To  photograph a full moon (or any moon) successfully, you first have to understand it. Although astrophotographers specializing in the moon usually photograph it through a powerful telescope, a telephoto lens of almost any focal length is good enough to get a good shot. Making the moon the sole focus of a shot, however, is only one way to approach lunar photography; another is for it to enhance a landscape photo, where it can provide a powerful addition to a wide-angle image.

While it can help, the fact that you don’t need any specialist equipment to photograph the moon makes it one of the most accessible celestial subjects out there. It’s a great starting point for those interested in astrophotography, whether you’ve only got a kit lens or even just a camera phone.

All full moons are given names, which often differ depending on the region or culture. Tonight’s full moon is most commonly referred to as the Full Strawberry Moon. According to Almanac, which cites The Old Farmer’s Almanac, full moon names can have Native American, Colonial American and European roots. And while Strawberry Moon might conjure images of a fiery red orb, its Native American origins link it to strawberries harvested in June.

According to NASA’s SKYCAL, the Full Strawberry Moon will peak tonight on June 29 19:57 EDT and 23:57 GMT. Because it’s the closest full moon to the summer solstice, it will hang lower in the sky than any other moon this year.

Equipment for shooting the Moon

The equipment you’ll need is the same as for wildlife or sports photography: a DSLR, mirrorless or bridge camera on a sturdy tripod, and either a wide-angle or any regular telephoto lens, such as one with a 70-300mm focal range. A remote shutter-release cable will also be useful so you don't introduce vibrations, although you can also use the timer in your camera.

Check out this article, if you want to know how to photograph the moon with a monster Nikon P1000 bridge camera. And if you're interested in picking up essentially the same camera with a few modern appointments, the Nikon P1100 has recently been launched.

The Moon is a moving target; the combination of the Moon's 2,288 miles-per-hour orbit and Earth's 1,000 miles-per-hour rotation makes our satellite a fast-moving target. However, it's usually bright enough for a relatively fast shutter speed to yield good results.

How to focus on the Moon

Although you can autofocus on the Moon as it rises, or as it becomes visible just before sunset, it's a good idea to focus manually. With your lens set to manual focus, set the the focusing ring to infinity. It takes some practice since most cameras can focus beyond infinity, and finding the exact point that works for your lens takes trial and error.

Take some test shots and zoom in on the result on your camera's LCD screen to see which one works best. Don't skip this step; only once you've done it correctly will your Moon photos be reliably sharp.

How to expose for the Moon

It's a common mistake to overexpose the moon but it's actually much brighter than you think. However, if you want to photograph the foreground and not just the moon by itself you will need to make sure your exposure works for both or use bracketing to take multiple shots with different exposures.

To get a great Moon shot and little else, set your camera to ISO 100 or ISO 200 and the aperture to between f/5.6 and f/11, and adjust your shutter speed to between 1/125sec and 1/250sec. The exact settings will vary depending on your camera and the brightness of the Moon, which depends on its exact phase, but these base settings will get you started.

Taking a landscape photograph that includes the Moon is more difficult because during that 'blue hour' after sunset the Moon is already too bright. So, if you take a longer exposure for the landscape, you'll overexpose the Moon, and if you expose for the Moon, the landscape with be under-exposed. So what do you do?

The answer is either to photograph the Moon just before sunset when the light levels are higher (they drop-off so quickly at the point of sunset), or to take two exposures and combine them in photo-editing software. The latter approach, however, often looks fake. Another way is to expose for the Moon, and use a flash to light the foreground.

When to photograph the Moon

The full moon is probably the lunar event that most beginner astrophotographers will want to photograph first - but it is actually one of the most difficult due to the glare that this creates. Some of the most impressive shots of the full moon are those where it is seen behind a building or a natural structure – which makes the moon look much larger than it does to the naked eye.

If you want less of a cliche, go for other phases of the Moon when you can see a line between the light and dark sides. This is called the terminator line, which is when the craters on the Moon throw shadows, particularly near its South Pole. You can see this most nights, but perhaps the most precious kind of Moon is visible only on the few days on either side of New Moon. At this time, you'll also see a waxing or waning Crescent Moon close to the horizon, and it comes with the bonus of Earthshine.

How to capture Earthshine on the Moon

Although 50% of the Moon is constantly being illuminated by the Sun, there are a few days each month when the Earth gets involved – and it's a beautiful event to capture.

Earthshine is a dull glow to the unlit area of the Moon that's the result of sunlight reflecting off Earth's surface and onto the lunar surface. Its subtle and mesmerizing, and easy to capture if you time it right.

Set up for the first (or, more likely, the second) sunset after a New Moon. Using a lens with as long a focal length as possible, and with your camera on a tripod, dial in a sensitivity of ISO400, an aperture of f/2.8 (or as wide as your lens aperture will go), and open the shutter for between one and four seconds.

See our guide to photographing earthshine

In fact, Earthshine is always being reflected onto the Moon to some extent, but it's only around the New Moon that the crescent of sunlight is small enough for the camera to expose for both the lit and unlit areas.

This is also a good time to combine Moon photography with night-sky photography because the Moon will set soon after you've photographed it. You can then go looking for stars and the Milky Way.

How to capture a moonrise or moonset

There are two exceptions to the advice to avoid photographing the Full Moon.

The first is when there's a total lunar eclipse, and the second is when a Full Moon rises or sets, as it's a great alternative to a sunset. The sight of a Full Moon peeking above the horizon and turning from deep orange to pale yellow to bright white during twilight is a spectacular sight. It also presents an opportunity to get the Moon in the context of a beautiful landscape.

The colourful spectacle lasts mere minutes and is easy to miss, but, like everything else in the night sky, a rising Full Moon is predictable down to the second. Simply find out exactly on what day the next Full Moon is going to be where you are, and exactly what time sunset is on that date, then look to the east for the moonrise. Start-off with your camera set to ISO100, f/10 and 1/125 sec.

If you've ever seen photos of someone or something silhouetted against a seemingly giant Moon, perhaps while standing on top of a hill, they were taken during a moonrise. They were also ruthlessly planned; The Photographer's Ephemeris and PhotoPills apps are ideal for this kind of project.

To make the Moon look so large in the background, photographers need to use superzoom telephoto lenses of at least 1,000mm while being positioned a mile or so away from the all-important foreground subject that introduces that sense of scale.

Composites, moon-stacks and super moons

It's possible to shoot the Moon and add it to another landscape shot using Photoshop. However, almost everyone who attempts this either makes the Moon look way too big, or they place it somewhere in the night sky that it doesn't occur (such as in the norther hemisphere's northern sky).

To anyone with a trained eye, most composites look like what they are: fakes. There is one exception; moonstacks, a lunar time-lapse, in which you take several photos of the moon as it moves through the sky, and then use Photoshop to composite them into a single image.

Read more: How to create a moonstack

Although it often grabs the attention of photographers and media alike, pay little attention to the term 'supermoon'. A recent term that merely means that the Moon is slightly closer to Earth than normal, it has little practical meaning or use. However, while a Super Full Moon does look larger as it rises above the horizon, it's only by about 10%-15%, so it's barely noticeable to eye or camera.

The very finest way of getting a close-up shot of the Moon – and the only way to get enough magnification for it to fill the entire frame – is to mount the body of a camera on a telescope using a cheap T-adaptor; it's like having a very large telephoto lens. Try to find a telescope with a focal length of over 1,000mm, but under 2,000mm to capture the whole of the moon.

Whatever kind of Moon-shot you try for, photographing our satellite provides a good lesson in the role of precision timing in composing unique landscape and nature images.

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If you enjoy photographing the full moon and want to take your astrophotography to the next level, take a look at the best camera for astrophotography. You may also wish to upgrade your optics via the best lenses for astrophotography. And if you want to take your astrophotography even further (literally!) for some deep-space imaging, then head over to the best telescopes for astrophotography.

I've been following the price histories of various cameras as part of my job here at Digital Camera World and I've been saddened to see that discounts haven't been as good in the last couple of years. Typical discounts have been under 20%, with the rare exception – and that's even during major sales like Black Friday and Prime Day.

That's why seeing a 23% discount on the Canon EOS R6 Mark II body on Amazon right now for Big Smile Sale in Australia has me chomping at the bit to spread the word. It's currently available for just AU$2,554 and is arguably one of the best prices I've seen on this model – in fact, it's the lowest Amazon price and, according to my research, no other retailer is currently beating it.

Admittedly there are newer cameras that perform better now – the Nikon Z6 III being a case in point which, despite a 27% discount that drops the price to AU$3,300 is a lot more expensive – but the Canon camera's age is what makes it a lot more accessible now.

And don't worry, I'm not pushing a camera that doesn't perform well. In our Canon EOS R6 Mark II review, we called it a camera that "makes mincemeat of other hybrids" and we still stand by that statement. It remains a stellar performer.

The EOS R6 Mark II is physically almost identical to the original R6, but there are some noteworthy changes that make this a better body to handle.

• Check out our comparison of the Canon R6 Mark II vs R6

The old power switch is gone from the left shoulder (long-time Canon mirrorless users will be familiar with this), now replaced by a dedicated stills/video switch. The power switch has been moved to the right shoulder, sitting just below the rear exposure dial – this allows stills photographers to handle the camera single-handed, something street photographers in particular will appreciate.

Those familiar with the joystick design on the EOS R5 and older R6 model will spot the difference here as well – the four notches at the cardinal points is gone, removing the tactile control when using the joystick.

Inside, the sensor resolution has been upped from 20.1MP in the older camera to 24.2MP. The sensor-based electronic shutter can now rattle off continuous shooting at up to 40fps, and Canon promises it has reduced the rolling shutter distortion compared to the R6. There's even a RAW Burst Mode that can capture raw images at 30fps with a 0.5 second pre-shooting buffer, making this ideal for sport shooters.

To complement the high frame rates, Canon has improved the AF performance here. In addition to the existing body, eye, face, head and animal recognition (now expanded to horses and zebras – yes, you read that right), the R6 II can recognise cars, motorcycles, aircraft and trains too.

In terms of video capture, the R6 II now shoots 4K/60p using the full width of the sensor (the Mark I R6 has a 1.07x crop). It can also output 6K ProRes RAW to select Atomos external recorders along with focus breathing compensation with compatible lenses, finally catching up with Sony.

That's a lot of camera for your money.

Read more:

Best RF lenses
Best full-frame mirrorless cameras
Best Canon cameras

The LUMIX S1RII has been officially announced as the latest flagship hybrid camera, setting a new standard in the realm of still and motion image creation. While the original LUMIX S1R primarily catered to photographers, the S1RII has been upgraded to function as a true hybrid camera. Featuring advanced video capabilities, this camera is designed for both professional photographers and videographers, built to enhance your creative storytelling and optimize your workflow.

With the launch of this cutting-edge camera, LUMIX is raising the bar for image quality and versatility. The S1RII boasts an impressive 8K video capability alongside a 44.3MP full-frame sensor. The hybrid camera is packed with advanced features to assist your creative projects effortlessly, like the new compatibility with Capture One tethering. To further enhance your user experience, LUMIX has also introduced the new BG2 battery grip and the LUMIX Flow app.

To experience the S1RII firsthand, join LUMIX's Touch & Try events and discover and compare cutting-edge functions with your current gear. By joining the future of hybrid content creation with LUMIX, you can also enjoy exclusive offers and pre-order promotions in collaboration with Capture One and SanDisk. Please note that the SanDisk pre-order promotion is available only in the US market.

LUMIX S1RII: Key features

Hybrid shooting

Phase Hybrid AF with AI technology
LUMIX's new flagship hybrid camera boasts an advanced Phase Hybrid Autofocus (AF) system, delivering industry-leading autofocus performance. Equipped with 779 points of Phase Detection Autofocus (PDAF), this camera utilizes real-time recognition and advanced AI technology, resulting in a 1.6 times faster focusing response. It features improved accuracy in eye and face recognition, leading to a twofold increase in human recognition precision. With its automatic tracking capability, you achieve precise autofocus results even when capturing high-speed subjects and framing multiple intersecting subjects. 

Active and advanced I.S.
Image Stabilization technology is crucial for recording high-quality material handheld or on the move. The S1RII includes a 5-axis Body Image Stabilizer (B.I.S.) that compensates for shaky hands, even when using lenses without Optical Image Stabilization (O.I.S.). For telephoto shots, the camera combines 5-axis Dual I.S. 2 and 2-axis O.I.S., enhancing shooting performance in low light or when zooming in. 

Along with Active I.S., the S1RII operates with advanced Electronic Image Stabilization (E.I.S.) to minimize perspective distortion during video recordings. Additionally, the Cropless mode can be activated to reduce perspective distortion without changing the angle of view. This feature is especially advantageous when using wide-angle lenses and is available when working with LUMIX S series lenses.

Real Time LUT
To give your work a unique look and feel, the S1RII is equipped with color presets known as LUTs (Look Up Tables). This feature allows you to perform in-camera color grading while recording, which saves you time in post-production. First introduced with the LUMIX S5II, this capability has become essential for many photographers and filmmakers, offering a convenient way to achieve a wide range of looks and styles, custom created by yourself or imported from the LUMIX Lab app.

Image creation 

177MP High-Res Shot Mode
LUMIX's signature rendering technology and high-performance engine allow for capturing intricate details at four times the pixel resolution, even when shooting handheld. By utilizing high-resolution mode, the S1RII employs in-body image stabilization (B.I.S.), which allows the image sensor to shift during continuous shooting. This feature automatically combines eight shots, resulting in a final image with an impressive equivalent resolution of approximately 177MP. Here, the S1RII offers flexibility with support for both RAW and JPEG formats and in-camera RAW processing. 

AFC 40fps burst shooting
The new sensor and DC motor optimized the mechanical shutter control of the S1RII, enabling high-resolution and high-speed continuous shooting to capture fast-paced action without sacrificing quality. When set to Speed Priority in H+ Burst Shooting mode, the S1RII stands out as the fastest camera in the LUMIX S series, achieving around 10 frames per second (mechanical shutter) and up to 40 fps (electronic shutter). 

The H+ (High Speed Plus) mode prioritizes burst speed when using the AFC (Auto Focus Continuous) setting, while real-time post-viewing in H+ and SH modes lets you check the framing without interruptions. With the pre-burst shooting function offering 0.5, 1.0, or 1.5-second options, you’re equipped to capture those fleeting, decisive moments easily. 

Capture One tethering
LUMIX has taken an exciting step forward by introducing tethering support with Capture One, the popular photography software suite among photography professionals. This development facilitates real-time editing and in-depth RAW processing during tethered shooting, enhancing the management of large data volumes. As a result, you can streamline your workflows and foster more effective collaboration among team members, elevating the quality and efficiency of your projects. To explore the benefits of this new feature, LUMIX is offering a 3-month free trial for all S1RII purchasers and existing LUMIX users. 

Video recording 

LUMIX’s first 8K recording
The S1RII sets a new standard for image quality, offering an impressive 16 times the pixel count of FHD in its history. With a new 44.3MP sensor, the camera records footage in 8.1K (17:9) at 8128x4288 resolution, 8K (16:9) at 7680x4320 resolution, and 6.4K in open-gate video. The S1RII also boasts a dynamic range of 14 stops in V-Log/V-Gamut, bringing lifelike scene details to the forefront.

Combining this powerful sensor with a high-performance image processing engine featuring advanced L² technology underscores LUMIX's commitment to its "Capturing it All" philosophy. The  S1RII excels in delivering detailed and natural high-resolution renderings, achieving an ideal balance between memory colors and accurate reproduction. It offers versatile shooting options across a broad range of lighting conditions, starting from ISO 80 to higher settings of ISO 51200, all while ensuring low noise levels.

Internal ProRes RAW + HQ recording
For streamlined shootings, especially during solo or small-scale projects, ProRes RAW HQ and ProRes RAW footage can be recorded directly to a CFexpress Type B card within the S1RII camera body. This eliminates the need for external devices and cables, allowing you to work independently and with greater creative freedom. 

32-bit float audio
The new LUMIX S1RII features high-quality audio recording through a 32-bit float recording function. This function provides a high dynamic range when used with the XLR microphone adaptor DMW-XLR2. It allows for capturing a wide range of sound levels without clipping, giving you complete control over creating professional audio material.

Photo Style: Cinelike A2
LUMIX offers a variety of photo styles to enhance your frames straight out of the camera. The latest addition, Cinelike A2, boasts an impressive dynamic range and deep gradation, making it ideal for capturing diverse scenes. 

8k open gate to come
LUMIX has announced that a firmware update scheduled for release this year will enable the S1RII camera to capture 8K Open Gate footage. This update will offer greater flexibility, as the camera will utilize the entire surface of its image sensor, effectively leveraging all the available data. As a result, shots will not be recorded in a fixed aspect ratio, opening up new possibilities in post-production.

Streamlined workflow

To enhance your workflow, LUMIX has introduced its own apps and compatibility with third-party software, aiming to streamline the process for both individual creators and teams. This includes not only photographers and videographers but also broadcasters and event media teams, facilitating smoother client deliveries so you can focus on your creativity.

Capture One: The S1RII supports tethering via Capture One, enabling real-time editing and in-depth RAW processing. 

Frame.io: Allows for direct transfer of photo and video materials to the cloud. 

LUMIX Lab: This smartphone app lets you load LUTs (Look Up Tables) directly onto the S1RII camera.

LUMIX FLOW: The most versatile LUMIX smartphone app for a faster, smarter, more organized video production process. LUMIX FLOW allows for storybook creation, on-site checks, transforms your smartphone into an external monitor, and automates data organization. 

What’s in it for you 

LUMIX’s exclusive offers

Enjoy a three-month free trial of Capture One with your purchase of the S1RII or by registering your current LUMIX camera. 

As a pre-order promotion, receive a free SanDisk® PRO-CINEMA CFexpress™ Type B card or SanDisk Extreme PRO® Portable SSD card when you purchase a LUMIX S1RII online or from an authorized dealer. This offer is valid in the US only and ends on March 31st, 2025. 

Viltrox will shortly launch an Indiegogo crowdfunding campaign for a tiny new pancake lens for full-frame Sony E-mount cameras. Called the AF 28mm F4.5 FE, the lens could well become the smallest lens available for Sony shooters, and is nicknamed 'Chip' on account of its potato chip-/crisp-like slimness.

Measuring a mere 15mm long and 60mm in diameter, the lens is barely thicker than a camera body cap and weighs just 60g. It closely resembles the design of Olympus's Fisheye Body Cap 9mm f/8 lens, although the two lenses have a very different focal length.

Naturally, Viltrox had to make some compromises to create such a slim lens. The primary sacrifice being there's no diaphragm, so the aperture is fixed at f/4.5. Another unusual omission is that the lens lacks a manual focus ring, largely because it's so slim there isn't really room for one. Thankfully Viltrox has managed to find space inside the barrel for a VCM coil autofocus motor, so despite the tiny dimensions, focussing is a breeze. Another nice touch is the integrated lens shutter 'cap', which can be flicked open or shut using a small lever on the front of the lens.

You'd expect that a lens this small and simple would be inexpensive to buy, and you'd be right. The Viltrox AF 28mm F4.5 FE is priced at $99, with early campaign backers said to receive a 30% discount.

If you'd like to see how the lens performs before you pledge your backing, we've just published our full Viltrox AF 28mm F4.5 FE review - we found it really fun to use!

Let’s kick off with a disclaimer – Nikon recommends that if your camera’s image sensor has any specks of dust that can’t be cleaned away with an unobtrusive waft of air, you should send it off to an authorized service agent for cleaning. Image sensors are very sensitive, after all, and you don’t want to cause any damage. But dust can be the curse of digital photography, and nobody wants to be without their camera on a regular basis. 

In contrast to using film, if specks of dust settle on your image sensor, they can be sat there for good. The unfortunate result comes in the shape of dark spots on your images, especially those taken at narrow apertures. How does dust creep in to spoil the digital party? The biggest culprit is motes of dust in the air being ingested by the camera every time you swap between different lenses on the camera body. 

The dust dilemma

But that’s not the only reason. If you use a zoom lens that physically extends and contracts when zooming in and out, dust can be sucked into the lens during each extension, and then blasted towards the image sensor during each successive contraction. It’s a messy business.

So what’s the answer? Most Nikon cameras have the option of an automatic cleaning cycle, which can go a long way towards keeping the image sensor neat and tidy. That’s true of recent DSLRs but, surprisingly, not so for DX format Z system mirrorless cameras. 

In the Nikon Z30, Z50 and Zfc, where the image sensor isn’t shielded behind a reflex mirror and shutter assembly, there’s no auto cleaning option, despite the sensor being fully exposed to the elements every time you swap lenses. So from making the most of automatic options, where available, to crafty tricks and manual cleaning with the likes of air blowers and wet swabs, let’s take a closer look at how you can keep the important things clean.

Clean now

In most recent DSLRs and all full-frame Z system mirrorless cameras, there’s an option in the Setup menu named ‘Clean image sensor’. The upper sub-menu item is ‘Clean now’. Press the OK button and the camera will vibrate the image sensor to shake off any loose dust. Hold the camera sensor facing down while cleaning is in progress, and don’t turn off the camera until cleaning is finished.

Automatic options

Some DSLRs give you the option to automatically clean the sensor at startup or shutdown, or both. In full-frame mirrorless cameras, there’s typically only an automatic option to clean the sensor at shutdown. A little confusingly, the icon is labelled as ‘Off’ when automatic cleaning is enabled, but this means that cleaning will occur when switching the camera off.

A reference point

If you’ve got specs of dust that won’t budge, one option is to use the ‘Image Dust Off ref photo’, also in the Setup menu. This is available in many cameras including DX format Z system bodies that don’t have a sensor cleaning menu option. A photo of a blank white wall or other surface is used as a reference to remove spots in full-sized Raw files, when processing them in NX Studio.

Clean and start

For cameras with sensor cleaning, you can preform a cleaning routine before taking a reference photo. Hold the camera with the lens about 10 centimetres from a blank white surface, autofocus will be at infinity. If the surface is too bright or too dark, you’ll get an error message, so change the lighting. You can’t use the reference data if you subsequently perform image sensor cleaning.

Blow it away

An easy way to clear most loose dust from the image sensor is by using an air blower, but don’t use a pressurised air can or other high-pressure source. With a DSLR rather than mirrorless camera, you’ll need to ‘Lock mirror up for cleaning’ in the setup menu. Use an air blower, taking care not to let it touch the sensor, and hold the camera facing downwards to help dust fall out.

Swab for success

If all else fails, the last resort is to use a specially-made image sensor cleaning kit that comprises swabs and cleaning fluid. Add a few drops of liquid to the swap and, with a very light pressure, drag the swab from one side of the image sensor to the other, then angle it the other way and drag back again. To be clear, Nikon recommends that you don’t do this yourself, to avoid risk of damage! However, if you wan to do it yourself, watch our video tutorial.

Find out more about the best camera sensor cleaning kits

Intrepid Camera is a specialist manufacturer of large-format film photography equipment, and it has almost single-handedly resurrected the medium, developing retro analog cameras with modern features.

Surfing the wave of the film photography resurgence, Intrepid is among the few manufacturers that offer new large format cameras with 4x5, 5x7, and 8x10 options. Users would ordinarily need to source an existing vintage lens to use with the camera, but a new Kickstarter has just launched for the first Intrepid Camera lens and electronic shutter.

Intrepid's fifth Kickstarter launches today, marking the company's tenth anniversary – and its most ambitious product development yet, with two new product lines: the Intrepid I-0 Shutter and the Intrepid 150mm f/6.3 Lens.

The Intrepid 150mm f/6.3 Lens is a compact and portable optic that has a Cooke triplet design. Its focal length and maximum aperture may not sound that wide, but in full-frame terms that equates to 35mm at f/1.8.

The Cooke triplet design is vital in correcting for the main optical aberrations. Shooting above f/11 provides excellent sharpness throughout the image, and when used wide open at f/6.3 it creates a smooth bokeh that is accentuated by the nature of the larger format camera.

"We went through so many design variations and so much research before settling on this lens," says Intrepid. "We are so happy with the results. It really is a beautiful little lens with a classic character we know you are going to love".

In addition to the lens, and 18 months in the making, the Intrepid I-0 Shutter is an electronic shutter that enables the user to dial in settings via the controller instead of manually, and is described by Intrepid as "a super smart cable release with a screen".

Compatible with all Copal 0 size lenses, shutter speeds from as long as you want to 1/125th, and a self-timer it provides live EV readings so you don't ever have to waste another sheet of film again.

When it comes to large-format film photography, one of the main concerns is getting the settings wrong and throwing away film – especially if you're new to the format. The new shutter provides enhanced security so that what you see after development is the same as when you tripped the shutter.

The shutter is also compatible with flash via the 3.5mm jack, and it can be controlled by PC / Mac.

I have been a huge fan of Intrepid Camera's approach to creating new and accessible film cameras, and launching these products is a stroke of genius. Now users, most importantly new users, can purchase every aspect of the large format shooting experience from Intrepid without having to source and take a risk with an expensive, older, second-hand lens.

The Kickstarter campaign is live now, and you can head over to show your support and get an earlybird discount of 10% off RRP. The lens and shutter combo is priced at $575 / £429, just the lens at $215 / £159, and just the shutter at $385 / £289 (US pricing has been converted from the UK price, Australian pricing to be confirmed).

Editor's note: As with all crowdfunding projects, there is no guarantee that the final product will match the early depictions in the campaign – or that the final product will be completed or delivered at all. DCW does not endorse this or any other crowdfunding campaign.

You may also be interested in our guides to the best film cameras and the best medium format cameras.

Oscar-winning actor and prolific photographer Jeff Bridges has been taking photographs while making movies for decades. His camera of choice has been the Widelux, no longer in production after an unfortunate factory fire 30 years ago, Bridges is recreating it!

What is the Widelux camera?

First developed in Japan by Panon Camera Shoko in 1958, the Widelux is a fully mechanical panoramic film camera. The camera was developed for both 35mm and 120mm, and instead of having a shutter, there is a slit in the front that exposes the film as the lens swings on a horizontal arc.

Jeff Bridges has produced several photographic works including two books that include images made with the Widelux, providing a cinematic and immersive experience for the viewer, much like the movies he stars in.

During a recent interview on The Late Show with Stephen Colbert, Bridges talks about the new adventure of teaming up with a German manufacturer to recreate the camera. The new Wideluxx is being designed and developed under the brand 'SilverBridges', with one of the first changes being the extra x at the end of the name.

The idea is to blend the iconic lens and vintage charm with modern durability, providing what SilverBridges states as, "a unique photographic experience, appealing to both enthusiasts and professionals seeking high-quality, retro-inspired tools."

SilverBridges also states, "Staying true to its analog roots, the Wideluxx will be purely mechanical, preserving everything that made the original great while incorporating sustainable manufacturing practices. With modern durability and timeless charm, the Wideluxx is designed to last for generations, capturing stunning panoramic scenes for a new era of photographers.

Its goal is to have the camera ready for a 2025 release, and with the desire for film cameras and the retro aesthetic increasing, it is sure to be a sought-after camera.

I am personally excited about this announcment, as it blends panoramic and film photography in a similar way I am used to on my Hasselblad XPan, and more recently, digitally on the Fujifilm GFX 50S II with the XPan crop.

You only have to look at Jeff Bridges' images to see what the camera is capable of – I hope this also means we get to see more of his incredible work!

Check out the sneak peek website for the Wideluxx!

You may also be interested in our guides to the best film cameras, the best panoramic tripod heads, and the best 35mm film.

Insta360 has just released two new webcams – both with AI subject tracking as their central feature. 

The Link 2 is an updated version of the 4K AI camera which can literally follow you around the room using its tracking tech and gimbal, while the Link 2C does more or less the same thing without moving parts to make it even more portable.

The AI also powers noise cancelling features and a 'Smart Whiteboard Mode' which auto-detects a real whiteboard and makes adjustments to square it off and keep it in focus. 

Both devices sport a 1/2-inch image sensor capable of delivering 4K at up to 30fps (and 1080P at 60fps) and an HDR pipeline. To cater to the ongoing needs of the social media market, they also offer landscape and portrait modes – meaning live-streaming and social content generation for phone consumption should be smoother.

The larger image sensor than that in most laptops and phones should offer a potential boon to people working in lower light, though I'll confirm that when I've finished my reviews (we have the devices in hand at DCW). Other key features are Smartphone remote control, background replacement (though, to be fair, a lot of apps have this covered for you already), DeskView mode for overhead presentations, "One Click Makeup" and Privacy Mode.

“Link 2 and Link 2C represent our ongoing commitment to making virtual connections more engaging and seamless. We've listened to user feedback and pushed the boundaries of what's possible in a webcam, combining premium 4K imaging, crystal-clear audio, and intuitive AI-powered features. Link 2 and Link 2C empower you to present your best self online, no matter where you are,” shared JK Liu, Founder of Insta360.

Specs list ±3 EV exposure compensation, ISO 100-3200, a shutter speed of up to 1/8000 and an aperture of f/1.8. The EFL is 26mm and digital zoom up to 4x.

Only the Link 2 – not the 2C – bosts a 2-axis gimbal, but both work entirely from power drawn from their USB-C connection. They can be mounted on a monitor (with a stand included) or a tripod.

The Link 2 is priced at $199 and the Link 2C $149 and both are available from today from Amazon:

🇺🇸 Link 2 - Amazon.com
🇺🇸 Link 2C - Amazon.com 

While you're waiting for reviews of these to come live, you can read about some of the other best 4K webcams we've seen.

A conventional camera shutter works in an entirely mechanical way. The shutter is fully closed before taking a shot. At the start of an exposure, the ‘first curtain’ opens, traversing the image sensor in the process. At the end of the exposure, the second curtain slides across in front of the sensor.

But at very fast shutter speeds, the second curtain starts to close before the first curtain has fully opened. That can cause a dark band in images when using a flashgun. The solution is to use ‘Auto FP’ (Auto Focal Plane) or High-Speed Sync’flash, which fires a short burst of flashes rather than a single flash. 

Nikon Z-system mirrorless cameras with mechanical shutters offer other options with pros and cons, but curing the flash sync problem isn’t one of them.

Going electric

Almost all Z-system cameras default to an ‘Auto’ shutter mode. This uses a conventional mechanical shutter most of the time, automatically switching to an ‘electronic first curtain shutter’ when it would be beneficial. As its name suggests, this uses electronics to initiate the exposure, but a mechanical second curtain to end the exposure. As well as letting the camera choose which type of shutter to use, you can select either option for yourself in the Custom Setting menu. In the Photo Shooting menu, you’ll also find a ‘Silent photography’ option. This enables a fully electronic shutter, making the mechanical shutter redundant.

The Nikon Z8 and Z9 are exceptions in that they ditch the mechanical shutter for stills exposures. Thanks to the super-fast data readout of their fully stacked image sensors, these cameras rely purely on an electronic shutter. 

The Z6 III has a partially stacked image sensor, which is much faster than conventional sensors but not quite as fast as in the Z8 and Z9. The Z6 III therefore has a mechanical shutter and offers the same range of options as most other Z-system cameras.

Shutter type

To select shutter types, head to the Custom Setting menu of Z-system cameras. You’ll need to go to the Shooting/display section and select the option showing as ‘d4 Shutter type’ in the Zfc camera that we’re using here by way of example. And lest we forget, some Nikon DSLRs also have an electronic first curtain shutter option, including the D7500, D500, D810 and D850.

Auto shutter mode

Cameras with a mechanical shutter default to it automatically. As detailed in this image, the camera automatically selects the most appropriate shutter mode for the shooting conditions, usually sticking to the mechanical option but swapping to electronic first curtain shutter when this would be beneficial. Leave the camera in Auto mode unless you have particular needs.

Mechanical shutter

As defaulted to in Auto mode, the Mechanical shutter option usually works best. The mechanical shutter takes a snapshot of the scene, which is read out from the image sensor to the image processor. The full range of shutter speeds is available whereas, in Electronic first curtain mode, the maximum shutter speed is often limited to 1/2000 sec. However, the latter mode can be beneficial.

Electronic front-curtain shutter

At shutter speeds of around 1/60 sec or slower, mechanical movement, often referred to as ‘shutter shock’, can degrade sharpness as it can destabilize the camera. The effect can also be problematic when shooting with long telephoto lenses and in macro photography. Shutter shock is reduced in Electronic front-curtain mode, as the mechanical shutter only moves at the end of the exposure.

Silent photography off

There are options for switching the Silent photography mode on or off in the Photo Shooting menu, rather than the Custom Setting menu. When switched off, the camera uses Auto, Mechanical or Electronic front-curtain shutter, as set up in the Custom Setting menu. If you want to use a fully electronic shutter, disabling the mechanical shutter altogether, switch on Silent photography.

Silent photography on

The Silent photography mode uses a fully electronic shutter, as well as disabling flash, long exposure noise reduction, flicker reduction and the beep speaker. There’s no shutter shock but, due to the relatively slow line-by-line readout of conventional image sensors, moving subjects change their position throughout an exposure, causing lateral distortion (rolling shutter effect).

Learn more about the pros and cons of electronic shutters 

I have often been on the other side of the fence when the argument comes up that film is unsustainable, or its just too expensive. My cost-saving solution is either to bulk load my film to keep the cost down, or start home developing and scanning so you have more control over your medium, while saving the pennies too.

However, there is one area that I can't argue with when it comes to cost, and that's repair bills when something goes wrong! Sadly my beloved 60-year-old Leica M2 needed some work done to it and I paid the price - $700 bucks and a 6-month wait!

I've said before that you have enough experience with film cameras still in the industry to service the new ones that are coming to the market, like the Pentax 17 or Rollei 35AF, and while I'm sure they will service them, it still begs the question how much that would actually cost!

Now, some might say it's my own fault for buying a Leica in the first place. After all, it's only a lightbox to expose light to the roll of film. I could have bought five Nikon FEs for the cost of my repair bill, and you would be right!

However, it was my choice to choose the Leica system, and I still love the M-system for its compactness and lightweight, carry-anywhere ability; it's just that now I've actually found out the true cost of Leica.

When I think about it, or try and justify it to myself, I compare it with the same regard as Ferrari, both high luxury items, and to own "the best," you have to keep on top of their high maintenance fees.

Even if it is $700 and you have only shot four rolls through it, and while that thought does leave a bitter taste in my mouth, I still stand by my statement that this 60-year-old Leica M2 is only one of the best rangefinder cameras I have ever used. I just unfortunately picked up a bad one secondhand, 

I now know that this Leica M2 will be able to go on and produce amazing images for another 60 years after its complete overhaul, stripe down, and repair by the great folk at CameraWorks-UK here in England.

But it leaves a big question mark over the feasibility of getting old or brand new film cameras repaired - anyone could buy any camera and it can look and shoot fine to the eye at first - much like my M2 did, but when you really analyze it there could be underlying issues, I was lucky I was able to find a specialist that was able to do it - you might not be so luckily with your Pentax 67, Hasselblad Xpan, or Mamiya 7II.

So how are we as film photographers going to "bridge the gap"? That's a question I really don't have the answer to. But if you want to be an analog photographer in the digital age, you must suffer the burdens of breakdowns without repair or suffer the high repair cost to continue what you enjoy. 

Will the industry much like Pentax did for the Pentax 17 re-train themselves to keep up with demand, will Leica train others to become "Leica approved" repairers, all of it is open to discussion, but none of it is for certain.

I'm happy that I now have my Leica M2 back to fighting shape, but $700 is a lot, maybe that's just the true cost of analog film photography today. It stings, but I think it's worth it.

Sometimes twice as much really is twice as good. Compared with the high-end Nikon DSLRs before them, the first mirrorless Z6 and Z7 cameras were criticized for only having a single memory card slot. That removed the safety net of being able to create instant backups on a second memory card every time you press the shutter button – as well as denying a whole lot of other options we’ll come to later.

Another problem for many of us was that the single slot of these cameras only took the relatively uncommon XQD memory card type, which are comparatively expensive to buy and completely different to the SD (SecureDigital) cards most of us have amassed. Fortunately, the Mark II editions of these cameras fell into line with the majority of other high-end Nikon DSLRs and subsequent mirrorless cameras by featuring dual memory card slots, including an SD slot, which enable you to enjoy a wealth of useful functions.

Two cards, many options

If you have two memory cards in your camera, the first thing to do is to choose which slot to use as the ‘primary’ or default card. You can do this separately for stills and video. There are then three main choices for use the secondary card, which we’ll cover on the following page.

One factor to bear in mind is the speed of your installed memory cards. One of the reasons that Nikon went with XQD for its mirrorless full-frame cameras was that it was faster than SD Card; so XQD was better suited to the likes of shooting 4K UHD video, and could clear the memory buffer much faster when shooting stills in high-speed continuous drive mode.

However, the latest UHS-II class of SD cards can deliver similarly fast speeds. Indeed, while the top-flight Nikon Z9 has dual XQD/CFexpress card slots, the Z5 has dual SD UHS-II slots, and the downsized Zf has the unusual arrangement of one SD UHS-II slot alongside a smaller microSD slot.

Load up

XQD cards (and CFexpress memory cards, which typically work in the same slot) are expensive compared with SD cards. Even so, they’re an essential purchase for many cameras if you want to take advantage of using both slots. Sony XQD and Lexar SD cards, pictured here with a Z6 II, both click in securely, and require a secondary push to release the catch for extracting them.

Format all areas

It’s always a good idea to format your memory cards in-camera, rather than in a card reader. When you go to the Setup Menu in a Nikon with dual card slots, you get options for formatting each card individually. You’ll get a warning message saying that all images will be deleted. When you format a card, do not remove the card or turn off the camera until the process is completed.

Pick a card

Go to the Photo Shooting Menu and select ‘Primary slot selection’ from the list. Here you can choose the card slot you want to use as the default for saving still images. Use the up/down sections of the Multi Selector to highlight your chosen card and press OK. If you later remove the memory card from your primary slot, the camera will save stills to the alternative card slot instead.

Secondary slot options

Just below ‘Primary slot selection’ is the ‘Secondary slot function’ option. With ‘Overflow’, the camera will start saving images to the secondary card if the primary card becomes full. With ‘Backup’, images are saved to both cards at the time of capture, creating an instant backup. With the third option, Raw files are stored to the primary card, while JPEGs are stored to the secondary card.

Movie destination

Head to the Movie Shooting Menu and you’ll see ‘Destination’. This works in a similar way to ‘Primary slot selection’ in the Photo Shooting Menu, but for video instead of stills. You’ll notice that, as well as choices for selecting either card, the camera displays the total recording time available. If you often shoot stills and video, it can be useful to use a separate card slot for each type.

Photo copies

If you’re travelling or on location, it can be useful to back up your stills and video to additional cards, without having to bring a laptop or other device. In the Playback Menu, there’s an option to ‘Copy image(s)’. Select the source memory card from which you want to create copies, then select specific images or video files, or simply select ‘ALL’ to back everything up.

Don't miss our guide to the best memory cards

Astrophotographers will be treated to a celestial smorgasbord this evening, when a partially eclipsed harvest supermoon will appear over various territories including North and South America, Europe, Africa and large parts of Asia. It's the headline event for astrophotography in September, so it's worth staying up late with your camera to watch the four-hour spectacle.

When is the lunar eclipse happening?

The event will take place over Tuesday, September 17 and 18. In North America it will be visible today at dusk, with a clearer view from Europe during the early hours of tomorrow morning. You can use this map to gather information on your exact location. For example, New York will witness the partial lunar eclipse from 20:41 tonight until 00:47 tomorrow morning, with London’s celestial showing starting early tomorrow at 01:41 until 05:47.

What's a partially eclipsed harvest supermoon?

If you're new to celestial events, tonight you'll get to see many moons rolled into one. The Harvest Moon – aside from being the title of an excellent Neil Young track/album – is the name given to the full moon that occurs closest to the autumnal equinox. This coincides with a supermoon, as the natural satellite's orbit strafes the Earth near to its closest point. And of course, while all this is happening, you’ll be treated to a partial lunar eclipse as the sun casts the Earth's shadow over a small portion of the moon's surface. 

How to photograph a lunar eclipse

Astrophotography is arguably the most complicated and technical genre of photography, but capturing a lunar eclipse is surprisingly simple. Firstly, you need to think about your composition. You could capture a frame-filling shot of the moon, a wider field of view with some kind of foreground interest or capture multiple images to form a jazzy lunar eclipse multiplicity.

The former will require you to get as close to the moon as possible. So, grab your longest lens and make use of a compatible crop-sensor camera or teleconverter to get even closer, if you have one. And if you happen to own the mighty Nikon Coolpix P1000 and its jaw-dropping 125x optical zoom – or any of the best bridge cameras for that matter – now would be the time to use it. 

A wider composition will of course require a wider focal length, as will a multiplicity, since you’ll be capturing the moon as it moves across the sky, while maintaining a constant frame.

Your camera settings will depend on the light conditions in which you're shooting. However, even with a low ISO and middling aperture, you may find yourself yielding a shutter speed above 1/100 sec. If you’re using a telephoto or super-telephoto lens, even in these favorable lighting conditions, the reciprocal rule dictates you'll need to use a tripod to avoid camera shake. 

I'd recommend using the best tripod you can afford regardless, since you'll be able to set up your composition, sit back and wait for the lunar eclipse to reach its photogenic peak. Additional camera shake prevention methods involve setting a self-timer, using your camera's exposure delay mode (if available) or attaching a remote shutter release. And if your long lens has a tripod collar and foot, ensure you attach this to the tripod and not the camera body for additional stability.

If you're shooting with a longer lens you won't be able to use the super wide apertures many astrophotographers are accustomed to. But this shouldn't be a problem. If you're forced to push your ISO, the best cameras for astrophotography boast great low-light capabilities, and noise-reduction software has gotten so good nowadays, even noise-ridden images can be saved in post-production. 

Finally, using your camera's intervalometer or a dedicated intervalometer may prove useful if you're capturing a multiplicity. And don't forget to bring a spare battery – and a warm hat – if you're operating out in the cold.

UPDATE: Sony has now resumed downloads for the latest Sony A7R V firmware, after suspending it over fears that it could brick cameras.

Along with pulling the A7R V firmware, Sony also suspended the day-and-date update for the Sony FX30 fearing that the same issue might affect both cameras. However, the FX30 firmware is now available again alongside this one.

"We suspended the Ver. 3.00 software release on 09-13-2024 due to some products failing to update," notes Sony.

"However, after taking the necessary measures, we resumed the release on 10-09-2024. We apologize for any inconvenience this may have caused. If your camera successfully updated to Ver. 3.00, you may continue using it without issue."

Personally I would advise waiting a week or two before updating your camera, just in case there are still issues that need ironing out. However, the full release notes are below and you can download the new firmware here.

…

UPDATE (Sep 16 2024) Sony has suspended firmware Ver 3.00 for the Sony A7R V, which was released last week. If you have downloaded the firmware do not install it, as the manufacturer warns that your camera might become inoperable.

"We confirmed that some ILCE-7RM5 cameras may not start up after installing the version 3.00 update," wrote Sony in an update on its A7R V support page, titled Important Notice. "We have suspended the update while we investigate the cause."

Sony has also suspended its recent Sony FX30 firmware (which launched day and date with the A7R V update) that added much-requested shutter angle control to both cameras.

This is another black eye for the company when it comes to firmware, after similarly suspending a new update for the Sony A1 in March. The issue of firmware bricking an FX30 also made the rounds last month, when a YouTuber was told he would need to pay $700 to fix his camera after a firmware update apparently rendered it useless.

ORIGINAL STORY (Sep 13 2024): A chunky new firmware update has been released for the Sony A7R V that unlocks a slew of new features for the camera – including some supremely helpful connectivity and cloud functions.

Crucially, the latest firmware (Ver 3.00) means that you will no longer be able to connect to the Imaging Edge Mobile app and will have to migrate to the Creators' App (for which you'll need Ver 2.5.0 in order to avail the new firmware features).

Here's the full list of benefits and improvements you can expect.

Firmware update Ver. 3.00

• You can now continue shooting while transferring captured photos and videos to a smartphone or tablet

• Transfer to smartphones and tablets can now be resumed even if interrupted in the middle of a transfer

• You can now transfer only the differences that have not yet been transferred to your smartphone or tablet, or add videos to be transferred during the transfer process

• Allows you to upload camera images directly to the Creators' Cloud app
Notes: Settings must be adjusted in the Creators' App in advance

• Adds support for the Network Streaming function
Notes: Settings must be adjusted in the Creators' App in advance

• Adds support for the Monitor & Control app [Ver 2.1.0 or later]

• Adds a function that automatically creates still images with Shot Marks from movie frames after recordings
Note: You can add a Shot Mark while shooting or playing a movie and use it as a mark for selecting, transferring, or editing the movie

• Increases the maximum number of images that can be recorded in one folder to 9,999

• Displays the Wi-Fi signal strength when the Wi-Fi function is On

• Allows the use of Focus Magnifier and Auto Magnifier in MF while using the Bright Monitoring feature

• Allows notifications to be displayed when the latest software is available for your camera

• Adds support for the Custom Grid Line feature
Note: The Custom Grid Line feature is available as a paid license. Availability depends on country and region.

• Fixes an issue where Auto Review is not displayed on the camera during HDMI output

• Improves the functionality and operational stability of the camera

To download the latest firmware for the A7R V, along with instructions on how to install it (as well as important information to be aware of before you do), visit the Sony support page.

You might be interested in the best Sony cameras, along with the highest resolution cameras on the market.

Canon has launched what is, on paper, a trinity lens without the red ring or the price tag. The new Canon RF 28-70mm f/2.8 IS STM doesn't pack the same elite optical performance, but it's a far more affordable alternative to both the RF 28-70mm f/2L and the RF 24-70mm f/2.8L. 

It’s set to be a great accompaniment to Canon’s full-frame mirrorless cameras such as the EOS R6, R6 Mark II and R8, and will be a substantial upgrade over kit lenses such as the RF 24-50mm f/4.5-6.3 or RF 24-105mm f/4-7.1.

While it is a full-frame lens it can of course be used on any of Canon’s mirrorless APS-C cameras, where its 1.6x crop factor will give a full frame focal length equivalent of 44.8-112mm – where you’ll also enjoy the sharpest, center-most portion of the optics.

Canon doesn’t currently plan for the RF 28-70mm f/2.8 to be bundled with such cameras, though this could change in the future. It makes for a substantial upgrade over the current kit bundle options with its wide f/2.8 maximum aperture. And it gives upgraders a nice option to the RF 24-105mm f/4L IS USM – the original L-series zoom for the R system, widely considered one of the best Canon RF lenses.

While the new lens has a slightly more limited focal range, with a 2.5x optical zoom compared to the 4.3x zoom of the 24-105mm, it's about 14% smaller in length when fully retracted – and 30% lighter, too, weighing just 490g. 

Canon’s non L-series lenses aren’t usually weather-sealed, but the new 28-70mm f/2.8 bucks this trend with protective seals around the focus and zoom rings, sealing around the RF mount, and the lens switches have been redesigned for dust- and water-proofing.

The ace up its sleeve is the constant f/2.8 maximum aperture available throughout the zoom range. In terms of kit lenses this makes it a full stop (twice as bright) as the 24-105mm f/4L, and both 1.3 stops brighter than the 24-50mm at its widest setting and 2.3 stops (over four times as bright) at its 50mm setting – so it’s much better suited to low light situations as it can suck in notably more light.

Speaking of low light, the new RF 28-70mm f/2.8 claims to deliver shutter speeds 5.5 stops slower than would normally be required using its Optical Image Stabilization – or up to a whopping 7.5 stops when paired with one of Canon’s cameras featuring In-body image stabilization.

As this lens doesn’t get the red ring signifying that it’s an elite L-series optic, Canon acknowledges that its image quality won’t quite match that of L glass like the 24-105mm f/4L. 

I tested the two lenses side-by-side while writing my Canon RF 28-70mm f/2.8 IS STM review, and found that the new lens more than held its ground – though it makes use of in-camera correction to compensate for a non-L optical formula.

"What can be said for the image quality of the Canon RF 28-70mm f/2.8 is that it is nice and sharp across the frame, and this gets even better when closing the aperture to a middle value like f/5.6," I said in the review.

"In summary, the image quality doesn't really concern me. It follows Canon’s growing trend of sacrificing the optical quality by fixing it in post-production and therefore enabling the lens to be made smaller and lighter."

It’s constructed from 15 elements in 12 groups, with two UD (ultra-low distortion) and two GMo (glass-molded) aspherical elements as well as Canon’s Super Spectra coating (which Canon says will "ensure incredible sharpness"). It also boasts a 9-blade aperture, for circular bokeh, with a 67mm front filter thread and closest focusing distance of 27cm at its widest 28mm focal length.

Canon claims its users will experience a big step-up in video performance, too, with "gorgeous smooth focus transitions and quick adjustments" thanks to an STM (stepping) motor for fast, accurate and quiet autofocus. It also boasts focus breathing compensation that can work in conjunction with the breathing compensation system present in some EOS R cameras.

There’s also a new three-way switch to change the front ring from a control ring to a manual focus ring, or to flick it to AF for uninterrupted autofocusing if you prefer.

The Canon RF 28-70mm f/2.8 IS STM is due to go on sale on September 27, with a retail price of $1,099 / £1,249.99 / AU$1,919.

You might be interested in the best Canon RF lenses – and don't forget that you can also adapt the best Canon lenses for DSLR to use on EOS R cameras. 

You shouldn’t crop in software.
Always choose the focal length to get the right shot at the time of capture.
Only use prime lenses, a zoom lens dilutes your image quality.
Nail your exposure. If you underexpose or overexpose you’ve missed the shot.
Set your sharpening correctly for a pinsharp image.
Make sure your shutter speed is enough to prevent camera movement.
Always use a tripod. 
Real photographers shoot black and white only as it’s the most direct link to historical photography.
And those primes? They should be vintage lenses.
You should never stage a photo, you should always capture the scene as you find it. 

Honestly folks, can you imagine how boring and suppressed photography would be if you had to stick to rules like that? We’re blessed in a world where 40+ Megapixel cameras allow us to crop in to get photos within our capture, allowing you to tailor the crop to both the subject and the destination. Be that for print (and you should print), Instagram stories, posts, or going into videos like reels, shorts, or longer form. 

Use the lens that gets the shot. Many a shot has been lost swapping to the right prime. Put the zoom lens on. Sure, using one fixed length is great practice – I recently shot a festival with the fixed 23mm (35mm full frame equivalent) on a Fujifilm X100VI, but being able to choose a length leads to a far greater variety of images from a location. Get the best one you can afford. Modern zooms are easily as good are older primes for sharpness. 

If you shoot Raw, you have an amazing amount of leeway in exposure. You can easily bring back around two stops of lost highlights, or open up dark shadows with underexposure. These are just tools to enhance your photo. You may have been shooting against overcast skies and nailed your subject’s exposure at the sake of the sky. So you bring it back in raw processing. Good for you. That’s a choice based on experience. 

You don’t need a tripod all the time. Sure, if you’re looking at back-to-front depth of field, which can require long exposures, but handheld photos can work well in other situations. You could even use a tripod with motion. There’s a whole brigade of amazing Intentional Camera Movement photographers using motion during exposure to create unique pieces of art. 

Black and white photography is beautiful. That classic, pristine, look of form and tone. Often breathtaking. But that doesn’t take from the jaw-dropping shot of an amazing sunset. Or the creative use of color. Understanding how colors interact allows you to take photos that have an immediate and lasting impact, often more than with black and white. 

Sharpness is overrated.  As Ansel Adams said "There’s nothing worse than a sharp image of a fuzzy concept". Film photography was often not perfectly sharp and the grain of the film prevented really sharp edges. Digital sharpness can be a bane for portraits where the depth of pore detail means a lot of retouching to create a more flattering image. Can you ignore it altogether? No, of course not. Shallow focus photos need the subject to be sharp enough for the subject to be obvious. Better to capture a great photo and fix sharpness later than miss it. 

Ignore the purists and use your creativity and gear to the fullest to create photos that represent you, your views, values and likes. 

More opinion pieces by Sean McCormack:

• This is why I hate being a photographer
• I switched camera systems, and this is the lens that really surprised me
• I can't believe I actually bought this camera
• These two lenses could do 90% of your photographic work
• You don't always have to shoot Raw as a photographer, but you probably should
• No, you don't need to get on a plane to take great travel photos

Hasselblad has dropped a new lens that marks two big firsts. The Hasselblad XCD 20-35E is both the company's first ever ultra-wide zoom lens, as well as the first in its flagship series of 'Exclusive' lenses (the "E" in the product name). 

Its 20-35mm f/3.2-4.5 focal range truly lives up to the ultra-wide billing, delivering an effective 16-27mm range in full frame terms. As the widest and fastest lens in the lineup, the XCD 20-35E is an ideal option for genres like landscapes and architecture that the medium format X System is so adept at. 

The lens is beautifully designed, as you would expect of an XCD optic, and features an internal focus mechanism so that the 117mm length stays fixed and the 805g weight remains perfectly balanced whether you're using a Hasselblad X2D or the 907X & CFV 100C (or one of the 50MP bodies of the previous generation). 

The optical formula comprises 16 elements in 12 groups, including 3 aspherical elements and 4 extra-low dispersion elements. It is able to focus as close as 0.32m, and features a 77mm filter thread. As with all XCD lenses, the 20-35E features a leaf shutter that offers flash sync speeds of up to 1/2000 sec.

Hasselblad's goal for this new Exclusive flagship class of optics is to deliver the same degree of optical performance as its outstanding prime lenses. Remarkably, it actually delivers center sharpness on par with a Hasselblad prime – and given that the XCD 90V is literally the sharpest lens we've ever tested, that's saying something! 

You can check out the lab tests along with my full thoughts in my Hasselblad XCD 20-35E review. I've been using the lens for a while now and I've been absolutely staggered by the shots I get from it. 

From the review:

"Hasselblad's first ever ultra-wide is another home run for the XCD lineup. Whether you're looking for the fastest and widest lens possible, you're trying to replace a few wide-angle primes, or you simply want a fantastic tool for all-purpose wide-angle shooting, the XCD 20-35E is what you're looking for."

The Hasselblad XCD 20-35E is available now, priced $5,929 / £5,699 (Australian pricing to be confirmed).

You might also be interested in the best Hasselblad cameras, including my Hasselblad X2D vs 907X CFV 100C comparison, along with the best Hasselblad lenses.

The iPhone 16 generation's new Camera Control button – not AI – stole the show at the "Glowtime" launch event, but what EXACTLY does it do? Photographers and video makers will be excited by the idea of a dedicated button, but what will it offer photographers?

Perhaps, most importantly, will the camera button make the iPhone 16 be worth the upgrade?

First things first, the button appears on all four new phones – both sizes of the iPhone 16 and the iPhone 16 Pro which will be available to pre-order on 13th September and ship on the 20th, and it works in exactly the same way.

How the Camera Button works

The button is a physical button that can actually move a little way into the case when pressed, but is flush with the device before it is pressed.

The top of the button features capacitive touch sensors, a little like a trackpad. It can detect the amount of pressure applied and can use the phone's software to provide haptic feedback, via Apple's "Taptic Engine". In practical terms, that means it can provide a two-step process – like a traditional camera shutter might be half-pressed to focus, then pressed further to release the shutter (we'll get to that, by the way!)

So, you can use it to fire off the 48MP camera, but because it's software controlled, apps can use it in their own way – in Apple's launch demo Snapchat had its own additional functions – but the core functionality in iOS and the camera app is key!

What the iPhone 16 Camera Button does

It's not 'just a shutter button' but there are some key uses that most people will be putting it to from day one:

• Opens Camera app – One press outside the camera app launches the camera app

• Shutter – One press in the app 

• Record video – Press and hold in the app

• Zoom – press very lightly to bring up zoom control, then swipe (so, not focus then!)

• Photo Styles – A double light press brings up the photo styles (some are on the Pro only) you can then swipe the top of the button between. (A harder press would take a photo).

• Visual Intelligence – Not on day one, but you can tap and hold to bring up an AI (Google-lens-like) search tool (find out what kind of flower you're looking at, that kind of thing.

Is there a two-stage shutter?

There is no two-stage shutter on day-one, but Apple have already said this feature will come as part of a software update which shows how versatile the device is.

Some commentators are already asking what percentage of people will want to do that for focus because modern phone cameras have programmed us out of it, but I'm willing to bet that most of the few that want it are DCW readers.

What is the camera like?

That depends on whether you choose the iPhone 16 or the iPhone 16 Pro; the former offers 48-megapixel fusion camera and wide-angle lens, while the iPhone 16 Pro has those and a 12MP 5x telephoto (on both models).

The iPhone 16 Pro can also capture 4K120FPS video – muscling in on action camera territory – and, finally – the playback speed can easily be adjusted after.

Cynics will be quick to point out that the camera specs aren't massively different on the Pro Max (though there is a bigger sensor on the wide lens), though the smaller pro gains the 5x optical zoom – it could even be argued that the button is a distraction, but usability is probably at least as crucial for photography in the pocket.

When can I get the iPhone 16?

You can pre-order the phones from the Apple Store on September 13, though to get ahead of the queue Apple already allow you to browse the specs on the Apple Store online. The phones will ship on September 20.

The iPhone 16 costs 'From $799' while the iPhone 16 Pro 'From $999', rising to $1199 for the Pro Max and $1599 for the Pro Max with 1TB storage (which will come in handy if you start recording a lot of ProRes video!)

Watch video above: Reach for the skies!

From the roar of the vintage engines as planes race by overhead, to the fun of characters dressed up in period outfits, there will be plenty to photograph when you visit an airshow near you this summer.

Airshows present a real opportunity to hone your photo skills and you’re pretty much guaranteed to come away with some great images. However, if you’re interested in elevating your aviation photography to the next level, some simple steps towards better technique will go a long way to making a big difference. Picking the right kit for airshows will also help ensure you get the best results, but any DSLR or mirrorless camera will do the job so don’t think your equipment will be the key factor. That said, some kit can’t be scrimped on, such as a long telephoto zoom lens, plus a monopod which makes the experience much more comfortable, taking the weight of your camera set-up off your shoulders, and a godsend when shooting for long periods. 

Airshows are quite unique in their set-up – you’ll have a lot of subjects to shoot and you’ll have to adjust settings to the speed of what’s happening in front of you to keep up with the action. What’s more, simply pointing the lens towards the sky may return images that lack character or purpose. By taking a slightly different approach and including more of the environment, whether it be some greenery in the background or adding some polish in post-production, you can create images that do more and help tell the story of the aircraft. 

Working with the light you have on the day can also be a big factor, but again, there are ways of approaching these tasks and by taking control of your camera, you can come away from an airshow with a memory card full of keepers. Here are my top tips to get started... 

1. Pick the right kit

Pairing the right lens and camera can make a big difference. I use a 70-200mm lens, but by using this optic with my Canon EOS 90D, an APS-C crop factor camera, I have an effective focal length of 112-320mm thanks to the 1.6x crop factor.

2. Get even closer

Use a Canon teleconverter, also called an extender for 1.4x or 2x magnification. Adding a 1.4x extender between my camera gives me a huge focal length of 156-448mm when paired with my 1.6x crop factor, helping to fill the frame with faraway planes. Check out the best teleconverters.

3. Use a 'slow' shutter speed

Your shutter speed is key for capturing sharp shots, around 1/2000 sec for jet planes, but if I’m shooting planes with propellers, I like to slow the shutter speed down to around 1/320 sec in shutter priority (Tv) mode to add a little motion blur to the prop blades.

4. Time your shots

Most people shoot planes when they are overhead, but that won’t always lead to the best images. I often find that by timing your images for take off or landing, you can capture more interesting background or foreground elements, which help add scale and context to the frame.

5. Three's the magic number

What’s better than one plane? Two planes. But three is even better! Many airshows will feature multiple flying aircraft at once. Adjust your composition to include more planes to increase interest. Zoom out and try to time your frames for when the planes cross, fly together, or better still, bank.

6. Use Ai Servo autofocus

Focusing on fast moving subjects can be tricky so it’s best to use your Canon’s AI Servo AF mode a single, and a group of AF points to continuously track and refocus on your subject. If your Canon EOS has Vehicle Subject Detection it would be well worth shooting with this too!

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

The iPhone 16 event is coming in a matter of minutes, and – even though I'm a professional and have owned every single iPhone since launch – I'm still excited. I wish I wasn't. I'm trying to contain myself. I've promised myself this will be the year I skip a year, so what happens in the presentation will affect not only my decision, but those of many others, and you can view it right here – just scroll down to the live window.

UPDATE: You can watch the whole event below, and ready my astute comments, but I've also had both phones in my hands – check the best iPhone for Photography guide.

The iPhone 16 event is coming in a matter of minutes, and – even though I'm a professional and have owned every single iPhone since launch – I'm still excited. I wish I wasn't. I'm trying to contain myself. I've promised myself this will be the year I skip a year, so what happens in the presentation will affect not only my decision, but those of many others, and you can view it right here – just scroll For an idea how many others, the iPhone 15 – introduced September 2023 – was the best-selling smartphone in the fourth quarter of 2023; just the Pro Max accounted for 4.4% of all smartphones globally. It is estimated that there are more than 1.3 billion active iPhone users worldwide, and 60% of US market share belongs to Apple.

This time the rumours have pointed to some significant changes in both the 'standard' iPhone 16 models – which we expect to have their two cameras re-arranged so that they can shoot Spatial Video (the 3D video you can view on Apple's Vision Pro, the headset I tried recently). We're also hearing talk of bigger screens (but not bigger phones, so that sleek black edge might have to go?)

We're also expecting a new button to be added to the frame – not actually a button, but a sensor which will have haptic feedback (a vibration from inside) – which might serve as a shutter button. This will be on top of the multi-function button added to the iPhone 15 Pro series.

In terms of software, of course, all the excitement is around Apple Intelligence which was first announced to developers (and anyone who cared to watch) at the WWDC 24 which I covered in June. It'll be exciting to see just what Apple is keen to show to their biggest customer base – iPhone users.

Oh – though as photographers & video makers the iPhone is iconic, other key tools might get a mention, including the AirPods and Apple Watch 10. Don't expect to hear about the best MacBooks for photo editing though; any M4 computers will likey get their own event (although you never know). to the live window.

Our coverage has begun, but the actual event starts at 10:00am at Apple HQ, Cupertino, Pacific Time – or 18:00 UK, 1:00 pm EDT.

The Apple Store online has the 'Be right back' message we've come to associate with a major product launch, so there's no need to buy the latest phone only to kick yourself. Well, not from Apple's store anyway!

So, while we're waiting for anything more exciting, I find myself wondering, "Do I actually want more buttons on my iPhone?" If you call something a 'shutter button' then it's very appealing to the photographer in me, and there are definitely times that I find it very difficult to get a good grip on the phone when attempting a family selfie, but the other reason I can't do that is because I'm in my 40s and I'm too old to think cameras should be used like that!

More places you can touch the device on the edge and cause issues seem to offer as much potential for problems as benefits though, of course, the magic of the rumored touch sensor is that the software will be able to choose to ignore it whenever it likes. Will it be smart enough? 

Now I don't know how many DCW readers have also experienced PS5 controllers's adaptive & haptic triggers, but that kind of tech would be amazing – a shutter button that could be adjusted in software to suit your style, and give that perfect retro click if you wanted! A shame it'd also be a tragic waste of power and space on a phone!

So, the button. the most photographer-centric of the rumors have this to say about it: it'll be a 2-stage button that you press gently to focus and squeeze all the way to take a photo. OK, no PS5-level feedback, but that is definitely the core of what appeals to any serious photographer. 

By 'serious' I mean the kind the general public still peg as "DSLR users" even though it is long since mirrorless swept in. It's also worth remembering that most folk with a compact camera from the early digital era onward will also be familiar with the semi-press to focus approach. Bridge, and all sorts. It's also been on phones before too – nod to Sony Xperia phones – and if you can remember the odd hybrid devices that existed pre-iPhone, like the Nokia N95, some also had camera-like 2-step buttons.

If Apple can replicate all this without harming usability they'll be a long way to winning me over.

If you're upgrading your phone, I'd be super interested to hear what you do with your previous one? I know for sure that I won't be using webuyanyphone.com – and, personally, I'd advise anyone else against using them based on my personal experience last year.
Is it best to hand them down to friends and family, donate them, or do you have a preferred online selling site? Tell our social (Twitter).

Sadly I've not made up an iPhone 16 bingo card, but things that we could have put on it to spoil everyones day include:
iPhone Fold Everyone says Apple are working on it, but we're NOT expecting one, and not just because sales of the iPad are worth protecting!
Apple Vision SE Cheaper goggles for all – no doubt an idea in Apple's far future, but for now the future of home cinema is going to stay the wrong side of $3000
iPad Mini Here's betting they save this for another day, though we'd like to see a refresh of the innards.

OK, I think we're off... the music has come to life all over the place!

So, right after the video of happy looking people enjoying the features of the iPhone, Tim Cook kicks off with, you've guessed it, Apple Intelligence. He mentioned it even before telling us how many lives Apple Watch has saved. Yep, it seems we're starting with the watch that's celebrating it's 10th anniversary!

Ooo... "beautiful new design..."

Jeff Williams (COO) tells us the new Series 10 gets an even bigger screen than the Apple Watch Ultra. You'll be able to type onto the screen. 

I'm feeling glad I never bought the Ultra now. That watch has cool shiny new "Jet Black" and a silver aluminium finish, and I think we're about to find we actually can wear it day and night... oh, no, wait, it'll be thinner. So will there actually be enough battery to last long enough? (I know my Series 6 doesn't last so I can't actually measure all the sleep stuff it says it can).

New features include a speaker (so you can annoy people in public, as many do with phones.

Oh, and polished titanium is replacing stainless steel – it does look pretty cool, much more James Bond than I'd expect, at least in Apple's video, thanks to the background which simulates metal. Bet it won't look quite so convincing IRL!

I'm chatting with fellow journalists about whether the new watch will look that good in real life. Let's just say that I'll bet Apple have just made at least one sale!

I've got to admit that I'm wondering about the strap fittings. Will it work with the traditional fittings? Will it work with the Wristcam strap (that lets you add cameras)? I ask since there is still no camera in the watch!

"From $399" Pre-order today for September 20th.

Wow, so they weren't kiddinng about the Apple Watch Ultra getting basically nothing. Ultra 2 is still called Ultra 2. It's got a new black color and the features of Watch OS 11. But then the other watch has watch OS 11 at doesn't coast $799!

So ends the watch line up...

I said we'd be talking headphones – specifically AirPods – and we are. These are very useful for all of use – especially photographers. So much so that many devices from the likes of GoPro (see the best action cameras) and Insta360 have gone out of their way to add compatibility to use the microphones in them for vloggers.

The addition of active noise cancellation to the non-Pro AirPods – plus Transparency mode - might make the AirPods Pro a little less appealing for some (I'm certainly starting to grumble, especially as I have to cope with the old pre-USB-C case.

Oh, and the case has magnetic charging. Come on. What was the point of Pro?

Ah, so they are talking about the AirPods Pro. Apparently there will be profound new benefits... health features (groan). but it's going to be health benefits (I'm trying to suppress my inner "Boring" complaint as basically, an algo, is going to turn the noise down)

OK, if you're not bored by Hearing Protection (or at least have faith Apple can help with it), apple will apparently be able to provide 48,000Hz passive noise protection which they expect people to wear at gigs so they look like they're listening to something else. There will also be a "clinical grade" hearing test feature in Apple's Heath App (which might mean more, or less, work for doctors).

Finally the AirPods Pro can turn into hearing aids automatically based on what the app learns – and they share your ear profiles across all your devices (let's hope you don't share your Apple TV with anyone).

We 'expect' to receive clearance from the FDA "soon" they add. Hmm. (Not listing the UK in countries expecting the tech. Interesting.)

Finally, iPhone!

Again Tim Cook goes straight for Apple Intelligence, before the video confirms all we expected about, er, where the two cameras would be – a great nostalgia trip for iPhone X lovers but of course it's a "Vibrant new look"

And wow is it covered with buttons! Well, OK two more (and one fewer switch). The iPhone 16 is only just getting the Action button, and it's also getting the new button... which is called THE CAMERA CONTROL.

Yeay!

Wow, so now we're learning about the A18 chip – yes, we've missed a generation apparently, though that sounds like a clever trick with naming to me. There are 6 CPU cores, 5-core GPU (involved in some of the camera features).

Efficiency is key too – now the iPhone 16 (not just the Pros) are getting 3nm chips

Ah... Craig  Federighi's man-stance as he explains the Apple's AI was something we knew was coming at some point in the presentation.

So what does Apple Intelligence mean for us? I'll ignore the dinner party invitation example (not something I do a lot). I'm more interested in the fact that I'll be able to search for photos and specific moments in videos by typing something like "Candice doing a flip"

Sadly this is followed up by some examples that look like Apple's existing auto-generated albums which are only so-so, so let's hope this search is better.

Craig continues to talk about a lot of things Siri will be able to do, which makes me think "Shouldn't Siri be able to do this already".

Then he says "Will be abailable" and "Starting next month" and apparently even English-speaking countries that aren't America will have to wait a few extra months – like England (you know, where English comes from!) – other languages, that could be longer.

AI is already sounding less 'awesome' (no matter how much emphasis Craig puts on the word) but like a massive experiment that we can't afford not to be part of!

Yeay - Camera time again.

So the button is recessed, and it does seem to have a pressure sensor and the ability to sense touch gestures – so yes, it can do the touch to focus thing.

Of course Apple have come up with a lot of other possibilities for multiple taps which will need learning with all these sensors that may need a bit of re-watching!

And apps can use it their own way, so be prepared to need to remember a lot of features / get very confused!

Main camera is now 48MP on the iPhone, not 12MP as before. The wide camera is 12MP, but boasts a wider aperture and macro (as some had anticipated).

"The equivalent of 4 lenses in the pocket" aparently (and yes, Spatial Video and – now – Spatial Photos).

A quick refresher of the Photos app AI features seen at WWDC to sort images was seen, before we dive into a discussion about how the phone works for gaming (quite well, say Apple, apparently).

There is an Ultra Graphics Mode with a lot of the ability to run games that only the iPhone 15 Pro could handle before. "Console level" is a phrase Apple likes, but it is pleasing that they segway it into battery life.

Now it's a cool wrap up video and the main event must be coming...

iPhone 16 Pro... and yes "Apple Intelligence takes us even further"

OK, that's Tim's bit... and there's that cool new button again.

Thin Borders are 6.3 and 6.9 inches are there, so bigger screens, and now we're being told how the whole thing is being designed for AI and that AI will help photographers – specific examples were given, like helping dress a location!?

Oh, we get an A18 Pro chip with the Pro phones!

A 16-core neural engine to help, as part of "The fastest CPU in any smartphone". Still 6-core CPU, and ProMotion / ProRes encoding tools are discussed.

Apple are leaning even harder than I expected on photography. It's odd, since the main camera specs aren't changing, though we do get a 48MP wide angle sensor. We're still stuck with 12MP on the tele, but the 5X is on both Pro and Pro Max (as expected).

That new button won't work straight away - the two stage button will be updated later in the year, apparently – but we're seeing a lot of very 'photographer-driven' stuff in the app. It just looks a LOT more camera-like. 

They even suggest it is possible in video and 'like professional color grading, in real time' – hmmm....

4K 120fps – taking on action cameras – made possible by the 'faster sensor' apparently. And 4K Dolby Vision 120fps slow mo is possible.

Finally you can change the speed after capture without resorting to FCPX, too!

Then we get to see an app using the new camera button. It does seem like this is an area Apple have a huge advantage, because there is enough market share to introduce a feature like this and get support.

New audio abilities look very exciting to filmmakers, though obviously it remains to be tested – apparently the mics and AI can detect background sound and isolate the voices of the subjects with studio or cinematographic feel. How cool is that? Very, very impressive (if true). While it's filling the phone with ProRes video too!

The fact Apple specifically indicate they have new cases which work seamlessly with the new camera button suggests to me that there might be a lot of problems with that button's sensitivity and cases. We shall see!

OK, Tim is wrapping up with the rainbow behind him. He seems pleased.

I think he should be – photographers are going to find the iPhone 16 series so much more enticing than 'just a button' might have been thanks to a brilliant bit of software design more than anything. I'm already counting the days to holding one and a couple of hours ago I was convinced this would be the year I didn't get a new iPhone for the first time!

So, we ought to round off with the basic factual:

The iPhone 16 will release on September 20th.

I've managed to weigh up a quick refresher of some of the best aspects of the Pro phone especially, and generally, how much love there was for photographers in the whole event, in a separate news story – iPhone 16 Pro is ALL about photography – with some more images of the features including that awesome sound reduction feature I hope works as well as implied.

In answer to my question about selling older phones, only eBay has been suggested by my friends – even though Apple seem to be offering pretty tempting rebates of up to $1000 (though I'm guessing that's for a lot more memory than my iPhone has!)

My colleague Leonie has noticed that the internet is going wiled about one of the presenters not so well known to Apple followers – Piyush Pratik – who showed us all the new Camera Control Button.

In a world where we long-time Apple followers are all still missing Jony Ive's part in Apple events, is he our man – albeit it a bit more cheerful? I kinda hope so!

Is the iPhone 16 Pro "Desert Titanium" Gold or Copper or Pink? More and more people who have actually touched it are weighing in, but none of the videos seem to show the same shade!

So, today is the day for ordering your phone. If it is like previous occasions the popular shades will sell out (at least for a few weeks) but Apple are letting people skip ahead by pre-pre ordering (yes, I know).

In other words, you can go to the pre-order page before pre-orders start at 13:00 and specify the model you want and have the company run your credit card before you actually go through the process on when the time comes in a few hours, enabling a faster pre-order at the time!

It could make all the difference if you want to show off that Desert Titanium first!

https://www.apple.com/iphone/

According to our friends at TechRadar, the most popular colors for pre-order on the iPhone 16 Pro were going to be the Black (50%) and the Desert Titanium (32%) by a long margin.

If you want to pre-order now it isn't color but size that is the issue in the USA – as you can test on the Apple Store configure tool.

🇺🇸 All iPhone Pro Max shipping dates 3-4 weeks, regardless of memory size or color

🇺🇸 All iPhone 16 Pro Still available for 20th Sept.

🇬🇧 Some iPhone 16 Pro (smaller) are going to 2-3 weeks including Black and 'natural' – others still available

🇬🇧 All iPhone 16 Pro Max shipping dates 3-4 weeks, regardless of memory size or color

On the day Apple Store pickup is already looking unlikely for the iPhone 16 Pro Max too. Do try the Apple Store UK configure tool to test the days.

For the time being, all the iPhone 16 phones – even the sexy new blue, teal, and pink ones, seem to be shipping on September 20 or available for collection, so the madness has mostly targeted the iPhone 16 Pro Max and (specifically in the UK) the black and gold iPhone 16... for now...

If you're not excited by the possibilities at Apple, with no on-launch-day delivery of the iPhone 16 Pro models available any more – any color, any size – you could take your chances with Amazon. I'm not seeing shipping dates – just the release date, but it's worth a try where you are, right?

You can pick color and memory options on the page – but in the US they're locked to Boost mobile.

🇺🇸 iPhone 16 Pro ✅(Boost mobile locked)
🇺🇸 iPhone 16 Pro Max ✅

In the UK the phones are available unlocked but – just like the Apple store – the Max models have all been taken already.

🇬🇧 iPhone 16 Pro  ✅
🇬🇧 iPhone 16 Pro Max (😢 Already listed as 'currently unavailable' in UK) 

The wait is over—Apple iPhone 16 pre-orders are now live worldwide. After the initial announcement, Apple and various carriers have made their flagship models available for purchase, with some fantastic promotions for those ready to upgrade.

Below, I've listed the main carriers for both the US and UK, along with key details you need to know before making your purchase. While I don't expect iPhone 16 preorders to sell out, it’s wise to grab one during the initial launch period, as the early deals tend to be better than those offered later.

iPhone 16: US Pre-order

• Apple: up to $650 off with a trade-in
• Verizon: up to $1,000 off with a trade-in and unlimited plan
• AT&T: up to $1,000 off with a trade-in and unlimited plan
• Best Buy: up to $1,000 off with a trade-in and unlimited plan

iPhone 16: UK Pre-order

• Apple: up to £650 off with a trade-in
• EE: up to £480 off with a trade-in
• Sky: iPhone 16 from £26 per month, no upfront
• Vodafone: save up to £736 with a trade-in

So, a week after collecting my iPhone 16 Pro Max in Desert Titanium I'm still not sure what color it is! I've canvassed opinions from friends and family and been told that the back is 'orange' and 'peach', though very much lighter than the dramatic tone in Apple's press images, while the rim does vary im all lights from copper to bronze to gold to even occasionally 'rose gold' (which, let's be fair, is code for pink).

I've got to say I do like it though – and the one thing we can all agree on is that it doesn't look the same color as a large expanse of sand.

I've also had a good play with an iPhone 16 and the camera and camera control button, so we've added reviews to our best iPhone for photography guide while we await the full reviews.

There, too, Apple's colors are much more exciting in their pictures than in the hand but they are still the best colors. Seriously, why are the 'Pro' phones the more boring?

I spent nearly two decades being a professional sports photographer, traveling the world for my job and shooting at many different shutter speeds to capture the action in full swing.

Now, as I've changed gears and tried to capture the beauty in the mundane through street/documentary photography 1/500sec seems to be my limit, well not even my limit more an "always-on" approach, and while that might sound odd this exposure triangle hack really works in any setting!

Now I know that 1/500th shutter speed isn't going to suit everyone, and there will be times when you need something much slower to let in more light, or faster to freeze every millimetre of motion, but for some reason I have all my cameras set to 1/500th and it always just seems to work out really well.

The type of things I'm shooting for street requires that I either move quickly to get the shot or things out in the open that are stationary and don't need anything faster to stop motion.

All my cameras, film or digital, have these two settings fixed: Shutter speed and ISO; Shutter speed being 1/500sec and ISO set to 400. The only thing I ever change is my aperture, and you know what? It just works so well for me that I'd highly recommend trying it yourself.

I guess you could say I'm manually adjusting with a "Shutter priority" mindset when I go out shooting, by just adjusting the aperture to my environment, but knowing that I have 1/500th set on my camera means I'm confident that any situation that comes my way I can capture it and my images will be motion free. Personally I see no need for shutter speeds of 1/4,000 and above because, honestly, 1/500th just works so well, it's like my own 'gold standard', and the setting I first change on any camera.

While this might be a very 'primitive' way of capturing images, it is also the way many photographers shot in the film days when nothing had a light meter built-in, and people might not have one to hand. The technique is called the 'Sunny 16 rule' and focuses on changing your aperture to the available light around you, but keeping your shutter speed the same as your ASA film speed or ISO.

Most common films in the day were rated at ASA 400 and ASA 800, so according to the Sunny 16 rule, you'd set your shutter speed at 1/500 or 1/1000, respectively. The rule is that the number under the fraction is the nearest to the ASA/ISO – since shutter speed steps tend to be 1/500sec rather than 1/400sec the numbers aren't quite perfect reciprocals.)

While we now live in the digital age, and I still shoot analog and digital, this rule still applies, and it is the best technique I learned in my photography. Would it be nice to change shutter speeds once in a while? Yes. But do I really need to? Not in the slightest!

1/500th is my 'go-to' shutter speed for everything. Knowing that my camera is set to that speed, I can capture any shot I want and know what I am going to get, be that on film or shooting digital.

It frees my mind to think about other things in the image, composition for example, how the light is hitting a scene, etc. Having one less thing to think about when taking images is such a feeling experience that I recommend giving it a try, it will certainly work for most things and you might be surprised!

Sony's ZV-E10 may be three years old, but is being given a new lease of life thanks to a free firmware update. 

The Sony ZV-E10 was launched back in 2021 - and its replacement the Sony ZV-E10 II went on sale recently - so it is great to see Sony providing improvements to the now obsolete model. The last firmware update for this camera was released in December 2021

Aimed primarily at vloggers and other content creators, the ZV-E10 was designed like an compact camera - but had the advantage of a large APS-C sensor, and interchangeable lenses. In essence, it was the replacement for the legendary Sony A6000 - one of the best-selling mirrorless cameras ever.

So, what do you get from the update? As ever with firmware, the description is pretty vague – but definitely sound like useful improvements. Sony USA describes Ver. 2.01 firmware as offering these benefits:

• Improves the stability of transferring images to smartphones

• Improves the other operational stability of the camera

• Makes the Eye AF feature compatible with animals when recording a movie

• Fixes an issue where the Touch Shutter may not work

Detailed instructions for downloading the firmware and installing on your own camera can be found here (note, there are different links available depending on whether you use a Windows or a Mac computer):

• ZV-E10 System Software (Firmware) Update Ver. 2.01 (Windows)
• ZV-E10 System Software (Firmware) Update Ver. 2.01 (Mac OS)

See our guide to the best lenses for the Sony ZV-E10

Canon issues a firmware update for the Canon EOS R5 C, adding some interesting new features and fixing those pesky bug issues.

The Canon EOS R5 C is Canon's full-frame hybrid camera and its smallest cinema EOS camera. Featuring 8K video capture and 45MP stills capabilities it's features place it in our guides among the best hybrid cameras and the best Netflix-approved camera guides.

The update may have surprised users, as firmware updates so often do, but this update includes more than just big fixes. It adds some rather useful new features that enhance the user's control and ease of use.

The update notes can be found below:

Canon EOS R5 C (Ver 1.0.8.1)

"Firmware Version 1.0.8.1 incorporates the following enhancements and fixes:

• Adds the following size option to the Focus Guide function:

-Normal/Large

• Enables the display of Markers during playback.

• Enables the following functions to be assigned as options to the Select Dial:

-Iris, Shutter, ISO/Gain, White Balance Mode, White Balance Mode (K), White Balance Mode (CC), Select Subject

• Enables the Shutter Speed option to be assigned to the Top Grip control dial, the Top control dial, and Control Ring.

• Enables the AF frame position to be reset by pushing the Joystick. (Video Mode)

• Adds the following thickness option to the Continuous AF frame:

-Normal/Slightly Thick/Thick.

• Adds support for the lens correction function that is included with EOS VR Utility Version 1.4 or later.

• Fixes minor issues.

• Fixed an issue in which, when quickly switching from Video mode to Photo mode without stopping with specific lenses attached, the LCD monitor may go black for approx. 30 seconds, during which the camera becomes unresponsive."

The updates focus mainly on the cinema aspect of the camera, improving video control and ease of use features for playback.

However, I think the pick of the bunch is enabling the 'Select Dial' to control several useful functions on the fly, including ISO, IRIS, Shutter, and more.

It has previously been noted by users that the dial didn't enable the selection of anything and stood out to be a wasted opportunity, however, thanks to this update it now has a valuable function.

The update can be found on the download page (linked above) along with a helpful step-by-step guide on the updating process.

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

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.

What is your camera shutter count? It's the number of actuations on the shutter mechanism on your camera – in other words, it records the number of shots a camera has taken. 

Accordingly, it's also a representation of the life of your camera. In the same way that an odometer measures the miles racked up by a car, the camera shutter count measures the "mileage" on your body. And this is important because, like car motors, mechanical shutters have a life span. 

Different cameras have different shutter life expectancies, anything from 100,000 on a midrange camera to over 500,000 on a pro body – which is part of the reason that the best professional cameras and the best cameras for sports photography are so expensive, because they are built for far higher shutter actuations.   

Electronic shutters are changing the game, because there is no mechanical shutter and therefore no physical mechanism to perish. However, the camera shutter count still records the number of shots that have been taken. 

So even though bodies like the Nikon Z9 and Sony A1 have no mechanical shutter, if they've taken 500,000 shots there will still be plenty of wear!

Why does camera shutter count matter?

Finding out your camera shutter count is not only interesting (you'll find out how triggerhappy you really are!), it can also be an important thing to know for practical reasons.

If you’re looking to sell your camera, it’s a good idea to find out your camera shutter count – which is how many shots your shutter has racked up. Even if you don’t want to get rid of your camera any time soon, it’s an interesting figure to know, as it shows how much use your camera has had – and it might surprise you. 

Some brands make it easier to find out your camera shutter count than others – but no matter which brand you own, there should be a way to find out. This is by no means an exhaustive list, but at least one of these platforms should work for your camera. 

Some trade-in retailers will require you to provide the camera shutter count in order to receive a quote or trade, although if you really can’t work out how to do it they will have the correct software to do so.

Professional DSLRs such as the Canon EOS 5D IV and Nikon D850 have a shutter life expectancy of 150,000 and 200,000 respectively. That might seem like a lot but, if you’re a sports or wildlife photographer shooting with a fast burst mode, you can quickly rack up the number of photos you’ve taken.

Mirrorless cameras work a little differently, since they don’t have a mirror to flip up and down, which means they should theoretically have a longer life expectancy. You can also shoot using an electronic shutter, which doesn’t affect the shutter count at all. Fujifilm advertises the Fujifilm X-T4 of being able to take around 300,000 shots while the Canon EOS R5 has an expected lifespan of an enormous 500,000 actuations. 

Shutter count information is stored in your EXIF data just like ISO, shutter speed and aperture is. There are a few different ways to work out what your shutter count is depending on what camera you have, but most cameras will be compatible with camerashuttercount.com . You can use tools.science.si if you're a Sony user or Apotelyt.com if you shoot Fujifilm.

If you're lucky enough to own a Nikon and one of the best MacBooks, finding out your shutter count couldn't be easier. Simply open an unedited JPEG in Finder, click 'show inspector', select the Nikon tab and there it will display the number of actuations.

Some cameras don't embed the shutter count information into the EXIF data, which can make it slightly trickier to find, but when there's a will there's a way. Olympus cameras, for example, have a secret menu and a particular set of steps to follow to reveal the shutter count, while the Fujifilm X100V actually displays it in the menu. 

If you want to keep track of your shutter count it might be worth investing in some shutter count software such as ShutterCount from Dire Studio, which is really cheap and it's compatible with most cameras. When I worked at Wex it was the program we used to test all cameras being traded in, as shutter count can obviously affect the value of the camera.

Don't worry too much – even the best cameras for beginners and the best cheap cameras still have a good shutter life expectancy! 

I have been shooting primarily with the Fujifilm GFX 50S II since its release in 2021 and have had no desire to upgrade anytime soon. That was until I spent the day using a 100MP medium format beast!

I recently attended a portfolio-building event in the UK sponsored by Fujifilm. At the event, guests had access to the best Fujifilm cameras and GF lenses, and I chose the Fujifilm GFX 100 II as my companion for the day – I was instantly hooked!

The GFX system is Fujifilm's medium format range of cameras, and upon its release, opened medium format photography to the masses. The GFX 100 II was released late last year featuring a new processor and sensor combo, further pushing the boundaries of what medium format can do.

I am used to the exceptional colors, film simulations, and image quality of the GFX system, and as far as the final image output, it has been my favorite system to use in my work. The GFX 100 II steps this up further by improving processing speed, faster AF, and adding video capabilities unheard of on a medium format stills camera.

My sticking point with the GFX 50S II has always been focusing, especially in low-light situations. As it was my first medium format since switching from DSLR, I chalked this up to the nature of medium-format cameras and adapted my way of shooting to be a slower-paced and more considered approach to hitting the shutter. I needn't have bothered as if that was the nature of the medium format, it has now evolved.

I used the GFX 100 II coupled with the outstanding GF 110mm F2 for the majority of the day, and despite working with Elinchrom's off-camera flash in dark environments, it never failed to nail focus. I shot in High-Speed Sync (HSS0 in a fast-paced environment with no issues, something I often struggled with on the 50S II.

In addition to the larger sensor performing better in low light, the image quality on the GFX 100 II is unlike anything I have ever seen on the back of a camera. It is exceptionally sharp, and for those pixel peepers among you, the thrill of zooming in to 200% and seeing so much detail is unmatched.

The level of detail captured makes post-processing a dream and enables an almost unrelenting amount of cropping after the fact, however, with high detail comes high file sizes so do be wary if thinking of purchasing.

The final nail in the coffin, or rather my wallet, was the EVF. Since switching to mirrorless, I am ashamed to say that I rarely use the EVF and instead opt for the screen. However, the EVF on the GFX 100 II is a beast and saved me no end while shooting in bright daylight.

Featuring 9.44 million dots and a 1.0x magnification, it is hands down the most impressive EVF I have ever used and had me shooting like I did in my DSLR days.

The Fujifilm GFX 100 II is on the pricey side, fetching $7,499 / £6,999 / AU $12,000, but if you are a working photographer, investing in the best tools for the job pays off – at least that's what I'm telling myself!

You may also be interested in our guides to the best medium format cameras, the best Fujifilm cameras, and the best Fujifilm GF lenses.

A student at the UK's Nottingham Trent University has designed an innovative modular camera that can be used by right- and left-handed users alike. Called the MC-1, this one-off design features a central 'hub' section which looks as though it can function by itself as a standalone camera. It has two large red shutter buttons, one on the top panel and another on the bottom, enabling right- or left-handed use by simply flipping the camera over. We assume the rear screen is touch-sensitive, as there doesn't seem to be any other physical controls on the main camera, apart from those shutter buttons.

To improve ergonomics, an additional grip module can be clipped to the side, and this also houses extra physical buttons to aid camera control. If the camera is to be used by a left-handed shooter, it can be rotated through 180 degrees, and a bespoke left-handed grip module then clips to the left side of the main camera unit.

Flipping the camera over for left-handed use rules out a conventional, built-in viewfinder. To solve this, the camera's designer, Rowan Baxter, came up with a separate viewfinder module that can be clipped onto either the top or bottom of the main camera, depending whether the camera is in left- or right-handed orientation. Rails on the top and bottom surfaces enable the viewfinder module to easily hook into place.

As this looks like a prototype camera, we don't know much about its internals, only that the sensor size is APS-C, and the core 'hub' module is "pocket-sized". The lens fitted to the MC-1 we see in the Instagram Reel is a TTArtisan AF 27mm F2.8. This APS-C lens is only available in Sony E, Nikon Z and Fujifilm X mounts, so we assume the MC-1 is fitted with one of those mount options.

Though a left-handed camera may seem unusual, this isn't the first time we've seen such a product. Back in 1987, Yashica launched the Samurai Z-L; a real, mass-produced left-handed film camera. It was essentially a flipped version of the company's right-handed Samurai Z, with the grip and camera controls mirrored for left-handed users. We've got a separate story about that camera if you'd like to know more.

Story credit: Rowan Baxter Design

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.

Watch video (above): Kaleidoscopic colour

There’s no shortage of photographic gear and gadgets on the market. Although while we often justify a new lens with an ability to open up new creative possibilities, we don’t always give accessories the same time of day. This month I’ve been experimenting with the Fractals Filters Classic 3-Pack, which at £170 / $129 may sound a tad steep, but like a new lens, they open up brilliant artistic opportunities and allow you to take unique pictures.

These prism filters can be held in front of the lens to refract and reflect light in interesting ways. Some create a glitchy pattern while others create a kaleidoscope of colour, making them perfect for portraits – giving your shots an edge that will stand out from the crowd. Of course, cheap prisms can be bought online for £10/$10 and are a great place to start, but if you want better quality and versatility, these Fractals Filters are certainly worth it. 

1. Use a 50mm prime lens

Start by attaching your lens to your Canon EOS camera; 50mm on a full-frame Canon, or 35mm on an APS-C, seems to be the sweet spot but you can, of course, experiment. Make sure your lens is fitted with a UV filter so that you don’t scratch the front element.

2. Starting settings

To begin, go into your Canon’s Aperture Priority (Av) mode and dial in an aperture of f/2 and ISO1600. You’ll want to aim for a shutter speed of at least 1/200 sec to eliminate camera-shake, so you may need to tweak your ISO value depending on daylight levels.

3. Move the filter around

First compose your scene and have your model pose as desired, and check the exposure is good. Then, compose again but bring your prism into view this time. Try moving it closer or further away from the lens and tilting it towards or away from your model.

4. Face Detection

Autofocus can be a challenge when shooting through a prism. On newer Canons like the EOS R5, Subject  Detection (above) makes this much easier. But for older Canons you’ll need to place your active AF point over the model’s eyes to make sure they are sharp.

5. A helping hand

Holding your camera in one hand and a filter in the other can be tricky, so we suggest it’s easiest to hold the Fractals Filter by its grip and then use your thumb to rest against the lens barrel to steady yourself, and help you line up the shot perfectly. It’s also worth enabling any lens or body-based Image Stabilization on your Canon EOS to help reduce camera shake too. A tripod can be a better option if you don’t need the flexibility of moving and shooting quickly, although it’s a good option for shooting video footage with prisms.

6. Not all 50mm lenses are created equal

A 50mm lens offers the perfect focal length for prism portraits, but one thing to look out for is the front element. This Canon RF 50mm F1.8 STM front element is just 43mm, so we needed to move the filter away from the lens to see more of its effects.

The diameter for the front element of this Sigma 50mm f/1.4 lens is much larger at 77mm.  This means we can hold the Fractals Filter closer to the lens to squeeze in the effect of the prism. As we can hold it closer to the lens it’s much easier to blur using a wide aperture and shallow depth of field.

7. Fractals Filters: Pascal

The Pascal is the heaviest of the three prism filters in the Fractals Filters Classic 3-Pack. Tipping the scales at 255g it’s a bit more unwieldy to use than the others. Master it though, and it will allow you to take ‘impossible’ images, as its chunky glass element has been cut in such a way that allows it to reflect objects from outside your normal field of view. When you’re shooting outside, this could be a tree directly behind you! Our model wore a sparkly dress in front of a blue glittery background for extra sparkles that has reflected in the glass. 

8. Fractals Filters: Julia

The Julia filter is perfectly circular with the Fractals Filters signature knuckle-duster style metal grip so you can hold it comfortably in your left hand, while holding your camera in your right hand. It has an orange segment style pattern cut into it with a clear circular sweet spot in the centre. This used to be an actual hole but is now one complete piece of glass for cleaner results. This central zone gives you an ideal ‘sweet spot’ in which to position your model’s face, with the surrounding frame then being filled with a mesmerizing kaleidoscopic view. 

9. Fractals Filters: Penrose

The Penrose filter is the lightest of the trio in the classic 3-Pack with its thin proportions and a section of glass cut out from it. This makes it a joy to use as it can be held and repositioned with ease. The glass has a checkerboard pattern on its front face, breaking the surrounding scenery into a wonderful diffused, glitchy pattern. The cutaway section of glass is ideal for placing your focal point as it leaves this area perfectly sharp. Due to its two pointy ‘horns’, make sure a UV filter is fitted to your lens to avoid scratches to the front element.

Hobolite is a subsidiary of AEC Lighting Solutions, a company who have over two decades of expertise and has won numerous design awards. And its in relation to design that the Hobolite range of LEDs stands out from the crowd when compared to the LEDs produced by other companies such as Godox and SmallRig. Many LEDs are designed to be functional - whereas the Hobolite range - with their retro curves and faux leather panels - are designed to be noticed and admired while they illuminate your subject. I’ll dwell more on their distinctive design looks in the Build and Handling section of this review.

I reviewed (and highly rated) the Hobolite Avant and the Hobolite Mini back in March 2023. In 2024 Hobolite revealed revised versions of the Avant and the Mini - The Avant Max and the Mini Max. The name ‘Mini Max’ makes me smile as it sounds like a contradiction in terms, but at 40W the Mini Max is twice as powerful as the older 20W version. The Avant Max can boost its intensity by 3.5 times when you magnetically attach the Avant Lens, converting its 80W to the equivalent of 280W. The Avant Lens is supplied in both the Standard and Creator kit versions of the Avant LED. The Creator Kit versions of both the Avant and Mini Max lights cost more than the Standard versions, but you get a host of extra accessories and modifiers as we’ll explain.

Hobolite Avant Max and Mini Max: Specifications

Hobolite Avant Max and Mini Max: Price

Hobolite Avant Max and Mini Max: Design & Handling

I’ve tested and reviewed a range of Hobolites, from the 8W Hobolite Micro that fits into the palm of your hand to the 5W Hobolite Iris that looks like a vintage camera. At the other end of the power and size spectrum, there’s the larger and more powerful 100W Avant . All of these lights share the same attractive 1960s-inspired retro look with curved aluminum bodies adorned by brown faux leather panels on the sides.

The new Avant Max and Mini Max also share the same vintage design aesthetic, though the Avant Max can also be purchased with Midnight (very dark blue) faux leather paneling and that’s the version I tested for this review. The Mini Max that I tested had the standard brown faux leather panels that I’m familiar with from using other Hobolites. While the Midnight Avant Max looks very chic I prefer the brown-colored version as it sits better with the overall 60’s look (and it will match other Hobolites that you may own).

Both the Avant Max and the Mini Max can be powered from the mains, but they also ship with a detachable 99Wh V-Mount Battery that has the same faux leather paneling that features on the light’s body. With 99Wh/6900mAh of lithium-ion energy, the battery frees you up to shoot in any location without being tethered to a mains supply.

Both Max versions ship with a silver ergonomically designed handle that you can hold while lighting a subject on location. In the studio, you can mount the handle onto a light stand. I was lent two Hobolite branded tripods so we could attach the handle-mounted Avant Max and Mini Max onto these hands-free stands. The stands were quick and easy to deploy thanks to a series of sturdy and tactile twist-to-extend rings. The silver Hobolite stand that sits on top of the light stand can be angled through 180º with precision thanks to a ratcheting mechanism that can be locked firmly into the desired angle to light your subject.

Both the Avant Max and the Mini Max are bi-color lamps, so they only emit light between the color temperature range of a warm 2700 degrees K to a cooler 6500K. Therefore an essential feature of the Avant Max and the Mini Max Creator Kits is the inclusion of a collection of coloured gel domes. These colored gels can be magnetically attached to each light in an instant to creatively change the light’s color (and alter the mood of the shot). Both lights also ship with magnetic ‘barn doors’ that enable you to control the spread of light being emitted. You can still attach a colored dome to the lights when they are sporting a barn door.

Hobolite Avant Max and Mini Max: Performance

To test both the Avant Max and the Mini Max I took them into a studio and mounted them on Hobolite light stands. I popped the larger Avant Max on the 250 cm Hobolite Light Stand (90’’). and extended it to head height. The Avant Max’s supplied metal clamp enables me to attach its power unit to the light stand (rather than have it dangling loose).

I attached the Mini Max to the slightly shorter Hobolite Adjustable LED Light Stand 210 cm (82.7’’). I powered the Avant Max by plugging it into the mains. During the shoot, the onboard fan did kick in but it was so quiet that it didn’t register in my recording - check out our supplied test video. I powered the Max Mini using its attachable battery, which I had previously charged via a USB-C cable. The batteries on both kits have a little screen that indicates their level of charge when you press a button.

Both lights have the same method of adjusting their output. There are two knurled dials on the side that also function as buttons. One dial enables you to adjust color temperature between a range of 2700K - 6500K so that you can complement other light sources (such as daylight from a window or tungsten light from a bulb). The other dial enables you to adjust the intensity. To speed things up you can press both dials like buttons to jump between a range of settings in larger increments (such as going from 50% brightness to 75% in a click). An OLED screen on the same side as the dials enables you to see the Intensity and Color Temperature settings. A smaller button on both lights jumps to Effects mode. This enables you to trigger a wide range of creative lighting effects such as the flashing of paparazzi cameras (using a suitably cool color temperature) to the warmer flickering light of a fire (using a lower CT of 2700K).

As with most LEDs these days both the Avant Max and the Mini Max can be controlled remotely via a Bluetooth-linked smartphone app. This enabled me to experiment with different color temperature settings and special effects while I talked to the camera.

After my studio test shoot, I traveled to interview cinematographer Andrew Rodger about his work on the Amazon Prime chart-topping ‘sharks on a plane’ movie - ‘No Way Up.’ I decided to take the Hobolite Mini Max with me as I was filming in Andrew’s home and didn’t know how much space I would have to work in. While I was setting up the Hobolite Mini Max as a key light (on the 250 cm Hobolite light stand) Andrew commented on the Hobolite’s distinctive design as being reminiscent of a classic Hasselblad camera (which was a compliment to the Hobolite’s retro aesthetic look). Andrew also pointed out that LEDs such as the Hobolite have high CRI ratings, so flesh tones look faithful and accurate. (The Mini Max and the Avant Max have a CRI of 96, which is very close to the maximum value of 100).

Because Andrew’s movie is set in a sunken (and shark-infested) plane there’s lots of moody LED lighting in the movie (See our interview here…). So I decided to stick the green magnetic dome onto the Mini Max to cast a moody sub-aquatic green key light onto Andrew’s face to echo the creative lighting in his movie. I recorded the interview on my iPhone 15 Pro Max shooting in Cinematic mode to get a nice blurred background. Check out the interview extract in this review’s supporting video.

Hobolite Avant Max and Mini Max: Verdict

The Hobolite Avant Max and the Mini Max are beautiful LEDs, but they’re more than their stylish good looks. Thanks to both Creator Kits’ magnetic gel modifiers you can change the mood of your footage. Both lights have 8 video effects that you can trigger from the Hobolite app to enhance dramas. Thanks to the app you can change the color temperature of both lights with ease while standing in front of the camera, making these lights great for self-operating performers or documentary makers. You can sync both lights to the Hobolite app and then control both lights remotely. The main difference between the two is the Avant Max’s 7000 lux output compared to the Mini Max’s 4000, but I often had to dial down the intensity of both lamps as 100% wasn’t required.

Alternatives

UPDATE: We have spoken to Canon UK and the EISA Awards who have indicated that due to unfortunate timing, the Canon EOS R1 and Canon EOS R5 II missed the cutoff time for EISA awards 2024-2025. 

The deadline for the EISA awards this year was May 20, however, the new Canon cameras were not officially released until July 17. 

I did find it strange that the new Canon flagship cameras were not included as they boast some exceptional new features and are among the best mirrorless cameras on the market at the moment – this explains why!

ORIGINAL STORY (Aug 15 2024): The EISA Awards has announced the winners for the best cameras and lenses for 2024-2025, with Nikon and Sony scooping a total of 10 awards between them.

Every year EISA (the Expert Imaging and Sound Association) deliberates over the best cameras and lenses released over the past year. Its photography category honors different formats of cameras and various styles of lenses – and this year, 20 awards were given to the best of the best.

Six cameras were announced as winners, with the Sony A9 III scooping the biggest honor of Camera of the Year. It is no surprise by now that the A9 III has taken the photography industry by storm, winning multiple awards since its release and setting a new benchmark for pro sports cameras.

The camera introduces the first global shutter sensor on a photography camera, enabling lightning-quick flash sync speeds, minimal distortion, and the ability to capture your scene at 120fps in full 24MP RAW.

The A9 III was not the only Sony camera to win an award, however, as the much loved Sony A6700, won for best APS-C Camera.

Nikon continued a great award-winning year by picking up two camera awards, the Nikon Zf winning best Full-frame Camera and the Nikon Z6 III taking home Advanced Full-frame Camera.

The Zf has delivered on being a great hybrid option between retro and modern, offering users the looks and style of a film camera with the conveniences of modern technology. This EISA Award will sit on the camera's mantlepiece along with its Red Dot and TIPA Awards.

The other cameras picking up trophies include the Panasonic Lumix G9 II for Micro Four Thirds Camera and the Fujifilm X100VI for Compact Camera.

There does seem to be an obvious exclusion from the list of camera winners; considering it has released two brand new bodies in 2024, Canon is conspicuous by its absence. That being said, it is likely that the Canon EOS R1 and the Canon EOS R5 Mark II were released after the judging period. However, as the award is for 2024-2025, it does raise questions.

Cameras weren't the only photography product to win awards, with no less than 14 lens category winners.

The categories covered everything from telephoto to super-wide angle and everything in-between. Among the top picks was the Lens of the Year, awarded to the Sigma 50mm f/1.2 DG DN Art. A major win for Sigma and a great representation of how third-party lens manufacturers are producing some exceptional glass.

And the EISAs weren't a total write-off for Canon, as it picked up awards for two of its best RF lenses: Photo/Video Zoom Lens and Ultra-wide Angle Zoom Lens for the Canon RF 24-105mm f/2.8 L IS Z and Canon RF 10-20mm f/4L IS STM respectively.

The final award was that of Creator Smartphone, which was awarded to the Sony Xperia 1 VI. Smartphones are becoming a more and more viable option for photography, and the Zeiss optics and triple camera setup of the Xperia saw it take the gong.

The full list of winners can be found on the EISA website, and it makes for some interesting reading.

You may also be interested in our guides to the best mirrorless cameras, the best lenses, and the best smartphone for photography.

Have you ever wanted to play with Lego, but have been torn away from your fun for photography? Well, now you can take the Lego with you thanks to this amazing creation – a real-life, working Lego camera that can shoot 35mm film.

We've seen plenty of Lego cameras before, including official models such as the Lego 3-in-1 Retro Camera and the Lego Polaroid OneStep, but if successful this Lego Idea would be the first camera that actually takes film photographs. 

The Lego ZH1 takes its looks from old vintage cameras and has a functional viewfinder, film advance and shutter button. This masterpiece can be seen on the Lego Ideas page where creatives showcase their works made entirely of Lego.

The Lego ZH1 is the brainchild of Zung Hoang, aka Zung92, and has so far reached 8,387 supporters towards its 10,000 target. 

Zung92's primary goal was to create a fully functional 35mm film camera using only existing Lego parts. They prioritized affordability and portability, aiming to make the camera as compact as possible. The result is constructed from 595 Lego pieces.

One of the significant challenges they encountered was ensuring that the camera body was lightproof. In the initial stages, early film rolls were fogged due to light leaking through the bright, colorful bricks and gaps between the pieces. It took several days to perfect the sealing process without sacrificing portability.

The camera also proudly features the classic Lego logo from 1934, adding a nostalgic element to its design. The main lens is based on an existing magnifying piece, and they developed a special pinhole lens that produces unique and stylish effects, as demonstrated in these sample images:

"Check out the incredible improvement in the sharpness of my Lego Camera photos!" Writes Hoang about his latest revision to the camera.

"And the added light leaks have made them even more stunning. When I talked about fixing it, my friend Jay suggested leaving it as is to maintain the unique aesthetic."

While it's currently a half-frame film camera (like the recent Pentax 17 and Alfie Tych+), it can be modified to full frame. 

If you'd like to know more, or see this creation realized as a full retail product, head to the Lego Ideas page and show your support!

You might be interested in the best film cameras not made of Lego, along with the best 35mm film to use with them. 

Although the best camera phones have done irreversible damage to the compact camera market as a whole, there are still some sectors that continue to perform fairly well and are even bringing out new models from time to time. 

The bridge camera is an example of that. Generally, they have the classic form factor of a “proper” camera, while also giving you a much longer optical zoom than any smartphone, as well as traditional handling and manual control.

With the Kodak PixPro AZ405, you get a 20.6MP 1/2.30-inch CMOS sensor. Many smartphones nowadays actually have bigger imaging sensors, but, the key differentiator here is the AZ405 offers a 40x zoom. That’s equivalent to 24-960mm in 35mm terms. The corresponding apertures are f/3 at the wide-angle end and f/6.8 at the telephoto end.

While it’s true that this camera is unlikely to end up on our list of best bridge cameras, it does have a lot of appeal considering its super-low price point. It’ll set you back just £199 / $199 / AU$399, making it a bit of a bargain in camera terms.

Perhaps if you’re brand new to photography, or looking for something to extend the capabilities of your smartphone, it could be a tempting proposition. But let’s find out how well it works…

Kodak PixPro AZ405: Specifications

Kodak PixPro AZ405: Price

The Kodak PixPro AZ405 is available to buy in multiple territories right now for $199 / £199 / AU$399. There are sometimes deals and discounts to be found in various locations, which are usually time-limited. Shipping costs vary depending on your location. 

Launched in 2022, the AZ405 is a couple of years old, but it’s still a current model in Kodak’s line-up. You’ll struggle to find much else new for under £200, except for others in Kodak’s range, including the AZ255. You might be able to find other comparable bridge cameras for a similar price second-hand.

For those just starting out in “proper” photography, something like this can feel like a tempting idea at its low price. However, it might also be worth considering spending a little bit more to get something that you won’t outgrow so quickly if you can.

Kodak PixPro AZ405: Design & Handling

As is the way with bridge cameras, the AZ405 uses a ‘miniaturized’ DSLR type form factor, which is probably one of the reasons why this sector of the market continues to appeal. It has a chunky grip and employs a traditional control layout.

It’s not what you’d call heavy, but it feels solidly built and sturdy in your hands. The grip has a textured coating with moldings to fit your fingers appropriately. 

The shutter release is found at the top of the grip, with a zoom rocker switch around it. With this you push left to zoom out, and right to zoom in. If you carry on pushing in the right direction, you’ll use digital zoom once you’ve reached the full 40x optical option.

Around the zoom lens is a textured ring. However, this is static and doesn’t do anything – it’s there for looks only, which is a shame. At its full extension of 40x, the lens sticks out quite a bit from the camera body, but it’s fairly light so it doesn’t make it feel unbalanced.

Buttons on the top of the camera include an on/off switch, a button for changing the drive mode, and an exposure compensation button. There’s also a mode dial, where you can choose between different automatic and scene modes, as well as manual and semi-automatic modes like aperture priority. A flash is released by pushing a button on the side of the flash housing.

On the back of the camera, all of the buttons are grouped on the right-hand side for easy one-handed use. There’s a video record button, a menu button, a macro button, and others that are mostly self-explanatory. The menus themselves are a bit tricky to get to grips with – at least at first. Some aspects of operation are also a bit odd, for example, to change the aperture in aperture priority requires a press of the exposure compensation button, then moving between the different options presented, and finally using the up and down arrows to make a change. Besides this, there are only two apertures to choose from at any given focal length, too.

Using the camera in other ways is quite a laborious process at times. Switching it on you’ll find you need to wait 2-3 seconds before it is ready, and there’s also a short delay between pushing the shutter release button and the image being taken.  

There’s no viewfinder, but I wouldn’t really expect to find one at this price point. The screen is a decent size, but it has an average resolution and it’s not particularly bright. In sunny conditions, it can be difficult to see the screen well for composition, so you may often find yourself shooting ‘blind’. 

The batteries used are AA, which on the plus side means you can pick them up anywhere – that can be useful when traveling for example. However, it can also add a lot of cost to the operation of the camera, unless you invest in some rechargeable AAs. The ordinary batteries I used as part of this review lasted a couple of days of reasonably heavy use though, which is a positive.

Kodak PixPro AZ405: Performance

In general, image quality from the Kodak PixPro AZ405 is worse than that which you’d find from even a mid-range smartphone in 2024, much less one of the flagship models. However, when it comes to zoom, it still beats even high-end smartphones, so really it depends on what you’re looking for – and what you’re willing to work with to get it. 

When the light is very good you can get some lovely pleasing shots. When light is either too dark or too bright, the results aren’t great, with blown-out highlights and loss of detail a common problem. The lens also shows a fair degree of noticeable chromatic aberration when shooting in high-contrast situations. If you want to look at, or print, your images at A4 or above, you’ll notice these problems, but if you tend to only look at them at small sizes, it’ll be less of an issue. 

In indoor and very low light situations, detail is even worse, and although you can turn on the flash, that will leave you with very harsh and garish tones which aren’t particularly appealing. 

When not using the flash and shooting in a pleasing light, colors are otherwise pretty good in most situations. You might find that you get yellowish tones when shooting under artificial lighting, but you can adjust the white balance manually if you’re finding that to be a problem. 

With the zoom, you can get some half-decent shots at mid-range focal lengths. Perhaps even sometimes at the full reach of the zoom. To do this, you’ll need to have a lot of patience, hold the camera as still as possible, and hope that your subject isn’t going to move very much, preferably at all. Oh and of course shoot in good, but not too bright, light. It’s good for buildings and other static subjects, but anything that moves is very tricky. I did manage to get a couple of reasonable shots of some calm geese at the local park, but I stood no chance with my erratic dog. There is a tracking focus option, but this couldn’t keep up with anything at all so it essentially may as well not be there. 

Above: you can see the full zoom range of the Kodak PixPro AZ405.

Digital zoom is not worth using, not unless you really do want to get closer than 40x – which is unlikely in most cases. Macro performance is not too bad, with the possibility of capturing some nice frame-filling shots, again, so long as the subject remains still and you steady yourself too.

Full HD video recording is possible with the AZ405, but, as with images, in many situations, you’ll get better results with your smartphone.

Detail isn’t great, stabilization doesn’t work too well and autofocus struggles to keep up if you zoom in (or out again). For quick video clips it might be OK, but if you want anything of any kind of quality I wouldn’t use the AZ405 for video.

Kodak PixPro AZ405: Verdict

Overall, there’s not a huge amount to like about the Kodak PixPro AZ405, except for the price, which makes it very appealing. 

It’s slow to use, doesn’t have particularly good image quality in a lot of scenarios, and can be clunky to get to grips with. If you’re used to anything better it will definitely feel second-rate, but even stepping up from a smartphone it’s likely to underwhelm compared to the ease and high performance of modern devices.

The form factor is pretty solid, and the chunky grip does give you the feeling of shooting with a “real” camera more than your smartphone will give you. But the fact that you can’t properly change settings, such as aperture, will perhaps leave those looking for a step up in their photography pretty disappointed.

Albeit not at this price point, there are much better alternatives to the PixPro AZ405. If you’re prepared to accept low image quality it’s something you might consider, but, generally, I’d recommend saving up for a little longer and spending more on something that will produce much better results. Don’t forget to check out the used market if the budget is tight.

Alternatives

If you've been holding off upgrading your Best DSLR to the latest and best Nikon camera, well today is a good a day as any, as the Nikon Zf with special edition Z 40mm f/2 has now reached dropped in price to just £2,299 at Park Cameras - that's a cool saving of £220, and the lowest price we have ever seen.

Inspired by the legendary Nikon FM2, the Nikon Zf captivates with its exquisite, tactile charm. Its precision-machined edges, knurled dials, and marbled texture offer both visual appeal and a rich sensory experience. 

The shutter speed, ISO, and exposure compensation dials, made from precision-carved aluminum with engraved markings, allow for accurate manual adjustments. The mechanical shutter delivers a satisfying click, enhancing the tactile interaction.

The Zf's electronic viewfinder, housed in a prism-shaped casing, complements the vintage-inspired controls with an intuitive design. It integrates seamlessly with the 3.2-inch vari-angle rear LCD screen, enabling easy adjustment of focus points, subject tracking, and display modes without breaking eye contact. The fully articulating screen, which includes a front-facing option, enhances navigation and operation from various angles.

There is no question about it, film photography is back, and from the recent exponential growth in popularity, it's here to stay. The majority of the best film cameras are tools from the past and have not seen much modern development since the migration to digital cameras. That is however until recently.

Alfie Cameras is a family-run business and after a successful Kickstarter, started producing small half-frame compact film cameras with modern digital elements – providing a truly hybrid shooting experience. The cameras have all the feeling of shooting film, with the added benefit of electronic light metering and a rechargeable battery – I personally see this hybrid nature as the future of film photography.

It would be remiss if I didn't mention the other modern compact film camera, the Pentax 17, which also happens to be a half-frame. Having not used one it will be difficult to compare my experience to it, however, from my understanding of each camera, they were built to serve two different purposes.

Although technically a compact camera, the Alfie Cameras Tych+, and Tych models offer several creative lens options on a fixed rotary board.

The Tych+ offers a premium, meniscus, zone plate, and pinhole lenses, which create unique images making the camera a little more niche and experimental than cameras such as the Pentax 17.

Alfie Cameras Tych+: Specifications

Alfie Cameras Tych+: Price

The price of the Alfie Cameras Tych+ is something that I keep challenging with, as priced at $642 / £500 / AU$987, it is a steep investment for a creative camera. On the flip side, the camera is extremely well designed and each one is built by hand by the in-house team, so in that regard a more than fair price (It is also only available to purchase through the Alfie Cameras website).

The Pentax comes in at a similar price, potentially a little cheaper, so would prove stiff competition, for users looking for a more traditional shooting experience rather than the experimental.

I think the unique nature of the four lenses can be both a draw and a turn-off, as without trying the camera out for yourself, it can be a tough ask to put down the money without knowing if the lenses work for your way of shooting.

For users who enjoy pinhole style and meniscus camera aesthetics, having a compact camera such as the Tych+ would be more than worth the money, plus think of the money you can save on film when using double the amount of shots!

Alfie Cameras Tych+: Design & Handling

The first thing you notice with the Tych+ is that it is tiny! Measuring just 90mm x 79mm x 45mm, it takes the term compact camera to a new level as it can easily be slipped into your pocket and carried around daily without even noticing it. This is however a double-edged sword as those with slightly larger hands may find it a bit fiddly to grip for long periods.

The construction of the body is very durable and secure and provides a sense of confidence that it won't be easily broken if bumped or dropped. The body is made from an anodized aluminum / MJF hybrid construction, keeping light yet sturdy.

The lens rotary board is easily adjusted and clicks when the lens is in place. The viewfinder is also well constructed, and offers a clear view when used although does make it difficult to frame images, but more on that later.

The camera has an LCD screen that displays the camera menu and enables the user to select settings such as ISO, exposure comp, and shot count. The screen is well designed and constructed.

The USB-C charging is a stroke of genius and after a full charge, the battery lasted all three days I used it, in fact, I don't think it ran out the whole time I had it and remained with a charge when returned two weeks later.

Where I do feel the construction fades slightly is with the film spool and winder mechanism inside of the camera body. I never felt safe that my film was fully safe and attached and hadn't unhooked from the small gear to the point where I had to rewind my film halfway through the roll to make sure there were no issues. When manually rewinding the film, the tension was also inconsistent, and I often felt like I had gone too far.

Alfie Cameras Tych+: Performance

Having never previously used a half-frame camera I didn't know what to expect, and once I got my head around the fact that portrait and landscape had switched alignments, it was an absolute blast!

I decided to test the camera by shooting some street photography on my commute to the office. The Tych+ lent itself wonderfully to shooting street as it is so discrete, that no one realized I was shooting.

The camera was extremely simple to set up once the roll of film was loaded. Using the digital LCD screen I was able to set my ISO and reset the shot count. I also had the option to shoot in manual or auto mode. Being the first time using it I opted for auto and let the electronic light meter do its thing, and provide me with a perfect exposure.

The electronic light meter is one of the best things about the camera, as it enables new users the feeling of shooting digitally. Metering can often be an obstacle for new film shooters so having this taken care of, is very useful.

The viewfinder was clear although it was a bit hit-and-miss after receiving my film scans back from the lab. As someone who heavily relies on composition, it is very difficult to know what you're going to get as a result. My advice in this regard is to shoot wider and crop.

The camera's 4 lens options offered something different from each, although other than for test purposes (below), I exclusively used the premium lens. This was down to personal preference, and the shooting conditions.

As mentioned earlier, this was my first time shooting half-frame and the concept was a great creative challenge. As the 35mm film frame is essentially split into two, it enabled me to play around with diptychs, and as a photo editor, I enjoyed forming relationships between the two images in the frame.

I shot on Ilford FP4 at ISO 200, so pushed it a little bit as I wanted to lean into the grain and contrast.

For the most part, I was extremely pleased with the results. Removing the composition through the viewfinder, which may also be down to user error, the images came out exactly as I imagined when shooting, which is all you can ask for when shooting film!

Alfie Cameras Tych+: Sample images

Alfie Cameras Tych+: Verdict

Overall the Alfie Cameras Tych+ was an extremely enjoyable camera to use, and depending on your style of photography, creates some really interesting results. I think it is a fantastic option for those looking to experiment with film photography and create exploratory images that utilize the four lens options.

By having digital elements such as auto mode with the electronic light meter, it's less of a jump into the unknown for film novices and I think it's a great combination of digital and analog worlds – future film cameras should take note!

My only sticking point is the price. It's a lot of money to put down on an artistic camera without trying it, and subsequently knowing if it's right for you. Alfie Cameras does attend events such as this year's Photography & Video Show, so it might be best to see one in the flesh first.

However, I think for a film photography enthusiast who enjoys the process and is looking for an everyday carry option that can slip into your jacket pocket - the Alfie Cameras Tych+ is the perfect option!

Alternatives

I'm sure you've all clicked the headline ready to roast me. Maybe to say what the heck am I talking about, as you have been using image stabilization or vibration reduction for years and it saved your images.

But in nearly 20 years of being a pro sports photographer, I have not once used IS or VR on any of my lenses – be that 28mm up to my 600mm f/4. And throughout my career I photographed horses going 30mph across all terrains, in all weather conditions, all around the world.

Now, I'm not going to say that I'm a better photographer than anyone who was and is using image stabilization on their lenses. I used a monopod for most of my shots above 400mm, and yes I did handhold everything from 300mm and below. But what made me not use IS / VR was that it limited my ability to capture motion.

That might sound like an ironic message, when stabilization is meant to enable you to take images at lower shutter speeds and capture motion. But when I was taking images nearly 20 years ago, Nikon's VR was rubbish. I recall activating it on my Nikkor 70-200mm and doing a quick pan, and the VR motor would move so much that it could not keep up with my own movement to capture a solid image.

I also used Canon's IS system on its 400mm lens back in the day (when I debated switching systems) and still, that would not be able to nail a secure image when I would swing with the movement of the horse – even with a little motion when the IS was set, it just would not work for me at all.

Of course, I will admit that image stabilization has got a lot better than the early days when it arrived on pro-grade lenses – and I was shooting way before in-body image stabilization was even a thing!

So turning IS / VR off taught me that I needed to be still, steady and control my breathing – especially if I was shooting my 600mm f/4 at 1/200 sec. While this all might sound rather dated in today's world of modern tech, it did teach me a lot about lens technique, body movement and how it can affect the overall image.

One thing that I always hate to hear is how many stops of stabilization the latest and greatest lens has. Think about some of the best sports photographs you've seen from the likes of Chris Smith, Nick Walker, Leo Mason or Mark Sutton – these guys didn't have IS / VR back in the day, they had a bean bag at best or a strong arm!

There is something to be said for a good handheld technique that can save you if you're in a pinch. So after nearly reaching that 20-year mark, I have still to this day never used stabilization in my professional career. I'm quite possibly a bit "old hat" about it, but I'm certain that I don't need it – and I bet some of you would be better without it, too.

You might be interested in the best lenses for sports photography – and the best cameras for sports photography, too. 

To master harsh summer light, a polarising filter is a helpful tool to maintain dynamic range and enhance color intensity. This is especially useful when photographing around midday when the sun is at its highest point and there are usually fewer clouds in the sky. When aiming for a wider landscape shot, achieving a pleasing result can be challenging in these conditions.

That is why many photographers avoid shooting landscapes at this time of day. The sun’s position creates a flat look overall and the direct, undiffused light causes a lack of shadows. However, this light creates an opportunity to shoot tighter nature frames with more detail by including foreground subjects, including flowers. When doing so, lower your camera position, aim the lens at a 90°-degree angle to the sun and position the sky behind your subject for maximum effect. 

One experimental approach to introduce more dynamism is to intentionally overexpose the landscape scene. For this, you may want to avoid looking at your camera’s histogram, which shows when highlights or shadows are clipped due to overexposing or underexposing the frame. 

In most cases this is not a good sign, as those elements will not contain much image information even when shot in RAW and are therefore hard to recover in post-processing. However, when following this photographic technique, clipping highlights or shadows is desirable. Here, a popular approach is to convert those frames into monochrome scenes in post-processing, as the focus then shifts from color to shapes and textures.

Control The Exposure

1. Test the light

Shoot in Evaluative metering mode. Analyze the camera’s histogram and note any signs of overexposure. When many areas are clipped, it might be best to reconsider your composition or to use supporting tools, for example, a gradient ND filter so that you can better manage the exposure. 

2. Be precise

To master challenging lighting, you need to work precisely. To create measurements from smaller areas of highlights or shadows, switch the Metering Mode to Spot or Partial Metering. Both of these settings typically ignore the edges of the frame and minimize the exposure reading area.

• Photography cheat sheet: camera metering modes

3. Compare

Take a reading from both the darkest and the brightest elements and the camera will suggest exposure settings (in EV stops). If tones are one EV out of range, activate the in-camera Dynamic Range Optimization. If the range goes over three EV stops, then you may need to attach an ND filter.

4. Bracket exposure

If you are unsure about the ideal exposure, activate the Exposure Bracketing feature. Select Cont. Bracketing of five images +2.0EV. By pressing the shutter slightly longer, you now shoot three frames with variable EVs, so that you can create a High Dynamic Range image in post-processing.

Use Lens Flair

Ditch your lens hood

To create a lens flare, get into a position where the sun is approximately 45° degrees to the camera. To avoid overexposing the sun itself, think about a composition that excludes the sky, or incorporates elements such as trees that can partially hide the sun. This way, you underline the atmospheric factor while keeping the focus on the landscape. By doing this, you create a tonal variance throughout the frame. While this technique adds visual depth to the scene, the shadows appear lightened and reduced in contrast.

Create an airy mood

To capture a warm summery atmosphere in your landscape shots, you might not think that varying the aperture setting makes all the difference. However, by working with open apertures (low f/stop numbers), you can visually spread the light, making it appear less defined and blending it into the landscape to create a moody frame.

Shoot a starburst

On the other hand, when working with apertures of around f/16 or above, you create defined rays of light. When doing so, the sun itself will transform into a starburst, adding visual appeal to the photographic frame. This is also a great technique to use when capturing artificial light like street lamps in cityscapes at night.

Watch video: Shoot to score!

It’s the most popular sport in the world, and netting great football shots can feel like a win too! Successful images capture a moment in time and help tell the story of the match; scoring a goal, battling in a tackle, the jubilance of victory or the pain of defeat. 

While pitchside access at bigger games will be limited, there are plenty of lower league options available to photographers looking to practise their craft, so head to a local game and get permission to take some action shots. There are, however, a few techniques you can incorporate into your photo game to improve your chances of taking winning photos. Some of these elements are kit-based, but most are focused around EOS skills.

By selecting the right focus and drive modes, you are giving your camera more chances of capturing those sharp, split-second shots that all sports photographers seek out. Ready for the first-half whistle? Let’s kick off! 

The kit you'll need

01 Foldable stool
It may sound like an inconsequential item, but for football you’ll standing around for 90 mins. At more professional games, you will need to kneel so you don’t block fans’ views. So pack a cheap foldable stool, it also means you’ll be lower for better shots.

02 Telephoto zoom lens
To zoom in on the action we used a Canon EF 70-200mm f/4L IS USM on our EOS R6 with the EF-EOS R adapter, but an f/2.8 option would provide faster shutter speeds and lower ISOs. Focal lengths of 300mm or 400mm may be needed at big grounds.

03 Extra batteries & Cards
Football games are action-packed, so it’s likely your high burst modes, Image Stabilisation and constant autofocusing will drain your batteries and fill cards quickly. Pack plenty of spare camera batteries, or even use a battery grip to give you extra juice.

1. Dial in the settings

Let’s start by taking a look at which settings you should use. One approach is to shoot in Shutter priority mode (Tv on the dial) and to set a fast shutter of around 1/640 sec, with the camera then selecting the correct aperture thanks to this being a semi-automatic mode. But, I prefer to work in Aperture priority mode (Av on the mode dial) and set my aperture to the widest allowed by the lens (either f/4 or f/2.8 depending on your lens). I also change the ISO to Auto, this will help give a balanced exposure if light levels change during the game. This is especially important if you are photographing a night game under flood lights, as the lighting will change drastically around the pitch.

2. Be a speed king

Using Single Shot autofocus, the camera will focus when you press the shutter button and then stay locked, meaning if your subject is sprinting towards you, they will be out of focus by the time you’ve fired the trigger! Instead, use AI Servo where the camera will continue to track and refocus over your active AF point, or group of AF points.

Alternatively, use Face Detection to let your camera automatically focus on players so you can concentrate your attention on composition and timing, though you have less control over which player will be tracked in this mode. You’ll also want to use your Canon’s High Speed Continuous Drive Mode to take bursts of images when the action happens to boost your chances of catching a winner.

3. Split-second timing

It can be easy to fall into the trap of shooting static images of players during breaks in play, but, with a few exceptions, this doesn’t lead to great images. Instead, try and follow the ball with your camera and look for moments of engagement; this could be players going for headers, taking a shot or sliding in for a tackle.

When the ball does go dead, use this time for reviewing images, zooming in to check detail. Spend this time wisely fine-tuning your settings and don’t waste it going through and deleting images when you’re pitchside as this increases the risk of you missing a winning moment. Culling images can be done quickly back at the computer in Adobe Bridge or Lightroom.

4. Work the light

One common pitfall many football photographers fall into is making their images appear too similar. If you can try changing viewpoints, moving from the side to either end of the pitch to create different angles. This will work especially well if you can shoot into the light, which will add a contre-jour backlit style to your photography. You can take this even further by casting your subject into a silhouette so that their form and shape tells the story of the frame.

This is where working with the RAW file format will be advantageous as the extra tonal retail will help you recover highlights from the sky if your original exposure wasn’t spot on so be sure to enable it before kick-off!

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

Just weeks after the launch of the Canon EOS R1 and R5 Mark II, it's being reported that the Canon EOS R6 Mark III is "pretty much ready to go". 

If true, it would complete the refresh of Canon's headline full-frame mirrorless cameras. Crucially, the R6 Mark III would bring the company up to speed in the competitive hybrid space following the recent launch of the Nikon Z6 III. 

The timeline of the R6 family has been an interesting one. The original Canon EOS R6 launched in 2020, in tandem with the original EOS R5. However, it was replaced soon thereafter by the R6 Mark II in 2022 – one of the quickest product refreshes I can recall seeing. 

Now it is being reported by Canon Rumors that the R6 Mark III could continue that two-year cycle, launching by year's end.

"A December announcement is the latest possible announcement date that we have been told," writes the outlet, conceding that reliable launch dates have been harder to pin down recently.

"The 2-year product cycle is likely to continue for the series. It is Canon's best selling full-frame mirrorless camera and sits in a competitive segment, so it shouldn't come as a surprise."

The site shared the following specs and, while noting that there are usually inconsistencies with early information, said that it has been told by sources that the R6 Mark III is "pretty much ready to go". 

Canon EOS R6 Mark III specs (unconfirmed)

• 24MP sensor ("related to the stacked EOS R3 sensor")

• Mechanical and electronic shutter

• No Digic Accelerator or Eye Control AF (both seen in the R1 and R5 Mark II)

• 5.69 million-dot, 120fps electronic viewfinder ("same EVF as the EOS R5")

• CFexpress and SD UHS-II card slots

• 4K 120p / FullHD 240p

• Same 3-inch LCD

• "Improved IBIS performance"

• "Improved focus sensitivity"

• "Slightly heavier body (Nothing you're likely to notice)"

You might be interested in the best Canon cameras in the EOS R lineup, along with the best Canon RF lenses for them. You may also want to check out our Canon EOS R6 vs R6 Mark II comparison.

Head to any urban environment and you'll be faced with a bounty of big and beautiful buildings to turn your camera towards. It's a rich and fruitful genre to get into, whether you're interested in the minute details of carvings, etchings and engravings, or squeezing in large skyscrapers and interior spaces into a single frame.

It can however be tricky to get right in-camera. Straight lines can bend, warp and converge inwards when using a wide-angle, or framing up from a lower perspective looking upwards. There's a vast amount of kit out there to remedy such problems, but it can be difficult to know where to start.

• To shoot amazing architecture shots of your own, check out the best tilt-shift lenses

Reader of PhotoPlus: The Canon Magazine, Pierre is 37 and originally from Namibia. He moved to Salisbury in  2016, where he works as a receptionist at a care centre. “My interest in photography came from reading a copy of PhotoPlus. I then purchased my first Canon, an EOS 1300D DSLR, from Castle Cameras in Salisbury. Weather pending, I like to spend time outdoors, and I usually take my camera as there is always something interesting to capture in beautiful Wiltshire.”

We paired him with architecture pro David Clapp at the awe-inspiring Salisbury Cathedral to show him how to better his buildings shots. Here's David's top tips from their workshop together.

1. Manual mode

Pierre liked to use Manual mode and set his apertures, but needed some help understanding how to set the shutter speed for a good exposure, as he’d used Auto ISO, which meant his shots were often noisy as his 1300D would need to set a high ISO as the shutter speeds he’d set were very slow. “I set ISO100, aperture to f/8, and then increased the shutter speed until the exposure level indicator was central on the exposure index – indoors he needed a shutter speed of 8 secs,” says David.

2. Tilt shift

“My well-used Canon TS-E 24mm f/3.5L II tilt-shift lens is an amazing optic,” reveals David. “With a large field of view, your camera can be levelled and square to buildings, and then the composition ‘shifted’ around in the viewfinder. This keeps those important verticals straight, just as the eye sees them, which is an essential look for professional architecture photography.”

3. Canon Extender

“This little EF Extender 1.4x III is my secret weapon! I use this teleconverter to multiply the focal length of my favorite lenses to make them even more versatile. My TS-E 24mm f/3.5L II becomes a 35mm and my EF 100-400mm f/4.5-5.6L IS II USM telephoto zoom becomes a 560mm at the long end!” says David. “I simply use the EF-EOS R mount adapter so I can use the Extender and EF/TS-E lenses on my EOS R3 camera.”

4. Telephoto creativity

“I often use my Canon EF 100-400mm f/4.5-5.6L to pick out interesting bits. I love the repeating patterns of these old columns. At 100mm and f/16, I’ve ensured that the columns from front to rear are sharp in this shot. I also used a Mono Picture Style to go for a black and white look,” says David.

5. Sharp and clear images

David was very keen to emphasize to Pierre the importance of capturing the sharpest possible photos, and with minimal noise, which can be very apparent when shooting at higher ISOs on smaller sensor cameras like his 1300D. “I made sure Pierre switched from Auto ISO and set his ISO to 100 for cleaner images, as we were able to use tripods inside the cathedral, so it didn’t matter if our shutter speeds were really slow.

I also got him to use the 2-sec self-timer to get sharper shots on his wobbly and skinny tripod! He was often pressing the shutter button and still holding his camera, which meant blurry shots when shooting at longer exposure of 4 secs and slower. Press the button then get your hands off!” chuckles David.

6. Wide zoom lens

“My go-to wide-angle lens is still the Canon EF 16-35mm f/4L IS USM, even though I’ve moved to mirrorless. I prefer it over the f/2.8 as it’s lighter, has image stabilization, and takes more popular (and cheaper) 77mm filters, rather than 82mm. The f/4L lens is incredibly sharp, even wide open, but for the best combination of depth of field and image quality, use your wide-angle lens at a mid-range aperture of f/8.”

7. Hotshoe spirit level

Pierre’s entry-level EOS 1300D DSLR doesn’t have a digital level on screen, nor did his budget tripod have a spirit level on the legs or head, so he was finding it difficult to get his camera level for straighter photos. “I have these great little spirit levels that slot into your camera’s hotshoe. So simple, but so effective. It instantly helped Pierre with his photos. This type is available on Amazon and eBay for less than a fiver!” smiles David.

8. Switch off IS

Pierre was struggling with his focusing on his 1300D. In Live View, it kept hunting around trying to focus on the wrong parts of the scene. David advised switching off Image Stabilization on the lens and switch to manual focus (MF) on the lens to lock the focus.

9. Compact fisheye lens

“I still swear by this great little, budget Sigma 15mm f/2.8 EX DG Diagonal Fisheye lens that’s still sharp from centre to edges. On my full-frame R3 (with the adapter as this is an EF lens) it captures an amazing 180-angle of view. You can pick up a used lens for around £250 online. An amazing price in today’s worth for such superb optical quality at 15mm,” says David. “Pierre tried it out on his 1300D, even with the 1.6x crop factor it created wide 24mm shots.”

10. Live View to expose and compose

Try moving your camera around in hand with Live View on screen to find the best composition,” suggests David. “When in position, compose with more precision using the tripod. Zoom 10x in to get the maximum sharpness, using AF to focus on an area with edges and contrast or adjusting focus manually. Use the Live View histogram to check highlights.

If you're really into photography of buildings, you'll want to check out the best lenses for architecture. David uses a Canon EOS R3. To see more from his stunning portfolio be sure to check out his website.

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.

For a lot of people, their first camera is their phone. They take a lot of photos, so much so that they think about getting a dedicated camera. They ask friends and research online to pick one that suits them and their budget. They start shooting and realise that the photos don’t match those from the phone. Phones do computational photography. They do HDR, basic editing and even give haptic response when the phone is level. Mirrorless cameras? Not so much. So here’s some tips to help on that journey. 

1: Forget about Manual, for now

Sure the pros use Manual exposure,  but there’s an old joke that Canon’s Program mode was ‘P for Professional’. Auto exposure in modern cameras is really good. Get used to the camera before worrying about refining your exposure mode choices. Move to the semi-automatic modes like Aperture and Shutter Priority while allowing Auto ISO to keep the shutter or aperture reasonable. 

2: Composition is king

Let the camera do the hard work and concentrate on the compositional elements. Learn the Rule of Thirds and start using the intersections to place your focal point or subject. There are, of course, other compositional rules like the Golden Spiral or intersecting diagonals that you can look up. Use leading lines, curves and triangles to improve your photos. Look for unusual angles to show common things in a new way. 

3: Keep it level

Cameras love to tilt. Holding them one-handed is a good way to make sure you don’t get a straight horizon. Use the camera’s display options to have the digital level visible at all times. It’s the number one mistake made by beginners. It’s easy to correct in software, but try get it right in camera.

4: Raw wars

It’s tempting to stick with the JPEG files and their baked in good looks, but sooner or later you’ll want to go to Raw for more longevity of editing. A good compromise in the meantime is to shoot Raw and JPEG. You get to use those JPEGs now, but have Raw files for when your editing improves. I’ve so many regrets from not having Raws from old files that would greatly benefit from new tech like Lightroom’s Denoise. 

5: It's a system

One thing that you don’t realize at the start is that you’re not buying a camera; you’re buying a system. The cameras don’t matter in the long run. Your real investment over time will be in lenses. Buy the ‘for now’ camera, knowing that you’ll replace it every few years. Get the lenses that suit your work. Now that the world has shifted to mirrorless, you’ve no fear that your lenses will become obsolete. Even older DSLR lenses can be adapted to mirrorless, which could mean cheaper second prices. So think about your requirements. These could be things like weight, low light performance, focus speed, continuous focus, availability of long lenses..anything that ties to the work you want to shoot. 

Bonus tip: The kit lens is okay

Yep, it’s slower than a professional zoom lens, but it’s still fine for everyday use. Exhaust your use of it before spending more money. If you want another lens, consider getting a 50mm f/1.8, or the 35mm f/1.4 if you’re on an APS-C (crop) body. This gives you access to shallow depth of field. Third-party makers like Viltrox and Sigma make cheaper versions for the budget-conscious. 

Check out the best cameras for beginners

It's February 2020 and Nikon has just released its most powerful and best DSLR of its time, the Nikon D6 with a massive 20.8MP sensor, 14 frames-per-second, and 4K UHD that tops out at 30fps - it was 'revolutionary' in its day.

However, after four years and the mirrorless revolution has taken over the Nikon D6 is looking a bit long in the tooth when compared to our mirrorless flagship today, the Nikon Z9 - so why is the Nikon D6 still on sale at $6,496.95 - $1,000 more expensive than the Nikon Z9 at a 'reasonable' $5,496.95, it just doesn't make sense!

When looking at these figures, you have to remember that the Nikon D6 represented the pinnacle of the Nikon DSLR lineup (even though I stand by my opinion that the Nikon D850 is the best DSLR ever made), designed for unmatched speed, performance, reliability, and precision. 

Centered around a 20.8MP FX-format sensor and the Expeed 6 image processor, this camera excelled in both photography and videography. It boasted a then remarkable 14fps continuous shooting rate, a native ISO range from 100-102400, expandable up to ISO 328,000, and UHD 4K video recording at 30 fps. The D6's advanced high-density Multi-CAM 37K autofocus system featured 105 cross-type points for enhanced focusing precision and speed, offering at the time a 1.6x greater frame coverage to minimize the need for recomposing shots. This system also included the  17 customizable Group Area AF patterns, perfect for shooting in crowded or dynamic environments - or making the AF motor work a little quicker when selected between 9 and 21A|F-point in low light, a little tip for anyone out there still using one!

Built as Nikon's flagship DSLR in 2020 the D6 was and still is incredibly durable, I know many pro who still have one, just in case their Z9 fails - Its magnesium alloy body is extensively weather-sealed to protect against dust and moisture, while the reinforced shutter mechanism was rated for 400,000 cycles, but I've personally seen then with near to a million on the first shutter, so they really where built like tanks.

The camera featured a large pentaprism optical viewfinder with 0.72x magnification and a 3.2" 2.36m-dot touchscreen LCD on the back. The D6 also offers numerous user-friendly features incorporating several configurable function buttons and an integrated vertical grip, allowing comfortable operation in both horizontal and vertical orientations. 

This camera was tailored for professional use, providing comprehensive tools and connectivity options to meet the demands of fast-paced, high-stakes photography. 

But now, in 2024, with the Nikon Z9 offers a massive 45MP sensor, 8.3K60p N-RAW video or 8.3K30p internally, and an eye-watering 120fps high capture mode, or 20fps RAW. While also being able to shoot at 1/32,000 with advanced 3D tracking with 493-Phase-Detection AF point, the Nikon Z9 is now the true king for Nikon professional users, and at $1,000 / £1,700 / AU$1,000 cheaper!

Why the Nikon D6 is still on sale when compared to the Z9 I don't know, and I love DSLRs, but even I have to question Nikon's motives. Furthermore, as Ecommerce Editor of Digital Camera World, I can't remember the Nikon D6 EVER being on sale either...

The Nikon D6 as a second-hand purchase is a great buy, but brand new I just can't recommend it - especially $1,000 more than the Nikon Z9. How the mighty have fallen!

I was keen to buy the Nikon Z 9 to photograph bullets after seeing a Nikon advert of a biathlete with a rifle round visible leaving the muzzle of a match rifle taken by a Z 9 armed photographer. It was given in these pages as a reason the image showing the bullet seen near Trump was real.

I was not expecting the task to be the easiest that I had ever undertaken, but I had still underestimated the effort involved. 

5.56mm NATO ammunition has a muzzle velocity of around 900m/s.

Thus in 1/125 sec the rifle bullet travels around 7m – using the slowest shutter speed to get 120 frames in one second. In 1/250 sec the bullet travels around 3.5m

In 1/500 sec the bullet travels around 1.7m and so on up to 1/32000 sec where the bullet travels 0.026m.

It needs skill and planning, allied to a huge dollop of luck, to succeed.

I spent my first day on the range, with no real expectation of being able to get anything useful. I varied my distance from the shooters, using the NIKKOR Z 70-200mm f/2.8 VR S lens. I had the luxury of time and lots of ammunition, varying shutter speeds for each sequence, starting from 1/500th sec and going all the way to 1/32,000th sec. All shots were hand-held from a prone position.

I shot 20,922 images and things didn’t look too hopeful, but I was able to track back to the visible point of firing, the smoke exiting the muzzle – the bullet being long gone by then. By tracking back and keeping an eye on the firer’s trigger finger, I was able to distinguish images that exhibited what I was looking for and found that I had captured ten bullets. The most obviously ‘bullet looking’ images were taken at speeds faster than 1/10,000th sec.

More than a day...

On my second day, I was able to isolate the shooter against a neutral background, using the NIKKOR Z 24-70mm f/4 lens – because my proximity allowed for no other option. (Do check the guide to the best Nikon Z lenses.) 

I took 51,598 shots of 300 rifle rounds expended, obtaining 36 images of bullets. Most were taken at 1/32,000th sec. (That is about a 0.07% success rate.)

A longer lens is preferable if the situation allows, as photographing at right angles to the line of fire means that the bullet will always be in focus during its flight, with a shallow depth of field allowing the bullet to be seen more clearly.

I had assumed that the Norwegian biathlete on Nikon's example used a 7.62mm NATO round travelling at around 2,900m/s, but after one contacted me I discovered that they use .22in LR ammunition which ‘only’ has a muzzle velocity of 350-500m/s. So I had succeeded beyond my wildest dreams, managing to capture bullets in flight in 46 frames out of 71,922 frames taken.

Without a Nikon Z 9 I would have achieved nothing, but I can say no longer is a photo of a rifle firing defined only by showing the empty cartridge case ejecting.

Richard wrote this summary of his experience for DCW, but if you crave more detail you'll find it on his site.

The new Canon EOS R5 Mark II is causing a lot of excitement. In fact we've even seen it being called the "most pre-ordered camera," according to @canonrumorsguy. (We'd take that with a pinch of salt though – some companies manage their ordering processes differently – Fujifilm X100VI anyone?)

Still, if you're on the fence – or already sitting waiting for yours – Canon have released the manual so you can start exploring every tiny little detail of the operation already.

The Canon R5 Mark II manual can be viewed online here  (external link).

It feels like this could be very useful if you've still not decided if the R5 Mk II is the device for you as you will have the most granular detail you can imagine, though of course – like many camera manuals – there are some aspects of the notes which might feel a little unnecessary to the experienced (in Program mode, for example, AE, the tip is offered "If a slow shutter speed and low aperture value blink, the subject is too dark. Increase the ISO speed or use flash.")

There are more interesting bits to be found, like the detail that the eye-tracking could struggle to follow your eye if you're squinting. Indeed the manual is a great opportunity to learn about less familiar concepts in a very matter-of-fact way. (See the Using Eye Control page.)

If your camera is already in the metaphorical post, this is probably a double opportunity. Not only will you be able to make sure you're out of the gates as quickly as possible on day one, but it will arm you with the info you need before deciding what of the best memory cards and best Canon RF lenses you might want to consider.

Or, you can simply use the extra information to decide you 'might' cancel your pre-order like YouTuber Moving Matt (but then he was a Nikon guy anyway...).

Whatever your purpose, the detail is there and you can drill down.

Watch video: Super-tele zoom skills

Canon’s RF 200-800mm lens almost feels like a prototype by a mad scientist, yet thanks to hi-tech RF mounts and EOS R cameras with amazing AF and high ISO performance, Canon can make such lenses a reality. But there have to be compromises to make sure the lens isn’t super-enormous and super-expensive. This is why the RF 200-800mm lens has a variable maximum aperture that starts at a not-so-fast f/6.3 at the short end and goes to a not-fast-at-all f/9 at the longer end. 

These smaller apertures ensure this lens is a very manageable size and weight, which is impressive considering the huge focal length range. When retracted, it’s only 314mm long and it weighs just over 2kg. It’s relatively well priced, too, at $1,899 / £2299. It has a filter size of 95mm, the same as Sigma and Tamron’s 150-600mm lenses. 

To test out this super-telephoto zoom in the field, we went to our local bird of prey center. As you can see on the right, there’s a big difference between 200mm and zooming in at 600mm… 

1. Mighty telephoto zoom

The Canon RF 200-800mm F6.3-9 IS USM comes in the white L-series colour, but it’s not an L-series lens, so it doesn’t have full weather sealing. However, Canon says it’s “dust and moisture resistant”, so should withstand light rain and dusty conditions. 

2. Small & light for handheld 

The lens felt light and easy to shoot with handheld, with no arm ache while we shot for an hour. Camera shake is more noticeable with very long lenses; IS offers 5.5 stops, or 7.5 stops with cameras with IBIS. This helps avoid shake at 800mm.

3. Use with newer EOS cameras

We recommend you use one of the latest Canon EOS R mirrorless cameras with the RF 200-800mm lens, such as the full-frame EOS R5 or EOS R6 Mk II, as you will want the autofocus AI tech with Eye Detection for Animals for sharp shots of distant subjects.

4. When aperture decreases

Aperture decreases as you zoom in, so it’s f/6.3 at 200mm, but even at just 300mm, it drops to f/7.1, then drops again to f/8 at 500mm, and you’re stuck with f/9 at anything over 600mm, up to 800mm, when the narrowest aperture is f/51!

5. Shutter speed too slow

Narrow apertures = slower shutter speeds, so be prepared to push your ISO for faster shutter speeds with the RF 200-800mm. We shot at 1/500 sec, f/9, ISO1600 here, but this wasn’t fast enough to freeze this kestrel’s flapping wings as it hovered.

6. Exposures for wildlife

Even in daylight on an overcast day, we had to resort to shooting at ISO3200 at f/9 to get a high shutter speed of 1/1000 sec for the birds. The tawny owl was sitting fairly still, but the fast shutter speed was needed to freeze the feathers in the wind.

7. Not so sharp at 800mm

It was fun using the lens at 800mm, as we could zoom in on birds about 20 metres away, and use the EOS R5’s AF to lock on for a sharp shot. Or so we hoped. The lens offers the best image quality through its 200-600mm range, while between 700mm and 800mm, there is a noticeable drop in sharpness in the centre of the frame and overall image quality. So, you could say you have a very  sharp 200-600mm lens!

8. Distant backgrounds are best

If you saw this photo (above right), you might assume it’s shot at f/2.8 or f/4 with a 400mm lens. But this was shot at f/9 and 800mm on the RF 200-800mm. Usually, f/6.3 to f/9 aren’t the apertures you’d want for wildlife, as the super-long focal lengths decrease depth of field, even at these narrower apertures. But the trick is to shoot subjects positioned miles from greenery behind, so you can really blur backgrounds so they stand out from surroundings – like this tawny owl on a post, with the fields 50+ metres beyond.

Compare this to the photo of the owl above left, when it was nearer to the hedges, wooden fence and logs behind. This was shot at f/9 at 570mm, and while our owl subject is sharpest in the frame, the background isn’t sufficiently blurred, so remains distracting to the eye, and therefore the bird doesn’t stand out so well.

9. Crop a lot!

When shooting with the RF 200-800mm, we benefitted from the 45MP full-frame R5’s high resolution, which enables you to crop quite drastically and still be left with very usable sized images. RAW/Large JPEGs are 8192 x 5464 pixels, but even when we heavily cropped the shot to the image on the right, we still had an image that was 2938 x 3672 pixels in size. Big enough for an A4 print and all online use.

10. Use the 1.6x crop mode

Another benefit of the Canon R5 full-framer is the Cropping/aspect mode, found in the red shooting menu. Using the 1.6x option when at 600mm for sharper shots, we increased the effective focal length to 960mm. We spotted this little dunnock 10 metres away, and could capture a frame-filling shot, with the bird undisturbed as we were standing far away. 

See our guide to the best Canon RF lenses

With the arrival of the Z 6III, there are now no less than seven full-frame mirrorless Z-series cameras, giving buyers something of a bewildering choice. 

So what are the prime differences between them? Here's our quick and dirty guide, with a competitive guide to the best prices you can currently find on each of them…

Nikon Z 5 

The Nikon Z5 is the cheapest of the seven options. It lacks a top-panel display, has a pedestrian 4.5fps burst rate, and a slightly lower-res 24.3Mp sensor than the Z 6 II/III, while its rear LCD is only 1.04Mp rather than 2.1Mp. But it still has IBIS and card dual slots.

Nikon Z 6II

With a 14fps max burst speed and 200-shot buffer, the Z 6II is a much better choice for capturing action than the Z 5.  It’s a better video performer too, with uncropped 4K video, whereas the Z 5 has a 1.7x crop. 

Nikon Z f

The retro-look Z f may look like a classic film SLR from yesteryear, but inside it packs the latest tech including an EXPEED 7 processor, and better ISO, AF and subject tracking than the Z 6II.

Nikon Z 7II

It looks and feels like a Z 6II with double the number of megapixels, but the 45.7Mp Z 7II is not as good a low-light performer and has a slower 10fps burst rate. It has more AF points, at 493 rather than 273. 

Nikon Z 6III

Packing much of the tech of the Z 8 into a more compact body, its 24.5Mp partially stacked sensor enables it to shoot with an electronic shutter much of the time, and it has the best EVF of any Nikon camera. Headline specs are 120fps burst rate, 1/16,000 sec shutter speed and 8-stop IBIS.

Nikon Z 8 

With a fully stacked 45.7Mp sensor offering blistering readout speeds, the Z 8 does without a mechanical shutter entirely. It has many direct access controls, can shoot at up to 1/32,000 sec and has a 120fps burst rate. 

Nikon Z 9

Aside from the bigger body housing a higher-capacity battery and duplicated controls for easier vertical shooting, there’s very little specs or tech-wise between the significantly cheaper Z 8 and Z 9. 

Check out our guide to the best Nikon Z lenses

The Pentax Film Project has been in the works since 2022, inspired by the resurgence in the popularity of film, Pentax decided to once again start producing new film cameras. Instead of dragging some blueprints out of storage for one of its old legacy models (of which there are a lot of incredible entries), Pentax decided it was going to call on all its engineering history but develop something brand new to the market.

The first camera to come from this project is the Pentax 17. Maybe not what many photographers envisioned as the first model based on the iconic cameras Pentax is most renowned for, the Pentax 17 is a half-frame 35mm film camera with a rangefinder-style design. 

Although today this makes total sense. The resurgence of film can almost certainly be credited to social media, especially Instagram, where vertical half-frame images perfectly fit Instagram’s favored 4:5 vertical style. Film has also become breathtakingly expensive compared to its heyday, with a roll of 36 Portra 400 now costing anything from $25-50 each to buy, develop and scan. Half-frame at least stretches this to 72 frames, so half the frame, double the value.

But are film cameras coming back just as AI takes over editing? The new Pentax 17 comes just at the same time as AI editing is taking off, and with dozens if not hundreds of apps trying to convince you that iPhone photos can look like they were shot on a range of vintage film cameras. While right now, I think film still has an authentic edge that can’t be beaten, and iPhones can’t replicate the experience of shooting film, if costs keep spiraling and no one online can tell the difference, then how long will new film cameras last?

With a lot riding on its shoulders as the camera to usher in the new age of film, does the Pentax 17 rise to meet the challenge?

Pentax 17: Specifications

Pentax 17: Price

I keep going back and forth on the value of the Pentax 17. On the one hand, it takes damn good photos, but on the other, whenever I pick it up, neither the build nor features sell me that it is $500 worth of camera. Obviously, substantial development costs went into creating a brand new film camera, but when it is possible to get a digital camera like the Canon EOS R100 or a phone like the excellent Pixel 8a for less money, it is hard to feel fully satisfied with the price.

This isn’t the only production film camera in town though, you can pick up a new half-frame Kodak H35 film camera for a fraction of that cost (around $50), although the image quality from the Kodak lens isn’t nearly up to the Pentax, the Kodak certainly still takes charming retro images that'll look good on your Instagram. 

If you are willing to play the second-hand market then there are plenty of great condition cameras from the film era for under $100 like the ever-popular Olympus Trip 35 (at the time of writing there are 1,600+ matching listings on eBay).

There is a reliability risk with buying old camera gear, and while the new Pentax 17 is, in theory, more reliable and can be repaired by Pentax should you damage it – repairs cost money, and in the end, it might be cheaper to just buy multiple copies of your favorite second-hand cameras. I have bought three Canon AE-1 cameras over about 10 years – and only spent around $250.

Pentax 17: Design & Handling

Pentax has done an excellent job styling the 17. There must have been a real temptation to just recreate a beloved design from the past, but instead, Pentax has developed a camera that looks every bit like a classic from the film era, yet with its own distinct imprint. It looks great, and it is easy to see why it has captured so much buzz online. 

However, appearances can be deceiving. While the Pentax 17 might look the part, when you pick it up the feel is underwhelming. The whole design just feels quite toy-like. The magnesium-alloy material could easily be confused for silver-painted plastic (which it was by several people I showed it to). There are also a few choices I am not sold on like the faux-leather finish on the front not stretching around onto the back of the camera. Some of the mixed textures across the camera like the raised diamond pattern just feel cheap.

The thing is, I don't think the camera needed to be so light and plastic-y. The resurgence of vintage clunky and heavy film cameras has shown that people are happy to carry around what is maybe not the most practical camera if it looks and feels right. Pentax, if you're going to design a vintage camera – go all the way.

However, despite my reservations around the feel of the materials, the camera does feel robust. The wind lever has a nice solid clunk to it and the dials feel precise with a nice click, but the mode dial really needs a lock. I managed to turn it accidentally quite a few times, and I don’t think it came out of my bag once in the same position as it went in. 

The film loading process is incredibly easy and I didn’t have any issues – just pop the canister in the back, line up the end with the marker, and close the case. This is blessed relief from some of the horrendous film-loading designs I have endured over the years. It takes about 5-6 photos to get to the official beginning of the roll, but I found that I could squeeze in a few shots before the counter hit zero. While there is no film advance indicator, the wind mechanism will spin as you advance the film using the lever. 

You are also able to rewind the film manually mid-way through the roll if you need to change the film mid-way. There is no double exposure mode, but if you want to attempt some double exposures you can use the old trick of fooling the camera into thinking it has been wound on by popping the rewind button to disengage the wind as you crank the lever. 

Winding the film back in was smooth, with a clear difference in resistance once the film was off the spool which should reduce any premature openings (I've done this before on other cameras, and it's devastating).

The viewfinder is one of my favorite aspects of the Pentax 17 design. As this is a half-frame camera, the viewfinder is vertical when the camera is held horizontally, and you can turn the camera portrait to take landscape photos. Which surprisingly didn't take much getting used to.

The viewfinder is not particularly big, but it is clear and easy to compose through, with framing lines that seem to be very accurate (from my recollection of desired framing at the time vs the final image). You can also see which focus zone you are in which is really handy for not taking your eye from the viewfinder. The viewfinder also goes slightly beyond the frame, which is handy for watching for a subject to enter the frame.

Next to the viewfinder, there is a red and blue LED that flash when something is wrong, although since I wasn't carrying the manual around with me, I wasn't always sure what the issue was. Some are obvious like the lens cap is still on, or I hadn't wound the film. Although some of the warnings were about lighting conditions or being in a certain zone which weren't immediately clear. What if I was in poor lighting and in the close-up zone? It would be nice to get a little clearer feedback than just an incessant flashing.

Powering those LEDs is a CR2 lithium battery, which are very widely available and I don't think should be going anywhere anytime soon. There is a note in the specifications that rules out rechargeable versions of the CR2 (likely due to the different voltage), which is an environmental disappointment but you shouldn't be churning through these batteries. The battery also powers the light meter and the flash and Pentax thinks you should get through 10 rolls of film if you use flash 50% of the time. (Unfortunately, I did not manage to shoot 10 rolls, i.e. 720 photos, in the week I had the camera to test this).

Pentax 17: Performance

In practice, I think the Pentax 17 is more simplistic to use than I hoped when it was first announced. But whether this is a good or bad thing for you depends on your expectations for how you want your photographic experience. Sometimes I was glad to just be able to slip the camera into auto and let it do its thing, but more often, I wanted the option to do more with my settings.

Pentax has chosen to prioritize the type of photographer who is going to want the highest proportion of immaculate shots, which in the economy of film today is a smart move – film photography is expensive and no one wants to waste money on rolls where they didn't quite nail the settings. But because of this lack of freedom, I found the camera a little less fun to shoot with.

You can play with the exposure using the compensation dial, but I found with no feedback from the camera there is a lot of guesswork based on your own assumed center-weighted average about how much compensation to apply. I have a decent sense of when I should be applying compensation, but without vital settings information, I can't even employ a light meter to help me out. I tended to just leave the exposure compensation dial untouched for just applying small changes and letting the camera decide what was best.

The film ISO is also manual, which means you can set it to a different ISO from the box speed for alternate looks to your images. There are some options for slow shutter speed if you're carrying a tripod, or a 'Bokeh' more maxing the aperture (more on these in a sec). Otherwise, apart from choosing if you want to have the flash on or off, there isn't much else to do.

For others though, I am sure this ease of use will be the biggest selling point – as with minimal input, the Pentax 17 didn't fail to take consistently good shots. Out of the four rolls of film I took with the camera, it achieved the highest proportion of "keepers" I think I have ever had with any film camera. The ones that were missed were mostly down to my own dumb human errors (remember to check your focus zone everyone). 

I also didn't think I would be, but I am now a half-frame convert. Having only played around a little with half-frame before to not always the most ideal results, I was skeptical about Pentax going down this route, but the Pentax 17 has really won me over with its impressive results.

Scanning the images with one of the best film scanners (I used the Plustek OpticFilm 135i) gives plenty of resolution for display online or on social media, or even small prints. The below examples were scanned at 3600dpi, you can hit the icon in the corner to view them in full resolution. 

With the price of film and development continuing to climb, getting 72+ frames on a roll really makes a difference when you are shooting a lot of them.

I think the Pentax 17's half-frame success comes down to its lens. With its compressed appearance, and plastic-y design, it might not look like it's capable of much, but the lens is incredibly sharp. Although what did I expect when the lens is based on the Ricoh Auto Half and the Pentax Espio Mini lenses? The lens also has an HD coating for sharpness and an SP coating for easier cleaning, which are taken from Pentax's DSLR lenses.

The zone-focusing system is also a wonder. With having to eyeball estimate so many distances, I was absolutely certain that I would have missed quite a few, yet there is enough leeway in the focus zones that you really don't have to get it exactly right. The camera automatically adjusts the aperture for different focus zones, so it maximizes the depth of field possible in each zone while keeping things pin sharp.

Unsurprisingly as the Pentax 17 does so well at nailing the perfect exposure in good light, this also extends to the camera's flash modes. There is a separate area on the mode dial for the flash with two options. The regular P mode is for your everyday flash shooting – either utilizing the flash as a fill light on a backlit subject or shooting in low light. The flash isn't powerful enough to light much beyond a group picture, but for these shots and portraits, it does a decent job, although as the flash is direct and has no diffusion, the light takes on a harsh quality.

There is also a separate mode for forced long exposure with flash, this is slightly harder to get to grips with but is useful in situations where you might want to light a subject, but also create light trails or keep some of the ambient light in the background. Like with any long exposure, you're going to need to carry a sturdy tripod and have a static subject.

The Pentax 17 also includes a 'BOKEH' mode, which increases the aperture to the maximum permissible size to still expose the photo correctly. If you want to get technical, bokeh is actually the shape and quality of specular highlights, not depth of field, but I guess that didn't look as good on the dial. 

Despite the smaller half-frame size the Pentax 17 can achieve some pleasing results, although with a maximum aperture of f/3.5 and a focal length of 25mm (or 37mm in full frame), the camera isn't going to be creating any super creamy backgrounds. 

The bokeh mode also only really becomes effective the closer you get to a subject. I think it's best to think of this like an iPhone's portrait mode, and it is only really worth slipping into this mode once you move into the portrait zone of the lens' focus options.

The Pentax 17 also has a macro mode, although the word macro may not be the right word to use here. The camera can focus down to 0.24m in this mode, which is pretty close for flowers and insects, but it's not macro and not going to reproduce life-size detail as you would get from a true macro lens. A 25mm focal length would also not be my first choice, although it can create an interesting perspective. 

Due to the rangefinder design of the camera, the Pentax 17 has a parallax compensation frame in the viewfinder for lining up macro (and tabletop) shots which I found to be effective. From what I can recall, the framing matched perfectly with the final shot, and I managed to get a few close-up shots that were sharp and detailed. You can see in the image below that the camera managed to capture some bees feeding on a flower. 

Pentax 17: Sample Images

These images (as well as those above) were all shot with the Pentax 17 on a mix of color Kodak Ektar 100 and Kodak Portra 400, and black-and-white Ilford HP5 Plus film. 

Development was handled by my local lab. I then scanned the film using a Plustek OpticFilm 135i film scanner and VueScan software to create RAW.dng files – before converting the .dng scans using Negative Lab Pro.

You can, of course, get your lab to produce scans for you as well.

Pentax 17: Verdict

The Pentax 17 is a solid first entry into Pentax's film project, and despite any reservations I had with the camera, I am very excited to see film cameras being produced once again.

On one hand, I appreciate the simplicity of the Pentax 17. With minimal skill, the Pentax 17 delivers reliably good photos nearly without fail. The lens is exceptional in producing incredibly sharp images, the viewfinder is bright and makes it a breeze to line up shots, and the zone focusing feature pleasantly surprised me with its accuracy. The half-frame design also makes some efficient use of film rolls, stretching their capacity further as film and development become increasingly expensive.

However, I found the camera's simplistic nature to be a double-edged sword. It is clear that this camera is designed to cater to a social media-savvy audience, with its straightforward approach being a deliberate choice to appeal to those who will prioritize the camera for its film aesthetic over its technical photography abilities. Yet because of this, I didn't find the point-and-shoot photography experience all that fun, and I found myself yearning for more manual controls.

When it comes to the price tag, the build quality is just underwhelming for what it costs. The plastic-y toyish feel of the camera body did not align with my expectations based on the exceptional design of the camera, and while as a fashion accessory, the design is an absolute classic, it doesn’t feel like good value.

Alternatives

Despite the fact that the Automat looks and sounds like something from the Communist-era Soviet Union, Lomography has replaced the camera’s Cold War aesthetic in favor of a dead painter from a hundred years ago. That means the Gustav Klimt special editions come wrapped in the visually attractive signature artwork of the Viennese Secession movement painter. This is the Gold Leaf version, complete with gold logos. Whether that makes it any more fun is for you to decide, but it certainly livens up what is a very square and boxy format. 

This is, of course, an instant camera, which means you slot Fujifilm Instax Mini cartridges in the back and tiny, self-developing prints emerge out the side, with an accompanying squeak and a rumble of the infernal internal mechanism. The box it comes in is attractively designed and has all the accessories you could ever want, from three lens attachments (close-up, wide angle, fish eye) to useful things like a remote control and a creative option with a rotating lens blocker for crazy multiple exposures. Even the manual comes in the form of handy and colorful tip cards. It’s an entire ecosystem in a box. 

Lomo’Instant Automat Gold Leaf: Specification

Lomo’Instant Automat Gold Leaf: Price

You can get Instax Mini cameras for $80 / £70 / AU$99, so for $200 / £179 / AU$270 this could be considered fairly pricey, but it does come with a range of lenses and extras.

Lomo’Instant Automat Gold Leaf: Build and handling

It’s built like an East German block of flats so it isn’t ergonomic by any means, but at least the fire button is well placed. Turning it on and off is a little bizarre though - you turn the focussing distance ring on the lens to your preferred setting of 0.6m, 1-2m or Infinite. To turn it off requires holding down a button on the other side of the lens and rotating it back to the off position again. Of course, actually judging focus distances when you come to take photos is pretty hit and miss anyway. 

Going back to the start though, loading the Instax Mini film is very straightforward, just open the back, slot it in, turn the camera on and take an initial photo to eject a dummy first frame. Then you’re ready to go. It works with automatic exposure, so there’s not too much brainpower required, but if the photos are overexposed, which happens with any kind of bright sky, then a trip to the controls on the back is required. These are tiny and crammed in, like the typical proletariat family in the aforementioned East German housing development. There’s a button to turn the flash on and off, one for the multiple exposure function, plus and minus 1 EV exposure compensation, and then a button that toggles between Auto exposure and Bulb (30 seconds).

It’s slightly surreal to find a screw thread for a tripod mount on the base, but consider this something for group selfies out in the open - in combination with the remote control shutter release.

The three additional lens attachments are fairly easy to screw on and off but the effect they have can really only be guessed at as the view through the viewfinder remains the same regardless. In a nod to modern sensibilities, the fire button itself is shiny chrome, making it useful for composing the shot for selfies.

Finally, each Instax Mini cartridge offers 10 prints so there is a series of small LEDs down the side corresponding to the number of shots still left. This is very handy so you don’t lose track of how many shots you have left.

Lomo’Instant Automat Gold Leaf: Performance

Once you get past the arcane method of turning the camera on, then judging the photo distance - anything past 2m is in the Infinite range, then it’s simple and fun to find something to photograph and shoot. With only 10 shots per film it’s easy to run out though, so it pays to be a little more prudent than shooting digitally. A twin pack of 10 prints cost around £15, which works out at 75p per developed print. They are small - the overall print is 54x85mm with an image area of 46x62mm, but this does mean you can build up collections of images in a compact book.

Now, the apertures the camera uses are f/8 and f/22, might have been a recipe for camera shake, but the Instax Mini film is rated at ISO 800 so that helps enormously. The narrower than expected apertures also mean that there’s more depth of field so once you get further than 2m away from the camera, there’s little chance of anything being out of focus. Closer than that, however, and it can be hit and miss, though the little icons on the lens of a single person (0.3m) and two people (1-2m) are handy prompts. The main issue with the prints is not camera shake, but over exposure. On a day with a bright, white sky the photos look like someone poured bleach over them. In those cases, definitely use the -1EV exposure compensation.

The default lens focal length of 60mm means it’s set up for portraits more than anything, so if you want to photograph scenery or a building then the wide angle converter is required, but it’s a case that it’s wider than the default lens than actually being a wide angle. The fish eye lens does give a round, fish eye view, but this crops into what is already a small print. Then there’s the close up lens, which makes things a bit closer, but don’t think it’s a macro lens because, obviously, it isn’t. 

Lomo’Instant Automat Gold Leaf: Verdict

If you have managed to get your shot in focus, not overexposed and the like, then the results are retro and quirky, which is really the market for this kind of thing. It’s fun to be able to see the prints pop out and develop fairly quickly, making them ideal for scrapbooking and the like. 

Alternatives

Want a different flavour of Lomography, then have a look at these Lomo cameras. Alternatively, check out this Instax Mini option. If, though, you just want some film-based nostalgia, see what our writer thought of the movie Kodachrome.

Canon's two new professional cameras, the Canon EOS R1 and Canon EOS R5 Mark II, possess an incredible technology that enables you to move your focus point simply by moving your eyeball. 

Yes, when you look around the viewfinder, the cameras will follow your gaze and place your focus point on whatever you're looking at. This amazing tech is called Eye Control AF, and I know it sounds like a gimmick but it really isn't. 

Lots of photographers swear by back button focus, and just can't imagine going back to the crudeness of half-pressing the shutter button. Well, once you've started using Eye Control AF, it's the same thing – it's really hard to go back to a camera that doesn't have it! Take a look at this video to get an idea of how it works:

This tech isn't new to the R1 and R5 Mark II; it actually debuted on the Canon EOS R3 (though it's significantly improved in the newer cameras). Going back even further, the original version of this wizardry debuted in 1992 on the Canon EOS A2E (known as the EOS 5 in some territories) when it was called Eye Controlled Focus.

It's based on measuring corneal reflection, but back then the system was pretty hit or miss – particularly if you wore glasses. With just one infrared LED to create measurements, many users found that it wasn't good enough to select an autofocus point – even though the camera only had five total AF points. Today, though, the system harnesses Canon's bleeding-edge technology to make it work almost seamlessly. 

The modern electronic viewfinder is outfitted with eight infrared LEDs (including dedicated units for monitoring eyeglasses), all emitting light at different directions and frequencies. The reflected light is measured by an eye-focus sensor that creates a retinal scan, mapped to the image in the finder, and high-speed computation calculates where your eye is looking.

Of course, with every human eye and face being unique, the system is entirely reliant on calibration – in fact, multiple calibrations are required, including recalibration when there's a change in scene (such as going from indoors to outdoors) as this completely changes the light being measured.

Calibration doesn't take long; it's just a matter of looking at dots in different positions in the viewfinder so that the system can start tracking your eye. And this is why not everyone gets great results, as some people only calibrate the system once (if at all) and expect it to work immediately. But come on – you can't do one test at the optician and expect your glasses to work properly! 

In case you can't tell, I'm a big fan of the technology – and have been, ever since using it in the R3. It's a different way of working, for sure, and we photographers can be pretty stuck in our ways and dismissive of crazy new things. But trust me, do yourself a favor and give it a try if you have the chance – you might just fall in love with it like I did. 

You might be interested in more of the best professional cameras, and particularly the best cameras for sports photography – along with some of the best lenses for sports photography. 

The image sensor of a mirrorless camera provides a live feed to allow composition, focus, and exposure to happen before the shutter is released. This necessitates the sensor to be uncovered much of the time, so how does the shutter work? There are three different shutter modes found in mirrorless cameras: electronic first curtain, electronic, and mechanical. The majority of models are factory-configured to use electronic first curtain mode. The EOS R3, with a special back-side illuminated high-speed sensor, employs an electronic shutter as its default.  

With electronic first curtain shutter, the exposure time is started by electronically switching on the sensor readout and ended by the physical closure of the second shutter curtain. This minimizes the lag between shutter press and the start of the exposure. However it does result in slightly less attractive bokeh when shooting wide open with fast aperture lenses. 

Electronic shutter mode completely bypasses the use of a traditional shutter mechanism with both the start and the end of the exposure determined electronically by switching the sensor on and off. It allows the fastest continuous shooting speed and there is no sound from the shutter making it quieter. With the exception of the EOS R3, flash photography is not possible but faster shutter speeds are available for action-stopping results. Some cameras feature a silent shooting function that not only switches off the camera beeps and noises but also selects electronic shutter mode.

In the viewfinder you see a white frame flashing around the edge of the image as photos are captured. Some moving subjects may be rendered with a slight amount of distortion due to the different timing of the start and end of the exposure. Some, but not all, cameras also provide mechanical shutter mode, this uses two shutter curtains, one at the start of the shot and another to end the shot, just like a DSLR. However since the first curtain is already out of the way it needs to be returned, covering the sensor, then opened to start the exposure. This extends the lag between shutter press and the photo being captured. Also the flash sync speed is reduced by 1/3-stop compared to first curtain electronic mode.

If this article was of interest you might also like to find out more about the best Canon cameras, along with the best Canon DSLR lenses or best Canon RF lenses for mirrorless bodies.