In our busy modern lives, it is often complicated to find the time to shoot great autumnal images, considering the amount of research, walking and perseverance that is often involved. Big hitters like the New Forest and The Lake District are often out of reach for city dwellers, especially with a family in tow. So this coming autumn has a go at visiting an arboretum, as they make a brilliant and easy alternative, keeping the kids amused with throwing leaves at each other while you take some breathtaking opportunities to capture autumnal photography.

1. What kit is best?

When it comes to kit, fit a medium telephoto lens to your DSLR as it'll be particularly handy for capturing leaf and branch detail. Make sure you pocket your macro lens too. Don't forget your wellies when you visit an Arboretum as they do get a lot of visitors and the ground gets well-trodden.  

2. Why are arboretums so good as photographic locations?

Right, back to arboretums! As they are collections of trees from various continents, this can be just the ticket to an easy shoot. Horticultural planners include sensational visual displays to attract visitors in their thousands, to places like Westonbirt Arboretum in Gloucestershire to name one of the UK’s favourites. Yet it's not as simple as falling off a log, you need good sunshine and a well-timed visit to get the best from the colours and the day.

3. Any particularly stunning trees I should look out for?

There are two tree species to look out for - Maples and Acers. Most arboretums have these trees in their collection and they feature heavily in annual publicity shots (hence generating a huge car parking revenue each year, vital to the arboretum's upkeep). Westonbirt is not cheap to get in, but consider where this money is actually going.

4. What conditions are best?

It's best to wait for sunshine to give dimension to the trees, but if the day starts a bit flat and dull, all is not necessarily lost. Concentrate on staging some ideas, such as putting leaves on interesting textures or making arrangements of leaves themselves.

Also, try the good old zoom burst technique. Put an ND filter on the lens, set an aperture of f/16 and the ISO as low as possible. This should give a long shutter speed, maybe a few seconds. Set the camera's two-second timer, press the shutter and then zoom into the shot and create a wonderful vortex of colours. It's easy to do and is very effective.   

- Partner Content -

What to Expect from Graphic Design in 2027: Key Trends and Predictions

In anticipation of the new year, we all dream of what we hope to achieve in the coming months, both personally and professionally. However, the uncertainty around us clouds the future. What helps are predictions and trends that give us a glimpse into what lies ahead.

As we look to 2027, it promises us many graphic design innovations, a revival of traditional designs, and a focus on maximalism. What else can we expect from graphic design next year? Read on to learn more about the visual trends that will dominate the industry in 2027.

What are graphic design trends?

Graphic design trends refer to the styles, colors, and approaches popular in the design industry during a given period. They are influenced by many factors, including popular aesthetics, social and political changes, as well as advancements in technology and graphic design.

Sometimes it happens that design trends do not follow current events, but try to go against them. For example, in times of uncertainty, design trends lean towards minimalism as a way to bring a sense of order.

Who predicts the future of design?

Annual visual trends are a window into the future of graphic design. They are usually defined by industry professionals who track consumer preferences, gather expert opinions, and observe patterns to predict what will be popular in the coming year. Among them are DeposiPhotos.com, 99designs, Behance, VistaPrint, and Creative Boom.

Color trends in design in 2026

To act on the graphic design trends of 2026, one must first get familiar with the design color forecast for the coming year. So, while the rest of the world is discovering new visual trends, you can create your next project in the color of now.

Depositphotos, one of the world’s largest stock content marketplaces, predicts that a mix of intense and subtle colors will dominate the design landscape this winter. These include Aged Wine (#481623) and Dark Copper (#532906) shades, as well as Matcha Latte (#D6DF9F) and Stardust (#C1BCB6) hues. 

The Pantone Color Institute, one of the most respected sources in color forecasting, suggests basing your designs on the shade Mocha Mousse (#A47864) next year. However, WGSN and Coloro made their choice two years ago, when they named Future Dusk (#474972) the color of 2025.

Top 8 design industry predictions and trends for 2026-2027

1. Graphic design innovations with AI assistance 

The level of tech development has always played a key role in the evolution of graphic design. Looking ahead to 2027, it is clear that artificial intelligence will become an integral part of design processes. If you tried to ignore AI before, it will be impossible to do so in the future.

2026 is the year to embrace AI-powered tools to stay competitive in the creative industry. New solutions are making it easier to develop visual concepts, refine ideas, and create visual content with less manual effort. One example is the Depositphotos AI Assistant, which combines AI-powered search and creative capabilities with access to a vast library of licensed visual content, helping users turn ideas into visual concepts and streamline the creative process more efficiently.

2. The revival of naturalism in design 

To balance the spread of AI-fueled designs, some visual artists will turn to nature. The revival of naturalism in design will focus on organic shapes, earthy color palettes, and textures that mimic natural elements. It will be clearly visible in product packaging and branding.

To grasp this trend, take a look at nkm — a sustainable cosmetics brand with environmentally-friendly packaging. You can see how they conveyed the new visual trend and the company’s philosophy in their choice of design elements, such as floral motifs and earth-toned colors.

3. Abstract gradients

Gradients in designs have been trending for the past few years, but now, they will take a more abstract and artistic direction. Instead of traditional horizontal gradients, designers will experiment with more unique and unpredictable directions and color combinations. To make it look even more on-trend, add some noise and texture to your gradient pictures.

Abstract, colorful, and grainy gradient background

Reeded glass effect

Another way to make your designs stand out is to incorporate a reeded glass effect. This textured effect adds a modern touch to any visual, whether it's a photo, graphic art, or website layout. Therefore, it’s ideal for projects with a futuristic aesthetic. 

But the best part is that the reeded glass effect easily combines with other design trends. You can use it alongside nature-inspired images to balance natural motifs with modern design elements. Or, utilize the reeded glass effect with colorful gradients for a dynamic look.

4. Minimalist maximalism

Some call it minimalist maximalism, while others refer to this trend as bold minimalism. However, the name doesn’t change the essence of the trend, which is all about striking a balance between simplicity and extravagance.

Minimalist maximalism is the future of graphic design we deserve. It pushes the boundaries of traditional design norms while adhering to its core principles—simplicity and functionality. So, get ready to see vivid colors and bold contrasts alongside clean lines and sleek typography.

5. Vibrant color schemes

The graphic design community has embraced maximalist color schemes since 2022. They are eye-catching, fun to look at, and add a dynamic element to any design. Needless to say, this is exactly what brands are looking for to get the attention of potential customers. 

In 2026, we will once again experience the popularity of attention-grabbing colors in design. Brat green, hot pink, electric blue, and vivid orange will be the go-to choices for designers looking to make a statement.

6. The renaissance of artisanal design

In contrast to colorful and flashy visuals, we will also see more serene designs based on natural materials and earthy tones. They will signify the renaissance of artisanal design that focuses on craftsmanship, simplicity, and sustainability.

This trend is backlash against the widespread use of AI and the mass production of both physical and digital products. Digital saturation has reached its peak, so now people want to reconnect with more authentic and meaningful creations.

Geometric design with abstract nature

Dark aesthetics

A fair share of people who feel uncertain about the future will gravitate toward dark aesthetics in design. The familiarity of deep, rich colors and moody atmospheres will bring comfort and a sense of stability in chaotic times. The return to dark shades is also a response to flashy designs and constantly changing microtrends and aesthetics.

Wrapping up

Whether to move forward and embrace AI-fueled visuals or take a step back to appreciate timeless designs, you decide. 2027 will also offer many options between innovation and tradition, comfort and boldness, familiarity and novelty. However, ultimately, it is you who will shape the future of design with your decisions.

The new AI feature curates smartphone photos automatically and privately into albums, helping people rediscover their buried camera roll moments

No generation has documented life this thoroughly, yet no generation looks back on less of it. That’s the paradox Popsa Memories - launched by memory curation app Popsa - is designed to solve.

Now available on Popsa's iOS and Android apps, Memories launches in two beautifully designed collections: Popsa Rewinds, which curates your highlights from the past month or year into one story, and Popsa Journeys, which instantly resurfaces forgotten holidays and day trips. 

The scale of our buried photos on our smartphones is stark. The Memory Economy report, Popsa's survey of 8,000 global consumers conducted earlier this year, found that:

• 70% of smartphone photos are never revisited
• Only 16% have looked back at even a quarter of their own camera roll in the past year
• 49% say their camera roll actively stresses them out

“The camera roll has become an archive system rather than a reminiscing experience, and our research shows that sorting them is a common issue for users” says Liam Houghton, CEO and Founder of Popsa. “In fact, I started Popsa after realising I had over 250,000 photos on my own phone. I was documenting my life, but I had no way to actually make sense of any of it.”

Memories is Popsa's answer: An AI that runs privately on the customer's device, automatically resurfacing and curating the best moments buried in a camera roll. AI photo curation isn't new - Apple and Google have both offered versions of it for years. What's new is where Popsa does it, and how it organises the results.

Built on PrivateContext, Popsa's on-device intelligence layer developed over a decade of machine learning work, Popsa Memories automatically detects the people, places and activities most present in someone’s life. It recognises when something worth remembering happened while letting users hide any memories that they don’t want to see. Entirely on device, nothing is ever uploaded and no one at Popsa ever sees the photos - photos only leave a device when a customer chooses to print them.

“We decided early on that understanding someone’s photos should never require uploading them,” says Liam Houghton. “PrivateContext does all of that work on the device, so some of the most personal data people own stays in their hands.”

Early beta data shows the appetite is real: Popsa has generated more than 33 million Memories since January, each a curated set of 128 photos on average, surfacing more than 4.2 billion individual photos that customers would otherwise have been unlikely to see again. Roughly one in seven people who opened a Memory went on to create a printed product from it.

Memories is free to use - no subscription, no ads - and it’s now rolled out to all Popsa users across available markets in the latest version of its iOS and Android mobile apps. Two new articles on the company’s Perspectives blog detail How Popsa Memories Works and how the company protects users’ privacy while accessing the app.

For more information, please visit the Popsa website.

This week's 'Photo of the Week' accolade has been awarded to 'Californian Poppies' by chase, a still life full of warm tones and rustic glass that creates a quiet, cozy atmosphere.

We love the detail in this image and the obvious care that went into setting up each piece. There's real thought in how the flowers and foliage are arranged across the three bottles, with the vintage glass complementing the golden and orange petals perfectly. The fallen petal on the wooden table adds a natural touch, and the soft daylight creates a simple, balanced composition that ties everything together.

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

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

The beauty of this time of year is that the sun rises at a more reasonable hour so an early morning jaunt to the woods isn't as painful as it was a few weeks ago. To top this already good news off, the chances of you finding mist circling around the trees is a lot higher at this time of year and when you mix this with your rising sun, you have the chance to capture strong beams of light as they burst through the trees.

1. Hope The Mist Is Right

You have to have the right type of mist for this - too thick and you won't be able to see the end of your nose let alone a sunbeam but if it's too thin there won't be enough moisture in the air for the light to reflect off. Read up on fog and mist techniques to become an expert at dealing with it. 

2. Take A Good Look At The Trees

It can be a little hit and miss but when the right density of mist does appear, you'll be able to capture some cracking shots as long as you have the right number of trees. Too many and you'll have broken, uneven patches of light but if there's too few the light will flood the open spaces leaving you with plenty of light but no beams. Your best bet is to quickly move to several locations to judge what looks the best before setting up camp. We say move quickly as the mist can vanish and the light can change quickly.

Mountain photography, both on and off these magnificent natural structures, is something photographers can capture images of all year round, but there's something about the Autumn and Winter seasons which add an extra level of 'wow' to these landscape shots. For your next venture up a mountain or to one of our many national parks where mountain ranges decorate the horizon, here are 8 pieces of advice that'll have you capturing breathtaking mountain shots in no-time at all.

1. Safety First 

This can be a tricky subject in winter as you need to ensure you remain safe at all times. Walking in snow is one thing but mountains tend to also be covered with ice and have erratic weather conditions. Before you set off, know your ability, wear the right clothing and take the right walking equipment including phone, compass and map. You should also carry a whistle which can be used to attract attention if you need help.

2. Pack Your Filters

Don't leave home without a UV filter as not only does it protect the lens from the elements but it will cut the levels of UV which are often high in the mountains, especially in sunny conditions.

If it’s sunny and there’s snow use a polarising filter. The polariser is a great tool to help control glare and light reflection from the snow. Take care not to over polarise a blue sky in the mountains, though.

The ND Grad filter is essential for reducing the contrast difference between the sky and ground. Landscape photographer Robin Whalley tends to carry a 2 stop and 3 stop (0.6 and 0.9) wrapped in a filter cloth and placed in his pocket when photographing mountain landscapes.

3. Lens Choices 

The lens choice for shooting in the mountains is wide-angle. A longer lens can also be useful for picking out details, but a zoom will probably allow you to capture the best the mountain has to offer. When using longer lenses, don't forget that you need a tripod that can support their weight.

4. Capture Distance And Height 

When shooting from the mountainside or summit the best approach to composition is to emphasise distance and height. Use a wide-angle lens and include something to act as foreground interest. Lenses wider than 24mm can be used successfully but the feeling of distance and height tends to diminish the wider you go.

5. Use Small Apertures 

The need to include foreground interest as well as keep the distant hills in good focus probably means you need to stop your lens down to quite a small aperture, perhaps f/16.0 or smaller. If you are also using filters, for example, a polariser you might find slow shutter speeds a problem. Robin Whalley says: "I used to use a walking pole and place the camera lens through the hand loop to support it, giving me a few extra stops of stability. Now I use a monopod which doubles as a walking pole and which I have used successfully with shots with over 0.5-second exposure."

6. Creating The 'Wow' Factor

7. Correct Exposures 

If you are shooting in snowy conditions, you should also watch out for the cameras light meter being fooled into underexposing the scene. Check your histogram regularly after shots and use your cameras exposure compensation adjustment if necessary to increase the exposure.

8. Off The Mountain 

This option is far more accessible to most people and can provide equally if not more impressive images. When people think of dramatic mountain scenery, it’s often shots taken of the mountain from a normal altitude that they think of.

When shooting off the mountain the best lens is a long telephoto, probably in excess of 100mm. This may seem counter-intuitive but wide-angle lenses seldom give the most drama. They will emphasise the foreground but diminish the background, almost making it shrink into the horizon. The telephoto lens in contrast will emphasise the size of the mountain and allow you to focus in on the rugged details. 

In summary, decide on your approach, on or off the mountain, then use the right equipment to give a composition that will best connect the viewer with the scene.

A good support is a particularly important tool for landscape photographers. Even if you're a compact camera user you should consider purchasing a tripod. If you're still not convinced that fastening a tripod to your rucksack isn't a good idea when you're off on your walk, have a read of our ten reasons why we believe you should.

1. Use longer lenses more comfortably with a tripod

If you planning on taking some long as well as wide lenses out with you they tend to be more prone to camera shake so having a tripod will keep your shots sharp. However, if you do want to work hand-held make sure you don't use a shutter speed that's lower than your focal length. Some take this further and say your shutter speed should be at least double the focal length you're using.

2. Easily adjust height

If you have a sky that's bursting with colourful sunset shades and want to make more of a feature of it, adjust the height of your tripod so more sky is in frame than land. We know you can just raise your hands up higher but holding your hands up in the air isn't very comfortable and any movement, even a small sway, could add unwanted blur to your shot. If you do want to adjust the height, make sure you pull all the legs out to their maximum length before using the centre column. Why? Well, even though it's easier to adjust than three legs, the support won't be as sturdy.

3. Create slower shutter speed images easily

If you're planning on taking photos that turn the movement of waterfalls, rivers and waves into smooth, dry ice-like textures, you'll need slower shutter speeds. The problem with slower shutter speeds is they're not a great choice when working hand-held as you have to stay very still to stop shake and if you don't, blur will creep into your shot. However, stick your camera on a tripod and you can set shutter speeds that are many minutes long and shake won't factor into it. While we are talking about shake, try using a remote release or the camera's self-timer to fire the shutter to stop any small movement that you moving your hand away from the camera may create.

4. Create multiple exposures

If you're shooting a scene where the camera can't handle all of the different exposure levels present, you may want to try shoot a series of separate shots that each focus on the dark, middle and light parts of the image which are then combined to create one balanced exposure. If you're unsure whether the location you're at will work better with HDR, take a few sample shots and have a look at the areas that are in shadow. If you think there's detail that's lost in these darker areas that will improve your photograph then have a try at HDR.

A tripod is essential for this type of photography as the smallest of movements can adjust your framing which means your shots won't line up when you try to merge them together. As a result, once you've framed up, lock your camera's position, ensuring all screws are fastened tightly and that all leg locks won't come loose.

5. Create smooth panoramas

If you want to shoot some landscape panoramas, having a tripod will help keep your shots steady and make them easier to stitch together once back in front of the computer. Start at either the left or right of the image, whichever you're more comfortable with, and allow for some overlap between each frame. It's always worth doing a 'dummy run' so you can make sure everything you want in the scene can be captured and to double-check you have enough overlap between each shot. It is important that focus is not adjusted during the panorama so take care not to touch the focus barrel once you have focused and set your white-balance manually so you don't have to make small tweaks to individual shots once back home. For scenes with details much closer to the front of the frame you'll need to use a panoramic head.

6. Take your time to compose properly

We know it's been said quite a few times but it doesn't hurt to mention it again, particularly to those who are new to landscape photography. What are we talking about? Well, the actual process of setting up your tripod, putting your camera through it and looking through the viewfinder does take some time and as a result, it slows you down and makes you think more about the shot you're taking. If you didn't have a tripod with you it would be very easy to take your camera out of its bag, fire off a few shots quickly and move on to a new location without really giving much thought about composition and the overall shot you're trying to achieve.

7. More stability in windy weather 

If you find the weather turns a little blustery you'll need a sturdy tripod as unlike us photographers, they're better at balancing so won't get blown and pushed around as easily. If you find you need a little more weight and your tripod features a centre column hook, you can hang a bag of stones or other weighty objects off it to balance the tripod. For lighter tripods, use your body as a shield from the wind. Sticking spiked feet into the ground will also help keep the tripod still.

8. Set up low angle landscapes

For something a little different, adjust your tripod legs so you can shoot lower to the ground. This can give foreground detail more emphasis, really changing the feel of your landscape shot.

9. Set up in water, use a remote trigger 

Sometimes you have to get your feet wet to get the shot you want but trying to stand upright in water that's moving on what can be slippy rocks is hard enough on your own, without a camera in your hands. To minimise the chances of you dropping your camera in the water, put it on a tripod. If the tripod doesn't have to be too far in the water you could also use a remote release/cable to fire the shutter from the water's edge rather than getting in yourself. Do make sure your tripod won't topple over and if you have them, use spiked feet to bed the tripod into the floor. If you're shooting at the coast, remember to clean your tripod after dunking it in the sea as saltwater will rust it.

10. Capture images with low light minus movement blur

Shooting at sunrise, sunset or during the night so you can capture a sky full of stars, requires the use of slower shutter speeds, which, as mentioned, means you'll have to use a tripod as working hand-held can result in shake spoiling your shot. You can try nudging your ISO up to quicken your shutter speed but not all cameras produce good-quality shots when higher ISOs are used so the safest option is to take your tripod with you so you can use longer shutter speeds.

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Anyone who shoots regularly ends up with the same problem: a stack of external drives, each holding a pile of different projects, but none of them labelled well enough to trust. Finding one file often means plugging drives in one at a time until you get lucky. And knowing whether a project is safely backed up in two places usually means guessing, which is why so many photographers keep everything on the Mac far longer than they should, unsure what can be deleted and what can't.

Niklas Fischer, the developer behind Tusk, knows the feeling. "I've never had a drive crash or break, so that was something I didn't worry about too much. What was worse for me was the anxiety when I wanted to delete files from my Mac. I was often not sure which files were safe to delete and wanted one app that shows me exactly where a project lives, instead of plugging in drives one by one to check."

Tusk is that app. Released in August 2026 after a two-month public beta with photographers and video editors, it combines two jobs that have usually needed two separate tools: backing files up, and keeping track of where they went. "There are great tools like NeoFinder and Carbon Copy Cloner that each do cataloguing or backup well," says Fischer. "Before Tusk, nothing did both."

The setup is short. You pick a project folder, choose one or more backup destinations (external drives, NAS, Google Drive, Dropbox or S3-compatible storage such as Backblaze B2), and Tusk copies everything across, verifying each file with a checksum. From then on it watches the folder and backs up new and changed files as they appear, so a fresh export lands on the backup drive without you doing anything.

Every file gets a status per destination, and that status stays visible after the drive is ejected. Open a project from two years ago and Tusk shows which drive holds the master files, whether that copy was verified, and when it was last checked. Search covers the whole catalogue, whether the drives are connected or not.

That catalogue is also what makes it safe to free up space. Once a file has verified copies elsewhere, Tusk lets you delete the local copy. It checks the physical backups first and blocks the delete if anything is missing or unverified. Restore brings files back from the fastest connected copy in one click, for a whole project or a single folder.

Photographers with years of existing backups do not need to start over. Point Tusk at a drive that already holds your archive, select the folders, and it catalogues and verifies them in place, without recopying. A second drive with partial copies of the same shoot can be brought in the same way: Tusk matches what is already there and copies only what is missing. On a shoot day it can also offload a memory card to two or more destinations in a single pass, with a checksum report at the end.

Fischer built the first version as a command-line tool for his own course recordings. "When talking to other photographers and videographers, I realised that I'm not the only one struggling with this problem. I then decided to turn it from a terminal tool into a real desktop app, in close collaboration with some of my videographer and photographer friends."

Everything Tusk knows about your files stays on your Mac. No signup is required, and neither your files nor the catalogue is uploaded anywhere. Cloud backups go straight from your Mac into your own accounts. Tusk is focused on project-level backups, so it does not replace whole-Mac backup software such as Time Machine or Backblaze, and it runs on macOS only.

Tusk is available now from tuskbackup.com for macOS 12 and later, on Apple Silicon and Intel Macs, as a signed and notarised download (it is not on the Mac App Store). A 14-day trial starts on first launch with no signup or card. A licence is a one-time purchase of $79 (USD); at launch, the first 100 licences are offered at $49. It covers up to five Macs and includes one year of updates, and the app keeps working after that.

© Nikon

Nikon has introduced the Z5IIC, a full-frame mirrorless camera combining accessible operation with excellent image quality. The 24.5-megapixel camera features touchscreen control, a portable flat-top design, and autofocus that recognises fish, people, pets, vehicles and birds. In-body stabilisation and ISO up to 64000 handle low-light shooting, with the camera available from October 2026 at £1,349.

From Nikon:

Sales Start Date: October 2026

Recommended Retail prices:

• Z5IIC Body - £1,349 (UK), €1,649 (ROI)
• Z5IIC Lens Kit (w/ 24-50mm) - £1,609 (UK), €1,959 (ROI)
• Z5IIC Lens Kit (w/24-200mm) - £2,049 (UK), €2,479 (ROI)
• Z5IIC Lens Kit (w/24-70 f/4 S) - £1,879 (UK), €2,279 (ROI)

Nikon announces the Z5IIC, a powerful beginner-friendly full-frame mirrorless camera that lets people shoot with confidence from day one. By pairing familiar touchscreen operation with acclaimed Nikon Z technology and flexible creative features, the Z5IIC makes it easy to achieve stunning photos and video in any light. Even if it's someone's first full-frame mirrorless camera, they'll feel in control from the very first shot.

With its streamlined, flat-top design, the Z5IIC is a truly portable full-frame camera that meets people where they're at and stays with them as their skills grow. The 24.5 MP FX image sensor and powerful EXPEED 7 processor ensure stunning full-frame image quality that goes beyond everyday smartphone photography.  Colours, textures, and details won't get lost in low light, backlit scenes can be captured in all their glory, and in-camera image stabilisation keeps handheld shots sharp. Focusing on subjects as they move, even in dim light, is beautifully simple thanks to an intelligent autofocus system that can recognise people, pets, vehicles, and birds, and the Z5IIC is the first Nikon Z camera to recognise fish as well.

Touchscreen operation makes controlling the Z5IIC feel instinctive, while the high-resolution Vari-angle monitor unlocks all the angles and provides a clear view of the frame. To attain beautiful results quickly, 15 scene modes optimise settings for different subjects and moods, and Nikon's Imaging Recipes and Film Grain feature make it simple to experiment with the look of photos and video in-camera. Meanwhile, automatic firmware updates simplify keeping the camera up to date and, wherever someone's interests lie, there's a NIKKOR Z lens ready to capture the beauty they see.

Zurab Kiknadze, Product Manager, Nikon Europe says: "With Z5IIC, we wanted to make full-frame photography feel effortless and approachable, without compromising image quality or creative freedom. It's a camera you can pick up and take anywhere as you grow your skills. Wherever you're at in your creative journey, you can trust it to deliver great-looking images and video."

© Nikon

Summary of key features: Z5IIC

Stunning full-frame image quality: a 24.5-MP FX sensor with wide dynamic range renders richer detail, deeper colours, and smoother bokeh.

Simple, intuitive operation: familiar touchscreen control and a high-resolution Vari-angle screen make it simple to capture photos and video from creative angles.

15 scene modes: from vivid sunsets and neon nightscapes to playful pets, scene modes optimise camera settings to suit different subjects and moods for beautiful results.

Superb portability: the streamlined flat-top design makes it easy to slip this full-frame camera into a bag, and right back out again. A well-shaped grip provides a comfortable, confident hold whether carrying the camera or shooting with one hand.

Intelligent autofocus: people, pets, vehicles, birds, and now even fish. Multi-subject detection and sensitivity down to -10 EV¹ lets the AF system focus reliably on subjects, even after dark.

Powerful in-body image stabilisation: up to 7.5² stops of in-camera Vibration Reduction keeps handheld shots steady, and Focus Point VR keeps subjects sharp anywhere in the frame.

Brilliant low-light shots: ISO sensitivity goes all the way up to ISO 64000 for stills and ISO 51200 for video. Intelligent noise reduction ensures clear results even at high ISOs.

Fast burst speeds: photographers can shoot at up to 14 fps to capture active subjects, then select the perfect frame or keep the whole sequence.

Richly detailed 4K video: video shooters can upload high-quality footage straight from the camera, or record 4K/60p³ footage in N-RAW and edit it later.

Nikon Imaging Cloud: Z5IIC users can experiment with colour by downloading image recipes from Nikon, RED, and Nikon creators straight to the camera.

Film Grain: recreates the nostalgic look of analogue film by adding a grainy effect to photos or video, and it can be paired with Imaging Recipes.

Rugged build: a tough yet lightweight magnesium alloy frame protects the Z5IIC, and the camera is sealed to keep dust and moisture out.⁴

NIKKOR Z lenses: a world of new perspectives and creative possibilities awaits with Nikon's wide range of interchangeable full-frame mirrorless lenses.

For more information, please visit the Nikon website.

FOOTNOTES:

¹ In Photo mode using Single-servo AF (AF-S), Single-point AF (centre), at ISO 100 equivalent and a temperature of 20°C/68°F with a f/1.2 lens.

² Up to 7.5-stop VR based on CIPA 2024 Standard. Yaw/Pitch/Roll compensation performance when using the NIKKOR Z 24-120mm f/4 S (telephoto end, NORMAL mode).

³ 4K/60p video recording is available in DX crop mode.

⁴ Complete dust- and drip-resistant performance is not guaranteed in all situations or under all conditions.

© Sony World Photography Awards / World Photography Organisation

Organisers of the Sony World Photography Awards have revealed the jury panel and official exhibition dates for the landmark 20th edition. Set to return to London’s Somerset House from 15 April to 3 May 2027, the flagship showcase celebrates two decades of global visual storytelling. Independent curator Monica Allende returns as Chair of the Jury alongside a distinguished panel of international gallery directors, curators, and editors who will oversee the 2027 competition.

From Sony:

• Judges for the 20th edition of the Sony World Photography Awards announced
• 2027 exhibition opens at Somerset House, London from 15 April – 3 May 2027
• 2026 travelling exhibition is open in Milan until 4 October, in Johannesburg until 22 January 2027, and opens in Berlin on 8 October

The Sony World Photography Awards announce today the jury and London exhibition dates for the landmark 20th edition.

In their two-decade-long history, the Sony World Photography Awards have become the definitive reference point for contemporary visual storytelling, honouring the remarkable creativity and dedication of photographers working today. A celebration of the stories and images shaping our culture, the Awards show the diverse possibilities of the medium.

Organised by Creo, the Awards form the core part of its photography programming strand, the World Photography Organisation. Sony supports the Awards to give an international platform to artists working in photography, and to push forward the global discourse on the medium today.  

2027 JUDGES

Following the success of the 2026 edition, which received over 430,000 images, and now entering their second decade, the Awards are open for entries and free to all photographers. For the landmark 20th edition, the Awards welcomes back Monica Allende as Chair of the Jury for the Series competition and curator of the London exhibition at Somerset House.

Allende is accompanied by a panel of specialists in the visual arts from across the globe, all contributing their unique expertise, insights and perspectives. The 2027 jury comprises: 

Series Competition:

• Monica Allende, Independent Curator and Photography Consultant, Chair of the Jury, UK
• Santiago Escobar-Jaramillo, Photographer & Editor at Raya Editorial, Colombia
• Peipei Han, Director of Exhibitions, Fotografiska Shanghai, China
• Candice Jansen, Manager, New Archival Visions Programme, University of the Western Cape, South Africa
• Amanda Renshaw, Independent Curator, Writer and Publishing Consultant, UK
• Pauline Vermare, Phillip and Edith Leonian Curator of Photography, Brooklyn Museum, USA

Single Image & Youth competitions:

Maja Dyrehauge Gregersen, Managing Director, Copenhagen Photo Festival, Denmark

Student competition:

Menno Liauw, Founder and Director of the FUTURES Foundation, Netherlands

NEW IN 2027

The 2027 edition broadens the Awards’ range through new categories across the competitions, presenting expanded opportunities for fresh perspectives on visual storytelling. The Series (previously Professional) and Single Image (previously Open) competitions are re-named, further defining and clarifying their scope. Photographers are welcome to enter different projects to both competitions, enabling those with diverse portfolios to enter work from across their practice, be it a series or a striking single photograph.

New Series competition Category

Histories: This category invites photographers to explore how histories - personal, cultural, and collective - shape our world today, from traditions and everyday rituals to the events and forces that have left their mark on nations and peoples. This category is for projects that engage, explore, or re-examine the past, as well as work that looks at the contemporary through a historical lens. We welcome archival and found image interventions that revisit, re-contextualise, or breathe new life into the past. 

New Single Image competition Category

Animal Portraits: This category celebrates the beauty, personality, and spirit of animals through portraiture. Judges are looking for images that capture the subject’s expression and character, from beloved pets to majestic wildlife and marine life, to reptiles and insects; portraits that honour and showcase the remarkable diversity of the animal kingdom. 

2027 LONDON EXHIBITION AND 2026 TRAVELLING EXHIBITION DATES 

The Sony World Photography Awards 2027 exhibition begins its international journey at Somerset House, London, from 15 April to 3 May 2027. A fixture of the cultural calendar in London, the acclaimed exhibition, curated by Monica Allende, features a selection of winning and shortlisted images from the 2027 Awards, as well as special presentations by the Photographer of the Year 2026 Citlali Fabián and the Outstanding Contribution to Photography 2027, to be announced in November.

The Sony World Photography Awards 2026 is currently on view in Johannesburg, South Africa (until 22 January 2027), at the Roger Ballen Centre for Photography, marking the Awards’ debut presentation in South Africa. The exhibition then continues to travel to other destinations: 

• Milan, Italy, 10 June - 4 October 2026
• Berlin, Germany,  9 October 2026 - 7 February 2027
• Matera, Italy, 14 November - 10 December 2026
• Bisceglie, Italy, 12 - 30 December 2026 

2027 DEADLINES AND PRIZES 

The Sony World Photography Awards opened to submissions on 1 June 2026. Full competition and category descriptions can be found at worldphoto.org.

Deadlines for submission to the four competitions are as follows:

• Series: 12 January 2027 16:00 GMT
• Single Image: 5 January 2027 16:00 GMT
• Student: 27 November 2026 16:00 GMT
• Youth: 5 January 2027 16:00 GMT

All category winners of the Series, Single Image, Youth and Student competitions receive Digital Imaging equipment from Sony. The prestigious Photographer of the Year receives a cash prize of $25,000 (USD) as well as a solo presentation of their work as part of the Sony World Photography Awards exhibition in London the following year. The Single Image Competition Winner and the winner of the Sustainability Prize each receive $5,000 (USD). All winning and shortlisted photographers’ projects are exhibited at the annual Sony World Photography Awards exhibition in London, and will then tour internationally. The winning images are also published in the annual Awards’ book, sold at the exhibition and available online. Series competition category winners and finalists are invited to Insights, a day of tailored sessions with leading industry figures in London. Coming from commercial, curatorial, and institutional backgrounds, these experts offer the photographers specialised guidance on expanding their network and practice. 

For more information about the Sony World Photography Awards and upcoming announcements and events, please visit worldphoto.org.  

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to kenwil (Day 22 - River).

Daily Theme Runners-Up

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

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

Day 17

Night Architecture

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Day 18

Cats

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Day 19

Textures

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Day 20

Safari

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Day 21

Ducks

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Day 23

Mist / Fog

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

One aspect of photography that is often misunderstood is that when you take a picture you are not capturing an instant but rather a period in time. During this period things happen and the choices you make when taking your picture will fundamentally change the results you get. Movement in photographs should be captured deliberately, making sure that it looks like that was the plan. A picture that is just a little blurred will usually look just that, a little blurred. 

Any camera can capture movement but the amount of control you have will determine the amount of movement that you are able to show. The longer the shutter speed the more movement can be captured. Consider the best camera modes to use for your situation. 

For most pictures featuring movement, you should use a tripod but there will be times when just shooting plenty of pictures hand-held will be a better strategy.
 

1. Techniques to adopt

The technique you need to adopt will depend upon what you are trying to say. Digitally you can shoot and review what is happening and if the movement is too much use a faster speed; if they are too ‘static’ use a slower speed. Typically you should try shooting at about 1/15th or 1/30th with a reasonably fast subject. Panning can be done on a tripod, but the results will be quite different. It is essential if using a tripod (or monopod) that the camera should be able to follow the action accurately if the moving action is at an angle to the camera movement you will struggle to get usable pictures. 

 

2. Blur can be good

However, this doesn't mean you have to keep the subject sharp. In this shot of the Tour de France, nothing is really sharp, but there is a clear difference between the blurriness of the crowd and the slightly sharper rider and this makes the picture more dynamic. 
 

3. But does the camera need to move?

Sometimes it is not necessary for the camera to be moving at all. Fixing the camera on a tripod and letting the subject move will give an altogether different result. This same technique can be used at night to get car lights on the roads which can be a very effective way of showing movement. Machinery is also a good source of subject as they often look much more interesting in action than at rest – or frozen with flash. Panning can help you to keep the subject sharp.

In some situations, flash can be used though; if you set the camera to slow-sync you can have the combination of a blurred image with a sharp one overlaid on it. If possible set the camera to ‘rear’ or ‘second curtain’ sync or the subject will appear to be moving backwards.

Whatever you approach, though, try and make the movement you capture to say something about the subject – that is what will make the picture work.
   

Markets are full of photographic opportunities thanks to the colourful array of products and people that pass through them. However, they can also be a little daunting, especially in foreign locations but if you remember a few simple steps, you shouldn't have too many problems. These include asking to take close-up portraits, not getting in the way of those running a business and the most important but simple step: be polite.

1. Lenses for photographing candid market images

Wide lenses will give you the opportunity to capture stallholders and customers in their environment while a longer lens can be useful if you'd prefer to shoot more candidly. Consider a telephoto zoom for more flexibility.

2. Flash can make photos look less natural

Try to avoid flash as not only can it be distracting, it can also spoil the atmosphere you're trying to capture. As indoor markets tend to be low on light this can mean working with higher ISOs but most DSLRs cope with this fine so you can still capture great low light imagery.

Leave the tripod at home as the legs will just get in the way of other visitors. If you find you really do need a support, find a flat, solid surface you can rest your camera on. It's also worth keeping an eye on your white balance as some indoor lighting can leave a coloured tint in your shots. 

3. Interact with people to gain their trust

Capturing portraits of people at work or shots of those visiting the market, buying goods, is the best approach to take. Shooting candidly is fine but for portraits with impact, take the time to ask the stallholders if you can take some shots of them up close. If language is a barrier, try smiling and pointing to your camera as this will often get the message across. Always thank your subject and take the time to show them the result. It'll also help if you can learn how to say 'hello', 'please' and 'thank you' in the language of the country you're visiting, if venturing away from home. 

If someone looks uncomfortable because you're taking their photograph make sure you stop and walk away and always read up on what's acceptable and what isn't and respect the views/practices of the country you're visiting.
 

4. Capture as much as you can

Remember to shoot lots and often as lots can happen in a market. Switching to continuous shooting mode can help, but it's not essential, you could also try shooting from the hip if you don't want to draw as much attention to yourself. 
 
When you do have the opportunity to work more closely, try a slightly tighter framing to see what results are produced. If you have particularly large stalls to deal with that have lots of produce between you and the seller this could mean using the power of a zoom lens to pull them to you rather than you moving your feet. 

If you're making a special trip to a particular market do remember to check:

• Opening times
• Busy times
• Restocking times (so that you're not in the way)

- Partner Content -

The Fujifilm XF400mm f/4.5 R LM OIS WR on the X-H2S is a great combination for nature photography. The lens is richly featured including focus recall buttons, an image stabiliser with 5.5 stops benefits and a fluorine-coated front lens element.

Shoot nature and you’re often dealing with the very distant which means a powerful telephoto lens is essential if you want subjects to be a decent size in the frame. That sounds straightforward but typical long telephoto lenses are big and bulky, and if you want a fast maximum aperture, they are prohibitively expensive too. All in all, telephoto lenses for nature are a challenge.

Occasionally, along comes a lens that rewrites the rules and here’s one such lens from Fujifilm for its X Series camera system. The new Fujifilm XF400mm f/4.5 R LM OIS WR delivers a field of view equivalent to 609mm long telephoto in the 35mm format, and it does so in a remarkably portable package. It measures just 239.5mm and tips the scales at 1245g.

I got the opportunity to try out the new telephoto, shooting on the 26-megapixel Fujifilm X-H2S, a camera that weighs 660g, so the combination is a little under 2kg.

The Fujifilm X-H2S with the XF400mm f/4.5 R LM OIS WR weighs under 2kg, so ideal for location photography and it’s light enough for successful handheld shooting when shutter speeds drop.

Fujifilm XF400mm f/4.5 R LM OIS WR: Setting up

Before striking out with the Fujifilm XF400mm f/4.5 R LM OIS WR, I tried photographing visiting birds in the garden. It was the ideal situation to get a feel of the lens’ handling and the best set-up. 

For long lens shooting, the logical exposure mode is shutter-priority AE, so I set that in tandem with auto ISO set with a 400-3200 working range. The lens has an impressively fast maximum aperture, but when the light drops and you’re shooting at 1/1000 sec and above to stop the action, you need all the ISO you can get. Besides, the high ISO performance of the Fujifilm’s X-Trans CMOS 5 sensors is tried and tested, so I know there’s no problem getting great quality shots at ISO 3200 and even beyond. 

In the garden, I managed to capture a fleeting visit from a great spotted woodpecker. It stayed for three or four seconds, and it was off, but it’s always a treat to see this lovely bird especially as we live in the city. Image: Will Cheung. Fujifilm X-H2S with XF400mm f/4.5 R LM OIS WR. 1/500 sec f/4.5 ISO 1250.

Capturing birds in flight is easier if you can track them from afar. Here, though, I turned round and saw the heron, so I just lifted the camera to eye and squeezed off a few frames but didn’t expect them to be sharp. This was the first shot in the sequence and it’s lovely and sharp, and it’s large in the frame. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/2000 sec f/4.5 ISO 800.

The XF400mm f/4.5 R LM OIS WR has a minimum focus of 2.75m and this jackdaw moved in so close to me I had to lean back to keep the bird’s eye in sharp focus. The lovely fine detail around the bird’s beak is critically sharp. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/2000 sec f/4.5 ISO 500

I tried the AF system set to the 5x5 zone and Wide/Tracking, and both worked well with bird subject detect and continuous AF for larger birds such as ring-necked parakeets but was responsive and sensitive enough for smaller birds such as blue tits too.

To keep pace with the action, I set 15fps continuous drive but with the electronic shutter engaged and a CF Express Type B loaded, I had the headroom for shooting up to 40fps if required. 

With the initial set-up completed, it was off to Bushy Park with the Fujifilm X-H2S, the XF400mm f/4.5 R LM OIS WR and a spare battery.

Herons are a common sight in Bushy Park and the XF400mm f/4.5 R LM OIS WR was perfect for this tightly framed bird portrait, and the background is nicely blurred even at f/8. The detail in the bird’s head and feathers is exceptional. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/1000 sec f/8 ISO 400.

Fujifilm XF400mm f/4.5 R LM OIS WR: on location

For my day out, the weather conditions were good with the sun making regular appearances and little wind. Bushy Park yielded its usual wide variety of subjects from insects and birds to mammals including deer. It was very early on in the deer rutting season and having such a long lens available meant I could shoot from a very safe distance.

With so much focal length available with the XF400mm f/4.5 R LM OIS WR, larger nature subjects such as this fallow deer buck can mean a tight crop or you have to take a few steps back if you want the entire creature in the frame. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/800 sec f/5 ISO 400.

On location, the combination’s portability was a serious benefit. Walking around with the Fujifilm outfit that weighs under 2kg made life so much more comfortable compared with my usual long lens kit. The park is mostly flat and it’s easy walking, but you have to cover a good distance to find subjects.

There were also handling benefits. When I shoot street, I like to have the camera in my right hand, forefinger resting on the on/off collar and when I see a potential shot, I can bring the camera up to the eye, switching it on as I do so, and shoot. Of course, for street shooting I’d be using a wide-angle or standard focal length, not an extreme telephoto. However, the Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR combination is lightweight enough to let me adopt the same approach which greatly increases the chances of getting the shot. 

I’m not saying I could work like this for hours at a time and of course you can do this with other camera/long lens pairings, but this Fujifilm duo was light enough not to be uncomfortable or too much of a strain.

I was carrying the XF400mm f/4.5 R LM OIS WR on the X-H2S in my right hand ready to shoot. When I spotted the robin, I turned the camera on and lifted it to my eye in one smooth action and got the picture before it flew off. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/500 sec f/4.5 ISO 2500.

Also, for nature shooting with long lenses, I usually have a monopod on hand so when it gets darker and shutter speeds drop, I can shoot without suffering from camera shake. For this practical look at the XF400mm f/4.5 R LM OIS WR, I left the monopod in the car and relied on the lens’ Optical Image Stabiliser (OIS) together which claims a 5.5-stop benefit.

With a grey squirrel on a tree trunk, light levels were relatively low but shooting at 1/100 sec was no problem in terms of camera shake; the creature was eating, so I did get some subject movement.

The XF400 f/4.5 R LM OIS WR’s minimum focusing distance of 2.75m is perfect for nature subjects that aren’t backward in coming forward, such as grey squirrels. The camera was set to single zone AF which was moved to cover the squirrel’s eye to ensure focus was spot on. Image: Will Cheung. Fujifilm X-H2S with XF400mm f/4.5 R LM OIS WR. 1/100 sec f/4.5 ISO 800.

The XF400mm f/4.5 R LM OIS WR has internal focusing, so its size stays constant and a high-speed linear motor means autofocusing is silent, judder-free and very responsive. When I was setting up back home, I’d tried Wide/Tracking and 5x5 zone AF, but when I started trying to photograph black-headed gulls in flight, the smaller 5x5 zone seemed to acquire the subject more quickly and held on more tenaciously once locked on. I did switch to a smaller single zone for static dragonflies where I wanted focus on its head and eyes.

Set the Fujifilm X-H2S to continuous focus AF with the XF400mm f/4.5 R LM OIS WR attached and the duo does a fine job of tracking birds in flight. The AF was set to 5x5 zone autofocus and the camera tracked the black-headed gull all over the sky as it was fishing. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/3200 sec f/4.5 ISO 400.

The migrant hawker dragonfly likes to hover for a few seconds, which is just enough time to frame and focus. Having the camera menu item AF+MF set to on means it’s possible to get it recognisably sharp with manual focusing, then hitting the shutter release and the camera’s autofocus takes over for the final shot. Using the lens’ focus preset feature with focus set to roughly where the insects were flying was a great help too. Image: Will Cheung. Fujifilm X-H2S with XF 400mm f/4.5 R LM OIS WR. 1/2000 sec f/4.5 ISO 3200.

Reflecting on the experience of using the Fujifilm XF400mm f/4.5 R LM OIS WR while looking through my photos, I was very pleased with the results. Using a prime lens is more of a compositional challenge and of course such a long lens can generate its own problems. For instance, with some deer shots, I was too close to include the deer’s surroundings, so I had to retreat a little, and when they moved closer, again I had to take steps back. However, I thought there were more upsides of using a prime lens. It was mostly a bright day but shooting with fast shutter speeds with the f/4.5 aperture meant I could keep ISO down for excellent image quality. 

The big benefit, though, is the image quality of the Fujifilm XF400mm f/4.5 R LM OIS WR. I am used to using telephoto zooms and while image quality is good, the look of the shots from this Fujifilm prime lens was in another league. Image quality was excellent with very impressive detail resolution and overall sharpness, and this was also a benefit when I cropped into the photo for a larger subject size.

This kingfisher was perched high in a tree taking a break from feeding. The pulling power of the XF400mm f/4.5 R LM OIS WR lens helped produce a reasonably-sized bird and cropping for a larger subject size is no problem thanks to lens’ impressive resolution. Image: Will Cheung. Fujifilm X-H2S with XF400mm f/4.5 R LM OIS WR. 1/640 sec f/4.5 ISO 2500.

Fujifilm XF400mm f/4.5 R LM OIS WR: Summary

Nature is such a diverse subject that there’s no ideal focal length or even lens type and obviously much depends on the subject as well as budget.

Zooms are popular for their framing versatility, but their generally more modest maximum apertures can be an issue when light levels drop and that’s why fast primes are often preferred by expert nature photographers even though they aren’t flexible like zooms.

Then there’s the matter of focal length. The XF400mm f/4.5 R LM OIS WR gives the equivalent of 609mm in 35mm full-frame format, so it qualifies as an extreme telephoto and might be too much focal length in some cases. It's perfect, however, for birds where the subject is generally small and wary, so shooting from a distance is standard procedure. 

For my photo walk, I really enjoyed and appreciated the pulling power of the XF400mm f/4.5 R LM OIS WR and being a fixed focal length made me think harder about composition and positioning and that is a good thing. Its portability is also worth stressing and I finished my day without aching arms, which can be the case with my usual long lens set-up.

Fujifilm XF400mm f/4.5 R LM OIS WR Key Features

• Price £2499
• 609mm focal length (35mm equivalent) 
• Internal autofocusing with high-speed linear motor
• 21 elements in 14 groups construction
• Optical Image Stabilisation system, 5.5 stops benefit
• Fluorine-coated front element
• Focus control button and focus preset
• 2.75m close focusing distance
• Two on-lens focus limiter ranges
• F/4.5-22 aperture range 
• 9 diaphragm blades
• 20 weather seals
• 95mm filter size 
• Compatible with Fujifilm XF1.4x WR and XF2x WR teleconverters 
• Bayonet fit lens hood supplied
• Dimensions 104.5x239.5mm
• Weight 1245g 

- Partner Content -

A good photograph can capture a moment, but sometimes a still image does not fully show the feeling behind it. With video becoming a common way to share creative work, creators are looking for simple ways to give their existing photos more life.

AI photo animation offers one practical solution. Instead of taking new footage, creators can use AI to add natural movement to a single image. The key is to add motion while keeping the original subject, style, and visual details intact.

Why More Creators Are Exploring AI Photo Animation

AI photo animation technology is changing how creators work with existing visual assets. A single photograph can now become the starting point for a short video, giving creators more ways to share their work without starting every project from scratch.

For photographers, this can extend the value of a finished photo shoot. A portrait, landscape, or event image can be animated for social media, a portfolio, or a short presentation. The original photograph remains the foundation, while AI adds movement around it.

The same idea is useful for other creators. Designers, marketers, travel creators, and social media users can animate still images to create short-form content. This makes it easier to turn existing visual assets into fresh content for different platforms.

How AI Is Changing the Way Creators Animate Still Images

Traditional photo-to-video editing can involve keyframes, transitions, and motion settings. For creators who want to turn a single image into a short clip, this manual process can add unnecessary steps to a simple project. 

This is where AI image animation tools such as AIReel can simplify the workflow. Creators can upload an image and generate a video with smooth motion, without building every effect manually. It also offers a range of models and formats for different creative needs.

• From single images to short videos: Existing photos can become ready-to-share video content.
• From manual editing to AI-assisted motion: Creators can reduce the need for detailed keyframe work.
• From one asset to multiple formats: A single image can be reused for different social platforms.
• From reshoots to content repurposing: Older photos can become new creative assets.
• From complex workflows to simple creation: Users can focus more on the visual idea and less on technical settings.

5 Practical Ways to Animate a Photo With AI Without Losing the Original Look

Animating a still image works best when the added movement follows the logic of the original photograph. The aim is not to make every part of the image move, but to introduce motion where it supports the subject, composition, and mood.

1. Start With a Photo That Has Clear Visual Structure

Choose an image with a clear subject, good focus, and enough detail. Photos with strong foreground and background separation are often easier to animate because the main subject can remain stable while movement is added to other areas.

2. Match the Motion to the Original Scene

Consider what would naturally move in the photograph. Clouds, water, hair, fabric, and tree branches can support gentle movement, while a slow camera push can work well for portraits or architecture. The motion should follow the scene rather than compete with it.

3. Protect Faces, Hands, and Fine Details

Small changes can be very noticeable when a person or a detailed object is the main subject. Before using an AI animation, check the eyes, facial features, fingers, text, and product edges. Keeping these areas stable helps the result stay close to the original photograph.

4. Use Camera Movement to Add Depth

A subtle zoom, pan, or forward movement can make a flat image feel more cinematic without changing the subject itself. When the composition already has clear foreground and background elements, controlled camera movement can also create a stronger sense of depth.

5. Keep the Animation Short and Review Every Frame

Longer clips give unwanted changes more time to appear. For most photo-based content, a short animation can be enough to add movement while preserving the original look. Review the complete clip before publishing and compare key frames with the source image.

To Sum Up

AI photo animation gives creators a practical way to get more value from the images they already have. Instead of replacing photography, it can add another layer of motion and help still images work in video-first spaces.

The best results come from using AI as a creative tool rather than letting it take over the image. With a strong original photo, suitable motion, and careful checking, creators can animate pictures with AI while keeping the look and character of the original work. Tools such as AIReel make this process easier, helping turn photos into simple, engaging videos without a long editing workflow.

Fog and mist give instant mood, adding an extra level of environmental interest to your shots. You actually do not have to do anything special apart from just being out in it with your camera. So, whether you are walking the dog or on your daily commute to work, it is worth having a camera with you for those unmissable mist images.
 

1. Camera Choice

Any camera is good for mist photography and you can use any lens too, so just stick to your favourite combination. There is nothing wrong with using a top-end compact if carrying a DSLR around with you is not feasible.
 

2. Lens Options

In terms of lens choice, a wide-angle lets you show the tonal differences between foreground and misty background in a gradual way. Look for bold foreground detail and strong lines (rocks, trees, pathways, rivers etc) to make the most of this effect.

The foreground is just as important with [AMUK]telephoto lenses|telephoto+lens+lenses+zoom[/AMUK]. Shoot a misty scene with no foreground and there is no perspective, no sense of depth. This can work fine but most scenes need some foreground interest to give that three-dimensional quality and the tonal transition is much more abrupt.

3. Ultra-Violet Or Skylight Filter?

You probably already have your lenses fitted with an ultra-violet or skylight filter; if you don't it is a worthwhile consideration if you bear in mind that a filter is cheaper to replace than a lens.  On misty days when you can have tiny water droplets settling on your lens this will affect image sharpness, so being able just to wipe them off without being too delicate is a bonus.

4. Use A Tripod

If you have the room it's a good idea to pack your tripod as exposures can be on the long side as not much sunlight will be able to get through the fog/mist you're photographing. It should also help you keep horizons straight too, although some cameras feature a level or some sort of grid-guide that can help you level your camera for straight horizons. 

5. Valleys And Low-Lying Areas

Mists forms in low-lying areas (valleys, for example) and over water so if you fancy the idea of shooting mists, those are the sorts of places to head for. To add a touch of mysticism or eeriness to your work head for thickly wooded areas where fog and mist will weave around the trees.
 

6. Meters Can Be Fooled

Camera meters are often fooled into underexposing misty scenes so they come out looking very grey, rather than light and airy which usually looks better. Setting +0.5EV or +0.7EV will help avoid this. In strongly backlit scenes you might need up to a +1 or +2 exposure value to record the delicacy of the mist.

Shooting in Raw and doing the adjustment later is an option but it makes sense to get it right in the first place.
 

7. Work Quickly

Finally, remember to get there in plenty enough time so if there is a mist, you have time to scout a few good spots and then decide which is best. Conditions can change very rapidly, so shoot quickly, perhaps bracketing exposures, and then move on.

- Guest Collaborator -

[Image source: https://www.katebackdrop.com/]

You don't need a huge studio to shoot good portraits. A spare room, home office or corner of the living room can work perfectly well, but limited space does mean you need to think a little more carefully about where everything goes.

Before filling the room with stands and lighting kit, work out what the photograph actually needs. These five tips will help you get more from a smaller portrait setup.

1. Work Out Your Framing First

Before setting up the background or lights, decide whether you're shooting a headshot, half-length portrait or something wider.

Put your subject roughly in position, pick up the camera and check the frame. This will quickly tell you whether you have enough camera-to-subject distance and whether your chosen focal length makes sense.

It's much easier to move a chair or change a lens at this stage than after you've built the whole setup and discovered you can't step back far enough.

2. Make Use Of The Light You Have

Got a decent-sized window? Start there.

Turn your subject towards and away from the light and watch what happens to the shadows across their face. You may find that window light and a reflector are all you need, particularly for a simple head-and-shoulders portrait.

Also keep an eye on ceiling lights. Mixing daylight with warm room lighting can leave you dealing with different colour temperatures later.

In a tight room, another light stand or large modifier also takes away valuable working space, so don't add kit unless it is actually helping the picture.

3. Keep The Background Simple

Small rooms have a habit of putting everything into the frame: shelves, door frames, furniture, cables and pictures on the wall.

Look through the viewfinder before reaching for more equipment. Sometimes shifting the camera a little, moving your subject or taking something out of the room is enough to tidy things up.

If the surroundings still feel too busy, a solid colour backdrop gives you a simpler background and lets the subject do the work.

Don't choose the background in isolation, though. Think about the subject's clothing, the lighting and how much of the background will actually appear in the finished shot.

[Image source: https://www.katebackdrop.com/]

4. Move Your Subject Away From The Background

Space may be tight, but try not to put your subject straight against the background if you can avoid it.

Moving them forward even a little can help with separation and gives you more control over shadows falling behind them. It may also make it easier to soften background detail with your choice of aperture and focal length.

You don't need to chase an extremely blurred background every time. What matters is that whatever sits behind your subject isn't competing for attention.

5. Keep Things Easy To Move

A small portrait space often needs to change during a shoot. One minute you're taking a seated headshot and the next you want a looser standing portrait.

Leave yourself somewhere to work. Avoid putting stands across the route you or your subject will need to use, and think twice about any bit of kit that has to be moved every time you change the composition.

If the room isn't a permanent studio, or you regularly shoot at different locations, a collapsible backdrop can also make sense when you need a controlled background that can be packed away afterwards.

The best small-space setups are usually the ones with the least unnecessary equipment. Sort out your framing, light and background first, then add only what the photograph actually needs.

Rivers make a wonderful subject for the outdoor photographer, yet people rarely set out with the intention to photograph them. Rivers offer an abundance of opportunities from grand sweeping vistas to detailed abstracts to wildlife as well as being fantastic places to enjoy the outdoors. Here are 6 key pointers to help you achieve better river and open water landscapes.

1. What is the unique character of the river?

As river locations have their own unique character, one role of the photographer is to identify and emphasise this character. You can do this by asking a series of questions when you first arrive at a location:

• Is this a large and impressive river or a small natural bubbling stream?
• Is this a setting people might describe as being idyllic and picturesque or is it more of an urban or industrial setting?
• Is the river clean and pure or dirty and full of litter?
• Does the setting convey a feeling of tranquillity and calm or are there other emotions it sparks and if so what?
• Is the river fast-moving and powerful or more slow and sedate?
• Is the water surface rough and broken by rocks or flat, calm and full of reflections?

2. Shutter speeds

Give some consideration to the shutter speed you will be using. Don’t just stop down to a small aperture for good depth of field and accept the shutter speed. Increase the ISO a little if you need to as the shutter speed can be a big influence the character of the image you create.

Long shutter speeds give smooth water and reflections, which all add to a sense of calm and tranquillity. Fast shutter speeds freeze the water and can really emphasise the feeling of power and strength in the water.

3. Use a remote shutter 

With the remote shutter, you could position your tripod in a shallow part of the river to get a shot with a different angle without having to be stood for a long time in the cold water. Obviously, you need to be very careful if you want to try this as you don't want your camera or yourself going for a swim! The remote control is also useful when photographing wildlife that lives around the river as you'll be able to set your camera up and move away, increasing your chances of shy wildlife coming back to the spot your camera is in.  
 

4. Make the most of the weather

The weather conditions, time of day and time of year all help in determining the type and quality of light you will have to work with. It may sound obvious but you can’t do too much about these factors so look to create photographs that make the most of the light you have available.

Immediately after a rainstorm, when the weather breaks can also produce magical lighting. The clearing rainstorm in the image above produced very dramatic lighting, despite being shot at midday. The rain also helped swell the river to give a great cascading effect over the rocks.

The weather condition that is one of the best for adding mood and character is mist and fog. Rivers in autumn are often great locations for mist early and late in the day. Such conditions tend to be best around sunrise and sunset, often catching the colour of the early morning sun. Look for the larger slow-moving rivers located in open fields as these often give rise to the best mist.

5. Consider the time of day 

Early morning and late evening light is probably what most photographers think of as being the best light. Typically the sky is colourful and with larger, slower-moving rivers, this great light will be reflected making the river appear to glow. Shutter speeds will be longer at this time of day which also helps smooth out the surface of the river. This is probably the best lighting conditions to create a mood of calm and tranquillity. It’s not always easy to organise yourself to be out photographing at this time of day but it is immensely rewarding in terms of images and the sheer pleasure of watching a sunset or sunrise.

Midday light, at least outside the winter months, tends to be a little harsh and it can be difficult to reflect the character of the river in its setting. If however, the river is in an urban landscape this type of lighting can still work well at it can be used to emphasise the unattractive elements. Also, if the river is strong and powerful you can use the bright lighting to freeze the action. If you find yourself trying to work under harsh lighting conditions that don’t suit your location, try to seek out wooded areas where there is plenty of shade or focus in on capturing detail shots.

Autumn is also a great time of year to photograph rivers and streams in woodland areas. Trees will be changing colour making for vibrant scenes. Leaves will be falling into the river, often gathering in pools around rocks. Here be on the lookout for opportunities to shoot swirling patterns caused by leaves caught in the river's current. With longer shutter speed this slow movement can be recorded as a swirling pattern. Consider using a polarizing filter to give a longer shutter speed but also to emphasise and saturate the vibrant autumn colours.

6. Think about where you stand

The direction in which you shoot the river can also have a huge impact on the character of you convey in your photograph. Shooting across a river tends to create a rather static image that flows in on one side of the composition and out on the other. If you have to compose with the river flowing horizontally across the image try to include something in the foreground of the frame to create a feeling of depth to the image.

Often large areas of the riverbank are nothing but grass. In these situations, there is little to hold the viewer's attention. Try to find locations where there is something to include in the foreground such as rocks and reeds.

Shooting along the river from its bank offers more potential especially where the river tends to bend and meander. Long straight rivers are less photogenic but can offer some potential. Look for long stretches where the perspective of the river can be emphasised using a wide-angle lens. The best positions, however, tend to be on bends as this lets you show off the bend and lead the eye into the image. Curves are more photogenic and pleasing to the eye than straight lines. Bends also allow you to position yourself so you look like you are shooting from in the river. This can further be enhanced by a long lens to ensure there is no foreground. When doing this though remember to include a point of interest to focus the viewer’s eye and attention.

A moody coastal scene with a row of beach huts standing in calm water, titled 'Just before the heavens opened' by PhilNewberry, has been chosen as our Photo of the Week.

There's plenty to love about this image, but the mirror-like reflections in the calm water, the varied soft tones of the huts, and that moody, overcast sky are what really stood out. The huts stretching back give the picture great depth, and the overcast weather adds a calm, peaceful mood to the scene.

It's a calm, minimalist coastal landscape that's definitely worthy of our Photo of the Week accolade.

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

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

 

Feeding ducks is something everyone enjoys but next time you head off for your Sunday morning stroll around your local pond, pocket your camera as well as the treats you take for the Mallards and Swans.

1. An opportunity to get close to wildlife

As ducks are used to people visiting with goodies they're not usually skittish so getting close to them shouldn't be a problem. Even still, taking along a small bag of birdseed to scatter will keep the ducks in front of you for longer increasing the chances you have of getting a good shot.

Flat banks are the perfect location for photographing ducks as the low angle gives you a shot that has more of a duck's eye view. If you don't want to work hand-held, take along a light-weight tripod or beanbag to sit your camera on.
 

2. Which season is best?

Winter's a great time to head to the water's edge as the sun sits at a lower angle for longer which means you don't have to get up at the crack of dawn for softer light. You'll also get mist rolling over the water – perfect for silhouetting a bird against. For a bit of variety try shooting their reflections or look for interesting behaviour such as fighting or preening activities.

3. Need more details?

If you find their feathers are lacking in detail try adding a little fill-in flash. Just remember for birds such as Swans that have lighter feathers you'll need slightly stronger light. This time of year when lakes can be slightly frozen light will be reflected off the icy surface back under the duck, highlighting detail in their plume. For particularly gloomy days switch to a slightly higher ISO so you can use a quicker shutter speed. If you're out when the sky is rather bright keep an eye on your exposure if Swans are around as a white bird against a bright sky may mean your camera underexposes the shot.

For shots of birds in flight make sure you're on continuous focus and get the focus locked on the bird straight away. To freeze their movement in the air or when they're splashing on the water try a shutter speed of around 1/500sec but if you want to be a little more creative try to blur the motion of the wings with a slower speed of around 1/30sec.   

With half-term coming up in October, you may be looking for something that'll keep the kids entertained but still give you the opportunity to take a photo or two. One location that's worth considering is a safari park as there are some excellent ones based in the UK that'll give you the opportunity to capture frame-filling images of Lions and other animals usually seen on an African plane. 

1. Photographing wildlife from your car or a bus 

As you're going to be stuck in your car, or the safari park's transport service, a long lens is a must. Something like a 70-300mm telephoto will do nicely but if you have a longer one take that along too as smaller subjects such as birds will look tiny otherwise. The inside of a car isn't the place for a tripod but having something to support your camera when you're working with long lenses is a good idea. You can get window-mounted tripods but a beanbag is a cheaper and easier way to go. Simply place it on a surface, rest your camera on it and click away. As you're shooting through glass pack a lens hood and/or a polarizer filter as they'll both help minimise reflections. 

2. Use queueing to your advantage

People moan about having to queue but if you're a photographer at a safari park this could work to your advantage as it means you'll have time to observe your surroundings. If you can wait in one position for a while to snap interesting behaviour. If you're visiting the park to see one particular animal make sure you've done your research so you know what time of day they'll be out and most active. Keep an eye on the weather too as this can make some animals retreat to cover and you'll be left with empty shots of fields. However, if you do get to the park when it's raining don't get too down-hearted as some animals don't mind the rain and raindrops on the fur and the reflection of light on wet surfaces can create very moody photos.

3. Small changes make a big difference 

As you're in a small space it can be tricky to move and find different angles to shoot from but there are plenty of other things you can do to improve your shots. Always make sure the eye is in focus and when it is don't click the shutter straight away – wait for the glint in the eyes that can make both human and animal portraits come to life. Sometimes you'll have to wait for the animal to move to get this but all you have to do is keep re-adjusting your framing until the moment arrives. If it's portraits you're particularly after make sure you zoom in to make them frame-filling and if you have cars or other distracting items in the background wait until you've changed position to take the shot or blur it out of sight with a large aperture. If it's a group of lions or a herd of elephants you're photographing use a smaller aperture such as f/22 to limit the blur to get the whole group in the shot.

When you're in a hurry it's easy to forget about composition so you'll put your subject slap bang in the centre of the image. For some shots this will create a strong portrait but try to resist doing it every time and really think about the rule of thirds when framing up. You also need space for your animal to walk into and don't amputate an animals extremities – a lion missing the tip of its tail won't look right.

As you have to keep your windows up you'll be shooting through glass so to minimise reflections make sure you have your lens against the window. If you have one, try using a lens hood or you could put your spare hand above or to the side of the lens to help minimise reflection. As the engine will be running you'll find the glass will be vibrating so speed up the shutter speed to minimise shake. You may also find manual focus handy as glass can sometimes fool a camera.

One more, very important point is to observe the rules. We don't want to hear any stories of ePz members who were turned into lunch!

Our landscape is abundant with rocky views from the gneiss rocks of Scotland, through the limestone pavements of the Yorkshire Dales, to the rocky Jurassic coastline of Dorset. Move-in closer and their patterns and textures provide fabulous abstract opportunities for photographers.

1. Gear Choices 

The beauty of this technique is any camera/lens combination can be used. No special kit is needed - just a good eye for the best viewpoint and artistic flare to determine the best composition. You could use a tripod to be sure of a rock (excuse the pun) solid view, especially when shooting patterns on the ground, as it can be harder to hold the camera rigid when you're pointing downwards. If you do use a tripod make sure it has an option to splay the legs out wide so you don't get them in the shot.

A standard lens is ideal, especially for rocks patterns below your feet - either a fixed 50mm or short zoom from around 35-70mm range is fine. Use a longer lens if you can't get close enough to the rock face. This is ideal for distant coastal cliff faces or mountainsides. A lens with a close focus will be handy when the texture is more important...you can focus in close on the more intricate details of the rock's composition.

2. When To Take Your Photos 

Shoot in overcast light if you want less contrast, but this can reduce the impact of the photo. Sunlight casts shadows making the patterns of rugged rocks become almost 3D. You can use the flash from your camera set to fill to reduce the shadows. If you use a camera that has flash control set the flash compensation to -1 in sun-behind-clouds situations and -2 in bright sunlight. The result will be a reduction in the density of shadow areas, but still enough to give the necessary 3D effect.

3. Where To Look

Some of the best patterns can be seen in strata, layers of rock that have been formed by layer upon layer of rock or soil millions of years ago. These layers have become exposed by erosion from the sea or natural earth movement or from being cut away to make roads.

Some of the best viewpoints for photography can be found on the coastline. Go to any rocky coastline and you're likely to find interesting rock patterns and textures, whether on the cliff faces or the natural pavement you walk on. Cliff faces provide head-on views and show the strata with the most dramatic lines while the ocean bed, exposed at low tide, can provide smoother more interesting shapes.

Look for rocks covered on lichen - coastal and exposed mountain moorland areas or dense woodland where it's likely to be regularly damp are ideal for this sort of texture. Use the lens on close focus to crop in on the minute detailed textures and patterns.

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition     

1. Be Patient 

2. Be Ready

3. Ask For Assistance 

If you are looking to capture some action or movement shots, get someone else to play with your cat, distracting them so you can get some shots of them swiping and jumping without them going for your camera. Try getting your cat to run by throwing a toy or treat, and snap it in full run. Quicker shutter speeds or switching to sports/action mode will help you freeze your cat's movement. To further enhance the feeling of speed, pan your camera, following your cat as they run. This will, hopefully, keep your cat sharp while the background is thrown nicely out of focus. If you don't want to have a go at panning, pre-focus on a spot where you know your cat will run through and hit the shutter button when they come into frame.

4. Candids & Close-Ups

Another technique, to create a more wild effect, is to watch your cat outside for a while and snap more candid style shots of it hunting or climbing on a wall. Try shooting side-on so you can get a shot just as it leaps into action.

If you want some close-up shots of your feline friend, try dangling a toy above it to get it to look up from the ground. You could also try getting your cat to paw at you to give the impression that it's leaping. Dangling a toy will also encourage your cat to keep still and keep its attention focused, to stop it from wandering off. For less action-based shots, why not try capturing it lying down or stretching. Some really lovely shots can be taken while they're resting/sleeping, for example.

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition  

- Partner Content -

Remember when you could look at a photo and know that it was, well, a photo?

If this year’s AI announcements from Apple, Google and Samsung left me with anything, it’s the certainty that those days are well and truly behind us.

From the 2023 discovery that Samsung was using AI to “enhance” photos of the moon taken on its flagship phones, to the latest round of generative tools added to Apple’s Photos app, the now-clichéd question “What is a photo?” has never been more complex or more necessary to answer.

For the record, my favourite answer to that question is the old superstition that when your photo is taken, a part of your soul is taken with it. Presumably, as you’re reading this, you don’t agree.

I must admit that the demoed results of these AI features do look good, and the only real effect of removing a lamppost from a photo of your kids is a marginally nicer snap to show their grandparents. Nonetheless, the argument that photography has a negative effect on the soul has never been stronger.

Enter Photosynthesis, an iPhone camera app that promises to enhance the user’s photos using zero generative AI. And it delivers the goods.

The idea behind Photosynthesis is simple: the app takes photos with two of the iPhone’s lenses simultaneously, then stitches the results together into a seamless composite. This resulting photo, therefore, combines the detail of the closer lens with the context of the wider, giving users the rather pithy “best of both lenses”.

It’s an idea so simple that it’s hard to believe no one has done it in the 10 years since Apple brought out their first two-lens model (the iPhone 7 Plus, which paired the regular 1x lens with a 2x telephoto).

Photosynthesis is the second app from British indie developer Sam Shepherd, who came up with the idea as a shutter-happy new parent looking to take the best photos without upgrading his phone and, understandably, without AI generating his son’s first steps. Now, after what he describes as “days of prototyping, weeks of building, months of refinement, and over 2,000 test photos”, the results speak for themselves.

A band performing on stage, shot from the crowd.

A map board, shot from several metres away.

Tower Bridge in London, shot from Blackfriars station, 2km away.

Users with an iPhone Pro (three rear lenses) can choose to pair the 1x with the zoom lens, or with the 0.5x ‘ultra-wide’, or even combine them all (’All 3’ currently in beta), while the standard iPhone (two rear lenses) can pair the 1x and 0.5x.

When shooting, the viewfinder helpfully indicates where each lens sits within the field of view, then the in-app editor comes with a heap of features designed for composite photos. While the aim of the app is to automatically produce a seamless result from just one tap of the shutter, the ability to ‘paint’ through one lens to the other is a useful tool to correct any remaining parallax artefacts.

The viewfinder, with green brackets to indicate the zoom lens framing.

The reveal tool, allowing users to ‘paint’ through one lens to the other.

The align tool, allowing users to tweak the relative position of the lenses.

Photosynthesis then offers a range of export options, from HEIC, PNG and JPEG, to layered Photoshop documents, 3D options, and a custom ‘Photosynthesis’ file that maintains editability while showing as a normal photo in other apps.

‘Photosynthesis: 2-Lens Camera’ is available to download for free on the iPhone App Store, with a 14-day unlimited free trial, after which you can keep using it for free with some limits to exports and customisation options, or pay a reasonable amount to keep everything unlimited.

And as for taking two photos at once, hopefully the slivers of soul stolen by each lens cancel each other out.

Neurapix has launched Studio Crop, an AI-powered Lightroom plugin feature that automatically applies consistent crops across entire portrait series. Photographers set a single crop specification with their preferred framing, aspect ratio, and eye alignment, then the AI applies it to all images at once. It's particularly useful for school, sports, and event photographers who previously had to crop hundreds of similar shots individually. The feature is included free with Neurapix Unlimited plans.

From Neurapix:

Neurapix has released Studio Crop, a new feature for its Lightroom plugin. The AI developed by the Göttingen-based company can now crop portraits according to predefined specifications - while it is already editing the images in the photographer's individual style.

The development of the new feature was prompted by school, kindergarten and sports photographers who previously had to set every crop individually across large series of images. They now get near-identical crops across entire shoots. To do so, Neurapix Studio Crop is simply checked in the usual editing dialog, and the whole series then runs through without any further input.

Photographers themselves determine how tightly the subject sits in the frame - with a little room around the subject, as a half body or as a three-quarter portrait. The AI recognizes the person in the picture (without capturing any biometric data) and applies the chosen framing to every photo in the series.

Aspect ratios & alignment to the eyes

The aspect ratio can be chosen freely as well: classic 2:3 or 4:5, square 1:1, or 9:16 right away, for instance when clients need images for social media stories and reels. With the "Align to eyes" option, the eye line also sits at the same height in every image of a series - a detail that creates a consistent overall result particularly for class and team photos.

"Photographers have asked us again and again to develop an AI crop that positions subjects consistently across large series," says Neurapix co-founder and CEO Nils Sauder. "We have delivered on that with Neurapix Studio Crop. For school photographers, for example, the feature is a real game changer, because it saves them a considerable amount of additional time. And the image editing happens automatically along the way."

Free with Neurapix Unlimited

Studio Crop is part of the Neurapix plugin for Lightroom Classic and is available automatically after an update of the plugin or a first installation. On the Neurapix Unlimited plan the feature is included at no extra charge. On Pay-per-Picture, an additional 1 cent per image applies - as with all other optional features - bringing the cost to a maximum of 5 cents per photo.

The existing Neurapix AI crop, which optimizes image composition in general, remains unchanged. It continues to be particularly well suited to reportage photography, while Neurapix Studio Crop is tailored to portrait series.

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

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to JonnyNI (Day 14 - Lights).

Daily Theme Runners-Up

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

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

Day 9

Bridges In The Landscape

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Day 10

Music Photography

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Day 11

Shopping

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Day 12

City Skylines

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Day 13

Stairs & Steps

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Day 15

High-Up

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Day 16

Rugged Landscape

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

When buildings are illuminated at night their shapes and features are enhanced in a very different way than by daylight and it's a great time to take photographs. The most challenging thing is getting the exposure and colour balance right, which we'll help with, otherwise, the standard rules of composition apply which we'll cover briefly first.

1. Composition - Don't Forget The Basics 

When shooting upwards expect the building to slope inwards at the top, especially when a wide-angle lens is used. Move to a higher position to reduce the distortion or use a special shift lens that's designed to correct perspective but these are expensive and aren't really a sensible option for the casual shooter.

Try to include the whole building by using a wider angle lens or stepping back to a more suitable viewpoint. Choose the position carefully. The same building could be shot head-on, at an angle of, say, 3/4 or by using a telephoto to capture a section with a more graphical feel. Don't forget you can zoom with your feet as well as your lens, too. When it comes to focusing, manual is your best option. 

2. Exposures

When the sun goes down the light changes in two ways; firstly the exposure time required increases and secondly the colour of the light becomes warmer. Let's first look at the exposure. In low light, the shutter speed that's necessary to ensure a good exposure will usually be too long to avoid camera shake when hand-holding the camera. Using a tripod enables you to shoot at these long exposure times of between 1/15sec and several seconds or even minutes. If you don't have a tripod you can usually find a wall, lamppost or tree to support the camera, which can help considerably. Or you can try switching to a higher ISO as most cameras now cope well in the higher ranges. This means that in low light situations, such as shooting buildings at night, you can take photos with minimal noise or blurring. You'll also want to put your camera's self-timer into action or use a remote release if you have one as even pressing the shutter button can introduce shake that'll leave your with blurry shots. Consider using the Mirror Lock-up function, too which can be accessed via your camera's menu. 
 

3. Metering

Low light can also fool the camera's meter and this happens because it looks at the mass of dark and tries to compensate to make it mid-grey. By doing so, you get an exposure time that is too long for all the illuminated parts of the scene, such as neon lights, street lights or spotlit areas of a building as they become grossly overexposed.

To avoid this, you need to compensate for it. As a guide, use your exposure compensation setting to reduce the exposure by a couple of stops when most of the area is in darkness and by one stop when the building has a medium coverage of illumination.

4. Colour Balance

Illuminated buildings offset against a dark sky can look great, but you have to be careful with the colour as there can be a slightly orange or yellow cast created. Buildings illuminated by artificial light can also be problematic, depending on the lighting used in them. Two popular types are Fluorescent and Tungsten. Fluorescent tend to be used inside in offices and Tungsten in spotlights that part illuminates buildings.

With digital cameras, you can preview the image to check the colour balance and if it doesn't look right, just change the white balance setting you're using. Cloudy will warm your shots up while the Tungsten options will give your images a more blue tone. 

5. Security

Take care when carrying a camera around at night, especially if you're venturing off the beaten track. Keep alert and where possible, take a friend with you.

6. What To Capture 

Look for tall buildings you can shoot from. From up high you'll be able to shoot skylines as well as focus on single buildings. For something different, try to shoot the same location in daylight and in the evening. You'll soon see how buildings have a very different feel at night. Cropping in on illuminated buildings can make the image more striking and reduce the black from the surrounding, unlit areas. To give streetlights a 'starburst' use a small aperture which will also give you front-to-back sharpness in your shots too. Exposure times will be longer but if you have your tripod, this won't be an issue. If people are still exploring the city you can use them to add more interest to your shots. Get creative with silhouettes against well-lit structures or how about using slightly longer shutter speeds, say 1/2 a second, to blur the movement of people who pass through your shot. Don't increase your exposure times too much if you want to keep the patterns people create passing through your images though as anything above 15 seconds will probably remove them from your image. Bridges can be used to draw the eye through the image to a particular structure or focus your attention on famous buildings and landmarks which are guaranteed to be lit-up at night.

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© Fujifilm

Fujifilm has introduced the instax Pal 2, a compact digital camera designed to work seamlessly with the instax printer ecosystem. The upgraded Pal series includes an optical viewfinder and instax Animation mode alongside traditional photo capture, with images transferring via Bluetooth to compatible instax printers and hybrid cameras. Users can choose between instax mini, SQUARE or WIDE instant film formats before adding filters, text and stickers through the camera's built-in interface.

From Fujifilm:

FUJIFILM Europe GmbH, Imaging Solutions Division, announced the launch of the next generation of its unique, ultra-portable instax Pal™ digital camera series - instax Pal 2™ digital camera (hereafter Pal 2). Pal 2 brings a host of new features to the Pal lineup, like an optical viewfinder and new filters and shooting modes.

"When designing Pal 2, we gathered extensive customer feedback on the original Pal," said Karina Thomsen, Marketing Director, European Consumer Imaging, FUJIFILM Europe, "It's new look is reminiscent of a classic analogue camera, complete with an optical viewfinder, and the ability to send/post images digitally or print images via instax™ smartphone printers or any of our Evo hybrid cameras, Pal 2 puts options in the palm of your hand."  

The dedicated instax Pal™ app lets the user's smartphone act as a remote shutter for hands-free photography. The app also lets users store and transfer their photos via Bluetooth®, while the built-in USB Type-C connector on the camera allows users to connect their smartphone directly to transfer photos into the app. Users can also review their image before transferring via Pal 2's 1.0-inch LCD Screen on the top of the camera.

Users can make their photos personal with any of Pal 2's five filter themes, each with six unique effects. Options also include the ability to switch between instax™ mini, SQUARE, or WIDE instant film and frameless formats before adding filters, text, and stickers. 

Pal 2 includes the instax Animation™ shooting mode – a new way to capture 10 frames and turn them into a playful, flipbook-style animation. Switching modes is quick and intuitive, making it easy to move from still images to animations. To print, users can choose their favourite shot and transfer it directly to any compatible, connected instax™ smartphone printer or hybrid instant camera (sold separately).

© Fujifilm

Key Features Recap:

• Portable digital camera
• Palm-sized design
• Pal 2 does not print photos - users can print images using instax™ Link series smartphone printers, instax mini LiPlay™ or instax mini Evo™ devices (sold separately). Free smartphone download of the app relating to the applicable instax™ device required. instax™ instant film required for image printing (sold separately). Prints photos in instax™ mini, SQUARE or WIDE formats. 
• Authentic Optical Viewfinder 
• 1.0-inch LCD Screen 
• Capture photos at up to 10 megapixels
• Camera Angle Adjustment Accessory included 
• Five filter themes, each with six unique effects 
• Download of the free instax Pal™ app required for use 
• Holds up to 100 photos at a time before required transfer to free, downloadable instax Pal™ app 
• instax Animation™ shooting mode 
• Wireless Bluetooth® 5.1 smartphone connectivity 
• Built-in USB Type-C connector
• Accepts microSD Card (not included) 
• Includes USB Type-C Cable, Hand Strap, Camera Angle Adjustment Accessory and 1-Year Limited Warranty 

© Fujifilm

Pricing and Availability

The instax Pal 2™ digital camera is expected to be available late September 2026 at a Manufacturer's Suggested Retail Price of £149.99. Pal 2 will be available in sleek Black or stylish White colour options.  

The instax Pal 2™ digital camera will be available for purchase from the following retailers: 

• FUJIFILM House of Photography
• FUJIFILM eShop
• MyFUJIFILM
• PHOTO by Fujifilm at Primark Birmingham and Manchester
• Amazon
• Currys
• Jessops
• London Camera Exchange

For more information, please visit https://instax.co.uk/instax-pal-2/

© Fujifilm

Fujifilm has unveiled the instax Link WIDE 2™ smartphone printer, introducing exciting new ways to print and personalize wide-format photos. Upgrading from its popular predecessor, the new printer features an intuitive Photo Mixer™ for quick collages and scannable QR code integration to embed links, audio, and locations. Read the full release below for complete details on features, pricing, and availability.

From Fujifilm:

FUJIFILM Europe GmbH, Imaging Solutions Division, announced the launch of the next generation of its WIDE-format smartphone printer - the instax Link WIDE 2™ smartphone printer (hereafter Link WIDE 2). Building on the popularity and success of the original instax Link WIDE™ smartphone printer that debuted in 2021, Link WIDE 2 brings a variety of new, interactive features to fans of instax™ WIDE instant photography.

"Our instax™ WIDE products are always highly sought after by a very dedicated fan base within the instax™ ecosystem," said Karina Thomsen, Marketing Director, European Consumer Imaging, FUJIFILM Europe, "We listened to what our WIDE fans wanted, and what we heard most often and resoundingly was them asking when a new WIDE printer was coming out. Link WIDE 2's new features are designed to make each image distinctly personalised through the accompanying instax Link WIDE™ app. We're excited to see how our WIDE fans get creative with this cool new printer and app." 

A key new feature of Link WIDE 2 is its Photo Mixer™ app feature. Users can pick favourite images from their smartphone's camera roll and with a touch of the "Mix it" button, the app will generate a selection of collage-style layouts to choose from. Users can remix up to five times, then fine-tune with custom edits before quickly printing instax™ WIDE photos or sharing online.

Also, within the instax Link WIDE™ app, users can access a multitude of expressive frames, filters, emojis, colour modes, and text to customise their instax™ photo prints before printing or sharing them. Users can further personalise their images with over 1,600 in-app stickers.

In the app, users can add smartphone-scannable QR codes[1] to their instax™ WIDE photos to share links, locations, hidden messages, or even sound clips related to their images. 

© Fujifilm

Key Features Recap:

• For use with instax™ WIDE instant film (sold separately) 
• Prints instax™ WIDE photos (approximately 86mm x 106mm) 
• Download of the free instax Link WIDE™ app required 
• Wireless Bluetooth® 5.1 smartphone connectivity - print directly from the instax Pal™ or FUJIFILM X-T30 III digital cameras 
• Intuitive postcard-style collages via the Photo Mixer™ app feature 
• Print still images from video using the instax Link WIDE™ app 
• Use QR Print Mode to add URLs, sounds, locations, and messages 
• Add expressive frames, stickers, emojis, and text 
• Two distinct colour modes: instax-Rich Mode™ or instax-Natural Mode™ 
• USB-Type C port for easy charging 
• Includes USB Type-C Cable, Quick Start Guide and 1-Year Limited Warranty 

Pricing and Availability

The instax Link WIDE 2™ smartphone printer is expected to be available late September 2026 at a Manufacturer's Suggested Retail Price of £149.99 (including VAT). Link WIDE 2 will be available in two colours, Duo Beige or Duo Blue.

The instax Link WIDE 2™ smartphone printer will be available for purchase from the following retailers: 

• FUJIFILM House of Photography
• FUJIFILM eShop
• MyFUJIFILM
• PHOTO by Fujifilm at Primark Birmingham and Manchester
• Amazon
• Currys
• Jessops
• London Camera Exchange

For more information, please visit https://instax.co.uk/printers/link-wide-2/

[1] QR Print 'Record sound' and 'Hidden message' data are securely stored for up to two years