Photography News

The Fstoppers community is brimming with creative vision and talent. Every day, we comb through your work, looking for images to feature as the Photo of the Day or simply to admire your creativity and technical prowess. In 2026, we're featuring a new photographer every month, whose portfolio represents both stellar photographic achievement and a high level of involvement within the Fstoppers community. 

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“What style do you shoot in?” or “I see a lot of [insert any photographer's name here] in your work.” These types of questions and statements, I'm sure, have been presented to you, and if you've ever wondered why, we can find out together. 

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Terminator 2: Judgment Day turns 35 this year, and it still looks better than most action films being made right now. The reason isn't budget or nostalgia. It's a set of deliberate filmmaking decisions that hold up under scrutiny. 

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Lighting is the single biggest variable that separates wedding photos that look polished from ones that just look okay. Unlike studio work, weddings give you no guarantees: harsh midday sun, deep shade, candle-lit receptions, and everything in between can all show up in a single day. 

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Seven photographers have been named Hasselblad Masters for 2026, chosen out of 70 finalists that the competition pulled from a pool exceeding 108,000 submissions sent in from 160 countries and regions. The seven categories this year were Landscape, Architecture, Portrait, Art, Street, Wildlife, and Project//21, with one winner in each. 

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Ultrawide lenses used to cost a fortune. A full frame 14mm f/2.8 from Canon or Nikon ran around $1,500 just over a decade ago, which put serious glass out of reach for a lot of people. Budget manual focus alternatives have changed that equation, and the Brightin Star 14mm f/2.8 is one of the most affordable yet, coming in at around $279. 

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The Panasonic Lumix GX8 is a Micro 4/3 camera, and that small sensor size gives it one genuinely unusual advantage: you can mount almost any lens ever made on it, from almost any manufacturer, as long as you have the right adapter. 

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If you're planning a day-trip at the coast you don't have to take your DSLR and a bag full of lenses to get good close-up shots. The majority of compact cameras and smartphones now have macro modes, some better than others, which can produce good results. The cameras are also smaller and usually lighter too making them easier to carry when you have arms full of buckets, spades and seaside treats. Plus, only shooting macro/close up shots really makes you stop and think about what you can photograph.

  1. Macro Mode

Find your camera's shooting modes and select the Macro Mode. This is generally the one that looks like a flower and by selecting it, your camera will know you'll be working with objects close to the lens and it will also use a larger aperture so the background's out of focus. How close you can focus to your subject will depend on the camera you're working with as they all have various close focus distances.
 

2. Tripod

Even if you're using a point-and-shoot camera using a tripod for close-up/macro work is a sensible idea. When you're working at close focusing distances any shake/movement is amplified and as a result, is more noticeable. As mentioned above, a tripod will reduce the chances of shake spoiling your shot and you'll be forced to slow down, so you think more about the shot you're trying to produce. 

 

3. Self Timer

Even though you're using a tripod, when you press the shutter button it can shake the camera so use your compact's self-timer to stop movement spoiling your shot.
 

4. Focus

It may sound obvious but do make sure the right part of your shot's in focus. If your compact has the option, switch to manual focus to have more control over what's sharp and what isn't. Once you've taken your shot, use your screen to view the image, zooming in to make sure all the bits that need to be sharp are.
 

5. Backgrounds

If possible, use a simple background that's not cluttered. This is easy on the beach when you can use the sand or position yourself so you're facing out to sea and use the water/sky as your backdrop. In busier locations such as harbours, this is a little more tricky to do but by putting space between your subject and the background it'll be easier for the camera to throw the background out of focus. You could also create your own background with a piece of card or even a jacket. 

6. Extra Light

Flash may seem the obvious way to go but as the flash on compact cameras is fixed, it's a bit too direct and can add too much light to the scene. If your camera allows it, you can dial down the flash but most of the time you'll be better off just shooting when there's plenty of natural light around. You can always use a reflector to direct the light and use a piece of card to shield your subject if you find there's too much light in the scene.

  7. Subject Choices

• Shells
• Pebbles
• Patterns/footprints in the sand
• Crabs
• Seaweed
• Interesting flotsam
• Water bubbles
• Chipped/cracked paint on boats
• Rust on railings
• Bolts
• Patterns in wood 
• Get in close to lobster pots and ropes to photograph the patterns
• Sticks of rock
• Jars of old-fashioned sweets

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One of the first real decisions a new photographer faces is sensor size, and it arrives wrapped in more anxiety than it deserves. The internet will tell you that full frame is "professional" and APS-C is "entry level," as if the sensor inside the camera decides whether your photos are any good. It does not. What sensor size actually changes is your reach, your low-light headroom, the amount of background blur you can get, the size and weight of your kit, and how much you spend, both now and over the years you keep shooting.

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[SECTION]INTRODUCTION[/SECTION]

 

 

Quick Verdict

The new Canon R6 V is essentially the same on the inside as the Canon R6 Mark III, but heavily biased towards video functions and without a viewfinder. The R6 V is a fully capable still camera, but the priority here is towards videographers and content creators. As such, a classy product that has much to offer.

 

The R6 V is definitely a video camera first. No viewfinder, no mechanical shutter, all the dedicated and programmable buttons set by default to video functions. There are plenty of video options, of course, but here we add the PZ lens compatibility, highly efficient IBIS and of course, the 7K 60p RAW internal recording. There is a huge list of essential features on this extraordinary camera and we set out into the heatwave currently gripping the UK to see how it all pans out.

 

Canon R6 V Features

First glance and handling of the camera give a strong impression of a well made, solid piece of kit. Construction is mostly Magnesium alloy for the body and chassis, with some use of polycarbonate with glass fibres. This is undeniably solid, yet still weighs in at just 598g, or 668g with battery and CFExpress Type B card. Dimensions are a good, chunky 141.8mm x 83.3mm x 79.7mm that leaves room for a mass of buttons and dials. This is a good thing as it does aid handling.

Any Canon user will be instantly at home with the basic layout, although there are a few variations as a consequence of prioritising video shooting. Most obviously, there is no viewfinder. There is a 7.5cm 1.6M dot TFT LCD touch sensitive screen, fine in lower light and in the studio but less fine in the blazing sun, where it is a struggle to see much at all. The vari-angle screen protrudes further than usual as there has to be room for the cooling fan and its exhaust, an indication that the camera is serious about video shooting.

 

 

Previously, the motorised zoom was the purview of compact cameras, or external devices that simply rotated the zoom ring on the lens. This facility is now built in and supports the PZ capability of the matching Canon 20-50mm f/4L IS USM PZ lens. The zoom lever is a rocker dial that surrounds the shutter release button. The motorised PZ facility can also be operated on the lens itself, alternatively, lenses can be zoomed manually in the usual way.

Let's now summarise the key features of the camera.

 

 

Canon R6 V Key Features

• Full frame
• IBIS up to 7.5 stops centre
• 32.5MP CMOS sensor
• DIGIC X Processor
• Electronic shutter 30s – 1/16,000s
• Electronic shutter up to 40fps
• Dual pixel CMOS AF II -6.5EV to +21EV
• Metering range -3EV to +20EV
• ISO range 50-102,400 (Extended)
• 7.5cm Vari-angle touch sensitive TFT LCD monitor 1.62M dots
• Operation 0C to +40C
• WiFi, 5GHz/2.4GHz
• Bluetooth 5.1
• HDMI Type A
• Multi function shoe
• USB-C
• 3.5mm Mic and headphone sockets 
• Moisture and dust resistance
• 698g with battery and CF Express Type B card
• Battery LP-E6P, approx 640 shots
• 1 SD UHS-II card slot
• 1 CFExpress Type B card slot
• Camera Control App

 

Canon R6 V Handling

Although handling can be a very personal thing, Canon has impressively given us a myriad of options and possibilities to use and control the camera. There is a considerable amount of duplication, where more than one control alters a parameter. This is especially true within the extensive menus, where the top control wheel, the secondary control wheel and the rotary dial around the set button may all be utilised as we prefer. This is all fine as we simply choose the one we want to use. Dials and wheels can be reprogrammed as required and the camera can be set up to the individual photographer with ease. Spending time to set up things optimally will reap rewards in faster and more intuitive operation.

Thus far, that is exactly where we were with the R6 Mark III, but now with much more available. There are 12 dedicated and numbered buttons that, by default, are set to alter various video parameters. However, all of these can be reprogrammed via the camera menus, so it should be possible to have whatever functionality we desire. Add to this the vari-angle screen, active cooling system, extensive video capability and solid engineering and we have a workhorse of a camera indeed.

There are a few considerations, the major one being the lack of a viewfinder. This soon becomes a glaring disadvantage in bright outdoor locations. In bright sun, there is little chance of seeing much on the screen apart from vague shapes. Precise composition is all but impossible. There is no issue indoors or in the studio, with or without the Canon Camera Control App.

Depending on how the user carries the kit, in some circumstances, it is possible for the on/off switch to be nudged. This also applies to the mode dial and the control dial next to it. It does not happen often, but does merit checking before starting to shoot important images.

 

[SECTION]PERFORMANCE[/SECTION]

Canon R6 V Performance

The performance section is where we look at the image quality performance of the camera. Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
 

Canon R6 V Sample Photos Previous Next

 

Lens Performance – The camera was provided with the matching Canon 20-50mm f/4L IS USM PZ lens, and the full review of the lens can be found here. The camera is fully compatible with the new lens and the zoom can be controlled by a rocker switch around the shutter release button. Using this, the camera/lens combination effectively becomes a giant compact camera in terms of style of operation, for stills at least. The zoom can also, with or without motorisation, be adjusted directly using the zoom ring on the lens.

(Below you'll find images demonstrating the aperture range of the lens.)

 

Canon R6 V Lens test images Previous Next

 

Canon R6 V ISO test images Previous Next

 

ISO Performance – Another excellent result, similar to the R6 Mark III. Detail and noise levels are very impressive all the way up to ISO 12800. At ISO 25600, the image noise suddenly increases and the details soften. Results beyond that point are increasingly mushy, the darker boxes of the test target disappearing in a sea of noise. Overall, though, a very impressive performance.

 

Canon R6 V White-balance test images Previous Next

 

White Balance – There are a number of preset options for white balance, and various adjustments can be made to these. AWB has the usual options between white and ambience priority. To this we can add Daylight, Shade, Cloudy, Tungsten light, Fluorescent light, Flash, Custom and four slots for specific colour temperatures. AWB is useful for mixed lighting and general use, but to keep the colours of a scene, the other presets do a great job. Cloudy is very close to the Cloudy or 81A filters we used on film, and this setting warms portraits very attractively. Shade is perfect for those purple-hued woodland shadows and is especially effective for fungus hunting.

 

Canon R6 V Digital filters Previous Next

 

Digital Filters – The R6 V deviates from the R6 Mark III, with a different set of digital filters. It's interesting to see what has been retained and what left out. 

Scene Modes are Portrait, Smooth Skin, Panoramic Shot, Food and Handheld Night Scene. 

Picture Styles are Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome and three User Defined slots.

This is a curtailed list of digital filters, and gone are all the fanciful and exotic variations in styles and colours.

 

Video –  Given that the priority of the R6 V is video, it is no surprise to find an extended set of video options. Initially, the intent is clear as all 12 dedicated buttons are set by default to video features, although all buttons can be reprogrammed via the menus.

• 7K 60p RAW internal recording
• 7K Open Gate
• Oversampled 4K 60p
• Uncropped 4K 120p Slow Motion
• Vertical tripod socket
• Active cooling system
• 4 Channel audio support
• Canon Log2
• Canon Log3
• Formats: RAW, C-RAW, JPEG, HEIF, CRM RAW Video, XF-HEVC S, XF-AVC S

Because of the video priority, there is no viewfinder, relying instead on the 7.5cm 1.62M dot touch sensitive TFT LCD screen.

 

[SECTION]VERDICT[/SECTION]

 

 

Value For Money

The [AMUK]Canon R6 V|Canon+R6+V[/AMUK] is priced at £2399, body only. Add the 20-50mm f/4L IS USM PZ lens and this becomes £3549. The kit price is actually a very good deal, as the lens on its own is priced at £1439. As part of the kit, we are paying just £1150 for the lens.

The [AMUK]Canon R6 Mark III|Canon+R6+Mark+III[/AMUK] has a viewfinder and may be the choice for photographers who cannot manage with just the back screen. This is priced at £2799.

Another option is the [AMUK]Canon EOS C50|Canon+EOS+C50[/AMUK], priced at £3299, and it is in this instance an entry-level camcorder.

The VFM equation falls well for the new camera, but this does depend very much on the requirements of the photographer/videographer/creator/vlogger...

 

Canon R6 V Verdict

The absence of an EVF is one of the major factors that will decide whether or not this camera fits the user. For studio based or even location based video work, with perhaps the use of the Canon Camera Connect App, then the R6 V may be a sound choice for videographers and content creators. The cost is lower than an R6 Mark III, for example, as there is no EVF, but the technical performance under the skin is virtually identical.

For stills photographers, this is less clear, but the current heatwave in the UK does reveal very strongly that the screen is no match for the blazing sun. It can be very difficult to see the subject clearly, never mind checking the details, so that unwanted elements do not intrude on the edge of images. Holding a full frame camera as if it is a compact camera is also less than ideal for many users.

The conclusion is that the R6 V is a camera with a niche of its own, and within that area is a very fine camera that delivers the goods. For a general purpose camera, Canon offers many choices and the R6 Mark III may be a safer bet. Within its own area of expertise, the R6 V is a very strong contender and good, solid VFM. With the anticipated usage in mind, Highly Recommended.

 

Canon R6 V Pros

• Excellent results
• Well thought out control layout
• Impressive ISO performance
• Very fast and responsive AF
• Customisation options
• High quality construction
• Moisture and dust resistance
• Built in PZ lens compatibility
• Camera Control App
• Extensive video capability

 

Canon R6 V Cons

• No viewfinder
• Some controls vulnerable to accidental operation

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4|R_performance=5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=A powerful hybrid camera, aimed primarily at video, content creatives and vloggers but also giving accomplished results for stills.|E_id=8016[/REVIEW_FOOTER]

 

View the Canon R6 V camera specs in the equipment database.

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So after hearing about the Viral Cameras of 2026, there was one that stood out from a familiar, but somewhat tarnished, name in the camera business: the Kodak Charmera. 

While I've opined in the past about what cameras are good for kids, this might be the one: the Goldilocks camera that's perfect for kids.

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In one of my great examples of bad timing, a friend and I headed to southern Utah a few days ago. We were aware of spreading wildfires in the eastern part of the state, but where we were going, SE Utah, things were reported to be good. 

 

My destination was Goblin Valley State Park, a bucket list destination I've always wanted to see. We stayed in nearby Hanksville, a charming Utah city with a population of around 200.

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The popular rule of selling unused gear after six months describes one specific kind of author, and photographers who keep specialized equipment connected to their actual practice are not the kind it had in mind. 

 

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Photographing palm trees on a tropical coastline sounds straightforward until you're actually standing in front of a tangled cluster of trunks, messy sand, and scattered coconuts with no obvious composition in sight. Finding a shot that goes beyond a simple silhouette takes deliberate thinking about separation, foreground interest, and depth. 

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Long before many of the photographers we now refer to as masters of the art of photography, André Kertész was quietly changing what photography could be. Born in Hungary in 1894, Kertész wasn't chasing the spectacle or the drama. He found meaning in ordinary moments such as a shadow stretching across a wall, a lone figure crossing a courtyard, a fork resting on a plate, sunlight pouring through a window. He understood something that still resonates today: that a photograph doesn't need a grand subject to carry emotional impact. 

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If you're jetting off to warmer shores this summer and want to capture a few shots out of your plane's window, here are a few tips to help you ensure your images are good enough for the start of your holiday photo collection. 

1. Don't Get Carried Away With Kit 

Do be considerate of those sitting next to you which means you can't empty all of your kit into your lap from your bag. Turn beeps and other noises off as these will just annoy those around you and don't take photos during takeoff, landing or when electronic equipment isn't allowed to be used. Most smartphones have decent cameras on them now and these are slightly more discreet than a DSLR but do remember to activate airplane mode before takeoff if you do plan on using your phone's camera. 
 

2. Choose Your Seat

The majority of airlines now let you pick your seat so if you really do want to take top shots from your seat, think about your selection carefully as not all seats will give you a clear view. Of course, you'll need to make sure you have a window seat as a stranger won't appreciate you leaning over them. Towards the front or back of the plane will give you the best view but do remember you do get the odd seat that only has half a window as it's in between two seats. Try to avoid sitting directly over the wing too as all you'll be able to take photos of is the wing. Once on board, if you can't position yourself so the window frame isn't in shot, take your photo anyway and just crop it out once you're in front of your computer.
 

3. Be Aware Of Camera Shake & Reflections 

When at zoos, museums or other locations where glass can mean reflections spoil your shots you'd normally put your lens against the glass to prevent this but on a plane, this will just result in shake, caused by the plane's engines, to spoil your shots. Instead, use a lens hood and get as close to the glass as possible without touching it or cup your hand around the lens to shield it. You'll also want to avoid using flash and turn off your overhead light if it's on to minimise the amount of reflection you see on the pane. 

 

 

4. Use Manual Focus

Some windows will be badly scratched which can make focusing tricky. Switching to manual focus can help but sometimes they'll be so badly scratched that anything you take will be slightly fuzzy but you won't know this until you sit in your seat. If you're using a compact, to stop it focusing on the window, set it to infinity focus or switch on the Landscape mode.
 

5. Wait For The Right Angle

Due to the small window and the angle, you'll be sat at it can be tricky to take photos of the ground but if you have your camera ready for when the plane banks you'll be given the perfect opportunity to capture ground shots. 

 

 

6. What To Photograph

Try not to get carried away taking the same shots over and over again, instead look for interesting cloud formations, patterns created by fields, roads etc., sunsets and other planes. The wing, especially if you have a brilliant blue sky behind it, can make an interesting shot, too. 
 

7. Take Your Shots Early In The Flight

If possible, shoot earlier rather than later as condensation and ice tend to build up on plane windows the longer it is in the air. If there's something you want to capture that's closer to your destination consider shooting it on the return journey rather than shooting through a window with condensation. 
 

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

Fujifilm's X system has been a quiet workhorse for serious landscape work for over a decade, and the debate about whether crop sensor cameras can hold their own professionally never really goes away. Andy Mumford's answer, built on 11 years of real-world use across five continents, is worth paying attention to. 

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A beautiful landscape with stone buildings, wrapped up in soft mist, titled “Tuscan Mist” by ePz member Tonyd3, was named POTW this week.

The image captures wonderful light and atmospheric conditions. A gentle glow falls across the rolling hillside, creating a pleasing contrast against the sky above as a low layer of white mist cuts across the golden fields. It is a calm, quiet shot that really shows off the peaceful beauty of the place, making it a great example of landscape photography.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we’ll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards! 

To see more of our POTW winners, visit the POTW Gallery.

Chasing dramatic landscapes and remote destinations is easy to justify when the results look stunning on social media. But Adam Gibbs, who has photographed Antarctica, Patagonia, Iceland, and the Canadian Rockies, has spent years questioning whether spectacular scenery actually produces better photographs. 

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Shooting in summer woodland feels like a compromise before you even start. The light is harsh, the shadows are heavy, and translating a complex three-dimensional forest into a compelling two-dimensional frame is genuinely difficult. 

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