Photography News

Federal authorities have charged hundreds of people for flying drones too close to FIFA World Cup sites, and some of them were not even filming the tournament. One pilot got footage of a church, another was shooting for a real estate business, and both ended up facing federal charges.

 

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Waterfalls, the pools of water in front of them and streams will always be popular photographic subjects but just because everyone's taking photos of these photogenic landscape spots doesn't mean all of your shots have to be the same as the next photographer who comes along. With this in mind, let us share a few tips with you on how to shoot waterfall shots that have a bit of a twist. 

 

1. Capture More Close-Up Shots

 

Instead of capturing the whole scene why not focus on a small area of the waterfall. Focus on movement and colour rather than a landscape as a whole or use rocks that cause smaller cascades further downstream to fill your images with sharp shapes that contrast well against the smooth flow of water.  

 

2. Use Fast Shutter Speeds

 

When you think of waterfall images the shot of silky water cascading down rocks probably springs to-mind but there's no reason why you can't switch this around and capture a sense of motion and power. If you're working in aperture priority you can set a wide aperture (f/2.8 - 4) to get the quicker shutter speeds you need. You can also bump up your ISO to gain a faster shutter speed. To freeze movement you have to set a fast enough shutter speed to prevent the subject’s movement blurring as it moves across the sensor. What shutter speed you need will change depending on how fast the water is moving so experimentation is key but keeping the speed under one second should be a good starting point.

 

3. Go Abstract - Shoot Bubbles

 

At the foot of the waterfall or even further downstream you'll find water bubbles that can be captured and turned into abstract pieces for your wall. Please take care on slippery rocks and obviously take care of your kit. Remember to wipe it down after use and unless you are using a camera which is weather-resistant try not to stand in a spot where the spray will be a problem. Shoot plenty with fast shutter speeds and focus manually. For more tips on this subject, have a read of this: Why And How To Shoot Creative Abstract Photos Of Water Bubbles

Further downstream the currents of bubbles can be turned into spirals that decorate the surface of the water when shot with longer shutter speeds but try to not make the shutter speed too long as this will add too much blur and you'll lose definition. 

 

4. Head Out On 'Bad' Weather Days

 

Most of us aren't fans of rain and cloudy days but after a shower, foliage appears more vibrant and it'll help your image to really 'pop'. The contrast will be lower too which makes it easier to get the shot you want without having to worry about bracketing. Later in the year when frost and ice begin to make an appearance, you'll be able to capture shots with icicles decorating banks and if it's really cold, the waterfall may be frozen all together giving you the opportunity to capture a waterfall shot that's certainly different from the norm. Just remember to be careful when walking at the side of streams and rivers as surfaces will be slippery. 

 

5. Do A Black & White Conversion 

 

If you think your shot is lacking punch, apply a black & white conversion and you may be surprised with the results. The cascade of water will really stand out against darker, wet rocks and foliage, plus a black and white conversion can often add mood to a waterfall shot that wasn't there in the colour version. 

 

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

The FAA has proposed a rule that would let power plants, dams, refineries, and other "critical infrastructure" sites ask to have the airspace above them closed to drones. By the agency's own estimate, roughly 125,000 facilities could qualify to ask. Almost no one has said anything about it — 578 public comments as of July 13 — and the window closes August 5. 

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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 AndyPedant (Day 12 - 'Signs).

 

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 9

Skyscrapers

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Day 10

'Fast' Theme

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Day 11

Vertical Lines

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Day 13

'Out Of Focus'

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  Day 14

Summer Trees

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Day 15

Street Photography

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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.

© Benro

 

Benro has unveiled a new range of support accessories designed to maximise the performance and stability of its aluminium and carbon fibre tripods and monopods. Arriving in the UK in August 2026, the launch features two comprehensive 30-piece precision shim kits for easy gear servicing, alongside three sets of interchangeable rubber and stainless steel spiked feet built to handle everything from smooth studio floors to rugged outdoor terrain.

 

From Benro:

Benro introduces a new range of support accessories designed to keep tripods and monopods performing at their best across every shooting environment. The launch comprises two precision shim kits and three sets of interchangeable feet, giving photographers and videographers a simple way to service, customise and adapt their Benro gear.

 

ALS001 & CFS001 Shim Kits

Designed for the range of current Benro aluminium and carbon fibre tripods and monopods, but excludes Cyanbird and Blackbird, the ALS001 Aluminium Shim Kit and CFS001 Carbon Fibre Shim Kit include shims for every leg and leg-section configuration. Each kit contains 30 shims covering all required sizes – not every shim is used on every model, so leftover shims may remain after servicing. A Shims & Feet Compatibility List is available for dealers / retail allowing them to show clearly which products work with each option.

 

Interchangeable Rubber & Spiked Feet

Benro’s interchangeable feet improve stability, traction and adaptability while maintaining compatibility across multiple tripod series. The RF002 Rubber Feet (3/8″) are designed for 2, 3 and 4 Series tripods, improving grip on smooth indoor surfaces while helping protect floors. The RF001 Rubber Feet (M8 thread) suit 0 and 1 Series tripods with smaller leg diameters. For the outdoors, the SF001 Stainless Steel Spiked Feet (3/8″-16) dig into dirt, grass, ice and uneven terrain to deliver maximum stability on location. All feet are supplied as sets of three.

“These accessories give dealers and customers an easy way to keep Benro tripods and monopods in peak condition and ready for any surface – from studio floors to rugged outdoor terrain.” said Helen Gibbs Benro Marketing Manager

 

Key Features

• Interchangeable feet let tripods adapt to different shooting surfaces
• Rubber feet improve traction and protect indoor flooring
• Spiked feet provide superior grip outdoors and on uneven ground
• Shim kits cover every leg and leg-section configuration (30 shims per kit)
• Multiple thread options support compatibility across Benro tripod series
• Shims & Feet Compatibility List included to simplify dealer and customer selection

 

Pricing (inc. VAT)

• ALS001 – Benro Shims for Aluminium Tripods – £10.00
• CFS001 – Benro Shims for Carbon Fibre Tripods – £10.00
• RF001 – Benro #0 Rubber Feet (M8, set of 3) – £10.00
• RF002 – Benro #1 Rubber Feet (3/8″, set of 3) – £15.00
• SF001 – Benro Stainless Steel Spiked Feet (set of 3) – £15.00

 

Availability: UK stock expected August 2026. Consumer and website launch 5th August 2026.

For more information, please visit Benro's website.

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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 dke (Day 29 - 'The Colour 'Red').

 

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 24

Battle Re-Enactment

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Day 25

Twilight Photography

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Day 26

Travel Portraits

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Day 27

Living Museums

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  Day 28

City Night Shots

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Day 30

Coastal Close-Ups

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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.

  1. What Gear Is Needed? 

If you plan on taking your none-waterproof camera underwater you'll want to fix a wide-angle or even fisheye lens to it and secure it in a waterproof housing. There are also several waterproof compacts available which don't need housing as they're designed to survive a swim to certain depths.

 

2. How Well Do You Know Your Camera? 

Finding and changing your camera's settings underwater, particularly if your camera's in a waterproof housing, can be really hard work so if you don't want to miss a shot, set your camera up before you put the camera in the water. Fish move quickly, too so if you're fiddling about with your camera, chances are you'll miss the opportunity to capture your shot. Once you've taken your photos do remember your camera, even if it is waterproof, isn't a great fan of saltwater so wipe and dry it down.

 

3. What Are The Weather/Conditions Like? 

You need water that's clear as possible so avoid underwater photography on choppy days when visibility can be poor due to sand and other debris getting churned around in the swell. Light's less even and there's not that much of it underwater so you'll need higher ISOs and wider apertures. You'll also want to put as little distance between you are your subject as you can, otherwise, you'll have blurry shots where you can't make out if you've captured a fish or a piece of seaweed. Water has a habit of refracting light which can mean your subject appears closer and larger than it really is, too.

 

4. Is It Possible To Shoot Near The Surface?

If you can work closer to the surface do as colours are more vibrant as light is less diffused and the reflections on it, like when working above water, can add extra interest to your underwater shots. When you do venture into deeper water do remember to secure your camera correctly, after all, you don't want to watch it sink away from you.

 

 

5. Is Flash Needed? 

You can use your camera's built-in flash to add more light to your shot but it won't work if you're not working close to your subject as it'll light up any tiny pieces of matter floating around which can cause blob-like shapes to appear around your image. Instead of using the built-in flash try taking a more powerful strobe underwater with you as you can move these around the scene so the blobs of light won't make an appearance. You'll also be able to create different effects, adding more light to some areas and creating shadows in others.

Unless you're close to the surface where it's a little lighter, you'll most likely need flash to freeze the movement of the fish and plants you're photographing. Flash is also handy when you're taking a macro shot of coral.

 

6. Are White Balance Adjustments Needed? 

Unless you change your white balance your underwater shots will have the familiar blue/green cast to them. Adding flash can help remove it but the best way to control it is by manually setting the white balance. All you have to do is take a reading off something light and when you alter your depth, take another reading as variables change.

 

7. Is There A Method For Approaching Fish Without Scaring Them? 

If you have the time to learn a little about the fish species that will be around the place you're visiting do as knowing which species will be more willing for you to get close and understanding the behaviour of the more shy species will help you produce more, frame-filling, interesting results.

If you didn't plan on venturing out under the waves just move in gradually when you spot a fish you'd like to photograph and see how it reacts to you. Don't suddenly start flapping your arms or kicking your legs though as this will just cause them to turn around and head to safety. The bubbles you make from breathing out can also scare them but we're not suggesting you hold your breath! Just try and breath out in a different direction to where the fish is. Weights and a buoyancy compensator can help you keep still but these are generally used by more serious underwater photographers.

 

8. What About Backgrounds? 

Where possible, keep the background plain and clutter-free after all, a lot of creatures are designed to camouflage with their surroundings but you don't want your friends to be playing 'spot the underwater creature' when you show them your shots. The best plain background you'll find is the huge amount of water above your head. To get it in shot simple shoot from a low angle. This will also help your subject look more dominant.

 

For more hints and tips, have a look at our complete guide to underwater photography.

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

© Benro

 

Benro has introduced the MSD36CB SupaDupa Black Diamond, a carbon fibre monopod designed for photographers and videographers who want smooth motion, quick adjustments, and reliable support in a lighter, travel-friendly package. It features a 6‑section build that reaches 165cm yet folds down to 42cm, a rotating foot with a bearing for fluid pans, and a 40kg load capacity at just 0.50kg.

 

From Benro

Benro introduces the MSD36CB SupaDupa Black Diamond, a carbon fibre monopod engineered for shooters who need durability, speed and fluid movement in a compact, travel-ready design. Slightly slimmer and shorter than larger models in the lineup, it delivers professional strength and handling without unnecessary bulk – supporting payloads up to 40kg while weighing just 0.50kg.

 

Fast, One-Handed Control

Featuring all-metal twist locks paired with a CNC-machined aluminium flip lock, the MSD36CB allows fast, one-handed height adjustments while shooting. Its compact 6-section design extends to a full 165cm (65.7 inches) for comfortable tracking without stooping, yet collapses down to just 42cm (16.5 inches) for easy transport.

 

© Benro

 

Smooth Panning, Anywhere

At the base, a rotating rubber foot with a built-in V-shaped bearing enables smooth, gliding pans without lifting the monopod. For uneven or outdoor terrain, the foot can be swapped with the included spike foot.

“This is a monopod for photographers and videographers who move fast and shoot on the go. It delivers smooth motion, quick adjustments and reliable support in a lighter, more portable package – so you can stay focused on capturing the moment, not fighting your gear.” said Helen Gibbs, Benro Marketing Manager.

 

Key Features

• Carbon fibre construction – lightweight, rigid and strong enough for heavy camera and lens setups
• Compact yet capable – 165cm (65.7″) maximum height, 42cm (16.5″) folded length
• Fast, one-handed adjustments via a CNC-machined aluminium flip lock and all-metal twist locks
• Smooth panning from the bearing-equipped rubber foot, with a spike foot included for outdoor use
• 40kg load capacity at just 0.50kg – rugged build designed for frequent, demanding use

 

Pricing & Availability

The Benro MSD36CB SupaDupa Black Diamond is priced at £150.00 (inclusive of VAT). UK stock is expected to arrive in August 2026, with the official consumer and website launch scheduled for 5th August 2026.

Fore more information, please visit Benro's website.

Every desk has one ugly corner: the gray knot of chargers and power bricks that no cable management ever truly tames. The Anker Nano Power Strip (10-in-1, 70W, Clamp) clamps to your desk edge and swallows that knot whole, and after a month running my entire charging setup off it, I'm not going back. 

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Camera gear discounts move fast, and this week has a strong spread of them: a do-everything Tamron superzoom, three phone gimbals and two wireless mic kits from DJI, a pocketable Panasonic full frame body, a compact Canon vlogging camera, and a two-pack of GaN chargers to keep it all running. Here's what's worth your attention right now. 

Tamron 50-400mm f/4.5-6.3 Di III VC VXD — $1,044.95 ($254 Off) 

The Tamron 50-400mm f/4.5-6.3 Di III VC VXD is down to $1,044.95 for Sony E-mount, $254 off its $1,299 list price.

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Landscape photography in the summer can be frustrating, especially when shooting woodlands and forests. The forest is thick with green foliage, and parts of the bright blue sky shine through the canopy, creating hotspots in your image. But surely landscape photographers don't stow their cameras away for six months every year, so there must be an alternative?

 

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There's a fairly common way to begin a piece about two photographers: describing when they met. This isn't that kind of story. Between Luigi Ghirri and Claude Nori, there's no iconic image shared together, no textbook foundational episode, not even the certainty that they ever needed to truly define their relationship.

 

And yet, between Italy and France, between silent suburbs and summer memories, something rarer than a collaboration was built: a similarity of gaze. It's as if two people, without speaking much, had decided to answer the same question.

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Photoshop's Camera Raw keeps getting features that Lightroom users have been waiting years for, and the gap between the two is worth watching. If you organize in one program and edit in another, the question of whether you should mix them has a clear answer. 

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The pixel stretch effect looks like something out of a high-end ad campaign, yet it comes down to a handful of clicks in Photoshop. If you've ever wanted to add motion, energy, or a graphic edge to a portrait or product shot, this technique gets you there in minutes. 

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Most photography advice tells you to learn more, shoot in manual, and chase the perfect trip. Doing the opposite of all three might improve your work faster than any tutorial ever could. 

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A man with more than 100,000 Instagram followers who filmed himself lifting a stranger into the air outside a nightclub, exposing her underwear on camera, has been ordered to pay $20,000 for posting the footage without her consent. A B.C. tribunal decided the clips counted as intimate images even though the man said he was just chasing views.

 

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1. Sit Down

Be it on the floor, or on a seat, sitting immediately gives you a lower perspective and therefore new photo opportunities. Trees and people, for example, can tower over you when sat down for that overbearing feel. Often photographing children look more natural from a seated position too, as you're at their level rather than shooting down on them.

 

 

2. Go Out To Sea

While on your travels, if you have a waterproof camera try turning round to face the beach. If you don't fancy getting wet, just walk towards the water and stand at the edge, shooting up the beach rather than out to sea as most people do. You could also get on a boat of some sort and see what spectacular pictures of the coast you can get while out there. An organised boat trip will also give you a fantastic opportunity to capture some amazing wildlife photos while you're at it, too. If you do head out to sea, taking a weather-resistant camera will mean it's protected against sea spray but do remember to wipe your kit down once back home to remove any residue. Here are some more tutorials on photographing the sea.

 

3. Climb Up High

Head for the nearest tower or hill to get a stunning view of a town or landscape below you. Night vistas of cities work well as do misty mornings in the countryside where valleys are filled with fog and only the peaks above can be seen. To give your shot even more impact, capture a panorama, a topic discussed further down the page. If landscape photography takes your fancy, then here are 10 Quick Landscape Photograph Tips.

 

4. Take A Stepladder Out

It might sound silly but if you're trying to take photos at a busy event where there's a big crowd, you'll be able to shoot above them. It will help you avoid getting people's heads in shots and give you a great opportunity to get a general overview of the scene. A stepladder will also get you closer to items that are slightly too high for you to shoot from the ground and offer a slightly alternative angle to everyday objects that are shot straight-on most of the time.

  5. Go Underwater

If you have the right equipment, shooting underwater is well worth a try. You don't even have to go diving, you could simply buy an underwater camera and have a go in a pool or at the beach in shallower water. This is a fun one for kids to have a go at, too. 

 

  6. Hold Your Camera Up High

The easiest way to change your view is by simply holding the camera up above you to give you a different perspective of the scene. Cameras with a tiltable screen let you see everything comfortably when you shoot - even from very high angles. 
 

7. Go Wide

Why settle for a standard 4 x 6 shot when you can shoot a panorama? With built-in panorama modes, it's now easier than ever to take these wider shots. All you have to do is select the Panorama Mode and sweep your camera in the direction you want to create your panorama. The camera then stitches the images together so you have a sweeping shot of the scene you're shooting.
 

  8. Lie Down

Again, this can get you some funny looks but it's worth it as you'll get an ant's eye view that can give surprisingly good photographic results. Use a small aperture to maximise depth of field and keep an eye on your exposure if you're including the sky in your shot. This position is also great for macro and close-up shots of insects and plants, and any other small items on the ground.

  9. Shoot From Under/Below Things

This involves positioning your camera so it's low to the ground but facing up towards the sky. This can produce some great images of flowers, for example, as it makes it look like they're leaning over your lens and provides a unique opportunity to get a lot of sky in the picture too.

  10. Use Reflections

Reflections can be great tools for changing perspective. As well as the obvious choices such as landscapes reflected in mirror-like lakes, look for puddles you can reflect people with umbrellas in, new buildings made of glass which can reflect slightly older structures and more abstract shots when the winds blowing so the water's surface isn't still.

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

© Johanna Alarcón

 

The Marilyn Stafford FotoReportage Award has named its 2026 winner as it celebrates a decade of supporting powerful documentary photography. This year the award goes to the project When the Earth Gives Birth, which explores Indigenous midwifery in Ecuador. By documenting maternal healthcare, cultural resilience, and community solutions, the project highlights how these stories confront inequality and protect ancestral knowledge through compelling visual storytelling. Managed by FotoDocument and supported by Nikon Europe, the award continues to champion narratives that spark meaningful change.

 

From NIKON:

Photographer Johanna Alarcón has been awarded the prestigious Marilyn Stafford FotoReportage Award for 2026, for her photo essay When the Earth Gives Birth. The winning project documents Indigenous maternal healthcare in Ecuador through the stories of midwives, apprentices, and patients from AMUPAKIN and Partera di Anaku - the first Indigenous midwifery schools and hospitals in the Amazon and Andes.

The Marilyn Stafford FotoReportage Award, facilitated by FotoDocument and supported by Nikon Europe, is celebrating its 10th edition. To mark the occasion, there will be a special event taking place from 18–20 September at POST, Brighton & Hove's new centre for photography and film. The programme will feature a retrospective display showcasing highlights from the past decade of winning projects, including an exhibition of work by the 2026 Award Winner, Johanna Alarcón, accompanied by an Artist Talk.

When the Earth Gives Birth documents midwifery as a response to maternal healthcare inequalities, racial discrimination, land dispossession, and the loss of ancestral knowledge across Ecuador. The project highlights Indigenous-led solutions as acts of reproductive sovereignty, cultural preservation, territorial defense, and resistance, offering globally relevant models for women's, children's, and Indigenous rights.

"It is with great joy that we announce that the 2026 Marilyn Stafford FotoReportage Award goes to Johanna Alarcón, says Nina Emett, FotoDocument founder, MSFA juror "The entire shortlist deserves recognition, and we are delighted to have awarded several Honourable Mentions. Johanna's work stood out for the strength of its imagery, the original approach to storytelling, the under-reported subject, and her commitment to creating meaningful impact through close collaboration with grassroots Indigenous organisations. We are very proud to support the continued development of this remarkable body of work."

Ruby Nicholson, Senior Communications Manager for Nikon Northern Europe, says: "Nikon is proud to support the Marilyn Stafford FotoReportage Award – now in its tenth year – which champions photographers creating impactful, solutions-focused stories. Johanna Alarcón's inspiring work shines a light on Indigenous women's resilience and the preservation of vital cultural knowledge, and exemplifies the kind of storytelling we are committed to supporting. We celebrate her dedication and look forward to seeing her project spark meaningful conversations worldwide."

On receiving the award, Johanna Alarcón says: "Thank you FotoDocument and Nikon - I receive this award with the deep joy of knowing that what I love most co-exists - photography, motherhood, and spirituality - coming together in this project to give birth to an intimate story about the work of women and Indigenous peoples to sustain life in a context that destroys it.

Motherhood transformed the way I understand everything. The rage in the face of obstetric violence, the fear of loss, the feeling of not being heard. Becoming a mother taught me that the body, like the land, holds a memory that knows no borders and whose rights are constantly under threat. But it also gave me the love of an army of women who sustain life.

My deepest thanks also go to the communities and organizations AMUPAKIN and Partera di Anaku for opening their doors to this story, and to the Ayün Fotógrafas collective, with whom we began this collective project on access to maternal healthcare in Latin America with the support of Eco Vist Projects and Plena Productions. Thanks for believing in me. Onward we go!"

 

 

Johanna Alarcón - An Ecuadorian independent visual storyteller and educator, Johanna Alarcón (1992) is a National Geographic Explorer, World Press Photo Award winner, CatchLight Global Fellow, Magnum Foundation Fellow, and is a member of Ayün Fotógrafas. Her practice is rooted in long-term collaborative processes that explore collective memory, spirituality, and the relationship between community and territory. Her work seeks to challenge stereotypes and the enduring effects of colonial structures, focusing on the experiences of women, Indigenous peoples, Afro-descendant communities, and incarcerated populations. Through intimate and community-centered narratives, she explores resilience, memory and humanity.

 

HONOURABLE MENTIONS

• Ana Caroline de Lima
• Natela Grigalashvili
• Ranita Roy

 

SHORTLIST

• Ana Caroline de Lima
• Birte Kaufman
• Ginevra Bonina
• Johanna Alarcón
• Laura Pannack
• Lea Greub
• Natela Grigalashvili
• Ranita Roy
• Sara Swaty
• Valeria Luongo

 

For more information, please visit the Marilyn Stafford Photography website.

 

 

Manfrotto is renowned as the market leader when it comes to premium quality camera and video support with its extensive range of tripods, monopods, lighting stands and heads. June 2025 saw the introduction of the Manfrotto ONE Hybrid tripod, its innovative design concept aimed at photo and video creators. Its XTEND leg locks allowed fast set-up, there was an integrated head levelling mechanism and heads could be swapped quickly and securely with its XCHANGE system. Add the option of aluminium or carbon-fibre legs and the Manfrotto ONE Hybrid is a support for the busy content creator.

A year on, the Manfrotto ONE Photo has been unveiled. Sharing the same build quality and taking key features such as the XTEND leg locks from the Hybrid, the ONE Photo is targeted at still photographers who demand high level stability but without compromising set-up speed and versatility.

 

Quick Verdict

The ONE Photo is a beautifully engineered and thoughtfully designed tripod, which is no more than you would expect from Manfrotto, the master of imaging supports. Deployment is rapid thanks to the XTEND leg locks, the Q90 mechanism adds extra versatility and rigidity is incredibly impressive.

 

+ Pros

• Large, easy to use XTEND leg locks
• Quick deployment even when wearing gloves
• Very, very stable
• Good maximum working height
• Q90 mechanism
• Legs splay for super-low shooting
• XCHANGE system useful for hybrid shooters

 

- Cons

• Weight – not ideal for travelling or for long walks 
• Aluminium option only
• No case or carrying strap supplied

 

 

 

Grip and twist the ONE’s spider when it’s set up and there is barely any movement. It’s impressively sturdy.

 

Manfrotto ONE Key Features & specifications

• Three leg sections
• Aluminium legs
• 20°, 50°, 81.5° leg angles
• XTEND flip leg locks
• Max height 164cm, with XPRO Ball head 175.4cm 
• Max height (centre column down) 134cm, with XPRO Ball head 145.4cm
• One bubble level
• Min height 10cm
• Closed length 65.5cm, with XPRO Ball head 76.8cm
• 12kg payload 
• 7kg payload with Q90 used
• Easy Link compatible
• Rubber or spiked feet
• Legs only weigh 3.1kg, with XPRO Ball head 3.6kg
• Manfrotto.com

 

Manfrotto ONE Photo Features

The Manfrotto ONE Photo is a tripod designed for fast set-up but without compromising stability and versatility. It’s common for tripod legs to have a round profile but the ONE Photo is different, and its aluminium legs have been designed with maximum stiffness and rigidity in mind. Another innovation is the XTEND leg lock mechanism which deploys and locks all leg sections in one action. At the end of each leg, there is the option of rubber and spiked feet.

The ONE Photo is equipped with Manfrotto’s Q90 mechanism which means the centre column can be quickly reconfigured to give a shooting down (or up) position so ideal for flatlays, still-life and macro work. Used in this manner, the maximum payload rating is 7kg so no problem with heavy camera/lens combinations.

This tripod’s legs can be set to three angles including 81.5° which means it’s possible to achieve a low camera position. With the column set at right angles using the Q90 mechanism and the XPRO Ball head fitted, the camera platform in horizontal alignment was just 18cm off the ground. The centre column is one section and while it can be removed, there is no short column option currently available.

At the other extreme, the ONE Photo with the XPRO Ball head reaches a very useful camera platform height of 145cm with the centre column down and 175cm with the centre column extended. Camera steadiness remains impressive even with the centre column fully up.

 

 

The ONE Photo boasts Manfrotto’s Q90 feature making overhead (astro, architecture) or downward (flatlays, macro) shooting easy.

 

A key point of difference between the ONE Hybrid and the ONE Photo is that the latter does not have the integrated quick release XCHANGE mechanism which allows quick head swapping. However, that function is available with the XCHANGE Quick Release System which costs £39 and comes with a quick release plate. For head swapping, you will need an extra release plate for the second head and that costs £15.95. 

 

Removing the rubber feet, which takes a little effort, reveals small, spiked feet.

 

Set-up technique one: Hold the tripod at the required height, with or without the camera mounted, splay the legs if you prefer, release the leg locks and each leg will drop down into position. Lock the legs and you’re ready to shoot.

 

Set-up technique two: rest the ONE on the ground, release the XTEND locks and lift the camera or tripod head to the required height. The legs stay in place as you do this, so lock the legs and you’re done.

  Manfrotto ONE Photo Handling and performance

To set-up a traditional tripod means operating the twist-grips or lever leg locks, pulling out the legs to give the required height and then tightening each lock in turn. It’s a way of working that has proved itself over time. With the XTEND system, you need to revise your approach because if you grip the tripod and unlock the legs as you would normally, the legs just slide out and you have no control. 

With the ONE Photo, I found two ways of working. One was to hold the tripod at the required height with the legs splayed and then open the XTEND locks. The legs just slide out thanks to gravity, and you just lock them in place. The other option is to put the ONE on the ground with the legs open, undo the XTEND locks and lift the camera or tripod head to the required height before locking the legs. Both methods work well and are much faster than the traditional method. Fine-tuning leg length to level the tripod is equally quick and easy.

Once deployed, the ONE Photo is solid. Gripping a tripod’s spider and firmly twisting it usually reveals a degree of movement or whip on most models but doing the same with the ONE Photo shows barely any flex even with the tripod fully extended.

For this review, the ONE Photo came with the XPRO Ball head in the box, but I also got the XPRO 3-way head for this review, so I got the chance to try head swapping with the XCHANGE system. I found it worked well and the automated locking action was reliable and secure and the process can even be done single-handed if you need to. 

Swap tripod heads quickly and safely with the XCHANGE system. The inset image shows the locking flanges of the XCHANGE head more clearly.

 

The XCHANGE base simply screws on to the tripod’s 3/8in thread and the plate screws onto the head. To mount the head, just offer it up to the base and push down, and the locking mechanism of the XCHANGE base automatically activates to secure the head. To remove the head, slide the locking lever, rotate the base anticlockwise and the head lifts from the base. 

To test stability, I tried the ONE Photo with a Sony A1 II and 400-800mm zoom, a combination that weighs in at 3.2kg, and a Fujifilm GFX100S with a 100-200mm zoom. The latter weighs around 2kg, so well within the payload capacity of this tripod. But fitted with a filter system, this combination is very susceptible to wind judder and camera shake during long exposures is a serious risk on mildly breezy days even when fixed to a high-end carbon fibre tripod with a pro standard ball head. 

I took shots on both including a couple of four minute exposures on the Fujifilm mounted on the ONE Photo at its full standing height with the centre column down. To be fair, during those long exposures, the summer breeze wasn’t too stiff, but I had no problem getting perfectly sharp shots.

 

The XTEND flip leg locks are big making them easy to grip even if you’re wearing gloves and are reassuringly positive in use.

 

Value for money

Manfrotto has an extensive line-up of tripods, and the ONE Photo is one of the more expensive photo models in the range. However, given the tripod’s build quality, slick handling and versatility, I’d rate it as very good value for money. If you already own a good quality head, the ONE Photo legs costs £269, which is a very respectable price for a tripod of this quality. If you prefer, the ONE Photo is available with either the XPRO 3-Way head or the XPRO Ball head, both at £399.

Of course, this high level of stability and rigidness comes at a price and in this case, it’s weight and the ONE Photo with XPRO Ball head is a little over 3.6kg, which lessens its appeal as a location or travel tripod.

The Manfrotto ONE Photo is a first-rate and versatile tripod.

 

Manfrotto ONE Photo Verdict

The Manfrotto ONE Photo is a seriously substantial piece of kit and not one for the half-hearted tripod user. However, if your photography demands ultimate stability and you want to squeeze every last drop of quality from your high megapixel camera and expensive lenses, the ONE Photo is in a league of its own. Not only is the ONE Photo a rock-solid camera support, its XTEND locking legs make it quick to deploy and Q90 column mechanism opens up more photo opportunities. On the downside, it’s weighty and big so more suited to home or studio use, or if you’re working close to the car.

The XCHANGE system is worth a mention too. It works well and speeds up head swapping without compromising security, so if you do need to move from a photo set-up to a video one quickly, this device does the job reliably.

 

The Manfrotto ONE Photo comes as legs only or with the XPRO 3-Way head (left) or XPRO Ball head for £399.

 

Manfrotto ONE Photo Pros

• Large, easy to use XTEND leg locks
• Quick deployment even when wearing gloves
• Very, very stable
• Good maximum working height
• Q90 mechanism
• Legs splay for super-low shooting
• XCHANGE system useful for hybrid shooters

 

Manfrotto ONE Photo Cons

• Weight – not ideal for travelling or for long walks 
• Aluminium option only
• No case or carrying strap supplied

 

 

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Going on holiday with your family and your camera isn't the same as going on a photographic holiday. So here are a few tips on how you can still go out and enjoy your photography but keep the peace with your family at the same time:

 

1. Pick The Right Gear

A DSLR and a variety of lenses packed in a case are OK for photographic holidays but it can get a little heavy when you're heading out with bags of sun cream, hats, buckets and spades, too. If you want to use a DSLR try fitting a zoom lens that gives you a variety of focal lengths in one lens or pocket a compact or mirrorless camera so you can still capture the shots you want but in a less obtrusive way. Point-and-shoot cameras are easier to pack too as they don't take up too much room and many can fit in a pocket so can be accessed quickly if needs be.

 

2. Balance Your Time

Just because you're on holiday with your family doesn't mean you can't enjoy a few hours here and there taking photographs. It helps if you have an understanding partner, friends or whoever is travelling with you, as they can watch the children for half an hour while you take your photos. Try heading out while everyone else is still sleeping at sunrise, for example, but don't get too carried away with your photo taking as, after all, you're on a family holiday and not a photographic one.

 

3. Allocate Time

Set yourself certain times to go and enjoy your photography. Plan these into the trip so your family know about them to save arguments and set time restraints so you don't find yourself vanishing for a day with your camera. By doing so, you'll find you'll think more about what and how you're going to photograph your chosen subject and your hobby will also annoy your family less.

 

 

4. Have A Plan

Doing your research and making a plan will mean you can put the locations and subjects that really interest you at the top of your 'to do' list. Then if you have to forget about some of your lists, you'll have the important ones, hopefully, already in the bag. Having ideas on what angles work, what don't and what time of day your chosen location looks its best will stop you making wasted journeys and using the time that you could have spent playing around in the pool or on the beach.

 

5. Visit Places You All Want To Go

A little bit of compromise goes a long way so if you want to go on some day trips, pick ones which you'll all enjoy. That way you'll be able to go out and take some photos while the rest of the family will still be entertained.

 

 

6. Get Your Family Involved

See if you can get them taking photographs with you and if that fails, make them your main subject for most of your shots. This doesn't mean you have to pose them all the time though.

 

7. Be More Relaxed About Your Photography

You'll probably find that the process of you putting a tripod up then working out every setting to make sure your shot's as perfect as it can be is what your family get bored of waiting around for so instead of always worrying about everything having to be just right, work a little off the cuff to get fewer complaints. Try shooting from the hip or instead of posing your family every time you want to photograph them, shoot some candids of them eating ice cream and playing in the sand. By working more spontaneously, you'll probably find you'll have fewer complaints.

 

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