DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

Nikon has announced the NIKKOR Z 120-300mm f/2.8 TC VR S, which it describes as the world’s first telephoto zoom lens with a constant f/2.8 aperture and built-in 1.4x teleconverter. The S-Line lens is designed for professional sports photographers, extends to 168-420mm with the teleconverter engaged and weighs approximately 2735 g. Sales start in November 2026 at £13,999 in the UK and €16,499 in the Republic of Ireland.

 

From Nikon:

 

Today, Nikon introduces the world’s first1 telephoto zoom lens with a constant f/2.8 aperture and built-in 1.4x teleconverter. Designed for professional sports photographers, this powerful S-Line lens is built to nail incredible shots of defining moments without fail. Image quality is comparable to that of a prime lens even with the teleconverter engaged, AF performance is phenomenally accurate, and the build is tough yet remarkably lightweight.

From the atmosphere in the venue to in-game action shots, the NIKKOR Z 120-300mm f/2.8 TC VR S puts sports photographers right where they want to be. The built-in 1.4x teleconverter extends the focal-length range from 120-300mm to 168-420mm, and photographers can even go to 630mm in DX crop mode. Immersive detail is attainable at any focal length thanks to the fast, constant f/2.8 aperture and advanced S-Line optical construction. Specialised lens elements and coatings produce high-contrast images with exceptional clarity, even when shooting into strong sunlight or under bright artificial lighting.

Compared to its F-mount predecessor, the NIKKOR Z 120-300mm f/2.8 TC VR S also offers sports photographers a massive upgrade in terms of responsiveness and agility. Nikon’s Silky Swift AF system ensures fast, silent, pinpoint tracking, and a new control algorithm keeps pace with the fastest continuous shooting speeds. This Z Mount sports lens is also approximately 515 g lighter, even with the built-in teleconverter, which helps to beat fatigue when shooting handheld. Other features that can make all the difference include the balanced internal zoom, more customisable controls, Arca-Swiss compatibility, and the option to use front or rear filters.

Dirk Jasper, Product Manager, Nikon Europe says: “The NIKKOR Z 120-300mm f/2.8 TC VR S represents some of the best professional lens technology available today. Tested in the field and refined based on feedback from professionals, we’re bringing this high-powered professional zoom lens to the next level.”

 

Summary of key features: NIKKOR Z 120-300mm f/2.8 TC VR S

120-420mm focal-length range with built-in 1.4x TC: image quality is comparable to that of a prime lens, even with the teleconverter engaged.

Superior rendering, immersive detail: S-Line optical construction delivers high-contrast images with exceptional clarity. Includes Super ED and SR glass, and Meso Amorphous and ARNEO coatings.

F/2.8 constant aperture, up to 6.5 stop2 in-lens VR: freeze action, isolate subjects against smooth bokeh, and nail sharp, clean, detailed images at lower ISO settings.

Breakthrough AF: experience thrilling new levels of precision thanks to a multi-focus system equipped with Nikon’s Silky Swift voice coil motors. A new control algorithm keeps pace with the fastest continuous shooting speeds.

Lightweight build helps beat fatigue and weight restrictions: this fast telephoto zoom lens weighs 2735 g (approx.) and fits into international-standard carry-on bags.

Highly customisable: the control ring can also be used as a focus ring, and functions can be assigned to two L-Fn buttons or the Fn ring.

Internal zoom: keeps the centre of gravity consistent for more balanced handling when zooming.

High-performance sealing: keeps dust, dirt, and moisture at bay. A fluorine coat makes the front element easier to clean.3

Designed for hardworking pros: Arca-Swiss4 compatibility enables quick release from a tripod, front screw-in and rear drop-in filters are both supported, and the iconic yellow ring is visible even when the lens hood is attached.

HB-120 lens hood: lightweight bayonet lens hood with no protruding clamp knobs, for easy storage.

 

For more information, please visit the Nikon website.

 

FOOTNOTES:

1 As of 29 October 2026

 2 Up to 6.5 stops of in-lens Vibration Reduction with Synchro VR. Based on CIPA 2024 standards. Yaw/Pitch/Roll compensation performance when mounted on the Z6III, without a teleconverter attached (at the telephoto end, in [NORMAL] mode).

3 The lens is not guaranteed to be dust- and drip-resistant in all situations and under all conditions.

4 This lens’s tripod collar is designed for use with screw-type Arca-Swiss clamps. Lever-type clamps may not provide sufficient holding strength and are not recommended.

 

Leica Camera UK has announced the opening of the new Leica Store London Mayfair at 14 Dover Street, bringing the brand’s global total of Leica owned stores to 116. The 234-square-metre store and gallery spreads across four levels and houses all of Leica’s product families, including cameras, sport optics, watches, home cinema, mobile and its pre-owned and vintage range. It also has an integrated Leica Gallery on the lower ground floor. To mark the opening, 14 special edition Leica M-A cameras, produced with British artist Johnny Dowell (King Nerd), will go on sale from 5 November for an RRP of £15,800.

 

From Leica:

 

Leica Camera UK has opened the brand-new Leica Store London Mayfair in the heart of London’s exclusive Mayfair, bringing the global total of Leica owned stores to 116. The 234-square-meters store and gallery is located at 14 Dover Street, W1S 4LW and surrounded by other leading luxury brands, fine-art galleries, renowned restaurants and exclusive member’s clubs. The characterful Mayfair town house is a unique Leica store concept, with client space split across 4 levels housing all of Leica’s product families including Cameras, Sport Optics, Watches, Home Cinema, Mobile and their Pre-Owned and Vintage range. It also has an integrated Leica Gallery sitting on the lower ground floor that dedicates its space to cultural and artistic experiences as well as a rotating collection of exhibitions by renowned photographers.

 

 

Leica Store London Mayfair is the new UK flagship store, with Leica Store Harrods remaining open as usual, as the current store on Duke Street closes. It will provide Leica clients with complete access to all of Leica’s extensive product and cultural portfolio, offering an immersive brand experience and strengthening Leica’s presence in the capital. Private areas set across several floors also allow for a more discreet and comfortable setting for clients to explore the Leica world.

The building itself is impressive, with clients immediately being welcomed by a curated wall of art that features five photographs from Leica’s Hall of Fame, before going onto discover the rest of the ground floor which is dedicated to immersing clients in Leica’s world. Inside, an architectural highlight is the integrated atrium that extends from the lower ground floor to the first floor, offering an unobstructed view of the sky and flooding the space with natural light. Suspended within the atrium is a bespoke art installation, created specifically for Leica Store London Mayfair, that invites clients an opportunity to experience an expression of the optical quality of Leica products. The building’s curved form is reflected throughout the interior design concept, from the fixtures to the furniture and a curved seating area on the ground floor. Nods to the architecture of the brand’s headquarters, Leitz Park in Wetzlar, can be found in both the bars and key-product vitrine.

Clients might be inspired to enjoy Leica’s watches in the daylight while seated in the window bays on the second floor, or to test the telephoto lenses or sports optics equipment through the window’s expansive views of Mayfair.

 

 

The opening of the new Leica Store London Mayfair will be celebrated by the sale of 14 special edition. Leica M-A cameras that have been produced in collaboration with British artist Johnny Dowell, better known as King Nerd. Dowell is a multidisciplinary artist, designer and engraver born and raised in West London. He is renowned for transforming traditional hand engraving into a contemporary artistic practice, and has collaborated with some of the world’s leading luxury, fashion and lifestyle brands while creating bespoke commissions for an international clientele. The M-A has been specially engraved to feature designs of an English Rose, Scottish Thistle, Welsh Daffodil and Northern Irish Blue Flax, to celebrate and reflect the British Isles and will be on sale from the 5th of November for an RRP of £15,800.00. Also being sold with the M-A cameras is the Summicron-M 35 f/2 ASPH. lens, which is finished in a red scale, with the front of the lens completely blacked out, specially painted to match the unique colour of the King Nerd Edition.

Please find the Leica Store London website and number below:

https://leica-camera.com/en-GB/leica-stores/leica-store-london-mayfair

(+44) 020 7629 1351

Leica Store London Mayfair is open now from 10am-6pm Monday to Saturday, located on 14 Dover Street, London, W1S 4LW.

For more information, please visit the Leica website.

- Partner Content -

 

 

Talking-head ads often have one obvious problem after AI enhancement: the person starts looking too polished. Skin becomes unnaturally smooth, small facial details disappear, and the final video can have that familiar "AI plastic" look. 

That can hurt an ad, especially when the goal is to make the speaker feel REAL and trustworthy.

Vmake Labs' Portrait Pro scene is designed for this kind of footage. It can sharpen and improve facial details without pushing skin toward an overly smooth finish. That makes it worth testing for creator ads, founder videos, product explainers, and other campaigns where the person on screen needs to look clear without losing natural texture.

 

Why talking-head ads fail after basic enhancement

 

A talking-head is harder to enhance than a product-only shot. The person has skin, hair, eyes, teeth, fabric, and a product label in the same frame, and all of them move. Basic enhancers treat them the same. They crank sharpness and smoothing globally. The result is predictable:

• Skin loses pores and fine lines, then looks waxy.
• Hair turns into a solid helmet, especially curly or fine hair.
• Product in hand gets softer while the face gets too smooth.
• Background starts to buzz or pulse when you export to 4K.

Viewers notice it fast. In a creator ad or founder video, trust drops when the person does not look like themselves. 

So, the better enhancement approach is to treat the face as a separate visual priority. Facial details need enough sharpening to restore clarity, while skin needs to retain its natural variation. Hair and eyes need their own level of detail too.

That is the main reason Portrait Pro in Vmake Labs can make sense for talking-head ads. Instead of relying on a general enhancement pass, it puts more attention on the portrait area. This can help to enhance video quality when the original footage is slightly soft, compressed, shot in poor lighting, or recorded with a phone camera.

 

What Portrait Pro does differently

 

Vmake Labs is an AI social video studio for small businesses that need help to generate, enhance, and optimize video to capture attention and drive sales. It is built for social operators, SMB owners, and UGC creators who have to turn product clips into post-ready social video fast.

Inside that studio, enhancement is split into tiers and scenes so you don't use a hammer for every job.

• "Fast" for quick cleanup
• "Quality" for an AI-powered rebuild with richer details
• "Master" for cinema-grade polish at 2K, 4K, and 8K, when the clip needs to hold up as a hero ad

Then the scenes handle intent. The "Studio" gives real footage a more cinematic look. "Portrait Pro" is specifically for people. If your video is 80% face, that is the one you want.

 

 

Think of it as a larger model that knows the difference between skin and other surfaces. 

When you use it:

1. Skin keeps texture. Instead of smoothing everything, it preserves small details — pores, fine lines, eyebrow hairs — while cleaning compression blocks. The face looks clearer, not airbrushed.
2. Product in hand stays sharp. When a creator holds your tote, serum, or gadget, Portrait Pro keeps label type and material definition. So the eye can read the product while still believing the person.
3. Large areas stay stable. White desk, studio paper, or a blurred room behind the speaker does not band or flicker when you push to 4K or 8K.

That combination matters because most talking-head ads are shot on a phone in mixed light. You want the bump to 8K for the homepage hero, but you do not want the "beauty filter" look that kills credibility.

 

A practical workflow that keeps skin natural

 

Small teams who live on TikTok, Reels, and Shorts do not have time to re-shoot. They reuse authorized assets they already own. Here is how they fit Portrait Pro into a real day:

 

1. Clean your own clips first

 

If your best testimonial has an old editing app logo that is semi-transparent in the corner, or old captions baked over the product, run it through Vmake Labs ai watermark remover first.

Vmake Labs watermark remover tool now has Smart Pro feature, which is built for hard cases — moving, animated, or semi-transparent text that sits on top of complex backgrounds like canvas or skin.

 

 

It detects more of those fine, moving marks and blends the background with finer edge repair, so you do not get a big blur patch where the text was. Only use it on footage you own or have explicit rights to edit.

 

 

2. Pick the right mode and scene

 

Next, upload the cleaned clip to the Video Enhancer. Choose:

Mode: Quality for most talking-heads, Master if this is going to be your main ad for a week or you need to crop it to multiple ratios

Scene: Portrait Pro

 

 

That is it. 

Don't stack extra sharpening on top in another app. Let Portrait Pro do the skin work. If you need to enhance video quality for background details too, Master will give you more headroom at 4K without pushing the face into that waxy look.

 

 

3. Check at 100% before you export

 

Pause on three frames: eyes open mid-sentence, a slight smile, and a side turn. Zoom to 100% on your phone.

• Do you still see pores on the cheeks and forehead?
• Do eyebrows and eyelashes stay separate, not clumped?
• Does the background get cleaner while the skin stays soft but real?

If yes, you are done. If skin still looks too smooth, you probably had beauty mode on during recording. Re-record with it off and run Portrait Pro again — it preserves texture, it does not invent it from nothing.

 

When to test Portrait Pro

 

• Founder ads: You are on camera explaining why you made the product. You need to look clear, not filtered.
• Creator UGC: You have permission to reuse a creator's review. Their face is the thumbnail. Plastic skin hurts click-through.
• Product explainers: Face in corner, product in hand. Both need detail at the same time.
• Paid cuts you will run for a week: If you are spending on it, the extra minute for Master + Portrait Pro pays back in credibility.

What Portrait Pro is not for: product-only spins, flat-lays, or catalog videos where no person is present. There, Studio in Master gives you that more cinematic product look without worrying about skin.

Talking-head ads work because a real person says a real thing. The job of enhancement is to make that person easier to watch, not to make them look like someone else. Portrait Pro is Vmake Labs' answer for that — more natural skin texture, sharper product when it shares the frame, and less of that AI plastic that makes viewers scroll away.

 

The 49th Leitz Photographica Auction takes place on November 28, 2026, at Leica World in Wetzlar, presenting more than 400 lots of historic cameras and vintage photographic equipment. A fully operational mid-1950s Leica BOX 18 × 24 mm prototype bearing serial number 000.01 leads the sale, with an estimate of €400,000 to €500,000. The auction also includes a Leica R6 used by Sebastião Salgado to document the burning oil fields of Kuwait, offered with two photographs from that series and a signed copy of Workers. Another highlight is the Summicron-M 66 f/2 re-edition, serial number 001, estimated at €16,000 to €20,000. An exhibition celebrating 60 years of Leica Noctilux will also be on display at Leica World during the auction weekend.

 

From Leica:

 

 The 49th edition of the Leitz Photographica Auction is taking place on the 28th of November 2026 and is dedicated to historically significant cameras and vintage photographic equipment. Among the highlights of the auction, which will take place at Leica World in Wetzlar, are an exceptionally rare Leica BOX camera from the 1950s, a Leica R6 owned by Magnum photographer Sebastião Salgado (1944–2025), and a re-edition of the Elcan 66 mm f/2. In addition, an exhibition celebrating 60 years of Leica Noctilux will open at Leica World during the auction weekend.

More than 400 lots will be offered at Leitz Photographica Auction 49. While Leica cameras, lenses and equipment make up the majority of the lots, numerous items from other renowned manufacturers will be offered as well. Estimates range from the three-figure to the six-figure euro range.

“We are delighted to once again present, in the 49th edition of our auction, an exciting selection of cameras and photographic equipment from the past 100 years, alongside the collectables of tomorrow,” says Alexander Sedlak, Managing Director of Leitz Photographica Auction. “As always, we expect particularly strong interest in historically significant rarities and special editions. One such highlight is the Leica BOX camera, of which only one operational example is known to exist today.” 

 

  The Leica BOX 18x24mm prototype

The Leica BOX camera offered at auction is a prototype produced in the mid-1950s. Developed as an extremely compact 18 × 24 mm camera, it measures just 100 × 64 × 48 millimetres, making it one of the smallest Leica cameras ever built. Only two units were produced. One is on display at the Leica Museum in Wetzlar and was constructed as a non-working design study, whereas the camera offered here – bearing the serial number 000.01 – is fully operational. The Leica BOX is regarded as one of the most exceptional rarities in the Leica universe. Its estimate ranges from €400,000 to €500,000.

 

 

The Summicron-M 66 f/2 with the serial number 001 

One of Leica’s most celebrated lenses has its origins in the company’s former Canadian subsidiary, Ernst Leitz Canada. Dr Walter Mandler developed the Elcan 66 mm f/2 on commission for the US Navy. According to Mandler, the Navy’s intelligence service requested a lens that “looked like any other but delivered an unparalleled level of resolution.” In the late 1960s, Ernst Leitz Canada produced merely 200 units of the Elcan 66, making it one of the rarest lenses ever made for the Leica M system.

This year saw the release of the Summicron-M 66 f/2, a re-edition of the Elcan 66, limited to 660 units. The Summicron bearing the highly collectible serial number 001 will now be offered at Leitz Photographica Auction 49. Its estimate ranges from €16,000 to €20,000.

Yet another lens will take centre stage during the auction weekend. Leica began production of the Noctilux in 1966 and presented it at Photokina in Cologne, Germany, that same year. At the time, it was the fastest lens of its kind, making it possible to capture images with remarkable detail and contrast even in low ambient light. An exhibition to celebrate the history of the famed lens will be on display at Leica World during the auction weekend. 

 

Sebastião Salgado set: Camera, limited edition photobook and photographs

Alongside rarities and special editions, cameras and photographic equipment with distinguished provenance have traditionally proved particularly popular at Leitz Photographica Auction. In this respect, the upcoming auction features an exceptional highlight: a Leica R6 owned by Sebastião Salgado (1944–2025). The Brazilian-born, renowned Magnum photographer used the camera to document the burning oil fields of Kuwait during the Gulf War – images that contributed significantly to his international reputation. Two photographs from this series are included in the lot, together with a signed copy of Salgado’s limited edition photobook Workers. The estimate ranges from €28,000 to €32,000.

 

Leitz ON returns for its second edition

In addition to the event in Wetzlar, Leitz Photographica Auction is once again hosting its online auction, Leitz ON. Designed as an accessible entry point into the world of collecting, the auction features a broad selection of cameras and photographic equipment from a wide range of manufacturers, as well as photographs dating from the 1920s to the present day. Bidding will be open from the 29th of October to the 29th of November. Information on the lots and details of the bidding process are available at www.leitz-auction.com.

 

Live on site, in written form, online or by telephone

Leitz Photographica Auction 49 takes place on the 28th of November at 12 am (CET) at Leica World in Wetzlar. Bids can be submitted in advance online (www.leitz-auction.com), in written form, or by telephone. Live bidding during the auction will be available via www.leitz-auction.com and www.liveauctioneers.com.

 

For more information please visit: www.leitz-auction.com/auction

 

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

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

1. Pick the right season

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

 

2. Head somewhere dark and damp

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

 

3. Use a macro lens

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

 

4. Stabilise your kit

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

 

 

5. Pack a polarising filter

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

 

6. Tidy the surroundings

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

 

 

7. Shoot down low

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

 

8. Think about your composition

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

 

 

9. Shed some light on the image

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

 

10. Use a shallow depth of field

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

 

1. Be Early

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

2. Get Ready

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

3. The Sun's Setting

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

 

 

4. Watch Out For Bright Light Sources

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

5. Where Works?

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

- Partner Content -

 

A favourite photograph deserves more than a quick upload. Here is how to choose a size, protect your composition and prepare a file that will work on the wall.

You have a photograph you keep returning to: a coastline after rain, a family moment, the view that made you stop walking. On a screen, choosing a favourite is easy. Ordering it at half a metre wide brings a different question: will it still look good?

The answer starts with the pixels in your file, but it also depends on sharpness, cropping and where the print will hang. Working through those choices gives you a more useful answer than the megapixel number on your camera.

 

Fine detail and the shape of a composition both matter when preparing a large print

 

Find the best version of your photograph

Begin with the original full-resolution file. A screenshot or a copy saved from a social feed may look perfectly respectable on a phone while containing far fewer pixels than the original. If the image lives in a cloud library, download the original rather than its preview.

Check its dimensions in your photo app or file information. A 6000 × 4000-pixel image contains 24 million pixels, or 24 megapixels. That tells you how much image data you have; it does not tell you whether the focus landed on the subject. Open the photograph and inspect the details you actually care about before deciding how large to go.

Save a working copy before editing. That gives you room to try a square crop or a different treatment without losing the version you started with. If someone else supplied the photograph, ask for their print-ready export.

 

Choose the crop before you calculate

A camera's rectangular image will not necessarily fit the frame shape you have chosen. Filling a square with a 6000 × 4000-pixel landscape, for example, leaves at most 4000 × 4000 pixels. You have 16 megapixels left, even though the camera captured 24.

 

A full-height square crop of a hypothetical 6000 × 4000-pixel image retains 4000 × 4000 pixels, or two-thirds of the original pixel count.

 

Set the intended aspect ratio first, then move the crop deliberately. Look for a clipped headland, a hand close to the edge or a horizon that needs straightening. Straightening can remove a little more of the image, too. Recheck the remaining dimensions once you are happy with the composition.

If the crop spoils the picture, choose a different print shape or explore a border. The photograph should still feel like the one you wanted to print.

 

Turn pixels into a print size

Pixels per inch, or PPI, describes how densely the image's pixels are distributed across the finished print. Divide the pixel width by the print width in inches, then check the height in the same way. Convert centimetres to inches by dividing by 2.54.

Using the uncropped 6000 × 4000-pixel file, a 20 × 13.3-inch print is approximately 300 PPI. At 30 × 20 inches, the same file is 200 PPI. Increasing the print size spreads the available detail over a larger surface.

 

The same hypothetical 6000 × 4000-pixel file produces about 300 PPI at 20 × 13.3 inches, or 200 PPI at 30 × 20 inches. This diagram compares dimensions, not simulated print quality.

 

For a calculation using your own dimensions, Framely's image resolution and print size guide includes a calculator and reference chart. Use the dimensions of the printed photograph itself, excluding any mat border or surrounding frame.

 

Think about where people will stand

Around 300 PPI is a useful starting point for detailed photographs examined closely. It is not a universal pass-or-fail threshold. A large print seen across a room may look pleasing at a lower density, while a small print held in the hand invites closer scrutiny.

Stand where you expect to enjoy the picture. A print above a sofa is usually seen differently from one in a narrow hallway. If you are unsure, ask the lab about a small test section printed at the same enlargement as the final piece. A miniature of the whole photograph will not reveal the same level of detail.

 

Check sharpness as well as the numbers

Changing a file's resolution label from 72 to 300 PPI, without resampling, adds no pixels. DPI refers to the printer's dots of ink and is a different measurement.

Inspect the file at 100% to spot blur, compression damage or heavy sharpening, then consider those flaws at the intended viewing distance. Upscaling can improve an enlargement's appearance, but extra pixels do not prove that fine detail is authentic. Compare the result with the original, especially around faces and lettering.

 

Choose a surface that suits the picture

Smooth photographic paper can suit images whose appeal lies in fine detail, such as architecture or a sharply focused portrait. Canvas adds a visible woven texture, which becomes part of how the image looks. Think about whether that texture complements your photograph and how closely it will be viewed.

 

Smooth paper and woven canvas give a print different surface characteristics.

 

Canvas cannot restore missing detail. Check the edge treatment as well: wrapping an image around a stretcher, mirroring its edges or using a plain edge can produce different results. Keep important subjects clear of any area that will leave the front face.

For readers in Australia, Framely’s canvas photo prints offer stretched canvas and optional floating frames. Compare the finish and edge options against your composition before settling on the size.

If colour is critical, ask whether your lab provides a suitable printer-and-paper profile for soft proofing. This previews how colours may translate to the chosen output. It is an estimate, so a physical proof remains useful for an important print. Avoid converting to an unfamiliar colour space simply because it sounds more professional.

 

Give the file one last check

• Keep the original and export a separate print copy.
• Follow the lab's instructions for file format and colour profile.
• Check the final crop, orientation and dimensions in the order preview.
• Inspect faces, lettering and edges for unwanted edits or sharpening.
• Ask for a file review or test print if the enlargement is uncertain.

The most satisfying print often comes from a modest adjustment: a little more room around the subject, a size that suits the file, or a surface that carries the mood of the photograph. Make those choices while the image is still on screen, and you can enjoy it on the wall with fewer surprises.

© GoPro

 

GoPro has rolled out a free firmware update for the MISSION 1, MISSION 1 PRO and MISSION 1 PRO ILS that rebuilds how the cameras shoot stills. The shutter now responds the instant the button is pressed, and holding it down shoots continuous photos, with more than 100 at 12MP or more than 20 RAW files at 50MP. The MISSION Monitor app for iPhone and iPad also gains a histogram, waveform, RGB parade and false colour, along with wireless camera connectivity. GoPro Labs firmware adds anamorphic lens support for the MISSION 1 PRO ILS, covering squeeze ratios from 1.33x to 2.0x.

 

From GoPro:

 

GoPro, Inc. (NASDAQ: GPRO) released a free update that enhances MISSION 1 Series cameras' photography capabilities. Photo shutter response has been dramatically improved to provide hair-trigger sensitivity for improved photo capture accuracy, and holding the shutter button down will capture continuous photos in rapid succession.

GoPro also updated its recently debuted MISSION Monitor app with four new professional exposure tools and wireless camera connectivity, and released a new version of GoPro Labs firmware that adds anamorphic lens support to MISSION 1 PRO ILS for film and television professionals.

Since launching earlier this year, the MISSION 1 Series has earned 12 top industry awards from 10 leading consumer technology, photography, and outdoor publications, including Best Overall Action Camera from WIRED, Best Action Camera in the Tom's Guide Awards, and editor's choice awards from PCMag, Tom's Guide, Gizmodo, and The Shortcut.

 

MISSION 1 Series Photography Update: High-Performance Shutter Response + Continuous Photo Capture

 

MISSION 1 Series cameras have received a ground-up rebuild of how they capture photos, transforming them into rapid-fire photography solutions:

• Rapid Photo: With the free firmware update, all MISSION 1 Series cameras will now feature zero-lag, ultra-responsive shutter button response that results in photos being captured the instant the shutter button is pressed.1
• Continuous Shutter: Press and hold the shutter button to capture photos continuously—more than 100 photos at 12MP or more than 20 RAW photos at 50MP.1
• Buffer Indicator: A new on-screen indicator signals when the camera is approaching its buffer limit.
• Updated Shutter Sound: A modernized shutter sound delivers clear, distinguishable audio confirmation for each photo as it's captured.

This new photography experience makes MISSION 1, MISSION 1 PRO, and MISSION 1 PRO ILS a natural match for the Point-and-Shoot Grip. The grip's lightweight, rubberized metal frame turns the camera into a high-performance handheld point-and-shoot camera that's ideal for run-and-gun, on-the-go street and travel photography. Two cold shoe mounts accept accessories like Light Mod 2, making it a complete handheld setup for hikes, concerts, and road trips. The grip is available as a stand-alone accessory or as part of MISSION 1 PRO Grip Edition.

"For photographers, by photographers. That's how we approached updating the MISSION 1 Series photo experience," said Jensen Granger, GoPro's Creative Director of Photography. "This update opens an exciting new chapter for photography on GoPro. Put a MISSION 1 Series camera in the Point-and-Shoot Grip and you have a seriously capable travel camera that's durable, mountable and can even shoot 8K video. It's the camera everyone from first-time buyers to seasoned photographers will want in their bag."

 

MISSION Monitor: New Exposure Tools + Wireless Connectivity

 

MISSION Monitor, the free iPhone® and iPad® live-preview app for MISSION 1 Series cameras,2 is being updated with four new professional monitoring tools that enhance exposure and color control, plus wireless connectivity and support for the aforementioned enhanced photography experience:

• Histogram: A real-time graph of every brightness level in the frame to confirm a balanced image, protect highlights, and avoid crushed shadows at a glance.
• Waveform: Maps brightness across the frame, showing exactly which parts of a shot are clipping or underexposed, not just whether something is off.
• RGB Parade: Displays the red, green, and blue channels side by side to confirm neutral tones are truly neutral and catch color casts before they become a problem in post-production. It's especially useful when shooting in GP-Log2, where a color cast is nearly invisible to the naked eye.
• False Color: Replaces the live image with a standardized color map that instantly shows which parts of the frame are clipping, which are underexposed, and whether skin tones are landing where they should.
• Wireless Connectivity: Connects to the camera wirelessly for cable-free live preview and image monitoring.
• New Photography Experience: Supports the all-new Rapid Photo and Continuous Shutter capture updates.

 

GoPro Labs: Anamorphic Lens Support for MISSION 1 PRO ILS

 

GoPro Labs, a public beta firmware program that enables GoPro camera capabilities beyond stock features and controls, now adds anamorphic lens support to MISSION 1 PRO ILS with the latest GoPro Labs firmware update. Paired with the camera's Micro Four Thirds™ mount, it brings anamorphic filmmaking to the world's smallest, most rugged compact cinema camera with interchangeable lenses.

Anamorphic lens support includes compatibility with GoPro's Emmy® Award-winning HyperSmooth video stabilization. GoPro Labs firmware also writes pixel aspect ratio metadata to the video file so desktop playback and editing tools like Adobe Premiere Pro and DaVinci Resolve recognize the true shape of the image and correct it automatically.

Squeeze ratios of 1.33x, 1.5x, 1.6x, 1.8x, and 2.0x are supported, with presets for fast switching between anamorphic and spherical lenses. An on-camera desqueeze preview for the rear screen is coming soon.

 

Availability

 

The all-new photography experience for MISSION 1 Series cameras is available now as a free firmware update via the GoPro Quik app or on GoPro.com.

The MISSION Monitor app update is free and available today on the Apple App Store® for devices running iOS 18 or later.

The updated GoPro Labs firmware supporting anamorphic lenses is available to download for free from GoPro Labs.

 

After summer ends and the chips, candy floss and plastic buckets have long left the seafront, the British seaside resort morphs into a place that's desolated and full of photographic potential. 

 

1. Gear Suggestions

A zoom lens will give you the flexibility of both wide and telephoto options in one lens which is good news for the photographer who doesn't want to be carrying too much kit on their seaside walk. Plus, you don't really want to be changing lenses when there's a strong breeze blowing sand and salt which could damage your equipment. A tripod will help you steady your camera while the strong coastal breeze blows around you.

  2. Be Prepared

A bonus with this time of year is that parking's a doddle and accommodation should be cheaper if you're planning a full weekend of photography. 

Don't forget to check the all-important weather forecast and make sure you note down what time the tide will be on its way back in. If you don't,  you could find yourself paddling through saltwater with your camera gear if you do head for the beach. 

 

3. Light And Feel

Low-angled light will give colourful beach huts more punch while a bright blue sky dotted with white clouds will add a bit of life to what can be drab looking shops and piers. 

If you find that Mother Nature has realised you're at the coast and as a result predictably turns the sky grey don't be too down-hearted as a storm brewing over the sea will always look good. To give the sky more detail fit an ND filter to your lens but if it's still too dull and flat, shoot the scene anyway and try converting it to mono when you're back in front of your computer. If all else fails, there's always the option to shoot some macro detail of nets, ropes and wet pebbles on the beach. Just remember to fill the frame to give your shots more impact. 

 

  4. Photograph People

The ice-cream seller may be long gone but you will get the odd resident, brave surfer and fishermen still walking around the empty seaside towns. Even though it's always polite to ask before you take your shot, sometimes candids, where you snap a couple of shots without them knowing you're doing so, do work better. Many people won't mind you taking their photograph if you ask politely enough though so don't be afraid to approach someone with your camera and a pleasant smile. Try getting in close if they have a strong face that will make a good character portrait then stand back to give the shot more context. This can work well with a lonely surfer stood on a damp, deserted beach or with a café owner clearing tables in an empty shop. 

5. Life's A Beach

The pier is a photographic opportunity not to be missed at this time of year as you won't have tourists walking into your shot and morning fog can be found circling the supports, making them an eerie photographic opportunity. Go wide, shooting from the beach if possible or shoot from the top, using the pier as a leading line into your image.

As well as having practical uses, fisheye lenses can be a lot of fun. The distortion produced by this type of lens allows the user to take interesting, quirky shots of everyday objects, turning what can be quite simple shots into top creative captures. Plus, you don't have to own a fisheye lens for your DSLR to have a go at this technique as there are plenty of gadgets out there that will turn your Smart Phone images into fish-eye masterpieces. Here are 8 top examples of fisheye photography that you can take some inspiration from next time you're out with a really wide-angle lens. 

 

 

 

 

 

 

 

 

© FUJIFILM

 

Fujifilm has revealed the Instax Mini Evo 2, a hybrid instant camera featuring a 4.5-inch LCD touchscreen, new Expanded View and Immersive Movie features, and 100 possible combinations of 10 lens effects and 10 film effects. It also supports smartphone image printing and remote shooting through the updated Instax Mini Evo app. The camera is expected to be available in the UK at the end of November 2026.

 

From Fujifilm:

 

FUJIFILM Europe GmbH, Imaging Solutions Division, today announced the launch of its instax mini Evo 2™ (hereafter Evo 2) hybrid instant camera, along with its enhanced instax mini Evo™ smartphone app.

“The instax mini Evo™ is one of our most-loved cameras. With Evo 2, we’ve built on what people love about the original – refining the design and adding new features that bring even more creative freedom to photo and video. It’s a fresh way to experiment, express yourself and turn everyday moments into something uniquely yours.” said Karina Thomsen, Marketing Director, European Consumer Imaging, FUJIFILM Europe.

Evo 2 includes new capabilities to enhance the image and content-making process. The new 4.5-inch LCD Touchscreen makes it simple for users to compose, adjust settings and preview their content. The new instax Expanded ViewTM feature gives users a wider field of view than the shooting area with an on-screen framing guide, showing more of the scene so users can compose with greater intention. The new instax Immersive MovieTM feature records the four seconds leading up to each photo, preserving the movement, atmosphere and emotion that unfolds before hitting record.

 

© FUJIFILM

 

Key Features Recap:

• New 4.5-inch LCD Touchscreen 
• New instax Expanded ViewTM camera feature gives users a wider field of view than the shooting area    
• New instax Immersive MovieTM   camera feature allows users to capture the four seconds leading up to each photo taken (microSD card, sold separately, is required to use this feature).   
• 10x lens effects and 10x film effects, for 100 ways for users to customise their content
• Analogue-inspired controls 
• Adjustable exposure, white balance and flash 
• Macro mode for close-ups 
• Crisp 600 dpi resolution, with the option of selecting instax-Rich ModeTM for vivid colour or instax-Natural ModeTM for a more classic aesthetic
• Built-in Selfie Mirror
• Smartphone image printing using the free, downloadable instax mini Evo™ app (app is required; smartphone not included) 
• Remote shooting capabilities – Control the instax mini Evo 2™ hybrid instant camera with the smartphone connected to the app 
• MicroSD Card slot (microSD card sold separately) 
• Prints 2” x 3” instax™ mini instant photos (instax™ mini instant film sold separately) 
• USB Type-C charging 
• Includes Shoulder Strap, USB Type-C Cable, Quick Start Guide and 1 Year Limited Warranty 

 

© FUJIFILM

 

Pricing and Availability

FUJIFILM instax mini Evo 2™ hybrid instant camera is expected to be available at the end of November 2026 at a Manufacturer’s Suggested Retail Price of £229.99. The instax mini Evo™ smartphone app will be available for download on 24th November 2026.

 

The instax mini Evo 2™ hybrid instant camera will be available for pre-order from the following retailers:

• FUJIFILM House of Photography
• London Camera Exchange
• Jessops
• Amazon
• John Lewis

 

The instax mini Evo 2™ hybrid instant camera will be available for purchase from the following retailers:

• FUJIFILM House of Photography
• Argos
• Very
• Grattan
• JD Williams
• Maplin
• Boots
• London Camera Exchange
• Jessops
• Tekzone

 

For more information, please visit the official Fujifilm Instax website.

 

XTUCAM has officially released the S7 Pro Max in the UK, equipping outdoor enthusiasts and vloggers with a feature-packed 4K HDR action camera built around an upgraded 1/1.28-inch RYYB CMOS sensor. Designed to deliver clear shots in challenging light, the device pairs AI-driven image processing and 50MP still photo capabilities with dual screens, magnetic quick-release mounting, and Super EIS 5.0 stabilization. Available now at a discounted introductory price on Amazon UK and the official XTU website, the camera offers a budget-friendly option for capturing smooth action shots, travel footage, and social content on the go.

 

From XTUCAM:

 

 

New action camera combines 50MP photography, AI image processing and Super EIS 5.0 stabilisation with dual screens, magnetic quick-release mounting and flexible recording options

 

XTUCAM, a technology brand specialising in action cameras, video doorbells and trail cameras, today announced the UK availability of the XTU S7 Pro Max, an action camera designed for travel, riding and outdoor point-of-view (POV) recording. Combining a larger 1/1.28-inch RYYB CMOS sensor with AI image processing, 50MP photo capture and 4K HDR video at up to 50fps, the S7 Pro Max is built to capture outdoor adventures and everyday moments with detailed imaging and smooth footage. A 158-degree wide-angle lens, dual displays and magnetic quick-release mounting provide additional flexibility for filming on the move. UK customers can use code WJFZ8WN4 on both the official XTU website and Amazon UK to get the S7 Pro Max at a launch price of £99.99- 38% off (RRP £159.99) . It is also available in the US on the official XTU website for $189.99 (30% off applied at checkout).

At the heart of the S7 Pro Max is a 1/1.28-inch RYYB CMOS sensor paired with an AI image signal processor (ISP) and an F2.8 lens. The larger sensor is the main imaging distinction from the S7 Pro, supporting XTU's focus on capturing footage across changing lighting conditions, from shaded trails and sunset scenes to city streets. XTU states a 14-stop dynamic range, while HDR recording, Night Mode and X-LOG provide additional options for different shooting environments and post-production workflows. Native 50MP photo capture also allows users to record high-resolution stills alongside video.

 

 

For action-heavy environments, the S7 Pro Max features Super EIS 5.0 stabilisation, horizon stabilisation and 360-degree horizon correction to help keep footage smooth and level during mounted or handheld recording. Gyroscope data export supports compatibility with Gyroflow, giving users the option to fine-tune stabilisation in post-production. These features make the camera suitable for a range of activities, including cycling, riding, hiking and other outdoor pursuits where camera movement and changing shooting angles can present challenges.

Beyond imaging, the S7 Pro Max is designed to support flexible content creation. A 2.29-inch rear touchscreen provides access to camera controls and playback, while a 1.4-inch front display helps users frame themselves when recording vlogs or capturing footage on the move. Vertical shooting, voice control and pre-recording offer further flexibility for social content and spontaneous moments. For users looking to improve audio capture, the optional XTU MIC 1 Bluetooth microphone provides a compatible wireless audio option and is available separately.

 

 

The camera's magnetic quick-release mounting system allows it to be moved between compatible setups, making it easier to switch between different filming positions. Wi-Fi 6 connectivity and the XTU GO app support wireless preview and file transfer, while USB transfer provides an additional way to move footage to a computer. A replaceable 1800mAh battery with PD fast charging supports extended outings, with XTU quoting up to approximately 200 minutes of recording at 1080p/30fps. Actual battery life varies depending on recording settings and operating conditions.

For underwater recording, the S7 Pro Max requires a dedicated waterproof housing, sold separately. The camera body itself is not waterproof, while the housing is rated by XTU for depths of up to 30 metres when correctly fitted.

UK customers can use code WJFZ8WN4 on both the official XTU website and Amazon UK to get the S7 Pro Max at a launch price of £99.99- 38% off (RRP £159.99) . It is also available in the US on the official XTU website for $189.99 (30% off applied at checkout).

More product information: XTU S7 Pro Max official product page.

 

Technical Specifications

 

Feature Specification Product name XTU S7 Pro Max Category 4K HDR action camera Sensor 1/1.28-inch RYYB CMOS Imaging processor AI ISP Photo resolution 50MP Video resolution Up to 4K at 50fps with HDR Imaging options HDR, Night Mode, X-LOG Dynamic range Up to 14 stops, manufacturer stated Lens 158-degree wide-angle lens, F2.8 aperture Stabilisation Super EIS 5.0, horizon stabilisation, 360-degree horizon correction and Gyroflow-compatible gyro-data export Displays 2.29-inch rear touchscreen; 1.4-inch front display Shooting features Vertical shooting, voice control and pre-recording Connectivity 5GHz Wi-Fi 6, XTU GO app and USB file transfer Battery Replaceable 1800mAh battery with PD fast charging Battery runtime Up to approximately 200 minutes at 1080p/30fps; varies by settings and conditions Mounting Magnetic quick-release mount Optional audio XTU MIC 1 Bluetooth microphone, sold separately Waterproofing Camera body is not waterproof; separate housing rated to 30 metres

 

 

About XTUCAM

XTUCAM is a technology brand focused on action cameras, video doorbells and trail cameras. The company is committed to providing advanced and reliable photography and surveillance equipment for users worldwide. Its mission is to make every moment worth cherishing and protecting through high-quality imaging products, with a vision to become a leading brand in the category. For more information, visit XTUCAM online.

The self-timer feature is something which is available on most camera models and it's a shutter delay that when activated, stops the shutter from firing and taking the picture when the shutter button or release is pressed for a designated amount of time. This delay is useful for a number of reasons which are listed below. 

 

1. Close-Up Work

The other advantage of having a timer is to save you having to use a cable release when the camera is mounted on a tripod or resting on a secure base. You set the timer and the delay means there's no hand contact that could potentially cause camera shake when the shutter is pressed. The 10-second delay is not really necessary for this, so that's where the shorter delays come in handy.

 

 

2. Self Portraits And Group Shots

The idea is you can take self-portraits without having to be seen stretched out as you fire the camera at arms' length. All you do is activate the timer, press the shutter release and move in front of the camera, strike a pose - all within the timer's limit - and then you'll be the focus of your photo.

It can also be used to ensure you're in a family or group shot. You can arrange a small or larger group of people and allow space for yourself, activate the timer and move into the shot. This saves you having to give the camera to the waiter or tourist to take the photo, preventing an embarrassment or even potential theft!

 

3. Low Light Photography 

As with close-up work, your camera's self-timer can be used to reduce the chances of camera shake spoiling your shots when working in low light. At this time of year, your self-timer will be useful in dark woodland where you may be photographing close-ups of fungi. Again, you won't need a really long delay, a couple of seconds will be fine. 

 

 

4. Check Your Focus

There are a few things to do to help improve your photos when using the self-timer. The first is ensuring accurate focus. If you're doing a self-portrait you won't be in the photo when you press the shutter and as a result, the picture could end up blurry as the camera could lock focus on the background. One way around this is to point the camera at something that is at the same distance that you will be when the photo is taken. Press the shutter release and recompose before running in front of the camera. In a group shot this is easy - make sure you either focus on a person to the side if you're going to be in the centre or focus on the centre person and join the group at the edge.

 

5. Check The Edges Of The Frame

The other thing to avoid is a table edge being in the frame when you are taking a group shot in a restaurant or bar and decide to use a nearby table as support. The camera, when set to wide-angle, may pick up an edge of the support. Move the camera so it's right at the edge of the table, making sure it's balanced well and cannot fall off!

Another problem you may be faced with when resting the camera on a flat surface is that the height may not be right when you look through the viewfinder and often the heads or feet of your group will be cut off. If this happens, try and angle the camera so all of your group is in the shot.

 

Leading up to Halloween you may like to spend some time in your local graveyard... you will find plenty to photograph and much of it will be in the detail. You should remember that graveyards are, by their very nature, places that should be treated with respect, but don’t let that put you off: as long as you behave yourself you shouldn’t get into too much trouble.

  1. Kit Choices 

A zoom lens with close focusing capabilities will be useful and a tripod will certainly improve the quality of your pictures. If you fancy doing something a little more dramatic you could also consider using some 'off camera' lighting, either a flash or even a torch.
 

2. Detail Is King Here

First, look around for interesting details, there shouldn’t be any shortage of these. They could be stone, lichen or moss, text on the gravestones, sculpture, ironwork, trees or the flowers left on the graves. When you have found something that interests you, look at it carefully and decide how best to make a picture out of it. Consider where the light is coming from, what angle will best suit the subject and how tight you should frame it. It is these decisions that will make the pictures ‘work’ or not. If you are getting in really close then try using different apertures: isolating the detail by shooting wide open or stopping right down to get the subject sharp from front to back. 

 

3. Think About What Distractions 

When you are looking at detail, it is usually best to try and frame in such a way that there is no distraction in the foreground or background – unless you are making some specific use of them. To do this, you may need to get right in close. If your camera then struggles to find something to focus on, try switching to manual, focus as close as the lens will permit and then move the camera to get the subject sharp.

  4. Don't Be Afraid Of The Dark 

You can also get some spooky results by waiting until it is dark and then shooting with the camera on a tripod and ‘painting’ with a torch. Get the camera focused on what you want to photograph, a gravestone for instance, set the ISO to around 200 and the shutter to ‘B’ then do a test, open the shutter and ‘paint’ with your torch. With digital cameras, you can see the result straight away so review the picture and adjust the amount of time you take to do your ‘painting’. If your torch is not bright enough you might start to get problems with noise, but it is easier to get subtle shading if you have a little longer so don’t use a super bright torch. It may take a while to get it right, but it’s very rewarding when it works.   

 

A peaceful scene of two wild swimmers captured by Mike43 at Derwentwater in the mist has been chosen as our Photo of the Week.

There is plenty to love about this image, from the pink and purple tones in the sky to the mist hanging over the water and the dark outline of the trees along the shore. The wooden jetty adds to the setting, while the two brave swimmers entering the cold waters of Derwentwater stand out against the soft colours and misty backdrop. The ripples across the water and the soft light in the sky make this a lovely landscape to enjoy.

It’s a calm and atmospheric photograph of an early morning swim in the Lake District.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we'll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. See the terms & conditions and prize procedure for more information.

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

Photo by Joshua Waller 

 

Objects which look like they’re growing out of people’s heads, unwanted ‘hot spots’, unsightly rubbish and general clutter are just some of the things which can spoil a shot thanks to them pulling attention away from your main subject. However, with a few simple adjustments, you can have clutter-free backgrounds that’ll leave all attention where it’s meant to be, as shown in the image below.

 

1. Make Sure You Check The Frame

Ok, it may seem like something rather obvious to list, however, it’s a simple step some of us forget to do, especially when we don’t have much time to take the shot. But taking the time to study the background of the frame can stop unsightly highlights and objects spoiling your shots.

 

2. If Possible, Remove Clutter

So, you’ve checked the frame and seen there are a few unsightly elements which means the next step is to remove them. In some places this can physically mean picking objects up and moving them out of frame, however, this isn’t always possible as you’re not always taking photos in locations where you can just pick up and move objects as you wish. When working in locations such as this, you’ll have to do one of the following that’s listed further down the page instead.

 

 

 

3. Move Locations Or Positions

Try hiding the distracting object with your subject or if it’s not possible, see if moving a couple of steps to the left or right may help. Again, it’s a simple and quite obvious thing to do but it can make a huge difference to the overall look of the final shot.

 

4. Be Patient

If you’re shooting in a busy town centre or in another location where there are lots of people walking through your shot, set your gear up, position your subject and just wait for your background to clear. If you have people trying to be a nuisance, pulling faces and generally being annoying in the background, just patiently wait for them to move on as they’ll get bored a lot sooner than you will.

 

5. Change Your Depth Of Field

Using a larger aperture to throw your background out of focus (and creating bokeh) can hide distracting objects and allow all attention to fall on your subject which is pin-sharp. However, areas that are overexposed and strong colours can still pull the eye towards them even if they are blurry so just be aware of that and check for any objects that may do this.

 

 

6. Adjust Your Zoom

Cropping some of the background out by using your zoom to pull your subject in so they fill the frame more will remove distracting objects and ensure your subject is the main point of focus.

 

7. Move Your Feet

Don’t just think you can use your zoom to get closer to your subject. Move your feet to find a different angle, a better background or to simply ‘zoom in’ closer to your subject.

 

Photo by Joshua Waller 

 

8. Use Simple Backgrounds

Plain walls, studio backgrounds and even the sky can be used as backgrounds and they won’t distract your viewer. For smaller items, use pieces of card, paper or material as backgrounds which you can slip behind your subject, hiding whatever unsightly items are behind it.

 

9. Change Your Angle

If you can’t move your subject you’ll have to move. Try shooting from a lower position so you can use the sky, for example.

 

10. Edit In Post Production

Even though it’s always best to get it right in camera, you can edit your shots during post-production to fix your background. You can, among many other things, clone, crop, remove backgrounds completely and adjust brightness levels of all or parts of your shots. Take a look at ePHOTOzine’s techniques for more editing tips.

 

  As photographers, when we think of mood, we think of stormy, dark and dramatic, but mood can equally relate to any lighting type that evokes a feeling. Photographically then, mood can readily be associated with weather conditions – calm and misty mornings, dramatic cloudy days with sunbeams and often, the most dramatic mood can be obtained on those days you might think offer less promise – as it only takes a break in stormy clouds to give a magnificent, moody image.

 

How To Capture Mood In Your Images

To capture dark and dramatic mood successfully, be prepared to wait for breaks in the weather, sometimes you just have to sit out the rainy spells – in the car if you're lucky; but when the weather breaks you can be rewarded with a few minutes really exciting lighting.

When the light does come, be prepared to work quickly. Good lighting doesn't wait for the photographer, and often its over just as quickly as it arrived, so think in advance whether you are going to need a graduated ND filter, or if you need to bracket the shot to put together an HDR (High Dynamic Range) picture. Don't wait for the light before considering that you need a filter or need to bracket exposures to cope with the contrast range, as when the light's gone – it's gone. Checking your histogram after the event to find that your exposure is wrong it's too late – you can't bring it back.

For misty, early morning moody images, again the weather forecast is an essential pre-planner – there is no point sleeping in to find that you've just missed a delicate, moody sunrise. Similarly, there is little point getting up early to find the weather isn't ideal.

The key to capturing mood is to pick the right day and location – as is all landscape photography, but the real secret is to be fully prepared for when the "mood" arrives.

[COMMENT_IMG]portfolio|163686|3962294[/COMMENT_IMG]

 

The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to JonnyNI (Day 20 - Vista and View).

 

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 18

Backlight

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Day 19

Cross Polarisation

[COMMENT_IMG]direct|21670|21670_1792394230.jpg[/COMMENT_IMG]

 

Day 21

Bad Weather Landscape

[COMMENT_IMG]portfolio|253884|3966342[/COMMENT_IMG]

 

Day 22

Kitchen Item

[COMMENT_IMG]portfolio|55274|3454714[/COMMENT_IMG]

  Day 23

'Busy' Theme

[COMMENT_IMG]direct|229038|229038_1792734336.jpg[/COMMENT_IMG]

 

Day 24

Town Architecture

[COMMENT_IMG]direct|345095|345095_1792836675.jpg[/COMMENT_IMG]

 

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.

The zoom lengths on compact cameras keep growing and even though this makes more photographic subjects accessible to compact users, it does bring one problem and that's camera shake.

Manufacturers do install modes and features to help combat the issue, such as the shake reduction, but there are still a number of things that you can do to ensure your images are sharp every time.

 

1. Use A Support

When you think of a camera that sits on a tripod your first thoughts will probably be of a DSLR but just because you're using a camera with a body much smaller than a DSLR doesn't mean you shouldn't use a support. This can be a tripod, monopod, something smaller such as a Gorilla Pod or even a beanbag. 
 

 

2. Use Your Camera's Self-Timer

Even when you're using a support the small action of pressing the shutter button can still move the camera slightly and cause shake. As a result, when shooting a static subject you can use your camera's self-timer function so there's a delay between you pressing the shutter button and the exposure beginning. 
 

3. Increase The ISO

As longer shutter speeds mean the camera has to be held still for longer periods of time, shake can be a problem, particularly when working hand-held. To increase the shutter speed you can switch to a higher ISO but do take care when increasing ISOs as noise will be introduced at some levels. Where possible, try to stay below ISO400. If long shutter speeds are a must, always use a support as working without one will just result in shake spoiling your shots.
 

4. Check The Image On Your LCD

As images can be previewed on the built-in LCD screens available on compact cameras it means that shots can be checked for sharpness before leaving the location you're shooting in. However, it's not always that easy to tell if a shot is sharp by just checking the screen so if your camera has the option, it's always worth using the zoom magnifier when previewing to get a closer look at the shot. 

 

 

5. Edit In Post Production

You can slightly sharpen images in various pieces of editing software but don't overdo it as the shot won't look right. Boosting the contrast a little can help as well, but again don't go too mad with it. There are ways to reduce noise, too if high noise is a problem. 

A – Aperture

When it comes to picking an aperture, you don't want to go too wide as this will shorten your shutter speeds so choose an aperture around f/8 or f/11 to start and go from there.

 

 

B – Bulb

Using the BULB setting will keep the shutter open until you take your finger off the shutter button (this is when a release is handy as you can keep the shutter open without having to touch the camera). This can be useful for light trails as you'll be able to take more control over the length of the exposure, stopping and starting it more precisely.

 

C – Compact Camera

If you're an owner of a newer compact camera you may be thinking you won't be able to try this technique but you could be wrong as many modern compacts now offer longer shutter speed ranges.

 

D – DSLR

Even though you can use a compact you're probably still better using a DSLR or an advanced smaller camera that has the power of a DSLR without the body size. This way you can guarantee you'll have the longer shutter speeds needed, plus the option of using Bulb mode (model depending).

 

E – Exposure times

There's no exposure time that's set in stone for this technique so you'll need to experiment until you find a shutter speed that gives you the results you're looking for. Although, a 10-30-second exposure should capture light trails perfectly.

 

F – Find A Location

It's often worth scouting for locations in the daytime so you're not wasting time when the sun's setting searching for ideal spots.

 

Photo by David Pritchard

 

G – Guide The Eye

Compositional rules still apply here so don't forget the power of using lead-in lines in your shots. The light trails can be used as a line to lead the eye through the image to a point of interest which could be a town, city or building glowing in the background.

 

H – Height

Find a spot, after the sun begins to set, where vehicles will pass under/by you with their lights on. The most obvious is a bridge but any high vantage point will work. You could also find a spot that looks over a road that winds down the side of a hill so car lights are turned into sweeping s shapes. 

 

Photo by Joshua Waller

 

I – In The Car

Give the light trail technique an extra twist by shooting from a moving car. Obviously, you can't drive and control the camera at the same time so you'll need a willing friend to help you with this technique. For more tips on this form of light trail photography, have a read of this: Photographing Light Trails From A Car

 

J – Juxtaposition

To really create a sense of movement and pace, shoot your light trails in a built-up area where you can juxtapose still buildings, trees and other objects with the light trails created by traffic.

 

Photo by Joshua Waller

 

K – Keep Checking The LCD

As you'll be experimenting with shutter speeds you should view your images on the LCD screen after capture to see if the shutter speed you used was long enough. For example, you may find the light trail ends half way through the image rather than carrying on until the car has exited the frame which means you need a slightly longer exposure time to capture the full length of the light trails.

 

L – Low ISO

Keep your ISO as low as possible (100 if you can) so noise doesn't cause you too many problems.

 

M – Mount Your Camera On A Support

Due to the length of the shutter speeds you need to use some kind of support. A Tripod's best but you can use a monopod if you prefer.

 

N – Night

You may think that well after the sun has set is a good time for capturing images of light trails and there's nothing wrong with capturing shots at this time, however twilight and just after the sun has set can produce some rather cracking results. Not only will there be more ambient light but there will also be more traffic around which means more chances to get the shot right.

 

Photo by David Pritchard

 

O – Overexposed

Keep an eye out for spots of light such as street lamps overexposing as these bright dots of light spoil your images.

 

P – Patience

You can't expect to set-up, press the shutter and have the perfect shot so patience is very important for this technique. You could find yourself waiting a while for traffic to actually pass through your frame or for the ambient light to be just right, plus with the trail and error approach you could be outside a while.

 

 

Q – Traffic Queues

Find points in your town where you can guarantee large amounts of traffic will flow through. Crossroads can be perfect as they will create lines that criss-cross and move around each other in various directions.

 

R – Roundabouts

Instead of straight lines, why not set-up near or above a roundabout which will give you the opportunity to capture circular patterns of light in your shots.

 

S – Street Level

To give your light trail shots a different twist, don't head for a high vantage point. Instead, take a stroll around the streets, looking for locations where you'll be able to capture light trails from lower angles.

 

Photo by David Clapp

 

T – Trigger – Remote Or Cable

To reduce camera shake, trigger your camera without actually touching it via a remote / cable release. If you don't have one, you can use your camera's self-timer on its shortest setting.

 

U – Underexposed

If you find the shot's underexposed open up the aperture and just make it smaller if it's too bright. Try not to go too wide with your apertures, though, as this will result in more of the shot appearing out of focus. If you find the light trails to be too short you'll need to use a longer shutter speed to extend them through your shot.

 

V – Very Warm Clothing

Don't forget your warm clothing as temperatures are starting to drop lower as we head towards winter.
 

W – Wide-Angle Lens

If you're working from a car, you need to fix the camera, with a wide-angle lens on a tripod into the passenger seat well or back seat of the car. This will mean you'll be able to see the whole windscreen through the viewfinder. When using wider lenses out in the field for this technique, a lens hood will be useful for shielding the lens from ambient light.

 

X – X-Factor

Light trail photography is a great way to add drama and punch to your night-time urban shots and with a little practice, it's rather simple to master.

 

Photo by David Clapp

 

Y – You Should Consider Using Manual Focus

Due to the low light level and lack of contrast, your camera lens may end up continuously searching if you try to use auto focus so switch to manual for more control.

 

Z – Zooming & Panning

Get creative and experiment with zoom or try panning after pressing the shutter to introduce different effects. After all, this is a fun technique, plus you want to capture something original.  

 

   

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