As the leaves turn colour and fall off the trees they present us with another photographic opportunity to shoot autumn themed images in a very different way. The technique we're talking about is freezing colourful leaves and photographing the ice block.

By freezing whole leaves in a pan of water you'll not only have colourful photography, but interesting and unique ice patterns to photograph too.
 

It's best to do this technique outside if you can as the light's better, they'll be less cleaning up and there isn't electrical equipment to fry as there is in a studio!

Kit wise, you'll need a macro lens on the front of your camera so you can get in close to the cracks that spread over the colourful leaf textures in the ice. You can leave the tripod inside, but make sure you have a reflector handy as it will help direct light into the dark areas the sun can not reach.
 

How to make a leaf ice block

Place your leaf, vibrant autumn colours work the best, face down in the container, add water and put it in the freezer. If you can, pick leaves with splayed tips so light can shine through them. After about 30-40 minutes check your container as the leaves may have floated to the surface and moved position. Once it's frozen take the container outside and start shooting.

Make a support for your ice block

If you have something that can support your ice block so light can shine through it – great. If not, freeze it in a clear container and place it on a light coloured surface. Shallow containers work the best as you only need a few inches of water for this to work. You may also find coloured paper/card useful to add a punch of colour to the background of the image.

Camera settings

Small apertures, around f/22, will give you great depth-of-field so you'll be able to shoot patterns right through the ice. Check your camera's meter reading and if needs be spot meter from the leaf so the camera doesn't get confused from the light shining off the ice. Look for interesting designs, areas where air bubbles have gathered and unusual shapes that cut across the colourful leaf.

As it will take a while for the ice to melt, head back inside, put the kettle on and come back out to the ice every half an hour or so to snap the frozen air bubbles and water as it melts.   

As a landscape photographer, wide-angle and ultra wide lenses simply cannot be ignored.

The most common error made when using wide-angle lenses is simply using them solely for their wide-angle, by just trying to get everything into the shot. The resulting picture often simply has too much in it, and the subject is just lost in amongst everything else. Really, you should consider a wide-angle lens not as a way to get more into the picture, but as a way of emphasising foreground detail and perspective.

Think about your viewpoint

In use, in a landscape situation, select your viewpoint carefully, as well as your foreground detail, and if possible, ensure that foreground element relates directly to the landscape and has a degree of shape harmony with the picture. If, for example, you choose a rock near the side of a lake on a calm day with reflections, ensure the rock is positioned to fit into the shape of the reflections. The benefit of working closely to your foreground subject is that repositioning the camera by only a few inches can make huge changes to the composition and visual balance of your photos. Roads, paths, walls, in fact, all lead-lines become powerful and dramatic, but make sure they are supporting the main subject of your photo rather than simply becoming the subject in themselves.

Photos By John Gravett. 

Remember - wider lenses give a greater depth of field

While front-to-back depth of field is useful in wide angle landscapes, it's important to remember that as an ultra wide-angle lens has an inherently greater depth of field than standard lenses, really small apertures might not always be necessary. Often f/11 or f/16 will give front to back sharpness without having to revert to f/22, where many ultra wides may suffer slightly from diffraction.

The same extensive depth of field can often affect choice of graduated filters to use. With longer focal length lenses, hard-edged grads work but when used with an ultrawide lens, they often show a distinct line where they are used, so usually, a soft-edged grad is a better choice, particularly for the stronger ones.

Wide-angles are so often prone to over-use, but used properly and with care, can produce truly amazing, powerful pictures.
 

Article by John Gravett of Lakeland Photographic Holidays - www.lakelandphotohols.com

For some people the only way they think they can have a professional portrait taken is to stand in a studio in front of a big set of lights but lifestyle shoots just might change their mind. Having the great outdoors as your studio will give you so many more creative opportunities with backgrounds, colours, shapes and textures, as well as being able to shoot a story. 

Lens choices

A 70-200mm lens is a good choice for DSLR shooters. Shooting around the 135mm mark at f/4 can give great perspective and enough depth of field to throw the background out of focus without leaving it too shallow. A wider lens, such as a 14-24mm is great for environmental portraits, while a 55mm macro lens is great for detail. If you want a good all-rounder lens, a 24-70mm would be a good choice, too. It's also a good idea, if you have them, to pack the speedlights, continuous lights, ringflash and reflectors. 
 

Plan ahead

Organisation is key so make sure you have a plan in advance. Having a few locations that you are familiar with will give you plenty of scope, and it also means you'll know particular spots that'll work well for your shots. Local beauty spots, good urban routes with interesting architecture or a park with lots of interest such as water features are just some of the locations you could work with. The other place you need in reserve is somewhere dry in case of bad weather. 

Make sure your model's comfortable

It's important to discuss clothing, makeup and meeting points then on the day of the shoot, meet for a coffee and spend 30 minutes or so having a pre-shoot chat as this will help break the ice. You could even take a book or folder of a few favourite photos along to show your model/client as they'll welcome the opportunity to see your ideas and help. Come up with a few ideas and even adjectives of the mood/feel you're trying to create. For example, Autumnal shoots could be about warm clothing and crisp golden colours. By doing so you will be able to portray a theme to your clients/model who should be able to quite naturally slip into an informal pose to convey this without really having to try or feel self-conscious. 

When it comes to the shoot, let people be natural and remember it's your job to make them feel comfortable even if you do know the person/people you are photographing. Shoot intuitively and creatively. Even if you've shot in a place many times, try setting yourself a target to come up with several new shots. This time of year's a good time to experiment with natural frames as the autumnal shades add warmth to the image. Just make sure you focus on your subject so the leaves blur just enough so you can still see what they are but don't distract.   

Shooting images of everyday objects at home is a great way to improve your creativity and to put your imagination to work. But first you need to establish exactly what your photograph's going to be used for. On some occasions just showing what the product looks like, the height, depth etc., will be enough, but most of the time you need to really sell the product. Take a pen for example, you can just put it on a plain background and take a perfectly good shot of it but if you introduce a writing pad and shoot it on an old wooden table you begin to create a story, adding interesting and as a result, the shot will be more attention-grabbing.

You can't take a brilliant photograph if the product looks sub-standard to start with so always ensure your product and any other props you're using are clean and looking their best.

Good lighting is the key to a good product shot so set up in a room that's well lit and avoid harsh, direct flash at all costs. If you have one, a light tent can help soften the light and reduce shadows and reflections but a simple bit of muslin or a net curtain put up against your window will soften the light if you don't. Using a white card or white balancing your shot in-camera will also help your shot but if you shoot in RAW, this can be altered later during post-production.

Here are a few examples to try:

• Book and reading glasses
• Coffee beans spilling out in front of cappuccino cup or from a jar
• A full cup on a table
• Pen and crossword
• Fruit in front of jar of jam

Don't forget to post your creations into the gallery so we can see your hard work!

Maono has launched the PD500W Hybrid Microphone, a dynamic microphone for podcasting, streaming, video production and interviews. It connects via compatible 2.4GHz wireless, USB-C or XLR, and records internally to 32GB of onboard storage in 24-bit or 32-bit float WAV, with a selectable -9dB safety track as backup. It is available through the Maono website and Amazon US, following a Kickstarter campaign that more than doubled its original funding goal.

From Maono:

Maono, a leading global professional microphone brand, today announced the availability of the PD500W Hybrid Microphone, a professional dynamic microphone system designed to support modern creators across podcasting, streaming, video production, interviews and live content creation. Combining 2.4GHz wireless, USB-C and XLR connectivity with optional 32-bit float internal recording and safety-track backup, the PD500W offers a flexible audio solution for a range of production workflows. The Maono PD500W is available globally via the Maono website and Amazon US with pricing starting at US$399 for the B asic Version and US$429 for the Desk Stand Bundle.

The retail launch follows a successful 60-day Kickstarter campaign, which concluded on August 30, 2026, with 279 backers pledging US$100,124—more than double its original US$50,000 funding goal. The PD500W was developed around a practical challenge facing modern creators: a single recording session may begin at a desk, move to an on-location interview and later transition to a mobile or studio setup. By combining three connection options—USB-C, XLR and compatible 2.4GHz wireless—with internal recording, the PD500W gives creators the flexibility to adapt to different devices and production environments without switching microphones.

Designed for Modern Production

EnvironmentsProfessional dynamic microphones are widely valued for their ability to capture clear vocal recordings while minimizing unwanted background noise. However, conventional setups often require external audio interfaces, preamps, complex gain staging and separate backup recording solutions, which can make it challenging to move between different production environments.

The PD500W addresses these challenges with a hybrid connectivity platform that supports USB-C, XLR and 2.4GHz wireless operation. USB-C enables direct connection to computers and mobile devices, while XLR integrates with existing audio interfaces and mixers. Wireless connectivity, through compatible USB-C or multi-output receivers, supports mobile recording and camera-based production. Beyond these connection options, the microphone also features internal recording, allowing creators to maintain a local copy of their audio while recording through a computer, camera or other compatible device.

This versatility allows creators to use one microphone across a range of production environments, from desktop podcasting and livestreaming to mobile content creation, on-location interviews and professional studio recording, without having to rebuild their audio setup for each workflow.

Maono has also refined the product's industrial design to support cleaner production environments. The microphone integrates concealed cable routing through its U-shaped yoke system, while a dedicated rear I/O hub consolidates USB-C, headphone monitoring and XLR connections to create a streamlined workspace.

Integrated Recording Protection

A key feature of the PD500W is its focus on recording reliability. Interviews, podcasts and live recordings frequently contain moments that cannot be recreated, making redundancy increasingly important for professional content production.

To address this need, the PD500W features 32GB of onboard storage and supports internal WAV recording in both 24-bit and 32-bit float formats. While 32-bit float provides greater flexibility for adjusting recording levels in post-production, internal recording creates an additional audio file directly within the microphone.

The system also includes a selectable -9dB safety-track feature that generates a lower-level backup recording to help mitigate unexpected volume spikes. Together, these recording safeguards reduce reliance on a single recording path and provide added confidence when capturing important content.

Enhanced Production Workflows

Beyond audio capture, the PD500W has been developed to streamline post-production workflows. When paired with the multi-output wireless receiver, the PD500W supports timecode synchronization to simplify alignment between internal recordings and compatible camera footage.

The microphone also integrates with MaonoLink, Maono's companion software platform, which provides access to AI-powered transcription, translation and summarization capabilities. These tools are designed to accelerate content review, highlight key discussion points and assist with the creation of production notes, transcripts and supporting content assets.

Developed with input from creators and beta testers, the PD500W has undergone refinements based on real-world feedback. Updates include an improved Mute Lock function to help prevent accidental muting, enhanced wireless stability, upgraded metal controls and an extension component for broader boom arm compatibility. These refinements reflect Maono's focus on making professional recording tools more practical and reliable in everyday production environments.

Pricing and Availability

The Maono PD500W is available globally via the Maono website and Amazon US with pricing starting at US$399 for the B asic Version and US$429 for the Desk Stand Bundle.

Maono also offers an affiliate program for the PD500W, paying up to 20 % commission. For further details, please click here.

About Maono 

Maono is a global professional microphone brand dedicated to making professional sound more accessible to creators, streamers, podcasters and music enthusiasts. Guided by the belief that “Your Voice Matters,” Maono combines professional audio performance with intuitive usability across gaming, livestreaming, podcasting, music recording and video creation. As a pioneer of hybrid microphones, Maono brings wireless creative freedom, USB plug-and-play simplicity and XLR professional expandability into its product innovation. Maono believes professional sound can be simple.

For additional product information, visit: www.maono.com

Zoner Studio has released its Fall Update, built around a new Advanced Preset Workflow with 37 presets across six categories. Instead of applying one finished look, photographers can layer their edits step by step and develop their own style. The update also improves Luminance Range masking, Saturation Correction and Split Toning, and introduces AI Lab, a space for trying out Zoner AI tools such as Noise Removal, Remove Object, Generative Extend and Generative Rotate. It is free for all Zoner Studio subscribers, and new users can try it with a 7-day trial.

From Zoner Studio:

Zoner Studio introduces its Fall Update, led by a new Advanced Preset Workflow. Photographers can now build their edits step by step, achieving polished results with less effort. The update also adds better color controls and experimental Zoner AI tools.

Advanced Preset Workflow

The highlight of the update is 37 new presets across six categories designed for flexible, step-by-step editing. Instead of applying a single finished look, photographers can build their own style. They can start with a Color Style, add Film Glow or Microcontrast, apply Corrections or Creative Effects, and fine-tune the final result.

Advanced techniques become easier to use, without having to master every tool.

More Precise Color and Tonal Control

The update also gives photographers more control over fine adjustments.

The improved Luminance Range masking tool makes it easier to target highlights and shadows naturally. Expanded Saturation Correction offers greater control over how Tone Curve adjustments affect color saturation. And Split Toning now allows photographers to adjust midtones independently, alongside highlights and shadows.

AI Lab: A Space to Explore Creative AI

The new AI Lab brings selected creative and generative tools from Zoner AI directly into Zoner Studio.

Photographers can experiment with features such as Noise Removal , Remove Object, Generative Extend, and Generative Rotate . AI Lab opens up creative possibilities beyond conventional photo editing.

“AI is opening up a world of new possibilities for photographers. Our priority is to develop tools that genuinely make sense when working with real photographs. That's why we fully integrate AI features into Zoner Studio only when we're confident in their quality and practical value. At the same time, we don't want to hold back photographers who enjoy trying new things. That's exactly why we created AI Lab – a place to experiment with Zoner AI tools. It will be a living, evolving space where new features can appear, while others may change or be removed over time. And the tools that prove their value may eventually become part of Zoner Studio itself,” says Michal Prouza, Head of the Software Division at ZONER.

Other Improvements

The Fall Update also includes smaller workflow improvements, such as filtering by stacks in Search. The Zoni AI Assistant is now available directly inside Zoner Studio, helping photographers find answers about the software and its features without leaving their editing workspace.

Availability

The Fall Update is available to all Zoner Studio subscribers at no additional cost.

New users can explore the latest features with a free 7-day trial.

For more infomation, please visit the Zoner Studio website.

Photo by David Pritchard

With the days growing shorter, there are great opportunities for night photography in the city. Urban and city areas can be accessed in the dark, often at rush hour when there are amazing shots to be had in relative safety.

Article Sections:

• Gear
• Set-up
• Safety
• Locations
• Skylines
• Wet weather
• Long exposures
• Exposure
• Time of day
• Colour

Gear

Click on the links below to find gear options to purchase - by cliking on these links and buying anything, you are helping to support the site at no extra cost to you - thank you. 

• Tripod - You can get by with other forms of support but they are never as good as a solid tripod. Many of your exposures are probably going to be 5-10 seconds or more.
• Cable/Remote Release - This will help prevent vibration and camera shake.
• Light meter/card with exposure durations written on it at 1/3 intervals - Exposures can get quite lengthy at night, especially for film users where reciprocity failure becomes a problem. As the longest exposure most cameras can calculate is 30 seconds, you will often find situations where this is exceeded. I find it useful to have a light meter which will cope with much longer exposures.
• Camera - One that lets you work at higher ISOs and has low noise.

Checklist

1. Ensure your lenses and sensor are clean. Night shooting tends to emphasise dust and flare from dirty equipment. You will be surprised at just how dirty your kit is once you start shooting at night.
2. Check to see if your camera has a mirror lock function (usually this is in the cameras custom functions) or be prepared to shoot in live view if your camera has this. Personally I like live mode / view as it’s very effective at seeing in the dark.
3. Getting the exposure right at very slow shutter speeds can be very tricky and often involves guessing. Shooting in RAW format can help give you a little more flexibility in post processing.

Safety

Before looking at possible subjects, just a quick word on safety. It might still be early but you still need to be sensible and keep personal safety in mind. Where possible work with a friend or two and look out for each other. Avoid being out too late as drunks seem to find cameras unusually attractive especially when mounted on those strange metal legs we know as a tripod. Stick to areas with good lighting and lots of people. These tend to make for better images but are also usually safer.

Photo by David Pritchard

Locations

Now you have your kit prepared, start to think about the type and location of the shots you want to take. It’s tempting to turn up somewhere and then look for something to shoot. A better option is to think about the type of work and then pick a suitable location. Sometimes however you just get lucky and providing you are prepared you can get some good shots.

Skylines

City skylines are the obvious targets for night photography as many office buildings tend to have lighting for the night. Monuments such as churches often have night lighting also as do many industrial sites which work 24 hours. If you do decide to photograph industrial sites stay a good distance from the location as you don’t want to be suspected as a terrorist. I was however surprised when I went around London at night armed with a camera and Gorillapod. I thought that I dare not be seen with a tripod at night. What I found were lots of other photographers all carrying full tripods and using them openly in the streets.

Wet weather

Don’t rule out poor weather as wet pavements can be particularly attractive as they reflect the lights of buildings and traffic. When shooting moving objects you should consider what effect you are trying to create and what a suitable shutter speed is to achieve this. If for example you are shooting a car, the headlights will show up well, but when the car is moving fast and the shutter speed is long, the only thing that can be seen are the light trails. With shorter exposures you will probably retain some of the car in the image as well as the light trails.

Long exposures

You can use longer exposures to your advantage, for example when photographing people at night perhaps outside bars. People sat or stood may look relatively well defined whilst those moving past don’t show up at all.

Photo by David Pritchard

Exposing

When exposing your shot, be sure to cover the back of the viewfinder to stop light entering and affecting the exposure times. Different cameras seem to have different levels of susceptibility to this but every camera I have used has underexposed if I haven’t blocked the viewfinder during a long exposure. Getting the correct exposure is quite a task and open to guess work, so if in doubt just take the camera's exposure. If you like to judge exposure based on the camera histogram be aware that the histogram is likely to be clipped at both ends. Areas will become pure black and other areas of bright light will have no detail. Sometimes it’s worth bracketing shots a stop either way to ensure you have one you are happy with.

Time of day

It may sound strange but the time of day, or rather night can be quite important. The temptation is often to time our shooting for the night when the sky appears inky black. Whilst this might provide a stark contrast to the lighting on the building it also means there is no interest in the sky so you probably need to minimise its inclusion. Earlier in the day however the lighting on buildings doesn’t appear quite so strong although there might still be some colour in the sky which is more appealing. So when considering your subject give some thought to the time of the day and also consider this when selecting your composition.

Colour of the lights

Another interesting aspect of night photography is the colour of the lights used in many settings. Street lighting for example is usually yellow and Fluorescent and mercury vapour lighting (often found in industrial settings) has a green appearance. Whilst these mixed lighting scenes can appear attractive in the image, you sometimes need to take extra steps to deal with these conditions. The most obvious step is to ensure your camera is set to AWB but even this doesn’t correct all the situations you come across. Film users might face an even steeper challenge as long exposures can cause unpredictable colour shift in the film although this can be quite attractive.

In summary, use the correct equipment with good technique, pick your subject, composition and approach and you will be able to capture some great night images in your city. Most of all, remember to keep to the busy areas and stay safe.

Photo by David Pritchard

 

Words and images by Robin Whalley from Lens Craft.

A colorful lake scene photographed in Wales has won our ‘Photo of the Week’ (POTW) award.

Titled ‘A Reflective Mood’ and captured by Buffalo_Tom, this is a lovely early morning shot with a sky full of pink, orange and purple. The stone wall sitting in the water stands out nicely in the middle of the shot, and the dark patch on the left leads straight to it. We love how the calm water gives a clear reflection of the clouds, the trees and the wall itself. The dark trees on the left keep everything balanced, and the hazy hills in the distance finish it off. Lovely colors, great reflections and a well-balanced scene.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we'll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. See the terms & conditions and prize procedure for more information.

It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards! Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners.

Photo by David Burleson

Add A Vignette

To create mood and to add emphasis apply a vignette to your transport shots. For more information on how to do this, take a look at our tutorial: Creating Vignettes.

Shoot Inside

As well as shooting the outside, if you can, open the doors of the car, truck or of whatever transport you’re photographing and capture some interior shots. You can go wide, capturing the whole of the interior or use a close-up lens to focus on detail such as dials, buttons and badges.
 

Fill The Frame

To really add emphasis so the car is the only focal point of the shot, fill the frame with it. This, however, doesn’t mean it has to be positioned in the centre of the shot. Move your position slightly to the left or right and you’ll see how it can make a really big difference to the overall image. Just make sure you don't clip off a wing mirror or a wheel in the process.

Photo by David Burleson

Use Reflections

Try using the car’s mirrors or some part of its bodywork to capture a reflection of another part of the car in. Just have a good look at the reflection to make sure you or any passers-by aren’t captured in the shot as you’ll have to spend time cloning them out later if you do.

Away from the car look for puddles and other reflective surfaces you can photograph. New buildings, which are full of glass and steel, are great backdrops to position new cars against.

Stepping further back so you can see the reflection of the horizon down the side of the car can also work brilliantly, particularly at sunset or if you're in a picturesque location.

Photo by David Burleson

Change Angles

Take a walk around the mode of transport you’re photographing and look for the angles, shapes and little details that make it unique. 

Get low to headlight level to make it look intimidating while shooting from the side will give you the chance to follow the lines of the car’s bodywork which will help guide the eye through the shot.

Shoot up high so you can show the car’s overall shape, just make sure the sky’s not overexposed. You can always fit an ND grad to darken the sky, creating more mood. For wider shots, make sure you can’t see what’s behind the car from underneath it as this will be distracting.
 

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to NeilSchofield (Day 7 - Panoramas).

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

Day 1

National Parks

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Day 2

'Win' Theme

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Day 3

Fireworks

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Day 4

Races

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Day 5

Photo Walk

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Day 6

Creative White Balance

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

Remembrance Sunday is a day that commemorates the sacrifices of armed forces and civilians in times of war and artificial poppies are bought and worn as a mark of respect. Although the 11th is the actual Remembrance Day, a two-minute silence is observed at war memorials and other public spaces across the UK at 11am on Remembrance Sunday. At these locations and for weeks after you will see decorative wreaths of poppies placed at these memorials which can make an interesting subject for photographers.

What sort of kit is best?

Any compact camera can be used to photograph memorials and artificial poppies. As long as it has a lens with a fairly close focus you will be able to shoot closer shots of individual poppies or wreaths, and a wide angle will help you take a more overall view of the scene.
 

The main thing you need is imagination.

Respect your surroundings

At all times respect the location. These are areas marked for people who lost their lives and people come to pay their respects. The last thing they want is a disrespectful photographer interrupting their moment.  

Memorials are often grand structures and dwarf the wreaths placed below them so consider moving in closer with a tighter crop of the scene. Use a wide-angle lens and move in close placing the memorial to one side and allow the background scenery/cityscape to contrast against the scene.
 

Utilise the colour of the poppies

Consider the bright colour of the poppies against the often cold dark tones of the memorial and underexpose slightly so the darker areas become a stark contrast behind the vibrant red of the poppies. You can adjust the contrast and colour saturation using your image editing program to enhance the poppy colour.

Try focusing on a single poppy and isolate it from the rest of the scene. Placing one strategically on a part of the memorial will give an interesting still life set. Use a polarising filter to prevent reflections from the statue or polished marble.
 

Be creative with your angles

Hone in on a single poppy in a wreath and use a wide aperture to throw the rest out of focus. Choose the right angle and the rest will be a blur of red as a background.

Many of the memorials have very poignant messages engraved in the marble. Try including one of these in the shot with a wreath. Have the wreath on the foreground and the message tailing off to the distance. Photography the message head-on and cropped so just a few of the words are visible with a single poppy laid over them.

Don't forget the people at the ceremonies

Candid shots of old war veterans wearing poppies can make good photographs. Again, respect the person. Asking if you can take a photograph is polite and then you don't have to grab the moment. You can spend a few minutes composing the shot and making sure the viewpoint is good. If the person is in a wheelchair get down to their level for a better perspective.

A photo of a person placing a poppy on the memorial could look good from the right angle. Again, take from a low viewpoint and makes sure the face and the poppy are in frame. 

© Retouch4me

Retouch4me is making all of its cloud-based AI retouching tools free for 48 hours on November 21 - 22, 2026, with no limit on the number of photos. The offer is open to new and existing users, and no credit card is required. The event centers on Retouch4me Apex, an all-in-one AI plugin with 13 retouching tools for skin, eyes, teeth, hair, clothing, background, and glasses glare, available as a standalone app or a Photoshop plugin on Windows and macOS.

From Retouch4Me:

Retouch4me will make all of its cloud-based AI retouching tools free for 48 hours on Nov. 21-22, with no limit on the number of photos.

The offer is open to new and existing users, and no credit card is required.

Free Weekend centers on Retouch4me Apex, the company’s flagship all-in-one AI plugin. Apex brings 13 professional retouching tools into one interface, covering skin, eyes, teeth, hair, clothing, background and glasses glare. It runs as a standalone app or a Photoshop plugin on Windows and macOS. More about Apex: https://retouch4.me/apex

“We’ve made big updates to our cloud AI retouching lately, adding new tools for moles, glasses glare, backgrounds and object removal, and now we want everyone to try them,” said Oleg Sharonov, founder of Retouch4me. “We’re photographers ourselves, and we know how many late evenings go into retouching. We can’t wait to see photographers try Apex on their real shoots, save hours and get results that look natural.”

How it works

Users register at https://promo.retouch4.me/free-weekend-2026, download Apex and sign in. Unlimited processing starts at midnight CET on Nov. 21 (6 p.m. EST on Nov. 20) and ends at 11:59 p.m. CST on Nov. 22.

Free Weekend is followed by Retouch4me’s Black Friday sale, which runs Nov. 23-30.

About Retouch4me

Retouch4me is a software company that provides innovative solutions for photo and video editing. With neural networks, its software automates manual tasks and delivers natural results, allowing creatives to focus on their artistry. We believe that combining AI and human creativity helps achieve superior results. Retouch4me improves the workflows of creatives in over 115 countries. Discover how to elevate yours at https://retouch4.me

Even though panoramas, like the one above, are great, there are a few ways you can get more creative with them. Here we have five ideas for shooting creative panoramas but if you have any more, please feel free to add them in the comments.

People Panoramas

If you're out with a group of friends or at a social gathering, a panorama is an interesting way of capturing a group portrait. Whether it be at a picnic, or just a get together at someone's house, a panorama is a unique way to include everyone in a photo with ease. Try using different poses and expressions to create a shot which is more dynamic and fun. Many cameras now have panorama modes built in where you often have to just hold the shutter button while panning the camera around to take your shot, making it easier to produce good panoramas. Plus, small compacts can be slipped into pockets and bags, meaning they won't take up too much room when you're out.

Vertical Panoramas

Vertical panoramas can be used to give vertical objects more presence. They are great for when you're capturing tall trees and buildings, as they give you a real sense of height and grandeur. It is also ideal for capturing waterfalls, wind turbines and windmills. For more tips on shooting vertical panoramas, have a look at this article: Basic Tips On Shooting Vertical Panoramas

360 Degree Panoramas

For something more quirky, try shooting a 360-degree panorama. You can buy gadgets that do this or some cameras have 360°/180° panorama modes built in. Don't worry if your camera doesn't have a 360-degree panorama setting, as you can stitch several panoramas together to create a similar look. Take a look at our stitching tutorial for more information.
 

Seasonal Panoramas

These work really well in woodland where the changing of the seasons is really visible. Try taking four different panoramas: one in the summer, autumn, winter and spring, in the same location. It will take you a year to get all your images, but once you have them, you will be able to combine them to create a really stunning image showing the changing of the seasons that will be fit for any wall.

'Following An Object' Panorama

This works really well with a pet or motor vehicle. Take snaps of the animal or object as it moves, preferably running for the animal. This can be achieved really easily by setting your camera to continuous shooting mode. Then just combine your results.

© Nikon

Nikon has released firmware version 2.00 for the ZR, its full-frame compact cinema camera, and it is the first major update since the camera launched. The update adds Log3G10 gamma support when recording in the compact H.265 format, allowing shooting that incorporates RED color science. It also lets users select the level of High ISO NR and assign more functions to the command dials and function buttons. For monitoring, the ZR now offers focus peaking when recording in R3D NE1 format and 3D LUT support for HDMI output.

From Nikon:

Nikon is pleased to announce the release of firmware version 2.00 for its full-frame compact cinema camera, the Nikon ZR, scheduled for release soon.

Firmware version 2.00 is the first major update for the Nikon ZR since its launch, further expanding creative capabilities and enhancing production workflows. The update adds support for Log3G10 gamma when recording in the compact H.265 video file format, enabling shooting that incorporates RED color science.

The new update also brings the ability to select the level of [High ISO NR], supporting image rendering tailored to the creator's intent and the visual tone of each production. Additionally, more functions can now be assigned to the command dials and function buttons, enabling single-action access to key settings for a significant improvement in operability.

What's more, the addition of a focus peaking display when recording in R3D NE1 format, together with support for applying a 3D LUT to HDMI output, enables efficient monitoring during shooting. With these updates, the ZR becomes more versatile and easier to use in a wide variety of situations.

Nikon will continue to enhance its products through firmware updates that address user needs, while also contributing to the development of imaging culture in the field of cinema. To find out more, please visit the Nikon website.

FOOTNOTES

_¹ R3D NE is a RAW format developed for Nikon cameras to deliver the distinctive color science of cinema cameras from RED Digital Cinema Inc.

© Canon

Canon has announced a new firmware update for the EOS C400, EOS C80 and EOS C50. All three cameras get Multi-Matrix Support for color and saturation control, plus more customization options for lens buttons, control dials and assignable buttons. The EOS C400 and EOS C80 gain autofocus support in Slow & Fast mode at additional frame rates between 60 and 120p, and the EOS C50 can now use compatible Canon Speedlite flash accessories. The update will be a free download from December 2026.

From Canon:

Canon announces a new firmware update for its Cinema EOS range, introducing a series of enhancements across the EOS C400, EOS C80 and EOS C50. Developed in response to customer feedback and evolving production needs, the updates deliver new broadcast and virtual production capabilities, enhanced filmmaking features and greater customisation, alongside Speedlite flash support for the EOS C50. These improvements reinforce Canon's commitment to continually enhancing its professional imaging range to meet the changing needs of filmmakers, broadcasters and hybrid creators.

Enhanced broadcast and virtual production workflows

The firmware update introduces Multi-Matrix Support across the EOS C400, EOS C80 and EOS C50, providing advanced control over image colour and saturation across selected colour axes. This enables greater precision when matching multiple cameras and working with LED volumes, helping cameras integrate more seamlessly into existing real-time colour workflows.

Further enhancements support demanding broadcast and virtual production environments, including improved CV metadata for focus and zoom encoder data, Black Level adjustment when shooting in Canon Log 2 or Canon Log 3, and Image Stabilisation support for lenses exceeding 1000mm. Audio output in Slow & Fast mode also enables greater flexibility for productions that move between high-speed sports footage and post-match interviews.

Expanded filmmaking capabilities

For professional filmmakers using the EOS C400 and EOS C80, the update extends autofocus support in Slow & Fast mode to additional frame rates between 60 and 120p, including 72p, 75p, 90p and 96p. This allows users to benefit from Canon's advanced autofocus tracking across a wider range of slow-motion shooting scenarios, supporting narrative, documentary, commercial and music video productions.

The update also improves on-screen display information, including Base ISO and fan indicators, helping users monitor key camera settings and operational information while shooting.

Speedlite flash support for the EOS C50

Expanding the versatility of the EOS C50, the firmware update introduces support for compatible Canon Speedlite flash accessories via the Multi-Function Accessory Shoe. This enhancement is particularly valuable for professional photographers and hybrid shooters, including wedding and event creators, who want to capture high-quality still images using flash alongside video footage from the same event.

Supported accessories include EL-series and EX-series Speedlites, Macro Lights and Speedlite Transmitters. [1]

Greater customisation and control

In response to customer requests, the update introduces additional customisation options for RF lens buttons, camera control dials and assignable buttons across the EOS C400, EOS C80 and EOS C50. Users can assign quick access to a wider range of functions, including autofocus, digital tele-converter, sensor mode and exposure settings.

These refinements enable professionals to tailor camera operation to their individual shooting styles and workflows, improving efficiency and providing more intuitive control on set.

By delivering new capabilities and refinements in response to professional user feedback, Canon continues to evolve its Cinema EOS range to support a broad range of production requirements, helping customers maximise the potential of their existing equipment and giving prospective users greater flexibility when choosing a camera system.

Availability

The new firmware updates for the EOS C400, EOS C80 and EOS C50 will be available to download free of charge from December 2026 via canon-europe.com/support.

[1] When using conventional five-pin Speedlites, the Multi-Function Shoe Adapter AD-E1 is required. The adapter maintains the camera's dust- and water-resistant performance.

We all aspire to get the correct colour rendition and it is very important, especially with shooting JPEGs, but sometimes it is really fun to shoot with the wrong preset and get weird colours. If you shoot Raw, you can do this afterwards on the computer. 

Gear Suggestions:

A camera where you can adjust the white balance makes life easier. This could be a DSLR or compact which has various white balance settings, including custom white balance if none of the presets give you the look you're after.

Once you've found the camera's white-balance control, take a look at your manual if you're unsure where the white balance options are, do try the various settings on offer as each one will give a slightly different look to your image. Most cameras have the following white balance settings: auto, cloudy, daylight, incandescent, fluorescent and flash.

Technique:

Much of this is you playing with the various presets – or in Photoshop afterwards.

One of the most obvious is shooting with the incandescent setting in daylight to give blue-coloured images. In film days, fashion pros used to use tungsten-balanced colour film in daylight. With digital, you can try this without risking anything and if the effect looks wrong, switch back to auto white-balance and try something else.

Most cameras have the option of using Kelvin. You could set a low value and shoot in normal daylight. The effect can be very pronounced and will enhance the mood of suitable scenes. There is no right or wrong when it comes to experimenting.

Play with RAW files on your PC

If you have Raw files, you can play with white balance without leaving the computer. Just put the file through the Raw converter again and try a different preset. It is simple to do and because it is Raw processing is non-destructive so you can always go back to the original colour images.

It is worth saying that if you play with white balance in-camera and are shooting JPEGs, the result is more or less what you are stuck with and there is only a limited amount that you can salvage afterwards.

Photo walks are probably something you associate with summer, however with autumn shades decorating our countryside and lights getting switched on sooner in cities, you can capture just as interesting shots at this time of year.

Where you walk and how long for really depends on how long you have and what you want to capture but here are a few tips you'll find useful no matter where you walk.
 

Gear Choices 

It can be tempting to take various lenses, however if you can pack a zoom that covers various focal lengths, you won't be as weighed down with gear. It makes your walk more of a challenge too, making you work closer to subjects and thinking slightly more out of the box. If you do spot something you really can't capture with your zoom you can always revisit the location on another night / day.

A tripod or monopod will be useful, particularly when you're using longer shutter speeds at night or capturing the movement of autumn trees.

A sling-style bag is great for city shoots as they make accessing gear quick and easy. If you're planning an autumnal walk that'll last a few hours or even all day a rucksack would probably be better as you'll be able to pack other supplies and weight will be distributed evenly across your back.

Check The Weather

If a clear night is forecast you should plan an early start as frost will be decorating fields and leaves. Closer to home, look for cobwebs and if it's really cold, ice forming on ponds or puddles if it's rained the night before.

Misty sun rises work well as do snowy landscapes and shots of wet streets after the sun's set and lights are switching on.

Dress For The Weather

By taking the time to check the weather forecast you'll have a good idea on what clothing you'll need for your walk. Sticking your head out of the door is also a good idea as weather forecasters aren't guaranteed to get it right every time! For cold days, wear lightweight layers rather than a couple of thick bulky items as you can always remove layers if you're too warm or add more if you need them. A good pair of boots or shoes that support your ankles, have a good sole and are ideally waterproof are also essential.

Have A Route

A quick, short route that circles back on itself will be fine. Taking a path through woods is good at this time of year and shouldn't be too strenuous. It's also the season when towns begin putting up and switching on Christmas lights so a quick route around your town's streets should also give you plenty of opportunities to capture some interesting night-themed shots.

What To Look For

In towns, get up high to stop problems with converging verticals, plus it'll give you the opportunity to capture some cityscapes. Don't be afraid of getting in close to capture some abstract shots of buildings and capture unique perspectives by changing your angle. 

Pattern Recognition Company (PRC), the company behind the award-winning Excire software, released a major update to Excire Foto 2027, its standalone photo- and video-management program. The update – which is free for all Excire Foto 2027 owners – introduces an array of time-saving features for photographers and video creators, including advanced video indexing, tools to search for specific moments within clips, video frame extraction, and reverse geocoding.

Designed for photographers and content creators who work with both still images and video, the update makes it easier to browse, organize, and search for content across a mixed media library. Users can find specific videos via specialized AI-powered search tools: natural-language content search, visible text search, people search, face search, keyword search, and similarity search. Users can then open a matching clip to see the precise point where the desired content appears. Individual frames can also be saved as photos and managed alongside other images in the database.

“Photographers and visual creators increasingly work with both photos and video, and they need secure, practical ways to keep that content organized and accessible,” said Erhardt Barth, CEO of PRC and a machine learning expert at the University of Lübeck. “This update dramatically expands what Excire Foto 2027 can do with video while maintaining the local processing and privacy that are central to our software.” 

New Tools for Content-Based Video Search and Organization

Highlights of the November update include:

Advanced video indexing. Excire Foto 2027 analyzes each video file and extracts a range of frames that represent the video’s content. These frames are automatically keyworded; they also make footage searchable through natural-language prompt search, face and people search, keyword search, and similarity search, all of which help users retrieve specific clips based on their contents.

Find specific moments within videos. After searching for content, users can open a matching video from the results to review the precise point where that content appears. This makes it easier to locate a particular person, subject, or scene within a clip.

Control over extracted frames. Users can add or remove extracted frames, add metadata to those frames, and use individual frames as references for similarity searches. Adding or removing searchable frames is non-destructive and leaves the original video untouched.

Save video frames as photos. Individual frames can be saved as separate photos without leaving Excire Foto 2027. Once saved, these images can be brought into Excire Foto, analyzed, searched, culled, and exported just like standard image files.

Automatic location metadata with reverse geocoding. Excire Foto 2027 can use a file’s existing GPS coordinates to identify the city and country where it was captured and add that information to the corresponding metadata fields. 

The new capabilities expand Excire Foto 2027’s existing tools for searching, organizing, and culling photo and video libraries. AI analysis runs locally on the user’s computer, which ensures complete privacy.

Price & Availability

The updated version of Excire Foto 2027 is available for both Windows and macOS beginning November 3rd, 2026; the program can be purchased directly from the Excire website. The software is offered for a one-time license fee (no subscription) of US$249 / €229 / £229 / CHF 229.

Excire Foto 2024 users can upgrade to the updated version of Excire Foto 2027 for US$99 / €99 / £99 / CHF 99, while Excire Foto 2025 users can upgrade for US$79 / €79 / £79 / CHF 79.

Existing Excire Foto 2027 users receive the update free of charge.

A 14-day trial version is also available for download. With the update, the trial period has been reset; therefore, users whose free trials expired can test the program a second time. 

About Pattern Recognition Company

Founded in 2005 by internationally recognized computer-vision and machine-learning experts from the University of Lübeck, Pattern Recognition Company (PRC) has developed a variety of cutting-edge AI products and applications in automated image analysis, including Excire’s award-winning line of AI-powered photo-management software. PRC’s offerings include Excire Foto 2027, a standalone application for photographers; Excire Search 2026, a Lightroom Classic plugin; and Excire Foto Office Edition, a network-enabled program for team-based workflows. The Excire API makes this powerful technology available to third-party platforms. For more information, please visit https://excire.com/en/.

Motion and movement is a wide and varied photographic subject and as a result there are many ways a photographer can create a sense of motion or movement in their shots. Slow shutter speeds can be used to exaggerate the flow of water while fast shutter speeds will freeze the force of a wave as it crashes against a sea wall. ePHOTOzine has written many tutorials that cover motion in some shape or form and as a result, we've decided to group the most popular ones together so, hopefully, you'll be fuelled with enough inspiration and ideas to make you want to head out to capture motion. Here's our top seven:
 

How To Capture Landscapes That Show Motion

John Gravett shows us how wind movement can make interesting and more dynamic landscape shots. Plus, he includes tips on capturing the popular 'blurry' water shots at the coast and with waterfalls.

How To Use Blur To Create A Sense Of Movement

Blur isn't always a bad thing as it can help emphasis speed and create motion in a shot. Read on for tips on using shutter speeds, flash and zoom lenses to create blur.

Beginner's Guide To Capturing Motion

Mike Browne from PhotographyCourses.Biz shows how easy it is to capture a sense of movement.

Camera Panning Techniques

Peter Bargh talks through a few tips to improve your panning technique. Panning is a great technique for action and, once perfected, the main subject will be sharp against a blurred background.

Tips On Photographing Action And Movement

Here are a few tips on shutter speeds and how to focus so you get sharp action shots every time.

How To Capture Movement

Ben Boswell shares his tips on capturing movement. Tips include making sure movement looks deliberate, when to use a pan, what shutter speeds are appropriate and if a tripod is needed.

More Tips On Capturing Movement In The Landscape

Do landscape shots always have to be static? If you think about it you'll realise that they're often not. This tutorial adds to the tips John Gravett gave in his article, covering clouds, trees and people as subjects.

We are only a few days away from this year’s Bonfire Night and we couldn’t really kick November off without mentioning a few tips that’ll help you capture spectacular firework photos.

Gear Suggestions

As long exposures are a must you will need to take a support with you. A tripod’s great but at busy events you may be better off with a monopod that takes up less room and is easy to move around with.

If you’re a compact user, it can be harder to capture firework themed images but it's not impossible as most compacts have a range of scene modes and a firework mode can often be found among them. Plus, the longer zooms that are available on some compacts will now get you closer to the action too.

Wider lenses will capture more of the sky, increasing your chances of capturing a burst. You may want to try shooting a few in a portrait orientation, though, to capture the long trails left by the firework as it climbs to the spot where it explodes.

Finally, pack a torch as it’ll be dark and you may need it when making changes to your settings and for putting your kit away.

Focus And Aperture

Switch to manual focus and turn your focus to infinity (check your manual if you’re unsure how to do this). This is to ensure the firework explosions stay sharp as they can be further than the maximum focus setting on your camera. Setting an aperture of f/8 or f/11 will increase your depth of field, further increasing the chances of capturing a sharp shot of a colourful explosion. Make sure your flash is switched off too.

RAW Or Jpeg?

If you shoot in RAW you’ll be able to tweak colours and brightness levels when you’re back in front of your computer once the display has finished.

Exposure Times

For shots filled with bursts of colourful explosions you’ll need to switch to Bulb mode. This mode allows you to keep the shutter open for longer but as you need to keep the shutter button pressed, it’s a good idea to use a cable release to prevent shake. If your camera allows it, you could fire the shutter wirelessly via a smart device. 

In Bulb mode, you basically need to keep the lens covered (a dark piece of card will work) until a burst erupts. At this point you need to uncover the lens. Replace the card until another burst occurs and continue to do this with however many bursts as you like. It can take a while to get right as timing is key but you can create some great shots when you’ve perfected the technique.

If you don’t have a bulb mode you can capture single explosions with exposure times between 1-4 seconds. This should give you shots that show a light trail as the firework climbs as well as the final burst of colour at the end.

Photo by David Clapp - www.davidclapp.co.uk

Watch The Display

As displays don’t tend to be short affairs it pays to watch a few bursts so you can see where the fireworks are being launched into the sky and you’ll also be able to see how long it takes them to climb, plus how long the explosions last for. This will make framing easier, although you can’t obviously guarantee every burst will appear where you need it to. It’s worth doing a few test shots to make sure you’re happy with the composition too before the big display begins.

Add Interest

Buildings and other structures can add an extra level of interest to your shots but if they are illuminated it can mean they end up looking ‘blown out’ so adjust your exposure accordingly.

Canva has launched Affinity for iPad, an app built for touch and Apple Pencil that puts sketch, vector, photo editing and page layout in a single .af file. It includes a new Sketch Studio, iPad-first tools such as the Mask Tool and Sketch to Shapes, and AI features through Canva AI Studio, which need a Canva premium account. The core tools are free for individuals, and the app is available now in the App Store, depending on regional rollout. A free Canva account is needed to use it.

From Canva:

• Affinity for iPad combines pro-grade vector graphics, photo editing, illustration, page layout and AI.
• Brand new Sketch Studio optimised for Apple Pencil and touch creates the perfect environment for illustration or to convert sketch to vector.
• AI optimised for human creativity: it's designed to empower designers, not replace them.

Canva, the visual communication platform used by hundreds of millions of people, has today launched Affinity for iPad. Created specifically for the touch-first interface and unique capabilities of iPad and Apple Pencil, the app brings professional sketch, vector, photo and layout editing together with the same pro-level power of Affinity on the desktop.

Affinity for iPad introduces the brand new Sketch Studio for freehand drawing and simplifying complex sketch-to-vector workflows, as well as iPad-first features like the Mask Tool and Sketch to Shapes. There’s also Affinity’s powerful photo editing, and a full selection of AI tools in the Canva AI Studio.

Professional creativity has long been split across apps. Switching takes time and loses momentum: users draw in one app, build vectors in another, use a third to retouch photos, and work in yet another to lay out a finished document. Creativity thrives when these tools work together and Affinity for iPad is making that smoother than ever, allowing creatives to move seamlessly between tasks, maintain momentum, and bring their ideas to life.

Affinity for iPad

With Affinity for iPad, creatives can take a project from first sketch with Apple Pencil to print-ready file on iPad alone. And it's free for individuals, just like Affinity on desktop, which has recorded more than seven million sign-ups since launching a year ago.

“Creative work doesn't stay in one discipline, so your tools shouldn't either,” said Duncan Clark, CEO of Pro Design at Canva. “Since we brought Affinity together on desktop, our biggest user request has been the desire to bring it to iPad. Today we're delivering it: a fully-fledged, professional app built for touch.”

One file, from start to finish

Sketch, vector design, photo editing, and layout all live in the same .af file, so users can move between them with a tap. Non-destructive edits render in real time and nothing needs to be exported, converted or remade.

• Sketch: Rough out concepts the moment they land, with the unique capabilities of Apple Pencil like pressure and tilt in every mark, thick where you press and soft where you tilt. A full brush library comes with controls to shape each brush into the exact tool you need. Sketches stay live in the file to build on, rather than trace again.

Affinity for iPad sketch to vector

• Vector: Responsive, smooth and under control. Build a full logo or icon system with real curves and precise nodes, or bring a rough drawing through from Sketch. Sketch to Shapes turns hand-drawn forms into clean vector shapes.

Affinity for iPad Vector Studio

• Photo: Fine-tune RAW files, make intelligent selections, retouch in real time and build full composites at the shoot or on the go. Users can even sketch over a photo first to plan where a subject or prop should sit. The Mask Tool finds the boundary as the Apple Pencil pixel precision runs along a challenging edge, so hair, fur and foliage take a stroke rather than an afternoon. Every mask, grade and retouch stays live and undoable, even thousands of layers deep.

Affinity for iPad Pixel Studio

• Layout: Create multi-page documents such as ‘zines, lookbooks and photo books, with text and images flowing across pages; master pages and grids keep everything consistent, and typography exactly right. Projects go all the way to a print-ready file with proper colour handling.

Affinity for iPad Layout Studio

Built for touch, not shrunk to fit

The new app’s interface is designed for iPad, with tools where the hand reaches for them and the clutter stripped back so nothing stands between the creative and their work.

Affinity supports the advanced capabilities of Apple Pencil Pro, including pressure, tilt, barrel roll, squeeze and hover, alongside natural gestures. Every adjustment, filter, and effect updates live, heavy files with thousands of editable layers stay fast and smooth. And like its desktop counterparts, Affinity for iPad is compatible with all major file types.

Powerful AI that supports your craft

AI tools are brought to Affinity for iPad for the first time in the Canva AI Studio, offering a powerful set of features that leverage the unique capabilities of iPad to tackle the tedious tasks, so creatives spend more time on the decisions only they can make, without ever giving up control.

Designers can use Generative Expand to fit an image to a new format or bleed, then set the type and export a print-ready document. An illustrator pulling in a low-resolution reference or texture might scale it up to meet print or merchandise needs, before applying it over their vector artwork.

For photographers, motion blur reduction and noise reduction can be applied instantly. Decompose Layer splits a flat image into editable layers.
Live controls and real time rendering mean users can fine-tune how much adjustment is applied and shape every detail such as how much grain to clear, or how softly a background falls away. Canva AI Studio is there when users want it and out of the way when they don't.

Leading the way on iPad

Affinity has been enabling serious creative work on iPad and Apple Pencil since 2017, when Affinity Photo was named Apple's iPad App of the Year. It signaled that professional-grade design didn’t need to be tied to a desktop.

Affinity for iPad builds on that legacy, and has been shaped by feedback and requests from the designers, illustrators, and photographers who make up the professional community, including the Canva Designer Advisory Board, industry experts, and creative forums.

“Affinity has built groundbreaking tools for iPad for almost a decade, and our community has shaped every step,” said Duncan Clark. “This is the result of everything we've heard and learned, worked over until every gesture and panel felt right under the hand.”

“Affinity for iPad delivers the full power of Affinity, together with the versatility and portability of iPad,” said Affinity Head of Product Design Neil Ladkin.

“Every development decision was made by people who create on iPad themselves, from how the Apple Pencil responds to where the tools sit. If you’re the sort of person who rotates the canvas 40 times to get one line right, Affinity for iPad was made by people who’ve done exactly that.”

Free for individuals

Affinity for iPad’s core sketch, vector, photo editing, and layout tools are free for individuals. Canva AI features can be accessed with a Canva premium account.

Affinity for iPad is available now* in the Apple iPad App Store. Customers need to create a free Canva account to use the app.

Read more about Affinity for iPad at www.affinity.studio/ipad-app.

*Subject to App Store regional rollout timings

SPONSORED FEATURE  |  In partnership with Zoner Studio

Adobe Lightroom has long been a popular choice for photographers, but it’s far from the only option. We take a closer look at how Zoner Studio compares, where each application excels, and why photographers might want to consider an alternative.

Choosing the right photo editing software is almost as important as choosing the right camera. Whether you’re processing RAW files from a weekend landscape shoot, organising thousands of family photographs or perfecting a portrait, the software you use can make a significant difference to your workflow.

For many photographers, Adobe Lightroom has become the familiar choice. Its combination of image management, RAW processing and powerful editing tools has helped establish it as a mainstay of digital photography.

But the photography software market has evolved considerably, and alternatives such as Capture One, DxO PhotoLab and Zoner Studio offer photographers different approaches to managing and editing their images.

One particularly interesting option is Zoner Studio, a Windows-based application that combines photo organisation, RAW processing, advanced image editing and even video editing within a single package.

So, how does it compare with Lightroom, and could it be a better fit for your photography?

1. Getting Started: Familiarity vs Flexibility

Zoner Studio Manager provides direct access to folders, photographs and organisational tools.

Adobe Lightroom Classic has an established workflow built around its Library and Develop modules. Photographers can import, catalogue, organise and process large collections of images without leaving the application.

For existing Lightroom users, the familiarity of this environment is a considerable advantage. Years of experience, carefully organised catalogues and customised presets can make switching software a significant undertaking.

Zoner Studio takes a slightly different approach, organising its capabilities into dedicated modules.

The Manager module handles photo organisation, while Develop provides non-destructive RAW editing. For more advanced adjustments, the Editor module introduces layers, masks and creative editing tools.

Although Zoner Studio uses separate Manager, Develop and Editor modules, these are integrated within one application. Photographers can organise files, process RAW images, use layer-based editing and prepare video projects without having to install additional editing plug-ins or move between separate applications for these core tasks. This is one of its strongest practical advantages, particularly for enthusiasts who want a complete workflow in one place.

For newcomers, both applications involve a learning curve. Lightroom benefits from an enormous library of tutorials and an established user community, while Zoner Studio offers its own learning resources and a workflow that may appeal to photographers who prefer working directly with familiar folders.

2. RAW Editing: Getting the Best From Your Images

Zoner Studio’s Develop module provides non-destructive RAW processing and local adjustments.

RAW processing is central to modern photography, and both applications offer the essential tools photographers expect.

Exposure compensation, white balance, contrast, highlights, shadows, colour adjustments, sharpening and noise reduction are all available, providing considerable control over the finished photograph.

Lightroom Classic is particularly well established in this area. Its Develop module offers extensive camera and lens support, sophisticated colour adjustments and powerful selective editing tools.

Adobe Lightroom Classic: Develop module showing RAW adjustment controls. Screenshot supplied for editorial review.

Zoner Studio’s Develop module also provides a comprehensive range of RAW adjustments, including tone curves, lens corrections and local adjustments. Its Advanced Color Shift tools allow targeted changes to hue, saturation, luminance and colour uniformity, going beyond broad global HSL adjustments.

Photographers can refine an image’s exposure, recover detail, adjust colour and apply corrections without permanently altering the original RAW file.

For those processing large numbers of images, presets and batch editing can help maintain a consistent appearance while reducing repetitive work.

Lightroom Classic offers advanced AI-powered noise reduction for challenging files, particularly at high ISO settings. Zoner Studio does not currently offer the same AI Denoise feature, although Zoner says its recent noise-reduction improvements produce results close to Lightroom’s on many camera sensors. Results will vary by image and camera.

However, photographers whose primary requirements are exposure adjustment, colour correction, local editing and efficient RAW development may find that Zoner Studio provides the tools they need.

Ultimately, image quality depends on more than the software alone. The original photograph, camera profile, editing decisions and intended output all play an important role.

3. AI Editing: Smarter Tools, Less Repetitive Work

AI-powered masking helps photographers make targeted adjustments.

Artificial intelligence is increasingly becoming part of everyday photographic editing. Rather than replacing the photographer’s creative decisions, AI-powered tools can help automate time-consuming tasks and make complex adjustments more accessible.

Adobe Lightroom offers sophisticated AI masking, subject and sky selection, distraction removal and generative editing capabilities. These features can be particularly valuable when editing portraits, landscapes or images containing unwanted distractions.

Zoner Studio also offers intelligent masking in Develop for skies, subjects, objects and backgrounds, alongside face retouching. These tools help photographers make targeted adjustments without manually tracing every selection. Macro and landscape photographers will greatly enjoy the auto-stacking features here as well.

Other intelligent features include AI Resize and AI Close-ups, alongside AI Masking. According to Zoner, these three tools process images locally on the computer rather than sending the photographs to external servers, an appealing consideration for photographers concerned about privacy.

There are differences between the two approaches. Adobe’s generative technology provides capabilities that Zoner Studio does not currently replicate, while Zoner focuses on integrating intelligent assistance into its broader editing workflow.

The best choice depends on how you edit. Some photographers will value generative tools, while others may prioritise efficient selection, organisation and conventional image enhancement.

4. Advanced Editing: Where Zoner Studio Stands Out

Zoner Studio’s Editor module supports layer-based creative editing.

One of the most significant differences between Lightroom Classic and Zoner Studio becomes apparent when photographers want to move beyond conventional RAW processing.

Lightroom Classic is primarily designed for photographic organisation and non-destructive editing. For complex compositing, multiple image layers, text overlays and certain types of retouching, photographers often move their images into Adobe Photoshop or another dedicated editor.

Zoner Studio includes layer-based capabilities within both its Develop and Editor modules. Develop supports local adjustments using masks, while the Editor module provides multiple image layers, blending modes, masks and creative editing tools without requiring a separate application.

For example, a photographer might process a RAW landscape in Develop before moving into Editor to combine elements, add text or make more detailed adjustments.

This integrated approach can be attractive to enthusiasts who want a wider range of creative possibilities without maintaining separate applications.

Photoshop remains a highly sophisticated editing environment with an extensive professional toolset. Zoner Studio is not intended to compete directly with Photoshop or replace every specialist Photoshop workflow. Its appeal is bringing a broad set of everyday photographic and creative tools together.

Nevertheless, having masking and layered adjustment tools in Develop, alongside more extensive layer-based editing in Editor, is a meaningful advantage for photographers who regularly move between RAW processing and creative work.

5. Photo Organisation: Keeping Everything Under Control

As photographic collections grow, organisation becomes increasingly important. A single weekend photographing wildlife or motorsport can generate hundreds, sometimes thousands, of images. Finding the best photographs quickly is just as important as editing them.

Lightroom Classic provides strong catalogue-based management, including keywords, ratings, collections and extensive search capabilities. For photographers maintaining large, carefully structured libraries, these tools can be invaluable.

Zoner Studio’s Manager module provides ratings, colour labels, keywords and metadata-based search of any metadata parameter one can think of. Photographers can work directly with files in their existing Windows folders without first importing them into a mandatory proprietary catalogue and the metadata search works both in the catalogue and locally. Zoner also offers an optional catalogue for users who prefer indexed library management and take advantage of all the benefits that come with using it.

Both approaches have advantages. Lightroom Classic uses a catalogue to manage photographs, but the original image files can remain stored locally rather than in Adobe’s cloud. Zoner Studio gives users a choice between direct folder-based working and an optional catalogue, depending on their workflow.

The deciding factor may be how your photographs are currently stored and whether you’re willing to adapt an established workflow.

6. Beyond Photography: Video, Sharing and Printing

An example of photographic adjustments using Zoner Studio.

Modern cameras do considerably more than capture still photographs, and many photographers now work with video alongside their images.

Zoner Studio includes a dedicated video editing module, allowing users to assemble clips, add transitions and create video projects within the same software. It also provides tools for printing photographs and creating photo products.

For photographers who enjoy producing prints, sharing albums or creating occasional videos, having these capabilities in one application is convenient.

Adobe Lightroom offers extensive cloud integration and synchronisation across desktop, mobile and web environments. This is a particular strength for photographers who want to edit images on different devices or move between a computer, tablet and smartphone.

Zoner Studio offers optional cloud storage and access to Zonerama, its online photo gallery platform, but photographers can use the Windows application with local files without placing their photo library in a cloud account. Lightroom Classic also supports local originals and local catalogues, so a cloud account should not be confused with a requirement to upload every photograph. Adobe’s connected services and Lightroom cloud workflows are nevertheless an advantage for photographers who edit across desktop, mobile and web. Zoner’s desktop editing software remains Windows-based.

7. Pricing: How Much Does Your Editing Workflow Cost?

Cost is another important consideration, particularly for enthusiast photographers who may not use editing software every day.

Zoner Studio is available by subscription, with two software updates included for the duration of your active license. Packages and benefits may vary, so it is worth checking the current offering directly.

Adobe offers Lightroom through different subscription packages, with included applications and features varying by plan and region. Because pricing and packages can change, readers can compare the latest options directly on the official Adobe Creative Cloud plans page and the Zoner Studio pricing page.

Beyond the headline subscription cost, it is worth considering the tools included in each workflow. Zoner combines RAW development, layer-based editing, focus stacking and other creative functions in one application. Some Adobe Photography plans include Photoshop, while third-party plug-ins are optional, so the best value depends on the tools each photographer actually needs.

Zoner Studio is not a perpetual-licence product, so photographers looking to avoid subscriptions altogether should bear that in mind.

However, its comparatively modest annual cost and integrated editing capabilities make it an attractive proposition for photographers seeking good value. Prices and packages are subject to change, so it’s worth checking the latest offers before subscribing.

8. Zoner Studio vs Lightroom: At a Glance

9. What About Capture One and DxO PhotoLab?

Lightroom and Zoner Studio aren’t the only applications worth considering.

Capture One has developed a strong reputation among professional and enthusiast photographers, particularly for colour control, RAW processing and tethered shooting.

DxO PhotoLab is another established alternative, with particular strengths in optical corrections and advanced noise reduction. Both deserve consideration, especially for photographers with specialised requirements.

However, neither changes the central appeal of Zoner Studio: a broad collection of photographic editing, organisation and creative tools within one comparatively affordable application.

For photographers seeking an integrated solution rather than a specialist tool for one particular task, that combination is worth exploring.

10. Which Software Should You Choose?

There’s no universal answer to the question of which photo editing software is best.

Adobe Lightroom Classic remains a strong choice for photographers who already have established catalogues, depend on Adobe’s ecosystem or need its particular AI and cloud-based capabilities. It also makes sense for Mac users, who cannot currently run Zoner Studio natively.

Zoner Studio, meanwhile, presents a compelling alternative for Windows photographers who want powerful RAW processing, photo management and more advanced creative editing tools in one application.

Its integrated layer-based Editor, focus stacking and exposure bracketing tools, video capabilities, optional rather than compulsory cloud storage, and competitive subscription pricing make it especially appealing to Windows enthusiasts seeking a broad editing toolkit in one application. Zoner also says that AI Masking, AI Resize and AI Close-ups run locally, a potential benefit for users who prefer not to send their photographs to external processing servers.

And for photographers who have never ventured beyond Lightroom, trying something different can be a worthwhile exercise.

After all, the most important consideration isn’t which application has the longest feature list, but which one helps you achieve the results you want with the least unnecessary effort.

Discover Zoner Studio for Yourself

The best way to decide whether Zoner Studio suits your photography is to try it with your own images.

Zoner Studio offers a free seven-day trial of the full application, allowing photographers to explore its RAW editing, photo management, AI tools and creative features before committing to a subscription.

Whether you’re considering a move away from Lightroom or simply curious about what other editing applications can offer, Zoner Studio is well worth a closer look.

Discover Zoner Studio and start your free trial here.

Sponsored content produced in partnership with Zoner Studio. Product features and subscription packages are subject to change; consult the official product websites for current details.

Shimoda Designs has announced the Action X v3 collection, updating its line of technical outdoor camera packs based on user feedback. The refreshed lineup includes a new 35-litre size designed to clear strict airline carry-on limits while housing larger lens setups. Key updates across the range feature expanded side access for dual camera setups, thicker ventilated harness padding, extra Capture Clip anchor points, and completely PFAS-free materials.

From Shimoda:

Shimoda Designs, the Adventure Photography brand, presents the Action X v3 Collection, the latest generation of its flagship outdoor adventure camera backpacks.

Action X packs have been to the peak of Mount Everest and to the farthest reaches of the globe, and the v3 collection has been upgraded to address requests from Shimoda’s passionate community of users. A new, larger side door gives access to up to two cameras with mounted lenses, while a more padded and ventilated 3D mesh shoulder harness delivers significantly improved all-day comfort. Capture Clip mounting points now feature on both shoulder straps and the waist belt, and a new removable upper liner system allows each pack to adapt to different-sized Core Units.

Creators who travel will welcome the new 35-litre size, the most requested addition to the range. At 50.8 cm tall, it is one inch shorter than the existing 40-litre pack, so it meets stricter international carry-on regulations while still fitting the Large DSLR Core Unit. The Action X35 v3 Pro Kit ships with that Core Unit, so it is ready off-the-shelf to carry two cameras and 4-6 lenses, or a camera with a 180-600mm or 200-600mm superzoom lens.

Giles House, Channel Marketing Manager, Shimoda Designs, UK commented, “Action X has always been our most technical pack, and v3 is the result of listening closely to the photographers who carry it in the toughest conditions. The larger side access, the more comfortable harness and the new 35-litre carry-on size answer the requests we hear most often. With adjustable torso height and optional women’s straps, it’s a pack that can be properly fitted to almost anyone, wherever their adventures take them.”

The Action X v3 Collection comes in five sizes – 25, 30, 35, 40 and 50 litres – available as a backpack on its own or as a Starter or Pro Kit supplied with a Core Unit. Adjustable torso height makes Action X the only camera backpack that can be fitted to someone from 1.52M to 1.82M tall, and optional women’s straps are available for all models and colourways, giving a dialled-in fit for female users. A 7-litre roll-top means there is always space for a little bit more.

Available in four colourways – Black, Cappuccino, Yellow and Burnt Red – the Action X v3 also pays respect to the planet: all Shimoda fabrics, coatings and hardware are 100% PFAS-free, with no ‘forever chemicals’.

Key features include:

New Larger Side Access

Access up to two cameras with mounted lenses through the side door. The larger side access is also compatible with Shimoda’s optional Large Top Loader bag, which can be removed from the backpack and carried on its own as a shoulder bag.

New 35-litre Pro Kit

At 50.8 cm tall, the new 35-litre pack meets stricter international carry-on regulations and ships with the Large DSLR Core Unit, ready to fit two cameras and 4-6 lenses, or a camera with an 180-600mm or 200-600mm superzoom lens.

More Padded and Ventilated Harness

The more comfortable, padded and ventilated 3D mesh harness from Explore v2 has been brought over to Action X for significantly improved all-day carrying comfort.

Three Capture Clip Mounting Points

Updated from Shimoda’s original Capture Strap, the Capture Clip loop provides three mounting points – on the left and right shoulder straps and the right side of the waist belt.

Adjustable Torso Height

The only camera backpack that can be fitted to someone from 1.52M to 1.82M tall.

Optional Women’s Straps

All models and colourways of the Action X v3 are available with women’s straps, for a dialled-in fit for female users.

Removable Upper Liners

Easily adaptable to different-sized Core Units, or remove it altogether. Available in different sizes.

New Large Core Units

New Large Mirrorless and Large DSLR Core Units allow side access to up to two cameras with mounted lenses. They feature Shimoda’s rigid aluminium frame construction, a removable zippered dust cover and low-profile, compression-moulded walls and dividers. The Large Mirrorless fits the Action X30 v3 and larger, and the Large DSLR fits the X35, X40 and X50. Both are designed exclusively for Action X v3.

Compatible with RST Core Units

Rear, Side and Top access Core Units maximise equipment storage for each size of pack – fit a 600mm f/4 in the 40 and 50-litre packs, or a 200-600mm in the 25-litre.

7-litre Roll-Top

Volume adjustment so there is always space for a little bit more.

Two Tripod or Water Bottle Pockets

Easily store up to two tripods – very popular with event and night sky photographers.

Hidden AirTag Sleeve

So you always know where your backpack is.

PFAS Free

All Shimoda fabrics, coatings and hardware are 100% PFAS-free. No forever chemicals.

Shimoda products come with a 5-year warranty

Pricing & Availability

The Action X v3 Collection consists of five sizes in four colourways. The Action X25 v3 is priced at £305.00 including VAT, or £380.00 as a Starter Kit with the Small Mirrorless Core Unit. The Action X30 v3 retails at £325.00, or £405.00 as a Starter Kit with the Medium Mirrorless Core Unit. The new Action X35 v3 Pro Kit, supplied with the Large DSLR Core Unit, is £455.00. The Action X40 v3 and X50 v3 retail at £360.00 and £370.00 respectively, or £445.00 and £465.00 as Starter Kits with the Medium DSLR Core Unit. The X25 and X30 are offered in Black, Cappuccino and Burnt Red, the X40 and X50 in Black, Cappuccino and Yellow, and the X35 in all four colourways. The new Large Core Units are priced at £98.00 (Mirrorless) and £120.00 (DSLR), and optional women’s shoulder straps start from £35.00.

About Shimoda

Shimoda Designs was founded in 2017 by Peter Waisnor and Ian Millar. A couple of photographers who also share a love for camera bags, design, and product development. Our products are a direct reaction to the outdoor lifestyles we live as adventure photographers. We believe that better images can be created by stronger and healthier photographers. This is why our backpacks are designed to get you and your camera where you need to be with greater energy and focus.

For more information, please visit the Shimoda website.

Backlit teasels and fine cobwebs make up our beautifully captured ‘Photo of the Week’ (POTW) winning image. rivergypsy has created a moody black-and-white shot of Cobwebs and Teasels where the lighting is fantastic. The rim light hits the spiky teasels and fine web threads, setting their bright edges off the dark background. The soft, blurry background with its small circles of bokeh gives the shot a dreamy feel, and the dried flower heads on the left bring some extra texture. The subject suits black and white well, and it’s a brilliant capture.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we'll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. See the terms & conditions and prize procedure for more information.

It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards! Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners.

As photographers, we're always wanting to improve our technique and learn now ways we can take better photos. So, to help you do this, here's three challenges you can set yourself which will not only get you thinking a bit differently but they'll also help you think more about composition and as a result, you'll hopefully produce better photos. 

Choose One Spot And Stay There

When you're out taking photos it's easy to walk and click so you take lots of photos of everything that are good, but not 'wow'. By sticking to just one spot in one location, you may start to notice things about it that you'd usually miss. You don't actually have to travel a great distance to try this either as by picking one spot in your home or garden to take photos from you'll probably discover photo opportunities you didn't even know existed until you actually took the time to slow down and really open your eyes. Play with your zoom, change your angle and pay attention to your composition and the light. Also, simple things such as focusing on colour or texture can completely change the look/feel of a shot, too. 

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Don't Take So Many Photos 

Why not limit the number of shots you can take in one location? To really set a challenge, only take one photo in each location you're stopping to take a photo. By doing so you'll really think about your composition and study the scene in front of you to ensure you've found the best spot possible to take your one photo in. Don't forget to assess the light, too as you may find that waiting for the sun to shift position could help you create a better shot. You don't want to lose good light, though so pay attention to how clouds are moving and hit the shutter button before it's too late. 

If you find this too restricting try setting a shot limit before you head out of the door and make sure you stick to it. By doing so you should be able to improve the quality of the images you take as you'll be finding the best shots through planning and careful thought. 

Use Less Equipment 

Instead of carrying a bag full of lenses why not just use one that has a fixed focal length? By doing so, you'll really need to think about what you're going to photograph because without a zoom your focal length is limited so rather than relying on the lens to do the work you have to get those grey cells warmed up and your feet moving to find a position/shot that works.   

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Archie2022 (Day 30 - Winter Weather).

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

Day 25

Light Trails

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Day 26

Busy Places

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Day 27

Graveyards

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Day 28

Creative Distortion

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Day 29

City Twilight Shots

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Day 31

Halloween

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

The latest Sigma Contemporary lens for APS-C format completes a trio of optics, all sharing design and handling and sporting fast (bright) f/2.8 apertures. The 10-18mm f/2.8, 18-50mm f/2.8 and now the 50-120mm f/2.8 offer a set of three lenses, weighing between them less than 1kg and being a potentially excellent option when travelling light. Using the Sony A7R III in APS-C mode results in around 18MP, so let's venture forth and see if the performance and handling make the new lens a viable choice.

Sigma 50-120mm f/2.8 DC OS Contemporary Handling and Features

Just in passing, although not of direct relevance as to the lens quality, the first impression with current Sigma lenses is of course the packaging. The box is very high quality, the internal packing secure but not wasteful and the overall appearance manages to convey careful environmental consideration but at the highest quality level. Small booklets explain the ethos of Sigma and of this lens in particular, the language of these being sharp and to the point. Marketing perhaps, but there is no harm in setting out the stall so to speak, especially when free of excess meandering.

Finish of the lens is up to the usual Sigma high standard and it looks good on the A7R III body. Handling is slick and assured. As well as the Sony fit, Canon RF and Fujifilm X mounts are also available. The lens is dust and splash resistant. It also sports a Fluorine coating on the front element to repel dust, moisture and grease.

Weighing in at a modest 390g and measuring a svelte 66.8mm x 99.0mm, travel is most definitely a core part of the repertoire. The concept as offered suggests a trio of lenses that cover in total a range of 10mm to 120mm. This is true, however, it is worth considering that there is no overlap. So, for example, taking the 18-50mm and this 50-120mm, if a photographer was very much inclined to shoot at around, say, 50mm then quite a bit of lens changing could be the result. Taking just this new lens, then the telephoto zoom photographer will not be disappointed with the range, equivalent to 75-180mm in 35mm format terms.

There is a provided round lenshood that bayonets cleanly into place. It fits positively and does not need a retaining catch to hold it in place. Within the bayonet fit for the hood is a conventional 55mm filter thread.

As we explore the lens, first up is the wide and well gripped zoom ring. This does extend the lens in use, not as smooth as an electronic zoom but nonetheless slick enough and with sufficient tightness to minimise any chance of zoom creep. The ring is clearly marked at 50mm, 60mm, 70mm, 80mm, 100mm and 120mm.

Behind this is the manual focus/control ring and finally the aperture ring. This is a manual setting with generously provided click stops at one third of a stop intervals. There is also an “A” setting, but unfortunately no catch to lock the setting either into A or into the manual settings. It is entirely possible to nudge the setting into or out of A, especially when using the viewfinder.

AF is driven by an HLA actuator, standing for “High Response Linear Actuator”, and is fast, accurate and virtually silent. Closest focus is 23cm at 50mm, for a maximum magnification of 1:3 and 55cm at 120mm for a maximum magnification of 1:4.7. Whilst not a macro lens, the very close focus is nonetheless extremely useful and helps to make the lens a very practical option.

Optical construction is 18 elements in 13 groups, including 1 FLD, 3 SLD (Super Low Distortion) and 4 Aspherical. The diaphragm comprises 11 blades, aiming for as round an aperture as possible for improved bokeh. With videographers in mind, the design features minimal focus breathing. Seeing the viewfinder image freeze into position as the Optical Stabilisation (OS2) does its work is always impressive, and the improvement here is 6.5 stops at 50mm reducing to 4.5 stops at 120mm.   

In general use, handling is impeccable and it makes a great travel companion that can cover just about all telephoto eventualities. Let's now have a look at the technical results to see if they match up to the sound and reliable handling.

Sigma 50-120mm f/2.8 DC OS Contemporary Performance

At 50mm, central sharpness is excellent from f/2.8 through to f/8, very good at f/11 and f/16 and good at f/22. The edges are excellent from f/2.8 to f/5.6, very good from f/8 to f/16 and good at f/22.

At 70mm, central sharpness is excellent from f/2.8 to f/11, very good at f/16 and good at f/22. The edges are very good at f/2.8 and f/4, excellent at f/5.6 and f/8, very good at f/11 and f/16 and good at f/22.

At 100mm, central sharpness is excellent from f/2.8 to f/11, very good at f/16 and good at f/22. The edges are fair and f/2.8, good at f/4 and f/5.6, excellent at f/8 and f/11, very good at f/16 and good at f/22.

This is an excellent result, and even the slight softness at 120mm at the edges could be a very attractive effect for portraits. Apart from that, the lens is effectively razor sharp throughout.

Distortion is not a problem, the camera and lens work in harmony to produce an almost rectilinear result. Small amounts of distortion can be measured: -0.33% barrel at 50mm, +0.18% pincushion at 70mm, and +0.23% pincushion at 100mm. These are really insignificant amounts even for architectural photography.

Sigma 50-120mm f/2.8 DC OS Contemporary MTF Charts

CA is tightly controlled both at the centre and the edge, and although small amounts can be measured, there is very little sign of any colour fringing.

Sigma 50-120mm f/2.8 DC OS Contemporary Chromatic Aberration Charts

Bokeh is impressively smooth and offers an attractive backdrop to the main subject. This is ideal for portraiture and flower photography. The 11-bladed diaphragm no doubt aids with this.

Flare is virtually banished and it is almost impossible to generate any artefacts, no matter how severe the lighting.

Vignetting results are also excellent, with very little light fall off.

Sigma 50-120mm f/2.8 DC OS Contemporary Sample Photos

Sigma 50-120mm f/2.8 DC OS Contemporary Aperture range

You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.

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Value For Money

The [AMUK]Sigma 50-120mm f/2.8 DC OS|Sigma+50-120mm+f/2.8+DC+OS[/AMUK] lens is priced at £699.00

This is the third lens in a small group of matching optics, the other two being:

• [AMUK]Sigma 10-18mm f/2.8|Sigma+10-18mm+f/2.8[/AMUK], £648 
• [AMUK]Sigma 18-50mm f/2.8|Sigma+18-50mm+f/2.8[/AMUK], £459

The VFM equation shows the new lens off very favourably, especially considering the excellent performance.

Sigma 50-120mm f/2.8 DC OS Contemporary Verdict

Some lenses have a flow, a method of working that gels with the camera body as well as, of course, the photographer. Others are clunky and awkward to use, hopefully few and far between these days, but very often because of over-thinking and over-design making them fiddly. The Sigma 50-120mm f/2.8 DC OS lens steers well clear of the complexity trap, being a shining example of simplicity and elegance of design. Only the bare minimum of controls is to be found on the lens, and it's absolutely enough for full, tactile, responsive control. The one slight glitch is the lack of a lock on the A setting of the aperture ring, which, as a consequence, needs watching whilst being nowhere near a deal breaker.

Add to that all the essentials, such as dust and splash resistance and very close focusing and we have a very practical lens. The focal length is not unique, there have been 75-180mm full frame lenses, but this APS-C version is even more compact and ending the range slightly short of the more usual 135mm (200mm in full frame) does save a fair amount of bulk, also enabling the fast constant f/2.8 maximum aperture.

Performance is not in question, the results are almost universally excellent, the price is keen, so we have a highly attractive Editor's Choice.

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=5|R_overall=5|A_level=5|A_text=Editor's Choice – An excellent performance and slick handling from this well-priced telephoto zoom.|E_id=8027[/REVIEW_FOOTER]

Ask most landscape photographers what their favourite season is, and probably 80% will reply "autumn". I actually try not to have a favourite, because it keeps me fresh for all the different seasons, but even I can't deny that the Lakes in autumn can be a truly spectacular place. An important issue to remember is that the lakes can also be a truly WET place through October and November as well, so consideration of the weather must be taken into account.

Equipment needed is totally down to personal style, anything from a compact, through to DSLRs with wide-angle lenses, telephotos, macros etc. will all give excellent results. I do find a polarising filter useful to take reflection off leaves / bracken and give a boost to the colours; but be careful not to overdo it.

If I'm working in the early part of Autumn, I quite often like to work with a wide lens to make a strong feature of foreground bracken, especially when it's showing a wide colour range, from green, through to red. This will even make a good semi close-up picture just concentrating on the bracken itself.

Later in the season, when the colours have changed, if I'm really lucky a calm day can, with the help of the reflections, offer twice as much landscape in a single shot; with the landscape reflected perfectly in the water. On all my reflection shots, I use a 0.45 hard-edge ND grad filter, to balance up the amount of light absorbed by the reflection. Also remember, that lower viewpoints often give better reflections. In addition, if there is any foreground element, a low viewpoint will usually reduce the distance between the foreground element and the bottom edge of the reflection.

Woodlands clearly become a favourite subject through the autumn weeks, but as well as general vistas, individual branches can show off the shapes of leaves well. Even once the leaves have fallen, there are great pictures to be had of leaf details and textures on the ground, or contrasted on a mossy bank or rock. If the weather is inclement, consider taking a few leaves home and photographing them backlit on a lightbox. The type of tree and altitude has a great bearing on when they change colour, with Silver birches tending to be the early changers, and larch (the only conifer to drop its needles) then oak bringing up the rear.

The range of subjects through the autumn in the lakes is incredible, certainly covering most of October and November. Even when the trees have lost their leaves, the glow of the bracken retains the fantastic hues of autumn, almost right through to spring the following year.

Article by by John Gravett - www.lakelandphotohols.com

Halloween - it's a perfect time to shoot some portraits and capture some of the small details that make Halloween so spooktacular.

Low Light

Most Halloween themed activities don't start until after the sun's begun to set and that means there's not a lot of light left around to play with. If you're shooting still objects such as pumpkins, you can put your camera on a tripod and use slower shutter speeds but with kids that are running around high on sugar, longer shutter speeds will turn them into streaks of blur. Try using a slightly higher ISO or just shoot your portraits under a porch light or street lamp, to add a little bit of extra light to the scene. You can also head out at dusk when there's still light in the sky but the atmosphere you're trying to capture is just beginning to build.
 

Jack-O-Lanterns

If your flash is set to automatically fire, switch it off as you'll end up with a shiny looking jack-o-lantern that's lost all of its glow. Instead, use a longer shutter speed, making sure you have your tripod with you to stop shake spoiling your shot. If you find the glow from inside the lantern isn't bright enough, use a few more candles or switch the candles for a torch. You'll just have to position yourself so the torch can't be seen in shot. You can also try bracketing if you find metering to be a problem.

Portraits

There will, of course, be plenty of people in costume and shooting candids while you're out with your kids trick or treating, should give you plenty of interesting shots. If you're taking photos while they're knocking on a door, position yourself so once the door's open, it won't block your view.

For shots with more impact, get down to the child's level before you take your shot and fill the frame. If you have more than one child to photograph, make sure they're stood close together when taking group shots as people have a habit of putting space between themselves and another person.

Take time to study their makeup and costume to see which parts are the most interesting and should be focused on. If they have a particularly interesting mask, shoot a headshot and if you're going for a full body shot, make sure you take a look at their feet before you do as people tend to head out in shoes that aren't Halloween themed and they can spoil the overall feel of the shot.

Don't forget your basic composition rules such as filling the frame, rule of thirds and giving your subject space to look into. 

Small Detail

Look out for the spider's webs, decorations and pumpkins as shots of these, combined with shots of people in fancy dress will give you a great overall account of the day's events.
 

Graveyards

If you fancy heading to a graveyard to shoot some close-ups of detail or want to use them as a backdrop for portraits, have a look at our previous technique: Graveyard Photography
 

Have A Play In Photoshop

If you want to give a house a spooky feel, as David did with his image above, or add a ghost to a shot you've already taken, open up Photoshop and have a play around with the various tools and features to see what Halloween-themed image you can create.  

VTOMAN, the portable power brand behind the FlashSpeed power station series, is offering Black Friday and Cyber Monday pricing on its portable power stations, solar bundles and jump starters, running November 19–30 on Amazon in the US and UK. Winter brings the two power problems households and drivers run into most, outages from storms and car batteries that fail in the cold, and the lineup covers both: the FlashSpeed 2400 for home backup, the Jump 600X and Jump 2200 for camping, travel and short outages, and the X-Series jump starters for the glovebox. Ahead of the main event, VTOMAN's V10 Pro and V10 jump starters are on holiday promotion from now until December 20.

VTOMAN's products are engineered around three core technology platforms:

• V-BEYOND™ High-Performance Output Technology: designed to support demanding power needs across VTOMAN's portable power solutions.
• CHARGECORE™ Efficient Energy Delivery Technology: optimizes charging and energy delivery for everyday and outdoor use.
• LIFEBMS™ Battery Management Technology: provides intelligent battery protection for safety, stability and long-term reliability.

PORTABLE POWER STATIONS

VTOMAN FlashSpeed 2400 Portable Power Station

Amazon US & VTOMAN Website- $649.99 (RRP $799.99) 19% off

Amazon UK & VTOMAN Website - £599.99 (RRP £899.99) 33% off

The FlashSpeed 2400 is VTOMAN's fast-charging home and roadside power station. Built around a 1408Wh LiFePO4 battery, it pairs 1500W of CHARGECORE™ AC input, for a full charge in about an hour, with 2400W of continuous V-BEYOND™ output, powering up to 12 devices at once. It also adds a built-in emergency jump-start function that drivers don't typically get from a power station.

That combination suits winter. Households can top it up quickly when a storm is in the forecast, a 10ms UPS switchover keeps refrigerators, medical devices and home offices running when the power drops, and the jump-start function covers a dead car battery on a cold morning. Its flat-top, rugged build also fits holiday road trips, tailgates and RV travel.

Key Features & Specifications:

• 1408Wh LiFePO4 battery
• 2400W continuous output with V-BEYOND™
• 1500W AC input; full charge in about 1 hour (CHARGECORE™)
• 10ms UPS switchover
• Built-in emergency jump-start function
• Powers up to 12 devices simultaneously; LIFEBMS™ with 10 built-in safety protections

VTOMAN Jump 600X Portable Power Station

Amazon US & VTOMAN Website (Nov 17–Dec 4)- $189.99 (RRP $299.99) 37% off

Amazon UK & VTOMAN Website - £199.99 (RRP £299.99) 33% off

Amazon DE - €199.99 (RRP €299.99) 33% off

The Jump 600X is VTOMAN's compact entry point into portable power: a 4.5kg (9.9 lb), 268.8Wh LiFePO4 power station for overnight outages, weekend camping and holiday travel. It delivers 600W of pure sine wave AC power, and V-BEYOND™ technology lets it run resistive loads such as lights and fans at up to 1200W.

CHARGECORE™ supports simultaneous AC and DC charging, reaching 80% in about 50 minutes, and a 120W MPPT solar input pairs with VTOMAN's foldable solar panels, offered together as Black Friday bundles for off-grid recharging. A built-in UPS, seven output ports including 100W USB-C, and LIFEBMS™ protection make it a practical first power station for campers, RV owners and new homeowners.

Key Features & Specifications:

• 268.8Wh LiFePO4 battery rated for 3,000 cycles to 80% capacity
• 600W continuous / 1200W peak pure sine wave AC output
• V-BEYOND™ runs resistive loads up to 1200W
• 80% charge in about 50 minutes with simultaneous AC + DC charging (CHARGECORE™)
• 120W MPPT solar input; built-in UPS
• 7 output ports including 100W USB-C; 4.5kg (9.92 lbs); 2-year warranty

VTOMAN Jump 2200 Portable Power Station

Amazon UK - £449.99 (RRP £529.99) 15% off

Amazon DE - €479 (RRP €599) 20% off

The Jump 2200 is a high-capacity 1408Wh LiFePO4 power station for home backup during winter outages, as well as camping and holiday travel. It delivers 2200W of pure sine wave AC power, and V-BEYOND™ technology lets it run resistive loads at up to 2400W.

CHARGECORE™ supports simultaneous AC and DC charging, and a 400W MPPT solar input pairs with VTOMAN's foldable solar panels for off-grid recharging. A 10ms UPS switchover, a built-in emergency jump-start function, and LIFEBMS™ protection make it a versatile pick for households and outdoor enthusiasts alike.

Key Features & Specifications:

• 1408Wh LiFePO4 battery
• 2200W continuous pure sine wave output; up to 2400W resistive loads with V-BEYOND™
• 2200W AC input; simultaneous AC + DC charging (CHARGECORE™)
• 400W MPPT solar input
• 10ms UPS switchover; built-in emergency jump-start function
• Powers up to 12 devices simultaneously; LIFEBMS™ with 10 built-in safety protections; 17.5kg

VTOMAN Jump 100 Portable Power Station

Amazon DE - €69.99 (RRP €99.99) 30% off

Walmart - $65.99 (RRP $145.98) 55% off (Nov 9–Dec 3)

The Jump 100 is a lightweight 89.6Wh LiFePO4 power station for campers, commuters and everyday backup, pairing a 100W AC outlet (200W surge) with 65W PD USB-C fast charging. It can recharge a laptop in about an hour, and VTOMAN's LIFEBMS™ system adds 10 layers of safety protection, with the LiFePO4 cell rated for 3,000+ life cycles to 80% capacity. At just 1.1kg, it's an easy tech gift under £100.

Key Features & Specifications:

• 89.6Wh LiFePO4 battery, 3,000+ life cycles to 80% capacity
• 100W AC outlet (200W surge); recharges a laptop in about an hour
• 65W PD USB-C fast charging input/output
• LIFEBMS™ system with 10 safety protections
• Compact and lightweight: 17.6 x 11.4 x 8.3 cm, 1.1kg (2.43 lbs)

JUMP STARTERS

VTOMAN X7 Jump Starter with Air Compressor

Amazon US - $84.99 (RRP $129.99) 35% off

The X7 is VTOMAN's all-in-one roadside tool for cold-weather driving, combining a 4250A peak jump starter with a 160 PSI air compressor in one unit. It starts 12V gas and diesel engines up to 10L and is rated to operate from -20°C to 60°C (-4°F to 140°F), so it stays useful in the trunk through winter.

A 5.1-inch smart screen shows battery level, tire pressure and inflation mode at a glance, which helps because cold weather lowers tire pressure. An 18W USB-C port charges phones on the road, a 400-lumen LED light covers nighttime breakdowns, and 10 built-in protections, including spark-proof and reverse-polarity safeguards, guard against connection mistakes.

Key Features & Specifications:

• 4250A peak current for 12V gas and diesel engines up to 10L
• Integrated 160 PSI air compressor
• 5.1-inch smart screen with battery level, tire pressure and inflation mode
• 18W USB-C fast-charging output
• 400-lumen LED light (constant / flash / SOS)
• 10 built-in protections; -20°C to 60°C (-4°F to 140°F) operating range

VTOMAN X5 Cross Jump Starter with Air Compressor

Amazon US - $59.99 (RRP $99.99) 40% off

Amazon UK - £50.99 (RRP £99.99) 49% off

The X5 Cross combines two essential roadside tools, a portable jump starter and an air compressor, in one convenient, travel-ready device. Designed for drivers who want to be prepared for unexpected battery failures and low tire pressure, it brings practical emergency functionality together in a compact unit that's easy to keep in the car.

Ideal for winter driving, holiday road trips and everyday vehicle preparedness, the X5 Cross is a useful addition to a car emergency kit and a practical gift for new drivers and commuters.

Key Features & Specifications:

• 2-in-1 jump starter and air compressor
• Designed for vehicle battery emergencies and tire inflation
• Portable design for vehicle storage and travel

VTOMAN V-Truck 6000A 12V/24V Heavy-Duty Jump Starter

Amazon UK - £159.99 (RRP £239.99) 33% off

The V-Truck is VTOMAN's heavy-duty roadside essential, combining a 6000A peak jump starter with a 36,400mAh portable power bank in one robust unit. It starts 12V and 24V trucks, vans and diesel engines, and is rated to operate from -40°C to 60°C, making it well suited to cold-weather rescues, farm work and roadside emergencies.

A 145W DC fast-charging port charges the unit fully in about 1.5 hours, while USB-A and USB-C outputs keep phones and tools charged on long drives or camping trips. A 3-mode LED flashlight, a 2-second boost mode and safeguards against overcharge, over-discharge and reverse polarity make it a practical tool for truckers, motorhome owners and outdoor adventurers.

Key Features & Specifications:

• 6000A peak current for 12V/24V gas and diesel engines
• 36,400mAh power bank with USB-A and USB-C outputs
• 145W DC fast charging; full charge in about 1.5 hours
• 2-second boost mode; 3-mode LED light (constant / strobe / SOS)
• 10+ protections; -40°C to 60°C operating range; 2.9kg

More VTOMAN Black Friday Deals

Amazon US — November 19–30, 2026

• VTOMAN VL7: $94.99 (RRP $149.99, 37% off)
• VTOMAN VS110 Solar Panel: - $119.99 (RRP $189.99, 37% off)
• VTOMAN VS40: $52.24: (RRP $109.99, 53% off)

Amazon UK — November 19–30, 2026

• VTOMAN V6 Plus Jump Starter: £31.99 (RRP £59.99, 47% off)
• VTOMAN VL3: £37.99: (RRP £59.99, 37% off)

Walmart US — November 9–December 3, 2026

• VTOMAN V6 Plus Jump Starter: $32.99 (RRP $79.99, 59% off)
• VTOMAN X4 Jump Starter with Air Compressor: $38.99 (RRP $98.99, 61% off) 

About VTOMAN

Power Beyond Limits is more than a slogan at VTOMAN; it is the standard behind everything the brand builds. VTOMAN believes portable power should go beyond basic backup to deliver stronger output, smarter energy management and trusted protection in the moments that matter most. That is why VTOMAN combines V-BEYOND™ for high-performance output, CHARGECORE™ for efficient energy delivery and LIFEBMS™ for long-term battery safety and stability. Together, these technologies allow VTOMAN to create energy storage solutions that go beyond ordinary expectations. For more information, visit https://vtoman.com.