Photography News

Let’s discuss how we can embrace tough conditions like dust in wildlife photography to unlock dramatic potential and transform our safari shots into captivating masterpieces.

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The cameras you already own may be more capable than you think. This video questions the obsession with upgrades and the belief that more megapixels automatically mean better photos.

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Photo by Joshua Waller 

 

Objects which look like they’re growing out of people’s heads, unwanted ‘hot spots’, unsightly rubbish and general clutter are just some of the things which can spoil a shot thanks to them pulling attention away from your main subject. However, with a few simple adjustments, you can have clutter-free backgrounds that’ll leave all attention where it’s meant to be, as shown in the image below.

 

1. Make Sure You Check The Frame

Ok, it may seem like something rather obvious to list, however, it’s a simple step some of us forget to do, especially when we don’t have much time to take the shot. But taking the time to study the background of the frame can stop unsightly highlights and objects spoiling your shots.

 

2. If Possible, Remove Clutter

So, you’ve checked the frame and seen there are a few unsightly elements which means the next step is to remove them. In some places this can physically mean picking objects up and moving them out of frame, however, this isn’t always possible as you’re not always taking photos in locations where you can just pick up and move objects as you wish. When working in locations such as this, you’ll have to do one of the following that’s listed further down the page instead.

 

 

 

3. Move Locations Or Positions

Try hiding the distracting object with your subject or if it’s not possible, see if moving a couple of steps to the left or right may help. Again, it’s a simple and quite obvious thing to do but it can make a huge difference to the overall look of the final shot.

 

4. Be Patient

If you’re shooting in a busy town centre or in another location where there are lots of people walking through your shot, set your gear up, position your subject and just wait for your background to clear. If you have people trying to be a nuisance, pulling faces and generally being annoying in the background, just patiently wait for them to move on as they’ll get bored a lot sooner than you will.

 

5. Change Your Depth Of Field

Using a larger aperture to throw your background out of focus (and creating bokeh) can hide distracting objects and allow all attention to fall on your subject which is pin-sharp. However, areas that are overexposed and strong colours can still pull the eye towards them even if they are blurry so just be aware of that and check for any objects that may do this.

 

 

6. Adjust Your Zoom

Cropping some of the background out by using your zoom to pull your subject in so they fill the frame more will remove distracting objects and ensure your subject is the main point of focus.

 

7. Move Your Feet

Don’t just think you can use your zoom to get closer to your subject. Move your feet to find a different angle, a better background or to simply ‘zoom in’ closer to your subject.

 

Photo by Joshua Waller 

 

8. Use Simple Backgrounds

Plain walls, studio backgrounds and even the sky can be used as backgrounds and they won’t distract your viewer. For smaller items, use pieces of card, paper or material as backgrounds which you can slip behind your subject, hiding whatever unsightly items are behind it.

 

9. Change Your Angle

If you can’t move your subject you’ll have to move. Try shooting from a lower position so you can use the sky, for example.

 

10. Edit In Post Production

Even though it’s always best to get it right in camera, you can edit your shots during post-production to fix your background. You can, among many other things, clone, crop, remove backgrounds completely and adjust brightness levels of all or parts of your shots. Take a look at ePHOTOzine’s techniques for more editing tips.

 

Image Credit: Society of International Nature and Wildlife Photographers (SINWP)

 

The Society of International Nature and Wildlife Photographers (SINWP) is urging photographers worldwide to submit their best bird images now - the Bird Photographer of the Year 2025 competition closes on 31 October 2025.

This prestigious contest, run in aid of the Royal Society for the Protection of Birds (RSPB), has raised over £16,138 to date through past competitions.

With entry priced at a minimum of £1 per image, 100% of donations go directly to the RSPB to support their vital work in protecting avian wildlife and habitats.

“We are thrilled by the response so far, but time is running out,” said Colin Jones, SINWP CEO. “We strongly encourage all bird photographers - from hobbyists to professionals - to enter their best work before the deadline. Together, we can make a significant contribution to the RSPB and elevate awareness of birds and their conservation.”

 

Key Competition Details

Closing date: 31 October 2025

Entry fee: Minimum £1 per image (no maximum)

Prizes: The overall winner receives the Bird Photographer of the Year 2025 trophy and certificate, one year’s free professional membership of SINWP, a copy of the Anthropics Collection, among other rewards.

 

For details on how to enter see here https://sinwp.com/bird/

If you’ve been waiting for the right time to upgrade your action camera, this might be it. DJI’s new Osmo Action 5 Pro Essential Combo has just dropped in price, and it’s easily one of the most capable compact cameras we’ve seen this year. With waterproofing, class-leading stabilization and crisp dual touchscreens, it’s built for anyone who wants to capture life’s fast moments without the bulk or cost of a full setup.

This deal is time-sensitive and stock may fluctuate rapidly.

View this deal here - Click here to view / purchase the DJI Osmo Action 5 Pro Essential Combo on Amazon

Why this deal matters: You get DJI’s latest 1/1.3″ sensor, dual OLED touchscreens, advanced stabilization, and waterproof capability in a more minimalist, cost-optimized package.

What We Like

• Pro-grade imaging in compact form – The 1/1.3″ sensor (with ~2.4 µm effective pixel size) gives you better low-light performance and an improved dynamic range over older action cams. Amazon
• Dual OLED touchscreens – Front and rear displays make framing, monitoring, and adjusting settings far more intuitive (especially for vlogging or POV mounting). Amazon
• Top-tier stabilization / horizon correction – DJI’s 360° HorizonSteady keeps your footage level even through aggressive motion. Amazon
• Waterproof & rugged – Rated IP68 to 20 m without a case, enabling you to go underwater or in the elements straight away. Amazon
• Decent battery life in cold / extreme conditions – The included Extreme Battery Plus (1,950 mAh) is quoted to last ~4 hours (3.6 hours at –20 °C) in constrained conditions. Amazon

Things to Watch Out / Caveats

• Essential bundle only – You get core components (camera, battery, frame, mount) — no extra accessories (e.g. extra batteries, filters) are included. Buyers wanting a full kit may find the “Adventure / Pro” bundles more complete.
• Price volatility — Because this is a new release, prices and stock may vary quickly; what’s true now may shift tomorrow.
• Regional warranty / import risk — If buying from Amazon US (or a non-local retailer), check warranty coverage and shipping / import fees for your region.
• Lens / accessories ecosystem still expanding — While DJI’s action ecosystem is mature, some niche accessories or third-party mounts may lag behind more established brands.

Performance & Use-Case Expectations

From DJI’s specs and our understanding of similar models:

• For action sports, motorcycling, biking, surfing, skiing — this camera should deliver smooth, stable footage with horizon correction, even in challenging light.
• For vlogging / POV shooting, the dual screens and voice commands give you more flexibility than many prior action cams.
• For underwater / extreme environments, the IP68 rating allows direct use without housing, but for deeper dives or rugged conditions you might still prefer a protective housing.
• For hybrid content creators who mix action clips with B-roll / studio content — it’s a solid companion, though image quality will still be behind larger sensor mirrorless cameras in low light.

If you don’t need the advanced features (dual screens, stabilization, 4K/120), a more basic action cam may suffice — but this deal narrows the premium gap.

Who Should Buy & Who Might Wait

Buy now if you:

• Want a premium action cam without paying for full “Pro / Adventure” bundles.
• Regularly shoot in motion, extreme angles, or want excellent stabilization.
• Value compact form + versatile mounting over carrying large rigs.

Consider waiting if you:

• Already own a capable action cam and only need incremental improvement.
• Want more included accessories out of the box.
• Are cautious of buying from overseas sellers (warranty / returns risk).

Check the Deal Here

Click here to view / purchase the DJI Osmo Action 5 Pro Essential Combo on Amazon

Prices and availability are subject to change — always verify before ordering.

Final Thoughts

This is a strong entry-level “Pro” deal not the full package, but enough to unlock many of DJI’s headline features at a leaner cost. For creators who don’t want to carry extra gear, the Essential Combo makes smart trade-offs.

If you spot a better regional offer (UK / EU) or see stock changing, drop a comment below and we’ll update if a better deal emerges.

ePhotozine may earn a commission from qualifying purchases via our links.

The Leica M3 defined an era—an icon of precision engineering that still inspires photographers seven decades later. The KEKS M-Meter revives that legacy, bringing modern metering to classic M bodies without sacrificing the mechanical purity that made them legendary.

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Long location shoots and trips present a unique set of challenges: dead batteries, overheated gear, dehydrated clients, and the constant juggling of power banks and coolers. What if one device could solve multiple problems at once? The BLUETTI MultiCooler aims to be exactly that: a 4-in-1 fridge, freezer, and ice maker that also serves as a charging station for all your gear. After two months of real-world testing, I can confidently say this is one of the most practical tools a location photographer can add to their kit.

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Window light can be beautiful, but it’s rarely perfect. You deal with uneven shadows, odd reflections, and unpredictable sunlight. Even when the light looks good, it can flatten your subject or lose detail in the background. Learning to balance window light with flash helps you control the look instead of waiting for luck.

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Film photography isn’t just about getting the shot right. It’s about managing a process filled with quirks, habits, and mistakes that even experienced shooters still make. You’ve likely loaded a roll, fired off a few frames, and realized something went wrong—not with your skill, but with your setup or attention. These are the kinds of lessons that only come with time and repetition.

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A Nikon-RED crossover is finally real, and it targets your everyday production needs, not just specialty cinema gigs. You get RED-compatible workflow perks with a compact body and a 4-inch screen that makes framing and focus checks easier on busy shoots.

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Most people learn the rules of composition before they ever learn how to see. You’re told to line things up with the rule of thirds, to balance shapes, to avoid the center. But if you’ve ever felt like those rules start to box you in, you’re not alone. Creativity slips away when you start thinking about what you should do instead of what looks right.

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The arrival of AI has reshaped what it means to make art. In photography, this shift has left many questioning what separates human creativity from machine generation and whether that distinction still matters.

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The zoom lengths on compact cameras keep growing and even though this makes more photographic subjects accessible to compact users, it does bring one problem and that's camera shake.

Manufacturers do install modes and features to help combat the issue, such as the shake reduction, but there are still a number of things that you can do to ensure your images are sharp every time.

 

1. Use A Support

When you think of a camera that sits on a tripod your first thoughts will probably be of a DSLR but just because you're using a camera with a body much smaller than a DSLR doesn't mean you shouldn't use a support. This can be a tripod, monopod, something smaller such as a Gorilla Pod or even a beanbag. 
 

 

2. Use Your Camera's Self-Timer

Even when you're using a support the small action of pressing the shutter button can still move the camera slightly and cause shake. As a result, when shooting a static subject you can use your camera's self-timer function so there's a delay between you pressing the shutter button and the exposure beginning. 
 

3. Increase The ISO

As longer shutter speeds mean the camera has to be held still for longer periods of time, shake can be a problem, particularly when working hand-held. To increase the shutter speed you can switch to a higher ISO but do take care when increasing ISOs as noise will be introduced at some levels. Where possible, try to stay below ISO400. If long shutter speeds are a must, always use a support as working without one will just result in shake spoiling your shots.
 

4. Check The Image On Your LCD

As images can be previewed on the built-in LCD screens available on compact cameras it means that shots can be checked for sharpness before leaving the location you're shooting in. However, it's not always that easy to tell if a shot is sharp by just checking the screen so if your camera has the option, it's always worth using the zoom magnifier when previewing to get a closer look at the shot. 

 

 

5. Edit In Post Production

You can slightly sharpen images in various pieces of editing software but don't overdo it as the shot won't look right. Boosting the contrast a little can help as well, but again don't go too mad with it. There are ways to reduce noise, too if high noise is a problem. 

A – Aperture

When it comes to picking an aperture, you don't want to go too wide as this will shorten your shutter speeds so choose an aperture around f/8 or f/11 to start and go from there.

 

 

B – Bulb

Using the BULB setting will keep the shutter open until you take your finger off the shutter button (this is when a release is handy as you can keep the shutter open without having to touch the camera). This can be useful for light trails as you'll be able to take more control over the length of the exposure, stopping and starting it more precisely.

 

C – Compact Camera

If you're an owner of a newer compact camera you may be thinking you won't be able to try this technique but you could be wrong as many modern compacts now offer longer shutter speed ranges.

 

D – DSLR

Even though you can use a compact you're probably still better using a DSLR or an advanced smaller camera that has the power of a DSLR without the body size. This way you can guarantee you'll have the longer shutter speeds needed, plus the option of using Bulb mode (model depending).

 

E – Exposure times

There's no exposure time that's set in stone for this technique so you'll need to experiment until you find a shutter speed that gives you the results you're looking for. Although, a 10-30-second exposure should capture light trails perfectly.

 

F – Find A Location

It's often worth scouting for locations in the daytime so you're not wasting time when the sun's setting searching for ideal spots.

 

Photo by David Pritchard

 

G – Guide The Eye

Compositional rules still apply here so don't forget the power of using lead-in lines in your shots. The light trails can be used as a line to lead the eye through the image to a point of interest which could be a town, city or building glowing in the background.

 

H – Height

Find a spot, after the sun begins to set, where vehicles will pass under/by you with their lights on. The most obvious is a bridge but any high vantage point will work. You could also find a spot that looks over a road that winds down the side of a hill so car lights are turned into sweeping s shapes. 

 

Photo by Joshua Waller

 

I – In The Car

Give the light trail technique an extra twist by shooting from a moving car. Obviously, you can't drive and control the camera at the same time so you'll need a willing friend to help you with this technique. For more tips on this form of light trail photography, have a read of this: Photographing Light Trails From A Car

 

J – Juxtaposition

To really create a sense of movement and pace, shoot your light trails in a built-up area where you can juxtapose still buildings, trees and other objects with the light trails created by traffic.

 

Photo by Joshua Waller

 

K – Keep Checking The LCD

As you'll be experimenting with shutter speeds you should view your images on the LCD screen after capture to see if the shutter speed you used was long enough. For example, you may find the light trail ends half way through the image rather than carrying on until the car has exited the frame which means you need a slightly longer exposure time to capture the full length of the light trails.

 

L – Low ISO

Keep your ISO as low as possible (100 if you can) so noise doesn't cause you too many problems.

 

M – Mount Your Camera On A Support

Due to the length of the shutter speeds you need to use some kind of support. A Tripod's best but you can use a monopod if you prefer.

 

N – Night

You may think that well after the sun has set is a good time for capturing images of light trails and there's nothing wrong with capturing shots at this time, however twilight and just after the sun has set can produce some rather cracking results. Not only will there be more ambient light but there will also be more traffic around which means more chances to get the shot right.

 

Photo by David Pritchard

 

O – Overexposed

Keep an eye out for spots of light such as street lamps overexposing as these bright dots of light spoil your images.

 

P – Patience

You can't expect to set-up, press the shutter and have the perfect shot so patience is very important for this technique. You could find yourself waiting a while for traffic to actually pass through your frame or for the ambient light to be just right, plus with the trail and error approach you could be outside a while.

 

 

Q – Traffic Queues

Find points in your town where you can guarantee large amounts of traffic will flow through. Crossroads can be perfect as they will create lines that criss-cross and move around each other in various directions.

 

R – Roundabouts

Instead of straight lines, why not set-up near or above a roundabout which will give you the opportunity to capture circular patterns of light in your shots.

 

S – Street Level

To give your light trail shots a different twist, don't head for a high vantage point. Instead, take a stroll around the streets, looking for locations where you'll be able to capture light trails from lower angles.

 

Photo by David Clapp

 

T – Trigger – Remote Or Cable

To reduce camera shake, trigger your camera without actually touching it via a remote / cable release. If you don't have one, you can use your camera's self-timer on its shortest setting.

 

U – Underexposed

If you find the shot's underexposed open up the aperture and just make it smaller if it's too bright. Try not to go too wide with your apertures, though, as this will result in more of the shot appearing out of focus. If you find the light trails to be too short you'll need to use a longer shutter speed to extend them through your shot.

 

V – Very Warm Clothing

Don't forget your warm clothing as temperatures are starting to drop lower as we head towards winter.
 

W – Wide-Angle Lens

If you're working from a car, you need to fix the camera, with a wide-angle lens on a tripod into the passenger seat well or back seat of the car. This will mean you'll be able to see the whole windscreen through the viewfinder. When using wider lenses out in the field for this technique, a lens hood will be useful for shielding the lens from ambient light.

 

X – X-Factor

Light trail photography is a great way to add drama and punch to your night-time urban shots and with a little practice, it's rather simple to master.

 

Photo by David Clapp

 

Y – You Should Consider Using Manual Focus

Due to the low light level and lack of contrast, your camera lens may end up continuously searching if you try to use auto focus so switch to manual for more control.

 

Z – Zooming & Panning

Get creative and experiment with zoom or try panning after pressing the shutter to introduce different effects. After all, this is a fun technique, plus you want to capture something original.  

 

   

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

The Leica M EV1 costs $9,000. For context, you can buy a Sony a7C R for $2,999, mount any Leica M lens you want with a cheap adapter, and get in-body stabilization and objectively better specifications across the board, plus autofocus with other lenses. You'll save $6,000 in the process. So the question that Leica needs to answer is simple: what exactly are you paying for?

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© Ralph Robinson / Nikon Comedy Wildlife Awards

 

Nikon has revealed the highly anticipated shortlist for the 2025 Nikon Comedy Wildlife Awards. This year’s selection consists of 40 standalone images, 3 portfolio entries and 10 video entries – a captivating mix of inspiring and delightfully funny images, reminding us of the world’s most beguiling wildlife.

Among the colourful contenders for funniest wildlife image of 2025 is a dancing gorilla, a choir of lions and a quick-thinking frog on lookout duty! This year, there are also 10 amazing videos of wildlife’s most comical moments caught on camera, with highlights including a surfing heron and an orangutan getting up to mischief. The expert judges will be busy over the coming weeks deciding their favourite comedy critters.

The world’s most entertaining wildlife photography competition received a record number of entries this year. With nearly 10,000 submissions from 108 countries received, they all compete to win top prizes, including Nikon’s Z6III full-frame mirrorless camera, Z50II mirrorless camera and Nikon’s brand-new compact cinema camera, the ZR. The winner will also secure a once in a lifetime, one-week safari trip courtesy of Alex Walker's Serian in the Masai Mara, as well as some of the best-selling photography rucksacks in the business from ThinkTANK.

Founded in 2015 by photographers Paul Joynson-Hicks MBE and Tom Sullam, the awards combine exceptional wildlife photography with the power of humour to spotlight conservation. Every image is authentic, with no AI or digital manipulation allowed.

Comedy Wildlife is teaming up again with sustainable conservation organisation, the Whitley Fund for Nature (WFN), which over the past thirty years has invested £24 million in 220 conservation leaders in 80 countries. An inspiring effort which the awards are thrilled to champion.

Stefan Maier, Nikon Europe Senior General Manager Marketing says: “The Nikon Comedy Wildlife finalists are in, and we’re excited to share with you the brilliant images showcasing unique talent of photographers from every corner of the globe. These images combine wit and wonder to celebrate nature’s character, while emphasising the urgency of conservation. At Nikon, we’re proud to support a competition that sparks joy while reminding us why our wild world is worth protecting.”

Tom Sullam, Comedy Wildlife Competition Co-founder says: “We had an awesome year last year and are absolutely delighted to be able to partner with the Nikon team again for 2025. Their ongoing support has supercharged the competition, reaching more people in more countries than ever before, helping us raise awareness of animal and habitat conservation and crucially, highlight the fundamental importance of having wildlife on our planet and in our lives. These inspiring and funny photos and videos do just that. It’s a privilege to be part of this exciting journey, making us all laugh and we can’t wait to announce the winners in December.”

The Overall Winner, Category and Highly Commended Winners will be announced on Tuesday 9th December at a special awards evening in London. This will be followed by a one-week, free exhibition from 10th-16th December, where Nikon will showcase the 2025 Award Finalists at the Gallery@Oxo.

 

© Alison Tuck / Nikon Comedy Wildlife Awards

 

Competition categories include: 

• Alex Walker’s Serian Mammals Category 
• Spectrum Photo Birds Category 
• ThinkTANK Reptiles and Amphibians Category 
• Fish and Other Aquatic Species 
• Insects Category 
• Nikon Young Photographer (up to 25yrs.) 
• Nikon Junior Category (up to 16 yrs.) 
• Amazing Internet Portfolio Category 
• Nikon Video Category 

 

This year’s shortlist is being reviewed by Nikon Creators Cameron Whitnall, Hannah Stitfall and Roxy Hemadani. They’ll be joined by TV presenter Kate Humble, actor and comedian Hugh Dennis, renowned wildlife photographer Will Burrard-Lucas and Nikon Ambassador Daisy Gilardini, as well as wildlife expert and co-founder of the Born Free Foundation, Will Travers OBE, and passionate conservationist, Bella Lack.

For more details, please visit the official Nikon Comedy Wildlife Awards website.

The Fujifilm X-T30 III in the hands of Will Cheung at a pre-launch event held at Fujifilm’s House of Photography.

 

Fujifilm’s popular line-up of X Series cameras has a model for every conceivable type of image-maker from entry-level shooter to high-end multi-media producer. 

The new X-T30 III replaces the X-T30 II, which is no longer in production and naturally retains key attractions of its predecessor including the same compact dimensions and rangefinder-style design. Equally naturally, the new model has several important features and performance upgrades which we will cover in this First Look.

The target consumer for the X-T30 III is predominately the stills photographer who wants a fully featured but lightweight camera to record their family, travel and daily snaps. Introduced alongside the X-T30 III is the XC13-33mm f/3.5-6.3 OIS zoom, which has a full-frame equivalent range of 20-50mm, and of course, it can be partnered with any interchangeable lens X Series camera. 

The X-T30 III is competitively priced at £829 / $999 body only or £999 / $1149 with the XC 13-33mm f/3.5-6.3 OIS lens.

 

The stylish X-T30 III will be available in three finishes: Black, Charcoal Silver and Silver. Body price is £829 / $999 and the X-T30 III kit with the XC13-33mm f/3.5-6.3 OIS zoom lens is £999 / $1149.

 

Fujifilm X-T30 III Features

The X-T30 III is an APS-C format 26.1 megapixel camera in a rangefinder-style body. The sensor is the tried and tested back-illuminated X-Trans CMOS 4 and it is partnered with the high-speed X-Processor 5 processing engine. This processor can process pictures twice as quickly as the previous model and uses the latest subject detect autofocus, which uses deep learning technology. The system can automatically recognise and track human subjects but it can also detect a wide range of subject types including animals, birds, airplanes, cars and insects. Performance with humans has been enhanced to cope with people wearing glasses or masks. The X-T30 III uses an improved, 5th generation AF algorithm, the same as that used in the flagship X-HS2. This algorithm can deal especially effectively with moving and small subjects.

 

The X-T30 III shares the familial look of Fujifilm X-T models and build quality rates highly especially considering its budget price tag of £829 / $999 body only.

 

Film Simulation picture settings have played a major part in the success of Fujifilm cameras, so it’s no surprise to see them playing a key role in the X-T30 III. It has 20 Film Simulations including Reala Ace, and while these settings can be accessed traditionally via the menu, this camera allows instant access to them using a dedicated control dial. This has six permanently assigned simulations, three positions that can be populated as desired with personal favourite recipes and quality settings and one setting that mirrors the picture style assigned in the menu. The dedicated dial makes it incredibly easy to add individualism to your shots as you shoot with the dial a constant reminder of what picture mode you have set and what’s on offer.

 

The X-T30 II’s menu structure will be familiar to Fujifilm X-series users and newcomers will soon get to grips with the easy to navigate layout. Control layout is also typically Fujifilm and the buttons and dials are reassuringly positive in use.

 

For users who prefer ease of use, an Auto Mode Selector delegates the camera to detect the scene and set optimal shooting settings for the best results. Auto is one option and there are 14 others including portrait, landscape, night, fireworks and flowers.

For those users looking to shoot action and nature, the X-T30 III can shoot at impressive burst speeds while pre-shot capture is available too. A burst speed of 30fps is possible with a 1.25x crop using the electronic shutter and this drops to 20fps with the full format. Select the mechanical shutter and burst speed is still an impressive 8fps and you’ll get 38 shots using lossless compressed Raw. Pre-shot capture with the electronic shutter works from 8fps for full-format images up to 30fps with a 1.25x crop.

While the X-T30 III is primarily aimed at still shooters, it still has a rich vein of video features that include 6.2K video at 24, 25 and 30P, 4K at 24, 25, 30, 50 and 60P and Full HD at 240P, and video can be shot with digital image stabilisation for smooth footage even when shooting while walking.

 

Turn the camera on and you get a warning to twist the XC13-33mm f/3.5-6.3 OIS to its working position. On its own the lens weighs in at just 125g and sells for £329 / $399.

 

Fujifilm X-T30 III Key Features

• Prices: £829 / $999 body only, X-T30 III with the XC 13-33mm f/3.5-6.3 OIS lens £999 / $1149, XC 13-33mm f/3.5-6.3 OIS £329 / $399
• Available from November 2025
• Black, Charcoal Silver or Silver options
• APS-C format
• Back-illuminated 26.1MP X-Trans CMOS 4 sensor
• X-Processor 5
• Mechanical shutter 30secs to 1/4000sec
• Electronic shutter 30secs to 1/32,000sec
• Face/eye detection AF
• Subject detection automatically recognises animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects, and drones
• Native ISO range 160-12,800, extendable to ISO 80-51,200
• 20 Film Simulation modes including Reala Ace and Nostalgic Neg
• Accepts 1xSD UHS-I card
• 425 frames from a fully charged battery (economy mode)
• Rear 3in LCD monitor 1.62million dots
• 6.2/30P internal recording in 4:2:2 10-bit quality
• High speed video at 4K/60P and 1080/240P
• Built-in pop-up flash GN7/ISO 200/m
• Body measures 118.4 x 82.8 x 46.8mm
• Weighs 338g with battery and SD card

 

Fujifilm X-T30 III Handling

The X-T30 III’s control design follows in the footsteps of previous X Series cameras and means key settings are visible immediately. The Auto setting brings in optimal settings for a wide variety of subjects automatically including portrait, portrait enhancer, landscape, night, fireworks, snow, flowers and text.

 

There is much to like about the X-T30 III’s handling, not least the fact that it’s like putting on your favourite slippers. I own several Fujifilm X-T cameras and have used and tested all the models over many years, so picking up the X-T30 III, everything felt comfortable with key controls exactly where you expect to find them. Clearly, the target market for this camera will not have the same deep association with X Series cameras but the X-T30 III’s design and layout is so clean that familiarity won’t take long. The same level of usability applies to the camera’s menu which is straightforward to navigate and not too deep.

Good handling starts with the on/off switch, which is perfectly placed for the right forefinger, so you can walk around with the finger poised ready to flick the camera on and by the time it is raised to the eye, you’re ready to grab the shot. 

 

No problems with the X-T30 III’s handling. The contoured handgrip provides a secure purchase and it’s no problem just walking around with the camera in hand ready to shoot. Control design and layout also rate highly making the whole package great to use.

 

One key design innovation over its popular predecessor is the provision of a dedicated Film Simulation dial, which sits on the far left of the body. With six permanent settings and four slots that you can fill as you please, that means ten of the 20 available Film Simulations are instantly available to call on.

I had the XC13-33mm f/3.5-6.3 OIS to try with the X-T30 III. This lens, equivalent to 20-50mm in full-frame, is a manual retracting zoom and in its parked state, it really is quite small and it doesn’t grow much when extended to its working position. It works well and AF with the X-T30 III was accurate and swift. Its Optical Image Stabiliser has a 4-stop benefit. The X-T30 III itself does not have an in-body image stabiliser.

 

Portability rates highly in the X-T30 III with its light, compact body. Here it is shown partnered with the new XC13-33mm f/3.5-6.3 OIS, a compact manual zoom with the wide end giving the full-frame equivalent of 20mm.

 

Fujifilm X-T30 III Sample Photos Previous Next

 

Please note that the photographs shot for this First Look were taken with a pre-production camera and the firmware of production cameras that go on sale in November might be different. The lens used was the XC13-33mm f/3.5-6.3 OIS lens, again a pre-production sample.

I shot JPEGs and Raws for this preview but only out of camera JPEGs are shown here because there was no Raw processor available at the time.

 

The X-T30 III features a dedicated Film Simulation mode dial with six fixed presets. Around its base, there’s a lever to activate the integral flash.

 

Standard/Provia

 

V Vivid/Velvia

 

S Soft/Astia

 

CC Classic Chrome

 

RA Reala Ace

 

A Acros

 

Fujifilm X-T30 III Film Simulation modes

The X-T30 III has a complement of 20 Film Simulation modes which includes the filter variants in the monochrome settings. The dedicated Film simulation dial has six permanent presets: STD Standard/Provia; V Vivid/Velvia; S Soft/Astia; CC: Classic Chrome; RA Reala Ace; A Acros. Three FS settings let you set other modes you enjoy using and the C mode is for the mode selected within the Film Simulation menu. The long and the short of it is that you have instant access to ten of the 20 available colour settings. Within the bracketing menu, there is the usual option of producing three shots with different colour settings at one shutter button push.

As expected, the Film Simulations performed to the usual high standard as you can see from the sample shots taken at the six fixed settings below. The sample JPEGs were taken with the XC13-33mm f/3.5-6.3 OIS lens at 33mm with an exposure of 1/240s at f/6.3 and ISO 1000 – it was a very dull day!

 

Fujifilm X-T30 III ISO Previous Next

 

The sample camera we used was pre-production so not suitable for a full ISO test. However, to give us some idea of the camera’s performance in this key area, we did shoot a scene at a range of speeds. The resulting files are out of camera JPEGs taken a default level of in-body noise reduction.

A full ISO test will have to wait for a production sample of the X-T30 III but we were impressed with what we found. The level of noise even at ISO 12,800 was well controlled and didn’t impact on image quality greatly, as you can see from the enlarged sections below. Colours looked good with the standard Provia Film Simulation mode and detail looked crisp and nicely rendered.

 

Fujifilm X-T30 III Initial Verdict

The Fujifilm X-T30 III promises to be an excellent camera at a budget-busting price. It’s sure to appeal to budding creatives and newcomers to mirrorless plus it will also attract more experienced photographers wanting a great value and well specified camera. Existing X-System users might also consider the X-T30 III as a capable back-up body.

Whatever the situation, the X-T30 III has all the credentials you would expect of a Fujifilm X Series camera and of course, it buys you entry into the brand’s eco-system with the support of a huge range of lenses. Speaking of which, the new XC13-33mm f/3.5-6.3 OIS is an interesting proposition with its 20mm (35mm equivalent) wide end, and its compact stature makes it a fine companion for this camera and others within the Fujifilm range.

Visit our Equipment Database to see more images of the Fujifilm X-T30 III along with specs. 

 

Britain is full of wildlife, and autumn's a great time to get out and capture a few shots of the small mammals, birds, deer and other creatures that can be found here.
 

1. Birds

As we head towards winter it gets harder for birds to find natural food so by placing feeders in your garden with different types of food in (fat and nuts) you'll be able to attract different species of bird that you can photograph. An important side note to remember is to not remove the feeders when you've finished as the birds may have become reliant on your garden as a source of food.

Capturing shots of these small, shy creatures isn't as easy as dashing out into your garden with your camera and snapping a quick shot. You need to place branches near feeders to give you more natural-looking shots, wait patiently and quietly for your subject to land and you'll need to know your gear well before heading out onto your lawn. Long lenses are essential if you want to capture frame-filling shots and for pin-sharp images, a tripod is a must.

For more in-depth tips on photographing birds, take a look at these articles:

• Photographing Garden Birds
• How To Photograph Birds In Your Garden
• Tips On Photographing Garden Birds
• Tips On Photographing Robins

  2. Spiders And Webs

Spiders seem to be everywhere at this time of year and they make great photographic subjects themselves (if you don't mind getting close) but for those who like to keep a bit more distance, have a go at photographing their webs instead. They're very photogenic on a frosty morning or after it's rained. For more tips, take a look at this technique: Spider Web Photography.
 

 

3. Mammals

Many of the mammals, big and small, are shy so long lenses, patience and the ability to stay hidden are generally a must when photographing them.

Squirrels, who'll be on the hunt for food at this time of year, are a popular photographic subject but do take something waterproof with you when heading out to photograph them as you can end up laying on the damp ground to get a shot of them foraging for food. Using bait is a good way to attract squirrels and you can place it in front of less busy backgrounds so you capture a better-looking shot. Fore more squirrel photography tips, take a look at this article: Photographing Red Squirrels.

It's mating season for deer which means there are plenty of action shots waiting to be captured of males fighting. Their antlers look particularly impressive at this time of year and their shape can look great when silhouetted against the morning light. Throw in some mist and autumnal shades and you have the recipe for a successful wildlife shoot starting to come together. You will need a long lens so you don't spook them and it's safer for you to work with quite a bit of distance between you and your subject anyway. Remember to approach from downwind and if you have it, camouflage clothing will help you blend in with your surroundings more.

October to December is breeding season for a lot of seal colonies around the shores of Britain and this is when they come to shore, making locations like Donna Nook on the east coast very popular with wildlife photographers. If you are planning a trip to photograph pups and their mothers please always put the animals' welfare first and respect the location you're photographing. You'll generally need a telephoto lens to capture a decent image, although some seals can be found close to paths. Take a monopod if you're planning on walking and don't always shoot from a standing position as getting low down will give your shots a better perspective.

For more seal photography tips, take a look at these articles:

• Photographing Seals
• Seal Photography  

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