I Don’t often do this (around this way, kind of topsy turvy) but after a couple more weeks along from when I wrote up my review below, I wanted to head out and get some extra solid use of the sticks in before sharing my thoughts. A lot of the time, as someone who has been in this ‘review’ game a long time, either submitting reviews or soliciting them for brands that I’ve worked with, there’s a wow-factor at the start of the process when a product is super-slick right off the mark.. That’s exactly how I felt when I took the Peak Design tripod from its box and unzipped the case to reveal its long 3K Weave Carbon Fiber legs.

It looked super-slick, I was a bit wowed if I’m honest, it’s a beautiful piece of gear! But that can be where the trouble starts you see… All that glitters, sometimes, ain’t gold. (Oh, and it really is tall! (I’m 6’3″)

I took the Peak Design Pro Tripod out on a whole bunch of shoots, I took it on a 3 hour public transport trip to the ocean, we went on trains, in cars, I used it low and high and was looking for “the catch” but I didn’t find it.

I’m a big fan of good tripods and have been using another brand for a whole heap of years now, and while I’m not going to compare directly, it’s great to have a comparison in my head of a tripod I’ve used often and like a lot, to this, the Peak Design Pro Tripod.

Tripods are funny things. Most photographers buy a cheap one first, discover its limitations, then eventually buy the tripod they should have purchased in the first place.

Peak Design have sent us across their recently(ish) released Pro Tripod (We have the tall model) for review.

The new Peak Design Pro Tripod feels very much like that second (or third, even) purchase. Peak Design made a name for itself with the original Travel Tripod, a product that challenged the traditional idea of what a tripod should look like. Its compact design packed neatly into a backpack while offering impressive stability for its size. This happened well after Peak Design’s first product, Capture, back in 2011 (I’m pretty sure I still have one of the long-bolt Prototype Captures in my storage locker)

The Pro (Tall, and I make this delimitation multiple times, as there are three models, Pro, Pro Lite and Pro Tall) takes that same design philosophy and scales it up for photographers and videographers who need more height, more rigidity, and more confidence when supporting expensive gear. Importantly, Peak Design continues to sell the original Travel Tripod — the Pro series is an addition to the lineup, not a replacement.

At around AU$1,799, it’s certainly not an impulse purchase. The question is whether it delivers enough performance to justify the premium?

Specifications

First Impressions (After the whole unpack piece!)

If you’ve ever used the original Peak Design Travel Tripod, the Pro Tall immediately feels familiar. The folded shape remains remarkably slim thanks to Peak Design’s unique leg design, which wraps tightly around the centre column and head. Even though this is a significantly larger tripod than the original Travel Tripod, it still slides into a backpack side pocket more easily than many traditional professional tripods. With the legs closing in together, a finished diameter similar to the unique ballhead design means you don’t get that awkward “where does the tripod plate sit when I close my tripod up, etc.

Side benefits of the slim-fold way the Peak Design tripod range are built means that they’re easy to slip into the included protective carry case, it has a carry strap and a sturdy feeling zipper along with a little internal pocket for, I guess, carrying the included tool.

Build quality is exactly what you’d expect at this price point. 3K Weave Carbon Fiber legs, 6061-T6 CNC-machined aluminium components, flip-lock leg levers that are smooth and satisfying to operate — and an overall feeling that somebody really obsessed over every detail. Unlike many tripods that use twist locks, Peak Design has stuck with flip locks across the Pro series. It’s the right call: the non-circular leg profile makes twist locks impractical, (or even impossible?) ..and the flip locks give you clear visual confirmation that everything is secured before you trust them with expensive glass. In use, the flip level leg locks are easy to use requiring little pressure to open or close, I had no “half-locked OH HECK” moments.

Nothing rattles. Nothing feels flimsy. But it comes at a price. Moving on…

Height Matters

The ‘Tall’ in the name isn’t marketing fluff. At 197.4 cm maximum height, this tripod is genuinely tall — a 30% increase over the original Travel Tripod. For many photographers, that means shooting at eye level without extending the centre column very far, if at all. That’s a bigger advantage than it might sound. I’m a 6’3″ human as I mentioned earlier and I almost always have to stoop quite a bit, or put the centre column up, one a larger tripod like the one I use most days, this isn’t an issue, on a travel tripod, things can get a bit dicey! This Pro Tripod is tall enough for my use with the centre column retracted, ultimate stability.

Every tripod becomes less stable as the centre column rises. By building extra height into the legs themselves, the Pro Tall allows photographers to keep the centre column lower while maintaining a comfortable working height. The result is a more stable shooting platform, especially when working with longer lenses.

For landscape photographers, wildlife shooters, and anyone taller than average (I don’t even know what average is… I’m 6’3″ and feel kinda tall, sometimes), this alone could be the feature that sells the tripod. Note: I’m specifically talking about the TALL version, keep in mind that the Tripod Pro comes in three size. Just to reiterate sizing, they come as follows…

• Pro Lite – 133cm (legs only)
• Pro – 138cm (legs only)
• Pro Tall – 162cm (legs only)

The New Ball Head

Peak Design has redesigned the ball head for the Pro series, and it addresses one of the biggest criticisms of the original Travel Tripod. I will say, as this is my first version of the Peak Design Tripod that I’ve spent a meaningful amount of time with, so my comparisons between the original and this ballhead are from researching.

The new Pro Ball Head features 360° fluid panning with an independent lock, and allows 90° tilting when the centre column is slightly raised. It’s a meaningful improvement over the original design, particularly for hybrid shooters who move between stills and video. I am reviewing the product as a stills photographer, so I didn’t spend much time using it for any worthy filmmaking – I won’t pretend.

That said, one thing worth knowing if video is your priority: while the integrated fluid panning is genuinely useful, full fluid pan-and-tilt capability requires Peak Design’s optional Tilt Mod accessory, sold separately. If you’re planning to run a dedicated video rig, factor that additional cost into your budget.

The Arca-compatible quick-release system is also improved, with faster mounting and a reassuringly secure hold. A secondary safety lock toggle provides double-locked security for added peace of mind with heavier setups. I had read people were a little concerned with the ability for the plate to fall from the tripod if you accidentally unlock it during use! I found the safety-lock easy to use and engaging it became second nature. I also used the tripod with an L-Bracket from 3LeggedThing with no issue. You can see the safety lock in the photo below.

Engaging the ballhead lock when inserting the plate, for either the included tripod plate, or the L-Bracket was very simple, one side of the plate hooks into one side of the head, the other pressing down on the slender silver button quickly locking the plate in place, then locking the safety lock with your thumb – all in one fell swoop.

I did note that the arca plate that is the foot of my Tamron 150-500mm lens would not fit into the ballhead (it’s designed in a way that it won’t engage the silver lock button) I attached the included tripod plate to the foot and that problem was solved.

So, Who Is This For?

If you’re shooting with an entry-level camera and kit lens, this tripod is probably overkill. But if you’ve already discovered the limitations of cheaper tripods, or you’re investing in landscapes, wildlife, astrophotography, long lenses or video, the Pro Tall starts to make a lot more sense. I’m a bit of an all-rounder these days, but I do like to spend a little time photographing dark skies and sweeping landscapes.

Stability in the Real World

This is where the Pro really earns its keep. Travel tripods always involve compromise. They’re compact because they’re smaller and lighter, which inevitably affects stability. The Pro Tripod feels like Peak Design finally decided to stop compromising.

With a rated payload of about 18kg — double that of the original Travel Tripod — thicker carbon fibre legs, and a more robust centre hub, it handles larger cameras, long telephoto lenses, and video rigs with far greater confidence. Through my general research, multiple photographers who’ve handled both generations have commented on how much stiffer the Pro series feels. That’s exactly what you’d hope for in a professional-grade support system.

What I Like

• The compact folded size remains genuinely impressive for a tripod this tall
• The new ball head is a major improvement over the Travel Tripod
• Flip locks are well-engineered — fast, smooth, and visually clear
• Overall build quality is exceptional throughout
• Extra leg height means less reliance on the centre column for stability
• Despite being significantly more capable, it weighs only 2.04 kg — light enough for travel and hiking
• Load capacity of 18.1 kg handles serious telephoto and cinema rig combinations

What Could Be Better (Well, different things to different people)

• The price is firmly in premium territory — this is a serious investment
• Not quite as compact as the original Travel Tripod if absolute portability is your priority (But they are very different beasts and, as I mentioned earlier, I’ve travelled with this guy a LOT in the last two weeks and it’s been no problem)
• Full pan-and-tilt video capability requires the optional Tilt Mod accessory at extra cost
• The ball head needs the centre column raised a touch to unlock its full tilt range
• Spiked feet for snow or loose terrain are not included as standard
• Peak Design’s unconventional design may require an adjustment period coming from traditional systems – it is a tad unconventional, but honestly, a couple of uses and it was second nature.

My Final Thoughts

The Peak Design Pro Tall Tripod isn’t trying to be the cheapest tripod you can buy. It’s trying to be the last tripod you buy. For photographers who value stability, thoughtful design and long-term durability, it delivers a compelling blend of portability and professional-grade performance. As the old saying goes: buy well, buy once. (I’m pretty sure my mother has told me that…forever)

What’s the verdict?

A premium, professional-grade tripod that closes the gap between Peak Design’s travel-friendly design language and the stability demands of serious photographers and videographers. The spec corrections are minor; the performance ambitions are not. Highly recommended for landscape, wildlife, and hybrid shooters who want one tripod to do it all.

The post Peak Design Pro Tripod – Stands on its own three feet? appeared first on Digital Photography School. It was authored by Sime.

We have a lot of less expensive tripods, bipods and monopods come across our desk here at dPS, and I’ve got to admit that the thought of them can make me shudder! Many of them are really very badly made, not a lot of thought goes into them other than low cost, larger profit margin units that don’t inspire a whole lot of confidence in use.

KraftGeek Have Given Us 15% Off For Our Readers!

And while It’s easy to say “oh, but they’re only for phones!” THOSE PHONES can cost a couple of grand, not cheap and even if they are less expensive, it’s still annoying to have to replace one when it smashes to the ground and explodes into a glassy mess.

Well I’m pretty pleased to say, the JustTap Magnetic Phone Tripod wasn’t one of them!

KraftGeek reached out to me in my capacity as a writer (of sorts) over at DRN, a tech review website that my mate Kev owns, and asked if I’d like to check out their JustTap tripod – I initially shuddered as per my notes above, but then thought to myself, it’s been a while – I’ll take a look, this could be handy for our friends over on dPS – and here we are!

The JustTap Magnetic Phone Tripod is a compact MagSafe compatible tripod that extends all the way up to 167cm (It says 168 on the website, but my tape said 167cm, though there’s a couple of mm between the top of the tripod and where your top camera lenses are, depending on how you’re using them) regardless, it’s quite tall! (I’m 192cm)

And it will get your iPhone lens down to about 37cm off the ground. I was very surprised that it was quite compact and yet very usably tall (for a person of my height, usually with these type of tripods I’m double over trying to frame my shot). Folded it’s a little bit bigger than my Tamron 150-500mm, but a lot lighter!

There is one caveat to the tripod being that tall though, in a stiff breeze your iPhone is going to act like a sail and, well… we know how that can end! It’s very easy to combat though – A water bottle with a strap like this strap it to the bottom of the KraftGeek to weigh it down, or use a shopping bag filled with sand from a nearby playground – you’ll work something out, channel your inner MacGuyver!

Taking the JustTap Magnetic Phone Tripod out of the box, the first thing that struck me (not literally!) was how solid it felt. It has a reassuring weight to it and doesn’t come across as something that’s going to fall apart after a couple of uses. In fact, I’ve already taken it on several outings, and it’s held up perfectly – time will tell.

KraftGeek Have Given Us 15% Off For Our Readers!

One thing to be aware of is that the magnetic mount is exceptionally strong. That’s great for keeping your phone securely attached, but if you try to pull your phone off at the wrong angle, you could potentially put unnecessary stress on the tripod itself. It comes with a one-year warranty, although I’m not sure accidental damage of that nature would be covered.

Speaking of magnets, it also comes with a stick-on metal ring that you can attach to the back of your device if you don’t have something that is magsafe compatible, I will also add that, despite it not being made for it, the JustTap Magnetic Phone Tripod works great as a lightstand for Mag-compatible lights like my little Amaran Ace 25x!

It weighs in at less than half a kilogram (15.8oz in old money) and is easy to stow in most camera bags, duffel bags, picnic bags etc – as a tripod that you can whip out and grab a self-portrait on your hike, or an event with friend, it’s very convenient. Setup time from closed to open and ready to go is honestly about 8 seconds! Here’s a video from the KraftGeek website (You can also find this tripod there)

I attach my iPhone to the top, pull the tripod out to the length I want it and then tap the base on the floor and the legs literally spring into action! You can see the button that you tap on the ground, below.

The tripod also includes a small Bluetooth remote that attaches magnetically to one of the legs. Thanks again, magnets! It’s USB-C rechargeable and refreshingly simple to use. Pair it with your phone, open your camera app, and whatever mode you’re in, whether that’s taking photos or recording video, a press of the remote’s single button will trigger the shutter or start and stop recording.

I also tested it with the Moment Camera app, and it worked flawlessly there too.

Bluetooth typically works up to around 15 meters away, so this remote is great for those group shots or family portraits, it pops off and pops right back in when you’re done.

After some solid use, I’m pretty impressed with this diminutive magnetically prepped tripod, it’s not “wildlife photographer” stable at full height, but you’re not using it for that! This is a fun, walk-about, capture yourself. with friends device that, for the money, does a great job.

The post JustTap™ Magnetic Phone Tripod Review appeared first on Digital Photography School. It was authored by Sime.

Bring studio-grade beauty light wherever you go. The EazyFlow Collapsible Beauty Dish preserves the signature look of a traditional metal beauty dish, using a dual-reflection design to create light that is soft yet defined—ideal for shaping natural nose shadows, clean jawlines, and dimensional facial contours. Its collapsible structure makes it lightweight, compact, and easy to carry for solo location shoots. Optimized for strobes with protruding flash tubes, including AD300Pro II and higher models, it is available in 65cm and 85cm sizes with silver or white interiors to suit a wide range of shooting scenarios.

You can grab the 65S (Silver) here OR You can pickup the 85S (Again, Silver) here alternatively, you could opt for the W (white) versions of the 65 or 85 – Full info on the Godox product page here

Fast Setup, Efficient Workflow
Featuring a new quick-open design, the EazyFlow Beauty Dish unfolds with a simple press and folds down just as easily with the release button, greatly simplifying setup and streamlining your lighting workflow.

Professional Light, Classic Beauty Look
The EazyFlow Beauty Dish delivers focused, sculpted light that beautifully defines facial contours, creating natural nose shadows, crisp jawlines, and soft, flattering catchlights. It brings depth, dimension, and a clean professional look to portrait lighting.

Foldable design. Crisp, captivating catchlights. 

While delivering ultimate folding portability, the EazyFlow Foldable Beauty Dish creates a sharp-edged, perfectly circular catchlight.

Foldable, Lightweight, and Easy to Carry
With its lightweight structure and collapsible design, the EazyFlow Beauty Dish packs down to a much smaller size and easily fits into the side pocket or compartment of a camera backpack. The reduced carry weight makes it easy for one person to transport a complete beauty-dish lighting setup for outdoor shoots.

Versatile Light Quality, Flexible Choices
Available in 65cm and 85cm sizes with silver or white interior options, the EazyFlow Beauty Dish adapts to different lighting needs across a variety of shooting scenarios. It also includes a dual-sided central reflector, dual-layer white central reflector, diffuser, and grid, giving you everything you need for both softening and controlling light.

Bowens Mount with Interchangeable Speedrings
The EazyFlow Beauty Dish features a standard Bowens mount and is optimized for strobes with protruding flash tubes, compatible with AD300Pro II and higher models. Its newly designed mount provides secure load-bearing support and excellent durability. With quick-change speedrings, EazyFlow can be adapted to Godox, Profoto, Broncolor, and other major mount systems, expanding compatibility across different lighting ecosystems.

Lightweight, Professional, and Ready for Any Shoot
With its classic beauty-dish light quality, collapsible design, and fast setup workflow, the EazyFlow Beauty Dish improves mobility and setup efficiency on set. Whether used in the studio or on location, it helps you quickly create portrait lighting that balances softness, definition, and natural dimension.

Tech Spec

We have not tested these personally, but there is no question – modifying light always leads to better images (depending on what look you’re after, but most of the time!)

The post Godox EazyFlow Beauty Dish Travel Light. Beauty Light Anywhere appeared first on Digital Photography School. It was authored by Sime.

Because we feel like Godox is well priced for people looking to get into lighting, especially with the Godox flash units (on camera stuff) we like to share the press releases that they send us – Please keep in mind that unless we specifically say, we’ve not reviewed this gear ourselves (The one linked above I’ve used for a couple of years and is a solid workhorse flash!) – This is a press release, you should make sure to do your research and make sure the iM30Pro is the light you’re looking for.

— S

Here’s the link to Godox’s website with the full details of the iM30Pro

The iM30Pro mini flash seamlessly blends exquisite vintage aesthetics with highly intuitive lighting technology. Designed for street photographers, analog film enthusiasts, and everyday creators, it delivers a comprehensive set of features to elevate your daily shooting experience.

Adjustable Tilt Head for Versatile Creation 

The iM30Pro is equipped with an adjustable flash head that tilts to precise angles of 45°, 60°, 75°, and 90°. This flexible design allows photographers to effortlessly execute both direct lighting and bounce flash, providing diverse creative possibilities for various shooting scenarios.

Smart AUTO Mode for Effortless Exposure 

Featuring an advanced Smart AUTO mode, the iM30Pro significantly simplifies the exposure process. By merely setting the camera’s ISO and F-value (aperture), the flash automatically calculates and achieves accurate exposure across different environments, allowing users to shoot effortlessly wherever they go.

*ISO Range: 25~1600  F Range (Aperture): 1.4~45

Built-In Lithium Battery 

Powered by a built-in lithium battery, the iM30Pro provides a dependable and long-lasting power source. This integrated design ensures extended shooting sessions without the need to carry external batteries.

Magnetic Accessories for Creative Effects 

For enhanced creative expression, the flash directly supports the installation of Godox MA01 magnetic color filters. This seamless magnetic attachment allows users to easily modify the light and achieve a wider range of creative and stylized lighting effects.

Consistent Output and Fast Recycling

Delivering a Guide Number of 15 (GN15), the iM30Pro provides optimal flash power for daily photography needs. Paired with a rapid 1.5-second recycle time, it ensures consistent performance, empowering photographers to confidently capture every crucial moment without delay.

Universal Compatibility  

Featuring a universal single-contact hot shoe and a standard PC sync port, the iM30Pro effortlessly adapts to the vast majority of cameras. From modern digital mirrorless systems to purely mechanical classic film cameras, it ensures reliable triggering—bringing pure, effortless light to any camera system.

High-Definition Color Screen 

The flash incorporates a high-definition color display on the rear panel. This intuitive interface ensures that all parameters and current settings are presented clearly, allowing for quick and precise adjustments at a single glance.

Ultra-Compact and Portable Design 

All of these powerful features are packed into an ultra-compact and lightweight body. The small form factor makes the iM30Pro incredibly portable, serving as an ideal, unobtrusive lighting companion for everyday carry.

Tech Spec

The post Godox iFlash iM30Pro Classic Style, Effortless Light appeared first on Digital Photography School. It was authored by Sime.

If you work in the photography world but aren’t the one doing the actual editing, you occupy a curious middle ground when it comes to gear. You need screens. You need them on the go. But you don’t always need the pixel-perfect, colour-calibrated precision that a retoucher or photo editor demands. That’s exactly the niche the Espresso Lite 15 fills — and for my particular workflow, it fills it brilliantly.

A Bit of Context: Two Monitors for Two Different Jobs

When I’m away from home I use one of two Espresso displays depending on the task. When I know I’ll be doing serious visual work — reviewing final edits, checking colour grading, or approving campaign imagery — I reach for the Espresso 17 Pro, with its stunning 4K panel that gives me confidence in what I’m seeing. But that’s not always necessary.

Size matters, sometimes. Below you can see the 15 and the 17 behind it, not a whole lot in it, but as I’ve said, they do different task, you get to choose which one works best for you.

I will say that for basic edits on the go, this monitor is 100% fine – a quick holiday drone flight and some Final Cut Pro over a coffee, sure.. A spot of Lightroom before you share some frames with the world – it handles it easily! It’s just not the 4K behemoth of its more mature siblings.

For day-to-day social media management — scheduling posts, writing captions, reviewing content calendars, monitoring analytics, responding to comments, and coordinating with photographers and clients — I carry the Espresso Lite 15. And it’s been a genuinely excellent companion.

First Impressions: Colour Makes a Statement

The Lite 15 comes in five colour options — black, white, soft mint green, light purple, and a vivid orange — and while the colour lives mainly on the back panel (you’re looking at the screen, after all), it gives the monitor a personality that no other portable display on the market quite matches. Mine is the white model, and I won’t pretend it doesn’t spark a little joy every time I pull it out at a café or a studio. I may have also opted for orange, sexy, but the white is classic!

The body is plastic rather than the aerospace aluminium of Espresso’s premium models, but don’t let that put you off. It feels solid and well-constructed, with a symmetrical bezel on the front that actually looks cleaner than some of its more expensive siblings. It’s slightly thicker than the aluminium Display 15, but it’s also marginally lighter.

The Stand+ Is Genuinely Clever

Included in the box is Espresso’s magnetic Stand+, and it’s one of the smartest bits of monitor hardware I’ve come across. The display clicks onto the stand magnetically — no fiddling, no screws, no latches — and the stand itself can be positioned to sit level with your laptop screen or elevated above it. For social media work, having that elevated second screen means I can keep my content calendar or Hootsuite dashboard up top while my laptop handles everything else below. Switching between portrait and landscape is equally effortless; the magnets handle everything.

The stand does require a flat, stable surface to work at its best, but for desk setups — in an office, a co-working space, or even a clean café table — it’s ideal. I think I have mentioned before that I’d love to see a 1/4 20″ mount hole in the bottom of the base to help with some wild mounting ideas, a boy can dream!

The Display: 1080p Is More Than Enough Here

Let’s be clear about what the Lite 15 is and isn’t. Its Full HD 1920×1080 panel at 60Hz is not the display you want for final colour approval on a photography campaign. For that, I use the 17 Pro. But for everything else? It’s genuinely sharp, bright (up to 400 nits), and more than capable for reading text, reviewing social media drafts, managing CMS platforms, and watching reference videos.

Colours are vibrant and pleasing to the eye, even if they’re not the rigorously colour-accurate output you’d need for print or professional retouching sign-off. For social media previews — checking how an image looks at Instagram crop ratios, or how a carousel flows — the screen is entirely adequate, and I’ve never felt let down by it in that context.

Setup Is Genuinely One Cable

Plug in a single USB-C cable to your laptop and you’re running. No drivers, no software install required (though the optional Espresso Flow app lets you configure screen positioning, brightness, and colour mode with a clean interface). There are two USB-C ports on the monitor, you can pass power through the display to your laptop (with a charger connected), though most users will still prefer plugging directly into their laptop for full-speed charging

Because the Lite 15 draws less power than Espresso’s higher-specced models, it’s also gentler on your laptop battery — something I noticed on longer days away from a power point.

Who Is This For?

If you’re a photographer, retoucher, or anyone whose livelihood depends on pixel-level colour accuracy, the Lite 15 is not your primary work monitor. (Though it does fine in a pinch!) The Espresso 17 Pro or 15 Pro (with its 4K panel) is the right tool for that job. But if you’re like me — working in photography adjacent roles like social media management, marketing, agency production, or content coordination — this monitor is a near-perfect daily driver. It gives you the productivity of a dual-screen setup without the bulk, cost, or weight of a premium display you don’t actually need for your tasks.

It’s also worth noting: there’s no touchscreen on the Lite 15, which keeps the price down. For social media work, I haven’t missed it.

The Verdict

The Espresso Lite 15 is a smart, well-priced (check it out here) portable monitor for photography industry professionals who need a capable second screen for everything except colour-critical editing. The magnetic Stand+ is genuinely excellent, the one-cable setup is effortless, and the colour options make it one of the few monitors with a bit of personality.

If you already own or are considering a premium 4K Espresso display for your editing work, the Lite 15 makes an ideal companion for your day-to-day screen — lighter on your bag, lighter on your budget, and more than up to the task.

Key Specs at a Glance

• Display: 15.6-inch Full HD (1920×1080), 60Hz
• Brightness: 400 nits
• Connectivity: 2× USB-C (single cable powers and displays)
• Stand: Magnetic Stand+ (included), portrait/landscape
• Colours: Black, White, Mint, Purple, Orange
• Body: Plastic chassis, feels sturdy enough to slip in a camera bag
• Software: Espresso Flow app (optional: I don’t use it with the 15 Lite, Mac’s display options are fine)

The post Espresso Lite 15 Review: The Perfect Portable Second Screen for Photography* appeared first on Digital Photography School. It was authored by Sime.

We shared some news on Freewell filters recently in a review format (First time I’ve tried them, tldr; they’re great) anyhoo – the team have brought out a new kit with Brandon Li and it’s well worth a look!

Take a look at the series here

Here’s what the team at Freewell have to say:

Freewell Introduces the Brandon Li Signature VND/CPL System – The World’s Slimmest Locking VND with a 100% Mechanism-Free Design

Hong Kong – May 2026 – Freewell, a global leader in premium camera accessories, announces the launch of the Brandon Li x Freewell VND/CPL System, a next-generation filter solution built for filmmakers who demand precision, speed, and reliability in real shooting environments.

Co-developed with filmmaker Brandon Li, this system redefines how variable ND filters are designed and used. After around 2 years of development and multiple prototype iterations, Freewell has engineered the world’s slimmest locking VND with a 100% mechanism-free design—removing traditional internal components that often cause failure, inconsistency, or bulk.

Unlike conventional VND systems that rely on complex internal mechanisms, this design delivers pure optical performance with zero mechanical dependency, resulting in a slimmer profile, improved reliability, and consistent results in demanding shooting conditions. Built as a complete modular system, the VND/CPL unit works seamlessly with an included ND32 filter to deliver a full 1–10 stop range, while maintaining control over reflections through the CPL. Optional diffusion filters such as Glow Mist further expand creative possibilities without disrupting the workflow.

The system is designed to reduce friction during production. Instead of carrying multiple filters and constantly swapping them, creators can rely on a single, compact setup that adapts instantly to changing light conditions.

Key Features:

· World’s Slimmest Locking VND – Ultra-thin profile without compromising performance?

· 100% Mechanism-Free Design – No internal mechanical parts, ensuring long-term reliability?

· Hybrid VND + CPL System – Control exposure and reflections simultaneously

? · Expandable 1–10 Stop Range – Combine with ND32 for extended light control

? · True Color Optics – Maintains accurate tones without unwanted color shift?

· Modular Workflow System – Add or remove filters without interrupting your setup?

· Multi-Size Compatibility – Works across lenses from 49mm to 95mm?

· Integrated Protection – Front and rear caps included with built-in grey card

“This system was built to remove the usual friction filmmakers deal with when traveling or shooting on location. You don’t have to think about swapping filters. It just works the way you need it to.”? — Brandon Li

“This product took around two years of development and multiple iterations to get right. The goal was simple but difficult to execute: remove all mechanical dependency and create the slimmest possible locking VND without compromising optical performance. What we ended up with is a system that’s more reliable, more compact, and built for real-world use.”? — Gary Lu, Product Designer, Freewell

The post Freewell Mag Filters and Brandon Li – Cool collab appeared first on Digital Photography School. It was authored by Sime.

If you’ve ever lost a shot because your tethering software dropped the connection mid-shoot, you already know how frustrating a bad cable can be. Tethered photography — connecting your camera directly to a computer or tablet so images appear on screen the moment you shoot them — is one of the most powerful workflows in modern photography. But it’s only as reliable as the cable linking those two devices together.

Enter the TetherPro Optima 10G series from Tether Tools. Recognised by the Professional Photographers of America as one of its 2025 Hot Ones, this cable line was engineered from the ground up specifically for photographers and digital techs who demand stable, high-speed image transfer on every single shot.

Here’s what makes it stand out — and why it might be the single best upgrade you can make to your tethered shooting setup.

The Problem With Ordinary USB-C Cables

When USB-C became the standard connector for modern cameras and laptops, it brought a welcome convenience: one cable for data and power. Sounds ideal, right?

For photographers, it’s actually a problem.

USB 3.2 introduced a feature called Power Delivery (PD), which can push up to 240W through the same cable used for data transfer. The issue is that Power Delivery is known to cause instability in tethered connections — resulting in dropped connections, slow transfers, and that dreaded moment when Capture One or Lightroom loses sight of your camera entirely mid-shoot.

Generic USB-C cables don’t solve this. They were designed as general-purpose cables, not specialist tools for a demanding studio workflow.

What Makes the Optima 10G Different

1. Dedicated Data Transfer — No Power Delivery Interference

The most important engineering decision Tether Tools made with the Optima 10G series was removing Power Delivery from the cable entirely. This is a dedicated data-transfer cable. By eliminating PD, they’ve removed the primary cause of connection instability in tethered workflows.

The cable still provides the standard low-level power (1.5A) that comes with USB 3.0 and above — enough to keep your camera communicating — but without the interference that causes dropped connections. The result is a rock-solid link between your camera and computer, every time.

Better still, the Optima 10G series is plug and play. There’s no need to adjust your camera’s power settings before shooting. Just connect and go.

2. Blazing-Fast 10Gbps Transfer Speeds

The “10G” in the name isn’t just branding. These cables are rated for 10 Gigabits per second — the full USB 3.2 Gen 2 specification. For photographers shooting high-resolution RAW files, this means images appear on your tethering screen almost instantly after capture.

When you’re directing a client or working with a creative director reviewing shots in real time, that speed matters enormously.

3. Built-In TetherBoost Technology for Long-Distance Reliability

One of the most technically impressive features of the Optima 10G series is the built-in TetherBoost signal amplification. Standard USB cables begin to degrade signal quality the longer they get — this is physics, not a flaw.

Tether Tools counters this with dual reinforced TetherBoost Pro IC chipsets integrated directly into the cable. These retimer chips actively boost and stabilise the signal, ensuring consistent performance even over longer runs. The Optima 10G is available in lengths from 3 feet up to 31 feet, and when paired with a TetherBoost Pro Core Controller and 16-foot extension cables, you can tether reliably up to an impressive 63 feet without any signal loss.

The post Why the TetherTools TetherPro Optima 10G Cable Series Is a Game-Changer for Tethered Photography appeared first on Digital Photography School. It was authored by Sime.

Refined and capable, the next evolution of the AirHed Cine arrives with a redesigned panning arm, upgraded quick-release plate, and rotatable clamp for vertical video.

Following on from the popularity of the original AirHed Cine, 3 Legged Thing has launched the AirHed Cine CC. This robust, compact fluid video head is packed with features for content creators, as well as wildlife and birding enthusiasts.

The AirHed Cine CC is a compact fluid video head with 360? panning and 165? of total tilt (90° forward / 75° back). Each axis has smooth cinematic movement, and separate lockable controls.
It has several key improvements over its predecessor:

• The Arca-Swiss-compatible clamp rotates 90? allowing use with Arca L-brackets and cages for shooting vertical video
• The panning arm is retractable for easier transportation, and can be mounted on either side of the head for right or left-handed use
• The new XP 100 Ultra Plate quick-release plate adds versatility with its patented triple-axis XPAND slot for use with 3LT’s XPAND system Cheese Plates and Risers. It has a sliding camera screw sled with retractable locator pin and ¼”-20 camera screw; cable management hook at one end, and multiple thread options for accessory attachment.

“We’re excited to release the AirHed Cine CC,” said Stuart Boston, Chief Operating Officer, 3 Legged Thing. “We’ve taken feedback from its predecessor and incorporated new features that increase usability. We’re sure customers will love it!”

The AirHed Cine CC is perfect for videographers and content creators using mirrorless and lightweight cinema cameras up to 10 kg / 22 lb, and can be attached to any tripod or monopod with a 3/8”-16 screw thread. The head’s smooth pan and tilt motion will also appeal to birders, wildlife and sports photographers, and spotting scope users looking for a stable mount for their gear.

The head weighs just 690 g / 1.5 lb, giving it an impressive 14:1 load to weight ratio.

Availability
AirHed Cine CC is available starting today from 3LeggedThing.com and all good camera retailers, with a suggested retail price of £229.99 / US $249.99.

For more information, visit www.3leggedthing.com.
Need to see it in person? Find your nearest stockist at 3LeggedThing.com/where-to-buy

The post 3 Legged Thing Launches AirHed Cine CC Fluid Video Head for Modern Creators appeared first on Digital Photography School. It was authored by Sime.

Tamron, a leading provider of high-quality lenses, announces the presentation by the Technical Image Press Association (TIPA) of its TIPA Award 2026 to two lenses; 16-30mm F/2.8 Di III VXD G2 (Model A064) for “BEST FULL FRAME WIDE-ANGLE ZOOM LENS” and 35-100mm F/2.8 Di III VXD (Model A078) for “BEST FULL FRAME TRAVEL LENS”. With these latest accolades, TAMRON has been honored with TIPA Awards for thirteen consecutive years.

BEST FULL FRAME WIDE-ANGLE ZOOM LENS

TAMRON 16-30mm F/2.8 Di III VXD G2 (Model A064)

This lightweight and fast ultra wide-angle zoom delivers exceptional sharpness from edge to edge, even at F2.8. It combines outstanding optical performance with a robust Moisture-Resistant Construction suited for demanding environments. Its impressive versatility makes it ideal for capturing a wide variety of subjects, even in challenging lighting conditions, making it an all-around choice for landscape, architecture, event, and travel photography. Performance-wise, it delivers fast, reliable autofocus to ensure success in both still and video capture. This affordable lens has an MOD (Minimum Object Distance) of 0.19m at 16mm and 0.3m at 30mm, creating even more potential for exciting imaging opportunities.

BEST FULL FRAME TRAVEL LENS

TAMRON 35-100mm F/2.8 Di III VXD (Model A078)

This handy, take anywhere lens offers an exceptional blend of optical performance, portability, and innovation. It delivers consistently sharp images across its versatile zoom range and maintains a bright F2.8 aperture, excelling in low-light conditions while producing beautifully rendered depth and clarity. The advanced VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism ensures rapid, precise, and silent focusing to meet the demands of both still and video creators. Remarkably compact and lightweight for its class, this lens redefines mobility without compromising on image quality. 

While you’re here, you should also pop across to Tamron Australia’s Podcast series – Get The Shot, a great series with insights from many and varied photographers.

The post Tamron Wins more TIPA gold! appeared first on Digital Photography School. It was authored by Sime.

There’s a Nikon FM2 sitting on a shelf in my office. It hasn’t had film in it for years, but I can’t bring myself to move it. Something about its heft, its cold metal body, the satisfying click of its shutter — it reminds me why I fell in love with photography in the first place. These days, my best shots often come from a camera I carry in my pocket everywhere I go: my phone.

Sound familiar? If you’ve been shooting for any length of time, you’ve probably had this same quiet reckoning. The tools have changed so dramatically that it can sometimes feel like photography itself has changed. But I’d argue it hasn’t — not even a little.

What actually changed (and what didn’t)

Let’s be honest about what modern cameras and phones have improved. Autofocus is faster and more reliable than the best manual glass from the 1970s. Image sensors capture dynamic range that would have required a master darkroom technician to coax from a roll of Kodachrome. Computational photography — the ability of software to merge multiple exposures, reduce noise, and sharpen edges in real time — has genuinely pushed what’s technically possible in a photograph.

But here’s what hasn’t changed: you still have to decide where to stand. You still have to choose your moment. You still have to ask yourself what this photograph is about.

“The camera is an instrument that teaches people how to see without a camera.” — Dorothea Lange

That quote, from one of the greatest photographers of the 20th century, was true when she was shooting on large-format film in the 1930s. It’s equally true today. The art of photography is the art of observation — and a smartphone hasn’t changed the nature of observation any more than a ballpoint pen changed the nature of writing.

The hidden gift of film constraints

Photographers who came up shooting film will tell you something that sounds almost paradoxical at first: having fewer shots made them better. When you only had 36 exposures on a roll — and developing cost money and time — you thought harder before pressing the shutter. You waited for the light to be right. You watched your subject until the perfect moment arrived.

That discipline is still available to anyone who wants it. Some photographers deliberately shoot with apps that simulate a 36-shot roll. Others commit to only keeping one photo per outing, regardless of how many they took. The constraint isn’t in the camera — it’s in the mind of the photographer.

“Every generation of photographers inherits the same essential challenge: learning to see the extraordinary inside the ordinary.”

The case for both worlds

Something interesting has happened in the last few years: film photography has experienced a genuine, sustained revival — and it’s being driven largely by young people who grew up with smartphones. They’re not rejecting digital photography; they’re adding to their practice. They shoot film because it slows them down. Because holding a physical print feels different from swiping through a gallery. Because the grain and the imperfection feel honest.

Meanwhile, serious photographers are doing extraordinary work with smartphones. The photographers publishing in major magazines, winning awards, and building huge audiences online are increasingly using mobile cameras not as a compromise, but as a deliberate creative choice. The intimacy a phone allows — the way it doesn’t intimidate subjects the way a DSLR might — has opened up entirely new photographic possibilities.

The best photographers today understand that the question isn’t “film or digital?” or “camera or phone?” The question is always the same one Henri Cartier-Bresson was asking in 1940: what is the decisive moment, and am I ready for it?

Light, composition, and the moment: the holy trinity

Every photography teacher, from Ansel Adams to the best YouTube tutorials today, comes back to the same three fundamentals: light, composition, and moment. These are the elements that make a photograph sing — and they are entirely independent of the gear you’re holding.

A vintage Leica rangefinder and a flagship iPhone both need the same golden-hour light to produce a glowing landscape. A medium format film camera and a mirrorless body both require the photographer to understand the rule of thirds, leading lines, and negative space. And no camera ever invented can press its own shutter at precisely the right instant — that’s still you, every single time.

This is the most liberating truth in photography: the equipment matters far less than the eye behind it. The best camera you own is, overwhelmingly, the one you have with you and know how to use.

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5 Affordable Cameras Worth Buying on Amazon

If you’re ready to step up from (or complement) your phone, here are five well-reviewed, budget-friendly options available on Amazon right now — from approachable point-and-shoots to capable mirrorless bodies.

1

Canon EOS Rebel T7 DSLR Best entry DSLR

A classic starting point for new photographers. The Rebel T7 pairs a 24.1MP CMOS sensor with Canon’s reliable DIGIC 4+ processor and ships with an 18–55mm kit lens, giving you a versatile everyday focal range right out of the box. Built-in Wi-Fi makes sharing straightforward, and the optical viewfinder delivers a satisfying, traditional shooting experience. An excellent choice for anyone who wants to learn on a real DSLR without breaking the bank.

2

Canon EOS R100 Mirrorless Best mirrorless under $600

The most affordable new mirrorless camera on the market, the R100 features a 24.2MP APS-C sensor — the same chip found in Canon’s pricier R50 — with a reliable dual-pixel autofocus system that handles portraits and moving subjects well. It’s compact, comfortable to grip, and opens the door to Canon’s growing RF lens ecosystem. A sensible, future-proof investment for first-time mirrorless buyers.

3

Sony ZV-1F Compact Best vlogging + stills

Don’t let the “vlogging camera” label fool you — the ZV-1F’s 1-inch sensor, best-in-class autofocus, and compact form factor make it a genuinely capable still camera too. Its 20mm fixed lens is ideal for environmental portraits and street photography, and the flip-out display makes it easy to compose shots from unusual angles. For photographers who also want to shoot video or create content, it’s arguably the best value in this price range.

4

Kodak PIXPRO FZ55 Point & Shoot Most accessible

Sometimes you just want a simple, reliable camera you can hand to a friend or toss in a bag without anxiety. The FZ55 delivers 16MP images, a 5x optical zoom, and 1080p video in a lightweight body, all for well under $150. Amazon reviewers consistently praise its ease of use and image quality for casual shooting. It’s a great gateway camera for young photographers or anyone looking for a low-stakes way back into dedicated-camera shooting.

5

Fujifilm Instax Mini EVO Best for prints

In a world of ephemeral digital images, the Instax Mini EVO bridges the gap between digital convenience and the tangible joy of a physical print — something that resonates deeply with the spirit of film photography. It combines digital shooting with instant printing via its hybrid design, and its retro aesthetic makes it genuinely pleasurable to use. For photographers who want to reconnect with the physical side of the medium, this is a uniquely satisfying option.

The takeaway: your eye is the constant

The history of photography is really a history of tools getting out of the way — getting lighter, faster, cheaper, and more forgiving — so the photographer can focus on what was always the point: seeing. Every great image ever made, from Dorothea Lange’s “Migrant Mother” to a viral phone photo taken this morning, began with someone paying attention.

So shoot with your vintage film camera. Shoot with your mirrorless. Shoot with your phone at breakfast. The art doesn’t live in the equipment. It never did. It lives in you — in the moment you decide that this is worth preserving, and you raise whatever camera you have and press the shutter.

That moment is identical whether the year is 1965 or 2026. That’s the beautiful, stubborn truth at the heart of photography…

Get, make photographs, come back and tell us what you learned.

The post The art of photography hasn’t changed though… appeared first on Digital Photography School. It was authored by Sime.