DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

Nikon continues to develop support for the DX format crop sensor cameras, steadily increasing the range of lenses. Following on from the recently reviewed 35mm f/1.7 macro lens, we have the Nikkor Z DX 16-50mm f/2.8 VR, a fast standard zoom that has a “35mm-format equivalent” field of view of 24-75mm, a very versatile and useful range. Compared to the full frame equivalent lens, the 24-70mm f/2.8, this new optic is light, compact and perhaps a strong contender for travel and general use. We combine it with the 20MP Nikon Zfc retro design mirrorless camera and put it through its paces out in the field, and also in the technical tests. Let's see how it all worked out.

 

Nikkor Z DX 16-50mm f/2.8 VR Handling and Features

First impression is of a relatively compact, well made lens that balances extremely well with the Nikon Zfc camera body. It weighs in at a modest 330g and measures a svelte 74.5mm x 88.0mm. Construction quality is excellent. 

There is a supplied petal lens hood, designated type HB-118. This bayonets cleanly and positively into place. There is no locking catch, nor is one needed. Within the bayonet fit for the hood is a conventional 67mm filter thread. The lens is dust and drip resistant, something that is all but essential if we are to venture out into the variable outdoor weather.

 

 

The smoothly operating zoom ring is clearly marked at 16mm, 24mm, 35mm and 50mm. These markings appear to be accurate. The lens does extend when zooming, but not so much that it unbalances the lens/camera combination. Focusing is internal and has no effect on the barrel length. There is reduced focus breathing, of particular interest to videographers.

The silent control ring is the only other control. This is electronic and super smooth although with a fairly firm action. By default, this is the focusing ring, but it can be changed in the camera menu to aperture control, exposure compensation or indeed it can be switched off.

AF is provided via a stepping motor, which is fast, accurate and virtually silent.  

 

 

The closest focus point changes depending upon the focal length chosen. Greatest magnification is at the 50mm setting, which is useful as it enables a longer working distance for the closest shots, allowing room for lighting and also avoiding the front element becoming too close to the subject.

 

16mm 0.15m (0.5')   24mm 0.18m (0.59')   35mm 0.21m (0.69')   50mm 0.25m (0.82') 0.24x magnification

 

Optical construction is 12 elements in 11 groups, including 1 ED (Extra Low Dispersion) and 2 Aspherical. The diaphragm comprises 9 blades, helping to form a more rounded aperture for improved bokeh. The final and most important aid to sharpness is the optical VR (Vibration Reduction) which offers an advantage of 4.5 stops.

The lens is beautifully hazard free in use, so let's see if the technical performance can match up to its handling prowess and deliver another winner for Nikon.

 

 

Nikkor Z DX 16-50mm f/2.8 VR Performance

At 16mm, central sharpness is outstanding from f/2.8 right through to f/11, excellent at f/16 and very good at f/22. The edges are very good at f/2.8, excellent from f/4 to f/8, very good at f/11 and f/16 and good at f/22.

At 35mm, central sharpness is outstanding from f/2.8 to f/11, excellent at f/16 and very good at f/22. The edges are outstanding from f/2.8 to f/11, excellent at f/16 and good at f/22.

At 50mm, central sharpness is outstanding from f/2.8 to f/11, excellent at f/16 and very good at f/22. The edges are excellent at f/2.8 and f/4, outstanding from f/f5.6 to f/11, excellent at f/16 and very good at f/22.

This is an outstanding overall performance.

Distortion is almost perfectly rectilinear, measuring just -0.52% barrel at 16mm, -0.03% barrel at 35mm and +0.05% pincushion at 50mm. This makes the lens eminently suitable for even the most critical architectural photography.

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR 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 is virtually non-existent at the centre of the field, and extremely well controlled even at the edges.

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR 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 pleasant, perhaps falling short of the sublime bokeh effects seen on some lenses. This is probably the trade off with the outstanding levels of sharpness.

Flare is generally well suppressed, showing just a slight tendency to flare when bright light sources are included in the image area.

Vignetting is impressively low and visually not intrusive at all.

 

Aperture 16mm 35mm 50mm f/2.8 -1.3 -0.5 -1.5 f/4 -1.1 -0.4 -1.5 f/5.6 -1.1 -0.3 -1.3 f/8 -1.1 -0.3 -1.2 f/11 -0.8 -0.3 -1.1 f16 -0.8 -0.3 -1.1 f/22 -0.8 -0.3 -1.1

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR Sample Photos Previous Next

 

Nikon Nikkor Z DX 16-50mm f/2.8 VR 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]Nikon Nikkor Z DX 16-50mm f/2.8 VR|Nikon+Nikkor+Z+DX+16-50mm+f/2.8+VR[/AMUK] lens is priced at £799.00

There is an alternative [AMUK]Nikkor Z DX 16-50mm f/3.5-6.3 VR|Nikkor+Z+DX+16-50mm+f/3.5-6.3+VR[/AMUK] at £329.00. This is not as fast, but it is more compact and considerably less expensive.

Alternatives for other marques help us set the level that Nikon have pitched at.

• [AMUK]Fujifilm XF 16-50mm f/2.8-4.8 R LM WR|Fujifilm+XF+16-50mm+f/2.8-4.8+R+LM+WR[/AMUK], £599
• [AMUK]Sony E 16-50mm f/3.5-5.6 OSS II PZ|Sony+E+16-50mm+f/3.5-5.6+OSS+II+PZ[/AMUK], £274

The new Nikkor lens is at the upper end of pricing for DX format, but on the other hand has exceptional performance. On the basis that we get what we pay for, it looks solid VFM.

 

 

Nikkor Z DX 16-50mm f/2.8 VR Verdict

Nikon has done it again, delivering an amazing lens at a reasonable price. For a general purpose standard zoom that offers such quality and is fit for purpose for subject matter from architecture to portraiture and more, it looks very hard to beat. Whilst not a bokeh master as such, it still offers decently pleasant out of focus areas; but it rather more shines in its ability to render fine detail with critical sharpness and superb texture.

The focal length range is an ideal general purpose one, covering most subjects. Having the ultra-wide 16mm is useful for landscapes and architecture. The 50mm end makes a great portrait lens, its 75mm-equivalent being more or less spot on to the classic portrait focal length of 85mm.

The close focusing is one of the great advantages of modern zoom lenses. These tend to focus far closer than primes. The 0.24x magnification at the 50mm end covers most close up shooting, so a macro lens may not be routinely needed when travelling light. 

This has been a very rewarding lens to use, a definite winner in so many ways and as a consequence a natural Editor's Choice.

 

Nikkor Z DX 16-50mm f/2.8 VR Pros

• Outstanding sharpness
• Very low CA
• Modest vignetting
• Dust and drip resistant
• Silent control ring
• Reduced focus breathing
• Close focusing
• 4.5 stops VR (Vibration Reduction)

Nikkor Z DX 16-50mm f/2.8 VR Cons

• Slight tendency to flare

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=Editor's Choice – A superb, fast standard zoom lens for Nikon's DX format crop sensor mirrorless cameras.|E_id=8027[/REVIEW_FOOTER]

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Frost might not be good for plants but it is great for photographers who are looking for winter scenes and interesting abstracts to add to their portfolio. 

Photos by David Clapp. 

When's the best time for photographing frost and why?
Dawn shooting is the best time for ice and frost. Ensure you get there before the sun is up as there are fantastic opportunities to be had.

When you're photographing frost does the sun always have to be behind you?
No, not at all, direct light and side light are extremely complimentary as the ice and frost glistens. Literally any angle is worth experimenting with.

How do you keep yourself and your kit dry and warm?
Wear two pairs of socks and quality gloves! Don't worry about your camera gear at all, when going from warm to cold, but be prepared for condensation when returning home. Leave your camera in the bag to acclimatise.

Photographing ice/frost can produce grey looking images, how can you stop this happening?
Always check the histogram to ensure a healthy exposure and expose +1stop to +1.5stops to make the ice glisten.

Where are the best locations for both good landscape shots and more close up work?
Reservoirs, lakes, rivers and mountains (if you are lucky enough to live near them) are good as colder night time temperatures occur where water is present. Look for frost covered reeds, branches and places were water splashes as these can be dripping with icicles and interesting features.

What lenses are good for this type of work? 
A standard 90mm macro lens is your best friend when shooting ice and frost, but it’s also possible to get literally the same effect from a medium zoom and a full set of extension rings. These make a great macro alternative and considerably reduce the closest focusing point, especially on a budget.

Should photographers use a tripod/monopod for this type of work?
A tripod is utterly essential, as the best images are rendered in lower light levels. 

Do dark backgrounds work best?
They do help, but it’s not essential. As icicles are translucent, a darker background can help, but it's all about trying things out. For example, try using a piece of card to change the background to suit.

How can post-production help?
Playing with colour temperature in particular is a good way to induce a colder feeling in your ice images. Play with contrast to deepen the tones and lift the highlights, as this will give greater definition to patterns and texture.
 

© Billingham

 

Billingham has introduced the Capsule 1, a compact camera pouch handmade in England for photographers seeking stylish, everyday protection. Made from the brand’s signature waterproof fabric with 5mm foam padding, it fits small to medium-sized cameras and includes a wide opening, leather handle, and mesh pockets for accessories.

Available in four classic colours, the Capsule 1 is ideal for travel, street photography, and daily use. Priced at £125 (inc. VAT), it is now available for pre-order ahead of its 24 November 2025 launch.

 

From Billingham

Billingham is proud to announce the launch of its brand-new Capsule 1 pouch, pre-orders were invited from Thursday 6th November 2025, with an official launch date of Monday 24th November 2025. Designed and handmade in England to the brand’s exacting standards, the Capsule 1 combines refined craftsmanship, durability, and functionality — making it the ideal companion for photographers who want to protect their gear in style.

Crafted from Billingham’s renowned three-layer waterproof material and lined with 5mm foam padding, the Capsule 1 ensures small to medium-sized cameras and 
lenses are kept safe and secure wherever your journey takes you. Inside, two mesh pockets provide additional storage for memory cards, batteries, or other small 
accessories. Outside, a quick grab and go style handle for easy handling.

Designed for ease of use, the pouch features a wide doctor’s-bag style opening for effortless access and a sturdy leather handle for comfortable carrying. Whether used on its own or placed inside your everyday bag, the Capsule 1 delivers the perfect balance of protection, practicality, and timeless style.

 

© Billingham

 

The Capsule 1 will be available in four classic Billingham colour combinations:

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

 

“With the Capsule 1, we wanted to create a truly versatile pouch that reflects Billingham’s commitment to quality and craftsmanship, while offering photographers a compact, elegant way to protect their most valued gear,” said Harry, Director at Billingham.

The Capsule 1 is available to pre-order now from Billingham’s website and authorised retailers.

 

About Billingham

About Billingham Since 1973, Billingham has been passionate about producing high quality, durable and stylish bags designed to protect valuable cameras, photographic and optics equipment, while providing owners with exceptional comfort and peace of mind. Built to meticulous standards at the company’s manufacturing facility in the West Midlands, England, Billingham’s versatile, purpose-built bags have an unrivalled reputation for excellence and are highly revered and trusted by photographers around the world. 

Each model is precision-engineered from rugged, weather-proof materials and premium padding, to ensure the contents are kept safe and secure in transit. Billingham’s outstanding products are unlike any other bags, and the special way they are developed and engineered is intrinsic to their distinctive character. Quality and detail are paramount to the production of a Billingham bag, with each typically comprising more than 100 individual components – the majority of which are custom-made by Billingham itself. Each bag comes with a five-year guarantee and is awarded its own unique serial 
number as a seal of perfection and authenticity, allowing the product to be tracked 
throughout its entire lifecycle. 

The growing Billingham range includes photographic and messenger bags, travel and leisure holdalls/carry-on luggage, padded rucksacks, binoculars cases, laptop and tablet cases, luggage tallies, leather shoulder pads and other accessories. Billingham is a family business located at City Estate, Corngreaves Road, Cradley 
Heath, West Midlands B64 7EP, United Kingdom. Its products can be found at selected approved retailers around the world. For more information, please visit: 
www.billingham.co.uk

Taking fun portrait photos doesn't have to be difficult - with a few simple tips, you can create something that breaks the mould.

  Simple kit is all you need

If you want to use natural light head for a space with a large window or if you prefer to use artificial lighting, a simple two light setup, positioning one light slightly to either side of the model should do the trick. Plain backgrounds work well as it's the expressions we're interested in not the colour of the scenery. We used a studio background but a table cloth, sheet or wall will work just as well.

 

Take note of your settings

As you don't want your subject's face to be blurred, make sure you're using a quick enough shutter speed when shooting hand-held. If you're using natural light and are having problems with shake, stick your camera on a tripod. Watch your white balance too as you'll be putting these shots together at the end and if the white balance is right in-camera, there will be less work to do once you have the shots on your desktop.

Don't think this is something for just DSLR users either as when using natural light, a smaller compact will work fine. 
 

Shoot Spontaneously & Candidly

When it comes to taking the photographs, don't linger on one expression for too long as if your subject thinks about what they're doing for too long it can look a little fake. You'll also find it's more fun to shout out instructions rapidly as it can sometimes go wrong, giving you the chance to capture your model laughing or pulling an expression you didn't expect. Have a list of ideas to hand, particularly if you're working with kids who need a little more instruction, but don't be too strict with it. Adding props such as food or a drink can work well, too.

If you want to create a triptych or other style of portrait collage, simply re-size them in your chosen software, check the tone and brightness, then pull all the images onto a new document, positioning them as you go. 

 

The Nikkor Z 24-70mm f/2.8 S II is the revised Mark II version of the original 2019 lens. The original was an Editor's Choice and an exceptionally fine lens. What's to change that could improve on this? The areas of attention are to make it smaller, lighter and focusing and zooming internally so the centre of gravity is constant. This could be advantageous especially to videographers, but will the lens maintain its exceptional quality? Armed with the full frame 24MP Nikon Z6 III, let's endeavour to find out.

 

Nikkor Z 24-70mm f/2.8 S II Lens Handling and Features

Starting our tour of the lens, we have the bayonet fit petal lens hood, secured by a small catch to avoid it accidentally moving out of alignment and causing vignetting. The hood has a sliding window that gives access to filters, so for example, a polariser can be rotated without having to remove the hood. This window slides just a bit too easily and can regularly be opened when not required. This could easily be rectified, but if it proves to be a problem then a piece of tape could secure it. Within the bayonet fit of the hood is a standard 77mm filter thread.

Popping the lens on the scales shows us that without hood or caps, it weighs in at a reasonable 675g, exactly as listed by Nikon. Add the hood and this becomes 722g. The lens measures 84mm x 142mm and neither focusing nor zooming changes this, as the adjustments are internal. The centre of gravity of the lens thus remains constant, useful for videographers in particular.

 

 

The electronic focusing ring is very smooth, as we should expect. Focus breathing is reduced, again for videographers. AF is driven by an SSVCM (Silky Swift Voice Coil Motor) motor, and is very quiet, almost noiseless, very fast and very accurate. The closest focus point changes depending upon the focal length chosen.

 

24mm 0.24m (0.79') 0.21x magnification 28mm 0.24m (0.79')   35mm 0.27m (0.89')   50mm 0.30m (0.99')   70mm 0.33m (1.09') 0.32x magnification

 

The zoom ring is broad and has excellent grip. Action is internal. There are clear markings at 24mm, 28mm, 35mm, 50mm and 70mm and these are accurate.

 

 

Behind the zoom ring are the lens controls. There are two L-Fn buttons, programmable from the camera. A small switch enables the aperture ring clicks to be deactivated. There is the usual A/M focus selector, plus a focus limiter. The limiter offers full range, or infinity down to 0.33m rather than 0.24m, not a huge difference and for this set of focal lengths seemingly hardly worth including.

There is no depth of field scale, and the one offered on the Mk I version was provided via an OLED display, similar to that used on some Zeiss lenses. Removing this also removes the aperture readout.

The final control ring, which offers smooth clicks as detailed above, can be programmed to control aperture, ISO value, exposure compensation or if desired can be inactive.

Optical construction is 14 elements in 10 groups, including 2 ED (Extra Low Dispersion), 3 Aspherical and 1 SR (Short Wavelength Refractive). The diaphragm comprises 11 blades, for a rounded aperture. Nikon have applied ARNEO, meso amorphous and SIC coatings, plus a Fluorine coat for the front element to repel dirt, grease and moisture. The lens as a whole is weather sealed, an increasingly essential feature.

 

 

The lens can hardly be described as compact, but that can be par for the course with mirrorless cameras. The camera bodies may be smaller, but the lenses may be more adventurous with faster apertures and hence larger optics. However, the lens is lighter than its predecessor so the balance with the camera body is good. There are clear advantages for videographers, the balance being consistent as we zoom and focus. The programmable control ring is well designed, with very smooth but distinct click stops that can be switched off entirely if required.

In summary, a very well designed lens with excellent ergonomics.

 

Nikkor Z 24-70mm f/2.8 S II Lens Performance

At 24mm, central sharpness is excellent right through the aperture range, rising to outstanding at f/4. The edges are excellent from f/2.8 to f/16 and still very good at f/22.

At 35mm, central sharpness is outstanding from f/2.8 right through to f/11, and excellent at f/16 and f/22. The edges likewise are outstanding from f/2.8 to f/11 and excellent at f/16 and f/22.

At 70mm, central sharpness is excellent from f/2.8 all the way through to f/22. The edges are also excellent all through the range of apertures, from f/2.8 to f/22.

This is a superb performance.

Distortion is virtually banished, with a tiny amount of barrel distortion that measures -0.23% at 24mm, -0.14% at 35mm and -0.01% at 70mm. This makes the lens suitable for critical architectural photography.

 

Nikon Nikkor Z 24-70mm f/2.8 S II 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 Z6 III using Imatest. Want to know more about how we review lenses?

 

CA is virtually non-existent. The measurements approach very closely to zero, so there should be no sign of colour fringing.

 

Nikon Nikkor Z 24-70mm f/2.8 S II 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 Z6 III using Imatest.

 

Bokeh is beautifully silky, giving us a lens ideal for lovely portraits with smooth out of focus backgrounds.

Flare is virtually absent, even with the most severe subjects with bright light sources pointing into the lens.

There is some visible vignetting at wide apertures and 24mm, but otherwise the lens performs well.

 

Aperture 24mm 35mm 70mm f/2.8 -2.7 -1.6 -1.3 f/4 -2.2 -1.1 -1 f/5.6 -1.9 -1.1 -0.7 f/8 -1.8 -1 -0.7 f/11 -1.8 -1 -0.7 f16 -1.8 -1 -0.7 f/22 -1.8 -1 -0.7

 

Nikon Nikkor Z 24-70mm f/2.8 S II Sample Photos Previous Next

 

Nikon Nikkor Z 24-70mm f/2.8 S II 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 24-70mm f/2.8 S II|Nikko+Z+24-70mm+f/2.8+S+II[/AMUK] lens is priced at £2599.00

Looking at the alternatives for Nikon Z, we could consider:

• [AMUK]Nikkor Z 24-70mm f/2.8 S|Nikkor+Z+24-70mm+f/2.8+S[/AMUK], £2099
• [AMUK]Nikkor Z 24-70mm f/4 S|Nikkor+Z+24-70mm+f/4+S[/AMUK], £849

There are choices there, and for those who can manage with the f/4 version there is some money to be saved. If the OLED display is required then the Mk I version is still a superb lens. If videography is a consideration then the new lens may be significantly advantageous.

 

 

Nikkor Z 24-70mm f/2.8 S II Lens Verdict

Nikon continues to pursue a path of excellence, there is no doubt about that. The new lens is a further example of their high standards, and it is difficult to see how the level could meaningfully be improved upon, regardless of how much money might be spent. The lens is quite expensive, significantly more so than the Mk I version, but there are advantages. The internal focusing and zooming mean a consistent centre of gravity for videographers as well as photographers. The excellent to outstanding sharpness is magnificent, and does not seem to have a cost in terms of the bokeh which remains superbly smooth.

Travel, landscape, portrait, social, reportage/street and architecture are all well within the scope. The lens could even be used on crop sensor cameras, although the size might be considered a bit out of proportion for the tiny APS-C DX-format cameras. The “35mm-equivalent” focal length range would be 36-105mm in this case, which could be advantageous for some.

However, full frame is the main thrust of the lens and it delivers the quality and superb handling with a sense of fine accomplishment. A definite Editor's Choice.

 

Nikkor Z 24-70mm f/2.8 S II Lens Pros

• Excellent to outstanding sharpness
• Virtually free of CA
• Excellent flare resistance
• Weather resistance
• Beautiful bokeh
• Aperture ring can be de-clicked
• Centre of gravity stable for videography
• Internal focusing and zooming

Nikkor Z 24-70mm f/2.8 S II Lens Cons

• Some vignetting at 24mm
• High cost

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=Editor's Choice – A superb, fast standard zoom lens for Nikon's full frame mirrorless cameras.|E_id=8027[/REVIEW_FOOTER]

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It's very easy to slip into a shooting pattern where not much thought is given to framing and composition so you end up with shots which are OK but are rather mundane and ordinary. However, with a few little, simple changes, shots can be turned into something much more interesting.

Summer by Peter Bargh.

 

Evaluate

If you're shooting a scene, particularly if you're not familiar with your shooting location, it's easy to become flustered so you just shoot anything and everything you see. However, if you take the time to study the scene so you can find out what / who should be your main focus point you'll be able to frame your shot(s) around them, giving your work focus rather than shooting anything and everything.

 

Angle

Digital photography really opens the doors on experimentation as there's almost no limit on the number of shots you can take. As a result, don't be afraid to shoot the same subject/scene from a variety of angles. Get down low, climb up high, go wider, get closer...there are plenty of options to have a go at, you just have to find what works for you.

 

Portraits

Those who are new to photography tend to put people in the centre of the frame when photographing them, however applying 'the rule of thirds' can give you a shot that's much more creative and appealing to the eye. For those who don't know what 'the rule of thirds' is, imagine a grid that divides your shot into nine equal sections by a set of vertical and horizontal lines. With the imaginary frame in place, you should place the most important element(s) in your shot on one of the lines or where the lines meet. So with a person, instead of putting them in the centre, simply move them more to the left or right thirds of the frame.

One problem with following this rule is that it can leave you with a strong focus point on one side of your shot and a big empty space on the other so, to improve this, see how you can add a secondary point of interest that's less important to balance your shot.

Whitby Goth by Peter Bargh.

 

Backgrounds

For portraits, you can use backgrounds to add an extra level of interest to your shot, however don't let it become the star of the show. Don't pick a scene with colours or light that'll outshine your subject(s) and make sure you balance the shot so background interest doesn't turn into a cluttered mess that just spoils the photo.

Lighting

What time of day you shoot, the weather and if you're working indoors or out can make a big difference to how your final image will look. For example, early morning or later afternoon/evening light isn't as harsh as mid-day and evening low, light shots in cities tend to look better when there's still a little light in the sky as this adds more interest to the shot. The light at sunset/sunrise changes rapidly and you may even find the best colours/light appear just as the sun dips behind the horizon.

For outdoor portraits, you may need to find some shade so the light on your subject's face is more balanced. It'll also make them 'pop' from the scene as the background tends to be a little brighter than where they are stood. Can't find shade? Use a reflector to bounce light up onto their face to fill in shadows under their nose and eyes.

If you're working with a scene where there's a big difference in the dynamic range (the shadows and highlights) you may want to consider shooting some HDR. In a nutshell, this is where you layer several shots together that have been taken at different exposures (you'll need a tripod as every shot has to line up exactly). For more information on HDR, take a look at this article: HDR Landscapes

These are just a few of the many examples out there on how light and other aspects can change the appearance/feel of a photograph. For more tips, check out our technique section.

© Skylum

 

• Skylum receives the Google Play Best of 2025 Award in the Best Multi-Device App category for Luminar.
• While the award recognizes the Android version and its seamless support for Chromebooks, Luminar Mobile is also available on iOS, ensuring full integration with Luminar Neo on desktop across both macOS and Windows.
• The award underscores Skylum's innovative strength and commitment to making cutting-edge image editing accessible to all devices.

 

The AI-powered image editing app Luminar Neo, developed by Skylum (https://skylum.com/luminar-mobile), has been named Best Multi-Device App at the Google Play Best of 2025 Awards. This award recognizes the Luminar team's innovation making it easy to edit your photos anywhere across Android phones, tablets as well as Chromebooks. The app also complements the broader Luminar ecosystem available on macOS and iOS, offering creators professional-quality tools regardless of platform.

 

Awards for the best apps in the Google Play Store

The Google Play Best of 2025 Awards recognize the most innovative and influential apps of the year, honoring excellence in design, user experience, and technological innovation.

 

Best Multi-Device App for Luminar Mobile

The Best Multi-Device App category honors apps that offer exceptional cross-platform capabilities and a consistent, high-quality user experience. Luminar Mobile stood out for its advanced AI tools, intuitive design, and seamless integration between desktop and mobile editing workflows.

The Luminar team would like to extend its sincere gratitude to its global community for their creativity, trust, and continued support.

Kostiantyn Tymoschuk, VP of Growth at Skylum, commented: “We are very honored to have won the Google Play Award for Best Multi-Device App. This recognizes our team's years of effort to make Luminar not only powerful, but truly universal. It is a tribute to the thoughtful design and our users, who inspire us every day with their use of Luminar.”

 

About Luminar

Luminar is a cross-platform next-generation photo editing platform powered by advanced AI technologies. With Luminar Mobile for Android and iOS and Luminar Neo for desktop (Windows and macOS), the Luminar platform helps travelers, outdoor lovers, and everyday photographers get great-looking photos on any device.

 

About Skylum

Skylum is a global image processing technology company dedicated to revolutionizing the world of image processing and creative tools. Its core product, Luminar Neo , allows photographers of all skill levels to unleash their creativity and bring their visions to life with advanced AI-based technologies, while giving artists complete control over the final result. Skylum has won the Red Dot Award, Apple's Best of Year, and the “Best Imaging Software” award from TIPA and EISA, as well as several other prestigious industry awards. For more information, please visit our website.

Motion and movement is a wide and varied photographic subject and as a result there are many ways a photographer can create a sense of motion or movement in their shots. Slow shutter speeds can be used to exaggerate the flow of water while fast shutter speeds will freeze the force of a wave as it crashes against a sea wall. ePHOTOzine has written many tutorials that cover motion in some shape or form and as a result, we've decided to group the most popular ones together so, hopefully, you'll be fuelled with enough inspiration and ideas to make you want to head out to capture motion. Here's our top seven:
 

How To Capture Landscapes That Show Motion

John Gravett shows us how wind movement can make interesting and more dynamic landscape shots. Plus, he includes tips on capturing the popular 'blurry' water shots at the coast and with waterfalls.

 

How To Use Blur To Create A Sense Of Movement

Blur isn't always a bad thing as it can help emphasis speed and create motion in a shot. Read on for tips on using shutter speeds, flash and zoom lenses to create blur.

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

 

Beginner's Guide To Capturing Motion

Mike Browne from PhotographyCourses.Biz shows how easy it is to capture a sense of movement.

 

Camera Panning Techniques

Peter Bargh talks through a few tips to improve your panning technique. Panning is a great technique for action and, once perfected, the main subject will be sharp against a blurred background.

 

Tips On Photographing Action And Movement

Here are a few tips on shutter speeds and how to focus so you get sharp action shots every time.

 

How To Capture Movement

Ben Boswell shares his tips on capturing movement. Tips include making sure movement looks deliberate, when to use a pan, what shutter speeds are appropriate and if a tripod is needed.

 

More Tips On Capturing Movement In The Landscape

Do landscape shots always have to be static? If you think about it you'll realise that they're often not. This tutorial adds to the tips John Gravett gave in his article, covering clouds, trees and people as subjects.

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

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