Photography News

In today's lens market, we're spoiled with clinical perfection. Every new release promises sharper corners, less chromatic aberration, and faster autofocus. But rewind a few decades, and the photography industry was a wild west of mechanical experimentation, questionable engineering decisions, and ideas that made perfect sense to exactly nobody. Some of these experiments became beloved cult classics. Others became cautionary tales whispered in engineering departments. All of them are gloriously, magnificently weird.

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All hype aside, what did I learn from putting the brand new Nikon ZR and NIKKOR Z 24-70 f/2.8 S II into the field to make my new series, The Pickup Artist?

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In the case of the OM System Olympus OM-1, beauty is much deeper than skin deep and it’s an outstanding, capable and feature-rich camera.

 

The Micro Four Thirds (MFT) format is based on a 17.3x13mm sensor so roughly the same image size as the 110-snapshot film format. However, while the ultimate quality possible from the 110-film format leaves a great deal to be desired, that is not the case with digital and the MFT format is capable of pro-quality results. 

OM System and Panasonic MFT cameras are very popular with enthusiasts and expert photographers and with the help of MPB, we went shopping with £3000 to spend on a fully-fledged zoom lens outfit to suit photographers who enjoy a wide range of subject genres, from people to nature and landscapes to macro. 

We went for the OM-1 as the crux of our system. The OM-1 was produced by OM System and was the last camera to bear the Olympus badge, and when it came out in 2022, it was 50 years after the trend-setting classic 35mm film camera of the same name. 

 

Its small stature and slick handling make the OM-1 ideal for grab shooting on the street. Exposure was 1/100sec at f/5.6 and ISO 400. Image by Will Cheung.

 

The OM-1 had a 20.4-megapixel sensor at its heart and as befits a flagship camera, its feature list makes for impressive reading. The stacked CMOS sensor had 1053 quad-pixel AF sensor points, which gave excellent and accurate performance whether shooting upright or horizontal-format shots and almost regardless of the scene’s content. Speaking of content, the OM-1 has a very capable and versatile subject-based focus detect and tracking focusing system and this is enhanced further with the ability to create custom AF patterns to suit your favourite subjects. For example, if birds in flight or airplanes are your favourite subjects you can make a fat letter-box AF pattern to suit their shape.

 

Scenes with extreme contrast hold no fears to the OM-1 and the Raw file in this case had plenty of editing potential. Exposure was 1/100sec at f/11 and ISO 200 80mm on 40-150mm. Image by Will Cheung.

 

Supporting the camera’s AF skills is the OM-1’s remarkable burst shooting capabilities. Olympus was the first camera brand to come out with an innovative pre-capture feature called Pro Capture. This allowed shots to be captured and held in a buffer and were only committed to the memory card upon full shutter button press. It made capturing instances such as a bird or dragonfly taking flight achievable even for those photographers with poor reactions. What makes Pro Capture amazing is that on the OM-1, you can shoot full Raws at 50fps with AE/AF tracking and 120fps with fixed AE/AF. To give this OM feature some context, one camera brand has pre-shot capability but only with JPEGs.

 

The OM-1 range of computational modes lets you achieve images in-camera.

 

Assisting good shots in poor weather and dodgy light, the IP-53 weather-sealed body is image-stabilised with a system rated with 7-stops benefit and 8-stops with compatible OM optics. 

We haven’t even mentioned handheld and tripod high res shooting modes, in-body focus stacking and Live shooting modes, so you can appreciate that we have only scraped the surface when it comes to the OM-1’s great photo features and that’s why we’ve chosen it as our lightweight system centrepiece.

 

Like other OM System/Olympus cameras, the OM-1 has a full complement of Art Filters for creative in-camera JPEG output. This was the Diorama filter. Exposure for this was 1/250 sec at f/11 and ISO 200. Image by Will Cheung.

 

The OM-1’s launch price was £2000 body only, but now it’s tremendous value on the used market with MPB having excellent condition bodies (at the time of writing) within the range of £789-859. 

Naturally, the MFT lens mount is supported by OM System and Panasonic, so there is plenty of choice in terms of primes and zooms but in addition, there is a huge selection of independent autofocus and manual focus lenses available from brands including Sigma, Laowa and Zeiss at a wide range of prices.

The smaller MFT format has an image area nearly one quarter the surface area of full-frame but on the important format diagonal, MFT is half that of 35mm so there’s a 2x crop factor and that is a huge benefit especially when it comes to long telephoto lenses. So, for example, a MFT 150mm lens gives the same field of view as 300mm in full-frame and, aperture for aperture, more depth-of-field by around two f/stops.

Of course, lens choice is very much a personal matter but here we wanted to cover a wide subject range with our lens system, so chose OM System optics that covered from ultra-wide to long telephoto taking in macro along the way. With our generous budget limit of £3000 in mind, that’s enough for a versatile four lens kit and some latitude with lens speed.

Searching MPB’s website, there was a huge choice available when it came to lens model and condition, although a couple of our choices had limited stock at the time. Of course, in the rapidly changing world of used kit that is to be expected, so when you do go shopping with MPB, if a product catches your eye and stock is limited, it pays to strike quickly before an item is snapped up.

 

There’s a huge range of lenses available for Micro Four Thirds format cameras. On the left, there’s the OM System 8-25mm f/4 sitting next to the 12-40mm f/2.8 II (lenses not shown to scale).

 

Okay, this is what we went for. For an ultra-wide zoom, the choice was the 8-25mm f/4 PRO at £589 which is a significant saving on its £949 new price. This 16-50mm full-frame equivalent is a lovely lens, even though the f/4 maximum aperture might mean resorting to higher ISOs in poor light. That said, with the potential of denoising in software, shooting at ISO or even 3200 is not an issue.

The standard zoom we went for was the 12-40mm f/2.8 PRO II available in ‘like new’ condition at MPB for £639. Small, portable and highly capable, this is the perfect lens for general shooting.

 

The petite OM 60mm f/2.8 Macro lens gives up to lifesize magnification. This close-up portrait of a marbled white butterfly shows its potential. Exposure was 1/400sec at f/2.8 and ISO 800. Image by Will Cheung.

 

To tackle close-up subjects, we went for the 60mm f/2.8 Macro at £249 in excellent condition. This lens focuses close enough to give lifesize magnification and is a delight to use, being so compact and capable.

Our outfit was completed with the 40-150mm f/2.8 PRO. MPB had plenty of stock and an excellent condition sample was on offer at £814. This telezoom gives the view of a full-frame equivalent 80-300mm and is a favourite with MFT shooters.

Well, that's £3000 spent on a four lens MFT system which can cope with most subjects with no problem and won’t break your back on long days of photography. If the notion of down-sizing appeals, check out what’s possible with MPB.

 

  News from MPB

As consumers, we want value, choice and outstanding service and you get all that and more with MPB, so the brand deserves all the plaudits it deserves. But MPB is a forward-looking business and has a vision way beyond looking after its customers. 

MPB has recently released its FY25 Impact Report on its Sustainability. Headlines include 615,000 cameras, lenses and accessories (9% from 564,000 last year) have been recirculated and zero waste was sent to landfill with the Brighton site achieving a 92% recycling rate. There is much more in the report so if you want to learn about MPB’s sustainability strategy, you can read – and download - it here.

  MPB Explained

You need kit to take photographs and produce videos, and taking the used route is a cost-effective way of making the most of your budget and keeping up with the latest developments in imaging technology.

MPB is one of the biggest used retailers with bases in the UK, Germany and the USA.

Trading with MPB the process is fair, safe, painless and incredibly easy.

Whether you have kit to sell, want to make a purchase or part exchange, start by going to the MPB website which is intuitive and straightforward to use.

If you have kit to trade, just start typing the name in and a list of suggestions from MPB’s huge database will appear. If a name on that list matches your product click on it and add its condition; if not, continue typing in the whole name and condition.

It’s worth bearing in mind that MPB’s database covers much more than cameras and lenses so if you have, for example, a photo backpack, tripod or filters to sell these can be shown as you type in their name too.

With all your kit listed, add contact details and a quote will appear in your inbox soon afterwards, although manually entered items will take one working day.

If you are happy with the quote, accept it and follow the instructions to get the kit ready for courier collection on a day to suit you. For higher-value deals, an MPB account manager will also be in touch, so you have a personal point of contact if you have any queries.

Once received by MPB, you will get a notification and after checking by its product specialists you will receive a final quote. This can vary from the original quote if there is a missing item —like a battery not being supplied—or your assessed condition differs from the actual condition.

A quote can go down, but it can also increase if the kit’s condition is better than your assessment.

The whole process doesn’t take long and MPB are in touch by e-mail at every step so you’re never in the dark, and only when you are totally happy with the deal, pass on your payment details or pay the balance in the case of part-exchange. Either way, the money or your new kit will be with you soon after.

Get A Quote From MPB Today

 

About MPB

• MPB is the largest global platform to buy, sell and trade used photo and video kit.
• MPB is the simple, safe and circular way to trade, upgrade and get paid.
• MPB is not a marketplace, instead buying directly from visual storytellers and evaluating all items before reselling MPB-approved kit.
• MPB's dynamic pricing engine provides the right price upfront for all items.
• Circularity is at the centre of MPB, promoting sustainability, diversity and inclusion in everything they do.
• MPB prioritises inclusive recruitment and supports employees with extensive training and development. They promote inclusive visual storytelling and an inclusive circular economy.
• MPB's business model is 100% circular. All packaging is 100% plastic-free. Their cloud-based platform uses 100% renewable electricity.
• MPB recirculates more than 570,000 products annually
• MPB provides first-class customer service. Customers can receive support through their Help Centre or by speaking directly with a kit expert.
• MPB's product specialists are trusted by thousands of visual storytellers in the UK.
• MPB is rated ‘Excellent’ on Trustpilot with over 37,000 reviews.

Visit The MPB Website

Remembrance Sunday is a day that commemorates the sacrifices of armed forces and civilians in times of war and artificial poppies are bought and worn as a mark of respect. Although the 11th is the actual Remembrance Day, a two-minute silence is observed at war memorials and other public spaces across the UK at 11am on Remembrance Sunday. At these locations and for weeks after you will see decorative wreaths of poppies placed at these memorials which can make an interesting subject for photographers.

 

What sort of kit is best?

Any compact camera can be used to photograph memorials and artificial poppies. As long as it has a lens with a fairly close focus you will be able to shoot closer shots of individual poppies or wreaths, and a wide angle will help you take a more overall view of the scene.
 

The main thing you need is imagination.

Respect your surroundings

At all times respect the location. These are areas marked for people who lost their lives and people come to pay their respects. The last thing they want is a disrespectful photographer interrupting their moment.  

Memorials are often grand structures and dwarf the wreaths placed below them so consider moving in closer with a tighter crop of the scene. Use a wide-angle lens and move in close placing the memorial to one side and allow the background scenery/cityscape to contrast against the scene.
 

Utilise the colour of the poppies

Consider the bright colour of the poppies against the often cold dark tones of the memorial and underexpose slightly so the darker areas become a stark contrast behind the vibrant red of the poppies. You can adjust the contrast and colour saturation using your image editing program to enhance the poppy colour.

Try focusing on a single poppy and isolate it from the rest of the scene. Placing one strategically on a part of the memorial will give an interesting still life set. Use a polarising filter to prevent reflections from the statue or polished marble.
 

Be creative with your angles

Hone in on a single poppy in a wreath and use a wide aperture to throw the rest out of focus. Choose the right angle and the rest will be a blur of red as a background.

Many of the memorials have very poignant messages engraved in the marble. Try including one of these in the shot with a wreath. Have the wreath on the foreground and the message tailing off to the distance. Photography the message head-on and cropped so just a few of the words are visible with a single poppy laid over them.

 

Don't forget the people at the ceremonies

Candid shots of old war veterans wearing poppies can make good photographs. Again, respect the person. Asking if you can take a photograph is polite and then you don't have to grab the moment. You can spend a few minutes composing the shot and making sure the viewpoint is good. If the person is in a wheelchair get down to their level for a better perspective.

A photo of a person placing a poppy on the memorial could look good from the right angle. Again, take from a low viewpoint and makes sure the face and the poppy are in frame. 

Packing for a trip always involves tough choices. Do you bring that heavy ultra-wide zoom for just a few shots? Viltrox AF 14mm f/4 Air has an answer that makes the decision incredibly easy, and it comes in a tiny lens that costs less than a nice dinner for two.

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Lightroom hides a lot of power behind menus you probably ignore and shortcuts you might not even know exist. If you spend hours editing, small changes in how you use masks and ranges can add up to cleaner images and faster decisions.

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Are you still frustrated with low-light photography, where your night shots turn out dark and noisy? Let's explore easy adjustments to improve your camera's ability in darkness and help you take beautiful nighttime photos.

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Astrophotography gets frustrating fast when your target is in the wrong place, your gear is mismatched, or your files become chaos by the end of the season. Dialing in a few core habits around planning, hardware choices, filters, and focus lets you spend more time gathering good data instead of fighting problems at 2:00 a.m.

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Golden hour looks forgiving, but it can be harsh on detail and contrast when the light is stronger than you think. If you rely only on ambient, backgrounds clip, faces flatten, and you lose most of what makes that time of day so special.

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Fast 35mm primes can change how you shoot everyday work, from weddings and street to casual video. A lens like the Sirui Aurora 35mm f/1.4 can give you shallow depth of field, low-light flexibility, and a look that feels high end without dropping flagship money.

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Photo by David Pritchard

 

 

1. 'There's No Such Thing As Bad Weather'

Top landscape photographer John Gravett once said: "There is no such thing as bad weather – only different types of lighting," and he couldn't be more correct. Just because the light's dull doesn't mean you still can't capture good shots, you just have to think a bit differently. The same goes for rain which, in fact, can help you capture cracking landscapes. Try to not leave the door with the mindset that you'll be battling bad weather instead, think how you can use it to your advantage. 

 

2. Dress For The Weather

Staying dry will keep you in a more positive frame of mind so make sure you have waterproof clothing protecting you from head-to-toe. Without it, you'll just get soaked when it's raining which will just make you miserable and taking photos will probably not be at the top of your list. A coat with a hood, waterproof trousers and a good pair of boots should keep you dry. A decent pair of socks and layers will keep you warm but it's down to personal choice if you wear a pair of gloves or not as fleece gloves will just become sodden and not pleasant to wear. 

 

3. Take The Right Bag

You can buy water- and weatherproof camera bags that'll keep your gear dry, plus many styles of camera bag now come with a waterproof cover built-in. If you're using a bag that doesn't have this feature, it's really worth spending a few pounds and investing in one. After all, a waterproof cover is cheaper to buy than new equipment! Check out our complete guide to camera bags.

 

4. Protect Your Camera And Lenses

Many companies are now bringing weather-sealed equipment to the market, but it's always worth adding a waterproof cover just in case. You can purchase rain sleeves which fit over your camera and lens, plus some are made to measure for your specific kit. Some photographers have used plastic bags to protect their gear in the past but obviously, this isn't the best method and will certainly not work in heavy downpours.

On wet weather days when it's humid, you can get condensation build-up on the inside of the cover as too can putting damp hands inside the cover to adjust your lens, which means water will be sat against your kit so do pack a cloth you can wipe your kit with if needs be. 

 

5. Take A Tripod Out With You

Lighting levels will be lower on cloudy, rainy days which means exposures will be longer so a tripod is an essential piece of kit. Plus, if you're using a rain cover, they don't tend to fit round camera straps very well so using a tripod is your best option. 

 

6. Pack A Lens Cloth

You may want to capture rain-filled images, but this doesn't mean you want water droplets to sit on your lens. Rain on your lens will spoil your shots so do take the time to dry the lens before hitting the shutter button. If you're going to be out for a longer period of time you'll want to pack several lens cloths as you won't achieve much if you try and dry a lens with an already damp cloth.

 

 

Photo by David Pritchard

 

7. Choosing Lenses 

Landscapes aren't just about wide-angle lenses as telephoto lenses can really help you capture some interesting images. In a previous article, John Gravett said: "Rain is wonderful at creating recession, in landscape pictures. Using a telephoto lens to compress perspective along with the recessive nature of the weather can create some truly striking images."

 

8. Try Working In Black & White 

A shot that looks dull and boring in colour can be transformed into a great moody mono. Plus, you'll be able to emphasise texture and tones, enhancing the mood and elements in your shots by shooting in black and white. 

 

9. Foreground Interest

Adding foreground interest to landscape images is something that should always be considered and this becomes even more important when shooting in the rain, as John Gravett explains: "Landscapes can often look moody and impressive when photographed in bad weather. Similarly, they can also look pastel and delicate – particularly when shooting over lakes or bodies of water. I generally try to include some foreground interest or dark element within the picture as a contrast to the overall light tones of a drizzly day. Make sure your expose "to the right" - firstly, it will maximise your data, and secondly, it will give you a high key feel rather than a dull, grey overcast look; that alone will make your thumbnails on your computer more appealing....Heavy rain can totally obscure background elements in a landscape, changing the emphasis from the overall landscape to elements in the foreground, which can so often get overlooked."

 

The German AI photo editing provider Neurapix has announced a powerful new feature for its Lightroom plugin during the Neurapix Conference 2025. From now on, photographers can manually adjust their SmartPresets, allowing them to fine-tune or completely redefine their editing style with just a few clicks.

Brightness, color tones, and overall looks can evolve over time — and now, Neurapix users can easily reflect these changes in their own SmartPresets. With the new "Adjust SmartPreset" feature, photographers can manually modify the AI slider values of their individual looks to better match their current style.

To use the feature, photographers simply select images that were edited with the SmartPreset they wish to modify. Within Adobe Lightroom Classic, they follow the familiar path (Library > Plug-in Extras) and click on "Adjust SmartPreset". A new window opens, displaying the selected example images along with Lightroom's well-known adjustment sliders. These settings can be modified at will and then saved as the new default configuration for the SmartPreset.

 

 

Flexible Editing for All SmartPresets

Users can adjust not only their own SmartPresets but also those they've purchased from other photographers — as often as they like, and at no additional cost. The new feature is automatically available after updating the Neurapix plugin. The update will be offered in a pop-up when Lightroom Classic is next launched or can be triggered manually in the Plug-in Manager.

In addition, users can still refine their own SmartPresets by allowing the AI to analyze and incorporate manual post-corrections made after the automated edit. This option, formerly known as "Refine SmartPreset", now appears as "Send Corrections" in the Lightroom menu.

"The ability to quickly and easily adjust SmartPresets makes our offering even more flexible and versatile for photographers," says Nils Sauder, Co-Founder and CEO of Neurapix. "It also allows them to purchase SmartPresets from other photographers and adapt them to their own preferences — making it even easier to get started with AI-powered photo editing." 

 

About Neurapix

Neurapix is a German AI start-up based in Goettingen that was founded in 2021. The company has developed an artificial intelligence that is able to learn a photographer's image editing style and apply it within Adobe Lightroom Classic. This allows photographers to have large numbers of photos edited in their own style, resulting in significant time savings of around 90%. Fore more information, please visit the Neurapix website.

© Canon

 

Canon has introduced the EOS R6 Mark III and RF 45mm f/1.2 STM lens, expanding its EOS R System with tools designed for speed, resolution, and creative control. The camera offers 32.5 megapixels, fast continuous shooting, and advanced autofocus, while the lens features a lightweight f/1.2 aperture option for expressive depth and low-light performance.

Together, they support hybrid creators with features for both photography and video, including 7K RAW Light recording, Open Gate capture, and focus breathing correction. These releases give users more choice across Canon’s full-frame lineup.

 

From Canon UK:

Canon unveils an exciting dual release: the powerful EOS R6 Mark III and innovative RF 45mm F1.2 STM prime lens – both designed for storytellers looking to elevate their creativity.

The EOS R6 Mark III is a powerful stills camera with advanced filmmaking features, offering exceptional quality and control for photographers covering a range of subjects from sports and wildlife to weddings and portraits. Positioned above the EOS R6 Mark II, the EOS R6 Mark III offers significant upgrades in resolution, tracking, and connectivity offering additional choice alongside the existing EOS R5 and EOS R6 models.

Joining the lineup is the innovative RF 45mm F1.2 STM, Canon's lightest f/1.2 RF lens at just 346g. This lens stands out in its category – it is ultra-fast, features smooth autofocus and delivers performance without a professional-level price tag. The lens introduces Canon's widest aperture to the enthusiast range for the first time, offering excellent low-light performance and greater creativity. The RF 45mm F1.2 STM is a game-changer for photographers seeking depth of field control and outstanding creative results.

 

EOS R6 Mark III: Quality meets performance

 

The EOS R6 Mark III delivers an exceptional balance of resolution, speed and reliability – making it a versatile tool for a wide range of photography styles. Featuring a newly developed 32.5 megapixel full frame sensor and 40fps continuous shooting1, it captures more detail than the EOS R6 Mark II while maintaining impressive speed. With an expanded buffer capable of handling up to 150 RAW images in a single burst (when using CFexpress cards), intelligent autofocus tracking, and robust filmmaking features, the EOS R6 Mark III is built for action. Its customisable controls and weather-resistant body2 make it a resilient and adaptable camera that fits seamlessly into any creative workflow – from sports and wildlife to events, landscapes and portraits.

The EOS R6 Mark III excels in low light3, offering an ISO range up to 64,000 for clean, detailed images even in challenging conditions. In-camera crop modes effectively extend reach – perfect for wildlife and sports – while up to 8.5 stops4 of combined image stabilisation keep handheld shots sharp and steady.

This camera also demands less storage than the EOS R5 line, offering a well-balanced trade-off between file size and performance. It supports faster workflows, eases storage requirements and still delivers the image quality that users expect.

 

Never miss a moment

The EOS R6 Mark III is a reliable companion for high-pressure occasions like sporting events, weddings, and red carpets, with several new and improved features over its predecessors. Improved tracking algorithms lock onto moving subjects – including trains, airplanes, and horses – with greater ease, while the Register People Priority function allows users to pre-select 10 faces for priority tracking. For even more peace of mind, pre-continuous shooting records 20 frames in H+ mode before the shutter is pressed, in full RAW, JPEG, or HEIF.

 

Discover your inner filmmaker

For photographers expanding into video, the EOS R6 Mark III offers a seamless and confident entry into the world of filmmaking. It captures stunning 7K RAW Light footage up to 60p, delivers beautifully detailed oversampled 4K 60p with cinematic motion and supports 4K 120p for even slower, more dramatic results. Full HD 180fps recording is also available for creative slow-motion effects.

Content can easily be repurposed across platforms with Open Gate, a capability that captures the entire sensor's output to enable more flexibility in framing, stabilisation, and post-processing. It also supports pro-level tools like waveform monitor, proxies, metadata tagging, full-size HDMI, and 4-channel audio.

 

Built for a smoother workflow

The EOS R6 Mark III introduces a range of new and improved features that also support a smarter, faster workflow. Dual aspect markers frame for multiple platforms in one shot, while a redesigned control tab offers a customised shooting experience. For better organisation and security, dual card slots support the fast and high-capacity CFexpress Type B and the widely used UHS-II SD. Quick and secure file transfers are also guaranteed thanks to built-in wireless connectivity, with support for the latest 5 GHz Wi-Fi5 and Bluetooth 5.1.

 

Key features of EOS R6 Mark III:

• 32.5 megapixel resolution
• 40fps1 electronic shutter
• Up to 8.5-stop IS4
• Wi-Fi5 and Bluetooth
• CFexpress and UHS-II SD card slots
• Up to 7K RAW video
• Open Gate

 

RF 45mm F1.2 STM: Fast aperture, high impact

 

The RF 45mm F1.2 STM marks several firsts, introducing Canon's first f/1.2 aperture non-professional RF lens, weighing under 350g and offering autofocus at an accessible price point. Positioned within the enthusiast RF lens range, it is designed to inspire creative experimentation with beautifully shallow depth of field and expressive low-light imagery. Until now, the super-fast f/1.2 aperture was exclusive to lenses costing much more, with users now able to explore cinematic storytelling, lifestyle shoots and portraits with stunning clarity and mood. Canon's STM AF technology ensures subjects stay sharp, allowing photographers to focus on their vision. 

 

Designed for everyday versatility

The RF 45mm F1.2 STM is highly versatile with a constant length with separate focus and control rings making it a strong choice for hybrid storytellers. The RF 45mm F1.2 STM also has a convenient 67mm filter size and a minimum focusing distance of 45cm, giving creatives the freedom to fine-tune their results. This new lens also features a durable metal mount, 9-blade aperture, and compatibility with Canon's focus breathing correction technology, all working together to deliver lasting performance and stunning results.

 

Key features of RF 45mm F1.2 STM

• Lightweight at 346g
• 45mm standard focal length
• Super-fast f/1.2 aperture
• STM autofocus motor
• Dedicated control ring
• 9-blade aperture
• Super Spectra coating
• Focus breathing correction compatibility

 

More power. More creativity.

Launched side by side, these two products expand Canon's growing EOS R System of high-performance creative tools. The EOS R6 Mark III bridges the gap between the EOS R5 Mark II and EOS R6 Mark II for storytellers that need both resolution and speed, while the RF 45mm F1.2 STM sets a new benchmark for fast-aperture lenses. Together, these launches continue Canon's mission to empower photographers with tools that are designed to elevate creativity at every level.

 

For more information, visit:

https://www.canon.co.uk/cameras/eos-r6-mark-iii/

https://www.canon.co.uk/lenses/rf-45mm-f1.2/

 

1 Up to 40 fps continuous shooting with electronic shutter. Speed may vary depending on subject, shooting conditions, or battery level.

2 Dust and water resistance requires all covers (card/battery, terminal, shoe cover, etc.) to be securely closed. While designed for durability, the camera is not fully impervious to dust or water droplets.

3 Low-light autofocus down to –6.5EV is achievable during still photo shooting, with an f/1.2 lens, Centre AF point, One-Shot AF, at 23°C/73°F, ISO100. Excluding RF lenses with Defocus Smoothing coating.

4 Up to 8.5-stops of stabilisation based on CIPA standard using the Electronic Shutter. Performance may vary depending on lens used and shooting conditions.

5 Wi-Fi use may be restricted in certain countries or regions.

 

The DSLR era may be winding down, but its legacy is undeniable. These cameras revolutionized photography, democratized professional tools, and created entirely new industries. From wedding photography to YouTube content creation, the DSLR shaped modern visual culture in ways that are still being felt today.

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This new tripod from Manfrotto is trying to win your loyalty by offering to do everything you’d want a tripod to do. If you have various workflows and want to minimize your gear options, this might be for you.

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Widely accepted as a go-to product for many outdoors and camping enthusiasts, power stations like this are underappreciated by photographers who have a need for power in off-grid scenarios. This article puts the Bluetti Elite 200 V2 through its paces for a variety of photographers who need serious, reliable energy in the field.

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Backlit photos can turn a flat scene into something dramatic, colorful, and full of depth. When you understand a few simple ways to control bright light behind a subject, you can use it with people, architecture, and landscapes without constantly fighting your exposure.

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An all-in-one zoom that actually feels like a serious lens can change how you pack and how you shoot. If you use a camera and want one lens that handles portraits, travel, details, and casual video without filling the bag, this new 25-200mm option demands attention.

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Nikon continues to develop support for the DX format crop sensor cameras, steadily increasing the range of lenses. Following on from the recently reviewed 35mm f/1.7 macro lens, we have the Nikkor Z DX 16-50mm f/2.8 VR, a fast standard zoom that has a “35mm-format equivalent” field of view of 24-75mm, a very versatile and useful range. Compared to the full frame equivalent lens, the 24-70mm f/2.8, this new optic is light, compact and perhaps a strong contender for travel and general use. We combine it with the 20MP Nikon Zfc retro design mirrorless camera and put it through its paces out in the field, and also in the technical tests. Let's see how it all worked out.

 

Nikkor Z DX 16-50mm f/2.8 VR Handling and Features

First impression is of a relatively compact, well made lens that balances extremely well with the Nikon Zfc camera body. It weighs in at a modest 330g and measures a svelte 74.5mm x 88.0mm. Construction quality is excellent. 

There is a supplied petal lens hood, designated type HB-118. This bayonets cleanly and positively into place. There is no locking catch, nor is one needed. Within the bayonet fit for the hood is a conventional 67mm filter thread. The lens is dust and drip resistant, something that is all but essential if we are to venture out into the variable outdoor weather.

 

 

The smoothly operating zoom ring is clearly marked at 16mm, 24mm, 35mm and 50mm. These markings appear to be accurate. The lens does extend when zooming, but not so much that it unbalances the lens/camera combination. Focusing is internal and has no effect on the barrel length. There is reduced focus breathing, of particular interest to videographers.

The silent control ring is the only other control. This is electronic and super smooth although with a fairly firm action. By default, this is the focusing ring, but it can be changed in the camera menu to aperture control, exposure compensation or indeed it can be switched off.

AF is provided via a stepping motor, which is fast, accurate and virtually silent.  

 

 

The closest focus point changes depending upon the focal length chosen. Greatest magnification is at the 50mm setting, which is useful as it enables a longer working distance for the closest shots, allowing room for lighting and also avoiding the front element becoming too close to the subject.

 

16mm 0.15m (0.5')   24mm 0.18m (0.59')   35mm 0.21m (0.69')   50mm 0.25m (0.82') 0.24x magnification

 

Optical construction is 12 elements in 11 groups, including 1 ED (Extra Low Dispersion) and 2 Aspherical. The diaphragm comprises 9 blades, helping to form a more rounded aperture for improved bokeh. The final and most important aid to sharpness is the optical VR (Vibration Reduction) which offers an advantage of 4.5 stops.

The lens is beautifully hazard free in use, so let's see if the technical performance can match up to its handling prowess and deliver another winner for Nikon.

 

 

Nikkor Z DX 16-50mm f/2.8 VR Performance

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

At 35mm, central sharpness is outstanding from f/2.8 to f/11, excellent at f/16 and very good at f/22. The edges are outstanding from f/2.8 to f/11, excellent at f/16 and good at f/22.

At 50mm, central sharpness is outstanding from f/2.8 to f/11, excellent at f/16 and very good at f/22. The edges are excellent at f/2.8 and f/4, outstanding from f/f5.6 to f/11, excellent at f/16 and very good at f/22.

This is an outstanding overall performance.

Distortion is almost perfectly rectilinear, measuring just -0.52% barrel at 16mm, -0.03% barrel at 35mm and +0.05% pincushion at 50mm. This makes the lens eminently suitable for even the most critical architectural photography.

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR 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 Nikon Zfc using Imatest. Want to know more about how we review lenses?

 

CA is virtually non-existent at the centre of the field, and extremely well controlled even at the edges.

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR 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 Nikon Zfc using Imatest.

 

Bokeh is pleasant, perhaps falling short of the sublime bokeh effects seen on some lenses. This is probably the trade off with the outstanding levels of sharpness.

Flare is generally well suppressed, showing just a slight tendency to flare when bright light sources are included in the image area.

Vignetting is impressively low and visually not intrusive at all.

 

Aperture 16mm 35mm 50mm f/2.8 -1.3 -0.5 -1.5 f/4 -1.1 -0.4 -1.5 f/5.6 -1.1 -0.3 -1.3 f/8 -1.1 -0.3 -1.2 f/11 -0.8 -0.3 -1.1 f16 -0.8 -0.3 -1.1 f/22 -0.8 -0.3 -1.1

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR Sample Photos Previous Next

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR 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]Nikon Nikkor Z DX 16-50mm f/2.8 VR|Nikon+Nikkor+Z+DX+16-50mm+f/2.8+VR[/AMUK] lens is priced at £799.00

There is an alternative [AMUK]Nikkor Z DX 16-50mm f/3.5-6.3 VR|Nikkor+Z+DX+16-50mm+f/3.5-6.3+VR[/AMUK] at £329.00. This is not as fast, but it is more compact and considerably less expensive.

Alternatives for other marques help us set the level that Nikon have pitched at.

• [AMUK]Fujifilm XF 16-50mm f/2.8-4.8 R LM WR|Fujifilm+XF+16-50mm+f/2.8-4.8+R+LM+WR[/AMUK], £599
• [AMUK]Sony E 16-50mm f/3.5-5.6 OSS II PZ|Sony+E+16-50mm+f/3.5-5.6+OSS+II+PZ[/AMUK], £274

The new Nikkor lens is at the upper end of pricing for DX format, but on the other hand has exceptional performance. On the basis that we get what we pay for, it looks solid VFM.

 

 

Nikkor Z DX 16-50mm f/2.8 VR Verdict

Nikon has done it again, delivering an amazing lens at a reasonable price. For a general purpose standard zoom that offers such quality and is fit for purpose for subject matter from architecture to portraiture and more, it looks very hard to beat. Whilst not a bokeh master as such, it still offers decently pleasant out of focus areas; but it rather more shines in its ability to render fine detail with critical sharpness and superb texture.

The focal length range is an ideal general purpose one, covering most subjects. Having the ultra-wide 16mm is useful for landscapes and architecture. The 50mm end makes a great portrait lens, its 75mm-equivalent being more or less spot on to the classic portrait focal length of 85mm.

The close focusing is one of the great advantages of modern zoom lenses. These tend to focus far closer than primes. The 0.24x magnification at the 50mm end covers most close up shooting, so a macro lens may not be routinely needed when travelling light. 

This has been a very rewarding lens to use, a definite winner in so many ways and as a consequence a natural Editor's Choice.

 

Nikkor Z DX 16-50mm f/2.8 VR Pros

• Outstanding sharpness
• Very low CA
• Modest vignetting
• Dust and drip resistant
• Silent control ring
• Reduced focus breathing
• Close focusing
• 4.5 stops VR (Vibration Reduction)

Nikkor Z DX 16-50mm f/2.8 VR Cons

• Slight tendency to flare

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=Editor's Choice – A superb, fast standard zoom lens for Nikon's DX format crop sensor mirrorless cameras.|E_id=8027[/REVIEW_FOOTER]

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