Laowa appears to be working on a new macro lens. This in itself isn't particularly noteworthy, as according to the official Venus Optics website (the parent company of the Laowa brand), there are currently 17 Laowa macro lenses. However, this latest lens is rather special thanks to it offering up to 10x magnification.

For context, a typical macro lens usually offers a 1:1 reproduction ratio (1x). 1x magnification means the object you're photographing is reproduced at exactly the same size on the image sensor of your camera as it appears in real life.

Laowa already produces a macro lens with 5x magnification - the 25mm f/2.8 2.5-5X Ultra Macro - yet this new lens promises double that, which is no mean feat.

The 10x Ultra Macro optic is said to have a working distance of 40.35mm in the 1-5x magnification range, and 22.5mm if you want 5-10x magnification. Further details and specifications are currently limited, but it's said that this is a full-frame lens compatible with multiple mounts. Judging by the early product shots, it seems the lens could ship with a native PL mount, with separate adapters sold to convert this to RF, Z, E, or L mounts. This system is used by the even more specialist Laowa Aurogon FF 10-50X NA0.5 Supermicro APO macro 'lens' (it's actually a kit containing an objective lens which can be fitted with one of four extension tubes, each offering a different level of magnification, up to a whopping 50x!).

We're also told that the lens will be light and compact and its exterior length will not change when adjusting magnification. The full-range parfocal focusing design also means focus shouldn't shift when changing magnification. As with many other Laowa macro lenses, this latest offering should keep aberrations to a minimum thanks to its APO (apochromatic) optical construction which is designed to supress both lateral and longitudinal fringing. This is crucial for high magnification close-ups where even minor fringing could otherwise be very distracting.

We don't yet have details on pricing, availability, or even an official lens name. But considering the existing Laowa 25mm f/2.8 2.5-5X Ultra Macro lens retails for $399, while the highly specialized Laowa Aurogon FF 10-50X NA0.5 Supermicro APO will set you back $1500, it's likely the new 10x lens will be priced somewhere in between.

Story credit: Weibo, Camera Beta

I've used my fair share of extension tubes, close-up filters and macro lenses over the years, but never macro bellows. So I was extremely excited to get my hands on the Novoflex Automatic Macro Bellows and use them to shoot an extreme close-up.

Macro bellows are essentially adjustable extension tubes. They work by increasing the distance between optic and sensor, which in turn increases the minimum focusing distance.

This means you can transform a standard lens, like my Nikon Z 40mm f/2, into an optic with true macro capabilities and beyond. You can pick up compatible bellows for various camera systems relatively cheaply.

Nikon even released its own range of F-mount bellows, some of which you can still find on the used market. The problem with conventional bellows is the lack of electronic connectors necessary for the camera and lens to communicate.

This means you have to control everything manually. You can’t even change the aperture unless your lens has a manual aperture ring.

That’s where the Novoflex Automatic Macro Bellows comes in. This German-made accessory maintains the connection between camera and lens, and is available in a huge range of mounts: Canon EF/RF, Nikon F/Z, Sony E, Fujifilm X, L-Mount and Micro Four Thirds.

So, read on and I'll show you how this incredibly fun piece of kit works. And don’t worry if you don’t have the same bellows as me; most of these tips and tricks are entirely transferable to other macro bellows and even macro photography in general.

1. Set your macro bellows up

Unscrew the locking mechanism and extend your bellows to achieve the desired magnification – move the entire setup to alter the composition.

If you want to know how to achieve a specific magnification ratio, you can use an online extension-tube calculator. Bear in mind that at higher magnifications, less light is let into the camera. Live view is very useful here.

2. Camera settings

Traditional bellows prevent camera-lens communication, so you’ll need to use a lens with an aperture ring to alter the aperture. My Novoflex Bellows communicates seamlessly to provide full functionality, including AF.

I used a narrow aperture of f/16 to increase the unavoidably shallow depth of field. You may need to up your ISO if camera shake is an issue.

3. How to focus

Even with my Automatic Bellows, I still recommend focusing manually. You can focus by retracting and extending the bellows, but this will alter the magnification.

This leaves using a focusing rail or focus ring. A rail is more precise, but moving the setup to focus when focus stacking can cause anomalies due to altering the framing, as can focus breathing.

4. Dealing with super-shallow depths of field

Extreme magnifications yield incredibly shallow depths of field (as you can see above). Unless you’re shooting something with very little depth you may need to focus stack.

Choose what you want sharp, focus on the area closest to the camera and capture the image. Adjust focus to where the image begins to soften and take another shot. Repeat until you’ve covered the entire subject.

5. Import your stack

Helicon Focus is a popular dedicated focus-stacking software, but you can achieve desirable results in Adobe Photoshop.

Begin by opening your focus-stacked sequence in Adobe Bridge. Highlight the images in the stack and select Tools > Photoshop > Load Files into Photoshop Layers. All of the files will now load into the Layers panel of the same Photoshop document.

6. Align and blend

Highlight the stack in the Layers panel and select Edit > Auto-Align Layers. Ensure only ‘Auto’ is ticked in the Auto-Align Layers window and hit OK.

Once the images are aligned you can start the blending process by selecting Edit > Auto-Blend Layers. Check ‘Stack Images’ and ‘Seamless Tones and Colors’ in the Auto-Blend Layers window and hit OK to start the blend.

More Macro

If you want to get as close to your subject as possible, you can of course attach a macro lens to your bellows. But a standout feature of the Novoflex Automatic Bellows is the ability to detach the Reversing Adapter and use it as a fully automatic reversing ring with compatible lenses.

However, you can go a step further by pairing the reversing ring with the bellows to achieve even greater magnification (up to a whopping 6:1 magnification ratio and higher).

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Founded in 2015 by a group of Chinese camera enthusiasts, 7Artisans has become best known for its range of fully manual lenses which are available in several mount options to suit different makes of camera. More recently, the company launched its first autofocus lens – the 7Artisans AF 50mm F1.8 for Sony Alpha mirrorless cameras. This macro lens is more traditional fare from the company. As such, it has neither autofocus nor any built-in electronics. That means that you have to set both the aperture and focus using the lens’s control rings, and that no lens-based EXIF data is stored in images. Even so, many would argue that manual focusing is a better option when shooting with even the best macro lenses.

7Artisans 60mm F2.8 Macro 2x: Specifications

7Artisans 60mm F2.8 Macro 2x: Price

Launching in late 2024, the 7Artisans 60mm F2.8 Macro 2x has a recommended retail price of $335. As I’d expect, that’s only half the price of, for example, the Nikon Z MC 50mm f/2.8, which sells for around $647/£679. The Nikon has a similar focal length but naturally features autofocus and a full set of electronics, although it only delivers a maximum of 1.0x macro magnification. The Canon RF 100mm F2.8L Macro IS USM gives up to 1.4x magnification but is considerably more expensive again, at around $1099/£1369.

7Artisans 60mm F2.8 Macro 2x: Design & Handling

The vast majority of autofocus macro lenses top out at 1.0x magnification, when set to their shortest focus distance. A notable exception is the Canon RF 100mm F2.8L Macro IS USM, which stretches to 1.4x. Mostly though, greater magnifications are the preserve of manual macro lenses, which include specialist items like the AstrHori 25mm F2.8 Macro 2.0x-5.0x and AstrHori 18mm F8 2x Periscope Probe Macro. Sure enough, the fully manual 7Artisans 60mm F2.8 Macro 2x is designed to deliver 2.0x maximum macro magnification, enabling you to capture small objects at twice life size on the image sensor. That might not sound like much of a big deal but when you take into consideration the enlargement factor of viewing images on screen or in print, it’s actually pretty enormous.

Build quality feels sturdy and solid, the barrel as well as the mounting plate being engineered from metal rather than plastic. Let’s start at the back end and work our way forwards. First up, there’s an aperture control ring, which is essential as you can’t control the aperture from the camera body, which precludes shooting in Shutter-priority exposure mode. The aperture ring has click steps with no de-click option. The steps themselves go in half f/stops from wide-open at f/2.8 down to f/5.6, then in full f/stop clicks from f/5.6 to the narrowest aperture of f/22.

Just in front of the aperture control ring is a depth of field scale, which works in conjunction with the focus control ring. It’s packed with DOF markers for apertures of f/2.8, 3.2, 4, 8, 16 and 22. However, if you line up any of the actual focus distance markers of the focus control ring with the central position on the DOF scale, all of the other distance markings fall outside even the widest DOF markers corresponding to an aperture of f/22.

Next up is the focus control ring itself. This has a particularly long throw of 180 degrees and operates with silky smoothness and good tactile feedback. It’s exactly what I’d want in a manual-focus macro lens, enabling very fine and precise adjustments.

The lens features 14 elements arranged in 12 groups. These include two ED (Extra-low Dispersion) elements and two HRI (High Refractive Index) elements, aiming to enhance clarity and reduce chromatic aberrations. Apart from the front element and rear group, most groups are deeply recessed within the barrel at the infinity focus distance setting, but travel forward so that they’re very close to the front element at the shortest focus setting.

No lens hood is supplied with the lens, which I’m not surprised about, due to the short working distance for macro shooting. I’ll come back to that later but meanwhile, the lens has a 67mm filter attachment thread. Despite this, the lens has a metal slip-on front cap instead of the more usual clip-on variety.

7Artisans 60mm F2.8 Macro 2x: Performance

As I’ve mentioned, manual focusing is often preferred for macro photography so the lack of autofocus isn’t a deal-breaker. Focus peaking can be reasonably helpful but with such a razor-thin depth of field in macro shooting, it can lack the precision I need to nail accurate focusing. A magnified preview is the way to go, which you can assign to one of the custom function buttons on the Sony A7 II that I used during testing. Other makes and models of mirrorless camera tend to offer the same option. I often use a macro focusing rail for extremely close-range macro shooting, like the NiSi NM-200s Macro Focusing Rail. However, I found that the long throw of this 7Artisans macro lens enabled extremely fine and precise adjustments, without needing to resort to using a focusing rail.

What I found more of a problem was the short working distance between the front of the lens and the subject I was shooting. The minimum focus distance is 0.17m / 0.56', to enable full 2.0x macro magnification. As always however, this is measured from the image sensor in the host camera to the subject. The actual distance between the front of the lens and the subject is only about 5cm / 2”. With a light source over my shoulder, it’s all too easy to cast a shadow over what I’m shooting and the same goes for using flash or LED lighting.

With focusing and lighting sorted, the lens is capable of delivering very pleasing images. Sharpness in the central region of the frame is mostly good, especially between apertures of f/4 and f/11, dropping off a bit at really narrow apertures due to the usual problem of diffraction. Chromatic aberrations are fairly minimal but pincushion distortion is much more noticeable than I’d expect from a macro prime lens. And because it’s a ‘dumb lens’, automatic in-camera correction for distortion isn’t available. All in all, performance is good rather than great.

7Artisans 60mm F2.8 Macro 2x: Sample Images

There are plenty of autofocus macro lenses that I’d consider using for portraiture and any other scenario for which I wanted a fairly fast, short telephoto lens. This is a more specialist lens that I’d only really use for extreme close-ups. With that in mind, the sample images in the following gallery are all macro shots taken at or near the minimum focus distance, using bounced flash as a light source. The subject matter includes the face of a wristwatch, the inner workings of a fob watch, colored pencils, the shutter speed control dial of a Nikon Z fc camera, a garden flower (Japanese Anemone), standard sized text from an inkjet printer on plain paper and models of a motorcycle and medieval knight on horseback.

7Artisans 60mm F2.8 Macro 2x: Lab Results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Center sharpness is good at f/2.8 and very good at apertures of between f/4 and f/11. It reverts to good again at f/16 due to diffraction, dropping off more at f/22. For good corner-sharpness, it pays to stop down to apertures of f/11 or narrower.

Fringing:

Color fringing can be a little noticeable wide-open from the mid-to-edge region of the image frame, and remains of a similar order in the area between the center and edge of the frame at other apertures. Even so, it’s hard to spot in most real-world images.

Distortion: 2.52

Macro lenses are often used for technical photography so the noticeable amount of pincushion distortion is disappointing. With no electronic communication between the lens and camera, automatic correction is impossible, so you have to resort to fixing distortion manually at the editing stage.

7Artisans 60mm F2.8 Macro 2x: Verdict

There’s a lot I like about the 7Artisans 60mm F2.8 Macro 2x. The generous 2.0x macro magnification is its key feature, backed up by solid build quality and nice handling. The 180-degree throw of the focus ring enables very fine adjustments but autofocus is off the menu and, as a dumb lens, there’s no electronic communication with the camera body. Sharpness is pretty good across most of the frame but distortion is on the high side for a macro lens and the working distance for 2.0x macro is very tight, at just 5cm / 2” between the front of the lens and the subject.

Alternatives

It seems a day barely goes by without affordable lens manufacturers such as TTArtisan, Viltrox or 7Artisans releasing a cut-price lens for mirrorless systems. Just this week, I wrote stories about the new 7Artisans AF 85mm f/1.8 for Nikon Z mount and the TTArtisan AF 75mm f/2 for Nikon Z and Sony E. 

These aren't just cheap manual focus primes for smaller sensors. They are relatively fast, full-frame-compatible autofocus lenses, designed to compete directly with the optical behemoths of the world. And there's no sign of the affordable arms race slowing down, either. It's been reported that Chinese lens manufacturers are developing autofocus zoom lenses, which would really put the proverbial cat among the pigeons.

We all know that some manufacturers have taken steps to limit third-party lens production. And on the face of it, it isn't hard to see why. More people buying cheap third-party lenses must mean fewer people buying premium glass, right? But how much market share are affordable manufacturers siphoning, really? 

I don't have the figures, but I'm pretty sure that a photographer who's always bought Nikon, Sigma or Canon glass will continue to do so. And if you're saving up for that dream Nikon Z 85mm f/1.2 S, say, the 7Artisans 85mm f/1.8 isn't going to compete with that Holy Grail purchase. But, it might provide an affordable stopgap in the meantime.

And this is the beauty of affordable lenses. They enable photographers on a budget to fill up their kitbags quicker and enjoy their photography. I fail to see how this differs from the Nikon FTZ II Adapter and Canon Mount Adapter EF-EOS R enabling users to mount cheaper DSLR glass.

An entry-level gateway

I think a large proportion of the mirrorless market – especially full-frame equipment – has become rather elitist. I've been writing about photography for so long, that I find myself calling the new Tamron 90mm f/2.8 Di III VXD Macro affordable. Compared to other macro lenses out there it's a very competitive price, but it's still $699 in the US!

As a self-confessed Nikon fanboy, I think the Big N has done a decent job of offering affordable, full-frame mirrorless lenses, what with its budget Holy Trinity of f/2.8 lenses maxing out at roughly $1,300. Expensive, but considerably cheaper than S-Line counterparts. Then you have the likes of the Z 40mm f/2 and Z 28mm f/2.8 at $309.95, and more recently the Z 50mm f/1.4 at $499.95 – a good price for such a fast aperture. 

Tamron is also producing Z-mount lenses and, having recently picked up the Tamron 28-75mm F/2.8 Di III VXD G2, I've been very impressed with its middle ground between price and quality. And yet, you simply cannot sniff at a 7Artisans 85mm f/1.8 for $299. (Caveat: We’ve not yet reviewed it.) 

I've spoken to an awful lot of hobbyist photographers during the mirrorless revolution who had all but discounted the move from their DSLR, based purely on the expense. But in 2024, cheap lenses have become a gateway to mirrorless systems. Now that mirrorless has come of age, you can pick up a decent camera for a decent price on the second-hand market, buy an affordable 50mm f/1.8 and you're ready to rock and roll. 

For some, that cheap camera and lens combination will be the genesis of a lifelong mirrorless camera obsession – and a long-term customer for the system in question. So, far from yanking customers and coffers away from the big camera companies, I'm certain that cheap lenses are encouraging latecomers to buy into mirrorless systems. 

If I'm right, blocking third-party manufacturing could prove very costly in the long run. There are still plenty of potential consumers who haven't yet made the move to mirrorless out there. 

Affordable gear might be the only way to get them through the door. 

You might be interested in the best Nikon lenses, including the best Nikon Z lenses for its mirrorless system. 

Let’s jump back in time to 2015. Canon launched the EF 35mm f/1.4L II USM for DSLRs and it became a firm favorite with pro photographers all over the world. There are doubtless many who still use this lens via a mount adapter, after swapping to an EOS R system camera, simply because it’s still so superb. But now there’s a good reason to trade it in, and that reason is the new RF 35mm F1.4L VCM. It brings a feast of new features and handling exotica while, somewhat remarkably in this day and age, being less expensive to buy in the current market. The new RF lens is also designed for hybrid shooters, so with the current vogue for pro photographers to be able to turn their hand to video as well as stills, it’s got a lot going for it and is destined to be one of the best Canon EOS RF lenses. Let’s take a closer look.

Canon RF 35mm F1.4L VCM: Specifications

Canon RF 35mm F1.4L VCM: Price

The Canon RF 35mm F1.4L VCM has a launch price of $1,499/£1,819/AU$2,699 and there’s no getting away from the fact that it costs a big chunk of money. Even so, the Canon EF 35mm f/1.4L II USM, created for DSLRs back in 2015, currently lists for around $1,999/£2,199/AU3,200, making the older lens considerably more expensive. On the face of it, that makes the RF prime look a bit of a bargain. However, look elsewhere and the excellent Sigma 35mm f/1.4 DG DN | Art for Sony E and Leica L-mount cameras only costs around half the price, at $769/£769/AU$,1387. That’s a bit of a moot point, as the Sigma lens isn’t available in Canon RF mount (maybe one day, we can only hope). In Canon’s own-brand stable, there’s the Canon RF 35mm F1.8 IS Macro STM at $499/£529/AU4839. While it’s an excellent lens (I own it and love it) that adds optical image stabilization and a 0.5x macro facility, it’s certainly not in the same class as the f/1.4 primes.

Canon RF 35mm F1.4L VCM: Design & Handling

The Canon RF 35mm F1.4L VCM is designed as a true hybrid lens for both stills and videography. The most obvious giveaway is that it has a stepless aperture control ring towards the rear, in addition to the often featured click-step customizable control ring of Canon RF lenses, positioned at the front. Click-step aperture control is an obvious choice for the front control ring but that’s certainly not the only option. It would seem only natural that you could use the dedicated aperture control ring for both video and stills, but it only works for video with most EOS R system bodies. It did work for stills as well as video when I tested the lens on an EOS R5 Mark II, and presumably this is the case for the equally new EOS R1. For older cameras, I’d hope that Canon makes the dual functionality available via firmware updates.

Either way, there’s an iris lock switch on the barrel of the lens, which I always feel is a welcome addition for any lens that features an aperture control ring. Naturally, you don’t want to be adjusting the aperture by accident, only when you really want to.

Then there’s the ‘VCM’ in the lens’s title, which stands for Voice Coil Motor. This is featured for autofocus, but the lens actually also includes Canon’s Nano USM autofocus drive as well. The upshot is that it aims for super-fast autofocus performance for stills as well as virtually silent, ultra-smooth autofocus for shooting video. Unlike in the older EF lens which had ring-type ultrasonic autofocus (certainly not ideal for video with its snappy action), there’s no focus distance scale in the new RF lens, as fully expected.

Further switches on the barrel include an AF/MF focus mode switch, so you can quickly and easily make the change without resorting to in-camera menus. A customizable function button is also on hand, which I’d usually use for AF-hold. A noticeable absence in the feature list is optical image stabilization. You’ll only miss it if you’re shooting with one of the few Canon full-frame EOS R system cameras that lack IBIS, including the veteran EOS R and EOS RP, and the newer EOS R8, or in the unlikely event that you’re using this expensive lens as a ‘nifty fifty’ on an APS-C format Canon EOS R system body apart from the EOS R7. When mounted on an EOS R system camera that features IBIS (In-Body Image Stabilization), Canon claims that the lens enables 7-stop stabilization performance.

The optical line-up is based on 14 elements in 11 groups, exactly the same count as in the old EF 35mm f/1.4L II USM lens. The new lens boasts two GMo (Glass Molded) aspherical elements and two UD (Ultra-low Dispersion) elements. Canon’s high-tech ASC (Air-Sphere Coating) is applied to minimize ghosting and flare, as well as the more conventional Super Spectra Coating. A water/oil-repellant fluorine coating is applied to the front element. Build quality feels resoundingly good and features multiple weather-seals, as with most Canon L-series lenses. 

Similarly, the petal-shaped hood isn’t sold separately as an ‘optional’ extra, as is usually the case with Canon’s non L-series lenses. The front filter thread is a modest 67mm in size, down from 72mm in the EF lens, and this time around there’s also a gel filter carrier that fits into the rear of the lens.

Canon RF 35mm F1.4L VCM: Performance

The dual-motor Nano USM and VCM autofocus system works a treat for both stills and video, as advertised. Coupled with a Canon EOS R5 Mark II that I used for testing, autofocus proved to be wonderfully accurate all the time, every time. Helped along by IBIS, I got pretty much a 100 per cent hit rate for super-sharp images, even when shooting at very slow shutter speeds under dim and indoor lighting.

Sharpness itself is simply stunning. Don’t get me wrong, there was absolutely nothing wrong with the sharpness and clarity of the old EF lens but the new RF edition really is something special. Even wide-open at f/1.4, sharpness is spectacular, and comfortably eases ahead of the EF lens towards the edges and corners of the image frame. The flipside is that the f/1.4 aperture enables a tight depth of field when shooting close-ups, and bokeh is beautifully soft and dreamy. The new lens has a more well-rounded aperture diaphragm than its EF forebear, based on 11 rather than 9 iris blades, which pays dividends for the quality of bokeh when stopping down a little.

Color fringing is minimal, even at the edges and corners of the frame, and that’s with automatic in-camera correction switched off. The same can’t be said for distortion. Whereas the EF lens exhibited only slight barrel distortion, it’s much more major in the new RF lens, to the extent that automatic in-camera correction is forced on and can’t be disabled in the camera menu. That’s something I’ve seen time and time again with lenses designed for mirrorless cameras, so it’s nothing out of the ordinary. All things considered, the lens is a top performer.

Canon RF 35mm F1.4L VCM: Sample Images

England and its West Country is notorious for rainy days. For the limited time that I had the RF 35mm lens, it actually rained pretty much all day, every day. No worries, the following gallery of example shots demonstrate the clarity and all-round image quality that the lens can deliver, even under very gloomy skies and indoors, shot in the historic city of Bath and its indoor Guildhall Market.

Canon RF 35mm F1.4L VCM: Lab Results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Sharpness at wide apertures is spectacular, easing ahead of the older EF lens. Levels of sharpness are also highly impressive from the center of the image frame right out to the extreme edges and corners. It remains excellent through almost the entire aperture range, only dropping off at the narrowest apertures due to diffraction.

Fringing:

Both axial and lateral chromatic aberrations are very minimal. It’s another facet of image quality where the lens does really well.

Distortion: -4.97

Barrel distortion is very much worse than with the older EF lens. Like many other lenses designed for mirrorless cameras, this one relies on automatic in-camera correction, which can’t be switched off in the camera body’s menu.

Canon RF 35mm F1.4L VCM: Verdict

I think that the Canon RF 35mm F1.4L VCM is destined to become an instant classic. It’s equally perfect for both stills and video, taking full advantage of Canon’s top-flight range of EOS R system cameras. Handling is sublime with a customizable control ring and function button. It’s a shame that the dedicated stepless aperture ring doesn’t work for stills photography when using all but the newest cameras, but hopefully firmware updates will take care of that. The autofocus system is superb and image quality is stunning. It’s a real winner.

Alternatives

AstrHori has made a name for itself as a Chinese manufacturer of budget-friendly lenses and a few accessories including mount adapters, filters and macro focusing rails. Some of the company’s lenses are pretty extreme, like the AstrHori 25mm F2.8 Macro 2.0x-5.0x and AstrHori 18mm F8 2x Periscope Probe Macro, both of which go beyond the usual 1.0x magnification of typical macro lenses. Indeed, nearly all autofocus macro lenses top out 1.0x maximum magnification, although the Canon RF 100mm F2.8L Macro IS USM is a notable exception, stretching to 1.4x magnification. Like the other two AstrHori lenses I’ve just mentioned, the 120mm F2.8 Macro 2x is a fully manual lens. You therefore get no autofocus and there are no built-in electronics for enabling aperture control from the host camera body. It therefore offers a very hands-on shooting experience but, for macro photography, that’s no bad thing and the lens aims to take on some of the best macro lenses on the market, but at a cutdown price.

AstrHori 120mm F2.8 Macro 2x: Specifications

AstrHori 120mm F2.8 Macro 2x: Price

Launched in the summer of 2024, the full-frame compatible AstrHori 120mm F2.8 Macro 2x is available in a wide range of mount options, including Canon EF & RF, L-mount, Nikon Z and Sony E (FE). Naturally, creating a variety of mount options is a lot easier when you’re making a ‘dumb lens’ with no autofocus nor built-in electronics. It never hurts to spread the net with a few options. The lens sells for around $369/£369. Again, the fully manual nature of the lens helps to keep the price down, and it’s very much less expensive than most autofocus macro lenses.

AstrHori 120mm F2.8 Macro 2x: Design & Handling

Most dedicated macro prime lenses have a focal length of around 90mm to 105mm, so the AstrHori 120mm F2.8 Macro 2x is longer than most. It’s physically quite long as well, measuring 77x165mm and weighing in at a hefty 930g, but the physical length of the lens doesn’t extend as you focus down from infinity to the shortest object distance of 30cm, or about a foot. The net result is that you get a comfortable working distance between the front of the lens and the subject you’re shooting, equating to about 12cm / 4.7” for full 2x macro shots.

Although the physical length of the lens remains the same at all focus distances, most of the internal groups of elements kick off near the back and move towards the front as you decrease the focus distance. The effect is more exaggerated than I’ve seen in many ‘internal focus’ macro lenses. The optical path itself comprises 14 elements in 9 groups, and includes four LD (Low Dispersion) elements and three HRI (High Refractive Index) elements, the combination intending to boost clarity and minimize chromatic aberrations.

To keep your left hand busy, there are two control rings, the rearward one being the aperture ring. This operates in full f/stop steps, with no de-click option. However, the click steps are spaced quite far apart and the aperture is continuously variable, so you can choose interim values if you feel the need. Naturally, with no electronics, the aperture value can’t be communicated to the camera body, nor stored in the EXIF data of image files. The aperture diaphragm itself is particularly well-rounded, based on 13 curved blades.

Just to the rear of the focus ring is a rank of depth of field markers for apertures of f/4, 8, 11 and 22. They can come in useful for general shooting but are of little benefit for macro photography, where pinpoint accuracy for focusing is the order of the day.

Up next is the focus control ring itself, which has markings for focus distance in feet and meters, as well as for magnification factor. It’s neat for providing a ready reference, for example showing that 1.0x macro magnification is attained at a focus distances of 0.35m / 1.15ft and that full 2.0x magnification is at 0.3m / 0.98ft. The focus ring works fairly smoothly and with good tactile feedback but the sliding mechanism for the internal groups of elements was clearly audible in my review sample. A bigger problem is that while the overall rotation of the focus ring is reasonably generous at 120 degrees, only a very small portion of this is given to longer focus distances of between 0.5m and infinity. The upshot is that manual focusing for macro shooting is reasonably easy but it can be difficult to adjust focus accurately for medium to long range shooting.

The lens has a 72mm filter attachment thread and is supplied with a regular clip-on front cap, but no hood is supplied with the lens. What it does feature is six screw holes around the front of the barrel, which you can use for attaching macro lights for effectively illuminating close-up subjects.

AstrHori 120mm F2.8 Macro 2x: Performance

I often find that autofocus macro lenses are more than just one-trick ponies. They can also work very well for portraiture and for any other scenario in which I need a short telephoto lens with a reasonably fast aperture rating. The difficulty in focusing for anything other than extreme close-ups makes the AstrHori 120mm F2.8 Macro 2x perform much more like a specialist macro lens, suited to just one purpose. Maybe that’s the reason it’s not supplied with a hood.

Image quality between 1.0x and 2.0x has a lot to do with your focusing accuracy and macro shooting technique, rather than just being about the quality of the lens. Testing it on a Sony A7 II, I found that the focus peaking aid was of little use for macro shots, where the degree of precision required is too great. I had more success with the magnified preview option, which is available by default or via custom settings in the Live View mode of most cameras.

You can generally get IBIS (In-Body Image Stabilization) to work for this and other ‘dumb lenses’ by dialing their focal length and sometimes their aperture into the camera. Either way, image stabilization can be of very limited effectiveness at 1.0x macro magnification, even less so at 2.0x. I got the best hit rate by using the time-honored combination of a tripod and remote controller, while the very short duration of the pulse of light from a flashgun or studio flash head can help effectively freeze any motion. For medium to long-distance shooting, I found the sharpness of this lens to be merely adequate at most apertures, and disappointing at f/4 and f/5.6. That’s borne out by out lab-test results but, for really close-range shooting, sharpness seemed rather better.

AstrHori 120mm F2.8 Macro 2x: Sample Images

The sample images in the following gallery are macro shots taken at or near the minimum focus distance, using bounced flash as a light source. The subject matter includes the face of a wristwatch, the inner workings of a fob watch, colored pencils, the shutter speed control dial of a Nikon Z fc camera, a garden flower (Japanese Anemone), standard sized text from an inkjet printer on plain paper and models of a motorcycle and medieval knight on horseback.

AstrHori 120mm F2.8 Macro 2x: Lab Results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

At the regular object distances required for shooting test charts, our lab results reveal mediocre sharpness at most aperture settings, and poor performance at f/4 and f/5.6. In real-world shooting at really close focus distances for macro photography, I found sharpness to be rather better.

Fringing:

The lens does well to keep color fringing to a minimum, right across the image frame and throughout the aperture range.

Distortion: 0.92

There’s a little pincushion distortion which can’t be taken care of by automatic in-camera correction, due to the lack of electronic communication, but it’s generally not enough to be noticeable.

AstrHori 120mm F2.8 Macro 2x: Verdict

I like that the AstrHori 120mm F2.8 Macro 2x gives such immense 2x magnification and can genuinely reveal tiny levels of detail that are invisible to the naked eye. Care and patience are required to get the best results, particularly in relation to accurate focusing, but that can pay off in terms of very pleasing image quality. I feel that the lens is rather less useful as a short telephoto prime for general shooting but that’s only to be expected from what is a somewhat specialist macro lens, and at a very reasonable price.

Alternatives

For years Tamron's 90mm macro lenses have received many accolades from DSLR users and film photographers, and at long last this fantastic lens has now come to the world of mirrorless.  

Tamron has announced the new Tamron 90mm f/2.8 Di III VXD Macro designed specifically for Sony E- and Nikon Z-mount mirrorless camera systems. This highly anticipated full-frame lens is said to deliver outstanding performance for portrait and macro photography, offering photographers a versatile tool for capturing everything from lifelike close-ups to beautifully composed portraits. 

Tamron is currently celebrating the 45th anniversary of Tamron’s original 90mm macro lens, originally introduced in 1979, and this latest iteration maintains the legacy of high optical performance with cutting-edge features. 

One of the lens's key features is its 1:1 maximum magnification ratio and a minimum focusing distance of just 9.1 inches, making it ideal for detailed close-up shots.

Sample Images

This lens stands out as the first in Tamron’s lineup to feature a 12-blade circular diaphragm, producing smooth, rounded bokeh and creating impressive starburst effects when stopped down. 

Weighing only 1.4 lbs and measuring 5 inches long, the lens is both compact and lightweight, allowing for comfortable handheld shooting during extended sessions. This compact design ensures portability without sacrificing performance, making it an excellent choice for photographers on the go.

At the heart of this lens is Tamron's VXD (Voice-coil eXtreme-torque Drive) motor, which offers quiet and precise autofocus performance. Ideal for both photography and video work, the VXD system also includes a focus limiter switch, preventing unnecessary focus hunting and allowing for more efficient shooting in challenging conditions. This combination of advanced autofocus features makes the lens well-suited for capturing fast-moving subjects while maintaining exceptional sharpness and detail.

This new 90mm f/2.8 Di III VXD Macro lens also includes a newly designed lens hood with a sliding window, allowing photographers to rotate polarizing filters with ease without needing to remove the hood. Additionally, it is compatible with Tamron’s lens utility software, which allows users to customize lens settings and update firmware for enhanced functionality. This attention to both hardware and software ensures a seamless, user-friendly experience for all photographers.

By filling a focal length gap in their mirrorless lineup, this lens offers photographers the chance to explore new creative possibilities. From portraiture to macro photography, the new Tamron 90mm f/2.8 Di III VXD Macro is set to become a standout option for both professionals and enthusiasts alike.

This new lens is only available in Nikon Z-mount or Sony E-Mount currently and can be pre-ordered from B&H for $699  or at Wex Photo Video for £599.

In this issue's lead feature, Getty Images’ editorial photographer Leon Neal shares 22 hand-picked tips for reportage and news photography, so you can learn to shoot the types of images that make the headlines. 

Meanwhile, our apprentice learns how to capture larger-than-life images of insects with award-winning macro maestro Tony North, creating creative close-ups of dragonflies and damselflies in the wild.

Back in October 2017, we unveiled the brand-new Nikon D850, still regarded as the finest DSLR ever made. But times have changed; the D850 is still on sale, but Nikon has since fully embraced mirrorless with its groundbreaking Z-series range and, to that end, in this issue’s Big Test we evaluate all 10 current models. 

N-Photo interviewee Agorastos Papatsanis proves to be a fun guy, as he tells how he cooked up a career shooting mushrooms and fungi. And barge-dweller Tracey Welch tells of her photo assignment to document the characters who live out their lives on Britain’s waterways.

Plus there's our usual mix of shooting and photo-editing projects for you to try your hand at. 

N-Photo: The Nikon Magazine is a monthly magazine that's written by Nikon enthusiasts for Nikon enthusiasts, you can be sure that all the content is 100% relevant to you! So for the best Nikon-focused news, reviews, projects, and a whole lot more, rush down to your local newsagent to pick up your copy of N-Photo today!

Tamron has been knocking it out of the park with its recent lens releases, and thanks to a leak, we now have information about a brand-new macro lens.

According to the leaked press release which has appeared on many camera rumor sites (including SonyAlphaRumors), the Tamron 90mm f/2.8 Di III VXD 1:1 Macro lens will be officially launched later this week, with Tamron stating that its 'legendary 90mm macro is reborn for mirrorless'. The lens will be available for full-frame Sony E and Nikon Z mounts and hosts impressive features to rival most macro lenses.

The 90mm f/2.8 will feature Tamron's first 12-blade aperture diaphragm enabling users to capture circular bokeh and minimal vignetting when using the lens for macro. Tamron states that the 12-blade design creates 12 rays for stunning starburst effects when stopped down, making it ideal for dramatic images with point light sources.

The lens has been ergonomically designed to be held in the palm for an extended amount of time, measuring just 126.5mm long and weighing 630g, it is considerably compact for a 90mm f/2.8 macro lens.

Tamron lenses have recently been praised for quick and efficient AF and this lens looks to follow suit with the addition of a focus limiter that can restrict the AF coverage. This may sound counter-intuitive however, when you are focusing on a stable subject with a macro lens, it prevents the AF from hunting the lens range of focus enabling quicker adjustments.

Manual focus is still an option, and a preference for some when shooting macro, and the rotational torque of the focus ring has been calibrated to assist with precise manual adjustments.

Other notable features include a new hood design with a sliding window for filter adjustments, compatibility with Tamron Lens Utility software enabling users to further fine-tune lens settings, and a minimum focusing distance of just 0.23m.

From what we've seen, the Tamron 90mm f/2.8 Di III VXD 1:1 Macro lens will be priced at just $699 / £525 – $400 less than Sony's 90mm macro equivalent.

The original Tamron 90mm macro lens was a fan favorite among users, and this lens has the potential to be the same, especially at such an attractive price!

It is also worth noting, that although the leaked information and images appear to be taken from an official Tamron press release, no official announcement has yet taken place.

You may be interested in our guides to the best Sony lenses, the best Nikon lenses, and the best macro lenses.

Innovative lens-maker 7Artisans has unveiled a 60mm f/2.8 macro lens that can capture images up to 2x life-size, enabling incredibly detailed close-ups at double the resolution of a standard macro lens. 

With a maximum 2x magnification ratio, it enlarges the tiniest details to reveal a staggering amount of detail that is impossible to see with the naked eye. And as a full-frame-compatible lens, it makes the most of the greater light-gathering capabilities of the latest mirrorless cameras, such as the Nikon Z6 III, Canon EOS R6 or Sony Alpha 7C II. 

The manual focus lens features markings on the lens barrel to show the depth of field through its f/2.8 to f/22 aperture range. It has been constructed from 14 elements in 12 groups, including two Extra-low Dispersion (ED) and two High-Refractive elements to effectively suppress chromatic aberration and deliver exceptional image quality while providing accurate color reproduction. This optical design also helps reduce edge distortion and other aberrations.

With a 0.17m minimum focus distance, as measured from the focal plane, the lens enables photographers to get incredibly close to subjects, but unlike some ultra-macro lenses, it is also capable of focusing all the way to infinity, where its 60mm focal length makes it ideal as an everyday standard prime. The bright f/2.8 aperture and full-frame compatibility, in combination with its nine aperture blades, enable backgrounds to be blown out to create beautiful bokeh, making it double as a fabulous choice as a portrait lens.

The lens barrel has an all-metal construction for enhanced durability, yet it's pretty lightweight at just 550g. A 67mm thread enables the attachment of filters. 

The 7Artisans 60mm f/2.8 Full-frame 2X Ultra-Macro joins such oddities as the incredibly fast 7Artisans 50mm f/1.05 nifty fifty or 7Artisans 10mm f/2.8 fisheye, which surely makes the company one of the most diverse and experimental lens makers out there.

The new lens is available in Canon RF, Nikon Z and Sony E mounts and has a recommended price of $335.

Check out our guide to the best macro lenses

We've been fans of the Leica Q3, or in fact the Q-series of full-frame compact cameras, for a while. But what could be next? Lots of users online have said they  wish Leica would produce a 50mm lens equivalent of the very popular 28mm f/1.7 Summilux found on the Leica Q3, Q2, and the original Q.

The rumors mills started churning a few weeks ago saying that Leica could launch a Q3 with a 40mm lens. Then Leica Rumors and others on the social media platform Threads late last week were hinting that this Leica Q3 43 is real, sharing what looked like official marketing material.

Now there has been no official word from Leica, nor should we expect one until the company is ready to announce this apparent camera, but I must admit these "official" looking slides do showcase the camera off rather well, which does suggest that this new Q3 variant could soon be announced to the word.

Included in these slides is a list of the anticipated specs for this new Leica marvel which as we expected, are just the same as the Leica Q3 - but of course, there is one key factor that sets this camera apart.

This new Leica Q3 43 (if that's going to be its official name) is a 43mm APO-Summicron f/2 ASPH fixed lens incorporating the handy macro mode as seen in all Q-Seires cameras.

Another feature that is said to be "new" is that this Q3 43 will be a new color and feature a grey leatherette panel – a textured grip that would be a new feature to the Q range.

Taking a look at this new camera, the new 43mm lens does look a little bulky when you compare it to the 28mm equivalent, and while it might seem front-heavy in the images, the 43mm focal length is said to be the rough equivalent of what your eyes see. At least that's what the marketing angle Leica is going with on this Leica Q3 43 - although we have all be told for years this is what a standard 50mm is designed to give us.

What I will say though is I have used the Leica Q, and the Leica Q2, while also really enjoying the Leica Q2 Reporter I always wanted the 28mm lens to be longer, rather than having to either crop in later or use the 50mm built-in "zoom" on the Q2, so I openly welcome a higher Q-series camera to the Leica family.

While we have no official stats from Leica it has been reported via Leica Rumors that we could have an announcement as early as September 26. Until then we will have to take these rumors with a big pinch of salt!

Check out our guide to the best full-frame compact cameras

Ever noticed a symbol that looks like a zero with a slash through it on the top plate of your camera? This often-ignored icon lines up precisely with the focal plane – essentially the surface of a digital camera's image sensor, or a film camera's film cell – and is your point of reference for measuring focus distance, no matter what focal length you're using. 

Some lenses – particularly vintage lenses – feature focus distance markings on the focusing ring. Match up the right marking with an object at the same distance and it'll be in focus. However, where do you measure from – the front element of your lens? Nope. The rear element? Nah. The lens mount? Try again… 

It's actually the front surface of the digital sensor or film cell. So, camera manufacturers like to give you a helping hand by including a handy little focal plane mark as a point of reference. Go ahead, check your Nikon Z6 III, Fujifilm X-T5, Canon EOS R6 Mark II or Sony A7 IV – they all have one. 

Now, if autofocus made the focal plane mark redundant, you'd assume that a combination of live view, EVFs and focus peaking would have finished it off with a suplex. After all, plenty of modern lenses have ditched focus ring markings altogether. But there are a few applications where the focal plane mark still comes in handy, even today. 

Many macro photographers still swear by manual focus and, while it's by no means a necessity, the focal plane mark still has its uses here. For example, you may use it to precisely measure your macro lens’ minimum focus distance.

It's also useful for pre-focusing. If you set up a camera on a tripod to photograph, say, garden birds on a bird table, measuring from the focal plane mark to the center of the bird table and focusing your lens accordingly would provide you with a good ballpark for capturing sharp visitors. 

And of course, the recent boom in film cameras means that the focal plane mark is definitely worth being aware of if you own a manual-focus-only body. 

But there's one area of image-making where the focal plane mark is readily used to this day: filmmaking. You see, manual focus is still very much a filmmaking staple. Higher-end productions employ dedicated focus pullers, whose job solely revolves around manually focusing cinema cameras. And they often measure the focus distance and focus the lens accordingly.

Skilled focus pullers get very good at gauging focus distance by eye, but nothing beats using the focal plane mark for ultimate precision. Rather handily, some cinema cameras such as the Canon EOS C500 Mark II (above) have a focal plane mark, which protrudes from the camera. This not only provides a reference for measurements, but can be hooked onto the end of a tape measure for speedy manual readings.

So there you have it. You might not ever need to use the archaic focal plane mark on your camera, unless you're an avid macro photographer, film camera buff or professional focus puller. But now you know what it is and why it's there.

You might be interested in the best cameras for filmmaking, as well as the best cine lenses.  

One of my favorite things about owning an interchangeable lens system is that I can simply swap over lenses when I need to shoot wider, more zoomed-in, or macro and close-up depending on the specific subject matter I’m shooting and what I’m trying to achieve creatively. While superzoom lenses such as 18-300mm exist and bring many focal length options into a single lens, they simply don’t cut it for professionals who need both razor-sharp glass and super-fast apertures too. 

When taking photos of fast-paced events, sports, or weddings however you rarely have the time to switch your lenses and that’s where a double camera harness can be a game-changer. Important aspects to look for in a good dual camera harness are first and foremost security - you want to be able to trust that your pride and joy aren’t suddenly going to go crashing into the ground. Secondly, there's comfort: if you’re shooting for a whole day with two heavy cameras loaded up, you’ll need decent padding to save your shoulders.

I recently got hold of both BlackRapid’s Double Breathe and Blackline II dual camera harnesses to test them out. On face value they look very similar - they’re both dual camera harnesses that allow you to carry two systems with different lenses attached, making them a good fit for weddings and events. The Blackline II however is a third more expensive, so I was keen to put it through its paces and find out if it’s really 33% better!

Specifications

Price: $199 / £199
Size: One size fits all
Colours: Black
Features: 2x Locking Swivel Carabiner ConnectR CR-3
Includes: 1 x CoupleR II; 2 x Nylon-Coated FastenR FR-5 (1⁄4-20”); 2 x Lockstar II; 2 x Camera Safety Tether II
Shoulder Pad material: Highly breathable Polyester Mesh, TPE (Thermoplastic Elastomer) Foam and Polyester Air Mesh
Shoulder Pad Size: Length: 16ʺ (40.5 cm); Width: 2.2ʺ – 3.7ʺ (5.5 cm – 9.5 cm); Thickness: 5mm
Webbing: 100% Nylon; Webbing Width: 1ʺ (2.5 cm)
Adjustable Strap, Maximum Length: 63ʺ (160 cm)
Weight: 11.6 oz / 45.3g

Features

I’ve recently reviewed BlackRapid’s Sport Breathe, Blackline I and Double Breathe camera straps, and following suit the Blackline II harness uses the exact same mounting system that I’ve raved about in those other reviews. 

It uses a ConnectR and FastenR system to secure your camera to a metal carabiner, this is then secured with a spring-loaded metal piece on the carabiner, and the LockStar Gate is clipped shut to stop it from being accidentally opened - the LockStar Gate can also only be closed in place with the carabiner fully secured and locked down for added security, you do this for both cameras on either side of you. Many of these security features are patented too, so you'll only find them on BlackRapid products.

For even more peace of mind, the Blackline II comes with two safety tethers which can be lashed to each carabiner and then to the strap lug on your camera for another point of camera and a failsafe should the main connection fail, though in our testing everything felt totally rock-solid and we never felt like it would be needed, though it’s nice to have nonetheless.

The camera straps on your left and right are both height adjustable so you can get them hanging precisely where you need them to be within easy grasp which you need to quickly grab one and start shooting. Unlike the Double Breathe harness however, there’s no Slim model, though it has to be said the shoulder pads are already a little slimmer than the Double Breathe and its padding is softer, so perhaps this isn’t needed as much here.

As with the Sport Breathe, Blackline I, and Double Breathe that I’ve previously reviewed, the Blackline II has front and rear bumpers on both left and right straps. These can be adjusted with just one hand to limit or expand the area of travel the carabiner with your attached camera can travel along. 

The rear bumper acts as a good backstop to stop it moving too far back out of reach, while the front bumper is great for those times you need to lean forward to adjust a lightstand or bend over to pick something up, as the front bumper can be slid down to prevent your camera from coming hurtling forward.

Performance

The Blackline II put in a solid performance by being constructed from high-quality materials and parts patented by BlackRapid. The FR-5 FastenR is metal but nylon coated for a premium feel and has a 3mm thick rubber disc to help you add just the right amount of tension when screwing it into your camera’s tripod mount port or lens foot. The metal carabiner feels high quality too and screws down to secure it in place, with the LockStar II gate then shutting to keep it from opening accidentally and keeping your kit safe.

One big difference between the Blackline II and the Double Breathe is that, as the name suggests, it has an all-black design. The Double Breathe has a bright white logo on the front right shoulder pad and a shiny metal buckle on the back too, whereas the Blackline II is dressed more like a ninja with all-black plastic buckles and a blacked-out rubber logo on the front too. This makes it much more nondescript and makes it easier to blend in, whether you’re wearing a tuxedo at a wedding, or just want to keep a low profile while shooting street photography.

Another noticeable upgrade from the Double Breathe is the Blackline II has slightly smaller yet more comfortable padding and larger ventilation holes too for ‘ultra’ breathability. I found this to be notably more comfortable as it molded to the contours of my shoulders a little better.

Both the back and chest straps have an elasticated piece of material in them so they move with your body a little and there’s some give which increases comfort. When using mirrorless camera bodies loaded up with lightweight primes or small zoom lenses you hardly notice you’re wearing it as the strain is on your shoulders rather than your neck. However, load them up with heavier DSLRs and big telephoto lenses and you’ll inevitably start to feel the strain a bit sooner.

We had full faith that the Blackline II could handle the weight of whatever we could throw at it. It’s a solid bit of kit with sturdy metal carabiners and attachment points that give you plenty of peace of mind. The carabiners also glide like butter over the nylon straps so you can effortlessly raise your camera up to eye level to take a shot and never get in the way.

Verdict

Alongside this harness, I’ve recently reviewed BlackRapid’s Sport Breathe and Blackline I slings as well as the Double Breathe Harness, and while I’ve been thoroughly impressed with all four products, in my opinion, this is the best camera harness to go for. It has a fully blacked-out design which makes it more nondescript and better padding too.

The padded shoulders are softer and also a little smaller than the Double Breathe, so this will potentially be a better fit for women and people of smaller stature without the need for a slim model (like the Double Breathe). Plus, it shares many of the great features of the other straps I’ve mentioned, such as the FastenR and LockStar Gate to keep your camera secured to each strap, in addition to an extra safety strap and bumpers to limit the travel of your camera.

Okay, it might not have the bougie style of a leather (or faux leather) strap, but it prioritizes substance over style with this reliable and solid harness, and for what it’s worth I think the all-black design looks pretty good! The shoulder pads can also be separated and you can use just one as a cross-body sling for those times when you just want to shoot with one camera which adds to its value too.

Another year, another flagship GoPro Hero Black camera. But with much of the specs sheet reading the same as the previous generation, it's unsurprising to hear many out there arguing that we might have hit peak action camera in the last few years.

GoPro obviously still believes there is space to grow, and this year's model, the GoPro Hero13 Black, does come with a whole heap of new features and upgrades, including new lenses, accessories, a new battery pack, and an awesome new slow-mo mode.

But is there enough to tempt new users, or existing users to upgrade? And with the GoPro Hero12 Black frequently discounted, how do you decide between the two? I am here to guide you through how the two cameras compare and help you pick the right one for you. Let's dive in...

Lenses

GoPro Hero13 Black: HB-Series lenses (Ultra-wide, Macro, ND Filters, Anamorphic)
GoPro Hero12 Black: Max Lens Mod 2.0

The Hero13 Black is all about lenses, with four new ones to play with including an Ultra-wide lens for up to a 177º field of view, a Macro lens for close focusing to 4.33in/11cm, ND filters to slow the shutter speed for more creative blur in videos, and an anamorphic lens (on the way in 2025) for a cinematic look to footage straight out of the camera.

These lenses also have a clever trick where the Hero13 Black can detect what lens is attached to the camera and adjusts all the settings automatically for optimal footage – especially important for the ND filters where the camera can guide you through which is the best of the four strengths of filter based on the light available.

The Hero12 Black only has one lens – the Max Lens Mod 2.0, which is equivalent to the HB Ultra-wide lens, although lacks any of the auto recognition smarts. Unfortunately, none of the HB series of lenses are backward-compatible with the Hero12, but the Max Lens Mod 2.0 is compatible with the Hero13 Black, however, settings will have to be dialed in manually.

If the possibilities of what the HB series of lenses could do for your footage has you intrigued then it's a straightforward pick of the Hero13 Black, however, even if you aren't sold on lenses right now, might you be in the future? The Hero13 Black might be a way to future-proof yourself.

Video Specs

GoPro Hero13 Black: 5.3K/60, 4K/120, 720p/400 Burst Mode
GoPro Hero12 Black: 5.3K/60, 4K/120

Unless you are into very very slow footage then there isn't much to separate the two Heros when it comes to video specs. Both cameras share the same sensor, and the top output for both is 5.3K/60 or 4K/120 (although a huge range of options are available). Otherwise, available aspect ratios are the same, and most features like Hindsight and 24.7MP frame grabs are found on both models. A slight advantage for HDR fans – the Hero13 does feature the latest HLG HDR video, which can give even more detailed highs and lows.

Slow-mo is the biggest difference between the two. It all comes down to a new burst speed mode on the Hero13 Black which allows you to shoot for up to 15 seconds in a huge 400fps in 720p, 360fps in 900p – or even 120fps for 5 seconds in 5.3K. If you film a lot of super slow motion, then this might be an essential new tool.

But, how interested you are in the HB Series of lenses might be the key differentiator between which one to buy. The new lenses offer an opportunity to get creative that you don't get with the Hero12 Black – new options like the anamorphic lens should provide cinematic footage that you'd expect to get from far more expensive lenses, or the ND filters can create more cinematic blur with slower shutter speeds whilst maintaining HyperSmooth stabilization.

Photo specs

GoPro Hero13 Black: 27MP
GoPro Hero12 Black: 27MP

As standard, the GoPro Hero13 Black offers the same imaging experience as the Hero12, with both cameras featuring the same sensor, generating 27MP photos in standard, SuperPhoto, or RAW formats.

But alas, it again comes down to lenses – the new HB-Series of lenses offer new opportunities to take better shots and are only compatible with the Hero13.

The new macro lens gets closer than what is possible with the standard lens on either camera, which has always been a GoPro weak point. The lens, while not a true macro, offers focus up to 4.33in/0.11m versus the standard lens’ 12in/0.31m. The lens also has a manual focus ring and highlight peaking for ultimate focus precision. The longer throw of the macro lens also works to improve subject separation to make the photos look more like they were taken on a larger camera without resorting to any AI trickery.

When it comes to ultra-wide shots, it's a little closer between the two, with the GoPro MaxMod 2.0 going head to head with the HB Ultra-wide, both have a field of view (FOV) of 177° and not much else to separate them. The ND filters offer new opportunities for long exposures like light painting and star trails.

Stabilization

GoPro Hero13 Black: HyperSmooth 6
GoPro Hero12 Black: HyperSmooth 6

Both the Hero 13 Black and Hero 12 Black use GoPro's Hypersmooth 6.0 stabilization, or can access Hypersmooth Pro with a subscription to GoPro’s Premium+ service. So not much to separate them here.

Power

GoPro Hero13 Black: 1900mAh Enduro Battery, Contacto Battery Door
GoPro Hero12 Black: 1720mAh Enduro Battery

For the Hero13 Black, GoPro has both resigned the thermals inside the camera and included a 1900mAh capacity battery, which is a 10% bigger capacity. These combined mean the Hero13 can record in 5.3k30p for around an hour and a half and 1080p for around two and a half hours in good conditions, however, both figures are with GPS turned off.

The average battery life improvement over the Hero12 with airflow is 13.5%, while in situations with no airflow, the improvement is an even greater 26.7%. Generally, the biggest improvements are found with the highest frame rates, so for anyone who really likes to push their GoPro to its limits, you should find the Hero13 goes for longer.

The Hero13 Black can also be used with the new Contacto battery door and magnetic cable for MagSafe-style charging and continuous power either from a power bank or DC supply. The cable is fully waterproofed, even for continuous power while submerged (although the power supply should remain somewhere dry). This is a simpler and more elegant solution than the optional USB-C pass-through on the Hero12. The downside – the Contacto kit is an expensive add-on at $79.99.

Mounting

GoPro Hero13 Black: Fold-down finger mount, Magnetic latch mount, 1/4-20 thread
GoPro Hero12 Black: Fold-down finger mount

Both cameras have GoPro's built-in mounting fingers that flick down from the base of the camera to mount securely onto accessories.

However, the Hero 13 also has a new optional magnetic latch mount for quick and easy snap-on and off accessories like the new magnetic ball mount. There is also a 1/4-20 thread in the base of the Hero13 for mounting on tripods or gimbals that use this common connection.

An easy win for the new model.

Connectivity

GoPro Hero13 Black: WiFi 6, GPS, Bluetooth Audio
GoPro Hero12 Black: WiFi 5, Bluetooth Audio

Both cameras work alongside the GoPro Quik app for offloading content to your other devices, but the Hero13 Black adds WiFi 6, which offers four times faster transfer speeds than the WiFi 5 found in the Hero12. If your shoots demand fast turnarounds then this can make a big difference to your workflow.

Both cameras also feature Bluetooth microphone compatibility, which can connect to any microphone with Bluetooth – including the microphones in Apple's AirPods. However, the Hero13 adds audio tuning which can set audio recording to a standard ambient pickup, or isolate your voice.

Finally, after its strange omission in the Hero12, GPS has made a comeback in the Hero13, with optional overlays of location and telemetry data on videos to make them more immersive and contextual. If you are the type of person who likes to geotag all your content or does a lot of high-speed action, the latest model is your best bet.

Price

GoPro Hero13 Black: $399.99 launch price
GoPro Hero12 Black: $399.99 launch price

There is no change in the launch price of the Hero13 Black, although you can now find regular deals on the Hero12 Black for around $100-150 off, which makes the older model much more of a bargain.

The big selling points of the Hero13 Black are also all additional extras, which can jack up the price significantly. The lenses range from $69.99 to $129.99 each, the Contacto battery door is $79.99, the magnetic latch mount is $24.99, and a magnetic ball joint mount is $39.99. So you easily rack up the costs if you get carried away.

Conclusion

Based on the camera alone, it is really hard to separate the Hero13 Black and Hero12 Black. GoPro hasn't made any revolutionary changes inside the camera where I can say that the Hero13 Black is definitively better, with minor updates like WiFi 6 or the new high frame rate burst mode, being quite niche updates for only people who really need them.

The choice comes down to how interested you are in GoPro's new ecosystem of lenses and accessories, and how much additional money you are willing to spend beyond the purchase of the camera itself. Although you of course don't have to get it all on day one, and the Hero13 Black will be more future-proof for adding lenses and accessories later down the line.

TTArtisan has just unveiled its third 100mm f/2.8 lens in 12 months... and this time the focus purely on macro photography. 

Earlier this year, we saw the Chinese lens specialist bring out a similar lens which had additional shift functionality. And last year, we saw a 'Bubble' 100mm which specialized on its bokeh performance.

The new manual focus macro lens is available in an impressive range of DSLR and mirrorless camera mounts. There are options for Sony E, Nikon Z, Nikon F, Canon EF, Canon R, Fujfilm X, and Leica L mounts. A Fujfilm GFX version is also being sold - although we are warned that this will create vignetting at the higher magnifications.

The 100mm lens provides up to 2x life-size magnification - with a close focusing distance of 0.25m. 

The lens is constructed from 14 elements in 10 groups - including six high index elements. The diaphragm has 12 blades, and at the front there is a 67mm filter ring. The metal-bodied lens weighs between 700 and 750g, depending on the mount chosen.

The telephoto macro lens is especially useful for extreme close-ups of insects and the like - but the focal length means it can also prove an effective portrait lens.

TTArtisan 100mm F/2.8 2X Ultra Macro will sell for $319.

Check out our guide to the best macro lenses currently on sale

Tamron is launching a Nikon Z version of its 50-400mm f/4.5-6.3 Di III VC VXD superzoom. The full-frame mirrorless lens was launched in Sony FE mount in 2022, and this 8x zoom will now become Tamron's fifth lens available in the Nikon Z mount.

The lens is unusual as it dramatically increases the range of the established 100-400mm range twofold - turning a telephoto zoom into an all-in-one superzoom that can be used for a wider range of subjects than just sports and wildlife. 

Furthermore, the lens offers closer focusing than you might expect from a lens of this type - offering a 1:2 magnification at the 50mm end, making it a useful substitute for a true macro lens. The minimum focus setting is just 0.25m (9.8in) at this setting - whilst at 400mm you can focus down to 1.5m (59in), with a 1:4 maximum magnification.

In our Tamron 50-400mm f/4.5-6.3 Di III VC VXD review we noted that "For action, sports and wildlife photography when you need to swap between a standard field of view and serious telephoto reach for different compositions, there’s always the risk of missing a great shot while you’re changing the lens on your camera body. This  solves the problem with its unusual 50-400mm zoom range, giving you both options in one package. It’s quite weighty for standard focal length shooting, at more than a kilogram, but has refined handling, fast autofocus, and effective optical stabilization".

The image-stabilized lens is constructed from 24 elements in 18 groups - including two XLD (eXtra Low Dispersion), three LD (Low Dispersion), one GM (Glass Molded Aspherical), and one Hybrid Aspherical lens elements. The lens weighs 1,180g (41.6oz).

The iris diaphragm uses nine blades, and it has a 67mm front filter ring. There is a connector port for use with Tamron's Lens Utility that allows you to update firmware and to implement a Focus Limiter function.

Existing Nikon Z-mount Tamron lenses include the 28-75mm f/2.8 Di III VXD G2, 70-300mm f/4.5-6.3 Di III RXD, 35-150mm f/2-2.8 Di III VXD, and 150-500mm f/5-6.7 Di III VC VXD.

The Tamron 50-400mm f/4.5-6.3 Di III VC VXD will go on sale from September 19 for $1,299/£1,249, and comes supplied with a flower-shaped lens hood. An Arca-Swiss compatible tripod collar is sold as an optional extra for $129/£109.

The Beijing International Radio, TV & Film Equipment Exhibition (BIRTV) is one of the most significant events dedicated to the broadcasting, film, and TV industries in Asia. Laowa was among the brands showcasing new equipment including many exciting new cine lenses, including macro, anamorphic, and tilt-shift options!

Laowa has been releasing some incredible cine lens options of late, and much like its range of photography lenses, covers just about every shooting scenario imaginable. At this year's BIRTV not less than 6 cine lens ranges were on display, including some exciting new offerings.

According to Asobinet, Laowa's new, and to the best of my knowledge first, Ultima 12-120mm 10X S35 Broadcast lens was on show, and although not much is known about the release of the lens, there are a few features that look to impress.

Laowa states that the 10X zoom range lens offers an 'excellent optical design' with 28 lenses in 20 groups, and is ideal for 8K broadcast cameras, especially as it is Equipped with a server and can be connected to a channel system.

Also showcased was the 'soon-to-be-released' Laowa Sword series of full-frame macro cine lenses. The series will feature 6 lenses covering a focal range of 15mm to 180mm, with a maximum magnification of 1X to 2X.

Multiple ED lenses are included to suppress chromatic aberration and a large aperture of T2.9 enables 'excellent' low light performance. Again, there is no further information regarding when these lenses might be available, but I expect later this year.

Laowa is renowned for creating unique lenses, and it certainly maintains this mantle by providing a look at its upcoming tilt-shift cinema lenses. Tilt-shift lenses are of course very common in photography, however, I can't recall any cine-specific tilt-shift lenses.

Potentially still in production, all we know about these two lenses is the focal lengths of 15mm and 20mm, which have a T4.8 and T4.1 aperture respectively. Laowa does state that they will both have a 'unique tilt-shift function that achieves a tilt-shift of ±11mm'.

Ultra-wide prime cinema lenses, 1.5X Anamorphic Macro Cinema lenses, and the Laowa Ranger 16-30mm T2.9 FF were also on display, a statement from Laoea that it means business.

In addition to creating unique lenses, Laowa produces fantastic optical-designed glass at more often than not a competitive price point. As these new cine lenses are ready enough to show off at an event such as BIRTV, I can't imagine it will be too long before we see them released.

You may also be interested in our guides to the best cine lenses, the best cinema cameras, and the best tilt-sift lenses.

Most Apple users will have woken up with an email in their inbox announcing an event on September 09. While Apple doesn’t tell us what these events are going to focus on before the date, it's widely accepted that this one will reveal all the highly anticipated details on the iPhone 16 series.

The range will include four new models: the iPhone 16, iPhone 16 Plus, iPhone 16 Pro and the iPhone 16 Pro Max. 

Rumors about what the new series phones will look like have been circulating for months, including the introduction of iOS 18, AI smart features in the form of Apple Intelligence, and an updated Siri. 

Some of the most significant upgrades however, are in the camera department. 

Earlier this month I reported the latest rumblings about the camera button that looks to be coming to the iPhone 16 family, and now new information obtained by Apple Insider appears to confirm a wide range of exciting camera updates. 

Some of the outlet's longstanding sources have "not only confirmed these details… but added to them."

iPhone 16 and 16 Plus

The iPhone 16 and 16 Plus will keep two vertically stacked cameras on the back, as shown in many dummy units and mock ups over recent months. There will be a primary wide camera that provides a 1x and 2x zoom, and a secondary ultra-wide camera for the .5x zoom out.

The primary camera will be staying the same at 48MP, with an f/1.6 aperture and optical quality 2x telephoto capabilities. The ultra-wide camera, however, will get a faster f/2.2 aperture (over the f/2.4 it had before), enabling more light to hit the sensor and improving low-light shots.

Non-Pro models in the 16 range are expected to get a macro photography mode for the first time, usually only available on the Pro and Pro Max models.

Not many details have been released on this but, unlike the more basic iPhone 15 and iPhone 15 Plus, the current 15 Pro and Pro Max ultra-wide cameras have autofocus, enabling the lens to focus close up for sharp macro shots. This suggests that if the 16 and 16 Plus are getting macro capability, then they might also get autofocus.

iPhone 16 Pro and iPhone 16 Pro Max

The two Pro-level phones are seeing the biggest changes, while keeping their three cameras on the back – a wide camera, an ultra-wide and a telephoto.

Their primary specs will remain unchanged; a 48MP sensor complete with an f/1.78 aperture lens, capable of 12MP images (via pixel binning) up to 2x.

The addition of a new 5x telephoto lens to the Pro is the biggest change in this tier. This is the first time that the 5x unit will be available on the smaller non-Max model, and it replaces the 3x telephoto lens on the current 15 Pro.

Delivering up to four times the resolution of the current Pro models, the new model will get an all new 48MP ultra-wide camera, which will reportedly be able to switch between 24MP and 48MP modes.

Lastly, the two Pro models are also predicted to be able to support the JPEG–XL image format – which delivers smaller files than standard JPEGs at the same quality, as well as native support for HDR.

New Capture Button

The most unusual change to the new iPhone series is the addition of a special, touch sensitive camera button, which is expected to appear on all four models.

It is expected to mimic the two-stage shutter buttons on standard DSLRs and mirrorless cameras, pressing once to autofocus, and again to take the photo. The button is capacitive, meaning that your finger is needed to activate it, so you won’t get hundreds of pictures of the inside of your bag or pockets.

Sliding your finger along the button will activate the zoom function, as well as other features.

Other products expected to be announced at the September 09 event include new Watches and AirPods, but Apple Intelligence AI features aren’t expected for another month after that.

Take a look at our guides to the best iPhone for photography, the best camera phone, and the best lenses for iPhone and Android camera phones.

AI is quickly becoming present in all-new technology in one form or another, and there are many ways in which it can be utilized, it now seems artificial intelligence has made its way to the youngest generation toys.

Leading kids camera manufacturer myFirst has just announced the myFirst Camera 50, a new camera aimed at 5-12-year-olds that includes AI features. 

myFirst has a track record of making some of the best kids' cameras on the market however its previous releases focus on photography first and foremost, with little to no bells and whistles, whereas the Camera 50 has them all.

The camera is equipped with a 20MP rear camera featuring a wide-angle lens and a 20mm macro lens, enabling the capture of wider scenes and intricate details. A new shutter has been introduced that enables half-press focusing, much like standard cameras enabling an easier experience when the inevitable step up to a more advanced camera.

In addition to the front camera, there is a selfie camera with adjustable LED lighting that offers three warm lighting modes.

The myFirst Camera 50 is super thin at just 80mm and lightweight weighing only 150g, ensuring it is manageable ergonomically for its tiny users. Constructed from PC ABS and TPU plastics it is shockproof, scratch-resistant, durable, and strong handling most drops and bumps with ease. It has a 16GB internal memory, and a microSD card slot to expand the number of stills and video you can recorded.

MyFirst states that the AI features of this camera aid with "turning everyday moments into creative masterpieces". AI assistance is used in curation and editing tools, enabling the enhancement of photographs and videos. Unlike what we may be used to in Photoshop and Luminar, to the best of my knowledge this does not mean retouching, but rather adding stickers, drawings, and voice notes.

"The AI intelligently analyses content, recognizing facial expressions, scenery, and colours, to create perfectly curated stories with minimal effort," we are told.

The design of the camera leans more towards that of a smartphone than a camera, and additional features also follow this trend. The myFirst Circle App enables kids to share their creations within a 'controlled environment', with full parental controls and added security, as this can also be used with the built-in Wi-fi.

myFirst Camera also aims to aid with children's mental health by adding a myDiary feature, which enables kids to record diary entries as a form of journaling. Also using AI to generate prompts and 'encourage self-expression'.

An AI camera for kids sounds worrying, but myFirst is billing this as a camera for a new generation of content creators. "This camera is designed to help the kids document their life and make it easier for video editing through our all new AI-assisted curation", says myFirst founder G-Yay Young. "We want to make it easier for the next generation storytellers to create content easily, share the content safely in a safe environment and express themselves with one click of a button."

The myFirst Camera 50 is available to preorder now for release on September 19, will cost $129.99 / £109 (Australian prices to be confirmed).

You may also be interested in our guides to the best kids' cameras, the best waterproof cameras, and the best selfie cameras.

Last month, Astrhori teased a new macro lens on its social media while asking for product testers. It appears the tests have now been completed as the new Astrhori 120mm f/2.8 macro lens has just been announced.

Astrhori is one of many new Chinese third-party lens manufacturers, offering budget lenses for a wide range of cameras including the market's best mirrorless cameras. Its already extensive lineup includes fish-eye, tilt shift, and macro lenses with the new 120mm release its longest focal lengthed macro to date.

The Astrhori 120mm f/2.8 macro lens is a manual focus full-frame lens, currently available for Sony E, Canon RF, Nikon Z, and L Mounts. Despite its low price point of just $369, it's packed with premium features that wouldn't look out of place next to other offerings in our guide to the best macro lenses.

The lens is constructed of 14 elements in 9 groups which is key for its large f/2.8 max aperture. The 13 aperture blades produce a more rounded diaphragm, which Astrhori states provides "balanced sharpness and attractive bokeh". The quality of the out-of-focus areas of macro lenses is a key factor as the focus plane is often much smaller.

The lens' 2X magnification enables users to capture intricate details on a 'microscopic' level, and by looking at the sample images, the proof certainly is in the pudding. Insects, plants, and product shots enable captures that are not possible with the naked eye.

Macro photographers often shoot delicate subjects or subjects that can be easily affected by too much movement or sound. The Astrhori 120mm f/2.8 macro lens has added a considered de-click function to its lens.

The macro effect is enhanced further by the long 120mm focal length coupled with a minimum focusing distance of just 0.3M. This enables sufficient image compression and a closer look at those finer details.

Unlike Astrhori's macro probe lenses, the 120mm f/2.8 is more versatile and can be used to capture a wide range of scenes including portraiture. Macro lenses are often used for portraits when the photographer wants to create a dreamy feel, as the compression and bokeh are smooth and uniform.

The Astrhori 120mm f/2.8 macro lens is available to order now for $369 / £285 / AU $550 (UK and Australian prices are approximate conversions from the US price).

You may also be interested in our guides for the best macro lens, the best cheap lens, and the best lens for portraits.

I’m a fan of NiSi photographic filters and accessories. Founded in 2005 and with 20 patents under its belt (and counting), the Chinese company has made a name for itself by producing high-quality products and selling them at very competitive prices around the world, via local e-commerce channels. 

The NM-200s Macro Focusing Rail picks up the baton from the now-discontinued NM-180, which is highly acclaimed in all quarters. The new edition gives a longer overall range of movement and is ideally suited to the best macro lenses and even the best telephoto lenses, enabling ultra-precise positional movements and pinpoint manual focusing, even when you’re contending with a paper-thin depth of field. 

It’s also a godsend for the art (or science?) of ‘focus stacking’. For the uninitiated, this is a process where you incrementally shift the point of focus by small amounts, through a sequence of images, subsequently merging them into a single composite image that has a much larger depth of field.

NiSi NM-200s Macro Focusing Rail: Specifications

NiSi NM-200s Macro Focusing Rail: Price

You can buy cheaper macro focusing rails, mostly from brands you’ve probably never heard of, but they often feel a bit wobbly and imprecise in operation. I think that the $199/£159 price tag hanging from the NiSi NM-200s Macro Focusing Rail actually makes it great value for money, considering the quality of its design and manufacture, and how well it works. That said, it’s unsurprisingly more expensive than the outgoing NiSi NM-180, which was 20mm shorter in length and is still available from some retailers for around $129/£105.

NiSi NM-200s Macro Focusing Rail: Design & Handling

To use a yesteryear catchphrase, I love it when a plan comes together. It’s clear to me that a lot of thought has gone into the design of the NiSi NM-200s Macro Focusing Rail. Equally importantly, there’s been no skimping in the CNC (Computer Numerical Control) high-precision engineering of the aluminum parts, which have a reassuringly high-quality anodized finish. Suffice it to say, that the NM-200s is designed and built to satisfy the most demanding photographers, and it really looks the part as well.

Let’s start at the bottom and work our way upwards. I like that I can mount the NM-200s on pretty much any tripod or tripod head. The underside of the main rail has a 3/8-inch threaded socket, complete with a ¼-inch adapter, which covers most bases.

Better still, the entire length of the rail has an Arca-Swiss compatible profile, which enables me to mount it on my like-minded tripod heads in whatever I consider to be the ideal position. In fact, I find the NM-200s works really well even without a tripod.

 The lower section has four removable feet, which are knurled and simply screw on or off, enabling me to use it as a standalone, table-top focusing rail. Usefully, the aluminum feet have non-slip rubber pads, to keep the rail solidly planted and avoid any unwanted movement.

Next up is the threaded rod that runs the entire length of the rail. There’s a knurled adjustment knob at each end, the more purposeful one of which has a calibrated scale marked in increments of 1/100th of a millimeter. A complete 360-degree rotation of the knob results in a longitudinal movement of just 1mm. Now that’s what I call fine adjustment. 

I find the main control knob very easy and intuitive to use but, if you prefer, it has a fold-out handle for an alternative control method. In addition to the calibrated markings on the control knob, the main rail has a marker pin on each side and a measurement scale in 1mm increments.

Up top, the moving section (or head) that holds the camera has an Arca-Swiss compatible mount, again with calibrated markings that stretch to +/-20mm on either side of the central position, in 1mm increments. As well as traveling back and forth along the rail, I like that I can rotate the upper section laterally through a complete 360 degrees. This is done by loosening the knurled locking knob, rotating the plate, and locking it off again. 

Interestingly, because the bottom of the rail and the upper moving section are both Arca-Swiss compatible, you can mount one NM-200s on top of another, the joined pair enabling 2-axis movement and ultra-precise 4-way movement.

With a complete 360-degree turn of the control knob only giving 1mm of movement, it can take a while to get the optimum focusing distance into the right ball park. NiSi’s answer to this is to add a pushbutton that disengages the head from the rail’s threaded rod. This enables you to simply push and pull the head along the track, returning to the control knob when you’re in approximately the right position.

NiSi NM-200s Macro Focusing Rail: Performance

I tested the NiSi NM-200s Macro Focusing Rail with my heavy-duty 3 Legged Thing Winston 2.0 tripod and trusty Sigma 105mm f/2.8 EX DG OS HSM Macro lens. As I’d hoped, the NM-200s gave me all the versatility of movement coupled with ultra-fine and precise adjustments that I needed for the most demanding macro shots. Pinpointing the focus distance proved quick and easy, while focus stacking was an absolute breeze.

It's vital in macro photography that the camera remains absolutely still, as even the slightest movement can degrade the sharpness of the resulting image. There was no hint of unwanted flexing or wobble from the NM-200s, giving me a 100 per cent hit rate.

For quick and simple shooting of highly reflective and shiny macro subjects, like coins and the faces of wristwatches, I like to point the camera downwards, bouncing a hotshoe-mounted flash off the ceiling directly above. This gives an even illumination with the camera casting a shadow from the central area of the bounced flash, thus avoiding any glare. 

I found that in this configuration, the NM-200s kept its position perfectly, without any unwanted creeping on the threaded rod, with the full weight of the camera and lens tugging on it under gravity. All in all, performance is flawless.

NiSi NM-200s Macro Focusing Rail: Verdict

The NiSi NM-200s Macro Focusing Rail is simply the best of its breed that I’ve ever used. With ultra-fine, high-precision adjustments on tap, it takes all the hard work out of macro shooting. It’s also a really useful tool for ‘focus stacking’, so you can extend the tiny depth of field in macro photography to cover everything from the front to the back of 3-dimensional subjects. Build quality is hugely impressive, the finish is fabulous and it’s a top performer. And all of this comes at a very competitive price, making it a real bargain.

Alternatives

The Vivo V40 and V40 Pro have just been announced with Zeiss-tuned camera systems and a new fill light with temperature control. Positioned as a pair of upper-midrange portrait camera phones, the lower-cost V40 goes up against the OnePlus Nord 4 while the pricier V40 Pro takes on the Google Pixel 8a and Honor 200 Pro.

While both phones look almost identical, the key differences are power and cameras, with the Pro getting a specced-up MediaTek Dimensity 9300+ chipset and a 2x telephoto portrait camera, as well as a slightly more premium primary camera sensor.

Both phones pack the same ultra-wide and selfie cameras, huge batteries, great-looking 1.5K displays. and Zeiss features when you dive into the camera app.

With both available in India at launch, with a more widespread rollout expected in the coming months, if you've got your eye on a Vivo V40 or V40 Pro, which one's right for you?

Vivo V40 and V40 Pro price and availability

The first deciding factor between these two phones is price, with the Vivo V40 costing significantly less than the V40 Pro. 

While global pricing is yet to be confirmed, the V40 costs roughly the same as the priciest OnePlus Nord 4 in regions it has launched, so will likely come in at around £450-500 (roughly $570-635) in Europe

The V40 Pro's price matches the Pixel 8a and Honor 200, suggesting a £500-£600 price (roughly $635-760) globally.

Vivo looks to be making its phones more widely available in the West, with the V40 Series part of its Euros sponsorship, and recent legal wins that unblock it from selling in Europe, not to mention rumors of the upcoming X200 flagship launching on EE in the UK, it's looking promising that the V40 Series could be more widely available in the coming months.

V40 and V40 Pro cameras

Both the Vivo V40 and V40 Pro have the same ultra-wide and selfie camera hardware, while the primary cameras feature different sensors and the Pro gets a telephoto camera. All their cameras are also 50MP, a trend we're seeing across more phones of late, including the Nothing Phone (2a) Plus.

V40 and V40 Pro 14mm ultra-wide camera

The V40 Series's ultra-wide cameras have 50MP sensors with a 1/2.76-inch size matched with an f/2 lens and a 15mm equivalent focal length. They also feature autofocus, so support macro photography as near as 4cm from a subject.

V40 and V40 Pro 20mm selfie camera

Both phones' selfie cameras are powered by the same 1/2.76-inch Samsung ISOCEL JN1 sensor in the ultra-wide camera, though this time with a 20mm equivalent focal length.

Aura Lighting

Both phones also feature an Aura Light ring as well as a traditional flash. These shine a bright fill light to help when capturing portraits, and also offer control over color temperature which is a great touch to add a bit of warmth or cool down a subject.

Vivo V40 and V40 Pro wide cameras

While the Vivo V40 uses a 1/1.57-inch Samsung ISOCELL GNJ sensor, the V40 Pro uses a 1/1.56-inch Sony IMX921 sensor. Both are 50MP and are combined with f/1.88 aperture lenses and OIS, so they have very similar properties, though the Sony sensor creates slightly more natural-looking detail than the Samsung sensor of the V40. The V40 Pro also has a slightly wider 23mm equivalent focal length, versus 24mm from the V40.

V40 Pro telephoto camera

With a 2x telephoto camera that delivers a 50mm equivalent reach, the V40 Pro brings back the 1/2.51-inch IMX816 of the V30 Pro for portraits, combining it with an f/1.85 aperture, though no OIS.

The video credentials across both V40 phones are also impressive, with the V40 able to capture 4K 30fps across all its cameras, and the V40 Pro upping that to 4K 60fps across all its cameras.

You can see some photos above captured on both phones, with our first impressions being very positive for the price.

The Zeiss Natural color profile creates detailed, croppable shots. While white balance wasn't always consistent, photos from both the V40 and V40 Pro enjoy a wide dynamic range and natural levels of saturation.

In bright environments, the V40 Pro edges ahead with its zoom, creating a much more natural-looking shot than the AI-enhanced V40. However, in dark scenes the Pro switches to the main camera for zoomed-in shots, and results are more comparable.

The Zeiss Portrait Mode is a nice touch for anyone who's happy with artificial bokeh. The degree to which you can dial it back means you can create subtle effects that look natural. Both phones also deliver impressive night photography and video capture for their respective prices.

Vivo V40 and V40 Pro features

While the Vivo V40 Pro is poised for intensive tasks like 4K video editing and demanding gaming, the V40 is more of a casual user's phone. This largely comes down to the chipsets in each, with the Pro getting a flagship MediaTek Dimensity 9200+, and the V40 powered by a midrange Qualcomm Snapdragon 7 Gen 3. They also have different RAM and storage speeds as well, helping the Pro earn its name.

Whichever phone you go for, each is available with 256GB or 512GB storage, with the V40 adding a more entry-level 128GB to the mix.

Vivo includes a huge 5500mAh battery inside the slimline V40 and V40 Pro, which is roughly 500mAh larger than most of the main competition despite both phones' slender 7.58mm profiles. With 80W fast charging, they can hit a 50% charge in roughly 25 minutes.

The V40 and V40 Pro also have large 7.58-inch displays with 1.5K resolution, giving them a pixel density of 453 pixels per inch. With a sky-high peak brightness of 4500 nits for HDR content, and a respectable 1200 nits in direct sunlight, we had no issues seeing the screens even in bright environments. Both phones also support Netflix HDR10 out of the box which isn't typical at the price.

The main drawback compared to the best from OnePlus and Google is Vivo's software support, with two years of major OS updates and three years of security updates expected for both the V40 and V40 Pro. By comparison, OnePlus offers four years of OS updates and six years of security updates with the Nord 4, while Google offers seven years of OS updates for its Pixel 8a.

Early verdict

Both the Vivo V40 and V40 Pro are great phones on first impression. While they provide the same core experience making the V40 a great value option, the Pro edges ahead for gaming, demanding tasks like 4K video editing and its cameras reach further and capture at higher frame rates.

Each phone enjoys fantastic battery life, fast charging, relatively premium styling (albeit with a plastic, not metal frame), great-looking screens and impressive cameras.

The Vivo Zeiss highlights across the V-Series aren't as extensive as on the flagship X Series. There's no T* coating as found on the Vivo X Fold 3 Pro or X100 Pro, for example. However, the refined photo processing and Aura Light are welcome additions, making the V40 Pro impressive midrange camera phones.

I find that geared heads lead the way for precise positional adjustments of my camera when using a tripod. Especially for the likes of landscape and architectural shooting, I can make the finest adjustments to keep my horizon level and ensure that uprights are unerringly upright. The range of adjustment is often far greater than I need for these sorts of scenarios, as well as for shooting extreme close-ups.

The Novoflex Qube Goniometer system aims to take accuracy to the next level but with a more limited overall range. Derived from two Greek words, Wikipedia states that "a goniometer is an instrument that either measures an angle or allows an object to be rotated to a precise angular position". Enough said. 

Each ‘Qube’ delivers on this premise, while more advanced kits add greater versatility. They’re billed as ‘designed to enable precise alignment of SLR and mirrorless cameras, technical cameras, bellows devices, complex macro setups, binoculars, telescopes, and rangefinders’. That’s certainly a wide remit but I think they’re best suited to high-precision macro shooting and for using really long, hefty telephoto lenses, where tiny positional adjustments can make a big difference. The kits are very expensive to buy but aim their sights on being among the best geared tripod heads in the business.

Novoflex Qube: Specifications

Novoflex Qube: Price

Novoflex has been making top-end photographic and cinematic accessories for more than 70 years. While many long-established big names in the business, and most new wannabes, have manufacturing plants in China and other far-eastern countries, Novoflex products are still designed and built in Germany. Naturally, Germany has long had a particularly strong reputation for engineering excellence, bit it tends to come with high price tags. 

There’s no exception here, as the ‘basic’ singular Novoflex Goniometer Head Qube costs $949 / £660. As its name suggests, the Novoflex Goniometer Head Qube Duo-Kit doubles up on heads and comes in at $1,559 / £1,100. The top-end and most versatile Novoflex Goniometer Head Qube Pro-Kit comprises two modular Qube heads and adds a Panorama-C panoramic base, with a purchase price of $1,799 / £1,250. As they say, you pay your money and take your choice, so let’s see what each kit has to offer...

Novoflex Qube: Design & Handling

Strong and robust, the Qube has a weighty maximum payload rating of 10kg / 22.05lb, which should cater to pretty much any combination of camera body and lens that you want to place on it. Qube by name, cube by nature, the standard item looks like a square block of metal and is reassuringly heavy in the hand. It has an Arca-Swiss style mounting plate at the bottom, with a 3/8” threaded hole at its center for attaching it to a tripod. A 3/8” to 1/4” adapter is also supplied, for attaching to smaller tripod studs. There’s also an Arca-Swiss clamp at the top, for attaching a camera via a quick-release plate (not supplied) or a second Qube – more on that later.

The upper and lower halves of the Qube are connected by a geared brass driving mechanism. This enables up to +/-15 degrees of angular shift. Depending on which way around you fix your camera to the head, you’ll therefore get either 30 degrees of overall movement from side to side, or from front to back – but not both. For angular shift in both planes, enabling both tilt and swivel movements, you need two cubes connected together, one on top of the other. That’s the idea behind the Duo-Kit.

Making positional adjustments to the Qube is very straightforward. There’s a locking thumbwheel that needs to be loosened to enable adjustments and tightened again to lock the upper section in place. Adjustments themselves are made by turning a blue knurled knob, which enables incredibly fine and precise movements with excellent tactile feedback. A calibrated scale on the side of the Qube is marked in single-degree increments, and there’s quite a distance between each and every degree.

So far so good but what if you also want to be able to make rotational adjustments to the camera’s position? That’s where the premium Pro-Kit comes to the fore. It’s based on the same dual Qube combination as the Duo-Kit, but also adds a Panorama-C panoramic base. This enables a full 360-degree lateral rotation of the camera, covering off the remainder of the tilt, swivel, and pan trilogy. The panoramic base again enables very precise adjustments, this time with a calibrated scale marked in 5-degree increments and larger 10-degree numbered steps.

Like the Qube itself, the panoramic base has an Arca-Swiss profile on top and bottom. The top includes a clamp mechanism and bubble level, whereas the bottom has a 3/8” socket at the center, complete with a 3/8” to ¼” thread adapter. With the word ‘base’ involved, it might seem natural to attach the panoramic base to the tripod, with one or two Qube modules stacked on top of it. 

There’s a better way though. Mount the panoramic base on top, above the Qube modules, and with the camera level on the head, it’ll stay level throughout any and all panning adjustments, even if the tripod legs aren’t properly leveled. That can be a real bonus for keeping everything level when panning during video capture, or for shooting a sequence of panned stills to stitch into a panoramic image.

Novoflex Qube: Performance

The Pro-Kit gives you everything from tilt and swivel adjustments to full 360-degree panning. Well, almost everything. The +/-15 degree limit on the Qube adjustments means that you’re limited to shooting at fairly shallow angles upwards or downwards. It also means that if you want to shoot with the camera in portrait (upright) orientation, you’ll need to use an L-bracket, unless you’re using a large lens that has a tripod mounting ring. 

However, the nuts and bolts performance of the Qube kits is excellent. True to their promise, they enable ultra-fine and incredibly precise adjustments. Using one or two Qube units plus a panoramic base, sturdiness, and resistance to unwanted flexing or vibration are absolutely exceptional. I found no degradation in performance when connecting two or all three modules together, compared with using a single Qube on its own. That’s always a challenge for any ‘modular’ system with separate components that connect together.

In practical terms, the Qube system is quick and easy to use. The controls are intuitive and simply work brilliantly well. The brass geared track and its connected parts pay dividends in smoothness and high-end feel, while the roller bearings in the panoramic base do a similarly superb job of ensuring a really fluid feel during panning.

Novoflex Qube: Verdict

I love the incredible precision and ultra-fine control that’s delivered by the Novoflex Qube Goniometer Head Pro-Kit. Out of the three options, I’d definitely go for this range-topping kit that includes two Qube modules plus the panoramic base. It gives much greater versatility than the kits that comprise one or two Qube modules on their own, enabling full tilt, swivel, and panoramic adjustments. 

I’ve found that performance is superb, not only for stills but also for effectively leveling the panoramic base when shooting video – competing with some of the very finest video leveling systems in this respect. The only thing I’m not so keen on is the very high selling price which, for me at least, puts the Pro-Kit somewhat beyond my budget for a tripod head. And I’m guessing I’m not the only one.

Alternatives

Sigma has announced a firmware update that enables several of its E-mount lenses to be compatible with the maximum 120fps burst shooting rate of the Sony a9 III. Three lenses have been given the update:

• 50mm F1.4 DG DN | Art Ver.02 (Sony E-mount)
• 105mm F2.8 DG DN MACRO | Art Ver.04 (Sony E-mount)
• 14-24mm F2.8 DG DN | Art Ver.04 (Sony E-mount)

Read more: Sony a9 III full review

We were stunned by the a9 III and its incredible global shutter that enables 120fps full-resolution RAW continuous shooting, with no strings attached. Except that last bit was only true providing you were using the camera with a supported Sony lens - third-party lenses from the likes of Sigma were not compatible with the maximum 120fps burst shooting rate. Whether or not that was because of legitimate technical reasons, or just because Sony was intentionally restricting this stand-out feature for use with its own lenses, is up for debate. But now it is available with select Sigma optics, albeit still with a rather large caveat!

While these Sigma lenses are now compatible with the a9 III's 120fps mode, this is only when used in AF-S, DMF or MF focussing modes. You can't use AF-C; the very focussing mode you're most likely to want when shooting a continuous burst of stills. Granted, you'll still be able to track subjects moving across the image frame at a consistent distance from the camera, but you won't be able to maintain focus of a subject like a cyclist or racing car that's approaching you.

Of course it is plausible that only Sony lenses have the necessary processing ability to facilitate AF-C autofocus at 120fps. But on the other hand, Sigma is more than capable of producing world-beating optics with top quality AF, so we can't help but wonder if this is just Sony artificially reserving uncompromised 120fps a9 III burst shooting for use with its own lenses.

The Ricoh GR IIIx HDF is a new variant of a long-running camera design. It houses a 24MP sensor in an unfeasibly small body and comes with a choice of two lenses. The regular Ricoh GR III has a 28mm equivalent f/2.8 lens, while this new version of the Ricoh GR IIIx tested here has a 40mm equivalent f/2.8.

These lenses are fixed and non-interchangeable. You have to choose the focal length you want when you buy the camera. There is a wide-angle adaptor you can get for the 28mm model and a tele adaptor for the 40mm version, but these are pretty bulky and not cheap.

It's pretty limited, then, but the Ricoh GR IIIx is still one of the best compact cameras for its combination of size, control and an APS-C sensor. Some might say it's also one of the best cameras for street photography, or one of the best cameras for travel, depending on how highly you rate pocketability and whether you like the simplicity and discipline of a fixed focal length lens. If you're looking for the best vlogging camera, though, this isn't it. The fixed rear screen and limited video resolution – it's full HD only – rule out out.

There’s no viewfinder on this camera – images must be composed and viewed on the fixed rear screen. You can get clip-on OVFs that go on the accessory shoe, but these too are quite expensive. Another compromise of the small design is a small battery with a lowly 200-shot capacity.

There are some useful and clever features, though. The GR IIIx has built in 3-axis 4-stop image stabilization, a macro mode and an ‘AA filter simulator. The sensor itself has no AA filter but just in case you do see any moiré effects in patterns or textures, the AA filter simulator can help.

The key feature of this GR IIIx HDF model is its HDF or ‘highlight diffusion filter’. This is activated instantly by a button on the back of the camera and lends a soft glow to highlights for a more ‘analog’ look. This replaces the 2-stop ND filter on the regular non-HDF version. (The ND filter is simply to help when shooting in very bright light, not for any particular creative effect like long exposures.)

Ricoh GR IIIx HDF: Specifications

Ricoh GR IIIx HDF: Price and availability

The Ricoh GR IIIx HDF is available now and costs $1,146 / £1,099 / AU$1,899. This makes it a cheaper alternative to the wildly popular Fujifilm X100 VI, but more expensive than several decent APS-C mirrorless cameras. There is also a regular GR IIIx version which offers a switchable ND filter rather than the HDF filter in this camera, and if you prefer a wider 28mm equivalent angle of view there’s the regular GR III, which also has an HDF variant and is typically slightly cheaper.

Ricoh GR IIIx HDF: Design and handling

The Ricoh GR IIIx HDF really is remarkably small. You can carry it around in a trouser or jacket pocket where no other camera would fit, and you still get the high-end image quality of an APS-C sensor. It’s a pretty remarkable achievement in that respect.

Also remarkable is the way Ricoh has managed to make its controls so effective in the limited space available. It has two control dials, the rear ‘Adj’ dial with a click action so that you can choose the setting you want to adjust and a sprung left/right lever action for making changes.

In fact, there’s a third control dial if you count the rear dial around the four-way controller, and this can be used for menu navigation or manual focusing, for example. 

But this camera’s size does affect its handling. There’s what appears to be a grip on the right hand side, but if you curl your fingers around it, your fingernails are scraping the lens barrel. You don’t get an EVF, which perhaps is understandable in a camera this small, but you don’t get an articulated screen either – it doesn’t even tilt. This makes it pretty difficult to compose shots at low angles – and you’ll almost certainly need to increase the brightness for outdoor use, which you can do in the menus.

There’s a locking button above the mode dial so that you don’t accidentally change it while handling the camera, and the shutter release offers a ‘snap focus’ mode which defaults to a fixed focus distance if you press the shutter quickly in a single action; otherwise, you can half-press to autofocus normally.

It’s a small camera so, not surprisingly, it has a small battery. Ricoh says the DB-110 cell is good for around 200 shots, which might be fine for casual snapping, but you might need to take a spare for longer sessions. You can charge the GR IIIx HDF via USB, though, so you could top it up with a portable power bank.

The accessories are worth a mention, for good reasons and bad. The regular 28mm equivalent GR III can  take an optional 0.75x GW-4 adaptor for a wider angle of view, while for GR IIIx there’s a 1.5x GT-2 tele adaptor that takes its effective focal length from 40mm to 60mm – or further if you use one of the camera’s crop modes. These adaptors look reasonably priced at around $225 / £225, but then you do have to buy an adaptor on top of that at around $40-$50 / £40-50. The combination of the converter and adaptor is as large as a comparable APS-C prime, so you’re certainly not dealing with a pocket-sized camera any more.

Our sample GR IIIx was supplied with an optional GV-3 optical viewfinder which clips into the camera’s hotshoe. This is a ‘dumb’ optic which does not transmit or display any kind of camera information but still costs a jaw-dropping $250 / $299. 

Ricoh GR IIIx HDF: Performance

In terms of image quality, there’s little to complain about. The 40mm equivalent f/2.8 lens delivers consistent edge-to-edge sharpness, though the camera does employ some in-camera corner shading correction, so if you’re shooting raw files you’ll need software with a matching correction profile, or you can do it manually.

The image quality at higher ISOs is good too. Unlike a lot of cameras, the GR IIIx HDF doesn’t attempt to smudge noise out of existence and maintains a good balance between noise and detail right up to around ISO 6400, where magenta mottling is starting to appear in darker areas. You can go all the way up to ISO 102,400 if you want to, but it all depends on how much image quality you’re prepared to sacrifice, and by ISO 102,400 it’s a bit of a mess. 

The autofocus is good without being great. There’s a good choice of AF modes, including pinpoint focus, for when you want to use a wide aperture for differential focus effects, though the AF speed itself is very average by today’s standards. The snap focus is much faster but you need to be able to judge the fixed focus distance you want to set it to.

The burst mode is distinctly lackluster. Ricoh doesn’t quote an official burst speed, but it feels like about 4-5fps, and if you’re shooting raw the buffer fills up very quickly, so this is not a camera for fast bursts.

The GR IIIx is snappy enough (no pun intended) for the kind of street / travel photography it’s become known for, but many of its rivals are just as responsive or better. The HDF filter is interesting but, frankly, it’s so subtle its value is questionable and you will often have to check the image data on the back of the camera to remind yourself if you used it or not.

Ricoh GR IIIx HDF: Lab results

For our lab data comparison, we pitched the GR IIIx HDF against similarly compact cameras with relatively large image sensors: the Fujifilm X100VI, Leica D-Lux 8 and the Olympus PEN E-P7.

Resolution (line widths/picture height):

Resolution is measured using standardized text charts which give results in line widths / picture height, which is independent of sensor size.

The GR IIIx scores well for a 24MP APS-C camera, but ultimately the 40MP X100VI was always going to come out on top for resolving fine detail.

Dynamic range (EV):

Dynamic range is a measure of a camera's ability to record extreme brightness ranges and still retain detail in the brightest and darkest parts of the scene. It's measured in EV (exposure values, or 'stops').

Though the GR IIIx doesn't quite lead the pack at low ISOs, it captures excellent dynamic range as sensitivities increase.

Signal to noise ratio (decibels):

This test compares the amount of random noise generated by the camera at different ISO settings as a proportion of the actual image information (the 'signal'). Higher values are better and we expect to see the signal to ratio fall as the ISO is increased.

All four cameras are closely matched here, but the GR IIIx just comes out on top when you average the results across the whole tested ISO range - it does a good job of controlling image noise.

Ricoh GR IIIx HDF: Sample images

Ricoh GR IIIx HDF: Verdict

If you must have a camera small enough to fit in your pocket, then the Ricoh GR III is the only camera that fits the bill. The GR IIIx reviewed here has a 40mm equivalent lens but is the same size as the regular 28mm equivalent GR III, and the substitution of an HDF filter for the regular ND filter makes it an interesting creative alternative.

It’s pretty amazing that Ricoh should have been able to cram so many effective hands-on controls and dials to this camera without making it feel crowded. It’s harder to enjoy the overall handling experience, though, with grip that looks the part but is far less effective on a camera scaled down this far. It’s a small camera because it has to be, but if you can accept carrying a camera in a bigger jacket pocket or a bag, then there are many other cameras only a little larger which will provide a much nicer handling experience – with interchangeable lenses, too.

The lack of an EVF and the fixed rear screen does make the GR IIIx HDF hard work at times, especially outdoors in bright light, where you have to manually increase the screen brightness, and the 200-shot battery life can be limiting for longer outings and expeditions.

The electrically-driven lens focuses quickly enough, probably and there’s always the ‘snap’ focus mode, though this itself  is not quite instantaneous. The lens quality is first rate, though, so no complaints there.

The GR III is a unique camera with a strong following, but by modern standards it’s limited and distinctly awkward to use. There are no other APS-C cameras this small, but that compactness comes at a cost.

Alternatives

The world’s leading digital photography magazine, Digital Camera launched in 2002 and has been helping photographers of all skill levels to improve their images ever since. 

Every issue is packed with technique tips, tutorials, inspiring images and expert buying advice, plus the latest news and equipment reviews, as well as a selection of bonus gifts (see below). 

Lovers of wildlife photography are in for a real treat this month. Our cover feature adapts some key content from two chapters of the updated edition of The Wildlife Photography Workshop by Ben Hall and Ross Hoddinott. 

Learn how to improve your wildlife compositions and take control of the ideal settings for exposure and white balance while shooting in the field… plus, the authors share their insights on the best lenses to use for this popular genre of photography.  

Don’t forget that you can subscribe to Digital Camera magazine and get the magazine delivered to your door every month. Choose between a print or digital subscription, or a bundle of the two. 

All subscribers to Digital Camera magazine can now access digital back issues dating from 2009 (when using iOS) or 2012 (when using the Pocketmags Magazine Newsstand app or the Pocketmags website). 

There are more outdoor projects to enjoy in Photo Active. Find out how to capture the glories of the British seaside holiday (above), even when decent weather decides to stay at home. 

Also this month, learn how to shoot vintage camera gear with a macro lens, use fill-flash to rescue portraits taken outside, and photograph puffins like the one featured on the front cover of the magazine. 

Photo Active’s four-page project sees us go on location with music photographer Steven Christie – he shares his smarts for capturing the essence of rock bands for the publicity photos you see on album covers and gig posters. 

Our latest monthly reader challenge is ’Sunsets’, so to be in with a chance of winning a £50 voucher towards Cewe Wall Art, send us your best shot. You’ll find all the details in project 10, on page 38. 

Other highlights in August’s Digital Camera

For many beginner and enthusiast photographers, the perceived complexity of flash lighting is something best avoided, but August’s Camera Clinic shows that there’s nothing to fear. 

Discover how flash can be used as a powerful creative tool that can transform your photography. Expert user Will Cheung takes you the various forms of artificial light to show you what’s possible, and how to get started on your flash journey. 

Our wildlife focus continues in the One to One pro masterclass, where we travel to The Red Kite Feeding Centre at Gigrin Farm in Wales, to watch Paul Way photograph the daily avian invasion. 

See what happens as hundreds of red kites descend for feeding time, and discover how Way uses his deep knowledge of the birds’ behaviour to capture some amazing photographs of this majestic raptor.  

This month’s Hotshots gallery showcases the winning entries from the Prince Albert II of Monaco Foundation’s Environmental Photography Award 2024. 

Launched in 2021, these awards were created to reward photographers who put their creativity to good use in raising awareness of protecting planet Earth.

We take to the skies with Donn Delson for August’s interview. Delson is an aerial photographer, but one with a distinctive approach – he uses a helicopter to fly higher than a drone, on a mission to capture scenes that look entirely different from what they are in reality. 

Discover more about his ’down’ shot technique, where he leans out of doorless helicopters – yes, really – to get a unique perspective on what’s below. 

With holiday season starting this month, don’t head off on your travels without our recommendations for the best photo books to enjoy this summer. 

We’ve curated a collection that will be at home in suitcases or on coffee tables… from technique manuals to career retrospectives and collections of documentary photography, there’s something for all readers. 

This month’s Practical Photoshop section comprises three tutorials to immerse you in the latest creative features of Photoshop and Lightroom. 

Starting with Tool School (above), see what Photoshop’s all-new Adjustment Brush can do for your captures. Included in the latest update of Photoshop CC, it allows you to paint tonal adjustments over an image. 

Get the Look (above) suggests four ways to transform drab landscape photos, including sky replacement and adding creative blur. 

Fundamentals turns its lens on portraits with shiny faces. Learn how to use masking techniques in Lightroom Classic to tame any distracting shine in your people pictures. 

August’s Kit Zone starts with a hands-on preview of the Fujifilm X-T50, the latest entry level interchangeable lens camera from the brand. 

With a 40MP APS-C sensor, the X-T50 promises to be a great stills camera – read our early verdict on it from page 102. 

Also on test this month is the Sigma 24-70mm F2.8 DG DN II Art, an updated ’trinity’ lens for Leica L-Mount and Sony E-mount cameras. 

With optical and handling improvements over the original, it certainly impressed our test team. Find out why from page 112.  

Also dropping this month is the DJI Mini 4K. This new camera drone for budget-conscious beginners delivers 4K video at a sub-£/$300 price tag. 

Other hot products in August’s Kit Zone include the GoPro Hero12 Black action camera, and the Fujinon GF120mm F4 Macro R LM OIS WR, a powerful medium-format lens that’s ideal for extreme close-ups. 

The latest issue of Digital Camera comes with an unrivaled selection of digital gifts 

This month’s bonus gifts include nine all-new photo tip cards, three packs of software extras for Photoshop and Lightroom, 46 minutes of video tutorials, and two photography eBooks. 

Here’s the full list of the bonus gifts that are bundled with Digital Camera’s August 2024 issue: 

• Nine new photo tips cards covering landscapes, wildlife, macro – and more! 
• 46 minutes of video tutorials for Photoshop and Lightroom 
• 15 software extras for Lightroom and Photoshop
• 196-page ’Shoot Like a Pro’ photo projects eBook 
• 250-plus-page Camera Buyer’s Guide eBook full of buying advice

Subscribe now

Every issue of Digital Camera magazine is packed with tips, techniques, pro advice, reviews, news and inspiration. 

Don’t forget that you can subscribe to Digital Camera magazine and get the magazine delivered to your door every month. Choose between a print or digital subscription, or a bundle of the two. 

All subscribers to Digital Camera magazine can now access digital back issues dating from 2009 (when using iOS) or 2012 (when using the Pocketmags Magazine Newsstand app or the Pocketmags website). 

You can buy limited back issues of Digital Camera magazine in print at our Magazines Direct secure store.

Alternatively, there is a range of different digital options available, including:

• Apple app (for iPad or iPhone)
• Zinio app (multi-platform app for desktop or smartphone)
• PocketMags (multi-platform app for desktop or smartphone)
• Readly (digital magazine subscription service)

Buy our back issues USB stick

For any readers who would like to enjoy every digital back issue from 2022, plus all the bonus gifts, a special Digital Camera 2022 Collection USB stick for Windows and Mac users is on sale now. 

Using Adobe Reader or Adobe Acrobat, you can browse, search and print out issues 250-262. The Digital Camera 2022 Collection is available for UK readers for £19.99 including postage – for international readers, overseas postage fees will apply. 

The Amazon Prime Day camera deals are in their final hours, but there are still some great savings that have flown under the radar – like this, a huge discount on my beloved take-everywhere macro lens!

The brilliant little Olympus M.Zuiko 30mm f/3.5 Macro lens has been slashed by $150 and is available for just $199 – but hurry, as this and most other Prime Day deals end at midnight! 

The Olympus M.Zuiko 30mm f/3.5 (review) is a powerful pocket-sized prime that's one the best macro lenses around. It's compatible with any Micro Four Thirds camera, whether you're shooting on an Olympus / OM System, a Panasonic, a Blackmagic, or any other body.

In full frame terms, it has an equivalent 60mm focal length, which means you'll need to get closer to the action than other macro lenses (which may not be ideal for easily spooked subjects) but you're rewarded with a brilliant 1.25:1 reproduction ratio – giving you magnification that makes your subjects larger than life-size.

The slower f/3.5 aperture means that you might need to pump in a little bit more light, but combined with the doubled depth of field you get with a Micro Four Thirds camera this really works in your favor – as much more of your subject will be in focus. 

There are certainly more powerful and versatile macro options, such as the Olympus 60mm f/2.8 Macro and OM System 90mm f/3.5 Macro, but none as pocket-sized and pocket-friendly as this one. For what it's worth, I bought this 30mm lens to replace both of those because it's such good value and I can always fit it in my camera bag!

Take a look at the best Olympus / OM System lenses, along with the best Micro Four Thirds lenses from all manufacturers. 

The Amazon Prime Day camera deals are in their final hours, but there are still some great savings that have flown under the radar – like this, a huge discount on my beloved take-everywhere macro lens!

The brilliant little Olympus M.Zuiko 30mm f/3.5 Macro lens has been slashed by over £70 and is available for just £178 – but hurry, as this and most other Prime Day deals end at midnight! 

The Olympus M.Zuiko 30mm f/3.5 (review) is a powerful pocket-sized prime that's one the best macro lenses around. It's compatible with any Micro Four Thirds camera, whether you're shooting on an Olympus / OM System, a Panasonic, a Blackmagic or any other body. 

In full frame terms it has an equivalent 60mm focal length, which means you'll need to get closer to the action than other macro lenses (which may not be ideal for easily spooked subjects) but you're rewarded with a brilliant 1.25:1 reproduction ratio – giving you magnification that makes your subjects larger than life-size.

The slower f/3.5 aperture means that you might need to pump in a little bit more light, but combined with the doubled depth of field you get with a Micro Four Thirds camera this really works in your favor – as much more of your subject will be in focus. 

There are certainly more powerful and versatile macro options, such as the Olympus 60mm f/2.8 Macro and OM System 90mm f/3.5 Macro, but none as pocket-sized and pocket-friendly as this one. For what it's worth, I bought this 30mm lens to replace both of those because it's such good value and I can always fit it in my camera bag!

Take a look at the best Olympus / OM System lenses, along with the best Micro Four Thirds lenses from all manufacturers. 

I love rugged cameras, especially for going on vacation – having a waterproof, weatherproof, smashproof camera is much better than risking my proper camera or smartphone. The best of the bunch is the OM System Tough TG-7 – and there's a killer Amazon Prime Day camera deal on it! 

Right now the amazing Tough TG-7 is available for just £384 – that's a huge saving of 23%, making this the lowest price it has ever been! Mine was £499, so if you're looking for a holiday camera or something that the kids can't break, I'd jump on this right now…

The OM System Tough TG-7 (review here) is one of my favorite cameras – and easily my top waterproof camera. It's as tough as its name suggests, being waterproof up to 15m, shatterproof up to 100kg, shockproof to falls of up to 2.1m and temperature-resistant all the way down to -10°C.

It isn't just the toughness that makes it great, either; it's a fantastic little compact camera, with an integrated 25-100mm f/2.0-4.9 lens that covers everyday shooting, and also has amazing macro and microscope modes built-in – perfect for getting extreme close-ups at the beach, or the pond, or even underwater. 

It captures 12MP images in RAW as well as JPEG, and also records crisp 4K video. It can shoot bursts of up to 20fps, and even has a 10fps pre-capture mode that records frames 0.5 secs before you fully press the shutter. It even has built-in focus bracketing as well as OM's amazing Live Composite mode for creative light painting and star trails. 

I've had this camera since the minute it came out, when it was priced £499 – trust me, at just £384 it's an absolute steal! 

Take a look at the best waterproof cameras, along with the best travel cameras and the best compact cameras. 

German camera accessory specialist Novoflex is launching two specialist tripod heads – both aimed at providing precision camera positioning for different types of photography. 

The new Novoflex Kopf2 is a gimbal head that provides fine movement control in two separate axes – a design favored by architectural and studio photographers.

The Novoflex Qube, meanwhile, is a goniometer tripod head—and even more specialist tripod accessory—that provides arc-shaped camera movement in one or two planes. These swiveling controls are said to be particularly useful for macro and close-up photography. The Qube will compete with similar goniometer heads made by Alpa and Swebo.

The two new heads are on display at Global Birdfair 2024, which opens today and runs until July 14 in Rutland, UK.

The Qube can be bought in three different configurations. The base model offers one swiveling function, allowing precise movement of attached cameras, bellows, and other devices by 15° to the right and left. The Qube-Duo is essentially a pair of Qubes stacked to provide movements in parallel to each other or in planes at 90° to each other. 

The device is not just meant for use with DSLRs and mirrorless cameras, but can also be used to control SLR technical cameras, bellows units and other complex macro setups, binoculars, telescopes, and rangefinders.

The third option, the Qube-Pro, adds a panoramic base that fits on top of the Duo set-up - providing third axis of adjustment. This has attaches to the Arca-Swiss mounting of the Qube, and has its own Arca-Swiss plate at the top.

The Qube is now on sale for $949 / £660. The Qube Duo will set you back $1,559 / £1,100, and the Qube Pro is $1,759 / £1,250.

The Novoflex Kopf2 has two fine-tuning knobs with zeroable scales offering 0-90° of movement both directions), enabling extremely fine adjustments. There are built-in spirit levels and the head is equipped with Arca-compatible profiles to aid compatibility with a variety of accessories. The head is designed to be able to support a camera and lens combination weighing up to 5kg / 11 lbs. 

The Kopf2 is available in three different versions. The base model comes without coupling and panoramic rotation. The Kopf2-Basic is supplied with a  Q=MOUNT quick-release plate and a panoramic head. The Kopf2-Pro then adds a pair of  CAST-FINE-K handles that offer even finer control over movement.

The Kopf2 sells for $1,819 / £1,340 – with the two kits costing $2,079 / £1,500 and $2,219 / £1600 respectively.

See our guides to the best gimbal heads, best panoramic tripod heads and the best ball heads.

AstrHori is a relatively new Chinese lens manufacturer that develops affordable manual focus lenses for modern mirrorless cameras, and just in time for the summer weather to appear (hopefully!), it has announced a new 120mm macro lens.

The AstrHori 120mm f/2.8 Macro lens will be the company's longest focal length lens to date and will offer users the opportunity to focus closely on their subjects. No stranger to macro lenses, Astrhori produces some of the best macro probe lenses on the market, and although not a probe lens, the new 120mm will provide an alternative macro experience to its existing offerings.

Not much has been released regarding lens specifications, as the official announcement via its social media channels states the lens is 'coming soon', but by looking at the poster, we know that it is designed for full-frame and will feature on - Sony E, Canon RF, Leica L, Nikon Z, and Canon EF mounts.

This provides an option for most mirrorless cameras, and although the price has yet to be disclosed, Astrhori lenses come in at the lower end of the market. 

With no specifications released, we only have an image of the lens from which we can extrapolate some information. The lens looks to have a durable build quality with an all-metal body, an aperture ring, and a precise focusing ring - vital for all manual focus lenses, especially macro. 

The announcement was made on AstrHori's social media, in a post asking their community if anyone would be interested in reviewing the new lens. The caption states, "Now recruiting Reviewers. I sincerely hope that all Youtubers, Vloggers, or macro photographers will not miss the recruitment plan. Please see the posted photo for specific participation conditions".

As expected there has been an influx of comments requesting the lens, however, this opportunity will remain open until July 12, 2024, so there is still time to submit. 

You may also be interested in our guides to the best macro lenses, the best wide-angle lenses, and the best tilt-shift lenses. 

The new issue of Digital Photographer is out now!

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This month we have another amazing issue for you, featuring professional tips, reviews, and practical how-to guides. Here's a sneak peek of what's inside!

Shoot fairytale macro photos brimming with detail and colour

Macro photography is a truly magical medium. It allows us to see the world in a completely new way, revealing details we never knew existed. In our main feature this month, we’re joined by two expert instructors, Ross Hoddinott and Catherine Régnier, who explain how to find and photograph closeup subjects creatively. Find out how to craft the perfect background for your macro studies, develop new lighting techniques and master the delicate art of fieldcraft. 

Shoot with just one lens

In our second feature of the issue, we delve into the world of lenses, in particular, how to shoot using a single optic. It’s easy to think that buying more lenses is a route to better images, however, this isn’t always practical and if you’re on a budget it might not be possible. Discover how our guest professional photographers choose and use their lenses to their maximum capacity, learning to get the most value from any type. Save money and get better shots with improved composition in the process.

The Danger Zone - master tough shoots!

Our Shoot Like a Pro feature in this issue is an exciting one. We joined photographer, Jon Parker Lee for an industrial commercial shoot in a quarry in the Peak District to learn how he manages complex briefs, directs large shoots and works in potentially high-risk locations. The pressure is on to capture the essential images for his client, with millions of pounds and many livelihoods at stake, so come along and go behind the scenes of this fascinating photoshoot. 

Add flash to your landscape shoots

Have you ever used flash in your landscape photography? If you answered no, you won’t be alone. In our creative project, we reveal how a speedlight can be the perfect tool for adding colour and detail to your scenic shots and can even apply a stunning sunset effect to your photos. Fill in the shadows, add sparkle to foregrounds and even add sunlight to your scenic shots!

Explore Tokyo with Richard Koek

Richard Koek has spent years exploring the world with his camera and, in this month's interview slot, he explains why he wanted to capture Tokyo, one of the world's biggest cities, in a unique way. Dive in to find out how Richard gained special access to a Sumo Stable, captured the people and explored Tokyo to reveal Japanese culture as you've never seen it before, going beyond the tourist's view.

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Plus we've got the usual tutorials, interviews, insight and opinion, from a range of experienced pro photographers from across the industry. 

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Essential exposure technique: settings for seamless backgrounds

Photo therapy: the art of patience - why it's worth waiting!

Adapt and conquer! Learn to use lens adaptors the right way

Lighthouse photography: learn to compose images of very tall subjects

It’s the third week of March and the wet winter is ensuring a soggy start to spring, but that isn’t dampening Tony North’s spirits – or his initiative. “I was out early this morning doing some photography because it was cloudy and not windy, which is good for macro,” he tells me from his home near Manchester. I’m already wondering what he could have been shooting because it’s too early for many insects and flowers, but then he reveals the unexpected: “There’s not many insects about yet, but I’ve got one that I brought back from Florida – a chrysalis of a zebra swallowtail – and just recently it emerged, so I was photographing that this morning.” 

As any macro photographer knows, cool weather and early morning are the best times to photograph insects in the field as they will remain still until they have warmed up enough to move. And so it was for Tony’s new arrival from Florida. “I was out at 6.30 because it was less windy. This butterfly I was photographing is native to the southern United States, so it was probably pretty cold for it.” Not half – it certainly wasn’t March in Miami! 

Tony says he’s only been taking photography seriously since 2016, and macro since 2017, but in just seven years he is already a winner of some major international awards for his startling images…

This interview first appeared in N-Photo magazine. 

You might be interested in the best Nikon cameras along with the best Nikon lenses – and particularly the best Nikon Z lenses designed for its mirrorless cameras. 

The International Garden Photographer of the Year (IGPOTY) is now in its 18th year, and continues to produce some of the most stunning nature imagery of any competition.  

This year, the winner of the IGPOTY Macro Art Photo Project competition and £250 ($315) prize money is Henrik Spranz from Austria, with his photograph entitled ‘Pale Rider’. 

Spranz captured the image of a pale clouded yellow butterfly in September using: a Canon EOS 5D Mark IV and Sigma APO Macro 180mm f/2.8 EX DG OS HSM lens, with and exposure of 1/800sec at f/3.2, ISO 400. 

He used tonal correction post-capture, as well as denois, contrast, dodge, burn tools and basic image management in PhotoShop, and “to get that rainbow stripe to appear in the lower right part of the photo, I used a piece of glass in front of my lens,” Spranz revealed. 

Tyrone McGlinchey FLS FRSA, IGPOTY Head Judge said:

"Henrik is a 'master of the macro' and with this shot has shown artistry via selection of lens, subject, and background – with the rainbow effect delivered tastefully."

All the winners, finalists and highly commended images will be exhibited at Kew Gardens in London, England, and will then tour the rest of the country, continent and world.

Check out the other winners, and a selection of the other high skilled entries.

Tony North won second place with his image Silver-Studded Blue, taken in Gotse Delchev, Bulgaria. 

"A silver-studded blue butterfly (Plebejus argus) on a meadow clary flower spike. This shot was captured handheld, in a meadow in southern Bulgaria. I positioned myself to get some foreground blur on the left from some other flowers of the same species."

Equipment used: Nikon D500, Nikon Nikkor 105mm f/2.8 macro lens + Nikon 1.4x teleconverter. Exposure: 1/50sec at f/11, ISO 640. Post-capture: use of crop and denoise tools, basic image management.

Third place was won by Zsolt Varanka with The Flowers of the Night, taken in Tahitótfalu, Pest County, Hungary. 

"These night-swarming mayfly (Ephoron virgo) were attracted to the area by light; I used two wireless flashes (with rear curtain sync) positioned sideways, (opposite each other) to freeze their flight, whilst two small video LED lights were placed by the tripod-mounted camera to evenly light the insects’ path. I regularly switched off the lights to allow them to continue."

Equipment used: Sony α7 Mark III, Tamron 28-200mm f/2.8-5.6 Di III RXD lens, Tripod, 2 wireless flashes, 2 LED lights.. Exposure: 1/10sec at f/14, ISO 1250. Post-capture: use of crop, noise reduction, and dodge and burn tools, basic image management.

A finalist, Richard Kubica took Reflections in Myjava, Trenčín, Slovakia.

"A handheld focus stacked photo of a fly, comprised of twenty photographs – for better depth of field. I took this in the early morning, whilst everything was covered in dew, and the insect was very calm."

Equipment used: Canon EOS 7D Mark II, Laowa 100mm f/2.8 2x Ultra-Macro lens. Godox flash with homemade diffusor.Exposure: 1/60sec at f/9, ISO 200.  Post-capture: focus stacked 20 images together, use of crop and contrast tools, basic image management.

Dragonfly Dawn was taken by Jay Birmingham, a finalist, at RSPB Middleton Lakes, England, United Kingdom.

"A skimmer dragonfly, photographed against the rising sun, in the RSPB Middleton Lakes nature reserve – which is self-described as ‘a mosaic of wetlands, meadows and woodland in the heart of the River Tame Valley’."

Equipment used: Canon ROS R5, Sigma 180mm f/2.8 EX APO DG Macro OS HSM lens. Exposure: 1/200sec at f/2.8, ISO 320. Tripod. Post-capture: use of white balance, contrast and saturation tools, basic image management.

Diana Chan captured this image, Going to Fly, in Hong Kong, China.

"The moment of take-off for this tiny weevil is captured. Through the use of a macro lens, the details are revealed of the structure of this beetle’s shiny, glitter-like body, particularly the wings which are seldom opened."

Equipment used: Nikon D850, Tamron SP 90mm f/2.8 Di Macro VC USD lens, and tripod. Exposure: 1/200sec at f/14, ISO 200. Post-capture: use of crop tool, basic image management.

Check out our guide to the best cameras for macro photography, and the best lenses for macro photography. 

We've also got a guide to the best cameras for wildlife photography.

Six years after the launch of the EOS R system, Sigma has finally released its first Canon RF mount lens: the Sigma 18-50mm f/2.8 DC DN | C. 

While it will physically fit any RF mount camera, the Sigma 18-50mm f/2.8 DC DN | C is specifically an RF-S lens – which means it is designed for EOS R bodies with an APS-C sensor, such as the Canon EOS R7, R10, R50 and R100, though it can be used on full-frame EOS R cameras in crop mode.

The lens has an equivalent focal length of 28.8-80mm and boasts a constant f/2.8 maximum aperture along with weather sealing, which effectively makes this a standard trinity lens – but one that, thanks to its Contemporary designation (the "C" in the name), is as portable as it is powerful.

Weighing only 300g and measuring just 69.2 x 74.5mm at the wide end (though it does extend as you move to the tele end), this unbelievably small optic pairs perfectly with compact bodies like the EOS R100 – which is one of the cameras I used for my Sigma 18-50mm f/2.8 DC DN | C review. 

It should be noted that this is not a lens designed exclusively for the RF mount, but is an existing lens that has been available since 2022 for Sony E, Fujifilm X and L-Mount cameras. 

As such it carries broadly the same specifications and optical formula, with 10 groups consisting of 13 elements including a super-low dispersion lens and a trio of aspherical lenses. 

That means it also inherits some of the existing optical foibles, such as fringing, uninspiring corner sharpness and pretty profound distortion (though the latter is corrected in-camera). 

Still, like its forebears, I found it one of the best APS-C lenses I've had the pleasure of using. "Sigma's debut on the Canon RF mount is a triumph," I wrote in my review. 

"Super light yet super fast, pint-sized yet power-packed, I keep coming back to the same key selling point: this is a standard trinity lens that fits in your pocket. What's not to love about it?"

The Sigma 18-50mm f/2.8 DC DN | C for Canon RF goes on sale July 11, priced £479 in the UK (US and Australian pricing to follow). 

Take a look at the best Canon RF lenses, along with some of the best standard zoom lenses currently on the market.

In our busy, always-on world, the art of macro photography can be a balm for mental health. When you’re engaged in capturing the intricate details of flowers and insects, it’s harder to focus your attention elsewhere. For many photographers, macro enables them to escape their everyday stressors – on top of being a rewarding and creative outlet in itself.

Canon pro photographer Matt Doogue has been photographing close-ups in nature for over a decade and has found comfort by immersing himself in the beauty of the miniature world. Based in the UK, he has become something of a mental health speaker, and he regularly gives talks on how the slowness of the genre can create a sense of calm and concentration. With a profound respect for the natural world, Matt often describes what he does as photo therapy and credits photography with being a life-saver in his darkest times.

Macro may help with mindfulness, but that doesn’t mean it’s easy from a technical point of view. For a start, you’ll need a dedicated macro lens that’s capable of focusing at close distances. And even then, it can be very challenging to precisely focus on extremely small subjects and manage a shallow depth of field at higher magnifications. One technique that Matt uses to increase the sharpness throughout his images is focus stacking, both manually and using the latest automated stacking features in Canon’s EOS R5 and EOS R7 mirrorless cameras.

Discover how macro helps Matt to stay connected to the present moment, plus the technical skills he uses for the sharpest shots.

A longer version of this interview originally appeared in Issue 214 of PhotoPlus magazine. Click the link below to see our latest special subscription deal!

As well as the best macro lenses, you might want to check out the best cameras for macro photography to really maximize your macro work.

The world of microscopy can sometimes seem inaccessible to beginners, who aren't ready for slide preparation, staining and other technical setups. Stereo microscopes (also known as dissecting microscopes) solve this by lowering the magnification and increasing the working distance, meaning you can drop any small object onto the stage and instantly see close up details. 

Celestron has a long-founded association with optics, having started in the 1950s as Valor Electronics, specialising in telescopes. The Celestron Labs S20 is their budget stereo microscope, ideal for observing everyday objects like coins, insects, rocks, leaves and fossils, blurring the line between macrophotography and microscopy.

Celestron S20 specifications

Price

Coming in under a hundred pounds, the Celestron Labs S20 microscope can be seen as a budget microscope. It isn't available on the Celestron website, but you can find it for around $60 / £70. At this price you get a lot of fun for your buck, while you don't have to worry about a child breaking a valuable piece of equipment. 

Building and handling

The Celestron Labs S20 has a durable metal body, with a slight dappled effect, which is pleasing to the touch. Other elements, like the focus knob, are made of a more tactile plastic. As a whole, this microscope is lightweight and on the smaller side, making it easier to carry around and great for kids to store in their backpacks. There is no carrying case, protective cover or caps for the eyepiece tubes, so you may have to be creative to keep it safe and clean. The base is small and doesn’t have any grip, so it isn’t a particularly stable platform.

Two objective lenses are built into the head and the kit comes with two 10X eyepieces, combining to provide the listed 20X magnification. The eyepieces can be removed from the tubes, but do not click back into place, so can easily fall out. The eyepieces can be broken down for cleaning, but I would only recommend doing this if you know what you’re doing as you can easily end up damaging or losing elements. 

The two lens systems are inclined around 15 degrees of each other, retaining stereoscopic vision and rendering the image in three dimensions. The dual eyepieces stand upright, which does not make for the most comfortable viewing position, but they can be adjusted to suit various interpupillary distances.

As a stereo microscope, this model has a lower magnification than might be found on compound microscopes, but has a maximum working distance of just over 10cm, so it’s perfect for large, bulky objects. Because of the low magnification, sizes can be estimated by using a ruler placed alongside a specimen. 

The head is attached to a rack-and-pin spine, which cranks up and down to focus in and out. There is one coarse focusing knob attached to the head and at this lower magnification a finer control is not necessary.

An LED light hangs just behind the two objective lenses, facing down towards the lower plate and producing a bright, cold light. It is battery powered, so you can use this microscope in the field, at school or sat on the sofa, wherever you like. I left the light on for many hours and it didn't get hot, while there was no impact on performance.

There is a button that turns the light on and off, but there is no control to adjust the power. It’s a shame the light source is fixed in place, as a removable light source can sometimes reveal more details when used at a different angle.

Two clips on the base can be used to hold specimens in place, which work well enough, but can also be removed to keep the space clear. The lower plate is removable, revealing a small well beneath that allows you to use additional lighting (if you have a light that fits).

The two insect specimens, provided with the kit, really show off the advantages of this microscope – the Cupreous Chafer glitters with an indescribable iridescence and the hornet's compound eyes are enhanced by the 3D view. It would be nice if there were more examples provided, but you should have no difficulty in finding other objects to try out under the lens.

Performance

This microscope doesn’t come with instructions, which highlights how easy it is to get started. Pop the batteries in (requires a small screwdriver to get inside) and adjust the eyepieces to suit your interpupillary distance – this will ensure you make the most of the 3D compound image – and you’re off. Neither of the eyepieces have a diopter adjustment control, so people with visual impairments might have issues.

The first thing I tried with this microscope were the two insect specimens that came with the pack. Under natural light they were both flat and boring, but the moment you turn on the LED reflecting light source, they are transformed into something spectacular. The beauty of a dissecting microscope like this is that you don’t have to prepare slides, but can grab anything you see and look at it (although some things might try to wriggle away). I took it up to my allotment and tried it with flowers, leaves and grasses. It's amazing what's revealed in the most unassuming objects by even a low magnification.

The lenses are fairly good quality and the image is sharp across the whole view. There is no camera connected to this microscope, so while you can take pictures down the eyepiece with your phone, it's hard to share your discoveries.

The LED provides an intense white light, which can’t be adjusted, losing detail on some specimens. It can help if you add a dark piece of card behind the specimen to reduce the reflection. 

Verdict

There's a lot of fun to be had with this microscope. It's small and portable, making it perfect for taking outside and getting close to nature. You don't need any experience to get going and the results are impressive. The LED provides a constant, bright light that illuminates most specimens well, but you might have to add a darker background for some more reflective objects.

Ultra-wide zooms are very popular amongst landscape, travel and architectural photographers for their ability to squeeze everything into the frame even when you’re right up close. They are also useful for filmmakers and vloggers who need to film themselves at arm’s length and get the background surroundings into the frame too.

However, ultra-wide zooms for the best full frame cameras are typically big, heavy and expensive. Either that, or their performance is only mediocre. The Lumix S 14-28mm F4-5.6 MACRO really turns that on its head. It’s not very expensive, but it is rather good. In fact, for anyone trying to keep the costs down, it's got to be one of the best L-mount lenses to get.

Here are a few reasons why. First, it has a macro capability… well, sort of. It can offer 0.5x magnification at its maximum focal length of 28mm, and while that’s not a true 1:1 macro magnification, it still gets you a lot closer to small objects than a regular lens.

Second, by full frame zoom standards, this is not a big lens. It’s about the same size as Panasonic’s f/1.8 primes and the Lumix S 20-60mm kit zoom. Better still, it’s designed not to change length during use, so once it’s balanced on a gimbal, it should stay balanced. This makes it ideal for use on the Panasonic Lumix S5 II and Lumix S5 IIX, two of the best hybrid cameras right now.

It’s dust, splash, and freeze resistant, it has fast and silent AF actuators for video as well as stills photography, and it takes 77mm filters – unlike many ultra-wide lenses in this range, it doesn’t use a fixed petal-shaped lens hood, so using filters won’t be a problem.

On the downside, it has a modest 2x zoom range – but then there are plenty of modern ultra-wide zooms that don’t even offer this – and the f/4-5.6 maximum aperture looks a little weak too. But then, if that’s what it takes to keep the size and the cost down, maybe it’s worth it.

The key factor will be the optical performance. We can forgive a lot of things if a lens delivers really good results.

Panasonic Lumix S 14-28mm F4-5.6 MACRO: Specifications

Panasonic Lumix S 14-28mm F4-5.6 MACRO: Price and availability

The Lumix S 14-28mm F4-5.6 is on sale now, costing around $698 / £699. No, that’s not a mistake, that’s really what it costs. The variable maximum aperture obviously needs to be taken into account, but a 1 f-stop drop at full zoom is not much, and this lens really does look like great value. The Lumix S camera range doesn’t just include some powerful, competitively priced cameras, it also has a good choice of affordable and highly competent lenses. 

Panasonic Lumix S 14-28mm F4-5.6 MACRO: Design and handling

The Lumix S 14-28mm F4-5.6 is about as plain as you can get, but that is the style of Panasonic’s Lumix S lenses. There’s a zoom ring, a focus ring, an AF-MF switch and that’s it. There’s no focus distance scale and no physical aperture ring, de-clickable or otherwise.

Is that a bad thing? Maybe not. There’s no fuss, no complication, just a plain and basic lens design with the aperture controlled from the camera body. 

This is not an expensive lens, but it does feel well-made. The zoom and focus rings turn smoothly and the weather sealing is reassuring to have – and good to get in a lens at this price.

The most noticeable thing is the size. This is a very compact lens for an ultra-wide full-frame zoom, and while the penalty is a more restricted f/5.6 maximum aperture at the 28mm end of the zoom range, I for one would be perfectly happy to accept that in exchange for the compact size, lightweight and highly agreeable price!

The Lumix S 14-28mm F4-5.6 is a little boring to look at and use, but that’s not going to bother practically-minded photographers who just want a lens to do its job. It’s also very close in size to Panasonic’s f/1.8 prime lenses and the 20-60mm kit lens. They make a very cohesive lens collection that could appeal to stills photographers and videographers alike.

Panasonic Lumix S 14-28mm F4-5.6 MACRO: Performance

Zoom lenses often lose optical quality at the longer end of the range, especially ultra-wide zooms, but the Lumix S 14-28mm F4-5.6 holds up extremely well. The lab tests confirm the impressions you get from real-world photography, and this is a lens you can use at any focal length and any aperture without worrying about any dip in image quality.

The corner sharpness is typically lower than the center sharpness, but it’s never less than good, even wide open. 24mm is probably the weakest focal length for edge sharpness, but even here you’d have to do some fairly intense pixel-peeping to see the difference. Otherwise, this is a lens that reliably delivers good visual edge-to-edge sharpness, whatever the aperture or zoom setting. It’s an excellent performance for a lens at this price point, and you would have to pay a lot more for professional optics to improve on what this lens can do.

The explanation might lie in the optical construction, which is actually quite sophisticated, consisting of 14 elements in 10 groups and includes an aspherical ED element,  a regular aspherical element, three ED glass elements, and one UHR (ultra-high refractive) element. Thanks to the digital lens corrections applied in-camera and by programs like Lightroom, there’s no visible distortion, corner shading, or color fringing. 

The autofocus performance is impressive too. It’s fast, essentially silent, and perfect for video as well as stills photography. What’s more, the extra wide 14-28mm focal range is handy for selfie-vlogging on a gimbal or grip.

Panasonic Lumix S 14-28mm F4-5.6 MACRO: Sample images

Panasonic Lumix S 14-28mm F4-5.6 MACRO: Lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Center-sharpness is impressive and remarkably consistent throughout the entire zoom range. Corner sharpness is more of a mixed bag, being excellent at 14mm, but more lacklustre as you zoom in. At longer focal lengths you'll need to stop down to f/11 to get the best sharpness right into the corners.

Fringing:

Color fringing is very well controlled at all focal lengths and apertures - the lens never produces any hint of aberrations.

Distortion:

Barrel distortion is extreme at 14mm and still very noticeable at 18mm. By 24mm it's reached an acceptable level, but realistically you're going to want to enable in-camera distortion correction at all times - the lens has been engineered to rely on it.

Panasonic Lumix S 14-28mm F4-5.6 MACRO: Verdict

I wasn’t expecting to find the The Lumix S 14-28mm F4-5.6 an exciting lens to use. One look at the exterior confirms that this is a basic, no-frills lens, physically at least. But its small size, light weight and smooth, fluid operation did win me over. But not as much as the optical performance and overall image quality. This lens doesn’t quite deliver the razor sharp results of pro full frame lenses, but there’s not a whole lot in it, and it’s a whole lot cheaper. The main thing was that there weren’t any focal lengths or apertures I had to avoid, like there are on most inexpensive zooms. I could shoot at any settings without worrying that the edges wouldn’t be sharp. The Lumix S 14-28mm F4-5.6 has a fairly limited focal length/aperture envelope, but you can use all of it.

For me, the key thing is the price. This is not a lot to pay for an ultra-wide zoom with such consistent and reliable performance. And don’t forget you’re getting weather sealing and high-speed, high-precision autofocus too. The Lumix S 14-28mm F4-5.6 may not look or feel like the most exciting lens in the world, but it absolutely does the job, no question.

Panasonic Lumix S 14-28mm F4-5.6 MACRO: Alternatives

Venus Optics has just announced a new super-fast cine lens series that takes its inspiration from the existing Laowa Argus photography range and is available across three sensor size formats. 

On top of producing some of the photography market's best macro lenses, Laowa has also been making some incredible cine lenses offering anamorphic and cine zooms at a great price with superb optical quality. 

Laowa continues to expand its cine lens range further by introducing the Laowa Argus T1 Cine Series available for full-frame, Super35 (APS-C), and MFT. Releasing a range that has the capabilities to cover most cameras is an inspired idea, and will no doubt appeal to a wider range of users.

With these three formats, the Argus cine lenses are available for Canon RF, Sony E, Nikon Z for Full-Frame, Canon RF, Sony E, Nikon Z, Fuji X mount for Super35 (APS-C), and M4/3 for MFT format. 

The focal lengths on offer upon launch do vary between sensor sizes with 28mm, 35mm, and 45mm available for full frame, 18mm, 25mm, and 33mm available for Super35 (APS-C), and 18mm and 35mm for MFT. 

One of the things that distinguishes the best cine lenses is consistency across the range, and all of the Argus Cine lenses have a maximum aperture of T1. This is extremely fast and offers users a remarkably shallow depth of field with smooth bokeh in the out-of-focus areas. 

Shooting wide open with large apertures such as T1 can also provide its own challenges such as chromatic aberration, however, Laowa assures users "the Argus T1 Cine series is meticulously designed to deliver exceptional optical performance. These lenses minimize chromatic aberration, ensuring maintained contrast and sharpness even when shooting wide open at T1 aperture."

The consistency continues with the build design as each lens has professional cine housing incorporating a 0.8 mod gear, an 80mm outer diameter with 77mm filter thread to accommodate most matte boxes, internal focusing, and a lens supporting thread. This is extremely important when swapping lenses as the similarities will mean minimal equipment adjustments and settings changes. 

Laowa also ensures consistent optical performance including color tone and contrast throughout the range. Laowa states, "Every focal length within the Argus T1 Cine Series is meticulously crafted to deliver consistent color rendition and lens performance. This minimizes the requirement for extensive editing in the post-production process after utilizing different focal lengths, ensuring seamless visual consistency across your projects".

Other notable features include low-focus breathing, a short minimum shooting distance (varies across focal lengths), and an average 270-degree focus rotation. 

The Laowa Argus T1 Cine Series is available now. The full-frame lenses are priced at $1499 | £1499 individually or $3999 | £3999 for the 3-lens set. The Super35 (APS-C) lenses are priced at $899 | £899 individually or $2499 | £2499 for the 3-lens set. The MFT $699 | £699 individually or $1259 | £1259 for the 2-lens set. (Australian prices to be confirmed). 

You may also be interested in our guides to the best cine lenses, the best cinema cameras, and the best hybrid cameras.

Sirui is expanding its Sniper Series of prime lenses by releasing two new focal lengths, adding more width and telephoto options.

Sirui launched its first AF photography lenses dedicated to mirrorless APS-C cameras late last year, and due to its affordable price point and wide aperture, the Sniper Series quickly became a fan favorite. 

The series currently consists of 23mm, 33mm, and 56mm f/1.2 prime lenses, however, they will soon be accompanied by the Sirui Sniper Series APS-C AF 16mm f/1.2 and the Sirui Sniper Series APS-C AF 75mm f/1.2, to further compliment the series.  

The great thing about the Sniper Series is that there are many consistent features throughout the range, which is no different from the new offerings. 

A main draw for the Sniper Series is the extremely fast f/1.2 max aperture, enabling shallow depth of field captures and exceptional low-light performance. The 75mm offers a full-frame equivalent focal length of 113mm which falls in the range of a great portrait lens, and when combined with the wide aperture, offers great subject separation. 

Much like Sirui's cine lenses, the company has put a considered emphasis on keeping the lenses in the series consistent, meaning that other than the focal range, not much changes between them. 

The size and weight are almost indistinguishable throughout the series, meaning that swapping lenses when using gimbals and stabilizers does not require changes to calibration or settings changes, making the Sniper Series a great video lens option. 

Color tone and lens characteristics are also uniform throughout, further providing the user with confidence that they know what to expect from each lens.

AF lenses are a relatively new product line for Sirui, as they have up until recently, focused on manual focus photography, cine, and, macro lenses. The Sniper Series however offers fast and efficient AF capabilities with Eye AF for stills and video. The STM motor also reduces focus hunting and noise even in fast-paced environments. 

Other notable features include a 360-degree focus throw, a USB-C port for firmware updates, HD Nano coating, and uniform color options throughout the rest of the Sniper Series. 

The Sirui Sniper Series APS-C AF 16mm f/1.2 and the Sirui Sniper Series APS-C AF 75mm f/1.2 will be available for Sony E, Fujifilm X, and Nikon Z mount. The lenses will be available to back on Indiegogo from June 17 with shipping expected to start June 19.  

Sirui continues to offer extreme value in an affordable package as each of the new lenses will cost just $399 | £346 | AU $535 each! (Early backer discounts are available via the Indiegogo page) Sirui also offers the Sniper Series as part of a set for further discounts, so keep an eye out for these as there are great deals to be had!

Sirui certainly means business and has been ramping up in production, offering affordable cine and photography lenses with fantastic optical performance, and I can only see further releases improving on this.

You may also be interested in the best lenses for Nikon Z mount, the best Fujifilm lenses, and the best Sony lenses.

Ricoh has released two new cameras into its line-up of waterproof digital compact cameras with two new models: the entry level Pentax WG-1000 and the more advanced Pentax WG-8. 

While some might think this is an exciting expansion of the adventure camera market, to some eagle-eyed followers of Ricoh, including our less than impressed Imaging Labs manager Ben Andrews, it may be hard to spot the updates. Ricoh bought Pentax back in 2011, and looks like it is now starting to use the Pentax brand more widely - using it for compact cameras once again

A quick comparison would suggest that our initial fears were correct, and there is no difference between the Pentax WG-8 and its predecessor the Ricoh WG-6 – other than the change of brand and model number.

Both can withstand temperatures of minus 10° C, remain waterproof down to depths of up to 20 meters, and are shockproof against falls from a height of 2.1 meters. 

They’re even the same price at $399.95 / £479. 

The 20-megapixel camera has a 5x zoom range, with an equivalent focal lens range of 28-140mm f/3.5-4.5. The camera has built-in GPS for geolocation, and has an microscope-like macro mode that is aided by a built-in ringlight.

A key difference is that the WG-8 will be available in green, as well as black (the Ricoh WG-6 was offered in orange or black). It will go on sale from July.

With the WG-1000 joins the Pentax range as the baby brother to the WG-8 and the the previously released Pentax WG-90, that was launched in January.

The budget model can  manage depths of 15 meters for up to one hour of continuous use. It's shockproof against a fall from a height of 6.5 meters, but is not designed for sub-zero temperatures

The WG-1000 features a back-illuminated 16.35-megapixel CMOS image sensor with approximately 16.35 effective megapixels, and has a 4x zoom lens.

The key attraction here is the price - which at $229.99 / £249 makes it an attractive low-cost option for use on the beach or for water sport activities. It will be sold in a choice of grey or olive colorways when it goes on sale at the end of June.

Despite these slightly confusing ‘updates’ on the new releases, we applaud Ricoh for continuing to make compact digital cameras when many other brands have abandoned these pocket cameras entirely - following continuing improvement to camera phones.

If you don't want a Pentax, check out our guides to the best travel cameras, the best action cameras, and the top waterproof cameras around. 

Photography is my hobby – in particular, flower and plant macro photography. Everyone is capable of taking good photos of plants and flowers, even with a camera phone, but how do you capture a really great photo, or produce an eye-catching image? 

I have a good quality but entry-level camera, a macro lens and some accessories. I sometimes enter my images into competitions but I find it daunting and challenging to produce an image that is different, perhaps unique, and that captures the imagination of the viewer. 

Post-processing software, such as Affinity Photo and Photoshop, offers a multitude of tools and creative filters that I can use to create beautiful and different images, which give me enormous pleasure and fun.

I use Affinity and Photoshop Elements, both of which are easy to learn if you approach them with a sense of curiosity. Simply by exploring the tools and filters in these programs, I have often stumbled across techniques that produce stunning and unique images – and which are easy to execute. 

Go ahead and explore the endless options available to you. You will have good fun producing great images – and, who knows, perhaps a competition winner.

1) The original image

My starting point was a nine-shot image of a dahlia from my garden, focus-stacked using Affinity Photo. It is underexposed and rather dull, but reasonably sharp from front to back.

2) Enhance the tones

Use the Exposure and Contrast sliders, along with the Clarity and Sharpening tools and filters, to enhance the image.

3) Black background

Using the Selection Brush Tool, select the flower, then invert the selection and turn the background black using the Luminosity slider in the HSL Panel. This produces an eye-catching, high-quality look and feel against the black background.

4) Enhance color

In the Adjustment Panel, select Warm under Black & White, then set the Blend Mode dropdown to Overlay. This produces the stunning final image.

You might be interested in the best cameras for macro photography, and the best macro lenses to get those super close-up shots.

The 108MP camera phone may now be old news, being initially popularized by the Samsung Galaxy S20 Ultra 5G back in 2020. But since then we've seen 108MP primary cameras trickle down to ever-cheaper handsets, and now Xiaomi has included a 108MP snapper in its latest budget offering, the Redmi 13 - a sub-$200 phone.

Read more:
The best budget camera phones

The exact sensor is Samsung's ISOCELL HM6. At 1/1.67" in size, it's significantly smaller than some of the 108MP chips in high-end handsets, though it's still capable of 3x on-sensor lossless zoom and uses 9-in-1 pixel binning in its default shooting mode.

The primary camera is flanked by a 2MP macro camera, but being a budget phone, there's no ultrawide module and video is capped at 1080p. The Redmi 13 does get a selfie camera upgrade though: a 13MP front-facing module replaces the 8MP chip in last year's Redmi 12.

The selfie camera sits within a large 6.79" IPS LCD display running at 1080x2460 resolution, giving a pixel density of 396ppi. The 90Hz screen is protected by Gorilla Glass and is capable of up to 550-nit brightness.

The Redmi 13 is powered by a 5030mAh battery and is capable of 33W fast charging - another upgrade over the 18W charging speed offered by the Redmi 12. The phone runs a Mediatek Helio G91 Ultra 8-core chipset and is available in storage/RAM configurations of 128GB/6GB, 128GB/8GB and 256GB/8GB. Storage can be expanded using the onboard microSD slot, compatible with cards up to 1TB. There's also a 3.5mm headphone jack, and the Redmi 13 has IP53-rated dust and water protection.

Four color options are available: Midnight Black, Sandy Gold, Pearl Pink and Ocean Blue, with prices starting from $180/€200.

Have you ever come back from a far-flung destination, only to be disappointed to discover your memory card is full of so-so holiday snaps? We’ve enlisted the advice of travel pro Steve Davey, who shows you how to get under the skin of a location to capture the ‘sense of a place’ and show the side that you don’t see in the holiday brochures. 

Our apprentice stays closer to home, exploring the West Country to capture bluebell woods, rapeseed fields, stately homes and ancient monuments, under the instruction of landscape pro Mark Bauer. 

Emma Dunham tells how she transformed her career from taking portraits of people to foodie photos in the N-Photo interview. Plus Motorsports supremo Jon Nicholson shares a lifetime of images of capturing everything on four wheels, from banger-racing to Formula 1.

We take a super-close look at eight of the best macro lenses for F- and Z-mount Nikons, to help you take larger-than-life shots of everyday items. And we also check  out Nikon’s stunning new superzoom, with its gargantuan 28-400mm focal length range. 

We have our usual mix of practical shooting and editing projects, including how to shoot road bike racing, get close-ups of bees, capture the excitement of a football match, and take sporty portraits with a stroboscopic effect, as well as mastering Affinity Photo’s HSL tool and adding a misty effect to scenes in Photoshop CC.

N-Photo: The Nikon Magazine is a monthly magazine that's written by Nikon enthusiasts for Nikon enthusiasts, you can be sure that all the content is 100% relevant to you! So for the best Nikon-focused news, reviews, projects, and a whole lot more, subscribe to N-Photo today – with our unmissable subs deal!

Check out our latest subscription offer!

Where to find N-Photo magazine

So rush down to your newsagent today. Or ever better, why not subscribe with this fantastic deal  to a print edition, and have the magazine delivered to your door every month?

Alternatively, we have a number of different digital options available, including:

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If you wanted a printed version of any of our most recent issues we have a selection of back issues to choose from in our online store.

Subscription deals: Our guide to the best photo magazines

I’m sure I’ve got an old bellows camera in the attic somewhere buy I’ve not seen it for years and it’s from an era that very much predates my entry into the wonderful world of photography. Macro bellows are something rather different. Mount a camera body at one end and a lens at the other, and you can increase the magnification of any standard lens by extending the distance between the lens and camera. It’s like using extension tubes but fully and seamlessly adjustable. 

The upside is that I can get large magnification factors using any lens, not just a macro lens. The downside is that macro bellows units typically have no electronic communication between the lens and camera. This rules out automatic exposure metering, autofocus, the recording of lens-based EXIF data and, unless I’m using a lens with a physical aperture control ring, I can only shoot at the lens’s widest aperture. 

This Auto Bellows unit from the somewhat legendary German company, Novoflex, solves the problem by enabling full electronic communication between the camera and lens. As such, it aims to give a viable alternative to some of the best macro lenses on the market.

Novoflex Auto Macro Bellows: Specifications

Novoflex Auto Macro Bellows: Price

The key selling point of this ‘auto’ bellows unit is that it enables the camera body and lens to speak with each other. That relies not only on dedicated camera and lens mounting plates for specific camera systems, but also a stretchy cable to link them together. There’s a wide range of mount options on offer, including Canon EF & RF, Nikon F & Z, Sony E, Fujifilm X, Leica L (which suits Panasonic and Sigma full-frame cameras as well as Leica), plus Micro Four Thirds. 

Each version of the kit costs around $1,285/£769. I’ve also seen a Fujifilm GFX medium format edition of the Auto Macro Bellows advertised in the USA for $1,799. They all cost a lot more than manual macro bellows options but that’s only to be expected. Indeed, they cost as much as some of the best macro lenses on the market, although these typically only give up to 1.0x magnification at their closest focus distances. The flip side is that, unlike a bellows unit, they can focus all the way to infinity so are useful for general photography instead of being limited to extreme close-ups.

Novoflex Auto Macro Bellows: Design & Handling

I got hold of the Nikon Z version of the Novoflex Auto Macro Bellows and, like others in the range, it comes as a kit of parts. The bellows unit itself has a sturdy base plate with a dovetail Arca-Swiss compatible profile, for easy mounting onto a compatible tripod head. And if you don’t have one of these, there are also 3/8” and ¼” threaded holes along with four cutouts for safety pins and two further threaded holes for video pins. Drive knobs are featured front and rear for precise movements and extension of the bellows, along the geared rack, which also features a numbered scale for easy reference. Supplemental locking knobs keep finalized adjustments securely fixed in place.

Attachment of the camera and lens is courtesy of a ‘Camera connector’ which fits into the camera body’s bayonet lens mount, and a ‘Lens connector with release button’ that attaches to the lens. Both are made from metal and feel very solid yet lightweight, excellently engineered and finished. The two items are joined together with a coiled cable catering to the extending and contracting length of the bellows. Again, the cable feels very durable of excellent quality, wired into the gold-plated electronic contacts in both the camera and lens mounts.

The kit I was sent also included a reverse adapter. This enables the lens to be reversed and mounted to the front end of the bellows via its filter attachment thread. It has a 58mm thread but step-up and step-down rings are available for lenses with all popular thread diameters from 37mm up to 82mm. Reversing the lens on the front of the bellows in this way enables even greater macro magnification.

You can leave the bellows unit out of the equation altogether and simply attach the mounting plates to each end of the lens. In this configuration, as a guide, Novoflex says that if you’re using a Canon EOS 24-105mm lens, you’ll get a maximum macro magnification of 2.81x at the short end of the zoom range. With a typical 35mm lens, you should be able to get anything from 1.0x right up to 7.0x macro magnification.

I was a bit concerned that the auto bellows unit would be tricky to assemble and that it would feel a little fragile in use. I was pleasantly surprised that all of the components fit to the camera and lens, and to each other, quickly and easily. Handling feels very smooth and precise, and all of the parts have a really high-quality and durable feel. One word of warning is that Novoflex says you must not hold down the lens release button on the lens connector when attaching it to the lens, otherwise the electronic communication with some cameras and lenses can be lost. No big deal, just bear in mind that the lens release button is purely for detaching the lens.

Novoflex Auto Macro Bellows: Performance

While the Novoflex Auto Macro Bellows is quite quick and easy to set up, it’s relatively fiddly in use. As I’ve mentioned, the amount of magnification is increased by extending the length of the bellows on its geared track, which is simple and intuitive enough. You can also reverse the fitment of lenses, typically with a focal length of 50mm or shorter, using the reverse adapter. Novoflex recommends a focal length of 35mm as being ideal, which tends to be capable of macro magnification factors of anything from 1.0x right up to a huge 7.0x magnification.

The complication comes in terms of focusing and working distance. While the electronic communication enables the use of autofocus, this doesn’t work well in practice. I found there was a lot of autofocus hunting involved and that autofocus would often completely fail to lock onto the subject. Indeed, Novoflex recommends switching to manual focus mode and physically moving the camera or the object being photographed to achieve focus. Ideally, it’s best to use an additional macro focusing rail. As such, Novoflex offers various options including the Castel Mini II, Castel Q and Castel XQ II, being of increasingly larger sizes respectively, all of which are sold separately. These enable very precise movement of the whole assembly, as well as allowing for accurate focus stacking if you want to take a series of shots to merge into a composite image with greater depth of field.

The other issue is that the working distance tends to be extremely short. I found that the front of an attached lens would often be almost touching the object that I was shooting, so you not only need to be careful about collisions but lighting can also be a problem. At moderate extension, I found there were a couple of inches or so to spare, so it effective to bounce flash off a nearby wall or use a flashgun remotely, off-camera. For shorter distances, the latter is preferable, and I also used LED photographic lights, but needed to apply lighting from a very severe angle. For reverse mounting of lenses, Novoflex recommends fitting a protection filter to avoid the risk of any damage at ultra-short working distances, and one was supplied in the kit that I received.

The actual image quality is naturally very dependent on the camera and lens that you’re using with the Auto Macro Bellows or in reverse fitment, either with or without the bellows. Using my Nikon Z 6II and kit Nikon Z 24-70mm f/4 S lens, I was very happy with the image quality of the results. Sharpness and clarity were very good indeed and automatic exposure metering proved consistently accurate.

Novoflex Auto Macro Bellows: Verdict

I’m very much impressed with the build quality of the Novoflex Auto Macro Bellows. I’d actually expect nothing less considering the typical selling price of around $1,285/£769. Personally, I’m happy with the 1.0x magnification of a regular macro lens and, for my Nikon Z system cameras, I find that the excellent  Nikon Z MC 105mm f/2.8 VR S Macro is a better proposition with a much more comfortable working distance, costing around $847/£869. Naturally, I can also use this as a regular lens for portraiture and in other scenarios where I want a short telephoto focal length, focusing right out to infinity instead of being limited to very short focus distances.  If you want greater macro magnification of up to 7.0x, for example when using a 35mm lens, the Novoflex Auto Bellows is an intriguing kit that can really deliver for extreme close-ups, so long as you can live with really short working distances.

Alternatives

The SpeediGimbal is a monopod/tripod head that is designed to offer instant support to take the weight of a camera with large lens attached. Unlike other tripod heads it is not designed to provide a secure attachment – but offers unrivalled manoeuvrability for capturing moving subjects.

It’s the brainchild of wildlife photographer Colin Brister, who developed it after having spent many years handholding heavy lenses, but found standard gimbal heads didn’t offer the manoeuvrability he needed.

It consists of a two-part ball-and-cup design, with one part mounted to the lens bracket and the other fitted atop a monopod or tripod. Both parts have 3/8in UNC threads, and come with standard 1/4in UNC adapters, too. 

Manufactured from Black Nylon 66, it’s a high-performance product designed to withstand long-term wear and tear effects. The device is perfect for sports, wildlife and macro, and also works with spotting scopes, making it ideal for birdwatchers too. The lightweight, compact head is less than three inches in size, enabling it to be easily stashed in a spare corner of a camera bag. 

The SpeediGimbal is available directly from Colin Brixter's website and the £79 price (around US$100 or AU$150).

Watch video: Creative cross-polarization

Many of us are now accustomed to using circular polarizing filters on our lenses. They’re useful for enriching colors in landscapes – especially blue skies and foliage – and invaluable for cutting through reflections or atmospheric haze. But polarizers aren’t just for lenses; something magical happens if we polarize our light source, too. 

This is called cross-polarization, and the technique is simple. We need both the light entering our camera and the light emitting from our source to be polarized light. It’s a classic technique that has many uses, both practical and creative. Cross-polarization can result in photos with zero reflections and glare, which makes the technique useful for practical things such as dental photography – because eliminating the glare allows for clearer pictures of teeth. 

But if you want to get creative, it also enables you to capture otherworldly color spectrums. Captured under cross-polarized conditions, any hard, clear plastic objects (like the plastic champagne flutes here) are transformed into vivid, rainbow displays of color. You probably have everything you need to get started at home. As well as a polarizing filter for your lens, you’ll also need a polarized light source.

Most LCD screens emit polarized light, so it’s fairly easy to get set up in front of a laptop or a large TV. The only other thing you need is an array of hard, clear plastic objects and a surface to place them on, like Perspex or glass. It takes minutes to set up and is great fun. 

1. Choose white or black

One of the most magical things about the project is how the TV or laptop screen behind the plastics can be made either totally black, white or something in-between, depending on the rotation of the circular polarizing filter. So try rotating the filter to change the contrast and create a range of interesting effects.

2. Use different plastics

Root around the house and you’re likely to find all sorts of interesting objects that can be transformed into a vibrant still life subject, thanks to cross-polarization. Arrange the objects so that the screen lights them from behind and, if the plastic is suitable, you’ll be treated to a colorful spectrum.

3. Try a macro lens

If you have a macro lens, this is a great time to experiment with extreme close-ups. Go in tight on parts of the plastic object, like the bubbles in the champagne flute here. Use a fairly narrow aperture like f/11 to expand your depth of field so that more of the close-up details are in focus.

4. Create depth

The great thing about using a TV for your polarized backlighting is that – as long as it’s a fairly large screen – you can arrange your plastic objects at different distances to create a sense of depth in your cross-polarized photos. Here, by focusing on the last in a line of flutes, we get lovely foreground blur.

5. Experiment with tilt

When capturing an array of similar objects like this it’s worth experimenting with pattern-like arrangements, perhaps by spacing them all at equal distances. Try tethering your camera to a laptop or your phone to help you arrange things. Once done, an intentional tilt to the camera can lead to a dynamic composition.

6. Shoot a long exposure

You can create interesting blur effects by slowing down your shutter speed and moving the plastic object during the exposure. This was shot at 2 seconds, aperture f/16, ISO100. This will only work with a black background, so first rotate your polarizer to make the TV screen go black.

7. Master the Channel Mixer

Photoshop’s Channel Mixer Adjustment Layer is great for creative color shifts. Use the dropdown menu to target the RGB channels and experiment with values. The combined value for each channel should be around +100. For instance, on the Blue channel you could use R -100, G 0, B +200.

8. Use the Color Mixer

The Color Mixer Panel in Camera Raw / Lightroom is one of the easiest tools for making color changes. Go to the Hue tab then grab the target tool and drag over colors in the image. You can also adjust the color saturation. For further control, experiment with the Point Color options.

9. Color the backdrop

A twist of your circular polarizer can turn the background black or white. But something in between will give you a grey that can be colorized. Open into Camera Raw or Lightroom, go to the mask panel and choose Select Background, then use the Hue control to change the color.

10. Get crafty with cross-polarization 

Start to experiment with cross-polarization along with other creative techniques and you can come up with all kinds of interesting artwork. For instance, why not try combining the cross-polarization technique with a bit of craftwork? 

For this image we cut out a few shapes from a sheet of black paper, then stuck them to our board of Perspex (now placed vertically and held in position with a clamp). We then stuck a pair of plastic goggles to the board, and experimented by placing other plastic objects very close to the camera lens to create blurry, out-of-focus colors in the foreground. 

Of course, the TV screen needs to be captured as white for this to work, so we need to rotate the circular polarizer on the lens until we have a bright backdrop rather than a dark one.

If you're serious about scenery, take a look at the best cameras for landscape photography along with the best lenses for landscapes.

On Thursday 23 May, OM Digital Solutions Co, previously known to photographers as Olympus, announced that its interchangeable lens, the M.Zuiko Digital Ed 90mm F3.5 Macro IS Pro, has won the 2024 Technology Award from the Society of Photography and Imaging of Japan. 

In 2023, the company won the same award for its mirrorless camera the OM System OM-1, making this the second consecutive year the company has been awarded the accolade. 

The award is given to innovators who have made outstanding technical achievements in photography and other related fields. Specifically, the award was for “expanding the scope of photography with the macro-oriented OM System M.Zuiko 90mm Macro.” 

The winners were Yuge Kazunori (Product Development), Hayashi Osamu (same company), and Hayashi Tetsuya (EL System) from the Development Division of OM Systems.

The judges were impressed by the 4x macro magnification in 35mm format, its fast and accurate focus mechanism, and its depth of field correction technology. The lens was also praised for its image stabilization function which allows handheld macro photography, allowing users to use their cameras in situations where a tripod would usually be needed. 

On 01 January 2021, 95 percent of the Olympus Imaging Division was transferred to holding company OJ Holdings, Ltd, owned by Japan Industrial Partners (JIP), with Olympus retaining a five percent stake.

As of 2021 Olympus cameras – such as the Olympus OM-D E-M5 Mark III and Olympus OM-D E-M1 Mark III – along with new products began being sold and serviced by OM Digital Solutions Corporation.

In 2022, the first camera bearing the OM System brand logo was released, the OM System OM-5. In 2023, OM Digital Solutions opened its Production Technology Center, “a base for lens innovation.”

It said: “Located in Hachioji City, Tokyo, near our R&D center, this facility delivers one-stop verification of processes from the planning and development stage of optical lenses to the polishing, molding, coating, bonding, and exterior coatings. Traditionally this is a difficult process for mass production and is the key to accelerating OM System's lens development in the future.”

Check out the best OM Digital Systems cameras, as well as the best OM Systems lenses.  

We've also put together the definitive guide to the best macro lenses.

After reviewing the Sony Xperia 1 VI, it's clear that the telephoto macro trend in smartphones is really hitting its stride. Telephoto macro photography, also known as telemacro, involves using the telephoto lens to capture close-up photos and offers numerous benefits. It adds distance between the subject and the photographer (particularly handy for shots of insects). This, in turn, eradicates shadows typically associated with macro photography and also eliminates wide-angle distortion. 

Telephoto macro lenses are anything but a new concept. The popular Canon EF 100mm f/2.8L from 2009 is still one of the best macro lenses available in 2024, serving up high-impact close-up capture to pro photographers. However, it is a relatively new concept on smartphones, with the Huawei Pura 70 Ultra and Sony Xperia 1 VI being the best implementations to date. But can you really take a smartphone macro camera seriously?

I reviewed the Huawei P60 Pro and was blown away by how incredibly detailed its macro stills were. You can see some examples of stills captured on it above. What particularly impressed me about the Sony Xperia 1 VI more recently is its telemacro video, captured at up to 120fps at 4K resolution. Huawei has also integrated a tele-macro camera into its new Pura 70 Ultra, producing crisp Instagram-style telemacro snaps.

But Huawei and Sony are far from the first smartphone makers to dabble in macro photography on their phones; they simply represent the latest (and most impressive) incarnations of the feature to date. In this piece, I’ll explore the different ways to take a macro photo on your phone, explore other macro offerings, and dive into Huawei and Sony’s best-in-show phones in more detail.

A history of smartphone macro photography

Macro photography has been possible on smartphones for years. Before dual-camera phones hit the scene, It was a simple case of getting as close to the subject as the main camera would allow, and cropping into your shot. The next big step forward was the auto-focusing ultra-wide camera, featuring 4cm macro capture, with the Huawei Mate 20 Pro being the first (or one of the first) to pack this tech. It was great for GoPro-style barrelled expansive macro pictures, but not flower or insect shots and other typical macro staples, making its utility limited and requiring a bit of distance.

Alongside all these high-end macro developments, budget smartphones were being loaded up with a poor substitute for a dedicated macro camera. These 2MP resolution fixed focus modules locked on at around 4cm from a subject, gracing hundreds of phones including the Poco X3 Pro and Realme 8 Pro. 

These 2MP macro cameras were little more than marketing tools to unlock terms like triple camera and quad-camera while delivering worse results than a crop from the primary camera. It’s great to see smartphone makers start to ditch this trend with budget offerings like the Nothing Phone (2a). 

The real era of the telemacro camera began with the launch of the Xiaomi Mi 11, which had a 5MP macro camera with autofocus and a 48mm equivalent focal length (roughly 2x zoom). This is also featured on the Xiaomi-made Redmi Note 10 Pro, a significantly cheaper phone, taking respectable telemacro photography to a mainstream price point.

Two years later, the Xiaomi 13 Pro took telemacro capture to new heights with a 50MP 75mm camera. This was the first phone to combine a quality high-resolution sensor with macro focus and serious reach for impressive macro results.

It wasn’t just Xiaomi that was getting in on the macro action. Fellow Chinese smartphone maker Oppo launched its Find X3 Pro, which featured a telemicro lens captured with an almost microscopic focus. This was actually the camera phone that helped me identify the specific type of weevil that was wreaking havoc in our pantry, living in our bags of flour, chomping on our dried pasta, and making its way into our chocolate chips. It was super-helpful for that specific situation, but because it had such a microscopic lens that didn’t extend to traditional macro-type photography, the Find X3 Pro telemicro camera’s practical use was limited.

Before we talk about the latest generation telemacro cameras, specifically from Huawei and Sony, it’s worth talking about almost telemacro cameras. That is to say, the cameras that can capture relatively close-up subjects using telephoto cameras like zooms on the OnePlus Open, Oppo Find X7 Ultra, Vivo X 100 pro and Xiaomi 14 Ultra. These are all fantastic for product photography, with the far-reaching focal length combined with near-focus creating beautiful depth when snapping subjects around 20-70cm away, and are my choice over the zoom lenses on an iPhone, Pixel, and Galaxy flagship right now.

The problem with the iPhone 15 Pro Max in particular, is its tetra-prism telephoto camera can’t focus nearer than around 1.2m from a subject, so it’s the worst telephoto camera for close-up photography on any mainstream smartphone I’ve tested.

Huawei Pura 70 Ultra

Onto the best telephoto cameras for close-up photography out now, and the Huawei Pura 70 Ultra is my choice for photos. It has a 1-inch sensor primary camera that pops out and has a variable aperture. As impressive as the main camera is, though, the telemacro camera with its 50MP resolution, f/2.1 aperture, and 5cm near focused distance, is the star today.

Fire up the camera and you could just take a standard 3.5x zoom picture of a close-up subject, and it will focus near or far like a champion. You can also get much more impactful shots if you open the dedicated super macro mode. The reason this mode is so much more high-impact is because its processing crisps everything up masterfully to make your photo clarity pop, and you can also activate manual focus for those hard-to-lock-onto subjects.

The Huawei Pura 70 Ultra can also capture 4K video at up to 60fps, and this looks very impressive and sharp out of the camera. However, if you want to take the reins on focus, it records with a much more stepped, less smooth focus panning than our video macro champ, the Sony Xperia 1 VI.

Sony Xperia 1 VI

On paper, the Sony Xperia 1 VI’s telephoto camera is probably the most impressive piece of smartphone camera engineering around. It has a continuous zoom from 85mm to 170mm with a periscope structure, and on top of its moving parts and relatively wide aperture, it also has macro capabilities at the 120mm mark.

Focusing as close as 4cm from a subject, the Xperia 1 VI captures with a ridiculously shallow depth of field, but also an impressively wide focus range. Its photos look very flat out of the camera, making them easy to edit if you know what you’re doing but not ideal for anyone who wants a point-and-shoot shot to share.

What’s more impressive than the Xperia 1 VI’s telemacro photos, though, is its telemacro video. Able to capture it up to 120fps, the phone gives you plenty of scope for slowing down footage, but also does an excellent job of smoothing out focus so you can create beautiful, silky, professional-looking focus pans that wouldn’t look out of place on a landscape documentary.

Thanks to that 120fps video, the Xperia 1 VI’s macro footage is also excellent when you can’t quite capture a winning still shot, as you can simply pull a 12MP 16:9 still from the video and edit the results.

Can smartphones really compete with dedicated cameras?

As with all things smartphone camera-related, it would be misguided to think Huawei and Sony’s new phones will make macro lenses on dedicated cameras redundant. What they will do, however, is provide incredibly compact alternatives when photographers need to travel light. 

So while a macro lens might not sway your decision when deciding on your next phone, if you love capturing close-up, detail-rich photos and video, the Huawei Pura 70 Ultra, and Sony Xperia 1 VI could be the best camera phones of 2024, delivering powerful pocketable cameras that niche down and level up like no other.

If you want to go the camera route, take a look at the best cameras for macro photography, along with the best macro lenses to pair with them. 

In my years as a photographer I’ve bought my way through a few systems worth of cameras and lenses. Be it a medium format film system right through to my current Fujifilm setup as a former ambassador (the program ended, not my love of the system). My current lens setup runs from a 7.5mm fisheye up to 600mm (using a 300mm with a 2x teleconverter). Despite this, I still firmly believe that anyone could be happy with two lenses and shoot the most common subjects with them with ease.

I bet you think I’m going to say the 24-70mm f/2.8 and 70-200mm f/2.8. Sure it’s the classic professional set, but they’re big and bulky and not at all an agile set for the average photographer. The two biggest genres of photography are scenics and portraits. Both of these can be covered with the lenses I’m suggesting. Wide lenses suit landscapes, cityscapes and broad nature, while medium telephotos suit portraits.

In full-frame terms, the lenses I’m suggesting are the 16-35mm and the 85mm. On my Fujifilm X system, it’s the Fujinon XF 10-24mm f/4 and the XF 56mm f/1.2. Now, I’d prefer if there were an f/2.8 version of the 10-24mm for astrophotography, but f/4 is still fine for scenics, where you’d normally be shooting at f/11. The zoom gives you room to change your view and enhance the foreground. 

85mm (56mm on an APS-C crop-sensor camera) is a very flattering lens focal length for portraits. The compression allows the nose to balance well with the face and helps the ears look proportional. Wider lenses make the nose look larger and bloat the face.  I’ve even shot ¾ portraits using this by zooming with my feet. 

Being a prime, you also get beautiful bokeh with the shallow depth of field. While most are f/1.2, Canon’s RF 85mm f/2 is a gorgeous lens for the money and a worthy investment, especially as it also does macro. I love the new 56mm for Fuji, especially the weather sealing.

Best of all, the combined weight and size makes this set easy to bring everywhere. They’re well suited to a smaller messenger bag, or a day bag with your lunch and laptop. You no longer need to worry if you can bring a camera with you for light travel because you know these lenses will cover most of your needs. 

Checkout our complete guide to the best Fujifilm XF lenses