It’s the greatest show on earth! The keenest photographers and content creators will roll up to The Photography & Video Show which returns to its traditional home at the NEC in Birmingham from 14–17 March. With over 500 talks, workshops and live demonstrations and 250 brands showing off their latest wares, there’s lots going on. But you can rely on Photography News to help you get the best from the event with our huge show map, guide and full preview in our new issue. There’s also lots of news about the very latest kit, tests and reviews of cameras such as Canon’s EOS R6 III and C50 plus Leica’s M Monochrom and Panasonic’s S1 IIE. And of course there are dozens of great photos plus news from some of the UK’s best camera clubs, and lots more.
ISSUE 126 10 MAR-4 MAY 2026
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Your free newspaper packed with the latest news, tests and photos
Canon clash
Pana perfection How the affordable Lumix S1 IIE gets everything just right
Leica M Monochrom with the brand-new 35mm Noctilux lens Mono mastery
The lowdown on the very latest flash and LEDs Light fever
The EOS R6 III takes on its C50 sibling in both stills and video
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Inspiring images Striking shots from different corners of the planet from the World Press Photo archive and a global aerial image contest
Read more on page 15
The Photography & Video Show moves back to Birmingham for 2026 Ready, steady, show!
After a year at Excel in London, The Photography &
OUR SHOW GUIDE STARTS ON PAGE 29 5pm each day. Advanced single- day tickets are £18.95, with various multi-day passes also available at discounted rates. If you’re a pro, student or member of the trade, you could be eligible for free entry. Head to the show website for more! for filmmakers, diving deep into storytelling, drones, audio, editing and building a creative business. And don’t miss Creatorcon! Four days dedicated to social-first video, YouTube growth, AI workflows and monetising content. Practical advice you can use immediately. From creative spark to career strategy, the UK’s imaging community reunites here. For pro and enthusiast photographers, filmmakers and content creators, all roads lead to Birmingham! The show runs from 10am to Steve Gosling, Clive Booth, Colin Prior, Sophie Darlington, Hannah Couzens and more, covering topics from wildlife and landscapes to weddings and professional work. The In Motion stage is a must
Video Show returns to its spiritual home at Birmingham’s NEC from 14 to 17 March. It’s bigger, louder and more inspiring than ever. Europe’s largest photography and video gathering is far more than a place to see the latest kit – even though there are more than 250 brands’ worth of new hardware and software. There are also over 500 talks, live demos and workshops, so it’s four packed days of creative energy. If it records, edits or inspires, it’ll be here. It’s a photographer or content creator’s playground. You can get hands-on with the latest gear, talk directly to manufacturing experts and grab exclusive show deals while you’re at it. Big-name brands like Canon, Sony, Nikon, Fujifilm, Sigma, Tamron, Atomos, Godox and Profoto will fill the exhibition floor, while an all-star speaker line- up delivers serious inspiration. Expect insight from Charlie Waite, Lindsay Adler, Joe Cornish,
Awesome new optics! Read all about the latest glass, from superwide Canon and Sigma lenses to a Nikon telezoom and Laowa’s MFT macro
From page 3
FREE online training with a top pro for every reader See page 18
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OPTICS Nikon’s fast pro telezoom reborn The Z series flagship 70-200mm is lighter and quicker to focus
FROM THE EDITOR
The shortest day is long gone, the weather is marginally improving and it’s time to get excited about meeting like- minded creative types at The Photography & Video Show. It’s also time to go out in the real world and start creating! If you follow predictions for 2026, life is now about getting away from doomscrolling and back into reality. Real experiences with real people and, for many of us, real photography. Authenticity is everything, especially in the face of AI photos and videos. AI is here to stay. Used well, it’s a powerful tool to clean up noise, retouch blemishes and speed up editing. But when generative AI systems are trained on copyrighted photographs and films without permission, ingesting decades of human creativity to make synthetic alternatives, it stops being innovation and starts looking like exploitation. The Association of Photographers (AOP) – alongside other creator-led organisations – has warned policymakers that livelihoods are at risk. The issue isn’t technology. It’s consent, compensation and credit. Photography has always evolved, but every shift until now has still relied on photographers creating photographs – with human judgement. When AI ‘mimics human originality’ without permission, it chips away at authorship, identity and value. We believe in real photography. Work made by real people, with real intent. Maybe that’s something we need
Nikon’s new Nikkor Z 70-200mm f/2.8 VR S II is an upgrade to one
3.5x faster than the last version while reducing noise by 50%. Focus tracking during zooming has also been refined. The redesigned optical formula uses fewer elements to achieve greater sharpness, smoother bokeh and better anti-glare performance. Dual-sided aspherical elements, Super ED and SR glass, plus Meso Amorphous and Arneo coatings contribute to higher image quality and reduced weight. Further refinements include a removable tripod collar with an Arca- Swiss foot, a de-clickable control ring for silent aperture adjustment, pro- grade weather sealing and a lens hood with a filter window. nikon.co.uk
of its most important zooms. Designed for both stills and video work, the S-line lens has improved weight, autofocus, stabilisation and handling. Just 998g, the £2999 lens is 362g lighter than its predecessor and 12mm shorter. Its internal zoom design keeps the centre of gravity consistent when changing focal lengths – ideal for video. Stabilisation is rated at up to six stops of in-lens Vibration Reduction, with Synchro VR when paired with compatible Z cameras for enhanced stability across the frame. Nikon’s new Silky Swift voice coil motors power the AF system, giving AF speeds up to
TAKE TWO The recent version of the Z 70-200mm f/2.8 is better optically and more compact
to champion more loudly. AI as a tool? Yes. AI as a substitute built on unlicensed labour? No thanks.
Editor
EDITORIAL TEAM Editor Adam Duckworth adamduckworth@bright.uk.com Editorial director Nicola Foley nicolafoley@bright.uk.com Chief sub editor Matthew Winney Junior sub editors Tabitha John & Kezia Kurtz ADVERTISING Sales director Sam Scott-Smith 01223 499457 samscott-smith@bright.uk.com DESIGN TEAM Design director Andy Jennings Magazine design manager Lucy Woolcomb Senior designer Carl Golsby Design & ad production Holly May DISTRIBUTION Distribution and subscription manager Phil Gray philipgray@bright.uk.com
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a registered trademark of Bright Publishing Ltd. The advertisements published in Photography News that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. While Bright Publishing makes every effort to ensure accuracy, it can’t be guaranteed. Street pricing at time of writing is quoted for products.
Longer takes for the cinema-ready ZR hybrid
Nikon has released a free firmware update for the ZR that extends maximum continuous recording time from 125 to 360 minutes,
making it more suitable for interviews and events. The update also adds timecode input, expanded LUT import capacity now up
to 50, new exposure warning lines for Log recording as well as an energy-saving power-on lamp option. nikon.co.uk
OPTICS State of the Art 35mm
accurate bokeh. An 11-blade rounded diaphragm aids smooth background rendering. Sigma’s newly developed Advanced Amorphous Coating (AAC) reduces flare and ghosting, improving contrast. The £849 lens is around 14% shorter and 20% lighter than the last version, thanks to a floating focus system and refined mechanical design. AF is run by Sigma’s dual HLA (High- response Linear Actuator) motors for fast, quiet stills and video operation. Additional features include an aperture ring with lock and de-click options, minimised focus breathing plus dust- and splash-resistant construction. sigma-global.com
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Sigma’s classic fast 35mm prime has been upgraded to the full-frame 35mm f/1.4 DG II Art, combining enhanced optical performance with a noticeably more compact design. Available in L- and Sony E-mount, the redesigned construction features 15 elements in 12 groups, including four precision aspherical and two SLD elements. Axial chromatic aberration has been reduced, helping give cleaner detail and more natural, colour-
PUBLISHING Managing director Andy Brogden
As well as your local camera club, you can pick up Photography News in-store from: Cameraworld, Castle Cameras, Jessops, London Camera Exchange, Park Cameras, Wex Photo Video, Wilkinson Cameras
PRIME UPGRADE The light Sigma 35mm lens is new and improved
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EASY WIDER RF lens duo go ultra wide Canon’s latest mirrorless
Canon has expanded its pro-level RF lens range with the launch of two new ultra-wide L-series lenses. The £1719 RF 7-14mm f/2.8-3.5L Fisheye STM and RF 14mm f/1.4L VCM deliver fast apertures, compact designs and advanced optical performance, while offering very different approaches to wide-angle work. The 7-14mm is the world’s first fisheye zoom lens to have a 190° angle of view. On full-frame EOS R cameras, it produces two distinct looks. It gives a circular fisheye image at 7mm and a frame-filling 180° diagonal fisheye at 14mm, while APS-C users can achieve dramatic diagonal fisheye results. Building on the legacy of Canon’s EF fisheye lenses, the RF design is wider, faster, lighter and offers improved edge-to-edge image quality. A drop-in filter system facilitates the use of both circular polarising and variable ND filters, and a close focusing distance of 0.15m encourages exaggerated compositions. Quiet STM autofocus, focus breathing suppression and support for 2D 180° VR workflows also make the lens perfectly suited to creative video production. Alongside it, the £2399 RF 14mm f/1.4L VCM is a rectilinear ultra-wide prime made for maximum sharpness and speed. With a bright f/1.4 aperture and a 114° diagonal angle of view, it is great for astrophotography, landscapes, architecture and interiors. Advanced aspheric, UD, BR and fluorite elements deliver high-level image quality across the frame, even wide open. And an 11- blade circular aperture gives cinematic bokeh and 22-point starburst effects. Weighing 578g, the 14mm prime boasts durability expected across the professional L-series, while hybrid features such as smooth autofocus, focus breathing suppression and a dedicated iris ring make it capable for industry-standard video work as well. canon.co.uk lenses offer precision, speed and distinctive visual character
TWO IN ONE The zoom gives a circular fisheye look (below) at 7mm, but full- frame coverage at longer focal lengths (right)
Canon marks 30 years of Powershot the body. It retains a one-inch stacked CMOS sensor with 20.1 megapixels and bright 4.2x optical zoom lens, and comes in a bespoke presentation box. Now it is officially claimed to be
Canon is honouring the 30-year anniversary of its Powershot compact range with the launch of a special edition: the Powershot G7 X Mark III, set for release in April. Priced at £820, the limited model celebrates the range that helped bring high-quality digital imaging to a wide audience. While it has no technical upgrades, it features a graphite-coloured finish, a twill-patterned front ring and a new, dedicated 30-year anniversary logo on
decades, the range has evolved from straightforward point-and-shoot models into advanced compact cameras aimed at enthusiasts, professionals and content creators. The Powershot line has been responsible for some important milestones, including lens-based image stabilisation in the Powershot Pro90 IS, Raw capture in the G series and integrated active cooling in the V1 to support extended 4K recording.
designed with creators in mind, the Powershot G7 X Mark III continues to combine strong stills performance with video-focused features such as a dedicated Video Blog shooting mode. It’s a shame that there are no new tech features because, across three
SHOT IN THE ARM The compact market is booming, so Canon has designed a limited-edition makeover Powershot model
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NEWS / 5
OM-3 Astro shoots for the stars used on a tripod or equatorial mount. Built-in features such as Starry Sky AF, Live Composite, Night Vision and USB power delivery further support long- duration night shooting. Compatible with M.Zuiko lenses
If you’re a star chaser, take a look at OM System’s OM-3 Astro, a dedicated astrophotography mirrorless camera engineered specifically to capture red nebulae and faint deep-sky detail. Based on the Micro Four Thirds OM-3 platform, the £1899 Astro model features a specially tuned IR-cut filter in front of the image sensor, delivering approximately 100% transmission of H wavelengths – a key component of nebula imaging. This significantly improves capture of red emission nebulae, which are tricky to reproduce accurately on standard digital cameras. The camera combines a back-side illuminated stacked BSI Live MOS sensor with the Truepic X image processor and customised colour profile controls. Plus, dedicated custom modes are preset for stacking astrophotography, starry landscapes and handheld night shooting. High Res Shot mode can generate approximately 50-megapixel composite images from 12 frames, reducing noise and correcting star movement when
SKY’S THE LIMIT Fans of nighttime star images should take a look at the brand-new OM-3 Astro
and mountable to telescopes via Micro Four Thirds adapters, the OM-3 Astro is available on a made-to-order basis. Optional body mount filters for light pollution suppression and soft star effects are also available separately. omsystem.com
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Create stunning shots with the lens specifically built to get Micro Four Thirds cameras closer Four-midable close-ups from macro Laowa VENUS AS A TOY
secures clean edges and high contrast, even when shooting wide open at f/2.8. A nine-blade aperture also lets the lens double as a short telephoto option, producing smooth background blur and a compressed 180mm-equivalent field of view for portraits. Optimised for modern MFT bodies, the 90mm f/2.8 2x Ultra Macro APO includes electronic contacts for in- camera aperture control, EXIF data and improved stabilisation support. Internal focusing maintains a constant length at the 205mm minimum focus distance, making it well suited to field macro work. Weighing in at around 540g, it costs £539. venuslens.net
Get in super close with Venus Optics’ new Laowa 90mm f/2.8
2x Ultra Macro APO in Micro Four Thirds mount, bringing one of its most specialised optics to MFT shooters for the first time. Previously available for full- frame mirrorless systems, the lens now combines its native 2x life-size magnification with the MFT sensor’s 2x crop factor, delivering a 4x full- frame-equivalent magnification without sacrificing resolution. The lens features a complex optical construction of 13 elements in ten groups and uses an apochromatic (APO) design to suppress longitudinal and lateral chromatic aberration. This
Mega drive is a pocket rocket
The world’s first 8TB Thunderbolt 5 portable SSD has been unveiled by Other World Computing (OWC), expanding its Envoy Ultra range into workstation-class territory. Designed to provide speed, capacity and durability in a truly portable form, the 8TB Envoy Ultra gives rapid performance without needing external power or adapters. Thanks to Thunderbolt 5 connectivity, the Envoy Ultra offers transfer speeds in excess of 6000MB/s, delivering up to twice the performance of Thunderbolt 4 and USB4 devices while remaining fully backwards compatible with earlier systems. The Envoy Ultra runs silently due to its fanless aluminium enclosure, and an IP67 rating means it is crushproof, dustproof and waterproof. Prices start at $450 for smaller capacities, with the new 8TB model costing $1700. No UK prices have been revealed.
OWC has also announced a major expansion to its Thunderblade X12 production shuttle RAID, doubling maximum capacity to a massive 192TB. Built around Thunderbolt 5, the Thunderblade X12 uses 12 16TB SSDs to reach up to 6600MB/s peak write speeds and nearly 5990MB/s sustained write performance. No prices have been revealed yet for the 192TB version, but the 96TB is £18,400. Ouch. owc.com
Webcams reinvented by Insta360
OUT OF SPACE This tiny pocket drive (left) packs in 8TB of SSD storage while the Thunderblade X12 (above) holds up to 192TB of data
while natural bokeh adds a convincing shallow depth-of-field effect without being a mirrorless camera. The Link 2 Pro features a two-axis gimbal for smooth AI tracking, making it ideal for presenters and creators who move around on camera. The Link 2C Pro uses a fixed design with intelligent auto-framing, better suited to desks, streaming rigs and conference rooms. At £239 for the Link 2 Pro and £199 for the Link 2C Pro, Insta360 is positioning these webcams as tools for creators who want professional results without too much complexity. insta360.com
Insta360 has unveiled Link 2 Pro and Link 2C Pro, two AI-powered 4K webcams designed to blur the line between standard webcams and full camera-and-mic set-ups. Aimed at streamers and creators, the models promise studio-grade visuals, great audio and intelligent framing, all in a compact, desktop-friendly form. At the heart of both is a large 1/1.3-inch sensor, significantly bigger than most webcams, paired with dual native ISO and advanced HDR. The result is cleaner, more natural video with support for 4K at up to 30fps. Fast PDAF autofocus keeps subjects sharp,
WEB FEAT The new Insta360 cameras offer a major boost in quality
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Put one of these in Thypoch-et
SOFTWARE SYNERGY Apple bundles up Final Cut Pro Tech giant Apple
Thypoch’s Ksana 21mm f/3.5 lens brings a hallowed vintage character into a compact, contemporary package perfect for handheld work. Inspired by the warmth of seventies optics, Thypoch’s new Epoch Coating 73 is designed to recreate the subtle bloom, gentle contrast and organic colour response associated with classic glass. Highlights roll off smoothly, flares feel intentional and colours lean toward a softer and more filmic palette. All qualities increasingly prized by image-makers looking to stand apart from ultra-sharp, AI-polished imagery. Weighing just 131g and measuring only 27mm long, it’s discreet, making it ideal for street work. Available in Leica M-Mount only, the lens costs £419 in black or silver. thypoch.com
follows software rival Adobe with a monthly subscription model
Apple follows the lead of Adobe’s Creative Cloud software model
with Apple Creator Studio, a new all- in-one subscription that brings Final Cut Pro video editing together with Pixelmator Pro photo editing, Logic Pro for sound and Motion for graphics, plus other AI features and premium content in Keynote, Pages and Numbers. At £13 per month or £129 per year, Creator Studio is an integrated ecosystem and includes versions for iPads and iPhones. The £300 Final Cut Pro, £200 Logic Pro, £50 Motion, £50 Pixelmator Pro and others such as Compressor and Main Stage will still be sold as stand-alone products, but will only work on MacOS – desktops and laptops. A subscription to the full Creator Studio model gives up to six members of your family access to the suite. There are discounts available for students and educators. Rival company Adobe has also made a statement about where video editing is heading, starting with the renaming of its flagship editing
software. Premiere Pro is now simply Premiere, reflecting a shift away from rigid ‘pro vs creator’ labels and towards a single, unified editing platform powered by intelligent tools. The new Premiere has a major wave
of AI-driven updates and spearheads tighter integration with Firefly Boards, Adobe’s collaborative AI space. A new Adobe Stock panel gives access to more than 52 million assets. apple.com adobe.com
LOCKED IN Pay monthly for Apple’s key software on iPad or phone
RETRO CHARM The lens looks old-school and gives images a vintage style
Instant prints from your mini movies
Fujifilm thrives on retro fun with its cameras. And with the launch of two new Instax products that blur the line between stills, video and instant prints, it’s leaning fully into nostalgia. The £330 Instax Mini Evo Cinema is a three-in-one hybrid camera that lets creators shoot stills, record short video clips of up to 15 seconds and instantly choose a frame grab – and then print physical photos using Instax mini film via the free smartphone app. To give it full retro cred, the camera not only has a deep vertical grip, but also an Eras Dial. This applies visual styles designed to mimic the look of different film eras, such as the grainy, pale tones of the thirties, the bold colours of the eighties and the sharp, rich imagery of the 2020s. There are ten available styles and, by rotating the dial to precisely adjust colour, contrast and noise, up to ten creative variations per era can be set. Joining the Mini Evo camera is the £130 Instax Mini Link+ smartphone printer, which builds on the Link range with enhanced creative modes and app features focused on different styles. instax.co.uk
DECADE DIAL Set a distinctive look using the Eras Dial (below), then print the pic instantly on an Instax printer (above)
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The longer standard
WIN! A 512GB Samsung memory card If you’re a photo nut and love a bit of wordplay then you can win one of Samsung’s updated Pro Ultimate cards that let you shoot more, faster in our word search contest. It’s a fast U3, Class 10-rated card with read and write speeds now up to 200 and 130MB/s to let you smoothly take and transfer masses of photos and video. The cards have protection from water, extreme temperatures, X-rays, magnets, drops and wear out, plus they come with a ten-year limited warranty. Complete the word search comprising 20 things associated with landscape photography, and you’ll find one word in the list that’s not in the grid. Email puzzle@ photographynews.co.uk with that word in the subject box by 5 May and the card will be yours if your name is drawn at random from all the correct entries received. Only UK residents please. Congratulations Jamie Bayliss from Redruth, Cornwall, who was our winner from issue 124. The missing word from issue 125 was ‘silhouette’.
chromatic aberration and maintain sharpness throughout the zoom range. Tamron’s BBAR G2 coating reduces flare and ghosting in backlit scenes, while the design is built to deliver soft, attractive bokeh to help subjects stand out against the background. Autofocus is driven by Tamron’s VXD linear motor mechanism, which
Tamron has launched a 35- 100mm f/2.8 lens that extends
offers fast and precise performance for portraits and moving subjects. A minimum focusing distance of 22cm at the wide end allows creative close-ups. The lens features moisture-resistant sealing and a fluorine-coated front element to repel water and oil. A unified 67mm filter thread matches many of Tamron’s mirrorless zooms.
the reach of most standard zooms. The £799 35-100mm f/2.8 Di III VXD fits full-frame Sony E and Nikon Z mounts, is just 119.2mm long and weighs 565g. The optical construction comprises 15 elements in 13 groups, including XLD, LD and GM elements to control
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ZOOM IN The Tamron 35-100mm extends the focal length range compared to most f/2.8 standard zoom lenses
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Tamron shows its wireless link
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Full wireless control of compatible Tamron lenses is coming to smartphones via the Tamron Link, a compact 2g Bluetooth 5.4 adapter. Plugging into the lens’s USB-C port, the device works with the new Tamron Lens Utility Mobile Version 5.0, available for iOS and Android.
It allows remote adjustment of focus and aperture settings, setting of focus and iris markers, focus rotation angle, focus time-lapse, astro focus lock and night mode. The £60 gizmo works with 17 Tamron lenses, such as the 35-100mm f/2.8 Di III VXD. tamron.com
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DxO has extended its noise reduction technology to both Bayer and X-Trans sensors for the first time ever with the release of PureRaw 6. Previously limited to X-Trans cameras, XD3 now delivers enhanced detail extraction and cleaner high-ISO files across a far wider range of systems. Version 6 also introduces high- fidelity DNG compression, producing files up to four times smaller without Cleaner files for Bayer cameras
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BEFORE AND AFTER The latest DxO software cleans up Raw files from all cameras
DEPTH DUNES FILTER FROST GOLDEN
VIEW VISTA WILD
SHUTTER SKYLINE SUNRISE
sacrificing Raw flexibility. New AI-powered sensor dust removal automatically cleans entire batches, while batch parallelisation speeds up
high-volume processing. DxO PureRaw 6 is available for MacOS and Windows from £120. dxo.com
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12 / ADVERTISEMENT FEATURE
Building a narrative Every picture tells a story, but the best way to get that story across is with intentional choices – and that extends to your lens selection
What makes a great image? Light? Timing? Composition? In truth, they all matter, and photographers often go to great lengths to ensure each of these things is perfect before they press the shutter. But there is an additional element, less frequently considered but still vital to how a story is told: focal length. The chosen lens not only influences what appears in the frame, but how a viewer experiences the space, distance and emotion of an image. Many photographers have a go-to lens. Which one that is will depend on what they are photographing and the story they want to tell. Documentary photographers often choose a modest wide-angle lens that can include both subject and surroundings to give an image context, while a wedding or portrait photographer may opt for a short telephoto to give their imagery intimacy. Fujifilm has a lens to suit all creative needs, whether using the compact X Series or chasing ultimate quality with the GFX System. In both instances, you’ll get access to its legendary Film Simulation modes that add a unique element to your storytelling.
But if you’re still searching for your creative voice, let’s dive into the main lens types and help you make decisions that will create even more memorable images. Wide-angle lenses: for context and presence Wide focal lengths – like 16mm in the X Series – place emphasis on environment as much as subject. Foreground elements appear pronounced, depth is exaggerated and viewers gain a strong sense of standing within the scene itself. This approach suits travel photography and documentary work particularly well. A market scene, coastal landscape or street portrait gains narrative depth as the surroundings remain integral to the moment. These lenses communicate both subject and atmosphere at once. Recommended wide-angle lenses: • X Series: XF16mmF1.4 R WR, XF18mmF1.4 R LM WR, XF10-24mmF4 R OIS WR • G FX System: GF23mmF4 R LM WR, GF30mmF3.5 R WR, GF20-35mmF4 R WR
FROM AFAR A zoom such as the XF500mmF5.6 R LM OIS WR is great for revealing unseen beauty (right)
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ADVERTISEMENT FEATURE / 13
GET CLOSER The XF500mmF5.6 R LM OIS WR (right) allows you to reach further (above)
Standard lenses: for realism Many photographers working with
Recommended standard lenses: • X Series: XF23mmF2.8 R WR, XF35mmF1.4 R, XF16-55mmF2.8 R LM WR • G FX System: GF50mmF3.5 R LM WR, GF63mmF2.8 R WR, GF32-64mmF4 R LM WR Short telephoto lenses: for focusing on the individual Moving toward lenses such as a 50mm or 56mm introduces a noticeable shift in narrative emphasis. Background elements draw in closer and distractions soften, allowing subjects to separate naturally from their surroundings. Portraiture benefits greatly from this short perspective. Facial proportions can appear calm and undistorted, while shallow depth-of-field encourages viewers to focus on the expressions rather than context. The result feels more introspective than other lens options. It is worth noting that so-called compression arises largely from increased photographer-to-subject distance. By stepping back, image makers can alter spatial relationships and produce images that feel considered and composed rather than immediate. Here, storytelling moves from place towards person. Recommended short telephoto lenses: • X Series: XF56mmF1.2 R WR, XF90mmF2 R LM WR, XF50-140mmF2.8 R LM OIS WR • G FX System: GF80mmF1.7 R WR, GF110mmF2 R LM WR, GF45-100mmF4 R LM OIS WR Telephoto lenses: for observation and detachment Longer focal lengths can introduce a quieter, more detached view. Telephoto
Fujifilm cameras settle naturally around the 23mm or 35mm focal lengths. These perspectives feel balanced and familiar, closely reflecting how scenes appear to the human eye. There is little exaggeration or compression, letting the attention rest on timing, gesture and interaction. The neutrality explains why standard lenses have long been favoured for street and reportage photography. Images made at these focal lengths will often feel a little more honest. The camera neither intrudes nor distances itself excessively; instead, it can record experience at a distinctly human scale. The storytelling becomes observational rather than interpretive.
lenses allow photographers to work discreetly, recording moments without necessarily influencing them directly. Depth can appear flattened, layering foreground subjects and background elements together. In busy urban environments, this compression can emphasise density and rhythm, while in landscape work it can create graphic simplicity across distant planes. The resulting images often carry a sense of observation rather than participation – an approach well suited to candid photography, sport or wildlife work, where maintaining your distance preserves authenticity. Recommended telephoto lenses: • X Series: XF200mmF2 R LM OIS WR, XF500mmF5.6 R LM OIS WR, XF150- 600mmF5.6-8 R LM OIS WR • G FX System: GF250mmF4 R LM OIS WR, GF500mmF5.6 R LM OIS WR, GF100-200mmF5.6 R LM OIS WR Prime or zoom? Fujifilm’s lens line-up supports both flexible and disciplined approaches. Prime lenses encourage consistency. Working repeatedly with a single focal length develops instinctive framing and, over time, a recognisable visual language. Zoom lenses, on the other hand, offer responsiveness. Changing situations – common in documentary or travel
work – may require rapid shifts between environmental storytelling and tighter detail. Here, the ability to adapt framing without repositioning can be invaluable. Neither approach defines creativity; each simply shapes how stories evolve in the field. Find your story Choosing a focal length ultimately comes down to intent. A wider lens invites viewers into a space; a standard focal length shows events with familiarity. Short telephotos emphasise emotion; while longer lenses encourage reflection and distance. Many photographers eventually discover a focal length that aligns with how they naturally see the world. Consistency follows, and storytelling becomes more coherent as a result. Within the Fujifilm family, the breadth of lens options lets photographers explore these perspectives thoughtfully. Mastery does not lie in carrying every focal length, but in understanding what each one can communicate. Change focal length, and the narrative shifts with it – often before a single compositional or lighting decision has been made.
WAVE UPON WAVE The XF56mmF1.2 R WR (above) helps to bring out astonishing detail in scenes that could feel otherwise overwhelming (left)
fujifilm-x.com
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THE LIGHT FANTASTIC Your camera can reveal more colours in shots of the Northern Lights than the naked eye can see, especially if you follow these simple instructions Guided by the lights Top tips for capturing compelling images of the aurora borealis
images you’re happy with, even in low- light conditions. You should feel confident that it’s robust enough to be out in the wild with you, capturing the action. Get protected Photographing the Northern Lights is a lesson in enjoying the process. When you are dealing with nature, sometimes things go to plan and you get the perfect shot first time, but other times there’s a lot of waiting around in bad light or weather with nothing to show for it. It’s all about being in the right place at the right time. You also have to feel comfortable taking your equipment out and about. However careful and well prepared you are, it would be reassuring to know that, if the unexpected were to happen, you have solid insurance in place to provide complete peace of mind. The Insurance Emporium has two policies: Amateur & Semi-Professional and Professional. Both cover your camera equipment for theft, loss or accidental damage, new for old, worldwide cover and personal accident as standard, with a range of optional benefits to tweak further. Join many happy snappers with a 25% Introductory Discount on new camera insurance policies.
Composition Think about where your focal point is. Is it a hill, tree or lake? You could use the rule of thirds when thinking about where it’s going to be and, remember, less is more.
The aurora borealis is a natural phenomenon on pretty much everyone’s bucket list. These beautiful, swirling Northern Lights that dance across the sky occur when charged particles emitted by the sun – like a big sneeze – come into contact with the Earth’s atmosphere. In general, the closer you are to the North Pole, the better your chances are of seeing the Northern Lights. Places such as Norway, Iceland, Greenland, Finland and Canada are popular with aurora chasers, particularly between September and April. Unless, of course, you’re in the Southern Hemisphere, in which case you’ll see the Southern Lights, or aurora australis, between May and October. But over the last year or two, we’ve been treated to this amazing spectacle without having to leave the UK or even our back gardens. The Northern Lights have been visible as far south as Cornwall. This is because the sun is at the peak of its 11- year cycle, which means it’s experiencing strong geomagnetic storms. One in May 2024 was the strongest in over 20 years, and the current peak is expected to last until the middle of 2026. Capturing the Northern Lights is every photographer’s dream – particularly because, while they’re visible to the naked eye, cameras can utilise longer exposure times to capture more light than the human eye, so the result is often more
intense. On the other hand, as anyone who has ever tried to get a decent photo of the moon knows, taking photographs in low light isn’t easy. Our friends at The Insurance Emporium have been providing specialist camera insurance for many years, and so we asked them if they had any tips for photographing the Northern Lights. Here’s what they had to say. Do your prep The ideal conditions for photographing the Northern Lights are dark, clear skies, preferably away from light pollution – so monitor the weather. You could download an app with alerts, such as Aurora Watch UK or the Glendale app. When you head out, take plenty of supplies – snacks, extra batteries, a power bank – and wrap up warm. Photography gloves make sure your fingers aren’t too cold to operate your camera. Use a tripod Stability is key, as even the tiniest shift can result in a blurry image. You could also use a remote shutter release cable to further reduce the risk of movement. Pick the right lens A wide-angle lens will help you capture as much sky as possible, particularly as the lights are often moving around.
Settings Manual settings help a lot when
photographing a scene like the Northern Lights. A low-light-capable lens means you won’t need to increase ISO speed, which produces noise if you put it too high. Experiment with your exposure times, for example between five and 30 seconds. Too long and everything will be a blur, too short and the image will be too dark. It depends on the intensity of the aurora and how fast it’s moving, so keep checking your aperture (maybe f/1.2-2.8), ISO value (1600-6400) and shutter speed (between one and 12 seconds). You will soon get an idea whether it’s too bright or dark and can adjust your settings. It’s a smart idea to adjust your white- balance manually. A good place to start is 3500K. For the best flexibility when editing later, make sure you’re shooting in Raw so you can recover more detail from shadows and highlights.
Equipment You don’t need the latest or most
Call 0330 024 2898 or visit theinsuranceemporium.co.uk/PNEWS
expensive model, but you do need your camera to be reliable and able to produce
*The Introductory Discount is available from the start of the policy until its first review/renewal date. This policy is subject to change at any time. The Insurance Emporium offers a variety of cover levels, so please check the policy cover suits your needs before purchasing. For your protection, please ensure you read the Insurance Product Information Document (IPID) and policy wording for information on policy exclusions and limitations. This article is in no way sponsored, endorsed, administered by or affiliated with any brands or external websites mentioned in this content. Lifestyle Policy Limited is an appointed representative of The Equine and Livestock Insurance Company Limited. The Insurance Emporium is a trading name of The Equine and Livestock Insurance Company Limited (registered in England and Wales no: 294940), which is authorised by the Prudential Regulation Authority and regulated by the Financial Conduct Authority and the Prudential Regulation Authority no: 202748.
@photonewspn | photographynews.co.uk
INSPIRATION / 15
Striking images from the World Press Photo archive trace the defining climate stories of the 21st century in a major new exhibition Witness to a warming world
Over 100 incredible photographs from the World Press Photo’s archive spotlight some of the most compelling climate stories of the 21st century in a exhibition called Becoming Climate: Climate change and resistance through the lens of World Press Photo . It’s in Pinerolo, Italy at the Cavallerizza Caprilli, and runs until 6 June. The exhibition balances stark documentation of environmental damage with photos of innovation, resilience and resistance. The images show visible traces of global warming across continents – from wildfire and droughts to flooding and displacement – alongside stories of communities, researchers and activists working towards renewal and repair. The visual design draws on the four elements – earth, air, fire and water – underscoring the climate as a single, interconnected system.
Central to the exhibition is the role of photojournalism. Featured works highlight the risks taken by photographers to document climate realities that are sometimes hidden, contested or denied. The exhibition emphasises that confronting a challenge of this scale requires collective action, and seeks to inspire viewers to see themselves as participants in shaping a more sustainable future. worldpressphoto.org
WARNING SHOTS Eddie Jim’s watery shot for the Sydney Morning Herald (top), fiery scenes featuring a kangaroo by Matthew Abbott for the New York Times (above) and Ciril Jazbec’s photo of tourists with a melting iceberg for National Geographic are all in the World Press Photo’s Becoming Climate exhibition
ISSUE 126
16 / INSPIRATION
The Queering of Photography Edinburgh’s Stills centre opens its 2026 season with Åsa Johannesson’s first solo show in Scotland, The Queering of Photography , from 1 May to 27 June. Johannesson has spent nearly a decade examining the complex relationship between queer identity and photographic representation. Developed in collaboration with the London LGBTQ+ community and during an art residency at the British School at Rome, the series combines classical studio conventions with playful subversion. Produced using a large format plate camera, the work includes formal black & white portraits, studies of Roman statues and studio props, plus experimental Polaroid emulsion sculptures. Johannesson studied at the Royal College of Art and recently published the monograph Queer Methodology for Photography with Routledge. stills.org
The contest has grown from a niche competition into one of the imaging world’s most influential global showcases
AERIAL ARTISTS The unique point of view from a high camera angle gives these contest entries (above and left) a stunning look
Creativity elevated More than 45,000 submissions have already been received for the 11th annual Sky Pixel photo and video contest for work captured using aerial and handheld cameras. Creators are competing for 53 awards and prize packages totalling nearly $200,000. Prizes include a Hasselblad X2D II 100C and DJI drones and cameras. The DJI-backed Sky Pixel contest has grown from a niche aerial
photography competition into one of the imaging world’s most influential global showcases. While the contest continues to celebrate sweeping drone perspectives, it has expanded to embrace a broader range of visual storytelling over time – from environmental observations and urban narratives to introspective and socially engaged work. This year’s awards have attracted not only enthusiasts but also high-
profile professionals, including Emmy award winners and internationally renowned directors. Under the 2026 theme – Frame Your World – entrants are encouraged to interpret their own surroundings in personal and imaginative ways, reinforcing the contest’s evolution from pure spectacle to meaningful storytelling. Submissions remain open until 10 March, so you’d best be quick! skypixel.com
GOING LARGE Åsa Johannesson’s works, including
portraits and experimental
images (right), are all shot on a large format camera
@photonewspn | photographynews.co.uk
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ISSUE 126
18 / ADVERTISEMENT FEATURE
Join top-class photo experts live online In-depth Thursday Talks bring leading photographers directly to UK enthusiasts – and you can try one for free
EXPERT ADVICE Landscape star Joe Cornish and Adobe ace Julieanne Kost have featured
For many UK club photographers, a visiting speaker is the highlight of the season. A well-structured lecture can spark new ideas, challenge habits and change the way we see our own work. Yet travel, cost and availability mean we cannot always hear the photographers we most admire. MyPhotoClub’s Thursday Talks were created to solve that problem. Since 2022, the online programme has brought highly respected photographers directly into the homes of photography enthusiasts for complete two-hour presentations delivered live via Zoom. What began as a small experiment has since grown into a well-established series with more than 5000 photographers taking part and more than 200 talks delivered to audiences across the UK and beyond. The aim is simple: structured, in-depth learning from experienced photographers – without the travel. Two hours of in-depth learning Each Thursday Talk is a complete two- hour presentation. These are not brief tasters or informal chats. Every session stands alone, designed to provide a full evening’s learning in a single sitting. For photographers accustomed to a traditional club lecture, the format feels familiar. There is time for careful explanation, thoughtful sequencing of images and a meaningful Q&A at the end. Speakers are carefully selected and encouraged to go beyond highlights and share the decisions, techniques and creative thinking behind their work. At £8 per live session, the value is clear and it costs far less than a cinema or
SCREEN TIME Learn from the comfort of your laptop with MyPhotoClub’s weekly shows hosted by founder, Roy Morris
theatre visit. Every booking also includes a recording, sent automatically and available for 28 days, allowing you to watch live, revisit key sections and review the material at your own pace. Speakers from across the world Working online removes geographical limits. It allows MyPhotoClub to invite photographers from across the UK and further afield, with 14 countries represented to date. Recent invited speakers have included Joe Cornish, Julieanne Kost, Janina Wilde, James Ritson, Erik Malm, Mark Littlejohn, Joe Houghton, Jonathan Vaines, Mark Hemmings, Margaret Soraya, Viktoria Haack, Theo Bosboom and Bill Ward. Street, black & white, creative techniques, ICM, visual storytelling, smartphone, travel, still life, landscape and portraiture have all featured. Software systems covered have been Affinity, Nik, Photoshop, Lightroom, Canva and Topaz. For photographers of all kinds, this breadth matters. It offers the opportunity
to explore genres beyond your usual focus and to hear directly from photographers whose work you may previously have encountered only in books or exhibitions. Designed to complement different camera clubs Thursday Talks are intended to support, not replace, local clubs. Many attendees remain active club members, entering competitions, developing projects and working towards distinctions. They use the talks to broaden their perspective and bring fresh ideas back into their own photographic communities. There is no annual membership. Photographers simply book the sessions that interest them. Each talk stands alone, and recordings are sent automatically to everyone registered. If you’re serious about developing your photography and learning from respected practitioners, MyPhotoClub’s Thursday Talks provide education, entertainment and inspiration live online, with full 28-day replay access included.
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“What a perfect way to spend a chilly evening, watching a well-structured and rounded presentation from such an expert in the field.” “They really do make a difference in helping us all make the most of our photography.” “No one could ask for a more detailed description and demonstration of the settings and movements needed for ICM.” What attendees have said:
PN-326 until the end of March. It includes access to the recording of the session. Choose a session and reserve your place at myphotoclub.co.uk or click the box.
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@photonewspn | photographynews.co.uk
CLUB ZONE / 19
Club Zone
Club Zone is a FREE platform for camera clubs to share news, events and members’ images Get involved by sending your club information to adamduckworth@bright.uk.com
Icy geezers seek hot geysers! Arriving early into the country’s
Four Thanet club members head to the land of ice and snow with the midnight sun where the hot springs flow!
atmospheric wreck site of a US Navy DC-3 plane on Sólheimasandur’s black sand beach, reached by an unforgettable ride in a converted Russian missile carrier. Höfn offered a change of pace, with its fishing harbour and views across the fjord. Sunrise at Stokksnes and the Vestrahorn mountains proved memorable, especially in calm, golden conditions that contrasted sharply with previous gale-lashed visits. Diamond Beach glittered with ice fragments washed ashore from a glacial lagoon, with nearby glaciers adding vast icy textures to the portfolio. A blizzard on the return leg tested resolve. But stops at a hilltop church and the Skógafoss waterfall still
main international airport at Keflavík, the group – Colin Miller, Paul Norris, Terry Scales and David Silk – collected a 4x4 and headed straight for the Golden Circle. Kerið Crater provided an early highlight, its volcanic reds and blues offering striking compositions. The following day brought more challenging conditions, with horizontal rain sweeping across Gullfoss and the geothermal fields of Haukadalur. Even so, Strokkur geyser delivered eruptions that rewarded patience and waterproof clothing in equal measure. Travelling south-east, the itinerary read like a landscape photographer’s wish list: Seljalandsfoss at dawn, the sea stacks at Víkurfjara and the
A hardy quartet from the Isle of Thanet Photographic Society
NICE ICE BABY The hardy Thanet club members captured Iceland’s wild beauty, from glaciers to the Northern Lights
embarked on a ten-day journey to Iceland, the dramatic land of fire and ice. Despite the January chill, limited daylight hours and the expense, it was a fruitful encounter with one of the world’s most photogenic landscapes.
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