I’ll admit it, I’m a little late to the party.

After taking a month away from work recently, I’ve been playing catch-up with software updates, product reviews, workshops and everything else that tends to pile up while you’re away. One of those updates was Aftershoot.

Now before anyone points out that Aftershoot’s editing features aren’t exactly new, you’re absolutely right. I’ve actually been using Aftershoot since its early days, but almost exclusively as a culling tool. For years it has been one of the first applications I open after a shoot, helping me quickly sort through hundreds of images and identify the keepers without spending hours staring at thumbnails.

What I hadn’t really explored was everything Aftershoot has become.

With AI editing, retouching tools, galleries and a much more polished workflow now built into the platform, I decided it was finally time to take a proper look at what the latest version offers and whether it could fit into my workflow as a portrait, still life, macro and creative photography educator.

First Impressions

The biggest surprise wasn’t any individual feature.

It was how much the software has matured.

In the beginning, Aftershoot had one very clear purpose: help photographers get through image selection faster. It did that well, and for many photographers, that alone justified the investment.

Today it feels much more like a complete post-production assistant rather than simply a culling application.

The interface remains clean and approachable, which is something I’ve always appreciated. Despite the additional functionality, it doesn’t feel overwhelming or cluttered.

The Feature I Already Loved: AI Culling

Let’s start with the reason I originally adopted Aftershoot.

Anyone who photographs workshops, creative portrait sessions, events or large personal projects knows how quickly image counts can grow. Sorting through hundreds or even thousands of frames can be one of the least enjoyable parts of photography.

Aftershoot’s AI culling continues to be the standout feature for me.

The software identifies duplicates, near-duplicates, closed eyes, missed focus and other technical issues while highlighting what it considers the strongest images from a sequence.

Does it always make exactly the same selections I would make?

No.

And honestly, I wouldn’t want it to.

Photography remains subjective. What Aftershoot does brilliantly is reduce the number of decisions I need to make. Instead of reviewing every single frame, I can focus my attention on a much smaller group of potential finalists.

The latest version also appears to do a better job grouping similar images together, making it easier to compare and select the strongest frame from a series.

For me, this remains the biggest time saver in the entire application.

Exploring AI Editing

This was where things became interesting.

Historically, I’ve always preferred to handle my own editing in Lightroom and Photoshop. Like many photographers, I’ve developed a personal editing style over years of trial and error.

So I approached the editing tools with some healthy scepticism.

The latest version allows you to create and train AI editing profiles based on your own work, helping the software learn your editing preferences rather than applying a generic one-size-fits-all preset.

The results were better than I expected.

Rather than trying to completely replace my editing process, I found it worked best as a starting point. Exposure, white balance, contrast and overall tonal adjustments were often surprisingly close to where I would have taken the image myself.

Would I still make refinements afterwards?

Absolutely.

But beginning with an edit that’s already 80 to 90 percent of the way there can significantly reduce the amount of repetitive work required.

One thing I appreciated was that Aftershoot wasn’t trying to completely take over my editing process. The AI edits generally got me close, but not all the way there. As photographers, most of us have developed our own style over time and I still found myself making refinements afterwards.

The software got me most of the way there, but I wasn’t ready to hand over all creative decisions to AI just yet.

AI Cropping and Straightening

Aftershoot also includes AI-powered cropping and straightening tools.

In my testing, the straightening feature didn’t really have much to do. Most of the images I was working with were studio portraits where horizons and architectural lines weren’t a major factor.

The aggressive crop option was a little less successful for me.

It tended to apply very similar crops across multiple images, which isn’t necessarily what I want when working with creative portrait sessions. Every image has different strengths and often requires its own unique crop.

Personally, I still prefer to handle cropping manually, but photographers who process large volumes of similar images may find more value here.

The Retouching Tools

The area I was most curious about was the retouching tools.

Features like flyaway hair removal, wrinkle reduction, skin retouching, shine reduction and teeth brightening have been added to the platform, allowing photographers to perform basic retouching without immediately jumping into Photoshop.

Some tools impressed me more than others.

Flyaway hair removal worked surprisingly well and was one of the standout features during testing. Anyone who photographs people regularly knows how much time can be spent cleaning up stray hairs, and Aftershoot handled many of them automatically.

The fabric wrinkle reduction tool was another pleasant surprise. It did a respectable job cleaning up wrinkles in clothing and fabric backdrops without requiring manual retouching.

The skin retouching tools were useful, although I found they worked best as a starting point rather than a finished solution. They handled minor blemishes reasonably well but weren’t quite aggressive enough for more complex retouching jobs.

Likewise, the shine reduction tool can be very effective, particularly for portraits photographed under studio lighting, but you’ll want to use it carefully. Push it too far and skin can start to look a little flat and unnatural.

For photographers delivering large volumes of images, these tools could save significant time. For detailed portrait retouching, however, Photoshop still remains part of my workflow.

Galleries: A Logical Next Step

One feature I was particularly interested in exploring was the addition of galleries. It’s even locked down so I couldn’t grab a screen shot! It has a slideshow feature, favourites and more.

This feels like a natural progression for Aftershoot.

Instead of culling your images, editing them, exporting them and then moving into a separate gallery platform, Aftershoot is clearly working towards keeping more of the workflow under one roof.

For photographers delivering client work, this could simplify the overall process considerably.

As someone who primarily photographs creative portrait sessions, workshops, still life projects and educational content, I’m still exploring exactly how galleries might fit into my workflow. However, I can certainly see the appeal of having image delivery integrated alongside culling and editing.

Performance

One thing that has remained consistent throughout Aftershoot’s evolution is speed.

The software processes large image sets quickly and efficiently, allowing me to continue working while the AI handles much of the heavy lifting in the background.

Because processing happens locally on your computer, you’re not constantly waiting for cloud uploads or downloads before work can begin.

That local-first approach continues to be one of the platform’s greatest strengths.

Who Is Aftershoot For?

While Aftershoot is often associated with wedding, event and newborn photographers, I think that’s selling it short.

Any photographer dealing with large image volumes can benefit.

That includes:

• Portrait photographers
• Event photographers
• Sports photographers
• Wildlife photographers
• School photographers
• Commercial photographers
• Workshop instructors
• Content creators

Even as someone who regularly photographs smaller, carefully crafted still life setups, I found value in speeding up the repetitive parts of image management. Even with my holiday snaps. The beauty of Aftershoot is that it doesn’t completely take control, but it does genuinely help out with culling.

The less time spent sorting and making repetitive adjustments, the more time available for creativity.

Final Thoughts

Coming back to Aftershoot after focusing primarily on its culling capabilities for years was genuinely eye-opening.

The software has evolved well beyond its original purpose.

Will it replace Lightroom and Photoshop for me?

No.

Lightroom still offers more precise editing controls, and Photoshop remains essential for advanced retouching, object removal, background cleanup and compositing.

What Aftershoot does exceptionally well is eliminate much of the repetitive work that happens before those final finishing touches.

Importing, culling, batch editing, basic retouching and client delivery can now happen inside a single ecosystem.

That’s a significant leap from the Aftershoot I first started using years ago.

If you’ve only ever thought of Aftershoot as a culling tool, it may be time to take another look.

You might be surprised by how much it can do.

The newest entry into video camera stabilization from DJI, the Ronin RS5 advances handheld cinema. Great new features including AI tracking and geared knob balancing lead the list of this great new tool. DJI provided the RS5 Combo I reviewed.

Canon revolutionized video capture by adding 1080 HD video to their 5D Mark II DSLR in 2008. Fast forward to now. Professional still cameras are a mainstay in cinematography. True, they can’t replace an Arri Alexa for versatility. They have carved a niche in film, especially indie productions. Lightweight 4K, 6K and 8K capture means more and more handheld scenes. These require portable, easy-to-use stabilization systems. Enter the Ronin RS5 with features we did not know we wanted until now.

RS5’s tripod base

These start with the Ronin RS5 tripod base. All three legs open together. Wow! Previous versions had us opening each leg individually. No big deal. Until opening one opens them all. I do not want to use any gimbal that does not have this kind of tripod base. I hope DJI will offer it as an accessory.

Connected briefcase handle

The DJI Ronin RS5 now sports an electronic briefcase handle with controls for focus, start/stop recording, movements and low-angle shots. It mounts onto a NATO RSA communications port on the gimbal’s left side. There is a cold shoe with female quarter-twenty for accessories located above the controls.

The new connected RS5 briefcase handle mounts in just one direction. It is not compatible with previous DJI gimbals.

Fine-tuning balance knobs

Finally. No more sliding arms back and forth to balance the gimbal. The Ronin RS5 has knobs to fine tune camera balance on every arm making getting balanced much easier.

Vertical shooting

I have yet to wander into a movie theatre that has a vertical screen. I like landscape screens! Since we all use our portrait format phones to view content, vertical capture is a much wanted (sigh) feature. The Ronin RS5 delivers quickly and simply. DJI suggests this can be done without rebalancing. This is true — sort of. Small balance adjustments for roll and tilt axes still must be made. The knobs make this easy.

Tracking with the Ronin RS5

A tracking module is included in the RS5 Combo version. It attaches magnetically to the top of tilt axis arm. The module is set by touching the subject on the gimbal’s touchscreen — no external monitor needed. The RS5 can track people as do most gimbals. It can also follow vehicles, pets or moving objects up to 32 feet (10 meters) away from the device. I am skeptical of these claims so I took the RS5 and my Canon R5C to my gym in Atlanta, The Rack. Here’s how the RS5 tracked dumbbells in action.

Z-axis indicator

Steadycams handle the up and down motion caused by walking or running with a mounted camera. Handheld gimbals do not. The Ronin RS5 helps its operator deal with this by showing the rise and fall motion on the touchscreen. This feedback helps the user walk more smoothly.

The RS5 gimbal’s battery charges fully in an hour, 60% faster with a 65 watt USB-C power brick. It has 15% more standby time. A high-capacity battery is available. It extends standby time to 30 hours.

DJI’s Focus Pro Motor is compatible with the RS5. The FIZ (Focus, Iris, Zoom) motor give the operator joystick control over these functions. I use it for changing the focal length (zoom) so I don’t have to touch the camera while shooting.

DJI RS Expansion Base Kit

The RS5 Combo is super versatile. And yes, here is my first “but” in this entire review… the battery pack makes the unit too tall for some purposes. There are times when I want to mount the gimbal and have it do it’s thing from a tripod, Platypod or some other low-to-the-ground mount. When I bought my Ronin RS4, I also purchased this kit. It is a hidden, untouted and valuable addition to the gimbal experience. I use it with a Really Right Stuff dovetail lens foot plate that snugs up to the cable adaptor allowing it to fit on Arca Swiss mount without turning like it would with a simple quarter/twenty screw.

I used the kit to move the battery away from the gimbal so it could be mounted directly on a tripod. This was important for the automated tracking video of Brandon lifing dumbbells. It’s really difficult to find this kit on DJI’s website. It’s expensive at $499.00 and irreplaceable when the gimbal has to be on a jib, tripod

If you’ve been thinking about upgrading your editing workflow, DxO’s Father’s Day Sale could be the perfect opportunity.

From 15 June to 29 June 2026, new customers can save 20% across the DxO software range, making it a great time to invest in some of the industry’s most respected photo editing and image enhancement tools.

Whether you’re looking to improve your RAW processing, reduce noise in low-light images, recover detail, or streamline your post-processing workflow, DxO has built a strong reputation for delivering exceptional image quality with minimal effort.

What’s Included?

New customers can receive:

• 20% off DxO software
• Sale runs from 15 June to 29 June 2026
• Exclusive discount code: JULIE_FD26

The offer applies to new customers purchasing during the promotional period.

Why Consider DxO?

DxO’s software lineup has become a favourite among photographers who demand the highest image quality from their files.

Popular products include:

• DxO PhotoLab – Advanced RAW processing and photo editing.
• DxO PureRAW – Enhances image quality before editing in Lightroom or Photoshop.
• DxO FilmPack – Creative film simulations and classic analogue looks.
• DxO ViewPoint – Precision correction for distortion, perspective, and lens flaws.
• Nik Collection – A powerful suite of creative plugins for Lightroom and Photoshop users.

One of the standout features across the DxO ecosystem is its industry-leading noise reduction technology, particularly useful for photographers shooting wildlife, landscapes, events, astro, and low-light subjects.

Perfect Timing for an Upgrade

If you’ve been relying solely on Lightroom or are curious about what dedicated image optimisation software can do for your photographs, this Father’s Day promotion offers an excellent opportunity to explore the DxO range at a discounted price.

Father’s Day Sale Details

Dates: 15 June – 29 June 2026
Discount: 20% off for new customers
Promo Code: JULIE_FD26

If you’re looking to squeeze every bit of quality from your images, this is a sale worth checking out.

Action cameras have changed a lot over the years. What once felt like niche cameras built purely for mountain bikers, surfers and people throwing themselves out of perfectly good airplanes have slowly become everyday content tools for creators, travellers and vloggers.

I’ve used quite a few action cameras over the years for everything from behind-the-scenes workshop footage and travel videos to YouTube clips and social media content. Some have been brilliant, some overly complicated, and others ended up forgotten in a drawer after the novelty wore off.

I’ve actually been a pretty big fan of the SJCAM range for a while now, particularly the older C300 and more recently the C400, which I still use regularly for BTS footage during workshops and travel content. They’ve been compact, reliable little cameras that are easy to throw into a bag without overthinking it. So when SJCAM asked if I’d like to check out and review the new SJ30, I was more than happy to put it through its paces.

And honestly, the SJ30 feels like SJCAM has been paying attention to how people actually use these cameras now.

Rather than focusing purely on extreme sports, the SJ30 feels designed for everyday creators. Travel shooters, vloggers, photographers filming BTS content, family adventures, road trips, social media creators, basically anyone who wants a compact camera ready to go at a moment’s notice.

First Impressions

The first thing I noticed was the size. The SJ30 is definitely a little larger and bulkier than the older C400, but not in a bad way. It still slips into a jacket pocket or camera bag easily enough and comes with a handy grip that immediately makes it feel more comfortable to use handheld.

It feels more substantial without becoming cumbersome.

The flip screen is also a genuinely useful addition. The 2.51-inch touchscreen rotates up to 180 degrees, making it much easier to frame yourself while filming pieces to camera or vlogging on location.

As someone who occasionally has to stand in front of a camera pretending to be natural while talking about photography gear in public, I appreciate this feature more than I’d like to admit.

Dual Lens Setup and Low Light Performance

One of the biggest selling points of the SJ30 is the new dual-lens system. SJCAM has paired a standard daylight sensor with a larger starlight sensor designed specifically to improve low-light shooting.

And this is important because action cameras traditionally struggle once the light starts disappearing.

Tiny sensors and darkness are not usually best friends.

Now, this is not suddenly going to replace a full-frame mirrorless camera for cinematic night shooting, definitely not. Let’s stay realistic. But compared to many cheaper action cameras I’ve used over the years, the SJ30 definitely feels more capable after sunset. The camera will automatically detect low light and switch between lenses (note – it does stop recording in between, but I think you can set to manually switch between lenses).

Night street scenes, evening travel footage, moody city lights, twilight walks and low-light BTS clips could all look far more usable without immediately descending into muddy noise and smeared detail. I took mine into a dark, moody forest and it worked quite well. I have not tried it at night in the city for instance, as its winter and cold!

8K Video, But Also… Why?

The SJ30 supports video recording up to 8K at 20fps and 4K at 60fps.

Now realistically, most creators are probably still delivering final videos in 4K or even 1080p. But having the extra resolution available does give you more flexibility for cropping, reframing and future-proofing footage.

Personally, I still think 4K 60 is probably the sweet spot here for most users. Smooth motion, manageable file sizes and excellent quality.

Still, it’s impressive seeing this level of specification arriving at a much more affordable price point.

Vertical Video Finally Makes Sense

Social media creators will probably appreciate that the SJ30 supports native vertical shooting up to 5K.

This means you’re not simply cropping a horizontal frame later and throwing away resolution. The camera is actually designed to create vertical content properly for Instagram Reels, TikTok and YouTube Shorts.

And whether we personally love vertical video or not, social platforms certainly do.

Stabilisation and Real World Shooting

The SJ30 features SJCAM’s SteadyMotion 2.0 stabilisation system powered by a six-axis gyroscope, along with a built-in 45-degree horizon lock. Translation? Less shaky footage while walking around filming. I was hand holding the SJ30 in the car while moving and it was OK. Likewise, while walking and holding the camera the stabilisation seemed to be quite good as well. See video below.

For travel content and behind-the-scenes shooting especially, stabilisation matters more than people often realise. Nobody wants footage that looks like it was filmed during a minor earthquake.

Walking shots, driving clips and handheld BTS footage all feel much smoother and easier to watch.

Audio Improvements

One thing SJCAM appears to be taking more seriously with the SJ30 is audio.

The camera includes a detachable wind guard and supports the optional SJCAM M4 wireless microphone for cleaner outdoor audio recording. In the bush, it did not really pick-up low volume ambient bird noise/forest noise etc. But it did pick up the lovely sound of a waterfall. Even if its a bit tinny.

I was also sent the M4 Wireless microphone to pair with the SJ30. I don’t believe this camera works with other wireless systems, so you would need to purchase the M4 (available separately). It is super easy to pair the mic to the camera, so that’s a plus. The possibilities are definitely there for creators wanting cleaner voice recording while travelling or filming outdoors. The audio was OK from the camera itself, but nothing to write home about. The wireless microphone would be a big improvement, but it also has its drawbacks.

And honestly, decent audio can make average footage feel professional, while terrible audio can ruin beautiful footage almost instantly. I did a short video walking around my backyard with and without the M4 mic. I’m not brilliant at talking head videos, but while the audio is much improved with the M4 Mic, when I move my head it makes an awful crackling noise. Perhaps I need to move the mic further away. But I don’t think I can walk and talk while holding the Mic in one hand and the camera in another.

The detachable wind guard is also a smart addition for riders, travellers and outdoor creators where wind noise can quickly become unbearable. I couldn’t really test that out, as I don’t ride a bike or similar.

Battery Life and Travel Use

Battery life looks surprisingly solid too.

The SJ30 includes a 2000mAh internal battery and supports an optional power handle that extends recording time significantly. SJCAM claims up to seven hours of recording at 4K with the power handle attached. I have been using it to record ‘behind the scenes’ at studio shoots and workshops. It can easily handle a 3 hour studio session.

Even if real-world results vary slightly, longer battery life is always appreciated during travel days, workshops and location shoots where constantly swapping batteries becomes annoying very quickly. Not that you can swap out the batter on this camera.

The SJ30 also feels heavily aimed at travel creators.

It features IPX8 waterproofing, works down to -20°C and can shoot underwater up to 5 metres without additional housing, or 30 metres with the optional dive case.

For road trips, hiking, rainy conditions and everyday adventures, that kind of durability matters.

Technical Specifications

SJCAM SJ30 Specs

• Up to 8K video recording at 20fps
• 4K recording at 60fps
• Dual-lens system
• 1/2.0-inch daylight sensor
• 1/1.8-inch starlight sensor
• 2.51-inch 180-degree flip touchscreen
• Native 5K vertical video support
• Steady Motion 2.0 stabilisation
• Six-axis gyroscope
• 45-degree horizon lock
• 2000mAh battery
• Optional extended power handle (tripod feet pictured not included)
• Up to 7 hours recording with power handle
• Detachable wind guard
• Optional SJCAM M4 wireless microphone support
• Magnetic quick-release mounting
• Voice control support
• Waterproof to 5 metres without housing
• Waterproof to 30 metres with dive housing
• Operating temperatures from -20°C to 60°C

What’s in the box

The SJ30 comes with a variety of connections, for light stands and dashcams, USB-C Cable, the cage for Portrait to Landscape modes. Magnetic connections for light stands and the power handle. The Power Handle itself. Micro SD Card and a carry bag.

Issues

I found a few annoying issues at the time of writing this. I have asked for support and still waiting for a resolution. These don’t stop me from using the product, but they are issues I find annoying.

1. I could not connect any of my Godox or Hollyland wireless Bluetooth microphones to the camera. But I did get sent the M4 Mic, which connects easily and does make an improvement on the audio.
2. Auto-record. I can’t seem to stop the camera automatically recording without switching the whole unit off. I press record to record. It records. I press Stop and it stops…for a few seconds and then automatically starts recording again. It’s very annoying. I have looked in the menus and cannot locate a Start Automatic Record feature to turn off. If I just turn it on and leave it, it starts recording on its own and then constantly the voice repeats, “stop record”, then “Start Record”, over and over. I did find that if I turned the Prompt tone off in the menu, this seems to fix the problem. But the next time I used the camera it was back…minus the annoying audio prompt voice. Very weird.
3. There is supposed to be a voice activated setting and while I did turn it on the commands “Stop Video” or “Start Video” were not recognised. My Aussie accent??? Couldn’t figure that one out either.
4. It comes with a bag, true, but put the mic and the camera in the bag and that’s it. If the camera is in the cage it fits in the bag, but only just. You cannot put the extension power handle in the bag along with the rest of the kit. A little annoying. Just needed a slightly larger bag.

See the camera in action with videos captured over on YouTube…

Compact, Sharp and Surprisingly Capable

When Viltrox offered to send over the new AF 75mm f/1.8 EVO for review, I was keen to see how it would perform in the real world. As someone who enjoys shooting portraits, I have always appreciated lenses in the 75-85mm range. They offer flattering perspective, good subject separation and are often a go-to choice for headshots and tighter portraits.

That said, my home studio is relatively small, so lenses of this focal length tend to be reserved for headshots rather than full-length portraits. Outdoors, however, they really come into their own.

After spending some time with the lens mounted on my Sony A7RV, photographing dogs, flowers and a variety of garden subjects, I came away pleasantly surprised by what this compact little lens can deliver.

Specifications

• Model – Viltrox AF 75mm f/1.8 EVO
• Focal Length 75mm
• Maximum Aperture f/1.8
• Minimum Aperture f/16
• Lens MountSony E, Nikon Z, Fujifilm XFormat
• Coverage APS-C
• Autofocus – Yes
• Aperture Ring – Yes
• Filter Thread – 58mm
• Firmware Updates – USB-C
• Weight – Approx. 330g

First Impressions

The first thing that struck me was just how compact and lightweight the lens feels. At approximately 330g, it balances beautifully on my Sony A7RV and never felt cumbersome during extended shooting sessions.

The build quality feels solid without becoming overly heavy, and the minimalist design gives the lens a clean, modern appearance. One feature I immediately appreciated was the dedicated aperture ring. As someone who enjoys tactile controls, being able to adjust aperture directly on the lens rather than relying solely on camera dials feels intuitive and enjoyable.

The aperture ring can also be switched to the “A” position, handing aperture control back to the camera body for those who prefer using camera dials instead.

First Test Shoot

As with most new lenses, my first stop wasn’t the studio, it was the garden.

Armed with my Sony A7RV, a couple of willing dogs and plenty of flowers, I spent an afternoon exploring what the lens could do. I primarily shot in Aperture Priority mode, working between f/1.8 and f/8.

Wide open at f/1.8, the lens produced pleasing subject separation and attractive background blur. Photographers coming from a premium full-frame 85mm f/1.4 lens may notice a less dramatic rendering, but that’s hardly surprising given the difference in aperture, size and price point.

Stopping down to around f/5.6 through to f/8 produced excellent sharpness across the frame. This range worked particularly well for flowers and garden subjects where I wanted a little more depth of field while still maintaining attractive background blur.

One thing I quickly discovered while photographing flowers was that the lens does have a minimum focusing distance to be aware of. While I don’t have the exact specification to hand, it felt to be somewhere around 50-60cm. It’s certainly not a macro lens, and I occasionally found myself stepping backwards slightly to achieve focus on smaller subjects.

For portraits, pets and general photography this wasn’t an issue at all, but photographers hoping to fill the frame with tiny flowers, insects or intricate details may find the focusing distance a little limiting.

The aperture ring quickly became one of my favourite features. Adjustments are fast and intuitive, making it easy to move between wide-open portrait work and more detailed nature shots.

Autofocus performance was another pleasant surprise. The lens locked onto both moving dogs and stationary subjects quickly and accurately, with Eye AF proving reliable throughout my initial testing.

Sample Images

Using the Lens on a Sony A7RV

One question I was curious about during testing was how the lens would perform on my Sony A7RV.

Because the lens is designed for APS-C cameras, the A7RV automatically switched into APS-C crop mode when the lens was attached. Reviewing the RAW files in Lightroom confirmed this, with image dimensions measuring 6240 x 4160 pixels, producing files of approximately 26 megapixels rather than the camera’s full 61MP resolution.

While some photographers may initially be concerned about losing megapixels, I honestly didn’t find it limiting in real-world use. The files still contained plenty of detail for editing and online sharing.

In fact, 26 megapixels remains more resolution than many professional cameras offered only a few years ago. We’ve just gotten used to so many more megapixels on newer cameras.

The crop factor effectively gives a field of view closer to a 112mm lens on full frame, making it particularly well suited to headshots, tighter portraits and pet photography. If you have the room.

For Sony A7RV users considering this lens, it’s worth being aware of the automatic crop mode, but during my testing I never felt the reduced resolution negatively impacted the shooting experience.

Image Quality

Sharpness

Sharpness is one of the strongest aspects of this lens. I felt that f/2.8 – f/4.0 was the sweet spot.

Even at f/1.8, images are crisp with good contrast and plenty of detail. Stopping down improves overall performance further, producing excellent results across the frame.

Whether photographing portraits, flowers or pets, the lens consistently delivered images that looked sharp and clean.

Colour and Contrast

The lens produces vibrant colours and pleasing contrast straight out of camera. Files required very little adjustment in post-processing and responded well to editing.

There is a modern, clean rendering to the images that will appeal to photographers who enjoy a crisp look without sacrificing natural colour.

Bokeh

While I wouldn’t describe the bokeh as the standout feature of the lens, it is certainly pleasant.

Backgrounds soften nicely and provide enough separation to direct attention towards the subject without becoming distracting. Photographers expecting the ultra-creamy rendering of premium f/1.4 portrait lenses may find it slightly less dramatic, but for a compact f/1.8 lens in this price range the results are very respectable.

Autofocus Performance

Autofocus proved fast, accurate and quiet during my testing.

Eye AF tracked both people and animals reliably, and focus acquisition was quick even when subjects were moving around the garden.

For portrait photographers, pet photographers and content creators, autofocus performance should be more than sufficient for everyday shooting.

Real-World Uses

The Viltrox AF 75mm f/1.8 EVO is particularly well suited to:

• Portrait photography
• Headshots
• Pet photography
• Flower and garden photography (not macro)
• Event photography
• Travel

For APS-C shooters, the focal length provides a flattering perspective that works beautifully for tighter compositions.

Pros

• Lightweight and compact design
• Excellent sharpness throughout the aperture range
• Fast and reliable autofocus
• Dedicated aperture ring
• Attractive colour and contrast
• Good subject separation
• USB-C firmware updates
• Excellent value for money

Cons

• Minimum focusing distance limits close-up work
• Bokeh is pleasant but not a standout feature
• No optical image stabilisation
• Focal length can feel restrictive in smaller studios
• Weather sealing specifications are unknown (at the time of writing)

Who Is It For?

Photographers looking for a compact portrait lens with excellent sharpness, reliable autofocus and a traditional shooting experience, without spending premium-lens money.

Small Flash, Big Possibilities

Godox has announced the new iM30Pro, a compact camera flash that combines a classic vintage-inspired design with a range of modern features aimed at photographers who want a simple, portable lighting solution.

Designed for street photographers, travel shooters, film photography enthusiasts, and everyday creators, the iM30Pro offers an easy way to add artificial light without the bulk often associated with traditional speedlights.

One of the standout features is the adjustable flash head, which can be tilted to 45°, 60°, 75°, and 90°. This allows photographers to move beyond direct flash and experiment with bounced light for softer, more flattering illumination. For anyone photographing people indoors, shooting events, or working in low light, this added flexibility can make a significant difference to the final image.

The iM30Pro also introduces a Smart AUTO mode designed to simplify flash photography. Rather than manually calculating exposure, photographers simply set their camera’s ISO and aperture, and the flash automatically adjusts its output to achieve a balanced exposure. For beginners, or those who simply want to work quickly, this feature should make flash photography far less intimidating.

Power comes from a built-in rechargeable lithium battery, eliminating the need to carry spare AA batteries. Godox claims up to 550 full-power flashes on a single charge, making it suitable for extended shooting sessions, travel, and day-to-day photography.

Despite its compact size, the iM30Pro delivers a Guide Number of 15 (GN15) and offers manual power adjustment from full power down to 1/128 power in 1/3-stop increments. Recycle times range from just 0.1 to 1.5 seconds, helping photographers keep up with spontaneous moments and fast-moving subjects.

Creative photographers will also appreciate compatibility with the Godox MA01 magnetic colour filters. These magnetic accessories can be attached quickly to add colour effects and creative lighting options without complicated setups.

Compatibility is broad thanks to the universal single-contact hot shoe and standard PC sync port. Whether you’re shooting with a modern mirrorless camera, DSLR, or a classic film camera, the iM30Pro is designed to work across a wide range of systems.

A colour display on the rear of the unit provides quick access to settings and flash information, while the compact dimensions of just 62 × 64 × 48mm and a weight of approximately 121g make it an easy addition to any camera bag.

Key Features

• Compact and lightweight design
• Adjustable bounce head (45°, 60°, 75°, and 90°)
• Smart AUTO flash mode
• Manual power control from 1/128 to full power
• Built-in rechargeable lithium battery
• Up to 550 full-power flashes per charge
• Fast recycle times of 0.1–1.5 seconds
• GN15 flash output
• Magnetic colour filter compatibility
• Universal hot shoe and PC sync connectivity
• Rear colour display

Specifications

• Model: Godox iM30Pro
• Flash Modes: Manual and Auto
• Guide Number: GN15 (ISO100)
• Power Range: 1/128 to 1/1
• Recycle Time: 0.1–1.5 seconds
• Battery: 7.4V / 700mAh built-in lithium battery
• Triggering Methods: Hot shoe, photocell, 2.5mm sync port
• Dimensions: 62 × 64 × 48mm
• Weight: Approximately 121g

First Thoughts

The iM30Pro looks like an interesting option for photographers who want something more capable than a basic on-camera flash, while still maintaining a compact footprint. The inclusion of bounce flash capability, automatic exposure control, and a rechargeable battery makes it particularly appealing for travel, street photography, casual portraits, and film camera users who want a simple lighting solution without carrying a full-sized speedlight.

for full specifications, pricing and availability, visit the Godox website.

Save on Luminar Neo, Luminar Neo MAX, and Cross-Device Licenses During Skylum’s Limited-Time Summer Sale

If you’ve been thinking about adding AI-powered editing tools to your workflow, now might be the perfect time. Skylum has officially launched its Luminar Neo Summer Sale, offering significant discounts on its popular photo editing software, along with bonus training and exclusive extras for a limited time.

Whether you’re a beginner looking to simplify your editing process or an experienced photographer wanting to speed up repetitive tasks, Luminar Neo continues to evolve as one of the most accessible AI-assisted editing platforms available today.

Summer Sale Pricing for New Customers

New users can take advantage of the following offers:

• Luminar Neo Desktop Perpetual License – $119 USD, including a free Luminar Neo video course
• Luminar Neo Cross-Device Perpetual License – $149 USD, including a free Luminar Neo video course
• Luminar Neo MAX Perpetual License – $164.99 USD, including a free Luminar Neo video course plus an additional bonus gift

The Summer Sale provides an opportunity to purchase a perpetual license rather than a subscription, making it an attractive option for photographers who prefer to own their software outright.

Exclusive Loyalty Discounts for Existing Skylum Users

Photographers who already own legacy Skylum products such as Luminar AI, Luminar 4, Aurora HDR, or other previous releases can access special loyalty pricing by logging into their Skylum account.

Current upgrade offers include:

• Cross-Device Perpetual License – $99.99 USD, including a free Luminar Neo video course
• MAX Perpetual License – $109.99 USD, including a free Luminar Neo video course plus a bonus gift

More Than Just a Sale

The promotion arrives shortly after the release of Luminar Neo Update 1.27, which introduced a range of enhanced portrait editing tools across both desktop and mobile versions.

Recent updates have focused heavily on portrait photographers, adding more refined AI-assisted retouching options while maintaining natural-looking results. The improvements aim to give photographers greater control over skin retouching, facial features, and overall portrait enhancement without requiring complex Photoshop workflows.

For photographers working across multiple genres, including portraits, still life, travel, landscape, and creative composites, Luminar Neo continues to expand its toolkit with features designed to speed up editing while preserving creative control.

Final Thoughts

AI editing tools are becoming an increasingly common part of modern photography workflows, and Luminar Neo remains one of the more approachable options for photographers who want to save time without sacrificing creativity.

With discounted perpetual licenses, free training courses, and bonus gifts included in the Summer Sale, this promotion offers a cost-effective way to explore what Luminar Neo can bring to your editing process.

The Luminar Neo Summer Sale is available for a limited time through Skylum’s website.

There’s something a little addictive about photographing waterfalls. Maybe it’s the sound of rushing water, the cool damp air, or that moment when you slow the shutter down and suddenly the chaos becomes smooth, silky movement. Either way, once you start experimenting with long exposure photography, it’s very hard to stop at just one.

These images were captured deep in lush rainforest surroundings, surrounded by moss-covered boulders, ferns and filtered afternoon light. Beautiful to stand in front of, but honestly? Also a tricky scene to photograph well.

Waterfalls can fool your camera very quickly. Bright water, dark rocks, deep shadows and patches of sunlight all competing for attention. It’s one of those scenes where learning to control light becomes far more important than simply pressing the shutter.

That’s where ND filters come in.

What Is an ND Filter?

An ND (Neutral Density) filter is basically sunglasses for your lens. It reduces the amount of light entering the camera, allowing you to use slower shutter speeds even during daylight hours.

Without an ND filter, your waterfall photo might look sharp and frozen. With one, you can stretch time and create that soft flowing water effect that gives landscapes a more cinematic and atmospheric feel.

For these images I used the K&F Concept Magnetic ND filters, and honestly, the magnetic system makes life ridiculously easy when shooting outdoors. But you could also use a Variable ND Filter like pictured below.

No screwing filters on and off, once the main adaptor is screwed on.
No fumbling around near water.
No cross-threading while standing on slippery rocks
Just snap them on magnetically and start shooting.

Why Magnetic Filters Are Actually Useful

I do prefer the magnetic ones. When shooting waterfalls, conditions constantly change. Light shifts through trees, clouds move overhead and sometimes you need to swap between shooting still water detail and long exposures quickly.

The magnetic setup lets you work faster and experiment more. You can swap out different strengths of filters. You can use multiple filters at once.

The Big Advantage of Stacking Magnetic ND Filters

One thing I really love about the K&F Concept magnetic ND filters is the ability to stack multiple filters together quickly and easily.

This becomes incredibly useful when the light is still fairly bright, especially around midday waterfalls or streams where even a single ND filter may not be enough to achieve those really long shutter speeds.

Instead of fighting with exposure settings, you can simply stack another magnetic filter on top and instantly reduce more light entering the lens. Fast, simple and far less frustrating than screwing multiple filters together while balancing on damp rocks beside rushing water.

For photographers chasing ultra-long exposures, this flexibility is fantastic. Want silky water at 1-2 seconds? Easy. Want a dreamy 20-30 second exposure that smooths everything right out? Stack another filter and go for it.

The Downside: Colour Casts

Like many ND filters, especially when stacking multiple together, you can start introducing a slight colour cast into the image. In this case, the K&F filters can sometimes lean toward a cooler blue tone.

Now personally, I don’t always hate that look for waterfalls and rainforest scenes. Sometimes the cooler tones actually enhance the mood and atmosphere quite nicely.

But if colour accuracy is critical, it’s something to watch for. The good news is it’s usually very easy to correct in Lightroom or Camera Raw with a simple white balance adjustment. Shoot RAW and you’ll have far more flexibility to fine-tune the colours later.

That said, this is also where photographers need to avoid falling into the trap of gear perfectionism.

Some people spend so much time obsessing over tiny colour shifts they forget to actually enjoy making photographs.

I’d rather come home with a strong image and a slight blue tint than no image at all because I was busy pixel peeping in the rainforest.

The Settings Behind These Images

The shots here was captured on Sony A7RV and Zeiss 16-35mm wide-angle lens at:

• 30 seconds (as much as 45 seconds in others)
• f/9 – f/11
• ISO 100
• K&F CONCEPT ND8 and ND64 filters

That long shutter speed allowed the water to soften beautifully while still keeping texture in the surrounding rocks and foliage.

The challenge with long exposures in forests is balancing movement with detail. Go too long and the entire image can start looking muddy or overly dreamy. Go too short and you lose that flowing motion completely. Also watch out for wind, your water might look silky smooth but too much wind can make all your surrounding foliage blurry.

A lot of beginners assume there’s one “correct” shutter speed for waterfalls.

There isn’t.

A raging waterfall and a gentle rainforest stream need completely different approaches.

Sometimes 1 second works.
Sometimes 5 seconds works.
Sometimes 20 seconds gives you the mood you want.
Sometimes 45 seconds or longer is magic and you need to go into bulb mode.

The real skill is learning to match the shutter speed to the feeling of the scene.

Don’t Forget the Tripod Basics

One last thing that’s easy to overlook, if you’re not using a remote shutter release, switch your camera to a 2-second timer.

It’s such a simple trick, but it makes a huge difference with long exposures.

Even the tiny vibration caused by physically pressing the shutter button can introduce slight camera shake, especially during multi-second exposures. You may not notice it immediately on the back screen, but once you zoom in later, those beautiful crisp rocks and fine details can suddenly look just a little soft.

The 2-second timer gives the camera enough time to completely settle before the exposure starts.

It’s one of those tiny landscape photography habits that feels almost boring… right up until it saves a shot.

Don’t Just Photograph the Water

One mistake photographers often make with waterfalls is treating the water as the only subject.

But look closely at these scenes.

The mossy rocks.
The leading lines from fallen branches.
The deep greens of the ferns.
The pockets of light filtering through the trees.

Those elements are what give the image atmosphere and depth. The water is only part of the story.

This is where composition matters just as much as the filter.

In fact, I’d argue a boring composition with silky water is still… well… boring. Harsh, but true.

Long exposure doesn’t magically fix weak framing.

Tips for Better Waterfall Long Exposures

Use a tripod

Obvious, yes. But also essential. Twenty-second handheld exposures are generally called “abstract regret.”

Watch the highlights

Water blows out very easily. Slightly underexpose if needed and recover shadows later.

Try different shutter speeds

Don’t shoot one frame and leave. Experiment. Faster water often benefits from shorter exposures than people expect.

Use manual focus if autofocus struggles

Waterfalls and dark forests can confuse autofocus systems, especially in low light.

Shoot RAW

Especially when using ND filters. It gives you far more flexibility to correct colour casts and recover tonal detail later.

Look beyond the obvious composition

Everyone shoots the main waterfall. Look for details, reflections, foreground rocks or tighter crops.

Slow down

Ironically, long exposure photography works best when the photographer slows down too.

Why I Still Love Shooting Landscapes This Way

Even after years of photography, long exposure work still feels a bit magical. You’re capturing something the human eye doesn’t naturally see. Time gets stretched. Water becomes texture instead of motion.

And honestly, standing quietly beside a waterfall while waiting for a 20-second exposure is probably healthier than doom-scrolling social media for another hour.

Probably.

The K&F Concept magnetic ND filters made the process fast and enjoyable, especially when moving between compositions in wet conditions. They’ve become one of those pieces of gear that quietly stays in the bag because they simply make shooting easier.

And gear that removes friction from the creative process? That’s usually the gear worth keeping.

Don’t forget to stay water safe

Don’t forget to stay safe around the water, wear solid walking boots, shoot with a ‘buddy’ and don’t end up with yourself or your gear in the water!

If Lightroom feels overwhelming, cluttered, or just plain confusing sometimes, you are definitely not alone. In this video I’m sharing a collection of quick Lightroom tips and hidden shortcuts that can genuinely make your editing workflow easier and faster. From checking clipped highlights and shadows, using before and after previews, reference view, solo mode, and even Lightroom’s built-in shortcut cheat sheet, these are simple tricks that can help beginner photographers edit with more confidence and less frustration. Whether you shoot portraits, still life, landscapes, or creative photography, these Lightroom editing tips can help you work smarter and improve your photo editing workflow without overcomplicating things.

Can this little controller actually speed up your editing, or is it another gadget destined to collect dust?

If you’ve never come across TourBox before, you’re probably not alone. A few years ago I kept seeing these funny little controllers popping up on YouTube and creative channels and thinking… what exactly is that thing?

For anyone unfamiliar, TourBox creates customizable editing controllers designed for creatives. Think photographers, retouchers, digital artists, video editors, and anyone who spends a lot of time clicking through menus or trying to remember keyboard shortcuts. Rather than constantly reaching for the keyboard, the idea is to put commonly used tools and actions literally at your fingertips using buttons, dials, knobs and wheels.

The company has been around since around 2018 and has steadily built a following among photographers, editors and artists wanting a faster and more tactile editing experience. Over the years they’ve released a number of models, refining the design and adding more functionality along the way.

I’ve often thought about trying one myself. As someone who spends a lot of time in Lightroom, Photoshop and portrait editing, I was curious whether it was genuinely useful or just another shiny gadget that looked cool sitting on a desk.

So when TourBox offered to send over a demo of the TourBox Elite Plus, of course I said yes.

First Impressions

Straight out of the box my first thought was:

“Okay… there are a lot of buttons.”

The TourBox Elite Plus looks a little like a gaming controller collided with a sound mixer. Dials, wheels, knobs, buttons and scroll controls are all packed into this compact little unit.

The build quality immediately impressed me. It feels solid and premium without feeling bulky, and every button has a really satisfying tactile feel.

Setting it up was interesting because somehow it felt simple and complicated at exactly the same time.

Installing the software and getting connected was straightforward enough. No major dramas there. Download the software and instal it, turn the Tourbox on (button on the underside), even connecting to Bluetooth was a breeze. Follow along with simple setup instructions. But once you open up all the customization options, that’s where my brain started doing gymnastics.

You can customise almost everything, profiles, shortcuts, button combinations, gestures and application-specific controls.

Suddenly I found myself sitting there wondering:

“Am I overthinking this? Or somehow underthinking it?”

Because the beauty of TourBox is also the thing that initially makes it overwhelming. There isn’t one “correct” setup. It depends entirely on how you work.

Thankfully the lovely people at TourBox patiently helped me gain some perspective on this little controller and reminded me that I didn’t need to build the mythical perfect setup on day one.

Start simple.

Choose one program (like Lightroom Classic).Choose the tools you use all the time.

Build from there.

Once I stopped trying to map every possible button combination known to mankind, things started making a lot more sense.

The Learning Curve… and Yes, It’s Steep

Now I’m just going to say it upfront, there is a learning curve here.

Not a gentle little hill either. More of a “why did I decide to climb this mountain?” kind of learning curve.

Thankfully TourBox clearly understands this because there are on-screen reminders that pop up and tell you what buttons are assigned to what functions. And honestly… thank goodness for that.

Because my poor feeble brain can barely remember keyboard shortcuts at the best of times, and that’s with a pretty basic setup.

At first I found myself constantly checking prompts and wondering:

“Wait… was that exposure? Undo? Brush size? Why am I zooming into someone’s eyeball?”

And that’s before getting into more advanced shortcuts and combinations.

As someone who’s used keydial remotes and shortcut hubs before, there was something strangely familiar about the experience, but also completely alien at the same time.

Similar idea.

Completely different way of interacting with it.

I think part of the challenge is that most of us have spent years editing a very specific way. Keyboard over here. Mouse over there. Hands automatically reaching for the same controls without thinking.

Breaking that muscle memory takes time.

It’s still early days for me, but I suspect the secret isn’t endlessly sitting there assigning buttons. The key is probably to jump into a proper editing session, throw away the keyboard and mouse and force yourself to commit. And that is exactly what I did.

Because I quickly realised I’d developed a reflex. Every few minutes I unconsciously reached for my mouse.

Not because I needed to. Simply because that’s what years of editing had trained me to do.

Real World Editing Experience

So far I’ve only configured TourBox for Lightroom and Photoshop, but even that has given me a taste of what it can do.

Simple adjustments like:

• Exposure
• Contrast
• Brush size
• Zoom
• Undo
• Before and after previews

all become much more tactile.

Instead of clicking around menus or remembering shortcuts, you’re physically interacting with your edits.

And that changes the experience more than I expected.

Editing starts feeling less like computer work and more like you’re actually controlling the process.

For Lightroom users especially I can see the appeal once that muscle memory develops.

For Photoshop users I suspect it could be even better.

Brush controls, opacity, canvas rotation, retouching tools and repetitive tasks all seem like obvious wins.

And honestly, anything that potentially reduces repetitive keyboard and mouse strain after a long editing session gets a thumbs up from me.

It Goes Way Beyond Lightroom

Right now I’ve only set up Lightroom and Photoshop, but this really just scratches the surface.

TourBox supports:

• Lightroom Classic
• Photoshop
• Premiere Pro
• DaVinci Resolve
• Final Cut Pro
• Capture One
• Clip Studio Paint
• And pretty much any software that uses shortcuts???

So whether you’re editing photos, painting digitally, creating videos or jumping between multiple programs, you can customise profiles for almost anything.

That flexibility is one of its biggest strengths.

It also explains why setup initially felt slightly overwhelming.

The possibilities are enormous.

Wireless Performance

The Elite Plus supports Bluetooth connectivity and dual-device support, which is genuinely useful if you work across multiple systems.

Connection was stable during testing with no noticeable lag or random disconnects.

Battery life also seems solid so far, and it doesn’t feel like something you’ll constantly need to plug in.

TourBox Elite Plus Specs

Connectivity: Bluetooth + wired USB-C connection
Wireless Support: Dual Bluetooth device switching
Compatibility: Windows and macOS
Supported Software: Lightroom, Photoshop, Premiere Pro, DaVinci Resolve, Capture One, Final Cut Pro, Clip Studio Paint and more
Customisation: Programmable buttons, dials, wheels, macros and software-specific profiles
Battery: Rechargeable built-in battery
Charging: USB-C
Dimensions: Approx. 112 × 95 × 45 mm (including knobs etc)
Weight: Approx. 420g

What’s in the Box?

Inside the box you’ll find:

• TourBox Elite Plus controller
• USB-C charging cable
• Quick start guide/documentation
• Bluetooth pairing instructions
• Protective storage pouch

Simple and ready to go.

“One thing I appreciated was that setup itself wasn’t complicated. Download the software, connect the device and you’re off. Understanding how you actually want to use it though? That’s where the real adventure begins.”

What I Loved

• Excellent tactile controls
  • The dials and buttons feel fantastic and make editing more interactive.
• Huge customization options
  • You can genuinely tailor it to suit your own workflow.
• On-screen reminders save your sanity
  • Especially during those early days.
• Great build quality
  • Feels solid and premium.
• Works across multiple creative programs
  • Lightroom today. Photoshop and video editing tomorrow.

What Could Be Better

• The learning curve is real
  • Expect to invest time.
• Can feel overwhelming initially
  • So many buttons and combinations can be intimidating.
• Price
  • It’s definitely an investment at AUD$476.00
• Muscle memory is hard to break
  • I reached for my mouse constantly.

Want a little more in-depth review and setup guide? Hit my YouTube channel.

I know… I’m a little late to the party on this one.

But if you’re anything like me, sometimes software updates get downloaded with the best intentions and then life, workshops, editing deadlines, YouTube videos, and approximately 14 cups of coffee later… you finally sit down and properly explore what’s new. Through in an overseas holiday and well, things slide.

And after spending some time looking through the new features in Nik Collection 9, I think DxO may have delivered one of the biggest updates we’ve seen in years.

For those who don’t know, Nik Collection has long been one of my favourite creative editing toolsets, especially for still life work, cinematic portraits, black and white processing, and adding those little artistic touches that would normally take forever inside Photoshop.

What I’ve always loved about Nik is that it lets you experiment quickly. You can go from “nice image” to “ohhh… now we’re talking” in just a few clicks.

And version 9 seems heavily focused on making that process even faster and more creative.

AI Masking Finally Comes to Nik Collection

One of the headline additions is the new AI-enhanced masking tools, including both Depth Masks and AI Masks.

Now, I’ll be honest, I’m generally pretty skeptical when companies throw “AI” into every second sentence like seasoning on hot chips. But this actually sounds useful.

The new Depth Masks analyse the image and create a depth map, allowing you to target adjustments based on distance from the camera. That means you can apply effects to foregrounds or backgrounds without manually painting complicated masks.

For portrait photographers, still life shooters, and anyone working with layered scenes, that could be a genuine time saver.

Then there’s the new AI Masks, which let you click directly on subjects or drag a quick selection box to isolate areas for adjustments.

Again, less fiddling around, more creating.

And honestly? That’s where editing software should be heading.

The New Colour Grading Tool Looks Very Interesting

This is probably the feature I’m most curious about.

Nik Collection 9 introduces a brand-new Color Grading tool inside Color Efex, designed to control shadows, midtones, highlights, and global colour adjustments from a simplified interface.

What caught my attention is the ability to “lock” colour relationships together while grading. So instead of wrestling multiple colour wheels independently, you can maintain harmony between tones while shifting the overall mood of the image.

For cinematic edits, moody still life work, vintage-inspired portraits, or even creative black and white toning, this could be incredibly handy.

And because it’s Nik Collection, it still keeps that “creative playground” feeling rather than becoming overly technical.

Halation, Glass Effects & Chromatic Shift

Now this is where things start getting a bit fun.

Nik Collection 9 adds several new creative effects including:

• Halation
• Chromatic Shift
• Glass Effect

The Halation effect recreates that beautiful soft glow often seen in vintage film stocks, where highlights gently bloom into darker areas.

And honestly… if you’ve followed my work for any length of time, you already know I’m weak for anything cinematic, dreamy, moody, painterly, or slightly nostalgic.

The Glass Effect also sounds like something I’ll absolutely lose an afternoon experimenting with, adding distortion and texture overlays inspired by different glass surfaces.

Meanwhile, Chromatic Shift leans into those imperfect analog printing vibes with subtle colour separation effects.

Used carefully, these sorts of tools can add atmosphere and character incredibly quickly.

Used badly… well… let’s just say not every slider needs to go to 100.

Blending Modes Finally Arrive

Another genuinely useful addition is the introduction of Blending Modes inside Nik Color Efex and Analog Efex.

If you’re familiar with Photoshop blending modes, you’ll immediately understand how much creative flexibility this opens up.

DxO says there are now 18 blending modes available, allowing photographers to dramatically change how effects interact with the image underneath.

This feels like one of those features that won’t necessarily make the flashy headlines, but once you start using it, you’ll wonder how you edited without it.

Workflow Tweaks That Actually Matter

One thing I appreciate is that DxO didn’t just throw in shiny new filters and call it a day.

There are also workflow improvements including:

• Hover previews for presets
• Better mask overlays
• Easier navigation for local adjustments
• Copy/paste local adjustments between images

Small changes? Maybe.

But if you edit a lot of images, those little workflow refinements add up quickly.

Final Thoughts

Nik Collection has always been one of those plugin suites that encourages experimentation. It’s less about technical perfection and more about helping photographers develop a visual style.

And honestly, in a world where so much editing is starting to look identical, I think that matters more than ever.

The new masking tools look genuinely useful, the colour grading additions are exciting, and the new analog-inspired effects feel very much in line with the kind of creative editing many photographers are leaning toward right now.

So yes, I may be a little late talking about Nik Collection 9…

…but better late than never.

And if you’ve been thinking about trying DxO software, don’t forget you can grab 15% off all DxO products for new customers using my affiliate code:

Code: JuliePowell

You can check out the full details on the DxO website and download the free trial if you want to have a play for yourself.

Note: Sample images supplied by DXO

Godox Celebrates Four Red Dot Design Awards for Innovative Creative Tools
Honoured Products Include the iT32, iT30Pro, X3Pro and ML80Bi

Light Without Limits. Honoured by Red Dot.

Godox is proud to announce that four of its latest products, the Godox iT32, Godox iT30Pro, Godox X3Pro and Godox ML80Bi, have been recognised with the prestigious Red Dot Design Award. This achievement highlights Godox’s continued commitment to blending innovative technology with practical, creator-focused design.

More than just an award for aesthetics, the recognition reflects a deeper philosophy, creating tools that feel intuitive in the hands of photographers, filmmakers and content creators while delivering professional performance in real-world shooting environments.

Award-Winning Products

Godox iT32 & X5

Recognised as a revolutionary modular lighting system, the iT32 combines magnetic modularity with the Godox 2.4GHz wireless ecosystem. Designed to pair with different X5 versions for major camera brands, the compact flash offers full TTL and High-Speed Sync compatibility while functioning as both an on-camera flash and an off-camera trigger. Its flexible design allows photographers to transition seamlessly between setups while maintaining complete creative control over their lighting.

Godox iT30Pro

The iT30Pro delivers professional lighting performance in an ultra-compact body. Featuring full TTL and High-Speed Sync support, the flash introduces a vibrant full-colour touchscreen interface, built-in wireless master/slave X system and a convenient one-click quick-release hot shoe. Pocket-sized yet feature-packed, the iT30Pro is designed for creators who want professional lighting without the bulk.

Godox X3Pro

Designed as a powerful wireless command centre, the X3Pro redefines lighting control with its responsive touchscreen interface and seamless integration with the Godox 2.4G X wireless system. With remote smartphone app connectivity and a compact, pocket-friendly design, the X3Pro streamlines professional workflows for photographers working both in studio and on location.

Godox ML80Bi

Compact yet impressively powerful, the ML80Bi is built for creators who need portability without compromising output. When paired with the ML-Z Zoom Lens Reflector, the light delivers brightness comparable to a 100W LED fixture. Its modular design supports a wide range of optical accessories, while the built-in battery and optional power adapters provide flexible power solutions for longer creative sessions.

These awards reinforce Godox’s mission to create tools that inspire creativity through thoughtful innovation, practical functionality and beautifully refined design. From portable flashes and wireless triggers to versatile LED lighting, the company continues to push forward with products designed to support creators wherever their ideas take them.

For more information, visit the Godox website

A Retro-Inspired Classic Designed for Modern Storytelling

Thypoch has officially unveiled the new Thypoch Ksana 35mm f/2 ASPH, a compact M-mount lens that combines the timeless visual language of 1980s photography with modern optical engineering. Designed for photographers who appreciate classic rendering and tactile craftsmanship, the new Ksana 35mm f/2 ASPH delivers a refined shooting experience for street, portrait, documentary, travel, and landscape photography.

Built around the classic 35mm focal length, the Ksana offers a natural perspective that feels equally at home capturing environmental portraits, layered street scenes, and cinematic travel moments. Compact and lightweight at just 198.6g, with a slim 27mm profile from flange to front element, the lens is designed as an everyday companion that slips easily into any camera bag, or even a jacket pocket.

One of the standout features of the Ksana 35mm f/2 ASPH is Thypoch’s new Epoch Coating 84’, inspired by the distinctive flare characteristics and warm tonal rendering of vintage optics from the 1980s. Drawing on the company’s experience in cinema lens development, the coating recreates the nostalgic gold-purple flare and cinematic warmth that defined an era of photography, while maintaining the clarity and performance expected from modern optics.

The lens itself is crafted from solid brass and is available in both black paint and silver finishes. The black version pays tribute to classic rangefinder lenses with a subtle semi-gloss oil-based finish, while the silver edition offers a clean metallic aesthetic designed to pair beautifully with silver-bodied cameras. Both versions include a crescent-shaped focus tab for intuitive manual focusing, along with a tactile resistance point at 0.7m to indicate the traditional rangefinder focusing limit.

Behind its vintage-inspired exterior is a modern optical design featuring 8 elements in 5 groups, including one aspherical element, one extra-low dispersion element, and two high refractive index elements. This configuration helps deliver excellent sharpness, controlled aberrations, and smooth, natural bokeh. Combined with a fast f/2 aperture and a minimum focusing distance of 0.5m, the lens is designed to create strong subject separation and rich depth with a classic rendering style.

The Thypoch Ksana 35mm f/2 ASPH is available immediately through the Thypoch Official Store and authorised dealers worldwide.

The standard version includes the lens, front and rear caps, and warranty card, with a retail price of USD $599. A second version, which also includes a dedicated lens hood, is available for USD $649.

For more information or to locate an authorised dealer, visit Thypoch Dealers.

10W vs 20W – Which One Belongs in Your Photography Kit?

RGB light wands are one of those tools that can either elevate your work… or just turn everything into a glowing mess of colour if you don’t know how to use them.

I’ve been testing both the Neewer RGB1 and Neewer RGB2, and while they look similar, they serve very different purposes once you actually start shooting with them.

This isn’t about which one is “better.”
It’s about which one fits how you shoot.

Key Specs (The Stuff That Actually Matters)

Neewer RGB1

• 10W output
• CRI 98+
• 3200K – 5600K colour temperature
• Full RGB (HSI control)
• ~90 mins runtime at 100%
• 6400mAh battery (USB-C charging)
• Metal Barn doors included
• Magnetic mounting + dual 1/4” threads
• App control (up to ~50m)
• RGB touch bar + 17 scene effects

Neewer RGB2

• 20W output
• CRI 98+ / TLCI 97+
• 2500K – 10,000K colour temperature
• RGBWW colour system (better colour blending)
• ~100 mins runtime at 100%
• Fast USB-C PD charging (~2.7 hrs)
• Detachable metal barn doors
• Magnetic mounting + handle + 1/4” mount
• App + onboard + 2.4G control (~15m realistic)
• 296 LEDs, ~1860 lux @ 0.5m
• 18 scene effects + LCD display

Build & Handling

Both lights are lightweight and portable, but they feel quite different in use.

• RGB1 is smaller, lighter, and easier to handhold for longer periods
• RGB2 is larger, more robust, and feels more like a “set it and shape it” light

Both include barn doors, which is a big win. This lets you:

• Control spill
• Shape light direction
• Avoid that “everything is glowing” look

And both have magnetic mounting, which is honestly one of my favourite features. Stick it to a shelf, a stand, a pole… done.

Real-World Use (This Is Where It Matters)

RGB1 – Close, Controlled, Intentional

At 10W, this light works best when it’s close to your subject.

Where I found it most useful:

• Still life setups
• Macro photography
• Tight portrait lighting
• Quick accent or rim lighting

It’s easy to position, easy to control, and doesn’t overpower your scene.

This is your precision tool

RGB2 – Distance, Coverage, and Creative Flexibility

At 20W, the RGB2 gives you more breathing room.

Where it shines:

• Full-body portraits
• Lighting from further away
• Background colour washes
• Stronger rim or separation lighting

And the big one:
2500K–10,000K range + RGBWW

This gives you far more flexibility to:

• Warm things right down (almost candlelight tones)
• Push into cooler, stylised looks
• Match or contrast ambient light more accurately

This is your coverage + control tool

Features That Actually Make a Difference

Mounting Options (Both Lights)

• Handheld
• Light stand (1/4”)
• Magnetic mounting
• Adhesive plates (RGB1)

Great for small studios where space is tight

App Control

Both lights connect to the NEEWER app, allowing:

• Brightness and colour adjustments
• Scene selection
• Presets and memory
• Group control

Especially useful in workshops or multi-light setups

Touch Bar Control

Both include a touch-sensitive RGB bar:

• Quick colour selection
• Lock feature to avoid accidental changes

Sounds gimmicky, actually quite handy in practice

Pros and Cons

Neewer RGB1 (10W)

Pros

• Lightweight and easy to handle
• Barn doors for shaping light
• Magnetic mounting = super flexible
• Great for close-up work
• Reliable ~90 min runtime

Cons

• Limited power
• Narrower colour temperature range
• Not suited for larger scenes
• Can get warm to the touch during extended use

Neewer RGB2 (20W)

Pros

• Double the output
• Wide 2500–10,000K range
• RGBWW = better colour quality
• More versatile for larger setups
• Slightly longer runtime (~100 mins)
• Better for distance and coverage

Cons

• Bulkier
• Less comfortable handheld for long periods
• Overkill for tight setups sometimes
• Also can get warm with prolonged use

Sample Images from the studio

The following sample images were taken in the studio with a whole raft of Neewer LED Lights. The RGB1 was often hand-held or placed on the table in front of the model, while the RGB2 was on a light stand. I also used the TL60, TL90, GC21B, GC30C and CB300C with a softbox. It makes for an incredible line-up and some cool innovative lighting.

The Honest Take

Here’s where most people get it wrong.

They assume:

“I’ll just get the more powerful one”

But unless you’re consistently shooting:

• Larger scenes
• Full-body portraits
• Or lighting from a distance

You don’t always need it.

In a smaller studio setup, the RGB1 is often easier, faster, and more controlled.

The RGB2 earns its place when you need:

• More reach
• More flexibility
• More control over colour

One Thing Most People Overlook

Both of these lights are tools, not solutions.

They won’t fix bad lighting habits, but they will:

• Help you experiment
• Add depth and colour
• Push your creativity further

Used well, they’re brilliant.

Used badly… well, we’ve all seen those neon disasters. But seriously pair them up with some other fabulous Neewer LED Lights and they are totally amazing

Check out the TGB1 and 2 in use in the studio, in my latest shoot over on YouTube.

Action cameras have come a long way from simply being strapped to helmets, surfboards and bikes. These days, many creators are using them for travel, behind-the-scenes content, vlogging, family adventures and everyday storytelling. SJCAM’s latest release, the new SJ30, seems to be leaning heavily into that idea.

The new SJ30 is an 8K dual-lens action camera designed not just for extreme sports, but for real-world use. Rather than focusing purely on adrenaline-fuelled activities, SJCAM says the SJ30 has been built as a “daily recording camera”, aiming to deliver good image quality, strong battery life and simple operation without needing a PhD to figure it out. That alone may appeal to many content creators.

One of the more interesting additions is the dual-lens system. The SJ30 combines a 1/2.0-inch daylight sensor with a larger 1/1.8-inch starlight sensor, designed to improve low-light performance, something action cameras have traditionally struggled with. If you’ve ever tried filming evening street scenes, camping trips or travel footage after sunset, you’ll know that action cams and darkness haven’t always been best friends.

Video specs are certainly ambitious too, with support for up to 8K recording at 20fps and 4K at 60fps. Whether 8K becomes part of your everyday workflow is another discussion entirely, but having the option for extra detail and flexibility certainly doesn’t hurt.

For vloggers and solo creators, SJCAM has included a 2.51-inch flip screen that rotates up to 180 degrees, making self-framing a whole lot easier. Pair that with voice control and it starts to sound like a camera designed for creators who often work alone, whether that’s travel shooters, riders or anyone juggling camera gear while trying to stay in frame.

And yes, vertical shooters haven’t been forgotten. The SJ30 supports native vertical video capture at up to 5K, which means no awkward cropping later and no sacrificing image quality just to fit social media formats.

Keeping footage steady is handled via SJCAM’s SteadyMotion 2.0 stabilisation system with a six-axis gyroscope, along with a 45-degree horizon lock to help keep footage level while moving. Whether you’re walking, cycling or filming on less-than-perfect terrain, stabilisation is still one of those features you quickly appreciate.

Battery life also looks surprisingly solid on paper. The SJ30 features a 2000mAh battery and, when paired with an optional power handle, can reportedly record for up to seven hours at 4K. Long travel days and content shoots can chew through batteries quickly, so extra endurance is always welcome.

Audio gets some attention too, with a detachable wind guard and support for the SJCAM M4 wireless microphone for cleaner voice recording outdoors. A magnetic quick-release mount rounds things out, making it easier to jump between setups without constantly wrestling with mounts and screws.

The SJ30 also arrives with IPX8 waterproofing and can handle depths of up to 5 metres out of the box, or 30 metres with an optional housing. It also claims operation from -20°C to 60°C, making it suitable for everything from winter adventures to warmer climates.

I’ve used action cameras for everything from behind-the-scenes workshop footage to travel content, and honestly, simple can sometimes be underrated. Not everyone needs a complex setup with endless menus and accessories. Sometimes you just want something small, reliable and easy to pull out when a moment happens.

The SJCAM SJ30 is available now and starts at $264 USD. Visit the website for more specs and features.

I know… I’m a little late to the party on this one.

But if you’re anything like me, sometimes software updates get downloaded with the best intentions and then life, workshops, editing deadlines, YouTube videos, and approximately 14 cups of coffee later… you finally sit down and properly explore what’s new. Through in an overseas holiday and well, things slide.

And after spending some time looking through the new features in Nik Collection 9, I think DxO may have delivered one of the biggest updates we’ve seen in years.

For those who don’t know, Nik Collection has long been one of my favourite creative editing toolsets, especially for still life work, cinematic portraits, black and white processing, and adding those little artistic touches that would normally take forever inside Photoshop.

What I’ve always loved about Nik is that it lets you experiment quickly. You can go from “nice image” to “ohhh… now we’re talking” in just a few clicks.

And version 9 seems heavily focused on making that process even faster and more creative.

AI Masking Finally Comes to Nik Collection

One of the headline additions is the new AI-enhanced masking tools, including both Depth Masks and AI Masks.

Now, I’ll be honest, I’m generally pretty skeptical when companies throw “AI” into every second sentence like seasoning on hot chips. But this actually sounds useful.

The new Depth Masks analyse the image and create a depth map, allowing you to target adjustments based on distance from the camera. That means you can apply effects to foregrounds or backgrounds without manually painting complicated masks.

For portrait photographers, still life shooters, and anyone working with layered scenes, that could be a genuine time saver.

Then there’s the new AI Masks, which let you click directly on subjects or drag a quick selection box to isolate areas for adjustments.

Again, less fiddling around, more creating.

And honestly? That’s where editing software should be heading.

The New Colour Grading Tool Looks Very Interesting

This is probably the feature I’m most curious about.

Nik Collection 9 introduces a brand-new Color Grading tool inside Color Efex, designed to control shadows, midtones, highlights, and global colour adjustments from a simplified interface.

What caught my attention is the ability to “lock” colour relationships together while grading. So instead of wrestling multiple colour wheels independently, you can maintain harmony between tones while shifting the overall mood of the image.

For cinematic edits, moody still life work, vintage-inspired portraits, or even creative black and white toning, this could be incredibly handy.

And because it’s Nik Collection, it still keeps that “creative playground” feeling rather than becoming overly technical.

Halation, Glass Effects & Chromatic Shift

Now this is where things start getting a bit fun.

Nik Collection 9 adds several new creative effects including:

• Halation
• Chromatic Shift
• Glass Effect

The Halation effect recreates that beautiful soft glow often seen in vintage film stocks, where highlights gently bloom into darker areas.

And honestly… if you’ve followed my work for any length of time, you already know I’m weak for anything cinematic, dreamy, moody, painterly, or slightly nostalgic.

The Glass Effect also sounds like something I’ll absolutely lose an afternoon experimenting with, adding distortion and texture overlays inspired by different glass surfaces.

Meanwhile, Chromatic Shift leans into those imperfect analog printing vibes with subtle colour separation effects.

Used carefully, these sorts of tools can add atmosphere and character incredibly quickly.

Used badly… well… let’s just say not every slider needs to go to 100.

Blending Modes Finally Arrive

Another genuinely useful addition is the introduction of Blending Modes inside Nik Color Efex and Analog Efex.

If you’re familiar with Photoshop blending modes, you’ll immediately understand how much creative flexibility this opens up.

DxO says there are now 18 blending modes available, allowing photographers to dramatically change how effects interact with the image underneath.

This feels like one of those features that won’t necessarily make the flashy headlines, but once you start using it, you’ll wonder how you edited without it.

Workflow Tweaks That Actually Matter

One thing I appreciate is that DxO didn’t just throw in shiny new filters and call it a day.

There are also workflow improvements including:

• Hover previews for presets
• Better mask overlays
• Easier navigation for local adjustments
• Copy/paste local adjustments between images

Small changes? Maybe.

But if you edit a lot of images, those little workflow refinements add up quickly.

Final Thoughts

Nik Collection has always been one of those plugin suites that encourages experimentation. It’s less about technical perfection and more about helping photographers develop a visual style.

And honestly, in a world where so much editing is starting to look identical, I think that matters more than ever.

The new masking tools look genuinely useful, the colour grading additions are exciting, and the new analog-inspired effects feel very much in line with the kind of creative editing many photographers are leaning toward right now.

So yes, I may be a little late talking about Nik Collection 9…

…but better late than never.

And if you’ve been thinking about trying DxO software, don’t forget you can grab 15% off all DxO products for new customers using my affiliate code:

Code: JuliePowell

You can check out the full details on the DxO website and download the free trial if you want to have a play for yourself.

Note: Sample images supplied by DXO

Lightweight, inflatable, and built for creativity… but not your main light

Neewer has been pushing into more portable, creator-friendly lighting, and the Neewer GC30C RGB Handheld Tube Light and Neewer GC21B Bi-Color Handheld Tube Light are a great example of that direction.

At first glance, they look like simple LED tubes. But once you actually get them in your hands, the big difference becomes obvious, they’re both inflatable.

Yes, really.

And while that might sound like a gimmick at first, it actually changes how you use them in a pretty practical way.

First Impressions

Both lights are incredibly lightweight, almost surprisingly so. They are also magnetic, a nice touch.

Because they’re inflatable, they feel more like a hybrid between a light and a modifier. You’re not dealing with rigid tubes or heavy housings, which makes them easy to move, reposition, or even handhold during a shoot.

The light they produce is naturally soft as well, thanks to that diffused surface, which is a nice bonus straight out of the box.

That said, if you’re used to solid, metal-bodied gear, this will feel a little unusual at first.

Neewer GC30C RGB Handheld Tube Light

• Power Output: 30W
• Lighting Modes: RGB + CCT (bi-colour)
• Colour Temperature Range: 2500K – 8500K
• RGB Hue Range: 0° – 360°
• CRI: ≥ 95
• TLCI: ≥ 97
• 17 Lighting Effects: Multiple built-in scene effects (police, candle, lightning, etc.)
• Control Options: Onboard controls
• Battery: Built-in rechargeable lithium battery
• Runtime: Approx. 70–90 minutes at full power (on 100% power at 2 hours still had 15%)
• Charging: USB-C, Charging Port Protection: USB-C ports are sealed/protected to help guard against dust and light moisture
• Design: Inflatable, soft diffused tube

Neewer GC21B Bi-Color Handheld Tube Light

• Power Output: 21W
• Lighting Modes: CCT (bi-colour only)
• Colour Temperature Range: 2500K – 8500K
• CRI: ≥ 95
• TLCI: ≥ 97
• Brightness Adjustment: 0–100% dimming
• Control Options: Onboard controls
• Battery: Built-in rechargeable lithium battery
• Runtime: Approx. 80–100 minutes at full power (mine died after 90 minutes on 100% power)
• Charging: USB-C, Charging Port Protection: USB-C ports are sealed/protected to help guard against dust and light moisture
• Design: Inflatable, soft diffused tube

The Real Difference Between Them

Even though they share the same inflatable design, they serve very different purposes:

• The GC30C is your creative tool
  Full RGB, effects, colour play, mood lighting
• The GC21B is your control tool
  Clean, adjustable white light for shaping and balance

They’re not competitors. They’re teammates.

Real-World Use

Still Life & Product Photography

This is where these lights quietly become very useful.

The GC30C lets you introduce colour without needing gels or extra modifiers. You can build subtle gradients, background tones, or creative accents without overcomplicating things.

The GC21B balances that perfectly. It gives you:

• clean fill light
• controlled highlights
• better contrast management

Because both lights are soft and lightweight, you can place them exactly where you need, even in tight setups.

One feature that surprised me more than I expected was the built-in magnets. Being able to quickly stick these lights onto metal surfaces or parts of your setup makes a huge difference when you’re working in tight spaces or adjusting things on the fly. It’s one of those small details that ends up saving you a lot of time.

One small detail I really appreciated is that the USB-C charging ports are protected. It might not sound like much, but if you’re shooting on location, around water, or even just dealing with a bit of dust, it gives you that extra bit of confidence using them outside the studio.

Portrait Photography

Let’s set expectations properly, these are not key lights.

But as supporting lights, they’re excellent. I stuck them to my backdrop stand and used them as rim lights on a setup with some other higher powered LED Lights.

The GC30C works beautifully for:

• coloured rim lighting
• background separation
• creative effects

The GC21B is more subtle:

• soft hair light
• gentle edge light
• controlled fill

And because they’re so light, you can position them quickly without needing heavy stands or complicated rigs.

Content Creation & BTS

This is probably where they make the most sense for a lot of people.

They’re:

• quick to set up
• easy to adjust
• portable enough to take anywhere

If you’re shooting reels, YouTube, or behind-the-scenes content, these lights are a simple way to improve your lighting without slowing yourself down.

What I Loved

• Ultra lightweight and genuinely portable
  You’ll actually bring these with you.
• Soft, flattering light straight out of the box
  No extra diffusion needed.
• Creative + practical pairing
  One adds colour, the other adds control.
• Easy to experiment with
  These encourage you to try things without overthinking.
• Magnetic mounting is genuinely useful
  Being able to stick these to metal surfaces, shelves, stands, or even bits of your studio setup makes positioning incredibly quick and flexible, especially in tight still life setups.
• Protected USB-C ports for real-world use
  The charging ports are covered, which is a small detail but makes a big difference if you’re shooting outdoors or moving between locations. You’re not constantly worrying about dust or accidental splashes getting into your gear.

What Might Frustrate You

• Not powerful enough for main lighting
  You’ll still need a stronger key light.
• Inflatable design won’t suit everyone
  It’s practical, but it doesn’t feel like traditional “pro gear.”
• Battery life depends on usage
  Full power drains faster, as expected.
• They won’t fix bad lighting habits
  They enhance your setup, they don’t replace good technique.

Who These Are Really For

These lights make the most sense if you:

• enjoy creative lighting and experimentation
• shoot still life, portraits, or content
• want something lightweight and flexible
• need quick, portable lighting options

They’re less suited for high-power studio setups or commercial shoots where output is critical.

Sample Images

The below images were taken during a portrait session, I used the GC30C and GC21B as fill lights on either side of the backdrop stand. Key lights were Neewer CB300C and CB200C, as well as TL60 and TL90.

Using them attached to a backdrop stand they make a perfect rim light for still life and product photography, especially when paired up with the Neewer CB300C.

Check out the video over on YouTube to see them in action.

I can finally share a proper look at what’s coming in the latest Spring update for Skylum’s Luminar Neo, and this one feels like a bit of a shift, especially for those of us who shoot portraits.

Now, I’ll be honest. While I’ve always liked Luminar Neo for creative edits and quick workflows, I’ve actually been leaning pretty heavily on Aperty when it comes to portrait work. It just handled skin and facial adjustments in a way that felt a little more refined straight out of the box.

This update brings a lot of those more advanced portrait tools directly into Luminar itself, which means less jumping between programs and a much smoother editing workflow overall.

Let’s take a closer look at what’s new.

If you’ve been following along with my editing workflow, you’ll know I’ve used Luminar Neo on and off for creative work and quick turnarounds. This update leans heavily into what Luminar does best, making editing faster, more intuitive, and honestly, a bit more fun.

Let’s break it down.

A Small but Important Change (That Actually Matters)

First up, the mobile app has had a subtle rebrand.

It’s now simply called Luminar, not Luminar Mobile.

That might sound like a minor tweak, but it signals something bigger, they’re clearly pushing toward a more connected ecosystem between desktop and mobile. Less “separate tools,” more “one workflow.”

Mobile Updates: Portrait Tweaks That Actually Help (Not Overdo It)

The mobile side has picked up some solid portrait-focused tools:

• Bokeh AI
  Adds depth and separation, especially useful when you didn’t quite nail that shallow depth of field in-camera.
• Face Light & Face Slim (Face AI)
  Subtle adjustments here are key. Used well, these can enhance rather than scream “edited.”
• Improved Blemish Removal (Skin AI)
  This is a big one. Cleaner, more natural results without that plastic skin look we all try to avoid.

My take: This feels geared toward creators who want quick, polished results without sitting in front of a desktop for hours.

Desktop Updates: Where Things Get More Interesting

The desktop version is where this update really starts to flex.

Bokeh AI (Now Beyond Portraits)

This is probably one of the more exciting upgrades.
You can now apply bokeh effects to objects, not just people.

Think still life, product photography, even some creative composites. That opens up a lot of possibilities for controlled storytelling without needing to reshoot.

Dark Circles Removal (Face AI)

We’ve all been there, either you or your model didn’t sleep enough.

This tool is surprisingly clean. It softens without flattening the face, which is usually where these tools fall apart.

Expanded Skin AI Controls

Now includes:

• Face Skin Smoothing
• Body Smoothing
• Shine Removal (fully automated)
• New Blemish Removal tool

The key here is control. You can dial things in instead of relying on a one-click fix.

Mask Feather (Finally)

This one will make editors quietly very happy.

Mask Feather softens the edges of your masks, which means:

• Better blending
• Less harsh transitions
• More natural edits overall

Simple feature, big impact.

Pricing Breakdown

For new users:

• Lifetime License: USD $119 / AUD $169
• Cross-Device (Desktop + Mobile): USD $159 / AUD $219
• Ecosystem Max (with Creative Library): USD $179 / AUD $239

For existing users:

• Ecosystem Pass: USD $69
• Upgrade Pass: USD $49

My Thoughts

This update feels less like a flashy feature dump and more like refinement in the right places.

What stands out:

• Better portrait tools without over-processing
• More flexibility with Bokeh AI (especially for still life and creative work)
• Small workflow improvements that actually save time

What I’ll be watching:

• How natural the AI results stay when pushed
• Whether photographers rely on this instead of getting it right in-camera

Because let’s be real, editing should enhance your work, not fix everything.

Should You Care About This Update?

If you’re:

• Shooting portraits and want faster retouching
• Creating still life or product work and want more control over depth
• Looking for a simpler editing workflow without jumping between apps

Then yes, this is worth a look.

Final Thoughts

The official release drops April 9th, 2026, and if the beta is anything to go by, this is a solid step forward for Luminar.

It’s not trying to replace your entire workflow, but it’s definitely making parts of it quicker and more accessible.

And honestly, anything that gives you more time to shoot instead of sitting behind a screen? I’m all for it.

Check out the run through video over on YouTube.

If “sitting is the new smoking,” then spending long hours sitting at a desk editing photos is not doing any of us photographers any favors. The FlexiSpot MotionX Pro 2-in-1 Under Desk Walking Pad promises to fix that. The pitch is simple: walk while you work. But does it deliver?

Note: FlexiSpot sent us the MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill to review and keep. However, this is a completely independent review. All thoughts about this product are our own.

Flexispot MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill

Flexispot MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill fits underneath many office chairs.

Flexispot MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill

Pros

• Doubles as both an under desk walking pad and a treadmill, easily converting from one to the other in seconds
• Sturdy build
• Dual use for under a desk as a walking pad for light activities or unfolding the arms for faster walking or jogging
• Has a quiet motor that produces less than 45 decibels of noise
• Easy setup – take it out of the box, plug it in, fire up the remote, and goooooooo!
• Magnetic remote control sticks to arm
• Comfortable shock-absorbing walking pad

Cons

• No cup holder (this is a small thing, but y’know, I love my cupholders…)

I should note here that this particular model does not have an incline feature. Also, the walking surface width is a little narrow compared to full-sized treadmills. Do remember, though, that this is for under desk use as well as a treadmill!

FlexiSpot MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill — Technical specifications

All of the technical specifications for the FlexiSpot MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill  are from the official FlexiSpot website.

• Max Weight Capacity: 265 lbs
• Warranty: 2 Years

Dimensions:

• Walking Area: 40.5″ x 15.7″
• Handrail Height: 38.6″
• Product Size (unfolded): 49.2″ x 20.1″ x 3.1″
• Product Size (folded): 51.2″ x 22.4″ x 3.1″

Function:

• Speed Range (unfolded): 0.6 – 6.2 MPH
• Speed Range (folded): 0.6 – 4 MPH
• Power Rating: 2.25 HP
• Shock Absorption: 8 Shock-absorbing Pads
• Running Belt Layer: Multi-layer
• Magnetic Remote Control Storage Slot: √

Shipping Dimensions & Weight

• Product Weight: 46.3 lbs
• Shipping Weight: 54.2 lbs
• Package Dimension: 53.7″ x 23.8″ x 5.1″

FlexiSpot MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill — Ergonomics and build quality

Parts, Flexispot MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill

The Flexispot MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill comes packaged well. Easy setup, too, just pull it out of the box, plug it in, pull out the safety tab from the remote control, and it’s ready to go.

Flexispot MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill stores away easily when not in use.

The treadmill is solid, like other FlexiSpot products I’ve reviewed in the past, and comes well-packaged. Setting it up is easy: just remove the packaging, pull it out of the box, and go. All you have to do is plug it in. 

This is considered a walking pad for under the desk as well as a more “traditional” treadmill with handles. Ergonomically, it does very well at this. In fact, it fits underneath my FlexiSpot chair quite nicely, so if I don’t want to, I don’t even have to move it. I simply move the chair back and raise the desk up, and I have a walking desk almost instantly. Easy.

Also, because there are two good-quality wheels, it’s easy to wheel the treadmill around.

The remote control for the unit is straightforward and functions well. It takes a reasonably common battery, a CR2032, and comes with one already to go. Just pull the protective strip out and it’s ready to go. Initially, I was going to make mention of there being no place to put the remote control when using the treadmill. However, that’s not true. The remote control is magnetic, and sticks easily to the handles, a great feature. Also, there is a magnetic storage slot at the bottom so that it makes it harder to misplace. Since I am the Supreme Master of the Universe at misplacing things, I shall test that to its fullest capacity. But having a specific place to put it really helps organizationally.

Build quality

Tablet tray. Flexispot MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill

Hydraulic arms for the Flexispot MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill

Most of the metal parts are solid. The only time I ever was a little unsure was when putting on the plastic tablet holder on the handle. I was initially reticent to put too much pressure. But once it’s on, it feels good and solid. 

FlexiSpot MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill — In the field

Flexispot MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill

Flexispot MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill stores away easily when not in use.

Flexispot MotionX Pro 2-in-1 Under Desk Walking Pad Treadmill

Night photographers like me do a decent amount of editing. Whether it’s denoising, removing airplane trails, stacking for star trails or Milky Way photos, or making color corrections, it’s a lot of editing. Being able to not just stand but keep moving is a blessing. You don’t have to move too quickly, either. Humans were made to move, not have their hips locked in place for hours. “The motion is the lotion,” as they say.

This treadmill therefore hits the sweet spot between size and function. It fits underneath the office chair. And it also works quite well as a “traditional” treadmill, with the arms up. 

I should mention here that the top speed is different depending on whether the treadmill is folded (for use with a desk since you wouldn’t want the handles up) or unfolded. For use with a desk, the speed is 0.6 – 4 miles per hour. However, when unfolded for use as a regular treadmill with handles, the top speed increases to 6.2 miles per hour. I would imagine this is in part a safety feature. After all, I don’t think I would want my treadmill to be going at 6.2 miles per hour while editing Milky Way photos! 

The dual-purpose treadmill

I’ve used it both as an under desk walking pad and a treadmill. I love that you can use it for either. I haven’t quite gotten used to walking while using a computer, so I use it more often as a treadmill. I watch videos in front of the computer during my breaks, and that seems to work quite well for me so far. But its flexibility to be used as both is quite welcome.

Because I often hike pretty far at night into places in the Mojave Desert, using this as a treadmill will be quite welcome. I live in a beautiful place where it is easy to go for a walk outside or hike up some mountains. However, it’s not always practical to do that, as sometimes it might be too hot. It’s awfully nice to have a treadmill to keep in shape for those long night hikes.

As mentioned, the FlexiSpot MotionX Pro can be used as both an under desk walking pad and a traditional treadmill. It’s even in the name. While it isn’t alone in this niche, but it’s a legitimate contender in a field that’s still relatively small compared to the much larger pool of walking-only pads.

Considerations

I mentioned above that the pad is a little narrow. However, using it in both functions, I found the width adequate, as it is not intended for hard running. I’m tall at 6’1″ (185cm), and still didn’t find it too narrow, so that’s a good sign. This is why it’s always good to have an “in real life” experience.

There is no incline. I have to mention this. Personally, I don’t need an incline for either use. However, if you do wish to have one that inclines, FlexiSpot several of those too, including the MotionX Ultra Auto Incline Walking Treadmill and the Walking Pad Treadmill, so you’re in luck. 

So I’m left with my only real issue, which is that when you are using this as a treadmill, there is no cupholder. I guess I am too used to the large bulky treadmills at the gym, which have these. And obviously, if you are using this as an under desk walking pad, your entire desk is already a “cupholder.” 

So if my only real criticism is no cupholder when using it as a treadmill, I’d say that’s a really great product. It’s dual-purpose, solidly built, looks great, is comfortable to use, and is quiet. And that’s perfect for this photographer.

A note about carpets (and a fix!)

One thing worth knowing before you buy: the MotionX Pro cannot be used on carpet. Before you panic, this isn’t a FlexiSpot quirk. Nope. It’s rather common among treadmill manufacturers. FlexiSpot is no exception, stating that using the walking pad on a carpet may cause a fire. Do we have your attention now?

Thankfully, there is a fix! And it is simple and inexpensive: a treadmill mat. Rubber, EVA foam, or PVC all work. A mat protects the machine, stabilizes the surface, and saves your carpet from indentations. Just factor it into your budget before you buy. I purchased a WERCHO foldable PVC mat, which collapses down smaller than one that rolls up, which I like. It works well, does not slip, and is easy to fold up and put away.

Tiny Camera, Big Behind-the-Scenes Energy

I’ll start with context. I own and love the C300. It lives in my kit. It’s on light stands, hot shoes, wedged between props, or suction-cupped to something mildly questionable. It records almost every behind-the-scenes clip from my workshops and creative portrait shoots.

So when the SJCam C400 landed, the obvious question was… does it earn a spot next to the C300, or is it just “another action cam”?

Short answer: if you create educational content, behind-the-scenes footage, travel reels, or workshop coverage, the C400 makes a lot of sense.

Please note: SJCam sent me the C400 to test and review, but all thoughts are my own.

First Impressions

The C400 keeps that compact, lightweight action-camera feel but adds refinements that matter if you’re using it for content creation, not just mountain biking down a cliff.

It’s small enough to mount almost anywhere in the studio. On top of a mirrorless body. Clipped to a tripod leg. Mounted overhead for a splash workshop. No drama. No bulk. No complaining wrists.

For someone who already runs strobes, triggers, foggers, props and models in one session, small and simple is gold.

Key Specifications

• 4K video recording (up to 60fps)
• 2.33” HD touchscreen (rear)
• Front screen for framing
• 5GHz WiFi connectivity
• Electronic Image Stabilisation (EIS)
• Waterproof up to 30m (with housing)
• Wide-angle lens
• USB-C charging
• Removable battery

What I Like (Especially for Workshops & BTS)

1. Dual Screens

If you talk to camera, the front screen is genuinely useful. You can frame yourself properly without guessing or filming your forehead for 12 minutes. Ask me how I know.

For workshop coverage, it’s brilliant when you’re explaining lighting setups or walking through a scene.

2. 4K 60fps

For behind-the-scenes footage, 4K gives you flexibility. You can crop, stabilise, reframe, and still maintain quality for YouTube or reels.

If you’re documenting portrait photography, fog effects, hair flicks, or fast movement, the higher frame rate helps keep things clean.

3. Size & Mounting Flexibility

This is where it shines for creative educators.

I can:

• Mount it on a light stand pointing down at a set
• Clip it behind a model for over-the-shoulder angles
• Attach it to my main camera for POV
• Stick it in awkward corners where a mirrorless body would never fit

When you’re juggling strobes and TTL flash setups, you don’t want a bulky second camera getting in the way.

4. Stabilisation

The electronic image stabilisation is solid for most situations. However I found POV on the fob/lanyard was just too jerky. I found it OK for handheld walk-and-talk segments. It’s not gimbal-level smooth, but for casual movement around a studio or location shoot, it absolutely holds up.

For travel diaries or workshop recaps, it keeps things usable without extra gear.

Real-World Use in a Photography Business

Here’s the thing. Action cameras aren’t just for surfing and off-roading

In a photography education business like mine, they’re:

• BTS content generators
• Social proof machines
• Reels and YouTube filler gold
• Workshop recap tools
• Client experience documentation

If you’re serious about growing on YouTube or Instagram, consistent behind-the-scenes footage builds trust fast. The C400 makes that easy because it’s simple to deploy.

And simple wins when you’re already managing light ratios and model direction.

Pros

• Compact and lightweight
• Dual screens for easy framing
• 4K 60fps recording
• Good electronic stabilisation for handheld use
• Waterproof with housing
• Affordable compared to premium action cams
• Easy mounting options

Cons

• Audio is fine but not studio-grade, you’ll still want an external mic for polished YouTube
• Touchscreen is small if you’re used to large mirrorless displays but bigger than to C300
• Low light performance is decent, but it’s still a small-sensor action camera
• No physical gimble

C400 vs C300 (From a Real User)

Since I use the C300 regularly, here’s how I see it:

• If you want something compact and reliable for general BTS, the C300 already does a solid job.
• The C400 steps things up with smoother 4K 60fps options and dual screens.
• If you’re increasing video content or doing more talking-head and workshop coverage, the C400 makes that workflow smoother.

Would I replace my C300? Not necessarily.
Would I happily run both at the same time for multi-angle coverage? Absolutely.

Who Is It For?

• Photography educators
• Workshop hosts
• Creators building YouTube channels
• Travel photographers wanting lightweight 4K video
• Anyone who wants simple, reliable BTS capture

If you’re trying to grow your creative brand, documenting the process is as important as the final image.

Check out some Behind the Scenes videos that were recorded on the SJCam C400 Camera

• Creepy Clown BTS
• Queen of Hearts Workshop BTS

Peak Design is expanding its popular Travel Line with four refined new formats, now launching via Kickstarter. Designed for modern travel, the new collection blends versatility, intuitive organisation, and a clean aesthetic that moves effortlessly from weekend trips to longer journeys.

Announced from San Francisco on March 3, 2026, the expansion introduces the Travel Backpack 2-in-1, Travel Weekender 25L, Travel Backpack 20L, and Travel Crossbody 3L. Each silhouette is built to integrate seamlessly into Peak Design’s broader travel ecosystem while offering more flexibility for different styles of travel.

Founder and CEO Peter Dering explained that the new range builds on the success of the brand’s previous Kickstarter campaigns, including the Roller Pro Carry-On. While that launch marked a significant milestone, this collection focuses on offering more adaptable carry options for travellers who need different solutions depending on the trip.

Travel Backpack 2-in-1 – $399.95

The headline piece of the launch is the Travel Backpack 2-in-1, a modular system designed as a true one-bag travel solution. The setup includes a 34L base pack paired with a 16L zip-off daypack. Together, they function as a 40L international carry-on. Separately, they offer flexibility for day trips or lighter carry.

Constructed from weatherproof recycled materials, the bag includes theft-deterrent features, discreet AirTag storage, and full compatibility with Peak Design Packing Cubes and Camera Cubes. A detachable and stowable hipbelt adds further comfort for extended travel days.

Travel Weekender 25L – $199.95

The Travel Weekender 25L marks Peak Design’s first structured duffel. Designed for short trips, it features a stand-up structure for easy packing and a wide clamshell opening for full access to the main compartment.

Internally, stretch mesh and zippered pockets keep gear organised, while padded sleeves accommodate a 16-inch laptop and 13-inch tablet. A folding bottom panel allows the bag to compress for under-seat storage or collapse flat when not in use, offering practical versatility for weekend travel.

Travel Backpack 20L – $199.95

The Travel Backpack 20L is the brand’s most compact travel backpack to date. It works equally well as an everyday carry bag or as a streamlined personal item for flights.

An expandable main compartment and clamshell opening simplify packing. Hidden storage options, including space for a water bottle and AirTag, add security and convenience. A vertical luggage pass-through allows the bag to sit securely beneath a roller handle, and external straps accommodate Peak Design’s Travel Tripod.

Travel Crossbody 3L – $99.95

Compact and minimal, the Travel Crossbody 3L draws inspiration from Peak Design’s Tech Pouch. Its origami-style interior keeps small essentials visible and accessible, while a magnetic exterior phone pocket enables quick one-handed access.

Made from weatherproof recycled materials with durable hardware, it’s designed for travel days, city exploration, and everyday use.

Colours, Certification, and Availability

All four bags are available in Black, Sage, and Stone. Each style is Fair Trade Certified and Climate Label Certified, reinforcing Peak Design’s ongoing sustainability commitments.

This launch represents Peak Design’s 16th Kickstarter campaign, further cementing its reputation as one of the world’s most successful crowdfunded brands. The collection is available at a pre-sale discount through Kickstarter beginning March 3, 2026, with full retail availability at peakdesign.com and major retailers starting June 2, 2026.

Busy backgrounds can completely distract from an otherwise strong portrait, and most photographers either over-edit or give up too soon. In this Photoshop tutorial for beginner and intermediate photographers, I’ll show you a fast, repeatable way to clean up messy backgrounds using simple tools like Select Subject, Modify, Expand, Delete and Fill, and the Median filter. More importantly, you’ll learn how to turn this process into a custom Photoshop action so you can remove distractions in seconds on future images. This workflow keeps natural shadows and depth intact, avoids that over-smoothed plastic look, and fits seamlessly into a Lightroom to Photoshop editing process. If you’ve ever struggled with cluttered backdrops, uneven texture, or random mess behind your subject, this step-by-step method will help you create cleaner, more professional results without complicated composites or advanced retouching techniques.

Check out more Photoshop Tips & Tricks on my YouTube channel.

The Godox iT32 mini flash looks small, but its modular design completely changes how you use on-camera and off-camera flash. Most speedlights lock you into one setup. This one separates into a magnetic trigger and flash head, letting you move from hot shoe to light stand in seconds. If you’ve ever felt frustrated switching between TTL, manual, or wireless flash, or struggled with clunky speedlights that feel awkward on your camera, this review will clear things up. In this video, I’ll show you exactly how the Godox iT32 works in real-world shooting, on camera, off camera, in TTL, manual, and high-speed sync. I’ll also explain why this design works especially well for Nikon users who often get lens shadow issues with smaller flashes. If you’re stepping into off-camera flash for the first time, or you want a lightweight travel-friendly flash that still integrates with the Godox system, this might be the most flexible option you’ve seen. Let’s break down how it actually performs and who it’s really for.

Check out the full product review here.

If you’re looking for a powerful yet portable studio flash, the Godox AD300Pro II might be exactly what you need, but most photographers barely scratch the surface of what it can actually do. This 300 watt battery-powered strobe sits perfectly between the AD200 and larger units like the AD400 or AD600, giving you serious power without the bulk. And that extra 100 watts over the AD200? It matters more than you think. In this review, I’ll walk you through the full setup, menu system, flash modes including Manual, TTL and Multi, how to activate High Speed Sync, and the one setting that can ruin your burst shooting if you miss it. If you’re not switching to Freeze mode when shooting continuous burst, you’re leaving performance on the table. We’ll also look at modelling light controls, Kelvin adjustments, wireless setup, and how to pair it with the Godox X3 Pro trigger. By the end, you’ll know exactly how to set up the AD300Pro II properly and decide if this is the best portable flash for your photography.

Don’t forget to check out the full written review.

In this Photoshop editing tutorial, I take you behind the scenes of an Ophelia-inspired portrait edit featuring model Skye Medusa, showing exactly how I rebuilt atmosphere when real-world conditions did not cooperate. You will see how to clean up small distractions, remove specular highlights, and realistically add smoke back into a portrait using overlay techniques, blending modes, masking, and Generative Fill in Adobe Photoshop. I walk through capturing practical smoke plates on set with a Telesin mini fogger, then compositing them seamlessly so lighting, texture, and perspective all match. From there, I finish the image using Aperty for fast, natural skin retouching, colour balance, and detail control, followed by a final colour dodge and burn to add depth and focus. This video is ideal for photographers who want to fix on-location issues in post, learn practical smoke compositing, and refine cinematic portrait edits without relying on gimmicks or presets.

Check out these other videos on YouTube

• Learn how to Dodge and Burn
• Check out the Telesin Mini Fogger in action

Grab a special Telesin 15% discount use code JULIEPOWELL including the mini fogger

In this Photoshop tutorial for photographers, I’m going to show you how to add subtle but powerful dodge and burn to black and white images to bring back depth, contrast, and drama after conversion. If you’ve ever turned a colour photo into black and white and felt disappointed by how flat or lifeless it looked, this video is for you. Using a simple, non-destructive dodge and burn method with Curves layers, I’ll walk you through how to shape light, enhance shadows and highlights, and add impact without harsh edits or scary tools. You’ll see how this technique works beautifully alongside black and white presets, how to refine skin tones, add punch to eyes, and control contrast with precision, all while keeping your workflow flexible and beginner-friendly. This step-by-step Photoshop dodge and burn workflow is ideal for portraits, fine art photography, and anyone wanting stronger black and white images without overdoing it.

A compact powerhouse that finally grows up

The Godox AD300Pro II feels like a very deliberate refinement rather than a flashy reinvention, and honestly, that is exactly what most working photographers want. It keeps the small, location-friendly form factor that made the original AD300Pro so popular, but tightens up performance, usability, and consistency in ways that matter when you are actually shooting.

At 300Ws, this flash comfortably sits in that sweet spot between speedlights and the larger AD400 or AD600 units. It is powerful enough to overpower daylight in many situations, yet light and compact enough to throw in a backpack without thinking twice. For portrait shooters, still life photographers, and anyone who spends time on location, it is a very appealing balance.

Real-world performance

In use, the AD300Pro II feels fast and confident. Recycle times are quick, output is consistent, and the colour stability is noticeably solid across the power range. Whether you are shooting wide open outdoors or building layered light in a studio setup, it delivers predictable results, which is something you really start to appreciate after a long day on set.

Images taken on Sony A7RV and Tamron 28-75mm lens, Godox AD300Pro II with reflector and Godox AD200ProII

TTL and HSS work reliably, and switching between systems is seamless if you are already invested in the Godox ecosystem. Pair it with an X-series trigger and it just behaves, no drama, no fiddling. The menu system is quite different to the Godox AD200Pro II, but it doesn’t take long to find your way around.

Freeze mode and burst shooting

This is where a lot of people trip up, including me, so it is worth spelling out clearly. If you want to run burst mode, you must switch the flash mode from Normal to Freeze. Burst simply will not function in Normal mode, even with HSS turn on.

Freeze mode prioritises ultra-short flash durations, which is what allows the AD300Pro II to keep up with rapid firing sequences. It is brilliant for motion work, splashes, hair flips, fabric movement, or anything where timing is critical. Just remember, if burst is not working, it is almost always because the flash is still set to Normal mode. Flip it to Freeze and you are good to go. This only works with relatively short bursts, so remember that.

Modelling light and build

The built-in LED modelling light is genuinely useful, not just a token addition. It is bright enough for pre-visualising light placement and works well for hybrid shooters who occasionally dip into video. It also has the ability to change the colour mode for the modelling light. The body itself feels solid and well thought out, with intuitive controls and a clear screen that is easy to read outdoors.

Battery life is strong for a unit this size, easily covering extended portrait sessions or location shoots without constant battery anxiety.

Great for Product photography (like the Godox iT32 on the Nikon ) or more creative shoots like the lightbulb shoot.

Where it fits best

The AD300Pro II shines for photographers who want flexibility. It is ideal for environmental portraits, creative studio work, still life, and lightweight location kits. I used it with a light tent for product shots too. If you are regularly shooting large groups or competing with brutal midday sun, you may still want to step up to a higher-powered unit. But for most real-world scenarios, 300Ws goes a long way.

Key Specifications

• Power Output: 300Ws
• Flash Modes: TTL, Manual, Multi
• High Speed Sync: Up to 1/8000s
• Freeze Mode: Yes (required for burst shooting)
• Burst Mode: Supported in Freeze mode
• Wireless System: Godox 2.4GHz X system
• Modelling Light: Built-in LED
• Battery: Rechargeable lithium battery
• Mount: Godox mount (Bowens via adapter, not supplied) I found this annoying as I could not use any of my standard softboxes and had to use an umbrella.

Pros

• Excellent power-to-size ratio
• Reliable TTL and HSS performance
• Freeze mode delivers very short flash durations
• Burst mode is genuinely useful once set correctly
• Solid colour consistency
• Compact and travel-friendly

Cons

• Burst mode requires manually switching to Freeze mode
• Godox mount means an adapter is needed for Bowens modifiers, not supplied (my Bowens adaptor for the AD200ProII will not fit the larger AD300ProII
• Not enough power for every full-sun scenario, large studios or groups
• Has a different menu structure to AD200Pro II

See Godox AD300Proii (and AD200Proii) in action during a workshop [about 2minutes in]

Struggling to get accurate skin tones and rich colours in your photos, especially when you’re shooting bold setups like red on red? In this beginner-friendly photography tutorial, I’ll walk you through how white balance works, when to use Auto White Balance, and how to choose presets like Daylight, Cloudy, Shade, Tungsten, Flash, or custom Kelvin settings for better results straight out of camera. We’ll jump into Lightroom’s Develop module to compare “As Shot” vs Auto, adjust temperature and tint, and explore how setting your white balance in-camera, even when shooting RAW, can give you a stronger creative starting point and save time in post-processing. If you want more control over colour temperature, improve your editing workflow in Lightroom or Camera Raw, and finally understand Kelvin in simple terms, this video will help you take control of your colour and create images that match your vision.

If you’ve ever used a speedlight or on-camera flash and wondered why your portraits look flat, this beginner-friendly flash photography tutorial will change the way you think about lighting. In this video, I’ll show you how to create dramatic portraits using just one speedlight, whether it’s on-camera or off-camera, and explain why light placement, power, and direction matter more than expensive gear. We’ll explore how to sculpt light for depth and mood, avoid common flash mistakes, understand TTL vs manual flash, and use tools like Set.a.Light 3D to practice studio lighting setups without even stepping into a studio. From Rembrandt lighting and feathering techniques to diffusion, reflectors, and intentional shadow control, this is all about shaping light in camera rather than trying to fix it in post.

Neewer Z3 Flash used in video

The Beauty of F/2.8, in the Palm of Your Hand – TAMRON 35–100mm F/2.8 Di III VXD (Model A078), For Sony E-mount and Nikon Z mount full-frame mirrorless cameras

Tamron just announced the launch of the 35–100mm F/2.8 Di III VXD (Model A078), a fast-aperture standard zoom lens designed for Sony E-mount and Nikon Z mount full-frame mirrorless cameras. The lens will be available from March 26, 2026.

Building on the success of the acclaimed 35–150mm F/2–2.8 Di III VXD, this new 35–100mm F/2.8 responds directly to photographers seeking a more compact, lightweight option without sacrificing image quality or creative flexibility. By focusing on the most widely used focal lengths for portraits and everyday shooting, the 35–100mm F/2.8 delivers exceptional performance in a remarkably portable form.https://tamron.com.au/

Measuring just 119.2mm in length and weighing 565g (Sony E-mount), this lens fits comfortably in the hand while maintaining a constant F/2.8 aperture throughout the zoom range. High-resolution optics combined with smooth, pleasing bokeh make it well suited to portraits, travel, and lifestyle photography. Fast, accurate autofocus is driven by Tamron’s VXD (Voice-coil eXtreme-torque Drive) linear motor, ensuring reliable subject tracking and precise focus, even when capturing fleeting expressions.

With a close minimum object distance of 0.22m at the wide end, the lens also supports creative close-up work, from tabletop scenes to environmental details. Compatibility with TAMRON Lens Utility allows users to customise functions for both stills and video, adding flexibility to modern hybrid workflows.

Product Features

• Versatile 35–100mm Zoom Range
  Covers essential focal lengths for portraits, travel, and everyday photography.
• Compact and Lightweight Design
  A constant F/2.8 zoom that remains easy to carry and comfortable to use for extended shooting.
• High Resolution with Rich, Natural Bokeh
  Designed to render fine detail and skin texture with clarity, while maintaining smooth background separation.
• Fast, High-Precision Autofocus
  VXD linear motor delivers quick, quiet, and accurate focusing for both stills and video.
• Close-Up Capability
  Minimum object distance of 0.22m at 35mm enables creative indoor and detail-focused shots.
• TAMRON Lens Utility Compatibility
  Customise lens functions to suit personal shooting styles and video needs.
• Refined Ergonomic Design
  Improved exterior texture and smooth control operation for confident handling.
• Unified 67mm Filter Size
  Convenient compatibility with other Tamron lenses using the same filter diameter.
• Built for Real-World Use
  Moisture-resistant construction and fluorine coating help protect the lens in challenging conditions.

Specifications

Model: A078
Focal Length: 35–100mm
Maximum Aperture: F/2.8
Angle of View (Diagonal): 63°26′ – 24°25′ (full-frame)
Optical Construction: 15 elements in 13 groups
Minimum Object Distance: 0.22m (WIDE), 0.65m (TELE)
Maximum Magnification Ratio: 1:3.3 (WIDE), 1:5.9 (TELE)
Filter Size: Ø67mm
Maximum Diameter: Ø80.6mm

Length: (Length measured from front of lens to mount face)

• 119.2mm (Sony E-mount)
• 121.5mm (Nikon Z mount)

Weight:

• 565g (Sony E-mount)
• 575g (Nikon Z mount)

Aperture Blades: 9 (circular diaphragm), Circular diaphragm maintains a near-circular shape up to two stops down
Minimum Aperture: F22
Standard Accessories: Flower-shaped hood, front cap, rear cap
Mount: Sony E-mount, Nikon Z mount

Specifications, appearance, and functionality are subject to change without notice. This product is developed and manufactured under license agreements with Sony Corporation and Nikon Corporation. For more information and product specifications, please visit the Tamron website.