DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

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

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

 

Gear Suggestions

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

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

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

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

  Focus And Aperture

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

 

RAW Or Jpeg?

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

 

Exposure Times

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

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

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

 

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

Watch The Display

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

 

Add Interest

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

   

Canva has launched Affinity for iPad, an app built for touch and Apple Pencil that puts sketch, vector, photo editing and page layout in a single .af file. It includes a new Sketch Studio, iPad-first tools such as the Mask Tool and Sketch to Shapes, and AI features through Canva AI Studio, which need a Canva premium account. The core tools are free for individuals, and the app is available now in the App Store, depending on regional rollout. A free Canva account is needed to use it.

 

From Canva:

 

• Affinity for iPad combines pro-grade vector graphics, photo editing, illustration, page layout and AI.
• Brand new Sketch Studio optimised for Apple Pencil and touch creates the perfect environment for illustration or to convert sketch to vector.
• AI optimised for human creativity: it's designed to empower designers, not replace them.

 

 

Canva, the visual communication platform used by hundreds of millions of people, has today launched Affinity for iPad. Created specifically for the touch-first interface and unique capabilities of iPad and Apple Pencil, the app brings professional sketch, vector, photo and layout editing together with the same pro-level power of Affinity on the desktop.

Affinity for iPad introduces the brand new Sketch Studio for freehand drawing and simplifying complex sketch-to-vector workflows, as well as iPad-first features like the Mask Tool and Sketch to Shapes. There’s also Affinity’s powerful photo editing, and a full selection of AI tools in the Canva AI Studio.

Professional creativity has long been split across apps. Switching takes time and loses momentum: users draw in one app, build vectors in another, use a third to retouch photos, and work in yet another to lay out a finished document. Creativity thrives when these tools work together and Affinity for iPad is making that smoother than ever, allowing creatives to move seamlessly between tasks, maintain momentum, and bring their ideas to life.

 

Affinity for iPad

 

With Affinity for iPad, creatives can take a project from first sketch with Apple Pencil to print-ready file on iPad alone. And it's free for individuals, just like Affinity on desktop, which has recorded more than seven million sign-ups since launching a year ago.

“Creative work doesn't stay in one discipline, so your tools shouldn't either,” said Duncan Clark, CEO of Pro Design at Canva. “Since we brought Affinity together on desktop, our biggest user request has been the desire to bring it to iPad. Today we're delivering it: a fully-fledged, professional app built for touch.”

One file, from start to finish

Sketch, vector design, photo editing, and layout all live in the same .af file, so users can move between them with a tap. Non-destructive edits render in real time and nothing needs to be exported, converted or remade.

• Sketch: Rough out concepts the moment they land, with the unique capabilities of Apple Pencil like pressure and tilt in every mark, thick where you press and soft where you tilt. A full brush library comes with controls to shape each brush into the exact tool you need. Sketches stay live in the file to build on, rather than trace again.

 

Affinity for iPad sketch to vector

 

• Vector: Responsive, smooth and under control. Build a full logo or icon system with real curves and precise nodes, or bring a rough drawing through from Sketch. Sketch to Shapes turns hand-drawn forms into clean vector shapes.

 

Affinity for iPad Vector Studio

 

• Photo: Fine-tune RAW files, make intelligent selections, retouch in real time and build full composites at the shoot or on the go. Users can even sketch over a photo first to plan where a subject or prop should sit. The Mask Tool finds the boundary as the Apple Pencil pixel precision runs along a challenging edge, so hair, fur and foliage take a stroke rather than an afternoon. Every mask, grade and retouch stays live and undoable, even thousands of layers deep.

 

Affinity for iPad Pixel Studio

 

• Layout: Create multi-page documents such as ‘zines, lookbooks and photo books, with text and images flowing across pages; master pages and grids keep everything consistent, and typography exactly right. Projects go all the way to a print-ready file with proper colour handling.

 

Affinity for iPad Layout Studio

 

Built for touch, not shrunk to fit

The new app’s interface is designed for iPad, with tools where the hand reaches for them and the clutter stripped back so nothing stands between the creative and their work.

Affinity supports the advanced capabilities of Apple Pencil Pro, including pressure, tilt, barrel roll, squeeze and hover, alongside natural gestures. Every adjustment, filter, and effect updates live, heavy files with thousands of editable layers stay fast and smooth. And like its desktop counterparts, Affinity for iPad is compatible with all major file types.

 

Powerful AI that supports your craft

AI tools are brought to Affinity for iPad for the first time in the Canva AI Studio, offering a powerful set of features that leverage the unique capabilities of iPad to tackle the tedious tasks, so creatives spend more time on the decisions only they can make, without ever giving up control.

Designers can use Generative Expand to fit an image to a new format or bleed, then set the type and export a print-ready document. An illustrator pulling in a low-resolution reference or texture might scale it up to meet print or merchandise needs, before applying it over their vector artwork.

For photographers, motion blur reduction and noise reduction can be applied instantly. Decompose Layer splits a flat image into editable layers.
Live controls and real time rendering mean users can fine-tune how much adjustment is applied and shape every detail such as how much grain to clear, or how softly a background falls away. Canva AI Studio is there when users want it and out of the way when they don't.

 

Leading the way on iPad

Affinity has been enabling serious creative work on iPad and Apple Pencil since 2017, when Affinity Photo was named Apple's iPad App of the Year. It signaled that professional-grade design didn’t need to be tied to a desktop.

Affinity for iPad builds on that legacy, and has been shaped by feedback and requests from the designers, illustrators, and photographers who make up the professional community, including the Canva Designer Advisory Board, industry experts, and creative forums.

“Affinity has built groundbreaking tools for iPad for almost a decade, and our community has shaped every step,” said Duncan Clark. “This is the result of everything we've heard and learned, worked over until every gesture and panel felt right under the hand.”

“Affinity for iPad delivers the full power of Affinity, together with the versatility and portability of iPad,” said Affinity Head of Product Design Neil Ladkin.

“Every development decision was made by people who create on iPad themselves, from how the Apple Pencil responds to where the tools sit. If you’re the sort of person who rotates the canvas 40 times to get one line right, Affinity for iPad was made by people who’ve done exactly that.”

 

Free for individuals

Affinity for iPad’s core sketch, vector, photo editing, and layout tools are free for individuals. Canva AI features can be accessed with a Canva premium account.

Affinity for iPad is available now* in the Apple iPad App Store. Customers need to create a free Canva account to use the app.

Read more about Affinity for iPad at www.affinity.studio/ipad-app.

 

*Subject to App Store regional rollout timings

SPONSORED FEATURE  |  In partnership with Zoner Studio

 

Adobe Lightroom has long been a popular choice for photographers, but it’s far from the only option. We take a closer look at how Zoner Studio compares, where each application excels, and why photographers might want to consider an alternative.

Choosing the right photo editing software is almost as important as choosing the right camera. Whether you’re processing RAW files from a weekend landscape shoot, organising thousands of family photographs or perfecting a portrait, the software you use can make a significant difference to your workflow.

For many photographers, Adobe Lightroom has become the familiar choice. Its combination of image management, RAW processing and powerful editing tools has helped establish it as a mainstay of digital photography.

But the photography software market has evolved considerably, and alternatives such as Capture One, DxO PhotoLab and Zoner Studio offer photographers different approaches to managing and editing their images.

One particularly interesting option is Zoner Studio, a Windows-based application that combines photo organisation, RAW processing, advanced image editing and even video editing within a single package.

So, how does it compare with Lightroom, and could it be a better fit for your photography?

 

1. Getting Started: Familiarity vs Flexibility

 

Zoner Studio Manager provides direct access to folders, photographs and organisational tools.

 

Adobe Lightroom Classic has an established workflow built around its Library and Develop modules. Photographers can import, catalogue, organise and process large collections of images without leaving the application.

For existing Lightroom users, the familiarity of this environment is a considerable advantage. Years of experience, carefully organised catalogues and customised presets can make switching software a significant undertaking.

Zoner Studio takes a slightly different approach, organising its capabilities into dedicated modules.

The Manager module handles photo organisation, while Develop provides non-destructive RAW editing. For more advanced adjustments, the Editor module introduces layers, masks and creative editing tools.

Although Zoner Studio uses separate Manager, Develop and Editor modules, these are integrated within one application. Photographers can organise files, process RAW images, use layer-based editing and prepare video projects without having to install additional editing plug-ins or move between separate applications for these core tasks. This is one of its strongest practical advantages, particularly for enthusiasts who want a complete workflow in one place.

For newcomers, both applications involve a learning curve. Lightroom benefits from an enormous library of tutorials and an established user community, while Zoner Studio offers its own learning resources and a workflow that may appeal to photographers who prefer working directly with familiar folders.

 

2. RAW Editing: Getting the Best From Your Images

 

Zoner Studio’s Develop module provides non-destructive RAW processing and local adjustments.

 

RAW processing is central to modern photography, and both applications offer the essential tools photographers expect.

Exposure compensation, white balance, contrast, highlights, shadows, colour adjustments, sharpening and noise reduction are all available, providing considerable control over the finished photograph.

Lightroom Classic is particularly well established in this area. Its Develop module offers extensive camera and lens support, sophisticated colour adjustments and powerful selective editing tools.

 

Adobe Lightroom Classic: Develop module showing RAW adjustment controls. Screenshot supplied for editorial review.

 

Zoner Studio’s Develop module also provides a comprehensive range of RAW adjustments, including tone curves, lens corrections and local adjustments. Its Advanced Color Shift tools allow targeted changes to hue, saturation, luminance and colour uniformity, going beyond broad global HSL adjustments.

Photographers can refine an image’s exposure, recover detail, adjust colour and apply corrections without permanently altering the original RAW file.

For those processing large numbers of images, presets and batch editing can help maintain a consistent appearance while reducing repetitive work.

Lightroom Classic offers advanced AI-powered noise reduction for challenging files, particularly at high ISO settings. Zoner Studio does not currently offer the same AI Denoise feature, although Zoner says its recent noise-reduction improvements produce results close to Lightroom’s on many camera sensors. Results will vary by image and camera.

However, photographers whose primary requirements are exposure adjustment, colour correction, local editing and efficient RAW development may find that Zoner Studio provides the tools they need.

Ultimately, image quality depends on more than the software alone. The original photograph, camera profile, editing decisions and intended output all play an important role.

 

3. AI Editing: Smarter Tools, Less Repetitive Work

 

AI-powered masking helps photographers make targeted adjustments.

 

Artificial intelligence is increasingly becoming part of everyday photographic editing. Rather than replacing the photographer’s creative decisions, AI-powered tools can help automate time-consuming tasks and make complex adjustments more accessible.

Adobe Lightroom offers sophisticated AI masking, subject and sky selection, distraction removal and generative editing capabilities. These features can be particularly valuable when editing portraits, landscapes or images containing unwanted distractions.

Zoner Studio also offers intelligent masking in Develop for skies, subjects, objects and backgrounds, alongside face retouching. These tools help photographers make targeted adjustments without manually tracing every selection. Macro and landscape photographers will greatly enjoy the auto-stacking features here as well.

Other intelligent features include AI Resize and AI Close-ups, alongside AI Masking. According to Zoner, these three tools process images locally on the computer rather than sending the photographs to external servers, an appealing consideration for photographers concerned about privacy.

There are differences between the two approaches. Adobe’s generative technology provides capabilities that Zoner Studio does not currently replicate, while Zoner focuses on integrating intelligent assistance into its broader editing workflow.

The best choice depends on how you edit. Some photographers will value generative tools, while others may prioritise efficient selection, organisation and conventional image enhancement.

 

4. Advanced Editing: Where Zoner Studio Stands Out

 

Zoner Studio’s Editor module supports layer-based creative editing.

 

One of the most significant differences between Lightroom Classic and Zoner Studio becomes apparent when photographers want to move beyond conventional RAW processing.

Lightroom Classic is primarily designed for photographic organisation and non-destructive editing. For complex compositing, multiple image layers, text overlays and certain types of retouching, photographers often move their images into Adobe Photoshop or another dedicated editor.

Zoner Studio includes layer-based capabilities within both its Develop and Editor modules. Develop supports local adjustments using masks, while the Editor module provides multiple image layers, blending modes, masks and creative editing tools without requiring a separate application.

For example, a photographer might process a RAW landscape in Develop before moving into Editor to combine elements, add text or make more detailed adjustments.

This integrated approach can be attractive to enthusiasts who want a wider range of creative possibilities without maintaining separate applications.

Photoshop remains a highly sophisticated editing environment with an extensive professional toolset. Zoner Studio is not intended to compete directly with Photoshop or replace every specialist Photoshop workflow. Its appeal is bringing a broad set of everyday photographic and creative tools together.

Nevertheless, having masking and layered adjustment tools in Develop, alongside more extensive layer-based editing in Editor, is a meaningful advantage for photographers who regularly move between RAW processing and creative work.

 

5. Photo Organisation: Keeping Everything Under Control

 

As photographic collections grow, organisation becomes increasingly important. A single weekend photographing wildlife or motorsport can generate hundreds, sometimes thousands, of images. Finding the best photographs quickly is just as important as editing them.

Lightroom Classic provides strong catalogue-based management, including keywords, ratings, collections and extensive search capabilities. For photographers maintaining large, carefully structured libraries, these tools can be invaluable.

Zoner Studio’s Manager module provides ratings, colour labels, keywords and metadata-based search of any metadata parameter one can think of. Photographers can work directly with files in their existing Windows folders without first importing them into a mandatory proprietary catalogue and the metadata search works both in the catalogue and locally. Zoner also offers an optional catalogue for users who prefer indexed library management and take advantage of all the benefits that come with using it.

Both approaches have advantages. Lightroom Classic uses a catalogue to manage photographs, but the original image files can remain stored locally rather than in Adobe’s cloud. Zoner Studio gives users a choice between direct folder-based working and an optional catalogue, depending on their workflow.

The deciding factor may be how your photographs are currently stored and whether you’re willing to adapt an established workflow.

 

6. Beyond Photography: Video, Sharing and Printing

 

An example of photographic adjustments using Zoner Studio.

 

Modern cameras do considerably more than capture still photographs, and many photographers now work with video alongside their images.

Zoner Studio includes a dedicated video editing module, allowing users to assemble clips, add transitions and create video projects within the same software. It also provides tools for printing photographs and creating photo products.

For photographers who enjoy producing prints, sharing albums or creating occasional videos, having these capabilities in one application is convenient.

Adobe Lightroom offers extensive cloud integration and synchronisation across desktop, mobile and web environments. This is a particular strength for photographers who want to edit images on different devices or move between a computer, tablet and smartphone.

Zoner Studio offers optional cloud storage and access to Zonerama, its online photo gallery platform, but photographers can use the Windows application with local files without placing their photo library in a cloud account. Lightroom Classic also supports local originals and local catalogues, so a cloud account should not be confused with a requirement to upload every photograph. Adobe’s connected services and Lightroom cloud workflows are nevertheless an advantage for photographers who edit across desktop, mobile and web. Zoner’s desktop editing software remains Windows-based.

 

7. Pricing: How Much Does Your Editing Workflow Cost?

 

Cost is another important consideration, particularly for enthusiast photographers who may not use editing software every day.

Zoner Studio is available by subscription, with two software updates included for the duration of your active license. Packages and benefits may vary, so it is worth checking the current offering directly.

Adobe offers Lightroom through different subscription packages, with included applications and features varying by plan and region. Because pricing and packages can change, readers can compare the latest options directly on the official Adobe Creative Cloud plans page and the Zoner Studio pricing page.

Beyond the headline subscription cost, it is worth considering the tools included in each workflow. Zoner combines RAW development, layer-based editing, focus stacking and other creative functions in one application. Some Adobe Photography plans include Photoshop, while third-party plug-ins are optional, so the best value depends on the tools each photographer actually needs.

Zoner Studio is not a perpetual-licence product, so photographers looking to avoid subscriptions altogether should bear that in mind.

However, its comparatively modest annual cost and integrated editing capabilities make it an attractive proposition for photographers seeking good value. Prices and packages are subject to change, so it’s worth checking the latest offers before subscribing.

 

8. Zoner Studio vs Lightroom: At a Glance

 

Feature Zoner Studio Adobe Lightroom Classic Operating System Windows Windows and MacOS RAW processing Yes Yes Non-destructive editing Yes Yes AI-powered masking Yes Yes Generative removal No equivalent built-in feature Yes Layer-based image editing Develop masks and built-in Editor Requires another application Photo organisation Direct folders or optional catalogue Catalogue; local files supported Video editing Built-in video module Limited video capabilities Mobile editing ecosystem No equivalent full mobile editor Lightroom mobile integration Cloud storage 20GB included Depends on plan Free trial 7 days 7 days Subscription Zoner Studio pricing Adobe plans Local-file workflow Yes, without cloud upload Yes, with Lightroom Classic Layer-based editing Included in Editor Separate editor requireds Focus stacking / exposure bracketing Supported Workflow depends on feature and tools AI Masking / Resize / Close-ups processing Locally, according to Zoner Varies by Adobe feature

 

9. What About Capture One and DxO PhotoLab?

 

Lightroom and Zoner Studio aren’t the only applications worth considering.

Capture One has developed a strong reputation among professional and enthusiast photographers, particularly for colour control, RAW processing and tethered shooting.

DxO PhotoLab is another established alternative, with particular strengths in optical corrections and advanced noise reduction. Both deserve consideration, especially for photographers with specialised requirements.

However, neither changes the central appeal of Zoner Studio: a broad collection of photographic editing, organisation and creative tools within one comparatively affordable application.

For photographers seeking an integrated solution rather than a specialist tool for one particular task, that combination is worth exploring.

 

10. Which Software Should You Choose?

 

There’s no universal answer to the question of which photo editing software is best.

Adobe Lightroom Classic remains a strong choice for photographers who already have established catalogues, depend on Adobe’s ecosystem or need its particular AI and cloud-based capabilities. It also makes sense for Mac users, who cannot currently run Zoner Studio natively.

Zoner Studio, meanwhile, presents a compelling alternative for Windows photographers who want powerful RAW processing, photo management and more advanced creative editing tools in one application.

Its integrated layer-based Editor, focus stacking and exposure bracketing tools, video capabilities, optional rather than compulsory cloud storage, and competitive subscription pricing make it especially appealing to Windows enthusiasts seeking a broad editing toolkit in one application. Zoner also says that AI Masking, AI Resize and AI Close-ups run locally, a potential benefit for users who prefer not to send their photographs to external processing servers.

And for photographers who have never ventured beyond Lightroom, trying something different can be a worthwhile exercise.

After all, the most important consideration isn’t which application has the longest feature list, but which one helps you achieve the results you want with the least unnecessary effort.

 

Discover Zoner Studio for Yourself

 

The best way to decide whether Zoner Studio suits your photography is to try it with your own images.

Zoner Studio offers a free seven-day trial of the full application, allowing photographers to explore its RAW editing, photo management, AI tools and creative features before committing to a subscription.

Whether you’re considering a move away from Lightroom or simply curious about what other editing applications can offer, Zoner Studio is well worth a closer look.

Discover Zoner Studio and start your free trial here.

Sponsored content produced in partnership with Zoner Studio. Product features and subscription packages are subject to change; consult the official product websites for current details.

 

 

Shimoda Designs has announced the Action X v3 collection, updating its line of technical outdoor camera packs based on user feedback. The refreshed lineup includes a new 35-litre size designed to clear strict airline carry-on limits while housing larger lens setups. Key updates across the range feature expanded side access for dual camera setups, thicker ventilated harness padding, extra Capture Clip anchor points, and completely PFAS-free materials.

 

From Shimoda:

 

Shimoda Designs, the Adventure Photography brand, presents the Action X v3 Collection, the latest generation of its flagship outdoor adventure camera backpacks.

Action X packs have been to the peak of Mount Everest and to the farthest reaches of the globe, and the v3 collection has been upgraded to address requests from Shimoda’s passionate community of users. A new, larger side door gives access to up to two cameras with mounted lenses, while a more padded and ventilated 3D mesh shoulder harness delivers significantly improved all-day comfort. Capture Clip mounting points now feature on both shoulder straps and the waist belt, and a new removable upper liner system allows each pack to adapt to different-sized Core Units.

Creators who travel will welcome the new 35-litre size, the most requested addition to the range. At 50.8 cm tall, it is one inch shorter than the existing 40-litre pack, so it meets stricter international carry-on regulations while still fitting the Large DSLR Core Unit. The Action X35 v3 Pro Kit ships with that Core Unit, so it is ready off-the-shelf to carry two cameras and 4-6 lenses, or a camera with a 180-600mm or 200-600mm superzoom lens.

Giles House, Channel Marketing Manager, Shimoda Designs, UK commented, “Action X has always been our most technical pack, and v3 is the result of listening closely to the photographers who carry it in the toughest conditions. The larger side access, the more comfortable harness and the new 35-litre carry-on size answer the requests we hear most often. With adjustable torso height and optional women’s straps, it’s a pack that can be properly fitted to almost anyone, wherever their adventures take them.”

The Action X v3 Collection comes in five sizes – 25, 30, 35, 40 and 50 litres – available as a backpack on its own or as a Starter or Pro Kit supplied with a Core Unit. Adjustable torso height makes Action X the only camera backpack that can be fitted to someone from 1.52M to 1.82M tall, and optional women’s straps are available for all models and colourways, giving a dialled-in fit for female users. A 7-litre roll-top means there is always space for a little bit more.

Available in four colourways – Black, Cappuccino, Yellow and Burnt Red – the Action X v3 also pays respect to the planet: all Shimoda fabrics, coatings and hardware are 100% PFAS-free, with no ‘forever chemicals’.

 

 

Key features include:

 

New Larger Side Access

Access up to two cameras with mounted lenses through the side door. The larger side access is also compatible with Shimoda’s optional Large Top Loader bag, which can be removed from the backpack and carried on its own as a shoulder bag.

 

New 35-litre Pro Kit

At 50.8 cm tall, the new 35-litre pack meets stricter international carry-on regulations and ships with the Large DSLR Core Unit, ready to fit two cameras and 4-6 lenses, or a camera with an 180-600mm or 200-600mm superzoom lens.

 

More Padded and Ventilated Harness

The more comfortable, padded and ventilated 3D mesh harness from Explore v2 has been brought over to Action X for significantly improved all-day carrying comfort.

 

Three Capture Clip Mounting Points

Updated from Shimoda’s original Capture Strap, the Capture Clip loop provides three mounting points – on the left and right shoulder straps and the right side of the waist belt.

 

Adjustable Torso Height

The only camera backpack that can be fitted to someone from 1.52M to 1.82M tall.

 

Optional Women’s Straps

All models and colourways of the Action X v3 are available with women’s straps, for a dialled-in fit for female users.

 

Removable Upper Liners

Easily adaptable to different-sized Core Units, or remove it altogether. Available in different sizes.

 

New Large Core Units

New Large Mirrorless and Large DSLR Core Units allow side access to up to two cameras with mounted lenses. They feature Shimoda’s rigid aluminium frame construction, a removable zippered dust cover and low-profile, compression-moulded walls and dividers. The Large Mirrorless fits the Action X30 v3 and larger, and the Large DSLR fits the X35, X40 and X50. Both are designed exclusively for Action X v3.

 

Compatible with RST Core Units

Rear, Side and Top access Core Units maximise equipment storage for each size of pack – fit a 600mm f/4 in the 40 and 50-litre packs, or a 200-600mm in the 25-litre.

 

7-litre Roll-Top

Volume adjustment so there is always space for a little bit more.

 

 

Two Tripod or Water Bottle Pockets

Easily store up to two tripods – very popular with event and night sky photographers.

 

Hidden AirTag Sleeve

So you always know where your backpack is.

 

PFAS Free

All Shimoda fabrics, coatings and hardware are 100% PFAS-free. No forever chemicals.

 

Shimoda products come with a 5-year warranty

 

Pricing & Availability

The Action X v3 Collection consists of five sizes in four colourways. The Action X25 v3 is priced at £305.00 including VAT, or £380.00 as a Starter Kit with the Small Mirrorless Core Unit. The Action X30 v3 retails at £325.00, or £405.00 as a Starter Kit with the Medium Mirrorless Core Unit. The new Action X35 v3 Pro Kit, supplied with the Large DSLR Core Unit, is £455.00. The Action X40 v3 and X50 v3 retail at £360.00 and £370.00 respectively, or £445.00 and £465.00 as Starter Kits with the Medium DSLR Core Unit. The X25 and X30 are offered in Black, Cappuccino and Burnt Red, the X40 and X50 in Black, Cappuccino and Yellow, and the X35 in all four colourways. The new Large Core Units are priced at £98.00 (Mirrorless) and £120.00 (DSLR), and optional women’s shoulder straps start from £35.00.

 

About Shimoda

Shimoda Designs was founded in 2017 by Peter Waisnor and Ian Millar. A couple of photographers who also share a love for camera bags, design, and product development. Our products are a direct reaction to the outdoor lifestyles we live as adventure photographers. We believe that better images can be created by stronger and healthier photographers. This is why our backpacks are designed to get you and your camera where you need to be with greater energy and focus.

For more information, please visit the Shimoda website.

 

Backlit teasels and fine cobwebs make up our beautifully captured ‘Photo of the Week’ (POTW) winning image. rivergypsy has created a moody black-and-white shot of Cobwebs and Teasels where the lighting is fantastic. The rim light hits the spiky teasels and fine web threads, setting their bright edges off the dark background. The soft, blurry background with its small circles of bokeh gives the shot a dreamy feel, and the dried flower heads on the left bring some extra texture. The subject suits black and white well, and it’s a brilliant capture.

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. See the terms & conditions and prize procedure for more information.

It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards! Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners.

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

 

 

Choose One Spot And Stay There

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

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  Don't Take So Many Photos 

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

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

 

Use Less Equipment 

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

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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 Archie2022 (Day 30 - Winter Weather).

 

Daily Theme Runners-Up

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

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

  Day 25

Light Trails

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Day 26

Busy Places

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Day 27

Graveyards

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Day 28

Creative Distortion

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  Day 29

City Twilight Shots

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Day 31

Halloween

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

 

The latest Sigma Contemporary lens for APS-C format completes a trio of optics, all sharing design and handling and sporting fast (bright) f/2.8 apertures. The 10-18mm f/2.8, 18-50mm f/2.8 and now the 50-120mm f/2.8 offer a set of three lenses, weighing between them less than 1kg and being a potentially excellent option when travelling light. Using the Sony A7R III in APS-C mode results in around 18MP, so let's venture forth and see if the performance and handling make the new lens a viable choice.

 

Sigma 50-120mm f/2.8 DC OS Contemporary Handling and Features

Just in passing, although not of direct relevance as to the lens quality, the first impression with current Sigma lenses is of course the packaging. The box is very high quality, the internal packing secure but not wasteful and the overall appearance manages to convey careful environmental consideration but at the highest quality level. Small booklets explain the ethos of Sigma and of this lens in particular, the language of these being sharp and to the point. Marketing perhaps, but there is no harm in setting out the stall so to speak, especially when free of excess meandering.

Finish of the lens is up to the usual Sigma high standard and it looks good on the A7R III body. Handling is slick and assured. As well as the Sony fit, Canon RF and Fujifilm X mounts are also available. The lens is dust and splash resistant. It also sports a Fluorine coating on the front element to repel dust, moisture and grease.

 

 

Weighing in at a modest 390g and measuring a svelte 66.8mm x 99.0mm, travel is most definitely a core part of the repertoire. The concept as offered suggests a trio of lenses that cover in total a range of 10mm to 120mm. This is true, however, it is worth considering that there is no overlap. So, for example, taking the 18-50mm and this 50-120mm, if a photographer was very much inclined to shoot at around, say, 50mm then quite a bit of lens changing could be the result. Taking just this new lens, then the telephoto zoom photographer will not be disappointed with the range, equivalent to 75-180mm in 35mm format terms.

There is a provided round lenshood that bayonets cleanly into place. It fits positively and does not need a retaining catch to hold it in place. Within the bayonet fit for the hood is a conventional 55mm filter thread.

As we explore the lens, first up is the wide and well gripped zoom ring. This does extend the lens in use, not as smooth as an electronic zoom but nonetheless slick enough and with sufficient tightness to minimise any chance of zoom creep. The ring is clearly marked at 50mm, 60mm, 70mm, 80mm, 100mm and 120mm.

 

 

Behind this is the manual focus/control ring and finally the aperture ring. This is a manual setting with generously provided click stops at one third of a stop intervals. There is also an “A” setting, but unfortunately no catch to lock the setting either into A or into the manual settings. It is entirely possible to nudge the setting into or out of A, especially when using the viewfinder.

AF is driven by an HLA actuator, standing for “High Response Linear Actuator”, and is fast, accurate and virtually silent. Closest focus is 23cm at 50mm, for a maximum magnification of 1:3 and 55cm at 120mm for a maximum magnification of 1:4.7. Whilst not a macro lens, the very close focus is nonetheless extremely useful and helps to make the lens a very practical option.

Optical construction is 18 elements in 13 groups, including 1 FLD, 3 SLD (Super Low Distortion) and 4 Aspherical. The diaphragm comprises 11 blades, aiming for as round an aperture as possible for improved bokeh. With videographers in mind, the design features minimal focus breathing. Seeing the viewfinder image freeze into position as the Optical Stabilisation (OS2) does its work is always impressive, and the improvement here is 6.5 stops at 50mm reducing to 4.5 stops at 120mm.   

In general use, handling is impeccable and it makes a great travel companion that can cover just about all telephoto eventualities. Let's now have a look at the technical results to see if they match up to the sound and reliable handling.

 

 

Sigma 50-120mm f/2.8 DC OS Contemporary Performance

At 50mm, central sharpness is excellent from f/2.8 through to f/8, very good at f/11 and f/16 and good at f/22. The edges are excellent from f/2.8 to f/5.6, very good from f/8 to f/16 and good at f/22.

At 70mm, central sharpness is excellent from f/2.8 to f/11, very good at f/16 and good at f/22. The edges are very good at f/2.8 and f/4, excellent at f/5.6 and f/8, very good at f/11 and f/16 and good at f/22.

At 100mm, central sharpness is excellent from f/2.8 to f/11, very good at f/16 and good at f/22. The edges are fair and f/2.8, good at f/4 and f/5.6, excellent at f/8 and f/11, very good at f/16 and good at f/22.

This is an excellent result, and even the slight softness at 120mm at the edges could be a very attractive effect for portraits. Apart from that, the lens is effectively razor sharp throughout.

Distortion is not a problem, the camera and lens work in harmony to produce an almost rectilinear result. Small amounts of distortion can be measured: -0.33% barrel at 50mm, +0.18% pincushion at 70mm, and +0.23% pincushion at 100mm. These are really insignificant amounts even for architectural photography.

 

Sigma 50-120mm f/2.8 DC OS Contemporary MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a Sony A7R III using Imatest software (www.imatest.com). Want to know more about how we review lenses?

 

CA is tightly controlled both at the centre and the edge, and although small amounts can be measured, there is very little sign of any colour fringing.

 

Sigma 50-120mm f/2.8 DC OS Contemporary Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence, they usually cost more.

For this review, the lens was tested on a Sony A7R III using Imatest software (www.imatest.com).

 

Bokeh is impressively smooth and offers an attractive backdrop to the main subject. This is ideal for portraiture and flower photography. The 11-bladed diaphragm no doubt aids with this.

Flare is virtually banished and it is almost impossible to generate any artefacts, no matter how severe the lighting.

Vignetting results are also excellent, with very little light fall off.

 

Aperture 50mm 70mm 100mm f/2.8 -0.9 -1 -1 f/4 -0.6 -0.8 -1 f/5.6 -0.5 -0.5 -0.7 f/8 -0.5 -0.5 -0.6 f/11 -0.5 -0.5 -0.5 f/16 -0.5 -0.5 -0.5 f/22 -0.5 -0.5 -0.5

 

Sigma 50-120mm f/2.8 DC OS Contemporary Sample Photos Previous Next

 

Sigma 50-120mm f/2.8 DC OS Contemporary Aperture range Previous Next

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

 

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Value For Money

The [AMUK]Sigma 50-120mm f/2.8 DC OS|Sigma+50-120mm+f/2.8+DC+OS[/AMUK] lens is priced at £699.00

This is the third lens in a small group of matching optics, the other two being:

• [AMUK]Sigma 10-18mm f/2.8|Sigma+10-18mm+f/2.8[/AMUK], £648 
• [AMUK]Sigma 18-50mm f/2.8|Sigma+18-50mm+f/2.8[/AMUK], £459

The VFM equation shows the new lens off very favourably, especially considering the excellent performance.

 

 

Sigma 50-120mm f/2.8 DC OS Contemporary Verdict

Some lenses have a flow, a method of working that gels with the camera body as well as, of course, the photographer. Others are clunky and awkward to use, hopefully few and far between these days, but very often because of over-thinking and over-design making them fiddly. The Sigma 50-120mm f/2.8 DC OS lens steers well clear of the complexity trap, being a shining example of simplicity and elegance of design. Only the bare minimum of controls is to be found on the lens, and it's absolutely enough for full, tactile, responsive control. The one slight glitch is the lack of a lock on the A setting of the aperture ring, which, as a consequence, needs watching whilst being nowhere near a deal breaker.

Add to that all the essentials, such as dust and splash resistance and very close focusing and we have a very practical lens. The focal length is not unique, there have been 75-180mm full frame lenses, but this APS-C version is even more compact and ending the range slightly short of the more usual 135mm (200mm in full frame) does save a fair amount of bulk, also enabling the fast constant f/2.8 maximum aperture.

Performance is not in question, the results are almost universally excellent, the price is keen, so we have a highly attractive Editor's Choice.

 

Sigma 50-120mm f/2.8 DC OS Contemporary Pros

• Excellent sharpness
• Modest vignetting
• Dust and splash resistance
• Low flare levels
• Virtually rectilinear (no distortion)
• Smooth bokeh
• Close focusing
• Excellent construction standards
• Great VFM

 

Sigma 50-120mm f/2.8 DC OS Contemporary Cons

• No A-lock on aperture ring

 

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=5|R_overall=5|A_level=5|A_text=Editor's Choice – An excellent performance and slick handling from this well-priced telephoto zoom.|E_id=8027[/REVIEW_FOOTER]

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Ask most landscape photographers what their favourite season is, and probably 80% will reply "autumn". I actually try not to have a favourite, because it keeps me fresh for all the different seasons, but even I can't deny that the Lakes in autumn can be a truly spectacular place. An important issue to remember is that the lakes can also be a truly WET place through October and November as well, so consideration of the weather must be taken into account.

Equipment needed is totally down to personal style, anything from a compact, through to DSLRs with wide-angle lenses, telephotos, macros etc. will all give excellent results. I do find a polarising filter useful to take reflection off leaves / bracken and give a boost to the colours; but be careful not to overdo it.

If I'm working in the early part of Autumn, I quite often like to work with a wide lens to make a strong feature of foreground bracken, especially when it's showing a wide colour range, from green, through to red. This will even make a good semi close-up picture just concentrating on the bracken itself.

 

Later in the season, when the colours have changed, if I'm really lucky a calm day can, with the help of the reflections, offer twice as much landscape in a single shot; with the landscape reflected perfectly in the water. On all my reflection shots, I use a 0.45 hard-edge ND grad filter, to balance up the amount of light absorbed by the reflection. Also remember, that lower viewpoints often give better reflections. In addition, if there is any foreground element, a low viewpoint will usually reduce the distance between the foreground element and the bottom edge of the reflection.

Woodlands clearly become a favourite subject through the autumn weeks, but as well as general vistas, individual branches can show off the shapes of leaves well. Even once the leaves have fallen, there are great pictures to be had of leaf details and textures on the ground, or contrasted on a mossy bank or rock. If the weather is inclement, consider taking a few leaves home and photographing them backlit on a lightbox. The type of tree and altitude has a great bearing on when they change colour, with Silver birches tending to be the early changers, and larch (the only conifer to drop its needles) then oak bringing up the rear.

The range of subjects through the autumn in the lakes is incredible, certainly covering most of October and November. Even when the trees have lost their leaves, the glow of the bracken retains the fantastic hues of autumn, almost right through to spring the following year.

 

 

Article by by John Gravett - www.lakelandphotohols.com

    

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

 

Low Light

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

Jack-O-Lanterns

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

 

 

Portraits

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

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

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

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

 

Small Detail

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

Graveyards

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

Have A Play In Photoshop

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

 

VTOMAN, the portable power brand behind the FlashSpeed power station series, is offering Black Friday and Cyber Monday pricing on its portable power stations, solar bundles and jump starters, running November 19–30 on Amazon in the US and UK. Winter brings the two power problems households and drivers run into most, outages from storms and car batteries that fail in the cold, and the lineup covers both: the FlashSpeed 2400 for home backup, the Jump 600X and Jump 2200 for camping, travel and short outages, and the X-Series jump starters for the glovebox. Ahead of the main event, VTOMAN's V10 Pro and V10 jump starters are on holiday promotion from now until December 20.

 

VTOMAN's products are engineered around three core technology platforms:

• V-BEYOND™ High-Performance Output Technology: designed to support demanding power needs across VTOMAN's portable power solutions.
• CHARGECORE™ Efficient Energy Delivery Technology: optimizes charging and energy delivery for everyday and outdoor use.
• LIFEBMS™ Battery Management Technology: provides intelligent battery protection for safety, stability and long-term reliability.

 

PORTABLE POWER STATIONS

 

VTOMAN FlashSpeed 2400 Portable Power Station

Amazon US & VTOMAN Website- $649.99 (RRP $799.99) 19% off

Amazon UK & VTOMAN Website - £599.99 (RRP £899.99) 33% off

The FlashSpeed 2400 is VTOMAN's fast-charging home and roadside power station. Built around a 1408Wh LiFePO4 battery, it pairs 1500W of CHARGECORE™ AC input, for a full charge in about an hour, with 2400W of continuous V-BEYOND™ output, powering up to 12 devices at once. It also adds a built-in emergency jump-start function that drivers don't typically get from a power station.

That combination suits winter. Households can top it up quickly when a storm is in the forecast, a 10ms UPS switchover keeps refrigerators, medical devices and home offices running when the power drops, and the jump-start function covers a dead car battery on a cold morning. Its flat-top, rugged build also fits holiday road trips, tailgates and RV travel.

 

Key Features & Specifications:

• 1408Wh LiFePO4 battery
• 2400W continuous output with V-BEYOND™
• 1500W AC input; full charge in about 1 hour (CHARGECORE™)
• 10ms UPS switchover
• Built-in emergency jump-start function
• Powers up to 12 devices simultaneously; LIFEBMS™ with 10 built-in safety protections

 

VTOMAN Jump 600X Portable Power Station

Amazon US & VTOMAN Website (Nov 17–Dec 4)- $189.99 (RRP $299.99) 37% off

Amazon UK & VTOMAN Website - £199.99 (RRP £299.99) 33% off

Amazon DE - €199.99 (RRP €299.99) 33% off

 

 

The Jump 600X is VTOMAN's compact entry point into portable power: a 4.5kg (9.9 lb), 268.8Wh LiFePO4 power station for overnight outages, weekend camping and holiday travel. It delivers 600W of pure sine wave AC power, and V-BEYOND™ technology lets it run resistive loads such as lights and fans at up to 1200W.

CHARGECORE™ supports simultaneous AC and DC charging, reaching 80% in about 50 minutes, and a 120W MPPT solar input pairs with VTOMAN's foldable solar panels, offered together as Black Friday bundles for off-grid recharging. A built-in UPS, seven output ports including 100W USB-C, and LIFEBMS™ protection make it a practical first power station for campers, RV owners and new homeowners.

 

Key Features & Specifications:

• 268.8Wh LiFePO4 battery rated for 3,000 cycles to 80% capacity
• 600W continuous / 1200W peak pure sine wave AC output
• V-BEYOND™ runs resistive loads up to 1200W
• 80% charge in about 50 minutes with simultaneous AC + DC charging (CHARGECORE™)
• 120W MPPT solar input; built-in UPS
• 7 output ports including 100W USB-C; 4.5kg (9.92 lbs); 2-year warranty

 

VTOMAN Jump 2200 Portable Power Station

Amazon UK - £449.99 (RRP £529.99) 15% off

Amazon DE - €479 (RRP €599) 20% off

 

The Jump 2200 is a high-capacity 1408Wh LiFePO4 power station for home backup during winter outages, as well as camping and holiday travel. It delivers 2200W of pure sine wave AC power, and V-BEYOND™ technology lets it run resistive loads at up to 2400W.

CHARGECORE™ supports simultaneous AC and DC charging, and a 400W MPPT solar input pairs with VTOMAN's foldable solar panels for off-grid recharging. A 10ms UPS switchover, a built-in emergency jump-start function, and LIFEBMS™ protection make it a versatile pick for households and outdoor enthusiasts alike.

 

Key Features & Specifications:

• 1408Wh LiFePO4 battery
• 2200W continuous pure sine wave output; up to 2400W resistive loads with V-BEYOND™
• 2200W AC input; simultaneous AC + DC charging (CHARGECORE™)
• 400W MPPT solar input
• 10ms UPS switchover; built-in emergency jump-start function
• Powers up to 12 devices simultaneously; LIFEBMS™ with 10 built-in safety protections; 17.5kg

 

VTOMAN Jump 100 Portable Power Station

Amazon DE - €69.99 (RRP €99.99) 30% off

Walmart - $65.99 (RRP $145.98) 55% off (Nov 9–Dec 3)

 

The Jump 100 is a lightweight 89.6Wh LiFePO4 power station for campers, commuters and everyday backup, pairing a 100W AC outlet (200W surge) with 65W PD USB-C fast charging. It can recharge a laptop in about an hour, and VTOMAN's LIFEBMS™ system adds 10 layers of safety protection, with the LiFePO4 cell rated for 3,000+ life cycles to 80% capacity. At just 1.1kg, it's an easy tech gift under £100.

 

Key Features & Specifications:

• 89.6Wh LiFePO4 battery, 3,000+ life cycles to 80% capacity
• 100W AC outlet (200W surge); recharges a laptop in about an hour
• 65W PD USB-C fast charging input/output
• LIFEBMS™ system with 10 safety protections
• Compact and lightweight: 17.6 x 11.4 x 8.3 cm, 1.1kg (2.43 lbs)

 

JUMP STARTERS

 

VTOMAN X7 Jump Starter with Air Compressor

Amazon US - $84.99 (RRP $129.99) 35% off

The X7 is VTOMAN's all-in-one roadside tool for cold-weather driving, combining a 4250A peak jump starter with a 160 PSI air compressor in one unit. It starts 12V gas and diesel engines up to 10L and is rated to operate from -20°C to 60°C (-4°F to 140°F), so it stays useful in the trunk through winter.

A 5.1-inch smart screen shows battery level, tire pressure and inflation mode at a glance, which helps because cold weather lowers tire pressure. An 18W USB-C port charges phones on the road, a 400-lumen LED light covers nighttime breakdowns, and 10 built-in protections, including spark-proof and reverse-polarity safeguards, guard against connection mistakes.

 

Key Features & Specifications:

• 4250A peak current for 12V gas and diesel engines up to 10L
• Integrated 160 PSI air compressor
• 5.1-inch smart screen with battery level, tire pressure and inflation mode
• 18W USB-C fast-charging output
• 400-lumen LED light (constant / flash / SOS)
• 10 built-in protections; -20°C to 60°C (-4°F to 140°F) operating range

 

VTOMAN X5 Cross Jump Starter with Air Compressor

Amazon US - $59.99 (RRP $99.99) 40% off

Amazon UK - £50.99 (RRP £99.99) 49% off

 

 

The X5 Cross combines two essential roadside tools, a portable jump starter and an air compressor, in one convenient, travel-ready device. Designed for drivers who want to be prepared for unexpected battery failures and low tire pressure, it brings practical emergency functionality together in a compact unit that's easy to keep in the car.

Ideal for winter driving, holiday road trips and everyday vehicle preparedness, the X5 Cross is a useful addition to a car emergency kit and a practical gift for new drivers and commuters.

 

Key Features & Specifications:

• 2-in-1 jump starter and air compressor
• Designed for vehicle battery emergencies and tire inflation
• Portable design for vehicle storage and travel

 

VTOMAN V-Truck 6000A 12V/24V Heavy-Duty Jump Starter

Amazon UK - £159.99 (RRP £239.99) 33% off

 

 

The V-Truck is VTOMAN's heavy-duty roadside essential, combining a 6000A peak jump starter with a 36,400mAh portable power bank in one robust unit. It starts 12V and 24V trucks, vans and diesel engines, and is rated to operate from -40°C to 60°C, making it well suited to cold-weather rescues, farm work and roadside emergencies.

A 145W DC fast-charging port charges the unit fully in about 1.5 hours, while USB-A and USB-C outputs keep phones and tools charged on long drives or camping trips. A 3-mode LED flashlight, a 2-second boost mode and safeguards against overcharge, over-discharge and reverse polarity make it a practical tool for truckers, motorhome owners and outdoor adventurers.

 

Key Features & Specifications:

• 6000A peak current for 12V/24V gas and diesel engines
• 36,400mAh power bank with USB-A and USB-C outputs
• 145W DC fast charging; full charge in about 1.5 hours
• 2-second boost mode; 3-mode LED light (constant / strobe / SOS)
• 10+ protections; -40°C to 60°C operating range; 2.9kg

 

More VTOMAN Black Friday Deals

 

Amazon US — November 19–30, 2026

• VTOMAN VL7: $94.99 (RRP $149.99, 37% off)
• VTOMAN VS110 Solar Panel: - $119.99 (RRP $189.99, 37% off)
• VTOMAN VS40: $52.24: (RRP $109.99, 53% off)

Amazon UK — November 19–30, 2026

• VTOMAN V6 Plus Jump Starter: £31.99 (RRP £59.99, 47% off)
• VTOMAN VL3: £37.99: (RRP £59.99, 37% off)

Walmart US — November 9–December 3, 2026

• VTOMAN V6 Plus Jump Starter: $32.99 (RRP $79.99, 59% off)
• VTOMAN X4 Jump Starter with Air Compressor: $38.99 (RRP $98.99, 61% off) 

 

About VTOMAN

Power Beyond Limits is more than a slogan at VTOMAN; it is the standard behind everything the brand builds. VTOMAN believes portable power should go beyond basic backup to deliver stronger output, smarter energy management and trusted protection in the moments that matter most. That is why VTOMAN combines V-BEYOND™ for high-performance output, CHARGECORE™ for efficient energy delivery and LIFEBMS™ for long-term battery safety and stability. Together, these technologies allow VTOMAN to create energy storage solutions that go beyond ordinary expectations. For more information, visit https://vtoman.com.

Winter's on its way which may mean dark nights and cold mornings but it does bring ample photography opportunities for those who don't mind braving the cold. We can capture sunrises at more reasonable hours and depending how low the temperatures drops, we could even see some snow filled landscapes appearing in people's portfolios. In preparation, here's 30 tutorials to kick-start your winter photography with a bang. 

 

1. Photographing Winter Portraits

Living in the UK, most of the best clothing in our wardrobes is probably winter stuff so why not encourage people to get out and about with their favourite coats, hats and scarves and have fun shooting some outdoor winter portraits.

 

 

2. Shooting Winter Landscapes

Water in the landscape makes a great photograph at any time of the year but in winter, after we've had heavy rainfall or fog's settled in, lakes and rivers suddenly take on a new look that's well worth braving the cold to capture.

 

 

3. Photographing Winter Birds

Winter days leave us with a shortage of daylight hours to photograph, but also is not the perfect time for birds to find food, with much less food about and less daylight time to feed.

 

 

4. Winter Wedding Photography

Winter weddings are becoming ever more popular. As a wedding photographer, the natural light on a winter day may only be short, but if you are comfortable using available light whether it be tungsten or candlelight, you can create some really atmospheric photos.

 

Image courtesy of Limeleaf Weddings.

 

5. Working With Winter Sun

While winter may often be associated with wet, gray, and generally downbeat weather conditions, when the sun makes an appearance it is perfect for landscapes.

 

Image from  Landscape Photography: The Four Seasons title from Ilex.

  6. Winter Photography Tips 

Whether portraying a bitterly cold day or a snowy Christmas scene, there are certain things to consider when heading out for a winter photography shoot. I have put together a number of tips which have proved invaluable.

 

Photo by Barry Chignell

  7. How To Shoot Winter Silhouettes

The low position of the sun in winter makes it a perfect time to shoot silhouettes. You just need to find a bright background (the sky's perfect) and the right subject to give you a shot with series impact.

 

 

8. Winter Wildlife Photography Tips

Learn how to take great images of winter wildlife around the coast, in your garden and in various conditions. 

 

 

9. Snowboarding Photography Tips 

Nathan Gallagher gives ePHOTOzine some tips for capturing snowboarders in action on the snow as well as tips on capturing portraits in the studio. 

 

 Photos by Nathan Gallagher.

 

10. Coping With Contrast In Winter

The low angle of sun in the winter may bring with it fantastic lighting, but it can also cause problems when it comes to contrast in your images.

 

Photo from Landscape Photography: The Four Seasons title from Ilex.

 

11. Even More Winter Wildlife Photography Tips

Winter can be a great time to photograph wildlife. With the trees bare, it can be a lot easier to spot illusive species such as deer and foxes. A telephoto zoom lens will be a necessity, and you'll need a tripod and possibly a hide, too depending on what you intend to look for.

 

 

12. Indoor Themed Winter Portrait Tips 

With winter approaching, more people will be heading indoors but this doesn't mean you have to stop looking for ways to bring your portraits to life. Of course, if you have a willing subject you can brave the cold and venture outside to capture some great winter imagery. But if the cold isn't for you, then going indoors works very well at this time of year too.

 

Photo by Michael Alan Bielat.

 

13. Photographing Mountains In Winter

There are plenty of great mountain ranges scattered around the UK that are well worth a photo at any time of year but in winter, when a covering of snow's fallen or a hard frost has settled they tend to look even more impressive.

 

 

14. Tips On Photographing Ice In Winter 

Ice is only frozen water – so it's clear, isn't it? Far from it, and I love ice – naturally occurring on lake edges, round waterfalls, as icicles, however it forms. I'm only going to look at natural formed ice, rather than ice made in freezers and photographed in studio conditions; although either makes amazing pictures.

 

Photo by John Gravett

 

15. 10 Top Robin Photography Tips 

Robins can be found in their numbers and as many would agree, they are very photogenic and this becomes even more true at this time of year when the cold weather sets in, bringing snow to cover the ground.

 

 

16. Tips On Photographing Frost And Ice

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

 

 

17. Fast Moving Vs. Slow Moving Waterfalls - How To Capture Both With Your Camera

When capturing waterfalls you can make water appear as if it's frozen in time so every splash and droplet is captured in frame or you can go to the opposite end of the scale and smooth the flow of water out into almost a dry-ice, cloud-like texture. At this time of year there's the added option of capturing frozen shapes that water's created when it's splashed up over rocks and grass found at the edges of the falls, too.

 

 

18. Top Cold Weather Photography Tips

 It won't be long before the temperatures drop and we're venturing out over the Christmas break with cold weather photography in mind. Here's a few ideas how to prepare yourself – and your camera equipment – to ensure you get the most out of your cold-weather photography.

 

 

19. Tips On Photographing Snow & Ice

Winter brings a new range of photo opportunities where familiar colourful scenes are suddenly covered in a blanket of snow. Bare trees become stark outlined silhouettes against a brilliant white backdrop, grasses poke out from below white canopies and old barns look like sets from pantomimes.

 

 

20. Urban Christmas Light Shoot

As the majority of festive pictures are of parties taken on small apertures on compacts with auto flash, having a good image of the Christmas lights, particularly with people in them will really stand out and as a result are a great subject to have a go at photographing.

 

 

21. Cold Weather Photography Tips

The temperatures are slowly dropping which means it's a good time to start thinking about cold weather photography and how you can protect yourself as well as your kit. 

 

 

22. How To Take Black & White Shots Of Snow Scenes

Find out how using the black & white medium can add so much more to your snowy landscape shots. 

 

Photo by John Gravett

 

23. How To Photograph Frost

Set your alarm, wrap up warm and get outside to capture the magic of a frosty start. You don't have to head to far either as you'll find plenty of frost-themed images right in your back garden. 

 

Photos by John Gravett

 

24. More Snow Photography Tips

Snow scenes are very picturesque. They make excellent additions to your landscape portfolio but they can be tricky to photograph. Here are some tips to help you take better snow scene photos and make your time in the chilly outdoors more enjoyable.

 

Photo by Mark Elliott 

 

25. Tips On Photographing Stormy Seas

For those who don't mind a fierce wind and cold weather, winter is a great time to shoot at the coast. Why? Well it's quieter as you don't tend to get many tourists visiting out of season and strong winds can create strong sea swells which means they'll be plenty of big waves crashing into cliffs and sea walls to capture.

 

 

26. Capturing Snowy Landscapes

What better excuse do we need as photographers than a blanket of snow for wonderful photographic opportunities, but it's important to get a few techniques right to ensure you capture everything at its best.

 

Photos by John Gravett

 

27. Photography Tips On Capturing Patterns In Ice

When temperatures begin to fall, lakes, ponds, puddles and even waterfalls (when it's really cold) freeze, all of which make excellent close-up photography subjects.

 

 

28. Explanation On Why Snow Can Appear Blue And How To Fix It

We all know the feeling of photographing in snow on a bright, crisp day, only to realise that the snow is coming out blue in your pictures. This is generally due to one or two errors which can be quickly and easily put right. 

Photos by John Gravett

29. Snow Photography For Beginners

Snow can be quite tricky to capture and can leave many beginner photographers asking questions. To help them out, here we will answer some of the most frequently asked questions about snow photography.

 

 

30. Quick Tips On Taking Photos In Icy Conditions

If you're out in icy conditions, there are a few hazards to contend with which are particular to the weather. Yes, this includes obvious things like taking care to not slip but there are other problems you may not have thought of too. 

 

 

 

When you had out in autumn, the first thing that you're likely to be greeted with is fallen leaves on the floor. Take advantage of these and create some great photos!

It's worth packing a polarising filter as one of these will enhance autumn shades and help reduce glare. Then basically, all you need to do is find some autumn leaves, arrange them if you wish then photograph them. Try and get a mix of varieties if you can and if you can wait until the next morning to photograph them, they'll be covered in droplets of morning dew or if you wait until the temperature drops a little more they'll have a dusting of frost, giving you the chance to shoot some abstract Autumnal shots.

 

1. Look for interesting patterns Don't have any trees at home? Well, you can collect some fallen leaves from the park or venture out early and do your photography there. Look out for scenes where fallen leaves have created interesting patterns without you having to move them or where they’re decorating a particularly picturesque scene. A blanket of leaves around the trunks of trees will always make a great shot that really sums up autumn. Look for objects in your garden or around the park that you can use in shots with the leaves you've collected to make a more interesting composition.    2. Go close-up and abstract You can position yourself a little further off the ground and photograph the whole pile of leaves but by getting in close to one or two of them, playing with several compositions you can end up with some surprisingly interesting shots. Try just focusing on the tip or stalk of one leaf or focus on the centre of one so blur creeps in at the edges. Try using a wider aperture so you get a shallow depth of field that allows detail to be to focus of the shot. Do watch out for shake creeping into your shots as it does become more noticeable when working with close focusing. Always use a tripod and make use of your camera's self-timer so you aren't touching the camera as the exposure begins. Better still, use a cable / remote release or even your SmartPhone as the trigger if your camera allows it.   
  3. Backlight the leaves Back home, if you have a lightbox you can use it to backlight your leaf so all the detail stands out. If you're using a camera that has Live View it's worth using it to check the overall sharpness of your close up shots. It also comes in handy when you're taking shots where putting your eye to the viewfinder is a little tricky. 

If you're working by water where leaves are decorating the land surrounding it or are floating along the surface of the water as it flows downstream, experiment with longer exposure times to blur the water's movement. We say experiment as several factors will affect what length of shutter speeds you'll need to achieve your desired result.

 

4. Experiment with settings

Experiment with your camera's white balance settings to find the best colour balance for your shot and if you feel the autumn tones need more depth, use your camera's exposure compensation control and dial a - stop in. You don't need to go too low, a half or one-stop should be fine. Having said that, if you shoot in RAW you can always give the colour in your shots a boost when you're back on your computer. 

 

Nikon has announced the NIKKOR Z 120-300mm f/2.8 TC VR S, which it describes as the world’s first telephoto zoom lens with a constant f/2.8 aperture and built-in 1.4x teleconverter. The S-Line lens is designed for professional sports photographers, extends to 168-420mm with the teleconverter engaged and weighs approximately 2735 g. Sales start in November 2026 at £13,999 in the UK and €16,499 in the Republic of Ireland.

 

From Nikon:

 

Today, Nikon introduces the world’s first1 telephoto zoom lens with a constant f/2.8 aperture and built-in 1.4x teleconverter. Designed for professional sports photographers, this powerful S-Line lens is built to nail incredible shots of defining moments without fail. Image quality is comparable to that of a prime lens even with the teleconverter engaged, AF performance is phenomenally accurate, and the build is tough yet remarkably lightweight.

From the atmosphere in the venue to in-game action shots, the NIKKOR Z 120-300mm f/2.8 TC VR S puts sports photographers right where they want to be. The built-in 1.4x teleconverter extends the focal-length range from 120-300mm to 168-420mm, and photographers can even go to 630mm in DX crop mode. Immersive detail is attainable at any focal length thanks to the fast, constant f/2.8 aperture and advanced S-Line optical construction. Specialised lens elements and coatings produce high-contrast images with exceptional clarity, even when shooting into strong sunlight or under bright artificial lighting.

Compared to its F-mount predecessor, the NIKKOR Z 120-300mm f/2.8 TC VR S also offers sports photographers a massive upgrade in terms of responsiveness and agility. Nikon’s Silky Swift AF system ensures fast, silent, pinpoint tracking, and a new control algorithm keeps pace with the fastest continuous shooting speeds. This Z Mount sports lens is also approximately 515 g lighter, even with the built-in teleconverter, which helps to beat fatigue when shooting handheld. Other features that can make all the difference include the balanced internal zoom, more customisable controls, Arca-Swiss compatibility, and the option to use front or rear filters.

Dirk Jasper, Product Manager, Nikon Europe says: “The NIKKOR Z 120-300mm f/2.8 TC VR S represents some of the best professional lens technology available today. Tested in the field and refined based on feedback from professionals, we’re bringing this high-powered professional zoom lens to the next level.”

 

Summary of key features: NIKKOR Z 120-300mm f/2.8 TC VR S

120-420mm focal-length range with built-in 1.4x TC: image quality is comparable to that of a prime lens, even with the teleconverter engaged.

Superior rendering, immersive detail: S-Line optical construction delivers high-contrast images with exceptional clarity. Includes Super ED and SR glass, and Meso Amorphous and ARNEO coatings.

F/2.8 constant aperture, up to 6.5 stop2 in-lens VR: freeze action, isolate subjects against smooth bokeh, and nail sharp, clean, detailed images at lower ISO settings.

Breakthrough AF: experience thrilling new levels of precision thanks to a multi-focus system equipped with Nikon’s Silky Swift voice coil motors. A new control algorithm keeps pace with the fastest continuous shooting speeds.

Lightweight build helps beat fatigue and weight restrictions: this fast telephoto zoom lens weighs 2735 g (approx.) and fits into international-standard carry-on bags.

Highly customisable: the control ring can also be used as a focus ring, and functions can be assigned to two L-Fn buttons or the Fn ring.

Internal zoom: keeps the centre of gravity consistent for more balanced handling when zooming.

High-performance sealing: keeps dust, dirt, and moisture at bay. A fluorine coat makes the front element easier to clean.3

Designed for hardworking pros: Arca-Swiss4 compatibility enables quick release from a tripod, front screw-in and rear drop-in filters are both supported, and the iconic yellow ring is visible even when the lens hood is attached.

HB-120 lens hood: lightweight bayonet lens hood with no protruding clamp knobs, for easy storage.

 

For more information, please visit the Nikon website.

 

FOOTNOTES:

1 As of 29 October 2026

 2 Up to 6.5 stops of in-lens Vibration Reduction with Synchro VR. Based on CIPA 2024 standards. Yaw/Pitch/Roll compensation performance when mounted on the Z6III, without a teleconverter attached (at the telephoto end, in [NORMAL] mode).

3 The lens is not guaranteed to be dust- and drip-resistant in all situations and under all conditions.

4 This lens’s tripod collar is designed for use with screw-type Arca-Swiss clamps. Lever-type clamps may not provide sufficient holding strength and are not recommended.

 

Leica Camera UK has announced the opening of the new Leica Store London Mayfair at 14 Dover Street, bringing the brand’s global total of Leica owned stores to 116. The 234-square-metre store and gallery spreads across four levels and houses all of Leica’s product families, including cameras, sport optics, watches, home cinema, mobile and its pre-owned and vintage range. It also has an integrated Leica Gallery on the lower ground floor. To mark the opening, 14 special edition Leica M-A cameras, produced with British artist Johnny Dowell (King Nerd), will go on sale from 5 November for an RRP of £15,800.

 

From Leica:

 

Leica Camera UK has opened the brand-new Leica Store London Mayfair in the heart of London’s exclusive Mayfair, bringing the global total of Leica owned stores to 116. The 234-square-meters store and gallery is located at 14 Dover Street, W1S 4LW and surrounded by other leading luxury brands, fine-art galleries, renowned restaurants and exclusive member’s clubs. The characterful Mayfair town house is a unique Leica store concept, with client space split across 4 levels housing all of Leica’s product families including Cameras, Sport Optics, Watches, Home Cinema, Mobile and their Pre-Owned and Vintage range. It also has an integrated Leica Gallery sitting on the lower ground floor that dedicates its space to cultural and artistic experiences as well as a rotating collection of exhibitions by renowned photographers.

 

 

Leica Store London Mayfair is the new UK flagship store, with Leica Store Harrods remaining open as usual, as the current store on Duke Street closes. It will provide Leica clients with complete access to all of Leica’s extensive product and cultural portfolio, offering an immersive brand experience and strengthening Leica’s presence in the capital. Private areas set across several floors also allow for a more discreet and comfortable setting for clients to explore the Leica world.

The building itself is impressive, with clients immediately being welcomed by a curated wall of art that features five photographs from Leica’s Hall of Fame, before going onto discover the rest of the ground floor which is dedicated to immersing clients in Leica’s world. Inside, an architectural highlight is the integrated atrium that extends from the lower ground floor to the first floor, offering an unobstructed view of the sky and flooding the space with natural light. Suspended within the atrium is a bespoke art installation, created specifically for Leica Store London Mayfair, that invites clients an opportunity to experience an expression of the optical quality of Leica products. The building’s curved form is reflected throughout the interior design concept, from the fixtures to the furniture and a curved seating area on the ground floor. Nods to the architecture of the brand’s headquarters, Leitz Park in Wetzlar, can be found in both the bars and key-product vitrine.

Clients might be inspired to enjoy Leica’s watches in the daylight while seated in the window bays on the second floor, or to test the telephoto lenses or sports optics equipment through the window’s expansive views of Mayfair.

 

 

The opening of the new Leica Store London Mayfair will be celebrated by the sale of 14 special edition. Leica M-A cameras that have been produced in collaboration with British artist Johnny Dowell, better known as King Nerd. Dowell is a multidisciplinary artist, designer and engraver born and raised in West London. He is renowned for transforming traditional hand engraving into a contemporary artistic practice, and has collaborated with some of the world’s leading luxury, fashion and lifestyle brands while creating bespoke commissions for an international clientele. The M-A has been specially engraved to feature designs of an English Rose, Scottish Thistle, Welsh Daffodil and Northern Irish Blue Flax, to celebrate and reflect the British Isles and will be on sale from the 5th of November for an RRP of £15,800.00. Also being sold with the M-A cameras is the Summicron-M 35 f/2 ASPH. lens, which is finished in a red scale, with the front of the lens completely blacked out, specially painted to match the unique colour of the King Nerd Edition.

Please find the Leica Store London website and number below:

https://leica-camera.com/en-GB/leica-stores/leica-store-london-mayfair

(+44) 020 7629 1351

Leica Store London Mayfair is open now from 10am-6pm Monday to Saturday, located on 14 Dover Street, London, W1S 4LW.

For more information, please visit the Leica website.

- Partner Content -

 

 

Talking-head ads often have one obvious problem after AI enhancement: the person starts looking too polished. Skin becomes unnaturally smooth, small facial details disappear, and the final video can have that familiar "AI plastic" look. 

That can hurt an ad, especially when the goal is to make the speaker feel REAL and trustworthy.

Vmake Labs' Portrait Pro scene is designed for this kind of footage. It can sharpen and improve facial details without pushing skin toward an overly smooth finish. That makes it worth testing for creator ads, founder videos, product explainers, and other campaigns where the person on screen needs to look clear without losing natural texture.

 

Why talking-head ads fail after basic enhancement

 

A talking-head is harder to enhance than a product-only shot. The person has skin, hair, eyes, teeth, fabric, and a product label in the same frame, and all of them move. Basic enhancers treat them the same. They crank sharpness and smoothing globally. The result is predictable:

• Skin loses pores and fine lines, then looks waxy.
• Hair turns into a solid helmet, especially curly or fine hair.
• Product in hand gets softer while the face gets too smooth.
• Background starts to buzz or pulse when you export to 4K.

Viewers notice it fast. In a creator ad or founder video, trust drops when the person does not look like themselves. 

So, the better enhancement approach is to treat the face as a separate visual priority. Facial details need enough sharpening to restore clarity, while skin needs to retain its natural variation. Hair and eyes need their own level of detail too.

That is the main reason Portrait Pro in Vmake Labs can make sense for talking-head ads. Instead of relying on a general enhancement pass, it puts more attention on the portrait area. This can help to enhance video quality when the original footage is slightly soft, compressed, shot in poor lighting, or recorded with a phone camera.

 

What Portrait Pro does differently

 

Vmake Labs is an AI social video studio for small businesses that need help to generate, enhance, and optimize video to capture attention and drive sales. It is built for social operators, SMB owners, and UGC creators who have to turn product clips into post-ready social video fast.

Inside that studio, enhancement is split into tiers and scenes so you don't use a hammer for every job.

• "Fast" for quick cleanup
• "Quality" for an AI-powered rebuild with richer details
• "Master" for cinema-grade polish at 2K, 4K, and 8K, when the clip needs to hold up as a hero ad

Then the scenes handle intent. The "Studio" gives real footage a more cinematic look. "Portrait Pro" is specifically for people. If your video is 80% face, that is the one you want.

 

 

Think of it as a larger model that knows the difference between skin and other surfaces. 

When you use it:

1. Skin keeps texture. Instead of smoothing everything, it preserves small details — pores, fine lines, eyebrow hairs — while cleaning compression blocks. The face looks clearer, not airbrushed.
2. Product in hand stays sharp. When a creator holds your tote, serum, or gadget, Portrait Pro keeps label type and material definition. So the eye can read the product while still believing the person.
3. Large areas stay stable. White desk, studio paper, or a blurred room behind the speaker does not band or flicker when you push to 4K or 8K.

That combination matters because most talking-head ads are shot on a phone in mixed light. You want the bump to 8K for the homepage hero, but you do not want the "beauty filter" look that kills credibility.

 

A practical workflow that keeps skin natural

 

Small teams who live on TikTok, Reels, and Shorts do not have time to re-shoot. They reuse authorized assets they already own. Here is how they fit Portrait Pro into a real day:

 

1. Clean your own clips first

 

If your best testimonial has an old editing app logo that is semi-transparent in the corner, or old captions baked over the product, run it through Vmake Labs ai watermark remover first.

Vmake Labs watermark remover tool now has Smart Pro feature, which is built for hard cases — moving, animated, or semi-transparent text that sits on top of complex backgrounds like canvas or skin.

 

 

It detects more of those fine, moving marks and blends the background with finer edge repair, so you do not get a big blur patch where the text was. Only use it on footage you own or have explicit rights to edit.

 

 

2. Pick the right mode and scene

 

Next, upload the cleaned clip to the Video Enhancer. Choose:

Mode: Quality for most talking-heads, Master if this is going to be your main ad for a week or you need to crop it to multiple ratios

Scene: Portrait Pro

 

 

That is it. 

Don't stack extra sharpening on top in another app. Let Portrait Pro do the skin work. If you need to enhance video quality for background details too, Master will give you more headroom at 4K without pushing the face into that waxy look.

 

 

3. Check at 100% before you export

 

Pause on three frames: eyes open mid-sentence, a slight smile, and a side turn. Zoom to 100% on your phone.

• Do you still see pores on the cheeks and forehead?
• Do eyebrows and eyelashes stay separate, not clumped?
• Does the background get cleaner while the skin stays soft but real?

If yes, you are done. If skin still looks too smooth, you probably had beauty mode on during recording. Re-record with it off and run Portrait Pro again — it preserves texture, it does not invent it from nothing.

 

When to test Portrait Pro

 

• Founder ads: You are on camera explaining why you made the product. You need to look clear, not filtered.
• Creator UGC: You have permission to reuse a creator's review. Their face is the thumbnail. Plastic skin hurts click-through.
• Product explainers: Face in corner, product in hand. Both need detail at the same time.
• Paid cuts you will run for a week: If you are spending on it, the extra minute for Master + Portrait Pro pays back in credibility.

What Portrait Pro is not for: product-only spins, flat-lays, or catalog videos where no person is present. There, Studio in Master gives you that more cinematic product look without worrying about skin.

Talking-head ads work because a real person says a real thing. The job of enhancement is to make that person easier to watch, not to make them look like someone else. Portrait Pro is Vmake Labs' answer for that — more natural skin texture, sharper product when it shares the frame, and less of that AI plastic that makes viewers scroll away.

 

The 49th Leitz Photographica Auction takes place on November 28, 2026, at Leica World in Wetzlar, presenting more than 400 lots of historic cameras and vintage photographic equipment. A fully operational mid-1950s Leica BOX 18 × 24 mm prototype bearing serial number 000.01 leads the sale, with an estimate of €400,000 to €500,000. The auction also includes a Leica R6 used by Sebastião Salgado to document the burning oil fields of Kuwait, offered with two photographs from that series and a signed copy of Workers. Another highlight is the Summicron-M 66 f/2 re-edition, serial number 001, estimated at €16,000 to €20,000. An exhibition celebrating 60 years of Leica Noctilux will also be on display at Leica World during the auction weekend.

 

From Leica:

 

 The 49th edition of the Leitz Photographica Auction is taking place on the 28th of November 2026 and is dedicated to historically significant cameras and vintage photographic equipment. Among the highlights of the auction, which will take place at Leica World in Wetzlar, are an exceptionally rare Leica BOX camera from the 1950s, a Leica R6 owned by Magnum photographer Sebastião Salgado (1944–2025), and a re-edition of the Elcan 66 mm f/2. In addition, an exhibition celebrating 60 years of Leica Noctilux will open at Leica World during the auction weekend.

More than 400 lots will be offered at Leitz Photographica Auction 49. While Leica cameras, lenses and equipment make up the majority of the lots, numerous items from other renowned manufacturers will be offered as well. Estimates range from the three-figure to the six-figure euro range.

“We are delighted to once again present, in the 49th edition of our auction, an exciting selection of cameras and photographic equipment from the past 100 years, alongside the collectables of tomorrow,” says Alexander Sedlak, Managing Director of Leitz Photographica Auction. “As always, we expect particularly strong interest in historically significant rarities and special editions. One such highlight is the Leica BOX camera, of which only one operational example is known to exist today.” 

 

  The Leica BOX 18x24mm prototype

The Leica BOX camera offered at auction is a prototype produced in the mid-1950s. Developed as an extremely compact 18 × 24 mm camera, it measures just 100 × 64 × 48 millimetres, making it one of the smallest Leica cameras ever built. Only two units were produced. One is on display at the Leica Museum in Wetzlar and was constructed as a non-working design study, whereas the camera offered here – bearing the serial number 000.01 – is fully operational. The Leica BOX is regarded as one of the most exceptional rarities in the Leica universe. Its estimate ranges from €400,000 to €500,000.

 

 

The Summicron-M 66 f/2 with the serial number 001 

One of Leica’s most celebrated lenses has its origins in the company’s former Canadian subsidiary, Ernst Leitz Canada. Dr Walter Mandler developed the Elcan 66 mm f/2 on commission for the US Navy. According to Mandler, the Navy’s intelligence service requested a lens that “looked like any other but delivered an unparalleled level of resolution.” In the late 1960s, Ernst Leitz Canada produced merely 200 units of the Elcan 66, making it one of the rarest lenses ever made for the Leica M system.

This year saw the release of the Summicron-M 66 f/2, a re-edition of the Elcan 66, limited to 660 units. The Summicron bearing the highly collectible serial number 001 will now be offered at Leitz Photographica Auction 49. Its estimate ranges from €16,000 to €20,000.

Yet another lens will take centre stage during the auction weekend. Leica began production of the Noctilux in 1966 and presented it at Photokina in Cologne, Germany, that same year. At the time, it was the fastest lens of its kind, making it possible to capture images with remarkable detail and contrast even in low ambient light. An exhibition to celebrate the history of the famed lens will be on display at Leica World during the auction weekend. 

 

Sebastião Salgado set: Camera, limited edition photobook and photographs

Alongside rarities and special editions, cameras and photographic equipment with distinguished provenance have traditionally proved particularly popular at Leitz Photographica Auction. In this respect, the upcoming auction features an exceptional highlight: a Leica R6 owned by Sebastião Salgado (1944–2025). The Brazilian-born, renowned Magnum photographer used the camera to document the burning oil fields of Kuwait during the Gulf War – images that contributed significantly to his international reputation. Two photographs from this series are included in the lot, together with a signed copy of Salgado’s limited edition photobook Workers. The estimate ranges from €28,000 to €32,000.

 

Leitz ON returns for its second edition

In addition to the event in Wetzlar, Leitz Photographica Auction is once again hosting its online auction, Leitz ON. Designed as an accessible entry point into the world of collecting, the auction features a broad selection of cameras and photographic equipment from a wide range of manufacturers, as well as photographs dating from the 1920s to the present day. Bidding will be open from the 29th of October to the 29th of November. Information on the lots and details of the bidding process are available at www.leitz-auction.com.

 

Live on site, in written form, online or by telephone

Leitz Photographica Auction 49 takes place on the 28th of November at 12 am (CET) at Leica World in Wetzlar. Bids can be submitted in advance online (www.leitz-auction.com), in written form, or by telephone. Live bidding during the auction will be available via www.leitz-auction.com and www.liveauctioneers.com.

 

For more information please visit: www.leitz-auction.com/auction

 

We can't let October pass without mentioning a close-up photography subject many photographers shoot spectacular images of at this time of year and that's fungi.

So, if you're venturing into the world of fungi photography for the first time or just want a quick reminder on what kit you'll need, have a read of our guide on photographing mushrooms, toadstools and fungi.
 

1. Pick the right season

The reason why this technique is something that's mentioned at this time of year is that fungi tend to like Autumn and Winter when it's cooler and wetter. You might even find them establishing themselves on your lawn if conditions are right. 

 

2. Head somewhere dark and damp

Think dark, damp places such as dense woodland areas where not much sunlight can get through. Search under piles of leaves and look around the base of trees. After a spell of particularly wet weather, they will start to show themselves in more places than you might expect!

 

3. Use a macro lens

A good macro lens is a must as fungi aren't the largest of subjects and your shots will have more impact by getting in close.

 

4. Stabilise your kit

Low light means longer shutter speeds so you're going to need a support for your camera. Some tripods can be adjusted so they sit low to the ground but you could just use a beanbag if your tripod isn't so flexible. Consider using a remote / cable release so you don't introduce shake at the start of the exposure but if you don't own one just use your camera's self-timer.

 

 

5. Pack a polarising filter

On particularly damp days shine can be a problem and mushroom tops can end up overexposed. To combat this, fit a polarising filter to the end of your lens which will reduce the shine. You may be wondering why you couldn't just head out on a dry day and there's no reason why you can't, however as David Pritchard explained a blog post: "There’s no better time for photographing mushrooms than after (or during) rain. The colours strengthen, and everything adopts a lovely sheen." 

 

6. Tidy the surroundings

It's sometimes worth cleaning the specimen up that you're photographing before you take your shots. Have a look at what's in the back of the frame, too to see if there's twigs or anything else that could prove to be distracting in the final shot. Please don't pull plants out of the ground or damage parts of a tree for the sake of a photo, though. It's important that you leave things as you found them once you've finished taking your images. Of course, you may prefer the natural look which means you won't have to brush any dirt off the mushroom at all.

 

 

7. Shoot down low

Fungi like the floor which we know isn't the most comfortable angle to work from but it does mean viewers of your images will be drawn into the fungi's world much more successfully if you shoot from low down. The fungi will also have a three-dimensional feel to them as they'll have more height, plus you'll be able to capture shots of the underbelly, too.

 

8. Think about your composition

As mentioned in the above point, once you've got your position on the ground, you'll be able to not only photograph the top of the mushroom's dome but underneath it too. This gives you the chance to capture some of the textures and colour the mushroom has to offer as well as exaggerate the height of it. Try to capture mushrooms in a group, as a variety of sizes will add interest of the piece. Odd groups are more pleasing to the eye than pairs but if you have one particular good specimen, don't overlook shooting it standing on its own. If you include the background and how much distance you put between you and the mushroom will change every time so do take some time to assess the scene before hitting the shutter button. 

 

 

9. Shed some light on the image

Fungi may like dark conditions but it's not something that's easy to work with as a photographer. The most interesting part of the mushroom is the underbelly and to highlight the textures, shapes and colours you're going to have to bounce light into the scene. You can use your camera's built-in flash but this will often result in a harsh light that doesn't really add anything to the photograph. Instead, use off-camera flash and bounce the light off other objects. You can also play around with backlight which should create a halo around the mushroom's top. If you don't have a flashgun experiment with a torch or use a reflector to bounce light onto the underbelly of the mushroom.

 

10. Use a shallow depth of field

Throwing the background out of focus will not only help isolate your subject but it can also hide unwanted clutter. Add a bit of backlight and your subject will pop from the frame.

 

1. Be Early

Arrive at your chosen spot about half an hour before the sun's due to set as you'll need time to set your equipment up and to find your angle. You'll need your tripod as shutter speeds will be slow and working hand-held will only result in shake. If you have one, attach your remote release up, too, to stop your movement rocking the camera when you go to press the shutter button. Many cameras allow you to fire the shutter via a Smart Phone, eliminating the need for a remote release. You might want to fire off a few test shots to see if your composition works but do remember the light will change.
 

2. Get Ready

Make sure your focus is correct then turn off autofocus as it tends to struggle in darker conditions. Check your white balance and set your ISO to 100, although, if you want to quicken the shutter speed slightly, you can knock it up a couple of notches. Then, you just have to stand and wait for the sun to begin setting. You might want to pack a flask of something warm and make sure you have your coat with you for this bit!
 

3. The Sun's Setting

Once the sun has gone below the horizon don't think it's time to put your equipment away so you can head home, you need to keep taking photos, adjusting the exposure length as you do to capture as many different results as possible.

 

 

4. Watch Out For Bright Light Sources

If you have the moon in shot or other bright lights such as street lamps, and you use a longer shutter speed it can result in flare but this isn't always a bad thing as an overexposed street lamp, particularly on a damp evening, can look quite good.
 

5. Where Works?

Getting out above the city so you can shoot down on it. Capturing the city lights against the dark blue sky as they switch on works well but do get in among the city buildings too. At busy junctions, you'll be able to capture light trails as traffic flows by while a bridge will give you a nice leading line with lights dotted along either side of it. Have a look for shop signs that are lit up or if you're visiting one of our well known seaside towns, you'll have a long street of illuminations to capture.

- Partner Content -

 

A favourite photograph deserves more than a quick upload. Here is how to choose a size, protect your composition and prepare a file that will work on the wall.

You have a photograph you keep returning to: a coastline after rain, a family moment, the view that made you stop walking. On a screen, choosing a favourite is easy. Ordering it at half a metre wide brings a different question: will it still look good?

The answer starts with the pixels in your file, but it also depends on sharpness, cropping and where the print will hang. Working through those choices gives you a more useful answer than the megapixel number on your camera.

 

Fine detail and the shape of a composition both matter when preparing a large print

 

Find the best version of your photograph

Begin with the original full-resolution file. A screenshot or a copy saved from a social feed may look perfectly respectable on a phone while containing far fewer pixels than the original. If the image lives in a cloud library, download the original rather than its preview.

Check its dimensions in your photo app or file information. A 6000 × 4000-pixel image contains 24 million pixels, or 24 megapixels. That tells you how much image data you have; it does not tell you whether the focus landed on the subject. Open the photograph and inspect the details you actually care about before deciding how large to go.

Save a working copy before editing. That gives you room to try a square crop or a different treatment without losing the version you started with. If someone else supplied the photograph, ask for their print-ready export.

 

Choose the crop before you calculate

A camera's rectangular image will not necessarily fit the frame shape you have chosen. Filling a square with a 6000 × 4000-pixel landscape, for example, leaves at most 4000 × 4000 pixels. You have 16 megapixels left, even though the camera captured 24.

 

A full-height square crop of a hypothetical 6000 × 4000-pixel image retains 4000 × 4000 pixels, or two-thirds of the original pixel count.

 

Set the intended aspect ratio first, then move the crop deliberately. Look for a clipped headland, a hand close to the edge or a horizon that needs straightening. Straightening can remove a little more of the image, too. Recheck the remaining dimensions once you are happy with the composition.

If the crop spoils the picture, choose a different print shape or explore a border. The photograph should still feel like the one you wanted to print.

 

Turn pixels into a print size

Pixels per inch, or PPI, describes how densely the image's pixels are distributed across the finished print. Divide the pixel width by the print width in inches, then check the height in the same way. Convert centimetres to inches by dividing by 2.54.

Using the uncropped 6000 × 4000-pixel file, a 20 × 13.3-inch print is approximately 300 PPI. At 30 × 20 inches, the same file is 200 PPI. Increasing the print size spreads the available detail over a larger surface.

 

The same hypothetical 6000 × 4000-pixel file produces about 300 PPI at 20 × 13.3 inches, or 200 PPI at 30 × 20 inches. This diagram compares dimensions, not simulated print quality.

 

For a calculation using your own dimensions, Framely's image resolution and print size guide includes a calculator and reference chart. Use the dimensions of the printed photograph itself, excluding any mat border or surrounding frame.

 

Think about where people will stand

Around 300 PPI is a useful starting point for detailed photographs examined closely. It is not a universal pass-or-fail threshold. A large print seen across a room may look pleasing at a lower density, while a small print held in the hand invites closer scrutiny.

Stand where you expect to enjoy the picture. A print above a sofa is usually seen differently from one in a narrow hallway. If you are unsure, ask the lab about a small test section printed at the same enlargement as the final piece. A miniature of the whole photograph will not reveal the same level of detail.

 

Check sharpness as well as the numbers

Changing a file's resolution label from 72 to 300 PPI, without resampling, adds no pixels. DPI refers to the printer's dots of ink and is a different measurement.

Inspect the file at 100% to spot blur, compression damage or heavy sharpening, then consider those flaws at the intended viewing distance. Upscaling can improve an enlargement's appearance, but extra pixels do not prove that fine detail is authentic. Compare the result with the original, especially around faces and lettering.

 

Choose a surface that suits the picture

Smooth photographic paper can suit images whose appeal lies in fine detail, such as architecture or a sharply focused portrait. Canvas adds a visible woven texture, which becomes part of how the image looks. Think about whether that texture complements your photograph and how closely it will be viewed.

 

Smooth paper and woven canvas give a print different surface characteristics.

 

Canvas cannot restore missing detail. Check the edge treatment as well: wrapping an image around a stretcher, mirroring its edges or using a plain edge can produce different results. Keep important subjects clear of any area that will leave the front face.

For readers in Australia, Framely’s canvas photo prints offer stretched canvas and optional floating frames. Compare the finish and edge options against your composition before settling on the size.

If colour is critical, ask whether your lab provides a suitable printer-and-paper profile for soft proofing. This previews how colours may translate to the chosen output. It is an estimate, so a physical proof remains useful for an important print. Avoid converting to an unfamiliar colour space simply because it sounds more professional.

 

Give the file one last check

• Keep the original and export a separate print copy.
• Follow the lab's instructions for file format and colour profile.
• Check the final crop, orientation and dimensions in the order preview.
• Inspect faces, lettering and edges for unwanted edits or sharpening.
• Ask for a file review or test print if the enlargement is uncertain.

The most satisfying print often comes from a modest adjustment: a little more room around the subject, a size that suits the file, or a surface that carries the mood of the photograph. Make those choices while the image is still on screen, and you can enjoy it on the wall with fewer surprises.