DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

When buildings are illuminated at night their shapes and features are enhanced in a very different way than by daylight and it's a great time to take photographs. The most challenging thing is getting the exposure and colour balance right, which we'll help with, otherwise, the standard rules of composition apply which we'll cover briefly first.

 

1. Composition - Don't Forget The Basics 

When shooting upwards expect the building to slope inwards at the top, especially when a wide-angle lens is used. Move to a higher position to reduce the distortion or use a special shift lens that's designed to correct perspective but these are expensive and aren't really a sensible option for the casual shooter.

Try to include the whole building by using a wider angle lens or stepping back to a more suitable viewpoint. Choose the position carefully. The same building could be shot head-on, at an angle of, say, 3/4 or by using a telephoto to capture a section with a more graphical feel. Don't forget you can zoom with your feet as well as your lens, too. When it comes to focusing, manual is your best option. 

  2. Exposures

When the sun goes down the light changes in two ways; firstly the exposure time required increases and secondly the colour of the light becomes warmer. Let's first look at the exposure. In low light, the shutter speed that's necessary to ensure a good exposure will usually be too long to avoid camera shake when hand-holding the camera. Using a tripod enables you to shoot at these long exposure times of between 1/15sec and several seconds or even minutes. If you don't have a tripod you can usually find a wall, lamppost or tree to support the camera, which can help considerably. Or you can try switching to a higher ISO as most cameras now cope well in the higher ranges. This means that in low light situations, such as shooting buildings at night, you can take photos with minimal noise or blurring. You'll also want to put your camera's self-timer into action or use a remote release if you have one as even pressing the shutter button can introduce shake that'll leave your with blurry shots. Consider using the Mirror Lock-up function, too which can be accessed via your camera's menu. 
 

3. Metering

Low light can also fool the camera's meter and this happens because it looks at the mass of dark and tries to compensate to make it mid-grey. By doing so, you get an exposure time that is too long for all the illuminated parts of the scene, such as neon lights, street lights or spotlit areas of a building as they become grossly overexposed.

To avoid this, you need to compensate for it. As a guide, use your exposure compensation setting to reduce the exposure by a couple of stops when most of the area is in darkness and by one stop when the building has a medium coverage of illumination.

 

4. Colour Balance

Illuminated buildings offset against a dark sky can look great, but you have to be careful with the colour as there can be a slightly orange or yellow cast created. Buildings illuminated by artificial light can also be problematic, depending on the lighting used in them. Two popular types are Fluorescent and Tungsten. Fluorescent tend to be used inside in offices and Tungsten in spotlights that part illuminates buildings.

With digital cameras, you can preview the image to check the colour balance and if it doesn't look right, just change the white balance setting you're using. Cloudy will warm your shots up while the Tungsten options will give your images a more blue tone. 

  5. Security

Take care when carrying a camera around at night, especially if you're venturing off the beaten track. Keep alert and where possible, take a friend with you.

  6. What To Capture 

Look for tall buildings you can shoot from. From up high you'll be able to shoot skylines as well as focus on single buildings. For something different, try to shoot the same location in daylight and in the evening. You'll soon see how buildings have a very different feel at night. Cropping in on illuminated buildings can make the image more striking and reduce the black from the surrounding, unlit areas. To give streetlights a 'starburst' use a small aperture which will also give you front-to-back sharpness in your shots too. Exposure times will be longer but if you have your tripod, this won't be an issue. If people are still exploring the city you can use them to add more interest to your shots. Get creative with silhouettes against well-lit structures or how about using slightly longer shutter speeds, say 1/2 a second, to blur the movement of people who pass through your shot. Don't increase your exposure times too much if you want to keep the patterns people create passing through your images though as anything above 15 seconds will probably remove them from your image. Bridges can be used to draw the eye through the image to a particular structure or focus your attention on famous buildings and landmarks which are guaranteed to be lit-up at night.

 

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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 Mike43 (Day 13 - Stairs & Steps).

 

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 9

Bridges In The Landscape

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Day 10

Music Photography

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Day 11

Shopping

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  Day 12

City Skylines

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Day 14

Lights

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Day 15

High-Up

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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.

 

When using a tripod on terrain that is rocky, uneven, or hilly, there are a few things that you can do to make sure your tripod is as stable as it can be. Some of these tips may seem like common sense, but they will hopefully help prevent any accidents such as your camera taking a plunge in a river!

 

1. Weight And Load

Before you venture out make sure you're using a tripod that can support the weight of your gear. Also, if you're buying a new tripod and are planning on getting larger heavier lenses in the future do take this into consideration when making your purchase. Look for a light tripod rated for the highest weight as you'll soon notice the weight of your tripod once you're halfway up a wet, uneven hillside. 

 

2. Assess Your Environment

It's always better to be safe than sorry, so make sure that the area is stable enough to stand your tripod on before setting up. If you're working on very rocky terrain or near the edge of a big drop, make sure the tripod is not liable to slip.

It can also take a while to set your tripod up so it's always a good idea to find your location and have some ideas about composition before putting your camera on its support. 

 

3. Legs Before Column

When setting up, extend the legs before extending the centre column. Extending just the centre column is one quick operation and you are ready to shoot, but it is not good technique and can leave you with an unstable base to work with.

 

 

4. Adjust The Legs

Extend the fattest leg section first and keep the thin, spindly legs till last for when you really need the height. Having a wider base to work with is always a wise decision as they are more stable. Many tripods now offer various angle settings that lock at different degrees.

 

5. Ensure Your Tripod Is Level

Many tripods and tripod heads have built-in spirit levels to help you keep the tripod level. If your tripod hasn't, buy a spirit level to fit onto the camera's accessory shoe.

 

6. Position Of Your Tripod's Legs

Point one of the legs towards your subject so you have room for your feet between the two other legs. This will mean you have one less thing you have to worry about falling over when working on tricky terrain. 

 

 

7. What Feet Does Your Tripod Have?

Most tripods have rubber feet which absorb shock and offer good grip, but some do have spiked feet. Spiked feet can be bought as optional accessories or sometimes you can get both types in one. They're particularly useful for outdoor photographers as most of the time you'll end up working on loose soil, dirt, and other surfaces that will be uneven. 

8. Keep It Stable On Windy Days

Some tripods have a hook which you can feature a centre column hook, you can hang a bag of stones or other weighty objects off it to balance the tripod. Another option is to take a heavy camera bag and wrap the strap(s) around the tripod's head to add extra weight. For lighter tripods, use your body as a shield from the wind. Sticking spiked feet into the ground will also help keep the tripod still, they're particularly useful when working at the coast to stop waves knocking your gear into the sea. 

Another option is to use a piece of string or some nylon webbing can add extra stability. Tie one end to the centre column and have the other tied in a loop. Next time in a strong wind, have the string/webbing hanging down and slip your shoe into it and lean down. Your body weight will give extra stability.

   

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A black and white photo titled Mappleton Beach with storm clouds above by Pete2453 shows storm clouds hanging over the East Yorkshire coast. The horizon is softened, giving the black and white scene a simple look that shows light, shape, and texture. The rocks show a touch of colour, adding a small contrast. Their rough surfaces sit against the smooth tones of the sky and sea.

The result is a calm yet powerful look at land, sea, and sky. It is a dramatic and atmospheric landscape of a familiar coast shaped by weather and time.

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!

 

The beauty with photography is you're not restricted with how you can take a photograph. You can play with as many lights as you can afford, add filters, gels and play with numerous other gadgets to alter the look of your photograph. But even though there are all these toys waiting to be played with, one of the simplest ways to change the way your image looks is to get up high.
 

1. Gear Choices

A telephoto lens is useful for pulling distant scenes to you while a wide lens is great when you're trying to get a whole town/city in the shot. A tripod's also handy if you're using longer lenses but not always a necessity and they won't be allowed in some locations. If shooting at night, a camera with good low-light capabilities will come in handy. 

  2. Locations

Don't look for your nearest skyscraper, get in a lift, ride to the top floor and start snapping shots of the city. You'll cause more trouble than it's worth, and there are plenty of other places that don't have huge panes of glass between you and the view.

If you're away you probably have a balcony you can get a few shots from or if your hotel has a roof terrace head up there with your kit and set up somewhere out of the way. Just ask if it's OK to do this first otherwise you could raise a few eyebrows. Look out for observation decks, bridges and even the big wheels that are popping up in cities. These usually take an hour to complete a full circle giving you ample time to get a few cracking shots.

 

3. New Look

Shooting straight down on a building that's been photographed hundreds and hundreds of time will instantly make your shot stand out and it will give you the opportunity to include the nearby streets to highlight the shapes and patterns not usually seen. You'll also be able to see how shadows are elongated and help add texture to your image. If you're not far enough away from the town/city all the buildings could appear to be all on the same level so you'll have nothing that distinguishes between foreground or background interest. To combat this problem look for something you can have in your foreground to help break up the shot.

 

 

4. Not So High

If heights aren't your thing why not try climbing a few steps or even standing on a wall to escape the standard view we usually see in shots. Looking over the bannister of a spiral staircase, for example, works well but it is something that's overdone and a little clichéd so be warned. Try taking a walk up a hill in the countryside near a city and you'll be able to shoot down to capture a cityscape.
 

5. Close-Up Work

Look out for buildings which stand out and use your telephoto lens to home in on them. These could be well-known landmarks, churches or even football stadiums.
 

6. Keep Your Feet On The Ground

If you want a series bird's eye view why not try a spot of kite photography? Some have even tried throwing their camera up in the air to put a unique twist on photography from a height. Although, this isn't something we'd recommend doing! 

   

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© OM SYSTEM

 

OM Digital Solutions Corporation has announced the release of the M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO. Designed in full compliance with the Micro Four Thirds System standard, this model proudly joins the OMSYSTEM line of imaging products.

This large-diameter super telephoto zoom lens features a constant F2.8 aperture throughout the zoom range with a 100-400mm equivalent focal length that goes up to 800mm equivalent1 (when using the M.ZUIKO DIGITAL 2x Teleconverter MC-20), offering truly unique photographic experiences.

This model delivers excellent resolution across the entire zoom range that only the PRO series and its culmination of cutting-edge optical technologies can provide. It is compatible with 5-axis sync IS (up to 7.0 steps2 of compensation) for powerful support during handheld super telephoto shooting. With a maximum image magnification of 0.5x equivalent1, it also offers superb close-up photography capabilities. This high-performance super telephoto zoom lens is designed to meet the demands of photographers across a wide range of genres, from sweeping natural landscapes to fast-moving birds, elusive wildlife to detailed macro shooting. This lens is sold on order basis.

 

Key Features of the M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO:

• One-of-a-kind high image quality, large-diameter super telephoto zoom lens offering 100-400mm, F2.8 equivalent with the lens alone, and up to 800mm, F5.6 equivalent when using the 2x teleconverter
• 5-axis sync IS for easy handheld shooting with up to 7.0 steps of shutter speed compensation
• Excellent reliability and operation that supports shooting even in harsh natural environments

 

© OM SYSTEM

 

At OM SYSTEM, we have always been a pioneer in optical design. From the beginning, M.ZUIKO lenses have symbolized precision, quality, and reliability. With a heritage dating back to 1936, we continue to innovate for the photographers of tomorrow. The M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO is a true innovation, offering unmatched range, speed, and portability across a vast array of photographic genres.

 

Pricing & Availability for M.ZUIKO DIGITAL ED 50-200MM F2.8 IS PRO:

The M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO will be available from 6th October 2025, at a suggested retail price of £2,999

For more information, please visit the OM SYSTEM website.

 

If you're looking for lighting advice, be it for capturing portraits on a sunny day or shooting landscapes in summer, we probably have a tutorial to help you.

 

1. Five Top Tips On How To Control & Work With Natural Light

Natural light is often the only light available to us when we are out shooting. But far from being an untameable beast, there are several ways that you can control it to achieve your desired photo.

 

2. Photographing Low Light Portraits

Working with just one light, or indeed natural light at dusk, is a great way to create moody portraits that can be full of character. It's a perfect technique for shooting subjects who are a little older as low light can really exaggerate lines and wrinkles but don't let this put you off photographing low light portraits of younger members of your family.

 

3. Six Top Natural Light Portrait Tips For Beginners

Get back to basics and make the most of natural light by capturing portraits without flash or studio lights.

 

4. Five Top Tips On How To Use Window Light For Indoor Portraits

Daylight is free and it is wonderful for portrait work as not only is it flattering and photogenic but it's really easy to work with so it's a good place for beginners to start. You don't need a fancy studio, either, as you can pick a location outdoors or simply set-up next to a window in your own home.  

 

5. Three Top Tips On Using Fill-In Flash For Portraits

Fill-in flash can give images that extra bit of 'pop' they need as we explain in this article.

 

 

6. A Basic Introduction To Outdoor Photography: 4 Top Outdoor Lighting Tips

Light's an important tool for photographers and knowing how to make it work to your advantage when capturing photographs outdoors is essential.

 

7. How To Use Built-In Camera Flash Successfully

Flash can give images that extra bit of 'pop' they need and many cameras feature several flash modes for you to pick from so we're going to talk through the various modes available and how they work. 

 

8. Top Portrait Photography Tips That Use Just One Light

With just 1 studio light, the COOPH team demonstrate how you can create different/unique portraits by manipulating how the light falls to enhance portraits and, as a result, greatly improve your overall results. 

 

9. Three Top Tips On Controlling And Using Flare In Your Photos

If you've ever taken photographs with the sun in front of you, you're likely to have experience flare, which probably spoilt your photograph. However, there are several things you can do to remove it or if you're feeling creative, you can use it in your shots to add a little romanticism, mystery and warmth to your work.

 

10. Nine Portrait Photography Light Hacks In 90 Seconds

We've got 9 lighting hacks to share with you which you can use the next time you're capturing portraits.

 

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Sales Start Date: October 2025

Recommended Retail price: £2,199 (UK), €2,449 (ROI)

 

Nikon | RED extends the Z CINEMA line with the addition of the ZR full-frame cinema camera. Built for filmmakers and creators on the move, the ZR is the lightest all-in-one cinema camera around and punches well above its weight in cinematic power. Thanks to its 6K full-frame sensor, renowned RED colour science, large on-camera monitor, and internal 32-bit float audio, users shooting with the all-new ZR can nail stunning footage and clean sound without the need for external gear.

From carefully staged scenes to run-and-gun video footage, the ZR is the perfect tool for storytellers who want to elevate their video output. Up to 6K/60p in-camera recording and a full suite of professional video recording formats provide the flexibility to deliver for practically any platform or workflow. Standout features include an exclusive R3D NE codec, which brings renowned RED colour science to Nikon. Plus, the ZR boasts a Dual Base ISO of 800/6400 which maintains the sensor's 15+ stop dynamic range for maximum detail in highlights and shadows.

For agile set-ups, the ZR's 4-inch Vari-angle monitor is a huge asset. The large, bright display functions as an expansive control hub and it covers the DCI-P3 colour gamut for accurate on-set colour monitoring. Since the picture is only half the story, the ZR also makes its mark as the first camera in the world to offer internal 32-bit float audio recording. The dynamic range of 32-bit audio is so vast that levels won't need to be monitored constantly during filming: sound can be captured freely, and the levels adjusted in post without clipping.

Other professional ZR features include full weather sealing and vast lens choice thanks to compatibility with Nikon and third-party lenses. In addition, the ZR offers extensive system expandability, and Nikon's new ME-D10 digital shotgun mic covers rich directional audio capture in a wide range of recording environments.

Zurab Kiknadze, Product Manager, Nikon Europe says: "Today, we're raising the curtain on the first truly cinematic Nikon camera. Our collaboration with RED is bearing fruit, and the cinematic future looks bright!"

 

 

Summary of key features: ZR cinema camera

• Up to 6K/60p in-camera recording: flexible frame rates and resolutions. From cinematic 24p to 240p extreme slow motion. From richly detailed 6K to crisp, compact 1080p.
• Semi-stacked full-frame sensor: wide dynamic range and fast read-out speeds that effectively minimise rolling shutter distortion.
• Renowned RED colour science: an exclusive R3D NE codec from RED allows immense freedom in post and enables ZR footage to be matched with video shot on a RED camera system.
• Large, bright 4-inch Vari-angle touchscreen monitor: covers the DCI-P3 colour gamut and boasts a generous 16:10 display format. Functions are controlled with soft, quiet screen taps, and up to 10 3D LUTs can be loaded into the camera for viewing on the monitor while filming.
• Dual Base ISO of 800/6400: when shooting in Log3G10. The sensor's wide 15+ stop dynamic range is maintained at both base ISOs.
• In-camera 32-bit float audio recording: capture sound freely using the camera's internal mics, or a compatible external mic, and adjust the levels in post without clipping.
• Cinematic video modes and custom RED Picture Controls: 4 creative video modes and 9 custom RED presets for content with a cinematic look and feel straight out of the camera.
• Fast, intelligent AF: quick, accurate, reliable, and customisable. Intelligent subject detection and tracking, custom wide-area AF, and selectable AF speeds for smooth, repeatable focus transitions.
• 5-axis in-body image stabilisation: Nikon's sensor-shift Vibration Reduction keeps footage steady.
• Focus-breathing compensation: for smoother, more natural-looking transitions.
• Long recording times: an innovative body design efficiently and quietly dissipates heat.
• Light, tough: the ZR weighs approx. 540 g (body only) and is fully weather sealed.
• Z mount for flexibility in lens choice: attach any Nikkor Z lens, any Nikon F-mount lens, and a wide range of third-party lenses.
• Expandable: Nikon and partner brand accessories make it possible to put the ZR at the heart of an extensive video rig.
• New ME-D10 digital shotgun mic: compatible with the 32-bit float audio format and boasts a 77 dB signal-to-noise ratio for distortion-free sound.

 

RED Digital Cinema, Inc. releases the V-RAPTOR XE

RED Digital Cinema, Inc., a subsidiary of Nikon Corporation, is pleased to announce the release of the new V-RAPTOR XE digital cinema camera, which was released on 9th September, 2025. Joining the acclaimed Z CINEMA camera lineup, this streamlined version of the revolutionary V-RAPTOR [X], curates the essential tools for cinematic storytelling. Designed for independent creators who demand uncompromising image quality, the V-RAPTOR XE delivers large format, cinema-grade features at a more accessible price point. The new camera retains RED's industry-leading 8K large format (VV) global shutter sensor found in the V-RAPTOR [X] series, ensuring cinematic image fidelity, dynamic range, and low-light performance that filmmakers around the world trust.  Nikon and RED will meet a wide range of needs in film production with an extensive lineup of cinema-oriented products under the Z CINEMA series.

For more information, please visit the Nikon website.

 

Canon Europe unveiled the expansion of its cinema lens range with the launch of its widest-ever Cine-Servo lens.. With its ultra-wide 11mm focal length and expansive 100-degree angle of view, the Canon CN5x11 IAS T R1/P1 is a flexible choice for confined studio setups and dynamic live events, where framing both the subject and setting is essential. Available in either RF or PL mount, the new lens features the latest e-Xs V Digital Drive Unit for superior control and functionality.

At approximately 3kg, the CN5x11 IAS T R1/P1 is the most lightweight lens in Canon's Cine-Servo lineup – ideal for gimbals, cranes, robotics and wire cams. Camera operators shooting shoulder-mounted will also appreciate its reduced weight.

"With the CN5x11 IAS T R1/P1's diverse capability and balanced build, this super-wide 8K Cine-Servo lens offers exceptional edge-to-edge sharpness and image quality, with mobility for broadcast professionals," says Canon Europe's Product Marketing Specialist Mark Fensome. "Thanks to the built-in 1.5x Extender, this lens is highly versatile – either extending the range when used on a Super 35mm camera or enabling compatibility with Full Frame cameras. It delivers a shallow depth of field that lends a more cinematic look to live production and newsgathering, as well as high-end documentaries and dramas."

Thanks to its removable servo unit, the CN5x11 IAS T R1/P1 can be easily configured for live sports and events or cinema. It is the second Cine-Servo lens to be equipped with Canon's next-generation e-Xs V Digital Drive Unit, which offers more precise and ergonomic servo control, a more responsive iris and USB-C connectivity.

The CN5x11 IAS T R1/P1 is available in RF or PL mount, further enhancing its versatility. In PL mount, the lens supports Cooke /i Technology™ and ZEISS eXtended Data™ for real-time output of metadata, while the RF mount variant brings additional capabilities – including Dual Pixel CMOS AF support for fast and smooth autofocus, plus advanced lens correction data.

 

Key features of the CN5x11 IAS T R1/P1:

• Widest Canon Cine-Servo lens, with an 11-55 mm focal length and 100-degree angle of view
• Super 35mm lens with Full Frame support (via built-in 1.5x extender)
• Approx. 3kg in weight, providing comfortable on-the-shoulder shooting and extensive rigging flexibility
• Premium 8K HDR optical quality with 11-blade iris
• Removable, latest generation e-Xs V digital drive unit, featuring a high resolution 16-bit absolute value encoder with advanced servo control, focus breathing correction and improved ergonomics
• RF or PL mount communication with real-time metadata output, supporting virtual production systems and VFX workflows; RF mount also supports lens distortion correction and Canon's advanced Dual Pixel CMOS AF system
• Versatile design for diverse broadcast and cinematic production

For more information, please visit the Canon website.

 

Canon Europe introduced the new EOS C50, a highly versatile, full-frame, RF-mount hybrid Cinema EOS camera for professional videographers and agile production crews.

As the smallest camera in the Cinema EOS range to date, the EOS C50 fits seamlessly into a wide variety of filming set-ups – from fast-paced shoots to large scale productions. Its compact design, however, conceals a wealth of professional capabilities.

At the heart of the EOS C50's unique design is a new 7K full-frame CMOS sensor which, together with an advanced DIGIC DV 7 processor, delivers outstanding image quality for both video and stills – including internal RAW video recording at up to 7K 60P, high frame rate recording at up to 4K 120P / 2K 180P, and detailed 32MP high-resolution photos.

The EOS C50 is the first Cinema EOS camera to offer open gate recording, which uses the entire area of the sensor for maximum resolution and flexibility. Capturing the full width and height of the sensor using the new Full Frame 3:2 sensor modei provides a larger image that utilises the full image circle of full-frame lenses. Open gate recording offers filmmakers greater flexibility in post-production, enabling horizontal and vertical movie formats to be freely edited from the same footage, with ample room for reframing shots. When paired with anamorphic lenses, the result is a taller image with a wide immersive cinematic look.

For videographers facing fast turnarounds, a full-angle image and a cropped vertical or square version – ideal for social media and advertising – can be captured at the same time using the EOS C50's Simultaneous Crop Recording function. The cropped area can be shifted horizontally for optimum framing and recorded in a different format to meet delivery requirements.

 

Combining high-resolution with hybrid capability for video and stills

As a true hybrid camera, the EOS C50 combines advanced 7K video and 32MP stills capabilities. The display is optimised based on whether the camera is in Video or Photo mode – featuring the familiar Cinema EOS interface for video and classic Canon EOS R menu system for stills.

Videographers and photographers alike can take advantage of Canon's Dual Pixel CMOS AF II, offering high-speed, high-accuracy subject detection and tracking. Precision extends to selecting which eye to prioritise in people, dogs, cats and birds – with additional controls for tuning autofocus speed and tracking response to suit the subject.

 

A unique and versatile design that adapts to dynamic shoots

Built for agility, the EOS C50's lightweight, modular design enables intuitive operation, whether shooting handheld or on a gimbal. With its linear, low-profile body and multiple accessory mounting points, it integrates seamlessly into modern rigging setups. The camera can be mounted either horizontally or vertically, with the display and menu settings automatically adjusting to support vertical orientation.

The EOS C50's detachable handle unit improves control and comfort. It features two full-size 3-pin XLR audio terminals and control dials for professional-quality audio recording, plus a REC button and zoom rocker for convenient, camcorder-style control during fast-paced shoots.

In addition to native support of the diverse range of RF lenses, EF/PL lenses can be attached to the EOS C50 via the optional Canon PL-RF Mount Adapter, which can be securely fastened to the camera body, as well as a selection of Canon EF-EOS R mount adapters.

 

 

Effortless connection options for diverse workflows

An extensive selection of connectivity options ensures that the EOS C50 meets the demands of modern professional productions. In addition to XLR inputs, the camera features a MIC terminal, Timecode terminal, HDMI OUT (Type-A) and USB (Type-C). Dual card slots for CFexpress and SD cards provide a wealth of simultaneous recording options, including different file formats, resolutions and proxy setups.

The EOS C50 includes UVC/UAC support for high-resolution livestreaming at up to 60P/50P via a single USB cable, plus XC Protocol for remote operation of the camera using compatible smartphone applications or hardware accessories such as Canon's RC-IP1000 Remote Controller. Video clips and still images can be transmitted to clients in real time over Wi-Fi or USBii with Canon's professional Content Transfer Professional (CTP) app.

Canon's collaboration with Adobe has been extended to the EOS C50 by making the camera compatible with Frame.io's Camera to Cloud connectivity. Along with the EOS C400 and the EOS C80, this compatibility allows proxy files to be sent directly from the camera to the Frame.io platform, enabling a seamless and reliable path from production to post.

With its robust connectivity, flexible design and powerful full-frame capabilities, the EOS C50 sets a new standard for compact cinema cameras. Building on the success of the EOS R5 C, it delivers uncompromising image quality for both video and still photography.

Canon is also delighted to announce a range of significant free-of-charge firmware updates for existing Cinema EOS cameras coming later this year. This includes the addition of 3:2 Open Gate RAW Recording at 6000x4000 resolution to the EOS C400, View Assist during Playback on the EOS C80, among other improvements to core features such as focus peaking on both cameras, as well as the EOS R5 C and EOS C70.

 

Key features of the EOS C50:

• High-resolution hybrid capability: 7K 60p internal RAW video recording, 32MP still photos
• Advanced 7K full-frame CMOS sensor with open gate video recording
• 7K oversampling for higher resolution 4K movies
• Dual Base ISO support (ISO 800/6400iv), with up to 15+ stops of dynamic range
• Flexible range of professional recording formats, including 12-bit Cinema RAW Light, Canon Log 2, Canon Log 3 and XF-AVC S / XF-HEVC S
• Versatile, compact design with detachable handle unit and extensive rigging capability
• Native RF mount, compatible with mount adapter attachment for EF/PL lenses
• Two XLR audio inputs, Timecode terminal, HDMI OUT (Type-A), USB (Type-C), Multi-function shoe
• Dual slots for CFexpress and SD cards, enabling simultaneous recording of different formats to each card

For more information about the new EOS C50, please visit the Canon website.

 

Stairs and steps may sound boring, however, when you start thinking about the materials they're made from and the shapes and styles that exist, you'll soon realise there's plenty of steps to keep you and your camera occupied. Be it a graphical shot of an industrial set of steps leading up the side of a metal structure or a spiral staircase in a grand house, if you keep your eyes open, you'll soon realise there are many interesting sets of steps and stairs around you that will make an interesting image. Here are a few tips to get you thinking about how you can capture shots of these subjects next time you're out exploring with your camera. 

 

1. Gear Suggestions

A wide-angle lens will exaggerate the twists and turns of a spiral staircase while a telephoto lens is good for bringing staircases on the outside of buildings to you. Pack a polariser for stairs against glass or reflective surfaces and a tripod would be handy to help you make sure that the stairs are perfectly straight.

 

2. Guide The Eye

As stairs take you somewhere they're naturally a great way to lead you into and through an image. They can be used to guide the eye to a particular feature or you could hide the last part of the staircase to leave the viewer wondering where the stairs may go to. Lines are a great way to lead the eye into the image and you don't get a better line than a long bannister so use them to your advantage.

 

3. Spirals

Stand at the top or bottom of a spiral staircase with your wide-angle lens and you can get a great but rather overdone shot of the spiral shape twisting up. Try getting someone to stand or lay at the bottom or carefully peek over the bannister at the top and use the spiralling stairs as a frame.

 

 

 

4. Movement And Size

For your more normal staircases use your wide-angle lens to exaggerate the grandeur of a particularly wide, long set of stairs or use a slow shutter speed if you're in a city and blur the movement of city-goers as they pass through your shot. Zoom in and fill the frame with repeating patterns of stairs to exaggerate their size which will also give your image a more graphical feel. 

 

5. Reflections

Some staircases go up the outside of buildings so use your telephoto lens to bring them to you. This lens is also great if your stairs are reflected to give you symmetry in your shot. Try to stand so you're in the centre of the stairs and reflection to enhance the pattern.

 

6. Be Different

For something different try to shoot through the spindles to the other side of the staircase or if you're outdoors, use them to frame a single building or a shot of showing part of the city. Try altering your angle, shooting lower down to emphasise the height and/or the number of steps in front of you. Many cameras now have vari-angle LCD screens which allow you to frame your subjects from multiple angles with ease. Which means you won't have to get down on your knees or crouch when capturing low-angled shots. Use light and shadows to add depth, shapes and another level of interest to your shots and experiment with colour, too as turning an image black & white can really make the viewer focus on the shapes and textures of an image when the colour's stripped away. 

 

   

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Canon Europe has announced the RF 85MM F1.4L VCM, a professional portrait lens that extends the Hybrid RF prime range, delivering greater reach and versatility for creative photography and filmmaking.

Uncompromising optical quality and a flattering 85mm focal length that gently compresses facial features make the RF 85MM F1.4L VCM ideal for portraiture. Its ultra-wide f/1.4 maximum aperture ensures striking separation of the subject and background, while UD and aspheric lens elements, combined with Super Spectra and ASC coatings, achieve remarkable sharpness exactly where it matters.

Photographers working in weddings, events, low-light and product photography will also benefit from the RF 85MM F1.4L VCM's exceptional artistry and precision.

Smooth and silent Voice Coil Motor (VCM) AF technology provides precise focusing with minimal focus breathing. Combined with a dedicated smooth action Iris Ring and a customisable Lens Control Ring and Lens Function Button, the RF 85MM F1.4L VCM equips filmmakers with a flexible and reliable tool. It shares a consistent design with Canon's RF F1.4 hybrid primes, allowing it to be used seamlessly with the rest of the range for an efficient shooting workflow.

At approximately half the size and weight of the RF 85mm F1.2L USM, the RF 85MM F1.4L VCM is built for shooting on the move. Its L-series construction, featuring well-placed weather seals3 and an oil-repellent fluorine coating, provides reassurance in adverse conditions.

With its high-performance prime lens design, fast f/1.4 aperture and hybrid features, the RF 85MM F1.4L VCM is the professional's choice for distinctive portrait images and video.

Key features of the RF 85MM F1.4L VCM:

• Classic 85mm portrait focal length for full-frame EOS R System and Cinema EOS cameras (RF mount)
• Bright f/1.4 maximum aperture offers creative depth-of-field control and low-light performance
• High image quality, with an advanced optical design featuring UD and aspheric lens elements
• Voice Coil Motor for quiet, ultra-responsive autofocus and focus breathing suppression
• 11-blade circular aperture for cinematic bokeh and highlights
• Smooth action Iris Ring, Control Ring and Lens Control button for intuitive manual control
• Durable L-series build quality with dust/moisture resistance
• Compact and lightweight at approximately 636g, measuring 76.5mm (W) x 99.3mm (L)

For more information, please visit the Canon website.

 

This autumn, Leitz Photographica Auction will sell the most extraordinary charity lot in its history to date - a unique Leica M-A camera with a Leica Noctilux-M 1:1.2/50mm ASPH. lens, which were personally presented to Pope Francis by Leica Camera AG in 2024. Both camera and lens of the set bear the serial number 5,000,000. All proceeds from its sale will be directed to the personal charity institution of His Holiness. The charity lot is one of many highlights – including a Leica I Mod. A Luxus from 1929 and the Leica MP-114 black paint from 1958 - of Leitz Photographica Auction 47, which will take place on the 22nd of November at the Hotel Imperial in Vienna.

Leica products with a distinctive serial or fabrication number are very popular with collectors and deeply rooted in the company's history. Over the past 100 years, Leica Camera AG has awarded these exceptional products to distinguished personalities in recognition of their achievements. In keeping with his commitment to charity and social causes, Pope Francis chose to auction the Leica set, with all proceeds directed toward helping those in need.

The unique camera is finished in silver chrome, with a special white covering, and a white paint on the base plate, back doors, as well as some of the controls. The engravings on camera and lens are yet another highlight. The flash cover is adorned with the Keys of Peter, while the back of the top plate bears His Holiness Pope Francis' motto, 'Miserando atque eligendo', meaning 'lowly but chosen.' The special engravings are filled with white, gold, and black paint. The Noctilux lens is finished in chrome, with engravings filled with gold and white paint. The body cap and the lens cap are engraved with the Coat of Arms of the State of Vatican City. Both the camera and the lens are additionally engraved with the year His Holiness Pope Francis received this gift, inscribed in Roman numerals: A.D. MMXXIV. 

Complementing this unique camera is a uniquely exquisite presentation box with a matching key, and a photograph of Pope Francis receiving the camera. Bidding for the set starts at 30,000 Euros, with an estimate of 60,000 to 70,000 Euros. 

 

 

Black paint and gold

Leica was the first manufacturer to serially produce 35mm cameras as early as 1925. Eventually, these cameras would turn photography into a mass phenomenon. They revolutionised photojournalism first, and as more and more reporters used these compact devices, Leica adapted some of its new products to meet their needs. Photojournalists Alfred Eisenstaedt and David Douglas Duncan, for example, expressed the wish to use their M3 cameras with a Leicavit – a rapidwinder that had previously been available for the Leica IIIf only. In response, Leica presented a corresponding variation of the M3, the Leica MP, in 1956. Just about 400 of these were produced, and only 141 of them in black paint. The Leica MP-114 is one of these 141 cameras and estimated to fetch 700,000 to 800,000 Euros.

Luxury variations of well-known camera models have been a Leica tradition for almost a hundred years. In 1929, the company began producing the Leica I Mod. A Luxus, an extravagant variation of its first series camera. Due to its rarity and its conspicuous gold-plated body, the Leica I Mod. A Luxus proves particularly appealing to collectors of historical cameras today. The camera auctioned on the 22nd of November is one of the first Luxus-Leica cameras ever produced. Its estimate ranges from 300,000 to 360,000 Euros.

For more information, please visit the Leica website.

Photo by Joshua Waller

 

City life's not for everyone but as the sun begins to set find yourself a vantage point where you can see most of the city skyline and you'll soon have a photograph that may make you rethink your dislike for cities. One of the best times for photographing city skylines is when the sun's begun to set so there's still a touch of blue in the sky but the light's not too harsh so make sure you're on your chosen vantage point well before sunset. 

 

1. Gear Choices

Pack a wide lens for capturing the big picture and a telephoto for singling out individual buildings and pulling distant objects towards you on your evening jaunt. Taking a tripod with you is advised but do leave your flashgun at home and turn your on-camera flash off as if it fires, it can ruin your skyline shot.

Most cameras, even compacts and smartphones are capable of producing night shots of decent quality but if you're planning on using much lengthier exposure times, you'll want to pack a more advanced camera. 

 

2. Where To Stand With Your Kit

While on holiday (if you have a room with a view) make use of the balcony to give you a high vantage point of the city. You'll also find buildings with observation decks, bridges to stand on and if you're in a city such as Sheffield which has the peak district on its doorstep, try heading for the hills to give you a sweeping shot of the whole city. From high locations you'll be able to capture patterns you can't see at street level such as the lines street lights form as they turn on or the shapes created as city dwellers switch on their lights at home. Street lights look particularly good twinkling against the deep blue sky still lit by the setting sun. Just be careful where you meter from as you don't want the sky or building lights to 'blow out'. Keep an eye on your histogram and take a reading from a darker part of the frame. Another option is to take multiple exposures of the same view so you can combine them to create a shot with a balanced exposure where there's not under- or over-exposed areas in the image. 

 

3. Taking Photos Through Glass

If you've got to capture your image through glass do check for marks and smudges that will spoil your shot. If you can't remove them, experiment with your aperture to see if one particular f-number will remove them from the shot. You'll also need to put the lens as close to the glass as possible and cup it with your hand, a cloth or whatever else you have that will reduce the amount of interior light reaching your lens. If you don't, you'll end up with reflections and flare could spoil your shots. 

 

Photo by Joshua Waller

 

4. Depth Of Field 

You'll want to use an aperture that gives your shot plenty of depth of field, around f/8 is a good place to start, and try to stick to lower ISOs where possible. You may find you need to adjust this to increase shutter speeds but if you're using a tripod, longer exposures won't be an issue. If you have it available, the depth of field preview button can help ensure your shot is sharp from front to back. 

Foreground interest can add another level interest and 'fill' empty space that can occur when focusing on subjects in the distance. However, do make sure it's not stealing the spotlight and pulling the viewer's attention away from the skyline. 

 

5. Shoot Silhouettes 

Silhouetted cityscapes are popular subjects and they work well against a plain but bright background. Even though they're a little clichéd sunsets do work well particularly if it's one that's rich with colour. To create your silhouette you need to expose for the background and not the buildings you want to silhouette. You may need to fool your camera when it comes to metering as using the camera's automatic metering won't always give you the silhouette you're after. Try half-pressing the shutter button while focused on the brightest part of your scene before moving back to frame the shot but this means your camera will focus on this and not your subject. Manual focus or using a smaller aperture can combat this problem. Talking of manual focus, you should consider using this even when not shooting silhouettes as it'll always produce better results, plus auto-focus tends to struggle as light levels fall. 

 

6. Shots At Street Level

As well as getting up high working at street level can work well in the evening too. Try using long exposures (20-30 seconds) to set the dark sky and buildings against the streak of lights that come from the traffic as it moves through the city streets. You could even combine multiple traffic streak shots to increase the sense of speed and movement in your city shot. Another way to add a creative twist to your city skyline shots is by incorporating reflections from rivers, lakes or even wet pavements after it's rained. 

 

7. Tall Buildings & Straight Horizons

Pay attention to your horizon and the angle of the buildings as you don't want them to be slanting to one side of the image. A tripod with a spirit level can be handy although many cameras now have these or gridlines built-in. When home, check your city shots for distortion but this is something that can be easily fixed in image editing software. Playing around with the colour balance can enhance and evoke mood, too so don't be afraid to experiment with this. 

 

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Groundbreaking full-frame cinema camera to be showcased for the first time to UK photographers and creators

 

The Society of Photographers is thrilled to announce that visitors to its upcoming Photo Roadshows will be the first in the UK to see Nikon’s revolutionary ZR full-frame cinema camera in person. Following this week’s worldwide launch, Nikon and RED have confirmed that the ZR will be on display at the events—marking a unique opportunity for UK photographers and filmmakers to get hands-on with the new Z CINEMA line.

Unveiled globally on 10 September, the ZR is Nikon’s lightest all-in-one cinema camera, offering 6K/60p recording, renowned RED colour science, 32-bit float audio, and a semi-stacked full-frame sensor with 15+ stops of dynamic range. Designed for creators on the move, it delivers professional-level cinematic power without the need for bulky external gear.

At the September Roadshows, Nikon will also showcase the new ME-D10 digital shotgun mic and host a colour grading setup, allowing visitors to grade ZR footage themselves. While The Society’s events are primarily photo-focused, the ZR’s arrival underscores the growing crossover between stills and video—offering photographers curious about motion work a rare chance to explore high-end filmmaking tools.

 

 

Bruno Murari, Nikon Europe, commented:

“We’re excited to bring the ZR to UK creators for the very first time at The Society of Photographers Roadshows. It’s a perfect environment to introduce this camera to a passionate, photo-centric audience eager to expand into video.”

Roadshow Dates and Locations:

• Tuesday 16 September 2025 – Webbington Hotel & Spa, Somerset
• Wednesday 17 September 2025 – Green Park Conference Centre, Reading
• Thursday 18 September 2025 – Priestfield Stadium, Kent

Book Your Free Tickets:

For more information and to register, visit The Society of Photographers website.

Get Your FREE Tickets Today!

 

Sigma Cine Lens

• Advanced optical design and outstanding rendering performance
• Professional-grade mechanical design and operability
• AF system with excellent tracking capability and near-silent operation

Available mounts: L-Mount, Sony E-mount

Supplied accessories: Front Cap LCF-82 IV, Rear Cap LCR III, Lens Support Foot SF-91

Launch: November 6th, 2025

 

As the first AF-compatible Cine Lens series from Sigma, the Sigma AF Cine Line brings innovation to the film production scene.

Building on the optical system of Sigma’s Art lenses, the AF Cine Line offers exceptional rendering performance, along with high-precision autofocus with excellent tracking capability, combined with the ergonomics required for professional cinema production. This allows it to handle multiple shooting styles and on-set environments that were previously challenging with traditional still lenses or cine lenses.

The AF Cine Line, which embodies Sigma’s latest technology, expands the possibilities of visual expression and brings new possibilities to future film production.

 

 

Key Features

 

Advanced optical design and outstanding rendering performance

The optical systems of the Sigma 28-45mm T2 FF incorporate the designs of the highly acclaimed still lenses: the Sigma 28-45mm F1.8 DG DN | Art. Combining the experience gained through years of lens design, the latest development technology, and the advanced manufacturing techniques of Sigma's sole production base, the Aizu factory, these lenses deliver exceptional resolution and beautiful bokeh regardless of focal length or focus position, along with a sharp, clean look with minimal flare and ghosting.

 

Professional-grade mechanical design and operability

Inheriting the rendering performance and reliability of Sigma’s Art lenses, the AF Cine Line integrates cinema-style mechanics and operability, optimized for professional cinema production. It features a limited-rotation focus ring, industry-standard 0.8M pitch gears, and a clickless aperture ring to meet industry demands.

 

AF system with excellent tracking capability and near-silent operation

Equipped with a linear motor HLA (High-response Linear Actuator), the Sigma AF Cine Line captures intense movements in action scenes, rapid focus shifts in gimbal or handheld shooting, and unpredictable moments in documentaries without missing a split second, providing reliable support for filmmakers in various shooting situations.

 

 

Key Specifications (The figures are for L-Mount)

 

• Focal Length: 28-45 mm
• T-stop: T2 - T16
• Number of Diaphragm Blades: 11
• Close Focus: 0.3 m / 1'0
• Magnification Ratio: 1:4
• Front Diameter: 95 mm / 3.7"
• Length: 151.3 mm / 6"
• Weight: 1.2 kg / 2.7 lb

 

For more information, please visit the Sigma website.

 

Exclusively for mirrorless cameras

Compatible with full-frame cameras

• Unrivaled descriptive power, with clear rendering from F1.2, and
• large, beautiful bokeh
• Significantly reduced size and weight
• Designed and engineered for professional use

Available mounts: L-Mount, Sony E-mount

Supplied accessories: Lens Hood LH782-04, Front Cap LCF-72 IV, Rear Cap LCR III, Pouch

Launch: September 25th, 2025

 

Great made better: the exceptional resolving power and beautiful bokeh of Sigma’s world-leading 35mm F1.2 in a smaller, lighter body

 

In 2019, Sigma released the 35mm F1.2 DG DN | Art, the world's first 35mm mirrorless camera lens with an F1.2 aperture. Six years later, Sigma is proud to introduce its successor, the 35mm F1.2 DG II | Art.

Designed and engineered with Sigma's latest technology, the 35mm F1.2 DG II | Art offers not only improved optical performance, but also greatly enhanced portability thanks to a significant size reduction of approximately 30%. With its improved design, the lens delivers unparalleled rendering power, high-resolution clarity and large, beautiful bokeh in a more portable form. Focus breathing is also effectively minimized, ensuring outstanding results not only in still photography, but also when shooting video.

The Sigma 35mm F1.2 DG II | Art is an exceptional, uncompromising lens that achieves the perfect balance of optical performance, brightness, compact size, light weight and ease of use.

 

Key Features

 

Unrivaled rendering power, beautiful bokeh and crystal clear images even at F1.2

 

Extreme suppression of chromatic aberration and sagittal coma flare

The Sigma 35mm F1.2 DG II | Art offers even better optical performance than its predecessor, with brilliant clarity throughout the image, even at the fully open F1.2 aperture. The use of SLD glass, highly refractive glass with high anomalous dispersion, and four glass-molded double-sided aspherical elements thoroughly corrects axial chromatic aberration and sagittal coma flare, while significantly reducing the lens size.

 

Brilliant sharpness and the large, beautiful bokeh of an F1.2 aperture

In designing the 35mm F1.2 DG II | Art, Sigma paid special attention to correcting the various optical aberrations that affect image quality. Thanks to these meticulous efforts, the lens delivers brilliant sharpness of the in-focus plane and beautiful bokeh that suppresses color bleeding and double line bokeh. Photographers will appreciate the rich, expressive rendering qualities and the beautiful interplay between the in-focus and out-of-focus areas, especially when shooting wide open at F1.2.

 

Designed to minimize focus breathing

Optimization of the focus group arrangement and aspherical shape significantly suppresses focus breathing. As a result, changes in field of view are effectively suppressed when the focusing distance is changed, making the lens an ideal choice for professional video use.

 

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

 

 

Significantly reduced size and weight

 

Better performance, smaller size and lighter weight thanks to the floating focus system

The Sigma 35mm F1.2 DG II | Art achieves even better optical performance than its predecessor while being approximately 30% lighter and 20% shorter. A key factor behind this is the adoption of a floating focus design: by allowing the lens groups to move independently of each other, the weight of each lens group has been significantly reduced while simultaneously enhancing optical performance. Additionally, the improved optical design features four aspherical lens elements, high refractive index glass, and thinner lens elements, further contributing to its exceptional performance.

 

Fast and quiet autofocusing with dual HLA system

The dual HLA (High-response Linear Actuator) system drives each of the two focus groups by an individual linear motor. In addition, the use of multiple magnets in each motor allows for a compact focus unit design without sacrificing high thrust. Compared to conventional cam-driven systems, the dual HLA system is not only significantly lighter, but also guarantees fast, reliable and quiet autofocusing.

 

Designed and engineered for professional use

 

A long-lasting, reliable tool for photographic expression

Manufactured and assembled in Aizu, Japan, using high-precision parts made of aluminum, TSC and other materials, the 35mm F1.2 DG II | Art is a sophisticated and durable photographic tool designed according to Sigma’s Art line specifications.

 

A wealth of shooting assist functions

The lens features an AFL button that can be assigned a variety of functions on compatible cameras. In addition, the aperture ring can be locked with the dedicated lock switch and changed from clicked to declicked with the dedicated click switch.

 

Dust- and splash-resistant structure and water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the front element of the lens features a water- and oil-repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.

 

Petal-type hood with locking mechanism

The Sigma 35mm F1.2 DG II | Art comes with a dedicated petal-type hood that shields the front element from stray light to reduce the chance of unwanted flare. The hood attaches securely to the lens with a locking mechanism.

 

 

List of Features

 

• HLA (High-response Linear Actuator)
• Water- and oil-repellent coating
• Aperture ring
• Aperture ring click switch
• Aperture ring lock switch
• AFL button (1 location)
• Focus Mode switch
• Dust- and splash- resistant structure
• Mount Conversion Service available
• Support for switching between linear and non-linear focus ring settings (for L-Mount only)
• Compatible with Sigma USB Dock UD-11 (sold separately / for L-Mount only)
• Every single lens undergoes Sigma’s proprietary MTF measuring system

 

Key Specifications (The figures are for L-Mount)

 

• Lens construction: 17 elements in 13 groups (1 SLD, 4 aspherical elements)
• Angle of View: 63.4°
• Number of Diaphragm Blades: 11 (Rounded Diaphragm)
• Minimum Aperture: F16
• Minimum Focusing Distance: 28cm / 11.1in.
• Maximum Magnification Ratio: 1:5.3
• Filter Size: φ72mm
• Maximum Diameter x Length: φ81.0mm x 111.4mm / φ3.2in. x 4.4in.
• Weight: 755g / 26.6oz.

For more information, please visit the the Sigma website.

 

Previously, we've spent some time looking for interesting shop fronts to photograph but now we want you to lift your eyes a little higher in search of a good shop sign and pay more attention to what's actually on display in the windows. 

Displays in shop windows are designed to grab our attention and steer us towards the entrance of the shop in hope we'll part with our money. Some stores, particularly at Christmas, spend hours planning and then preparing their window displays. A lot of thought goes into how to use the space, what colours the mannequins should wear and how they should be posed making them an interesting photographic project as you walk down the High Street.
 

1. What Gear Do I Need?

A medium zoom lens will get you close to the signs without you having to borrow some ladders off a window cleaner and it'll also work for capturing shop windows too. You'll also need to carry a tripod if you plan on returning later in the evening when the neon's get switched on. It'll also help if you have a camera that performs well in low light and if you don't want the street reflected in your shot take a polariser along as well.  

 

2. Have A Walk Along The High Street

There are lots and lots of shops on the High Street which means you don't just have to settle for the first shop you come across. Spend some time really looking at the displays paying attention to the colours, poses and other items they use to really make the window stand out. Remember, a more interesting display will give you a better-looking image so a short observation walk is worth it. See if you can find shops that aren't chains. In Sheffield, there are several retro clothing stores and a joke shop which always have unique and sometimes entertaining window displays. Fancy dress shops are another one that's almost guaranteed to have a loud and amusing window display to photograph.

 

3. Minimise Reflections

Unless you want a photo that shows the display as well as what's happening on the street, which can work well sometimes, you'll need a way to minimise the reflection. Stepping further away from the window and using your zoom lens to fill the frame can help but the simplest and if you're on the edge of a road also the safest way to do it is to fit a polarising filter. This will reduce the reflection and give you a clear shot of what's inside. If you find the sun causes glare just move your feet to remove the problem or if that doesn't work come back later on when the sun's changed position.  

 

4. Work From A Higher Level

When it comes to signs when you stand on the street and look up at them, it's fine when you're looking for the nearest bakery but in your photos, it won't always work. To combat this, just step a little further back or better still find something to stand on that will give you a little more height. You could try holding the camera above your head but this won't help you with framing unless you have a camera that features a vari-angle LCD screen. 

 

5. To Zoom Or Not To Zoom? 

If a sign's particularly interesting or amusing zoom right in and fill the frame with the sign. Or are you going to put them into context showing some of the street or the shop front in the shot? If you do include the store pop on a polariser so you don't catch your reflection in the windows. This works particularly well with old buildings or with unique stores that have displays that will add to the image.

Standing at one end of the High Street quite close to the buildings looking up will give you the chance to capture several signs all in one shot or try waiting until the sun's began to set and photograph the many neon signs that decorate our streets. Just watch for camera shake as you'll be using slightly longer exposures and take a look around your image to see if there's any flare from some of the lights. Having said that, this can work well sometimes, especially on wet evenings.  

In busy towns and cities, you'll find plenty of signs, often grouped together, along the tall buildings that line the streets. If possible, find a higher spot, as you do when shooting a cityscape, and use a wider focal length to capture the signs and buildings in one image. They can look busy, but the bright signs and bustling surroundings will really sum up the feeling of a busy city. 

 

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Skylum has announced the launch of the Luminar Ecosystem, a new extension of its flagship photo editing software, Luminar Neo. Designed to simplify and enhance the editing experience, the Luminar Ecosystem brings together essential tools for photographers in one unified platform.

This fall, users can edit anywhere, anytime. Start a project on mobile, finish it on desktop, and share instantly. Whether you're capturing back-to-school moments or revisiting old family albums, the Luminar Ecosystem offers practical tools to support your creative workflow.

 

Here’s how Luminar Ecosystem makes this season special:

• Cross-device editing: Start editing your child’s photo on mobile, finish it on desktop, and share with family instantly.
• Restoration: Bring old school photos back to life and relive those memories.
• Web Galleries: Collect and share your favorite school stories in stunning online albums.
• AI Assistant: Learn, grow, and improve your skills with smart editing guidance.
• Volume: Add life and depth to vacation memories, saving time on tricky edits.

 

 

Offers and Discounts

The Luminar Ecosystem is now available for preorder at a special early bird price of up to 67% off as part of the Back to School sale, which provides instant access to Luminar Neo and adds future access to the Ecosystem tools.

Save an Extra 10%: Use code EPHOTOZINE at checkout to receive an additional discount on Luminar Neo, which can be applied together with the preorder offer.

Secure Your Preorder Now! 

 

• The world’s first 20-200mm for unleashing creative freedom
• Compact and lightweight design that delivers exceptional mobility
• High-speed autofocus and versatile features for effortless shooting

 

Available mounts: L-Mount, Sony E-mount

Supplied accessories: Lens Hood LH756-02, Front Cap LCF-72 IV, Rear Cap LCR III, Pouch

Launch: September 25th, 2025

 

An all-rounder that empowers limitless creativity. The world’s first 10x zoom starting at an ultra-wide 20mm.

 

The Sigma 20-200mm F3.5-6.3 DG | Contemporary is the world’s first high-powerzoom lens for full-frame mirrorless cameras that achieves both 20mm at the wide endand a 10x zoom ratio.

This versatile zoom lens covers everything from ultra-wide 20mm to telephoto 200mm, allowing photographers to capture subjects ranging from sweeping landscapes to fast-paced sports without being constrained by distance. Its flexibility makes it ideal for awide variety of scenes, including close-ups with a maximum magnificationratio of 1:2. With its broad expressive capabilities, the lens truly shines in travel photography andeveryday snapshots.

The lens delivers a consistently comfortable shooting experience, with its thoroughly compact and lightweight design, as well as fast, accurate autofocus powered by a linearmotor HLA (High-response Linear Actuator). The Sigma 20-200mm F3.5-6.3 DG |Contemporary is the ultimate all-in-one zoom lens, offering all photographer sunprecedented freedom and creativity.

 

Key Features

 

The world’s first 20-200mm for unleashing creative freedom

 

Zoom versatility meets expressive ultra-wide 20mm ― in one lens.

The lens covers the ultra-wide angle of 20mm, which has been difficult to achieve with conventional high-power zoom lenses. Handling everything from majestic landscapes to sports, the lens perfectly captures both scenes unique to ultra-wide angles and applications that take advantage of its telephoto range. With a comprehensive zoom range of 20mm to 200mm, this ultimate all-in-one zoom lens delivers stunning details across a wide variety of shooting situations.

 

Maximum magnification ratio of 1:2 at the focal lengths of 28-85mm

The lens achieves a maximum magnification ratio of 1:2 at the focal lengths from 28mmto 85mm, enabling photographers to enjoy a broad range of half-macro photographywith different angles of view, from wide macro shots that boldly incorporate thebackground by moving closer to the subject, to medium telephoto macro shots thathighlight the subject at a natural distance.

 

 

Compact and lightweight design that delivers exceptional mobility

 

Thoroughly compact and lightweight design

This lens is the world's first to achieve a vast zoom range from ultra-wide 20mm totelephoto 200mm, while weighing only 550g and measuring just 115.5mm in length. The zoom ring diameter is a very slim 70.4mm, making it highly portable. Without worrying aboutsize or weight, the lens provides extensive creative flexibility in any situation, from everyday snapshots to travel photography.

 

Optical and mechanical design realizing both compact size and high performance

Incorporating high-refractive-index glass materials reduces lens movement during zooming. This enables a simple internal structure and slim lens body. The optical design, which properly positions four double-sided aspherical lenses, one FLD glass, and three SLD glass elements, combined with an internal mechanism that maintains high precision in each zoom group, also delivers high performance across the entire zoom range.

 

High-speed autofocus and versatile features for effortless shooting

 

HLA-driven high-speed AF

To help photographers capture even the most fleeting moments, the lens uses an HLA (High-response Linear Actuator) to achieve high-speed autofocus functionality with excellent drive accuracy.

 

Dust- and splash-resistant structure and water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the front element of the lens features a water- and oil-repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.

 

Equipped with a zoom lock switch at the wide end

The lens features a zoom lock switch that can be fixed at the wide end to prevent the lens from extending unintentionally under its own weight. The lock can be released not only by the switch but also via zoom operation, allowing for flexible handling of even impromptu shooting.

 

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

 

 

List of Features

 

• HLA (High-response Linear Actuator)
• Water- and oil-repellent coating
• Focus mode switch
• Zoom lock switch
• Dust- and splash- resistant structure
• Mount Conversion Service available
• Support for switching between linear and non-linear focus ring
• settings (for L-Mount only*1)
• Compatible with Sigma USB Dock UD-11 (sold separately / for
• L-Mount only)
• Every single lens undergoes Sigma’s proprietary MTF measuring
• system

 

Key Specifications

 

• 18 elements in 14 groups (1 FLD, 3 SLD, 4 aspherical elements)
• Angle of View: 94.5-12.3°
• Number of Diaphragm Blades: 9 (Rounded Diaphragm)
• Minimum Aperture: F22-40
• Minimum Focusing Distance: 16.5cm / 6.5in. at f=28mm
• 25cm(W) - 65cm(T) / 9.9in.(W) - 25.6in.(T)
• Maximum Magnification Ratio: 1:2 at f=28-85mm
• Filter Size: φ72mm
• Maximum Diameter x Length: φ77.2mm x 115.5mm / φ3.0in. x 4.5in.
• Weight: 550g / 19.4oz.

 

For more information, please visit the Sigma website.