Photography News

Blend modes sit in a dropdown at the top of the Layers panel in Photoshop, and a lot of people choose one by scrolling until something looks right. Once you know what each mode does to light pixels, dark pixels, and everything in between, that guessing becomes a choice you can repeat on sky replacements, retouching, textures, and composites.

 

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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.

© 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.

 

London Camera Exchange (LCE) has opened entries for its Photographer of the Year 2027 competition, inviting photographers of all skill levels to compete for a share of a £10,000 prize fund across 14 categories. Free to enter, the competition offers opportunities for photographers to gain national recognition, with winning and shortlisted images showcased at The Photography & Video Show 2027 at ExCeL London. Entries are open until midnight on 20 January 2027.

 

From London Camera Exchange:

 

• London Camera Exchange annual photography competition returns with £10,000 prize fund – now open for submissions
• Quick, easy and free to enter for photographers of all levels and experience
• 14 diverse categories from Landscape and Street to Wildlife, Portrait and Travel, plus publicly voted ‘People’s Choice’ and ‘Emerging Talent’ for photography students
• Exhibition and awards presentation at The Photography & Video Show at ExCeL London, with winning and shortlisted works featured in a special commemorative book

 

London Camera Exchange is calling for entries to its LCE Photographer of the Year 2027 contest, inviting photographers to showcase their creativity and compete for a share of a £10,000 prize fund and gain national recognition for their work.

Now established as a major platform for photographic talent – and celebrating creativity, skill and inspiration – LCE Photographer of the Year is free to enter and open to photographers of all experience levels, aged 18 and over. Images can be taken anywhere in the world.

Entries open on 12 October 2026 and close at midnight on 20 January 2027. Photographers can submit a maximum of one image per category, with 14 categories offering opportunities to depict everything from dramatic action and landscapes to wildlife, portraits, creative scenes and everyday events. Participants can submit their images in-store at any of LCE’s 26 retail shops around the UK, or online at https://poty.lcegroup.co.uk/.

Lee Harasyn, managing director of LCE, commented, “London Camera Exchange is celebrating its 70th anniversary in 2026, so we are aiming for this year’s competition to be our biggest and best yet. LCE Photographer of the Year has developed into an exciting platform for photographers to showcase their talent and compete for major prizes. With a £10,000 prize fund, 14 categories and an exceptional panel of judges, there are more opportunities than ever for photographers to achieve recognition for their shots.”

Following the success of the Emerging Talent category in previous years, photography students studying in the UK are again eligible in this dedicated section, with the winner receiving £500 worth of LCE vouchers and an additional £500 awarded to their photography department, university or other place of study.

The popular ‘People’s Choice’ category will also return, giving photographers the chance to put their images directly in front of the public and encourage friends, family and fellow photography enthusiasts to vote for their work. The image receiving the most eligible votes will become the People’s Choice winner.

The competition offers a substantial prize for every category winner, with each of the 14 category champions receiving £500 worth of LCE vouchers and a trophy. The overall LCE Photographer of the Year will be presented with an additional £2,500 worth of LCE vouchers, while the Emerging Talent winner’s place of study will receive a further £500.

 

2026 overall winning image, ‘Fish Eyes’ by Sophia Spurgin

 

Finalists will be invited to the LCE Photographer of the Year awards ceremony at The Photography & Video Show 2027, taking place at ExCeL London from 13 to 16 March 2027. All the finalists’ images will be displayed at a high-profile exhibition in the show entrance.

A selection of shortlisted entries will also be included in a stunning LCE Photographer of the Year special edition commemorative book, with a complimentary copy provided to featured entrants. The winning images will be announced at the awards ceremony, and via London Camera Exchange’s social channels and national and specialist media, delivering further opportunities for photographers to share their work with new audiences.

The 2027 competition will be judged by four distinguished photography experts: Angela Nicholson, founder of SheClicks, Chris George, content director of Digital Camera World and Creative Bloq, award-winning professional portrait and travel documentary photographer Jimmy Cheng and internationally acclaimed street photographer Peter Dench.

Lee Harasyn continued, "We want LCE Photographer of the Year to celebrate photography in all its forms. From emerging photographers developing their style to experienced professionals, we’re looking forward to seeing the creativity, originality and different perspectives that photographers bring to this year’s competition.

"Being able to honour the winners at The Photography & Video Show at ExCeL London makes the 2027 competition particularly exciting. We can’t wait to discover the images that will make this year’s shortlist and share them with photography audiences across the UK and beyond."

Images can be captured using any device capable of producing a digital image of sufficient quality and resolution for entry, including cameras, drones, smartphones, tablets and other digital imaging devices. Images must be the entrant’s own work and AI-generated imagery is not permitted. The judges will assess shortlisted images based on composition, lighting, subject matter and technical skill, with photographs judged anonymously. The overall winner will be selected by the judging panel from the 14 category winners.

 

Categories:

• Action
• After Dark
• Birds
• Creative
• Emerging Talent
• Events
• Landscape
• Macro
• People’s Choice
• Pets
• Portrait
• Street
• Travel
• Wildlife

 

The competition is generously backed by major photo industry brands including headline sponsors Canon, Fujifilm and OM System, as well as partners Nikon and Sony, and affiliates Cewe, Lexar and Sigma.

LCE Photographer of the Year 2027 is open to photographers worldwide, although prizes are limited to photographers who are resident in the UK. No purchase is necessary to enter or win. LCE Photographer of the Year is free to enter and attend.

 

LCE Photographer of the Year 2027 key dates

• Entries open: 12 October 2026
• Entries close: Midnight, 20 January 2027
• The Photography & Video Show 2027: 13 to 16 March 2027, ExCeL London
• Awards ceremony: Timings to be confirmed and communicated to shortlisted entrants.

 

For more information and please visit the LCE Photographer of the Year website.

Fujifilm, a company that spent most of a century making film, looked at the tidy checkerboard of color filters printed onto every digital sensor and decided the tidiness was the enemy. Its answer was a scrambled 6 by 6 grid of red, green, and blue inspired by the random clumping of film grain, and once that grid was in place the company deleted the one component almost every rival still trusted to keep pictures clean. The X-Trans sensor has been dividing photographers ever since.

 

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How do you photograph something like this? Two enormous radio telescopes, the Milky Way rising between them, and a foreground that actually has detail instead of disappearing into blackness. The answer involves a little planning, some tricks to reduce noise, a way to light the radio telescopes, and access to one of the most extraordinary locations in California. Here's how I did it.

 

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Photoshop's new Relight feature lets you move the light falling on a subject after the shot is already taken, a job that used to mean hours of dodging, burning, and hand-painted highlights. If you build composites or shoot people and products in flat light, a tool that reshapes direction and warmth in a few clicks could shift how much you fix in post versus on set.

 

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Long telephoto lenses have always made you choose between reach, weight, and money, and wildlife shooting tends to punish whichever one you skimp on. Fujifilm's new XF 400mm f/4.5 R LM OIS WR gives X-mount shooters a 600mm-equivalent prime that tries to ease the first two compromises at once.

 

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Sony's 24-50mm f/2.8 G is a compact fast standard zoom for full frame Sony bodies, and the Thypoch Voyager 24-50mm f/2.8 goes straight after it with autofocus, an internal zoom, and a much lower price. If you build a compact kit for stills and video, a cheaper lens that keeps pace with Sony's own glass changes how you split your budget between body and lens.

 

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The TTArtisan AF 24mm f/3.8 is a $99 autofocus pancake that covers a full frame sensor and weighs under 60 g. If you've ever left your camera at home because it felt like too much to carry, a lens this thin shifts that math in a real way.

 

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Tamron has announced the 16-50mm f/2.8 A, a constant f/2.8 standard zoom for APS-C mirrorless cameras that starts at 16mm and goes on sale October 29 for Sony E at $529 and Canon RF at $549, with Nikon Z and Fujifilm X versions following later in the year.

 

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After summer ends and the chips, candy floss and plastic buckets have long left the seafront, the British seaside resort morphs into a place that's desolated and full of photographic potential. 

 

1. Gear Suggestions

A zoom lens will give you the flexibility of both wide and telephoto options in one lens which is good news for the photographer who doesn't want to be carrying too much kit on their seaside walk. Plus, you don't really want to be changing lenses when there's a strong breeze blowing sand and salt which could damage your equipment. A tripod will help you steady your camera while the strong coastal breeze blows around you.

  2. Be Prepared

A bonus with this time of year is that parking's a doddle and accommodation should be cheaper if you're planning a full weekend of photography. 

Don't forget to check the all-important weather forecast and make sure you note down what time the tide will be on its way back in. If you don't,  you could find yourself paddling through saltwater with your camera gear if you do head for the beach. 

 

3. Light And Feel

Low-angled light will give colourful beach huts more punch while a bright blue sky dotted with white clouds will add a bit of life to what can be drab looking shops and piers. 

If you find that Mother Nature has realised you're at the coast and as a result predictably turns the sky grey don't be too down-hearted as a storm brewing over the sea will always look good. To give the sky more detail fit an ND filter to your lens but if it's still too dull and flat, shoot the scene anyway and try converting it to mono when you're back in front of your computer. If all else fails, there's always the option to shoot some macro detail of nets, ropes and wet pebbles on the beach. Just remember to fill the frame to give your shots more impact. 

 

  4. Photograph People

The ice-cream seller may be long gone but you will get the odd resident, brave surfer and fishermen still walking around the empty seaside towns. Even though it's always polite to ask before you take your shot, sometimes candids, where you snap a couple of shots without them knowing you're doing so, do work better. Many people won't mind you taking their photograph if you ask politely enough though so don't be afraid to approach someone with your camera and a pleasant smile. Try getting in close if they have a strong face that will make a good character portrait then stand back to give the shot more context. This can work well with a lonely surfer stood on a damp, deserted beach or with a café owner clearing tables in an empty shop. 

5. Life's A Beach

The pier is a photographic opportunity not to be missed at this time of year as you won't have tourists walking into your shot and morning fog can be found circling the supports, making them an eerie photographic opportunity. Go wide, shooting from the beach if possible or shoot from the top, using the pier as a leading line into your image.

 

Godox has introduced the A2, a compact xenon flash designed to give smartphone photographers greater control over lighting. It combines a dedicated flash, bi-color LED, magnetic accessories, and Bluetooth wireless control through the Godox Camera app.

 

Xenon Flash and Exposure Control

The A2 delivers a guide number of approximately 15 (GN15, ISO 100, meters) and supports TTL automatic and manual flash modes. High-speed sync reaches up to 1/8000 second, allowing users to balance flash with ambient light in bright conditions.

Godox specifies approximately 400 full-power flashes per charge, with a recycle time of around two seconds at full power. For best results, the company recommends keeping the flash within 2 meters of the subject.

 

 

Bi-Color LED and App Control

The bi-color LED provides continuous lighting for video and photography, with color temperatures adjustable from 2800K to 6000K through the app and brightness from 1% to 100%. Godox lists CRI and TLCI ratings of 96 or higher.

The Godox Camera app offers Natural, Even, and Contrast flash effects in Auto mode, along with manual adjustments. Bluetooth supports wireless control up to 15 meters, while NFC-assisted setup simplifies pairing.

 

 

Magnetic Mounting and Accessories

The A2 features a dual-sided magnetic design for flexible mounting. Optional accessories include a honeycomb grid, barndoors, a snoot, and a full CTO filter for warming the light. Godox recommends using the flash off-camera when working with light-shaping accessories.

A separate smartphone wireless flash trigger for compatible Godox speedlights and outdoor flashes is listed as upcoming and will be sold separately.

 

 

Godox A2 Specifications

• Product type: Smartphone xenon flash
• Guide number: Approx. GN15 at ISO 100, meters
• Flash modes: TTL and manual
• Flash output: 1/128 to full power, in 1/3-stop increments
• High-speed sync: Up to 1/8000 second
• Full-power flashes: Approx. 400
• Recycle time: Approx. 2 seconds at full power
• LED color temperature: 2800K to 6000K
• LED brightness: 1% to 100%
• CRI/TLCI: 96 or higher
• LED power: Approx. 3W continuous, 18W burst
• Wireless range: Up to 15 meters
• Battery: 7.7V, 500mAh
• Charging: USB-C, 5V/2A; approx. one hour
• Dimensions: 63.8 mm diameter × 25.8 mm
• Weight: Approx. 93g
• Colors: Four options

 

For more information, please visit the official Godox A2 product page.

Walk into a department store in Tokyo and you can buy an anti-aging skin cream made by a camera company. It is called Astalift, and the collagen and antioxidant science inside the bottle came straight out of the labs that once kept your photographic prints from yellowing. That cream is one of the reasons Fujifilm is still here and Kodak, the company that arguably invented the whole modern imaging world, spent 2012 in bankruptcy court.

 

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Today is the last day you can get access to some of the best educational content in photography this year. Yes, it comes with a price tag but the value is pretty insane. 

 

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Woodland photography is something I have always found difficult. I am primarily a seascape photographer, and while I photograph other types of landscapes, the coast is where I feel most comfortable. When I arrive at a coastal location, I can usually start looking for the elements that might make up the photograph. A rock, a headland, a section of coastline, a wave, or perhaps the way the light is falling across the scene. There is normally something that immediately starts to draw my attention.

Woodland is different. 

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A 17-inch pigment printer with a dozen inks looks like a sure path to better prints, and a modest ink tank model can feel like settling. Choosing between them affects your running costs, how often you print, and which papers you can use.

 

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One softbox can produce a dozen very different portraits, yet most people set it up at the textbook angle and leave it there. The distance between a correctly lit face and an interesting one usually comes down to small moves with a light you already own.

 

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Panasonic's Lumix S 20mm f/2.5 is a small, light, $498 ultra-wide prime for L-mount full frame bodies, and it sits at a focal length plenty of people treat as their everyday wide. At that price and size, the open question is how much optical quality Panasonic had to give up to keep the lens this compact.

 

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California's AB 723 put real estate photo editing under state law, and similar restrictions are now showing up in other states and in MLS guidelines across the country. If you shoot listings, the difference between a harmless cleanup and an edit that needs a disclosure, or one that isn't allowed at all, now has real consequences for you and your clients.

 

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