Photography News

It's not a lens of "magic" or "character." It's a tool of unparalleled reliability. Here's why the 24-70mm f/2.8 is the one lens that most often defines a working professional and one you should consider for your bag.

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Owning a Leica is merely a dream for many. Their gorgeously designed and incredibly well-made cameras and lenses are expensive. Like a Rolex watch, they’re an indulgent luxury item, and many of us simply cannot justify the cost. If you’ve perused a Leica Store, you’ve probably discovered a new Leica M11 paired with a little APO-Summicron-M 35mm f/2 ASPH will cost you just shy of $20,000.

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© Billingham

 

Billingham has introduced the Capsule 1, a compact camera pouch handmade in England for photographers seeking stylish, everyday protection. Made from the brand’s signature waterproof fabric with 5mm foam padding, it fits small to medium-sized cameras and includes a wide opening, leather handle, and mesh pockets for accessories.

Available in four classic colours, the Capsule 1 is ideal for travel, street photography, and daily use. Priced at £125 (inc. VAT), it is now available for pre-order ahead of its 24 November 2025 launch.

 

From Billingham

Billingham is proud to announce the launch of its brand-new Capsule 1 pouch, pre-orders were invited from Thursday 6th November 2025, with an official launch date of Monday 24th November 2025. Designed and handmade in England to the brand’s exacting standards, the Capsule 1 combines refined craftsmanship, durability, and functionality — making it the ideal companion for photographers who want to protect their gear in style.

Crafted from Billingham’s renowned three-layer waterproof material and lined with 5mm foam padding, the Capsule 1 ensures small to medium-sized cameras and 
lenses are kept safe and secure wherever your journey takes you. Inside, two mesh pockets provide additional storage for memory cards, batteries, or other small 
accessories. Outside, a quick grab and go style handle for easy handling.

Designed for ease of use, the pouch features a wide doctor’s-bag style opening for effortless access and a sturdy leather handle for comfortable carrying. Whether used on its own or placed inside your everyday bag, the Capsule 1 delivers the perfect balance of protection, practicality, and timeless style.

 

© Billingham

 

The Capsule 1 will be available in four classic Billingham colour combinations:

• Sage FibreNyte / Chocolate Leather
• Black FibreNyte / Black Leather
• Burgundy Canvas / Chocolate Leather
• Khaki FibreNyte / Chocolate Leather

 

“With the Capsule 1, we wanted to create a truly versatile pouch that reflects Billingham’s commitment to quality and craftsmanship, while offering photographers a compact, elegant way to protect their most valued gear,” said Harry, Director at Billingham.

The Capsule 1 is available to pre-order now from Billingham’s website and authorised retailers.

 

About Billingham

About Billingham Since 1973, Billingham has been passionate about producing high quality, durable and stylish bags designed to protect valuable cameras, photographic and optics equipment, while providing owners with exceptional comfort and peace of mind. Built to meticulous standards at the company’s manufacturing facility in the West Midlands, England, Billingham’s versatile, purpose-built bags have an unrivalled reputation for excellence and are highly revered and trusted by photographers around the world. 

Each model is precision-engineered from rugged, weather-proof materials and premium padding, to ensure the contents are kept safe and secure in transit. Billingham’s outstanding products are unlike any other bags, and the special way they are developed and engineered is intrinsic to their distinctive character. Quality and detail are paramount to the production of a Billingham bag, with each typically comprising more than 100 individual components – the majority of which are custom-made by Billingham itself. Each bag comes with a five-year guarantee and is awarded its own unique serial 
number as a seal of perfection and authenticity, allowing the product to be tracked 
throughout its entire lifecycle. 

The growing Billingham range includes photographic and messenger bags, travel and leisure holdalls/carry-on luggage, padded rucksacks, binoculars cases, laptop and tablet cases, luggage tallies, leather shoulder pads and other accessories. Billingham is a family business located at City Estate, Corngreaves Road, Cradley 
Heath, West Midlands B64 7EP, United Kingdom. Its products can be found at selected approved retailers around the world. For more information, please visit: 
www.billingham.co.uk

It’s that time of year again—when the days get shorter, the coffee gets warmer, and the holidays sneak up faster than any of us are ready for. And with the holiday season comes the annual tradition of building out that all-important wish list. If you’re anything like me, a few SmallRig items have probably been sitting in your mental shopping cart for months. Let’s be honest: want might be the polite word, but need feels far more accurate.

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Modern cameras are data monsters. High resolutions and fast frame rates create a storage bottleneck for professionals. Lexar Professional SILVER 2TB CFexpress 4.0 Type A card aims to solve that problem for Sony shooters at a surprisingly reasonable price point. Does it succeed?

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Flash portrait work lets you create clean, controlled light in places where ambient light fails, from dim living rooms to ugly office hallways. Even if you prefer natural light, knowing how to use a flash turns difficult locations into usable sets instead of missed sessions.

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Fast 85mm primes sit in a sweet spot for portraits, travel, and casual street work, so a solid option that does not wreck your budget matters more than spec sheets suggest.

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Short days, flat skies, and constant drizzle can make a camera feel pointless once the world turns gray. If you want to keep making images that feel alive in those conditions, you have to treat that dull light as a problem to solve rather than a reason to stay home.

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The clone stamp tool in Photoshop can quietly save hours of cleanup work on problem areas in your images while keeping results under your control. It also lets photographers avoid AI artifacts and credit limits when all you really want is a clean wall, a fixed texture, or a distraction removed.

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Taking fun portrait photos doesn't have to be difficult - with a few simple tips, you can create something that breaks the mould.

  Simple kit is all you need

If you want to use natural light head for a space with a large window or if you prefer to use artificial lighting, a simple two light setup, positioning one light slightly to either side of the model should do the trick. Plain backgrounds work well as it's the expressions we're interested in not the colour of the scenery. We used a studio background but a table cloth, sheet or wall will work just as well.

 

Take note of your settings

As you don't want your subject's face to be blurred, make sure you're using a quick enough shutter speed when shooting hand-held. If you're using natural light and are having problems with shake, stick your camera on a tripod. Watch your white balance too as you'll be putting these shots together at the end and if the white balance is right in-camera, there will be less work to do once you have the shots on your desktop.

Don't think this is something for just DSLR users either as when using natural light, a smaller compact will work fine. 
 

Shoot Spontaneously & Candidly

When it comes to taking the photographs, don't linger on one expression for too long as if your subject thinks about what they're doing for too long it can look a little fake. You'll also find it's more fun to shout out instructions rapidly as it can sometimes go wrong, giving you the chance to capture your model laughing or pulling an expression you didn't expect. Have a list of ideas to hand, particularly if you're working with kids who need a little more instruction, but don't be too strict with it. Adding props such as food or a drink can work well, too.

If you want to create a triptych or other style of portrait collage, simply re-size them in your chosen software, check the tone and brightness, then pull all the images onto a new document, positioning them as you go. 

The infamous red dot. I am sure that at any given time in a photographer’s career, amateur or not, there has been a dream of owning a camera known for its excellence, sleek design, and quality that rises above other brands. Once, that dream became a short-lived reality.

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Over the last few weeks I’ve been testing out the newly released Kodacolor 200, shooting over the course of a long-needed road trip along the Pacific Northwest coastline, as well as in New York and during several news events.

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Every photographer's closet has a graveyard of regrettable purchases. Mine is particularly shameful, filled with barely used gear that seemed essential at the time but now serves primarily as expensive reminders of my poor judgment. Here are six purchases that still make me wince, along with what I should have bought instead.

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Leica has a reputation that either makes you curious or pushes you away before you even touch a camera. When you hear that the brand is only for rich hobbyists and status seekers, it can be easy to assume the community around it is shallow or closed off.

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Sometimes, you nail focus and exposure and still feel like the image falls flat. Dreamy, cinematic atmosphere is what makes your work stand out in a feed full of technically fine but forgettable photos.

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Winter snow looks beautiful in images, but it also exposes every weakness in how you shoot and handle gear. If you want crisp, clean files instead of muddy gray snow and soft focus, you need to change how you expose, compose, and even dress once the temperature drops.

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The Nikkor Z 24-70mm f/2.8 S II is the revised Mark II version of the original 2019 lens. The original was an Editor's Choice and an exceptionally fine lens. What's to change that could improve on this? The areas of attention are to make it smaller, lighter and focusing and zooming internally so the centre of gravity is constant. This could be advantageous especially to videographers, but will the lens maintain its exceptional quality? Armed with the full frame 24MP Nikon Z6 III, let's endeavour to find out.

 

Nikkor Z 24-70mm f/2.8 S II Lens Handling and Features

Starting our tour of the lens, we have the bayonet fit petal lens hood, secured by a small catch to avoid it accidentally moving out of alignment and causing vignetting. The hood has a sliding window that gives access to filters, so for example, a polariser can be rotated without having to remove the hood. This window slides just a bit too easily and can regularly be opened when not required. This could easily be rectified, but if it proves to be a problem then a piece of tape could secure it. Within the bayonet fit of the hood is a standard 77mm filter thread.

Popping the lens on the scales shows us that without hood or caps, it weighs in at a reasonable 675g, exactly as listed by Nikon. Add the hood and this becomes 722g. The lens measures 84mm x 142mm and neither focusing nor zooming changes this, as the adjustments are internal. The centre of gravity of the lens thus remains constant, useful for videographers in particular.

 

 

The electronic focusing ring is very smooth, as we should expect. Focus breathing is reduced, again for videographers. AF is driven by an SSVCM (Silky Swift Voice Coil Motor) motor, and is very quiet, almost noiseless, very fast and very accurate. The closest focus point changes depending upon the focal length chosen.

 

24mm 0.24m (0.79') 0.21x magnification 28mm 0.24m (0.79')   35mm 0.27m (0.89')   50mm 0.30m (0.99')   70mm 0.33m (1.09') 0.32x magnification

 

The zoom ring is broad and has excellent grip. Action is internal. There are clear markings at 24mm, 28mm, 35mm, 50mm and 70mm and these are accurate.

 

 

Behind the zoom ring are the lens controls. There are two L-Fn buttons, programmable from the camera. A small switch enables the aperture ring clicks to be deactivated. There is the usual A/M focus selector, plus a focus limiter. The limiter offers full range, or infinity down to 0.33m rather than 0.24m, not a huge difference and for this set of focal lengths seemingly hardly worth including.

There is no depth of field scale, and the one offered on the Mk I version was provided via an OLED display, similar to that used on some Zeiss lenses. Removing this also removes the aperture readout.

The final control ring, which offers smooth clicks as detailed above, can be programmed to control aperture, ISO value, exposure compensation or if desired can be inactive.

Optical construction is 14 elements in 10 groups, including 2 ED (Extra Low Dispersion), 3 Aspherical and 1 SR (Short Wavelength Refractive). The diaphragm comprises 11 blades, for a rounded aperture. Nikon have applied ARNEO, meso amorphous and SIC coatings, plus a Fluorine coat for the front element to repel dirt, grease and moisture. The lens as a whole is weather sealed, an increasingly essential feature.

 

 

The lens can hardly be described as compact, but that can be par for the course with mirrorless cameras. The camera bodies may be smaller, but the lenses may be more adventurous with faster apertures and hence larger optics. However, the lens is lighter than its predecessor so the balance with the camera body is good. There are clear advantages for videographers, the balance being consistent as we zoom and focus. The programmable control ring is well designed, with very smooth but distinct click stops that can be switched off entirely if required.

In summary, a very well designed lens with excellent ergonomics.

 

Nikkor Z 24-70mm f/2.8 S II Lens Performance

At 24mm, central sharpness is excellent right through the aperture range, rising to outstanding at f/4. The edges are excellent from f/2.8 to f/16 and still very good at f/22.

At 35mm, central sharpness is outstanding from f/2.8 right through to f/11, and excellent at f/16 and f/22. The edges likewise are outstanding from f/2.8 to f/11 and excellent at f/16 and f/22.

At 70mm, central sharpness is excellent from f/2.8 all the way through to f/22. The edges are also excellent all through the range of apertures, from f/2.8 to f/22.

This is a superb performance.

Distortion is virtually banished, with a tiny amount of barrel distortion that measures -0.23% at 24mm, -0.14% at 35mm and -0.01% at 70mm. This makes the lens suitable for critical architectural photography.

 

Nikon Nikkor Z 24-70mm f/2.8 S II MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a Nikon Z6 III using Imatest. Want to know more about how we review lenses?

 

CA is virtually non-existent. The measurements approach very closely to zero, so there should be no sign of colour fringing.

 

Nikon Nikkor Z 24-70mm f/2.8 S II Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.

For this review, the lens was tested on a Nikon Z6 III using Imatest.

 

Bokeh is beautifully silky, giving us a lens ideal for lovely portraits with smooth out of focus backgrounds.

Flare is virtually absent, even with the most severe subjects with bright light sources pointing into the lens.

There is some visible vignetting at wide apertures and 24mm, but otherwise the lens performs well.

 

Aperture 24mm 35mm 70mm f/2.8 -2.7 -1.6 -1.3 f/4 -2.2 -1.1 -1 f/5.6 -1.9 -1.1 -0.7 f/8 -1.8 -1 -0.7 f/11 -1.8 -1 -0.7 f16 -1.8 -1 -0.7 f/22 -1.8 -1 -0.7

 

Nikon Nikkor Z 24-70mm f/2.8 S II Sample Photos Previous Next

 

Nikon Nikkor Z 24-70mm f/2.8 S II Aperture range Previous Next

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

 

[HOOK]position_1[/HOOK]

Value For Money

The [AMUK]Nikkor Z 24-70mm f/2.8 S II|Nikko+Z+24-70mm+f/2.8+S+II[/AMUK] lens is priced at £2599.00

Looking at the alternatives for Nikon Z, we could consider:

• [AMUK]Nikkor Z 24-70mm f/2.8 S|Nikkor+Z+24-70mm+f/2.8+S[/AMUK], £2099
• [AMUK]Nikkor Z 24-70mm f/4 S|Nikkor+Z+24-70mm+f/4+S[/AMUK], £849

There are choices there, and for those who can manage with the f/4 version there is some money to be saved. If the OLED display is required then the Mk I version is still a superb lens. If videography is a consideration then the new lens may be significantly advantageous.

 

 

Nikkor Z 24-70mm f/2.8 S II Lens Verdict

Nikon continues to pursue a path of excellence, there is no doubt about that. The new lens is a further example of their high standards, and it is difficult to see how the level could meaningfully be improved upon, regardless of how much money might be spent. The lens is quite expensive, significantly more so than the Mk I version, but there are advantages. The internal focusing and zooming mean a consistent centre of gravity for videographers as well as photographers. The excellent to outstanding sharpness is magnificent, and does not seem to have a cost in terms of the bokeh which remains superbly smooth.

Travel, landscape, portrait, social, reportage/street and architecture are all well within the scope. The lens could even be used on crop sensor cameras, although the size might be considered a bit out of proportion for the tiny APS-C DX-format cameras. The “35mm-equivalent” focal length range would be 36-105mm in this case, which could be advantageous for some.

However, full frame is the main thrust of the lens and it delivers the quality and superb handling with a sense of fine accomplishment. A definite Editor's Choice.

 

Nikkor Z 24-70mm f/2.8 S II Lens Pros

• Excellent to outstanding sharpness
• Virtually free of CA
• Excellent flare resistance
• Weather resistance
• Beautiful bokeh
• Aperture ring can be de-clicked
• Centre of gravity stable for videography
• Internal focusing and zooming

Nikkor Z 24-70mm f/2.8 S II Lens Cons

• Some vignetting at 24mm
• High cost

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=Editor's Choice – A superb, fast standard zoom lens for Nikon's full frame mirrorless cameras.|E_id=8027[/REVIEW_FOOTER]

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The limits of a macro lens show up fast when you try to fill the frame with something smaller than a grain of rice or when your background turns into busy mess instead of smooth color. Sony’s new 100mm macro aims to push past that by giving you more magnification and cleaner blur so tiny subjects feel bigger and more isolated in a natural way.

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It's very easy to slip into a shooting pattern where not much thought is given to framing and composition so you end up with shots which are OK but are rather mundane and ordinary. However, with a few little, simple changes, shots can be turned into something much more interesting.

Summer by Peter Bargh.

 

Evaluate

If you're shooting a scene, particularly if you're not familiar with your shooting location, it's easy to become flustered so you just shoot anything and everything you see. However, if you take the time to study the scene so you can find out what / who should be your main focus point you'll be able to frame your shot(s) around them, giving your work focus rather than shooting anything and everything.

 

Angle

Digital photography really opens the doors on experimentation as there's almost no limit on the number of shots you can take. As a result, don't be afraid to shoot the same subject/scene from a variety of angles. Get down low, climb up high, go wider, get closer...there are plenty of options to have a go at, you just have to find what works for you.

 

Portraits

Those who are new to photography tend to put people in the centre of the frame when photographing them, however applying 'the rule of thirds' can give you a shot that's much more creative and appealing to the eye. For those who don't know what 'the rule of thirds' is, imagine a grid that divides your shot into nine equal sections by a set of vertical and horizontal lines. With the imaginary frame in place, you should place the most important element(s) in your shot on one of the lines or where the lines meet. So with a person, instead of putting them in the centre, simply move them more to the left or right thirds of the frame.

One problem with following this rule is that it can leave you with a strong focus point on one side of your shot and a big empty space on the other so, to improve this, see how you can add a secondary point of interest that's less important to balance your shot.

Whitby Goth by Peter Bargh.

 

Backgrounds

For portraits, you can use backgrounds to add an extra level of interest to your shot, however don't let it become the star of the show. Don't pick a scene with colours or light that'll outshine your subject(s) and make sure you balance the shot so background interest doesn't turn into a cluttered mess that just spoils the photo.

Lighting

What time of day you shoot, the weather and if you're working indoors or out can make a big difference to how your final image will look. For example, early morning or later afternoon/evening light isn't as harsh as mid-day and evening low, light shots in cities tend to look better when there's still a little light in the sky as this adds more interest to the shot. The light at sunset/sunrise changes rapidly and you may even find the best colours/light appear just as the sun dips behind the horizon.

For outdoor portraits, you may need to find some shade so the light on your subject's face is more balanced. It'll also make them 'pop' from the scene as the background tends to be a little brighter than where they are stood. Can't find shade? Use a reflector to bounce light up onto their face to fill in shadows under their nose and eyes.

If you're working with a scene where there's a big difference in the dynamic range (the shadows and highlights) you may want to consider shooting some HDR. In a nutshell, this is where you layer several shots together that have been taken at different exposures (you'll need a tripod as every shot has to line up exactly). For more information on HDR, take a look at this article: HDR Landscapes

These are just a few of the many examples out there on how light and other aspects can change the appearance/feel of a photograph. For more tips, check out our technique section.

AI, 3D, and generative imagery are reshaping the visual industry. For professional photographers, the real question is no longer what to specialize in, but how to stay irreplaceable.

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