Photography News

A few years ago, when the shutter on my Canon 5D Mark II finally gave out after 12 years of use, I needed to upgrade my equipment. With so many mirrorless cameras available on the market, it was a difficult decision. However, one camera consistently stood out to me. No matter how many times I tried to convince myself that there might be a better option for my needs, something kept drawing me back to it. Before getting into why I ultimately chose the Canon R5 C, it's essential to outline what I actually needed. I shoot both stills and video professionally.

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Starting October 1, any company that lets New York City residents sign up for a subscription online will have to let them cancel it the same way. That covers streaming services, gym memberships, and the creative software many of you pay for every month. 

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A headshot has one job: to make a person look like the best, most confident version of themselves, and to do it in the fraction of a second a viewer spends forming a first impression. That is a narrow target, and it is easy to miss. What helps is that these failures repeat. Most weak headshots are not ruined by the camera or the location but by the same handful of mistakes, almost all of them fixable once you know what to look for. Here are ten that quietly kill a headshot, each with the fix. 

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Fujifilm's original XF16-55mm f/2.8 lens has long been considered one of the best in the X-mount lineup, and is a lens I've owned and loved to use for many years. I know from personal experience that it's truly one of the best, whether discussing sharpness, detail, autofocus, build quality, or usability.

 

So when the new Fujifilm XF16-55mm f/2.8 R LM WR II was announced a while back, I wasn't sure what to expect. Would it be possible for Fujifilm to keep the high quality standards set by the original 16-55mm in a new, smaller, more compact package?

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The Photoolex BB Series is a new modular camera battery charging system designed for professional photographers and videographers. Each model supports major battery types, including Sony NP-FZ100, Nikon EN-EL15c, Canon LP-E6P, and Fujifilm NP-W235. 

 Photoolex BB Pro – Travel and Professional Field Work

The flagship of the series, the BB Pro is a high-capacity power hub that doubles as a professional portable charger. It is ideal for field work where wall outlets are unavailable.

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The single biggest mistake in real estate photography has nothing to do with your camera or your marketing budget. Getting good before getting busy separates a business that lasts from one that burns out fast. 

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Most likely, this won't matter to many people, but I'm writing it and proposing it anyway, also because I'm convinced that there's only one person who will be interested in this piece about an antiquated setup that, in my opinion, still works great today. At least it works for me.

 

So I finally bought a lens that I really wanted: the Canon EF 40mm f/2.8 STM. 

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A single sunset photo, edited three different ways in the same frame, is the kind of thing that changes how you think about white balance. The trick lies in treating the sky and the water as separate zones instead of pushing one warm slider across the whole image. 

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Everybody loves a good pancake. A pancake lens, that is. Though some pancake lenses sacrifice quality for the sake of size, this new EVO lens begs to differ. 

 

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A 15-year-old camera with no USB-C charging, no eye sensor, and dated video specs still earns a spot in a working photographer's bag for a trip to the Italian coast. That says something about what actually keeps a camera in rotation years after its spec sheet stops mattering. 

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Tamron has announced the 12-20mm f/2.8, a fast-aperture ultra-wide angle zoom for Sony E-mount and Nikon Z mount full frame mirrorless cameras. The Sony E-mount version goes on sale July 30 at $1,699, and the Nikon Z mount version follows on August 27 at $1,799. 

The lens covers a 12mm to 20mm focal range and holds a constant f/2.8 maximum aperture across the entire zoom. Tamron is positioning the wide 12mm end and the bright aperture toward astrophotography and interior work, where both the extra field of view and light-gathering matter.

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For many of us, when we decide to get out and about with our cameras we automatically turn to the countryside. But with the majority of the population living within easy reach of a major Town or City, is that really the right decision? It’s great fun just walking around a city taking shots of literally everything but if you want to capture great images you need to go with a plan and a bag of kit including a couple of lenses and a tripod.

 

1. Think About Your Equipment

 

Don’t take lots of equipment just in case you might miss a shot, rather modify your subject matter and shooting style to suit the kit you have with you. This minimalist approach to shooting can help improve your success ratio.

2. Don't Get Overwhelmed 

 

Cities have so much variety to offer the photographer that it’s easy to become overwhelmed with the choice. My favoured approach is to pick one or possibly two themes and then explore an area looking to fulfil this self-imposed brief. 

 

3. Stay Safe

 

Where possible I like to shoot with a second person, especially if going out of the main shopping areas. Camera equipment is expensive and pulling out a new DSLR with a huge lens makes you stand out. Whilst I often like to carry my gear in a backpack I will also use a shoulder bag which I always ensure has my head through the strap as well as my shoulder. This makes it easily accessible and less of a target for potential thieves.

 

4. Theme Choices 

 

Dereliction is a popular choice and you don’t always need to leave the main area. The above shot also demonstrates how buildings reflect the way we live with the covering of posters, which is another possible theme.

There are many old and new iconic buildings and these can produce some great images especially if the light is right. Watch out also for the past icons that have become worn and faded. 

Patterns are another great subject. Cities are literally awash with patterns everywhere you look. For example, a simple set of steps and handrails probably won’t win any prizes but it's the perfect example of how patterns can be found in the simplest of objects. 

Follow your common sense and you will have a great day and capture some wonderful images.

 

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

 

If you're planning a day-trip at the coast you don't have to take your DSLR and a bag full of lenses to get good close-up shots. The majority of compact cameras and smartphones now have macro modes, some better than others, which can produce good results. The cameras are also smaller and usually lighter too making them easier to carry when you have arms full of buckets, spades and seaside treats. Plus, only shooting macro/close up shots really makes you stop and think about what you can photograph.

  1. Macro Mode

Find your camera's shooting modes and select the Macro Mode. This is generally the one that looks like a flower and by selecting it, your camera will know you'll be working with objects close to the lens and it will also use a larger aperture so the background's out of focus. How close you can focus to your subject will depend on the camera you're working with as they all have various close focus distances.
 

2. Tripod

Even if you're using a point-and-shoot camera using a tripod for close-up/macro work is a sensible idea. When you're working at close focusing distances any shake/movement is amplified and as a result, is more noticeable. As mentioned above, a tripod will reduce the chances of shake spoiling your shot and you'll be forced to slow down, so you think more about the shot you're trying to produce. 

 

3. Self Timer

Even though you're using a tripod, when you press the shutter button it can shake the camera so use your compact's self-timer to stop movement spoiling your shot.
 

4. Focus

It may sound obvious but do make sure the right part of your shot's in focus. If your compact has the option, switch to manual focus to have more control over what's sharp and what isn't. Once you've taken your shot, use your screen to view the image, zooming in to make sure all the bits that need to be sharp are.
 

5. Backgrounds

If possible, use a simple background that's not cluttered. This is easy on the beach when you can use the sand or position yourself so you're facing out to sea and use the water/sky as your backdrop. In busier locations such as harbours, this is a little more tricky to do but by putting space between your subject and the background it'll be easier for the camera to throw the background out of focus. You could also create your own background with a piece of card or even a jacket. 

6. Extra Light

Flash may seem the obvious way to go but as the flash on compact cameras is fixed, it's a bit too direct and can add too much light to the scene. If your camera allows it, you can dial down the flash but most of the time you'll be better off just shooting when there's plenty of natural light around. You can always use a reflector to direct the light and use a piece of card to shield your subject if you find there's too much light in the scene.

  7. Subject Choices

• Shells
• Pebbles
• Patterns/footprints in the sand
• Crabs
• Seaweed
• Interesting flotsam
• Water bubbles
• Chipped/cracked paint on boats
• Rust on railings
• Bolts
• Patterns in wood 
• Get in close to lobster pots and ropes to photograph the patterns
• Sticks of rock
• Jars of old-fashioned sweets

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

The announcement itself was straightforward enough. On July 2, Hasselblad and Capture One confirmed that Hasselblad's .3FR raw files now open natively in Capture One, with dedicated color profiles for the X2D II 100C, the X2D 100C, and the CFV 100C digital back, and lens profiles covering 19 XCD lenses. Tethered capture is planned for later in 2026. After years of forum threads and feature requests, the wait ended with a software update. 

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Speeding down Highway 371, I received a call. The two photographers who knew the way around Bisti Badlands weren't going to show tonight. This was a problem. I had never been there, and it was basically Mother Nature's escape room.

 

Bisti has no trails, no signs, no landmarks, and no cell signal. Just thousands of hoodoos and winding canyons. I'd have to find my way to some of the features, then find my way back to my car in the dark in a place I'd never been before. It would just be me and my navigation app. Here's how it went.

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One of the arguments I hear most often against street photography has very little to do with photography itself.

 

"If you're going to photograph someone, why not just talk to them?"

Sometimes it comes from photographers who have never been interested in candid work. Sometimes it comes from people who are uncomfortable with the idea of photographing strangers in public at all. Sometimes the conversation drifts toward privacy, ethics, or consent, as if every photograph made in a public space begins with the assumption that someone has been wronged.

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Picking one full frame camera for travel means weighing color, size, stabilization, and price against each other, and the differences rarely show up on a spec sheet. Three cameras in the same price range can feel like completely different tools once you actually carry them through a city all day. 

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For years, telephoto performance on smartphones has felt like a compromise, often forcing photographers to choose between reach and image quality. With the global launch of the Huawei Pura 90s Pro Max, Huawei is looking to shift that narrative and establish a new standard for mobile photography by bringing some of the latest imaging tech to the smartphone.  

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Impostor syndrome hits almost every creative person at some point, and if you shoot photos, you know the feeling: you look at work you admire and wonder why you even bother picking up a camera. Jesse Senko has a surprisingly practical answer to that spiral, and it comes from an unlikely source. 

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For years, Nikon's f/1.8 S-line lenses stood almost alone: premium optics at a maximum aperture where you rarely find premium anything. That comfortable spot is now under real pressure, and a head-to-head test shows exactly how much. 

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