Photography News

We are only a few days away from this year’s Bonfire Night and we couldn’t really kick November off without mentioning a few tips that’ll help you capture spectacular firework photos.

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

 

Gear Suggestions

As long exposures are a must you will need to take a support with you. A tripod’s great but at busy events you may be better off with a monopod that takes up less room and is easy to move around with.

If you’re a compact user, it can be harder to capture firework themed images but it's not impossible as most compacts have a range of scene modes and a firework mode can often be found among them. Plus, the longer zooms that are available on some compacts will now get you closer to the action too.

Wider lenses will capture more of the sky, increasing your chances of capturing a burst. You may want to try shooting a few in a portrait orientation, though, to capture the long trails left by the firework as it climbs to the spot where it explodes.

Finally, pack a torch as it’ll be dark and you may need it when making changes to your settings and for putting your kit away.

  Focus And Aperture

Switch to manual focus and turn your focus to infinity (check your manual if you’re unsure how to do this). This is to ensure the firework explosions stay sharp as they can be further than the maximum focus setting on your camera. Setting an aperture of f/8 or f/11 will increase your depth of field, further increasing the chances of capturing a sharp shot of a colourful explosion. Make sure your flash is switched off too.

 

RAW Or Jpeg?

If you shoot in RAW you’ll be able to tweak colours and brightness levels when you’re back in front of your computer once the display has finished.

 

Exposure Times

For shots filled with bursts of colourful explosions you’ll need to switch to Bulb mode. This mode allows you to keep the shutter open for longer but as you need to keep the shutter button pressed, it’s a good idea to use a cable release to prevent shake. If your camera allows it, you could fire the shutter wirelessly via a smart device. 

In Bulb mode, you basically need to keep the lens covered (a dark piece of card will work) until a burst erupts. At this point you need to uncover the lens. Replace the card until another burst occurs and continue to do this with however many bursts as you like. It can take a while to get right as timing is key but you can create some great shots when you’ve perfected the technique.

If you don’t have a bulb mode you can capture single explosions with exposure times between 1-4 seconds. This should give you shots that show a light trail as the firework climbs as well as the final burst of colour at the end.

 

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

Watch The Display

As displays don’t tend to be short affairs it pays to watch a few bursts so you can see where the fireworks are being launched into the sky and you’ll also be able to see how long it takes them to climb, plus how long the explosions last for. This will make framing easier, although you can’t obviously guarantee every burst will appear where you need it to. It’s worth doing a few test shots to make sure you’re happy with the composition too before the big display begins.

 

Add Interest

Buildings and other structures can add an extra level of interest to your shots but if they are illuminated it can mean they end up looking ‘blown out’ so adjust your exposure accordingly.

   

Welcome to the November installment of the Critique the Community! This month's critique theme is going to be "Unique Edit," and we want to see your best photographs that were brought to life with a new or unique editing style or specific editing software.

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An anonymous peer reviewer worked through a manuscript, looked at one of its figures, and recognized one of the authors. The face was a reflection in another person's eye. Across the study's bystanders, those extracted faces ran 27 to 36 pixels wide and covered roughly 322 pixels apiece, and that accidental recognition became the paper's second experiment.

 

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Canva has launched Affinity for iPad, an app built for touch and Apple Pencil that puts sketch, vector, photo editing and page layout in a single .af file. It includes a new Sketch Studio, iPad-first tools such as the Mask Tool and Sketch to Shapes, and AI features through Canva AI Studio, which need a Canva premium account. The core tools are free for individuals, and the app is available now in the App Store, depending on regional rollout. A free Canva account is needed to use it.

 

From Canva:

 

• Affinity for iPad combines pro-grade vector graphics, photo editing, illustration, page layout and AI.
• Brand new Sketch Studio optimised for Apple Pencil and touch creates the perfect environment for illustration or to convert sketch to vector.
• AI optimised for human creativity: it's designed to empower designers, not replace them.

 

 

Canva, the visual communication platform used by hundreds of millions of people, has today launched Affinity for iPad. Created specifically for the touch-first interface and unique capabilities of iPad and Apple Pencil, the app brings professional sketch, vector, photo and layout editing together with the same pro-level power of Affinity on the desktop.

Affinity for iPad introduces the brand new Sketch Studio for freehand drawing and simplifying complex sketch-to-vector workflows, as well as iPad-first features like the Mask Tool and Sketch to Shapes. There’s also Affinity’s powerful photo editing, and a full selection of AI tools in the Canva AI Studio.

Professional creativity has long been split across apps. Switching takes time and loses momentum: users draw in one app, build vectors in another, use a third to retouch photos, and work in yet another to lay out a finished document. Creativity thrives when these tools work together and Affinity for iPad is making that smoother than ever, allowing creatives to move seamlessly between tasks, maintain momentum, and bring their ideas to life.

 

Affinity for iPad

 

With Affinity for iPad, creatives can take a project from first sketch with Apple Pencil to print-ready file on iPad alone. And it's free for individuals, just like Affinity on desktop, which has recorded more than seven million sign-ups since launching a year ago.

“Creative work doesn't stay in one discipline, so your tools shouldn't either,” said Duncan Clark, CEO of Pro Design at Canva. “Since we brought Affinity together on desktop, our biggest user request has been the desire to bring it to iPad. Today we're delivering it: a fully-fledged, professional app built for touch.”

One file, from start to finish

Sketch, vector design, photo editing, and layout all live in the same .af file, so users can move between them with a tap. Non-destructive edits render in real time and nothing needs to be exported, converted or remade.

• Sketch: Rough out concepts the moment they land, with the unique capabilities of Apple Pencil like pressure and tilt in every mark, thick where you press and soft where you tilt. A full brush library comes with controls to shape each brush into the exact tool you need. Sketches stay live in the file to build on, rather than trace again.

 

Affinity for iPad sketch to vector

 

• Vector: Responsive, smooth and under control. Build a full logo or icon system with real curves and precise nodes, or bring a rough drawing through from Sketch. Sketch to Shapes turns hand-drawn forms into clean vector shapes.

 

Affinity for iPad Vector Studio

 

• Photo: Fine-tune RAW files, make intelligent selections, retouch in real time and build full composites at the shoot or on the go. Users can even sketch over a photo first to plan where a subject or prop should sit. The Mask Tool finds the boundary as the Apple Pencil pixel precision runs along a challenging edge, so hair, fur and foliage take a stroke rather than an afternoon. Every mask, grade and retouch stays live and undoable, even thousands of layers deep.

 

Affinity for iPad Pixel Studio

 

• Layout: Create multi-page documents such as ‘zines, lookbooks and photo books, with text and images flowing across pages; master pages and grids keep everything consistent, and typography exactly right. Projects go all the way to a print-ready file with proper colour handling.

 

Affinity for iPad Layout Studio

 

Built for touch, not shrunk to fit

The new app’s interface is designed for iPad, with tools where the hand reaches for them and the clutter stripped back so nothing stands between the creative and their work.

Affinity supports the advanced capabilities of Apple Pencil Pro, including pressure, tilt, barrel roll, squeeze and hover, alongside natural gestures. Every adjustment, filter, and effect updates live, heavy files with thousands of editable layers stay fast and smooth. And like its desktop counterparts, Affinity for iPad is compatible with all major file types.

 

Powerful AI that supports your craft

AI tools are brought to Affinity for iPad for the first time in the Canva AI Studio, offering a powerful set of features that leverage the unique capabilities of iPad to tackle the tedious tasks, so creatives spend more time on the decisions only they can make, without ever giving up control.

Designers can use Generative Expand to fit an image to a new format or bleed, then set the type and export a print-ready document. An illustrator pulling in a low-resolution reference or texture might scale it up to meet print or merchandise needs, before applying it over their vector artwork.

For photographers, motion blur reduction and noise reduction can be applied instantly. Decompose Layer splits a flat image into editable layers.
Live controls and real time rendering mean users can fine-tune how much adjustment is applied and shape every detail such as how much grain to clear, or how softly a background falls away. Canva AI Studio is there when users want it and out of the way when they don't.

 

Leading the way on iPad

Affinity has been enabling serious creative work on iPad and Apple Pencil since 2017, when Affinity Photo was named Apple's iPad App of the Year. It signaled that professional-grade design didn’t need to be tied to a desktop.

Affinity for iPad builds on that legacy, and has been shaped by feedback and requests from the designers, illustrators, and photographers who make up the professional community, including the Canva Designer Advisory Board, industry experts, and creative forums.

“Affinity has built groundbreaking tools for iPad for almost a decade, and our community has shaped every step,” said Duncan Clark. “This is the result of everything we've heard and learned, worked over until every gesture and panel felt right under the hand.”

“Affinity for iPad delivers the full power of Affinity, together with the versatility and portability of iPad,” said Affinity Head of Product Design Neil Ladkin.

“Every development decision was made by people who create on iPad themselves, from how the Apple Pencil responds to where the tools sit. If you’re the sort of person who rotates the canvas 40 times to get one line right, Affinity for iPad was made by people who’ve done exactly that.”

 

Free for individuals

Affinity for iPad’s core sketch, vector, photo editing, and layout tools are free for individuals. Canva AI features can be accessed with a Canva premium account.

Affinity for iPad is available now* in the Apple iPad App Store. Customers need to create a free Canva account to use the app.

Read more about Affinity for iPad at www.affinity.studio/ipad-app.

 

*Subject to App Store regional rollout timings

Luminar has released a solid fall update with some new features and some enhancements. The update is free to current owners and can, of course, be purchased by photographers who are interested.

 

This new update is version 1.29.0. The update should appear automatically, or you can click "Check for Updates" in the Luminar dropdown menu.

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If you’re pondering a Leica rangefinder film camera but can’t bring yourself to spend a crazy amount of money, maybe give this a go. 

Having reimmersed myself back into the wonderful world of analog about five years ago, my collection of film cameras has slowly been growing. And like many analog enthusiasts, there’s one camera that has a certain allure, especially as all the cool kids on YouTube seem to own one: the Leica M6.

[Read More]

SPONSORED FEATURE  |  In partnership with Zoner Studio

 

Adobe Lightroom has long been a popular choice for photographers, but it’s far from the only option. We take a closer look at how Zoner Studio compares, where each application excels, and why photographers might want to consider an alternative.

Choosing the right photo editing software is almost as important as choosing the right camera. Whether you’re processing RAW files from a weekend landscape shoot, organising thousands of family photographs or perfecting a portrait, the software you use can make a significant difference to your workflow.

For many photographers, Adobe Lightroom has become the familiar choice. Its combination of image management, RAW processing and powerful editing tools has helped establish it as a mainstay of digital photography.

But the photography software market has evolved considerably, and alternatives such as Capture One, DxO PhotoLab and Zoner Studio offer photographers different approaches to managing and editing their images.

One particularly interesting option is Zoner Studio, a Windows-based application that combines photo organisation, RAW processing, advanced image editing and even video editing within a single package.

So, how does it compare with Lightroom, and could it be a better fit for your photography?

 

1. Getting Started: Familiarity vs Flexibility

 

Zoner Studio Manager provides direct access to folders, photographs and organisational tools.

 

Adobe Lightroom Classic has an established workflow built around its Library and Develop modules. Photographers can import, catalogue, organise and process large collections of images without leaving the application.

For existing Lightroom users, the familiarity of this environment is a considerable advantage. Years of experience, carefully organised catalogues and customised presets can make switching software a significant undertaking.

Zoner Studio takes a slightly different approach, organising its capabilities into dedicated modules.

The Manager module handles photo organisation, while Develop provides non-destructive RAW editing. For more advanced adjustments, the Editor module introduces layers, masks and creative editing tools.

Although Zoner Studio uses separate Manager, Develop and Editor modules, these are integrated within one application. Photographers can organise files, process RAW images, use layer-based editing and prepare video projects without having to install additional editing plug-ins or move between separate applications for these core tasks. This is one of its strongest practical advantages, particularly for enthusiasts who want a complete workflow in one place.

For newcomers, both applications involve a learning curve. Lightroom benefits from an enormous library of tutorials and an established user community, while Zoner Studio offers its own learning resources and a workflow that may appeal to photographers who prefer working directly with familiar folders.

 

2. RAW Editing: Getting the Best From Your Images

 

Zoner Studio’s Develop module provides non-destructive RAW processing and local adjustments.

 

RAW processing is central to modern photography, and both applications offer the essential tools photographers expect.

Exposure compensation, white balance, contrast, highlights, shadows, colour adjustments, sharpening and noise reduction are all available, providing considerable control over the finished photograph.

Lightroom Classic is particularly well established in this area. Its Develop module offers extensive camera and lens support, sophisticated colour adjustments and powerful selective editing tools.

 

Adobe Lightroom Classic: Develop module showing RAW adjustment controls. Screenshot supplied for editorial review.

 

Zoner Studio’s Develop module also provides a comprehensive range of RAW adjustments, including tone curves, lens corrections and local adjustments. Its Advanced Color Shift tools allow targeted changes to hue, saturation, luminance and colour uniformity, going beyond broad global HSL adjustments.

Photographers can refine an image’s exposure, recover detail, adjust colour and apply corrections without permanently altering the original RAW file.

For those processing large numbers of images, presets and batch editing can help maintain a consistent appearance while reducing repetitive work.

Lightroom Classic offers advanced AI-powered noise reduction for challenging files, particularly at high ISO settings. Zoner Studio does not currently offer the same AI Denoise feature, although Zoner says its recent noise-reduction improvements produce results close to Lightroom’s on many camera sensors. Results will vary by image and camera.

However, photographers whose primary requirements are exposure adjustment, colour correction, local editing and efficient RAW development may find that Zoner Studio provides the tools they need.

Ultimately, image quality depends on more than the software alone. The original photograph, camera profile, editing decisions and intended output all play an important role.

 

3. AI Editing: Smarter Tools, Less Repetitive Work

 

AI-powered masking helps photographers make targeted adjustments.

 

Artificial intelligence is increasingly becoming part of everyday photographic editing. Rather than replacing the photographer’s creative decisions, AI-powered tools can help automate time-consuming tasks and make complex adjustments more accessible.

Adobe Lightroom offers sophisticated AI masking, subject and sky selection, distraction removal and generative editing capabilities. These features can be particularly valuable when editing portraits, landscapes or images containing unwanted distractions.

Zoner Studio also offers intelligent masking in Develop for skies, subjects, objects and backgrounds, alongside face retouching. These tools help photographers make targeted adjustments without manually tracing every selection. Macro and landscape photographers will greatly enjoy the auto-stacking features here as well.

Other intelligent features include AI Resize and AI Close-ups, alongside AI Masking. According to Zoner, these three tools process images locally on the computer rather than sending the photographs to external servers, an appealing consideration for photographers concerned about privacy.

There are differences between the two approaches. Adobe’s generative technology provides capabilities that Zoner Studio does not currently replicate, while Zoner focuses on integrating intelligent assistance into its broader editing workflow.

The best choice depends on how you edit. Some photographers will value generative tools, while others may prioritise efficient selection, organisation and conventional image enhancement.

 

4. Advanced Editing: Where Zoner Studio Stands Out

 

Zoner Studio’s Editor module supports layer-based creative editing.

 

One of the most significant differences between Lightroom Classic and Zoner Studio becomes apparent when photographers want to move beyond conventional RAW processing.

Lightroom Classic is primarily designed for photographic organisation and non-destructive editing. For complex compositing, multiple image layers, text overlays and certain types of retouching, photographers often move their images into Adobe Photoshop or another dedicated editor.

Zoner Studio includes layer-based capabilities within both its Develop and Editor modules. Develop supports local adjustments using masks, while the Editor module provides multiple image layers, blending modes, masks and creative editing tools without requiring a separate application.

For example, a photographer might process a RAW landscape in Develop before moving into Editor to combine elements, add text or make more detailed adjustments.

This integrated approach can be attractive to enthusiasts who want a wider range of creative possibilities without maintaining separate applications.

Photoshop remains a highly sophisticated editing environment with an extensive professional toolset. Zoner Studio is not intended to compete directly with Photoshop or replace every specialist Photoshop workflow. Its appeal is bringing a broad set of everyday photographic and creative tools together.

Nevertheless, having masking and layered adjustment tools in Develop, alongside more extensive layer-based editing in Editor, is a meaningful advantage for photographers who regularly move between RAW processing and creative work.

 

5. Photo Organisation: Keeping Everything Under Control

 

As photographic collections grow, organisation becomes increasingly important. A single weekend photographing wildlife or motorsport can generate hundreds, sometimes thousands, of images. Finding the best photographs quickly is just as important as editing them.

Lightroom Classic provides strong catalogue-based management, including keywords, ratings, collections and extensive search capabilities. For photographers maintaining large, carefully structured libraries, these tools can be invaluable.

Zoner Studio’s Manager module provides ratings, colour labels, keywords and metadata-based search of any metadata parameter one can think of. Photographers can work directly with files in their existing Windows folders without first importing them into a mandatory proprietary catalogue and the metadata search works both in the catalogue and locally. Zoner also offers an optional catalogue for users who prefer indexed library management and take advantage of all the benefits that come with using it.

Both approaches have advantages. Lightroom Classic uses a catalogue to manage photographs, but the original image files can remain stored locally rather than in Adobe’s cloud. Zoner Studio gives users a choice between direct folder-based working and an optional catalogue, depending on their workflow.

The deciding factor may be how your photographs are currently stored and whether you’re willing to adapt an established workflow.

 

6. Beyond Photography: Video, Sharing and Printing

 

An example of photographic adjustments using Zoner Studio.

 

Modern cameras do considerably more than capture still photographs, and many photographers now work with video alongside their images.

Zoner Studio includes a dedicated video editing module, allowing users to assemble clips, add transitions and create video projects within the same software. It also provides tools for printing photographs and creating photo products.

For photographers who enjoy producing prints, sharing albums or creating occasional videos, having these capabilities in one application is convenient.

Adobe Lightroom offers extensive cloud integration and synchronisation across desktop, mobile and web environments. This is a particular strength for photographers who want to edit images on different devices or move between a computer, tablet and smartphone.

Zoner Studio offers optional cloud storage and access to Zonerama, its online photo gallery platform, but photographers can use the Windows application with local files without placing their photo library in a cloud account. Lightroom Classic also supports local originals and local catalogues, so a cloud account should not be confused with a requirement to upload every photograph. Adobe’s connected services and Lightroom cloud workflows are nevertheless an advantage for photographers who edit across desktop, mobile and web. Zoner’s desktop editing software remains Windows-based.

 

7. Pricing: How Much Does Your Editing Workflow Cost?

 

Cost is another important consideration, particularly for enthusiast photographers who may not use editing software every day.

Zoner Studio is available by subscription, with two software updates included for the duration of your active license. Packages and benefits may vary, so it is worth checking the current offering directly.

Adobe offers Lightroom through different subscription packages, with included applications and features varying by plan and region. Because pricing and packages can change, readers can compare the latest options directly on the official Adobe Creative Cloud plans page and the Zoner Studio pricing page.

Beyond the headline subscription cost, it is worth considering the tools included in each workflow. Zoner combines RAW development, layer-based editing, focus stacking and other creative functions in one application. Some Adobe Photography plans include Photoshop, while third-party plug-ins are optional, so the best value depends on the tools each photographer actually needs.

Zoner Studio is not a perpetual-licence product, so photographers looking to avoid subscriptions altogether should bear that in mind.

However, its comparatively modest annual cost and integrated editing capabilities make it an attractive proposition for photographers seeking good value. Prices and packages are subject to change, so it’s worth checking the latest offers before subscribing.

 

8. Zoner Studio vs Lightroom: At a Glance

 

Feature Zoner Studio Adobe Lightroom Classic Operating System Windows Windows and MacOS RAW processing Yes Yes Non-destructive editing Yes Yes AI-powered masking Yes Yes Generative removal No equivalent built-in feature Yes Layer-based image editing Develop masks and built-in Editor Requires another application Photo organisation Direct folders or optional catalogue Catalogue; local files supported Video editing Built-in video module Limited video capabilities Mobile editing ecosystem No equivalent full mobile editor Lightroom mobile integration Cloud storage 20GB included Depends on plan Free trial 7 days 7 days Subscription Zoner Studio pricing Adobe plans Local-file workflow Yes, without cloud upload Yes, with Lightroom Classic Layer-based editing Included in Editor Separate editor requireds Focus stacking / exposure bracketing Supported Workflow depends on feature and tools AI Masking / Resize / Close-ups processing Locally, according to Zoner Varies by Adobe feature

 

9. What About Capture One and DxO PhotoLab?

 

Lightroom and Zoner Studio aren’t the only applications worth considering.

Capture One has developed a strong reputation among professional and enthusiast photographers, particularly for colour control, RAW processing and tethered shooting.

DxO PhotoLab is another established alternative, with particular strengths in optical corrections and advanced noise reduction. Both deserve consideration, especially for photographers with specialised requirements.

However, neither changes the central appeal of Zoner Studio: a broad collection of photographic editing, organisation and creative tools within one comparatively affordable application.

For photographers seeking an integrated solution rather than a specialist tool for one particular task, that combination is worth exploring.

 

10. Which Software Should You Choose?

 

There’s no universal answer to the question of which photo editing software is best.

Adobe Lightroom Classic remains a strong choice for photographers who already have established catalogues, depend on Adobe’s ecosystem or need its particular AI and cloud-based capabilities. It also makes sense for Mac users, who cannot currently run Zoner Studio natively.

Zoner Studio, meanwhile, presents a compelling alternative for Windows photographers who want powerful RAW processing, photo management and more advanced creative editing tools in one application.

Its integrated layer-based Editor, focus stacking and exposure bracketing tools, video capabilities, optional rather than compulsory cloud storage, and competitive subscription pricing make it especially appealing to Windows enthusiasts seeking a broad editing toolkit in one application. Zoner also says that AI Masking, AI Resize and AI Close-ups run locally, a potential benefit for users who prefer not to send their photographs to external processing servers.

And for photographers who have never ventured beyond Lightroom, trying something different can be a worthwhile exercise.

After all, the most important consideration isn’t which application has the longest feature list, but which one helps you achieve the results you want with the least unnecessary effort.

 

Discover Zoner Studio for Yourself

 

The best way to decide whether Zoner Studio suits your photography is to try it with your own images.

Zoner Studio offers a free seven-day trial of the full application, allowing photographers to explore its RAW editing, photo management, AI tools and creative features before committing to a subscription.

Whether you’re considering a move away from Lightroom or simply curious about what other editing applications can offer, Zoner Studio is well worth a closer look.

Discover Zoner Studio and start your free trial here.

Sponsored content produced in partnership with Zoner Studio. Product features and subscription packages are subject to change; consult the official product websites for current details.

 

 

Shimoda Designs has announced the Action X v3 collection, updating its line of technical outdoor camera packs based on user feedback. The refreshed lineup includes a new 35-litre size designed to clear strict airline carry-on limits while housing larger lens setups. Key updates across the range feature expanded side access for dual camera setups, thicker ventilated harness padding, extra Capture Clip anchor points, and completely PFAS-free materials.

 

From Shimoda:

 

Shimoda Designs, the Adventure Photography brand, presents the Action X v3 Collection, the latest generation of its flagship outdoor adventure camera backpacks.

Action X packs have been to the peak of Mount Everest and to the farthest reaches of the globe, and the v3 collection has been upgraded to address requests from Shimoda’s passionate community of users. A new, larger side door gives access to up to two cameras with mounted lenses, while a more padded and ventilated 3D mesh shoulder harness delivers significantly improved all-day comfort. Capture Clip mounting points now feature on both shoulder straps and the waist belt, and a new removable upper liner system allows each pack to adapt to different-sized Core Units.

Creators who travel will welcome the new 35-litre size, the most requested addition to the range. At 50.8 cm tall, it is one inch shorter than the existing 40-litre pack, so it meets stricter international carry-on regulations while still fitting the Large DSLR Core Unit. The Action X35 v3 Pro Kit ships with that Core Unit, so it is ready off-the-shelf to carry two cameras and 4-6 lenses, or a camera with a 180-600mm or 200-600mm superzoom lens.

Giles House, Channel Marketing Manager, Shimoda Designs, UK commented, “Action X has always been our most technical pack, and v3 is the result of listening closely to the photographers who carry it in the toughest conditions. The larger side access, the more comfortable harness and the new 35-litre carry-on size answer the requests we hear most often. With adjustable torso height and optional women’s straps, it’s a pack that can be properly fitted to almost anyone, wherever their adventures take them.”

The Action X v3 Collection comes in five sizes – 25, 30, 35, 40 and 50 litres – available as a backpack on its own or as a Starter or Pro Kit supplied with a Core Unit. Adjustable torso height makes Action X the only camera backpack that can be fitted to someone from 1.52M to 1.82M tall, and optional women’s straps are available for all models and colourways, giving a dialled-in fit for female users. A 7-litre roll-top means there is always space for a little bit more.

Available in four colourways – Black, Cappuccino, Yellow and Burnt Red – the Action X v3 also pays respect to the planet: all Shimoda fabrics, coatings and hardware are 100% PFAS-free, with no ‘forever chemicals’.

 

 

Key features include:

 

New Larger Side Access

Access up to two cameras with mounted lenses through the side door. The larger side access is also compatible with Shimoda’s optional Large Top Loader bag, which can be removed from the backpack and carried on its own as a shoulder bag.

 

New 35-litre Pro Kit

At 50.8 cm tall, the new 35-litre pack meets stricter international carry-on regulations and ships with the Large DSLR Core Unit, ready to fit two cameras and 4-6 lenses, or a camera with an 180-600mm or 200-600mm superzoom lens.

 

More Padded and Ventilated Harness

The more comfortable, padded and ventilated 3D mesh harness from Explore v2 has been brought over to Action X for significantly improved all-day carrying comfort.

 

Three Capture Clip Mounting Points

Updated from Shimoda’s original Capture Strap, the Capture Clip loop provides three mounting points – on the left and right shoulder straps and the right side of the waist belt.

 

Adjustable Torso Height

The only camera backpack that can be fitted to someone from 1.52M to 1.82M tall.

 

Optional Women’s Straps

All models and colourways of the Action X v3 are available with women’s straps, for a dialled-in fit for female users.

 

Removable Upper Liners

Easily adaptable to different-sized Core Units, or remove it altogether. Available in different sizes.

 

New Large Core Units

New Large Mirrorless and Large DSLR Core Units allow side access to up to two cameras with mounted lenses. They feature Shimoda’s rigid aluminium frame construction, a removable zippered dust cover and low-profile, compression-moulded walls and dividers. The Large Mirrorless fits the Action X30 v3 and larger, and the Large DSLR fits the X35, X40 and X50. Both are designed exclusively for Action X v3.

 

Compatible with RST Core Units

Rear, Side and Top access Core Units maximise equipment storage for each size of pack – fit a 600mm f/4 in the 40 and 50-litre packs, or a 200-600mm in the 25-litre.

 

7-litre Roll-Top

Volume adjustment so there is always space for a little bit more.

 

 

Two Tripod or Water Bottle Pockets

Easily store up to two tripods – very popular with event and night sky photographers.

 

Hidden AirTag Sleeve

So you always know where your backpack is.

 

PFAS Free

All Shimoda fabrics, coatings and hardware are 100% PFAS-free. No forever chemicals.

 

Shimoda products come with a 5-year warranty

 

Pricing & Availability

The Action X v3 Collection consists of five sizes in four colourways. The Action X25 v3 is priced at £305.00 including VAT, or £380.00 as a Starter Kit with the Small Mirrorless Core Unit. The Action X30 v3 retails at £325.00, or £405.00 as a Starter Kit with the Medium Mirrorless Core Unit. The new Action X35 v3 Pro Kit, supplied with the Large DSLR Core Unit, is £455.00. The Action X40 v3 and X50 v3 retail at £360.00 and £370.00 respectively, or £445.00 and £465.00 as Starter Kits with the Medium DSLR Core Unit. The X25 and X30 are offered in Black, Cappuccino and Burnt Red, the X40 and X50 in Black, Cappuccino and Yellow, and the X35 in all four colourways. The new Large Core Units are priced at £98.00 (Mirrorless) and £120.00 (DSLR), and optional women’s shoulder straps start from £35.00.

 

About Shimoda

Shimoda Designs was founded in 2017 by Peter Waisnor and Ian Millar. A couple of photographers who also share a love for camera bags, design, and product development. Our products are a direct reaction to the outdoor lifestyles we live as adventure photographers. We believe that better images can be created by stronger and healthier photographers. This is why our backpacks are designed to get you and your camera where you need to be with greater energy and focus.

For more information, please visit the Shimoda website.

Fog in the San Francisco Bay Area can bury a scene in seconds and hand it back a minute later with trees, towers, and light arranged in ways you won't see again. Shooting it well means working quickly, reading the direction of the light, and resisting the urge to stick with the first composition that looks good.

 

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The Viltrox AF 35mm f/1.4 Pro sells for $829, and it brings a metal body, weather-sealing, and a clicked aperture ring at that price. Few focal lengths stay on a camera as long as a 35mm does, so how a lens like this behaves wide open, in the corners, and while tracking a moving subject affects a big share of everything you shoot.

 

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The places you see every week are the ones you're least likely to photograph, since they feel too familiar to bother with. Familiar doesn't last, and the village fair or street corner you skip this year is exactly what someone will want to see decades from now.

 

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Backlit teasels and fine cobwebs make up our beautifully captured ‘Photo of the Week’ (POTW) winning image. rivergypsy has created a moody black-and-white shot of Cobwebs and Teasels where the lighting is fantastic. The rim light hits the spiky teasels and fine web threads, setting their bright edges off the dark background. The soft, blurry background with its small circles of bokeh gives the shot a dreamy feel, and the dried flower heads on the left bring some extra texture. The subject suits black and white well, and it’s a brilliant capture.

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 2027, we'll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. See the terms & conditions and prize procedure for more information.

It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards! Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners.

Focus stacking has become close to a default step in landscape work, with plenty of people blending 20 or even 50 frames so every rock and grass blade is sharp from front to back. Whether that effort shows up in the final image, or whether a single frame focused at the hyperfocal distance would look the same, decides how much of your time goes into focus while the light keeps changing.

 

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As photographers, we're always wanting to improve our technique and learn now ways we can take better photos. So, to help you do this, here's three challenges you can set yourself which will not only get you thinking a bit differently but they'll also help you think more about composition and as a result, you'll hopefully produce better photos. 

 

 

Choose One Spot And Stay There

When you're out taking photos it's easy to walk and click so you take lots of photos of everything that are good, but not 'wow'. By sticking to just one spot in one location, you may start to notice things about it that you'd usually miss. You don't actually have to travel a great distance to try this either as by picking one spot in your home or garden to take photos from you'll probably discover photo opportunities you didn't even know existed until you actually took the time to slow down and really open your eyes. Play with your zoom, change your angle and pay attention to your composition and the light. Also, simple things such as focusing on colour or texture can completely change the look/feel of a shot, too. 

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  Don't Take So Many Photos 

Why not limit the number of shots you can take in one location? To really set a challenge, only take one photo in each location you're stopping to take a photo. By doing so you'll really think about your composition and study the scene in front of you to ensure you've found the best spot possible to take your one photo in. Don't forget to assess the light, too as you may find that waiting for the sun to shift position could help you create a better shot. You don't want to lose good light, though so pay attention to how clouds are moving and hit the shutter button before it's too late. 

If you find this too restricting try setting a shot limit before you head out of the door and make sure you stick to it. By doing so you should be able to improve the quality of the images you take as you'll be finding the best shots through planning and careful thought. 

 

Use Less Equipment 

Instead of carrying a bag full of lenses why not just use one that has a fixed focal length? By doing so, you'll really need to think about what you're going to photograph because without a zoom your focal length is limited so rather than relying on the lens to do the work you have to get those grey cells warmed up and your feet moving to find a position/shot that works.   

DoorDash's help center lays the deal out in plain language: a professional photographer comes to your restaurant for a 1.5-hour session, shoots up to 20 menu items plus one header image, and DoorDash pays the photographer. You pay for the food and the labor to plate it. Then comes footnote three, which reads, "Photos provided by DoorDash may not be used on other third-party delivery platforms."

 

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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 Archie2022 (Day 30 - Winter Weather).

 

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 25

Light Trails

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Day 26

Busy Places

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Day 27

Graveyards

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Day 28

Creative Distortion

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  Day 29

City Twilight Shots

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Day 31

Halloween

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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.

In today’s article, I am going to shamelessly beg Nikon to add one very specific feature to what is already my favorite camera body. 

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Acrylic rods under studio light look a lot like smooth, healthy hair, which makes them a smart prop for photographing a Total Results haircare bottle. The problem is that a glossy bottle behaves like a mirror, and every rod you bring into the set wants to show up across the label.

 

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Getting the moon to rise behind a specific building means planning for a moment that lasts only a few minutes, then shooting it in fading light with a very long lens. Even with the time and direction worked out ahead, you can still find yourself in the wrong spot when it finally breaks the horizon.

 

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The latest Sigma Contemporary lens for APS-C format completes a trio of optics, all sharing design and handling and sporting fast (bright) f/2.8 apertures. The 10-18mm f/2.8, 18-50mm f/2.8 and now the 50-120mm f/2.8 offer a set of three lenses, weighing between them less than 1kg and being a potentially excellent option when travelling light. Using the Sony A7R III in APS-C mode results in around 18MP, so let's venture forth and see if the performance and handling make the new lens a viable choice.

 

Sigma 50-120mm f/2.8 DC OS Contemporary Handling and Features

Just in passing, although not of direct relevance as to the lens quality, the first impression with current Sigma lenses is of course the packaging. The box is very high quality, the internal packing secure but not wasteful and the overall appearance manages to convey careful environmental consideration but at the highest quality level. Small booklets explain the ethos of Sigma and of this lens in particular, the language of these being sharp and to the point. Marketing perhaps, but there is no harm in setting out the stall so to speak, especially when free of excess meandering.

Finish of the lens is up to the usual Sigma high standard and it looks good on the A7R III body. Handling is slick and assured. As well as the Sony fit, Canon RF and Fujifilm X mounts are also available. The lens is dust and splash resistant. It also sports a Fluorine coating on the front element to repel dust, moisture and grease.

 

 

Weighing in at a modest 390g and measuring a svelte 66.8mm x 99.0mm, travel is most definitely a core part of the repertoire. The concept as offered suggests a trio of lenses that cover in total a range of 10mm to 120mm. This is true, however, it is worth considering that there is no overlap. So, for example, taking the 18-50mm and this 50-120mm, if a photographer was very much inclined to shoot at around, say, 50mm then quite a bit of lens changing could be the result. Taking just this new lens, then the telephoto zoom photographer will not be disappointed with the range, equivalent to 75-180mm in 35mm format terms.

There is a provided round lenshood that bayonets cleanly into place. It fits positively and does not need a retaining catch to hold it in place. Within the bayonet fit for the hood is a conventional 55mm filter thread.

As we explore the lens, first up is the wide and well gripped zoom ring. This does extend the lens in use, not as smooth as an electronic zoom but nonetheless slick enough and with sufficient tightness to minimise any chance of zoom creep. The ring is clearly marked at 50mm, 60mm, 70mm, 80mm, 100mm and 120mm.

 

 

Behind this is the manual focus/control ring and finally the aperture ring. This is a manual setting with generously provided click stops at one third of a stop intervals. There is also an “A” setting, but unfortunately no catch to lock the setting either into A or into the manual settings. It is entirely possible to nudge the setting into or out of A, especially when using the viewfinder.

AF is driven by an HLA actuator, standing for “High Response Linear Actuator”, and is fast, accurate and virtually silent. Closest focus is 23cm at 50mm, for a maximum magnification of 1:3 and 55cm at 120mm for a maximum magnification of 1:4.7. Whilst not a macro lens, the very close focus is nonetheless extremely useful and helps to make the lens a very practical option.

Optical construction is 18 elements in 13 groups, including 1 FLD, 3 SLD (Super Low Distortion) and 4 Aspherical. The diaphragm comprises 11 blades, aiming for as round an aperture as possible for improved bokeh. With videographers in mind, the design features minimal focus breathing. Seeing the viewfinder image freeze into position as the Optical Stabilisation (OS2) does its work is always impressive, and the improvement here is 6.5 stops at 50mm reducing to 4.5 stops at 120mm.   

In general use, handling is impeccable and it makes a great travel companion that can cover just about all telephoto eventualities. Let's now have a look at the technical results to see if they match up to the sound and reliable handling.

 

 

Sigma 50-120mm f/2.8 DC OS Contemporary Performance

At 50mm, central sharpness is excellent from f/2.8 through to f/8, very good at f/11 and f/16 and good at f/22. The edges are excellent from f/2.8 to f/5.6, very good from f/8 to f/16 and good at f/22.

At 70mm, central sharpness is excellent from f/2.8 to f/11, very good at f/16 and good at f/22. The edges are very good at f/2.8 and f/4, excellent at f/5.6 and f/8, very good at f/11 and f/16 and good at f/22.

At 100mm, central sharpness is excellent from f/2.8 to f/11, very good at f/16 and good at f/22. The edges are fair and f/2.8, good at f/4 and f/5.6, excellent at f/8 and f/11, very good at f/16 and good at f/22.

This is an excellent result, and even the slight softness at 120mm at the edges could be a very attractive effect for portraits. Apart from that, the lens is effectively razor sharp throughout.

Distortion is not a problem, the camera and lens work in harmony to produce an almost rectilinear result. Small amounts of distortion can be measured: -0.33% barrel at 50mm, +0.18% pincushion at 70mm, and +0.23% pincushion at 100mm. These are really insignificant amounts even for architectural photography.

 

Sigma 50-120mm f/2.8 DC OS Contemporary MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a Sony A7R III using Imatest software (www.imatest.com). Want to know more about how we review lenses?

 

CA is tightly controlled both at the centre and the edge, and although small amounts can be measured, there is very little sign of any colour fringing.

 

Sigma 50-120mm f/2.8 DC OS Contemporary Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence, they usually cost more.

For this review, the lens was tested on a Sony A7R III using Imatest software (www.imatest.com).

 

Bokeh is impressively smooth and offers an attractive backdrop to the main subject. This is ideal for portraiture and flower photography. The 11-bladed diaphragm no doubt aids with this.

Flare is virtually banished and it is almost impossible to generate any artefacts, no matter how severe the lighting.

Vignetting results are also excellent, with very little light fall off.

 

Aperture 50mm 70mm 100mm f/2.8 -0.9 -1 -1 f/4 -0.6 -0.8 -1 f/5.6 -0.5 -0.5 -0.7 f/8 -0.5 -0.5 -0.6 f/11 -0.5 -0.5 -0.5 f/16 -0.5 -0.5 -0.5 f/22 -0.5 -0.5 -0.5

 

Sigma 50-120mm f/2.8 DC OS Contemporary Sample Photos Previous Next

 

Sigma 50-120mm f/2.8 DC OS Contemporary Aperture range Previous Next

You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.

 

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Value For Money

The [AMUK]Sigma 50-120mm f/2.8 DC OS|Sigma+50-120mm+f/2.8+DC+OS[/AMUK] lens is priced at £699.00

This is the third lens in a small group of matching optics, the other two being:

• [AMUK]Sigma 10-18mm f/2.8|Sigma+10-18mm+f/2.8[/AMUK], £648 
• [AMUK]Sigma 18-50mm f/2.8|Sigma+18-50mm+f/2.8[/AMUK], £459

The VFM equation shows the new lens off very favourably, especially considering the excellent performance.

 

 

Sigma 50-120mm f/2.8 DC OS Contemporary Verdict

Some lenses have a flow, a method of working that gels with the camera body as well as, of course, the photographer. Others are clunky and awkward to use, hopefully few and far between these days, but very often because of over-thinking and over-design making them fiddly. The Sigma 50-120mm f/2.8 DC OS lens steers well clear of the complexity trap, being a shining example of simplicity and elegance of design. Only the bare minimum of controls is to be found on the lens, and it's absolutely enough for full, tactile, responsive control. The one slight glitch is the lack of a lock on the A setting of the aperture ring, which, as a consequence, needs watching whilst being nowhere near a deal breaker.

Add to that all the essentials, such as dust and splash resistance and very close focusing and we have a very practical lens. The focal length is not unique, there have been 75-180mm full frame lenses, but this APS-C version is even more compact and ending the range slightly short of the more usual 135mm (200mm in full frame) does save a fair amount of bulk, also enabling the fast constant f/2.8 maximum aperture.

Performance is not in question, the results are almost universally excellent, the price is keen, so we have a highly attractive Editor's Choice.

 

Sigma 50-120mm f/2.8 DC OS Contemporary Pros

• Excellent sharpness
• Modest vignetting
• Dust and splash resistance
• Low flare levels
• Virtually rectilinear (no distortion)
• Smooth bokeh
• Close focusing
• Excellent construction standards
• Great VFM

 

Sigma 50-120mm f/2.8 DC OS Contemporary Cons

• No A-lock on aperture ring

 

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=5|R_overall=5|A_level=5|A_text=Editor's Choice – An excellent performance and slick handling from this well-priced telephoto zoom.|E_id=8027[/REVIEW_FOOTER]

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