Photography News

User-generated visual content is steadily pushing photographers and videographers out of commercial work. It's easy to dismiss its creators as amateurs and cheap labor, but brands aren't choosing them by accident, and ignoring the shift won't slow it down. The only real question is how to adapt.

 

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One aspect of photography that is often misunderstood is that when you take a picture you are not capturing an instant but rather a period in time. During this period things happen and the choices you make when taking your picture will fundamentally change the results you get. Movement in photographs should be captured deliberately, making sure that it looks like that was the plan. A picture that is just a little blurred will usually look just that, a little blurred. 

Any camera can capture movement but the amount of control you have will determine the amount of movement that you are able to show. The longer the shutter speed the more movement can be captured. Consider the best camera modes to use for your situation. 

For most pictures featuring movement, you should use a tripod but there will be times when just shooting plenty of pictures hand-held will be a better strategy.
 

1. Techniques to adopt

The technique you need to adopt will depend upon what you are trying to say. Digitally you can shoot and review what is happening and if the movement is too much use a faster speed; if they are too ‘static’ use a slower speed. Typically you should try shooting at about 1/15th or 1/30th with a reasonably fast subject. Panning can be done on a tripod, but the results will be quite different. It is essential if using a tripod (or monopod) that the camera should be able to follow the action accurately if the moving action is at an angle to the camera movement you will struggle to get usable pictures. 

 

2. Blur can be good

However, this doesn't mean you have to keep the subject sharp. In this shot of the Tour de France, nothing is really sharp, but there is a clear difference between the blurriness of the crowd and the slightly sharper rider and this makes the picture more dynamic. 
 

3. But does the camera need to move?

Sometimes it is not necessary for the camera to be moving at all. Fixing the camera on a tripod and letting the subject move will give an altogether different result. This same technique can be used at night to get car lights on the roads which can be a very effective way of showing movement. Machinery is also a good source of subject as they often look much more interesting in action than at rest – or frozen with flash. Panning can help you to keep the subject sharp.

In some situations, flash can be used though; if you set the camera to slow-sync you can have the combination of a blurred image with a sharp one overlaid on it. If possible set the camera to ‘rear’ or ‘second curtain’ sync or the subject will appear to be moving backwards.

Whatever you approach, though, try and make the movement you capture to say something about the subject – that is what will make the picture work.
   

Aritz Arambarri Goenaga – Vistas Desde El Abandono (2026)

 

The World Sports Photography Awards 2027 is now open for entries, accepting free submissions from sports photographers across 24 categories. Entrants can submit up to 10 images captured between December 2025 and November 2026 before the November 23, 2026 deadline. The 2027 edition also updates category structures and continues the 'Canon Emerging Talent' award, with eligibility adjusted to focus on emerging photographers under 25.

 

From Canon:

 

World Sports Photography Awards sponsored by Canon and celebrated as the world's foremost showcase of sports photography, has today opened entries for its much-anticipated 2027 edition. Entry remains free, with the awards honouring the most gifted sports photographers from around the globe and celebrating images that convey the drama, emotion, and physicality at the heart of sport. Judged by leading figures spanning sport, media, photography, branding, and the broader creative sector, the World Sports Photography Awards continues to stand as the world's biggest celebration of sports photography.

The 2026 edition marked a breakthrough year, attracting over 4,200 entries from photographers in 123 countries and spanning more than 60 sports. Extensive international media coverage, coupled with support from leading sports organisations, underlined the awards' continued global growth and rising influence.

Commenting on Canon's sponsorship of the awards and what we can expect for 2027, World Sports Photography Awards Co-Founder, Simon Burton, said: "Canon has been the perfect partner for the World Sports Photography Awards, and there's no name more synonymous with sports photography. Building on such a fantastic first year together, we're thrilled to continue this relationship as we head into year two. It's been another remarkable year for sport around the globe, and we can't wait to see the images photographers submit this year, capturing the passion and drama of sport across every discipline and every corner of the world."

Canon has a long and proud history in sports photography, equipping generations of photographers with the tools to capture iconic sporting moments that have defined eras. The introduction of the 'Canon Emerging Talent' award in the 2026 edition has shown amazing success and looks to bring along the next era of great sports photographers once again in 2027. This dedicated category will continue recognising young and upcoming talent, with the age of the award dropping slightly to under the age of 25 to better capture the essence of the award.

Richard Shepherd, Product Marketing Senior Manager, Imaging at Canon Europe, adds: "Canon has a proud legacy of supporting professional sports photographers and helping them capture the moments that define sporting history. Following the success of the 'Canon Emerging Talent' award in 2026, we're delighted to continue our support for the next generation of sports photographers in 2027. By recognising emerging talent and giving young photographers a platform to showcase their creativity and passion, we hope to help them take the next step in their careers and tell the powerful stories at the heart of sport."

With this announcement, the 2027 awards are now officially open for entries. Participants from across the industry and globe are invited to submit their work and gain recognition on one of the most celebrated stages in the field.

For 2027, photographers are invited to submit up to 10 images captured between December 2025 and November 2026 across 24 sports categories. Submissions are free of charge and close on 23 November 2026. Please note that images entered in the 2026 competition are not eligible. We have also made some adjustments to the categories, which we ask photographers to be aware of when entering.

 
Key details:

• Entries open: 09 September 2026
• Submission deadline: 23 November 2026
• Eligibility: Up to 10 images taken between December 2025 – November 2026
• Categories: 24 sports categories
• Cost: Free of charge

 

The World Sports Photography Awards, sponsored by Canon, continue to celebrate the art of sports photography – showcasing the images and photographers that inspire audiences around the world.

For rules and regulations, please visit the Rules page, T&C's and other FAQs here.

For more information and to enter, visit: www.worldsportsphotographyawards.com

© OM SYSTEM

 

OM SYSTEM has unveiled the new PEN camera, the first PEN series model under the OM SYSTEM brand. The compact rangefinder design pairs an electronic viewfinder with IPX1-rated dust and splashproof construction, a first for the PEN series. It combines a 20.37MP Live MOS sensor with computational photography features including High Res Shot, Live ND, Focus Stacking, and HDR, plus 121-point autofocus with AI Subject Detection.

 

From OM SYSTEM:

 

OM Digital Solutions Corporation proudly announces the launch of the new OM SYSTEM PEN, the first PEN series camera introduced under the OM SYSTEM brand. Combining the timeless rangefinder-style PEN design with modern imaging technology, the camera is designed for photographers seeking a compact, lightweight companion for everyday creativity, travel, and visual storytelling.

Building on the PEN series heritage dating back to 1959, the OM SYSTEM PEN introduces several important advancements, including an integrated electronic viewfinder and, for the first time in the PEN series, dust- and splashproof performance. Combined with OM SYSTEM's renowned computational photography capabilities, the camera delivers a versatile and intuitive shooting experience for enthusiasts and newcomers alike.

 

Designed to Inspire Everyday Photography

The OM SYSTEM PEN is built to encourage users to take their camera everywhere. Its compact and lightweight form factor is paired with an electronic viewfinder for a more immersive shooting experience and an IPX1-rated dust- and splashproof construction that offers reliability in changing weather conditions. Powered by the TruePic IX image processor and a 20.37MP Live MOS sensor, the camera delivers outstanding image quality while benefiting from 5-axis image stabilization. Creative photographers can explore Color Profile Control and Monochrome Profile Control modes, allowing film-inspired looks and highly personalized image styles directly in-camera. In addition, the dedicated CP button provides fast access.

 

© OM SYSTEM

 

Key Features

• First OM SYSTEM camera in the PEN series, featuring a classic rangefinder-style design with integrated electronic viewfinder.
• First PEN series camera with IPX1-rated dust- and splashproof construction.
• Color Profile Control and Monochrome Profile Control for film-inspired creative expression.
• Dedicated computational photography features including High Res Shot, Live ND, Focus Stacking, HDR and Multiple Exposure.
• 121-point all cross-type phase-detection autofocus.
• AI Subject Detection AF for people and animals.
• Starry Sky AF and Pro Capture shooting up to 30fps.
• 5-axis image stabilization and support for the extensive Micro Four Thirds lens ecosystem.

 

Product Availability & Pricing

OM SYSTEM PEN Body RRP:  £849.99

OM SYSTEM PEN + M.ZUIKO DIGITAL 14-42mm F3.5-5.6 III Kit RRP:  £949.99

Available in Silver and Black, with availability scheduled for late September / early October 2026.

For more information, please visit the OM SYSTEM website.

Tilt a 600mm lens by a tenth of a degree, a movement too small to feel, and the image it projects slides about a millimeter across the sensor. Nearly every stabilizer in a modern still camera exists to cancel that millimeter while the shutter is open, either by shoving a piece of glass sideways or by flying the entire sensor on magnets. How each one does that explains why the stop counts printed on the box are so hard to compare.

 

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

1. Lenses for photographing candid market images

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

2. Flash can make photos look less natural

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

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

 

 

3. Interact with people to gain their trust

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

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

4. Capture as much as you can

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

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

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

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

 

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- Partner Content -

 

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

 

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

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

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

 

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

 

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

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

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

 

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

 

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

 

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

 

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

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

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

 

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

 

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

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

 

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

 

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

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

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

 

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

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

 

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

 

 

Fujifilm XF400mm f/4.5 R LM OIS WR: Summary

 

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

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

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

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

 

Fujifilm XF400mm f/4.5 R LM OIS WR Key Features

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

 

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

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

 

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

 

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

 

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