DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

© Nikon

 

Nikon has introduced the Z5IIC, a full-frame mirrorless camera combining accessible operation with excellent image quality. The 24.5-megapixel camera features touchscreen control, a portable flat-top design, and autofocus that recognises fish, people, pets, vehicles and birds. In-body stabilisation and ISO up to 64000 handle low-light shooting, with the camera available from October 2026 at £1,349.

 

From Nikon:

 

Sales Start Date: October 2026

Recommended Retail prices:

• Z5IIC Body - £1,349 (UK), €1,649 (ROI)
• Z5IIC Lens Kit (w/ 24-50mm) - £1,609 (UK), €1,959 (ROI)
• Z5IIC Lens Kit (w/24-200mm) - £2,049 (UK), €2,479 (ROI)
• Z5IIC Lens Kit (w/24-70 f/4 S) - £1,879 (UK), €2,279 (ROI)

 

Nikon announces the Z5IIC, a powerful beginner-friendly full-frame mirrorless camera that lets people shoot with confidence from day one. By pairing familiar touchscreen operation with acclaimed Nikon Z technology and flexible creative features, the Z5IIC makes it easy to achieve stunning photos and video in any light. Even if it's someone's first full-frame mirrorless camera, they'll feel in control from the very first shot.

With its streamlined, flat-top design, the Z5IIC is a truly portable full-frame camera that meets people where they're at and stays with them as their skills grow. The 24.5 MP FX image sensor and powerful EXPEED 7 processor ensure stunning full-frame image quality that goes beyond everyday smartphone photography.  Colours, textures, and details won't get lost in low light, backlit scenes can be captured in all their glory, and in-camera image stabilisation keeps handheld shots sharp. Focusing on subjects as they move, even in dim light, is beautifully simple thanks to an intelligent autofocus system that can recognise people, pets, vehicles, and birds, and the Z5IIC is the first Nikon Z camera to recognise fish as well.

Touchscreen operation makes controlling the Z5IIC feel instinctive, while the high-resolution Vari-angle monitor unlocks all the angles and provides a clear view of the frame. To attain beautiful results quickly, 15 scene modes optimise settings for different subjects and moods, and Nikon's Imaging Recipes and Film Grain feature make it simple to experiment with the look of photos and video in-camera. Meanwhile, automatic firmware updates simplify keeping the camera up to date and, wherever someone's interests lie, there's a NIKKOR Z lens ready to capture the beauty they see.

Zurab Kiknadze, Product Manager, Nikon Europe says: "With Z5IIC, we wanted to make full-frame photography feel effortless and approachable, without compromising image quality or creative freedom. It's a camera you can pick up and take anywhere as you grow your skills. Wherever you're at in your creative journey, you can trust it to deliver great-looking images and video."

 

© Nikon

 

Summary of key features: Z5IIC

 

Stunning full-frame image quality: a 24.5-MP FX sensor with wide dynamic range renders richer detail, deeper colours, and smoother bokeh.

Simple, intuitive operation: familiar touchscreen control and a high-resolution Vari-angle screen make it simple to capture photos and video from creative angles.

15 scene modes: from vivid sunsets and neon nightscapes to playful pets, scene modes optimise camera settings to suit different subjects and moods for beautiful results.

Superb portability: the streamlined flat-top design makes it easy to slip this full-frame camera into a bag, and right back out again. A well-shaped grip provides a comfortable, confident hold whether carrying the camera or shooting with one hand.

Intelligent autofocus: people, pets, vehicles, birds, and now even fish. Multi-subject detection and sensitivity down to -10 EV1 lets the AF system focus reliably on subjects, even after dark.

Powerful in-body image stabilisation: up to 7.52 stops of in-camera Vibration Reduction keeps handheld shots steady, and Focus Point VR keeps subjects sharp anywhere in the frame.

Brilliant low-light shots: ISO sensitivity goes all the way up to ISO 64000 for stills and ISO 51200 for video. Intelligent noise reduction ensures clear results even at high ISOs.

Fast burst speeds: photographers can shoot at up to 14 fps to capture active subjects, then select the perfect frame or keep the whole sequence.

Richly detailed 4K video: video shooters can upload high-quality footage straight from the camera, or record 4K/60p3 footage in N-RAW and edit it later.

Nikon Imaging Cloud: Z5IIC users can experiment with colour by downloading image recipes from Nikon, RED, and Nikon creators straight to the camera.

Film Grain: recreates the nostalgic look of analogue film by adding a grainy effect to photos or video, and it can be paired with Imaging Recipes.

Rugged build: a tough yet lightweight magnesium alloy frame protects the Z5IIC, and the camera is sealed to keep dust and moisture out.4

NIKKOR Z lenses: a world of new perspectives and creative possibilities awaits with Nikon's wide range of interchangeable full-frame mirrorless lenses.

For more information, please visit the Nikon website.

 

FOOTNOTES:

1 In Photo mode using Single-servo AF (AF-S), Single-point AF (centre), at ISO 100 equivalent and a temperature of 20°C/68°F with a f/1.2 lens.

2 Up to 7.5-stop VR based on CIPA 2024 Standard. Yaw/Pitch/Roll compensation performance when using the NIKKOR Z 24-120mm f/4 S (telephoto end, NORMAL mode).

3 4K/60p video recording is available in DX crop mode.

4 Complete dust- and drip-resistant performance is not guaranteed in all situations or under all conditions.

© Sony World Photography Awards / World Photography Organisation

 

Organisers of the Sony World Photography Awards have revealed the jury panel and official exhibition dates for the landmark 20th edition. Set to return to London’s Somerset House from 15 April to 3 May 2027, the flagship showcase celebrates two decades of global visual storytelling. Independent curator Monica Allende returns as Chair of the Jury alongside a distinguished panel of international gallery directors, curators, and editors who will oversee the 2027 competition.

 

From Sony:

 

• Judges for the 20th edition of the Sony World Photography Awards announced
• 2027 exhibition opens at Somerset House, London from 15 April – 3 May 2027
• 2026 travelling exhibition is open in Milan until 4 October, in Johannesburg until 22 January 2027, and opens in Berlin on 8 October

 

The Sony World Photography Awards announce today the jury and London exhibition dates for the landmark 20th edition.

In their two-decade-long history, the Sony World Photography Awards have become the definitive reference point for contemporary visual storytelling, honouring the remarkable creativity and dedication of photographers working today. A celebration of the stories and images shaping our culture, the Awards show the diverse possibilities of the medium.

Organised by Creo, the Awards form the core part of its photography programming strand, the World Photography Organisation. Sony supports the Awards to give an international platform to artists working in photography, and to push forward the global discourse on the medium today.  

 

2027 JUDGES

 

Following the success of the 2026 edition, which received over 430,000 images, and now entering their second decade, the Awards are open for entries and free to all photographers. For the landmark 20th edition, the Awards welcomes back Monica Allende as Chair of the Jury for the Series competition and curator of the London exhibition at Somerset House.

Allende is accompanied by a panel of specialists in the visual arts from across the globe, all contributing their unique expertise, insights and perspectives. The 2027 jury comprises: 

 

Series Competition:

• Monica Allende, Independent Curator and Photography Consultant, Chair of the Jury, UK
• Santiago Escobar-Jaramillo, Photographer & Editor at Raya Editorial, Colombia
• Peipei Han, Director of Exhibitions, Fotografiska Shanghai, China
• Candice Jansen, Manager, New Archival Visions Programme, University of the Western Cape, South Africa
• Amanda Renshaw, Independent Curator, Writer and Publishing Consultant, UK
• Pauline Vermare, Phillip and Edith Leonian Curator of Photography, Brooklyn Museum, USA

 

Single Image & Youth competitions:

Maja Dyrehauge Gregersen, Managing Director, Copenhagen Photo Festival, Denmark

 

Student competition:

Menno Liauw, Founder and Director of the FUTURES Foundation, Netherlands

 

NEW IN 2027

 

The 2027 edition broadens the Awards’ range through new categories across the competitions, presenting expanded opportunities for fresh perspectives on visual storytelling. The Series (previously Professional) and Single Image (previously Open) competitions are re-named, further defining and clarifying their scope. Photographers are welcome to enter different projects to both competitions, enabling those with diverse portfolios to enter work from across their practice, be it a series or a striking single photograph.

 

New Series competition Category

Histories: This category invites photographers to explore how histories - personal, cultural, and collective - shape our world today, from traditions and everyday rituals to the events and forces that have left their mark on nations and peoples. This category is for projects that engage, explore, or re-examine the past, as well as work that looks at the contemporary through a historical lens. We welcome archival and found image interventions that revisit, re-contextualise, or breathe new life into the past. 

 

New Single Image competition Category

Animal Portraits: This category celebrates the beauty, personality, and spirit of animals through portraiture. Judges are looking for images that capture the subject’s expression and character, from beloved pets to majestic wildlife and marine life, to reptiles and insects; portraits that honour and showcase the remarkable diversity of the animal kingdom. 

 

2027 LONDON EXHIBITION AND 2026 TRAVELLING EXHIBITION DATES 

 

The Sony World Photography Awards 2027 exhibition begins its international journey at Somerset House, London, from 15 April to 3 May 2027. A fixture of the cultural calendar in London, the acclaimed exhibition, curated by Monica Allende, features a selection of winning and shortlisted images from the 2027 Awards, as well as special presentations by the Photographer of the Year 2026 Citlali Fabián and the Outstanding Contribution to Photography 2027, to be announced in November.

The Sony World Photography Awards 2026 is currently on view in Johannesburg, South Africa (until 22 January 2027), at the Roger Ballen Centre for Photography, marking the Awards’ debut presentation in South Africa. The exhibition then continues to travel to other destinations: 

• Milan, Italy, 10 June - 4 October 2026
• Berlin, Germany,  9 October 2026 - 7 February 2027
• Matera, Italy, 14 November - 10 December 2026
• Bisceglie, Italy, 12 - 30 December 2026 

 

2027 DEADLINES AND PRIZES 

 

The Sony World Photography Awards opened to submissions on 1 June 2026. Full competition and category descriptions can be found at worldphoto.org.

Deadlines for submission to the four competitions are as follows:

• Series: 12 January 2027 16:00 GMT
• Single Image: 5 January 2027 16:00 GMT
• Student: 27 November 2026 16:00 GMT
• Youth: 5 January 2027 16:00 GMT

All category winners of the Series, Single Image, Youth and Student competitions receive Digital Imaging equipment from Sony. The prestigious Photographer of the Year receives a cash prize of $25,000 (USD) as well as a solo presentation of their work as part of the Sony World Photography Awards exhibition in London the following year. The Single Image Competition Winner and the winner of the Sustainability Prize each receive $5,000 (USD). All winning and shortlisted photographers’ projects are exhibited at the annual Sony World Photography Awards exhibition in London, and will then tour internationally. The winning images are also published in the annual Awards’ book, sold at the exhibition and available online. Series competition category winners and finalists are invited to Insights, a day of tailored sessions with leading industry figures in London. Coming from commercial, curatorial, and institutional backgrounds, these experts offer the photographers specialised guidance on expanding their network and practice. 

For more information about the Sony World Photography Awards and upcoming announcements and events, please visit worldphoto.org.  

 

Previously, we've spent some time looking for interesting shop fronts to photograph but now we want you to lift your eyes a little higher in search of a good shop sign and pay more attention to what's actually on display in the windows. 

Displays in shop windows are designed to grab our attention and steer us towards the entrance of the shop in hope we'll part with our money. Some stores, particularly at Christmas, spend hours planning and then preparing their window displays. A lot of thought goes into how to use the space, what colours the mannequins should wear and how they should be posed making them an interesting photographic project as you walk down the High Street.
 

1. What Gear Do I Need?

A medium zoom lens will get you close to the signs without you having to borrow some ladders off a window cleaner and it'll also work for capturing shop windows too. You'll also need to carry a tripod if you plan on returning later in the evening when the neon's get switched on. It'll also help if you have a camera that performs well in low light and if you don't want the street reflected in your shot take a polariser along as well.  

 

2. Have A Walk Along The High Street

There are lots and lots of shops on the High Street which means you don't just have to settle for the first shop you come across. Spend some time really looking at the displays paying attention to the colours, poses and other items they use to really make the window stand out. Remember, a more interesting display will give you a better-looking image so a short observation walk is worth it. See if you can find shops that aren't chains. In Sheffield, there are several retro clothing stores and a joke shop which always have unique and sometimes entertaining window displays. Fancy dress shops are another one that's almost guaranteed to have a loud and amusing window display to photograph.

 

3. Minimise Reflections

Unless you want a photo that shows the display as well as what's happening on the street, which can work well sometimes, you'll need a way to minimise the reflection. Stepping further away from the window and using your zoom lens to fill the frame can help but the simplest and if you're on the edge of a road also the safest way to do it is to fit a polarising filter. This will reduce the reflection and give you a clear shot of what's inside. If you find the sun causes glare just move your feet to remove the problem or if that doesn't work come back later on when the sun's changed position.  

 

4. Work From A Higher Level

When it comes to signs when you stand on the street and look up at them, it's fine when you're looking for the nearest bakery but in your photos, it won't always work. To combat this, just step a little further back or better still find something to stand on that will give you a little more height. You could try holding the camera above your head but this won't help you with framing unless you have a camera that features a vari-angle LCD screen. 

 

5. To Zoom Or Not To Zoom? 

If a sign's particularly interesting or amusing zoom right in and fill the frame with the sign. Or are you going to put them into context showing some of the street or the shop front in the shot? If you do include the store pop on a polariser so you don't catch your reflection in the windows. This works particularly well with old buildings or with unique stores that have displays that will add to the image.

Standing at one end of the High Street quite close to the buildings looking up will give you the chance to capture several signs all in one shot or try waiting until the sun's began to set and photograph the many neon signs that decorate our streets. Just watch for camera shake as you'll be using slightly longer exposures and take a look around your image to see if there's any flare from some of the lights. Having said that, this can work well sometimes, especially on wet evenings.  

In busy towns and cities, you'll find plenty of signs, often grouped together, along the tall buildings that line the streets. If possible, find a higher spot, as you do when shooting a cityscape, and use a wider focal length to capture the signs and buildings in one image. They can look busy, but the bright signs and bustling surroundings will really sum up the feeling of a busy city. 

 

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

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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 kenwil (Day 22 - River).

 

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 17

Night Architecture

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Day 18

Cats

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Day 19

Textures

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Day 20

Safari

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  Day 21

Ducks

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Day 23

Mist / Fog

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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.

 

One aspect of photography that is often misunderstood is that when you take a picture you are not capturing an instant but rather a period in time. During this period things happen and the choices you make when taking your picture will fundamentally change the results you get. Movement in photographs should be captured deliberately, making sure that it looks like that was the plan. A picture that is just a little blurred will usually look just that, a little blurred. 

Any camera can capture movement but the amount of control you have will determine the amount of movement that you are able to show. The longer the shutter speed the more movement can be captured. Consider the best camera modes to use for your situation. 

For most pictures featuring movement, you should use a tripod but there will be times when just shooting plenty of pictures hand-held will be a better strategy.
 

1. Techniques to adopt

The technique you need to adopt will depend upon what you are trying to say. Digitally you can shoot and review what is happening and if the movement is too much use a faster speed; if they are too ‘static’ use a slower speed. Typically you should try shooting at about 1/15th or 1/30th with a reasonably fast subject. Panning can be done on a tripod, but the results will be quite different. It is essential if using a tripod (or monopod) that the camera should be able to follow the action accurately if the moving action is at an angle to the camera movement you will struggle to get usable pictures. 

 

2. Blur can be good

However, this doesn't mean you have to keep the subject sharp. In this shot of the Tour de France, nothing is really sharp, but there is a clear difference between the blurriness of the crowd and the slightly sharper rider and this makes the picture more dynamic. 
 

3. But does the camera need to move?

Sometimes it is not necessary for the camera to be moving at all. Fixing the camera on a tripod and letting the subject move will give an altogether different result. This same technique can be used at night to get car lights on the roads which can be a very effective way of showing movement. Machinery is also a good source of subject as they often look much more interesting in action than at rest – or frozen with flash. Panning can help you to keep the subject sharp.

In some situations, flash can be used though; if you set the camera to slow-sync you can have the combination of a blurred image with a sharp one overlaid on it. If possible set the camera to ‘rear’ or ‘second curtain’ sync or the subject will appear to be moving backwards.

Whatever you approach, though, try and make the movement you capture to say something about the subject – that is what will make the picture work.
   

Aritz Arambarri Goenaga – Vistas Desde El Abandono (2026)

 

The World Sports Photography Awards 2027 is now open for entries, accepting free submissions from sports photographers across 24 categories. Entrants can submit up to 10 images captured between December 2025 and November 2026 before the November 23, 2026 deadline. The 2027 edition also updates category structures and continues the 'Canon Emerging Talent' award, with eligibility adjusted to focus on emerging photographers under 25.

 

From Canon:

 

World Sports Photography Awards sponsored by Canon and celebrated as the world's foremost showcase of sports photography, has today opened entries for its much-anticipated 2027 edition. Entry remains free, with the awards honouring the most gifted sports photographers from around the globe and celebrating images that convey the drama, emotion, and physicality at the heart of sport. Judged by leading figures spanning sport, media, photography, branding, and the broader creative sector, the World Sports Photography Awards continues to stand as the world's biggest celebration of sports photography.

The 2026 edition marked a breakthrough year, attracting over 4,200 entries from photographers in 123 countries and spanning more than 60 sports. Extensive international media coverage, coupled with support from leading sports organisations, underlined the awards' continued global growth and rising influence.

Commenting on Canon's sponsorship of the awards and what we can expect for 2027, World Sports Photography Awards Co-Founder, Simon Burton, said: "Canon has been the perfect partner for the World Sports Photography Awards, and there's no name more synonymous with sports photography. Building on such a fantastic first year together, we're thrilled to continue this relationship as we head into year two. It's been another remarkable year for sport around the globe, and we can't wait to see the images photographers submit this year, capturing the passion and drama of sport across every discipline and every corner of the world."

Canon has a long and proud history in sports photography, equipping generations of photographers with the tools to capture iconic sporting moments that have defined eras. The introduction of the 'Canon Emerging Talent' award in the 2026 edition has shown amazing success and looks to bring along the next era of great sports photographers once again in 2027. This dedicated category will continue recognising young and upcoming talent, with the age of the award dropping slightly to under the age of 25 to better capture the essence of the award.

Richard Shepherd, Product Marketing Senior Manager, Imaging at Canon Europe, adds: "Canon has a proud legacy of supporting professional sports photographers and helping them capture the moments that define sporting history. Following the success of the 'Canon Emerging Talent' award in 2026, we're delighted to continue our support for the next generation of sports photographers in 2027. By recognising emerging talent and giving young photographers a platform to showcase their creativity and passion, we hope to help them take the next step in their careers and tell the powerful stories at the heart of sport."

With this announcement, the 2027 awards are now officially open for entries. Participants from across the industry and globe are invited to submit their work and gain recognition on one of the most celebrated stages in the field.

For 2027, photographers are invited to submit up to 10 images captured between December 2025 and November 2026 across 24 sports categories. Submissions are free of charge and close on 23 November 2026. Please note that images entered in the 2026 competition are not eligible. We have also made some adjustments to the categories, which we ask photographers to be aware of when entering.

 
Key details:

• Entries open: 09 September 2026
• Submission deadline: 23 November 2026
• Eligibility: Up to 10 images taken between December 2025 – November 2026
• Categories: 24 sports categories
• Cost: Free of charge

 

The World Sports Photography Awards, sponsored by Canon, continue to celebrate the art of sports photography – showcasing the images and photographers that inspire audiences around the world.

For rules and regulations, please visit the Rules page, T&C's and other FAQs here.

For more information and to enter, visit: www.worldsportsphotographyawards.com

© OM SYSTEM

 

OM SYSTEM has unveiled the new PEN camera, the first PEN series model under the OM SYSTEM brand. The compact rangefinder design pairs an electronic viewfinder with IPX1-rated dust and splashproof construction, a first for the PEN series. It combines a 20.37MP Live MOS sensor with computational photography features including High Res Shot, Live ND, Focus Stacking, and HDR, plus 121-point autofocus with AI Subject Detection.

 

From OM SYSTEM:

 

OM Digital Solutions Corporation proudly announces the launch of the new OM SYSTEM PEN, the first PEN series camera introduced under the OM SYSTEM brand. Combining the timeless rangefinder-style PEN design with modern imaging technology, the camera is designed for photographers seeking a compact, lightweight companion for everyday creativity, travel, and visual storytelling.

Building on the PEN series heritage dating back to 1959, the OM SYSTEM PEN introduces several important advancements, including an integrated electronic viewfinder and, for the first time in the PEN series, dust- and splashproof performance. Combined with OM SYSTEM's renowned computational photography capabilities, the camera delivers a versatile and intuitive shooting experience for enthusiasts and newcomers alike.

 

Designed to Inspire Everyday Photography

The OM SYSTEM PEN is built to encourage users to take their camera everywhere. Its compact and lightweight form factor is paired with an electronic viewfinder for a more immersive shooting experience and an IPX1-rated dust- and splashproof construction that offers reliability in changing weather conditions. Powered by the TruePic IX image processor and a 20.37MP Live MOS sensor, the camera delivers outstanding image quality while benefiting from 5-axis image stabilization. Creative photographers can explore Color Profile Control and Monochrome Profile Control modes, allowing film-inspired looks and highly personalized image styles directly in-camera. In addition, the dedicated CP button provides fast access.

 

© OM SYSTEM

 

Key Features

• First OM SYSTEM camera in the PEN series, featuring a classic rangefinder-style design with integrated electronic viewfinder.
• First PEN series camera with IPX1-rated dust- and splashproof construction.
• Color Profile Control and Monochrome Profile Control for film-inspired creative expression.
• Dedicated computational photography features including High Res Shot, Live ND, Focus Stacking, HDR and Multiple Exposure.
• 121-point all cross-type phase-detection autofocus.
• AI Subject Detection AF for people and animals.
• Starry Sky AF and Pro Capture shooting up to 30fps.
• 5-axis image stabilization and support for the extensive Micro Four Thirds lens ecosystem.

 

Product Availability & Pricing

OM SYSTEM PEN Body RRP:  £849.99

OM SYSTEM PEN + M.ZUIKO DIGITAL 14-42mm F3.5-5.6 III Kit RRP:  £949.99

Available in Silver and Black, with availability scheduled for late September / early October 2026.

For more information, please visit the OM SYSTEM website.

 

Markets are full of photographic opportunities thanks to the colourful array of products and people that pass through them. However, they can also be a little daunting, especially in foreign locations but if you remember a few simple steps, you shouldn't have too many problems. These include asking to take close-up portraits, not getting in the way of those running a business and the most important but simple step: be polite.

 

1. Lenses for photographing candid market images

Wide lenses will give you the opportunity to capture stallholders and customers in their environment while a longer lens can be useful if you'd prefer to shoot more candidly. Consider a telephoto zoom for more flexibility.

2. Flash can make photos look less natural

Try to avoid flash as not only can it be distracting, it can also spoil the atmosphere you're trying to capture. As indoor markets tend to be low on light this can mean working with higher ISOs but most DSLRs cope with this fine so you can still capture great low light imagery.

Leave the tripod at home as the legs will just get in the way of other visitors. If you find you really do need a support, find a flat, solid surface you can rest your camera on. It's also worth keeping an eye on your white balance as some indoor lighting can leave a coloured tint in your shots. 

 

 

3. Interact with people to gain their trust

Capturing portraits of people at work or shots of those visiting the market, buying goods, is the best approach to take. Shooting candidly is fine but for portraits with impact, take the time to ask the stallholders if you can take some shots of them up close. If language is a barrier, try smiling and pointing to your camera as this will often get the message across. Always thank your subject and take the time to show them the result. It'll also help if you can learn how to say 'hello', 'please' and 'thank you' in the language of the country you're visiting, if venturing away from home. 

If someone looks uncomfortable because you're taking their photograph make sure you stop and walk away and always read up on what's acceptable and what isn't and respect the views/practices of the country you're visiting.
 

4. Capture as much as you can

Remember to shoot lots and often as lots can happen in a market. Switching to continuous shooting mode can help, but it's not essential, you could also try shooting from the hip if you don't want to draw as much attention to yourself. 
 
When you do have the opportunity to work more closely, try a slightly tighter framing to see what results are produced. If you have particularly large stalls to deal with that have lots of produce between you and the seller this could mean using the power of a zoom lens to pull them to you rather than you moving your feet. 

If you're making a special trip to a particular market do remember to check:

• Opening times
• Busy times
• Restocking times (so that you're not in the way)

- Partner Content -

 

The Fujifilm XF400mm f/4.5 R LM OIS WR on the X-H2S is a great combination for nature photography. The lens is richly featured including focus recall buttons, an image stabiliser with 5.5 stops benefits and a fluorine-coated front lens element.

 

Shoot nature and you’re often dealing with the very distant which means a powerful telephoto lens is essential if you want subjects to be a decent size in the frame. That sounds straightforward but typical long telephoto lenses are big and bulky, and if you want a fast maximum aperture, they are prohibitively expensive too. All in all, telephoto lenses for nature are a challenge.

Occasionally, along comes a lens that rewrites the rules and here’s one such lens from Fujifilm for its X Series camera system. The new Fujifilm XF400mm f/4.5 R LM OIS WR delivers a field of view equivalent to 609mm long telephoto in the 35mm format, and it does so in a remarkably portable package. It measures just 239.5mm and tips the scales at 1245g.

I got the opportunity to try out the new telephoto, shooting on the 26-megapixel Fujifilm X-H2S, a camera that weighs 660g, so the combination is a little under 2kg.

 

The Fujifilm X-H2S with the XF400mm f/4.5 R LM OIS WR weighs under 2kg, so ideal for location photography and it’s light enough for successful handheld shooting when shutter speeds drop.

 

Fujifilm XF400mm f/4.5 R LM OIS WR: Setting up

Before striking out with the Fujifilm XF400mm f/4.5 R LM OIS WR, I tried photographing visiting birds in the garden. It was the ideal situation to get a feel of the lens’ handling and the best set-up. 

For long lens shooting, the logical exposure mode is shutter-priority AE, so I set that in tandem with auto ISO set with a 400-3200 working range. The lens has an impressively fast maximum aperture, but when the light drops and you’re shooting at 1/1000 sec and above to stop the action, you need all the ISO you can get. Besides, the high ISO performance of the Fujifilm’s X-Trans CMOS 5 sensors is tried and tested, so I know there’s no problem getting great quality shots at ISO 3200 and even beyond. 

 

In the garden, I managed to capture a fleeting visit from a great spotted woodpecker. It stayed for three or four seconds, and it was off, but it’s always a treat to see this lovely bird especially as we live in the city. Image: Will Cheung. Fujifilm X-H2S with XF400mm f/4.5 R LM OIS WR. 1/500 sec f/4.5 ISO 1250.

 

Capturing birds in flight is easier if you can track them from afar. Here, though, I turned round and saw the heron, so I just lifted the camera to eye and squeezed off a few frames but didn’t expect them to be sharp. This was the first shot in the sequence and it’s lovely and sharp, and it’s large in the frame. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/2000 sec f/4.5 ISO 800.

 

The XF400mm f/4.5 R LM OIS WR has a minimum focus of 2.75m and this jackdaw moved in so close to me I had to lean back to keep the bird’s eye in sharp focus. The lovely fine detail around the bird’s beak is critically sharp. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/2000 sec f/4.5 ISO 500

 

I tried the AF system set to the 5x5 zone and Wide/Tracking, and both worked well with bird subject detect and continuous AF for larger birds such as ring-necked parakeets but was responsive and sensitive enough for smaller birds such as blue tits too.

To keep pace with the action, I set 15fps continuous drive but with the electronic shutter engaged and a CF Express Type B loaded, I had the headroom for shooting up to 40fps if required. 

With the initial set-up completed, it was off to Bushy Park with the Fujifilm X-H2S, the XF400mm f/4.5 R LM OIS WR and a spare battery.

 

Herons are a common sight in Bushy Park and the XF400mm f/4.5 R LM OIS WR was perfect for this tightly framed bird portrait, and the background is nicely blurred even at f/8. The detail in the bird’s head and feathers is exceptional. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/1000 sec f/8 ISO 400.

 

Fujifilm XF400mm f/4.5 R LM OIS WR: on location

For my day out, the weather conditions were good with the sun making regular appearances and little wind. Bushy Park yielded its usual wide variety of subjects from insects and birds to mammals including deer. It was very early on in the deer rutting season and having such a long lens available meant I could shoot from a very safe distance.

 

With so much focal length available with the XF400mm f/4.5 R LM OIS WR, larger nature subjects such as this fallow deer buck can mean a tight crop or you have to take a few steps back if you want the entire creature in the frame. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/800 sec f/5 ISO 400.

 

On location, the combination’s portability was a serious benefit. Walking around with the Fujifilm outfit that weighs under 2kg made life so much more comfortable compared with my usual long lens kit. The park is mostly flat and it’s easy walking, but you have to cover a good distance to find subjects.

There were also handling benefits. When I shoot street, I like to have the camera in my right hand, forefinger resting on the on/off collar and when I see a potential shot, I can bring the camera up to the eye, switching it on as I do so, and shoot. Of course, for street shooting I’d be using a wide-angle or standard focal length, not an extreme telephoto. However, the Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR combination is lightweight enough to let me adopt the same approach which greatly increases the chances of getting the shot. 

I’m not saying I could work like this for hours at a time and of course you can do this with other camera/long lens pairings, but this Fujifilm duo was light enough not to be uncomfortable or too much of a strain.

 

I was carrying the XF400mm f/4.5 R LM OIS WR on the X-H2S in my right hand ready to shoot. When I spotted the robin, I turned the camera on and lifted it to my eye in one smooth action and got the picture before it flew off. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/500 sec f/4.5 ISO 2500.

 

Also, for nature shooting with long lenses, I usually have a monopod on hand so when it gets darker and shutter speeds drop, I can shoot without suffering from camera shake. For this practical look at the XF400mm f/4.5 R LM OIS WR, I left the monopod in the car and relied on the lens’ Optical Image Stabiliser (OIS) together which claims a 5.5-stop benefit.

With a grey squirrel on a tree trunk, light levels were relatively low but shooting at 1/100 sec was no problem in terms of camera shake; the creature was eating, so I did get some subject movement.

 

The XF400 f/4.5 R LM OIS WR’s minimum focusing distance of 2.75m is perfect for nature subjects that aren’t backward in coming forward, such as grey squirrels. The camera was set to single zone AF which was moved to cover the squirrel’s eye to ensure focus was spot on. Image: Will Cheung. Fujifilm X-H2S with XF400mm f/4.5 R LM OIS WR. 1/100 sec f/4.5 ISO 800.

 

The XF400mm f/4.5 R LM OIS WR has internal focusing, so its size stays constant and a high-speed linear motor means autofocusing is silent, judder-free and very responsive. When I was setting up back home, I’d tried Wide/Tracking and 5x5 zone AF, but when I started trying to photograph black-headed gulls in flight, the smaller 5x5 zone seemed to acquire the subject more quickly and held on more tenaciously once locked on. I did switch to a smaller single zone for static dragonflies where I wanted focus on its head and eyes.

 

Set the Fujifilm X-H2S to continuous focus AF with the XF400mm f/4.5 R LM OIS WR attached and the duo does a fine job of tracking birds in flight. The AF was set to 5x5 zone autofocus and the camera tracked the black-headed gull all over the sky as it was fishing. Image: Will Cheung. Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR. 1/3200 sec f/4.5 ISO 400.

 

The migrant hawker dragonfly likes to hover for a few seconds, which is just enough time to frame and focus. Having the camera menu item AF+MF set to on means it’s possible to get it recognisably sharp with manual focusing, then hitting the shutter release and the camera’s autofocus takes over for the final shot. Using the lens’ focus preset feature with focus set to roughly where the insects were flying was a great help too. Image: Will Cheung. Fujifilm X-H2S with XF 400mm f/4.5 R LM OIS WR. 1/2000 sec f/4.5 ISO 3200.

 

 

Reflecting on the experience of using the Fujifilm XF400mm f/4.5 R LM OIS WR while looking through my photos, I was very pleased with the results. Using a prime lens is more of a compositional challenge and of course such a long lens can generate its own problems. For instance, with some deer shots, I was too close to include the deer’s surroundings, so I had to retreat a little, and when they moved closer, again I had to take steps back. However, I thought there were more upsides of using a prime lens. It was mostly a bright day but shooting with fast shutter speeds with the f/4.5 aperture meant I could keep ISO down for excellent image quality. 

The big benefit, though, is the image quality of the Fujifilm XF400mm f/4.5 R LM OIS WR. I am used to using telephoto zooms and while image quality is good, the look of the shots from this Fujifilm prime lens was in another league. Image quality was excellent with very impressive detail resolution and overall sharpness, and this was also a benefit when I cropped into the photo for a larger subject size.

 

This kingfisher was perched high in a tree taking a break from feeding. The pulling power of the XF400mm f/4.5 R LM OIS WR lens helped produce a reasonably-sized bird and cropping for a larger subject size is no problem thanks to lens’ impressive resolution. Image: Will Cheung. Fujifilm X-H2S with XF400mm f/4.5 R LM OIS WR. 1/640 sec f/4.5 ISO 2500.

 

 

Fujifilm XF400mm f/4.5 R LM OIS WR: Summary

 

Nature is such a diverse subject that there’s no ideal focal length or even lens type and obviously much depends on the subject as well as budget.

Zooms are popular for their framing versatility, but their generally more modest maximum apertures can be an issue when light levels drop and that’s why fast primes are often preferred by expert nature photographers even though they aren’t flexible like zooms.

Then there’s the matter of focal length. The XF400mm f/4.5 R LM OIS WR gives the equivalent of 609mm in 35mm full-frame format, so it qualifies as an extreme telephoto and might be too much focal length in some cases. It's perfect, however, for birds where the subject is generally small and wary, so shooting from a distance is standard procedure. 

For my photo walk, I really enjoyed and appreciated the pulling power of the XF400mm f/4.5 R LM OIS WR and being a fixed focal length made me think harder about composition and positioning and that is a good thing. Its portability is also worth stressing and I finished my day without aching arms, which can be the case with my usual long lens set-up.

 

Fujifilm XF400mm f/4.5 R LM OIS WR Key Features

• Price £2499
• 609mm focal length (35mm equivalent) 
• Internal autofocusing with high-speed linear motor
• 21 elements in 14 groups construction
• Optical Image Stabilisation system, 5.5 stops benefit
• Fluorine-coated front element
• Focus control button and focus preset
• 2.75m close focusing distance
• Two on-lens focus limiter ranges
• F/4.5-22 aperture range 
• 9 diaphragm blades
• 20 weather seals
• 95mm filter size 
• Compatible with Fujifilm XF1.4x WR and XF2x WR teleconverters 
• Bayonet fit lens hood supplied
• Dimensions 104.5x239.5mm
• Weight 1245g 

 

- Partner Content -

 

A good photograph can capture a moment, but sometimes a still image does not fully show the feeling behind it. With video becoming a common way to share creative work, creators are looking for simple ways to give their existing photos more life.

AI photo animation offers one practical solution. Instead of taking new footage, creators can use AI to add natural movement to a single image. The key is to add motion while keeping the original subject, style, and visual details intact.

 

 

Why More Creators Are Exploring AI Photo Animation

 

AI photo animation technology is changing how creators work with existing visual assets. A single photograph can now become the starting point for a short video, giving creators more ways to share their work without starting every project from scratch.

For photographers, this can extend the value of a finished photo shoot. A portrait, landscape, or event image can be animated for social media, a portfolio, or a short presentation. The original photograph remains the foundation, while AI adds movement around it.

The same idea is useful for other creators. Designers, marketers, travel creators, and social media users can animate still images to create short-form content. This makes it easier to turn existing visual assets into fresh content for different platforms.

 

How AI Is Changing the Way Creators Animate Still Images

 

Traditional photo-to-video editing can involve keyframes, transitions, and motion settings. For creators who want to turn a single image into a short clip, this manual process can add unnecessary steps to a simple project. 

This is where AI image animation tools such as AIReel can simplify the workflow. Creators can upload an image and generate a video with smooth motion, without building every effect manually. It also offers a range of models and formats for different creative needs.

 

 

• From single images to short videos: Existing photos can become ready-to-share video content.
• From manual editing to AI-assisted motion: Creators can reduce the need for detailed keyframe work.
• From one asset to multiple formats: A single image can be reused for different social platforms.
• From reshoots to content repurposing: Older photos can become new creative assets.
• From complex workflows to simple creation: Users can focus more on the visual idea and less on technical settings.

 

5 Practical Ways to Animate a Photo With AI Without Losing the Original Look

 

Animating a still image works best when the added movement follows the logic of the original photograph. The aim is not to make every part of the image move, but to introduce motion where it supports the subject, composition, and mood.

 

 

1. Start With a Photo That Has Clear Visual Structure

Choose an image with a clear subject, good focus, and enough detail. Photos with strong foreground and background separation are often easier to animate because the main subject can remain stable while movement is added to other areas.

 

2. Match the Motion to the Original Scene

Consider what would naturally move in the photograph. Clouds, water, hair, fabric, and tree branches can support gentle movement, while a slow camera push can work well for portraits or architecture. The motion should follow the scene rather than compete with it.

 

3. Protect Faces, Hands, and Fine Details

Small changes can be very noticeable when a person or a detailed object is the main subject. Before using an AI animation, check the eyes, facial features, fingers, text, and product edges. Keeping these areas stable helps the result stay close to the original photograph.

 

4. Use Camera Movement to Add Depth

A subtle zoom, pan, or forward movement can make a flat image feel more cinematic without changing the subject itself. When the composition already has clear foreground and background elements, controlled camera movement can also create a stronger sense of depth.

 

5. Keep the Animation Short and Review Every Frame

Longer clips give unwanted changes more time to appear. For most photo-based content, a short animation can be enough to add movement while preserving the original look. Review the complete clip before publishing and compare key frames with the source image.

 

To Sum Up

 

AI photo animation gives creators a practical way to get more value from the images they already have. Instead of replacing photography, it can add another layer of motion and help still images work in video-first spaces.

The best results come from using AI as a creative tool rather than letting it take over the image. With a strong original photo, suitable motion, and careful checking, creators can animate pictures with AI while keeping the look and character of the original work. Tools such as AIReel make this process easier, helping turn photos into simple, engaging videos without a long editing workflow.

 

Fog and mist give instant mood, adding an extra level of environmental interest to your shots. You actually do not have to do anything special apart from just being out in it with your camera. So, whether you are walking the dog or on your daily commute to work, it is worth having a camera with you for those unmissable mist images.
 

1. Camera Choice

Any camera is good for mist photography and you can use any lens too, so just stick to your favourite combination. There is nothing wrong with using a top-end compact if carrying a DSLR around with you is not feasible.
 

2. Lens Options

In terms of lens choice, a wide-angle lets you show the tonal differences between foreground and misty background in a gradual way. Look for bold foreground detail and strong lines (rocks, trees, pathways, rivers etc) to make the most of this effect.

The foreground is just as important with [AMUK]telephoto lenses|telephoto+lens+lenses+zoom[/AMUK]. Shoot a misty scene with no foreground and there is no perspective, no sense of depth. This can work fine but most scenes need some foreground interest to give that three-dimensional quality and the tonal transition is much more abrupt.

3. Ultra-Violet Or Skylight Filter?

You probably already have your lenses fitted with an ultra-violet or skylight filter; if you don't it is a worthwhile consideration if you bear in mind that a filter is cheaper to replace than a lens.  On misty days when you can have tiny water droplets settling on your lens this will affect image sharpness, so being able just to wipe them off without being too delicate is a bonus.

 

 

4. Use A Tripod

If you have the room it's a good idea to pack your tripod as exposures can be on the long side as not much sunlight will be able to get through the fog/mist you're photographing. It should also help you keep horizons straight too, although some cameras feature a level or some sort of grid-guide that can help you level your camera for straight horizons. 

 

5. Valleys And Low-Lying Areas

Mists forms in low-lying areas (valleys, for example) and over water so if you fancy the idea of shooting mists, those are the sorts of places to head for. To add a touch of mysticism or eeriness to your work head for thickly wooded areas where fog and mist will weave around the trees.
 

6. Meters Can Be Fooled

Camera meters are often fooled into underexposing misty scenes so they come out looking very grey, rather than light and airy which usually looks better. Setting +0.5EV or +0.7EV will help avoid this. In strongly backlit scenes you might need up to a +1 or +2 exposure value to record the delicacy of the mist.

Shooting in Raw and doing the adjustment later is an option but it makes sense to get it right in the first place.
 

7. Work Quickly

Finally, remember to get there in plenty enough time so if there is a mist, you have time to scout a few good spots and then decide which is best. Conditions can change very rapidly, so shoot quickly, perhaps bracketing exposures, and then move on.

- Guest Collaborator -

 

[Image source: https://www.katebackdrop.com/]

 

You don't need a huge studio to shoot good portraits. A spare room, home office or corner of the living room can work perfectly well, but limited space does mean you need to think a little more carefully about where everything goes.

Before filling the room with stands and lighting kit, work out what the photograph actually needs. These five tips will help you get more from a smaller portrait setup.

 

1. Work Out Your Framing First

Before setting up the background or lights, decide whether you're shooting a headshot, half-length portrait or something wider.

Put your subject roughly in position, pick up the camera and check the frame. This will quickly tell you whether you have enough camera-to-subject distance and whether your chosen focal length makes sense.

It's much easier to move a chair or change a lens at this stage than after you've built the whole setup and discovered you can't step back far enough.

 

2. Make Use Of The Light You Have

Got a decent-sized window? Start there.

Turn your subject towards and away from the light and watch what happens to the shadows across their face. You may find that window light and a reflector are all you need, particularly for a simple head-and-shoulders portrait.

Also keep an eye on ceiling lights. Mixing daylight with warm room lighting can leave you dealing with different colour temperatures later.

In a tight room, another light stand or large modifier also takes away valuable working space, so don't add kit unless it is actually helping the picture.

 

3. Keep The Background Simple

Small rooms have a habit of putting everything into the frame: shelves, door frames, furniture, cables and pictures on the wall.

Look through the viewfinder before reaching for more equipment. Sometimes shifting the camera a little, moving your subject or taking something out of the room is enough to tidy things up.

If the surroundings still feel too busy, a solid colour backdrop gives you a simpler background and lets the subject do the work.

Don't choose the background in isolation, though. Think about the subject's clothing, the lighting and how much of the background will actually appear in the finished shot.

 

[Image source: https://www.katebackdrop.com/]

 

4. Move Your Subject Away From The Background

Space may be tight, but try not to put your subject straight against the background if you can avoid it.

Moving them forward even a little can help with separation and gives you more control over shadows falling behind them. It may also make it easier to soften background detail with your choice of aperture and focal length.

You don't need to chase an extremely blurred background every time. What matters is that whatever sits behind your subject isn't competing for attention.

 

5. Keep Things Easy To Move

A small portrait space often needs to change during a shoot. One minute you're taking a seated headshot and the next you want a looser standing portrait.

Leave yourself somewhere to work. Avoid putting stands across the route you or your subject will need to use, and think twice about any bit of kit that has to be moved every time you change the composition.

If the room isn't a permanent studio, or you regularly shoot at different locations, a collapsible backdrop can also make sense when you need a controlled background that can be packed away afterwards.

The best small-space setups are usually the ones with the least unnecessary equipment. Sort out your framing, light and background first, then add only what the photograph actually needs.

 

Rivers make a wonderful subject for the outdoor photographer, yet people rarely set out with the intention to photograph them. Rivers offer an abundance of opportunities from grand sweeping vistas to detailed abstracts to wildlife as well as being fantastic places to enjoy the outdoors. Here are 6 key pointers to help you achieve better river and open water landscapes.

  1. What is the unique character of the river?

As river locations have their own unique character, one role of the photographer is to identify and emphasise this character. You can do this by asking a series of questions when you first arrive at a location:

• Is this a large and impressive river or a small natural bubbling stream?
• Is this a setting people might describe as being idyllic and picturesque or is it more of an urban or industrial setting?
• Is the river clean and pure or dirty and full of litter?
• Does the setting convey a feeling of tranquillity and calm or are there other emotions it sparks and if so what?
• Is the river fast-moving and powerful or more slow and sedate?
• Is the water surface rough and broken by rocks or flat, calm and full of reflections?

 

2. Shutter speeds

Give some consideration to the shutter speed you will be using. Don’t just stop down to a small aperture for good depth of field and accept the shutter speed. Increase the ISO a little if you need to as the shutter speed can be a big influence the character of the image you create.

Long shutter speeds give smooth water and reflections, which all add to a sense of calm and tranquillity. Fast shutter speeds freeze the water and can really emphasise the feeling of power and strength in the water.

 

 

 

3. Use a remote shutter 

With the remote shutter, you could position your tripod in a shallow part of the river to get a shot with a different angle without having to be stood for a long time in the cold water. Obviously, you need to be very careful if you want to try this as you don't want your camera or yourself going for a swim! The remote control is also useful when photographing wildlife that lives around the river as you'll be able to set your camera up and move away, increasing your chances of shy wildlife coming back to the spot your camera is in.  
 

4. Make the most of the weather

The weather conditions, time of day and time of year all help in determining the type and quality of light you will have to work with. It may sound obvious but you can’t do too much about these factors so look to create photographs that make the most of the light you have available.

Immediately after a rainstorm, when the weather breaks can also produce magical lighting. The clearing rainstorm in the image above produced very dramatic lighting, despite being shot at midday. The rain also helped swell the river to give a great cascading effect over the rocks.

The weather condition that is one of the best for adding mood and character is mist and fog. Rivers in autumn are often great locations for mist early and late in the day. Such conditions tend to be best around sunrise and sunset, often catching the colour of the early morning sun. Look for the larger slow-moving rivers located in open fields as these often give rise to the best mist.

 

 

5. Consider the time of day 

Early morning and late evening light is probably what most photographers think of as being the best light. Typically the sky is colourful and with larger, slower-moving rivers, this great light will be reflected making the river appear to glow. Shutter speeds will be longer at this time of day which also helps smooth out the surface of the river. This is probably the best lighting conditions to create a mood of calm and tranquillity. It’s not always easy to organise yourself to be out photographing at this time of day but it is immensely rewarding in terms of images and the sheer pleasure of watching a sunset or sunrise.

Midday light, at least outside the winter months, tends to be a little harsh and it can be difficult to reflect the character of the river in its setting. If however, the river is in an urban landscape this type of lighting can still work well at it can be used to emphasise the unattractive elements. Also, if the river is strong and powerful you can use the bright lighting to freeze the action. If you find yourself trying to work under harsh lighting conditions that don’t suit your location, try to seek out wooded areas where there is plenty of shade or focus in on capturing detail shots.

Autumn is also a great time of year to photograph rivers and streams in woodland areas. Trees will be changing colour making for vibrant scenes. Leaves will be falling into the river, often gathering in pools around rocks. Here be on the lookout for opportunities to shoot swirling patterns caused by leaves caught in the river's current. With longer shutter speed this slow movement can be recorded as a swirling pattern. Consider using a polarizing filter to give a longer shutter speed but also to emphasise and saturate the vibrant autumn colours.

 

6. Think about where you stand

The direction in which you shoot the river can also have a huge impact on the character of you convey in your photograph. Shooting across a river tends to create a rather static image that flows in on one side of the composition and out on the other. If you have to compose with the river flowing horizontally across the image try to include something in the foreground of the frame to create a feeling of depth to the image.

Often large areas of the riverbank are nothing but grass. In these situations, there is little to hold the viewer's attention. Try to find locations where there is something to include in the foreground such as rocks and reeds.

Shooting along the river from its bank offers more potential especially where the river tends to bend and meander. Long straight rivers are less photogenic but can offer some potential. Look for long stretches where the perspective of the river can be emphasised using a wide-angle lens. The best positions, however, tend to be on bends as this lets you show off the bend and lead the eye into the image. Curves are more photogenic and pleasing to the eye than straight lines. Bends also allow you to position yourself so you look like you are shooting from in the river. This can further be enhanced by a long lens to ensure there is no foreground. When doing this though remember to include a point of interest to focus the viewer’s eye and attention.

 

A moody coastal scene with a row of beach huts standing in calm water, titled 'Just before the heavens opened' by PhilNewberry, has been chosen as our Photo of the Week.

There's plenty to love about this image, but the mirror-like reflections in the calm water, the varied soft tones of the huts, and that moody, overcast sky are what really stood out. The huts stretching back give the picture great depth, and the overcast weather adds a calm, peaceful mood to the scene.

It's a calm, minimalist coastal landscape that's definitely worthy of our Photo of the Week accolade.

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 2027, we'll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. See the terms & conditions and prize procedure for more information.

It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards! Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners.

   

Feeding ducks is something everyone enjoys but next time you head off for your Sunday morning stroll around your local pond, pocket your camera as well as the treats you take for the Mallards and Swans.

 

1. An opportunity to get close to wildlife

As ducks are used to people visiting with goodies they're not usually skittish so getting close to them shouldn't be a problem. Even still, taking along a small bag of birdseed to scatter will keep the ducks in front of you for longer increasing the chances you have of getting a good shot.

Flat banks are the perfect location for photographing ducks as the low angle gives you a shot that has more of a duck's eye view. If you don't want to work hand-held, take along a light-weight tripod or beanbag to sit your camera on.
 

2. Which season is best?

Winter's a great time to head to the water's edge as the sun sits at a lower angle for longer which means you don't have to get up at the crack of dawn for softer light. You'll also get mist rolling over the water – perfect for silhouetting a bird against. For a bit of variety try shooting their reflections or look for interesting behaviour such as fighting or preening activities.

 

3. Need more details?

If you find their feathers are lacking in detail try adding a little fill-in flash. Just remember for birds such as Swans that have lighter feathers you'll need slightly stronger light. This time of year when lakes can be slightly frozen light will be reflected off the icy surface back under the duck, highlighting detail in their plume. For particularly gloomy days switch to a slightly higher ISO so you can use a quicker shutter speed. If you're out when the sky is rather bright keep an eye on your exposure if Swans are around as a white bird against a bright sky may mean your camera underexposes the shot.

For shots of birds in flight make sure you're on continuous focus and get the focus locked on the bird straight away. To freeze their movement in the air or when they're splashing on the water try a shutter speed of around 1/500sec but if you want to be a little more creative try to blur the motion of the wings with a slower speed of around 1/30sec.   

 

 

With half-term coming up in October, you may be looking for something that'll keep the kids entertained but still give you the opportunity to take a photo or two. One location that's worth considering is a safari park as there are some excellent ones based in the UK that'll give you the opportunity to capture frame-filling images of Lions and other animals usually seen on an African plane. 

 

1. Photographing wildlife from your car or a bus 

As you're going to be stuck in your car, or the safari park's transport service, a long lens is a must. Something like a 70-300mm telephoto will do nicely but if you have a longer one take that along too as smaller subjects such as birds will look tiny otherwise. The inside of a car isn't the place for a tripod but having something to support your camera when you're working with long lenses is a good idea. You can get window-mounted tripods but a beanbag is a cheaper and easier way to go. Simply place it on a surface, rest your camera on it and click away. As you're shooting through glass pack a lens hood and/or a polarizer filter as they'll both help minimise reflections. 

 

 

2. Use queueing to your advantage

People moan about having to queue but if you're a photographer at a safari park this could work to your advantage as it means you'll have time to observe your surroundings. If you can wait in one position for a while to snap interesting behaviour. If you're visiting the park to see one particular animal make sure you've done your research so you know what time of day they'll be out and most active. Keep an eye on the weather too as this can make some animals retreat to cover and you'll be left with empty shots of fields. However, if you do get to the park when it's raining don't get too down-hearted as some animals don't mind the rain and raindrops on the fur and the reflection of light on wet surfaces can create very moody photos.

 

3. Small changes make a big difference 

As you're in a small space it can be tricky to move and find different angles to shoot from but there are plenty of other things you can do to improve your shots. Always make sure the eye is in focus and when it is don't click the shutter straight away – wait for the glint in the eyes that can make both human and animal portraits come to life. Sometimes you'll have to wait for the animal to move to get this but all you have to do is keep re-adjusting your framing until the moment arrives. If it's portraits you're particularly after make sure you zoom in to make them frame-filling and if you have cars or other distracting items in the background wait until you've changed position to take the shot or blur it out of sight with a large aperture. If it's a group of lions or a herd of elephants you're photographing use a smaller aperture such as f/22 to limit the blur to get the whole group in the shot.

When you're in a hurry it's easy to forget about composition so you'll put your subject slap bang in the centre of the image. For some shots this will create a strong portrait but try to resist doing it every time and really think about the rule of thirds when framing up. You also need space for your animal to walk into and don't amputate an animals extremities – a lion missing the tip of its tail won't look right.

As you have to keep your windows up you'll be shooting through glass so to minimise reflections make sure you have your lens against the window. If you have one, try using a lens hood or you could put your spare hand above or to the side of the lens to help minimise reflection. As the engine will be running you'll find the glass will be vibrating so speed up the shutter speed to minimise shake. You may also find manual focus handy as glass can sometimes fool a camera.

One more, very important point is to observe the rules. We don't want to hear any stories of ePz members who were turned into lunch!

 

Our landscape is abundant with rocky views from the gneiss rocks of Scotland, through the limestone pavements of the Yorkshire Dales, to the rocky Jurassic coastline of Dorset. Move-in closer and their patterns and textures provide fabulous abstract opportunities for photographers.

 

1. Gear Choices 

The beauty of this technique is any camera/lens combination can be used. No special kit is needed - just a good eye for the best viewpoint and artistic flare to determine the best composition. You could use a tripod to be sure of a rock (excuse the pun) solid view, especially when shooting patterns on the ground, as it can be harder to hold the camera rigid when you're pointing downwards. If you do use a tripod make sure it has an option to splay the legs out wide so you don't get them in the shot.

A standard lens is ideal, especially for rocks patterns below your feet - either a fixed 50mm or short zoom from around 35-70mm range is fine. Use a longer lens if you can't get close enough to the rock face. This is ideal for distant coastal cliff faces or mountainsides. A lens with a close focus will be handy when the texture is more important...you can focus in close on the more intricate details of the rock's composition.

 

2. When To Take Your Photos 

Shoot in overcast light if you want less contrast, but this can reduce the impact of the photo. Sunlight casts shadows making the patterns of rugged rocks become almost 3D. You can use the flash from your camera set to fill to reduce the shadows. If you use a camera that has flash control set the flash compensation to -1 in sun-behind-clouds situations and -2 in bright sunlight. The result will be a reduction in the density of shadow areas, but still enough to give the necessary 3D effect.

 

3. Where To Look

Some of the best patterns can be seen in strata, layers of rock that have been formed by layer upon layer of rock or soil millions of years ago. These layers have become exposed by erosion from the sea or natural earth movement or from being cut away to make roads.

Some of the best viewpoints for photography can be found on the coastline. Go to any rocky coastline and you're likely to find interesting rock patterns and textures, whether on the cliff faces or the natural pavement you walk on. Cliff faces provide head-on views and show the strata with the most dramatic lines while the ocean bed, exposed at low tide, can provide smoother more interesting shapes.

Look for rocks covered on lichen - coastal and exposed mountain moorland areas or dense woodland where it's likely to be regularly damp are ideal for this sort of texture. Use the lens on close focus to crop in on the minute detailed textures and patterns.

 

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    1. Be Patient  Photographing lively animals like cats is all about patience – try not to get frustrated if your animal won't do what you want. Remember, it is at heart a wild animal and they won't always do what you want them to do. You might want to sit around with your camera without taking photos a few times too so they get used to seeing the camera and won't attack it or run away when you take it out of its bag.   2. Be Ready The most difficult thing about photographing animals, no matter how large or small, is that they move at the most inopportune moments. Setting your camera to continuous shooting mode may help you capture a good shot as they run off in a different direction. DSLRs feature quick continuous shooting modes but don't worry if you're not a DSLR owner as many compacts also have a continuous shooting mode built-in. Compact camera owners can also switch to sport/action mode to increase your chances of getting a blur-free shot.    

 

3. Ask For Assistance 

If you are looking to capture some action or movement shots, get someone else to play with your cat, distracting them so you can get some shots of them swiping and jumping without them going for your camera. Try getting your cat to run by throwing a toy or treat, and snap it in full run. Quicker shutter speeds or switching to sports/action mode will help you freeze your cat's movement. To further enhance the feeling of speed, pan your camera, following your cat as they run. This will, hopefully, keep your cat sharp while the background is thrown nicely out of focus. If you don't want to have a go at panning, pre-focus on a spot where you know your cat will run through and hit the shutter button when they come into frame.

 

4. Candids & Close-Ups

Another technique, to create a more wild effect, is to watch your cat outside for a while and snap more candid style shots of it hunting or climbing on a wall. Try shooting side-on so you can get a shot just as it leaps into action.

If you want some close-up shots of your feline friend, try dangling a toy above it to get it to look up from the ground. You could also try getting your cat to paw at you to give the impression that it's leaping. Dangling a toy will also encourage your cat to keep still and keep its attention focused, to stop it from wandering off. For less action-based shots, why not try capturing it lying down or stretching. Some really lovely shots can be taken while they're resting/sleeping, for example.

 

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- Partner Content -

 

Remember when you could look at a photo and know that it was, well, a photo?

If this year’s AI announcements from Apple, Google and Samsung left me with anything, it’s the certainty that those days are well and truly behind us.

From the 2023 discovery that Samsung was using AI to “enhance” photos of the moon taken on its flagship phones, to the latest round of generative tools added to Apple’s Photos app, the now-clichéd question “What is a photo?” has never been more complex or more necessary to answer.

For the record, my favourite answer to that question is the old superstition that when your photo is taken, a part of your soul is taken with it. Presumably, as you’re reading this, you don’t agree.

I must admit that the demoed results of these AI features do look good, and the only real effect of removing a lamppost from a photo of your kids is a marginally nicer snap to show their grandparents. Nonetheless, the argument that photography has a negative effect on the soul has never been stronger.

Enter Photosynthesis, an iPhone camera app that promises to enhance the user’s photos using zero generative AI. And it delivers the goods.

The idea behind Photosynthesis is simple: the app takes photos with two of the iPhone’s lenses simultaneously, then stitches the results together into a seamless composite. This resulting photo, therefore, combines the detail of the closer lens with the context of the wider, giving users the rather pithy “best of both lenses”.

It’s an idea so simple that it’s hard to believe no one has done it in the 10 years since Apple brought out their first two-lens model (the iPhone 7 Plus, which paired the regular 1x lens with a 2x telephoto).

Photosynthesis is the second app from British indie developer Sam Shepherd, who came up with the idea as a shutter-happy new parent looking to take the best photos without upgrading his phone and, understandably, without AI generating his son’s first steps. Now, after what he describes as “days of prototyping, weeks of building, months of refinement, and over 2,000 test photos”, the results speak for themselves.

 

A band performing on stage, shot from the crowd.

 

A map board, shot from several metres away.

 

Tower Bridge in London, shot from Blackfriars station, 2km away.

 

Users with an iPhone Pro (three rear lenses) can choose to pair the 1x with the zoom lens, or with the 0.5x ‘ultra-wide’, or even combine them all (’All 3’ currently in beta), while the standard iPhone (two rear lenses) can pair the 1x and 0.5x.

When shooting, the viewfinder helpfully indicates where each lens sits within the field of view, then the in-app editor comes with a heap of features designed for composite photos. While the aim of the app is to automatically produce a seamless result from just one tap of the shutter, the ability to ‘paint’ through one lens to the other is a useful tool to correct any remaining parallax artefacts.

 

The viewfinder, with green brackets to indicate the zoom lens framing.

 

The reveal tool, allowing users to ‘paint’ through one lens to the other.

 

The align tool, allowing users to tweak the relative position of the lenses.

 

Photosynthesis then offers a range of export options, from HEIC, PNG and JPEG, to layered Photoshop documents, 3D options, and a custom ‘Photosynthesis’ file that maintains editability while showing as a normal photo in other apps.

‘Photosynthesis: 2-Lens Camera’ is available to download for free on the iPhone App Store, with a 14-day unlimited free trial, after which you can keep using it for free with some limits to exports and customisation options, or pay a reasonable amount to keep everything unlimited.

And as for taking two photos at once, hopefully the slivers of soul stolen by each lens cancel each other out.

 

Neurapix has launched Studio Crop, an AI-powered Lightroom plugin feature that automatically applies consistent crops across entire portrait series. Photographers set a single crop specification with their preferred framing, aspect ratio, and eye alignment, then the AI applies it to all images at once. It's particularly useful for school, sports, and event photographers who previously had to crop hundreds of similar shots individually. The feature is included free with Neurapix Unlimited plans.

 

From Neurapix:

 

Neurapix has released Studio Crop, a new feature for its Lightroom plugin. The AI developed by the Göttingen-based company can now crop portraits according to predefined specifications - while it is already editing the images in the photographer's individual style.

The development of the new feature was prompted by school, kindergarten and sports photographers who previously had to set every crop individually across large series of images. They now get near-identical crops across entire shoots. To do so, Neurapix Studio Crop is simply checked in the usual editing dialog, and the whole series then runs through without any further input.

Photographers themselves determine how tightly the subject sits in the frame - with a little room around the subject, as a half body or as a three-quarter portrait. The AI recognizes the person in the picture (without capturing any biometric data) and applies the chosen framing to every photo in the series.

 

Aspect ratios & alignment to the eyes

The aspect ratio can be chosen freely as well: classic 2:3 or 4:5, square 1:1, or 9:16 right away, for instance when clients need images for social media stories and reels. With the "Align to eyes" option, the eye line also sits at the same height in every image of a series - a detail that creates a consistent overall result particularly for class and team photos.

 

 

"Photographers have asked us again and again to develop an AI crop that positions subjects consistently across large series," says Neurapix co-founder and CEO Nils Sauder. "We have delivered on that with Neurapix Studio Crop. For school photographers, for example, the feature is a real game changer, because it saves them a considerable amount of additional time. And the image editing happens automatically along the way."

 

Free with Neurapix Unlimited

Studio Crop is part of the Neurapix plugin for Lightroom Classic and is available automatically after an update of the plugin or a first installation. On the Neurapix Unlimited plan the feature is included at no extra charge. On Pay-per-Picture, an additional 1 cent per image applies - as with all other optional features - bringing the cost to a maximum of 5 cents per photo.

The existing Neurapix AI crop, which optimizes image composition in general, remains unchanged. It continues to be particularly well suited to reportage photography, while Neurapix Studio Crop is tailored to portrait series.

 

About: Neurapix is a German AI start-up based in Goettingen that was founded in 2021. The company has developed an artificial intelligence that is able to learn a photographer's image editing style and apply it within Adobe Lightroom Classic. This allows photographers to have large numbers of photos edited in their own style, resulting in significant time savings of around 90%. For more information, please visit the Neurapix website.