Insta360 Mic Air: two-minute review

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

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

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

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

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

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

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

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

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

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

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

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

Insta360 Mic Air: specs

Insta360 Mic Air: price and availability

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

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

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

Should I buy the Insta360 Mic Air?

Buy it if...

Don't buy it if...

Insta360 Mic Air: also consider

How I tested the Insta360 Mic Air

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

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

First reviewed July 2025

PolarPro QuartzLine ND filter: two-minute review

In photography, we often want more light. It’s why people seek out larger sensors and wider apertures in their cameras and lenses – in order to capture a greater amount of light in a shorter space of time. That’s brilliant if you want a fast shutter speed to freeze the action – but what if you want to use a slower shutter speed, in order to capture the motion blur of a car racing past or turn a raging river into a smooth, silky ribbon of blue?

Achieving a slow shutter speed, particular on a sunny day, can be tricky – which is where ND filters like the PolarPro QuartzLine range come in. Available in a wide range of strengths, these circular filters screw onto the front of a camera lens and reduce light transference without affecting color rendition. At least, that’s the idea.

PolarPro sent me four ND filters to test, all in 67mm thread size (they’re also available in 77mm and 82mm), in ND8, ND16, ND64 and ND1000 strengths. The ND8 filter drops light input and increases exposure time by three stops; the ND16 four stops; the ND64 six stops; and the ND1000 filter 10 stops. Obviously, having a set like this in your camera bag would be handy if you want to cover every eventuality – but it’ll be mighty expensive too.

Each filter comes with its own hinged hard carry case and microfiber cleaning cloth, emphasising their premium positioning. The cases are hard plastic, but have a fetching brushed metal finish and magnetic closure, and each is helpfully labelled with the thread size and ND value, to reduce the time it takes to pull out the right one from your bag.

The filters themselves are well crafted and beautifully solid, so it does at least feel like that money is going somewhere. Made of brass and aluminum (and with a distinctive brass-colored finish), they’re reassuring tough, with pleasingly chunky ridges that gave me plenty of grip whenever I was attaching or detaching them from my Panasonic Lumix GH6’s lens (I used a 62mm to 67mm step-up ring, also made by PolarPro, in order to do so).

The brass frame construction should keep the screw threads in good shape too, in theory – so these filters should be fitting smoothly for many, many years to come. I found them very easy to fit, but you’d expect that from new filters. They also feature front threads, allowing other filters and attachments to be fitted over them.

The glass, dubbed Cinema Series Glass by PolarPro, is made in Germany. A series of coatings purportedly eliminate color shift (any sort of color cast being added by the filter), and PolarPro also claims its ultra-low refractivity keeps the effects of the light passing through so minimal that it can fully resolve sensors with up to 400MP resolution. The coatings add anti-scratch, anti-oil and hydrophobic qualities too.

My Lumix GH6’s sensor is just 25.2MP, so doesn’t really help in putting the refractivity claims to the test, but in terms of color shift I can say I’m impressed. Even the most powerful filter of the four I was testing, the ND1000, doesn’t add much of visible color cast to images – but when closely comparing test shots without the filters to those with, there is a slight warm tint visible in the filtered images.

I wouldn’t call this a huge drawback, particularly as I think anyone spending this much money on ND filters probably has some experience in post-processing and editing photos. It’s nothing that can’t easily be fixed in Lightroom or similar, and most observers wouldn’t even notice it unless they were looking, but it’s definitely present.

Using the filters, I was able to capture long exposures (10 seconds or more) on bright, sunny days by the sea. These photos smoothed out the motion of the waves and made the surface of the water more transparent to give my images a much more dream-like quality. They would have been completely impossible to take without an ND filter, as too much light would have entered the camera and blown out the image.

I was also able to use the filters to aid my videography by helping me to shoot video with a wider aperture (i.e. for a shallow depth of field) or slower shutter speed (for more motion blur). I did find this a little more challenging at points, as it involved swapping between filters a little too often – and it’s times like that when a variable ND (or VND) filter feels invaluable. These allow you to adjust ND strength by twisting the filter, offering a much more immediate solution. I’m also currently reviewing PolarPro’s own PMVND Edition II filter with a 2-5 stop range, so look out for an in-depth review of that soon.

While PolarPro QuartzLine ND filters are certainly expensive, I was thoroughly impressed by their premium construction, glass quality and general usability, and wouldn’t hesitate to use them in my own landscape photography and videography.

PolarPro QuartzLine ND filter: price and availability

In the US, PolarPro QuartzLine ND filters cost the same price, regardless of their thread size and filter strength at the PolarPro store. Whether you pick 67mm, 77mm or 82mm threads, or the ND8, ND16, ND64, ND1000 or ND100K strengths, every filter costs $99.99. Simple and, in my opinion, good value for money – particularly given that you also get a hard storage case and cleaning cloth with each filter.

In other countries, the price can vary a lot more. In the UK, for instance, the filters seem very expensive in comparison to US pricing, and thread size and ND value seemingly have little bearing on the cost – i.e. at Amazon UK, the larger thread sizes are sometimes cheaper than the smaller ones, where logic would dictate the opposite. It’s a slightly confusing situation, with some retailers offering decent discounts while others charge the full whack.

Should I buy the PolarPro QuartzLine ND filter?

Buy it if...

Don't buy it if...

How I tested the PolarPro QuartzLine ND filter

• One week of use
• Tested with photography and video capture
• Used with Panasonic Lumix GH6 camera

I tested these PolarPro QuartzLine ND filters over the course of a sunny summer's week by the sea in southern England – an ideal time and place to put this type of light-stopping filter through its paces. I tested four filters in the range, fitting them onto my Panasonic Lumix GH6 camera (with the help of a step-up ring) to capture both still photos and video, comparing the results against shots captured without the filter.

First reviewed June 2025

Heipi 3-in-1 Travel Tripod W28S: two-minute review

Ask around, and most enthusiast photographers and creators are familiar with the accessory maker Peak Design, but newcomer Heipi? Nope.

Well, I have a welcome surprise – Heipi's carbon fiber 3-in-1 Travel Tripod W28S beats the Peak Design Travel Tripod in just about every regard, plus it's cheaper too. Three-Legged Thing's Punks Brian 2.0, however, provides stiffer competition for standard use – I explain why, below.

The W28S replaces the W28 – which I described as one of the most relevant and best travel tripods today in my in-depth review – delivering several refinements for a virtually complete and highly versatile three-legged support, in three ways.

Its 3-in-1 credentials cover regular tripod support for camera gear, the ability to support a phone instead via a clamp that's hidden in the integrated ball head, plus a generously-sized removable mini tripod, which is nestled inside the main legs, and which doubles up as a center column – the novelty of this feature hasn't worn off in this second-gen model.

Given that the main legs can tuck inside the mini tripod legs when you're done, there's no wasted space and the Heipi 3-in-1 is able to pack away more compact than most, plus it comes supplied with a snug-fit carry case.

There are limitations though. I'd hesitate to mount particularly large and heavy gear – although that's true of all travel tripods – and the Heipi tripod's maximum height is bettered elsewhere. Also, despite its 3-in-1 party tricks, there's no monopod built into one of the legs. Nor can you swap out the supplied ball head for a fluid head, which would provide smooth panning movements for video.

If none of the above are dealbreakers, though, then Heipi's latest travel tripod is the complete package, with some unique features.

It's carbon fiber build quality is top-drawer, while improved leg locks are easier to lock-off and unlock than before. Also, they lock-off with even distribution on the leg sections (rather than a clamping lock), which reduces lateral movement between sections.

The addition of a bubble-level in the base is a neat touch, even if you can't see it properly when the center column is tucked away.

Heipi also offers handy extras for accessory-laden users, such as clamp arms, which easily screw into the mini tripod legs via a 3/8-inch screw. The arms Heipi supplied to me for this review can support accessories such as an external monitor, and can even work with Heipi's optional phone clamp, so you can support a camera and phone simultaneously.

I've been able to switch between using a phone and a mid-range mirrorless camera with moderate size lens, with ease. Panning movement? No problem, unlike the Peak Design which is locked off.

Even the design of the mini tripod, which easily rests on a table top for vlogging and is impressively sturdy with a 11 lbs / 5kg max payload, has been improved. The last version felt like it sacrificed ease of use for versatility, because it was stiff to extend and put away compared to a regular center column.

Now the mini tripod slides up and down much more easily, and when fully removed it even offers multiple leg angles to work from for a variety of shooting angles, including close to the ground.

It can also be reversed and locked-off upside down in the main legs in order to shoot from lower angles. Put simply, the mini tripod is one of the most sophisticated of its kind.

With camera gear generally getting smaller and lighter, and many creators using their phones as much as 'proper' camera gear, the case for the travel tripod grows as the case for bulkier supports diminishes.

And of all the many travel tripods I've reviewed, the Heipi 3-in-1 Travel Tripod W28S is the one I come back to most often – I reckon this is the best tripod for most people.

Is Heipi's travel tripod perfect? No. There were times that I wished it could work from a higher level than its 59in / 150cm maximum reach (with the center column fully raised).

However, given it packs away with a tighter diameter than most and to just 17.7in / 45cm in length, while it weighs just 3lbs / 1.35kg (with ball head included), I'm happy to sacrifice any extra reach.

And one party trick it lacks, which you can find in many alternatives, is the ability to remove one of its legs for used as a monopod.

If you can live with the few limitations mentioned above, then the Heipi 3-in-1 Travel Tripod W28S will be the most versatile tripod you've ever used, complete with a high-quality and lightweight carbon fiber build, plus tiny pack-away proportions.

If you want a lightweight support for a variety of camera gear, Heipi would be my first recommendation.

You can discover more about the W28S's design and features in my W28 in-depth review, the two share much in common besides some of the design tweaks mentioned above.

Heipi 3-in-1 Travel Tripod W28S: key specs

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

The Heipi 3-in-1 Travel Tripod W28S with ball head is available now, from $399 / £325 on the Heipi website and from $399 on Amazon US.

There are also optional accessories such as a QR plate, and a different type of ball head in a pricer bundle. Heipi also sells clamp arms, an add-on phone clamp, plus a hammock for stowing accessories or even a weight to increase stability.

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

Should I buy the Heipi 3-in-1 Travel Tripod W28S?

Buy it if...

Don't buy it if...

How I tested the Heipi 3-in-1 Travel Tripod W28S

• I've used it over several months
• I've extensively used its 3-in-1 features
• I've attached various mirrorless cameras and smartphones

I've had the Heipi 3-in-1 Travel Tripod W28S for months and it has been my go-to camera gear support during this period.

It has ably supported beginner, mid-range and pro mirrorless cameras, although I've drawn a line at the larger sports-focused bodies and bulky telephoto lenses.

I've also used the phone clamp, attached a variety of smartphones the largest of which was an iPhone 15 Pro Max, plus tried out optional extras including clamp arms for an external monitor.

The mini tripod has had equally thorough testing as the main tripod legs. Generally I've used the gear in fair weather, but it has also withstood moderate rain and use on sandy beaches.

First reviewed June 2025

Peak Design Pro Tripod: two-minute review

Peak Design’s tripods have a couple of unique design features. One is the leg design, which is not tubular but has a six-sided cross section with an inner edge that fits straight up against the center column, with no gaps. The center column is thinner than most but also has a six-sided cross section for the legs to fit neatly against the legs when folded. This non-tubular construction does seem to give both the legs and the center column unusual stiffness.

The other unique feature is a low-profile ball head with no protruding locking nut. Instead, it’s clamped with a rotating collar, and another, just above locks and releases the compact Arca Swiss compatible camera plate.

This low profile head design means that the original Peak Design travel tripod does not have to have its legs rotated 180 degrees from their folded position before you can use it. The low height of the ball head means that you can simply fold the legs in and pack it away without any complicated manoeuvers.

These design features made the original Peak Design Travel tripod very different to anything else. Now Peak Design has taken those same design concepts and scaled them up into a Pro version designed for serious professional use.

In fact, there’s not one Pro tripod but three. The regular Pro tripod is the one I spent most time with for this review, but I also got to try out the Pro Lite and Pro Tall variants. The Pro Lite is almost the same height and folded length of the regular Pro Tripod, but has a lighter construction for easier portability. The Tall version has longer leg sections and can even reach eye level for tall people without any center column extension – it exceeded my eye level!

The new Pro tripods aren’t just bigger and more substantial than the original Travel Tripod – they have a new Pro ball head that’s larger and more substantial than the original, plus it has a neat ‘inverted’ design so that the pan axis is above the ball not below it. This means that you can level the pan axis for panning shots and panoramas without having to fiddle around with the leg lengths. It’s not a huge range of adjustment but it might be all you need.

For more extreme pan axis adjustments, or if a lot of your work is video, Peak Design has you covered. There are two new ‘mods’ to go with these tripods: one tilt head for video work, and the other a leveling bowl which you swap out with the standard center column, and which has a regular head attachment screw so that you can use your favorite video head if you want to.

I love the original Peak Design Travel Tripod, so do the new Pro tripods leave me just as impressed? Yes! It is, literally, just like using scaled up versions of the Travel Tripod. The carbon fiber legs feel just as smooth and warm to the touch, the leg clamps are just as quick and positive, and because these Pro tripods have four leg sections rather than five, they’re a little quicker to set up.

The new Pro ball head is terrific. It’s big and chunky, it locks tight and it doesn’t add a whole lot to the tripod’s height when you’re packing away. As before, there are no protruding knobs or levers to get in the way either.

Peak Design’s use of a rotating collar to lock the QR plate does take a little getting used to. The head has two collars in close proximity and at first it can be a struggle to remember which does what and how they work.

The new Pro head, though, feels absolutely rock solid, and it’s with the pan and tilt mod that it gets really clever. All you need to do is take out the regular Arca Swiss plate and slot in the pan and tilt add-on for a proper fluid pan and tilt action.

There’s an extending panning handle which is stowed against the side of the head via a magnet (Peak Design loves magnets) and can be quickly screwed into the head ready for use. It sounds like a kludge, with one head mounted on top of another, but it absolutely isn’t. It looks like it was made to work this way, and feels like it too. The tilt axis is sprung, by the way, so if you use a longer camera plate you should be able to balance it up fairly well for light and controlled tilt movements.

The center columns on these tripods are longer than the one in the original Travel Tripod, which is useful, but even though they’re fixed with a small-looking locking knob, they lock down really tight and with no flex.

You can also get spiked feet but these are an optional extra, nor does it seem like Peak Design includes a phone clamp with these tripods, so that will be a paid extra too. It kind of makes sense because these Pro tripods are overengineered for phone use anyway. If you do get the phone mount, it will still slide up into the base of the center column for storage. Here, Peak Design has stuck with its slightly complicated pull-and-twist hook release which is easy when you’ve learned how it works but can be annoying at first.

So that’s a quick tour of the Peak Design Pro Tripods, but which is the best one to get? That’s quite tricky because they are somewhat similar, both in size and price. The standard Pro tripod is expected to sell for $899.95 when it goes fully on sale in November 2025, the lighter Pro Lite will be $799.95 and the Pro Tall will be $999.95. I haven't seen prices for the UK or Australia yet.

Personally, I wouldn’t go for the Pro Lite. I can understand the reasoning – it’s a slightly lighter, slightly cheaper alternative to the regular Pro model – but it’s not a lot smaller and I think I’d rather just pay the extra for the thicker legs of the Pro model. The Pro Tall is interesting, though. If I was 6ft tall and didn’t like using center columns, I would go for this one. It’s definitely longer when packed away, but all of these tripods are too long to fit inside a backpack anyway and would end up strapped to the outside. Besides, for those times when you didn’t need the extra height you could just extend three leg sections not four, for even more stability.

Peak Design Pro Tripods: key specs

Peak Design Pro Tripods price and availability

The Peak Design Pro Tripods launch on Kickstarter on July 17 2025 but are expected to go on general sale in November 2025. The Pro Lite tripod has an expected price of $799.95, the Pro tripod will be $899.99 and the Pro Tall will sell for $999.99.

The Tilt Mod and Pro Leveling Base will be sold separately and we’re currently waiting for price information on these, but we are told the option spiked feet will sell for $49.95.

Peak Design Pro Tripods: Also consider

Should I buy a Peak Design Pro Tripod?

Buy it if...

Don't buy it if...

How I tested the Peak Design Pro Tripods

• Operational speed and efficiency
• Stiffness and rigidity
• Ball head operation
• Effectiveness of add-ons

I had just two weeks to try out the Peak Design Pro tripods because loan stocks were in short supply and shared between many different reviewers. However, I know the original Peak Design Travel Tripod very well and I review tripods as part of my work, so I already had a list of what I was looking for and expected from these new Pro tripods.

I particularly wanted to test the speed and ease of deployment and was pleased to find it was just as slick as with the original Travel Tripod but quicker, thanks to the 4-section legs and larger leg clamps. I also wanted to check if the excellent stiffness of the original Travel Tripod had scaled up to these new, bigger sizes, and it has. I don’t remember any other tripods I’ve tested with more torsional rigidity and lack of leg flex than these.

I was also keen to check how the new Pro Ball Head worked. The original was good but quite small and fiddly. This one is much better. Not only does it clamp tighter and hold heavier loads better, the inverted ball design makes levelling the camera for panning shots so much easier.

Lastly, I spent some time trying out the Tilt Mod and Pro Leveling Base and came away impressed. The Tilt Mod fixes so well to the Pro Ball Head that they feel like a single (very smooth) unit and the Pro Leveling Base took a minute or so to swap out with the regular column but lets you use your own tripod head.

First reviewed June 2025

Lowepro Tahoe BP 150: two-minute review

The temptation for most photographers is to carry as much gear as possible. After all, you don’t want to get caught without the right kit for the situation. Many of the best camera bags will let you do exactly that: pack your entire arsenal of lenses and accessories, so you’ll never miss a shot.

That’s not what the Lowepro Tahoe BP 150 is about. This is a neatly packaged backpack with just enough space for your shooting essentials, plus a handful of extras. That limited capacity means most enthusiasts will need to leave a couple of lenses at home. But the pay-off is a pack that majors in portability.

It’s also one that balances functionality with affordability. One of the cheapest Lowepro backpacks you can buy, the Tahoe BP 150 is a no-nonsense solution for toting a lean photography setup on your travels. Impressively for the money, it’s also one that comes with very few compromises.

The main compartment might be relatively modest, but clever division allows you to make the most of the available space. The top third is taken up by a zippered box pocket which is stitched in place, with a flexible base that can be moved using velcro tabs. So can the padded walls which structure the rest of the space.

Depending on what you shoot with, you’ll need to spend a bit of time playing with the position of these dividers to find a layout which best suits your setup. With some experimenting, you’ll discover that the Tahoe BP 150 can carry quite a lot more than you’d first expect, although a couple more of the small dividers would make the space even more versatile.

As it is, the bag can comfortably fit an APS-C mirrorless body with a prime lens attached, along with a telephoto and a standard zoom, plus a charger with room to spare. You could squeeze a pancake lens and a small flashgun in there, too. A larger DSLR body makes for more of an awkward fit, while enthusiasts with top-tier glass will find that the capacity soon evaporates.

This might be a backpack for traveling light, but Lowepro has still put thought into optimizing it. There’s an SD card slot on the inside of the main flap, while the front panel is angled slightly to create a usable space in the secondary pocket. That’s where you’ll find a key clip, accessory slots and a tablet sleeve that’s just big enough to fit a 13-inch MacBook Air.

There’s also a solution for traveling with tripods. Elasticated mesh pockets sit on either side of the pack, together with clips for securing tripods in place. Realistically, the shallow depth of the pockets means you wouldn’t want to risk keeping anything taller than a mini-tripod on the outside of the Tahoe BP 150.

The only design blunder to speak of is the position of the tripod clips. These fasten across the zipper for the main compartment, which means you have to undo them every time you want to access your camera kit. This isn’t a quick-access pack at the best of times, with a fair bit of unzipping needed to get at your gear. Having clips in the mix quickly becomes frustrating.

Still, the LowePro Tahoe BP 150 is otherwise a camera bag that hits the sweet spot of practicality, price and protection. Despite its compact dimensions, the shell benefits from padding in all the right places. Granted, I wouldn’t want it chucked around on a baggage carousel, but I never felt that my gear was at risk while wearing it.

The same goes for the straps and back panel. This is far from a technical pack and you don’t get the kind of support or adjustment found on the Lowepro PhotoSport BP 24L AW III, but there’s enough cushioning to make the Tahoe BP 150 comfortable to carry fully loaded on a journey.

From the zips to the seams, the whole thing feels durable. That’s not a surprise from Lowepro, but it’s a welcome fact for the price. And it’s all the more impressive when you consider that the Tahoe BP 150 weighs just 800g, making it one of the lightest camera bags you can buy.

The one thing missing is a rain cover. The backpack is water-resistant enough to shake off a summer shower, but it’s not fully waterproof. Then again, given how affordable it is, you could always buy a third-party rain cover if you’re worried about downpours.

If you want an unfussy backpack with minimal bloat and travel-friendly dimensions, it’s hard to go wrong with the LowePro Tahoe BP 150. Other camera bags might be bigger and more adaptable, but this one gets the basics right at the right price.

Lowepro Tahoe BP 150 review: price

The Lowepro Tahoe BP 150 has been available to buy since 2015. At launch, it was priced around $95 / £85 / AU$175. The backpack’s price has dropped several times over the last few years and it can now be found online for around $75 / £65 / AU$100.

A quick look at price tracking websites also confirms that the Lowepro Tahoe BP 150 is regularly discounted during sale events, such as Amazon Prime Day. It’s already a great-value camera bag, but if you want an even better deal, we suggest holding out in case it’s reduced again in the next seasonal sale.

The Lowepro Tahoe BP 150 is available in four color variations: blue (as tested here), black, red and green (which features urban camouflage pattern detailing).

Lowepro Tahoe BP 150 review: specs

 Should I buy the Lowepro Tahoe BP 150? 

Buy it if...

Don't buy it if...

Lowepro Tahoe BP 150 review: Also consider

How I tested the Lowepro Tahoe 150

• Packed with a DSLR and two lenses, plus accessories
• Carried around daily for a fortnight
• Wore in all weather conditions

When testing the Lowepro Tahoe BP 150, my aim was to assess its real-world practicality for different photographers. That started with loading it up. To get an idea of its true capacity, I played around with fitting both APS-C and DSLR shooting setups into it. I re-arranged the internal dividers several times, to see what combinations of camera body, lenses and accessories it could take.

I also packed out the Tahoe BP 150 with as many accessories as possible, including a mini trip on the side and a laptop in the front sleeve. This was partly to see just how much gear it was realistically able to accommodate, but also to get a feel for how comfortable the bag was to carry when fully laden.

With that in mind, I walked with the Lowepro on my back every day for a few weeks. This first-hand experience gave me a genuine impression of what the Tahoe BP 150 is like to work and travel with, including how easy it is to access the various pockets and compartments on the move. I also wore the backpack in different weather conditions, to put its water-resistance to the test.

First reviewed June 2025

Hollyland Lark M2S Combo: two-minute review

Understatement isn’t a common characteristic among content creators, but it’s a winning feature for this wireless mic kit. With two tiny receivers weighing just 7g apiece, the Hollyland Lark M2S is designed to fly under the radar. Hooked over your collar, only a small part of each pick-up is visible. The result is an audio solution that doesn’t distract your audience.

It’s also a versatile one. Available in several variations, the Hollyland Lark M2S Combo kit on test here includes two transmitters, a USB-C mobile receiver and a cold-shoe unit that connects to cameras via USB-C or 3.5mm. There’s also a Lightning cable in the box for connecting to legacy Apple devices. That makes it a pretty complete kit, whatever you choose to shoot with.

Each transmitter is held in place by a rubberized clip, with grips at the tips for extra security. Many of the best wireless mics used magnetic backs to give you more flexibility when positioning. In practise, most users will want the mic on their lapel anyway – and even with the hook on show, the M2S is as subtle as they come.

Despite their discreet size, the omnidirectional pick-ups do a better job than any built-in mic, whether you’re shooting with a smartphone or one of the best video cameras. How the 24-bit audio signal is processed depends on the pre-amp inside your recording device, but voice clips are generally clear and rich enough for the casual listener.

Blustery conditions can be an issue. The bundled windshields do a good job of buffering against buffeting, though attaching them raises the profile of the mics. You also have the option of enabling noise reduction. This tends to flatten and crisp up the sound slightly, but it’s an effective solution where background noise would otherwise be too intrusive.

Noise cancellation can be activated by pressing the single button found on each transmitter, the button on the USB-C receiver or the dial on the camera receiver. The latter is also used to adjust the output volume, while a long-press switches between mono and stereo recording. That makes the interface sound more complicated than it is. There is a slight learning curve, but once you’ve got your head around the meaning of each indicator light, it’s intuitive enough.

Battery life is far from featherweight, with each transmitter rated for up to nine hours on a single charge. Returning them to the charging case yields a further 18, giving the whole package some serious longevity. Together with its neat proportions, that makes it an attractive solution for creators who need to shoot on the go – even though the case itself feels quite plasticky and the components are prone to rattling inside.

Other wireless mics feel more premium, while the DJI Mic Mini uses a neater single receiver. But if you want a compact and cost-effective way to upgrade your audio quality, the Hollyland Lark M2S Combo kit offers solid value.

Hollyland Lark M2S Combo: price and release date

• $149 / £140 / AU$269 for the Combo kit
• Includes 2x mics, 2x receivers, Lightning cable and charging case
• Several kit versions available for different devices

Launched in January 2025 as a follow-up to the Lark M2, the Hollyland Lark M2S wireless mic is available to buy now in one of several bundle variations. On test here is the Combo kit ($149 / £140 / AU$269), which includes the following:

• Transmitters x2
• Receiver (camera)
• Receiver (USB-C)
• Charging case
• Windshields x2
• 3.5mm cable
• USB-C to Lightning cable
• USB-A to USB-C cable

The Combo kit is designed to give content creators the flexibility to work with both smartphones and cameras. The Lightning cable allows you to connect the camera receiver to older Apple devices. The Combo kit offers good value for what’s included, but other options will be better suited to specific creator requirements.

The cheapest Hollyland Lark M2S option is the barebones USB-C kit ($119 / £110 / AU$219). This includes two transmitters and a USB-C receiver for use with a smartphone. With no option to connect to a camera, it’s the best choice for mobile-only recording.

The next step up is the Mini Combo ($139 / £130 / AU$249), which is the same as the Combo kit, except it doesn’t include a Lightning adapter cable. It’s the best choice if you want the flexibility to connect to a camera and USB-C smartphone.

Top of the pile is the Ultimate Combo ($159 / £150 / AU$289). In addition to the USB-C and camera receivers, this adds a dedicated Lightning receiver to the mix. Given that the Combo kit includes a Lightning cable, there are few people for who this will be a necessity. Unless you absolutely need a physical Lightning receiver, this version is best seen as a legacy option.

Hollyland Lark M2S Combo: specs

Hollyland Lark M2S Combo: Design

• Lightweight transmitters with built-in rubber clips
• USB-C receiver with two indicator lights
• Camera receiver with indicator lights and control dial

Dinky is the order of the day with the Lark M2S. From the tiny transmitters (7g each) to the compact camera receiver (12g), everything in the bundle is ultra-light. The components weigh less than almost every other kit in our list of the best wireless mics, including the DJI Mic Mini and the Rode Wireless Micro.

Despite being housed in plastic, the transmitters and receivers feel well-built and sturdy enough for long-term use. The little orange buttons on each device give satisfying feedback, as does the click-scroll of the control dial on the cold-shoe adapter. It’s only the charging case that lets the side down: the hinge for the lid creaks and moves, while the parts rattle around while charging inside.

Still, for a low-weight, low-cost kit, the Lark M2S feels like it’s been assembled with thought. Effort has certainly gone into the design of the transmitters. Most wireless mic kits have rectangular units held in place by a magnetic back. This gives you versatility when mounting, but means the pick-up is quite visible in video footage.

Hollyland has taken a different approach with the Lark M2S. The transmitters are attached by a U-shaped hook with a titanium arm inside. This clips over a collar, with rubber ridges on either side for extra grip. It’s a foolproof solution: it has enough flexibility to fit over different fabrics, with sufficient resistance to hold firm. No magnets means one less piece to lose – and most users will place the mic on a hem anyway.

The added benefit is that the larger side of the transmitter unit is hidden beneath your clothing. Only part of the arm and the smaller puck sits on the outside. The result is a very subtle setup. With mini dimensions and no branding, the mic could easily go unnoticed in interview footage. It’s a lot less distracting than larger alternatives.

That design does mean the button and indicator light on the transmitter are hard to access when you’re wearing it, particularly as the little LED is obscured beneath the hook arm. Helpfully, there are corresponding lights on the receiver units which indicate the mode and connection status.

The user experience differs slightly depending on which receiver you’re using, but the setup is the definition of plug-and-play. Recording on mobile couldn’t be simpler: remove the transmitters and mobile receiver from the case, insert the USB-C unit into your smartphone and the two LEDs will turn solid to show that everything is connected. The single orange button on the receiver toggles noise cancelling on (green light) or off (blue light). You’re good to go.

Connecting to a camera is no more complicated. Take the cold-shoe receiver and transmitters out of the case and they’ll pair automatically. Then simply hook it up to your camera via 3.5mm or USB-C (or both at the same time) and you’ll get an audio signal. You can also use the bundled USB-C to Lightning cable to connect the camera receiver to an older Apple device.

The camera receiver’s interface is a touch more complicated than the mobile one. You get the same LEDs for connection and noise cancelling status, plus an orange button for power. Then there's an arc of three additional lights to indicate the output volume, which can be adjusted by turning the dial. Pressing the dial changes the noise reduction setting, while a long-press switches between mono and stereo.

There’s a slight learning curve when it comes to the meaning of each LED, but it’s intuitive enough to get your head around after a few minutes. What you don’t get is any kind of display for real-time audio monitoring. That’s a luxury reserved for premium mics that cost and weigh more. It’s also one that’s absent from the DJI Mic Mini and Rode Wireless Micro.

Hollyland Lark M2S Combo: Performance

• Omnidirectional audio with optional noise cancelling
• 9 hours battery life (transmitter), 18 hours battery life (case)
• Up to 300m range

Rating audio quality is a tricky thing, because it depends on your expectations. If you’re a professional sound engineer, you’ll find things to fault with what the Hollyland Lark M2S produces. But if you’re comparing it to the built-in mic on your smartphone or camera, the M2S is leagues ahead.

The additional caveat here is that results are influenced by the device you’re using and its built-in pre-amp. Send the same signal from the Lark M2S to an iPhone and a DSLR camera, as I did, and you’ll notice differences which result from how each device processes the audio.

The Hollyland Lark M2S has strong foundations. It records 24-bit audio at 48khz, which sets it up well for capturing detail. You can also set the output level to high, giving your device more to work with. Serious users will balk at the lack of 32-bit float recording or on-board storage, but that reflects the target market of the M2S. There’s enough detail and depth here to satisfy content creators and anyone who wants to improve the quality of their voiceovers.

The omnidirectional pick-ups do a decent job of isolating speech against background hubbub. As with many wireless mics, though, wind noise is an issue. The bundled fluffy windshields help to tackle this, but also make the mics more visible.

Your other option is to enable Environmental Noise Cancellation. This is highly effective at limiting the impact of blustery conditions on your recordings. It also works well at reducing traffic noise to a barely audible level. The trade-off is that noise cancelling tends to make vocals sound slightly flatter and more processed – although not as significantly as some wireless mics.

You can adjust the level of noise cancelling through the LarkSound app, with high and low options. Usefully, the app can also be used to monitor the audio level from each mic in real time, giving you a visual indication of whether the gain setting needs to be changed to avoid clipping. This can be controlled in the app, as can the channel mode, which allows you to switch from mono to stereo recording when using the camera receiver.

Transmission range is rated at 300m. Unless you’re working at telephoto distances, there are few occasions when you’d need to be that far from your recording device. Still, with a clear line of sight from transmitter to receiver, I didn’t encounter any signal drop-out at a distance of about 100 paces. That changed as soon as something came between the two. In reality, most users will work at close range, where clear transmission won’t be an issue.

Longevity is also assured. Despite the miniature dimensions of the Lark M2S, battery life comes in at a competitive nine hours. The case can also recharge the components twice over, giving you a total recording time of close to 30 hours before you’ll need to use a wall charger. The case itself needs around 90 minutes to go from flat to full.

It’s unlikely that most users will encounter a shoot where they have to record for 9 hours straight, but it’s reassuring to know that the Lark M2S can live through a lot of takes before it needs returning to the case. Using it as many content creators would – on the move, taking out the components to record clips on location, then storing them back in the case – the M2S simply ran and ran. For such a compact kit, the battery life is seriously impressive. This is a wireless mic that’s easy to live with.

Should I buy the Hollyland Lark M2S Combo?

Buy it if…

Don’t buy it if…

Hollyland Lark M2S Combo: also consider

How I tested the Hollyland Lark M2S Combo

• Tested extensively over several weeks
• Paired with both the camera and USB-C receivers
• Recorded audio in a range of indoor and outdoor settings

Given that the Hollyland Lark M2S is a wireless mic kit that’s designed to let content creators capture quality audio on the go, that’s how I approached this review. I packed the kit in my backpack every time I headed out of the house, then recorded voiceover content wherever the day took me.

That meant I captured audio clips in a whole range of settings and scenarios, from noisy cafes to windy walks along busy roads. I tested the transmitters at all three volume levels, with and without the windshields installed, and with noise reduction enabled and disabled. This gave me a catalog of recordings with which to make comparisons on clarity and quality.

Because the Lark M2S Combo is pitched as a full kit for creators, I tested it with both the USB-C mobile receiver and the cold-shoe camera adapter. With the latter, I wired up to a Nikon D7100 using a 3.5mm cable, as well as using the bundled Lightning cable to connect an iPhone 12.

During my time with the Lark M2S, I tried to use it as someone might do in the real world. That meant clipping the transmitters to different items of clothing. I also purposefully interacted with interface before consulting the instructions in detail, to get a realistic idea of how accessible the system is for beginners.

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

Fulaim X5M: one-minute review

The Fulaim X5M is yet another option in what has become a boom area of content-creation tech: the miniature wireless digital microphone. Designed for vloggers, podcasters and the like, this set is a competitor to the likes of the DJI Mic 2 and Rode Wireless Micro, with clip-on transmitters wirelessly beaming an audio signal to a receiver that can be connected to a smartphone, computer or camera.

Perhaps the main selling point of the X5M is its budget-friendly price, which undercuts premium rivals like DJI, Rode and Sennheiser by a wide margin. That makes it a tempting purchase for newbie content creators who are just getting started, particularly given the flexibility offered by its adapters, along with the ability to record directly onto the transmitter's own 4GB of internal storage.

I'd expect some concessions to be made with any budget product, and with the X5M I'd say the main ones are its rather cheap-feeling build quality, and the fact that its audio quality tops out at 16-bit where premium rivals offer 24-bit and even 32-bit float options. The display on the receiver could do with some tweaks to make it a little more readable too, but none of the above are what I'd call deal-breakers.

If more premium mics are out of your reach, and you want something a little more flexible than the smartphone-only Boya Mini, the Fulaim X5M is well worth a look.

Fulaim X5M: price and release date

• List price is $199 / £150 / AU$310 for dual TX set
• Cheaper non-recording edition available
• Sold only as a set

Dual-transmitter kits with a charging case don’t come much cheaper than the Fulaim X5M. Its list price is $199 / £150 / AU$311, but I’ve found it for far less at many online stores including Amazon US for around $90 / Amazon UK for around £100, so you’ll be paying a lot less than you would for the likes of the DJI Mic Mini or Rode Wireless Micro.

That’s the price for the version of the X5M I was sent for review, which includes built-in recording on the transmitters. An even cheaper version lacking that feature is also available, for around $30 / £22 / AU$35 less.

Both sets are available to buy now from a range of online stores, but it’s worth noting that you can only get the X5M in a full package that also includes two transmitters, one receiver, a charging case, USB-C / Lightning / 3.5mm adapters, two furry windscreens and a USB-C cable; aside from replacement bits like the adapters and magnets, the elements of this kit aren’t available for individual purchase, at least as far as I could tell.

Fulaim X5M: specs

Fulaim X5M: Design

• Most elements slot into charging case for transport
• Entire package weighs 8.5oz / 240g
• Adapters for USB-C, Lightning and 3.5mm included

The X5M, like many wireless mic packages, comprises two wearable transmitters, a receiver that can be connected to smartphones, tablets, computers and cameras, and a case that not only holds them but recharges their internal batteries. The case also has space for three connector adapters for the receiver (USB-C, Lightning and 3.5mm), a USB-C port for charging, and four LEDs on the front to give you a quick indication of its own battery life.

The whole kit will fit easily in your coat pocket, making the X5M wonderfully portable. I would have liked some kind of pouch or carrying bag to be included in the set though, as there’s nothing to stop the case flipping open in your bag and disgorging its contents. Also, there’s no room in the charging case for included accessories like the two furry windscreens or USB-C cable, so having a bag to hold everything would have made a lot of difference.

I found the general build quality to be okay, if a little cheap and plasticky. Pricier mic sets like the DJI Mic 2, Sennheiser Profile Wireless and Saramonic Ultra are all much sturdier than this – but that’s one reason you have to pay more for them, I suppose. There’s also no waterproofing on any of the elements here – at least nothing mentioned by Fulaim – so if you want to record outdoors in inclement weather you’ll need to exercise caution.

The transmitters are small and lightweight, and can be attached to clothing via a clip or magnet. The clip is nice and strong, but I found the magnet pull to be a little weak, and I wouldn’t want to risk using it on any garment thicker than a lightweight T-shirt, lest it fall off.

Each transmitter has a USB-C port for charging and data transfer, as well as two buttons: one to switch power on/off and another that can be tapped to engage noise reduction tech and held down to start recording. It also has a 3.5mm input, enabling users to attach a third-party lavalier mic.

The receiver has a USB-C port for charging, plus an interface on the back that can accept one of the adapters, allowing it to be connected directly to products with Lightning, USB-C or 3.5mm ports. I tried it on my iPhone 13 and Panasonic GH6 II camera (with the Lightning and 3.5mm ports respectively) and found it to be a secure and fairly low-profile fit.

It also has a small non-touchscreen display that indicates battery life, recording mode, connection status and audio gain. This is a little hard to see from a distance at times, due to the choice of font and icons and its tiny size, but better to have than to not, I suppose.

The receiver also has two hardware buttons: one for power and one to toggle through five levels of gain adjustment.

Fulaim X5M: Performance

• 16-bit audio quality with noise reduction
• Stereo, mono and safety recording modes
• Transmitter can be used solo

There’s no sign of 24-bit or 32-bit audio here. The X5M, as befits its budget status, sticks with 16-bit audio – and I think that’s fine for a cheap wireless mic. Having tested the recording quality both indoors and outdoors on a blustery day, I’m more than happy with it – and I strongly suspect anyone who’s upgrading from a built-in mic on their phone or camera will feel the same. The sound is so much richer and fuller from a dedicated mic, while the furry windshield succeeds in cutting out wind noise when you're recording outdoors.

There’s even a noise reduction mode that, while I wouldn’t rely on it in truly challenging conditions, is very effective at reducing background hums – the likes of fans, air conditioners and road noise.

The X5M can record in three different modes: mono (which uses a single transmitter), stereo (where both transmitters record in tandem to create a single recording) and safety (where the second transmitter records at a slight gain reduction, as a backup track in case of the primary track experiencing a sudden loud noise or similar).

Each transmitter can be used for solo recording too, so you can ditch the rest of the set if you’re traveling really light. With 4GB of internal storage, it can record around nine hours of audio.

Battery life runs closer to six hours, however, with two full-recharge cycles being held in the charging case. In theory, with the charging case in your pocket you can get 18 hours of use out of the X5M before having to track down a wall socket or power bank, which is about average for a wireless mic set.

As for wireless range, Fulaim claims the X5M can work up to a range of about 650ft / 200m – that is, the distance between the transmitter and receiver. That’s in perfect conditions, of course, and I would expect the real-world figure to be a lot lower, although for the vast majority of users range is never going to be an issue. I certainly had no problems with connectivity or transmission during my review period.

Should I buy the Fulaim X5M?

Buy it if…

Don’t buy it if…

Fulaim X5M: also consider

How I tested the Fulaim X5M

• I used it regularly for a week
• I tested outside and indoors
• I used it solo, and paired with iPhone 13 and Panasonic Lumix GH6 II

In order to see how it fared in different environments I tested the Fulaim X5M in a range of scenarios, from the quiet and relatively controlled environment of my home office to the windy coast of southeast England.

I also recorded with it in several different ways: using the transmitter’s built-in recording capability; with the receiver connected to my Apple iPhone 13 using a Lightning adapter; and with the receiver connected to my Panasonic Lumix GH6 II mirrorless camera via its 3.5mm analog adapter.

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

f-stop Tilopa 50L DuraDiamond: Two-minute review

There are typically two types of outdoor backpacks for photographers: those that follow a traditional photography backpack design and those that are based on hiking backpacks and feature a modular ICU (internal camera unit) design where you can customize the camera storage within the bag. The f-stop Tilopa 50L DuraDiamond is a high-end modular bag that fits into the latter camp and is designed specifically for outdoor photographers like me, for whom it's one of the best camera bags available.

The f-stop Tilopa 50L DuraDiamond has been available for a few years and is a newer, tougher version of the original Tilopa. It's a large bag with a 50-liter capacity, and this can be paired with large ICUs for carrying mostly camera gear alongside other items in the additional compartments, or with a smaller ICU for less photo gear and lots of outdoor kit including camping equipment for a one- or two-night wild camping trip.

This cavernous bag is built to an incredibly high standard and it's versatile too – as well as offering compatibility with f-stop ICUs, there are lots of pockets and compartments to store your essentials, including space for a three-liter hydration bladder and up to a 16-inch laptop. The bag also features an internal frame like traditional hiking backpacks alongside being made of tough waterproof material.

I've been an outdoors photographer for more years than I can count, exploring tough terrains in inclement weather, and the f-stop Tilopa 50L DuraDiamond has been a reliable and versatile backpack throughout. It might cost a lot, but for me its decent value given the years of service.

f-stop Tilopa 50L DuraDiamond: price and availability

• Several kit options
• Available in three colors
• Available direct and from third parties

The f-stop Tilopa 50L DuraDiamond has been available for years directly from the f-stop website, Amazon and other online retailers. Pricing on the f-stop website is in US Dollars and Euros, with the bag coming in three colors: Anthracite Black, Cypress Green and Magma Red. You can purchase the pack/bag only, which is ideal if you already own f-stop ICUs, or in three bundles which include Essentials, Elite and Master. You can, alternatively, buy the pack/bag only and purchase the desired ICU separately.

The pack Only costs $399.99 / €399.99, while the Essentials bundle costs $499.99 / €499.99 and also includes a Pro Large ICU, Gatekeeper Straps and Large Rain Cover. Step up from Essentials to the Elite bundle ($579.99 / €579.99) and you'll also get a Shallow Small ICU, while the Master bundle costs $769.99 / €769.99 and further adds a Slope Medium ICU, Large Accessory Pouch and Packing Cell Kit.

Mindshift Backlight 26L: specs

f-stop Tilopa 50L DuraDiamond: design

• Extremely comfortable
• Built for the outdoors
• Modular design

The f-stop Tilopa 50L DuraDiamond is a modular backpack so you can change the ICUs depending on your photography needs. There are also lots of additional accessories available including packing cells, straps and accessory pouches, so you can build the perfect bag system for you and your outdoor photographic adventures.

This is a large backpack – not the largest f-stop option available, but at 50 liters the Tilopa has a huge amount of storage space on offer. Just to give you an idea of its dimensions, the bag is 62.3 x 34.8 x 24.4cm / 24.5 x 13.7 x 11.1in with an empty weight of 4.2lb / 1.9kg.

That empty weight is as heavy as some traditional outdoor backpacks that are half the capacity of the Tilopa with fixed camera compartments, but obviously increases depending on what ICUs you're using; they don’t weigh much, but the Pro Large I tend to use weighs 1.71 lbs / 0.76 kgs.

When you consider the weight in this context, the Tilopa is lightweight given the capacity of the bag. The overall capacity is obviously fixed, but you can extend the amount of additional space for personal/outdoor items by using smaller ICUs. There are also pockets in the lid of the bag and on the sides with one able to accommodate a three-liter hydration bladder, complete with a guarded hole for the tube to maintain water resistance.

There's also a large front pocket on the bag with further compartments in the flap; this is quite large and can hold a wide range of items including a jacket. There's a slot to accommodate a 16-inch laptop in the padded rear-entry back panel as well as two larger pockets and four memory card slots that secure magnetically.

On the front of the bag, there are attachments for two walking poles or ice axes as well as the ability to carry a tripod on the front or sides of the bag. There are also pockets and netted straps on the waist belt and shoulder straps, while there are plenty of loops for attaching straps to carry items such as a tent outside of the bag.

The build quality of the bag is excellent and the proprietary DuraDiamond material is both extremely tough and also water-resistant. Tougher Hypalon material is used as reinforcement in a few areas where additional strength is required and the large and comfortable-to-use zippers feature weatherproofing to keep moisture out.

On the inside, the Tilopa features an aluminum frame like traditional hiking backpacks to add rigidity and comfort. This, I have to say helps to make the Tilopa incredibly comfortable to wear.

For the purposes of this test, I paired the Tilopa with the Pro Large ICU which provided enough storage for my standard kit; two full-frame camera bodies with 70-200mm f/4 and 16-35mm f/2.8 lenses attached, a third lens, square filters, shutter remotes and lens cleaning accessories. It could be reconfigured to carry more if lenses weren't attached to the camera bodies, but this is a setup that works perfectly for me.

The only negative with the Tilopa is that it doesn’t have a pouch/pocket that can carry a water bottle, like the side pouches on the smaller 37-liter f-stop Ajna. It's not the end of the world because you can put a bottle in the main front pocket, and one of the side pockets is designed to be used with a hydration bladder. You can also purchase the Mano Water Bottle Pouch separately and this will carry a 17 fl oz / 500ml bottle.

One of my favourite features of the bag, alongside the versatility of the ICUs and its comfort in use, is that you can access gear without fully removing the bag and putting it down on the ground. This is ideal when shooting in water or muddy locations. To do this, you simply remove the shoulder straps and rotate the Tilopa to your front with the waistbelt in use. This allows you to access your kit via the rear panel – perfect for outdoor photography.

Should I buy the f-stop Tilopa 50L DuraDiamond?

Buy it if...

Don't buy it if...

How I tested the f-stop Tilopa 50L DuraDiamond

• Long term review based on several years hands-on use
• All features tested
• Used in outdoor locations, including mountains and coast

I've owned the f-stop Tilopa for several years and use it either when I'm on a wild camping photography trip or when I need to carry more kit alongside outdoor gear. The Tilopa has been tested over an extended period where all of its strengths and weaknesses have been exposed, and it has been used in all weather conditions in the hills, mountains and at the coast. While the Tilopa would function perfectly in urban environments, I typically use lower-capacity backpacks in the city.

First reviewed March 2025