Christmas Prize Draw 2025 Day 4 - Win a Wacom Intuos Pro Medium!
For the photography lover who's always chasing the perfect shot – or perfecting it in post – the new Wacom Intuos Pro is the ultimate creative companion this holiday season. Completely redesigned and infused with over 40 years of Wacom's industry-leading pen-technology expertise, this flagship pen tablet turns every edit into a seamless, intuitive, and deeply satisfying creative experience.
Every photographer knows the magic often happens not only behind the lens but in the careful refinement of each image. With the Intuos Pro, retouching becomes a natural extension of your hand. Its new ergonomic layout , featuring mechanical dials and customizable ExpressKeys positioned along the top edge, provides tactile, ultra-precise control for tasks like zooming, brushing, masking, and adjusting exposure. These controls can be customised per application, keeping your workflow fast, fluid, and personal – ideal for photographers who frequently switch between Lightroom, Photoshop, and other editing tools.
At the heart of the experience is the breakthrough Wacom Pro Pen 3 , offering Wacom's most sensitive, accurate, and natural pen performance yet. With 8192 levels of pressure sensitivity, tilt support, new nib options, and interchangeable grips, buttons, and weights, photographers can tailor the pen to feel exactly right in hand – whether they prefer feather-light strokes for delicate retouching or a more weighted feel for bolder edits. And like all Wacom pens, it never needs charging.
Wacom's redesign also improved performance through a new chipset and digitizer, delivering superior accuracy and a higher report rate that dramatically reduces pen latency for a smoother, uninterrupted creative flow. Photographers working across multiple devices will appreciate the Intuos Pro's multi-pairing Bluetooth connectivity , allowing instant switching between two wireless devices with a simple toggle – perfect for those who edit on both a laptop and desktop. Prefer a wired connection? It links seamlessly via USB.
The Wacom Intuos Pro comes in three sizes – Small, Medium, and Large – so photographers can choose the ideal fit for their workspace and editing style. Its ultra-slim, rugged magnesium design makes it portable enough for location work, while the 16:9 active area mirrors modern display proportions for a more natural editing environment. The Small model is perfect for compact setups or travel, the Medium offers an excellent balance of portability and working area, and the Large provides maximum room for sweeping, expressive strokes and detailed retouching.
For retouchers who prefer to work directly on the screen , Wacom offers a powerful companion: Wacom Movink . This compact, portable, high-resolution OLED pen display delivers exceptional colour accuracy, deep blacks, and stunning detail – ideal for on-the-go image editing, reviewing retouching at full resolution, or creating a flexible dual-display set-up. Connected to a Mac or PC, it gives full access to professional software with the added benefit of pen-on-screen precision.
Today's Prize Win a Wacom Intuos Pro Medium!And this Christmas, photography enthusiasts have an extra reason to celebrate: participants in the ePHOTOzine Christmas Prize Draw have the chance to win a Wacom Intuos Pro Medium (worth £339,98 RRP). It's the ideal opportunity to elevate your workflow or gift someone special a creative powerhouse.
As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.
Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!
Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.
[PRIZE_ENTRY]7004[/PRIZE_ENTRY]
Winter Bird Photography Tips
So attracting birds in the winter is fairly easy – it's a perfect season for baiting them, but do a little research to find – firstly – the birds in your area, and secondly the foods that will attract them. Most Bird books will list birds by region, and detail their preferred foods. Most garden birds are fairly easy, fat-rich foods will attract most types to your garden, try black sunflower seeds, fat balls, and peanuts, but make sure they are all in appropriate feeders. Peanuts need to be in a wire feeder for small birds such as tits, as they will otherwise get stuck in their throats. Robins love mealworms, which can be bought either dried, or live. Blackbirds, starlings and the like love old fruit – so when your Christmas fruit is getting a bit wrinkly – put it out for the birds, and you'll be treated to loads of visitors to your garden.
Remember, as well as garden birds, the British Isles – with its thousands of miles of coastland, is a haven for wintering waders, with Hooper Swan, Dunlin, Oystercatcher and Knot numbers swelling through the winter months. A visit to the coast can prove very successful through the winter.
Setting Up
Make no mistake, photographing winter birds is cold work, sitting outside for a few hours without any exercise to warm you up means you really do need to wrap up warmly. I use a portable hide, with a built-in seat, my tripod with a Gimbal head with either a 400mm or 600mm lens on my camera. The Gimbal head effectively takes all the weight of the lens, and supports it exactly on it's point of balance. It can be locked in both the vertical and horizontal planes, or left free to pivot and follow moving birds, both in flight, or moving over the ground.
Although long lenses are essential, particularly exotic glass isn't always necessary, with excellent results possible from 80-400mm or 100-400mm lenses. Wide maximum apertures make focusing and composing quick and easy, but you don't need f/2.8 apertures for 99% of your bird photography, but remember, as you get beyond 300mm, lenses become significantly more difficult to use, more prone to movement, with a very narrow band of focus. Rather than relying on super-long lenses, spend and extra half-hour getting closer to the subject.
When preparing to photograph garden birds, don't simply put the food out in your garden and expect them to come immediately – rather, feed them through the whole of the winter, and you will be rewarded with a rich variety of garden visitors. If you are using a hide, make sure it's in place for a good few days before you even attempt photography.
Pictures of birds on feeders really don't inspire, so make sure your feeders are situated in an area where there are good natural perches – or interesting ground for ground-feeders. Wedge nuts and pieces of fat-balls into cracks in the trunk or branches of a tree - birds feeding from these hidden "feeders" look much more natural – acorns wedged into the bark of a tree can attract Jays – so try to get a supply soon from your nearest oak tree.
Photo by John Gravett
If you're lucky enough to have a covering of snow, it always adds to the wintry feel, but check your exposure first, to make sure you're not underexposing the snow. With low winter light levels, be careful to ensure a high-enough shutter speed and sufficient depth-of-field in your photos. It's always tempting to shoot at a wide aperture and throw the background out of focus, but make sure enough of the bird is sharp! I've got photos where the eye is in focus, but the front of the breast isn't – and although you might not get everything from beak to tail crisp, beak, eye and breast is a good minimum.
At The Coast & Nature Reserves
For shoreline birds, there are other considerations. Tides being the most important, - especially if you're thinking of using a hide. I often work without a hide by the coast – using long grasses for cover. As the tide comes in – shore feeding birds are forced further up the beach – closer to your vantage point. Do make sure you are above the high-tide line if you're planning this approach. Whenever you're working on a beach, do all you can to break up your outline, even lying prone on the beach covered with a bit of camouflage netting can take away the obvious human outline. For cheap camo netting, look on eBay, there's always loads about. Your local RSPB reserve can have a wealth of winter visitors, and their web-sites will usually have a list of birds visiting.
Article by John Gravett of Lakeland Photographic Holidays -www.lakelandphotohols.com
Sony Alpha 7 V and FE 28-70mm f/3.5-5.6 OSS II Announced
Sony has launched the Alpha 7 V, the fifth generation of its full-frame mirrorless A7 series, featuring a new 33MP Exmor RS sensor, improved AI-powered autofocus, blackout-free shooting up to 30fps, and advanced video capabilities such as oversampled 4K 60p in full-frame and 4K 120p in Super 35mm crop mode. Alongside the camera, Sony also introduced the compact FE 28–70mm f/3.5–5.6 OSS II lens, designed to complement the A7 V’s speed and versatility. The Alpha 7 V body is priced at around £2,799 / €2,999 and is already available, while the new lens is scheduled to arrive in February 2026 for about £429 / €479.
From Sony:
Sony introduces the Alpha 7 V, the highly anticipated fifth generation in the popular Alpha 7 Full-frame mirrorless line-up powered by the newly developed partially stacked Exmor RS™ CMOS image sensor with approximately 33.0 effective MP (megapixels). The new image processing engine BIONZ XR2™1 incorporates the AI processing unit functions of the latest α™ (AlphaTM) series. Through these innovations, the Alpha 7 V delivers a significant performance boost across every aspect of imaging, from Real-time Recognition2 AF(Auto-Focus) to Real-time Tracking3, speed, stable colour accuracy, still capture, and video versatility.
Additionally, Sony launches the FE 28-70mm f/3.5-5.6 OSS II, a full-frame compatible, compact and lightweight standard zoom lens that supports the Alpha 7 V’s high-speed continuous shooting.
“The Alpha 7 V resets expectations on what an all-around Full-frame camera can achieve,” said Yann Salmon-Legagneur, Head of Marketing, Sony Imaging, Products and Solutions, Sony Europe. “By evolving autofocus intelligence, colour science, and system responsiveness, we’re enriching our expanding lineup with a powerful new option that provides creators with an advanced tool capable of keeping up with their creativity and bringing them one step closer to achieving their dreams.”
AI-Powered Performance BoostsThe Alpha 7 V integrates the AI processing unit into the BIONZ XR2 engine, delivering a substantial leap in autofocus speed, accuracy, and reliability. The Alpha 7 V has up to 30% improvement4 in Real-time Recognition AF that instantly recognises targeted subjects and continues to capture them with high precision. With 759 phase-detection points and up to 94% frame coverage, the camera ensures precise subject tracking across nearly the entire image area, even in challenging low-light conditions down to EV -4.05.
High-resolution RAW processing is now supported through Imaging Edge Desktop application6 for unparalleled post-production flexibility.
No compromise High-speed Continuous Shooting
The combination of a partially stacked Exmor RS™ CMOS image sensor with approximately 4.5 times faster7 readout speed increased and the BIONZ XR2™ processor results in high image quality with minimal distortion.
Additionally, high-precision tracking with up to 60 times AF/AE calculations per second and blackout-free continuous shooting up to 30 fps8 with AF/AE tracking9 ensures no missed opportunities even with fast-moving subjects moving in complex patterns, such as in wildlife and sports photography. Even during 14-bit RAW shooting, it achieves high-speed continuous shooting at up to 30 fps with AF/AE tracking.
The Pre-Capture function10, which can record up to 1 second before the shutter is pressed, captures decisive moments even with subjects whose movements are difficult to predict, such as pets and sports.
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Outstanding Still Image Performance
Engineered for maximum creative control, the Alpha 7 V achieves up to 16 stops of dynamic range11, ensuring remarkable tonal detail across highlights and shadows. Even in scenes with extreme contrast, it expresses natural and smooth gradations from dark to bright areas.
The newly introduced AI-driven Auto White Balance (AWB) leverages advanced scene analysis for consistent colour rendering and uses light source estimation through deep learning technology. By automatically identifying the light source in the shooting environment with high precision and adjusting to appropriate colour tones, it enables natural and stable colour reproduction, resulting in more faithful colours and reducing post-production workload.
Versatile Video Capabilities
Expanding creative possibilities for hybrid creators, the Alpha 7 V introduces additional 4K recording modes, including 7K oversampled 4K 60p recording12 available in full-frame mode and 4K 120p13 mode recording in APS-C mode/Super 35mm delivers rich, detailed footage with exceptional flexibility in editing.
Full pixel readout without pixel binning enables highly detailed video recording down to the finest details.
The image stabilisation features Dynamic Active Mode14, enabling smooth and stable video expression even when handheld. Users can enjoy high-quality video recording in a wide range of scenes, from vlogs and creative productions to capturing family memories.
The camera also features an Auto Framing function that automatically maintains optimal composition of subjects during recording through AI-powered subject recognition. This enables stable composition video recording in various scenes
New in-camera noise reduction and improved internal mic functionality15 ensures high-quality audio recording by reducing steady background noises, minimising interference, and maintaining natural sound.
Enhanced Operability and UsabilityDesigned with efficiency in mind, the Alpha 7 V offers Wi-Fi® 6E GHz compatibility16 for high-speed, stable wireless transmission, along with dual USB Type-C® ports for improved workflow and flexibility.
Vertical format support and an adjustable electronic shutter sound make shooting adaptable across diverse environments.
The 4-axis multi-angle monitor combines tilt and vari-angle design, offering unrestricted horizontal and vertical adjustment for greater shooting freedom.
A better finger fit on the grip provides improved comfort, stability, and control during extended sessions.
Built for Reliability
The Alpha 7 V features upgraded power management and enhanced stamina performance, enabling longer shooting sessions without interruption. A new Monitor Low Bright mode extends battery life17 even further, while improved thermal management supports extended18 4K recording with uncompromised quality, approximately 630 shots when using viewfinder per CIPA standards.
FE 28-70mm f/3.5-5.6 OSS II – The All-Around Lens
Compact, lightweight, and engineered for speed, the FE 28-70mm f/3.5-5.6 OSS II is designed to fully leverage the continuous shooting19 capabilities of the Alpha 7 V sensor. When combined with compatible cameras, this new lens offers up to 120 fps AF/AE tracking20, continuous shooting, seamless body-lens coordinated image stabilisation, AF available even during zooming, and built-in breathing compensation support. From dynamic action shots to fast-paced events or high-quality video capture, this lens delivers smooth, dependable responsiveness and flexibility.
Social Responsibility
Aligned with Sony's ambitious 'Road to Zero' initiative, this product supports the company's vision for achieving a zero environmental footprint by 2050. The Sony Group's manufacturing facilities for imaging products, including the Alpha 7 V and FE 28-70mm f/3.5-5.6 OSS II, operate at 100% renewable energy. The packaging uses Sony's proprietary environmentally friendly Original Blended Material21 instead of plastic22.
Pricing and Availability
The Alpha 7 V Body will be available to purchase from 2nd December 2025 for approximately £2,799 / 2,999 EUR.
The FE 28-70mm f/3.5-5.6 OSS II will be available in February 2026 for approximately £429 / 479EUR.
Exclusive stories and exciting new content shot with the new Alpha 7 V and Sony's other imaging products can be found here, a site created to inform, educate, and inspire content creators.
For more information, please visit the Sony website.
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Footnotes
[1] Bionz XR Two.
[2] Available subject settings are: AUTO, Human, Animal/Bird, Animal, Bird, Insect, Car/Train, and Airplane. Subject types other than the type specified may be erroneously recognised in some cases.
[3] [Tracking] in the menu.
[4] The 30% improvement is a value from Sony's internal measurement comparing the eye recognition performance for human eye with the real-time Eye AF of the Alpha 7 IV.
[5] AF-S, ISO 100 equivalent, F2.0 lens.
[6] The latest version of Imaging Edge Desktop required. Download at Creators' Cloud Web page. Network services, content, and operating system and software subject to terms and conditions and may be changed, interrupted or discontinued at any time and may require fees, registration and credit card information.
[7] Compared to the Alpha 7 IV. Based on Sony measurement conditions.
[8] When using the electronic shutter. [Hi+] continuous shooting mode. A software update may be required for some lenses. See Sony’s support web page for information on compatible lenses
[9] When using electronic shutter, based on Sony measurement conditions. Continuous shooting speed may decrease depending on shooting conditions. When focus mode is set to AF-C, continuous shooting speed varies depending on the attached lens. For details, please check the lens compatibility information support page.
[10] Still image shooting only.
[11] Applicable only in mechanical shutter mode.
[12] When [4K angle of view Priority] is ON.
[13] When [4K Angle of View Priority] is ON.
[14] Angle of view is reduced more than in Active Mode. Clear Image Zoom is not available when using Dynamic active Mode. Maximum ISO sensitivity is ISO25600.
[15] The effectiveness of reducing lens power zoom noise varies depending on the type of lens used. Even with the setting turned on, it may take some time for the noise reduction function to take effect.
[16] 5 GHz/6 GHz communication may be restricted in some countries and regions. Requires compatible wireless network.
[17] Actual performance varies based on settings, environmental conditions, and usage.
[18] 4K recording time @ 25 deg is approximately 90 min; 4K recording time @40deg is approximately 60 min.
[19] Up to 30 fps AE/AF tracking.
[20] For compatible cameras, please refer to the support information.
[21] Paper material made from bamboo, sugarcane fibres, and post-consumer recycled paper.
[22] Excluding materials used in coatings and adhesives.
Christmas Prize Draw 2025 Day 3 - Win £500 To Spend With MPB!
This festive season, MPB is giving creators the chance to upgrade their gear in a way that’s simple, secure, and sustainable. We’re sponsoring three special ePHOTOzine prize draws, with MPB vouchers worth up to £1,000 up for grabs. Whether you’re a photographer chasing golden-hour light or a filmmaker capturing winter stories, this is your moment to unwrap something amazing.
The Prizes- Day 1: A £1,000 MPB voucher to spend on the camera or lens you’ve been dreaming about
- Day 3: A £500 MPB voucher to help you step up your creative game
- Day 9: A £250 MPB voucher that’s perfect for adding the finishing touch to your setup
At MPB, we believe used doesn’t mean second-best. It means smarter. We make buying, selling, and trading photo and video gear simple, secure, and sustainable. Every week, thousands of creators trade in their old gear and upgrade to something new-to-them.
- Buy better: Save money and shop gear that’s been checked by experts and backed by warranty
- Sell smarter: Get an instant quote, ship for free, and get paid quickly with no hidden fees or hassle
- Shoot sustainably: Give great gear a second life and help reduce waste in the creative industry
Find out how to sell your gear or start exploring our latest arrivals at mpb.com.
Creativity for Every Kind of CreatorWhether you’re a professional with a packed kit bag or just starting out, MPB is built for you. Our platform connects photographers and videographers across the world, creating a community that values creativity and sustainability in equal measure.
We’re passionate about helping people find the right tools the right way. Gear that inspires creativity, captures stories, and makes a difference. Because when your tools fit your vision, your ideas come to life.
Today's Prize Join the GiveawayDon’t miss your chance to win an MPB voucher worth up to £1,000 this Christmas. Enter the ePHOTOzine/MPB giveaway to start the new year with your dream setup.
Shop used. Shoot better. Win big with MPB.
As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.
Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!
Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.
[PRIZE_ENTRY]7003[/PRIZE_ENTRY]
Top Tips On Photographing Snowy Landscapes
Photo by Emma Kay
What better excuse do we need as photographers than a blanket of snow for wonderful photographic opportunities? When photographing snowy landscapes it's important to get a few techniques right to ensure you capture everything at its best.
Let's start with the ideal conditions, a snowy landscape and blue skies – perfect, but can you get anything wrong on days like this?
Firstly, metering – "intelligent" camera metering systems (matrix, evaluative) are getting better at coping with bright (or dark) scenes, but most will still lead to a degree of underexposure, leaving your whites looking dull but more importantly, your shadow details blocked up.
Keep a close eye on your histogram and expect to have to adjust your camera's meter reading. Ideally, your histogram should end just at the right-hand axis, anything less than this will indicate underexposure.
Secondly, tripods – although on a bright sunny snowy day, high shutter speeds are easier to attain, when going for great depth of field, particularly early or late in the day, shutter speeds can drop slightly and cold hands are not good at holding cameras still. If you're using a carbon fibre tripod, they don't get as cold to the touch as aluminium, but if you're using an aluminium tripod, try wrapping the legs in pipe insulation to give a warmer surface to the touch, or better still, go to a sports shop and get either racing bike handlebar tape, or tennis racquet grip tape; either will give you a warm grip with much less bulk.
Look for good leading lines
Thirdly, how to shoot – I know this sounds a bit basic, but sometimes the most obvious things are overlooked. With the ground often covered in a plain white layer, try looking for good “lead lines” - things that will take your eye into the picture; in the Lakes, dry stone walls, or lake edges are ideal. Now – an important point – if you walk up to a wall, or lake edge to take a photo in one direction, then you walk along it's length and turn round to take a photo back the other way, you will have spoiled the “return” view with your own footprints! So I tend to look carefully from a distance, approach to my first photo point, after taking the picture, I retrace my steps and take a wide route around to my second viewpoint, so the view back remains pristine. Obviously, this only applies when the show is fresh, so the other important point is – when it snows, get out as soon as you can, before it's covered in other people's footprints.
Don't forget details too, a few blades of grass can be just as effective as a simple image as a whole vista, so be careful not to overlook the minimalistic approach. Splashes of colour in a monochromatic view can add enormous impact, too. Also remember, that even in snowy weather, communities keep working, so look out for farming activity in fields too, to add a human – or livestock scale to the picture.
So – what if the weather's not so ideal? I was once out in blizzard conditions just below Watendlath, the same rules of exposure, composition etc. all apply, but you will find that as the background – as well as the sky will simply disappear in a haze of white, strong, graphic foreground shapes can produce striking pictures – often more effective in black & white, almost creating the effect of a pen-and-ink drawing. Keep a very close eye on how strong foreground elements react with each other – try to prevent too much overlap, which will otherwise tend to confuse the composition.
Most important of all, look after yourself, photography isn't the most active of winter pastimes, so wear plenty of layers to trap air and keep you warm, a hat is essential – 33% of body heat escapes through the head, and although gloves are a pain while photographing, reach a compromise that works for you – either fingerless, or gloves that you only take off while you frame and take the shot. I discovered hunting gloves a few years back, which have a slot in the forefinger and thumb of the right glove, allowing them to be pulled back for access to the shutter and control dials, without the rest of your fingers freezing. If you're planning a long spell, hot drinks are worth taking with you.
Article by John Gravett - www.lakelandphotohols.com
ePHOTOzine Daily Theme Winners Week 4 November 2025
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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 altitude50 (Day 23 - HDR)
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 24Still Life Photography
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Day 25Abstract Landscapes
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Day 26
Children
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Day 27
Groups
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Day 28Low Light Photos
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Day 29
Indoor Portraits
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Day 30
Christmas Markets
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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.
Christmas Prize Draw 2025 Day 2 - Win a Nikon Z50 II + 16-50mm Kit
Imagine stepping into the new year with a camera that’s built to unlock your creative spirit - the Nikon Z50 II is the perfect way to start. We’re thrilled to offer this as today’s special prize: a compact, powerful mirrorless camera kit that’s ideal for photography, vlogging, travel, and everyday creativity.
What makes the Nikon Z50 II so great:
- Compact & travel-ready — thanks to its DX-format 20.9 MP CMOS sensor and Z-mount design, the Z50 II delivers DSLR-quality images in a light, portable body.
- Fast, sharp & versatile — EXPEED 7 processor brings impressive speed: shoot up to 30 fps (electronic shutter) or 11 fps (mechanical). Perfect for action, wildlife, or capturing fleeting moments.
- Excellent autofocus & subject tracking — hybrid autofocus with subject detection makes it easier to nail focus even with moving people, pets or unpredictable lighting.
- 4K video, vlogging & live-stream ready — ideal for video projects, social media content or behind-the-scenes storytelling.
- Creative control on the go — the wide-angle 16-50 mm VR lens and in-lens Vibration Reduction help deliver crisp, shake-free photos whether you’re doing portraits, landscapes, or street photography.
And - right now, this Z50 II + 16-50mm kit is included in the Nikon Winter Instant Savings promotion!
Follow your inspiration with the Z50II standard zoom kit! Includes the Z50II camera and the NIKKOR Z DX 16-50mm f/3.5-6.3 VR zoom lens. This wide-angle zoom lens captures vibrant wide-angle to portrait views and boasts in-lens Vibration Reduction image stabilisation for shake-free photos and movies. It’s a great walkaround lens that retracts when not in use for easy portability.
As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.
Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!
Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.
[PRIZE_ENTRY]7002[/PRIZE_ENTRY]
Fairground Rides At Night
As Christmas markets are now decorating our towns and cities alongside them you'll occasionally find the odd ride or two which make great photographic subjects after the sun has set. What kit is best?
When it comes to equipment, a wide-angle lens will mean you can capture shots of rides and surrounding details but do consider taking a zoom as it'll help you focus on people riding the rides, food, prizes and other items found at fairs. Your tripod is the second most important bit of kit you'll take with you as when slow shutter speeds are in use working hand-held is hard work. A remote shutter release will help eliminate the risk of blur caused by camera movement and don't forget to wrap up warm!
What time of the day should I head out?
If you want to shoot general wide shots of the fair then head out just as the lights are coming on when there's still a touch of colour in the sky. That way you'll be able to get the lights, stalls and other foreground interest of the fair set against a deep blue sky. Leave the flash at home though as it can kill the atmosphere you're trying to create.
For more abstract images, wait until the sky's a little darker and turn the rides into streams of light patterns. Look for rides that spin quickly or are bursting with colour as these tend to produce the better results. To do this simply have a play around with slow shutter speeds. Better still, if your camera has it, use the Bulb setting as exposures above and beyond thirty seconds will really blur the movement of the ride and also help remove anyone who happens to be walking through your shot. Just make sure auto ISO is off and that you're using the lowest setting you have. You'll also need to manually focus as auto focus will be searching around in the dark for quite a while then simply use a small aperture to get the maximum depth of field to compensate for any inaccuracies using manual focus may throw your way.
Do take the time to watch the rides to see which angle will give you the best image and do check there's nothing in the foreground that'll spoil your shot. It's also worth keeping an eye on your camera's histogram to check the exposure and consider shooting in RAW so you have the option to tweak the white balance etc. once back home.
Soaring Costs, AI and Systemic Barriers Risk Losing a Generation of UK Creative Talent, According to New Research
© MPB
Rising costs, a lack of role models and contacts, and the growing influence of AI are making it harder for young people to build creative careers, according to new research from MPB and the digital arts charity Lighthouse. A survey of 1,000 people aged 16 to 24 found that most face financial barriers, limited industry connections, and serious worries about how AI could affect future jobs. In response, MPB and Lighthouse are strengthening their partnership to offer affordable equipment, mentoring, skills training, and youth led pathways, including Lighthouse’s new national Pathways Not Projects programme, to help young people shape and succeed in the creative industries.
From MPB:
BRIGHTON, United Kingdom, 1 December 2025: The high cost of entry, a lack of role models and representation, and the advent of artificial intelligence (AI) could see the UK economy lose a generation of young creative talent, according to new research.
The research, commissioned by MPB, the leading global platform for buying, selling, and trading used photography and videography equipment, and digital arts charity Lighthouse, surveyed 1,000 16–24 year olds interested in or pursuing careers in the creative industries.
It has revealed stark challenges facing the next generation of talent:
- Financial barriers at the forefront: 85% of young people said the cost of equipment has prevented them from exploring a creative career, while seven in 10 (70%) worry about long-term income security.
- Lack of connections and representation: 87% fear a lack of industry contacts will hold them back, with 78% highlighting the shortage of representative role models.
- AI: a threat and an opportunity: More than half (52%) felt AI has reduced their confidence in pursuing a creative career, while 86% are concerned about its impact on jobs and the devaluation of human skills. However, many see AI’s potential as a powerful creative tool — if young people are given the chance to shape how it is used.
Despite these challenges, nearly half (44%) of respondents still aspire to turn their creative passion into a profession. However, fewer than one in four (22%) feel confident they can succeed — highlighting the urgent need for more accessible pathways.
MPB and Lighthouse partnership
Young people need access to affordable equipment, training, and mentorship to build viable careers in the creative sector. They also need guidance on how to harness emerging technologies such as AI and overcome the structural barriers of cost, connections, and representation.
To help address this, MPB has forged a partnership with Lighthouse, the digital arts charity, to empower young creatives.
Through this long-term collaboration, MPB provides access to professional photography and video kit, while Lighthouse delivers mentorship, skills development, and youth leadership opportunities. Together, they are creating sustainable pathways for underrepresented young people to overcome barriers and thrive in creative careers.
Looking ahead, Lighthouse has announced a new national initiative - Pathways Not Projects - which will establish youth steering groups within creative and arts organisations across the UK. These youth-led hubs will ensure young people themselves shape the future of the creative industries, influencing governance, budgeting, curatorship, and exploring alternative economic and creative models. They will lead sector-wide debates on AI, technology, representation, and inclusion, ensuring that new technologies strengthen rather than diminish opportunities for the next generation of talent.
Matt Barker, Founder and CEO of MPB, said:
"We believe creativity should be an accessible career for all, not the privileged few. This research confirms what many of us in the industry already suspect: talent is everywhere, but opportunity is not.
“At MPB, we’re committed to lowering the barrier to entry for young people, firstly by providing reliable access to more affordable equipment, and secondly via partnerships with critical organisations like Lighthouse, who support young people with the skills, mentorship, and confidence to shape the future of the creative industries."
Bobby, Creative Communities Producer, Lighthouse, said:
“Lighthouse exists to build pathways, community and opportunity, not just one-off projects. We pair access with agency: accessible kit (via MPB), work opportunities and youth leadership. The next generation doesn’t just want to enter the creative sector, they want to shape it. Our Future Creative Leaders programme proved this, creating governance roles and paid opportunities for young people to lead, rooted in place, community and purpose.
“At a time of AI, rising costs and shrinking opportunities, we’re doubling down on civic space and youth-led engagement. Progress is proudest when it has soil under its nails, and we’ve felt this most when giving young people real power in the room. Talent is everywhere, but opportunity is concentrated. Lighthouse offers practical support so young people can build creative lives in, and for, their own communities.”
For more information, please visit the MPB website.
New Datacolor SpyderPro - Redefining Display Calibration with Groundbreaking Workflow Tools
- Partner Content -
How Datacolor’s newest generation is transforming workflows for photographers, videographers and content creators worldwide
In today’s world of fast-moving visual content, colour accuracy has never been more critical. Whether you’re producing cinematic videos, building a professional photography portfolio or designing branded visuals for global audiences, what matters is simple: your images and videos must look exactly as you intended—on any device, every time.
With the newest generation of Datacolor SpyderPro, released in early November, creators now have access to tools that go far beyond traditional display calibration. SpyderPro doesn’t just correct your screen; it empowers an entire workflow. Supporting ultra-bright displays up to 12,000 nits—including OLED, QD-OLED, mini-LED and Apple Liquid Retina XDR panels—the system redefines what accurate, reliable colour management means for modern creatives.
But its real impact lies in three truly groundbreaking features:
3D LUT export, Device Preview™ Plus and Content Credentials (C2PA).
Each one solves a major challenge in today’s digital production landscape—and combined, they form a workflow ecosystem unlike anything Datacolor has offered before.
3D LUT Export – A Workflow Revolution
One of the most significant innovations in the updated SpyderPro is its ability to export 3D LUT files (.cube). SpyderPro is the first device in its class to offer 3D LUT (.cube) export, delivering highly accurate calibration for compatible video monitors. This makes it an ideal tool for professional video and cinema environments.
To experienced colourists and filmmakers, LUTs are indispensable: they bring consistency, accuracy and a high level of control to video workflows. Now, SpyderPro brings this capability directly to creators who need professional-grade calibration—without investing in expensive broadcast hardware.
3D LUT technology is widely used in the film industry for non-linear colour adjustments, such as warming skin tones or cooling shadows. Loading a 3D LUT onto a compatible video monitor (e.g., Atomos) has never been a challenge. The real issue—until now—was affordable calibration of these monitors.
With a 3D LUT, SpyderPro corrects colours across the full three-dimensional RGB colour space. Instead of adjusting colours independently along linear curves (as with 1D or 2D LUTs), a 3D LUT applies corrections that take into account all colour interactions at once. This results in:
- Exceptionally accurate, natural-looking colours
- Highly nuanced tonal transitions
- A true “what you see is what you get” preview on video monitors
- Reliable consistency across multiple screens and environments
The Challenge: Video monitors that are not permanently connected to a computer cannot rely on ICC profiles for colour management. To calibrate them, the monitor must be recognized by calibration software, measured, and then provided with colour correction values in the form of a 3D LUT.
The Solution with SpyderPro: Connect the monitor via HDMI to a computer running Spyder calibration software. The software detects the monitor and allows you to select it for calibration. After measurement, export the colour correction as a 3D LUT file to an SD card and insert it into the monitor. To do so, the monitor must support 3D LUTs and have a suitable interface (e.g., HDMI).
YouTube videos:
Calibration of various Atomos video monitors with Datacolor SpyderPro / 3D LUT Export
OLED TV calibration and application of colour correction via 3D LUT using a Blackmagic SDI/HDMI micro converter.
Device Preview™ Plus — A New Level of Colour Confidence
The new Device Preview Plus feature allows creators to simulate how their content will appear across devices and media — from smartphones and tablets to laptops, projectors or prints —directly on a calibrated display.
It goes far beyond basic soft proofing, offering side-by-side comparisons, pixel sampling, gamut warnings, batch conversion and enhanced export options. Hence, profiles are neatly organized into three groups:
- Display Profiles – To preview your image in AdobeRGB, ProPhoto RGB, Rec. 709 or others select the corresponding profile under Display.
- Mobile Profiles – To preview your images on smartphones or tablets, check the Mobile section — it includes ICC profiles for many popular devices.
- Printer Profiles – For a classic soft proof, go to Printer Profiles.
Images can be exported directly from the application with any chosen ICC profile applied.
Content Credentials (C2PA) – Safeguarding Creative Integrity
As AI-generated visuals surge and digital content spreads rapidly across platforms, creators face a serious question: How do you prove that your work is authentically yours?
Datacolor addresses this challenge with Content Credentials, an emerging industry standard (C2PA) designed to restore trust and transparency to digital media. SpyderPro can now embed tamper-resistant metadata into images and videos, documenting:
- Authorship
- Editing steps
- File provenance
- Time and date information
- Creative workflow details
For photographers, Content Credentials add a new layer of professionalism. Every exported file carries a secure digital trail, supporting licensing, commercial production, portfolio authenticity and the protection of creative reputation.
Content Credentials are more than metadata: they represent a future-proof investment in a media landscape where trust, authorship and authenticity matter more than ever.
Christmas Prize Draw 2025 Day 1 - Win £1,000 To Spend With MPB!
This festive season, MPB is giving creators the chance to upgrade their gear in a way that’s simple, secure, and sustainable. We’re sponsoring three special ePHOTOzine prize draws, with MPB vouchers worth up to £1,000 up for grabs. Whether you’re a photographer chasing golden-hour light or a filmmaker capturing winter stories, this is your moment to unwrap something amazing.
The Prizes- Day 1: A £1,000 MPB voucher to spend on the camera or lens you’ve been dreaming about
- Day 3: A £500 MPB voucher to help you step up your creative game
- Day 9: A £250 MPB voucher that’s perfect for adding the finishing touch to your setup
At MPB, we believe used doesn’t mean second-best. It means smarter. We make buying, selling, and trading photo and video gear simple, secure, and sustainable. Every week, thousands of creators trade in their old gear and upgrade to something new-to-them.
- Buy better: Save money and shop gear that’s been checked by experts and backed by warranty
- Sell smarter: Get an instant quote, ship for free, and get paid quickly with no hidden fees or hassle
- Shoot sustainably: Give great gear a second life and help reduce waste in the creative industry
Find out how to sell your gear or start exploring our latest arrivals at mpb.com.
Creativity for Every Kind of CreatorWhether you’re a professional with a packed kit bag or just starting out, MPB is built for you. Our platform connects photographers and videographers across the world, creating a community that values creativity and sustainability in equal measure.
We’re passionate about helping people find the right tools the right way. Gear that inspires creativity, captures stories, and makes a difference. Because when your tools fit your vision, your ideas come to life.
Today's Prize Join the GiveawayDon’t miss your chance to win an MPB voucher worth up to £1,000 this Christmas. Enter the ePHOTOzine/MPB giveaway to start the new year with your dream setup.
Shop used. Shoot better. Win big with MPB.
As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.
Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!
Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.
[PRIZE_ENTRY]7001[/PRIZE_ENTRY]
Stunning Dolomite Landscape Wins 'Photo of the Week'
The Dolomites have been captured in all their beauty in this superb shot titled “Dolomite View” by site member PaulHolloway.
The view is filled with amazing detail, from the crisp mountain peaks to the soft layers of light that give the scene shape and atmosphere. The natural tones and textures bring out the character of the landscape, while the sweeping view creates a calm, open feeling. It is the kind of image that makes you pause and take in the wide mountain world in front of you, almost as if you are standing there yourself. Simply put, it is an amazing view and a superb photograph that is worthy of POTW recognition.
Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2026, we’ll crown our 2025 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards!
5 Cold Weather Photography Tips
The temperatures are slowly dropping which means it's a good time to start thinking about cold weather photography.
Photo by David Clapp - www.davidclapp.co.uk
What To Wear
Layers are key as lots of thinner layers will trap more warmth than a single thick coat, plus you can always take a layer off if you get too warm! Always wear a waterproof outer layer and don't forget your scarf and a hat that covers your ears. Even though they can be a bit annoying, gloves are a must too and if you don't want to spend time removing them every-time you want to adjust your camera, invest in a fingerless pair, or a set that have a mitten part you can pull over your fingers when not using your camera. If your gloves are made of wool or fleece, do note that they do get very wet easily and this can lead to your hands becoming cold rather quickly. Wear boots that are waterproof, warm and most importantly have a good grip. Carry spare socks too as having wet feet, particularly when it's cold, isn't a fun experience.
Carry Food And Drink
If you're planning on heading out in the cold for a few hours, always take some food and drink with you. A small flask of something warm such as tea, coffee or soup can be warming on particularly cold days.
Always Tell People
Make sure someone knows where you are heading and when possible, take someone with you. If you are heading out on your own always write down where you'll be as people have a habit of forgetting things if you just tell them verbally.
Do double-check you have your mobile phone with you (and that it's charged) before leaving the house as telling people where you're going won't be much use if they can't get in touch with you.
Your Gear
Even though modern gear copes rather well in all temperatures do still take spare batteries as they can lose their charge quicker in cold weather. Do remember that aluminium tripods become very cold to the touch in winter, so you may want to fasten it to your rucksack rather than carrying it in your hands.
Even if you're going to a location you know well it's still a good idea to pack a map and compass (even if you do have a smartphone!) and a remote shutter release will come in handy when you find yourself shivering. If you don't have a remote release consider using your camera's self-timer so shake doesn't spoil your shot. Increasing your ISO will also help keep shutter speeds higher.
Do Your Research
Don't push yourself too hard if you're planning on going for a walk and do try and find out what the terrain will be like at your chosen location for example, is it muddy? Do surfaces become slippery after a cold night? Etc.
As days are shorter, do take drive times as well as how long it will take you to walk there and back (if you are) to your chosen photography spot into consideration as you don't really want to be walking back to your car in the dark! If you are planning on shooting a sunset, a head torch will be more useful than a hand-held one as it'll mean your hands are still free.
Check the weather regularly for a few days before your shoot as well as while you're out as weather, particularly up in mountainous areas, can go from fine to terrible quite rapidly.
Photography At Christmas Markets
Photo by David Pritchard
Gear:
- Wide angle lens – overall atmospheric shots of the market
- Zoom lens – shots of people and produce
- Camera that works well at higher ISOs – Christmas markets look particularly good in the evening so a camera which gets good results at the higher end of the ISO spectrum would be handy to have
- Tripod – If you can squeeze one into the crowds it will make your life a lot easier
Festive markets are bursting with Christmas colours so make sure you take advantage of this. Late afternoon or early evening are the best times to visit as the dark sky against the festive lights create a magical atmosphere. Christmas wares on colourful displays look great so take the time to stand back and use a small aperture to get a stall's full collection of produce in. You may have to wait until almost closing time if you don't want people in your shot but shoppers, particularly if they're interacting with stall holders, can add to your picture. Just remember to be polite, ask if it's OK to photograph them and their stall and don't get in the way – it's a business after all so if they ask you to move on politely do so.
If there's room to get close to the gifts on offer look out for baubles and other decorations dangling from the stalls. They can make great macro shots, particularly if they're glittering against a background you've thrown deliberately out of focus. Adding a little flash can help quicken the shutter speed which can be a big help when working in low light.
As your market will probably be outdoors, watch your exposure as it can alter drastically between the walkways and under the stalls which can cause your shots to be underexposed. Keep an eye on your white balance too as street lights can look rather orange. You'll probably find it's best to bracket most of your shots, taking a shot above and below the correct exposure. Try standing back and shooting enough shots to stitch together as a panorama to show people the whole scene.
There's no doubt that the market will be bustling so there will be ample chance to capture some shots of people wrapped up in their winter gear, carrying plenty of shopping bags filled with Christmas gifts. Try using a slower shutter speed to blur their movement as they walk through your frame. If any lights are swaying or there are fairground rides these will also work well blurred into colourful lines of light.
How To Create Good Bokeh Backgrounds With Lights
As we're heading towards the time when we climb up into the loft to drag out the Christmas decorations and lights, we thought we'd show you how you can add interest to portraits with the help of a few Christmas lights. This technique can also be used outdoors at night with street lights or cafe lights etc. You just need to get the lighting right on your subject.
Bokeh Christmas light shots are popular and rightly so as this technique can help you create some really beautiful indoor portraits. It can take a little experimentation but as you don't need much kit or props, it's a technique everyone can have a go at and it's a lot of fun!
Any camera where you can control the aperture will be fine for this technique, however a camera with a bright aperture, say a f/1.4 - f/2.0 compact camera would be ideal. If you use a mirrorless or Digital SLR it should be easier to achieve the effect.
The brighter the lens you're using the more impressive the effect should be, making a lens and the larger the sensor the greater the effect will be too.
Your Christmas lights need to be placed on or against a dark background and you need to position your subject or model as far away from the background as possible, while still keeping the lights in the background.
To keep the black background as dark as possible, switch off your room lights and use a smaller, portable light to ensure your subject is correctly illuminated. We didn't use the studio flash for this, instead we just used the prop lighting, but any lighting should be suitable, and incandescent lighting will give the subject a warm feel.
Make sure you position the model light towards your subject at an angle, so as to not throw any light from this front light onto the background area.
Occasionally the lights in the background (if bright) can confuse the camera and cause it to under-expose the subject, so it's important to try and get the foreground lighting nicely balanced.
You may need to be careful with white balance settings, so shooting in RAW will help if you have any problems or you could use a grey card and manually set white balance based on the model's lighting. We used a white card to manually set the white balance, with the model holding the card in front of her face where the strongest lighting was.
You need to use your lens at its widest aperture to focus on the subject or model and keep the Christmas lights as far away as possible for increased blur / bokeh effect in the lights.
Keep the model or subject closer to the camera and adjust your framing depending on where you want the lights and the subject to be lined up / arranged. The closer the subject to the camera, the closer the focus distance is, and the more the camera and lens will throw the background out of focus (see the example below). â
You can alter the shapes of the Christmas lights with Bokeh kits or you can use black card and a pair of scissors to change the shapes that appear. You need to decide on a shape, cut it out of the card then fasten the card around your lens like you would a lens hood.
Different lenses will give different effects as well, for example you could use an old lens with an adapter on an SLR to see what different lenses do.
You've read the technique now share your related photos for the chance to win prizes: Photo Month Forum Competition
The Society of Photographers Unveils the 2026 London Photo Show - The Biggest Photography Convention of the Year Is Back!
14–17 January 2026 • Novotel London West, Hammersmith
Trade Show 15–17 January – FREE ENTRY
The UK’s most exciting photography Convention is back — bigger, bolder and packed with more inspiration, education and industry powerhouses than ever before.
The 2026 London Photo Convention & Trade Show brings thousands of photographers together under one roof for four days of hands-on learning, live demos, exclusive deals, and world-class speakers. If you’re serious about your photography — this is where you need to be.
FREE Trade Show: 15–17 January — Meet the Biggest Brands in Photography
Get ready for three electric days on the Trade Show floor, with leading camera and lighting brands showcasing their latest kit. Expect:
- Hands-on access to the newest cameras & lenses
- Live demonstrations from top pros
- Expert advice from manufacturers
- Show-only offers and exclusive discounts
- Retailers showcasing must-have accessories
Whether you're upgrading, testing, comparing or just curious — the Trade Show is 100% free to attend and absolutely packed.
Over 200 Hours of Training with Masterclasses & Superclasses
If you're hungry to learn, the Convention’s education programme is unmatched.
Masterclasses
Dive into a huge lineup of practical, inspiring and business-boosting sessions covering:
- Portraits • Weddings • Lighting
- Wildlife • Macro • Post-production
- Creative storytelling • Branding
- Business growth for photographers
Top photographers, award-winning educators and industry leaders share the techniques and insights that elevate your photography fast.
Superclasses
Want hands-on training with the best in the business?
The Superclasses deliver small-group, practical workshops with some of the most respected names in the industry. Limited spaces — these sell out fast every single year.
The Photography Event You Simply Can’t Afford to Miss
If you want to improve your skills, grow your business, network with other creatives and immerse yourself in the world of photography — this is your event.
Join thousands of photographers for the ultimate start to 2026. 14–17 January • London Trade Show FREE Masterclass Passes & Superclasses available now
Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS Lens Review
The intent of this small zoom lens seems very clear, that is, a compact form factor that is ideal for travelling light, yet with no compromise on image quality. It sits well on the new compact Fujifilm X-T30 III camera body, offering a very significant move upwards from smartphones. Versatility in a compact form. Aiming at beginners, although obviously perfectly usable as a compact alternative for more experienced photographers and videographers, it all looks the part but will the lens deliver the quality that it aspires to? We couple it up with the 26.1MP X-T30 III to test its mettle and find out.
Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS Handling and Features
The lens is indeed very light, weighing in at just 125g, measured without caps. No hood is provided, but the 49mm filter thread affords the means to attach one if desired. This is always a good idea, not only to protect from flare but also to add some protection against impact to the front of the lens.
It is physically small, especially when retracted for carrying or storage, measuring 61.9mm x 37.5mm. If we forget to extend the lens ready for use, the camera will display a message to remind us. Set at 13mm, the measurements are 61.9mm x 55.6mm. Set to 33mm, this becomes 61.9mm x 57.2mm, still extremely compact.
13-33mm is on the face of it, an unusual choice of focal lengths, but makes perfect sense when we see the “35mm-format equivalent” becomes 20-50mm. In terms of field of view, this is an ultra-wide to standard lens.
There are a few controls, just the manual focus ring followed by the wider zoom ring. Focal lengths of 13mm, 16mm, 23mm and 33mm are clearly marked and are close to the actual values. The Fuji X mount is plastic, which is fine with such a light lens and should be expected to give good service. The fit is certainly smooth and positive.
AF is fast, accurate and virtually silent. Focusing is down to 20cm, giving a maximum magnification of 0.25x (1:4) at 33mm. This is usefully close, not quite to macro distances but nonetheless very practical and versatile. It is also useful that the closest focusing is available at the longest focal length, allowing more space for lighting and also ensuring the front element is not almost touching the subject.
Optical construction is 10 elements in 9 groups, including 4 Aspherical and 3 ED (Extra Low Dispersion). The lens diagram on the Fuji website seems to indicate that in reality, this is 3 aspherical, 2 ED and one Aspherical ED. Pedantry aside, the important thing is how this relates to image quality, and we shall see the details of this below. To aid bokeh, there are 9 blades to the diaphragm, helping to create a rounded aperture opening.
One missing feature is WR (Weather Resistance), which is a pity, but this is a low cost XC lens and that is part of the trade off against cost. There is a shake reduction in the form of optical OIS, and the quoted benefit is 4 stops. This is not as spectacular as some, but still very useful. One interesting point, found out by this reviewer the hard way, is that the instruction book tells us to switch OIS off when using a tripod. Very often with newer cameras/lenses, this makes no difference whatsoever, but in this case they really mean it. Having shot all the resolution shots once, it was obvious that it all had to be done again with OIS switched off.
Having learned that reading and believing the instructions might be a Good Idea, in all other respects, the time spent with this lens was extremely enjoyable and totally hazard free. It works exactly as expected, reliably and smoothly. Now let's see how this translates into the technical performance.
Nikkor Z DX 16-50mm f/2.8 VR Performance
At 13mm, central sharpness is excellent from f/3.5 right through to f/11, very good at f/16 and just fair at f/22 as diffraction really bites. The edges are less sharp, but still very good from f/3.5 to f/5.6, good at f/8 and f/11 and fair at f/16 and f/22.
At 16mm, central sharpness is outstanding from f/3.9 to f/8, excellent at f/11, very good at f/16 and good at f/22. The edges lag behind, but are good at f/3.9, very good from f/4.5 to f/8, good at f/11 and fair at f/16 and f/22.
At 33mm, central sharpness is excellent from f/6.3 to f/11, very good at f/16 and fair at f/22. The edges are good at f/6.3, very good at f/8 and f/11, good at f/16 and fair at f/22.
The performance is geared very much towards the centre of the field, but if middle apertures are used, then there is plenty of sharpness centre to edge and images look crisp.
Distortion is almost perfectly rectilinear, measuring just -0.84% barrel at 13mm, -0.26% barrel at 16mm and -0.12% barrel at 50mm. It is almost certain that this is achieved by using the camera and lens in combination and applying suitable correction, but what matters is the end result and the end result is very impressive.
Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS MTF Charts Previous Next
How to read our MTF chartsThe 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 X-T30 III body using Imatest. Want to know more about how we review lenses?
CA is very well controlled, especially at the centre. There is a bit of a peak at the edges, wide open at 33mm, but otherwise it is unlikely that further correction will be needed.
Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS Chromatic Aberration Charts Previous Next
How to read our CA chartsChromatic 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 X-T30 III body using Imatest.
Bokeh is pleasant, very acceptable but not exceptional. Busy backgrounds could perhaps be rendered a bit more smoothly than they are. For some subjects, this may not matter too much.
Flare is minimal, even with bright light sources in frame, despite the lack of a hood.
Vignetting is impressively low and visually not intrusive. At 33mm, it is close to zero.
Aperture 13mm 16mm 33mm f/3.5 -0.9 f/3.9 -1.2 f/4 -0.9 f/4.5 -1.1 f/5.6 -0.7 -1 f/6.3 -0.3 f/8 -0.6 -1 -0.3 f/11 -0.6 -1 -0.3 f/16 -0.6 -0.9 -0.3 f/22 -0.5 -0.9 -0.3
Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS Sample Photos Previous Next
Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS Aperture range Previous Next
You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.
[HOOK]position_1[/HOOK]
Value For MoneyThe [AMUK]Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS|Fujifilm+Fujinon+XC+13-33mm+f/3.5-6.3+OIS[/AMUK] lens is priced at £329, which is excellent value. If bought as part of the X-T30 III camera kit (£999), then the effective price for the lens is just £170, an absolute bargain.
There is no direct alternative for Fuji X mount, but a number of prime lenses do exist, mostly fast optics with much higher price tags. A few stand out as a means of establishing the price point:
- [AMUK]Fujifilm XC 15-45mm f/3.5-5.6 OIS PZ|Fujifilm+XC+15-45mm+f/3.5-5.6+OIS+PZ[/AMUK], £239
- [AMUK]Fujifilm XC 35mm f/2|Fujifilm+XC+35mm+f/2[/AMUK], £159
- [AMUK]Laowa Argus 33mm f/0.95 CF APO|Laowa+Argus+33mm+f/0.95+CF+APO[/AMUK], £439
- [AMUK]Samyang AF 12mm f/2|Samyang+AF+12mm+f/2[/AMUK], £339
The new lens is pitched at a very fair price, and becomes a no-brainer, a real bargain when included with the X-T30 III body.
Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS Verdict
If we want or need to travel light, but without compromising on quality, then the Fujifilm XC 13-33mm f/3.5-6.3 OIS lens could be just perfect for the job. It is light, compact, fast and reliable in operation, easy to handle, and stretches the wide end of the zoom range to a very useful 13mm (20mm equivalent). OK, it's not perfect, edge sharpness does lag behind central sharpness. Even so, this is partly because the centre is pretty much universally excellent or even outstanding, so what might be considered a very high edge performance is somewhat eclipsed. Overall, images look crisp edge to edge, so in the real world where we are not constantly pixel-peeping, it is very satisfactory.
Probably the biggest negative for me is the lack of weather resistance, but then those who are routinely shooting images in sunnier climes than the UK will probably not see that as a problem.
Considering the aim of the X-T30 III with this new lens is a beginner's kit, then it is hard to find fault with this super little lens, which as a result is Highly Recommended.
Fujifilm Fujinon XC 13-33mm f/3.5-6.3 OIS Pros
- Excellent to outstanding central sharpness
- Very low CA
- Modest vignetting
- Close focusing
- 4 stops OIS
- Low distortion
- Keenly priced
- Compact and light
- No weather resistance
- No hood provided as standard
[REVIEW_FOOTER]R_features=4|R_handling=5|R_performance=4|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=Highly Recommended – A versatile, compact ultra-wide to standard zoom that performs well at a very keen price level.|E_id=8027[/REVIEW_FOOTER]
.borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; } .borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; }PortraitPro 24 BIGGEST-EVER sale: 50% OFF downloads + EXTRA 30% OFF with code BFEZ30 + FREE software gift
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Abstract Photography: Photographing Frozen Leaves
As the leaves turn colour and fall off the trees they present us with another photographic opportunity to shoot autumn themed images in a very different way. The technique we're talking about is freezing colourful leaves and photographing the ice block.
By freezing whole leaves in a pan of water you'll not only have colourful photography, but interesting and unique ice patterns to photograph too.
It's best to do this technique outside if you can as the light's better, they'll be less cleaning up and there isn't electrical equipment to fry as there is in a studio!
Kit wise, you'll need a macro lens on the front of your camera so you can get in close to the cracks that spread over the colourful leaf textures in the ice. You can leave the tripod inside, but make sure you have a reflector handy as it will help direct light into the dark areas the sun can not reach.
If you have something that can support your ice block so light can shine through it – great. If not, freeze it in a clear container and place it on a light coloured surface. Shallow containers work the best as you only need a few inches of water for this to work. You may also find coloured paper/card useful to add a punch of colour to the background of the image.
Camera settings
Small apertures, around f/22, will give you great depth-of-field so you'll be able to shoot patterns right through the ice. Check your camera's meter reading and if needs be spot meter from the leaf so the camera doesn't get confused from the light shining off the ice. Look for interesting designs, areas where air bubbles have gathered and unusual shapes that cut across the colourful leaf.
As it will take a while for the ice to melt, head back inside, put the kettle on and come back out to the ice every half an hour or so to snap the frozen air bubbles and water as it melts.
Photographing Low Light Portraits
Photo by Joshua Waller
Working with just one light, or indeed natural light at dusk, is a great way to create moody portraits that can be full of character. It's a perfect technique for shooting subjects who are a little older as low light can really exaggerate lines and wrinkles but don't let this put you off photographing low light portraits of younger members of your family. Shots of kids converted to black and white or shots of women in candlelight can be really atmospheric. Just remember to have your tripod to hand as you'll be using long exposure you won't be able to hand-held without it looking like you took your shot in the middle of an earthquake.
Photo by Joshua Waller
If I need to use a light, which kind should I go for?When it comes to picking a light source a studio flash is always an option but if you're working from home try using a torch, light from a window or a table lamp to add a little light to your scene. If you find the light's a little too harsh, try moving your subject further away from it or if you're using a window, diffuse the light with material such as muslin or parchment paper. If you're using flash try fitting a softbox or use barn doors to direct the light to where you want it to be.
Having the light to one side of your subject will mean one side of their face will be really bright while the other's hidden in shadow. For something less dramatic use a reflector to bounce light into your shot, adding detail where it was originally lost. If you want to add more light move the reflector closer to your subject and experiment with different reflector shades to change the colour balance of the light. To create really strong shadows try positioning your light source under your subject. Just be warned that this won't work with everyone!
One final note: Don't take your exposure reading from the dark part of your set-up as this will cause the lighter parts of the image to appear overexposed.