Photography News

Adobe Lightroom Classic still scares people off in 2026, mostly because the first 10 minutes feel like a wall of buttons and empty panels. If you shoot a lot, you need a setup that keeps files predictable and edits reversible, not a messy pile of “final_final_2” exports.

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As a seasoned portrait photographer, stepping into the world of 14mm shooting was new territory, but it also served as a great opportunity to put the Viltrox AF 14mm f/4.0 Air Z through its paces. This ultra-wide prime autofocus lens encouraged me to see new places and familiar faces with fresh eyes, revealing perspectives and compositions I wouldn’t normally explore.

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A 50mm and an 85mm can both make strong portraits, but they push you into different decisions the moment you pick one. This video puts the Viltrox AF 50mm f/1.4 Pro FE and Viltrox AF 85mm f/1.4 Pro FE in the same real location so you can see what changes when you use both.

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You can spend a whole year chasing the next trip and still miss what actually moved your work forward. This recap is built around that tension: the gear and locations change, but the real lesson is how you respond when the day refuses to match the plan.

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Instagram is changing what “good” looks like, and it’s not the kind of change you can fix with a new lens or cleaner color. If you keep posting work that looks polished and still get silence, this video lays out a reason that’s hard to ignore.

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1. The Kit For For Frost Photography 

With a cool, clear night comes morning frost and it's a subject that works well for both close-up work and wider landscape shots. For your close-ups of the patterns frost creates, you'll need a macro lens or a 70-200mm zoom lens with extension rings will work just as well if you don't own a macro lens.

A tripod's handy for the times you'll be working in shaded areas and a lens hood attached to your lens will help prevent flare when shooting in the direction of the sun. Take a reflector out with you (a piece of card covered in foil will do fine) as they're useful for bouncing light into shaded spots and remember to slip a few spare batteries into your pockets if you're planning on venturing out for a while. It's also worth remembering to wrap up warm as you'll soon feel the cold when you're stood waiting for those long exposure times to complete. 

 

2. Be An Early Riser & Head For Space 

If the weatherman tells you it's going to be a cloudless night set the alarm clock to go off early, before the sun rises is a good time, as the lack of cloud cover means there's nothing to keep heat in so there's more chance of frost appearing. Head for open spaces (fields) rather than places that are sheltered (forests) as the canopy, or whatever is creating the shelter, can prevent frost from forming.
 

3. Metering Problems 

Like snow, frost, particularly when it's a thick covering, can fool your camera's meter to think the scene's much lighter than it actually is and it will underexpose the shot. If this happens, use exposure compensation and shoot half to one and a half stops over what your camera thinks is correct. You should always check your histogram to ensure the exposure's correct.

 

4. Lighting Tips  

Side and direct light will help emphasise the way the frost glistens and sidelight, in particular, can help add depth to your scene. Try shooting directly into the sun so the frost glistens, you just need to use a lens hood to minimise the chances of flare spoiling your shot.

 

 

5. Look For Shade 

Frost will last longer in shaded areas, but you'll need to use a reflector to bounce much-needed light into the shot. This will add the sparkle you expect to see when you look at frost and help remove the blue cast that's common with shade.

For shots that capture the patterns and textures frost creates, get in close and avoid using flash.

  6. White Balance Tips 

Adjusting your white balance to create a cooler colour temperature can further enhance the feeling of cold in your shot. You can also adjust the contrast of the image during post-production to give more definition to the patterns the frost has created.
 

7. Care For Your Kit 

Once home, don't take your camera out of your bag as soon as you get through the door as condensation can form on your camera/lens. Instead, leave it in your bag while it acclimatises.

 

 

8. You Can Stay Close To Home

If you don't want to venture too far have look for frost on your windows as the patterns it produces are great for macro work. Out in the garden, icy blades of grass are worth capturing early in the morning and look for fallen leaves that are covered with frost while you're out there too. Use a small aperture to make sure more of your image is sharp but if you're working with a leaf that's still on a tree, try using a wider aperture to throw the background out of focus, isolating the leaf in the process. While you're looking at branches look for frost covered berries as the reds contrast well with the white coloured frost.
 

9. Landscapes With Water 

Around ponds, reservoirs, rivers and lakes, look for frosted up reeds and branches above and around the water. They make interesting close-up studies but do take your wider lens with you too to capture a frosted landscape.
 

10. Frosted Webs 

Finally, don't forget about capturing the popular frosted spiders web. Look for webs on or facing hedges, fences and other plain, dark backgrounds as this will help the web stand out. Use a large aperture too so the darker backgrounds also thrown out of focus. If you find using autofocus doesn't give you sharp enough images, switch to manual as if the focus isn't right, your shot will lose impact and can be spoilt.

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January opens the year with CES and closes before the spring photography-focused trade shows like CP+ and NAB. It is often treated as a transitional month, but 2026 proved anything but routine. Between major gear launches, regulatory crackdowns on AI tools, a prestigious engineering award for the inventor behind every camera sensor on the planet, and the continued evolution of what photographers and audiences consider "authentic," the first month of 2026 delivered stories that will shape the industry for the rest of the year. Here are the ten developments that mattered most.

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© Leica

 

Leica expanded its legendary Noctilux line with the launch of the Noctilux‑M 35 f/1.2 ASPH, the first in the series to feature a 35mm focal length. Built in Wetzlar for M-Cameras with high-resolution sensors, the lens delivered the signature subject isolation, smooth background rendering and film-like quality that photographers love, while offering the ability to focus as close as 50cm. Compact at just 5cm in length and weighing 416g, it combined speed, precision and portability, making it a versatile choice for portraits, reportage and street photography. The Noctilux-M 35 f/1.2 ASPH is available worldwide through Leica Stores, the Leica Online Store and authorised dealers, priced at £7,700 / €8,950 / $9,650.

 

From Leica

Since first being introduced in 1966, the name ‘Noctilux’ has represented the pinnacle of optical craftsmanship at Leica. The name is made up of the Latin words ‘noctu’ and ‘lux’, meaning ‘night’ and ‘light’, and refers to the exceptional speed of this lens series. With a maximum aperture of up to f/0.95, Noctilux lenses are considered to be the epitome of optical development, allowing creative possibilities beyond the ordinary and delivering images with an unrivalled visual aesthetic. With the new Noctilux-M 35 f/1.2 ASPH., Leica Camera AG is presenting the first Noctilux M-Lens in the company’s history to feature a 35 mm focal length.

Like all Noctilux lenses, the latest addition to the family impresses with its exceptional speed and superior imaging performance. The new, compact Noctilux-M 35 f/1.2 ASPH. produces clear, high-contrast images characterised by a distinctive look. The shallow depth of field at a wide aperture precisely separates subject and space, creating a velvety soft bokeh and lending images tangible depth as well as a cinematic atmosphere. Stopping down the aperture allows you to selectively increase the depth of field. A floating element within the complex optical construction ensures consistent performance across the entire focusing range, from the close focus distance to infinity.

 

© Leica

 

Up until now, the strength of Noctilux glass has been leveraged exclusively for 50 mm and 75 mm focal lengths, but the new Noctilux-M 35 f/1.2 ASPH. now makes this strength available for the versatile 35 mm focal length for the very first time. The perfect combination of a wide aperture and natural perspective makes it ideal for outstanding portrait, reportage, available-light and street photography. Subjects are clearly in focus thanks to precise separation, while retaining their context thanks to harmonious transitions to the background.

This new lens is the first Noctilux to feature an extended close focus distance down to 50 cm. When used with the new Leica M EV1 and its high-resolution integrated electronic viewfinder, focusing is particularly convenient across the entire focusing range. M-Cameras with a rangefinder can focus to a distance of 70 cm via the optical viewfinder. In the close-up range of 70–50 cm, focusing is carried out via Live View on the rear LCD panel or the Visoflex 2 clip-on viewfinder. The large focusing angle of the Noctilux-M 35 supports this, thereby enabling precise and sensitive work.

 

© Leica

 

The new Leica Noctilux-M 35 f/1.2 ASPH. has been optimised for M-Cameras with high-resolution image sensors, in addition to having been completely redesigned and handcrafted in Wetzlar. Decades of experience and state-of-the-art production technologies have gone into its development. This includes processing special glass materials and aspherical lens elements manufactured in Wetzlar using innovative Precision Glass Moulding (PGM) technology, which shapes lenses in a highly precise process, achieving exceptional quality standards. The optical design comprises ten lenses in five groups, including three aspherical lenses, and a floating element which ensures consistent imaging performance over the entire focusing range. The integrated lens hood reduces glare and reflections, ensuring high contrast and brilliant colour rendering, even with backlighting. Measuring just 5 cm in length, with a diameter of 6.5 cm, and weighing only 416 g, the new lens also impresses with its remarkably compact size.

The Leica Noctilux-M 35 f/1.2 ASPH. will be available worldwide as of the 29th of January 2026 from Leica Stores, the Leica Online Store and authorised dealers. The recommended retail price is £7,700.00 (incl. VAT.) / €8,950 (incl. VAT.) / $9,650.00.

A lens cap will also be available separately for an RRP of £70.00 / $95.00.

For more information, please visit the Leica website.

 

At this time of year, across the UK, snow can start appearing in our landscape. But, it's not the easiest of subjects to photograph, so we have answered some of the most frequently asked questions to help you out when snow's filling your landscape shots. 

1. Why does the snow look blue/grey in my shot?

This is because your camera's metering system is fooled by the highly reflective tones of the white snow, which makes the image appear darker than it should be. Blue snow in pictures occurs where the snow is receiving no direct sunlight but is simply being lit by the sun reflecting off the blue sky (hence the cast). 

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

If you are using a compact camera it most likely has a snow scene mode and by switching to this, your once grey snow should appear white. For those using more advanced cameras, you can get around this by adjusting the exposure compensation setting to either plus 1 or two stops depending on the amount of snow in the picture. If your camera has the exposure lock feature, which is usually set by half-pressing the shutter button, point it at a mid-tone in your scene, lock the exposure then recompose your shot.

To fix a blue cast in-camera you'll need to switch your white balance settings to either shade or custom if you want to create a custom white balance from the snow. If working in sunny conditions the snow shouldn't appear blue but your shadows may but if you try and correct the image in-camera to remove the cast from the shadows you'll alter the colour of the snow so generally, it's best to leave the blue in the shadows so your snow is crisp and white. Plus, there's always the option to adjust the image in your image editing software once home. 

 

 

2. Why does my snow shot look boring? 

When snow covers most of your shot it can make the scene look a little bland, especially with a snow-filled sky as there won't be that much definition between the sky and the ground. Try stopping down a little to add more depth to your shot, or if this doesn't work, try adjusting your position to include a stone wall perhaps, or a lone tree, to add a little more to the shot. To darken light skies so your shots are a little more moody fit a graduated filter to the front of your lens. 

 

3. Falling snow is ruining my shot. How can I minimise the appearance of the flakes? 

The simple answer to this is to wait until it stops snowing. If this is not an option, make sure you're not using your flash, as this can cause the light to reflect off snowflakes nearer to the lens, causing the rest of your shot to look really dull and grey. A better way to capture snow falling is to put your camera on a tripod and use slower shutter speeds. 

 

4. Why has my lens steamed up?

This is because you've moved from a warm house to the freezing cold outside, resulting in condensation. To avoid this, let your camera acclimatise in its case or bag for a while. Don't be tempted to wipe the lens with a cloth as this will cause smudges and marks which will spoil your image. 

   

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

 

The UK’s most exciting photography Convention is back — bigger, bolder and packed with more inspiration, education and industry powerhouses than ever before.

 

The 2026 London Photo Convention & Trade Show brings thousands of photographers together under one roof for four days of hands-on learning, live demos, exclusive deals, and world-class speakers. If you’re serious about your photography — this is where you need to be.

London Photo Trade Show: 15–17 January — Meet the Biggest Brands in Photography

Get ready for three electric days on the Trade Show floor, with leading camera and lighting brands showcasing their latest kit. Expect:

• Hands-on access to the newest cameras & lenses
• Live demonstrations from top pros
• Expert advice from manufacturers
• Show-only offers and exclusive discounts
• Retailers showcasing must-have accessories

Whether you shoot weddings, portraits, landscapes, content for social, or you’re just passionate about photography – the Trade Show has something for you.

Entry: £10 on the day (free if you pre registered before Tuesday)

Get Your Tickets Now!

 

 

Over 200 Hours of Training with Masterclasses & Superclasses

If you're hungry to learn, the Convention’s education programme is unmatched.

Masterclasses

Dive into a huge lineup of practical, inspiring and business-boosting sessions covering:

• Portraits
• Weddings
• Lighting
• Wildlife
• Macro
• Post-production
• Creative storytelling
• Branding
• Business growth for photographers

Top photographers, award-winning educators and industry leaders share the techniques and insights that elevate your photography fast.

Superclasses

Want hands-on training with the best in the business?

The Superclasses deliver small-group, practical workshops with some of the most respected names in the industry. Limited spaces — these sell out fast every single year.

 

 

Exclusive Offer

Save 10% with code epz10 on all class tickets!

  The Photography Event You Simply Can’t Afford to Miss

If you want to improve your skills, grow your business, network with other creatives and immerse yourself in the world of photography — this is your event.

 

Save the Dates

Full Convention: 14–17 January 2026

Photo Trade Show: 15–17 January 2026

Venue: Novotel London West, Hammersmith, W6 8DR

 

Join thousands of photographers for the ultimate start to 2026.

Masterclass Passes and Superclasses available now.

Book your tickets now!

 

The Fstoppers community is brimming with creative vision and talent. Every day, we comb through your work, looking for images to feature as the Photo of the Day or simply to admire your creativity and technical prowess. In 2026, we're featuring a new photographer every month, whose portfolio represents both stellar photographic achievement and a high level of involvement within the Fstoppers community.

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“Wow, what an amazing photograph. What camera do you use?” “I really love your photographs; you must have a very expensive camera.” “Gee, thanks. I use a very old, outdated camera system that’s not very expensive at all.” Let's talk about gear and how it doesn't make you a better photographer.

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Buying a first camera can feel like a test you have to pass before you even take a photo. This video is about avoiding the early traps that waste money, kill momentum, and make you second-guess every click.

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Lightroom Classic can either become the place where your landscape work stays alive for years, or the thing you install after you have already lost track of it. The video lays out a few mistakes that feel small in the moment, then show up later as missing files, wasted trips, and slow progress.

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Dark under-eye bags can wreck an otherwise strong portrait, and heavy-handed fixes usually leave that telltale “plastic” skin. In this video, the focus is removing extreme eye bags in Photoshop while keeping texture believable at 100%.

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A sub-$500 autofocus f/1.2 prime sounds like a pricing error, especially in Canon RF. The real question is what you give up to get that bright aperture in a lens that stays small.

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When it comes to action and sports photography, one of the main problems you face is your subject moves quick and they don't tend to stay in the same place for very long. As a result it can be a bit of a challenge to try and get a sharp photo where your subject is in focus, however there are a few things you can do to capture your moving subject perfectly.
 

Switch To AF

Most cameras feature quick and accurate AF (Auto Focus) systems, making them great for capturing fleeting moments or action shots. Of course, how fast your subject is moving, how much light is around and how quickly your lens can focus will come into play but at least your chances of capturing a sharp shot will be increased with the help of Auto Focus.
 

Manual Focus

You can try and focus manually but this isn't particularly easy to do with fast moving subjects but it can be useful if you plan on pre-focusing.
 

Pre-Focus

This is a little more tricky but once you get the hang of it, it can be a useful trick to know. It's not a very useful technique for subjects whose movement is unpredictable but get at the side of a track or a road where you know a car will have to pass through a certain point and it's extremely helpful.

Written down the technique sounds simple: Switch to manual, focus on a spot you know your subject will pass through, lock your focus and then just before you know your subject's about to pass through the point you focused on, hit the shutter. You need to hit the shutter just before as shutter lag can cause you to miss the shot if you hit it at the point they pass through your focus point.
 

Continuous Shooting

To further increase your chances of capturing your subject as they pass through your point of focus, switch to continuous shooting mode to capture a series of shots, increasing your chances of capturing the shot you're looking for. Again, start shooting just before your subject goes through your focus point and you should get at least one shot that's spot on.

Correct Shutter Speed

You don't want to use a shutter speed that's too high as this will just freeze everything and the shot will look static but you don't want to go too low either as you'll just end up with a shot that's full of blur. Sometimes lots of blur can give you something that's a little more artistic but most of the time it's worth firing off a few test shots to get your shutter speed spot on before the main action starts.

 

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There's a particular kind of cognitive dissonance that happens when you spend months researching dynamic range charts, reading MTF curves, and comparing autofocus systems, only to find yourself genuinely excited about a plastic camera with a 1.6-megapixel sensor that hangs from your keychain. I've spent years writing about camera technology for this site, dissecting the differences between sensors and explaining why certain lenses outperform others. And yet, some of the most enjoyable photography I've done recently has been with cameras that would make any spec-sheet enthusiast wince.

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A strong year of work often collapses under habits you barely notice. This video argues that your progress stalls less from gear limits and more from patterns that quietly drain momentum.

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With black & white camera modes, apps that can turn your phone shots mono and various black & white editing techniques available, black & white photography is more accessible than ever but if you've never produced a black & white shot, why should you? Well, we've put together a quick list of reasons that may just persuade you to give black & white photography a go, plus we've linked to various black & white tutorials as well as mentioned a few tips further down in the article.

 

1. It Makes You Think About Composition More

 

As Robin Whalley said in a previous article: "To achieve a good black and white image you need to have separation between the elements in the frame. If you can’t distinguish or find it difficult to distinguish between the elements the image will lack impact and the viewer will struggle to understand it."

With this in mind, it makes you search harder for an interesting composition that includes strong foreground interest. Strong shapes and lead-in lines work well as do other strong, distinctive shapes further back in the composition that the eye can easily identify even when everything has a similar tone.
 

2. Interesting Take On Snow Photography

 

As most of us have seen snowfall over the last week, now's a good time to talk about photographing snow in a black & white format. Black & white snow-filled landscapes will not only give you something a little different to what the majority of people photograph but it can also stop shots with pale, snow-laden skies from looking boring and lacking in contrast. As mentioned above, contrast is important so look for strong recognisable shapes that can be easily isolated from the white background. For more tips on black & white snow photography, take a look at John Gravett's article.

 

3. Not As Distracting

 

As colour's stripped away and shots become reliant on tones, texture and contrast, everything seems simpler and there are not as many distractions to contend with. Focus falls on your main subject more easily and when shot right, can have a lot of impact.

 

4. Helps Create Mood

 

Mood essentially relates to the lighting in a shot and when you shoot on a cloudy, unsettled day, working in black & white will give you a shot that's far more foreboding than a shot in colour. It's far easier to create a sense of a dark and brooding landscape with black & white than it is colour.
 

5. Soft Or Strong? 

 

During post-production you can Darken certain areas of your shot while lightening other areas, creating contrast as you do. You can create a soft black & white effect or go all out and apply one that's strong. There are various methods for doing this including applying an S-Curve or using the dodge and burn tools. Take a look at these tutorials for more tips:

• How To Turn A Coloured Landscape Mono
• Make A Moody Black & White In Photoshop Elements
• Turning A Coloured Image Black & White
• Create Black And White Images In Paint Shop Pro
• Convert Your Images To Mono With Gradient Maps

   

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