Before DJI rose to world domination in the best video accessories and best drones, the Zhiyun Crane was the name on the lips of every YouTuber and indeed a good number of people who actually used them in anger every day. Zhiyun is still making the Crane and, along with its lower cost Weebill series, offers twelve proper-camera gimbals for sale – including this top of the range Zhiyun Crane 4. 

Zhiyun Crane 4 – at a glance:

• £750 for the combo kit
• Lightweight gimbal for heavier camera/lens kits
• Built-in LED bi-colour light
• Built-in battery
• USB and Bluetooth camera controls
• Sling handle and wrist-rest in the ‘combo kit’
• uk.zhiyun-tech.com

I’m not sure exactly when the handheld gimbal for real cameras was invented, but I’m pretty sure we’ve had them for about ten years. I don’t mean Steadicams and the beasts used for Hollywood movies, or the balancing tripod heads we loved for long lens wildlife in the olden days. I’m talking about the kind of gimbal you can hold in one hand, with a camera on top, and film nice steady footage with a regular DSLR or mirrorless set-up. You’d think that would be something everyone wanted and that there’d be a queue of companies offering them, but actually the list of manufacturers designing and building these things is remarkably short, and untroubled in recent times by new entrants. 

Zhiyun Crane 4 – Key Specifications

• Strong motors: When well balanced the Crane 4 can cope with pretty heavy camera/lens set-ups without struggling
• Long Arms: The longer arms allow more accessories to be mounted on top of the camera without them hitting the structure of the gimbal
• Warning lights: The elbow of each arm has a ring-shaped light that glows white when the gimbal is well balanced, but which will go red when the balance is off

Zhiyun Crane 4 – Features

The Zhiyun Crane 4 is designed for users of heavier mirrorless or DSLR cameras as well as for those shooting with smaller cinema cameras. The company doesn’t offer suggested lower or upper weight limits, but the stated compatibility with models from the Fujifilm X-T5 to the Canon EOS-1D X Mark lll with a pro lens certainly gives us a clue. 

The gimbal offers us Tilt movements between +142° and -72°, Roll of +71 to -251° and 360° of Pan – so it can point the camera in pretty much any direction you want it to. A slightly unusual feature is the built-in LED that is intended to light your subject – or at least fill shadows in bright conditions. Mounted on the front of the Tilt axis arm, the rectangular light is rated at 10W and comes with a detachable diffusing cover to soften the illumination. It’s a bi-colour too, so we can alter the colour temperature between 2700 and 5500k, and the maximum luminance we should expect is 3200lux. 

I was sent the Combo kit for review, which comes with a wrist rest and a sling grip for more comfortable handling during long shoots. Obviously, this kit costs a little more than the standard kit – there’s £50 difference. 

Other accessories available for the Crane 4 include a focus/zoom motor for lens control, a wireless video transmitter, and an external battery pack. The latter is needed instead of spare batteries, as the Crane 4 has a built-in battery pack that can’t be swapped out. The pack contains four 18,650mAh batteries that together take 1 hour 50 minutes to charge with a 15V fast charger, and which we’re told will last for 12 hours on the go. It’s worth noting that Zhiyun’s quoted run-time has been measured with the gimbal mounted with a Canon EOS 5DS R with the EF 24-105mm lens mounted, but in a static position, so not especially close to real-life user conditions. 

We have Bluetooth connections to compatible cameras for shutter triggering, and cabled USB connections for others that can’t use the wireless controls, and there’s an app for controlling the movements remotely. Those who want to attach microphones or monitors to the gimbal while also using the sling handle and wrist rest will be disappointed as the only other mounting point is on the end of the sling handle – which isn’t ideal. 

Zhiyun Crane 4 – Handling

Once assembled, the balancing act is pretty straightforward. Straight out of the box, the arms were a bit stiff to adjust, and I was able to appreciate the Teflon coating applied to the arms of the DJI Ronin 4 series. But with use, things eased up enough that small adjustments could be made. Each arm is equipped with a ring-shaped light on the elbow which lights red when we haven’t done a good job and white when we have. It’s a quick and handy reference. 

The rear-facing control panel allows us touch selection through a pretty straightforward menu system, so we can tune motors and determine which motion mode we want to use. We also have a finger trigger that lets us quickly navigate between modes and lock motion, and a forward control wheel that’s used for controlling optional lens motors for focusing or zooming, as well as any camera controls we have access to, such as ISO or aperture values. We can also use this wheel to roll the camera, or to move it about the other axes.

On the right side of the body we have a smaller wheel that is pressed to switch on the light and turned to control the brightness or the colour temperature. And, on the left – where right handed folk will find their thumb – we have a joystick controller to move the camera through all angles, a red button for activating AF/the shutter for stills or video when the camera is connected to the gimbal, and a mode switch that takes us through the gimbal modes one by one. There is a lot to remember at first, but with practice you’ll come to know what each button does, and how to customise it. 

When you want to shoot upright video, the main camera mount slides off and slips over the arm on the tilt axis. You’ll need to rebalance the whole gimbal when you do this, but it doesn’t take long. 

While the light is a great feature, it also presents a minor hindrance on the movement of the camera when shooting from a low angle. When the gimbal is tilted forwards so that the camera is at ground level the physical housing of the light clashes with the tilt arm of the gimbal if you want a looking-up perspective. We then have to sling the gimbal over so the camera is slung below to get round this. But this is a small price to pay for the utility the light offers. 

Zhiyun Crane 4 – In use

This is actually a very nice gimbal to use, and I found the sling arm and wrist rest made a massive difference to the comfort of operation, the stability, and the length of time I could operate without needing to put it down. The device itself isn’t especially heavy either, which helps. With a Panasonic Lumix S5llX mounted in the saddle with one of the Panasonic Lumix S f/1.8 fixed focal-length lenses attached, I also found that I got very smooth motion and not a single incidence of the motors giving up and throwing the camera into a spin. That’s partly down to the ability to see immediately how well balanced the camera kit is, and also because the gimbal motors are strong enough to hold the kit comfortably. 

The controls fall nicely to hand/finger/thumb and they are easy to operate while watching the gimbal’s screen and the back of the camera. 

I was concerned that the battery isn’t removable, but the quoted battery-life partly reassured me – although only partly, because I know I’m not always good at recharging directly after a shoot so like to have spares hanging around for surprise occasions. I guess some tighter management might be needed to ensure we have enough power all the time. 

The built-in light is an interesting idea and one I thought a bit of a gimmick at first, but it turned out to be quite useful. It’s twice the size of the light Zhiyun used on previous models, but it isn’t going to light up the room. A small source that close to the lens is never going to be a flattering main light, but it’s enough to fill shadows and to throw a sparkle into the eyes of your human subjects. If you are using a large lens there’s a good chance part of the barrel will cast a shadow, but you may find it useful with many mid-smaller lenses. 

The physical size of the gimbal’s arms means we have lots of space within the area in which the camera will be moving about, so mounting microphones on top of the camera won’t prevent you from shooting low angles. I added a Joby Wavo Pro DS to the hotshoe of the Lumix S5llX and only had to remove the fluffy wind muffler for underslung shots – and even then it was only brushing against the backside of the Roll Axis motor. 

When mounting bigger kit it’s useful that we have two methods of balancing the Roll axis – via the Roll axis arm itself, as well as a pretty long plate that the camera mount sits on. This adds a bit more flexibility, particularly if you are adding accessories to the side of the camera or the lens – such as focus motors. 

I suspect the performance of the ZY Play app is somewhat dependent on the spec of your phone, but I found it easy enough and convenient to use. However, upgrading the firmware via the app is an extremely lengthy process, so use the desktop tool instead. 

Zhiyun Crane 4 – Verdict

There’s a lot to like about this gimbal, and the negative points I’ve highlighted are mostly quite minor and can be worked around. I like that the arms are long, the motors are strong and the gimbal itself is relatively lightweight. Handling is immeasurably better with the sling arm and wrist rest, so I’d recommend this Combo kit over the standard option that comes without them. The controls are good to use, stabilisation is so excellent this is the first time I’ve mentioned it, and the little LED light is remarkably useful. I’m still a little concerned that I can’t switch batteries out, but so far I’ve found I haven’t run out of juice when I needed it. 

Related reading:

• Zhiyun CRANE-M2S gimbal launched
• Zhiyun introduces SMOOTH-Q4 smartphone gimbal
• Zhiyun gimbal features flip-out touchscreen ‘command centre’
• Zhiyun unveils WEEBILL 3 gimbal for filmmakers

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The Deuter Jaypack 34+ is a purpose-built camera backpack designed for photographers who want to carry a lot of kit. As such, it measures 60 x 30 x 22 cm and weighs 2.16kg, giving a substantial capacity of 34L. Thankfully, Deuter’s Alpine Back System also ensures comfortable carrying, aided by well-padded adjustable shoulder straps, a sternum strap and stabiliser or load adjustment straps at the top of the main straps.

Deuter Jaypack 34+ at a glance:

• $310 / £300
• Rear and top-opening backpack
• Integrated camera compartment
• Weight: 2160 g
• Volume: 34 L
• Dimensions (L x W x D): 60 x 30 x 22 cm
• deuter.com

An internal flexible steel frame maintains the backpack’s shape and helps distribute the load for better balance, making the pack feel good even when fully loaded. There’s also a removable waist belt with two handy zip-close pockets which enables some of the load to be carried on your hips, reducing the strain on your shoulders.

Inside, the main compartment is spacious enough to accommodate a pro-level DSLR or a dual-grip mirrorless camera, along with a clutch of lenses, including one with a focal length up to 800mm. You can anticipate squeezing in a couple of camera bodies and around six lenses, plus a few accessories. 

As usual, the layout is customisable thanks to densely padded dividers of different sizes. The whole bottom, sides and rear of the main compartment are compatible with the Velcro along the bottom edges and ends of the dividers, which means the storage is highly configurable.

Deuter supplies 14 dividers in five different sizes, which I found to be more than I need. But it means there’s plenty of scope for fitting in different types of gear.

Deuter Jaypack 34+ key features:

• Top and Rear Access: The main compartment can be accessed via the zip around the outer edge of the rear section or via the zips at the top.
• Removable Waist Belt: The padded waist belt can be removed if necessary
• Flat Base: The rugged, flat base of the backpack means it is stable on the ground
• Laptop Sleeve: There’s room for a 15-inch laptop in the front sleeve
• Load Adjustment Straps: Straps at the top of the shoulder straps help manage the load

Kit access is straightforward with the main opening being around the back, so the straps and back panel don’t get dirty when you take the pack off to get at your gear. There’s also a top opening which, with correctly configured dividers lets you reach your camera or a lens quickly.

Alternatively, the dual-zip arrangement means you can create a useful top section with 4L extension capacity  for carrying accessories or personal items.

For smaller items like filters and memory cards, there are three zippered pockets on the reverse side of the back panel. Meanwhile the inside of the front panel has a few organisational pockets and a sleeve that can accommodate a laptop of up to 15 inches in size.

Externally, the Jaypack has multiple attachment points. Four gear straps, plus a side strap with an aluminium hook buckle, are provided to secure items like a tripod or jacket.

Deuter suggests attaching a tripod at the middle-front section of the bag using the straps, but I prefer to put a leg in one of the side pockets and use a strap to keep it in place.

The Jaypack 34+ comes in two colour options, ‘Redwood’ and ‘Black’, and it’s constructed from 330D Textured REC PA fabric made from recycled pre-consumer waste. The polyester and polyamide fibres are water and abrasion resistant.

Deuter Jaypack 34+: Our Verdict

The Deuter Jaypack 34+ strikes a good balance between durability, comfort and customisability. It also maximises the space available for camera and lens storage, which means you can carry a lot of gear if you want. The shoulder straps are nicely shaped and padded, and this combined with the padded back panel, sternum strap and waist-belt, makes the backpack comfortable to carry. I like the clean unfussy lines overall, but it looks a bit like a jetpack on my 5-foot 2-inch frame.

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The PNY RP60 is a rugged portable solid-state drive (SSD) designed for photographers and  videographers on the go. It employs a USB-C connector for use with computers, smartphones, tablets and other devices, promising read speeds up to 2,000 MB/s and write speeds of 1,800 MB/s. With a silicone-coated outer shell, it’s designed to be water, dust and drop-resistant.

PNY RP60 portable SSD at a glance:

• £91 (1TB), £233 (2TB)
• USB-C connection
• 2,000 MB/s read; 1,800 MB/s write
• Water, dust and drop resistant
• 100 x 60.3 x 12.4 mm, 54.8g
• For Windows, Mac, Android and iOS devices
• pny.com

SSDs have become the preferred form of portable storage due to their small size, high speed, and inherent reliability compared to hard disc drives. This makes them ideal both for backing up your files while you’re out shooting, and as working drives for processing your photos and videos. A select few cameras can even record directly to SSD.

Most such drives use the same USB-C connector, but that doesn’t mean they’re all created equal. Instead, they employ obtusely named interface variants with different data transfer speeds. Usually, faster speeds mean higher prices. But with the RP60, PNY is promising the speed of USB 3.2 Gen 2×2, but at a price close to other brands’ USB 3.2 Gen 2×1 drives, which are inherently limited to being half as fast.

PNY RP60 Portable SSD: Key features

• Loop: A clip loop on one corner allows the drive to be securely attached to a camera bag for easy access
• USB-C cable: A generously long 30cm USB-C to USB-C cable is supplied. But there’s no USB-A cable or adapter
• Speed: To get the fastest transfer speeds, your computer needs to support USB 3.2 Gen 2×2
• Rugged: The drive is dust, water, and drop-resistant. Unusually, the USB-C port even has a plug-in cover

As to whether you’ll actually get the promised speeds in real life, that depends on various factors, including what size files you’re working with, and the capabilities of your host device.

To assess the RP60’s performance in practice, I compared it side-by-side to a Lexar Armor 700 SSD with the same interface (2000MB/sec read and write), and to a Sandisk Extreme drive of the USB 3.2 Gen 2×1 type, rated to 1050MB/sec read and 1000MB/sec write. Both are more expensive, at £148 and £100 for 1TB, respectively.

Using the CrystalDiskMark benchmarking software, all three drives gave similar numbers, with sustained read and write speeds of about 940MB/sec. This mainly reflects the fact that my 2019 Dell XPS 15 Windows 11 PC doesn’t support USB 3.2 Gen 2×2 very well, although it’s fully capable of exploiting the newer and faster USB 4.0.

I also measured how long it took to copy a 40GB folder of raw and JPEG files to each drive from my laptop’s SSD. Again, the PNY drive matched the Lexar at about 88 seconds, with the Sandisk taking 40 seconds longer. So here USB 3.2 Gen 2×2 does measurably better. To my mind, these all probably count as ‘fast enough’ for most purposes, but if you’re copying a lot of raw files or video, that extra speed could well be valuable.

I had no problems with compatibility. I used the PNY R60 with both Windows and Mac computers, and my iPhone 15 Pro Max, with no trouble at all. I also used it as a working drive for browsing and processing 50MP Sony Alpha A1 II raw files in Adobe Camera Raw, and it worked perfectly.

In fact, about my only real criticism of the PNY drive is that its plastic casing flexes a little when you squeeze it. This doesn’t inspire quite as much confidence in its robustness compared to the more solid feel of its competitors. It’s also just fractionally larger than most other portable SSDs, but not in a way that makes it inconvenient to carry.    

Ruggedness ratings

PNY specifies the drive should survive drops of up to 3m and work at operating temperatures of 0-70 °C. Its IP65 rating means it’s dust-tight and protected against low-pressure jets of water from any angle. However, it shouldn’t be treated as fully waterproof (i.e. able to survive full immersion).

PNY RPS 60 Portable SSD: Our Verdict

PNY has a habit of delivering high-performance storage devices at a lower price than its rivals, and once again, the RP60 delivers. Its matches much more expensive drives in terms of speed, and while it may not withstand as much abuse, it should be absolutely fine in normal use.

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The 3 Legged Thing AirHed Trinity is a compact, lightweight pan-and-tilt tripod head. Built from aerospace-grade magnesium alloy, it combines strength and durability with a sleek, portable design. While it’s primarily aimed at videographers, it’s an attractive choice for stills photography and wildlife watching.

3 Legged Thing AirHead Trinity at a glance:

• $89.99 / £79.99
• 38mm Arca-Swiss compatible clamp
• 170˚ range of tilt
• 5 kg load capacity
• 7.7 x 21 cm (H x W) with arm
• Weight 374g
• 3leggedthing.com

However, despite its name, the AirHed Trinity is actually a 2-way, or pan-and-tilt head. That means it’s designed primarily for landscape-orientation shooting. Consequently, photographers wishing to shoot in portrait orientation need a lens tripod collar with a foot to rotate the camera easily into the correct orientation. Thankfully, they are supplied with most long, heavy lenses.

The head is compatible with tripods, monopods, sliders and clamps featuring a standard 1/4″-20 or 3/8″-16 connector. It enables fluid panning and tilting, with a 360-degree panning base and a tilt range of 170 degrees (+90° upward, -80° downward). Meanwhile, its Arca-Swiss type quick-release plate means it’s compatible with a range of plates and brackets.

3 Legged Thing AirHead Trinity: Key features

• Detachable panning arm: The panning arm can be detached for transport and mounted on either side for use
• Durable build: Aerospace-grade magnesium alloy construction
• Lock knobs: The panning and clamp locks both have knurled metal knobs
• Panning base: There’s 360° panning movement
• Scale markings: The clamp and panning base have markings for accurate positioning

Weighing 374g with the tilt arm attached, the head is light to carry, yet it can support a load of up to 5kg. As a result, the AirHed Trinity is capable of handling most camera setups, including large telephoto lenses.

At 7.7cm tall, the AirHed Trinity is compact yet its solid magnesium alloy build impresses with a reassuringly robust feel. The pan and tilt controls have knurled metal knobs, providing excellent grip and precision as well as imparting a high-quality feel. The tilt friction is easy to adjust to suit different lenses and the head locks securely in place without slippage.

The 20cm pan/tilt arm, complete with a safety retainer, is detachable for storage and can be flipped to the opposite side for left-hand use. The ratchet mechanism allows fine angle adjustments, though the arm swivels slightly within its retainer, which may take getting used to.

During my testing, the AirHed Trinity performed well with a Nikon D7100 and an 80-400mm lens, giving excellent, stable support for exposures of several seconds when mounted via the lens collar.

Videographers will appreciate the smooth panning and tilting movements, which make tracking subjects seamless. There’s also minimal adjustment required when switching between different lenses, making it a practical option for both still and video work.

3 Legged Thing sells the AirHed Trinity either by itself, or in video kits with its Corey, Travis, Patti, Billy, and Brian 2.0 tripods. There are also monopod ‘superkits’ that include any of 3 Legged Thing’s Punks or Legend monopods and the Docs foot stabiliser.

3 Legged Thing AirHed Trinity: Our Verdict 

The 3 Legged Thing AirHed Trinity is a robust, portable tripod head offering smooth operation and strong support. Its compact design and intuitive controls make it a reliable companion for both photographers and videographers. While a lens tripod collar is essential for portrait orientation shooting, the AirHed Trinity’s build quality, ease of use and affordable price make it an attractive choice for anyone looking to support heavy lenses while photographing sport or wildlife. It’s a great partner for a monopod.

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SmallRig’s RC 60B is a powerful but miniature bi-colour LED video and photography light that has its own battery built into the body, and which presents pretty amazing value for money. It’s really not that long ago that LED lights were big, very expensive and not very powerful, but all that has changed dramatically in the last few years. Finding one that didn’t need mains power or a massive battery would have also added to the cost of buying it and inconvenience of using it. 

SmallRig RC 60B LED – At a glance

• $199 / £191
• Small bodied LED light
• Powerful 60W output (11200 lux)
• Warm, white and cool temperatures
• Built-in battery delivers 45min of full power
• Mount for range of accessories
• Easy to control
• Weight: 680g
• smallrig.com

Things have clearly moved on at pace, and while we’ve seen pricing coming down, units getting smaller, lights getting more powerful and units that can run on a battery, this little cube of a light seems to have combined all of those advances into one. The SmallRig RC60B is only just bigger than a mini V-Lock battery, and will fit into the slot of your camera bag where you’d keep a camera or a fast standard zoom. It should provide enough light to illuminate a portrait or a still life indoors, and to fill some shadows outside on a sunny day. Plus it has enough juice in its built-in battery to last us 45 minutes on full power. To me, that all sounds enticing. 

SmallRig RC 60B LED – Features

The SmallRig RC 60B is the smaller of the SmallRig RC series of COB (Chip On Board) lights that are designed for stills photographers and videographers. Previously it took a larger body to house a 60W light, but this one comes in a body that measures 100x110x85mm, and which weighs 680g. Technically the maximum power of the light is 63W which should, according the SmallRig’s figures, give us 11200 lux at 1 metre, with the supplied reflector fitted and the colour temperature set to 5600K. 

We have a decent set of colour temperatures to choose from, running from a very warm 2700K to a cool 6500K, which nicely takes in the typical tungsten setting of 3200K and daylight at 5200K. The colour of the light is straight warm, neutral or cool – there is none of the green/magenta adjustment we might get on more expensive lights for fine tuning. SmallRig claims this head has a CRI of 97+ and a TLCI of 98+, so we should expect the colours in our subjects to be rendered very accurately to the eye and on the camera’s sensor. 

Power can come from a range of sources, not least of which is the on-board 3400mAh battery. For context, that’s about the same power you’d expect from one and a half mirrorless camera batteries, or two thirds of a Sony NP-F750 block-type battery. When the light is on full power, SmallRig says we should expect 45 minutes of life, while in Eco Mode we’ll get 75 minutes. Eco mode runs the light at 60% full power and on a lower fan setting. 

If the internal battery doesn’t offer enough run time, we have other options via the unit’s USB-C port. This can be connected to any power supply delivering between 43W and 100W to power the light, and this range and below to charge its battery – it takes 63W to run the light at full power. The most convenient methods of powering the light once the internal battery is dead will be mains power via the USB-C port, or a mini V-lock battery if you are on location.

A small reflector dish comes with the light, but other accessories and modifiers can be fitted via the bayonet mount around the LED. The mount is non-standard so only compatible with accessories specifically designed for this light – a mini parabolic softbox and a mini square softbox. 

The SmallRig RC 60B comes in a neat zip-up case along with long and short USB-C cables, a screw-in handle, an angled mount to fit the light on a regular lighting stand, and a clamp to attach a power bank or v-lock battery to the back of the light’s body. 

Key features

• Power options: Built-in 3400mAh battery as well as USB-C PD for mains, power bank or V-Lock battery 
• Eco Mode: runs light at 60% brightness for longer battery life and almost silent fan
• Display Panel: Nice clear screen for monitoring settings, power remaining, and power coming in

SmallRig RC 60B LED – In use

The light is very easy to use, as it features only two knobs and three buttons. While few control points can sometimes make life hard, in this case they are just enough – and actually there isn’t too much to control. One knob controls intensity and the other the colour temperature. Both are large enough to find, and are simple to operate. A slow turn gets you small incremental adjustments while a spin lets us jump more quickly, and a press takes us directly to a number of pre-determined oft-used settings. 

As well as the continuous lighting mode, we have a collection of FX effects – flashes, fireworks, broken TV, fire, etc. Again, these are easy to access, and simple to customise to the frequency of flashes/modulations and the colour we want to use.

All these modes and adjustments can be monitored on the little screen mounted on the side of the body. The text and icons shown here are clear and pretty straightforward, the screen responds quickly when we make changes, and it displays all the things we’d need to know – including how much longer we can expect from our battery at the current level of output. It is small and simple, but it’s actually pretty good.

The base of the body has a regular 1/4in 20 thread for the sort of tripod screw you’d use with your camera, and it has a couple of smaller holes either side to allow anti-rotation pins to be accommodated when required. The angled adapter that comes in the kit screws into this so we can use the RC 60B with regular light stands, and so we can fit a brolly. 

I didn’t notice at first, but there are also little indents top and bottom of the rear of the light that fit the battery clamp that comes with the kit. This clamps on over the back panel – still giving access to the buttons –allowing us to attach a mini V-lock battery or a power bank. I’m not sure I’d want to hand-hold the light with a V-lock hanging off the back of it as it doesn’t feel entirely secure, but it’s certainly good enough for when the light is stationary on a stand.

A fan helps to keep the light cool while in operation, but it isn’t especially noisy. You can certainly hear it when the light is at full power, but in Eco mode it’s very quiet indeed.

Unlike so many other LED lights on the market at the moment, the SmallRig RC 60B doesn’t have Wi-Fi and it doesn’t connect to an app for remote operation. That’s a bit of a shame, as these little lights are ideal for hiding somewhere that we don’t want to have to keep going back to. But if you are just going to stick it on a stand at head height the lack of app probably won’t bother you. 

SmallRig RC 60B LED – Performance

A 60W light is primarily aimed at those shooting indoors or those needing a fill light outside on a bright day. It won’t be overpowering the sun, even in the UK. Indoors though we can get some decent enough readings, and this light performed as I’d expect. Whatever the lux figures SmallRig quotes, the reality is that when you’ve set ISO 400 on your camera and you have a shutter speed of 1/60sec, you can expect a subject at 2m to need between f/5.6 and f/8. 

The light is reasonably consistent across the colour temperature range, which is nice, dropping only just over ½ stop from one extreme to the other. At 6500K I got a reading of f/5.6 7/10, at 5200K f/5.6 8/10, at 3200K f/5.6 5/10 and at 2700K f/5.6 2/10, so we lose a bit of power as the colour temperature gets warmer – but not a whole lot.

Colour temperature is also really quite consistent as we alter the power, with the brightest settings being a tiny bit red and the lower power settings being a tiny bit blue. The internal battery lasts pretty much as long as advertised and it charges nice and quickly too. 

Verdict

Almost every time I review a new LED light, I’m delighted with the advances made since the one I tested last week, and this SmallRig RC 60B is one of those that has made me very pleased. I like that it’s small and light, that it has a decent internal battery that means you don’t always need to carry more power, and that it’s easy to use. What makes me more delighted is that it offers the power it says it does and that the colour it produces is mostly neutral – certainly neutral enough. 

The kit it comes with is also well thought out, and we are immediately well equipped for using it straight away. So, in all, it’s a very nice little light that can be had for very little money. An app would be nice for remote control, but perhaps we’ll see that next time. 

Related reading:

• Essential Guide to Lighting and Studio Setup for Boudoir Photography
• Nanlite launch: Forza 60 II and Forza 60B II and more
• Moonside MagLight Review – Light up your portraits

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Specialist photography gloves may look like an overpriced luxury, when you can buy a pair of nice gloves on the high street for a fraction of the price. But if you shoot a lot in cold weather, they can make a huge amount of difference to how easily and comfortably you can operate your camera. OTEX is an Australian company that’s new to this market, with its first offering, the OTEX XT-801, promising a compelling set of features at a keen price.

At a glance:

• £43 (£54 including shipping)
• Two-layer waterproof shell
• Insulated, fleece-lined inners
• Fold-back index finger and thumb tips
• Touchscreen compatible
• Available in four sizes
• otexoutdoors.com.au

So what, exactly, do these gloves have to offer for photographers? Fundamentally, they aim to tick off everything you might need from a pair of gloves when out shooting in wintery weather.

They’re designed to be warm, waterproof, and windproof, while incorporating fold-back tips for your index finger and thumb, so you can easily operate your camera’s controls. Those fingertips are coated to work with touchscreens, too, while the palm and fingers are covered with a ridged rubber grip.

To achieve all this, the gloves employ a layered design. The outer shell is made of waterproof and windproof ripstop nylon, and there’s a second waterproof liner too. Inside, you get insulation courtesy of 3M Thinsulate, rounded off by a fleece inner lining. A Velcro cuff secures them snugly on your hands.  

The Otex XT-801 gloves come in four sizes – S, M, L, and XL. A guide on OTEX’s website helps you work out which one to order, based on the length and circumference of your hand. Based on this, I chose the M size and found it fitted my hands nice and snugly.

Otex XT-801 key features:

• Grippy palms: The entire palm and inside of the fingers is covered with grippy rubber material
• Fold-back tips: Both the index finger and thumb have fold-back tips, which are secured by strong magnets
• Clip: A small clip allows you to keep the gloves together as a pair
• Cuff: A Velcro fastening allows you to secure the gloves for maximum warmth

In practice, these gloves deliver on their promises with very few drawbacks. I used them while out walking and shooting for a couple of hours in freezing temperatures of 0°C, and they kept my hands nice and warm. It’s easy to fold the tips back when needed, and crucially they don’t expose too much of your fingers to the chill.

OTEX rates the gloves for temperatures down to -10° C. However in sub-zero conditions, I’d be tempted to add a pair of thin liner gloves, if only to keep my fingertips from freezing.

To test the waterproofing, I placed the gloves under a running tap, and they simply shrugged the water off, without any wetting at all. The touchscreen tips work, too, although they’re inevitably a little imprecise. But they’re fine for simple operations such as changing settings in your camera’s onscreen quick menu – the key is to use the tip of the glove, not your own fingertip.

As for downsides, I’m not so sure there are any. I’d prefer the OTEX logo on the little finger to be more subtle, but that’s about all. If you want a pocket on the back of the glove for memory cards, then you won’t find one here, but I never use them.

Otex XT-801: Our Verdict

I’ve tried various kinds of photography gloves over the years, and I have to say that these OTEX XT-801s are probably the best I’ve yet used. They’re every bit as good as my trusty Vallerret Markhof Pro V2s that I’ve been wearing for the past few years, and better in a few key respects, notably waterproofing and touchscreen operation.

Overall, they do pretty much everything you could ask, and they’re very attractively priced, too.

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If you do a lot of editing in programs such as Adobe Lightroom and Photoshop, you’ll know that operating them using a keyboard and mouse can get repetitive and uncomfortable. This is where editing consoles come in. By providing more precise dials for adjusting settings, along with an array of shortcut keys tailored to each program you work with, they aim to speed up your workflow and make editing more productive. The Logitech MX Creative Console is the latest addition to this market.

Logitech MX Creative Console at a glance:

• $199.99 / £199.99
• Two-part image editing console
• Works with Windows and Mac PCs
• Available in graphite or pale grey
• logitech.com

Designed specifically to work with Adobe Creative Cloud software, the MX Creative Console goes up against established devices from the likes of Loupedeck and Tourbox, but it brings its own unique spin on the concept. At $199.99 / £199 it sits in the middle of the field, pricewise. But how well does it work?

Design

Unlike other editing consoles, the MX Creative Console comes in two parts, called the Dialpad and the Keypad. While either section can be used on its own, you’ll get the most out of the setup by using them together. They’re not designed to replace your keyboard and mouse, but instead complement them.

Looking first at the dialpad, this measures 9cm square, is powered by two AAA batteries, and connects to computers via Bluetooth. I say ‘computers’ because it can be paired with three different devices, selected using a small button on the base. It has one large main dial, a smaller horizontal roller wheel, and four buttons.

Two of these buttons are arranged in a pair top left, with the others at the lower left and right corners. A small power switch on the back rounds things off.   

Turning our attention to the keypad, this is a little smaller, at 7.5cm wide. It connects to computers via a USB-C cable that comes in the box. There’s a set of nine buttons on board, each with its own little LCD screen that displays its current function. Left and right keys underneath these buttons select between groups (or as Logitech calls them, ‘pages’) of functions for them.

In terms of your desktop setup, the idea is that you’ll use the dialpad with your left hand while operating a mouse with your right, and then place the keypad wherever you find works best. To provide more flexibility here, Logitech includes a stand in the box that allows you to set the keypad at an angle.

Personally, I preferred having both sections to the left of my keyboard, with the keypad either lying flat on the right, or in tighter spaces, propped up on its stand behind the dialpad.

Logitech MX Creative Console key features:

• Dialpad: This section connects to your computer via Bluetooth and is powered by 2 AAA batteries
• Keypad: This connects via USB and has nine buttons, each with its own small LCD screen to show its current function
• Stand: You can use the supplied stand to set the keypad at an angle if you prefer
• Software: It’s necessary to install the free Logi Options+ app to use the device

Initial setup

To use the device, first you need to install the Logi Options+ App on your computer. Then pair the dialpad with your computer, and plug in the keypad. At this point, the app will detect the Creative Console and automatically download profiles for the imaging software you use, such as Photoshop and Lightroom. These profiles then define what the buttons and dials will be used for in each program.

Annoyingly, though, this process requires you to create an account with Logitech, which demands to know your date of birth for no good reason. This is unnecessarily intrusive, and personally, I’d just enter a random date. I think Logitech should remove this requirement.

How does it work?

Once you’ve got the device set up and profiles installed, it’s time to get to work. Like all such consoles, there’s no way you’ll pick up how this one operates and start working fluently with it straight away. Instead, you first need to spend a bit of time exploring what the various buttons and dials all do. I mostly tested it using Lightroom, so I’ll concentrate on that in this review, but I also tried it out with Photoshop.

Thankfully, Logitech keeps the dialpad control functions admirably consistent between different programs. The main dial itself is contextual – on other words, it changes whatever setting you have selected using either the keypad or your mouse. So, for example, you can click on any slider in Lightroom’s Develop panel and spin the dial to change that setting. But it also has a default function that it goes back to when it’s not doing anything else, which is to scroll through images in your library. 

The pair of buttons on the top left are undo/redo, while the roller dial alongside zooms in and out of your image. The lower left button is a custom key that in Lightroom toggles between Library and Develop modules, while that on the lower right calls up the ‘Actions Ring’.

Here you get a set of eight onscreen icons for different settings, which cover all of Lightroom’s white balance and tonal controls. Hover your mouse pointer over a function, and you can use the main dial to adjust it. In principle, this gives a really quick and easy means of making your major image adjustments.

Keypad button functions are shown clearly on their screens, with Logitech’s profile including a sensible set of options. While most of the buttons simply activate a function, sometimes they can work together with the dial. For example, there’s a whole page of controls in Photoshop where you can adjust brush parameters including size, hardness, and flow.

In Lightroom, the button functions change according to which module you’re in, and sometimes with the specific function you’re using. In the Library, they’re all about such things as rating and labelling your images, while in Develop, you get commonly used options like auto white balance and auto upright, plus various masking and gradient controls.

Press the ‘crop’ button, and the buttons change to selecting the aspect ratio. Engage AI masking, and you get one-button access to selecting the subject or background.  So there’s a lot of really useful shortcuts here.

If you’d prefer to use the Keypad to activate other functions, the profiles can be edited in the Logi Options+ app. You can either replace existing functions with ones you use more often, or add entire new pages full of additional options. You can also change the functions of the Dialpad and the Actions Ring – it’s just a shame you can’t add additional ‘pages’ for the latter.

Glitchy software

After familiarising myself with how the MX Creative Console works, and using it to edit a number of images in Lightroom, it’s clear that this device has the potential to be an extremely useful editing tool. Indeed a lot of the time, it works really well. But the problem is that the software is a little buggy and unreliable, at least on my Dell XPS 15 Windows 11 laptop. (For the record, I prepared this review in November 2024 using Logi Options+ version 1.84.641293.)

A lot of the problems are related to using the Action Ring. Firstly, once you start using it to edit an image, the dial refuses to change any of the Lightroom sliders, so you have to use the mouse instead. Also, sometimes the dial will get stuck controlling a single function, rather than the one you actually have highlighted. This doesn’t happen all the time, but often enough to get irritating.

Most annoyingly of all, when you hover the mouse over an action button, occasionally the dial will decide to scroll through images instead. I tried disabling this scroll function in the Develop module, but then the dial refused to operate any Lightroom sliders at all.

Occasionally I also had the console drop out of the Lightroom profile for no obvious reason, and revert to its default general-purpose profile instead. This leaves you twiddling the dial with no effect on your image (instead it’s changing your computer’s audio volume). 

It’s also important to note that while the console is designed to operate most Adobe software, it doesn’t work with Bridge and Adobe Camera Raw. I’m told this isn’t Logitech’s fault, but instead down to Adobe’s software design – and to be fair, all the editing consoles I’ve used have the same limitation. But if this is how you prefer to work with your images, then you’re out of luck. 

Our Verdict

In principle, there’s a great deal to like about the Logitech MX Creative Console. I like the flexibility of the two-part design and how it takes up relatively little space on your desk. I also appreciate the way that the dial pad is relatively simple and retains most of the same functions between apps. This means you’re not left staring at a load of unmarked buttons trying to remember what they all do.

Meanwhile the keypad, with its pages of functions, gives access to plenty of settings without needing to be physically huge. So when it comes to the concept and hardware design, Logitech has got many things fundamentally right.

Unfortunately, though, the overall experience and usability is currently let down by the glitchy software. The last thing you need from a device that’s meant to speed up your workflow is for it not to operate consistently. Just right now, it’s not quite reliable enough. But if the bugs all get ironed out, it could easily become the best image editing console on the market.  

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The Think Tank Cards and Power Wallet is a compact soft case designed for keeping memory cards and camera batteries secure and organised. It fits neatly in a camera bag or jacket pocket and gives easy access to these essentials whether you’re shooting at home or out with your camera.

Think Tank Cards and Power Wallet at a glance:

• $21.75 / £17.99
• Fold-and-fasten design
• Folded dimensions (W x H X D): 13.5 x 8 x 2.5 cm
• NP 320D Double Diamond Ripstop nylon exterior
• Two clear zippered card slots
• Two battery pockets
• thinktankphoto.com

The wallet is made from NP 320D Double Diamond Ripstop nylon with a durable water-repellent (DWR) coating, which means it’s built to withstand regular use and offers some protection against the elements. With folded dimensions of 13.5 x 8 x 2.5cm, it’s a similar size to a regular money wallet, but it can hold up to two camera batteries and has pockets to house CFexpress cards or SD cards.

The Think Tank Cards and Power Wallet feels well-made and thoughtfully designed. The clear card pockets are especially handy because you can see your memory cards without the need to rummage or remove them. The zippered compartments also hold cards securely, while the Velcro closure keeps the entire wallet folded and fastened.

Think Tank Cards and Power Wallet key features:

• Clear Pockets: The see-through, zip-closed pockets can hold SD or CFexpress type memory cards
• Battery Store: There are two simple pouches to hold two camera batteries
• Lanyard: The clip-on lanyard can prevent the wallet from falling out of a bag or pocket
• Folding Design: The fold-and-fasten design keeps the batteries safe
• Two colour options: The wallet is available in dark grey with Black Slate trim or light grey with Chilli Pepper Red trim

While Think Tank suggests the wallet can hold two CFexpress Type B cards or four SD cards, I found it’s more flexible in practice. I managed to fit up to 12 SD cards across the two pockets, though sticking to a more moderate number, like six, is more practical to avoid cards falling out when retrieving them. I tend to use one pocket for empty cards and the other for those that are full, it’s a simple but reliable organisation method.

The battery slots are well-sized and its easy to organise the cells based by charge status – simple put fully charged batteries in one orientation and expired batteries in another. The batteries are held in pouches when the wallet is folded and closed by the Velco fastening.

While the wallet can be slipped into a pocket or bag, it also has belt loops for those who prefer to carry it on their hip. In addition, there’s a removable lanyard with a clip for extra security if you want. In another nice touch, the rear of the wallet has a clear ID window that can hold a business card or similar.

Think Tank also makes a collection of memory card wallets such as the Pixel Pocket Rocket V2 (£20.99) which has clear pockets that can hold CFexpress card and one larger zippered-pocket that’s useful for microSD and SD cards or small screws and the like. There’s also the Secure Pixel Pocket Rocket V2 range (around £19) which has pockets that are all zip-closed for extra security.

Our Verdict

The Think Tank Cards and Power Wallet is a thoughtfully designed option for photographers who want a compact, durable solution for organising memory cards and camera batteries. Its weather-resistant materials, practical layout and multiple carrying options make it a versatile addition to your kit. While the battery capacity is limited to two and the Velcro closure may not last indefinitely, these are minor considerations for an otherwise reliable and convenient wallet that’s attractively priced.

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The Peak Design Outdoor Backpack 25L is part of a new range of technical bags from Peak Design. It’s designed with hiking and outdoor adventures in mind and can turned into a camera backpack with the addition of a Peak Design Camera Cube or two.

Peak Design Outdoor Backpack 25L at a glance:

• $249.95 / £249.99
• Modular design
• Capacity 20-25L
• Rear-opening and roll-top design
• External Dimensions: 48.5-66 x 28 x 15 cm
• Weight: 1.15kg
• peakdesign.com

Made from Terra Shell 210D Ripstop Nylon, the frameless backpack is lightweight yet durable, featuring an expandable ‘Ultra Cinch’ roll-top that increases the capacity from 20L to 25L. You can reach the main compartment through the roll-top or by unzipping the rear panel, with the latter being the best route to your camera kit in a Cube.

The main compartment has room for Peak Design’s SMedium and XS Camera Cubes, with the smaller cube fitting above the larger one. There are loops inside the backpack that allow the SMedium cube to be clipped in position, but it can be left unclipped. This dual-cube set-up enables you to carry a full-frame mirrorless camera and up to around four lenses, including a 70-200mm f/2.8.

In addition, the backpack’s side pockets are deep enough for a tripod or water bottle, while a sleeve in the back section can hold a hydration pouch or up to a 16-inch laptop. But it’s best not to use a water bladder with camera gear.

Peak Design Outdoor Backpack 25L key features:

• Camera Cube Compatibility: The main compartment can accommodate one Peak Design Smedium Camera Cube and one X-Small Camera Cube
• Roll-top: A cinch cord keeps the top opening rolled tight and the front pocket closed
• Top and Rear Access: The main compartment can be accessed via the roll-top or the zip around the outer edge of the rear section.
• Sternum Straps: Two sternum straps help keep the pack in position on your back
• Colour Choice: The backpack comes in three colours, Black, Cloud (white) and  my favourite, Eclipse (burgundy)

With flat pockets in the front and smaller pouches on each shoulder strap, there’s ample storage for essentials like a phone or wallet, but I would’ve liked to see a zippered pocket at the top of the bag between the shoulder straps.

There’s also a large ‘kangaroo pouch’ on the front of the bag that’s ideal for stashing an extra layer. But as the sides of the top are open, it’s important to avoid overfilling it, especially with small items.

The shoulder straps are well-cushioned and designed for comfort on a wide range of body sizes and while the backpack doesn’t come with a waist belt, there is one available separately.

In use, the 25L Outdoor Backpack feels light and compact yet it holds plenty of gear, making it suitable for both photography equipment and everyday items. Its front is tough, weather resistant and wipe-clean but there’s an optional Rain Fly cover available for extra protection.

If you like the look of this backpack, but need something larger, Peak Design also makes a 45L version. The Peak Design Outdoor Backpack 45L has a very similar versatile design to the 25L version, but it comes with a removable waist belt and there’s a ladder system for adjusting the height of the shoulder straps. It has a capacity of 34.5-45L and its main compartment can house a Large Peak Design Camera Cube. This means you can expect to carry a full-frame camera and six or seven lenses.

Our Verdict

The Peak Design 25L Outdoor Backpack is a smart choice for photographers looking for a versatile, well-made bag that can cope with photography and outdoor activities. Its dual access points and compatibility with Peak Design’s Camera Cubes allow it to switch seamlessly between everyday use and photographic use. While the top-opening mechanism may take a little getting used to and the Camera Cubes are an extra cost, these are minor points in an otherwise reliable and practical design.

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The Canon EOS R5 Mark II is a successor to the four-year-old Canon EOS R5, with a huge array of updates and improvements. Launched alongside the sports-focused Canon EOS R1, it’s designed to be a highly capable professional all-rounder, that can handle almost any task for either photography or video. It sports a 45MP sensor, can shoot at up to 30 frames per second, and record 8K video at 60fps. Without any doubt, this makes it one of Canon’s best mirrorless cameras.

Canon EOS R5 Mark II at a glance:

• $4300 / £4500 body only
• $5400 / £5749 with 24-105mm lens
• 45MP stacked CMOS sensor
• ISO 100-51,200 (standard)
• 30 frames per second shooting
• 8K 60fps internal raw recording
• 5.76m-dot, 0.76x viewfinder
• Eye Control Focus

While the EOS R1 and EOS R5 Mark II have very different headline specs and body designs, and are designed for different kinds of user, both are fully pro-spec models that share a great deal of other technology. Both are based around a concept that Canon calls ‘Accelerated Capture’. This means that they combine a stacked, backside-illuminated sensor with a DIGIC X processor that’s boosted by a new DIGIC Accelerator processor. This enables new autofocus features, faster video shooting, and generally more responsive operation.

Other major updates include Canon’s unique Eye Control Focus technology, as previously seen on the Canon EOS R3, and a built-in heat-dissipation pathway. The latter promises to fix the original EOS R5’s Achilles’ heel of overheating, which limited it to short video recording times at high resolution, and long recovery times before it could go again. In short, the new model promises to fix the main flaws of its predecessor while adding unique technology that its competitors can’t match.

However, the EOS R5 Mark II is up against seriously strong competition from the Nikon Z8 and the Sony Alpha A1 II, which aim to fulfil exactly the same role. Its £4500 body-only launch price is significantly higher than the Z8’s street price at the time of writing (approx $3500 / £3149), but on the other hand, it’s considerably lower than the A1 II ($6500 / £6300). So is the EOS R5 Mark II finally the top-spec mirrorless model that Canon users have been waiting for?     

Features

While the Canon EOS R5 Mark II has the same pixel count as its predecessor, it doesn’t use the same sensor. Instead, it employs a 45MP back-illuminated stacked-CMOS sensor for faster readout when using the electronic shutter. Canon says this reduces rolling shutter by 60% compared to the original EOS R5. In principle, it should also help suppress other artefacts, such as colour banding under artificial lighting.

However, it’s worth noting that 60% isn’t necessarily a huge improvement for a stacked CMOS sensor compared to a conventional design. It’s certainly not as fast as the EOS R1’s sensor, which Canon says is a match for the mechanical shutter on the EOS-1D X Mark III. That’s not to say the stacked sensor isn’t a major advance over the EOS R5, but you may not always be able to rely on it eliminating artefacts entirely.

Shutter speeds as fast as 1/8000sec are available using the mechanical shutter, and 1/32000sec with the electronic shutter. That top 30fps shooting speed also requires using the electronic shutter; but with the mechanical shutter, it still hits a more-than-respectable 12fps. Usefully, you can now set a function button to temporarily switch up your shooting speed to capture the peak of the action, but only when using the electronic shutter.

On a related note, another new feature is pre-burst shooting. Here, the camera continuously buffers half a second’s worth of frames while the shutter is half-pressed, then records them to card when it’s fully pressed. Unlike Canon’s older RAW Burst mode, each image is recorded as a separate file.

You also get some significant new autofocus features. Perhaps most importantly, the camera includes Canon’s unique Eye Control Focus technology, as previously seen on the EOS R3. This detects whereabouts you’re looking in the frame, and then uses this information to identify the subject on which to focus. It arguably works best in combination with AI subject detection as a means of selecting between multiple possible subjects, with the camera capable of recognising people, animals and vehicles.

Canon has also introduced a new ‘Action Priority’ autofocus mode for football, basketball, and volleyball. Using ball tracking and an understanding of each sport’s ‘action poses’, it can work out which player has the ball at any given time, and switch focus to them automatically. It also recognises certain ‘action poses’ to focus on, including such things as ‘save by keeper’ and ‘sliding tackle’.

It’s also possible to register up to ten faces that the camera will prioritise for focusing. This is done simply by taking a single photo of each person, and you can arrange them into an order of priority. Ten does seem like an odd choice of number, though, given that most sports teams have rather more players. But to be fair, it’s first-generation technology.

Canon’s latest in-body image stabilisation system is also onboard, which promises 8.5 stops of shake suppression in the centre of the image and 7.5 stops at the edge. There’s no high-resolution pixel-shift multi-shot mode, but that’s not much of a loss, as they rarely work in a useful way. Instead, images can be upscaled in-camera using a process based on AI deep learning.

Naturally the EOS R5 Mark II hasn’t overlooked video features. Impressively, it’s capable of internal 8K 60fps recording using Canon’s proprietary SRAW format. Switch to a more conventional format and it’ll shoot at 8K at 30fps, 4K at 120fps, or Full HD at 240fps. You’ll need to use a CFexpress card for the highest quality though, rather than SD.

The original EOS R5 was infamously prone to over-heating, but Canon has addressed that with a new heat-dissipating internal structure, including a cooling channel built into the camera body. This alone promises significantly extended recording. But if that’s not enough, there’s also a new cooling fan grip that bolts onto the bottom of the camera and blows air through this channel.

Other video features include proxy recording where a low-resolution file can be simultaneously recorded to the second memory card for easier editing. There’s also a new dual still/video shooting function, in which it’s possible to record Full HD video to one memory card and still images to the other at the same time. The camera supports 4-channel 24-bit audio recording and has a full-size HDMI socket.

Naturally you get Bluetooth and Wi-Fi built-in for smartphone connectivity via Canon’s Camera Connect app. This provides all the expected features, including the ability to use your phone as a simple shutter release via Bluetooth, or comprehensive remote control over Wi-Fi. You can, of course, also copy images from your camera to your phone for sharing.   

Canon EOS R5 Mark II: Key features

While the EOS R5 Mark II closely resembles its predecessor, it boasts an array of major updates.

• Power: The R5 II requires the new LP-E6P battery for maximum performance. It will refuse to work with some third-party LP-E6-type batteries
• Storage: You get dual slots for one UHS-II SD card and one CFexpress Type B card, with the latter required for the highest-quality video and extended burst shooting
• Connectors: On the side you’ll find USB-C, full-size HDMI, PC flash sync, and 3.5mm headphone and microphone ports. An N3-type remote release connector is on the front, too
• Video switch: There’s now a dedicated still/video switch, plus a bright red tally tight on the front to show when the camera is recording
• Vertical grips: The BG-R20 Battery Grip ($349 / £490) has a duplicate set of controls for portrait-format shooting and holds two batteries for extra stamina. A BG-R20EP version ($499 / £680) adds an RJ45 ethernet socket for high-speed wired connectivity.
• Cooling: There’s now an air duct behind the screen for cooling. An optional CF-R20EP Cooling Fan Grip promises extended video recording times for $399 / £549

Build and handling

Despite all the technology updates, one thing Canon hasn’t done is tinker much with the body design. Instead, the Mark II is very similar to the original EOS R5. However, the power switch has moved to the top right, with a dedicated stills/video selector switch now on the top left. This is the same revision as we saw on the EOS R6 Mark II, and it’s a small but welcome improvement that makes the camera quicker to turn on and off.

What this means is that the EOS R5 Mark II works in a very familiar way, in terms of user interface and controls. Operationally it’s near identical to its high-end siblings, namely the EOS R1, R3 and R6 Mark II. So not only should existing Canon users be able to pick it up and use it right away, it’ll fit pretty seamlessly into a multi-model setup.

Indeed, the overall handling experience is one of the EOS R5 Mark II’s biggest strengths. The handgrip is comfortable and secure, and the body feels seriously robust. There’s a vast array of buttons and dials on board, which means that once you’ve got your head around how everything works, pretty much all the key shooting settings can easily be changed with the camera up to your eye.

Like its siblings, the EOS R5 II is based around three electronic control dials for changing exposure settings. In addition to a command dial behind the shutter release and wheel on the back inherited from EOS DSLRs, there’s a third dial on top which directly controls ISO. Uniquely to Canon, this can be used to temporarily shift the ISO setting when using Auto ISO, which I find extremely useful. Pressing the mode button in its centre allows you to change the exposure mode using any of the three dials.

Canon also provides notably quick and direct control over autofocus. The AF-On button falls naturally under your thumb, with the AF-area joystick alongside. A button on the camera’s shoulder allows you to select different AF area sizes, while pressing the button in the centre of the rear dial engages AF tracking. If you ever feel the need to switch subject detection away from Auto, that’s in the Quick Menu, where you can also switch between single-shot and continuous focus. However, Eye Control is buried deep within the menus.

Other functions such as white balance and Picture Styles can be accessed quickly from the M-Fn button and changed using the three dials. That M-Fn button is very conveniently placed beside the shutter release, but it’s still too small. Alternatively, you can press the Q button to bring up the onscreen quick menu, which can be operated by touch.  A top-plate status panel shows your key settings at a glance.

Even when you need to dive into the main menu system, it’s pretty clearly laid out via colour-coded tabs, and can be operated entirely using the touchscreen. Unsurprisingly though, it’s pretty much impossible to find a menu setting when you’re looking for one in a hurry, so it’s worth spending a bit of time configuring the My Menu with any options you think you might need. It’s high time camera makers included searchable menus.

There’s loads of control customisation on offer, with an entire new menu section dedicated to the task. It’s possible to store three custom setups (labeled C1, C2, and C3) for different shooting scenarios. You can tell the camera to update these continually while you’re working, too, so the exposure settings don’t get reset when you turn it off.

Usefully, it’s also possible to have buttons customised differently for each C mode. For example, in my C1 mode for shooting wildlife, I reconfigured the depth-of-field preview button to engage 30fps shooting. You can’t always do this on other brands.  

Handling is a very much an individual preference, and photographers inevitably get familiar with how their favourite brand’s cameras work. But personally, I think the EOS R5 Mark II edges it over both the Nikon Z8 and the Sony Alpha A1 II in terms of  control layout and ease of operation.

Viewfinder and screen

One area where the Canon EOS R5 Mark II brings a slight compromise compared to its competitors is with its viewfinder. At 5.76-million dots and 0.76x magnification, it’s smaller than either the Nikon Z8’s 3.69m-dot, 0.8x unit, or the A1 II’s fabulous 9.44m-dot, 0.9x viewfinder. But it’s very detailed and notably bright, which makes it easy to see even on sunny days.

Canon previews image processing by default, in terms of colour, white balance, and exposure, while depth-of-field preview is available via a large button on the camera’s front. But if you prefer, enabling the ‘OVF sim view assist’ setting provides a neutral view that aims to mimic the optical viewfinder of a DSLR.

A comprehensive range of focusing and exposure aids are available, including gridlines, levels, and an RGB histogram, and you can combine these however you please across three screen layouts. I like to keep one screen clear of distractions and have another one that shows me everything at once. 

Canon has also provided a blackout-free option for use during burst shooting with the electronic shutter, although it has to be enabled via a menu setting. This can give a more fluid experience for following movement, with a flickering outline in the viewfinder providing visual feedback that the camera is shooting.

Below the EVF there’s a fully articulated 3.2in, 2.1m-dot touchscreen, which is much the same as before. Again, it’s nice and detailed and provides an accurate preview of how your shots are going to come out. But it’s not quite as flexible as the Sony A1 II’s 4-axis design, which adds an up-down tilt mechanism. Equally, some photographers will prefer how the Nikon Z8’s 3-way tilting screen always stays behind the camera in line with the lens. Personally, I can live with any of these designs.

Autofocus

Like its rivals, the Canon EOS R5 Mark II’s autofocus system can recognise a wide range of subjects – people, animals, and vehicles – and track them reliably as they move around the screen. In real-world use, it’ll do so with uncanny accuracy, and keep up even during high-speed continuous shooting.

Canon EOS R5m2 · f/2.8 · 1/1000s · 70mm · ISO12800

Click on any sample image to see the full-size version.

I tested the EOS R5 Mark II with a variety of subjects, including dancers, trains, and wildlife, using the Canon RF 70-200mm F2.8L IS USM and Canon RF 100-500mm F4.5-7.1L IS USM zooms. I was extremely impressed by its performance; even shooting small, fast, erratic birds it delivered a high percentage of sharp, in-focus shots.

The thing is, though, that’s become nothing special for this kind of camera. The Nikon Z8 is every bit as good, and I’d expect the Sony A1 II to work just as well, too. So now that these cameras are all so good at subject detection and tracking, the most important differences between them lie with how easy it is to configure the system and get the camera to focus on exactly you want it to, particularly when there are multiple possible subjects in the frame.

Canon EOS R5m2 · f/7.1 · 1/2000s · 500mm · ISO12800

This is where the EOS R5 Mark II’s real superpower lies, in the shape of eye-control focus. Enable this and spend a bit of time calibrating it for different light levels, and the camera can understand exactly where you’re looking in the viewfinder and then focus on that spot.

If you can get eye control to work reliably – and while it works for me, it’s clear that not everybody finds this easy – then focusing on a specific person (or car, or animal, etc) becomes as simple as just looking at them. This is much quicker and more intuitive than using any physical control to select between options, especially in fast-paced situations.

Canon EOS R5m2 · f/6.3 · 1/500s · 451mm · ISO1250

It’s also worth pointing out that Canon has made its subject detection strikingly simple to use. Most of the time, you can just leave it set to Auto, with no need to specify a subject type in advance. Even if you want to narrow things down, you don’t have to navigate through a long list of choices, but just choose between three options (People, Animals and Vehicles) that between them encompass all the same subject types as other brands.

This makes things so much easier, and less prone to error, than (for example) having to select between cars, motorbikes, airplanes and trains, rather than just vehicles.    

Performance

In practical use, the Canon EOS R5 Mark II is a pleasure to work with. It’s extremely slick and polished in operation, with everything working exactly as it should. Both the physical controls and the touchscreen respond instantly to inputs, and overall, the camera just gets out of our way and lets you concentrate on shooting.

Canon EOS R5m2 · f/7.1 · 1/500s · 500mm · ISO1600

The mechanical shutter is beautifully quiet and well-damped, too, so you won’t disturb people nearby while you’re shooting. Switch to the electronic shutter, and it’ll be completely silent. However you’ll still want to watch out for possible banding under some artificial light sources.

I had no complaints over battery life, although it’s worth noting that the super-bright viewfinder comes with a CIPA rating of just 340 shots. You’ll most likely want a spare, and the LP-E6P battery that you need for best performance is very expensive in the UK, at £120 (but only $79 in the US). The camera also completely rejects some third-party LP-E6 batteries, including one I own that works perfectly happily in older EOS models.

Canon EOS R5m2 · f/7.1 · 1/2000s · 500mm · ISO1000

When it comes to continuous shooting, fundamentally the EOS R5 Mark II delivers everything most users are ever likely to need. While you’ll need a CFexpress card for the longest bursts and fastest buffer clearance, I found the camera also performed well with UHS-II SD cards. Shooting raw + JPEG, I got more than 70 frames in a burst at 30fps, with the buffer then taking about 25 seconds to clear completely. Shoot at slower speeds and you can get longer bursts, of course. Only the most specialist sports and wildlife shooters are likely to want more than this.

I’ve found the R5 II’s in-body image stabilisation to be reliably effective. Using the Canon RF 24-105mm F4L IS USM, I got pixel-sharp images fairly regularly at shutter speeds as slow as 0.6 seconds. If you’re prepared to tolerate a little pixel-level blur – and with a 45MP sensor, we’re starting from a position of serious strength – then speeds slower than a second aren’t out of the question.

Canon EOS R5m2 · f/4 · 1/2s · 31mm · ISO800

One point always worth reiterating is that EOS R cameras work seamlessly with EF-mount DSLR lenses, via either Canon’s EF-EOS R mount adapter, or cheaper third-party alternatives. I used the EOS R5 Mark II with my Canon EF 100mm f/2.8 Macro and EF 24-105mm f/4L IS USM lenses on a K&F Concept adapter, and they focused quicker and more accurately than they did on most EOS DSLRs.

This is great news for Canon users who are switching over from DSLR systems and have some nice EF lenses, or even those who want to acquire some specialist optics without having to fork out RF-lens prices. 

Canon EOS R5m2 · f/4 · 1/320s · 100mm · ISO1600

All of Canon’s automated systems work extremely well, with metering and auto white balance practically flawless. Canon’s colour processing is generally very nice, too. If you leave the Picture Style set to its default Auto setting, though, the camera can sometimes randomly switch between styles, for example from Standard to Landscape, giving unexpected frame-to-frame variation. So I’d advise selecting a specific Picture Style instead.

I’m not a huge fan of Canon’s default sharpening either, and prefer using the Fine Detail picture style by default. I also changed some of the other styles’ sharpening parameters to match, including Landscape and Monochrome.

Canon EOS R5m2 · f/11 · 1/100s · 72mm · ISO500

Naturally, to get the best out of your images you’ll want to shoot raw. Here I’ve found the EOS R5 Mark II’s raw files to be excellent. That 45MP sensor is capable of capturing loads of detail, especially at lower ISO settings. There’s plenty of dynamic range too, so you can tone down highlights and pull up extra shadow detail with ease. You can see this in the example below, comparing the same file as-shot and with tonal edits applied.

I found you can expect to get about four stops of shadow detail recovery at ISO 100, but go much further and you’ll encounter blotchy low-frequency colour noise that’s difficult to suppress. This isn’t quite as much dynamic range as you might get from a conventional, non-stacked full-frame sensor, but it’s usually enough in real-world photography. It’s an entirely sensible trade-off for the camera’s speed and autofocus capabilities.

ISO and Noise

Just as we’d expect, Canon’s new 45MP stacked-CMOS sensor is capable of truly excellent image quality. At low ISO settings, we see loads of detail and essentially no visible noise. This quality is maintained well up to ISO 1600, with the finest detail just starting to blur away at ISO 3200. Beyond this, noise has an increasingly destructive impact, with detail degrading and colours getting increasingly broad-brush.

Canon EOS R5m2 · f/11 · 1/160s · 105mm · ISO12800

I was perfectly happy shooting at ISO 12,800 as a matter of course, but would consider ISO 25,600 to be the highest I’d want to use at all regularly. The top standard setting of ISO 51,200 might perhaps be OK with AI noise reduction in post-processing, but the extended ISO 102,400 option looks like a step too far. 

The slideshow below shows 100% crops from our standard test scene, shot in raw and developed using Adobe Camera Raw at default settings. Click on any to see the full-size version.

Canon EOS R5 Mark II: Our Verdict

When we reviewed Canon’s original EOS R5, we declared it to be a superb stills camera that was only let down by its habit of overheating during video recording. With the Mark II, Canon has addressed that flaw and added a whole load of clever high-end features shared with the sports-focused EOS R1. Indeed, don’t be fooled by that ‘5-series’ designation: this is also a fully-fledged professional camera, just with a higher resolution sensor in a smaller body.

With its 30fps shooting at 45MP and internal 8K 60p raw recording, the EOS R5 Mark II boasts a class-leading specification, even in this rarefied sector of high-speed, high-res flagships. What’s more, it handles superbly and is impressively responsive in operation, while delivering consistently excellent images. But the star of the show is its autofocus system, and in particular, the combination of subject detection and eye control focus. This gives a uniquely quick and intuitive way of selecting your desired subject in fast-paced situations.

In fact, this is arguably the real story with the EOS R5 Mark II. Like the Nikon Z8 and Sony A1 II, it can do almost anything that even the most demanding of photographers might conceivably need. But I think Canon has done a particularly good job of making its capabilities accessible in a photographer-friendly way.

Canon EOS R5m2 · f/4 · 1/5s · 24mm · ISO200

For any photographers still using 5D-series DSLRs, the EOS R5 Mark II is a massive step forward. Even for existing EOS R5 users, there’s plenty here to make it worth considering upgrading. It’s very difficult to think of anything that counts as a significant flaw. If you need a top-spec all-rounder than can do everything, it should be right at the top of your wishlist.

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Canon EOS R5 Mark II: Full Specifications

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