The kitchen holds a world of photo opportunities and all you need is some imagination to exploit it.

When it comes to kit, a camera and a tripod are essential but in terms of lighting, natural light will work just fine, however feel free to experiment with flash and other forms of lighting too. For example, for one of the shots further down the page, a torch was used to create contrasty light.

Once you start searching, you'll find plenty of objects in the kitchen that have photographic potential. Things like pots and pans, colanders and, as here, a trivet can be pressed into service as subjects. A kitchen work surface will make a perfectly good background but so can the sink or any material you have in your house. Objects can be arranged on the worktop in various compositions, with the camera and lens aimed downwards.
 

The trivet above was photographed with the camera in auto white-balance and it worked fine, but for the colander, the camera was switched to incandescent white-balance to give the overall blue colour cast. Pulling away slightly and including the stainless steel sink give an interesting backdrop. Filling in the shadows was done with some silver foil just held in position.

For the shot of the wooden spoons, a torch was placed on its side, creating a very oblique, contrasty light. The camera was left in auto exposure mode using the exposure compensation control to correct exposures and focusing was done manually on this occasion. The shutter was fired using the self-timer. Exposures were in the order of 1/8sec at f/8 with the camera set to ISO 200. If you have problems with colours appearing too warm or even cold, you can tweak the images during RAW processing. If you prefer, or if you are shooting JPEG, try shooting with a custom white-balance setting. Again, silver foil was used as a reflector.   

Ulanzi has launched MoveLightGo, a groundbreaking product that introduces an intelligent angular control solution to the lighting industry.

It effectively addresses the long-standing industry pain points of repeatedly adjusting lights manually and working at heights during film and video production. With three core capabilities – long-distance remote control, scene memory, and high compatibility – it enables photographers and film crews to adjust lighting angles remotely and flexibly, redefining the entire lighting control workflow and delivering a more efficient and liberated experience for creators.

Whether you're working on a fast-paced film set or a dynamic photo shoot, MoveLightGo streamlines the lighting setup, enabling users to adjust light angles remotely and with pinpoint accuracy—without ever having to climb a ladder again.

Precision Engineering for Professional Results

At the heart of MoveLightGo lies a sophisticated 14-bit, high-precision control sensor that enables precise control of both tilt (0-170°) and pan (0-450°) movements. This level of precision ensures smooth, incremental adjustments that professional shoots demand. The system's robust construction supports a full 6kg payload capacity, making it suitable for everything from small LED panels to larger studio lights while maintaining perfect balance and stability throughout its operational range.

Universal Compatibility

MoveLightGo features a universal Bowens-mount interface that accommodates 95% of professional lighting equipment. This extensive compatibility eliminates the need for multiple adapters or specialized mounting solutions, providing a seamless integration into existing gear setups. The intelligent mounting system automatically secures the light while maintaining optimal weight distribution.

Three-Tier Remote Control Ecosystem

MoveLightGo offers unparalleled flexibility through its multi-layered control system:

• 3m Wired Remote (standard) provides reliable, instantaneous control for studio environments
• 30m 2.4G Wireless Remote (optional) enables long-range operation across large sets
• 10m Bluetooth App Control allows smartphone/tablet integration with dual-screen capability for simultaneous parameter and position adjustment

Intelligent Memory System

The built-in memory system features four dedicated presets (A/B/C/D) that store complete lighting positions and angles. This allows creators to save complex multi-light setups and recall them instantly when moving between scenes or setups. The system maintains these presets even when powered down, ensuring consistent performance across multiple shooting days.

Advanced Multi-Unit Synchronization

For complex lighting requirements, MoveLightGo supports synchronized control of multiple units. Each device can be individually addressed while maintaining group coordination, enabling both individual fine-tuning and synchronized group movements. This feature is particularly valuable for creating dynamic lighting sequences and complex cinematic effects.

Flexible Power Management

MoveLightGo's versatile power system supports:

• 45W Direct Charging for continuous studio operation
• V-Mount Battery Compatibility for location shoots
• Power Transfer Modules (AC/DC/CANNON) that draw power directly from connected lights, eliminating extra cables and power sources

Ulanzi's MoveLightGo represents a significant leap forward in lighting control technology. By addressing the fundamental challenges of manual light positioning, it empowers creators to work more efficiently while achieving superior results. The system's combination of precision engineering, intelligent features, and universal compatibility makes it an essential tool for modern photography and videography professionals.

Pricing & Availability

The MoveLightGo system is available in multiple configurations, including Bowens-mount portable versions, remote control units, and power modules. A special 20% OFF promotion is available until December 31st, 2025, so photographers and filmmakers can take advantage of the latest in lighting control technology at a discounted price.

For more details, visit Ulanzi MoveLightGo.

A beautiful photo of Le Gouffre in Brittany by EveLine1 has been chosen as our latest 'Photo of the Week' (POTW) winner.

Taken at sunset, the image has a calm, quiet feel that draws you in. The house stands alone, with the land and rocks around it edited out to make it look like it’s floating. This clever touch adds a soft, peaceful mood to the scene. It’s a lovely piece of work, well put together and very deserving of this week’s award.

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 2026, we’ll crown our 2025 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards!

Nikon now turns their attention to the DX format (APS-C or crop sensor) Z series mirrorless cameras. This stocky but relatively small 35mm f/1.7 gives a “35mm format equivalent” 50mm field of view, is fast and also focuses to macro distances. It is also relatively inexpensive, but as we have seen before this is no obstacle to Nikon producing some very fine lenses that perform impeccably. Have they hit the spot again? Let's find out, using the delightful 20MP retro designed Nikon Zfc camera body, in its stylish black version.

Nikon Nikkor Z DX MC 35mm f/1.7 Handling and Features

The initial impression is of a fairly light (weighing in at 220g) and compact (70mm x 72mm) largely plastic lens. Construction quality seems solid and all the controls operate smoothly and efficiently. It is claimed to be dust and drip resistant, which is largely expected these days, but the camera body supplied is not, so the advantage is somewhat lost. That is a shame, as being able to continue shooting in the rain is quite liberating for the photographer.

Also, a shame is the absence of a lens hood. There is a dedicated hood, HN-43, and its purchase could well be advantageous. Hoods not only reduce flare, but also act as protection against impacts to the front of the lens. There is a conventional 52mm filter thread, but no bayonet fit for a hood.

The one “silent control ring” can be set as a focusing ring, in which case by default, it is active whilst AF is in use or not. This can also be set to aperture or exposure compensation on the Zfc. Other camera bodies may vary as to what options are available. 

Closest focus is 0.16m, or 0.53 feet, for a maximum magnification of 0.67x (35mm-equivalent 1x). AF is driven by a stepping motor, which is virtually silent, fast and accurate.

Optical construction is 8 elements in 7 groups, including 1 Aspheric ED. The diaphragm comprises 9 blades to improve the bokeh. The lens is also designed to reduce focus breathing, a feature that will be appreciated by videographers. There is no VR (Vibration Reduction) provided, and unfortunately, this feature is not available on the Zfc body either. 

Finally, the metal bayonet mount is well machined and finished and the lens locks smoothly and positively into place.

35mm on APS-C format has a “35mm-equivalent” of 50mm. In other words, it has a field of view similar to the well accepted standard lens. There is little doubt that this is an effective and versatile focal length, with a view very similar to that perceived by the human eye. For macro photography, the slightly closer view than the popular 100mm-equivalent optics makes the lens more manageable for document copying and small objects. It also makes a more universally useful lens for more general shots.

Nikon Nikkor Z DX MC 35mm f/1.7 Performance

Central sharpness is outstanding from f/1.7 right through to f/11 and is excellent at f/16. The edges are excellent at f/1.7 and f/2, outstanding from f/2.8 to f/11 and excellent at f/16. An outstandingly sharp lens.

Nikon Nikkor Z DX MC 35mm f/1.7 MTF Charts

CA (Chromatic Aberration) is well under control. It is unlikely that colour fringing will need any further correction.

Distortion is just -0.10% barrel, which is as close to rectilinear as makes no difference.

Nikon Nikkor Z DX MC 35mm f/1.7 Chromatic Aberration Charts

Bokeh is a more aesthetic response and cannot be directly measured, but we know the best results when we see them. This is a very sharp lens, but the downside is that busy backgrounds seem to result in slightly ragged bokeh. 

Flare control is fine for normal subject matter, but when bright lights enter the image field, the lens flares quite significantly. Buying the optional HN-43 lens hood would seem to be a good idea.

Vignetting is minimal, the actual figures being:

Nikon Nikkor Z DX MC 35mm f/1.7 Sample Photos

Nikon Nikkor Z DX MC 35mm f/1.7 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]Nikkor Z DX MC 35mm f/1.7|Nikkor+Z+DX+MC+35mm+f/1.7[/AMUK] lens is priced at £399, a modest price for a quality macro.

There are no real competitors for crop sensor Z mount, the nearest being:

[AMUK]Voigtlander D 25mm f/2 Macro APO-Ultron|Voigtlander+D+25mm+f/2+Macro+APO-Ultron[/AMUK], £649. 

The Nikkor Z lens looks excellent VFM.

Nikon Nikkor Z DX MC 35mm f/1.7 Verdict

Nikon continues with its range of modestly priced and optically excellent lenses. This cost reduction may be achieved through use of plastics in the construction, but there is no apparent downside to this. In any event, a dropped plastic lens may well bounce and survive unscathed, whereas a heavy metal one is much more likely to be dented and break.

The lens is compact and light, focuses very quickly and virtually silently and, most importantly, accurately. There is no tendency to hunt, even at macro distances. Whether it is used as a standard lens or as a macro lens, it delivers. The sharpness is indeed outstanding, and consistently so across the aperture range and also across the frame. 

The only downsides are the slightly ragged bokeh and a tendency to flare when bright light sources creep into the image area. The HN-43 hood would be a sensible purchase, it's just a pity that it is not included with the lens. The lack of Vibration Reduction means we depend upon the camera body to provide this. The supplied Zfc does not have this feature unfortunately. Whether or not these negatives are deal-breakers depends on the sort of photography to be undertaken.

Considering the plus points of the lens, that is, the outstanding sharpness, low CA, low distortion and modest vignetting, this is a very fine optic at an excellent price and has to be Highly Recommended.

[REVIEW_FOOTER]R_features=4|R_handling=4.5|R_performance=4.5|R_value=5|R_overall=4.5|A_level=4.5|A_text=Highly Recommended – A compact and light macro lens with outstanding sharpness and a modest price tag|E_id=8027[/REVIEW_FOOTER]

Every photographer is taught that sharpness is important and we won't argue that it's not, however learning how to control depth of field so you can make the most of out of focus areas of a photo will give you a portfolio that's full of much more interesting and creative shots.
 

Shoot Wider Views

When you think of landscapes, using a shallow depth of field isn't probably something that fist springs to mind. The traditional landscape has front to back sharpness, however having something in your foreground that's perfectly sharp while the scene in the background is thrown out of focus gives the more common landscape shot a creative twist.

Make The Mundane Interesting

With a shallow depth of field a simple blade of grass can look amazing! A blade of grass? We hear you cry. Yes, if you use a shallow enough depth-of-field a blade of grass can look pin-sharp and picture-perfect against a very blurry background.

You need to use a wide f stop to get the right effect. The aim is to get as much of the subject in focus as possible without losing the nice blurry feel but don't over blur the shot as this will distract from the subject. Try f/5.6 or f/8 and use the camera's depth-of-field preview button to check the aperture's effect on the background. It works great on blades of grass, insects and small flowers. During the summer, if you live near a rapeseed field try isolating a specific flower or part of the field out to draw attention to it. You could try blurring part of the foreground as well as the background to create a frame for the subject.

Landmarks

The problem with landmarks is they are popular photographic subjects but by introducing blur, you can create a shot that not many other people will have taken. Make your chosen landmark completely blur out of focus and find some foreground detail that will stay in focus and provide enough information to explain to the viewer what the background object is. Take a look at Ben Boswell's article for more tips on how to do this successfully.

Go Long

The Bokeh effect of shooting on a long lens with a wide aperture will turn background lights on city streets into circles of glowing colour, making them a perfect background for portraits. You'll need to stand a few feet away from your subject and do check your white balance to help ensure the lights in the background are glowing the colour they're meant to be.

Photo by Joshua Waller 
 

Change The Shape

You don't just have to settle for circular out of focus highlights as you can use black card and a pair of scissors to change the shapes that appear. You need to decide on a shape, cut it out of the card then fast the card around your lens like you would a lens hood. Try to not make your shapes too small or complicated as they won't stand out very well in your final shot but ensure they are not bigger than your aperture either.

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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 Sandwedge (Day 12 - Outdoor Portraits At Night)

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 8

Poppy

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Day 9

Trucks

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Day 10

'Urban' Theme

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Day 11

Product Photography

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Day 13

Wide Angle Landscape

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Day 14

Abstract Indoor Shots

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Day 15

Frost Photography

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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.

Photo by Joshua Waller 

Take a short walk through your town and you'll find a thousand and one things to photograph but instead of walking around for hours photographing trees, postboxes and buildings one at a time try getting your wide-angle lens out to capture and emphasise a wider area of the town.
 

A lens which is 18mm or wider is a good choice if you're working with a camera that isn't full-frame. If you want to have the option of changing your focal length take along a zoom lens which will give you the option of shooting a variety of perspectives.

As your foreground objects will be quite close to your lens the smallest movement from your camera can make a huge difference to your photo so take a tripod out with you. You may also have trouble with lens flare so pack a lens hood and take a lint-free cloth to wipe away any spots on your lens.

The problem with wide-angle lenses is that objects can appear small so it's easy for your shots to look empty. Or, if there are lots of objects filling the scene your photo will look overly busy and the viewer won't have anything to focus on. The best way to deal with this is to have foreground interest that will give your image scale and also give you a focus point.

If you want to use this technique to its full potential, to give your image as much impact as possible, you need to get as close as you can to your foreground object.

Photo by Joshua Waller 

Look out for objects you can use to lead the eye through the image as long paths and roads give the impression they stretch on for miles when shot with a wide angle lens which pulls the viewer right through the photo. Just watch out for unwanted items such as your own shadow creeping into the shot.

You need to have the eye-catching foreground interest filling enough of the frame while still retaining enough background detail to make the photograph interesting. To do this, you'll need to make sure everything from front to back is sharp. A small aperture is a good place to start. Don't be tempted to focus on your foreground interest as this will leave too much of your foreground in focus and not enough background detail will be sharp. Instead, focus just beyond what's in your foreground, around a third in, or if you can, use the hyperfocal focus point.

If there's nothing of real interest in your foreground get down low to the ground and just emphasise the scale of the entire scene. If you have a few clouds in the sky they will streak out around your scene and as they curve towards the edge of the frame, it gives them a sense of motion which can add interest to your shot.

Photo by David Pritchard

The most important part about photography at this time of year is – rather obviously, to be prepared for the cold! Warm clothing, preferably layered, and a hat; if you're cold, your mind is more on how cold you are rather than the pictures you're looking for.

Keep yourself (and your batteries) warm! 

Remember too, that when you're standing around looking for photographs, you will get colder quicker, so err on the side of too much, rather than too little warm clothing. Your camera battery won't last as long in sub-zero temperatures either, so make sure you have a spare with you, and that they're fully charged. Try keeping the spare in an inside pocket, rather in your camera bag, as your body warmth will keep the charge in the battery for longer.

Rise early

Frosts are typically better early in the day, often before the sun hits the frost and starts to thaw it; which means a prompt start, but one of the benefits of the winter months, is that at least sunrise is at a more sociable time than in the summer! Head for areas of open space and rolling landscapes, rather than woodland, where the shelter of the trees can prevent frost.

Consider trees, foliage and hedges

Trees and hedges are great subjects for frost of course, but more in isolation. Use your macro lens for close-ups of frost on leaves – both on the tree or lying on the ground - or on cobwebs. Even frost on a barbed wire fence portrays the feeling of a crisp winter morning. Remember too, that a small aperture will give you a greater depth-of-field, to ensure more of your picture remains sharp, but on isolated leaves, try a wider aperture to isolate the leaf against an out-of-focus background.

Photo by David Pritchard

On a really cold day, when even the sun isn't going to thaw the frost too quickly, a touch of sunlight helps to emphasise the sparkle of frost, and especially try shooting into the light to accentuate the glint of the sun on the frost still further, but remember to use a lens hood to minimise the chance of flare on your pictures.

Even photographing in the shade can still show wonderful textures, and remember, temperatures remain lower in the shade – so frost tends to hang about longer. If your subject is in a particularly shady spot, use of a reflector can help to bounce a little daylight into the darker areas. A warm reflector, such as a gold, or sunfire, can also help to reduce the blue cast so common in the shade.

The white of frost can also fool your camera meter, so keep a close eye on your histogram as most cameras still "see" white frost as mid-grey. Possibly an exposure compensation of around +1 stop will keep your frost-laden trees looking pristine white.

14–17 January 2026 • Novotel London West, Hammersmith

Trade Show 15–17 January – FREE ENTRY

The UK’s most exciting photography Convention is back — bigger, bolder and packed with more inspiration, education and industry powerhouses than ever before.

The 2026 London Photo Convention & Trade Show brings thousands of photographers together under one roof for four days of hands-on learning, live demos, exclusive deals, and world-class speakers. If you’re serious about your photography — this is where you need to be.

FREE Trade Show: 15–17 January — Meet the Biggest Brands in Photography

Get ready for three electric days on the Trade Show floor, with leading camera and lighting brands showcasing their latest kit. Expect:

• Hands-on access to the newest cameras & lenses
• Live demonstrations from top pros
• Expert advice from manufacturers
• Show-only offers and exclusive discounts
• Retailers showcasing must-have accessories

Whether you're upgrading, testing, comparing or just curious — the Trade Show is 100% free to attend and absolutely packed.

Over 200 Hours of Training with Masterclasses & Superclasses

If you're hungry to learn, the Convention’s education programme is unmatched.

Masterclasses

Dive into a huge lineup of practical, inspiring and business-boosting sessions covering:

• Portraits • Weddings • Lighting
• Wildlife • Macro • Post-production
• Creative storytelling • Branding
• Business growth for photographers

Top photographers, award-winning educators and industry leaders share the techniques and insights that elevate your photography fast.

Superclasses

Want hands-on training with the best in the business?

The Superclasses deliver small-group, practical workshops with some of the most respected names in the industry. Limited spaces — these sell out fast every single year.

The Photography Event You Simply Can’t Afford to Miss

If you want to improve your skills, grow your business, network with other creatives and immerse yourself in the world of photography — this is your event.

Join thousands of photographers for the ultimate start to 2026.

14–17 January • London

Trade Show FREE

Masterclass Passes & Superclasses available now

Book your tickets now!

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

The updated version of Meike’s popular 85mm f1.8 SE Mark I lens, the 85mm f1.8 SE Mark II, brings noticeable improvements in image quality, focusing speed, and chromatic aberration control. It also features a closer minimum focusing distance of just 0.65m, making it more versatile for portraits and close-up shots. The lens is offered in Nikon Z, Sony E, and Leica L mounts.

This lens is available now and ready to ship for $229.99 USD.

Specifications:

• Aperture Range: F1.8-F16
• Focal Length: 85mm
• Filter thread: 62mm
• Diaphragm Blades: 11
• Weight: about 369g
• Focus Mode: Auto Focus
• Minimum focusing distance: 0.65m
• Lens Construction: 11 elements in 7 groups
• Full frame Angle of view: Diagonal 27.8°, Horizontal 23.4°, Vertical 10.8°
• APS-C Angle of View: Diagonal 18.67°, Horizontal 15.53°, Vertical 10.38°

To order the Meike 85mm F1.8 SE Mark II lens, please visit the Meike website and Amazon.

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!

Photographers, this is the one you’ve been waiting for.

The Nikon Z6 III — Nikon’s latest hybrid mirrorless camera — has just dropped in price on Amazon, and it’s turning heads across the photography community. Whether you shoot landscapes, weddings, wildlife or high-end video, this deal gives you a chance to get a next-generation full-frame camera at one of the lowest prices we’ve seen yet.

Today’s Amazon Deal Details

• Current Price: Check live price on Amazon →

• Savings: Typically retailing at $2,496.95, this model is now significantly discounted.

• Retailer: Amazon (Official Nikon seller)

• Availability: Limited stock discounts like this rarely last beyond a few days.

• Prime Eligible: Fast delivery with free returns for Prime members.

Why This Deal Matters

The Nikon Z6 III sits right in the sweet spot between Nikon’s professional Z8/Z9 and the more budget-friendly Z5 or Z50.
It offers an incredible combination of speed, image quality, and cinematic video capability, all packed into a compact, rugged body that’s built for real-world shooting.

For photographers who’ve been waiting to go full-frame without spending flagship money, this deal is the perfect moment to jump in.

Real-World Performance

Photographers who’ve tested the Z6 III consistently praise its autofocus accuracy and dynamic range.
Thanks to Nikon’s subject-detection algorithms (borrowed from the Z8 and Z9), it locks onto eyes, animals, vehicles, and even birds in flight with stunning precision.

In video, the Z6 III shines with its internal 10-bit N-Log and H.265 recording, giving filmmakers serious flexibility in post-production. Combined with the bright EVF and deep grip, it’s a true hybrid workhorse designed for creators who switch between stills and motion.

“This camera feels like Nikon finally nailed the hybrid formula — it’s powerful, compact, and makes no compromises,” said one early reviewer on ePHOTOzine’s test bench.

Who This Camera Is Perfect For

If you fit into one of these categories, the Nikon Z6 III deal deserves your attention:

• Hybrid shooters who record both high-end video and stills.

• Wildlife or sports photographers who need 120 fps bursts.

• Landscape photographers looking for excellent dynamic range in a lightweight setup.

• Upgraders from DSLR — especially Nikon D750 or D780 owners ready for mirrorless performance.

Nikon Z6 III vs Z6 II — What’s New?

If you already own or have been eyeing the previous-gen Z6 II, here’s what makes the Z6 III worth upgrading to:

This is a generational leap, not just a refresh — making the current discount even more compelling.

Why Buy from Amazon?

• Official Nikon Seller — full manufacturer warranty applies.

• 30-day returns on most items.

• Fast, trackable shipping (with free Prime delivery for members).

• Verified customer reviews to back up your decision.

When buying camera gear online, Amazon remains one of the safest and most convenient platforms, especially when combined with an active Nikon warranty.

Expert Tip from ePHOTOzine

If you’re investing in the Z6 III, don’t forget to check out the Nikkor Z 24–70 mm f/4 S or Nikkor Z 35 mm f/1.8 S — both pair perfectly with this body and are often bundled with discounts. You can also adapt your older F-mount lenses using the FTZ II adapter, which works seamlessly with autofocus and VR.

Don’t Wait Too Long

Amazon deals like this rarely stay active for more than a few days — especially on new-release Nikon bodies. If you’ve been holding off, now’s the time to act before prices return to RRP.

Check the Nikon Z6 III Deal on Amazon →

A superb action shot of an Osprey lifting off with its catch has earned FOXTROTT1 this week’s ‘Photo of the Week’ title.

The image shows the bird at just the right moment, with wings wide open, talons gripping a freshly caught fish, and water splashing around. Every detail is clear, from the feathers to the droplets still hanging in the air. The soft background helps keep the focus on the osprey’s strength and sharp movement.

One member describes it as “Right Time, Right Place, Fast reactions” – and it truly shows. With perfect timing and clear focus, this photo really stands out as our ‘Photo of the Week’.

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 2026, we’ll crown our 2025 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards!

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.

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 Kenwil (Day 06 - Creative White Balance)

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 7

Panoramas

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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. 

The German AI photo editing provider Neurapix has announced a powerful new feature for its Lightroom plugin during the Neurapix Conference 2025. From now on, photographers can manually adjust their SmartPresets, allowing them to fine-tune or completely redefine their editing style with just a few clicks.

Brightness, color tones, and overall looks can evolve over time — and now, Neurapix users can easily reflect these changes in their own SmartPresets. With the new "Adjust SmartPreset" feature, photographers can manually modify the AI slider values of their individual looks to better match their current style.

To use the feature, photographers simply select images that were edited with the SmartPreset they wish to modify. Within Adobe Lightroom Classic, they follow the familiar path (Library > Plug-in Extras) and click on "Adjust SmartPreset". A new window opens, displaying the selected example images along with Lightroom's well-known adjustment sliders. These settings can be modified at will and then saved as the new default configuration for the SmartPreset.

Flexible Editing for All SmartPresets

Users can adjust not only their own SmartPresets but also those they've purchased from other photographers — as often as they like, and at no additional cost. The new feature is automatically available after updating the Neurapix plugin. The update will be offered in a pop-up when Lightroom Classic is next launched or can be triggered manually in the Plug-in Manager.

In addition, users can still refine their own SmartPresets by allowing the AI to analyze and incorporate manual post-corrections made after the automated edit. This option, formerly known as "Refine SmartPreset", now appears as "Send Corrections" in the Lightroom menu.

"The ability to quickly and easily adjust SmartPresets makes our offering even more flexible and versatile for photographers," says Nils Sauder, Co-Founder and CEO of Neurapix. "It also allows them to purchase SmartPresets from other photographers and adapt them to their own preferences — making it even easier to get started with AI-powered photo editing." 

About Neurapix

Neurapix is a German AI start-up based in Goettingen that was founded in 2021. The company has developed an artificial intelligence that is able to learn a photographer's image editing style and apply it within Adobe Lightroom Classic. This allows photographers to have large numbers of photos edited in their own style, resulting in significant time savings of around 90%. Fore more information, please visit the Neurapix website.

© Canon

Canon has introduced the EOS R6 Mark III and RF 45mm f/1.2 STM lens, expanding its EOS R System with tools designed for speed, resolution, and creative control. The camera offers 32.5 megapixels, fast continuous shooting, and advanced autofocus, while the lens features a lightweight f/1.2 aperture option for expressive depth and low-light performance.

Together, they support hybrid creators with features for both photography and video, including 7K RAW Light recording, Open Gate capture, and focus breathing correction. These releases give users more choice across Canon’s full-frame lineup.

From Canon UK:

Canon unveils an exciting dual release: the powerful EOS R6 Mark III and innovative RF 45mm F1.2 STM prime lens – both designed for storytellers looking to elevate their creativity.

The EOS R6 Mark III is a powerful stills camera with advanced filmmaking features, offering exceptional quality and control for photographers covering a range of subjects from sports and wildlife to weddings and portraits. Positioned above the EOS R6 Mark II, the EOS R6 Mark III offers significant upgrades in resolution, tracking, and connectivity offering additional choice alongside the existing EOS R5 and EOS R6 models.

Joining the lineup is the innovative RF 45mm F1.2 STM, Canon's lightest f/1.2 RF lens at just 346g. This lens stands out in its category – it is ultra-fast, features smooth autofocus and delivers performance without a professional-level price tag. The lens introduces Canon's widest aperture to the enthusiast range for the first time, offering excellent low-light performance and greater creativity. The RF 45mm F1.2 STM is a game-changer for photographers seeking depth of field control and outstanding creative results.

EOS R6 Mark III: Quality meets performance

The EOS R6 Mark III delivers an exceptional balance of resolution, speed and reliability – making it a versatile tool for a wide range of photography styles. Featuring a newly developed 32.5 megapixel full frame sensor and 40fps continuous shooting¹, it captures more detail than the EOS R6 Mark II while maintaining impressive speed. With an expanded buffer capable of handling up to 150 RAW images in a single burst (when using CFexpress cards), intelligent autofocus tracking, and robust filmmaking features, the EOS R6 Mark III is built for action. Its customisable controls and weather-resistant body² make it a resilient and adaptable camera that fits seamlessly into any creative workflow – from sports and wildlife to events, landscapes and portraits.

The EOS R6 Mark III excels in low light³, offering an ISO range up to 64,000 for clean, detailed images even in challenging conditions. In-camera crop modes effectively extend reach – perfect for wildlife and sports – while up to 8.5 stops⁴ of combined image stabilisation keep handheld shots sharp and steady.

This camera also demands less storage than the EOS R5 line, offering a well-balanced trade-off between file size and performance. It supports faster workflows, eases storage requirements and still delivers the image quality that users expect.

Never miss a moment

The EOS R6 Mark III is a reliable companion for high-pressure occasions like sporting events, weddings, and red carpets, with several new and improved features over its predecessors. Improved tracking algorithms lock onto moving subjects – including trains, airplanes, and horses – with greater ease, while the Register People Priority function allows users to pre-select 10 faces for priority tracking. For even more peace of mind, pre-continuous shooting records 20 frames in H+ mode before the shutter is pressed, in full RAW, JPEG, or HEIF.

Discover your inner filmmaker

For photographers expanding into video, the EOS R6 Mark III offers a seamless and confident entry into the world of filmmaking. It captures stunning 7K RAW Light footage up to 60p, delivers beautifully detailed oversampled 4K 60p with cinematic motion and supports 4K 120p for even slower, more dramatic results. Full HD 180fps recording is also available for creative slow-motion effects.

Content can easily be repurposed across platforms with Open Gate, a capability that captures the entire sensor's output to enable more flexibility in framing, stabilisation, and post-processing. It also supports pro-level tools like waveform monitor, proxies, metadata tagging, full-size HDMI, and 4-channel audio.

Built for a smoother workflow

The EOS R6 Mark III introduces a range of new and improved features that also support a smarter, faster workflow. Dual aspect markers frame for multiple platforms in one shot, while a redesigned control tab offers a customised shooting experience. For better organisation and security, dual card slots support the fast and high-capacity CFexpress Type B and the widely used UHS-II SD. Quick and secure file transfers are also guaranteed thanks to built-in wireless connectivity, with support for the latest 5 GHz Wi-Fi⁵ and Bluetooth 5.1.

Key features of EOS R6 Mark III:

• 32.5 megapixel resolution
• 40fps¹ electronic shutter
• Up to 8.5-stop IS⁴
• Wi-Fi⁵ and Bluetooth
• CFexpress and UHS-II SD card slots
• Up to 7K RAW video
• Open Gate

RF 45mm F1.2 STM: Fast aperture, high impact

The RF 45mm F1.2 STM marks several firsts, introducing Canon's first f/1.2 aperture non-professional RF lens, weighing under 350g and offering autofocus at an accessible price point. Positioned within the enthusiast RF lens range, it is designed to inspire creative experimentation with beautifully shallow depth of field and expressive low-light imagery. Until now, the super-fast f/1.2 aperture was exclusive to lenses costing much more, with users now able to explore cinematic storytelling, lifestyle shoots and portraits with stunning clarity and mood. Canon's STM AF technology ensures subjects stay sharp, allowing photographers to focus on their vision. 

Designed for everyday versatility

The RF 45mm F1.2 STM is highly versatile with a constant length with separate focus and control rings making it a strong choice for hybrid storytellers. The RF 45mm F1.2 STM also has a convenient 67mm filter size and a minimum focusing distance of 45cm, giving creatives the freedom to fine-tune their results. This new lens also features a durable metal mount, 9-blade aperture, and compatibility with Canon's focus breathing correction technology, all working together to deliver lasting performance and stunning results.

Key features of RF 45mm F1.2 STM

• Lightweight at 346g
• 45mm standard focal length
• Super-fast f/1.2 aperture
• STM autofocus motor
• Dedicated control ring
• 9-blade aperture
• Super Spectra coating
• Focus breathing correction compatibility

More power. More creativity.

Launched side by side, these two products expand Canon's growing EOS R System of high-performance creative tools. The EOS R6 Mark III bridges the gap between the EOS R5 Mark II and EOS R6 Mark II for storytellers that need both resolution and speed, while the RF 45mm F1.2 STM sets a new benchmark for fast-aperture lenses. Together, these launches continue Canon's mission to empower photographers with tools that are designed to elevate creativity at every level.

For more information, visit:

https://www.canon.co.uk/cameras/eos-r6-mark-iii/

https://www.canon.co.uk/lenses/rf-45mm-f1.2/

¹ Up to 40 fps continuous shooting with electronic shutter. Speed may vary depending on subject, shooting conditions, or battery level.

² Dust and water resistance requires all covers (card/battery, terminal, shoe cover, etc.) to be securely closed. While designed for durability, the camera is not fully impervious to dust or water droplets.

³ Low-light autofocus down to –6.5EV is achievable during still photo shooting, with an f/1.2 lens, Centre AF point, One-Shot AF, at 23°C/73°F, ISO100. Excluding RF lenses with Defocus Smoothing coating.

⁴ Up to 8.5-stops of stabilisation based on CIPA standard using the Electronic Shutter. Performance may vary depending on lens used and shooting conditions.

⁵ Wi-Fi use may be restricted in certain countries or regions.

Datacolor released its all-new SpyderPro software update, introducing calibration tools designed for ultra-bright displays (up to 12,000 nits), including OLED, QD-OLED, mini-LED and Apple Liquid Retina XDR.

Features

This release enhances display calibration and streamlines creative workflows with features such as:

• 3D LUT (.cube) Export: Delivers precise calibration for compatible video monitors, ideal for professional video and cinema workflows, at an unmatched price point.
• Device Preview™ Plus: Simulate content across devices and print using side-by-side comparison, pixel sampling, batch conversion, and image processing tools with advanced export functionality.
• Light Meter Integration: Sync with Datacolor’s LightColor Meter and other lux-capable devices to adapt calibration to ambient lighting, ensuring consistent accuracy in any environment.
• Content Credentials (C2PA): Embed authorship, edit history, and provenance into digital files to protect creative integrity and build trust in an AI-driven world.

“SpyderPro is more than a calibration tool, it’s a workflow revolution,” said Heath Barber, Director of Product Management. “It helps creators work smarter and share with confidence.” 

Pricing & Availability

The upgrade is available now: free for existing SpyderPro users, with a discounted upgrade option for owners of earlier Spyder models (Spyder, SpyderExpress, SpyderX, Spyder X2). The new version is now available  for £ 249 via Datacolor.com, Amazon and authorized retailers.

For more information about SpyderPro software, please visit the Datacolor website.

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.

© Affinity

Canva has announced that its UK-based professional creative suite, Affinity, has surpassed one million sign-ups in under a week, following its landmark move to make the software completely free — forever.

The milestone marks the beginning of Affinity’s new era, unveiled through a month-long build of anticipation, a bold new visual identity, and a multi-asset brand campaign led by Tom Carey, Canva’s Europe Creative Director. The integrated launch signals a major shift for professional design: one defined by openness, accessibility, and creative freedom for all.

Building the anticipation: a community-led unveiling

In the weeks leading up to launch, Affinity took a distinctly community-led approach – listening, engaging, and co-creating with its global network of designers. What began in early October as a quiet “creative whisper” grew into a groundswell of excitement, as subtle hints and behind-the-scenes moments appeared across social channels and design communities.

Working closely with the Designer Advisory Board (DAB) and Pro Panel, the team invited early reactions, responded to feedback in real time, and built anticipation organically – not through ads, but through real time conversation.

That shared momentum reached its peak when the news dropped as part of Canva’s World Tour keynote: Affinity was going free forever. The reveal ignited a wave of support from professional creatives around the world – a community united by craft, collaboration, and a belief that creative tools should be open to everyone.

A new campaign for creative freedom

The campaign celebrates a new creative era: one where tools are open, collaboration is celebrated, and design is accessible to everyone. Crafted in collaboration with ManvsMachine, the campaign video is a rallying cry for creative liberation. Reminding designers of a time when they created for fun and for love, not confined by their tools, but empowered by them.

The campaign, inspiring designers to craft, experiment and create their way, runs globally across YouTube and Meta until December 14. It aims to raise awareness of Affinity among professional designers and share our message that true creative freedom is now free, forever.

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"Designing a brand for designers isn’t easy, but by bringing together an incredible team of creatives and working closely with the community, we set out to craft an identity that was truly for creatives, by creatives.

That collaboration is what makes this launch feel so special. The reaction from the community has been incredible, calling the brand bold.af and relatable.af. And with over a million people signing up in less than a week, it proves that when you design with your community, for your community, it becomes something people genuinely want to be part of." Tom Carey, Europe Creative Director, Canva said.

© Affinity

Rebranding for a new era

As part of the new Affinity product launch, Canva has unveiled a complete rebrand for the professional creative suite, signalling a new era for the product and the community behind it. Crafted in Affinity and scaled in Canva, the refreshed identity moves away from the angular and geometric shapes of the past and into something more expressive, human and proudly bold.

Developed by Canva and Affinity’s in-house creative teams, in close collaboration with design studio Twist, and guided by Canva’s Designer Advisory Board and Pro Panel — the reimagined Affinity brand celebrates creative freedom. From Rob Clarke’s handcrafted logomark to James Martin’s playful graphic assets and the distinctive “.af” file extension, every detail embodies its ethos: for creatives, by creatives.

The new look blends craft with character: an expressive typeface by Ohno Type, playful ethos badges by James Martin, and an artist palette of neutral tones, charcoal, graphite, putty, and paper, that lets the vibrant work of our community take centre stage. Punctuated by a sharp hit of lime green as a nod to the “punk” energy driving the change. Together, these choices bring the brand’s attitude to life: serious about craft, but unafraid to have fun with it.

The rebrand evolves Affinity from “looking punk” to “feeling punk” – a bold yet thoughtful redesign that balances design heritage with a modern sense of play. It’s a brand that celebrates collaboration, craft, and the creative process itself: raw, joyful, and full of heart.

A movement reshaping the creative industry

Since announcing Affinity’s new chapter last week, the response has been extraordinary. Over one million creatives worldwide — from designers and illustrators to photographers and students — have joined the platform, redefining what access to professional tools should look like.

Making Affinity free is a continuation of Canva’s founding belief that great design should be accessible to everyone. It’s made possible by Canva’s sustainable business model — one built on offering powerful creative tools for free, while optional paid features like premium content, collaboration, and AI tools fund continued innovation. This approach has powered Canva’s growth for more than a decade and now enables Affinity to remain free, forever — while continuing to evolve for the world’s most ambitious creators.

For more information, please visit the Affinity website.

Leica has announced its new camera model for the Reporter series: the Leica SL3 Reporter. With its robust design, it features a scratch-resistant dark green finish and an aramid fabric cover that protects against wear and exposure. Its textured trim improves grip and stability, making it easier to handle during long shoots or in challenging conditions.

The SL3 Reporter shares the same technical specifications as the standard SL3, including high-resolution imaging and precise autofocus. What sets it apart is its design focus on durability and discretion, with black control elements and no red Leica logo. This makes it a practical choice for photographers working in the field, where reliability and low visibility matter.

The Leica SL3 Reporter is priced at £6,200.00 / €7,200.00 including VAT and is available from the Leica online stores and authorized retailers. 

From Leica

Leica Camera AG is pleased to announce the launch of the Leica SL3 Reporter, a new addition to the company’s Reporter design series. This particularly robust version of the Leica SL3 represents the latest in a long line of specially developed Leica cameras. The Leica SL3 Reporter is equipped with features that have been specifically designed for the harsh conditions of reportage and press photography, which enables maximum precision even under the most adverse shooting conditions. The result combines maximum functionality and reliability with a unique camera design that is both understated and striking.

The Leica SL3 Reporter features a particularly scratch-resistant dark green finish and an aramid fabric cover, which provide additional protection for the robust camera body against abrasion and environmental influences. Furthermore, the special trim, with its unique texture, also offers significantly improved grip, thus ensuring enhanced stability when taking photographs and filming. Over time, the trim develops a unique patina that reflects the traces of its photographic journey and the character of a true reportage camera. The distinctive design is characterised by a combination of dark green paintwork with black control elements, and the absence of the red Leica logo, which serves to emphasise the SL3 Reporter’s suitability for challenging working environments.

In terms of its technical specifications, the design variant corresponds to the Leica SL3 series model. This model combines state-of-the-art technology with outstanding image quality of up to 60 megapixels, precise autofocus, the best materials and ‘Made in Germany’ manufacturing quality. This product is robust, reliable and is perfect for all your photography and videography needs. It is also very easy to use with a fast connection to the Leica FOTOS App to facilitate a seamless professional workflow.

For more information, please visit the Leica website.

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.

- Partner Content - 

For decades, countless memories have been locked inside the limits of early digital cameras and consumer video gear. Grainy low-light shots, motion blur, and fuzzy VHS transfers have left families and professionals alike wondering whether their old footage could ever look good again.

Thanks to advances in artificial intelligence, that’s no longer wishful thinking. AI-based enhancement tools can now reconstruct missing detail, reduce noise, and upscale images to cinema-grade resolution. One such tool, VideoProc Converter AI, combines multiple AI models and editing utilities to bring lifelike clarity back to otherwise “unusable” media.

The software focuses on three key areas of AI-powered enhancement. For still photos, it delivers 8K/10K upscaling, face restoration, and intelligent colorization. For videos, it significantly boosts resolution up to 400% with natural detail enhancement, and creates smooth 20x slow-motion footage. For audio, it can remove background noise and isolate vocals.

The latest version 8 introduces the v3 Super Resolution engine, delivering up to 80% faster processing and visibly cleaner enhancement results. You can Download the free version of VideoProc Converter AI v8, or check out the current special deal for the lifetime license. See below.

Year-end Special Offer

As part of a limited-time promotion, the lifetime full version of VideoProc Converter AI for Windows/macOS is just $39.95 instead of $89.95 and includes unlimited free updates. You’ll also receive four bonus utilities at no extra cost. A family license covering up to five devices is $59.95 (regularly $159.95) — a 62% discount.

Year-end offer: get VideoProc Converter AI for $39.95

How VideoProc Converter AI Restores Photos

VideoProc Converter AI's Image AI employs four specialized deep learning models powered by Convolutional Neural Networks to tackle diverse image challenges. Even a well-shot image suffers from upscaling blur and pixelation the moment it is zoomed in, cropped, or prepared for large-canvas printing — and that’s where this AI module comes to the picture.

Upscaling and detail enhancement: It upscales low-resolution images to 4K/8K/10K. By synthesizing natural, realistic details, it ensures the final upscaled photo is genuinely sharper and more refined, not just stretched.

Sharpening and deblurring: It sharpens and deblurs images to restore natural clarity without bringing harsh edges or artificial artifacts. With it, you can address common flaws, including softness from old cameras, mobile phones, or scanned prints; out-of-focus error due to camera shake or subject movement; haze or lack of definition; and minor pixelation resulting from cropping.

Noise reduction: VideoProc Converter AI can precisely eliminate distracting digital noise, effectively saving photos taken in challenging low-light conditions. It corrects problems like high ISO grain, unsightly color splotches, and grainy texture, breathing new life and clarity into dimly lit or underexposed images.

Face restoration and colorizing: Beyond general image enhancement, the software restores faces in your photos for a clean and natural look, and can colorize black-and-white or faded photos with vivid, realistic tones.

Three steps to restore and enhance photos:

Step 1. Click Image AI. Drag and drop to import the original image files.

Step 2. Pick an AI model. Gen Detail v3 and Real Smooth v3 are two top choices. Select the target resolution or set the upscale ratio.

Step 3. Click RUN to start exporting the enhanced images.

AI for Video: Turning Grainy Footage into 4K

VideoProc Converter AI excels at transforming problematic raw footage, elevating it into something truly polished, professional, and naturally clear 4K quality. Here’s how it rescues “unusable” clips:

AI Video Upscaling: The AI Super Resolution module can upscale low-quality video to 4K clarity while fixing imperfections like digital noise and blocky pixelation. The latest version adds support for AV1 and ProRes codecs—essential for professional workflows—and refines hardware acceleration for faster exports.

Perfect for:

• Upscaling old camcorder footage or legacy video sources like 480p DVDs, to 1080p/4K.
• Restoring clarity to grainy footage captured in low light or with the wrong ISO settings.
• Clearing heavy pixelation and blockiness from web videos and social media clips.
• Transforming blurry zoom-ins of distant subjects into sharp, high-quality close-ups.

AI Motion and Stabilization: Another impressive capability is the software’s ability to turn choppy, low-FPS video into super-smooth, ultra-fluid motion (120fps/240fps) for spectacular slow-motion via AI Frame Interpolation, and also utilizes AI Stabilization to fix camera shake and jiggle.

Perfect for:

• Boosting the FPS of old archives and low-speed clips for fluid slow-motion.
• Fixing choppy sports, drone, and AI footage for stable, clear action and professional quality.
• Eliminating severe shake and jiggle from drone and action camera footage.

Audio Noise Deduction: VideoProc’s AI capabilities aren’t limited to visuals. Its Audio AI module cleans up audio by removing distracting background noise for crystal-clear dialogue. It can also separate vocals from background music, giving you flexibility for editing.

Perfect for:

• Cleaning up background noise and hiss from old family videos and drone footage.
• Isolating vocals from music for professional audio post-production.

Overview of Bonus Features 

Beyond AI enhancement and restoration, VideoProc Converter AI includes a complete media toolkit. This breadth of functions positions it as both an AI enhancement solution and an all-in-one media processing powerhouse.

• Convert between 370+ video and audio formats, including ProRes and HEVC.
• Access 29 quick editing tools: cut, crop, merge, flip, rotate, change speed, and more.
• Compress files to save up to 90% storage space.
• Back up DVDs or rip to digital formats like MP4, MOV, etc.
• Download videos and audios from 1,000 websites for offline viewing.

Who Needs VideoProc Converter AI?

With its straightforward workflow, VideoProc Converter AI bridges the gap between ease of use and professional-level enhancement and processing power.

• Families can easily revive old home videos or scanned photos — no specialized skills required.
• Content creators and YouTubers can reuse archival or low-quality footage for new projects.
• Photographers can restore aged or damaged images for client work.
• Gamers can present their archived streams and highlight clips in better quality.
• Educators and institutions can modernize legacy materials for today’s screens.

For anyone looking to breathe new life into aging photos or low-quality footage, VideoProc Converter AI offers a versatile, reliable, and easy-to-use solution. With ongoing lifetime promotions, there’s never been a better time to future-proof your media library and enjoy AI-powered clarity that keeps your memories timeless.

Year-end offer: get VideoProc Converter AI for $39.95

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. 

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.