Photography News

One issue in the photography community has always lingered, and only tenured photographers seem to grasp it: exposure is a decision, not a setting.

 

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You keep taking pictures of anything that catches your eye, and back home they look off without any obvious reason why. Crowds pile up, harsh sun bites, and the frame reads as noise instead of a subject.

 

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I love Nikon cameras. I've been using them since I bought a secondhand EL2 in 1984. I've owned more Nikon cameras than I care to remember, and just last month, I acquired an F from 1972. So this isn't an anti-Nikon article, nor am I arguing that Nikon makes bad cameras. Quite the opposite. I’m a bit of a fanboy, if I’m completely honest.

 

Nikon makes some of the best cameras in the world. But there’s something that has been bothering me for a while: I think Nikon has forgotten about the photographer.

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Henri Cartier-Bresson's "decisive moment" shaped how you think about photography more than almost any other idea, yet plenty of newer shooters read it backward. That misreading quietly stunts a skill that separates strong photographers from average ones: knowing how to pick the right image out of a pile.

 

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Adobe Camera Raw now handles a full retouching workflow, blemish removal included, without pushing you into layers and manual cloning. The new one-click Remove tool runs on AI, finds imperfections you might miss on your own, and gives you sliders to pull the effect back instead of forcing an all-or-nothing result.

 

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At $168, the Viltrox AF 20mm f/2.8 Air is likely one of the cheapest full-frame 20mm autofocus lenses on the market. L-mount shooters now have it as an option, part of a batch of four affordable Viltrox primes arriving for the system this week.

 

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Nikon built a full frame camera without a viewfinder, added automatic scene modes for the first time on a full frame body, and aimed the whole thing squarely at people leaving their phones behind. The Nikon Z5IIC strips away features many shooters assume are essential, and the result raises a real question about how much camera you actually need.

 

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Nikon has announced the Z5IIC, a smaller, viewfinder-less version of its Z5II full frame mirrorless camera built around the rear screen, available for preorder now at $1,399.95 body only and shipping in mid-October.

 

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Markets are full of photographic opportunities thanks to the colourful array of products and people that pass through them. However, they can also be a little daunting, especially in foreign locations but if you remember a few simple steps, you shouldn't have too many problems. These include asking to take close-up portraits, not getting in the way of those running a business and the most important but simple step: be polite.

 

1. Lenses for photographing candid market images

Wide lenses will give you the opportunity to capture stallholders and customers in their environment while a longer lens can be useful if you'd prefer to shoot more candidly. Consider a telephoto zoom for more flexibility.

2. Flash can make photos look less natural

Try to avoid flash as not only can it be distracting, it can also spoil the atmosphere you're trying to capture. As indoor markets tend to be low on light this can mean working with higher ISOs but most DSLRs cope with this fine so you can still capture great low light imagery.

Leave the tripod at home as the legs will just get in the way of other visitors. If you find you really do need a support, find a flat, solid surface you can rest your camera on. It's also worth keeping an eye on your white balance as some indoor lighting can leave a coloured tint in your shots. 

 

 

3. Interact with people to gain their trust

Capturing portraits of people at work or shots of those visiting the market, buying goods, is the best approach to take. Shooting candidly is fine but for portraits with impact, take the time to ask the stallholders if you can take some shots of them up close. If language is a barrier, try smiling and pointing to your camera as this will often get the message across. Always thank your subject and take the time to show them the result. It'll also help if you can learn how to say 'hello', 'please' and 'thank you' in the language of the country you're visiting, if venturing away from home. 

If someone looks uncomfortable because you're taking their photograph make sure you stop and walk away and always read up on what's acceptable and what isn't and respect the views/practices of the country you're visiting.
 

4. Capture as much as you can

Remember to shoot lots and often as lots can happen in a market. Switching to continuous shooting mode can help, but it's not essential, you could also try shooting from the hip if you don't want to draw as much attention to yourself. 
 
When you do have the opportunity to work more closely, try a slightly tighter framing to see what results are produced. If you have particularly large stalls to deal with that have lots of produce between you and the seller this could mean using the power of a zoom lens to pull them to you rather than you moving your feet. 

If you're making a special trip to a particular market do remember to check:

• Opening times
• Busy times
• Restocking times (so that you're not in the way)

The short side of a full frame sensor is a silent-movie measurement. Cinema's full aperture ran about 24.89mm across the strip, from one row of perforations to the other, and when Oskar Barnack turned that film on its side in a workshop at Ernst Leitz in Wetzlar, that number became the height of a still photograph. The 36mm long side is two movie frames laid end to end with a millimeter or so shaved off.

 

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The Fujifilm XF400mm f/4.5 R LM OIS WR on the X-H2S is a great combination for nature photography. The lens is richly featured including focus recall buttons, an image stabiliser with 5.5 stops benefits and a fluorine-coated front lens element.

 

Shoot nature and you’re often dealing with the very distant which means a powerful telephoto lens is essential if you want subjects to be a decent size in the frame. That sounds straightforward but typical long telephoto lenses are big and bulky, and if you want a fast maximum aperture, they are prohibitively expensive too. All in all, telephoto lenses for nature are a challenge.

Occasionally, along comes a lens that rewrites the rules and here’s one such lens from Fujifilm for its X Series camera system. The new Fujifilm XF400mm f/4.5 R LM OIS WR delivers a field of view equivalent to 609mm long telephoto in the 35mm format, and it does so in a remarkably portable package. It measures just 239.5mm and tips the scales at 1245g.

I got the opportunity to try out the new telephoto, shooting on the 26-megapixel Fujifilm X-H2S, a camera that weighs 660g, so the combination is a little under 2kg.

 

The Fujifilm X-H2S with the XF400mm f/4.5 R LM OIS WR weighs under 2kg, so ideal for location photography and it’s light enough for successful handheld shooting when shutter speeds drop.

 

Fujifilm XF400mm f/4.5 R LM OIS WR: Setting up

Before striking out with the Fujifilm XF400mm f/4.5 R LM OIS WR, I tried photographing visiting birds in the garden. It was the ideal situation to get a feel of the lens’ handling and the best set-up. 

For long lens shooting, the logical exposure mode is shutter-priority AE, so I set that in tandem with auto ISO set with a 400-3200 working range. The lens has an impressively fast maximum aperture, but when the light drops and you’re shooting at 1/1000 sec and above to stop the action, you need all the ISO you can get. Besides, the high ISO performance of the Fujifilm’s X-Trans CMOS 5 sensors is tried and tested, so I know there’s no problem getting great quality shots at ISO 3200 and even beyond. 

 

In the garden, I managed to capture a fleeting visit from a great spotted woodpecker. It stayed for three or four seconds, and it was off, but it’s always a treat to see this lovely bird especially as we live in the city. Image: Will Cheung. Fujifilm X-H2S with XF400mm f/4.5 R LM OIS WR. 1/500 sec f/4.5 ISO 1250.

 

Capturing birds in flight is easier if you can track them from afar. Here, though, I turned round and saw the heron, so I just lifted the camera to eye and squeezed off a few frames but didn’t expect them to be sharp. This was the first shot in the sequence and it’s lovely and sharp, and it’s large in the frame. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/2000 sec f/4.5 ISO 800.

 

The XF400mm f/4.5 R LM OIS WR has a minimum focus of 2.75m and this jackdaw moved in so close to me I had to lean back to keep the bird’s eye in sharp focus. The lovely fine detail around the bird’s beak is critically sharp. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/2000 sec f/4.5 ISO 500

 

I tried the AF system set to the 5x5 zone and Wide/Tracking, and both worked well with bird subject detect and continuous AF for larger birds such as ring-necked parakeets but was responsive and sensitive enough for smaller birds such as blue tits too.

To keep pace with the action, I set 15fps continuous drive but with the electronic shutter engaged and a CF Express Type B loaded, I had the headroom for shooting up to 40fps if required. 

With the initial set-up completed, it was off to Bushy Park with the Fujifilm X-H2S, the XF400mm f/4.5 R LM OIS WR and a spare battery.

 

Herons are a common sight in Bushy Park and the XF400mm f/4.5 R LM OIS WR was perfect for this tightly framed bird portrait, and the background is nicely blurred even at f/8. The detail in the bird’s head and feathers is exceptional. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/1000 sec f/8 ISO 400.

 

Fujifilm XF400mm f/4.5 R LM OIS WR: on location

For my day out, the weather conditions were good with the sun making regular appearances and little wind. Bushy Park yielded its usual wide variety of subjects from insects and birds to mammals including deer. It was very early on in the deer rutting season and having such a long lens available meant I could shoot from a very safe distance.

 

With so much focal length available with the XF400mm f/4.5 R LM OIS WR, larger nature subjects such as this fallow deer buck can mean a tight crop or you have to take a few steps back if you want the entire creature in the frame. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/800 sec f/5 ISO 400.

 

On location, the combination’s portability was a serious benefit. Walking around with the Fujifilm outfit that weighs under 2kg made life so much more comfortable compared with my usual long lens kit. The park is mostly flat and it’s easy walking, but you have to cover a good distance to find subjects.

There were also handling benefits. When I shoot street, I like to have the camera in my right hand, forefinger resting on the on/off collar and when I see a potential shot, I can bring the camera up to the eye, switching it on as I do so, and shoot. Of course, for street shooting I’d be using a wide-angle or standard focal length, not an extreme telephoto. However, the Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR combination is lightweight enough to let me adopt the same approach which greatly increases the chances of getting the shot. 

I’m not saying I could work like this for hours at a time and of course you can do this with other camera/long lens pairings, but this Fujifilm duo was light enough not to be uncomfortable or too much of a strain.

 

I was carrying the XF400mm f/4.5 R LM OIS WR on the X-H2S in my right hand ready to shoot. When I spotted the robin, I turned the camera on and lifted it to my eye in one smooth action and got the picture before it flew off. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/500 sec f/4.5 ISO 2500.

 

Also, for nature shooting with long lenses, I usually have a monopod on hand so when it gets darker and shutter speeds drop, I can shoot without suffering from camera shake. For this practical look at the XF400mm f/4.5 R LM OIS WR, I left the monopod in the car and relied on the lens’ Optical Image Stabiliser (OIS) together which claims a 5.5-stop benefit.

With a grey squirrel on a tree trunk, light levels were relatively low but shooting at 1/100 sec was no problem in terms of camera shake; the creature was eating, so I did get some subject movement.

 

The XF400 f/4.5 R LM OIS WR’s minimum focusing distance of 2.75m is perfect for nature subjects that aren’t backward in coming forward, such as grey squirrels. The camera was set to single zone AF which was moved to cover the squirrel’s eye to ensure focus was spot on. Image: Will Cheung. Fujifilm X-H2S with XF400mm f/4.5 R LM OIS WR. 1/100 sec f/4.5 ISO 800.

 

The XF400mm f/4.5 R LM OIS WR has internal focusing, so its size stays constant and a high-speed linear motor means autofocusing is silent, judder-free and very responsive. When I was setting up back home, I’d tried Wide/Tracking and 5x5 zone AF, but when I started trying to photograph black-headed gulls in flight, the smaller 5x5 zone seemed to acquire the subject more quickly and held on more tenaciously once locked on. I did switch to a smaller single zone for static dragonflies where I wanted focus on its head and eyes.

 

Set the Fujifilm X-H2S to continuous focus AF with the XF400mm f/4.5 R LM OIS WR attached and the duo does a fine job of tracking birds in flight. The AF was set to 5x5 zone autofocus and the camera tracked the black-headed gull all over the sky as it was fishing. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/3200 sec f/4.5 ISO 400.

 

The migrant hawker dragonfly likes to hover for a few seconds, which is just enough time to frame and focus. Having the camera menu item AF+MF set to on means it’s possible to get it recognisably sharp with manual focusing, then hitting the shutter release and the camera’s autofocus takes over for the final shot. Using the lens’ focus preset feature with focus set to roughly where the insects were flying was a great help too. Image: Will Cheung. Fujifilm X-H2S with XF 400mm f/4.5 R LM OIS WR. 1/2000 sec f/4.5 ISO 3200.

 

 

Reflecting on the experience of using the Fujifilm XF400mm f/4.5 R LM OIS WR while looking through my photos, I was very pleased with the results. Using a prime lens is more of a compositional challenge and of course such a long lens can generate its own problems. For instance, with some deer shots, I was too close to include the deer’s surroundings, so I had to retreat a little, and when they moved closer, again I had to take steps back. However, I thought there were more upsides of using a prime lens. It was mostly a bright day but shooting with fast shutter speeds with the f/4.5 aperture meant I could keep ISO down for excellent image quality. 

The big benefit, though, is the image quality of the Fujifilm XF400mm f/4.5 R LM OIS WR. I am used to using telephoto zooms and while image quality is good, the look of the shots from this Fujifilm prime lens was in another league. Image quality was excellent with very impressive detail resolution and overall sharpness, and this was also a benefit when I cropped into the photo for a larger subject size.

 

This kingfisher was perched high in a tree taking a break from feeding. The pulling power of the XF400mm f/4.5 R LM OIS WR lens helped produce a reasonably-sized bird and cropping for a larger subject size is no problem thanks to lens’ impressive resolution. Image: Will Cheung. Fujifilm X-H2S with XF400mm f/4.5 R LM OIS WR. 1/640 sec f/4.5 ISO 2500.

 

 

Fujifilm XF400mm f/4.5 R LM OIS WR: Summary

 

Nature is such a diverse subject that there’s no ideal focal length or even lens type and obviously much depends on the subject as well as budget.

Zooms are popular for their framing versatility, but their generally more modest maximum apertures can be an issue when light levels drop and that’s why fast primes are often preferred by expert nature photographers even though they aren’t flexible like zooms.

Then there’s the matter of focal length. The XF400mm f/4.5 R LM OIS WR gives the equivalent of 609mm in 35mm full-frame format, so it qualifies as an extreme telephoto and might be too much focal length in some cases. It's perfect, however, for birds where the subject is generally small and wary, so shooting from a distance is standard procedure. 

For my photo walk, I really enjoyed and appreciated the pulling power of the XF400mm f/4.5 R LM OIS WR and being a fixed focal length made me think harder about composition and positioning and that is a good thing. Its portability is also worth stressing and I finished my day without aching arms, which can be the case with my usual long lens set-up.

 

Fujifilm XF400mm f/4.5 R LM OIS WR Key Features

• Price £2499
• 609mm focal length (35mm equivalent) 
• Internal autofocusing with high-speed linear motor
• 21 elements in 14 groups construction
• Optical Image Stabilisation system, 5.5 stops benefit
• Fluorine-coated front element
• Focus control button and focus preset
• 2.75m close focusing distance
• Two on-lens focus limiter ranges
• F/4.5-22 aperture range 
• 9 diaphragm blades
• 20 weather seals
• 95mm filter size 
• Compatible with Fujifilm XF1.4x WR and XF2x WR teleconverters 
• Bayonet fit lens hood supplied
• Dimensions 104.5x239.5mm
• Weight 1245g 

 

For a long time, I considered myself a manual focus purist—not because manual glass should strictly be used manually, but because there simply wasn't a way for me to autofocus it with my existing systems. It really isn't much of an issue; with constant practice, gauging distance and nailing critical focus can become second nature. But once you stop practicing, it takes some time to get that muscle memory back. It becomes increasingly frustrating because it means I can't fully enjoy the output of my favorite M lenses, especially with the near misses.

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Adobe has completed its acquisition of Topaz Labs, the company behind the upscaling and enhancement models a lot of photographers and editors already run on their own files. Topaz Labs continues as a standalone brand, its apps and models stay available on their own, and its technology is already in Adobe Firefly and Photoshop. Adobe did not disclose financial terms.

 

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Rain forecast for hours, gone in two minutes, followed by sun, clouds, wind, and a location that shut down mid-shoot. That's the exact scenario behind this off-camera flash session, and it turns into a lesson far more useful than the tidy tutorial that was planned.

 

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A $199 fifty that outresolves a Panasonic 50mm at double the price and half the weight is the kind of result that reshuffles a whole lens lineup. That is exactly what happened when the Viltrox AF 50mm f/2 landed on L-mount this week.

 

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Buying a Leica M11, struggling with it, and selling it within a couple of months is a cycle plenty of shooters know well. The rangefinder demands patience most digital cameras have trained out of you, and that gap between wanting the camera and actually using it is where the frustration lives.

 

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A 50mm at f/4 has a physically larger opening than an 18mm at f/1.8, yet the wider-angle lens is the faster of the two. That contradiction sits at the center of how apertures actually behave once you start swapping focal lengths.

 

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A good photograph can capture a moment, but sometimes a still image does not fully show the feeling behind it. With video becoming a common way to share creative work, creators are looking for simple ways to give their existing photos more life.

AI photo animation offers one practical solution. Instead of taking new footage, creators can use AI to add natural movement to a single image. The key is to add motion while keeping the original subject, style, and visual details intact.

 

 

Why More Creators Are Exploring AI Photo Animation

 

AI photo animation technology is changing how creators work with existing visual assets. A single photograph can now become the starting point for a short video, giving creators more ways to share their work without starting every project from scratch.

For photographers, this can extend the value of a finished photo shoot. A portrait, landscape, or event image can be animated for social media, a portfolio, or a short presentation. The original photograph remains the foundation, while AI adds movement around it.

The same idea is useful for other creators. Designers, marketers, travel creators, and social media users can animate still images to create short-form content. This makes it easier to turn existing visual assets into fresh content for different platforms.

 

How AI Is Changing the Way Creators Animate Still Images

 

Traditional photo-to-video editing can involve keyframes, transitions, and motion settings. For creators who want to turn a single image into a short clip, this manual process can add unnecessary steps to a simple project. 

This is where AI image animation tools such as AIReel can simplify the workflow. Creators can upload an image and generate a video with smooth motion, without building every effect manually. It also offers a range of models and formats for different creative needs.

 

 

• From single images to short videos: Existing photos can become ready-to-share video content.
• From manual editing to AI-assisted motion: Creators can reduce the need for detailed keyframe work.
• From one asset to multiple formats: A single image can be reused for different social platforms.
• From reshoots to content repurposing: Older photos can become new creative assets.
• From complex workflows to simple creation: Users can focus more on the visual idea and less on technical settings.

 

5 Practical Ways to Animate a Photo With AI Without Losing the Original Look

 

Animating a still image works best when the added movement follows the logic of the original photograph. The aim is not to make every part of the image move, but to introduce motion where it supports the subject, composition, and mood.

 

 

1. Start With a Photo That Has Clear Visual Structure

Choose an image with a clear subject, good focus, and enough detail. Photos with strong foreground and background separation are often easier to animate because the main subject can remain stable while movement is added to other areas.

 

2. Match the Motion to the Original Scene

Consider what would naturally move in the photograph. Clouds, water, hair, fabric, and tree branches can support gentle movement, while a slow camera push can work well for portraits or architecture. The motion should follow the scene rather than compete with it.

 

3. Protect Faces, Hands, and Fine Details

Small changes can be very noticeable when a person or a detailed object is the main subject. Before using an AI animation, check the eyes, facial features, fingers, text, and product edges. Keeping these areas stable helps the result stay close to the original photograph.

 

4. Use Camera Movement to Add Depth

A subtle zoom, pan, or forward movement can make a flat image feel more cinematic without changing the subject itself. When the composition already has clear foreground and background elements, controlled camera movement can also create a stronger sense of depth.

 

5. Keep the Animation Short and Review Every Frame

Longer clips give unwanted changes more time to appear. For most photo-based content, a short animation can be enough to add movement while preserving the original look. Review the complete clip before publishing and compare key frames with the source image.

 

To Sum Up

 

AI photo animation gives creators a practical way to get more value from the images they already have. Instead of replacing photography, it can add another layer of motion and help still images work in video-first spaces.

The best results come from using AI as a creative tool rather than letting it take over the image. With a strong original photo, suitable motion, and careful checking, creators can animate pictures with AI while keeping the look and character of the original work. Tools such as AIReel make this process easier, helping turn photos into simple, engaging videos without a long editing workflow.

 

Fog and mist give instant mood, adding an extra level of environmental interest to your shots. You actually do not have to do anything special apart from just being out in it with your camera. So, whether you are walking the dog or on your daily commute to work, it is worth having a camera with you for those unmissable mist images.
 

1. Camera Choice

Any camera is good for mist photography and you can use any lens too, so just stick to your favourite combination. There is nothing wrong with using a top-end compact if carrying a DSLR around with you is not feasible.
 

2. Lens Options

In terms of lens choice, a wide-angle lets you show the tonal differences between foreground and misty background in a gradual way. Look for bold foreground detail and strong lines (rocks, trees, pathways, rivers etc) to make the most of this effect.

The foreground is just as important with [AMUK]telephoto lenses|telephoto+lens+lenses+zoom[/AMUK]. Shoot a misty scene with no foreground and there is no perspective, no sense of depth. This can work fine but most scenes need some foreground interest to give that three-dimensional quality and the tonal transition is much more abrupt.

3. Ultra-Violet Or Skylight Filter?

You probably already have your lenses fitted with an ultra-violet or skylight filter; if you don't it is a worthwhile consideration if you bear in mind that a filter is cheaper to replace than a lens.  On misty days when you can have tiny water droplets settling on your lens this will affect image sharpness, so being able just to wipe them off without being too delicate is a bonus.

 

 

4. Use A Tripod

If you have the room it's a good idea to pack your tripod as exposures can be on the long side as not much sunlight will be able to get through the fog/mist you're photographing. It should also help you keep horizons straight too, although some cameras feature a level or some sort of grid-guide that can help you level your camera for straight horizons. 

 

5. Valleys And Low-Lying Areas

Mists forms in low-lying areas (valleys, for example) and over water so if you fancy the idea of shooting mists, those are the sorts of places to head for. To add a touch of mysticism or eeriness to your work head for thickly wooded areas where fog and mist will weave around the trees.
 

6. Meters Can Be Fooled

Camera meters are often fooled into underexposing misty scenes so they come out looking very grey, rather than light and airy which usually looks better. Setting +0.5EV or +0.7EV will help avoid this. In strongly backlit scenes you might need up to a +1 or +2 exposure value to record the delicacy of the mist.

Shooting in Raw and doing the adjustment later is an option but it makes sense to get it right in the first place.
 

7. Work Quickly

Finally, remember to get there in plenty enough time so if there is a mist, you have time to scout a few good spots and then decide which is best. Conditions can change very rapidly, so shoot quickly, perhaps bracketing exposures, and then move on.

Evoto has attracted a lot of attention in the past 5 years or so. When you consider Adobe’s decades-long domination of the editing and retouching space, that is a major accomplishment. Today, Evoto has announced a major update with a variety of new culling and editing improvements for photographers. It even includes an Asset Hub designed to help photographers make money. I attended the press event in NYC today, and here is my report from the event.

  

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