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.

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. 

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 am fascinated by the power of volcanic eruptions, and capturing them in a photograph is a dream come true. That’s why I frequently hike around volcanoes in Guatemala. In fact, my fascination with volcanic eruptions inspired me to start running photography workshops and private tours to see them. I want more people to experience the Earth in all its fierce glory, and helping them to capture that perfect shot motivates me to do my best. I want them to return home with incredible photos and memories from a real adventure.

“In this shot, my goal was to capture the aftermath of a volcanic explosion, with the cone of the volcano covered in the molten rocks that have just come out of the crater. To avoid a trial on the rocks rolling down the mountain, I wanted to freeze them in the photo so I used a short exposure of three seconds.

It’s always a challenge to stay awake throughout the night while being exposed to the elements. For this capture, I was shooting from another volcano at a distance of 2km away from the Volcan de Fuego – the most active volcano in Latin America. The altitude and the cold weather are always a challenge, but the excitement of seeing the volcano erupting in the distance is a great reason to get out of the cabin.

I didn’t have to do too much editing to this image in post-processing. I only added some contrast, increased the colors slightly, and decreased the highlights close to the crater.

Tech details

Camera: Nikon Z 6
Lens: Nikkor Z 70-200mm f/2.8 VR S 
Aperture: f/3.2
Shutter speed:  3 sec
ISO: 800

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.

"I love capturing action shots of wildlife subjects, especially birds, with end-to-end details in the frame. I believe this is the most difficult kind of photography, given that to produce such frames, you need to be in supreme control over your gear, its capabilities, and the settings. But I love the challenge," explains Anoop Raghavan Manikkoth. 

I had the pleasure of interviewing him about his work and analyzing his image 'Toss in the meadows'.  We discussed the techniques he used to capture the photo and why it works.. 

1. Detailed insights

"Blue-cheeked bee-eaters are migratory to this part of the world (Bhigwan, Maharashtra, India). Flying quickly in indefinite patterns, they swoop down and snatch their prey, then the bird comes back to the perch and tosses the prey before gulping it down," Anoop says. Recording parts of this process offered exhilarating challenges. "It was difficult to focus on the bird since it was perched among the flowers," he says. "Also, I had to increase the shutter speed to 1/3200sec to make sure I froze the action properly."

2. Shallow depth of field

Anoop captured the scene with a wide aperture of f/4, creating a shallow depth of field where the focus area is minimized. Consequently, both the background and foreground elements aren’t in sharp focus. "While I made sure to get crisp details on the subjects, the rest of the elements are blurred," Anoop says. "This way, the attention on the subjects remains intact but the feast of colours adds elements without being distracting within the composition."

3. Foreground interest

Moving away from the usual eye-level perspective is popular in various genres – not just wildlife, but also landscape, architecture, and action photography. "In my opinion, shooting from a lower perspective brings out the best in many frames. This perspective conveys the scene directly to the viewers," Anoop says. By going low, Anoop has created a strong relationship between the subject and the viewer. However, this angle also naturally adds a foreground element to the composition, creating further depth and interest. "The vibrant colors of the flowers are enhanced while the viewer gets the feeling of being in the meadow themselves," he adds.

4. Harmonious colors

"These flowers blossom for a month after the monsoon in this part of the world," Anoop says. "It’s mesmerizing to see the blooming Bhigwan grassland." The patches of tiny purple flowers not only add interest to the composition but also bring in a patch of color without overloading the frame. "I captured the bird tossing the insect while it was perched on a branch in the meadow. That meant I could include these vibrant colors with lots of contrast," he adds. To achieve this, he increased
the saturation levels in post-processing.

Tech details

Camera: Sony A1

Lens: Sony FE 600mm f/4 GM OSS

Aperture: f/4

Shutter speed: 1/3200 sec 

ISO: 800

Others photos in the Why Shots Work series

• Urban street photographer reveals his candid capture secrets
• Photographer tells story of getting up close and personal with a python
• Discover four key elements that make this stunning photo a success
• The 4 photographic decisions that take this motorsport shot to the next level
• Photographer tells story of his amazing shot of wallabies fighting on the beach

UPDATE: The latest firmware for the Sony FX30, adding long-awaited features such as shutter angle control, is now available for download once again.

Sony suspended the update last month, following fears that the day-and-date update for the Sony A7R V could brick cameras. (That update has also been un-suspended.)

"We suspended the Ver. 6.00 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. 6.00, you may continue using it without issue."

The new firmware update can be downloaded here, though I would definitely advise waiting a while in case other issues arise with it.

…

UPDATE (Sep 16 2024): Just days after its release, Sony has suspended the new firmware for the Sony FX30. 

The new update added a host of features, including the eagerly anticipated addition of shutter angle control, to the cameras. However, after the day-and-date firmware update for the Sony A7R V was found to brick some cameras, the manufacturer decided to pull the FX30 update as well.

"An issue requiring investigation was found in the ILCE-7RM5 software released on the same day," states Sony in an Important Notice on its FX30 support page. "Just to be safe, we have also temporarily suspended distribution of this software."

As of now, the Sony FX3 update – which added the same features (listed below) as the FX30 firmware – is still available. However, I would strongly advise against installing it to your camera.

As noted in my report on the A7R V situation, this is another black eye for Sony in terms of quality control for its firmware. Not only did it have to suspend its Sony A1 update back in March, but a highly publicized instance of another firmware update bricking an FX30 began circulating last month, after Sony advised an owner that he would need to pay $700 to fix his camera after the update stopped it working.

ORIGINAL STORY (Sep 14 2024): One of the most requested features (among an avalanche of others) has finally come to the Sony FX3 and FX30 in the latest firmware update for each camera: shutter angle. 

If you're reading this article, you probably already know what shutter angle is. In short, it's a way to describe and set the shutter speed relative to the frame-rate – enabling you, for example, to adjust your frame-rate to shoot in slow-motion, without having to manually adjust the shutter speed accordingly (following the practice of doubling the frames to calculate the shutter). 

While this is by far the headline feature, the new firmware – Ver 6.00 for the FX3 and Ver 5.00 for the FX30 – contains a slew of other upgrades and improvements that every FX user will want. Here's Sony's firmware notes:

Firmware update Ver. 6.00

• Allows you to choose the exposure time (from either shutter speed or shutter angle) when shooting movies

• Allows you to add OK/NG/KEEP flags to clips during or after movie recording

• Improves the image quality when using 3D LUT software

• Updates the name of the color mode Pro in the Picture Profile to 709tone

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

• 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

• Adds support for the Network Streaming function
 ° Settings must be adjusted in the Creators' App in advance
 ° Confirmation has been made that input is possible in M2 Live using SRT
 ° M2 Live is an All-in-One cloud switcher service that allows real-time switching of video and audio, overlaying of graphics, and playback of video files on the cloud
 ° A contract is required to use M2 Live. This service may not be available in some countries or regions.

• Supports the following Monitor & Control app functions
 ° Ver. 2.1.0 or later of the Monitor & Control app is necessary
 ° Wired connection via a USB cable
 ° Clip review during camera playback mode
 ° Focus map display
 ° IRIS operation bar display
 ° Selection from shutter speed or shutter angle for exposure time
 ° Improves the functionality and operational stability of the camera

To download the latest firmware for each camera, along with instructions on how to install it (as well as important information to be aware of before you do – particularly for the FX30, which has two update paths), visit the Sony support page for the FX3 and for the FX30.

You might be interested in the best Sony cameras, along with the best cinema 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

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.

In a world first, NASA astronaut Matthew Dominick recently gave an interview from the cupola on the International Space Station.

In the conversation with Rachel Feltman, host of Scientific American podcast, Dominick spoke about his favorite photographs, life in space, and what it feels like to not walk since March. 

Explaining that his father was a photographer and a journalist, and also ran a motion picture unit for the United States Air Force, in the months that he’s been up in space, he’s wanted to capture all the incredible things he’s seen. 

Understandably, Dominick says the lighting is one of the hardest parts of taking photographs in space. 

“Lighting is really a challenge but then you're also lucky. You know in photography they talk about the golden hour or right there at sunrise or sunset folks like to take a lot of pictures at those times, the lighting is just incredible. We're lucky to get 16 of those a day. We're going 17,500mph making a lap around the Earth every 90 minutes so, if I don't get the lighting right or the setup right on a pass, I can wait 90 minutes and I'll get a chance to do it again.”

Another challenge of photography in space is having to shoot through windows.

“You have to manage a lot of odd reflections and so we have things like shrouds that we put up around the cameras to kind of block out interior lights from reflections shooting through the glass can be can be troublesome. You have to shoot really fast shutter speeds sometimes just because we're going so fast.

“Folks who do astrophotography on Earth might be able to expose 10, 15 seconds without seeing star trails depending on what lenses they're using up here you know I was taking pictures the other day in a half second exposure I was seeing streaks in city lights so it presents some unique challenges but we have we have great instructors that teach us how to do it and it's a lot of fun.”

Due to strict rules about how much weight can be taken onboard the space station, the astronauts had to make some pretty tough decisions about what kit to take.

“We have these big full-frame mirrorless cameras, this is an 85mm lens, super fast lens 1.4 for the focal length that's super fun. We have cameras that are great for taking pictures of Earth during the daytime. This is a 50 to 500 zoom lens, love using this guy for daytime photography, super versatile. We got a new lens and so I've been posting a lot of images online with this lens. It's a 15 mm lens that's super fast. It doesn't use f- stops but it's about an f1.2 or 4 and it's a t 1.8.

“I love this thing, this has yielded so many incredible photographs. So lots of great equipment up here and lots of practice and luckily it's not analogue anymore so you could shoot a lot and not feel too bad about wasting film.”

Some of Dominick’s favorite photographs are the candid ones he takes of his crewmates. Outside the space station, Dominick has taken pictures of the river Nile, lightning over Africa, and meteors.

As his mission comes to an end, Dominick said he would miss all the gear.

“I'm going to miss having all of these cameras in my fingertips. It's amazing I've got five or six cameras in my fingertips I can choose from.

“I just want to share what we see. I feel this immense obligation to share what we're seeing up here in space. I'm super lucky to be here.”

Take a look at our guide to the best cameras for astrophotography, and the best star tracker mounts for astrophotography. 

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!

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.

Moving to the Netherlands 12 years ago, I fell in love with the much-overlooked landscape opportunities that the country had to offer. One of which is the contrast of the woodlands and trees among an otherwise-flat and open landscape. When I started exploring the idea, I felt that these images displayed an unseen beauty on my doorstep. 

I loved the idea of bringing intentional camera movement (ICM) images together as multiple exposures, and will be exhibiting these images in the Light & Land on the Mall exhibition. The idea was to create images of complexity and beauty that ask the viewer to step up close and question what they were seeing. I also wanted to push the boundary between photography and art. 

Every image has been made within 10km of where I live. I’m not far from a national park, and even the road outside my house is featured. I embraced the opportunity to explore close to home, and to show that, with a little imagination, you don’t have to  travel the world to find inspiration.

The images of this series were created over the period of about a year. A lot of the base images of ICM woodlands were made in the autumn because of the colours, but the textural images that I added were made over the whole year. I found that in the winter season, trees and grass take on a skeletal appearance, and I loved being able to merge these elements.

My initial project idea was one of pure ICM single-shot images. But I started a second project simultaneously, creating multiple exposures of natural elements, and thought how rewarding and fun it would be if I could intertwine the two. The project developed after about five images, sharing the following elements that helped the set work together cohesively: square crop, blue and gold tones, multiple exposures, ICM, tree structures, natural textures, and bringing a complexity to the base images.

Although I am now the proud owner of a Nikon Z 6II, these were made on my trusty D750 DSLR. I used my 24-70mm and 70-200mm f/2.8 lenses. For longer shutter speeds with the ICM images, I used my NiSi  6-stop neutral density filter. I work handheld to have as much freedom with camera movements as possible.

My first ever DSLR, 18 years ago, was a Nikon D40, since then I’ve worked through the range. I love the slightly smaller pro-level cameras because I am not that big, and, when I am moving the camera around, I like to feel a balanced body in my hands. I tend to work mostly with my 70-200mm because I love the way I can find compositions in the chaotic woodlands, calling on my 24-70mm for shots that encompass a wider view.

I let my creativity and imagination run wild. I loved the quite experimental process that felt like I was learning and exploring my photographic boundaries. I also loved that I made them almost on my doorstep. One that I shot about 20 metres from my house meant so much to me that it is hung at 1.5x1.5m in my living room – it’s considered a unique piece of art by my husband!

Light & Land on the Mall exhibition

Charlotte’s work will be among that of over 70 photographers at the Light & Land on the Mall exhibition, at the Mall Galleries, London, 3-7 September, with free entry.  

Light & Land's 30th anniversary show celebrates the best in outdoor photography 

ISO or ASA, depending from what era you started your photography journey, has long been the topic of discussion of many photographers at events. First it was "What speed emulsion are you using?" in the film days, and now "How high have you set your ISO?" in the digital era.

As a pro sports photographer for many years, I have heard this conversation over and over again from those just starting up to the most professional photographers in the game – in fact, it's a kind of 'icebreaker' pitch-side between everyone, much like when you ask someone about the weather before you ask the question you really want to ask.

I've never gone over ISO 2,500 in my whole professional camera spanning two decades. So my serious question is: "Why do we or camera manufacturers obsess over high ISO performance in cameras?"

The available light is the same today as it was when some of the masters of photography were shooting at ASA 8 film, so what's the fixation?

I remember many photographers shooting Ilford's Delta 3,200 – a film stock with an ISO equivariant of 3,200 today – indeed I have seen many photographers shoot this ISO and much higher in 'dark' but all I ever saw was a load of grain or noise in images.

When the Nikon D3S came out I remember one photographer rating its performance at ISO 10,000. Yes, there was a picture at the back of his camera and I nodded politely, but in all honesty, all I saw was pixels, no structure or form.

Some of the best mirrorless cameras today often have a native ISO range of up to 102,400 – or in the case of the Nikon Z9 and others an expandable one up to a massive 204,800. Higher in some cases. And, while I will agree that being able to get a 'picture' when you could not before is remarkable – you're only going to be using it at 72 DPI in the newspaper, because it will look terrible on anything other than newsprint. Magazines are out of the question – trust me, I used to be a printer in another life.

So if these images are terrible, why do most revert to whacking up the ISO in their cameras when the sun goes in or when shooting under floodlights? 

I remember being in Austria for a CSI**** equestrian event. It was at night and indoors. At the time I was using a Nikon D2H – a 4-megapixel, camera with a max ISO of 1,600 (and, trust me, you never pushed it that far!)

Myself, and my colleagues all got great images. Why? I believe it's because we all used fast lenses and camera techniques to allow us to shoot a shutter speed well below the 'recommended' advice.

Early on in my career is preferred fast prime lenses and often used them in tandem with a special Nkon 200mm prime with an aperture of f/2 which produces stunning images in the darkest of places stopped down to f/2.2 or f/2.8, and I also used a massive Nikon 600mm f/4 – not once going over ISO 2,500 – and that's only if I really needed too which wasn't very often.

Today as photographers we are spoilt with IBIS and VR/IS (which I never used). Back in the day we used a beanbag to support a show shutter speed shot, we had breathing techniques, using our brains to stay as 'still' as possible. Heck, I even remember supporting my Nikon 200mm f/2 between two big advertising banners to hold it steady while shooting at shutter speeds of 1/100sec.

Even in my much-loved Nikon D800, when that was brand new (some time ago now), ISO 2,500 was the max I was comfortable with. To me ISO 3,200 just looked like a total mess, and all these new cameras supporting ISO 50,000 within their native ISO range are mind-blowing to me – because I will never use it!

Maybe I'm extremely old-fashioned, but how I look at it is this: the old masters of photography were shooting film anywhere between ISO 100 to 800 – so why can't I, I don't need a massive ISO to help capture the image, I need a better understanding of camera craft.

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.

‘Good things come to those who wait’ might be a familiar saying among wildlife photographers – in this genre, patience is a virtue, as Alex Ditch knows. “Capturing a Kingfisher was always on my bucket list,” he says. “But the first time I headed out to photograph the species, it only appeared for a brief few seconds.” However, Alex didn’t give up and another visit to the same site a couple of months later proved to be far more rewarding. Kingfishers can reach speeds of up to 40kph (25mph), so they are challenging subjects to capture. “With these beautiful birds, you need a bit of luck on your side,” Alex says. “But thankfully, the weather conditions that day were ideal for capturing a Kingfisher.” 

Alex follows the philosophy that everything is possible. Despite being affected by Bardet-Beidl syndrome, a genetic condition that impacts multiple body systems and causes him severe visual impairment, he hasn’t let it stop him from pursuing his passion for photography. “At first, I didn’t think it would be possible so I put the idea on hold. But my interest in photography never stopped and I really wanted to do it, so I gave it a go. That was the starting point of my journey,” he says. 

Alex’s story of overcoming obstacles and facing challenges in pursuit of his dreams has already inspired others. “Just because you have a disability, don’t let it stop you from doing what you love,” he explained to viewers of one episode of the BBC’s Winterwatch program. “That was an amazing experience and I am proud to have been a part of the series,” says Alex.

Tech details

Camera: Nikon Z7
Lens: Nikkor Z 100-400mm f/4-5.6 VR S
Aperture: f/6.3
Shutter speed: 1/4000 sec
ISO: 1600

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.

If you have a love for the outdoors, exploring the wilderness and getting out with your camera all whilst bolstering both your physical and mental health then landscapes photography is pretty tough to beat!

From rolling hills to historic landmarks, there's brilliant scenery everywhere you point your camera and there's never two pictures that look exactly the same with changeable weather delivering glorious sunshine at sunset or stormy skies for moody black and white images. It's not quite a simple as heading out to a brilliant location with your camera though...

• To shoot amazing outdoor nature shots of your own, check out the best lenses for landscapes

Reader of PhotoPlus: The Canon Magazine, Gary Kimber suffered a heart attack 10 years ago, resulting in a triple bypass surgery. He's now semi-retired, and loves to get out shooting with his camera in his spare time. His passion is motorsports photography, but he’d love to take more landscapes if he was a little more confident with camera settings for outdoor scenes. He’s written to us asking for help understanding Manual mode and how to use filters for better landscape photos.

So we paired him with landscape pro Jack Lodge to chase the light around the fabulous Isle of Purbeck down in Dorset and take some incredible landscapes. Here's Jack's top tips from their workshop together.

1. Aperture priority (Av) mode

Gary is used to using the Shutter Priority, or Tv (Time Value) mode on his Canon as it allows him to set the shutter speed for the right amount of blur when photographing motorsports. Jack explained that Aperture Priority, or Manual mode, would be preferable for landscapes because it’s more important to set the aperture to determine how much of the scene is in sharp focus to adjust the depth of field accordingly.

2. Use the histogram

Gary had never used the histogram on his camera before so Jack was keen to show him how it works. He activated it in the Live View on his Canon EOS 5D Mark IV by pressing the Info button a few times to bring it up and explained that it’s a basically a graph that shows your full range of tones, from deep blacks on the left to bright highlights on the right. For a well-exposed scene you don’t want to see any tones in the graph bunched up to one side, as this would indicate your images will come out overexposed, or underexposed.

3. Photo apps

The right light and weather are essential for good landscape photos, so Jack is constantly monitoring them with apps on his smartphone: The Photographer’s Ephemeris app enables you drop a pin on a map to visualize where the light will be hitting your scene at different times throughout the day, and is invaluable for planning sunrise and sunsets. Ventusky is a weather app that helps Jack clearly visualize the low, medium and high cloud at scenes throughout the day, so he can plan ahead.

4. 'Red ring' lenses

Jack is a pro landscape and nature photographer working with clients such as Canon, Fotospeed and Kase, as well as selling his prints online, so he needs to ensure his images are professional quality and razor sharp. He uses Canon’s pro L-series RF mount lenses for his EOS R5, including the Canon RF 24-105mm F4L IS USM and Canon RF 15-35mm F2.8L IS USM lenses, and the Canon EF 100-400mm F/4.5-5.6 IS II USM  (with an EF-EOS R adaptor) for wildlife or when he needs to zoom in on details in a landscape scene.

5. Remote shooting

Bulb mode is commonly used in landscapes to shoot exposures longer than the standard 30 secs, which is the maximum shutter speed in Av/Tv and Manual modes. Bulb lets you to set a custom exposure time by holding the shutter button down, when you release your finger the exposure will finish, but touching the camera would cause camera shake, so Jack uses a Canon BR-E1 shutter release to trigger his remotely. 

6. Catch big waves

Jack suggested Gary zoom in with his long Canon EF 100-400mm f/4.5-5.6L IS USM telephoto lens to pick out details of the waves crashing and choppy seas in the high winds. To achieve this abstract shot of the waves, Gary pushed his ISO up to 800 for a shutter speed of 1/1250 sec – fast enough to eliminate camera shake and freeze the waves in place. He also turned on Image Stabilization to steady his handheld shots and used his continuous drive mode to rattle off a burst of images and increase his chances of catching the perfect wave patterns.

7. Professional tripod

Jack uses a Kingjoy C86XT tripod which is a professional carbon fiber tripod capable of handling up to 30kg of equipment, while weighing itself just 2.4kg, and can be extended up to two meters! Its spiked feet help dig it into soft ground to help anchor it, and he’s fitted it with an Acratech GXP head, which is a clever ball head capable of functioning like a ball, gimbal, and leveling panoramic head all at the same time. It’s lightweight and rugged so is well suited to the great outdoors.

8. Circular Polarizing (CPL) filter

A circular polarizer deserves a place in every budding  Canon landscape photographer’s kit bag. While Jack’s Kase polarizer is circular in shape, they’re called circular due to the pattern which is etched into their glass which cuts out polarized light. Doing so has all sorts of applications for landscape photography, from reducing haze to removing reflections in water and boosting blue skies to enabling longer shutter speeds. Here, it removes glare on the forest foliage which helps the greens to ‘pop’ out.

9. Magnetic filters

Jack is part of Kase Filter’s Affiliate Program and has a whole range of Kase Revolution magnetic filters which easily snap into position and allows filters to be stacked. This suits Jack’s shooting style as he often needs to set up quickly to catch the best light, fleeting mist or fading rainbows before they disappear. He prefers to use ND filters instead of graduated NDs, as they take up too much space in his bag.

10. Rule of thirds

The rule of thirds is an age-old compositional technique where you divide your scene up into nine equal boxes and then place the horizon on one of the lines, or a position your focal point so it sits on one of the intersections and this can help bolster the impact of your compositions. Go into your Canon’s menu and change the Grid Display to 3x3 to see the rule of thirds grid overlaid on your scene when working with Live View.

If you're really into landscape photography, you'll want to check out the best lenses for landscapes. Jack uses a Canon EOS R5. To see more from his stunning portfolio be sure to check out his website.

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. 

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.

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.

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.

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. 

The new partially stacked image sensor in the Nikon Z6 III gives a big performance boost, compared with the conventional sensor in the previous generation Nikon Z 6II camera. The faster data readout speed brings headline attractions that include blistering burst rates of up to 120fps in DX crop mode (60fps full-frame) and a super-fast 1/16,000th maximum shutter speed when using the fully electronic shutter option. You can also say goodbye to the dreaded ‘rolling shutter’ effect that distorts moving objects when shooting both stills and video. What’s not to love? Surely, it has to be one of the best Nikon cameras.

Well, lab test results seem to suggest that although the new image sensor is ‘faster’ than that of the older Z 6II camera, it lags behind in terms of dynamic range and signal-to-noise ratio. The drop in dynamic range rings alarm bells for blown highlights and a loss of detail in dark shadows, while diminished signal-to-noise performance suggests that images captured at very high ISO settings will look noisier, probably with a lack of fine detail and texture.

Let’s just hang on a minute though. The performance of a camera, even under lab test conditions, isn’t just about its image sensor. The image processor is the ‘brains’ of any digital camera and has arguably even more of a bearing on image quality than the actual sensor that feeds it with digital data. So yes, the results for dynamic range and signal-to-noise performance don’t look quite as impressive for the Z6 III as for the older Z6 II, but that’s not the whole story.

The gallery of images below is based on a very high-contrast shot taken under bright, direct sunlight. It features very bright highlights, not only in the white clouds of the sky, but also in the white slabs that top the walls running through it. There are also immensely dark shadows in some of the trees. The first image in the sequence is a JPEG straight off the camera. The second is of the result of adding a maximum +5 stops of exposure compensation to the Raw file in Nikon’s NX Studio, revealing plentiful detail in near-black shadows. In the third, a maximum -5 stops of negative exposure compensation has been applied, revealing all the detail in the very brightest areas of the shot.

I think it’s more interesting to compare the data for the Nikon Z6 III against the Nikon Z f. The latter has a more conventional image sensor, maybe even identical to that of the older Z6 II, coupled with a newer EXPEED 7 image processor, instead of the previous generation EXPEED 6 processor of the Z6 II. And guess what... Lab test results in terms of dynamic range and signal-to-noise are such a close match between the Z6 III and Z f that there’s hardly any difference. Indeed, the most noticeable difference is that the Z6 III actually scores better for dynamic range at low sensitivity settings of ISO 100-200. 

To my mind, it’s not beyond the realms of possibility that the differences in lab test results for dynamic range and signal-to-noise between the Z 6II and Z 6III are due more to the change in image processor, rather than the conventional vs partially stacked image sensor.

Before we get too hung up on the numbers game of lab test scores, I’ve always been a firm believer that the proof of any pudding is in the eating. I had the pleasure of testing the Nikon Z6 III in ‘real-world’ conditions, shooting the kinds of subjects that you and I will photograph in real life, rather than putting test charts in the frame.

What I found was that the Z6 III has dynamic range in spades. On a sunny day, there’s plenty of headroom for really bright highlights, along with impressive retention of detail in ultra-dark shadows. Going for broke, I pushed Raw files with a maximum +5EV of exposure compensation in Nikon’s NX Studio and discovered plenty of detail (with fairly little noise) in areas that looked near-black in the original exposure.

I was equally impressed that when shooting indoors under very low ambient lighting, I could push the camera’s sensitivity all the way to ISO 25,600 and still get squeaky-clean images with excellent retention of fine detail and texture, along with plenty of dynamic range.

Sometimes I really feel that lab test results don’t tell the whole story. Here’s a thought... You could run a whole bunch of scientific performance tests on a car and collate all the data, making it look good, bad, or indifferent on paper. But whether it’s satisfying or fun to drive is another matter entirely.

For more on all things Nikon check out our guide to the best Nikon camera and the best Nikon Z lenses.

Lomography is renowned for its quirky colorways adding maximum fun to some of its best analog cameras. Lately, in addition to the bright pastels and acid trip colors, it has been harnessing classic art history with collaborations from some of the greats.

Two of the best Lomography cameras the Lomo'Instant Automat and the Lomoapparat 21mm Wide angle will be adorned by the classic artworks of Austrian artist Egon Schiele.

Egon Schiele was a leading figure in the Austrian expressionist movement and is considered one of the most influential artists of the 20th century. His artwork was bold, daring, and ahead of its time and the works on these cameras look as contemporary today as when first created.

Schiele worked very closely with Gustav Klimt and you can see influences in both artists' work. Lomography recently issued the Gustav Klimt Collection, much in the same way, and featured some of his most renowned work.

The Schiele Collection features two separate cameras, each offering something different as a camera but also in aesthetics.

Lomo'Instant Automat camera and lenses

One of Lomography's best instant cameras, it features Schiele's intricate sketches Seated Woman with Bent Knees (1917) and the striking Self-Portrait with Striped Shirt (1910), each detailed with gold.

The Automatic instant camera is designed for even the most novice of photographers to experiment creatively and have fun while doing so. Automatically adjusting the aperture, shutter speed, and flash output, each shot is accurately exposed for the given scene.

A great feature of the camera is that it comes with a selection of different lenses offering a more versatile instant camera experience. The camera comes in a box with fisheye, wide-angle, close-up, and splitzer lenses for further experimentation as well as a remote-control lens cap for self-portraits much like the emblazoned artwork.

Lomoapparat 21mm Wide angle

The exciting and bold red-colored camera is adorned and complimented by two of Schiele's most famous works, Self-portrait with Chinese Lantern Plant (1912) and the captivating Portrait of Wally Neuzil (1912), inspiring a playful approach to shooting.

The perfect camera for taking those sunny holiday snaps, the lightweight camera features a 21mm lens and fixed settings for 'perfect exposures every time'. Multiple exposure and bulb modes enhance the playful experience, along with the interchangeable lenses and colored filters.

Above: A gallery of sample images

The Lomography Schiele Collection is available to purchase now – the Lomo’Instant Automat & Lenses Schiele Edition for $199 / £179 / AU$219, and the LomoApparat 21 mm Wide-angle Camera Schiele Edition $99 / £99 / AU$109.

The works chosen to adorn the cameras are exquisite, and act as a reminder to experiment, push boundaries, and have fun while doing so!

You might also be interested in our guides to the best Lomography cameras, the best Lomography lenses, and the best instant cameras. 

Today is the last day of the Amazon Prime Sale and that means you only have until midnight tonight to buy the best Amazon Prime camera deals, which include this great deal on the first mirrorless retro-style camera from Nikon, the Nikon Z fc.

On the last day of the Prime Sale, the Nikon Z fc with a 16-50mm f/3.5-6.3 lens is only £909 - that is a sweet £180 saving!

Blending classic looks with modern performance, the Nikon Z fc fulfills all the desires of a content creator's dream list. Its stylish and sleek retro design is paired with impressive image quality, courtesy of the Z mirrorless system's flexibility. This combination makes the Z fc an ideal choice for both photography and videography enthusiasts, especially those focused on vlogging and video applications if you wont require a full frame sensor.

The Z fc features a DX-format mirrorless design with a 20.9MP CMOS sensor, which works seamlessly with the Expeed 6 image processor. This powerful duo enables quick shooting performance of up to 11 fps and UHD 4K video recording at 30p, along with a wide sensitivity range of up to ISO 51200. 

Despite its vintage aesthetics, the camera is built for contemporary content creation, boasting a fully articulating touchscreen LCD, support for live streaming, compatibility with external microphones, and an advanced 209-point AF system with full-time subject tracking and eye-detection AF.

Physically, the Z fc pays homage to Nikon's classic SLR film cameras, featuring several familiar controls such as dedicated dials for ISO, shutter speed, and exposure compensation. The camera body is equipped with a 2.36m-dot OLED electronic viewfinder (EVF) and supports SnapBridge wireless connectivity, allowing remote camera control via a mobile device. Enhancing its suitability for on-location shoots and extended recording sessions, the Zfc also supports in-camera battery charging and on-the-go power via a USB C port making this the perfect camera for those who love style, but want modern tech.

The world was stunned by a picture by Doug Mills, a New York Times photographer, which appears to show a blurred trail of a bullet having passed President Trump or clipped his ear at a rally on Saturday.

Many will be asking themselves "Is it possible to take a picture of a bullet in flight?" The short answer is "Yes", so there is no reason to assume Mills image is a fake.

Taking a photograph of a bullet has been done before, but typically it's done in controlled circumstances – Sweedish photographer captured a picture of biathlete Hanna Öberg, using a Nikon Z 9 which shows the bullet leaving the muzzle of a rifle.

Strand used a "spray and pray" approach with the camera's 120fps stills mode and a shutter of 1/32,000sec, but it was still the result of a good amount of timing and practice getting to grips with the timing of the athlete's firing so the bullet was fired while the image buffer had from to write to.

At 1/32,000sec, however, the 'frozen bullet' – despite some motion blur – is more or less visible for its shape....

Mills, being a professional, will also no doubt have used his burst and full image buffer to capture as many images as possible the moment it became clear something was happening.

With the bright conditions and the camera closely focussed on the President, a nearby passing bullet would be in sharp focus if passing close enough.

The only remaining question as to whether a blur is visible is how fast it was going compared to the shutter speed.

The shooter, identified by the FBI as Thomas Matthew Crooks, used "an AR-style rifle" – which would send a bullet at around 3000ft/sec as it leaves the gun.

A bullet loses speed as it flies, and the shooter was around 600ft from the former President. 

According to Politiko, Mills was taking photos with "a Sony camera capable of up to 30fps and 1/8000sec" (though they don't say which one or what setting he was using).

Mills is known to have spoken about why he switched to the Sony a9 (from Canon) in the past (the interview is on the Sony site). We now think he's using a Sony A1 – a full frame camera with up to 50.5 megapixels 

(Not the A9iii – a camera we actually covered last year with the heading This camera can literally stop bullets.)

UPDATE:  As Jeff Heyman pointed out, the NYT interview screen capture suggests Mills was using an ILCE-1 at 2424 x 1474 – ILCE-1, better known as a Sony A1. It boasts a mechanical shutter limit of 1/8000 or 1/32000 burst rate. 

The Metadata reports f/1.6 at 1/8,000sec (it was a bright day). The camera can capture 30fps in a burst and up to 400 before the buffer is full depending on settings. That's a lot of chances.

Mills has since described the event to the New York Times (subscription required for full story).

The point being that the shutter speeds and ballistic math seems to suggest there is no reason why, in this photo, we're not seeing air displacement from a passing bullet – though since 5 shots were fired it's not clear if it's the one which clipped Trump's ear.

One might expect to see debris in that case, and according to Politiko again, Michael Harrigan, an FBI retiree agress that is could be a bullet but "the angle seems a little low" to be the one to go through the ear.

For more reading, check our guide to the best Sony cameras and we've added another story about what is becoming "the photo" from the shooting: Who is Evan Vucci? The Pulitzer prize winning photographer who captured the image of Trump that will probably alter the course of history.

For some wildlife photographers, the thrill of travelling to exotic, far-flung locations and tracking down rare species is what keeps the magic alive. But for Sam Rusu, who moved to the UK in 2015, magical moments can be found in the everyday, the commonplace, the closer to home, the unexpected and unplanned; a robin perching in the garden, or a chance encounter in a London park with a kestrel. 

“I focus on representing scenes that are usually hard to reproduce, capturing those ethereal moments. The technological tools are the brushes that I use to illuminate the surreal elements of nature,” he says. Sam uses the creative and mindful act of photography to relax and escape from what he calls “The madness of adulthood”. He loves to revisit species regularly to improve his images, and has recently started teaching others how to hone their skills.

A longer version of this interview originally appeared in Issue 205 of Photo Plus magazine. Click the link below to see our latest special subscription deal!

Neutral density filters are like sunglasses for your camera, reducing the total amount of light that reaches the camera sensor through the lens, without affecting the color rendering. Incorporating the best ND filters into your workflow has the advantage that you can capture moving elements, such as clouds or waves, with a longer exposure time to highlight the movement smoothly without overexposing the shot. 

ND filters are available in various stops, such as ND2, ND8, or ND1000, which determine the degree of light reduction and each one serves a specific purpose. ND filters are complemented by the so-called Graduated Neutral Density (GND) filters, which darken only part of the frame, while the other part remains transparent, creating a precise gradient transition. This gradient is particularly useful in landscape photography, where the sky is often significantly brighter than the foreground.

By darkening the sky while leaving the foreground untouched, the best ND grad filters help balance the exposure, resulting in a more evenly lit image. These filters are characterized not only by different densities but also by different types of gradation transitions, including soft, medium and hard.

The choice between an ND filter and a GND filter depends on the scene and the effect to be achieved. ND filters are great for reducing light evenly across the frame, while GND filters are great for scenarios where there are noticeable differences in brightness between the sky and the foreground.

Use a filter

1. Stay steady

As we are working with long exposures, mount your camera on a sturdy tripod to ensure stability and reduce the risk of motion blur. This helps deal with demanding angles and allows you to handle long exposures effectively.

2. Turn off VR/IS

To ensure sharp results, deactivate VR/IS (Vibration Reduction/Image Stabilisation) on the lens and body. This is to prevent image distortion caused by movement, otherwise, the stabilizer may introduce vibrations, leading to blurry images.

3. Select Manual

Switch to M mode for precise exposure control. Use a higher f/stop to widen the depth of field, keeping more in focus. Select low ISO as enough light will enter the sensor during the long exposure for clear images.

4. Add the filter

Attach the ND filter to the lens. To reference exposure times at different filter strengths, use an app with immediate results rather than a conversion table. Or use this formula: new exposure time = base exposure time x 2^ (number of stops).

5. Fire the shutter

Activate the two-second self-timer in your camera menu and use a remote shutter release. Both techniques reduce the risk of movement, so the photos remain sharp. These simple steps maintain the integrity of the composition.

Digital Filters

When there is no ND filter available or you simply forgot it at home, why not make use of Photoshop’s features? To simulate the exposure balance of a GND/ND filter, make a copy of your RAW file and edit one frame focusing on the appearance of elements in the upper half of the frame, while editing the second file with a focus on the lower part of the image, then blend both layers. The long-exposure effect of clouds can be mimicked by applying a Radial Blur filter, found under Filter > Blur. As this filter will affect the entire frame, masking or blending needs to be taken into account again.

You might be interested in our video explaining what is the rule of thirds, as well as our explainer on what is exposure in photography. 

The Zeiss Milvus 15mm f/2.8 follows suit with various other families of Zeiss lenses, like the Batis and Loxia (for Sony E-mount cameras), in that it’s named after a bird. This time around, instead of being a sub-Saharan flycatcher or a stocky finch, Milvus takes its name from the red kite, a bird of prey. That sounds like a more high-performance and impressive deal from the get-go. It’s worth bearing in mind though that, in my neck of the woods, the red kite went extinct for about 100 years before being so successfully being reintroduced to the UK. I have to wonder if the writing is also on the wall for DSLR lenses, with so much of the world going mirrorless. Either way, the Milvus 15mm ultra-wide-angle, full-frame compatible lens is still available in ZE and ZF.2 options, for Canon and Nikon DSLRs respectively. In fact, these manual-focus lenses arguably work even better on Canon and Nikon mirrorless cameras via the respective companies’ mount adapters, where focusing aids like magnified preview and focus peaking come into play.

Specifications

Key features

This Zeiss Milvus lens has two key features as far as I’m concerned. First is its ultra-wide 15mm focal length, delivering a mighty 100-degree viewing angle. As an ultra-wide lens, it’s great for sweeping landscape vistas, cityscapes, architectural interiors and simply for exaggerating the perspective between foreground and background areas of a scene. Indeed, with a short minimum focus distance of just 0.25m (9cm or 3.5 inches from the front of the lens), you certainly can get in close.

The second major attraction is the fairly fast f/2.8 aperture rating. That comes in useful for maintaining quick shutter speeds for freezing motion even under dull lighting conditions, as well as enabling a fairly tight depth of field if needed, when shooting extreme close-ups. It also adds astrophotography to the remit of the lens.

A glaring omission from the feature set, at least for many digital photographers, is that there’s no autofocus. Many of us have come to rely almost entirely on autofocus since the 1970s, and the lack of it can seem a real challenge. But hang on a minute. At regular focus distance and medium aperture settings, the depth of field of a 15mm lens is huge, so ultra-precise, pinpoint focusing is largely unnecessary. As it turns out, the long throw of 119 degrees for the focus control ring enables very fine adjustments, and the silky-smooth action gives a really fluid feel.

And there’s more. The long throw of the focus ring enables a genuinely useful focus distance scale, complete with depth of field markers for all full f/stop intervals from f/2.8 right through to f/22. This enables effective ‘zone focusing’, so you can set the near and far limits covered by the depth of field for any focus distance and aperture combination. On top of that, while there’s no split screen or microprism in the viewfinders of DSLRs, there’s a focus confirmation lamp in Canon cameras and the additional benefit of focus direction lamps in Nikon cameras. Those are enabled thanks to the lens having an integral CPU and full electronic communication with the host camera body.

All in all, the lack of autofocus needn’t be a deal-breaker. And if you use an EOS R-system or Nikon Z-system mirrorless camera, the lens is fully compatible via EF-EOS R and FTZ mount adapters respectively. A bonus in both cases is that you can take advantage of magnified preview in the viewfinder or rear screen, and the option of focus peaking to help with accurate focusing.

Many ultra-wide-angle lenses have an integral hood that precludes the easy use of filters. I like that the Milvus 15mm has separate petal-shaped, bayonet-fit hood, enabling the inclusion of a filter attachment thread. A downside, however, is that the filter thread is unusually large at 95mm.

A bonus for video shooting, at least with the Nikon F-mount version of the lens, is that the aperture ring comes complete with a click/de-click option. That’s sadly lacking in the Canon edition. Both versions of the lens are epically well built, with an black anodized metal barrel and comprehensive weather-seals. And unlike many ‘metal lenses’, this one has a rubberized focus control ring which feels more tactile and less cold to the touch in chilly weather.

Performance

The lens is designed on classic Zeiss Distagon principles. As such, it has a retrofocus design that aims for optical excellence right out to the edges of the image frame, with effective correction of aberrations and very low field curvature. The complex optical path contains 15 elements which include two aspherical elements and five low dispersion elements, the latter to boost sharpness and clarity while reducing color fringing. Zeiss’s legendary T* Anti-Reflective Coating is applied to minimize ghosting and flare, and to boost contrast. To further this, the edges of all the optical elements are manually coated with pitch-black lacquer light traps are built into mechanical components to combat internal reflections.

Center-sharpness is excellent, even when shooting wide-open at f/2.8. As I’d expect, it pays to stop down to apertures of between f/5.6 and f/11 for enhancing sharpness towards the extreme edges and corners of the frame.

Lab results

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

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

Sharpness:

Surprisingly, the lens delivers its best center-sharpness at the very widest aperture of f/2.8, but it remains excellent all the way down to f/11. Edge/corner-sharpness comes on song at f/5.6 and remains impressive through to f/11.

Fringing:

There’s only minimal color fringing across most of the image frame, throughout the entire aperture range. It can be a little visible towards the extreme edges and corners of the frame but is still very well controlled.

Distortion: -2.15

Barrel distortion is of a low order for such an ultra-wide-angle lens. For critical scenarios, like in architectural photography, the uniform nature of the distortion makes it easy to correct at the editing stage.

Verdict

I feel that sometimes bigger really is better, and the Zeiss Milvus 15mm F2.8 certainly delivers in terms of an oversized viewing angle. I love the way it can shoehorn vast landscape vistas into the image frame and that it works similarly well for architectural interiors and even for astrophotography. Build quality, handling and performance are all exceptional but it lacks autofocus and comes at a very steep purchase price.

• Other Zeiss Milvus lens reviews
• Zeiss Milvus 35mm f/2 review
• Zeiss Milvus 50mm f/1.4 ZE review
• Zeiss Milvus 18mm f/2.8 review
• Zeiss Milvus 21mm f/2.8 review

Sigma offers a diverse range of lenses in its ‘Global Vision’ Art, Sports, and Contemporary line-ups, aiming to offer ideal solutions to all sorts of photographers who are into every conceivable genre of photography. As an ‘Art’ lens, the 28-45mm F1.8 puts creative expression and excellence of image quality front and center of its design ethos. 

Indeed, Sigma claims it delivers comparable sharpness and clarity to that of a prime lens, throughout its entire zoom range. The outright zoom range might seem fairly limited but it covers popular prime focal lengths of 28mm, 35mm, and (very nearly) 50mm.

As such, this Sigma aims to be a zoom lens that effectively replaces three top-grade primes. That’s not exactly news to me, as I remember the same claims being made of the Sigma 24-35mm F2 DG HSM Art for DSLRs, which was launched back in the summer of 2015. Although it’s the first constant-aperture f/1.8 lens for full-frame cameras, there was also the Sigma 18-35mm F1.8 DC HSM Art for APS-C format DSLRs, dating back even further to 2013. 

Even so, the 28-45mm breaks new ground and I feel it’s a very tempting proposition for those of us who tend to shoot at modest wide-angle to standard focal lengths, without venturing into telephoto territory. The fast aperture rating enables a tight depth of field and quick shutter speeds for freezing motion, even under very gloomy lighting conditions.

All in all, the Sigma 28-45mm aims to take up residence as one of the best lenses for Sony and the best lenses for L-mount cameras.

Sigma 28-45mm F1.8 DG DN Art: Specifications

Sigma 28-45mm F1.8 DG DN Art: Price

The launch price of $1,349 / £1,299 seems pretty reasonable to me, considering the fast and constant f/1.8 aperture. The price tag is in the same ballpark as the Sigma 24-70mm F2.8 DG DN II Art, which costs $1,199/£1,179 and, although the 28-45mm has a less generous zoom range, it’s naturally 1.33 f/stops faster throughout. 

For a further price comparison, the Canon RF 28-70mm F2L USM zoom which is only a third of an f/stop slower (and again has a more generous zoom range) is very much more expensive at around $3,099 / £3,299 – getting on for three times the price. The Canon is also nearly 50 percent heavier, at 1,430g compared with the Sigma’s 960g. The Sigma’s modest zoom range pays dividends on both counts.

Sigma 28-45mm F1.8 DG DN Art: Design & Handling

At the heart of the Sigma 28-45mm is some impressive glass. There are 18 optical elements in total, including three aspherical elements and five SLD (Special Low Dispersion) elements, the combination aiming to maximize clarity and sharpness while minimizing aberrations like color fringing. The fast and constant f/1.8 aperture demands some wide-diameter elements towards the front but the HLA (High-response Linear Actuator) motor that drives autofocus moves relatively small inner elements with an impressive turn of speed.

As well as fast autofocus for stills, there’s smooth and virtually silent autofocus for shooting video. The latter benefits from negligible focus breathing. For the L-mount version of the lens, Sigma’s optional USB Dock (sold separately) also enables you to customize the rotational travel for manual focusing, between 90 degrees and 720 degrees, That’s a further bonus for focus-pulling when shooting video, and there’s more... The lens features an aperture control ring with one-third f/stop clicks, plus a locking switch for its Auto position and a de-click switch for step-less control during video capture.

Two function buttons are fitted, nominally for autofocus hold, so they fall neatly under the thumb in both landscape and portrait orientation compositions. Typically, Sony and L-mount cameras enable you to customize the action of these buttons for alternative functions, if there’s something on the menu that you find to be more useful.

I like that the lens features both internal zoom and internal focus mechanisms, so the overall length remains fixed in all conditions. Not only does it avoid air (and potentially dust and moisture) being sucked into the barrel, but the constant center of gravity is a bonus when using a tripod or gimbal. The lens also features extensive weather seals and a moisture/oil-repellant fluorine coating on its front element.

Sigma 28-45mm F1.8 DG DN Art: Performance

The goal of any fast lens is the combination of good sharpness and clarity with smooth bokeh. The Sigma 28-45mm performs excellently on both counts. Sharpness is highly impressive across the entire image frame, even when shooting wide-open at f/1.8, throughout the whole zoom range.

A common problem with fast lenses at their widest aperture is that they can be prone to axial color fringing, also known as ‘bokeh fringing’. This can show up around high-contrast transitions anywhere in the frame. The Sigma does brilliantly well to make this absolutely negligible. Bokeh itself is not only beautifully smooth but remains of excellent quality when stopping down a little, helped by a really well-rounded 11-blade aperture diaphragm.

Although the zoom range certainly isn’t extensive, the versatility of the lens is enhanced by a short minimum focus distance of 0.3m which, like the aperture rating, remains constant throughout the zoom range. This makes close-up photography a breeze and enables a useful maximum magnification ratio of 0.25x at the longest zoom setting.

Shooting against the light, ghosting, and flare is kept to a minimum but the combination of both Nano Porous Coating and Super Multi-Layer Coating, as well as a highly efficient petal-shaped hood.

Sigma 28-45mm F1.8 DG DN Art: Sample Images

The following gallery of images was taken with a Sony A7 II body at a range of apertures, including several shots at f/1.8 to demonstrate sharpness and bokeh when shooting wide-open. All of the interior and exterior shots were taken at the Bishop’s Palace & Garden in the Somerset city of Wells in the UK. For lab tests, we used the lens with a Sony A7R III camera body.

Sigma 28-45mm F1.8 DG DN Art: Lab Results

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

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

Sharpness:

Even shooting wide-open at f/1.8, levels of sharpness are excellent from the center of the frame right out to the extreme edges and corners. They genuinely match what we might expect from a set of prime lenses, throughout the entire zoom range. At some focal lengths, stopping down to medium apertures gives edge-sharpness that matches a number of top-quality lenses at the center of the image frame.

Fringing:

The lens exhibits superb control over both lateral and axial chromatic aberrations, the latter often being referred to as ‘bokeh fringing’. Color fringing is negligible at all combinations of zoom and aperture settings.

Distortion:

Barrel distortion can be a little noticeable at 28mm, while pincushion distortion gets progressively worse through the 35mm to 45mm sector of the zoom range. Even so, the amounts of distortion are much less than with many recent lenses designed for mirrorless cameras, which rely entirely on automatic in-camera correction.

Sigma 28-45mm F1.8 DG DN Art: Verdict

Like many photographers, I feel that f/2.8 isn’t really a ‘fast’ aperture. I love that this Sigma has a truly bright aperture of f/1.8, delivered at all zoom settings. Sure, the actual zoom range of 28-45mm can feel a little limiting compared with, say, a 24-70mm f/2.8 lens, but it’s a sacrifice I’m happy to make – even more so as the actual image quality produced by this lens is so absolutely fabulous. It really is like having three great-quality prime lenses in one zoom package and I love being able to switch between popular wide-angle and standard focal lengths in the blink of an eye, rather than having to continually change the lens on my camera. This Sigma is a real winner as far as I’m concerned, and great value at the price.

Alternatives

One of the most challenging tasks in photography is to freeze a fast-moving subject, such as a racing car, a bird in flight or a plane at an airshow. 

Taking photos in automatic mode can be frustrating, as the camera’s settings need adjustments in exposure and focus. This means that some shots may be usable and sharp, but many will lack precision. To capture those dynamic and dramatic moments, technical knowledge and practice are the keys to success. Here the exposure triangle comes into play, which consists of three elements: shutter speed, aperture, and ISO. These settings all have an impact on each other.

For action shots, the priority is to select a fast shutter speed, such as 1/1,000 sec, to freeze the subject. However, this also means that light has less time to reach the sensor, resulting in a darker image. You might think that working with a wide aperture (low f-stop number) would solve this problem, as it enhances the brightness. 

The problem is that the more open the lens, the shallower the depth of field and therefore the narrower the focus area. This makes it even harder to keep the subject in focus, especially if it is moving unpredictably. Raising the ISO for brightness seems logical, but extreme values cause noise and grain – reducing the image quality in both sharpness and clarity. 

By understanding the exposure triangle and by experimenting with different settings, you will learn how to freeze the moment. Fortunately, the camera’s automatic modes and focus assistance can help guide you.

Before and after

Shooting steps

1. Choose an optic

To get up close to your subject and for extra flexibility in framing, a zoom lens with a focal length of 200mm or above is probably your best bet. However, these lenses can be expensive, so renting a zoom lens for a special occasion could be a more cost-effective option to consider.

2. Clean the lens

We are relying on the autofocus settings to keep up with the speed of the moving subject, so it is important to clean your lens first. This way you ensure that the AF can work accurately and won’t be distracted by dirt or spots on the lens. Use a suitable microfibre cloth to clean the lens.

3. Prioritize shutter speed

 Select the Shutter priority mode and lock the shutter speed. Now the camera calculates an appropriate aperture and ISO value to ensure correct exposure. After doing some test shots, select Manual mode and experiment to put your exposure triangle knowledge into practice.

4. Set the focus

To maximize your chances of getting sharp results, shoot in Servo autofocus mode. This setting tracks the subject as it moves across the frame. By selecting continuous / burst shooting mode, the camera takes multiple consecutive shots when you keep the shutter button depressed.

5. Control exposure

When shooting in bright conditions, for example, if your subject is directly against a bright sky, using an ND (neutral density) filter helps to control the exposure. A filter works like sunglasses for your lens and reduces the amount of light while improving dynamic range and detail.

6. Track the subject

Now it is time to capture a fast-moving subject. Get into position with your legs slightly apart and keep your attention on the subject, panning along with the movement. Take some test shots and review the results. Change your point of view occasionally to add variety to your shots.

If you're shooting fast subjects, you might want to take a look at the best cameras for sports photography or the best cameras for wildlife photography.

Back when the super-thin 2024 iPads were launched, a Live Multicam feature was demonstrated whereby Final Cut Pro on an iPad Pro could switch between live footage from up to four iPhones.

Now, finally, the app which makes that possible – Final Cut Camera – has been released into the App Store as a free download. This enables, in Apple's words, the user to "Capture professional footage with full manual control" and "Preview, record, and sync up to four devices with Live Multicam in Final Cut Pro for iPad."

You might ask why this is separate from the standard camera app. It does, after all, have features you'd recognise, like pull focus. When you see the features you'll understand why Apple has chosen to ring-fence more deliberate users into an app which offers easy access to settings including shutter speed, ISO, white balance, and manual focus as well as choosing resolution, frame rate and color space.

Other pro features are Focus peaking and overexposure indicators, though these require more recent iPhones (A13 Bionic or newer). To be fair, that means the iPhone 11 and onward. There are also overlays like grids and aspect ratios.

Preview media is automatically synced and instantly available for edit with FCP, and the app allows you to see your available audio recording time as well as levels.

The app is compatible with all iPhones with iOS 17.2 and up, but one especially useful feature – the ability to record video files directly to an external recording device – does (as the USB-C socket might suggest) require an iPhone 15 Pro or iPhone 15 Pro Max.

Perhaps more financially significant, if you're headed down this route, is that Final Cut Pro for iPad requires a subscription. At £49/$49 per year or £4.99/$4.99 per month, it's also Apple's first subscription app.

While this feature might now provide a much better reason for some creators to make that investment – immediately synchronising content and doing an on-the-fly edit can save a lot of time – it is still a choice which will weigh a little more on the wallet than a traditional set-up.

If you're planning on using a few iPhones for an event, check our guide to the best iPhone camera grips.

Hot on the heels of the launch of the Fujifilm X100 VI, the Pentax 17 is making this the year for hip, retro cameras. But what makes the new Pentax special, is that it shoots film. Despite the odds, analog photography has quietly grown in popularity in recent years – but few of the major camera manufacturers have bothered to pay this trend any attention. 

Sure Leica will sell you a luxury film rangefinder, and Kodak will sell you a basic Ektar H35N as a step-up from a disposable camera. Only Pentax has stepped up to dust off the old design blueprints to produce a new film camera for a new generation non-digital photographers.

But what do you get for your investment of $500 / £500? And beyond the design (with subtle references to historical Pentax models), are you actually getting what you think you are getting? 

The reality is the Pentax 17 is not quite the point-and-shoot pocket camera that you might expect - and nor does it offer the creative control that you might hope for. Let me explain…

1: Zone focusing

The Pentax 17 camera makes you work for your photos at some points - but not others. Unlike most cameras at this price, there is no autofocus - so you need to do the job of making sure the shot is sharp. On more basic cameras (such as a one-use disposable camera) the focus is fixed - so there is no need for you to do anything. On the Pentax 17, there are six different focus distances you can set the lens using the different icons. 

This zone-focusing system demands that you guess the distance of your subject (there are scales in feet and meters) - or trust the vagueness of the icons (is it a shot of one or two people, you ask?). But there is a risk you guess the distance wrong - or simply forget to set it at all (although at least you can see the icon selected in the viewfinder). 

If you are worried, you can always switch to the full AUTO mode, which turns off the zone focusing. The camera will then endeavor to keep everything sharp from 1m to the horizon.

2. No manual exposure. No aperture priority.

The Pentax 17 has an impressive looking mode dial, and you might be excused for thinking that this is going to give you some control over the exposure settings. But no - this is an AE only camera, with a choice of several different program exposure modes - that set both the aperture and shutter speed for you. The Bokeh mode (confusingly referred to as "maximum aperture priority program AE) keeps the lens at the maximum aperture of f/3.5, for instance (but you won't know what shutter speed has been selected). The available aperture range is f/3.5 - f/16, and the shutter speeds it can set vary from 4 seconds up to 1/350sec (with a separate .

You can at least override the automatic metered exposure - as there is an exposure compensation dial - offering up to +2 to -2 over/under exposure (in 1/3 stop steps). And, of course, you can also compensate exposure using the ISO dial. 

3. Manual film advance. Manual film rewind.

Above: a helpful YouTube video explains the whole rewind procedure well for the uninitiated

Pentax is really proud of its film advance lever - the sound and the mechanism encapusulates everything that is great from the golden era of film photography. And that's pretty straightforward to use (but there is risk that you have not wound on when you urgently want to take a shot).

But without any motorized film transport, you also need to rewind the film manually when it is finished. As someone who grew up with basic film SLRs, this is not a problem. However, there are generations of people who will find this a right faff. 

You have to disengage the clutch using the button on the bottom. Unfold the crank handle on the top, and then keep turning until you feel or hear that the film is safely secured back in its lightproof canister. Open the back too early, and you will fog your film, ruining your photos. No wonder that one of Ricoh's first YouTube videos shows you how to do this. It also made a similar video on the tricky-until-you-know process of loading the film in the first place.

4. Non-rechargable batteries

No one would buy a film camera for its eco credentials, but the battery used by the Pentax 17 is not rechargeable. And furthermore is a the CR2 type of 3 lithium pack that is not found on sale in every mini mart. Rechargeable CR2 batteries do exist, but Pentax expressly warns you not to use them. And sadly, despite the manual film advance/rewind mechanism you can't take photos without the battery (as you could with some vintage film cameras of this type).

5. Film and processing

Those who are used to using phones or digital cameras might not appreciate the need to keep buying rolls of 35mm film, and paying for each to be processed/printed. And those who do, may not realize how expensive film and lab costs actually are nowadays. But obviously this is the case with any film camera...

But you should also realise that although you get twice the number of shot per roll with half-frame – you will undoubtedly pay more per roll for printing. And some labs (often the most affordable ones) simply don't handle half frame. If you have a home scanner, you are also unlikely to have a mask that allows for the 17x24mm size of each frame. 

6. Fixed  prime

There is no zoom on the Pentax 17 - and you can't change the lens. This leaves you with the fixed wide-angle 25mm lens, that gives you an effective focal length of a 37mm would be on a full-frame camera. 

There are no wide-angle or tele-converters to screw into the front of the lens either (via the 40.5mm filter thread) - although there is always the possibility someone may offer these at some point in the future.

7. Partial  metering 

With no digital sensor to measure the light level with, the exposure meter on this camera is a small window over the lens, that takes a light reading from the center of the frame. Pentax is calling this Partial Metering. But there is no exposure lock, and you can't force it to take a reading from the corner of the frame - so you will need to read the contrast and brightness of the scene, and work out the necessary exposure compensation yourself.

Flash triggers are usually not the sexiest bit of photography equipment to talk about, often taking the form of a chunky plastic box with clunky buttons and maybe a TFT screen. But Godox has somehow managed to design a new flash trigger that actually has me excited.

The Godox X3, previously known as the Xnano before a marketing switch, is a compact wireless flash trigger designed to offer the same reliable performance that Godox’s previous triggers are known for in a much smaller package. The X3 is compatible with a wide range of Godox flash units that use Godox’s long-established wireless protocols and comes in the usual range of camera-compatible versions for Canon, Nikon, Sony, Fujifilm, and OM/Panasonic. The trigger is also found sold under Adorama's Flashpoint range in the US, as the Flashpoint R2 Nano.

One of the standout aspects of the Godox X3 is its 2.4GHz wireless transmission system with long-range performance, supporting communication up to 100 meters, making it ideal for both inside and outside environments. Additionally, the X3 provides flexibility with its TTL (Through-The-Lens) automatic exposure, manual settings for precision control, and multi-flash mode for creative strobe effects.

High-Speed Sync (HSS) up to 1/8000s allows for fast shutter speeds, which is particularly useful for freezing action shots or shooting in bright conditions while maintaining a shallow depth of field.

On paper, its specs sound like a winner, but with a brand new design and interface, what is the Godox X3 actually like to use?

Godox X3: Specifications

Godox X3: Price

When looking at the more affordable end of the flash market where Godox sits, the Godox X3 is priced competitively against rival flash triggers; however, its design, build, and interface are much closer to high-end flash systems, so I would argue it offers exceptional value for money when compared to anything similar from Profoto or Elinchrom.

There are some slight variations in price depending on different sellers and which camera system you use, but the X3 costs around $89 / £82 / AU$145 at the time of writing. However, this does make it the joint most expensive flash trigger Godox makes. The Godox XPro II trigger is a slightly more feature-rich trigger, and at the time of writing, costs $89 / £90 / AU$142, but with a stark difference in size compared to the X3. The X1 is almost one-third of the price, although with far less control and a basic design. 

Godox X3: Design & Handling

I had seen images of the X3 before I received it, so I had some expectations of its size, but I was still immediately taken aback by how remarkably small the Godox X3 was. I have never used a flash trigger this small before without having to make big sacrifices to manual flash control. Next to the Godox X2T (my current flash trigger), the X3 is just a huge step forward. Atop my camera’s hot shoe, the X3 was barely noticeable when carrying my camera around. I was shooting with the Fujifilm X-T5, which is usually dwarfed by big Godox flash triggers, but the X3 looked at home. 

When not on the camera, the X3 also has the benefit of taking up less space in my kit bag, although after slipping the X3 into its included protective case, this saving was only marginal. I don’t tend to put my X2 trigger in any protective case as it feels robust enough to take a beating, but this isn’t something I can say for the X3, as the large touch screen makes me more cautious about its robustness long-term.

I can’t find any fault with the design of the X3, though; it has a really nice minimal look to it, the materials used are top-notch, and the screen itself is really stunning to look at with deep blacks and excellent clarity. The X3 feels far more premium than its price tag would suggest. If it didn’t have Godox printed on the side, then I might assume this had come from Profoto’s design team.

The interface is user-friendly and very intuitive, with a clear OLED touchscreen displaying the settings and easy-to-navigate controls. If you prefer, there is also a dial on the side to navigate menus, akin to the crown on an Apple Watch. There are a few swipe gestures that you have to memorize to get deeper into the settings menu, although nothing is more than two or three menus deep, although some larger triggers do have buttons that are faster to use.

The size of the X3 does have a slight drawback for those with large or clumsy fingers, and I did find it difficult on occasion to precisely drag the power settings, instead opting to use the dial or tap the +/- buttons on the screen. I also found that I registered the occasional unwanted tap on the screen, but the screen can be locked to prevent this if your settings are not going to change regularly.

Godox X3: Performance

In terms of performance, the X3 delivers consistent and reliable results. The wireless communication is stable, the X3 is incredibly easy to set up with different groups, as well as locking in IDs, and the trigger responds quickly to commands. I tried the X3 with as many different flash setups as I could think of (with the three flash heads I had available), and for individual or group controls, the X3 kept everything perfectly in sync. 

I am a bit of a lighting perfectionist, and I usually shoot in manual mode, but Godox's TTL mode provided accurate exposures in my testing in my studio when combined with the TTL in my Fujifilm camera. 

The X3 has a built-in battery and charges via USB-C, which has saved me from the tyranny of having to carry spare AA batteries and a bulky AA battery charger. The battery is exceptional. I have shot for hours and hours, and the battery is still going. I would not be concerned at all about the battery lasting through a full day, even in an intensive studio shoot.

Godox X3: Verdict

Photographers who have invested in Godox’s extensive flash equipment will find the Godox X3 (formerly known as Xnano) to be an excellent choice. This device offers powerful flash management in an easy-to-use, incredibly compact form factor. Its size is a fraction of the Godox XPro trigger, allowing photographers to slim down their kit bags and avoid unnecessary bulk on their hot shoes. A standout feature is the touchscreen, which facilitates quick changes to flash power, although it can be a bit fiddly for micro-adjustments. Despite this minor drawback, the X3 will certainly become a permanent fixture in my flash setup.

After numerous leaks and teases, including from the company itself – Nikon has finally unveiled the Nikon Z6 III. As the numeral value might suggest, the Z6 III is a sequel to the original Z6 and 2020's Nikon Z6 II follow-up. While the Z6 II added incremental quality-of-life improvements to the Z6 – the Z6 III takes the Z6-line even further, with new sensor technology, and a new emphasis on hybrid video and content creation. 

Launched back in 2018, the Z6 series kicked off Nikon's new mirrorless lineup, and today the Z6 III might be a signal of Nikon's future ambitions.

While the sensor resolution remains at 24.5 megapixels, it features a brand new 'partially stacked' sensor, offering much faster readout speeds. This allows for an electronic shutter capable of shooting up to 120 frames per second in DX crop mode and 60fps in full FX mode. 

The maximum shutter speed has been increased to 1/16,000 sec, although it does not match the 1/32,000 sec speed of the Z8 and Z9. The mechanical shutter provides rates of 20fps for JPEGs and 14fps for RAW images. Flash photography will still require the mechanical shutter due to the electronic shutter's readout speed limitations.

The sensor is supported by Nikon's in-body image stabilization (IBIS) which offers up to 8.0 stops of stabilization, which is up from 5.0 stops on the Z6 II. The IBIS also borrows a trick from the recent Nikon Zf and pivots around the active focus point for enhanced subject sharpness. The IBIS also supports a high-resolution mode that combines multiple images for 96 MP output via Nikon’s NX Studio software for very large prints.

Autofocus points are distributed across the entire sensor, with 299 AF points in total, an increase over the previous 273 points in the Z6 II. The autofocus system works in lighting conditions as low as -10EV, making it suitable for astrophotography. 

For video, the Z6 III takes aim at serious content creators and enthusiast filmmakers, with up to 6K60p RAW recording internally. There are also numerous other recording options including 5.4K/60P recording or 4K60p video from oversampled 6K as well as full HD recording in up to 240p (10x slow motion).

At a quick glance, the Z6 III looks very similar to the previous Z6s, however, the new model is a sliver bigger and heavier (at 750g). But this small increase in size means that custom-fit accessories like L-brackets and battery grips potentially won't fit the Z6 III. The camera is launching alongside a newly developed MB-N14 battery grip for extended shooting and vertical grip.

The camera features two memory card slots – one CFexpress Type B (and XQD cards) and one SDXC UHS-II slot. Connectivity options include a mic, headphones, USB-C, HDMI, and an accessory terminal.

The vari-angle touchscreen rear LCD has a resolution of 2.1 million dots, which is higher than any previous Nikon camera, including the Z8 and Z9. This screen can be fully rotated and offers a new level of flexibility compared to previous Z6-line cameras. The electronic viewfinder (EVF) is also upgraded, with a resolution of 5.76Mp and a brightness of 4000 nits, enhancing usability in bright conditions. The EVF supports the DCI-P3 color gamut for more lifelike colors.

Powered by the EXPEED 7 processor, the Z6 III offers advanced autofocus capabilities and subject-detection modes for people, animals, and vehicles. Nikon reports that the autofocus performance is on par with the Z8 and Z9. In testing, the camera accurately tracked fast-moving subjects such as basketball players. The EVF information mirrors the rear LCD and includes overlays for vital information such as histograms and grid displays.

The Nikon Z6 III is available for preorder now and with it expected to reach the first buyers in July. The Z6 III will cost $2,499 / £2,699 / AU$4,499. for the body only, and will also be available in a kit with the Nikon Z 24-70mm f/4 S lens for $3,099 / £3,249 / AU$5,499.

Looking for more Nikon? Then check out our guides to the best Nikon cameras and the best Nikon Z lenses.

"Use Manual mode" is common advice from professional and advanced photographers on this website and elsewhere. Recently, a photographer asked me why manual exposure was almost universally suggested. Manual exposure puts the photographer in full control, forcing them to choose how movement of the camera or subject is captured and how much depth of field is needed. If you are always in Manual mode (M), you don’t need to decide what mode to use. 

EOS R System cameras introduced another exposure mode, flexible priority (Fv) where the photographer chooses the most important parameters, letting the camera determine the others or takes full control – just like Manual. 

Cameras are designed to help photographers capture better shots; lots of great automated features ease the learning and reduce the potential for getting it wrong. There are very few pros who wish autofocus would go away, so perhaps it is worth considering an alternative to always suggesting use of manual exposure. 

For many photographers, shutter speed is the most important decision to portray motion, others want control of depth of field. Using shutter priority or aperture priority is not wrong; actually they help as there is less to tax the brain. This means more mental capacity to do other things like composition, anticipation or previsualization, which the camera cannot do. Certainly, a skilled photographer is able to balance exposure control with all the other elements, but it is not the magic way of working if you don’t have the same expertise. It’s far better to come away from a shoot with results you are pleased with, or a client pays for.

I often use ‘assisted Manual’, by choosing shutter speed and aperture, letting the camera determine exposure using Auto ISO. When I’m shooting motorsports, I’ll use Tv mode and Auto ISO since I want to control movement.

A panned picture at 1/30 secs doesn’t look different when the aperture is f/4 or f/11, so I let the camera choose. Flexible priority might be the only mode you need, but I prefer to have controls for shutter speed, aperture and ISO.

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. 

Continuously pushing boundaries in several industries, Canon's job never seems done. It has now turned its head to recycling, introducing innovative technology for fast and efficient sorting.

Not just content with making some of the best mirrorless cameras and best photo printers on the market, Canon has announced that it is entering the recycling system business, with the launch of new plastic sorting equipment with groundbreaking material identification capabilities. 

The equipment employs Raman Spectroscopy technology with a tracking mechanism to identify, with a high degree of accuracy, different materials to sort them most efficiently. 

Raman Spectroscopy is a non-destructive chemical analysis technique that measures the interaction of scattered light on the chemical bonds and "vibrational energy modes" of a sample. This enables the detection of different materials, as well as various colored materials.

Conventionally, black plastics that are often found in home electronics are notoriously challenging to detect. This is due to the black material not reflecting visible light, thus requiring a longer amount of exposure time with the laser light. This is the case for near-infrared and Raman Spectroscopy detection methods – but Canon's new development has made this a little easier.

"By combining Raman Spectroscopy with Canon's measurement and control equipment, the company has developed a tracking Raman spectroscopy technology which scans laser light toward the pieces, thus ensuring there is enough measurement time required for each piece of plastic according to its color and achieving high speed and high accuracy overall," says the manufacturer.

According to the Plastic Waste Management Institute, "roughly 20% of plastic waste generated in our daily lives is recycled as material for new products (material recycling), while the remainder is used as fuel or incinerated. Recycled plastics have to maintain a certain degree of purity, which is why materials made of plastic waste… must be accurately identified".

This is exactly what Canon's technology, which features in the new TR Series, achieves. The debuting Canon TR-S1510 maintains a conveyor speed of 1.5 meters per second and can sort up to 1 ton of plastic per hour. It will enhance detection, efficiency, and speed, improving the productivity of recycling plants – which will serve Canon's aim to "build a circular economy by maximizing material recycling."

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

If you've been on the lookout for a powerhouse professional camera, today is (still) your lucky day! The flagship-class Canon EOS-1D X Mark II has been slashed to just $2,999, which is an enormous saving of $3,000 on its RRP! 

We saw this deal back over Black Friday, but now it is back - equalling the lowest price this tank-like DSLR camera has ever sold for at B&H. This pro camera offers formidable firepower to sports and wildlife shooters who need to take advantage of its 16fps shooting, and any working professional photographer who demands a rugged, robust, reliable camera that can withstand any shooting conditions, 

If you make money from your photography, you need a camera that's always up to the task. And that's exactly what the Canon EOS-1D X Mark II was designed for, being the company's flagship camera for years – and still being used by countless working professionals to this day. 

Though it has since been superseded by the Canon EOS-1D X Mark III in the DSLR realm, and the Canon EOS R3 in the mirrorless domain, the 1D X Mark II is as capable as it ever was for shooting elite and recreational sports, weddings, wildlife, and all manner of professional work.

Its 20.1MP sensor boasts a sensitivity of ISO50-409,600 – which not only comes in useful for shooting sports and wildlife at fast shutter speeds (taking advantage of the 16fps burst capture), but also ensures that you get clean headshots, portraits and group images when shooting weddings or corporate work under challenging lighting conditions. 

It's even capable of great video output, with 4K capture at up to 60p and 1080p video at 120p slow-motion. One of the best professional cameras in its day, is now is an incredible time to pick up some flagship firepower!

Leica cameras and lenses have produced some of the most iconic imagery throughout history, hallmarked by their distinctive ‘Leica Look’. 

Unfortunately, Leica cameras are prohibitively expensive for most people, meaning many out there will never experience first-hand the unique look of shooting through a Leica lens. However, Leica is making that experience a little more accessible with the launch of its latest app – Leica Lux.

The Leica Lux app aims to put the uniqueness of a Leica camera directly in your iPhone, enabling you to experience Leica lenses and distinctive Leica Looks through the phone’s native camera. 

For me, the most exciting sounding feature in the Lux app is the ability to replicate the look of Leica lenses. The app's 'Aperture Mode' uses Leica's image engine alongside machine learning to replicate the rendering, bokeh and other characteristics exhibited by Leica lenses such as the Summilux-M 28mm f/1.4 Asph and the Noctilux-M 50mm f/1.2 Asph. 

This appears similar to the portrait mode already featured on iPhones – but with a Leica twist.

Like Apple itself, Leica has its own color science for its cameras – which refers to how Leica chooses to interpret colors in an image for accuracy or artistic expression. However, Leica’s colors are especially idolized by many in the photography community for their distinctive look. 

The Leica Lux app has been developed for the iPhone camera to apply those same iconic colors, including Leica Standard, Leica Classic, Leica Contemporary and Leica Black-and-White to iPhone shots, displaying colors and contrast differently than the native iPhone camera.

For those who prefer fine-grained control over their images, the Lux app also comes with a Manual Mode that enables you to control aspects like aperture, shutter speed and exposure compensation, to generate a photo that is unique to your vision. There are already plenty of manual camera apps available for the iPhone, but Lux's Manual Mode, plus Leica’s Looks and lenses, can offer a different iPhone camera experience.

The Leica Lux app is free to download and includes access to Automatic Photo mode and Aperture Mode, as well as emulation of the Leica Summilux-M 28mm f/1.4 Asph and five Leica Looks. There is an additional premium subscription, called Leica Lux Pro, that offers up to 11 Leica Looks and 5 Leica lenses for £6.99 per month. 

The Leica LUX app is available to download now from the App Store for iPhone and is compatible with all iPhone models running iOS 17.1 or later.

For more on getting the best out of your images check out our guide for the best photo editing software.

For the release of its full-frame mirrorless camera, the Nikon Zf, Nikon challenged me to take photos based on the theme of 'standing the test of time'. The idea was to take photos that appear timeless, so that the viewer wouldn’t know whether they were taken in 1913 or 2023. 

While I was on a boat on my way to Vancouver Island, Canada, I was immediately inspired by the vintage-style leather seats. It was almost as if I had taken the picture in my head before I even pulled out the camera. I asked my friend to be part of the frame. Luckily, he was dressed in what appears to be a 'timeless' outfit, so it all just clicked into place. 

I asked him to look out of the window to convey the journey and the emotion that a boat crossing can evoke – the hope of a new beginning or the melancholy of
a life left behind. I wanted everyone to see themselves in the photo and what their own journey might look like. Traveling leaves no one indifferent; we all go through emotions when we leave or return, and this is the message I wanted my final image to depict.

The biggest challenge was to take the photo without anyone else in the field of view. It's a popular public transport route that fills up quickly so, as soon as I saw the potential, I ran and asked my friend to sit down so I could take the photo. I knew if anyone else sat down the image would be ruined. It must have taken me two minutes to take the photo and was worth every second.

Tech details

Camera: Nikon Zf
Lens: Nikkor Z 24-70mm f/2.8 S
Aperture: f/4.5
Shutter speed: 1/400 sec
ISO: 320

Take a look at the best Nikon cameras, along with the best Nikon lenses and the best Nikon Z lenses specifically for mirrorless models like the Zf.