DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

© Sigma

 

Sigma has launched a redesigned lens filter lineup featuring anti-reflection surface treatments, slimmer frames, and verified vignetting-free compatibility across all Sigma lenses. The four-model series includes the high-impact WR Ceramic Protector PTC-21, WR Protector + UV PUV-21, standard Protector LPT-21, and WR Circular PL Filter CPL-21.

 

From Sigma:

 

Sigma Corporation (Headquarters: Kawasaki-shi, Kanagawa; CEO: Kazuto Yamaki) is pleased to announce the renewal of Sigma's filter series for interchangeable lenses. The entire lineup has been completely redesigned to achieve further performance improvements. Additionally, the design and packaging have been updated to align with Sigma’s new visual identity, introduced in 2025.

Four filter models will be released on November 5th, 2026: the Sigma WR Ceramic Protector PTC-21, a ceramic protector offering exceptional impact resistance; the Sigma WR Protector + UV PUV-21, featuring UV protection and water- and oil-repellent coating; the standard Sigma Protector LPT-21; and the Sigma WR Circular PL Filter CPL-21, a circular polarizing filter with water- and oil-repellent coating.

 

Product Name:

Sigma WR Ceramic Protector PTC-21

Sigma WR Protector + UV PUV-21

Sigma Protector LPT-21

Sigma WR Circular PL Filter CPL-21

Launch: November 5th, 2026

• Product appearance and specifications are subject to change without notice.
• The image shown is the Sigma WR Ceramic Protector PTC-21.

© Sigma

 

Key Features

 

Completely redesigned construction

As part of this renewal, the entire lineup has been redesigned from the ground up to further minimize impact on image quality while enhancing overall usability. Improvements to the surface treatment of the filter frames reduce internal reflections compared to previous models, while an optimized design has enabled a slimmer profile for the large-diameter 95mm and 105mm sizes.

 

New exterior design and packaging

These filters feature an exterior design and packaging aligned with Sigma’s new visual identity, introduced in 2025.

 

Verified compatibility with all Sigma lenses

Compatibility with all Sigma lenses has been fully verified, allowing for worry-free shooting without vignetting, even when using ultra-wide-angle lenses. Despite the slim design, these filters ensure secure lens cap attachment, providing users with peace of mind.

 

 

Product Lineup

 

WR Ceramic Protector PTC-21

67mm / 72mm / 77mm / 82mm / 95mm / 105mm

 

Other 3 Models (WR Protector + UV PUV-21, Protector LPT-21, WR Circular PL Filter CPL-21)

52mm / 55mm / 58mm / 62mm / 67mm / 72mm / 77mm

82mm / 95mm / 105mm

 

For more information, please visit the Sigma website.

© Sigma

 

Sigma introduced the 85mm F1.2 DG | Art, a compact medium-telephoto prime for L-Mount and Sony E-mount set to ship on September 30. Weighing just 905g, it is the smallest and lightest autofocus 85mm F1.2 lens in its class. Engineered for high-end portraiture and cinematic video, it pairs a 13-blade diaphragm for circular bokeh with a fast, quiet dual HLA autofocus system, completing Sigma's F1.2 Art lens lineup.

 

From Sigma:

 

Sigma Corporation (Headquarters: Kawasaki-shi, Kanagawa; CEO: Kazuto Yamaki) is pleased to announce the Sigma 85mm F1.2 DG | Art, a large-aperture medium-telephoto lens for full-frame cameras that combines unparalleled rendering power with a compact, lightweight design.

At 85mm, a focal length widely regarded as ideal for portrait photography, the lens achieves Sigma's brightest-ever F1.2 aperture while also delivering outstanding portability, and will be available beginning September 30th, 2026.

 

Product name: Sigma 85mm F1.2 DG | Art

Available mounts: L-Mount, Sony E-mount

Launch: September 30th, 2026

• Product appearance and specifications are subject to change.
• L-Mount is a registered trademark of Leica Camera AG.
• This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license  agreement with Sony Corporation.

 

Key features

 

• Uncompromising resolution and beautiful bokeh to make the most of F1.2
• Overwhelming mobility that breaks the conventions of an 85mm F1.2
• A full range of functions and build quality that meet the demands of professional use
• Rounding out the F1.2 lineup across wide-angle, standard, and medium-telephoto focal lengths

 

Uncompromising resolution and beautiful bokeh to make the most of F1.2

 

Overwhelming resolving power

In addition to two SLD glass elements, glass with high anomalous dispersion is used to suppress the axial chromatic aberration inherent to large-aperture lenses to the utmost limit. Aspherical lens elements further thoroughly correct spherical aberration and sagittal coma flare. The lens boasts reliably high resolving power from the maximum aperture, fully bringing out the rendering that only F1.2 can offer. It captures every detail of the subject’s expression and texture, taking the quality of both photographs and video to a higher level.

 

Beautiful bokeh that makes the subject stand out

The combination of a large-aperture F1.2 and a medium-telephoto 85mm delivers an extremely shallow depth of field and beautiful, rich bokeh. The adoption of a 13-blade diaphragm maintains a near-circular bokeh even when the aperture is stopped down. Natural bokeh rendering that suppresses color bleeding and double-line bokeh makes the subject stand out impressively, bringing overwhelming three-dimensionality and immersion to portraits and video work.

 

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

 

© Sigma

 

Overwhelming mobility that breaks the conventions of an 85mm F1.2

 

The smallest and lightest in its class for an 85mm F1.2

By effectively arranging aspherical lens elements within the focus groups, the number of lens elements making up the focus unit has been significantly reduced. Despite incorporating a complex floating mechanism, a precise mechanical design pared down to the absolute minimum has achieved the smallest and lightest weight in its class for an 85mm F1.2*1 at 905g*2. It can be used comfortably even during long shoots or in situations that demand mobility, dramatically enhancing agility on set.

 

*1  As an AF 85mm F1.2 interchangeable lens for full-frame mirrorless cameras. (As of September 2026 by Sigma)

*2 These figures are for L-Mount.

 

Fast and quiet autofocusing with dual HLA

The fast and quiet AF driven by the dual HLA (High-response Linear Actuator) delivers reliable tracking performance for both stills and video. Even with the shallow depth of field of the maximum F1.2 aperture, it captures the subject accurately, enabling smooth and precise shooting in any scene.

 

The pride of a creative tool: the high build quality of the Art line

By constructing the lens from high-precision parts made of lightweight, high-strength materials such as TSC*1, it offers the rigidity and durability of the Art line without compromising portability, along with the build quality to serve as a reliable photographic tool over the long term.

 

*1 TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has a high affinity to metal parts, which contributes to high quality product manufacturing.

 

A full range of functions and build quality that meet the demands of professional use

 

Designed to minimize focus breathing

Optimization of the focus group arrangement and aspherical shape significantly suppresses focus breathing. The change in angle of view due to focus shift is minimized, creating a natural-looking focus shift when recording video.

 

Various shooting assist functions

The lens is equipped with an AFL button in two locations, which can be assigned to a range of functions via the menu on selected cameras. In addition to the aperture ring, the lens is equipped with an aperture ring lock switch*1 and a click switch to turn the click on and off.

 

*1 If you turn it on in position A, the aperture ring will be locked in position A. If you turn it on in a position other than A, it will be locked in the range from open to minimum aperture, and it will not be possible to turn it to position A.

 

© Sigma

 

Dust- and splash-resistant structure*1 and water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the frontmost surface of the lens has a water- and oil-repellent coating applied, so that the lens can be used safely even in harsh outdoor environments.

 

*1 The product is designed to be dust- and splash-resistant but is not waterproof. When using the lens near water, etc., take care not to allow large amounts of water to splash on it. If water gets inside the lens, it may cause a major malfunction and render the lens unrepairable.

 

Rounding out the F1.2 lineup across wide-angle, standard, and medium-telephoto focal lengths

 

With the arrival of this product, the Sigma F1.2 Art Series is finally complete with three lenses, together with the 35mm F1.2 DG II | Art and the 50mm F1.2 DG DN | Art.

Outstanding optical performance that delivers high resolving power across the entire focus range from the maximum aperture. Fast, high-precision AF made possible by dual HLA. And a compact, lightweight body that ranks among the best in its class.

Backed by the advanced design and manufacturing technology Sigma has cultivated over the years, the overwhelming presence and spatial depth created by these three uncompromising lenses render your work all the more striking.

 

Sigma 35mm F1.2 DG II | Art

Further improved optical performance and operability condensed into a compact, lightweight body

 

Sigma 50mm F1.2 DG DN | Art

The ultimate Art F1.2 that transforms everything it captures, and even the shooting experience itself, into something special

 

Sigma 85mm F1.2 DG | Art

Overwhelming rendering power and unprecedented mobility

 

For more information, please visit the Sigma website.

 

1. Where To Go? 

Meadows with wildflowers growing in abundance are great places for photographing butterflies but please don't trespass on other people's property. You could also visit one of the many nature reserves or public gardens found right across the UK.

If you can't get out and about to photograph butterflies it's worth growing plants in your garden or window boxes etc. that will attract butterflies. These include Aubrieta, Buddleia, Primrose, Honeysuckle, Lavender, Lilac, Marigold, Phlox, Mint, and Thyme. Get to know which plants caterpillars feed upon, too, as you can plant them in your garden or look out for them on your travels.
 

2. Buy A Guide

A butterfly guide book can be very useful in identifying the species whilst out in the field. Occasionally, you may come across a species which is rare or not even native to the UK, it’s handy to know if you have spotted a rare species or even one in decline so you can report your sighting. Of course, you can also use the internet once back home for your research. 

 

 

3. Time Of Day

The best time of day to maximise your chances of photographing butterflies will be early morning or in the evening as they don't move around as quickly. At these times, you may even be lucky enough to see one emerging or covered in dew which can make for that extra special photograph. 

Try to stand/approach them so your shadow doesn't cover them as they'll tend to fly off in search of a sunnier spot. 

If you start out early and temperatures are relatively cool then you may get lucky and find a few sleeping. By approaching slowly and quietly you may be able to move distracting stems etc. out of the way without disturbing your subject, to help with a more pleasing composition. Do take care not to destroy their habitat as many species are declining in numbers.
 

4. Shutter Speeds & Set-Up

Another way to increase your chances of capturing a good shot is by switching to burst mode / continuous shooting. By doing so your camera will rapidly take a series of shots.

Instead of chasing a butterfly around your garden, it can be easier to find a plant you know they like and set up nearby. Then you just have to wait patiently for your subject to land on the part of the plant you're framed upon. It can be a little hit and miss and you will, more than likely, end up waiting a while but on a warm summer's day, having to sit out in your garden isn't really a bad way to pass a few hours!

 

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© Sigma

 

Sigma Corporation has expanded its full-frame lens lineup with the debut of the Sigma 20-60mm F2.8-4 DG Contemporary zoom lens, scheduled for release on September 30, 2026. Designed for ultimate portability without sacrificing image quality, this compact lens weighs just 385g (L-Mount) and covers an ultra-wide 20mm to standard 60mm range. Built for both stills and video, it combines a fast F2.8 aperture at the wide end, an HLA linear motor AF system, minimal focus breathing, and impressive close-up performance with up to 1:2.3 magnification, making it an adaptable everyday walkaround option for L-Mount and Sony E-mount photographers.

 

From Sigma:

 

Sigma Corporation (Headquarters: Kawasaki-shi, Kanagawa, CEO: Kazuto Yamaki) is pleased to announce the “Sigma 20-60mm F2.8-4 DG | Contemporary,” a standard zoom lens for full-frame cameras, covering an ultra-wide 20mm to a standard 60mm.

Designed to deliver both a wide-angle perspective and exceptional portability, this lens packs uncompromising sharpness and impressive close-up capabilities into a palm-sized design.

This new lens option from Sigma is designed to maximize the mobility of full-frame systems, and will be available on Wednesday, September 30th, 2026.

 

*1 The figure is for L-Mount.

Product name: Sigma 20-60mm F2.8-4 DG | Contemporary

Available mounts: L-Mount, Sony E-mount

Launch: September 30th, 2026

• Product appearance and specifications are subject to change.
• L-Mount is a registered trademark of Leica Camera AG.
• This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license  agreement with Sony Corporation.

 

KEY FEATURES

 

Combining a dynamic 20mm perspective with exceptional agility

Uncompromising optical performance

Reliability for effortless shooting

© Sigma

 

Combining a dynamic 20mm perspective with exceptional agility

 

20–60mm: Freedom to compose

From an expansive 20mm ultra-wide to a natural 60mm perspective, this lens delivers a wide range of expression in a versatile zoom. Capture everything from sweeping landscapes to everyday snapshots and portraits—without changing lenses.

With a maximum aperture of F2.8 at 20mm, you can shoot confidently in low light environments such as indoors and nightscapes, while keeping ISO low.

 

Bringing 20mm into your everyday

Weighing just 385g*1, this 3x zoom achieves an incredibly compact design—remarkable for an ultra-wide lens starting at F2.8. Its slim form fits easily into any bag, making it ideal for everything from daily snapshots and travel to hiking and video creation. Experience full-frame rendering performance with unprecedented portability.

 

*1 The figure is for L-Mount.

 

Uncompromising Optical Performance

 

Consistent high optical performance across the entire zoom range

While prioritizing improved portability, no compromises have been made in image quality. The optical design—featuring 15 elements in 13 groups, including three aspherical lenses and three SLD glass elements—delivers consistent sharpness throughout the entire zoom range. From everyday scenes to breathtaking travel moments, it renders every detail with striking clarity.

 

Macro capabilities for versatile expression

Impressive close-up capability expands shooting versatility.

With a minimum focusing distance of 15.8 cm at 28mm and a maximum magnification ratio of 1:2.3 at 35mm, this lens delivers richly detailed close-up images approaching half-macro performance.

Even at the 60mm telephoto end, it maintains a high magnification of 1:2.9—ensuring a seamless shooting experience across the zoom range, allowing full focus on composition without concern for subject distance.

 

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

 

© Sigma

 

Reliability for effortless shooting

 

Fast and quiet autofocusing with HLA system

A linear motor HLA (High-response Linear Actuator) is employed for the AF actuator, delivering high-speed autofocus with high-precision drive to capture decisive moments.

It also offers outstanding tracking performance for fast-moving subjects, even at high frame rates. Engineered for modern hybrid shooting, it ensures seamless performance across stills and video.

 

Minimal focus breathing

The lens is designed to minimize changes in the angle of view caused by focusing, enabling smooth, natural-looking focus pulls when recording video.

 

Dust- and splash-resistant structure*1 / water- and oil-repellent coating

In addition to a dust- and splash-resistant structure*1, the frontmost surface of the lens has a water- and oil-repellent coating applied, allowing photographers to shoot without concern even in harsh outdoor environments.

 

*1 The product is designed to be dust- and splash-resistant but is not waterproof. When using the lens near water, etc., take care not to allow large amounts of water to splash on it. If water gets inside the lens, it may cause a major malfunction.

 

For more information, please visit the Sigma website.

 

Most of us use bridges every single day and while it is true that many - big and small, old and new - of them aren’t worth photographing, there are a great many that are extremely photogenic. These are impressive structures that often dominate the area in which they are situated.

 

1. Safety First

Before you head off to the nearest suspension bridge with your camera bag, it is worth saying that you should take care and be considerate in your pursuit of bridge images. Park only where you are allowed, stick to recognised pedestrian areas and do not endanger yourself or anyone else – that includes tripping fellow visitors with your tripod.
 

2. Lens Choices  Anything goes in respect of lens options. Wide-angles can give dramatic lines and obviously work best if you can walk onto the bridge itself so you can wander around looking for bold foreground details. Set a small lens aperture for an extensive depth-of-field to make the most of scenes. Wides are obviously great too, to put a bridge into context with its surroundings if you can't get back far enough. If you find using a wide-angle lens gives you a shot with too much sky and land in it try shooting in a panoramic format. 

If you want to compress perspective, it is time to fit a telephoto lens. Long lenses are handy too for isolating structure details and the like. Longer lenses give a stronger flattening effect and it can look great when there are lots of lines to compress.

 

 

3. Think Accessories 

A polariser is worth considering, particularly on sunny days when it can enrich blue skies as well as eliminate glare for saturated colours. Just watch your apertures and shutter speeds.

It is worth having a tripod in the car and although you might not need it for most of the time, it will pay for itself when the lighting levels drop or when you want to use slow shutter speeds to blur traffic.
 

4. When To Go? 

Time of day and lighting are two crucial aspects to consider. Most weather conditions work for bridges although one exception to that is dull, flat, blank sky days. Early morning or late evening are good times when a low sun gives oblique lighting to highlight textures in the scene and the warm lighting adds to the mood. If you make the effort to get there for the evening light you might as well as hang around for twilight and a bit of low light photography. This is where the tripod and remote release are essential. A head torch comes in handy too as the light levels drop away.

 

 

5. Shoot Detail

As well as overall views of the bridge, do get in close and shoot details too. Nuts and bolts, suspension wires, supports, signs and much more can make for good images. You could even set yourself a mini project and shoot a series of images that sums up the structure. This is a great idea for older structures but works for new bridges too. Look for interesting patterns when working at these close distances which can be turned into graphical, abstract shots.

 

6. Choose Your Angle

The angle you shoot a bridge can make it look more powerful. When you see a bridge in the distance, consider where else you could go nearer to the bridge or from other angles to get better / different viewpoints. 

 

7. Longer Shutter Speeds

Once daylight has given way to twilight it is time to explore the long shutter speeds of your camera. You could try the B (Bulb) setting where the shutter stays open so long as the shutter button is held down using the remote release. Most advanced cameras have lengthy shutter speed options available, and if you want to shoot longer B is the setting to use, but it is important to make sure your battery has plenty of charge. If the battery fails before the image is finished and saved you will lose it.

 

 

8. Contrast Can Be A Problem

On a bright day, the contrast between the sunlit bridge's walls and the shadowed arches can be very different. If you take a meter reading from the lit bricks they'll come out fine but underneath the arches, they'll be no detail as it'll be black. If you expose for the darker shadow areas the bricks will still be light but they won't have any detail. To fix this, you can either expose for the highlights (brick) and use flash to fill in the shadow area or bracket the shot.

 

9. Guide The Eye 

You can use bridges as paths that lead the eye through your shot or use colourful lines created by traffic crossing the bridge when captured with slower shutter speeds to guide the eye through the image. You can also use bridge arches as in-picture frames to focus the eye on a particular part of the shot. Just keep an eye on the exposure when doing this to make sure the scene doesn't appear too dark. 

 

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© EISA

 

Nikon's on a roll at the 2026 EISA Awards, landing four accolades that span both camera and lens categories. The recognition covers a solid range of gear, from the specialist ZR video camera to everyday workhorse lenses. The judges clearly valued Nikon's approach to building a complete, capable system. From solo videographers to working photographers, there's something in this award haul worth considering.

 

From Nikon:

Nikon proudly announces its success at the 2026–2027 Expert Imaging and Sound Association (EISA) Awards, receiving four accolades across a range of product categories.

The accolades include:

• The Nikon ZR awarded “Photo/Video Camera 2026-2027"
• The NIKKOR Z 24-70mm f/2.8 S II lens awarded “Lens of the Year”
• The NIKKOR Z DX MC 35mm f/1.7 lens taking home “Standard Lens” award
• The NIKKOR Z 70-200mm f/2.8 VR S II lens receiving the “Telephoto Zoom Lens” award

Nikon's cutting-edge dedicated video camera, the ZR, impressed the judges with its advanced subject-tracking autofocus, built-in 7.5-stop image stabilisation, impressive video quality, excellent audio, and large, bright 4-inch screen. Incorporating advanced video codecs and colour technology from Nikon-owned RED, while providing access to the expansive Nikon Z system, the ZR was praised as a unique tool for ambitious videographers.

Nikon's next-gen NIKKOR Z 24-70mm f/2.8 S II lens was lauded in its category for its lighter design, enhanced optical performance, and video-friendly internal zoom construction. The lens stood out for its more lightweight design, faster autofocus and improved sharpness at close distances, with the judges describing the lens as a “top-class professional lens without any weaknesses”.

Judges were also impressed by Nikon’s compact NIKKOR Z DX MC 35mm f/1.7 lens, citing its versatile macro capabilities, bright f/1.7 aperture, and excellent optical performance in their acclaim. Judges praised it as the perfect second lens for Nikon DX users, offering the versatility of both a standard and macro lens in a lightweight, compact design.

Nikon’s second-generation NIKKOR Z 70-200mm f/2.8 VR S II lens was recognised for its impressive range of improvements, including a lighter design, faster autofocus, and enhanced optical performance. Featuring improved coatings, an 11-blade aperture for beautifully smooth bokeh, and up to 6 stops of image stabilisation when paired with compatible Nikon cameras, the lens delivers outstanding results for both stills and video.

The four awards showcase Nikon’s continued commitment to world-class design and engineering excellence, empowering photographers and videographers with pioneering equipment that allow them to push the boundaries of creativity and achieve exceptional results.

 

© EISA

 

EISA comments for “Photo/Video Camera 2026-2027" award

With the ZR, Nikon has created a dedicated video camera packed with attractive features at a reasonable price. Incorporating advanced video codecs and colour technology from Nikon-owned RED, videographers get a unique tool with access to the expansive Nikon Z system. Impressive video quality, excellent audio, built-in 7.5-stop image stabilisation, Nikon’s advanced subject-tracking autofocus, and a huge, bright 4” screen provide solo creators and ambitious videographers with a complete, highly capable tool with extensive production potential.

 

© EISA

 

EISA comments for the NIKKOR Z 24-70mm f/2.8 S II ”Lens of the Year 2026-2027" award

Nikon has improved its fast standard zoom lens in a number of impressive ways. The Nikon NIKKOR Z 24-70mm f/2.8 S II is 130 grams lighter than its predecessor, and it’s better suited for video thanks to internal zoom construction, which makes it easier to operate on a gimbal. Focusing has become even faster with minimal breathing, while sharpness has been improved at shorter distances. The anti-reflective coating is improved and is now class leading. Overall, this results in a top-class professional lens without any weaknesses. It’s true workhorse for professionals and a real investment in image quality for photo enthusiasts.

 

© EISA

 

EISA comments for the NIKKOR Z DX MC 35mm f/1.7 “Standard Lens” award 2026-2027

The NIKKOR Z DX MC 35mm f/1.7 is a real jewel in Nikon’s lens range. The optical construction is designed for DX (APS-C) sensors, and it functions as both a macro lens for close-ups, and a standard lens with relatively high brightness. Compact size, low weight and great sharpness are among its many attractive features. Linear distortion is almost unnoticeable and there’s little vignetting either. Other practical features are weather sealing and inner focusing. The lens covers the same subject area as a 1:1 macro lens for full frame. It’s the perfect second lens for owners of DX-format mirrorless Nikon cameras.

 

© EISA

 

EISA comments for the NIKKOR Z 70-200mm F2.8 VR S II “Telephoto Zoom Lens”award 2025-2026

This second-generation professional telephoto zoom boasts an impressive array of improvements over its already excellent predecessor. The NIKKOR Z 70-200mm F2.8 VR S II is significantly lighter, focuses faster and closer, is perfectly balanced and ideal for both video and stills. With the uncompromising quality of Nikon’s S series, improved coating and 11 aperture blades, this zoom delivers superb image quality and strikingly fine bokeh, whether you’re shooting portraits or following fast athletes. The detachable tripod foot is now Arca-Swiss compatible, while the optical image stabiliser provides 6 stops shake compensation while working together with the camera’s in-body stabilisation. It’s Nikon’s best zoom yet.

Every year, the EISA Awards celebrate those new products that combine the most advanced technology and desirable features with class-leading performance. The EISA Awards extend from the most affordable, high-value products to the most aspirational expressions of modern consumer electronics. Award categories change from year to year, reflecting the evolution of product design and connectivity, but every EISA Award winner remains the very best in its class. 

For more information, please visit the EISA website.

 

Head to the coast on a sunny day or even to your local reservoir and you'll probably find someone skimming along the water, holding onto a sail fasted to a windsurf board or getting pulled along by a boat on a board. The pros make it look easy and their jumps, turns and sheer speed make water sports a great photographic subject.

  1. Kit Choices If you're not up for getting your feet wet you'll need a long telephoto to bring the action to you. A monopod or tripod can also be handy, but not everyone finds them useful, especially when you're panning at quite fast speeds.

For those of you who don't mind braving cold, British water get your wetsuit on to get right in among the action. Here, you can use a slightly shorter lens or even a fisheye to capture some unusual action shots. However, if you're new to this type of photography it's worth sticking with a slightly longer focal length, around 100mm, to keep a safe amount of distance between you and the action. Wides also work well when you want to give your shots context but your subject may look a little small in the frame if you use them on-shore so do check your frame and switch lenses if this is the case.

If you do want to head out into the waves please always think about safety and make sure you can be clearly seen by those on land as well as the sailors around you. Don't get in anyone's way and always be aware of your surroundings.

You'll also need a waterproof camera or waterproof housing for your camera that doesn't like getting wet. If you plan on leaving your camera bag near the shore make sure it's fastened up and if you have one, put a waterproof cover on it to stop spray and water that comes off the windsurfers as they exit the water getting on your not so water-friendly kit. Remember to test your waterproof housing without your kit in it to start to make sure there are no leaks and when you do put your camera inside it, place it in shallow water first before heading out deeper just to double-check the seals etc. are working correctly.

If you're heading to the beach to capture shots of surfers rather than spending some time by your local reservoir, try not to change lenses on the sand as you don't want grains getting inside your kit.

 

2. Speed & Action

Windsurfing and other water sports tend to have quite a lot of pace and action which does mean there's plenty to photograph but as bad light, bad weather and the speed at which they move at makes life difficult, it can be tricky to get a perfect shot.

If you've not photographed this kind of subject before try to find a reservoir where beginners practise as these will be moving at a slower pace so will be easier to keep up with. It's also worth focusing and tracking one individual rather than moving your focus from one person to another and while doing so, try not to get others in-frame who may full attention from your main subject.

If you do want to go after the pros you'll need to crank your shutter speeds up to freeze their movement and have your panning perfected before you arrive so you can keep them in shot. Shutter speeds of 1/100 and above are often needed to capture action in your frame and it's worth switching to continuous shooting mode to increase your chances of capturing that perfect action shot. Auto-focus can work so long as it's continuously tracking your subject and try to leave room for your subject to ride into.

If you want to add an extra sense of pace to your photos try selecting a slightly slower shutter speed (half a second should be enough) and pan at the same speed your subject is moving at to blur the background. You could combine the slower shutter speed panning technique with a pop of flash to freeze your subject against a nicely out of focus, blurred background that will enhance the feeling of speed in your shot.

 

Photo by Josh Waller 

 

3. Framing Advice

Always make sure you've filled the frame as unless there's something interesting such as a giant wave they're jumping, a tiny person in the middle of a mass of water's not really interesting and they'll be completely lost in the image. Watch out for wonky horizons too, although these are quite easily corrected in post-production once you're back home and consider shooting in a vertical as well as a horizontal format when the scene suits it.

  4. Metering Tips

Keep an eye on your metering when you're on the edge or out in the water as a bright sky and reflections off the water can confuse the camera into thinking it's brighter than it is and you'll end up with an underexposed image. It's worth checking your histogram and using the highlight clipping feature on your camera to ensure your shot isn't overexposed. You may also want to consider using exposure compensation and dialling down to a negative figure to balance the exposure correctly.

If you happen to be out on a day when the light's really bad your images can look flat and lose impact. However, if you focus your attention more on showing the big waves and cropping in close to show the huge amounts of spray coming off the boards you can still get some decent images.

  5. On Shore

Not everyone will have the kit needed to capture action shots and if this is the case for you, just re-think the shots you're taking and focus your attention onshore. People entering/exiting the water, riders getting kit ready and putting wetsuits on are just a few of the things you can capture without the need for a long lens or getting your feet wet and they can be just as interesting as the shots of the water.

 

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There are various reasons for the existence of so many 85mm lenses. It is the classic focal length for portraiture, and traditionally also a fast (bright) short telephoto for many applications including landscape. The slightly longer than standard focal length gives a comfortable working distance between model and photographer resulting in an attractive perspective. The wide apertures make it possible to throw backgrounds out of focus and thus emphasise the main subject. Magnificent bokeh is virtually assured. This fine looking lens from Sigma takes us a step further by opening up the maximum aperture to f/1.2, giving wafer thin depth of field at the point of focus. Let's see how this can be exploited by coupling it up with the 42MP Sony A7R III body.

 

Sigma 85mm f/1.2 DG Art Handling and Features

This full-frame lens is one of the Sigma Art series; the pinnacle of their lens making skills. Any 85mm f/1.2 lens is going to be relatively large, and this is no exception. It measures up at 87.2mm x 121.7mm for the Sony FE fit version, and 87.2mm x 119.7mm for the L mount version. However, they are both fairly light for their specification, weighing in at just 902g (measured) for the lens only and 962g (measured) for the lens plus lenshood. The lenshood is a large round tube that bayonets slickly into position. There is a retaining catch and this holds the hood firmly into position. The front element has an oil and water resistant coating and the whole lens is dust- and splash-resistant. There is the usual caveat that this is not the same as being waterproof.

 

 

Continuing our tour of the lens, there is a generous manual focus ring. The L mount version gives a choice of linear or non-linear focus ring control and also is compatible with the Sigma USB Dock UD-11. AF is driven by 2 HLA (High Response Linear Actuator), situated on either side of a group of 8 lens elements. Compact design makes this the smallest and lightest in its class. It also minimises focus breathing, with videographers in mind. The 17 element lens also includes 2 SLD (Super Low Dispersion) and 3 Aspherical elements.

There are a handful of lens controls. The generously sized manual focus ring is silky-smooth, being electronic in operation. There are two focus lock buttons, an AF/MF switch and an aperture ring lock. This lock can be used to lock the ring into the A setting, and alternatively to lock it out of the setting. This means that using the aperture ring with the camera to the eye, the A setting cannot be inadvertently engaged. The aperture ring itself is large and clearly marked in one third of a stop steps.

 

 

Sigma do mention that there is a magnet within the lens, and it is best to avoid bringing it too close to pacemakers and perhaps the magnetic strips on credit cards. This magnetic field extends for about 2 inches from the lens.

An 85mm lens is a powerful portrait focal length, flattering to the subject and giving a working distance close enough for the photographer to engage the model. Social photography and studio portraiture are obvious examples, but also location work. Equally well, like all lenses, we do not have to restrict ourselves to a small area of use, but the 85mm can be used for any short telephoto applications. The f/1.2 maximum aperture gives wafer thin depth of field, so it is important if using it for a portrait to ensure that the focus point is accurately located on the eye. The closest focusing distance of 0.84m (2.76 feet) is a slight limitation and could usefully be closer, but that is the same with most, if not all, of these lenses.

Time then to have a look at the technical performance to see if it matches up to high expectations.

 

 

Sigma 85mm f/1.2 DG Art Performance

Central sharpness is excellent at f/1.2, outstanding from f/1.4 to f/4, excellent from f/5.6 to f/8 and very good at f/11 and f/16. The edges are excellent from f/1.2 all the way through to f/8 and very good at f/11 and f/16. A superb result.

 

Sigma 85mm f/1.2 DG Art 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 42MP Sony A7R III body using Imatest software (www.imatest.com). Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is very close to zero at the centre and held well within 1 pixel at the edges. CA is not really obvious in most images. Further correction in software could be undertaken if required.

 

Sigma 85mm f/1.2 DG Art 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 42MP Sony A7R III body using Imatest software (www.imatest.com).

 

There is a tiny bit of barrel distortion, measured at -0.04%. This is as close to rectilinear as makes no difference, so straight lines can be expected to stay straight.

Bokeh, the quality of the out of focus areas, is very attractive, smooth and with lovely gradation.

Flare resistance is handled superbly well, and it is extremely difficult to generate any sign of artefacts or loss of contrast.

Vignetting is minimal and not intrusive.

 

Aperture Vignetting f/1.2 -1.4 f/1.4 -1.2 f/2 -1 f/2.8 -0.6 f/4 -0.6 f/5.6 -0.6 f/8 -0.6 f/11 -0.6 f/16 -0.6

 

Sigma 85mm f/1.2 DG Art Sample Photos Previous Next

 

Sigma 85mm f/1.2 DG Art 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]Sigma 85mm f/1.2 DG Art|Sigma+85mm+f/1.2+DG+Art[/AMUK] lens is priced at £1299.00

A selection of alternatives:

• [AMUK]Samyang AF 85mm f/1.4|Samyang+AF+85mm+f/1.4[/AMUK], £518
• [AMUK]Sigma 85mm f/1.4 DG DN Art|Sigma+85mm+f/1.4+DG+DN+Art[/AMUK], £518
• [AMUK]Sony FE 85mm f/1.4 GM II|Sony+FE+85mm+f/1.4+GM+II[/AMUK], £1799

Competition is a bit thin on the ground, certainly at f/1.2, but the lens does look to be fairly priced.

 

 

Sigma 85mm f/1.2 DG Art Verdict

An 85mm f/1.2 lens is a beautiful thing, with gorgeous bokeh and wafer thin depth of field when required. This is the stuff of wedding photographers, portrait photographers and those involved in any short telephoto photography. The price is high, but the quality is absolutely superb. In fact, it is so sharp that it may be that the portrait photographer will be reaching for a soft focus filter to flatter the sitter who may not have perfect skin. Arguably better, as the choice is there, as there are plenty of subjects that can be enjoyed with the crisp sharpness that is on offer.

In keeping with the defined objectives of the Sigma Art range, an excellent example of the truly classic lens makers' art, with a truly classic focal length. Highly recommended.

 

Sigma 85mm f/1.2 DG Art Pros

• Outstanding sharpness
• Virtually no distortion
• Very low CA
• Very resistant to flare
• Fast and very accurate AF
• Weather resistant
• Beautiful bokeh
• Modest vignetting

 

Sigma 85mm f/1.2 DG Art Cons

• Could usefully focus closer

 

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4.5|R_performance=5|R_value=4|R_overall=4.5|A_level=4.5|A_text=Highly Recommended – Beautiful results, especially for high-class portraits and social photography.|E_id=8027[/REVIEW_FOOTER]

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Proudly made in Aizu, Japan, Sigma now introduces a new option in standard full-frame zoom lenses, with Sony FE and L-mount versions available. The Contemporary range aims to offer compact and lighter lens options, most suitable for photographers who seek a lighter kit for travel in particular. The construction methods used may well be lighter, with increased use of plastics, but quality of results is still the aim and this has proved to be consistently true.

The 20-60mm f/2.8-4 DG is the most compact of the standard full-frame lenses on offer, so for those who wish to avoid lugging around significantly heavy gear, but without compromise on quality, then this looks like a strong contender. Armed with the 42MP Sony A7R III full-frame mirrorless body, let's see if the lens lives up to its promise.

 

Sigma 20-60mm f/2.8-4 DG Contemporary Handling and Features

As always, the lens is extremely well finished and looks good. It balances beautifully on the Sony A7R III, weighing in at a modest 375g (Sony FE version) or 385g (L mount version). Dimensions are 72.2mm x 88.0mm (FE) or 72.2mm x 86.0mm (L mount).

 

 

There is a provided petal lens hood that bayonets cleanly into place. It fits positively and does not need a retaining catch to hold it in place. Within the bayonet fit for the hood is a conventional 67mm filter thread. The front element of the lens has a special coating to repel oil and water and the whole lens is splash- and dust-resistant. This is not the same as waterproof, and Sigma describes the sealing as enabling use in harsh environments. 

Moving down the lens barrel, first up is the zoom ring. This does physically extend the lens, but it is also smooth and even in action. Focal lengths are clearly marked at 20mm, 24mm, 28mm, 35mm, 50mm and 60mm. Behind this is the manual focus ring, and that's it for controls. 

AF is driven by an HLA actuator, standing for “High Response Linear Actuator”, and is fast, accurate and virtually silent. The size of the lens is compact and this is in part through innovations in internal design. For example, a single zoom cam moves three lens groups for increased space efficiency.

 

 

Closest focus depends on the focal length:

• At 20mm, 20cm and 1:5.7
• At 24mm, 16.4cm and 1:3.3
• At 28mm, 15.8cm and 1:2.6
• At 35mm, 16.4cm and 1:2.3
• At 50mm, 20.8cm and 1:2.6
• At 60mm, 25cm and 1:2.9

This demonstrates well one of the advantages of modern zoom lenses – extremely close focus and high levels of magnification. This lens approaches half life size at 35mm, which is almost a macro lens. As the drawing of the lens (distortion) is also very accurate, this makes for an even more versatile optic.

Optical construction is a lens of 15 elements in 6 groups, including 3 Aspherical and 3 SLD (Super Low Distortion). With videographers in mind, the design features minimal focus breathing.

 

 

There are a couple of caveats regarding handling. Firstly, there is a magnet within the lens, and Sigma recommends that caution is observed with pacemakers and also with any magnetic data such as that held on credit cards. Such items should be kept more than 2 inches away from the lens. Secondly, there is some zoom creep when the lens is pointed downwards. This makes copying documents a bit tricky as the lens does not stay at one zoom setting but slowly settles downwards. Holding the lens during the exposure does solve that problem, at the expense of perhaps nudging the camera and lens during the exposure and causing movement. A spot of tape to temporarily hold the lens could also be a solution. However it is dealt with, the end result is excellent and making copies yields good results.

In general use, which is where the lens is aimed, handling is impeccable and it makes a great travel companion that can cover just about all eventualities.

 

 

Sigma 20-60mm f/2.8-4 DG Contemporary Performance

At 20mm, central sharpness is excellent at f/2.8, outstanding from f/4 to f/8, excellent at f/11 and f/16 and very good at f/22. The edges are very good from f/2.8 to f/11, good at f/16 and fair at f/22.

At 35mm, central sharpness is outstanding from f/3.5 to f/5.6, excellent from f/8 to f/16, very good at f/22 and fair at f/29. The edges are very good at f/3.5 and f/4, excellent from f/5.6 to f/11, very good at f/16, good at f/22 and fair at f/29.

At 60mm, central sharpness is excellent from f/4 to f/11, very good at f/16 and f/22 and fair at f/32. The edges are very good at f/4 and f/5.6, excellent at f/8 and f/11, very good at f/16, good at f/22 and fair at f/32.

This is an amazing result, of the highest calibre.

Distortion is not a problem and the lens is very suitable for critical architectural photography. Some distortion can be measured, +0.01% pincushion at 20mm, -0.24% barrel at 35mm and +0.24% pincushion at 60mm. This is insignificant and clearly lens and camera are both contributing to this excellent result.

 

Sigma 20-60mm f/2.8-4 DG Contemporary 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 42MP Sony A7R III body using Imatest software (www.imatest.com). Want to know more about how we review lenses?

 

CA is tightly controlled in the centre and although there is a higher reading at the edges, for most subjects colour fringing is not obtrusive. Further correction could be made in software if required.

 

Sigma 20-60mm f/2.8-4 DG Contemporary 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 42MP Sony A7R III body using Imatest software (www.imatest.com).

 

Bokeh is impressively smooth and offers an attractive backdrop to the main subject. This is ideal for portraiture and flower photography.

Flare is virtually banished and it is almost impossible to generate any artefacts, no matter how severe the lighting.

Vignetting results are much better than most zoom lenses, especially those that are as wide as this one. It is only noticeable to any degree wide open at 20mm, and even here some gentle vignetting can look very attractive in the final image.

 

Aperture 20mm 35mm 60mm f/2.8 -2     f/3.5   -0.7   f/4 -1.4 -0.6 -1 f/5.6 -1.1 -0.6 -0.8 f/8 -1 -0.6 -0.6 f/11 -0.8 -0.6 -0.5 f/16 -0.8 -0.6 -0.5 f/22 -0.8 -0.6 -0.5 f/29   -0.6   f/32     -0.5

 

Sigma 20-60mm f/2.8-4 DG Contemporary Sample Photos Previous Next

 

Sigma 20-60mm f/2.8-4 DG Contemporary 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]Sigma 20-60mm f/2.8-4 DG Contemporary|Sigma+20-60mm+f/2.8-4+DG+Contemporary[/AMUK] lens is priced at £749.00

This is the widest of the small standard full-frame zoom lenses as well as being the most compact.

Alternatives might be:

• [AMUK]SK Samyang AF 24-60mm f/2.8 FE|SK+Samyang+AF+24-60mm+f/2.8+FE[/AMUK], £476
• [AMUK]Samyang 24-70mm f/2.8 FE|Samyang+24-70mm+f/2.8+FE[/AMUK], £824
• [AMUK]Sony FE 24-70mm f/2.8 GM II|Sony+FE+24-70mm+f/2.8+GM+II[/AMUK], £1899
• [AMUK]Sony FE 20-70mm f/4G|Sony+FE+20-70mm+f/4G[/AMUK], £1233

The VFM equation shows the new lens off very favourably, especially considering the excellent performance.

 

 

Sigma 20-60mm f/2.8-4 DG Contemporary Verdict

This is a great combination of a lens that is light and compact, delivers great results and handles beautifully. There are, as mentioned, a couple of small points such as the zoom creep, but overall a near faultless experience. The price is also right, and Sigma has hit the spot again with a cracking good lens that is well within realistic reach.

This will suit those who like wide-angle photography, 20mm being right in the area of ultra-wide. That it extends beyond the usually accepted 50mm standard, right up to 60mm is an added bonus. Whether covering social photography, landscape, travel, events, street or even portraiture, these areas all fall within the capability of 20-60mm. Add the high levels of sharpness and the other excellent technical results to the versatility and weather sealing and we definitely have here an Editor's Choice.

 

Sigma 20-60mm f/2.8-4 DG Contemporary Pros

• Excellent to outstanding central sharpness
• Modest vignetting
• Weather resistance
• Low flare levels
• Virtually rectilinear (no distortion)
• Smooth bokeh
• Close focusing
• Excellent construction standards
• Great VFM

 

Sigma 20-60mm f/2.8-4 DG Contemporary Cons

• Some edge CA
• Some zoom creep when pointing lens down

 

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=5|R_overall=5|A_level=5|A_text=Editor's Choice – The widest and smallest ultra-wide to standard zoom for Sony FE and L mounts delivers outstanding results.|E_id=8027[/REVIEW_FOOTER]

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    1. What Does Graphic Mean?

A landscape that's considered graphic can feature lines, curves, obvious shapes and distinctive contrast from either colour, shadows or reflections. It may be a long list but graphic landscapes are something you can find just about anywhere if you take the time to look. Instead of looking at a city scene, for example, as roads and buildings see it as straight, strong lines and shapes. Throw strong shadows into the mix and a few spots of interesting colour and you’re well on your way to creating a graphic shot.
 

2. Shadows And Highlights

Strong light can add emphasis to shapes and help cast shadows which work well in graphical style shots. Using shadows to your advantage works particularly well on metalwork and buildings but can be used in nature too, especially if you have a bird’s eye view of a scene.

 

 

3. Strong Lines And Contrasting Colour

As already mentioned, strong shapes such as hills overlapping create great graphic landscapes particularly if they differ in colour. Misty, hazy or cloudy days can be good for exaggerating the shapes and while an interesting overlapping background can strengthen the effect, low rolling hills can easily work as well as mountains, so many locations are suitable.

 

4. Change The Ordinary Into The Extraordinary

Look at the ordinary and play with the composition so the viewer doesn’t realise what it originally was. A close up of a rock face, for example, that had deep shadows along the ridges created by the high sun will work well.

 

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Photo by Joshua Waller

 

1. What Is It?

Environmental portrait photography has nothing to to with global warming or looking after the planet. It is all about photographing your subject in their natural environment. This can be anywhere from where they work, where they live, or anywhere where they like to spend their time. It is all about portraying something of the character of your subject through where they are in the photo.

 

2. Find A Location

It can be difficult to set up a shot properly with environmental photography. But persevere until you find the perfect location for your subject, and you will be rewarded. So how is the perfect destination for a shot found? Firstly, you have to get to know your subject. You need to find out what they like to do in their spare time, what their hobbies are, where they enjoy going etc. When you know this, you can then add together what you have found out to place them in their own perfect photographic location, which also portrays who they are as a person. Think of it as a candid shoot with a studio approach when it comes to some of your shooting and the setting up of the scene.

 

3. Backgrounds

There should be some background detail, to add character to a picture, but not so much that it overpowers the presence of the person in the shot. The idea behind this method of photography is that the background subtly adds to the feel of the portrait yet does not become the main feature. If you find the background to be too distracting, try using a wider aperture to blur the background so you can still make out what's there but the eye is immediately drawn to the person instead. You could also try cropping the shot when you're back at your computer or simply move your subject to a place where the background isn't so distracting. Remember, you want your location to relate to your subject and add interest to the shot without actually pulling attention away from your main point of focus.

 

4. What To Wear

You want your subject to be relaxed and comfortable so don't dress them in something that will make them uncomfortable. Keeping their hands busy is a good way to distract them so bring along some props, so long as they fit the theme and don't distract the viewer's attention too much.

 

5. How To Pose

Posing your subject but still getting them to look natural so it looks almost candid takes some work but with directions and guidance from you, your subject should find a pose that works in no time. Try to make them as relaxed as possible as any tension will be visible on their face. A simple chat will help ease their worries so you're then free to ask them to create whatever expression suits the scene you're working with.

This technique can be challenging at times, but once you get used to the methods of taking environmental photos, you will love the results it gives you. A lot of photographers love it because it is more than a picture, it's an insight into someone's personality and life. Why not have a go yourself, and see what amazing and expressive results you can achieve?

 

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

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Mike43 (Day 18 - 'Panoramics').

 

Daily Theme Runners-Up

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

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

  Day 16

Vignettes

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Day 17

Silhouettes

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Day 19

'Blue' Theme

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Day 20

Beach Huts In The Landscape

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  Day 21

Nature In The Summer

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Day 22

Insects

[COMMENT_IMG]direct|320788|320788_1787395944.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.

    1. Research

Before you leave your hotel, make sure the market's open and have a quick glance at the weather forecast as it won't be much fun walking around a market when it's raining rather heavy. Although fewer people will venture out to open-air markets when it's wet so you'll have more room to work. If you're going on a market trip that's organised by an excursion company you won't have much say in when you can visit the market. Plan your own trip, however, and you can arrive for when it opens, giving you more room to work and the produce will be fresher which means your shots will look more appetising. If it is really, really busy step back or find a higher spot to work from and shot a few wide shots of the hustle and bustle.
 

2. Be aware of your surroundings

Don't leave your camera bag unattended and if it's really busy, it's a good idea to do the tourist trick of spinning your bag to your front. Yes, you may look a little silly but it's better than finding all of your gear's gone from your bag. Taking a bag that doesn't scream: 'look I'm carrying expensive equipment' is a good idea too. 

It's important not to get distracted by one particular stall either. Market's are generally big places and they'll be more than one location that's worth getting your camera out of its bag for.

 

 

3. Light Source

As most markets you find on your travels will be outdoors you'll need to watch your exposure as the contrast between a stall which will probably be undercover and the open space around can change drastically. As a result, your camera will see the bright surroundings and underexpose the shot, making the stall appear a lot darker than it actually is. You may find using the exposure lock function and then re-composing as necessary should fix the problems that may occur. If you're indoors exposure shouldn't be a problem but you will need to watch your white balance to make sure the lights aren't tinting the tone of your image.

When it comes to flash, it's best to avoid using it, particularly as you most likely will only have the one that's built into your camera and the harshness of it can ruin the atmosphere of the scene you're trying to capture. You're better off just using a slightly ISO and getting the monopod out if you have problems with shake.
 

3. Wider Shots

Stepping away from the cover of the stalls to somewhere higher up, if possible, will give you the chance to shoot some shots that establish exactly where you are. If it's in a square surrounded by buildings try and get these in your shot and use the long lines created by the stalls to lead the eye through the image too.

4. Close-Ups

The beauty with markets is the stallholder wants to sell their products so usually they present them well, which means all you have to do is take the shot. Look out for colours that complement each other, interesting patterns and the textures on offer in the products on display.
 

5. People

If you want to shoot portraits always ask before you take your photos, be polite and don't get in the stall holder's way. If they say no don't argue and keep pushing as this will only annoy them and you'll probably find someone else will be more than happy for you to take their photo on another stall. If you're finding communication's a problem a big smile and holding your camera up can often get your message across quite easily.
 

 

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

 

Three barn owls photographed in a stone opening have won this week's POTW award. The image, called 'Three's a crowd' by ePz member KBan,is a neatly arranged photo where three barn owls sit squeezed together inside an opening in an old stone wall. The soft white and tan feathers of the birds contrast nicely with the rough, rustic stonework.

The tight fit gives the photo a cute family feel, with the middle owl tucked between the two larger owls. Overall, it is a clean composition that captures a fun wildlife moment set within the stone opening.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we'll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards!

Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners. See the terms and conditions for more information.

 

Britain's bursting with structures and buildings that photographers are naturally drawn to thanks to their postcard-perfect looks and history. It also helps that many of the buildings are in locations that are perfect for a day out, making them subjects photographers can shoot and their families can enjoy too.
 

1. Do Your Research

It's worth finding out who the home, castle etc. belongs to before you carry your kit out to it as some organisations have rules on what can be photographed, what they can be used for and what kit's allowed inside. A quick phone call or a check on their website should give you the answers you're looking for. Some places won't allow you to use a tripod while others may have rules on the type of bag, if any, you can take in with you. There may also be a rule that says no flash photography is allowed so do keep an eye out for signs and ensure the flash built into your camera is switched off.  
 

2. Castles

 

From ruined hill forts to beautifully preserved country houses, castles provide majestic architectural delights for us photographers. For more tips on photographing castles, have a look at these guides where we share a few tips to help you take better photos of these fortified structures:

• A Guide To Photographing Castles
• Castle Photography Tips

 

3. Stately Homes

 

Many Stately Homes found in the UK open their doors to the public, giving photographers the chance to capture interesting interiors as well as shots that show the extensive grounds and buildings. Take a look at our article on Photographing Stately Homes for advice on what to photograph and how.
 

4. Churches

 

Small rural churches and grand cathedrals have decorated our nation's skylines for a very long time and they're well worth photographing. If you can, take your camera inside these magnificent structures (you may be charged a small fee) as they are often even more impressive on the inside.

ePHOTOzine has several articles on photographing churches, both on the inside and out, which can be found here:

• Photographing Church Interiors
• Tips On Photographing Stained Glass Windows
• Church Photography At Night
• Tips On Creating HDR Exposures In Churches
• How To Take Photos Inside Churches

  5. Villages

 

Even though this isn't about just one structure, scenic villages are popular tourist destinations and they make good subjects for photographers. Picturesque streets and the famous 'chocolate box' style houses make them a worthwhile stop-off, plus there's usually ample chance to capture a fair few candids too.

Have a look at ePHOTOzine's Guide To Photographing Villages for more tips. For more architectural photography tips, take a look at ePHOTOzine's technique section. 

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Photo by Joshua Waller

 

If you're thinking of trying nature or wildlife photography, as well as a camera it's worth investing in a telephoto lens. Why? Well, this is something we'll move on to shortly but first, you need to decide which telephoto lens will work best for you. 

A medium telephoto can be useful for shots taken in and around zoos and wildlife parks but if you're capturing smaller subjects such as birds, even if it's in your own garden, you'll need a telephoto that has much more reach (300mm +). For shots of swans and ducks in the park, a shorter telephoto lens will be fine. 

 

Why A Telephoto? 

 

Reason 1: Bring The Subject Closer

Apart from the odd swan at the park who is used to people feeding it bread, most wildlife is wary of humans and they will move away, sometimes never returning when people get too close. For this reason, a telephoto lens is needed to bring your subject to you. With a telephoto lens, you'll be able to take shots that look like you were just a few steps away from your subject when really there was quite a bit of distance between you and them. It also means you won't have to waste energy chasing your subject around all day. Instead, set up in a hide, wait patiently and use the pull of your longer focal length to create frame-filling wildlife shots. 

 

Photo by Joshua Waller

Reason 2: Safety

Having the ability to capture images from further away makes it safer for the photographer when capturing images of what could be considered as a dangerous animal or when your subject's behaviour, such as male deer fighting during mating season, would put you in danger up close. The distance also means the animal is less likely to be startled which will stop them bolting away quickly which could cause them or other animals that are around them injury if they begin to panic. 

 

 

Reason 3: Pleasing Perspective

When shooting with telephotos it can be easier to produce shots where the subject is separated from the background as the zone of sharpness is more restricted.
 

 

Reason 4: Shoot 'Through' Fences

Wildlife parks and zoos make it easier for photographers to get closer to wildlife, but mesh fences can be a particular annoyance and can ruin a great shot. However, if you're using a lens with a longer focal range, it can be quite easy to eliminate fences from shots. Similar results can be produced on lenses with wider apertures on offer, meaning users with lenses that have smaller focal lengths can still produce mesh-free images. Basically, you need to set a wide aperture, place the lens over one of the gaps and once there's some distance between your subject and the fence, click the shutter button. 

 

 

Points To Remember When Using A Telephoto

 

Point 1: Shake

Telephotos have a habit of magnifying the slightest bit of camera shake so either use a support such as a tripod or monopod or stick to higher shutter speeds. Switching up the ISO will help you achieve quicker shutter speeds or you could invest in a faster lens. 

 

Point 2: Focus 

When working with a subject in the distance, the autofocus system can get easily confused by blades of grass etc. that may be positioned closer to your lens and it'll focus on these rather than the bird etc. in the distance. This is why it's often worth switching to manual focus so you can have full control over what's your main focal point. 
 

Photo by Joshua Waller

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With Autumn rapidly approaching, they'll soon be ample opportunity to unpack your macro lens so you can capture images of fungi and close-up patterns of leaves as the golden shades take hold. Outdoor macro photography, particularly during the Autumn months, can be very rewarding but as you'll most likely be doing some walking, you may be wondering if fastening a tripod to your camera bag is really necessary as, after all, they can be heavy and a bit awkward to carry. Well, the quick answer to this question is 'yes' but here are 6 reasons that'll further explain why you'll be annoyed at yourself if you don't pack your tripod when heading out of the door. 

 

1. Stability

The most obvious reason for using a tripod is for added stability. Camera shake is more noticeable when working close to your subject so the use of a tripod's recommended. To minimise movement further, use your camera's self-timer or use a remote / cable release so you're not actually touching the camera when the exposure begins.

 

2. Low Angles And Awkward Spots

Not all macro subjects are in places which are easy to reach so use a tripod with a centre column that can be moved to a horizontal position or even turned the opposite way around as they make it easier to get into tight spots. It also helps if your tripod can get low to the ground. You can use various tripod heads but a ball head can be more flexible than other models as their range of movement means more camera positions can be achieved. They can take some getting used to so do have a play around with one at home before heading out into the field.

 

3. Longer Shutter Speeds

A tripod, bean bag or whatever support you're using will become even more important when you start using longer shutter speeds as if you try hand-holding the shots, you'll probably find shake causes blur to appear. You'll find longer exposure times are needed in woods where fungi thrive but not much light gets through the tree canopy. 

 

 

4. Composing Your Shots

Having a tripod with you when out shooting means you can get your framing right then make adjustments to white balance, aperture, shutter speed etc. without the camera's position changing. It also means your hands are free to adjust/remove distracting objects from the frame without the camera having to be put down. This could be moving a branch out of the way, removing stray twigs etc. 

 

5. Pre-Focus

This points more for the warmer months when butterflies and other flying insects are more likely to be around as speed is of the essence when working with small, fast subjects like these. To increase your chances of capturing a subject that moves quickly and doesn't hang around for long, try pre-focusing on the spot where you expect your subject to land. The reason you need a tripod for this is that even the smallest of nudges can change the focus. It also keeps your hands free for making minor adjustments (if needed) to the lens so you can reach your required focal plane once your subject is in the frame.
 

6. Focus Stacking

This technique is excellent for any static macro subjects. It's not recommended for use on live subjects such as insects as these tend to move. For the technique to work, you need to use editing software to combine several shots, where the focus is set at different points in each image, to effectively extend the depth of field of one shot. A tripod's needed as all the images need to line up perfectly for the technique to work successfully. For more information on Focus Stacking, take a look at John Gravett's article: Focus Stacking Images In Photoshop
 

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1. What Is A Triptych? 

A triptych is an image that consists of three different images that usually relate in some way. Why three? Well, items grouped in odd numbers are usually more compositionally pleasing and you can use three shots of different things or split one image up onto three separate panels. Generally, the image is presented so each shot is given the same space/shape to sit in on the canvas and they are evenly spread out. 

Triptychs are a great way to combine multiple viewpoints of the same place into a single shot so you can better tell the story of the scene you captured. It's also a good way to present images of a similar theme you've captured over time. 

 

2. What Photos Should I Use?

The images you use need to link to each other some way, but this doesn't necessarily mean it has to be of the same subject. They could be linked by colour, for example, or you could have applied the same treatment to them during post-production to make them appear similar. Images taken at the same focal length tend to appear more balanced when put together however, this rule isn't set in stone. You could also try linking them by movement, with three shots showing someone/something moving closer to the front of the frame or further away. 

 

3. Get Creative

Another way you could create a Triptych is to use several parts of the same scene in three separate images, capturing a wider view in the first then focusing on detail in the two that follow. Taking shots of the same scene at different times of the day or even the year can work effectively. For example, you could capture images of a tree during summer and autumn to show the contrast in colour/weather. 
 

4. Photograph Portraits

When shooting portraits, these types of shots tend to work better when your person, animal or object is looking into the frame rather than out as having them looking out of the shot will draw the viewer's attention away from the centre of the image. You can change the direction of which your subject is facing during post-production if you so wish. You could also have your subject creating three different facial expressions or poses a technique that can work particularly well with children. 
 

5. Fun With Photoshop

The easiest way to create a triptych is with editing software and we have a tutorial on creating triptychs in Photoshop over in our technique section: Create A Triptych For Your Photographs
 

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Use a tripod when shooting macro work to reduce the chances of shake creeping into the shot.

Camera shake, which can occur when you're not holding/supporting the camera correctly, can really spoil your shots but it's a problem that can be easily fixed. Most cameras now have features that help them prevent camera shake, however, there are still a few things the photographer can do to limit or even remove the shake that blurs your shots completely.

 

1. Use A Tripod

This may seem like an obvious response, but sometimes it may not be your first thought to use a tripod. A tripod will make a big difference to images if camera shake is a recurring issue. If you're travelling light, even a small tripod/stand that you can keep attached to the bottom of the camera will be handy for placing the camera down without worrying about scratching the bottom.

 

2. Shutter Speeds 

If you're working handheld, try and use the fastest shutter speed possible to minimise the risk of blur. If you're working in low light, try upping the ISO a little to enable you to shoot with faster shutter speeds, too. If your camera doesn't tend to produce good-quality shots when higher ISOs are used, take your tripod with you so you can use longer shutter speeds without having to worry about shake spoiling your shots. 

 

 

3. Remote Release

A remote release will enable you to trigger the shutter without physically pressing the shutter button and causing minute vibrations which can cause shake. Some cameras also allow you to trigger the camera using a connected smartphone or tablet device, which will work just the same as the remote release to stop vibrations. You can also use your camera's self-timer if you don't have one as even though you're still touching the camera, the timer should mean the camera's stopped moving by the time the exposure begins. 

 

4. Stance and Breathing

The way you hold your camera can have a big effect on the amount of blur caused by your own movement. Hold the camera with two hands close to your body and make sure your feet are shoulder-width apart. If composing with the screen, keep your elbows tucked in as you'll stand a better chance of capturing a steady image. Being conscious of your breathing can further minimise shake. Some suggest taking a deep breath, holding it, taking your shot and exhaling while others prefer to do it the other way around. It's not something that's recommended for very long exposures, though! 

 

5. Use Objects For Support

You may find leaning against a tree or a wall useful to steady your images. Do use the built-in level if you do this, however, to make sure that your horizon stays straight, as leaning can cause wonky images. You could also take a beanbag out with you or if you're really struggling to find a support, see if your camera bag will help. 

 

 

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© Fujifilm

 

Fujifilm has announced the FUJINON XF400mmF4.5 R LM OIS WR, a lightweight super-telephoto prime delivering a 609mm full-frame equivalent in just 1,245g. With up to 5.5 stops of image stabilization and fast autofocus, it's built for bird, motorsport, and aviation photography, and works with Fujifilm's teleconverters for extended reach. Equipped with 20 weather-sealed points and a fast linear motor AF system, the lens will be available at the end of September 2026 for £2,499.00.

 

From Fujifilm:

 

Fujifilm Corporation (Headquarters: Minato-ku, Tokyo; President and CEO: Teiichi Goto) will release the FUJINON XF400mmF4.5 R LM OIS WR Lens as part of its lineup for the X Series mirrorless digital cameras, which combine exceptional image quality achieved through proprietary colour reproduction technology with a compact and lightweight design.

The XF400mmF4.5 R LM OIS WR is a super-telephoto prime lens featuring a focal length of 400mm (equivalent to 609mm in the 35mm format) and a bright maximum aperture of F4.5, delivering the highest optical performance in the XF lens lineup.

Despite its long focal length, the lens weighs only approximately 1,245g*1, ideal for capturing fast-moving subjects at long range, including birds, motorsports, and aircraft.

In addition, enhanced shake detection accuracy and an optimised stabilisation mechanism provide up to 5.5 stops*2 of image stabilisation, ensuring stable handheld shooting even at super-telephoto focal lengths and in situations requiring fast shutter speeds.

The XF400mmF4.5 R LM OIS WR further extends the lens’s focal length when used with a teleconverter.  With the FUJINON Teleconverter XF1.4X TC WR, the lens provides a focal length of 560mm (853mm equivalent in the 35mm format), and with the FUJINON Teleconverter XF2X TC WR, the lens provides a focal length of 800mm (1,219mm equivalent in the 35mm format).

With the addition of the XF400mmF4.5 R LM OIS WR to the lineup, the range of large-aperture super-telephoto prime lenses in the XF Lens series—covering focal lengths equivalent to approximately 300mm to 762mm in 35mm format—is now complete.

This comprehensive lineup enables photographers to choose the ideal lens for virtually any super-telephoto application, providing exceptional versatility for wildlife, sports, aviation, and other demanding photographic pursuits

 

*1 Lens cap and hood not included

*2 Compliant with CIPA standards. Pitch/Yaw correction performance.

 

© Fujifilm

 

Main Product Features

 

1)  Optical performance brings together the best of FUJIFILM'S XF Lens technology

-         Features a 400mm super-telephoto focal length (35mm equivalent: 609mm) and an aperture of F4.5. It is ideal for photographing subjects that are far away and moving at high speeds, such as birds, motorsports, and aircraft.

-         When used in combination with a teleconverter, the focal length is further extended. The FUJINON Teleconverter XF1.4X TC WR allows shooting at a maximum focal length equivalent to 560mm (35mm format equivalent: 853mm), while the FUJINON Teleconverter XF2X TC WR allows shooting at a maximum focal length equivalent to 800mm (35mm format equivalent: 1,219mm).

-         It features a sophisticated 21-element, 14-group lens configuration that includes 2 Super ED elements and 4 ED elements. This design effectively minimises chromatic aberration – a common issue with super-telephoto lenses—and delivers exceptional resolution.  It captures even distant subjects with high-definition detail, enabling the powerful visual impact unique to super-telephoto photography.

 

2) Exceptional mobility and resolution performance in a compact, lightweight design

-         Leveraging the 1.5x crop factor of the APS-C format, the lens delivers a 609mm full-frame equivalent field of view in a compact body weighing approximately 1,245g. Its lightweight design and excellent portability make it ideal for extended shooting sessions and travel.

-         Front-heavy balance is a common challenge with super-telephoto lenses, but the XF400mmF4.5 R LM OIS WR features an optimised optical design that positions the center of gravity closer to the camera body. This improves handling and helps reduce fatigue during extended handheld shooting sessions.

-         The lens barrel features 20 sealed points, providing dust and weather-resistance as well as reliable operation in temperatures as low as -10°C. In addition, the front lens element is coated with fluorine, offering water-repellent and anti-smudge properties. You can use this lens with confidence even during extended shooting sessions in inclement weather.

 

3) Powerful 5.5-Stop image stabilisation

-         Improved shake detection accuracy and an optimized stabilisation mechanism provide up to 5.5 stops of image stabilisation performance. This enables stable handheld shooting even at super-telephoto focal lengths, where camera shake is particularly noticeable.

 

4) Fast, quiet and highly accurate autofocus with outstanding handling

-         The use of an internal focusing system has made the focusing lens smaller and lighter. Furthermore, by driving the focusing group with a high-speed linear motor, we have achieved fast and quiet autofocus. Even during demanding super-telephoto photography, the lens enables fast and highly accurate autofocus, helping photographers capture decisive moments with confidence.

-         It features a focus preset function that allows you to instantly shift the focus to a position preset using the “SET” button. Since there’s no need to refocus on your intended subject, you can achieve focus instantly.

-         A “Focus Control Button” positioned near the front of the lens barrel provides instant access to the function selected via the Focus Select Switch (AF-L / PRESET / AF), enabling smooth and efficient autofocus operation.

-         Equipped with a focus limiter function*3 that limits the focusing range, reducing focus acquisition time when photographing subjects at distances greater than 5 meter and enabling faster autofocus performance.

 

*3 The focus limiter function can be activated using the “shooting distance range selector switch.”

 

© Fujifilm

 

Price & Availability

 

The XF400mmF4.5 R LM OIS WR Lens will be available from the end of September 2026.

RRP  £2,499.00 

For more information, please visit the Fujifilm website.