DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

Britain is full of wildlife, and autumn's a great time to get out and capture a few shots of the small mammals, birds, deer and other creatures that can be found here.
 

1. Birds

As we head towards winter it gets harder for birds to find natural food so by placing feeders in your garden with different types of food in (fat and nuts) you'll be able to attract different species of bird that you can photograph. An important side note to remember is to not remove the feeders when you've finished as the birds may have become reliant on your garden as a source of food.

Capturing shots of these small, shy creatures isn't as easy as dashing out into your garden with your camera and snapping a quick shot. You need to place branches near feeders to give you more natural-looking shots, wait patiently and quietly for your subject to land and you'll need to know your gear well before heading out onto your lawn. Long lenses are essential if you want to capture frame-filling shots and for pin-sharp images, a tripod is a must.

For more in-depth tips on photographing birds, take a look at these articles:

• Photographing Garden Birds
• How To Photograph Birds In Your Garden
• Tips On Photographing Garden Birds
• Tips On Photographing Robins

  2. Spiders And Webs

Spiders seem to be everywhere at this time of year and they make great photographic subjects themselves (if you don't mind getting close) but for those who like to keep a bit more distance, have a go at photographing their webs instead. They're very photogenic on a frosty morning or after it's rained. For more tips, take a look at this technique: Spider Web Photography.
 

 

3. Mammals

Many of the mammals, big and small, are shy so long lenses, patience and the ability to stay hidden are generally a must when photographing them.

Squirrels, who'll be on the hunt for food at this time of year, are a popular photographic subject but do take something waterproof with you when heading out to photograph them as you can end up laying on the damp ground to get a shot of them foraging for food. Using bait is a good way to attract squirrels and you can place it in front of less busy backgrounds so you capture a better-looking shot. Fore more squirrel photography tips, take a look at this article: Photographing Red Squirrels.

It's mating season for deer which means there are plenty of action shots waiting to be captured of males fighting. Their antlers look particularly impressive at this time of year and their shape can look great when silhouetted against the morning light. Throw in some mist and autumnal shades and you have the recipe for a successful wildlife shoot starting to come together. You will need a long lens so you don't spook them and it's safer for you to work with quite a bit of distance between you and your subject anyway. Remember to approach from downwind and if you have it, camouflage clothing will help you blend in with your surroundings more.

October to December is breeding season for a lot of seal colonies around the shores of Britain and this is when they come to shore, making locations like Donna Nook on the east coast very popular with wildlife photographers. If you are planning a trip to photograph pups and their mothers please always put the animals' welfare first and respect the location you're photographing. You'll generally need a telephoto lens to capture a decent image, although some seals can be found close to paths. Take a monopod if you're planning on walking and don't always shoot from a standing position as getting low down will give your shots a better perspective.

For more seal photography tips, take a look at these articles:

• Photographing Seals
• Seal Photography  

Preserving Nature as Preserving Ourselves

© Damir Faizulin/LOBA 2026

 

The winners of the 2026 Leica Oskar Barnack Award (LOBA) were revealed at the World of Leica in Wetzlar, Germany. Damir Faizulin took the main prize for his series on nature and daily life in the mountains of Dagestan, while Laila AnnMarie Stevens won the Newcomer Award for her Clayton Sisterhood Project. The inaugural LOBA Women Grant went to Valentina Sinis, who will use it to continue her long-term project in Iraqi Kurdistan.

 

From Leica:

 

The results are in and the recipients of the three awards have been announced. The winner of the main Leica Oskar Barnack Award (LOBA) is Damir Faizulin, whilst Laila AnnMarie Stevens was honoured in the Newcomer category, and Valentina Sinis was delighted to receive the LOBA Women Grant. The awards ceremony was once again a highlight of the Celebration of Photography, held on the evening of the 8th of October at the World of Leica in Wetzlar.

The two winning series from the 46th LOBA edition impressed the five-person jury, who made their selections from over 400 entries. Nominations for the main category were received from over 130 experts hailing from around 50 countries and spanning the wide spectrum of the international photography scene. The Newcomer Leica Oskar Barnack Award was selected in collaboration with 28 institutions and universities from 18 countries, and the LOBA Women Grant was awarded for the first time based on an open-submission application model. Numerous proposals were received describing compelling projects. 

The LOBA, first awarded in 1980, is now among the most renowned and highly endowed photography prizes worldwide. The Main Prize LOBA winner is awarded €40,000 and Leica camera equipment worth €10,000, while the winner of the Newcomer Award receives €10,000 and a Leica Q3. The LOBA Women Grant is endowed with €10,000, and the selected applicant also receives a Leica Q3 camera, as well as professional support during the implementation and production period.

 

Damir Faizulin: Preserving Nature as Preserving Ourselves 2026 Leica Oskar Barnack Award Winner

 

In his award-winning series, the Russian photographer draws our attention to the nature and way of life in the mountains of Dagestan in the North Caucasus of southern Russia. Faizulin illustrates the threats to the delicate balance between the inhabitants and nature in his images. He documents current developments and the emerging tourism industry, modern architecture and the neglect of established structures and culture, while at the same time celebrating the region’s beauty.

“I first visited Dagestan as a tourist in 2020 and immediately felt a connection to its cultural fabric, the meaning of the moment and my personal interest in the region. I had a strong feeling that the region was about to undergo rapid change, and I wanted to document these developments. This is why, in 2021, I moved to Dagestan to explore the region in greater depth. It’s important to me that a photograph does not simplify reality, but rather helps us recognise its complexity.” - Damir Faizulin

Damir Faizulin was born in Uzbekistan in 1986. Following the collapse of the Soviet Union, his family moved to Russia. Until the age of 33, he successfully pursued a career as a martial artist and professional wrestler. He then attended photography workshops with the documentary photographer Dmitry Markov in Kaliningrad. He has been working on independent projects since 2020, and the LOBA is the first international competition in which he has participated.

  Laila AnnMarie Stevens: Clayton Sisterhood Project 2026 Leica Oskar Barnack Award Newcomer

 

The American photographer is inspired by her longing for memories of her ancestors, which is reflected in her black-and-white series examining contemporary queer kinship structures and the continuing legacy of strong, self-confident black women. The focal point of her work is the way of life created by the photographer’s two sisters and four nieces, who moved from Queens, New York, to a shared house on a plot in Clayton, North Carolina.

“When selecting these images, I wanted the works to reflect the various ways in which connection is expressed across generations. It’s incredibly encouraging to have my work recognised in this way. Taking into account the current political climate in the United States, where so many rights relating to autonomy, care and visibility are being actively challenged, this award has given me high hopes.” - Laila AnnMarie Stevens

Born in South Jamaica, Queens, New York, in 2001, Laila AnnMarie Stevens started working with the New York Times at the age of 20, having her pictures published in the ‘Metropolitan’ section. Since then, her work has appeared in various other major publications. She studied at the Fashion Institute of Technology in New York and gained a Bachelor of Fine Arts in Photography and Media.

 

Valentina Sinis: The Last Butterflies 2026/2027 LOBA Women Grant

 

By winning this award, Italian photographer Valentina Sinis will be able to continue her long-term project in Iraqi Kurdistan. Her series focuses on Kurdish women who have left their homeland to join the armed resistance. In a new chapter, the photographer will explore how the struggle shapes and transforms ties to land and family, as well as a sense of belonging, through portraits, landscapes and images of abandoned places. The human cost of the female fighters’ commitment will also be explored. The results of this new chapter in her body of work will be presented at LOBA next year. Photographer Valentina Sinis, originally hailing from Italy, lives and works in China, Iraq and Italy. Through her extraordinary work, she sheds light on everyday realities and the lives of people who are not usually covered in the media. Her photographs have already been published in many international newspapers and magazines.

“The Last Butterflies powerfully depicts the new role that women have been playing in war for some time now. The images show how they are joining together to fight for their country without men, in a clear and moving depiction. It’s important that Valentina Sinis is able to continue and complete this project.” – Karin Rehn-Kaufmann 

 

Quotes from the 2026 LOBA Jury:

 

Karin Rehn-Kaufmann: “On behalf of the entire 2026 LOBA jury – Jane’a Johnson (Scholar and Curator, Curatorial Assistant, The Museum of Modern Art (MoMA), New York, USA), Celina Lunsford (Artistic Director and Curator of the FFF, Fotografie Forum Frankfurt, Germany), Paolo Pellegrin (Photographer, Italy) and Gu Zheng (Professor, Fudan University School of Journalism, Shanghai, China) – I offer my heartfelt congratulations to the winners.”

The jury engaged in “intense discussions, and that is precisely where the strength of the process lies”, explains Karin Rehn-Kaufmann. “These were fascinating discussions – about the photographers’ integrity, their stories and, of course, their visual work”, adds Celina Lunsford. “The quality of the work was high, as were our expectations.” Jane’a Johnson also shares this view: “The discussions were lively, respectful and in-depth. Each of us brought our own unique perspective to the table. The atmosphere was very friendly, and by the end, we all felt a strong connection.” Commenting on this year’s cohort, Rehn-Kaufmann emphasises: “As is so often the case, I was impressed by the wide spectrum of themes. The visual styles were also diverse, ranging from classic documentary approaches to poetic, experimental narrative styles. This year’s selection struck me as being particularly multi-layered and nuanced. It was less about making quick visual impact and more about encouraging long-term exploration and depth of photographic research.”

“The significance of this prize cannot be overstated”, emphasises Jane’a Johnson. “It is a real financial boon for photographers, providing access to high-quality equipment and forging a link to the legacy built by some of the most significant photographers ever to pick up a camera.” Consequently, the LOBA is now recognised as one of the world’s leading awards: “Whenever I’m at a photography festival or conducting research, the leading photographers are always familiar with this prize”, notes Celina Lunsford, adding: “Nowadays, the shortlist also acts as an excellent overview for curators, festival directors and editors.” 

 

Comments on the Two Winning Series:

 

“Damir Faizulin’s series Preserving Nature as Preserving Ourselves impressively illustrates just how closely the well-being of humanity is linked to the state of our natural environment. Using calm, unhurried and occasionally humorous visual language, he sensitively addresses one of the most pressing issues of our time with a nuanced approach. His photographs invite us to reflect on our responsibility towards nature, encouraging us to reconsider our relationship with the environment. The visual coherence of the series is particularly compelling. Combining documentary precision with poetic visual language, Faizulin’s method creates photographs that are both moving and thoughtprovoking. It’s precisely this balance between thematic relevance and emotional depth that makes the work so special.” - Karin Rehn-Kaufmann

“With the Clayton Sisterhood Project, Laila AnnMarie Stevens has created an intimate and authentic body of work. Its focus is on community, belonging, and female solidarity. Telling a story of resilience and the power of community, she approaches her subject with warmth, respect and sensitivity. The series highlights just how important solidarity and connection can be as sources of strength and hope.”  - Karin Rehn-Kaufmann

Exhibition and catalogue: The 2026 LOBA Catalogue is being published to accompany the exhibition at the Ernst Leitz Museum. It presents the entire 2026 LOBA Shortlist alongside their complete photo series, interviews and background information. Following the show in Wetzlar, the 2026 LOBA exhibition will be displayed at various Leica Galleries and featured at photography festivals.

Further information about this year’s winners is available at: www.leica-oskar-barnack-award.com

- Partner Content -

 

CleverFiles has updated its Disk Drill photo recovery software with broader support for Panasonic RW2 files and faster, more stable TIFF detection. Available for Windows and macOS, version 6.3 also brings improvements to DNG detection and Advanced Camera Recovery, including changes for photographers who shoot video.

 

Expanded Panasonic RW2 Support for RAW Photo Recovery

 

RW2 is Panasonic’s RAW image format, used to store camera originals for processing in a compatible editor. Disk Drill already supported RW2; version 6.3 adds recognition of additional variants, extending compatibility within the format.

For photographers trying to recover deleted RAW photos, the change is relevant when an earlier version did not recognize their Panasonic files. If the image data remains on the card or drive, scanning with 6.3 gives the software a chance to identify the newly supported variants.

 

Faster, More Stable TIFF Detection

 

Disk Drill 6.3 improves TIFF detection speed and stability during scanning. The change applies to identifying TIFF images on the scanned device, including edited photographs saved on external drives and other project storage.

TIFF files often contain work completed after the original capture, such as retouching or preparation for printing. The update therefore covers both camera originals and saved edits, with faster detection for photographers searching through a collection of missing TIFF images.

 

Other Changes That Matter to Photographers

 

Disk Drill 6.3 also improves DNG detection and fixes an issue that could prevent some DNG files from being found.

The update includes several further improvements relevant to photo storage and recovery:

 

• Faster DeepFAT32 scanning. The updated scanning method improves speed on FAT32 volumes, a file system used on some memory cards and removable drives.
• Better thumbnail generation on Windows. Improved thumbnails help photographers recognize images in the results before opening individual previews.
• Corrected preview rotation on Windows ARM. The release fixes an image rotation issue in the preview window on ARM devices running Windows 11 Home.
• A fix for scanning byte-to-byte DMG backups. Disk Drill addresses an issue affecting scans of these disk images, which provide another way to work with a copy of a storage device.

 

Both platform releases also add RWL recovery within Advanced Camera Recovery. RWL is a separate RAW format associated with Leica cameras.

For photographers who also shoot video, Advanced Camera Recovery is designed to reconstruct fragmented camera files, whose data may be stored in separate locations on a memory card. The module also supports photos and audio from supported devices.

Version 6.3 improves reconstruction of Insta360 files and adds a choice over whether ACR should attempt to recover corrupted files or skip them. These changes give users more control over a camera recovery scan, alongside broader improvements to the module’s performance and stability.

 

Availability and Free Recovery Options

 

Disk Drill 6.3 is available for Windows and macOS, with free scanning and previews on both platforms.

On Windows, the free edition includes up to 100 MB of data recovery. The allowance applies to total file size, so the number of photographs it covers depends on the selected images. Disk Drill PRO enables recovery beyond that allowance.

On macOS, saving unprotected files found through a scan requires PRO. The Windows walkthrough below shows how to review and recover photographs.

For photographers choosing the best photo recovery software for a particular job, a free scan offers a way to assess the results: check whether the missing images appear and preview supported files before purchasing.

 

Disk Drill Overview: Finding and Recovering Lost Photos

 

The following Windows walkthrough covers RW2 and TIFF recovery from a connected storage device. For readers looking to recover deleted photos from SD card storage, CleverFiles also provides a detailed guide to recovering photos from memory cards.

 

Scan the Storage Device

 

Install Disk Drill on your computer, keeping the installation off the device containing the missing photographs. Connect your SD card through a card reader, or plug in the external drive you want to scan. If Windows asks to format the device, dismiss the prompt.

Open Disk Drill and locate the device under Storage Devices. Check its name and capacity so you select the correct one. Choose the physical card or drive.

 

Selecting a storage device in Disk Drill.

 

Click Search for lost data, and select Universal Scan when the scan-method dialog appears.

 

Selecting Universal Scan to search for lost photos.

 

Allow the scan to finish, then click Review found items. You can review results during scanning, but waiting until completion gives you the full set to examine.

 

Find and Preview RW2 and TIFF Images

 

Select Pictures to narrow the results to image files. To locate Panasonic originals, enter rw2 in the search field and look through the matching files. If necessary, use the file-size or date filters to reduce the list further.

Select an RW2 file and open its preview. Look for the subject and composition you recognize, then check the displayed file information. When several shots look similar, inspect them individually before choosing which ones to save.

 

Previewing RW2 photos in Disk Drill.

 

Clear the RW2 search before looking for TIFF images. Enter tif to find filenames containing either .tif or .tiff, then select a result to preview it. Check that it is the version you need if the drive contains several exports of the same photograph.

 

Previewing TIFF images in Disk Drill.

 

Review the Deleted or lost and Reconstructed groups, rather than relying on a single results folder. Mark the photographs you want using the checkboxes beside them. Your selection can include both formats, allowing you to recover deleted images together.

 

Recover the Selected Photos to Another Drive

 

Click Recover and choose a destination on a different physical drive. For photographs lost from an SD card, a folder on your computer is suitable. If you scanned the computer’s internal drive, use an external drive with enough free space.

 

Choosing where to save the recovered photos.

 

Confirm the destination and let recovery finish. Open the saved RW2 files in an application that supports RAW files from your Panasonic camera, and inspect the TIFF images in your photo editor. Check the full images for missing areas or visible damage. For a layered TIFF, also check that the expected layers are available before returning the file to your editing workflow.

 

What Affects Whether Photos Can Be Recovered?

 

Stop using the card or drive as soon as photographs disappear. Deleting a file usually marks its space as available for reuse; new data can overwrite the image data still there. Setting the device aside preserves the opportunity to recover deleted photos.

The cause of the loss also matters. A missing folder or an unreadable file system can leave the underlying image data intact. An interrupted write, however, may produce an incomplete photograph because some data never reached the card. A guest article on Larry Jordan’s website explains why photos become corrupted on SD cards, including interrupted transfers, power loss, and faulty media. These situations help explain why recovering a missing file and repairing a damaged image are different tasks.

Disk Drill can also create and scan a byte-to-byte backup, letting you work from a copy of the storage device. If a card is physically damaged or repeatedly disconnects, consult a recovery specialist before further attempts.

When the cause is unclear, a data recovery community can be a place to ask for help assessing the symptoms. A useful post should include the card or drive model, its reported capacity, what happened before the loss, and any steps already attempted. Describe whether the photographs disappeared, stopped opening, or became inaccessible along with the entire device. Those details make it easier to distinguish a file problem from a storage problem and discuss an appropriate next step.

 

Frequently Asked Questions

 

Will Recovered RAW Photos Retain Their Lightroom Edits?

Lightroom Classic normally stores adjustments in its catalog, and may also save them in XMP sidecar files. Reconnect the recovered RW2 to its existing catalog entry to regain access to those edits. If the catalog is missing, look for the matching XMP file or a catalog backup; the RAW file alone does not contain adjustments stored elsewhere.

 

Can Recovered Photos Have Different File Names?

Yes. Recovery may preserve names and folders when the original file system records are available. Files identified by their internal signatures can receive generated names. This does not itself indicate image damage. Embedded capture dates and camera information may still help you organize the recovered photographs.

 

Can Photos Be Recovered After a Quick Format?

Often, yes. A quick format may replace file system information while leaving image data available for recovery. The outcome depends on how the device handled formatting and whether the data remains readable. Formatting that erases the underlying data has a different outcome, so a successful recovery cannot be assumed from the word “quick” alone.

 

There are several places in the UK, and the rest of the world, where you may find your tripod easily fits into three small holes already made by fellow photographers with their kit. Joking aside, there are several locations that are considered to be honeypots for photographers, and often tourists, which means it can be difficult to shoot something that's different to every other shot produced in that particular location. 

You can, of course, head off in search of your own locations but this can take time and these popular, honeypot locations are popular for a reason: they're very photogenic so why should you ignore them? Instead, we've thought of a few simple things you could try to make your shot slightly different to everyone else’s. 

 

1. Change Focal Length Or Orientation

The majority of landscapes are shot with wide-angle lenses, however, if you switch your wideout and replace it with a telephoto lens you will start to shoot photos of a popular location in a slightly different way. 

Telephoto lenses allow you to be much more selective with what you include in-frame. You'll be able to focus on detail that would be lost in a wider shot, plus telephoto lenses make it easier to crop out a blank, boring sky. 

By standing back and zooming in with a telephoto lens you'll be able to compress perspective so objects in the background will appear to be closer to your foreground subjects than they do with the eye. This means mountains can look like they are towering over foreground detail, almost as if they are stacked on top of one another. 

Do take your tripod with you when using telephoto lenses as they do make camera shake more prominent. 

If you're not using a DSLR with interchangeable lenses you can switch from a landscape orientation to portrait to give your shot a different perspective and feel. 

2. Move Your Feet

It's worth scouting out your chosen location for viewpoints that show the popular spot in a different way. This could mean climbing a near-by hill, moving further down a beach or changing the side of a lake you take your photos from. 

 

 

3. Weather

In a previous article, photographer John Gravett said: “There is no such thing as bad weather, only different types of lighting.” With this in mind, try heading to a popular photographic location on days when the weather's not playing ball. Stormy days with heavy skies, rain and mist work well at the coast while foggy mornings can add an extra level of interest to an over photographed scene, particularly if you can get up high so you can shoot down over it. Landscapes can often look moody when photographed in bad weather and you can enhance the mood further by converting your shots to black & white.

Do remember to protect your equipment correctly when heading out in the rain with a waterproof cover and keep a microfibre cloth handy for drying surfaces. It's also worth packing a few lens cloths, as rain on the lens can spoil photos taken on rainy-days. 

 

4. Season

If you do a quick search online for the location you want to take your photos in you'll soon see what season most people visit it in. Do take the time to shoot at the same time of year as everyone else as some subjects, such as woods in autumn, do look particularly great during certain times of the year. However, don't be afraid to approach the same location during other months to get a shot others may not have. 

 

5. Time Of Day

If you don't want to wait for a whole season to pass, you could just try visiting your chosen location at a different time during the day. Instead of shooting a sunset, get out of bed early and use the cooler morning light in your shots. Another bonus of early mornings is there will be less people around so you won't be fighting for space and you shouldn't get people walking through your shot. In towns and cities, venture out in the evening as the sun sets to capture the outline of buildings that have shape thanks to their lights rather than shooting in the day. 

- Partner Content -

 

Clever Cleaner’s recent updates have expanded its photo and video cleanup tools, giving iPhone users more ways to reclaim storage before installing iOS 27.

Apple released iOS 27 in September, just a few weeks after Clever Cleaner received its biggest update to date. The major Clever Cleaner 3.0 release arrived on 17 August, bringing a refreshed interface, expanded Smart Cleanup, new compression options and broader Swipe controls. Smaller updates since then have largely focused on performance, stability and other refinements.

The timing is useful for anyone whose photo library dominates iPhone Storage: a major iOS update needs free local space, while some of the features enabled afterwards can continue using several gigabytes of local storage.

 

Why iOS 27 Makes Free Storage Worth Checking First

 

Before deleting anything, it is worth checking both the update itself and the amount of space currently available on the iPhone.

Open Settings, General, then to Software Update to see the iOS 27 update available for your device. The download size shown there is not necessarily all the free space the installation process will need. A major operating-system upgrade has to download, prepare and install a new system build, which requires additional temporary working room. The exact requirement varies between devices and existing iOS versions, but keeping roughly 15-20GB free is a sensible target for a major upgrade such as iOS 27.

Next, open Settings, go to General, then iPhone Storage. This view shows what is using local space and can surface recommendations such as offloading unused apps. iOS can also remove some re-downloadable app data and temporary files when space runs low without deleting personal information.

For photographers, finding that 15–20GB buffer can be harder than it sounds. Apple estimates a 12MP ProRAW file at around 25MB and a 48MP file at around 75MB. For ProRes, Apple says files can be up to 30 times larger than HEVC and requires at least 10% of the device’s storage to be free before ProRes recording can begin. A nearly full iPhone can therefore affect shooting before it affects anything else.

There is also a second consideration after the upgrade. Apple says the next generation of Apple Intelligence can require up to 14GB of on-device storage on certain supported devices, with up to 8GB required on other Apple Intelligence-enabled iPhones. Clearing only the bare minimum needed to complete the upgrade could therefore leave the phone short of space again soon afterwards.

For that reason, the better goal is not simply to make iOS 27 install. It is to leave enough headroom for the new system, its features and the next photo or video shoot.

 

What’s New in Clever Cleaner

 

Clever Cleaner is an iPhone cleaning app that focuses on the Photos library rather than trying to act as a general-purpose system cleaner. 

Its biggest recent update arrived in August. The redesigned app expanded Smart Cleanup so that it can work across similar photos, screenshots and Live Photos, added more compression options, improved the selection of similar images and widened the ways users can browse and sort their library in Swipe mode.

 

 

CleverFiles positions it as a freemium iPhone cleaner with no adverts or mandatory subscription. Swipe mode remains unlimited, while the other cleanup tools have a free daily allowance that refreshes each day. Premium is optional for unrestricted use.

 

 

The app is organised into modules. Similars groups duplicate and visually similar photos. Videos lists clips from largest to smallest. Compress reduces the size of photos, videos, screenshots and Live Photos. Screenshots and Live Photos gather those two categories on their own. Swipe steps through items one at a time, left to delete and right to keep. Smart Cleanup runs several of these jobs in one tap, with each option switchable.

Processing happens locally on the device rather than by uploading the library to a cloud service. That is relevant to photographers who may have client work, embargoed images or other material they would prefer not to send to an external server.

As an iPhone cleaning app, Clever Cleaner works inside Apple’s permissions. It can organise and reduce media in Photos, but it cannot reach into every part of iOS.

 

How to Clean Up iPhone Storage Before Installing iOS 27

 

If there is not enough storage to update your iPhone, start with the largest, safest wins rather than deleting files at random. 

 

Start With iPhone Storage and Apple’s Recommendations

 

Open Settings, go to General, then iPhone Storage and wait for iOS to calculate usage. The category bar shows where the space has gone, while the list below identifies apps holding the most data. Work out which category is actually the problem before deleting anything. On most photographers' phones it will be Photos, but not always.

 

 

This screen is also where you should look for an existing iOS update file if storage is still blocking the installation. A failed download can remain on the device until you remove it.

 

Remove Duplicate and Similar Photos From iPhone

 

The Photos app has its own Duplicates utility, which is useful for obvious copies. It is not, however, very effective for near-identical shots: several pictures of the same subject or multiple attempts at the same composition.

Clever Cleaner groups similar-looking images as well as duplicates, making it easier to remove duplicate photos from iPhone without manually scanning thousands of thumbnails.

Similar does not mean interchangeable. Two frames may differ in focus, expression or motion, so photographers should review each group before removing it.

 

 

Target Large Videos and Compress Media You Want to Keep

 

Video can produce a faster storage gain than deleting hundreds of ordinary photos. Clever Cleaner lists videos by size, helping identify the clips responsible for the biggest jumps in storage use.

Compression is another option when deletion is not appropriate. Photos, videos and screenshots can be reduced in size, but important originals should be archived elsewhere first.

Live Photos are also worth looking at. Clever Cleaner can compress one by removing its motion component and retaining the still image. This keeps the shot in the library while reducing the space used by data the photographer may never need.

 

 

Empty Recently Deleted, but Check iCloud First

 

Deleting media does not always produce the storage change you expect immediately. Apple keeps deleted photos and videos in Recently Deleted for 30 days unless you permanently remove them sooner.

Open Photos, go to Collections, find Recently Deleted under Utilities, unlock the album and remove the items you no longer need. This is a step an iPhone storage cleaner cannot complete on your behalf.

Check iCloud Photos first. When it is enabled, deleting an image on one device also deletes it from the other devices using the same synced library. Apple recommends keeping separate backup copies because iCloud Photos keeps devices in sync rather than acting as an independent archive.

 

Offload Unused Apps and Review Large Attachments

 

If the photo library is already tidy, return to iPhone Storage and look at large apps, downloaded films, podcasts and message attachments.

Offload apps you rarely use if you want to keep their documents and settings. For apps with large local downloads, remove those downloads first where possible. 

 

 

This can free enough space for iOS 27 without touching finished photographs or current projects.

 

Delete a Stuck Update and Try Again

 

If you can’t update your iPhone because of storage even after clearing space, check whether a previous iOS download is still present. Go to iPhone Storage, find the update, tap it and choose Delete Update. Then return to Software Update and download iOS 27 again. Apple recommends this process when an update repeatedly fails.

If the issue continues, Apple supports updating from a trusted Mac through Finder, or from a Windows PC using Apple Devices or iTunes. This can help when an over-the-air update fails, but it does not remove local storage requirements completely. Apple still advises freeing content manually if the device does not have enough space.

 

What an iPhone Cleaner Can and Can’t Clear

 

An iPhone cleaner is most useful when it works on content Apple allows third-party apps to access. In Clever Cleaner’s case, that means the Photos library.

It cannot simply erase System Data, clear every other app’s cache or uninstall apps on your behalf. Those areas remain controlled by iOS or by the apps that created the data.

For System Data and app caches, use iPhone Storage to identify the source and the app’s own controls where available. For unused apps, use Apple’s Offload or Delete App options. The cleaner’s role is narrower, but on a photo-heavy phone it may still cover the largest part of the problem.

 

Keep Enough Room for the Next Shoot — and the Next Update

 

Once iOS 27 is installed, the easiest way to avoid another emergency cleanup is to keep some headroom. If you use iCloud Photos, Apple’s Optimise Storage can keep smaller device versions while full-resolution originals remain in iCloud. Important work should still have a separate backup.

It is also worth offloading rarely used apps and moving completed shoots off the phone. On supported Pro iPhones, Apple allows ProRes recording directly to compatible external USB-C storage, keeping very large clips away from the internal drive.

A little free space is useful for more than updates: it gives the camera room to record and leaves capacity for the next shoot.

 

Availability

 

Clever Cleaner is available now on the App Store for iPhone, and runs on iPad in compatibility mode. The app is free to download and use daily, with an optional Premium upgrade for unlimited cleanup.

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This article is Bob’s fault.

Bob posts Film Friday pictures, which makes him a good bloke in my book. But he’s bought a camera to do it with – an Olympus 35RC. (Actually, Bob’s bought a couple of cameras, but only one of them overlaps my own experience). Anyway, I have a 35RC, and I also owned one in the distant past. It was one of several stumbling attempts on my part to own a rangefinder camera. I didn’t really feel I was successful until I acquired a Leica M6 around 20 years ago. That definitely cured my desire for a rangefinder camera that did exactly what it said on the box.

But please don’t try this at home, because it could be costly: if you don’t already own a Leica and you are not thoroughly devoted to the cult of Leitz film cameras, it’s really not worth it. If you own an M6, you know all about it, and you can stop reading now. If you own an M4 or M5, it’s cool. And if you own an M3 or M2, you will possibly have an indefinable sense of superiority as you read.

But let’s go back to the Olympus, and why this might be a camera that you want to consider picking up on eBay, or extracting from an elderly relative’s chest of drawers. Because it’s not a bad little device, at all. If you are going to buy a camera from the Golden Age, when engineering plastics were a lot less popular (and good) than they are now, and before autofocus had become the one and only way to get pictures sharp, this could be a good ‘un. Why? Read on…

First, it’s really small: if you remember cigarettes, a 35RC takes up as much space as a pack of king size, with a lighter stuffed down in front of it. That’s really not very big. It’s all metal and glass, though, with only a few bits of plastic trim, so it’s got a bit of heft. Sadly, though, it’s not a wonderfully balanced camera – dangle it on a neckstrap, and it doesn’t sit at all straight and level, so it may annoy you by digging the top edge into your ribs. The strap lugs are at the front of the body, and most of the weight is behind them.

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Second, although the specification looks quite modest with a fixed 42mm f/2.8 lens and shutter speeds from 1/15 to 1/500 second, that will cope with a lot. It’s much more elaborate than the fabled Olympus Trip – not only because it has a far wider range of shutter speeds and a rangefinder built in, but because it offers full manual control as well as automatic operation with Shutter priority. That means, incidentally, that it will continue to function if the battery is dead (as the battery in mine was when I got it out for this article. Just follow the ‘Sunny f/16 Rule’ – which used to be printed on the inside of every film box, or on the instruction leaflet that came inside them before manufacturers realised that the reverse of the card box could be printed with instructions. These days, the inside of film boxes contains data about processing times in the recommended developers, but the Rule still works, and it’s easily found on the internet. But since you’re here, if you use a shutter speed of 1/ISO, then you’ll need f/16 in bright sun, f/11 if there are only faint shadows, and f/8 if it’s ‘cloudy bright’. Use f/5.6 in open shade, or on duller days, and let the film’s latitude soak up minor errors.

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And the results are really rather good. If you want to read a hymn of praise, have a look at Ken Rockwell’s writer-up on his website: he goes into detail about the excellent quality of the lens, and raises the concept that it’s actually the ideal focal length for 35mm, because the focal length is close to the diagonal of the frame. There’s a rule of thumb that says that a lens that gives a ‘natural’ human-eye view of a scene meets this: doing the maths, this works out at fractionally over 43mm for a frame of 24mm x 36mm.

And it’s a good general-purpose focal length, working decently for portraits and landscapes without going to extremes, so that for one way of thinking it’s a comfortable and straightforward way of working that doesn’t give the distortion that’s typical of mobile phone portraits, and avoids the ‘can’t get it in’ feeling that many people suffer if they use my favoured short telephoto walkabout lens. In other words, it offers many people a good compromise in a world of extremes. 

And my own results bore this out: the pictures I took with my 35RC while I was writing this article scanned right at the top end of my experience for sharpness and pleasant tonality – although the tactile experience of shooting with it falls short of making it a favourite (see further down), the results run way ahead of expectations for such a simple and basic camera. Many modern kit zooms fall significantly behind it.

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This article has taught me a couple of things – OK, I already knew that it’s a good idea to take the batteries out of cameras and flashguns when you’re not using them for a while (they discharge, and start corroding – and then even good brands leak unpleasant, corrosive chemicals into the battery compartment. At best, a little cleaning is required: at worst, you fight to remove the battery and find that the corrosion has spread, and has damaged contacts or even circuits inside the camera). On loading a film to take some shots for this article, I discovered that the meter didn’t work – dead battery. A spare from my battery box, dated 2020, didn’t do the job: a new battery restored normal service.

And there was more. I have never used front lens caps very much. I tend to lose them and forget about them. Mostly, this doesn’t matter, because I always use the lens hood, and this protects the lens just about as well as a cap, or a filter.

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But the 35RC didn’t have a hood. Carrying it around, I have, I discovered, managed to scratch the front element: the scratches are small, but right in the middle, so stopping down won’t reduce any effect they have. I deliberately took some shots with the sun falling on the lens to see how bad the problem is… And the results really surprised me: even the very visible scratches you can see here don’t lead to flare above the levels you might reasonably expect from the most modern and multicoated of lenses.

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The upshot is that a bout of insomnia saw me going onto eBay and buying a hood for my 35RC: and also getting hoods for two other lenses I’ve recently acquired without hoods – a 55mm f/1.7 Rokkor, and a 50 mm Nikkor f/1.4. I don’t plan to repeat my errors. With these optics, it won’t matter that the lens size goes up quite a bit, and as the Olympus is so small, and I mostly carry it on a shoulder strap these days (rather than in the pocket of a leather jacket), it’ll be fine, too.

You might reasonably ask what’s wrong with using the lens cap: lots, I’d say! The big issue is the missed pictures. There’s nothing that reminds you to take the cap off when you shoot in manual mode, and in Auto mode, you find out because you can’t take a picture (the meter window is next to the lens, and the lens cap covers it: if the lens can’t open up far enough to give correct exposure, the shutter release won’t work). The first wastes a frame (maybe several), and the latter allows the world to move on, taking your decisive moment with it.

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And the 35RC is excellent for street work, as this casual shot shows: with zone focus and such an underwhelming shutter sound, it won’t matter if you put it to your eye. I find that there’s a comfortable sort of ‘undergrip’ that gives me good results, paired with the gently wide angle of view and fast film (my standard has been Ilford HP5+ for many years: it’s reliable, utterly consistent, and gives nice, straightforward negatives).

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Going back to the man who inspired this article, I asked Bob if he was happy to be mentioned in this article: he responded very positively, and wrote about his experience of the camera. His words are in italics, and the images in this section are all his.

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I bought my Olympus 35RC as I wanted a compact film camera to take on my urban wanderings and I often go out with this and my digital E-M10 Mk. IV for a day out in London for some urban photography. I have a lovely Olympus OM-2n, but it is a tad on the heavy side when carried with the E-M10 all day.

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I love the 35RC - it is very compact (It really does fit in my coat pocket), lightweight, and very quiet and discreet. The shutter is essentially silent against the background of the city and security guards don’t give it a second glance! The 42mm f2.8 lens is plenty sharp enough and fast enough for my needs and the camera has full manual control in addition to a shutter priority auto exposure mode. The viewfinder has scales showing you the shutter speed and aperture. The maximum shutter speed is 1/500th of a second - this is common for cameras of the era (1970) and might be limiting for some applications but for capturing life in the city, it is fine. You are not going to be covering the Olympics with a camera like this, after all.

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Rangefinder focussing takes a little adjusting to if you are used to an SLR but once you are there it is very fast in the field. The focus throw is short and it is easy to get to where you need to be. Zone focussing seems to work OK with the 42mm lens. I very rarely miss focus with this camera.

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One thing to note is that it required the now rightly banned mercury batteries. There are several workarounds that you will find online but I went for a voltage reducing MR-9 adaptor from The Small Battery Company, so I can use the very long lasting SR43 batteries. As far as I am aware, they are the only place that sells these in the UK - note that Amazon/eBay are awash with cheap MR-9 adapters that don’t reduce the voltage, only adapting the battery to fit in the battery bay.

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These cameras are readily available on eBay at reasonable prices but many are sold with the light meter not working. Mine was one of these but the fix is often fairly easy - 10 mins with YouTube and a soldering iron brought my meter back to life. The meter does not give you a reading, it just drives the auto mode - full manual needs no battery, but you will need an external light meter (I have a collection of apps on my phone). Or you can trust your instincts and the exposure latitude of the film…

The other thing to check if purchasing is the rangefinder patch - these can get very dim over the years. they can be cleaned professionally but this is not something that I would feel confident in doing - having taken the bottom off to fix the battery issue I am in awe of how well engineered these cameras are - the innards are very tightly packed! Again, there are a couple of workarounds online.

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I would always want a 35RC in my camera collection - I keep checking eBay as I am thinking of getting a second one against the day that mine eventually packs up.

Bob is clearly in love with his 35RC. But do I love my little Olympus? A hard question: I certainly respect it, and its ability to do the job competently. Winding on always sounds as if the sprockets are about to slip (they never have), and the shutter release has a long and rather unsatisfactory feel to it, leading to an underwhelming click. These aren’t things that matter to the picture, but they are aesthetically less pleasing than the sensations that a Leica gives. Are they worth the difference in price between the two cameras? As I suggested in the second paragraph, probably not, for the vast majority of users.

But I’m not planning on parting with mine just yet!

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John continues to keep hold of his old cameras, including the Contax RTS that he bought in 1976, selling two Pentax bodies and taking a year's HP agreement out to do it. These days, it’s usually loaded with very fast film to give strong grain.

Occasional lighting workshops divert him, and with a bit of luck interest other photographers enough for them to go along and pay. He particularly likes spectacular, angular low key setups, with deep shadows retaining a few secrets.

As well as still shooting a bit of film, John particularly loves using some of the more characterful film-era lenses on his digital cameras. Almost without exception, they are lenses that their manufacturers are probably rather ashamed of.

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Here are 7 things you can still photograph when you're stuck at home sheltering from the bad weather.
 

1. Photograph Cutlery

The kitchen holds a world of photo opportunities and all you need is some imagination to exploit it. Forks, colanders, wooden spoons etc. can make interesting photographs when shot right. For more tips, have a look at these articles:

• Tips On Shooting Cutlery
• How To Photograph Kitchen Utensils And Cutlery

 

2. Explore The House With A Macro Lens

Take a different look at your home through a macro lens. You'll find patterns, textures and shapes you didn't know existed until you looked down a macro lens. Cushions, glasses and salt & pepper pots can all make interesting subjects. 

If you do not own a macro lens, just try using the lens's minimum focusing distance. Or consider investing in a close-up lens.

It's important when shooting close-up and macro photographs to use a tripod and a remote release - so as to maximise depth-of-field, avoid camera-shake, and ensure accurate focusing. Anchor your camera firmly, though, and your shutter speeds can be as long as you like.

Maximising depth-of-field, by setting an aperture of f/16 or smaller, is important because the closer you get to your subject the more limited depth-of-field becomes. At a larger aperture, such as f/5.6, parts of the subject will almost certainly be out-of-focus.

Using a tripod also makes it easier to ensure accurate focusing. Even at a small aperture you may only have a few millimetres of depth-of-field in front of and behind the point on which you focus - and the natural sway of the body when hand-holding can easily take you outside that, and leave you with an unsharp image. You'll also find it easier, if you have an autofocus camera, to switch to manual focusing.

 

 

3. Coloured Liquid In Glasses

Get a selection of glasses, add water and your choice of food colouring to them. Place them on a clear, reflective surface (glass on white paper works well) and place a large piece of white card behind them. If you want to light the background use your flash off-camera to do this. You want an even light that will bounce off the background back onto the scene you're photographing without causing flare. 

 

4. Water Droplets On A Window

There are plenty of opportunities to get great pictures of rain on patio doors or windows and you don't even have to get wet! When rain hits the pane it leaves tiny water droplets and when these droplets are combined they create fascinating patterns. With a close-up lens you can fill the frame with interesting shapes or use a macro lens to give your piece even more impact. 

If a white sky is behind the droplets they will all appear white with just a thin black outline. If you move around so a wall or greenery is in the background instead, the droplets will take on those colours and patterns making more interesting shapes.

 

5. Frozen Items

This technique is brilliant with a macro lens but will work with the lens at minimum focus. 

Freeze water in a suitable clear container. Once frozen place the container or either a white or even coloured surface so it shows through the container. If you have a lightbox, place the container onto it so light shines through from the bottom. If you don't have a lightbox, just be creative your whatever furniture you have. Ideally, being able to get a lamp or flash under the ice container is what you want.

A 50mm macro lens with the camera on the tripod will let you get closer to capture the patterns that form in the water and cracking ice as it melts. Use a kettle of hot water and gently pour it onto the ice to cause cracks and to start the melting process. Look through the viewfinder for interesting patterns and snap away. 

A twist on this is freezing objects - leaves, flowerheads, shells, pebbles - in the container and then shooting them.

Obviously, this idea needs a little bit of planning, so get the container in the freezer early on and try shooting some of our other ideas while you wait for the thing to freeze. 

 

 

6. Cross Polarisation

Cross polarising effect is where you use a pair of polarising filters - one on the camera and one on the light source (behind the subject) to show stress in plastic which appears as wonderful multicoloured pattern. 

You can use an LCD computer monitor as a light source, plus they have a polariser built-in. You'll need to use a camera with a polarising filter either attached or positioned in front of the lens. Of course, you'll need a monitor and a steady support will also be useful.

Some clear hard plastic items will also be needed as well as something to hold the plastic item steady in front of the computer monitor.

For step-by-step tips on how this technique works, have a read of this: Easy Cross Polarisation

 

7. Capturing Oil On Water

With a few items you'll find around your house you can create interesting abstract shots of oil on water. You'll need a camera with a close focus facility, tripod, a light source, a clear dish, water, oil and something to add colour to your shot (card, paper, t-shirt....etc.). You'll find a guide on what to do next in our article full of tips on how to photograph oil on water with just a basic set up.

 

Following on from the recently reviewed Panasonic Lumix S 20mm f/2.5 lens, which gained the accolade of Highly Recommended, we have a virtually identical looking 18-40mm f/4.5-6.3 zoom. These virtually identical siblings, both intended for full frame L mount cameras, offer a choice between prime and zoom: fast aperture with fixed focal length or restricted apertures with the added versatility of the zoom. Size, weight and cost are all very similar, so the choice is without penalty in that respect. This leaves us with choices that depend very much on the sort of photography/videography to be undertaken, the photographer's style of shooting and how the quality of results does or does not become an issue. Let's take up the 24MP Panasonic Lumix S9 once more and see how it all works out, both in the field and in the studio for the technical tests.

 

Panasonic Lumix S 18-40mm f/4.5-6.3 Handling and Features

A quick glance at the previous review will show that the 18-40mm measures up almost exactly the same as the 20mm f/2.5 did. The zoom lens weighs in at just 154g (measured) and 67.9mm x 40.9mm with lens retracted. However, once rotated past the click stop that marks the point the lens retracts, it is extended for use. There is virtually no change in the balance of the lens when extended. There is no lens hood provided, but to be fair, the lens is very resistant to flare anyway.

 

 

There is no lens hood provided, a shame especially with a wide angle lens. One can be purchased and will need to use the 62mm standard filter thread. The front element is quite small, but not particularly vulnerable. It has a Fluorine coating to repel dust, moisture and grease and this makes it easier to keep clean. The lens is also dust, splash and freeze resistant. The operational range is from -10C to +40C. 

Moving backwards along the lens barrel, our tour of the lens arrives first at the slim but well knurled focusing/control ring. The feel of this is quite firm, but not excessively so. Behind this is the zoom ring. This does extend the lens barrel, the most compact position being marked by a white dot and representing the retracted position. If we switch the camera on whilst set to the dot, we are reminded to extend the lens for use. The zoom ring physically extends the lens and has clear and accurate settings marked at 18mm, 20mm, 24mm, 28mm, 35mm and 40mm. This focal lens range is considered to be from ultra-wide to wide standard, offering a very versatile span of focal lengths. This is ideal for travel.

 

 

Closest focus is 0.15m (0.49') and enables some powerful close range image making. The aperture range alters with focal length in the usual way, from f/4.5 at 18mm to f/6.3 at 40mm. This is perfectly usable in a world where high ISO values can yield consistently excellent results, plus of course the huge benefit of image stabilisation. There is no stabilisation in the lens itself, so we rely upon the camera IBIS where available. 

Optical construction is 8 elements in 7 groups, including 3 aspheric, 2 ED (Extra Low Dispersion) and 1 UHR (Ultra High Refractive Index). The lens is also designed to reduce focus breathing, a feature that will be appreciated by videographers. A fairly modest number of elements does help to ensure reduced flare and increased contrast, so this bodes well for performance. The diaphragm comprises 7 rounded blades, helping to ensure smooth bokeh, although with limited maximum apertures there may well be limits on what we can expect.

The well finished L mount is firm but does enable the lens to be locked positively into place. Handling is fine, perhaps a tad less smooth than the 20mm lens, but certainly still a great optic to use. Much of the joy in use comes with viewing the results on a computer monitor, so let's get straight down to seeing exactly how that performance works out.

 

 

Panasonic Lumix S 18-40mm f/4.5-6.3 Performance

At 18mm, central sharpness is excellent from f/4.5 to f/16 and very good at f/22. The edges are very good from f/4.5 to f/11, good at f/16 and fair at f/22.

At 24mm, central sharpness is excellent from f/5 to f/16 and very good at f/22 and f/25. The edges are very good from f/5 to f/11, good at f/16 and fair at f/22 and f/25.

At 40mm, central sharpness is excellent from f/6.3 to f/16, very good at f/22 and good at f/32. The edges are excellent from f/6.3 to f/11, very good at f/16, good at f/22 and fair at f/32.

 

Panasonic Lumix S 18-40mm f/4.5-6.3 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 Panasonic Lumix S9 camera body using Imatest software (www.imatest.com). Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is highly unlikely to be a problem. There is virtually no sign of colour fringing in most image making, even in the most challenging circumstances.

 

Panasonic Lumix S 18-40mm f/4.5-6.3 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 Panasonic Lumix S9 camera body using Imatest software (www.imatest.com).

 

Some barrel distortion can be measured, giving values of -1.0% at 18mm, -0.20% at 24mm and -0.47% at 40mm. 

With the maximum apertures available being quite restricted, the potential for super-smooth bokeh is reduced. Even so, results are very respectable and do not descend into becoming ragged.

Flare is not a problem in normal use. Artefacts can be generated under extreme lighting conditions, but the intrusion into the image is minimal.

Vignetting is extremely low and is very impressive for any zoom lens, especially one that extends into ultra-wide territory.

 

Aperture 18mm 24mm 40mm f/4.5 -1     f/5   -0.4   f/5.6 -1 -0.4   f/6.3     -0.6 f/8 -0.6 -0.3 -0.6 f/11 -0.5 -0.3 -0.7 f/16 -0.5 -0.3 -0.7 f/22   -0.3 -0.7 f/25   -0.3   f/32     -0.7

 

Panasonic Lumix S 18-40mm f/4.5-6.3 Sample Photos Previous Next

 

Panasonic Lumix S 18-40mm f/4.5-6.3 Aperture range Previous Next

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

 

[HOOK]position_1[/HOOK]

Value For Money

The [AMUK]Panasonic Lumix S 18-40mm f/4.5-6.3|Panasonic+Lumix+S+18-40mm+f/4.5-6.3[/AMUK] is priced at £499.00

Perhaps the following could be considered alternatives:

• [AMUK]Lumix S 20-60mm f/3.5-5.6|Lumix+S+20-60mm+f/3.5-5.6[/AMUK], £469
• [AMUK]Lumix S 14-28mm f/4-5.6|Lumix+S+14-28mm+f/4-5.6[/AMUK], £668
• [AMUK]Sigma 20-60mm f/2.8-4|Sigma+20-60mm+f/2.8-4[/AMUK], £749
• [AMUK]Sigma 24-60mm f/2.8|Sigma+24-60mm+f/2.8[/AMUK], £869

The review lens looks perfectly good value and certainly is punching above its weight regarding quality of results.

 

 

Panasonic Lumix S 18-40mm f/4.5-6.3 Verdict

The Lumix S 18-40mm f/4.5-6.3 lens offers the usual zoom advantages, but without some of the usual disadvantages that go with that. The zoom is, of course, always ready for a number of shooting scenarios. A prime lens can be equally useful up to a point, but has the main advantages of speed and size. With ultra high ISO values being available, do we need that fast maximum aperture? Maybe, but perhaps for reasons of bokeh for portraiture as much as anything else. It's a matter of the individual's requirements and their shooting style.

In any event, what is absolutely clear is that to call this lens a kit lens would be to do it a great disservice, as it is punching far above that level. A satisfactory price level, superior image quality and great handling all combine to delivery a Highly Recommended lens.

 

Panasonic Lumix S 18-40mm f/4.5-6.3 Pros

• Excellent sharpness, especially centrally
• Very low distortion
• Smooth bokeh
• Low CA
• Low flare
• Fast, accurate and virtually silent AF
• Dust, splash and freeze resistant
• Quality maintained throughout zoom range
• Fair price

 

Panasonic Lumix S 18-40mm f/4.5-6.3 Cons

• No built-in IS
• No hood provided
• Modest maximum aperture

 

 

[REVIEW_FOOTER]R_features=4|R_handling=4.5|R_performance=5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=Highly Recommended – A lovely high-quality ultra-wide to wide-standard zoom lens.|E_id=8027[/REVIEW_FOOTER]

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Reflections are something you can shoot all year round but as bright colours and bold shapes make the most interesting reflections, autumn's the perfect season to try this technique.

 

1. Where should I go?

You can head to a picturesque area of landscape where you have reservoirs and lakes by the dozen to pick from. You can also stay a little closer to home and take a walk through your local park after it's rained and use the puddles that have formed as your reflective surface. If you have a pond in your garden and a tree or two that's decorated with autumn colours, you don't even have to walk to the park as you can set your gear up in your own back garden to shoot these abstract style shots.

 

2. Photograph The Wide Landscape

If you head to a national park area you can capture a few wide shots where you include the body of water in the photo with the tree line and rolling hills sitting alongside it. For this, you want an almost mirror-like reflection and this means shooting on a very still day. Better still, do your research and find a lake or reservoir that's sheltered by hills or find one where at least part of it's out of the way of the wind. It helps if you're an early riser too as the air tends to be stiller first thing in the morning than later on in the day. Ripples still a problem? Try using a slightly slower shutter speed to blur them.

You'll need a tripod to stop shake creeping in and a remote / cable release can be handy but it's not essential. You could even start your exposures via a Smart Phone if the camera you're using has wireless capabilities. 

When working with slower shutter speeds by lakes, have a look at the distant trees and other objects that can move in the breeze to see if they've blurred slightly. If you do have a problem with blurry trees, try taking two exposures then combined them when you're back in front of your computer. The first exposure needs to be shot with a slower shutter speed and the second with a quicker shutter speed that won't allow movement to be introduced into your background. 

It's also a good idea to pack an ND Grad Filter as you'll find that the reflection will look darker than the 'real' scene that's creating it. If you line up the darker part of the filter so it sits over the sky and finishes at the shoreline, you'll produce a shot that balances the exposure of the bright sky/surroundings with the reflection.

  3. More Abstract?

Shooting reflections on their own, particularly if the water's slightly choppy, will result in interesting abstract images. You just need strong colours and / or shapes to create shots with real impact and Autumn's oranges and reds are just the shades you need to produce abstract shots that really pack some punch. You can shoot a wider shot of the landscape, as above, then crop in when you're back in front of your computer but it's much easier to just frame up so the water's surface is your main point of focus. Some lenses struggle to focus on moving water so you may need to switch to manual focus so you get a sharp shot.

Just remember to shoot plenty of photos at quite quick intervals as the patterns created by the moving ripples will change quickly.

If you prefer to shoot water flowing and falling over rocks, use a slower shutter speed to blur its motion. As a result, you'll have smooth waves of water that have the autumn shades/colours of the trees dotted along the banking flowing through it.

Thanks to its warm, golden colours and varying weather, Autumn is a very photogenic season. However, the different locations you can shoot in coupled with weather and light changes can occasionally make setting the correct exposure tricky. With this in mind, here's a quick check list of ways you can ensure your exposure's correct every time. 

Photo by David Clapp

 

1. Use An ND Filter

Placing an ND Filter over your lens will balance the brightness levels of the ground and sky so that sky detail can still be seen without the ground appearing underexposed.

 

2. Check Your Histogram

Even though digital cameras do have good built-in meters you still need to keep an eye out for burnt-out highlights as you'll lose detail in these areas. A good way to check if your image is correctly exposed is with the histogram.

A 'good' histogram that shows an even exposure will peak more towards the middle and get lower to either end. If the graph is occupying mostly the left-hand side it means your image has more dark tones than light (underexposed) and if it’s shifted to the right, there are more lighter tones (overexposed) which means you could have really bright areas that look blown out.

Also, as a side note, when you playback your images there’s an option you can set that makes the highlighted areas 'blink' so you can pinpoint their exact location. Check your camera's manual for the instructions on how to do this. 

 

Photo by David Pritchard. 

 

3. Work On Overcast Days

Overcast days give you the perfect conditions for capturing autumn shots in woods and forests. Why? Well, on sunny days it can be hard to keep contrast to a minimum and you can end up with large areas of dark shadow and patches of bright, dappled sunlight that's broken through the forest's canopy.

 

4. Meter From The Right Spot

Positioning yourself so the yellow and orange coloured leaves can be backlit will add extra punch to your shots, but again, your camera can get confused by the variety of light sources around. As a starting point, you can meter for the mid-tones but it's best to take a meter reading from the leaves to ensure they are correctly exposed. Also, by doing so the background, which you'll want to be thrown nicely out of focus, should appear darker, allowing your subject to 'pop' from the frame.

 

5. Use Exposure Compensation

Mist and fog are common conditions to be shooting in at this time of year but you may find you have exposure problems once out in the field. This is because camera meters are often fooled into underexposing misty scenes so they come out looking very grey, rather than light and airy. You can fix this by using the + compensation option. How many stops you need to move up by will depend on the scene and how many EV steps you can go up by will depend on the camera you are using. 
 

   

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