1. Battery Types

A) AAA/AA/C/D/9V

Most peoples first flashlights/torches are based on AAA, AA, and less commonly C, D, and 9V size batteries. Most photography flash units also use AA batteries. These can use non-rechargeable Alkaline, Zinc-chloride (Heavy Duty), Lithium (1.7V), rechargeable NiMH (1.2V), or rechargeable 1.5V Li-ion batteries. These all have a maximum voltage of between around 1.5V, apart from 9V batteries. Compared to larger Li-ion batteries, these are generally very safe to use, and easy to purchase.

Alkaline non-rechargeable

These generally have good capacity, and are widely available almost everywhere. As they are not rechargeable, they are quite wasteful. Alkaline batteries can also leak, especially if they are left is a discharged state for a long time, which can destroy your flashlight or flash unit. Heavy Duty (Zinc-chloride) non-rechargeable batteries are cheaper, but have terrible capacity. Avoid both.

Lithium non-rechargeable

1.7V batteries (such as Energizer Ultimate Lithium) typically last twice as long as good Alkaline or NiMH batteries, but can also cost more than twice the price of Alkaline. As they are not rechargeable, I would only really recommend them for use in extreme temperatures (-40C to +60C) or if you have no access to a power supply for a while.

NiMH rechargeable

1.2V batteries are what I personally recommend for AAA/AA batteries in most use cases. Recommended low self discharge AAA and AA size NiMH batteries include:

• Ikea Ladda - high quality, low price, made in the same factory as Eneloops!
• Panasonic Eneloop/Eneloop Pro (made in Japan in versions only) - highest quality, but relatively expensive.
• Fujitsu Ready To Use - same as Eneloops.
• GP ReCyko - good quality.
• Maha Powerex - good quality.
• Panasonic Eneloop (made in China version) - good quality, but not as good as made in Japan versions despite the premium price.

For rechargeable C, D, and 9V batteries there are decent NiMH options from Varta/Rayovac, GP, and Powerex.

1.5V Li-ion rechargeable

These are a fairly new addition for AAA/AA batteries. These use a step down converter inside the battery to maintain a constant 1.5V, unlike other AA/AAA battery types which suffer from voltage sag. They can only be charged in their dedicated chargers, or with an integrated USB charging port. Unfortunately, there are many issues with 1.5V Li-ion batteries compared to NiMH including:

• Self-discharge/parasitic drain.
• Electronic noise.
• Requires either a dedicated charger, adding to costs, or internal USB charging adding an additional point of failure and reducing battery capacity (due to space required),
• Regulated output can cause a flashlight to turn off with no warning rather than gradually dimming.
• Voltage converter reduces battery capacity due to space required.
• Generally made by "unknown" brands (with the exception of XTAR).
• Some manufacturs use mWh instead of the more commly used mAh which confuses customers.

I would only recommend 1.5V Li-ion for devices that suffer from voltage sag such as kids toys with motors, wireless keyboards, devices with LCD displays such as air conditioning remotes. Flashlights will be hit and miss depending on the LED driver. For most AA/AAA use cases, it is far more cost effective to go with decent NiMH rechargeables and a smart charger (such as Ikea Ladda batteries and Stenkol charger).

My recommended manufacturer for 1.5V Li-ion batteries and chargers is XTAR Direct (affiliate) as they are a known entity.

B) Button/Coin Batteries

Some very small 'keyring' flashlights, LED glow sticks, and RF remote controls may use lithium or alkaline button/coin batteries. Be extremely careful with button batteries around children, as there have been many cases of permanent injury and death in children who have swallowed them.

C) CR123A

Lithium CR123A (3V) batteries are non-rechargeable, and were popular in the earlier years of LED flashlights. They have a good shelf life and can handle large temperature ranges. Unfortunately, they have been known to explode if two CR123As in series have different voltages. They have largely been superseded by rechargeable Li-ion batteries, and thus I generally don’t recommend using CR123A batteries.

D) Cylindirical Li-ion Rechargeable Batteries

Li-ion - Overview and Safety

The rest of the battery section of this buying guide will focus on Li-ion batteries, which are pretty much essential if you want to use high brightness flashlights. The vast majority of Li-ion batteries used in flashlights have a nominal voltage of 3.6V to 3.7V and maximum voltage of 4.2V. If the charger has multiple Li-ion charging options, this is the one that needs to be selected! I'm not aware of any flashlights that use nominal 3.8V/max 4.35V Li-ion batteries, or nominal 3.2V/max 3.7V LiFePO4 batteries.

The only major exceptions are Olight's 2.4V AA/14500 sized Li-ion batteries which have internal charging and should only be used in the Olight i5R flashlight, and aforementioned 1.5V Li-ion AAA/AA batteries from XTAR (and other companies) which require dedicated chargers.

Whilst newer IMR and INR Li-ion batteries are more chemically stable than older ICR types, use of Li-ion batteries still requires knowledge of the safety risks required to safely use these batteries. Key Li-ion safety aspects so as to avoid damaging the battery are as follows:

• Do not charge above 4.2V. High quality chargers should terminate charge at approx. 4.2V.
• Do not discharge below 2.5V. Look for flashlights with low voltage protection, or mechanically lock out the flashlight if possible (usually by unscrewing the tail cap). Beware of parasitic drain depleting batteries in stored lights.
• Use a Li-ion charger with voltage readout.
• For lights that use multiple Li-ion batteries in series or parallel, you must use matching batteries and they must always be at the same voltage before use (check using a charger with voltage readout). If voltages are not the same, you risk reverse charging, and a possible explosion. I no longer recommend multiple Li-ion battery flashlights.
• Always insert batteries with the correct polarity (usually +ve towards head). Most flashlights now have reverse polarity detection or prevention.
• Do not short circuit the battery.
• Store spare batteries in plastic cases. No one likes battery explosions in their trousers!
• Do not use damaged Li-ion batteries, this includes damaged wrappers.
• Do not charge or discharge at currents higher than the battery’s rating.
• Always periodically check on the batteries during a charge – do not charge whilst you are sleeping or out of the house!
• For flashlights with internal charging, cease charging as soon as the fully charged indicator light has been activated.
• Keep batteries and magnetic charging connections away from flammable items such as steel wool.
• Charge, and store batteries and flashlights in non-flammable locations.
• Keep batteries out of reach of children and people with no common sense.
• Li-ion batteries will degrade slower if stored closer to 50% capacity (around 3.6-3.7V).

With high quality batteries and safe use, Li-ion batteries are very safe. However, if you were very unfortunate, and a Li-ion battery starts to heat up rapidly (thermal runaway), quickly place it in a non-flammable place and keep your distance. The pressure build up during a battery vent will cause an explosion from both ends of the flashlight tube (and side if there is a side button). If there is a source if ignition, there may be flames and resulting fire. Avoid breathing in the fumes, and call the fire brigade immediately.

Li-ion sizes

Li-ion batteries have names that denote the approximate size of that battery in mm. For example an 18650 is approximately 18mm in diameter, and 65mm in length. The first two numbers are width, and the second two are length. The most commonly used in flashlights for light painting and night photography are 18650, 21700, and 26650 batteries. Personally I think 26800s are a passing fad. Unfortunately, that is where the standardization ends, especially when manufacturers add button tops, or protection circuits onto the ends of some batteries, which adds to both the length and width. Not all 18650, 21700, or 26650 batteries will fit in a flashlight (and even some chargers) as they may be too short, too long, or too wide. Some flashlights require button tops, some don’t. Thus it is advised to read reviews, or follow manufacturer recommendations of battery sizes that will fit.

Li-ion - recommendations

Most consumer grade flashlights (such as Nitecore, Fenix, Klarus, Ledlenser, Olight, Acebeam, Sofirn, and Wurkkos) are now sold with Li-ion batteries either included or optional. Given the current worldwide shortage of Li-ion batteries, I usually advise purchasing the light with optional batteries when available. Battery to flashlight compatibility is getting complicated, as some flashlights are only compatible with button top protected batteries, some are only compatible with customised/proprietary batteries (often with +ve and -ve connections at one end), some come with USB charging in the actual battery. Due to this complexity, I now just recommend that users follow the manufacturer's recommendations (even if it is more expensive), and I no longer recommend 3rd party protected batteries for consumer grade lights as there is too high a risk of incompatibility.

A few flashlights, some headlamps, and almost all pocket LED panel lights are only available with integrated and non-user replaceable batteries. Whilst this is great for ease of use, also means that the light may become a doorstop after around 3 years of heavy use. Li-ion batteries last longer the more that the battery charge sits closer to 50%, so try not to leave these lights fully charged or fully discharged for long periods of time.

For the enthusiast flashlight market, the situation is different. High power lights aimed at flashlight enthusiasts (such as Convoy, Noctigon, and Emisar) tend to use unprotected Li-ion batteries. These can sometimes be purchased as an optional extra with the flashlight, but in some cases you may need to purchase the batteries separately. These unprotected Li-ion batteries are all manufactured with a flat top (+ve pole). Unprotected batteries are getting harder and more expensive to purchase - see the next section on where to buy.

Some larger flashlights (notably "soda can" sized) require multiple Li-ion batteries with added button tops. As these batteries are increasingly difficult to find, plus increased risks with using multiple Li-ion batteries, I no longer recommend multiple Li-ion battery flashlights unless they use a proprietary battery pack.

Best Unprotected 18650 for Good Current (<8A) and Maximum Capacity (3200-4000mAh):

• Panasonic/Sanyo NCR18650GA - most recommended.
• Molicell M35A.
• Samsung INR18650-35E.
• EVE INR18650/33V.
• LG MJ1.
• Vapcell N40 - highest capacity.

Best Unprotected 18650 for High Current (>8A) and Good Capacity (approx. 3000mAh):

• Sony US18650VTC6 3000mAh 30A.
• Samsung INR18650-30Q 3000mAh 15A - most popular with flashlight enthusiasts.
• LG INR18650-HG2 3000mAh 20A.
• Molicell P28A 2800mAh 25A.

Best Unprotected 21700:

• Samsung 50E / BAK N21700CG-50 / Molicell M50A – all good for 5000mAh capacity and <10A current.
• Samsung 50S - good for 5000mAh capacity and <15A current.
• Molicell P45B - excellent for good 4500mAh capacity and high current <20A, successor to the also excellent 4200mAh Molicell P42A.
• Samsung 40T / LG H40A 30A – excellent for 4000mAh capacity and high current <30A.
• Vapcell F58 / F60 - highest capacity at approx. 5800 to 6000mAh.

Best Unprotected 26650:

• Keeppower 5500mAh - high quality 26650 with good current and capacity.

Where to buy Li-ion batteries

Due to safety reasons, Li-ion shipping is problematic. High demand for Li-ion batteries in consumer products such as eCars, eBikes and eScooters have resulted in stock shortages and price increases. Many Li-ion battery manufacturers also do not wish to sell loose batteries to consumers. If Li-ion batteries are not included or optional with a flashlight, I would recommend to purchase from as close to home as possible. Flashlight/torch stores are good places to start, especially for flashlight brand batteries, but can be expensive. Online retailers recommended by members of the BLF flashlight forum include (these are all non-affiliate links):

Tinkertech (Australia) - currently the best prices in Australia.

Ausbatteries (Australia)

Techaroundyou (Australia)

Lanplus (Australia)

Nkon (EU) - most recommended EU retailer.

Akkuteile (EU)

Ecolux (UK)

Fogstar (UK)

Nu Battery (UK)

18650canada.ca (Canada)

Illumn (USA, also ship to Canada)

Liion Wholesale (USA)

18650 Battery Store (USA)

Orbtronic (USA)

Mountain Electronics (USA)

Li-ion – What To Avoid

Unfortunately, there are many very bad and dangerous Li-ion batteries available (including from Amazon, eBay, and Chinese electronics retailers), with highly over-exaggerated current and capacity ratings. Any 18650 battery advertised with a capacity over 4000mAh, or 21700 battery with a capacity over 6000mAh, is fake or misleading - do not buy! Low quality brands to avoid include Ultrafire, GTL, GTF,  GIF, SkyWolfeye, Meco, and Elfeland.

2. Chargers

A) NiMH Chargers

Most NiMH chargers (including ones for sale at supermarkets) are 'dumb' timer based and can overcook batteries, rapidly shortening their lifespan. Thus it is recommended to only use smart chargers. Prices are in US$.

Best NiMH only smart chargers are:

• Panasonic BQ-CC65 ($70) – advanced 4 bay smart charger.
• Panasonic BQ-CC63 ($65) – 8 bay smart charger.
• Panasonic BQ-CC55 ($50 incl. 4xAA) – low cost 4 bay smart charger.
• Ikea Stenkol ($10)- best value 4 bay smart charger.
• Maha Powerex MH-C980 Turbo ($80)- 8 bay "Rolls Royce" of NiMH analyzing chargers.

Unless you are only ever intending on using NiMH batteries, I would highly recommend looking at multi-chemistry chargers (see below) that can charge both NiMH and Li-ion batteries, plus some can also act as powerbanks.

Many multi-chemistry chargers can also charge C and D batteries, but for 9V there are fewer options, with some specialist Maha Powerex models being recommended.

B) Flashlight Internal Chargers (Li-ion)

Most consumer grade, and some enthusiast grade Li-ion battery flashlights, and almost all LED panel lights, now have internal charging mechanisms, using USB (micro USB, USB-A, USB-C) or magnetic chargers. In some cases, the charging port is in the battery. As long as you buy from reputable flashlight brands, the quality should be very high. However, I'm always very cautious during first time use in case the internal charger fails to terminate charge. If I think the first charge is taking too long, I'll remove the battery and check that voltage is <4.2V. Once charging has terminated, I place the fully charged battery in an analysing charger to check that the battery voltage is in the 4.15V to 4.21V range. Unless I'm travelling, or the battery is non-removeable, I prefer to use Multi-chemistry (NiMH and Li-ion) Chargers - see next section.

C) Multi-chemistry (NiMH and Li-ion) Chargers

If any of your flashlights do not have internal charging, you want to keep a better eye on your battery voltage, or you need to charge lots of batteries at the same time, I would highly recommend purchasing dedicated multi chemistry chargers ( for cylindrical NiMH and Li-ion batteries). These allow you to monitor battery voltage, or even battery analyzing functionality such as internal resistance, and capacity testing. I generally don't recommend basic Li-ion chargers without voltage display (with 1 exception below), or chargers with documented quality control issues, which is why some popular chargers are not on this list.

Basic Li-ion only Chargers (recommended for travel or backup use only):

• Nitecore UI1 USB Charger ($8) - high quality budget charger, that can charge most Li-ion batteries at up to 1A. Micro USB input. Nitecore Store (USA) (affiliate).

Best NiMH/Li-ion Chargers (with voltage display):

• Nitecore UMS2 ($29) – Nitecore’s most advanced 2 slot charger. Nitecore Store (USA) (affiliate).
• Nitecore UMS4 ($39) – Nitecore’s most advanced 4 slot charger. Nitecore Store (USA) (affiliate).

Best Analyzing NiMH/Li-ion Chargers (with voltage display, internal resistance, and capacity testing):

• Vapcell S4 V3.0 ($50) – advanced and reliable 4 slot analyzing charger. I prefer to use it in manual mode. Over-discharged NiMH batteries may need to be "jump started" in NiMH dumb/smart chargers first though. This charger is what I currently use, and is in my opinion the best overall charger. Vapcell Aliexpress
• XTAR VC8S ($60-76) - advanced 8 bay analyzing charger, with storage function. Great for charging or testing lots of batteries at once. NiMH charging speed is limited though. XTAR Direct (affiliate link).
• Gyrfalcon S8000 - very promising, brand new 4 bay analysing charger. Awaiting testing - check back for updates.

3. Specialist Camera and Lighting Batteries

This section has an overview of non-cylindrical batteries that may be used by photographers. As per the Li-ion safety section, you need to take safety precautions when charging, including

charging in non-flammable locations, and periodically check on the batteries during a charge – do not charge whilst you are sleeping or out of the house!

A) Sony NP-F

Sony NP-F type, and V-mount batteries are produced by a wide range of manufacturers conforming to a standard, which can be used in anything from cameras to light equipment. The most popular are the NP-F550, NP-F750, and NP-F970. All have a nominal voltage of 7.2V, and maximum voltage of 8.4V, and can plug into the same charger/device connector slot. The larger the model, the more battery capacity (mAh) - the F750 is x2, and F970 x3 the capacity of the F550 (due to an associated increase in cylindrical Li-Ion batteries within the device). Higher capacity will allow for an increased runtime of the device they are being used in (assuming the same load). The higher capacity models will also have more weight. Sony NP batteries also require decicated chargers, that can charge either one or two batteries simultaneously depending on the model..

Whilst these are made by Sony, there are cheaper versions available made by other manufacturers. There may be a variation in mAh ratings and build quality between competing products. Due to the risks of Li-ion safety, I would advise sticking to known brands and chargers.

I personally recommend using Nitecore NP-F chargers and batteries (affiliate link) due to the advanced battery monitoring functionality.

As V-mount / Gold Mount batteries are more in the domain of videographers, I've left them out of this article.

B) Camera Batteries

In most cases, photographers will just use the batteries and chargers that come in the box. However, if you want more detailed information on charging state, or battery health, then consider advanced chargers from Nitecore or Hahnel. They are available for various battery types for a range of different camera manufacturers. The Nitecore (affiliate link) models display battery voltage, charging current, charged capacity, battery health, and temperature. Input is either by USB or mains depending on the model. The Hahnel PROCUBE2 models display percentage full, charged capacity, battery health check, and has mains or 12V input, USB output, and integrated 4xAA charger (though it is unknown if this is a dumb or smart NiMH charger).

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Each light’s description includes the maximum brightness in lumens (lm), battery type, and typical retail price in US$ (excluding tax and and shipping). Lumens for multi-colour/colour fading lights have not been quoted as colour lumens are not directly comparable to white light lumens.

This article contains some affiliate (marked as such) and non-affiliate product links. Commission made through purchases via affiliate links allows me to test more flashlights for the benefit of the light painting community. I do not make any commission through non-affiliate links. Affiliate links have no influence on product ratings.

1. Best Flashlights for Creating Light Trails

This section is for flashlights/torches and tube lights that can be used to create light trails when connected to light painting tools. A matrix displays which featured lights are compatible with each commercial light painting system. I've also added flashlight head diameter information to the matrix for light painters who like to make their own tools or connectors.

Light pens, calligraphy lights, programmable LED pixel sticks, staffs, tubes, pois, and hula hoops are out of the scope of this article, but are mentioned in the Light Painting Tools Buying Guide. If you want more information on how to create light trails, please read the article The Art of Light Drawing.

For a flashlight/torch to be featured in this section, it needs to meet these requirements:

• Compatibility with at least one or more commercial light painting systems.
• On/off switches need to be accessible when used with light painting systems (usually a tail switch, with some exceptions).
• Constant frequency strobe, accessible from off with a single click, or momentary switch* OR multiple continuous (non-strobe) brightness levels with last mode memory, accessible with a single click from off or momentary switch*.
• Beam profile suitable for light painting.
• Value for money, internal battery charging, a side clip (for use with T8 tubes), and additional functionality useful for light painting will help the ranking!

* a momentary switch is where the light only produces light whilst the switch/button is pressed.

Please be aware that most flashlights rapidly step-down (dim) from their maximum advertised brightness. Generally, the higher the brightness/size, the shorter the light will operate at maximum brightness before step-down. Also, there are many factors that affect how many lumens actually end up in the light painting tool. More lumens is not necessarily better.

Best RGB Colour Changing Flashlights for Light Painting Photography

These RGB colour chaging/mixing flashlights all have colourful effects modes, making them fantastic for creative light painting photography.

1. Ants On A Melon RGB Critter 2.0 (18650, $130) - The AOAM RGB Critter is the best flashlight for light painting photography (creating light trails) for the 3rd year running. This RGB colour changing light has an impressive selection of 39 colours, 93 preset colour effect modes, plus adjustable effect speeds, strobe frequency and brightness. Controlled by 3 on-board buttons. Can save custom settings. Native tool attachments available including the Modular Sol Saber, Modular Lumi Saber, BitWhip, Fiber Optic Dusters, and Light Painting Blades. Compatibility with most other light painting systems via adapters - see review. 18650 battery included, with micro USB input, which can also allow for firmware updates. Ants On A Melon (affiliate) - 5% off with code: KNIGHT
2. Lightpainting.me Magic Light (integrated battery, $140) - RGB flashlight with colour WYSIWYG touch screen, and 24 programmable modes including colour strobe effects. Lightpainting.me. also make the interesting Magic-Tube LED tube light.
3. Threeworlds Concentrate C5 (AAA, $30) - Tiny, single AAA light source with fantastic programmable effects modes. Unfortunately it is not very bright, and has a tricky single button user interface. Needs DIY padding to fit in light painting connectors, though can be purchased with a compatible Fusion glow staff. Threeworlds.
4. Ignis Shop Color LED Torch (integrated battery, $149) - Colour fade, pulse, and flash modes controlled by an RF remote. Simple on/off switch and no momentary. Internal battery and charging.

The Ants On A Melon RGB Critter 2.0 is the best RGB colour flashlight for light painting photography.

Best Flashlights for Strobe Light Trails

All of the flashlights in this category have constant frequency strobes. The top 4 options have adjustable strobe frequency/speed. All flashlights (except the Folomovs) have either single click or momentary access to strobe modes.

1. Ants On A Melon RGB Critter 2.0 (18650, $130) – Whilst it isn't quite as bright as the white light flashlights in this category, many of the Critter's 93 preset modes contain colourful strobes, with 10 speed settings. Each preset and colour mode can also have a strobe overlaid on top, with 10 speed settings, and 10 brightness settings. Ants On A Melon (affiliate) - 5% off with code: KNIGHT
2. Noctigon KR1 (2,200lm, 18650, $50) - The SST-40 6500k version is one of the brightest flashlights I have tested for use with light painting tools. Tail switch light with the complex Anduril user interface. Super bright (1,900lm) tactical strobe with 33% on-time (adjustable 2.3Hz-80Hz). There is also a "motion freezing" party strobe with 1.3ms on time (adjustable 3.5Hz-90Hz) which I use to create "fairy dust" effects at the slowest speed. Too large for T8 tubes. No internal charging. Best used with a high current unprotected 18650 battery. Intl Outdoor.
3. Noctigon KR4 (2,000lm, 18650, $85) - The W2/Boost driver option is the most optimal (and most expensive) configuration of the KR4 for light painting. Tail switch with the complex Anduril user interface. Multiple effects modes include the bright (1,200lm) tactical strobe with 33% on-time (adjustable 2.5Hz-90Hz). There is also a "motion freezing" party strobe with 3ms on time (adjustable 4Hz-90Hz). Squeezes into most T8 tubes. No internal charging. Best used with a high current unprotected 18650 battery. Intl Outdoor.
4. Lightpainting.me Strobelight PRO (1,200lm, 18650, $135) - Custom built light with a flashlight connected to a handheld remote by cable. Strobe frequency adjustable between 5Hz and 57Hz using rotary switches. Strobe (50% on/off), Flash (5ms on), and Ribbon modes. Momentary functionality. Brightness is switchable between 1200lm, or 800lm. Lightpainting.me.
5. Nitecore P10v2 (1,100lm, 18650, $55) - This is my favourite consumer grade "tactical" flashlight for light painting. This dual tail switch light that makes it easy to switch between turbo and 19Hz strobe modes on the fly in "Tactical" mode. "Daily" mode has last mode memory and momentary functionality for all 3 brightness settings. Can be used with the Nitecore RSW2 remote pressure switch. 3 minutes until brightness step-down. Noticeable Pulse Width Modulation (PWM). Requires button top protected 18650 batteries if not included, and no internal charging. Nitecore Store USA (affiliate).
6. Ledlenser P6R Signature (1,400lm, 18650, $150) / P6R Core (900lm, 18650, $100) - The only zoom lights in this article. Programmable modes. Optional last mode memory, but with 3 second mode memory timer. 20Hz strobe. Expensive, but with a 7 year warranty. Battery included. Magnetic charging input.
7. Convoy S2+ Black XML2 (800lm, 18650, $14) - An older version of the Convoy S2+ with 3/5 mode user interface. 10Hz strobe. Last mode memory, but with 3 second timer. Select U2 1A, and 7135x8 configuration. Optional side clip. Requires an unprotected 18650 battery. No internal charging. Convoy.
8. Klarus XT2CR Pro (2,200lm, 18650, $75) – One of the best flashlights for (briefly) getting lots of light into a light painting tool. It is basically the XT11GT Pro (below) with a smaller head. Battery included. USB-C charging input.
9. Klarus XT11S (1,100lm, 18650, $70) / XT11GT (2,000lm, 18650, $85) / XT11GT Pro (2,200lm, 18650, $95) / XT11GT Pro V2 (3,300, $90) – I only recommend these if you plan to use the Liteblades KYO system, as there are better flashlights for other systems. Each generation of the XT11 has more maximum lumens, but shorter time until the brightness falls of a cliff. Dual tail switches for instant access to Turbo or Strobe. No side switches on the Pro versions. Optional Klarus TRC1 remote pressure switch. Strobes are alternating frequency unless the strobe switch is held down which results in constant frequency. Battery included. USB charging.
10. Olight Warrior Nano (1,200lm, 18350, $75) - After changing configuration (figure 15 in the manual), the two stage tail switch can work as momentary medium/strobe, or momentary medium/turbo. 13Hz Strobe mode. Beam profile is not great for use with tubes. Battery included. USB-A to magnetic charging. Olight USA (affiliate). - 10% off with code: OLIGHTSTORE10 Olight Australia (affiliate). - 10% off with code: LUMEN10
11. Olight Warrior Mini 3 (1,750lm, 18650, $90) - Due to the annoying proximity sensor, this light is only useable for light painting on the 1,750lm 13Hz Strobe mode, or 120lm Medium mode using the two stage momentary tail switch. Battery included. USB-A to magnetic charging input. Olight USA (affiliate). - 10% off with code: OLIGHTSTORE10 Olight Australia (affiliate). - 10% off with code: LUMEN10
12. Folomov 18650S (900lm, 18650, $28) – Quirky budget light that includes a micro USB rechargeable battery, and can move between 7Hz strobe and continuous "on the fly", or momentary operation using the tail switch.
13. Folomov Hero (2,300lm, 18650, $50) - This light only makes the list due to having a decent 13Hz strobe. However, the light's user interface is frustrating, and only really suitable for basic light painting techniques. The beam profile is not great for tubes. Battery included, with USB-C charging port.

Gone, but not forgotten...

• The previous winner of this category, the now legendary Light Painting Paradise LightPainter – Ryu’s Lightworks (1,200lm, 18650) was discontinued in early 2023. If you can pick one up second hand, it is an amazing light with 4 strobe modes, adjustable strobe frequency, adjustable strobe brightness, and compatible with most light painting systems.

The Wurkkos TD02 connected to a Luminosify Choob (T8 Tube).

Best Flashlights for Continuous Light Trails

These flashlights are useful for creating continuous (non-strobe) light trails during light painting photography, and have at least 4 brightness modes with last mode memory. Some have momentary switches. As with most consumer flashlights currently on the market, they all have (undesirable) alternating/two frequency strobes, or no strobes.

1. Wurkkos TD02 (1.250lm, 18650, $27-29) - Not as bright as the claimed 2,000lm, but still a decent budget light. 5 well spaced brightness levels with last mode memory, USB-C charging, optional battery, and a side clip.
2. Fenix PD36R Pro (2,800lm, 21700, $119) / Fenix PD36R (1,600lm, 21700, $100) - 5 well spaced brightness levels, last mode memory and momentary. Brightness rapidly falls off a cliff on Turbo mode. Battery included and USB-C charging.
3. Convoy S15 (1,500lm, 18650, $16-20) - Cheap, basic, and bright flashlight with 4 brightness levels and last mode memory. Side clip included. Optional battery. No internal USB charging. Convoy (no battery) (with battery).
4. Sofirn SP31 V2.0 XP-L HI (1,200lm, 18650, $25) – This light is directly compatible with the "All In One" adapter designed for the discontinued LightPainter - Ryu's Lightworks flashlight. Five well spaced brightness levels, mode memory and momentary. Sustains Turbo mode longer than most flashlights. Battery and charger are optional.
5. Convoy S2+ CSLNM1 (18650, $17-20) – The CSLNM1 emitter versions, with 12 Group user interface are a great choice for light saber like tools, have last mode memory. These are available with White, Red, Green, Blue, and Orange-Yellow emitters, optionally with battery. Optional side clip. No internal charging.
6. Convoy T4 SST-20 (420lm with 2xAA, $21) - The best budget AA/AAA flashlight I've tested. Sustained 420lm with SST-20 6500k emitter option. Default mode has 4 brightness levels with last mode memory. Optional side clip. Convoy.

Light Painting System Compatibility Matrix

The compatibility matrix looks at flashlight/torch compatibility with the following light painting connector systems - Ants On A Melon, Threeworlds, Light Painting Brushes, Light Painting Paradise, Lumenman, and Liteblades (KYO). T8 Tube manufacturers include Luminosify, Light Painting Tubes, Light Painting King, LightTube Pro, and generic T8 tubes. T8 tubes were tested using Luminosify Choobs, and each manufacturer may have compatibility variations. Please double check with manufacturers for compatibility.

Pixel LED sticks, tubes, staffs, tubes, pois, and hula hoops have been moved to the Light Painting Tools Buying Guide.

2. Best Lights for Night Photography Illumination

This section recommends the best light sources for illuminating scenes instead of creating light trails. This is also relevant to urbex (urban exploration), long exposure night landscapes, astrophotography, and low level landscape lighting genres of photography. The article The Art of Illumination explains these techniques in more detail. Features I look out for when selecting lights for this section includes:

• Different colour temperature (CCT) options e.g. 2700k warm white, 4500k neutral white, or 6500k cool white.
• High colour rendering (>95 CRI) LEDs.
• Colour LED options.
• Decent sustained brightness after 10 to 15 minutes of continuous use.
• Compatible diffusers from companies such as Kaidomain and Convoy,
• Ability to be tripod mounted (all featured flashlights) via clamps such as the Small Rig Super Clamp.

Unless specified otherwise, flashlights in this section have a floody general purpose beam, useful for near field/short to medium distance illumination. Diffusers can turn flashlights into omni-directional light sources. LED panel and cube lights have very floody beams for near field illumination. "Throwy" flashlights are better for medium to long distance illumination, for more fine control of light.

Best Flashlight for Colour Temperature Options (eg. Warm, Neutral, and Cool White)

• Convoy S21E 519A (1,150lm max, 21700, $26) / Convoy S21E XHP50.3 HI R70 (2,000lm max, 21700, $26) - Convoy offer a wide range of white colour temperature (CCT) options in their extensive range of flashlights including the excellent S2+, S21D, and M3-C (the latter two work well with backlight scanners). The S21E is my recommendation for night and urbex photography illumination. 95CRI Nichia 519A LED options in 7 CCTs from 2700k warm white to 5700k cool white. Can sustain 500-600lm. A floodier version with 60 degree lens is also available for near field use. The XHP50.3 HI R70 (70 CRI) version will provide double the lumens, available in 4 CCTs from 3000k to 6500k. Side switch, with stepped or ramped brightness levels. Compatible diffuser. USB-C charging input. Optional 21700 battery. S21E 519A. S21E 519A 60 degree. S21E XHP50.3 HI. 

The Convoy S21E is the best flashlight for colour temperature options such as warm white.

Best RGB (Non-Colour Mixing) Flashlight for Night Photography

• Skilhunt / ESKTE MiX-7 (2,300lm max, 18350, $71-$81) - This "5 in 1" flashlight has a choice of 2,300lm XP-G4 cool white 6500k, or 1500lm 95CRI/R9080 neutral white 4500k LEDs (sustained brightness is 680lm or 420lm respectively) as well as Red, Green, Blue, and Ultra-violet (RGB-UV) LEDs. Included 18350 battery and USB-A to magnetic charging. Skilhunt (affiliate).

Best RGB Colour Mixing Flashlight for Night Photography

• Ants On A Melon RGB Critter 2.0 (18650, $130) – The only consumer grade, colour changing RGB flashlight. With an impressive selection of 39 colours and last mode memory, the Critter is excellent for near field illumination as well as creating light trails. AOAM Orb Tool, DIY Connector, and Illuminator tools can be used to manipulate the light's beam. Ants On A Melon (affiliate) - 5% off with code: KNIGHT

With 39 colour options, the Ants On A Melon RGB Critter is the best RGB colour mixing flashlight for night photography. Model: @belle_m_clare.

Best Single Colour Flashlight for Night Photography

• Convoy S2+ (18650, $15-$20) - Convoy offer many models with colour LEDs including versions of the T5, C8+, M21H, and zoomable Z1. My recommendation is the legendary S2+, available with Deep red, Red, Full spectrum green, Blue, and Full spectrum orange-yellow LEDs, all with battery included. There are also Ultra-violet, and even Infra Red LED options, minus 18650 battery. No internal charging. Compatible diffusers. Convoy S2+ Colour (with battery) S2+ Ultra-violet S2+ Infra-red

The Convoy S2+ with CSLNM1 colour LEDs are the best single colour flashlights for night photography.

Best High Brightness Flashlight for Night Photography

• Olight Marauder Mini (7,000lm max, 32650, $199) - Hugely popular and feature packed flood/throw flashlight. This is my "go to" flashlight for when I need lots of lumens or for backlighting. The 7,000lm floody beam is bright enough for 99% of applications, 600m spot beam, as well as Red, Green, and Blue (RGB) LEDs (though no last mode memory for RGB). Awesome sustained output - can sustain 6,000lm for the first 4mins on L7 mode, or 2,700lm for the first 23mins on L6 mode! 70 CRI. Battery included, USB-A to magnetic charging. Olight USA (affiliate). - 10% off with code: OLIGHTSTORE10 Olight Australia (affiliate). - 10% off with code: LUMEN10

The Olight Marauder Mini is bright enough for 99% of scenes, and has RGB LEDs as well.   Model (top right): @belle_m_clare.

Best Pen Flashlight for Miniature Scenes

• Wuben E19 (200lm max, 2xAAA, $25) - Pen lights are useful for illuminating miniature scenes - flowers, fruit bowls, etc. This light is also excellent for medical use. The Wuben E19 uses a 4000k high-CRI 219C emitter, and has 4 brightness levels with last mode memory. Requires 2xAAA batteries. Wuben (affiliate). - 10% off with code: STEPHENKNIGHT

Best Cube Light for Night Photography

• LumeCube 2.0 (140lux/0.5m or 400lm, integrated battery, $90) - A compact 90CRI 5600k, very floody light, lots of attachment options (including drones), lots of accessories, claimed to be waterproof (but no IPX rating), can be remotely controlled via Bluetooth, and low brightness modes for astro photography. Internal battery and USB-C charging. For most floody lighting uses, you will be far better off with a pocket LED Panel Light (see below).

Best Pocket RGB LED Panel Lights for Night Photography

• Viltrox Retro 12X (1,350lux/0.5m, integrated battery, $90) - The market is saturated with LED panel lights, but this evolution of the Weeylite RB9 hits the sweet spot in terms of performance to price. Adjustable CCT between 2500k and 8500k, Hue, Saturation, Intensity colour mixing, 26 effects modes, on-board or app control. No tint control. Includes a diffuser and hot shoe base. No magnets. Internal battery with 2 hour battery life on max, and USB-C charging. If you want maximum output from a pocket RGB LED panel, consider the Zhiyun M20C. If you want a pocket RGB LED panel suitable for wet weather, consider the Aputure MC Pro.

Special Mentions to...

• Emisar / Noctigon is like a sweet shop for flashlight enthusiasts, offering an amazing selection of rare LED options in a range CCTs, colours, and high CRI options in most of their flashlights. These including off-menu (email before ordering) colour LEDs including XP-E Red, Green, Yellow, Pink, Cyan, and Purple in the D4K and DT8K, plus super warm 1800k GT-FC40 in the KR1 and D1. Lights use the complex Anduril UI, and lack USB charging, so not for muggles. Intl Outdoor.
• Acebeam E75 (4,500lm, 21700, $100) - whilst the E75 doesn't win any of the above categories, it is a very useful compact flashlight with class leading maximum and sustained brightness for it's size. Available with either 70CRI 6500k LEDs (4,500lm max/1,500lm sustained) or 90CRI 5000k LEDs (3,000lm max/1,000lm sustained). Optional traffic wand, and compatible with Convoy M1 diffuser. 21700 battery and USB-C charging. Acebeam (affiliate). - 10% off with code: Stephen10

3. Best Headlamps for Night Photography

I would advise using headlamps/head torches with at least 200 lumens for finding your way in the dark, and for camera pre-focusing - many headlamps will fit that requirement. These featured headlamps have the edge for light painting and night photography uses. Both have red emitters at least x30 brighter than most headlamps.

Best Headlamps for Night Photography

1. Olight Array 2 Pro (1,500lm max, integrated battery, $89) - Centrally located spot and flood white emitters (1500lm), plus a super bright red (200lm) emitter. Last mode memory. No moonlight mode is the only major omission. Integrated battery and USB-C charging. Olight USA (affiliate). - 10% off with code: OLIGHTSTORE10 Olight Australia (affiliate). - 10% off with code: LUMEN10
2. Sofirn D25LR (500lm max, 18650, $25) - Excellent value for money budget headlamp with 90CRI neutral white 500lm LED, and super bright 150lm SST-20 660nm Deep Red LED. Moonlight modes, last mode memory for both Red and White, and easy user interface. Can get rather hot on the highest modes. Optional battery and micro USB charging. This is my most used headlamp when out light painting!

Headlamps with bright red LEDs are very useful for light painting.

4. Conclusion

This article has listed many flashlights or torches that will make light painting much easier. Your light painting techniques will determine which lights are most suitable, and I would advise building up a collection of lights that meet your requirements. If you have questions on any requirements not covered in this article, feel free to reach out to me on social media.

If you need more information about batteries and chargers, please have a look at my Battery and Charger Buying Guide.

Links

Instagram @stephenk_lightart

Redbubble store - prints and more

Home page

Help support this website by donating to:

paypal.me/stephenklightart

Disclaimer

The Convoy M21H was purchased with my own funds. Product links in this review are non-affiliate links. This review is written from the perspective of a light painting/night photographer and flashlight enthusiast.

M21H Red Product Link

M21H Green or Blue Product Link

Design and Construction

Convoy offer a huge range of lights with coloured LEDs. The Osram CSLNM1 red, blue, full spectrum green, and full spectrum yellow-orange are available as options in many lights including the T5, S2+, C8+, and Z1. The new (presumably 7070 format) Getian GT 3V 8A red, green, and blue LEDs are available in the M21H (reviewed here), C8+, M21A, Z1, and L21B. The SST-20-DR deep red and CSLPM1.F1 full spectrum green are also available in a selection of lights.

The Convoy M21H is a medium sized flashlight that uses 21700 Li-ion batteries, and has a 40mm head size. The length is 130.8mm, body tube 27mm width, and the weight is 132g. There is a single side e-switch. The light was priced at US$28 at the time of writing. The strong cardboard packaging only included the flashlight and a lanyard. There was no side clip or spare O-rings included. There are no instructions, but these are on Convoy's product page.

The Convoy S21H uses a single Getian colour LED available in either red, green, or blue. This review is of the green LED version. The emitter is placed in a 12 degree TIR optic, for a relatively throwy beam profile.

The Convoy M21H requires a 21700 Li-ion battery. This is not included. Check out my Battery and Charger Buying Guide for recommendations. Testing was performed with a Samsung 50E 5000mAh 21700 battery. The battery tube has springs at both ends of the battery tube. Charging is claimed to be at 2A, and the 5000mAh battery took 3 hours 5 minutes to fully charge. Charging terminated at 4.21V which is acceptable.

The 40mm head size of the M21H is too large to connect to commercial light painting tools, and thus the M21H is more suitable for the illumination side of light painting and night photography, rather than creating light trails. The M21H does have a compatible diffuser, which creates omni-directional light, like a light bulb. The M21H can also be tripod mounted using a clamp such as Small Rig Super Clamp.

User Interface

The Convoy M21H uses Convoy's easy to use side e-switch user interface. This is the same as found on many of the M21 series lights and popular S21E. From the Convoy website:

1.click the button ——> flashlight is turned on with last brightness ——> press the button,brightness ramping up ——> release and press the button again,brightness ramping down

2.flashlight off, press the button ——> moonlight mode (0.2%) [This brightness will not be remembered]

3.flashlight on or off, 2-click the button ——> turbo 100%

4.flashlight off,3-click the button ——> strobe

5.flashlight off,4-click the button ——> tactical mode, only 100% ,4-click the button again to quit tactical mode.

6.flashlight off,5-click the button ——> voltage detection (* means "flash" , *** pause ******* means 3.7V, )

7.flashlight off,6-click the button ——> normal ramping mode switch to 4modes 1%-10%-40%-100%

8.flashlight off,10-click the button ——> Lock mode,The flashlight will flash once under any operation, which means the flashlight is locked.10-click the button again to quit lock mode. Please note that this is the only way to unlock.

The flashlight has low voltage protection and temperature control protection.

I find this user interface easy to use and remember, yet it has a lot of useful features such as ability to switch between stepped/ramping brightness, battery check, tactical mode, and lock out mode. The strobe is constant frequency. The light can also be locked out mechanically be slightly unscrewing the tail cap. As with previous versions of the Convoy e-switch user interface, the ramping could be slower at lower brightness levels.

Beam, Output, and Runtime

The Convoy M21H is available with a range of LED emitter versions. This review is using the high output 3V 8A Getian colour LEDs, available in either monochromatic Red 620-630nm, Green 520-530nm, or Blue 450-460nm. The Green LED version was tested. The LED is placed in a TIR optic, with 12 degree hotspot beam angle. This created a relatively throwy beam, with a fairly dim but wide spill beam. This beam profile may be useful for hunting, or medium to long range illumination. I would like to see a more floody TIR optic choice to be added to the product listing - I'm not sure if Convoy's range of 35mm optics designed for the GT-FC40 and XHP.70.x are suitable for this LED.

Testing disclaimer - I tested both relative lumen output, and peak beam intensity. When testing with white light output, my results are usually within +/-10% accuracy of test results using expensive integrated spheres and light meters. However, I would debate the accuracy of my testing equipment when testing monochromatic light. For example differences in the primary green wavelength used by different lights may result in inaccuracies in testing. Despite this, these results did correlate with visual comparisons.

Relative brightness/lumen output for green LED output, tested using the ceiling bounce method with Light Meter App/Google Pixel 6.

• Convoy M21H 100% - 100%
• Convoy M21H 40% - 61%
• Convoy M21H 10% - 28%
• Convoy M21H 1% - 4%
• Convoy S2+ CSLNM1.F1 100% - 93% (*note: this is full spectrum green and comparison may be innacurate)
• Skilhunt MiX-7 100% - 38.4%
• Olight Marauder Mini 100% - 29%
• LED Lenser P7QC 100% - 18%
• Weeylite RB9 Panel Light 100% (H 120, S 100%) - 125%

Relative peak beam intensity or illuminance, measured with a Opple Light Master 3 Pro.

• Convoy M21H 100% - 100%
• Convoy M21H 40% - 58%
• Convoy M21H 10% - 10%
• Convoy M21H 1% - 1%
• Convoy S2+ CSLNM1.F1 100% - 213% (*note: this is full spectrum green and comparison may be innacurate)
• Skilhunt MiX-7 100% - 11.1%
• Olight Marauder Mini 100% - 6.24%
• LED Lenser P7QC 100% - <1%
• Weeylite RB9 Panel Light 100%, 120degrees, 100% sat - <1%

On 100% "Turbo" mode, the light stayed above 92% until 140 seconds, followed by a gradual stepdown over the next minute to 57% output. Output then stayed relatively stable until it dropped to 1% mode at 124 minutes. Low battery warning (red flashing button) started at 132 minutes. As is often the case with Convoy flashlights, the light runs very hot, but within safety limits for Li-ion batteries.

As the brightness level lowers, there is a change in hue towards yellow. This is most notable on 1% mode. I have not noticed this before with coloured LEDs, but upon re-testing other lights with green LEDs, it is perfectly normal.

Not surprisingly, the Convoy M21H with Getian GT 8A green LED, has higher brightness/lumens and peak beam intensity than all other (single battery) monochromatic green lights I've tested by quite a large margin. It is possible that the Emisar D4K or Emisar D8K with 4 or 8 XP-E colour LEDs may rival the maximum lumen output, though probably not the sustained brightness. It should be noted that the (non-monchromatic) full spectrum green CSLNM1.F1 performed very well in my tests despite the low current, most likely due to having a wider range of wavelengths. I would be interested to compare the CSLNM1 vs Getian GT colour for monochromatic colours (e.g. red and blue) - please donate if you want me to do that review!

If you need a bright and throwy red, green, or blue flashlight, the Convoy M21H is a good option. This LED is also available in other Convoy flashlights, all of which are relatively throwy (the L21B will have the longest throw with a "pencil like" beam). The zoomable Z1 may be useful for the illumination aspect of light painting and night photography. I would like to also see the Getian GT coloured LEDs in the more floody S11, which is the smallest Convoy body suitable for 7070 size LEDs. If Convoy's floodier (25 and 36 degree) 35mm optics are compatible with this LED , I would like to see them added as an option in the product listing.

Conclusion

Positives:

• Impressive maximum and sustained coloured light brightness/lumens.
• Impressive peak beam intensity/throw.
• Decent runtime.
• Good value for money.
• Simple user interface, with ramping or stepped brightness, and last mode memory.
• Moonlight mode.
• Internal USB-C charging.
• Compatible with diffuser and tripod mount.

Negatives:

• Head size is too large for connecting to light painting tools.
• No battery included.
• Ramping is too fast at lower brightness modes.

If you want best in class brightness and impressive throw from a single colour red, green, or blue LED, then the Convoy M21H is an excellent choice. Convoy offers a huge range of flashlights with coloured LEDs for niche uses. However, I would like to see some floodier TIR lens options in the light's listing, as well as use of the Getian GT colour LEDs in a flashlight with a smaller head size for connecting to light painting tools.

M21H Red Product Link

M21H Green or Blue Product Link

Best Flashlights for Light Painting Photography 2024.

Links:

Instagram @stephenk_lightart 

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Help support this website by donating to:

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Disclaimer

The MiX-7 was sent to me by Skilhunt for an honest review. This flashlight is reviewed from the perspective of a light painting photographer and flashlight enthusiast. Skilhunt are in the process of re-branding to ESKTE.

Skilhunt MiX-7 Product Page

Construction and Design

The Skilhunt MiX-7 is a compact and unique red, green, blue, white, and UV (RGB-W-UV) flashlight, that uses a 18350 battery. The light is available in multiple body colour versions (Black, Green, Blue, Orange, and White MAO), and two white LED versions - Cree XP-G4 cool white 6500k, or high CRI Nichia 519A neutral white 4500k. The light is operated by a side switch. It looks to me like a "Very Mini Olight Warrior Mini" but with UV instead of a long throw central LED.

The MiX-7 has a head diameter of 32.5mm, length of 78,8mm, and weight of 63.5g (excluding battery). The light has a side switch, which doubles up as a magnetic charging port. The light has an IPX-8 rating, and is claimed to be impact resistant to 1m. Depending on the chosen configuration, the price varies between US$69.90 to US$122.48 (price at the time of writing).

The Skilhunt MiX-7 arrived in ESKTE branded packaging. The package also included a 18350 Li-ion battery (inside the light), magnetic charging cable, side clip, lanyard, instructions, ZWB2 filter, and spare O-rings.

The light comes with a 1100mAh 18350 Li-ion battery, which is half the length of an 18650 battery. This can either be charged in a dedicated Li-ion charger, or with the light's internal charging system. The light uses a proprietary USB-A to magnetic charging cable that attaches to the opposite side of the light to the side e-switch. Charging time was 100 minutes, and the charging rate is at 1A. Battery charge terminated correctly at 4.19V.

For the creating light trails part of light painting photography, the MiX-7 does fit into the Light Painting Brushes Universal Connector, where the side switch is partially accessible. Personally, I would spend a little bit more on the RGB Critter 2.0 instead. The MiX-7 is not compatible with other light painting systems. The MiX-7 is however, very suitable for illumination side of light painting and night photography. It is compatible with Kaidomain D37 diffusers, Spicy3Dprint wand, and can be tripod mounted with a Small Rig Super Clamp (or alternative).

User Interface

The Skilhunt MiX-7 uses a side e-switch for the UI. The below instructions are adapted from the Skilhunt website.

On/Off

Single click the side switch. Last mode memory.

Change Brightness Level

When the flashlight was OFF status:

• Single click switch to Main Group (H>M1>M2).
• Quickly double clicks switch to Turbo Group (T1/T2).
• Quickly triple-click switch to Strobe Group (S1>S2>S3>S4).
• Hold press switch 0.5 second to Low/Color Group (L1/R1/G1/B1/UV1,L2/R2/G2/B2/UV2).

When the flashlight was ON (Turbo Group, Main Group, Low/Color Group):

• Press and hold the switch to automatically cycle, the level is selected when the side switch has been released, turn off memorised.

When the flashlight was ON Main Group(H>M1>M2):

• Quickly double clicks switch transfer Main Group to Turbo Group(T1/T2), repeat quickly double clicks switch back to Main Group.
• Quickly triple clicks switch transfer Strobe Group(S1>S2>S3>S4), repeat quickly triple clicks switch back to Main Group.
• Quickly click and hold switch transfer Main Group to Low/Color Group, repeat quickly click and hold switch back to Main Group.

When the flashlight was ON Strobe Group(S1>S2>S3>S4):

• Quickly double clicks switch transfer S1-S2-S3-S4, turn off memorised.

Lock Out and Location Indicator

When the flashlight is off, quickly click switch 4 times to access the button lockout

mode (location indicator activation at same time, the indicator light flashes every second.

Double clicks can turn on/off the indicator). Quickly click switch 4 times, the button

unlocks and activates Low mode.

Low Voltage Indication

When the battery voltage drops below 3.0V, the indicator flashes twice every 2 seconds.

When the battery voltage drops below 2.7V, the light will turn off.

Battery Power Indicator

Every time the light turns on, the side indicator will light for 5 seconds to display the battery power.

Constant blue indicator: 100%~80% power

Blinks blue indicator: 80%~50% power

Constant red indicator: 50%~20% power

Blinks red indicator: 20%~0% power

Whilst there is some complexity and a learning curve, I do like the user interface. There are 4 mode groups, and each is accessed from off by a different number of clicks or hold. Each of these 4 main groups has last mode memory, so it is for example possible to memorise (White) High in the Main Group, and, and Red High from the Low/Colour Group to be used consecutively for light painting/night photography. This is very useful, and a big improvement over the Olight Marauder Mini that lacks last mode memory for the RGB LEDs. There are a few annoying quirks, like cycling through Strobe mode is inconsistent to cycling through the other mode groups.

There are four strobe modes. White (alternating frequency), Red SOS, Red beacon, and Red>Green>Blue. None of these are particularly useful for light painting photography. A constant frequency strobe, and faster RGB strobe would have been more useful.

The side e-switch is rather sensitive, and I did accidentally activate the light on a few occasions. The light can be electronically or mechanically locked out.

Beam, Output, and Runtime

The Skilhunt MiX-7 uses the following emitters:

1. Triple white LEDs - Cree XP-G4 6500k 70CRI, or Nichia 519A 95CRI/R9080 4500k.
2. Red LED - Cree XP-E2 Red 620-630nm.
3. Royal Blue LED - Cree XP-E2 Royal Blue 450-460nm.
4. Green LED - Cree XP-E2 Green 520-530nm.
5. UV LED - Seoul Viosys UV Z5-1B 365nm (with optional ZWB2 filter).

The white and RGB LEDs are arranged in a pattern of 6 LEDs, with the 7th UV LED being placed in the centre. The LEDs are all placed in orange peel reflectors. The beam profile is what I would call a "general purpose beam", having a good mix of flood and throw. The white LEDs have a wider 95 degree spill beam than the RGB LEDs with an 80 degree spill beam. There is a slight edge cut off for the spill beam for the RGB LEDs, but that isn't noticeable in real world use.

It is great to see Skilhunt offer a choice of more efficient 6500k LEDs to maximise lumens, or high CRI 4500k to maximise colour rendering of illuminated objects. As a night photographer, I generally recommend selecting the Nichia 519A R9080 4500k version for better colour rendering of illuminated objects. However, the cool white XP-G4 6500k version will also work well when contrasted with against primary colours in night photography.

It should be noted that the Blue is Royal Blue, sometimes known as Forensic Blue. This can highlight fluorescent objects, but also rapidly over-saturates camera sensors. I would have prefered a "normal" Blue 465-485nm as per the Olight Marauder Mini. Some Astro-photographers may have preferred a Deep Red instead of Red, for improved night vision.

Claimed Brightness/Runtimes:

• Turbo 1 - 2300lm XP-G4 / 1500lm 519A / 56mins (step-down to High 1 after 1 minute).
• Turbo 2 - 1250lm XP-G4/ 800lm 519A / 60mins (step-down to High 1 after 5 minutes).
• High 1 - 680lm XP-G4 / 420lm 519A / 60mins.
• Medium 1 - 230lm XP-G4 / 135lm 519A / 180mins.
• Medium 2 - 65lm XP-G4 / 40lm 519A / 9h.
• Low 1 - 6lm XP-G4 / 4lm 519A / 28h.
• Low 2 - 1lm XP-G4 / 0.5lm 519A / 180h.
• Red 1 - 165lm / 85mins.
• Red 2 - 20lm /12h.
• Green 1 - 340lm / 70mins.
• Green 2 - 70lm / 10h.
• Blue 1 - 45lm / 65mins.
• Blue 2 - 7lm / 9h.
• UV 1 - 1000mW / 140mins.
• UV 2 - 200mW / 9h.

Claimed Peak Beam Intensity:

• Turbo 1 - 8300cd (182m) XP-G4 / 3300cd (115m) 519A.
• Red 1 - 950cd (61m).
• Green 1 - 2300cd (96m).
• Blue 1 - 40cd (12m).

Brightness (lumens) and runtimes with the Nichia 519A emitter were tested to be within +/-10% of the manufacturers specification. I tested Turbo 1 to be 1,605 lumens, and High 1 to be 440 lumens, slightly higher than specification. I tested peak beam intensity on Turbo 1 to be 4613cd (135m), though my Opple Light Master 3 Pro does tend to overestimate lux/cd. For the light's compact size, the maximum and sustained brightness are quite impressive. Sustained brightness (lumens) is similar to a Lume Cube 2.0, but with far more throw.

The RGB-UV LEDs also have a decent regulated output with no brightness step-down. The RGB lumen output and peak beam intensity was tested to be higher than the Wurkkos WK40, LED Lenser P7QC, and Olight Marauder Mini. In terms of peak beam intensity, the MiX-7 outperforms the aforementioned RGB flashlights, and pocket LED panel lights (which are designed for nearfield illumination), but cannot compete with the Convoy S2+ CSLNM1 colour versions.

Despite it's name, the MiX-7 cannot colour mix. If you want colour mixing from a flashlight, your best choice is the Ants On A Melon RGB Critter 2.0 which has a single 3W RGB LED module. The Critter has 39 colour modes, and 10 brightness settings. If you want colour mixing with a very floody beam for nearfield illumination, then you are better off with a pocket RGBWW panel light such as the excellent Weeylite RB9, Viltrox Retro 12X, or Zhiyun M20C. These have hue, saturation, and intensity adjustment. I'll note that whilst the Wurkkos WK40 can technically do basic colour mixing, it was so bad at colour mixing that it is not worth considering for that that purpose.

The UV LED has a wavelength of 365nm, which is preferable for making things fluoresce. The light includes a ZWB2 filter which filters out most visible light. Due to a patent troll in the USA, for users in the USA, this has to be installed by the user. As I'm based in Australia, it was pre-installed on my sample. Many serious users of UV lights will like that feature, but personally I like it to be a bit more obvious when a UV light is turned on and will probably remove the ZWB2 filter - but so far I've been unable to unscrew the bezel. Never look directly at UV LEDs, and do not use UV lights for prolonged periods of time. I'll note that the Royal Blue LED will also make some things glow with better colour fluorescence compared to UV that just makes things fluoresce white.

Due to the impressive brightness, and small 18350 battery, it is no surprise that the runtimes are relatively short when used on maximum brightness. This is not a problem if the light is only being used whilst light painting/night photography, but I would not use it as a primary flashlight for long explores or night hikes. I would like to see an 18650 tube version of this light, which would allow runtimes to be tripled.

White light hotspot correlated colour temperature (CCT), colour rending index (CRI Ra), and tint/DUV for the Nichia 519A LED:

• Turbo 1 - CCT 4447K, CRI 96.9 Ra CRI, Tint -0.0013 DUV.
• High 1 - CCT 4351K, CRI 97.6 Ra CRI, Tint -0.0008 DUV.
• Medium 2 - CCT 4293K, CRI 97.9 Ra, Tint -0.0008 DUV.

As expected for the Nichia 519A LED, the CRI is excellent at >96 Ra, and Tint is perfectly neutral (no green or magenta hue). This means that objects illuminated by the Mix-7 with 519A LED will have colours (notably reds and browns) rendered much better than 70 CRI cool white LEDs found on most flashlights. With a CCT in the 4200-4500k range, the beam is at the warmer end of neutral white.

No Pulse Width Modulation (PWM) was detected visually, or by my phone camera.

Outdoor Beam Shots. f/5.6, 1.6secs, ISO1000.

Conclusion

Positives:

• Fantastic "5 lights in 1" concept, combining RGB-W-UV in a compact flashlight.
• Choice of neutral white high CRI, or cool white for max output.
• Decent maximum and sustained brightness (both white and RGB) for the light's size.
• Last mode memory for all modes.
• Integrated charging.
• Moonlight mode.
• Compatible with diffusers, wands, Universal Connector, and can be tripod mounted.
• It's cute!

Negatives:

• No RGB colour mixing (this would ideally require a single chip RGB LED).
• Incompatible with most light painting systems for creating light trails.
• Side switch is rather sensitive.
• I would prefer Blue instead of Royal/Forensic Blue.
• No "proper" momentary mode.
• Relatively short runtimes due to the 18350 battery.
• Charging isn't USB-C.
• Strobe is alternating frequency.

The Skilhunt / ESKTE MiX-7 is very innovative flashlight. It could also be described as a "Swiss Army Knife" flashlight for illumination with so many emitter options. Combining impressive maximum brightness, choice of high CRI neutral or cool white, and bright RGB-UV LEDs, it is one of the best compact flashlights available for light painting illumination and night photography. I'm sure many other users will find this light fun to use.

I would like see an 18650 battery tube, and "normal" Blue LED in future versions. If you require RGB colour mixing, or an RGB flashlight for creating light trails, then there are other flashlight alternatives which have been discussed in this review.

Skilhunt MiX-7 Product Page

Best Flashlights for Light Painting Photography 2024.

Links:

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Home page

Help support this website by donating to:

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Light Painting Brushes (USA)

One of the original and most well known light painting systems created by Jason D Page. Light Painting Brushes produce an extensive range of light painting tools including plexiglass blades, fiber optic brushes, light swords, light writers, light pens, glitter sticks, and the occasional limited edition product. These tools connect to a wide range of torches/flashlights via the Universal Connector.

Light Painting Brushes (Worldwide) website.

Rigu - UK distributors website.

Lumipop - French distributors website.

Ants On A Melon (USA)

Ants On A Melon (AOAM) burst back into the light painting scene in 2022 with the best RGB flashlight on the market, the RGB Critter 2.0. This is compatible with an extensive range of light painting tools including the Modular Sol Saber, Modular Lumi Saber, Light Painting Blades, BitWhip, Jupiter Rope, Fiber Optic Dusters, Orb Tool, and Illuminator. AOAM products are also very popular in the flow arts and EDM scene. AOAM are always busy with research and development, and I'm sure we will see more exciting products in 2024.

AOAM website. 5% off with code: KNIGHT

Light Painting Paradise (Spain)

One of the original light painting companies, originally known as Herramientas Light Painting. Light Painting Paradise (LPP) produce a flexible range of professional quality light painting tools including plexi rods, plexiglass shapes/blades, fiber optic brushes, colour filters, and fiber optic cables. LPP took a temporary break in part of 2023, after the awesome LightPainter Ryu's Lightworks flashlight was discontinued. 2024 is likely to bring some interesting new products for the light painting community, with the new Orb Tool already released.

Light Painting Paradise website - 10% off with code: Stephen Knight

Light Painting Tubes / The Light-Painting Store (Canada)

Light Painting Tubes was created by tube light painting and YouTube aficionado Eric Pare. The company sells an extensive range of T8 tubes, Holosquares, and lots of accessories. Other products include the Needle Light and Light Painting Whips which are compatible with connectors from Light Painting Brushes and Liteblades.

Light Painting Tubes website.

Luminosify (UK)

Luminosify was founded in 2021, and sell a wide range of different T8 tubes, known as "Choobs", between 40cm and 1m in length. The unique Tri-Colour Evolved Choobs are proving to be very popular with light painters, with new Choobs added during 2023.

Luminosify website.

Liteblades (Canada)

Liteblades was originally created in 2013 by light painting pioneer Patrick Rochon, with the store now run by Eric Pare. Liteblades produce the KYO Blade and KYO Tube connectors which connects various Klarus XT11 series flashlights to a wide range of light blades and other tools respectively. The KYO Blade allows two light blades to be inserted for some cool mid-air effects.

Liteblades website.

Lumenman (Germany)

Lumenman tools are created by photographer Bernhard Rauscher. Lumenman sells a range of light blades, V25 light rod, and the unique Spira tool, which connect to torches via the Lumenman connector.

Lumenman website.

Lightpainting.me (Germany)

Lightpainting.me sell a range of light painting blades, adapters, specialist torches, and remote switches for torches. During 2023, lightpainting.me introduced the Magic-Light RGB torch/flashlight, and impressive looking Magic-Tube pixel tube for creating light trails.

Lightpainting.me website

Light Painting King (Germany)

Light Painting King sell a range of T8 tubes (including waterproof versions) and light blades, as well as torch specific T8 tube adapters. They are also the German distributor for Ants On A Melon.

Light Painting King website.

Light Painting Accessories (UK/Netherlands)

Mark Cox (UK) and Cor Dielemens (Netherlands) make useful 3D printed light painting accessories including a RGB Critter to Luminosify Choobs/Light Painting Brushes/Light Painting Paradise adapters, Ryu's to Luminosify adapter, and coloured Cone Tips for Luminosify Choobs and Light Painting Brushes Collapsible Swords. Contact via social media. Lightinguptheport Instagram. Facebook.  Cor Dielemans Instagram.  Lightpaintingaccessories Instagram.

Nanlite (China)

Nanlite make a large range of photography lights. Most interesting for light painters is the Nanlite Pavotube T8-7X which is a 3ft long light tube with 10 pixel effects modes.

Nanlite website

LightTubePro (Netherlands)

LighTubePro sells a range of T8 tubes and a small selection of light blades.

LightTubePro website.

DKL Pro Tools (Spain)

Children of Dark Light produce the Scanner DKL Pro tool for light calligraphy and illumination. Contact via social media.

Children of Darklight Website.

Threeworlds (Australia).

Threeworlds is a "music, movement, and meditation" company based on the Gold Coast in Australia. They sell the RGB Concentrate C5 light unit, glow staffs, poi products, and lots of musical instruments.

Threeworlds website.

Carles Domenech (Spain)

Carles Domenech sells an wide range of unique light painting tools, including the Degradeitor and Trazador V2.0 light bars.

Carles Domenech website.

Ignis Shop (Czech Republic)

Ignis produce a wide range of flow arts tools including colour changing pois, hula hoops, sticks, staffs, and a colour changing RGB torch for light painting.

Ignis Shop website 

L.A.C.E. (UK)

L.A.C.E. sells a 3D printed Backlight Scanner, with custom sized connector for your choice of torch/flashlight. Contact via social media.

Lace Light Photos Instagram. Facebook. 

DARIUSTWIN (USA)

DARIUSTWIN, AKA light drawing stop motion expert Darren Pearson, sells the Night-Writer light pen, and Egg Light, though at the time of writing these were not available.

DARIUSTWIN website. 

Fiberflies (USA)

Flow arts manufacturer, and creator of the Pixelwhip 4. Sold by other re-sellers in some markets.

Fiberflies website.

GloFX (USA)

Flow arts manufacturer, and creator of the Space Whip Remix, Cosmic Cable, and Hypno Levitation Wand.

GloFX website.

Lighttoys (Czech Republic)

Pyroterra Lighttoys are a high end, flow arts manufacturer of the programmable Visual Poi, Visual Wand, Visual Hoop, and LED Buugeng.

Lighttoys website.

Moodhoops (USA)

Flow arts manufacturer with a wide range of products including the programmable Future Hoop, Future Poi, and Future Staff.

Moodhoops website.

Fotorgear (China)

Fotorgear produce the Magilight pixel light painting pixel stick. I have received some negative feedback from light painters related to poor reliability and support.

Fotorgear website.

Lume Tools (Spain)

Lume Tools sells a calligraphy Light Bar and Backlight Scanner. Contact via social media.

Lume Tools Instagram.

Links

Home page

Best Flashlights for Light Painting Photography 2024.

Instagram @stephenk_lightart

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Disclaimer

The Olight Arkfeld Pro was purchased with my own funds. This flashlight is reviewed from the perspective of a light painting photographer and flashlight enthusiast.

Product Page Olight USA - 10% off with code: OLIGHTSTORE10

Product Page Olight Australia - 10% off with code: LUMEN10

Construction and Design

Olight are one of the most well known consumer flashlight manufacturers. Their marketing is well ahead of the competition, with frequent flash sales, and regular new product drops. The original, and hugely popular Arkfeld, was a rectangular shaped EDC-type flashlight with a white LED and green laser. Olight later introduced the Arkfeld UV with white and UV LEDs. The Arkfeld Pro combines these two lights into a slightly larger triple emitter flashlight, with a power boost compared to the previous Arkfeld generations:

• 1,300 lumen white LED (cool white, though neutral white is available in some markets).
• 900mW 365nm UV LED.
• 0.39mW Class 1 Laser or 5mW Class 3R Laser (depending on the market). Both 510-530nm Green.
• Integrated battery capacity increased to 1,500mAh.

Unlike most flashlights that are cylindrical, the Arkfeld Pro is a rectangular "TV remote" shaped flashlight. The dimensions are 120mm x 27mm x 16mm. This is a similar length to a 18650 tube light, which typically have a diameter of 23-26mm. The Arkfeld Pro fits into pockets much more easily than 18650 tube lights. Weight is 111g, which is similar to an 18650 tube light. Construction is aluminum, with a stainless steel pocket clip. The sides of the light have grooves for added grip.

The Arkfeld Pro arrived in an Olight branded box. The light comes with the charging cable, safety guide, and instructions. A two-way pocket clip is integrated. The light has an IPX7 rating, so should survive a drop into a puddle. At the time of writing the Arkfeld Pro was available in Black, Orange, and Zombie Green, though Olight regularly release new colour versions of existing lights. The Arkfeld Pro usually retails for $99.99, though you can use the discount codes in this review, or wait for Olight's regular sales for a better price.

The Arkfeld Pro uses Olights proprietary MCC magnetic charging system. This is good if you own other Olights that use the same system. However, I'm sure many new customers, and the European Union would prefer USB-C charging. The internal Lithium Polymer battery has a capacity of 1,500mAh. This is 50% more than the original Arkfeld, but only half the capacity of an 18650 tube light. Charging time was 2h45mins. The Arkfield's battery is not user replaceable, however the Arkfeld does have an impressive lifetime warranty that includes the battery!

This flashlight is not compatible with any light painting systems, or diffusers. It can be mounted on a tripod with clamps. Due to the triple emitters, it does have some niche uses for the illumination side of light painting and night photography.

User Interface

The Arkfeld Pro has a user interface (UI) that utilises a selector switch for the emitter, and a push button switch for on/off and changing brightness levels. Despite lots of functionality, the user interface is very simple to use. I won't explain the exact UI functions here, but will explain the features.

• Selector switch for UV, Laser, and White Light.
• 5 white light brightness levels - Moonlight, Low, Medium, High, Turbo.
• 1 brightness level for UV and Laser.
• Last mode memory for Moonlight, Low, Medium, and High. (High not memorised after 1 minute off-time).
• Direct access to Moonlight from Off.
• Turbo and Strobe can be accessed from On or Off via double and triple click respectively.
• White light can be access when the Laser is On.
• Excellent 4 bar/5 setting battery charge remaining indicator.
• Timer and lockout functionality.

The Arkfeld Pro has a 13Hz constant frequency strobe, which is excellent for tactical use (it is far more annoying than alternating frequency strobes which are the current trend with flashlight manufacturers), and for light painting photography. However due to the light's shape, side switch, and very floody beam, the Olight Warrior Nano and Warrior 3 are better for use with light painting systems.

Beam, Output, and Runtime

The Arkfeld Pro uses the following emitters:

1. Osram Osconiq P 3737 (P9) white LED - cool white 5700-6700k (tested). Neutral white 4000k-5000k is available in some markets. Very floody TIR optic.
2. Luminus SST-10 900mW 365nm UV LED. Reflector optic.
3. 0.39mW Class 1 Laser (tested) or 5mW Class 3R Laser. Both 510-530nm Green.

Claimed/Measured Brightness:

• Turbo - 1300 / 1250 lumens (steps down to 420 lumens from 3 to 4 mins).
• High - 420 / 410 lumens.
• Medium - 100 / 105 lumens.
• Low - 15 / 15 lumens.
• Moonlight - 1 / 1 lumens (visual estimate)
• Strobe - 1300 lumens (estimated).
• UV - 900mW / unable to test (step down to 560mW from 5 mins).
• Laser 0.39mW power / unable to test.

Claimed/measured Peak Beam Intensity:

• Turbo - 2,606cd (102m) claimed / 3,223cd (113m) measured.
• High - 1051cd (64m) measured.
• Medium - 266cd (32m) measured.
• Low - 39cd (12m) measured.
• Moonlight - unable to test.

Lumen output was close to claimed specifications, and peak beam intensity was higher than claimed. The maximum white light brightness of 1,300 lumens is pretty impressive for the light's size. Due to Olight's efficient LED drivers, the Arkfeld Pro managed to sustain this maximum brightness for an impressive 3 minutes. After step down, the sustained brightness is still reasonable for the light's dimensions. The brightness levels are well spaced, and the Moonlight mode is welcome as this is an EDC flashlight. This is a very floody light, most likely due to the TIR optic size limitation. It is thus more useful for near field illumination, such as around the house and garden. However, it can illuminate a football field for a few minutes on Turbo.

The UV brightness was pretty decent, and with a 365nm UVA wavelength which is good at making things fluoresce (glow). UV lights need to used with care, for example, don't use it for long periods or look directly at the emitter. There is no ZWB2 lens filter, so there is some visible light emitted as well as non-visible UV light. From a safety feature, that is probably a good thing for a consumer orientated light as you know when the light is on. UV lights are useful for multiple niche use cases including counterfeit note detection, mineral analysis, detection of certain insects, checking how dirty your hotel room is (which can be quite scary), or just making things glow. From a light painting and night photographer point of view, UV has its uses, but I would rather have a deep red LED instead of UV.

There are two green laser emitter versions. In Australia, UK, and some European countries, there is a limit to 1mW power output for laser pointers being sold by retailers and/or being used by consumers. For these countries, the 0.39mW version is used, as per the previous Arkfeld generation. This is a Class 1 laser, and regarded as being very safe to use. I'm not sure why Olight didn't choose a 0.9mW laser source for maximum brightness available within limitations? For light painters using the Class 1 laser, the optimal exposure for illuminating objects with the laser is f/5.6, ISO800, which requires very very dark ambient light conditions!

In countries such as the USA and Canada, the 5mW version is sold. This is a Class 3R laser. This is considered safe for unintentional eye exposure (<1/4sec), because a person will normally turn away or blink to avoid the light. However, intentionally staring at the laser source (>1/4sec) can cause injury to the retina. Class 3R lasers can temporarily flash-blind a pilot or driver. Whilst it is illegal to aim lasers at moving vehicles or aircraft in most countries, there is a risk of misuse by irresponsible users. There may also be a risk of damaging a camera sensor if aimed at the lens. I'm not impressed that Olight are marketing this laser as a pet toy - Class 3R lasers are not toys! Saying that, my daughter now wants a kitten as an accessory to the Arkfeld Pro.

Be careful taking the Arkfeld Pro with you if travelling internationally, as Class 3R lasers are illegal to use in many countries, even the Class 1 version may be problematic in a few places. For Australians in New South Wales, be aware that having any laser pointer in your possession without a reasonable excuse is illegal. I'm not risking taking my Arkfeld Pro through Dubai as there is a high chance of it getting confiscated.

Claimed Runtimes:

• Turbo - 130mins
• High - 147mins.
• Medium - 9h45mins.
• Low - 55h.
• Moonlight - 11days.
• UV - 315mins.
• Laser - 174h Class 1 / 61h Class 3R.

Runtimes on Turbo and High were tested to be within +/-10% of specification. I have not tested the other modes, but generally Olight are very honest with their specifications.

White light hotspot correlated colour temperature (CCT), colour rending index (CRI Ra), and tint/DUV:

• Turbo - CCT 6188k, CRI 71.6 Ra CRI, Tint +0.0040 DUV.
• High - CCT 6031k, CRI 70.5 Ra CRI, Tint +0.0052 DUV.
• Medium - CCT 5966k, CRI 70.0 Ra, Tint +0.0058 DUV.
• Low - CCT 5943k, CRI 71.6 Ra, Tint +0.0053 DUV.
• Moonlight - unable to test.

The cool white Osram Osconiq P 3737 is generally better than many of it's 70CRI 3535 format LED peers when it comes to tint and CRI. CRI stayed above 70 on all brightness levels. There is a very slight green tint, but not an issue in real world use. There is some tint and CCT shift throughout the beam as can be seen in the beam profile photo.

For an EDC category flashlight aimed at near field illumination, I would much prefer a high CRI LED. Unfortunately most of Olight's customers just want more lumens, so that's what they get. Flashlights from consumer manufacturers have a long way to catch up with the light quality from LED panel light manufacturers where >95CRI is standard.

No Pulse Width Modulation (PWM) was detected visually, or by my phone camera.

Conclusion

Positives:

• Good build quality.
• Good maximum brightness/size.
• Versatile light with white light, UV, and laser options.
• Fairly simple user interface.
• Internal charging.
• Constant frequency strobe.
• More pocketable than cylindrical flashlights.
• Good battery charge remaining indicator.
• Moonlight mode.
• No PWM.
• Lifetime warranty
• Looks very cool!

Negatives:

• No high CRI version.
• White light beam is a bit too floody.
• Neutral white option is not available in Australia.
• Olight should not be marketing a Class 3R laser as a pet toy.
• Doesn't use USB-C charging.
• Doesn't change TV channels ;-)

The Olight Arkfeld Pro is a Swiss Army Knife of a flashlight, combining white light, UV, and a green laser. It fits into the pocket easier than most cylindrical flashlights, making it an excellent choice for EDC. White light output is very impressive for the size, though I would prefer a more general purpose beam profile, and high CRI LEDs. Despite lots of functionality, it is very easy to use. The use of a Class 3R laser in some markets requires user responsibility. I think a 0.9mW Class 1 laser would have been a better choice in markets with 1mW limitations. Be aware of laser pointer laws and regulations wherever you intend on using the Arkfeld Pro.

Personally, I would love to also see an "Arkfeld Even More Pro" aimed at the night/astrophotography market with a high CRI neutral white LED, deep red LED (with multiple brightness levels), and 0.9mW/5mW laser.

Product Page Olight USA - 10% off with code: OLIGHTSTORE10

Product Page Olight Australia - 10% off with code: LUMEN10

Best Flashlights for Light Painting Photography 2024.

Links:

Instagram @stephenk_lightart

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Home page

Help support this website by donating to:

paypal.me/stephenklightart

Disclaimer

The Wurkkos TD03 was sent to me for a review by Wurkkos. This review does not contain any affiliate links to Wurkkos. This flashlight is reviewed from the perspective of a light painting photographer and flashlight enthusiast.

Wurkkos TD03 Product Page

Construction and Design

Wurkkos are one of the most well known budget flashlight manufacturers. The TD03 is one of 4 lights (at the time of writing) in Wurkkos's TD range of tail switch "tactical" flashlights .It is an 18650 battery tube format flashlight, with a rotary and push button based tail switch, a head diameter of 28mm, length of 160mm, and weight of 78g (excl. battery). The light uses a powerful Luminus SFT-40 LED, unusually available in neutral white 5000k, and claimed to reach 1800 lumens. The retail price at the time of writing was just US$31 without battery, and US$34 including a 18650 Li-ion battery.

The light was delivered to Australia within 10 days from being dispatched. The TD03 arrived in basic but adequate branded packaging. Included accessories were a conventional side clip, USB-A to USB-C charging cable, lanyard, spare O-rings, and instructions. The light has an IP68 rating, and is designed to be drop proof to 1.5m.

A high quality button top unprotected 3000mAh 18650 Li-ion battery is optional, and I would highly recommend purchasing this as an option. This light was tested with the optional battery. As usual, the +ve end of the battery is at the head end of the flashlight. The head unscrews from the tube only. The tail cap end is fixed. There are springs at both end of the battery tube. The flashlight has internal USB-C charging, with the port on the side of the flashlight head. Charge was measured to terminate at 4.17V which is acceptable. Charge rate was estimated at 2A.

This flashlight is compatible with Light Painting Brushes (Universal Connector), Light Painting Paradise, and most T8 tube based (Light Painting Tubes, Luminosify, Light Painting King) light painting systems. It fits U-shaped or clamp tripod mounts.

User Interface

The Wurkkos TD03 has an interesting user interface (UI) that combines a rotary selector switch, and push button tail switch.

The rotary selector switch has 3 settings, with the following UI using the tail switch for each setting.

• Off - Off by default. Momentary Strobe when switch depressed.
• Daily Mode - No off state, always on. Short press cycles Low>Med>High>Turbo>Low with last mode memory. Long press to access Strobe mode. (Last mode memory will reset if the head is unscrewed).
• Tactical Mode - No off state, always on. Turbo by default. Short press cycles Turbo>Medium>Turbo. Long press to access Strobe mode.

It is excellent to see Wurkkos design a UI that is different to what other manufacturers are doing. There are too many flashlights with almost identical UIs, so it is good to see something different. This UI is clearly designed for the "tactical" crowd, and I think some will love it, and other won't love it. I like that there is a momentary Strobe mode (more on that below), and last mode memory in Daily Mode, but there isn't a proper momentary Turbo. It is however possible to use to rotary switch to quickly move between Off or any chosen brightness mode in Daily Mode, to Turbo. This can be done by one hand, but not easily. It is also possible to move between any brightness level and Strobe mode, and back again on the fly.

Some "tactical" users may prefer the side and tail switch Wurkkos TD04 UI, which has both momentary Strobe and Turbo. It should be noted that the TD04 has more maximum lumens, but less throw.

I had hopes that this light might be useful for light painting photography, especially with momentary Strobe mode, and ability to move between Turbo and Strobe on the fly. Unfortunately, the Strobe mode is an alternating frequency strobe, which isn't useful for light painting photography. Please manufacturers, bring back constant frequency strobes! I personally think that a fast constant frequency strobe (e.g. 20Hz) is far more annoying to a potential attacker than alternating frequency, and thus a better option for both "tactical" and light painting use. Having to use the rotary switch to turn the light on and off isn't optimal for light painting either.

There is no remote pressure switch available. The light can be mechanically locked out by slightly unscrewing the head.

Beam, Output, and Runtime

The Wurkkos TD03 has a Luminus SFT-40 5000k LED, in a deep smooth reflector. The throwy optics creates a beam with a very good throw/lumen ratio. The spill beam has a hard edge at 80 degrees, so the beam is more useful for medium distance illumination such as "tactical" use. Measurements in this section used an Opple Light Master Pro 3.

Claimed/Measured Brightness:

• Turbo - 1800/1535 lumens (brightness step down from 30 seconds).
• High - 1000/765 lumens (brightness step down from 120 seconds).
• Medium - 350/230 lumens.
• Low - 50/20 lumens.
• Strobe - 1800/1535 lumens (estimated).

These brightness levels are fairly well spaced, though not as well spaced as the TD02. Turbo brightness was lower than specification at 1535 lumens. Step down on Turbo mode was very rapid, with a drop in brightness to 720 lumens between 30 and 45 seconds, and a second drop to 365 lumens at 120 seconds. The latter (timed?) step down at 120 seconds also occurred on High mode. The LED driver is unregulated, and the brightness continues to slowly decline with decreasing battery voltage. This mediocre performance is the differentiator between a budget light such as this, and more expensive lights from brands such as Olight and Acebeam.

Claimed/Measured Runtimes:

• Turbo - 2h/ANSI FL1 runtime 1h55min, remained above Low mode until shutoff at 3h10min.
• High - 3h/ANSI FL1 runtime 2h05min, remained above Low mode until shutoff at 3hr20min.
• Medium - 7h/not measured.
• Low - 34h/not measured.

Claimed/Measured Peak Beam Intensity (Throw):

• Turbo - 31,125cd (353m)/43,522cd (417m).
• High - 15,900cd (252m)/21,737cd (294m).
• Medium - 4,675cd (137m)/6,548cd (162m).
• Low - 700cd (53m)/572cd (47m).

Peak beam intensity is very impressive for an 18650 tube format light with a head diameter of just 28mm. This is helped by the SFT-40 LED and smooth optics. My measurements taken at 1m are usually slightly higher than specification, but in this case I measured significantly higher than specification on both High and Turbo modes. Measurements taken at 2m also correlated. The light has a relatively throwy "tactical" beam, and is also highly suitable for use with longer light painting tools such as T8 tubes, rods, sabers, etc.

Hotspot correlated colour temperature (CCT), colour rending (CRI Ra), and tint (DUV):

• Turbo - CCT 5397k, CRI 65 Ra CRI, Tint +0.0057 DUV.
• High - CCT 5061k, CRI 63.8 Ra CRI, Tint +0.0065 DUV.
• Medium - CCT 4819k, CRI 62.6 Ra, Tint +0.0081 DUV.
• Low - CCT 4636k , CRI 61.0 Ra, Tint +0.0109 DUV.

It is fantastic to see Wurkkos use a neutral white 5000k LED instead of the usual cool white 6500k LEDs. Whilst not high CRI, a neutral white beam is usually far more pleasant to illuminate things compared "washed out" cool white. This sets the TD03 apart from it's peers. However, I would like to see a cool white 6500k option made available as well. For a "70 CRI" LED, the CRI is is one of the worst I've tested at between 61 to 65 Ra, and it is thus more of a case of "washed out" neutral white. The tint, as usual for a SFT-40 emitter has a very slight green tint at maximum brightness, and increasingly green tint as the brightness decreases. I doubt that most of the primary target audience of this light will be concerned about the CRI or tint.

No Pulse Width Modulation (PWM) was detected visually, or by my phone camera, so it is likely to be at a very fast frequency.

Conclusion

Positives:

• Good value for money - just US$34 including battery.
• Impressive throw/size.
• Momentary Strobe mode.
• Last mode memory for all brightness modes in Daily Mode.
• USB-C internal charging.
• Side clip.
• No visible PWM.
• Compatible with most light painting systems.

Negatives:

• Rapid brightness stepdown.
• No true momentary Turbo.
• Rotary switch required to turn the light on and off (except for Strobe mode).
• Alternating frequency strobe.
• No Moonlight mode.
• CRI and tint are sub-optimal.
• No remote pressure switch.

The Wurkkos TD03 is a well designed, budget "tactical" flashlight, with impressive throw for its size. Kudos to Wurkkos for using a neutral white LED, and having a very different "tactical" user interface to many of its peers. Some users will love the UI, and others won't. Personally, I would prefer a light that uses the Wurkkos TD04's UI, Wurkkos TD03's optics, and of course a constant frequency strobe!

For light painting photography (creating light trails) there are better options than the Wurkkos TD03. The recently reviewed Wurkkos TD02 is a better choice for continuous (non-strobe) light trails with 5 brightness modes, last mode memory, and Turbo sustained for longer.

Wurkkos TD03 Product Page

Best Flashlights for Light Painting Photography 2024.

Links:

Instagram @stephenk_lightart

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Home page

Help support this website by donating to:

paypal.me/stephenklightart

I usually plan my light paintings in advance, so equipment carried will vary depending on what I intend on creating on that particular night. Each example includes a kit list, kit photo, and example photo using that kit.

Light Painting Kit (Light Plants)

This set of equipment is a typical example of what equipment I use to create my signature light plants. Everything usually fits into the camera and tripod bag, but occasionally I might need to bring an additional tripod or laptop bag depending on the required light painting tools. For more information on this kit list, please read the Shotkit article.

• Lowepro Fastpack BP 250 AW II Camera Bag
• Canon EOS R8 camera
• Canon RF 16mm f/2.8, 24mm f/1.8 lens, and 50mm f/18 lenses.
• Canon BR-E1 wireless remote
• 3 Legged Thing Punks Billy 2.0 Tripod and Bag
• Glow in the Dark Pebbles
• Sofirn D25LR headlamp
• 3x Ants On A Melon RGB Critter 2.0 Flashlights/Torches
• 2x Ants On A Melon 8" Modular Sol Sabers
• Ants On A Melon 24" Modular Sol Saber
• Ants On A Melon 24" Modular Lumi Saber Honeycomb
• Ants On A Melon DIY Connector
• Ants On A Melon 1/2"x 1/4" Acrylic Writer
• Ants On A Melon Blade Holder
• Ants On A Melon Mini Triangle Light Painting Blade
• Ants On A Melon Mini Circle Light Painting Blade
• Olight i5R Flashlight/Torch

Light Painting and Night Portrait Kit

This set of equipment is a typical example of what kit I would bring to a portrait session involving long exposure light painting, as well as "normal" shutter speed backlit and coloured light portraits. This kit fits into 4 bags, which I can comfortably carry up to around 1km.

• Lowepro Fastpack BP 250 AW II Camera Bag
• Crumpler McBain's Baby Laptop Bag (very old!)
• Canon EOS R8 camera
• Canon RF 16mm f/2.8, 24mm f/1.8 lens, and 50mm f/18 lenses.
• Canon BR-E1 wireless remote
• 3 Legged Thing Punks Billy 2.0 Tripod and Bag
• Fotopro X-Aircross 3 Lite Tripod and Bag
• Glow in the Dark Pebbles
• Sofirn D25LR headlamp
• 2x Ants On A Melon RGB Critter 2.0 Flashlights/Torches
• Ants On A Melon BitWhip 200
• Ants On A Melon 24" Modular Lumi Saber Honeycomb
• Ants On A Melon Critter Back Connector
• Ants On A Melon DIY Connector
• Ants On A Melon 1/2"x 1/4" Acrylic Writer
• Neewer NW580 Flash
• 2x Weeylite RB9 RGB Panel Lights
• Zhiyun Fiveray M40 Panel Light
• Small Rig Super Clamp

Urbex Photography Kit

This set of equipment is an example of what I would bring to create urbex photos using long exposure, static lighting techniques. If I planned to backlight myself, I would bring an additional tripod and clamp. If I wanted to travel as light as possible, I would leave the Marauder Mini at home.

• Lowepro Fastpack BP 250 AW II Camera Bag
• Canon EOS R8 camera
• Canon RF 16mm f/2.8, 24mm f/1.8 lens.
• Canon BR-E1 wireless remote
• 3 Legged Thing Punks Billy 2.0 Tripod and Bag
• Sofirn D25LR Headlamp
• 2x Convoy S21E 519A 2700k Flashlights/Torches
• 2x Convoy S21E 519A 2700k Flashlight/Torches
• 4x Convoy S21E Diffusers
• Olight Marauder Mini Flashlight/Torch

A few other things I carry

As well as the aforementioned kit, there are a few other things I wear or bring with me on light painting shoots:

• Bottle of water.
• Wet wipes.
• Lens cloth and sensor cleaning blower.
• Tropical strength insect repellant. In summer I also spray my clothes with a fabric insect repellant before leaving the house.
• Black trousers, black long sleeved shirt, black socks, grippy black shoes - light painting invisibility cloak!
• Black gloves or black balaclava - occasionally required for some light painting techniques.

Some useful affiliate links

Using affiliate links helps support this website, and allows me to write photography tutorial articles and reviews which are free to access.

Ants On A Melon - 5% off with code: KNIGHT

Acebeam - 10% off with code: Stephen10

Olight USA - 10% off with code: OLIGHTSTORE10

Olight Australia - 10% off with code: LUMEN10

Other links

Instagram @stephenk_lightart

Redbubble store - prints and more

Home page

Help support this website by donating to:

paypal.me/stephenklightart

Disclaimer

The Wurkkos TD02 was purchased with my own funds. This review does not contain any affiliate links. This flashlight is reviewed from the perspective of a light painting photographer and flashlight enthusiast.

Wurkkos TD02 Product Page.

Construction and Design

Wurkkos are one of the most well known budget flashlight manufacturers. The TD02 is one of 4 flashlights (at the time of writing) in Wurkkos's TD range of flashlights .It is an 18650 battery tube format flashlight, with a rubber tail switch, head diameter of 24.7mm, length of 122mm, and weight of 62g (excl. battery). The light uses a powerful Luminus SST-40 LED, available in cool white 6500k, and is claimed to reach 2000 lumens. The retail price at the time of writing was just US$26 without battery, and US$28 including a 18650 Li-ion battery.

The light was delivered to Australia within 10 days from order. The TD02 arrived in basic but adequate branded packaging. The light comes with a conventional side clip, lanyard, spare O-rings, USB-A to USB-C cable, and instructions. The TD02 has a claimed IPX8 rating, and 1m drop height, so it should for example survive a quick drop into water. The knurling is nice and grippy. The light also tail stands which will keep candle power forum members happy.

A high quality unprotected 3000mAh 18650 Li-ion battery is optional for only $2, and I would highly recommend purchasing this as an option. I tested using a 3500mAh Panasonic NCR18650GA battery. As usual, the +ve end of the battery is at the head end of the flashlight. The flashlight has internal USB-C charging. This is a step up from the similar sized Sofirn SP31 V2.0, Convoy S2+ and Convoy S15, which all lack this feature. Charging was measured to terminate at 4.17V which is acceptable. Charge rate was estimated at 2A.

This flashlight is compatible with Light Painting Brushes (Universal Connector), Light Painting Paradise, and T8 tube based (Light Painting Tubes, Luminosify, Light Painting King, and LightTubePro) light painting systems. It fits U-shaped or clamp tripod mounts. It isn't compatible with Convoy 24.5mm diffusers.

User Interface

The Wurkkos TD02 has a refreshingly basic tail switch user interface. A full click of the tail switch is on/off, and half press advances through the 5 brightness modes - Eco > Low > Med > High > Turbo > Eco >. These modes all have last mode memory, which means that the light turns on in the previously used mode which I prefer. I also like that Turbo mode is included in the mode cycle, instead of a double click to Turbo as on some user interfaces.

A double click from on enters strobe mode. Unfortunately, the strobe mode is an alternating frequency strobe, which isn't useful for light painting photography. Constant frequency strobe are preferred for light painting. The strobe mode is also not memorised, and is not accessible from off. The decline in flashlights with constant frequency strobes is extremely frustrating to light painting photographers. The Wurkkos TD03 and TD04 do have momentary strobe, but I expect that they also use an alternating frequency strobe.

There is no momentary mode, or remote pressure switch available for this light, so this is more of a general purpose use flashlight, rather than a "tactical" flashlight. The larger Wurkkos TD03 and TD04 have a tail momentary switch and are thus more "tactical". Eco mode is also not low enough to be considered a "moonlight" mode. The TD02 can be mechanically locked out by slightly unscrewing the tail cap.

Beam, Output, and Runtime

The Wurkkos TD02 uses a Luminus SST-40 6500k LED, with a TIR optic. The optic creates a beam with a fairly well defined hotspot relatively good throw/lumen ratio, but also with a wide 120 degree spill beam. I would call this a general purpose beam profile. Measurements in this section used an Opple Light Master Pro 3.

Claimed/Measured Brightness:

• Turbo - 2000/1248 lumens (stepdown to 400 lumens from 65secs).
• High - 1000/735 lumens (stepdown to 400 lumens from 180secs).
• Medium - 400/297 lumens.
• Low - 100/83 lumens.
• Eco - 10/8 lumens.
• Strobe - 2000/1248 lumens (estimated).

Turbo brightness is much lower than Wurkkos' claims. However, it is still pretty impressive for a $26 flashlight, and the stepdown in brightness is not as rapid as many 18650 lights. These brightness levels are very well spaced. Sustained brightness is fairly average, and declines during the runtime due to lack of regulation.

Claimed/Measured Runtimes:

• Turbo - 2h/3h20m.
• High - 2h30m/3h40m.
• Medium - 4h/not tested.
• Low - 18h/not tested.
• Eco - 150h/not tested.
• Strobe - not stated.

Measured runtimes on High and Turbo modes were better than claimed, partially due to use of a 3500mAh battery for testing (instead of the Wurkkos 3000mAh battery). The light also continues on a very dim brightness for a while after the end of ANSI/NEMA FL1 standard runtime.

Claimed/measured Peak Beam Intensity:

• Turbo - claimed 16075cd (254m) / measured 17783cd (267m).

Peak beam intensity is relatively high for an 18650 tube format light, helped by the SST-40 LED and a TIR optics. The peak beam intensity is suitable for use with longer light painting tools such as T8 tubes, rods, sabers, etc. Whilst the even cheaper Convoy S15 manages 1,515 lumens and 20,520cd, it only has 4 brightness levels, and lacks USB charging.

Hotspot correlated colour temperature (CCT), colour rending index (CRI Ra), and tint/DUV:

• Turbo - CCT 6072k, CRI 68.3 Ra CRI, Tint +0.0063 DUV.
• High - CCT 6091k, CRI 68.3 Ra CRI, Tint +0.0063 DUV.
• Medium - CCT 6093k, CRI 68.2 Ra, Tint +0.0065 DUV.
• Low - CCT 6129k, CRI 68.3 Ra, Tint +0.0062 DUV.
• Eco - CCT 5891k, CRI 66.3 Ra, Tint +0.0088 DUV

These results were very interesting. SST-40 emitters usually have a very slight green tint at maximum output, with tint becoming progressively more green with lower brightness (more +ve DUV). However, the SST-40 in the tested Wurkkos TD02 actually managed to maintain only a very slight green tint on all brightness levels other than 8 lumen Eco mode. The hotspot was also warmer (most likely due to TIR optics), and CRI marginally better the SST-40 in the Convoy S15.

Whilst this is a low (70ish) CRI flashlight, the vast majority of flashlight buyers are not concerned about CRI, and purchased based on lumens. It is also fine for use with light painting tools. However for night photography illumination, I prefer to use >90CRI flashlights such as the Wurkkos FC11 or Convoy S21E 519A.

No Pulse Width Modulation (PWM) was detected visually, or by my phone camera, so is likely to have a very high frequency.

Conclusion

Positives:

• Good value for money - just US$28 including battery.
• Good maximum brightness/size.
• Easy to use UI.
• Last mode memory for all brightness levels (including Turbo).
• Well spaced brightness levels.
• USB-C internal charging.
• Side clip.
• Compatible with most light painting systems.
• No visible PWM.
• Better tint than most cool white flashlights.

Negatives:

• Overexaggerated maximum lumen rating.
• Alternating frequency strobe.
• No single click access to strobe from off.
• No momentary and remote pressure switch.
• Low CRI.

For general purpose flashlight use (as long as you are OK with a low CRI LED) the Wurkkos TD02 is a very good value for money, and easy to use, tail switch EDC flashlight.

For light painting photography (creating light trails) the Wurkkos TD02 is a good budget choice for creating continuous (non-strobe) light trails, due to having 5 well spaced brightness levels and last mode memory. It has been added to my flashlight buying guide for light painters. As with most other recent flashlight models, it is let down by having an alternating frequency strobe instead of constant frequency strobe, and that the strobe is not accessible from off.

Wurkkos TD02 Product Page.

Best Flashlights for Light Painting Photography 2024.

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The Punks range of tripods are named after punk or rock artists, so I'm presuming the Billy 2.0 is named after 70s punk rocker Billy Idol, rather than 90s pop star Billie Piper.

Disclaimer

The 3 Legged Thing Punks Billy 2.0 was purchased with my own funds.

The Billy usually retails at US$279.

This review will be updated periodically after long term use.

Specifications

The specifications for the 3 Legged Thing Punks Billy 2.0 are as follows:

• Weight - 1.57kg.
• Max height - 1660mm (measured at 1666mm).
• Height (centre column not extended) - 1360mm.
• Min height - 118mm.
• Packed width - 105mm.
• Packed length - 457mm.
• Claimed load capacity - 18kg (legs at 23 degrees).
• Leg sections - 4 (carbon fiber).
• Leg locks - twist locks.
• Arca Swiss compatible Ball Head.

Legs and Column

The 3 Legged Thing Punks Billy 2.0 is one 3 Legged Thing's Punks range of travel and general purpose tripods. It is the joint second tallest in range after the Brian 2.0. As it uses 8 layers of carbon fiber, it is also the lightest in the range at 1.57kg (tripod and ball head).

The Billy 2.0 has 4 leg sections, and 3 twist locks per leg. Compared to the original Billy, extra weight has been added to the twist locks to provide a lower centre of gravity and more stability. This twist locks have good grip, and have had some engineering upgrades from the original Punks range. Personally, I prefer flip locks as they are faster and you can see if the lock is locked or not. The comparison section explains why I didn't purchase a flip lock tripod.

The legs are of a counter fold design which allows for a short packed length of 457mm. Packed width was 105mm, which is OK, but not as good as some travel tripods that compromise on a less substantial column. The legs are relatively narrow, with the leg top section being 23mm. However, the legs are still impressively stable due to precision engineering. The counter fold design does slightly increase deployment time, and significantly increases pack up time compared to conventional designs. In particular, getting the ball head knobs, and tri-mount plate spurs to align with the legs when packing up is a bit of a faff. I'm sure this issue also occurs on some other counter fold tripods.

The leg angle locks are easy to use and of high quality construction. Angles available are 23, 55, and 80 degrees. Some reviewers have mentioned the legs becoming loose and needing to be tightened (with the supplied tool) but I have not experienced any issues in this regard.

The rubber feet are also removeable, and can be changed over with multiple optional leg options (not included) including spikes and ice grips. All 3 legs can be removed, which allows the Billy 2.0 to be turned into a monopod using one leg, or a mini tripod using the optional Vanz leg accessories.

The Billy 2.0 has a 26mm diameter, circular cross-section, single section, centre column. This can be reversed for low to the ground photos. I find circular columns to be far more stable than minimalist triangular columns on tripods such as the Peak Design Travel Tripod. In my home city of Brisbane, Australia, there are many high riverside railings that can get in the way of short and medium height tripods. Thus, I was only going to consider tripods that could reach at least 1.63m. This rules out the vast majority of travel tripods - see the comparison section. The Billy 2.0 managed slightly more than my requirement at 1.66m. I actually measured ground to top of base plate at 1666mm. I did consider the 1.86m Brian 2.0 tripod which is 100g heavier and slightly more expensive, but settled with the Billy 2.0.

Tested stability was very good due to the low centre of gravity and carbon fiber design. At full height, I could not detect any blurring during long exposures in 40kph winds. I would expect that the Billy 2.0 could handle considerably worse conditions than this. At full height, with a Canon R8 and RF 28mm f/1.8 lens, the tripod only lost balance when tilted beyond 22 degrees, which is far beyond any real world tripod usage situations.

Ball Head

The 3 Legged Thing Billy 2.0 comes with the Airhed Neo 2.0 ball head. This is a traditional ball head design, with a panoramic base, which sites on top of the tri-mount plate. There are 3 controls - pan, ball tension, and clamp lock. These are all metallic in design. The ball head has a rated load capacity of 18kg, though ball head and tripod capacity is affected by multiple factors including weight distribution. As my heaviest camera/lens combination is just 800g, I didn't test the maximum weight to its limits! There is just one spirit level, but as most mirrorless cameras have electronic spirit levels, this isn't an issue. I found this ball head to be very useable with nice smooth movement and tension control.

The ball head includes the Arca Swiss compatible QR Octa quick release plate. This 38x38mm plate has a good grippy surface. Tools (included) are required to attach the plate's 1/4"-20 thread to the camera. The plate also has security screws that decrease the chance of of a partially released plate falling from the clamp. It should be noted that whilst I was able to use a "low profile" Fotopro plate with my 3 Legged Thing Ball head, I was unable to use the 3 Legged Thing plate with the Fotopro ball head as the grip would not fully tighten. I'm assuming the Fotopro clamp is either not strong enough or has deviated from Arca Swiss specifications, so I'm not penalising 3 Legged Thing's Arca Swiss Compatibility. The ball head and tripod attach via a standard 3/8"-16 thread, and thus the ball head can be used on most other tripods. The Billy 2.0 can thus also accept most other ball heads.

3 Legged Thing also offer an excellent range of Arca Swiss compatible L-brackets. Unfortunately, they don't currently have an L-bracket specifically for my Canon R8. The Elle Short is compatible, and I may purchase this in the future if a R8 specific L-bracket is not released.

Other Features

The 3 Legged Thing Punks Billy 2.0 has some interesting additional features:

• "Toolz" accessory - Multi-Tool, hex key, coin key, keyring, carabiner and bottle opener.
• 1/4"-20 accessory thread hole for attaching magic arms and clamps. This allows the tripod to additionally support other items such as a phone, microphone, or lighting.
• Hook for adding weight under the central column for extra stability (via Toolz accessory).
• Very high quality bag, with adjustable shoulder strap and external zipped pocket.
• Available in Blue, Black (with Orange trim), and Darkness colour options.

3 Legged Thing products have a 5 year limited warranty. 3 Legged Thing's website has a stack of high quality "how to" videos related to product usage, care, and maintenance, as well as a very decent FAQ section.

Comparison

My requirements were for a tripod that could reach more than 1.63m in height, lightweight (approx. 1.5kg), with good stability, Arca Swiss compatibility, and reasonably priced (

• Sirui Traveler 7C - similar height and weight, much cheaper, but a bit too plasticky for my liking. I have had positive feedback from users of this tripod.
• Sirui ST-124 + ST-10X - similar weight, higher (1710mm), more expensive, higher quality than the 7C, but longer packed length (570mm).
• Fotopro X-Airfly Max - similar height and price, less weight (1.37kg), longer packed length (500mm), flip locks (which I prefer), and inverted ball head (which I don't prefer). I was generally impressed by the build quality of the X-Aircross 3 Lite I recently reviewed. However, this model had no reviews at the time of purchase, so I decided to not take the risk.

Based on positive feedback from many other photographers who own 3 Legged Thing tripods, as well as a good quality to price ratio, I decided to choose the Punks Billy 2.0 as my new primary tripod.

Other than the Fotopro X-Airfly Max, there is a gap in the market for a tall, lightweight carbon fiber, flip lock travel tripod.

Conclusion

Positives:

• Good build quality.
• Relatively lightweight for height.
• Very good stability, even with column at full height.
• Goes high enough for most situations.
• High quality ball head.
• Arca Swiss compatible ball head and plate.
• Short folded length.
• 1/4" thread accessory port.
• Very high quality bag.
• Included "toolz" accessory is useful.
• Choice of colour options.
• Can be easily converted to a monopod, mini-tripod, or centre column reversed/inverted.

Negatives:

• Not the fastest tripod to pack up after use.

The 3 Legged Thing Punks Billy 2.0 is an excellent travel and general purpose tripod for those who need decent height, without compromising weight, quality, or stability.

3 Legged Thing Punks Billy 2.0 Product Page.

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Tunnels

Tunnels are some of the best places to light paint, but some are better than others. Ease of access, no lighting in the tunnel, minimal or no lighting at the tunnel end, legal access, and flat surfaces are all major plus points. Places to look out for include:

• Pedestrian subways/underpasses - most are illuminated, but not always.
• Wildlife tunnels - to allow wild animals underneath roads.
• Cattle tunnels - to allow cattle or tractors to pass under roads.
• Culverts - to allow water courses and/or flood water to pass under roads.
• Disused railway tunnels - some are legal to access, for example turned into paths or rail trails.
• Canal tunnels with towpaths - one for the British!
• Elevated and (partially) enclosed bridges - most are illuminated, but not always.
• Storm water drains - read risks (below).

Most light painters should have some decent tunnels within 30 minutes of their home. You just need to know where to look. Do some research using maps and Google Maps (or other aerial mapping) satellite view!

Whilst on the subject of tunnels, I do need to issue a paragraph of warning about storm water drains. Storm water drains can appear to be great places to light paint and illuminate. However, extreme care needs to be taken for multiple reasons. In some locations they are illegal to access, and access itself can be dangerous. Water can rise to dangerous levels after less than a minute of rain - multiple photographers have drowned in storm water drains, please don't be the next one. Burst water mains, drain flushes, air conditioning dumps, or other water discharges can cause scary rises in water level even on dry days. Always check the latest weather forecast from more than one source, and the rain radar before entering. You will require non-slip shoes, a headlamp with more runtime than your worse case entry to exit time, plus back-up lights, batteries, snacks, and fresh water. In countries with water-borne diseases such as leptospirosis, you should consider wearing waterproof footwear. Combined storm water/sewers add the risk of low oxygen levels, and infections risk through wounds, eyes, or mucous membranes. Never entering fully segregated sewers unless you have a death wish. Tidal drains add an extra risk, as well as slippery mud. Entering tunnels with upstream sluice gates or valves (such as Eli's Tomb in Adelaide) is like playing Russian roulette with your life. Make sure you have someone with you, or someone knows where you are - there is no phone signal deep underground if you slip and break your leg!

Forests and Woodland

Forests and woodlands are excellent places to light paint. Most cities have urban woodlands, usually with no lighting at night. Of course, away from cities there are usually plenty of forests and woodlands. I recommend sticking to the beaten path where possible, and visiting first during the day to find suitable photographic compositions. I keep finding some amazing and unique urban woodland locations in my own city of Brisbane, Australia, despite living here for over 15 years!

Parks

Most towns and cities have parks. Some are considerably better than others for light painting. For starters, they need to be open and unlocked at night. Secondly, some are illuminated at night, whilst others aren't. There may be park features such as fountains, lakes, statues, tree tunnels, follies, and sculptures that may be great places to light paint.

Children's playgrounds and skate parks are popular places to light paint at night after the kids have gone home. Just be careful if you are using steel-wool, that you don't damage surfaces, or leave metal filing debris (as sharp metal filing debris on kids slides is not cool). Also, these places tend to attract anti-social people after dark.

Some cemeteries may be accessible at night, and have interesting structures to illuminate. But obviously be very respectful of the location. Access rules may also vary.

Escape to the Country

Get away from the city, and there are plenty of natural and built landscapes to light paint. Lakes, beaches, mountains, waterfalls, gorges, castles, abbeys, ruins, follies, bunkers, forts, rivers, creeks, bridges, dams, geological features, and more. The world is your oyster! A look around on Google Maps (or suitable alternative) will often find lots of locations with potential. For example when I was heading to the UK to see my parents a few years ago, an area search on Google Maps found 3 ruined abbeys/castles, a canal tunnel with pathway, abandoned (and dry) canal locks, a very low headroom pedestrian tunnel, and multiple other interesting locations within 30 minutes drive. It also helps that the UK has legally accessible paths all over the place. Many other countries have much more limited land access. Looking at other photographers work on social media (for example searching by geotag) may also uncover some great locations for light painting.

Found a location, but unsure about access? Then politely asking a landowner can sometimes result in a positive reply - at the end of the day the worst they can say is no! Whilst all locations have inherent safety risks, be extra careful when light painting in and around wave and tidal locations, rocks, or water courses where water levels can rapidly change due to rain, valve, or sluice gate discharges.

Urban Environment

High ambient light from street lights isn't too helpful for light painting (unless you have a camera with "live composite"). Improving security and modern LED lighting means that dark enough locations are getting less and less in cities. Two of my favourite locations have been recently written off due to installation of very bright security lights nearby. However, it is still possible to find locations in urban environments that are dark enough for at least a few seconds or more of light painting - just use your brightest torch/tool combinations such as torches >1000 lumen or LED light bars. Obviously, undesirables also like dark places as well, so take care! You may also attract a crowd of passers by wondering what you are doing, or the occasional overzealous security guard. Late nights mid-week tend to be the best time in cities if you want less people around.

Urban Exploring

Urban exploring (Urbex) is visiting, and often photographing places you are not meant to be in. These can include aforementioned Storm Water Drains, Mines, Infrastructure, and Abandoned Buildings. These can be some of the most creative places to light paint. However, in many cases, access is illegal, so acknowledge the risks. These places are also often difficult or dangerous to access, and can be very dangerous inside with risks including uneven ground, mud, dodgy floorboards, asbestos, biohazards, and undesirable humans. If the location is at surface level, using lights at night can draw unwanted attention, including the police.

Many rookie urban explorers make the mistake of asking for locations, and expecting to get a serious answer. Despite a recent trend of sharing locations on social media, urban explorers are usually highly secretive of locations, and will not share spots with someone who has made zero effort at finding places for themselves. This "gatekeeping" is for good reason, as if too many people known about a location, it may get vandalised, burnt down, or entry made inaccessible. Thus you will need to put in considerable time and effort doing your own research to find urbex locations. Likewise, when you do visit a location, try to avoid mentioning the location or access points on social media, as otherwise you may ruin it for others. There is a fine line between showing off your amazing urbex photography, and not giving away locations!

Your Own House

Cold, raining, nothing on TV, wife has a headache, or avoiding a zombie apocalypse? Then just light paint in your own home. Turn off the lights, put up a black backdrop, and light paint away. My Light Tunnel photos were all created in a spare bedroom, with a black cloth from a fabric shop hanging from the window blinds. Some light painters have created a home studio in spare rooms, sheds, and garages.

Safety

These safety steps will reduce the risk of your light painting photography resulting in a visit to hospital or the police station:

• Legality of accessing locations can be quite variable between countries, states, and even specific locations, so always check legality, and accept risks before heading off to a location.
• Check out new locations during the daytime.
• Do your research regarding location opening times, accessibility, and personal safety.
• If concerned about personal safety, bring along others, or at least make sure someone knows where you are.
• Take precautions against dangerous wildlife and other hazards - whether it be tiny Mozzies or gigantic Bears.
• If you really have to do steel-wool spins (yawn), don't do it at a flammable location, during fire-bans, or where it may cause damage to property, infrastructure, passers-by, or wildlife.
• Wear a headlamp when walking to and from these locations, so that you have both hands free.

Conclusion

There are lots of locations available for light painting, and most light painters have multiple suitable locations within a short driving distance, or even walking distance from their homes. However, you may need to do a reasonable amount of research on Google Maps (or other aerial mapping) to find these places. Further research or daytime visits are highly advisable to assess suitability and safety. Always respect locations, and only leave behind footprints.

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This review is of the Fotopro X-Aircross 3 Lite. A very lightweight (0.81kg) but sturdy carbon fiber travel tripod, with a ball head rated for 4kg, and an innovative fast leg locking mechanism. This is one of four versions of the Aircross 3 line, which also includes the 0.94kg Aircross 3 with a 10kg capacity ball head, Aircross 3 Video, and Aircross 3 Lite Video. At the time of writing, the Fotopro X-Aircross is the lightest tripod available that can support a mirrorless camera and reach at least 1.5m in height.

Disclaimer

The Fotopro X-Aircross 3 Lite was purchased from my own funds.

My requirements were for a very lightweight (approx. 1kg) travel tripod, with reasonable height (>1500mm) that could support a lightweight mirrorless camera system (<1kg) on forthcoming travels to Europe. It will also replace my cumbersome secondary tripod that I use to support LED panel lights and flashlight/torches on some photoshoots.

This review has been updated after the aforementioned European trip.

Specifications

The specifications for the Fotopro X-Aircross 3 Lite tripod are as follows:

• Weight - 0.81kg
• Max height - 1512mm
• Min height - 103mm
• Packed width - 71mm
• Packed length - 400mm
• Ball head capacity - 4kg (Arca Swiss compatible)
• Leg sections - 5 (carbon fiber)

I was able to find the Fotopro X-Aircross 3 Lite tripod on Aliexpress for US$133 (AU$222+GST). The slightly heavier X-Aircross 3 was approx. US$20 cheaper. Product links are in the conclusion.

Legs and Central Column

The Fotopro X-Aircross range of tripods feature an innovative, and very fast leg locking mechanism. Along with the use of carbon fiber, this locking mechanism allows for some of the weight saving compared to other travel tripods. This mechanism has been further refined in the 3rd generation. Instead of multiple twist or flip locks, only the feet of the legs need to be twisted. The feet are twisted 4 clicks left to fully release, and then the legs can be pulled all the way out. To lock, turn the feet back to the right. If you only want to extend 1,2, or 3 legs, then turn the respective number of of clicks (e.g. 1 click will unlock the lowest leg section only), extend the legs, and then lock. The same process is required to un-extend the legs when packing up. It is possible to lock with partial leg section extensions for fine adjustments.

This design of leg lock allows for very fast deployment. This is really useful for cityscape photography when the photographer is regularly moving between locations. However adjusting after deployment is tricky as you can only lock and unlock by adjusting the feet, which may not be good if the feet are wet or muddy. On my flip lock tripods, I usually make fine adjustments using the highest lock, which is more ergonomically convenient.

The Aircross 3 Lite's legs do not fold backwards during storage, which again allows for faster deployment. The 400mm folding length is very compact. The X-Aircross 3 has a "legs folding back" design, and folds to a tiny 360mm. The rubber feet are well designed and grippy, but cannot be swapped out for spikes. There are 3 leg angles, adjusted by a clip.

The central column is also carbon fiber, and has two segments that can be unscrewed. The maximum tripod height with the centre column raised is 1512mm. Whilst good enough for my purposes as a secondary and travel tripod, this isn't high enough to be used as my primary tripod. In my home city of Brisbane many riverside walkways have high railings to prevent wayward cyclists ending up in the water. This means that 1630mm is the minimum acceptable height for me to use regularly in my home city. I'm not aware of any tripods that weigh less than 1.3kg that can reach this height.

Minimum height is just 103mm with the centre column removed and legs at the widest angle. The central column cannot be inverted, but this is a feature I would very rarely use anyway. The centre column is in two parts, which can be unscrewed or completely removed for low to the ground work.

Stability was very good. In fact, the central column is the most stable I have ever used, and far more stable than the Peak Design Travel Tripod which has some wobble in the central column. During testing for long exposure light painting, with exposures up to 3 minutes, I experienced zero camera shake. This was in light winds (<20kph). I have also setup the tripod in winds with moderate (40kph) gusts and there was also no noticeable camera shake. As long as you aren't using this tripod in high winds or with fast flowing water around the legs, then you should be fine. I also had no concerns with stability when the ball head was in portrait position.

Ball Head

One of the differences between the X-Aircross 3 Lite and X-Aircross 3 is the ball head. The X-Aircross 3 has a more traditional photography ball head rated for 10kg. The X-Aircross 3 Lite has a FPH-32Q inverted ball head rated for 4kg. There is no standard to ball head ratings, but from personal experience I would keep the combined camera and lens weight below 33% of the rated capacity. This may vary based on weight balance between the camera and lens. My current heaviest camera/lens combination (Canon R8 and RF 24mm f/1.8 lens) is just 800g, which is just 20% of the rated capacity. For medium weight camera/lens combinations I would consider the X-Aircross 3 version instead.

The FPH-32Q inverted ball head is not of a traditional ball head design, and has some design similarities with the Ulanzi Zero Y and F38 travel tripod ball heads. The central column has to be raised slightly for the ball head to be able to be moved for anything other than pan. The ball head has a flip lock that allows for 360 degree rotational movement and tilt (approx. 45 degrees). There is no friction control of the ball head with the flip lock, which really means the ball head is either locked or loose. Tension can only be adjusted with a hex key. Personally I prefer conventional ball heads, such as the ball head on the X-Aircross 3. .

It can also be flipped over to 90 degrees for portrait photos. The ball head then allows for 360 degrees panoramic rotation on the axis that the ball head has been locked at. The panoramic rotation is controlled by a knob that is an extension of the plate release knob. Don't get them mixed up! The ball head is removeable, and needs to be screwed onto the central column tightly so as to not unscrew itself when panning.

The plate is claimed to be an Arca Swiss "compatible" design, with safety bolts on the underside of the plate to reduce the likelihood of a dropped camera if the grip is accidentally partially release. As Arca Swiss plates are the industry standard, it makes sense to purchase tripods that use this system. Unfortunately, whilst I was able to use the "low profile" Fotopro plate with my 3 Legged Thing Ball head, I was unable to safely use the 3 Legged Thing plate with the Fotopro ball head, as the grip could not be tightened adequately. So, compatibility with other Arca Swiss "compatible" systems cannot be guaranteed.

The plate's 1/4" screw for attaching cameras, can be screwed in by hand (with a flip up handle), coin, or hex key. I did find that for optimal tightness between the camera and plate, that I had to use the hex key. If the flip up handle was more robust, it may be possible to tighten adequately using the the handle alone.

Other features

The X-Aircross 3 Lite has some interesting additional features:

• Two additional 1/4" thread holes for attaching accessories such as magic arms and clamps. This allows the tripod to additionally support other items such as phone, microphone, or lighting. You will however need to consider weight distribution. This feature is pretty much unheard on travel tripods at this price point and weight.
• Hidden phone clip for attaching mobile phones to the tripod plate.
• Hook for adding weight under the central column for extra stability.
• High quality bag, that can be used over the shoulder, or as a backpack.
• Two Hex keys for tightening the plate, ball head tightness, and other components. (These cannot be stored within the tripod).
• One of the legs has a silicone grip for holding.
• Available in Slate-Grey (tested), or Flame Orange colour options.

Comparison

The X-Aircross 3 Lite has impressive specifications compared to its peers in the <1.1kg category.

The US$350 Ulanzi & Coman Zero Y and F38 Travel Tripods are 1.1kg, and have a higher max height of 1567/1590mm. These tripods appear to have glowing reviews from influencers and affiliate linking reviewers, but mixed reviews from users. It seems that these tripods are sold to the Western market with a large mark up, as they can be found from Aliexpress resellers for just over US$200. Neewer have also introduced the TP30, a very similar travel tripod to the Ulanzi, with a different ball head and 1600mm max height. The Benro Cyanbird Aluminium/Carbon with N00P ball head is a good contender at 1.05kg, goes up to 1550mm, and costs US$189 (though the Australian pricing is excessive at more than AU$412). The K&F BA225 can reach 1520mm, weights just over 1kg, is cheap at US$100, but has mixed reviews on build quality. Sirui have a confusing range of lightweight carbon fiber travel tripods <1.1kg and approx. 1500mm in height. These include the Traveler 5CX, T-024SK with B-00K Ball Head (T-0S), and new AT-125 with B-00K Ball Head (Traveler X-I).

The Sirui Traveler X-I is the most compelling of these options, and appears to have been heavily inspired by the X-Aircross with similar single lock telescopic leg design, 1540mm max height, 0.860g weight, 10kg rated ball head, reversible column, but a higher price tag than the X-Aircross range at US$199. Whether Sirui's first generation leg design can match Fotopro's third generation will have to be seen. Though given that Fotopro are also an OEM manufacturer, they may also manufacture other companies tripods that use this leg technology.

Fotopro products are mainly available at online retailers such as Fotoprogear, eBay, Aliexpress, Amazon, and few other online retailers in specific markets. The best prices I could find were on Aliexpress, but you also need to account for slow shipping times (approx. 3 weeks). Warranty claims on Aliexpress are often hit or miss, but there a warranty contact page on Fotopro's website. Fotopro have very few resellers in offline/"bricks and mortar" stores. I hope that Fotopro are able to improve their distribution/re-seller channels and engage with more reviewers so that more photographers are aware of their products.

Conclusion

Positives:

• Lightest full size tripod (>1500mm max height) with support for lightweight mirrorless or DSLR camera/lens combinations.
• Good value for money.
• Good build quality.
• Compact fold down size.
• Very fast to deploy.
• Excellent bag.
• Surprisingly very stable.
• Two 1/4" screw holes to attach accessories.

Negatives:

• Arca Swiss compatibility cannot be guaranteed (could not grip another manufacturer's plate).
• Ball head flip lock control is "all or nothing" when it comes to tension.
• Single locking mechanism is harder to finely adjust leg length after deployment.
• No foot spike options.
• Despite having a flip up handle, the plate still needs a hex key or coin to fully tighten to the camera.
• Hex keys cannot be stored within the tripod.

I was very impressed by the Fotopro X-Aircross 3 Lite. It is a very lightweight, yet very stable travel tripod with decent height. You can put it in your suitcase with few concerns of exceeding airline baggage limits, or not having enough space for your clothes. The very fast deployment is useful for photographers who are always on the move. For medium to heavy mirrorless camera/lens combinations, or if you prefer conventional ball heads, consider the slightly heavier (but still very lightweight) X-Aircross 3. There are also video head options available as well. The X-Aircross 3 Lite's stability was very impressive for the weight, but obviously may be less stable than some heavier tripods. As long as you aren't using it in high winds or with fast flowing water around the legs, then you should be fine in most situations. Arca Swiss compatibility is somewhat debatable as the clamp could not be fully tightened on another manufacturers plate.

These links are all non-affiliate:

X-Aircross range at Fotopro (non-sales)

X-Aircross range at Fotoprogear

X-Aircross range at Aliexpress

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Disclaimer

The Acebeam E75 was sent to me by Acebeam for an honest review. This review is written from the perspective of a light painting/night photographer and flashlight enthusiast.

Acebeam E75 product link. - 10% off with code: Stephen10

Design and Construction

The Acebeam E75 is a compact 21700 battery format flashlight, with a side switch user interface, and quad LEDs. It is available in two versions, max 4,500 lumen with 6500k SFT40 LEDs, and max 3,000 lumen with 5000k 90+ CRI Nichia 519A LEDs. This review is of the 5000k 90+ CRI Nichia 519A version. The light is available with body colours in black, grey, blue, and green. My review sample was blue. At the time of writing, the Acebeam E75 retailed for US$99.90.

The E75 is 129.3mm long, 35mm head diameter, 28mm tube diameter, and 217g weight (including battery). It is similar in size to the Olight Seeker 3 Pro (and new Seeker 4 Pro), but larger and heavier than many other 1x21700 flashlights such as the Convoy S21 range. Accessories included in the package include a USB-A to USB-C charging cable, 21700 battery, 2 spare O-rings, spare USB-C port plug, instructions, and lanyard. There is a fixed side clip, which can be clipped to clothing in either direction. The light has a magnetic tail cap, which some people may like, and others not. I would advise keeping it more than a few cm away from camera equipment if placed in a camera bag. White or red traffic wands are an optional extra.

The E75 has an IPX rating of IP68, so it should survive being submersed up to 2m, or 1.5m drops. The flashlight tube has diagonal knurling, which is quite grippy and looks excellent. The light can also tail stand, which will keep candlepowerforum members happy.

A 5000mAh 21700 Li-ion battery is included. The flashlight has internal USB-C charging, which is an improvement over the E70 where the USB port was in the battery. The battery charge indicator has four lights in each corner of the side switch. These display red when charging, green when fully charged. When in use, these display green >20%, red 10-20%, and flashlight red <20%. This is rather crude, and it would have been more useful if the number of lights displaying could have been used as part of the battery percentage indication. The internal charging was tested to terminate at 4.19V, which is spot on.

For light painting/night photography, the E75 is far more suited to illumination, rather than connecting to light painting tools to create light trails. However, it is compatible with the Light Painting Brushes Universal Connector, with the side switch still accessible. It should be theoretically be compatible with Convoy M1 diffusers (35.2mm internal diameter, not tested), backlight scanners, and the Small Rig Super Clamp for tripod mounting. The optional silicone traffic wands can also work as diffusers, or turn the light into a camping lantern.

User Interface

The Acebeam E75 has Acebeam's e-switch user interface, which is not dissimilar to many other manufacturer's side switch user interfaces (including Olight, Sofirn, and Convoy). It is really easy to use. A single click is on/off to last memorised mode (Low to High only). Hold from on cycles through the brightness modes (Low>Medium 1>Medium 2>High). Double click from on goes to Turbo. Triple click from on or off goes to Strobe (but briefly passes throgh last memorised mode from off). Short hold from off goes to Moonlight. Long hold enters/exits lockout. The light can also be mechanically locked out by slightly unscrewing the tail cap.

The strobe is constant frequency - yay! There is also no momentary mode, and no single click access to Turbo from off (double click from off briefly passes through the last memorised mode). Thus this light isn't exactly a "tactical" flashlight. Thankfully, there are no silly gimmicks like proximity sensors.

Beam, Output, and Runtime

The Acebeam E75 is available in two versions, max 4,500 lumen with unspecified cool white 6500k LEDs, and max 3,000 lumen with neutral white 5000k 90CRI Nichia 519A LEDs. This review is of the 5000k 90CRI Nichia 519A version. Both versions use quad LEDs, placed in smooth reflectors. Beam profile is relatively floody, but still with half-decent throw - a useful general purpose beam.

With a maximum output of 3,000 lumens, the peak beam intensity was claimed to be 11,025cd (210m throw), and was measured at 13,000cd.

The Acebeam E75 519A 5000k High 90CRI version has 6 brightness levels, plus strobe, with the following claimed brightness and runtimes:

• Turbo - 3,000 lumens (step down to 1,000lm from 60secs, step down to 150lm at 1hr 41mins) - 2hr 41mins total.
• High - 1,000 lumens (step down to 150lm at 1hr 45mins) - 2hr 45mins total.
• Medium - 450 lumens - 4hr 40mins.
• Medium - 150 lumens - 16 hours.
• Low - 30 lumens - 60 hours.
• Moonlight - 1 lumen - 26 days
• Strobe - 2,400 lumens (step down to 1,000lm at 15mins) - 3hr 15mins total.

Brightness levels and runtimes were measured to be within +/-10% of claimed figures. I consistently measured around 3-10% higher lumen output than specifications on Medium, High, and Turbo modes - update: this has been confirmed by another reviewer. I am not able to accurately test Moonlight mode output, but visually I would estimate approx. 0.7 lumens. Brightness step-down from Turbo to High mode is gradual between 50secs to 150secs seconds, measured at 92% at 60secs, 83% at 90secs, and 56% at 120secs.

It should be noted that the E75 6500k 70CRI version has 50% more lumens for most brightness modes. On turbo, that is max 4,500 lumens (16,900cd/260m throw), and 1,500 lumens sustained! The measured sustained brightness of 1,000lm for the tested 90CRI version, and estimated 1,500lm for the untested 70CRI is very impressive and class leading. In comparison, the previous class leader - the Olight Seeker 3 Pro (and new Olight Seeker 4 Pro) can "only" manage 1,200lm (70CRI). The E75 can match the sustained brightness performance of some considerably larger 26650 battery flashlights, such as the Convoy M3-C.

Using an Opple Light Master 3 Pro, I measured the hotspot colour rendering index (Ra CRI), correlated colour temperature (CCT), and tint (DUV) on three brightness modes:

• Turbo - 96.6 Ra CRI, 4683k CCT, -0.0018 DUV.
• High - 97.5 Ra CRI, 4587k CCT, -0.0005 DUV.
• Low - 98.0 Ra CRI, 4486 CCT, -0.0005 DUV.

As expected for the Nichia 519A, the CRI is excellent, measured between 96 to 98 Ra, and a very neutral tint on all brightness settings.

It is fantastic that Acebeam provide the choice of 70CRI 6500k LEDs for those who like maximum lumens, or 90CRI 5000k LEDs for those who appreciate high quality colour rendering. I'm a big fan of >90CRI flashlights instead of "washed out" 70CRI flashlights sold by most manufacturers. The beam shots (below) show excellent colour rendering of the surrounding forest. If you require high CRI warm white options, you may need to consider the (not as bright) Convoy S21D/E/F models.

Conclusion

Positives:

• Reasonable value for money.
• Choice of 70CRI 6500k, or 90CRI 5000k versions.
• 90CRI version is actually >96CRI.
• Excellent max brightness/size at 4,500lm (6500k)/ 3,000lm (5000k 90CRI+).
• Excellent sustained brightness/size at 1,500lm (6500k)/ 1,000lm (5000k 90CRI+).
• Appears to perform better than specifications.
• Easy to use.
• Last mode memory (Low to High).
• Good general purpose beam profile.
• USB-C internal charging.
• Moonlight mode.
• Constant frequency strobe.
• No silly proximity sensors.

Neutral:

• Magnetic tail cap.

Negatives:

• Battery charge indicator could be better.
• No momentary mode, or single click access to Turbo from off.

The Acebeam E75 is an excellent consumer grade flashlight for general purpose use, camping, and night photography illumination. Maximum and sustained brightness are best in class. The choice of 6500k 70CRI, or 5000k 90CRI emitters also provides more consumer choice than, for example, the Olight Seeker 3/4 Pro's 70CRI only option.

With excellent maximum and sustained brightness, choice of 70CRI and 90CRI versions, and ease of use, the Acebeam E75 is one the best general purpose 21700 flashlights available. It is highly recommended.

The Acebeam E75 is currently my favourite new flashlight released in 2023.

Acebeam E75 product link. - 10% off with code: Stephen10

Best Flashlights for Light Painting Photography 2024.

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As many of you who follow my social media know, I recently moved from Sony APS-C E mount to Canon full frame RF mount. My trusty Sony A6400 with various Sigma and Laowa lenses has served me well for the last 4 years, and has helped my light painting and low light portrait photography improve immensely. However, with a need to purchase some new lenses for traveling, and Sony's lack of recent investment in APS-S E mount, I decided that the most optimal long term decision was to move to full frame.

The Canon EOS R8 body, with Canon RF 16mm f/2.8 STM, RF 24mm f/1.8 Macro IS STM, and RF 50mm f/1.8 STM lenses met my requirements for high image quality and low weight. The R8 body weights only 461g (with battery and memory card). The R8 is also very compact for a full frame camera with dimensions of 132.5 x 86.1 x 70.0mm. The lenses are all very lightweight at 165g, 270g, and 160g respectively. Thus my new 3 lens Canon RF full frame kit is approximately 300g lighter than my previous 3 lens Sony APS-C kit (with Laowa and Sigma lenses). There are some minor trade offs with these lightweight lenses through, namely reliance on in-camera/post processing corrections - which will be explained in more detail later in this article.

Whilst I wouldn't say anything in photography is "affordable", the Canon R8 body (US$1499), Canon RF 16mm f/2.8 (US$299), and RF 50mm f/1.8 lenses (US$199) are pretty good value for money. I felt that the RF 24mm f/1.8 lens (US$599) is a little overpriced. Other "more affordable" and lightweight Canon RF lenses include the RF 28mm f/2.8, RF 35mm f/1.8 lens, RF 85mm f/2, as well as multiple zoom lens options.

Real World Use

This review is slightly different to other reviews, in that it focuses on my main photography genres, which are long exposure light painting, night cityscape, and low light portrait photography. Long exposure photography requirements are usually neglected by mainstream camera reviewers, so hopefully this review will fill in some gaps in knowledge. If you want to know how the Canon RF system works for flower macro photography or vlogging, you might be in the wrong place.

Remote control

Remote control is critical for light painting and night photography. The Canon R8, and most other RF mount bodies use the Canon BR-E1 wireless remote control, which uses Bluetooth. This is claimed to have a similar range to the older infra-red (IR) remote controls at up to around 5m, though I tested up to 6m. For light painting photography, I usually hang the remote from a carabiner clip attached to my belt.

The remote has to initially be paired with the camera, which is easy to perform. If Bluetooth Settings on the camera are 'enabled', the remote will connect within a few seconds of the camera being turned on. However, to avoid parasitic battery drain in the camera, it is recommended to 'disable' Bluetooth when not in use. I have added Bluetooth Settings to My Menu settings, to make this change easier. It should be noted that Bluetooth enabled/disabled settings are not saved when saving custom settings C1 and C2.

A side switch on the remote can control immediate trigger, 2 second trigger, or video drive. The immediate and two second options will drive Single Shot drive mode. The immediate option can also drive the 10 Second Timer drive mode, which can be quite useful. In Bulb mode (which is separate to Manual on the Canon R8), the remote is used to trigger the start and end of the exposure with each click which is essential for light painting photography. Whilst the manual states that Auto Focus (AF) has to be achieved, the remote works fine with the camera set to Manual Focus (MF). During Bulb exposures, the camera displays he elapsed time on the rear display, which is very useful.

The BR-E1 remote uses a button battery ,and a screw driver is required to access the battery compartment for safety reasons. This could be an issue when the battery runs out (after approx. 1 year) and a battery replacement might be required whilst in the field. Interestingly Ulanzi have recently released the A5006 universal camera remote, which is USB-C rechargeable, removing the need for in the field battery replacements. The R8 also has a remote port, for wired remote controls, or longer range wireless remote controls where the receiver connects via the wired input.

Auto Focus

For portrait photography, the Dual Pixel CMOS AF II autofocusing system on the R8 is excellent, which is no surprise as it is very similar to the advanced autofocus on the more expensive Canon EOS R6ii and R3 cameras. During a very low light photoshoot with ISOs up to 10,000, an impressive 98% of photos were perfectly in focus, and the remaining 2% were acceptable. When running Subject to Detect 'Auto' (Eye Focus 'Auto'), the blue box indicating auto focus area can jump between different sizes when more than just the subject may be in focus. Whilst this may be disconcerting, the camera was always right! Focus point can be adjusted using the touch screen, and parameters such as Subject to Detect, or which eye to focus on can be adjusted quickly in the user interface. My preferred settings for portrait photography are AF Operation 'Servo', Subject to Detect 'Auto' (Eye Focus 'Auto'), AF Area 'Spot'. My preferred settings for cityscape photography are AF Operation 'One Shot', Subject to Detect 'Disabled', AF Area 'Spot'.

Manual Focus

For light painting photography, using manual focus is mandatory. The RF 24mm f/1.8 lens has an auto/manual focus switch. The RF 16mm f/2.8 and RF 50mm f/1.8 lens have auto/control focus switch, which results in the camera's menu system having to be used to switch to manual focus. This annoyingly isn't possible from the Q menu, so you have to access Focus Mode via the main menu. I added Focus Mode to My Menu for faster access.

Once switched to Manual Focus (MF), manually focusing with the Canon RF lenses is really easy. I enabled Focus peaking, Focus guide, and RF lens MF focus ring sensitivity to 'Varied with rotation speed'. The focus point for the Focus guide can be selected on the touch screen. It is also possible to quickly zoom in using the zoom button on the touch screen to check focus visually as well, though focus peaking and focus guide are not available in zoom. As long you don't turn off the camera power, the manual focus also stays in position. The focus guide does not work with completely manual lenses such as the vintage Helios 44-2, but focus peaking works with all lenses.

Camera User Interface

Overall, the Canon R8's user interface is excellent. Whilst the joystick was removed on this model as cost saving measure, I don't really miss it, as my previous cameras lacked a joystick, and the touch screen can be used instead. Just don't have Touch Shutter enabled! The R8 has two control dials, and the user interface usefully displays which dial controls which function. Most shooting functions are available via the Q menu, and then using the touch screen. Changing Focus mode from 'AF' to 'MF' is my most used function that is not available via the Q menu. It should be an option along with 'One Shot'/'AI Focus'/'Servo'.

Initial setup took a while as there are lots of customisable options. Thankfully there are plenty of decent YouTube videos to help users. The rest of the buttons are well placed, though getting used to on/lock/off switch location took a bit of getting used to.

Useful for light painters - the Canon R8 is capable of in-camera double exposures, and also has intervalometer functionality. The camera has the usual assortment of filter modes, of which tilt shift is the most useful to seasoned photographers. Sadly, there is no live composite, or digital ND filter.

The rear display is sharp and vivid, and is of a flip out, variable angle design. The electronic viewfinder is adequate, but not outstanding. I rarely use the electronic viewfinder, so this isn't an issue for my photography genres.

Camera Image Quality

The Canon EOS R8 has the same 24.2MP CMOS sensor and Digic X processor as the Canon R6 II, and is thus a massive improvement in image quality over the previous "entry level" Canon full frame mirrorless, the Canon EOS RP (which used the D6 II sensor with limited dynamic range). Compared to my old APS-C Sony A6400, I have seen a noticeable improvement in signal to noise ratio at high ISO and during shadow recovery, as well a significantly improved dynamic range. For correctly exposed photos, I only need to start to use medium noise reduction (more than +30 in Lightroom) on photos at ISO4000 or higher. I have so far only been using RAW, but will test out cRAW with it's smaller file sizes in low light photography at some point.

It should however be remembered that when moving from M43 or APS-C to full frame, that the depth of field for the same f-stop is narrower due to the larger sensor. Thus if you are aiming for the same depth of field in portraits, you may find some of that sensor image quality advantage is eaten away by having use a narrower aperture.

The camera has the option of showing highlight clipping during image review, which is very useful for light painting photography. Be aware that anything showing as clipping is usually not recoverable in post processing! Despite having Standard selected for Picture Style, I found the "back of camera" RAW images appear relatively unprocessed compared to my previous Sony A6400, where the RAW images displayed utilising a wide dynamic range (similar to how I post process my RAW files). This is just something I will have to get used to.

Lens Image Quality

The Canon RF 16mm f/2.8, RF 24mm f/1.8, and RF 50mm f/1.8 lenses are very compact and lightweight lenses. The centre and mid-field sharpness is very good to excellent at all focal lengths. As with many other manufacturers compact fast lenses, the tradeoff is that there is a reliance on in-camera/post-processing correction of extreme barrel distortion and vignetting on the 16mm and 24 mm lenses. This can decrease the corner sharpness (soft corners) though this is corrected pretty well by Lightroom's lens profile - see the bottom right of the below example photo. The requirement for lens correction also creates a stretching distortion in the corner of the resulting images. In real world use, I didn't find this to be a serious concern. Astro-photographers may be disappointed by the coma at wider apertures. I've yet to come across any issues from chromatic aberrations, but would expect that these can be corrected easily in post processing.

Lens Flare

For light painting and night cityscape photography, flare and ghosting needs to be minimized. With Canon's super spectra coating, the Canon RF 16mm f/2.8, RF 24mm f/1.8 lenses do a very good job with controlling flare. There will still be some situations where flare is evident, particularly when raising shadows in post processing. The RF 50mm f/1.8 lens is known to be more susceptible to lens flare in some situations, but I have yet to experience any issues. Unfortunately, none of these lenses come with lens hoods, so these have to purchased at additional cost. Thankfully, there are plenty of 3rd party manufacturers like JJC who sell replicas of Canon lens hoods at about 1/3 of the price.

Sunstars / Starbursts

For light painting and night cityscape photography, getting decent sunstars/starbursts from artificial light sources is very useful. Getting decent sunstars is getting harder in recent times as lens companies care more about aperture blades that render bokeh better, such as odd numbers of curved blades (e.g. 7, 9, 11). The Canon RF 16mm f/2.8 and RF 50mm f/1.8 lenses use 7 rounded aperture blades, which produce 14 point sunstars. The Canon RF 24mm f/1.8 lens uses 9 rounded aperture blades, which produces 18 point sunstars. Diffraction spikes are visible at most apertures on these lenses, but are only prominent at f/11 and beyond on all three aforementioned lenses. OK to good, but not what I would call excellent. The RF 50mm f/1.8 is the better of these three lenses for sunstars.

There are a few 3rd party manual focus ultra-wide lenses available for RF mount with excellent 10 point sunstars, such as the Nisi 15mm f/4. I would love to see some dedicated sunstar lenses in the 24-28mm focal lengths as well. Personally, I would like to see manufacturers consider sunstars more when designing lenses. It is possible to design lenses that can produce good bokeh and good sunstars by having curved aperture blades at wider apertures, with the blades being straight at narrower apertures (f/8 and narrower) for good sunstars.

Trade-offs

The Canon EOS R8 fits a lot of functionality into its US$1499 price point. There is no surprise that some compromises had to be made. I have already mentioned the lack of joystick. There is only a single UHS-II SD card memory card slot, again, not an issue as I would expect that professional photographers who require dual memory card slots would choose a R6ii, R5, or R3 instead. There is no full shutter, with electronic 1st curtain or electronic only options available. The latter has flicker lighting reduction options, for when photographing under flickering or PWM driven lighting. Electronic 1st curtain is limited to 6fps, but isn't a major issue, as the electronic shutter can run up to a crazy 40fps (which will very quickly eat up the RAW buffer). The battery is also relatively small in capacity, but even after a photoshoot with 400 photos, the battery charge indicator was showing full bars. A spare battery is still highly advisable. More of a problem is that battery indicator is very crude and doesn't show percentage remaining.

There is no in-body image stabilisation/IBIS in the R8. It is rare that I use shutter speeds where IBIS is required, and whilst useful, at this price point, I think that no IBIS was a sensible compromise decision by Canon. It also allows for the impressively low weight. It should be remembered that very few DSLRs had IBIS, and it didn't stop photographers from taking awesome photos with them! There is electronic image stabilisation for video which actually works quite well, and some RF lenses also have image stabilisation.

The build quality is adequate for the price point, the R8 has some weather sealing, and the overall ergonomics are good. The only part that feels flimsy is the battery compartment door.

Whilst it was Canon's compact and lightweight RF mount lenses that attracted me to the system, it is disappointing that 3rd party autofocus lens manufacturers are currently excluded from RF mount. There is a large gap between the more affordable RF lenses, and very expensive L lenses. Hopefully things may change in this space.

Conclusion

I have now been using the Canon RF mount system for one month, for light painting, night cityscapes, and low light portraits. These are my current thoughts on the Canon EOS R8 body, and Canon RF 16mm f/2.8, RF 24mm f/1.8, and RF 50mm f/1.8 lenses.

Canon EOS R8 Camera Body

Positives:

• R8 body - excellent image quality to price/weight ratio.
• Excellent autofocus system, with extremely high accuracy in low light.
• Fairly easy to use, and highly customisable user interface.
• Fully articulating screen.
• Good wireless remote control options.
• Bulb timer, intervalometer, and in camera double exposure functionality.

Neutral:

• No image stabilisation (IBIS) - this is probably the best compromise for a full frame camera at this price point.
• Other compromises - small battery, single card slot.

Negatives:

• Only 2 custom modes (C1 and C2).
• Changing Focus Mode (AF to MF) is not accessible via the Q menu.
• Poor battery indicator (no percentage reading).

Canon RF 16mm f/2.8 STM Lens

Positives: low cost, excellent centre sharpness, very lightweight and compact, affordable, good flare control, OK 14-point sunstars, auto-focus, fast max aperture (for an ultra-wide).

Negatives: soft corner sharpness, no manual focus switch, no weather sealing, an even wider angle lens would be preferred.

Canon RF 24mm f/1.8 Macro IS STM Lens

Positives: excellent centre sharpness, fairly lightweight and compact, good flare control, good 18-point sunstars, fast max aperture, image stabilisation, macro functionality, auto/manual focus and image stabilisation on/off switches.

Negatives: soft corner sharpness, price could be a bit lower, no lens hood included, no weather sealing.

Canon RF 50mm f/1.8 STM Lens

Positives: low cost, excellent centre sharpness, very lightweight and compact, affordable, good 14-point sunstars, excellent centre sharpness, fast max aperture.

Neutral: no image stabilisation (but would add to weight/price).

Negatives: flare control could be better (but still good), no manual focus switch, no lens hood included, no weather sealing.

Impressions

Overall, I'm very happy so far with my move to Canon's RF mount. The sensor image quality and autofocus are not compromised at the US$1499 price point, and Canon EOS R8 can easily compete with many high end full frame mirrorless cameras in terms of image quality. Despite using a full frame sensor, the Canon R8 body, with Canon RF 16mm f/2.8, RF 24mm f/1.8, and RF 50mm f/1.8 lens combinations are more lightweight and compact than many APS-C alternatives. There are some tradeoffs, notably soft corner image quality with some of the aforementioned lenses, no IBIS, small battery, and single memory card slot. However, these are not a major issue in real world use in my photography genres. The Canon EOS R8 is excellent camera for photographers who require lightweight kit, with excellent image quality and autofocus functionality.

It would also be welcome if Canon could open up the RF mount to 3rd party autofocus lens manufacturers. I would also like to see a wider than 16mm ultra-wide angle lens added to Canon's compact and lightweight RF lens range. I would also like to see manufacturers consider sunstars more in modern lens design.

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Disclaimer

The Olight Warrior Mini 3 was sent to me by Olight Australia for an honest review.

Olight Warrior Mini 3 at Olight USA (affiliate link). - 10% off with code: OLIGHTSTORE10

Olight Warrior Mini 3 at Olight Australia (affiliate link). - 10% off with code: LUMEN10

Design and Construction.

The Olight Warrior Mini 3 is a relatively compact 18650 tube format tactical flashlight, with a maximum output of 1,750 lumens. It is 111mm in length, has a head diameter of 23mm, and a weight of 122g (including the battery). It is slightly more compact than the Warrior Mini 2. The light has an IPX rating of IPX8, and should be able to withstand rain and being dropped into fresh water. The package includes a removeable pocket clip, instructions, safety instructions, L-shaped stand, USB-A to magnetic charging cable, and 3500mAh 18650 Li-ion battery.

The body colour of the tested version is Black. Other colours available at launch are Forest Gradient and Midnight Horizon. Olight regularly introduce more colour options to existing lights every few months. The recommended retail price is US$89.99, though Olight often have sales where the price is lower and/or bundled with other lights.

The Warrior Mini 3 has two switches, a two stage tail switch (which also doubles up as the magnetic charging port) and a side switch. Both switches have had design changes from previous versions for improved durability .The user interface is explained in the next section.

The 18650 battery has a capacity of 3500mAh, and has proprietary +ve and -ve poles at one end. This is fine for consumers, but many flashlight enthusiasts won't be happy. Maximum charging current is 1.5A, and it took 2hrs 40mins to fully charge the included battery. A light on the magnetic charger is red during charging, and green once charge is at approximately 95%.

The pocket side clip can only be attached in a reverse manner (clip attachment near head of the light). However due to the S-shaped clip design, it can be attached to clothing in either direction. The clip can also be removed completely.

The Warrior Mini 3 is compatible with the following light painting systems - Light Painting Brushes (Universal Connector), Light Painting Paradise (both "All in One" adapter and various cone adapters), and North American sized T8 Tubes (including Luminosify and Eric Pare's Light Painting Tubes). Due to the clip design adding 5mm to the diameter, it might not fit narrower European sized T8 Tubes. The light is compatible with U-shaped tripod mounts from Kaidomain, and also works with Convoy 24.5mm diffusers. However, before you rush out and buy this light for light painting photography, you might want to read the User Interface section!

User Interface

The Olight Warrior Mini 3 has a two switch user interface, with a side switch, and two stage tail switch.

The side switch has a fairly "normal" e-switch user interface with single click for on/off, and hold to cycle Low>Medium>High, with last mode memory, sort of. The last mode memory resets after a few minutes to Medium for High. A double click from on or off will enter Turbo mode, and a triple click from on/off will enter Strobe mode. Hold from off will enter Moonlight mode. If you keep holding moonlight, then the light locks out, and a the reverse move will unlock the light.

The tail switch user interface is designed more for "tactical" use, and only works as a momentary switch i.e. you have to hold down the switch for light to be emitted. There are two tail switch modes: 1) Medium/Turbo; 2) Medium/Strobe. The tail switch is a two stage momentary switch, a medium press and hold turns the light on in Medium, and a full press and hold turns the light on in either Turbo or Strobe. You can change between these modes by clicking the side switch whilst the tail switch is being fully pressed. True tactical users would probably prefer the Turbo/Strobe tail switch user interface from the original Warrior Mini. However, there may be some tactical use cases where Medium/Turbo is quite useful, such as searching a house with a lower brightness, and add more light if required. Personally, I prefer momentary tail switches to work with the all last memorised modes (including Strobe).

Good news for light painting photographers is that the Strobe is constant frequency at 13Hz, 50% on/50% off time, and is not affected by the proximity sensor. The bad news is that Turbo and High modes are automatically dimmed by the proximity sensor when the light is connected to light painting tools. This makes the Warrior Mini 3 only useful for light painting photography (where usually only the tail switch is accessible) in Strobe and Medium modes. It is not clear if the Warrior Mini 3 is compatible with Olight's remote pressure switches.

The Olight Warrior Mini 3 has a redesigned proximity sensor user interface. The proximity sensor is a safety feature designed to stop consumers from burning holes in things after accidental activations. This prevented the previous generation of Olight Warriors from being able to be used in light painting connectors, as the proximity sensor would activate. Sadly, this has not changed, other than for Strobe. In the Olight Warrior 3, the proximity sensor is active for Turbo and High modes, and will lower the brightness to Medium when the sensor detects it is close to another object. This can be overridden with a double click of the side switch. However, it is then reset to activate as soon as the light is turned off and back on again. As this flashlight is aimed at consumers, I can see why Olight have made this safety orientated design decision to protect themselves from litigation. However, I would like to see Olight give advanced users the ability to indefinitely disable the proximity sensor via something like 15 clicks of the side switch (that would be difficult to achieve accidentally). Most other flashlight manufacturers do not have the need for such a feature. As the proximity sensor is quite small, I was not able to disable it with the black tape trick.

A small LED in the side switch indicates battery voltage.

Beam, Output, and Runtime

The Olight Warrior Mini 3 has a single LED in a TIR optic. Whilst Olight do not specify the LED, it appears to be a Luminus SFT40 6500k (cool white). This dome-less LED is throwier, but slightly less efficient than the domed SST40 used in the original Warrior Mini. Luminus have recently released a 5000k neutral white SFT40, and I'll be interested to see if that appears as an option at some point in time.

With a maximum output of 1,750 lumens. The peak beam intensity is claimed to be 14,400cd (240m throw), and was measured at 18,000cd (268m). The resulting beam profile is what I would call a general purpose beam, with both flood and reasonable throw.

The Olight Warrior Mini 3 has 5 brightness levels, plus 13Hz Strobe, with the following claimed brightness and runtimes:

• Turbo 1,750 lumens (step down to 29% by 2 mins, and 11% at 212 mins) - 242 mins.
• High 500 lumens (step down to 40% at 215 mins) - 245 mins.
• Medium 120 lumens - 18 hours.
• Low 15 lumens - 165 hours.
• Moonlight 0.5 lumens - 100 days.
• Strobe 1,750 lumens.

Runtime and brightness testing was within +/-10% of claimed figures. On Turbo mode the light started at 1,750 lumens, and reduced to 1,600 lumens by 45 seconds. From 45 seconds, the light stepped down in brightness, and stabilised at 490 lumens from 2 minutes. This is a more rapid stepdown than the original Warrior Mini, and is a direct consequence of the higher maximum brightness and slightly less efficient LED. The sustained brightness is good for the light's size, but not outstanding. The light always stays within safe hand holding temperatures.

At the end of the runtime, the light switches off automatically. However, it is still possible to re-activate the light on Moonlight or Low settings so that the user doesn't end up stuck in the dark.

Using an Opple Light Master 3 Pro, I measured the hotspot colour rendering index (Ra CRI), correlated colour temperature (CCT), and tint (DUV):

• Turbo - 69.8 Ra CRI, 6364k CCT, +0.0035 DUV.
• High - 67 Ra CRI, 5967k CCT, +0.0072 DUV.
• Medium - 67.2 Ra CRI, 5862k CCT, +0.0085 DUV.
• Low - 66.8 Ra CRI, 5802k CCT, +0.0095 DUV.

As this is a high powered tactical flashlight aimed at the consumer market, it is no surprise that it uses a cool white <70CRI LED. Performance is typical for these types of LEDs, an increasingly green tint as the brightness is decreased. Flashlight enthusiasts may prefer less efficient high CRI LEDs, with a neutral tint, but I'm sure that 95% of Olight's customers just want more lumens.

Conclusion

Positives:

• Excellent maximum brightness/size.
• Good sustained brightness/size.
• Constant frequency strobe (13Hz).
• Strobe accessible via momentary tail switch, with proximity sensor inactive.
• Good user interface for general purpose use.
• Good runtimes.
• Compatible with most light painting systems.
• Internal charging via USB-A to magnetic tail switch.
• Battery voltage indicator.

Negatives:

• The proximity sensor cannot be indefinitely disabled.
• I would prefer Turbo/Strobe (or even last memorised mode including Strobe) to be accessible via the tail switch instead of Medium/Turbo or Medium/Strobe.
• Only useable for light painting photography on Strobe and Medium modes.

For consumers, and flashlight enthusiasts, this is an easy to use, and safe to use, compact flashlight. It can either be used with a "normal" side switch user interface for general purpose use, or "tactical" tail switch user interface. As with previous Olight Warrior Mini series flashlight models, I'm sure this light will be extremely popular. True "tactical" users may prefer the tail switch configuration to be Turbo/Strobe instead of Medium/Turbo or Medium/Strobe. However, there are tactical use cases where Medium/Turbo could be quite useful.

Olight Warrior Mini 3 at Olight USA (affiliate link). - 10% off with code: OLIGHTSTORE10

Olight Warrior Mini 3 at Olight Australia (affiliate link). - 10% off with code: LUMEN10

For light painting photography (creating light trails) - due to the proximity sensor this light is again highly compromised for light painting photography, with only Strobe and Medium modes being useable. Update October 2023 - Olight have released the 1,200 lumen Warrior Nano, which is a shorter version of the Warrior Mini 3. This doesn't have a proximity sensor, and with a configuration change allows momentary Medium/Turbo or Medium/Strobe. It is thus more useful for light painting photography. The down side, is that the beam profile isn't as optimal for use with light painting tubes.

Olight Warrior Nano at Olight USA (affiliate link). - 10% off with code: OLIGHTSTORE10

Olight Warrior Nano at Olight Australia (affiliate link). - 10% off with code: LUMEN10

Best Flashlights for Light Painting Photography 2024.

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Disclaimer

The Convoy S15 was purchased with my own funds. This review does not contain any affiliate links. This flashlight is reviewed from the perspective of a light painting photographer and flashlight enthusiast.

Construction and Design

The Convoy S15 is an evolution of the Convoy S2+, possibly one of the best selling flashlights of modern times. It has been available to the Asian market for a while, and only recently released on Convoy's global Aliexpress store. It is an 18650 battery tube format flashlight, with a rubber tail switch, head diameter of 24.5mm, length of 120mm, and weight of 86g. The light uses a powerful Luminus SST-40 LED, available in neutral white 5000k, or cool white 6500k. I tested the latter version as it better for use with light painting tools. The retail price at the time of writing was just US$16 without battery, and US$20 including a 18650 Li-ion battery.

The light comes with a side clip that is reversible in direction, with grooves on the tail cap and head end of the body/tube. The light also comes with a lanyard. There are no instructions, but the light isn't exactly difficult to use. The packaging was of the usual minimalist Convoy packaging, which in my opinion is too minimalist for when batteries are being shipped internally. I would rather pay a few $ more for better packaging.

A high quality unprotected 3500mAh 18650 Li-ion battery is optional, and I would highly recommend purchasing this as an option. As usual, the +ve end of the battery is at the head end of the flashlight. The flashlight has no internal charging, though basic Li-ion chargers are also available from Convoy from just US$3.

This flashlight is compatible with Light Painting Brushes (Universal Connector), Light Painting Paradise, and T8 tube based (Light Painting Tubes, Luminosify, Light Painting King, and LightTubePro) light painting systems. It fits U-shaped tripod mounts. It isn't compatible with Convoy 24.5mm diffusers.

User Interface

The Convoy S15 is designed to be a very easy to use flashlight. It has a very basic user interface. There are 4 modes 1%, 10%, 40%, and 100% with last mode memory. A full click of the tail switch is on/off, and half press advances through the modes. Simple!

There is unfortunately no strobe mode, or other flashing modes. Thus for light painting photographers, this flashlight is only useful for continuous (non-strobe) light trails. There is currently a severe lack of budget flashlights with easily accessible (i.e. single click from off) constant frequency strobes for light painters. There is also no remote pressure switch available for this light.

Beam, Output, and Runtime

The Convoy S15 has a Luminus SST-40 LED (5000 or 6500k) in a smooth reflector, with green anti-reflective lens. The 6500k version was tested. The optics create a beam profile with a fairly well defined hotspot, and 80 degree spill beam. Measurements in this section used an Opple Light Master Pro 3.

Brightness:

• 100% - 1,515 lumens / after step down 680 lumens.
• 40% - 660 lumens
• 10% - 90 lumens
• 1% -10 lumens

Maximum brightness (100% mode) is pretty impressive for a $16 flashlight. The light starts off at 1,515 lumens, and gradually steps down to 680 lumens between 1 and 4 minutes. On 40% mode, the light starts at 660 lumens, and the brightness is sustained above 600 lumens throughout most of the runtime. This is an impressive sustained brightness for an 18650 tube format flashlight. Low voltage warning flashes started at 121 minutes. As with most Convoy lights where the thermal limiting is set to 55C, this light runs hot on 100% and 40% modes.

Peak beam intensity:

• 100% - 20,520 cd or lux/1m.

Peak beam intensity is also fairly impressive for an 18650 tube format light, helped by the SST-40 LED and a smooth reflector. The light has a good general purpose beam, and is also highly suitable for use with longer light painting tools such as T8 tubes, rods, sabers, etc. When light painting with a Luminosify Twilight Choob, with the light on 40% brightness mode, I used a photographic exposure of f/11, ISO100. Thus on 100% mode, it is quite possible that this light is bright enough for blue hour light painting.

Hotspot correlated colour temperature CCT, colour rending CRI Ra, and tint / DUV:

• 100% - CCT 5795k, CRI 65.5 Ra CRI, Tint +0.0093 DUV.
• 40% - CCT 5680k, CRI 64.3 Ra CRI, Tint +0.0110 DUV.
• 10% - CCT 5549k, CRI 63.1 Ra, Tint +0.0128 DUV.
• 1% - CCT 5370k, CRI 61.5 Ra, Tint +0.0138 DUV.

The hotspot CCT is between 5300-5800k depending on the brightness, however due to tint shift, the spill beam is much cooler. Even by low CRI standards, the CRI is pretty poor in this light at 61-66 Ra. Whilst low CRI flashlights are fine for use with light painting tools (i.e. creating light trails), I do not generally recommend them for low to medium brightness night photography illumination (i.e. lighting things up). This is due to resulting photos looking "washed out" compared to using 95 CRI flashlights such as the excellent Convoy S21E 519A. Tint, as is expected for a SST-40 LED, is not great either. On 100% mode, there is a very slight green tint (+ve DUV), but the lower modes have an increasingly green tint. Of course, plenty more expensive lights from major flashlight manufacturers, also have the same tint issue. I doubt that any of the primary target audience for this flashlight would be concerned about the CRI and tint.

No Pulse Width Modulation (PWM) was detected visually, or by my phone camera.

Conclusion

Positives:

• Very good value for money - just US$16, US$20 including battery, or from US$23 including battery and charger.
• Good maximum brightness/size.
• Good sustained brightness/size.
• Easy to use.
• Last mode memory.
• Reversible side clip.
• Compatible with most light painting systems.
• No PWM.

Negatives:

• No strobe mode.
• No internal charging.
• No momentary.
• CRI is poor, even for a low CRI light.
• Noticeable green tint on lower brightness modes.
• Minimalist packaging.
• No remote pressure switch.

For general purpose use, the Convoy S15 is a good value for money, and easy to use flashlight. However, I would recommend spending a little bit more for the far superior Convoy S21E 519A with 95 CRI and USB-C charging.

For light painting photography (creating light trails) the S15 is a very good budget choice if you can handle the lack of both strobe mode and internal charging. It should even be bright enough for blue hour light painting with T8 tubes.

Convoy S15 no battery // with battery.

Best Flashlights for Light Painting Photography 2024.

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Disclaimer

The Convoy S21E was purchased with my own funds. This review is written from the perspective of a light painting / night photographer and flashlight enthusiast.

Construction

The Convoy S21E is a compact 21700 battery sized tube light, with a side e-switch and USB-C charging port near the head. The head diameter is 27.3mm, and the length is 116.4mm. Both the head and tail sections can unscrew, and there are springs at both ends of the battery tube. Waterproof rating is IPX4, and my S21E 519As have survived many a drop into water. At the time of writing, the price was US$24 without battery.

The light arrived in the usual Convoy minimalist packaging - soft cardboard and bubblewrap. I would pay a few $ more for more protective packaging. A side clip and lanyard are included.

The Cree XHP50.3 HI version of the S21E is available with R70/70CRI LEDs in 3000k, 4000k, 5000k, and 6500k CCTs, or R9050/90CRI LEDS in 3000k, 4000k, and 5000k CCTs. Like the 519A version, the XHP50.3 HI version uses an identical orange peel reflector. The light tested in this review has a Cree XHP50.3 HI R9050 5000k LED.

The S21E includes USB-C charging input and internal charging at up to 2A, something that has generally been lacking until recently on compact Convoy flashlights. The rubber charging port flap fits well, and is easy to press back in place. The S21E's charging worked with both USB-A to USB-C and USB-C to USB-C cables. During charging the side switch glows red, and once charging has terminated it glows green. The light is off during normal flashlight use. Charging terminated at 4.18V which is acceptable. Personally I prefer to use dedicated analysing Li-ion chargers such as the Vapcell S4 Plus, but internal charging is very useful when traveling.

For light painting / night photographers - whilst this light fits in most light painting connectors, the side switch is not accessible. This light is however very useful for the illumination genre of light painting (i.e. lighting things up), where it excels. The light fits in U-shaped tripod mounts, and has compatibility with the Convoy S21A/B diffuser. This light is not suitable for use with backlight scanners - check out the Convoy S21D or M3-C for that!

The Convoy S21E is available in 5 different body colours - black, blue, orange, green, red. For this review, I chose the green option.

User Interface

The S21E uses a side e-switch. This is my preferred switch location for lights used for illumination purposes as it is more ergonomic, and there is less chance of water ingress if the light is tail standing in shallow water, puddles, or damp ground.

The S21E uses Convoy's e-switch user interface (as seen on the M3-C and M21D/E/F), which has a good compromise between functionality and ease of use. Instructions are provided on the product page. It is possible to use ramping brightness, or change to stepped brightness (1%, 10%, 40%, 100%) with last mode memory. These brightness levels are well spaced. Moonlight mode (0.2%) is available, as is 100% only Tactical mode, and Lockout. As night photography requires consistency, I prefer to use the stepped brightness mode. The ramping is a bit too fast at lower brightness levels in my opinion. There is a 10Hz strobe, accessed with a triple click. The clicking required to change settings, such as 6 clicks from ramping to stepped brightness needs to be done very quickly.

As well as electronic lockout to prevent accidental activation, the light can be mechanically locked out by slightly unscrewing the tail cap. It should be noted that last mode memory resets to low mode when the light is mechanically locked out.

Optics, Output, and Runtime

The tested Convoy S21E uses the Cree XHP50.3 HI R9050/90CRI LED in an orange peel reflector. The XHP50.3 HI potentially offers more maximum output, more throw, and more efficiency than the 519A LED whilst maintaining high colour rendering/CRI. I was thus very interested to test this light to see how it compares to the 519A version. My review of the S21E with R9080/95 CRI Nichia 519A LED is available here.

I highly recommend high CRI flashlights for night photography illumination, as colours, especially reds and browns are rendered much better than standard 70 CRI flashlights. The likes of Nitecore, Fenix, Olight, and Klarus are still stuck in the dark ages when it comes to CRI, with "washed out" 70 CRI cool white beams.

The S21E has a diffuse hotspot, and the spill beam angle is 95 degrees. Whilst the 519A version of the S21E is also available with a very floody 60 degree TIR optic version, this is not currently available for the XHP50.2. The lens is a green anti-reflection (AR) coated, which slightly changes the tint towards magenta. Below are the results on testing the S21E XHP50.3 HI R9050 5000k for hotspot correlated colour temperature /CCT, CRI Ra, and tint DUV with an Opple Lightmaster 3 Pro (519A R9080 5700k results in brackets).

• 100% mode - 5389k, 92.6 Ra, +0.0009 DUV.
• 40% mode - 5169k, 93.7 Ra, +0.0012 DUV (5147k, 98.1 Ra, -0.0013 DUV).
• 10% mode - 5083k, 94.5 Ra, +0.0004 DUV.

The results show colour rendering Ra CRI to be consistently above 92 CRI, far better than most 70 CRI flashlights, but not quite as good as the 98 CRI 519A LED. The tint/DUV was pretty neutral, with very slight green tint. Again not quite as good as the perfectly neutral 519A, but still very acceptable. The R9/red colour rendering was not measured, though visually the 519A appears to have the edge when it comes to rendering reds and browns. The XHP50.3 HI version displays considerably less CCT shift between the hotspot and spillbeam than the 519A - this is very noticeable in the comparison photo.

Tested brightness levels (+/- 10% margin of error) at 30 seconds, with the XHP50.3 HI R9050 5000k LED emitter (519A R9080 5700k results in brackets):

• 100% - 1,470lm (1,150lm) / after step down 720lm (590lm).
• 40% - 605lm (530lm).
• 10% - 240lm (210lm).
• 1% - 25lm (20lm).

The XHP50.3 HI R9050 5000k LED has 28% higher maximum lumens, and 22% higher sustained lumens than the 519A 5700k LED version.

On 100% mode, maximum brightness was sustained for a fairly impressive 110 seconds, followed by a gradual decrease to 720 lumens by 4 minutes, where output stabilised, with only a small reduction in brightness during the rest of the useable runtime. With a 4000mAh Samsung 40T 21700 battery, low voltage warning (red flashing switch and brightness stepdown) kicked in at 133 minutes. This is 37% longer than the 519A version. With a 5000mAh battery I would expect an approx. 166 minute useable runtime. As is traditional with Convoy S series lights, this light runs very hot (thermal throttling is generally set to 55C). I hope the battery charging electronics can handle this!

Throw/peak beam intensity measurements were measured at 1m, with a Opple Lightmaster 3 Pro (519A R9080 5700k results in brackets).

• 100% - 16127 Lux/1m or cd (13124 Lux/1m or cd).

The XHP50.3 HI R9050 5000k LED has 22% more peak beam intensity than the 519A 5700k version, but with 28% more lumens. The XHP50.3 HI thus has a slightly lower cd/lumen than the 519A 5700k LED. I was expecting the opposite. Neither options are particularly "throwy", but the S21E has a good beam profile for general purpose use.

No PWM was visible during testing, though my phone camera detected some waveform rippling.

Conclusion

Positives:

• Excellent value for money.
• Very good colour rendering 90CRI/R9050 and fairly neutral tint.
• Excellent sustained output and runtime/size.
• Good range of CCT options from warm to neutral white.
• USB-C charging and (optional) included battery.
• Side e-switch with stepped or ramping brightness, with last mode memory.
• Diffuser and tripod mounting options.
• Mechanical or electronic lockout for safety.

Negatives:

• Ramping brightness is too fast at lower brightness levels.
• Packaging is inadequate.

The Convoy S21E with XHP50.3 HI R9080 LED version is a fantastic general purpose compact flashlight that is very useful for night photography illumination. How does it compare to the excellent 519A version?

• XHP version has 28% more maximum, and 22% more sustained lumens.
• XHP version has 22% more maximum peak beam intensity.
• XHP version has 37% longer runtime.
• XHP version has less CCT shift between hotspot and spill beam.
• 519A version has 98 CRI vs 93 CRI, and improved R9 Red colour rendering.
• 519A version has a marginally better tint.
• 519A version has more CCT options 7 (2700k to 5700k) vs 3 (3000k to 5000k).

Both versions of the Convoy S21E are fantastic, but if I had to make a choice, my preference would still be the 519A version.

It should be noted that if you don't care about colour rendering (and all photographers should care) the R70/70 CRI version of the XHP50.3 HI will provide an estimated 30% more lumens than the R9050 version tested in this review.

Convoy S21E XHP50.3 HI product page // with battery.

Best Flashlights for Light Painting Photography 2024.

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Camera Equipment

So what do you need to get started? Ideally you need an interchangeable lens camera (DSLR or Mirrorless) that can do Bulb (>30second long) exposures. One of the most important camera features for light painting portraits is remote control, and I will elaborate on that later. Some smart phone cameras can also perform long exposures, sometimes with "live composite" techniques.

You don't need expensive lenses. Unlike "normal" portraits that require fast lenses, most of my light painting portraits are performed with apertures between f/5.6 and f/8, so most standard lenses will easily suffice. If you want a milky way background, you may need f/2.8, high ISO, and use light sources at very low brightness levels. I prefer to use wide to normal angle focal lengths between 13mm to 50mm (9mm to 33mm APS-C), though I usually use around 24mm (16mm APS-C). Wide angle lenses allow for light painting in more confined locations, or if you want to include more of the surrounding environment. However, be aware that wide angle lenses will distort the models features, especially if they are not located in the centre of the photo.

You will need to take the photograph with the lens in manual focus. You can either pre-focus with light, then change to manual focus. Alternatively you can use focus peaking/magnification when manually focusing on mirrorless cameras.

Other photography equipment that is required includes a tripod, remote control, and maybe a glow-in-the-dark pebble or tape. Tripods should have good range of height and have adjustable legs to allow stability on sloping or uneven ground.

You also need to be wearing black clothes, and have as much skin covered as possible to make you more invisible whilst you are light painting. A balaclava can be useful for some light painting portraits.

Light Painting Equipment

There are lots of options for how you create the light trails in light painting portraits including lightsabers, plexiglass rods and tubes, light blades, fiber optic brushes, fiber optic whips, orb lights, LED light bars, torch light alone, and more. These can be purchased from a selection of light painting manufacturers, including Ants On A Melon, Light Painting Brushes, Light Painting Tubes, Luminosify, Light Painting King, and Lumenman. Alternatively you can make your own tools. I won't discuss each tool in detail, but I always list equipment used for my photos on my instagram. Most light painting tool manufacturers show sample photos in the product descriptions. If you are using flash/strobe units to illuminate the model, also consider using coloured gels.

My personal favourite tools for light painting portraits are fiber optic whips, fiber optic cables, pink fiber optic brushes, black fiber optic brushes, and various light saber like tools.

"The Art of Light Drawing" article also covers a lot of information that can also be applied to light painting portraits.

Finding A Model

Finding a suitable model can be tricky, especially for your first light painting portrait session when you lack a portfolio and references. If you can find a willing candidate from friends and family, go down that that route. Otherwise try politely asking models on Facebook groups, or Instagram. Be professional at all times, and allow the model to bring a chaparone (I often put the chaparone to work with assisting with lighting). You need to be clear to the model that light painting portraits are very different to normal portraits:

• They will need to keep extremely still for many seconds.
• It will require multiple attempts. Patience is a virtue!
• It will not result in flattering skin tones, or high sharpness.
• There will be a relatively low number of good photos from a photoshoot.
• However, the end results will hopefully look awesome!

If you are light painting in Urbex or other potentially risky locations, make sure the model is fully aware of the risks. You may be liable for any accidents! Be realistic on post-processing time frames, and have a "normal" portrait plan B in case the model can't keep still.

Creating the Light Painting Portrait

There are two paradigms for illuminating the model for light painting portraits:

1. Illuminating the model with light from the light painting tool only - this is what I usually use for light painting portraits. The model is only illuminated by the light painting tool(s) used during the exposure. The light painting tool is moved either behind or around the model during the exposure (or in the case of black fiber optics, brushed over the model). This does the require the model to keep very still, particular when the light source is close to the model. If you only move the light painting tool behind the model, you will get more of a silhouette look, though if there are reflective surfaces nearby some light will bounce back onto the model. If you move the light painting tool in front of the model (not necessarily directly in front) then you will illuminate the front the model as well. I try and keep exposures using this paradigm to 6 seconds or less, but have managed a 13 second exposure.
2. Illuminating the model with a light source, then light painting - this paradigm allows for longer and more complex light painting. In this case, the model is illuminated at the start of the exposure by either flash/strobe units, a portrait scanner, or a quick (1-2sec) burst of light from another light source such as a torch/flashlight or LED panel light. The light painting is then performed behind or around the model. The reverse may also be performed, where the model is illuminated at the end of the exposure after the light painting. Using flash will typically give the model more realistic skin tones. Using flash will also reduce the chance of the model's movement being blurred, but you may get a ghosting effect if they move in-between the flash and being illuminated by the light painting tool later in the exposure. Using a portrait scanner or burst of light from a flashlight/torch is a bit more "lit by hand", but increases the risk of model movement. If illuminating the model with a portrait scanner or flashlight, try not to illuminate the same part of the model twice e.g. scan from head to foot only. It is possible to combine multiple "illuminations" such as a strong backlight, weak front lighting, and then multi-element light paintings behind the model. I've successfully managed many >30 second long portraits using this paradigm with either flash or a 1 second burst of light from a flashlight/torch, followed by light painting behind the model.

An important thing to consider is how you trigger the exposure, which will of course be in manual mode. This can be done in one of three ways:

1. Trigger the start of exposure with a set exposure time (e.g. 6 seconds) with a remote (with optional delay) - this is what I usually use for predictable exposure times.
2. Trigger start and end of Bulb exposure with a remote - this is what I use when I can't predict the exposure time e.g. black fiber optic portraits, or more complex portraits.
3. Hold down the remote for entire Bulb exposure - this is often used for Eric Pare style "circles behind a model" as precision is required around start and end time. Only a limited number of remotes can do this.

Exposure settings with light painting portraits, are trial and error. Quite often a few attempts may be required to get the exposure to match the brightness of the tool and/or illumination (or vice versa). Communication with the model on when to keep still is critical for good results, such as counting down to the start of the exposure. If you are using sharp tools such as light blades, then take extreme care when moving them close to the model!

Another important tip is to make sure the model is comfortable during the long exposure. Whilst I have successfully performed a light painting portrait with a model standing on her head, and another in a suspended lyra hoop, it does make life easier if the model is in a position that is easy to keep still. I sometimes use a glow in the dark pebble as a marker, so that I know where I have focused. This allows the model to leave their position and return after having a look at the results on the back of the camera, which is somewhat inevitable when the photographer says "wow"!

I post-process many of my light painting portraits in a similar way to my other light painting photos, though I sometimes ease off raising shadows if things are getting noisy. The new AI subject masking in Lightroom is very useful for light painting portraits, as you can isolate the model and post process them differently to the rest of the photo - for example if you want to increase the brightness of the model, but keep the brightness of the light painting the same. However, sometimes the AI subject masking can get confused with light painting in the background and I have to revert to using a brush tool instead. Getting the original in-camera exposure correct will give you more flexibility when post-processing.

There are so many creative possibilities with light painting portraits, it is a fun genre to explore!

Most of my recent light painting portraits use the RGB Critter and various light painting tools from Ants On A Melon (5% off with code "KNIGHT").

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Disclaimer

The E19 was sent to me by Wuben for an honest and impartial review. Product links are an affiliate link.

Wuben E19 Product Page - 10% off with code "STEPHENKNIGHT".

Construction and Design

The Wuben E19 is a compact pen light that uses 2xAAA batteries. The dimensions are 140mm in length, 14.8mm head diameter,and approx. 13mm tube diameter. Weight is just 23g without batteries, and approximately 48g with batteries. The light arrived in branded packaging, with included Alkaline batteries, instructions, 2 spare O-rings, and a removeable side clip. Despite being called a pen light, there is no actual pen.

The light uses a >90 CRI Nichia 219C LED emitter with a correlated colour temperature (CCT) of 4000k which is at the warmer end of neutral white. Measurements are discussed later on in this review. The high colour rendering (CRI) makes this light very suitable for miniature light painting illumination photography and medical use. The latter in particular requires reds to be rendered well, so that a clinician (such as doctors and nurses) can make an accurate diagnosis of eye, ear, throat, or skin conditions. Many other pen lights only have 70 CRI LEDs that are not suitable for medical use.

The Wuben E19 has a single hard plastic tail switch. The user interface (UI) is discussed in the next section. The light has an ingress rating of IP68, and the light worked fine after being submersed for 1 minute during testing.

The E19 accepts two AA batteries, either 1.5V non-rechargeable Alkaline, or 1.2V rechargeable NiMH. I would recommend using high quality NiMH AA batteries such as Ikea Laddas or Panasonic Eneloops. You will need a dedicated NiMH or multi-chemistry charger to charge these batteries. I did not test 1.7V Lithium primary batteries.

Wuben also sell a UV version of this light for specialist use cases. The UV version was not tested.

User Interface

The Wuben E19 has a single reverse clicky tail switch, 4 brightness modes, and last mode memory. Last mode memory is quite useful for light painting and medical use as you know which level the light will turn on in, rather than having to fumble through multiple brightness modes. The user interface is as follows:

• Full click from off = on.
• Full click from on = light off.
• Full click off and on <1sec = on/advance mode (eco>low>med>high).
• Full click off and on again >1sec = on/last mode memory.
• Half press from on = on/advance mode (eco>low>med>high).
• Triple half press from on = SOS mode.

The four brightness levels are well spaced at Eco 2.5 lumens, Low 10 lumens, Medium 40 lumens, and High 200 lumens. There is no momentary mode.

With a grippy battery tube and tail switch, the light is easy to use with one hand.

Beam, output, and runtime

The Wuben E19 uses a 4000k Nichia 219C LED, with a smooth reflector. The light has a fairly deep smooth reflector, resulting in a relatively narrow spill beam. I think an orange peel reflector would have been a better choice.

The hotspot colour temperature (CCT), colour rendering (CRI), and tint (DUV) were measured on 200 lumen and 10 lumen modes using an Opple Light Master 3 Pro.

• 200 lumens high mode - 3981k CCT, 94.7 Ra CRI, -0.0030 DUV Tint.
• 10 lumens low mode - 3769k CCT, 95.2 Ra CRI, -0.0038 DUV Tint.

The CCT is at the warmer end of neutral white in the 3700k-4000k range. If Wuben were to update this model in the future, I would recommend the newer Nichia 519A LED, and maybe a more neutral CCT around 4500k to 5000k. The tint is slightly below the BBL, being very neutral with very slight hint of magenta.

Brightness, peak beam intensity/throw, and runtimes are claimed to be (using Alkaline batteries):

• High - 200 lumen, step-down to 40 lumens after 10mins, 770cd/55m, 148mins.
• Med - 50 lumens, 192cd/28m, 13hrs.
• Low - 10 lumens, 38cd/12m, 34hrs.
• Eco - 2.5 lumens, 9.5cd/6m, 80hrs.

Brightness testing on all modes, and runtime on high mode were within +/- 10% of these figures using 900mAh NiMH batteries. Step down on high mode occurred at 5 minutes instead of the quoted 10 minutes. The light actually runs with a few lumens well beyond the "official" runtime. Peak beam intensity (cd) is approximately 20% more than claimed.

No pulse width modulation (PWM) was detected, though there is some waveform rippling.

Conclusion

Positives:

• 95 CRI LED.
• Last mode memory useful for intended use cases.
• Good ergonomics.
• Well spaced brightness levels.
• Good value for money.
• No PWM.

Negatives:

• A 4500-5000k CCT LED, and orange peel reflector may have been a better choice.

Wuben have really thought about this light and its potential use cases. For miniature light painting photography, medical, or low brightness general purpose use, the Wuben E19 is an excellent flashlight with well spaced brightness levels, high colour rendering, and last mode memory.

Wuben E19 Product Page - 10% off with code "STEPHENKNIGHT".

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Help support this website by donating to:

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Disclaimer

The Zhiyun Fiveray M40 was purchased with my own funds. This review has no affiliate links. This review is from the perspective of a night time and urbex portrait photographer.

Construction

Zhiyun are well known for their gimballs, but have recently branched out into continuous lighting. This review is of the Zhiyun Fiveray M40 LED panel light, a very high powered 40W light for photography and video. This is a pocketable LED panel light, with variable white correlated colour temperature (CCT) between 2700k warm white to 6200k cool white. There are 176 LEDs, 88 cool white, and 88 warm white. Unlike most pocket LED panel lights, there is no RGB colour output.

The size is 36.5mm x 77.8mm x 29mm. Whilst the height and weight is similar to other pocketable LED panel lights, it is twice as thick as most pocket LED panel lights due to the the internal fan and battery pack. The weight is also relatively heavy in this class at 320g. An internal battery pack contains 2x 2600mAh 18650 Li-ion batteries. The light has a ingress protection rating of IP20, which basically means that it is only protected from ingress by fingers. As panel lights are often used outdoors, I would expect a panel light to at least be splash and dust proof.

The M40 arrived in a branded box, with a USB-A to USB-C cable and manual. The user interface (explained in the next section) is rather basic, with two dials for power and CCT. The light can charge by USB-A to USB-C PD at up to 15W, and can also run continuously with an adequate PD power supply. Charging time was tested at 110mins with a Samsung 15W charger and supplied cable.

The M40 has an arm with two 1/4" tripod holes for mounting on tripods. There are no included accessories such as diffusers or mini-tripods.

The fan is required for cooling the powerful LED array. This can get noisy - equivalent to a laptop fan. This is OK for photography, but might be a problem for studio video or vlogging.

User Interface

Compared to most LED panel lights, the user interface is rather basic. There are no buttons, and no LED/LCD display. There are just two dials, one for power adjustment between 0% and 100%, and another for CCT adjustment between 2700k and 6200k. These dials have no clicks, or steps (other than on/off), and it is difficult to read the white on orange markings. The steps are rather large (0%-25%-50%-75% and 2700k-3500k-4300k-5000k-5600k-6200k) and it isn't clear where in the text actually aligns to that setting. Unfortunately, this means that is difficult to get consistently reproducible settings if you are using two or more M40 lights, or between shoots. I hope that Zhiyun improve this in a future version. As the light has no RGB LEDs, there are no effects modes, and no green to magenta tint adjustments available. There is a 4 level battery charge indicator, which is acceptable.

Beam, Output, and Runtime

Output is what the M40 is designed for, and it does this well. LED panel lights typically have a very floody beam, with output measured in luminance (lux/distance), or less often, lumens. As LED panel lights are used to illuminate objects or people, then luminance is the preferred method of comparison as it shows how brightly that object or person has been illuminated. Lux comparisons are tricky as different manufacturers use different distances (or even fail to mention the distance) to fool customers into thinking a light is brighter than what is really is. Due to the inverse square law, when distance is doubled, illuminance drops to 25% of the previous value. In fact Zhiyun have stated 14,000lux, in the manual, but fail to mention that this is measured at 0.3m. Here is a comparison of tested and claimed illuminance against other pocketable portrait lighting options - the Weeylite RB9 (a relatively bright budget LED panel light), Convoy S21F flashlight (a useful flashlight for portraits), Lumecube 2.0 (a popular photography cube light), and Aputure MC (a popular LED panel light). I have used 1m as the distance for testing, which was measured at 30 seconds runtime.

• Zhiyun Fiveray M40 - 100% output, 6200k - 1646 lux/1m.
• Zhiyun Fiveray M40 - 100% output, 4300k - 1886 lux/1m.
• Zhiyun Fiveray M40 - 100% output, 2700k - 1557 lux/1m.
• Weeylite RB9 - 100% output, 6200k - 308 lux/1m.
• Weeylite RB9 - 100% output, 4300k - 358 lux/1m.
• Weeylite RB9 - 100% output, 2700k - 308 lux/1m.
• Convoy S21F flashlight - 3/4 mode (highest sustained brightness), 5700k - 1109 lux/1m.
• Convoy S21F flashlight - 3/4 mode (highest sustained brightness), 2700k - 886 lux/1m.
• Lumecube 2.0 - 100% output, 5600k - 140lux/1m*.
• Aputure MC - 100% output, unspecified CCT - 100lux/1m*.

* manufacturer claims.

The Fiveray M40 is far brighter on terms of luminance than the other pocket LED panel lights. In fact, even on 25% setting, initially measured at 32% brightness, it still outperforms most other pocket LED panel lights. The M40 allows for use of low ISOs for portraits instead of medium to high ISOs with most LED panel lights. The Convoy S21F flashlight, which has a very floody beam (suitable for portraits) is competitive for luminance. However, I find that photography models prefer LED panel lights than flashlights for portraits, as the larger panel light source is less blinding.

Runtime testing was performed at 25C ambient temperature, indoors, with the following results:

• 100% setting (100% output) - 4300k - 28mins runtime. Output gradually reduced to 80% by end of runtime. The fan started running at 1min, increasing to full power by 4mins.
• 50% setting (65% output) - 4300k - 55mins runtime. Output gradually reduced to 52% by end of runtime. The fan started running at 2mins.
• 25% output (32% output) - 4300k - 105mins runtime. Output gradually reduced to 20% by end of runtime. The fan did not run.

The runtime at 100% setting is rather short at 28mins, and may not last a full photo-shoot. At 50% setting the runtime is more useful, and brightness is far ahead of all other pocket LED panel lights that I'm aware of. At 25% setting, the runtime is quite impressive considering the light is still brighter than the majority of pocket LED panel lights. I will note that the first time I tested at 100% and 50% the runtimes were approx. 20% shorter - maybe the battery management needs a few charge/discharge cycles for optimal runtime? Ambient temperature may also affect the runtime.

Correlated colour temperature (CCT), colour rendering (CRI), and tint (DUV) were tested at 100% setting, with an Opple Light Master Pro 3 light meter.

• 6200k setting - 5668k CCT, 100 Ra CRI, +0.0024 DUV.
• 4300k setting - 3957k CCT, 99.1 Ra CRI, -0.0035 DUV.
• 2700k setting - 2621k CCT, 97.8 Ra CRI, +0.0018 DUV.

At 2700k and 6200k settings, the light has a very slight green tint. When colour mixing, as expected, there is a very slight magenta tint shift. Unlike some high end LED panel lights (such as the Pilotcine Atomcube RX7) there is no green to magenta tint compensation or adjustment. However, the tint is pretty neutral at all CCTs, so this is only a minor issue. Colour rendering is excellent at 97.8 to 100 Ra CRI.

Conclusion

Positives:

• Very impressive maximum brightness (lux/distance) for size.
• Useable runtimes on 50% and 25% settings.
• Useful CCT range.
• Fairly neutral tint/DUV.
• Very high CRI.
• Fast 15W PD charging or power supply.
• Effective cooling system - stays cool.

Neutral:

• Gradual reduction in brightness, but no hard brightness step-downs.

Negatives:

• Runtime on 100% setting may be too short for some photoshoots.
• No RGB LEDs.
• Rotary controls not great for reproducibility.
• Markings on rotary controls are difficult to read.
• No included accessories - diffusers, mini-tripods, barndoors, etc.
• No effects modes.
• Not water or dust proof (IP20).
• Fan may be too noisy for some use cases.

The Zhiyun Fiveray M40 is designed for class leading white light output from a (just about) pocketable LED panel light. This is potentially useful for night portraits (or other on location portraits) where you need a bright white key light, but don't want to be carrying around heavy studio lighting equipment like softboxes and umbrellas. However, there are many compromises to keep the light within its US$100 price point including a too simplistic user interface, and no water/dust proofing.

At 100% setting, you will get impressive brightness, but runtimes may be too short for many photoshoots. At 50% and 25%, the brightness is still impressive compared to other pocket LED panel lights, and with more useful runtimes.

Zhiyun Fiveray M40 Product Page

The Best Flashlights for Light Painting Photography 2024. article covers a wide range of lights useful for night photography illumination purposes.

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