DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

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

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

    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.
 

 

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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.

The Fujifilm XF400mm f/4.5 R LM OIS WR is priced at £2499 and available from late September 2026.

 

Despite the wind and rain, ePHOTOzine contributor Will Cheung enjoyed his first look at the Fujifilm XF400mm f/4.5 R LM OIS WR fitted on a 26.1 megapixel X-H2S body.

 

The Fujifilm X Series lens system has an impressive selection of lenses with fast aperture primes and zooms, covering from ultra-wides and standard focal lengths to macro and super telephotos and almost everything in between.

For action and nature photographers, there’s the option of the XF100-400 f/4.5-5.6 R LM OIS WR and XF150-600mm f/5.6-8 R LM OIS WR zooms and the XF200mm f/2 R LM OIS WR and XF500mm f/5.6 R LM OIS WR primes. That’s a good selection by any measure and now there is another option, the XF400mm f/4.5 R LM OIS WR, which has a launch price of £2499. This is equivalent to 609mm in the 35mm format and that is a popular focal length among action and nature photographers. Add a fast f/4.5 aperture, a weight of 1245g and a very attractive price and this lens is sure to prove popular.

 

Twenty environmental seals are fitted on the Fujifilm XF400mm f/4.5 R LM OIS WR and with heavy rain they were needed during this First Look.

 

Fujifilm XF400mm f/4.5 R LM OIS WR Features

Headline features of the Fujifilm XF400mm f/4.5 R LM OIS WR are its focal length, portability, fast maximum aperture and optical performance. The lens gives an equivalent 35mm focal length of 609mm, so it’s very well suited to action, aviation and nature subjects.

The advanced optical design features 21 elements in 14 groups, and that includes four ED and 2 Super ED elements to minimize chromatic aberration and make the most of the high-resolution sensors featured in Fujifilm X Series cameras. The front element is fluorine coated to repel dust and moisture.

Despite its long telephoto reach and complex optical design, the XF400mm f/4.5 R LM OIS WR weighs in at 1245g (not including the lens hood). For comparison, full-frame 600mm f/4 lenses weigh 3kg plus, so there’s a huge weight-saving here.

For even more reach, the lens is fully compatible with the 1.4x and 2x Fujifilm teleconverters, giving 35mm equivalent focal lengths of 853mm and 1219mm respectively.

Autofocusing is internal, so the lens size stays constant and is handled by a high-speed linear motor, so focusing is rapid and silent. The lens features a Focus Control Button that can be set to various functions and a focus preset is available too. 

To make the most of the long focal length, the XF400mm f/4.5 R LM OIS WR features a 5.5-stop Optical Image Stabiliser to defeat camera shake.

 

A size comparison: the Fujifilm XF400mm f/4.5 R LM OIS WR (left) alongside the XF500mm f/5.6 R LM OIS WR, which is currently in the shops at £2609.

 

Fujifilm XF400mm f/4.5 R LM OIS WR Key Features

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

 

The Fujifilm XF400mm f/4.5 R LM OIS WR is lightweight enough for sustained spells of handheld shooting with minimal fatigue.

 

Fujifilm XF400mm f/4.5 R LM OIS WR Handling

In respect of handling, there is much to like about the Fujifilm XF400mm f/4.5 R LM OIS WR. A big benefit is its weight, or rather the lack of it. This is a fast aperture 609mm (35mm format equivalent) prime lens and it weighs just 1245g and a bit more with the lens hood attached. Add a Fujifilm X camera (the X-H2S body weighs 660g) and the combination weighs in at under 2kg, which is significantly lighter than a full frame 600mm f/4 lens on its own. 

With internal focusing handled by a linear motor, AF speed is quick, silent and responsive. During this First Look, I shot almost exclusively with the camera’s Bird detect switched on and using Wide zone and Zone AF in continuous AF. The rain, wind and poor light weren’t favourable for nature photography, especially with fast-moving birds, but the camera/lens combination proved capable, and I was happy with my results.

The lens’s Optical Image Stabiliser (OIS) system worked well. The claimed benefit is 5.5 stops which, assuming that the base shutter speed is 1/1000 sec, that takes us to just under 1/30 sec. I tried handholding at 1/30 sec and got sharp shots which, in the windy conditions and with live subjects, was more than acceptable.

 

The Fujifilm XF400mm f/4.5 R LM OIS WR comes with a selection of controls, and the tripod foot is Arca Swiss compatible.

 

Fujifilm XF400mm f/4.5 R LM OIS WR Sample Photos

This sequence of a Barn Owl was shot at 15fps using the Fujifilm X-H2S’s mechanical shutter. Once the subject was acquired, the X-H2S with the XF400mm f/4.5 R LM OIS WR lens tracked the subject impressively. Bird detect and wide zone AF was used. 1/2000 sec f/4.5 ISO 1600.

 

The Harris Hawk stands out proudly from the background with the Fujifilm XF400mm f/4.5 R LM OIS WR used wide open. 1/800 sec f/4.5 ISO 1600 Fujifilm X-H2S in manual exposure.

 

Incorporating Fujifilm’s Optical Image Stabiliser with 5.5 stops of benefit, here, the XF400mm f/4.5 R LM OIS WR was used at 1/30 sec, f/7.1 and ISO 1600. Sharpness is very good in this shot, but with the bird constantly twitching, getting a sharp result wasn’t easy. Fujifilm X-H2S in manual exposure mode.

 

The Fujifilm XF400mm f/4.5 R LM OIS WR used wide open for this Peregrine Falcon shot throws the background out really nicely. 1/640 sec f/4.5 ISO 800 Fujifilm X-H2S in manual exposure mode.

 

The Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR tracked the Chilean Blue Eagle well with Zone AF and bird detect on. The electronic shutter was used, and the drive speed was 30fps. 1/2500 sec f/4.5 ISO 2500 Fujifilm X-H2S in manual exposure mode.

 

The Fujifilm XF400mm f/4.5 R LM OIS WR used close to its minimum focusing distance, shows excellent resolution of the high-frequency feather detail of a Chilean Blue Eagle (also known as the Black-chested Buzzard-eagle). 1/600 sec f/4.5 ISO 800 Fujifilm X-H2S in manual exposure mode.

 

 

The gorgeous underside detail of a Chilean Blue Eagle is revealed as it approaches a perch. 1/2500 sec f/4.5 ISO 2500 Fujifilm X-H2S, manual exposure, 30fps, electronic shutter.

Birds were supplied by Walks with Hawks.

 

A full ePHOTOzine lens test will follow in due course, but here’s a series of images to give you an idea of the Fujifilm XF400mm f/4.5 R LM OIS WR’s quality through its aperture range. A Gitzo Series 2 Traveler tripod was used with the exposure made using the camera’s self-timer. An of ISO 200 was used with the RAWs processed through Adobe Lightroom Classic.

 

Fujifilm XF400mm f/4.5 R LM OIS WR Aperture range Previous Next

 

For an equivalent 609mm lens (in 35mm format), the Fujifilm XF400mm f/4.5 R LM OIS WR is light and well-balanced, so handling is excellent. It’s an impressive lens with huge potential for aviation, sports and nature.

 

Fujifilm XF400mm f/4.5 R LM OIS WR Initial Verdict

It wouldn’t be fair to make a final judgement after a couple of hours photographing captive birds in the rain. But there’s no denying that I was very impressed with the Fujifilm XF400mm f/4.5 R LM OIS WR. With a 609mm reach (in 35mm terms), it means you can pull in distant small subjects and there’s the potential of teleconverters for even more. 

Handling was first-rate and my arms didn’t ache at the end of the shoot, which is a good sign.

From my results taken on this First Look, image quality is very good. I was shooting at f/4.5 at ISO 1600 and 3200 most of the time and the processed Raws showed lots of fine detail with healthy levels of contrast despite the gloomy conditions.

For the price, the fast prime Fujifilm XF400mm f/4.5 R LM OIS WR is very good value for money too.

Look out for our full test and definitive verdict soon.

Visit our Equipment Database to see more images of the Fujifilm XF400mm f/4.5 R LM OIS WR along with specs. 

We know it's not a feature all cameras have but as many of the cameras we review do now have a flip-out screen, it got us thinking about why they're useful and actually, we came up with 8 reasons why more cameras should have a flip-out screen. 

 

1. Bright light 

If you've found the perfect position to shoot, but can't see the image on your screen because of bright sunlight, for example, it can be difficult to compose your shot effectively. If you didn't have a tilting screen, this would mean having to tilt the camera to see what you're shooting, which can end in you losing the ideal shot. With a tilting screen, you can simply partially tilt it to get rid of the glare, without having to move your camera set up at all. 

 

2. Selfies 

The selfie is a word and trend that won't be going away anytime soon so why not embrace it? You can turn your camera's lens to face you and simply click the shutter button but chances are, the framing won't be right and due to the awkward angle you'll be holding the camera at, shake could spoil your shot. Some like to use mirrors, but these don't tend to produce pleasing results either, especially with the camera in-frame. However, if you have a camera with a flip-screen, you can just turn it around so you can see yourself perfectly when setting the shot up. For those without a flip-screen who have a little more time, use a tripod and a remote release to take your self-portrait. For more tips on taking self-portraits, have a read of this: 5 reasons to shoot a self-portrait

 

 

3. Shooting in confined spaces

Taking a photo but can't get behind the camera to take the shot? With a flip-screen, you can leave the camera in its position and still see how the scene looks through your camera's lens.

 

Photo by Joshua Waller

 

4. Shooting from higher angles

When taking photos in a crowd it can be difficult to capture shots of the stage, parade or whatever else you've gone to see when you have rows of people in front of you. If you can, get to the front which will involve a bit of planning and most likely arriving early but at least you'll have a prime spot for your photography. For those who have cameras with screens that tilt and flip, you can simply hold the camera up above your head and check your composition via the flip-screen.

 

5. Shooting at low angles using a tripod

If you are shooting low-level work using a tripod, it can be rather painful if you have to kneel with the camera for a long time to see what you're shooting. It can also lead to wet knees and ruined muddy clothes in bad weather. So, if you enjoy capturing images of fungi in Autumn or spend a lot of time in flowerbeds during the summer, you may want to consider purchasing a camera with a flip-screen so you can still compose your images without having to kneel or lay on the ground. 

 

 

6. Shoot around corners

A camera with a flip-screen allows you to shoot around corners at angles that usually wouldn't be possible with a non-tiltable screen camera. 

 

7. Street photography

By holding your camera at a lower angle and adjusting the screen so you can see what the camera sees without having to move it will mean candid shots in towns and cities will be easier to capture as it won't be so obvious that you're actually taking a photo. In fact, some may think you're just adjusting your camera settings. 

 

Photo by Joshua Waller

 

8. Use Live View

By having the ability to change the angle of your camera's screen you can tweak lights, move reflectors, direct models, adjust still life set-ups etc. and see the effect when using Live View without having to walk round the back of the camera. 

 

Photo by Joshua Waller

 

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

© Calibrite

 

Since 1976, the ColorChecker has been the industry's reference tool for accurate colour reproduction. This simple 24-colour card is now marking its 50th anniversary as Calibrite honors a legacy spanning professional photography, filmmaking, and visual content creation. While the creative world has transformed from studio spaces to home offices and from professionals to independent creators, the ColorChecker's role has remained unchanged. It continues to be the standard that keeps color consistent for everyone, across all settings.

 

From Calibrite:

 

Launching September 1, Calibrite kicks off a year-long celebration marking 50 years of the ColorChecker, the small card of 24 colour patches that has quietly kept colour honest since 1976.

What began as a scientific tool for evaluating colour film has become one of the most recognised reference targets in imaging, used on film sets, in photo studios, in museums, and in camera bags around the world. For half a century, the creative world has transformed beyond recognition. Film became digital. Studios became home offices. Professional productions now share the stage with millions of independent creators making work every day. Through every technological shift, one thing has stayed constant:
the need for accurate, trustworthy colour.

The original chart was introduced in 1976 by three scientists at the Macbeth company, led by Dr Calvin McCamy, in a paper titled "A Color-Rendition Chart". Its premise was deceptively simple: place a set of known, carefully engineered colours in the frame, and every camera, screen, and printer finally has a shared truth to measure against. Fifty years later, that premise has not changed, and neither has the chart’s job.

 

© Calibrite

 

Every ColorChecker made since, including every Calibrite ColorChecker on the market today, descends directly from that original 1976 chart. Gretag and Macbeth merged in 1997, the line passed through X-Rite in 2006, and in 2021, the ColorChecker brand came to Calibrite, while the Munsell Color Company, whose colour heritage reaches back to 1918, still manufactures the targets. The lineage is unbroken.

A key factor behind the ColorChecker’s exceptional precision lies in the way its colour patches are manufactured. The reference colours are based on specially formulated pigments that are carefully produced and applied with the highest levels of accuracy and consistency. Each patch is not simply printed but created through a controlled manufacturing process that ensures reliable colour reproduction and long-term reference stability. This level of precision is what has made the ColorChecker an essential tool for photographers, filmmakers, and colourists around the world for 50 years.

 

"Very few products earn 50 years. The ColorChecker did it by being right, every single time, for every person who trusted it. Today, more people create visual content than at any point in history. Professional photographers and filmmakers continue to rely on the ColorChecker, but so do product reviewers, educators, designers, livestreamers, content creators, and emerging storytellers around the world. Our job is not only to protect this legacy. It is to ensure trusted colour continues to empower the next generation of creativity."  

Stefan Zrenner,

General Manager of Calibrite

 

To mark the anniversary, Calibrite has opened a virtual museum exhibit tracing the chart from a 1976 lab to the cameras in creators’ hands today.

The celebration also includes an interactive ColorChecker Challenge that teaches what each of the 24 patches actually does, and a Colour Perfectionist Quiz that matches creators to the right tools. Because while technology has evolved dramatically over the past 50 years, one thing has never changed: every great creative project begins with confidence in what you're seeing.

 

"Twenty years ago, when I first learned about this little set of colourful squares, I had no idea how meaningful it would become to my workflow," said Alan Shapiro, photographer and Calibrite Ambassador. "I keep one in every camera bag and in my studio, sometimes a few different sizes depending on what I’m shooting that day. This target ensures I’m starting from the most optimised place and never guessing, so I have that much more time for the creative edits. Happy 50th, ColorChecker. Colour Perfectionists Unite."

Alan Shapiro,

photographer and Calibrite Ambassador

 

© Calibrite / Alan Shapiro

 

To mark the milestone, Calibrite is also releasing a limited collection of 50th Anniversary merchandise.

This includes a t-shirt, cap, and tote bag featuring the iconic 24-patch design. These items will be gifted throughout the anniversary year as a thank-you to the Colour Perfectionist community that has helped shape the ColorChecker's remarkable journey.

The ColorChecker family today spans the pocket-sized ColorChecker Passport, the studio-standard ColorChecker Classic in sizes from Nano to Mega, and the 140-patch ColorChecker Digital SG, all carrying the same original DNA forward. Fifty years on, the question the chart was built to answer remains exactly the same: what colour is this, really?

 

For 50 years, the ColorChecker has helped creators capture the world as it truly is.

The next 50 are about empowering an even broader generation to tell their stories with confidence, creativity, and colour they can trust. The tools will keep evolving. The need for colour you can trust never goes out of style.

For more information, please visit the Calibrite website.

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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 RobTurner (Day 29 - 'Circle' Theme).

 

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 23

Markets

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Day 24

Environmental Portrait

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Day 25

Swimming

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Day 26

Butterflies

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  Day 27

Canals

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Day 28

Storms

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Day 30

City Close-Ups

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Day 31

Villages

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

 

1. Focal Lengths

Choosing the right focal length is critical to balancing the key elements in the frame of a landscape. Before hitting the shutter button, take the time to think about where you're placing the camera and the focal length you're using. For example, try a longer focal length and step back. This will pull distant objects into the image and create harmony with what's in the foreground. 
 

2. Foreground Interest 

Another way to balance your landscape shots is with foreground interest. An object placed in the foreground can help guide the eye in the right direction as well as filling in what could be a vast empty space when your attention is on mountains and other background detail. Foreground detail helps give landscapes a sense of depth too. For more information, take a look at this article: Why You Should Look For Interesting Foregrounds For Your Landscapes.

 

3. Add A Frame

An alternative way to add foreground interest is with a frame. We don't mean for you to go out with a large photo frame in-hand but do be on the lookout for items and objects out in the landscape that can be used to create a frame for your shot. Overhanging branches, doorways and arches are just a few examples of frames you can find when out-and-about. 
 

4. Basic Rules 

Don't overlook the basic rules of photography which includes the rule of thirds, lines, shapes and various other elements as these can help you balance your shot. You'll need to use your lens to complement the rule which could mean changing its position or adjusting the zoom. Take a look at these beginner's tips for more information: Beginner's Guide To Composition
 

5. Shoot Panoramics

As wide-angle lenses sometimes create distortion, an alternative way to shoot photos that have more of the landscape in them is with a panorama. You can shoot panoramas with a short telephoto focal lens and using a tripod helps but it's not essential. The important thing is the choice of scene. Scenes with close to the camera elements will not stitch properly with this method. However, you can buy dedicated panorama heads for scenes that have foreground as well as background interest. More panorama photography tips can be found here: How To Shoot Panoramas and Panoramas Without A Panoramic Head.

More information on lens choices for landscapes can be found in this article: Make The Most Of Your Lenses For Scenics 

 

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

 

As patterns, lines and symmetry surround us, it makes sense to use these features to help us create interesting compositions which in turn, produce a great photograph. So, to help you on your journey to creating better compositions here are 11 tutorials that use lines, symmetry and patterns as ways to enhance images. 

 

1. How To Capture Patterns On Your Travels

Patterns may not be the first thing that spring to mind when you're on holiday and capturing images of your trip but they can be an interesting subject to focus on.

Learn More

 

2. How To Use Patterns & Repetition In Your Photography

When you're out on a day trip or on your two-week annual holiday and are looking for some photographic inspiration, have a walk around and start shooting patterns, we'll guarantee you'll soon become addicted.

Learn More

 

3. Shooting Rocks As Patterns & Textures To Enhance Your Photos

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

Learn More

 

4. How To Shoot Patterns In Architecture: 4 Quick Tips To Get You Started

Here are a few quick tips on looking for, and photographing, patterns in architecture found in towns and cities.

Learn More

 

 

 

5. How To Use The Power Of Lines To Improve Your Landscape Photography

Did you know that you can use diagonal lines to guide the eye, add interest and more to your landscape shots? If you didn't, here are 4 top tips on the subject for you to peruse.

Learn More

 

6. Why & How To Use Vertical Lines In Your Photos

Here are 6 reasons why you should try to use vertical lines in your images as well as a few tips on how to use them to make the most impact in your shots.

Learn More

 

7. How To Use Horizontal Lines Successfully In Your Images

Enhance patterns and add interest to your photos with horizontal lines which you can find almost anywhere when you really look.

Learn More

 

8. Three Reasons Why Converging Verticals In Photos Can Be A Good Thing

Converging lines and verticals don't always have to be avoided. In fact, they can be a clever tool for guiding the eye when used right.

Learn More

 

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