Bright Tangerine Titan Arm 2 Ti Review: Expensive, Overkill… and Brilliant
After nearly two months of regular use, the Bright Tangerine Titan Arm 2 Ti has become far more useful than I expected. I tested it for monitor mounting, lighting, teleprompter setups and general rigging — and while it is significantly more expensive than a typical magic arm, there is a very obvious difference in quality.
Bright Tangerine Titan Arm 2 Ti Review
There are certain pieces of equipment that sound fairly boring until you actually start using them.
An articulating arm probably sits quite high on that list.
I have owned and used plenty of cheaper magic arms and mounting accessories over the years and, generally speaking, they have been something I have simply "made do" with. They work until they loosen, wobble, fall apart or eventually get thrown into the mysterious box of slightly broken photography equipment that I refuse to get rid of.
The Bright Tangerine Titan Arm 2 Ti is something very different.
‼️ - Bright Tangerine supplied me with the Titan Arm 2 Ti and a selection of accessories free of charge for me to keep in exchange for agreed content. No additional payment was made and, as always, the opinions and conclusions here are my own.
I have now been using the Titan Arm 2 Ti almost daily for around two months, both on commercial shoots and in my home setup. What started as something I expected to use primarily as a monitor arm has ended up becoming one of the most versatile rigging accessories in my kit.
It is expensive. It is probably overkill for some users. It also feels like one of those products that could still be doing its job many years from now.
What Is the Bright Tangerine Titan Arm 2 Ti?
At its simplest, the Titan Arm 2 Ti is a heavy-duty articulating arm designed for professional camera and production rigging.
Bright Tangerine describes the Ti version as a titanium-reinforced evolution of its Titan Arm 2. The manufacturer rates it for payloads of up to 8kg, although that figure should obviously be treated as a maximum specification rather than an invitation to hang absolutely anything from it.
The particular version I received was the Titan Arm 2 Ti 3/8" Anti-Twist to NATO Quick Release configuration in Tangerine, product code B3000.0038.
Bright Tangerine also supplied:
- 3/8" Anti-Twist Adaptor
- NATO Adaptor
- Quick-Release NATO Rail Mk II
- 5/8" female Baby Pin Adaptor
- 1/4" female Baby Pin Adaptor
- 1/4" male Baby Pin Adaptor
That interchangeable system is important because it turns the Titan Arm from a fairly specialised monitor mount into something much more useful.
I tried all of the supplied adaptors during my testing and found the build quality consistently excellent, although the Baby Pin lighting configuration quickly became the one I used most.
Source: YouTube - Bright Tangerine
Build Quality Is on Another Level
This was the first thing that stood out to me.
The Titan Arm 2 Ti feels exceptionally well made.
There is a reassuring amount of weight to it, the components feel beautifully engineered and there is very little about it that feels like it was designed to meet a particular price point.
It feels like a product built by people who understand cinema cameras, filmmaking and professional production environments.
That matters more than it might sound.
When you are hanging an expensive monitor, light or another piece of equipment from a rig, stand or clamp, confidence in the mounting hardware is quite important. I have used plenty of inexpensive magic arms that technically did the same job, but I was never particularly enthusiastic about trusting them with expensive equipment.
The Titan Arm inspires considerably more confidence.
That doesn't mean you should abuse it. Bright Tangerine specifies an 8kg maximum payload for the Ti version and I would still strongly recommend being sensible with your rigging, leverage and mounting points.
In fact, because it feels so strong, I think it would be quite easy to become overconfident and ask more of the arm than you should.
Used sensibly though, it feels like a genuinely professional piece of equipment.
What Does the “Ti” Actually Mean?
The “Ti” in Titan Arm 2 Ti refers to titanium, and this isn't simply a cosmetic update or a different version of the same arm.
Bright Tangerine has reinforced the internal piston system with titanium, allowing the Ti version to increase the manufacturer's rated payload from 5kg on the original Titan Arm 2 to 8kg. That's a fairly substantial increase in capacity, particularly considering the Ti version only adds a relatively small amount of overall weight.
Titanium is particularly useful here because of its excellent strength-to-weight ratio. In practical terms, Bright Tangerine has been able to make the arm significantly stronger without simply making the entire product considerably bigger and heavier.
For me, that helps explain why the Titan Arm 2 Ti feels significantly different from a conventional monitor arm. The extra capacity makes much more sense once you start using it for heavier monitors, lighting, cameras and more ambitious rigging setups — exactly the sort of applications where I found it most useful.
Using the Titan Arm 2 Ti as a Monitor Arm
Monitor mounting is probably the most obvious application for the Titan Arm and it is very good at it.
The NATO quick-release system makes attaching and removing a monitor particularly convenient, while the strength of the arm gives you a lot of confidence once everything is positioned.
Bright Tangerine says its friction-based mechanism allows the arm to retain support even when it isn't fully locked and that it can be repositioned while locked. In practice, what stood out more to me was simply how solid and controlled the mechanism feels compared with cheaper articulating arms I have used.
That said, I actually found the Titan Arm a little overkill for my own Canon R5C cinema rig.
My R5C is already fairly heavily rigged and adding a substantial arm purely to hold a monitor isn't always the most sensible option when a smaller solution will do the job.
On a larger cinema camera, production rig or more substantial monitor setup, I can see considerably more benefit.
For my work, however, I soon discovered another use for it that suited me far better.
The Lighting Setup Is Where It Became Brilliant
Adding the Baby Pin adaptors completely changed how I viewed the Titan Arm.
Rather than thinking of it as an expensive monitor arm, I started treating it as a compact and extremely versatile piece of grip equipment.
I purchased an additional Super Clamp and the combination has been excellent.
It means I can clamp the Titan Arm securely to suitable mounting points and position smaller lights exactly where I need them without automatically reaching for another lighting stand.
That has been useful both on jobs and in my home setup.
Sometimes you don't need another full stand occupying floor space. You simply need a small light in an awkward position, an accent light tucked somewhere unusual or something mounted where a normal stand isn't particularly practical.
This is where the Titan Arm really starts to make sense.
The additional Baby Pin adaptors give you considerably more flexibility and, despite monitor mounting probably being the most obvious use advertised for the product, lighting has become my main use for it.
A Surprisingly Useful Problem Solver
The other reason I have become so fond of the Titan Arm is that it has rescued me from several slightly stupid situations.
On one occasion I needed to mount an iPad as part of a makeshift teleprompter setup.
No problem.
On another job, I had forgotten a lighting stand.
Again, the Titan Arm helped me find another way of mounting the light.
Neither of those situations represents the official reason for buying one, but they demonstrate why having flexible grip equipment around can be so valuable.
Photography and video shoots rarely happen in perfectly controlled environments. Things get forgotten, locations cause unexpected problems and occasionally the setup you planned simply doesn't work.
Having a strong, adaptable mounting arm in the production bag gives you another way of solving those problems.
I now struggle to imagine working on set or doing personal production work without having something like this available.
The Accessories Are a Big Part of the Appeal
One of the things that makes the Titan Arm 2 Ti more useful than a conventional magic arm is Bright Tangerine's interchangeable mounting system. I was supplied with the 3/8" Anti-Twist Adaptor, NATO Adaptor, Quick-Release NATO Rail Mk II and the three-piece Baby Pin Adapter Rigging Kit, and I tried all of them during testing.
The NATO setup is particularly clever. The Quick-Release NATO Rail Mk II uses repositionable anti-twist locating pins for different monitor mounting layouts, including ARRI, Atomos and SmallHD. Unused pins can be stored in the rail itself, while the built-in safety stop helps prevent the rail accidentally sliding completely out of the clamp.
The Baby Pin adaptors ended up being the most useful accessories for me. The kit includes 5/8" female, 1/4"-20 female and 1/4"-20 male options, which makes it much easier to use the arm with lighting and grip equipment rather than limiting it to monitors and camera accessories.
Combined with a Super Clamp, this is what really changed how I used the Titan Arm. Instead of thinking of it purely as a monitor mount, it became a genuinely versatile piece of grip equipment that I could configure differently depending on the job.
The Binding Issue I Initially Thought Was a Fault
I did encounter one issue during my testing and it is worth discussing properly.
After using the Titan Arm on a job, I came to pack everything away and found that the centre mechanism appeared to have completely jammed.
The mounting points were loose and I had released the main locking handle, but the central part of the arm would not move.
My immediate reaction was concern.
This is an expensive piece of equipment and, because I hadn't particularly abused or overtightened it, I worried that something had broken internally.
I contacted Bright Tangerine and they explained that the Titan Arm's friction mechanism can bind when it has been left fully locked for an extended period. Their guidance includes methods for releasing and maintaining the mechanism.
In my case, I didn't need to go through a full maintenance procedure. Once I became a little less cautious and gave the mechanism enough force to "crack" it loose again, everything returned to normal.
I haven't regarded this as a significant problem since.
If anything, my initial reaction was mostly caused by not understanding how tightly engineered the mechanism is and being nervous about forcing an expensive product.
It is still something owners should know about, though.
Bright Tangerine advises storing Titan Arms with the mechanism unlocked, which is worth remembering. If yours suddenly feels unusually stiff, don't immediately assume you have broken it.
Titan Arm 2 Ti vs Cheap Magic Arms
This is probably the comparison that matters most.
You can buy articulating arms for a fraction of the price of the Titan Arm 2 Ti.
I know because I have bought plenty of them.
The version of the Titan Arm I tested is roughly ten times what I might historically have spent on this type of accessory.
That is a huge difference.
But so is the quality.
Several of my cheaper arms have loosened, worn out or effectively fallen apart over time. They have generally been fine when I needed a basic lightweight mounting solution, but I have never thought of them as particularly permanent pieces of equipment.
The Titan Arm feels completely different.
That doesn't automatically make it good value for everybody. If you occasionally need to mount a lightweight monitor onto a small mirrorless camera, spending around £200 on an articulating arm probably makes very little sense.
If you regularly work professionally, frequently rig expensive equipment or want something capable of moving between camera, monitor and lighting duties, the argument becomes considerably stronger.
For me, this feels less like buying another small camera accessory and more like buying proper grip equipment.
Source: YouTube - Western Approaches
How Much Does the Titan Arm 2 Ti Cost?
This is undoubtedly one of its biggest drawbacks.
At the time of writing, the exact 3/8" Anti-Twist to NATO Quick Release configuration I tested is around £205 including VAT from UK retailers.
The simpler 3/8" to 1/4" versions cost less, while adding specialist adaptors increases the overall investment. The three-piece Baby Pin Adapter Rigging Kit is currently around £75 including VAT.
Prices and availability obviously change, so I would recommend checking current pricing before buying.
Those numbers put the Titan Arm firmly into premium territory.
There is no getting around that.
But after using it for two months, I don't think comparing it purely on price with a £20-£30 generic magic arm tells the whole story.
This is one of those situations where buying something significantly better once may make more sense than repeatedly replacing cheaper alternatives.
Whether that represents good value depends very much on how often you will use it.
What I Don't Like About It
The first downside is obvious: price.
This isn't an impulse purchase for most photographers or videographers and plenty of people simply won't need something engineered to this level.
It also has some weight to it.
My tested configuration is listed by Bright Tangerine at around 0.616kg, which is significant if you are trying to keep a lightweight mirrorless rig as compact as possible.
That reinforces my feeling that it is slightly excessive as a basic monitor arm on my Canon R5C setup.
The binding behaviour is also something new owners should understand. I no longer see it as a major negative, but I would prefer users to know in advance that the mechanism can feel extremely tight and that Bright Tangerine recommends storing it unlocked.
Those are genuine compromises, but none of them have made me regret using it.
Who Is the Titan Arm 2 Ti For?
I think most photographers and videographers could find uses for a Titan Arm.
Whether they need to spend this much money on one is a different question.
For occasional hobby use or a lightweight mirrorless setup, I suspect a cheaper solution will satisfy most people.
Where the Titan Arm makes far more sense is professional production.
Camera operators using larger cinema rigs, videographers mounting external monitors, filmmakers, gaffers, studio photographers and anyone regularly building temporary lighting or accessory rigs will probably appreciate it much more.
The Baby Pin system particularly expands its usefulness beyond camera departments.
For me, that versatility is what ultimately justifies having one.
I might use it for a monitor one day, a light the next and an iPad the day after that.
It is one product capable of solving a surprising number of little production problems.
Bright Tangerine Titan Arm 2 Ti Review: Final Verdict
I love this thing.
That is probably the easiest way of summarising two months with it.
It is expensive and there are much cheaper products that can perform many of the same basic functions.
But this feels like the difference between making do with something and owning a proper professional tool.
The build quality is exceptional, the interchangeable adaptors make it genuinely versatile and the Baby Pin lighting options turned out to be far more valuable to me than I originally expected.
The Titan Arm 2 Ti has also become one of those reassuring pieces of equipment that I like having around because I know there is a reasonable chance it can solve a problem I hadn't anticipated.
I would probably hesitate to recommend it purely as a monitor arm to someone running a small mirrorless rig. There are cheaper and lighter ways of achieving that.
For professional photographers, videographers and particularly cinema-focused users who regularly rig equipment, however, I think it makes considerably more sense.
After years of buying cheaper magic arms that eventually loosened or fell apart, this feels like a major step up.
It is not cheap.
It isn't particularly light.
And for some people it is absolutely overkill.
But I can't imagine turning up to a production without mine now.
Frequently Asked Questions
Is the Bright Tangerine Titan Arm 2 Ti worth it?
For occasional lightweight use, probably not. There are much cheaper articulating arms available. For regular professional production work, however, the exceptional build quality, interchangeable adaptors and versatility make the Titan Arm 2 Ti much easier to justify. After using mine almost daily for two months, I see it as a long-term piece of grip equipment rather than another disposable camera accessory.
How much weight can the Titan Arm 2 Ti hold?
Bright Tangerine specifies a maximum payload of 8kg for the Titan Arm 2 Ti. That is the manufacturer's specification and sensible rigging practices still apply. Consider the strength of your clamp, mounting surface and the leverage created by your setup rather than looking at the arm's payload figure in isolation.
Can the Titan Arm 2 Ti be used for lighting?
Yes. Bright Tangerine offers dedicated Baby Pin adaptors for the Titan Arm 2 Ti and this has actually become my favourite way of using it. Combined with a suitable clamp, I have found it extremely useful for mounting smaller lights in positions where another lighting stand would be inconvenient.
Is the Titan Arm 2 Ti good for camera monitors?
Yes. The NATO quick-release configuration I tested works particularly well as a monitor arm and feels extremely secure. For my heavily rigged Canon R5C it is arguably more arm than I actually need, but for larger cinema rigs and professional monitor setups it makes a lot of sense.
Why does my Titan Arm feel stuck or stiff?
The Titan Arm uses a friction-based mechanism and Bright Tangerine says it can feel stiff during normal operation. I also experienced the mechanism binding after it had remained locked for an extended period. Bright Tangerine recommends storing the arm unlocked and provides guidance for releasing and maintaining the mechanism. In my case it simply needed freeing up and had not actually broken.
What is the difference between the Titan Arm 2 and Titan Arm 2 Ti?
The Ti is Bright Tangerine's upgraded titanium-reinforced version. The manufacturer rates the original Titan Arm 2 for up to 5kg and the Titan Arm 2 Ti for up to 8kg, while retaining the interchangeable adaptor concept. If you are buying specifically for heavier professional rigging, the additional capacity is likely to be the main reason to consider the Ti version.
📸 Are you a photography/videography brand looking to showcase you products? Take a look at my Media Pack and Contact Me to discuss how we can collaborate on a sponsored review.
Posts you might also like…
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK/US are affiliated links - you will still pay the same price but I will receive a small commission. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
Colbor CF5 for Photographers and Videographers: A Practical Review
The Colbor CF5 is a compact portable fog machine designed for photographers, videographers and content creators. It produces an impressive amount of fog for its size, comes with some genuinely useful accessories and makes adding atmosphere to a shoot surprisingly easy. It is not something I would use on every job, but for product photography, stylised portraits and more cinematic video work, it can be a very handy creative tool.
There are certain bits of photography and video equipment that you buy because you absolutely need them, and there are others that exist mainly to give you another creative option. The Colbor CF5 definitely falls into the second category.
A portable fog machine is hardly going to be the first thing I recommend buying when you start building a photography or videography kit. However, once you have the important stuff covered, something like the CF5 can be a surprisingly useful way of introducing a bit more atmosphere, depth and drama into otherwise fairly straightforward scenes.
That is really where I think the Colbor CF5 makes sense.
It is compact, relatively budget-friendly and requires very little effort to create an effect that can make quite a significant difference to the final image or video. For product photography, stylised portraits, interviews, B-roll and certain documentary-style sequences, I can absolutely see it earning a place in the kit bag.
❤️ PLEASE NOTE - This item was sent to me by COLBOR for review but this does not impact my thoughts and I have not received any additional payment for my review. If you would like to support the blog, please consider making a small donation.
What is the Colbor CF5?
The Colbor CF5, also known as the CineFlare CF5, is a small battery-powered fog machine aimed primarily at photographers, filmmakers and other visual creators.
Despite its relatively compact dimensions, COLBOR rates the machine at 40W and gives you control over both the intensity and speed of the smoke output. The two controls combine to provide 25 different smoke-density settings. There is also an adjustable magnetic fan, an RGB light, remote operation and several accessories designed to change the way the fog is dispersed, one of the things I like most about the CF5.
It is not simply a case of pressing a button and getting a huge uncontrolled blast of smoke. You have quite a lot of scope to change how the effect looks depending on what you are trying to achieve.
There is even a Master Mode that lets you control the duration of the smoke, the interval between bursts and the number of repetitions. You Probably will not need that level of control every time you use it, but it is nice to have.
A surprisingly decent amount of fog
The main question with any compact fog machine is fairly obvious: does it actually produce enough fog to be useful?
In the case of the Colbor CF5, I would say yes.
For something this small, there is a decent amount of output. You are obviously not buying this to fill a huge venue with theatrical smoke, but that is not really what it is designed for either.
For a tabletop product setup, a portrait scene or a relatively contained video location, it is capable of adding a noticeable amount of atmosphere without having to bring along a large mains-powered fog machine.
In many situations, I think less is actually more anyway.
A little bit of fog drifting through a beam of light can be much more effective than completely filling a room. It can help separate a subject from the background, emphasise lighting and give the scene a sense of depth that simply was not there before.
That is also why it works particularly well alongside interesting lighting. If cinematic photography is something you are interested in, this ties in nicely with some of the ideas in my guide to creating cinematic-looking photographs.
The accessories make it far more useful
Another strong point is what you can actually do with the supplied kit.
COLBOR includes a magnetic fan and RGB light alongside various tubes, adapters and a flexible pipe. There is also a remote, which the manufacturer rates for operation at up to 10 metres. Accessories like these are what turn the CF5 from a bit of a novelty into something genuinely useful.
The fan gives you some control over where and how quickly the fog moves. The tubing and different nozzle options make it easier to put the effect in a specific part of your scene rather than simply pointing the machine towards the subject and hoping for the best.
The RGB element is an interesting addition too.
I am not sure I would use coloured light directly on the fog for every shoot, particularly when I already have separate lighting available, but it gives you another option when you are working quickly or deliberately trying to create something more stylised.
Source: YouTube - Herman Huang
Colbor CF5 for product photography
Product photography is probably one of my favourite potential uses for the Colbor CF5.
You generally have a lot of control over a product photography setup. The camera is fixed, the lighting is controlled and the subject is not going anywhere.
That gives you time to introduce small amounts of fog and see exactly how it interacts with your lighting.
For certain products, it can immediately change the mood.
Imagine something like a bottle, a piece of technology, sports equipment or another product where you want something slightly darker and more dramatic. A carefully positioned bit of fog behind or around the product can give your lighting something to interact with and add depth to the background.
The supplied accessories are particularly useful here because you can direct the fog into a relatively small area.
You do not necessarily need the entire room filled with smoke. Sometimes you just want a little movement behind the product or a layer close to the surface it is sitting on.
Obviously, this style will not suit every commercial brief. Plenty of product photography needs to be bright, accurate and clean.
However, when the brief allows something more creative, the CF5 gives you another tool to work with.
Using the CF5 for portraits
Portrait photography is another obvious use.
Fog can be brilliant for adding separation and atmosphere, particularly when combined with backlighting or coloured lights.
For a more stylised portrait shoot, I can see the Colbor CF5 being really effective.
It is small enough that you can position it fairly precisely, and being battery powered means you are not immediately worrying about running extension leads around the set.
Again, restraint is important.
I would rather start with a tiny amount and gradually build the effect than fire clouds of fog into every frame. The idea is generally to enhance the photograph rather than make the fog itself the subject.
Used carefully, though, it can transform a relatively simple setup into something that feels considerably more cinematic.
Using the Colbor CF5 for video
I probably find the CF5 even more interesting for video.
There is something about subtle movement in the atmosphere that works incredibly well on camera.
For an interview, for example, adding a little haze into the background can help practical lights and other light sources become more visible. It can introduce depth without necessarily making the shot look like somebody has deliberately turned on a smoke machine.
For documentary-style shoots, music content, short promotional videos and cinematic B-roll, you can obviously push things further when the style calls for it.
The remote also becomes useful here.
Rather than constantly walking back to the fog machine, you can position it where you want it and trigger the effect more easily while working around the camera.
For brands producing regular photo and video material, it is exactly the sort of relatively simple technique that can help create a few more distinctive shots within a wider social media content shoot.
One important warning: use it carefully
This is probably the most important part of the review.
The Colbor CF5 is not a toy.
You are dealing with a device that heats liquid to produce fog, and you absolutely need to read and follow the manufacturer's instructions before using it.
COLBOR's own guidance tells users to ensure the chamber contains sufficient liquid, particularly when first setting up the machine. The company says dry burning can damage the chamber and may result in weak or unstable smoke, a burnt smell or even flame bursts. The CF5 also incorporates an automatic overheat protection system on current versions. Read the supplied user guide properly rather than treating it as something you can immediately fill, switch on and start waving around.
Be aware of your surroundings. Think about what is above, below and immediately in front of the machine. Keep it away from anything that could present a fire risk and make sure the location itself is suitable for fog effects before you start.
You also need to consider smoke detectors, alarms, venue restrictions and the other people working around you.
On a commercial job, I would always rather have a slightly less dramatic shot than create an unnecessary safety problem.
Source: YouTube - Nightowl
It can be a little messy
Another thing worth knowing is that I have noticed the CF5 can occasionally splatter slightly.
That can leave some residue from the fog liquid around the immediate area.
I suspect this is not unique to this particular machine, although I have not used enough competing portable foggers to make a fair direct comparison.
Either way, it is something to be aware of.
I would be particularly cautious around valuable products, clothing, delicate surfaces, camera equipment or anything else where residue could become an issue.
Think about where you are positioning the nozzle and do a test before firing it directly towards something important.
For product work in particular, that little bit of preparation is worthwhile.
Is it something I would use on every shoot?
Definitely not.
And I actually think that is important to say.
Creative effects stop feeling particularly creative if you force them into absolutely everything.
There are plenty of photography and videography jobs where fog would be completely inappropriate. A straightforward corporate headshot, documentary event coverage or clean commercial product image probably does not need artificial atmosphere drifting through the frame.
The Colbor CF5 makes sense when the visual style suits it.
That could be a moody portrait, a dramatic product photograph, an interview with more cinematic lighting or a piece of branded video content where you deliberately want something with a little more visual impact.
For those situations, having a compact fogger available can be extremely useful.
For everything else, it can stay in the bag.
Is the Colbor CF5 good value?
This is probably one of the bigger attractions for me.
Portable fog machines are a fairly specialist bit of equipment. Unless your particular style relies heavily on atmospheric effects, you may struggle to justify spending a huge amount of money on one.
The Colbor CF5 sits at a more budget-friendly level while still giving you a good amount of fog output and a surprisingly comprehensive selection of accessories.
That makes the proposition quite appealing.
You do not need to use it on every shoot for it to be worthwhile. If it helps you create a handful of stronger images or gives you an extra option when a video scene needs something more, it has done its job.
I think that is a healthier way of looking at equipment like this than convincing yourself it suddenly needs to become part of every production.
Colbor CF5 review: final thoughts
I like the Colbor CF5.
It is one of those slightly unusual tools that can have a much bigger impact on a shot than its size would suggest.
The amount of fog it produces is impressive enough for the smaller-scale photography and video work I would realistically use it for, while the fan, remote and different attachments give you plenty of scope to experiment.
I particularly like it for product photography, stylised portraits and more cinematic video setups.
It is also relatively straightforward to introduce into an existing lighting setup. You can produce a fairly dramatic change to the atmosphere of a scene without completely rebuilding everything around it.
There are caveats.
You need to use it carefully and follow the instructions. The occasional splatter and residue mean I would think twice about positioning it too close to anything delicate. And this is definitely a specialist creative tool rather than something every photographer or videographer desperately needs.
But that is perfectly fine.
Used on the right shoot, the Colbor CF5 is a practical and relatively affordable way to add some extra atmosphere and drama without a huge amount of effort.
And sometimes, that little bit of atmosphere is exactly what a scene needs.
🔴 FAQ’s
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Yes. I think the Colbor CF5 is particularly well suited to product photography and stylised portrait photography. Fog can add depth, make lighting more visible and help create a more cinematic atmosphere.
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Yes. It can work particularly well for cinematic interviews, branded content, music videos, documentary-style sequences and B-roll. Subtle fog or haze can add depth and make background lighting much more noticeable.
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It needs to be treated sensibly and used in accordance with COLBOR's instructions. In particular, you should avoid allowing the chamber to run too low because dry burning can damage it and potentially cause unstable output or flame bursts. You should also consider smoke detectors, venue rules, ventilation and anything potentially flammable around your shooting area. (COLBOR) the Colbor CF5 leave residue?
In my experience, it can occasionally splatter slightly and leave some residue from the fog liquid. I would therefore test your setup first and avoid placing the output extremely close to delicate products, surfaces or equipment.
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I think it makes most sense for photographers, videographers and content creators who occasionally want a more dramatic or cinematic look. Product photographers, portrait photographers and filmmakers working on stylised interviews or branded content are probably going to get the most from it.
📸 Are you a photography/videography brand looking to showcase you products? Take a look at my Media Pack and Contact Me to discuss how we can collaborate on a sponsored review.
Posts you might also like…
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK/US are affiliated links - you will still pay the same price but I will receive a small commission. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
Tomtoc Aviator Sling for Photographers: T33 1.5L Review
The Tomtoc Aviator-T33 Chest Bag might not look like an obvious photography accessory, but its compact size and quick-access design make it incredibly useful. I’ve been using it as both an everyday carry sling and a small essentials bag on larger photo and video shoots.
There are already plenty of camera bags designed to carry bodies, lenses, drones, laptops and almost every other piece of equipment you could possibly need. The problem is that most of them are considerably larger than necessary when you only want to carry a few everyday essentials.
❤️ PLEASE NOTE - This item was sent to me to test, by the manufacturer but they do not have any input on my honest review. If you would like to support the blog, please consider making a small donation.
The Tomtoc Aviator-T33 Chest Bag takes a different approach. With a capacity of just 1.5 litres, it isn’t trying to replace a proper camera backpack or even a conventional photography sling. Instead, it provides a compact and affordable way to keep batteries, memory cards, cables, tools and personal items organised and within easy reach.
That might sound like a fairly limited role, but it is exactly what makes the bag so useful.
As a Tomtoc Aviator Sling for photographers, it works particularly well in two different situations. It can be used as a lightweight everyday carry bag when heading out with a camera, or as a dedicated tools and essentials bag during a much larger commercial shoot.
A Small Sling That Knows Its Purpose
The 1.5-litre version of the Aviator-T33 is properly compact. Tomtoc lists it at approximately 21 x 11.5 x 6.5cm, with a weight of 218g. It uses a three-compartment layout and includes RFID-blocking material, an adjustable strap and water-resistant nylon construction. (tomtoc)
Those specifications tell you quite a lot about the intended use of the bag. This is not something designed to carry a full-frame camera and a collection of lenses. It is closer to an organised extension of your pockets.
For me, that is one of its biggest strengths.
When I am working, my pockets can quickly become filled with memory cards, spare batteries, lens cloths, cables, keys and all the other small items that seem to accumulate during a shoot. That makes it harder to find anything quickly and increases the chance of something being misplaced.
The Tomtoc gives all those items a dedicated home without adding the weight and bulk of another conventional camera bag.
What Can You Carry in the Tomtoc Aviator-T33?
The exact contents will depend on the type of photography or video work you do, but the bag is well suited to smaller accessories.
A typical photography setup might include a couple of spare camera batteries, several memory cards, a card reader, a lens cloth, a small power bank and a short charging cable. You could also add keys, a wallet and a phone, although filling the bag with personal items naturally leaves less room for equipment.
For video work, it could carry wireless microphone transmitters, spare audio batteries, adapters, lavalier microphones, small mounting accessories or a compact multitool.
I would not try to cram too much into it. The point of choosing the 1.5-litre version is to keep things light and accessible. Once every compartment is completely packed, it becomes harder to retrieve individual items and some of the convenience is lost.
A little bit of discipline when packing it goes a long way. Carry the essentials you are likely to need regularly and leave the larger, less frequently used equipment in your main camera bag.
Source: YouTube - Nomads Nation
Extremely Useful on Full Shoot Days
The Tomtoc Aviator-T33 really starts to make sense when it is used alongside a larger production bag.
On a commercial photography or video shoot, I might have several cases containing cameras, lenses, lighting equipment and audio gear. That equipment needs to be protected and organised, but I do not want to walk back to a large case every time I need another battery or memory card.
Wearing the Tomtoc across my chest means those smaller items remain immediately accessible. I can swap a battery, grab a fresh card or find a cable without interrupting the flow of the shoot.
This is especially helpful when working alone. A solo photographer or videographer is often responsible for operating the camera, monitoring equipment, managing media and dealing with the client. Saving a few seconds here and there might not sound important, but removing small interruptions can make the entire day run more smoothly.
It also helps keep used and unused items separate. One compartment can hold fresh batteries and empty memory cards, while another can be used for batteries that need charging or cards containing completed footage.
That simple system is much better than putting everything into the same pocket and trying to remember which card is which later.
A Practical Photography EDC Bag
Away from larger shoots, the Tomtoc also works well as a photography EDC bag.
There are plenty of occasions when I want to take a camera out without carrying a complete photography setup. I might be walking around Birmingham with a compact camera, heading to a meeting or travelling with a camera already attached to a strap.
In those situations, I do not necessarily need a padded camera bag. I just need somewhere to store the accessories and personal items that would otherwise end up in my pockets.
The Aviator-T33 is ideal for this kind of lightweight setup. It does not feel like a specialist camera bag, and its understated appearance makes it suitable for general everyday use. You can carry the small essentials needed for photography without looking as though you are heading out with a complete production kit.
It is also useful when travelling. Passports, tickets, a phone, charging cables and a small power bank can all be kept together and accessed without removing a backpack.
That versatility is a major part of the appeal. It is a photography accessory when I need it to be, but it does not become useless as soon as the cameras are put away.
Organisation and Quick Access
The three-compartment design helps prevent the bag from becoming one large pocket filled with loose accessories.
Small bags can often be surprisingly frustrating because everything ends up sitting on top of everything else. You know the item you need is inside, but you still have to empty half the bag to find it.
The Tomtoc provides enough separation to create a basic system. Frequently used items can be kept in the easiest-to-reach section, while valuables or less regularly accessed accessories can be placed elsewhere.
The sling design also means the bag can be moved around the body without taking it off completely. You can wear it on your front while working and move it around towards your back when walking or travelling.
For photographers, that quick access is far more important than simply having lots of capacity. A large bag can carry more, but it is not necessarily more useful when the accessory you need is buried beneath three lenses and a raincoat.
Materials and Build Quality
Considering the price, the materials feel perfectly decent.
This is not the most premium-feeling sling I have used, but I do not think it needs to be. It feels suitable for its intended role and there is nothing about the construction that immediately makes it feel cheap or disposable.
The overall design is straightforward and functional. The zips, strap and compartments all contribute to a bag that feels easy to use rather than unnecessarily complicated.
There is an obvious difference between the Tomtoc and something like the Bellroy Venture Sling 6L. The Bellroy has a more premium feel, greater capacity and enough space to carry an actual camera, but it also sits in a completely different price category.
I reviewed the Bellroy Venture Sling 6L here - Belroy Sling Review
In that review, I found the Bellroy suitable for carrying a compact mirrorless setup and praised its materials, padding and efficient use of space. The Tomtoc is not really a direct competitor. It is smaller, simpler and designed around carrying accessories rather than becoming your main camera bag.
Comfort and Carrying Options
Because the bag is so small and light, comfort is unlikely to be a major problem unless it is badly overpacked.
The adjustable strap makes it easy to position across the chest or back, and the bag stays relatively close to the body. That is useful when moving through crowded locations or working around stands, tripods and lighting equipment.
One limitation is that it cannot properly convert into a hip pack.
I think that would have added another useful option, particularly for photographers who already have a backpack or camera harness on their shoulders. Wearing the Tomtoc around the waist would keep tools accessible without adding another strap across the upper body.
The existing sling arrangement still works well, but the lack of a hip-pack configuration feels like a missed opportunity.
Source: YouTube - Pack Hacker Reviews
Weather Resistance
Tomtoc describes the Aviator-T33 as being made from water-resistant nylon. That should offer some protection from light rain and the occasional splash, but I have not tested the bag in prolonged or particularly heavy rain.
I would therefore treat the weather resistance as a useful extra rather than complete protection.
That is particularly important when carrying memory cards, batteries or electronic accessories. Water resistance is not the same as waterproofing, and I would not assume that the contents will remain completely dry during a serious downpour.
For normal day-to-day use and brief exposure to poor weather, I would expect it to be fine. In heavy rain, I would move it underneath a waterproof jacket or place sensitive equipment inside an additional protective pouch.
How It Fits into a Larger Camera-Bag Setup
The Tomtoc works best when you stop thinking about it as a miniature camera bag.
It is not meant to compete with a large backpack or production case. Instead, it complements them.
For travel and lighter photography trips, I have previously used the Bellroy Venture Travel Pack 26L. That gives me enough room for camera equipment, clothing and general travel items, while the Tomtoc could be used for the accessories I want to keep immediately accessible.
You can read my Bellroy Venture Travel Pack 26L review here - Belroy Venture Review
The same applies to dedicated production bags. My Manfrotto Pro Light Cineloader is designed to protect and transport a much larger amount of professional equipment. The Tomtoc would sit alongside it as the bag I actually wear while shooting.
My Manfrotto Pro Light Cineloader review is available here - Manfrotto Cineloader Review
That combination makes a lot of sense. The large bag handles transport and protection, while the small sling handles access.
What Could Be Better?
The biggest limitation is also the most obvious: 1.5 litres is not much space.
Anyone hoping to carry a camera inside the bag should look at a larger sling. This model is for accessories, tools and personal essentials rather than a complete photography setup.
The materials are decent for the price, but they do not feel especially luxurious. People used to more premium EDC brands may notice the difference in the fabric, detailing and general finish.
I would also have liked the option to wear it as a hip pack. That would make it even more adaptable on shoots where I am already wearing another bag.
Finally, although the bag is described as water resistant, I cannot comment on how it will perform during extended exposure to heavy rain. That remains untested, so I would be cautious about relying on it as the only protection for sensitive equipment.
None of those issues are deal-breakers for me. They are mostly a reflection of the bag’s size, price and intended purpose.
Who Is the Tomtoc Aviator-T33 For?
The Tomtoc Aviator-T33 1.5L makes the most sense for photographers and videographers who want quick access to small accessories.
It is particularly useful for solo shooters, event photographers, videographers, assistants and anyone working on busy productions where batteries and memory cards need to be changed regularly.
It also suits photographers who prefer a minimal everyday setup. When the camera is already in your hand or on a strap, the Tomtoc provides enough room for the supporting equipment without forcing you to carry a conventional camera bag.
It is less suitable for anyone looking for significant protection or enough capacity to carry a camera and lens. For that, something like the Bellroy Venture Sling 6L would be a more appropriate option.
Final Verdict
The Tomtoc Aviator-T33 Chest Bag 1.5L is a simple product, but it solves a genuine problem.
It keeps small photography and video accessories organised, prevents pockets from becoming overloaded and makes frequently used equipment much easier to access during a shoot.
The materials are decent rather than premium, the capacity is limited and I would have appreciated the ability to wear it as a hip pack. Its performance in really wet conditions also remains something I cannot confirm.
However, those negatives need to be considered alongside the price and intended use.
As an affordable photography EDC bag, it is extremely useful. As a dedicated tools and essentials bag on a full production day, it might be even better.
The best camera accessories are not always the most exciting pieces of equipment. Sometimes, they are simply the products that remove a small frustration and help you work more efficiently.
For me, the Tomtoc Aviator Sling for photographers does exactly that.
🔴 FAQ’s
-
The 1.5-litre model is better suited to batteries, memory cards, cables, a phone and other small accessories. Most interchangeable-lens cameras will be too large, and the bag does not provide the padding you would expect from a dedicated camera bag.
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Yes. It works particularly well as a secondary bag during professional shoots, allowing batteries, cards and small tools to remain accessible while larger equipment stays in a backpack or production case.
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Yes. Its compact dimensions and understated design make it useful for carrying a phone, wallet, keys, power bank and other daily essentials, even when you are not taking photography equipment with you.
-
Tomtoc describes the nylon material as water resistant, but that does not make the bag completely waterproof. I have not tested it in prolonged heavy rain, so I would use additional protection for sensitive equipment in poor weather.
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The strap allows it to be carried across the chest or back, but it is not designed to work properly as a conventional hip pack.
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Item descriptionThey serve different purposes. The Bellroy is larger, more premium and capable of carrying a compact camera setup. The Tomtoc is considerably smaller and better suited to accessories, tools and everyday essentials.
📸 Are you a photography/videography brand looking to showcase you products? Take a look at my Media Pack and Contact Me to discuss how we can collaborate on a sponsored review.
Posts you might also like…
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK/US are affiliated links - you will still pay the same price but I will receive a small commission. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
PHOTOOLEX BB Pro Review: A Clever Backup Power System for Photographers
The PHOTOOLEX BB Pro combines a camera battery charger with a substantial portable power bank. After testing the Canon LP-E6P version for around two weeks, I think its biggest strength is simple: it gives photographers one more layer of reassurance on long shoots where running out of power simply isn't an option.
Battery anxiety is one of those slightly boring parts of photography that rarely gets talked about until something goes wrong.
I get particularly nervous on shoots about running out of batteries. It does not matter how good the camera, lens or lighting setup is if you suddenly find yourself without enough power to finish the job. Carrying plenty of spare batteries helps, of course, but on longer shoot days or when travelling, eventually you need a way of putting charge back into them.
That is what makes the PHOTOOLEX BB Pro interesting.
Rather than simply being another camera battery charger, it combines a battery charging system with a built-in power bank. I tested the Canon LP-E6P version for around one to two weeks, mainly as an additional source of backup power for my camera gear while also using it to charge other devices.
For me, that combination is where the BB Pro starts to make a lot of sense.
Disclosure: PHOTOOLEX supplied the BB Pro and a matching Canon LP-E6P version battery at no cost in exchange for this review. No additional payment was made. PHOTOOLEX requested the opportunity to check factual product specifications, compatibility information, photos and links before publication, but my opinions and verdict remain my own.
What is the PHOTOOLEX BB Pro?
The PHOTOOLEX BB Pro is essentially two products combined into one.
Firstly, it is a portable charger for compatible camera batteries. Secondly, it contains its own built-in battery and can operate as a more general power bank for other equipment.
According to PHOTOOLEX, the BB Pro has the following main specifications:
- Built-in 5500mAh / 10.8V / 59.4Wh lithium-ion battery
- USB-C input and output of up to 100W
- Maximum combined output of up to 133W under supported conditions
- USB-A output of up to 18W
- USB-C cable and USB-C port
- Camera battery charging
- 1.54-inch TFT display
- PHOTOOLEX app control support
- Dimensions of 173 × 57 × 60mm
- Listed weight of 433.5g
Different versions are available for different battery systems. The version PHOTOOLEX supplied me with was specifically the Canon LP-E6P version.
Those specifications are useful, but the more interesting part for me is how the combination works in practice.
My experience using the PHOTOOLEX BB Pro
I used the BB Pro for around one to two weeks and approached it mainly as a backup rather than trying to make it the centre of my entire power setup.
That is probably the best way to explain why I like it.
I am always conscious of battery levels when I am working. On a long commercial shoot, seeing your remaining batteries slowly disappear from the bag is never particularly reassuring.
The BB Pro gives you another option.
Instead of simply working your way through a finite pile of charged batteries, you can have depleted batteries charging again while you continue shooting.
There is something quite reassuring about knowing that batteries are effectively being put back into circulation while you are getting on with the job.
For a photographer who worries about running out of power — and I definitely fall into that category — it provides excellent peace of mind.
Source: YouTube - Seen Through a Lens
Why the charger and power bank combination makes sense
The clever part of the BB Pro is not necessarily any individual specification.
It is the fact that several useful functions have been combined into one product.
There are plenty of camera battery chargers available. There are also countless USB power banks. The BB Pro takes those two ideas and combines them into something specifically aimed at photographers and filmmakers.
That gives you a battery charger which does not necessarily need to spend the day attached to a wall socket.
If you have a flat camera battery during a shoot, you can put it into the BB Pro and leave it charging while you concentrate on everything else.
That is exactly how I want this kind of product to work.
I do not want battery management to become another job I need to think about constantly. Being able to put a battery on charge, put the unit to one side and continue working is much more useful.
The charging speed felt decent during my testing, but more importantly, it was convenient. I could leave batteries charging while doing something else rather than having to actively manage them.
Build quality, displays and everyday usability
The overall build quality made a good impression on me.
It feels like a well-rounded product rather than an interesting idea that has not been completely finished.
The displays are useful because they give you a much clearer understanding of what is happening with your power than you would get from a basic charger with a couple of LEDs.
That is particularly useful on a working day when you may be juggling several different batteries and devices.
The charging options are also one of the BB Pro's strengths.
PHOTOOLEX states that the USB-C connections can support up to 100W input and output under suitable conditions, while USB-A output is available up to 18W. Maximum combined output is listed at up to 133W depending on how the unit is being used.
Those are manufacturer specifications rather than charging speeds I independently benchmarked, but in my own use I found the overall charging performance perfectly decent for the way I was using it.
More importantly, everything felt straightforward.
That counts for a lot with equipment that is designed to solve a problem rather than create another one.
It is useful for more than camera batteries
The other major advantage is that the built-in power bank is not limited to your camera.
On a modern photo or video shoot, the camera is only one of several things that might suddenly need power.
You could have audio equipment, drone batteries or accessories that need topping up during the day.
Having a more general power bank available makes the BB Pro considerably more versatile than a traditional camera battery charger.
I found that particularly useful because it means the BB Pro still has a purpose even when I have enough charged camera batteries available.
It becomes part of the wider power backup for the shoot.
For someone carrying several different pieces of electronic equipment, consolidating some of that emergency charging capacity into one device makes quite a lot of sense.
Source: YouTube - Camera Zone
The main downside: it is fairly bulky
There is one obvious compromise, and that is the size.
The BB Pro is not enormous, but at 173 × 57 × 60mm and a listed 433.5g before you start considering the camera batteries themselves, it is not insignificant either.
This was probably my main criticism during testing.
I would genuinely be interested to see whether PHOTOOLEX could make a future version slightly smaller without sacrificing too much battery capacity or functionality.
The current design is perfectly manageable in a larger camera or production bag, but photographers who work with particularly small setups will notice the extra bulk.
That creates an interesting trade-off.
The entire point of the BB Pro is that you are getting a charger and a substantial power bank together, so some additional size is inevitable.
Whether that compromise makes sense will depend heavily on the type of photography you do.
If you are carrying a small body and one lens around a city for an afternoon, it may feel excessive.
If you are heading into a ten-hour commercial shoot with cameras, audio equipment, a drone and other battery-powered accessories, it becomes much easier to justify.
Using the Canon LP-E6P version
PHOTOOLEX supplied me with the Canon LP-E6P version of the BB Pro system.
During my testing I did not notice any battery compatibility problems.
That is encouraging, although I would still add some sensible caution here.
Canon cameras can sometimes be particular about third-party batteries, and my testing period was around one to two weeks rather than several months or years.
I therefore would not take my experience as a guarantee that every Canon body, firmware version and third-party battery combination will behave identically.
If you are buying the BB Pro for a specific Canon camera, check the current compatibility information for your exact body before ordering.
For important professional jobs, I also think it is sensible to maintain some redundancy rather than making any single third-party power solution your only option.
That applies to batteries generally, not just the PHOTOOLEX system.
In my own testing, however, I did not encounter any compatibility issues with the equipment I used.
Who is the PHOTOOLEX BB Pro for?
I think photographers are probably the strongest audience for the BB Pro, particularly those who regularly have long shooting days.
Event photographers, commercial photographers, wedding photographers and anyone travelling could all benefit from having another way of keeping batteries charged without relying entirely on finding a convenient mains socket.
Travelling is perhaps an especially interesting use case.
When you are moving between locations, hotels, airports or outdoor shoots, your opportunities to charge equipment can become unpredictable.
Having a charger that is carrying its own reserve of power gives you considerably more flexibility.
I can also see plenty of value for hybrid photo and video shooters because those setups tend to involve even more battery-powered accessories.
If your bag regularly contains cameras, wireless audio, a drone and other USB-powered equipment, the ability to use the BB Pro as a general power bank becomes much more valuable.
For very lightweight shooters, the physical size will probably be the main question.
Is the PHOTOOLEX BB Pro worth it?
Overall, I really like the idea behind the PHOTOOLEX BB Pro.
It is a novel approach to a very real problem.
There is no shortage of individual chargers or portable power banks available, but combining the two into something specifically designed around camera batteries creates a useful piece of equipment.
For me, the biggest benefit is not necessarily maximum charging speed or any particular number on the specification sheet.
It is peace of mind.
Knowing that I can continue putting charge back into batteries during a long day makes me much less nervous about running out of power.
The good build quality, useful displays and flexible charging options strengthen the package, while the ability to charge other equipment makes the BB Pro useful even when your camera batteries are already covered.
My main criticism remains the physical size. I would love to see PHOTOOLEX reduce the dimensions slightly in a future generation if it can be done without compromising the core idea.
Even with that drawback, I think the pricing feels fair for what the BB Pro offers.
This is not something every photographer needs, but for people regularly working through long shoot days or travelling somewhere with limited charging opportunities, I can see it becoming one of those pieces of kit that quietly stays in the bag because it solves a very practical problem.
And sometimes, that is exactly what good photography equipment should do.
Frequently asked questions
What does the PHOTOOLEX BB Pro do?
The BB Pro combines a charger for compatible camera batteries with a built-in portable power bank. PHOTOOLEX lists a 59.4Wh internal battery alongside USB-C and USB-A charging outputs.
Can the PHOTOOLEX BB Pro charge other devices?
Yes. The built-in power bank can be used with compatible USB-powered equipment. I found this particularly useful as a broader backup for equipment such as drone and audio gear during shoots.
Which version of the BB Pro did I test?
I tested the Canon LP-E6P version supplied by PHOTOOLEX.
Did I have any problems with the Canon LP-E6P batteries?
I did not notice any compatibility problems during my roughly one-to-two-week testing period. However, compatibility can vary between cameras and firmware, so I would still check your exact camera model before buying.
Is the PHOTOOLEX BB Pro compact?
It measures 173 × 57 × 60mm and PHOTOOLEX lists the weight as 433.5g. I found it slightly bulky, and that is my biggest criticism of the product.
Who would I recommend it to?
I think it makes the most sense for photographers with long shoot days, people travelling with limited access to charging, or hybrid creators carrying several different battery-powered devices.
Does it replace carrying spare camera batteries?
I would not treat it that way. I see the BB Pro as an additional layer of backup. The real benefit is being able to start recharging depleted batteries while you continue working with the batteries that are still available.
📸 Are you a photography/videography brand looking to showcase you products? Take a look at my Media Pack and Contact Me to discuss how we can collaborate on a sponsored review.
Posts you might also like…
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK/US are affiliated links - you will still pay the same price but I will receive a small commission. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
XTAR Batteries Review: Reliable Rechargeable Batteries for Video and Audio Gear
In this XTAR Batteries review, I take a closer look at the AA CLR 4300, AA LR 3000 USB-C and AAA 1620 batteries. For videographers, photographers and content creators who rely on dependable power, these are well worth considering if quality and longevity matter more than simply buying the cheapest option.
When you work in photography and videography, reliable batteries are one of those things you stop taking for granted very quickly. It does not matter how good your camera, lights or audio kit are if the batteries powering your accessories let you down halfway through a shoot.
That is where XTAR comes in. In this XTAR Batteries review, I have been looking at a selection of their rechargeable options, including the AA CLR 4300, AA LR 3000 USB-C and AAA 1620. On paper, these are clearly aimed at users who want more than a cheap off-the-shelf battery, and after spending time with them, that is exactly how they come across.
❤️ PLEASE NOTE - No AI was used to make this article. It is my own work based on my experiences and created in my own time. These items were sent to me to test by XTAR in collaboration. No further money/control was exchanged. If you would like to support the blog, consider making a small donation.
They are not the cheapest option out there, but for anyone shooting regularly and depending on consistent performance, I think that extra cost makes sense.
👀 First impressions of XTAR batteries
The first thing that stood out to me with XTAR is that these feel like products designed for people who actually rely on their kit. That sounds simple, but it matters. When you are working with wireless mics, audio recorders, LED lights or other battery-powered accessories, you want something dependable and easy to live with.
The range I looked at included the AA CLR 4300, AA LR 3000 USB-C and AAA 1620 batteries. Each one is aimed at slightly different use cases, which is useful because not every device behaves the same way in real-world shooting conditions.
What I like here is that XTAR has not gone down the route of making everything feel overly technical or complicated. The batteries are clearly designed with performance in mind, but they still feel practical and accessible for everyday use.
🎥 Why battery quality matters for videographers
As videographers, we often focus on cameras, lenses and lighting, but power is just as important. A poor battery can create all sorts of avoidable problems, from shorter runtimes to unreliable performance and the hassle of constantly swapping cells during a job.
Good rechargeable batteries are especially important if you use devices like wireless microphones, portable audio recorders, LED lights or other accessories that need stable, dependable power over long sessions.
That is why I think XTAR’s focus on quality and longevity is the real selling point here. A battery that lasts well, charges properly and performs consistently is far more valuable over time than a cheaper option that needs replacing sooner or lets you down when it matters.
🔋 XTAR AA CLR 4300 vs AA LR 3000 USB-C
One of the more interesting things with this range is that the AA CLR 4300 and AA LR 3000 USB-C have different discharge curves. In practical terms, that means the runtime can vary quite a bit depending on the device and how much load it places on the battery.
That is actually a good thing to understand, because it shows XTAR is thinking about real-world use rather than pretending one battery is perfect for everything. Some devices will suit one option better than the other, and having both available makes it easier to match the battery to the job.
The AA LR 3000 USB-C is especially appealing from a convenience point of view because it can be charged directly via USB-C or with the L8 charger. For anyone working on location, travelling light or trying to keep their charging setup simple, that flexibility is a real plus. Being able to charge batteries directly without always needing a separate charger is one of those small features that can make life much easier.
🎯 Quality and longevity in day-to-day use
For me, the biggest reason to consider XTAR is not just convenience, but confidence over time. Rechargeable batteries only make sense if they hold up well, give consistent performance and feel like they are built to last.
That is the impression these give. They feel like a premium option aimed at people who would rather buy better once than keep replacing cheaper batteries. That is particularly relevant if you are using them regularly in a working setup rather than occasionally around the house.
Yes, they are a bit more expensive than some of the cheaper alternatives you will find online or on the high street. But that extra cost feels justified if you value reliability, longevity and a better overall user experience. In creative work, dependable power is not really an optional extra.
☝️ A couple of practical things to keep in mind
There are a couple of points worth mentioning for balance.
Because these 1.5V rechargeable lithium batteries use a 3.6V battery core with internal charging and discharge management, some devices may produce a slight hum or buzzing noise. This is not unique to XTAR and can happen with 1.5V rechargeable lithium batteries more generally, especially in certain audio devices. If you use battery-powered audio kit, that is something worth testing in your own setup before relying on them for important work.
The other thing to be aware of is charger use. If you are using the PB2SL V2 charger, battery polarity needs to be correct when inserting them, as incorrect polarity may damage the charger. It is a simple point, but one worth paying attention to.
Neither of these points would put me off, but they are useful things to know upfront.
❤️ Support and overall experience
One thing that often gets overlooked in a battery review is support. It is easy to focus only on specs, but good custom er support matters, especially when you are buying products designed to be part of a working kit.
That is another area where XTAR comes across well. There is a clear sense that the company understands how these products are actually being used, and that gives a bit more confidence when investing in something slightly more premium.
For me, that is part of the value. It is not just about the battery itself, but the wider experience of using products from a brand that seems serious about quality.
🤑 Are XTAR batteries worth it?
I think XTAR batteries are well worth considering if you are a videographer, photographer or content creator who depends on reliable battery performance.
They offer strong build quality, practical charging options and a more premium feel than many cheaper alternatives. The AA LR 3000 USB-C is particularly useful if you want the flexibility of direct USB-C charging, while the different AA options give you a better chance of finding the right fit for your devices.
They are more expensive than basic off-the-shelf batteries, but in my view, that is the trade-off. You are paying for better quality, better longevity and more confidence in your setup.
If you are the sort of person who would rather invest in gear that lasts and performs properly, XTAR makes a lot of sense.
You can also check out my Lightroom Presets here:https://www.rossjukesphoto.co.uk/lightroom-presets
✅ Final thoughts
Overall, this XTAR Batteries review has left me with a positive impression. These are not bargain-bin batteries, and they are not trying to be. They are aimed at users who want dependable, rechargeable power and are willing to pay a bit more for it.
For anyone working in video, audio or photography, that is usually a worthwhile investment. Reliable batteries help your whole workflow run more smoothly, and that alone can justify spending a little extra.
XTAR seems to understand that well, and that is exactly why these batteries stand out.
🔴 FAQ’s
-
The main difference is their discharge behaviour, which means runtime can vary depending on the device and the load. Some gear may perform better with one than the other.
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Yes, the AA LR 3000 USB-C can be charged directly via USB-C, and it can also be charged using the L8 charger.
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Yes, they are a strong option for videographers and photographers who need reliable, rechargeable batteries for accessories such as audio gear, lights and other battery-powered kit.
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They are a bit more expensive than some cheaper off-the-shelf options, but that extra cost is justified by the focus on quality, longevity and reliability.
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They can in some cases. A slight hum or buzzing noise may occur in certain audio devices, which is something to test if you plan to use them with sound equipment.
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If you value dependable performance and longer-term reliability over simply buying the cheapest option, then yes, I think they are worth it.
📸 Are you a photography/videography brand looking to showcase you products? Take a look at my Media Pack and Contact Me to discuss how we can collaborate on a sponsored review.
Posts you might also like…
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK/US are affiliated links - you will still pay the same price but I will receive a small commission. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
Three Pieces of Video Gear I Want to Try from NAB 2026
NAB 2026 has produced plenty of interesting new photo and video gear, but these are the three products I am most looking forward to trying: the DJI Osmo Pocket 4, RØDELink II and EIZO ColorEdge CS3200X.
Every year NAB seems to produce a few bits of kit that make me sit up and pay attention. Some of it is obviously exciting — big cinema cameras, strange rigs, lenses that cost more than a small family car — but often the things that interest me most are the products that could genuinely make a difference to the way I work.
That is really what this post is about.
I am not necessarily looking at these three items as things I am definitely going to buy. That would be a very dangerous path to go down, especially if you already have a cupboard full of camera gear that occasionally looks back at you with judgement. But as a photographer and videographer, I am always interested in tools that could make filming easier, faster, more reliable or simply improve the quality of the final output.
Source: CVP Via YouTube
After watching some of the coverage coming out of NAB 2026, there are three pieces of gear that have really caught my attention: the DJI Osmo Pocket 4, the RØDELink II wireless system and the EIZO ColorEdge CS3200X monitor.
They are three very different products, but they all solve very real problems in a working photo and video setup.
1. DJI Osmo Pocket 4
I have always had a bit of a soft spot for the DJI Osmo Pocket range. On paper, it is one of those products that can easily be dismissed as a “content creator” camera, but in reality, I think it is much more useful than that.
The new Osmo Pocket 4 looks particularly interesting because DJI seems to have pushed it further into serious video territory. The headline feature for me is the 1-inch CMOS sensor, which immediately makes it feel like a more capable tool for real-world shooting. Small cameras are brilliant when they are convenient, but they can fall apart quite quickly when the light drops or when you are working in high contrast situations. So the idea of having something this small with 14 stops of dynamic range and 10-bit D-Log is genuinely exciting.
For the type of work I do, I can see this being incredibly useful as a behind-the-scenes camera, a quick establishing shot camera, or even something to use when I want to travel light but still capture decent quality footage. I am often trying to balance image quality with practicality, and that is where products like this can really earn their place.
Source: Potato Jet via YouTube
I do not always want to pull out a larger camera, rig it up, balance it, add a monitor, sort audio, check settings and make a whole event out of capturing a simple shot. Sometimes I just need something small, quick and reliable that still gives me footage I am happy to put into an edit.
The 3-axis stabilisation is obviously a huge part of the appeal too. I am not expecting it to replace a proper gimbal setup, but if I can get smooth, usable movement from something that fits in a small bag, that is a big win. I can imagine using this for travel videos, studio b-roll, YouTube inserts, product shots and even quick social media content.
There is always a danger with small cameras that you use them because they are easy, rather than because they are good. But from what DJI is promising with the Osmo Pocket 4, it feels like this could be one of those cameras that is both easy and genuinely useful.
2. RØDELink II Wireless System
Audio is one of those areas where I have become increasingly aware of how important reliability is. You can get away with slightly imperfect lighting or a camera angle that is not quite ideal, but bad audio can ruin a video almost instantly.
That is why the RØDELink II has caught my attention.
I already use wireless audio for a lot of my video work, particularly when filming interviews, talking head content and corporate projects. The problem is that wireless systems can be one of the more stressful parts of a shoot. You are dealing with signal, interference, batteries, mic placement, levels and backup options — all while trying to concentrate on the actual content of the shoot.
The interesting thing about the RØDELink II is that it appears to be a much more serious professional system than some of the smaller compact wireless kits we have seen over the past few years. Those smaller systems absolutely have their place — and I use that kind of gear myself — but there are times when you want something that feels a bit more robust and built for demanding environments.
The fact that this is a UHF system is interesting, especially with RØDE now being part of the same wider group as Lectrosonics. I am not going to pretend to be an audio engineer, but I do know that if I am filming an important interview, I want confidence that the audio is going to work.
Source: RODE Via YouTube
The features that really stand out to me are dual-channel operation, 32-bit float onboard recording and timecode I/O. That combination makes a lot of sense for the kind of work where you cannot afford to lose a take. Being able to record directly on the transmitter as a backup is a massive safety net, and 32-bit float gives you a bit more breathing room if levels are not perfect.
Timecode is another feature that becomes more appealing the more video work you do. If you are working with multiple cameras, separate audio and a decent amount of footage, anything that makes syncing easier in post is worth paying attention to.
I would be really interested to try the RØDELink II in a proper corporate interview setup. Not just a quick test in a quiet room, but a real shoot where there are all the usual variables — people moving around, Wi-Fi everywhere, reflective rooms, time pressure and the mild panic that comes with knowing you only get one chance to capture the audio properly.
If it performs well in that environment, it could be a very useful addition to a professional kit bag.
3. EIZO ColorEdge CS3200X Monitor
This is probably the least “exciting” item on the list to most people, but it might actually be the one that could make the biggest difference day to day.
I spend a lot of time editing. Whether it is photography, video, YouTube content, client work, colour grading, retouching or preparing images for print, the monitor is one of the most important parts of the entire setup. It is also one of those things that is very easy to neglect.
A camera is exciting. A new lens is exciting. A monitor is… well, a monitor.
But the more you work professionally, the more you realise that having a reliable display is absolutely essential. If you cannot trust what you are looking at, everything else becomes guesswork.
The EIZO ColorEdge CS3200X looks like a really interesting option because it brings a large 31.5-inch 4K display into the ColorEdge CS range. That screen size is very appealing for both photo and video work. I like the idea of having more room for timelines, panels, scopes, layers and all the little bits of software clutter that slowly take over your life.
For photography, the wide colour gamut and focus on colour accuracy are obviously key. For video, the support for workflows like DCI-P3, BT.709, HLG and PQ makes it feel like something that could sit nicely between stills and moving image work. That is important to me because I do not really operate in one world anymore. My work is a mix of photography, videography, YouTube, commercial content and personal projects, so having a monitor that supports that mixed workflow is really appealing.
I am also pleased to see that it includes a shading hood. Again, not the most glamorous feature in the world, but anything that helps reduce reflections and creates a more controlled editing environment is useful. I edit in real spaces, not perfect grading suites, so practical touches like that matter.
Would it be overkill for some people? Almost certainly.
But if you are producing paid photo and video work, especially where colour consistency matters, then a proper monitor starts to look less like a luxury and more like an investment.
Why These Three NAB 2026 Releases Stand Out To Me
What I like about these three products is that they each solve a different problem.
The DJI Osmo Pocket 4 is about speed, portability and capturing good footage without turning every shot into a full production.
The RØDELink II is about confidence and reliability in audio, which is an area I am always looking to improve.
The EIZO ColorEdge CS3200X is about trusting the final image and making the editing process more accurate and enjoyable.
None of these products are magic solutions. They will not make bad ideas good, they will not fix poor planning and they certainly will not remove the need to actually know what you are doing. But the right tools can make a real difference, especially when they remove friction from the process.
That is why I enjoy looking at new gear from shows like NAB. Not because I need more things, but because it helps me think about where my own workflow could improve.
And that is probably the most useful part of making a list like this. It is not just a shopping list. It is a way of asking: where are the weak points in my current setup, and what would help me produce better work?
For me, in 2026, those weak points are faster capture, more reliable audio and a more trustworthy editing setup.
So yes, I would very much like to get my hands on the Osmo Pocket 4, the RØDELink II and the EIZO ColorEdge CS3200X.
Whether my bank account agrees is another matter entirely.
📸 Are you a photography/videography brand looking to showcase you products? Take a look at my Media Pack and Contact Me to discuss how we can collaborate on a sponsored review.
Posts you might also like…
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK/US are affiliated links - you will still pay the same price but I will receive a small commission. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
Neewer HB80C Review: A Powerful Portable RGB COB Light for Photo & Video
The Neewer HB80C is a compact 80W RGB COB video light with a built-in battery, Bowens mount and plenty of flexibility for photographers and videographers. In this review, I take a look at its strengths, weaknesses and who it is best suited to.
The Neewer HB80C is a compact and versatile COB video light that will slip nicely into most photographers’ and videographers’ setups. It offers excellent performance for its price point and plenty of useful, well thought out features. However, it is not for everyone. In this review, I’ll take a look at the pros and cons of this little light, who should consider it, and who might be better off looking elsewhere. I’ll also explain what it’s like to use in real world scenarios and where I think its limitations begin.
I’ve been working as a photographer and videographer for over 15 years now and when I first started out, I wouldn’t have dreamt of having such a compact and useful little light like the HB80C at my disposal. It’s fair to say that lighting technology, and COB lights in particular, have come a very long way in that time. The HB80C crams a lot of that progress into a genuinely portable package, with a few neat tricks up its sleeve as well.
❤️ PLEASE NOTE - This item was provided to me by Neewer. No payment was received and all views and opinions are my own. If you would like to support the blog, please consider making a small donation.
🔨 Build Quality
On taking the light out of the box, you notice it has a reassuring weight to it. At around 1.1kg, it’s not what I would call heavy, but it does feel dense and confidence inspiring. A lot of that is down to one of the HB80C’s standout features: the built-in 72Wh battery. Neewer lists the battery as 14.4V / 5000mAh / 72Wh, with quoted runtime of 1 hour 10 minutes in regular mode and 1 hour 34 minutes in mute mode.
That built-in battery helps give the light a more substantial feel, but it also makes it immediately more appealing for anyone who shoots on location and wants to avoid dealing with extra power solutions. There’s something very convenient about being able to pick up a light, throw it in a bag, and know it is ready to go without needing to build an entire support system around it.
The outer shell is mostly plastic, but not in a bad way. It doesn’t feel flimsy or throwaway. In fact, it feels more like practical working gear than a delicate gadget. I obviously wouldn’t recommend dropping it for the sake of testing that theory, but it does feel solid enough for regular use on photo and video jobs.
📝 Key Specifications
On paper, the Neewer HB80C packs in a lot. It is an 80W RGBWW mini COB LED video light with a colour temperature range of 2500K to 7500K, GM adjustment of ±50, seven lighting modes and 18 built-in special effects. Neewer also states CRI 95+, TLCI 97+, SSI scores of 74 at D56 and 85 at D32, plus TM-30 ratings of Rf 93 and Rg 102.
The lighting modes include CCT, HSI, RGBCW, XY, GEL, Source Match and FX, which gives the HB80C a much broader range of use than a simple daylight or bi-colour light. That matters if you shoot a mix of commercial work, talking head content, product videos, creative portraits or social media work and want one light that can cover multiple roles.
Neewer also quotes a maximum illuminance of 10,400 lux at 1 metre with the reflector fitted at 4400K, and 3,720 lux bare in booster mode. For a light this compact, those are very respectable numbers.
Source: YouTube via BarbsterFilms
🎥 Real World Use
This is the point where the HB80C starts to make a lot of sense.
There are loads of compact lights on the market now, but not all of them are especially enjoyable to use. Some are designed to be small first and useful second. The HB80C mostly avoids that. It still feels like a proper tool. It is compact enough to travel well and fit into tight setups, but large enough that using it doesn’t become frustrating.
The interface is reasonably intuitive, and once you’ve spent a little time with it, it becomes straightforward enough to adjust on the fly. Neewer also includes a round colour screen, a side-mounted power switch, a locking button to prevent accidental activation and a scroll knob for changing settings. Those little usability features go a long way when you are in the middle of a shoot and don’t want to fight with menus.
What I like about the HB80C is that it feels designed for actual use rather than just for spec sheet bragging rights. It’s quick to set up, simple to move around and flexible enough to work in a range of scenarios without feeling compromised.
💪 Output and Performance
For a light of this size, the output is genuinely impressive.
Now, it is important to keep expectations realistic. This is still an 80W light. It is not trying to replace a much larger mains-powered COB fixture if you are lighting a large interview setup, trying to overpower bright daylight or building a more demanding commercial scene. But that is not really where this light is aimed.
Where the HB80C works well is in smaller and more controlled environments. It makes a lot of sense as a key light for close-up talking head videos, a fill light, a hair light, an accent light or a small product lighting solution. If you’re a solo creator, YouTuber, photographer who occasionally shoots video, or a videographer who values portability, that makes it a much more interesting proposition.
The included Bowens mount reflector helps the light feel more capable, and the Bowens compatibility in general is a big win. The HB80C supports Bowens mount accessories and includes an umbrella socket, which means you can pair it with softboxes, beauty dishes, snoots or photography umbrellas. That alone makes it much more versatile than smaller lights locked into proprietary systems.
🌈 Colour Accuracy and Creative Flexibility
A good video light needs more than just brightness. Colour accuracy matters. Skin tones matter. The ability to match other light sources matters.
On paper, the HB80C looks strong here. Neewer quotes CRI 95+ and TLCI 97+, along with the SSI and TM-30 figures mentioned earlier, and that should give most photographers and videographers a decent level of confidence.
Just as importantly, the light offers proper creative flexibility. The full hue control from 0 to 360 degrees, 0 to 100% saturation, RGBWW design and wide colour temperature range mean you can use it as a clean white light one moment and then switch to something far more stylised the next.
That makes the HB80C feel more like a practical all-rounder than a novelty RGB light. It can help with simple interview setups, product shoots and portraits, but it can also be used to add colour into backgrounds, create mood, simulate practical lighting effects or give videos a more cinematic feel.
🔋 Built-In Battery and USB-C Charging
For me, one of the HB80C’s biggest strengths is the built-in battery.
There are definite advantages to not having to think about external batteries, battery plates or extra power accessories. It makes the whole thing faster and cleaner. If you’re filming behind the scenes content, creating social media videos, or shooting in awkward locations where cables are a pain, that convenience becomes a big selling point.
Neewer says the HB80C supports USB-C PD charging up to 100W input, with up to 65W PD output, and can be fully charged in around 2 hours using a 65W PD charger. It also supports charging and discharging at the same time, which makes it a more flexible option for longer shoots.
That is exactly the kind of practical feature I like seeing in modern gear. It makes the light easier to live with, especially if you are working on location and trying to keep your setup compact.
Source: YouTube via Dano Media
💨 Fan Modes and Limitations
Of course, there are compromises.
The HB80C includes three power and cooling modes: mute, regular and booster. Neewer states that mute mode runs at 45W, regular mode at 65W and booster mode at the full 80W, with booster mode requiring a PD100W charger.
That is all perfectly reasonable, but it does highlight where the compromises are. If you need silent operation, you lose power. If you want the full output, you need the right charging setup. That is not unusual for a compact light, but it is worth knowing before you buy.
So, who might find that limiting? Anyone working in very quiet recording environments, or anyone expecting this to behave like a much larger studio light, may need to adjust expectations. The HB80C is powerful for its size, but size still matters when it comes to heat, fan noise and total output.
📱 App Control and Wireless Features
The HB80C also includes Neewer’s Infinity technology for app control and 2.4G wireless communication. When lights are set to the same channel, the HB80C can be synchronised with other compatible Neewer 2.4G lights for group control.
For solo creators and small teams, that is a genuinely useful feature. Anything that reduces the amount of walking back and forth across a set is a win in my book. It also makes the HB80C more appealing if you already own other Neewer lights or plan to build out a small multi-light setup over time.
🔴 Pros and Cons
Pros
Compact and easy to travel with
Built-in battery is genuinely useful
Bowens mount adds flexibility
Good mix of white light and RGB capability
Strong feature set for the price
USB-C PD charging is a smart addition
Useful app and wireless control options
Cons
80W output will not be enough for every scenario
Silent mode reduces available power
Booster mode needs the right charger setup
Plastic construction may not appeal to everyone
Still best suited to smaller scale setups rather than larger productions
🙋♂️ Who Is the Neewer HB80C Best For?
I think the HB80C makes the most sense for photographers and videographers who want a genuinely portable light that can do a bit of everything. It’s a great fit for content creators, YouTubers, solo shooters, interview setups, product work, social media content and photographers starting to add more video into their workflow.
If portability matters to you, this light becomes even more appealing. The built-in battery, Bowens mount compatibility and strong feature set make it a very practical option for people who want a compact light that still feels capable.
✅ Final Thoughts
The Neewer HB80C is one of those products that feels well judged. It doesn’t try to be everything, but within its intended role it does a lot right. It is compact, flexible, battery powered, Bowens compatible and feature rich, and that combination makes it very easy to like.
What stands out most to me is that it feels useful. Not gimmicky. Not overcomplicated. Not designed purely to look good in a list of features. It feels like a practical working light that suits the way a lot of photographers and videographers actually shoot now.
Is it perfect? No. The output ceiling and cooling-related compromises will matter to some users. But if you want a portable RGB COB video light that offers good flexibility, solid performance and strong value for money, the Neewer HB80C is a very convincing option.
For a lot of creators, this could easily become the light that gets used the most simply because it is so easy to take anywhere.
🔴 FAQ’s
-
Yes, the Neewer HB80C is well suited to video work, especially for solo creators, interviews, YouTube videos, social content and smaller productions. Its 80W output, RGBWW design, 2500K–7500K range and built-in battery make it a flexible option for a wide range of video tasks.
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Yes, the HB80C has a built-in 72Wh battery rated at 14.4V / 5000mAh. Neewer states runtime of around 1 hour 10 minutes in regular mode and 1 hour 34 minutes in mute mode.
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Yes, the HB80C supports Bowens mount accessories and includes a reflector. It also has an umbrella socket, which makes it more versatile for photographers and videographers who already use Bowens modifiers.
-
Neewer states that the HB80C can reach up to 10,400 lux at 1 metre with the reflector fitted at 4400K, making it impressive for such a compact light.
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If you want a compact RGB COB video light with a built-in battery, Bowens mount compatibility and good all-round flexibility, the HB80C looks like a strong option for the money. It makes the most sense for smaller scale photo and video setups rather than large studio productions.
📸 Are you a photography/videography brand looking to showcase you products? Take a look at my Media Pack and Contact Me to discuss how we can collaborate on a sponsored review.
Posts you might also like…
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK/US are affiliated links - you will still pay the same price but I will receive a small commission. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
2026 Update: Yashica Mat 124G Review - Budget Beauty or Twin Lens Tat?
The Yashica Mat 124 G is a medium format twin-lens reflex camera known for its sharp Yashinon lenses, built-in light meter, and classic design. However, is this a budget beauty that can stand up to it’s more expensive rivals or simply a conversation starter? Let’s find out…
📆 2026 Update: YASHICA MAT 124 G REVIEW
The Yashica Mat 124G impressed me when I first reviewed it back in 2023. However, with a few more years of usage under my belt, I can honestly say that this has grown to be one of my most loved cameras. I find myself enjoying the lightweight but sturdy build and the TLR experience is one of the most satisfying of all cameras - It is also a great talking point for other camera enthusiasts.
Quick Verdict: In short, it is a great camera to use and the lens renders a great image. It is simple enough to use to make it a perfect first camera for those just getting into Medium Format photography and as long as you enjoy composing and working with the square format, there is very little not to like about this great little camera.
Who is it for?/Who should avoid it?: It really is a fun camera to use so it is well worth a try for most people who want to shoot Medium Format. However, for those where image quality is the utmost importance or those needing interchangeable lenses/technical movements etc. There are better options.
Typical Used Prices: In early 2026, you can expect to pay around £200-£300 / $260-$400 depending on condition - look for a good, clean example and ask if it has been CLA’d and if the light meter works.
Pros:
Excellent fun to use and the TLR experience is a joy for most photographers
Good value compared to other options and pretty abundant so easy to find
Great image quality for it’s age and the lens (depending on condition) is sharp and contrasty
Cons
Not the greatest build quality but fair for the price, just be gentle with it
No interchangeable lenses so you need to be comfortable with using a fixed focal length
The Square format isn’t for everyone, you can always crop but there are better options if 1:1 isn’t for you
Read my original review below and if you find it useful in any way, please consider making a small donation to help support the blog and my work, thank you! Don’t forget to check out the FAQ’s at the end of the post 👍
It takes immense dedication to be running around these days with an old vintage camera. And when I say 'old', I don't mean the 2000s or 1990s 'old'... I mean back when cameras had cogs, pulleys, and gears in them, as if a simple service meant pulling apart the innards of Big Ben. Just like my Yashica Mat 124 G, using something this vintage is quite an interesting experience in almost every regard, from repairs to taking photos.
You'd typically have to persevere with the oddity of the mechanics and ergonomics when shooting with an old camera, back when things were less standardised. Not to mention, the mind-numbing aspect of having to fix stuff when things go wrong. To be a vintage camera owner is akin to driving around in a Ford Model T, at a time when Teslas are commonplace. So, with that being said, why bother with vintage cameras?
PLEASE NOTE: I PURCHASED THIS WITH MY OWN MONEY AND NO PAYMENT OR CONTROL WAS EXCHANGED FOR PUBLISHING THIS UNBIASED REVIEW
Well, as my experience with the Yashica Mat 124 G has told me, these ancient cameras are a lot of fun! For a spot of context, the Yashica Mat 124 G is a TLR, or 'twin-lens reflex'. If you were born early this century, it means that it has two lenses at the front... There's the 'viewing' lens at the top, which you view through by looking from the waist-level viewfinder at the top. This gives you an idea of what you're taking a photo of.
Then, there's another lens at the bottom - this is what's taking photos onto the film, otherwise referred to as a 'taking' lens. Historically, the Yashica Mat 124 G is one of many cheaper alternatives to the legendary Rolleiflex cameras. The latter of which can often cost you thousands of dollars. That, of course, depends on their condition, the specific model or variant, not to mention the market and who you're buying from.
📸 The Merits Of Using Vintage Cameras
While the Rolleiflex can be classed as a high-end collector's piece, the Yashica Mat 124 G could be had for anywhere between £250 to £500. It should be noted that the "G" model is one of many other Yashica Mat 124 versions sold, so each one does have it’s own merits. As for mine, I bought it on the former end of that price range, and it is even in pretty good condition, as well. With that out of the way, how do you use it?
To anyone who's used DSLRs or their iPhones to take pictures, the idea of a waist-level viewfinder may, at first, appear somewhat archaic. But, I'd argue that we should bring waist-level viewfinders back, because there's a shocking amount of practicality to be found. On those long days of shooting, not having to lift up a camera to your eye level and hold it there could be surprisingly comfortable and ergonomic.
Video Source - Kyle McDougal via YouTube
Instead, all you need to do is let it hang by your waist level - or bring it up slightly to your chest - and look down at it to peer through the viewfinder or the focusing screen. There are other practical use cases for it, too. For instance, with a waist-level viewfinder, you could take photos while also being discreet... Holding up a big camera to your face does catch people's attention. This makes it ideal for street photography.
There are certainly worse looking cameras out there! <3
Similarly, imagine wanting to take a portrait of a model, and still have that eye-to-eye communication with them as you're keeping your TLR still, without having a giant camera in your face, getting in the way. If not for any practical reasons, an old-fashioned TLR is certainly a conversation starter for passers-by. Alas, its perhaps not strong enough of an argument for any camera maker to engineer new TLRs in 2023.
“A great buy for anyone who’s enthusiastic about film photography, but without breaking the bank”
🎞️ A Rolleiflex For Those With Tight Budgets
Specs-wise, the Yashica Mat 124 G is a medium-format film camera, with a 6x6 square negative. And, they come with fixed 80mm lenses, which is a 50mm equivalent to the 35mm standard. As there are two lenses on TLRs, they each have their own focal length, and the same goes with the Yashica Mat 124 G. Its viewing lens at the top is an f2.8, while the taking lens at the bottom (responsible for taking photos) is an f3.5.
On the other hand, the shutter speeds can vary between 1/500th of a second to 1 second. So far, its pretty standard fare for medium-format film cameras, even in the decades following its initial release. Plus, you'd even get a Bulb mode. Naturally, being a film camera, you'll need a roll of film to capture photos with it. A Yashica Mat 124 G takes in either 120 or 220 films, with options between 12-exposure to 24-exposure.
Given the fact that 220-roll film is no longer in production these days, you're mostly stuck with 120. With it, you'll get 12 shots out of a single roll, which is modestly economical. Being an older camera, the 124 G is a very mechanical device to use. Albeit, the 124 G (not necessarily a staple of all 124 models) comes with an included light meter. Unfortunately, the light meter on my unit here is very broken and doesn't work.
Once you dive into the forums, you'll realise that light meter failures are a common fault on these. So, if a photoshoot demands that you need one, make sure you have an external light meter or even a simple light meter app on your phone at the ready... Just in case. That's unless you happen to have some spare PX625 mercury oxide batteries around to recharge the built-in light meter on the Yashica Mat 124 G.
✅ Simple To Use, Yet Brilliant To Take Photos With
As is expected of a camera from yesteryear, there aren't a lot of controls to fiddle around with. There's the focusing knob, with aperture and shutter speed controls on the very front of the camera, besides the lens. Elsewhere, on the right-hand side of the camera, there's the winding lever, as well as a sports finder for a direct shoot. To be fair, the placement of things on the 124 G does take some getting used to.
That's especially if you're more accustomed to the industry-standardised layouts of modern cameras. Just as peculiar is having to use that waist-level viewfinder. Despite all my praises for it, having the picture be inverted requires some degree of patience as you're getting the hang of trying to compose a shot. Though, if the image quality to come out of it is at least okay, then the Yashica Mat 124 G is worth it, right?
Video Source - Jaycie Linh via YouTube
Actually, its more than just 'good', as this relic of the 1970s takes some staggeringly great photos. Yes, a bit of technique is required when you're dealing with a lot of manual controls - its hardly point-and-shoot, as you would with a digital camera. But, do it right, and the images that come out of the 124 G often tend to be quite sharp. That's particularly, as I've found, once its stopped to between f8 to f11.
You will probably guess my location from the photos and ‘Photographer Birmingham’ plastered all over my website. However, this little beauty is also great for travelling with. Its (relatively) diminutive size means it is easy to throw in a bag and apart from being conscious of its age, its pretty solid, as long as you take care of it. The only thing better than using this camera is using it in some beautiful, far-flung location!
This is partly aided by the Yashica Mat 124 G's crisp lens, and that square 6x6 negative. Not only would it afford you a high level of detail in your shots, it even has a good amount of depth of field. You'd think the quality would absolutely be demolished when looking side by side compared to a modern camera. Yet, it holds up quite well on its own. As such, you could totally rely solely on the 124 G for taking photos.
🕰️ A Time Capsule For The Good Old Days
It is fair to say that given the practical functionality and great image quality, owning a vintage camera like the Yashica Mat 124 G is more than a mere gimmick. Or, simply trying to be all cool and hipster. Still, that doesn't mean that there aren't any novelties to be enjoyed with it. Viewing through the focusing screen as well as the 124 G's waist-level viewfinder is no doubt a pretty unique photo-taking experience.
Compared to viewing with just one eye through a DSLR's digital viewfinder, being able to use both eyes and look into a TLR viewfinder gives off a 3D-like quality that's hard to match. Equally as old-school is the build quality of the Yashica Mat 124 G. It is decent, but nothing extraordinary, and is most certainly fragile. Take a look inside any vintage camera, and you'll have an idea of how many moving parts there are.
So, make sure you don't drop it. Additionally, since it is a camera from the 1970s, buying one almost always requires that you at least give it an in-depth inspection before any serious shooting. There's likely at least something in there that needs urgent servicing. Or, it is nearing the end of its usable service life and needs a full replacement. A saving grace here is the relative abundance of 124 Gs on the used market.
Video Source - Imran Nuri via Youtube
With that in mind, it might not be too tough to find spares. If you are to carry it around day-to-day, make sure you also have a strap for it. Unlike most other 124s, the 124 'G' variant has a bit of plastic in its build. Yet, with a nearly all-metal construction, the Yashica Mat 124 G is still pretty heavy. This does translate to a solid - if not a bit clunky - feel to it anytime you pick it up or have it hanging around your neck.
🤔 Specs, Details, And Closing Thoughts
Despite being an ancient camera, the Yashica Mat 124 G is still a nice bit of kit. Some might argue that it is really only functional as some sort of collector's toy or a hipster fashion statement. But, once you spend a good bit of time with it, and see how well it takes photos, you'll realise how capable it can really be. It even stands toe-to-toe with modern cameras of today (those huge negatives can render a lot of detail!), even if a phone camera might match it.
The most important factor for me, in all of this, is F-U-N. It is a fun alternative to a digital camera or even a later film camera and is enjoyable to take photos with. This joyousness is also the reason why I try to bring it with me as frequently as I can. To be fair, if I had deep pockets, I'd still go for a Rolleiflex. Regardless, the Yashica Mat 124 G is still a fantastic pick and a great buy for any budget-friendly film camera enthusiast.
FAQS
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If you’ve never shot medium format before, it’s one of the most approachable ways in. The layout is simple, it’s hard to get distracted by settings, and the 6x6 negatives are wildly forgiving compared to 35mm. It’s also a camera that rewards slowing down — which is basically the whole point of shooting film in the first place.
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If you only do a few checks, do these:
Look through the viewfinder: is it bright enough to focus easily, or is it dim/hazy? (Dirty screens are common, but heavy haze can be a pain.)
Focus: wind focus from near to infinity — it should feel smooth, not gritty.
Shutter speeds: fire it at a few speeds (especially 1/500 and 1/30). You’re listening for consistency, not perfection.
Film advance: winding should be smooth and stop positively at frame “1” after loading.
Lens condition: small dust is normal; haze/fungus is not. Shine a torch through if the seller allows it.
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The big three I see mentioned (and occasionally experienced) are:
Sticky/slow shutter speeds (especially the slower ones)
Dim finder / focusing screen issues (age + dirt makes them feel “harder” than they should)
Light meter problems (dead meters, inaccurate readings, battery weirdness)
None of these are instant deal-breakers, but you want to price them in — and ideally buy from someone who can show it working.
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Nice-to-have, not essential. If it works and is accurate, great — but I wouldn’t pay a big premium for it. If it doesn’t, you can:
use a phone light meter app,
carry a small handheld meter,
or shoot using sunny-16 if you’re that way inclined.
The camera is completely usable without the meter, and plenty of people prefer it that way.
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A dim focusing experience. When the finder is murky, you’ll miss focus more often, and the camera stops being fun. If you’re buying in person, spend 30 seconds focusing on edges/contrast (signs, door frames) — if you’re fighting it, you’ll fight it forever. Some people upgrade focusing screens, but ideally you start with a decent example.
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You’re mainly listening for consistency across repeats. Fire the same speed 3–4 times; it should sound the same each time. Then do a slow speed (like 1/8 or 1/15) and listen for anything that sounds like it’s dragging or sticking. If you’re buying remotely, ask for a short video of the shutter firing at a few speeds — it’s a completely reasonable request.
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In the “I want the vibe without selling a kidney” sense, yes. The shooting experience is similar enough to scratch the itch: waist-level, square format, slowed-down pace, and surprisingly good results if your camera is in decent nick. It’s not a Rolleiflex, but it’s also not trying to be — it’s a proper camera in its own right.
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A few things that helped me:
Focus carefully and don’t rush the last millimetre of the focus knob.
Use higher shutter speeds than you think you need if you’re handheld.
Brace the camera against your body — waist-level shooting is naturally steadier if you use it properly.
If you’re shooting wide open, take a breath and treat it like a portrait lens: nail the focus, then shoot.
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his work published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK/US are affiliated links - you will still pay the same price but I will receive a small commission for providing the link. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sought before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
REVIEW: Atomos Ninja TX Go: All Show and Go!
Atomos Ninja TX GO is a 5" 1500-nit monitor-recorder that adds CFexpress Type B, Wi-Fi/cloud workflows, and HDMI camera control + touch-to-focus (on supported cameras)—making it a meaningful upgrade for creators who want a brighter screen, faster media and tighter camera integration.
Atomos Ninja TX GO is a 5" 1500-nit monitor-recorder that adds CFexpress Type B, Wi-Fi/cloud workflows, and HDMI camera control + touch-to-focus (on supported cameras)—making it a meaningful upgrade for creators who want a brighter screen, faster media and tighter camera integration.
Buy it if: you record ProRes/ProRes RAW, shoot outdoors, want CFexpress + camera control
Skip it if: your camera isn’t supported for control / you don’t need external recording
Best for: weddings, doc, content creators, small crews
❤️ PLEASE NOTE - No AI was used to make this article. It is my own work based on my experiences and created in my own time. This item was purchased with my own money and is not in collaboration with Atomos. If you would like to support the blog, please consider making a small donation.
Some things simply can’t be improved upon. Take a perfectly worn-in mattress that feels like it was built for you, or a piece of toast, cooked to perfection, heaven! Sounds great, right? Well, swap that mattress for the latest Memory Foam with active cooling or spread a nice thick layer of Jam on that toast and tell me it isn’t ten times better! OK, I’m stretching a bit but you get the point - well that’s exactly where the TX GO comes in - they might seem like little tweaks, but they add up to a world of difference!
🔨 What is the Build Quality Like?
Straight out of the box, this feels like an Atomos product. It is sturdy with a reassuring weight to it. Although it is plastic, it feels sturdy and like it could take a knock or two. Atomos clearly understands its users and it is nice to see mounting points on the top and bottom of the monitor and well throughout additions like the new ‘locking’ cable clamps for the HDMI and USB-C. With the additional ‘Creator Accessory Kit’ you also receive a sunhood which is a nice add-on for those working in nicer climates than the UK!
There are some improvements to airflow and Atomos have changed the fan in the latest TX GO - it is still not silent, with a subtle whirring noise that ramps up on start-up and quickly calms down. This has never been an issue for me personally as even in interview scenarios, it is usually unnoticable. However, it is something to be conscious of if you work in exceptionally quiet environments, it may be irritating - but if you are using video lights etc. then you will be used to some subtle fan noise.
👍 What is the User Experience like?
I have used a ninja V for many years and it has always been a delight to use. The TX GO is no different to that. The improved screen brightness (1500nit) is a welcome addition and makes the screen more easily viewable in brighter lighting conditions. However, the included sun shade in the Creator Kit goes a long way to cut down on glare and reflections as well. Colours look fantastic and the screen generally gives you a lot of confidence in terms of setting exposure - though the additional exposure tools such as ‘False Colour’ basically eliminate any concerns anyway.
The touchscreen is fast and responsive and even with my sausage-like clumsy fingers, navigating the tools and menus is simple and rarely have I ever ‘clicked’ something I didn’t intend to. The menus are logical and well laid out, with monitoring tools and features all easily accessible. The Ninja range has certainly developed over my years of use and the menus and options now feel fully rounded with an absolute plethora of recording, monitoring and audio options and that’s before you get to the additional items that the TX brings.
📲 How do the new features work?
The TX GO feels like a more premium model than its midrange price would suggest and that is down to what Atomos has crammed into the new model. The standout feature for me is the new ‘Camera Control’ which allows compatible cameras to be controlled directly from the monitor. You can change aperture, ISO range and touch to focus which for me, is the real selling point. Unfortunately, my go-to video camera is the Canon R5C which is not currently supported, but having tried these features on my Canon R5 Mkii - they work great and I’m really hoping between Canon and Atomos - this is something that can eventually find its way to the R5C.
If you do have a camera that is compatible with Camera Control - one other big consideration is how the camera ‘talks’ to the monitor. Obviously, all visuals and audio are handled by HDMI but Camera Control is done over USB-C. This is fine for most users but if you are powering your camera with an external battery and use USB-C - you will need to free that port up. Most modern cameras will have multiple powering options so there will always be a solution, but if your current rig is already utilizing the USB-C port, it is something worth thinking about.
Another big selling point for me is the move away from SSD recording to CFexpress Type-B. The biggest reason I love the Ninja V range is the additional peace of mind that I get from recording to an external recorder. Most modern cameras will have some kind of ‘dual’ recording but there is just something about recording to a completely separate device. However, having to use a caddy and plugging onto an SSD always felt a bit cumbersome. The new CFexpress Type-B option not only reduces that hassle but it feels a bit more future-proof. Additionally, you can still record to an external SSD over USB-C if you desire.
More professional based users will also love the range of Codecs on offer in the TX GO. As standard, it offers Apple ProRes/RAW up to 6Kp30, Avid DNx, H.265 and NDI 6 HX3 TX & RX - so you are basically covered for all but the most demanding of scenarios. Atomos have always offered user upgradable packages that can be purchased via their website - but for me and many other users, the included line-up of codecs is more than enough for most workflows.
Finally, the TX range offers the ability to utilize WiFi cloud compatibility for both streaming and back-up. You even get 20gb of cloud storage which is crazy when you think about it - I only really use a Ninja because of the ‘off-camera’ recording capabilities and now I can send files to the cloud for additional piece-of-mind. Depending on your personal use case, this is an amazing addition.
🔎 QUICK LOOK PRO’S AND CONS
PROs
Exceptionally good touchscreen responsiveness and accuracy
1500nit monitor brightness is great for outdoor use
Camera Control is a brilliant feature (with compatible cameras)
The addition of CFexpress Type-B is more than welcome
Atomos are generally very committed to firmware updates offering new features
CONS
Fan noise might be an issue to some users in extreme circumstances
Camera Control is not compatible with all cameras (not necessarily Atomos’ fault!)
Price point is certainly higher than other options if you don’t need/can’t use all of the features
☝️ Is it worth the upgrade if I own a Ninja V?
For current owners of the Ninja V, the TX Go causes you a bit of headache. The TX GO is similar enough to previous generations that you might not see the point in upgrading. However, the addition of Camera Control (for compatible cameras), the additional connectivity features, improved brightness/fan and CFexpress Type-B - all make this a compelling option and one that I would class as a worthy upgrade.
Source: Pro Moviemaker via YouTube
One thing that I really admire with Atomos is their on-going commitment to firmware updates and a continual striving to improve their products. The difference with the TX range is that the physical upgrades make them a justifiable purchase. Knowing that Atomos are committed to the longevity of their products means that the TX range will be well supported for the next few years at least so investing now in those additional physical benefits, seems like a ‘no-brainer’.
✅ Final Thoughts…
I started this post by suggesting that some things just can’t be improved upon. However, Atomos clearly pay no attention to that idea and have strived to make an already great product range even better! Even though the price point of the TX range might be slightly out of reach for some, the value of what the TX GO delivers compared to some monitors more than double its price can not be understated - it really is a powerhouse of a portable monitor.
The Ninja V has been the go-to choice for many thousands of creatives over the years and with this latest refresh, it seems the TX GO will serve many thousands more, long into the future. With all that said, if you don’t need all of the bells & whistles, Atomos has such depth in their range of products, it’s difficult to believe that they wouldn’t have something that fits your needs. Leave a comment below if this little monitor does the job for you or if you think it’s missing something?
🔴 FAQ’s
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There are multiple version in the TX range but the TX Go version that I tested was priced at £720 at the time of purchase. This included the additional ‘Creator Kit’.
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This will completely depend on your own use case but if you can make use of the Camera Control feature, than I would say Yes! The additional upgrades are well worth the price but if you own a ninja V and it’s doing everything you need it too, then maybe hold out for a sale!
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Honestly, I could see the TX Go being used on all but the most high-end of productions. You will know if it fits your needs but for the vast majority of users, it will get the job done.
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For me, the price feels high but there are so many features here, it’s difficult to complain. I would love the fan to be silent and I wish the body was metal, but then there are always compromises. I’d also love to see the ‘frame’ of the body covered in mounting options so it feels a bit more adaptable.
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There are certainly more expensive options out there and there are definitely users that will ‘need’ an alternative option (such as RED owners choosing to use RED monitors etc.) However, ‘better’ is very subjective in this case and I think you would be hard pushed to find a better value proposition for the features on offer.
📸 Are you a photography/videography brand looking to showcase you products? Take a look at my Media Pack and Contact Me to discuss how we can collaborate on a sponsored review.
Posts you might also like…
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK/US are affiliated links - you will still pay the same price but I will receive a small commission for providing the link. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sought before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
Logitech MX Master 4 Mouse - the Porsche 911 of mice!
Writing product reviews is actually more difficult than most people think, in particular when that product is something that a lot of people use on a daily basis and tend not to make really in-depth purchasing decisions about, like buying a mouse for your computer. However, even the most mundane products can be exciting in the right hands and MX Master 4 is certainly one of those! Let me explain why it is so special and indulge me as I compare this little chunk of plastic to a Porsche 911!
Writing product reviews is actually more difficult than most people think, in particular when that product is something that a lot of people use on a daily basis and tend not to make really in-depth purchasing decisions about, like buying a mouse for your computer. However, even the most mundane products can be exciting in the right hands and MX Master 4 is certainly one of those! Let me explain why it is so special and indulge me as I compare this little chunk of plastic to a Porsche 911!
❤️ PLEASE NOTE - No AI was used to make this article. It is my own work based on my experiences and created in my own time. This item was purchased with my own money and is not in collaboration with Logitech. If you would like to support the blog, please consider making a small donation.
🔨 Build Quality
Out of the box, the MX Master 4 doesn’t feel a whole lot different to the previous iterations. I have been using the MX Master series for years, this being my fourth one now and instantly, your hand sculpts to the familiar layout - no new learning curve here. The mouse feels robust enough and is made from a healthy mix of recycled plastics. Like previous versions, longevity doesn’t feel like it will be an issue which is on par with what you would expect from a premium product like this.
Logitech have reformulated some of the ‘touch points’ of the mouse with improved stain resistance where your hand rests on the mouse and subtly transparent main buttons have a near silent click but feel incredibly satisfying to use. The attention to detail from Logitech on those touch points is very welcome. One of my main complaints of previous versions is that they develop a slightly greasy looking sheen on the main contact points. Logitech seems to have addressed this with their choice of new materials but in truth, time will tell how well it holds up.
The additional customisable buttons and scroll wheels all feel very similar to the previous version which is actually great to see. Logitech’s ‘MagSpeed’ scroll wheel is probably the best in the business and as I will be repeating a lot throughout this review - if it isn’t broken, don’t fix it. Elsewhere, battery life and connectivity seem to be solid, most likely improved from previous versions but this obviously depends on personal usage. I am using the Mac version of the MX Master 4 and it connected quickly to my Mac and no issues since.
Source: Youtube - Oliur / Ultralinx
😎 Getting the most from the Master
OK, so this is where things get interesting (no, really!) but first let me cover a few basics. In it’s most fundamental use case, for connecting to devices and pointing at things - this mouse is already excellent. It is comfortable to use, feels great in the hand and does everything you would expect a mouse to do. Honestly, how much can ‘Mouse technology’ really change? Well, turns out, quite a bit… Logitech has added a few features that kind of make you think ‘why has nobody else done this before’... I’ll start with haptic feedback.
Ok, so in essence most mice have some kind of feedback - afterall, that satisfying click of the mouse button or scroll pad does indicate that a button has been pressed and therefore an action has been initiated. However, Logitech has taken this much further. The first time you turn the mouse you get a satisfying buzz - and no I’m really not that excited about using mice, you genuinely get a little buzz, similar to that of a mobile phone receiving a call. It feels a little odd to start but it very quickly becomes an incredibly sensory thing that just adds to the user experience.
I must admit, I turned the feedback down a little as I thought the original factory setting was a bit much but you very quickly get used to the subtle buzz of actions being taken. The haptics main purpose is to support Logitech’s new ‘Action Rings’, the second main feature of the mouse and one that I think will have most users excited about upgrading to this device.
🖥️ Customisation and Action Rings
If you are looking to buy this mouse for any particular feature, it really should be the Action Rings. In its most basic sense, the Action RIngs are just customisable shortcuts that reveal a beautifully designed onscreen overlay with popular actions. The Actions can be programmed to specific software with Photoshop and Lightroom being supported straight out of the box. However, the actions can be customised so most shortcuts can be assigned.
Even whilst navigating the general OS of your computer, a quick tap on the Action key reveals a set of thoughtful actions and the aforementioned haptic feedback makes scrolling the actions feel immersive and gives you a better sense of connection with your device - sounds weird but once you try it, it becomes a little addictive.
When I first saw this feature advertised, I thought it sounded a little gimmicky - in particular as I already have a lot of shortcuts set up on my Mac and for editing, I already use (and love) the TourBox - so why would I need to add even more confusion to my editing process? Well, it turns out that I can now pretty much edit anything I need to with one hand!
This might sound like a somewhat shallow win, but in truth, it is a timesaving masterpiece and even though I still insist on using the TourBox for some actions (who doesn’t like a ‘twiddly knob’!) I could easily carry out most actions on the MX Master 4 and when travelling, I really only need to carry the mouse now.
For both Lightroom and Final Cut - my two main pieces of editing software, a combination of customised buttons and the new Action Ring get me through 95% of my main editing actions. I only really use the keyboard or TourBox for very specific tasks that are so ingrained in my personal workflow that I can’t really seem to change. For most users (and photo and video editors, I’m really talking to you here!) the MX Master 4 is by far the most useful mouse… No actually, the most useful customisable user interface that I have ever used… I’m sure professional video editors using multiple thousands of pounds worth of editing desks might have a different experience - but for the rest of us, this little mouse is a brilliant addition!
🤔 upgrade from previous versions?
I would guess that the vast majority of photo/video editors already have a previous version of the MX Master series. So it begs the question, should you upgrade? In short, Yes! My personal experience is that the physical product feels very similar in most aspects to the previous version. This is a good thing, I love the Master 3 and if Logitech has decided to make massive changes, putting buttons in different places and changing the ergonomics - I genuinely wouldn’t even have considered changing my mouse - it’s only because it is so familiar that I thought about upgrading.
Where the real value lies is in the haptic feedback and the Action Rings. It’s clear that Logitech will be investing into this going forwards and with the additional software support and customisation options - I can see the Action Rings becoming a massively beneficial addition to most users - justifying the upgrade even from the most recent generations of this series. It really is one of those things that once you try it, you can't understand why it wasn’t there in the first place.
Source: Youtube - Cameron Dougherty Tech
🔎 QUICK LOOK PRO’S AND CONS
PRO’s
Excellent ergonomics and comfort
Haptic feedback feels like a genuine innovation and something we will see more of
Incredible customisation of buttons and the ‘Action Ring’
Solid battery life and connectivity
Top choice for both professional use and normal day-to-day opperations
CON’S
Definitely cheaper options out there…
The Action Rings usage in apps like Lightroom can be a bit fiddly
The MX Master 3/3S are both great choices if you don’t need the Action Rings
✅ Final THoughts
I started by comparing the MX Master 4 to the Porsche 911 - I’m sure a lot of you will have already worked out the relevance of this but let me explain… Porsche is often accused of being ‘lazy’ when it comes to design. The 911 shape hasn’t really changed that much in over 60 years! At first glance, the MX series is a lot like that - you might be scratching your head as to what has actually changed from the previous version! But like with iPhones, toasters, McDonald’s menu (yeah I’m clutching at straws!) Sometimes simplicity is the key to its success…
Continuing the 911 analogy, you can use the big Porsche to go to the shops and it will get you there and back just like any other car. What a lot of cars can’t do, is get you round the Nurburgring in lightning fast times and leave you with a smile on your face at the end of it! The MX Master 4 is the same… It can do all of the pointy clicky things any other mouse can do… But it also has the potential to save you hours of editing time and leave you with a smile on your face because now, you can spend that saved time on far more interesting things!
🔴 FAQ’s
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The MX currently retails at around £120 (I’ve seen it at $110 in the US) but it does seem like there are fairly regular discounts and I would assume that this may also be a ‘Black Friday’ item when sales come around - check the latest prices on Amazon (affiliate link)
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In short, Yes. The addition of the haptic feedback and action rings make it worth checking out and for the action rings alone, I would consider this worth the cost of the upgrade
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Honestly, this is a very solid mouse for any user and the ActionRings make a lot of day-to-day actions very simple - but for photo and video editors, I think they will get he most additional benefits from this mouse.
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I’m genuinely struggling to think of anything… It’s a great product that I can’t really see how it would be improved… But I said that about the previous product and Logitech proved me wrong with the MX4!
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This is hugely down to personal preference - some may prefer a track pad or vertical mouse but that really is down to your own specific use case. For most people, I think the MX4 is probably the best mouse on the market right now though for photo/video editors, I’m still a big fan of the TourBox and the MX4 hasn’t completely replaced it… yet.
📸 Are you a photography/videography brand looking to showcase you products? Take a look at my Media Pack and Contact Me to discuss how we can collaborate on a sponsored review.
Posts you might also like…
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK/US are affiliated links - you will still pay the same price but I will receive a small commission for providing the link. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sought before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
After nearly two months of regular use, the Bright Tangerine Titan Arm 2 Ti has become far more useful than I expected. I tested it for monitor mounting, lighting, teleprompter setups and general rigging — and while it is significantly more expensive than a typical magic arm, there is a very obvious difference in quality.