K&F Concept 52mm Black Diffusion 1/4 & 1/8 Filter Kit Review
Fuji XM-5 with 18mm f2 lens and ¼ filter
I recently took the K&F Concept 52mm Black Diffusion 1/4 and 1/8 Filter Kit with me to Paris, where I used the filters extensively on my Fujifilm X-Pro2 and X-M5. Paris is obviously an incredible city for street and travel photography, but it also turned out to be the perfect place to properly test what these filters can do. The short version is that I absolutely loved them.
Rather than feeling like a gimmicky special-effects filter, the Black Diffusion filters genuinely changed the character of my photographs. They gave my images a softer, more cinematic quality while still retaining the detail and character that I want from my Fujifilm cameras.
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What do Black Diffusion filters actually do?
The idea behind a Black Diffusion filter isn't simply to make an image softer. Instead, it subtly diffuses highlights and reduces some of the clinical digital sharpness that modern cameras and lenses can produce. Bright areas of the photograph develop a gentle glow, highlights become less harsh and the transition between bright and dark areas feels smoother. The result is something that can feel much closer to film. That's exactly what I found in Paris. Streetlights, shop windows, reflections, car headlights and sunlight catching buildings all took on a beautifully subtle glow. Instead of highlights looking hard and digital, they seemed to spread slightly into the surrounding area. It gives photographs atmosphere without making them look obviously filtered.
Perfect for the Fujifilm look
One of the reasons I enjoyed these filters so much was how well they worked with my Fujifilm cameras. I used them on both the X-Pro2 and X-M5, and the combination of Fuji colour, film simulations and the Black Diffusion effect produced some fantastic results. The X-Pro2 in particular already has a certain character that I love. Adding the diffusion filter seemed to enhance that character rather than overpower it. It took some of the digital edge away from the image and produced photographs that felt softer, more organic and slightly nostalgic. When combined with Fuji film simulations, it becomes possible to get an enormous amount of the final look directly in camera. For travel photography that's a big advantage. Instead of thinking about how I might recreate a particular look later in Lightroom, I could actually see the atmosphere I wanted while I was walking around Paris.
1/8 vs 1/4 – having both is the real advantage
One of the biggest benefits of this particular kit is that you receive two different strengths: 1/8 and 1/4.
I found that really useful because they don't simply duplicate one another.
Black Diffusion 1/8
The 1/8 is the more subtle of the two and probably the one I would choose when I want an everyday filter that can stay on the camera for long periods. It takes the edge off digital sharpness and gives highlights a little extra character without screaming "diffusion filter". For daytime Paris street photography, this was excellent. Architecture still retained plenty of detail, people's clothing and faces remained defined and textures were preserved, but there was a slight softness to the overall rendering that gave photographs more atmosphere. It is subtle enough that someone looking at the finished photograph probably wouldn't immediately know that a diffusion filter had been used. They would simply see an image with a slightly different character.
Black Diffusion 1/4
The 1/4 produces a noticeably stronger effect and this is where things become particularly interesting when the light starts to change. For evening photography, artificial lighting, shop windows, streetlights and scenes containing stronger highlights, I loved the effect. The glow becomes more obvious and the image takes on a genuinely cinematic quality. Paris is absolutely made for this kind of photography. You have warm café lighting, illuminated signs, headlights, reflections, metro entrances and beautiful architecture everywhere. The 1/4 filter gave those scenes an extra layer of atmosphere that would have been difficult to recreate convincingly afterwards. The important point is that it still doesn't destroy the image. Used appropriately, you retain detail while gaining that softer highlight roll-off and glow.
It improved the mood of my photographs
This was probably the biggest difference I noticed. Technically perfect photographs aren't necessarily memorable photographs. Modern cameras are incredibly good at producing sharp, clean images, but sometimes that perfection can make photographs feel slightly sterile. These filters introduced imperfection in a very controlled way. The photographs felt warmer, softer and more atmospheric. They had more of the feeling that I associate with older photographs and cinema rather than the ultra-clean appearance we normally associate with modern digital cameras. For my style of street and travel photography, that is a huge positive. Rather than spending time afterwards trying to manufacture atmosphere through editing, I was creating much of that character at the point of capture.
Beautiful highlight rendering
This is where I think these filters really earn their place in the camera bag. Highlights become much more interesting. Instead of a small bright light source simply appearing as a sharp point in the photograph, you get a subtle halo around it. That can completely change the atmosphere of a scene. In Paris I particularly noticed it around streetlights, illuminated shop windows, cafés and brighter areas of the sky. The 1/8 produces a restrained version of the effect while the 1/4 gives you considerably more glow when you deliberately want that cinematic appearance. Importantly, these are Black Diffusion filters, so the effect isn't the same as simply putting a soft-focus filter over the lens. You're not just blurring everything. There's still detail and definition where you want it.
Great for people too
Although I mainly wanted these for street and travel photography, there's another benefit when photographing people. The slight diffusion can soften the appearance of skin and reduce the sometimes unforgiving level of detail produced by modern digital cameras. K&F specifically designed the filters to soften light and highlight flare while producing a more delicate rendering of skin and pores. For environmental portraits, lifestyle photography, weddings and candid photographs, I can see this being extremely useful. It's subtle enough with the 1/8 that you're not obviously applying a "beauty filter", while the 1/4 can produce a much more stylised portrait when that's what you're looking for.
Image quality remains excellent
This was important to me. There's little point putting a creative filter in front of a good lens if it destroys the underlying image quality. The K&F filters use Japanese AGC optical glass with multi-layer coatings. K&F quotes light transmission of approximately 87% for the 1/8 and 84% for the 1/4. They also have 28 layers of coating across the two sides, with hydrophobic, scratch-resistant and oil-resistant properties. In real-world use, I was extremely impressed with the quality. I still had plenty of detail in the photographs. The diffusion changed the character of the image rather than simply making it look soft or out of focus. That distinction is important.
Excellent for travel photography
After using them around Paris, I think these are particularly well suited to travel photographers. They're tiny, they add virtually nothing to your camera bag and they can completely change the character of your images. That's especially valuable when travelling with a small Fujifilm setup. The X-Pro2 with a compact lens and one of these filters is exactly the kind of setup that makes me want to walk around a city and photograph everything I see. There's no complicated filter holder or large accessory to carry around. Screw the filter onto the lens and start shooting. The frame itself is only 3.3mm thick, which helps minimise the risk of vignetting, and the CNC-machined non-slip design also makes the filters easier to fit and remove.
Less editing afterwards
Another unexpected benefit was how much closer the RAW files were to the mood I wanted before I'd even started editing. Obviously you can recreate elements of diffusion in Lightroom or Photoshop, but I've never felt that software diffusion looks quite the same as capturing light through a physical diffusion filter. The filter is actually interacting with the light entering the lens. That affects bright points, reflections and highlights naturally according to the scene in front of you. For me, that is much more satisfying than trying to manufacture the effect afterwards. It also encouraged me to concentrate more on the photograph itself rather than thinking, "I'll sort that out in Lightroom."
Who would I recommend them to?
I'd particularly recommend this kit to street photographers, travel photographers, Fujifilm shooters, portrait and lifestyle photographers, wedding photographers and anyone who wants to introduce a slightly more cinematic or film-inspired quality into their digital photography. They're also particularly effective if you enjoy shooting cities at dusk or at night. Put the 1/4 on the camera in a city full of neon signs, streetlights, headlights, shop windows and wet pavements and you can produce some gorgeous results. For general daytime photography, I'd lean towards the 1/8. For golden hour, blue hour and night photography, I'd be tempted to reach for the 1/4. Having both in the kit means you aren't stuck with a single strength.
Final thoughts
These ended up being one of my favourite accessories from my trip to Paris. I originally expected them to be something I'd use occasionally when I wanted a particular effect. Instead, I found myself really enjoying the character they gave my photographs and using them far more than I'd anticipated. That's probably the biggest compliment I can give them. They don't feel like filters that are there simply to create an obvious effect. Instead, they subtly influence the way the camera renders light. The 1/8 is beautifully restrained and works brilliantly as an everyday diffusion filter. The 1/4 takes things further and produces some gorgeous results when you're working with strong highlights and artificial light. Combined with the colours and film simulations of my Fujifilm X-Pro2 and X-M5, the results in Paris were superb. They softened harsh highlights, added a gentle glow around lights, reduced some of that overly clinical digital sharpness and gave my photographs a more cinematic, nostalgic feel without sacrificing the underlying detail. Most importantly, they made me enjoy taking photographs.
Walking through Paris with the X-Pro2, a small lens and one of these filters attached felt like the perfect combination for the type of photography I love. If you're looking for a relatively simple way of giving your digital photography more character rather than simply adding another effect during editing, the K&F Concept Black Diffusion 1/4 and 1/8 kit is definitely worth trying. For street and travel photography in particular, these are filters that will now have a permanent place in my camera bag.
K&F Concept fast charging FZ100 Battery for Sony
I've been using the K&F Concept 2-Pack NP-FZ100 batteries for several weeks now with my Sony camera, and they've quickly become one of my favourite accessories. The biggest advantage is the built-in USB-C charging port on each battery, which completely removes the need to carry a separate battery charger. When travelling or shooting on location, I can simply plug the batteries directly into a USB-C cable and charge them wherever I am. It's a much more convenient solution than traditional camera batteries.
Charging these batteries is incredibly straightforward. I regularly charge them from a power bank, laptop, wall adapter, and even in the car, and they work flawlessly every time. The built-in charging indicator makes it easy to see when they're charging and when they're fully topped up. Being able to use the same USB-C cables that I already carry for my phone and other devices means less clutter in my camera bag and one less charger to worry about.
Another feature I've been impressed with is the charging speed. The batteries charge surprisingly quickly, reaching a full charge in around two hours when connected to a suitable USB power source. This is ideal when preparing for a shoot or needing to top up batteries between sessions. Having two batteries included in the pack also means I can keep one charging while using the other, ensuring I rarely run out of power during a busy day.
Compared to standard batteries that require a dedicated charging dock, these feel like a significant upgrade. The direct USB-C charging capability is one of those features that seems so obvious once you've used it. Instead of packing bulky chargers and proprietary cables, I can simply use the same charging setup I already use for my other devices. It saves space, reduces hassle, and makes travelling with camera gear much easier.
Performance has been excellent as well. The batteries provide reliable power, display accurate battery information in-camera, and I've experienced no compatibility issues. For photographers and videographers looking for a practical alternative to standard NP-FZ100 batteries, the K&F Concept 2-Pack offers outstanding value. The convenience of USB-C charging alone makes them worth considering, and after using them regularly, I wouldn't want to go back to conventional batteries and separate chargers.
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The best accessories for the Fuji X100VI
Freewell Real Lens Hood, CPL Mist filter and Thumb grip
First impressions: finally, a complete X100VI solution
The Freewell Real Lens Hood is one of those rare accessories that feels like it was designed by someone who actually shoots the X100 series. Instead of being “just a hood” or “just a filter,” it’s a fully integrated system—combining:
A solid aluminium lens hood
A hybrid CPL + 1/4 Black Mist filter
A purpose-built lens cap
All in one unit.
That matters more than it sounds. The X100VI has always been slightly awkward when it comes to filters—adapter rings, third-party hoods, separate caps—it all adds friction. Freewell essentially removes that friction by consolidating everything into a single workflow.
Build quality & design
The first thing you notice is the CNC-machined aluminium construction. It feels premium, balanced, and—importantly—not too heavy for the compact body.
It mounts securely to the lens thread and, once aligned, stays put during long shooting sessions (something that older hood/filter combos often struggled with).
The standout design features:
Flip-down hood mechanism
External tab for CPL rotation (touchless)
Integrated filter housing
Dedicated lens cap
This isn’t gimmicky—it’s genuinely functional.
The real magic: workflow speed
1. Touchless CPL control
If you’ve ever used a polariser on the X100VI, you’ll know the pain: take hood off → adjust filter → put hood back on → miss the shot. Freewell solves that.
You rotate the CPL using a small external tab—no touching glass, no disassembly.
This is huge in real-world use:
Shooting reflections in shop windows in Lincoln
Cutting glare off wet streets after rain
Managing sky contrast along the Brayford waterfront
It becomes second nature—almost like adjusting exposure compensation.
2. Flip-down access
The flip mechanism is deceptively useful.
Need to:
Clean the filter? Flip.
Swap filters? Flip.
Quickly remove the mist look? Flip.
No unscrewing the whole setup mid-street. In fast-paced environments like London street photography, this is a lifesaver. You’re not fumbling while moments disappear.
Image quality: CPL + Black Mist combo
The included hybrid filter is where this kit really shines.
CPL performance
Cuts reflections from glass, water, and cars
Deepens skies
Adds punch to colours
Perfect for:
High-contrast scenes (glass buildings, buses, wet pavements)
Architectural shots around Lincoln
Black Mist (1/4)
Softens highlights
Adds halation to lights
Creates a subtle cinematic glow
This is especially noticeable at night:
Street lamps gain a soft bloom
Neon signs feel more atmospheric
Portraits look less clinical
The key is balance—it’s not overdone.
It’s not just convenience—it fundamentally changes how often you actually use filters.
Final verdict: who it’s for
If you:
Shoot street regularly
Use (or want to use) filters more often
Value speed and simplicity
This is arguably the best all-in-one filter solution for the X100VI right now. It’s not just an accessory—it changes how you shoot.
Freewell Thumb Grip Review
First impressions
The thumb grip is a much simpler product—but just as impactful in daily use. It slides into the hot shoe and adds a subtle but effective rear grip point, improving handling without adding bulk.
Handling & ergonomics
The X100VI is beautifully compact—but not the most secure one-handed camera. The thumb grip fixes that instantly:
Better one-handed shooting
More stability at slower shutter speeds
Increased confidence when shooting from the hip
For street photography, this is huge.
Real-world use
Build & design
Like the lens hood, it’s typically:
Metal construction
Colour-matched to the camera
Minimal and unobtrusive
It doesn’t ruin the aesthetic of the X100VI—which is important.
Downsides
Occupies the hot shoe (no flash or accessories)
Easy to forget it’s there—but that’s also a positive
Final verdict on the thumb grip
It’s a small upgrade with a big impact.
Not essential—but once you use it, you won’t want to shoot without it. Together, the Freewell Real Lens Hood + Thumb Grip turn the X100VI into something even more refined:
Faster shooting
More creative control
Better ergonomics
The lens hood system alone is enough to justify selling separate filters like the Shortstache—it simplifies everything while expanding capability.
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The filter i never knew i needed - Review of the K and F ND2-32 & CPL MRC 82 mm Filter
As someone shooting extensively with the Sony a7R V, I’ve always been meticulous about maintaining image quality — especially when working on challenging urban and landscape shoots. Whether it’s the dynamic contrasts of London’s streets or the ever-changing skies over Lincoln Cathedral and surrounding countryside, control over light and reflections is crucial. Since adding the Nano-X Pro Series ND2-32 + CPL filter to my kit, it has become one of my most-reached-for pieces of gear.
Build Quality & Feel
Straight out of the box, the filter impresses:
Beautifully machined brass frame gives a sense of solidity and premium feel on the lens, with smooth rotation and precise adjustment — ideal when you’re juggling quick exposure changes in unpredictable weather.
The multi-coated glass with nano-layers is not just marketing — it feels noticeably resistant to water spots and smudges during long London days or misty river shoots.
The 82 mm diameter matches perfectly with my larger lenses (like my 24-70 mm GMii and Tamron 35-150 f2.8), ensuring optimal coverage and minimal vignetting in corners — incredibly important on a 61 MP sensor like the a7R V’s.
Performance in Real Shoots
Urban Street & Cityscapes
In London’s unpredictable lighting — bright highlights bouncing off glass, deep shadows under bridges, and reflective surfaces everywhere — this filter helped on two crucial fronts:
1. Cleaner Highlights & Balanced Exposures
Engaging the variable ND allowed me to pull longer exposures even in midday sun. That meant smoother motion blur in moving crowds, and gorgeous soft streaking in fountains along the South Bank — without resorting to overexposing or pushing ISO.
2. Reflection Control with CPL
The built-in CPL component transformed how I handled shiny surfaces — from the Thames to glazed architectural features. The polarizer worked seamlessly with the ND, stripping distracting glare while keeping colours rich and true.
Landscape & Skies
In Lincoln, with dramatic skies and unpredictable weather, the ND + CPL combo is a dream:
Enhanced Sky Contrast: The CPL helped deepen cloud structure and cut through haze over the cathedral and nearby fields.
Creative Long Exposures: With the ND section dialed in, I could stretch exposures to smooth out river surfaces and create motion in cloud layers. All while keeping stellar detail in shadows — important on the a7R V’s high-resolution files.
This kind of flexibility meant I could focus on composition rather than constantly swapping filters — a huge advantage on location.
Pros & Highlights
✔️ Dual Functionality – Incredible Versatility
Instead of carrying separate CPL and ND filters, this combo unit gives both in one — saving time, space, and weight in my shoulder bag.
✔️ Excellent Optical Performance
Across all my shots — wide cityscapes, portraits, and landscape work — I saw minimal colour shift, no obvious edge artefacts, and sharpness that held up beautifully on the a7R V’s high-resolution files.
✔️ Build Quality That Matches Premium Gear
This feels like a professional-grade filter — sturdy, precisely machined, and smooth to operate. It inspires confidence when working in busy urban environments or unpredictable outdoor conditions alike.
✔️ Weather-Ready Coatings
The nano-coatings are genuinely useful when the forecast turns grey or misty — raindrops bead off, and cleaning is easy.
Final Thoughts
If you shoot with a Sony a7R V — which demands high optical quality and precise control over light — the K&F Concept Nano-X Pro Series ND2-32 + CPL filter is an outstanding upgrade. It’s one of those accessories that quietly elevates your work without fuss: giving you creative control, reducing gear swap fatigue, and helping you nail clean, professional shots across a wide range of conditions — from London city streets to Lincoln’s pastoral light.
Highly recommended for hybrid shooters, travel photographers, and anyone serious about squeezing the most out of their lens and sensor combination.
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A day in London with the Vanguard VEO lite 25l backpack and 2l Shoulder bag
From the moment you shoulder the VEO Lite 25L backpack, it feels purpose-built for the urban photographer or traveller who doesn’t want to lug an oversized, heavy camera bag around busy city streets. At around 25 litres with a lightweight polyester build, weather-resistant zips, and a rain cover included, the backpack strikes a balance between capable storage and ease of movement — ideal for unpredictable London weather and Tube commutes.
The internal layout is thoughtfully split into a lower camera compartment and an upper daypack section. The lower compartment measures roughly 295 × 150 × 230 mm — enough to accommodate a full-frame mirrorless camera like the Sony A7iv that i had with me along with a standard zoom or prime attached, plus several additional lenses and accessories without feeling cramped. You’ll find the padded dividers easily reconfigurable to separate bodies and glass while keeping them secure during busy commutes or hopping on and off the tube.
If like me you’re carrying a Fujifilm X100VI, which is a compact fixed-lens camera beloved for street photography, it fits very comfortably alongside a couple of extra batteries and small filters in the lower compartment or even in the shoulder bag alone for quick access - in fact you will see in my video just how useful the 2l shoulder bag is for a minimalistic travel companion. Because the X100VI is smaller and lighter than many mirrorless kits, you can free up extra space in the backpack’s daypack area for personal items like a water bottle or guidebook when on the go
Vanguard 25l VEO lite and 2l Shoulder bag
Comfort and access really matter in a city like London. The backpack’s padded harness distributes weight well — even when fully loaded with camera gear, a lightweight jacket, and a laptop — and has side and rear access so you can unclip gear quickly on a busy Tube platform or when arriving at your hotel. Popping the backpack off to grab a lens or phone without blocking foot traffic is a small convenience that makes a big difference in crowded spots like Oxford Circus or Covent Garden.
The shoulder bag plays a critical role alongside the main backpack. Its compact footprint lets you carry everyday essentials — phone, wallet, keys, Oyster card — or lighter camera gear (like the X100VI by itself) without needing to unzip the larger pack. On short walks between coffee shops in Soho or during quick photo stops by Piccadilly Circus, it’s more convenient than carrying around the full backpack. The ability to attach it to the front of the main pack when not in use adds a neat modularity to the setup.
Organisation is strong overall. The backpack’s upper daypack compartment can be used for personal items — jacket, snacks, notebook — while still keeping your camera gear tucked safely below. Hidden pockets for valuables and tracking devices add peace of mind in tourist-heavy areas. In contrast, the shoulder bag keeps must-reach items on your person without distracting from mobility. This two-bag system lets you move swiftly through busy pedestrianized zones or transfer quickly between Tube lines without scouring a deep pack for transit essentials.
In practical London use — from tube commutes to open-air walks past Big Ben or crowded markets in Camden — the VEO Lite combo performs as an adaptable everyday travel solution. It’s light enough to wear all day, stylish enough to blend into urban settings, and structured enough to safely carry both quality mirrorless gear and personal items. For vloggers, street shooters, and travellers who don’t want to compromise on capacity or comfort, this pairing makes everyday city adventures smoother and more organized.
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K and F 1/4 Black Pro-Mist Filter - Just wow….
Sony a7iv, Viltrox 85 f1.4, K and F 82mm Pro-mist filter
The K&F Concept 82mm 1/4 Black Mist Pro Filter is a subtle yet transformative tool for photographers looking to elevate their visual storytelling, particularly in low-light environments. I recently paired this filter with my Viltrox 85mm f/1.4 for a street photography shoot at night in Lincoln, and the results were nothing short of stunning. This filter added a cinematic, almost dreamlike quality to my images, softening the harshness of artificial light sources and wrapping the highlights in a gentle, glowing halation.
One of the most impressive characteristics of the Black Mist 1/4 filter is how it balances diffusion without sacrificing detail. Shooting at f/1.4, the Viltrox already delivers a beautifully shallow depth of field and creamy bokeh, but the Black Mist added another layer of atmosphere—transforming bright streetlamps, neon signs, and car headlights into glowing orbs of light. The halation effect around highlights gave the photos a nostalgic, film-like aesthetic that’s often difficult to achieve straight out of camera, especially with digital sensors that tend to render light very clinically.
What I appreciated most during this shoot was how the filter subtly lifted the shadows and lowered the contrast just enough to create a more organic, moody look without flattening the image. Faces retained clarity and sharpness, but skin tones appeared smoother and more forgiving, which is ideal for candid street portraits. Lincoln’s cobbled streets, historic architecture, and ambient night lighting were rendered with a romantic softness that brought a unique character to the series—something I couldn’t have achieved with lens and camera alone.
Overall, the K&F Black Mist 1/4 filter has earned a permanent spot in my kit. It's an affordable, well-built tool that delivers a premium visual feel, especially for night shoots and portrait work. If you’re aiming for that subtle cinematic glow that adds emotion and atmosphere without overwhelming the scene, this filter is an excellent choice.
Link to the filter and K and F website - https://www.kentfaith.co.uk/KF01.1484?tracking=AndrewScott
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Here’s some more images from the shoot
Keep checking back for more content
My new everyday K&F sling bag
A quick review of the K&F 10l sling bag….
K&F Concept Alpha Camera Sling Bag 10L - Dark Grey RRP £45.99
When planning a long-awaited holiday, there’s always the question of how to carry essential tech, camera gear, and personal items without dragging around a heavy, awkward bag. In this case, the K&F Concept Alpha Camera Sling Bag 10L became the perfect answer — a travel companion that felt as though it had been designed specifically for this trip.
From the moment it was packed the night before departure, the bag impressed. The padded dividers were easy to adjust, creating a tailored layout that perfectly cradled a mirrorless camera with kit lens, a GoPro, and a DJI Pocket Osmo 3. There was a dedicated space for a power bank, AirPods, and all the charging cables needed for several days away. Even spare camera batteries and memory cards had their own snug pockets. Everything fit without forcing zippers or bulging seams, and the interior still felt tidy and uncluttered.
Prefect side pockets for everyday essentials.
At the airport, its compact size proved a huge advantage. Sliding neatly under the seat in front without sacrificing legroom, the bag kept all travel essentials within arm’s reach. Security checks were a breeze — the main compartment unzipped wide, allowing the mirrorless camera and other electronics to be lifted out in seconds, then placed back just as quickly. The rear hidden pocket securely held a passport, boarding passes, and travel documents, providing peace of mind when moving through busy terminals.
During the flight, the bag worked just as well as an in-seat organizer. The top pocket became a home for snacks, hand sanitizer, and a small pack of tissues. AirPods and phone stayed in easy reach in the front compartment, while the main section kept the more delicate gear protected. It never once felt like gear was buried or hard to access — everything had its place.
Small, compact, but strong enough and flexible enough to manage your daily needs.
Once at the destination, the sling truly shone. Exploring foreigns shores it carried all the gear needed for a day’s photography without ever feeling cumbersome. The sling design allowed for quick, one-handed access — the bag could be swung around to the front, unzipped, and a camera pulled out in seconds to capture fleeting moments. That fast access proved invaluable for catching a quick candid family shot or that wonderful views of the hotel and complex.
Camera was perfectly protected from the sun and extreme heat
The comfort factor was just as impressive. Even after hours of walking, the padded strap distributed the weight evenly. On particularly long days, swapping the strap from one shoulder to the other kept fatigue at bay. The compact profile meant it was never in the way on crowded buses or while weaving through groups of tourists.
Weather didn’t pose a problem either. Light rain showers at the airport were shrugged off thanks to the water-resistant fabric, and the bag’s contents stayed completely dry. The sturdy zippers didn’t snag or catch, and they felt secure enough to trust in busy public spaces.
The real magic, though, was in how this 10-liter bag seemed to hold just enough without encouraging overpacking. It carried the camera gear, tech accessories, and travel essentials — all neatly arranged — yet never felt heavy or overstuffed. There was even space for a pair of sunglasses and a folded city map. That balance of capacity and portability made it the perfect “always with you” travel bag.
The space in the main compartment is so very flexible
By the end of the holiday, the K&F Concept Alpha Camera Sling Bag 10L had earned a permanent place in the travel kit. It had proven itself in airports, on flights, in crowded hotels, on scenic walks, and in quiet moments waiting for just the right light. Stylish enough to blend in anywhere, practical enough to rely on daily, and organized enough to keep valuable gear safe and ready, it exceeded every expectation.
Rating: ★★★★★ – A must-have for photographers and travellers alike
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Bempton Cliffs - in search of Puffins !
Gear: Sony A7iv and Sigma 500mm f5.6 DG DN OS
A Perfect Day at Bempton Cliffs: Chasing Seabirds with the Sony A7IV and Sigma 500mm
There are few places in the UK that match the raw, coastal drama of RSPB Bempton Cliffs, and even fewer that put you quite so close to some of Britain’s most iconic seabirds. On a glorious sunny day, I packed up my gear — the Sony A7IV paired with the impressively sharp Sigma 500mm f5.6 DG DN OS — and headed out with one clear goal in mind: to capture the character and charm of the puffins, gannets, and other cliff-dwelling birds that make this East Yorkshire spot so special.
As soon as I arrived, the sound of the cliffs hit me first — a constant, echoing wall of calls and cries from thousands of birds wheeling overhead or perched on the narrow ledges. The bright weather couldn't have been more perfect; clear skies meant great light all day, and the sea shimmered below like something out of a painting. It felt like everything was lined up to make this a dream shoot.
The puffins were, of course, the stars of the show. With their cartoonish beaks and clumsy charm, they made excellent subjects, especially as they hopped around the grassy cliff edges. The Sigma 500mm let me get up close without disturbing them, and its optical stabilization paired with the A7IV’s autofocus made capturing sharp, detailed shots surprisingly easy — even as these little birds darted back and forth from the sea.
Gannets, too, put on an incredible display. Towering white birds with piercing eyes and those dramatic sky-dives into the sea, they offered some of the most dynamic shots of the day. The Sigma's reach really shone here — even birds out at sea were fair game. Between that and the A7IV's fast burst shooting, I came home with a card full of keepers and a strong sense of satisfaction.
While I was scanning the cliffs through my viewfinder, I noticed someone from the RSPB team operating a drone just beyond the edge of the fencing. It turns out they were conducting aerial surveys of the bird colonies and cliff habitats — a fascinating blend of conservation and technology. The drone allowed them to monitor nesting sites and assess erosion risks without disturbing the birds, especially in those hard-to-reach ledges that even the most dedicated climbers wouldn’t dare approach. It was impressive to see such high-tech tools being used to support the protection of these remarkable seabird populations — a reminder that behind every great wildlife encounter is a team quietly working to ensure these places stay wild and thriving.
Whether you’re a birder, a photographer, or just someone who enjoys the wild British coastline, Bempton Cliffs is a must-visit. For me, it was a near-perfect day: great light, great gear, and some of the most charismatic wildlife our shores have to offer. I’ll definitely be back — and next time, I might even bring a wider lens for those dramatic cliffscapes too.
Take a look at the gallery below !
I hope you like the content - do let me know by dropping a comments below - I can assure you i read them all !
Hartsholme Park - Trying out a new filter from Walking Way
Image: Hartsholme Park, Lincoln
I’m a huge fan of using filter that compliments my camera and lens selection. I’ve used so many different filters over the year and have a several that I carry daily with me. Filters usually need to serve a purpose - to soften highlights, remove reflections in water and on glass, limit the amount of light entering the lens etc.
Whilst scrolling through Instagram I noticed some unusual filters from a company called Walking Way. I started scrolling through their feed and was impressed by the amount of different filters they had on offer. Long story cut short, I reached out and they have sent me three different filters to trial - of course, my review is totally impartial.
First up - the Retro Soft diffusion filter ( https://walkingwayfoto.com/en-gb/products/walkingway-multi-coated-retro-soft-filter ). This retro soft filter reduces the sharpness of your digital camera and brings a nostalgic old film camera feeling. Used on my Sigma 28-105 F2.8 DG DN lens this is the 82mm version, and is incredibly reasonably priced.
I have to say, I was mightily impressed that a filter that costs just £25 can transform an otherwise mundane image to give it that nostalgic soft dreamy look. I had expected some terrible colour casting and having to re-work in Lightroom but none of that was needed - the colours take you straight to where you need to be and all I had to do was tweak the exposure to my desired levels.
Anyway, take a look below and I think you’ll agree that the images speak for themselves.
