DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

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Beachcombers find all sorts of treasures that make perfect photographic subjects. So while you're at the coast, take a walk along the beach to see what interesting objects you the sea has washed up for you to photograph.

 

1. What Gear Do I Need? 

A good zoom lens with a macro feature or good close-focusing ability will help you get in close to the various items washed up onshore. A proper macro lens will get you in even closer.

If you're out with the family at a time when the sun's high in the sky a polarising filter will reduce reflection, glare and boost the colours of the items you discover.

If you need some extra support a monopod is more convenient than a tripod, but generally, as you'll be on the move, it's easier to capture these shots hand-held. It all depends on who you are with and how much time you have got to linger. By the way, if you do use a monopod or tripod, wash the feet when you get home to get rid of the sand and salt.

  2. Safety And The Sea

Before we cover what there's to photograph we need to talk about safety. The sea can be a very dangerous thing and it needs treating with respect. Make sure you know when high tide will be and always be aware of the incoming tide so you don't get swept away or stranded. Broken glass, nails and other sharp objects can be washed up so take care to not cut or injure yourself.

Walking along the coast, searching for washed-up items can become rather addictive and before you know it you'll have been out on the beach for a couple of hours so don't forget your sun cream and if it's particularly sunny a hat!

 

 

3. Follow The Tide Lines

To find the most interesting objects you need to follow the tide lines just after a good storm or strong winds have blown in. head out not too late after high tide to give you the best chance of uncovering some photo treasures before they get picked up or the surrounding sand's spoilt with footprints.

 

4. More Subject Suggestions 

Seashells, fossils, shards of pottery and glass objects, driftwood and large plastic objects thrown overboard all wash up on shore and all have photographic potential. The key is to get in close to photograph the scratches, marks and cracks that make these objects unique. If you find larger items such as driftwood try taking a step back to give the item context. You could even collect lots of smaller items up and shoot a seaside themed still life. Obviously we do not encourage you remove stones, pebbles and the like.

 

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

 

Waterfalls, the pools of water in front of them and streams will always be popular photographic subjects but just because everyone's taking photos of these photogenic landscape spots doesn't mean all of your shots have to be the same as the next photographer who comes along. With this in mind, let us share a few tips with you on how to shoot waterfall shots that have a bit of a twist. 

 

1. Capture More Close-Up Shots

 

Instead of capturing the whole scene why not focus on a small area of the waterfall. Focus on movement and colour rather than a landscape as a whole or use rocks that cause smaller cascades further downstream to fill your images with sharp shapes that contrast well against the smooth flow of water.  

 

2. Use Fast Shutter Speeds

 

When you think of waterfall images the shot of silky water cascading down rocks probably springs to-mind but there's no reason why you can't switch this around and capture a sense of motion and power. If you're working in aperture priority you can set a wide aperture (f/2.8 - 4) to get the quicker shutter speeds you need. You can also bump up your ISO to gain a faster shutter speed. To freeze movement you have to set a fast enough shutter speed to prevent the subject’s movement blurring as it moves across the sensor. What shutter speed you need will change depending on how fast the water is moving so experimentation is key but keeping the speed under one second should be a good starting point.

 

3. Go Abstract - Shoot Bubbles

 

At the foot of the waterfall or even further downstream you'll find water bubbles that can be captured and turned into abstract pieces for your wall. Please take care on slippery rocks and obviously take care of your kit. Remember to wipe it down after use and unless you are using a camera which is weather-resistant try not to stand in a spot where the spray will be a problem. Shoot plenty with fast shutter speeds and focus manually. For more tips on this subject, have a read of this: Why And How To Shoot Creative Abstract Photos Of Water Bubbles

Further downstream the currents of bubbles can be turned into spirals that decorate the surface of the water when shot with longer shutter speeds but try to not make the shutter speed too long as this will add too much blur and you'll lose definition. 

 

4. Head Out On 'Bad' Weather Days

 

Most of us aren't fans of rain and cloudy days but after a shower, foliage appears more vibrant and it'll help your image to really 'pop'. The contrast will be lower too which makes it easier to get the shot you want without having to worry about bracketing. Later in the year when frost and ice begin to make an appearance, you'll be able to capture shots with icicles decorating banks and if it's really cold, the waterfall may be frozen all together giving you the opportunity to capture a waterfall shot that's certainly different from the norm. Just remember to be careful when walking at the side of streams and rivers as surfaces will be slippery. 

 

5. Do A Black & White Conversion 

 

If you think your shot is lacking punch, apply a black & white conversion and you may be surprised with the results. The cascade of water will really stand out against darker, wet rocks and foliage, plus a black and white conversion can often add mood to a waterfall shot that wasn't there in the colour version. 

 

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

© Benro

 

Benro has unveiled a new range of support accessories designed to maximise the performance and stability of its aluminium and carbon fibre tripods and monopods. Arriving in the UK in August 2026, the launch features two comprehensive 30-piece precision shim kits for easy gear servicing, alongside three sets of interchangeable rubber and stainless steel spiked feet built to handle everything from smooth studio floors to rugged outdoor terrain.

 

From Benro:

Benro introduces a new range of support accessories designed to keep tripods and monopods performing at their best across every shooting environment. The launch comprises two precision shim kits and three sets of interchangeable feet, giving photographers and videographers a simple way to service, customise and adapt their Benro gear.

 

ALS001 & CFS001 Shim Kits

Designed for the range of current Benro aluminium and carbon fibre tripods and monopods, but excludes Cyanbird and Blackbird, the ALS001 Aluminium Shim Kit and CFS001 Carbon Fibre Shim Kit include shims for every leg and leg-section configuration. Each kit contains 30 shims covering all required sizes – not every shim is used on every model, so leftover shims may remain after servicing. A Shims & Feet Compatibility List is available for dealers / retail allowing them to show clearly which products work with each option.

 

Interchangeable Rubber & Spiked Feet

Benro’s interchangeable feet improve stability, traction and adaptability while maintaining compatibility across multiple tripod series. The RF002 Rubber Feet (3/8″) are designed for 2, 3 and 4 Series tripods, improving grip on smooth indoor surfaces while helping protect floors. The RF001 Rubber Feet (M8 thread) suit 0 and 1 Series tripods with smaller leg diameters. For the outdoors, the SF001 Stainless Steel Spiked Feet (3/8″-16) dig into dirt, grass, ice and uneven terrain to deliver maximum stability on location. All feet are supplied as sets of three.

“These accessories give dealers and customers an easy way to keep Benro tripods and monopods in peak condition and ready for any surface – from studio floors to rugged outdoor terrain.” said Helen Gibbs Benro Marketing Manager

 

Key Features

• Interchangeable feet let tripods adapt to different shooting surfaces
• Rubber feet improve traction and protect indoor flooring
• Spiked feet provide superior grip outdoors and on uneven ground
• Shim kits cover every leg and leg-section configuration (30 shims per kit)
• Multiple thread options support compatibility across Benro tripod series
• Shims & Feet Compatibility List included to simplify dealer and customer selection

 

Pricing (inc. VAT)

• ALS001 – Benro Shims for Aluminium Tripods – £10.00
• CFS001 – Benro Shims for Carbon Fibre Tripods – £10.00
• RF001 – Benro #0 Rubber Feet (M8, set of 3) – £10.00
• RF002 – Benro #1 Rubber Feet (3/8″, set of 3) – £15.00
• SF001 – Benro Stainless Steel Spiked Feet (set of 3) – £15.00

 

Availability: UK stock expected August 2026. Consumer and website launch 5th August 2026.

For more information, please visit Benro's website.

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to dke (Day 29 - 'The Colour 'Red').

 

Daily Theme Runners-Up

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

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

  Day 24

Battle Re-Enactment

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Day 25

Twilight Photography

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Day 26

Travel Portraits

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Day 27

Living Museums

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  Day 28

City Night Shots

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Day 30

Coastal Close-Ups

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

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to AndyPedant (Day 12 - 'Signs).

 

Daily Theme Runners-Up

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

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

  Day 9

Skyscrapers

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Day 10

'Fast' Theme

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Day 11

Vertical Lines

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Day 13

'Out Of Focus'

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  Day 14

Summer Trees

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Day 15

Street Photography

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

  1. What Gear Is Needed? 

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

 

2. How Well Do You Know Your Camera? 

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

 

3. What Are The Weather/Conditions Like? 

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

 

4. Is It Possible To Shoot Near The Surface?

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

 

 

5. Is Flash Needed? 

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

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

 

6. Are White Balance Adjustments Needed? 

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

 

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

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

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

 

8. What About Backgrounds? 

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

 

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

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

© Benro

 

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

 

From Benro

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

 

Fast, One-Handed Control

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

 

© Benro

 

Smooth Panning, Anywhere

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

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

 

Key Features

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

 

Pricing & Availability

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

Fore more information, please visit Benro's website.

1. Sit Down

Be it on the floor, or on a seat, sitting immediately gives you a lower perspective and therefore new photo opportunities. Trees and people, for example, can tower over you when sat down for that overbearing feel. Often photographing children look more natural from a seated position too, as you're at their level rather than shooting down on them.

 

 

2. Go Out To Sea

While on your travels, if you have a waterproof camera try turning round to face the beach. If you don't fancy getting wet, just walk towards the water and stand at the edge, shooting up the beach rather than out to sea as most people do. You could also get on a boat of some sort and see what spectacular pictures of the coast you can get while out there. An organised boat trip will also give you a fantastic opportunity to capture some amazing wildlife photos while you're at it, too. If you do head out to sea, taking a weather-resistant camera will mean it's protected against sea spray but do remember to wipe your kit down once back home to remove any residue. Here are some more tutorials on photographing the sea.

 

3. Climb Up High

Head for the nearest tower or hill to get a stunning view of a town or landscape below you. Night vistas of cities work well as do misty mornings in the countryside where valleys are filled with fog and only the peaks above can be seen. To give your shot even more impact, capture a panorama, a topic discussed further down the page. If landscape photography takes your fancy, then here are 10 Quick Landscape Photograph Tips.

 

4. Take A Stepladder Out

It might sound silly but if you're trying to take photos at a busy event where there's a big crowd, you'll be able to shoot above them. It will help you avoid getting people's heads in shots and give you a great opportunity to get a general overview of the scene. A stepladder will also get you closer to items that are slightly too high for you to shoot from the ground and offer a slightly alternative angle to everyday objects that are shot straight-on most of the time.

  5. Go Underwater

If you have the right equipment, shooting underwater is well worth a try. You don't even have to go diving, you could simply buy an underwater camera and have a go in a pool or at the beach in shallower water. This is a fun one for kids to have a go at, too. 

 

  6. Hold Your Camera Up High

The easiest way to change your view is by simply holding the camera up above you to give you a different perspective of the scene. Cameras with a tiltable screen let you see everything comfortably when you shoot - even from very high angles. 
 

7. Go Wide

Why settle for a standard 4 x 6 shot when you can shoot a panorama? With built-in panorama modes, it's now easier than ever to take these wider shots. All you have to do is select the Panorama Mode and sweep your camera in the direction you want to create your panorama. The camera then stitches the images together so you have a sweeping shot of the scene you're shooting.
 

  8. Lie Down

Again, this can get you some funny looks but it's worth it as you'll get an ant's eye view that can give surprisingly good photographic results. Use a small aperture to maximise depth of field and keep an eye on your exposure if you're including the sky in your shot. This position is also great for macro and close-up shots of insects and plants, and any other small items on the ground.

  9. Shoot From Under/Below Things

This involves positioning your camera so it's low to the ground but facing up towards the sky. This can produce some great images of flowers, for example, as it makes it look like they're leaning over your lens and provides a unique opportunity to get a lot of sky in the picture too.

  10. Use Reflections

Reflections can be great tools for changing perspective. As well as the obvious choices such as landscapes reflected in mirror-like lakes, look for puddles you can reflect people with umbrellas in, new buildings made of glass which can reflect slightly older structures and more abstract shots when the winds blowing so the water's surface isn't still.

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

© Johanna Alarcón

 

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

 

From NIKON:

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

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

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

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

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

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

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

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

 

 

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

 

HONOURABLE MENTIONS

• Ana Caroline de Lima
• Natela Grigalashvili
• Ranita Roy

 

SHORTLIST

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

 

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

 

 

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

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

 

Quick Verdict

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

 

+ Pros

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

 

- Cons

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

 

 

 

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

 

Manfrotto ONE Key Features & specifications

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

 

Manfrotto ONE Photo Features

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

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

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

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

 

 

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

 

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

 

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

 

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

 

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

  Manfrotto ONE Photo Handling and performance

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

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

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

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

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

 

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

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

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

 

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

 

Value for money

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

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

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

 

Manfrotto ONE Photo Verdict

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

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

 

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

 

Manfrotto ONE Photo Pros

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

 

Manfrotto ONE Photo Cons

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

 

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4.5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=The Manfrotto ONE Photo is a seriously capable tripod so if you need no-compromise stability, you have got to give it a look.|E_id=8016[/REVIEW_FOOTER]

 

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

 

1. Pick The Right Gear

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

 

2. Balance Your Time

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

 

3. Allocate Time

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

 

 

4. Have A Plan

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

 

5. Visit Places You All Want To Go

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

 

 

6. Get Your Family Involved

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

 

7. Be More Relaxed About Your Photography

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

 

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For many of us, when we decide to get out and about with our cameras we automatically turn to the countryside. But with the majority of the population living within easy reach of a major Town or City, is that really the right decision? It’s great fun just walking around a city taking shots of literally everything but if you want to capture great images you need to go with a plan and a bag of kit including a couple of lenses and a tripod.

 

1. Think About Your Equipment

 

Don’t take lots of equipment just in case you might miss a shot, rather modify your subject matter and shooting style to suit the kit you have with you. This minimalist approach to shooting can help improve your success ratio.

2. Don't Get Overwhelmed 

 

Cities have so much variety to offer the photographer that it’s easy to become overwhelmed with the choice. My favoured approach is to pick one or possibly two themes and then explore an area looking to fulfil this self-imposed brief. 

 

3. Stay Safe

 

Where possible I like to shoot with a second person, especially if going out of the main shopping areas. Camera equipment is expensive and pulling out a new DSLR with a huge lens makes you stand out. Whilst I often like to carry my gear in a backpack I will also use a shoulder bag which I always ensure has my head through the strap as well as my shoulder. This makes it easily accessible and less of a target for potential thieves.

 

4. Theme Choices 

 

Dereliction is a popular choice and you don’t always need to leave the main area. The above shot also demonstrates how buildings reflect the way we live with the covering of posters, which is another possible theme.

There are many old and new iconic buildings and these can produce some great images especially if the light is right. Watch out also for the past icons that have become worn and faded. 

Patterns are another great subject. Cities are literally awash with patterns everywhere you look. For example, a simple set of steps and handrails probably won’t win any prizes but it's the perfect example of how patterns can be found in the simplest of objects. 

Follow your common sense and you will have a great day and capture some wonderful images.

 

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

  1. Macro Mode

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

2. Tripod

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

 

3. Self Timer

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

4. Focus

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

5. Backgrounds

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

6. Extra Light

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

  7. Subject Choices

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

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Trees are something nearly all photographers use in their images at some point. They add interest to landscapes, are used as backgrounds for fashion shoots and nature photographers get up close to the bark and leaves which are various animals and insects call their home. If photographing a tree's not something you've done before or you're looking for a little inspiration on how you can shoot them differently take a look at our top ten list of effective/interesting ways to photograph trees.

 

1.Include The Foreground

 

Before you head for the centre of the forest take the time to walk around the edge of it to find a good spot where you can capture a few shots that have foreground interest. By adding detail in the foreground you add depth to the image and give the shot a sense of scale which gives the composition more impact.

If you're working with just one tree try positioning it in the left or right third of the frame. As well as using a field as your foreground, which works particularly well in winter when there's a fresh covering of snow, try and find a lake or large pool of water which can add another dimension to the image with the reflection of the forest in it.

 

2. Take A Look At The Roots

 

Look out for patterns created by roots, especially those from beech which are often unearthed from weather erosion of the soil. For a more unusual perspective, use a wide-angle lens as in the shot below to curve the background. You can get colour cast from the green canopy above your head as the image below right demonstrates. If you find a tree on its side try to fill the frame with the patterns created by the overlapping/twisting roots. You may also find insect activity you can photograph in among them.
 

3. Get In Among The Trees

 

Use a long lens in dense wood to create a dramatic perspective, making the tree stumps look as though they are stacked on top of each other. These areas will make interesting patterns just remember to use a telephoto lens to compress the trees. Overcast days when the light is soft are good for this but don't overlook misty/foggy mornings later on in the year. This works particularly well when the wooded area's particularly thick but as fog acts like a softbox and can lower the contrast of your surroundings, you can end up with rather long exposure times. Trees in mist can look great silhouetted too but do take care with your exposure. Try opening up by one stop to prevent a dark grey sky appearing and a complete silhouette forming.

 

4. Add People, Buildings Or Other Structures

 

Give your image scale by adding other objects or people into the scene and look for man-made objects such as benches or even statues as these will contrast well against the soft colours of nature. If you're in a park try shooting a few candid portraits of the people walking through and under the trees. This will add an extra element of interest and get the viewer thinking about who they are, where they're going etc.

 

5. Focus On The Bark

 

The patterns in the bark vary from tree to tree. The smooth grey of beech, to the peeling white of silver birch, the cracked patterns of the pine and the deeply rutted elm. Try framing very tightly so you don't see the edges of the tree stump and use a small aperture to cope with the rounded shape and ensure it's all in focus. Trunks made up of particularly thick bark that has deep lines make interesting patterns when you shoot with a tight frame. Bark also makes great textures which you can overlay with other shots. Finally, if you're using a compact camera remember to switch to Macro mode to get closer to the bark.

 

6. Take A Look At The Leaves

 

From the trunk, move up to the branches and focus on the leaves. Again you could move in really close and create patterns from the veins or step back slightly and record the whole shape. Maple like leaves of trees such as sycamore is the most interesting with their five tips, but great results can also be achieved from more ordinary oval and round leaves.

Try shooting with the sun behind the leaves which will make them glow. Position yourself so the sun is shielded from the camera by a branch to avoid flare or use your hand or lens hood to provide protection. Backlit leaves can look particularly amazing during the autumn months when the leaves take on their yellow and orange shades. Other close-ups that are gagging to be photographed are the fruit, berries and cones.

 

7. Look For A Single Tree

 

 

Trees can be used as points of interest in wide, sweeping landscape shots of fields. They break up long, flat horizons, adding interest and giving scale to the shot. Just remember to keep the space around the tree clean and empty. Vibrant greens or fields of bright flowers or golden crops will give the image more punch while a stormy sky sat behind the lone tree will further enhance the feeling of isolation in the shot.

 

8. Get Up High

 

Gain a high vantage point and shoot a woodland canopy, again depending on the time of year you could either create a lush green spread or a wildly varied collection of browns in autumn. Try shooting from a nearby hillside and use a small aperture to ensure everything from the foreground to the background is sharp.

 

9. Try A Different Angle

 

Some nature reserves with woodland areas have bridges which take you along the top of the trees. Take advantage of this, shooting through the branches and leaves. You can use them as a natural frame to guide the eye to another focus point or just fill the frame with the interesting patterns you find from the branches twisting and overlapping.

If it's safe to do so and you're brave enough, you could try climbing up a smaller tree but don't put yourself in danger. Back on the ground look for trees decorated with dappled light or get low to the ground and shoot up into the canopy. If you have a blue sky, green leaves will contrast well against it and by using a wide-angle lens, the trunks of the trees will look like they're almost falling out of the image due to the effect wide-angle lens have on verticals. Don't think this is a bad thing as actually it can make a really interesting shot.

 

10. Timelapse / Seasonal Shots

 

Capturing the changes in the leaves as we move from season to season is an interesting project that just needs a bit of patience and a spot you can return to again and again to take your shots. It's often easier to focus on just one leaf but you can record more if you so wish. Make sure you use a tripod and try and make a note of the exact point you took your first shot from or, if you're in your own garden, you could always make a mark so you know where your tripod needs to be. It'll also help if the spot you pick is sheltered so the project doesn't come to an end too early if the wind blew the leaf off the tree prematurely.

Once you're set up you can record the leaves changing from the rich green shades we see in summer to the golden shades of autumn before it falls off during the winter months. As spring arrives and the buds break, you could try recording a sequence of photographs showing the various stages of the bud appearing, breaking and the leaf unfolding. Taking things a stage further find a position where you can fill the frame with the whole tree and photograph it as a lush green canopy, then the vivid autumn browns and finally a snow-covered version in winter.

 

[SECTION]INTRODUCTION[/SECTION]

 

 

Quick Verdict

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

 

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

 

Canon R6 V Features

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

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

 

 

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

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

 

 

Canon R6 V Key Features

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

 

Canon R6 V Handling

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

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

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

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

 

[SECTION]PERFORMANCE[/SECTION]

Canon R6 V Performance

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

Canon R6 V Sample Photos Previous Next

 

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

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

 

Canon R6 V Lens test images Previous Next

 

Canon R6 V ISO test images Previous Next

 

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

 

Canon R6 V White-balance test images Previous Next

 

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

 

Canon R6 V Digital filters Previous Next

 

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

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

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

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

 

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

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

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

 

[SECTION]VERDICT[/SECTION]

 

 

Value For Money

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

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

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

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

 

Canon R6 V Verdict

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

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

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

 

Canon R6 V Pros

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

 

Canon R6 V Cons

• No viewfinder
• Some controls vulnerable to accidental operation

 

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

 

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

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

 

1. Compact Cameras

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

2. Don't Look At The Flash

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

3. Look Outside

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

4. Move The Flash

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

5. Add More Light

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

6. Use A Continous Light Source

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

  7. Edit The Images

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

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

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

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A wonderful example of macro nature photography has been crowned our 'Photo of the Week' (POTW) on ePHOTOzine this week.

Captured by Prizm and titled 'Macro Moments', it's a shot that really stayed with us. We love the detail in this shot, from the fine hairs on the body to the fine lines running through the wings, right down to the big eye caught in full clarity. The dragonfly is nice and sharp too, resting on its reed with the background falling away into a soft blur of greens and browns. Plus, the warm golden and orange colors help the insect stand out in the frame, keeping the focus entirely on this creature.

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

Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners.

Having a blurry image isn't always a bad thing. In fact, when it's used in the right place, it can actually make your photos better. Here are a few examples of when blur can be used and a few tips on how to produce the shots.
 

1. Water / Waterfalls

 

1. Use shutter-priority so you can control how long the shutter is open.
2. The slower the speed you choose the more blur there will be.
3. The speed you need will change depending on how much blur you want, how much water there is and the distance between the camera and your subject.
4. Start between 1/8sec to 1/15sec and just adjust until you get the blur you're looking for.
5. If you struggle to get the shutter speed low enough try fitting an ND filter to your lens. 
6. Always use a tripod to prevent shake spoiling your shot and if possible use a remote / cable release. 
7. Meter carefully as large areas of light tones can fool the camera into underexposing your shot.
8. Slow shutter speeds will blur anything that moves so if you don't want what's surrounding your subject to be blurred, try taking two shots: one with the slower shutter speed then the other with a speed that will freeze movement. You can then combine these in editing software such as Photoshop.
9. Try blurring the movement of waterfalls, rapids, waves breaking along the coastline, a fast-flowing river and water flowing from a tap

  2. Action Photography

 

1. For people, animals or vehicles which are moving, adding a touch of blur to the image can give the impression of speed, emphasising motion and creating a sense of drama in the shot.
2. If you use too higher shutter speed you'll just freeze the motion, too slow and there can be too much blur and the background and your subject will seem like they're merging together. So it's worth experimenting with a variety of shutter speeds to get it right.
3. Try panning with the subject as they move. Start panning, release the shutter button and then continue the pan even after the camera's captured the image. If you get it right the subject will appear sharp as it hasn't moved position in the viewfinder, but the background will be blurred making the subject look as though it's hurtling along.
4. Try to get enough blur so the background isn't distracting and the movement of the wheels on the vehicle you're photographing are blurred to create the sense of motion in the shot. This will also help the eye focus on what it's meant to.
5. Try using slow sync flash which is where you use a slow shutter speed and flash together to freeze your subject but blur the background. The low shutter speed continues to record the ambient conditions and further subject movement. It's used mostly by sports photographers recording cycling events or motorsports but can also be creative in any environment that has a moving subject in the foreground. Try using it next time you're photographing your child playing on a swing.

 

3. Light Trails 

 

1. Do not try and drive the car and work the camera at the same time. Get yourself a driver or you drive and get a friend to operate the camera.
2. Make sure the windscreen is very, very clean otherwise smears will spoil the final shot.
3. Make sure the tripod is secure before you set off so the camera doesn't get broken from it falling over during the drive.
4. Try positioning the camera so you can only see the view through the windscreen but don't worry if you have the roof or dashboard in shot as you can always crop it out. The lights and shape of the dashboard can also add an extra element of interest to the image, giving the trails something to contrast against.
5. Focus on the distance - you want the lights sharp ideally.
6. Use a small aperture to give you front to back sharpness. It'll also mean you can use longer shutter speeds.
7. 10-30 second exposure will capture the light trails. If you want longer shutter speeds, use the B setting.
8. Use a remote trigger, cable release or self-timer to fire the shutter.
9. Twilight is a good time and you need a location with a variety of light sources.
10. Towns are good locations for this as they'll be streaks of light on various levels and of several shades on offer. Motorways are also good but here you'll get more continuous long light streaks.

 

 

4. Abstract Shots 

 

1. Sometimes you don't need anything to be sharp and in focus to make an interesting image.
2. If you're using lines try to find a location that gives you a shot that has lines that vary in size and colour. Bolder lines will have more impact than small, faint ones and do remember they will still guide the eye through the shot and tell the viewer where they should be looking.
3. Shapes are obviously softened so make sure you're photographing something that's interesting and bold, otherwise your image won't have any impact.
4. Strong, bold colours work well because you're losing texture and detail you see in sharp shots. Make sure your tones don't clash and check to see if any shades are overpowering certain areas of the frame.

 

5. Drag Landscapes 

 

1. Overcast days are perfect for this technique.
2. Find a scene that has strong lines – fences with flowers in front of them and trees work well.
3. Basically, you need to press the shutter button and as the exposure processes, dragging your camera up, down left or right as it does.
4. Don't stop panning until you're past your subject as you won't get the blurry lines you're looking for.

 

6. Zoom Blur

 

1. You have to get the zoom right – too much and you won't be able to make out your subject, too little and it will just look like a normal shot.
2. Use a small aperture to get the slower shutter speed that's needed. Use a low ISO too. This is particularly important when your subject is backlit.
3. Fit a neutral density filter or a polarising filter if you can't get a slow enough shutter speed.
4. Make sure you meter from your main focus point.
5. You need to set the zoom to either the short or long end of the focal length range, open the shutter, wait for a while then in one, smooth, quite quick movement, zoom out. By pausing at the start your subject will have a little definition before the blur kicks in.
6. Stained glass windows are good subjects for this technique but try it in a forest with the light that flows through the trees too.

 

7. Remove Distracting Backgrounds 

 

1. If you're working somewhere that has a busy background use a larger aperture to throw it out of focus. This blur will hide whatever was distracting the eye, allowing all focus to fall on your subject.
2. If you're using a compact camera try switching to the appropriate mode (portrait for people, macro for close up work) so the camera knows you want to throw the background out of focus.

 

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

 

1. Kit Choices

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

 

2. How Dark?

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

 

 

3. Long Exposures & Timing

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

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

 

4. Metering & White Balance

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

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

 

Other techniques to try at night include:

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

 

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