DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

Church interiors are difficult to photograph because they usually have huge bright windows and dark nooks and crannies with the rest being a mix of tones illuminated by tungsten light or candles. Automatic exposure cameras will often deliver a photo with a well exposed interior, but no detail in the windows. Fortunately, with digital photography and modern software there is a solution, it's called HDR (high dynamic range) photography. Using HDR can really make your architecture shots pop.
 

   

Most modern cameras will have a HDR mode built-in, however if this is not the case, then here are some basic instructions.

 

Creating a HDR image

To create a HDR shot you need to take several shots of the same scene at different exposures, each one from the same position. These are then merged into one photo using HDR software (see ePHOTOzine's technique section for articles on how to do this). To ensure the photos are in an identical position it's best to use a sturdy tripod which will keep everything aligned and steady. It's worth using a cable-release too to trigger the shutter when the camera is on the tripod, but with a static subject such as a church you can get away using the camera's self timer.
 

Use a wide lens

A wide-angle lens is best for church interiors and ideally you want one that's really wide. With a lens like this you can usually shoot the interior from wall to wall if you stand back far enough. The camera you use can be a DSLR or compact so long as it has a manual exposure mode or at least exposure compensation to override the automatic settings.

As exposures are long in churches they can soon flatten your camera battery so always carry a spare just in case. Also, when shooting HDR, every picture you take requires several exposures so you may need extra memory cards.

HDR exposures should have a fixed aperture so that the depth of field is the same for each shot. Set the camera to f/8 and before setting up the shot take a meter reading for the lightest area. If the shot has a stained glass window in view this will usually be the brightest part. These are usually very decorative and beautiful works of art so you need to record those with an exposure that gives 100% detail. Use the camera's spot meter and position the camera so the window is in the centre of the viewfinder where the meter takes the reading. Take a shot and preview the result on the LCD If it's good make a note of the shutter speed. Now take a meter reading for the darkest area and make sure that the resulting photo has detail in it. Make a note of the shutter speed.

 

Your HDR exposure should have a range of shots that covers from the speed needed for the window to the speed for the dark areas. Let's say the window was 1/15 sec and the dark area was 8 seconds. The full shutter speed options would be 1/15sec, 1/4sec, 1/2sec, 1 second, 2 seconds, 4 seconds and 8 seconds. So you could take seven photos or as most HDR software can get what it needs from two stop intervals you could take four shots at 1/15sec, 1/2sec, 2 seconds and 8 seconds.

With this new information, adjust the position of the camera on the tripod compose the photo, including the previously metered elements in the frame and take a sequence of pictures, making sure no one walks into frame and the light doesn't change, sun comes out, floodlight goes on inside etc., at the shutter speeds calculated earlier.

Try this technique all around the church, in bigger churches/cathedrals there are lots of smaller rooms and chapels to discover.

Here are some of the tutorials you'll find in ePHOTOzine's technique section on HDR photography

• HDR Buildings
• Creating HDR Images
• Post Processing HDR Images
• Using Oloneo PhotoEngine For HDR
• HDR Landscape Photography

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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 06 - Creative White Balance)

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 1

National Parks

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  Day 2

'Win' Theme

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Day 3

Fireworks

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Day 4

Races

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  Day 5

Photo Walk

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Day 7

Panoramas

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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.

- Partner Content - 

In the case of the OM System Olympus OM-1, beauty is much deeper than skin deep and it’s an outstanding, capable and feature-rich camera.

 

The Micro Four Thirds (MFT) format is based on a 17.3x13mm sensor so roughly the same image size as the 110-snapshot film format. However, while the ultimate quality possible from the 110-film format leaves a great deal to be desired, that is not the case with digital and the MFT format is capable of pro-quality results. 

OM System and Panasonic MFT cameras are very popular with enthusiasts and expert photographers and with the help of MPB, we went shopping with £3000 to spend on a fully-fledged zoom lens outfit to suit photographers who enjoy a wide range of subject genres, from people to nature and landscapes to macro. 

We went for the OM-1 as the crux of our system. The OM-1 was produced by OM System and was the last camera to bear the Olympus badge, and when it came out in 2022, it was 50 years after the trend-setting classic 35mm film camera of the same name. 

 

Its small stature and slick handling make the OM-1 ideal for grab shooting on the street. Exposure was 1/100sec at f/5.6 and ISO 400. Image by Will Cheung.

 

The OM-1 had a 20.4-megapixel sensor at its heart and as befits a flagship camera, its feature list makes for impressive reading. The stacked CMOS sensor had 1053 quad-pixel AF sensor points, which gave excellent and accurate performance whether shooting upright or horizontal-format shots and almost regardless of the scene’s content. Speaking of content, the OM-1 has a very capable and versatile subject-based focus detect and tracking focusing system and this is enhanced further with the ability to create custom AF patterns to suit your favourite subjects. For example, if birds in flight or airplanes are your favourite subjects you can make a fat letter-box AF pattern to suit their shape.

 

Scenes with extreme contrast hold no fears to the OM-1 and the Raw file in this case had plenty of editing potential. Exposure was 1/100sec at f/11 and ISO 200 80mm on 40-150mm. Image by Will Cheung.

 

Supporting the camera’s AF skills is the OM-1’s remarkable burst shooting capabilities. Olympus was the first camera brand to come out with an innovative pre-capture feature called Pro Capture. This allowed shots to be captured and held in a buffer and were only committed to the memory card upon full shutter button press. It made capturing instances such as a bird or dragonfly taking flight achievable even for those photographers with poor reactions. What makes Pro Capture amazing is that on the OM-1, you can shoot full Raws at 50fps with AE/AF tracking and 120fps with fixed AE/AF. To give this OM feature some context, one camera brand has pre-shot capability but only with JPEGs.

 

The OM-1 range of computational modes lets you achieve images in-camera.

 

Assisting good shots in poor weather and dodgy light, the IP-53 weather-sealed body is image-stabilised with a system rated with 7-stops benefit and 8-stops with compatible OM optics. 

We haven’t even mentioned handheld and tripod high res shooting modes, in-body focus stacking and Live shooting modes, so you can appreciate that we have only scraped the surface when it comes to the OM-1’s great photo features and that’s why we’ve chosen it as our lightweight system centrepiece.

 

Like other OM System/Olympus cameras, the OM-1 has a full complement of Art Filters for creative in-camera JPEG output. This was the Diorama filter. Exposure for this was 1/250 sec at f/11 and ISO 200. Image by Will Cheung.

 

The OM-1’s launch price was £2000 body only, but now it’s tremendous value on the used market with MPB having excellent condition bodies (at the time of writing) within the range of £789-859. 

Naturally, the MFT lens mount is supported by OM System and Panasonic, so there is plenty of choice in terms of primes and zooms but in addition, there is a huge selection of independent autofocus and manual focus lenses available from brands including Sigma, Laowa and Zeiss at a wide range of prices.

The smaller MFT format has an image area nearly one quarter the surface area of full-frame but on the important format diagonal, MFT is half that of 35mm so there’s a 2x crop factor and that is a huge benefit especially when it comes to long telephoto lenses. So, for example, a MFT 150mm lens gives the same field of view as 300mm in full-frame and, aperture for aperture, more depth-of-field by around two f/stops.

Of course, lens choice is very much a personal matter but here we wanted to cover a wide subject range with our lens system, so chose OM System optics that covered from ultra-wide to long telephoto taking in macro along the way. With our generous budget limit of £3000 in mind, that’s enough for a versatile four lens kit and some latitude with lens speed.

Searching MPB’s website, there was a huge choice available when it came to lens model and condition, although a couple of our choices had limited stock at the time. Of course, in the rapidly changing world of used kit that is to be expected, so when you do go shopping with MPB, if a product catches your eye and stock is limited, it pays to strike quickly before an item is snapped up.

 

There’s a huge range of lenses available for Micro Four Thirds format cameras. On the left, there’s the OM System 8-25mm f/4 sitting next to the 12-40mm f/2.8 II (lenses not shown to scale).

 

Okay, this is what we went for. For an ultra-wide zoom, the choice was the 8-25mm f/4 PRO at £589 which is a significant saving on its £949 new price. This 16-50mm full-frame equivalent is a lovely lens, even though the f/4 maximum aperture might mean resorting to higher ISOs in poor light. That said, with the potential of denoising in software, shooting at ISO or even 3200 is not an issue.

The standard zoom we went for was the 12-40mm f/2.8 PRO II available in ‘like new’ condition at MPB for £639. Small, portable and highly capable, this is the perfect lens for general shooting.

 

The petite OM 60mm f/2.8 Macro lens gives up to lifesize magnification. This close-up portrait of a marbled white butterfly shows its potential. Exposure was 1/400sec at f/2.8 and ISO 800. Image by Will Cheung.

 

To tackle close-up subjects, we went for the 60mm f/2.8 Macro at £249 in excellent condition. This lens focuses close enough to give lifesize magnification and is a delight to use, being so compact and capable.

Our outfit was completed with the 40-150mm f/2.8 PRO. MPB had plenty of stock and an excellent condition sample was on offer at £814. This telezoom gives the view of a full-frame equivalent 80-300mm and is a favourite with MFT shooters.

Well, that's £3000 spent on a four lens MFT system which can cope with most subjects with no problem and won’t break your back on long days of photography. If the notion of down-sizing appeals, check out what’s possible with MPB.

 

  News from MPB

As consumers, we want value, choice and outstanding service and you get all that and more with MPB, so the brand deserves all the plaudits it deserves. But MPB is a forward-looking business and has a vision way beyond looking after its customers. 

MPB has recently released its FY25 Impact Report on its Sustainability. Headlines include 615,000 cameras, lenses and accessories (9% from 564,000 last year) have been recirculated and zero waste was sent to landfill with the Brighton site achieving a 92% recycling rate. There is much more in the report so if you want to learn about MPB’s sustainability strategy, you can read – and download - it here.

  MPB Explained

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

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

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

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

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

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

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

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

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

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

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

Get A Quote From MPB Today

 

About MPB

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

Visit The MPB Website

Remembrance Sunday is a day that commemorates the sacrifices of armed forces and civilians in times of war and artificial poppies are bought and worn as a mark of respect. Although the 11th is the actual Remembrance Day, a two-minute silence is observed at war memorials and other public spaces across the UK at 11am on Remembrance Sunday. At these locations and for weeks after you will see decorative wreaths of poppies placed at these memorials which can make an interesting subject for photographers.

 

What sort of kit is best?

Any compact camera can be used to photograph memorials and artificial poppies. As long as it has a lens with a fairly close focus you will be able to shoot closer shots of individual poppies or wreaths, and a wide angle will help you take a more overall view of the scene.
 

The main thing you need is imagination.

Respect your surroundings

At all times respect the location. These are areas marked for people who lost their lives and people come to pay their respects. The last thing they want is a disrespectful photographer interrupting their moment.  

Memorials are often grand structures and dwarf the wreaths placed below them so consider moving in closer with a tighter crop of the scene. Use a wide-angle lens and move in close placing the memorial to one side and allow the background scenery/cityscape to contrast against the scene.
 

Utilise the colour of the poppies

Consider the bright colour of the poppies against the often cold dark tones of the memorial and underexpose slightly so the darker areas become a stark contrast behind the vibrant red of the poppies. You can adjust the contrast and colour saturation using your image editing program to enhance the poppy colour.

Try focusing on a single poppy and isolate it from the rest of the scene. Placing one strategically on a part of the memorial will give an interesting still life set. Use a polarising filter to prevent reflections from the statue or polished marble.
 

Be creative with your angles

Hone in on a single poppy in a wreath and use a wide aperture to throw the rest out of focus. Choose the right angle and the rest will be a blur of red as a background.

Many of the memorials have very poignant messages engraved in the marble. Try including one of these in the shot with a wreath. Have the wreath on the foreground and the message tailing off to the distance. Photography the message head-on and cropped so just a few of the words are visible with a single poppy laid over them.

 

Don't forget the people at the ceremonies

Candid shots of old war veterans wearing poppies can make good photographs. Again, respect the person. Asking if you can take a photograph is polite and then you don't have to grab the moment. You can spend a few minutes composing the shot and making sure the viewpoint is good. If the person is in a wheelchair get down to their level for a better perspective.

A photo of a person placing a poppy on the memorial could look good from the right angle. Again, take from a low viewpoint and makes sure the face and the poppy are in frame. 

Photo by David Pritchard

 

 

1. 'There's No Such Thing As Bad Weather'

Top landscape photographer John Gravett once said: "There is no such thing as bad weather – only different types of lighting," and he couldn't be more correct. Just because the light's dull doesn't mean you still can't capture good shots, you just have to think a bit differently. The same goes for rain which, in fact, can help you capture cracking landscapes. Try to not leave the door with the mindset that you'll be battling bad weather instead, think how you can use it to your advantage. 

 

2. Dress For The Weather

Staying dry will keep you in a more positive frame of mind so make sure you have waterproof clothing protecting you from head-to-toe. Without it, you'll just get soaked when it's raining which will just make you miserable and taking photos will probably not be at the top of your list. A coat with a hood, waterproof trousers and a good pair of boots should keep you dry. A decent pair of socks and layers will keep you warm but it's down to personal choice if you wear a pair of gloves or not as fleece gloves will just become sodden and not pleasant to wear. 

 

3. Take The Right Bag

You can buy water- and weatherproof camera bags that'll keep your gear dry, plus many styles of camera bag now come with a waterproof cover built-in. If you're using a bag that doesn't have this feature, it's really worth spending a few pounds and investing in one. After all, a waterproof cover is cheaper to buy than new equipment! Check out our complete guide to camera bags.

 

4. Protect Your Camera And Lenses

Many companies are now bringing weather-sealed equipment to the market, but it's always worth adding a waterproof cover just in case. You can purchase rain sleeves which fit over your camera and lens, plus some are made to measure for your specific kit. Some photographers have used plastic bags to protect their gear in the past but obviously, this isn't the best method and will certainly not work in heavy downpours.

On wet weather days when it's humid, you can get condensation build-up on the inside of the cover as too can putting damp hands inside the cover to adjust your lens, which means water will be sat against your kit so do pack a cloth you can wipe your kit with if needs be. 

 

5. Take A Tripod Out With You

Lighting levels will be lower on cloudy, rainy days which means exposures will be longer so a tripod is an essential piece of kit. Plus, if you're using a rain cover, they don't tend to fit round camera straps very well so using a tripod is your best option. 

 

6. Pack A Lens Cloth

You may want to capture rain-filled images, but this doesn't mean you want water droplets to sit on your lens. Rain on your lens will spoil your shots so do take the time to dry the lens before hitting the shutter button. If you're going to be out for a longer period of time you'll want to pack several lens cloths as you won't achieve much if you try and dry a lens with an already damp cloth.

 

 

Photo by David Pritchard

 

7. Choosing Lenses 

Landscapes aren't just about wide-angle lenses as telephoto lenses can really help you capture some interesting images. In a previous article, John Gravett said: "Rain is wonderful at creating recession, in landscape pictures. Using a telephoto lens to compress perspective along with the recessive nature of the weather can create some truly striking images."

 

8. Try Working In Black & White 

A shot that looks dull and boring in colour can be transformed into a great moody mono. Plus, you'll be able to emphasise texture and tones, enhancing the mood and elements in your shots by shooting in black and white. 

 

9. Foreground Interest

Adding foreground interest to landscape images is something that should always be considered and this becomes even more important when shooting in the rain, as John Gravett explains: "Landscapes can often look moody and impressive when photographed in bad weather. Similarly, they can also look pastel and delicate – particularly when shooting over lakes or bodies of water. I generally try to include some foreground interest or dark element within the picture as a contrast to the overall light tones of a drizzly day. Make sure your expose "to the right" - firstly, it will maximise your data, and secondly, it will give you a high key feel rather than a dull, grey overcast look; that alone will make your thumbnails on your computer more appealing....Heavy rain can totally obscure background elements in a landscape, changing the emphasis from the overall landscape to elements in the foreground, which can so often get overlooked."

 

The German AI photo editing provider Neurapix has announced a powerful new feature for its Lightroom plugin during the Neurapix Conference 2025. From now on, photographers can manually adjust their SmartPresets, allowing them to fine-tune or completely redefine their editing style with just a few clicks.

Brightness, color tones, and overall looks can evolve over time — and now, Neurapix users can easily reflect these changes in their own SmartPresets. With the new "Adjust SmartPreset" feature, photographers can manually modify the AI slider values of their individual looks to better match their current style.

To use the feature, photographers simply select images that were edited with the SmartPreset they wish to modify. Within Adobe Lightroom Classic, they follow the familiar path (Library > Plug-in Extras) and click on "Adjust SmartPreset". A new window opens, displaying the selected example images along with Lightroom's well-known adjustment sliders. These settings can be modified at will and then saved as the new default configuration for the SmartPreset.

 

 

Flexible Editing for All SmartPresets

Users can adjust not only their own SmartPresets but also those they've purchased from other photographers — as often as they like, and at no additional cost. The new feature is automatically available after updating the Neurapix plugin. The update will be offered in a pop-up when Lightroom Classic is next launched or can be triggered manually in the Plug-in Manager.

In addition, users can still refine their own SmartPresets by allowing the AI to analyze and incorporate manual post-corrections made after the automated edit. This option, formerly known as "Refine SmartPreset", now appears as "Send Corrections" in the Lightroom menu.

"The ability to quickly and easily adjust SmartPresets makes our offering even more flexible and versatile for photographers," says Nils Sauder, Co-Founder and CEO of Neurapix. "It also allows them to purchase SmartPresets from other photographers and adapt them to their own preferences — making it even easier to get started with AI-powered photo editing." 

 

About Neurapix

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%. Fore more information, please visit the Neurapix website.

© Canon

 

Canon has introduced the EOS R6 Mark III and RF 45mm f/1.2 STM lens, expanding its EOS R System with tools designed for speed, resolution, and creative control. The camera offers 32.5 megapixels, fast continuous shooting, and advanced autofocus, while the lens features a lightweight f/1.2 aperture option for expressive depth and low-light performance.

Together, they support hybrid creators with features for both photography and video, including 7K RAW Light recording, Open Gate capture, and focus breathing correction. These releases give users more choice across Canon’s full-frame lineup.

 

From Canon UK:

Canon unveils an exciting dual release: the powerful EOS R6 Mark III and innovative RF 45mm F1.2 STM prime lens – both designed for storytellers looking to elevate their creativity.

The EOS R6 Mark III is a powerful stills camera with advanced filmmaking features, offering exceptional quality and control for photographers covering a range of subjects from sports and wildlife to weddings and portraits. Positioned above the EOS R6 Mark II, the EOS R6 Mark III offers significant upgrades in resolution, tracking, and connectivity offering additional choice alongside the existing EOS R5 and EOS R6 models.

Joining the lineup is the innovative RF 45mm F1.2 STM, Canon's lightest f/1.2 RF lens at just 346g. This lens stands out in its category – it is ultra-fast, features smooth autofocus and delivers performance without a professional-level price tag. The lens introduces Canon's widest aperture to the enthusiast range for the first time, offering excellent low-light performance and greater creativity. The RF 45mm F1.2 STM is a game-changer for photographers seeking depth of field control and outstanding creative results.

 

EOS R6 Mark III: Quality meets performance

 

The EOS R6 Mark III delivers an exceptional balance of resolution, speed and reliability – making it a versatile tool for a wide range of photography styles. Featuring a newly developed 32.5 megapixel full frame sensor and 40fps continuous shooting1, it captures more detail than the EOS R6 Mark II while maintaining impressive speed. With an expanded buffer capable of handling up to 150 RAW images in a single burst (when using CFexpress cards), intelligent autofocus tracking, and robust filmmaking features, the EOS R6 Mark III is built for action. Its customisable controls and weather-resistant body2 make it a resilient and adaptable camera that fits seamlessly into any creative workflow – from sports and wildlife to events, landscapes and portraits.

The EOS R6 Mark III excels in low light3, offering an ISO range up to 64,000 for clean, detailed images even in challenging conditions. In-camera crop modes effectively extend reach – perfect for wildlife and sports – while up to 8.5 stops4 of combined image stabilisation keep handheld shots sharp and steady.

This camera also demands less storage than the EOS R5 line, offering a well-balanced trade-off between file size and performance. It supports faster workflows, eases storage requirements and still delivers the image quality that users expect.

 

Never miss a moment

The EOS R6 Mark III is a reliable companion for high-pressure occasions like sporting events, weddings, and red carpets, with several new and improved features over its predecessors. Improved tracking algorithms lock onto moving subjects – including trains, airplanes, and horses – with greater ease, while the Register People Priority function allows users to pre-select 10 faces for priority tracking. For even more peace of mind, pre-continuous shooting records 20 frames in H+ mode before the shutter is pressed, in full RAW, JPEG, or HEIF.

 

Discover your inner filmmaker

For photographers expanding into video, the EOS R6 Mark III offers a seamless and confident entry into the world of filmmaking. It captures stunning 7K RAW Light footage up to 60p, delivers beautifully detailed oversampled 4K 60p with cinematic motion and supports 4K 120p for even slower, more dramatic results. Full HD 180fps recording is also available for creative slow-motion effects.

Content can easily be repurposed across platforms with Open Gate, a capability that captures the entire sensor's output to enable more flexibility in framing, stabilisation, and post-processing. It also supports pro-level tools like waveform monitor, proxies, metadata tagging, full-size HDMI, and 4-channel audio.

 

Built for a smoother workflow

The EOS R6 Mark III introduces a range of new and improved features that also support a smarter, faster workflow. Dual aspect markers frame for multiple platforms in one shot, while a redesigned control tab offers a customised shooting experience. For better organisation and security, dual card slots support the fast and high-capacity CFexpress Type B and the widely used UHS-II SD. Quick and secure file transfers are also guaranteed thanks to built-in wireless connectivity, with support for the latest 5 GHz Wi-Fi5 and Bluetooth 5.1.

 

Key features of EOS R6 Mark III:

• 32.5 megapixel resolution
• 40fps1 electronic shutter
• Up to 8.5-stop IS4
• Wi-Fi5 and Bluetooth
• CFexpress and UHS-II SD card slots
• Up to 7K RAW video
• Open Gate

 

RF 45mm F1.2 STM: Fast aperture, high impact

 

The RF 45mm F1.2 STM marks several firsts, introducing Canon's first f/1.2 aperture non-professional RF lens, weighing under 350g and offering autofocus at an accessible price point. Positioned within the enthusiast RF lens range, it is designed to inspire creative experimentation with beautifully shallow depth of field and expressive low-light imagery. Until now, the super-fast f/1.2 aperture was exclusive to lenses costing much more, with users now able to explore cinematic storytelling, lifestyle shoots and portraits with stunning clarity and mood. Canon's STM AF technology ensures subjects stay sharp, allowing photographers to focus on their vision. 

 

Designed for everyday versatility

The RF 45mm F1.2 STM is highly versatile with a constant length with separate focus and control rings making it a strong choice for hybrid storytellers. The RF 45mm F1.2 STM also has a convenient 67mm filter size and a minimum focusing distance of 45cm, giving creatives the freedom to fine-tune their results. This new lens also features a durable metal mount, 9-blade aperture, and compatibility with Canon's focus breathing correction technology, all working together to deliver lasting performance and stunning results.

 

Key features of RF 45mm F1.2 STM

• Lightweight at 346g
• 45mm standard focal length
• Super-fast f/1.2 aperture
• STM autofocus motor
• Dedicated control ring
• 9-blade aperture
• Super Spectra coating
• Focus breathing correction compatibility

 

More power. More creativity.

Launched side by side, these two products expand Canon's growing EOS R System of high-performance creative tools. The EOS R6 Mark III bridges the gap between the EOS R5 Mark II and EOS R6 Mark II for storytellers that need both resolution and speed, while the RF 45mm F1.2 STM sets a new benchmark for fast-aperture lenses. Together, these launches continue Canon's mission to empower photographers with tools that are designed to elevate creativity at every level.

 

For more information, visit:

https://www.canon.co.uk/cameras/eos-r6-mark-iii/

https://www.canon.co.uk/lenses/rf-45mm-f1.2/

 

1 Up to 40 fps continuous shooting with electronic shutter. Speed may vary depending on subject, shooting conditions, or battery level.

2 Dust and water resistance requires all covers (card/battery, terminal, shoe cover, etc.) to be securely closed. While designed for durability, the camera is not fully impervious to dust or water droplets.

3 Low-light autofocus down to –6.5EV is achievable during still photo shooting, with an f/1.2 lens, Centre AF point, One-Shot AF, at 23°C/73°F, ISO100. Excluding RF lenses with Defocus Smoothing coating.

4 Up to 8.5-stops of stabilisation based on CIPA standard using the Electronic Shutter. Performance may vary depending on lens used and shooting conditions.

5 Wi-Fi use may be restricted in certain countries or regions.

 

 

Nikon continues to develop support for the DX format crop sensor cameras, steadily increasing the range of lenses. Following on from the recently reviewed 35mm f/1.7 macro lens, we have the Nikkor Z DX 16-50mm f/2.8 VR, a fast standard zoom that has a “35mm-format equivalent” field of view of 24-75mm, a very versatile and useful range. Compared to the full frame equivalent lens, the 24-70mm f/2.8, this new optic is light, compact and perhaps a strong contender for travel and general use. We combine it with the 20MP Nikon Zfc retro design mirrorless camera and put it through its paces out in the field, and also in the technical tests. Let's see how it all worked out.

 

Nikkor Z DX 16-50mm f/2.8 VR Handling and Features

First impression is of a relatively compact, well made lens that balances extremely well with the Nikon Zfc camera body. It weighs in at a modest 330g and measures a svelte 74.5mm x 88.0mm. Construction quality is excellent. 

There is a supplied petal lens hood, designated type HB-118. This bayonets cleanly and positively into place. There is no locking catch, nor is one needed. Within the bayonet fit for the hood is a conventional 67mm filter thread. The lens is dust and drip resistant, something that is all but essential if we are to venture out into the variable outdoor weather.

 

 

The smoothly operating zoom ring is clearly marked at 16mm, 24mm, 35mm and 50mm. These markings appear to be accurate. The lens does extend when zooming, but not so much that it unbalances the lens/camera combination. Focusing is internal and has no effect on the barrel length. There is reduced focus breathing, of particular interest to videographers.

The silent control ring is the only other control. This is electronic and super smooth although with a fairly firm action. By default, this is the focusing ring, but it can be changed in the camera menu to aperture control, exposure compensation or indeed it can be switched off.

AF is provided via a stepping motor, which is fast, accurate and virtually silent.  

 

 

The closest focus point changes depending upon the focal length chosen. Greatest magnification is at the 50mm setting, which is useful as it enables a longer working distance for the closest shots, allowing room for lighting and also avoiding the front element becoming too close to the subject.

 

16mm 0.15m (0.5')   24mm 0.18m (0.59')   35mm 0.21m (0.69')   50mm 0.25m (0.82') 0.24x magnification

 

Optical construction is 12 elements in 11 groups, including 1 ED (Extra Low Dispersion) and 2 Aspherical. The diaphragm comprises 9 blades, helping to form a more rounded aperture for improved bokeh. The final and most important aid to sharpness is the optical VR (Vibration Reduction) which offers an advantage of 4.5 stops.

The lens is beautifully hazard free in use, so let's see if the technical performance can match up to its handling prowess and deliver another winner for Nikon.

 

 

Nikkor Z DX 16-50mm f/2.8 VR Performance

At 16mm, central sharpness is outstanding from f/2.8 right through to f/11, excellent at f/16 and very good at f/22. The edges are very good at f/2.8, excellent from f/4 to f/8, very good at f/11 and f/16 and good at f/22.

At 35mm, central sharpness is outstanding from f/2.8 to f/11, excellent at f/16 and very good at f/22. The edges are outstanding from f/2.8 to f/11, excellent at f/16 and good at f/22.

At 50mm, central sharpness is outstanding from f/2.8 to f/11, excellent at f/16 and very good at f/22. The edges are excellent at f/2.8 and f/4, outstanding from f/f5.6 to f/11, excellent at f/16 and very good at f/22.

This is an outstanding overall performance.

Distortion is almost perfectly rectilinear, measuring just -0.52% barrel at 16mm, -0.03% barrel at 35mm and +0.05% pincushion at 50mm. This makes the lens eminently suitable for even the most critical architectural photography.

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR 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 Nikon Zfc using Imatest. Want to know more about how we review lenses?

 

CA is virtually non-existent at the centre of the field, and extremely well controlled even at the edges.

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR 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 Nikon Zfc using Imatest.

 

Bokeh is pleasant, perhaps falling short of the sublime bokeh effects seen on some lenses. This is probably the trade off with the outstanding levels of sharpness.

Flare is generally well suppressed, showing just a slight tendency to flare when bright light sources are included in the image area.

Vignetting is impressively low and visually not intrusive at all.

 

Aperture 16mm 35mm 50mm f/2.8 -1.3 -0.5 -1.5 f/4 -1.1 -0.4 -1.5 f/5.6 -1.1 -0.3 -1.3 f/8 -1.1 -0.3 -1.2 f/11 -0.8 -0.3 -1.1 f16 -0.8 -0.3 -1.1 f/22 -0.8 -0.3 -1.1

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR Sample Photos Previous Next

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR 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]Nikon Nikkor Z DX 16-50mm f/2.8 VR|Nikon+Nikkor+Z+DX+16-50mm+f/2.8+VR[/AMUK] lens is priced at £799.00

There is an alternative [AMUK]Nikkor Z DX 16-50mm f/3.5-6.3 VR|Nikkor+Z+DX+16-50mm+f/3.5-6.3+VR[/AMUK] at £329.00. This is not as fast, but it is more compact and considerably less expensive.

Alternatives for other marques help us set the level that Nikon have pitched at.

• [AMUK]Fujifilm XF 16-50mm f/2.8-4.8 R LM WR|Fujifilm+XF+16-50mm+f/2.8-4.8+R+LM+WR[/AMUK], £599
• [AMUK]Sony E 16-50mm f/3.5-5.6 OSS II PZ|Sony+E+16-50mm+f/3.5-5.6+OSS+II+PZ[/AMUK], £274

The new Nikkor lens is at the upper end of pricing for DX format, but on the other hand has exceptional performance. On the basis that we get what we pay for, it looks solid VFM.

 

 

Nikkor Z DX 16-50mm f/2.8 VR Verdict

Nikon has done it again, delivering an amazing lens at a reasonable price. For a general purpose standard zoom that offers such quality and is fit for purpose for subject matter from architecture to portraiture and more, it looks very hard to beat. Whilst not a bokeh master as such, it still offers decently pleasant out of focus areas; but it rather more shines in its ability to render fine detail with critical sharpness and superb texture.

The focal length range is an ideal general purpose one, covering most subjects. Having the ultra-wide 16mm is useful for landscapes and architecture. The 50mm end makes a great portrait lens, its 75mm-equivalent being more or less spot on to the classic portrait focal length of 85mm.

The close focusing is one of the great advantages of modern zoom lenses. These tend to focus far closer than primes. The 0.24x magnification at the 50mm end covers most close up shooting, so a macro lens may not be routinely needed when travelling light. 

This has been a very rewarding lens to use, a definite winner in so many ways and as a consequence a natural Editor's Choice.

 

Nikkor Z DX 16-50mm f/2.8 VR Pros

• Outstanding sharpness
• Very low CA
• Modest vignetting
• Dust and drip resistant
• Silent control ring
• Reduced focus breathing
• Close focusing
• 4.5 stops VR (Vibration Reduction)

Nikkor Z DX 16-50mm f/2.8 VR Cons

• Slight tendency to flare

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=Editor's Choice – A superb, fast standard zoom lens for Nikon's DX format crop sensor mirrorless cameras.|E_id=8027[/REVIEW_FOOTER]

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Frost might not be good for plants but it is great for photographers who are looking for winter scenes and interesting abstracts to add to their portfolio. 

Photos by David Clapp. 

When's the best time for photographing frost and why?
Dawn shooting is the best time for ice and frost. Ensure you get there before the sun is up as there are fantastic opportunities to be had.

When you're photographing frost does the sun always have to be behind you?
No, not at all, direct light and side light are extremely complimentary as the ice and frost glistens. Literally any angle is worth experimenting with.

How do you keep yourself and your kit dry and warm?
Wear two pairs of socks and quality gloves! Don't worry about your camera gear at all, when going from warm to cold, but be prepared for condensation when returning home. Leave your camera in the bag to acclimatise.

Photographing ice/frost can produce grey looking images, how can you stop this happening?
Always check the histogram to ensure a healthy exposure and expose +1stop to +1.5stops to make the ice glisten.

Where are the best locations for both good landscape shots and more close up work?
Reservoirs, lakes, rivers and mountains (if you are lucky enough to live near them) are good as colder night time temperatures occur where water is present. Look for frost covered reeds, branches and places were water splashes as these can be dripping with icicles and interesting features.

What lenses are good for this type of work? 
A standard 90mm macro lens is your best friend when shooting ice and frost, but it’s also possible to get literally the same effect from a medium zoom and a full set of extension rings. These make a great macro alternative and considerably reduce the closest focusing point, especially on a budget.

Should photographers use a tripod/monopod for this type of work?
A tripod is utterly essential, as the best images are rendered in lower light levels. 

Do dark backgrounds work best?
They do help, but it’s not essential. As icicles are translucent, a darker background can help, but it's all about trying things out. For example, try using a piece of card to change the background to suit.

How can post-production help?
Playing with colour temperature in particular is a good way to induce a colder feeling in your ice images. Play with contrast to deepen the tones and lift the highlights, as this will give greater definition to patterns and texture.
 

© Billingham

 

Billingham has introduced the Capsule 1, a compact camera pouch handmade in England for photographers seeking stylish, everyday protection. Made from the brand’s signature waterproof fabric with 5mm foam padding, it fits small to medium-sized cameras and includes a wide opening, leather handle, and mesh pockets for accessories.

Available in four classic colours, the Capsule 1 is ideal for travel, street photography, and daily use. Priced at £125 (inc. VAT), it is now available for pre-order ahead of its 24 November 2025 launch.

 

From Billingham

Billingham is proud to announce the launch of its brand-new Capsule 1 pouch, pre-orders were invited from Thursday 6th November 2025, with an official launch date of Monday 24th November 2025. Designed and handmade in England to the brand’s exacting standards, the Capsule 1 combines refined craftsmanship, durability, and functionality — making it the ideal companion for photographers who want to protect their gear in style.

Crafted from Billingham’s renowned three-layer waterproof material and lined with 5mm foam padding, the Capsule 1 ensures small to medium-sized cameras and 
lenses are kept safe and secure wherever your journey takes you. Inside, two mesh pockets provide additional storage for memory cards, batteries, or other small 
accessories. Outside, a quick grab and go style handle for easy handling.

Designed for ease of use, the pouch features a wide doctor’s-bag style opening for effortless access and a sturdy leather handle for comfortable carrying. Whether used on its own or placed inside your everyday bag, the Capsule 1 delivers the perfect balance of protection, practicality, and timeless style.

 

© Billingham

 

The Capsule 1 will be available in four classic Billingham colour combinations:

• Sage FibreNyte / Chocolate Leather
• Black FibreNyte / Black Leather
• Burgundy Canvas / Chocolate Leather
• Khaki FibreNyte / Chocolate Leather

 

“With the Capsule 1, we wanted to create a truly versatile pouch that reflects Billingham’s commitment to quality and craftsmanship, while offering photographers a compact, elegant way to protect their most valued gear,” said Harry, Director at Billingham.

The Capsule 1 is available to pre-order now from Billingham’s website and authorised retailers.

 

About Billingham

About Billingham Since 1973, Billingham has been passionate about producing high quality, durable and stylish bags designed to protect valuable cameras, photographic and optics equipment, while providing owners with exceptional comfort and peace of mind. Built to meticulous standards at the company’s manufacturing facility in the West Midlands, England, Billingham’s versatile, purpose-built bags have an unrivalled reputation for excellence and are highly revered and trusted by photographers around the world. 

Each model is precision-engineered from rugged, weather-proof materials and premium padding, to ensure the contents are kept safe and secure in transit. Billingham’s outstanding products are unlike any other bags, and the special way they are developed and engineered is intrinsic to their distinctive character. Quality and detail are paramount to the production of a Billingham bag, with each typically comprising more than 100 individual components – the majority of which are custom-made by Billingham itself. Each bag comes with a five-year guarantee and is awarded its own unique serial 
number as a seal of perfection and authenticity, allowing the product to be tracked 
throughout its entire lifecycle. 

The growing Billingham range includes photographic and messenger bags, travel and leisure holdalls/carry-on luggage, padded rucksacks, binoculars cases, laptop and tablet cases, luggage tallies, leather shoulder pads and other accessories. Billingham is a family business located at City Estate, Corngreaves Road, Cradley 
Heath, West Midlands B64 7EP, United Kingdom. Its products can be found at selected approved retailers around the world. For more information, please visit: 
www.billingham.co.uk

Taking fun portrait photos doesn't have to be difficult - with a few simple tips, you can create something that breaks the mould.

  Simple kit is all you need

If you want to use natural light head for a space with a large window or if you prefer to use artificial lighting, a simple two light setup, positioning one light slightly to either side of the model should do the trick. Plain backgrounds work well as it's the expressions we're interested in not the colour of the scenery. We used a studio background but a table cloth, sheet or wall will work just as well.

 

Take note of your settings

As you don't want your subject's face to be blurred, make sure you're using a quick enough shutter speed when shooting hand-held. If you're using natural light and are having problems with shake, stick your camera on a tripod. Watch your white balance too as you'll be putting these shots together at the end and if the white balance is right in-camera, there will be less work to do once you have the shots on your desktop.

Don't think this is something for just DSLR users either as when using natural light, a smaller compact will work fine. 
 

Shoot Spontaneously & Candidly

When it comes to taking the photographs, don't linger on one expression for too long as if your subject thinks about what they're doing for too long it can look a little fake. You'll also find it's more fun to shout out instructions rapidly as it can sometimes go wrong, giving you the chance to capture your model laughing or pulling an expression you didn't expect. Have a list of ideas to hand, particularly if you're working with kids who need a little more instruction, but don't be too strict with it. Adding props such as food or a drink can work well, too.

If you want to create a triptych or other style of portrait collage, simply re-size them in your chosen software, check the tone and brightness, then pull all the images onto a new document, positioning them as you go. 

 

The Nikkor Z 24-70mm f/2.8 S II is the revised Mark II version of the original 2019 lens. The original was an Editor's Choice and an exceptionally fine lens. What's to change that could improve on this? The areas of attention are to make it smaller, lighter and focusing and zooming internally so the centre of gravity is constant. This could be advantageous especially to videographers, but will the lens maintain its exceptional quality? Armed with the full frame 24MP Nikon Z6 III, let's endeavour to find out.

 

Nikkor Z 24-70mm f/2.8 S II Lens Handling and Features

Starting our tour of the lens, we have the bayonet fit petal lens hood, secured by a small catch to avoid it accidentally moving out of alignment and causing vignetting. The hood has a sliding window that gives access to filters, so for example, a polariser can be rotated without having to remove the hood. This window slides just a bit too easily and can regularly be opened when not required. This could easily be rectified, but if it proves to be a problem then a piece of tape could secure it. Within the bayonet fit of the hood is a standard 77mm filter thread.

Popping the lens on the scales shows us that without hood or caps, it weighs in at a reasonable 675g, exactly as listed by Nikon. Add the hood and this becomes 722g. The lens measures 84mm x 142mm and neither focusing nor zooming changes this, as the adjustments are internal. The centre of gravity of the lens thus remains constant, useful for videographers in particular.

 

 

The electronic focusing ring is very smooth, as we should expect. Focus breathing is reduced, again for videographers. AF is driven by an SSVCM (Silky Swift Voice Coil Motor) motor, and is very quiet, almost noiseless, very fast and very accurate. The closest focus point changes depending upon the focal length chosen.

 

24mm 0.24m (0.79') 0.21x magnification 28mm 0.24m (0.79')   35mm 0.27m (0.89')   50mm 0.30m (0.99')   70mm 0.33m (1.09') 0.32x magnification

 

The zoom ring is broad and has excellent grip. Action is internal. There are clear markings at 24mm, 28mm, 35mm, 50mm and 70mm and these are accurate.

 

 

Behind the zoom ring are the lens controls. There are two L-Fn buttons, programmable from the camera. A small switch enables the aperture ring clicks to be deactivated. There is the usual A/M focus selector, plus a focus limiter. The limiter offers full range, or infinity down to 0.33m rather than 0.24m, not a huge difference and for this set of focal lengths seemingly hardly worth including.

There is no depth of field scale, and the one offered on the Mk I version was provided via an OLED display, similar to that used on some Zeiss lenses. Removing this also removes the aperture readout.

The final control ring, which offers smooth clicks as detailed above, can be programmed to control aperture, ISO value, exposure compensation or if desired can be inactive.

Optical construction is 14 elements in 10 groups, including 2 ED (Extra Low Dispersion), 3 Aspherical and 1 SR (Short Wavelength Refractive). The diaphragm comprises 11 blades, for a rounded aperture. Nikon have applied ARNEO, meso amorphous and SIC coatings, plus a Fluorine coat for the front element to repel dirt, grease and moisture. The lens as a whole is weather sealed, an increasingly essential feature.

 

 

The lens can hardly be described as compact, but that can be par for the course with mirrorless cameras. The camera bodies may be smaller, but the lenses may be more adventurous with faster apertures and hence larger optics. However, the lens is lighter than its predecessor so the balance with the camera body is good. There are clear advantages for videographers, the balance being consistent as we zoom and focus. The programmable control ring is well designed, with very smooth but distinct click stops that can be switched off entirely if required.

In summary, a very well designed lens with excellent ergonomics.

 

Nikkor Z 24-70mm f/2.8 S II Lens Performance

At 24mm, central sharpness is excellent right through the aperture range, rising to outstanding at f/4. The edges are excellent from f/2.8 to f/16 and still very good at f/22.

At 35mm, central sharpness is outstanding from f/2.8 right through to f/11, and excellent at f/16 and f/22. The edges likewise are outstanding from f/2.8 to f/11 and excellent at f/16 and f/22.

At 70mm, central sharpness is excellent from f/2.8 all the way through to f/22. The edges are also excellent all through the range of apertures, from f/2.8 to f/22.

This is a superb performance.

Distortion is virtually banished, with a tiny amount of barrel distortion that measures -0.23% at 24mm, -0.14% at 35mm and -0.01% at 70mm. This makes the lens suitable for critical architectural photography.

 

Nikon Nikkor Z 24-70mm f/2.8 S II 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 Nikon Z6 III using Imatest. Want to know more about how we review lenses?

 

CA is virtually non-existent. The measurements approach very closely to zero, so there should be no sign of colour fringing.

 

Nikon Nikkor Z 24-70mm f/2.8 S II 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 Nikon Z6 III using Imatest.

 

Bokeh is beautifully silky, giving us a lens ideal for lovely portraits with smooth out of focus backgrounds.

Flare is virtually absent, even with the most severe subjects with bright light sources pointing into the lens.

There is some visible vignetting at wide apertures and 24mm, but otherwise the lens performs well.

 

Aperture 24mm 35mm 70mm f/2.8 -2.7 -1.6 -1.3 f/4 -2.2 -1.1 -1 f/5.6 -1.9 -1.1 -0.7 f/8 -1.8 -1 -0.7 f/11 -1.8 -1 -0.7 f16 -1.8 -1 -0.7 f/22 -1.8 -1 -0.7

 

Nikon Nikkor Z 24-70mm f/2.8 S II Sample Photos Previous Next

 

Nikon Nikkor Z 24-70mm f/2.8 S II Aperture range Previous Next

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

 

[HOOK]position_1[/HOOK]

Value For Money

The [AMUK]Nikkor Z 24-70mm f/2.8 S II|Nikko+Z+24-70mm+f/2.8+S+II[/AMUK] lens is priced at £2599.00

Looking at the alternatives for Nikon Z, we could consider:

• [AMUK]Nikkor Z 24-70mm f/2.8 S|Nikkor+Z+24-70mm+f/2.8+S[/AMUK], £2099
• [AMUK]Nikkor Z 24-70mm f/4 S|Nikkor+Z+24-70mm+f/4+S[/AMUK], £849

There are choices there, and for those who can manage with the f/4 version there is some money to be saved. If the OLED display is required then the Mk I version is still a superb lens. If videography is a consideration then the new lens may be significantly advantageous.

 

 

Nikkor Z 24-70mm f/2.8 S II Lens Verdict

Nikon continues to pursue a path of excellence, there is no doubt about that. The new lens is a further example of their high standards, and it is difficult to see how the level could meaningfully be improved upon, regardless of how much money might be spent. The lens is quite expensive, significantly more so than the Mk I version, but there are advantages. The internal focusing and zooming mean a consistent centre of gravity for videographers as well as photographers. The excellent to outstanding sharpness is magnificent, and does not seem to have a cost in terms of the bokeh which remains superbly smooth.

Travel, landscape, portrait, social, reportage/street and architecture are all well within the scope. The lens could even be used on crop sensor cameras, although the size might be considered a bit out of proportion for the tiny APS-C DX-format cameras. The “35mm-equivalent” focal length range would be 36-105mm in this case, which could be advantageous for some.

However, full frame is the main thrust of the lens and it delivers the quality and superb handling with a sense of fine accomplishment. A definite Editor's Choice.

 

Nikkor Z 24-70mm f/2.8 S II Lens Pros

• Excellent to outstanding sharpness
• Virtually free of CA
• Excellent flare resistance
• Weather resistance
• Beautiful bokeh
• Aperture ring can be de-clicked
• Centre of gravity stable for videography
• Internal focusing and zooming

Nikkor Z 24-70mm f/2.8 S II Lens Cons

• Some vignetting at 24mm
• High cost

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=Editor's Choice – A superb, fast standard zoom lens for Nikon's full frame mirrorless cameras.|E_id=8027[/REVIEW_FOOTER]

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It's very easy to slip into a shooting pattern where not much thought is given to framing and composition so you end up with shots which are OK but are rather mundane and ordinary. However, with a few little, simple changes, shots can be turned into something much more interesting.

Summer by Peter Bargh.

 

Evaluate

If you're shooting a scene, particularly if you're not familiar with your shooting location, it's easy to become flustered so you just shoot anything and everything you see. However, if you take the time to study the scene so you can find out what / who should be your main focus point you'll be able to frame your shot(s) around them, giving your work focus rather than shooting anything and everything.

 

Angle

Digital photography really opens the doors on experimentation as there's almost no limit on the number of shots you can take. As a result, don't be afraid to shoot the same subject/scene from a variety of angles. Get down low, climb up high, go wider, get closer...there are plenty of options to have a go at, you just have to find what works for you.

 

Portraits

Those who are new to photography tend to put people in the centre of the frame when photographing them, however applying 'the rule of thirds' can give you a shot that's much more creative and appealing to the eye. For those who don't know what 'the rule of thirds' is, imagine a grid that divides your shot into nine equal sections by a set of vertical and horizontal lines. With the imaginary frame in place, you should place the most important element(s) in your shot on one of the lines or where the lines meet. So with a person, instead of putting them in the centre, simply move them more to the left or right thirds of the frame.

One problem with following this rule is that it can leave you with a strong focus point on one side of your shot and a big empty space on the other so, to improve this, see how you can add a secondary point of interest that's less important to balance your shot.

Whitby Goth by Peter Bargh.

 

Backgrounds

For portraits, you can use backgrounds to add an extra level of interest to your shot, however don't let it become the star of the show. Don't pick a scene with colours or light that'll outshine your subject(s) and make sure you balance the shot so background interest doesn't turn into a cluttered mess that just spoils the photo.

Lighting

What time of day you shoot, the weather and if you're working indoors or out can make a big difference to how your final image will look. For example, early morning or later afternoon/evening light isn't as harsh as mid-day and evening low, light shots in cities tend to look better when there's still a little light in the sky as this adds more interest to the shot. The light at sunset/sunrise changes rapidly and you may even find the best colours/light appear just as the sun dips behind the horizon.

For outdoor portraits, you may need to find some shade so the light on your subject's face is more balanced. It'll also make them 'pop' from the scene as the background tends to be a little brighter than where they are stood. Can't find shade? Use a reflector to bounce light up onto their face to fill in shadows under their nose and eyes.

If you're working with a scene where there's a big difference in the dynamic range (the shadows and highlights) you may want to consider shooting some HDR. In a nutshell, this is where you layer several shots together that have been taken at different exposures (you'll need a tripod as every shot has to line up exactly). For more information on HDR, take a look at this article: HDR Landscapes

These are just a few of the many examples out there on how light and other aspects can change the appearance/feel of a photograph. For more tips, check out our technique section.

© Skylum

 

• Skylum receives the Google Play Best of 2025 Award in the Best Multi-Device App category for Luminar.
• While the award recognizes the Android version and its seamless support for Chromebooks, Luminar Mobile is also available on iOS, ensuring full integration with Luminar Neo on desktop across both macOS and Windows.
• The award underscores Skylum's innovative strength and commitment to making cutting-edge image editing accessible to all devices.

 

The AI-powered image editing app Luminar Neo, developed by Skylum (https://skylum.com/luminar-mobile), has been named Best Multi-Device App at the Google Play Best of 2025 Awards. This award recognizes the Luminar team's innovation making it easy to edit your photos anywhere across Android phones, tablets as well as Chromebooks. The app also complements the broader Luminar ecosystem available on macOS and iOS, offering creators professional-quality tools regardless of platform.

 

Awards for the best apps in the Google Play Store

The Google Play Best of 2025 Awards recognize the most innovative and influential apps of the year, honoring excellence in design, user experience, and technological innovation.

 

Best Multi-Device App for Luminar Mobile

The Best Multi-Device App category honors apps that offer exceptional cross-platform capabilities and a consistent, high-quality user experience. Luminar Mobile stood out for its advanced AI tools, intuitive design, and seamless integration between desktop and mobile editing workflows.

The Luminar team would like to extend its sincere gratitude to its global community for their creativity, trust, and continued support.

Kostiantyn Tymoschuk, VP of Growth at Skylum, commented: “We are very honored to have won the Google Play Award for Best Multi-Device App. This recognizes our team's years of effort to make Luminar not only powerful, but truly universal. It is a tribute to the thoughtful design and our users, who inspire us every day with their use of Luminar.”

 

About Luminar

Luminar is a cross-platform next-generation photo editing platform powered by advanced AI technologies. With Luminar Mobile for Android and iOS and Luminar Neo for desktop (Windows and macOS), the Luminar platform helps travelers, outdoor lovers, and everyday photographers get great-looking photos on any device.

 

About Skylum

Skylum is a global image processing technology company dedicated to revolutionizing the world of image processing and creative tools. Its core product, Luminar Neo , allows photographers of all skill levels to unleash their creativity and bring their visions to life with advanced AI-based technologies, while giving artists complete control over the final result. Skylum has won the Red Dot Award, Apple's Best of Year, and the “Best Imaging Software” award from TIPA and EISA, as well as several other prestigious industry awards. For more information, please visit our website.

Motion and movement is a wide and varied photographic subject and as a result there are many ways a photographer can create a sense of motion or movement in their shots. Slow shutter speeds can be used to exaggerate the flow of water while fast shutter speeds will freeze the force of a wave as it crashes against a sea wall. ePHOTOzine has written many tutorials that cover motion in some shape or form and as a result, we've decided to group the most popular ones together so, hopefully, you'll be fuelled with enough inspiration and ideas to make you want to head out to capture motion. Here's our top seven:
 

How To Capture Landscapes That Show Motion

John Gravett shows us how wind movement can make interesting and more dynamic landscape shots. Plus, he includes tips on capturing the popular 'blurry' water shots at the coast and with waterfalls.

 

How To Use Blur To Create A Sense Of Movement

Blur isn't always a bad thing as it can help emphasis speed and create motion in a shot. Read on for tips on using shutter speeds, flash and zoom lenses to create blur.

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

 

Beginner's Guide To Capturing Motion

Mike Browne from PhotographyCourses.Biz shows how easy it is to capture a sense of movement.

 

Camera Panning Techniques

Peter Bargh talks through a few tips to improve your panning technique. Panning is a great technique for action and, once perfected, the main subject will be sharp against a blurred background.

 

Tips On Photographing Action And Movement

Here are a few tips on shutter speeds and how to focus so you get sharp action shots every time.

 

How To Capture Movement

Ben Boswell shares his tips on capturing movement. Tips include making sure movement looks deliberate, when to use a pan, what shutter speeds are appropriate and if a tripod is needed.

 

More Tips On Capturing Movement In The Landscape

Do landscape shots always have to be static? If you think about it you'll realise that they're often not. This tutorial adds to the tips John Gravett gave in his article, covering clouds, trees and people as subjects.

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

The kitchen holds a world of photo opportunities and all you need is some imagination to exploit it.

When it comes to kit, a camera and a tripod are essential but in terms of lighting, natural light will work just fine, however feel free to experiment with flash and other forms of lighting too. For example, for one of the shots further down the page, a torch was used to create contrasty light.

Once you start searching, you'll find plenty of objects in the kitchen that have photographic potential. Things like pots and pans, colanders and, as here, a trivet can be pressed into service as subjects. A kitchen work surface will make a perfectly good background but so can the sink or any material you have in your house. Objects can be arranged on the worktop in various compositions, with the camera and lens aimed downwards.
 

The trivet above was photographed with the camera in auto white-balance and it worked fine, but for the colander, the camera was switched to incandescent white-balance to give the overall blue colour cast. Pulling away slightly and including the stainless steel sink give an interesting backdrop. Filling in the shadows was done with some silver foil just held in position.

 

For the shot of the wooden spoons, a torch was placed on its side, creating a very oblique, contrasty light. The camera was left in auto exposure mode using the exposure compensation control to correct exposures and focusing was done manually on this occasion. The shutter was fired using the self-timer. Exposures were in the order of 1/8sec at f/8 with the camera set to ISO 200. If you have problems with colours appearing too warm or even cold, you can tweak the images during RAW processing. If you prefer, or if you are shooting JPEG, try shooting with a custom white-balance setting. Again, silver foil was used as a reflector.   

 

Ulanzi has launched MoveLightGo, a groundbreaking product that introduces an intelligent angular control solution to the lighting industry.

It effectively addresses the long-standing industry pain points of repeatedly adjusting lights manually and working at heights during film and video production. With three core capabilities – long-distance remote control, scene memory, and high compatibility – it enables photographers and film crews to adjust lighting angles remotely and flexibly, redefining the entire lighting control workflow and delivering a more efficient and liberated experience for creators.

Whether you're working on a fast-paced film set or a dynamic photo shoot, MoveLightGo streamlines the lighting setup, enabling users to adjust light angles remotely and with pinpoint accuracy—without ever having to climb a ladder again.

 

Precision Engineering for Professional Results

At the heart of MoveLightGo lies a sophisticated 14-bit, high-precision control sensor that enables precise control of both tilt (0-170°) and pan (0-450°) movements. This level of precision ensures smooth, incremental adjustments that professional shoots demand. The system's robust construction supports a full 6kg payload capacity, making it suitable for everything from small LED panels to larger studio lights while maintaining perfect balance and stability throughout its operational range.

 

Universal Compatibility

MoveLightGo features a universal Bowens-mount interface that accommodates 95% of professional lighting equipment. This extensive compatibility eliminates the need for multiple adapters or specialized mounting solutions, providing a seamless integration into existing gear setups. The intelligent mounting system automatically secures the light while maintaining optimal weight distribution.

 

Three-Tier Remote Control Ecosystem

 

MoveLightGo offers unparalleled flexibility through its multi-layered control system:

• 3m Wired Remote (standard) provides reliable, instantaneous control for studio environments
• 30m 2.4G Wireless Remote (optional) enables long-range operation across large sets
• 10m Bluetooth App Control allows smartphone/tablet integration with dual-screen capability for simultaneous parameter and position adjustment

 

Intelligent Memory System

The built-in memory system features four dedicated presets (A/B/C/D) that store complete lighting positions and angles. This allows creators to save complex multi-light setups and recall them instantly when moving between scenes or setups. The system maintains these presets even when powered down, ensuring consistent performance across multiple shooting days.

 

Advanced Multi-Unit Synchronization

For complex lighting requirements, MoveLightGo supports synchronized control of multiple units. Each device can be individually addressed while maintaining group coordination, enabling both individual fine-tuning and synchronized group movements. This feature is particularly valuable for creating dynamic lighting sequences and complex cinematic effects.

 

Flexible Power Management

MoveLightGo's versatile power system supports:

• 45W Direct Charging for continuous studio operation
• V-Mount Battery Compatibility for location shoots
• Power Transfer Modules (AC/DC/CANNON) that draw power directly from connected lights, eliminating extra cables and power sources

Ulanzi's MoveLightGo represents a significant leap forward in lighting control technology. By addressing the fundamental challenges of manual light positioning, it empowers creators to work more efficiently while achieving superior results. The system's combination of precision engineering, intelligent features, and universal compatibility makes it an essential tool for modern photography and videography professionals.

 

Pricing & Availability

The MoveLightGo system is available in multiple configurations, including Bowens-mount portable versions, remote control units, and power modules. A special 20% OFF promotion is available until December 31st, 2025, so photographers and filmmakers can take advantage of the latest in lighting control technology at a discounted price.

For more details, visit Ulanzi MoveLightGo.

 

 

 

 

A beautiful photo of Le Gouffre in Brittany by EveLine1 has been chosen as our latest 'Photo of the Week' (POTW) winner.

Taken at sunset, the image has a calm, quiet feel that draws you in. The house stands alone, with the land and rocks around it edited out to make it look like it’s floating. This clever touch adds a soft, peaceful mood to the scene. It’s a lovely piece of work, well put together and very deserving of this week’s award.

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

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

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

 

Gear Suggestions

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

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

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

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

  Focus And Aperture

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

 

RAW Or Jpeg?

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

 

Exposure Times

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

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

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

 

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

Watch The Display

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

 

Add Interest

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

   

 

Nikon now turns their attention to the DX format (APS-C or crop sensor) Z series mirrorless cameras. This stocky but relatively small 35mm f/1.7 gives a “35mm format equivalent” 50mm field of view, is fast and also focuses to macro distances. It is also relatively inexpensive, but as we have seen before this is no obstacle to Nikon producing some very fine lenses that perform impeccably. Have they hit the spot again? Let's find out, using the delightful 20MP retro designed Nikon Zfc camera body, in its stylish black version.

 

Nikon Nikkor Z DX MC 35mm f/1.7 Handling and Features

The initial impression is of a fairly light (weighing in at 220g) and compact (70mm x 72mm) largely plastic lens. Construction quality seems solid and all the controls operate smoothly and efficiently. It is claimed to be dust and drip resistant, which is largely expected these days, but the camera body supplied is not, so the advantage is somewhat lost. That is a shame, as being able to continue shooting in the rain is quite liberating for the photographer.

Also, a shame is the absence of a lens hood. There is a dedicated hood, HN-43, and its purchase could well be advantageous. Hoods not only reduce flare, but also act as protection against impacts to the front of the lens. There is a conventional 52mm filter thread, but no bayonet fit for a hood.

 

 

The one “silent control ring” can be set as a focusing ring, in which case by default, it is active whilst AF is in use or not. This can also be set to aperture or exposure compensation on the Zfc. Other camera bodies may vary as to what options are available. 

Closest focus is 0.16m, or 0.53 feet, for a maximum magnification of 0.67x (35mm-equivalent 1x). AF is driven by a stepping motor, which is virtually silent, fast and accurate.

Optical construction is 8 elements in 7 groups, including 1 Aspheric ED. The diaphragm comprises 9 blades to improve the bokeh. The lens is also designed to reduce focus breathing, a feature that will be appreciated by videographers. There is no VR (Vibration Reduction) provided, and unfortunately, this feature is not available on the Zfc body either. 

 

 

Finally, the metal bayonet mount is well machined and finished and the lens locks smoothly and positively into place.

35mm on APS-C format has a “35mm-equivalent” of 50mm. In other words, it has a field of view similar to the well accepted standard lens. There is little doubt that this is an effective and versatile focal length, with a view very similar to that perceived by the human eye. For macro photography, the slightly closer view than the popular 100mm-equivalent optics makes the lens more manageable for document copying and small objects. It also makes a more universally useful lens for more general shots.

 

 

Nikon Nikkor Z DX MC 35mm f/1.7 Performance

Central sharpness is outstanding from f/1.7 right through to f/11 and is excellent at f/16. The edges are excellent at f/1.7 and f/2, outstanding from f/2.8 to f/11 and excellent at f/16. An outstandingly sharp lens.

 

Nikon Nikkor Z DX MC 35mm f/1.7 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 Nikon Zfc using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is well under control. It is unlikely that colour fringing will need any further correction.

Distortion is just -0.10% barrel, which is as close to rectilinear as makes no difference.

 

Nikon Nikkor Z DX MC 35mm f/1.7 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 Nikon Zfc using Imatest.

 

Bokeh is a more aesthetic response and cannot be directly measured, but we know the best results when we see them. This is a very sharp lens, but the downside is that busy backgrounds seem to result in slightly ragged bokeh. 

Flare control is fine for normal subject matter, but when bright lights enter the image field, the lens flares quite significantly. Buying the optional HN-43 lens hood would seem to be a good idea.

Vignetting is minimal, the actual figures being:

 

Aperture   f/1.7 -1.3 f/2 -1.1 f/2.8 -0.6 f/4 -0.6 f/5.6 -0.5 f8 -0.5 f/11 -0.5 f/16 -0.5

 

Nikon Nikkor Z DX MC 35mm f/1.7 Sample Photos Previous Next

 

Nikon Nikkor Z DX MC 35mm f/1.7 Aperture range Previous Next

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

 

[HOOK]position_1[/HOOK]

Value For Money

The [AMUK]Nikkor Z DX MC 35mm f/1.7|Nikkor+Z+DX+MC+35mm+f/1.7[/AMUK] lens is priced at £399, a modest price for a quality macro.

There are no real competitors for crop sensor Z mount, the nearest being:

[AMUK]Voigtlander D 25mm f/2 Macro APO-Ultron|Voigtlander+D+25mm+f/2+Macro+APO-Ultron[/AMUK], £649. 

The Nikkor Z lens looks excellent VFM.

 

 

Nikon Nikkor Z DX MC 35mm f/1.7 Verdict

Nikon continues with its range of modestly priced and optically excellent lenses. This cost reduction may be achieved through use of plastics in the construction, but there is no apparent downside to this. In any event, a dropped plastic lens may well bounce and survive unscathed, whereas a heavy metal one is much more likely to be dented and break.

The lens is compact and light, focuses very quickly and virtually silently and, most importantly, accurately. There is no tendency to hunt, even at macro distances. Whether it is used as a standard lens or as a macro lens, it delivers. The sharpness is indeed outstanding, and consistently so across the aperture range and also across the frame. 

The only downsides are the slightly ragged bokeh and a tendency to flare when bright light sources creep into the image area. The HN-43 hood would be a sensible purchase, it's just a pity that it is not included with the lens. The lack of Vibration Reduction means we depend upon the camera body to provide this. The supplied Zfc does not have this feature unfortunately. Whether or not these negatives are deal-breakers depends on the sort of photography to be undertaken.

Considering the plus points of the lens, that is, the outstanding sharpness, low CA, low distortion and modest vignetting, this is a very fine optic at an excellent price and has to be Highly Recommended.

 

Nikon Nikkor Z DX MC 35mm f/1.7 Pros

• Outstanding and even sharpness
• Low distortion
• Low CA
• Fast, accurate and virtually silent AF
• Dust and drip resistant construction
• Minimal vignetting
• Excellent handling
• Excellent VFM

Nikon Nikkor Z DX MC 35mm f/1.7 Cons

• Some flare
• Slightly ragged bokeh
• Hood not provided with lens
• No Vibration Reduction

 

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