Welcome to a new chapter in the story of Photography News. With a striking redesign, sharper editorial focus and more hands-on hardware and software reviews than ever before, our new issue marks the magazine’s biggest evolution yet. The refreshed PN puts enthusiast photographers and content creation at its heart. We’re diving deeper into the equipment that powers photography and images that inspire you to push your creativity - whether you're out chasing golden-hour landscapes, capturing a fleeting expression or testing the limits of the latest camera tech. This is your magazine. Let’s make something amazing together - and here’s to your best shots yet.
ISSUE 122 15 JUL-8 SEP 2025
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Your free newspaper packed with the latest news, tests and photos
Leica’s birthday Red Dot redemption with kit on sale from £10 to £6.2 million!
Photo innovations we used to mock but now can’t live without The long game
Perfect bliss
Using the latest software to boost your workflow Editing hacks
Some early favourites for our Photographer of the Year contest!
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Tilting EVF comes to hybrid FX2
A new way of viewing comes to Sony’s entry-level FX2 Cinema Line camera to make it a better all-rounder for hybrid stills and video shooters. The full-frame mirrorless camera benefits from having lots more spec to improve its use for stills photography, in addition to its credentials as a video workhorse. It packs a 33-megapixel BSI sensor and costs £2699.
READ MORE ON PAGE 8
We’ve had a major makeover – with even more expert tests of gear, in-depth camera reviews and stunning images to inspire you New look. More gear. Same passion
With more hands-on kit reviews than ever before,
a striking redesign and sharper editorial focus, this issue marks a new chapter in the history of Photography News . We’re putting photographers and content creators at the heart of what we do – with deeper gear coverage, smarter content and a renewed commitment to the creative community – especially local and national camera clubs. Our expanded Gear section has expert testing of the equipment shaping photography right now. Each review goes beyond the specs to find out how products really perform in the field, and whether the latest tech really pays off. And of course, as always, there’s all the latest news on cameras, lenses and exhibitions.
Zoom and gloom? Not with these new lenses! READ MORE ON PAGE 4
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NEWS / 3
TRAVELLING LIGHT Meet the outdoor- ready OM-5 Mark II
FROM THE EDITOR
Hello, and welcome to the brand-new Photography News – not just a redesigned magazine but a complete refresh of our purpose, energy and connection with you, our readers. When I first picked up a camera many decades ago, what drew me in wasn’t just the gear, but the excitement of learning, the satisfaction of creating something unique and eventually, the joy of sharing work I was proud of with others. That feeling is what this new-look magazine is all about. Inside, you’ll find tools to help you improve and enjoy your photography more – whether you’re out chasing golden-hour landscapes, capturing a fleeting expression or testing the limits of the latest camera tech. The new Photography News features more equipment and tests than ever before, such as putting three standout cameras through their paces – Fujifilm’s classically styled X-E2, Sony’s astonishing A1 II and the action-ready A9 III. Our team doesn’t just test; we shoot, we push, we question – and we pass on what really matters. You’ll also discover powerful new lenses, pro-level kit and some brilliant extras for creators who blend stills with video. We’re also reintroducing a space to celebrate the heart and soul of British photography – camera clubs – with inspiring work from around the country. Thanks for joining us as we take things to the next level. I’m thrilled to be taking the helm at such an exciting
Designed for life on the move, the second-gen OM-5 Mark II adds pro- level features without the weight or bulk
Outdoor photographers looking for a lightweight, tough and
capable travel companion now have a new option – the OM-5 Mark II. The latest release from OM System builds on the original OM-5 with key upgrades in handling, connectivity and creative features, while sticking to the highly portable Micro Four Thirds format. Priced at £1099 body-only, it comes in black, silver or a new limited-edition sand beige finish, to suit outdoor environments. At just 370g (body-only), the OM-5 Mk II is one of the lightest weather-sealed cameras on the market, yet still delivers powerful features. Its 20.4-megapixel sensor is paired with upgraded five-axis image stabilisation, now offering up to 7.5 stops of shake compensation – ideal for handheld shooting in challenging conditions or when you don’t want to take a tripod. The body has been redesigned with a new, more ergonomic grip to improve comfort and stability on long shoots, or when wearing gloves. For remote and travel shooters, a new USB-C port means the camera can now be charged via a power bank while on location. A standout addition is the new dedicated Computational Photography
button, which provides quick access to creative tools like HDR, focus stacking and live ND. Video has also seen improvements, with C4K and 4K at up to 30p, and Full HD to 60p in All-Intra codec up to 202 Mbps and in S&Q mode up to 120fps. An updated menu system, taken from the flagship OM-1, makes settings more accessible, and it supports OM System’s mobile app and desktop editing software. It can also shoot time- lapse movies and has a 1.4x digital teleconverter. The camera offers focus peaking and grid lines overlay too. The OM-5 Mark II is IP53-rated splash, dust and freeze proof to -10°C, so is ready for any adventure. explore.omsystem.com
time. Let’s make something amazing together – and here’s to your best shots yet.
Editor
EARTH TONES The new-generation OM-5 Mark II is designed for life off the beaten path – it even comes in a sand beige colour
EDITORIAL TEAM Editor Adam Duckworth adamduckworth@bright.uk.com Editorial director Nicola Foley nicolafoley@bright.uk.com Chief sub editor Matthew Winney Sub editor Zanna Buckland & Minhaj Zia Contributing writers Will Cheung, Ben Gawne ADVERTISING TEAM Sales director Sam Scott-Smith 01223 499457 samscott-smith@bright.uk.com DESIGN TEAM
Photography News is published 6 times a year by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Photography News is 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.
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Design & ad production Hedzlynn Kamaruzzaman and Holly May DISTRIBUTION Distribution and subscription manager Phil Gray, philipgray@bright.uk.com PUBLISHING TEAM Managing directors Andy Brogden & Matt Pluck 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
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Leica lighter load? Here’s the answer...
CLASSY GLASS Lens-spiration!
If you’re looking to refresh your kit bag, these new lenses are well worth a closer look
market for new glass. Camera brands and third-party makers alike have been busy rolling out a fresh wave of optics designed to take full advantage of today’s high-resolution sensors and lightning-fast autofocus systems. From lightweight walkaround primes to pro-level telephoto zooms, there’s something for every style and budget. We round up some of the most exciting lens launches in your guide to the latest glass set to be hitting the shelves in 2025.
Leica’s latest full-frame mirrorless lens is a compact standard zoom that still boasts a fast f/2.8 aperture throughout its whole focal length range. The new Vario-Elmarit-SL 28-70mm f/2.8 ASPH lens enters the L-Mount range as the most compact and lightweight standard zoom lens from the brand yet, making it an ideal choice for on-the-go photography and video. The sophisticated optical construction, comprising 16 lenses arranged in 12 groups, is built to delivers exceptional performance – as you’d imagine from the brand famed for its optics. Three of these lenses feature aspherical surfaces on both sides, in order to enhance image quality and precision. The lens will cost £1650 and its advanced technology is securely shielded from external elements, such as dust and water, thanks to its durable metal housing. Despite this, the lens remains lightweight, at just 572g. It’s compact too – 102 mm long with a max diameter of 72mm. The lens hood is an extra £145, though. leica-camera.com LIGHTEN THE LOAD The new Leica 28- 70mm might not have the focal length reach of some, but lacks the heft too
Whether you shoot landscapes, wildlife, portraits or street, a lens
can transform not just your images, but your entire photographic experience. Right now, it’s a great time to be in the
Sigma’s superfast standard
With a fast f/1.8 aperture, the Sigma 17-40mm DC Art zoom for APS-C mirrorless cameras builds upon the groundbreaking innovations of the legendary 18-35mm f/1.8 DC HSM Art: the world’s first f/1.8 zoom lens. Now, 13 years after the 18-35mm debut, this next-generation lens is built for mirrorless and achieves not only improved optical performance, but also a wider focal length range, while reducing its weight by over 30%.
In addition to the fast, quiet AF driven by the HLA (High-response Linear Actuator), the lens incorporates an inner zoom mechanism and minimal focus breathing, ensuring great performance for both stills and video. Taking advantage of a large aperture – comparable to a prime – this lens is suitable for low-light environments like indoor and night scenes, and for creating smooth bokeh. sigmauk.com
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NEWS / 5
Tamron completes its fast zoom trinity
What’s on
Tamron’s 16-30mm f/2.8 Di III VXD G2 is an ultra wide-angle zoom for Sony E-mount and Nikon Z mount full-frame mirrorless cameras, and joins standard and tele versions in the brand’s high-end lens range. Alongside the 28-75mm f/2.8 Di III VXD G2 and 70-180mm f/2.8 Di III VC VXD G2 telephoto zoom, it completes Tamron’s acclaimed f/2.8 second-gen trinity. The new optic builds on the success of its 17-28mm predecessor
with enhanced imaging performance, broader focal length coverage and increased user customisation. Designed for stills photographers and video shooters, the 16-30mm f/2.8 G2 has a compact, travel-ready build. It also incorporates Tamron’s fastest, most precise VXD linear motor, offering high-speed, high-accuracy AF. The G2’s optical design incorporates XLD, LD and GM elements to ensure high resolution and creamy bokeh
throughout the zoom range. It has a moisture-resistant construction, fluorine coating and full compatibility with Tamron Lens Utility software, so its functions can be customised by plugging it into a computer. It also offers smoother zoom and focus rings, as well as a more modern look. At £850 for the Sony E and Nikon Z versions, it significantly undercuts own-brand lenses. tamron.com
Soviet echoes
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Taras Bychko’s new Erased Time exhibition highlights how time stands still in former Soviet areas in Ukraine. Running from 19 July to 19 September at Leica Gallery London, the works will be available for purchase from £2160.
leica-camera.com
Analogue only!
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See photos produced in public darkrooms in Edinburgh and Glasgow by analogue film processes in Matthew Arthur Williams’ In Consideration of Our Times . At Stills from 12 September to 18 October.
stills.org
If you love the super-duper wide look, then Laowa from Venus Optics has you covered with two new optics – a 15mm prime macro and an 8-15mm zoom with a fast f/2.8 aperture to deliver dramatic fisheye effects. The prime is the 15mm f/4.5 Wide Angle Macro manual-focus lens with a 0.5x magnification ratio to get you in as close as 12.9cm for unique wide-angle macro shots. It costs a very reasonable £389 for all mounts. The optical design is also built to offer excellent distortion control in a lens crafted to be compact and light at just 308g. It features just five aperture blades, resulting in ten-point sunstars for a unique aesthetic. Auto aperture is available for Sony E, Nikon Z and Canon EF cameras, so the aperture can be adjusted directly from the camera. The 8-15mm f/2.8 FF Zoom Fisheye for full-frame cameras gives an ultra-wide 180° field of view and distinctive curvature. At 8mm, it produces a circular fisheye effect, while at 15mm, the lens transitions to a full- frame rectangular fisheye with a curved perspective that retains bold distortion. The zoom costs £699 which is great value for a unique lens. venuslens.net Laowa’s latest super-wides bend the rules
Talk of the wild
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For the inside line on great wildlife images, renowned photographer Laurie Campbell will be giving a talk called Taking Stock, hosted by Beacon Camera Club at Eden Church, Malvern on 19 September. Tickets are £12.
beaconcameraclub.co.uk
Doc appointment
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The RPS Documentary Photography Awards are open for submissions until 1 September, free for students and RPS members, with a £20 open category. The nine selected projects will form a UK touring exhibition in 2026.
rps.org
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LUMIX LATEST
Panasonic’s phase craze continues at the double
Fast Lumix zoom
The Lumix S 24-60mm f/2.8 is a compact yet fast standard lens option and costs just £899. It is designed as a small, lighter and cheaper version of the Lumix S Pro 24-70mm f/2.8. The Pro model has a wider zoom range, 11 aperture blades rather than nine of the new optic but costs twice the price. The new 24-60mm lens has a less complex build but still boasts 14 elements in 12 groups, is lighter at 544g and just 99.82mm long. When paired with select Lumix S cameras, a Hybrid Zoom function can extend focal length digitally up to 187mm. The lens is the first from Panasonic to use a
dual-function focus ring, which can be reassigned to control aperture or exposure compensation and reversed for a custom feel. It’s dust, splash and freeze resistant too. The minimum focusing distance is 19cm, with a maximum magnification of 0.3x.
Advanced autofocus comes to the new Lumix S1 II and S1 II E
burst mode using the electronic shutter – ideal for wildlife, action or sports photography. The sensor also enables rapid data readout, helping reduce rolling shutter distortion for crisp results, even with fast-moving subjects. It’s capable of 4K/120p and 5.1K 60p video, and offers up to 15 stops of dynamic range and internal Apple ProRes Raw video recording. The slightly cheaper £2399 S1 II E uses a 24.2-megapixel sensor inherited from the S5 II and delivers continuous stills shooting at up to 30fps. Its image quality benefits from the new Dynamic Range Boost mode, allowing finer tonal control in high-contrast scenes. For video, it offers 8.1K and 6K/30p open- gate recording, as well as more than 14 stops of dynamic range in V-Log.
Both L-Mount models benefit from Panasonic’s Phase Hybrid AF system, which uses deep-learning AI to enhance subject recognition. Eye, face and head tracking are refined, and there’s now subject recognition for urban sports like parkour. Both models offer in-body image stabilisation claimed to be up to eight stops. The S1 II and S1 II E feature mechanical shutters rated for up to 400,000 actuations, a high- resolution 5.76-million-dot EVF and a 1.84-million-dot tilt-and-free-angle rear monitor for flexible composition. Panasonic has also revealed free firmware updates to unlock major new features for the S1R II, including 8.1K video, Arri LogC3 video colour, focus stacking and tethered workflows.
Panasonic’s second-generation Lumix S1 mirrorless range has
grown with the addition of two models that adopt the latest phase-detection autofocus. The Lumix sit alongside the recently launched Lumix S1R II, but take a different approach by offering lower resolution for faster operation. The pricier £2899 Lumix S1 II features a 24.1-megapixel, partially stacked CMOS sensor paired with Panasonic’s latest-generation Venus Engine. Designed for speed, it enables stills capture up to 70fps in high-speed
FLASHING LIGHTS Power boost for Profoto hybrid range
Profoto’s new B20 and B30 compact flashes are the latest and improved additions to the B10 range, featuring faster performance and a powerful LED that can be used as a modelling light or for video. With the launch of the 250Ws B20 and 500Ws B30, Profoto’s battery- powered location lights feature faster
recycling and a grippy rubberised surface, with a more robust casing. For hybrid creators, the bicolour LED now offers 50% more output, and the units are compatible with Profoto’s Light Shaping System of more than 120 modifiers. The B3 is priced at £2095 and the B20 at £1739. profoto.com
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SONY’S BIG REVEAL
FX2 is EVF’ing excellent!
The FX2 may officially be the new entry-level point to Sony’s
full-frame cinema line, but it’s the first in the range specifically designed for hybrid shooters who want a top-spec video camera that also shoots high-res stills and has an electronic viewfinder. While its older FX3 and FX30 siblings share a very similar body with a flat-top design and built-in mounting points for accessories, the £2699 FX2 is the first to have a high-resolution, 3.68-million-dot, tiltable EVF, as well as a vari-angle 3.0-type touchscreen LCD. It uses the 33-megapixel back-side illuminated Exmor R sensor from the Sony A7 IV mirrorless, offering 10fps continuous shooting of stills plus most of the stills and video specs from that camera. But a new function allows photos to be taken while recording video, as well as the capture of still images in Log video mode. So the camera can be used as a high-res stills camera, capable video camera or for both, rather than just offering a basic stills mode to capture basic thumbnail photos, for example. The sensor is claimed to record more than 15 stops of latitude, but that’s when using S-Log3 in video. It also features Dual Base ISO in S-Log3 of 800 and 4000, but ISO sensitivity for video can be expanded up to 102,400, making it good for low-light shooting. The camera also supports multiple recording formats and records in 4:2:2 10-bit All-Intra, plus XAVC S-I DCI 4K at 24p, among others. The FX2 can shoot video for up to 13 hours thanks to its internal cooling fan and a body designed for effective heat dissipation. That’s as long as you
BABY I DON’T GLARE No problems on bright days; the FX2 has a tilting EVF
have enough power and memory space. It takes one CFexpress Type A card and one SD. The FX2 comes with Active Mode and Dynamic active Mode image stabilisation – a brand-new function for Cinema Line cameras to aid handheld use in video or stills. The camera also has an AI processor just for AF, which brings real-time subject recognition AF with improved accuracy for human subjects, although its intelligent recognition extends to animals, birds, vehicles and insects, with an Auto mode available. There is also Sony’s new, customisable ‘Big6’ home screen which displays frequently used parameters such as ISO, shutter speed, aperture, white balance and Look presets. An HDMI Type-A terminal is available, capable of outputting up to 4K/60p 4:2:2 10-bit video. For data transfer and remote control, it supports dual-band Wi-Fi at 2.4GHz and 5GHz, as well as wired LAN via an adapter. Additionally, a USB-C port enables 10Gbps data transfers and supports USB power delivery. pro.sony/cinemaline
The Sony FX3 has had a sneaky upgrade to include a higher-resolution screen. Sony has not officially issued any details of the model, which is due to the original screen being unavailable from suppliers. The new model is dubbed the FX3a and its LCD panel has 2359k dots compared to the 1440k dots on the older model. And Sony has removed the NFC functionality and infrared remote control light-receiving element. Hush-hush upgrade for FX3
ARTIFICIAL INTELLIGENCE Sony tackles deepfake AI photos with Camera Verify
Sony has announced the beta release of new software called Camera Verify to combat concerns over AI- generated and altered content. The feature enables external sharing of image authenticity data via a dedicated verification link. It works by embedding C2PA (Coalition for Content Provenance and Authenticity) digital signatures, alongside Sony’s proprietary 3D depth metadata, directly into image files at the point of capture. These embedded markers can then prove a photo’s authenticity by verifying it on a dedicated website. Using Camera Verify, users can generate secure, external URLs that
allow news outlets or photo contest judges to check the authenticity of an image. Sony will expand the system to include video content in autumn. sony.co.uk
THE REAL DEAL New
software aims to prove image authenticity
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NEWS / 9
FUJI WONDERLAND Make mine a half!
Fujifilm’s obsession with doing things its own way really shows through in the radical and fun new £699 X half camera. It’s inspired by half-frame film cameras of yesteryear, yet is built for vertical compositions – perfect for the social media of today. The camera has a unique rear LCD monitor and a 2-in-1 shooting option, which allows users to combine two still images or movies into one composition in-camera – all controlled by winding up the dummy ‘frame advance’ lever. Winding the lever on the camera’s top-plate after each shot enables the next shutter release, just like on a film camera. After taking the selected number of shots, users can transfer the images to the new dedicated app to digitally ‘develop,’ view, edit and share the photos. Contact sheets are also saved, just like when shooting film. Pairing the camera with Bluetooth mobiles enables transfer of still images and movies, plus sending images to Instax Link series smartphone printers. The camera has an optical viewfinder and a new film camera mode that simulates film photography. With a lightweight and compact body Fujifilm’s new X half compact uses a vertical sensor for a real retro look and feel
of just 240g and a classic design in three colour options, the X half features Fujifilm’s iconic Film Simulation and Grain Effect to reproduce the unique grain texture of film. It also offers new filters such as light leak and halation for a lo-fi effect straight out of the camera. The lightweight, retro design has easy-to-use touch controls on the rear LCD and features a 3:4 aspect ratio rear LCD monitor, plus optical viewfinder for vertical composition. It can take vertical still images and movies commonly taken with smartphones. The camera boasts a one-inch back- side illuminated sensor and a 32mm f/2.8 (35mm equivalent) prime lens. fujifilm-x.com
Italian brand Manfrotto has unveiled the One tripod that hybrid content creators will fall in love with. It’s the first tripod purpose-built for stills and video in one integrated design. The One combines the stability of a photo tripod with the fluid movement required for video. Innovations include being able to deploy all leg sections simultaneously in a single motion and a new quick-release system that allows fast swapping of tripod heads, sliders or other accessories without tools. The centre column tilts, slides and detaches for low angles and aids levelling. A new non-round leg shape improves torsional rigidity for smoother video panning and a boost in stability – whether you’re framing stills or tracking motion. Available in carbon fibre for £540 or aluminium for £376, the One hybrid pairs with the 500X Fluid Video Head – optimised for mirrorless cameras up to 2.4kg – which includes a fluid drag system, selectable counterbalance and hinged camera plate for fast landscape- to-portrait switching. This costs £670 for carbon fibre or £420 for aluminium. manfrotto.com SUPPORTING ROLE Manfrotto finds The One
POWER PLAY
Nanlux teases duo of budget Evoke LEDs
High-end Chinese LED brand Nanlux has dropped a teaser for two new Evoke series colour LED spotlights – the Evoke 150C and 600C – to join the current flagship series as lower-powered and more affordable alternatives to the line-up.
The lights will feature all-weather protection in an all-in-one design with a new light engine. The 600C will have a Bowens mount, and the 150C will use the FM mount ecosystem. They will launch in the autumn. nanlux.com
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From £10 film to £6.2 million camera! Leica is celebrating its 100th birthday with a price tag for everyone, from the casual shooter to the wealthy collector 1 £6.2 million: 0-Series No 112 The sale of Leica 0-Series No 112 set the record as the second-most expensive camera ever sold at auction, reaching triple its estimate at the Leica 100th- anniversary auction in Germany. With 3 £15,514: MP King Nerd A one-of-a-kind Leica MP camera engraved by British artist King Nerd – whose real name, Johnny Dowell, is more believable. The camera features his signature design of the Leica headquarters at Leitz Park. This unique affordable and has also been refreshed with anniversary detailing, including a distinctive nickel finish. It won’t make your images any better though, for the extra £150 over the normal mode. 6 £50: 100 Leica Stories book Alongside all this hardware comes
only around a dozen of the original 25 of prototype cameras believed to exist today, this 1923 model predates the first production camera by two years. And the most expensive camera ever sold? Another Leica 0-Series: No 105, the personal camera of Leica founder Oskar Barnack, which made a staggering $15 million in 2022. 2 £2.9 million: M3 Kruckenhauser A Leica M3 once given to professor Stefan Kruckenhauser in 1955, an Austrian mountain photographer, sold for £2.9 million at the anniversary auction. This earns it a place among the top five most expensive cameras ever sold. The special Leica M3, No. 700,000, is the first serial-numbered unit in Leica’s M-Series.
camera was sold for charity, with all proceeds benefiting the Austrian social initiative Licht ins Dunkel. 4 £8188: M11 Wetzlar Edition There’s a bit of a catch if you’d like to own the new Leica M11 Wetzlar Edition. It’s a German-only release, limited to just 100 units. The model features silver-chrome controls and a distinctive black paint finish that will patina over time – just like the Leica M cameras of old. Upcoming editions will follow in Shanghai and Tokyo. 5 £1600: D-Lux 8 100 Years As one of a small range of anniversary cameras on general release, the Leica D-Lux 8 100 Years edition is more
something for the bookshelf: 100 Leica Stories . The book is a tribute to Leica’s impact across photography and visual culture – told through the lens of the photographers and stories that shaped its journey. It includes some historic images, all shot on Leica cameras. 7 £10: Monopan 50 film It’s taken 100 years for Leica to launch its first true Leica 35mm film, but now here’s the Monopan 50, a black & white film with 36 exposures. Monopan 50 pairs well with colour filters to enhance contrast, and is perfect for landscape, architectural, cityscape and travel photography. Best of all, it comes in vintage-style packaging.
The famous big red dot is a centenarian – and it’s throwing
a party in classic Leica style: elegant, historic and with price tags that range from reasonable to eye-watering. Whether you’re in the market for a £6.2 million Leica 0-Series prototype or just fancy a special roll of centenary film for a tenner, there’s something for collectors and shooters alike. To mark 100 years since the first Leica I camera in 1925, the brand is releasing exclusive cameras, limited- edition lenses, special accessories and more – proving once again that Leica doesn’t do birthdays by halves. Here’s some of the kit and the prices.
DEEP POCKETS Considering the Leica was the first pocket-sized camera, you’ll need a fair bit of cash to buy one of the limited- edition models
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BITS AND PIXELS The great tech turnaround
WIN! A 512GB Samsung memory card Samsung’s updated Pro Ultimate cards allow you to shoot more, faster. Stunningly fast U3, Class 10 rated read/write speeds, now up to 200 and 130MB/s, let you smoothly take and transfer masses of photos. The cards boast six-proof protection from water, extreme temperatures, X-rays, magnets, drops and wearout, plus they come with a ten-year limited warranty. Complete the word search below – comprising 20 essentials you might find in your kit bag, and you’ll find one word in the list that’s not in the grid. Email us on puzzle@photographynews.co.uk with that word in the subject box by 9 September 2025 and the card will be yours if your name is drawn at random from all the correct entries received. Only entries from UK residents will be accepted. Congratulations to Rosemary Blower from Loughborough – our winner from issue 120. The missing word from issue 121 was ‘patterns’. WNSWFLWLQTO EREFLECTORG BQAYNNDANF I KEZSCSRLUCM CFDDOCAXGOB AMGTNACRHQA PORRVPSSSHL KNE I EYKAAAE COTPRQBCLRR APEOTPAEFDE BOMDEOTYPDS ODTCRTTEHRU S E H A R P E C J I F TNGBQARUPVF RQILSLYPIEI AJ LEBOJWRED PPRETL IFGEF YWBS IQAERZU
Ten innovations we used to mock but now simply can’t live without
Photographers are creatures of habit. Introduce anything new,
and you’re likely to hear calls of: ‘This will ruin photography!’ But time can be a great healer – and it turns out some of those loathed features are actually brilliant. Here are ten bits of photo technology that went from reviled to revered. Well, mostly… 1 Autofocus When AF first arrived in the eighties, many declared it a lazy gimmick. Fast-forward to now, and modern eye- tracking AF can lock onto a sparrow’s eyelash while you’re jogging. Manual focus is still fun – but AF is a gift we’ve learned to accept. 2 Electronic viewfinders Once labelled soulless TV screens for your face, early EVFs were grainy, laggy and battery-hungry. But today, they’re crisp, colour-accurate and let you see exposure, white balance and peaking in real time. Some even prefer them to optical finders. 3 The rear LCD screen When digital cameras first included rear screens for image review, some people turned up their noses. ‘You should know your exposure,’ they scoffed. These days, everyone chimps with pride. It’s not cheating, it’s digital enlightenment. Which leads us to…
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4 Touchscreens Touchscreens were once deemed fragile and unprofessional. Now we can’t stop tapping on our screens. Touch-to-focus, image review and menu navigation are all much faster and feel like second nature. 5 Auto ISO A tool once dismissed as unnecessary, auto ISO is now a trusted companion, especially when paired with shutter and aperture priority. It means never having to choose between blown highlights and motion blur when the light changes unexpectedly. 6 In-body image stabilisation Purists claimed it encouraged sloppy technique. But when handheld 1/4sec shots turn out pin-sharp and gimbal- like video becomes possible without a rig, suddenly everyone’s walking around like they’ve got the steadiest hands in town.
8 Cloud backup Photographers trusted their hard drive to store their work, shortly before disaster struck. Now, auto-backup to the cloud is the hero of many a shoot. And it leaves lots of space on your desk. 9 Artificial intelligence We were sceptical, especially looking at bad deepfake images. But tools like AI-powered processing have saved countless images and made good ones even better, faster. Is it black magic? Maybe. Do we care? Not really. 10 Instagram In the early days, it was all lo-fi filters and ‘no real photographer would share their work on an app!’ Now, it’s a global portfolio, a business platform and a creative community. We still miss the chronological feed though.
Here’s some things we loved but kind of regret now…
7 Mirrorless cameras Dismissed as toys for years –
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particularly by professionals – these cameras are now dominating the market. Quiet, compact, increasingly powerful and extremely fast, mirrorless cameras have become the new normal – and even the professionals have finally come around.
1 Pop-up flash Once a selling point, now
more of an emergency beacon. Harsh, direct light and red eye. Use with extreme caution. 2 HDR everything In the 2010s, no image was safe from aggressive HDR. Over-processed clouds, glowing trees and electric skin tones. 3 Overcomplicated menus Deep customisation once sounded exciting. Turns out, most of us just want to change ISO and white balance without having to solve a puzzle.
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CONVERTER CABLE GRIP LAPTOP EYECUP HARD DRIVE
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ISSUE 122
14 / ADVERTISEMENT FEATURE
Fujifilm’s GFX System gets the X100 treatment The ever-popular X100 formula meets with Fujifilm’s medium format GFX System, resulting in the fresh Fujifilm GFX100RF
To many, the Fujifilm brand is practically synonymous with its X100 range of cameras, with 2024’s Fujifilm X100VI continuing to set new standards for quality and performance in a compact, fixed-lens mirrorless body. The mission statement for these cameras has always been to provide an intuitive and engaging photographic experience while minimising weight and footprint, meaning the X100 range has found firm favour among travel, street and everyday photographers. That design philosophy has historically aligned this style of camera more naturally with Fujifilm’s X Series, where the smaller APS-C sensor size can cement a firm foundation on which to build a lightweight and pocketable design. For the first time though, innovations in camera design have enabled Fujifilm to create a fixed-lens model for the GFX System – the brand’s line of medium format cameras that were previously the reserve of large, powerful bodies, built to facilitate high-end, professional photography. Taking inspiration from the design and utility of a range of vintage analogue cameras, the Fujifilm GFX100RF combines the extensive imaging capacity of a 102-megapixel GFX System sensor with the elegant usability of a fixed-lens rangefinder The GFX100RF is the lightest-ever GFX System camera, at just 735g
camera – setting a new standard for the archetypal everyday carry.
GFX quality With a vast, 43.9x32.9mm image sensor, GFX System cameras offer an imaging surface that’s almost 70% larger than that of a full-frame camera. This grants significant benefits in a number of areas – not least quality. With so much room for additional pixels, the GFX100RF grants a resolution of 102 megapixels, offering lifelike levels of detail in every single photograph. GFX System sensors are also renowned for their ability to record high-contrast scenes, thanks to their astonishing dynamic range. Combine this with incredible colour accuracy – courtesy of 16-bit files – and the images made using the GFX100RF offer vast scope for exploration in post-production. A base ISO of 80 enables the creation of beautifully low-noise images when working in low-light scenarios, while the powerful X-Processor 5 enables the use of Fujifilm’s powerful subject detection algorithms, using artificial intelligence to automatically lock onto and track everyday subjects such as people, animals and vehicles. Versatile fixed lens For a fixed-lens camera to work at this scale, the lens needs to be as versatile as the sensor is capable – and that’s exactly the case with the GFX100RF. The built-in 35mm f/4 optic – which translates to an approximate 28mm f/3.2 full-frame equivalent – offers a natural, wide-angle view that’s ideal for travel,
street, documentary and environmental portraiture. Expanding its utility, the digital teleconverter function, leverages the GFX100RF’s sensor to deliver 28, 35, 50 and 63mm full-frame-equivalent fields of view. Meanwhile, a minimum focus distance of just 20cm opens up the ability to render close-up images, while a built-in four- stop ND filter supports the use of wider apertures and slower shutter speeds in bright conditions. The lens’ leaf shutter also enables high-speed flash sync and near- silent operation – ideal for discreet working. Refined rangefinder design The GFX100RF is the lightest-ever GFX System camera, having been stripped back to the bare essentials in order to tip the scales at just 735g. But with a machined aluminium top-plate and dials, it still possesses the same premium, robust build quality that GFX users have come to expect. The camera has also retained Fujifilm’s commitment to physical, analogue-inspired controls. The top- plate’s push-pull dial allows quick toggling between ISO and shutter speed, maintaining the tactile experience that many photographers seek out. This is complemented by a refined EVF – a large, 0.5in, 5.76-million-dot unit – delivering a crisp and immersive image preview. Additional design elements help elevate the experience further. The included lens
hood completes the classic styling, while attaching the included adapter ring and filter makes the entire camera weather resistant, for confident outdoor use. A front lever control provides customisable access to commonly used features, while another physical lever toggles teleconverter settings in an instant – blending digital versatility with satisfying mechanical feedback. Analogue inspiration With the GFX100RF, Fujifilm has once again proven that digital innovation needn’t come at the expense of creative expression. Much like the X100VI, the new camera is as much about the feel of photography as it is about the final image. This ethos is echoed in the inclusion of Fujifilm’s Film Simulation modes – a now-iconic feature that gives photographers instant access to a suite of colour profiles based on classic film stocks. From the punchy contrast of Velvia to the soft tones of ASTIA or muted vintage look of Classic Chrome, Film Simulations bring character to your imagery at the moment of acquisition, with no need to spend hours editing. A new analogue-style control dial on the camera’s top plate also allows for direct adjustment of the aspect ratio – offering not just standard 3:2 and 4:3 formats, but also panoramic 65:24 and square 1:1 ratios. This subtle yet effective addition encourages
GO LARGE All this resolution, in such a compact body, is a wonder to behold – and to hold!
@photonewspn | photographynews.co.uk
ADVERTISEMENT FEATURE / 15
Specifications
Sensor 102-megapixel GFX CMOS II Engine X-Processor 5 Lens Fixed 35mm f/4 (28mm in 35mm equivalent) ISO Auto, Stills: 80-12,800 (expandable to 40-102,400) Screen 3.15in tilting touchscreen, 2.1m dots EVF 0.5in OLED viewfinder, 5.76m dots Shutter speed 60 mins to 1/4000 sec (mechanical) or 1/16,000 sec (electronic) Autofocus Intelligent hybrid AF, phase and contrast detection with 425 points Frame rates Up to 6fps (mechanical shutter) Recording media SD/SDHC/SDXC, UHS-I/II, SSD Dimensions (wxhxd) 133.5x90.4x76.5mm Weight 735g (with battery and memory card included)
CONSTANT COMPANION The GFX100RF is the first medium format digital camera that could truly be considered an ‘everyday carry’
users to think compositionally from the moment they lift the camera to their eye.
Everyday carry, elevated The phrase ‘everyday carry’ might not be the first to spring to mind when talking about a medium format camera – but the GFX100RF rewrites the rulebook. Where these cameras were built for high-end use cases, this model invites photographers to explore a new style of imaging within their everyday photography. It’s a concept that blends two of Fujifilm’s greatest strengths: the pro-grade image quality of the GFX System and the tactile, experiential form of photography popularised by the X100 series. The result is something entirely new – a creative instrument that allows photographers to slow down, engage with their subject and work with intention, with none of the bulk and complexity that has long defined medium format systems. Whether you’re an experienced GFX user looking for a portable second body or a compact camera devotee considering the world of medium format, the Fujifilm GFX100RF is an enticing proposition.
fujifilm-x.com
ISSUE 122
16 / CLUB ZONE
Club Zone
Club Zone is a platform for camera clubs to share news, events and members’ images Get involved by sending your club information to adamduckworth@bright- publishing.com
166 not out for global RPS exhibition The world’s longest-running photography exhibition is back for its 166th time! The Royal The under 30s award has been won by Kunnath for her series Not What You Saw , which centres on south-Indian
The Royal Photographic Society’s long-running and prestigious annual contest unveils some of the standout images you can see first hand at the Saatchi Gallery in London next month
and they exhibit a massive range of looks from around the globe. The 166th edition awards have been presented to Lydia Goldblatt and Keerthana Kunnath in recognition for their outstanding contributions to the art. Goldblatt received the prestigious IPE award for her deeply personal series Fugue , which explores motherhood, considering love and grief, mothering and losing a mother, as well as intimacy and distance.
ROYAL APPROVAL Clockwise from above: Keerthana Kunnath’s
Photographic Society’s International Photography Exhibition (IPE) is at the renowned Saatchi Gallery in London from 5 August to 18 September. It’s free to enter, where you can see the best images of the 4000 amateur and pro photographers who submitted their work. From this, 113 prints from 51 photographers have been chosen,
female bodybuilders who challenge entrenched gender and beauty norms by embracing physical strength. Whether you want to see these winners up close or check out the huge variety of world-class images that are also on show, it’s a fabulous exhibition that can only inspire you. rps.org
bodybuilder; Tina Poppe’s
Chrysanthemum; Lydia Goldblatt’s Bone. All courtesy of the RPS
@photonewspn | photographynews.co.uk
CLUB ZONE / 17
Hebden- sent!
West Yorkshire market town Hebden Bridge is famous not only as the setting for BBC TV’s gritty drama Happy Valley, but also for its vibrant arts and culture scene – including its well- known camera club that’s been going strong since 1952. So get along to the Town Hall to check out the Hebden Bridge Camera Club’s annual exhibition to explore the fine work of many of their members that display a wide variety of different subject matters, styles and techniques. And, as in previous years, visitors will have an opportunity to vote for their favourite images. The three winning images from last year’s exhibition will also be on display. This includes winner Graham Barnes for his shot Maunsell Fort at Redsand, which shows abandoned structures in the sea that could be from a science- fiction blockbuster. Also on show will be the runner-up image, Fiery Autumn Colours by Steph Penny, bursting with colours from the changing seasons. Third-placed Winter Morning by Barbara Lansdell is a timeless shot that effectively uses lead-in lines to draw your gaze to the buildings and then the scenery beyond. The exhibition runs every day from 23 to 30 August, but is closed on Sundays. To get involved and meet like-minded photographers, the club gets together at Hope Baptist Church in Hebden Bridge every Wednesday evening from September until the end of April. Some of these meetings are hybrid – on Zoom as well as in-person. For more information and details of a free trial for potential members, check out the website, that’s also packed with some great images. hebdenbridgecc.co.uk
TOP TRIO On show will be Graham Barnes’ shot Maunsell Fort (above), Steph Penny’s Fiery Autumn Colours (far right) and Winter Morning by Barbara Lansdell (right)
Calling all camera clubs!
Photography News is delighted to announce we’re bringing back our dedicated section for camera clubs and photographic societies. After a brief hiatus, this much-loved section is making a comeback to showcase the incredible energy, creativity and community spirit that camera clubs bring to the UK photography scene. Now renamed Club Zone, each issue will feature club news, events, standout members, inspiring projects and competition wins – all submitted by clubs themselves. Whether it’s a gallery of images from a recent outing, an interview with a rising star in your club or a behind-the-scenes look at how you’re engaging members, this is your chance to be seen in the pages of the UK’s favourite photo magazine. Our relaunched Club Zone feature is here just for you, so get in touch
PN editor Adam Duckworth says: “ PN always had a great relationship with photographic societies, and we want to get back to celebrating the amazing work by camera clubs up and down the country. This isn’t just about showing pictures – it’s about building a stronger connection between clubs and our wider community of readers.” So whether you’re a small village group or a large-city society, meeting face-to-face or virtually online, we want to hear from you. It’s free to be featured in Club Zone, and it’s a great way to attract new members, share successes and spotlight the photographers who make your club great. To take part, send an email to adamduckworth@bright-publishing. com with your club’s news, images and a contact name. We’ll be running this regularly in every issue – so don’t miss out. And keep watching out as we plan to unveil some great new projects and events later this year. It’s time to get back in the Zone!
ISSUE 122
18 / INSPIRATION
A feast for the eyes
These super-talented photographers have been cooking up some spectacular work, and we’ve picked out a menu of their very finest
winner of the World Food Photography Awards. It was taken in Shuangliu Ancient Town in the Sichuan Province of China. Li said: “Food makes these people happy, and they enjoy a joyful and beautiful life.” From nearly 10,000 entries submitted from 70 countries, there were 48 UK photographers with finalist images, including the winners of six of the competition’s 25 categories. Susan Lang won the food in the field category with her capture of a litter of free-range Large Black piglets, Britain’s only all-black pig, titled Hogging the Limelight. worldfoodphotographyawards.com 2 Plastic’s not fantastic A bold new exhibition in London this summer – Poisoned Futures? – tackles global environmental issues through the lens of three women photographers – and our favourite shot comes from Gulshan Khan. Her project, Life in Plastic, is about the social cost of waste in South Africa and is a dramatic reportage image of bird scavenging on a deep landfill site in Johannesburg. Running until 28 September, the free exhibition is presented by Hundred Heroines, the UK’s only museum and charity dedicated to women in photography. It is spread across three sites in Nailsworth, Gloucestershire. hundredheroines.org
We’ve had our fill of mouth- watering images thanks to the
World Food Photography Awards, which serve up the most deliciously captured moments in global food culture. From steaming street snacks to perfectly plated masterpieces, this year’s stunning entries are a true feast for the eyes and a masterclass in creative storytelling. But it’s not just food that’s caught our attention. We’ve also rounded up some of the greatest photos from across the world – all served with a generous side of skill, timing and visual flair. Whether you’re in the mood for something beautifully lit or brilliantly spontaneous, loosen your belt, polish your lenses and get ready to indulge in some great images. 1 Food for thought This incredible image, The Elderly Having Delicious Food, by Chinese photographer Xiaoling Li, is the overall
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@photonewspn | photographynews.co.uk
INSPIRATION / 19
We’ve rounded up some of the
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3 Water real stunner! An epic shot from Turkish photographer Erhan Coral took an award and a share of the $5000 prize in the tenth annual All About Photo – The Mind’s Eye awards. His shot shows the hot springs of Budaklı, where men and water buffaloes share the warmth of thermal springs in Eastern Turkey’s frozen landscape. It’s an image which masterfully blends tradition, survival and coexistence. We also loved the classic monochrome of Chester Ng’s image Hands of Time, Net of Light. It’s a wonderfully observed and evocative image. Photographed in January 2025 near the tranquil waters of Inle Lake in Myanmar, this beautiful image captures a traditional fishing practice that’s steeped in generations of knowledge and resilience. all-about-photo.com greatest photos from across the world – all served with timing and visual flair
LIGHT-BULB MOMENTS 1 The joy of
sharing grub is plain to see in Xiaoling Li’s winning image 2 Gulshan Khan’s worrying but beautiful shot of birds scavenging
3 Chester Ng’s backlit mono
study in Myanmar is a classic beauty
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