Photography News

 

What Is Mood?

Mood essentially relates to the lighting in a shot. Giving something mood usually means we are trying to make it dark and brooding – making it moody. But mood can relate to any lighting situation, to give your photo any mood/feeling.

For landscape photography, mood usually relates to the weather. A cloudy, unsettled day will create mood in a way most of us expect it to be - dark and brooding. Although the opposite, where streaks of the sun break through the cloud to shine light on parts of the green landscape is equally as good, it's just the mood/feeling is different. 

 

Gear Choices

To take good moody landscapes, you're going to need a tripod as dark days may be good for the style of shot you're trying to create but the lack of light can lead to slower shutter speeds and working without a tripod can result in shake. 

 

 

Be Patient

This type of photography requires patience. To get the best shots, you need to wait until there is a break in the weather to get some really interesting lighting effects from the turbulent sky. Of course, mood doesn't have to be cloudy, but with landscapes, it's more of a challenge to portray mood on bright, sunny, cloudless days. 

When the right light does arrive, work quickly as it can be gone again before you know it. The key to this is always to be ready, having your gear out and framing in-mind before the right light does show its face. 
 

Be Prepared

Check the weather forecast the night before as there's no point heading out if you find the weather isn't going to be right. You also need to have the right type of location as you'll find some subjects will work better in dark, moody shots than others. 

 

 

Convert Your Shots

Black and white is another way to create mood in your photography. Taking photos of a gnarly tree, for example, in black and white will look so much more foreboding than a shot in colour. You can shoot black and white in-camera although, if you shoot in colour, you can convert your shots to black and white in your chosen editing software, giving you more control over the tones, highlights and shadows in the shot.

 

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

My first impression when pulling Freewell's latest filter kit offering out of its packaging was how small and light it was. Filter kits tend to be bulky and take up lots of space, often housed in boxes that take up valuable space in camera bags too. They can be a nuisance to lug around. Not this kit. I immediately liked it. 

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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.

 

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

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to TheShaker (Day 18- Weather).

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 17

People In The Landscapes

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Day 19

Lighthouses

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Day 20

Numbers & Letters

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Day 21

'Arty' Theme

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  Day 22

'Fun' Theme

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Day 23

Flotsam

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

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]

 

 

Due to the size of the UK, we're usually not a million miles from the coast where you'll find fishing boats and tourist boats galore to photograph. Further inland, there are rivers with boats, canal and inland waterways or even water-sports centre where you can capture action-packed images as well as shots of pedalos and canoes.

 

1. What Kit Should I Choose? 

For most boat photography a standard zoom of the 35-80mm range is fine. It's usually wide enough to get the whole boat in shot and long enough to crop in on sails, hull, lifebuoy on the side or other finer detail. You may prefer a longer lens 80-200mm if the boat is further away or to shoot small detail like mini flags, portraits of crew etc. and a lens with a close focus ability is good for detail in ropes, paintwork etc. when the boat is moored.

A polarising filter is a must to ensure reflections are reduced on the paintwork and to deepen a blue sky and cut down on reflections in the water. A graduated filter is useful if the boats are set against a bright sky, although watch for darkening of the mast and upper sails on yachts and such like.

If you plan on shooting panoramic photos of harbours and marinas, pack your tripod. 

 

2. Head To A Harbour 

Harbours conjure up picturesque scenes with colourful boats offset against beautiful blue skies, reflected in the waters below.  To get this sort of picture you need a sunny day with still waters. Use a polarising filter to make the colours more saturated and choose viewpoints without too much clutter. A single boat in the foreground makes a more impressive shot than one where several boats are fighting for your attention.

 

 

3. Wait For The Tide 

As the tide goes out you can photograph moored boats grounded in mud, or on the beach. Use the mooring ropes as a lead-in up through the photo. A small aperture is needed to ensure everything from the front of the rope to the distant boat is sharp. Shots will be more dramatic if you shoot from a low angle and include a brooding sky. Use a graduated grey or ND filter to darken the sky.

 

4. Walk Along A River Bank 

If you aren't near a coastal location you may have a river running nearby that has boats on it. You may get sailing boats, small cargo boats, river authority working boats or even barges. There will usually be speed limits of around 5mph which means that you don't need to worry about panning skills or the need for ultra-fast shutter speeds to shoot boats on rivers. For more impact shoot from a low angle (at the side of the river on a low bank point is best). Try to include interesting landmarks in the background, trees or the odd building at the edge of the frame to hold the viewer inside that frame and focused on the boat.

If there's a bridge find a position where you can use that as a frame as the boat passes under, but watch the exposure. The light under the bridge will be lower than the outside so it's easy to underexpose if your meter picks up the brighter area as the important part. Switch to spot metering where possible and take a meter reading from the sidewall of the bridge and use that as the starting point.

 

 

5. Make A Canal Your Focus

Canals run through many countries too. With these, you not only have boats to photograph but also the activities surrounding them. Barges are usually hand-painted and are very colourful. They often have matching watering cans or flower pots that are crying out to be photographed.  Shoot with a telephoto and wide aperture to blur the background. Focus on small areas of paintwork for patterns and interesting window displays. Find a spot where there's a lock and then you can photograph the activity as the barge is taken to the next water level.

 

6. Interested In Watersports? 

For those who prefer a little more action consider a day out at a water-sports centre. These locations are usually on man-made lakes around the country and offer sports enthusiasts opportunities to sail, water-ski or jet-ski. It's at these locations where you can shoot the speed. For the best results, it helps if you pan with the craft.

Experiment with the shutter speed to get the right amount of motion. Follow the boats and shoot as it reaches a central point of your pan. This will blur the background but if you are keeping at the same speed as the boat as you pan it will be sharp. Try to avoid moving the camera up or down as you pan.

Some have rapids for canoeing. here a fast shutter speed can be used to get the water droplets frozen as they splash around the canoe. Take shots as the canoeist comes up from a 360 roll water will be dripping off his face and he's likely to have a great air gasping expression.

 

 

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

The Nano-X Pro filter system proves there's still a place for those who try to get it right in camera. 

It's no secret that I enjoy taking the "scenic route" when it comes to photography. For better or worse, these days most of my work orbits around non-digital and historical techniques.

Don't get me wrong, I'm no purist when it comes to photography. An idealist? Maybe.

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If you produce short-form video for clients or your own brand, take a second and count the number of apps, browser tabs, and subscription logins sitting between the moment you have an idea and the moment you hit publish. There's the scriptwriting tool (or a blank doc you've been staring at for twenty minutes). The generation or editing platform. A separate captioning service you pay for monthly. Something for thumbnails, maybe a dedicated generator, maybe you're still screenshotting frames and adding text in Photoshop. A background removal tool.

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I sold my Mamiya 645AFD, and I regret it every time I think about it, which is more often than I would like to admit. The film got too expensive, and the scanning costs added up, and I told myself the rational thing to do was to let it go and put the money toward something more practical. I was right about the math. I was wrong about everything else.  

A few years later, the absence of that camera is still something I notice, and no amount of sensible reasoning about cost per frame has made the regret any smaller.

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Minimalist landscape photography is one of the hardest styles to pull off well. Strip away too much and the image feels empty; leave too much in and you've lost the point entirely. 

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The beloved Ilford Pan F Plus is now available in 4x5 and 8x10 sheet film for the first time, and it's a bigger deal than it might seem at first glance. Sheet film manufacturing isn't as simple as cutting down roll film stock, as the base thickness has to be different to keep the emulsion stable, aligned with the film plane, and practical to load and process, which is exactly why not every emulsion makes it to large format. 

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The Sony a7 V is one of the most talked-about hybrid cameras of the past years. What actually happens when you run it through real paid work over an extended period? 

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The tone curve in Lightroom is one of the most powerful editing tools available, and most people barely scratch the surface of what it can do. Knowing how to use it well separates flat, lifeless edits from images with real depth, color, and punch. 

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B&H Photo is running some aggressive discounts across cameras, lighting, support, storage, and accessories this week. We dug through hundreds of active DealZone listings, sale prices, and lowest-in-180-day markdowns to find 30 that are worth your attention, sorted by a combination of percentage off and absolute dollar savings. These deals are time-limited, most running through the next seven days, so act quickly on anything that catches your eye.

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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

 

The Viltrox AF 35mm F1.2 LAB N FE is a premium Sony mount lens that combines a classic aperture ring with modern, high speed autofocus. Its weather sealed design and advanced 15 element optics ensure sharp results in any environment, serving as a rugged choice for professional photographers and videographers. With a bright F1.2 aperture, it delivers beautiful background blur and excellent low light performance for high quality creative results.

 

From Viltrox:

Viltrox today announces the launch of its AF 35mm F1.2 LAB N FE, a full-frame ultra-large-aperture autofocus prime lens for Sony FE mount cameras. Designed to coexist alongside the original AF 35mm F1.2 LAB, the new version builds on its proven performance while introducing a more streamlined appearance without a display. It’s paired with a traditional aperture ring featuring marked stops that provide precise, tactile control preferred by many photographers.

 

Flagship Lenses & Sophisticated Optical Structure

The flagship 15-element, 10-group optical structure (including 3 HR, 5 ED, and 2 UA elements) delivers exceptional edge-to-edge sharpness, preserving fine detail even under heavy cropping, while effectively controlling chromatic aberration in high-contrast or backlit scenes.

 

Significantly Faster Autofocus with Quad HyperVCM

Powered by Viltrox’s Quad HyperVCM motor system, the lens delivers significantly faster autofocus performance compared to traditional STM systems. With micron-level precision, fast focus transitions, and support for face and eye detection, it ensures reliable subject tracking, which combined with its quiet operation and smooth focus transitions make it well suited for video production.

 

F1.2 Ultra-Large Aperture

The F1.2 aperture affords increased light intake for cleaner low-light imaging and a shallow depth of field, while the 11-blade diaphragm delivers a smooth, rounded bokeh with a natural and pleasing rendering.

 

 

Professional Handling and Workflow Efficiency

Designed for intuitive control, the aperture ring supports click and de-click switching for both photo and video use, while the AF/MF switch enables quick mode changes. Two customizable buttons provide direct access to frequently used functions, improving responsiveness during shooting.

 

Engineered for Durability in Demanding Environments

The lens incorporates a sealed structure to resist dust and moisture, ensuring reliable performance in challenging outdoor conditions. A water- and smudge-resistant front coating enhances usability, while the full-metal housing and precision-plated brass mount provide long-term structural strength.

 

Close-Up Precision and Consistent Focal Sharpness

A minimum focusing distance of 0.34m enables detailed close-up shooting, while the dual floating focus design maintains consistent sharpness and resolution across the focusing range, from close-up to infinity.

 

 

Availability

The AF 35mm F1.2 LAB N FE will be available alongside the original AF 35mm F1.2 LAB, offering photographers and filmmakers the flexibility to choose the control style that best suits their workflow. 

 

More details and how to buy

For more information, please visit: https://viltrox.com/products/af-35mm-f1-2-fe

Amazon Store:

• The US site: https://www.amazon.com/dp/B0GWJ4RP2B
• The European site: https://www.amazon.de/dp/B0GWJ4RP2B

MSRP: 999USD / 999EUR / 869GBP

 

About Viltrox

Viltrox, established in 2009, is a globally-recognized leader in camera lenses and adapters, specializing in high-performance equipment for photography and cine. The company’s portfolio includes cinema and autofocus lenses – such as the LAB, Pro, EVO, and Air series, launched since 2018 – along with monitors, adapters, and lighting solutions.

Driven by innovation, the company expanded further into cine in 2022 with the "EPIC" anamorphic and "LUNA" zoom lenses, offering cost-effective solutions for filmmakers worldwide. Renowned for their exceptional optical quality, reliability, and accessible pricing, Viltrox products reflect a commitment to engineering excellence and user-centered design, empowering content creators in both still and motion photography. For more information, please visit: https://viltrox.com

 

As an island nation, many of us live fairly close to the coast and as well as tidal patterns in the sand, surf, sand dunes, grasses and breakwaters, the coast is host to a certain amount of flotsam. Although, rightly, we consider flotsam as undesirable rubbish, it doesn't necessarily mean that it won't make a good photographic subject. In fact, a day on the beach finding flotsam can be a great photographic challenge.

 

Where To Look For Flotsam

 

Finding flotsam is not too difficult, selecting what to take and making anything of it photographically is the most challenging aspect. Apparently the most common piece of flotsam is the humble cotton bud, but they're not the most exciting photographically. I like to look for shapes and textures – from rubber gloves to tin cans, which work best in close up using parts rather than the whole, giving a more abstract appearance.

I once found a broken plastic "beach" tennis racquet, and a few metres away from a smashed tennis ball – they simply had to go together. A partly submerged skateboard made another great subject – because only the end of it was sticking out of the sand it had a really discarded feel.

Old nets from fishing boats snagged on breakwaters can look good too, and washed up wood that has been eroded into smooth sculpted shapes by the sea can look fabulous.

 

The Best Light

 

Ideal lighting is probably hazy sunlight – enough to give some shape to your subject, but not too much to create harsh shadows – as with everything, there are exceptions, and will be many subjects that suit either very overcast or very sunny conditions. I do find a reflector can help with bouncing light back into shadows.
 

Safety First

More than anything though, be careful on the beach, windblown sand is not the best thing to get inside your camera so make sure lens changing is kept to a minimum, and shield your camera from the wind when you do change lenses. I turn my back to the wind, and use my body to protect the whole camera – I also make sure that I change lenses as quickly as possible, to leave the camera exposed for the shortest possible time.

Tripods, no matter how stable, can sink into the soft wet sand, so ensure they don't fall over, and lastly, be aware of the tide tables, check them on the internet, and don't get caught out by tides coming in fast whilst you're concentrating on pictures.

So next time you're at the beach, keep a lookout for other people's rubbish, which can become your art!

 

 

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

 

The 70-200mm f/2.8 lenses have been staple fare for many years, an undeniably useful range of focal lengths. They are also likely to be one of the best lenses from any manufacturer's range, pushing the quality towards the technically possible limits of current optical design. When the first version of this new Nikkor Z lens was reviewed some six years ago, it might have seemed that there was very little improvement that could realistically be made, but then here we are with a second generation version II. Faster and quieter focusing, improved VR, 12mm shorter, 362g lighter, better balanced for hand held use and mounting on gimbals, ARCA-SWISS tripod foot, de-clickable control ring; the tweaks and improvements are extensive. Yes, a slightly higher price, but that is relatively small compared to the expected service life of the lens. It's all very enticing, so let's see how it all works out, using the classy 45MP Nikon Z8 camera body, an ideal camera to challenge the new lens's capabilities.

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Handling and Features

Current 70-200mm f/2.8 lenses are not small, but the new lens is significantly more compact than its initial form, weighing in at just 998g without the tripod foot and 1180g if the foot is attached. The foot is easily removed and there is a cover sleeve provided that fits in its place, offering protection to the finish of the lens barrel. Measurements are 90mm x 208mm, not exactly svelte but well balanced, a handling improvement when shooting handheld or using a gimbal.

A bayonet fit petal lens hood is provided and this clicks smoothly and positively into position. There is a locking catch. The hood also has a small window that allows access to the rim of filters, so, for example, a polarising filter can be rotated without having to remove the hood. This useful idea has been around for a while. The sliding cover, however, is rather easily operated and may be found to be open when not needed. As this slightly reduces the effectiveness of the hood it would perhaps be a good idea to make the cover firmer in action. Within the bayonet mount for the hood is a standard 77mm filter thread.

 

 

First up is the smooth zoom ring, clearly marked at 70mm, 85mm, 105mm, 135mm and 200mm. The action of zooming does not change the length of the lens, but there are groups of elements being shifted so this is a physical control rather than an electronic one. There seems little impact on the balance of the lens.

The four L-Fn2 buttons are next in line, and these can be programmed from the camera body. The focusing ring is electronic, as smooth in action as we would expect, and can be operated to fine tune the AF position once the AF has locked on. This may well be rarely necessary as the super-fast AF system seems to lock on exactly where required with unfailing speed and accuracy. Some of the sample bird shots were actually shot through metal grills and the AF system had no problem dealing with this, locking on every time through the gaps. With a wide aperture, the bars just disappear in the image. This could not be said of other marques being used at the same time that failed to focus most of the time. Beyond this, there are also the four L-Fn buttons, also programmed via the camera.

 

 

The thin control ring can also be programmed from the camera body and was set to change the aperture for this review process. There is a switch to engage or switch off the clicks, and as they would certainly be heard when shooting video, the de-clicking facility is essential. The A/M switch selects between AF and MF in the usual way and the focus limiter gives an option to restrict the AF to between 5m and infinity. The implication is that Nikon expect the lens to be used for longer range photography, but an option to set a close limit as well would be logical given the close focusing ability of the lens. 

Closest focusing depends upon the focal length selected:

 

70mm 0.38m 1.25' 0.3x 85mm 0.38m 1.25'   105mm 0.5m 1.64'   135mm 0.6m 1.97'   200mm 0.8m 2.63' 0.25x

 

Just behind the control ring is the tripod foot, solid but not overly large and having an ARCA-SWISS design. This is very convenient when using ARCA-SWISS style tripod connections. The ring allows the camera to be rotated from landscape to portrait orientation. When the ring is removed, there is a protective collar provided that covers the connection area around the barrel.

Focusing is driven by Nikon's Silky Smooth VCM motors and is indeed super-fast, as well as being staggeringly accurate and virtually silent. Focus breathing is minimised with videographers in mind. VR (Vibration Reduction) offers a 6 stop advantage, although this does nothing at all for subject movement, so for wildlife, a high shutter speed may well still be needed. Synchro VR is available with selected bodies and this optimises the VR between the centre of the images and the peripheral areas. Compatible bodies are currently Z9, Z8, Z6 III, Z5 II, Zf and ZR.

 

 

Optical construction is 18 elements in 16 groups, including 1 ED, 1 Super ED, 2 Aspherical, 1 Aspherical ED, 1 Fluorite and 1 SR. The use of fluorite, an expensive option, indicates a serious intent to aim for the highest quality. ARNEO and Super Integrated coatings are used, along with meso amorphous coatings. There is also the fluorite coating for the front element to repel dust, grease and moisture. The lens as a whole is sealed against dust and moisture. The diaphragm comprises 11 blades and produces a nicely rounded aperture.

There is also compatibility with both of the Nikon Z teleconverters. TC-1.4x offers a maximum reach of 280mm. TC-2.0x offers a maximum reach of 400mm. These offer a convenient way to carry a longer lens with a minimum of bulk, although there is a loss of speed, the 1.4x converter losing one stop and the 2.0x converter losing two stops. The converters were not included and are not part of this review.

Handling is very comfortable and the only real drawback is the weight of the lens. It may be lighter than the first version but it still has a fair bit of bulk about it. However, just feel the quality of the results, and it's perhaps a small price to pay for such excellence.

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Performance

At 70mm, central sharpness is outstanding from f/2.8 to f/11, excellent at f/16 and very good at f/22. The edges are excellent from f/2.8 right through to f/16 and are still very good at f/22.

At 105mm, central sharpness is outstanding from f/2.8 to f/5.6 and excellent from f/2.8 to f/22. The edges are excellent from f/2.8 to f/16 and very good at f/22.

At 160mm, central sharpness is excellent from f/2.8 to f/16 and very good at f/22. Likewise, the edges are excellent from f/2.8 to f/16 and very good at f/22.

It's pretty obvious that sharpness is just about as good as it gets and Nikon continues at the top of its game.

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II 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 Sony A7R III body using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is highly corrected for and there is no sign of any colour fringing, even when the lighting and subject conditions are severe.

Distortion is virtually banished and the lens is as close to being rectilinear as makes no difference. Many macro lenses are not this good. Figures are almost zero, being actually zero at 70mm, +0.06% pincushion at 105mm and +0.02% pincushion at 160mm.

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II 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 a Sony A7R III body 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, and this new lens gives us some very beautiful bokeh indeed. It is relatively unusual to see smooth bokeh along with such high resolution, but Nikon manage it with apparent ease.

The flare performance is also excellent, clearly the design, internal baffling and coatings are all combining to do an excellent job of suppressing internal reflections. 

Vignetting is very well controlled.

 

Aperture 70mm 105mm 160mm f/2.8 -0.8 -1.4 -1.2 f/4 -0.6 -1.3 -0.6 f/5.6 -0.5 -1.1 -0.5 f/8 -0.5 -1.1 -0.4 f/11 -0.5 -1.1 -0.4 f/16 -0.5 -1.1 -0.4 f/22 -0.5 -1.1 -0.4

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Sample Photos Previous Next

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II 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]Nikkor Z 70-200mm f/2.8 VR S II|Nikkor+Z+70-200mm+f/2.8+VR+S+II[/AMUK] lens is priced at £2999.00

There is a wide array of options for this specification, and to see where the pricing falls, here is a selection of them from all marques. These will not necessarily fit Nikon Z cameras, but still offer a benchmark for pricing.

• [AMUK]Nikkor Z 70-200mm f/2.8 VR S|Nikkor+Z+70-200mm+f/2.8+VR+S[/AMUK], £2599
• [AMUK]Canon RF 70-200mm f/2.8 IS USM|Canon+RF+70-200mm+f/2.8+IS+USM[/AMUK], £2999
• [AMUK]Panasonic Lumix S Pro 70-200mm f/2.8 OIS|Panasonic+Lumix+S+Pro+70-200mm+f/2.8+OIS[/AMUK], £1991
• [AMUK]Sigma 70-200mm f/2.8 DG OS HSM|Sigma+70-200mm+f/2.8+DG+OS+HSM[/AMUK], £1199
• [AMUK]Sony FE 70-200mm f/2.8 GM OSS II|Sony+FE+70-200mm+f/2.8+GM+OSS+II[/AMUK], £2600

Although at the high end of the range, the pricing seems about right.

 

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Verdict

Smaller, lighter, sharper, faster, better balanced, what's not to like about this new version of an already superb optic? It all has to be weighed up against the increased cost, but that is probably worth it for the improvements and the better handling for videographers as well as stills photographers. We do lose the small OLED display of the original lens but that is a very small price.

In the end, the enjoyment of the quality kicks in and the perception is of absolutely impeccable results, at a price of course, but that is inevitable. It is true that Nikon produces many lower-cost lenses that are also incredibly good, but these have slower apertures and do not offer the versatility of the new lens. 

It's a clear and definite Editor's Choice.

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Pros

• Outstanding sharpness
• Virtually no distortion
• Fast, accurate and virtually silent AF
• Excellent flare resistance
• Almost zero CA
• Moisture and dust sealing
• 0.3x magnification at 70mm
• 6 stops VR
• Synchro VR with compatible bodies
• Modest vignetting
• Beautiful bokeh

 

Nikon Nikkor Z 70-200mm f/2.8 VR S II Cons

• Price

 

[REVIEW_FOOTER]R_features=5|R_handling=5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=Editor's Choice – Pricey but Superb quality, a truly top of the line telephoto zoom lens.|E_id=8027[/REVIEW_FOOTER]

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Somewhere around 2010, camera design stopped mattering to the photography industry. The DSLR era had produced bodies defined by ergonomics rather than aesthetics, and the first mirrorless wave carried forward the same logic. Cameras were tools, tools looked like tools, and any photographer who cared about how a camera looked was suspected of being a poseur. The mainstream press reinforced the assumption.

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Want to reclaim your desk space and maybe even reduce the pain in your neck by optimizing your viewing angle? Consider a monitor arm. Here, we take a look at the HUANUO FlowLift™ Single Monitor Mount (formerly SS6, but still model HNSS6). I also discuss the HUANUO Universal VESA Mount Adapter Kit (Model HNMUA4), which was needed for my particular monitor. How well did they work? How easy were they to install? 

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