DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

The kitchen holds a world of photo opportunities and all you need is some imagination to exploit it.

When it comes to kit, a camera and a tripod are essential but in terms of lighting, natural light will work just fine, however feel free to experiment with flash and other forms of lighting too. For example, for one of the shots further down the page, a torch was used to create contrasty light.

Once you start searching, you'll find plenty of objects in the kitchen that have photographic potential. Things like pots and pans, colanders and, as here, a trivet can be pressed into service as subjects. A kitchen work surface will make a perfectly good background but so can the sink or any material you have in your house. Objects can be arranged on the worktop in various compositions, with the camera and lens aimed downwards.
 

The trivet above was photographed with the camera in auto white-balance and it worked fine, but for the colander, the camera was switched to incandescent white-balance to give the overall blue colour cast. Pulling away slightly and including the stainless steel sink give an interesting backdrop. Filling in the shadows was done with some silver foil just held in position.

 

For the shot of the wooden spoons, a torch was placed on its side, creating a very oblique, contrasty light. The camera was left in auto exposure mode using the exposure compensation control to correct exposures and focusing was done manually on this occasion. The shutter was fired using the self-timer. Exposures were in the order of 1/8sec at f/8 with the camera set to ISO 200. If you have problems with colours appearing too warm or even cold, you can tweak the images during RAW processing. If you prefer, or if you are shooting JPEG, try shooting with a custom white-balance setting. Again, silver foil was used as a reflector.   

 

Ulanzi has launched MoveLightGo, a groundbreaking product that introduces an intelligent angular control solution to the lighting industry.

It effectively addresses the long-standing industry pain points of repeatedly adjusting lights manually and working at heights during film and video production. With three core capabilities – long-distance remote control, scene memory, and high compatibility – it enables photographers and film crews to adjust lighting angles remotely and flexibly, redefining the entire lighting control workflow and delivering a more efficient and liberated experience for creators.

Whether you're working on a fast-paced film set or a dynamic photo shoot, MoveLightGo streamlines the lighting setup, enabling users to adjust light angles remotely and with pinpoint accuracy—without ever having to climb a ladder again.

 

Precision Engineering for Professional Results

At the heart of MoveLightGo lies a sophisticated 14-bit, high-precision control sensor that enables precise control of both tilt (0-170°) and pan (0-450°) movements. This level of precision ensures smooth, incremental adjustments that professional shoots demand. The system's robust construction supports a full 6kg payload capacity, making it suitable for everything from small LED panels to larger studio lights while maintaining perfect balance and stability throughout its operational range.

 

Universal Compatibility

MoveLightGo features a universal Bowens-mount interface that accommodates 95% of professional lighting equipment. This extensive compatibility eliminates the need for multiple adapters or specialized mounting solutions, providing a seamless integration into existing gear setups. The intelligent mounting system automatically secures the light while maintaining optimal weight distribution.

 

Three-Tier Remote Control Ecosystem

 

MoveLightGo offers unparalleled flexibility through its multi-layered control system:

• 3m Wired Remote (standard) provides reliable, instantaneous control for studio environments
• 30m 2.4G Wireless Remote (optional) enables long-range operation across large sets
• 10m Bluetooth App Control allows smartphone/tablet integration with dual-screen capability for simultaneous parameter and position adjustment

 

Intelligent Memory System

The built-in memory system features four dedicated presets (A/B/C/D) that store complete lighting positions and angles. This allows creators to save complex multi-light setups and recall them instantly when moving between scenes or setups. The system maintains these presets even when powered down, ensuring consistent performance across multiple shooting days.

 

Advanced Multi-Unit Synchronization

For complex lighting requirements, MoveLightGo supports synchronized control of multiple units. Each device can be individually addressed while maintaining group coordination, enabling both individual fine-tuning and synchronized group movements. This feature is particularly valuable for creating dynamic lighting sequences and complex cinematic effects.

 

Flexible Power Management

MoveLightGo's versatile power system supports:

• 45W Direct Charging for continuous studio operation
• V-Mount Battery Compatibility for location shoots
• Power Transfer Modules (AC/DC/CANNON) that draw power directly from connected lights, eliminating extra cables and power sources

Ulanzi's MoveLightGo represents a significant leap forward in lighting control technology. By addressing the fundamental challenges of manual light positioning, it empowers creators to work more efficiently while achieving superior results. The system's combination of precision engineering, intelligent features, and universal compatibility makes it an essential tool for modern photography and videography professionals.

 

Pricing & Availability

The MoveLightGo system is available in multiple configurations, including Bowens-mount portable versions, remote control units, and power modules. A special 20% OFF promotion is available until December 31st, 2025, so photographers and filmmakers can take advantage of the latest in lighting control technology at a discounted price.

For more details, visit Ulanzi MoveLightGo.

 

 

 

 

A beautiful photo of Le Gouffre in Brittany by EveLine1 has been chosen as our latest 'Photo of the Week' (POTW) winner.

Taken at sunset, the image has a calm, quiet feel that draws you in. The house stands alone, with the land and rocks around it edited out to make it look like it’s floating. This clever touch adds a soft, peaceful mood to the scene. It’s a lovely piece of work, well put together and very deserving of this week’s award.

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 2026, we’ll crown our 2025 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!

We are only a few days away from this year’s Bonfire Night and we couldn’t really kick November off without mentioning a few tips that’ll help you capture spectacular firework photos.

Photos by David Clapp - www.davidclapp.co.uk

 

Gear Suggestions

As long exposures are a must you will need to take a support with you. A tripod’s great but at busy events you may be better off with a monopod that takes up less room and is easy to move around with.

If you’re a compact user, it can be harder to capture firework themed images but it's not impossible as most compacts have a range of scene modes and a firework mode can often be found among them. Plus, the longer zooms that are available on some compacts will now get you closer to the action too.

Wider lenses will capture more of the sky, increasing your chances of capturing a burst. You may want to try shooting a few in a portrait orientation, though, to capture the long trails left by the firework as it climbs to the spot where it explodes.

Finally, pack a torch as it’ll be dark and you may need it when making changes to your settings and for putting your kit away.

  Focus And Aperture

Switch to manual focus and turn your focus to infinity (check your manual if you’re unsure how to do this). This is to ensure the firework explosions stay sharp as they can be further than the maximum focus setting on your camera. Setting an aperture of f/8 or f/11 will increase your depth of field, further increasing the chances of capturing a sharp shot of a colourful explosion. Make sure your flash is switched off too.

 

RAW Or Jpeg?

If you shoot in RAW you’ll be able to tweak colours and brightness levels when you’re back in front of your computer once the display has finished.

 

Exposure Times

For shots filled with bursts of colourful explosions you’ll need to switch to Bulb mode. This mode allows you to keep the shutter open for longer but as you need to keep the shutter button pressed, it’s a good idea to use a cable release to prevent shake. If your camera allows it, you could fire the shutter wirelessly via a smart device. 

In Bulb mode, you basically need to keep the lens covered (a dark piece of card will work) until a burst erupts. At this point you need to uncover the lens. Replace the card until another burst occurs and continue to do this with however many bursts as you like. It can take a while to get right as timing is key but you can create some great shots when you’ve perfected the technique.

If you don’t have a bulb mode you can capture single explosions with exposure times between 1-4 seconds. This should give you shots that show a light trail as the firework climbs as well as the final burst of colour at the end.

 

Photo by David Clapp - www.davidclapp.co.uk

Watch The Display

As displays don’t tend to be short affairs it pays to watch a few bursts so you can see where the fireworks are being launched into the sky and you’ll also be able to see how long it takes them to climb, plus how long the explosions last for. This will make framing easier, although you can’t obviously guarantee every burst will appear where you need it to. It’s worth doing a few test shots to make sure you’re happy with the composition too before the big display begins.

 

Add Interest

Buildings and other structures can add an extra level of interest to your shots but if they are illuminated it can mean they end up looking ‘blown out’ so adjust your exposure accordingly.

   

 

Nikon now turns their attention to the DX format (APS-C or crop sensor) Z series mirrorless cameras. This stocky but relatively small 35mm f/1.7 gives a “35mm format equivalent” 50mm field of view, is fast and also focuses to macro distances. It is also relatively inexpensive, but as we have seen before this is no obstacle to Nikon producing some very fine lenses that perform impeccably. Have they hit the spot again? Let's find out, using the delightful 20MP retro designed Nikon Zfc camera body, in its stylish black version.

 

Nikon Nikkor Z DX MC 35mm f/1.7 Handling and Features

The initial impression is of a fairly light (weighing in at 220g) and compact (70mm x 72mm) largely plastic lens. Construction quality seems solid and all the controls operate smoothly and efficiently. It is claimed to be dust and drip resistant, which is largely expected these days, but the camera body supplied is not, so the advantage is somewhat lost. That is a shame, as being able to continue shooting in the rain is quite liberating for the photographer.

Also, a shame is the absence of a lens hood. There is a dedicated hood, HN-43, and its purchase could well be advantageous. Hoods not only reduce flare, but also act as protection against impacts to the front of the lens. There is a conventional 52mm filter thread, but no bayonet fit for a hood.

 

 

The one “silent control ring” can be set as a focusing ring, in which case by default, it is active whilst AF is in use or not. This can also be set to aperture or exposure compensation on the Zfc. Other camera bodies may vary as to what options are available. 

Closest focus is 0.16m, or 0.53 feet, for a maximum magnification of 0.67x (35mm-equivalent 1x). AF is driven by a stepping motor, which is virtually silent, fast and accurate.

Optical construction is 8 elements in 7 groups, including 1 Aspheric ED. The diaphragm comprises 9 blades to improve the bokeh. The lens is also designed to reduce focus breathing, a feature that will be appreciated by videographers. There is no VR (Vibration Reduction) provided, and unfortunately, this feature is not available on the Zfc body either. 

 

 

Finally, the metal bayonet mount is well machined and finished and the lens locks smoothly and positively into place.

35mm on APS-C format has a “35mm-equivalent” of 50mm. In other words, it has a field of view similar to the well accepted standard lens. There is little doubt that this is an effective and versatile focal length, with a view very similar to that perceived by the human eye. For macro photography, the slightly closer view than the popular 100mm-equivalent optics makes the lens more manageable for document copying and small objects. It also makes a more universally useful lens for more general shots.

 

 

Nikon Nikkor Z DX MC 35mm f/1.7 Performance

Central sharpness is outstanding from f/1.7 right through to f/11 and is excellent at f/16. The edges are excellent at f/1.7 and f/2, outstanding from f/2.8 to f/11 and excellent at f/16. An outstandingly sharp lens.

 

Nikon Nikkor Z DX MC 35mm f/1.7 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 Nikon Zfc using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is well under control. It is unlikely that colour fringing will need any further correction.

Distortion is just -0.10% barrel, which is as close to rectilinear as makes no difference.

 

Nikon Nikkor Z DX MC 35mm f/1.7 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 Nikon Zfc using Imatest.

 

Bokeh is a more aesthetic response and cannot be directly measured, but we know the best results when we see them. This is a very sharp lens, but the downside is that busy backgrounds seem to result in slightly ragged bokeh. 

Flare control is fine for normal subject matter, but when bright lights enter the image field, the lens flares quite significantly. Buying the optional HN-43 lens hood would seem to be a good idea.

Vignetting is minimal, the actual figures being:

 

Aperture   f/1.7 -1.3 f/2 -1.1 f/2.8 -0.6 f/4 -0.6 f/5.6 -0.5 f8 -0.5 f/11 -0.5 f/16 -0.5

 

Nikon Nikkor Z DX MC 35mm f/1.7 Sample Photos Previous Next

 

Nikon Nikkor Z DX MC 35mm f/1.7 Aperture range Previous Next

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

 

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Value For Money

The [AMUK]Nikkor Z DX MC 35mm f/1.7|Nikkor+Z+DX+MC+35mm+f/1.7[/AMUK] lens is priced at £399, a modest price for a quality macro.

There are no real competitors for crop sensor Z mount, the nearest being:

[AMUK]Voigtlander D 25mm f/2 Macro APO-Ultron|Voigtlander+D+25mm+f/2+Macro+APO-Ultron[/AMUK], £649. 

The Nikkor Z lens looks excellent VFM.

 

 

Nikon Nikkor Z DX MC 35mm f/1.7 Verdict

Nikon continues with its range of modestly priced and optically excellent lenses. This cost reduction may be achieved through use of plastics in the construction, but there is no apparent downside to this. In any event, a dropped plastic lens may well bounce and survive unscathed, whereas a heavy metal one is much more likely to be dented and break.

The lens is compact and light, focuses very quickly and virtually silently and, most importantly, accurately. There is no tendency to hunt, even at macro distances. Whether it is used as a standard lens or as a macro lens, it delivers. The sharpness is indeed outstanding, and consistently so across the aperture range and also across the frame. 

The only downsides are the slightly ragged bokeh and a tendency to flare when bright light sources creep into the image area. The HN-43 hood would be a sensible purchase, it's just a pity that it is not included with the lens. The lack of Vibration Reduction means we depend upon the camera body to provide this. The supplied Zfc does not have this feature unfortunately. Whether or not these negatives are deal-breakers depends on the sort of photography to be undertaken.

Considering the plus points of the lens, that is, the outstanding sharpness, low CA, low distortion and modest vignetting, this is a very fine optic at an excellent price and has to be Highly Recommended.

 

Nikon Nikkor Z DX MC 35mm f/1.7 Pros

• Outstanding and even sharpness
• Low distortion
• Low CA
• Fast, accurate and virtually silent AF
• Dust and drip resistant construction
• Minimal vignetting
• Excellent handling
• Excellent VFM

Nikon Nikkor Z DX MC 35mm f/1.7 Cons

• Some flare
• Slightly ragged bokeh
• Hood not provided with lens
• No Vibration Reduction

 

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Every photographer is taught that sharpness is important and we won't argue that it's not, however learning how to control depth of field so you can make the most of out of focus areas of a photo will give you a portfolio that's full of much more interesting and creative shots.
 

Shoot Wider Views

When you think of landscapes, using a shallow depth of field isn't probably something that fist springs to mind. The traditional landscape has front to back sharpness, however having something in your foreground that's perfectly sharp while the scene in the background is thrown out of focus gives the more common landscape shot a creative twist.

 

Make The Mundane Interesting

With a shallow depth of field a simple blade of grass can look amazing! A blade of grass? We hear you cry. Yes, if you use a shallow enough depth-of-field a blade of grass can look pin-sharp and picture-perfect against a very blurry background.

You need to use a wide f stop to get the right effect. The aim is to get as much of the subject in focus as possible without losing the nice blurry feel but don't over blur the shot as this will distract from the subject. Try f/5.6 or f/8 and use the camera's depth-of-field preview button to check the aperture's effect on the background. It works great on blades of grass, insects and small flowers. During the summer, if you live near a rapeseed field try isolating a specific flower or part of the field out to draw attention to it. You could try blurring part of the foreground as well as the background to create a frame for the subject.

 

 

Landmarks

The problem with landmarks is they are popular photographic subjects but by introducing blur, you can create a shot that not many other people will have taken. Make your chosen landmark completely blur out of focus and find some foreground detail that will stay in focus and provide enough information to explain to the viewer what the background object is. Take a look at Ben Boswell's article for more tips on how to do this successfully.

 

Go Long

The Bokeh effect of shooting on a long lens with a wide aperture will turn background lights on city streets into circles of glowing colour, making them a perfect background for portraits. You'll need to stand a few feet away from your subject and do check your white balance to help ensure the lights in the background are glowing the colour they're meant to be.

 

Photo by Joshua Waller 
 

Change The Shape

You don't just have to settle for circular out of focus highlights as you can use black card and a pair of scissors to change the shapes that appear. You need to decide on a shape, cut it out of the card then fast the card around your lens like you would a lens hood. Try to not make your shapes too small or complicated as they won't stand out very well in your final shot but ensure they are not bigger than your aperture either.

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Sandwedge (Day 12 - Outdoor Portraits At Night)

 

Daily Theme Runners-Up

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

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

  Day 8

Poppy

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  Day 9

Trucks

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Day 10

'Urban' Theme

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Day 11

Product Photography

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  Day 13

Wide Angle Landscape

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Day 14

Abstract Indoor Shots

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Day 15

Frost Photography

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

As photographers, we're always wanting to improve our technique and learn now ways we can take better photos. So, to help you do this, here's three challenges you can set yourself which will not only get you thinking a bit differently but they'll also help you think more about composition and as a result, you'll hopefully produce better photos. 

 

 

Choose One Spot And Stay There

When you're out taking photos it's easy to walk and click so you take lots of photos of everything that are good, but not 'wow'. By sticking to just one spot in one location, you may start to notice things about it that you'd usually miss. You don't actually have to travel a great distance to try this either as by picking one spot in your home or garden to take photos from you'll probably discover photo opportunities you didn't even know existed until you actually took the time to slow down and really open your eyes. Play with your zoom, change your angle and pay attention to your composition and the light. Also, simple things such as focusing on colour or texture can completely change the look/feel of a shot, too. 

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  Don't Take So Many Photos 

Why not limit the number of shots you can take in one location? To really set a challenge, only take one photo in each location you're stopping to take a photo. By doing so you'll really think about your composition and study the scene in front of you to ensure you've found the best spot possible to take your one photo in. Don't forget to assess the light, too as you may find that waiting for the sun to shift position could help you create a better shot. You don't want to lose good light, though so pay attention to how clouds are moving and hit the shutter button before it's too late. 

If you find this too restricting try setting a shot limit before you head out of the door and make sure you stick to it. By doing so you should be able to improve the quality of the images you take as you'll be finding the best shots through planning and careful thought. 

 

Use Less Equipment 

Instead of carrying a bag full of lenses why not just use one that has a fixed focal length? By doing so, you'll really need to think about what you're going to photograph because without a zoom your focal length is limited so rather than relying on the lens to do the work you have to get those grey cells warmed up and your feet moving to find a position/shot that works.   

Photo by Joshua Waller 

 

Take a short walk through your town and you'll find a thousand and one things to photograph but instead of walking around for hours photographing trees, postboxes and buildings one at a time try getting your wide-angle lens out to capture and emphasise a wider area of the town.
 

A lens which is 18mm or wider is a good choice if you're working with a camera that isn't full-frame. If you want to have the option of changing your focal length take along a zoom lens which will give you the option of shooting a variety of perspectives.

As your foreground objects will be quite close to your lens the smallest movement from your camera can make a huge difference to your photo so take a tripod out with you. You may also have trouble with lens flare so pack a lens hood and take a lint-free cloth to wipe away any spots on your lens.

The problem with wide-angle lenses is that objects can appear small so it's easy for your shots to look empty. Or, if there are lots of objects filling the scene your photo will look overly busy and the viewer won't have anything to focus on. The best way to deal with this is to have foreground interest that will give your image scale and also give you a focus point.

If you want to use this technique to its full potential, to give your image as much impact as possible, you need to get as close as you can to your foreground object.

 

Photo by Joshua Waller 

Look out for objects you can use to lead the eye through the image as long paths and roads give the impression they stretch on for miles when shot with a wide angle lens which pulls the viewer right through the photo. Just watch out for unwanted items such as your own shadow creeping into the shot.

You need to have the eye-catching foreground interest filling enough of the frame while still retaining enough background detail to make the photograph interesting. To do this, you'll need to make sure everything from front to back is sharp. A small aperture is a good place to start. Don't be tempted to focus on your foreground interest as this will leave too much of your foreground in focus and not enough background detail will be sharp. Instead, focus just beyond what's in your foreground, around a third in, or if you can, use the hyperfocal focus point.

If there's nothing of real interest in your foreground get down low to the ground and just emphasise the scale of the entire scene. If you have a few clouds in the sky they will streak out around your scene and as they curve towards the edge of the frame, it gives them a sense of motion which can add interest to your shot.

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to MalcolmM (Day 30 - Winter Weather)

 

Daily Theme Runners-Up

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

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

  Day 25

Light Trails

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  Day 26

Busy Places

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Day 27

Graveyards

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Day 28

Creative Distortion

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  Day 29

City Twilight Shots

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Day 31

Halloween

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

Zoner Studio has a new name and a new look, and it’s fitting that its first update brings along some powerful features to speed up workflow. For more details of the Autumn/Fall 2025 update, click here. You can organise, sort, label and delete images speedily and easily in the Manager module, and processing is just as quick when editing with the ability to work in batches with a few clicks and utilise AI-powered tools.

Zoner Studio is a subscription-based software for Windows 10 and 11 with the guarantee of two major updates a year, so there’s the prospect of new features and tools every six months. Within the software, you can back up to the cloud, print and upload images to the Zonerama online gallery which comes as part of the subscription package. Finally, Zoner Studio is a video editing solution with no extra software or plug-in required.

With such an impressive array of skills, join us for a closer look at Zoner Studio’s Autumn/Fall 2025 update. If it looks like a software you want to try, then you can and it’s free for seven days. Click here to take you to the Zoner Studio download page; no credit card required.

 

Zoner Studio has a modular approach to workflow. This is the Manager module where you can have all the shots showing or folders which makes moving images around easy.

 

Quick Verdict

Zoner Studio is a powerful image editor available on subscription. If you’re a Windows user needing a great value software with amazing AI workflow and editing skills, as well as the ability to edit video, Zoner Studio is worth a serious look and, very importantly, it will save you money compared with Adobe products. It is a modular workflow software with page tabs for Manager, Develop, Editor, Print and Video that is easy to learn and shortcut keys can speed editing up further.

Try Zoner Studio for yourself and download a fully functional version here and you can enjoy its talents free for seven days.

 

+ Pros

• Individual membership $5.99 a month, $59 a year
• Windows 10 and 11 support
• Zonerama Online Photo Gallery with unlimited space for your photos and video
• Family plan for two or more people $9.98 a month, $98 a year
• Updated Spring and Autumn 
• Compatible with most Raw formats including Fujifilm X-Trans CMOS sensors
• Full workflow software using AI
• AI masks, resizing
• Supports 4k resolution
• Supports pressure sensitive drawing tablets
• Integrated colour management
• Speedy image editing with AI tools and presets
• Fully compatible with HDR monitors
• Complete set of output options
• Good for video editing 
• Click here for full details of the latest update

- Cons

• Subscription only

• Windows only, no Mac option

 

 

Zoner Studio is a subscription-based software with two major updates each year. For individuals, it’s priced at $5.99 a month or $59 for a year. The price includes free updates and new tools twice a year, 20GB of free storage, 15 free photo prints and a Zonerama Premium account. There’s also the option of a Family Plan at $9.98 a month or $98 a year, which is a great value for two or more people in your household. Each person gets their own account plus all the benefits of the individual licence. It is for Windows 10 and 11 and is compatible with an extensive range of Raw camera formats including files from Fujifilm X-Trans CMOS sensors.

To see our previous reviews, click here for the Spring 2025 update and here for the Autumn 2024 review. For a free, fully-functional seven-day trial of Zoner Studio, click here.

 

Zoner Studio Autumn/Fall 2025 update highlights

A smooth, efficient workflow is essential for today’s image maker particularly with cameras that can shoot continuous bursts at 20, 30, 50 and even 120 frames every second. Obviously, much depends on the subject but in an afternoon you could end up with several thousand shots to work through.

AI Close-ups in the Zoner Studio Autumn/Fall is a big feature that will definitely be much used by prolific shooters. AI Close-ups has magnification and subject options which are Faces, People, Animals, Birds, Vehicles and Airplanes. The software automatically zooms into the detected subject, and you can just rate the photographs using the magnified image that you want to keep for further editing.

 

A1 Close-ups is one of the headline features in the Zoner Studio Autumn/Fall update.

 

Here are the subject and magnification options in the AI Close-ups menu.

 

AI Resize has the ability to enlarge smaller, cropped files without image quality suffering. There are two resizing options. AI Resize (reconstructive interpolation) is for smaller enlargements and is performed through the Export, Edit or Batch Filter menus. This method is quick because no new content is generated but its working range is limited to about double the size of the original image.

AI Resize Generative is designed to produce bigger images with minimal quality loss and this is done through the Edit menu. As its name tells you, AI is used to fill in missing details or determine what’s hidden in blurred areas and smooth things out. AI doesn’t just stretch the image to make it bigger but enhances its content for a quality result, so it takes several seconds.

 

AI Resize (reconstructive interpolation) enlarges photos without creating new detail so it’s quick and ideal for batch processing.

 

AI Resize Generative can help you recover quality as well as give a much larger print size. from severely cropped images.

 

New features of Zoner Studio Autumn / Fall 2025 update

• AI Close-ups – find your best shot quickly. Detect animals, vehicles, people, faces, and aircraft
• New AI resize methods – Reconstructive Interpolation perfect for everyday photos and batch imports
• Generative – fills in missing details, suitable for major resizing (4x or more)
• Improved Split view with a slider
• Improved photo books – drag and drop, filmstrip
• Two video updates – smooth audio cuts
• Improved retouching tools, faster and natural results
• New crop tools - diagonal, triangles, golden spiral aids
• Faster selections
• Improved export
• Simpler editing

 

Zoner Studio: Ease Of Use & Performance

 

Finding your way around Zoner Studio is straightforward thanks largely to the five module concept which has self-explanatory tabs for Manager, Develop, Editor, Print and Video. That said, this is a very powerful workflow software and digging deeper into its treasure chest of tools and features will take time as will learning and remembering quick keys.  

The AI Close-ups feature worked quickly even though I was working with 45 megapixel Raws from a Canon EOS R5 Mark II. The previews would appear sharp enough to assess even though the Processing icon was still showing. With a sequence of portraits, Zoner Studio would usually magnify the face, which really sped up the workflow, but on the odd occasion a different part of the image was highlighted. Also, in my stag portrait, the software picked the base of its antlers where I would have expected the AI to pick up on the nearby eye. However, in both instances, it wasn’t a problem to move the image so that the face or eye showed. The key thing, though, was that  Zoner Studio made it quick process to go through large number of shots and identify the keepers.

 

AI Close-ups works very quickly and in this sequence of shots featuring an airplane coming into land, Zoner Studio picked the right area to show.

 

For some reason, AI Close-ups picked out four facial close-ups perfectly but slipped up on the fifth, even though the composition of the five images was the same.

 

In this sequence of shots of a stag, AI Close-up picked out the base of the antler to focus on when you would have expected the software to latch onto the eye.

 

After AI Close-up, the next big feature, the Zoner Studio Autumn / Fall update was its two resizing skills, AI Resize Reconstructive Interpolation and AI Resize Generative.

I tested AI Reconstructive Interpolation starting with a full-size 50 megapixel Raw from a Sony A1 II. The original 8640x5760 pixel file of a heron enjoying its fish supper was cropped down to just 2687x1734 pixels then, using AI Reconstructive Interpolation took a few seconds to resize it to 5269x3400pixels.

 

The original Raw file was captured with a Sony A1 II fitted with a FE 400-800mm lens and opened up to an image of 8640x5760pixels. Image: Will Cheung.

 

Cropped in Zoner Studio resulted in an image measuring 2687x1734 pixels and this was resized using AI Reconstructive Interpolation to 5269x3400 pixels.

 

Close-up of the 2687x1734 pixels image

 

Close up of the image after AI Reconstructive Interpolation to 5269x3400 pixels

 

Moving on to AI Resize Generative I started with an image of a starling. This was taken on a Sony A1 II with a FE 400-800mm zoom lens. It was shot at the very high ISO of 5000 and the image was not treated to any denoising. The original  was 8640x5760pixels  before being cropped to a small image of just 1924x1276pixels. This image was then resized back to close to its original size using AI Resize Generative. For comparison’s sake I repeated the process with AI Reconstructive Interpolation.

 

This image of starling was cropped down from 8640x5760pixels to just 1924x1276pixels.

 

Taking the 1924x1276pixels image, I resized it to 8732x5820pixels using Zoner’s AI Reconstructive Interpolation function and then repeated the process to the same size using AI Resize Generative and this is the resulting image.

 

Taking a highly magnified look at the feather detail of the two starling shots. On the left is the AI Reconstructive Interpolation compared with AI Resize Generative on the right. The extra detail and  clarity of the AI Resize Generative version is clear.

 

Value for Money

Zoner Studio is available on subscription at $5.99 per month or $59 annually plus there’s the Family Pack option. Either way, subscribing to  Zoner Studio is cheaper than taking on Adobe Photoshop or Lightroom. It is worth celebrating the fact that Zoner Studio has held its price. We rated the software highly on value for money in 2024, and the fact that it’s the same price in late 2025 with so many improvements makes its great value for money. 

Zoner Studio is available on subscription and that might put some people off, but subscriptions are part and parcel of modern life, whether we like them or not. In the case of Zoner Studio’s monthly fee of $5.99, this is less than the cost of an average bottle of wine and probably more rewarding and you get two big updates a year.

Go for an annual subscription and at the end of the licence period, there is a one month grace period to give you time to extend the licence and even when the licence period has ended, you can still export photos and view images.

 

Zoner Studio Verdict

 

With its updated branding and new name, Zoner Studio has already had a big year and the Autumn / Fall update certainly sees out 2025 in style.

AI Close-ups is a big feature that speeds up the process of wading through hundreds of pictures to pick out your best shots, and the fact that it works for a wide range of subjects makes it even more useful. 

Zoner Studio’s new resizing skills may not be so significant but the benefits are clear and if you need to resize files from tightly cropped images, the feature is on hand and it works well. 

With these new skills added to its already extensive selection of image and video editing skills, you can’t really quibble about the cost of Zoner Studio and you get it all for $5.99 a month or $59 a year, so value for money rates very highly. Try the free seven-day trial version for yourself here. 

 

Zoner Photo Studio X Pros

• Individual membership $5.99 a month, $59 a year
• Windows 10 and 11 support
• Zonerama Online Photo Gallery with unlimited space for your photos and video
• Family plan for two or more people $9.98 a month, $98 a year
• Updated Spring and Autumn 
• Compatible with most Raw formats including Fujifilm X-Trans CMOS sensors
• Full workflow software using AI
• AI masks, resizing
• Supports 4k resolution
• Supports pressure sensitive drawing tablets
• Integrated colour management
• Speedy image editing with AI tools and presets
• Fully compatible with HDR monitors
• Complete set of output options
• Good for video editing

 

Zoner Photo Studio X Cons

• Subscription only
• Windows only, no Mac option

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Photo by David Pritchard

 

The most important part about photography at this time of year is – rather obviously, to be prepared for the cold! Warm clothing, preferably layered, and a hat; if you're cold, your mind is more on how cold you are rather than the pictures you're looking for.

 

Keep yourself (and your batteries) warm! 

Remember too, that when you're standing around looking for photographs, you will get colder quicker, so err on the side of too much, rather than too little warm clothing. Your camera battery won't last as long in sub-zero temperatures either, so make sure you have a spare with you, and that they're fully charged. Try keeping the spare in an inside pocket, rather in your camera bag, as your body warmth will keep the charge in the battery for longer.

  Rise early

Frosts are typically better early in the day, often before the sun hits the frost and starts to thaw it; which means a prompt start, but one of the benefits of the winter months, is that at least sunrise is at a more sociable time than in the summer! Head for areas of open space and rolling landscapes, rather than woodland, where the shelter of the trees can prevent frost.

 

Consider trees, foliage and hedges

Trees and hedges are great subjects for frost of course, but more in isolation. Use your macro lens for close-ups of frost on leaves – both on the tree or lying on the ground - or on cobwebs. Even frost on a barbed wire fence portrays the feeling of a crisp winter morning. Remember too, that a small aperture will give you a greater depth-of-field, to ensure more of your picture remains sharp, but on isolated leaves, try a wider aperture to isolate the leaf against an out-of-focus background.

 

Photo by David Pritchard

 

On a really cold day, when even the sun isn't going to thaw the frost too quickly, a touch of sunlight helps to emphasise the sparkle of frost, and especially try shooting into the light to accentuate the glint of the sun on the frost still further, but remember to use a lens hood to minimise the chance of flare on your pictures.

Even photographing in the shade can still show wonderful textures, and remember, temperatures remain lower in the shade – so frost tends to hang about longer. If your subject is in a particularly shady spot, use of a reflector can help to bounce a little daylight into the darker areas. A warm reflector, such as a gold, or sunfire, can also help to reduce the blue cast so common in the shade.

The white of frost can also fool your camera meter, so keep a close eye on your histogram as most cameras still "see" white frost as mid-grey. Possibly an exposure compensation of around +1 stop will keep your frost-laden trees looking pristine white.

Article by John Gravett of Lakeland Photographic Holidays - www.lakelandphotohols.com

 

14–17 January 2026 • Novotel London West, Hammersmith

Trade Show 15–17 January – FREE ENTRY

The UK’s most exciting photography Convention is back — bigger, bolder and packed with more inspiration, education and industry powerhouses than ever before.

The 2026 London Photo Convention & Trade Show brings thousands of photographers together under one roof for four days of hands-on learning, live demos, exclusive deals, and world-class speakers. If you’re serious about your photography — this is where you need to be.

FREE Trade Show: 15–17 January — Meet the Biggest Brands in Photography

Get ready for three electric days on the Trade Show floor, with leading camera and lighting brands showcasing their latest kit. Expect:

• Hands-on access to the newest cameras & lenses
• Live demonstrations from top pros
• Expert advice from manufacturers
• Show-only offers and exclusive discounts
• Retailers showcasing must-have accessories

Whether you're upgrading, testing, comparing or just curious — the Trade Show is 100% free to attend and absolutely packed.

 

 

Over 200 Hours of Training with Masterclasses & Superclasses

If you're hungry to learn, the Convention’s education programme is unmatched.

Masterclasses

Dive into a huge lineup of practical, inspiring and business-boosting sessions covering:

• Portraits • Weddings • Lighting
• Wildlife • Macro • Post-production
• Creative storytelling • Branding
• Business growth for photographers

Top photographers, award-winning educators and industry leaders share the techniques and insights that elevate your photography fast.

Superclasses

Want hands-on training with the best in the business?

The Superclasses deliver small-group, practical workshops with some of the most respected names in the industry. Limited spaces — these sell out fast every single year.

 

 

The Photography Event You Simply Can’t Afford to Miss

If you want to improve your skills, grow your business, network with other creatives and immerse yourself in the world of photography — this is your event.

 

Join thousands of photographers for the ultimate start to 2026. 14–17 January • London Trade Show FREE Masterclass Passes & Superclasses available now

 

Book your tickets now!

 

© Affinity

 

Affinity has unveiled an all-new design app that brings together photo editing, drawing tools, and layout features in one easy-to-use platform. It’s built to be flexible, so you can set up your workspace the way you like, combine different tools, and even share your setup with others. Whether you're editing pictures, creating graphics, or working on documents, everything is now in one smooth and powerful space.

The best part is that Affinity is now completely free. This full-featured design software used to cost money, but now anyone can use it without paying. The update also comes with a fresh new look and marks Affinity’s next step as part of the Canva family, making high-quality creative tools more accessible to everyone.

 

From Affinity:

When Affinity joined the Canva family last year last year, we made a promise to preserve its power while expanding what’s possible. Today, that vision comes to life with the all-new Affinity: a studio-grade creative app that brings vector, photo, and layout tools together in one high-performance platform. Fully featured. Lightning-fast. And completely free.

For too long, professional designers have had almost no choice in the tools they use, from bloated software that slows them down, to subscriptions that stack up, and workflows that interrupt creativity. Across the creative community, we’ve heard the same frustrations: a call for speed, for power, for freedom. Designers have been asking for the tools they love, so we listened, and we built something better.

 

A new era for Affinity

For ten years, Affinity has been the tool of choice for professionals who care deeply about craft. Designers who value precision, speed, and control, and who expect their tools to keep up.

Now, that legacy enters a new chapter. The all-new Affinity was built in close collaboration with its community of creators, shaped by thousands of conversations, feature requests, and shared ideas. Guided by Canva’s Designer Advisory Board, this release reflects what professionals told us matters most: performance, reliability, and creative freedom.

From the smallest details to the biggest design systems, every feature has been built with respect for the people who use it.

  One app to craft it all

The all new Affinity app brings professional vector, photo, and layout tools together in one powerful space, featuring everything you need to design, edit, and publish without switching apps or breaking flow.

For designers who think in lines, curves, and grids, Affinity’s vector tools deliver precision and speed in perfect balance. Every adjustment happens in real time: paths adjust instantly, shapes snap into place, and even large files pan and zoom smoothly. From comprehensive brand systems to complex illustrations, everything feels responsive and effortless.

Affinity’s award-winning photo editing tools give you the freedom to experiment without limits. Every adjustment, from RAW development to retouching and compositing, is non-destructive, so you can refine endlessly without losing your original work. Plus, GPU acceleration keeps even the most complex files fast and fluid, while intelligent tools like Smart Selections, live filters, and batch processing help speed up repetitive edits.

With Affinity’s layout tools, structure and creativity work side by side. From short brochures to multi-page reports, you can edit images, graphics, and text directly within your document and see every change update live. Smart Master Pages, shared text styles, and advanced typographic controls keep everything consistent while giving you the freedom to experiment.

Whether you’re editing a portrait, building a brand identity, or designing a publication, the all new Affinity keeps you in flow, combining power, precision, and speed in a single studio-grade environment.

 

Design your workspace, your way

Every designer works differently, and now, Affinity does too. The updated app introduces a new level of personalization with fully customizable studios.

Creatives can mix and match tools from the Vector, Pixel, and Layout studios to build a workspace that fits their unique process. Rearrange panels, choose the tools you need, remove the ones you don’t, and save multiple setups for different projects or tasks. Custom studios can also be shared and downloaded, opening new ways for teams and creative communities to exchange workflows and learn from one another.

It’s flexibility built for focus, with professional tools that adapt to you and the way you work best. And no matter how you work, Affinity keeps up. Built on a high-performance engine, every adjustment updates in real time, from instant previews and detailed edits at 10,000,000% zoom to projects with thousands of layers. It’s ultra-fast, super-smooth, and precise down to the last pixel.

While the all-new Affinity has been reimagined, it still feels instantly familiar to those who know it best. The tools, workflows, and precision you rely on are all here – refined but not replaced. Every update builds on what professionals already love, so you can pick up where you left off and feel right at home.

 

© Affinity

 

Free for everyone

From the beginning, Affinity set out to challenge the idea that powerful design tools should come with a hefty price tag. Today, we’re taking that even further.

 

Affinity is now completely free, forever. 

The full, professional-grade Affinity experience, available to everyone.

There’s no catch, no stripped-back version, and no gotchas. The same precise, high-performance tools that professionals rely on every day are now open to all, because creative freedom shouldn’t come with a cost.

Whether you’re an independent designer, a creative studio, or a team building your brand, we believe everyone should have access to the tools they need to create their best work.

 

Affinity and Canva: Stronger together

Affinity has always been built for people who care deeply about design. Professionals who notice the details others might miss, who stay up late perfecting the final pixel, and who take pride in their craft. That hasn’t changed. But we couldn’t launch the all-new Affinity without something special for the Canva community.

For everyone with a Canva premium account, Canva AI’s tools are now accessible directly inside Affinity through the new Canva AI Studio. This includes familiar favorites like Generative Fill, Expand & Edit, and Remove Background – powerful features that speed up repetitive steps while keeping designers in full control of every detail.

Everything that makes Affinity a precision tool for creative professionals remains at its core: the speed, the control, the depth. Now, those same qualities are enhanced by Canva’s technology, giving you new ways to work faster, experiment more freely, and know that your tools will always keep up. Whether you’re refining a complex composite or extending parts of an image, these features work quietly in the background, supporting your process without ever getting in the way of craft.

We know that transparency around AI use and data handling is essential, and your creative work will always remain yours. Canva AI features are built with privacy and control in mind, ensuring that your creative work in Affinity stays secure, runs on the user's device, and work is not accessed to train AI features.

And when you’re ready to collaborate, scale or publish, you can export your Affinity projects into Canva in just a few clicks, to share with colleagues or clients. It’s the first of many steps toward connecting professional design with everyday creation.

This is a new chapter for professional design. We know some of our community may be curious about what this means for Affinity’s identity. It remains exactly what it’s always been: a professional design suite built for people who care deeply about their craft, now strengthened by Canva’s support and resources to take it even further.

You can also bring your existing work with you. Affinity supports PSD, AI, PDF, SVG, TIFF, IDML, and more, making it easy to open, edit, and collaborate without starting from scratch.

Today is just the beginning. We’re continuing to invest in both Affinity’s professional design tools and Canva’s all-in-one platform, building a future where everyone can design at the highest level, without barriers.

The all-new Affinity is available today for Mac and Windows, with iPad coming next year. The Canva community can activate Affinity with their existing account, while existing Affinity customers and new users can create a free Canva account to download Affinity directly.

For more information, please visit the Affinity website.

Halloween - it's a perfect time to shoot some portraits and capture some of the small details that make Halloween so spooktacular.

 

Low Light

Most Halloween themed activities don't start until after the sun's begun to set and that means there's not a lot of light left around to play with. If you're shooting still objects such as pumpkins, you can put your camera on a tripod and use slower shutter speeds but with kids that are running around high on sugar, longer shutter speeds will turn them into streaks of blur. Try using a slightly higher ISO or just shoot your portraits under a porch light or street lamp, to add a little bit of extra light to the scene. You can also head out at dusk when there's still light in the sky but the atmosphere you're trying to capture is just beginning to build.
 

Jack-O-Lanterns

If your flash is set to automatically fire, switch it off as you'll end up with a shiny looking jack-o-lantern that's lost all of its glow. Instead, use a longer shutter speed, making sure you have your tripod with you to stop shake spoiling your shot. If you find the glow from inside the lantern isn't bright enough, use a few more candles or switch the candles for a torch. You'll just have to position yourself so the torch can't be seen in shot. You can also try bracketing if you find metering to be a problem.

 

 

Portraits

There will, of course, be plenty of people in costume and shooting candids while you're out with your kids trick or treating, should give you plenty of interesting shots. If you're taking photos while they're knocking on a door, position yourself so once the door's open, it won't block your view.

For shots with more impact, get down to the child's level before you take your shot and fill the frame. If you have more than one child to photograph, make sure they're stood close together when taking group shots as people have a habit of putting space between themselves and another person.

Take time to study their makeup and costume to see which parts are the most interesting and should be focused on. If they have a particularly interesting mask, shoot a headshot and if you're going for a full body shot, make sure you take a look at their feet before you do as people tend to head out in shoes that aren't Halloween themed and they can spoil the overall feel of the shot.

Don't forget your basic composition rules such as filling the frame, rule of thirds and giving your subject space to look into. 

 

Small Detail

Look out for the spider's webs, decorations and pumpkins as shots of these, combined with shots of people in fancy dress will give you a great overall account of the day's events.
 

Graveyards

If you fancy heading to a graveyard to shoot some close-ups of detail or want to use them as a backdrop for portraits, have a look at our previous technique: Graveyard Photography
 

Have A Play In Photoshop

If you want to give a house a spooky feel, as David did with his image above, or add a ghost to a shot you've already taken, open up Photoshop and have a play around with the various tools and features to see what Halloween-themed image you can create.  

As the leaves turn colour and fall off the trees they present us with another photographic opportunity to shoot autumn themed images in a very different way. The technique we're talking about is freezing colourful leaves and photographing the ice block.

By freezing whole leaves in a pan of water you'll not only have colourful photography, but interesting and unique ice patterns to photograph too.
 

 

It's best to do this technique outside if you can as the light's better, they'll be less cleaning up and there isn't electrical equipment to fry as there is in a studio!

Kit wise, you'll need a macro lens on the front of your camera so you can get in close to the cracks that spread over the colourful leaf textures in the ice. You can leave the tripod inside, but make sure you have a reflector handy as it will help direct light into the dark areas the sun can not reach.
 

How to make a leaf ice block Place your leaf, vibrant autumn colours work the best, face down in the container, add water and put it in the freezer. If you can, pick leaves with splayed tips so light can shine through them. After about 30-40 minutes check your container as the leaves may have floated to the surface and moved position. Once it's frozen take the container outside and start shooting.   Make a support for your ice block

If you have something that can support your ice block so light can shine through it – great. If not, freeze it in a clear container and place it on a light coloured surface. Shallow containers work the best as you only need a few inches of water for this to work. You may also find coloured paper/card useful to add a punch of colour to the background of the image.

 

Camera settings

 

Small apertures, around f/22, will give you great depth-of-field so you'll be able to shoot patterns right through the ice. Check your camera's meter reading and if needs be spot meter from the leaf so the camera doesn't get confused from the light shining off the ice. Look for interesting designs, areas where air bubbles have gathered and unusual shapes that cut across the colourful leaf.

As it will take a while for the ice to melt, head back inside, put the kettle on and come back out to the ice every half an hour or so to snap the frozen air bubbles and water as it melts.   

 

As a landscape photographer, wide-angle and ultra wide lenses simply cannot be ignored.

The most common error made when using wide-angle lenses is simply using them solely for their wide-angle, by just trying to get everything into the shot. The resulting picture often simply has too much in it, and the subject is just lost in amongst everything else. Really, you should consider a wide-angle lens not as a way to get more into the picture, but as a way of emphasising foreground detail and perspective.

  Think about your viewpoint

In use, in a landscape situation, select your viewpoint carefully, as well as your foreground detail, and if possible, ensure that foreground element relates directly to the landscape and has a degree of shape harmony with the picture. If, for example, you choose a rock near the side of a lake on a calm day with reflections, ensure the rock is positioned to fit into the shape of the reflections. The benefit of working closely to your foreground subject is that repositioning the camera by only a few inches can make huge changes to the composition and visual balance of your photos. Roads, paths, walls, in fact, all lead-lines become powerful and dramatic, but make sure they are supporting the main subject of your photo rather than simply becoming the subject in themselves.

 

Photos By John Gravett. 

Remember - wider lenses give a greater depth of field

While front-to-back depth of field is useful in wide angle landscapes, it's important to remember that as an ultra wide-angle lens has an inherently greater depth of field than standard lenses, really small apertures might not always be necessary. Often f/11 or f/16 will give front to back sharpness without having to revert to f/22, where many ultra wides may suffer slightly from diffraction.

The same extensive depth of field can often affect choice of graduated filters to use. With longer focal length lenses, hard-edged grads work but when used with an ultrawide lens, they often show a distinct line where they are used, so usually, a soft-edged grad is a better choice, particularly for the stronger ones.

Wide-angles are so often prone to over-use, but used properly and with care, can produce truly amazing, powerful pictures.
 

Article by John Gravett of Lakeland Photographic Holidays - www.lakelandphotohols.com

 

The updated version of Meike’s popular 85mm f1.8 SE Mark I lens, the 85mm f1.8 SE Mark II, brings noticeable improvements in image quality, focusing speed, and chromatic aberration control. It also features a closer minimum focusing distance of just 0.65m, making it more versatile for portraits and close-up shots. The lens is offered in Nikon Z, Sony E, and Leica L mounts.

This lens is available now and ready to ship for $229.99 USD.

 

 

Specifications:

• Aperture Range: F1.8-F16
• Focal Length: 85mm
• Filter thread: 62mm
• Diaphragm Blades: 11
• Weight: about 369g
• Focus Mode: Auto Focus
• Minimum focusing distance: 0.65m
• Lens Construction: 11 elements in 7 groups
• Full frame Angle of view: Diagonal 27.8°, Horizontal 23.4°, Vertical 10.8°
• APS-C Angle of View: Diagonal 18.67°, Horizontal 15.53°, Vertical 10.38°

 

To order the Meike 85mm F1.8 SE Mark II lens, please visit the Meike website and Amazon.

For some people the only way they think they can have a professional portrait taken is to stand in a studio in front of a big set of lights but lifestyle shoots just might change their mind. Having the great outdoors as your studio will give you so many more creative opportunities with backgrounds, colours, shapes and textures, as well as being able to shoot a story. 

Photo by Joshua Waller Lens choices

A 70-200mm lens is a good choice for DSLR shooters. Shooting around the 135mm mark at f/4 can give great perspective and enough depth of field to throw the background out of focus without leaving it too shallow. A wider lens, such as a 14-24mm is great for environmental portraits, while a 55mm macro lens is great for detail. If you want a good all-rounder lens, a 24-70mm would be a good choice, too. It's also a good idea, if you have them, to pack the speedlights, continuous lights, ringflash and reflectors. 
 

Plan ahead

Organisation is key so make sure you have a plan in advance. Having a few locations that you are familiar with will give you plenty of scope, and it also means you'll know particular spots that'll work well for your shots. Local beauty spots, good urban routes with interesting architecture or a park with lots of interest such as water features are just some of the locations you could work with. The other place you need in reserve is somewhere dry in case of bad weather. 

Photo by Joshua Waller Make sure your model's comfortable

It's important to discuss clothing, makeup and meeting points then on the day of the shoot, meet for a coffee and spend 30 minutes or so having a pre-shoot chat as this will help break the ice. You could even take a book or folder of a few favourite photos along to show your model/client as they'll welcome the opportunity to see your ideas and help. Come up with a few ideas and even adjectives of the mood/feel you're trying to create. For example, Autumnal shoots could be about warm clothing and crisp golden colours. By doing so you will be able to portray a theme to your clients/model who should be able to quite naturally slip into an informal pose to convey this without really having to try or feel self-conscious. 

When it comes to the shoot, let people be natural and remember it's your job to make them feel comfortable even if you do know the person/people you are photographing. Shoot intuitively and creatively. Even if you've shot in a place many times, try setting yourself a target to come up with several new shots. This time of year's a good time to experiment with natural frames as the autumnal shades add warmth to the image. Just make sure you focus on your subject so the leaves blur just enough so you can still see what they are but don't distract.   

Photo by Peter Bargh. 

Shooting images of everyday objects at home is a great way to improve your creativity and to put your imagination to work. But first you need to establish exactly what your photograph's going to be used for. On some occasions just showing what the product looks like, the height, depth etc., will be enough, but most of the time you need to really sell the product. Take a pen for example, you can just put it on a plain background and take a perfectly good shot of it but if you introduce a writing pad and shoot it on an old wooden table you begin to create a story, adding interesting and as a result, the shot will be more attention-grabbing.

You can't take a brilliant photograph if the product looks sub-standard to start with so always ensure your product and any other props you're using are clean and looking their best.

Good lighting is the key to a good product shot so set up in a room that's well lit and avoid harsh, direct flash at all costs. If you have one, a light tent can help soften the light and reduce shadows and reflections but a simple bit of muslin or a net curtain put up against your window will soften the light if you don't. Using a white card or white balancing your shot in-camera will also help your shot but if you shoot in RAW, this can be altered later during post-production.

Here are a few examples to try:

• Book and reading glasses
• Coffee beans spilling out in front of cappuccino cup or from a jar
• A full cup on a table
• Pen and crossword
• Fruit in front of jar of jam

Don't forget to post your creations into the gallery so we can see your hard work!