Photography News

 

Holiday season is approaching again and the time of year when you'll no doubt be dusting off your old camera or considering buying a new one. This article will help you take better pictures, avoid disasters and maybe make you think a bit more before you press the shutter.

 

1. Individuality

You only have to go to any popular tourist spot to see camera-clutching individuals out in their droves, each clambering to the same old spots to take the same old pictures. I wouldn't be surprised if the ground is eroded in certain places as certain spots have provided support for thousands upon thousands of people pointing their cameras to take pictures. Now here's an idea, how about some tripod manufacturer concreting one of their best selling models into place so you can get exactly the same picture! What I'm eluding to is it's better if you can get off the beaten track to take your pictures. If you're in a coach party and the coach stops, walk up the road and see if there's a better viewpoint. Coaches have to stop in lay-bys and that's not always the ideal vantage point. Often shrubs or trees block the view, and there's likely to be rubbish strewn all over the place. But the main thing is you won't have the same picture that everyone else has. You can usually buy those at the postcard shop.

 

 

2. Look For Ideas

Talking of which, postcards, taken by the professionals, often give you ideas and point out not only the obvious beauty spots but also the less ventured locations. When you stop in an unfamiliar village or town, it's always worth checking out the local postcards to see what previous photographers have discovered, and then plan your trip to include that location and take your own versions of the postcard shots. Use their ideas as inspiration for your own pictures, and use these in other locations. Of course with the internet available almost anywhere you can also do your research online, either before you go or at your hotel before you head off for a day of exploration. 

 

 

3. Wonky Won't Work

There are several simple tips to help you take better pictures with your camera. The main thing is to check the viewfinder just before you take the shot. Look for obvious problems such as trees or lampposts growing out of heads, horizons at an angle and fingers straying over the lens. Also, avoid covering the flash when taking pictures indoors. Using a tripod will help ensure the horizons straight and you can also buy Hot Shoe Bubble mounts that can be placed onto the hot shoe of a camera to help ensure your camera is level.

 

 

4. In The Sun

If you're lucky you'll have good weather, lucky for your tan, but maybe not for your picture taking. The sun when high in the sky casts hard shadows and bright highlights that create too much contrast making detail in shadow areas become black and highlights washed out. Here's where your built-in flash will help. No, it's not just for parties and indoor frolics, the flash can be used to put detail back into shadow areas and also adds a sparkle to eyes (known as a catch-light). Use it when you can see a harsh dark shadow under the nose and chin. 

 

  5. On The Beach

If you're a sun worshiper and head for the beach watch your camera. Cameras don't like salt water or sand and if either element comes into contact it's a recipe for disaster. You can buy a special waterproof pack that houses the camera and lets you take pictures with it in place, or you could buy a waterproof camera or a single-use splashproof camera if you prefer. Of course, keeping your camera and lenses in a camera bag when not in use will reduce the amount of sand and sea-spray that gets into contact with it. An everyday backpack will have more than enough room for camera gear plus other accessories you may need for a day at the beach. 

 

 

6. Photos Of People

When you go abroad you're likely to see interesting characters and will be eager to snap these locals in their natural environment. While some will be happy to pose, you must remember you are invading their privacy so don't go prodding your lens here, there and everywhere without understanding the culture of the locals. You can often go on tourist trips to villages that have been set up to show what life is like in the real villages and, as you've paid to go, there's no harm taking pictures. If you want to tread further afield do some research before you go.

 

 

 

7. Insured?

Lastly, if you have an expensive camera make sure your insurance covers it. You don't want to damage your camera or have it stolen before you find you're not covered for damage or theft.

 

 

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Low-light photography always comes with a tradeoff: raise the ISO, and you get the shot, but also noise. In fleeting moments, whether shooting wildlife, handheld street scenes, or live events, there’s no second chance to adjust settings or reshoot. Capturing the moment comes first, and improving image quality happens later in post-processing.

While AI image denoisers are designed to reduce image noise while preserving natural texture, different tools strike this balance in various ways. To help you find the best fit for your workflow, I’ve tested several leading photo denoising software across common real-world scenarios, comparing how each handles the delicate line between noise removal and detail retention.

 

How AI Denoising Restores Images with Natural Details

Traditional noise reduction often removed grain through heavy smoothing, which could leave images looking soft and lose important texture, especially in low-light photos. Instead of simply blurring noise, modern AI tools like Aiarty Image Enhancer intelligently separate noise from real detail to preserve edges, texture, and structural integrity. It is designed for real-world photography workflows, helping recover clean image quality from high-ISO, low-light, or compressed photos.

 

Test methodology:

To ensure a practical comparison, all images were captured in real-world low-light conditions rather than a controlled studio:

• ISO range: 3200–12800 
• Formats: Mix of RAW and JPEG 
• Shooting conditions: Handheld, low ambient light, no additional lighting
• Aiarty is used as the starting reference in this testing. You can get a free trial to test it on your own files, with several other leading tools compared below to show how different approaches handle real-world denoising.

 

Case Study 1: Wildlife (Fur Detail Under Low Light)

Wildlife photography often requires high ISO settings during the "golden hours" of dawn or dusk. The challenge lies in separating fine fur or feather textures from noise, especially in underexposed areas. Traditional tools often smudge these textures, leaving backgrounds blotchy and subjects soft.

Using a squirrel image as an example, where noise appears in both the background and fur, Aiarty Image Enhancer maintains natural and detailed look of the squirrel’s fur, with clear texture instead of being turned into flat areas.

 

Testing Aiarty Image Enhancer: More-Detail GAN v3 model, x2 upscaled, 0.95 Strength

 

You can also control how strong the denoising is with the Strength option. By adjusting the Strength slider, photographers can retain a hint of organic grain for a more "atmospheric" shot or opt for a 100% clean, clinical output for high-end prints.

 

Testing Aiarty Image Enhancer: denoise strength 50% vs 100% 

 

Case Study 2: Low-light Indoor Photography

Indoor scenes with mixed artificial lighting, such as portraits or interior shots, frequently suffer from grain across smooth surfaces like skin, walls, and furniture. Aggressive image noise reduction often results in a "plastic" look where skin textures are over-smoothed and fabric details disappear. 

Aiarty Image Enhancer effectively reduces image noise while preserving subject detail and natural texture. It cleans up grain in low-light interiors without sacrificing the natural micro-textures of skin or wood, ensuring that lighting transitions remain smooth and balanced.

 

Testing Aiarty Image Enhancer: Real-Photo v3, slightly color corrected

 

Case Study 3: Night Photography (Gradient Noise and Color Artifacts)

Night photography presents a unique challenge: managing noise in vast, smooth areas like dark skies and deep shadows. High ISOs often introduce chroma noise (color speckling), which can cause banding in gradients and a loss of depth in the shadows.

While many photo denoising tools struggle with shadow depth, Aiarty Image Enhancer eliminates color artifacts while keeping gradients fluid. Skies remain clean and even, and shadows retain their tonal depth, preventing the "flat" look common in over-processed night shots.

 

Testing Aiarty Image Enhancer: More-Detail GAN v3, slightly color corrected

 

2026 Best AI Photo Denoisers Compared

Aiarty Image Enhancer is a powerful AI denoise and upscale tool. Designed for real-world photos, it effectively removes noise while preserving fine details and natural textures. 

That said, there’s no one-size-fits-all solution for image denoising. Different image denoising tools are optimized for different needs—whether it’s RAW photo processing, fast batch cleanup, or advanced AI-driven enhancement workflows.

 

Tool Primary Focus Denoise Approach Price Aiarty Image Enhancer AI-based enhancement Noise reduction + detail reconstruction Lifetime license (with free trial) Adobe Lightroom RAW workflow Sensor-level AI denoise Creative Cloud subscription only DaVinci Resolve Signal processing Temporal + spatial noise reduction Lifetime license (Studio version) Topaz Photo AI Intelligent Automation Denoise + sharpen pipeline Subscription DxO PureRAW Camera calibration Camera-profile-based denoise Lifetime license + upgrade fee ON1 NoNoise AI General-purpose AI Adjustable AI denoise for RAW/JPEG Lifetime/subscription

 

Tips: To get the best results, match the AI image denoiser to your editing habits. If you want to avoid the "subscription trap" and prioritize long-term value, Aiarty Image Enhancer currently offers a 49% off lifetime license ($79, originally $155), available for 3 machines (PC/Mac), includes free lifetime updates, and is backed by a 30-day money-back guarantee.

 

Adobe Lightroom

For those already within the Adobe ecosystem, Lightroom offers a seamless experience by integrating its AI Denoise tool directly into the familiar Detail panel. The workflow is impressively straightforward: a single slider adjustment generates a new, enhanced DNG file, allowing you to continue your RAW editing without interruption.

Under the hood, Lightroom performs sophisticated RAW-level processing that balances image noise reduction with color and tonal consistency. The results are highly predictable and professional, prioritizing a stable, clean output over aggressive texture reconstruction.

 

 

DaVinci Resolve (UltraNR / Neural Noise Reduction)

If you already use DaVinci Resolve for video, you’ll be pleased to know its new Photo Page brings that same Hollywood-grade photo denoising to your still images. It’s a fantastic "two-for-one" tool that lets you clean up noisy photos using the UltraNR engine without ever leaving your project timeline.

Rather than trying to "invent" new textures, the DaVinci Neural Engine focuses on high-end signal cleanup. It uses a mix of spatial and temporal analysis to remove noise from photos, effectively scrubbing away that gritty luminance and "rainbow" chroma noise while keeping edges like hair and eyes sharp. It’s particularly impressive in deep shadows or underexposed night shots, providing a clean, cinematic look that feels like a natural photograph rather than a digital reconstruction.

 

 

Topaz Photo 

Built around an all-in-one enhancement pipeline, Topaz Photo applies AI models to denoise, sharpen, and upscale images with minimal manual adjustment, focusing on fast automated results. The idea is straightforward: load a noisy image, let the model decide, and get a clean result quickly. Different AI models handle RAW and non-RAW images separately.

When applied to real images, it removes noise from images and produces clean results with minimal manual input. Because AI image denoising and sharpening are handled together, the final appearance can vary depending on how each model balances smoothing and detail enhancement.

 

 

DxO PureRAW

DxO PureRAW takes a RAW-first approach to image enhancement, combining camera and lens profiling with AI-based processing tailored to specific sensor characteristics. Within this workflow, DxO relies on DeepPRIME models to denoise images. Using camera and lens profiles together with AI-based processing, they handle image noise reduction, demosaicing, and optical corrections in a unified step. Newer versions like DeepPRIME 3 and XD3 further improve noise suppression and detail recovery in high-ISO images.

This calibration-heavy workflow delivers exceptionally clean RAW files with superior noise suppression, providing a purer "digital negative" that is particularly effective for high-ISO images shot in difficult lighting.

 

 

ON1 NoNoise AI

Available as both a standalone tool and plugin, ON1 NoNoise AI applies AI-driven noise reduction to RAW and JPEG files while offering adjustable control over detail preservation and smoothing intensity.

The tool uses AI-based noise reduction to clean up high-ISO and low-light images while attempting to preserve fine detail and sharpness, with adjustable intensity levels that allow users to control how aggressively noise is removed. While it prioritizes a balanced, natural look for everyday photography rather than deep texture reconstruction, it remains a popular AI denoiser for its ability to preserve color fidelity in challenging low-light shots.

 

 

Conclusion 

AI has transformed noise reduction from a tedious chore into a professional-grade shortcut. While tools like Lightroom and DxO focus on RAW consistency, and others lean toward automation, Aiarty Image Enhancer stands out for its superior balance of noise removal and genuine texture preservation.

For photographers who need powerful, easy-to-use image noise reduction that restores natural detail without complex manual steps, Aiarty is a top-tier choice. It offers the precision and speed required to turn noisy, low-light shots into clean, professional results with just a single click.

 

Landscape photography's all well and good, but what do you photograph when the skies are leaden and the rain's really set in for the day. That's when I pick up a tripod and head off for a 'rust fix' and there are plenty of museums and collections around the country that are perfect for this type of day.

 

Think In Textures & Patterns 

The secret when visiting collections of rusty vehicles is to try to forget what it is you are photographing, by that I mean not to look at them as a lathe, excavator, or drill; but to view everything as simply shape, pattern and texture. Indoor locations such as old sheds and workshops should be explored, too, as even though they may seem to be filled with junk, if you look around carefully there will be a wealth of goodies to point your camera at.

It's worth leaving the camera in your bag and walking round for 15 minutes, just looking to see what might work photographically – pick out maybe a pile of spanners sitting on a workbench, or if outside, select one vehicle and look over it carefully, choosing details that will make strong, abstract, colourful and interesting pictures.

Raindrops on the surface add another texture, and wet paint and rust enrich the colours. If you are working inside using light coming through a window behind the items you are photographing, a reflector can be invaluable to bounce light from the window back into the shadows. Be careful not to rush around trying to photograph everything – you will more than likely be disappointed with the results, spend time working around each subject, trying various angles and looking close to create strong, abstract, colourful and interesting pictures.

 

Why's A Tripod An Important Tool?  

Because the 'undercover' work (and if it's pouring with rain, that's probably the best place to be) tends to be in darker locations, a tripod is an essential piece of kit. Lighting levels are low and shutter speeds can be quite long, but I'm not a huge fan of flash in these places – firstly, it tends to kill the natural lighting, second, if there other people looking around, a continual flashing can be annoying for them. I keep my ISO fairly low for this work, as non-moving subjects taken using a tripod are no problem up to 30-second exposures – or beyond if you have a remote release with a timer.
 

Work With Custom White Balance Settings 

Be careful of lighting – often there is a mixture of diffused daylight coming through the windows, and fluorescent lighting in the ceiling. The ideal solution is to turn off the lights, but this wouldn't go down too well with others, so make full use of your camera's custom white balance settings.

 

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amaran has a reputation for creating excellent lighting solutions for today’s image creators. Its latest introduction is the Halo series, a range of great value COB (chip on board) lights. The five-strong family comprises the Halo 60x (63W output), 100x (100W), 200x (200W), 300x (305W) and the top of the range 600x, a 610W unit tested here. With an impressively high output coming from compact, space-saving designs, the Halo series is attractively priced, making great light attainable to content creators of all budget levels.

There’s no denying that the amaran Halo 600x monolight has a handsome profile. Key features include two control knobs on the rear, a light stand mount which doubles as a carry grip and brolly holder, and an internal cooling fan with silent mode.

 

Quick Verdict

If you need a powerful, no-nonsense monolight, look no further than the amaran Halo 600x. It’s solidly built and user-friendly whether using the on-board controls or the amaran app to fine-tune its output. Its design is well thought through too with some nice touches such as its light stand mount, which can accept a brolly spindle and works a comfortable carrying handle.

However, design and ergonomics count for nothing if the Halo 600x didn’t deliver a capable performance, but there’s nothing to worry about on that score. It has a prodigious amount of power that’s tightly controllable in terms of output and colour temperature and its colour performance is impressive too.

 

+ Pros

• Powerful
• Controllable down to 1% output
• 2700-6500K
• Accurate colour temperature output
• Integral cooling fan
• Bowens modifier mount
• Option of app control
• Special effects
• Design and build quality
• Support of amaran’s accessory and modifier system
• DMX control (Digital Multiplex control – remote control)

- Cons

• To be honest, at this price and with this level of performance, nothing
• A carry case would have been nice, but of course, that would impact the price

 

 

 

The amaran Halo series is the perfect companion to amaran’s flagship Ray series which features four monolights; the top of the range Ray 660C has a 660W output. In terms of lighting, the Ray series provides a full-colour output and an even wider colour temperature range (2300-10,000K) powered by the OmniColor light engine. The Ray 660C retails at £694 / $699.

By comparison, the Halo family features bi-colour lights offering core lighting needs in simple to use units that are perfectly at home, on location or in a full-blown professional studio. The Halo range-topping 600x retails at £462 / $469.

amaran offers a full range of Bowens fit lighting modifiers including softboxes (rectangular and octa), spotlights, barn doors and lantern diffusers. 

In this review, we used an amaran Lantern 90 (£104 / $99) and an Octa Dome 60 (£83 / $89).

Unmodified, the Halo 600x’s head gives a light spread of 85° and it accepts Bowens bayonet fit modifiers. The light mount stand has a hole for a lighting brolly stem and is contoured to serve as a carrying handle.

 

amaran Halo 600x Hands on

Pick up the Halo 600x, and I challenge you not to be impressed with its build quality but it’s not heavy, so it’s reasonably portable. The unmodified head gives a light spread of 85°, and it’ll accept Bowens fit lighting modifiers. 

A 5m mains cable with an angled connector comes with the Halo 600x, so just plug this in, and you are ready to go. Turning the unit on and off is done with a push button, and the central TFT screen keeps you informed about power output and colour temperature. Altering output is done with the top right knob and is controllable in 1% steps within the 1-100% power range, while the bottom button handles colour temperature from 2700 to 6700K. There’s no need to dive into a menu.

A free app available for iOS, Android and desktop (Mac and Windows) allows remote control of the Halo 600x via Bluetooth, and there’s a USB-C port for more advanced DMX control. The Halo series is amaran’s first COB light to offer DMX control via USB-C on every model for convenient integration into studio lighting consoles. There’s built-in NFC too.

Hit the bottom left button and that takes you to more settings and functions including the unit’s special effects, that includes fireworks, lightning, paparazzi and strobe.

The modifiers used for the test were the amaran Lantern 90 and the Octa Dome 60. In the Lantern’s case, it’s designed to give a soft, even spread of light across a broad area, while the Octa Dome 50 gives a tighter circle of light and comes with a diffuser cover and a cloth grid. Both are very quick to set up, but the Octa Dome 60 deserves a special mention for its innovative design. Assembling octa-type softboxes is traditionally fiddly and takes effort but to erect the Octa Dome, all you do is push the blue plastic tab into place. No strain and no having to mess around with stiff supporting rods.

I tried the amaran app on my iPhone. Pairing the light and app was easy and re-connected reliably each time I came to use the light. Controlling power, colour temperature and special effects was straightforward, so it was a convenient way of working if you can’t get to the Halo 600x’s control knobs or see the control panel.

Running at a high power for long periods even when a modifier was attached, was no issue. The unit grew warm but not hot, so the cooling fan did a fine job and was quiet too. 

 

The Halo 600x has a range of special effects that can be fine-tuned to suit.

 

amaran Halo 600x Key Features

• Price £462 / $469
• High-power COB light
• Mains powered
• Bi-colour chipset
• Separate brightness and colour temperature knobs
• CCT 2700-6500K output
• Range of special effects
• 96+ CRI
• 97+ TLCi
• Bowens modifier mount
• Beam angle, no modifier 85°
• Built-in active cooling fan
• On-board controls, by amaran app, DMX via USB-C
• Max power consumption 610watts
• Max light output 32,500 lux at 1m, no modifier
• TFT screen
• IP20 weather resistance rating
• Firmware upgradable
• Size including mounting bracket 24.2x14.1x16.5cm 
• Weighs 2.91kg
• Comes with 5m mains cable
• amarancreators.com

 

Simple but efficient, that sums up the Halo 600x’s control panel. The two knobs on the right control colour temperature (top) and output level (below) with the on/off push button (top left) and CCT/effects and other settings (below left). At the centre is the TFT readout panel. Here, it's just showing that a mains lead is connected.

 

amaran Halo 600x Output

Look through the amaran Halo 600x’s long specification list and you’ll see that the bare head at 1m at full power pumps out 32,500 lux at 4300K, the colour temperature that gives maximum output. This sounds impressive but what does that mean in practice? Using a Gossen lightmeter set to ISO 100, I got an exposure reading of 1/30sec at f/16.5 and ISO 100 at 1m and that dropped to f/8 at 3m. That’s an impressive amount of light, but of course, an unmodified head doesn’t give a flattering light, so I turned to amaran’s diffusers for a kinder look.

Adding the Octa 60 fitted with the outer diffuser sheet only, at full power, ISO 100 and at 1m, the meter reading was 1/30sec at f/11.8 and this dropped to f/5.6 at 3m. This remains a very useable amount of light.

Next, it was the turn of the amaran Lantern 90, a larger modifier that produces a lovely light. At 100% output, 4300K, 1m and at ISO 100, the meter gave an exposure reading of 1/30sec at f/11.7, so essentially the same at the Octa Dome 60. Moving out to 3m and the aperture dropped to f/5.6, again the same as the Octa Dome 60.

Trying different output levels showed that the power drop-off was consistent. As an example of this, without any modifier, the Halo 600x at 5600K, 1m and full power gave a meter reading of 1/30sec at f/16.6 and this dropped to f/11.6 at 50% power and f/8.0.7 at 25% power.

The cooling fan has three modes: Smart, High and Silent. My testing was done with the Halo 600x in its High mode, which did a great job of dissipating heat. The head does get warm in use, but not hot, so it’s still comfortable to change modifiers without burning your fingers.

Fan noise is not really an issue, but it is audible in a quiet environment, so if noise is a concern, there’s a silent mode, but this comes at a cost of output. With the Lantern 90 fitted and at 4300K, full power, ISO 100 and 1m, the meter reading was f/30sec at f/4, so that is over three f/stops less power than normal mode. Adjust output from 100% downwards and the output stays constant until you fall below 10%, and then it drops another one f/stop to f/2.8. At 3m, the reading is 1/30sec at f/1.4.3 throughout the output range until you dip below 10%, where the meter reading is 1/30sec at f/1.0. 

The Halo 600x’s two knobs give precise control of output in CCT mode, from 1 to 100%, and colour temperature from 2700 to 6500K.

 

amaran Halo 600x Colour performance

To test its colour performance and stability at different output settings, we used the Halo 600x in a practical scenario, using a simple set-up that included a colour test chart. The Halo 600x was fitted with the amaran Lantern 90 modifier and pictures taken of the test scenes at different output levels - 10%, 25%, 50%, 75% and 100% - and at a range of colour temperatures - 2700K, 3200K, 5500K and 6500K. Two cameras were used, the Canon EOS R5 and the Sony A1 II, and each was set to a manual white-balance value to match the Halo 600x’s colour output.

From this test, it’s safe to say that the Halo 600x gives a more than respectable and stable colour performance through its output range with minimal colour variance.

To see the results in more detail, please click on the thumbnails below.

 

Our test scene comprised test charts, natural colours and neutral tones, so any colour shifts would be easily identified.

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 2700K

Canon EOS R5 manual WB

set to 2700K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 2700K, Canon EOS R5

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 3200K

Canon EOS R5 manual WB

set to 3200K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 3200K, Canon EOS R5

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 5600K

Canon EOS R5 manual WB

set to 5600K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 5600K, Canon EOS R5

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 6500K

Canon EOS R5 manual WB

set to 6500K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 6500K, Canon EOS R5

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 2700K

Sony A1 II manual WB

set to 2700K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 2700K, Sony A1 II

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 3200K

Sony A1 II manual WB

set to 3200K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 3200K, Sony A1 II

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 5600K

Sony A1 II manual WB

set to 5600K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 5600K, Sony A1 II

 

Power at 10%

Power at 25%

Power at 50%

amaran Halo 600x at 6500K

Sony A1 II manual WB

set to 6500K, unedited RAW

Power at 75%

Power at 100%

amaran Halo 600x set to 6500K, Sony A1 II

 

The amaran Halo 600x has a USB-C port for DMX control, there’s NFC and Bluetooth connectivity for control with the free amaran app.

 

amaran Halo 600x Verdict

The amaran Halo 600x is a powerful, reliable monolight that’s built to withstand the bangs and bumps of everyday photographic life. It performed exceptionally with no issues arising during our test period. 

The Halo 600x ran for several hours with the fan set to its High setting and it didn’t overheat, even when a modifier was fitted. 

In terms of light, the Halo 600x delivered plenty of power even when fitted with a modifier, and that light was colour consistent at different output levels. 

Ultimately, unless you need a full colour RGB light, the amaran Halo 600x is a great value, high performing monolight with much to commend it. With no serious shortcomings to report, it comes highly recommended for creators of all levels.

 

amaran Halo 600x Pros

• Powerful
• Controllable down to 1% output
• 2700-6500K
• Accurate colour temperature output
• Integral cooling fan
• Bowens modifier mount
• Option of app control
• Special effects
• Design and build quality
• Support of amaran’s accessory and modifier system
• DMX control (Digital Multiplex control – remote control)

 

amaran Halo 600x Cons

• To be honest, at this price and with this level of performance, nothing
• A carry case would have been nice, but of course, that would impact the price

 

 

[REVIEW_FOOTER]R_features=4|R_handling=4.5|R_performance=4.5|R_value=5|R_overall=4.5|A_level=4.5|E_id=8016[/REVIEW_FOOTER]

You take a photo. You pull the camera away from your face. You look at the LCD. You squint. You maybe zoom in. You nod, or you frown, or you delete it and try again. Then you lift the camera back up, find your subject again, recompose, and take another shot. Then you pull the camera away from your face. 

This is the review reflex, and almost every photographer develops it early. It feels productive. It feels responsible. But it costs you more than you probably realize, and breaking it is one of the fastest ways to improve your shooting.

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Thunderbolt 5 is finally reaching real-world machines, and the enclosure market is catching up. The ORICO X50 is a new fanless option supporting TB5 compatibility, and after testing it out, I think it’s worth checking out. 

 

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Picking the sharpest 85mm lens on the market is harder than it sounds, because the gap between the top options is razor thin. Seven lenses made Christopher Frost's final cut, spanning a wide range of prices and maximum apertures, and the differences between them required serious pixel peeping to untangle. 

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Adobe's subscription model has pushed a lot of creators to look for alternatives, and for years the honest answer was that nothing quite covered everything. That gap is now closing fast. 

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Traveling forces hard decisions about what to photograph and when, and that pressure reveals habits you might not notice at home. Courtney Victoria's experiment in New Zealand puts one of the most common creative blocks in landscape photography under a microscope: the tendency to hesitate until the moment is gone. 

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Bird photos that look fake, plastic, or AI-generated usually aren't a shooting problem. They're an editing problem, and the fix starts with recognizing exactly where things go wrong. 

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    1. What Gear Do I Need?

Pack your telephoto zoom when you're heading out as you'll be able to get close to the swans without having to get your feet wet. It's also handy for photographing them as they fly off or for capturing the splash as they come into land.

For particularly bright days you'll find a polariser filter useful as it will reduce the glare and reflections you get from the water.

If you're going out with the family when photography is not necessarily your main focus, use your smartphone to capture photos of kids feeding the ducks and shots of the swans closer to the bank.
 

2. Where Will I Find Them? 

If you're in a particularly rural place where not many people venture and a swan sees you it probably means you won't be seeing it for much longer! But if you're at your local park where people often feed them you'll find it much easier to snap a swan's portrait. Nature reserves do have public hides you can sit and wait in but as we've said, if you're in a place where the swans are used to seeing people you can leave your camouflage gear at home. Early mornings and later afternoon until the sun goes down are the best times for catching swans which is good news if you're hoping to catch them in flight as there will be less contrast between the swans and sky which will give you a more balanced exposure.

 

3. Can I Capture A Shot Of Them In-Flight? 

Swans are big enough to focus on and slow enough to keep up with as they pass you by so they're perfect subjects for photographers who haven't photographed birds in flight before. A good point to remember is swans turn into the wind when they're about to take off so keep an eye out for that. If the sun's shining in the same direction as the wind's blowing position yourself with the sun behind you for a front-lit shot of a swan taking off. If you're parallel to the swan make sure you press the shutter when the wings are fully up or down so you can see the head.

If you spot a flock or single swan in the sky don't frame up with them in the centre as you'll probably miss the shot or if you do manage to capture them, they'll look a little squashed. Instead, move so they're to the edge of the frame giving them space to, essentially, fly into. By doing this you'll also be able to use the centre focusing point. Make sure you're on continuous focus and get the focus locked on the bird straight away, even if this does mean missing some of the action.

If you want to freeze motion try a shutter speed of around 1/500sec but if you prefer to blur the motion of the wings try 1/30sec. Keep an eye on your exposure as a bright sky and a white bird may mean your camera underexposes the shot. Check regularly to see if you need to overexpose by one or two stops.
 

4. What Other Shots Can I Try?

If capturing a swan in-flight seems a little daunting there are plenty of other shots to try closer to the ground. Try shooting the reflections of the swans on the pond or focus on just the head, blurring the background so you can really pick out the detail and colours of the beak and face. Get the family involved and shoot some portraits of them feeding or watching the swans or how about a shot of the swans out of the water on the bank? If you do this, be aware of your surroundings as you don't want parked cars and other objects spoiling your shot.

 

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The idea of shooting old and new can be applied to various subject matter but one of the easiest ways to find subjects which can be used to interpret the theme is in the city. In most cities, new buildings are going up around older structures all of the time so it won't take you long to find a vantage point that gives you the chance to capture something new and something old in one frame.
 

Where To Start?

 

Out in your town/city, it's probably easier to look at buildings as a whole first, searching for old structures that stand next to or across from new structures made of metal and glass. How about looking for new shops in old buildings such as the stalls in Camden's stable market? Or looking for building sites where new buildings are getting created in front of structures that have stood for a long time?

After photographing whole buildings look a little closer for reflections of old brick-work in glass or new signs sat next to or even on older structures. You could try having a look through archives or even your relatives' photo albums to see if you can find shots of buildings you can go and re-create now and sit them alongside each other to show how much/little it's changed.

 

Keep It Simple

 

Try to eliminate as much of what's surrounding your old and new items as possible. This means cropping in with your lens or using your editing software to remove some of the distracting objects once you're back at your computer.

 

What Else Is There To Photograph?

 

1. People - Look for young and old people, a grandparent sat with their grandchildren for example.
2. Vehicles - Look for an older car sat in a line of more modern models or how about shooting a scrap yard with the piles of old, rusted cars and the employee's newer cars out the front? Don't enter the scrap yard though, just shoot from the road.
3. Technology -  Try shooting someone sat talking on a smartphone with an old fashioned telephone in the background. If you have an old games console in your loft, get it out and try a few still life shots of it next to a Playstation.

 

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

If you have spent any time reading about photography, you have encountered the word "stop" used in a way that makes no apparent sense. A lens is "two stops faster." A photo is "one stop underexposed." Image stabilization gives you "five stops of compensation." Somebody on a forum says they "opened up a stop and a half" and everyone nods like that means something. 

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You know, there is a difference between a good photograph and one that stays. Not louder, not more dramatic, not even technically better. Just… harder to forget. 

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Shooting in harsh midday light near water is a situation where photos fall apart fast. Without a reflector or an assistant, that direct sun creates unflattering shadows and a dynamic range that's nearly impossible to manage in a single exposure. 

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Shooting unfamiliar terrain forces you to adapt fast. When the dramatic mountain backdrops you rely on aren't there, the images you make either show your range or expose your limits. 

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Booking weddings consistently is one of the hardest parts of running a photography business, and most of the problems aren't about your camera or your shooting skills. They're about how you're running your operation, and the fixes are more straightforward than you might expect. 

 

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Shooting the same iconic locations as everyone else is a trap most fall into without realizing it. This video makes a compelling case that the most memorable images aren't the ones that show everything perfectly; they're the ones that leave questions unanswered. 

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We have plenty of woodlands to photograph and as rain showers are common at this time of year, greens will be more vibrant so now is a perfect time to photograph them. Plus, you can use these tips in Autumn, Winter and Spring, too, giving you a plethora of images to capture. 

 

1. Gear Suggestions

 

You can use a variety of lenses from wide-angle to shorter telephotos, you could even use a compact camera if you so wish. Make sure you pack a sturdy tripod as light can be low in dense woodland areas and, plus you'll need one for macro work you'll find a polarising filter handy as they boost colours and reduce reflections if you happen to be near water. If you're headed for a long-ish walk consider taking a backpack as these bag styles offer plenty of room for outdoor essentials as they tend to have side mesh pockets for water bottles and smaller compartments for guides, food etc. Invest in a remote release or, if you prefer, make use of your camera's self-timer for close up work and have a lens cloth to hand to wipe any smears or smudges off your lens.

 

2. Head For The Woods

 

We're never too far away from trees, in fact, many of us will have them in our gardens or on our streets. But even though we have good specimens close to home, to get really cracking shots, you need to venture to the woods or local gardens. Woods are welcoming for photographers but some gardens and other sites don't allow tripods so check before you lug it all that way. For shots of groups of trees, step back and photograph the whole woodland scene or crop in for a more arty feel.

 

3. Time Of Day

 

Even under the forest canopy light in the middle of the day can cause too much contrast so you're much better off heading out early or waiting for the sun to drop a little. Don't think you should stay in on overcast days either as these are perfect for some close-up photography.

 

4. Patterns And Textures 

 

Single trees look good isolated but if you're in the middle of the woods it's better to get closer. Look lower and you'll be able to add some texture to your images by focusing on the trunk. Make sure you look for patterns in the bark then turn your attention to bigger patterns searching for lines of trees that create strong, symmetrical images.

 

5. Other Objects 

 

Look for man-made objects such as benches or even statues too as these will contrast well against the soft colours of nature.

 

6. Leaves

 

If you have a bright blue sky look up at the canopy and concentrate on the leaves. Greens contrast well against a blue sky or you could crop in and really focus on the details of the veins. Just make sure you're not photographing ones that have been half-chewed by a bug! A 100mm macro lens will get you in close enough but if you want to create more detailed shots try using an extension tube or coupling rings on two lenses.

When you're out looking for leaves don't pick up ones that are too thick as light won't shine through them enough and select ones that have different patterns otherwise your job will get a little repetitive.
 

Photographing Leaves At Home

On rainy days, you can shoot images of leaves in the comfort of your own home. You just need a lightbox or you could use a window and tape your leaf to it. You can shoot one leaf, making the patterns created by the veins your focus or try placing a collection of leaves together to create a busier look. You'll see that backlight highlights the leaves' shape beautifully and really punches the veins out. You'll also find the colour appears to be more vibrant, and as there's no breeze, you can take all the time in the world to frame and get your shot right.

Do clean the leaf with a little water before you photograph it and make sure you dry it gently as you don't want it to split. Finally, once you've shot your images, run them through some editing software to check for imperfections before you hit print. 

 

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

 

Colour management just got more accessible for Mac-based creatives. Calibrite has revealed that its Display Plus HL colorimeter has received Apple approval for use with Apple's built-in display calibration system, a first for any colorimeter on the market. This level of hardware-level precision was previously reserved for high-end spectroradiometers used in dedicated colour facilities, yet the Display Plus HL brings that same capability to working photographers, filmmakers, and designers at a fraction of the cost.

 

From Calibrite:

Calibrite, the leader in colour management solutions trusted by photographers, filmmakers, and colourists worldwide, announced today that the Calibrite Display Plus HL has received Apple approval for use with Apple’s built-in display calibration system.

It is the first colorimeter to achieve this distinction.

The approval enables hardware-level calibration for Apple Studio Display, Studio Display XDR, Pro Display XDR, and supported MacBook Pro models, working natively within Apple’s macOS calibration workflow.

 

Calibration Written to the Display, Not Layered on Top

Unlike profile-based adjustment, Apple’s display calibration system writes settings directly to the display, refining white point, luminance, and colour accuracy at the source. A single calibration session updates every reference mode simultaneously, delivering consistent, reliable colour across the full brightness range, from SDR to HDR content up to 2,000 nits peak brightness.

Until now, this level of hardware-level precision required professional spectroradiometers designed for dedicated colour facilities; instruments priced well beyond the reach of most working creatives. At £309, Calibrite Display Plus HL changes that.

 

"This is a genuinely exciting moment for us at Calibrite. Calibrite Display Plus HL is now Apple Approved for hardware-level display calibration, working natively within Apple’s built-in macOS workflow across the full range of supported Apple displays. Until now, that level of precision required professional instruments priced for dedicated colour facilities. At under £400, Calibrite Display Plus HL brings it within reach of every serious creator on Apple hardware. For anyone serious about colour on Apple hardware, this changes what’s possible, and what’s affordable." -Stefan Zrenner, General Manager of Calibrite

 

Built for Apple’s Evolving Colour Standards

Calibrite Display Plus HL is designed to work with Apple’s latest colour technologies, including Apple CMF 2026, Apple’s next-generation Colour Matching Function that advances beyond the dated CIE 1931 standard, ensuring accurate and dependable results as display technology continues to evolve.

For professionals who require a comprehensive colour management workflow, Calibrite Display Plus HL works alongside Calibrite PROFILER software for ICC profiling, validation, and reporting, providing a complete end-to-end solution.

 

Availability

Calibrite Display Plus HL is available at £309 RRP through authorised retailers and calibrite.com. It is currently on offer at £249 until 30 June 2026.

 

Supported displays include:

• Apple Studio Display (2022 and 2026)
• Apple Studio Display XDR
• Apple Pro Display XDR
• Supported MacBook Pro models (M1-M5 Pro/Max and later)

 

For more information, please visit the Calibrite website.

 

About Calibrite

Calibrite is committed to providing the very best colour control solutions for Colour Perfectionists; photographers, filmmakers, designers, and content creators who love color and demand the very best tools for their colour critical creative workflow. From display calibration to ICC profiling and beyond, Calibrite builds tools for those who demand precision.