Photography News

Instant prints change the energy in a room and turn quick snaps into keepsakes you can pass around. A hybrid instant camera that lets you shoot, tweak, and print on the spot gives that feeling back without trapping memories on a phone you’ll never scroll again.

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If you’ve been a photographer for any amount of time, you know very well how quickly gear can depreciate. You, much like every other photographer, likely have gear that has been collecting dust for far too long. Recently, I went through my stockpiles and realized that this has never been more true for me—so I decided to sell it. Here is how I made money with gear that I’m not using.

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Three fast 35mm primes on Sony E go head to head here, with clear tradeoffs in size, speed, and polish. If you shoot events, portraits, or street, the choice affects autofocus behavior, close-up reach, and how clean your backgrounds look at wide apertures.

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Adobe Max always brings major updates, and this year’s release of Lightroom Classic 15 adds several tools that quietly change how you edit. These aren’t cosmetic tweaks. They’re small, functional updates that save time and make editing more precise without forcing you to rethink your workflow.

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When you’re shooting portraits outdoors, light control can make or break your image. The sun’s position changes everything, from how your subject looks to how much flash power you need. You can manage it with high-speed sync, a neutral density filter, or a reflector, but each comes with tradeoffs that affect both your process and your results.

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Adobe Max always brings a wave of updates that change how you work, and this year’s Photoshop release doesn’t disappoint. The 2026 version introduces tools that cut down your editing time and improve how your composites blend, all without needing to jump between plug-ins or complex workflows.

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If you’ve been waiting for a fast, affordable full frame prime that doesn’t feel cheap, this one might catch your attention. A 35mm f/1.4 that promises sharp results, a sturdy build, and autofocus at this price point is unusual, and that’s exactly what makes it worth a closer look.

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1. Be Early

Arrive at your chosen spot about half an hour before the sun's due to set as you'll need time to set your equipment up and to find your angle. You'll need your tripod as shutter speeds will be slow and working hand-held will only result in shake. If you have one, attach your remote release up, too, to stop your movement rocking the camera when you go to press the shutter button. Many cameras allow you to fire the shutter via a Smart Phone, eliminating the need for a remote release. You might want to fire off a few test shots to see if your composition works but do remember the light will change.
 

2. Get Ready

Make sure your focus is correct then turn off autofocus as it tends to struggle in darker conditions. Check your white balance and set your ISO to 100, although, if you want to quicken the shutter speed slightly, you can knock it up a couple of notches. Then, you just have to stand and wait for the sun to begin setting. You might want to pack a flask of something warm and make sure you have your coat with you for this bit!
 

3. The Sun's Setting

Once the sun has gone below the horizon don't think it's time to put your equipment away so you can head home, you need to keep taking photos, adjusting the exposure length as you do to capture as many different results as possible.

 

 

4. Watch Out For Bright Light Sources

If you have the moon in shot or other bright lights such as street lamps, and you use a longer shutter speed it can result in flare but this isn't always a bad thing as an overexposed street lamp, particularly on a damp evening, can look quite good.
 

5. Where Works?

Getting out above the city so you can shoot down on it. Capturing the city lights against the dark blue sky as they switch on works well but do get in among the city buildings too. At busy junctions, you'll be able to capture light trails as traffic flows by while a bridge will give you a nice leading line with lights dotted along either side of it. Have a look for shop signs that are lit up or if you're visiting one of our well known seaside towns, you'll have a long street of illuminations to capture.

 

We can't let October pass without mentioning a close-up photography subject many photographers shoot spectacular images of at this time of year and that's fungi.

So, if you're venturing into the world of fungi photography for the first time or just want a quick reminder on what kit you'll need, have a read of our guide on photographing mushrooms, toadstools and fungi.
 

1. Pick the right season

The reason why this technique is something that's mentioned at this time of year is that fungi tend to like Autumn and Winter when it's cooler and wetter. You might even find them establishing themselves on your lawn if conditions are right. 

 

2. Head somewhere dark and damp

Think dark, damp places such as dense woodland areas where not much sunlight can get through. Search under piles of leaves and look around the base of trees. After a spell of particularly wet weather, they will start to show themselves in more places than you might expect!

 

3. Use a macro lens

A good macro lens is a must as fungi aren't the largest of subjects and your shots will have more impact by getting in close.

 

4. Stabilise your kit

Low light means longer shutter speeds so you're going to need a support for your camera. Some tripods can be adjusted so they sit low to the ground but you could just use a beanbag if your tripod isn't so flexible. Consider using a remote / cable release so you don't introduce shake at the start of the exposure but if you don't own one just use your camera's self-timer.

 

 

5. Pack a polarising filter

On particularly damp days shine can be a problem and mushroom tops can end up overexposed. To combat this, fit a polarising filter to the end of your lens which will reduce the shine. You may be wondering why you couldn't just head out on a dry day and there's no reason why you can't, however as David Pritchard explained a blog post: "There’s no better time for photographing mushrooms than after (or during) rain. The colours strengthen, and everything adopts a lovely sheen." 

 

6. Tidy the surroundings

It's sometimes worth cleaning the specimen up that you're photographing before you take your shots. Have a look at what's in the back of the frame, too to see if there's twigs or anything else that could prove to be distracting in the final shot. Please don't pull plants out of the ground or damage parts of a tree for the sake of a photo, though. It's important that you leave things as you found them once you've finished taking your images. Of course, you may prefer the natural look which means you won't have to brush any dirt off the mushroom at all.

 

 

7. Shoot down low

Fungi like the floor which we know isn't the most comfortable angle to work from but it does mean viewers of your images will be drawn into the fungi's world much more successfully if you shoot from low down. The fungi will also have a three-dimensional feel to them as they'll have more height, plus you'll be able to capture shots of the underbelly, too.

 

8. Think about your composition

As mentioned in the above point, once you've got your position on the ground, you'll be able to not only photograph the top of the mushroom's dome but underneath it too. This gives you the chance to capture some of the textures and colour the mushroom has to offer as well as exaggerate the height of it. Try to capture mushrooms in a group, as a variety of sizes will add interest of the piece. Odd groups are more pleasing to the eye than pairs but if you have one particular good specimen, don't overlook shooting it standing on its own. If you include the background and how much distance you put between you and the mushroom will change every time so do take some time to assess the scene before hitting the shutter button. 

 

 

9. Shed some light on the image

Fungi may like dark conditions but it's not something that's easy to work with as a photographer. The most interesting part of the mushroom is the underbelly and to highlight the textures, shapes and colours you're going to have to bounce light into the scene. You can use your camera's built-in flash but this will often result in a harsh light that doesn't really add anything to the photograph. Instead, use off-camera flash and bounce the light off other objects. You can also play around with backlight which should create a halo around the mushroom's top. If you don't have a flashgun experiment with a torch or use a reflector to bounce light onto the underbelly of the mushroom.

 

10. Use a shallow depth of field

Throwing the background out of focus will not only help isolate your subject but it can also hide unwanted clutter. Add a bit of backlight and your subject will pop from the frame.

Using text-to-image prompts in Adobe’s Firefly app is as simple as writing a one-sentence prompt and pressing Enter. Creating images that align precisely with your creative vision is more challenging. To give creators more control over AI-generated adjustments, Adobe integrates several third-party AI engines into their Creative Cloud apps.

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Skylum has announced a significant fall update for Luminar Neo coming in early November.

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Today begins the first day of Adobe MAX, a gathering attended by 10,000 creatives who travel to Los Angeles for a series of presentations, classes, and demonstrations of Adobe’s latest innovations. This morning’s keynote presentation offered a look at new additions to several apps and insight into where the company is headed. As we have come to expect, AI-based technology was at the center of the announcements.

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"That's not real, that's AI!" If you post night photos on social media, you've most likely received comments like this before. It's the new way of saying, "You Photoshopped that!" Why do so many people think night photos are fake?

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The viewfinder isn't just how you see before shooting. It's how you think. Every viewing technology, from ground glass to electronic viewfinders, created a different kind of photographer with a different way of seeing. Some compositions only exist because of how the photographer had to look at the world through their particular viewfinder. Maier's intimate street portraits wouldn't exist without waist-level viewing. Adams's formal landscapes required the contemplation of ground glass. The viewfinder shaped the photograph before the shutter ever opened.

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© Nikon

 

Nikon is pleased to announce the release of firmware version 3.00 for its stylish full-frame mirrorless camera, the Nikon Zf.

Firmware version 3.00 for the Zf brings the Film Grain feature, which adds a grainy effect to photos and videos with image processing. This feature allows users to fine-tune the size and intensity of grain, and changes the appearance of grain with each shot, for unique images that resemble those captured with conventional film cameras. Moreover, combining this feature with Imaging Recipes and Picture Controls, allows users to easily create unique effects with a simple press of the shutter-release button.

 

© Fujikawa Hinano

Sample image captured with the Film Grain feature enabled

 

In total, more than twenty changes and improvements have been added to increase the Zf’s operability and functionality.

For the full list of updates, visit the Nikon download centre here.

Nikon continuously strives to meet users' needs through regular firmware updates, providing useful functions.

Canon recently flew a group of journalists to Japan to share how it wants its cameras to be analogous to the Porsche 911. It’s an interesting comparison—one that says a lot about how Canon sees itself and its place in the industry.

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Every camera hides tools that quietly transform your photos. You might use them every day without realizing what they actually do or never notice them buried in your menu. These features aren’t just for advanced shooters. They’re there to make your work more consistent, sharper, and cleaner right out of the camera.

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You’ve probably seen budget lenses that promise performance close to premium glass, but this one lands differently. It’s not just another 85mm lens; it marks the start of an entirely new series that changes how Viltrox organizes its lineup and, possibly, how you’ll look at midrange primes.

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After more than a decade, Sony finally replaced one of its most trusted macro lenses. The wait raises a simple question: what makes this one different enough to matter?

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35mm is wide, but 28mm is wider. Does that impact your photography and images? Which one would you choose? The debate is ongoing, and the experiences are different for each photographer. Let’s discuss with examples to find out what’s going to be your favorite focal length.

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