Photography News

Widely accepted as a go-to product for many outdoors and camping enthusiasts, power stations like this are underappreciated by photographers who have a need for power in off-grid scenarios. This article puts the Bluetti Elite 200 V2 through its paces for a variety of photographers who need serious, reliable energy in the field.

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Backlit photos can turn a flat scene into something dramatic, colorful, and full of depth. When you understand a few simple ways to control bright light behind a subject, you can use it with people, architecture, and landscapes without constantly fighting your exposure.

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An all-in-one zoom that actually feels like a serious lens can change how you pack and how you shoot. If you use a camera and want one lens that handles portraits, travel, details, and casual video without filling the bag, this new 25-200mm option demands attention.

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Nikon continues to develop support for the DX format crop sensor cameras, steadily increasing the range of lenses. Following on from the recently reviewed 35mm f/1.7 macro lens, we have the Nikkor Z DX 16-50mm f/2.8 VR, a fast standard zoom that has a “35mm-format equivalent” field of view of 24-75mm, a very versatile and useful range. Compared to the full frame equivalent lens, the 24-70mm f/2.8, this new optic is light, compact and perhaps a strong contender for travel and general use. We combine it with the 20MP Nikon Zfc retro design mirrorless camera and put it through its paces out in the field, and also in the technical tests. Let's see how it all worked out.

 

Nikkor Z DX 16-50mm f/2.8 VR Handling and Features

First impression is of a relatively compact, well made lens that balances extremely well with the Nikon Zfc camera body. It weighs in at a modest 330g and measures a svelte 74.5mm x 88.0mm. Construction quality is excellent. 

There is a supplied petal lens hood, designated type HB-118. This bayonets cleanly and positively into place. There is no locking catch, nor is one needed. Within the bayonet fit for the hood is a conventional 67mm filter thread. The lens is dust and drip resistant, something that is all but essential if we are to venture out into the variable outdoor weather.

 

 

The smoothly operating zoom ring is clearly marked at 16mm, 24mm, 35mm and 50mm. These markings appear to be accurate. The lens does extend when zooming, but not so much that it unbalances the lens/camera combination. Focusing is internal and has no effect on the barrel length. There is reduced focus breathing, of particular interest to videographers.

The silent control ring is the only other control. This is electronic and super smooth although with a fairly firm action. By default, this is the focusing ring, but it can be changed in the camera menu to aperture control, exposure compensation or indeed it can be switched off.

AF is provided via a stepping motor, which is fast, accurate and virtually silent.  

 

 

The closest focus point changes depending upon the focal length chosen. Greatest magnification is at the 50mm setting, which is useful as it enables a longer working distance for the closest shots, allowing room for lighting and also avoiding the front element becoming too close to the subject.

 

16mm 0.15m (0.5')   24mm 0.18m (0.59')   35mm 0.21m (0.69')   50mm 0.25m (0.82') 0.24x magnification

 

Optical construction is 12 elements in 11 groups, including 1 ED (Extra Low Dispersion) and 2 Aspherical. The diaphragm comprises 9 blades, helping to form a more rounded aperture for improved bokeh. The final and most important aid to sharpness is the optical VR (Vibration Reduction) which offers an advantage of 4.5 stops.

The lens is beautifully hazard free in use, so let's see if the technical performance can match up to its handling prowess and deliver another winner for Nikon.

 

 

Nikkor Z DX 16-50mm f/2.8 VR Performance

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

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

At 50mm, central sharpness is outstanding from f/2.8 to f/11, excellent at f/16 and very good at f/22. The edges are excellent at f/2.8 and f/4, outstanding from f/f5.6 to f/11, excellent at f/16 and very good at f/22.

This is an outstanding overall performance.

Distortion is almost perfectly rectilinear, measuring just -0.52% barrel at 16mm, -0.03% barrel at 35mm and +0.05% pincushion at 50mm. This makes the lens eminently suitable for even the most critical architectural photography.

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR 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 Zfc using Imatest. Want to know more about how we review lenses?

 

CA is virtually non-existent at the centre of the field, and extremely well controlled even at the edges.

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR 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 Zfc using Imatest.

 

Bokeh is pleasant, perhaps falling short of the sublime bokeh effects seen on some lenses. This is probably the trade off with the outstanding levels of sharpness.

Flare is generally well suppressed, showing just a slight tendency to flare when bright light sources are included in the image area.

Vignetting is impressively low and visually not intrusive at all.

 

Aperture 16mm 35mm 50mm f/2.8 -1.3 -0.5 -1.5 f/4 -1.1 -0.4 -1.5 f/5.6 -1.1 -0.3 -1.3 f/8 -1.1 -0.3 -1.2 f/11 -0.8 -0.3 -1.1 f16 -0.8 -0.3 -1.1 f/22 -0.8 -0.3 -1.1

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR Sample Photos Previous Next

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR Aperture range Previous Next

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

 

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Value For Money

The [AMUK]Nikon Nikkor Z DX 16-50mm f/2.8 VR|Nikon+Nikkor+Z+DX+16-50mm+f/2.8+VR[/AMUK] lens is priced at £799.00

There is an alternative [AMUK]Nikkor Z DX 16-50mm f/3.5-6.3 VR|Nikkor+Z+DX+16-50mm+f/3.5-6.3+VR[/AMUK] at £329.00. This is not as fast, but it is more compact and considerably less expensive.

Alternatives for other marques help us set the level that Nikon have pitched at.

• [AMUK]Fujifilm XF 16-50mm f/2.8-4.8 R LM WR|Fujifilm+XF+16-50mm+f/2.8-4.8+R+LM+WR[/AMUK], £599
• [AMUK]Sony E 16-50mm f/3.5-5.6 OSS II PZ|Sony+E+16-50mm+f/3.5-5.6+OSS+II+PZ[/AMUK], £274

The new Nikkor lens is at the upper end of pricing for DX format, but on the other hand has exceptional performance. On the basis that we get what we pay for, it looks solid VFM.

 

 

Nikkor Z DX 16-50mm f/2.8 VR Verdict

Nikon has done it again, delivering an amazing lens at a reasonable price. For a general purpose standard zoom that offers such quality and is fit for purpose for subject matter from architecture to portraiture and more, it looks very hard to beat. Whilst not a bokeh master as such, it still offers decently pleasant out of focus areas; but it rather more shines in its ability to render fine detail with critical sharpness and superb texture.

The focal length range is an ideal general purpose one, covering most subjects. Having the ultra-wide 16mm is useful for landscapes and architecture. The 50mm end makes a great portrait lens, its 75mm-equivalent being more or less spot on to the classic portrait focal length of 85mm.

The close focusing is one of the great advantages of modern zoom lenses. These tend to focus far closer than primes. The 0.24x magnification at the 50mm end covers most close up shooting, so a macro lens may not be routinely needed when travelling light. 

This has been a very rewarding lens to use, a definite winner in so many ways and as a consequence a natural Editor's Choice.

 

Nikkor Z DX 16-50mm f/2.8 VR Pros

• Outstanding sharpness
• Very low CA
• Modest vignetting
• Dust and drip resistant
• Silent control ring
• Reduced focus breathing
• Close focusing
• 4.5 stops VR (Vibration Reduction)

Nikkor Z DX 16-50mm f/2.8 VR Cons

• Slight tendency to flare

 

[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 DX format crop sensor mirrorless cameras.|E_id=8027[/REVIEW_FOOTER]

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Leica has turned the Q3 into a dedicated black and white tool with the Q3 Monochrom digital camera, and it is a very different proposition from simply converting color files later. For anyone who cares about tone, low-light performance, and staying unobtrusive, this kind of purpose-built body can change how seriously photographers treat monochrome work.

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Landscape images can look polished and still feel flat. When every rock, branch, and highlight is “tidied,” the scene can lose the tension that keeps your eye moving and your mind engaged.

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Frost might not be good for plants but it is great for photographers who are looking for winter scenes and interesting abstracts to add to their portfolio. 

Photos by David Clapp. 

When's the best time for photographing frost and why?
Dawn shooting is the best time for ice and frost. Ensure you get there before the sun is up as there are fantastic opportunities to be had.

When you're photographing frost does the sun always have to be behind you?
No, not at all, direct light and side light are extremely complimentary as the ice and frost glistens. Literally any angle is worth experimenting with.

How do you keep yourself and your kit dry and warm?
Wear two pairs of socks and quality gloves! Don't worry about your camera gear at all, when going from warm to cold, but be prepared for condensation when returning home. Leave your camera in the bag to acclimatise.

Photographing ice/frost can produce grey looking images, how can you stop this happening?
Always check the histogram to ensure a healthy exposure and expose +1stop to +1.5stops to make the ice glisten.

Where are the best locations for both good landscape shots and more close up work?
Reservoirs, lakes, rivers and mountains (if you are lucky enough to live near them) are good as colder night time temperatures occur where water is present. Look for frost covered reeds, branches and places were water splashes as these can be dripping with icicles and interesting features.

What lenses are good for this type of work? 
A standard 90mm macro lens is your best friend when shooting ice and frost, but it’s also possible to get literally the same effect from a medium zoom and a full set of extension rings. These make a great macro alternative and considerably reduce the closest focusing point, especially on a budget.

Should photographers use a tripod/monopod for this type of work?
A tripod is utterly essential, as the best images are rendered in lower light levels. 

Do dark backgrounds work best?
They do help, but it’s not essential. As icicles are translucent, a darker background can help, but it's all about trying things out. For example, try using a piece of card to change the background to suit.

How can post-production help?
Playing with colour temperature in particular is a good way to induce a colder feeling in your ice images. Play with contrast to deepen the tones and lift the highlights, as this will give greater definition to patterns and texture.
 

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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