Photography News

 

The beauty with photography is you're not restricted with how you can take a photograph. You can play with as many lights as you can afford, add filters, gels and play with numerous other gadgets to alter the look of your photograph. But even though there are all these toys waiting to be played with, one of the simplest ways to change the way your image looks is to get up high.
 

1. Gear Choices

A telephoto lens is useful for pulling distant scenes to you while a wide lens is great when you're trying to get a whole town/city in the shot. A tripod's also handy if you're using longer lenses but not always a necessity and they won't be allowed in some locations. If shooting at night, a camera with good low-light capabilities will come in handy. 

  2. Locations

Don't look for your nearest skyscraper, get in a lift, ride to the top floor and start snapping shots of the city. You'll cause more trouble than it's worth, and there are plenty of other places that don't have huge panes of glass between you and the view.

If you're away you probably have a balcony you can get a few shots from or if your hotel has a roof terrace head up there with your kit and set up somewhere out of the way. Just ask if it's OK to do this first otherwise you could raise a few eyebrows. Look out for observation decks, bridges and even the big wheels that are popping up in cities. These usually take an hour to complete a full circle giving you ample time to get a few cracking shots.

 

3. New Look

Shooting straight down on a building that's been photographed hundreds and hundreds of time will instantly make your shot stand out and it will give you the opportunity to include the nearby streets to highlight the shapes and patterns not usually seen. You'll also be able to see how shadows are elongated and help add texture to your image. If you're not far enough away from the town/city all the buildings could appear to be all on the same level so you'll have nothing that distinguishes between foreground or background interest. To combat this problem look for something you can have in your foreground to help break up the shot.

 

 

4. Not So High

If heights aren't your thing why not try climbing a few steps or even standing on a wall to escape the standard view we usually see in shots. Looking over the bannister of a spiral staircase, for example, works well but it is something that's overdone and a little clichéd so be warned. Try taking a walk up a hill in the countryside near a city and you'll be able to shoot down to capture a cityscape.
 

5. Close-Up Work

Look out for buildings which stand out and use your telephoto lens to home in on them. These could be well-known landmarks, churches or even football stadiums.
 

6. Keep Your Feet On The Ground

If you want a series bird's eye view why not try a spot of kite photography? Some have even tried throwing their camera up in the air to put a unique twist on photography from a height. Although, this isn't something we'd recommend doing! 

   

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When Canon barred outsiders from its RF mount, critics cried “anti-consumer” and predicted disaster. Instead, the company built a fortress that turned outrage into dominance.

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© OM SYSTEM

 

OM Digital Solutions Corporation has announced the release of the M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO. Designed in full compliance with the Micro Four Thirds System standard, this model proudly joins the OMSYSTEM line of imaging products.

This large-diameter super telephoto zoom lens features a constant F2.8 aperture throughout the zoom range with a 100-400mm equivalent focal length that goes up to 800mm equivalent1 (when using the M.ZUIKO DIGITAL 2x Teleconverter MC-20), offering truly unique photographic experiences.

This model delivers excellent resolution across the entire zoom range that only the PRO series and its culmination of cutting-edge optical technologies can provide. It is compatible with 5-axis sync IS (up to 7.0 steps2 of compensation) for powerful support during handheld super telephoto shooting. With a maximum image magnification of 0.5x equivalent1, it also offers superb close-up photography capabilities. This high-performance super telephoto zoom lens is designed to meet the demands of photographers across a wide range of genres, from sweeping natural landscapes to fast-moving birds, elusive wildlife to detailed macro shooting. This lens is sold on order basis.

 

Key Features of the M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO:

• One-of-a-kind high image quality, large-diameter super telephoto zoom lens offering 100-400mm, F2.8 equivalent with the lens alone, and up to 800mm, F5.6 equivalent when using the 2x teleconverter
• 5-axis sync IS for easy handheld shooting with up to 7.0 steps of shutter speed compensation
• Excellent reliability and operation that supports shooting even in harsh natural environments

 

© OM SYSTEM

 

At OM SYSTEM, we have always been a pioneer in optical design. From the beginning, M.ZUIKO lenses have symbolized precision, quality, and reliability. With a heritage dating back to 1936, we continue to innovate for the photographers of tomorrow. The M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO is a true innovation, offering unmatched range, speed, and portability across a vast array of photographic genres.

 

Pricing & Availability for M.ZUIKO DIGITAL ED 50-200MM F2.8 IS PRO:

The M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO will be available from 6th October 2025, at a suggested retail price of £2,999

For more information, please visit the OM SYSTEM website.

A 135mm prime has always been a special tool for portrait work. With its compression, subject isolation, and ability to make even a plain background look elegant, it’s a focal length that many keep in their kit. The question today is whether a nearly 30-year-old design can still hold its ground against modern glass.

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The humble SD card might be one of the scariest points of failure for photographers. Consider your entire shoot stored on a fragile plastic wafer: what can you do to protect your images “in flight”? Lexar’s answer with the ARMOR GOLD is to ruggedize the SD card format to the max, armoring it in metal and eliminating points of failure. But does it still make for a good memory card?

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When you think about the focal length that defines your photography, it often changes over time. Switching systems, exploring new formats, or just rethinking how you see the world can push you toward different lenses. What once felt essential can suddenly feel limiting, and a new focal length can open up different ways of working.

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Adobe has made big changes to how its Generative AI credit system works, and if you use Lightroom or Photoshop often, you need to understand the details. Credits are required for most AI-powered tools, and how many you get depends on when you signed up for your plan, as the difference can be significant,

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The Leica MP may have been released in 2003, but it feels more relevant than ever. While new cameras and smartphones flood the market every year, a film body like this manages to stay useful long after the excitement of new tech fades. That longevity makes it worth a closer look if you care about the process of shooting as much as the results.

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It’s easy to lose track of how quickly new cameras come and go. In a digital era where product cycles last 12 months, photographer John P. Wineberg’s relationship with a single tool feels almost radical. In his recent vlog, “40 Years With This Camera!” he celebrates the Nikon FE2 and the 50mm f/1.8 lens he bought as a college student in 1985. His video is more than a gear chat; it’s a reflection on what happens when you spend decades with a single piece of equipment and how it shapes the way you see.

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If you're looking for lighting advice, be it for capturing portraits on a sunny day or shooting landscapes in summer, we probably have a tutorial to help you.

 

1. Five Top Tips On How To Control & Work With Natural Light

Natural light is often the only light available to us when we are out shooting. But far from being an untameable beast, there are several ways that you can control it to achieve your desired photo.

 

2. Photographing Low Light Portraits

Working with just one light, or indeed natural light at dusk, is a great way to create moody portraits that can be full of character. It's a perfect technique for shooting subjects who are a little older as low light can really exaggerate lines and wrinkles but don't let this put you off photographing low light portraits of younger members of your family.

 

3. Six Top Natural Light Portrait Tips For Beginners

Get back to basics and make the most of natural light by capturing portraits without flash or studio lights.

 

4. Five Top Tips On How To Use Window Light For Indoor Portraits

Daylight is free and it is wonderful for portrait work as not only is it flattering and photogenic but it's really easy to work with so it's a good place for beginners to start. You don't need a fancy studio, either, as you can pick a location outdoors or simply set-up next to a window in your own home.  

 

5. Three Top Tips On Using Fill-In Flash For Portraits

Fill-in flash can give images that extra bit of 'pop' they need as we explain in this article.

 

 

6. A Basic Introduction To Outdoor Photography: 4 Top Outdoor Lighting Tips

Light's an important tool for photographers and knowing how to make it work to your advantage when capturing photographs outdoors is essential.

 

7. How To Use Built-In Camera Flash Successfully

Flash can give images that extra bit of 'pop' they need and many cameras feature several flash modes for you to pick from so we're going to talk through the various modes available and how they work. 

 

8. Top Portrait Photography Tips That Use Just One Light

With just 1 studio light, the COOPH team demonstrate how you can create different/unique portraits by manipulating how the light falls to enhance portraits and, as a result, greatly improve your overall results. 

 

9. Three Top Tips On Controlling And Using Flare In Your Photos

If you've ever taken photographs with the sun in front of you, you're likely to have experience flare, which probably spoilt your photograph. However, there are several things you can do to remove it or if you're feeling creative, you can use it in your shots to add a little romanticism, mystery and warmth to your work.

 

10. Nine Portrait Photography Light Hacks In 90 Seconds

We've got 9 lighting hacks to share with you which you can use the next time you're capturing portraits.

 

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

Camera bag brands have been busy over the past year. With these two being among the popular roller camera bags, let’s talk about which one’s better for you.

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Sales Start Date: October 2025

Recommended Retail price: £2,199 (UK), €2,449 (ROI)

 

Nikon | RED extends the Z CINEMA line with the addition of the ZR full-frame cinema camera. Built for filmmakers and creators on the move, the ZR is the lightest all-in-one cinema camera around and punches well above its weight in cinematic power. Thanks to its 6K full-frame sensor, renowned RED colour science, large on-camera monitor, and internal 32-bit float audio, users shooting with the all-new ZR can nail stunning footage and clean sound without the need for external gear.

From carefully staged scenes to run-and-gun video footage, the ZR is the perfect tool for storytellers who want to elevate their video output. Up to 6K/60p in-camera recording and a full suite of professional video recording formats provide the flexibility to deliver for practically any platform or workflow. Standout features include an exclusive R3D NE codec, which brings renowned RED colour science to Nikon. Plus, the ZR boasts a Dual Base ISO of 800/6400 which maintains the sensor's 15+ stop dynamic range for maximum detail in highlights and shadows.

For agile set-ups, the ZR's 4-inch Vari-angle monitor is a huge asset. The large, bright display functions as an expansive control hub and it covers the DCI-P3 colour gamut for accurate on-set colour monitoring. Since the picture is only half the story, the ZR also makes its mark as the first camera in the world to offer internal 32-bit float audio recording. The dynamic range of 32-bit audio is so vast that levels won't need to be monitored constantly during filming: sound can be captured freely, and the levels adjusted in post without clipping.

Other professional ZR features include full weather sealing and vast lens choice thanks to compatibility with Nikon and third-party lenses. In addition, the ZR offers extensive system expandability, and Nikon's new ME-D10 digital shotgun mic covers rich directional audio capture in a wide range of recording environments.

Zurab Kiknadze, Product Manager, Nikon Europe says: "Today, we're raising the curtain on the first truly cinematic Nikon camera. Our collaboration with RED is bearing fruit, and the cinematic future looks bright!"

 

 

Summary of key features: ZR cinema camera

• Up to 6K/60p in-camera recording: flexible frame rates and resolutions. From cinematic 24p to 240p extreme slow motion. From richly detailed 6K to crisp, compact 1080p.
• Semi-stacked full-frame sensor: wide dynamic range and fast read-out speeds that effectively minimise rolling shutter distortion.
• Renowned RED colour science: an exclusive R3D NE codec from RED allows immense freedom in post and enables ZR footage to be matched with video shot on a RED camera system.
• Large, bright 4-inch Vari-angle touchscreen monitor: covers the DCI-P3 colour gamut and boasts a generous 16:10 display format. Functions are controlled with soft, quiet screen taps, and up to 10 3D LUTs can be loaded into the camera for viewing on the monitor while filming.
• Dual Base ISO of 800/6400: when shooting in Log3G10. The sensor's wide 15+ stop dynamic range is maintained at both base ISOs.
• In-camera 32-bit float audio recording: capture sound freely using the camera's internal mics, or a compatible external mic, and adjust the levels in post without clipping.
• Cinematic video modes and custom RED Picture Controls: 4 creative video modes and 9 custom RED presets for content with a cinematic look and feel straight out of the camera.
• Fast, intelligent AF: quick, accurate, reliable, and customisable. Intelligent subject detection and tracking, custom wide-area AF, and selectable AF speeds for smooth, repeatable focus transitions.
• 5-axis in-body image stabilisation: Nikon's sensor-shift Vibration Reduction keeps footage steady.
• Focus-breathing compensation: for smoother, more natural-looking transitions.
• Long recording times: an innovative body design efficiently and quietly dissipates heat.
• Light, tough: the ZR weighs approx. 540 g (body only) and is fully weather sealed.
• Z mount for flexibility in lens choice: attach any Nikkor Z lens, any Nikon F-mount lens, and a wide range of third-party lenses.
• Expandable: Nikon and partner brand accessories make it possible to put the ZR at the heart of an extensive video rig.
• New ME-D10 digital shotgun mic: compatible with the 32-bit float audio format and boasts a 77 dB signal-to-noise ratio for distortion-free sound.

 

RED Digital Cinema, Inc. releases the V-RAPTOR XE

RED Digital Cinema, Inc., a subsidiary of Nikon Corporation, is pleased to announce the release of the new V-RAPTOR XE digital cinema camera, which was released on 9th September, 2025. Joining the acclaimed Z CINEMA camera lineup, this streamlined version of the revolutionary V-RAPTOR [X], curates the essential tools for cinematic storytelling. Designed for independent creators who demand uncompromising image quality, the V-RAPTOR XE delivers large format, cinema-grade features at a more accessible price point. The new camera retains RED's industry-leading 8K large format (VV) global shutter sensor found in the V-RAPTOR [X] series, ensuring cinematic image fidelity, dynamic range, and low-light performance that filmmakers around the world trust.  Nikon and RED will meet a wide range of needs in film production with an extensive lineup of cinema-oriented products under the Z CINEMA series.

For more information, please visit the Nikon website.

There have been three major announcements from Blackmagic Design in the last two weeks. Let’s talk about a few of them.

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Canon Europe unveiled the expansion of its cinema lens range with the launch of its widest-ever Cine-Servo lens.. With its ultra-wide 11mm focal length and expansive 100-degree angle of view, the Canon CN5x11 IAS T R1/P1 is a flexible choice for confined studio setups and dynamic live events, where framing both the subject and setting is essential. Available in either RF or PL mount, the new lens features the latest e-Xs V Digital Drive Unit for superior control and functionality.

At approximately 3kg, the CN5x11 IAS T R1/P1 is the most lightweight lens in Canon's Cine-Servo lineup – ideal for gimbals, cranes, robotics and wire cams. Camera operators shooting shoulder-mounted will also appreciate its reduced weight.

"With the CN5x11 IAS T R1/P1's diverse capability and balanced build, this super-wide 8K Cine-Servo lens offers exceptional edge-to-edge sharpness and image quality, with mobility for broadcast professionals," says Canon Europe's Product Marketing Specialist Mark Fensome. "Thanks to the built-in 1.5x Extender, this lens is highly versatile – either extending the range when used on a Super 35mm camera or enabling compatibility with Full Frame cameras. It delivers a shallow depth of field that lends a more cinematic look to live production and newsgathering, as well as high-end documentaries and dramas."

Thanks to its removable servo unit, the CN5x11 IAS T R1/P1 can be easily configured for live sports and events or cinema. It is the second Cine-Servo lens to be equipped with Canon's next-generation e-Xs V Digital Drive Unit, which offers more precise and ergonomic servo control, a more responsive iris and USB-C connectivity.

The CN5x11 IAS T R1/P1 is available in RF or PL mount, further enhancing its versatility. In PL mount, the lens supports Cooke /i Technology™ and ZEISS eXtended Data™ for real-time output of metadata, while the RF mount variant brings additional capabilities – including Dual Pixel CMOS AF support for fast and smooth autofocus, plus advanced lens correction data.

 

Key features of the CN5x11 IAS T R1/P1:

• Widest Canon Cine-Servo lens, with an 11-55 mm focal length and 100-degree angle of view
• Super 35mm lens with Full Frame support (via built-in 1.5x extender)
• Approx. 3kg in weight, providing comfortable on-the-shoulder shooting and extensive rigging flexibility
• Premium 8K HDR optical quality with 11-blade iris
• Removable, latest generation e-Xs V digital drive unit, featuring a high resolution 16-bit absolute value encoder with advanced servo control, focus breathing correction and improved ergonomics
• RF or PL mount communication with real-time metadata output, supporting virtual production systems and VFX workflows; RF mount also supports lens distortion correction and Canon's advanced Dual Pixel CMOS AF system
• Versatile design for diverse broadcast and cinematic production

For more information, please visit the Canon website.

 

Canon Europe introduced the new EOS C50, a highly versatile, full-frame, RF-mount hybrid Cinema EOS camera for professional videographers and agile production crews.

As the smallest camera in the Cinema EOS range to date, the EOS C50 fits seamlessly into a wide variety of filming set-ups – from fast-paced shoots to large scale productions. Its compact design, however, conceals a wealth of professional capabilities.

At the heart of the EOS C50's unique design is a new 7K full-frame CMOS sensor which, together with an advanced DIGIC DV 7 processor, delivers outstanding image quality for both video and stills – including internal RAW video recording at up to 7K 60P, high frame rate recording at up to 4K 120P / 2K 180P, and detailed 32MP high-resolution photos.

The EOS C50 is the first Cinema EOS camera to offer open gate recording, which uses the entire area of the sensor for maximum resolution and flexibility. Capturing the full width and height of the sensor using the new Full Frame 3:2 sensor modei provides a larger image that utilises the full image circle of full-frame lenses. Open gate recording offers filmmakers greater flexibility in post-production, enabling horizontal and vertical movie formats to be freely edited from the same footage, with ample room for reframing shots. When paired with anamorphic lenses, the result is a taller image with a wide immersive cinematic look.

For videographers facing fast turnarounds, a full-angle image and a cropped vertical or square version – ideal for social media and advertising – can be captured at the same time using the EOS C50's Simultaneous Crop Recording function. The cropped area can be shifted horizontally for optimum framing and recorded in a different format to meet delivery requirements.

 

Combining high-resolution with hybrid capability for video and stills

As a true hybrid camera, the EOS C50 combines advanced 7K video and 32MP stills capabilities. The display is optimised based on whether the camera is in Video or Photo mode – featuring the familiar Cinema EOS interface for video and classic Canon EOS R menu system for stills.

Videographers and photographers alike can take advantage of Canon's Dual Pixel CMOS AF II, offering high-speed, high-accuracy subject detection and tracking. Precision extends to selecting which eye to prioritise in people, dogs, cats and birds – with additional controls for tuning autofocus speed and tracking response to suit the subject.

 

A unique and versatile design that adapts to dynamic shoots

Built for agility, the EOS C50's lightweight, modular design enables intuitive operation, whether shooting handheld or on a gimbal. With its linear, low-profile body and multiple accessory mounting points, it integrates seamlessly into modern rigging setups. The camera can be mounted either horizontally or vertically, with the display and menu settings automatically adjusting to support vertical orientation.

The EOS C50's detachable handle unit improves control and comfort. It features two full-size 3-pin XLR audio terminals and control dials for professional-quality audio recording, plus a REC button and zoom rocker for convenient, camcorder-style control during fast-paced shoots.

In addition to native support of the diverse range of RF lenses, EF/PL lenses can be attached to the EOS C50 via the optional Canon PL-RF Mount Adapter, which can be securely fastened to the camera body, as well as a selection of Canon EF-EOS R mount adapters.

 

 

Effortless connection options for diverse workflows

An extensive selection of connectivity options ensures that the EOS C50 meets the demands of modern professional productions. In addition to XLR inputs, the camera features a MIC terminal, Timecode terminal, HDMI OUT (Type-A) and USB (Type-C). Dual card slots for CFexpress and SD cards provide a wealth of simultaneous recording options, including different file formats, resolutions and proxy setups.

The EOS C50 includes UVC/UAC support for high-resolution livestreaming at up to 60P/50P via a single USB cable, plus XC Protocol for remote operation of the camera using compatible smartphone applications or hardware accessories such as Canon's RC-IP1000 Remote Controller. Video clips and still images can be transmitted to clients in real time over Wi-Fi or USBii with Canon's professional Content Transfer Professional (CTP) app.

Canon's collaboration with Adobe has been extended to the EOS C50 by making the camera compatible with Frame.io's Camera to Cloud connectivity. Along with the EOS C400 and the EOS C80, this compatibility allows proxy files to be sent directly from the camera to the Frame.io platform, enabling a seamless and reliable path from production to post.

With its robust connectivity, flexible design and powerful full-frame capabilities, the EOS C50 sets a new standard for compact cinema cameras. Building on the success of the EOS R5 C, it delivers uncompromising image quality for both video and still photography.

Canon is also delighted to announce a range of significant free-of-charge firmware updates for existing Cinema EOS cameras coming later this year. This includes the addition of 3:2 Open Gate RAW Recording at 6000x4000 resolution to the EOS C400, View Assist during Playback on the EOS C80, among other improvements to core features such as focus peaking on both cameras, as well as the EOS R5 C and EOS C70.

 

Key features of the EOS C50:

• High-resolution hybrid capability: 7K 60p internal RAW video recording, 32MP still photos
• Advanced 7K full-frame CMOS sensor with open gate video recording
• 7K oversampling for higher resolution 4K movies
• Dual Base ISO support (ISO 800/6400iv), with up to 15+ stops of dynamic range
• Flexible range of professional recording formats, including 12-bit Cinema RAW Light, Canon Log 2, Canon Log 3 and XF-AVC S / XF-HEVC S
• Versatile, compact design with detachable handle unit and extensive rigging capability
• Native RF mount, compatible with mount adapter attachment for EF/PL lenses
• Two XLR audio inputs, Timecode terminal, HDMI OUT (Type-A), USB (Type-C), Multi-function shoe
• Dual slots for CFexpress and SD cards, enabling simultaneous recording of different formats to each card

For more information about the new EOS C50, please visit the Canon website.

Look at any camera store today and you'll notice something remarkable: many of the hottest new cameras look suspiciously like they're from 1975. The Fujifilm X-T5 sports chrome dials that could have been pulled from a vintage SLR. The Nikon Zf deliberately mimics the iconic FM series. Critics dismiss this as shallow marketing, a cynical play for hipster dollars in an increasingly commoditized market. They're wrong.

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The Nikon Z8 has quickly become a fixture in many kits, and for good reason. It delivers the kind of performance that lets you handle demanding shoots without worrying whether the camera will keep up, no matter the situation.

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The OM System M.Zuiko Digital ED 50-200mm f/2.8 IS PRO lens is built for versatility. Wildlife, macro, and long hikes through uneven terrain all push your gear in different ways, and this lens manages to handle them without feeling like a burden in the bag.

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Portrait shooters keep circling 135mm, and for good reason. You get compression, subject isolation, and reach, making for instantly striking images.

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The new Select Subject tool in Photoshop makes it easier than ever to refine edits without heavy manual work. Whether you want to brighten a person in a photo or shape the atmosphere with color adjustments, the tool gives you a faster way to separate subject from background and build cleaner edits. This makes it especially useful when you want control over light and color without masking by hand.

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