Wandrd PRVKE V4 bag: Two-minute review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Wandrd PRVKE V4: price and availability

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

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

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

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

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

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

Wandrd PRVKE V4: specs

Should I buy the Wandrd PRVKE V4?

Buy it if...

Don't buy it if...

Also consider

How I tested the Wandrd PRVKE V4

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

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

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

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

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

First reviewed January 2026

Manfrotto One hybrid tripod: two-minute review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Manfrotto One hybrid tripod: key specs

Manfrotto One hybrid tripod price and availability

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

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

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

Manfrotto One hybrid tripod: Also consider

Should I buy the Manfrotto One hybrid tripod?

Buy it if...

Don't buy it if...

How I tested the Manfrotto One hybrid tripod

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

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

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

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

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

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

First reviewed December 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Buy it if...

Don't buy it if...

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

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

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

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

First reviewed December 2025

Sirui SVM-145P: two-minute review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sirui SVM-145P: key specs

Sirui SVM-145P: Price and availability

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

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

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

Sirui SVM-145P: Also consider

Should I buy the Sirui SVM-145P?

Buy it if...

Don't buy it if...

How I tested the Sirui SVM-145P

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

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

First reviewed October 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Buy it if...

Don't buy it if...

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

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

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

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

First reviewed October 2025

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