Photography News

Shooting waterfalls in dramatic conditions forces you to think beyond the postcard shot and make deliberate decisions about space, timing, and tension in the frame. You see quickly that composition, focal length choices, and the weather you usually curse are what separate generic images from work that actually holds attention.

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Photographers, this is the one you’ve been waiting for.

The Nikon Z6 III — Nikon’s latest hybrid mirrorless camera — has just dropped in price on Amazon, and it’s turning heads across the photography community. Whether you shoot landscapes, weddings, wildlife or high-end video, this deal gives you a chance to get a next-generation full-frame camera at one of the lowest prices we’ve seen yet.

Today’s Amazon Deal Details

• Current Price: Check live price on Amazon →

• Savings: Typically retailing at $2,496.95, this model is now significantly discounted.

• Retailer: Amazon (Official Nikon seller)

• Availability: Limited stock discounts like this rarely last beyond a few days.

• Prime Eligible: Fast delivery with free returns for Prime members.

Why This Deal Matters

The Nikon Z6 III sits right in the sweet spot between Nikon’s professional Z8/Z9 and the more budget-friendly Z5 or Z50.
It offers an incredible combination of speed, image quality, and cinematic video capability, all packed into a compact, rugged body that’s built for real-world shooting.

For photographers who’ve been waiting to go full-frame without spending flagship money, this deal is the perfect moment to jump in.

Nikon Z6 III Specifications ManufacturerNikon Image Sensor Pixels24.5Mp (Megapixels)Pixels (W)No DataPixels (H)No DataSensor TypeCMOSSensor SizeNo DataSensor Size (width)No DataSensor Size (height)No DataAspect Ratio

• 3:2
• 16:9
• 1:1

LCD Monitor LCD Monitor3.2inScreen resolutionNo DataTouch ScreenYes Focusing Focusing modes

Exposure Control Shutter speeds shortestNo DataShutter speeds longestNo DataBulb modeNo DataExp modes

• Program
• Aperture-Priority
• Shutter-Priority
• Manual
• A

Metering

• Centre-weighted - Average
• Partial
• Spot

ISO sensitivity100 - 64000White balance

• Auto
• Cloudy
• Incandescent
• Fluorescent
• Shade
• Flash

Exposure CompNo Data Viewfinder Viewfinder ResolutionNo DataMagnificationNo Data Shooting Options Continuous shootingNo Data Video Movie modeNo DataVideo Resolution

• 1920x1080 FullHD
• 4K
• 6K

Video FPSNo DataStereo SoundNo DataOptical Zoom with VideoNo Data Other Features Image StabilisationYes Interface HDMIYesUSBUSB 3Wi-FiNo Data Storage Card Type

• SD
• SDHC
• SDXC
• XQD
• CFexpress (Type B)

File Type

• RAW
• JPG
• HEIF

Power Source Battery TypeEN-EL15c Rechargeable Lithium-IonBattery Life (CIPA rating)380shots Box Contents Box ContentsNo Data Dimensions Weight760gWidthNo DataHeightNo DataDepthNo Data

View Full Product Details

These specs place the Z6 III right at the top of the mid-range full-frame category — it competes directly with the Canon EOS R6 II and Sony A7 IV, yet undercuts both in price when on offer.

Real-World Performance

Photographers who’ve tested the Z6 III consistently praise its autofocus accuracy and dynamic range.
Thanks to Nikon’s subject-detection algorithms (borrowed from the Z8 and Z9), it locks onto eyes, animals, vehicles, and even birds in flight with stunning precision.

In video, the Z6 III shines with its internal 10-bit N-Log and H.265 recording, giving filmmakers serious flexibility in post-production. Combined with the bright EVF and deep grip, it’s a true hybrid workhorse designed for creators who switch between stills and motion.

“This camera feels like Nikon finally nailed the hybrid formula — it’s powerful, compact, and makes no compromises,” said one early reviewer on ePHOTOzine’s test bench.

Who This Camera Is Perfect For

If you fit into one of these categories, the Nikon Z6 III deal deserves your attention:

• Hybrid shooters who record both high-end video and stills.

• Wildlife or sports photographers who need 120 fps bursts.

• Landscape photographers looking for excellent dynamic range in a lightweight setup.

• Upgraders from DSLR — especially Nikon D750 or D780 owners ready for mirrorless performance.

Nikon Z6 III vs Z6 II — What’s New?

If you already own or have been eyeing the previous-gen Z6 II, here’s what makes the Z6 III worth upgrading to:

Feature Z6 II Z6 III Processor EXPEED 6 EXPEED 7 (Much Faster) Autofocus Good AI-trained subject tracking from Z8/Z9 Burst Rate 14 fps 120 fps (JPEG) Video 4K/60p 6K/60p + 4K/120p + RAW Screen Tilting Vari-angle fully articulating EVF 3.69 M-dot 5.76 M-dot 4000 nits (brighter than Z8)

This is a generational leap, not just a refresh — making the current discount even more compelling.

Why Buy from Amazon?

• Official Nikon Seller — full manufacturer warranty applies.

• 30-day returns on most items.

• Fast, trackable shipping (with free Prime delivery for members).

• Verified customer reviews to back up your decision.

When buying camera gear online, Amazon remains one of the safest and most convenient platforms, especially when combined with an active Nikon warranty.

Expert Tip from ePHOTOzine

If you’re investing in the Z6 III, don’t forget to check out the Nikkor Z 24–70 mm f/4 S or Nikkor Z 35 mm f/1.8 S — both pair perfectly with this body and are often bundled with discounts. You can also adapt your older F-mount lenses using the FTZ II adapter, which works seamlessly with autofocus and VR.

Don’t Wait Too Long

Amazon deals like this rarely stay active for more than a few days — especially on new-release Nikon bodies. If you’ve been holding off, now’s the time to act before prices return to RRP.

Check the Nikon Z6 III Deal on Amazon →

Photography shouldn't feel like work. Somewhere between megapixel counts and autofocus point comparisons, we've forgotten that cameras can simply be enjoyable to use. These five cameras, from vintage film classics to quirky modern experiments, prove that the best gear isn't always the most capable or the most expensive. Sometimes it's just the camera that makes you smile every time you pick it up.

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A superb action shot of an Osprey lifting off with its catch has earned FOXTROTT1 this week’s ‘Photo of the Week’ title.

The image shows the bird at just the right moment, with wings wide open, talons gripping a freshly caught fish, and water splashing around. Every detail is clear, from the feathers to the droplets still hanging in the air. The soft background helps keep the focus on the osprey’s strength and sharp movement.

One member describes it as “Right Time, Right Place, Fast reactions” – and it truly shows. With perfect timing and clear focus, this photo really stands out as our ‘Photo of the Week’.

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 2026, we’ll crown our 2025 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards!

Lightroom Classic 15.0 is not a soft tweak; it is a direct attack on the time you waste sorting, cleaning, and fixing images. If you handle big shoots, this update quietly targets the exact points where your workflow usually slows to a crawl.

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There are not many entry-level cameras left in the current camera economy. Many manufacturers aren't even offering budget options anymore, but thankfully, even with narrowing options, there is one standout choice.

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A compact fixed-lens medium format body with a true 102 MP sensor suddenly makes ultra-detailed work portable in a way your usual kit cannot match. If you care about resolution, flexible cropping, and keeping your bag lean without giving up dynamic range, this camera hits directly at the way you shoot on real trips.

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Bird images fall apart in quiet ways: lazy planning, slow reactions, and small habits that sneak softness and clutter into your frame. If you keep coming home with flat, lifeless files while others seem to nail crisp, intimate shots, these five recurring mistakes are likely right in front of you.

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Photo by David Pritchard

 

With the days growing shorter, there are great opportunities for night photography in the city. Urban and city areas can be accessed in the dark, often at rush hour when there are amazing shots to be had in relative safety.

Article Sections:

• Gear
• Set-up
• Safety
• Locations
• Skylines
• Wet weather
• Long exposures
• Exposure
• Time of day
• Colour

 

Gear

Click on the links below to find gear options to purchase - by cliking on these links and buying anything, you are helping to support the site at no extra cost to you - thank you. 

• Tripod - You can get by with other forms of support but they are never as good as a solid tripod. Many of your exposures are probably going to be 5-10 seconds or more.
• Cable/Remote Release - This will help prevent vibration and camera shake.
• Light meter/card with exposure durations written on it at 1/3 intervals - Exposures can get quite lengthy at night, especially for film users where reciprocity failure becomes a problem. As the longest exposure most cameras can calculate is 30 seconds, you will often find situations where this is exceeded. I find it useful to have a light meter which will cope with much longer exposures.
• Camera - One that lets you work at higher ISOs and has low noise.

 

Checklist

1. Ensure your lenses and sensor are clean. Night shooting tends to emphasise dust and flare from dirty equipment. You will be surprised at just how dirty your kit is once you start shooting at night.
2. Check to see if your camera has a mirror lock function (usually this is in the cameras custom functions) or be prepared to shoot in live view if your camera has this. Personally I like live mode / view as it’s very effective at seeing in the dark.
3. Getting the exposure right at very slow shutter speeds can be very tricky and often involves guessing. Shooting in RAW format can help give you a little more flexibility in post processing.

 

Safety

Before looking at possible subjects, just a quick word on safety. It might still be early but you still need to be sensible and keep personal safety in mind. Where possible work with a friend or two and look out for each other. Avoid being out too late as drunks seem to find cameras unusually attractive especially when mounted on those strange metal legs we know as a tripod. Stick to areas with good lighting and lots of people. These tend to make for better images but are also usually safer.

 

Photo by David Pritchard

 

Locations

Now you have your kit prepared, start to think about the type and location of the shots you want to take. It’s tempting to turn up somewhere and then look for something to shoot. A better option is to think about the type of work and then pick a suitable location. Sometimes however you just get lucky and providing you are prepared you can get some good shots.

 

Skylines

City skylines are the obvious targets for night photography as many office buildings tend to have lighting for the night. Monuments such as churches often have night lighting also as do many industrial sites which work 24 hours. If you do decide to photograph industrial sites stay a good distance from the location as you don’t want to be suspected as a terrorist. I was however surprised when I went around London at night armed with a camera and Gorillapod. I thought that I dare not be seen with a tripod at night. What I found were lots of other photographers all carrying full tripods and using them openly in the streets.

 

Wet weather

Don’t rule out poor weather as wet pavements can be particularly attractive as they reflect the lights of buildings and traffic. When shooting moving objects you should consider what effect you are trying to create and what a suitable shutter speed is to achieve this. If for example you are shooting a car, the headlights will show up well, but when the car is moving fast and the shutter speed is long, the only thing that can be seen are the light trails. With shorter exposures you will probably retain some of the car in the image as well as the light trails.

 

Long exposures

You can use longer exposures to your advantage, for example when photographing people at night perhaps outside bars. People sat or stood may look relatively well defined whilst those moving past don’t show up at all.

 

Photo by David Pritchard

 

Exposing

When exposing your shot, be sure to cover the back of the viewfinder to stop light entering and affecting the exposure times. Different cameras seem to have different levels of susceptibility to this but every camera I have used has underexposed if I haven’t blocked the viewfinder during a long exposure. Getting the correct exposure is quite a task and open to guess work, so if in doubt just take the camera's exposure. If you like to judge exposure based on the camera histogram be aware that the histogram is likely to be clipped at both ends. Areas will become pure black and other areas of bright light will have no detail. Sometimes it’s worth bracketing shots a stop either way to ensure you have one you are happy with.

 

Time of day

It may sound strange but the time of day, or rather night can be quite important. The temptation is often to time our shooting for the night when the sky appears inky black. Whilst this might provide a stark contrast to the lighting on the building it also means there is no interest in the sky so you probably need to minimise its inclusion. Earlier in the day however the lighting on buildings doesn’t appear quite so strong although there might still be some colour in the sky which is more appealing. So when considering your subject give some thought to the time of the day and also consider this when selecting your composition.

  Colour of the lights

Another interesting aspect of night photography is the colour of the lights used in many settings. Street lighting for example is usually yellow and Fluorescent and mercury vapour lighting (often found in industrial settings) has a green appearance. Whilst these mixed lighting scenes can appear attractive in the image, you sometimes need to take extra steps to deal with these conditions. The most obvious step is to ensure your camera is set to AWB but even this doesn’t correct all the situations you come across. Film users might face an even steeper challenge as long exposures can cause unpredictable colour shift in the film although this can be quite attractive.

In summary, use the correct equipment with good technique, pick your subject, composition and approach and you will be able to capture some great night images in your city. Most of all, remember to keep to the busy areas and stay safe.

 

 

Photo by David Pritchard

 

Words and images by Robin Whalley from Lens Craft.

Tamara Lackey, Nikon USA Ambassador, book author, PBS show host, and philanthropist, has used photography to establish Beautiful Together refuges for children and animals in need in Ethiopia and North Carolina. Here she weighs in on finding your voice, overcoming creative block, and camera bag essentials (don’t forget the candy).

What must-carry items are always in your bag?

My Nikon Z8 is my favorite camera right now, and it’s always in my bag...

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You spend hours dragging sliders when you would rather be out shooting. Cutting that processing time in half starts at the moment you press the shutter. Treating capture as a deliberate commitment instead of a casual tap changes how consistent your files are and how long you stay stuck at the computer.

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Forget megapixels and AF points. This is a list of cameras that deserve your attention not because they'll make you a better photographer, though they might, but because they represent something pure about the act of making images. They are defined by their unique constraints and the deliberate, often joyful experience they offer. These are cameras worth shooting for the love of the art itself.

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Can a compact body can actually stand next to medium format cameras in brutal exposure tests? This video goes straight into that question with controlled comparisons that show you where your camera quietly saves your mistakes and where it taps out.

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A constant f/2.8 telephoto zoom that reaches a 100 to 400mm equivalent range changes how you work in low light, with moving subjects, and in tight spaces near wildlife. If you have been juggling slower zooms or heavy glass, this new option hits a mix of reach, speed, and handling that directly affects what you can capture in the field.

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f/2.8 vs f/4: Is the difference worth the upgrade? Let’s see how Mark Denney thoroughly investigates a long-standing debate among photographers: whether the premium price of a fast f/2.8 lens is truly justified over a more affordable f/4 lens, especially for landscape photography where apertures are typically closed down.

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Blending modes in Photoshop decide how layers interact, shaping composites, color work, and detail control across your images. Understanding them lets you replace messy selections with clean, flexible control over light, shadow, and color in complex edits.

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Photo by David Burleson

Add A Vignette

To create mood and to add emphasis apply a vignette to your transport shots. For more information on how to do this, take a look at our tutorial: Creating Vignettes.

Shoot Inside

As well as shooting the outside, if you can, open the doors of the car, truck or of whatever transport you’re photographing and capture some interior shots. You can go wide, capturing the whole of the interior or use a close-up lens to focus on detail such as dials, buttons and badges.
 

Fill The Frame

To really add emphasis so the car is the only focal point of the shot, fill the frame with it. This, however, doesn’t mean it has to be positioned in the centre of the shot. Move your position slightly to the left or right and you’ll see how it can make a really big difference to the overall image. Just make sure you don't clip off a wing mirror or a wheel in the process.

Photo by David Burleson

Use Reflections

Try using the car’s mirrors or some part of its bodywork to capture a reflection of another part of the car in. Just have a good look at the reflection to make sure you or any passers-by aren’t captured in the shot as you’ll have to spend time cloning them out later if you do.

Away from the car look for puddles and other reflective surfaces you can photograph. New buildings, which are full of glass and steel, are great backdrops to position new cars against.

Stepping further back so you can see the reflection of the horizon down the side of the car can also work brilliantly, particularly at sunset or if you're in a picturesque location.

Photo by David Burleson

Change Angles

Take a walk around the mode of transport you’re photographing and look for the angles, shapes and little details that make it unique. 

Get low to headlight level to make it look intimidating while shooting from the side will give you the chance to follow the lines of the car’s bodywork which will help guide the eye through the shot.

Shoot up high so you can show the car’s overall shape, just make sure the sky’s not overexposed. You can always fit an ND grad to darken the sky, creating more mood. For wider shots, make sure you can’t see what’s behind the car from underneath it as this will be distracting.
 

In the autumn of 2013, if you walked into any professional photography studio, sporting event, or wedding venue, you'd see a sea of black cameras with red rings and gold badges. Canon's 5D Mark III and Nikon's D800 weren't just cameras, they were symbols of serious photography. Their size, their weight, their distinctive mirror slap, these were the sounds and feels of professional work. The camera industry had a natural order, and everyone knew their place in it. Then Sony dropped a bomb.

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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 Kenwil (Day 06 - Creative White Balance)

 

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 1

National Parks

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  Day 2

'Win' Theme

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Day 3

Fireworks

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Day 4

Races

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  Day 5

Photo Walk

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Day 7

Panoramas

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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.

Stop losing shots to tiny, avoidable mistakes. Backgrounds, angles, framing, and light choices can quietly sabotage portraits even when exposure and focus look fine.

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