Photography News

© FUJIFILM

 

Fujifilm Europe has announced the instax SQUARE 2, the latest camera in its square-format instant range. It has automatic exposure, automatic flash, a built-in selfie mirror and a new Mood Filter Switch that lets you choose a Warm tone, a Cool tone or the standard instax film look. It comes in Slate Blue, Misty White and Brick Red, and is expected in the UK in late October 2026. Fujifilm is also launching instax SQUARE Soft Haze film, which has reduced saturation and contrast for a softer look. Each pack contains 10 exposures.

 

From Fujifilm:

 

FUJIFILM Europe GmbH, Imaging Solutions Division, today announced the launch of its instax SQUARE 2™ instant camera (hereafter SQUARE 2), the latest iteration in its iconic and popular instax™ SQUARE product lineup. SQUARE 2 brings a refreshed look and new features to fans of square instant photos. 

“Our instax™ SQUARE products have always been a much-loved part of the instax™ range, offering a format that feels both classic and timeless.” said Karina Thomsen, Marketing Director, European Consumer Imaging, FUJIFILM Europe. “We’ve heard from our customers that they’ve been looking for a new SQUARE camera, so we’re really excited to introduce a fresh design with brand new features. It brings something different to the SQUARE lineup while retaining everything people love about the format.”

In addition to Automatic Exposure and Automatic Flash features, SQUARE 2 features the new Mood Filter Switch, which allows users to adjust the overall colour, tone, or mood of their photos. Users can choose Warm for a subtle golden tone, Cool for crisp, blue-toned colour, or Off for the classic instax™ film look. 

 

© FUJIFILM

 

Key Features Recap:

• Clean, new sculpted body design 
• Built-in Selfie Mirror 
• Automatic Exposure 
• Automatic Flash 
• Intuitive twist-to-operate controls, including selection of three shooting modes: Close-up Mode, Landscape Mode & Standard Mode  
• Two Mood Filters (Cool or Warm) 
• Prints on instax™ SQUARE instant film (instax™ SQUARE instant film sold separately) 
• Available in 3 colours: Slate Blue, Misty White or Brick Red 
• Includes: Hand Strap, Quick Start Guide, (4) AA Batteries and 1 Year Limited Warranty

 

© FUJIFILM

 

New Film Variety

Accompanying the introduction of SQUARE 2, Fujifilm is also announcing a new instax™ SQUARE instant film, SOFT HAZE. Featuring colour tone with reduced saturation and contrast, this new instant film creates an overall softer look to the photos with glowing highlights and warm, diffused shadows. Each instant film pack contains 10 exposures.

 

Pricing and Availability

FUJIFILM instax SQUARE 2™ instant camera is expected to be available in the UK in late October 2026 at a Suggested Retail Price of £94.99 (including VAT). instax™ SQUARE Soft Haze instant film is also expected to be available in the UK in late October 2026 at a Suggested Retail Price of £9.99 (including VAT). 

 

The instax SQUARE 2™ will be available from following retailers: 

• FUJIFILM House of Photography*
• FUJIFILM eShop
• John Lewis & Partners
• Boots
• Argos
• Amazon*
• Currys
• Jessops*
• London Camera Exchange*
• Wex Photo Video*
• Harvey Norman*

(* Denotes pre-order is available)

For more information, please visit the official Fujifilm instax website.

 

About instax™

Since its original launch in 1998, the instax™ series of instant cameras has embraced trends and evolving technologies with time and expanded its lineup to include not only analogue instant cameras, but also hybrid instant cameras using digital technology, smartphone printers and a palm-sized digital camera. instax™ continues to offer diverse ways to enjoy photography, broadening the user base in more than 100 countries.

 

UREVO, a global leader in smart fitness technology, today spotlights its CyberPad for Office and Foldimax 5L smart walking pads as practical companions for autumn, helping people maintain regular movement as temperatures drop and outdoor exercise becomes less appealing. UREVO is a global innovator in smart fitness technology, dedicated to creating high-quality solutions that empower individuals to lead healthier lives.

The FoldiMix 5L is available now in the UK on Sale for £399.99 (RRP £499.99) on the UREVO website and in the US on Sale for $311.99 (RRP $499.99) on the UREVO website. 

The CyberPad for Office is available now in the UK On Sale for £399.99 (RRP £499.99) on the UREVO website and in the US for $429.99 (RRP $479.99) on the UREVO website.

For many people, colder autumn weather can make outdoor walks, runs and cycles harder to fit into the day. Whether it is fitting in an active break between meetings, walking while watching a programme at home, or taking on a more challenging incline session in the evening, these two UREVO walking pads are designed to make indoor activity easier to incorporate into a busy routine.

The CyberPad for Office is designed for workspaces and under-desk movement, combining a compact 42.9-inch by 22.8-inch frame with a 2.5HP dual brushless motor and 0 to 14 percent automatic incline. Its 39.4-inch by 16.5-inch walking surface supports speeds from 0.6 to 4.0 MPH, while the UREVO app provides activity tracking and workout controls. With a stated maximum load of 400lbs, the CyberPad offers an office-friendly option for building regular movement into the working day.

 

 

For those looking for an at-home walking solution with a stronger focus on incline training, the Foldimax 5L combines a built-in desk that supports use as a standing desk with a 2.5HP dual brushless motor and nine levels of automatic incline, reaching up to 9 percent. The unit offers speeds of 0.6 to 4.0 MPH, a 39.4-inch by 15.8-inch belt, a stated 300lb maximum user weight and a 12-point shock-absorption system. Connected UREVO app features include World Tour routes, HIIT workouts and activity tracking, helping users set tangible goals as the season changes.

Autumn does not need to mean losing momentum. By bringing movement indoors, people can maintain fitness routines through colder weather while staying comfortable at home or at work. With app-connected tracking, compact footprints and adjustable inclines, the CyberPad for Office and Foldimax 5L provide flexible options for staying active as temperatures drop.

• UREVO CyberPad for Office: 2.5HP dual brushless motor; 0 to 14 percent auto incline; 0.6 to 4.0 MPH speed range; 39.4-inch by 16.5-inch walking area; 400lb stated maximum load; app connectivity; 42.9-inch by 22.8-inch by 6.3-inch product
• UREVO Foldimax 5L: built-in desk for standing-desk use; 2.5HP dual brushless motor; nine-level auto incline up to 9 percent; 0.6 to 4.0 MPH speed range; 39.4-inch by 15.8-inch walking belt; 300lb stated maximum user weight; 12-point shock absorption; UREVO app support.

The FoldiMix 5L is available now in the UK on Sale for £399.99 (RRP £499.99) on the UREVO website and in the US on Sale for $311.99 (RRP $499.99) on the UREVO website. 

The CyberPad for Office is available now in the UK On Sale for £399.99 (RRP £499.99) on the UREVO website and in the US for $429.99 (RRP $479.99) on the UREVO website.

 

About UREVO

UREVO is a global innovator in smart fitness technology, dedicated to creating high-quality solutions that empower individuals to lead healthier lives. With a focus on advanced engineering and sleek design, UREVO products integrate into modern lifestyles, making fitness accessible and enjoyable for all.

Peak Design's Travel Tripod is probably one of the most talked-about tripods on this site, and opinions have been polarized. Since the brand has expanded its tripod lineup with three new Pro models, it's clearly important that we see their differences and optimal use cases.

 

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You've noticed that tripods come with two basic kinds of locks: twist locks and lever locks. They're quite different. Which should you purchase? I'll tell you my experiences and observations.

 

Twist Locks 

The Robus RC-5570 has high-quality twist locks.

I generally like twist locks, or collar locks, but I feel that you have to really go out of your way to make sure that they are locked down because occasionally, if you are not careful, they can slip.

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Ask a room full of people to name the best portrait lens, and most will point to something like the Canon RF 85mm f/1.2L USM, with its reputation for sharpness, flattering perspective on faces, and heavy background blur. If you're about to spend serious money on portrait glass, ask whether that reputation fits the rooms you work in and the apertures you actually use.

 

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Any modern digital camera has thousands of settings and more features than most individual photographers will ever use. But there are some settings that photographers of all genres can benefit from using. One of the most overused terms in photography is "game-changing." It seems like every time a new piece of gear is announced, whether it's a camera, lens, strobe, modifier, tripod, or lens cloth, someone is out there to tell you why you need it and why it's going to revolutionize your photography. Spoiler alert—it's not! And you probably already know that.

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DxO has been busy lately, updating its collection of apps, giving them new capabilities and gently using AI to keep the photographer in control while making editing easier.

 

Today, DxO is announcing ViewPoint 6, the latest version of its software for correcting geometry, perspective, and distortion. Version 6 brings AI masks to ReShape Fusion, the tool for adjusting the components of a scene from within the frame. Photographers can now concentrate a geometric correction on a single element of the scene instead of applying it across the whole picture.

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The Canon EOS R6 Mark III sits in the middle of Canon's mirrorless lineup, yet its feature list now overlaps with both the higher-resolution R5 Mark II and Canon's Cinema EOS bodies. If you shoot stills and video for a living, that overlap decides how many bodies you buy, carry, and maintain.

 

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Picking a camera system for video locks you into a mount, a lens lineup, and a manufacturer's release schedule for years, and the features a brand ships early tend to shape how you work long after the purchase. Panasonic's Lumix bodies rarely dominate filmmaking gear talk, even though several capabilities now drawing attention elsewhere have lived inside them for a long time.

 

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At $400, the Panasonic Lumix S 40mm f/2 is one of the least expensive ways to put an official autofocus prime on an L-mount body. A 40mm sits between the standard 35mm and 50mm choices, and a lens this small and cheap has a good chance of becoming the one that never leaves your camera.

 

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Views over valleys - pretty straightforward isn't it - get high, find a valley, point the camera and take the picture. If only it was that straightforward – let's look at some of the other things you should consider when photographing vistas: 

  1. Check the weather

Firstly, and most significantly, the weather. Check weather forecasts (Check them on-line twice a day - as they change regularly) and don't assume that a sunny day is best. It depends upon the area and time of day - low, raking sun across a misty early-morning landscape can be fabulous, as can afternoon sun, casting tree shadows and picking out dry-stone walls across rolling fields. However, a landscape topped with a stormy sky can similarly look really impressive. The only type of skies to avoid might be a plain grey overcast, which gives both no detail in the sky and no texture across the land; or a clear blue sky in the middle of the day, which offers little modelling to the landscape. Blue sky with clouds allows cloud shadows to break up the otherwise flat lighting.

  2. Check the direction of the light 

The direction of light is also important, shooting distant views can look very flat and uninspiring with the light behind you. Far better to have cross-light coming from the side or contra-jour lighting. Even with stormy skies, better cloud shapes can occur when the light is shining through them. So either get to know the area – and the best times of day, or take a map and compass. 

Clear conditions can allow impressive detailed views over many miles, which with good lighting and texture can be effective, on the other hand, misty or hazy lighting conditions can provide an ethereal, delicate landscape and emphasise the depth within the scene.

 

 

3. Consider an ND Grad Filter 

If your landscape shot includes the sky, you might find that an ND graduated filter will help you control the contrast between land and sky. A polarising filter can darken blue skies and often can cut through slight haze – giving better clarity and even reduce the hazy blue cast, warming up the image at the same time. A good way of excluding excessive sky and foreground is to stitch a series of pictures to create a panorama.

 

4. Think about foreground and midground interest as well as the background

One of the biggest problems with distant landscapes is maintaining enough interest through the photo, whilst the distant landscape might be interesting in itself, if there is nothing in the foreground, or no way for the viewer to be visually led into the photograph, it will lack impact. Always be on the lookout for foreground detail, which might be a tuft of long grass, a rock, gate or barn. Good mid-ground interest, perhaps a set of overlapping dry-stone walls, a spotlit copse of trees, or even – at a larger scale, a set of overlapping hills.

Even the getting high bit need not be all climbing. Again take a look at your maps, many good landscape views are accessible by road, or by level paths from high roads. Even one of the most famous of all landscapes, inspiration point in Yosemite National Park, is best taken from the car park! However, there is still a certain sense of achievement of having carried kit and tripod up a fell to be rewarded with a stunning view.
   

A judge in Hartford wanted to know how the computer had made a set of plaster teeth semi-transparent so they could be laid over an autopsy photograph of a murdered woman's breast. "Judge, you got me," the state's forensic odontologist answered. "I don't know how they do it, but they do it," he said, and then, "I think we really need an engineer."

 

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There’s a special role that affordable lenses play in the grand scheme of things, especially those that don’t compromise too much on optics. This new lens, while smaller than most of its kind, is sure to open many doors.

 

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The Sony FE 24-50mm f/2.8 G and FE 20-70mm f/4 G both promise a smaller standard zoom, and each one asks you to give up something different to get there. If you carry a camera into the mountains for hours at a time, the choice between extra width, extra reach, and an extra stop of light shapes nearly every frame you bring home.

 

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Most people start landscape photography already believing a few things: you need a wide angle lens, a tripod goes everywhere with you, and a strong portfolio might eventually pay for itself. Those beliefs decide what you buy, where you travel, and how you judge your own progress, and several of them don't hold up once you've spent real time in the field.

 

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A macro image of water droplets on moss, called October, by ePz member KristinaZvinakeviciute, has been awarded the Photo of the Week accolade.

This is a superb close-up image with great lighting, and the soft, warm glow at the top of the frame gives the whole scene a dreamy feel. The tiny drops cling to the moss capsules and pick up the colors of their surroundings, while the creamy bokeh in the background adds extra interest.

The shallow depth of field keeps the central stems and drops nicely sharp, with the rest of the moss softening into green tones. It’s a beautiful macro image.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we'll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. See the terms & conditions and prize procedure for more information.

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

Adapting a vintage lens to a mirrorless body gets you inexpensive, well-built glass with a look modern optics rarely have, and it also brings purple fringing, darkened corners, and lines that bow at the edges. Every one of those flaws can be pushed around in Lightroom, so each one becomes a decision about how much of the old lens you keep in the final file.

 

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You arrive somewhere beautiful, raise the camera, and every frame comes back looking like a postcard someone else already took. Too much to look at can stall your composition faster than too little, and the fix often starts with seeing less of the scene through a viewfinder, a long lens, or an in-camera crop mode.

 

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Cross polarising effect is where you use a pair of polarising filters - one on the camera and one on the light source (behind the subject) to show stress in plastic which appears as wonderful multicoloured pattern. It used to be quite difficult as the filter needed for the backlight needed to be large and polarising gels are not only hard to find but also quite expensive. But there is a modern-day solution and it's staring right at you! Your LCD computer monitor. Yes, this can be used as the light source and even though you didn't realise - it has the polariser built-in.

You'll need to use a camera with a polarising filter either attached or positioned in front of the lens. Of course, you'll need a monitor and a steady support will also be useful. A tripod is ideal but it could be something as simple as a pile of books just so long as the camera is set to the correct height.

Some clear hard plastic items - filter cases, plastic cutlery, plastic glasses, cassette and cd cases or geometry sets are a few options - will also be needed as well as something to hold the plastic item steady in front of the computer monitor. Where possible ensure your items are scratch-free as these can spoil the effect. 

 

Step-by-step cross polarisation photography instructions:

1. Turn the monitor on and remove any desktop clutter and change the screen saver to a neutral colour. The other option is to create a plain mid-grey image about 800x600 pixels and call it grey.jpb. Drag this to the web browser to display it and then hit the f11 key to display the browser full-frame without menus. And then hold down the ctrl key and tap the + key until the grey image fills the monitor window.

2. Position the plastic item in front and in the centre of the monitor. A clamp is a useful tool for this but really, whatever you use just has to get the area you want to photograph in the centre of the monitor.

3. Attach the polarising filter to your camera and position the camera in front of the plastic so all you see is an area of the plastic with the grey image totally filling the background. If you can't get close with your camera use the lens at its telephoto setting to fill the frame and avoid edges of the monitor showing. If you still can't get close enough you will have to crop off areas you don't want later.

4. Rotate the polarising filter and watch the colours of the plastic become stronger and the grey goes darker. If you have it set up correctly the grey monitor will go totally black, and the colours in the plastic will be brilliant.

You can use any exposure mode and shooting at the metered setting should be fine. Underexpose a little if you want even more dramatic colours.

For an extra level of abstractness bring a second item even closer to the lens to make the whole image have a multicoloured filter. By experimenting you can often find undiscovered gems.

Canon rates the EOS R6 Mark III at up to 8.5 stops of stabilization at the center of the frame and 7.5 stops at the periphery, depending on the lens. The footnote under that number says it was measured under the CIPA 2024 standard with an RF 24-105mm F2.8 L IS USM Z at 105mm. The footnote leaves out that the camera was bolted to a vibrating platform roughly two meters from a printed chart, in a room held near 23 degrees Celsius, and that the rating comes from at least 200 frames shot at every shutter speed in the test.

 

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