Photography News

Fujifilm’s X-E series just got a real upgrade. You’re looking at a compact body with a 40.2 megapixel sensor, in-body stabilization, and a film simulation dial that pushes quick, intentional shooting without menu diving.

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Walk into any camera store with $1,500 to spend, and you'll likely walk out with a $1,200 camera body and a $200 kit lens. It's the default package that manufacturers bundle together, and it seems logical enough. After all, the camera is the brain of the operation, right? The body has all those megapixels, the fancy autofocus system, the brand name emblazoned on the front. The lens is just glass.

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Many people treat a 35mm lens and an 85mm lens like the two ends of a 24-70mm zoom. That habit costs photographers rich, varied storytelling and leaves a lot of strong frames on the table.

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We all know the feeling when a shoot is going perfectly, your model is nailing the poses, and then something goes wrong. Maybe a light fails, a cable gets unplugged, or your tether connection drops mid-shoot. Suddenly, the creative flow evaporates, and you’re scrambling to regroup.

My creative partner, David, and I build wild, surreal sets for every shoot, and my posing is pretty unconventional. On an average shoot, when I’m directing my model, you’ll probably catch me saying things like, “Okay, now can you bend backwards and raise a foot up?” or “Okay, now scream at the top of your...

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Sony’s new 1.4x macro lens changes how close you can get without adapters or cropping. That jump matters when you want texture-level detail and clean working distance while keeping handling familiar.

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Is the secret to tack-sharp photos just an expensive lens, or does it lie in mastering a single, fundamental camera setting? Let's discuss the three overlooked reasons your pictures aren't sharp and how to fix them with a simple adjustment.

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Sunset at Bluff Knoll by ePz member jowita1226 has won this week’s Photo of the Week (POTW) award.

This is a wonderful shot with great composition and a calm mood. The warm evening light spreads over the mountains, showing soft colours and gentle detail that pull you into the scene. The person standing near the edge adds balance and shows how big and open the view is. The view is stunning, and the light gives the whole scene a warm, quiet beauty.

We think it's a beautiful shot that's full of atmosphere and well worthy of winning our POTW this week.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2026, we’ll crown our 2025 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards!

Seascapes reward nerve and timing. Olympic National Park delivered here, with fast-moving clouds, shifting tides, and sea stacks large enough to bend your sense of scale.

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We are only a few days away from this year’s Bonfire Night and we couldn’t really kick November off without mentioning a few tips that’ll help you capture spectacular firework photos.

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

 

Gear Suggestions

As long exposures are a must you will need to take a support with you. A tripod’s great but at busy events you may be better off with a monopod that takes up less room and is easy to move around with.

If you’re a compact user, it can be harder to capture firework themed images but it's not impossible as most compacts have a range of scene modes and a firework mode can often be found among them. Plus, the longer zooms that are available on some compacts will now get you closer to the action too.

Wider lenses will capture more of the sky, increasing your chances of capturing a burst. You may want to try shooting a few in a portrait orientation, though, to capture the long trails left by the firework as it climbs to the spot where it explodes.

Finally, pack a torch as it’ll be dark and you may need it when making changes to your settings and for putting your kit away.

  Focus And Aperture

Switch to manual focus and turn your focus to infinity (check your manual if you’re unsure how to do this). This is to ensure the firework explosions stay sharp as they can be further than the maximum focus setting on your camera. Setting an aperture of f/8 or f/11 will increase your depth of field, further increasing the chances of capturing a sharp shot of a colourful explosion. Make sure your flash is switched off too.

 

RAW Or Jpeg?

If you shoot in RAW you’ll be able to tweak colours and brightness levels when you’re back in front of your computer once the display has finished.

 

Exposure Times

For shots filled with bursts of colourful explosions you’ll need to switch to Bulb mode. This mode allows you to keep the shutter open for longer but as you need to keep the shutter button pressed, it’s a good idea to use a cable release to prevent shake. If your camera allows it, you could fire the shutter wirelessly via a smart device. 

In Bulb mode, you basically need to keep the lens covered (a dark piece of card will work) until a burst erupts. At this point you need to uncover the lens. Replace the card until another burst occurs and continue to do this with however many bursts as you like. It can take a while to get right as timing is key but you can create some great shots when you’ve perfected the technique.

If you don’t have a bulb mode you can capture single explosions with exposure times between 1-4 seconds. This should give you shots that show a light trail as the firework climbs as well as the final burst of colour at the end.

 

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

Watch The Display

As displays don’t tend to be short affairs it pays to watch a few bursts so you can see where the fireworks are being launched into the sky and you’ll also be able to see how long it takes them to climb, plus how long the explosions last for. This will make framing easier, although you can’t obviously guarantee every burst will appear where you need it to. It’s worth doing a few test shots to make sure you’re happy with the composition too before the big display begins.

 

Add Interest

Buildings and other structures can add an extra level of interest to your shots but if they are illuminated it can mean they end up looking ‘blown out’ so adjust your exposure accordingly.

   

Tell most sports shooters you’re covering a football game with a 100mm macro and they’ll smile politely, the way you smile at someone who swears by decaf. But youth football isn’t the NFL. The field is smaller, the pace is choppier, and the best stories live within arm’s length of the sideline. In that environment—under sun, not stadium lamps—the Canon EF 100mm f/2.8L IS Macro on a Canon 6D is a secret weapon.

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The Fujifilm X-E5 brings improvements to controls, the screen fit, and IBIS behavior during pans. Here’s a look at what speeds you up and where you’ll still need workarounds.

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In 2019, while every other camera manufacturer was embroiled in the race to develop mirrorless systems, a Ricoh executive said something truly remarkable: "After one or two years, some users who changed their system from DSLR to mirrorless come back to the DSLR again." He went further, predicting that "the DSLR market is currently decreasing a little bit, but one year or two years or three years later, it will [begin] getting higher."

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Lightroom’s fall update adds a small control with big impact on color control. If you fight uneven skies or blotchy foliage, this new option helps you smooth or separate tones without wrecking the rest of the frame.

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Trent Parke stands among Australia’s most celebrated contemporary photographers, known for his ability to transform ordinary scenes into something extraordinary. His work, with the use of deep contrasts along a cinematic intensity, explores the boundaries of human existence. With his camera, Parke captures not just what we see, but what we can feel. Parke's compositions capture the fragility, beauty, and mystery of everyday life.

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When you work in tight spaces or you want sweeping landscapes, the right glass decides whether a frame feels cramped or dramatic. This excellent video takes a look at two great options.

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Some places draw lines of tourists and cameras every sunrise. You see the same overlook, the same perfect viewpoint, the same predictable angle that everyone else lines up for, and it starts to feel like you are copying homework instead of making something personal.

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As photographers, we're always wanting to improve our technique and learn now ways we can take better photos. So, to help you do this, here's three challenges you can set yourself which will not only get you thinking a bit differently but they'll also help you think more about composition and as a result, you'll hopefully produce better photos. 

 

 

Choose One Spot And Stay There

When you're out taking photos it's easy to walk and click so you take lots of photos of everything that are good, but not 'wow'. By sticking to just one spot in one location, you may start to notice things about it that you'd usually miss. You don't actually have to travel a great distance to try this either as by picking one spot in your home or garden to take photos from you'll probably discover photo opportunities you didn't even know existed until you actually took the time to slow down and really open your eyes. Play with your zoom, change your angle and pay attention to your composition and the light. Also, simple things such as focusing on colour or texture can completely change the look/feel of a shot, too. 

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  Don't Take So Many Photos 

Why not limit the number of shots you can take in one location? To really set a challenge, only take one photo in each location you're stopping to take a photo. By doing so you'll really think about your composition and study the scene in front of you to ensure you've found the best spot possible to take your one photo in. Don't forget to assess the light, too as you may find that waiting for the sun to shift position could help you create a better shot. You don't want to lose good light, though so pay attention to how clouds are moving and hit the shutter button before it's too late. 

If you find this too restricting try setting a shot limit before you head out of the door and make sure you stick to it. By doing so you should be able to improve the quality of the images you take as you'll be finding the best shots through planning and careful thought. 

 

Use Less Equipment 

Instead of carrying a bag full of lenses why not just use one that has a fixed focal length? By doing so, you'll really need to think about what you're going to photograph because without a zoom your focal length is limited so rather than relying on the lens to do the work you have to get those grey cells warmed up and your feet moving to find a position/shot that works.   

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to MalcolmM (Day 30 - Winter Weather)

 

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 25

Light Trails

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  Day 26

Busy Places

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Day 27

Graveyards

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Day 28

Creative Distortion

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  Day 29

City Twilight Shots

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Day 31

Halloween

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

At the back of my mind, portable monitors have always been about compromise. You get the convenience of a second screen, but usually at the cost of image quality or brightness. Finding the right balance between great display quality and portability has always been tricky, especially in the budget‐range segment.

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When you’re reading this, I am in Tokyo, Japan, visiting the gallery opening of the 2024 Fujifilm GFX Challenge Grant winners. In late 2024, I got the message that my pitch was selected and I would be getting $5,000 to photograph Canadian drag performers! A dream come true! Read on to find out about my pitch, the selection process, and how I captured the images!

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