The FocusFoto Battery Grip for Sony A1 II and A9 III

Before we start, let me mention that the new Sony A1 II does not use the same battery grip as the original A1; its body shape is now in line with the A9 series cameras, making it easier for pros to switch between the two bodies.

Shortly after buying my Sony A1 Mark II (from Amazon Business Prime, saving about $400), I decided to spend the money that I had saved on the battery grip, but I wanted to feel it first, since I had not been terribly happy with my earlier Sony grip, so I drove up to Kenmore Camera and asked to test one out, and it felt exactly like the 3rd party grips that I used to buy for my Canon cameras. So, I decided to skip the Sony grip and buy a less expensive 3rd party one (though I did buy a lens).

At the time, only a couple of 3rd party grips were available for the Sony A1 II, and one of them was the FocusFoto, and it cost about $89 from Amazon… less than a quarter of the price of the Sony. It arrived in a fairly generic box, the only mention of the model on a printed label stuck to the side.

In the Hand

But the grip itself, it turned out, felt almost exactly like the Sony that I had tested. According to published specifications, the Sony grips weighs about 25 grams more than the FocusFoto, but it wasn’t obvious in my hand… both feel like plastic. The grips feel like they’re the same size, but the textured faux-leather material on the FocusFoto grip has more of a matte finish and a more rubbery, soft grip.

Functionality

And aside from the negligible weight difference, the two grips are functionally identical. They share the same buttons, dials and switches in the same locations. I’m happy with the feel of the dials; they feel solid and well made, and the shutter button is also good, though slightly different from the camera button. While Sony shutter buttons generally do not have a “click” after being half-pressed, the FocusFoto does have a noticeable click… audible in a quiet room. I don’t mind it, but it might bother some photographers.

More importantly, the batteries function in the same way that they do on the Sony grip: rather than draining sequentially, both batteries drain at the same time. This means that both batteries will receive the same amount of wear, and the voltage will remain usable and stable for longer¹

Drawbacks

Though both grips feel like plastic, the Sony grip does hide some sort of magnesium alloy frame. Whether this will make any practical difference remains unknown. I’ve used vertical grips on my cameras for the past 35 years or so; when I was a teenager, it wanted to look more professional, and when I was in college, it was for the comfort. During the digital age, it has always been for the extended battery life, primarily. In all of that time, though, in all of my travels around the world and dropped cameras, I’ve never managed to break a grip… even the 3rd party plastic ones.

Perhaps more importantly, though, is the fact that while the Sony grip does offer some basic sealing against dust and moisture, the FocusFoto grip does not have any obvious rubber gaskets.

Not all of the lenses that I use are weather sealed, so and I don’t always remember which are and which are not, so I try to keep my camera out of the rain whenever possible. However, lack of weather sealing around battery connections is a cause for concern for those of us who travel and shoot professionally.

Long Term Testing

The first trip that I took with this camera and grip was a month in southern India, which is about as good a place to stress test a piece of equipment as any. Hyderabad was hot and dusty, and I was caught in the rain twice in Rajahmundry. The hill stations in Munnar and Kodaikanal were misty and damp for hours every day, and I slipped on a steep hillside (and might have broken a rib), but the camera was fine… and the beaches in Chennai were as dangerous to electronics as any sandy beach, but again, no problems.

Since my return to Washington, the camera has had a relatively cushy life, with only one trip to the coast at Seabrook that was moderately rainy, and again, the grip didn’t give me any cause for concern.

None of that is proof that this grip will handle everything you throw at it, and I did my best to protect my camera when I could, but I’m satisfied that this grip will at least stand up to the type of abuse that I’m likely to subject it to.

Conclusion and Final Verdict

Functionally, the Chinese FocusFoto grip works just as well at the original Sony, with all of the same buttons and dials, and they all feel sufficiently high quality in the hand. The same can be said for the grip as a whole: its weight and materials make it feel nearly indistinguishable from the Sony.

The FocusFoto grip lacks weather sealing gaskets, and if this is a serious concern for you, it would make sense to opt for the Sony grip. Otherwise, I’ve been pleasantly surprised with the FocusFoto grip, and it hasn’t let me down yet. I’d happily recommend it for anyone who doesn’t need a grip to face the harshest elements.

8.8 TOTAL SCORE Very Good

A short review of the FocusFoto Battery Grip

0 Out of 5

Based on 0 Users

Functionality 10

Build Quality 6

Comfort 9

Value 10

Pros

• Dramatically less expensive than the Sony
• Same features as the Sony
• Nice and sturdy

Cons:

• No weather sealing
• Grip material is very similar but not 100% identical to Sony

Bottomline

At less than a quarter of the price of the Sony counterpart, the FocusFoto battery grip delivers at least three quarters of its build quality and all of its functionality. In my testing, the FocusFoto grip has been reliable and sturdy, though long term testing is just beginning. Its biggest drawback is the lack of true weather sealing.

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Peak Design started with a single product but now proposes a varied range of equipment for photographers and travelers. Their Travel Line also caters to photographers, with solid integration of the company’s camera cubes in their bags. Still, when compared with their line of camera bags, the Travel Line was more barebones. This is changing with the introduction of a 20L Travel Backpack, a 2-in-1 50L total Travel Backpack, a 3L crossbody sling and the 25L Weekender I am discussing today.

Physical Description

(Remember that I am testing a pre-production model. Some details could change for the final version.)

The Weekender is available in three colors, Black, Sage and a new Stone (grayish) color. I am testing the Stone version. The color changes with illumination: truly gray under sunlight, gaining a brownish tint under fluorescent tubes.

The bag is made of the same Versa Shell fabric as the company’s Roller Pro suitcase. Indeed, it was designed primarily as a match for the Roller Pro. Versa Shell is durable, weather resistant, easy to clean and has held up well under heavy use in my experience.

Peak Design calls the Weekender a duffle, but I argue that it also looks like a beefed-up laptop bag or briefcase. It stands upright on its own and has two (very) comfortable, padded handles which also stay upright to grab easily. The shell is not hard like the Roller Pro. Zippers are a contrasted black, with a few yellow accents on zipper pulls and near the company logo. The overall look is elegant and certainly not flashy.

One side features a wide luggage pass-through panel.

There are two external pockets. One serves as a laptop-tablet compartment, with a Velcro patch closing the smaller tablet section. There is a decent level of padding to protect electronics. The laptop is also protected by a false bottom.

The laptop compartment is supposed to support 16 inches laptops. My work computer is a 15.6 inches Lenovo Thinkpad P15v. Getting it in and out is a tight fit because of the shape of the opening, particularly the small loop shown above. I notified Peak Design of this, maybe it will be adjusted for production versions.

The second external compartment features a key clip (missing on my pre-production version), three internal pockets along with a pen holder. This compartment has a depth of approximately half the height of the Weekender.

The bottom of the Weekender folds inwards in the middle to keep the profile slimmer when the bag isn’t full. This is useful for storage or to fit the bag under an airplane seat. Pushing down on the bottom widens the bag quite a lot, allowing it to reach its maximum 25L volume.

A removable shoulder strap attaches to the ends of the handles. It is similar to straps found on the company’s Sling and Messenger bag: seatbelt fabric, center padding and the Slide length adjustment. Like the Slide straps, it has a length adjuster on each end.

The strap is larger, and more thickly padded, than a camera bag’s strap. Worn over the shoulder, the strap feels comfortable for short and medium periods of time, as long as the bag isn’t completely full. The length of the strap makes it harder, but not impossible, to wear it cross-body.

The main compartment unzips via a large clamshell opening reminiscent of the company’s Tech Pouch. The zippers can be looped together to deter theft (as is common with other Peak Design bags).

The internals use a pale color, making it easy to see inside. This color is new for Peak Design. I personally like that it improves visibility, but I’m not a huge fan of this particular shade.

Peak Design Weekender 25L internal storage

The insides feature a center separator with a zippered top, creating a medium-size pocket. It offers some minimal padding. Two stretch pockets are located on one side of this separator. One external side has two wide and deep stretch pockets, and the other side features a zippered mesh compartment hiding a locator tag mini-pocket. In other words, there is no lack of options for internal organization.

In Use

It is easy to assume that the Weekender is only a briefcase. That’s because the bottom is not flat by default and the bag appears narrower than it truly is. Push down on the bottom or simply fill it with stuff, and it expands greatly, making it obvious that the Weekender is truly multi-purposes.

I tested the Weekender with a variety of camera and packing cubes and it surprised me. It is an excellent fit for Peak Design’s XSmall, Small and SMedium camera cubes, with room to spare. I was able to fit a Small camera cube on one side along with a Tech Pouch, and an XSmall camera cube on the other side, with a lot of room for other things.

It is also possible to fit an SMedium camera cube, again with room to spare. In that case however, the central divider pushes towards the other side; fitting another camera cube won’t be easy. A Medium cube would probably fit, but barely. A lot of clothes or other items would easily fit alongside the SMedium cube, however.

When used purely as a travel bag, I had no problem fitting a lot inside: a medium and two small packing cubes, a tech pouch and an XSmall camera cube. The shape of the zippers and the way the Weekender closes let me easily compress clothes and get everything to fit.

Carrying a 25L bag filled to the brink over one shoulder is not the most comfortable for long time stretches. That’s not a flaw of the Weekender, just a reality that weight must be distributed. Pairing the (full) Weekender with the Roller Pro is an ideal match as the Weekender fits nicely over the suitcase’s handle.

With the bag partially filled, however, I had no problem using it daily to get to the office or leave home for an overnight trip.

As a photographer, the Weekender makes more sense than I expected. This is not a bag meant to be used when shooting; it does not offer particularly quick access to photo gear (except with XSmall and Small cubes, which can be placed with their opening facing up). Rather, it offers a compact, one-bag option to carry both photo gear, clothes and toiletries all together. When on location, I either carried my camera in my hand, or used a camera cube as a temporary camera bag, sometimes with one of Peak Design’s straps, or directly with the Weekender’s strap attached to the camera cube.

Another thing I found myself doing is using the Roller Pro to carry photo gear, and the Weekender as a supplementary storage for clothes. The two work together very well.

It is not necessary to use packing cubes with the Weekender, but it made it much simpler to pack. Despite having a design less straightforward than a typical duffle or suitcase, it’s surprisingly easy to pack the Weekender. The upright, clamshell design is truly useful, and the bag does not topple even when carrying only a laptop on one side. The bag offers roughly three of Peak Design’s “packing units” (a small case takes up one unit and a medium uses two).

Summary

I enjoyed my time with the Weekender 25L bag from Peak Design. It’s an uncommon bag for the company, in that it does not put photography at the forefront as the Everyday and other Travel bags do. Still, it fills a niche in the lineup. I particularly liked it as a sidekick to the Roller Pro and as a laptop bag (despite the tight fit of my work computer).

The Weekender is surprisingly versatile. Even though its shape is not standard as far as travel bags go, there are many benefits to it. It takes up less space while standing up, a benefit in small hotel rooms; it fits under airplane seats; it can be worn cross-body; it’s easier to carry in hand than a backpack.
The fabric and craftsmanship are as good as other Peak Design bags. Moderately priced at $200 (with a significant KickStarter discount), the Weekender is more affordable than some other bags from Peak Design.

[Editor’s Note: As always, this review is not sponsored, though the bag was provided for review. Peak Review had no input or editorial oversight, and we will receive no commission from Peak Design. Our reviews are always as unbiased and honest as possible. Links to Amazon and other retailers, however, are generally affiliate links.]

Last Updated: 02, Mar 2026

8.1 TOTAL SCORE Very Good

Peak Design Weekender 25L Launch and Review

Visit Kickstarter

5 Out of 5

Based on 1 Users

Materials & Build Quality 9

Appearance 8

Features and Functionality 8.5

Comfort 7

Value 8

Pros

• High quality materials and craftsmanship, weather resistant, lifetime warranty
• Sufficient volume and adaptable size
• Advantage Sample 3
• Excellent companion to Roller Pro or other carry-on suitcases
• Comfortable handles and strap
• Modular interior organization
• Fairly priced
• Fair-trade certified and carbon neutral

Cons:

• Larger laptops are a tight fit
• No quick access to camera equipment, more useful to carry on location
• 25L is a large volume to carry on one shoulder when completely loaded

Bottomline

I enjoyed my time with the Weekender 25L bag from Peak Design. It’s an uncommon bag for the company, in that it does not put photography at the forefront as the Everyday and other Travel bags do. Still, it fills a niche in the lineup. I particularly liked it as a sidekick to the Roller Pro and as a laptop bag (despite the tight fit of my work computer).

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5 (1)

Peak Design started with the Capture Clip, but quickly followed with their line of Slide straps. These straps took the market by storm, thanks to their unique quick-release system, ease of use, fast adjustments and sturdiness.

The company added several items to the lineup over the years, including lighter versions and wrist straps. However, despite iterative updates and special editions, the Slide straps remain the same: seatbelt webbing, sliding metal buckles and Anchor links.

Now, Peak Design decided to expand their range with the Form straps. These come in two flavors: Leather and Rope. The names are pretty self-explanatory, but as with everything details matter.
In the last month, I have been extensively testing two of these new straps. I also used extensively the company’s new tripod plate called the Field Plate. Let’s see how they performed.

Form Leather

The first addition to the Peak Design lineup is the Form Leather line. Many photographers love the look and feel of leather straps. For some, it is reminiscent of a past era when cameras were smaller, prime lenses were the norm and each SLR shipped with a leather strap. For others, leather is simply more elegant.

Form Leather straps come in four flavors. There’s a Cuff, mostly similar to the original Peak Design Cuff with seatbelt webbing. Then there are three neck straps, differentiated by their length: Long, Standard, Short and Neck. Each is offered in three colors: Tan, Amber or Black. I am testing the Standard Black.
In typical Peak Design fashion, the Form Leather strap ships with many extras. In addition to the strap, the package includes a pouch, four Anchors, an Anchor Mount (tiny plate attaching to the tripod mount on the camera), a hex tool and split rings to mount Anchors on smaller lugs.

The strap itself is understated and monochromatic.

There is a discrete PD logo in the wider center section. There are otherwise no markings and no difference between the two sides. The leather is already supple and won’t need breaking in. This is probably the highest-quality leather strap I have ever used.

Contrary to Slide straps, there is no way to adjust the length on the Form Leather, so it is especially important to select the correct length (Form Rope has the same lengths):

• Neck: 78.5cm (30.9″)
• Short: 103.5cm (40.75″)
• Standard: 118.5cm (46.65″)
• Long: 134cm (52.75″)

The Neck is obviously only wearable around… the neck, while the other three can be used crossbody, like slings. the Neck is 1.65cm (0.65”) wide all the way, while the others have a wider, 3cm (1.18”) section in the middle.

Each end sports an Anchor Link attachment point.

The straps also ship with 4 Anchors (2 for Neck and Short). Those are meant to always stay on the camera. The Anchor and Anchor Link join together to attach the strap to the camera, or remove it at will. Peak Design used to sell only black and red Anchors; they now offer them in a variety of colors. Each Anchor can support over 90kg (200lbs). Their cord section is made of three layers. The external one is color-matched with the strap; the middle layer is yellow to inform the user that it has started fraying; the inner one is red and warns that the Anchor shouldn’t be used. In over 10 years using Anchors, I have yet to see the yellow color.

The Form straps use a new Anchor Link design. As seen on the pictures above, it is slimmer than the one found on a Slide Lite strap version 2. While the new Anchor Links are just as secure as the previous version, they are now quite as easy to operate. I used to be able to remove an Anchor one-handed, simply pressing down with my thumb. Now, I have to hold still and take my time. Not a major problem, but a notable difference. I do appreciate the slimmer profile, however.

One end of the Form Leather strap had a sliding metal tab. The user can attach an Anchor on it and attach the other end of the strap to it, making a closed loop. This way, there is only one attachment point to the camera and the length of the loop can be adjusted to improve comfort. This works particularly well with smaller cameras.

Form Leather’s look is an excellent match for vintage cameras or high-end compacts like the Ricoh GR IV pictured above.

It also fits well with larger models such as the Pentax K-3 III shown here. In that case, as with most mirrorless cameras, it will be better to use both attachment points.

Form Rope Cuff

Form Rope differs from Form Leather mainly regarding the material. Rope is made of (internally developed) nylon-poly weaved rope. It looks like climbing rope but is designed to be smoother, less abrasive, can stretch and can support 82kg (180lbs) of force. Rope comes with in same flavors as Leather and with three color options (Black, Kelp and Ocean). I’m testing the Cuff in Ocean.

Form Cuff ships with two Anchors, split rings and a pouch.

Just like the original Cuff from the Slide line, the Rope Cuff is a loop connecting to the camera by a single Anchor Link. The loop is closed by a diagonal plastic piece which slides along the rope to cinch it around the wrist.

A bumper prevents the loop from getting too small.

The strap can be worn cinched or left open. In the latter case, if the camera is ever dropped, the Cuff will automatically tighten when the camera pulls on it. Cinching it provides more security, while leaving it open makes it faster to remove.

The material is supple but stiff enough to retain a mostly circular shape on its own, making it easy to slide the hand inside.

The Anchor Link is the same as on Form Leather: thin and a bit fiddly to use when compared with previous versions. It is color-matched to the rope, blue in this case. The supplied Anchors are also blue.
Form Rope is probably the most notable departure from Peak Design’s history in some time. The type of material, the shape and colors are different and noticeable. This type of strap is popular on the market, and it’s nice to see Peak Design join their signature features and quality to this type of material. The thick rope is comfortable even after wearing it for a long time.

It is also deceptively thick: it looks huge next to a compact camera such as the Ricoh GR IV.

Despite having only one attachment point, it’s perfectly capable of supporting a larger DSLR.

Field Plate

The traditional Peak Design tripod plate has many qualities. It is extremely thin, four-sided, and has holes in each corner to attach a camera strap or Anchor. It also stays solidly in place. I have one on each of my cameras and large lenses and leave then in place at all times. They have served me well for many years.
The plate’s main disadvantage is the requirement of a hex key for mounting. By omitting the typical coin slot or flip-lever, Peak Design achieved an impressively thin profile, but at a cost to convenience. This is a non-issue for those who never remove their plates, but it is a notable hassle for anyone needing frequent battery access on smaller camera bodies or just want to remove their plate often.

To address this, Peak Design released the Field Plate. It has the same exact dimensions and looks as the regular plate but does not require any tool to attach.

In typical Peak Design fashion, the solution can appear over-engineered at first but truly works.

A split disk under the plate can be pressed on one side (the one with an indent) which pops up the spring-loaded other side. It can be used to tighten the screw then pushed back down. The surface is wide enough to provide a good grip. It is also much more pleasant to handle than the typical flip-lever.
There are two small drawbacks with this design. First, the plate cannot be tightened with a tool. This ensures that the profile remains as slim as before but the maximum force applied is inevitably lower. Second, the screw remains centered on the plate; it cannot slide to adjust the position of the plate on the camera. These two drawbacks are design choices and probably won’t bother anyone wishing for a plate that’s easy to remove.

I was surprised with how easy it was to use the Field Plate. When using the Ricoh GR IV, I was constantly mounting and removing the plate. Not needing to use a tool truly made a difference. For heavier cameras and lenses, I prefer the regular plates which let me tighten them with a tool, but I wonder if the Field Plate shouldn’t become the default plate on most Peak Design products.

Pricing

Peak Design products are never cheap. Form Leather is $79.95 for Short, Standard and Long ($69.95 for Neck and Cuff). It is possible to find much cheaper options, but those will lack the Anchor Links and option to loop the strap on itself. Cheaper straps will typically use lower-grade leather, obviously. High-quality straps typically sell for prices comparable to that of Form Leather. For instance, the ONA Sevilla sells for $69 and Leica’s Leather Carrying strap goes for $120. Both require permanent attachment to the camera, except if Peak Design Anchor Links are added to the straps. Of course, there are also plenty of inexpensive straps, like those made by Coiro, that use a connector system that is clearly derived from Peak Design’s: their Classic Leather strap is about $35.00.

Form Rope is cheaper, at $49.95 for Short, Standard and Long ($44.95 for Neck and Cuff). Other options include the COOPH Rope at $68 while Sailor Strap Skinny Jimmy sells for $54.95. Standard rope straps, without Peak Design’s connectors, cost around $10, though, like this one from K&F.

The Field Plate costs $39.95. Even though basic tripod plates can be had for a few dollars, there are few direct competitors for the Field Plate on the market. Arca-Swiss’s Square Quick Release Plate is thicker, requires a tool, and costs $101.40. Three Legged Thing proposes the square QR4-Octa at $19.99. It also requires a tool and is thicker, but there are plenty of inexpensive plates on the market with D-rings on the screw for just a few dollars each, like the Neewer at $17 for two.

Conclusion

The more a company expands its product line-up, the more it runs the risk of diluting what defines it. This is a fine line to thread. Peak Design started as a photo accessory company making first the Capture Clip, then straps and camera bags. It then expanded into the travel luggage business. Throughout this growth, the company never stopped thinking about photography. The two new Form lines and the Field Plate are examples of this. Instead of breaking completely new grounds, these products are a direct response to customer requests and wishes.

The Field Plate is probably the most direct example of this. Tripod plates are easy to dismiss as near-consumables, but a well-made, easy to use plate makes many things easier. The spring-loaded mechanism to release the lever is deceptively simple but works perfectly.

Form Rope does exactly what it’s supposed to. It’s moderately priced, comfortable and easy to use. Form Leather adds a touch of elegance and class with supple, durable and high-quality leather. Both types of straps loose the length adjustment capabilities of the Slide Straps, but that’s a compromise many will be willing to make. I must mention that, from my point of view, the new Anchor Links are not as easy to use as the former versions, but otherwise there is little to criticize with these new products by Peak Design.

Peak Design’s products, including these, can be purchased from B&H Photo and many of your favorite local camera stores, along with their own website and their Amazon storefront, of course.

Light stands are a studio photographer’s best friend. They are necessary to position strobes properly and hold modifiers such as umbrellas or softboxes. Despite their usefulness, many photographers treat them like disposable goods. This isn’t surprising, as light stands work best when you don’t have to think about them. On the other hand, a cheap light stand is a threat for expensive lighting equipment, can take up too much space in a bag, be too heavy or cumbersome to assemble.

This is why I was curious to test the K&F CONCEPT Reversible Heavy Duty Light Stand. It has a few tricks up its sleeve to set it apart from more basic options.

Physical Description

The K&F CONCEPT light stand ships in a nice soft case which looks like a tripod case. Two HEX keys are also included and store inside the case.

The light stand itself also looks somewhat like a tripod. The first element setting it apart from a typical light stand is that usually, the legs are linked to the center column via braces, a bit like an umbrella. On the other hand, the K&F CONCEPT light stand operates like many travel tripods, with the legs folding 180° upward for storage.

This leads to a smaller volume, as is obvious from the picture above comparing the K&F CONCEPT light stand to a rather generic Impact light stand. The Impact’s legs do not open as wide, it does not extend as high, but is still longer (albeit slightly slimmer) than the K&F CONCEPT. The latter is only 55cm (21.7 inches) long when folded. My Impact light stand is 7cm (30 inches) long, a significant difference.

Another benefit of the legs not bracing against the center column is that tightening the knob locking those braces often deform the shape of the main shaft, preventing the inner tubes from sliding properly.

The bottom of the main shaft has a weight hook, just like a tripod. This will help to stabilize the light stand if used outside. Vibrations are not a big issue for light stands, but they tend to be top-heavy when carrying a modifier such as a softbox. Adding some weight makes the apparatus more stable.

The legs have rubber feet, again more like a tripod than a regular light stand.

Again like a tripod, the legs can lock in three positions. The locks are spring-loaded and a bright orange so they are easy to spot. Better balance will be obtained by spreading the legs wide, but it’s possible to squeeze more height by setting up the legs more like a tripod. The light stand reaches a maximum height of 230cm (90.6 inches), more than typical light stands which reach about 200cm (except for C-stands which are a different type of stand entirely). When the legs are at their widest, the light stand balances better, with the legs extending wider, than my Impact light stand.

The main shaft is made of four sections. The shafts are grooved so they won’t pivot. They slide smoothly, more so than any other light stand I have used in the past. The main shaft has a diameter of 2.6cm (a little over an inch), thicker than what is common. The knobs locking each section operate well and can be tightened as needed with the HEX keys.

Given the design of the K&F CONCEPT light stand, the base (where the legs and shaft meet) will bear almost all of the torsion stress and weight. It’s a good thing that the company use a patented design with an alloy of magnesium and aluminum. It is both light and strong. Machining is precise with no loose parts.

The top is fairly typical, with a standard mount for most modifiers, and an ¼-20 thread is present underneath the plastic button.

In Use

There’s a lot to like with the K&F CONCEPT Reversible Heavy Duty Light Stand. The light stand is lightweight, at only 890g (1.9 pounds). Coupling this with its compact size when folded, it is small enough to carry it like a tripod, for example strapped to a backpack. It’s the first time I consider carrying a light stand this way.

This light stand is neither faster not slower to set up than others I have use. It does, however, feel nicer thanks to the positive click of the legs and the smooth movement of the main shaft. In my time with it, I preferred to use the widest (and lowest) position for the legs instead of using a “tripod-like” configuration with a weight. I’m still glad the option exists. Thanks to the hook, it’s not necessary to bring a sandbag: hanging my camera bag would have been enough.

Light stands are often somewhat cheap. A lot of thought went into getting the K&F CONCEPT right. Small details, like the grooved shafts, wide legs and compact size, all add up to make a product which feels more premium than usual.

What the light stand lacks is a way to orient the mount horizontally. I’m not a big fan of this option as it’s too easy to topple the light stand, but it’s nice to have choices.

Other Options

There is no lack of options for light stands. Most are generic, and cheaper than the K&F CONCEPT Reversible Heavy Duty Light Stand which typically costs $79 (deals can often be found online).

SmallRig sell a standard tripod (with leg braces) reaching an impressive 280cm (110 inches) for $69. It does not fold as small, as can be expected (94cm / 37 inches). Neewer sell a $67 light stand which only reaches up to 220cm (86 inches). It des have the option to orient the mount horizontally, but is significantly heavier. Turning to brands with a fancier reputation, a Broncolor light stand reaching 249cm (98 inches) with a 90cm (36 inches) folded length. It weights 1200g (2.7 pounds) and costs $170.95. The K&F CONCEPT is thus in the same ballpark as its competitors, cheaper than many other brands, while offering a smaller folded size and excellent maximum height.

Summary

For many photographers, a light stand is only one step above a disposable item. That way of thinking is likely to lead to frustration and possibly accidents. As with anything else, it’s a good idea to evaluate needs carefully and get the best tool for the job.

In this regard, the K&F CONCEPT Reversible Heavy Duty Light Stand has a lot to offer, particularly for photographers who often leave the studio. The light stand is shorter than most when folded, easy to carry like a tripod. It is stable, reaches a good height, and all its parts fit well together and operate smoothly. In fact, apart from a heavy-duty C-stand, this s the most stable light stand I have ever used.

Last Updated: 02, Mar 2026

8.1 TOTAL SCORE Very Good

K&F CONCEPT Reversible Heavy Duty Light Stand Review

On Amazon

0 Out of 5

Based on 0 Users

Weight & Size 9

Stability 8

Accessories 8.5

Price 7

Pros

• Light and compact
• Excellent craftsmanship, many well-executed details
• Stable and easy to set up
• Independent legs give more configuration options, especially on uneven terrain
• Better than classical options outside of the studio

Cons:

• More expensive than other options
• No horizontal mounting on the head

Bottomline

The K&F CONCEPT Reversible Heavy Duty Light Stand has a lot to offer, particularly for photographers who often leave the studio. The light stand is shorter than most when folded, easy to carry like a tripod. It is stable, reaches a good height, and all its parts fit well together and operate smoothly. In fact, apart from a heavy-duty C-stand, this s the most stable light stand I have ever used.

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0 (0)

Most cameras released in recent years offer direct charging via USB-C. This is cheaper for the manufacturer but has severe limitations: you can only charge one battery at a time, and you cannot use the camera while it’s charging.

This is why most people quickly purchase an external charger, often alongside extra batteries. Many such chargers appear like an afterthought when purchasing batteries: they are often cheap-looking and slow to charge. After-market batteries are also all over the place, some making bold claims as to their capacity, others having high discharge rate, etc.

This is why I was happy when K&F CONCEPT proposed to send me a set of two batteries and a high-power charger for testing.

After a month of testing, let’s see how the batteries compare and how the charger performs.

This post is NOT SPONSORED, but all Amazon links are affiliate links and will help support this site.

What You Get

A single Sony-branded replacement battery costs around $80 on Amazon. Meanwhile, K&F CONCEPT’s 18W dual fast charger, along with two batteries, costs around $58, with coupon codes or other rebates often available. That’s a big difference.

A Sony NP-FZ100 battery is rated at 2280 mAh. K&F CONCEPT’s batteries are specified at 2600 mAh. On paper, these batteries are thus higher-capacity on the order of 15%. I also own Neewer batteries (about $45 per pair), rated at 2280 mAh like the Sony, that I’ll be testing alongside the K&F CONCEPT.

Charger

The charger is very nice. It’s a modular design, with a base providing power and information, and the top being replaceable depending on the camera brand. K&F CONCEPT sell chargers for Sony, Canon and Nikon.

The charger is powered via USB-C and comes with a cable. To perform at its peak, it requires a wall brick that’s powerful enough (the recommended rating is 9V / 2A for a total of 18W). I tried it with a low-power brick (5V / 2A) and charging appeared unstable, with the screen flickering a few times. The USB-C port is on the base, on the opposite side to a lever to separate the base from the top.

The charger is nicely weighted and very stable. The bottom displays charge levels in percentage for each battery individually, even if the charger isn’t plugged (taking power from the batteries to do so). When plugged, it adds a green lightning bolt to show that it’s charging.

The top offers two charging slots. On each side is also an SD card storage slot. These do not connect to anything, but let you keep your memory cards handy. A nice touch.

The charger adapts the charging speed depending on the charge level. Below 60%, it charges at approximately 2% per minute, about double what my Sony camera reaches, and almost three times as fast as my Neewer charger. Above 60%, the speed decreases to preserve battery health.

Fully charging a battery takes a little over an hour. This is more than twice as fast as when the battery is charged in-camera or with my Neewer charger.

The K&F CONCEPT charger also manages the last few percents of charging better than the Neewer charger (but similar to in-camera charging). Indeed, when charging with the Neewer charger, when inserting a battery in the camera, it displays 100% but quickly drops by a few percents, typically 94-95%. Power drop is more linear afterwards. This does not happen with the K&F CONCEPT charger: the power drops linearly starting at 100%. Furthermore, when charging a battery with the Neewer charger and then inserting it in the K&F CONCEPT charger, the latter reports incomplete charging, also showing 94-95% state of charge. The K&F CONCEPT thus appears more accurate.

Chargers which go too fast tend to damage batteries, often by overheating. This was not the case with the K&F CONCEPT charger: the batteries remained only slightly warm, never hot.

Batteries

The two batteries supplied with the charger are physically similar to the original Sony. They have the exact same size and insert properly in the camera. Their weight is 80g, whereas the Sony is 83g and the Neewer is 76g.

The K&F CONCEPT batteries ship with a simple plastic cover. This is welcome as some carriers and airlines are now wary of unprotected Li-Ion batteries.

Video Shooting Test

To test the actual capacity of the batteries, I used the same method that has been used before here. The goal is to drain the batteries as quickly as possible, and the best way to do this in camera is to shoot video continuously.

For the test, I used a Tamron 70-180mm F2.8 lens with the Sony A7C on a tripod. The camera was set to 4K video mode with image stabilization on, focusing on a tree branch moving in the wind, ensuring that the camera would constantly refocus. The rear LCD was on at all times. I recorded how long it took to drain the batteries. I tested each of the batteries I have on hand. The Sony and Neewer batteries are a few years old. The table below summarizes the results.

Unsurprisingly, the Neewer batteries do not hold as much power as the original Sony (this is supported by my experience using them). The good news is that the K&F CONCEPT batteries were very close to the Sony. In fairness, the Sony battery is a few years old so differences might be larger with a new battery. Note that this test is not statistically perfect, given the small sample size.

In The Camera

By experience, the Neewer batteries’ state of charge typically drops really quickly around 20%. Once I see this charge level, I know it’s time to change the battery because it will die soon. This does not happen with the Sony battery.

So far, I have not observed that behavior with the K&F CONCEPT batteries either. Their discharge is linear, even at lower charge levels.

The camera never reported any battery error during my time with the K&F CONCEPT. I never observed this problem with the Neewer batteries either.

Out Of The Camera (Self-Discharge Rate)

Testing the self-discharge rate is easy, but takes some time. I charged, at the same time, one Sony, one Neewer and one K&F CONCEPT battery, all using the K&F CONCEPT charger. I put them aside for four weeks in a cool area, side by side. I then inserted them in-camera and read the measured power level:

• Sony: 97%
• K&F CONCEPT: 99%
• Neewer: 93%

The Sony battery, expected to be the gold standard here, did a bit worse than the K&F CONCEPT. This is great news for the latter. Despite the Sony being older, which can explain some of the difference, the K&F CONCEPT battery is objectively near-perfect in this test, doing better than the (also older) Neewer battery.

Should You Buy Them?

Should you buy the K&F CONCEPT dual fast charger and NP-FZ100 batteries? To me, the answer is yes.

The charger is well made, powerful and fast, and appears more accurate than other alternatives. This is probably safer for the batteries in the long term. It is, however, bulkier than more travel-friendly options.

The batteries performed well in my tests, closely matching the performances of the OEM Sony battery I tested. They score a bit below their reported capacity, but close enough that differences could very well be caused by the test uncertainty.

At three-quarters of the price of a single Sony battery, you’re getting two dependable batteries and a good-quality charger. This is, by any measure, a great price.

Given the minimal difference in observed capacity between the K&F CONCEPT and Sony batteries, it’s easy to recommend the former for anyone, be they hobbyists or professionals. There should be no practical difference in everyday use.

The K&F Concept charger and batteries can be purchased via Amazon or directly from the K&F Concept website.

9.5 TOTAL SCORE Excellent

K&F CONCEPT Dual Fast Charger And NP-FZ100 Batteries

On Amazon

0 Out of 5

Based on 0 Users

Capacity 9.5

Capacity vs Expected Capacity 8.5

Discharge 10

Physical Size 10

Value 9.5

Pros

• Significantly cheaper than Sony
• High-quality, accurate charger
• Does not die before battery reaches 0% charge
• No Error Messages from camera

Cons:

• Actual batteries capacity appears to be below rating
• Charger requires high-power USB brick for stable operation
• Charger is larger than other options

Bottomline

The batteries performed well in my tests, closely matching the performances of the OEM Sony battery I tested. They score a bit below their reported capacity, but close enough that differences could very well be caused by the test uncertainty. At three-quarters of the price of a single Sony battery, you’re getting two dependable batteries and a good-quality charger. This is, by any measure, a great price.

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The Roller Pro is a carry-on-sized suitcase that’s useful both for travelers and photographers. I presented it in detail in a previous article. The quality of its design, craftsmanship, ruggedness, and capacity had impressed me.

Over the last few months, I have had the chance to thoroughly use and test the Roller Pro in a variety of situations, both as a photographer and as a traveler. Read on to learn about my experience and how I liked the Roller Pro!

As a Photography Bag

I used the Roller Pro for several on-location photoshoots. Each time, I used the suitcase to carry my camera, lenses, flashes, holders for modifiers (umbrellas and softboxes), chargers, plus some odds and ends. The XL camera cube was added to the Roller Pro to protect my gear.

I used a Sony A7C, a Tamron 28–75mm F2.8, and a Tamron 70–180mm F2.8. Lights were typically Godox AD200Pro II, AD100Pro, V100, and V860 III.

My whole setup stretched the Roller Pro to its capacity limit. Folding the top panel allowed me to place some items vertically, saving space while preserving protection. Other large-volume camera bags (even other Peak Design bags such as their Travel Backpack) do not offer this possibility. If even more vertical space is needed, the suitcase expands.

The number of dividers was, in all cases, more than enough to protect and organize all my gear.

I’m more used to using backpacks or padded duffels to carry gear on location. A rolling suitcase was a welcome improvement: while it did not free my hands as a backpack does, photo gear is typically heavy and quickly gets uncomfortable. The Roller Pro let me bring more equipment without worrying about the weight.

I enjoyed the sturdiness of the suitcase, how tough the telescopic handle is, and how smoothly the wheels roll. The Roller Pro exudes quality and should be extremely durable.

The drawbridge opening was an unexpectedly useful feature, for many reasons. First, it really takes up less space than other suitcases. That’s truly useful in tight spaces. Second, the zippered pockets on the top panel are excellent for storing and quickly finding smaller items. The rigidity of the top flap also allowed me to carry and protect documents, checklists, and schedules.

In summary, as a photographer’s bag, the Roller Pro did not let me down. It was not a revolution, but it made the process more enjoyable than any other bag I have used to go on location with a lot of gear.

As a Travel Suitcase

Over the course of many outings, including a three-week trip, I used the Roller Pro extensively as a travel suitcase. It saw the inside of four planes, took the subway in Paris and London, traveled via double-decker commuter trains and the Eurostar, and was thrown into the trunk of a cab. It rolled on Paris’ cobbled streets, hotel carpets, old floorboards in an Airbnb, tiled London sidewalks, concrete and asphalt, escalators and regular stairs, dirt roads, and grass fields. It was checked for size in airports. It carried other bags over the telescopic handle. It visited a fancy resort in Quebec’s countryside.

The suitcase visited a cramped London hotel, a tiny room at Disneyland Paris—the list goes on. It also traveled alongside three other suitcases of different sizes and from different manufacturers. In short, it lived through a lot and was thoroughly tested.

To cut to the chase, the Roller Pro is by far the best travel suitcase I have ever used.

Let’s start with the wheels. Their larger diameter makes it much easier to roll over uneven surfaces. European streets are a good stress test for any rolling suitcase; the Roller Pro performed much better than the other suitcases we used—so much so that our kids argued over who would have the privilege of carrying it.

In my original review, I mentioned that the wheels tend to prevent the Roller Pro from laying perfectly flat. That observation still holds. It was sometimes annoying to try to insert the suitcase into the small overhead bin on a plane. I actually had to manually rotate the wheels to position the suitcase properly, earning an annoyed look from a flight attendant and a question about the Roller Pro’s compliance with maximum size allowance.

The carbon fiber telescopic handle is another strong point of the Roller Pro. It’s more solid than any other I’ve used, and its slim profile makes a real difference when packing. It drew a few curious looks from fellow travelers.

The mix of a fabric exterior with a hard internal shell is an excellent design choice. It allows the suitcase to bend slightly and adapt its shape to tight spaces, while still protecting its contents.

The drawbridge opening truly came in handy in small hotel rooms. We had to fully unpack our other suitcases and then store them, but we could keep the Roller Pro packed with its contents easily accessible. This made our lives much simpler. It was also easy to store it underneath counters and tables if we wanted it upright.

Not many suitcases offer a dedicated laptop or tablet compartment, and even fewer make it easily accessible like the Roller Pro does. This was another benefit during our travels. I did not bring a laptop, but used this compartment to sort travel documents, reservations, and proofs of purchase (I always bring printed backup copies) as well as a large tablet and a pen.

The hidden passport pocket was another useful feature. Most of the time, we didn’t have access to a safe, so this truly hidden storage gave us peace of mind. We stored a wallet and four passports away from prying eyes.

The Roller Pro can bulge when overfilled—something I had to be careful about. We were asked to test its size at the airport, and it was a really tight fit. The Roller Pro did comply with our North American airline, but if it had been filled even a bit more (or expanded), we would have had to check it.

During all my time with the suitcase, I did not once strap anything to the outside. On paper, having the possibility to attach a tripod or pouch to the external loops seems like a fantastic idea. However, on public transport it’s not realistic because of size constraints.

Durability

During this trip, I was not able to gate-check the Roller Pro and see how it survives being loaded onto a plane. However, it was bumped, scraped, dropped, flipped, and generally roughly handled.

The wheels still roll as if they were brand new. They did not collect dirt, small rocks, or anything that would prevent their operation. The telescopic handle also did not suffer any damage or degradation during use, despite having been used to lift the whole suitcase and carry extra luggage on many occasions.

The external fabric does not look perfectly new, but very nearly so. I was worried that it would easily scuff or mark, but that has not been the case. I’m pleasantly surprised by its durability.

On the inside, the Roller Pro looks absolutely pristine. It’s easy to keep clean, and the solid shell is much more enjoyable to use than the typical loose fabric found in most suitcases.

Conclusion

I liked going on location as a photographer with the Roller Pro. Even more, I loved traveling with it.

As a photography bag, it does everything right and offers a bit more volume than most comparable bags, but it does not break new ground. It is without a doubt excellent, but also quite expensive when compared with other options. One benefit (that I didn’t use) is how easy it is to strap pockets, pouches, or even tripods to the outside.

The suitcase truly shines for travel. All of its unique features are genuinely beneficial and make travel more enjoyable—and simply easier. It particularly excels when compared side by side with more traditional (and cheaper) suitcases.

I do have a gripe with how the wheels tend to pivot downwards when the suitcase is flat. It’s mildly annoying in a hotel room but bothersome when placing the Roller Pro in a small plane’s overhead compartment.

The Roller Pro is a luxury product at a fraction of the price of a luxury brand. While in Paris, I took the time to visit some high-end stores and look at their luggage; I would not have traded my Roller Pro for any of their (even more expensive) options.

Peak Design’s suitcase is still more expensive than typical luggage. In addition to its better design, it comes with a true lifetime warranty. (Suitcases often come with decades-long warranties, but these have a lot of fine print and are rarely applicable). Peak Design is a Bluesign-certified, ethical company; this matters to many people and can justify a higher price.

Looking at the success of the Roller Pro’s Kickstarter campaign, there appear to be a lot of people willing to pay a premium for what Peak Design offers. Having used the Roller Pro as I have, I can understand why.

Where Can You Get the Peak Design Roller Pro?

Now that the Roller Pro is outside of its Kickstarter phase, it is widely available at about $599

• Direct from Peak Design’s Website
• B&H Photo
• Adorama
• Amazon

Measured Capacity

To measure the capacity of these batteries, I used my trusty old Opus BT-C2000 for continuity with my previous battery tests. On the first test out of the box, the capacity of the batteries came as follows:

If you can’t see the values in the photo, they read: 2613, 2643, 2641, 2666 for an average of 2641, which exceeds the stated capacity of 2600mAh. Impressive.

For comparison, these batteries have made similar capacity claims:

Power Output

Even though NiMH rechargeable batteries have slightly lower voltage than alkaline batteries, they can generally dump a greater volume of power into a flash in a short amount of time than alkalines and can usually charge a speedlight in half the time because of their lower internal resistance. But even among NiMH batteries, some are faster than others.

As you can see in the table below, the XTAR 2600mAh batteries were able to charge my flash faster than any other battery that I’ve tested (with a few samples provided for comparison). The difference between the next best batteries was minimal, but impressive nonetheless.

For this test, I loaded freshly charged batteries from each brand into my Godox TT685(s) Flash in manual mode, set to discharge at full power, and fired 10 consecutive shots, measuring the time between the flash and the “ready” light with a high frame rate video.

Size and Fit

Every now and then, I’ll buy rechargeable batteries (especially high capacity ones) and find that they don’t fit into the battery slots in my flash because they’re slightly larger than they should be.

That’s not the case with these XTAR batteries: they slide easily into and out of my Godox flash, a Canon flash, a Nikon, and a Yongnuo that I have handy… except for one. One of them was a little tight in my Godox flash… enough that it didn’t make contact with the battery door until I adjusted it manually, and then it was fine. I haven’t found it to be an issue in any of the other flash units.

The XTAR L4 Pro Smart Charger

Along with the XTAR batteries, I was sent a charger for them. The power input of the charger is USB-C, so you’ll need a USB power source in addition, but the charger is otherwise excellent, featuring separate channels, low-voltage battery recovery, battery reconditioning, and 3 stage charging to reduce heat and prolong battery life. It can handle AA and AAA NiMH batteries, and Li-Ion batteries as well, all charging in any combination at the same time.

It is not a particularly fast charger (I haven’t timed it yet, but charging seems to take several hours), but it should be good for your batteries.

To test the charger’s “refresh” function, I dug out a set of four old Eneloop batteries (1900mAh) … all roughly a decade old. Their initial capacities read: 1823, 1855, 1830 and 1880. The refresh process in the L4 Pro ran overnight and well into the following day, but the second time that I checked the capacities, I was pleasantly surprised to find that all of the batteries had improved, wit capacities of 1889, 1882, 1946, and 1923. Although it was my only test, the “Refresh” function seems to work.

Price, Value, & Availability

There are plenty of cheap batteries out there, but their prices often reflect their performance. If we look at how much these batteries cost overall and per 100 mAh of power storage, we can get an idea of their value.

XTAR Batteries are considerably less expensive than standard Eneloops and Powerex Pros, even though XTAR out-performs both. However, they are a little more expensive than Amazon’s batteries and Ikea Ladda batteries (which are also excellent performers).

So, while they’re not the lowest price per mAh, they’re a great price considering that they perform better than any of the other batteries tested.

The downside? They’re not easy to get, if you’re in the US. At the time of writing, these particular XTAR batteries can only be purchased via the XTAR website, and the ship from China.

Although XTAR does have an Amazon store, they do not stock these NiMH batteries, although they do carry quite a few Li-ion batteries in AA size. My contact at XTAR assured me that they’re going to stock their Amazon store with these batteries soon. In the meantime, via the XTAR site they cost $12.90, and the $8.90 shipping will get the batteries to you in about two weeks, making them expensive and inconvenient.

Conclusion

XTAR’s 2600mAh NiMH batteries are the best batteries that I’ve tested over the course of the past decade, matching or beating the battery ratings on the packaging, which is a refreshing in this age of inflated battery claims. They’re high capacity with low internal resistance to charge your flash equipment quickly, and they’re a good price. The significant downside at the moment is their availability, and with any luck that will change in the near future, as batteries are typically purchased when needed. If you have a bit of patience, though, these batteries are highly recommended. If you can’t wait, IKEA’s Ladda batteries are a close second.

Last Updated: 03, Mar 2026

9.4 TOTAL SCORE Excellent

Tested: XTAR AA 2600mAh NiMH Batteries and L4 Pro Charger

0 Out of 5

Based on 0 Users

Capacity 10

Capacity vs Expected Capacity 10

Output Rate 10

Physical Size 8.5

Value 8.5

Pros

• Excellent Capacity. Best tested to date.
• Excellent low internal resistance for fast flash charging
• Fit all of my flashes (except one battery)

Cons:

• Not domestically available now; shipping from China
• -

Bottomline

These are truly excellent NiMH batteries: the best I've tested. They're not the cheapest out there, but priced quite well for their performance, so if you can get some when you need them, I highly recommend them.

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Please note: Peak Design provided equipment for review, but did not sponsor this post. Our reviews are always independent and honest, with no input from manufacturers. Links to products are affiliate links and will help support additional un-biased reviews.

The Peak Design lineup has been robust for some time (so much so that recent new releases are more cosmetic than functional). It caters to many use cases, both for photographers and travelers. After the release of the Outdoor line, there has been one remaining hole in that lineup: a rolling bag or suitcase. With the launch of the Roller Pro, the company finally addresses this.

Peak Design generally uses KickStarter to fund their new projects, and the Roller Pro is no different. Launched during the Spring of 2025, it created quite a splash (like most Peak Design launches, to be fair). The Roller Pro is a carry-on sized rolling suitcase with a few tricks of its sleeve and designed with photographers in mind. Launching alongside it is a new XL Camera Cube designed specifically for the Roller Pro, but also usable with other Peak Design bags.

In this review, I will look at that makes the Roller Pro different from the plethora of suitcases already on the market. Like all Peak design products, the Roller Pro is backed by a lifetime warranty but commands a higher-than-average price. What sets it apart? Read on to find out.

Exterior Features

The Roller Pro is a typical carry-on suitcase. With exterior dimensions of 55.4 x 35.6 x 22.9 cm (21.8 x 14 x 9 inches), it should fit most carry-on restrictions (always check with your airline). It can expand by 5 cm (2 inches) in thickness thanks to a fairly typical wrap-around zip. This increases the interior volume from 34 liters to 39 liters.

The Roller Pro comes in three color options: Black, Sage (green) and Eclipse (dark red). I am testing the Black version.

The weight is surprisingly high, at 4 kg (8.8 pounds). That’s on the higher end of the spectrum for a carry-on suitcase, and that’s before considering the weight of the optional XL camera cube (more on that later).

There are typically two types of suitcases: soft and hard shells. Soft shells are often heavier, offer more pockets and make it easier to fit items into every nook. They typically open via a top lid. Hard shells are normally more robust, offer a single compartment with no external pockets and open in the center like a clamshell.

The Roller Pro is a mix of both, with the benefits of each. It’s built around a custom-molded polycarbonate hard shell, covered with EVA foam and nylon canvas similar to the company’s backpacks. This has the benefits of offering excellent protection while allowing the presence of an extra pocket (which does not compete with interior space) and improving internal access.

Like many Peak Design products, the Roller Pro displays understated elegance. Its lines are refined and there are no conspicuous accents.

The front is smooth and featureless. The back shows bumpers for when the suitcase is laid down.

There are four grab handles on the suitcase: one at the top, one at the bottom, and one on each side. That’s more than on any other suitcase I’ve seen in my life: they typically have one or at the most two. The handles are well located and the suitcase balances well.

The wheels on most suitcases are almost identical: small, fragile, easy to damage. That’s why Peak Design refrained from selecting their wheels from a catalog, but rather custom-designed them. They are larger than usual and thus operate better on uneven surfaces. The wheels are also easy to remove and replace as needed, but replacements will have to be sourced from Peak Design directly (likely under warranty).

The smoothness of these wheels is unmatched in all my previous experience with luggage. They are also placed as widely apart as possible, improving balance, and offer a better than average ground clearance when the suitcase rolls on two wheels. They truly are impressive.

Just about every rolling suitcase comes with an extending handle. These are also almost identical regardless of the brand: square-ish flimsy tubes telescoping in three sections. These tubes take up a lot of space inside the suitcase and are the weakest element, usually the first to break. To improve this, Peak Design went all the way.

The Roller Pro’s solution is carbon fiber flat tubes made of a single section. This is possibly the most spectacular aspect of the suitcase. The tubes are thin, taking up less space inside the suitcase. They are sturdy and do not wobble, being made of a single piece (wobbling and torsion is the bane of regular handles). Carbon fiber is strong, light, and does not flex easily. The handle is wide, with excellent tactile feel for its release button. The tubes can lock at two heights.

This handle is a pleasure to use and a highlight of the suitcase. In particular, when sliding an extra bag on it, the handle feels much more solid and durable than when using a traditional telescopic handle.

As is typical, there are two main zippers: one to open the main compartment and another to expand the volume. Both are protected against water, as is the fabric itself.

There is no built-in lock, but multiple ways to thread and attach zipper pulls together using a TSA-approved lock.

The third zipper, located near the front at the top, opens the front storage. This padded pocket is designed to hold a laptop (up to 16 inches).

It also has two stretch pockets to store cables, small chargers or earbuds (even a phone), and a lanyard with a metal clip for keys. A larger area can hold a phone or e-reader. It’s entirely possible to never open the main compartment and function entirely with the front pocket before arriving at destination.

The flap of the front pocket has an inverted fabric shroud at the top. Its use is not obvious, but is a very clever touch. The laptop sleeve closes via a magnet in addition to the zipper. If the zipper is left open and the suitcase flipped upside down, the magnet could fail. If that happens, the shroud will catch the laptop before it falls to the ground. A detail, but a brilliant one.

There is a basic Hypalon tag to write your information on.

As is common on all Peak Design bags, there are cord hooks placed all around the suitcase, close to the top and side handles. You can use any optional strap to attach objects, like a tripod to, the suitcase.

Two traps similar to those on the Outdoor bags are included. This won’t be a viable option when traveling by plane but will be great for photographers going on location.

Interior Features

Accessing the main compartment differs from more traditional suitcases. Soft shells typically have a shapeless top flap opening to the side, and hard shells normally split in two in the middle. Both essentially double their ground footprint when opened.

The Roller Pro does things differently. The rigid top opens front-to-back and is held near-vertically by cords. Peak Design calls this a “drawbridge” design, and it’s fantastic. It has several benefits. The first is that it keeps the ground footprint smaller. It also gives easier access to the pockets on the top cover. It turns the interior into one single and deep compartment instead of two smaller ones needing separators to hold items in place.

The length of the cords can be adjusted, or they can be removed entirely. In that case, the drawbridge still works but will tend to bend nearly flat if any weight is placed in it.

The hinges are strong and sturdy.

I mentioned pockets on the drawbridge. There are three, each taking up the whole width. They are shallow, but made of stretch fabric so they can expand.

These pockets are mounted on a divider which can be unzipped and rolled, held in place by a cord. Doing so enlarges the main compartment slightly. The divider can also be used to separate some elements, like dress shirts, from the rest.

There is also a hidden pocket for passports and spare cash, as well as a smart tag pocket.

The deep interior again shows how much Peak Design pays attention to details. Almost every suitcase on the market has an interior made of gray, loose lining. The Roller Pro’s interior is made of felt glued to the molded frame. It leaves no wasted space and is much more pleasing to the eye.

The bottom isn’t perfectly flat, but nearly so thanks to the thin telescopic handle. It makes a true difference, especially when using packing cubes which are otherwise pushed upwards.

There’s a bump where the handle goes, but given that the suitcase is slightly taller than others, and that it uses some of the space between the wheels also, the internal volume is still net-positive.

Instead of flat, basic straps to hold items in place, the company used the same kind of elastic cords that they use elsewhere in their products. These cords can be attached in a number of ways and retract automatically when not in use. They cover the whole circumference of the suitcase. Simple things, but improvements nonetheless.

XL Camera Cube

Alongside the Roller Pro, Peak Design released their largest camera cube to date. Using the same design language as their smaller options, the XL cube fits perfectly inside the Roller Pro.

It’s also a good fit for the Travel Backpack 45L or the 35L Duffel.

While it’s possible to use a combination of smaller camera cubes to carry a lot of photo gear, larger lenses need a matching camera cube to fit. The XL cube is thus a welcome addition.

Peak Design did have a “Large” cube before, and the size isn’t all that different: 46 x 34 x 17 cm (18.1″ x 13.4″ x 6.7″ inches) for the XL, compared with 43 x 29 x 13.5cm for the Large. The XL is thus slightly longer, but significantly wider and deeper. It’s a much better match for the Roller Pro, taking advantage of its whole volume. This is great for wide-barreled lenses and when orienting your camera and lens vertically in the cube, but can lead to wasted space with smaller cameras and lenses. Some people might prefer a shallower cube with clothes or other items above or underneath it. The Medium and Large cubes also have side openings, whereas the XL does not. It is irrelevant for the Roller Pro, but will prevent side access with the Travel Backpack.

The XL Cube makes it easier to store tall lenses and flashes vertically. It comes with a huge number of dividers: 3 with origami shelves, 3 rigid, 3 bending in the middle, two long dividers and one removable pocket.

User Report

Luggage can seem like one area where innovation has stalled. A shell, four wheels, a telescopic handle and it’s done. Every suitcase, from cheap to luxury, is essentially the same. That Peak Design managed to bring so many new ideas to the table is no small feat.

Of course, it isn’t as if travelers were despairing with their current suitcases. And, given the cost of the Roller Pro, for many people it’s going to be overkill.

Still, I have often tried to slide a backpack on the handle of a suitcase, only to take it off because the tubes bent and flexed alarmingly. I have also given away a few suitcases with damaged non-repairable wheels, feeling like I was handling a broken grocery cart. There’s a price for quality products and peace of mind. Peak Design aims to propose a suitcase competing with luxury brands, at a fraction of the price and with a better overall design. With its replaceable wheels, a robust handle and lifetime warranty, we can expect excellent durability.

I will report at length after having traveled extensively with the Roller Pro. Right now, I can say that I am impressed with the efforts made to maximize internal volume. I also love how the handle operates. I have tested the wheels on rough surfaces and can attest that they roll better than any other suitcase I have owned.

One thing bothers me about the wheels. When laying the suitcase flat, they tend to rotate downwards and get in the way, as seen in the picture above. No big deal, but a small annoyance.

The front pocket’s usefulness should not be minimized. It will make it easier to go through security in airports without opening the whole suitcase.

A small annoyance is that the drawbridge cords can get in the way of the zipper when closing the cover.

The Roller Pro really shines as a photographer’s rolling case. The drawbridge is the perfect design to access camera gear in tight spaces and without getting everything dirty. Setting the Roller Pro on a table, desk or caddy is much easier with the smaller ground footprint. The molded shell also offers better protection than other rolling camera bags.

The XL camera cube (or a combination of smaller cubes) works quite well, and the suitcase offers options to strap umbrellas, reflectors, small tripods and whatnot to the sides and top, for an easier time carrying everything.

The loops make it simple to attach an Outdoor Sling, Ultralight Packing Cube, or other similar cases/pouches to expand storage.

I mentioned the price, and it really adds up when taking into account the cost of camera cubes. Still, the Kickstarter campaign closed at over 13 million USD and nearly 24,000 backers, so there’s visibly a solid market.

Other Options

There is no shortage of inexpensive and serviceable suitcases on the market. The Roller Pro certainly is in the highest tier for cost. It goes head-to-head with suitcases such as Nomatic’s Carryon Classic, which costs a bit more, offers less volume, and doesn’t feature as many innovations.

The Samsonite Proxis Global is among the best suitcase from this well-known company, and with a much more basic design it still costs $500, but a Samsonite Evolution Pro would fit the XL Cube fairly well and costs just over $200 . The Tumi Alpha is robust and durable, but also heavier, not as well-designed for photographers, and costs over $800.

Think Tank is probably the best-known maker of dedicated rolling camera cases. Their Airport Roller Derby is a four wheel option, and the Airport Security V3 is one of the closest two-wheel options to the Roller Pro. Both bags lack modularity to some degree, as dedicated camera bags, and may have slightly smaller internal capacity, but they cost significantly less at $430 and $470, respectively. That’s about $300 less than a Roller Pro plus camera cube, but illustrates that rolling camera cases don’t come cheap.

Manfrotto’s Reloader Spin-55 is another comparable. At around $500, it requires a separate rain cover for protection, but does offer a front pocket and four wheels.

Summary

Peak Design’s Roller Pro is a luxury suitcase with sleek aesthetics and several clever innovations which add up to make it unique in the crowded luggage market. It was several years in the making, and it shows. The design is refined, and every choice is deliberate and logical.

The Roller Pro excels for traveling but might be overkill for some, given its price. The front pocket, excellent wheels and ingenious handle will make airport transit easier, and its durability is reassuring.

As a camera case, the Roller Pro is perhaps even better. Its drawbridge opening, convenient storage and deep (optional) camera cube makes it easier to carry and access gear on location.

Again, the price is very steep. The Roller Pro would certainly be easier to recommend if it was cheaper. Peak Design does not target the entry-level market, where there are plenty of inexpensive and decent suitcases. It wants to go head-to-head with the best in the industry, with strong features and a more aggressive price.

Peak Design is a Bluesign company, ensuring ethical manufacturing. It uses recycled materials as much as possible and backs its product with a lifetime warranty that’s easy to claim. For some, this justifies paying a higher price. For others, cheaper options will be sufficient.

Looking only at the product itself, this is, for me, the best rolling case I have ever used. I look forward to taking with me on long trips.

The Roller Pro should be available to the general public in mid to late June of 2025. It’s currently possible to reserve one on the Peak Design Website, and pre-orders are open at B&H Photo.

Last Updated: 03, Mar 2026

8.5 TOTAL SCORE Very Good

Peak Design Roller Pro Suitcase Review

Buy at B&H

0 Out of 5

Based on 0 Users

Pros

• Stylish
• Extremely well designed, with as many innovations as can be conceived
• High-quality components, weatherproof with a lifetime warranty
• Excels as a photographer bag
• Grab handles on four sides, making it easier to store in overhead bins
• Fantastic carbon fiber handle
• Great front pocket/laptop compartment
• Drawbridge design is a true improvement

Cons:

• Steep price, especially with optional camera cube
• Heavy (can impact carry-on limitations)
• Wheels annoyingly get in the way when laying the suitcase flat
• Drawbridge cords can get in the way when closing cover

Bottomline

Peak Design’s Roller Pro is a luxury suitcase with sleek aesthetics and several clever innovations which add up to make it unique in the crowded luggage market. It was several years in the making, and it shows. The design is refined, and every choice is deliberate and logical. Looking only at the product itself, this is, for me, the best rolling case I have ever used. I look forward to taking with me on long trips.

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Please note: Peak Design provided equipment for review, but did not sponsor this post. Our reviews are always independent and honest, with no input from manufacturers. Links to products are affiliate links and will help support additional un-biased reviews.

Peak Design’s catalog of product is getting more and more mature, and completely new territory to explore is getting rarer. This is why, in recent years, the company has frequently release incremental updates to some of its products. These new products fall squarely in this category: new versions of the Capture Clip, the Mobile Tripod, and the whole lineup of camera straps. These “Carryology” versions will exist alongside the existing products in Peak Design’s catalog.

Let’s dive in to see if the changes are simply cosmetic, or impact actual performances.

Capture Clip

The Capture Clip is one of my favorite photo accessories. I have a clip on my sling bag, another on my everyday backpack shoulder strap, still another one on my hiking backpack. The ability to securely hold my camera, feeing my hands, while still having the camera easily accessible, has simplified my life tremendously.

The Carryology version is physically identical to the existing version 3. Smaller and more rounded than the version 2, version 3 is faster and easier to install and uses a slimmer tripod plate. The only difference between the regular and Carryology version is the color: the regular is either silver or black (with matching plate color), whereas the new one is an in-your-face orange with a patterned print (that print is a signature of Carryology). The supplied tripod plate is black.

This orange color is the opposite of discrete; it truly is a statement. It looks good (it’s my favorite color, and I already own both the black and silver options), but might be a hindrance when trying to be inconspicuous (like in an area where theft is a higher risk, for instance).

Mobile Tripod

The Mobile Tripod is another Peak Design product I like and use often. It’s light and thin, easy to carry around, and convenient. I have used it mostly for the impromptu video call when away from home or my main computer. My teenager also likes it and frequently uses his. The tripod features a magnetic attachment point for the brand’s phone cases or any case (or phone) compatible with Qi2 or Apple’s Magsafe. It folds flat and can remain attached to the phone when not in use. It even includes a small tool to adjust the tension on the “ballhead” (I have needed to do that only once over two years).

As with the Capture Clip, the Mobile Tripod is a cosmetic upgrade, and a more subtle one. Instead of a matte black, the finish on this version is glossy, and also bears the same pattern as the Capture Clip. That pattern even extends to the folding legs. The ball is painted orange, a nice accent, more subdued than the fully orange Capture Clip.

This new version brings no new features, only an enhanced look. As such, I don’t see the need for anyone to upgrade, but this new version does have a nice look, and I would consider it if I needed to purchase a first Mobile Tripod. The Carryology version costs an extra $10 USD.

Camera Straps

For their camera straps, Peak Design did more than just cosmetic changes with their Carryology collaboration. In fact, the straps were the reason for this collaboration to begin with. The designers took this opportunity to replace the straps’ seatbelt fabric with a material resistant to cuts, slash and tear.
Peak Design updated their four straps: the Cuff, the Leash, the Slide Light and the Slide. The fabric was updated with the same kind of fiber used on the Anchor Links, called Ultra High Molecular Weight Polyethylene. It reportedly is the strongest fiber in existence. The straps use a blend of this fiber and nylon.

The straps now offer significantly improved resistance to physical damage, like when a thief uses a blade to slash the strap and run away with the camera. Peak Design released video demonstrations with a machete, a spectacular but unscientific testing method I will not be reproducing.

The new straps are a dark charcoal, with the same orange accents found on the Mobile Tripod and Capture Clip. On the straps, these accents are limited to the buckles and other metal parts. Each strap also sports a subtle debossing with the Carryology logo. All in all, the branding and general look is subdued and will fit right in a more professional environment. The edges of the straps show a darker finish with a slightly different texture. These straps come with fully black Anchor Clips, instead of the red-rimmed original version.

The change is subtle but noticeable when comparing the new straps with their predecessors. This is especially true with the unpadded Slide Light and Leash. The newer fabric is stiffer than the original. The texture is also somewhat different. This will not actually impact using the straps; the new fabric is still flexible and comfortable.

Let’s look at each strap individually.

Slide Strap

The Slide Strap is the flagship product here. It is wide, padded around the neck, made to bear a heavy camera or lens for a long period of time. It can be worn towards the front or as a sling. Its length can be adjusted in seconds thanks to the specially designed buckles. Of course, it has attachment points for Anchor Links on both ends.

While earlier iterations came with a full-fledged tripod plate, the new version ships with a tiny “Anchor Mount”. This small plate screw into the tripod mount underneath the camera and can accept Anchor Links on either side but cannot attach to a tripod. It’s nothing more than a mounting point. It is slim and unobtrusive but will still impact the balance of the camera when laid down on any surface. I much prefer having a true tripod plate under my camera, and keep mine attached at all times.

The Carryology Slide Strap does not really suffer from the added stiffness of the new fabric. Its width and padding already add some rigidity.

Slide Light Strap

The Slide Light is mostly similar to the regular Slide, except that it’s not as wide and lacks any padding. These differences aside, it offers exactly the same features: quick length adjustment, 4 Anchor Links, one Anchor Mount, possibility to wear either as a sling or around the neck.

As such, it’s a good fit for lighter camera setups, such as a mirrorless with a small lens.

The stiffer material is more obvious with the Slide Light. The Strap is still very comfortable and a pleasure to wear (it’s my favorite model). Only when comparing the older and newer fabrics is the difference truly noticeable.

Leash Strap

The Leash is the slimmest strap option from Peak Design. At first glance, it looks like the strap provided with many cameras: thin, unpadded, somewhat basic.

Of course, this being Peak Design, the Leash is more than it seems. Just like the other straps, it comes with 4 Anchor Links and 1 Anchor Mount. Shortening the strap is fast, once you get the knack of it. Lengthening it is not as convenient as the buckles on the Slide and Slide Light.

The Leash fits nicely alongside a compact camera, small case or pouch (such as the Field Pouch). The narrow width and lack of padding means heavier loads are likely to dig in the neck and quickly become uncomfortable.

Cuff

Last is the Cuff, a different product altogether. Instead of being a neck strap, the Cuff wraps around the wrist and attaches to the camera by a single Anchor. The Cuff acts as a safety, tightening around the wrist if the camera is ever dropped and getting out of the way otherwise. When detached from the camera, the Cuff wraps around the wrist and remains in place thanks to a hidden magnet.
Just like the other straps in this product line, the Cuff bears orange accents and the branding on a debossed strip.

Here, the added stiffness of the fabric is actually beneficial. It allows the Cuff to retain it shape better, making it easier to slide the wrist in the loop.

Summary

The Peak Design and Carryology collaboration certainly isn’t a revolution for Peak Design products. Apart from the straps, changes are purely cosmetic. The straps do offer added safety against slashing or tears; this is a welcome improvement for travelers or photographers in less safe neighborhoods. The color signature looks good on the straps: distinct but discrete.

The changes to the Mobile tripod only concern the finish and colors. They are not obvious unless put side-by-side with the regular version. The Carryology tripod does, in my opinion, look better.

The Capture Clip is a bright, in-your-face orange. This probably won’t be to everyone’s liking and is far from discrete, but the color is well selected and matches the design well. The engraved pattern is only present on the back and won’t be visible most of the time.

It’s easy to justify the small price increase for the straps, thanks to their added security. It’s less obvious for the other accessories. Beauty, as always, is in the eye of the beholder.

Currently, the Peak Design x Carryology collaborative products are only available at the Peak Design website.

Last Updated: 03, Mar 2026

7.0 TOTAL SCORE Very Good

Peak Design + Carryology Collaboration Review

Peak Design Website

0 Out of 5

Based on 0 Users

Pros

• Same high quality as other Peak Design products
• Added security and peace-of-mind with the straps
• Pleasing color accents and design touches
• Lifetime warranty

Cons:

• Increased price for cosmetic changes on the Mobile Tripod and Capture Clip
• Fabric is a bit stiffer than regular version

Bottomline

Apart from the straps, changes are purely cosmetic. The straps do offer added safety against slashing or tears; this is a welcome improvement for travelers or photographers in less safe neighborhoods. The color signature looks good on the straps: distinct but discrete. Whether you think that the cosmetic changes justify the price increase will be a matter of personal taste.

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Never one to rest on its laurels, Godox has been constantly expanding and updating its lineup in recent months and years. Notable releases include a new and improved version of its bestseller AD200Pro II, a Pro version of the V1 round head flash, the compact X3 trigger, the Lux Master and others. The last two items on this list include color touchscreens, and the first and last include a convenient auto sync function with the X3 trigger.

January 2025 has seen the release to market of yet another new product, the V100 round head hotshoe flash. This new flash can be seen as the love child of the AD100Pro compact studio flash and the V1 Pro, with software features from the AD200Pro II and touchscreen controls like the Lux Master.

Available for all major camera manufacturers, the V100 seems to be, on paper, a wonderfully versatile powerhorse. How does it perform in the studio and on location? Read on to find out!

Physical Description

The recipe to design a speedlight (or hotshoe flash) is well proven, and the Godox V100 does not break the mold. At a glance, it strongly resembles the V1 Pro. Side-by-side, the two flashes share most of their characteristics. The V100 is slightly taller and the front has subtle differences.

The V100 ships in a typical Godox package. It includes a soft case, a stand, a USB-C cable, a wall charger and the SU-1 detachable fill flash first seen on the V1 Pro.

One key feature is of course the round head, compatible with Godox’s AK-R1 accessory kit and the AK-R21 projector. This round head is a similar design to the V1, V1 Pro, AD100Pro, and optional H200R head for the AD200Pro. A round head presents some benefits versus the rectangular heads found on most speedlights. The main advantage is better spread of the light, more uniform and with softer overall spill. There is less chance of having a hot spot in the center.

This head is different than that of its siblings mainly because it features cooling vents on two sides. The head can tilt down to -7°, and backwards up to 120°. Most flashes limit themselves to 90° (fully vertical); the backwards tilt makes it much easier, and faster, to bounce the light back and fill a room. The head can of course rotate horizontally as well, covering 330° in total. A modeling lamp is built in the head, like other Godox round heads but different than the V860 iii whose modeling lamp is always oriented forward.

One thing to note is that, in some regions, the flash ships with the magnetic front ring unassembled. The user must simply put it in place before the first use. Rumor has it that this relates to a patent issue.

The front of the flash looks identical to that of the V1 Pro, including the removable SU-1 fill strobe. It also offers an AF-assist beam and a port for an external power source.

On the left side (as seen from the rear) are the battery release button, a USB-C port for firmware updates and a sync port.

The right side shows the USB-C charging port for the battery. There is no external charger included, because the battery doesn’t need one: it charges directly by plugging a cable into it.

The flash features a metal foot, giving confidence in its durability.

The rear is where the V100 differs from the V1 and V1 Pro. For some years, Godox has used a consistent design for their buttons and wheels, with the same layout on speedlights and triggers. The X3 trigger broke this pattern with its touchscreen; the V100 follows suit.

Most of the rear is taken up by the large color touchscreen. The only buttons are Test on the left, a silver scroll wheel and Ok button in the center, and the Power button to the right. Previous flashes used a lever for power; turning on the V100 is a two-steps operation, requiring a press of the button and a rotation of the wheel (a behavior seen on many recent products). The wheel is almost flush with the body, making it a bit hard to rotate.

Interface

The design language for the menus and touch controls is consistent with that of the X3 trigger, despite the V100’s screen being bigger. And the screen is big, bright and sharp. It’s easy to see and responsive to touches. Color schemes are similar, with TTL being green, manual settings white, adjustable bars orange, and so forth.

The screen dims after a while, and becomes completely dark later on. A simple touch revives it.

When in TTL mode, the flash shows basic information: the TTL indicator dead center, the TTL/Manual toggle at the bottom left, the zoom settings at the bottom right, the channel and group (if active) at top left, and the battery and tilt statuses at top right.

When in manual mode, the display is the same, except that the center indicator is now the power level. There are Plus and Minus signs which can be pressed, but more simply a finger can slide over the indicator to quickly adjust the power output. Lastly, by rotating the scroll wheel, various elements can be highlighted on the screen. A press of the center button activates control, and the wheel can then change settings. All of this is pretty intuitive.

Things are simple, but not quite as easy to guess, when wanting to access menus. Whereas the X3 trigger and Lux Master flash have subtle bars to indicate where to swipe, there is no such indicator on the V100, which leads to some guesswork at first, especially since there are two menu sections.

The first is accessed by swiping down from the top. This menu gives quick access to what I call operation toggles. There are six settings available: high speed sync, AF assist beam, sound confirmation, modeling light (coupled with a slider at the bottom when active), flash lock and multi-exposure. To exit this menu, swipe up or press the Power/Home button.

The second menu is accessed by swiping right from the left. It gives access to triggering controls and the standard menu. Here the behavior is inconsistent. If no button is pressed, swiping left brings back the main screen. However, if either the “Menu” or “Wireless” button has been pressed, one must swipe right to exit this page, but then select a control mode to return to the main screen. Pressing the Home button, or swiping left, brings back the Menu/Wireless page. To exit this screen, the user must select either Wireless-off, Sender, or Receiver. This is counter-intuitive, but easy to learn.

The “Wireless” button gives access to channel and ID controls, as well as the Sync shortcut also found on the X3, AD200Pro ii and Lux Master. This Sync tool is truly useful. Like all Godox Speedlights, the V100 can be used as stand-alone, as a receiver (triggered by another flash or a Godox trigger such as the X3), or as a trigger itself (controlling other Godox flashes and studio strobes). This makes it extremely versatile.

The Menu page offers the standard options like power control type, slave mode, standby and auto off, etc.

When selecting the “Sender” control option, the big touchscreen really shines. Groups are displayed in an easy-to-see manner. Toggling between TTL/Manual/OFF is as simple as holding a finger on a group’s control, and adjusting power is easily done with a single swipe. As always, green means TTL and white means manual. As a controller, the flash can only handle four groups, plus its own settings. Color tabs under the groups are reflected on newer products such as the AD200Pro II.

In general, the new menu structure is logical and information is easy to find. Using the V100 is quicker than, say, a V1 (except for veteran users, maybe).

In Use

The V100 is a truly versatile speedlight. Its output power brings it in the league of compact studio strobes, while its shape lets it compete with other hotshoe-mounted flashes.

In a studio, the V100 will do as well as can be expected, but cannot overpower an AD200Pro or bigger strobe. Its fast recycle time, vented head and round head allow it to deliver excellent performances. It can deliver up to 70 pops at full power before slowing down to prevent overheating.

As an events flash, mounted on camera, the V100 offers a truly unique package. It’s more powerful than just about any other speedlight on the market. Its intuitive controls make it easier and faster to adjust settings. Its built-in Li-Ion battery promise hundreds of pops on a charge. To put it simply, mounted on a camera is where the V100 truly offers something unique.

When controlled remotely, the nice interface is somewhat wasted: most settings are controlled from the trigger, not the flash.

The little menu inconsistencies reported would be easy to correct (I am testing firmware version 1.01). They are not catastrophic, but could be improved.

The front-facing optional flash, first seen on the V1 Pro, is nice but by no means a game-changer. Its use is limited to when the flash is used via a hotshoe, and the flash head not oriented forward. As such, it can serve as a nice fill when shooting an event, but not in more complex environments, such as a studio when its extra power could be a welcome boost. It does work (with manual power selection) even if the main flash is set to TTL, and it also works if the head is horizontal but swiveled to either side, even slightly. These limitations mean the add-on flash cannot serve to boost the total output power when using a studio modifier such as a softbox; it’s really intended as a fill flash when bouncing the main head.

The option to use an external power pack is truly welcome, and shows that this flash aims at being versatile and ready for all situations.

In summary, the V100 offers the same benefits and limitations as the V1 Pro, with a better interface and more powerful output.

Other Options

There are not many options for round-head speedlights on the market, and most of those come from Godox. The Godox V1 and V1 Pro are the two obvious comparisons. Setting aside the touchscreen, the V100 is more powerful than either (100W vs 76W), offers the front-facing fill flash of the V1 Pro, uses the same battery, and costs more ($349 vs $ for the V1 Pro and $ for the V1).

The obvious competitor not made by Godox is the ProFoto A10. Offering many comparable features, with an output power estimated at 76W (similar to the V1, lower than the V100), the A10 offers faster recycle times (1 second vs 1.7 seconds) but costs $995. The Neewer Z1 round flash is another option. At $, it offers power and features similar to the V1/V1 Pro and uses a different and less ubiquitous sync protocol.

The V100 thus stands alone, if only because of the output power it can deliver and its sheer versatility.

Conclusion

There is no question that the Godox V100 is a powerful and well-made flash. It shines as a speedlight, can be used reliably in the studio, offers TTL, wireless controls as a master or slave, has a solid body, is reasonably priced, in short it ticks most boxes.

New Godox users will get a more advanced product for a price comparable to, or less than, that of a more basic OEM flash. Users familiar with the Godox ecosystem will have more to think about before deciding to upgrade. After all, a touchscreen might be nice but it’s not enough to justify a significant expense. The increased output power makes the V100 one of the most powerful speedlights currently on the market. That will be enough for many. Coupled with Godox’s reliable synch ecosystem and good reliability, the V100 is a welcome addition to the company’s lineup.

The Godox V100 can be purchased for $ from Amazon, or roughly the same price from B&H Photo, for example.

Last Updated: 03, Mar 2026

8.0 TOTAL SCORE Very Good

Godox V100 Speedlight: A New Powerhouse

On Amazon

0 Out of 5

Based on 0 Users

Pros

• One of the most powerful speedlight in existence
• Versatile and full-featured
• Bright and large touchscreen yields faster operation
• Removable forward flash offers new possibilities
• Direct charging via USB-C
• Compatible with many accessories

Cons:

• Removable forward flash does not support TTL
• Modeling light linked to the head, cannot serve as a video light

Bottomline

There is no question that the Godox V100 is a powerful and well-made flash. It shines as a speedlight, can be used reliably in the studio, offers TTL, wireless controls as a master or slave, has a solid body, is reasonably priced, in short it ticks most boxes. New Godox users will get a more advanced product for a price comparable to, or less than, that of a more basic OEM flash.

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