DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

  1. What Gear Is Needed? 

If you plan on taking your none-waterproof camera underwater you'll want to fix a wide-angle or even fisheye lens to it and secure it in a waterproof housing. There are also several waterproof compacts available which don't need housing as they're designed to survive a swim to certain depths.

 

2. How Well Do You Know Your Camera? 

Finding and changing your camera's settings underwater, particularly if your camera's in a waterproof housing, can be really hard work so if you don't want to miss a shot, set your camera up before you put the camera in the water. Fish move quickly, too so if you're fiddling about with your camera, chances are you'll miss the opportunity to capture your shot. Once you've taken your photos do remember your camera, even if it is waterproof, isn't a great fan of saltwater so wipe and dry it down.

 

3. What Are The Weather/Conditions Like? 

You need water that's clear as possible so avoid underwater photography on choppy days when visibility can be poor due to sand and other debris getting churned around in the swell. Light's less even and there's not that much of it underwater so you'll need higher ISOs and wider apertures. You'll also want to put as little distance between you are your subject as you can, otherwise, you'll have blurry shots where you can't make out if you've captured a fish or a piece of seaweed. Water has a habit of refracting light which can mean your subject appears closer and larger than it really is, too.

 

4. Is It Possible To Shoot Near The Surface?

If you can work closer to the surface do as colours are more vibrant as light is less diffused and the reflections on it, like when working above water, can add extra interest to your underwater shots. When you do venture into deeper water do remember to secure your camera correctly, after all, you don't want to watch it sink away from you.

 

 

5. Is Flash Needed? 

You can use your camera's built-in flash to add more light to your shot but it won't work if you're not working close to your subject as it'll light up any tiny pieces of matter floating around which can cause blob-like shapes to appear around your image. Instead of using the built-in flash try taking a more powerful strobe underwater with you as you can move these around the scene so the blobs of light won't make an appearance. You'll also be able to create different effects, adding more light to some areas and creating shadows in others.

Unless you're close to the surface where it's a little lighter, you'll most likely need flash to freeze the movement of the fish and plants you're photographing. Flash is also handy when you're taking a macro shot of coral.

 

6. Are White Balance Adjustments Needed? 

Unless you change your white balance your underwater shots will have the familiar blue/green cast to them. Adding flash can help remove it but the best way to control it is by manually setting the white balance. All you have to do is take a reading off something light and when you alter your depth, take another reading as variables change.

 

7. Is There A Method For Approaching Fish Without Scaring Them? 

If you have the time to learn a little about the fish species that will be around the place you're visiting do as knowing which species will be more willing for you to get close and understanding the behaviour of the more shy species will help you produce more, frame-filling, interesting results.

If you didn't plan on venturing out under the waves just move in gradually when you spot a fish you'd like to photograph and see how it reacts to you. Don't suddenly start flapping your arms or kicking your legs though as this will just cause them to turn around and head to safety. The bubbles you make from breathing out can also scare them but we're not suggesting you hold your breath! Just try and breath out in a different direction to where the fish is. Weights and a buoyancy compensator can help you keep still but these are generally used by more serious underwater photographers.

 

8. What About Backgrounds? 

Where possible, keep the background plain and clutter-free after all, a lot of creatures are designed to camouflage with their surroundings but you don't want your friends to be playing 'spot the underwater creature' when you show them your shots. The best plain background you'll find is the huge amount of water above your head. To get it in shot simple shoot from a low angle. This will also help your subject look more dominant.

 

For more hints and tips, have a look at our complete guide to underwater photography.

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Benro has introduced the MSD36CB SupaDupa Black Diamond, a carbon fibre monopod designed for photographers and videographers who want smooth motion, quick adjustments, and reliable support in a lighter, travel-friendly package. It features a 6‑section build that reaches 165cm yet folds down to 42cm, a rotating foot with a bearing for fluid pans, and a 40kg load capacity at just 0.50kg.

 

From Benro

Benro introduces the MSD36CB SupaDupa Black Diamond, a carbon fibre monopod engineered for shooters who need durability, speed and fluid movement in a compact, travel-ready design. Slightly slimmer and shorter than larger models in the lineup, it delivers professional strength and handling without unnecessary bulk – supporting payloads up to 40kg while weighing just 0.50kg.

 

Fast, One-Handed Control

Featuring all-metal twist locks paired with a CNC-machined aluminium flip lock, the MSD36CB allows fast, one-handed height adjustments while shooting. Its compact 6-section design extends to a full 165cm (65.7 inches) for comfortable tracking without stooping, yet collapses down to just 42cm (16.5 inches) for easy transport.

 

 

Smooth Panning, Anywhere

At the base, a rotating rubber foot with a built-in V-shaped bearing enables smooth, gliding pans without lifting the monopod. For uneven or outdoor terrain, the foot can be swapped with the included spike foot.

“This is a monopod for photographers and videographers who move fast and shoot on the go. It delivers smooth motion, quick adjustments and reliable support in a lighter, more portable package – so you can stay focused on capturing the moment, not fighting your gear.” said Helen Gibbs, Benro Marketing Manager.

 

Key Features

• Carbon fibre construction – lightweight, rigid and strong enough for heavy camera and lens setups
• Compact yet capable – 165cm (65.7″) maximum height, 42cm (16.5″) folded length
• Fast, one-handed adjustments via a CNC-machined aluminium flip lock and all-metal twist locks
• Smooth panning from the bearing-equipped rubber foot, with a spike foot included for outdoor use
• 40kg load capacity at just 0.50kg – rugged build designed for frequent, demanding use

 

Pricing & Availability

The Benro MSD36CB SupaDupa Black Diamond is priced at £150.00 (inclusive of VAT). UK stock is expected to arrive in August 2026, with the official consumer and website launch scheduled for 5th August 2026.

Fore more information, please visit the Benro's website.

© Johanna Alarcón

 

The Marilyn Stafford FotoReportage Award has named its 2026 winner as it celebrates a decade of supporting powerful documentary photography. This year the award goes to the project When the Earth Gives Birth, which explores Indigenous midwifery in Ecuador. By documenting maternal healthcare, cultural resilience, and community solutions, the project highlights how these stories confront inequality and protect ancestral knowledge through compelling visual storytelling. Managed by FotoDocument and supported by Nikon Europe, the award continues to champion narratives that spark meaningful change.

 

From NIKON:

Photographer Johanna Alarcón has been awarded the prestigious Marilyn Stafford FotoReportage Award for 2026, for her photo essay When the Earth Gives Birth. The winning project documents Indigenous maternal healthcare in Ecuador through the stories of midwives, apprentices, and patients from AMUPAKIN and Partera di Anaku - the first Indigenous midwifery schools and hospitals in the Amazon and Andes.

The Marilyn Stafford FotoReportage Award, facilitated by FotoDocument and supported by Nikon Europe, is celebrating its 10th edition. To mark the occasion, there will be a special event taking place from 18–20 September at POST, Brighton & Hove's new centre for photography and film. The programme will feature a retrospective display showcasing highlights from the past decade of winning projects, including an exhibition of work by the 2026 Award Winner, Johanna Alarcón, accompanied by an Artist Talk.

When the Earth Gives Birth documents midwifery as a response to maternal healthcare inequalities, racial discrimination, land dispossession, and the loss of ancestral knowledge across Ecuador. The project highlights Indigenous-led solutions as acts of reproductive sovereignty, cultural preservation, territorial defense, and resistance, offering globally relevant models for women's, children's, and Indigenous rights.

"It is with great joy that we announce that the 2026 Marilyn Stafford FotoReportage Award goes to Johanna Alarcón, says Nina Emett, FotoDocument founder, MSFA juror "The entire shortlist deserves recognition, and we are delighted to have awarded several Honourable Mentions. Johanna's work stood out for the strength of its imagery, the original approach to storytelling, the under-reported subject, and her commitment to creating meaningful impact through close collaboration with grassroots Indigenous organisations. We are very proud to support the continued development of this remarkable body of work."

Ruby Nicholson, Senior Communications Manager for Nikon Northern Europe, says: "Nikon is proud to support the Marilyn Stafford FotoReportage Award – now in its tenth year – which champions photographers creating impactful, solutions-focused stories. Johanna Alarcón's inspiring work shines a light on Indigenous women's resilience and the preservation of vital cultural knowledge, and exemplifies the kind of storytelling we are committed to supporting. We celebrate her dedication and look forward to seeing her project spark meaningful conversations worldwide."

On receiving the award, Johanna Alarcón says: "Thank you FotoDocument and Nikon - I receive this award with the deep joy of knowing that what I love most co-exists - photography, motherhood, and spirituality - coming together in this project to give birth to an intimate story about the work of women and Indigenous peoples to sustain life in a context that destroys it.

Motherhood transformed the way I understand everything. The rage in the face of obstetric violence, the fear of loss, the feeling of not being heard. Becoming a mother taught me that the body, like the land, holds a memory that knows no borders and whose rights are constantly under threat. But it also gave me the love of an army of women who sustain life.

My deepest thanks also go to the communities and organizations AMUPAKIN and Partera di Anaku for opening their doors to this story, and to the Ayün Fotógrafas collective, with whom we began this collective project on access to maternal healthcare in Latin America with the support of Eco Vist Projects and Plena Productions. Thanks for believing in me. Onward we go!"

 

 

Johanna Alarcón - An Ecuadorian independent visual storyteller and educator, Johanna Alarcón (1992) is a National Geographic Explorer, World Press Photo Award winner, CatchLight Global Fellow, Magnum Foundation Fellow, and is a member of Ayün Fotógrafas. Her practice is rooted in long-term collaborative processes that explore collective memory, spirituality, and the relationship between community and territory. Her work seeks to challenge stereotypes and the enduring effects of colonial structures, focusing on the experiences of women, Indigenous peoples, Afro-descendant communities, and incarcerated populations. Through intimate and community-centered narratives, she explores resilience, memory and humanity.

 

HONOURABLE MENTIONS

• Ana Caroline de Lima
• Natela Grigalashvili
• Ranita Roy

 

SHORTLIST

• Ana Caroline de Lima
• Birte Kaufman
• Ginevra Bonina
• Johanna Alarcón
• Laura Pannack
• Lea Greub
• Natela Grigalashvili
• Ranita Roy
• Sara Swaty
• Valeria Luongo

 

For more information, please visit the Marilyn Stafford Photography website.

 

 

Manfrotto is renowned as the market leader when it comes to premium quality camera and video support with its extensive range of tripods, monopods, lighting stands and heads. June 2025 saw the introduction of the Manfrotto ONE Hybrid tripod, its innovative design concept aimed at photo and video creators. Its XTEND leg locks allowed fast set-up, there was an integrated head levelling mechanism and heads could be swapped quickly and securely with its XCHANGE system. Add the option of aluminium or carbon-fibre legs and the Manfrotto ONE Hybrid is a support for the busy content creator.

A year on, the Manfrotto ONE Photo has been unveiled. Sharing the same build quality and taking key features such as the XTEND leg locks from the Hybrid, the ONE Photo is targeted at still photographers who demand high level stability but without compromising set-up speed and versatility.

 

Quick Verdict

The ONE Photo is a beautifully engineered and thoughtfully designed tripod, which is no more than you would expect from Manfrotto, the master of imaging supports. Deployment is rapid thanks to the XTEND leg locks, the Q90 mechanism adds extra versatility and rigidity is incredibly impressive.

 

+ Pros

• Large, easy to use XTEND leg locks
• Quick deployment even when wearing gloves
• Very, very stable
• Good maximum working height
• Q90 mechanism
• Legs splay for super-low shooting
• XCHANGE system useful for hybrid shooters

 

- Cons

• Weight – not ideal for travelling or for long walks 
• Aluminium option only
• No case or carrying strap supplied

 

 

 

Grip and twist the ONE’s spider when it’s set up and there is barely any movement. It’s impressively sturdy.

 

Manfrotto ONE Key Features & specifications

• Three leg sections
• Aluminium legs
• 20°, 50°, 81.5° leg angles
• XTEND flip leg locks
• Max height 164cm, with XPRO Ball head 175.4cm 
• Max height (centre column down) 134cm, with XPRO Ball head 145.4cm
• One bubble level
• Min height 10cm
• Closed length 65.5cm, with XPRO Ball head 76.8cm
• 12kg payload 
• 7kg payload with Q90 used
• Easy Link compatible
• Rubber or spiked feet
• Legs only weigh 3.1kg, with XPRO Ball head 3.6kg
• Manfrotto.com

 

Manfrotto ONE Photo Features

The Manfrotto ONE Photo is a tripod designed for fast set-up but without compromising stability and versatility. It’s common for tripod legs to have a round profile but the ONE Photo is different, and its aluminium legs have been designed with maximum stiffness and rigidity in mind. Another innovation is the XTEND leg lock mechanism which deploys and locks all leg sections in one action. At the end of each leg, there is the option of rubber and spiked feet.

The ONE Photo is equipped with Manfrotto’s Q90 mechanism which means the centre column can be quickly reconfigured to give a shooting down (or up) position so ideal for flatlays, still-life and macro work. Used in this manner, the maximum payload rating is 7kg so no problem with heavy camera/lens combinations.

This tripod’s legs can be set to three angles including 81.5° which means it’s possible to achieve a low camera position. With the column set at right angles using the Q90 mechanism and the XPRO Ball head fitted, the camera platform in horizontal alignment was just 18cm off the ground. The centre column is one section and while it can be removed, there is no short column option currently available.

At the other extreme, the ONE Photo with the XPRO Ball head reaches a very useful camera platform height of 145cm with the centre column down and 175cm with the centre column extended. Camera steadiness remains impressive even with the centre column fully up.

 

 

The ONE Photo boasts Manfrotto’s Q90 feature making overhead (astro, architecture) or downward (flatlays, macro) shooting easy.

 

A key point of difference between the ONE Hybrid and the ONE Photo is that the latter does not have the integrated quick release XCHANGE mechanism which allows quick head swapping. However, that function is available with the XCHANGE Quick Release System which costs £39 and comes with a quick release plate. For head swapping, you will need an extra release plate for the second head and that costs £15.95. 

 

Removing the rubber feet, which takes a little effort, reveals small, spiked feet.

 

Set-up technique one: Hold the tripod at the required height, with or without the camera mounted, splay the legs if you prefer, release the leg locks and each leg will drop down into position. Lock the legs and you’re ready to shoot.

 

Set-up technique two: rest the ONE on the ground, release the XTEND locks and lift the camera or tripod head to the required height. The legs stay in place as you do this, so lock the legs and you’re done.

  Manfrotto ONE Photo Handling and performance

To set-up a traditional tripod means operating the twist-grips or lever leg locks, pulling out the legs to give the required height and then tightening each lock in turn. It’s a way of working that has proved itself over time. With the XTEND system, you need to revise your approach because if you grip the tripod and unlock the legs as you would normally, the legs just slide out and you have no control. 

With the ONE Photo, I found two ways of working. One was to hold the tripod at the required height with the legs splayed and then open the XTEND locks. The legs just slide out thanks to gravity, and you just lock them in place. The other option is to put the ONE on the ground with the legs open, undo the XTEND locks and lift the camera or tripod head to the required height before locking the legs. Both methods work well and are much faster than the traditional method. Fine-tuning leg length to level the tripod is equally quick and easy.

Once deployed, the ONE Photo is solid. Gripping a tripod’s spider and firmly twisting it usually reveals a degree of movement or whip on most models but doing the same with the ONE Photo shows barely any flex even with the tripod fully extended.

For this review, the ONE Photo came with the XPRO Ball head in the box, but I also got the XPRO 3-way head for this review, so I got the chance to try head swapping with the XCHANGE system. I found it worked well and the automated locking action was reliable and secure and the process can even be done single-handed if you need to. 

Swap tripod heads quickly and safely with the XCHANGE system. The inset image shows the locking flanges of the XCHANGE head more clearly.

 

The XCHANGE base simply screws on to the tripod’s 3/8in thread and the plate screws onto the head. To mount the head, just offer it up to the base and push down, and the locking mechanism of the XCHANGE base automatically activates to secure the head. To remove the head, slide the locking lever, rotate the base anticlockwise and the head lifts from the base. 

To test stability, I tried the ONE Photo with a Sony A1 II and 400-800mm zoom, a combination that weighs in at 3.2kg, and a Fujifilm GFX100S with a 100-200mm zoom. The latter weighs around 2kg, so well within the payload capacity of this tripod. But fitted with a filter system, this combination is very susceptible to wind judder and camera shake during long exposures is a serious risk on mildly breezy days even when fixed to a high-end carbon fibre tripod with a pro standard ball head. 

I took shots on both including a couple of four minute exposures on the Fujifilm mounted on the ONE Photo at its full standing height with the centre column down. To be fair, during those long exposures, the summer breeze wasn’t too stiff, but I had no problem getting perfectly sharp shots.

 

The XTEND flip leg locks are big making them easy to grip even if you’re wearing gloves and are reassuringly positive in use.

 

Value for money

Manfrotto has an extensive line-up of tripods, and the ONE Photo is one of the more expensive photo models in the range. However, given the tripod’s build quality, slick handling and versatility, I’d rate it as very good value for money. If you already own a good quality head, the ONE Photo legs costs £269, which is a very respectable price for a tripod of this quality. If you prefer, the ONE Photo is available with either the XPRO 3-Way head or the XPRO Ball head, both at £399.

Of course, this high level of stability and rigidness comes at a price and in this case, it’s weight and the ONE Photo with XPRO Ball head is a little over 3.6kg, which lessens its appeal as a location or travel tripod.

The Manfrotto ONE Photo is a first-rate and versatile tripod.

 

Manfrotto ONE Photo Verdict

The Manfrotto ONE Photo is a seriously substantial piece of kit and not one for the half-hearted tripod user. However, if your photography demands ultimate stability and you want to squeeze every last drop of quality from your high megapixel camera and expensive lenses, the ONE Photo is in a league of its own. Not only is the ONE Photo a rock-solid camera support, its XTEND locking legs make it quick to deploy and Q90 column mechanism opens up more photo opportunities. On the downside, it’s weighty and big so more suited to home or studio use, or if you’re working close to the car.

The XCHANGE system is worth a mention too. It works well and speeds up head swapping without compromising security, so if you do need to move from a photo set-up to a video one quickly, this device does the job reliably.

 

The Manfrotto ONE Photo comes as legs only or with the XPRO 3-Way head (left) or XPRO Ball head for £399.

 

Manfrotto ONE Photo Pros

• Large, easy to use XTEND leg locks
• Quick deployment even when wearing gloves
• Very, very stable
• Good maximum working height
• Q90 mechanism
• Legs splay for super-low shooting
• XCHANGE system useful for hybrid shooters

 

Manfrotto ONE Photo Cons

• Weight – not ideal for travelling or for long walks 
• Aluminium option only
• No case or carrying strap supplied

 

 

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1. What Gear Do I Need?

 

• Tripod – If you're working your way around the outside of the structure you'll need a light tripod, one with a spirit level will help.
• Wide-angle lens – Get all of the castle in one shot. Take a look at our 'top wide-angle lenses' for recommendations. 
• Longer lenses – Focus in on detail or if the castles further away, use the long reach to zoom in on the castle so it fills the frame.
• Camera bag – You need a bag that will fit all of your kit but not get you stuck when you're trying to navigate small stairwells.
• ND graduated filter – Help balance exposures when you're shooting wide, scenic views.

 

2. Do Your Research

Pre-planning can mean the difference between a successful day of shooting and only returning home with a handful of shots because you spent most of the day walking around trying to find good spots to shoot from. Have a look at how other photographers have shot the castle you're visiting. You should find plenty of advice online but if you're still stuck for ideas, have a quick look in the castle's gift shop for postcards as these should give you plenty of ideas on what angles work and won't don't.

 

3. Watch Those Verticals

If you're shooting uphill or are closer to the castle walls and are shooting up it can end up looking like the walls are sloping in on your final shot. You can buy lenses specifically designed to stop this, but they're expensive so unless you're going to shoot architecture professionally, or on a more regular basis, you're better off just correcting the shot in Photoshop after. You can also find a higher spot to shoot from and there should be plenty of windows or tops of towers you can take your photos from.

4. Include The Surroundings Or Shoot Up Close?

If the castle has particularly majestic surroundings include it but if your castle now sits surrounded by more modern buildings, crop in. For sites where there are only a few walls left standing try some close-up photography. Look for walls that are full of cracks and moss as you'll get a few shots for your texture collection.

 

 

5. Make A Frame

You won't be short of windows, doorways and arches that can be turned into frames for your photos. Just remember to include your 'frame' at the edge of the photo and, where possible, shoot straight on so your frame doesn't sit wonkily.
 

6. Lead The Eye In

Bridges over moats and corridors which seem to stretch on forever can be used to lead the viewer's eye from one point of the shot to another. If they're several archways or columns that line the corridor walls even better as they often form symmetrical patterns that will add further interest to your shot.
 

7. Inside The Castle 

If you can take your tripod inside the castle do as the darker conditions will mean you need longer shutter speeds and you can get shake in your images with you take them hand-held. 

Stairs curving up and around with the old walls make great subjects but as there's very little light, you may want to try shooting several shots at different exposures and merging them together once you're home. For more tips on HDR take a look at our previous article: HDR Tips.

If it's a particularly busy day longer shutter speeds can help 'remove' some of the tourists from your shot. Or, you could try using a shutter speed that turns the visitor's movement into ghost-like streaks for a more abstract approach.
 

8. Photograph People

At larger castles such as Warwick, you'll find people in costumes and there are often days when special events such as jousting take place. For tips on photographing re-enactments take a look at our previous articles on jousting and living museums.
 

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Going on holiday with your family and your camera isn't the same as going on a photographic holiday. So here are a few tips on how you can still go out and enjoy your photography but keep the peace with your family at the same time:

 

1. Pick The Right Gear

A DSLR and a variety of lenses packed in a case are OK for photographic holidays but it can get a little heavy when you're heading out with bags of sun cream, hats, buckets and spades, too. If you want to use a DSLR try fitting a zoom lens that gives you a variety of focal lengths in one lens or pocket a compact or mirrorless camera so you can still capture the shots you want but in a less obtrusive way. Point-and-shoot cameras are easier to pack too as they don't take up too much room and many can fit in a pocket so can be accessed quickly if needs be.

 

2. Balance Your Time

Just because you're on holiday with your family doesn't mean you can't enjoy a few hours here and there taking photographs. It helps if you have an understanding partner, friends or whoever is travelling with you, as they can watch the children for half an hour while you take your photos. Try heading out while everyone else is still sleeping at sunrise, for example, but don't get too carried away with your photo taking as, after all, you're on a family holiday and not a photographic one.

 

3. Allocate Time

Set yourself certain times to go and enjoy your photography. Plan these into the trip so your family know about them to save arguments and set time restraints so you don't find yourself vanishing for a day with your camera. By doing so, you'll find you'll think more about what and how you're going to photograph your chosen subject and your hobby will also annoy your family less.

 

 

4. Have A Plan

Doing your research and making a plan will mean you can put the locations and subjects that really interest you at the top of your 'to do' list. Then if you have to forget about some of your lists, you'll have the important ones, hopefully, already in the bag. Having ideas on what angles work, what don't and what time of day your chosen location looks its best will stop you making wasted journeys and using the time that you could have spent playing around in the pool or on the beach.

 

5. Visit Places You All Want To Go

A little bit of compromise goes a long way so if you want to go on some day trips, pick ones which you'll all enjoy. That way you'll be able to go out and take some photos while the rest of the family will still be entertained.

 

 

6. Get Your Family Involved

See if you can get them taking photographs with you and if that fails, make them your main subject for most of your shots. This doesn't mean you have to pose them all the time though.

 

7. Be More Relaxed About Your Photography

You'll probably find that the process of you putting a tripod up then working out every setting to make sure your shot's as perfect as it can be is what your family get bored of waiting around for so instead of always worrying about everything having to be just right, work a little off the cuff to get fewer complaints. Try shooting from the hip or instead of posing your family every time you want to photograph them, shoot some candids of them eating ice cream and playing in the sand. By working more spontaneously, you'll probably find you'll have fewer complaints.

 

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

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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 AdventureDriver (Day 9 - 'Outdoor Full-Length Portraits').

 

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 10

River

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Day 11

Patterns & Shapes

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Day 12

People In Groups/Crowds

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Day 13

Interesting Angle Theme

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  Day 14

Event Photography

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Day 15

Plane

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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.

 

During the summer, there are all sorts of agricultural events held all around the country and they are great occasions to capture some good images. There are the events themselves, the animals and the people to photograph. It is a great day out too. Usually, there are also plenty of stalls to browse around so there are chances to spend a few quid too.

 

1. Gear Choices

Your camera and a couple of lenses is a perfect outfit, ie pairing of a standard zoom and a telephoto zoom would be a very versatile combination. If you want to travel light, a camera and a superzoom are worth a thought. If you want to travel lighter still, take a zoom compact or one of the mirrorless style cameras.

 

2. Light Can Be Tricky

With luck, the sun will be shining but that can mean exposure and contrast problems. You might find that your camera slightly under and overexposes in contrasty light, so a few test shots to start with is a good idea. If, for example, you find that your camera consistently leans towards overexposure, set -0.3 EV, -0.7EV or even -1EV on your camera so get a more balanced exposure.

 

3. Try Capturing Images In RAW 

Shooting in RAW format is a good idea too, so if you do have exposure or contrast problems they can be controlled during the RAW workflow process. RAW conversion software allows you to adjust exposure, brightness and contrast very easily – and you can do it non-destructively.

 

4. Arrive In Plenty Of Time

For the events, you might have to find a spot early if you do not want to be shooting over people's heads. Often, there is plenty of room to find a decent viewpoint where you can get an unhindered view. Depending on the show, you might find displays of shire horses, carriage driving, dog agility and much more. The dog agility events are great fun to photograph, firstly because there is plenty of action but also there are brilliant candid moments of the owners to be photographed too. Just find yourself a good spot - close to the see-saw, weave poles or a fence - and just get ready for some frenetic action.
 

5. Messy Backgrounds Spoil Shots

Some events and participants are more photogenic than others, but one common problem you may experience is messy backgrounds and you may find avoiding them quite challenging. Stripey or white marquees, enclosures and fellow visitors can all spoil your shots so keep an eye on the background and use your feet and zoom lens to exclude as much clutter as possible. Using your telephoto lens at wide apertures for shallow depth-of-field is a technique to try to minimize bold subjects coming out too sharp.

 

6. Don't Forget Close-Ups And Detail

Concentrating on details within the scene is another photographic approach to consider. Close-ups of shire horses decked out on their finery can look excellent, just take care with exposure. Very dark horses can cause overexposure so appear lighter than they are, while light/white horses can cause underexposure and appear grey. Just use exposure compensation to ensure a good result.

 

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If you're planning a day-trip at the coast you don't have to take your DSLR and a bag full of lenses to get good close-up shots. The majority of compact cameras and smartphones now have macro modes, some better than others, which can produce good results. The cameras are also smaller and usually lighter too making them easier to carry when you have arms full of buckets, spades and seaside treats. Plus, only shooting macro/close up shots really makes you stop and think about what you can photograph.

  1. Macro Mode

Find your camera's shooting modes and select the Macro Mode. This is generally the one that looks like a flower and by selecting it, your camera will know you'll be working with objects close to the lens and it will also use a larger aperture so the background's out of focus. How close you can focus to your subject will depend on the camera you're working with as they all have various close focus distances.
 

2. Tripod

Even if you're using a point-and-shoot camera using a tripod for close-up/macro work is a sensible idea. When you're working at close focusing distances any shake/movement is amplified and as a result, is more noticeable. As mentioned above, a tripod will reduce the chances of shake spoiling your shot and you'll be forced to slow down, so you think more about the shot you're trying to produce. 

 

3. Self Timer

Even though you're using a tripod, when you press the shutter button it can shake the camera so use your compact's self-timer to stop movement spoiling your shot.
 

4. Focus

It may sound obvious but do make sure the right part of your shot's in focus. If your compact has the option, switch to manual focus to have more control over what's sharp and what isn't. Once you've taken your shot, use your screen to view the image, zooming in to make sure all the bits that need to be sharp are.
 

5. Backgrounds

If possible, use a simple background that's not cluttered. This is easy on the beach when you can use the sand or position yourself so you're facing out to sea and use the water/sky as your backdrop. In busier locations such as harbours, this is a little more tricky to do but by putting space between your subject and the background it'll be easier for the camera to throw the background out of focus. You could also create your own background with a piece of card or even a jacket. 

6. Extra Light

Flash may seem the obvious way to go but as the flash on compact cameras is fixed, it's a bit too direct and can add too much light to the scene. If your camera allows it, you can dial down the flash but most of the time you'll be better off just shooting when there's plenty of natural light around. You can always use a reflector to direct the light and use a piece of card to shield your subject if you find there's too much light in the scene.

  7. Subject Choices

• Shells
• Pebbles
• Patterns/footprints in the sand
• Crabs
• Seaweed
• Interesting flotsam
• Water bubbles
• Chipped/cracked paint on boats
• Rust on railings
• Bolts
• Patterns in wood 
• Get in close to lobster pots and ropes to photograph the patterns
• Sticks of rock
• Jars of old-fashioned sweets

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[SECTION]INTRODUCTION[/SECTION]

 

 

Quick Verdict

The new Canon R6 V is essentially the same on the inside as the Canon R6 Mark III, but heavily biased towards video functions and without a viewfinder. The R6 V is a fully capable still camera, but the priority here is towards videographers and content creators. As such, a classy product that has much to offer.

 

The R6 V is definitely a video camera first. No viewfinder, no mechanical shutter, all the dedicated and programmable buttons set by default to video functions. There are plenty of video options, of course, but here we add the PZ lens compatibility, highly efficient IBIS and of course, the 7K 60p RAW internal recording. There is a huge list of essential features on this extraordinary camera and we set out into the heatwave currently gripping the UK to see how it all pans out.

 

Canon R6 V Features

First glance and handling of the camera give a strong impression of a well made, solid piece of kit. Construction is mostly Magnesium alloy for the body and chassis, with some use of polycarbonate with glass fibres. This is undeniably solid, yet still weighs in at just 598g, or 668g with battery and CFExpress Type B card. Dimensions are a good, chunky 141.8mm x 83.3mm x 79.7mm that leaves room for a mass of buttons and dials. This is a good thing as it does aid handling.

Any Canon user will be instantly at home with the basic layout, although there are a few variations as a consequence of prioritising video shooting. Most obviously, there is no viewfinder. There is a 7.5cm 1.6M dot TFT LCD touch sensitive screen, fine in lower light and in the studio but less fine in the blazing sun, where it is a struggle to see much at all. The vari-angle screen protrudes further than usual as there has to be room for the cooling fan and its exhaust, an indication that the camera is serious about video shooting.

 

 

Previously, the motorised zoom was the purview of compact cameras, or external devices that simply rotated the zoom ring on the lens. This facility is now built in and supports the PZ capability of the matching Canon 20-50mm f/4L IS USM PZ lens. The zoom lever is a rocker dial that surrounds the shutter release button. The motorised PZ facility can also be operated on the lens itself, alternatively, lenses can be zoomed manually in the usual way.

Let's now summarise the key features of the camera.

 

 

Canon R6 V Key Features

• Full frame
• IBIS up to 7.5 stops centre
• 32.5MP CMOS sensor
• DIGIC X Processor
• Electronic shutter 30s – 1/16,000s
• Electronic shutter up to 40fps
• Dual pixel CMOS AF II -6.5EV to +21EV
• Metering range -3EV to +20EV
• ISO range 50-102,400 (Extended)
• 7.5cm Vari-angle touch sensitive TFT LCD monitor 1.62M dots
• Operation 0C to +40C
• WiFi, 5GHz/2.4GHz
• Bluetooth 5.1
• HDMI Type A
• Multi function shoe
• USB-C
• 3.5mm Mic and headphone sockets 
• Moisture and dust resistance
• 698g with battery and CF Express Type B card
• Battery LP-E6P, approx 640 shots
• 1 SD UHS-II card slot
• 1 CFExpress Type B card slot
• Camera Control App

 

Canon R6 V Handling

Although handling can be a very personal thing, Canon has impressively given us a myriad of options and possibilities to use and control the camera. There is a considerable amount of duplication, where more than one control alters a parameter. This is especially true within the extensive menus, where the top control wheel, the secondary control wheel and the rotary dial around the set button may all be utilised as we prefer. This is all fine as we simply choose the one we want to use. Dials and wheels can be reprogrammed as required and the camera can be set up to the individual photographer with ease. Spending time to set up things optimally will reap rewards in faster and more intuitive operation.

Thus far, that is exactly where we were with the R6 Mark III, but now with much more available. There are 12 dedicated and numbered buttons that, by default, are set to alter various video parameters. However, all of these can be reprogrammed via the camera menus, so it should be possible to have whatever functionality we desire. Add to this the vari-angle screen, active cooling system, extensive video capability and solid engineering and we have a workhorse of a camera indeed.

There are a few considerations, the major one being the lack of a viewfinder. This soon becomes a glaring disadvantage in bright outdoor locations. In bright sun, there is little chance of seeing much on the screen apart from vague shapes. Precise composition is all but impossible. There is no issue indoors or in the studio, with or without the Canon Camera Control App.

Depending on how the user carries the kit, in some circumstances, it is possible for the on/off switch to be nudged. This also applies to the mode dial and the control dial next to it. It does not happen often, but does merit checking before starting to shoot important images.

 

[SECTION]PERFORMANCE[/SECTION]

Canon R6 V Performance

The performance section is where we look at the image quality performance of the camera. Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
 

Canon R6 V Sample Photos Previous Next

 

Lens Performance – The camera was provided with the matching Canon 20-50mm f/4L IS USM PZ lens, and the full review of the lens can be found here. The camera is fully compatible with the new lens and the zoom can be controlled by a rocker switch around the shutter release button. Using this, the camera/lens combination effectively becomes a giant compact camera in terms of style of operation, for stills at least. The zoom can also, with or without motorisation, be adjusted directly using the zoom ring on the lens.

(Below you'll find images demonstrating the aperture range of the lens.)

 

Canon R6 V Lens test images Previous Next

 

Canon R6 V ISO test images Previous Next

 

ISO Performance – Another excellent result, similar to the R6 Mark III. Detail and noise levels are very impressive all the way up to ISO 12800. At ISO 25600, the image noise suddenly increases and the details soften. Results beyond that point are increasingly mushy, the darker boxes of the test target disappearing in a sea of noise. Overall, though, a very impressive performance.

 

Canon R6 V White-balance test images Previous Next

 

White Balance – There are a number of preset options for white balance, and various adjustments can be made to these. AWB has the usual options between white and ambience priority. To this we can add Daylight, Shade, Cloudy, Tungsten light, Fluorescent light, Flash, Custom and four slots for specific colour temperatures. AWB is useful for mixed lighting and general use, but to keep the colours of a scene, the other presets do a great job. Cloudy is very close to the Cloudy or 81A filters we used on film, and this setting warms portraits very attractively. Shade is perfect for those purple-hued woodland shadows and is especially effective for fungus hunting.

 

Canon R6 V Digital filters Previous Next

 

Digital Filters – The R6 V deviates from the R6 Mark III, with a different set of digital filters. It's interesting to see what has been retained and what left out. 

Scene Modes are Portrait, Smooth Skin, Panoramic Shot, Food and Handheld Night Scene. 

Picture Styles are Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome and three User Defined slots.

This is a curtailed list of digital filters, and gone are all the fanciful and exotic variations in styles and colours.

 

Video –  Given that the priority of the R6 V is video, it is no surprise to find an extended set of video options. Initially, the intent is clear as all 12 dedicated buttons are set by default to video features, although all buttons can be reprogrammed via the menus.

• 7K 60p RAW internal recording
• 7K Open Gate
• Oversampled 4K 60p
• Uncropped 4K 120p Slow Motion
• Vertical tripod socket
• Active cooling system
• 4 Channel audio support
• Canon Log2
• Canon Log3
• Formats: RAW, C-RAW, JPEG, HEIF, CRM RAW Video, XF-HEVC S, XF-AVC S

Because of the video priority, there is no viewfinder, relying instead on the 7.5cm 1.62M dot touch sensitive TFT LCD screen.

 

[SECTION]VERDICT[/SECTION]

 

 

Value For Money

The [AMUK]Canon R6 V|Canon+R6+V[/AMUK] is priced at £2399, body only. Add the 20-50mm f/4L IS USM PZ lens and this becomes £3549. The kit price is actually a very good deal, as the lens on its own is priced at £1439. As part of the kit, we are paying just £1150 for the lens.

The [AMUK]Canon R6 Mark III|Canon+R6+Mark+III[/AMUK] has a viewfinder and may be the choice for photographers who cannot manage with just the back screen. This is priced at £2799.

Another option is the [AMUK]Canon EOS C50|Canon+EOS+C50[/AMUK], priced at £3299, and it is in this instance an entry-level camcorder.

The VFM equation falls well for the new camera, but this does depend very much on the requirements of the photographer/videographer/creator/vlogger...

 

Canon R6 V Verdict

The absence of an EVF is one of the major factors that will decide whether or not this camera fits the user. For studio based or even location based video work, with perhaps the use of the Canon Camera Connect App, then the R6 V may be a sound choice for videographers and content creators. The cost is lower than an R6 Mark III, for example, as there is no EVF, but the technical performance under the skin is virtually identical.

For stills photographers, this is less clear, but the current heatwave in the UK does reveal very strongly that the screen is no match for the blazing sun. It can be very difficult to see the subject clearly, never mind checking the details, so that unwanted elements do not intrude on the edge of images. Holding a full frame camera as if it is a compact camera is also less than ideal for many users.

The conclusion is that the R6 V is a camera with a niche of its own, and within that area is a very fine camera that delivers the goods. For a general purpose camera, Canon offers many choices and the R6 Mark III may be a safer bet. Within its own area of expertise, the R6 V is a very strong contender and good, solid VFM. With the anticipated usage in mind, Highly Recommended.

 

Canon R6 V Pros

• Excellent results
• Well thought out control layout
• Impressive ISO performance
• Very fast and responsive AF
• Customisation options
• High quality construction
• Moisture and dust resistance
• Built in PZ lens compatibility
• Camera Control App
• Extensive video capability

 

Canon R6 V Cons

• No viewfinder
• Some controls vulnerable to accidental operation

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4|R_performance=5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=A powerful hybrid camera, aimed primarily at video, content creatives and vloggers but also giving accomplished results for stills.|E_id=8016[/REVIEW_FOOTER]

 

View the Canon R6 V camera specs in the equipment database.

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If you're jetting off to warmer shores this summer and want to capture a few shots out of your plane's window, here are a few tips to help you ensure your images are good enough for the start of your holiday photo collection. 

1. Don't Get Carried Away With Kit 

Do be considerate of those sitting next to you which means you can't empty all of your kit into your lap from your bag. Turn beeps and other noises off as these will just annoy those around you and don't take photos during takeoff, landing or when electronic equipment isn't allowed to be used. Most smartphones have decent cameras on them now and these are slightly more discreet than a DSLR but do remember to activate airplane mode before takeoff if you do plan on using your phone's camera. 
 

2. Choose Your Seat

The majority of airlines now let you pick your seat so if you really do want to take top shots from your seat, think about your selection carefully as not all seats will give you a clear view. Of course, you'll need to make sure you have a window seat as a stranger won't appreciate you leaning over them. Towards the front or back of the plane will give you the best view but do remember you do get the odd seat that only has half a window as it's in between two seats. Try to avoid sitting directly over the wing too as all you'll be able to take photos of is the wing. Once on board, if you can't position yourself so the window frame isn't in shot, take your photo anyway and just crop it out once you're in front of your computer.
 

3. Be Aware Of Camera Shake & Reflections 

When at zoos, museums or other locations where glass can mean reflections spoil your shots you'd normally put your lens against the glass to prevent this but on a plane, this will just result in shake, caused by the plane's engines, to spoil your shots. Instead, use a lens hood and get as close to the glass as possible without touching it or cup your hand around the lens to shield it. You'll also want to avoid using flash and turn off your overhead light if it's on to minimise the amount of reflection you see on the pane. 

 

 

4. Use Manual Focus

Some windows will be badly scratched which can make focusing tricky. Switching to manual focus can help but sometimes they'll be so badly scratched that anything you take will be slightly fuzzy but you won't know this until you sit in your seat. If you're using a compact, to stop it focusing on the window, set it to infinity focus or switch on the Landscape mode.
 

5. Wait For The Right Angle

Due to the small window and the angle, you'll be sat at it can be tricky to take photos of the ground but if you have your camera ready for when the plane banks you'll be given the perfect opportunity to capture ground shots. 

 

 

6. What To Photograph

Try not to get carried away taking the same shots over and over again, instead look for interesting cloud formations, patterns created by fields, roads etc., sunsets and other planes. The wing, especially if you have a brilliant blue sky behind it, can make an interesting shot, too. 
 

7. Take Your Shots Early In The Flight

If possible, shoot earlier rather than later as condensation and ice tend to build up on plane windows the longer it is in the air. If there's something you want to capture that's closer to your destination consider shooting it on the return journey rather than shooting through a window with condensation. 
 

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A beautiful landscape with stone buildings, wrapped up in soft mist, titled “Tuscan Mist” by ePz member Tonyd3, was named POTW this week.

The image captures wonderful light and atmospheric conditions. A gentle glow falls across the rolling hillside, creating a pleasing contrast against the sky above as a low layer of white mist cuts across the golden fields. It is a calm, quiet shot that really shows off the peaceful beauty of the place, making it a great example of landscape photography.

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

To see more of our POTW winners, visit the POTW Gallery.

Red eye's caused by the flash illuminating blood vessels in the eye and when the light bounces back, you get red eyes. Some people are more likely to get red-eye than others but if you're one of these people or you have a family member who does, here are a few methods you can try to fix it so it doesn't spoil your family holiday shots. 
 

 

1. Compact Cameras

Most compact cameras have a red-eye reduction mode that can help reduce the size of the pupils, minimising the red that appears in their eyes.

2. Don't Look At The Flash

Asking your subject to not look directly at the flash can also work but this does mean they may not be looking in your direction when you view the shot.
 

3. Look Outside

If it's a sunny day, get your subject to look out of the window for a few seconds as this will give their eyes time to adjust to bright light before you fire the flash at them. Of course, never let them look directly at the sun or any other light source that could damage their eyes.
 

4. Move The Flash

If you're using a flashgun move it so it's not directly facing the person you're photographing.
 

5. Add More Light

If you're working indoors add more light into the room you're working in. 
 

6. Use A Continous Light Source

A continuous light source will allow your subject's eyes to adjust properly to the light before the shot is captured. 

  7. Edit The Images

If you don't have time to retake your shot or you didn't notice the red-eye before you viewed it on your computer screen, you can use editing software such as Photoshop to fix the problem. Some programs have a red-eye remover option that does the job for you, while software such as Photoshop has a brush designed to remove red-eye or you can fix the problem manually if you prefer.

Here's how to fix it in Photoshop/Photoshop Elements: Open your image and select the Red Eye Tool. It's under the same tool menu as the healing tools so if you have one of these visible in your toolbox just click and hold it to bring up the menu with the other tools in. In the toolbar at the top, you can adjust two options: Pupil Size and Darken Options. But it's best to use the brush before making any changes to see if any alterations need to be made.

To use the brush just position your cursor over the pupil, click your mouse button and wait for Photoshop to make the changes.
 

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When you're on your travels, if you find a festival will be happening in or near to the place you're staying do take your camera to it as these events, even though they can be sometimes tricky to photograph, give you the opportunity to capture vibrant images that are full of energy and life.
 

1. Have A Plan

The problem with these types of events is there's usually so much to capture that you can easily end up snapping shots of anything and everything. This approach will get you the odd shot that's good, but your day will run much more smoothly if you have some sort of plan.

If you know what to expect you can make a detailed shot plan then work on getting different angles and viewpoints once you've ticked your list off. However, if you're heading to a show where the details are a bit vague, you can create a more general shot list that'll stop you from getting sidetracked once you're in the middle of the action.

A basic list could include:

Introduction – Take shots that set the scene and tell the viewer where you are, who is there, why etc. However, try not to overrun your shots with too many focal points as if the eye doesn't have something to focus on the shot can be rather confusing and look too busy.

Portraits – As well as taking photos of people who are part of the festival, shoot portraits of those who are there to enjoy the event. Candids work well in crowds but posed shots of the people you're attending the event with can be as equally interesting. Try shooting from the hip to see what shots of the crowd you can capture. It's a bit of a hit-and-miss approach but it can work well when you fall lucky with the framing.

Detail – After you have captured wider shots that set the scene focus your lens on small detail such as frame-filling shots of costumes and food. Costumes often take hours if not days to put together so take the time to focus in on the colours and decorations on them. These close up shots work well when positioned against wider shots of the event.

Creative – Most of the time you'll want your images to be completely sharp and in focus, however as these events usually involve dancing and parades, you can use slower shutter speeds to blur motion which will create a sense of pace and energy in your shots. If you want to freeze the dancers in your frame you'll need a quick shutter speed.

Ending – A row of actors taking a bow, dancers in a parade moving off into the distance or a table now decorated with empty glasses and plates all show the ending of the event you're taking photos at and are a good way, if you're creating an album or photo book, to conclude your travel tale with.
 

 

3. Preparation is Key 

If you're making your own way to the event rather than going on a coach, make sure you arrive for the start or if you can, get there before the event begins so you can find a good spot early. If you don't, you could end up shooting over people's heads. If you have time to scout the area for the best vantage points do as once the crowd starts building, finding good spots for taking photos from will get harder. If you don't fancy the elbow fight try and find a spot that gives you a little height over the crowd.

If the event's one that's popular and you know you'll be attending before you get on the plane have a look on the internet and in guide books, for tips and examples of shots other photographers have taken. You may get some clues into where's best to shoot from and what's worth capturing.

4. Be Cautious

Some of the following tips may seem obvious now but when you get in among crowds of people and there's so much going on that you don't know where to look, the basic pieces of advice or what tends to be forgotten.

Never leave your gear unattended and only take the necessities as if you take too much gear, moving around and switching lenses will become hard work. A tripod will more than likely get in the way but you may find a monopod will take up less room and will be easier to walk with at crowded events. If you're working hand-held a camera strap will stop your camera getting knocked out of your hands, however, be careful if you walk around a crowded location with it around your neck as not only will it get in the way, you could also injure yourself if it gets tugged off your neck.

 

 

3. Be Aware Of The Lighting

Bright sunlight won't do you any favours as you can end up with shots full of harsh shadows and washed-out colours. Couple that with exposure problem and you can find yourself fighting to get a decent shot. Later in the afternoon and into the evening the light's lower and more even which is good news for those going to events which have a later starting time. If you do find yourself out in the middle of the day you can try bracketing and add a pop of flash to fill in shadows that dance across faces. This is particularly useful if the people you're photographing have brimmed hats on or are wearing large headpieces that shade the face partially.
 

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Whether it's a line of lampposts on a dark street, light glowing from the windows on the front of your house, a night sky bursting with stars or a panoramic cityscape showing the twinkling lights from the homes, shops and streets that fill the city, there's something for every photographer, no matter where you live, to photograph at night.

 

1. Kit Choices

Your most important piece of kit if you're heading out at night is a tripod as it's impossible to work hand-held when you're dealing with very long exposures. If you have one, pack your remote release to help minimise shake or make use of the camera's self-timer if you don't. Your standard lens will do just nicely but take a telephoto along to get you close to lights on top of buildings and illuminated signs. Pack a torch, wear suitable clothing and take a watch along for timing when using the B setting. Do have fun experimenting with Bulb as you'll be able to produce some interesting and creative results. 

 

2. How Dark?

It doesn't have to be totally dark for you to have a try at night photography. Late dusk, when there's still a little light left in the sky, will give you scenes with less contrast as the light that's still in the sky will illuminate areas not lit by artificial lights. If you do want to head out when most people are tucked up in bed take someone else with you for safety and they can keep you entertained while your long exposure ticks along. If you're not very patient you could, of course, use a higher ISO, however, sticking to ISO100 or 200 will give you better quality images.

 

 

3. Long Exposures & Timing

How long your exposure is will depend on what you're photographing. If the light, such as street lamps, is your focus you'll have a much shorter exposure than if you were photographing an illuminated building when you're photographing light that's reflected. If you have both types of light in one scene go for the longer exposure as if you don't, the only detail will be the lights, you won't see a building. This does mean you'll get flare from the street lights, but this isn't necessarily bad.

Overexposed street lamps, particularly if it's a damp night, can look really good.

 

4. Metering & White Balance

You may get a few metering problems as areas of darkness which are occasionally illuminated by bright lights can confuse your camera. If you find your scenes too dark or the lights have washed the scene out, use the compensation setting to adjust the exposure and try again. Don't meter from a dark area either as this will just cause lights to be overexposed.

Keep an eye on your white balance as different lights can have different colour casts. Shop windows will be fluorescent while street lamps and buildings lit by floodlights are often tungsten which gives a yellowish cast to images. But you may find the colour cast adds to your image anyway.

 

Other techniques to try at night include:

• Light trails of moving traffic
• Light painting
• Star trails 
• Fairgrounds at night – use a slow shutter speed to create pictures a wash of vivid colours.
• Cityscapes taken from an elevated point to give you a sweeping shot of twinkling lights.

 

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  Before you take your shot, take a good look around the viewfinder to make sure everything that's in the frame needs to be. If it doesn't, here are a few ways you can remove the unwanted object(s) and some ideas on what things you should avoid capturing in your frame.  

 

What Should I Be Looking Out For?    1. Check The Frame For Unsightly Objects

Items such as rubbish bins, dead trees, shopping trolleys in rivers and broken benches do have significance and a place in some photographs but most of the time they're on the 'try to avoid list'. You don't want a microwave or mattress spoiling your idyllic landscape shot. 

  2. Make Sure Poles Aren't Sticking Out Of Heads

If you're shooting portraits outdoors make sure you don't position your subject so it looks like they have a lamppost, telephone pole, tree or any other object sticking out of the top of their head. In some cases, it can look quite amusing but more often than not it's just a distraction.
 

3. Look Out For Distracting Highlights

Areas of an image that are overexposed or particularly bright will draw the eye away from what it should be looking at to it. To stop this, make sure the image is exposed correctly and look out for reflective or other bright surfaces that could cause you problems. The same goes for particularly shadowy areas, too.

 

4. Be Careful With Bright Colours

As with highlights, if you have an object that's brightly coloured that isn't your main focus of the shot it can pull the eye to it. Yellowjackets that officials wear at races and other events are a good example of this. Most of the time you won't want them to be the focus of the shot, but they will be in the background and their bright coloured jackets stand out like spotlights, pulling the focus of the image to them.

5. Be Aware Of Busy Backgrounds

When you're shooting portraits, of any kind, unless the background adds to the shot you'll probably want to blur it out of view. This is true for macro work too such as when you're working in the garden, focusing on one flower that's sat against a background of garden equipment and other distracting objects.

 

 

How Do I Fix The Above Problems?    1. Move Your Subject

If you can't move the object that's causing the problem the easiest way to get the empty background you're looking for is to move your subject. This doesn't mean picking a new location to shoot in as moving them a couple of steps to the left or right of where they first stood could fix your problem.

 

2. Move Yourself

If you have to shoot against the particular part of the background you positioned your subject against then pick up your kit and move yourself so the object that's causing the distraction is no longer in the frame.

 

3. Change Angle

Can you shoot from higher up or lower down? You may find a change in angle gives you a new take on a shot that's overdone. This technique works particularly well for flowers as you can use the sky as a clutter-free background for your images if you're garden's full of distracting objects.

  4. Create Your Own Background

For small subjects such as plants, you can use pieces of card and material as backgrounds for your shots, hiding the scene in front of you behind it.

 

5. Use A Different Focal Length

If you've got a variety of lenses to hand or have packed a zoom lens, try cropping in to remove whatever is distracting the eye.

 

 

 

6. Change Orientation

If you don't have a variety of focal lengths to-hand try switching from landscape to portrait orientation.

 

7. Blur The Background

If you don't need the background to be in focus use a wider aperture to throw it out of focus. If you're using a compact camera switch to macro mode for close-up work as your camera will select a larger aperture so the background's thrown out of focus. If you're shooting portraits with a compact select Portrait Mode as, again, your camera will know it needs to use a larger aperture so the background's out of focus.

 

8. Use Foreground Detail As A Frame

If it's branches and leaves that are causing you problems why not blur them to create a soft, out of focus frame for your image? For more tips on framing take a look at our previous article: Ten Top Ways To Use Frames In Your Images.
 

9. Experiment With Longer Shutter Speeds In Cities

If you're working in a place that's full of people and you don't want them in your shot, use longer exposures to remove them. This works particularly well at night and is the same technique photographers use to capture light trails in night shots.

The problem with using longer shutter speeds in the daytime is the amount of light that will reach your camera's sensor and you can end up with very overexposed shots. But try using a small aperture such as f/22 and find a location which is slightly shaded and experiment to see if it'll work. Using an ND filter will also help you get the slower shutter speeds you need. If you're photographing city streets at night and only want the lights, traffic and buildings to appear in the shot, this technique works particularly well at removing people from the scene.

 

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Old artefacts aren't the only things to photograph in museums. At places such as Beamish and the Black Country Living Museum, you'll find people dressed in period clothing, acting out specific historical roles who are perfect subjects for a quick snap of times gone by. If you don't fancy heading to a museum there are also plenty of re-enactments held right across the UK where you'll find plenty of people in character who are more than happy to be photographed (a subject we'll be looking at later this month). 

  1. What Gear Do I Need? 

When shooting portraits in large museums where buildings and locations vary, you'll need a versatile zoom lens which allows you to move from a wide-angle to a mid-range focal point easily, even if in a busy crowd. A shorter zoom or prime lens such as 50mm can be used in more controlled environments.

Unless it's really impossible to do so, use a tripod as they slow you down and give you the chance to think about composition more and a reflector would be handy, although don't get in anyone's way with one, especially inside shops and other indoor locations where space can be lacking. 
 

2. Do Your Research 

Make good use of the internet to search for places of interest but always keep a lookout for notices in local shops and venues advertising events as these tend to be based more locally, saving you time and money. 
 

3. Take Your Photos At Less Busy Times

To avoid crowds, arrive as early as you can or stay later. By doing so you'll be able to capture images without a queue of people waiting behind you, meaning you can take your time and as a result, produce better shots. 
 

4. Take A Walk Around 

When you arrive at the museum have a look around and see what's where and who's around to photograph. If possible, find a good subject then go and look for a fitting background. However, most of your subjects will already be in locations that fit their character such as in shops, workshops etc. so you may not need to do this. Do remember though that getting the background right in the shot is much easier than editing one in. 

Do look for 'that person' other photographers aren't surrounding which is easier said than done sometimes but it will give you a shot that, hopefully, not many others will have captured. 

 

5. Always Be Polite

When you do find someone you want to photograph always ask permission first, even if the people there expect to be photographed it's always better to ask. Be confident and always act professionally. You may need to give direction but some will automatically create a pose they like or have held on several occasions before. You can capture them in this pose but do try and persuade them to change their stance a little to give you something a little more unique. It's also important to keep them chatting as this put them at ease and allow a bit of their personality/character to come through.
 

6. Double-Check The Scene Before Hitting The Shutter Button

Small details make a huge difference so do check your frame carefully before taking your shot. Asking someone in a polite way to not smile so much or open their eyes wider may seem like a small thing but it will make a big difference to your final image. 
 

7. Think About The Lighting 

You may find that there's either not enough light or too much electric/artificial lighting and this is where moving a subject will help, but you will need their cooperation so that's why it's always worth chatting to them first.
 

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For hybrid content creation, for vlogging, for video, and last but certainly not least for stills photography, here we have Canon's new 20-50mm f/4L IS USM PZ full frame lens. Rather than having a separate attachment PZ zoom, for the first time for Canon, we have an internal power zoom. So there are many video possibilities, but also a focal length range that can be very useful for stills photographers. So we set out into the weekend of 1940s re-enactments and even a full day of blazing sun at the Lytham Vintage Car event, using the new full-frame 32.5MP Canon R6 V plus a more conventional 26.2MP Canon RP. Cameras and lenses held up without a glitch; let's see what we learnt from the unusual experience of shooting a review in the sun and heat of a relentless heat dome.

 

Canon 20-50mm f/4L IS USM PZ Handling and Features

There is a provided petal lens hood that bayonets smoothly into place. There is a retaining catch to ensure it does not come adrift in use. The bayonet fit surrounds a standard 67mm filter thread. The front element is Fluorine treated to help repel water, dust and grease. The lens is chunky but not overly heavy, weighing in at a modest 420g. Dimensions are 79.9mm x 98.4mm.

 

 

The various control rings do not protrude beyond the diameter of the lens but are easily gripped thanks to the texture on the surface. First up is the usual programmable control ring, followed by the manual focus ring and then the zoom ring. The zoom ring reveals something new, having two distinct sections, PZ and MZ. These can be toggled using the release catch further back along the lens barrel. PZ is the built-in PZ zooming, operating much like any compact camera’s motorised zoom, albeit silky smooth, virtually silent and adjustable in speed. If zooming during filming, this should yield smooth transitions without any juddering or instability. Combined with the near silent nano USM AF system, this will no doubt be welcomed by videographers.

The control ring and the focusing ring are electronic and totally smooth in operation. The zoom ring is obviously smooth when set to PZ. From here, the zoom action can be operated via a switch on the camera or by turning the zoom barrel. If moved into the MZ section, then the lens has a normal manual zoom action. This is not electronic, but is still commendably smooth. There are clear and accurate focal length markings at 20mm, 24mm, 28mm, 35mm and 50mm. As these actions do not extend the lens barrel and the balance remains the same, an advantage when using gimbals.

 

 

The only other switches are the AF/MF and Stabiliser on/off. The stabiliser gives a potential 6 stops advantage, rising to 8 stops if combined with IBIS. 

Optical construction is 13 elements in 11 groups, including 3 UD (Extra Low Dispersion) and 2 Gmo Aspherical (Glass Moulded aspherical). The diaphragm comprises 9 blades. Reduced focus breathing will assist videographers. The extra wide 20mm setting does mean that immersive filming and compositions are enhanced, bringing the lens right into the action. This can be applied to street and reportage photography, creating the feeling that the image maker is a part of events rather than just an observer of them. To assist with this, the lens focuses down to 0.24m, resulting in a magnification of 0.14x at 20mm and 0.33x at 50mm. The converse is less true, as the lens is not compatible with extenders.

At the core of all this lies the performance, so let's now have a close look and see how the lens performs in the technical tests.

 

 

Canon 20-50mm f/4L IS USM PZ Performance

At 20mm, central sharpness is outstanding from f/4 through to f/8, excellent at f/11 and f/16 and very good at f/22. The edges are very good from f/4 to f/11, good at f/16 and fair at f/22. 

At 28mm, central sharpness is outstanding from f/4 to f/8, excellent at f/11 and f/16 and very good at f/22. The edges are very good from f/4 right through to f/16 and fair at f/22.

At 50mm, central sharpness is excellent from f/4 through to f/11, very good at f/16 and good at f/22. The edges are excellent from f/4 through to f/8, very good at f/11 and f/16 and good at f/22.

This is a highly accomplished performance indeed.

 

Canon 20-50mm f/4L IS USM PZ 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 32.5MP Canon R6 V and a 26.2MP Canon RP using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is under control throughout, but especially so at the centre of the image. In real-life photos, there is little sign of colour fringing.

Distortion is very close to zero, and we could happily consider the lens to be rectilinear throughout the range, comfortably exceeding even the performance of many macro lenses. The actual figures are -0.10% barrel at 20mm, -0.07% barrel at 28mm and +0.10% pincushion at 50mm.

 

Canon 20-50mm f/4L IS USM PZ 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 32.5MP Canon R6 V and a 26.2MP Canon RP using Imatest.

 

Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, but we know attractive bokeh when we see it. The lens has pleasant bokeh, but not utterly buttery smooth like some. There is just a tinge of feathery edges where there could be silky gradation. It is a very minor difference, though, and for most purposes, the out of focus effects are pleasant enough.

The flare performance is excellent in all general photography. Where bright light sources are within the frame, artefacts can be generated, but it must be said that they can look rather good as well. This not only applies to stills photography, but perhaps especially to the primary video intent of the lens. Some dramatic flare can look rather good in videography.

Vignetting is well within reasonable levels and returns figures that not so long ago would have been considered exceptional.

 

Aperture 20mm 28mm 50mm f/4 -1.4 -1.3 -0.9 f/5.6 -1.3 -1.3 -0.9 f/8 -1.2 -1.3 -0.9 f/11 -1.2 -1.3 -0.9 f/16 -1.1 -1.3 -0.8 f/22 -1.1 -1.3 -0.8

 

Canon 20-50mm f/4L IS USM PZ Sample Photos Previous Next

 

Canon 20-50mm f/4L IS USM PZ Aperture range Previous Next

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

 

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Value For Money

The [AMUK]Canon 20-50mm f/4L IS USM PZ|Canon+20-50mm+f/4L+IS+USM+PZ[/AMUK] lens is priced at £1439.00.

The only option that comes close to the PZ function is the APS-C format 18-135mm lens with the optional Canon PZ-E1 adapter, not full frame and hardly an elegant option by comparison.

Perhaps the closest, non PZ, option might be the [AMUK]Canon 15-35mm f/2.8L IS USM|Canon+15-35mm+f/2.8L+IS+USM[/AMUK], priced at £1173.00

Considering the quality and the features, though, the new lens does seem to be priced fairly and no doubt that price will settle over time.

 

 

Canon 20-50mm f/4L IS USM PZ Verdict

There is no doubting the quality of the 20-50mm PZ lens, and no doubting that the focal length range makes it a strong option for those who like to get in close, for an immersive experience. The features are geared towards the videographer and the hybrid content creator, but for general photographers, we also have a simply superb wide standard zoom lens.

Two camera bodies were used in the review, as mentioned in the introduction, and both performed without any problems at all. In the unrelenting sun of our heatwave, it must be said that it is easier to precisely compose using the eye-level viewfinder of the RP. Using the rear screen only, R6 V is fine in duller light or under studio conditions, but in full sun, it is almost impossible to check that nothing unwanted is creeping into the edge of the frame.

Whatever the camera style, it is clear that the 20-50mm f/4 L IS USM PZ lens is a very fine lens indeed that will not disappoint.

 

Canon 20-50mm f/4L IS USM PZ Pros

• Excellent to Outstanding sharpness
• Virtually rectilinear (no distortion)
• Fast, accurate and virtually silent AF
• Excellent flare resistance
• CA well controlled
• Moisture and dust sealing
• Internal power zoom
• Modest vignetting
• IS 6 stops
• IS + IBIS 8 stops

 

Canon 20-50mm f/4L IS USM PZ Cons

• Some flare in extreme situations

 

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  1. Not Doing Your Research 

How much you research and what you research will depend on the purpose of your holiday. Are you going to a place with photography in mind or is photography something that you'll just be occasionally doing on the odd excursion? If photography is the main purpose of your trip you'll need to do slightly more planning/research than if you plan on laying by a pool for the majority of your holiday, but that's not to say research still isn't important as research and knowledge about the location you're travelling to will always make your holiday run more smoothly.

Where's your hotel? How easy is it to travel to other locations from it? What rules/ customs do you need to be aware of etc. are all important questions you should be asking. When photography is your main goal you'll need to do slightly more work to find out the best locations/opportunities that are perfect for photography. As well as the internet, chat to hotel staff and if the place you're staying in has one, the local tourist office as you'll likely find useful information not necessarily listed in a guide book. Do plan correctly for the weather, terrain etc. you'll be facing on trips out, too. 

The more information you collect before your trip, the more productive you'll find it to be. In fact, if you make a shooting plan or note down a few ideas in a notebook you can take the notes with you so you're not always searching for shooting suggestions.

 

 

2. Not Leaving The Tour Group

Organised excursions can be fun but they're not always great for capturing unique shots. Coaches will stop in a layby halfway up a mountain road to give tourists the chance to snap images of the picturesque view in front of them, but everyone will tend to stand in the same place and capture the same shot. If you have time, look to see if there's somewhere else you can take your images from to give you a more unique angle that others may not have taken. When in towns or other locations where there's plenty of people to capture portraits of try to break away from the group (if it's safe to do so) as having several people stick a lens in your face can be intimidating when everyone's focusing on just one individual. If you want to stay close to the group, or a few individuals, pick a different subject to start with then move back to the person who first caught your eye and politely ask if you can take a few photos after the rest of the group's moved on to something else.

 

 

3. Not Approaching People

It's easy to shoot candidly and we're not saying you can't capture interesting shots this way, but you'll be able to take much more intimate portraits by actually talking to the person you want to photograph.  Plus, it's more polite to ask permission so do take the time to learn how to say 'hello, 'thank you' and 'please' in the language of the country you're visiting to help with your conversations and don't forget to smile. Interact with them and take the time to learn a bit about them, as a result, you'll put them at ease and you may be able to capture shots that have much more character in them. Your job is to make your subject feel comfortable so always give them eye contact and once you've got your shot(s) be polite and show your subject the results. Just be wary of some people who'll expect a tip for helping you out.

If your subject looks uncomfortable when you start taking photographs, it is usually just best to stop and move on to something else as some people will say yes just to be polite when really they'd prefer to hide from your lens.

 

 

4. Not Really Thinking About Composition

When you're on tours where schedules have to be kept or are out with the family who don't want to wait around for you to take the perfect shot, not thinking about composition enough can be an easy mistake to make. Simple things such as a wonky horizon can spoil what should be a great picture and something like this can be easily rectified by simply slowing down and checking the frame. Think about the different rules of photography, look for interesting foreground detail as well as breath-taking backgrounds, keep an eye out for clutter and consider changing your angle or perspective. By thinking as a photographer rather than a tourist who's excited to be visiting a new place you'll soon be capturing images that have meaning and tell a story rather than a collection of snaps that just show you got a bit carried away with the shutter button. 

 

5. Taking 'The Shot' Everyone Has Of A Landmark

Famous landmarks have just one problem – they're famous which means finding a shot of them which isn't already on a thousand other cameras can be difficult but that doesn't mean it's impossible. We're not saying you should avoid taking them completely as a few good shots of the 'postcard' view are easily recognisable and will probably be something others will appreciate seeing but there are plenty of opportunities to capture something a bit different, too. For more tips, have a read of this: Photographing Famous Landmarks

If you want to add to our list, please leave your tip in the comments. 
 

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Image Credit: Leica Camera

 

Leica just dropped the SL3-P, a sleek full-frame powerhouse built for pro photographers and hybrid creators. This all-metal beast packs a new 44MP BSI sensor, intelligent hybrid autofocus, 8.1K video, and built-in Content Credentials to help verify image authenticity. Plus, it's launching alongside two new lenses: a more compact 50mm f/1.4 and a razor-sharp 100mm f/2.8 macro.

 

From Leica:

When Leica launched the SL-System in 2015, they set a new standard for creative photography and video production. Based on the L-Mount, the system combines technological innovation with the precision and quality that the company is known for. Developed in close consultation with professional users, the SL-System continues to be refined, drawing on practical experience. The result is an expanding full-frame system that meets the highest photographic and cinematic standards, while also offering non-professional users easy access to high-quality image and video production thanks to its convenient, intuitive operation. Looking to the future, Leica is now significantly strengthening the SL-System by presenting the Leica SL3-P, the brand’s most comprehensive full-frame camera to date, alongside the innovative Summilux-SL 50 f/1.4 ASPH. and APO-Macro-Elmarit-SL 100 f/2.8 lenses. 

 

The New Leica SL3-P

At the heart of the SL3-P’s features are a new sensor and a new hybrid autofocus system. The 44megapixel BSI full-frame sensor provides an ideal balance of high resolution and exceptional image quality. With a dynamic range of up to 14 aperture stops, even the finest tonal gradations are captured. The Multishot mode delivers extremely high-resolution, detailed images with up to 176 megapixels, whilst the ISO range of 50 to 200,000 ensures high image quality and flexibility, even in challenging lighting conditions. The new hybrid autofocus system combines three focus technologies – phase detection (PDAF), depth mapping (object detection AF) and contrast detection (contrast detection AF) – to achieve quick, precise and reliable focusing. With continuous shooting at up to 40 frames per second with full autofocus support, improved tracking performance with 819 AF points, and smart subject recognition, the SL3-P can handle even the most dynamic of subjects with ease.

In terms of video, the latest addition to the SL3 family enables recording at resolutions of up to 8K. This includes 8.1K Open Gate in 3:2 format at up to 24p, HDMI RAW 8K Open Gate and 8K at 30p using the full size of the sensor. For smooth motion rendering, the camera offers 5.9K recording at up to 60 frames per second, as well as detailed slow-motion footage in 4K at 120p. Integration of the Apple ProRes codec at up to 5.8K guarantees outstanding image quality, and together with the two new incamera LUTs – Leica Pure and Leica Cine – for the L-Log colour space, this provides maximum freedom in professional post-production. This not only makes the SL3-P suitable for demanding film productions but also for high-quality hybrid workflows. It allows footage to be optimised for various channels and formats, and framing to be determined retrospectively without any loss of quality.

 

Image Credit: Leica Camera

 

Manufactured in Germany, the SL3-P features a deliberately minimalist design with black control elements and without the red Leica logo. Its solid, full-metal body ensures maximum stability and reliability, while IP54 certification provides effective protection against dust and water splashes. The SL3-P also features the L-Mount, offering maximum flexibility for photography and filming with the exceptionally wide range of compatible lenses from L-Mount Alliance partners.

The SL3-P offers a unique combination of outstanding image quality, precision, feel, reliability and speed, as well as an unrivalled Leica user experience. This is based on well-conceived ergonomics, fully customisable controls and a captivatingly clear user interface. The minimalist icon and menu design, which strictly separates photo and video modes, ensures particularly efficient navigation. A special colour code – red for photos and yellow for videos – visually distinguishes between the two modes. In addition, the user interface automatically adapts to the camera’s orientation, displaying all information clearly and legibly on the high-resolution tilting screen in both vertical and horizontal positions. The exceptional Leica user experience is maintained through ongoing, uncompromising development. Regular firmware updates based on customer feedback are conveniently made available for the SL3-P via the Leica FOTOS App. This means that the camera embodies both modernity and longevity – from the choice of materials and continuous enhancements to the software. It is a future-proof investment that offers a complete Leica experience from the very first use.

The SL3-P’s comprehensive connectivity ensures a seamless professional workflow. The Leica FOTOS App uses fast Wi-Fi, Bluetooth and USB-C connections to link the camera directly to mobile devices. This enables fast downloads of DNG, JPG and video files as well as full remote control via a smartphone or tablet.

Leica Looks can be applied as soon as the shutter is released, and their intensity can be adjusted either in the camera or later in the Leica FOTOS App. Native tethering support for Lightroom Classic and Capture One provides a stable, direct connection between the camera and computer, facilitating immediate image review in the studio. With Camera-to-Cloud via Adobe Frame.io, photos and videos can be transferred directly from the camera to the cloud, making them available for post-production immediately. In addition, the SL3-P is equipped with pioneering Content Credentials technology, developed in line with the Content Authenticity Initiative (CAI), which enables images to be signed with tamper-proof metadata if desired, thereby protecting creative professionals’ intellectual property. 

 

The New Summilux-SL 50 f/1.4 ASPH.

The Leica SL-System is renowned not only for its high-performance cameras, but also for its range of lenses offering exceptional optical quality. The arrival of the Leica the Summilux-SL 50 f/1.4 ASPH. once again demonstrates its innovative strength in lens manufacturing by presenting the world’s most compact autofocus lens with this focal length and a lens speed of f/1.4. The large aperture lets you capture high-quality images even in challenging lighting conditions, while also producing precise subject isolation and a soft, natural bokeh. Its compact dimensions are the result of state-of-the-art manufacturing processes, ensuring ‘Made in Germany’ finesse. With a diameter of 74 mm, a length of just 75.5 mm and a weight of 584 g, it combines maximum portability with the exceptional image quality for which Leica is renowned. Eleven aperture blades, two aspherical lens elements and perfectly matched, high-quality glass types produce the lens’s distinctive image aesthetics. The fast autofocus enables rapid operation and focuses by means of a particularly quiet mechanism. With a close focus distance of just 50 cm, an E67 filter thread and an L-Mount, the new Summilux-SL is a highly versatile standard focal length lens. The precision-crafted, full-metal lens body forms a unit with SL-Cameras that is protected against dust and water splashes as per the IP54 standard. The AquaDura coating also ensures reliable protection even under demanding conditions. 

 

Image Credit: Leica Camera

 

The New APO-Macro-Elmarit-SL 100 f/2.8

The Leica APO-Macro-Elmarit-R 100 f/2.8 was a milestone in optical craftsmanship when it was released in 1987. To honour this classic lens, Leica is now introducing the new APO-Macro-Elmarit-SL 100 f/2.8. Like its predecessor, this SL-System macro lens delivers outstanding imaging performance right to the edges thanks to apochromatic correction. With a close focus distance of just 30 cm and a maximum reproduction ratio of 1:1, this lens reveals details that are invisible to the naked eye. It is also ideal for use as a telephoto lens in portrait photography. The nine-blade aperture, in conjunction with the entire optical design, ensures a harmoniously rendered background. The robust, full-metal LMount body is 137.6 mm long and weighs 862 g, including the supplied lens hood. The front element is protected from external influences by an AquaDura coating, while the E67 filter thread opens up additional creative possibilities.

Starting on the 25th of June 2026, the Leica SL3-P will be available worldwide from Leica Stores, the Leica Online Store and authorised dealers. The recommended retail price is £5,150.00 / €5,990.00 including VAT. and $6,690.00 excluding VAT.

 

Image Credit: Leica Camera

 

Leica is also offering three attractive kit deals for the SL3-P to mark its launch. These are the SL3-P 28–70 Vario Kit, priced at £6,100.00 / €6,990.00 including VAT and featuring the Vario-Elmarit-SL 28–70 f/2.8 ASPH.; the SL3-P 24–70 Vario Kit, priced at £6,480.00 / €7,490.00 including VAT and featuring the Vario-Elmarit-SL 24–70 f/2.8 ASPH.; and the SL3-P 24–70 & 70–200 Vario Kit, priced at £8,560.00 / €9,790.00 including VAT and featuring both the Vario-Elmarit-SL 24–70 f/2.8 ASPH. and the Vario-Elmarit-SL 70–200 f/2.8 ASPH.

The Leica Summilux-SL 50 f/1.4 ASPH. and the Leica APO-Macro-Elmarit-SL 100 f/2.8 will be available worldwide from Leica Stores, the Leica Online Store and authorised dealers from the end of 2026. The recommended retail prices are £3,890.00 / €4,500.00 including VAT for the Summilux-SL 50 f/1.4 ASPH. and £2,110.00 / €2,450.00 including VAT for the Leica APO-Macro-Elmarit-SL 100 f/2.8.

For more information, please visit the Leica Camera website.