: two-minute review

If you need a high-quality bag that can be worn comfortably and can hold lots of modern camera gear, clothes, a large laptop plus everyday essentials, then Gomatic believes it has the answer – the Gomatic McKinnon camera pack 35L. 

Combining forces with YouTube influencer Peter McKinnon, Gomatic (under the site Nomatic , in the US) has created a large camera pack that presents plenty of neat design features such as magnetic clasps and an expandable compartment, plus it's compatible with a host of accessories to further increase its versatility. 

This is a luxury camera bag designed for travel. If you're after a large day bag purely for camera gear for a long shoot and / or large telephoto lenses, offering quick access to gear, then look elsewhere. But if you need space for weekend supplies as much as you do camera gear, then this could be the bag for you – if you can afford it. 

Gomatic makes high-end camera bags – certainly, if price is anything to go by – and the McKinnon range, which also includes a 25L pack( $299 / £309), will set you back $399 / £369 for the 35L camera pack. However, to get the most out of what Gomatic calls a "travel system", you'll also want some of the optional accessories – which also cost a fair sum. 

For this review, for example, the 35L camera pack arrived with the Camera Tech Organizer ($70 / £52). While the McKinnon Cube pack 21L ($130 / £109) wasn't supplied, it looks like an excellent addition. It's a neat, collapsible day bag with lower compartment for a camera and lens that can slot inside the 35L camera pack for you to use once you're out and about on location, assuming you don't want to lug the 35L camera pack with all your gear and clothes on day trips. 

To offer an idea of how the cost of such a camera pack with accessories can stack up, although not available any more, the Gomatic McKinnon 35L Ultimate Travel Camera Bundle Pack that included numerous accessories cost twice the price of the 35L pack on review! 

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Gomatic McKinnon Camera Pack 35L

(Image credit: Future)
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Tripod in the Gomatic McKinnon Camera Pack 35L

(Image credit: Future)
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Laptop compartment of the Gomatic McKinnon Camera Pack 35L

(Image credit: Future)
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Water bottle holder of the Gomatic McKinnon Camera Pack 35L

(Image credit: Future)
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The main internal compartment filled with camera gear of the Gomatic McKinnon Camera Pack 35L

(Image credit: Future)
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Clothes stowed in the Gomatic McKinnon Camera Pack 35L

(Image credit: Future)

I used the camera pack as my main carry-on luggage during a week-long trip overseas. It's slimline, tucking nicely into the body and I experienced no issues stowing it in the overhead compartment on a plane.

For the trip, I used the main compartment for two mirrorless cameras, three lenses –one of which was a 70-200mm – plus a ring light and all the necessary chargers and accessories, making use of the Tech Organizer, slotted in between the durable dividers.

Note that the Gomatic bag's slim form factor and interior design restricts the size of camera gear it will hold. For example, while this is unlikely an option for sports photographers with large DSLRs and monster telephoto lenses, those with compact mirrorless cameras such as the Sony A7IV, lenses and consumer drones such as the DJI Mini 4 Pro should be just fine.

The velcro fastening of the dividers is secure, and feels as though it will remain so even after prolonged use. After one month and numerous configurations, going on various shoots, commuting and travelling, they appear as strong as they were on day one. You'll need to spend a while configuring the dividers. For one trip I needed to pack an awkward-sized ring light; an unusual setup of horizontal dividers did the trick, protecting the ring light during transit.

There's a side access pocket straight to your main camera, which works fine, even if the velcro divider sticks to it – that feels like ill-fitting design. Indeed, the design leans more towards opening the camera compartment in full when the bag is off your back and lying flat on a surface. 

I've not used it, but I prefer the look of the Camera Pack 25L in the same McKinnon range. It has a separate top-loading pocket into which you can put a camera and open separately without exposing the bag's entire contents.

I don't feel like this 35L version is designed for regularly taking out and stowing away gear, or perhaps it just takes a little getting used to. Nevertheless, on more than one occasion I was caught out moving the bag with the main zip compartment open – fortunately, no camera gear was damaged falling out.

The bag is listed as accepting 16-inch laptops, but my 17-inch MacBook Pro slotted snuggly into the compartment that sits nearest to your back. On the front end is an expandable main pocket designed for clothes, with a strap to hold them in place, and once expanded the capacity increases to a generous 42L. I'd say you could cram a few days worth of clothes in there.

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Hand grasping the top handle of the Gomatic McKinnon Camera Pack 35L

(Image credit: Future)
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Shoulder straps of the Gomatic McKinnon Camera Pack 35L

(Image credit: Future)
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Side pocket open of the Gomatic McKinnon Camera Pack 35L

(Image credit: Future)
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Closeup of the zips of the Gomatic McKinnon Camera Pack 35L on a wooden table

(Image credit: Future)
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Close up of the branding of the Gomatic McKinnon Camera Pack 35L

(Image credit: Future)
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Close up of design touches of the Gomatic McKinnon Camera Pack 35L

(Image credit: Future)

Then there's all the features you'd expect from a high-end camera bag: comfortable back padding and adjustable shoulder straps, a removable waist-support strap, a pouch that can hold a water bottle or tripod, that neatly stows away using a magnetic clasp – clever. There's also an internal magnetic pocket for valuables such as keys, a wallet or passport.

I particularly love the top padded handle plus additional slimline handles on the top corners of the bag's exterior, which make lifting the fully loaded bag up to your shoulders as easy as can be. And with a rigid underside, you can confidently stand the bag upright on the ground without it toppling over.

In terms of quality, I have no complaints. The pack has a slick-looking and durable weather-resistant exterior, while all zips are weather-resistant and glide easily, too. All the materials are superb and I'd expect to comfortably carry a heavy load with this bag for years to come.

It' isn't the best camera bag for gear-minded pros, nor those who want quick access to gear; but for camera enthusiasts wanting one bag for a long weekender, you'll struggle to find better, even if the price is high.

For alternatives, check out our best camera bags guide.

Should I buy the Gomatic McKinnon Camera Pack 35L?

Gomatic McKinnon Camera Pack 35L

(Image credit: Future)

Buy it if...

Don't buy it if...

How I tested the Gomatic McKinnon Camera Pack 35L

  • One month of regular use
  • International travel
  • Multiple purposes including travel, commuting and photoshoots

I had the Gomatic McKinnon Camera Pack 35L for over a month, during which time it was my primary camera bag. It was my carry-on bag for overseas travel, my commuter bag, plus a bag for shoots. 

I've regularly switched up the gear stowed inside and the internal divider configurations, packing various mirrorless cameras, accessories, lighting and more, as well as everyday essentials.

First reviewed March 2024

Vanguard VEO 3T+ 234CB travel tripod review
6:35 pm | March 13, 2024

Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Two-minute review

Travel tripods typically follow a fairly standardized set of features, with simplicity, size and weight at the forefront of designers’ minds. The Vanguard VEO 3T+ 234CB travel tripod bucks this trend with a feature that’s much more common in larger full-size tripods – an articulating center column. This undoubtedly makes the tripod stand out from the crowd, but it also carries a compromise or two if this is a feature you need.

Having an articulating center column is far from a negative. It’s a huge positive, because of the versatility it provides for macro photographers and anyone who often shoots subjects in awkward positions, and incorporating it into a travel tripod could be a masterstroke from Vanguard, because you’ll struggle to find another travel tripod like it.

In the past few years or so Vanguard has been innovating with its tripods, and the huge leap in functionality and build quality can't be ignored. The VEO 3T+ 234CB continues this trend, and is essentially a smaller and lighter version of the VEO 3+ 263CB. It’s still a bit of a beast for a travel tripod though – weighing in at 4.4lbs / 1.98kg it's one of the heavier travel models available. The tripod kit costs $330 / £320 / AU$500, making it a mid-range option price-wise.

Vanguard VEO 3T+ 234CB travel tripod carry bag

(Image credit: James Abbott)

The 234CB offers a maximum height of 57.5 inches / 146cm, with a minimum height of ground level thanks to the articulating center column. The maximum height is average for a travel tripod, and will be sufficient in many cases, while the folded length is slightly longer than average at 18.1 inches / 46cm. That may sound long, and combined with the weight could suggest that the 234CB is heavy to carry; but in practice neither spec is an issue, unless you’re looking for an ultra-lightweight travel tripod.

Aside from the obvious advantages of the articulating center column, a feature that’s unique to Vanguard tripods is that the 234CB comes with a VEO+ MA1 Multi-Mount Adaptor. This slides onto the end of the center column, and can accommodate a tripod head or be used to mount accessories such as video monitors, phones, tablets or lighting. It’s a simple yet clever feature that can be extremely useful, and if you need more than one you can purchase additional Multi-Mount Adaptors separately. There’s also a hook that can be screwed into the bottom of the center column, for hanging a photography bag when required to increase stability.

The build quality of the 234CB can’t be faulted, and the twisting leg locks come apart easily for cleaning, which is essential after shooting at the coast, where sand and salt water will damage tripods unless cleaned off. This is a feature that's sometimes overlooked, but it’s especially useful for landscape photographers, who typically need to clean their tripod often to maintain smooth operation and to increase the lifespan of the legs.

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Vanguard VEO 3T+ 234CB travel tripod articulating center column

(Image credit: James Abbott)
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Vanguard VEO 3T+ 234CB travel tripod folded on the ground

(Image credit: James Abbott)
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Vanguard VEO 3T+ 234CB travel tripod twisting leg lock

(Image credit: James Abbott)
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Vanguard VEO 3T+ 234CB travel tripod main leg lock

(Image credit: James Abbott)
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Vanguard VEO 3T+ 234CB travel tripod at minimum height

(Image credit: James Abbott)

The four-section carbon fiber legs are sturdy, and while there’s a small amount of flex at full extension this doesn’t affect stability. Plus, one of the legs can be unscrewed for use as a monopod, which is another handy feature alongside the leg locks and articulating centre column. The kit also comes with spiked feet, which can be swapped with the rubber feet when required.

In operation, I found the 234CB to be smooth and reliable, and the articulating centre column, despite the additional weight it undoubtedly brings, is both useful and surprising for a travel tripod; it adds an extra level of versatility for photographers, thanks to the ability to position the camera practically at ground level – perfect for macro photography.

Vanguard VEO 3T+ 234CB travel tripod  ball head

(Image credit: James Abbott)

Like most travel tripods, the 234CB comes with a fairly simple ball head, but the VEO BH-110S Arca Compatible Dual Axis Ball Head does have one advantage over the competition, and that’s the panning mechanisms at the top and the bottom of the head. Being able to pan the top of the head just below where the tripod plate sits is useful, as once the camera is level it can be rotated to adjust composition and remain level. Having the panning mechanism at the bottom of tripod heads is useful, but this doesn’t guarantee that the camera will remain level when rotated unless the legs are 100% level.

If the weight of the 234CB is something that doesn’t bother you, and you feel you'll benefit from all of the other features including the articulating center column, then it’s a great option worth consideration. It’s easily one of the more versatile travel tripods available except for the maximum height. It provides a user experience akin to that of a full-size tripod, and it comes with a well-made carry bag with handles and a shoulder strap, so you can either use this or attach the tripod directly to your backpack.

Should I buy the Vanguard VEO 3T+ 234CB travel tripod? 

Vanguard VEO 3T+ 234CB travel tripod at minimum height

(Image credit: James Abbott)

Buy it if...

Don't buy it if...

How I tested the Vanguard VEO 3T+ 234CB

The Vanguard VEO 3T+ 234CB was tested over a period of time using several different camera and lens combinations to test how the tripod stood up to standard use in travel-oriented scenarios. Cameras used included a premium compact, an APS-C mirrorless camera, and a full-frame mirrorless camera. The tripod was also carried around with other photographic kit in my f-stop backpack to evaluate performance over longer shoots such as landscapes.

With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve been writing about tripods and other photographic accessories for many years. As a professional photographer, I frequently use a range of accessories to enhance my photography and bring my working experience of using these to reviews, gauging how effective particular accessories are from both a professional and an enthusiast point of view.

First reviewed February 2024

Gitzo tripod Traveler series 1 review
2:30 pm | March 10, 2024

Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Two-minute review

Gitzo tripods need no introduction as a premium option, and the Gitzo tripod Traveler series 1 (4 sections) being reviewed here is a travel tripod made for professional use thanks to its excellent build quality, tall height and light weight. This is one of those tripods that doesn’t look remarkable in any way, but as soon as you use it the smoothness of operation alongside the quality materials used identify it as a high-end travel tripod.

With this in mind and before we get into the specifics, the Traveler series 1 is expensive at $680 / £539 / AU$1,154.95. But this is a tripod that could easily last a lifetime thanks to the build quality and the availability of spare parts if something needs to be replaced. Spare part availability isn’t unusual in the tripod world, but when you’re paying this much money for a small tripod it’s reassuring to know that you can replace parts as and when required.

Despite the high price, this tripod doesn’t include a carry bag or case which some photographers may miss. It’s not a major downside because in reality, many photographers simply attach their tripods to a backpack while walking or carry them in their hand, and the Gitzo does include a well-made shoulder strap which is extremely useful.

Gitzo tripod Traveler series 1 tripod on grass with camera supportee

(Image credit: Future)

Gitzo tripods and heads have some, well, utilitarian naming conventions and the official name of the Gitzo tripod kit Traveler, series 1, 4 sections is the GK1545T-82TQD which is a Traveler tripod/head kit that includes the GT1545T Tripod and the GH1382TQD Center Ball Head. I’ve only outlined these names to make it easier to find the kit we’re looking at here because retailers title the kit differently based on their own naming styles.

The Gitzo Traveler Kit is incredibly well made and oozes quality alongside providing stable support up to 64.4in / 163.5cm with the center column extended. This provides a maximum working height comparable to some full-size tripods, which is impressive for a travel tripod that’s just 16.7in / 42.5cm long when folded with a weight of 3.19lbs / 1.45kg. 

The minimum height is 12.8in / 32.4cm, although you can get lower with the short plastic center column that’s included with the legs splayed out flat, or by inserting the standard center column into the legs upside down.

Going with four section rigid carbon fiber legs rather than five sections improves overall stability. This, of course, results in a slightly longer folded length, but the positive trade-off here is the additional stability fewer leg sections naturally provide because this means that the sections have a larger diameter. 

The maximum payload is 22lbs / 10kg, so the tripod can support a wide range of camera and lens combinations although Gitzo does recommend that 200mm is the maximum focal length that should be used with the tripod and head.

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Gitzo tripod Traveler series 1 tripod supporting a camera with center column reversed

(Image credit: Future)
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Gitzo tripod kit Traveler series 1 leg locks

(Image credit: James Abbott)
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Gitzo tripod kit Traveler series 1 twisting leg lock

(Image credit: James Abbott)
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Gitzo tripod kit Traveler series 1 folded on ground

(Image credit: James Abbott)
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Gitzo tripod kit Traveler series 1 at minimum height in front of brick wall

(Image credit: James Abbott)

You could undoubtedly go beyond this given the maximum payload, but travel tripod heads are typically smaller than those designed for full-size tripods. So, even when they can accommodate longer focal length lenses, it’s often not going to provide the most reliable shooting experience. 

The head itself, like the legs, is exceptionally well made. There’s no friction control for the ball mechanism, but the main locking control provides this depending on how loose it is and a pan lock controls the stiff yet smooth panning movement.

It's a simple ball head, but it does everything you need and does it smoothly. The plate used is also Arca Swiss compatible so you can use plates from other tripod heads and L brackets. The head can also be tilted over 90 degrees for portrait format shooting with one notch that allows this. This is ultimately a head where the adage ‘less is more’ is at play, but it does what it does well and can’t be faulted for this.

Gitzo tripod kit Traveler series 1 tripod ball head

(Image credit: James Abbott)

Twist locks for the legs and control knobs on the ball head and the centre column feature a rubberized grip that is comfortable to use, effective and doesn’t require too much twisting to lock and unlock. This doesn’t sound like much, but when you’re adjusting a tripod, speed and comfort can make a huge difference over a long day of shooting.

It feels almost strange to enjoy using a tripod – camera supports are hardly glamorous, they simply need to hold a camera securely. However, the level of quality and the smooth and positive level of operation afforded by the Gitzo make it a premium option worth considering if your budget stretches that far. 

It may be is expensive, but it’s far from being one of the most expensive options available. Believe it or not, there are tripods available that cost upwards of $1000 / £1000 so in this context, the Gitzo is arguably well-priced.

 Should I buy the Gitzo tripod kit Traveler series 1? 

Gitzo tripod Traveler series 1 tripod on grass with camera supportee

(Image credit: Future)

Buy it if...

Don't buy it if...

How I tested the Gitzo tripod kit Traveler series 1

The Gitzo tripod Traveler series 1 was tested over a period of time using several different camera and lens combinations to test how the tripod stood up to standard use in travel-oriented scenarios. Cameras used included a premium compact, an APS-C mirrorless camera and a full-frame mirrorless camera. The tripod was also carried around with other photographic kit in my f-stop backpack to evaluate performance over longer shoots such as landscapes.

With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve been covering photographic accessories such as tripods for many years. As a professional photographer, I frequently use a range of accessories to enhance my photography and bring my working experience of using these to reviews where I can consider how effective photographic accessories are from both a professional and an enthusiast point of view.

First reviewed March 2024

3 Legged Thing Punks Brian 2.0 review: pro quality, competitive price
6:25 pm | March 7, 2024

Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Two-minute review

The 3 Legged Thing Punks Brian 2.0 is a stylish and highly versatile travel tripod with more tricks up its sleeve than a room full of magicians – and one of the most impressive features is the competitive price it comes in at considering what it has to offer.

The Punks Brian 2.0 costs $300 / £250 / AU$633. It's part of 3 Legged Thing’s colorful punks range, and to that end it's available with orange, blue or black accents on the tripod head and the twist lock on the center column and legs, bucking the arguably dull visual trend of tripod design that sees most color schemes dominated by black or grey.

This carbon fiber tripod is an impressive transformer when it comes to growth, going from a folded length of 16.5-inches / 42cm to a maximum height of 73.2 inches / 1.86m with the center column extended. This is taller than many full-size tripods, and even more impressively it's achieved with a weight of just 3.70lbs / 1.68kg.

So, unless you need a heavier tripod for specific shooting situations, the Punks Brian could realistically function as your main tripod, despite falling within the travel tripod category.

3 Legged Thing Punks Brian 2.0 carry bag

(Image credit: James Abbott)

All three five-section legs are detachable, and together with the Vanz ‘footwear’, which are 4.4-inch / 11.2cm stainless steel legs with rubber ends that can be removed to reveal spikes (these are available separately), they enable the Punks Brian to be transformed into a tabletop or ultra low-level tripod. Another feature of the removable legs is that they can be used as a monopod with the included AirHed Neo 2.0 ball head attached at the top of the leg, or with the center column attached to the top of the leg for additional height up to 75.1 inches / 191cm.

This level of versatility is welcome in a travel tripod, as when traveling it’s not uncommon for photographers to have to reduce their kit to the bare minimum. So, having a tripod that can be used in three different ways – standard, tabletop and monopod – and which offers a generous maximum height ensures that you can cover all the bases with one lightweight and compact package. As mentioned, you have to purchase the Vanz footwear for tabletop use separately, and they’re not cheap for what they are but, the overall cost of the Punks Brian and Vanz remains lower than many competing travel tripods.

The tripod legs are made of carbon fiber, and while they flex a little more than the legs of more expensive tripods, stability isn’t an issue. In use, I found the leg twist-locks to be quick and comfortable to use thanks to the rubber grip strips that are also found on the two-section center column. Build quality overall is excellent, and the orange accents of the Punks Brian I reviewed are eye-catching.

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3 Legged Thing Punks Brian 2.0 tripod with camera attached

(Image credit: Future)
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3 Legged Thing Punks Brian 2.0 with camera attached

(Image credit: Future)
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3 Legged Thing Punks Brian 2.0 at minimum height against a brick wall

(Image credit: James Abbott)
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3 Legged Thing Punks Brian 2.0 folded on a concrete floor

(Image credit: James Abbott)
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3 Legged Thing Punks Brian 2.0 leg twist grip detail

(Image credit: James Abbott)
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3 Legged Thing Punks Brian 2.0 leg lock

(Image credit: James Abbott)

While its competitive price makes it accessible to enthusiasts and even beginners, the Punks Brian is a travel tripod that could easily cater to the needs of working professionals, thanks to its overall build quality, features and sturdy legs with 30lb / 14kg maximum payload. The latter means you can confidently attach even large telephoto lenses because the included AirHed Neo 2.0 has an even greater maximum payload of 40lbs / 18kg, which is impressive given the compact size of the ball head. There's no real camera and lens combination that exceeds the tripod kit's maximum payload. 

The AirHed Neo 2.0 is a simple ball head that’s colored to match the tripod legs depending on which color option you choose. It may be compact, but it’s made of aircraft-grade magnesium alloy and stainless steel, so it’s as tough as it is eye-catching. 

Operation is smooth and reliable, with one knob for adjusting the ball mechanism and another for the pan mechanism, and while the knobs don’t feature rubber grips, the machined metal grips work perfectly and look pretty smart, too. There’s also an accessory mounting point and a metal loop at the bottom of the center column for attaching the included carabiner tool, from which you can hang a camera bag to improve stability when needed.

3 Legged Thing AirHed Neo 2.0 in front of a brick wall

(Image credit: James Abbott)

The plate used is also the Arca Swiss design, so it’s compatible with 3 Legged Thing and third-party L brackets. There's also a notch within the ball head to allow for portrait-format shooting, so an L bracket isn’t essential for this, although they are much better for portrait-format shooting than a ball head on its own.

Finding a tripod of this quality for such a competitive price is a rarity in the tripod world. The Punks Brian can comfortably compete against tripods that are twice the price and still come out as an incredibly enticing option. So, if you’re looking for a travel tripod that looks good and performs well, with some impressive features on offer, the Punks Brian is certainly an option to consider.

 Should I buy the 3 Legged Thing Punks Brian 2.0 ? 

3 Legged Thing Punks Brian 2.0 folded on a concrete floor

(Image credit: James Abbott)

Buy it if...

Don't buy it if...

How I tested the 3 Legged Thing Punks Brian 2.0

I tested the 3 Legged Thing Punks Brian 2.0 using several different camera and lens combinations, to see how the tripod stood up to standard use in travel-oriented scenarios. Cameras used included a premium compact, an APS-C mirrorless camera, and a full-frame mirrorless model. I carried the tripod around with other photographic kit in my f-stop backpack to evaluate performance over longer landscape shoots.

I have almost 30 years of photographic experience, with 15 years working as a photography journalist, and I’ve been testing and writing about tripods and other accessories for many years. As a professional photographer I regularly use a range of accessories, and bring my working experience to reviews, enabling me to gauge how effective particular accessories are from both a professional and an enthusiast point of view.

First reviewed March 2024

Leica SL3 review – the modern Leica workhorse
5:00 pm |

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Tags: , , , | Comments: Off

Leica might be best-known for its legendary M-series rangefinders, but for the past decade it's also been building a modern full-frame mirrorless system called the SL series – and the new SL3 is its most fully-evolved model so far.

Unlike the Leica M11 and Leica Q3, which are built around a compact, tactile shooting experience, the SL3 is a modern brute that wants to be your professional workhorse. It still has classic Leica hallmarks, like minimalist menus and a design that harks back to the Leica R3 SLR, but it combines all of that with modern all-rounder specs.

The main upgrades from 2019's Leica SL2 include a 60MP full-frame CMOS BSI sensor, a Maestro IV processor, phase-detect autofocus, a tilting touchscreen, 8K video, a CFexpress Type B card slot (alongside an SD UHS II one) and a slightly smaller, lighter body.

Leica says that its 60MP sensor is the same as the one in the Leica M11 and Q3, but is engineered slightly differently – which means it has a base ISO of 50 (going up to 100,000), rather than 64. In other words, the SL3 is like the Q3's bigger brother, with its studio-friendly body giving you access to the dozens of lenses available for its L-mount.

The Leica SL3 sat on a wooden bench

(Image credit: Future)

But since the original Leica SL arrived in 2015, the full-frame mirrorless camera space has become fiercely competitive. So with incredible cameras like the Nikon Z8, Sony A7R V and Canon EOS R3 all vying for your attention, is the gravitational pull of that red dot still as strong for pro shooters in 2024?

I spent a couple of days with a Leica SL3 in Wetzlar, Germany to find out – as always, the answer depends very much on your priorities (and your bank balance)... 

Leica SL3 release date and price

  • The Leica SL3's body-only price is $6,995 / £5,920 (around AU$11,435)
  • The SL2's launch price was $5,995 / £5,300 / AU$9,900
  • It's available to buy right now at Leica stores and its online store

As always with Leica, the SL3's cost-of-entry is high. And like most cameras, it's quite a bit higher than in 2019, when the SL2 first landed.

The SL3's body-only price is $6,995 / £5,920 (around AU$11,435), which is somewhere between 12%-16% pricier than the SL2's original price, depending on where you live.

Hands holding the Leica SL3 camera

(Image credit: Future)

The SL3 is by no means the most expensive Leica camera around – the Leica M11 Monochrom, for example, costs $9,195 / £8,300 / AU$14,990 (body only) and only shoots in black and white. But this does mean that the SL3 is now much pricier than the Leica Q3 ($5,995 / £5,300 / AU$9,790). 

That's a completely different kind of camera, but the SL3 is also battling for your attention alongside full-frame Nikon Z8 ($3,999 / £3,999 / AU$6,999 body-only), which looks like a comparative bargain.

Leica SL3: design and handling

  • New 3.2-inch tilting touchscreen, but no fully-articulating display
  • Leica SL3 design tweaks make it 69g lighter than SL2
  • Still has magnesium alloy body with IP54-rated weather sealing

Leica's SL series have always felt reassuringly expensive in the hand and the SL3 is no different – it feels like could survive a run-in with a Cybertruck. 

It's a bit of a functional brute compared to stablemates like the Leica Q3, but if you need a hybrid workhorse for stills and video, the SL3 is now one of the best camera bodies around.

Leica SL3 key specs

Sensor: 60MP full-frame CMOS sensor
Image processor: Maestro IV
AF system: Hybrid with phase-detect
EVF: 5.76-million dot OLED
ISO range: 50 to 100,000
Video: 8K at 30p, C4K & UHD at 60/50/30/25/24p
LCD: 3.2-inch tilting touchscreen, 2.3m dots
Max burst: Up to 15fps
Connectivity: Wi-Fi, Bluetooth
Weight: 769g (body only)

Leica has made a few tweaks to the SL series' design in this third-generation, mostly for the better. For a start, it's shaved off some weight – the SL3 is 69g lighter than its predecessor. At 769g, it's still a pretty weighty mirrorless camera, but that puts it somewhere in between a Sony A7 IV and Nikon Z8.

The biggest departure from the SL2 is the arrival of a tilting 3.2-inch touchscreen. Leica hasn't gone as far as adding a fully-articulating display, which it said could have compromised the SL3's bomb-proof build quality.

The top of the Leica SL3 camera

(Image credit: Future)

While videographers might be disappointed about that, the tilting screen is a welcome addition for photographers, giving you the option of shooting from the hip and low angles. It's just a shame it only tilts in landscape orientation, and not when you flip the camera round for portraits.

In the hand, the SL3 is still a satisfyingly solid hunk of metal. Mirrorless cameras don't come built any better than this – the magnesium and aluminum chassis balances nicely with some of Leica's weighty glass (like the Summicron-SL 50mm f/2 I tried it with), and the tweaked grip and its rubberized indent still feel great in the hand.

The SL3 still has IP54-rated weather sealing too, which means it can handle being sprayed or splashed with water. I haven't yet taken one to Antarctica, but there really aren't any weather conditions where you'll have to worry about the SL3.

Two hands holding the Leica SL3 camera

(Image credit: Future)

Beyond its new screen and lighter weight, the only other design changes are more minor future-proofing tweaks. There's now a new CFexpress Type B slot (alongside a standard UHS-II SD slot) to support 8K video, plus an HDMI 2.1 Type A port for video shooters. 

Inside, there's also now a larger capacity battery (2,200mAh, compared to 1,860mAh one inside the SL2), but this doesn't translate to more shooting time. In fact, with a CIPA standard rating of 260 shots (compared to 370 shots on the SL2), battery life is one of the SL3's main weaknesses.

In more positive news, the SL3 retains the 5.76-million dot OLED EVF (with 0.78x magnification) from its predecessor, and that certainly hasn't dated. It's still an impressive part of the shooting experience, helping you stay connected to the scene with its clarity, color reproduction and 120fps refresh rate.

The Leica SL3 camera sat on a wooden bench

(Image credit: Future)

On the top of the SL3, there's a new dial on the left and a very handy 1.28-inch monochrome display for quickly previewing your shooting settings. Round the front of the camera there's arguably the most important design feature of all – the L-mount bayonet. This gives you access to a huge range of lenses from Leica, but also the likes of Panasonic, Sigma and Samyang – in total, there are now 84 lenses to choose from.

One other nice design touch is the new illuminated power button on the back, which replaces the traditional switch. This doesn't serve any great functional purpose other than making the SL3 feel more modern, but it's the kind of attention to detail you don't often get from other manufacturers.

Similarly, the SL3's refined menu system (complete with new icons) is an example for others to follow. It's clean and simple, with nice touches like the separate photo and video modes, and is a stark contrast to Sony's 'kitchen sink' approach to software menus.

Leica SL3: features and performance

  • 60MP CMOS BSI full-frame sensor, like the Leica Q3 and M11
  • New phase-detect AF system, alongside contrast/object detect AF
  • Can now shoot 8K video and ProRes (in 1080p)

Given the Leica SL2 was launched back in 2019, you'd hope that its successor would get a sizable imaging upgrade – and that's certainly the case. 

The SL3 has a 60MP CMOS BSI full-frame sensor, which is a tweaked version of the one inside the Leica Q3 and M11. While that resolution is handy for cropping later, you also get 36MP and 18MP modes to help boost the buffer during continuous shooting and save on memory space.

Leica says this sensor gives you an extra stop of dynamic range compared to the SL2 (15 stops, compared to 14), but a more obvious upgrade is the Maestro IV processor and its improved autofocus system.

The Leica SL3 camera sat on a wooden bench

(Image credit: Future)

The SL series has never had class-leading autofocus, partly due to Leica's close relationship with Panasonic (which, until last year's Panasonic Lumix S5 II, had refused to embrace phase-detect autofocus). But the SL3 finally offers a hybrid AF system, combining phase-detect AF (good for video and moving subjects) with contrast-detection and object detection. 

In my brief time with the SL3, its subject-detection worked well and reliably locked onto human eyes, producing a good hit-rate. But animal detection was still marked as being in 'beta' on my sample, so this will need more testing – and overall, it's fair to say that Leica is still playing catchup with the likes of Sony for autofocus, rather than surpassing it.

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A sample photo of a model taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a model taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a model taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a model taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a model taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a model taken on the Leica SL3 camera

(Image credit: Future)

The other benefit of that Maestro IV processor is that it supports the camera's CFexpress Type B card and, consequently, some video upgrades. The SL2 was already Leica's best ever video camera and the SL3 steps things up with 8K video capture. 

This will be a pretty niche mode, though, as it tops out at 30fps with 4:2:0 10-bit color sampling. More useful will be the SL3's 4K/60p and 4K/120p video modes, which you can shoot with 4:2:2 10-bit color sampling for editing flexibility. Combine that with the camera's full-size HDMI port for external monitors and timecode interface, and you have a powerful, professional video camera – which hasn't been very common in Leica world, until now.

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A sample photo of a car taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a car taken on the Leica SL3 camera

(Image credit: Future)

Another bonus for shooting handheld video (and stills) is the Leica SL3's five-axis image stabilization system, which gives you five stops of compensation. That's far from the best we've seen – the Sony A7R V's system is good for a claimed eight stops – but it is still an important difference from the original SL, which had no stabilization. It's also ideal if you want to use an SL3 with Leica M glass using the M-L adapter.

In my tests, I was able to shoot handheld down to 1/4s and get usable results, so it's definitely a useful feature, particularly for shooting in low light. Another quality-of-life upgrade are the SL3's speedier wireless transfer speeds, which use a combination of Bluetooth and Wi-Fi MIMO tech to fire full-size DNGs to your phone in only two or three seconds.

That's quite a big jump up from the SL2, which took around 20 seconds to transfer a DNG file, and it worked well in my tests (as you can see above). The Leica Fotos app itself is a suitably premium experience that's a cut above the efforts from most camera manufacturers, and these transfer speeds make it a breeze to get a raw file onto your phone for a quick edit.

The SL3 isn't a sports camera – and despite having a larger buffer capacity than the SL2, its top speeds for continuous shooting have taken a slight dip compared to its predecessor. 

Its top speed is 15fps, which can manage for a few seconds before the buffer fills up, but it can naturally go for longer if you drop down to 9fps or 7fps. You can also get better results by choosing the 36MP or 18MP resolution modes, so there are options – just don't expect it to match a Canon EOS R3.

Hands holding the Leica SL3 camera

(Image credit: Future)

My biggest disappointment with the SL3 was its battery life. I'll need to do some more controlled tests, but during my brief time with the camera I was barely getting above 200 shots (plus some video) per charge. Its official CIPA rating is 260 shots per charge and Leica is rolling out new firmware (version 1.1) soon, so hopefully that might improve things. But prepare to carry around a USB-C charger or spare batteries.

One other strange anomaly is that the SL3 doesn't support Content Credentials, a new industry standard for protecting the authenticity of digital images. That's a little odd considering the older Leica M11-P debuted the feature last year, but Leica told us that "the reason is that the development of the SL3 was already advanced when this technology became mature".

Because Content Credentials requires a dedicated chipset, this also can't be added to the Leica SL3 via a firmware update. But Leica did add that for "future cameras it's our aim to integrate" the AI-combatting tech.

Leica SL3: image and video quality

I took the Leica SL3 for a spin with the Summicron-SL 50mm f/2 lens, which is a sharp, fun partner for the camera. The option of using Leica glass is clearly one of the main draws of the SL3, but whatever you pair it with, you'll get some hallmark Leica character in your images.

Like the Leica Q3, the SL3 captures tons of detail in its 60MP DNGs. I'll need to spend some more time with them to see how far they can be pushed in editing, but the early signs suggest you can recover an impressive amount of shadow detail from the SL3's raw files.

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A sample photo of the Leica HQ building taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a model taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of the Leica HQ building taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of the Leica HQ building taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a saxophone player taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a dog taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of the Leica HQ building taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a shed taken on the Leica SL3 camera

(Image credit: Future)
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A sample photo of a car taken on the Leica SL3 camera

(Image credit: Future)

Those files also have bold, vibrant colors, more so than the JPEGs, although they're also a touch noisier than some full-frame rivals. In my early test shots, noise starts to appear from ISO 1600 and is particularly noticeable at ISO 6400. Still, this isn't necessarily a problem – in fact, the grain is frequently attractive (depending on your tastes) and gives the SL3's photos a filmic look.

Video quality looks similarly pin-sharp at lower ISOs, although the SL3's autofocus seemed to struggle a little more with moving subjects in this mode. I'll need to test this more on final firmware, alongside the 8K mode, before making any conclusions. But my early impressions are that the SL3's image and video quality will be comparable to the Leica Q3's, which is certainly no bad thing.

Leica SL3 early verdict

The Leica SL3 camera sat on a wooden bench

(Image credit: Future)

The full-frame mirrorless camera world has changed a lot since the original Leica SL landed in 2015 – and while the competition is now red-hot between Sony, Canon and Nikon, the Leica SL3 still manages to carve out a unique spot for itself.

While it can't match a Nikon Z8 for outright performance or value, the SL3 is a refined, professional workhorse with incredible build quality. Its simple, clean user interface puts most other cameras to shame and it's now a very competitive – if not class-leading – modern hybrid camera for shooting photos and video.

The special sauce of Leica's distinctive image rendering and lenses are added bonuses, although I hope its disappointing battery life is improved in later firmware updates. Right now, you'll need at least two batteries to last you a full day of intense shooting.

If that isn't a deal-breaker for you, then the SL3 could be the combination of modern mirrorless power and classic Leica minimalism you've been waiting for (even if your bank manager feels very differently). We'll bring you our full review very soon.

Leica SL3: how I tested

  • A day-and-a-half of shooting at Leica Park in Wetzlar, Germany
  • A mix of studio, low light and environmental shooting

I used the Leica SL3 for just over a day continuously during a visit to Leica's HQ in Wetzlar, Germany. I've taken sample photos in raw and DNG formats, although I'll need to spend a bit more time with the latter (on the SL3's final firmware) for our full review. 

I took a variety of handheld shots are different shutter speeds to test the effectiveness of its in-body image stabilization, and also took its new phase-detect autofocus and buffer for a spin during a fashion photo shoot.

My only lens during testing was the Summicron-SL 50mm f/2 lens, which was a great companion if not ideal for all shooting scenarios. I also ran the battery down to empty to test its stamina shooting a mix of photos and videos. 

Canon RF 100mm F2.8L Macro IS USM review – hidden depths
4:00 pm | February 29, 2024

Author: admin | Category: Camera Lenses Cameras Computers Gadgets | Comments: Off

Two-minute review

(Image credit: Rod Lawton)

The Canon RF 100mm F2.8L Macro IS USM is the only "official" macro lens in the Canon RF lens lineup. The brand does make some other macro-enabled primes, including the RF 24mm, RF 35mm and RF 85mm f/2 lenses, but these achieve a maximum magnification ratio of 0.5x, or half life size; so while this might be plenty close enough for many users, they're not true 1:1 macro lenses.

The RF 100mm F2.8L Macro IS USM doesn’t stop at life size reproduction, however; it goes to a full 1.4x magnification. That means you can fill the frame with an object just 26mm wide. And that isn't its only interesting feature.

Half way along the barrel is an intriguing "SA", or Spherical Aberration, control ring. This shifts optical elements within the lens to adjust the appearance of bokeh, both in front of and behind your main subject, and can also introduce a soft-focus effect.

The SA (Spherical Aberration) adjustment is unlocked via a switch on the underside of the lens. (Image credit: Rod Lawton)

It isn't immediately obvious how you're supposed to use this control, since it’s locked at its center position. In fact, there’s a switch on the underside of the lens to unlock it, which is easily missed. This is one lens where it's actually a good idea to read the manual!

This bokeh control is aimed more at portraiture and longer shooting distances; indeed, Canon does seem keen to push this as a "portrait" lens as well as a macro lens. It’s an interesting idea, but then it leaves you wondering whether the Canon RF 85mm f/2 Macro IS STM might be better, being a stop faster and far cheaper, too. You might say the 100mm is a macro lens first and portrait lens second, while the 85mm is the other way around.

I only had the RF 100mm F2.8L Macro IS USM for a short time, so I concentrated on its macro capabilities.

These are pretty formidable. It’s hard to make any sensible comments about edge sharpness wide-open with close-ups because it’s near-impossible to find a subject flat enough to test it on – and to get it perfectly perpendicular to the camera. Photographing a framed vintage "butterfly wing" picture reveals another macro photography issue: objects with layers of paint and textures, especially those under glass that may have dust or fibers on its surface, are actually three-dimensional.

Here's one of my test subjects, a very old "butterfly wing" picture just over 2-inches across. (Image credit: Rod Lawton)

This is a magnified section close to the Canon RF 100's 1.4x maximum. At this magnification, even at an aperture of f/8, its hard to keep all the strata of this object in focus. (Image credit: Rod Lawton)

This was taken at f/2.8, so the depth of field is extremely shallow – but this can suit many subjects. (Image credit: Rod Lawton)

At f/16, much more of this narcissus is sharp; but if you want objects with depth to be properly sharp from front to back, you'll need to resort to focus stacking. Small apertures alone won't do it. (Image credit: Rod Lawton)

The engraving on this old cigarette case, and all the tiny blemishes and scratches around it, are resolved extremely crisply – although the lens was so close to the case at this point that I had to shoot at a slight angle to avoid shadows and reflections from the lens in the polished metal. (Image credit: Rod Lawton)

Only the most ambitious, bokeh-loving macro fan would want to shoot wide open at these distances. You’re more likely to want to shoot at f/11-f/22, and the RF 100mm F2.8L Macro IS USM produced crystal-clear detail that was difficult to fault.

However, while you might think that a 100mm lens should offer plenty of working distance between yourself and your subject, that isn't the case here. At its closest shooting distances, the front of this lens is close enough to your subject to cast a shadow or give unwanted reflection on shiny surfaces. A skilled macro shooter could fix this easily enough with good lighting and choice of angles, but it was still a bit unexpected. 

This lens is weather-sealed and has a fluorine-coated front element, so you won't have to worry too much about wet outdoor conditions. (Image credit: Rod Lawton)

If you shoot wide open at f/2.8 then you can achieve good subject separation and background blur – although, with this subject we could have got just as close with one of Canon's regular "macro" primes. (Image credit: Rod Lawton)

You can also use this lens outdoors on a range of subjects, where its weatherproofed design and fluorine-coated front element should shrug off rain and dew. The lens also has image stabilization built in – although, as Canon admits, the effectiveness diminishes the closer you focus. 

This isn't necessarily a fault with the stabilization, but an issue with handheld macro photography. If you can’t keep the camera perfectly steady, even the tiniest fore-and-aft "drift" will throw your subject out of focus between half-pressing and fully pressing the shutter release (switching to Servo AF mode can be an effective solution!).

The RF 100mm F2.8L Macro IS USM’s Dual Nano USM autofocus seemed pretty quick at normal shooting distances, doing a reasonable job of tracking the eyes of our pet Dachshund. However, on occasion it got a bit lost switching to ultra-close subjects. It has a focus limiter to help with this, and you can also use manual focus to get it in the right ballpark first. In fact, manual focus works especially well here. The focus ring is smooth and precise, and there’s a real focus "snap" in the viewfinder to show you when the focus is correct. 

Canon says this lens has suppressed focus breathing, which should be especially useful for filming where you want to use focus pulls.

The Dual Nano ISM autofocus kept up pretty well with our canine subject, and the combination of a long focal length and f/2.8 aperture produced good background blur and separation. (Image credit: Rod Lawton)

This is a nice lens to use, if rather long. The SA control seems a slightly odd choice for macro work; I guess it's designed more for portraits and larger product shots. It’s good to have a single lens that can do a few jobs, so it’s easy to see how the RF 100mm F2.8L Macro IS USM could create a kind of "product" lens category of its own.

Best of all, it isn't hugely expensive for an own-brand macro lens, especially one that can focus closer than rivals and has IS built in.

Canon RF 100mm F2.8L Macro IS USM Price and release date

(Image credit: Rod Lawton)

The RF 100mm F2.8L Macro IS USM was announced in April 2021 and is now widely available. It typically costs around $1,099 in the US and £1,369 in the UK. However, if you don’t mind manual focus – and you’re not interested in the SA bokeh control – then you can get the Venus Optics Laowa 100mm f/2.8 2X Ultra Macro APO lens for around half that, and with even higher 2x magnification.

Should I buy the Canon RF 100mm F2.8L Macro IS USM?

(Image credit: Rod Lawton)

Buy it if…

Don’t buy it if…

How I tested the Canon RF 100mm F2.8L Macro IS USM

I tried out the RF 100mm F2.8L Macro IS USM in a variety of situations to test its performance, handling and image quality. One session was spent shooting a family pet to see how well the Nano USM autofocus could keep up with my EOS R8’s excellent AI subject tracking, while another was spent out on the coast, shooting a variety of subjects from driftwood to sea spurge.

I also spent some time testing this lens with typical close-up subjects including a challenging "butterfly wing" picture, some just-open narcissi, and the engravings on a vintage WW1 cigarette case. These were taken using a tripod, the 12-second timer on the camera, and electronic shutter mode.

Manfrotto Befree Advanced Carbon Fiber Travel Tripod review
2:30 pm | February 28, 2024

Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Two-minute review

For some photographers, the most lightweight travel tripods are the only option when it comes to traveling, and the Manfrotto Befree Advanced Carbon Fiber Travel Tripod is one of the lighter and more compact options available. At just 2.75lbs / 1.25kg and with a folded length of 16.1in / 41cm, it’s an extremely portable travel tripod that you can comfortably carry over long periods, barely noticing it's there.

The Befree Advanced costs $319 / £279 / AU$555 which is an attractive price for such a compact and lightweight tripod when compared to some alternatives, but you can get a much more fully featured tripod, if slightly heavier, for a similar price or less, such as the 3LT Brian 2.0 Travel Tripod. 

Going heavier is arguably worthwhile for the additional functionality. For example, the 3LT offering has a built-in monopod and a taller maximum height. However, if weight is your main concern, you’ll struggle to find a better Befree Advanced alternative at this price, and you can find deals on it for less than the list price mentioned above (see below).

Weight versus features is a typical quandary when buying a travel tripod; you often have to make concessions in one area to be able to take advantage of the benefits in another. In this case, I can’t get away from the cost versus features aspect of the tripod – you can get so much more for your money with competitor models.

Manfrotto Befree Advanced Carbon Fiber Travel Tripod  carry bag

(Image credit: James Abbott)

The Befree Advanced is advertised as a tripod for advanced hobbyists and has a maximum height of 59in / 150cm alongside a maximum payload of 19.8lbs / 9kg, and packs down to 16.1in / 41cm. However, the Befree Advanced provides adequate support for professionals because the fairly narrow four section legs are surprisingly rigid.

In terms of design and build quality, you can’t fault the Befree Advanced because it looks, feels and performs much more smoothly than Manfrotto’s budget travel tripods, so there’s an immediately obvious advancement here. The leg twist locks are better made and operate more positively, while the compact ball head locks much more firmly with no slippage which is exactly what you’d hope for at this price point.

The 494 aluminium center ball head is robust, with great control knobs despite its compact size and light weight. However, it's something of an oddity. While it uses the Manfrotto 200PL-PRO plate which is RC2 and Arca-swiss compatible, the ball head isn’t compatible with L brackets for quickly and easily allowing photographers to switch between portrait and landscape format shooting while enjoying full movement of the ball head.

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Manfrotto Befree Advanced Carbon Fiber Travel Tripod  folded on ground

(Image credit: James Abbott)
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Manfrotto Befree Advanced Carbon Fiber Travel Tripod leg lock

(Image credit: James Abbott)
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Manfrotto Befree Advanced Carbon Fiber Travel Tripod leg twist lock

(Image credit: James Abbott)
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Manfrotto Befree Advanced Carbon Fiber Travel Tripod  at minimum height

(Image credit: James Abbott)

This begs the question, why even bother with a plate like this because it’s full of promise yet fails to deliver? Not to mention, it could be confusing when looking at the specs because if you use an L bracket, the natural assumption would be that it’s compatible with the tripod head. Of course, this won’t be of concern to many photographers who don’t use L brackets, but it’s something you need to know before considering the Befree Advanced.

In use, the Befree Advanced is quick and easy to set up, and with the exception of the of the leg lock buttons that unlock the leg angles and feel a little cheap for the price of the tripod, nothing else can be criticized in terms of quality. There’s also an accessory mount for screwing in accessory arms to hold lighting, tablets and anything else you need to support close to the camera, and if you need to shoot closer to the ground than 16.1in / 41cm minimum, the center column can be inserted into the legs upside down.

Manfrotto Befree Advanced Carbon Fiber Travel Tripod  ball head

(Image credit: James Abbott)

Beyond this, the Befree Advanced is a standard travel tripod with no other bells or whistles; it does what it says on the tin and it does it well; it’s undoubtedly a tripod for those who only require simple features. The accessory mount is nice to have and useful if you need it, while the average maximum height of 59in / 150cm is ideal for travel, landscape and city shooting despite not being the greatest maximum height available.

The Befree Advanced is an attractive travel tripod despite its overall simplicity and the Arca Swiss tripod plate quirk it suffers from. It’s certainly not a perfect package, but where it excels is in its compact size and light weight. Plus, in some cases, equally lightweight options are shorter and not quite as sturdy. In a nutshell, if you need a decent lightweight travel tripod, this remains an option worth considering despite one or two shortcomings.

Should I buy the Manfrotto Befree Advanced Carbon Fiber Travel Tripod? 

Manfrotto Befree Advanced Carbon Fiber Travel Tripod  at minimum height

(Image credit: James Abbott)

Buy it if...

Don't buy it if...

How I tested the Manfrotto Befree Advanced Carbon Fiber Travel Tripod

The Manfrotto Befree Advanced Carbon Fiber Travel Tripod was tested over a period of time using several different camera and lens combinations to test how the tripod stood up to standard use in travel-oriented scenarios. Cameras used included a premium compact, an APS-C mirrorless camera and a full-frame mirrorless camera. The tripod was also carried around with other photographic kit in my f-stop backpack to evaluate performance over longer shoots such as landscapes.

With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve been covering photographic accessories such as tripods for many years. As a professional photographer I frequently use a range of accessories to enhance my photography and bring my working experience of using these to reviews where I can consider how effective photographic accessories are from both a professional and enthusiast point of view.

First reviewed February 2024

Peak Design Travel Tripod review – triumphant unique design
6:30 pm | February 24, 2024

Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Editor's Note

• Original review date: June 2019
• Still available new, and still unique
• Launch price: $599 / £559 / AU$1,170
• Official price now: $599 / £559 / AU$1,170 (carbon fiber)

Update: February 2024. We first looked at the Peak Design Travel tripod during a hands-on review in 2019, and many years later there's still no design quite like it, which is a little surprising given how considered and successful the design concept has been delivered to create a super-compact tripod for your travels and one of the best travel tripods period. It remains available from retailers with a largely similar list price that goes all the way back to launch. 

Two-minute review

A tripod’s a tripod – three legs and a head to secure a camera – pretty simple really. So how do you improve on a tried and tested design? The Peak Design Travel Tripod undoubtedly follows this fundamental construction, but four years of research and development has delivered a unique travel tripod as well as being incredibly compact and lightweight; its folded footprint when compared to similar-sized travel tripods, is about half in terms of diameter.

The Peak Design’s legs fold in neatly thanks to their shape, which drastically reduces the profile of the tripod when folded making the diameter similar to that of a can of soda; it may not sound exciting, but it’s impressive and makes the Peak Design a highly portable travel tripod if you’re willing to pay the premium price the tripod commands.

The Peak Design Travel Tripod is available in two flavors with the carbon fibre leg option costing $600 / £560 / AU$1170, and the aluminum alternative coming in at a slightly more modest $380 / £350 / AU$670. But that’s still a high price for an aluminum travel tripod. To be fair, it certainly isn’t cheap, but the overall design is what you’re paying for and as well as looking pretty smart and, indeed unique, the Peak Design provides impressive stability despite the legs being made up of five sections.

Peak Design Travel Tripod carry bag

(Image credit: James Abbott)

Cost aside, the main difference between the carbon fibre and aluminum options is weight. The former comes in at just 2.81lbs / 1.27kg, while the latter is slightly heavier at 3.44lbs / 1.56kg. The aluminum model is still lightweight despite the legs being made of heavier material, so this remains an option worth considering if you can’t afford the carbon fiber version. All other aspects of the tripods are the same, including the folded length of 15.4in / 39.1cm with a 3.1in / 7.9cm diameter.

With such a lightweight and compact folded size, you may be thinking that this tripod is short and flimsy, but this couldn’t be further from the truth. These were my initial expectations, but I was hugely impressed with the overall sturdiness and the ability to shoot low to the ground with the center column inserted upside down into the legs or as high as 60in / 152.4cm with the center column fully extended. The center column also offers a hook for adding weight and there’s an integrated phone mount that stows away in the bottom of the center column above the bag hook for adding weight to the tripod to increase stability when required.

This is a tripod that’s intended for professional use and offers a maximum payload of 20lbs / 9.1kg, so it can handle a wide variety of camera and lens combinations. With this, you could get away with using some long telephoto lenses for wildlife photography, and the head can support the weight, but the design of the head wouldn’t provide the most efficient and comfortable shooting experience for this type of photography. Plus, the head isn’t interchangeable so you couldn’t swap it out for a gimbal head instead.

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Peak Design Travel Tripod folded on the ground

(Image credit: James Abbott)
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Peak Design Travel Tripod main leg locks

(Image credit: James Abbott)
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Peak Design Travel Tripod clip type leg lock

(Image credit: James Abbott)
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Peak Design Travel Tripod at minimum height

(Image credit: James Abbott)

Ultimately, this is no big deal because it’s clearly not a tripod that’s designed for this type of photography, but something to bear in mind if this would be an intended use. The head itself is low profile, which helps to reduce the overall bulkiness of the tripod and employs a novel design that takes getting used to if you’ve only experienced what you might call standard tripod heads in the past.

The head itself fulfils the clear desire to create something that’s compact and in keeping with the overall design of the tripod, but being a fixed head means that you have to be 100% sure that it’s something that you can get on with. What makes it different is that despite being a ball head, is that it provides two locking/adjustment rings; one for the ball mechanism and another for the tripod plate. Once you get used to which is which and you’ve used them a few times they do become intuitive, but they are undoubtedly a break from the norm.

Peak Design Travel Tripod low profile ball head

(Image credit: James Abbott)

The tripod plate uses the Arca Swiss design so it’s compatible with L brackets, which is great. And even if you don’t use an L bracket, the head and plate can be set vertically to the side for portrait format shooting with the notches of the socket providing additional stability. This is a clever design that mirrors that of the tripod as a whole.

When it comes to operation, the Peak Design is quick and easy to set up. And when I say quick, I really do mean quick because it simply needs to be extended rather than unfolded and then extended like many travel tripods. The leg locks are the older style clip locks rather than twist locks, but with the unique leg shape that facilitates the compact folding of the tripod, this is clearly the only option. It certainly doesn’t impact usability and these can be easily dismantled for cleaning and maintenance which is always useful.

Should I buy the Peak Design Travel Tripod?

Peak Design Travel Tripod at minimum height

(Image credit: James Abbott)

Buy it if...

Don't buy it if...

How I tested the Peak Design Travel Tripod

The Peak Design Travel Tripod was tested over a period of time using several different camera and lens combinations to test how the tripod stood up to standard use in travel-oriented scenarios. Cameras used included a premium compact, an APS-C mirrorless camera and a full-frame mirrorless camera. The tripod was also carried around with other photographic kit in my 'f-stop' brand backpack to evaluate performance over longer shoots such as landscapes.

With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve been covering photographic accessories such as tripods for many years. As a professional photographer I frequently use a range of accessories to enhance my photography and bring my working experience of using these to reviews where I can consider how effective photographic accessories are from both a professional and enthusiast point of view.

First reviewed February 2024

Canon RF 10-20mm F4L IS STM review – the ultimate ultrawide
5:00 pm |

Author: admin | Category: Camera Lenses Cameras Computers Gadgets | Comments: Off

Two-minute review

If you were expecting Canon's breathtaking 10-20mm zoom to be HUGE, then you're in for a surprise. (Image credit: Rod Lawton)

From the outside, there isn't much to suggest that this is one of the world’s most extraordinary wide-angle lenses. It has the characteristically elegant, smooth, matte finish of Canon’s RF lenses – and, apart from the bulbous front element (which is standard for lenses this wide), this is a slim, neat optic that’s easy to handle and won't consume too much space in your camera bag.

It’s surprisingly light: at 570g, it’s less than half the weight of Canon’s EF 11-24mm f4L USM DSLR lens. Nevertheless, it has IS optical stabilization built in – alongside Canon’s Peripheral Coordinated Control IS to control the wobbling of objects at the edges of the frame when you’re moving and filming. This is a particular issue for ultra-wide lenses and could be a big help to filmmakers using creative camera movements in interiors. 

The RF 10-20mm F4L IS STM also has a selection of exotic optical elements, glass moulded aspherical elements, UD and Super-UD glass, and advanced optical coatings. The STM AF actuators deliver fast and near-silent autofocus, too.

As usual with Canon RF lenses you get a focus ring, custom control ring and a zoom ring – and on this lens, a function button, too. (Image credit: Rod Lawton)

On the outside you get the usual Canon RF lens features including a zoom ring, focus ring, customizable control ring (shutter speed, aperture, ISO, white balance or exposure compensation) and a programmable function button.

But when you put the camera to your eye, your world changes. The 20mm maximum focal length isn't out of the ordinary, but when you turn the zoom ring to the 10mm settings, your eyes will widen along with the scene in the viewfinder.

(Image credit: Rod Lawton)

These two shots, taken from the same position, give you an idea of the RF 10-20mm's zoom range. The top image was shot at 20mm; the lower image at 10mm. (Image credit: Rod Lawton)

This lens relies heavily on digital corrections. This JPEG has in-camera corrections and is dead straight – any irregularities are in the wall, not the lens's rendering. (Image credit: Rod Lawton)

But this is the same image uncorrected, showing extremely strong barrel distortion and corner cropping. In almost all practical circumstances, though, you won't be seeing uncorrected images. (Image credit: Rod Lawton)

Your first test is likely to be to check sharpness at corners. This is usually the first casualty in ultra-wide lens designs, but the Canon RF 10-20mm F4L IS STM is pretty exceptional in this respect, even at 20mm. The corner sharpness does start to fall away a little, but you have to zoom in a long way to check. At regular print and display sizes, this lens is sharp from edge to edge.

Like many modern mirrorless lenses, especially those with extreme specifications, there’s a lot of digital correction going on here. However, chances are, you won’t ever see it. If you shoot JPEGs then it will be corrected in-camera, and if you shoot raw then Lightroom will automatically apply a correction profile of its own. So will Capture One, although the Capture One profile will leave behind some light fall-off towards the edges that you'll need to correct manually – or just keep as a creative "look".

Interior shots such as this quickly reveal the difficulty of controlling convergence in lenses this wide. The camera was kept dead level for this to keep the verticals straight. (Image credit: Rod Lawton)

But tilting the camera upwards to show more of the ceiling produces extreme convergence. It's fine as a creative effect, but hard work to control if you don't. (Image credit: Rod Lawton)

Unlike other makers, though, Canon doesn't embed a fall-back "manufacturer" correction profile in its raw files, so if you’re using software that doesn’t have a matching profile of its own, then you could be in trouble.

This lens also does take some skill to use – not because of any defect or quirk of the lens, but its sheer angle of view. Shooting handheld, it’s extremely difficult to avoid any convergence in vertical or horizontal lines. That’s fine if a dizzying perspective effect is what you’re looking for, but if you want dead-straight architectural or interior shots, they'll be a lot easier to achieve with a tripod and a geared head. Otherwise, the slightest shift in your position or the camera’s angle can radically alter the perspective.

You might imagine that focal lengths this short would produce practically unlimited depth of field, but that isn't the case. At 10mm, the angle of view is so wide that you can get really close to foreground subjects, way beyond the limits of depth of field. So that here, the background is blurred, even at f/7.1. (Image credit: Rod Lawton)

That doesn’t take anything away from the Canon RF 10-20mm F4L IS STM, as it simply goes with the territory. The fact is that it's a triumph in specifications, performance and handling. It’s amazing that anyone can make a zoom this wide for a full-frame camera – and given that, its optical performance is also fantastic, whether or not it uses digital corrections to achieve that. To have all of this packed into such a compact, light and great-handling lens is just the icing on the cake.

All that’s left is to start saving the cash to buy one.

Canon RF 10-20mm F4L IS STM: Price and release date

Predictably, the RF 10-20mm isn't cheap; but it isn't ruinously expensive for an L-series lens, either. (Image credit: Rod Lawton)

The Canon RF 10-20mm F4L IS STM was officially announced back in October 2023 and is now widely available. It’s on sale for around $2,299 in the US and £2,579 in the UK. The price reflects its angle of view, specifications and performance – so while it certainly isn't a cheap option, neither is it especially expensive by Canon L-series standards.

Should I buy the Canon RF 10-20mm F4L IS STM?

(Image credit: Rod Lawton)

Buy it if…

Don’t buy it if…

How I tested the Canon RF 10-20mm F4L IS STM

You can get striking compositions just by pointing the camera upwards, because objects from both sides of you converge. (Image credit: Rod Lawton)

I used the Canon RF 15-35mm f/2.8 L IS USM on a Canon EOS R8, testing it across its focal range, but mostly at the widest (most interesting) end. I checked out performance both wide open and stopped down. In addition, I evaluated corrected in-camera JPEGs against Lightroom-corrected raw files and uncorrected originals (in Lightroom with the correction profile disabled).

For subject matter, I shot a series of landscapes, mixing close-ups with wider shots, and also some city architecture, including interiors. My aim was to replicate as far as possible the kind of uses this lens would be put to.

I ran some quick handheld tests to check the IS effectiveness and found it reliable down to about 1/8sec, but not really beyond that. Real-world tests seldom match official CIPA figures, which are typically a "best case" measurement.

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