DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

Captured by ZenTony and titled The Deal,the image works brilliantly in black and white, with the mono treatment adding depth, contrast and mood.

The moment feels natural and well observed, making it a strong example of street photography and photojournalism. The background wall art adds a layer of mystery, prompting curiosity about the story behind the image.

Strong composition, good timing and confident use of black and white make this a memorable and engaging image. A very worthy winner.

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

 

What planning do you do before going on a landscape shoot?

Always check the weather forecast, and if walking is involved, make sure I know the route. Proper clothing, make sure people know what time I should return, etc.

Although weather plays a great part in landscape photography, I firmly believe there is no such thing as bad weather – simply different types of lighting. Rain, snow, wind etc can all create interesting landscape pictures. In fact, living in the lakes, a clear blue, cloud-free sky is probably my least preferred lighting conditions. Once you get to know an area well, you know what direction light comes from, but I try to go on every shoot with a totally open mind, I hate pre-planning shots, because when you reach the location, if the light is different from you planned, you feel that you're not getting the shot. I would far sooner react to the light that is there, and work with what is available to create the style and type of shot that works on that day.

That's not to say some lighting conditions suit certain locations better than others – I have my favourite spots for rainy days, and I have some shots I am still waiting for the 'right' light after many years.
 

What are your top 6 tips for landscape photography?

 

Tip 1

Learn the rules of composition - golden mean, rules of thirds, lead lines and so on, then compose your pictures as you see fit. I believe in balance of the picture, which may break all of the rules, but for good reason.

 

Tip 2

Don't limit yourself to the hour after sunrise and the hour before sunset – you waste far too much of the day. Great pictures can be taken at any hour – there are a few barns in the Lakes which make great features in a landscape, where the light hits them perfectly between 12 noon and 1pm.

 

Tip 3

When you see a picture, take it – get the shot – even handheld if necessary. I see too many photographers spend an age setting up the tripod, selecting the right lens, deciding which graduated filter to use, fitting the grad, taking the meter reading, then missing the shot because the light has changed. Get a shot in the bank, then take more care to get another, if the light has held on – you might have a winner, if the light's gone, at least you have a shot!

 

Tip 4

Never refer to weather as dull – if you think "dull" you will take "dull" pictures – because you'll go out with the wrong attitude. All weather conditions can give fabulous landscape shots – never pre-plan a shot on the basis of weather and lighting, because if it is different from what you planned, you may overlook even better opportunities for outstanding images.

 

Tip 5

Try to get as much right in camera – I tidy up foregrounds, use the appropriate colour balance (often preset), and I hear all the time - “I can sort that out in PhotoShop” If you start out lazy in your approach, things will just get sloppy. Also, it means I need to spend less time sitting in front of a computer sorting out pictures and can spend more time out taking photos.

 

Tip 6

Taking a digital picture costs nothing, if you're unsure about depth of field, take a range of shots at varying apertures, it's easier to select the best looking shot on a huge computer screen than on the back of your camera, and many a good shot has been lost because of too little (or too much) depth of field.

  Article by John Gravett of Lakeland Photographic Holidays - www.lakelandphotohols.com

Snow can be quite tricky to capture and can leave many beginner photographers asking questions. To help them out, here we will answer some of the most frequently asked questions about snow photography.

 

Photo by David Pritchard

Why can snow appear grey?
This is because your camera's metering system is fooled by the highly reflective tones of the white snow.

As Pete said in a previous article: "All cameras have built in metering systems that are designed to deliver a perfect picture assuming the contrast range is normal. They do this by scrambling the tones and then adjust so the scrambled colour brightness is mid-grey or average. This is fine when the subject has a wide tonal range with everything from black to white being present, but when the subject is predominantly white, such as snow, the camera underexposes so that the white becomes grey."

If you are using a compact camera it most likely has a snow scene mode and by switching to this, your once grey snow should appear white.

For those using more advanced cameras you can get around this by adjusting the exposure compensation setting to either  plus 1 or two stops depending on the amount of snow in the picture.

if your camera has the exposure lock feature, which is usually set by half-pressing the shutter button, point it at a mid-tone in your scene, lock the exposure then recompose your shot.

Why can snow appear blue?
As mentioned above, the camera sees the snow as a mid-tone and underexposes the shot as a result. When your camera does this on a day when you're shooting under a blue sky, you'll end up with blue snow as the scene's being lit by sun reflecting off the sky. You can do as we mentioned above and use exposure compensation or you can try switching from auto white balance to shade. Alternatively, if you shoot in RAW you can make changes to the colour balance quite easily once you're back in front of your computer.

 

Why does my snow shoot look boring?
As mentioned above, stopping the exposure down a little to give a little more depth and atmosphere to the shot should stop your scene appearing as a bland, boring scene of white that doesn't have much difference in tone.

Another reason that your shot may look a little boring is that there's nothing to break the blank white scene up.  Walls, trees, rocks or even people can be used to add a bit of contrast to the scene.

 

Why has my lens steamed up?
Moving from indoors to the cold outdoors can result in fogged-up lenses. As a result you need to let your camera acclimatise before taking photos. Try to avoid wiping the condensation off with a cloth as this can lead to smudges which can be visible in your shots.

 

How can I stop the sky looking boring and grey?
This is a common problem when trying to take snowy photos, as most of the time when it's snowing, the sky will be very overcast and cloudy. To get around this, why not wait until it stops snowing and the sky clears a little. A blue sky will improve your snowy scene, just remember what we said about checking your white balance.

If you do want to shoot while the snow is falling, make sure you turn your flash off because the flash will reflect off the nearby flakes making the picture full of large blurry blobs that distract, plus your image will be dark. A better way to capture snow falling is to put your camera on a tripod and use slower shutter speeds. Take a look at these examples that show a snow shot taken with flash and one without:

 

 

 

What equipment might I need to improve my shots?

Tripod – As mentioned above, this will be great for if you want to capture slow shutter speed shots to really capture the snowflakes falling and create a sense of heavy snow. You may need your camera's inbuilt spirit level if it has one, to make sure your tripod is straight in the snow.

Filters – Graduated grey filters are ideal for darkening light skies to create moody shots.

Rain Sleeve – If you're planning to stay out in falling snow for a long time with your camera out, then you should consider keeping it dry, as after a while snow will start to melt on your camera. The rain sleeve will keep your camera safe while still allowing you to access all your camera settings. If you have a smaller camera and want extra protection against the elements, then you could improvise and use a freezer bag with a hole cut out for the lens. Although this isn't as waterproof!   

 

Short days and cold nights don't make it very appealing to head outside in search of interesting photographic subjects so here are five photographic ideas for you to try without leaving your home.

  Shoot Indoor Close-Ups

This is one for ebay fans but it's also a great technique for photographers who want to get into still life photography to try. In this article Pete shows you how to deal with different types of light, shares tips on diffusing it and discusses reflections.
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Have A Go At An Indoor Portrait

If it's cold and cloudy outside have a go at shooting indoor portraits with window light. Cloudy days diffuse the light so you can create flattering portraits from the comfort of your own home with the free light that flows through your windows.

Brighten Your Window Portraits

After you've shot your indoor portraits have a read of our Photoshop tutorial which will show you how to even out the brightness levels of your shots.

It doesn't take too long to do and is something you can do on any day when the weather's not playing ball outside.

Indoor Flower Photography

It may be a little too early to head out into your garden in search of flowers that are worth photographing, however you can still have a go at shooting a few bouquets at home. Just purchase a few specimens from the shop and have a read of our indoor flower photography article to get some inspiration.

  Get Creative With Household Objects

Follow John Gravett's advice and you'll soon be shooting objects you thought were boring in a whole new light. In his piece he puts cutlery, paperweights and even a slinky in front of his camera to show you how easy it is to make creative abstracts from ordinary objects.

Shoot Bokeh Christmas Light Portraits

Learn how you can use small LED lights to add interest to your indoor portrait shots. You don't need loads of kit, it's fun to do and it's something everyone can have a go at.

 

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

 

Elinchrom UK has announced the full Live Stage speaker schedule for the 2026 London Photo Trade Show, taking place from 15–17 January 2026 at Novotel London West, Hammersmith.

The Elinchrom Live Stage will feature a packed programme of live demonstrations and expert-led talks from leading UK photographers, offering practical insights into creative lighting techniques using Elinchrom equipment. Sessions are designed to appeal to photographers working across portrait, newborn, maternity, commercial, product and specialist genres.

Throughout the event, Elinchrom specialists will also be available on Stand 70–71, providing hands-on demonstrations and advice on lighting setups and solutions tailored to individual photographic workflows.

Live Stage Programme Highlights

Thursday 15 January 2026

• 11:30 – Bjorn Thomassen: Top 5 Features to Elevate Your Portrait Photography (Live Demo)
• 12:30 – Russ Jackson: Lighting New Life: A Live Newborn Photography Demo
• 14:00 – Victoria Baptiste: Just Shoot It: Ditching Perfection & Finding Your Voice (Live Demo)
• 15:00 – James Musselwhite: Four Portraits in 60 Seconds (Live Demo)

Friday 16 January 2026

• 10:30 – Neil Shearer: Liven Up Your Product Photography (Live Demo)
• 11:30 – James Musselwhite: One Light Portraits (Live Demo)
• 12:30 – James Musselwhite vs Paul Wilkinson: Live Photographic Lighting Shootout
• 14:00 – Russ Jackson: Shaping the Glow: Maternity Lighting Live (Live Demo)
• 15:00 – Gary Hill: Creative Headshots (Live Demo)

Saturday 17 January 2026

• 10:30 – Gary Hill: Glitz & Glam: Professional Lighting in Action (Live Demo)
• 11:30 – Jessica McGovern: Lighting with Character: A Live Dog Photography Demo
• 12:30 – Scott Johnson: One Light, Endless Possibilities (Live Demo)
• 14:00 – Paul Wilkinson: Mastering Portrait Photography (Live Demo)
• 15:00 – Julian Fulton: Confidence Through the Lens: Photographing Boudoir with Purpose (Live Talk)

 

 

The London Photo Trade Show is one of the UK’s leading photography industry events, bringing together photographers, brands and educators for three days of learning, networking and hands-on experience. Trade Show attendance is free, with registration closing on 1 January 2026.

For full event details and registration information, please visit: https://thesocieties.net/convention/

Live Stage proudly supported by Elinchrom UK

Register now for FREE tickets!

© Fujifilm

 

Fujifilm Corporation announced a major investment of 5 billion JPY to strengthen its production facilities for instax films at the Ashigara Site in the Kanagawa Factory. This move is designed to meet the growing global demand for the popular instax series.

The new production lines will start operating in stages from spring 2026 and are expected to be fully running by autumn 2026. Once complete, Fujifilm will increase its instax film production capacity by about 10 percent compared to FY2025.

 

Global growth of instax

Since its launch in 1998, instax cameras and films have become a worldwide brand available in more than 100 countries. The lineup has grown from instant cameras to hybrid instant cameras, smartphone printers, and compact palm‑sized cameras. Fujifilm also introduced instax Biz, an application that allows businesses to create custom photo templates for events.

 

Continuous investment

Fujifilm has been investing in instax film production facilities since 2022. With 2 billion JPY invested in 2022, 4.5 billion JPY in 2023, and this latest 5 billion JPY investment, the total investment now reaches about 11.5 billion JPY. As a result, production capacity will rise by about 50 percent compared to FY2022.

 

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Company statement

Fujifilm stated it will continue to explore new possibilities in photography and expand the world of instax instant photo printing, giving people more ways to enjoy photos on the spot.

 

Investment overview

• Company: Fujifilm Corporation, Ashigara Site, Kanagawa Factory
• Location: 210 Nakanuma, Minami‑Ashigara‑shi, Kanagawa, Japan
• Total Investment: Approx. 5 billion JPY
• Details: New production lines for instax films and related facilities
• Operation Start: Spring 2026, fully operational by autumn 2026

 

How instax film works

• Instax film uses silver halide photography technology with 18 layers that react to light.
• When the film is ejected, developer fluid spreads evenly across the surface to start the chemical reaction.
• Excess fluid is absorbed by the frame, and the photo gradually appears in about 90 seconds.

instax and instax Biz are registered trademarks of Fujifilm Corporation.

 

For more information, please visit the Fujifilm website.

 

If you enjoyed our technique on cross polarisation photography have a look at this variation. As it is winter I thought we'd take an icy deviation to the standard plastic cross polarising effect. Here we've still used plastic but added a colourful background to a frozen texture.
 

Gear Suggestions

All you need is a CD case, some tape and a little bit of pre-planning, along with the essential hardware comprising of a camera with any lens (ideally with a close up mode), LCD computer monitor and a polarising filter. Oh, and a steady support for the camera.

It doesn't matter if your camera doesn't have a filter thread (often the case when using compact cameras) as you can hold the filter over the lens when taking the shot.
 

The Set-Up 

First the preparation. Prise out the CD retaining tray (the bit with the clips that go through the centre of the cd to hold it in the jewel case) out of a standard CD jewel case. Use the Album type not the slimline or clam case. Close the case and tape around all the edges where there are gaps to make the sides and base water tight. Make sure the top gap is open so you can pour water in. Fill it with water through the gap on top and insert it into your fridge's ice box.

When it's frozen set up your mini studio set. Turn on the computer monitor and set it so the background is uncluttered. A standard mid grey desktop is perfect, avoid a fancy pattern. If you don't have one and cannot work out how to change your windows desktop pattern open up a mid-grey image in an image editing program and expand it to fill the screen. 

As the ice will melt quickly in the tray it's best to set up using a different CD case so you can arrange everything and switch to the icy one when you're ready to take a photo.  So position your stand-in CD case about 20-30cm in front of the screen. I used a McClamp, but you could use any form of support or even just pile up some books and balance it on top. Remember that the ice will melt as you take photos so you'll need some sheet to protect books and a cloth to mop up excess water. If you're quick you won't end up with much mess.

Position the camera in front of the CD case with the lens set to fill the frame with a portion of the case. If your camera doesn't focus close enough to fill the frame shoot as close as you can and crop the picture when taken. Again you can use books as a support and stack them to the necessary height. Alternatively use a tripod which gives a sturdier and much more versatile support.
 

 

Add The Ice

When everything is set up, switch from stand-in CD to the real ice-filled CD. Take the front of the case so you have the ice layer and then the back of the case. Balance on your support and make sure the camera back is parallel to the case so you maximise sharpness.

Now, adjust the camera position to frame in on a specific are of the ice. Areas with cracks or large bubbles can look best. The ice slab will provide lots of different textures and by rotating the polariser you can deliver different colours from the same position.

Focus carefully on the bubbles so they look really clear. You can shoot on automatic as the metering should be pretty accurate.

If you're using a camera without a filter thread hold the polariser to your eye and rotate around until the screen goes black. keep the filter in that position and move it in front of the lens.  The shutter speed will probably be slow so set the camera to the self-time mode and take pictures using that. The 2 or 10-second delay is enough to allow the camera to be still before the photo is taken.

Take pictures until the ice begins to melt fast. You have about 10 - 20 minutes before a puddle will appear.

© Beate Ammer / Nikon Comedy Wildlife Awards

 

Nikon has announced this year's winner of the Nikon Comedy Wildlife Awards. Mark Meth-Cohn, a keen amateur wildlife photographer from the UK – and a finalist in last year's awards - took home the top prize for his hilarious image, 'High Five'.

"High Five" is a perfectly timed capture of a gorilla dancing through a forest clearing, taken in Rwanda earlier this year. The comical photograph stood out among a record-breaking 10,000 entries from 109 countries – the highest number in the Awards' illustrious eleven-year history. From this extraordinary collection, 44 of the very best entries, including videos, were shortlisted for the judging panel to select their favourites. The competition was as fierce as ever; however, Mark's photograph emerged as a clear favourite among the judges – with the shot also claiming the Mammals Category Award.

Mark Meth-Cohn says: "We spent four unforgettable days trekking through the misty Virunga Mountains in search of the gorilla families that call them home. On this particular day, we came across a large family group known as the Amahoro family, they were gathered in a forest clearing where the adults were calmly foraging while the youngsters were enthusiastically playing. One young male was especially keen to show off his acrobatic flair: pirouetting, tumbling, and high kicking. Watching his performance was pure joy, and I'm thrilled to have captured his playful spirit in this image."  

Stefan Maier, Senior General Manager of Marketing at Nikon Europe, says: "We are so thrilled to celebrate the incredible talent and creativity showcased in this year's Nikon Comedy Wildlife Awards. All of our category winners use joy, skills and imagination to capture the natural world, and Mark's winning image perfectly represents the playful spirit of wildlife. At Nikon, we are incredibly proud to support these visual storytellers and provide them with the tools to share their unique perspectives, inspiring audiences everywhere to connect with and care for our planet's remarkable wildlife."

As the overall winner of the competition, Mark Meth-Cohn will enjoy an unforgettable safari experience in the Maasai Mara, Kenya, thanks to Alex Walker's Serian. He will also receive a stunning handmade trophy crafted by the Wonder Workshop in Tanzania and a premium photography bag from the renowned THINK TANK.

Commenting on the moment he found out he had won the top prize, Mark said, "Doing well in any competition shows that the images you are producing are working. The Nikon Comedy Wildlife Awards are one of the major competitions of the year, easy to enter and fun but with a seriously committed underlying ethos and, after reaching the finals last year, I'm absolutely delighted to have gone one step further and win the competition this year."

There were several other category winners this year, with special recognition for the generation of wildlife photographers. Grayson Bell from the USA won the Nikon Young Photographer Award (16 & under) and the Reptile, Amphibian & Insect Category with his striking close-up of two frogs wrestling in the water, and will receive a Nikon Z50II kit as his prize. Further celebrating the photographers of tomorrow, Paula Rustemeier from Germany triumphed in the Nikon Junior Category (25 & under) with her playful fox image "Hit the dance floor", earning a Nikon Z6III kit. Meanwhile, Tatjana Epp, also from Germany, won the Video Category with a captivating clip of a surfing heron and will receive a Nikon ZR kit.

The winners were announced on Tuesday 9th December, and the announcement is followed by a free, week-long exhibition from the 10th -14th December, where Nikon will showcase the exceptional work of the 2025 Award Finalists at the Oxo Galery in London.

This year, in collaboration with our valued partners - paper sponsor, Hahnemühle, and printing sponsor, Metro Imaging - we're proud to share that the entire Nikon Comedy Wildlife Exhibition has been curated with sustainability at its heart. All the stunning images you see on display at the exhibition have been printed by Metro on Hahnemühle's Bamboo paper – the world's first inkjet paper made from 90% bamboo fibres and 10% cotton, offering a fast growing, environmentally friendly alternative. By choosing materials that minimise environmental impact, we are ensuring that the exhibition's strong conservation message is reflected not only in the imagery but also in every aspect of its presentation. We are delighted to champion both creativity and sustainability, setting a new standard for eco-conscious exhibitions.

Nikon is also pleased to announce that voting is open from 10th December for the People's Choice Award, where the public to get to choose their favourite Finalists from 2025. The public can cast their vote at www.comedywildlifephoto.com until March 1st 2026 and the Winner of this Award will be announced on March 14th.

© Leica

 

Leica Camera AG has introduced firmware version 4.0.0 for the Leica SL-System and Leica Q3 family, bringing important upgrades that improve speed, precision, and ease of use. These updates are designed to give photographers and videographers a smoother and more creative shooting experience.

For the Leica SL3 and SL3-S, the new firmware delivers faster hybrid autofocus with more accurate detection of people and animals. System speed has been improved, and the new Multishot mode allows images to be captured at up to 240 megapixels. Direct cloud connection to Adobe Frame.io also supports a seamless professional workflow.

The Leica Q3 family benefits from a completely refreshed user interface inspired by the SL3. The update introduces redesigned icons, a clearer menu structure, faster navigation, and enhanced touch controls. With improved autofocus and customizable Leica Looks, users can enjoy a more personal and intuitive experience.

Firmware version 4.0.0 is available now and can be installed through the Leica FOTOS App or via SD card.

For more details, please visit the Leica website.

  Close-ups of textures can make interesting images on their own, but they are most useful for blending with other images to add interest to plain backgrounds or to give a particular shot a different look/feel. Towns and cities are great places for hunting down textures and once you start looking at detail rather than buildings as a whole, you'll soon find a variety of textures to fill your memory card with. Walls, steps, doors, sheds, modern metal structures, roof tiles and windows are just some of the locations you'll find interesting textures at.    What kit is best?

When it comes to kit choices for this subject, zoom lenses are useful for selective cropping while a macro lens will get you close to the patterns you're capturing. Pick up a telephoto lens when you want a tighter perspective. A tripod is handy for when you're using a telephoto lens and will also help ensure your shot's straight. A remote release or the camera's self-timer are tools you'll be using quite often, too. 

 

Look for patterns

Subjects that have a pattern that repeats such as a brick wall or the lines found in wooden planks and doors look great but don't think they all have to be symmetrical. Having a variety of colours and lines can work well especially if you have two contrasting objects to work with. Try to find somewhere new buildings meet old and see if any of the strong metal structures overlap or cross the older, softer structures. Head out after it's rained too as surfaces take on a different feel/look when they're damp and covered in water drops.

Don't zoom in too much as often a shot that's taken with a little more distance between you and the subject will look better and that way there's always the option to crop the photo when you're in front of your computer back home.

 

Cut out the distraction

If there's a distracting object, shadow or mark in the frame either move your feet to find a different angle or use your zoom to cut out of the frame. Try shooting straight on to make your texture as flat as possible before moving on to experiment with different angles as these types of shots are often great for adding to other images and the flatter the surface is the easier it is to use. To emphasise the shapes/textures, position yourself so your light is on one side. This will create a strong shadow and give your shot extra depth.

If you're working on a new building watch out for glare and reflections which can easily be removed by simply moving your feet a little and finally, pay attention to your white balance as you may find the cloudy or shade options produce better results.

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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 Zwarder (Day 9 - 'White' 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 10

Christmas Bauble

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Day 11

Christmas Plants

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Day 12

Festive Theme

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  Day 13

Low Light Architecture

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Day 14

Light Painting

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Day 15

Cold & Frosty Morning

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Day 16

Still Life Indoors

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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.

Photo by Joshua Waller

Living in the UK, most of the best clothing in our wardrobes is probably winter stuff so why not encourage people to get out and about with their favourite coats, hats and scarves and have fun shooting some outdoor winter portraits.

 

Think about different lighting sources

During the Winter months, strobe lighting can help bring out details and highlights that might not be captured without it but this doesn't mean it should be given prevalence over natural or tungsten lighting. By not overusing one particular light source, you can produce a variety of images, giving your subject more choice at the end of the shoot. 

Sometimes you'll find the flash, colour balance and ambient light will conflict but in the right settings, this can give fashion type portraits a great look. Try playing around with the white balance setting on your camera to give surrounding daylight a cool blue tone. For portraits with a warmer feel, set your white balance to cloudy. 

Don't forget to pack a good reflector as these can be really useful for redirecting winter sun and take your longer lens along which can be used at wider apertures to create sparkling highlights in the background of your shots – Bokeh to those who like the technical words. A spare battery or two are useful and if you want to shoot some indoor shots after walking around outside for a while do remember that moving from outside to inside on cold, damp days could mist up your lens and camera eyepiece up and some acclimatising time will be needed.

 

 

Photo by Joshua Waller

 

Plan your shoot before the day

Rural or urban locations can both work with Christmas lights adding further interest to town and city shoots at this time of year. It's a good idea to have a route in mind so have a look for potential shoot locations before the shoot day actually arrives and it's also worth factoring in a cafe or bar stop along the way where you can make a pitstop. This will give you the chance to warm up, apply fresh make-up etc. If you're heading for woodland, bright clothing can work well as it'll contrast against the trees which are starting to take on their winter appearance. 

Think of ideas and adjectives that'll help you portray a theme to your subject and do remember to help them relax so they don't feel so self-conscious when you're taking their photograph.

© Paul Morgan

 

It is with deep sadness that we share the news of the passing of long-time ePHOTOzine member Paul Morgan, who died on 15 November 2025 after battling pancreatic cancer. Paul was a valued part of our community and will be remembered for his creativity, generosity, and love of photography.

In a tribute shared by his son, Leon Morgan:

Paul Conrad Morgan sadly passed away on the 15th November 2025, after battling Pancreatic cancer for much of this year.

Paul was born in London in 1964 before moving to Reading. He was creative and used photography to express this. He would always have a camera with him. He had a love of black and white photography and at one point had a makeshift darkroom set up in the bathroom, and a studio set up in the living room.

He loved the photography community here on ePHOTOzine and would often spend hours browsing users’ portfolios.

Paul would volunteer for the British Thyroid Foundation and received an award for his charity work from Nationwide.

He indulged in his hobby right up to his final days, and has passed it on to myself, his son.

Paul will be remembered fondly in all his photographs he took during his life.

Paul’s dedication to photography and his kindness toward others left a lasting impression on everyone who knew him. His work continues to inspire, and his presence in the community will be greatly missed.

For those who wish to pay their respects, please visit his MuchLoved memorial page or explore his ePHOTOzine profile to see the photographs that defined his journey.

Our thoughts are with Paul’s family, friends, and loved ones at this difficult time.

Photo by Peter Bargh. Gear Suggestions:

• A macro lens is very useful but not essential
• Tripod – one where the centre column can be turned horizontal is useful so you can get right in over the surface you’re working on. You could also use a table top tripod.

  Technique:

Before you start you need to make sure your cutlery is clean and that your egg doesn’t have any imperfections.

You need to work where there’s plenty of light so position yourself near a window/ patio doors. Plain backgrounds, particularly reflective ones, work best. Still life tables that have a perspex base work well but try using a piece of white card or plastic tray if you don’t have one. If you have white plastic windowsills try setting your still life up on it but you may need to place a sheet of paper, netting or cloth on the glass to diffuse the light slightly.

When it comes to placement, experimentation is key as there are various ways to arrange your props for a successful shot. However, one that works particularly well is where you balance the egg inside two crossed over forks. Shooting this straight on produces perfectly good results but do try adjusting the angle of your setup or move your feet so you're shooting from a different position.

Make sure your camera focuses on the correct point so you don’t end up with a blurry egg, watch your white balance and if you have a problem with unwanted shadows creeping into your shot, try moving your set-up or any objects nearby that could be casting them.

You can keep your shot in colour or to give more focus to the shapes and structure of the shot, convert it to black & white and / or use a slight vignette to draw the eye to the middle of the photograph.

[SECTION]INTRODUCTION[/SECTION]

 

 

Quick Verdict

The Fujifilm X-E5 is a classic design, combining traditional controls and functions with the latest high quality 40MP sensor. This is all in a likeable rangefinder-style format that will appeal to traditional photographers as well as those who love modern technology. Handling is superb, the quality is sublime and this could well be an ideal travel companion.

 

Fujifilm have a long and impressive history of producing solid, reliable and versatile cameras and lenses of the highest quality. The new X-E5 continues this tradition, with a classic rangefinder-style layout, a compact form factor and all housed in a solid camera body packed with the latest technological advances. We couple this up with the recently reviewed Fujinon XF 23mm f/2.8 R WR lens, an impressive looking package. Let's see if it all lives up to expectations, both in the technical tests and in the field.

 

Fujifilm X-E5 Features

Starting with the machined Aluminium top plate, the first impression is of solid, precision manufacture. Finish is excellent. The style is one of conventional physical controls for the most used functions, rather than having to delve constantly into the menus. The film simulation modes are controlled by a small dial at the back of the top plate, the selection being shown in a small clear window. There are several commonly used settings from the dial, the option to save our own favourite and a setting that provides access to the full range in the menus. Moving along the top plate, we have the hotshoe, a generously sized shutter speed dial, on/off switch, unmarked button that is the Fn menu and an exposure compensation dial. Just in front of the on/off switch, at the top of the front of the top plate, are the dial for directly setting the ISO and a switch that selects a Surround View function. Toggle this switch to engage the digital teleconverter, either with the surrounding image area still visible (like a rangefinder camera would show) or as a magnified image. Pixel counts will be smaller as we “zoom” in. 

 

 

At the back of the top plate, we have buttons for Drive, Play, AE-L and the dial to make changes to a selected parameter. The useful Q menu has a well recessed button that has no tendency to be vulnerable to accidentally being engaged. The dial is also firmer in action than some Fujifilm models, so is more reliable in action.

The back panel has a joystick, rather small but effective, a menu/OK button and a Display/Back button. The 3” tilt touch sensitive LCD is bright and clear. There are 1.04M dots.

The viewfinder is a 0.39” OLED EVF with a more generous 2.36M dots. 

The weather-sealed body is solid, weighing in at 445g with battery and card. There is just one card slot. The built in 5 axis IBIS gives a 7 stop advantage at the centre of the field and 6 stops at the periphery. 

The 40.2MP X-Trans CMOS 5 HR sensor is capable of producing lovely image quality, along with impressively low noise levels. There are also various routes to connectivity. The physical interfaces are USB-C, HDMI Micro D, 3.5mm jack for mic/remote and the hotshoe. Connection is also possible via WiFi and Bluetooth. There is also a very useful Fujifilm X App.

 

 

Fujifilm X-E5 Key Features

•  X Mount APS-C format
•  Machined Aluminium top plate
•  Surround View function
•  40.2MP X-Trans CMOS 5 HR sensor
•  X-Processor 5
•  5 Axis IBIS, 7 stops centre, 6 stops periphery
•  Mechanical shutter 30secs to 1/4000sec
•  Electronic shutter 30 secs to 1/180000sec
•  AF sensitivity -4 EV Contrast detection, -7 EV Phase detection
•  AI-powered subject detection - animals, birds, cars, motorcycles, bicycles, aeroplanes, trains, insects and drones
•  Native ISO range 125-12,800, extendable to ISO 80-51,200
•  20 Film Simulation modes
•  Film Simulation Dial
•  1 SD card slot – UHS-I, UHS-II, SD, SDHC, SDXC
•  Video speed class V90
•  NP-W126S battery 310 frames/400 frames (economy mode)
•  3in LCD touch screen tilt type monitor 1.04M dots
•  0.39” OLED EVF, 2.36M dots
•  6.2K/30P internal recording in 4:2:2 10-bit quality
•  High speed video at 4K/60P and 1080/240p
•  WiFi, Bluetooth
•  Fujifilm X App
•  USB-C, HDMI Micro D, 3.5mm mic/remote jack, hotshoe
•  Body measures 124.9mm x 72.9mm x 39.1mm
•  445g with battery and SD card
•  Operating temperature 0C to +40C

 

Fujifilm X-E5 Handling

With plenty of physical dials and buttons operating the key features, this is a camera that will appeal to traditional photographers as much as those used to more menu driven designs. The instant access to shutter speeds, aperture (via the lens aperture ring with the provided pancake lens), ISO, exposure compensation and selected film simulation modes is quick and efficient. The bulk of the camera is sufficient to make handling much easier, rather than having awkward grips and the tendency to operate controls by accident. The X-E5 suffers from none of that.

Other adjustments can be accessed quickly using the Fn and Q menus, and these are selected by the joystick and then adjusted using the rear control wheel. As mentioned, this wheel is firm enough to ensure adjustments are reliably made every time.

The tilting rear screen is useful and seems sturdily made to withstand long term use. The camera body as a whole is solid but not overly heavy. Dimensions are small enough to contemplate it being carried, complete with pancake lens, in a large coat pocket. 

There is no obvious video switch, but this feature is activated as a setting in the drive menu. Once found and engaged, the actual shooting of impromptu videos of high quality is very easy. Sound quality is also good. Not primarily a video camera perhaps, but still very capable when needed.

 

[SECTION]PERFORMANCE[/SECTION]

Fujifilm X-E5 Performance

The performance section is where we look at the image quality performance of the camera. Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
 

Fujifilm X-T30 III Other sample images Previous Next

 

Lens Performance – The Fujifilm XF 23mm f/2.8 R WR pancake lens was supplied with the X-E5 and has recently been reviewed. A summary of the lens performance:

Central sharpness is excellent from f/2.8 right the way through to f/11 and is still very good at f/16. The edges are very good from f/2.8 to f/11 and good at f/16. This is a great performance, and the images look sharp and crisp across the frame.

CA (Chromatic Aberration) is minimal at the centre and still well under control at the edges. Colour fringing is not a problem in most images. Further correction could be made in the software in extreme instances, but it is doubtful that this would be required.

Distortion is just -0.20% barrel, straight lines remaining straight.

Bokeh is relaxed and easy on the eye.

Flare control is excellent, as is the norm with Fujifilm lenses. In very extreme lighting, it is just possible to see some slight artefacts, but we have to work at it to achieve such effects.

Vignetting is visible, particularly at wider apertures, but not obtrusive in general photography. In any event, a slight corner darkening can be a useful effect in many images, concentrating the eye towards the centre.

The pancake lens is a great companion for the X-E5, offering superb quality and making the combination ideal for travelling light.

 

Fujifilm X-T30 III ISO test images Previous Next

 

ISO Performance – Noise is virtually absent from ISO 80 right through to ISO 800. The very first whisper of noise and the very slightest reduction in edge sharpness occurs at ISO 1600, although at this point, quality is still high. At ISO 3200 and ISO 6400, noise is just starting to be more obvious and edge sharpness is reduced, but these values are still fully usable. ISO 6400 and ISO 12800 see a jump in noise levels, and the edges of the test target boxes are starting to show signs of becoming feathery rather than crisp. At ISO 25600, sharpness falls off and noise becomes quite obtrusive. At ISO 51200, noise levels are moderately high and edge sharpness is quite poor. However, the darkest test target boxes can still be differentiated from the background, so this is overall a solid performance.

 

Fujifilm X-T30 III White-balance test images Previous Next

 

White Balance – White balance pre-set options are auto white priority, auto, auto ambience priority, 3 custom settings, K colour temperature setting, daylight, shade, 3 fluorescent settings, incandescent and underwater. Most of the images shot for this review used the auto ambience setting, which gives good colour balance but does not destroy the subtleties of the ambient light. The shade setting is useful for dark woodlands and helps to record natural colours of fungi in particular. The missing one is, as mentioned previously with Fujifilm cameras, a cloudy setting, the digital equivalent of the 81A or cloudy filter. Almost all other marques include this, so it would be useful for those who like warm images. Otherwise, the presets offered work very well.

 

Fujifilm X-T30 III Digital filters Previous Next

 

Digital Filters – As with the recently reviewed X-T30 III, there are two avenues of approach to the 20 film simulations. The dial on the back of the top plate controls the readily accessible options. The selection made can be seen in the small window on the top plate. This enables direct access to a small selection of simulations, three custom selections plus an Acros setting that points to the Acros simulation but can be re-programmed to anything the user wishes. The C setting refers the user to the menus to select an option. The 20 choices are Provia/Standard, Velvia/Vivid, Astia/Soft, Classic Chrome, Reala Ace, Pro Neg. Hi, Pro Neg. Std, Classic Neg., Nostalgic Neg,. Eterna/Cinema, Eterna Bleach Bypass, Acros, Acros+Ye filter, Acros+R filter, Acros+G filter, Monochrome, Monochrome+Ye filter, Monochrome+R filter, Monochrome+G filter and Sepia.

The dual names such as Velvia/Vivid would be self explanatory to those who are familiar with the film types, but if not then the description gives an explanation. This versatility in choosing image styles makes good sense and gives a direct expectation to those who shoot or have shot film.

 

Video –  Although primarily a stills camera, the X-E5 has a sensible specification:

• 6.2K/30P internal recording in 4:2:2 10-bit quality
• High speed video at 4K/60P and 1080/240P
• Open Gate recording
• MOV (HEVC/H.265 or H.264)
• MP4 H.264

Shooting basic FHD video is pretty straightforward, and impromptu results are smooth, also with good quality sound. The tracking AF follows its subject effectively. The sound is clear. The stability of the video stabilisation also helps when the camera is unsupported, even when walking.

Video sample coming soon.

 

[SECTION]VERDICT[/SECTION]

 

 

Value For Money

The [AMUK]Fujifilm X-E5|Fujifilm+X-E5[/AMUK] body only is priced at £1249.00. Add the XF 23mm f/2.8 R WR lens, and the cost becomes £1499.00

This is a similar price level to the [AMUK]Fujifilm X100VI|Fujifilm+X100VI[/AMUK] with its fixed 23mm f/2 lens, priced at £1599.00

These are cameras intended to appeal to those who want the compact rangefinder style, rather than the DSLR style of mirrorless cameras. Not only that, but also we have a very compact form factor that brings these into the realm of pocketable, providing we are talking about large coat pockets.

The only other direction, fixed lens again, might be the [AMUK]Leica Q|Leica+Q[/AMUK] cameras, but then we are looking at a very different pricing level.

Overall, the new Fujifilm X-E5 looks to be sound VFM.

 

Fujifilm X-E5 Verdict

There is much to like about the X-E5. The rangefinder style will appeal to many, but there is so much more about this camera. It is solid, full of features, the quality is superb and the handling vastly improved with its dial orientated approach. The pancake lens completes the concept of a travel compact camera, but of course, here we also have the ability to use other lenses available in Fuji X mount. This is where the camera instantly scores above the X100VI with its fixed lens. 

Whilst there are many similarly priced alternatives, they do not have the same thin profile and usually are supplied with small but protruding zoom lenses. This is a different direction from the slim profile of the X-E5.

If the form factor appeals, then the camera works extremely well and it can be Highly Recommended.

 

Fujifilm X-E5 Pros

• Excellent image quality
• Light and compact
• Image Stabilisation
• Weather resistance
• Film simulation options
• Subject detection options
• Competitive price
• Fantastic high quality lens range

 

Fujifilm X-E5 Cons

• Cold operation only down to 0C

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4.5|R_performance=4.5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – Compact and high quality with superior handling|E_id=8016[/REVIEW_FOOTER]

 

View the Fujifilm X-E5 camera specs in the equipment database.

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Beautiful seascape titled ‘Another Seascape’ by Archie2022 has won our POTW.

We loved the calm yet powerful mood this shot creates as the waves crash over the rocky cliffs in the foreground. The darker rocks add drama, while the layered coastline in the distance fades gently into the soft evening light. You can feel the strength of the sea and the peaceful atmosphere at the same time, making this coastal scene very special. The warm, natural light brings out the textures in the water, cliffs, and sky.

It’s a wonderful seascape that makes us wish we were standing there enjoying the view.

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

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Win 1 of 10 Outdoor Photographer Subscriptions!

Win a Year’s Subscription to Outdoor Photographer – The Ultimate Christmas Treat for Photography Lovers!

This Christmas, we’re delighted to offer a truly inspirational prize for photographers of all levels: a 12-month subscription to Outdoor Photographer magazine for 10 lucky winners! Whether you’re a seasoned shooter, a nature enthusiast or someone who simply loves learning from the world’s best image-makers, this is a gift that will last long after the festive season has passed.

Outdoor Photographer is one of the world’s leading photography magazines, celebrated for its breathtaking imagery, expert advice and deep connection to the landscapes, wildlife and wild spaces that inspire so many of us. Each issue is packed with spectacular visuals, detailed techniques and thoughtful stories from the field, making it the perfect creative companion throughout the year.

A subscription brings readers into the heart of outdoor photography. Every edition explores the craft from multiple angles: from mastering natural light and refining composition to understanding changing seasons, weather patterns and the unique challenges of shooting in remote environments. Readers can discover new ways to elevate their skills, develop their artistic eye and build confidence in capturing the world more meaningfully.

Beyond technique, Outdoor Photographer showcases work from internationally recognised professionals as well as rising talents, offering a steady stream of motivation. The magazine’s features highlight stunning locations across the globe—towering mountain ranges, dramatic coastlines, silent forests, desert expanses, frozen worlds and intimate wildlife encounters. It’s a visual journey that encourages readers to explore, experiment and reconnect with nature through their lens.

The subscription also includes thoughtful gear coverage, with practical reviews, field tests and equipment recommendations that help photographers make informed choices. Whether you’re considering a new camera body, comparing lenses or looking for accessories that will enhance your toolkit, the magazine delivers clear, experience-led insights from those who take equipment into real-world conditions.

What makes a prize like this special is its ability to spark creativity throughout the year. Each issue becomes a moment of inspiration—a reminder to get outside, slow down, observe more deeply and translate your experience into imagery that resonates. From capturing winter frost to spring wildlife, summer sunsets and autumn colours, Outdoor Photographer offers ongoing prompts and ideas that help photographers grow in every season.

This Christmas Advent giveaway celebrates the spirit of photography: curiosity, exploration, patience and the joy of seeing the world with fresh eyes. Gifting someone a year of Outdoor Photographer isn’t just handing over a magazine subscription—it’s giving them access to a community of passionate creatives, a source of expert learning and a beautifully curated monthly boost of motivation.

Visit Outdoor Photographer

Today's Prize Win 1 of 10 Outdoor Photographer Subscriptions!

We’re thrilled to include this in our festive lineup and can’t wait to share the magic of outdoor photography with our lucky winners. Good luck, and from all of us, have a wonderfully creative Christmas filled with inspiration, adventure and unforgettable images.

Visit Outdoor Photographer

As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

[PRIZE_ENTRY]7015[/PRIZE_ENTRY]

 

There's nothing quite like picking your way around the edges of a lake which is just beginning to freeze and photographing great abstract pictures of ice details. Similarly, icicles at the edges of streams and in waterfalls can lift otherwise ordinary shots into a whole new dimension.

On really cold mornings, lake edges start to freeze, providing abstract patterns with overlapping layers of ice just beginning to form. Pop a macro lens on your camera, fix it on the tripod and look closely for patterns in the ice. The edge of the ice can give great shapes, too. Look for leaves caught on or in the ice as well, or bubbles given off by underwater plant life that has frozen in the ice surface.

To see through some of the icy layers to the details below, a polarising filter can be useful to reduce reflection from the surface of the ice.

For a waterfall to freeze, it needs to get really cold, but where waterfalls, or tumbles over rocks, it creates turbulence and splashes up over surrounding rocks and vegetation. These areas freeze into crystal-like caps over rocks, icy stalagmites on grass or chandelier-like structures on large waterfalls. Even where water drips off the edges of peat bog into streams, in cold spells, these can form wonderful icicles which, after water levels drop slightly, hang magically above the surface of the water.

Where there is still moving water in the photo, try a range of shutter speeds to contrast the frozen ice with the flow of the water - or even the ripples in the stream. Use of a polarising filter will take reflections off the water to show it as darker, contrasting with the whiteness of the ice, although sometimes reflections in the water are just as important as the ice itself! A telephoto zoom may help you to crop close without risking a slip and fall into very cold water.

Remember, where there is a predominance of white tones, they are likely to confuse your camera meter, so be prepared to add about a stop exposure. Conversely, highlights on ice against a dark background may blow easily, so keep a close eye on your histograms.

Ice will hang about more in shaded areas, so watch your white balance to avoid your whites turning out with a blue cast.

Finally - watch your step, scrambling around icy edges of lakes, or near waterfalls in sub-zero temperatures can be very slippery underfoot, so be careful not to fall in, or worse, let your camera topple in either; but find some icy margins and create some exciting pictures.

Article by John Gravett of Lakeland Photographic Holidays.

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Win an Atomos StudioSonic Mic + Headphones Bundle!

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The Atomos StudioSonic Shotgun Microphone is a professional-grade, dual-mode mic designed for filmmakers, journalists and creators. It offers both wireless 2.4 GHz operation and wired connections via locking USB-C or 3.5 mm jack, making it remarkably versatile. The 48 kHz/24-bit super-cardioid condenser captures focused, broadcast-quality dialogue while built-in 75 Hz and 150 Hz cut filters, a high-frequency boost and manual gain control let you banish unwanted noise. An OLED status screen displays levels and battery life. It delivers up to 8 hours wirelessly or 50 hours wired, with ultra-low latency (< 20 ms).

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Today's Prize Atomos StudioSonic Mic + Headphones Bundle!

Win an Atomos Audio Duo: StudioSonic Shotgun Mic + StudioSonic Production Headphones!

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As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

[PRIZE_ENTRY]7014[/PRIZE_ENTRY]

Light painting is something you can try at any time of year but as Christmas day is just around the corner, we thought we'd try light painting our own Christmas decorations and shapes. Quite a bit of trial and error was involved but it was fun never the less!
 

Gear Suggestions:

• You need a camera with a long exposure mode - ideally one with a B (Bulb) setting that lets you shoot for longer shutter speeds.
• Remote release to lock the shutter open.
• Tripod – you need a sturdy tripod so you don’t get camera shake.
• Warm clothing – it’s cold out there!
• Torch – help you see the buttons on your camera.
• Light Source that can act as a 'paint brush'.

Set Up

Setup your tripod and camera, ensuring it's focused before you take your shots. If you want to make it look like you have decorations on your house, focus on a wall but we found it easier to focus on a person who was light painting directly towards the camera rather than make it look like a house was decorated. It’s up to you if you want your painter in the shot. If you do, make sure they stand still.

If the camera cannot focus in the dark use your torch to light the part of the house or person who is helping you decorate so your camera can adjust.

If you want your house wall, window etc. in the shot but it doesn’t show up well enough in your final frame take two exposures: one of the light you’re painting and one of the house and merge them together in post-production. Or, try adding a touch of flash just before the end of the light trail shot to illuminate the part of the wall you’re painting on. Cameras with built-in flash that have a rear curtain sync mode are ideal for this aspect, as the flash automatically fires at the end of the exposure.
 

Practice

Ask the person who is helping you to practice drawing their decoration, checking that the time they take doesn’t exceed your exposure time if you’re not using the B-setting. You also want to make sure the shape doesn’t go outside the frame. If this happens make your lens wider or just ask your assistant to draw smaller shapes. You could also move your set-up back if you have more room to play with.
 

First Shot

Get the camera ready to shoot. Make sure the shutter speed is at 30sec if you're not using the B-setting then hit the shutter button, telling your helper to start drawing at the same time you do this. Make sure they write in an even flow ensuring the shape/shapes are joined up.

You can use various light sources as your 'paint brush', however we found a bright torch the most useful tool. You can use coloured gels or even translucent sweet wrappers to change the colour of the light you are painting with. Alternatively, open up your images in Photoshop and adjust the Hue, ensuring 'colorize' is selected.
 

Check The Image

It may take a few tries to get the image you’re after (we ended up laughing at our results several times!). It can be hard to match the two ends of a shape together and to get it looking neat. If your Christmas lights are not bright enough ask your assistant to write slower or open up the aperture. If they’re shining too much or are too thick, ask them to write faster or close the aperture down. You could always try drawing a chalk outline to follow on the wall. Just make sure you don’t press on too hard to make it visible.