Photography News

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Win 1 of 3 Samsung EVO Plus 1TB Memory Cards

Unwrap Endless Storage This Festive Season with Samsung's EVO Plus Memory Cards

Perfect for mobile devices, these cards deliver reliable, high-performance storage to keep your photos, videos, games, and apps safe. With capacities ranging from 64GB to an impressive 1TB, there's ample space for all your festive memories - from family gatherings to holiday adventures.

Compatible with smartphones, tablets, gaming consoles, cameras, and more, the included SD adapter enhances device flexibility while maintaining the EVO Plus' exceptional speed and performance.

Samsung's Class 10 EVO Plus microSD cards offer dependable everyday performance with transfer speeds of up to 160MB/s. Ideal for expanding mobile storage and capturing high-quality photos, the 128GB–1TB U3 options support smooth 4K Ultra HD (UHD) video recording on action cameras and drones without a hitch.

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The range is backed by a confident 10-year limited warranty.

Available Capacity: EVO Plus microSD with SD Adapter — 64GB, 128GB, 256GB, 512GB, and 1TB.

(MSRP starting from £11.79)

Visit Samsung Memory

Today's Prize Prize Win 1 of 3 Samsung EVO Plus 1TB Memory Cards

This season, 3 lucky winners will receive the highest 1TB capacity EVO Plus - providing more than enough space to store every festive photo, video, and playlist!

Visit Samsung Memory

As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

[PRIZE_ENTRY]7010[/PRIZE_ENTRY]

When December arrives you'll suddenly find that your house, and those of your friends and loved ones, are filled with wonderful eye-catching decorations that are begging to be photographed. It's a perfect excuse to work on some macro photos.

 

What kit is best?

When it comes to kit, if you're using interchangeable lenses, pop a macro lens on your camera while compact camera users can just switch over to macro mode. You'll also need a tripod to help keep shots steady as shutter speeds can be slow when working in between Christmas tree branches. 
 

How can I avoid tinted photos?

Before you start taking your shots check your white balance as you can end up with shots that have an orange tint. Try using the Tungsten setting or shoot in RAW and adjust your shots later in post-production. Put your camera's self-timer on while you're in the menu system so there's a few seconds for any shake to stop before the photo is taken.

 

Photo by David Pritchard
 

Concentrate the focus on one ornament

Often people try to take a photo of a section of their tree rather than focusing on one ornament. This means your photo doesn't have any focus and the viewer's eyes will end up darting around your image. To stop this, get in close and fill the frame with just one of your tree ornaments. If your tree's so full you can't get away from groups of baubles then throw the background out of focus. You can get some interesting bokeh from the Christmas lights but you'll need a fairly small f-number to do this. The lights can create interesting patterns and leave subtle spots of colour on the ornaments adding another level of interest to your image in the process. Try to stand so your reflection doesn't bounce back off the ornaments, though.

Decorations that are colourful or have plenty of interesting details are a good choice but something more simple can work well when you're playing with bokeh in the background of your shots. 

While you have your macro lens out take your eyes away from the tree and look for table decorations, ornaments on the mantelpiece or even tins and bowls of colourful chocolates/sweets to photograph.

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to hibbz (Day 7 - Robins)

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 1

Cold Weather

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  Day 2

Fairground Rides

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Day 3

Snowy Landscapes

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Day 4

Winter Wildlife

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  Day 5

Celebration Photography

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Day 6

Christmas Macros

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Day 8

Winter Landscapes

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

[SECTION]INTRODUCTION[/SECTION]

 

 

Quick Verdict

The X-T30 III could be the ideal beginner's camera, as well as appealing to any photographer seeking a light, compact system for travel and general use. There are some design quirks, but the quality level is high, the handling is fast and efficient and the price is highly competitive.

 

Fujifilm are masters of so many aspects of camera and lens design. Their colour mastery is clear, from decades of producing some of the finest films available. Their lens mastery is clear, with a current range of superb optics, not only for APS-C but also for medium format. Their mastery of high quality camera construction dates right back to the unique film rangefinders in various medium formats from 645 to 6x9cm, onwards to the current crop of X mount and medium format designs. Here we have an entry level path into the marque, keenly priced and bristling with features for photographers and videographers alike, from the beginner to the advanced. With that sense of fine heritage to build on, let's look closely at the new X-T30 III and see if the magic is still there.

 

Fujifilm X-T30 III Features

First impressions are great, as Fujifilm do make beautiful cameras and lenses. The camera is compact, light and attractively decked out in resplendent charcoal. Black and silver are also available. The body weighs in at a modest 378g, as measured, and dimensions are a svelte 118.4 x 82.8 x 46.8mm. There is the usual high quality metal X mount. The sensor is unprotected when changing lenses, so care is needed to ensure there is no ingress of contamination. 

The lack of weather resistance is a shame, but no doubt would add significantly to the overall cost and this camera is aimed at beginners first. The kit with the XC 13-33mm f/3.5-6.3 OIS lens makes sense, especially given the low price of the combination. This tackles the lack of IBIS as some form of shake reduction is very desirable. It is worth noting that the recommendation in the instructions suggests that when using a tripod IS should be switched off. This reviewer did not at first heed this and spent some time shooting images again. Very often it does not make any difference, but they tell us and this time it needs to be believed.

 

 

The monitor is a 3” LCD touch screen, with 1.62M dots. It tilts but does not swivel. I switched off the touch screen feature as the camera is small enough without having to be very careful about what is pressed. It is an excellent screen, full of detail and good colour. The EVF is a 0.39” OLED screen with 2.36M dots. This is good to use, just suffering from the usual limitations in very bright outdoor situations. 

The Q menu is really useful, unfortunately its placement on this model is rather prominent and liable to be hit by accident if the camera is carried in one hand. This could be avoided by relocating the button, or making it much firmer to operate, the latter point probably being something that many switches and buttons would benefit from. There is no four way controller, and this function is being fulfilled by a small joystick instead. 

 

 

The top plate is a delightful bit of ergonomic design. The film simulation dial allows immediate access to a small selection of useful settings, three user modes and the ability to select a choice from the camera menu instead. This is one of the unique delights of Fujifilm cameras, the ability to use, for example, a Velvia setting for those who used to enjoy Velvia transparency film. It would be welcome if other makes of film style could be added, but perhaps the licensing would be expensive and difficult to negotiate. 

There is a pop up flash, not overly powerful but there and perhaps useful for a spot of fill in or for party use. The conventional shutter speed dial covers from 1 second to 1/4000s, plus B and T. The A setting is there for Aperture Priority (Av) shooting, and in this respect those Fujifilm lenses that have aperture rings might complete the retro experience.

 

 

Also from the top plate is the auto selector switch, letting the camera make the decisions, and the exposure compensation dial. This latter dial is really advantageous and easy access to it really helps the handling.

The battery compartment is easily accessible on the baseplate. In the same compartment is the single SD card slot. If using the camera on a tripod, changing battery or card will likely mean removing it from the mount to gain access to the compartment door. This is just the consequence of a very small camera footprint.

Some longer shutter speeds are possible. Using the mechanical shutter, the basic range in Av is 30s to 1/4000s. The S/M mode gives 15 minutes to 1/4000s. The Bulb mode allows up to 60 minutes. With the electronic shutter, the standard range is 30 seconds to 1/32,000s. The S/M mode is 15 minutes to 1/32,000s. The Bulb mode is fixed at 1 second.

There are various routes to connectivity. The physical interfaces are USB-C, HDMI Micro D, 2.5mm jack for mic/remote and the hotshoe. Connection is also possible via WiFi and Bluetooth. There is also a very useful Fujifilm X App.

 

 

Fujifilm X-T30 III Key Features

• X Mount APS-C format
•  Back-illuminated 26.1MP X-Trans CMOS 4 sensor
•  X-Processor 5
•  Mechanical shutter 30secs to 1/4000sec
•  AI powered subject detection - animals, birds, cars, motorcycles, bicycles, aeroplanes, trains, insects and drones
•  Native ISO range 160-12,800, extendable to ISO 80-51,200
•  20 Film Simulation modes
•  Film Simulation Dial
•  1 SD card slot – UHS-I, SD, SDHC, SDXC
•  NP-W1265 battery 315 frames/425 frames (economy mode)
•  3in LCD touch screen tilt monitor 1.6M dots
•  0.39” OLED EVF, 2.36M dots
•  6.2K/30P internal recording in 4:2:2 10-bit quality
•  High speed video at 4K/60P and 1080/240P
•  Built-in pop-up flash GN7/ISO 200/m
•  WiFi, Bluetooth
•  Fujifilm X App
•  USB-C, HDMI Micro D, 2.5mm mic/remote jack, hotshoe
•  Body measures 118.4mm x 82.8mm x 46.8mm
•  378g with battery and SD card
•  Operating temperature 0C to +40C

 

Fujifilm X-T30 III Handling

There are quite a few interesting features that are helpful and efficient. The auto setting for beginners allows the camera to set appropriate parameters and takes care of the details, but hopefully this will soon be left behind as the fledgeling photographer learns and develops. The film simulation dial makes these styles more easily accessible, and encourages experimentation. Eager for more choices, this may lead naturally to the further options within the camera menu. 

Further dials covering shutter speeds and exposure compensation also make selection of these items far easier than delving into the menu system. Not only beginners will benefit from this, as the old school concept of using physical controls will no doubt appeal to many photographers. Likewise, the ability to use those film simulations may well appeal on the same legacy basis.

There are some consequences to the extremely compact body, and one is the grip when carried in one hand. It is far too easy to hit the prominently placed Q button, thus opening a whole raft of menu items that can be accidentally shifted. It needs care and the development of a grip that ensures nothing is accidentally pressed. 

The one more major dislike for this reviewer is the softness of the two control dials. Both not only turn, which is obviously fair enough, but also press and unfortunately, the resistance to pressing the dial whilst intending to turn it is far too light. Much more firmness in these dials would solve the problem, or making them turn only.

Fortunately, with care and a bit of time, getting to know the camera goes a long way to covering any issues. All cameras can have their quirks, and they do not have to be deal breakers.

 

[SECTION]PERFORMANCE[/SECTION]

Fujifilm X-T30 III 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.
 

Fujifilm X-T30 III Other sample images Previous Next

 

Lens Performance – The Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS lens is a compact and light, inexpensive ultra-wide to standard zoom for APS-C format. The “35mm equivalent” is 20-50mm. This has already been reviewed for ePHOTOzine and awarded the accolade of Highly Recommended.

 

A summary of the performance:

At 13mm, central sharpness is excellent from f/3.5 right through to f/11, very good at f/16 and just fair at f/22 as diffraction really bites. The edges are less sharp, but still very good from f/3.5 to f/5.6, good at f/8 and f/11 and fair at f/16 and f/22.

At 16mm, central sharpness is outstanding from f/3.9 to f/8, excellent at f/11, very good at f/16 and good at f/22. The edges lag behind, but are good at f/3.9, very good from f/4.5 to f/8, good at f/11 and fair at f/16 and f/22.

At 33mm, central sharpness is excellent from f/6.3 to f/11, very good at f/16 and fair at f/22. The edges are good at f/6.3, very good at f/8 and f/11, good at f/16 and fair at f/22. 

The performance is geared very much towards the centre of the field, but if middle apertures are used then there is plenty of sharpness centre to edge and images look crisp.

Distortion is almost perfectly rectilinear, measuring just -0.84% barrel at 13mm, -0.26% barrel at 16mm and -0.12% barrel at 50mm. It is almost certain that this is achieved by using the camera and lens in combination and applying suitable correction, but what matters is the end result and the end result is very impressive.

CA is very well controlled, especially at the centre. There is a bit of a peak at the edges, wide open at 33mm, but otherwise it is unlikely that further correction will be needed.

Bokeh is pleasant, very acceptable but not exceptional. Busy backgrounds could perhaps be rendered a bit more smoothly than they are. For some subjects, this may not matter too much.

Flare is minimal, even with bright light sources in frame, despite the lack of a hood. 

Vignetting is impressively low and visually not intrusive. At 33mm, it is close to zero.

 

Fujifilm X-T30 III ISO test images Previous Next

 

ISO Performance – Noise is commendably low right through from ISO 80 to ISO 800. ISO 1600 and 3200 show the very slightest intrusion, becoming more obvious at ISO 6400 but still resulting in very usable images. ISO 12800 shows the first real dip in quality, the edges of the test target boxes starting to look feathery and the noise creeping in quite visibly. Structure is still tight at this point. ISO 25600, moving now into the extended range, is quite rough in terms of edges and very noisy. There is, however, still good integrity to shapes, albeit with soft and feathery edges. ISO 51200, as expected, becomes a step too far and is very noisy, only really useful for emergency use if there is no other choice. Overall, it is a very good performance and low light photography is well within the scope of the camera.

 

Fujifilm X-T30 III White-balance test images Previous Next

 

White Balance – White balance pre-set options are auto white priority, auto, auto ambience priority, 3 custom settings, K colour temperature setting, daylight, shade, 3 fluorescent settings, incandescent and underwater. Most of the images shot for this review used the auto ambience setting, which gives good colour balance but does not destroy the varied qualities of the ambient light. The shade setting is useful for dark woodlands and helps to record natural colours of fungi in particular. The missing one is, as mentioned previously with Fujifilm cameras, a cloudy setting, the digital equivalent of the 81A or cloudy filter. Almost all other marques include this so it would be useful for those who like warm images. Otherwise, the presets offered work very well.

 

Fujifilm X-T30 III Digital filters Previous Next

 

Digital Filters – There are two avenues of approach to the 20 film simulations. The most accessible is the film simulation dial on the top plate, which enables direct access to a small selection of simulations, three custom selections plus an Acros setting that points to the Acros simulation but can be re-programmed to anything the user wishes. The C setting refers the user to the menus to select an option. The 20 choices are Provia/Standard, Velvia/Vivid, Astia/Soft, Classic Chrome, Reala Ace, Pro Neg. Hi, Pro Neg. Std, Classic Neg., Nostalgic Neg,. Eterna/Cinema, Eterna Bleach Bypass, Acros, Acros+Ye filter, Acros+R filter, Acros+G filter, Monochrome, Monochrome+Ye filter, Monochrome+R filter, Monochrome+G filter and Sepia. 

The dual names such as Velvia/Vivid would be self explanatory to those who are familiar with the film types, but if not then the description gives an explanation.

 

Video –  Although primarily a stills camera, the X-T30 III also has credible video capabilities. A summary of the main point of the specification:

• 6.2K/30P internal recording in 4:2:2 10-bit quality
• High speed video at 4K/60P and 1080/240P
• Open Gate recording
• MOV (HEVC/H.265 or H.264
• MP4 H.264

Shooting some impromptu and basic FHD videos shows that the path into the video functions can be simple and straightforward. Quality is very good and the digital shake reduction gives stable footage. Focusing takes a short while to adjust from nearest to furthest, and vice-versa, but when following focus with less extreme distance changes the result is pretty seamless.

Video samples coming soon.

 

[SECTION]VERDICT[/SECTION]

 

Value For Money

The [AMUK]Fujifilm X-T30 III|Fujifilm+X-T30+III[/AMUK] body only is priced at £829. Add the Fujifilm XC 13-33mm f/3.5-6.3 OIS lens and the cost is £999, making the package with lens something of a bargain.

 

There are alternatives pitched at around the same level, such as:

 

[AMUK]Fujifilm X-S20|Fujifilm+X-S20[/AMUK] body, £1049

plus XC 15-45mm f/3.5-5.6 OIS OZ, £1149

 

[AMUK]OM System OM-5 II|OM+System+OM-5+II[/AMUK] body, £1099

plus 12-45mm f/4 Pro, £1149

 

[AMUK]Panasonic Lumix S9|Panasonic+Lumix+S9[/AMUK] body, £999

plus 20-60mm f/3.5-5.6, £999

 

[AMUK]Nikon Zfc|Nikon+Zfc[/AMUK] body, £849

plus 16-50mm and 50-250mm, £1249

 

However, a word of caution – there are quite a few special offers/cashback schemes available at the time of writing and these will potentially change the above pricing guide very significantly. 

Of course, price is not the only part of a VFM equation, and the various specifications, handling qualities and image standards may vary and be equally major considerations. The overall conclusion is that the X-T30 III is excellent VFM, and the purchase of it as a package with the 13-33mm lens especially so.

 

Fujifilm X-T30 III Verdict

The X-T30 III sits at the right price level, is stylish and highly functional and could well suit a wide range of photographers. The common denominator is likely to be the desire for a reasonably priced, light, compact travel companion that delivers quality far in excess of entry level compact cameras and smartphones.

There are compromises, such as a lack of weather sealing and the lack of inbuilt image stabilisation. This means that choosing lenses with optical stabilisation will be an advantage, but they do not need to be expensive to be good. Fuji lenses are extremely good, and many of them are priced to be accessible to a wide range of budgets.

The range of features is excellent. Some may argue that the details of these features are complicated, but no more so than the average smartphone. It is just a matter of learning and practising so that shooting images becomes second nature. Investing some time into mastering the camera will reap rewards as the image quality is excellent. The beginner photographer can grow with this camera, making some magnificent images along the way.

 

Fujifilm X-T30 III Pros

• Excellent image quality
• Light and compact
• Auto mode for beginners
• Film simulation options
• Subject detection options
• Competitive price
• Fantastic high quality lens range

 

Fujifilm X-T30 III Cons

• No image stabilisation
• No weather resistance
• Some over sensitive dials

 

[REVIEW_FOOTER]R_features=4|R_handling=4|R_performance=5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – Compact, light, versatile, ideal for travel and delivers excellent quality.|E_id=8016[/REVIEW_FOOTER]

 

View the Fujifilm X-T30 III camera specs in the equipment database.

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Win £250 to spend with MPB

Win MPB Vouchers Worth up to £1,000 this Christmas

This festive season, MPB is giving creators the chance to upgrade their gear in a way that’s simple, secure, and sustainable. We’re sponsoring three special ePHOTOzine prize draws, with MPB vouchers worth up to £1,000 up for grabs. Whether you’re a photographer chasing golden-hour light or a filmmaker capturing winter stories, this is your moment to unwrap something amazing.

The Prizes

• Day 1: A £1,000 MPB voucher to spend on the camera or lens you’ve been dreaming about
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Used Gear, Done Better

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Creativity for Every Kind of Creator

Whether you’re a professional with a packed kit bag or just starting out, MPB is built for you. Our platform connects photographers and videographers across the world, creating a community that values creativity and sustainability in equal measure.

We’re passionate about helping people find the right tools the right way. Gear that inspires creativity, captures stories, and makes a difference. Because when your tools fit your vision, your ideas come to life.

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Today's Prize Join the Giveaway

Don’t miss your chance to win an MPB voucher worth up to £1,000 this Christmas. Enter the ePHOTOzine/MPB giveaway to start the new year with your dream setup.

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As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

[PRIZE_ENTRY]7009[/PRIZE_ENTRY]

 

The Met Office is promising snow once again this winter which means you may get the chance to perfect your snow photography skills. As the white stuff hasn't arrived just yet, now's the perfect time to read up on the subject so when it does start to fall, you're armed and ready. 
 

ePHOTOzine has covered various aspects of snow photography in previous tutorials which you can find further down the article. For those who just want a quick reminder of top tips, have a read of our bullet-pointed tips.

 

Three Quick But Essential Snow Photography Tips:

Metering - If your white snow scene is looking a little dull, that's because your camera has underexposed the scene. This happens because basically, its meter gets confused by the predominantly white scene. To fix it, advanced camera users can adjust the exposure compensation. For those using compact cameras, switch to the snow scene mode to change your snow from grey to white.

Blue Snow - If you are shooting under a blue sky and your camera underexposes the shot,  you'll end up with blue snow as the scene's being lit by sun reflecting off the sky. Making the changes to settings suggested above can fix the problem or you can try switching from auto white balance to shade.

Depth - Try to find something to lead the eye into the picture otherwise a sense of depth can be easily lost.

 

Photo by Joshua Waller

 

Snow Photography Tutorials:

 

1. Photographing Snowy Landscapes

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

 

2. Snow Photography Question And Answer

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

 

3. How To Take Photographs Of Snow Scenes

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

 

4. Tips On Shooting Snow And Ice

As the snow falls, you'll probably be itching to venture out and capture the scenic delights, but beware, Jack Frost has a few tricks up his sleeve to prevent you getting good pictures.

 

Photo by Daniel Bell

 

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

Where strong tones in the sky take away from the simplicity of the picture, and especially when the snowy scene is surmounted by a pale, snow-laden sky, the black and white medium can add so much to the image.

 

6. Why's The Snow In My Shot Blue?

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

 

7. Photographing Snowboarding

Nathan Gallagher gives ePHOTOzine some tips for capturing snowboarders. As well as advice on camera settings and panning, Nathan also shares tips you may not have thought of such as the following: "Build up a good relationship with the people you're shooting, it's a team effort. Besides, you'll be spending a lot of time together if it works out well - many of the people I've shot have become friends for life."

 

8. Taking Photographs In Icy Weather

There are hazards to contend with which are particular to this type of weather. No, we're not talking about the obvious ones like slipping over, not wearing sensible clothing or insufficient clothing, we're talking about feet and tripod feet to be exact! 

 

The image, titled “Together” by ePz member timbo, shows a couple sitting close to each other between two large stone columns. They look relaxed and unaware of the camera, which adds to the natural feel of the moment. Their closeness is clear in the way they lean into one another, showing how comfortable they are together. The colour in the photo suits the setting well, giving the scene a soft and calm look.

It’s a straightforward image, but it says a lot. It captures a real moment of two people enjoying each other’s company, and that simplicity is what makes it stand out.

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 2026, we’ll crown our 2025 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!

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Win 1 of 3 Datacolor SpyderPros!

New Datacolor SpyderPro – Redefining Display Calibration with Groundbreaking Workflow Tools

The new SpyderPro version, released in early November, goes far beyond standard display calibration. Supporting ultra-bright displays up to 12,000 nits — including OLED, QD-OLED, mini-LED and Apple Liquid Retina XDR — it introduces a range of advanced workflow features designed to help photographers, videographers and creators work faster and more precisely.

3D LUT Export – A Workflow Revolution

SpyderPro is the first device in its class to offer 3D LUT (.cube) export, delivering highly accurate calibration for compatible video monitors. This makes it an ideal tool for professional video and cinema environments.

3D LUT technology is widely used in the film industry for non-linear colour adjustments, such as warming skin tones or cooling shadows. Loading a 3D LUT onto a compatible video monitor (e.g., Atomos) has never been a challenge. The real issue—until now—was affordable calibration of these monitors.

The Challenge: Video monitors that are not permanently connected to a computer cannot rely on ICC profiles for colour management. To calibrate them, the monitor must be recognized by calibration software, measured, and then provided with colour correction values in the form of a 3D LUT.>

The Solution with SpyderPro: Connect the monitor via HDMI to a computer running Spyder calibration software. The software detects the monitor and allows you to select it for calibration. After measurement, export the colour correction as a 3D LUT file to an SD card and insert it into the monitor. In order to do so, the monitor must support 3D LUTs and have a suitable interface (e.g., HDMI).

YouTube videos:

Calibration of various Atomos video monitors with Datacolor SpyderPro / 3D LUT Export

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OLED TV calibration and application of colour correction via 3D LUT using a Blackmagic SDI/HDMI micro converter.

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Device Preview™ Plus — A New Level of Colour Confidence

The new Device Preview Plus feature allows creators to simulate how their content will appear across devices and media — from smartphones and tablets to laptops, projectors or prints —directly on a calibrated display.

It goes far beyond basic soft proofing, offering side-by-side comparisons, pixel sampling, gamut warnings, batch conversion and enhanced export options. Hence, profiles are neatly organized into three groups:

1. Display Profiles – To preview your image in AdobeRGB, select the corresponding profile under Display.

2. Mobile Profiles – To preview your images on smartphones or tablets, check the Mobile section — it includes ICC profiles for many popular devices.

3. Printer Profiles – For a classic soft proof, go to Printer Profiles.

Images can be exported directly from the application with any chosen ICC profile applied.

Content Credentials (C2PA) – Safeguarding Creative Integrity

With digital content spreading faster than ever — and with AI-generated imagery on the rise — proving authorship and originality has become a critical issue. SpyderPro now integrates Content Credentials, embedding tamper-resistant metadata into images and videos. This metadata documents authorship, edit history and file provenance in a format recognised by the C2PA standard. It is part of the DevicePreview™ application.

For photographers, Content Credentials add a new layer of professionalism. Every exported file carries a secure digital trail, supporting licensing, commercial production, portfolio authenticity and the protection of creative reputation.

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As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

[PRIZE_ENTRY]7008[/PRIZE_ENTRY]

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

Photo by David Clapp - www.davidclapp.co.uk

Be Prepared

Heading out early on a winter's morning usually means rather cold temperatures will be waiting to embrace you. As a result, make sure you're dressed for the weather before you head out of your door.

You also need to be extra cautious when walking around the edges of lakes and rivers as after a night of heavy rainfall or on really cold mornings when there's still ice on the ground, surfaces will be very slippy and you don't want you and your kit getting a soaking.
 

Keep Your Horizons Straight

A wonky horizon will spoil any stunning winter landscape so double-check your frame to make sure your river, lake or pond doesn't look like it's about to slide out of the scene. Most tripods feature a spirit level, but you can also purchase hotshoe spirit levels that fix to the top of your camera to help you spot when your horizons aren't quite straight.

Deep Freeze – Frozen Surfaces

When temperatures stay very low for long periods of time large bodies of water begin to freeze giving you the chance to capture shots of our landscape almost frozen in time.

If it's cold but not quite cold enough to freeze lakes do as John Gravett suggested and take a closer look to the rocks the water's falling over. John said: "Although the temperature may not be low enough to freeze the moving water, where it splashes up over rocks and grass at the edge of the stream, it forms almost crystalline shapes. A long shutter speed will contrast the moving water with the icy margins, and the corresponding small aperture will give you a wide depth of field, ensuring front to back sharpness."
 

High Water Levels

A few days of heavy rain or melting snow will cause rivers to swell and a torrent of water can be seen flowing down them. You can freeze the water's motion with quick shutter speeds, capturing the spray, the white of the waves and the river's rapid movement or slow your shutter speeds down (try exposures of around 5 seconds) to turn the fast moving water into smooth, silky streaks.

You may need to fit an ND filter to your lens to get the slower shutter speeds needed for this technique to work and to emphasise the difference between the light and dark parts of the water consider using a polarising filter. A polariser will cut down on the glare that comes back off the water, particularly on sunny days when you're more likely to find it a problem. Don't forget to pack your tripod either as you won't be able to hand-held your camera when using exposure times that are a few seconds long without shake spoiling your shot.

 

Photo by David Clapp - www.davidclapp.co.uk

  Mist And Fog

In winter, misty or foggy mornings are quite common and if you live near a lake, reservoir or large pond, mist/fog rolling across the large body of water can add an extra layer of interest and eeriness to your shot. Fog begins to form in the evening and lingers until the following morning but it doesn't usually hang around all day so make sure you're up and out of your house early.

Mist lowers the contrast of light, softening any objects that are in your frame so make sure you have strong, recognisable subjects around the water's edge. If you're shooting a long shot mist / fog can create a sense of mysticism as objects that are some distance from your lens begin to vanish or appear silhouetted, turning what could be a mundane scene into something interesting.

If you find your shots have a few exposure problems it's probably because your camera sees a scene that's all bright instead of having a dark ground and light sky, as they do with snow scenes, so you'll have to use + exposure compensation to rectify this.
 

Early Morning Reflections

A bonus of getting up early is the water's more likely to be still which gives you the perfect opportunity to shoot some winter-themed reflections. Bare trees reflected in lakes dotted with boats and mist crawling across it will always be a winning winter shot. Don't overlook warm sunrises / sunsets either as they can add interesting contrast to a stark winter scene and looked great when reflected in water.

Make sure you pack an ND Grad Filter as you'll find that the reflection will look darker than the 'real' scene that's creating it. If you line up the darker part of the filter so it sits over the sky and finishes at the shoreline, you'll produce a shot that appears to balance to the exposure of the bright sky/surroundings with the reflection.

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As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

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

We know robins are a popular photographic subject but for those who've never tried to photograph a robin before, here are a few quick tips to help you out. Plus, most of the tips can be used for capturing other garden birds who visit your garden this winter.

 

Photo by David Pritchard

 

Long Lenses

Telephoto lenses are a must as robins, and other garden birds, will look tiny in your shot without the pulling power of a longer lens. Around the 300-400mm mark should give you the frame-filling shots you're looking for.
 

Support

For sharp images, a tripod is a must and if you have one, fit a ball head to it as you'll be able to adjust the camera's position at a much greater speed.
 

Know Your Camera

Struggling to find buttons and dials is not what you need when you can quite literally have a few seconds to capture a good shot so make sure you know your camera well before you take it outside. 
 

Feed The Birds

You can't expect to go into your garden and find a robin waiting to be photographed. To attract birds, you need to set up feeding stations to encourage them to visit regularly. Having a mixture of different seeds, peanuts and fat balls on offer will attract varied species too. Robins like mealworms and berries, which can start to be found on bushes, are always popular with certain bird species. If you move your feeders to a particular spot when taking photos, always remember to move them back after as many birds may have become reliant on them. Don't suddenly stop feeding them either.
 

Perch

Placing branches next to feeders will mean that (hopefully) they'll land on the more photogenic branch before heading for the feeder, giving you the chance to capture a more natural shot. Garden furniture, tools and other non-natural objects can work equally well as a perch, particularly when covered in a layer of snow or frost.
 

Backgrounds

Hedging always works well as backgrounds as when you blur it, the colours will look natural. Whatever you choose, make sure it's not too busy.
 

Inside Or Out?

If you are going to brave the cold then invest in a hide because as the name suggests, this will keep you 'hidden' from view so the robin is less likely to fly off. You can also position the hide to give you the best vantage point but do wrap up warm as sitting for an hour out in the cold will soon have you wishing for your slippers, a hot drink and a comfy seat next to the fire.

If you don't fancy sitting in the cold, there are two methods that allow you to work from inside your home. The first is with a IR release but for this to work you do have to venture outside for a little while so you can set your camera up and set its focus. Unlike when you're working in a hide, this method means you can't adjust the composition or focus, making the method a little more limiting.

The second option is to bring your camera and tripod inside so you can shoot through a window (if you have one overlooking your garden). Position your tripod so your lens is as close to the glass as possible (without touching it so when doors etc. shut it doesn't shake your lens) and switch your house lights off to minimise reflections. A lens hood could also be useful as this will shield your lens or you could try cupping it with your hand.
 

 

Photo by David Pritchard

 

Sharp Shots

Small birds are fast and they don't tend to stay still as even when they are feeding they twitch their heads to check what's happening around them. For this reason you need a high enough shutter speed to ensure they stay sharp. You also need to make sure your not throwing the tips of tail feathers and beaks out of focus when you're trying to create your out of focus backgrounds. Try around the f/8 mark but do adjust if needed. Also, use your LCD screen and zoom in on the beak and tail tip areas to double-check everything's sharp.

You may find that adjusting your focus manually gives you more accurate results and as winter light can be weak, don't be afraid to use higher ISOs to reach the shutter speeds you need.
 

Be Patient

Make sure you have a seat to hand as you can be waiting a while for your subject to show and then it can take even longer to capture a shot you're happy with. You will spend quite a lot of time patiently watching so if you are going to be working outside you may want to consider taking a flask of something warm out with you.
 

Brave The Weather

Don't just think that cold, crisp, sunny days are when you should be out capturing your Robin shots. Yes, it's not as pleasant but a few drops of rain or even snow captured at slightly slower shutter (1/30th – 1/60th of a second)speeds can add an extra level of interest to your images. Plus, a scene decorated with snow with a robin taking centre stage will always make a great image for a Christmas card. 

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An f/1.2 prime that is small, light, and relatively affordable changes how you think about portrait and video work. Instead of saving that look for rare jobs with heavy, expensive glass, you can consider shooting with it on long walks, travel days, or full wedding schedules.

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Most photographers and videographers spend as much (if not more) time editing as they do shooting. This is simply how the digital workflow is. It is nearly impossible to work from a laptop, so many of us end up buying monitors. Having a monitor that can do it all is hard to find, but the Dell UltraSharp U3224KB comes close. It’s a jack of all trades, but is it a master of any?

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You probably make at least a few of the same mistakes over and over without realizing it. Small habits like staying at eye level or avoiding bad weather quietly flatten your images and make your work feel more generic than it needs to be.

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For decades, I have struggled with retouching my headshot images. I deal with a variety of problems, ranging from fixing crooked neckties to removing flyaways. The biggest problem for me, however, is evening out skin tones, or more specifically, reducing redness in the skin. A new Color Variance slider in Lightroom may help anyone dealing with this issue.

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AI models in Photoshop are starting to do something that used to take hours of careful cloning and healing: bring cracked, faded family photos back to life while still looking real. Those images are often the only visual record of parents, grandparents, and whole branches of a family, and AI is starting to emerge as a legitimate option.

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Fujifilm’s X-T30 III takes a body a lot of people already know and pushes it with smarter autofocus, better film simulations, and upgraded video options. If you spend a lot of time juggling stills, clips, and travel, this kind of small camera can change what you carry and when you leave bigger gear at home.

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What makes Zoner Studio different is its rare combination of power and approachability. You don’t need to be a retouching expert to get great results, and you don’t need to fight your way through endless menus to find basic tools. Everything you need - importing, organizing, editing, retouching, layers, masks, video editing, and exporting - is right where you expect it. Whether you’re editing your first RAW file or batch-processing a full wedding shoot, Zoner Studio guides you from first steps to polished final images effortlessly.

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As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

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Christmas is a great time of year to try out some macro photography, with loads of trinkets and brightly coloured objects to shoot. Here are some tips for festive macro photography.

  Subjects

As mentioned above, there are many decorative items that appear at Christmas that are ideal subjects for macro photography. Think baubles on the tree, festive garlands, centrepieces and ornaments, like candle holders, tea lights and reindeer statues. Think about the lighting too – if you're going for a festive look, then firelight, fairy lights and candles are the way to go. Look for interesting decorations that have plenty of colour and detail. Don't forget the other decorations that can be found around the house either. Snow globes, bowls of sweets and Poinsettias are all worth a quick photo.

Many ornaments are quite reflective so do check them to make sure your reflection isn't showing in them. This does mean you'll have to adjust your position or move the ornament if you do find your face to be in the shot.

If you're shooting with fairy lights in the background, they will create great bokeh for your image. Alternatively, use the lights as an abstract subject, turning them into circles of colour against dark backgrounds.

  Settings

If your camera has a specific macro setting, then that will be a good starting point. Those using interchangeable lenses should switch to a close-up or specific macro lens to shoot their photographs.

Do check your white balance as photos taken indoors can sometimes have a warm, orange tint to them. If you find this to be a problem switch from auto white balance to one of the other presets or you can manually set your white balance.
 

 

Support

You might need to use a tripod, or a gorillapod to achieve stability in a small space, especially if you are shooting in low light, such as firelight or candlelight for effectiveness.
 

Get Creative

Try setting up your own scene to shoot, rather than just shooting the objects where they are positioned. For example, if your tree is really too full you can take a few decorations off it to create a Christmas still life. The Nativity scene will make a really interesting macro shot too.
 

Turn Your Photos Into Cards

It's a little late for this year, however macro shots you take this Christmas can be used on cards you send out next year.