This review in from our friend Lee Herbet at Capture Ink
Over the last few years the cameras in phones have gotten better and better. With this it also allows us to use accessories and apps on our phones to capture video and images that we may usually use our bigger camera for.
There are advantages and disadvantages of using your phone. The obvious advantage of using your phone is that it is the camera that most of us always have with us. The disadvantages, other than physics and a small sensor and lack of a lot of glass infant of that sensor, is that if you start having to carry a bag full of accessories for your mobile phone, it can become a bit less mobile.
In the embedded video I take you throw why you may want to have a set of clip on ND/CL filters for your phone and some of the things you can do with them.
How do you think you might use something like this?
We were recently sent the Godox iT20/iT22 iFlash for review. They’re tiny, they weigh in at about 45gm. they’re USB-C rechargeable and they take up no space in your camera bag / pocket, but are they any good? Let’s talk about that…
A small lightsource close to your lens typically gives a pretty harsh light and, honestly, these little flash fall into that category – while they do come with tiny mag-attach filters, a spreader (to throw your light around a bit) and two CTO colour filters, (1/2 CTO and 1/1 CTO) they do sit down very close to directly above your lens and so you tend to get that “deer in the headlights” look if you’re not careful!
There is no built in way to change the angle of the flash, you can’t use a remote trigger with them, but you could get creative with a piece of paper and bounce the flash – which I tried, for fun, and it can work.
The other issue you run into, literally, is the end of your lens (In my case a 35mm prime) gets in the way of the cast flash and sends a tasty shadow out onto your subject – that said, I’d imagine people using a flash like this are likely either using smaller (bridge?) cameras or maybe pancake lenses at parties? Not sure.. A couple of images below to show you the results of using the flash with a 35mm lens.
iT20 With HoodiT20 Without HoodiT22s With HoodiT22s Without HoodiT22s 35mm with hoodAnd no hoodFlash iT22sNo Flash
Godox do sell a hot shoe riser that lifts your flash up a little and also allows you to tilt it back to help alleviate that, but generally, unless you can get your flash off the camera or in the least bounce it off a wall or ceiling, you get what you get and you don’t get upset… That said, getting upset would be NOT being able to capture anything because it’s too dark – having the miniscule Godox in your bag will help you with that.
The iT20 and 22 are USB-C rechargeable, they recharge pretty quickly, just over an hour from empty to full and on a full battery they’re rated for around 700 frames at 1/1 power. Mostly easily enough for any party!
So we’ve talked about the whole “get the lightsource away from your lens” and how, with the Godox iT20/22 it isn’t possible, but does that matter? I honestly don’t think it does! In use, the Godox iT20/22 are an easy to use compact flash that will illuminate your subject – it won’t be the most flattering light, but it does a great job for what it is! You have a very simple Manual / TTL but, then you have buttons to adjust flash intensity across 6 stops (1/32 to 1/1 power) in precise ±1/3-step increments for total command over your lighting. Simple to use and I think would be really handy to help you learn how flash works.
You get the flash, a usb-c / a cable to charge your flash, a small pouch to keep it all nice and neat and you get three filters. As you can see in the image below, there are a whole stack more filters, as well as the riser we talked about above, and a diffuser you can purchase separately.
I think, for a beginner flash, for the “have some light rather than nothing” that the mini Godox iT20/22 flash system is a great purchase for the money, well worth chucking in a Christmas stocking if that’s your thing!
In an era where every smartphone is a camera and every moment is potentially “Instagrammable,” it’s easy to dismiss photography as a mere act of clicking a button. But for those who truly delve into its depths, photography is far more profound. It’s an art, a science, and a philosophy all rolled into one, challenging us to see the world not just as it is, but as it could be.
We often focus on the tangible aspects: the latest gear, the perfect settings, the sharpest focus, or the most vibrant colors in post-processing. Digital Photography School, for instance, offers invaluable guides on everything from shutter priority mode to mastering white balance and even creative Photoshop effects. These technical skills are undeniably crucial, forming the bedrock of good photography. They are the grammar of our visual language.
However, the truly thought-provoking aspect of photography lies in what happens before and after the click. It’s in the unseen frame – the mental preparation, the emotional connection, and the narrative we construct.
The Power of Pre-Visualization: Before a single exposure, a photographer often “sees” the image in their mind’s eye. This isn’t just about composing a shot; it’s about anticipating light, understanding the mood, and deciding what story needs to be told. It’s the silent conversation between the artist and the scene, where possibilities are explored and intentions are set. This mental pre-visualization transforms a simple snapshot into a deliberate act of creation.
Beyond the Pixel: The Emotional Resonance: What makes an image truly compelling? It’s rarely just technical perfection. It’s the emotion it evokes, the memory it stirs, or the question it poses. A faded, slightly out-of-focus photograph of a loved one can hold more power than a technically flawless landscape if it resonates with our deepest feelings. Photography, at its core, is about bottling moments and emotions, allowing them to transcend time and speak to different hearts.
The Photographer as Interpreter: Every photograph is an interpretation of reality, not a mere replication. The choices we make – what to include, what to exclude, how to light, how to frame, and how to process – all contribute to this interpretation. The same scene can yield countless different photographs, each reflecting the unique perspective and sensibility of the person behind the lens. This act of interpretation is what elevates photography from a craft to an art form, making the photographer a storyteller, a commentator, and sometimes, even a philosopher.
So, the next time you pick up your camera, whether it’s a professional DSLR or a humble smartphone, pause for a moment. Look beyond the technical specifications and consider the unseen frame. What do you truly want to convey? What emotion do you want to capture? What story are you trying to tell? It’s in these deeper considerations that the true magic of photography unfolds, proving that it is indeed much more than just a click.
Another Tamron lens! And I’ve got to say, after trying their last few releases, it’s clear they’re on a roll — seriously good glass at prices that make sense.
Their latest is the Tamron 25-200mm F/2.8-5.6 Di III VXD G2 (Model A075) for Sony E-mount full-frame mirrorless cameras. On paper, it looks like the perfect “do-it-all” lens — one that could easily become your go-to for travel, family events, or sports days.
Think about it: at 25mm, you can shoot a wide team photo or a sweeping landscape, then zoom all the way to 200mm to capture the game action or your kids mid-celebration — without ever changing lenses. I’ve been taking those post-match, “kids-hyped-up-on-oranges-and-lollie-snakes” team shots for years, and a lens like this would’ve made life so much easier.
What’s New in the G2 Version
This new G2 model replaces the popular 28-200mm F/2.8-5.6 Di III RXD (Model A071). Tamron has made some smart updates — widening the zoom range from 28mm to 25mm, improving autofocus speed and accuracy, and keeping the lens surprisingly compact for its range.
It’s powered by Tamron’s VXD (Voice-coil eXtreme-torque Drive) linear motor, which gives it quick, quiet, and precise autofocus — ideal for fast-moving subjects like sports, pets, or kids.
At the wide end (25mm), it even offers half-macro capability with a 1:1.9 magnification ratio, letting you capture close-up detail shots without switching lenses.
Why It’s Great for Beginners and Travellers
If you’re new to photography, an all-in-one zoom like this can be a real confidence booster. You’ll spend less time worrying about which lens to use and more time shooting. It’s also a brilliant option for travel — light enough to carry all day, but versatile enough to cover everything from street scenes to wildlife.
And because it’s compatible with Tamron Lens Utility, you can tweak settings and customise functions straight from your smartphone or computer — a nice touch if you like fine-tuning your gear.
Key Features
Focal range: 25–200mm (8x zoom)
Maximum aperture: f/2.8–5.6
Autofocus: Fast and precise VXD linear motor
Close-up performance: Half-macro (1:1.9 magnification at 25mm)
Filter size: 67mm (same as most Tamron lenses)
Customisable: Compatible with Tamron Lens Utility
Release date: November 20, 2025
Price: USD $899 / CAD $1,199
The Bottom Line
Tamron has built a reputation for making lenses that punch well above their price point, and the new 25-200mm F/2.8-5.6 G2 looks like another solid step forward. Whether you’re a beginner looking for your first all-round lens, or a more experienced shooter who wants something lightweight and versatile, this one’s definitely worth keeping an eye on.
The Freewell Real Multi Tripod 5-in-1 is a versatile, multi-function support system that’s clearly aimed at photographers and content creators who want one piece of gear to do many jobs. According to the manufacturer, it offers five modes (tripod, two types of monopod, desktop mode, and trekking-pole mode) and supports up to 20 kg of payload.
For someone new to photography, that instantly makes it appealing: you’re not just locked into one height/tripod scenario, you can experiment with angles, surfaces and shooting styles.
After a little time working out how each mode worked, the tripod did a great job in all of its modes, a great phone holder, a sturdy tripod with really solid feeling hardware, a handy desktop tripod for live streaming or photography, a walking pole (I’ve not used this as a walking pole for the test, but I have used walking poles before (Machu Picchu) and they’re pretty handy! As well as a regular or stabilised mono-pod.
As a “tripod multi-tool, and for a the comparatively low price, considering all of the things this Tripod MacGyver does, it’s great value for someone starting out and looking for a good solid, but less expensive choice. (Currently $279 on Freewellgear.com )
Key Features & What They Mean for Beginners
Here are the main specs and features, and what they translate to in practice if you’re just starting out.
Five modes: Full tripod, two monopod variants, desktop mode (for low angle or table-top usage), and trekking pole mode.
What it means: You can use this gear for more than just “camera on a stand”. Want to shoot selfies or video with a phone or mirrorless? Want to go out and hike and still have a support tool? It covers lots of bases.
Smartphone mounting built-in: Retractable clamps convert the included arca swiss compatible tripod plate into a smartphone holder. (You can buy these individually for $19.99, handy if you want to use your phone mounted on another arca swiss compatible tripod)
Why this matters: If you’re using your phone for practice or even learning photography via mobile, this gives you a leg-up. No need for a separate phone tripod or clamp.
Height and angle flexibility: From a minimum height of ~17.5 cm (~175 mm) up to ~1.57 m maximum height. Legs lock at angles like 22°, 55°, 85° for uneven surfaces.
For beginners: Good for experimenting with low-angle (dramatic) shots as well as standing height. The adjustable leg angles help when you’re shooting on a hill, grass, or uneven pavement.
Inverted column / low-angle shots: The center column can be inverted for really low viewpoints (macro or creative shots). Freewell Gear
What you’ll love: When you start exploring creative composition (getting low, shooting up at your subject, etc) this gives you an extra tool.
Payload & build: Supports up to 20 kg (44 lbs) thanks to carbon-fibre + aluminium alloy construction. Weighs ~1.65 kg.
What’s in the box?: The tripod, three desktop short legs, the phone/arca swiss camera plate, a load hook to anchor your tripod down in a stiff wind, a weight hook for the same thing, tools, a user manual and it’s all packed in a decent little tripod carry bag.
Why it’s relevant: For a beginner it means you can grow your gear (larger camera bodies, heavier lenses) and not immediately out-grow the tripod. Also the lighter weight helps portability.
Strengths (especially for beginners)
Here are what I see as big pluses, especially if you are just getting started.
Versatility: This is the major selling point. One tool that adapts rather than buying separate tripod + monopod + smartphone stand.
Encourages experimentation: With modes like desktop and trekking-pole you’re nudged to try different shooting scenarios beyond “camera on a stick”.
Good value for what it offers: The spec sheet is impressive for the price and gives you a “future-proof” element (i.e. supports heavy gear, many modes).
Smartphone friendly: A good nod to how many beginners start on mobile or want hybrid setups.
Stable build and strong payload: Should support a wide variety of camera setups, meaning you’re less likely to need upgrades right away.
Considerations / Potential Drawbacks
No product is perfect, and there are a few things to be aware of.
Complexity / mode-switching learning curve: When a tool offers many modes, sometimes the “switching from one to another” can be fiddly. Beginners may spend more time setting up than shooting until they familiarise themselves.
Trade-off between portability and robustness: Although 1.65 kg is decent, it’s not ultra-light compared to minimal travel tripods. If your primary aim is ultra compact travel with just a mirrorless camera, there may be lighter simpler options.
Size and folded length: While adjustable height is good, depending on your bag / carrying style you might notice the footprint of the fully-featured legs and mechanisms.
Not dedicated to one thing: Because it tries to cover many roles (tripod, trekking pole, etc), each mode might not outperform the best dedicated gear in that role. For example, a specialised trekking pole or a dedicated travel tripod might have slight advantages in those individual niches.
How I’d Recommend Using It as a Beginner
Here are some practical ways you can get the most from this tripod as you start your photography journey:
Start simple: Use it in full tripod mode for typical still-photography — landscape, portraits, family shots. Get used to mounting your camera, extending the legs, adjusting the head.
Explore low angles: Try the inverted column or low-angle mode. Shoot at ground level for a different perspective (e.g., from leaves up to tree branches). This helps build your creative eye.
Use desktop mode: This is great for indoor setups, still life, or constant-place shots (e.g., product photography, tabletop, even video calls).
Mobile + camera hybrid: Use the smartphone mount to practice mobile photography or video, and switch to the camera when you feel confident.
Outdoor adventures: When you’re ready to go hiking or travel, use the trekking pole mode or monopod mode. This gives you support and flexibility outdoors.
Grow into it: Because it supports up to 20 kg, you won’t feel limited as you upgrade lenses or camera bodies. You can keep this tripod for a while rather than needing to replace it early.
Final Verdict
For a beginner photographer, the Freewell Real Multi Tripod 5-in-1 is highly recommended if you are looking for a flexible, multi-purpose support tool that allows you to experiment, grow, and cover a wide range of shooting scenarios. It gives you strong value, and encourages creative exploration beyond just “tripod on flat ground”.
If your focus is extremely lightweight travel gear (just a very small mirrorless camera, minimal kit) and you never plan to monopod or do low-angle or trekking modes, you might find a simpler, lighter tripod sufficient. But if you like the idea of one piece of kit doing many roles, this is a solid pick.
Q. Do you still use a dSLR 24-70 or have you upgraded to a more modern mirrorless mount equivalent?
Why do photographers everywhere seem to be obsessed with 24-70mm lenses? Whether you’re just starting out or you’ve been shooting for a while, you’ve likely encountered the 24-70mm lens, and it’s important that you understand just what makes this lens so popular – and why you might want to consider investing in one.
Below, I walk you through what makes the 24-70mm lens so special. You’ll learn about why it’s such a great choice for all kinds of photography, its technical aspects, and some handy tips for making the most out of it. I also share plenty of 24-70mm photo examples, so you know what to expect after buying.
Let’s get started.
What is a 24-70mm lens?
You might have heard photographers raving about the 24-70mm lens – and for good reason. Let’s dig into what exactly this lens is.
A 24-70mm lens isn’t exactly a wide-angle lens, nor is it a telephoto lens. It’s what’s often called a standard zoom or a wide-to-telephoto zoom. Why? Because it starts at a wide-angle focal length of 24mm and goes all the way up to a short-telephoto focal length of 70mm. It’s a lens that covers a lot of ground in one package.
If you’re using an APS-C camera, things change a bit. A 24-70mm lens on an APS-C camera offers an effective focal length of roughly 35-105mm. In other words, it tones down the wide-angle perspective and gives you a bit more reach on the long end.
The 24-70mm zoom is incredibly popular. In fact, I would say it’s one of the most common, if not the most common, zoom lenses used by enthusiasts and professionals. It’s a go-to lens for many because of its amazing versatility, impressive optics, and great design.
And it’s not just one or two manufacturers making these lenses. All the big names in the lens world offer 24-70mm glass, which tells you something about its importance in photography.
Common subjects for 24-70mm photography
The 24-70mm lens is highly versatile, so it’s used to photograph in a wide variety of scenarios. Here are a few genres where this lens really shines:
Portrait photography: The 24-70mm lens can capture stunning wide-angle portraits as well as full-body poses and tight headshots. It’ll also prevent you from needing to change lenses while shooting. Imagine the flow and the connection you can maintain with your subject without pausing to swap glass.
Wedding and event photography: The 24-70mm focal length range allows for both wider and tighter compositions so you can capture the grandeur of a wedding ceremony at 24mm and then zoom in for intimate shots of the bride and groom at 70mm. Planning to photograph indoor or nighttime events? The f/2.8 version of this lens ensures quality images in challenging lighting conditions.
Landscape photography: While the 24mm end doesn’t offer the ultra-wide perspective loved by many landscape shooters, it still provides a reasonably wide field of view. Imagine a breathtaking mountain range or a vast desert; you can capture the entire expanse at 24mm and then zoom in to 50mm or 70mm for more intimate compositions.
Still-life photography: 24-70mm lenses can also come in handy when photographing food, products, and other still-life subjects; as I explore in greater detail below, these lenses tend to offer surprisingly solid close-focusing capabilities. Plus, the optics are impressively sharp – always a benefit when doing close-up photography!
Bottom line: A 24-70mm lens won’t limit you to specific types of photography, and it’s like having several lenses in one. Whether you’re capturing faces, events, or nature’s beauty, this lens will adapt to your needs and provide endless creative possibilities.
24-70mm f/2.8 vs 24-70mm f/4 lenses
If you’re considering your first 24-70mm lens, you might be confused by the number of options out there. Maybe you’re struggling to decide which version to buy. Let me help clear things up for you.
The 24-70mm lens is generally offered in two variations: f/2.8 and f/4. This number refers to the maximum aperture offered by the lens: the f/2.8 version is able to use a wider f/2.8 aperture, whereas the f/4 version can only widen the aperture to f/4. As a result, the f/2.8 version can take in more light compared to the f/4 version.
The optical difference between 24-70mm f/2.8 and f/4 lenses might not seem massive. For some photographers, it isn’t. But it can matter significantly in a few specific scenarios. And when choosing between an f/2.8 and f/4 lens, there are some additional consequences that you’ll want to consider.
First of all, because the f/2.8 version can gather more light, it allows for better handheld images in darker scenarios. Thanks to the light boost, you won’t need to drop your shutter speed or raise your ISO, and this means you can capture images that are sharper and less noisy. (It’s the reason why many wedding and event photographers only work with a 24-70mm f/2.8.)
Second, wider apertures produce a shallower depth of field effect, so the f/2.8 version allows for more intense background bokeh. This is especially important in portrait photography. If you’re serious about portraits, I recommend purchasing the 24-70mm f/2.8 over the 24-70mm f/4. Can you still produce nice background blur with an f/4 lens? Yes, but it’ll be a lot harder to do, and often won’t look quite as good.
On the other hand, these wide-aperture zooms do tend to be heftier than their narrow-aperture counterparts. And they are far, far pricier.
Therefore, unless you specifically need an f/2.8 version of the 24-70mm lens for handheld low-light shooting or background bokeh effects, it’s a good idea to go for the f/4 version. It’ll get you the same results – at half the price, and with half the heft.
24-70mm f/2.8 lenses tend to be larger and heavier than 24-70mm f/4 lenses.
Making the right choice between these two versions requires you to know what you’re after. Consider your shooting style, subjects, and budget. Both options have their merits, and understanding them will guide you toward the perfect 24-70mm lens for your photography needs.
Reasons you should use a 24-70mm lens
Not yet sold on a 24-70mm lens? No problem! Here are a few reasons why I love my 24-70mm glass:
1. There is no learning curve
The focal length of a 24-70mm lens stretches from wide-angle to short telephoto – but the bulk of its range sits in the standard focal length spot, which corresponds closely to the human eye. Therefore, to use a 24-70mm lens, you don’t need to learn to see differently; instead, looking through a 24-70mm, you’ll get a very natural field of view.
In fact, when you’re photographing as the eye sees, it’s much easier to learn composition. You can spot interesting subjects, bring your camera to your eye, and snap away – whereas ultra-wide lenses and telephoto lenses force you to think about the field of view, distortion, compression, and how they change the scene.
Even at 24mm, distortion is limited. So you can do wide-angle photography without worrying about wide-angle effects. And at 70mm, you can zoom in for tighter compositions while still capturing a relatively neutral perspective.
Plus, the 50mm focal length is outstanding for portrait photography: not so long that you lose intimacy, and not so wide that you stretch the subject. Instead, it’s just right.
2. 24-70mm lenses offer close focusing
24-70mm lenses are designed for standard-sized subjects, right?
Well, yes…and no.
You see, while these lenses are often created with portrait, landscape, and nature subjects in mind, they also offer impressive close-focusing capabilities. The minimum focusing distance does vary from model to model, but it’s generally around 15 inches (38 centimeters).
In other words, you can use a 24-70mm lens to capture stunning close-up shots – of flowers, leaves, portrait details, and more. What’s especially exciting is how flexible a 24-70mm lens can be; if you’re photographing a portrait subject, you can step back for a nice full-body shot, move in slightly for a head-and-shoulders composition, then move in even closer for a detail photo of your subject’s eyes, ears, or clothing.
Event photographers use this close-focusing flexibility all the time. Zoom out for a shot of the wedding guests, step in for a shot of the centerpieces, zoom out for a shot of the ceiling, step in for a shot of the place settings.
And if you like to shoot landscapes, you can capture sweeping scenics at 24mm, then zoom in to 70mm and get in close for details of rocks, sand patterns, etc.
It’s so convenient, and it’s all thanks to the power of a 24-70mm lens.
3. The focal length range is incredibly versatile
I’ve already touched on this, but it’s arguably the most important benefit of a 24-70mm lens, so it deserves its own section.
You see, with a 24-70mm lens, you can shoot at a slew of different focal lengths, from wide to standard to telephoto, and this range offers limitless possibilities in the face of demanding photoshoots.
First of all, when doing a single photoshoot, you can easily go from a wide angle to a zoom, adjusting quickly as the scene and your subjects change. And you won’t have to switch out your lens at all, which will keep the flow of the photoshoot intact and will prevent you from missing key moments as you switch from one lens to the next.
Plus, the versatility of a 24-70mm lens means that you can work with it and nothing else, even as you go gallivanting across the world for destination shoots and vacations. Imagine heading to a photoshoot with just one lens in your bag. Nice, right?
4. The build is robust and comfortable
Most 24-70mm lenses are impressively robust, featuring a solid build that’s designed to last. Manufacturers know that these are “walkaround” lenses, so they’ve made sure a 24-70mm can handle anything you might face, from rain and snow to blowing sand and dust.
If you frequently shoot in deserts, near waterfalls, or at the beach, then a 24-70mm lens will be a lifesaver, allowing you to capture all sorts of compositions without worrying about ruining your precious optics. Of course, you should always practice proper lens care; I don’t recommend you drop your lens in the water, let it get soaked, and so on. But as far as lenses go, 24-70mm options tend to be very solid.
(And you’ll need a well-built camera, too; while 24-70mm lenses are amazing, they can’t protect your camera electronics!)
Additionally, 24-70mm lenses feel great in the hands. They’re not so long that you’ll get tired after a few hours, and they’re not so short that you have nothing to grip. You can comfortably use a 24-70mm lens for day-long photoshoots, and you’ll always feel like you’re working with an actual, solid lens.
5. The size and weight are perfect for pretty much everything
On average, 24-70mm lenses measure around 3.3 x 3.3 x 4.9 inches (8.4 x 8.4 x 12.4 centimeters), and they weigh approximately 2 pounds (900 grams).
While these lenses aren’t tiny, they’re certainly not large, nor are they heavy. They fit in pretty much any camera bag you’ll ever encounter, even when they’re attached to a camera – so you can carry your setup in a shoulder-sling bag or a backpack without any trouble. Plus, because 24-70mm lenses are pretty short, you can hang your camera around your neck and you won’t feel like you’re carrying a brick.
In fact, my 50mm (f/1.2) lens weighs more than my 24-70mm lens, even though it’s shorter. And I’ve even managed to put my camera and 24-70mm lens in a regular old purse (which can come in handy in quite a few situations).
Bottom line: A 24-70mm lens is sized for photographic adventures of all types, from treks in the mountains to casual walks around the city to travel photography across the globe.
Tips for working with a 24-70mm lens
You’ve got your 24-70mm lens and you’re excited to use it. But before you start snapping away, there are some tips and tricks that can help you get the most out of this lens:
1. Practice using the lens at every focal length
First off, make sure you understand what each focal length in your lens’s range (24mm to 70mm) can do.
Spend some time experimenting with different focal lengths. See how they affect your compositions.
Try photographing a single subject at 24mm, then at 35mm, then at 50mm, then at 70mm. Pull up the images on your computer and observe them side by side. Ask yourself: How does each focal length change the view of the subject?
Soon, you’ll get to know how each focal length will look – even before you look through the viewfinder. You won’t waste valuable time zooming in and out to find the perfect shot.
2. Watch the distortion
When shooting at the wide end of your 24-70mm lens, you may notice some distortion.
This means that straight lines will seem to converge, and objects close to the lens might look a bit stretched or skewed.
Distortion like this – known as perspective distortion – isn’t always bad, and it can be used artistically to great effect. But it’s important to be hyper-aware of its effects because it can result in unflattering photos if you’re not careful.
If you are trying to minimize distortion at 24mm, make sure that your subjects are decently far from the front of the lens, and do your best to keep the lens parallel to the ground (i.e., not angled upward or downward).
3. Don’t rely too heavily on the zoom
A zoom lens can make it tempting to stand in one spot and just twist the lens barrel to change the composition. But while the zoom on 24-70mm lenses is fantastic and highly useful, but it doesn’t replace the need to move physically closer to your subject.
For one, moving around can help you fine-tune your compositions. And it can also give you a completely different perspective.
So get into the habit of using a mix of movement and focal-length adjustment. That way, you’ll get the best results and discover perspectives you might have otherwise missed.
Remember, photography is as much about the movement and physical positioning of the photographer as it is about the focal length!
4. Turn on that image stabilization
Many 24-70mm lenses come with image stabilization. It’s a handy little feature that helps counteract camera shake; that way, you can photograph handheld at slower shutter speeds in the 1/20s-1/60s range, which is especially useful in low-light scenarios such as evening portrait sessions and indoor events.
So whenever you’re photographing a relatively stationary subject and you don’t have access to a tripod (or you simply don’t want to use one), switch on that image stabilization.
That said, there are a couple of caveats to bear in mind. First, if you are using a tripod, make sure that you switch that image stabilization off. Otherwise, you might find that it actually increases the blur in your photos.
And second, be aware that image stabilization generally won’t help you capture sharp photos of moving subjects. For that, you’ll need a fast shutter speed.
5. Watch the background
The 24-70mm lens might not be considered a true wide-angle lens, but it still offers some wide focal lengths, especially in the 24-50mm range. And when shooting wide-angle compositions, you might notice that the background in your shots often turns out relatively sharp, even if you’re using a wide aperture.
What does this mean for you?
It means you need to pay careful attention to what’s happening behind your subject. A distracting background can easily take the focus away from your main subject. Maybe it’s a bright sign in a street scene or a branch sticking out in a nature shot. Whatever it is, you’ll want to make the effort to keep it out of your shots.
If you find yourself in an area where the background might cause some issues, try moving around your subject. Walk to the right or left, get down low, or even climb up high if you can. It’s all about finding the right angle that lets your subject shine without any background interference.
6. Consider using a lens filter for protection
Investing in a good 24-70mm lens can be a significant expense. Such a lens will generally be optically excellent, and you’ll want to take care of it as much as possible.
That’s why I recommend adding a UV filter or a clear filter to the front of your lens. It’ll protect your precious glass from accidental bumps or those unexpected finger smudges.
So if you’re planning to spend a lot of time with your 24-70mm lens, do consider investing in a good-quality lens filter. It’s a simple step that can go a long way in keeping your lens safe and your images looking their best.
24-70mm lens photography: final words
And there you have it! You’ve learned all about the 24-70mm lens and its impressive capabilities, including why it’s so incredibly popular.
You’ve also learned about the different versions available and even picked up some handy tips. Whether you’re capturing the grandeur of landscapes, the intimacy of a wedding, or the expression of a portrait, this lens offers the flexibility you need.
Investing in a 24-70mm lens might just be the step that takes your photography to the next level. The world through a 24-70mm lens is rich and varied, and it’s waiting for you to explore!
Now over to you:
Do you think you’ll buy a 24-70mm lens? What do you plan to use it for? Share your thoughts in the comments below!
Here’s our hands-on with the Freewell Locking VND/CPL Filter
(I tested the set on my Sony a7R III + Tamron 16–30mm f/2.8 G2)
If you’re just starting to experiment with filters, you’ve probably already heard about ND filters (Neutral Density) and CPLs (Circular Polarisers). ND filters let you slow your shutter speed for smooth water or motion blur in bright light, while CPLs cut glare and reflections for richer skies and more saturated colour.
The new Freewell Locking 3 to 7 stop VND/CPL combines both in one sleek, clever package — and after taking it for a spin last weekend (in crazy weather!) at the Point Lonsdale Lighthouse, I came away impressed.
A Quick Look at What’s New
For me, after experimenting with a magnetic system for a couple of years, the real standout is how the locking mechanism secures the VND/CPL filter to the adapter ring (Available in 49mm, 52mm, 55mm, 58mm, 67mm, 72mm, 77mm and 82mm) which you screw to the end of your lens, all while leaving the CPL/VND easy to manipulate, but stays securely in place. With your filter clipped into position, you can easily depress the side buttons on the red ring and spin it around to adjust your polarisation position, and there are two little tabs on the black ring that adjust your VND. (It’s good practice to adjust your variable ND first and then your Circular polariser)
I had no issues with bumping the filter tabs and accidentally changing settings, etc. That mix — a positive, confidence-inspiring lock plus a tactile, easy-to-fine-tune control ring — gives you reliable, repeatable results in the field without sacrificing on-the-fly adjustments. — the sort of detail that shows Freewell’s been listening to creators. ??
The hybrid design, meaning you get the VND with a built-in CPL at the same time, That means fewer filters to juggle, less time swapping glass in the field, and no cross-polarisation weirdness. BUT you can stack extra filters, I was sent the ND32 as well as the Snow Mist 1/4 filter. When you stack the ND32 with the VND, you get upto 10 stops of ND (fun long exposures in the middle of the day!)
Small Touches That Make a Difference
One thing that genuinely surprised me was the NFC lens cap. I will admit I thought it was a bit of a gimmick at first, but when you tap your phone to it, and it takes you straight to the Freewell Hub, where you’ll find setup videos, warranty info, and filter guides — Yeah, that’s actually super handy for anyone new to filters! New hunting around for QR codes or small paper manuals – I was about to say “who doesn’t always have their lens cap with them… but I don’t want to jinx myself!) – Nice touch, Freewell!
In Use
Mounted on my Sony a7R III with Tamron’s new 16–30mm f/2.8 G2, the Freewell filter set performed beautifully. Colour rendition stayed natural thanks to Freewell’s True Color optics, with no unwanted tint or cast to my eye — even at higher ND stops. Reflections off the water and rocks at Point Lonsdale were cleanly tamed, and the added contrast in the sky was a nice bonus. I was able to shoot a 10 second exposure at 2:30pm – Quite fun!
While I didn’t get to use the Snow Mist filter on the weekend, I really should have! You can see an example below of what the filter does – pretty much exactly what it says “Snow Mist” that light dispersion is pretty sweet!
Freewell Snow Mist 1/4 ?
Who It’s For
If you’re just getting into filters, this is a smart, long-term investment. You’ll spend less time worrying about shifting stops and more time focusing on your composition. The combination of ND + CPL, the locking mechanism, and excellent optical clarity make it a standout for both photographers and filmmakers who want reliable, repeatable results.
Freewell’s Locking VND/CPL is available now through FreewellGear.com, Amazon, and selected retailers.
Freewell Provided the filter kit to us for review, we thank them for reaching out!
TAMRON Announcesthe Class-Leading Compact and Lightweight Telephoto Zoom70-180mm F/2.8 Di III VC VXD G2with Vibration Compensation for the “Nikon Z mount system”
October 7, 2025, Commack, NY – TAMRON announces the launch of the 70-180mm F/2.8 Di III VC VXD G2 (Model A065), a fast-aperture telephoto zoom lens for “Nikon Z mount system” full-frame mirrorless cameras on October 23, 2025. The lens will retail for $1,149 USD / $1,549 CAD.
With this announcement of the Nikon Z mount, TAMRON expands the availability of the highly acclaimed 70-180mm F2.8 VC G2, previously announced in 2023 for Sony E-mount. Additionally, the TAMRON Trinity is now complete for Nikon Z camera users! (The Holy Trinity as FroKnowsPhoto (dot com) would say!)
The 70-180mm F2.8 VC G2 is a fast-aperture telephoto zoom lens that combines TAMRON’s proprietary VC (Vibration Compensation) image stabilization mechanism with a class-leading compact size and weightdesign [1] offering both outstanding portability and greater stability across a wide variety of scenes. It delivers uncompromising image quality throughout the entire zoom range. At the wide end, the lens achieves an MOD (Minimum Object Distance) of just 11.8” (0.3m), allowing for close-up compositions that allow expressive imagery unique to this lens. For autofocus, the lens features
TAMRON’s VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism that delivers excellent quietness and responsiveness for high-speed, high-precision auto-focusing whether shooting stills or video. Additionally, the lens supports the TAMRON Lens Utility, software that can be used to customize functions based on various shooting styles for still photography and video. The lens is designed with a focus on operability and scratch resistance. This well-balanced lens combines portability, high imaging quality, and excellent usability.
[1] Among full-frame compatible fast-aperture F2.8 telephoto zoom lenses equipped with Vibration Compensation (As of October 2025: TAMRON)
? Product FeaturesWorld’s smallest and lightest F2.8 tele-zoom lens is designed to fit comfortably in your handFast F2.8 aperture performance captures the world in vivid detail from portraits to landscapesTamron’s proprietary VC image stabilization mechanism empowers mobilityDecisive moments are never missed with improved fast and precise AF tracking performance powered by TAMRON’s VXD linear autofocus mechanism MOD of 11.8” (0.3m) opens new possibilities such as tabletop photography
Compatible with TAMRON Lens Utility software (desktop and mobile app) Comfortable ergonomic design for ease of use Unified Ø67mm filter size Complete G2 trinity, “daisangen”, covers 16mm to 180mm focal length range Supports key camera functions Protective features (moisture-resistant construction and fluorine coating)
SPECIFICATIONS
* Length is the distance from the front end of the lens to the lens mount face.** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.***Previously released for Sony E-mount.Specifications, appearance, functionality, etc. are subject to change without prior notice.This product is developed, manufactured, and sold under the license agreement with Nikon Corporation.
Because we’re over here in Australia, we found this video from Photography With Antonio, Via Tamron Australia… Pleasantly Surprised – Lovely! Well worth checking it out if you get the chance.
Plenty of photographers love wide-angle lenses, and for good reason: Wide-angle lenses can capture breathtaking landscapes, stunning environmental portraiture, jaw-dropping architecture, and so much more.
But what exactly is a wide-angle lens? And how can you create amazing wide-angle photography?
In this guide, I explain everything you need to know about working with wide-angle glass. I offer basic definitions, and I also share my favorite tips for wide-angle images – so that, by the time you’re finished reading, you’ll be ready to capture pro-level results.
Let’s dive right in!
What is a wide-angle lens?
A wide-angle lens provides an image that’s wider than what you can see with your eyes. Wide-angle focal lengths sit in the 8mm to 45mm range.
Because of the wide-angle field of view, when you look through a wide-angle lens, you’ll encounter an expansive scene. For instance, if you’re standing on a beach at sunset, a wide-angle lens will show you the setting sun, but it’ll also show you the rocks at your feet and the clouds high in the sky:
Note that the smaller the focal length (i.e., the lower the focal length millimeter number), the wider the lens and the more expansive the view. A 35mm lens is slightly wide, a 24mm lens is moderately wide, and a 10mm lens is insanely wide.
Most manufacturers sell many of the same wide-angle focal lengths. Here are a few common options:
12-24mm
24-70mm (here, the 70mm end starts to stretch into telephoto lens territory)
16-35mm
24mm
18-55mm
35mm
Wide-angle vs telephoto lenses
If you’ve spent some time browsing lenses, you’ve probably come across the terms “wide-angle” and “telephoto.” These are two ends of the spectrum in photography lenses.
As I explained above, wide-angle lenses offer you a broader field of view, extending the frame beyond what the human eye naturally sees; telephoto lenses, on the other hand, allow you to zoom in when photographing distant subjects.
A telephoto lens in action! Telephoto lenses tend to be much longer and heavier than wide-angle lenses.
Telephotos are ideal for capturing small birds and planes high above, and they can also be great for zooming in on specific parts of a landscape.
A close-up bird photo like this one requires a long telephoto lens.
But while telephoto lenses are perfect for smaller and more skittish subjects, they have serious limitations. They’re large, bulky, and very expensive, plus they’re not designed for expansive shots that include both the subject and its environment – so a tele lens will not help if you’re aiming to capture an entire seascape.
This is where wide-angle lenses have the upper hand. They allow you to capture more of the scene, making them perfect for grand vistas and wide-open spaces. So if you’re looking to go broader, not tighter, a wide-angle lens is the right buy.
Reasons to try wide-angle photography
Wide-angle lenses offer a few key benefits. First, as I emphasized above, the wider your lens, the greater the scene that you’re capable of capturing.
So if you want to capture beautiful, sweeping landscape shots that include the foreground and the background and a beautiful sky, a wide-angle lens is essential. Standard and telephoto lenses will only capture a small slice of the scene, while a wide-angle lens will show it all.
Second, wide-angle lenses help you create shots that have a deep depth of field – that is, shots that are sharp from foreground to background.
The closer you are to your subject and the longer the focal length you use, the more blurred the background will appear. Wide-angle lenses, however, use short focal lengths, which means that your main subject will turn out sharp, as will key elements in both the foreground and the background. This deep-depth-of-field look is heavily favored by landscape and architectural photographers (and can look great in portrait and street shots, too!).
Third, wide-angle lenses help exaggerate perspective. When you capture a sunset scene at, say, 16mm, the sand and water in the foreground will lookunusually close to the lens, while the horizon line will look unusually far from the lens.
Take a look at this next shot; notice how the stones look huge in comparison to the background buildings?
While this type of perspective distortion isn’t always desirable, you can use it to emphasize foreground elements and create images with lots of depth. (For those reasons, the effect is used by landscape photographers all the time!)
Wide-angle zooms vs primes
Wide-angle lenses can grouped into two categories: fixed focal length lenses, known as primes, only capture a single field of view, while multi-focal length lenses, commonly referred to as zooms, allow you to zoom in and out as required.
If you’re trying to pick a good wide-angle model but you’re not sure which lens type to choose, consider your goals and preferences.
Prime lenses are usually more affordable, so if money is tight, a prime might be your best bet. Additionally, they are compact and light, making them ideal for travelers or those who are constantly on the move. Finally, if you love creating shallow depth of field effects, a prime lens is often the better choice, given that they tend to feature wider maximum apertures than zooms.
Prime lenses tend to be small and light.
Zoom lenses, however, win in the flexibility department. Imagine going out for a day of shooting a variety of subjects: forests, beaches, street photography, portraits. With a zoom lens, you can capture it all without swapping out your gear. Convenience is the key advantage here, though you can save money in the long run because you’ll need fewer lenses to build out your wide-angle kit.
But zooms are bigger and heavier than primes, plus if you want a zoom lens with a wide maximum aperture, you’ll often pay a pretty penny. And the optics rarely measure up to prime lenses, especially not those in a similar price category.
Zoom lenses are bigger and more expensive than primes, but they certainly offer a lot of flexibility!
At the end of the day, both lens types are perfectly valid options, and there’s no right choice; it all depends on your preferences and requirements!
When should you use a wide-angle lens?
Certain situations pretty much always make for great wide-angle photography. Landscape photographers use wide-angle glass almost exclusively, as do many architectural, street, and cityscape photographers. Here’s a more detailed list of the images you can capture with a wide-angle lens:
On the other hand, if you want to create tighter, intimate shots of a single subject, wide-angle lenses are generally best avoided. Here are images that are not easily captured with wide-angle glass:
Headshots
Half-body portraits
Sports players in action
Wildlife portraits
Bird portraits
Architectural detail shots
Distant landscape detail shots
Of course, these lists aren’t exhaustive, and they’re not set in stone, either. Wildlife photographers do occasionally use wide-angle lenses to capture animal portraits, for instance – it just takes a lot of planning (and generally involves remote-controlled cameras and/or blinds). On the other hand, street photographers do occasionally use telephoto lenses to shoot wider scenes, but it requires a lot of distance (and can’t easily be done in congested, tightly packed areas).
So while you can use this section to guide your photography (and to decide whether a wide-angle lens is right for you), don’t let it restrict you. In fact, some of the best images are taken by going against the grain!
How to use a wide-angle lens: 7 quick tips
Wide-angle lenses are great, but it’s not always easy to get stunning wide shots. In this section, I offer my best tips, tricks, and techniques for working with wide-angle lenses, starting with:
1. Combine your subject and environment
A common mistake in wide-angle photography is losing sight of the big picture. It’s easy to get excessively focused on your main subject, so I recommend that you regularly remind yourself that wide-angle lenses allow you to capture a broader scene.
In other words, you don’t have to just set your frame around the main subject; you can have plenty of fun combining both the subject and its surroundings! As you shoot, pay attention to the background and other elements in your scene. Think about how you might incorporate it into your shots, and consider taking a few steps back to really emphasize the wider world.
Of course, you shouldn’t go overboard. More isn’t always better, especially because background elements can be distracting. The last thing you want is a distracting sign or stoplight taking focus away from a portrait subject! So if you do try to create more environmental images, look to enhance the overall composition without adding unnecessarily eye-catching elements.
2. Include foreground interest for added depth
Foreground interest refers to eye-catching elements in the foreground of your image – and if you can include a bit of foreground interest in your composition, it’ll look amazing. It’ll also add lots of depth, which can be a great way to make your wide-angle shots stand out.
Landscape photographers use this technique all the time. They’ll photograph a distant mountain, but they’ll add a river, a road, some flowers, or a fallen log in the foreground; that way, the viewer’s eye starts at the bottom of the frame, then slowly journeys through the scene toward the mountain in the background.
Of course, you can also use foreground interest to enhance urban landscapes, street scenes, and so much more. The sky is the limit!
So as you set up your shot, keep an eye out for these elements. Adjust your composition to include them. Try to create a journey for the viewer – so they can start in the foreground and naturally move toward the background of the scene!
3. Add leading lines
Leading lines refer to lines that lead the eye through the frame, and they’re a great way to give your photos three-dimensionality.
Leading lines generally start toward the bottom of the frame – as foreground interest – then work their way up (and back), so that they push the viewer toward the main subject.
That said, you can really position leading lines anywhere throughout the frame; for instance, an outstretched arm can lead the eye toward a car (in a street photo), or a fallen pear can lead the eye toward a basket of fruit (in a still life photo).
So train yourself to look for lines. And then, when you find a line or two, use it to guide the viewer through the frame!
4. Watch the depth of field
It’s easy to assume that everything will be in focus with a wide-angle lens. But while wide-angle glass does make it easier to maintain sharpness, depth of field still matters.
Your aperture setting and focus point play a crucial role here, especially when your composition includes elements close to the lens (see my tip on including foreground interest, above!). To ensure most or all of your scene is in focus, make sure you dial in a smaller aperture, such as f/8 and beyond.
Additionally, set your point of focus about a third of the way into the scene. This technique allows you to approximate the hyperfocal distance, which is basically a fancy way of saying that it maximizes your window of sharpness!
5. Don’t be afraid to go minimalist
Minimalistic photography features lots of negative (i.e., empty) space, such as broad expanses of sky, long stretches of untouched beach, plain white walls, and so on. The negative space occupies most of the composition, while a small portion of the image features an eye-catching subject (such as a person walking in the distance).
And wide-angle lenses are great for producing stunning minimalistic photos.
You see, the wide field of view will help you stuff your photos full of negative space. Simply find a subject, position yourself so the subject is surrounded by empty space, then zoom out to your widest focal length. The results will be gorgeous!
6. Get up close for added distortion
Most photographers try to avoid distortion in order to capture natural-looking images that closely mirror reality. But as I mentioned above, distortion isn’t always bad – and if you really lean into those distortion effects, you can produce some unique and creative shots.
Here is the basic rule of perspective distortion: The closer you get to your subject, the more you can exaggerate proportions, making nearby objects appear larger while pushing away the background. So if you put your lens close to a person’s face, their nose and lips will become large while the area behind them will seem to recede.
Of course, ultra-wide lenses may not be your first choice for a flattering portrait, but that’s not what we’re after here. The goal is to create disorienting, almost surreal scenes. Landscapes with a towering flower in the foreground or a pet’s face humorously exaggerated can spark intrigue. You can even use this technique for architectural photography, where the distortion can emphasize the intense lines of a building.
So the next time you’re out shooting, challenge the norms. Try positioning yourself close to your subject with your wide-angle lens. It’s a simple way to create stunning, unconventional images!
7. Correct perspective issues in post-processing
While distortion can be a creative tool, there certainly are times you’ll want to minimize it. When you’re photographing architecture, for instance – either interiors or exteriors – a wide-angle perspective will frequently result in converging verticals. And when shooting landscapes with trees, you may sometimes notice the trunks “leaning” to one side.
The bad news is that, in both of the above cases, the distortion can look somewhat amateurish. The good news is that correcting such issues is a straightforward process in most post-processing software. Lightroom, for instance, offers a “Transform” panel where a single click can remove perspective distortion, and you can even purchase dedicated programs that are designed specifically to handle perspective issues.
Bottom line: Before you publish or share a wide-angle image, make sure you look it over for any unwanted perspective distortion! While distortion isn’t always bad, it’s important that you use it deliberately, not accidentally.
Wide-angle lenses: final words
Wide-angle photography is certainly a lot of fun – and you can use wide-angle glass to capture gorgeous landscapes, portraits, and so much more.
Hopefully, you found this article useful, and I do encourage you to save some (or all!) of the tips I shared. That said, don’t follow them too carefully; photography is all about finding what works for you and adapting old approaches to fit your unique style.
So pick the perfect wide-angle lens. Start practicing. And have fun!
Now over to you:
What kind of wide-angle lens do you plan to buy? What kind of wide-angle photography do you want to do? Share your thoughts in the comments below!
The i7 was great! How does the more compact V3 Ultra stack up?
A little while back we reviewed the Hohem iSteady i7, a larger, feature-packed gimbal that impressed us with its stability and creative shooting modes. After publishing that review, we heard from a handful of readers asking: “What about the smaller one — the Hohem iSteady V3 Ultra?” I guess that’s a fair question if you’re carrying your camera gear, you want a gimbal that’s small and handy! This one sure is small and handy. Easily slotting into most any camera bag or a pocket in a pinch.
So yes, we got our hands on the V3 Ultra to see how it stacks up. Spoiler alert: if you’ve been looking for a compact, travel-friendly gimbal that doesn’t cut corners, you’ll be pleasantly surprised.
First Impressions
Straight out of the box, the V3 Ultra feels solid but lightweight. At just over 350g, it’s noticeably lighter than its bigger sibling, making it the kind of gear you can throw in a daypack without thinking twice. For travel, vlogging, or family adventures, that’s a huge plus.
The foldable design also makes it a natural choice for creators who don’t want their kit to take up half the carry-on space.
Setup and Ease of Use
One of Hohem’s strong points has always been user-friendly setup, and the V3 Ultra is no exception. Balancing takes seconds, and once you pair it with the Hohem Joy app, you get access to a suite of features like:
AI gesture control for hands-free shooting
Face tracking that keeps subjects in frame (great for solo shooting)
A variety of creative shooting modes like hyperlapse, timelapse, and dolly zoom
Detachable, adjustable (output and colour temp!) LED fill light
Detachable 1.22″ full-colour touchscreen remote (Works up to 30′ away)
It’s the same experience we liked on the i7 — just in a smaller package.
The Ai tracking (And as you know, I’ve mentioned before about my feelings on Ai haha) …the tracking is easily as good in my experience! Especially good for such a compact gimbal! The gesture control was concise ??
The Hohem iSteady V3 Ultra supports 360 degrees infinite pan tracking, so yes, you can literally run circles around your camera! Another example might be working on a workbench, moving around it to different tools, your camera setup in the middle, or you’re on set, shooting menu items and the Hohem iSteady V3 Ultra will stand in the middle allowing you to work all the way around the room while the camera follows you.
Performance and Stability
This is where many “compact” gimbals fall short, but the V3 Ultra holds its own. Whether walking through a busy street or chasing kids around the park, footage stayed buttery smooth and professional-looking.
The 3-axis stabilisation is reliable, and the motors feel confident even with slightly heavier phones. If you’re using something like an iPhone 14 Pro Max (Like mine, below) or a large Android, the gimbal still manages just fine.
Interestingly, the photo above (With the little tripod that was already on my desk!) was before I realised the iSteady V3 Ultra already has a built in tripod, I didn’t realise because it was tucked tightly out of the way! Another super-convenient point on the board! ?
Battery Life
Hohem claims up to 9 hours of battery life (or 4 in Ai mode), and in our testing I’d say you would likely get pretty close to those times. For a day of filming, you’re unlikely to run flat unless you’re really pushing it. Charging is quick via USB-C, another tick in the “modern and convenient” box.
Who’s It For?
If you already own the iSteady i7 and love it, the V3 Ultra isn’t trying to replace it — it’s more like its nimble younger sibling. The i7 is perfect when you want maximum stability and creative control, while the V3 Ultra is what you’ll reach for when you’re packing light.
Travelers will appreciate the compact size.
Vloggers and solo creators will love the gesture control and tracking.
Parents and casual shooters will enjoy smooth video without needing pro-level gear.
Final Thoughts
The Hohem iSteady V3 Ultra is a reminder that small doesn’t mean limited. It delivers stability, creative shooting modes, and ease of use in a size that’s perfect for everyday carry.
If the iSteady i7 is your go-to for serious shoots, the V3 Ultra is the one you’ll happily bring everywhere else.
, you can tweak settings and customise functions straight from your smartphone or computer — a nice touch if you like fine-tuning your gear.
