Photography News

Winter's on its way which may mean dark nights and cold mornings but it does bring ample photography opportunities for those who don't mind braving the cold. We can capture sunrises at more reasonable hours and depending how low the temperatures drops, we could even see some snow filled landscapes appearing in people's portfolios. In preparation, here's 30 tutorials to kick-start your winter photography with a bang. 

 

1. Photographing Winter Portraits

Living in the UK, most of the best clothing in our wardrobes is probably winter stuff so why not encourage people to get out and about with their favourite coats, hats and scarves and have fun shooting some outdoor winter portraits.

 

 

2. Shooting Winter Landscapes

Water in the landscape makes a great photograph at any time of the year but in winter, after we've had heavy rainfall or fog's settled in, lakes and rivers suddenly take on a new look that's well worth braving the cold to capture.

 

 

3. Photographing Winter Birds

Winter days leave us with a shortage of daylight hours to photograph, but also is not the perfect time for birds to find food, with much less food about and less daylight time to feed.

 

 

4. Winter Wedding Photography

Winter weddings are becoming ever more popular. As a wedding photographer, the natural light on a winter day may only be short, but if you are comfortable using available light whether it be tungsten or candlelight, you can create some really atmospheric photos.

 

Image courtesy of Limeleaf Weddings.

 

5. Working With Winter Sun

While winter may often be associated with wet, gray, and generally downbeat weather conditions, when the sun makes an appearance it is perfect for landscapes.

 

Image from  Landscape Photography: The Four Seasons title from Ilex.

  6. Winter Photography Tips 

Whether portraying a bitterly cold day or a snowy Christmas scene, there are certain things to consider when heading out for a winter photography shoot. I have put together a number of tips which have proved invaluable.

 

Photo by Barry Chignell

  7. How To Shoot Winter Silhouettes

The low position of the sun in winter makes it a perfect time to shoot silhouettes. You just need to find a bright background (the sky's perfect) and the right subject to give you a shot with series impact.

 

 

8. Winter Wildlife Photography Tips

Learn how to take great images of winter wildlife around the coast, in your garden and in various conditions. 

 

 

9. Snowboarding Photography Tips 

Nathan Gallagher gives ePHOTOzine some tips for capturing snowboarders in action on the snow as well as tips on capturing portraits in the studio. 

 

 Photos by Nathan Gallagher.

 

10. Coping With Contrast In Winter

The low angle of sun in the winter may bring with it fantastic lighting, but it can also cause problems when it comes to contrast in your images.

 

Photo from Landscape Photography: The Four Seasons title from Ilex.

 

11. Even More Winter Wildlife Photography Tips

Winter can be a great time to photograph wildlife. With the trees bare, it can be a lot easier to spot illusive species such as deer and foxes. A telephoto zoom lens will be a necessity, and you'll need a tripod and possibly a hide, too depending on what you intend to look for.

 

 

12. Indoor Themed Winter Portrait Tips 

With winter approaching, more people will be heading indoors but this doesn't mean you have to stop looking for ways to bring your portraits to life. Of course, if you have a willing subject you can brave the cold and venture outside to capture some great winter imagery. But if the cold isn't for you, then going indoors works very well at this time of year too.

 

Photo by Michael Alan Bielat.

 

13. Photographing Mountains In Winter

There are plenty of great mountain ranges scattered around the UK that are well worth a photo at any time of year but in winter, when a covering of snow's fallen or a hard frost has settled they tend to look even more impressive.

 

 

14. Tips On Photographing Ice In Winter 

Ice is only frozen water – so it's clear, isn't it? Far from it, and I love ice – naturally occurring on lake edges, round waterfalls, as icicles, however it forms. I'm only going to look at natural formed ice, rather than ice made in freezers and photographed in studio conditions; although either makes amazing pictures.

 

Photo by John Gravett

 

15. 10 Top Robin Photography Tips 

Robins can be found in their numbers and as many would agree, they are very photogenic and this becomes even more true at this time of year when the cold weather sets in, bringing snow to cover the ground.

 

 

16. Tips On Photographing Frost And Ice

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.

 

 

17. Fast Moving Vs. Slow Moving Waterfalls - How To Capture Both With Your Camera

When capturing waterfalls you can make water appear as if it's frozen in time so every splash and droplet is captured in frame or you can go to the opposite end of the scale and smooth the flow of water out into almost a dry-ice, cloud-like texture. At this time of year there's the added option of capturing frozen shapes that water's created when it's splashed up over rocks and grass found at the edges of the falls, too.

 

 

18. Top Cold Weather Photography Tips

 It won't be long before the temperatures drop and we're venturing out over the Christmas break with cold weather photography in mind. Here's a few ideas how to prepare yourself – and your camera equipment – to ensure you get the most out of your cold-weather photography.

 

 

19. Tips On Photographing Snow & Ice

Winter brings a new range of photo opportunities where familiar colourful scenes are suddenly covered in a blanket of snow. Bare trees become stark outlined silhouettes against a brilliant white backdrop, grasses poke out from below white canopies and old barns look like sets from pantomimes.

 

 

20. Urban Christmas Light Shoot

As the majority of festive pictures are of parties taken on small apertures on compacts with auto flash, having a good image of the Christmas lights, particularly with people in them will really stand out and as a result are a great subject to have a go at photographing.

 

 

21. Cold Weather Photography Tips

The temperatures are slowly dropping which means it's a good time to start thinking about cold weather photography and how you can protect yourself as well as your kit. 

 

 

22. How To Take Black & White Shots Of Snow Scenes

Find out how using the black & white medium can add so much more to your snowy landscape shots. 

 

Photo by John Gravett

 

23. How To Photograph Frost

Set your alarm, wrap up warm and get outside to capture the magic of a frosty start. You don't have to head to far either as you'll find plenty of frost-themed images right in your back garden. 

 

Photos by John Gravett

 

24. More Snow Photography Tips

Snow scenes are very picturesque. They make excellent additions to your landscape portfolio but they can be tricky to photograph. Here are some tips to help you take better snow scene photos and make your time in the chilly outdoors more enjoyable.

 

Photo by Mark Elliott 

 

25. Tips On Photographing Stormy Seas

For those who don't mind a fierce wind and cold weather, winter is a great time to shoot at the coast. Why? Well it's quieter as you don't tend to get many tourists visiting out of season and strong winds can create strong sea swells which means they'll be plenty of big waves crashing into cliffs and sea walls to capture.

 

 

26. Capturing Snowy Landscapes

What better excuse do we need as photographers than a blanket of snow for wonderful photographic opportunities, but it's important to get a few techniques right to ensure you capture everything at its best.

 

Photos by John Gravett

 

27. Photography Tips On Capturing Patterns In Ice

When temperatures begin to fall, lakes, ponds, puddles and even waterfalls (when it's really cold) freeze, all of which make excellent close-up photography subjects.

 

 

28. Explanation On Why Snow Can Appear Blue And How To Fix It

We all know the feeling of photographing in snow on a bright, crisp day, only to realise that the snow is coming out blue in your pictures. This is generally due to one or two errors which can be quickly and easily put right. 

Photos by John Gravett

29. Snow Photography For Beginners

Snow can be quite tricky to capture and can leave many beginner photographers asking questions. To help them out, here we will answer some of the most frequently asked questions about snow photography.

 

 

30. Quick Tips On Taking Photos In Icy Conditions

If you're out in icy conditions, there are a few hazards to contend with which are particular to the weather. Yes, this includes obvious things like taking care to not slip but there are other problems you may not have thought of too. 

 

 

 

When you had out in autumn, the first thing that you're likely to be greeted with is fallen leaves on the floor. Take advantage of these and create some great photos!

It's worth packing a polarising filter as one of these will enhance autumn shades and help reduce glare. Then basically, all you need to do is find some autumn leaves, arrange them if you wish then photograph them. Try and get a mix of varieties if you can and if you can wait until the next morning to photograph them, they'll be covered in droplets of morning dew or if you wait until the temperature drops a little more they'll have a dusting of frost, giving you the chance to shoot some abstract Autumnal shots.

 

1. Look for interesting patterns Don't have any trees at home? Well, you can collect some fallen leaves from the park or venture out early and do your photography there. Look out for scenes where fallen leaves have created interesting patterns without you having to move them or where they’re decorating a particularly picturesque scene. A blanket of leaves around the trunks of trees will always make a great shot that really sums up autumn. Look for objects in your garden or around the park that you can use in shots with the leaves you've collected to make a more interesting composition.    2. Go close-up and abstract You can position yourself a little further off the ground and photograph the whole pile of leaves but by getting in close to one or two of them, playing with several compositions you can end up with some surprisingly interesting shots. Try just focusing on the tip or stalk of one leaf or focus on the centre of one so blur creeps in at the edges. Try using a wider aperture so you get a shallow depth of field that allows detail to be to focus of the shot. Do watch out for shake creeping into your shots as it does become more noticeable when working with close focusing. Always use a tripod and make use of your camera's self-timer so you aren't touching the camera as the exposure begins. Better still, use a cable / remote release or even your SmartPhone as the trigger if your camera allows it.   
  3. Backlight the leaves Back home, if you have a lightbox you can use it to backlight your leaf so all the detail stands out. If you're using a camera that has Live View it's worth using it to check the overall sharpness of your close up shots. It also comes in handy when you're taking shots where putting your eye to the viewfinder is a little tricky. 

If you're working by water where leaves are decorating the land surrounding it or are floating along the surface of the water as it flows downstream, experiment with longer exposure times to blur the water's movement. We say experiment as several factors will affect what length of shutter speeds you'll need to achieve your desired result.

 

4. Experiment with settings

Experiment with your camera's white balance settings to find the best colour balance for your shot and if you feel the autumn tones need more depth, use your camera's exposure compensation control and dial a - stop in. You don't need to go too low, a half or one-stop should be fine. Having said that, if you shoot in RAW you can always give the colour in your shots a boost when you're back on your computer. 

Viltrox has announced the AF 35mm f/1.4 Pro, a weather-sealed full frame prime for Sony E and Nikon Z with a 16-element optical design and voice coil autofocus. It costs $829 and joins the 50mm and 85mm f/1.4 Pro lenses, which gives Viltrox a set of three fast primes that comes in under $2,000 combined.

 

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Nikon has announced the NIKKOR Z 120-300mm f/2.8 TC VR S, which it describes as the world’s first telephoto zoom lens with a constant f/2.8 aperture and built-in 1.4x teleconverter. The S-Line lens is designed for professional sports photographers, extends to 168-420mm with the teleconverter engaged and weighs approximately 2735 g. Sales start in November 2026 at £13,999 in the UK and €16,499 in the Republic of Ireland.

 

From Nikon:

 

Today, Nikon introduces the world’s first1 telephoto zoom lens with a constant f/2.8 aperture and built-in 1.4x teleconverter. Designed for professional sports photographers, this powerful S-Line lens is built to nail incredible shots of defining moments without fail. Image quality is comparable to that of a prime lens even with the teleconverter engaged, AF performance is phenomenally accurate, and the build is tough yet remarkably lightweight.

From the atmosphere in the venue to in-game action shots, the NIKKOR Z 120-300mm f/2.8 TC VR S puts sports photographers right where they want to be. The built-in 1.4x teleconverter extends the focal-length range from 120-300mm to 168-420mm, and photographers can even go to 630mm in DX crop mode. Immersive detail is attainable at any focal length thanks to the fast, constant f/2.8 aperture and advanced S-Line optical construction. Specialised lens elements and coatings produce high-contrast images with exceptional clarity, even when shooting into strong sunlight or under bright artificial lighting.

Compared to its F-mount predecessor, the NIKKOR Z 120-300mm f/2.8 TC VR S also offers sports photographers a massive upgrade in terms of responsiveness and agility. Nikon’s Silky Swift AF system ensures fast, silent, pinpoint tracking, and a new control algorithm keeps pace with the fastest continuous shooting speeds. This Z Mount sports lens is also approximately 515 g lighter, even with the built-in teleconverter, which helps to beat fatigue when shooting handheld. Other features that can make all the difference include the balanced internal zoom, more customisable controls, Arca-Swiss compatibility, and the option to use front or rear filters.

Dirk Jasper, Product Manager, Nikon Europe says: “The NIKKOR Z 120-300mm f/2.8 TC VR S represents some of the best professional lens technology available today. Tested in the field and refined based on feedback from professionals, we’re bringing this high-powered professional zoom lens to the next level.”

 

Summary of key features: NIKKOR Z 120-300mm f/2.8 TC VR S

120-420mm focal-length range with built-in 1.4x TC: image quality is comparable to that of a prime lens, even with the teleconverter engaged.

Superior rendering, immersive detail: S-Line optical construction delivers high-contrast images with exceptional clarity. Includes Super ED and SR glass, and Meso Amorphous and ARNEO coatings.

F/2.8 constant aperture, up to 6.5 stop2 in-lens VR: freeze action, isolate subjects against smooth bokeh, and nail sharp, clean, detailed images at lower ISO settings.

Breakthrough AF: experience thrilling new levels of precision thanks to a multi-focus system equipped with Nikon’s Silky Swift voice coil motors. A new control algorithm keeps pace with the fastest continuous shooting speeds.

Lightweight build helps beat fatigue and weight restrictions: this fast telephoto zoom lens weighs 2735 g (approx.) and fits into international-standard carry-on bags.

Highly customisable: the control ring can also be used as a focus ring, and functions can be assigned to two L-Fn buttons or the Fn ring.

Internal zoom: keeps the centre of gravity consistent for more balanced handling when zooming.

High-performance sealing: keeps dust, dirt, and moisture at bay. A fluorine coat makes the front element easier to clean.3

Designed for hardworking pros: Arca-Swiss4 compatibility enables quick release from a tripod, front screw-in and rear drop-in filters are both supported, and the iconic yellow ring is visible even when the lens hood is attached.

HB-120 lens hood: lightweight bayonet lens hood with no protruding clamp knobs, for easy storage.

 

For more information, please visit the Nikon website.

 

FOOTNOTES:

1 As of 29 October 2026

 2 Up to 6.5 stops of in-lens Vibration Reduction with Synchro VR. Based on CIPA 2024 standards. Yaw/Pitch/Roll compensation performance when mounted on the Z6III, without a teleconverter attached (at the telephoto end, in [NORMAL] mode).

3 The lens is not guaranteed to be dust- and drip-resistant in all situations and under all conditions.

4 This lens’s tripod collar is designed for use with screw-type Arca-Swiss clamps. Lever-type clamps may not provide sufficient holding strength and are not recommended.

 

Leica Camera UK has announced the opening of the new Leica Store London Mayfair at 14 Dover Street, bringing the brand’s global total of Leica owned stores to 116. The 234-square-metre store and gallery spreads across four levels and houses all of Leica’s product families, including cameras, sport optics, watches, home cinema, mobile and its pre-owned and vintage range. It also has an integrated Leica Gallery on the lower ground floor. To mark the opening, 14 special edition Leica M-A cameras, produced with British artist Johnny Dowell (King Nerd), will go on sale from 5 November for an RRP of £15,800.

 

From Leica:

 

Leica Camera UK has opened the brand-new Leica Store London Mayfair in the heart of London’s exclusive Mayfair, bringing the global total of Leica owned stores to 116. The 234-square-meters store and gallery is located at 14 Dover Street, W1S 4LW and surrounded by other leading luxury brands, fine-art galleries, renowned restaurants and exclusive member’s clubs. The characterful Mayfair town house is a unique Leica store concept, with client space split across 4 levels housing all of Leica’s product families including Cameras, Sport Optics, Watches, Home Cinema, Mobile and their Pre-Owned and Vintage range. It also has an integrated Leica Gallery sitting on the lower ground floor that dedicates its space to cultural and artistic experiences as well as a rotating collection of exhibitions by renowned photographers.

 

 

Leica Store London Mayfair is the new UK flagship store, with Leica Store Harrods remaining open as usual, as the current store on Duke Street closes. It will provide Leica clients with complete access to all of Leica’s extensive product and cultural portfolio, offering an immersive brand experience and strengthening Leica’s presence in the capital. Private areas set across several floors also allow for a more discreet and comfortable setting for clients to explore the Leica world.

The building itself is impressive, with clients immediately being welcomed by a curated wall of art that features five photographs from Leica’s Hall of Fame, before going onto discover the rest of the ground floor which is dedicated to immersing clients in Leica’s world. Inside, an architectural highlight is the integrated atrium that extends from the lower ground floor to the first floor, offering an unobstructed view of the sky and flooding the space with natural light. Suspended within the atrium is a bespoke art installation, created specifically for Leica Store London Mayfair, that invites clients an opportunity to experience an expression of the optical quality of Leica products. The building’s curved form is reflected throughout the interior design concept, from the fixtures to the furniture and a curved seating area on the ground floor. Nods to the architecture of the brand’s headquarters, Leitz Park in Wetzlar, can be found in both the bars and key-product vitrine.

Clients might be inspired to enjoy Leica’s watches in the daylight while seated in the window bays on the second floor, or to test the telephoto lenses or sports optics equipment through the window’s expansive views of Mayfair.

 

 

The opening of the new Leica Store London Mayfair will be celebrated by the sale of 14 special edition. Leica M-A cameras that have been produced in collaboration with British artist Johnny Dowell, better known as King Nerd. Dowell is a multidisciplinary artist, designer and engraver born and raised in West London. He is renowned for transforming traditional hand engraving into a contemporary artistic practice, and has collaborated with some of the world’s leading luxury, fashion and lifestyle brands while creating bespoke commissions for an international clientele. The M-A has been specially engraved to feature designs of an English Rose, Scottish Thistle, Welsh Daffodil and Northern Irish Blue Flax, to celebrate and reflect the British Isles and will be on sale from the 5th of November for an RRP of £15,800.00. Also being sold with the M-A cameras is the Summicron-M 35 f/2 ASPH. lens, which is finished in a red scale, with the front of the lens completely blacked out, specially painted to match the unique colour of the King Nerd Edition.

Please find the Leica Store London website and number below:

https://leica-camera.com/en-GB/leica-stores/leica-store-london-mayfair

(+44) 020 7629 1351

Leica Store London Mayfair is open now from 10am-6pm Monday to Saturday, located on 14 Dover Street, London, W1S 4LW.

For more information, please visit the Leica website.

- Partner Content -

 

 

Talking-head ads often have one obvious problem after AI enhancement: the person starts looking too polished. Skin becomes unnaturally smooth, small facial details disappear, and the final video can have that familiar "AI plastic" look. 

That can hurt an ad, especially when the goal is to make the speaker feel REAL and trustworthy.

Vmake Labs' Portrait Pro scene is designed for this kind of footage. It can sharpen and improve facial details without pushing skin toward an overly smooth finish. That makes it worth testing for creator ads, founder videos, product explainers, and other campaigns where the person on screen needs to look clear without losing natural texture.

 

Why talking-head ads fail after basic enhancement

 

A talking-head is harder to enhance than a product-only shot. The person has skin, hair, eyes, teeth, fabric, and a product label in the same frame, and all of them move. Basic enhancers treat them the same. They crank sharpness and smoothing globally. The result is predictable:

• Skin loses pores and fine lines, then looks waxy.
• Hair turns into a solid helmet, especially curly or fine hair.
• Product in hand gets softer while the face gets too smooth.
• Background starts to buzz or pulse when you export to 4K.

Viewers notice it fast. In a creator ad or founder video, trust drops when the person does not look like themselves. 

So, the better enhancement approach is to treat the face as a separate visual priority. Facial details need enough sharpening to restore clarity, while skin needs to retain its natural variation. Hair and eyes need their own level of detail too.

That is the main reason Portrait Pro in Vmake Labs can make sense for talking-head ads. Instead of relying on a general enhancement pass, it puts more attention on the portrait area. This can help to enhance video quality when the original footage is slightly soft, compressed, shot in poor lighting, or recorded with a phone camera.

 

What Portrait Pro does differently

 

Vmake Labs is an AI social video studio for small businesses that need help to generate, enhance, and optimize video to capture attention and drive sales. It is built for social operators, SMB owners, and UGC creators who have to turn product clips into post-ready social video fast.

Inside that studio, enhancement is split into tiers and scenes so you don't use a hammer for every job.

• "Fast" for quick cleanup
• "Quality" for an AI-powered rebuild with richer details
• "Master" for cinema-grade polish at 2K, 4K, and 8K, when the clip needs to hold up as a hero ad

Then the scenes handle intent. The "Studio" gives real footage a more cinematic look. "Portrait Pro" is specifically for people. If your video is 80% face, that is the one you want.

 

 

Think of it as a larger model that knows the difference between skin and other surfaces. 

When you use it:

1. Skin keeps texture. Instead of smoothing everything, it preserves small details — pores, fine lines, eyebrow hairs — while cleaning compression blocks. The face looks clearer, not airbrushed.
2. Product in hand stays sharp. When a creator holds your tote, serum, or gadget, Portrait Pro keeps label type and material definition. So the eye can read the product while still believing the person.
3. Large areas stay stable. White desk, studio paper, or a blurred room behind the speaker does not band or flicker when you push to 4K or 8K.

That combination matters because most talking-head ads are shot on a phone in mixed light. You want the bump to 8K for the homepage hero, but you do not want the "beauty filter" look that kills credibility.

 

A practical workflow that keeps skin natural

 

Small teams who live on TikTok, Reels, and Shorts do not have time to re-shoot. They reuse authorized assets they already own. Here is how they fit Portrait Pro into a real day:

 

1. Clean your own clips first

 

If your best testimonial has an old editing app logo that is semi-transparent in the corner, or old captions baked over the product, run it through Vmake Labs ai watermark remover first.

Vmake Labs watermark remover tool now has Smart Pro feature, which is built for hard cases — moving, animated, or semi-transparent text that sits on top of complex backgrounds like canvas or skin.

 

 

It detects more of those fine, moving marks and blends the background with finer edge repair, so you do not get a big blur patch where the text was. Only use it on footage you own or have explicit rights to edit.

 

 

2. Pick the right mode and scene

 

Next, upload the cleaned clip to the Video Enhancer. Choose:

Mode: Quality for most talking-heads, Master if this is going to be your main ad for a week or you need to crop it to multiple ratios

Scene: Portrait Pro

 

 

That is it. 

Don't stack extra sharpening on top in another app. Let Portrait Pro do the skin work. If you need to enhance video quality for background details too, Master will give you more headroom at 4K without pushing the face into that waxy look.

 

 

3. Check at 100% before you export

 

Pause on three frames: eyes open mid-sentence, a slight smile, and a side turn. Zoom to 100% on your phone.

• Do you still see pores on the cheeks and forehead?
• Do eyebrows and eyelashes stay separate, not clumped?
• Does the background get cleaner while the skin stays soft but real?

If yes, you are done. If skin still looks too smooth, you probably had beauty mode on during recording. Re-record with it off and run Portrait Pro again — it preserves texture, it does not invent it from nothing.

 

When to test Portrait Pro

 

• Founder ads: You are on camera explaining why you made the product. You need to look clear, not filtered.
• Creator UGC: You have permission to reuse a creator's review. Their face is the thumbnail. Plastic skin hurts click-through.
• Product explainers: Face in corner, product in hand. Both need detail at the same time.
• Paid cuts you will run for a week: If you are spending on it, the extra minute for Master + Portrait Pro pays back in credibility.

What Portrait Pro is not for: product-only spins, flat-lays, or catalog videos where no person is present. There, Studio in Master gives you that more cinematic product look without worrying about skin.

Talking-head ads work because a real person says a real thing. The job of enhancement is to make that person easier to watch, not to make them look like someone else. Portrait Pro is Vmake Labs' answer for that — more natural skin texture, sharper product when it shares the frame, and less of that AI plastic that makes viewers scroll away.

On July 10, 2013, Natalia Botero-Acosta photographed a humpback whale's tail going down in the Gulf of Tribugá, on Colombia's Pacific coast. On August 22, 2022, Ekaterina Kalashnikova photographed a fluke off Fumba, in the Zanzibar channel, on the far side of the planet. The two frames belong to the same animal, and the two sighting points sit 13,046 kilometers apart.

 

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The 49th Leitz Photographica Auction takes place on November 28, 2026, at Leica World in Wetzlar, presenting more than 400 lots of historic cameras and vintage photographic equipment. A fully operational mid-1950s Leica BOX 18 × 24 mm prototype bearing serial number 000.01 leads the sale, with an estimate of €400,000 to €500,000. The auction also includes a Leica R6 used by Sebastião Salgado to document the burning oil fields of Kuwait, offered with two photographs from that series and a signed copy of Workers. Another highlight is the Summicron-M 66 f/2 re-edition, serial number 001, estimated at €16,000 to €20,000. An exhibition celebrating 60 years of Leica Noctilux will also be on display at Leica World during the auction weekend.

 

From Leica:

 

 The 49th edition of the Leitz Photographica Auction is taking place on the 28th of November 2026 and is dedicated to historically significant cameras and vintage photographic equipment. Among the highlights of the auction, which will take place at Leica World in Wetzlar, are an exceptionally rare Leica BOX camera from the 1950s, a Leica R6 owned by Magnum photographer Sebastião Salgado (1944–2025), and a re-edition of the Elcan 66 mm f/2. In addition, an exhibition celebrating 60 years of Leica Noctilux will open at Leica World during the auction weekend.

More than 400 lots will be offered at Leitz Photographica Auction 49. While Leica cameras, lenses and equipment make up the majority of the lots, numerous items from other renowned manufacturers will be offered as well. Estimates range from the three-figure to the six-figure euro range.

“We are delighted to once again present, in the 49th edition of our auction, an exciting selection of cameras and photographic equipment from the past 100 years, alongside the collectables of tomorrow,” says Alexander Sedlak, Managing Director of Leitz Photographica Auction. “As always, we expect particularly strong interest in historically significant rarities and special editions. One such highlight is the Leica BOX camera, of which only one operational example is known to exist today.” 

 

  The Leica BOX 18x24mm prototype

The Leica BOX camera offered at auction is a prototype produced in the mid-1950s. Developed as an extremely compact 18 × 24 mm camera, it measures just 100 × 64 × 48 millimetres, making it one of the smallest Leica cameras ever built. Only two units were produced. One is on display at the Leica Museum in Wetzlar and was constructed as a non-working design study, whereas the camera offered here – bearing the serial number 000.01 – is fully operational. The Leica BOX is regarded as one of the most exceptional rarities in the Leica universe. Its estimate ranges from €400,000 to €500,000.

 

 

The Summicron-M 66 f/2 with the serial number 001 

One of Leica’s most celebrated lenses has its origins in the company’s former Canadian subsidiary, Ernst Leitz Canada. Dr Walter Mandler developed the Elcan 66 mm f/2 on commission for the US Navy. According to Mandler, the Navy’s intelligence service requested a lens that “looked like any other but delivered an unparalleled level of resolution.” In the late 1960s, Ernst Leitz Canada produced merely 200 units of the Elcan 66, making it one of the rarest lenses ever made for the Leica M system.

This year saw the release of the Summicron-M 66 f/2, a re-edition of the Elcan 66, limited to 660 units. The Summicron bearing the highly collectible serial number 001 will now be offered at Leitz Photographica Auction 49. Its estimate ranges from €16,000 to €20,000.

Yet another lens will take centre stage during the auction weekend. Leica began production of the Noctilux in 1966 and presented it at Photokina in Cologne, Germany, that same year. At the time, it was the fastest lens of its kind, making it possible to capture images with remarkable detail and contrast even in low ambient light. An exhibition to celebrate the history of the famed lens will be on display at Leica World during the auction weekend. 

 

Sebastião Salgado set: Camera, limited edition photobook and photographs

Alongside rarities and special editions, cameras and photographic equipment with distinguished provenance have traditionally proved particularly popular at Leitz Photographica Auction. In this respect, the upcoming auction features an exceptional highlight: a Leica R6 owned by Sebastião Salgado (1944–2025). The Brazilian-born, renowned Magnum photographer used the camera to document the burning oil fields of Kuwait during the Gulf War – images that contributed significantly to his international reputation. Two photographs from this series are included in the lot, together with a signed copy of Salgado’s limited edition photobook Workers. The estimate ranges from €28,000 to €32,000.

 

Leitz ON returns for its second edition

In addition to the event in Wetzlar, Leitz Photographica Auction is once again hosting its online auction, Leitz ON. Designed as an accessible entry point into the world of collecting, the auction features a broad selection of cameras and photographic equipment from a wide range of manufacturers, as well as photographs dating from the 1920s to the present day. Bidding will be open from the 29th of October to the 29th of November. Information on the lots and details of the bidding process are available at www.leitz-auction.com.

 

Live on site, in written form, online or by telephone

Leitz Photographica Auction 49 takes place on the 28th of November at 12 am (CET) at Leica World in Wetzlar. Bids can be submitted in advance online (www.leitz-auction.com), in written form, or by telephone. Live bidding during the auction will be available via www.leitz-auction.com and www.liveauctioneers.com.

 

For more information please visit: www.leitz-auction.com/auction

 

We can't let October pass without mentioning a close-up photography subject many photographers shoot spectacular images of at this time of year and that's fungi.

So, if you're venturing into the world of fungi photography for the first time or just want a quick reminder on what kit you'll need, have a read of our guide on photographing mushrooms, toadstools and fungi.
 

1. Pick the right season

The reason why this technique is something that's mentioned at this time of year is that fungi tend to like Autumn and Winter when it's cooler and wetter. You might even find them establishing themselves on your lawn if conditions are right. 

 

2. Head somewhere dark and damp

Think dark, damp places such as dense woodland areas where not much sunlight can get through. Search under piles of leaves and look around the base of trees. After a spell of particularly wet weather, they will start to show themselves in more places than you might expect!

 

3. Use a macro lens

A good macro lens is a must as fungi aren't the largest of subjects and your shots will have more impact by getting in close.

 

4. Stabilise your kit

Low light means longer shutter speeds so you're going to need a support for your camera. Some tripods can be adjusted so they sit low to the ground but you could just use a beanbag if your tripod isn't so flexible. Consider using a remote / cable release so you don't introduce shake at the start of the exposure but if you don't own one just use your camera's self-timer.

 

 

5. Pack a polarising filter

On particularly damp days shine can be a problem and mushroom tops can end up overexposed. To combat this, fit a polarising filter to the end of your lens which will reduce the shine. You may be wondering why you couldn't just head out on a dry day and there's no reason why you can't, however as David Pritchard explained a blog post: "There’s no better time for photographing mushrooms than after (or during) rain. The colours strengthen, and everything adopts a lovely sheen." 

 

6. Tidy the surroundings

It's sometimes worth cleaning the specimen up that you're photographing before you take your shots. Have a look at what's in the back of the frame, too to see if there's twigs or anything else that could prove to be distracting in the final shot. Please don't pull plants out of the ground or damage parts of a tree for the sake of a photo, though. It's important that you leave things as you found them once you've finished taking your images. Of course, you may prefer the natural look which means you won't have to brush any dirt off the mushroom at all.

 

 

7. Shoot down low

Fungi like the floor which we know isn't the most comfortable angle to work from but it does mean viewers of your images will be drawn into the fungi's world much more successfully if you shoot from low down. The fungi will also have a three-dimensional feel to them as they'll have more height, plus you'll be able to capture shots of the underbelly, too.

 

8. Think about your composition

As mentioned in the above point, once you've got your position on the ground, you'll be able to not only photograph the top of the mushroom's dome but underneath it too. This gives you the chance to capture some of the textures and colour the mushroom has to offer as well as exaggerate the height of it. Try to capture mushrooms in a group, as a variety of sizes will add interest of the piece. Odd groups are more pleasing to the eye than pairs but if you have one particular good specimen, don't overlook shooting it standing on its own. If you include the background and how much distance you put between you and the mushroom will change every time so do take some time to assess the scene before hitting the shutter button. 

 

 

9. Shed some light on the image

Fungi may like dark conditions but it's not something that's easy to work with as a photographer. The most interesting part of the mushroom is the underbelly and to highlight the textures, shapes and colours you're going to have to bounce light into the scene. You can use your camera's built-in flash but this will often result in a harsh light that doesn't really add anything to the photograph. Instead, use off-camera flash and bounce the light off other objects. You can also play around with backlight which should create a halo around the mushroom's top. If you don't have a flashgun experiment with a torch or use a reflector to bounce light onto the underbelly of the mushroom.

 

10. Use a shallow depth of field

Throwing the background out of focus will not only help isolate your subject but it can also hide unwanted clutter. Add a bit of backlight and your subject will pop from the frame.

You’ve heard it before: the best camera is the one you have with you, and premium compact cameras are what you should be carrying.

 

Sometimes you want the power of a mirrorless camera or your DSLR, but they're too big to carry regularly. You don’t need to sacrifice by leaving a camera at home. A premium compact camera solves your problem. Well, one other thing. For many, these cameras are usually out of budget, but as always, there is a solution. Buying a new camera these days is a challenge in itself. They are either out of stock or overpriced, but MPB has them.

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The Fujifilm X100VI is the kind of camera people buy to carry everywhere, and that only works if it keeps delivering once the light fades and the rain starts. A fixed 23mm lens and a body small enough for a coat pocket come with real limits compared with a larger interchangeable lens kit.

 

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When you teach yourself photography in a city where you don't speak the language, you make every pricing call, portfolio choice, and client pitch without a second opinion. Mistakes made that way can go unnoticed until a client points them out.

 

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You can drive half a day to reach peak autumn color and find the hillside carved up by a clear-cut, a power line, and a thicket of saplings. Pulling a clean, deliberate frame out of a compromised scene is a skill you'll use far more often than you'll stumble onto a perfect location.

 

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You can learn the settings that keep a photograph sharp in a single afternoon, yet nobody has a reliable formula for the quality that makes someone stop and look at it. That gap between technique and taste is the hardest part of photography to teach.

 

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Top sports and wildlife photography shooters, this one is for you. Today, Nikon announced a new telephoto lens that focuses on getting you close to the action: the NIKKOR Z 120-300mm f/2.8 TC VR S. 

There are cool tools, and then there are professional precision tools that don’t cut any corners in giving you the highest level of optical performance a brand can offer. The NIKKOR Z 120-300mm f/2.8 TC VR S promises to be this lens for professional sports and wildlife photographers.

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1. Be Early

Arrive at your chosen spot about half an hour before the sun's due to set as you'll need time to set your equipment up and to find your angle. You'll need your tripod as shutter speeds will be slow and working hand-held will only result in shake. If you have one, attach your remote release up, too, to stop your movement rocking the camera when you go to press the shutter button. Many cameras allow you to fire the shutter via a Smart Phone, eliminating the need for a remote release. You might want to fire off a few test shots to see if your composition works but do remember the light will change.
 

2. Get Ready

Make sure your focus is correct then turn off autofocus as it tends to struggle in darker conditions. Check your white balance and set your ISO to 100, although, if you want to quicken the shutter speed slightly, you can knock it up a couple of notches. Then, you just have to stand and wait for the sun to begin setting. You might want to pack a flask of something warm and make sure you have your coat with you for this bit!
 

3. The Sun's Setting

Once the sun has gone below the horizon don't think it's time to put your equipment away so you can head home, you need to keep taking photos, adjusting the exposure length as you do to capture as many different results as possible.

 

 

4. Watch Out For Bright Light Sources

If you have the moon in shot or other bright lights such as street lamps, and you use a longer shutter speed it can result in flare but this isn't always a bad thing as an overexposed street lamp, particularly on a damp evening, can look quite good.
 

5. Where Works?

Getting out above the city so you can shoot down on it. Capturing the city lights against the dark blue sky as they switch on works well but do get in among the city buildings too. At busy junctions, you'll be able to capture light trails as traffic flows by while a bridge will give you a nice leading line with lights dotted along either side of it. Have a look for shop signs that are lit up or if you're visiting one of our well known seaside towns, you'll have a long street of illuminations to capture.

- Partner Content -

 

A favourite photograph deserves more than a quick upload. Here is how to choose a size, protect your composition and prepare a file that will work on the wall.

You have a photograph you keep returning to: a coastline after rain, a family moment, the view that made you stop walking. On a screen, choosing a favourite is easy. Ordering it at half a metre wide brings a different question: will it still look good?

The answer starts with the pixels in your file, but it also depends on sharpness, cropping and where the print will hang. Working through those choices gives you a more useful answer than the megapixel number on your camera.

 

Fine detail and the shape of a composition both matter when preparing a large print

 

Find the best version of your photograph

Begin with the original full-resolution file. A screenshot or a copy saved from a social feed may look perfectly respectable on a phone while containing far fewer pixels than the original. If the image lives in a cloud library, download the original rather than its preview.

Check its dimensions in your photo app or file information. A 6000 × 4000-pixel image contains 24 million pixels, or 24 megapixels. That tells you how much image data you have; it does not tell you whether the focus landed on the subject. Open the photograph and inspect the details you actually care about before deciding how large to go.

Save a working copy before editing. That gives you room to try a square crop or a different treatment without losing the version you started with. If someone else supplied the photograph, ask for their print-ready export.

 

Choose the crop before you calculate

A camera's rectangular image will not necessarily fit the frame shape you have chosen. Filling a square with a 6000 × 4000-pixel landscape, for example, leaves at most 4000 × 4000 pixels. You have 16 megapixels left, even though the camera captured 24.

 

A full-height square crop of a hypothetical 6000 × 4000-pixel image retains 4000 × 4000 pixels, or two-thirds of the original pixel count.

 

Set the intended aspect ratio first, then move the crop deliberately. Look for a clipped headland, a hand close to the edge or a horizon that needs straightening. Straightening can remove a little more of the image, too. Recheck the remaining dimensions once you are happy with the composition.

If the crop spoils the picture, choose a different print shape or explore a border. The photograph should still feel like the one you wanted to print.

 

Turn pixels into a print size

Pixels per inch, or PPI, describes how densely the image's pixels are distributed across the finished print. Divide the pixel width by the print width in inches, then check the height in the same way. Convert centimetres to inches by dividing by 2.54.

Using the uncropped 6000 × 4000-pixel file, a 20 × 13.3-inch print is approximately 300 PPI. At 30 × 20 inches, the same file is 200 PPI. Increasing the print size spreads the available detail over a larger surface.

 

The same hypothetical 6000 × 4000-pixel file produces about 300 PPI at 20 × 13.3 inches, or 200 PPI at 30 × 20 inches. This diagram compares dimensions, not simulated print quality.

 

For a calculation using your own dimensions, Framely's image resolution and print size guide includes a calculator and reference chart. Use the dimensions of the printed photograph itself, excluding any mat border or surrounding frame.

 

Think about where people will stand

Around 300 PPI is a useful starting point for detailed photographs examined closely. It is not a universal pass-or-fail threshold. A large print seen across a room may look pleasing at a lower density, while a small print held in the hand invites closer scrutiny.

Stand where you expect to enjoy the picture. A print above a sofa is usually seen differently from one in a narrow hallway. If you are unsure, ask the lab about a small test section printed at the same enlargement as the final piece. A miniature of the whole photograph will not reveal the same level of detail.

 

Check sharpness as well as the numbers

Changing a file's resolution label from 72 to 300 PPI, without resampling, adds no pixels. DPI refers to the printer's dots of ink and is a different measurement.

Inspect the file at 100% to spot blur, compression damage or heavy sharpening, then consider those flaws at the intended viewing distance. Upscaling can improve an enlargement's appearance, but extra pixels do not prove that fine detail is authentic. Compare the result with the original, especially around faces and lettering.

 

Choose a surface that suits the picture

Smooth photographic paper can suit images whose appeal lies in fine detail, such as architecture or a sharply focused portrait. Canvas adds a visible woven texture, which becomes part of how the image looks. Think about whether that texture complements your photograph and how closely it will be viewed.

 

Smooth paper and woven canvas give a print different surface characteristics.

 

Canvas cannot restore missing detail. Check the edge treatment as well: wrapping an image around a stretcher, mirroring its edges or using a plain edge can produce different results. Keep important subjects clear of any area that will leave the front face.

For readers in Australia, Framely’s canvas photo prints offer stretched canvas and optional floating frames. Compare the finish and edge options against your composition before settling on the size.

If colour is critical, ask whether your lab provides a suitable printer-and-paper profile for soft proofing. This previews how colours may translate to the chosen output. It is an estimate, so a physical proof remains useful for an important print. Avoid converting to an unfamiliar colour space simply because it sounds more professional.

 

Give the file one last check

• Keep the original and export a separate print copy.
• Follow the lab's instructions for file format and colour profile.
• Check the final crop, orientation and dimensions in the order preview.
• Inspect faces, lettering and edges for unwanted edits or sharpening.
• Ask for a file review or test print if the enlargement is uncertain.

The most satisfying print often comes from a modest adjustment: a little more room around the subject, a size that suits the file, or a surface that carries the mood of the photograph. Make those choices while the image is still on screen, and you can enjoy it on the wall with fewer surprises.

© GoPro

 

GoPro has rolled out a free firmware update for the MISSION 1, MISSION 1 PRO and MISSION 1 PRO ILS that rebuilds how the cameras shoot stills. The shutter now responds the instant the button is pressed, and holding it down shoots continuous photos, with more than 100 at 12MP or more than 20 RAW files at 50MP. The MISSION Monitor app for iPhone and iPad also gains a histogram, waveform, RGB parade and false colour, along with wireless camera connectivity. GoPro Labs firmware adds anamorphic lens support for the MISSION 1 PRO ILS, covering squeeze ratios from 1.33x to 2.0x.

 

From GoPro:

 

GoPro, Inc. (NASDAQ: GPRO) released a free update that enhances MISSION 1 Series cameras' photography capabilities. Photo shutter response has been dramatically improved to provide hair-trigger sensitivity for improved photo capture accuracy, and holding the shutter button down will capture continuous photos in rapid succession.

GoPro also updated its recently debuted MISSION Monitor app with four new professional exposure tools and wireless camera connectivity, and released a new version of GoPro Labs firmware that adds anamorphic lens support to MISSION 1 PRO ILS for film and television professionals.

Since launching earlier this year, the MISSION 1 Series has earned 12 top industry awards from 10 leading consumer technology, photography, and outdoor publications, including Best Overall Action Camera from WIRED, Best Action Camera in the Tom's Guide Awards, and editor's choice awards from PCMag, Tom's Guide, Gizmodo, and The Shortcut.

 

MISSION 1 Series Photography Update: High-Performance Shutter Response + Continuous Photo Capture

 

MISSION 1 Series cameras have received a ground-up rebuild of how they capture photos, transforming them into rapid-fire photography solutions:

• Rapid Photo: With the free firmware update, all MISSION 1 Series cameras will now feature zero-lag, ultra-responsive shutter button response that results in photos being captured the instant the shutter button is pressed.1
• Continuous Shutter: Press and hold the shutter button to capture photos continuously—more than 100 photos at 12MP or more than 20 RAW photos at 50MP.1
• Buffer Indicator: A new on-screen indicator signals when the camera is approaching its buffer limit.
• Updated Shutter Sound: A modernized shutter sound delivers clear, distinguishable audio confirmation for each photo as it's captured.

This new photography experience makes MISSION 1, MISSION 1 PRO, and MISSION 1 PRO ILS a natural match for the Point-and-Shoot Grip. The grip's lightweight, rubberized metal frame turns the camera into a high-performance handheld point-and-shoot camera that's ideal for run-and-gun, on-the-go street and travel photography. Two cold shoe mounts accept accessories like Light Mod 2, making it a complete handheld setup for hikes, concerts, and road trips. The grip is available as a stand-alone accessory or as part of MISSION 1 PRO Grip Edition.

"For photographers, by photographers. That's how we approached updating the MISSION 1 Series photo experience," said Jensen Granger, GoPro's Creative Director of Photography. "This update opens an exciting new chapter for photography on GoPro. Put a MISSION 1 Series camera in the Point-and-Shoot Grip and you have a seriously capable travel camera that's durable, mountable and can even shoot 8K video. It's the camera everyone from first-time buyers to seasoned photographers will want in their bag."

 

MISSION Monitor: New Exposure Tools + Wireless Connectivity

 

MISSION Monitor, the free iPhone® and iPad® live-preview app for MISSION 1 Series cameras,2 is being updated with four new professional monitoring tools that enhance exposure and color control, plus wireless connectivity and support for the aforementioned enhanced photography experience:

• Histogram: A real-time graph of every brightness level in the frame to confirm a balanced image, protect highlights, and avoid crushed shadows at a glance.
• Waveform: Maps brightness across the frame, showing exactly which parts of a shot are clipping or underexposed, not just whether something is off.
• RGB Parade: Displays the red, green, and blue channels side by side to confirm neutral tones are truly neutral and catch color casts before they become a problem in post-production. It's especially useful when shooting in GP-Log2, where a color cast is nearly invisible to the naked eye.
• False Color: Replaces the live image with a standardized color map that instantly shows which parts of the frame are clipping, which are underexposed, and whether skin tones are landing where they should.
• Wireless Connectivity: Connects to the camera wirelessly for cable-free live preview and image monitoring.
• New Photography Experience: Supports the all-new Rapid Photo and Continuous Shutter capture updates.

 

GoPro Labs: Anamorphic Lens Support for MISSION 1 PRO ILS

 

GoPro Labs, a public beta firmware program that enables GoPro camera capabilities beyond stock features and controls, now adds anamorphic lens support to MISSION 1 PRO ILS with the latest GoPro Labs firmware update. Paired with the camera's Micro Four Thirds™ mount, it brings anamorphic filmmaking to the world's smallest, most rugged compact cinema camera with interchangeable lenses.

Anamorphic lens support includes compatibility with GoPro's Emmy® Award-winning HyperSmooth video stabilization. GoPro Labs firmware also writes pixel aspect ratio metadata to the video file so desktop playback and editing tools like Adobe Premiere Pro and DaVinci Resolve recognize the true shape of the image and correct it automatically.

Squeeze ratios of 1.33x, 1.5x, 1.6x, 1.8x, and 2.0x are supported, with presets for fast switching between anamorphic and spherical lenses. An on-camera desqueeze preview for the rear screen is coming soon.

 

Availability

 

The all-new photography experience for MISSION 1 Series cameras is available now as a free firmware update via the GoPro Quik app or on GoPro.com.

The MISSION Monitor app update is free and available today on the Apple App Store® for devices running iOS 18 or later.

The updated GoPro Labs firmware supporting anamorphic lenses is available to download for free from GoPro Labs.

I'm at Apple's launch event at Columbia Square in Hollywood, and I just spent time hands-on with the new 16-inch MacBook Pro with PROLED XDR Display. I'm a huge display snob, and its tandem OLED screen is just stunning in person.

 

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At 19,262 places around the world where people walked outside and counted stars, the satellite that maps Earth at night recorded the ground below getting slightly darker. Across North America, upward radiance measured at those exact sites by the VIIRS Day/Night Band fell 0.80 percent a year. Over those same locations, artificial sky brightness was rising 10.4 percent a year.

 

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