Photography News

 

When buildings are illuminated at night their shapes and features are enhanced in a very different way than by daylight and it's a great time to take photographs. The most challenging thing is getting the exposure and colour balance right, which we'll help with, otherwise, the standard rules of composition apply which we'll cover briefly first.

 

1. Composition - Don't Forget The Basics 

When shooting upwards expect the building to slope inwards at the top, especially when a wide-angle lens is used. Move to a higher position to reduce the distortion or use a special shift lens that's designed to correct perspective but these are expensive and aren't really a sensible option for the casual shooter.

Try to include the whole building by using a wider angle lens or stepping back to a more suitable viewpoint. Choose the position carefully. The same building could be shot head-on, at an angle of, say, 3/4 or by using a telephoto to capture a section with a more graphical feel. Don't forget you can zoom with your feet as well as your lens, too. When it comes to focusing, manual is your best option. 

  2. Exposures

When the sun goes down the light changes in two ways; firstly the exposure time required increases and secondly the colour of the light becomes warmer. Let's first look at the exposure. In low light, the shutter speed that's necessary to ensure a good exposure will usually be too long to avoid camera shake when hand-holding the camera. Using a tripod enables you to shoot at these long exposure times of between 1/15sec and several seconds or even minutes. If you don't have a tripod you can usually find a wall, lamppost or tree to support the camera, which can help considerably. Or you can try switching to a higher ISO as most cameras now cope well in the higher ranges. This means that in low light situations, such as shooting buildings at night, you can take photos with minimal noise or blurring. You'll also want to put your camera's self-timer into action or use a remote release if you have one as even pressing the shutter button can introduce shake that'll leave your with blurry shots. Consider using the Mirror Lock-up function, too which can be accessed via your camera's menu. 
 

3. Metering

Low light can also fool the camera's meter and this happens because it looks at the mass of dark and tries to compensate to make it mid-grey. By doing so, you get an exposure time that is too long for all the illuminated parts of the scene, such as neon lights, street lights or spotlit areas of a building as they become grossly overexposed.

To avoid this, you need to compensate for it. As a guide, use your exposure compensation setting to reduce the exposure by a couple of stops when most of the area is in darkness and by one stop when the building has a medium coverage of illumination.

 

4. Colour Balance

Illuminated buildings offset against a dark sky can look great, but you have to be careful with the colour as there can be a slightly orange or yellow cast created. Buildings illuminated by artificial light can also be problematic, depending on the lighting used in them. Two popular types are Fluorescent and Tungsten. Fluorescent tend to be used inside in offices and Tungsten in spotlights that part illuminates buildings.

With digital cameras, you can preview the image to check the colour balance and if it doesn't look right, just change the white balance setting you're using. Cloudy will warm your shots up while the Tungsten options will give your images a more blue tone. 

  5. Security

Take care when carrying a camera around at night, especially if you're venturing off the beaten track. Keep alert and where possible, take a friend with you.

  6. What To Capture 

Look for tall buildings you can shoot from. From up high you'll be able to shoot skylines as well as focus on single buildings. For something different, try to shoot the same location in daylight and in the evening. You'll soon see how buildings have a very different feel at night. Cropping in on illuminated buildings can make the image more striking and reduce the black from the surrounding, unlit areas. To give streetlights a 'starburst' use a small aperture which will also give you front-to-back sharpness in your shots too. Exposure times will be longer but if you have your tripod, this won't be an issue. If people are still exploring the city you can use them to add more interest to your shots. Get creative with silhouettes against well-lit structures or how about using slightly longer shutter speeds, say 1/2 a second, to blur the movement of people who pass through your shot. Don't increase your exposure times too much if you want to keep the patterns people create passing through your images though as anything above 15 seconds will probably remove them from your image. Bridges can be used to draw the eye through the image to a particular structure or focus your attention on famous buildings and landmarks which are guaranteed to be lit-up at night.

 

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

Canon has filed a patent for a 70-135mm f/2 zoom lens for full frame cameras, an internal-zoom design with a fixed front group that reads like a direct answer to the Sony FE 50-150mm f/2 GM that went on sale last year. The numerical example in the filing runs from 72.10mm to 136.89mm at f/2.05, with an optical length of 211mm from the front surface to the sensor, which puts it in the same physical class as Sony's lens.

 

[Read More]

Apple Reference Image is a camera mode on the iPhone 18 Pro and iPhone 18 Pro Max that signs the captured pixel data inside the sensor, then turns that signed data into a second, cryptographically signed copy of your photo that anyone can verify as authentic and not revoked. You keep shooting the normal photo. The reference image sits beside it in the Photos app as proof of what the sensor actually saw, and a viewer can compare that reference against the version you publish to see where the two differ. 

[Read More]

A female humpback whale gave birth to a stillborn calf about a kilometer off Australia's Gold Coast on July 17, 2025, then kept diving to the seafloor to lie beside it, nudge it with her head and a pectoral fin, and hold eye contact for a minute or more at a time, until the boat watching her left at 10 a.m. A rescue boat captain floating nearby with the engines off recorded it on a handheld GoPro, and the 12 minutes of usable footage are now the first detailed record of a humpback mother attending a stillborn calf.

 

[Read More]

When Canon announced the replacement for the EF 100-400mm f/4.5-5.6L IS USM in November 2014, the change photographers argued about was the disappearance of the sliding zoom collar rather than the optics or the stabilizer. The reason repeated everywhere at launch was that a rotating ring stops dust from being pulled into the barrel. That announcement retired what a lot of photographers still consider the fastest zoom control ever fitted to a camera lens.

 

[Read More]

© Fujifilm

 

Fujifilm has introduced the instax Pal 2, a compact digital camera designed to work seamlessly with the instax printer ecosystem. The upgraded Pal series includes an optical viewfinder and instax Animation mode alongside traditional photo capture, with images transferring via Bluetooth to compatible instax printers and hybrid cameras. Users can choose between instax mini, SQUARE or WIDE instant film formats before adding filters, text and stickers through the camera's built-in interface.

 

From Fujifilm:

 

FUJIFILM Europe GmbH, Imaging Solutions Division, announced the launch of the next generation of its unique, ultra-portable instax Pal™ digital camera series - instax Pal 2™ digital camera (hereafter Pal 2). Pal 2 brings a host of new features to the Pal lineup, like an optical viewfinder and new filters and shooting modes.

"When designing Pal 2, we gathered extensive customer feedback on the original Pal," said Karina Thomsen, Marketing Director, European Consumer Imaging, FUJIFILM Europe, "It's new look is reminiscent of a classic analogue camera, complete with an optical viewfinder, and the ability to send/post images digitally or print images via instax™ smartphone printers or any of our Evo hybrid cameras, Pal 2 puts options in the palm of your hand."  

The dedicated instax Pal™ app lets the user's smartphone act as a remote shutter for hands-free photography. The app also lets users store and transfer their photos via Bluetooth®, while the built-in USB Type-C connector on the camera allows users to connect their smartphone directly to transfer photos into the app. Users can also review their image before transferring via Pal 2's 1.0-inch LCD Screen on the top of the camera.

Users can make their photos personal with any of Pal 2's five filter themes, each with six unique effects. Options also include the ability to switch between instax™ mini, SQUARE, or WIDE instant film and frameless formats before adding filters, text, and stickers. 

Pal 2 includes the instax Animation™ shooting mode – a new way to capture 10 frames and turn them into a playful, flipbook-style animation. Switching modes is quick and intuitive, making it easy to move from still images to animations. To print, users can choose their favourite shot and transfer it directly to any compatible, connected instax™ smartphone printer or hybrid instant camera (sold separately).

 

© Fujifilm

 

Key Features Recap:

• Portable digital camera
• Palm-sized design
• Pal 2 does not print photos - users can print images using instax™ Link series smartphone printers, instax mini LiPlay™ or instax mini Evo™ devices (sold separately). Free smartphone download of the app relating to the applicable instax™ device required. instax™ instant film required for image printing (sold separately). Prints photos in instax™ mini, SQUARE or WIDE formats. 
• Authentic Optical Viewfinder 
• 1.0-inch LCD Screen 
• Capture photos at up to 10 megapixels
• Camera Angle Adjustment Accessory included 
• Five filter themes, each with six unique effects 
• Download of the free instax Pal™ app required for use 
• Holds up to 100 photos at a time before required transfer to free, downloadable instax Pal™ app 
• instax Animation™ shooting mode 
• Wireless Bluetooth® 5.1 smartphone connectivity 
• Built-in USB Type-C connector
• Accepts microSD Card (not included) 
• Includes USB Type-C Cable, Hand Strap, Camera Angle Adjustment Accessory and 1-Year Limited Warranty 

 

© Fujifilm

Pricing and Availability

The instax Pal 2™ digital camera is expected to be available late September 2026 at a Manufacturer's Suggested Retail Price of £149.99. Pal 2 will be available in sleek Black or stylish White colour options.  

The instax Pal 2™ digital camera will be available for purchase from the following retailers: 

• FUJIFILM House of Photography
• FUJIFILM eShop
• MyFUJIFILM
• PHOTO by Fujifilm at Primark Birmingham and Manchester
• Amazon
• Currys
• Jessops
• London Camera Exchange

For more information, please visit https://instax.co.uk/instax-pal-2/

© Fujifilm

 

Fujifilm has unveiled the instax Link WIDE 2™ smartphone printer, introducing exciting new ways to print and personalize wide-format photos. Upgrading from its popular predecessor, the new printer features an intuitive Photo Mixer™ for quick collages and scannable QR code integration to embed links, audio, and locations. Read the full release below for complete details on features, pricing, and availability.

 

From Fujifilm:

 

FUJIFILM Europe GmbH, Imaging Solutions Division, announced the launch of the next generation of its WIDE-format smartphone printer - the instax Link WIDE 2™ smartphone printer (hereafter Link WIDE 2). Building on the popularity and success of the original instax Link WIDE™ smartphone printer that debuted in 2021, Link WIDE 2 brings a variety of new, interactive features to fans of instax™ WIDE instant photography.

"Our instax™ WIDE products are always highly sought after by a very dedicated fan base within the instax™ ecosystem," said Karina Thomsen, Marketing Director, European Consumer Imaging, FUJIFILM Europe, "We listened to what our WIDE fans wanted, and what we heard most often and resoundingly was them asking when a new WIDE printer was coming out. Link WIDE 2's new features are designed to make each image distinctly personalised through the accompanying instax Link WIDE™ app. We're excited to see how our WIDE fans get creative with this cool new printer and app." 

A key new feature of Link WIDE 2 is its Photo Mixer™ app feature. Users can pick favourite images from their smartphone's camera roll and with a touch of the "Mix it" button, the app will generate a selection of collage-style layouts to choose from. Users can remix up to five times, then fine-tune with custom edits before quickly printing instax™ WIDE photos or sharing online.

Also, within the instax Link WIDE™ app, users can access a multitude of expressive frames, filters, emojis, colour modes, and text to customise their instax™ photo prints before printing or sharing them. Users can further personalise their images with over 1,600 in-app stickers.

In the app, users can add smartphone-scannable QR codes[1] to their instax™ WIDE photos to share links, locations, hidden messages, or even sound clips related to their images. 

 

© Fujifilm

 

Key Features Recap:

• For use with instax™ WIDE instant film (sold separately) 
• Prints instax™ WIDE photos (approximately 86mm x 106mm) 
• Download of the free instax Link WIDE™ app required 
• Wireless Bluetooth® 5.1 smartphone connectivity - print directly from the instax Pal™ or FUJIFILM X-T30 III digital cameras 
• Intuitive postcard-style collages via the Photo Mixer™ app feature 
• Print still images from video using the instax Link WIDE™ app 
• Use QR Print Mode to add URLs, sounds, locations, and messages 
• Add expressive frames, stickers, emojis, and text 
• Two distinct colour modes: instax-Rich Mode™ or instax-Natural Mode™ 
• USB-Type C port for easy charging 
• Includes USB Type-C Cable, Quick Start Guide and 1-Year Limited Warranty 

 

Pricing and Availability

The instax Link WIDE 2™ smartphone printer is expected to be available late September 2026 at a Manufacturer's Suggested Retail Price of £149.99 (including VAT). Link WIDE 2 will be available in two colours, Duo Beige or Duo Blue.

The instax Link WIDE 2™ smartphone printer will be available for purchase from the following retailers: 

• FUJIFILM House of Photography
• FUJIFILM eShop
• MyFUJIFILM
• PHOTO by Fujifilm at Primark Birmingham and Manchester
• Amazon
• Currys
• Jessops
• London Camera Exchange

For more information, please visit https://instax.co.uk/printers/link-wide-2/

 

[1] QR Print 'Record sound' and 'Hidden message' data are securely stored for up to two years

Pelican has long been a name associated with gear transport and protection. I personally remember customizing their foam inserts to fit my camera gear and lenses as I transported them in their hard cases across the country and the world. I honestly never really looked to Pelican for anything other than their hard cases, but I have learned they actually offer a number of different camera bags and accessories. One of these camera bag series is called Aegis, and to help promote it, Pelican leadership decided to do something they'd never done before: launch a major TV ad campaign. 

[Read More]

The Fujifilm X100VI carries a fixed 23mm lens, a leaf shutter, and a 40-megapixel sensor in a body small enough to live in your hand all day. Deciding whether that fixed-lens design suits how you shoot comes down to a single tradeoff most buyers wrestle with.

 

[Read More]

Adobe hid a color-grading tool inside Camera Raw that reads skin tones with real accuracy, and most people editing portraits have no idea it exists. The vectorscope lives in Camera Raw 18.4 and newer, it's not in Lightroom or Lightroom Classic, and even inside Camera Raw you have to dig to find it.

 

[Read More]

Sony's new a7R VI packs a 66.8-megapixel sensor and lands $3,000 cheaper than the flagship a1 II, which forces an awkward question for anyone weighing a hybrid body. When a camera two-thirds the price does most of what your top-tier setup does, the math starts to sting.

 

[Read More]

Adobe has announced Photoshop Elements 2027, with tools designed to make photo editing easier without requiring users to learn a complicated interface. As you might expect, the new additions are AI-powered and designed to speed up your workflow and help you organize your archive.

  

[Read More]

A dark, high-ISO frame with a heavy blue color cast doesn't look like much on the back of the camera. With the right sequence of adjustments, that same file can carry a warm beam of light streaming down onto the subject, and all of it happens inside Lightroom.

 

[Read More]

NASA astronaut Jessica Meir photographed an aurora glowing green and purple over Kyrgyzstan on September 7, shooting from the International Space Station at an altitude of 255 miles with a Nikon Z9 at a 15mm focal length. The frame catches the green band riding the curve of the atmosphere, purple rays climbing above it, and the lights of Central Asian cities scattered across the dark below.

 

[Read More]

 

When using a tripod on terrain that is rocky, uneven, or hilly, there are a few things that you can do to make sure your tripod is as stable as it can be. Some of these tips may seem like common sense, but they will hopefully help prevent any accidents such as your camera taking a plunge in a river!

 

1. Weight And Load

Before you venture out make sure you're using a tripod that can support the weight of your gear. Also, if you're buying a new tripod and are planning on getting larger heavier lenses in the future do take this into consideration when making your purchase. Look for a light tripod rated for the highest weight as you'll soon notice the weight of your tripod once you're halfway up a wet, uneven hillside. 

 

2. Assess Your Environment

It's always better to be safe than sorry, so make sure that the area is stable enough to stand your tripod on before setting up. If you're working on very rocky terrain or near the edge of a big drop, make sure the tripod is not liable to slip.

It can also take a while to set your tripod up so it's always a good idea to find your location and have some ideas about composition before putting your camera on its support. 

 

3. Legs Before Column

When setting up, extend the legs before extending the centre column. Extending just the centre column is one quick operation and you are ready to shoot, but it is not good technique and can leave you with an unstable base to work with.

 

 

4. Adjust The Legs

Extend the fattest leg section first and keep the thin, spindly legs till last for when you really need the height. Having a wider base to work with is always a wise decision as they are more stable. Many tripods now offer various angle settings that lock at different degrees.

 

5. Ensure Your Tripod Is Level

Many tripods and tripod heads have built-in spirit levels to help you keep the tripod level. If your tripod hasn't, buy a spirit level to fit onto the camera's accessory shoe.

 

6. Position Of Your Tripod's Legs

Point one of the legs towards your subject so you have room for your feet between the two other legs. This will mean you have one less thing you have to worry about falling over when working on tricky terrain. 

 

 

7. What Feet Does Your Tripod Have?

Most tripods have rubber feet which absorb shock and offer good grip, but some do have spiked feet. Spiked feet can be bought as optional accessories or sometimes you can get both types in one. They're particularly useful for outdoor photographers as most of the time you'll end up working on loose soil, dirt, and other surfaces that will be uneven. 

8. Keep It Stable On Windy Days

Some tripods have a hook which you can feature a centre column hook, you can hang a bag of stones or other weighty objects off it to balance the tripod. Another option is to take a heavy camera bag and wrap the strap(s) around the tripod's head to add extra weight. For lighter tripods, use your body as a shield from the wind. Sticking spiked feet into the ground will also help keep the tripod still, they're particularly useful when working at the coast to stop waves knocking your gear into the sea. 

Another option is to use a piece of string or some nylon webbing can add extra stability. Tie one end to the centre column and have the other tied in a loop. Next time in a strong wind, have the string/webbing hanging down and slip your shoe into it and lean down. Your body weight will give extra stability.

   

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

Canon has announced the EOS R8 Mark II, a 24.2-megapixel full frame mirrorless camera that adds 5-axis in-body image stabilization while retaining up to 40 fps electronic-shutter shooting. The camera is expected to ship in late October for an estimated $1,899 body-only price. 

[Read More]

Today, Canon announced a new full frame body added to the EOS lineup, the Canon EOS R8 Mark II camera. And I got my hands on one for an early look. 

I’ve written so many reviews and/or news pieces for Fstoppers over the years that, generally speaking, whenever a brand comes out with a new camera, I feel like I pretty much know all there is to know before ever even picking it up. But I do have blind spots, and I’ll admit that I was never fully versed on the original Canon EOS R8 and where it sat in the Canon ecosystem.

[Read More]

In late 2014, a lot of 31 undeveloped film rolls that had turned up at an auction in Ohio made its way to a photographer in Boise, Idaho named Levi Bettwieser, who started processing them one at a time. What rose up in the developer was a young American soldier's private record of World War II, shot on rolls that had sat exposed but unprocessed for roughly 70 years. Someone loaded those cameras, pressed the shutter, and then, for reasons no one will ever know, never got the film developed.

 

[Read More]

Does the REEL Paper 8 from Vintage Visual really let you make prints up to 12x16 inches from virtually anywhere? I took this unassuming photographic tool into the heart of the Nantahala National Forest to find out.  

I suppose life is full of “what ifs” and “could’ve beens.” 

In the autumn of 2022 I converted my vehicle into a camper and sold my house to see what photographs waited for me out on the open highway.

[Read More]

Sigma just put a 20-60mm zoom against a rattlesnake at sunrise in the Sonoran Desert, and the lens walked away as the star. A 20mm wide end, a variable f/2.8-4 aperture, and a body compact enough to forget on a hot desert climb make this a different kind of everyday zoom.

 

[Read More]