DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

Landscapes taken in colour are great but if you convert or shoot your landscapes in mono, textures shapes, patterns etc. appear more prominently and have a stronger impact on the viewer. Mono's not something that works for every shot, as we'll explain alongside a few other tips that'll help make your mono work shine.

1. Depth Of Field

As with all landscape subjects, before taking your shot, know if you want a shallow or wide depth of field. Wider is good when you have several points of interest throughout the image as you need everything in the frame to be sharp.

2. In-Camera Or Conversion?

It is up to you whether you shoot black & white in-camera or make your mono conversions on the computer when you're back home. Just remember if you shoot monochrome Jpegs you won't be able to get the colour back later if you don't like the black & white shot so it's worth considering shooting in raw which takes us nicely onto point 3.

3. Consider Using Raw

Switching to raw from Jpeg will increase the range of tones recorded, plus you can rescue more detail from an under- or overexposed shot when you open a raw file up on your computer.

4. Composition & Shapes

Clean, simple composition is the way to go when you're working in monochrome as the conversion of tones from colour to black & white don't always stand out as well and it can be hard to distinguish between different parts of the shot. If you don't use strong structures and familiar shapes such as trees, rocks and architecture, your shot can lose impact and as a result, not be as interesting.
 

5. Patterns & Lines

Look for repetitive patterns and strong lines that can help draw people into the image while strong foreground interest and lead-in lines will further help guide the eye from the front to the back of your shot.

6. Colour & Tones

Do remember that some tones which can easily be picked out when you're working in colour, such as light blues and yellows, will look almost the same when you convert them to monochrome.

7. Cloud Detail

Skies dotted with white clouds are perfect for black & white landscapes as the contrast between the white clouds and what turns into a dark grey or even black sky creates plenty of mood.

8.Time Of Day

Although black & white shots are slightly more forgiving than coloured shots when it comes to shooting closer to midday, the best time of day to shoot is either is just after dawn or before dusk, to get low angled glancing light. An hour or two before sunset when the sun is slightly lower in the sky will give more definition to the shapes that sit in your foreground.

 

9. Get The Exposure Right

Keep an eye on your meter readings as it's easy to over- / underexpose the shot, losing the mood and detail you're looking for as a result. Your histogram can be a useful tool if you find it tricky to see if a shot is under or overexposed. It's worth turning on your camera's highlight warning option, too so you can see if any areas of your shot are 'blinking' and as a result, you'll know you need to adjust your exposure.

10. Editing Images

Thanks to the digital age, tweaking images so they're a little darker or lighter in places is something we can all do. To add more contrast to your monochrome images make a simple S-Curve adjustment or try to adjust colours individually so you can, for example, darken the blue of the sky but make the grass slightly lighter. Another way to adjust the shadows/highlights in your shot is with the Dodge and Burn tools. The Dodge tool will lighten parts of the image while the Burn tool will darken the shot. You use them just as you do the Paintbrush tool, changing the brushes' strength, opacity and size as needed. Work slowly with these brushes as if you're too heavy-handed the results can be a little too strong.

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The Excire Foto 2027 interface is dominated by the central area to show off your images in Gallery view shown here. There is also a new feature called Survey view which shows selected images in an uncluttered environment.

 

It doesn’t matter if you're a photo enthusiast or a working professional, your photographs are invaluable and you should take care of them. Part and parcel of this process is rating, filing and culling your output and any software that helps you do this with greater efficiency and minimal stress is worth knowing.

We tested the award-winning Excire Foto 2025 recently and were impressed by its skills. Uniquely, it uses AI technology to analyze, rate and automatically keyword images and boasts a host of powerful search tools. Check out that review here. It’s a standalone app and for those using Adobe’s Lightroom Classic there is the option of Excire Search 2026 which works as a plug-in. 

The big news is the arrival of Excire’s Foto 2027, a software available for Mac and Windows that includes the core capabilities of Excire Foto 2025 but has added even more ways of searching for images and gives an even better user experience.

Excire Foto 2027 is available at a special launch price of £199 / $219 with the standard price being £229 / $249.

 

Quick Verdict

Excire Foto 2027 is an impressive software that is definitely several steps on from its predecessor, Excire Foto 2025. Survey view, Map view and AI text search are more than useful new features while the core search tools such as Find by Text Prompt, Find Faces and Find by Keyword remain central to the core proposition of Excire Foto 2027. For busy image creators, it’s a software that deserves a serious look.

 

+ Pros

• Works quickly even with massive image collections
• The uncluttered Survey view is excellent
• Map view will appeal to travel and landscape photographers
• Excire Foto 2027 runs locally so your data remains safe
• Excire Foto 2027 is a one-off purchase
• Suits stills and video
• Powerful search tools – text prompt, keyword, GPS, faces, people, similarity, duplicate
• Find by Text is a new search tool that works well
• Auto keywording saves time
• AI-assisted culling
• Aesthetic ratings can save time
• Video playback within the app

 

- Cons

• Excire Foto 2027 is a significant investment 
• Initialising large photo collections takes time but it’s a once only job
• Auto keywording works well with people shots but less well with general shots and scenics
• Aesthetic ratings won’t appeal to everyone

 

 

 

 

Excire Foto 2027 is the new kid on the block but that doesn’t mean Foto 2025 has gone. It remains available at the lower price of £159 for an outright purchase which is good value. So, for example, if you don’t need Map view or text search in Foto 2027 you could save yourself money by buying the older software which we know to be a very capable program that works quickly and has excellent search skills.

However, if Excire Foto 2027 appeals, try it before buying; it’s available on a free 14-day trial.

 

The interface’s top section has a new look in Excire Foto 2027. There’s a content search bar with the options of searching by text in photos, content or metadata. There’s also a timeline graph – the blue columns here.

  Excire Foto 2027 Getting started 

Open Excire Foto 2027 and you are greeted with an interface dominated by a large central area to view images or the map in Map view. This is surrounded by tools and icons but the interface is not as daunting as it is in some apps, probably because Excire has no image editing skills so there’s less to fit in.

You can’t enjoy the benefits of Excire Foto 2027 until your images are initialised which means images are analyzed by AI and keywords and aesthetic ratings are applied.

With Excire Foto 2027 open, go to File>Add folders or use the + symbol in the top left of the interface and that brings up the Add Folder dialogue box with options including Analyze photos and Include Subfolders. 

With a big collection of images, the initialisation process takes time and Excire suggests running the process overnight. That is advice worth heeding especially as you can’t do much in the software while images are being processed. You could of course have initialisation running in the background while you’re working in other apps. 

With the amount of time needed to initialise images I did it in stages. In one session, 127,614 photos took 31 seconds shy of 12 hours. This is a once-only process so once you have initialised your archive adding new images is much quicker. For example, a day’s shoot of 3884 images took just under 16 minutes.

One thing you need to do at the beginning is select a hard drive for Excire’s database. The options come up under File>Open database>Create Folder for new database. The database will grow as images are added so you need a decent amount of hard drive capacity. During this test my database grew to 439,357 images and that took up 108GB. 

You can have more than one database. For example, have one for personal images and another for commissioned work. In my test, I had one big database, and the software was always quick at producing previews with no time lost waiting for previews to sharpen up or even appear, which happens with large Lightroom Classic catalogues.

In my workflow, I store catalogues on an external 2TB NVMe SSD drive in a fan-cooled enclosure connected to the computer’s Thunderbolt 4 port. For this test, I used a M2 Max Mac Studio 32GB RAM running Tahoe 26.2.

 

Survey view can show from a single or several frames to many images. I selected 150 images and I got a view of 103 thumbnails on my 32in screen (right) with the remainder in a queue. If you have several images on show, the remaining previews grow larger as images are rejected.

 

Excire Foto 2027 Key Features

• One-off purchase, no subscription option
• Selection of search tools: Text in photos, text prompt, duplicate, GPS, people, faces, keyword, similar
• Survey view shows selected images against a plain black backdrop
• Organising tools: AI keywording, duplicate search, face-tagging
• Timeline viewing which goes down to days 
• AI-assisted culling 
• Focus peaking feature
• Map view for images with GPS co-ordinates
• Face-sharpness detection
• AI Aesthetic scores
• Ratings, keywords and aesthetic ratings can taken into Lightroom Classic 
• Fast preview rendering
• Raw, PSD, JPEG, TIFF files compatible with Excire Foto 2027 including large files
• Available for Mac and Windows

 

At a glance: Main updates in Excire Foto 2027 compared with Excire Foto 2025

• Text in photos search tool
• Map view
• Survey view for viewing images without distractions
• New Smart filter bar and Timeline Graph
• Focus peaking feature 
• Improved prompt search capabilities

 

New in Excire Foto 2027 is the ability to check critical using focus peaking which has an adjustable threshold. 

 

Excire Foto 2027 Map view

During initialisation, Excire Foto 2027 takes the GPS data from your images and places them on a map so you can see where you took pictures, how many you shot and clicking on the map point shows what you took at that spot. It’s a cool feature.

However, for this test I was stuck because only my iPhone snaps have GPS data, and I had no camera Raws with GPS co-ordinates. I downloaded the Sony Creator app to my iPhone, linked it with the camera by Bluetooth and went out and shot pictures.

Clicking on the Map view icon, which sits at the bottom left of the interface. Zooming in, I could see I had been photographing in London and the number in the single black dot showed I’d shot 491 photos. I had taken many more but for some technical reason (or user error!) the GPS data had not been recorded. This is not an Excire issue and it shows you need to get the technology set up correctly for reliable results. GPS data can be added in Excire Foto 2027’s metadata editor, which is easy to do in bulk although you won’t get street-level detail.

Zooming in much further into street view and the single black blob became many more and I could see how many shots I had taken and where. Location accuracy seemed pretty good although there were some inaccuracies due to GPS issues, but it was more than good enough for general location details.

 

I did a photo walk around London’s Covent Garden. Clicking on each map point, which shows how many were pictures were taken at that spot, changes it from black to blue and the images are shown along the bottom of the interface.

 

This is the maximum magnification of Excire’s map. Accuracy is pretty good but that of course depends on the GPS recording device rather than Excire.

 

Excire Foto 2027 Find by Text in Photos

A big new feature in Excire Foto 2027 is the ability to search by Text in Photos. If, for example, you were searching for a location you may find it, but you could be looking for a shop name, an event or a sponsor’s logo.

I went to Hong Kong last year and I know where the images are but as part of the test I tried a Text in Photos search looking for the words ‘Hong Kong’. Where text is found Excire places a yellow box over the word/s and hitting the space bar hides the yellow box. This search took a few seconds and Excire Foto 2027 found 277 images with the words ‘Hong Kong’, some were large and obvious, but many were small in the frame or even very faint thanks to poor exposure.

More randomly I tried the word ‘toilet’ and this occasion I got 26 images including the one shown below (which just happened to be in Hong Kong) and Excire Foto 2027 found it even though it was small and dark in the frame.

Searching by visible text showed itself to be a welcome addition to Excire Foto 2027’s search armoury with plenty of potential.

 

Searching for the words ‘Hong Kong’, Excire Foto 2027’s Text in Photos found them even when they are overexposed in the image. The inset shows how faint the original word was.

 

Showing what Text in Photos is capable of, a search for the word ‘toilet’ found it in this image even though it was tiny and in the shadows. The inset shows how small the original word was.

 

Excire Foto 2025 Find tools and the Timeline Graph

Excire Foto 2027 sees the arrival of the Timeline Graph. Checking out what you shot by date is possible with the Timeline/People icon on the left of the interface and this works down to days. The other option is to click on the Timeline Graph button in the top bar and zooming into the graph again means you can view what you shot by month, week and day.

The Find by text prompt we tested in Foto 2025 but for those who didn’t read that review (click here to see it) it’s worth a recap. Basically, when using Find by text prompt just type what you are looking for and Excire searches your database for images conforming to what you asked for. The search can be narrowed or broadened, and you can choose to limit the number of images to view.

You might search for a specific subject such as bridges, black cabs or airplanes but you can also search for photos that depict an emotion and a mood you want photos to illustrate. 

In another search, I needed some photos that showed creative use of depth-of-field, so I searched for ‘images that show the use of depth-of-field’ and in my database Excire Foto 2027 found 19,930 images in around 30 seconds, mostly showing selective focusing at wide lens apertures. You can see a sample of what was found in the screenshot below.

As with all the searches in Excire Foto 2027, the results can be rated or flagged, and searches are saved as collections that you can revisit later.

 

Using Text in photos, I searched for ‘images that show the use of depth-of-field’ and got 19,930, mostly viable, candidates.

 

 

Two examples of Excire Foto 2027’s automatic keywording and Aesthetic rating capabilities. It’s interesting that Excire gave the portrait of the blond model Dolly the keywords of Bride and Wedding. Incorrect in both cases but you can appreciate why those keywords were added. With Big Ben it was correctly identified.

  Excire Foto 2027 Keywording and more

During the initialisation process, Excire Foto 2027 gives your shots an Aesthetic rating and adds keywords. Hit the Excire icon on the right side of the interface and you can view ratings and keywords for each image.

How deep Excire’s keywording goes depends on the subject. Often, with people shots there is much more detail with keywords so for a portrait of a woman you might get eyes open, face, female, smiling and hair colour and more. The keywords applied to an architecture shot can also be useful and might include window, skyscraper and city. You’ll probably get fewer keywords with scenic, nature and location shots although it‘s the case that famous sites and birds such as kingfishers are recognised and keyworded accurately. For example, for photos of Big Ben it was correctly keyworded and additional keywords include clock, travel, tower, sight, city and building.

 

Excire Foto 2027 Verdict

Excire Foto 2027 is an excellent image management program and its new headline features – Map view, Survey view and Text in photos search tool – work well and add even more functionality to what was already an awesome package. 

How you would work with Excire Foto 2027 is obviously your call but having one huge database with powerful search tools is a seriously big benefit that could save you a lot of time. The same applies to Excire’s ability to efficiently rate and cull shoots before taking the ‘keepers’ into Lightroom or any other post-processing program for editing. 

For busy image creators, Excire Foto 2027 is definitely worth serious consideration.

 

Excire Foto 2027 Pros

• Works quickly even with massive image collections
• The uncluttered Survey view is excellent
• Map view will appeal to travel and landscape photographers
• Excire Foto 2027 runs locally so your data remains safe
• Excire Foto 2027 is a one-off purchase
• Suits stills and video
• Powerful search tools – text prompt, keyword, GPS, faces, people, similarity, duplicate
• Find visible text in photos is a new search tool that works well
• Auto keywording saves time
• AI-assisted culling
• Aesthetic ratings can save time
• Video playback within the app

 

Excire Foto 2027 Cons

• Excire Foto 2027 is a significant investment 
• Initialising large photo collections takes time but it’s a once-only job
• Auto keywording works well with people shots but less well with general shots and scenics
• Aesthetic ratings won’t appeal to everyone

 

 

 

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Having a blurry image isn't always a bad thing. In fact, when it's used in the right place, it can actually make your photos better. Here are a few examples of when blur can be used and a few tips on how to produce the shots.
 

1. Water / Waterfalls

 

1. Use shutter-priority so you can control how long the shutter is open.
2. The slower the speed you choose the more blur there will be.
3. The speed you need will change depending on how much blur you want, how much water there is and the distance between the camera and your subject.
4. Start between 1/8sec to 1/15sec and just adjust until you get the blur you're looking for.
5. If you struggle to get the shutter speed low enough try fitting an ND filter to your lens. 
6. Always use a tripod to prevent shake spoiling your shot and if possible use a remote / cable release. 
7. Meter carefully as large areas of light tones can fool the camera into underexposing your shot.
8. Slow shutter speeds will blur anything that moves so if you don't want what's surrounding your subject to be blurred, try taking two shots: one with the slower shutter speed then the other with a speed that will freeze movement. You can then combine these in editing software such as Photoshop.
9. Try blurring the movement of waterfalls, rapids, waves breaking along the coastline, a fast-flowing river and water flowing from a tap

  2. Action Photography

 

1. For people, animals or vehicles which are moving, adding a touch of blur to the image can give the impression of speed, emphasising motion and creating a sense of drama in the shot.
2. If you use too higher shutter speed you'll just freeze the motion, too slow and there can be too much blur and the background and your subject will seem like they're merging together. So it's worth experimenting with a variety of shutter speeds to get it right.
3. Try panning with the subject as they move. Start panning, release the shutter button and then continue the pan even after the camera's captured the image. If you get it right the subject will appear sharp as it hasn't moved position in the viewfinder, but the background will be blurred making the subject look as though it's hurtling along.
4. Try to get enough blur so the background isn't distracting and the movement of the wheels on the vehicle you're photographing are blurred to create the sense of motion in the shot. This will also help the eye focus on what it's meant to.
5. Try using slow sync flash which is where you use a slow shutter speed and flash together to freeze your subject but blur the background. The low shutter speed continues to record the ambient conditions and further subject movement. It's used mostly by sports photographers recording cycling events or motorsports but can also be creative in any environment that has a moving subject in the foreground. Try using it next time you're photographing your child playing on a swing.

 

3. Light Trails 

 

1. Do not try and drive the car and work the camera at the same time. Get yourself a driver or you drive and get a friend to operate the camera.
2. Make sure the windscreen is very, very clean otherwise smears will spoil the final shot.
3. Make sure the tripod is secure before you set off so the camera doesn't get broken from it falling over during the drive.
4. Try positioning the camera so you can only see the view through the windscreen but don't worry if you have the roof or dashboard in shot as you can always crop it out. The lights and shape of the dashboard can also add an extra element of interest to the image, giving the trails something to contrast against.
5. Focus on the distance - you want the lights sharp ideally.
6. Use a small aperture to give you front to back sharpness. It'll also mean you can use longer shutter speeds.
7. 10-30 second exposure will capture the light trails. If you want longer shutter speeds, use the B setting.
8. Use a remote trigger, cable release or self-timer to fire the shutter.
9. Twilight is a good time and you need a location with a variety of light sources.
10. Towns are good locations for this as they'll be streaks of light on various levels and of several shades on offer. Motorways are also good but here you'll get more continuous long light streaks.

 

 

4. Abstract Shots 

 

1. Sometimes you don't need anything to be sharp and in focus to make an interesting image.
2. If you're using lines try to find a location that gives you a shot that has lines that vary in size and colour. Bolder lines will have more impact than small, faint ones and do remember they will still guide the eye through the shot and tell the viewer where they should be looking.
3. Shapes are obviously softened so make sure you're photographing something that's interesting and bold, otherwise your image won't have any impact.
4. Strong, bold colours work well because you're losing texture and detail you see in sharp shots. Make sure your tones don't clash and check to see if any shades are overpowering certain areas of the frame.

 

5. Drag Landscapes 

 

1. Overcast days are perfect for this technique.
2. Find a scene that has strong lines – fences with flowers in front of them and trees work well.
3. Basically, you need to press the shutter button and as the exposure processes, dragging your camera up, down left or right as it does.
4. Don't stop panning until you're past your subject as you won't get the blurry lines you're looking for.

 

6. Zoom Blur

 

1. You have to get the zoom right – too much and you won't be able to make out your subject, too little and it will just look like a normal shot.
2. Use a small aperture to get the slower shutter speed that's needed. Use a low ISO too. This is particularly important when your subject is backlit.
3. Fit a neutral density filter or a polarising filter if you can't get a slow enough shutter speed.
4. Make sure you meter from your main focus point.
5. You need to set the zoom to either the short or long end of the focal length range, open the shutter, wait for a while then in one, smooth, quite quick movement, zoom out. By pausing at the start your subject will have a little definition before the blur kicks in.
6. Stained glass windows are good subjects for this technique but try it in a forest with the light that flows through the trees too.

 

7. Remove Distracting Backgrounds 

 

1. If you're working somewhere that has a busy background use a larger aperture to throw it out of focus. This blur will hide whatever was distracting the eye, allowing all focus to fall on your subject.
2. If you're using a compact camera try switching to the appropriate mode (portrait for people, macro for close up work) so the camera knows you want to throw the background out of focus.

 

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

 

Peak District Inversion, a stunning photograph by edrhodes, capturing a mist-filled valley at sunrise, has taken our Photo of the Week award.

There is plenty to admire in this image. A bare tree sits on the steep, grassy ridge up front. Chrome Hill and Parkhouse Hill stand above the blanket of low-lying cloud. The golden light of the sun just coming over the peaks creates a nice contrast with the darker clouds above and the cooler mist below, giving a calm morning atmosphere.

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. 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.

 

We have for review two exciting Leica products that can be bought as a kit or separately. The Leica SL3-P brings a hybrid stills/video offering to the table, and the Vario-Elmarit-SL 24-70mm f/2.8 Asph completes the picture. First, the lens, with the camera review hot on its heels as I write. A Leica quality standard zoom lens that pushes the wide angle to a very useful 24mm is a very attractive proposition. Couple that up with the 44.9MP Leica SL3-P body as a package that is equally at home with stills and video and this looks to be an exciting voyage of discovery indeed. Let's get straight to it and see how it all works out.

 

Leica Vario-Elmarit-SL 24-70mm f/2.8 ASPH Handling and Features

The lens looks big and chunky, weighing in at a solid 856g without the hood, and 906g with the metal hood. No hood was provided with the loan sample but one should be expected in the box when purchased. Some lenses still perform well without a hood, but it's always a good idea to use one even if only to protect the front of the lens from impact damage. Dimensions are 123mm x 88mm. The illusion of size is probably partially caused by the large, chunky lettering.

Starting our tour of the lens, within the bayonet fit for the hood is a conventional 82mm filter thread. Just behind this is the focusing ring, electronic and absolutely as smooth as silk. AF is driven by a very fast and virtually silent stepping motor, and focusing speed is aided by just one element being moved during the AF process. Closest focus at 24mm is 18cm, for a maximum magnification of 1:2.9; at 70mm this becomes 38cm for a maximum magnification of 1:4.5. It is a pity that the greatest magnification is found at the widest setting as this means an uncomfortably close working distance that can make lighting the subject more difficult.

 

 

Optical construction is 19 elements in 15 groups, with a total of 6 aspherical surfaces, plus elements with anomalous partial dispersion. The diaphragm comprises 11 blades, aiming to improve the bokeh. The lens as a whole is dust and splash water sealed, something that is by now almost a requirement for any lens intended to be seriously used outdoors.

The lens description follows and then the boldly labelled zoom ring. There are accurate markings provided at 24mm, 35mm, 50mm and 70mm. The zoom action physically moves the lens, so although smooth, it does need more effort to move as it extends the length.

Finally, the metal L mount fits positively on to the Leica SL3-P camera body and there are no glitches either in terms of mechanical fit or in terms of electronic communication.

Just about the only handling caveat is that of weight and bulk. Metal and glass equals heavy lenses and camera bodies, and Leica does not shy away from the consequences. However, this is accompanied by finesse in quality, so the operation of all controls is smooth and slick. It is also a million miles away from the diminutive form factor of, say, an M series rangefinder. The Leica name in itself demands something special, so let's have a look at the performance and see if this expectation is borne out in practice.

 

 

Leica Vario-Elmarit-SL 24-70mm f/2.8 ASPH Performance

At 24mm, central sharpness is excellent from f/2.8 to f/11, very good at f/16 and good at f/22. The edges are very good from f/2.8 to f/11, good at f/16 and fair at f/22.

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

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

Wide open, close up flat subjects such as text do suffer a lack of sharpness at the edges, but stopped down this soon clears and the results become crisp.

 

Leica Vario-Elmarit-SL 24-70 f/2.8 ASPH. MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a Leica SL3-P body using Imatest software (www.imatest.com). Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is not a problem and there is virtually no sign of colour fringing.

Distortion is virtually zero. We measure this to two decimal places, and at 24mm pincushion distortion yields a result of just +0.01%. At 50mm and 70mm, the result is actually zero. Clearly the lens is very suitable for architectural photography.

 

Leica Vario-Elmarit-SL 24-70 f/2.8 ASPH. Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.

For this review, the lens was tested on a Leica SL3-P body using Imatest software (www.imatest.com).

 

Bokeh is smooth and satisfying. The out of focus areas make a beautiful backdrop, especially for portraits and flower studies.

Flare is minimal, with no sign of artefacts even in the most severe lighting conditions.

Vignetting is very modest for such a zoom lens.

 

Aperture 24mm 50mm 70mm f/2.8 -1 -0.9 -0.8 f/4 -0.6 -0.6 -0.5 f/5.6 -0.6 -0.6 -0.5 f/8 -0.6 -0.6 -0.5 f/11 -0.6 -0.6 -0.5 f/16 -0.6 -0.6 -0.5 f/22 -0.6 -0.6 -0.5

 

Leica Vario-Elmarit-SL 24-70 f/2.8 ASPH. Sample Photos Previous Next

 

Leica Vario-Elmarit-SL 24-70 f/2.8 ASPH. Aperture range Previous Next

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

 

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Value For Money

The [AMUK]Leica Vario-Elmarit-SL 24-70mm f/2.8 ASPH|Leica+Vario-Elmarit-SL+24-70mm+f/2.8+ASPH[/AMUK] is priced at £2590

Possible alternatives in L mount:

• [AMUK]Leica Vario-Elmarit-SL 28-70mm f/2.8 ASPH|Leica+Vario-Elmarit-SL+28-70mm+f/2.8+ASPH[/AMUK], £1750
• [AMUK]Leica Vario-Elmarit-SL 24-90mm f/2.8-4 ASPH|Leica+Vario-Elmarit-SL+24-90mm+f/2.8-4+ASPH[/AMUK], £4900
• [AMUK]Sigma 24-70mm f/2.8 DG DN II Art|Sigma+24-70mm+f/2.8+DG+DN+II+Art[/AMUK], £1129

Certainly in terms of bald cost, the Sigma lens looks rather attractive, but the solidity of the Leica version and the match with the Leica camera bodies will for many be a major consideration. This is an area where “want” and “need” may be poles apart.

 

 

Leica Vario-Elmarit-SL 24-70mm f/2.8 ASPH Verdict

What price quality and what price that revered Leica name? Frankly, if we can afford the Leica camera body, then it is to be hoped that we can also afford the Leica lens to match its style, its quality and its performance. There is no doubt that the Leica lens plus the Leica SL3-P body sent for review match each other beautifully, producing exciting quality images that do “sing” and are an aesthetic pleasure. However, realistically, some will find the Leica too bulky and too heavy and exciting images can be produced by much less expensive kit. It is about perceptions, and about the enjoyment and satisfaction that can be felt when using cameras and lenses that gel with the photographer/videographer.

Price aside, the lens is a joy to use and the results are great. It is Highly Recommended.

 

Leica Vario-Elmarit-SL 24-70mm f/2.8 ASPH Pros

• Very Good to Outstanding sharpness
• Fast f/2.8 constant aperture
• Well controlled CA
• Virtually distortion-free
• Very good flare resistance
• Dust and water splash sealing
• Close focusing
• Excellent AF performance
• Ultra-wide 24mm very useful

 

Leica Vario-Elmarit-SL 24-70mm f/2.8 ASPH Cons

• Weaker edges close up at open aperture

• Closest focus at widest focal length

 

[REVIEW_FOOTER]R_features=4|R_handling=4.5|R_performance=5|R_value=4|R_overall=4|A_level=4.5|A_text=Highly Recommended – A beautiful standard zoom lens that gives beautiful results.|E_id=8027[/REVIEW_FOOTER]

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Interesting skies can pop up at any time of the day, at any point during the year so really it's just about keeping an eye out on the weather forecast and sticking your head out of the window to see what's happening. If you're out and find one spot you particularly like it might be worth setting up for the day to just see what happens. You never know you could end up with a series of shots that feature a brilliant sunrise and interesting cloud formations all from the same place.

 

1. What Gear Do I Need?

A wide-angle lens will help you make the most of big, interesting skies. Just keep an eye on what's creeping in at the edges of the shots as the wide view can mean less interesting parts of the sky end up in the frame. Pack tripod in the car and pocket an ND Grad to help you capture a more balanced exposure and a solid ND filter for when you're just shooting the sky.

2. Look At The Sky Before You Take Your Shot

If the sky's boring and flat don't let it dominate the scene. Instead, move the horizon up slightly so you have more foreground interest. For times when the sky really does sing do the opposite and move the horizon down, cutting more of the foreground out so all attention falls on the clouds, sunset colours or whatever other feature makes the sky stand out.

 

3. Get The Exposure Right

Getting the exposure right can be a little tricky due to the differences in contrast between the sky and ground. It could even be the ground that's a lot lighter than the ground, rather than the usual bright sky syndrome many people usually have to face. This will happen when there's a storm brewing or just after the rain's stopped falling.

When it comes to metering, most of the time you just need to focus on the highlighted areas of the image (which is usually the sky) and the darker areas will sort themselves out. However, if you find the foreground ends up too dark use exposure compensation to increase the exposure by one stop.

 

 

4. Tips On Using Filters

If you find the sky's still a little too bright fit a Graduated Neutral Density filter to even out the exposure. If it's the ground that's too light try rotating the filter so the dark part of the graduation sits over the ground.

 

5. Use Clouds In Your Shots

If you have a sky full of interesting cloud formations the key is to make sure the clouds aren't too bright. Check your histogram if you're unsure. Make sure you're ready to shoot an interesting formation as soon as you see it as they change shape quickly and if the clouds are rather breath-taking remember to lose some of the ground to make the sky your focus.

Blurring the movement of the clouds is an interesting effect that can also help create leading lines to guide the eye through the photograph. If you're shooting on a bright-ish day you'll need to fit an ND filter so you can use the slower shutter speeds without too much light reaching the sensor.

 

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 snursey (Day 24 - 'Portrait Landscape').

 

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 16

Interesting Angles

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Day 17

Waterfall Close-Ups

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Day 18

Close-Up Faces

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Day 19

Stone Circles

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  Day 20

Repetitive Patterns

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Day 22

Carnival Photography

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Day 23

Sunsets By The Sea

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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.

 

Signs aren't the most difficult subject in the world to photograph but there are a few things you can do to ensure your shots are perfect.

 

1. Why Photograph Signs?

Signs can be interesting and/or funny in their own right and they can give the person who's viewing your work more information about the areas you visited too. Older parts of towns will have signs that look a little more battered while newer signs which look less worn and more modern will suggest you spent quite a lot of time in newer areas of town. They also suggest if you've ventured beyond the tourist areas as signs tend to just have the language of the country you're visiting once you're over the edges of the tourist trap. These, in particular, are the signs that can be funny too due to the different language or images used to illustrate what the signs telling people. You may also find people have added their own diagrams to the signs which can often bring to odd grin or two.

 

2. Give Your Collection Direction

As well as having them as photos that sit among your collection you can use signs to organise your galleries, albums and portfolios. They make great headings that will help the viewer understand they're moving into a new collection of images.

 

 

 

3. To Zoom Or Not?

If the sign is particularly interesting or tells a story on its own without its surroundings you'll want to fill the frame with it, making use of your zoom if you can't physically get close to the sign. If you're using the sign within its surroundings you'll probably want to use a small aperture to ensure front to back sharpness. Double-check you can still see what's on the sign too as, after all, it's still our focus. Where possible, try shooting straight on to the sign too so it's easier to read.

  4. Reflections

Modern signs are more likely to have a reflective surface and when you're working with bright sunshine or flash, glare can bounce back off the sign spoiling the shot. As a result, it's usually best to turn the flash off or if you're using a flashgun leave it in the bag. If sunlight is your problem then try a different position to see if the glare goes away or return later or come back early the next day when the sun's moved positions.

  5. Shop Signs

If you come across an interesting shop sign chances are it'll be high up and shooting from the ground, looking up won't look right in the final shot so if you can, find something to stand on to give you more height or stand further back if that's not possible.

 

 

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Historical ruins such as churches, castles and abbeys decorate our countryside and seaside towns but you'll also find a few smaller, but still impressive ruins closer to home. Walls, arches and columns are still dotted around a few towns and villages which are still photogenic even if there's not much of the structure left to photograph. If you're off on your travels, have a look online and at local tourism centres to find out what ruins are near to where you're staying.

 

1. What Gear Do I Need? 

For general shots of the building and the surroundings you'll need a wide-angle lens but take your longer zoom along too for getting in close to interesting architectural detail. A tripod's handy but if you want to travel light, try taking something smaller such as a tabletop tripod and use a wall to help you steady your shot. If there are any windows left in your building of choice a polarizer will reduce reflections and the blue of the sky will be enhanced giving your image more contrast.

 

2. Do Your Homework

Many of our abbeys and other ruins are now looked after by the National Trust or English Heritage so you could be charged to walk around them, they'll have specific opening times and there may be restrictions if you want to use your images commercially so it's worth a quick look on the internet or a chat on the phone to find out everything you need to know. That way you won't waste your petrol money.

 

 

3. Take A Walk

The first thing you should do when you arrive is stretch your legs on a walk around the ruin. This will give you the chance to scout for interesting detail and look for the best angle. Don't just stand and photograph the first pile of rubble you see as this won't give your viewer any clue into what the building is or what it was used for. Look for areas that have a more definite shape and if you can, parts where nature hasn't completely taken over. Of course, some walls look great with roots growing through them and it can really emphasise how ruined the building is, so keep that in mind.

 

4. Look Closer

Look for unique parts that make the building stand out from any other and if the outside isn't very interesting you could always take a peek inside to see if the hidden details give more of an idea of what the function of the building was. If the building still has an inside watch your exposures and check your histogram before you move on to make sure it's OK. Try shooting inside out through a broken window or use a long corridor to lead the viewer's eye through the image.

Signs are a direct way to explain more about the building you're photographing and they can often be quite interesting in their own right with features such as peeling paint and rusty bolts worthy of a quick photograph.

 

5. Tall And Wide

If you're working with a particularly tall building converging verticals may be a problem but by shooting from a height this can easily be rectified. Steps, hills or shooting from another building are all ways you can correct the distortion or you could try stepping further back which gives you the opportunity to use the surroundings to give the building context.

If the grounds really do add to your image try shooting a panorama. Some cameras come with this function built-in but if yours doesn't just shoot several images moving from right to left or left to right and stitch them together with specifically designed software when you get back to your computer.
 

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L-R: Ian McKellen, Love, London, 2023; Chappell Roan, Fashion: Chanel Haute Couture, New York City, 2025; Isaac Julien and Queen Conch Shell, London, 2023; Miriam Margolyes, Clapham Cream Teas, London, 2023 / Image Credit: National Portrait Gallery

 

The National Portrait Gallery has announced full details of Tim Walker's Fairyland: Love and Legends, a landmark new exhibition from acclaimed British photographer Tim Walker. Running from 9 October 2026 to 7 February 2027, the show brings together 250 specially created portraits made over five years, capturing Queer activists, storytellers, performers and icons including Ian McKellen, Chappell Roan, Isaac Julien and Miriam Margolyes. Curated by Susanna Brown, the exhibition traces over fifty years of Queer history and culture, from the campaigners of the Gay Liberation Front through to today's changemakers, before closing with a bold exploration of fashion, performance and fairy tale reimagined through a Queer lens.

 

From National Portrait Gallery:

Today the National Portrait Gallery reveals details of a major new exhibition created by renowned photographer Tim Walker, presenting a body of new work celebrating Queer culture and life. The project is the result of five years of connecting with Queer people and their allies in Britain and beyond and marks a decisive shift in Walker's artistic focus.

Walker rose to prominence in the 1990s with his unique style of fantastical photography. Since then, his fashion pictures and portraits have graced the pages of magazines such as Vogue, Vanity Fair, W, Love, Another Man and i-D. He has published seven books and staged solo exhibitions at museums around the world, while his short films and projects with musicians have won international acclaim.

Curated by Susanna Brown, the exhibition engages with the historical gallery setting, presenting both unsung heroes and established giants of Queer history. Designed by Walker's longtime collaborator Shona Heath with support from the National Portrait Gallery, Walker spotlights some 250 activists, social workers, nightlife performers, musicians and superstars in a spectacular display. Tim Walker's Fairyland: Love and Legends purposefully reclaims the word 'fairy' for Walker and his sitters, resisting homophobia and transphobia with his original blend of wit, joy and sensitivity.

The exhibition opens with portraits of trailblazers who spent the 1970s and 80s bravely advocating for the right to love. They include founding members of the Gay Liberation Front and Stonewall, among them Olivette Cole-Wilson, Andrew Lumsden, Lisa Power and Tom Robinson. Walker memorialises his own 'queeristocracy' in a style inspired by sixteenth-century portraits of Tudor aristocracy by Hans Holbein the Younger and Nicholas Hilliard.

 

L-R: Andrew Lumsden (1941–2023) (after Nicholas Hilliard), London, 2023; Olivette Cole–Wilson and Blackbird, London, 2025; Sunil Gupta, London, 2023; Jill Nalder Holding a Photograph of Dursley McLinden (1965–95), London, 2023. / Image Credit: National Portrait Gallery

 

A further group of Queer changemakers, such as Ted Brown, Caroline Paige, Gilli Salvat and Peter Tatchell, are shown alongside storytellers who made Queerness visible in the late 20th century, including James Ivory and Sarah Waters. Walker invited each sitter to bring a meaningful object to their portrait session: author Jane Cholmeley presents the original shop sign from Silver Moon Women's Bookshop, founded in 1984; photographer Sunil Gupta holds his camera; and filmmaker Isaac Julien clasps a conch shell, a motif from his pioneering 1989 film Looking for Langston. Walker then photographed those working today for a better future, among them Liz Carr, Shon Faye, Francis Lee, Lady Phyll, E-J Scott, and Kae Tempest. Nearly all these portraits are set against deceivingly simple white backgrounds, in a style reminiscent of the work of Richard Avedon, whom Walker assisted in the 1990s.

 

L-R: Lady Phyll, London, 2024; Kae Tempest, London, 2023; Francis Lee, Ode to Edward Carpenter, London, 2023; Shon Faye, London, 2025 / Image Credit: National Portrait Gallery

 

The exhibition pays tribute to the many people who came together in solidarity and action in response to the HIV/AIDS crisis of the 1980s. Walker's photographs of nurses and healthcare professionals who developed effective treatments for the disease are displayed alongside musicians who soundtracked the era, including Marc Almond, Holly Johnson, and Jimmy Somerville. Walker explains, "The brilliance of their music boomed despite the fear of mortality and discrimination. I wanted to bring that disco to the ward, to celebrate the tireless work to spread awareness and pursue proper care and solutions."

A room at the centre of the exhibition is dedicated to large-scale portraits of post-punk collective the Rebel Dykes, inspired by Karlheinz Weinberger's photographs of 1960s biker gangs. These are accompanied by a short film in which the women reflect on the importance of community and their campaigns for nuclear disarmament, environmentalism, sex positive feminism and HIV solidarity.

 

L-R: Aphra and Jo Barwick, Siobhan Fahey and Emily Witham, East Sussex, 2024; Maartje Convens and Marin Céleste, Camfield Place, Hertfordshire, 2022; Paul O'Grady (1955–2023) and Julian Clary as the Glitter Queens, with Harry Browse, Rae and Liam Elias as the Glitter Boys, London, 2022 / Image Credit: National Portrait Gallery

 

The second half of the exhibition looks at the transformative power that fashion, makeup and performance have long held for Queer people. It features portraits of designers Jean Paul Gaultier and Michaela Stark, drag performers Paul O'Grady, David Hoyle and Midgitte Bardot, personalities Alan Carr and Sue Perkins, and actors Ncuti Gatwa, Hunter Schafer, Fiona Shaw and Ben Whishaw, among many others. International music stars and icons Björk, Lady Gaga, Boy George, Frank Ocean, and Chappell Roan are also pictured.

 

L-R: David Hoyle, Prawn Cocktailed, London, 2023; Ben Whishaw in Crystal Prism, London, 2020; Fairyland Parade, Joe Sweeney, Matthew Keller, Harry Keita, Bolly Illusion, James Corbin, Oliver-Bijan Daryoush, Jack Newman, Yos Clark and Joseph O'Rourke, London, 2023; Alex Gorey and Matías Montes (after Yannis Tsarouchis), London, 2021 / Image Credit: National Portrait Gallery

 

The exhibition climaxes with a room of staged erotic scenes which subvert fairy tales and nursery rhymes through a Queer lens. Walker contextualises these works saying, "the greatest thing I learned from the activists, storytellers and performers who make up Fairyland is how essential eroticism and humour are. It's the very heart of what we're talking about when we talk about Queerness. A place where you can desire and be desired. A place where you can be whoever you want to be."

"The Fairyland exhibition is me finally placing myself in the queer realm with confidence and greeting all the other friends who live here. Just as I learned from the queer artists who came before me, some of whom I'm lucky enough to have met and photographed here, Fairyland is me saying you are not alone. I want visitors to the exhibition to remember that your difference is your power. It is a precious and beautiful thing." 

Tim Walker, Photographer

 

"This is the most ambitious and important project of Tim Walker's career. He takes exhibition visitors on a journey that begins with protest and outrage and ends with joy. For some visitors, the content will resonate with their own lived experiences, for others it will broaden their understanding of unfamiliar subjects. It's been an honour to collaborate with him and to witness the creation of this powerful and uplifting body of work."

Susanna Brown, Exhibition curator

 

"Tim Walker's Fairyland: Love and Legends takes us on an extraordinary journey through half a century of history. It is a vivid tapestry of Tim's many inspirations and influences and presents lavish, fantastical scenes alongside intimate and singular portraits. This timely exhibition is both deeply personal and profoundly universal and we are proud to host it at the Gallery."

Victoria Siddall, Director of the National Portrait Gallery

 

The exhibition is accompanied by a new book featuring contributions written by Travis Alabanza, Susanna Brown, Russell T Davies, Shon Faye, Lisa Power and Joelle Taylor.

For more details, please visit the National Portrait Gallery website.

 

1. Why Photograph Vertical Lines?

Lines going up and sometimes out of the frame can convey a sense of growth, strength and power as well as create interesting patterns within your images.
 

2. Shoot Portrait Or Landscape?

Switching from landscape to portrait mode lengthens the frame you're working with, emphasising the length/height of the vertical lines. Turning the camera back around to horizontal format works well when you have multiple vertical lines going through the frame as you'll be able to get more in the shot and it can help create the impression that the objects you're photographing are so tall that you can't fit them all in the frame.
 

3. Straight Lines

Make sure your vertical lines run parallel to the sides of your frame as wonky, slopping lines will mean your shot lacks impact. Keep an eye out for converging verticals too. If you find you're having a problem with them try and work from higher up to put you more in line with the object you're photographing, switch to a focal length that's not as wide or you can take the shot and adjust the photo in Photoshop or another similar piece of editing software later on.

 

 

4. Framing

Putting a vertical line in the centre of the frame will cut your image in half which does create a strong impact and maybe something you like, however most of the time it's best to position the object/shape more to the left of right of the image.
 

5. Get Repetitive

Repeating patterns and symmetry works well when you have multiple vertical lines in your shots. Just remember to have a play around with the orientation of the shot to see which way emphasises the pattern you're trying to create more.
 

6. Adds Depth

When you have lots of the same object in a line, take a line of trees along a path, for example, you can stand at the top of the path, point your lens down it and you'll see the trees, or whatever lines the edge of your shot, create depth as they vanish towards the back of your image. Just remember the items creating the vertical lines need to be of roughly the same height.

 

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1. Heading To The Beach?

A popular destination when on your travels abroad or even just for the weekend when the sun's showing its face in the UK is the beach which is full of photographic potential. Even though you may enjoy yourself by the sea it's not a place that's great for your camera and other photography gear. Grains of sand can get into parts of your camera it shouldn't be in and it can scratch your lens if you're not careful. A UV filter will help stop sand scratching your lens and is a less expensive option than replacing your glass. When you're not using your kit, make sure you store it in your camera bag and if you want to change lenses, try and do it off the beach and out of the wind.

If you're planning on taking a tripod and use it in the sea, make sure you wipe it down when you get home and leave it to dry. A lens cloth can also be handy for wiping sea spray off your gear.

2. Check Temperatures

If you're venturing somewhere that's going to be particularly hot then make sure your camera equipment (memory cards, batteries etc.) will operate to the best of their ability still. You can usually find information on operational limits of specific products on manufacturers' websites and in manuals.

 

3. Going Inside And Out

An air-conditioned room or vehicle may be good for you to cool down in but if you have your camera out and take it from a cool to warm environment you'll end up with a fogged-up lens as condensation will have formed. Either ensure your gear's in your bag or just wait five or ten minutes for the lens to clear. You can wipe the lens with a lens cloth, but this could cause smears and marks that'll spoil your shot so look at your lens carefully before hitting the shutter button. If moisture gets inside your lens, ensure the outside of it is dry then leave the lens to dry out before using it.

 

4. Think About You

As well as looking after your gear, don't forget to look after yourself. It may seem obvious now, but it's easy to get away with taking photos and the small things such as reapplying sunscreen and having a drink of water can be forgotten.

 

 

5. Viewing Screens

Previewing your shot on your camera's LCD screen can be difficult when outdoors in sunny conditions. You can adjust the brightness of most screens, but this doesn't always solve the problem. You can use LCD hoods (flip-up caps) that shade screens from glare and as an additional benefit, they also protect the screen too.

 

6. Avoid Hot Parts Of The Day

Again, seems obvious and it's not always easy to do as you could be on an organised excursion, for example. However, getting up early or staying out later does have it's advantages as the light's usually better and you'll be able to avoid crowds at busy tourist sites. Don't forget your lens hood if you're heading out during the day as they can help reduce the amount of light reaching your lens.

 

7. Find Some Shade

Ideally, you should not take photographs when the sun is too high in the sky, particularly for portraits as people can end up with deep shadows under their eyes and nose. If your subject's wearing a floppy hat this will shade the face, and help create the shade you need. If not, find a shaded area that won't cause the light to appear dappled. Instead, find a shaded spot where the light's more even and they won't end up squinting.

If you're photographing a family member or a stranger who's given you permission to shoot, you can try using flash to add extra light that'll even out your scene. A touch of flash will also help create catchlights in your subject's eyes but it's much easier to just position your subject so they're facing the light source and/or use a reflector to bounce the light into your shot.
 

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

The Develop module in Lightroom, as the name suggests, is where you "develop" your images and to quicken the process up, there are several keyboard shortcuts available which allow the user to access and edit tools with a few key combinations - improving the speed at which you can process your images - and greatly improve your workflow.

 

As there are quite a few keyboard shortcuts we'll be breaking the list up into parts and we're starting with 19 basic but essential shortcuts for photo editing. 

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  1. Undo - Ctrl + Z 

If you want to go back a step as you don't like a particular edit, press Ctrl + Z on your keyboard to save you time moving your mouse, clicking the 'Edit' tab and selecting 'Undo'. 

 

  2. Auto Tone - Ctrl + U

If you want Lightroom to have a crack at balancing your exposure this is the tool for you. With the click of two keys on your keyboard the Exposure, Contrast, Highlights, Shadows, Whites and Blacks sliders are adjusted by the software to create a more balanced exposure. The results can be quite good but you can always use the keyboard shortcut we've just talked about to undo the changes if you don't like them.

 

  3. Auto White Balance - Ctrl + Shift + U

Again, this allows Lightroom to adjust settings automatically for you. This time, the Temp and Tint sliders are tweaked. You may not like the way your image looks after the automatic changes but you can always press Cntrl + Z to go back a step. 

4. Increase/Decrease Selected Slider In Small Increments - Arrow Keys

When making changes to a particular adjustments option you can use your mouse to adjust the slider's position, increasing or decreasing the effect as a result. You can also write a value into the numeric box at the side of it but for more control, make use of your keyboards arrows. Left and down decrease the effect while the up and right arrows increase it. It also means your focus stays on the image rather than having to look where your mouse is positioned on the slider then flick your attention back to the image to see how it looks. 
 

5. Increase/Decrease Selected Slider In Larger Increments - Shift + Arrow Keys

This works the same way as the above controls, but the increments at which the sliders/figures can be altered is increased. 
 

6. Move Up And Down Through Basic Panel Settings - . (full stop) + , (comma)

The Basic Panel Settings section is where you'll find options to edit white balance alongside other tonal adjustments. You'll probably find you flick between a few of these options so instead of moving and clicking your mouse to select a different slider, just use the full stop and comma keys to circle through the various options available. 

7. Select White Balance Tool - W

To quickly access the white balance tool (looks like a pipette) from any module, just press 'W' and it will instantly be selected to make quick and white balance adjustments. 

8. Select The Crop Tool - R

The crop tool is a really useful function that can be accessed from any module with the 'R' key. In Lightroom, the crop tool combines as a handy rotational tool, too. Press 'R' again to deactivate this option. 

9. Select The Spot Removal Tool - Q

The Spot Removal tool has various useful features including the ability to remove dust spots and fix skin blemishes. It's found under the Histogram tab but can be quickly accessed by pressing 'Q'. 

10. Select The Adjustment Brush Tool (from any module) - K

The Adjustment Brush allows you to make a variety of changes to your images in a much more precise way. For example, you may want to brighten someone's teeth without changing the exposure of the whole shot. To access this tool quickly, press 'K'. 

  11. Select The Graduated Filter Tool - M

The Graduated Filter in Lightroom is a very useful tool for balancing exposures (simulating the effect of a graduated ND filter photographers place in front of their camera lenses) and can be selected by pressing 'M' on your keyboard. 

12. Increase/Decrease Brush Size - ] / [

These controls work with various tools in Lightroom and are a quicker way to adjust the size of the brush you're working with rather than having to move your mouse to select and move a slider. [ decreases the brush size while ] increases it. 

 

13. Increase/Decrease Brush Feathering - Shift + ] / Shift + [

To alter how hard/soft the brush you're using is you can use two commands: Shift + [ to decrease the feathering and Shift + ] to increase the feathering. 

  14. Rotate Photo - Ctrl + ] Ctrl + [

To quickly change to orientation of the image you have selected use Ctrl + ] to turn it clockwise and Ctrl + [ to turn it counterclockwise. 

15. Zoom In / Zoom Out - Ctrl +  / Ctrl  -

When you want to work on a particular area of a photo you can use Ctrl + to zoom in then press Ctrl - to zoom back out. 

16. View Before And After Left/Right - Y

To compare your edited shot with the original side-by-side press 'Y'. 

17. View Before And After Top/Bottom - Alt + Y

To compare your edited shot with the original one above and one below press 'Alt + Y'. 

 

18. View Before And After In A Split Screen - Shift + Y

To compare your edited shot with the original on a split-screen so you see the original on one half of the shot and the edited version on the other half-press 'Shift + Y'

19. Edit in Photoshop - Ctrl + E

There may be times when you need to take a photo into Photoshop to finish the edit and to do this quickly without having to save your image and reopen it again, you can press Ctrl + E in Lightroom and it'll be opened in Photoshop automatically. 

 

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Orientation names suggest that landscapes should be landscape format and portraits should be portrait format and even though there are times when the subject will dictate the orientation, there are scenes where switching to portrait will benefit the shot. 

Landscapes are very different when they are upright; they have much more depth and tend to emphasise the contrast between foreground and background.

The height of the picture allows you to make more definite use of perspective, especially if the foreground has a linear quality about it such as a field with ploughed furrows. The shape also gives you a more obvious opportunity to choose the position of your horizon. The rules of composition favour placing the horizon at a third from the top or bottom (actually three-eighths from top or bottom – which is fairly accurately the ‘golden ratio’). However, do experiment with more extreme framing to see what happens: placing the horizon right at the top or near the base of the picture.          
Depth of field in landscape is rarely a serious issue, but if you like to play with focus then the emphasis that the format places on the perspective will also give you opportunities to exploit shallow depth of field. Of course, you can do this in a horizontal picture too, but it seems to crop up more often this way round.
Do remember that not all of us get it right every time and being able to change the orientation of a picture by cropping can change the dynamic of the shot entirely so it's always worth having a look at your images once home to see if a quick crop will improve your shot.    

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Thanks to modern architecture that favours glass and steel over bricks and mortar cities are full of reflections which give us an alternative way to photograph the places we live in.

 

1. Take A Walk 

You probably already know where you can find buildings with good reflective qualities in your town, but it's still worth having a walk around at different times of the day to find out when it's the best time to shoot.

 

2. Time Of The Day 

Surprisingly, with modern buildings bright sunlight can work really well so don't think your hunt for reflections is only limited to early and late parts of the day. However, weekend mornings are a good time if you don't want people in your shots but if there are people around, which may include security guards, and they ask you what you're doing just polity tell them as it's easier than having an argument and then them calling the police.

If you get a particularly spectacular sunset it's worth hanging back as the colours look really good when reflected in modern glass. The same goes for blue skies and white fluffy clouds. In fact, if you have a building that stands away from the rest of the high risers you can almost lose it in the sky.

 

3. Make The Ordinary Look Fab

Reflections are a great way of making the ordinary look extraordinary too and items we see every day such as trees, colourful signs and lamp posts suddenly turn into an abstract image of wavy lines, shapes and colour. They also give you the opportunity to photograph a well-known building in a different way.

 

 

4. Where To Stand

You can photograph the building almost straight on to produce a simple reflection or see if there's the opportunity to line up a shot where the real building meets the reflection so you can create a whole building from the two halves. The contrast of old vs new is something that's always worked well and it's not something that should be ignored here. A big, glass skyscraper reflecting an old, battered, slightly wonky pub can look really great.

 

5. Converging Vertical Issues

Don't get too hung up about converging verticals as with some modern buildings they can create an interesting composition. It may distort your reflection though so it's best to just experiment and see.

 

6. Go Wide & Add Detail 

If you do opt for using wides try giving your image a little foreground detail to fill what can be a big empty space and if you find you have a problem with glare at any time, just adjust your position until it's no longer in the shot.

 

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Summer has finally landed here in the UK (we hope we've not spoken too soon) and that means many will be heading for the beach. If your camera will be packed along with the buckets, spades and sunblock, take a look at these 5 tips so your shots of the beach look as good as the real thing.

 

1. Switch From Auto Mode

When shooting with Auto you may find your beach scenes look a little darker than you expected and that's because your camera is seeing the light coloured sand and is confusing it for a scene that's bright. As a result, it's adjusting the exposure accordingly and the sand appears dark when you preview the image.

Do make sure other areas of the shot aren't overexposed when you make your adjustment. Some camera models allow you to check for under- / over-exposed parts of the image on the display (these generally appear as coloured blinking areas). You can also use the built-in histogram to see if any peaks are to the far ends of the graph.

If you can manually control the exposure use exposure compensation and set a + figure as this should give you an image that's more true to life. You can also use the Beach and Snow setting and the camera will automatically make adjustments.

  2. Send A Digital 'Postcards'

Postcards are great but they can take forever to reach their recipient, plus they're not all that personal. Instead, why not make use of technology and send snaps of your trip straight to friends and family instead? Many compacts now have built-in WI-FI capabilities so users can either send photos straight to their smartphones which can then be shared with family and friends or some brands allow you to download apps to your camera so you can link directly to Facebook etc. to share your images with the world at the touch of a button. For those with compacts that don't have WI-FI built-in, you can purchase an EyeFi card which will quickly and reliably transfer your pro images to your computer, smartphone or tablet devices.

 

 

3. Use Beach & Sea Ready Cameras

Many cameras are now designed with coastal locations in mind. Some compacts are water-, shock-, crush- and cold-proof. Having said that, it's still worth giving your equipment a wipe down after a day of photography on the beach to remove any salt residue present. By using a 'tough' camera you'll be able to capture a few holiday/beach shots for the album that have a slightly different angle. Try capturing underwater shots or how about a half-and-half image that shows what's both under and above the waves? 

 

4. Boost Colours Of Sunsets & Sunrises

Depending on your location you may have the chance to capture a sunrise or sunset. These subjects are techniques all of their own but we will say that a quick way to give your shots more impact is by adjusting the white balance setting on your camera. Try the cloudy setting if you want colours to be more vibrant while compact users can put the sunset mode to the test.

 

5. Go For A Different Angle

Busy shots of sand-castle building action and donkey rides are great for the family album but for something a little different, why not have a go at macro photography or shoot some abstracts? If you don't have a small tripod or bean bag, use your camera bag or even a rolled-up towel for support and get down in the sand to capture the best angles. Zoom in close and use the built-in macro mode (usually a flower symbol) so the camera knows you want to use a wide aperture to throw backgrounds out of focus. Back on your feet, walk to the water's edge and instead of shooting out to sea, turn around and shoot what's behind you. People can often forget to do this when they get sucked in by the view that's out to sea and in front of them.

 

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Standing on a clifftop surveying a gorgeous vista can lift your spirits as high as the summer breeze. It doesn’t take much effort to sit still for half an hour listening to the gentle sounds of lazy waves, distant boats and calling sea birds and forget all about why you were there – to photograph a coastal panorama.

Coastal cliff top scenes or images shot from the shoreline can add that real something else to your portfolio and today’s software is very capable of helping you achieve your vision.  

Many people believe they need specialist tripod heads and other tools, but for a simple coastal vista, all you need is a correctly levelled tripod and a spirit bubble hot shoe level. It's also worth remembering that shooting manually (white balance, focus and exposure) will make life easier in the long-run as you probably won't have to spend extra time adjusting each image before stitching.

Before starting your panorama, do take a look at the foreground as if you have elements which are much closer to the camera you may want to consider moving to a different spot as the final image won't look right or stitch well unless you're using a purpose-built panoramic tripod head.

 

 

How To Capture The Perfect Panorama:

1. Ensure the tripod is set on sturdy ground. Alter the leg length for comfort, and then alter the length for a second time using the tripod's spirit bubble (most have this built-in), so that the tripod head will rotate on a horizontal plane.

2. Attach the camera with lens in either landscape or portrait orientation (depending on your view and the overall size you want your panorama to be) and check everything is level. When shot in landscape orientation, panoramas tend to be much more narrow but this can work well with some shots so do experiment. 

3. Look at the scene you are trying to capture and decide on a start and endpoint for your image.

4. Ensure the scene hasn’t got a speeding boat or the white line left from the wake that could occur in more than one image, as this will make the task of stitching the images together extremely difficult and could ruin the panorama. 

5. Quickly shoot the entire scene, making accurate movements. If you can imagine you have a protractor on the scene in front of you try to take a shot every 10-15 degrees. Always leave some overlapping (around one-third approximate overlap between each frame)  and use a remote / cable release if you have one to prevent shake as you don't want to get home to find that one out of the several images you've taken isn’t sharp. You may also want to shoot a little wider than necessary as the stitching process can often leave the end result requiring some cropping.

 

 

Carnival and festival season is once again upon us and these events give photographers great opportunities to photograph colourful, vibrant and exciting shots.

 

1. What Gear Do I Need:

• A compact with a longer zoom will fit easily in your pocket when moving around the busy streets or pack a DSLR combined with a zoom lens.
• Zoom lens, with a good range – means you can photograph people without getting in their faces and capture a few wide shots of the whole parade. It also means you're not carrying several lenses with you all day which can get tiring.
• Camera Bag – Don't take anything too big as it will just get in the way and make sure you have it with you at all times. You don't want to create a security threat and you don't want anyone to steal your stuff either.
• Memory – Pack spare memory cards and plenty of them. You can end up taking lots and lots of shots at events like these. It doesn't hurt to carry spare batteries, too.
• Support – There won't be room for a tripod so if you really do want some extra support take a monopod with you. Although, at big carnivals such as Notting Hill there may not be the space for one and you can end up getting in the way.

  2. Elbow Room

If you have lots of space to work in without others pushing you or getting in your shot you're very lucky. You can try to arrive very, very early to get a spot at the front of the curb and just be ready for the pushes who try to steal your spot. By arriving early, it also gives you the chance to scout around the parade route to see if you can find the participants setting up. If you do find them, it'll give you a chance to shoot a few portraits before the crowds arrive. Don't be afraid to ask people if you can shoot a few portraits as the majority of them will be happy to stop what they're doing for you and as the parade still hasn't started at that point, their hair and make-up should be perfect, too. If you don't fancy the elbow fight, try and find a spot that gives you a little height over the crowd. This could be steps leading up to a doorway or something in the street you can stand on. Either way, you'll be able to stay in this one location, photographing the parade as it passes without others knocking you or getting in your shot.

  3. Light Problems

Your kit won't like soggy, wet days but bright, sunlight won't do you any favours either as you can end up with shots full of harsh shadows and washed-out colours. Couple with those exposure problems and you can find yourself fighting to get a decent shot. Later in the afternoon the light's lower and more even but the buildings which often run along the sides of the streets the parade makes its way around will start to leave long shadows. If you have exposure problems try bracketing and add a pop of flash to fill in shadows that dance across the faces of those involved in the parade. This works particularly well when they're wearing hats and large headpieces that shade the face.

  4. Don't Miss The Action 

There will be a lot of movement for you to capture and if you want to freeze the dancers in your frame you'll need a quick shutter speed. If you want to be more creative, use slower shutter speeds to blur their movements so the speed they're moving at is exaggerated.

  5. Wide Shots

Wider shots, showing the crowds, street, stalls and parade can be interesting but try not to overrun your shot with too many focal points. If the eye doesn't have something to focus on the shot can be rather confusing and look too busy.

  6. Detail

Costumes often take hours if not days to put together so take the time to focus in on the colours and decorations on them. These close up shots work well when positioned against larger shots of the parade.

  7. Street Candids

Try shooting from the hip to see what shots of the crowd you can capture and don't forget about the food stalls, merchandise booths and even the long, long queues for the toilets which all help you create a great, overall account of the carnival.
 

 

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The Armadex OZC-3 compact camera is both familiar and also breaking new ground for an ePHOTOzine review. It is familiar in that it is based on the OM System TG-7 Shockproof and Waterproof camera, previously reviewed and recommended. It breaks new ground as it gives us a rare glimpse into a different photographic world, where requirements can be extremely specific and require appropriate testing and certification. Let's have a closer look at the ATEX zone 2/22 Explosion Proof Camera Armadex OZC-3, as far as we can do without being able to work directly in its specialised field of the construction industry.

 

Armadex OZC-3 Features

The camera is supplied with its own hard case that contains all the paperwork, the OM System TG-7 Basic manual and the Armadex variation leaflet that defines where the specification deviates from the basic model. Wherever there is a contradiction between the two, the Armadex instructions apply.

 

 

The most obvious difference is that the Xenon flash unit is totally disabled. This is a camera specifically designed as being Intrinsically Safe in ATEX zone 2/22 hazardous areas. The flash is disabled as any spark could potentially ignite any gas or flammable dust that may be present. The definitions for ATEX zones are complex, but in essence, the ones the camera is intended for are areas of relatively low and transient risk that relate to gases (zone 2) and flammable dust (zone 22). There is a wide range of construction and manufacturing situations where hazardous and potentially explosive situations may occur. The camera use will also be subject to whatever site rules may apply and the instructions specify that users should have a basic competence and understanding.

As mentioned above, the basic camera is the same as the OM System TG-7, weighing in at 249g with battery and memory card. Two protective 40.5mm UV filters are added and are intended to be left permanently in place. These filters create an air gap that should reduce the chance of misting of the lens if there are large temperature variations, such as entering the tropical section of a glasshouse. Dimensions are 113.9mm x 65.8mm x 65.8mm.

 

 

One of the most relevant sections of the menu is to be found under Scene mode. Once it has been switched on in the main menu, a Construction menu becomes available and offers several options where the camera sets up the appropriate camera settings. 

The Construction menu comprises:

• Construction 1 for standard construction scenes. Reduces white spots from dust or rain
• Construction 2 effective if C1 images are too dark. More resistant to camera blur
• Construction 3 for backlit scenes. Reduces dust influences
• Indoor – set for using flash but deactivated for this camera as the flash is deactivated. 
• Slow Shutter for night or dark scenes with tripod. Use of self timer suggested to reduce shake from pressing the shutter button
• Documents for shooting A3 or A4 documents. Makes lines of documents or drawings clearer
• Panorama for panoramic shots of the whole site. Follow the camera's instructions for panning the shot

 

Key Features of Armadex OZC-3

• Based on OM System TG-7
• Xenon flash unit de-activated
• LED light source can be used to replace flash
• For use in ATEX zone 2/22
• Two Hoya Prime XS UV filters for constant use, creating air gap
• Supplied in airline style hard protective case
• Examination and Certificate of Conformity 
• Construction Menu in Scenes setting
• Time stamp
• Macro mode
• Microscope mode
• Environmental logging
• OI Share App
• Sensor shift IS
• Waterproof to 15m
• OM System 4.5-18mm f/2-4.9 Zoom lens (“35mm equivalent” 25-100mm)
• CALS settings for standardised images for local authority work

 

Armadex OZC-3 Handling

My initial thought for this camera was that places such as oil rigs and chemical processing sites could be its areas of use, but a little investigation reveals that there are more applications than that. Explosive atmospheres can be found even in food manufacture, places with high levels of wood dust and areas with transient high gas levels but otherwise fairly well ventilated. There is also, of course, the more everyday construction industry where the tough water and dust proofing may be a challenge easily met. 

The two filters provided are intended to be used together, something that seems a little counter-intuitive in terms of expected quality. However, as regards image quality, it seems it makes no difference at all. There would appear to be no detriment in adding two stacked quality filters. However, the emphasis is on quality filters and the Hoya Prime XS used are of exemplary quality.

Flare resistance was looked at and directly compared with a regular OM System TG-7 and also the Pentax WG-8. All three cameras showed no flare in most shots, but all three showed a magnificent display of artefacts when there was a bright light source in the frame. This is our standard extreme flare test. In the case of the OZC-3, the effects are identical with and without the two filters, the conclusion being that the filters cause no reduction in performance of any kind and can be quite happily left in place.

There will always be a place for dedicated equipment and the OZC-3 is a perfect example of how standard kit can be developed and applied to specific,  specialised areas.

 

Armadex OZC-3 Sample Photos Previous Next

 

Value For Money

The Armadex OZC-3 is priced on their website at £1497.32 for the UK. This is the complete kit in its case.

There is no real comparison in that the regular waterproof/freezeproof cameras are not Intrinsically Safe in hazardous environments, so could not really be considered as alternatives. Just to put things into perspective, the pricing for the regular top of the line models is:

• OM System TG-7, £449
• Pentax WG-8, £429

Looking for advice and comments from those active in the construction area, the cost was not seen by them to be an issue. If the camera fulfilled its function, which it clearly does, then the price would be covered.

 

Armadex OZC-3 Verdict

Given the defined areas that the camera is designed for, the OZC-3 is defined as  Intrinsically Safe. This, in its turn, is defined as not being a potential source of ignition when in areas 2/22, but also keeping its non-incendiary status even if it develops a fault. By comparison, a non-inductive product would not continue to be safe once damaged nor faulty.

Apart from that, the camera has various features that enhance performance in the given situations, as well as, if required, operating in the same way as the OM System TG-7 that it is based upon. The exception here is that there will never be any flash capability as one of the safety features is the total removal of the Xenon flash. An LED light makes up for this.

This is all very specific and if its special features are needed, then the kit can be Highly Recommended.

 

Armadex OZC-3 Pros

• Intrinsically Safe
• Suitable for hazardous areas ATEX zone 2/22
• Construction Menu options
• Waterproof
• Crushproof
• Freezeproof
• Shockproof
• Good image quality
• Extensive underwater options
• Compact design

 

Armadex OZC-3 Cons

• Some features can only be found in menu settings

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4.5|R_performance=4.5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=An Intrinsically Safe camera for use in ATEX zone 2/22 hazardous areas.|E_id=8016[/REVIEW_FOOTER]

 

View the Armadex OZC-3 camera specs in the equipment database.

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When it comes to photography, light is the photographer's friend but during the summer the light can be a little harsh and colours in images can end up looking blown out but there are a few ways you can prevent this from happening.

 

1. Try A Different Metering Mode

Cameras have various metering modes (Spot etc.) so you can pick the one that produces the best result when shooting in situations where there are bright sunlight and shadows to deal with. When working against a strong backlight (such as a bright sky and sand at the beach) use spot metering to ensure your portraits are correctly exposed.

 

2. Add A Little Flash

It doesn't matter if you're a compact user with a camera that has a built-in flash or are a DSLR owner who fits a flashgun to your camera's hot shoe, both light sources can come in useful when shooting portraits in the summer sunlight. Why? Well, faces can end up with deep shadows on them, particularly under the nose and chin, so by setting your flash to fire, a splash of light will illuminate your subject's face and remove unattractive shadows.

 

Photo by Joshua Waller

3. Use Exposure Compensation

In bright situations, cameras can be fooled and shots can end up looking underexposed as the camera’s exposure system attempts to create a mid-tone exposure. To stop this, have a look through your camera's menu for the exposure compensation feature. By using this mode you'll be able to set a + or - exposure, depending on the camera's results, and produce an image that's correctly exposed. For example,  if the sand in a seaside landscape looks darker then it is, set a + exposure compensation. Various stops are available so it's worth shooting a few images to ensure you get the results you require.

 

4. Make The Most Of Scene Modes

Try using your compact's (Beach & Snow) Scene Mode to capture correctly exposed images when on the beach. With this mode, the exposure is automatically compensated so the sand doesn't appear underexposed.

 

5. Use A Reflector

If you think flash is a little harsh for your summer portraits you can use a reflector to bounce extra light into your images. You can purchase purpose-built models, but home-made reflectors can work just as well. A bit of white card and foil will help you add light to shadows, resulting in a more pleasing portrait. 
 

Photo by Joshua Waller

 

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