Photography News

Shooting a landscape with only a 14mm lens can leave you stuck with too much foreground and not enough subject. When the light is right but the lens is wrong, the choices you make in editing decide whether the photo survives at all. 

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OM Digital Solutions has announced the OM SYSTEM OM-3 ASTRO, a dedicated astrophotography version of the OM SYSTEM OM-3 built to better capture red emission nebulae. The company says the camera is compliant with the Micro Four Thirds System standard and will be sold on a made-to-order basis, with availability planned for March 2026. 

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The well known saying: 'Keep it simple stupid' is well known for a reason – it works. Yes, there are times when lots of compositional elements do work but by creating an almost 'empty' space, you can actually create a stronger image.

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1. Why Does It Work?

By cutting out clutter, other people etc. you remove potential distractions and it'll be easier for the viewer of your image to understand what / who your main focus is in the shot and what you're trying to say.
 

2. Subject Choice

 

Just because you're keeping things simple it doesn't mean it has to be boring. Actually, with this technique, you have to work hard to do the opposite and find a strong subject that can stand up on its own. This becomes even more relevant when you're using a large amount of space so your subject only takes up a small amount of the frame.

Also, rather than thinking about what to include in your frame, think the opposite and look for items you can remove.
 

Here are a few ways you can achieve a minimalist look to your shots:

  3. Blurry Backgrounds

 

An obvious way to make your subject stand out is to adjust your aperture so everything in the background is thrown out of focus. You can find more tips on how to do this here: Creative Aperture / Depth Of Field

  4. Plain Backgrounds

Studio backgrounds and other material can be used to hide distracting objects inside and while you're out, use plain walls, fences or if you're shooting small subjects such as flowers, try taking your own backgrounds with you. On the subject of flowers, you can lower your angle so you're shooting up at the flower with the sky as your background which can give you a minimalist-style shot. White backgrounds are an obvious choice but don't think you can't use some bold, strong colour too (as we'll explain further down the page).

 

5. Play With Colour

 

If your subject and background contrast your subject will stand out from the shot. You can do this with colour (bright, strong colours work well) or light, using a brighter subject against a darker background and vice versa. Just make sure there are no 'hot spots' which will pull the viewer's eye away.

Also, having a strong colour filling your background that's the same as your subject can work in some situations or try producing black & white shots which rely on strong subjects and textures to make them interesting. You could even use shapes and colour as your subject, creating a strong composition that fills your frame in the process. 

6. Space To Breath

When used right, adding space to a shot can work just as well as cropping in close. To find out why sometimes it's what you leave out of your images that makes them great, read our tutorial: How To Use Negative Space In Your Photos

 

7. Crop Out Objects

An easy way to remove objects that are at the edge of your frame is to use your zoom to crop them out. You can also use editing software such as Photoshop to crop your images and we have a detailed tutorial on how to use this tool here: Introduction To Photoshop's Crop Tool

If you find the distracting objects are too close to your subject to crop out, you could use the Clone Stamp Tool to remove them. You can also remove distracting backgrounds and replace them with plain ones in Photoshop, too.

 

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Every photographer makes decisions about file formats constantly, yet most of us operate on habit, hearsay, or whatever our camera defaulted to when we first pulled it out of the box. The problem is that choosing the wrong format at the wrong stage of your workflow can quietly destroy your editing flexibility, balloon your storage needs, break compatibility with clients and labs, or degrade your images in ways you won't notice until it's too late.

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Today, the new Viltrox AF 50mm f/1.4 Pro Z Mount lens comes to Nikon cameras. 

You know, sometimes a lens will just scratch you right where you itch. It can be hard to explain. Sometimes you’ll shoot with two lenses, both sharing the same focal range. In practical terms, you are expecting essentially the same result. But maybe one is slightly warmer than the other, maybe one is slightly lighter than the other, and next thing you know, you’ve discovered a valuable tool that becomes a permanent part of your rotation.

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Photoshop’s generative credits determine how freely you can use newer AI tools, and most people don’t know where to see their balance. That uncertainty turns routine edits into guesswork, especially when premium models are involved. 

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I like to carry minimal gear and travel light when on vacation or a travel photography adventure, and my favorite camera hasn’t changed after 7 years of ownership—it’s the Nikon Z50. Finding the right lens has always been a struggle, though, until I got my hands on Viltrox’s AF 27mm f/1.2 Pro. 

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The instax mini Link+ is a small shift in how you move from a screen to a physical print, and it’s aimed at the moments when a phone image feels too disposable. If you care about handing someone a real Instax Mini print at an event, or building a wall of tiny proof prints from a shoot, the tradeoffs in this printer are worth knowing before you buy. 

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Choosing between 25mm and 35mm on APS-C sounds simple until you see how differently they shape a scene, especially with fast apertures. These two focal lengths control how much environment you show, how close you feel to the subject, and how hard the background falls away. 

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AI in photo editing went from thrilling to unsettling to flat in a short window. If editing speed, legal risk, and long-term control over your work matter, this shift affects how much you can trust the tools you use every day. 

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Canon's latest RF lens continues the introduction of the high-quality VCM primes, joining the 24mm, 35mm and 50mm, all taking 67mm filters and all a very similar size. These are Hybrid lenses, intended for both stills and video and the features offered reflect this. 85mm is, of course, the classic portrait focal length, and the staple lens diet for wedding and social photographers across the decades. There is a vast choice of 85mm lenses, some general in use and some of a more specialist nature, but the choice is there. So let's set forth on our journey of discovery, matching up the new lens with the equally new 32.5MP Canon R6 Mark III.

 

Canon RF 85mm f/1.4L VCM Handling and Features

The lens is of moderate size, measuring just 76.5mm x 99.8mm and weighing in at 636g. A generously sized round lens hood is provided and this bayonets securely onto the lens. The fit is slick and positive and the retaining catch makes sure it stays firmly in place. Within the bayonet fit for the hood is a standard 67mm filter thread, a size that is shared with the other VCM lenses in the range.

 

 

First up is the control ring, which can be programmed to exposure compensation (when the shutter release is half depressed), ISO, aperture or shutter speed, via the camera menu, depending on the mode chosen and the preferences of the photographer. If desired, the wider focus ring can be programmed to be the control ring, and in this case, the original control ring becomes inactive.

Closest focus is 0.75m for a maximum magnification of 0.12x. AF is driven by a VCM (Voice Coil Motor) for fast, accurate and virtually silent AF. Focus snaps in every time with no hint of hunting.

Optical construction is 14 elements in 10 groups, including 1 UD (Ultra Low Dispersion) and 1 GMo (Glass moulded aspherical). The rounded diaphragm comprises 11 blades for the best possible bokeh. ASC and SSC coatings complete the picture, along with a Fluorine coating on the front element to help repel moisture, dust and grease. The whole lens is sealed and is moisture and dust resistant.

 

 

There is an AF/MF switch, an AF cancel button and a release for the aperture ring. With support for videography in mind, the aperture ring can be set to "A" in which case the camera controls the aperture, or it can be set manually on the aperture scale. In the latter case, there are no click stops, nor is there any option to switch them in. There is no inbuilt IS and this is covered by the camera IBIS. This offers up to 8 stops advantage at the centre and 7 stops at the edge. The lens is not compatible with extenders.

The lens is actually a gem to handle and like any 85mm lens, snaps beautifully into focus. The depth of field of an 85mm also makes for some gorgeous out-of-focus backgrounds. Having said that, it is a short telephoto and not as versatile for general use as a short standard zoom would be, but then that is not its purpose. The fast f/1.4 aperture also helps, and the lens is not so bulky as an f/1.2 version would inevitably be. A delightful lens to use.

 

Canon RF 85mm f/1.4L VCM Performance

There need be no fears regarding sharpness with this lens, as it has sharpness in abundance right from the start.

Central sharpness is excellent at f/1.4 and f/2, outstanding at f/2.8 and f/4, excellent from f/5.6 to f/11 and very good at f/16. The edges are excellent from f/1.4 right through to f/8, and very good at f/11 and f/16.

 

Canon RF 85mm f/1.4L VCM 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 Canon R6 Mark III body using Imatest. Want to know more about how we review lenses?

 

CA is highly corrected, approaching zero and is unlikely to be an issue.

Distortion measures +0.05%, which is as close to being rectilinear as makes no difference. Architectural shots will be rendered with a high degree of accuracy.

 

Canon RF 85mm f/1.4L VCM 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 Canon R6 Mark III body using Imatest.

 

Bokeh, gorgeous and delicious, is the forte of the 85mm, and will delight brides and grooms as well as anyone who is the subject of a fine portrait lens.

Flare is not generally an issue, but artefacts can be generated when severe lighting is allowed to shine directly into the field of view.

Vignetting is well under control, with just a hint of corner darkening being as much an advantage as a disadvantage with portraiture, concentrating our eyes on the main subject.

 

Aperture Vignetting f/1.4 -0.9 f/2 -0.8 f/2.8 -0.8 f/4 -0.8 f/5.6 -0.7 f/8 -0.7 f/11 -0.7 f/16 -0.7

 

Canon RF 85mm f/1.4L VCM Sample Photos Previous Next

 

Canon RF 85mm f/1.4L VCM Aperture range Previous Next

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

 

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Value For Money

The [AMUK]Canon RF 85mm f/1.4L VCM|Canon+RF+85mm+f/1.4L+VCM[/AMUK] lens is priced at £1679.00

There is quite a choice of 85mm lenses for Canon RF, including:

• [AMUK]Canon RF 85mm f/2 IS Macro STM|Canon+RF+85mm+f/2+IS+Macro+STM[/AMUK], £619
• [AMUK]Canon RF 85mm f/1.2L USM|Canon+RF+85mm+f/1.2L+USM[/AMUK], £2999
• [AMUK]Canon RF 85mm f/1.2L USM DS|Canon+RF+85mm+f/1.2L+USM+DS[/AMUK], £3499
• [AMUK]Laowa 85mm f/5.6 2x Ultra Macro APO|Laowa+85mm+f/5.6+2x+Ultra+Macro+APO[/AMUK], £499
• [AMUK]Lensbaby Velvet 85mm f/1.8|Lensbaby+Velvet+85mm+f/1.8[/AMUK], £499
• [AMUK]NiSi Athena 85mm T1.9 Cine|NiSi+Athena+85mm+T1.9+Cine[/AMUK] Lens, £1139
• [AMUK]Samyang MF 85mm f/1.4|Samyang+MF+85mm+f/1.4[/AMUK], £299
• [AMUK]Samyang VD SLR 85mm T1.9 Mk II|Samyang+VD+SLR+85mm+T1.9+Mk+II[/AMUK], £412
• [AMUK]Zeiss Otus ML 85mm f/1.4|Zeiss+Otus+ML+85mm+f/1.4[/AMUK], £2350

Top-of-the-line 85mm lenses do not come cheap, but the new Canon lens does look like it is pitched at a realistic level.

 

 

Canon RF 85mm f/1.4L VCM Verdict

For stills, a superbly sharp 85mm lens perfect for portraits, weddings and social events plus of course all the usual applications for a short telephoto. For video, virtually silent VCM focusing plus a silent click-free aperture ring. Wedding photographers may well be delighted with this new offering from Canon, although if soft-focus effects are required, then filters will need to be used. As part of the VCM range, it also matches almost exactly in size and weight with the rest of the range, making a very attractive set of high-quality prime lenses.

There is much to like about this lens, and it duly receives a 5-star rating and the accolade of Editor's Choice.

 

Canon RF 85mm f/1.4L VCM Pros

• Excellent to outstanding sharpness
• Virtually no CA
• Modest vignetting
• Very well made
• Virtually rectilinear
• Moisture and Dust resistant
• Smooth bokeh
• Superb handling
• Fair pricing

 

Canon RF 85mm f/1.4L VCM Cons

• Some flare in extreme conditions

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=Editor's Choice – A superb Hybrid 85mm lens perfect for both stills and video shooting.|E_id=8027[/REVIEW_FOOTER]

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The L-Mount Alliance was first unveiled at Photokina 2018. It was positioned as a long-term ecosystem play—one that harmonized multiple brands and prioritized system longevity over short-term competition. For years, the alliance remained relatively compact, dominated mainly by lens options that often leaned toward the premium end of the market, produced by brands that pioneered the alliance, such as Leica, Panasonic, and Sigma.  

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Contradictory to what you're told when you first pick up a camera, it is OK to have blur, and quite a lot of it, in your shots when you're photographing the right subject and want to emphasise speed or create a sense of motion. When we say it's OK we don't just mean a shot you accidentally took out of focus will pass off as something creative, you have to deliberately adjust your camera's settings or know how a quick twist of your lens will give you the blur that's needed to add a sense of action to your shot.

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1. How To Add Blur

The two ways we are going to look at are slowing down your shutter speed and using zoom blur (movement of your lens). The second can be a little harder to get a grasp of but after a few tries, it should become easier.

 

 

2. Shutter Speeds

If you've never shot action-style images before you may first think that a subject that's moving through your frame quick will need a quicker shutter speed to ensure you capture them as they move through your frame. You can do this but most of the time you'll just end up with a shot that freezes them in place and all sense of motion will be lost. However, there are a couple of exceptions to the rule such as a rally car or cyclist hurtling through a muddy puddle. As they move through the water, they'll more than likely cause spray to fly everywhere and a quick shutter speed will freeze the spray as it jumps up towards the sky, surrounding your subject. It's the spray here that helps emphasis the action and their pace so using a slower shutter speed will mean this excitement would be lost.
 

3. Slow Things Down

For times when there's no mud and water flying everywhere try slowing your shutter speed down to add some much-needed motion to the shot. How slow you have to go will depend on how fast your subject is moving, how much light is around etc. and the whole process can be a little unpredictable, however, it's worth sticking with and experimenting as you can get great results, some of which are surprising sometimes.
 

4. Balance

The hard bit can be trying to get the balance of blur and in-focus parts of the shot right. Most of the time a blurred background that has streaks running through it in the direction your subject is moving with a sharp subject sat against it is what you'll be looking for, however, if your subject is a little blurred it can emphasise motion and add further drama to your shot. Don't go too over the top with the blur though as they can just end up merging together which makes it hard for the eye to focus, meaning it's hard for the viewer to settle on one point of the image and it can make it look like you just took a bad shot.

 

 

5. Focus

For shots where you want your subject to be sharp, make sure you're focused on them as you follow them through the frame. A quick autofocus system will help ensure your shot is focused quickly and accurately. Trying to focus manually with fast-moving objects can be tricky, however, it can be done if you plan on pre-focusing on a spot, say on a particular bend on a track, you know your subject will have to pass through. Just remember to lock your focus after you've set it up and be ready to hit the shutter button at the right time.

Switching to continuous shooting mode which most cameras now feature will increase your chances of capturing the action when panning or pre-focusing on one spot. You'll need to start shooting just before your subject comes into frame though to ensure you don't miss a shot due to shutter lag. If you're panning make sure you keep the pan going even after your subject has left the frame and you've got your shot.
 

6. Flash

To brighten your subject so they pop from your frame and to freeze them in place while the background is blurred switch to slow sync flash which combines a slow shutter speed with a burst of flash. The slow shutter speed means the camera will blur the background and further subject movement. Depending on if you're using front or rear curtain will change when the flash is introduced, freezing your subject's movement at different points of the shot.

 

 

7. Zoom Blur

To really emphasise your sport and action shots, giving them a dynamic edge, try using zoom burst to create blur that you deliberately create by twisting the zoom on your lens as you take a shot.

As well as emphasising movement it can help make your subject, who's not blurred, 'pop' from the frame. A burst of light from a flashgun will help freeze your subject and add sharpness to the image.

On paper, it's a simple technique but it can take some time to actually master. You need a lens that will zoom and experimenting with different lens lengths will change the overall effect. Changing the starting point of the zoom and the length of time you zoom for and how quickly you move the lens will also change the final look of the shot. For action shots, it's best to use shorter exposures which you start while you're moving the lens. Starting zoomed out and pulling the zoom in during the exposure makes it easier to capture a sharp shot of your subject with the zoom blur surrounding them.

Adding a little bit of camera movement will adjust the pattern the zoom blur creates and can be used to direct the eye on a particular path through your shot.
 

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We tend to mistake technological adaptation for professional maturity. As cameras grow more “helpful,” they quietly relocate our attention from seeing to supervision. We stop making decisions and start managing a system. 

Here, I do not look at a camera as an instrument, a set of specifications, or a lifestyle object. To me, a camera is a working environment. It is a space that shapes attention and assigns responsibility.

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Big landscape scenes fall apart fast if the foreground, light, and framing are not controlled together. When you’re working near water and mountains at sunrise, small choices decide whether the scene feels intentional or scattered. 

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Leading bag manufacturer Billingham launched a brand-new leisure range marking a deliberate shift from its traditional photographic bag collections.

The new range introduces three non-photographic bag designs, created with everyday versatility in mind while retaining the brand’s signature build quality and attention to detail. The collection is designed to appeal to customers looking for practical, stylish bags suitable for daily use, travel, and leisure.

The range comprises of two handbags and one tote bag, whose names have been inspired by the unsung heroes of the film set.

The three new styles are:

• Dolly Grip – Refined, functional and beautiful. This small handbag is designed for effortless everyday style.
• Key Grip – A perfectly balanced medium-sized handbag designed for everyday use.
• Best Boy Tote – A spacious statement-making tote, perfect for work, travel or everyday use.

Both the Dolly Grip and Key Grip will be available in four colour combinations:

• Khaki Canvas/Chocolate Leather
• Sage FibreNyte/Black Leather
• Black FibreNyte/Black Leather
• Burgundy Canvas/Black Leather

The Best Boy Tote will be offered in two colourways:

• Sage FibreNyte/Black Leather
• Black FibreNyte/Black Leather

Across all three designs, the range shares a consistent set of practical features, including a removable shoulder sling, multiple handy zip pockets, and an internal brass key loop, making each bag both functional and adaptable to different lifestyles.

The launch represents a notable evolution for the manufacturer, expanding its product offering beyond photographic use and into a broader leisure market, while continuing to design and manufacture from its factory in the West Midlands.

The new leisure range is now available online at www.billingham.co.uk and through a few selected retailers, with UK SRP (including VAT) as follows: Dolly Grip at £289.00, Key Grip at £359.00, and Best Boy Tote at £426.00.

There's a particular joy in slinging a mirrorless camera over your shoulder and realizing it barely tugs at the strap. That feeling multiplies when you glance down and see the lens sitting almost flush with the body, transforming what should be a serious photographic tool into something that looks more like an oversized point-and-shoot. Welcome to the world of pancake lenses, where compactness isn't a compromise but a deliberate design philosophy. 

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Canon cameras ship with defaults that look fine but quietly work against you in real shooting. Change a few early settings and you get more honest exposure previews, cleaner files, and fewer missed shots without buying anything new. 

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Strong photographs of trees rarely come from technique alone. They come from paying attention to what happened in that place before you arrived, and from staying long enough to feel it rather than smoothing it over. 

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Valentine’s Day photos tend to bring out the same problem over and over: hands feel useless, bodies feel stiff, and everything starts to feel forced. The video focuses on simple couples poses that reduce that awkwardness, whether you’re working with a pro camera setup or just a phone. 

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