Photography News

 

Whether it's a line of lampposts on a dark street, light glowing from the windows on the front of your house, a night sky bursting with stars or a panoramic cityscape showing the twinkling lights from the homes, shops and streets that fill the city, there's something for every photographer, no matter where you live, to photograph at night.

 

1. Kit Choices

Your most important piece of kit if you're heading out at night is a tripod as it's impossible to work hand-held when you're dealing with very long exposures. If you have one, pack your remote release to help minimise shake or make use of the camera's self-timer if you don't. Your standard lens will do just nicely but take a telephoto along to get you close to lights on top of buildings and illuminated signs. Pack a torch, wear suitable clothing and take a watch along for timing when using the B setting. Do have fun experimenting with Bulb as you'll be able to produce some interesting and creative results. 

 

2. How Dark?

It doesn't have to be totally dark for you to have a try at night photography. Late dusk, when there's still a little light left in the sky, will give you scenes with less contrast as the light that's still in the sky will illuminate areas not lit by artificial lights. If you do want to head out when most people are tucked up in bed take someone else with you for safety and they can keep you entertained while your long exposure ticks along. If you're not very patient you could, of course, use a higher ISO, however, sticking to ISO100 or 200 will give you better quality images.

 

 

3. Long Exposures & Timing

How long your exposure is will depend on what you're photographing. If the light, such as street lamps, is your focus you'll have a much shorter exposure than if you were photographing an illuminated building when you're photographing light that's reflected. If you have both types of light in one scene go for the longer exposure as if you don't, the only detail will be the lights, you won't see a building. This does mean you'll get flare from the street lights, but this isn't necessarily bad.

Overexposed street lamps, particularly if it's a damp night, can look really good.

 

4. Metering & White Balance

You may get a few metering problems as areas of darkness which are occasionally illuminated by bright lights can confuse your camera. If you find your scenes too dark or the lights have washed the scene out, use the compensation setting to adjust the exposure and try again. Don't meter from a dark area either as this will just cause lights to be overexposed.

Keep an eye on your white balance as different lights can have different colour casts. Shop windows will be fluorescent while street lamps and buildings lit by floodlights are often tungsten which gives a yellowish cast to images. But you may find the colour cast adds to your image anyway.

 

Other techniques to try at night include:

• Light trails of moving traffic
• Light painting
• Star trails 
• Fairgrounds at night – use a slow shutter speed to create pictures a wash of vivid colours.
• Cityscapes taken from an elevated point to give you a sweeping shot of twinkling lights.

 

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Artemis II in Eclipse. Credit: NASA

 

NASA has shared a shot from the Artemis II mission called "Artemis II in Eclipse", captured by the crew using a Nikon Z9 during the lunar flyby back in April. The image shows the Sun eclipsed by the Moon from inside the spacecraft, with Saturn and Mars visible off to the side. What makes this even more interesting is that researchers at Tokyo City University have since used the photo, shot handheld on a commercially available camera, to study the structure of the inner zodiacal cloud, proving that consumer camera gear can contribute to real astronomical research.

  From Nikon:

NASA has released a spectacular image from its Artemis II mission, where Nikon's flagship camera, the Nikon Z9, was used by the crew to capture one-of-a-kind interstellar imagery from the historic lunar flyby. Titled "Artemis II in Eclipse", the picture offers a unique perspective of the Sun eclipsed by the Moon from inside the spacecraft.

This fantastic shot was captured in April using the Nikon Z9 mirrorless camera, paired with a 35mm f/2D lens at an aperture of f/2, an exposure time of 2 s, and ISO 1600.

With this rare vantage point, the Artemis II crew witnessed the Sun hiding behind the Moon for almost an hour at a close distance (4,067 miles at closest approach) where the Moon appeared much larger than the sun. The astronauts also captured Saturn and Mars, visible to the right of the Moon within the majestic shot.

Hiroyuki Ikegami, Nikon Senior Executive Vice President, General Manager of Imaging Business Group says: "Seeing the images from the Artemis II mission return to Earth is a profound honour for all of us at Nikon. This latest research from Tokyo City University acts as a powerful reminder of what imaging can make possible when science, exploration, unrelenting effort and human curiosity come together."

"For more than five decades, from Apollo 15 to the Artemis program, Nikon has been privileged to support NASA with cameras and lenses designed for exceptional clarity and reliability in the most demanding environments. The Nikon Z9's high resolution, expansive dynamic range and outstanding low-light performance are helping crews capture incredible details."

Additionally, researchers at Tokyo City University analysed solar corona images taken by the astronauts with the Nikon Z9 during the Artemis II mission. They found that the Z9's high resolution, wide dynamic range and low-noise performance made it possible to capture even the faintest light around the sun with stunning clarity – contributing to this remarkable scientific discovery in space exploration.

 

Figure 3. Left: a normalized green channel image produced by masking the Moon and bright stars from the original art002e009301 image to extract the structure of the diffuse background emission. Right: a diffuse ZL map for the same field calculated using ZodiSURF (R. O'Brien et al. 2026) with the same normalization. Intensity contours of the diffuse light at levels of [0.01, 0.03, 0.1, 0.3] are overlaid for both images.

 

Their study demonstrates that opportunistic observations from crewed lunar missions can provide valuable insights into the structure of the inner zodiacal cloud.

Kohji Tsumura, Associate Professor, Tokyo City University (currently Associate Professor, Frontier Research Institute for Interdisciplinary Sciences, Tohoku University) says: "I was amazed to learn that this remarkable image was captured by an astronaut using a commercially available Nikon Z9 with an exposure time of just two seconds—a true testament to how far digital camera technology has come. Although I was initially sceptical about analysing a JPEG image, the quality proved comparable to data used in professional astronomical observations. Astronomy is unique in that amateurs and professionals alike can make meaningful contributions, and as high-performance cameras become more accessible, I believe images taken by amateur photographers will increasingly lead to unexpected scientific discoveries. I am delighted that this research offers one such example."

Ko Arimatsu, Co-author of the study;  Senior lecturer, National Astronomical Observatory of Japan (NAOJ) says: "In this study, we investigated the properties of the F-corona—interplanetary dust scattering sunlight near the Moon—using images taken by an astronaut with a commercially available Nikon Z9. The findings demonstrate that scientifically valuable data can be extracted from consumer camera images when properly calibrated and analysed. This suggests that high-performance consumer cameras could serve not only for documentation during future space exploration, but also as tools for unexpected scientific discoveries."

For more information, please visit the Nikon website.

GoPro's founder and CEO is lending his own company $20 million to keep it running while its board looks for a buyer. The action camera maker warned last month that it might not survive the next 12 months without new money or a sale.

 

 

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Meta has removed the feature in its new Muse Image tool that let anyone generate AI images from your public Instagram photos, just three days after switching it on. The company said the feature "missed the mark" and is no longer available. 

 

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Signs aren't the most difficult subject in the world to photograph but there are a few things you can do to ensure your shots are perfect.

 

1. Why Photograph Signs?

Signs can be interesting and/or funny in their own right and they can give the person who's viewing your work more information about the areas you visited too. Older parts of towns will have signs that look a little more battered while newer signs which look less worn and more modern will suggest you spent quite a lot of time in newer areas of town. They also suggest if you've ventured beyond the tourist areas as signs tend to just have the language of the country you're visiting once you're over the edges of the tourist trap. These, in particular, are the signs that can be funny too due to the different language or images used to illustrate what the signs telling people. You may also find people have added their own diagrams to the signs which can often bring to odd grin or two.

 

2. Give Your Collection Direction

As well as having them as photos that sit among your collection you can use signs to organise your galleries, albums and portfolios. They make great headings that will help the viewer understand they're moving into a new collection of images.

 

 

 

3. To Zoom Or Not?

If the sign is particularly interesting or tells a story on its own without its surroundings you'll want to fill the frame with it, making use of your zoom if you can't physically get close to the sign. If you're using the sign within its surroundings you'll probably want to use a small aperture to ensure front to back sharpness. Double-check you can still see what's on the sign too as, after all, it's still our focus. Where possible, try shooting straight on to the sign too so it's easier to read.

  4. Reflections

Modern signs are more likely to have a reflective surface and when you're working with bright sunshine or flash, glare can bounce back off the sign spoiling the shot. As a result, it's usually best to turn the flash off or if you're using a flashgun leave it in the bag. If sunlight is your problem then try a different position to see if the glare goes away or return later or come back early the next day when the sun's moved positions.

  5. Shop Signs

If you come across an interesting shop sign chances are it'll be high up and shooting from the ground, looking up won't look right in the final shot so if you can, find something to stand on to give you more height or stand further back if that's not possible.

 

 

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Landscape photography looks like it should be easy. You find a beautiful place, point the camera at it, and press the shutter. Then you get home, look at the files, and the magic that was right in front of you has somehow drained out of the picture. Almost always, the cause is not your gear or the location. It is a handful of specific, fixable habits that nearly every beginner falls into. Here are 11 of the most common, each with a fix you can apply the very next time you are out. 

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L-R: Ian McKellen, Love, London, 2023; Chappell Roan, Fashion: Chanel Haute Couture, New York City, 2025; Isaac Julien and Queen Conch Shell, London, 2023; Miriam Margolyes, Clapham Cream Teas, London, 2023 / Image Credit: National Portrait Gallery

 

The National Portrait Gallery has announced full details of Tim Walker's Fairyland: Love and Legends, a landmark new exhibition from acclaimed British photographer Tim Walker. Running from 9 October 2026 to 7 February 2027, the show brings together 250 specially created portraits made over five years, capturing Queer activists, storytellers, performers and icons including Ian McKellen, Chappell Roan, Isaac Julien and Miriam Margolyes. Curated by Susanna Brown, the exhibition traces over fifty years of Queer history and culture, from the campaigners of the Gay Liberation Front through to today's changemakers, before closing with a bold exploration of fashion, performance and fairy tale reimagined through a Queer lens.

 

From National Portrait Gallery:

Today the National Portrait Gallery reveals details of a major new exhibition created by renowned photographer Tim Walker, presenting a body of new work celebrating Queer culture and life. The project is the result of five years of connecting with Queer people and their allies in Britain and beyond and marks a decisive shift in Walker's artistic focus.

Walker rose to prominence in the 1990s with his unique style of fantastical photography. Since then, his fashion pictures and portraits have graced the pages of magazines such as Vogue, Vanity Fair, W, Love, Another Man and i-D. He has published seven books and staged solo exhibitions at museums around the world, while his short films and projects with musicians have won international acclaim.

Curated by Susanna Brown, the exhibition engages with the historical gallery setting, presenting both unsung heroes and established giants of Queer history. Designed by Walker's longtime collaborator Shona Heath with support from the National Portrait Gallery, Walker spotlights some 250 activists, social workers, nightlife performers, musicians and superstars in a spectacular display. Tim Walker's Fairyland: Love and Legends purposefully reclaims the word 'fairy' for Walker and his sitters, resisting homophobia and transphobia with his original blend of wit, joy and sensitivity.

The exhibition opens with portraits of trailblazers who spent the 1970s and 80s bravely advocating for the right to love. They include founding members of the Gay Liberation Front and Stonewall, among them Olivette Cole-Wilson, Andrew Lumsden, Lisa Power and Tom Robinson. Walker memorialises his own 'queeristocracy' in a style inspired by sixteenth-century portraits of Tudor aristocracy by Hans Holbein the Younger and Nicholas Hilliard.

 

L-R: Andrew Lumsden (1941–2023) (after Nicholas Hilliard), London, 2023; Olivette Cole–Wilson and Blackbird, London, 2025; Sunil Gupta, London, 2023; Jill Nalder Holding a Photograph of Dursley McLinden (1965–95), London, 2023. / Image Credit: National Portrait Gallery

 

A further group of Queer changemakers, such as Ted Brown, Caroline Paige, Gilli Salvat and Peter Tatchell, are shown alongside storytellers who made Queerness visible in the late 20th century, including James Ivory and Sarah Waters. Walker invited each sitter to bring a meaningful object to their portrait session: author Jane Cholmeley presents the original shop sign from Silver Moon Women's Bookshop, founded in 1984; photographer Sunil Gupta holds his camera; and filmmaker Isaac Julien clasps a conch shell, a motif from his pioneering 1989 film Looking for Langston. Walker then photographed those working today for a better future, among them Liz Carr, Shon Faye, Francis Lee, Lady Phyll, E-J Scott, and Kae Tempest. Nearly all these portraits are set against deceivingly simple white backgrounds, in a style reminiscent of the work of Richard Avedon, whom Walker assisted in the 1990s.

 

L-R: Lady Phyll, London, 2024; Kae Tempest, London, 2023; Francis Lee, Ode to Edward Carpenter, London, 2023; Shon Faye, London, 2025 / Image Credit: National Portrait Gallery

 

The exhibition pays tribute to the many people who came together in solidarity and action in response to the HIV/AIDS crisis of the 1980s. Walker's photographs of nurses and healthcare professionals who developed effective treatments for the disease are displayed alongside musicians who soundtracked the era, including Marc Almond, Holly Johnson, and Jimmy Somerville. Walker explains, "The brilliance of their music boomed despite the fear of mortality and discrimination. I wanted to bring that disco to the ward, to celebrate the tireless work to spread awareness and pursue proper care and solutions."

A room at the centre of the exhibition is dedicated to large-scale portraits of post-punk collective the Rebel Dykes, inspired by Karlheinz Weinberger's photographs of 1960s biker gangs. These are accompanied by a short film in which the women reflect on the importance of community and their campaigns for nuclear disarmament, environmentalism, sex positive feminism and HIV solidarity.

 

L-R: Aphra and Jo Barwick, Siobhan Fahey and Emily Witham, East Sussex, 2024; Maartje Convens and Marin Céleste, Camfield Place, Hertfordshire, 2022; Paul O'Grady (1955–2023) and Julian Clary as the Glitter Queens, with Harry Browse, Rae and Liam Elias as the Glitter Boys, London, 2022 / Image Credit: National Portrait Gallery

 

The second half of the exhibition looks at the transformative power that fashion, makeup and performance have long held for Queer people. It features portraits of designers Jean Paul Gaultier and Michaela Stark, drag performers Paul O'Grady, David Hoyle and Midgitte Bardot, personalities Alan Carr and Sue Perkins, and actors Ncuti Gatwa, Hunter Schafer, Fiona Shaw and Ben Whishaw, among many others. International music stars and icons Björk, Lady Gaga, Boy George, Frank Ocean, and Chappell Roan are also pictured.

 

L-R: David Hoyle, Prawn Cocktailed, London, 2023; Ben Whishaw in Crystal Prism, London, 2020; Fairyland Parade, Joe Sweeney, Matthew Keller, Harry Keita, Bolly Illusion, James Corbin, Oliver-Bijan Daryoush, Jack Newman, Yos Clark and Joseph O'Rourke, London, 2023; Alex Gorey and Matías Montes (after Yannis Tsarouchis), London, 2021 / Image Credit: National Portrait Gallery

 

The exhibition climaxes with a room of staged erotic scenes which subvert fairy tales and nursery rhymes through a Queer lens. Walker contextualises these works saying, "the greatest thing I learned from the activists, storytellers and performers who make up Fairyland is how essential eroticism and humour are. It's the very heart of what we're talking about when we talk about Queerness. A place where you can desire and be desired. A place where you can be whoever you want to be."

"The Fairyland exhibition is me finally placing myself in the queer realm with confidence and greeting all the other friends who live here. Just as I learned from the queer artists who came before me, some of whom I'm lucky enough to have met and photographed here, Fairyland is me saying you are not alone. I want visitors to the exhibition to remember that your difference is your power. It is a precious and beautiful thing." 

Tim Walker, Photographer

 

"This is the most ambitious and important project of Tim Walker's career. He takes exhibition visitors on a journey that begins with protest and outrage and ends with joy. For some visitors, the content will resonate with their own lived experiences, for others it will broaden their understanding of unfamiliar subjects. It's been an honour to collaborate with him and to witness the creation of this powerful and uplifting body of work."

Susanna Brown, Exhibition curator

 

"Tim Walker's Fairyland: Love and Legends takes us on an extraordinary journey through half a century of history. It is a vivid tapestry of Tim's many inspirations and influences and presents lavish, fantastical scenes alongside intimate and singular portraits. This timely exhibition is both deeply personal and profoundly universal and we are proud to host it at the Gallery."

Victoria Siddall, Director of the National Portrait Gallery

 

The exhibition is accompanied by a new book featuring contributions written by Travis Alabanza, Susanna Brown, Russell T Davies, Shon Faye, Lisa Power and Joelle Taylor.

For more details, please visit the National Portrait Gallery website.

Old artefacts aren't the only things to photograph in museums. At places such as Beamish and the Black Country Living Museum, you'll find people dressed in period clothing, acting out specific historical roles who are perfect subjects for a quick snap of times gone by. If you don't fancy heading to a museum there are also plenty of re-enactments held right across the UK where you'll find plenty of people in character who are more than happy to be photographed (a subject we'll be looking at later this month). 

  1. What Gear Do I Need? 

When shooting portraits in large museums where buildings and locations vary, you'll need a versatile zoom lens which allows you to move from a wide-angle to a mid-range focal point easily, even if in a busy crowd. A shorter zoom or prime lens such as 50mm can be used in more controlled environments.

Unless it's really impossible to do so, use a tripod as they slow you down and give you the chance to think about composition more and a reflector would be handy, although don't get in anyone's way with one, especially inside shops and other indoor locations where space can be lacking. 
 

2. Do Your Research 

Make good use of the internet to search for places of interest but always keep a lookout for notices in local shops and venues advertising events as these tend to be based more locally, saving you time and money. 
 

3. Take Your Photos At Less Busy Times

To avoid crowds, arrive as early as you can or stay later. By doing so you'll be able to capture images without a queue of people waiting behind you, meaning you can take your time and as a result, produce better shots. 
 

4. Take A Walk Around 

When you arrive at the museum have a look around and see what's where and who's around to photograph. If possible, find a good subject then go and look for a fitting background. However, most of your subjects will already be in locations that fit their character such as in shops, workshops etc. so you may not need to do this. Do remember though that getting the background right in the shot is much easier than editing one in. 

Do look for 'that person' other photographers aren't surrounding which is easier said than done sometimes but it will give you a shot that, hopefully, not many others will have captured. 

 

5. Always Be Polite

When you do find someone you want to photograph always ask permission first, even if the people there expect to be photographed it's always better to ask. Be confident and always act professionally. You may need to give direction but some will automatically create a pose they like or have held on several occasions before. You can capture them in this pose but do try and persuade them to change their stance a little to give you something a little more unique. It's also important to keep them chatting as this put them at ease and allow a bit of their personality/character to come through.
 

6. Double-Check The Scene Before Hitting The Shutter Button

Small details make a huge difference so do check your frame carefully before taking your shot. Asking someone in a polite way to not smile so much or open their eyes wider may seem like a small thing but it will make a big difference to your final image. 
 

7. Think About The Lighting 

You may find that there's either not enough light or too much electric/artificial lighting and this is where moving a subject will help, but you will need their cooperation so that's why it's always worth chatting to them first.
 

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

In 2010, I made a decision that didn't make much sense on paper. I sold my Nikon gear and bought the first Olympus Pen E-P1.

 

It was slow. It was imperfect. Autofocus... lol. It didn't impress anyone who cared about specs.

But it changed how I worked in the street.

Since then, I've worked with Canon DSLRs, Lumix bodies, Olympus, Ricoh, Sony, Fujifilm, and Pentax systems in real documentary contexts, not as a collector or reviewer, but as a working photographer moving through unpredictable environments.

And over time, something became clear.

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A $200 lens outperforming a Zeiss on corner sharpness is exactly the kind of result that shows how fast optics have moved. The 24mm focal length gives you a wide field of view with just enough drama to hold onto your subject, and paired with a bright aperture, it delivers backgrounds that fall away beautifully. 

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Most slow shutter advice sends you straight to a tripod, a waterfall, and a 30-second exposure. There's a whole range of shutter speeds you can shoot handheld that keeps part of your frame sharp while letting motion streak through it. 

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Nikon is reportedly close to launching a fast, high-end, professional APS-C camera, with an announcement expected in the next couple of months. The most talked-about spec is a 45-megapixel stacked sensor in a body built for speed. 

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Meta's new AI image generator lets anyone pull photos from a public Instagram account and feed them into AI creations, without asking the account owner or telling them afterward. The feature is switched on by default for public profiles. 

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1. Why Photograph Vertical Lines?

Lines going up and sometimes out of the frame can convey a sense of growth, strength and power as well as create interesting patterns within your images.
 

2. Shoot Portrait Or Landscape?

Switching from landscape to portrait mode lengthens the frame you're working with, emphasising the length/height of the vertical lines. Turning the camera back around to horizontal format works well when you have multiple vertical lines going through the frame as you'll be able to get more in the shot and it can help create the impression that the objects you're photographing are so tall that you can't fit them all in the frame.
 

3. Straight Lines

Make sure your vertical lines run parallel to the sides of your frame as wonky, slopping lines will mean your shot lacks impact. Keep an eye out for converging verticals too. If you find you're having a problem with them try and work from higher up to put you more in line with the object you're photographing, switch to a focal length that's not as wide or you can take the shot and adjust the photo in Photoshop or another similar piece of editing software later on.

 

 

4. Framing

Putting a vertical line in the centre of the frame will cut your image in half which does create a strong impact and maybe something you like, however most of the time it's best to position the object/shape more to the left of right of the image.
 

5. Get Repetitive

Repeating patterns and symmetry works well when you have multiple vertical lines in your shots. Just remember to have a play around with the orientation of the shot to see which way emphasises the pattern you're trying to create more.
 

6. Adds Depth

When you have lots of the same object in a line, take a line of trees along a path, for example, you can stand at the top of the path, point your lens down it and you'll see the trees, or whatever lines the edge of your shot, create depth as they vanish towards the back of your image. Just remember the items creating the vertical lines need to be of roughly the same height.

 

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

 

For hybrid content creation, for vlogging, for video, and last but certainly not least for stills photography, here we have Canon's new RF 20-50mm f/4L IS USM PZ full frame lens. Rather than having a separate attachment PZ zoom, for the first time for Canon, we have an internal power zoom. So there are many video possibilities, but also a focal length range that can be very useful for stills photographers. So we set out into the weekend of 1940s re-enactments and even a full day of blazing sun at the Lytham Vintage Car event, using the new full-frame 32.5MP Canon R6 V plus a more conventional 26.2MP Canon RP. Cameras and lenses held up without a glitch; let's see what we learnt from the unusual experience of shooting a review in the sun and heat of a relentless heat dome.

 

Canon RF 20-50mm f/4L IS USM PZ Handling and Features

There is a provided petal lens hood that bayonets smoothly into place. There is a retaining catch to ensure it does not come adrift in use. The bayonet fit surrounds a standard 67mm filter thread. The front element is Fluorine treated to help repel water, dust and grease. The lens is chunky but not overly heavy, weighing in at a modest 420g. Dimensions are 79.9mm x 98.4mm.

 

 

The various control rings do not protrude beyond the diameter of the lens but are easily gripped thanks to the texture on the surface. First up is the usual programmable control ring, followed by the manual focus ring and then the zoom ring. The zoom ring reveals something new, having two distinct sections, PZ and MZ. These can be toggled using the release catch further back along the lens barrel. PZ is the built-in PZ zooming, operating much like any compact camera’s motorised zoom, albeit silky smooth, virtually silent and adjustable in speed. If zooming during filming, this should yield smooth transitions without any juddering or instability. Combined with the near silent nano USM AF system, this will no doubt be welcomed by videographers.

The control ring and the focusing ring are electronic and totally smooth in operation. The zoom ring is obviously smooth when set to PZ. From here, the zoom action can be operated via a switch on the camera or by turning the zoom barrel. If moved into the MZ section, then the lens has a normal manual zoom action. This is not electronic, but is still commendably smooth. There are clear and accurate focal length markings at 20mm, 24mm, 28mm, 35mm and 50mm. As these actions do not extend the lens barrel and the balance remains the same, an advantage when using gimbals.

 

 

The only other switches are the AF/MF and Stabiliser on/off. The stabiliser gives a potential 6 stops advantage, rising to 8 stops if combined with IBIS. 

Optical construction is 13 elements in 11 groups, including 3 UD (Extra Low Dispersion) and 2 Gmo Aspherical (Glass Moulded aspherical). The diaphragm comprises 9 blades. Reduced focus breathing will assist videographers. The extra wide 20mm setting does mean that immersive filming and compositions are enhanced, bringing the lens right into the action. This can be applied to street and reportage photography, creating the feeling that the image maker is a part of events rather than just an observer of them. To assist with this, the lens focuses down to 0.24m, resulting in a magnification of 0.14x at 20mm and 0.33x at 50mm. The converse is less true, as the lens is not compatible with extenders.

At the core of all this lies the performance, so let's now have a close look and see how the lens performs in the technical tests.

 

 

Canon RF 20-50mm f/4L IS USM PZ Performance

At 20mm, central sharpness is outstanding from f/4 through to f/8, excellent at f/11 and f/16 and very good at f/22. The edges are very good from f/4 to f/11, good at f/16 and fair at f/22. 

At 28mm, central sharpness is outstanding from f/4 to f/8, excellent at f/11 and f/16 and very good at f/22. The edges are very good from f/4 right through to f/16 and fair at f/22.

At 50mm, central sharpness is excellent from f/4 through to f/11, very good at f/16 and good at f/22. The edges are excellent from f/4 through to f/8, very good at f/11 and f/16 and good at f/22.

This is a highly accomplished performance indeed.

 

Canon RF 20-50mm f/4L IS USM PZ MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a 32.5MP Canon R6 V and a 26.2MP Canon RP using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is under control throughout, but especially so at the centre of the image. In real-life photos, there is little sign of colour fringing.

Distortion is very close to zero, and we could happily consider the lens to be rectilinear throughout the range, comfortably exceeding even the performance of many macro lenses. The actual figures are -0.10% barrel at 20mm, -0.07% barrel at 28mm and +0.10% pincushion at 50mm.

 

Canon RF 20-50mm f/4L IS USM PZ Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.

For this review, the lens was tested on 32.5MP Canon R6 V and a 26.2MP Canon RP using Imatest.

 

Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, but we know attractive bokeh when we see it. The lens has pleasant bokeh, but not utterly buttery smooth like some. There is just a tinge of feathery edges where there could be silky gradation. It is a very minor difference, though, and for most purposes, the out of focus effects are pleasant enough.

The flare performance is excellent in all general photography. Where bright light sources are within the frame, artefacts can be generated, but it must be said that they can look rather good as well. This not only applies to stills photography, but perhaps especially to the primary video intent of the lens. Some dramatic flare can look rather good in videography.

Vignetting is well within reasonable levels and returns figures that not so long ago would have been considered exceptional.

 

Aperture 20mm 28mm 50mm f/4 -1.4 -1.3 -0.9 f/5.6 -1.3 -1.3 -0.9 f/8 -1.2 -1.3 -0.9 f/11 -1.2 -1.3 -0.9 f/16 -1.1 -1.3 -0.8 f/22 -1.1 -1.3 -0.8

 

Canon RF 20-50mm f/4L IS USM PZ Sample Photos Previous Next

 

Canon RF 20-50mm f/4L IS USM PZ Aperture range Previous Next

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

 

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Value For Money

The [AMUK]Canon RF 20-50mm f/4L IS USM PZ|Canon+RF+20-50mm+f/4L+IS+USM+PZ[/AMUK] lens is priced at £1439.00.

The only option that comes close to the PZ function is the APS-C format 18-135mm lens with the optional Canon PZ-E1 adapter, not full frame and hardly an elegant option by comparison.

Perhaps the closest, non PZ, option might be the [AMUK]Canon 15-35mm f/2.8L IS USM|Canon+15-35mm+f/2.8L+IS+USM[/AMUK], priced at £1173.00

Considering the quality and the features, though, the new lens does seem to be priced fairly and no doubt that price will settle over time.

 

 

Canon RF 20-50mm f/4L IS USM PZ Verdict

There is no doubting the quality of the RF 20-50mm PZ lens, and no doubting that the focal length range makes it a strong option for those who like to get in close, for an immersive experience. The features are geared towards the videographer and the hybrid content creator, but for general photographers, we also have a simply superb wide standard zoom lens.

Two camera bodies were used in the review, as mentioned in the introduction, and both performed without any problems at all. In the unrelenting sun of our heatwave, it must be said that it is easier to precisely compose using the eye-level viewfinder of the RP. Using the rear screen only, R6 V is fine in duller light or under studio conditions, but in full sun, it is almost impossible to check that nothing unwanted is creeping into the edge of the frame.

Whatever the camera style, it is clear that the 20-50mm f/4 L IS USM PZ lens is a very fine lens indeed that will not disappoint.

 

Canon RF 20-50mm f/4L IS USM PZ Pros

• Excellent to Outstanding sharpness
• Virtually rectilinear (no distortion)
• Fast, accurate and virtually silent AF
• Excellent flare resistance
• CA well controlled
• Moisture and dust sealing
• Internal power zoom
• Modest vignetting
• IS 6 stops
• IS + IBIS 8 stops

 

Canon RF 20-50mm f/4L IS USM PZ Cons

• Some flare in extreme situations

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4.5|R_performance=5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – A simply superb wide standard lens with inbuilt PZ zoom control.|E_id=8027[/REVIEW_FOOTER]

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1. Ask Permission

If you're planning on working up close so a person is the main focus of your photo you should always ask them if it's OK to take their photograph. This is even more important if you plan on snapping a couple of shots of children playing as it can anger parents if you just start taking photographs of their kids. If language is a barrier try smiling and pointing to your camera you should soon have a quick nod or shake of the head in response. When people play a minor part in your image asking permission to shoot, particularly if it's a large crowd, can be impossible as there are just too many people. The same goes for shots of shows you may go and watch while on your holiday. Of course, if there are signs or information on your ticket which says you're not allowed to take photos then don't but otherwise, you should, generally, be OK to shoot without asking. Just remember these people will have dressed up for the stage so, for something more authentic, you need to get out onto the street.

2. Be Polite

Your job is to make your subject feel comfortable so always give them eye contact when you're talking to them, smile and don't forget your manners. Try to learn what hello, please and thank you are in the language of the country you're visiting and if your subject looks uncomfortable when you start taking photographs, it is usually just best to stop and move on to something else as some people will say yes just to be polite when really they'd prefer to hide from your lens. Using longer focal lengths will put more distance between you and them which means you can take a couple of photos without invading their personal space. Once you've got your shot(s) be polite and show your subject the results. Just be wary of some people who'll expect a tip for helping you out.

3. Understand Their Culture

Make sure you know what's acceptable and what isn't and respect the views/practices of the people you're visiting. Remember laws differ around the world too and there may be more restrictions on photography in the place you're visiting than in the UK so it's best to check before you start shooting.

 

 

4. Out With Tour Groups

If it's safe to do so, head out with one or two people instead of a large group as lots of people sticking a lens at you can be intimidating. If you're heading out on an organised trip, you can stay close to the group but don't crowd just one person. Instead, pick another subject then move back to the person who first caught your eye and politely ask if you can take a few photos after the rest of the group moves on to something else.
 

5. What To Photograph

If the surroundings/background will give your shot context, as the above example does, use it. Make sure it's not overpowering though as attention still needs to fall on the person you picked for the portrait. If it's not really worth photographing or it's a little messy, use a wider aperture to throw it out of focus. Darker backgrounds will really help your shot 'pop', making your subject really stand out from the rest of the shot.

If you have a willing subject who tenses up and becomes a little too rigid when you put the camera to your eye take the shot anyway then quickly snap another when they think you've finished capturing a moment when they're more relaxed.

For more intimate shots, tighten your frame by either moving your position so you're working closer to your subject or use the longer focal lengths on your zoom lens to fill their frame with their face. The second method is often preferred as it means your subject stays relaxed as you're not invading their space. Just make sure you focus on the eyes and check everything is sharp before you hit the shutter button.

If your subject is selling, making or buying something try and take a few shots of them 'in action'. A candid approach is often the way to go for this which means you need to shoot lots and often. Setting your camera to continuous shooting mode will mean you can take a quick series of shots, increasing your chances of capturing an interesting expression/look. If you want to get closer to people but don't fancy aiming your lens at them try shooting from the hip. This approach can be a little hit and miss, but you can get the odd, surprisingly good result from trying it.

 

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