Photography News

 

14–17 January 2026 • Novotel London West, Hammersmith Trade Show 15–17 January – FREE ENTRY

 

The UK’s most exciting photography Convention is back — bigger, bolder and packed with more inspiration, education and industry powerhouses than ever before.

 

The 2026 London Photo Convention & Trade Show brings thousands of photographers together under one roof for four days of hands-on learning, live demos, exclusive deals, and world-class speakers. If you’re serious about your photography — this is where you need to be.

FREE Trade Show: 15–17 January — Meet the Biggest Brands in Photography

Get ready for three electric days on the Trade Show floor, with leading camera and lighting brands showcasing their latest kit. Expect:

• Hands-on access to the newest cameras & lenses
• Live demonstrations from top pros
• Expert advice from manufacturers
• Show-only offers and exclusive discounts
• Retailers showcasing must-have accessories

Whether you're upgrading, testing, comparing or just curious — the Trade Show is 100% free to attend and absolutely packed.

Register for FREE tickets!

 

 

Over 200 Hours of Training with Masterclasses & Superclasses

If you're hungry to learn, the Convention’s education programme is unmatched.

Masterclasses

Dive into a huge lineup of practical, inspiring and business-boosting sessions covering:

• Portraits • Weddings • Lighting
• Wildlife • Macro • Post-production
• Creative storytelling • Branding
• Business growth for photographers

Top photographers, award-winning educators and industry leaders share the techniques and insights that elevate your photography fast.

Superclasses

Want hands-on training with the best in the business?

The Superclasses deliver small-group, practical workshops with some of the most respected names in the industry. Limited spaces — these sell out fast every single year.

 

 

Exclusive Offer

Save 10% with code epz10 on all class tickets!

  The Photography Event You Simply Can’t Afford to Miss

If you want to improve your skills, grow your business, network with other creatives and immerse yourself in the world of photography — this is your event.

 

Join thousands of photographers for the ultimate start to 2026. 14–17 January • London Trade Show FREE Masterclass Passes & Superclasses available now

 

Book your tickets now!

 

- Partner Content - 

The Ricoh GR IV and Leica Q3 are two of the best fixed lens cameras at their respective price points. (Products not shown to scale)

 

It’s true that almost any camera can be used for street and candid photography, but it’s also true that some models are better suited to the discipline than others.

Before we discuss a selection of used cameras and lenses available from MPB, let’s start by looking at the key credentials of a street camera. 

 

A street camera needs to be user-friendly. That means quick start-up, responsive autofocus, and plenty of customisation potential. Exposure for this reflection shot was 1/4000sec at f/2.4 and ISO 400. Image by Will Cheung.

 

Size is high up the list. Of course, you can shoot street and candids with medium-format kit and large full-frame DSLRs and that’s fine if you prefer that route, but there’s much to be said for a more compact, lighter camera. If you’re going to spend hours walking around looking for decisive moments, it makes sense to lighten your load. Some shooters prefer to tote a full outfit in a backpack on a day out, but a shoulder bag with an extra lens or two, spare batteries and cards is all you need. It’s much more comfortable and means you have more energy to concentrate on your photography too.

A smaller camera is also discreet, so you look more like a snap-shooter rather than street photographer.

 

A solid high ISO performance comes in mighty useful for street photography. In this case, ISO 3200 was used allowing an exposure of 1/25sec at f/1.4 in low lighting. Image by Will Cheung.

 

While resolution is important, having more megapixels gives you more headroom when you need to crop significantly to produce the required composition. That said, in street work, getting a composition with the subject a decent size in the frame to avoid wasting pixels is a required skill. So, whether you have 20- or 61-megapixels at your disposal, it’s enough for most needs.

More important than resolution is a good high ISO performance. You might be shooting in bright sun one minute and in gloom the next, and with the need for fast shutter speeds for grabshots, you’ll need a camera that gives high quality images at ISO 1600 and 3200. Shooting at such speeds pushes up noise levels but recent cameras can still give exhibition quality images at ISO 3200, especially with the potential of denoising software.

The final feature to mention in this brief overview is autofocus. Modern AF is amazingly effective and for street work, your life can be made easier if you have the extra potential of human detection and eye AF. An accurate AF system will certainly push up your ‘keepers’ rate.

 

 

Sony’s most recent fixed lens compact is the high-end RX1R III, a 61-megapixel machine fitted with a Zeiss 35mm f/2 lens. MPB has ‘like-new’ stock with prices from £3449.

 

While there’s plenty of older used cameras to consider, we’ve mostly focused on more recent products that are currently available new in the shops.

If a powerful yet pocketable camera appeals, look no further than the Ricoh GR series. The latest model is the GR IV, a 25.7-megapixel APS-C format compact that’s so new it’s still on pre-order with some retailers. Skip back a generation and the GR IIIx has 24.2 megapixels and a fixed lens giving roughly a 40mm field of view in full-frame. It sells for £999 new with the upgraded GR IIIx HDF on the shelves at £1099.

Using MPB’s search engine, a Ricoh GR IIIx is available for £884 and a GR IIIx HDF for £939, both in ‘like-new’ condition. 

 

Many cameras are weather-resistant, so shooting in inclement conditions is no problem, and all you have to do is keep raindrops off the lens front. Exposure was 1/1250sec at f/2 and ISO 1250. Image by Will Cheung.

 

Following on the fixed lens theme, next camera family to consider is the Fujifilm X100 series. The X100VI is the latest addition and with 40.2 megapixels, a 6-stop benefit image stabiliser, the usual Film Simulation picture modes and a 23mm f/2 lens (35mm equivalent in full-frame), it’s a powerful premium compact. MPB has a range of used models priced from £1269 in excellent condition to £1369 for a like-new sample. 

Ascending the price scale, next comes the Sony RX1R III, a 61-megapixel full-frame compact boasting a Zeiss Sonnar T* 35mm f/2 lens. This camera might be a recent arrival, but MPB has like-new used samples from £3449.

Let’s end our look at fixed lens compacts with another high-end model, the Leica Q3. This technological marvel boasts 60 megapixels, a top ISO of 100,000 and a Summilux 28mm f/1.7 APSH lens with optical stabilisation. If a 28mm is too wide, the Q3 43 is fitted with the ideal standard focal length lens, the APO-Summicron 43mm f/2 ASPH. MPB has excellent condition Q3 models from £4449 and the Q3 43 from £4539.

OM System and Panasonic are the driving forces behind the Micro Four Thirds format and both brands offer excellent kit well suited to street photography. This is the OM-5 Mark II sitting next to the OM System 20mm f/1.4.

 

Let’s move onto interchangeable lens cameras that have great street shooting potential. 

For compactness, performance and usability, OM Systems and Panasonic Micro Four Thirds cameras come into consideration. There’s a lot to choose so we went with the 20.4 megapixel OM System OM-5 Mark II partnered by the OM System 20mm f/1.4 lens. The lens is a cracker and a great performer even wide open and a decent price at £489 from MPB. A wider option is the Sigma 16mm f/1.4 DC DN.

Fujifilm recently introduced the X-E5 which MPB has in stock from £1209 body only, but a cheaper option is the X-E4. It has a lower resolution compared with the X-E5 at 26.1 megapixels, and there’s no in-body stabiliser but it’s great value at £869 from MPB in ‘like-new’ condition. Add the Fujifilm XF 18mm f/2 R lens, available in excellent condition from MPB at £299, and you have a powerful, portable and very capable street camera.

 

Seeing a picture and then having the patience to wait for elements to come together are core ingredients in street work. Exposure was 1/210sec at f/5 and ISO 400. Image by Will Cheung.

 

We finish our street camera round up with the 33-megapixel Sony A7C II and 61-megapixel A7CR, both tiny cameras given that they are both full-frame. MPB has a stock of used models at £1589 and £2169 respectively. 

Sony’s E-Mount is very well supported by third-party brands as well as Sony, so choice is not an issue. The E 35mm f/1.8 OSS and FE 28mm f/2 are two Sony primes that match the two cameras nicely, and MPB has stocks at £234 and £189 respectively.

Sony’s tiny A7C II packs a mighty punch and is brimming with the latest imaging technology.

 

  News from MPB

MPB is regularly updating its imaging kit reviews and recommendations for a wide range of subject genres. In fact, the latest batch of reviews includes the Fujifilm X100VI and eight tiny cameras with viewfinders are highlighted in a Selects buyers guide. If we’ve whetted your appetite for the right kit for street shooting, check out the X100VI review here and the Selects: Top 8 Tiny Cameras with Viewfinders here.

  MPB Explained

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

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

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

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

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

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

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

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

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

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

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

Get A Quote From MPB Today

 

About MPB

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

Visit The MPB Website

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Win a Samsung Portable SSD T7 Shield

Power Your Festive Adventures with the Samsung Portable SSD T7 Shield

Stay powered, protected, and ready to capture every moment this festive season with the Samsung Portable SSD T7 Shield, the ultimate companion for creators, travellers, and anyone who needs fast, reliable storage on the go. And to spread some festive cheer, one lucky reader will win their very own T7 Shield to store their memories in style.

Weighing just 98g, the T7 Shield delivers ultra-fast transfer speeds of up to 1,050/1,000 MB/s via USB 3.2 Gen 2, making it perfect for storing and editing high-resolution photos and videos, even 4K and 8K content.

Engineered for durability, the T7 Shield is shock-resistant, able to withstand drops of up to 3 meters, and IP65-rated for water and dust resistance. Whether you are working outdoors, travelling abroad, or capturing festive adventures, your data stays safe wherever you go.

Its heat-managing rubber exterior with Dynamic Thermal Guard ensures stable performance during large file transfers, while compatibility across PC, Mac, Android smartphones, and gaming consoles makes it a versatile solution for both work and play. Up to 9.5x faster than external HDDs, it’s the ideal drive for anyone seeking portable performance without compromise.

(MSRP starting from £118.79)

Visit Samsung Storage

Today's Prize Win a 1TB Samsung Portable SSD T7 Shield!

Enter for your chance to win the rugged and super-fast Samsung T7 Shield, the perfect way to store and protect your files on the go. Available in three stylish colours (beige, black, and blue), it features rapid transfer speeds, PC and Android support, and comes with both USB Type-C-to-C and Type-C-to-A cables.

Compact, durable, and backed by a three-year limited warranty - don't miss your chance to make it yours!

Visit Samsung Storage

As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

[PRIZE_ENTRY]7013[/PRIZE_ENTRY]

 

Photo by David Pritchard

 

Today we turn your attention to the local church – or at least one that is lit up. Not every church is so you may have to drive around to find one if you do not already know of a suitable location.

A wide-angle lens will find plenty of use for this subject. Get in close to fill the frame and do not stress out about converging verticals – you may be able to straighten these out in Photoshop if they annoy you.

A wide-angle used from a distance will also let you include traffic trails and illuminated signs so do have a wander for different viewpoints. The tripod and the remote release are important tools to have for this sort of work, too.

Many churches are locked up, which is a sad reflection of the times, but for night shooting this is not an issue.

The important thing is to be on the spot as day gives way to night. That way you get colour in the sky while benefiting from the lit foreground, which brings us neatly to timing. If you subject’s lights do not come on until later in the evening the black sky will look too stark. You might have to turn up and hope the lights come on before all colours drains out of the sky.

An auto-exposure mode is fine. Most cameras have shutter speeds to 30secs or B (bulb) so use that with a lockable release for longer shutter speeds.

Try a few test shots in auto white-balance and see what you think. The warm colour cast can look fine but if you want something more neutral use the incandescent preset or even use the Kelvin control, setting a low value. 

                                                                                                                           

Anthropics Technology is giving ePHOTOzine members the chance to save on the new PortraitPro 24.

Enhance your portrait work for pro-style portraits with new features:

 

Key New Features:

• New gender and age detector
• Mouth inpainting & teeth replacer
• Face recovery
• Skin and hair masks
• Glasses reflection remover

 

Improved Workflow:

• Seamlessly switch between faces in group shots.
• Effortlessly share presets.
• Utilise a streamlined preset search box.
• Explore more image save options.
• (Exclusive to Studio Max) Apply multiple presets to each picture.

 

"This feature alone [Glasses Reflection Remover] would pay for the upgrade after repairing just a couple of shots spoiled by the reflections in a subject's glasses, mainly in time saving." 

— Professional Image-maker

 

Buy PortraitPro 24 or upgrade at 50% off, plus get an exclusive extra 30% off with the code BFEZ30. There's never been a better time to streamline your portrait-editing workflow.

See Anthropics Bundles for further savings. Code BFEZ30 is valid on any Anthropics software including PortraitPro, PortraitPro Body, LandscapePro, and Smart Photo Editor, or Bundles.

Don’t miss out — this deal ends soon!

Shop Now

 

- Partner Content - 

 

 

It’s always frustrating to get a blurry or out-of-focus picture. Fuzzy pictures lose their detail and sharpness due to camera shakes and poor lighting. Low-resolution pictures can also be classified as fuzzy pictures, but the good news is that there are tools to help fix them. In this article, we will learn how to fix fuzzy pictures with two simple methods. First, we will explore Photoshop, which is a good choice if you want full control and like to do manual editing. After that, we will explore HitPaw FotorPea, an AI photo editor that completes the job in just a few clicks.

 

What Causes Fuzzy Pictures?

To know how you can fix your fuzzy photographs, first you need to know what causes the problem. There are several reasons as to why the sharpness and clarity of images are compromised.

• Camera Shake or Movement: Motion blur can occur with even the smallest hand movements while a picture is taken. This is common when a picture is taken in low-light situations or when a tripod is not used.
• Out-of-Focus Shots: Your subject can appear soft or blurred when you are taking a picture, while the background remains sharp. This is a clear indication the lens is focused on the background instead of the subject.
• Low Resolution: Small-resolution images or images that are heavily cropped and then enlarged tend to lose quality and become pixelated or fuzzy.
• Poor Lighting and High ISO: When a picture is taken in dim lighting, the camera increases the ISO and adds digital noise to the photograph, which also decreases clarity.
• Compression and Over-Editing: Repeatedly saving the same image to a compressed format or over-editing can cause fuzzy edges on photographs due to a loss of detail.

Knowing what the problem is allows you to understand which fix will work best, manual enhancement in Photoshop or AI-powered restoration with HitPaw FotorPea.

 

How to Fix a Fuzzy Picture with HitPaw FotorPea

To enhance and fix fuzzy pictures efficiently, HitPaw FotorPea is the best AI photo editing tool. It offers impressive new features such as the New Face Model, the New Super-Resolution Model, the All-Round Restoration Model, the AI Generator Upgrade, and the New AI Generator Tools. Designed for extremely low-quality portraits, this update is helpful to fix a fuzzy picture with just a few clicks. Below are step-by-step instructions to fix a fuzzy picture with just a few clicks.

 

Step 1: Launch HitPaw FotorPea and Start Enhancing

Open HitPaw FotorPea and click on 'Enhance Photo Now' at the top of the page to get started.

 

 

Step 2: Upload Your Image

Drag and drop the blurry image into the work area. HitPaw accepts images in JPG, PNG, TIFF, and RAW formats. The AI tool scans for blur, lighting, and resolution before starting enhancement.

 

 

Step 3: Choose the AI Enhancer Model

The software will choose exactly one enhancement mode that it thinks is the best for the type of image you have, whether it's portrait, landscape, vintage, or anime. The Magic AI Upscale is really great when you want to fix fuzzy pictures or enlarge images to HD, 2K, 4K, or 8K and maintain quality.

 

 

Step 4: Enhance and Preview

Click on preview and AI works automatically to remove noise, restore edges, and sharpen your image. You’ll see an instant difference when you see before and after images.

 

 

Step 5: Export and Save

You can choose the output type as Original, JPEG, or PNG. You can enable Cloud Rendering if you want faster performance and better quality.

 

 

Real Experience

HitPaw FotorPea makes fuzzy photo restoration as easy as a three-step process upload, enhance and export. It’s particularly useful when needing to enhance multiple images and time is limited, or when there’s no time to learn Photoshop.

 

How to Fix a Fuzzy Picture in Photoshop

Professional image editing is Photoshop's flagship functionality. For those who wish to manually restore clarity to images, Photoshop is a great tool to have. Below are step-by-step instructions for Photoshop users to fix a fuzzy picture:

 

Step 1: Duplicate Your Image

Begin by duplicating your layer (Ctrl + J / Cmd + J). It is better to work on a copy in order to preserve your original photo.

 

Step 2: Apply Smart Sharpen

Go to Filter → Sharpen → Smart Sharpen. Adjust the Amount and Radius to the Amount and Radius settings to the point where the edges are clear. Don't forget to make sure they edges are not harsh.

 

Step 3: Use the High Pass Filter

• Duplicate your layer again.
• Click Filter → Other → High Pass and set a radius between 1-3 pixels.
• Change the blend mode to Overlay or Soft Light.

This helps bring out finer textures while keeping the image natural.

 

Step 4: Reduce Noise

Blurry images usually have digital noise. To reduce the noise, go to Filter → Noise → Reduce Noise and adjust the sliders to balance smoothness and sharpness.

 

Step 5: Fix Motion Blur with Shake Reduction

Use Filter → Sharpen → Shake Reduction. Photoshop will automatically analyze and reduce the camera's movement blur.

 

Step 6: Upscaling Without Losing Quality

To adjust your Image Size, go to Open Image, select Image Size, and check Resample: Preserve Details 2.0. This will improve the resolution when you increase the size of your small images.

 

Step 7: Final Touches in Camera Raw

Use Filter → Camera Raw Filter and adjust the Clarity, Contrast and Dehaze. This will help you achieve a balanced and realistic finishing touch.

 

Quick Note

Photoshop provides the most control and works best, but it does take a long time to learn it. For quicker results with a lot less effort, you can use AI tools such as HitPaw FotorPea which will automate the process.

 

Photoshop vs. HitPaw FotorPea – Which Works Better?

Photoshop and HitPaw FotorPea can both fix fuzzy pictures, but they target different users. Here's a basic comparison:

 

Feature Photoshop HitPaw FotorPea Skill Level Requires experience Beginner-frienfly Editing Process Manual adjustments Automatic AI enhacement Speed Slow, step-by-step Fast and one-click Tools Advanced filters, layers AI=powered models and smart correction Output Quality Excellent with expertise Consistently high-quality and natural Ease of Use Complex interface Simple and intuitive Extra features Manual precision tools AI Portraits, Anime Upscaler, Passport Maker

 

Expert Verdict

Photoshop is perfect for experts who love full control. But for the majority of users who just want their fuzzy pictures fixed fast, the winner is HitPaw FotorPea. It is faster, smarter, and made for everyone. AI pinpoint accuracy and simplicity make it perfect for family photo restoration, product shot editing, portrait enhancement, and travel image restoration.

 

Conclusion

Fixing fuzzy pictures is easier than ever. Although Photoshop offers detailed manual control for professionals, HitPaw FotorPea delivers top-quality results with just a single click. It increases the sharpness of the image, restores the natural detail, removes the noise of the image, and does all of this without wasting your time and without losing quality. To put it simply, if Photoshop is an expert’s toolkit, HitPaw FotorPea is the effortless solution for everyone. 

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Win a Meike 85mm f/1.8 SE Mark II lens!

Meike 85mm f/1.8 SE Mark II

Unlock pro-level imaging with the Meike 85mm F1.8 SE Mark II - your perfect full-frame companion for E-mount cameras! Priced at just $229.99, this lens blends exceptional performance with unbeatable value, ideal for portrait lovers and creative shooters alike.

Boasting a bright F1.8 large aperture, it delivers dreamy, natural bokeh that makes subjects pop, while its 7-group 11-element optical design ensures stunning sharpness and rich detail. The STM stepping motor enables fast, quiet autofocus with eye/face detection, capturing every fleeting expression with millisecond precision.

Weighing only 369g, it’s lightweight yet durable, crafted from high-strength polymer for easy portability. With a 0.65m minimum focusing distance, you can nail close-ups and full-body portraits effortlessly, thanks to its classic mid-telephoto focal length and minimal distortion.

Equipped with a Type-C firmware upgrade port, it keeps getting better. Compatible with full-frame and APS-C cameras, this lens excels in low light and offers versatile shooting angles—perfect for portraits, still life, and more. Don’t miss this high-cost-performance gem - elevate your shots today!

Visit MEIKE

Today's Prize Meike 85mm f/1.8 SE Mark II lens

Unlock pro-level imaging with the Meike 85mm F1.8 SE Mark II - your perfect full-frame companion for E-mount cameras! This lens blends exceptional performance with unbeatable value, ideal for portrait lovers and creative shooters alike.

Visit MEIKE

As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

[PRIZE_ENTRY]7012[/PRIZE_ENTRY]

If you're new to photography, Christmas is a great time to try out your skills, but it can also be quite daunting. So here are a few essential Christmas photography tips.

 

Modes

If you're new to photography and have just got your camera, the scene modes will be a great help in getting some great shots. Most cameras will have a variety of modes, some of which are ideal over the festive season. Portrait mode, for example, is ideal for family shots and shots of family members opening presents. Snow mode could come in handy if we're lucky enough to have a white Christmas and you want to venture outside, while a smile or blink detection mode might be ideal for those group shots, to ensure everyone is smiling and no one is blinking.

There are often various creative options in your camera's modes too. For example, black and white and sepia modes will give a nostalgic feel to your shots, while more creative modes will enable you to have fun with your shot and get into the festive spirit.
 

Think About Lighting

Lighting is an essential part of the shot, and the positioning of your subject should be considered to get the most flattering light. 

Take white balance settings into consideration and don't think that auto will always produce the best-looking shot. For example, using the tungsten setting indoors will stop your image from having a yellow glow that can appear when working with house lights.

Interest In The Shot

Your shots need to have interest to draw the eye, but not be too cluttered so as to distract from the main subject. Try and arrange the shot so that objects in the background don't appear to be growing from people's heads if you're taking photos of family members, for example. A plain background with a little interest to one side of the shot will work – use the rule of thirds to position your shot so as to please the eye.

  Documentary Style

Shooting a documentary style portfolio of the day will serve as a good memento of the festivities. Shots like this work best while people are busy, so they don't look too staged in the photo. Capturing kids playing, family members pulling crackers and unwrapping presents... there are unlimited possibilities. Get creative and see what you come up with.

Macro

Your decorations will make great macro subjects and create some interesting festive shots. Baubles on trees, centerpieces and other ornaments make great macro subjects. When shooting a macro of a bauble, try putting coloured material behind the tree to add interest to the shot. Use your camera's macro mode to help blur the background of your image so all attention falls on the decoration. 

Food

Why not take some mouth-watering shots of the turkey fresh out of the oven, and other festive treats? Gingerbread men and mince pies make for festive foodie shots too. Trim the plate up to add some interest, maybe a sprig of holly and some tinsel, and you'll have a fantastic festive shot.

The possibilities are endless with festive photography, so just experiment a little and see what you can create!

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Win an Atomos Ninja TX GO!

Atomos Ninja TX GO

Ninja TX GO from Atomos is one of those tools that instantly feels like it belongs in a photographer’s kit - especially if you’re a hybrid shooter who moves fluidly between stills and motion. Compact, bright, and very capable, it brings the same sense of confidence you get when switching from your camera’s rear LCD to a beautifully calibrated external monitor, but with the added bonus of professional-grade recording and modern, cloud-connected workflow options.

The Ninja’s 5-inch touchscreen is a dream for anyone who prefers judging exposure and color on a trustworthy display rather than relying on a tiny camera screen. At 1,500 nits, it's bright enough to see clearly even under midday sun - something outdoor portrait, wedding, and landscape photographers will appreciate. And because it supports Rec.709, HDR, and all the popular log profiles, you can preview your footage with the same colour confidence you expect from a calibrated editing monitor.

Tools like waveform, vectorscope, EL Zone, and focus peaking feel intuitive and purposeful. They’re presented cleanly, without clutter, turning Ninja TX GO into a kind of digital light meter + exposure coach + focusing assistant all at once. If you’re the type who obsesses over precision exposure or loves dialling in subtle colour via LUTs, it’s incredibly satisfying to use.

Where Ninja TX GO really opens creative doors is in its recording capabilities. You can capture up to 6K 30p RAW through HDMI—something that transforms mirrorless cameras into true cinema tools. For shooting behind-the-scenes films, brand content, fashion editorials, or slow-motion clips for social campaigns, having that extra image flexibility is a gift.

The recorder supports Apple ProRes, ProRes RAW, Avid DNx, plus H.265/H.264, and it gives you options: record to a CFexpress Type-B card or plug in an external SSD via USB-C. For shooters who mix long-form video with bursts of high-res stills, having this kind of adaptable media system makes life easier.

Photographers increasingly deliver both stills and motion, often under tight deadlines. Ninja TX GO fits perfectly into that world. Built-in Wi-Fi 6E enables direct uploading to cloud platforms like ATOMOSphere, Adobe Frame.io, or Dropbox. Imagine finishing a video clip on location and having it appear on your editor’s desktop before you even leave the shoot.

Perhaps the most exciting part, especially for stills shooters, is camera control. You can adjust aperture, shutter speed, ISO, and white balance right from the touchscreen. For tripod work, interviews, macro setups, product photography, or anything where your camera is locked off, this is a game-changer.

Ninja TX GO is rugged yet lightweight, powered by NP-F batteries or USB-C PD. Locking HDMI and USB-C accessories keep cables secure—a huge plus for photographers who move quickly or shoot in busy environments.

For photographers stepping deeper into video, or already balancing both worlds, Ninja TX GO feels like the accessory that finally meets the demands of modern hybrid work. It’s compact, colour-accurate, powerful, and smartly connected. More than a monitor, it’s a creative control centre that helps you shoot with the confidence and precision you expect from your stills workflow.

MSRP: £599 ex VAT / £718.80 inc VAT

Visit Atomos Ninja Series

Today's Prize Atomos Ninja TX GO

Ninja TX GO from Atomos is one of those tools that instantly feels like it belongs in a photographer’s kit - especially if you’re a hybrid shooter who moves fluidly between stills and motion. Compact, bright, and very capable, it brings the same sense of confidence you get when switching from your camera’s rear LCD to a beautifully calibrated external monitor, but with the added bonus of professional-grade recording and modern, cloud-connected workflow options.

Visit Atomos Ninja Series

As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

[PRIZE_ENTRY]7011[/PRIZE_ENTRY]

So Christmas is around the corner which means Poinsettias will be filling every supermarket and these relatively cheap plants make great photographic subjects. Particularly on wet, cold days when all you want to do is stay indoors with the heating on!
 

Photo by cattyal Gear Suggestions:

• Tripod - keeps your hands free for positioning and moving the plant
• Backgrounds - experiment with colours
• Not a piece of 'gear' as such but you do need a light room
• Spray bottle - spray the leaves and photograph the drops of water as they fall off the leaf.

  Look For Detail

Although it's an attractive plant as a whole, you'll get more interesting shots if you concentrate on the details. Look closely and buried amongst the foliage you will find plenty of multi-coloured leaves. It's easier to work with your chosen leaf away from the rest of the plant so pick the leaf off and move it to your chosen work surface. The sap can be an irritant so you may want to use a pair of scissors to remove the leaf.
 

Light Source

A windowsill is a good place to set-up as plenty of natural light will be able to fall on your subject, plus you can stick your background to the window (a piece of paper will work fine) which will mean the light will fall through it.
 

Angle

The key to this is experimentation as no one position or angle will work every time. You want the light to come through the leaf but preferably not directly onto the front of it.

The same applies to black backgrounds. Simply leaned it against your window, angled so that the sun doesn’t shine on the background, with the leaf to one side allowing the sun to shine through it.

If you don't have a window that's easy to work in front of, try using a modelling light as your light source or alternatively, any kind of adjustable lamp should do the trick.

 

Don't Just Look At The Leaves

You don't have to concentrate just on the leaves – try cutting a stem from the plant and place that in front of the light as well. In this case, a sheet of white card comes in handy to bounce a bit of light back onto the unlit side.

Lastly, when the plant suddenly decides to wilt, simply cut the stems from the plant and put them in water. They will perk up in a few hours and then last at least a week allowing you to get lots more leafy images.

 

The concept of the “pancake” lens is an attractive one – a compact “wide standard” lens that hardly adds any bulk to a, hopefully, moderately sized camera body. The new Fujifilm XF 23mm f/2.8 R WR lens is a good looking example, so we couple it up with the new 40MP Fujifilm X-E5 to see just how good it is. Let's see how it all unfolds.

 

Fujifilm Fujinon XF 23mm f/2.8 R WR Handling and Features

The XF designation depicts Fujifilm's highest quality range of lenses, the R refers to the inclusion of an aperture ring and the WR designation indicates “weather resistance”. The lens is beautifully finished and looks impressive on the X-E5. It is compact, weighing in at just 90g, and measures a svelte 23mm long and 61.8mm in diameter. 

According to the Fujifilm website, a lenshood is provided, but alas, none arrived with the review loan. There is a standard 39mm filter thread provided. 

 

 

There is not much to note as we start our tour of the lens. First up is the thin manual focus ring, which can be selected to be active during AF via the camera menus. The aperture ring is, as usual, a gorgeous bit of engineering. The click stops are positive and gently damped. They cannot be switched off, so a gentle click can potentially be heard, a point of note for videographers in particular. There is a lock provided, but this only secures the ring in the A position. It does not prevent the movement from the scale into A, so can be engaged in error when using the eye level viewfinder and operating the ring by feel. Not a deal breaker but a minor point that can be easily borne in mind.

The AF is driven by a DC motor. It is fast, positive and seems very accurate. It is not quite silent, making a very soft “clunk” as it engages. It does not really have far to move the lens elements, so the speed is not too surprising. Minimum focus is 20cm (7.87”) for a maximum magnification of 0.15x. This is reasonably close, although the primary function of the lens does seem to point more towards street/candid photography rather than close ups.

 

 

Optical construction is 8 elements in 6 groups, including 2 Aspheric. The diaphragm comprises 11 blades, aiming to produce as circular an aperture as possible. This does bode well for the bokeh we might expect. There is no OIS included, instead we depend upon the IBIS built into the camera body. In the case of the X-E5 used for this review, this works effectively and no doubt saves some bulk in the lens design.

The lens is weather resistant, always welcome as it does liberate the photographer who wishes to shoot images in poor weather conditions. Enhancing this is the rating of the lens to operate in temperatures down to -10C. This will be good news for the more hardy amongst us.

23mm in APS-C format gives us a “35mm equivalent” of 34.5mm, very close to the “wide standard” 35mm focal length. This is basically one of the classic focal lengths, favoured by photo journalists/street photographers. It gives a normal looking perspective whilst including a slightly wider view than the ubiquitous 50mm. This is a focal length that is also useful for travel, portraits, groups, social and many other styles of shooting. The compact form factor is a powerful aid to becoming invisible as we shoot street images, able to immerse ourselves with closer shooting than would be the case with a 50mm lens.

 

 

Fujifilm Fujinon XF 23mm f/2.8 R WR Performance

Central sharpness is excellent from f/2.8 right the way through to f/11 and is still very good at f/16. The edges are very good from f/2.8 to f/11 and good at f/16. This is a great performance and images look sharp and crisp across the frame.

 

Fujifilm Fujinon XF 23mm f/2.8 R WR 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 Fujifilm X-E5 body using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is minimal at the centre and still well under control at the edges. Colour fringing is not a problem in most images. Further correction could be made in the software in extreme instances, but it is doubtful that this would be required.

Distortion is just -0.20% barrel, straight lines remaining straight.

 

Fujifilm Fujinon XF 23mm f/2.8 R WR 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 Fujifilm X-E5 body using Imatest.

 

Bokeh is relaxed and easy on the eye.

Flare control is excellent, as is the norm with Fujifilm lenses. In very extreme lighting it is just possible to see some slight artefacts, but we have to work at it to achieve such effects.

Vignetting is visible, particularly at wider apertures, but not obtrusive in general photography. In any event, a slight corner darkening can be a useful effect in many images, concentrating the eye towards the centre.

 

Aperture   f/2.8 -1.7 f/4 -1.6 f/5.6 -1.6 f/8 -1.4 f/11 -1.2 f/16 -1.2

 

 

Fujifilm Fujinon XF 23mm f/2.8 R WR Sample Photos Previous Next

 

Fujifilm Fujinon XF 23mm f/2.8 R WR Aperture range Previous Next

You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.

 

[HOOK]position_1[/HOOK]

Value For Money

The [AMUK]Fujifilm Fujinon XF 23mm f/2.8 R WR|Fujifilm+Fujinon+XF+23mm+f/2.8+R+WR[/AMUK] lens is priced at £399, in black or silver finish.

There are several alternative 23mm lenses for Fuji X fitting:

• [AMUK]Fujifilm XF 23mm f/1.4 LM WR|Fujifilm+XF+23mm+f/1.4+LM+WR[/AMUK], £819
• [AMUK]Fujifilm XF 23mm f/2 R WR|Fujifilm+XF+23mm+f/2+R+WR[/AMUK], £415
• [AMUK]Sigma 23mm f/1.4 DC DN Contemporary|Sigma+23mm+f/1.4 +DC+DN+Contemporary[/AMUK], £479
• [AMUK]TT Artisan 23mm f/1.4|TT Artisan+23mm+f/1.4[/AMUK], £129
• [AMUK]Voigtlander Nokton 23mm f/1.2|Voigtlander+Nokton+23mm+f/1.2[/AMUK], £629

The new lens is pretty much par for the course as regards the bald price, but there is more to VFM than just the price. If we want a very compact pancake lens of the highest quality, it becomes a strong contender at a fair price.

 

 

Fujifilm Fujinon XF 23mm f/2.8 R WR Verdict

Fujifilm optical quality plus compact pancake lens dimensions look like a real winning combination. We can trace back the compact pancake lens of around 35/40mm to almost every compact 35mm film camera of the 1960s onwards, although many were nowhere near as pancake like as this new Fujifilm offering and few if any approached the current levels of performance. Now we can enjoy the compact form factor but also the highest quality levels. The high standard from Fujifilm is there to be seen and the compact dimensions, especially when coupled to the compact X-E5, produce a package which is of compact camera dimensions but of full DSLR or mirrorless flagship quality. 

All these sometimes elusive qualities come together in a fine lens, and one that can definitely be Highly Recommended.

 

Fujifilm Fujinon XF 23mm f/2.8 R WR Pros

• Excellent sharpness levels
• Low distortion
• Low CA
• Fast, accurate AF
• Weather resistance
• Low flare
• Pleasant bokeh
• Excellent handling
• Excellent VFM

 

Fujifilm Fujinon XF 23mm f/2.8 R WR Cons

• Some vignetting
• Aperture ring lock only locks into A setting

 

[REVIEW_FOOTER]R_features=4|R_handling=4.5|R_performance=4.5|R_value=5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – A delightfully compact and light high quality pancake lens.|E_id=8027[/REVIEW_FOOTER]

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Win 1 of 3 Samsung EVO Plus 1TB Memory Cards

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As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

[PRIZE_ENTRY]7010[/PRIZE_ENTRY]

When December arrives you'll suddenly find that your house, and those of your friends and loved ones, are filled with wonderful eye-catching decorations that are begging to be photographed. It's a perfect excuse to work on some macro photos.

 

What kit is best?

When it comes to kit, if you're using interchangeable lenses, pop a macro lens on your camera while compact camera users can just switch over to macro mode. You'll also need a tripod to help keep shots steady as shutter speeds can be slow when working in between Christmas tree branches. 
 

How can I avoid tinted photos?

Before you start taking your shots check your white balance as you can end up with shots that have an orange tint. Try using the Tungsten setting or shoot in RAW and adjust your shots later in post-production. Put your camera's self-timer on while you're in the menu system so there's a few seconds for any shake to stop before the photo is taken.

 

Photo by David Pritchard
 

Concentrate the focus on one ornament

Often people try to take a photo of a section of their tree rather than focusing on one ornament. This means your photo doesn't have any focus and the viewer's eyes will end up darting around your image. To stop this, get in close and fill the frame with just one of your tree ornaments. If your tree's so full you can't get away from groups of baubles then throw the background out of focus. You can get some interesting bokeh from the Christmas lights but you'll need a fairly small f-number to do this. The lights can create interesting patterns and leave subtle spots of colour on the ornaments adding another level of interest to your image in the process. Try to stand so your reflection doesn't bounce back off the ornaments, though.

Decorations that are colourful or have plenty of interesting details are a good choice but something more simple can work well when you're playing with bokeh in the background of your shots. 

While you have your macro lens out take your eyes away from the tree and look for table decorations, ornaments on the mantelpiece or even tins and bowls of colourful chocolates/sweets to photograph.

[COMMENT_IMG]direct|158870|158870_1765102145.jpg[/COMMENT_IMG]

 

The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to hibbz (Day 7 - Robins)

 

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

Cold Weather

[COMMENT_IMG]direct|333499|333499_1764590614.jpg[/COMMENT_IMG]

  Day 2

Fairground Rides

[COMMENT_IMG]portfolio|88335|3731162[/COMMENT_IMG]

 

Day 3

Snowy Landscapes

[COMMENT_IMG]direct|270454|270454_1764751525.jpg[/COMMENT_IMG]

 

Day 4

Winter Wildlife

[COMMENT_IMG]portfolio|348899|3897236[/COMMENT_IMG]

  Day 5

Celebration Photography

[COMMENT_IMG]direct|242789|242789_1764931635.jpg[/COMMENT_IMG]

 

Day 6

Christmas Macros

[COMMENT_IMG]direct|136775|136775_1765018864.jpg[/COMMENT_IMG]

 

Day 8

Winter Landscapes

[COMMENT_IMG]direct|344708|344708_1765221095.jpg[/COMMENT_IMG]

 

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.

[SECTION]INTRODUCTION[/SECTION]

 

 

Quick Verdict

The X-T30 III could be the ideal beginner's camera, as well as appealing to any photographer seeking a light, compact system for travel and general use. There are some design quirks, but the quality level is high, the handling is fast and efficient and the price is highly competitive.

 

Fujifilm are masters of so many aspects of camera and lens design. Their colour mastery is clear, from decades of producing some of the finest films available. Their lens mastery is clear, with a current range of superb optics, not only for APS-C but also for medium format. Their mastery of high quality camera construction dates right back to the unique film rangefinders in various medium formats from 645 to 6x9cm, onwards to the current crop of X mount and medium format designs. Here we have an entry level path into the marque, keenly priced and bristling with features for photographers and videographers alike, from the beginner to the advanced. With that sense of fine heritage to build on, let's look closely at the new X-T30 III and see if the magic is still there.

 

Fujifilm X-T30 III Features

First impressions are great, as Fujifilm do make beautiful cameras and lenses. The camera is compact, light and attractively decked out in resplendent charcoal. Black and silver are also available. The body weighs in at a modest 378g, as measured, and dimensions are a svelte 118.4 x 82.8 x 46.8mm. There is the usual high quality metal X mount. The sensor is unprotected when changing lenses, so care is needed to ensure there is no ingress of contamination. 

The lack of weather resistance is a shame, but no doubt would add significantly to the overall cost and this camera is aimed at beginners first. The kit with the XC 13-33mm f/3.5-6.3 OIS lens makes sense, especially given the low price of the combination. This tackles the lack of IBIS as some form of shake reduction is very desirable. It is worth noting that the recommendation in the instructions suggests that when using a tripod IS should be switched off. This reviewer did not at first heed this and spent some time shooting images again. Very often it does not make any difference, but they tell us and this time it needs to be believed.

 

 

The monitor is a 3” LCD touch screen, with 1.62M dots. It tilts but does not swivel. I switched off the touch screen feature as the camera is small enough without having to be very careful about what is pressed. It is an excellent screen, full of detail and good colour. The EVF is a 0.39” OLED screen with 2.36M dots. This is good to use, just suffering from the usual limitations in very bright outdoor situations. 

The Q menu is really useful, unfortunately its placement on this model is rather prominent and liable to be hit by accident if the camera is carried in one hand. This could be avoided by relocating the button, or making it much firmer to operate, the latter point probably being something that many switches and buttons would benefit from. There is no four way controller, and this function is being fulfilled by a small joystick instead. 

 

 

The top plate is a delightful bit of ergonomic design. The film simulation dial allows immediate access to a small selection of useful settings, three user modes and the ability to select a choice from the camera menu instead. This is one of the unique delights of Fujifilm cameras, the ability to use, for example, a Velvia setting for those who used to enjoy Velvia transparency film. It would be welcome if other makes of film style could be added, but perhaps the licensing would be expensive and difficult to negotiate. 

There is a pop up flash, not overly powerful but there and perhaps useful for a spot of fill in or for party use. The conventional shutter speed dial covers from 1 second to 1/4000s, plus B and T. The A setting is there for Aperture Priority (Av) shooting, and in this respect those Fujifilm lenses that have aperture rings might complete the retro experience.

 

 

Also from the top plate is the auto selector switch, letting the camera make the decisions, and the exposure compensation dial. This latter dial is really advantageous and easy access to it really helps the handling.

The battery compartment is easily accessible on the baseplate. In the same compartment is the single SD card slot. If using the camera on a tripod, changing battery or card will likely mean removing it from the mount to gain access to the compartment door. This is just the consequence of a very small camera footprint.

Some longer shutter speeds are possible. Using the mechanical shutter, the basic range in Av is 30s to 1/4000s. The S/M mode gives 15 minutes to 1/4000s. The Bulb mode allows up to 60 minutes. With the electronic shutter, the standard range is 30 seconds to 1/32,000s. The S/M mode is 15 minutes to 1/32,000s. The Bulb mode is fixed at 1 second.

There are various routes to connectivity. The physical interfaces are USB-C, HDMI Micro D, 2.5mm jack for mic/remote and the hotshoe. Connection is also possible via WiFi and Bluetooth. There is also a very useful Fujifilm X App.

 

 

Fujifilm X-T30 III Key Features

• X Mount APS-C format
•  Back-illuminated 26.1MP X-Trans CMOS 4 sensor
•  X-Processor 5
•  Mechanical shutter 30secs to 1/4000sec
•  AI powered subject detection - animals, birds, cars, motorcycles, bicycles, aeroplanes, trains, insects and drones
•  Native ISO range 160-12,800, extendable to ISO 80-51,200
•  20 Film Simulation modes
•  Film Simulation Dial
•  1 SD card slot – UHS-I, SD, SDHC, SDXC
•  NP-W1265 battery 315 frames/425 frames (economy mode)
•  3in LCD touch screen tilt monitor 1.6M dots
•  0.39” OLED EVF, 2.36M dots
•  6.2K/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
•  WiFi, Bluetooth
•  Fujifilm X App
•  USB-C, HDMI Micro D, 2.5mm mic/remote jack, hotshoe
•  Body measures 118.4mm x 82.8mm x 46.8mm
•  378g with battery and SD card
•  Operating temperature 0C to +40C

 

Fujifilm X-T30 III Handling

There are quite a few interesting features that are helpful and efficient. The auto setting for beginners allows the camera to set appropriate parameters and takes care of the details, but hopefully this will soon be left behind as the fledgeling photographer learns and develops. The film simulation dial makes these styles more easily accessible, and encourages experimentation. Eager for more choices, this may lead naturally to the further options within the camera menu. 

Further dials covering shutter speeds and exposure compensation also make selection of these items far easier than delving into the menu system. Not only beginners will benefit from this, as the old school concept of using physical controls will no doubt appeal to many photographers. Likewise, the ability to use those film simulations may well appeal on the same legacy basis.

There are some consequences to the extremely compact body, and one is the grip when carried in one hand. It is far too easy to hit the prominently placed Q button, thus opening a whole raft of menu items that can be accidentally shifted. It needs care and the development of a grip that ensures nothing is accidentally pressed. 

The one more major dislike for this reviewer is the softness of the two control dials. Both not only turn, which is obviously fair enough, but also press and unfortunately, the resistance to pressing the dial whilst intending to turn it is far too light. Much more firmness in these dials would solve the problem, or making them turn only.

Fortunately, with care and a bit of time, getting to know the camera goes a long way to covering any issues. All cameras can have their quirks, and they do not have to be deal breakers.

 

[SECTION]PERFORMANCE[/SECTION]

Fujifilm X-T30 III Performance

The performance section is where we look at the image quality performance of the camera. Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
 

Fujifilm X-T30 III Other sample images Previous Next

 

Lens Performance – The Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS lens is a compact and light, inexpensive ultra-wide to standard zoom for APS-C format. The “35mm equivalent” is 20-50mm. This has already been reviewed for ePHOTOzine and awarded the accolade of Highly Recommended.

 

A summary of the performance:

At 13mm, central sharpness is excellent from f/3.5 right through to f/11, very good at f/16 and just fair at f/22 as diffraction really bites. The edges are less sharp, but still very good from f/3.5 to f/5.6, good at f/8 and f/11 and fair at f/16 and f/22.

At 16mm, central sharpness is outstanding from f/3.9 to f/8, excellent at f/11, very good at f/16 and good at f/22. The edges lag behind, but are good at f/3.9, very good from f/4.5 to f/8, good at f/11 and fair at f/16 and f/22.

At 33mm, central sharpness is excellent from f/6.3 to f/11, very good at f/16 and fair at f/22. The edges are good at f/6.3, very good at f/8 and f/11, good at f/16 and fair at f/22. 

The performance is geared very much towards the centre of the field, but if middle apertures are used then there is plenty of sharpness centre to edge and images look crisp.

Distortion is almost perfectly rectilinear, measuring just -0.84% barrel at 13mm, -0.26% barrel at 16mm and -0.12% barrel at 50mm. It is almost certain that this is achieved by using the camera and lens in combination and applying suitable correction, but what matters is the end result and the end result is very impressive.

CA is very well controlled, especially at the centre. There is a bit of a peak at the edges, wide open at 33mm, but otherwise it is unlikely that further correction will be needed.

Bokeh is pleasant, very acceptable but not exceptional. Busy backgrounds could perhaps be rendered a bit more smoothly than they are. For some subjects, this may not matter too much.

Flare is minimal, even with bright light sources in frame, despite the lack of a hood. 

Vignetting is impressively low and visually not intrusive. At 33mm, it is close to zero.

 

Fujifilm X-T30 III ISO test images Previous Next

 

ISO Performance – Noise is commendably low right through from ISO 80 to ISO 800. ISO 1600 and 3200 show the very slightest intrusion, becoming more obvious at ISO 6400 but still resulting in very usable images. ISO 12800 shows the first real dip in quality, the edges of the test target boxes starting to look feathery and the noise creeping in quite visibly. Structure is still tight at this point. ISO 25600, moving now into the extended range, is quite rough in terms of edges and very noisy. There is, however, still good integrity to shapes, albeit with soft and feathery edges. ISO 51200, as expected, becomes a step too far and is very noisy, only really useful for emergency use if there is no other choice. Overall, it is a very good performance and low light photography is well within the scope of the camera.

 

Fujifilm X-T30 III White-balance test images Previous Next

 

White Balance – White balance pre-set options are auto white priority, auto, auto ambience priority, 3 custom settings, K colour temperature setting, daylight, shade, 3 fluorescent settings, incandescent and underwater. Most of the images shot for this review used the auto ambience setting, which gives good colour balance but does not destroy the varied qualities of the ambient light. The shade setting is useful for dark woodlands and helps to record natural colours of fungi in particular. The missing one is, as mentioned previously with Fujifilm cameras, a cloudy setting, the digital equivalent of the 81A or cloudy filter. Almost all other marques include this so it would be useful for those who like warm images. Otherwise, the presets offered work very well.

 

Fujifilm X-T30 III Digital filters Previous Next

 

Digital Filters – There are two avenues of approach to the 20 film simulations. The most accessible is the film simulation dial on the top plate, which enables direct access to a small selection of simulations, three custom selections plus an Acros setting that points to the Acros simulation but can be re-programmed to anything the user wishes. The C setting refers the user to the menus to select an option. The 20 choices are Provia/Standard, Velvia/Vivid, Astia/Soft, Classic Chrome, Reala Ace, Pro Neg. Hi, Pro Neg. Std, Classic Neg., Nostalgic Neg,. Eterna/Cinema, Eterna Bleach Bypass, Acros, Acros+Ye filter, Acros+R filter, Acros+G filter, Monochrome, Monochrome+Ye filter, Monochrome+R filter, Monochrome+G filter and Sepia. 

The dual names such as Velvia/Vivid would be self explanatory to those who are familiar with the film types, but if not then the description gives an explanation.

 

Video –  Although primarily a stills camera, the X-T30 III also has credible video capabilities. A summary of the main point of the specification:

• 6.2K/30P internal recording in 4:2:2 10-bit quality
• High speed video at 4K/60P and 1080/240P
• Open Gate recording
• MOV (HEVC/H.265 or H.264
• MP4 H.264

Shooting some impromptu and basic FHD videos shows that the path into the video functions can be simple and straightforward. Quality is very good and the digital shake reduction gives stable footage. Focusing takes a short while to adjust from nearest to furthest, and vice-versa, but when following focus with less extreme distance changes the result is pretty seamless.

Video samples coming soon.

 

[SECTION]VERDICT[/SECTION]

 

Value For Money

The [AMUK]Fujifilm X-T30 III|Fujifilm+X-T30+III[/AMUK] body only is priced at £829. Add the Fujifilm XC 13-33mm f/3.5-6.3 OIS lens and the cost is £999, making the package with lens something of a bargain.

 

There are alternatives pitched at around the same level, such as:

 

[AMUK]Fujifilm X-S20|Fujifilm+X-S20[/AMUK] body, £1049

plus XC 15-45mm f/3.5-5.6 OIS OZ, £1149

 

[AMUK]OM System OM-5 II|OM+System+OM-5+II[/AMUK] body, £1099

plus 12-45mm f/4 Pro, £1149

 

[AMUK]Panasonic Lumix S9|Panasonic+Lumix+S9[/AMUK] body, £999

plus 20-60mm f/3.5-5.6, £999

 

[AMUK]Nikon Zfc|Nikon+Zfc[/AMUK] body, £849

plus 16-50mm and 50-250mm, £1249

 

However, a word of caution – there are quite a few special offers/cashback schemes available at the time of writing and these will potentially change the above pricing guide very significantly. 

Of course, price is not the only part of a VFM equation, and the various specifications, handling qualities and image standards may vary and be equally major considerations. The overall conclusion is that the X-T30 III is excellent VFM, and the purchase of it as a package with the 13-33mm lens especially so.

 

Fujifilm X-T30 III Verdict

The X-T30 III sits at the right price level, is stylish and highly functional and could well suit a wide range of photographers. The common denominator is likely to be the desire for a reasonably priced, light, compact travel companion that delivers quality far in excess of entry level compact cameras and smartphones.

There are compromises, such as a lack of weather sealing and the lack of inbuilt image stabilisation. This means that choosing lenses with optical stabilisation will be an advantage, but they do not need to be expensive to be good. Fuji lenses are extremely good, and many of them are priced to be accessible to a wide range of budgets.

The range of features is excellent. Some may argue that the details of these features are complicated, but no more so than the average smartphone. It is just a matter of learning and practising so that shooting images becomes second nature. Investing some time into mastering the camera will reap rewards as the image quality is excellent. The beginner photographer can grow with this camera, making some magnificent images along the way.

 

Fujifilm X-T30 III Pros

• Excellent image quality
• Light and compact
• Auto mode for beginners
• Film simulation options
• Subject detection options
• Competitive price
• Fantastic high quality lens range

 

Fujifilm X-T30 III Cons

• No image stabilisation
• No weather resistance
• Some over sensitive dials

 

[REVIEW_FOOTER]R_features=4|R_handling=4|R_performance=5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – Compact, light, versatile, ideal for travel and delivers excellent quality.|E_id=8016[/REVIEW_FOOTER]

 

View the Fujifilm X-T30 III camera specs in the equipment database.

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The Met Office is promising snow once again this winter which means you may get the chance to perfect your snow photography skills. As the white stuff hasn't arrived just yet, now's the perfect time to read up on the subject so when it does start to fall, you're armed and ready. 
 

ePHOTOzine has covered various aspects of snow photography in previous tutorials which you can find further down the article. For those who just want a quick reminder of top tips, have a read of our bullet-pointed tips.

 

Three Quick But Essential Snow Photography Tips:

Metering - If your white snow scene is looking a little dull, that's because your camera has underexposed the scene. This happens because basically, its meter gets confused by the predominantly white scene. To fix it, advanced camera users can adjust the exposure compensation. For those using compact cameras, switch to the snow scene mode to change your snow from grey to white.

Blue Snow - If you are shooting under a blue sky and your camera underexposes the shot,  you'll end up with blue snow as the scene's being lit by sun reflecting off the sky. Making the changes to settings suggested above can fix the problem or you can try switching from auto white balance to shade.

Depth - Try to find something to lead the eye into the picture otherwise a sense of depth can be easily lost.

 

Photo by Joshua Waller

 

Snow Photography Tutorials:

 

1. Photographing 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.

 

2. Snow Photography Question And Answer

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.

 

3. How To Take Photographs Of Snow Scenes

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.

 

4. Tips On Shooting Snow And Ice

As the snow falls, you'll probably be itching to venture out and capture the scenic delights, but beware, Jack Frost has a few tricks up his sleeve to prevent you getting good pictures.

 

Photo by Daniel Bell

 

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

Where strong tones in the sky take away from the simplicity of the picture, and especially when the snowy scene is surmounted by a pale, snow-laden sky, the black and white medium can add so much to the image.

 

6. Why's The Snow In My Shot Blue?

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, as we explain here. 

 

7. Photographing Snowboarding

Nathan Gallagher gives ePHOTOzine some tips for capturing snowboarders. As well as advice on camera settings and panning, Nathan also shares tips you may not have thought of such as the following: "Build up a good relationship with the people you're shooting, it's a team effort. Besides, you'll be spending a lot of time together if it works out well - many of the people I've shot have become friends for life."

 

8. Taking Photographs In Icy Weather

There are hazards to contend with which are particular to this type of weather. No, we're not talking about the obvious ones like slipping over, not wearing sensible clothing or insufficient clothing, we're talking about feet and tripod feet to be exact! 

 

The image, titled “Together” by ePz member timbo, shows a couple sitting close to each other between two large stone columns. They look relaxed and unaware of the camera, which adds to the natural feel of the moment. Their closeness is clear in the way they lean into one another, showing how comfortable they are together. The colour in the photo suits the setting well, giving the scene a soft and calm look.

It’s a straightforward image, but it says a lot. It captures a real moment of two people enjoying each other’s company, and that simplicity is what makes it stand out.

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As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

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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.

Photo by David Clapp - www.davidclapp.co.uk

Be Prepared

Heading out early on a winter's morning usually means rather cold temperatures will be waiting to embrace you. As a result, make sure you're dressed for the weather before you head out of your door.

You also need to be extra cautious when walking around the edges of lakes and rivers as after a night of heavy rainfall or on really cold mornings when there's still ice on the ground, surfaces will be very slippy and you don't want you and your kit getting a soaking.
 

Keep Your Horizons Straight

A wonky horizon will spoil any stunning winter landscape so double-check your frame to make sure your river, lake or pond doesn't look like it's about to slide out of the scene. Most tripods feature a spirit level, but you can also purchase hotshoe spirit levels that fix to the top of your camera to help you spot when your horizons aren't quite straight.

Deep Freeze – Frozen Surfaces

When temperatures stay very low for long periods of time large bodies of water begin to freeze giving you the chance to capture shots of our landscape almost frozen in time.

If it's cold but not quite cold enough to freeze lakes do as John Gravett suggested and take a closer look to the rocks the water's falling over. John said: "Although the temperature may not be low enough to freeze the moving water, where it splashes up over rocks and grass at the edge of the stream, it forms almost crystalline shapes. A long shutter speed will contrast the moving water with the icy margins, and the corresponding small aperture will give you a wide depth of field, ensuring front to back sharpness."
 

High Water Levels

A few days of heavy rain or melting snow will cause rivers to swell and a torrent of water can be seen flowing down them. You can freeze the water's motion with quick shutter speeds, capturing the spray, the white of the waves and the river's rapid movement or slow your shutter speeds down (try exposures of around 5 seconds) to turn the fast moving water into smooth, silky streaks.

You may need to fit an ND filter to your lens to get the slower shutter speeds needed for this technique to work and to emphasise the difference between the light and dark parts of the water consider using a polarising filter. A polariser will cut down on the glare that comes back off the water, particularly on sunny days when you're more likely to find it a problem. Don't forget to pack your tripod either as you won't be able to hand-held your camera when using exposure times that are a few seconds long without shake spoiling your shot.

 

Photo by David Clapp - www.davidclapp.co.uk

  Mist And Fog

In winter, misty or foggy mornings are quite common and if you live near a lake, reservoir or large pond, mist/fog rolling across the large body of water can add an extra layer of interest and eeriness to your shot. Fog begins to form in the evening and lingers until the following morning but it doesn't usually hang around all day so make sure you're up and out of your house early.

Mist lowers the contrast of light, softening any objects that are in your frame so make sure you have strong, recognisable subjects around the water's edge. If you're shooting a long shot mist / fog can create a sense of mysticism as objects that are some distance from your lens begin to vanish or appear silhouetted, turning what could be a mundane scene into something interesting.

If you find your shots have a few exposure problems it's probably because your camera sees a scene that's all bright instead of having a dark ground and light sky, as they do with snow scenes, so you'll have to use + exposure compensation to rectify this.
 

Early Morning Reflections

A bonus of getting up early is the water's more likely to be still which gives you the perfect opportunity to shoot some winter-themed reflections. Bare trees reflected in lakes dotted with boats and mist crawling across it will always be a winning winter shot. Don't overlook warm sunrises / sunsets either as they can add interesting contrast to a stark winter scene and looked great when reflected in water.

Make sure you pack an ND Grad Filter as you'll find that the reflection will look darker than the 'real' scene that's creating it. If you line up the darker part of the filter so it sits over the sky and finishes at the shoreline, you'll produce a shot that appears to balance to the exposure of the bright sky/surroundings with the reflection.