Photography News

Getting the moon to rise behind a specific building means planning for a moment that lasts only a few minutes, then shooting it in fading light with a very long lens. Even with the time and direction worked out ahead, you can still find yourself in the wrong spot when it finally breaks the horizon.

 

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The latest Sigma Contemporary lens for APS-C format completes a trio of optics, all sharing design and handling and sporting fast (bright) f/2.8 apertures. The 10-18mm f/2.8, 18-50mm f/2.8 and now the 50-120mm f/2.8 offer a set of three lenses, weighing between them less than 1kg and being a potentially excellent option when travelling light. Using the Sony A7R III in APS-C mode results in around 18MP, so let's venture forth and see if the performance and handling make the new lens a viable choice.

 

Sigma 50-120mm f/2.8 DC OS Contemporary Handling and Features

Just in passing, although not of direct relevance as to the lens quality, the first impression with current Sigma lenses is of course the packaging. The box is very high quality, the internal packing secure but not wasteful and the overall appearance manages to convey careful environmental consideration but at the highest quality level. Small booklets explain the ethos of Sigma and of this lens in particular, the language of these being sharp and to the point. Marketing perhaps, but there is no harm in setting out the stall so to speak, especially when free of excess meandering.

Finish of the lens is up to the usual Sigma high standard and it looks good on the A7R III body. Handling is slick and assured. As well as the Sony fit, Canon RF and Fujifilm X mounts are also available. The lens is dust and splash resistant. It also sports a Fluorine coating on the front element to repel dust, moisture and grease.

 

 

Weighing in at a modest 390g and measuring a svelte 66.8mm x 99.0mm, travel is most definitely a core part of the repertoire. The concept as offered suggests a trio of lenses that cover in total a range of 10mm to 120mm. This is true, however, it is worth considering that there is no overlap. So, for example, taking the 18-50mm and this 50-120mm, if a photographer was very much inclined to shoot at around, say, 50mm then quite a bit of lens changing could be the result. Taking just this new lens, then the telephoto zoom photographer will not be disappointed with the range, equivalent to 75-180mm in 35mm format terms.

There is a provided round lenshood that bayonets cleanly into place. It fits positively and does not need a retaining catch to hold it in place. Within the bayonet fit for the hood is a conventional 55mm filter thread.

As we explore the lens, first up is the wide and well gripped zoom ring. This does extend the lens in use, not as smooth as an electronic zoom but nonetheless slick enough and with sufficient tightness to minimise any chance of zoom creep. The ring is clearly marked at 50mm, 60mm, 70mm, 80mm, 100mm and 120mm.

 

 

Behind this is the manual focus/control ring and finally the aperture ring. This is a manual setting with generously provided click stops at one third of a stop intervals. There is also an “A” setting, but unfortunately no catch to lock the setting either into A or into the manual settings. It is entirely possible to nudge the setting into or out of A, especially when using the viewfinder.

AF is driven by an HLA actuator, standing for “High Response Linear Actuator”, and is fast, accurate and virtually silent. Closest focus is 23cm at 50mm, for a maximum magnification of 1:3 and 55cm at 120mm for a maximum magnification of 1:4.7. Whilst not a macro lens, the very close focus is nonetheless extremely useful and helps to make the lens a very practical option.

Optical construction is 18 elements in 13 groups, including 1 FLD, 3 SLD (Super Low Distortion) and 4 Aspherical. The diaphragm comprises 11 blades, aiming for as round an aperture as possible for improved bokeh. With videographers in mind, the design features minimal focus breathing. Seeing the viewfinder image freeze into position as the Optical Stabilisation (OS2) does its work is always impressive, and the improvement here is 6.5 stops at 50mm reducing to 4.5 stops at 120mm.   

In general use, handling is impeccable and it makes a great travel companion that can cover just about all telephoto eventualities. Let's now have a look at the technical results to see if they match up to the sound and reliable handling.

 

 

Sigma 50-120mm f/2.8 DC OS Contemporary Performance

At 50mm, central sharpness is excellent from f/2.8 through to f/8, very good at f/11 and f/16 and good at f/22. The edges are excellent from f/2.8 to f/5.6, very good from f/8 to f/16 and good at f/22.

At 70mm, central sharpness is excellent from f/2.8 to f/11, very good at f/16 and good at f/22. The edges are very good at f/2.8 and f/4, excellent at f/5.6 and f/8, very good at f/11 and f/16 and good at f/22.

At 100mm, central sharpness is excellent from f/2.8 to f/11, very good at f/16 and good at f/22. The edges are fair and f/2.8, good at f/4 and f/5.6, excellent at f/8 and f/11, very good at f/16 and good at f/22.

This is an excellent result, and even the slight softness at 120mm at the edges could be a very attractive effect for portraits. Apart from that, the lens is effectively razor sharp throughout.

Distortion is not a problem, the camera and lens work in harmony to produce an almost rectilinear result. Small amounts of distortion can be measured: -0.33% barrel at 50mm, +0.18% pincushion at 70mm, and +0.23% pincushion at 100mm. These are really insignificant amounts even for architectural photography.

 

Sigma 50-120mm f/2.8 DC OS Contemporary 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 Sony A7R III using Imatest software (www.imatest.com). Want to know more about how we review lenses?

 

CA is tightly controlled both at the centre and the edge, and although small amounts can be measured, there is very little sign of any colour fringing.

 

Sigma 50-120mm f/2.8 DC OS Contemporary 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 Sony A7R III using Imatest software (www.imatest.com).

 

Bokeh is impressively smooth and offers an attractive backdrop to the main subject. This is ideal for portraiture and flower photography. The 11-bladed diaphragm no doubt aids with this.

Flare is virtually banished and it is almost impossible to generate any artefacts, no matter how severe the lighting.

Vignetting results are also excellent, with very little light fall off.

 

Aperture 50mm 70mm 100mm f/2.8 -0.9 -1 -1 f/4 -0.6 -0.8 -1 f/5.6 -0.5 -0.5 -0.7 f/8 -0.5 -0.5 -0.6 f/11 -0.5 -0.5 -0.5 f/16 -0.5 -0.5 -0.5 f/22 -0.5 -0.5 -0.5

 

Sigma 50-120mm f/2.8 DC OS Contemporary Sample Photos Previous Next

 

Sigma 50-120mm f/2.8 DC OS Contemporary 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]Sigma 50-120mm f/2.8 DC OS|Sigma+50-120mm+f/2.8+DC+OS[/AMUK] lens is priced at £699.00

This is the third lens in a small group of matching optics, the other two being:

• [AMUK]Sigma 10-18mm f/2.8|Sigma+10-18mm+f/2.8[/AMUK], £648 
• [AMUK]Sigma 18-50mm f/2.8|Sigma+18-50mm+f/2.8[/AMUK], £459

The VFM equation shows the new lens off very favourably, especially considering the excellent performance.

 

 

Sigma 50-120mm f/2.8 DC OS Contemporary Verdict

Some lenses have a flow, a method of working that gels with the camera body as well as, of course, the photographer. Others are clunky and awkward to use, hopefully few and far between these days, but very often because of over-thinking and over-design making them fiddly. The Sigma 50-120mm f/2.8 DC OS lens steers well clear of the complexity trap, being a shining example of simplicity and elegance of design. Only the bare minimum of controls is to be found on the lens, and it's absolutely enough for full, tactile, responsive control. The one slight glitch is the lack of a lock on the A setting of the aperture ring, which, as a consequence, needs watching whilst being nowhere near a deal breaker.

Add to that all the essentials, such as dust and splash resistance and very close focusing and we have a very practical lens. The focal length is not unique, there have been 75-180mm full frame lenses, but this APS-C version is even more compact and ending the range slightly short of the more usual 135mm (200mm in full frame) does save a fair amount of bulk, also enabling the fast constant f/2.8 maximum aperture.

Performance is not in question, the results are almost universally excellent, the price is keen, so we have a highly attractive Editor's Choice.

 

Sigma 50-120mm f/2.8 DC OS Contemporary Pros

• Excellent sharpness
• Modest vignetting
• Dust and splash resistance
• Low flare levels
• Virtually rectilinear (no distortion)
• Smooth bokeh
• Close focusing
• Excellent construction standards
• Great VFM

 

Sigma 50-120mm f/2.8 DC OS Contemporary Cons

• No A-lock on aperture ring

 

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=5|R_overall=5|A_level=5|A_text=Editor's Choice – An excellent performance and slick handling from this well-priced telephoto zoom.|E_id=8027[/REVIEW_FOOTER]

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Most people learn lenses as a set of assignments: wide angle for landscapes, telephoto for portraits, a 50mm for everything in between. Those assignments are easy to memorize, and they quietly limit how many different photographs you can pull out of a single scene.

 

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You can spend months planning a trip around one famous view and still come home with a memory card that feels thin. The pictures that bring a place back years later are rarely the ones you saw online before you left.

 

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Ask most landscape photographers what their favourite season is, and probably 80% will reply "autumn". I actually try not to have a favourite, because it keeps me fresh for all the different seasons, but even I can't deny that the Lakes in autumn can be a truly spectacular place. An important issue to remember is that the lakes can also be a truly WET place through October and November as well, so consideration of the weather must be taken into account.

Equipment needed is totally down to personal style, anything from a compact, through to DSLRs with wide-angle lenses, telephotos, macros etc. will all give excellent results. I do find a polarising filter useful to take reflection off leaves / bracken and give a boost to the colours; but be careful not to overdo it.

If I'm working in the early part of Autumn, I quite often like to work with a wide lens to make a strong feature of foreground bracken, especially when it's showing a wide colour range, from green, through to red. This will even make a good semi close-up picture just concentrating on the bracken itself.

 

Later in the season, when the colours have changed, if I'm really lucky a calm day can, with the help of the reflections, offer twice as much landscape in a single shot; with the landscape reflected perfectly in the water. On all my reflection shots, I use a 0.45 hard-edge ND grad filter, to balance up the amount of light absorbed by the reflection. Also remember, that lower viewpoints often give better reflections. In addition, if there is any foreground element, a low viewpoint will usually reduce the distance between the foreground element and the bottom edge of the reflection.

Woodlands clearly become a favourite subject through the autumn weeks, but as well as general vistas, individual branches can show off the shapes of leaves well. Even once the leaves have fallen, there are great pictures to be had of leaf details and textures on the ground, or contrasted on a mossy bank or rock. If the weather is inclement, consider taking a few leaves home and photographing them backlit on a lightbox. The type of tree and altitude has a great bearing on when they change colour, with Silver birches tending to be the early changers, and larch (the only conifer to drop its needles) then oak bringing up the rear.

The range of subjects through the autumn in the lakes is incredible, certainly covering most of October and November. Even when the trees have lost their leaves, the glow of the bracken retains the fantastic hues of autumn, almost right through to spring the following year.

 

 

Article by by John Gravett - www.lakelandphotohols.com

    

In the last stretch of the 1950 Maryland Senate race, roughly 300,000 copies of a four-page tabloid called From the Record went out across the state, and inside was a picture of Senator Millard Tydings standing close beside Earl Browder, the former head of the American Communist Party. The two men had never posed together, and the caption underneath called the picture a composite. Tydings lost by more than 43,000 votes.

 

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The Fstoppers community is brimming with creative vision and talent. Every day, we comb through your work, looking for images to feature as the Photo of the Day or simply to admire your creativity and technical prowess. In 2026, we're featuring a new photographer every month, whose portfolio represents both stellar photographic achievement and a high level of involvement within the Fstoppers community. 

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A small team has released PhotoCraft, a free, open-source stand-in for Photoshop built with heavy help from AI, and it's designed so anyone fluent in Adobe's menus and shortcuts can sit down and start working. If you pay for Creative Cloud every month, whether a project like this can legally exist shapes how many real alternatives you end up with.

 

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Aperture, shutter speed, and ISO are the first three settings anyone learns, and each comes with rules repeated so often they start to sound like law. Knowing which of those rules hold up, and when breaking them gets you a better frame, decides whether the camera works with you or against you.

 

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The Canon EOS R8 Mark II sells for $1,899, which puts it $250 above the original R8 and $400 below the larger EOS R6 Mark II. That narrow spread makes choosing between Canon's compact full frame bodies harder than it has been in years, especially if one camera has to handle both your stills and your video.

 

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Wildlife files need more editing than most genres because they come from long lenses at high ISOs, subjects that won't pose, and backgrounds you couldn't choose. The edits that rescue those frames, such as cropping, noise reduction, and masked brightening, are the same ones that most often push a photo past the point where it looks natural.

 

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Halloween - it's a perfect time to shoot some portraits and capture some of the small details that make Halloween so spooktacular.

 

Low Light

Most Halloween themed activities don't start until after the sun's begun to set and that means there's not a lot of light left around to play with. If you're shooting still objects such as pumpkins, you can put your camera on a tripod and use slower shutter speeds but with kids that are running around high on sugar, longer shutter speeds will turn them into streaks of blur. Try using a slightly higher ISO or just shoot your portraits under a porch light or street lamp, to add a little bit of extra light to the scene. You can also head out at dusk when there's still light in the sky but the atmosphere you're trying to capture is just beginning to build.
 

Jack-O-Lanterns

If your flash is set to automatically fire, switch it off as you'll end up with a shiny looking jack-o-lantern that's lost all of its glow. Instead, use a longer shutter speed, making sure you have your tripod with you to stop shake spoiling your shot. If you find the glow from inside the lantern isn't bright enough, use a few more candles or switch the candles for a torch. You'll just have to position yourself so the torch can't be seen in shot. You can also try bracketing if you find metering to be a problem.

 

 

Portraits

There will, of course, be plenty of people in costume and shooting candids while you're out with your kids trick or treating, should give you plenty of interesting shots. If you're taking photos while they're knocking on a door, position yourself so once the door's open, it won't block your view.

For shots with more impact, get down to the child's level before you take your shot and fill the frame. If you have more than one child to photograph, make sure they're stood close together when taking group shots as people have a habit of putting space between themselves and another person.

Take time to study their makeup and costume to see which parts are the most interesting and should be focused on. If they have a particularly interesting mask, shoot a headshot and if you're going for a full body shot, make sure you take a look at their feet before you do as people tend to head out in shoes that aren't Halloween themed and they can spoil the overall feel of the shot.

Don't forget your basic composition rules such as filling the frame, rule of thirds and giving your subject space to look into. 

 

Small Detail

Look out for the spider's webs, decorations and pumpkins as shots of these, combined with shots of people in fancy dress will give you a great overall account of the day's events.
 

Graveyards

If you fancy heading to a graveyard to shoot some close-ups of detail or want to use them as a backdrop for portraits, have a look at our previous technique: Graveyard Photography
 

Have A Play In Photoshop

If you want to give a house a spooky feel, as David did with his image above, or add a ghost to a shot you've already taken, open up Photoshop and have a play around with the various tools and features to see what Halloween-themed image you can create.  

 

VTOMAN, the portable power brand behind the FlashSpeed power station series, is offering Black Friday and Cyber Monday pricing on its portable power stations, solar bundles and jump starters, running November 19–30 on Amazon in the US and UK. Winter brings the two power problems households and drivers run into most, outages from storms and car batteries that fail in the cold, and the lineup covers both: the FlashSpeed 2400 for home backup, the Jump 600X and Jump 2200 for camping, travel and short outages, and the X-Series jump starters for the glovebox. Ahead of the main event, VTOMAN's V10 Pro and V10 jump starters are on holiday promotion from now until December 20.

 

VTOMAN's products are engineered around three core technology platforms:

• V-BEYOND™ High-Performance Output Technology: designed to support demanding power needs across VTOMAN's portable power solutions.
• CHARGECORE™ Efficient Energy Delivery Technology: optimizes charging and energy delivery for everyday and outdoor use.
• LIFEBMS™ Battery Management Technology: provides intelligent battery protection for safety, stability and long-term reliability.

 

PORTABLE POWER STATIONS

 

VTOMAN FlashSpeed 2400 Portable Power Station

Amazon US & VTOMAN Website- $649.99 (RRP $799.99) 19% off

Amazon UK & VTOMAN Website - £599.99 (RRP £899.99) 33% off

The FlashSpeed 2400 is VTOMAN's fast-charging home and roadside power station. Built around a 1408Wh LiFePO4 battery, it pairs 1500W of CHARGECORE™ AC input, for a full charge in about an hour, with 2400W of continuous V-BEYOND™ output, powering up to 12 devices at once. It also adds a built-in emergency jump-start function that drivers don't typically get from a power station.

That combination suits winter. Households can top it up quickly when a storm is in the forecast, a 10ms UPS switchover keeps refrigerators, medical devices and home offices running when the power drops, and the jump-start function covers a dead car battery on a cold morning. Its flat-top, rugged build also fits holiday road trips, tailgates and RV travel.

 

Key Features & Specifications:

• 1408Wh LiFePO4 battery
• 2400W continuous output with V-BEYOND™
• 1500W AC input; full charge in about 1 hour (CHARGECORE™)
• 10ms UPS switchover
• Built-in emergency jump-start function
• Powers up to 12 devices simultaneously; LIFEBMS™ with 10 built-in safety protections

 

VTOMAN Jump 600X Portable Power Station

Amazon US & VTOMAN Website (Nov 17–Dec 4)- $189.99 (RRP $299.99) 37% off

Amazon UK & VTOMAN Website - £199.99 (RRP £299.99) 33% off

Amazon DE - €199.99 (RRP €299.99) 33% off

 

 

The Jump 600X is VTOMAN's compact entry point into portable power: a 4.5kg (9.9 lb), 268.8Wh LiFePO4 power station for overnight outages, weekend camping and holiday travel. It delivers 600W of pure sine wave AC power, and V-BEYOND™ technology lets it run resistive loads such as lights and fans at up to 1200W.

CHARGECORE™ supports simultaneous AC and DC charging, reaching 80% in about 50 minutes, and a 120W MPPT solar input pairs with VTOMAN's foldable solar panels, offered together as Black Friday bundles for off-grid recharging. A built-in UPS, seven output ports including 100W USB-C, and LIFEBMS™ protection make it a practical first power station for campers, RV owners and new homeowners.

 

Key Features & Specifications:

• 268.8Wh LiFePO4 battery rated for 3,000 cycles to 80% capacity
• 600W continuous / 1200W peak pure sine wave AC output
• V-BEYOND™ runs resistive loads up to 1200W
• 80% charge in about 50 minutes with simultaneous AC + DC charging (CHARGECORE™)
• 120W MPPT solar input; built-in UPS
• 7 output ports including 100W USB-C; 4.5kg (9.92 lbs); 2-year warranty

 

VTOMAN Jump 2200 Portable Power Station

Amazon UK - £449.99 (RRP £529.99) 15% off

Amazon DE - €479 (RRP €599) 20% off

 

The Jump 2200 is a high-capacity 1408Wh LiFePO4 power station for home backup during winter outages, as well as camping and holiday travel. It delivers 2200W of pure sine wave AC power, and V-BEYOND™ technology lets it run resistive loads at up to 2400W.

CHARGECORE™ supports simultaneous AC and DC charging, and a 400W MPPT solar input pairs with VTOMAN's foldable solar panels for off-grid recharging. A 10ms UPS switchover, a built-in emergency jump-start function, and LIFEBMS™ protection make it a versatile pick for households and outdoor enthusiasts alike.

 

Key Features & Specifications:

• 1408Wh LiFePO4 battery
• 2200W continuous pure sine wave output; up to 2400W resistive loads with V-BEYOND™
• 2200W AC input; simultaneous AC + DC charging (CHARGECORE™)
• 400W MPPT solar input
• 10ms UPS switchover; built-in emergency jump-start function
• Powers up to 12 devices simultaneously; LIFEBMS™ with 10 built-in safety protections; 17.5kg

 

VTOMAN Jump 100 Portable Power Station

Amazon DE - €69.99 (RRP €99.99) 30% off

Walmart - $65.99 (RRP $145.98) 55% off (Nov 9–Dec 3)

 

The Jump 100 is a lightweight 89.6Wh LiFePO4 power station for campers, commuters and everyday backup, pairing a 100W AC outlet (200W surge) with 65W PD USB-C fast charging. It can recharge a laptop in about an hour, and VTOMAN's LIFEBMS™ system adds 10 layers of safety protection, with the LiFePO4 cell rated for 3,000+ life cycles to 80% capacity. At just 1.1kg, it's an easy tech gift under £100.

 

Key Features & Specifications:

• 89.6Wh LiFePO4 battery, 3,000+ life cycles to 80% capacity
• 100W AC outlet (200W surge); recharges a laptop in about an hour
• 65W PD USB-C fast charging input/output
• LIFEBMS™ system with 10 safety protections
• Compact and lightweight: 17.6 x 11.4 x 8.3 cm, 1.1kg (2.43 lbs)

 

JUMP STARTERS

 

VTOMAN X7 Jump Starter with Air Compressor

Amazon US - $84.99 (RRP $129.99) 35% off

The X7 is VTOMAN's all-in-one roadside tool for cold-weather driving, combining a 4250A peak jump starter with a 160 PSI air compressor in one unit. It starts 12V gas and diesel engines up to 10L and is rated to operate from -20°C to 60°C (-4°F to 140°F), so it stays useful in the trunk through winter.

A 5.1-inch smart screen shows battery level, tire pressure and inflation mode at a glance, which helps because cold weather lowers tire pressure. An 18W USB-C port charges phones on the road, a 400-lumen LED light covers nighttime breakdowns, and 10 built-in protections, including spark-proof and reverse-polarity safeguards, guard against connection mistakes.

 

Key Features & Specifications:

• 4250A peak current for 12V gas and diesel engines up to 10L
• Integrated 160 PSI air compressor
• 5.1-inch smart screen with battery level, tire pressure and inflation mode
• 18W USB-C fast-charging output
• 400-lumen LED light (constant / flash / SOS)
• 10 built-in protections; -20°C to 60°C (-4°F to 140°F) operating range

 

VTOMAN X5 Cross Jump Starter with Air Compressor

Amazon US - $59.99 (RRP $99.99) 40% off

Amazon UK - £50.99 (RRP £99.99) 49% off

 

 

The X5 Cross combines two essential roadside tools, a portable jump starter and an air compressor, in one convenient, travel-ready device. Designed for drivers who want to be prepared for unexpected battery failures and low tire pressure, it brings practical emergency functionality together in a compact unit that's easy to keep in the car.

Ideal for winter driving, holiday road trips and everyday vehicle preparedness, the X5 Cross is a useful addition to a car emergency kit and a practical gift for new drivers and commuters.

 

Key Features & Specifications:

• 2-in-1 jump starter and air compressor
• Designed for vehicle battery emergencies and tire inflation
• Portable design for vehicle storage and travel

 

VTOMAN V-Truck 6000A 12V/24V Heavy-Duty Jump Starter

Amazon UK - £159.99 (RRP £239.99) 33% off

 

 

The V-Truck is VTOMAN's heavy-duty roadside essential, combining a 6000A peak jump starter with a 36,400mAh portable power bank in one robust unit. It starts 12V and 24V trucks, vans and diesel engines, and is rated to operate from -40°C to 60°C, making it well suited to cold-weather rescues, farm work and roadside emergencies.

A 145W DC fast-charging port charges the unit fully in about 1.5 hours, while USB-A and USB-C outputs keep phones and tools charged on long drives or camping trips. A 3-mode LED flashlight, a 2-second boost mode and safeguards against overcharge, over-discharge and reverse polarity make it a practical tool for truckers, motorhome owners and outdoor adventurers.

 

Key Features & Specifications:

• 6000A peak current for 12V/24V gas and diesel engines
• 36,400mAh power bank with USB-A and USB-C outputs
• 145W DC fast charging; full charge in about 1.5 hours
• 2-second boost mode; 3-mode LED light (constant / strobe / SOS)
• 10+ protections; -40°C to 60°C operating range; 2.9kg

 

More VTOMAN Black Friday Deals

 

Amazon US — November 19–30, 2026

• VTOMAN VL7: $94.99 (RRP $149.99, 37% off)
• VTOMAN VS110 Solar Panel: - $119.99 (RRP $189.99, 37% off)
• VTOMAN VS40: $52.24: (RRP $109.99, 53% off)

Amazon UK — November 19–30, 2026

• VTOMAN V6 Plus Jump Starter: £31.99 (RRP £59.99, 47% off)
• VTOMAN VL3: £37.99: (RRP £59.99, 37% off)

Walmart US — November 9–December 3, 2026

• VTOMAN V6 Plus Jump Starter: $32.99 (RRP $79.99, 59% off)
• VTOMAN X4 Jump Starter with Air Compressor: $38.99 (RRP $98.99, 61% off) 

 

About VTOMAN

Power Beyond Limits is more than a slogan at VTOMAN; it is the standard behind everything the brand builds. VTOMAN believes portable power should go beyond basic backup to deliver stronger output, smarter energy management and trusted protection in the moments that matter most. That is why VTOMAN combines V-BEYOND™ for high-performance output, CHARGECORE™ for efficient energy delivery and LIFEBMS™ for long-term battery safety and stability. Together, these technologies allow VTOMAN to create energy storage solutions that go beyond ordinary expectations. For more information, visit https://vtoman.com.

Lester LaRue shot 44 frames on the morning of April 19, 1995, with his employer's camera, his employer's film, and his employer's car to get him there. One of those frames ran on the cover of Newsweek's May 1 issue. A federal court later ruled the copyrights had never been his.

 

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Most camera bags in recent years have been made to be dedicated travel bags, everyday bags, or work bags. But Lowepro's Fastpack backpack line has always offered bags that can be used for almost anything without compromising the experience.

 

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A perfectly symmetrical frame can still feel wrong, while a frame with a speck of a subject tucked off to one side can feel completely settled. Balance in a photograph covers much more than equal weight on both sides, and how you handle it decides whether a viewer believes what they're seeing and knows where to look.

 

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Most advice about natural light boils down to two instructions: shoot at golden hour and avoid midday. Both hold some truth, yet most of your shooting happens in the hours between, and knowing what the sun is doing at each stage decides whether a frame has depth or falls flat.

 

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Nikon's NIKKOR Z 120-300mm f/2.8 TC VR S costs almost $14,000 and weighs more than 6 pounds, which puts it much closer to a big telephoto prime than a handy second zoom. With an f/2.8 aperture and a built-in 1.4x teleconverter, it's built to cover low-light wildlife, sports, and safaris with one lens.

 

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Viltrox's new AF 35mm f/1.4 Pro costs $829 for Sony E and Nikon Z, which puts it below Sony's own 35mm f/1.4 GM and above Nikon's NIKKOR Z 35mm f/1.4. It's big and heavy for a 35mm f/1.4, with a metal body, weather-sealing, and an aperture ring that switches between clicked and smooth.

 

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Winter's on its way which may mean dark nights and cold mornings but it does bring ample photography opportunities for those who don't mind braving the cold. We can capture sunrises at more reasonable hours and depending how low the temperatures drops, we could even see some snow filled landscapes appearing in people's portfolios. In preparation, here's 30 tutorials to kick-start your winter photography with a bang. 

 

1. Photographing Winter Portraits

Living in the UK, most of the best clothing in our wardrobes is probably winter stuff so why not encourage people to get out and about with their favourite coats, hats and scarves and have fun shooting some outdoor winter portraits.

 

 

2. Shooting Winter Landscapes

Water in the landscape makes a great photograph at any time of the year but in winter, after we've had heavy rainfall or fog's settled in, lakes and rivers suddenly take on a new look that's well worth braving the cold to capture.

 

 

3. Photographing Winter Birds

Winter days leave us with a shortage of daylight hours to photograph, but also is not the perfect time for birds to find food, with much less food about and less daylight time to feed.

 

 

4. Winter Wedding Photography

Winter weddings are becoming ever more popular. As a wedding photographer, the natural light on a winter day may only be short, but if you are comfortable using available light whether it be tungsten or candlelight, you can create some really atmospheric photos.

 

Image courtesy of Limeleaf Weddings.

 

5. Working With Winter Sun

While winter may often be associated with wet, gray, and generally downbeat weather conditions, when the sun makes an appearance it is perfect for landscapes.

 

Image from  Landscape Photography: The Four Seasons title from Ilex.

  6. Winter Photography Tips 

Whether portraying a bitterly cold day or a snowy Christmas scene, there are certain things to consider when heading out for a winter photography shoot. I have put together a number of tips which have proved invaluable.

 

Photo by Barry Chignell

  7. How To Shoot Winter Silhouettes

The low position of the sun in winter makes it a perfect time to shoot silhouettes. You just need to find a bright background (the sky's perfect) and the right subject to give you a shot with series impact.

 

 

8. Winter Wildlife Photography Tips

Learn how to take great images of winter wildlife around the coast, in your garden and in various conditions. 

 

 

9. Snowboarding Photography Tips 

Nathan Gallagher gives ePHOTOzine some tips for capturing snowboarders in action on the snow as well as tips on capturing portraits in the studio. 

 

 Photos by Nathan Gallagher.

 

10. Coping With Contrast In Winter

The low angle of sun in the winter may bring with it fantastic lighting, but it can also cause problems when it comes to contrast in your images.

 

Photo from Landscape Photography: The Four Seasons title from Ilex.

 

11. Even More Winter Wildlife Photography Tips

Winter can be a great time to photograph wildlife. With the trees bare, it can be a lot easier to spot illusive species such as deer and foxes. A telephoto zoom lens will be a necessity, and you'll need a tripod and possibly a hide, too depending on what you intend to look for.

 

 

12. Indoor Themed Winter Portrait Tips 

With winter approaching, more people will be heading indoors but this doesn't mean you have to stop looking for ways to bring your portraits to life. Of course, if you have a willing subject you can brave the cold and venture outside to capture some great winter imagery. But if the cold isn't for you, then going indoors works very well at this time of year too.

 

Photo by Michael Alan Bielat.

 

13. Photographing Mountains In Winter

There are plenty of great mountain ranges scattered around the UK that are well worth a photo at any time of year but in winter, when a covering of snow's fallen or a hard frost has settled they tend to look even more impressive.

 

 

14. Tips On Photographing Ice In Winter 

Ice is only frozen water – so it's clear, isn't it? Far from it, and I love ice – naturally occurring on lake edges, round waterfalls, as icicles, however it forms. I'm only going to look at natural formed ice, rather than ice made in freezers and photographed in studio conditions; although either makes amazing pictures.

 

Photo by John Gravett

 

15. 10 Top Robin Photography Tips 

Robins can be found in their numbers and as many would agree, they are very photogenic and this becomes even more true at this time of year when the cold weather sets in, bringing snow to cover the ground.

 

 

16. Tips On Photographing Frost And Ice

Frost might not be good for plants but it is great for photographers who are looking for winter scenes and interesting abstracts to add to their portfolio.

 

 

17. Fast Moving Vs. Slow Moving Waterfalls - How To Capture Both With Your Camera

When capturing waterfalls you can make water appear as if it's frozen in time so every splash and droplet is captured in frame or you can go to the opposite end of the scale and smooth the flow of water out into almost a dry-ice, cloud-like texture. At this time of year there's the added option of capturing frozen shapes that water's created when it's splashed up over rocks and grass found at the edges of the falls, too.

 

 

18. Top Cold Weather Photography Tips

 It won't be long before the temperatures drop and we're venturing out over the Christmas break with cold weather photography in mind. Here's a few ideas how to prepare yourself – and your camera equipment – to ensure you get the most out of your cold-weather photography.

 

 

19. Tips On Photographing Snow & Ice

Winter brings a new range of photo opportunities where familiar colourful scenes are suddenly covered in a blanket of snow. Bare trees become stark outlined silhouettes against a brilliant white backdrop, grasses poke out from below white canopies and old barns look like sets from pantomimes.

 

 

20. Urban Christmas Light Shoot

As the majority of festive pictures are of parties taken on small apertures on compacts with auto flash, having a good image of the Christmas lights, particularly with people in them will really stand out and as a result are a great subject to have a go at photographing.

 

 

21. Cold Weather Photography Tips

The temperatures are slowly dropping which means it's a good time to start thinking about cold weather photography and how you can protect yourself as well as your kit. 

 

 

22. How To Take Black & White Shots Of Snow Scenes

Find out how using the black & white medium can add so much more to your snowy landscape shots. 

 

Photo by John Gravett

 

23. How To Photograph Frost

Set your alarm, wrap up warm and get outside to capture the magic of a frosty start. You don't have to head to far either as you'll find plenty of frost-themed images right in your back garden. 

 

Photos by John Gravett

 

24. More Snow Photography Tips

Snow scenes are very picturesque. They make excellent additions to your landscape portfolio but they can be tricky to photograph. Here are some tips to help you take better snow scene photos and make your time in the chilly outdoors more enjoyable.

 

Photo by Mark Elliott 

 

25. Tips On Photographing Stormy Seas

For those who don't mind a fierce wind and cold weather, winter is a great time to shoot at the coast. Why? Well it's quieter as you don't tend to get many tourists visiting out of season and strong winds can create strong sea swells which means they'll be plenty of big waves crashing into cliffs and sea walls to capture.

 

 

26. Capturing Snowy Landscapes

What better excuse do we need as photographers than a blanket of snow for wonderful photographic opportunities, but it's important to get a few techniques right to ensure you capture everything at its best.

 

Photos by John Gravett

 

27. Photography Tips On Capturing Patterns In Ice

When temperatures begin to fall, lakes, ponds, puddles and even waterfalls (when it's really cold) freeze, all of which make excellent close-up photography subjects.

 

 

28. Explanation On Why Snow Can Appear Blue And How To Fix It

We all know the feeling of photographing in snow on a bright, crisp day, only to realise that the snow is coming out blue in your pictures. This is generally due to one or two errors which can be quickly and easily put right. 

Photos by John Gravett

29. Snow Photography For Beginners

Snow can be quite tricky to capture and can leave many beginner photographers asking questions. To help them out, here we will answer some of the most frequently asked questions about snow photography.

 

 

30. Quick Tips On Taking Photos In Icy Conditions

If you're out in icy conditions, there are a few hazards to contend with which are particular to the weather. Yes, this includes obvious things like taking care to not slip but there are other problems you may not have thought of too.