Photography News

I've been struggling with how to describe my experience with the newly released 7Artisans 75mm f/1.25 II lens. Really, I've had two different experiences, both wildly in friction with one another.  

On the one hand, the lens produced sharp images in a variety of settings and assignments with a pleasant bokeh and good color rendition. On the other hand, it took enough time to calibrate the lens that I feel the need to mention it here.

Still, if the final product is good enough, sometimes the juice is worth the squeeze. More on all that later.

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The German image editing provider Neurapix has expanded its AI technology with a fundamental enhancement: effective immediately, the AI edits even more like a human by taking the context of the entire Lightroom collection being processed into account. The result: even more consistently edited photos.

The goal of many photographers is a cohesive look that runs throughout an entire shoot. Until now, however, editing AIs have analyzed each image individually and applied the desired style to each one separately. Neurapix's new approach also considers the other images within the project, ensuring, for example, even more consistent white balance and more uniform exposure across the entire set.

For users, almost nothing changes in terms of operation: in the Neurapix editing dialog, they can simply check the box labeled "Optimize Consistency" to activate the new AI. The feature is included in the "Neurapix Unlimited" plan. In the “Pay-per-Picture” model, as with all optional features, a maximum surcharge of 1 cent per image applies.

 

"The Best Editing Results Currently Possible"

 

"We asked ourselves: Why doesn't AI work like a human? After all, a human would look at the entire shoot and compare the images with one another," says Nils Sauder, co-founder and CEO of Neurapix. "Accordingly, we developed a completely new AI approach in order to deliver the best editing results currently possible to our customers."

The new feature becomes available automatically after updating the Neurapix plugin. The update is offered via a pop-up the next time Lightroom Classic is launched, or it can be installed manually via the Plug-in Manager.

 

About: Neurapix is a German AI start-up based in Goettingen that was founded in 2021. The company has developed an artificial intelligence that is able to learn a photographer's image editing style and apply it within Adobe Lightroom Classic. This allows photographers to have large numbers of photos edited in their own style, resulting in significant time savings of around 90%. For more information, please visit the Neurapix website.

 

We thought we'd put together a quick and easy to follow tutorial on photographing fruit and veg slices with a light source behind them which you can do indoors when it's raining outside. Why do this? Well, the bright light combined with a single or even a few slices of fruit or vegetable can produce an interesting 'arty' style photograph that's really easy to capture at home. 
 

1. Gear You'll Need 

As well as a camera and a macro lens with a short focal length you'll need a lightbox. If you don't own one, you can create one with a clear surface, a light source that can sit under it and something to diffuse the light such as muslin or tracing paper.

You'll also need a tripod, ideally one that has a centre column that can be twisted upside down or horizontally. By using a tripod that can do this you'll be able to work with the centre column rotated so your camera faces down onto the lightbox. This means your hands are kept free for chopping and adjusting fruit/veg slices, plus you can get closer to your subject. 

Don't forget your fruit and veg! Obvious choices are kiwi as the seeds produce interesting patterns but half-circles of onion, oranges, cucumbers and limes work well too. Have a think about how a particular fruit or vegetable may look when sliced up and placed on a lightbox. You shouldn't need to spend much money, plus you can eat any left-over specimens at the end!

  2. Preparation Is Key

 

Get your chopping board out and cut thin slices from your fruit/vegetable. Make sure you cut even slices so when the light passes through, you won't have one part that's darker than the other. Use a clean, sharp knife to slice your fruit/vegetable then place the slice on the lightbox.

Where possible, work away from windows, turn off your house lights and you may want to close the curtains/blinds to limit the amount of light coming in if it's bright outside. 

  3. Placement & Design 

If you're using multiple slices or various fruits/vegetables think about your composition. Repetition and patterns always work well and for some reason, working with odd items gives you a shot that's more pleasing to the eye. This doesn't mean you can't work with even numbers as they can work but the rule of odds is something you should just keep in mind.

  4. Setting Up The Shot

1. As with most close-up work, it's best to switch from auto focus to manual to stop your lens 'searching'. 
2. Take a test shot and check the exposure as the bright light may fool your camera into underexposing. If this happens, switching to a + exposure compensation should fix the problem or you can work in manual if you prefer.
3. You want the background to be bright but not so bright that you can't see the shapes and patterns in the segment of fruit or vegetable you're working with.
4. Good depth of field is needed and if you find problems with camera shake, switch your self-timer on so you have time to move away from the camera before the exposure's captured.

 

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

The Wacom MovinkPad 11 represents an interesting pivot for a company known primarily for professional-grade tethered displays. By moving into the standalone Android space, Wacom is targeting the "on-the-go" artist who wants the legendary Wacom pen feel without being chained to a desk. However, after spending time with the device, it becomes clear that while it excels in certain professional niches, it faces stiff competition from more versatile hardware. 

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At the end of 2024, I committed to a simple project for 2025: one photo per week, taken at midday, every week of the year. What sounded straightforward quickly became harder than I anticipated, and by the end of the year, it had changed how I think about consistency, pressure, and personal work. 

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Can the new NIKKOR Z 70-200mm f/2.8 VR S II truly redefine your portrait workflow, or are the gains marginal? Let's see how a professional photographer puts the new lens to the test in real-world conditions to find out if it is worth the investment. 

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Soft wings. Sharp background. One usable frame out of a 30-shot burst. Bird in flight photography exposes every weak link in your setup, and small changes can double or triple your keeper rate. 

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You have a camera and solid skills, but turning that into steady side income feels unclear. The right approach can bring in real money without forcing you into a second full-time job. 

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Mounting a vintage 85mm lens on a modern medium format body sounds like a recipe for compromise. Pair it with the Hasselblad X2D 100C, and you start asking harder questions about sharpness, rendering, and whether old glass can really handle 100 megapixels. 

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Learning aperture, shutter speed, and ISO changes how you use your camera. Once you understand how these three settings shape light, motion, and focus, you stop guessing and start making deliberate choices. 

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Photo by Daniel Bell.      Why this style of photography works is because, generally, people feel more relaxed out of a studio environment which will produce better photos. Throw a bit of fun into the mix and you'll soon have a collection of images that are unique and interesting.  [HOOK]position_1[/HOOK]  1. Gear Advice 

For environmental portraits, a 14-24mm lens can work well but a go-to lens popular with many photographers is a 70-200mm, which can produce great perspective at the right focal length. When working with families, particularly when shooting a little more candidly, natural light works well but do pack essential lighting accessories such as a reflector. If you find you're out during the middle part of the day, particularly on a sunny day, find shade you can shoot in to produce a more even exposure. 
 

2. Conversation Is Key 

Even if you know the people you are photographing it's still important to talk to them during the shoot as direction and encouragement will always be welcomed. Suggest poses and always get your 'money shots' in the bag early so you can have more fun and also shoot more candidly later on. Good shots to ensure you capture are images of the group as well as shots with tighter framing of individuals or one or two family members together.

Direction doesn't have to come via your voice either. You could kick a ball into a particularly good patch of light or ask children to play with toys in a certain part of the landscape you're working in. Remember that children do have a short attention span so make the posing part of the shoot as quick as possible then leave them to play, capturing candids with your camera as they do. 
 

3. Colours, Backgrounds & Clothing 

Backgrounds that contrast with what your subject is wearing can create vibrant images and don't get too hung up on having everyone in matching shades as a mix of colours adds interest and if they pick their own outfits, they'll be more comfortable. 

 

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

Real estate photography has long been one of the most consistent forms of paid work for photographers. Add video, floor plans, and immersive drone-style marketing content, and you quickly become that one trusted professional who can handle everything with reliable, high-quality results. 

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What do you do when you're planning a shoot in the woodlands during winter, but you live in a region that doesn't see much snow or fog? You walk for hours in this unforgiving environment, trying to find a decent composition, and you end up feeling frustrated that nothing is working. 

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Photography has been around long enough to accumulate a thick layer of conventional wisdom, and much of it is wrong. These myths get passed from forum to forum, YouTube comment to YouTube comment, and camera-store counter to camera-store counter with the confidence of established fact. The problem isn't that they're entirely baseless; most contain a grain of truth buried under decades of misapplication. The problem is that they cost photographers money, waste their time, and actively prevent them from improving. Here are ten of the most persistent offenders. 

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The Sigma 35mm f/1.4 DG DN Art Mark II updates one of the most popular focal lengths you can mount on a full frame camera. A 35mm lens at f/1.4 earns its place fast, whether you shoot events, portraits, street, or video. 

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The difference between a snapshot and a portfolio image often comes down to one thing: whether you meant to make it. Understanding how instinct and intention work together changes how you approach every shoot. 

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© Sigma

 

Sigma has officially launched the AF Cine 28-105mm T3 FF, the second lens in its autofocus cinema line. The new model is designed to merge the optical performance of Sigma’s Art series with professional-grade cinema mechanics, offering filmmakers a versatile tool for modern production.

 

Features

• Advanced optical design: Built on the foundation of Sigma’s 28–105mm F2.8 DG DN | Art, the lens delivers high resolution, smooth bokeh, and minimal flare or ghosting across its focal range.
• Cinema-ready mechanics: Includes industry-standard 0.8M pitch gears, a clickless aperture ring, and a limited-rotation focus ring for precise control during filming.
• High-performance autofocus: Powered by Sigma’s High-response Linear Actuator (HLA), the lens ensures near-silent operation and dependable tracking, making it suitable for fast-paced action, gimbal work, and documentary shooting.

 

© Sigma

 

Price and Availability

The Sigma AF Cine 28–105mm T3 FF will retail at £2799. It will be available in Sony E-mount and L-Mount versions starting April 16, 2026. Product specifications may be subject to change prior to release.
 

For more information, visit Sigma’s official website.

The Sigma 15mm f/1.4 DC DN Contemporary takes over from the long-running 16mm f/1.4 and tightens the formula in ways that affect how you shoot. If you use an APS-C body and want a bright wide angle that balances well and handles video, this one shifts the conversation. 

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ZEISS has announced the ZEISS Otus ML 35mm f/1.4, the third lens in the company's Otus ML series designed for modern mirrorless camera systems. The new 35mm joins the existing ZEISS Otus ML 50mm f/1.4 and ZEISS Otus ML 85mm f/1.4, completing a three-lens set of manual focus f/1.4 primes available in Sony E, Canon RF, and Nikon Z mounts.  

This is also the first time ZEISS has ever produced a 35mm focal length in the Otus family; the original DSLR-era Otus lineup consisted of 28mm, 55mm, 85mm, and 100mm options.

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© Sigma

 

Sigma has released the 35mm F1.4 DG II | Art, a large-aperture wide-angle lens for full-frame cameras. This new evolution of the popular 35mm focal length focuses on delivering superior resolution while significantly reducing physical size and weight.

The lens uses a new optical construction consisting of 15 elements in 12 groups. This includes four high precision aspherical elements and two SLD glass elements to fix color fringing and distortions. To improve clarity in difficult lighting, Sigma introduced an Advanced Amorphous Coating (AAC) that minimizes ghosting and flare.

 

Key Features

• Enhanced Optics: 15 elements in 12 groups for edge to edge sharpness.
• Compact Design: 20% lighter and 14% shorter than the previous model.
• Advanced Coating: New AAC technology reduces reflections and flare.
• Fast Autofocus: Dual HLA motors provide quick and quiet focusing.
• Video Ready: Minimized focus breathing and a de-clickable aperture ring.
• Durability: Dust and splash resistant body with a water repellent front coating.

 

© Sigma

 

Price and Availability

The Sigma 35mm F1.4 DG II Art has a Suggested Retail Price (SRP) of £849. It will be available for purchase starting April 16, 2026. The lens is compatible with the following camera mounts:

• L-Mount
• Sony E-mount

For more information, please visit the Sigma website.