Photography News

 

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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There is a definite desirability about a well-spaced range of compact, fast-aperture prime lenses that offer portability and a high level of optical excellence. Sigma has such a range, covering 12mm, this new 15mm, 23mm, 30mm and 56mm. As these are APS-C lenses, the “35mm equivalent” values are 18mm, 22.5mm, 35mm, 45mm and 85mm, at least in terms of what we might expect from their field of view. Available in Sony E, Fujifilm X and Canon RF mounts, these have enormous potential for both stills and video shooting. We have here the Canon RF version, and our exploration of its features and performance sees it mounted on the 24MP Canon R10 body. Let's see how it all pans out.

 

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

The three mount options do have slightly different measurements, including a slightly less wide field of view for the Canon RF version, giving a “35mm equivalent” of 24mm as opposed to 22.5mm. This is because of the Canon 1.6x crop factor, as opposed to the more general 1.5x. The Canon RF lens has the usual control ring, whereas the Sony E and Fujifilm X versions both have an aperture ring.

Regardless of minor differences, the overall effect is the same in that the lens presents as a light and compact, well-made lens that balances very nicely on the Canon R10 body provided for this review. The lens weighs in at a very modest 240g (RF), 220g (E) or 225g (X). Dimensions are just 69.0mm x 62.8mm (RF), 64.0mm x 64.8mm (E) or 64.0mm x 65.1mm (X).

 

 

There is a supplied bayonet fit petal lens hood that clips positively into place. There is no retaining catch, nor is one needed. Within the bayonet fit for the hood is a conventional 58mm filter thread.

Controls on the lens are limited to just two rings. First up is the wide focusing ring. This is electronic and as smooth as silk. The second ring on the RF mount lens is a control ring, and this can be programmed to different functions. The choice of ISO setting was made for this review, but other options may be chosen. The AF system uses a high-speed stepping motor that is indeed fast, accurate and almost silent. Closest focus is 17.7cm (7.0 inches) for a maximum magnification of 1:7.9, or 0.12x. This is not as close as a macro lens, but close enough to provide exciting, dynamic compositions at distances significantly closer than a traditional lens would allow.

Optical construction is 13 elements in 11 groups, including 1 FLD, 3 SLD (Super Low Dispersion) and 3 Aspherical. FLD is a low dispersion element that uses fluorite-like glass, approaching the performance of fluorite but at an affordable level. The diaphragm consists of 9 blades, rounded to provide a rounded aperture.

 

 

The lens is dust and splash-resistant, so use in even harsh environments becomes possible. This has its limits, of course, and Sigma advises that this is not the same as waterproof. The front element is treated with coatings that repel dust, grease and moisture. We will all have our own “comfort level” when judging how much wetness can be tolerated, but in practice, this reviewer has found that weather-resistant lenses seem to survive moderate rain very well. Those that quote actual IP ratings are more specific, but we are not provided with that here.

It must be said that the new 15mm f/1.4 is a delight to handle. The focal length is wide enough to be dramatic and yet not so wide as to become a specialist lens. The degree of correction is very high, the sharpness crisp and beautiful and the general rendering (an aesthetic judgement) very attractive. There is so much to like, and not really anything significant to dislike.

 

Sigma 15mm f/1.4 DC Contemporary Performance

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

 

Sigma 15mm f/1.4 DC Contemporary 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 R10 body using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is very well controlled throughout, and colour fringing is unlikely to be an issue.

Distortion is just -0.81% barrel, an impressively low figure. The slight residual barrel distortion is the right choice anyway, as that is what our eyes expect from wide-angle lenses. Pincushion distortion in a wide angle just tends to look wrong.

 

Sigma 15mm f/1.4 DC Contemporary 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 R10 body using Imatest.

 

Bokeh is a more aesthetic response and cannot be directly measured, but here we see good gradation in the out of focus areas. It will never be as smooth as a short telephoto lens might be, but nonetheless, it is very satisfactory.

Flare control is generally excellent, even with bright light sources in frame. It is possible to hit a spot where some flare becomes interesting, but almost all of the time, there is no flare to be found.

Vignetting is minimal, the actual figures being:

 

Aperture   f/1.4 -1.4 f/2 -1.2 f/2.8 -1.2 f/4 -1.2 f/5.6 -1.1 f/8 -1.1 f/11 -1.1 f/16 -1.1

 

Sigma 15mm f/1.4 DC Contemporary Sample Photos Previous Next

 

Sigma 15mm f/1.4 DC Contemporary 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]Sigma 15mm f/1.4 DC Contemporary|Sigma+15mm+f/1.4+DC+Contemporary[/AMUK] lens is priced at £449 - it is part of a group of f/1.4 primes:

• [AMUK]Sigma 12mm f/1.4 DC|Sigma+12mm+f/1.4+DC[/AMUK], £519
• [AMUK]Sigma 15mm f/1.4 DC|Sigma+15mm+f/1.4+DC[/AMUK], £449       
• [AMUK]Sigma 16mm f/1.4 DC DN|Sigma+16mm+f/1.4+DC+DN[/AMUK], £389 (Replaced by 15mm)
• [AMUK]Sigma 23mm f/1.4 DC|Sigma+23mm+f/1.4+DC[/AMUK], £479      
• [AMUK]Sigma 30mm f/1.4 DC DN|Sigma+30mm+f/1.4+DC+DN[/AMUK], £319
• [AMUK]Sigma 56mm f/1.4 DC DN|Sigma+56mm+f/1.4+DC+DN[/AMUK], £419

A very well-priced range that offers excellent VFM.

 

 

Sigma 15mm f/1.4 DC Contemporary Verdict

The new 15mm lens is 50% lighter, 30% shorter and has a reduced filter size from 67mm to 58mm, when compared to the 16mm f/1.4 lens that it replaces. The performance is still maintained. The handling is enhanced by the inclusion of a control ring/aperture ring. This all adds up to an excellent lens, especially suitable for street/reportage, landscape and astrophotography. It is, of course, designed for APS-C format crop sensor cameras. There is no built-in image stabilisation, but provided that the camera body has IBIS, this is not an issue.

In this Canon RF fit incarnation, it mimics the classic full-frame 24mm lenses, probably the most useful of the wide-angle lenses without becoming so wide as to make handling difficult. This is something that has evolved, as tastes have moved on from 35mm being a wide angle, to 28mm and then to 24mm, all in full frame terms.

Equally well, there has been a resurgence of compact prime lenses and these are often presented in small groups from ultra-wide to short telephoto, with very similar form factors and consistent balance that is so useful for videographers as well as stills photographers.

In summary, another fine new lens from Sigma that is Highly Recommended.

 

Sigma 15mm f/1.4 DC Contemporary Pros

• Excellent central sharpness
• Very good edge sharpness
• Low distortion
• Low CA
• Fast, accurate and virtually silent AF
• Dust and splash-resistant construction
• Low vignetting
• Low flare
• Excellent handling
• Light and compact

 

Sigma 15mm f/1.4 DC Contemporary Cons

• No IS

 

[REVIEW_FOOTER]R_features=4|R_handling=5|R_performance=4.5|R_value=5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – Compact, light and a great performance from this well-priced ultra-wide lens|E_id=8027[/REVIEW_FOOTER]

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A next generation workhorse arrives today with Nikon’s announcement of its new NIKKOR Z 70-200mm f/2.8 VR S II.  

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  What Is It?

Looking at the Histogram on your camera can help you improve the overall exposure of your images and it’s a tool that’s available on most models. It’s a graph that represents the range of tones that are in the image you’ve taken so you can analyse the shot to make sure the exposure is correct before you move on to take a photo of something else. The left side of the graph shows the darker tones and the right the lightest.

You can set your camera to show a histogram at the same time you preview your shots, see your camera’s manual for more information on how to do this.

  Why Should I Use It?

Even though the histogram looks at the tonal range of your shot, it’s a quick way for you to see if your shot is really over or underexposed. If your shot’s underexposed it will look too dark while an overexposed will look a lot brighter than it needs to be and really light areas can look blown out as they lack detail.

  What Does It Mean?

If the graph is occupying mostly the left-hand side it means your image has more dark tones than light (underexposed) and if it’s shifted to the right, there are more lighter tones (overexposed) which means you could have really bright areas that look blown out.

A 'good' histogram that shows an even exposure will peak more towards the middle and get lower to either end.

Also, as a side note, when you playback your images there’s an option you can set that makes the highlighted areas ‘blink’ so you can pinpoint their exact location. Check your camera’s manual for the instructions on how to do this.

 

  When To Use It?

How often you check your histogram is up to you but generally, cameras are quite good at setting the exposure for most scenes. However, there are a few scenarios that can confuse your camera and these are the times it’s worth checking the histogram. For example, if you have a scene that varies drastically in tones so you have really bright areas as well as dark shadows.

The same goes for times when you’re using the same settings for a series of shots that you want the exposure to be the same for each. This could be taking a series of portraits that you’re going to combine into a multi-portrait that shows one person in several different locations in your shot. If the exposure isn’t the same in all the shots they won’t blend together seamlessly and it either won’t work or it’ll mean you have more post-production work to do.

There are times when the readings on the histogram would be right, your shot isn’t correctly exposed, however you may have done this on purpose so it can be ignored. When is this true? Well shooting a silhouette would give you a histogram that isn’t considered ‘correct’ likewise for a shot where the ground and sky are of a similar tonal range such as one a beach or when it snows.

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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.

If you’re shooting fast-moving sports or wildlife, or you’re a videographer shooting long takes in a raw format and high resolution, the most essential piece of gear you need is a fast reliable memory card. Choosing one, however, can be a nightmare. So what do you do? I would guess you buy one from a reputable brand, right? That makes sense, but recently I discovered there’s a lot of marketing smoke-and-mirrors going on—and I thought you should know about it.

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When outlets can fill galleries with “credit-only” submissions, quality drops, prices crater, and working shooters quietly burn out. I’ve been part of the problem. Here’s why I’m done working for free—and how I’m building paid alternatives that serious shooters can copy without burning bridges. 

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For the past few weeks, I have been testing the Antigravity A1, the first drone I have ever used with a built in 360 degree camera. I expected a gimmick. What I got was something  genuinely innovative surprisingly fun. 

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I know nothing about laser cutter/engravers, and when I offered one to review, I was excited to try. Would I be smart enough to learn how to use it? Would I be creative enough to find a use for it?  

First Mistake: Smoke Everywhere

Like an idiot, I assumed I could set the Falcon A1 Pro on my office desk, plug it in, and start engraving. Within minutes, my office was filling with smoke.

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These days, it’s becoming easier and more affordable to photograph our night sky. The introduction of smart telescopes has opened the door for keen amateurs and hobbyists to get started in astrophotography at a fraction of the cost of a high-end professional setup. The ZWO Seestar S30 Pro is making the growing smart telescope space even better. 

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The photographs that survive from the nineteenth century carry a strange weight. Daguerreotypes of solemn faces, wet plate portraits of Civil War soldiers, albumen prints of Victorian families posed in their Sunday best. What we rarely consider when looking at these images is what their creation cost the people who made them. The early history of photography reads less like the story of an art form and more like a catalog of occupational disasters.  

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How does a professional photographer transform a flat, raw file into a breathtaking wildlife masterpiece without falling into the trap of over-processing? Let us explore the structured mindset that transforms chaotic editing into a deliberate, artistic workflow. 

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Adobe has introduced a powerful update to Photoshop 2026. The Generative Fill feature now supports reference images, allowing users to use a specific visual source to guide AI-generated edits. This allows photographers and retouchers to swap out or add objects, such as jewelry and accessories, to create new iterations of their images without reshooting. It can significantly reduce time spent on complex compositing and detailed Photoshop work that would have previously required manual editing. And this is only the beginning of what this new feature makes possible. 

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Missing the decisive moment by seconds gets old fast. You start to wonder if the difference between an average frame and a standout image is just luck. 

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You keep hearing that a 50mm f/1.8 on full frame gives a look that smaller sensors cannot match. That might be true, but it misses the point when your goal is depth, not blur. 

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Photo by cattyal

 

The most popular approach to flower photography is to include the whole flower but by getting in very close or by choosing a less conventional crop you can create a rather exciting image. Plus, it's a technique you can try all year round as you can just buy your flowers from the supermarket when there's none showing their heads in your garden.

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1. Work Near A Window 

A greenhouse is a great location for shooting close-ups of flowers as there's plenty of light, you're sheltered from the wind and if the windows are slightly dirty the light will be nicely diffused. If you don't have a greenhouse work indoors next to a set of patio doors or a large window and use a net curtain or muslin to diffuse the light.

 

2. Direction, Apertures & Focus 

Position your vase/flower pot so you can work directly above it then begin experimenting with different apertures and shooting distances to change the overall effect. Start with a nice wide aperture to minimise your depth of field and switch to manual focusing as you can get in closer than your camera thinks. Although, it’s not even really necessary to have any part of the image in focus as the flower colour and shape can produce attractive abstract swirls of soft colour.

If you don’t have the ability to get in close then try some creative cropping. The sweep of a single Lily petal or the shape of an Iris lend themselves to close crops.

  3. Multiple Exposures  If your camera has it, try experimenting with the Multiple Exposure Mode. This mode allows you to take several shots on the same 'frame' which the camera then combines to create one shot. Having the lens sharply focused then defocusing as you move from exposure to exposure will give you a soft, dreamy look to your photograph.

 

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

 

A breathtaking black and white landscape shrouded in fog and mist has been awarded our Photo of the Week accolade.

Captured by mlseawell at Arches National Park in southern Utah, this atmospheric image titled "A Hidden Land" is the result of an early morning well spent. Rolling hills and distant mountain ridges peek through thick layers of mist, with the fog sitting heavy across the valley and giving just enough away to keep you looking. The further you look, the more the landscape seems to hold back, and that tension is what makes this image so compelling.

Shot in black and white, the image strips the scene back to its raw essentials, letting tone, texture and light do all the talking. It is the kind of photograph that reminds you why some early mornings are worth every effort.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we’ll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards!

The Canon R8 is not new, and the Canon RF 45mm f/1.2 arrived with mixed reactions. Yet this pairing keeps showing up as a favorite for travel and portraits when size and weight actually matter. 

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Metallic paper can turn a flat-looking deep-sky file into something with depth and bite. If you care about how your astronomical images look on paper instead of just on a screen, the choices you make before hitting print decide whether the stars glow or fall dull. 

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When the sun's not coming out to play you have two choices: you can go home and twiddle your thumbs or you can stay out and make the most of what's on offer. If you choose the latter, here are a few photography projects you could have a go at.

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1. Beach / Coast

The coast has a completely different feel when not drenched in sunshine. The sea can merge with the horizon making it seem like it stretches on for miles and the dark shades and moody feel really suit a seaside resort that's out of season. Even more so if you have boarded up beach huts and empty amusement parks to sit against a dark, moody sky.
 

2. Buildings

Dull days give factories and old buildings more character as there are generally fewer shadows, you'll be able to pick detail out in chimneys that reach out into the sky and the gloomy day will further enhance the feel of the industry and in the case of a boarded-up building, abandonment.

   
3. Close-Ups

Bright days when the sun is high in the sky can be awkward as colours will be too harsh and you'll have deep, dark shadows. Whereas grey days, when there's plenty of clouds, is nature's way of giving you a giant softbox to work with. This weather's particularly good for photographing flowers and shrubs so get outside with a macro lens compact camera which features a Macro mode. You'll have to use a slightly slower shutter speed, though, so make sure you pack your tripod.
 

4. Reflections

Flat light can leave buildings looking a little boring but if you turn your eyes to water, their reflections in the ripples can produce a great abstract shot. The reflection on its own can make interesting, slightly surreal images and all you need to do is make sure there are some interesting shapes reflected in the water.
 

5. Go Mono

A shot that looks dull and boring in colour can be transformed into a great moody mono with a little help from Photoshop. Just make sure you have some strong shapes for your black and white conversion. Go a little further and add a bit of grain and a ragged border and your mono will be moodier than a teenager!

 

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