Gear Reviews

The Canon EOS R6 Mark III is the latest in the R6 lineup, with Canon having updated some photography features while also giving the video side a huge refresh. As somebody who is a heavy hybrid shooter, this camera definitely piqued my interest and had me wanting to give it a closer look.

Most camera straps follow the same general design, although in the past few years, companies have taken things a step further with the ability to quickly attach and remove a camera strap. WANDRD has recently taken that one step further with the release of its magnetic camera straps.

A few weeks ago, Profoto challenged me to do a full photo shoot using their new Essential Hybrid Kit. I told them to send it over, and I would use it on a real shoot. In this article and the video above, I'm going to show you exactly how I used this kit and take you behind the scenes on how I mixed constant light with flash to create the final images.

Nikon's Z DX bodies, such as the Z50II and Zfc, are small and affordable, yet Nikon makes only a short list of lenses designed specifically for them. Choosing glass for one of these cameras means doing crop math, sorting through third-party options, and deciding whether a single zoom can carry an entire day of shooting.

At $149, the Sirui Swift 40mm f/2.2 costs less than Sony's, Nikon's, and Viltrox's compact 40mm autofocus primes, and only Nikon's is brighter. If you've been eyeing a small prime as your first step up from a kit lens, the trade-offs at that price turn out to be modest: a little extra weight and some color fringing.

Think Tank released two new slings earlier in the year that are perfect for street, urban, and travel photographers. Depending on your gear, there are 11L and 14L options to choose from. I got my hands on the 11L in a rather fetching Desert Sage, and have been using it for around four months on the streets…

Sony's a7R line has carried a large share of high-resolution portrait and wedding work for a decade, yet each model had a weak point somewhere, usually slow sensor readout or video that was merely passable.

I love small prime lenses and cameras for travel and street photography, so I was curious to test the new 40mm f/2.5 from 7Artisans. It's a tiny full frame lens for Nikon Z cameras, weighing a mere 97 g and measuring just 2 inches long. And at $159, it's also considerably cheaper than Nikon's 170 g NIKKOR Z 40mm f/2, which currently sells for around $277.

Every small camera between $500 and $1,500 gives something up, whether that's stabilization, battery life, a viewfinder, or a mechanical shutter, and the Sony ZV-E10, Fujifilm X-M5, Lumix S9, and Lumix L10 each make a different sacrifice. Picking the one whose weakness you rarely run into is what separates a camera you carry every day from one you regret buying.

Almost every camera strap on the market from a couple dozen brands right now makes use of links that make it a lot easier to connect the camera to the straps. This smart yet simple solution made straps a lot more efficient, and WANDRD's take on the quick-release camera strap has a few extra features that make it better.

The MacBook Pro with PROLED XDR Display is the first Mac laptop with a tandem OLED panel, and after two days with the 16-inch M5 Max I keep coming back to the same thought: Apple did not just bolt a nicer screen onto last year's computer. This is a major step forward all around.  

Nikon's Z 120-300mm f/2.8 TC VR S is up for preorder at $13,996, and for that money, you get a constant f/2.8 zoom with a 1.4x teleconverter built into the barrel.

A standard prime is often the second lens people buy, and on Nikon Z, the inexpensive autofocus options have long trailed what Sony E shooters can pick from. SG-image, a brand mostly known for small pancake lenses, now offers a 55mm f/1.8 autofocus prime with a metal body and a look that suits retro-styled cameras.

Panasonic, TTArtisan, and Viltrox all make a compact 40mm autofocus prime for full frame L-mount cameras, and one of them costs noticeably more than the other two. When three lenses share a focal length and a mount, the choice comes down to build, rendering, and how much each extra dollar changes what ends up in your files.

The Panasonic Lumix S1RII pairs a 44-megapixel full frame sensor with 8K video for about $3,300, and that sensor isn't stacked, so it reads out slowly. If you shoot both stills and video, that one design choice shapes nearly everything about how the camera behaves in your hands.

The Viltrox AF 35mm f/1.4 Pro sells for $829, and it brings a metal body, weather-sealing, and a clicked aperture ring at that price. Few focal lengths stay on a camera as long as a 35mm does, so how a lens like this behaves wide open, in the corners, and while tracking a moving subject affects a big share of everything you shoot.

The Canon EOS R8 Mark II sells for $1,899, which puts it $250 above the original R8 and $400 below the larger EOS R6 Mark II. That narrow spread makes choosing between Canon's compact full frame bodies harder than it has been in years, especially if one camera has to handle both your stills and your video.

Most camera bags in recent years have been made to be dedicated travel bags, everyday bags, or work bags. But Lowepro's Fastpack backpack line has always offered bags that can be used for almost anything without compromising the experience.

Viltrox's new AF 35mm f/1.4 Pro costs $829 for Sony E and Nikon Z, which puts it below Sony's own 35mm f/1.4 GM and above Nikon's NIKKOR Z 35mm f/1.4. It's big and heavy for a 35mm f/1.4, with a metal body, weather-sealing, and an aperture ring that switches between clicked and smooth.

I'm at Apple's launch event at Columbia Square in Hollywood, and I just spent time hands-on with the new 16-inch MacBook Pro with PROLED XDR Display. I'm a huge display snob, and its tandem OLED screen is just stunning in person.

Phone-based content creation has moved well past quick behind-the-scenes clips. Photographers are now shooting more polished promo videos with their phones on a regular basis. That workflow shift changes what your phone needs to be capable of, and internal storage and speed are usually the first barriers.

At $2,199 for the body alone, plus roughly $500 more if you want the optional electronic viewfinder, the Sigma fp II asks a lot for a camera with no mechanical shutter and no in-body stabilization.

Nikon's NIKKOR Z 20mm f/1.8 S is the biggest, heaviest, and most expensive lens in a series that was supposed to be the lighter, more affordable side of the S-line. Six years after its release, it still has almost no native autofocus competition at 20mm and f/1.8 on Z mount, so how it performs today decides whether you get a bright ultra-wide prime at all without reaching for an adapter.

Viltrox's 28mm "Chip" showed that an autofocus lens barely thicker than a body cap could make a full frame camera feel close to pocketable, and now TTArtisan has a $99 lens that follows the same design almost line for line.

If you shoot Fujifilm and want the classic 85mm-equivalent portrait look at f/1.2, you have two serious, fully weather-sealed choices, and at B&H, one costs about half as much as the other. The Fujifilm XF 56mm f/1.2 R WR and the Viltrox AF 56mm f/1.2 Pro cover one of the most-used focal lengths in the system, and the gaps between them are smaller and odder than a spec sheet suggests.

Most full frame cameras ship with a slow, middle-of-the-road zoom that people outgrow within months, and the Sigma 20-60mm f/2.8-4 DG Contemporary takes direct aim at that weak spot. The lens on your camera on day one decides how much you enjoy the thing you just spent a lot of money on, and a better starting zoom can push back the moment you feel you need more glass.

The new Insta360 Mic launching today is offering creators a more affordable way to access high-quality wireless audio, with one particularly interesting change: instead of relying on built-in storage, recordings are saved to a microSD card supplied by the user. 

As someone who relies heavily on a geared head for precise hospitality work, the increasing demand for speed and video applications has left me considering how to integrate a hybrid ball head system into my professional workflow. Specifically, I was looking for a unit that acts as a traditional fluid head, yet retains the multi-axis freedom of a ball head for dynamic still p

Samyang's three f/2.8 zooms, co-designed with Schneider-Kreuznach, cover 14mm to 180mm on Sony full frame bodies while stepping away from the familiar 16-35mm, 24-70mm, and 70-200mm ranges. Trimming a few millimeters here and adding a few there is how a lens maker cuts size, weight, and price, and those are the things that decide whether a lens leaves your house or stays on the shelf.

Every Leica shooter has a dream lens they would love to buy. Price is usually the obstacle, but sometimes that lens is not only expensive but rare as well. Perhaps no other Leica lens is more sought after than the Summilux-M 35mm f/1.4 with the word “Aspherical” written in full on the rim.

Nikon's NIKKOR Z 85mm f/1.2 S sells for close to $3,000 and weighs more than many of the bodies you'd mount it on. For about three years, it has been the obvious pick on Z mount if you want the thinnest depth of field and the cleanest portrait rendering, and now cheaper third-party 85mm f/1.2 lenses are showing up to test how long that lasts.

The Nikon Z5IIC puts a full frame sensor, in-body stabilization, and raw video into a $1,400 body by dropping the viewfinder, and people argued about that choice before most of them had held one. If you shoot weddings or travel, or if you're weighing a second body, the useful question is how that missing eyepiece and a pricier compact Sony rival play out over a real day of shooting.

Peak Design's Travel Tripod is probably one of the most talked-about tripods on this site, and opinions have been polarized. Since the brand has expanded its tripod lineup with three new Pro models, it's clearly important that we see their differences and optimal use cases.

The Canon EOS R6 Mark III sits in the middle of Canon's mirrorless lineup, yet its feature list now overlaps with both the higher-resolution R5 Mark II and Canon's Cinema EOS bodies. If you shoot stills and video for a living, that overlap decides how many bodies you buy, carry, and maintain.

At $400, the Panasonic Lumix S 40mm f/2 is one of the least expensive ways to put an official autofocus prime on an L-mount body. A 40mm sits between the standard 35mm and 50mm choices, and a lens this small and cheap has a good chance of becoming the one that never leaves your camera.

There’s a special role that affordable lenses play in the grand scheme of things, especially those that don’t compromise too much on optics. This new lens, while smaller than most of its kind, is sure to open many doors.

The Sony FE 24-50mm f/2.8 G and FE 20-70mm f/4 G both promise a smaller standard zoom, and each one asks you to give up something different to get there. If you carry a camera into the mountains for hours at a time, the choice between extra width, extra reach, and an extra stop of light shapes nearly every frame you bring home.

Inflatable LED lights are one of those ideas that sound gimmicky. A soft, glowing tube you inflate like a pool toy, then use to light a portrait or paint with color in the dark. It's the kind of gadget that could easily be all novelty and no substance.

Fisheye lenses for medium format have been close to nonexistent, so if you shoot a Fujifilm GFX or Hasselblad body and want that look, you've usually had to adapt glass that doesn't cover the sensor properly. AstrHori's new 8mm fisheye goes after that gap with a circular image and a field of view wider than a full hemisphere.

When BenQ asked me if I would like to take a look at the new PD2732U monitor, I was interested because a monitor is something I spend a lot of time looking at, particularly when I am editing photographs. Color accuracy is obviously important to me, but so is how the monitor fits into my existing workflow.

Fujifilm's XF 400mm f/4.5 gives X-mount shooters the field of view of a 600mm lens on full frame, with an aperture about two-thirds of a stop brighter than the company's 500mm f/5.6. If you shoot birds or wildlife on Fujifilm, that extra light can be the difference between a usable shutter speed at dawn and a frame lost to motion blur.

The Panasonic Lumix S9, Fujifilm X-M5, and OM System PEN sell at similar prices in 2026, yet each uses a different sensor format: full frame, APS-C, and Micro Four Thirds. If you're moving up from a phone to a camera you'll carry every day, that price overlap makes the decision harder than any spec sheet suggests.

The Protector 1510 Studio Case reimagines the toughness you’ve come to expect from Pelican. Is it worthy of its name? More importantly, is it worthy of the price? 

“It’s no secret Pelican is the best. It’s also no secret they’re expensive.”

Viltrox's EVO series offers three matched prime lenses for just over $1,000, about what a single first-party prime can cost. If you shoot video on a gimbal or pack light for travel, a set that shares size, weight, and filter thread can save more time than an extra stop of light.

A constant f/2.8 standard zoom is the lens most APS-C shooters end up leaving on the camera, yet the options have often been heavy, expensive, or simply missing from certain mounts. The Tamron 16-50mm f/2.8 costs roughly half as much as Sony's own equivalent and weighs far less, which raises a fair question about what you give up for the savings.

Long telephoto lenses have always made you choose between reach, weight, and money, and wildlife shooting tends to punish whichever one you skimp on. Fujifilm's new XF 400mm f/4.5 R LM OIS WR gives X-mount shooters a 600mm-equivalent prime that tries to ease the first two compromises at once.

Sony's 24-50mm f/2.8 G is a compact fast standard zoom for full frame Sony bodies, and the Thypoch Voyager 24-50mm f/2.8 goes straight after it with autofocus, an internal zoom, and a much lower price. If you build a compact kit for stills and video, a cheaper lens that keeps pace with Sony's own glass changes how you split your budget between body and lens.

The TTArtisan AF 24mm f/3.8 is a $99 autofocus pancake that covers a full frame sensor and weighs under 60 g. If you've ever left your camera at home because it felt like too much to carry, a lens this thin shifts that math in a real way.

A 17-inch pigment printer with a dozen inks looks like a sure path to better prints, and a modest ink tank model can feel like settling. Choosing between them affects your running costs, how often you print, and which papers you can use.

Panasonic's Lumix S 20mm f/2.5 is a small, light, $498 ultra-wide prime for L-mount full frame bodies, and it sits at a focal length plenty of people treat as their everyday wide. At that price and size, the open question is how much optical quality Panasonic had to give up to keep the lens this compact.