Photography News

 

With Autumn rapidly approaching, they'll soon be ample opportunity to unpack your macro lens so you can capture images of fungi and close-up patterns of leaves as the golden shades take hold. Outdoor macro photography, particularly during the Autumn months, can be very rewarding but as you'll most likely be doing some walking, you may be wondering if fastening a tripod to your camera bag is really necessary as, after all, they can be heavy and a bit awkward to carry. Well, the quick answer to this question is 'yes' but here are 6 reasons that'll further explain why you'll be annoyed at yourself if you don't pack your tripod when heading out of the door. 

 

1. Stability

The most obvious reason for using a tripod is for added stability. Camera shake is more noticeable when working close to your subject so the use of a tripod's recommended. To minimise movement further, use your camera's self-timer or use a remote / cable release so you're not actually touching the camera when the exposure begins.

 

2. Low Angles And Awkward Spots

Not all macro subjects are in places which are easy to reach so use a tripod with a centre column that can be moved to a horizontal position or even turned the opposite way around as they make it easier to get into tight spots. It also helps if your tripod can get low to the ground. You can use various tripod heads but a ball head can be more flexible than other models as their range of movement means more camera positions can be achieved. They can take some getting used to so do have a play around with one at home before heading out into the field.

 

3. Longer Shutter Speeds

A tripod, bean bag or whatever support you're using will become even more important when you start using longer shutter speeds as if you try hand-holding the shots, you'll probably find shake causes blur to appear. You'll find longer exposure times are needed in woods where fungi thrive but not much light gets through the tree canopy. 

 

 

4. Composing Your Shots

Having a tripod with you when out shooting means you can get your framing right then make adjustments to white balance, aperture, shutter speed etc. without the camera's position changing. It also means your hands are free to adjust/remove distracting objects from the frame without the camera having to be put down. This could be moving a branch out of the way, removing stray twigs etc. 

 

5. Pre-Focus

This points more for the warmer months when butterflies and other flying insects are more likely to be around as speed is of the essence when working with small, fast subjects like these. To increase your chances of capturing a subject that moves quickly and doesn't hang around for long, try pre-focusing on the spot where you expect your subject to land. The reason you need a tripod for this is that even the smallest of nudges can change the focus. It also keeps your hands free for making minor adjustments (if needed) to the lens so you can reach your required focal plane once your subject is in the frame.
 

6. Focus Stacking

This technique is excellent for any static macro subjects. It's not recommended for use on live subjects such as insects as these tend to move. For the technique to work, you need to use editing software to combine several shots, where the focus is set at different points in each image, to effectively extend the depth of field of one shot. A tripod's needed as all the images need to line up perfectly for the technique to work successfully. For more information on Focus Stacking, take a look at John Gravett's article: Focus Stacking Images In Photoshop
 

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For photographers working on location, reliable power is no longer a luxury; it's an essential part of the process. Between strobe or LED lighting, tethered laptops, battery chargers, drones, mobile devices, and client comfort equipment, power requirements can quickly become substantial, especially during long days on location. I recently got my hands on the BLUETTI Elite 400 power station to see if it is worth the hype.

 

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Every landscape image is different, yet the same handful of moves show up in almost every edit that actually works. Learn those moves and you stop guessing your way through post-processing and start finishing photos on purpose.

 

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The Pentax 17 landed in 2024 to a wall of loud opinions, and a year of actual use has a way of softening the sharpest first impressions. A camera you dismiss on a one-week deadline can look very different once you've dragged it through Colorado, the Jersey Shore, and a 4:30 a.m. boardwalk sunrise.

 

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You shot 36,000 photos in your first year and kept maybe 10. That's not failure, and treating it as failure is the thing quietly holding you back.

 

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© Fujifilm

 

Fujifilm has announced the FUJINON XF400mmF4.5 R LM OIS WR, a lightweight super-telephoto prime delivering a 609mm full-frame equivalent in just 1,245g. With up to 5.5 stops of image stabilization and fast autofocus, it's built for bird, motorsport, and aviation photography, and works with Fujifilm's teleconverters for extended reach. Equipped with 20 weather-sealed points and a fast linear motor AF system, the lens will be available at the end of September 2026 for £2,499.00.

 

From Fujifilm:

 

Fujifilm Corporation (Headquarters: Minato-ku, Tokyo; President and CEO: Teiichi Goto) will release the FUJINON XF400mmF4.5 R LM OIS WR Lens as part of its lineup for the X Series mirrorless digital cameras, which combine exceptional image quality achieved through proprietary colour reproduction technology with a compact and lightweight design.

The XF400mmF4.5 R LM OIS WR is a super-telephoto prime lens featuring a focal length of 400mm (equivalent to 609mm in the 35mm format) and a bright maximum aperture of F4.5, delivering the highest optical performance in the XF lens lineup.

Despite its long focal length, the lens weighs only approximately 1,245g*1, ideal for capturing fast-moving subjects at long range, including birds, motorsports, and aircraft.

In addition, enhanced shake detection accuracy and an optimised stabilisation mechanism provide up to 5.5 stops*2 of image stabilisation, ensuring stable handheld shooting even at super-telephoto focal lengths and in situations requiring fast shutter speeds.

The XF400mmF4.5 R LM OIS WR further extends the lens’s focal length when used with a teleconverter.  With the FUJINON Teleconverter XF1.4X TC WR, the lens provides a focal length of 560mm (853mm equivalent in the 35mm format), and with the FUJINON Teleconverter XF2X TC WR, the lens provides a focal length of 800mm (1,219mm equivalent in the 35mm format).

With the addition of the XF400mmF4.5 R LM OIS WR to the lineup, the range of large-aperture super-telephoto prime lenses in the XF Lens series—covering focal lengths equivalent to approximately 300mm to 762mm in 35mm format—is now complete.

This comprehensive lineup enables photographers to choose the ideal lens for virtually any super-telephoto application, providing exceptional versatility for wildlife, sports, aviation, and other demanding photographic pursuits

 

*1 Lens cap and hood not included

*2 Compliant with CIPA standards. Pitch/Yaw correction performance.

 

© Fujifilm

 

Main Product Features

 

1)  Optical performance brings together the best of FUJIFILM'S XF Lens technology

-         Features a 400mm super-telephoto focal length (35mm equivalent: 609mm) and an aperture of F4.5. It is ideal for photographing subjects that are far away and moving at high speeds, such as birds, motorsports, and aircraft.

-         When used in combination with a teleconverter, the focal length is further extended. The FUJINON Teleconverter XF1.4X TC WR allows shooting at a maximum focal length equivalent to 560mm (35mm format equivalent: 853mm), while the FUJINON Teleconverter XF2X TC WR allows shooting at a maximum focal length equivalent to 800mm (35mm format equivalent: 1,219mm).

-         It features a sophisticated 21-element, 14-group lens configuration that includes 2 Super ED elements and 4 ED elements. This design effectively minimises chromatic aberration – a common issue with super-telephoto lenses—and delivers exceptional resolution.  It captures even distant subjects with high-definition detail, enabling the powerful visual impact unique to super-telephoto photography.

 

2) Exceptional mobility and resolution performance in a compact, lightweight design

-         Leveraging the 1.5x crop factor of the APS-C format, the lens delivers a 609mm full-frame equivalent field of view in a compact body weighing approximately 1,245g. Its lightweight design and excellent portability make it ideal for extended shooting sessions and travel.

-         Front-heavy balance is a common challenge with super-telephoto lenses, but the XF400mmF4.5 R LM OIS WR features an optimised optical design that positions the center of gravity closer to the camera body. This improves handling and helps reduce fatigue during extended handheld shooting sessions.

-         The lens barrel features 20 sealed points, providing dust and weather-resistance as well as reliable operation in temperatures as low as -10°C. In addition, the front lens element is coated with fluorine, offering water-repellent and anti-smudge properties. You can use this lens with confidence even during extended shooting sessions in inclement weather.

 

3) Powerful 5.5-Stop image stabilisation

-         Improved shake detection accuracy and an optimized stabilisation mechanism provide up to 5.5 stops of image stabilisation performance. This enables stable handheld shooting even at super-telephoto focal lengths, where camera shake is particularly noticeable.

 

4) Fast, quiet and highly accurate autofocus with outstanding handling

-         The use of an internal focusing system has made the focusing lens smaller and lighter. Furthermore, by driving the focusing group with a high-speed linear motor, we have achieved fast and quiet autofocus. Even during demanding super-telephoto photography, the lens enables fast and highly accurate autofocus, helping photographers capture decisive moments with confidence.

-         It features a focus preset function that allows you to instantly shift the focus to a position preset using the “SET” button. Since there’s no need to refocus on your intended subject, you can achieve focus instantly.

-         A “Focus Control Button” positioned near the front of the lens barrel provides instant access to the function selected via the Focus Select Switch (AF-L / PRESET / AF), enabling smooth and efficient autofocus operation.

-         Equipped with a focus limiter function*3 that limits the focusing range, reducing focus acquisition time when photographing subjects at distances greater than 5 meter and enabling faster autofocus performance.

 

*3 The focus limiter function can be activated using the “shooting distance range selector switch.”

 

© Fujifilm

 

Price & Availability

 

The XF400mmF4.5 R LM OIS WR Lens will be available from the end of September 2026.

RRP  £2,499.00 

For more information, please visit the Fujifilm website.

 

The basic function of a tripod

First, let's quickly examine what a tripod will do for us. First and foremost, it supports our camera, attached lens, and some of the other gear, like a flash unit, etc. It helps us position our camera at an odd angle at times. It helps us get higher than our typical shooting stance, and get lower at times for macro work. The most appropriate tripod for you will depend on your shooting style and choice of subject matter. There is not one tripod out there that is better with every subject matter; on the contrary, many tripods are specialist.

 

 

So, what areas should your tripod excel to be useful for outdoors shooting?

If you are planning to shoot nature, there are certain aspects of the outdoors which your tripod will have to endure, which it would not, if it was used indoors.

1. Moisture is an enemy of photography gear. If you plan to shoot landscapes in the wilderness, wild animals, birds, etc., your camera and you will end up in some wet environments. As such, you have to make sure that your tripod choice reflects this fact. Many manufacturers build tripods specifically meant for the outdoors, and they are built to be moisture resistant if not proof.

2. The terrain is always a concern outdoors. A good tripod should have spiked feet, simply because you will often end up on loose soil, dirt, and other surfaces that will be uneven, and require sharp spikes to secure the tripod, and attached gear. You can buy spare spiked feet from manufacturers if you don't have any.

3. The load is a very important aspect to consider. How heavy is your camera and your heaviest lens? Are you planning on getting larger heavier lenses in the future? While it is tough to predict, always try to plan ahead. Your choice of a tripod will reflect your future purchases. Always, make sure your tripod has at least 30% of capacity for future upgrades to your equipment. If you plan to shoot wildlife, you will have some really heavy lenses, and a tripod will have to support them and allow you to pan smoothly when shooting animals in action.

4. Weight is probably the main determining factor in your purchase. Remember, when you travel and explore, you will have your tripod with you, and depending upon how much walking you do, the weight of your tripod will be more or less important to you. However, always aim for the highest ratio of weight to load. In other words, look for lightest tripod rated for highest weight. Outdoors are often rough environments and every pound counts. 

5. The flexibility of shooting positions is important when you change subject matter on the fly. If you are like me, you will shoot macro, landscapes, panoramas, and perhaps even some animals, depending on the time of day and weather. If so, a flexible centre column is a must feature. Look for a tripod which allows for multiple positions of the centre column. A tripod should allow you to get low, and have more than one-foot angle. The best tripods for this job will offer up to three different angles for the feet, which will allow you to get very low if need be, to shoot flowers, insects, etc. 

 

 

How much money?

Choosing a tripod is not easy. Some manufacturers do make things easier and group them into specialities, like outdoors, studio use, etc. Do as much research as you can, because there is no one ideal model that suits everyone. Remember the old saying: "You get what you pay for". This is very important when deciding how much you are willing to pay. Keep in mind, a huge budget will not always mean you get the best tripod, but it will mean that you do have more choices.

Do not look for a cheap tripod, which you think may suffice. Your shooting requirements will change, and within a year or two, you will be shopping for another one. Strongly consider carbon fibre as they are lighter than any alloy, more durable, will not bend, and flex under the weight of your gear, and do not rust, corrode, or are adversely affected by moisture. They are more expensive, but without a doubt worth the extra money. Look at this purchase as a long-term investment in photography. After all, your images will only be as good as your shooting ability and your gear

 

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Rain in the forecast for the first time in months, dark clouds gathering to the north, and a family lunch that can't be moved. That collision between perfect conditions and almost no time is the reality most people shooting landscapes live with, and it shapes every decision made across one very short morning.

 

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The Fujifilm XF400mm f/4.5 R LM OIS WR is priced at £2499 and available from late September 2026.

 

Despite the wind and rain, ePHOTOzine contributor Will Cheung enjoyed his first look at the Fujifilm XF400mm f/4.5 R LM OIS WR fitted on a 26.1 megapixel X-H2S body.

 

The Fujifilm X Series lens system has an impressive selection of lenses with fast aperture primes and zooms, covering from ultra-wides and standard focal lengths to macro and super telephotos and almost everything in between.

For action and nature photographers, there’s the option of the XF100-400 f/4.5-5.6 R LM OIS WR and XF150-600mm f/5.6-8 R LM OIS WR zooms and the XF200mm f/2 R LM OIS WR and XF500mm f/5.6 R LM OIS WR primes. That’s a good selection by any measure and now there is another option, the XF400mm f/4.5 R LM OIS WR, which has a launch price of £2499. This is equivalent to 609mm in the 35mm format and that is a popular focal length among action and nature photographers. Add a fast f/4.5 aperture, a weight of 1245g and a very attractive price and this lens is sure to prove popular.

 

Twenty environmental seals are fitted on the Fujifilm XF400mm f/4.5 R LM OIS WR and with heavy rain they were needed during this First Look.

 

Fujifilm XF400mm f/4.5 R LM OIS WR Features

Headline features of the Fujifilm XF400mm f/4.5 R LM OIS WR are its focal length, portability, fast maximum aperture and optical performance. The lens gives an equivalent 35mm focal length of 609mm, so it’s very well suited to action, aviation and nature subjects.

The advanced optical design features 21 elements in 14 groups, and that includes four ED and 2 Super ED elements to minimize chromatic aberration and make the most of the high-resolution sensors featured in Fujifilm X Series cameras. The front element is fluorine coated to repel dust and moisture.

Despite its long telephoto reach and complex optical design, the XF400mm f/4.5 R LM OIS WR weighs in at 1245g (not including the lens hood). For comparison, full-frame 600mm f/4 lenses weigh 3kg plus, so there’s a huge weight-saving here.

For even more reach, the lens is fully compatible with the 1.4x and 2x Fujifilm teleconverters, giving 35mm equivalent focal lengths of 853mm and 1219mm respectively.

Autofocusing is internal, so the lens size stays constant and is handled by a high-speed linear motor, so focusing is rapid and silent. The lens features a Focus Control Button that can be set to various functions and a focus preset is available too. 

To make the most of the long focal length, the XF400mm f/4.5 R LM OIS WR features a 5.5-stop Optical Image Stabiliser to defeat camera shake.

 

A size comparison: the Fujifilm XF400mm f/4.5 R LM OIS WR (left) alongside the XF500mm f/5.6 R LM OIS WR, which is currently in the shops at £2609.

 

Fujifilm XF400mm f/4.5 R LM OIS WR Key Features

• Price £2499
• 609mm focal length (35mm equivalent) 
• Internal autofocusing with high-speed linear motor
• 21 elements in 14 groups construction
• Optical Image Stabilisation system, 5.5 stops benefit
• Fluorine-coated front element
• Focus control button and focus preset
• 2.75m close focusing distance
• Two on-lens focus limiter ranges
• F/4.5-22 aperture range 
• 9 diaphragm blades
• 20 weather seals
• 95mm filter size 
• Compatible with Fujifilm XF1.4x WR and XF2x WR teleconverters 
• Bayonet fit lens hood available
• Dimensions 104.5x239.5mm
• 1245g weight

 

The Fujifilm XF400mm f/4.5 R LM OIS WR is lightweight enough for sustained spells of handheld shooting with minimal fatigue.

 

Fujifilm XF400mm f/4.5 R LM OIS WR Handling

In respect of handling, there is much to like about the Fujifilm XF400mm f/4.5 R LM OIS WR. A big benefit is its weight, or rather the lack of it. This is a fast aperture 609mm (35mm format equivalent) prime lens and it weighs just 1245g and a bit more with the lens hood attached. Add a Fujifilm X camera (the X-H2S body weighs 660g) and the combination weighs in at under 2kg, which is significantly lighter than a full frame 600mm f/4 lens on its own. 

With internal focusing handled by a linear motor, AF speed is quick, silent and responsive. During this First Look, I shot almost exclusively with the camera’s Bird detect switched on and using Wide zone and Zone AF in continuous AF. The rain, wind and poor light weren’t favourable for nature photography, especially with fast-moving birds, but the camera/lens combination proved capable, and I was happy with my results.

The lens’s Optical Image Stabiliser (OIS) system worked well. The claimed benefit is 5.5 stops which, assuming that the base shutter speed is 1/1000 sec, that takes us to just under 1/30 sec. I tried handholding at 1/30 sec and got sharp shots which, in the windy conditions and with live subjects, was more than acceptable.

 

The Fujifilm XF400mm f/4.5 R LM OIS WR comes with a selection of controls, and the tripod foot is Arca Swiss compatible.

 

Fujifilm XF400mm f/4.5 R LM OIS WR Sample Photos

This sequence of a Barn Owl was shot at 15fps using the Fujifilm X-H2S’s mechanical shutter. Once the subject was acquired, the X-H2S with the XF400mm f/4.5 R LM OIS WR lens tracked the subject impressively. Bird detect and wide zone AF was used. 1/2000 sec f/4.5 ISO 1600.

 

The Harris Hawk stands out proudly from the background with the Fujifilm XF400mm f/4.5 R LM OIS WR used wide open. 1/800 sec f/4.5 ISO 1600 Fujifilm X-H2S in manual exposure.

 

Incorporating Fujifilm’s Optical Image Stabiliser with 5.5 stops of benefit, here, the XF400mm f/4.5 R LM OIS WR was used at 1/30 sec, f/7.1 and ISO 1600. Sharpness is very good in this shot, but with the bird constantly twitching, getting a sharp result wasn’t easy. Fujifilm X-H2S in manual exposure mode.

 

The Fujifilm XF400mm f/4.5 R LM OIS WR used wide open for this Peregrine Falcon shot throws the background out really nicely. 1/640 sec f/4.5 ISO 800 Fujifilm X-H2S in manual exposure mode.

 

The Fujifilm X-H2S and XF400mm f/4.5 R LM OIS WR tracked the Chilean Blue Eagle well with Zone AF and bird detect on. The electronic shutter was used, and the drive speed was 30fps. 1/2500 sec f/4.5 ISO 2500 Fujifilm X-H2S in manual exposure mode.

 

The Fujifilm XF400mm f/4.5 R LM OIS WR used close to its minimum focusing distance, shows excellent resolution of the high-frequency feather detail of a Chilean Blue Eagle (also known as the Black-chested Buzzard-eagle). 1/600 sec f/4.5 ISO 800 Fujifilm X-H2S in manual exposure mode.

 

 

The gorgeous underside detail of a Chilean Blue Eagle is revealed as it approaches a perch. 1/2500 sec f/4.5 ISO 2500 Fujifilm X-H2S, manual exposure, 30fps, electronic shutter.

Birds were supplied by Walks with Hawks.

 

A full ePHOTOzine lens test will follow in due course, but here’s a series of images to give you an idea of the Fujifilm XF400mm f/4.5 R LM OIS WR’s quality through its aperture range. A Gitzo Series 2 Traveler tripod was used with the exposure made using the camera’s self-timer. An of ISO 200 was used with the RAWs processed through Adobe Lightroom Classic.

 

Fujifilm XF400mm f/4.5 R LM OIS WR Aperture range Previous Next

 

For an equivalent 609mm lens (in 35mm format), the Fujifilm XF400mm f/4.5 R LM OIS WR is light and well-balanced, so handling is excellent. It’s an impressive lens with huge potential for aviation, sports and nature.

 

Fujifilm XF400mm f/4.5 R LM OIS WR Initial Verdict

It wouldn’t be fair to make a final judgement after a couple of hours photographing captive birds in the rain. But there’s no denying that I was very impressed with the Fujifilm XF400mm f/4.5 R LM OIS WR. With a 609mm reach (in 35mm terms), it means you can pull in distant small subjects and there’s the potential of teleconverters for even more. 

Handling was first-rate and my arms didn’t ache at the end of the shoot, which is a good sign.

From my results taken on this First Look, image quality is very good. I was shooting at f/4.5 at ISO 1600 and 3200 most of the time and the processed Raws showed lots of fine detail with healthy levels of contrast despite the gloomy conditions.

For the price, the fast prime Fujifilm XF400mm f/4.5 R LM OIS WR is very good value for money too.

Look out for our full test and definitive verdict soon.

Visit our Equipment Database to see more images of the Fujifilm XF400mm f/4.5 R LM OIS WR along with specs. 

Fujifilm has announced the XF 400mm f/4.5 R LM OIS WR, a new super-telephoto prime lens for the X Series system. Designed primarily for wildlife, bird, sports, motorsports, and aviation photography, the lens provides a 400mm focal length, equivalent to 609mm on full frame, while weighing approximately 2.74 lb (1,245 g). 

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1. What Is A Triptych? 

A triptych is an image that consists of three different images that usually relate in some way. Why three? Well, items grouped in odd numbers are usually more compositionally pleasing and you can use three shots of different things or split one image up onto three separate panels. Generally, the image is presented so each shot is given the same space/shape to sit in on the canvas and they are evenly spread out. 

Triptychs are a great way to combine multiple viewpoints of the same place into a single shot so you can better tell the story of the scene you captured. It's also a good way to present images of a similar theme you've captured over time. 

 

2. What Photos Should I Use?

The images you use need to link to each other some way, but this doesn't necessarily mean it has to be of the same subject. They could be linked by colour, for example, or you could have applied the same treatment to them during post-production to make them appear similar. Images taken at the same focal length tend to appear more balanced when put together however, this rule isn't set in stone. You could also try linking them by movement, with three shots showing someone/something moving closer to the front of the frame or further away. 

 

3. Get Creative

Another way you could create a Triptych is to use several parts of the same scene in three separate images, capturing a wider view in the first then focusing on detail in the two that follow. Taking shots of the same scene at different times of the day or even the year can work effectively. For example, you could capture images of a tree during summer and autumn to show the contrast in colour/weather. 
 

4. Photograph Portraits

When shooting portraits, these types of shots tend to work better when your person, animal or object is looking into the frame rather than out as having them looking out of the shot will draw the viewer's attention away from the centre of the image. You can change the direction of which your subject is facing during post-production if you so wish. You could also have your subject creating three different facial expressions or poses a technique that can work particularly well with children. 
 

5. Fun With Photoshop

The easiest way to create a triptych is with editing software and we have a tutorial on creating triptychs in Photoshop over in our technique section: Create A Triptych For Your Photographs
 

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© Canon

 

Canon has released a free firmware update for the EOS C80 and EOS C400, enhancing image quality and workflow for professional filmmakers. The headline feature, Cinema Exposure Mode, improves highlight performance above base ISO and streamlines the log shooting menu. The EOS C400 adds Auto Exposure Ramping Compensation, while both cameras now support Canon's new CN30x40 Cine Servo lens. The update is available now for download.

 

From Canon UK:

Canon announces a new free firmware update for the EOS C80 and EOS C400, delivering image quality, workflow and compatibility enhancements for professional filmmakers. Headlined by the introduction of Cinema Exposure Mode, the update reflects Canon's ongoing commitment to evolving Cinema EOS products based on professional user feedback, helping customers get even more from their existing equipment.

Improved image performance and enhanced workflows

The latest firmware update introduces Cinema Exposure Mode, designed to improve highlight performance when shooting above base ISO levels (up to 2-stops), as well as providing a more streamlined camera menu specifically for log shooting. This gives filmmakers greater flexibility in challenging shooting conditions while helping maximise image quality throughout post-production workflows.

The EOS C400 also benefits from a range of workflow and usability enhancements, including Auto Exposure Ramping Compensation for smoother operation in broadcast and live production environments with supported Cine Servo lenses, alongside additional refinements that streamline day-to-day camera operation.

Further expanding the Cinema EOS ecosystem, the update adds enhanced compatibility with the all-new and optically groundbreaking CN30x40 Cine Servo lens, strengthening integration across Canon's professional imaging portfolio and providing greater flexibility for production teams.

By adding meaningful new capabilities at no additional cost, Canon continues to demonstrate its commitment to supporting professional creators long after purchase, ensuring the Cinema EOS platform continues to evolve in line with the needs of filmmakers.

 

Availability

The EOS C80 and EOS C400 firmware update will be available to download free of charge from 19 August via canon-europe.com/support.

 

Beach huts are wonderfully photogenic and you can get great pictures of them almost regardless of the lighting conditions. However, beach huts get elevated to iconic status when the scene is complemented by a photogenic sky.

 

1. Gear Suggestions

A wide-angle will help you make the most of big skies, but even the short end of your standard zoom should be fine. Obviously the wider your lens the more sky that you can include. However, there is the danger of going too wide and including fantastic sky detail as well as more mundane bits, so do frame carefully. A selection of filters can come in very handy so do pack some graduates as well as the polariser.
 

2. When?

Lovely skies can occur at any time of year and at any time of day so you just have to be aware of the conditions and keep an eye on what’s happening. With heavy showers followed by brief spells of intense sunlight, there is every chance of dramatic skies, not to mention things like rainbows.

Periodically check what’s happening in the heavens as the day progresses and in the end, you might end up with a good set of images, all taken from the same spot but looking very different as the sky is constantly changing.

 

3. Metering

Exposure can be tricky because of the wide contrast range between the sky and the beach huts, so you need to think about metering to ensure the optimum result. In some cases, you might even find the foreground to be brighter than the sky, say when there is a doom-laden dark sky behind the sunlit huts.

With this sort of shot, the most important of the scene is the highlight detail (usually the sky) so meter off that and let the shadows worry about themselves. If the foreground then looks too gloomy use exposure compensation to help and reshoot.

If the light is changing quickly, and this can happen in stormy conditions, bracket exposures to make sure you get a result you are happy with. If you find the sky is still coming out too light, fit a graduate filter.

 

 

4. Enhance

A polariser can intensity a colourful or a stormy sky depending on the direction of the light so that too can work. A polariser can enhance a sky to make it work even better for a black & white conversion. However, you might prefer the natural approach and that is perfectly fine.

 

5. Composition

In terms of composition, being bold can help. Some people might want to compose using the rule-of-thirds, but this can actually look rather static. Lining up the huts along the very bottom of the frame can work better and give even more prominence to the sky. Just explore the options when you are framing up the shot.

 

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In October 1906, a portrait of the German Crown Prince left Munich as nothing more than a flickering electric current, fought through roughly 1,800 kilometers' worth of telegraph line, and emerged at the far end as a photograph you could actually recognize. No train carried it. No courier, no envelope, no darkroom on the far end printing from a shipped negative. And the strangest part is that this was the encore.  

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In the age of AI editing and retouching, high-resolution pen display tablets still offer an irreplaceable user experience. This one from a brand called GAOMON checks a lot of the boxes of what we look for.

 

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The best photo shoot of your year will probably be the one you never planned. Every photographer eventually runs into the gap between careful preparation and the messy reality of shooting, and how you handle that gap shapes the work you end up proud of.

 

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Take a single trip with six different cameras and a hard question follows you home: which one actually earned its place in the bag? Peru offered a real test of that, pitting a video-friendly workhorse against a stills machine that stopped everyone cold.

 

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A fisheye lens locks you into curved horizons and bowed lines, but the 7Artisans 10mm f/2.5 for the Nikon Z mount ships with a way out. A free lens correction profile straightens those shots into a clean wide angle look, and applying it takes a handful of clicks.

 

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Fresh snow skimming the peaks, streams cutting through beaches, and moss-covered cascades that only exist because the storms haven't ripped them clean. Fiordland packs more usable foreground into a single beach than most locations offer in a week, and knowing how to read it is the difference between a snapshot and a photograph you'll return to for years.

 

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The Toronto Blue Jays posted an animated short on Tuesday and spent the afternoon telling fans it was not made with AI. Pull the video down and step through it frame by frame, and the props on a stationary wheelbarrow respell themselves four times in under a second. 

 

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