DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

Vignettes aren't a new editing trick, in fact, when darkrooms were still widely in use photographers would apply dodging and burning masks to images during the processing or use filters on their camera lenses when taking the shots. Now the effect is usually re-created digitally with software but the reason for applying them hasn't changed. They are still a simple yet, subtle way to guide/draw the eye to your main subject and frame shots.

The effect has also grown in popularity thanks to cameras such as Holgas becoming popular again. This 'hipster' look is now rather desirable so using techniques that re-create this, what was an unintentional vignette, on digital images is now something even apps are doing. In fact, creating vignettes on photos taken with mobile phones is one of the effects that's listed in our Ten Photoshop Techniques To Do On An iOS App article.

 

How And Why

When it comes to applying vignettes, less is usually better than more as if you make the effect too strong and obvious, it can end up spoiling your shot rather than enhancing it. Of course, there are times when a stronger vignette will work, such as with moody black & white landscapes, but most of the time subtle will be the way to go.

You should apply a vignette once all your other edits are complete as adjustments such as cropping may change the overall look of the image and the vignette could end up sitting in the wrong place or highlighting part of the shot you didn't want it to. This isn't true in Lightroom, though, as we'll explain further into the tutorial.

You can create vignettes in several applications including Photoshop, GIMP and Lightroom. For those wanting to learn more about the vignette options available in Lightroom, carry on reading this tutorial. For those looking for tips on how to create vignettes in Photoshop or GIMP, click on the following links:

 

• Four Ways To Create A Vignette In Photoshop
• How To Create A High-Key Vignette Using GIMP

 

Vignettes In Lightroom

When you open the develop module in Lightroom you'll see there are two Vignetting options. The first can be found under Lens Corrections and this is designed to decrease or even fully remove the vignetting caused by the lens when the image was taken. The changes are applied to the corners of the full-frame image and two sliders allow you to alter the strength and positioning of the effect.

 

Move the Amount slider to the right and the figure will increase, lightening the corners as the slider moves. Pull it to the right and the figure will decrease, darkening the corners. The Midpoint slider alters the area the vignette is applied to. Move the slider to the left and the vignette amount adjustment is applied to a larger area away from the corners, pull the slider in the opposite direction and this will restrict the adjustment area nearer to the corners of the image.

 

The Post-Crop Vignetting tool is one that's designed for more creative purposes and once applied, will stay on your image even if you decide to crop the shot again. There are also more editing controls available under the Post-Crop Vignetting tool, giving you more control over how the final vignette will look.

Three types of vignettes are available and these are accessed from the Style menu. These three options will alter how the vignette you apply blends with the photo you're editing. Highlight Priority is set as the default option and will create a vignetting effect that you're most familiar with.

Once you've picked your Style (we are using Highlight Priority) you can use the various sliders to adjust the vignette.
 

Amount

Pull this slider to the right and the vignette will lighten, pull it to the left and it will appear darker.

Midpoint

This will change how much of the image away from the edges the vignette is applied to. Pull the slider left and the vignette's size will be increased, pull it to the right and it will retreat back into the corners of the shot.

 

Roundness

This changes the shape of the vignette to give it rounder or straighter edges. If you pull the slider to the left the shape is more rectangular/square while pulling it the opposite way will make the vignette more circular.

 

Feather

This adjusts how hard or soft the edges of the vignette are. A harder vignette (which you get by pulling the slider to the left) generally doesn't look as good as feathered vignettes as it creates a shape that's too defined. The second image, which shows a vignette with a higher feathered value, is much softer.

 

Highlights

When in Highlight or Colour Priority the Highlights slider becomes active if you've used a negative value when adjusting the amount (so the vignette is dark). Pulling the Highlights slider to the right will, according to Adobe, 'control the degree of highlight contrast preserved'. In other words, it allows you to control how little or much highlight contrast there is in your vignette.

See the difference in these two images when the slider is set at 0 then 45:

 

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A humpback whale rising from the cold ocean is our latest 'Photo of the Week' (POTW) winner.

Captured by ColinEJ and titled ‘Humpback Whale Breaching,’ we love the excellent timing and energy shown in this action shot. The snowy mountains and clear sky in the background frame the scene, showing the whale’s size against the landscape. This wide view makes the photo clear and well-timed. What a brilliant photo!

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!

 

Most of the time, particularly in architectural photography, we are told that converging verticals and lines are something which should be avoided. But there are occasions when they don't have to be avoided by architectural or any other type of photographer.

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1. Use Converging Verticles To Exaggerate Height

When shooting close to a building with a wide-angle lens, you can exaggerate the height of the structure with the help of converging verticals however, it can look like the building is about to fall over backwards so it isn't a style everyone appreciates. To exaggerate the sloping walls further, get lower to the ground with your wide-angle lens.
 

2. Use Converging Verticles To Focus Attention 

We've talked previously on how vertical, horizontal and diagonal lines can be used to add interest to shots and act as guides. If you take this further so you have multiple lines stretching towards the horizon, they can appear to be moving closer together, which, in turn, will help the viewer to focus on one specific area of the shot.
 

3. Use Converging Verticles To Guide The Eye

Where you set your camera up and how the lines move through your frame will change the feel of the shot. The most common way to use converging lines is to position your camera in the centre of the frame so you have symmetry as well as the converging guides working for you. But as the eye often looks at the bottom left of an image first before working across the shot to the top right corner, you can also position the lines so they flow from corner to corner. By having a line which follows this path, you will unknowingly guide the viewer through your shot. Try using multiple diagonals to guide the eye to one spot in the image by intersecting them where you want the attention to fall.

Do watch where the lines are going as if they lead out of the frame it can create a sense of wonder but equally, it could lead to frustration as your viewer doesn't know what's beyond the frame and as they've followed the direction of the line, they'll end up not looking at your shot. However, if you take the time to position yourself so the lines give the impression they meet/end where you want your main point of focus to be, you shouldn't have a problem.
 

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

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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 CarltonR (Day 8 - Shots With Movement).

 

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

Abstract Photography

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Day 10

Action Photography

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Day 11

Minimalist Photography

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  Day 12

Fruit & Veg Shots

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Day 13

Creative Blur

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Day 14

Flash 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. Something New

If you're usually someone who only shoots one style of photography, having a go at a new genre can not only be fun but educational. It can also fuel you with inspiration, giving you new ideas to have a go at. As you're photographing yourself there's no pressure to get it right first time either as there's no one else to please but yourself.

2. Something For A Rainy Day

Walking around in the rain, shooting landscapes isn't fun so instead of getting wet, set up your gear at home and have a go at shooting self-portraits. You never know, you may find you enjoy it enough to take your gear outside, once the rain has stopped, to shoot some self-portraiture outdoors.
 

3. In Your Own Time

As you're not working with anyone else, you can shoot your photos when and where you want. It also means you can play around with the set-up as much as you like without having to worry about your model getting bored. You don't have to worry about time ticking away either which is something you have to consider when working with a model as they could have another shoot to get to.

 

 

4. Experiment

As you don't have a model to direct you can experiment with different poses and expressions much more easily as you won't have to spend time trying to explain the idea you have in your head to someone else. Don't' forget you can experiment with props, too.

 

5. The Challenge

Working behind as well as in front of the camera comes with its own set of challenges, however learning how to overcome problems and perfecting set-ups to help improve your technique can be fun, plus you're learning and expanding your knowledge in the process. 

Some of the questions you may ask include the following: do you want to use a tripod? How are you going to fire the shutter if using a DSLR? Will you need a remote release or do you can have a camera which can be controlled remotely via a smartphone or tablet (although, if you're capturing your images with a smartphone, this won't be so much of an issue)? Are you going to shoot one shot at a time or make the most of a continuous shooting mode? 

Take a look at our technique section for answers to these questions and more. 
 

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- Partner Content - 

Lighten your load and go for a smaller format camera for travel. The Fujifilm X-T4 and OM System OM-5 Mark II are two very capable cameras and are available used for under £1000 from MPB.

 

Travel manifests itself in so many different forms, from a city break a few hours drive from home to safaris, adventure holidays and photo tours of exotic far flung lands. Such destination diversity means there’s no such thing as the perfect travel camera outfit because every trip and the photo opportunities they offer will be different. 

You have a good camera phone, but a decent camera gives a better, all-round user experience. So, our first stop is to consider compacts. If you want a truly pocketable, high-class machine, you could do worse than check out the APS-C format Ricoh GR series. The very latest model is the 25.7-megapixel GR IV which has an equivalent 28mm f/2.8 lens, five-axis image stabilisation and 5GB of internal storage. MPB has a stock of used models in excellent condition at £1039.

Skip back a generation to the Ricoh GR III and MPB has like new samples at £979. Its specs might be marginally less impressive than the GR IV, but it’s still a fine camera.

Slightly bigger and one for the shortlist is the Fujifilm X100V, another APS-C format camera. A like new model from MPB costs £1399 and for that you get 26 megapixels, 20fps burst rate shooting and a tilting monitor.

Travel light and invest in a quality compact camera such as the Ricoh GR IV (left) and Sony RX100 VII. These pocket-sized marvels are easy to use and capable of excellent images.

 

While fixed lens cameras are worth considering, you might prefer the flexibility of a zoom compact so check out models from Canon and Sony. MPB has the Canon PowerShot G9X II at £569. With 20.1 megapixels and a 3x optical 28-84mm equivalent zoom, this is a capable and pocket-sized camera. Add to your shortlist the Sony Cyber-shot RX100 VII, priced at £934 from MPB in like new condition and features include impressive AF skills and an equivalent 24-200mm zoom in full-frame.

Speaking of full frame, if you have the budget and want to make a statement, check out the classy Sony Cyber-shot DSC RX1R Mark II, available in excellent condition from MPB at £1709 but you can save money by opting for a good condition sample at £1439. With a fixed 35mm f/2. lens and 42.4 megapixels, this is a seriously good premier compact.

There’s no doubting the appeal of a good compact but for ultimate flexibility it doesn’t get any better than an interchangeable lens camera. 

DSLR type models remain popular and with the domination of mirrorless cameras, there’s great value to be had in this sector. That said, we’ll follow the market and look at mirrorless options allowing £1000 for the camera body and the same for a lens or two. 

 

A superzoom is ideal for walkaround photography and having less kit makes life easier on busy public transport too. Exposure was 1/125s at f/8 and ISO 400. Image Credit: Will Cheung.

 

For travel, looking at portable options makes sense and there are three formats to consider, Micro Four Thirds, APS-C and full-frame, so let’s explore the possibilities of picking a model to represent each format.

In Micro Four Thirds, we’ve gone for the OM-5 Mark II which sells for £979 body only from MPB in like new condition. It’s a very likeable camera rich in features including 30fps ProCapture, 7.5 stops of image stabilisation and 20 megapixels. Plus, there’s focus stacking, a Live ND filter and high-res shot mode, and all this in a petite weather-sealed body.

Next, we have the APS-C format and we have gone for the Fujifilm X-T4 at £969 from MPB in like new condition. This model boasts the 4th generation CMOS 4 X-Trans sensor with 26.1 megapixels, very good high ISO performance and the brand’s popular Film Simulation settings. 

 

If shooting nature is part of your travel trip, a macro lens or close focusing zoom needs to be part of your outfit but that means extra weight and space. Shot with a 100-500mm lens with an exposure of 1/500s at f/9 and ISO 400. Image Credit: Will Cheung.

 

For our sub-£1000 full-frame body, we chose the Canon EOS R6 which is priced at £999 from MPB. It’s a 20.1-megapixel camera with 8 stops of image stabilisation and Canon’s renowned Dual Pixel CMOS AF II system that delivers fast, pinpoint autofocusing.

Lens choice will be influenced by your travel plans. If nature is on the agenda, a long telephoto and possibly a macro lens will be on the shopping list. However, if you have a more general itinerary, keeping your lens outfit to manageable proportions makes perfect sense.

So, on one hand, you could go for three zooms, covering from ultra wide-angle to telephoto. In full-frame, this could mean a 14-35mm, 24-120mm and a 70-200mm, but the downsides are cost, a heavier bag and the need to switch lenses.

Squeezing in loads of focal lengths into a single lens is a great idea and in practice you get a decent level of optical performance. Shown here are the 24-240mm full-frame superzooms from Canon (left) and Sony.

 

Opting for a superzoom removes the jeopardy of lens swapping, saves time and is a more portable option. In the past, superzooms haven’t always had the best reputation and that’s simply because cramming so many focal lengths into a single entity means optical performance can be compromised. However, while superzooms still can’t match less wide-ranging zooms, the latest models are decent performers.

All three of our chosen bodies have the option of a superzoom. For the OM5 Mark II, the M.Zuiko Digital 14-150mm f/4-5.6 II is £303 from MPB so it comes well within our budget. In 35mm terms, this lens equates to 28-300mm so there’s plenty of range available. With some unused budget the option of a fast wide-angle prime appeals and the M.Zuiko Digital ED 12mm f/2 at £274 from MPB is worth considering.

 

Superzooms give plenty of shooting flexibility without the inconvenience of swapping lenses. This was taken at the long end of a 24-240mm lens. Exposure was 1/60s at f/6.3 and ISO 400. Image Credit: Will Cheung.

 

In Fujifilm’s extensive range of X-lenses, the superzoom offering is the XF 18-135mm f/3.5-5.6 R LM OIS WR which is 27-206mm equivalent in full-frame and is £444 from MPB. If you want more pull, the Sigma 16-300mm f/3.5-6.7 DC OS gives a full-frame equivalent of 24-450mm. MPB did not have stock at the time of writing, but what you can do is create an alert on the MPB website and you will be notified as soon as stock is available.

Finally, let’s look at a superzoom for the Canon EOS R6. Full-frame AF lenses for the EOS RF are not available from independent brands so we have to stick with Canon but there is a good option here, the RF 24-240mm f/4-6.3 IS USM at £784 from MPB. It’s a sizable lens but is still more portable then two or three zooms making up the same range.

 

  News from MPB

Recent MPB news includes its announcement of its results for the financial year ending 31 March 2025. The headlines are positive with a 19% increase in Group Net Revenue with international markets up by 29%. 

To put some numbers on MPB’s 2025 performance, the business recirculated more than 564,000 items in used kit and hit one million unique customers globally which is double that of three years ago. Learn more about MPB’s results by clicking here.

MPB also brought news of the state of the camera market. Basically, the imaging kit market is growing, with camera shipments including DSLRs and mirrorless up by 6.6% year-on-year and lens volume up by about 3%. 

There’s really positive news in the compact camera market in 2025. About 26% of all new cameras shipped were compacts which represents a 49% year-on-year growth in terms of market value. Read more about this story here.

  MPB Explained

You need kit to take photographs and produce videos, and taking the used route is a cost-effective way of making the most of your budget and keeping up with the latest developments in imaging technology.

MPB is one of the biggest used retailers with bases in the UK, Germany and the USA.

Trading with MPB the process is fair, safe, painless and incredibly easy.

Whether you have kit to sell, want to make a purchase or part exchange, start by going to the MPB website which is intuitive and straightforward to use.

If you have kit to trade, just start typing the name in and a list of suggestions from MPB’s huge database will appear. If a name on that list matches your product click on it and add its condition; if not, continue typing in the whole name and condition.

It’s worth bearing in mind that MPB’s database covers much more than cameras and lenses so if you have, for example, a photo backpack, tripod or filters to sell these can be shown as you type in their name too.

With all your kit listed, add contact details and a quote will appear in your inbox soon afterwards, although manually entered items will take one working day.

If you are happy with the quote, accept it and follow the instructions to get the kit ready for courier collection on a day to suit you. For higher-value deals, an MPB account manager will also be in touch, so you have a personal point of contact if you have any queries.

Once received by MPB, you will get a notification and after checking by its product specialists you will receive a final quote. This can vary from the original quote if there is a missing item —like a battery not being supplied—or your assessed condition differs from the actual condition.

A quote can go down, but it can also increase if the kit’s condition is better than your assessment.

The whole process doesn’t take long and MPB are in touch by e-mail at every step so you’re never in the dark, and only when you are totally happy with the deal, pass on your payment details or pay the balance in the case of part-exchange. Either way, the money or your new kit will be with you soon after.

Get A Quote From MPB Today

 

About MPB

• MPB is the largest global platform to buy, sell and trade used photo and video kit.
• MPB is the simple, safe and circular way to trade, upgrade and get paid.
• MPB is not a marketplace, instead buying directly from visual storytellers and evaluating all items before reselling MPB-approved kit.
• MPB's dynamic pricing engine provides the right price upfront for all items.
• Circularity is at the centre of MPB, promoting sustainability, diversity and inclusion in everything they do.
• MPB prioritises inclusive recruitment and supports employees with extensive training and development. They promote inclusive visual storytelling and an inclusive circular economy.
• MPB's business model is 100% circular. All packaging is 100% plastic-free. Their cloud-based platform uses 100% renewable electricity.
• MPB recirculates more than 570,000 products annually
• MPB provides first-class customer service. Customers can receive support through their Help Centre or by speaking directly with a kit expert.
• MPB's product specialists are trusted by thousands of visual storytellers in the UK.
• MPB is rated ‘Excellent’ on Trustpilot with over 37,000 reviews.

Visit The MPB Website

 

What Is Slow Sync Flash?

Slow sync flash combines a burst of flash with a slow shutter speed. On compact cameras, slow sync flash is often known as night mode and you can't control the speed of the shutter or the strength of the flash but you can with a DSLR. If you're working with a DSLR you'll probably find you have rear curtain sync and front curtain sync options among the various flash modes available, although some camera models don't have this option so do check your manual. 

 

Why Do I Need It?

Slow Sync Flash can be used to capture subjects in low light as well as action shots. 

 

Do I Need A Tripod?

When working with slow shutter speeds a tripod is recommended, however, rear or front curtain sync can create some interesting backgrounds when you work hand-held, particularly when taking your photos in an area with various light sources as the flash will freeze your subject in place while the long exposure will blur the lights into an interesting mix of colour.

  What's The Difference Between Rear And Front?

Rear-curtain sync tells your camera to fire the flash just before the photograph is finished exposing. As you pan, this creates a long trail but a nice, crisp shot of your subject. Front curtain fires the flash at the beginning of the exposure then the shutter remains open, continuing to record the ambient light. As a result, your images will appear differently depending on which method you choose.
 

How Does It Help With Action Shots?

 

Your camera's flash can provide a burst of light in a split second that will highlight your subject. However, if you're trying to capture a moving subject, the flash will freeze them in their tracks and all sense of movement will be lost. However, by combining a slow shutter speed with a pop of flash, you can create a sense of action through blur but still have your subject sharp too.

It's ideal for capturing action shots of bikes or cars moving, although it can be used to capture creative shots of any scene which has a moving subject in the foreground. Try using it next time you're photographing your child playing on a swing, for example. If you find there's blur in front of your subject rather than behind, you need to select rear curtain sync so that the ambient blur exposure is captured before the flash fires. This results in a more natural-looking shot where the blurred streak follows your subject who will be sharp thanks to the flash firing just before the exposure ends. 

You need to give your subject time to move through the frame to give the slower shutter speed time to blur their movement before the pop of flash at the end of the exposure will leave them sharp. It's also worth perfecting your panning technique before you start experimenting with this technique so your pan stays smooth and straight. You also need to ensure your panning speed is correct. For example, shoot too slow and you'll see the trail but it'll merge/blur into the background. Too fast and everything freezes.
 

How Can It Help In Low Light?

 

When photographing people in low light you can try and use flash or you can turn your flash off and use slower shutter speeds to capture enough light to create a well-exposed image.

If you're using your camera's built-in flash your subject can often take on the 'rabbit in the headlights' look thanks to the bright flash illuminating them but leaving the background dark. If you go for the slow shutter speed option you're fine if you're working with a street performer whose occupation is to be a human statue but for anyone else who tends to move around a lot, you'll just end up with motion blur spoiling your shot.

As a result, you're better off using slow sync flash so you get a relatively sharp shot of your subject but also capture enough light throughout the image to create a shot that's better exposed throughout. In other words, the camera records the background and then illuminates the subject with flash to balance the exposure between the two areas. This makes it a good mode to use when shooting portraits at night although a tripod may be necessary to keep the background sharp.
 

What Shutter Speeds Are Needed?

This will change depending on the amount of blur you want to capture in your shot. It's also worth noting that the speed your subject is moving at and how intense the light around them is can affect the final look if the image so it's worth experimenting. As you're not controlling when the flash will fire you may need to take a few shots to get to grasps with your timing too. 
 

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Every photographer is taught that sharpness is important and we won't argue that it's not, however learning how to control depth of field so you can make the most of out of focus areas of a photo will give you a portfolio that's full of much more interesting and creative shots.

We'll begin by covering the basics of this technique before moving on to shooting suggestions. If you want to take a more in-depth look at this technique, there are several tutorials on ePHOTOzine that cover this subject.

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1. The Basics

 

Switch to manual or Aperture Priority as you need to be able to control your aperture. Larger apertures (smaller f numbers) give you a shallower depth of field and help create the blurry, out of focus backgrounds we are after.

Although the main way to control depth of field is with the aperture the positioning of yourself and your subject can also enhance the blur. You want to, ideally, close the distance between the camera and subject but have as much distance as possible between your subject and the background.

Use longer focal lengths rather than wide-angles and use a tripod where possible as the smallest of movements can change the focus and potentially spoil your shot. Using manual focus can help although switching to single-point mode when using autofocus should be fine for most subjects.

If your camera has it, use the depth-of-field preview button as it's a really useful tool to allow you to visualise the amount of sharp focus in a scene.

 

2. Shoot Wider Views

 

When you think of landscapes, using a shallow depth of field isn't probably something that fist springs to mind. The traditional landscape has front-to-back sharpness, however, having something in your foreground that's perfectly sharp while the scene in the background is thrown out of focus gives the more common landscape shot a creative twist.

 

3. Make The Mundane Interesting

 

With a shallow depth of field, a simple blade of grass can look amazing! A blade of grass? We hear you cry. Yes, if you use a shallow enough depth-of-field a blade of grass can look pin-sharp and picture-perfect against a very blurry background.

You need to use a wide f stop to get the right effect. The aim is to get as much of the subject in focus as possible without losing the nice blurry feel but don't over blur the shot as this will distract from the subject. Try f/5.6 or f/8 and use the camera's depth-of-field preview button to check the aperture's effect on the background. It works great on blades of grass, insects and small flowers. During the summer, if you live near a rapeseed field try isolating a specific flower or part of the field out to draw attention to it. You could try blurring part of the foreground as well as the background to create a frame for the subject

 

4. Go Long

 

The Bokeh effect of shooting on a long lens with a wide aperture will turn background lights on city streets into circles of glowing colour, making them a perfect background for portraits. You'll need to stand a few feet away from your subject and do check your white balance to help ensure the lights in the background are glowing the colour they're meant to be.
 

5. Change The Shape

 

You don't just have to settle for circular out of focus highlights as you can use black card and a pair of scissors to change the shapes that appear. You need to decide on a shape, cut it out of the card then fast the card around your lens like you would a lens hood. Try to not make your shapes too small or complicated as they won't stand out very well in your final shot but ensure they are not bigger than your aperture either.

  6. Landmarks

The problem with landmarks is they are popular photographic subjects but by introducing blur, you can create a shot that not many other people will have taken. Make your chosen landmark completely blur out of focus and find some foreground detail that will stay in-focus and provide enough information to explain to the viewer what the background object is. 

 

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Creators are constantly searching for tools that can keep up with the demand for engaging visuals without the steep learning curve of professional editing software. Enter Pollo AI, a rapidly rising star in the global AI landscape that has cracked the code: delivering viral-ready videos in one click—with no editing required.

This article explores why Pollo AI has become an indispensable tool for millions, breaking down its key features and how it simplifies professional AI creation into one seamless experience.

 

What Is Pollo AI?

 

 

Pollo AI is an all-in-one AI visual creation powerhouse designed to democratize high-quality video production. It empowers users to generate viral-worthy videos instantly, eliminating the need for timeline editing, color grading, or complex transitions. 

It brings together AI video generators, image generators, advanced utility tools, cutting-edge models, and trending effects under one roof.

Unlike other platforms that feel cluttered with confusing interfaces and steep learning curves, Pollo AI offers a smooth, streamlined workflow that anyone can master in minutes.

This relentless focus on user experience has fueled explosive growth. Within just 7 months of its launch, Pollo AI has attracted over 4 million monthly active users, successfully raised $14 million in funding, and secured its place as a top-five AI video creation platform worldwide.

This trajectory signals strong investor confidence and proves that the market is hungry for a tool that balances power with simplicity.

 

The Key Features That Make Pollo AI Indispensable

 

Pollo AI isn't just a single tool; it's a comprehensive suite designed to handle every aspect of modern visual creation. Here is a look at the capabilities of Pollo AI video generator that set it apart.

 

Multiple Video Generation Capabilities

Pollo AI covers the entire spectrum of video creation needs, from simple text prompts to complex musical synchronization.

• Text to Video AI: Transform abstract ideas into compelling visual narratives. Simply type a description of what you want to see, and Pollo AI’s advanced models will generate high-fidelity video content with appropriate motion, timing, and visual coherence.
• Image to Video AI: Breathe life into static imagery. This tool is perfect for transforming product photos, digital art, or personal portraits into engaging cinematic videos. It adds dynamic motion to stills without requiring any animation skills.
• Reference to Video: Solves the "consistency problem" in AI video. By uploading a reference image, creators can ensure that specific characters, objects, or faces remain identical across different clips—a critical feature for brand storytelling and narrative continuity.
• AI Avatar Generator: Create realistic digital humans that can "speak" any script in multiple languages. This is widely used for educational tutorials, corporate training, and sales presentations, enabling the production of professional talking-head videos without cameras, studios, or actors.
• AI Music Video Generator: Turn any audio track into a stunning visual journey. Upload your song, and Pollo AI automatically syncs dynamic visuals, effects, and transitions to the rhythm and mood of the music. It empowers artists and creators to produce music videos effortlessly.

 

Continuously Updated Multimodel Platform

One of Pollo AI's strongest advantages is its architecture. It functions as a high-performance aggregator engine that integrates the world's most advanced AI models.

 

 

Instead of being locked into a single technology, users gain access to a powerhouse selection, including:

• Video Models: Seedance 2.0, Google Veo 3, Sora 2, Kling AI, Pixverse AI, and more.
• Image Models: Seedream, Flux Kontext, Nano Banana, and other top-tier generators.

This flexibility allows users to choose the specific model that best fits their project's aesthetic—whether it's photorealism, anime style, or surrealist art—all within a single subscription.

 

100+ AI Video & Photo Effects That Go Viral

In the world of social media, trends move fast. Pollo AI ensures you never miss a beat by providing a massive library of over 100 fun and trending video and photo effects.

This includes massive internet trends like the AI kissing video effect (also known as the "hug" or "squish" effect), which has taken social media by storm. These one-click effects allow creators to add professional-grade visual flair and humor to their content instantly, significantly increasing the likelihood of their videos going viral.

 

Conclusion

 

Pollo AI stands out not just as a tool, but as a creative home for millions. Its mission is simple yet ambitious: to build a platform that enables anyone to generate viral videos in one click, with zero editing skills required. It exists to democratize creativity, giving everyone the chance to produce trending content and fully unleash their imagination through AI.

Whether you are a professional marketer needing volume, an artist needing expression, or a casual creator looking for fun, Pollo AI provides everything you need to lead the next wave of digital content.

Stop jumping between tabs and struggling with complex software. Start creating with Pollo AI today.

[SECTION]INTRODUCTION[/SECTION]

 

 

Quick Verdict

Canon has delivered what could be the ideal Hybrid Mirrorless Full-Frame camera, capable of the highest standards for both stills and video. With solid, sturdy construction, well-thought-out control layout and an extensive feature set, what's not to like?

 

Hybrid full-frame cameras have until now hovered around the 24MP mark, a point at which speed of operation and resolution meet to find a sensible compromise. This stretches now up to the 32.5MP of the Canon R6 Mark III, offering a new standard of performance. Is this a compromise that merely meets all the conflicting requirements in a no-man's-land or is it a bold new standard of performance that stretches the technical capabilities to new heights? Armed with the superb Canon RF 85mm f/1.4 VCM lens, we set forth on our voyage of discovery.

 

Canon R6 Mark III Features

First impressions are of a solid, chunky but not overly large camera body, thankfully weather resistant as we face the February rain, and weighing in at a manageable 699g with card and battery according to Canon, but actually measuring at 690g as we are using an SD card as opposed to the CFExpress Type B. If this was a video review, then the latter option would no doubt have been an advantageous choice.

The main features are detailed below, but there are some nice touches that deserve a mention. Even before the lens is attached, the protective cover for the sensor can be seen, and this is a really good idea. So many cameras leave the sensor naked and exposed when lenses are changed, so the added security offered by Canon is very welcome.

 

 

Stills/Video is selected by a small switch on the left of the top plate. On the right, we have the mode dial plus two control dials, the on/off switch and the stills and video shutter releases. The latter is separate but placed well, so that shaky starts can be better avoided.

The vari-angle screen is crisp and sharp, as is the OLED EVF. The magnification of the EVF image is only 0.76x, but it serves well enough. The image does not cause eye fatigue and gives an accurate representation of the scene.

 

 

Canon R6 Mark III Key Features

• Full frame
• IBIS up to 8.5 stops centre
• IBIS up to 7.5 stops peripheral
• 32.5MP CMOS sensor
• DIGIC X Processor
• Mechanical shutter 30s – 1/8000s
• Electronic shutter 30s – 1/16,000s
• Mechanical shutter up to 12fps
• Electronic shutter up to 40fps
• Dual pixel CMOS AF II -6.5EV to +20EV
• Metering range -3EV to +20EV
• ISO range 50-102,400
• 0.5cm OLED EVF 3.69M dots, up to 120fps refresh rate
• EVF 100% view, 0.76x
• 3” Vari-angle touch-sensitive TFT LCD monitor 1.62M dots
• Operation 0C to +40C
• WiFi, 5GHz/2.4GHz
• Bluetooth 5.1
• HDMI Type A
• E-3 remote terminal
• USB-C 3.2
• 3.5mm Mic and headphone sockets 
• Moisture and dust resistance
• 699g with battery and card
• Battery LP-E6P, approx 620 shots
• 1 SD UHS-II card slot
• 1 CFExpress Type B card slot
• 138.4 x 98.4 x 88.4mm

 

Canon R6 Mark III 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.

For this review, the lens control ring is set to alter ISO, the rear rotary dial is set to alter exposure compensation and the mode dial stays on Av. Aperture is controlled by the upper front dial. All the buttons do something useful. It's just a matter of learning what does what to get quick access to any features that might want regular adjustment. There is even a Colour button that gives direct access to the digital filters. 

The joystick moves the focus point, and when this is set to one point focus it can be easily relocated around the image field as required. To reset to centre, just push the joystick and it locks into centre, identified by a small dot appearing in the centre of the AF box. The joystick is well placed to avoid the point of focus being accidentally moved when the camera is being carried in one hand. There is something here that is rarely mentioned, and that is, if it is so convenient to carry the camera without a strap in the right hand, ready for instant use, then how does this work for a left-handed user? This applies to all marques, and is not singling out Canon. The only left-handed cameras I know of need us to look back at the 1950s and 1960s and makers such as Ihagee (Exakta).

In terms of what we have though, the R6 Mark III handles in a totally exemplary fashion, balancing well, operating slickly and delivering some fantastic shots. Within the Canon range, this reviewer would gravitate towards the Canon EOS 5D Mark IV in the DSLR range and this R6 Mark III in the R series mirrorless cameras, both around 30MP and offering a sensible balance between image size and speed of operation. The new camera is a pleasure to use.

 

[SECTION]PERFORMANCE[/SECTION]

Canon R6 Mark III 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 Mark III Sample Photos Previous Next

 

Lens Performance – The Canon RF 85mm f/1.4L VCM lens provided with the camera for this review has been covered and is a truly excellent and impressive lens. There are plenty of outstanding Canon lenses that can be coupled with the R6 Mark III and will yield beautiful results. True, the L series lenses are expensive, but the camera deserves the best to take full advantage of its performance.

 

Canon R6 Mark III ISO test images Previous Next

 

ISO Performance – This is possibly the best ISO performance ever seen in any Canon body. Images are clean up to and including ISO 1600. Noise just creeps in at ISO 3200 and 6400, but even here, the structure is very tight and the integrity of the test chart boxes is maintained. ISO 12800 is still a tight grain structure, although noise is now clearly visible. ISO 25600 sees considerable noise, but again, the structure of the image is tight. Noise at ISO 51200 and 102400 is very obvious, but the box edges can still be discerned even in the darkest areas. An excellent result.

 

Canon R6 Mark III 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 Mark III Digital filters Previous Next

 

Digital Filters – Interestingly, Canon has provided Scene modes on this body, despite it clearly being aimed at the advanced amateur and professional users. There is a wide selection, and these have not been shot with this review, as each setting clearly needs the specific situation to be meaningful. The settings available are Portrait, Smooth skin, Group Photo, Landscape, Panoramic shot, Sports, Kids, Panning, Close-up, Food, Night Portrait, Handheld Night Scene, HDR Backlight Control and Silent Shutter. It might be arguable that using such shortcuts doesn't end up teaching much about photography, but then it also is true that the beginner could end up with better images and this would be encouraging in itself.

More general digital filters are found in the Colour mode section of the menus. There are two groups of these and samples have been shot of all of them.

Picture Style settings are Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome and three User Defined selections.

Colour Filters are a bit more exotic and sometimes somewhat mysterious, but we have StoryTeal&Orange, StoryMagenta, StoryBlue, PaleTeal&Orange, RetroGreen, Sepiatone, AccentRed, TastyWarm, TastyCool, BrightAmber, BrightWhite, ClearLightBlue, ClearPurple and ClearAmber.

 

Video –  We might expect a Canon Hybrid body to have a good set of video options:

• Open gate recording up to 30fps
• DCI 7K RAW up to 60fps
• 4K UHD up to 120fps
• 2K up to 180fps
• FHD up to 180fps
• Canon log 2, 3, HDR PQ and Canon 709
• Time lapse up to 4K 30fps

Quality of impromptu filming is excellent and focus tracks well. Stability is also excellent, and although a close look at the video aspects of the camera is outside the main focus of this review, it's clear that there is great potential for some convincing quality footage.

 

[SECTION]VERDICT[/SECTION]

 

 

Value For Money

The [AMUK]Canon R6 Mark III|Canon+R6+Mark+III[/AMUK] is priced at £2799.

To put this in perspective, let's look at a range of marques and prices:

Canon 

• [AMUK]R6 II|Canon+R6+II[/AMUK], £2199
• [AMUK]R5 II|Canon+R5+II[/AMUK], £4399
• [AMUK]R5|Canon+R5[/AMUK], £3149

Nikon

• [AMUK]Z6 III|Nikon+Z6+III[/AMUK], £2499
• [AMUK]Z7 II|Nikon+Z7+II[/AMUK], £2499
• [AMUK]Zf|Nikon+Zf[/AMUK], £2299

Panasonic Lumix

• [AMUK]S1R II|Panasonic+Lumix+S1R+II[/AMUK], £2999
• [AMUK]S1 IIE|Panasonic+Lumix+S1+IIE[/AMUK], £2199

Sony

• [AMUK]A7 IV|Sony+A7+IV[/AMUK], £2099
• [AMUK]A7 V|Sony+A7+V[/AMUK], £2799
• [AMUK]A7R V|Sony+A7R+V[/AMUK], £2999

These are all full frame, admittedly some rather more or less than the 32.5MP of the R6 Mark III. On that basis and its intended market place, probably the Sony A7 V is the closest competitor. Both are equally priced, so looking at lens costs, features, and handling are the factors that will separate the options out.

 

Canon R6 Mark III Verdict

This could end up being a battle of Giants as the Canon R6 Mark III pushes strongly into the full-frame hybrid camera market. There are so many great cameras, so looking at the cameras themselves is only the beginning. The lens range, the ability to use adapters to explore other ranges, and the availability or not of third-party options are all part of the bigger overall picture. The lens costs are likely to be high, as it would seem a waste to add a low-cost kit lens to a camera as fine as the R6 Mark III.

Of course, the cameras listed as possible alternatives are all very different beasts and in the end, it's down to handling and any specific requirements that the photographer may have. The R6 Mark III is certainly a terrific option, sturdy, efficient in handling and capable of the highest quality, both for stills and video. The noise control is also quite possibly the best seen so far from Canon.

Such a meeting of fine qualities leaves us with a very powerful option that is, inevitably, an Editor's Choice.

 

Canon R6 Mark III Pros

• Great images and video
• Well-thought-out control layout
• ISO performance is excellent
• Very fast and responsive AF
• Customisation options
• High-quality construction
• Moisture and dust resistance
• High-quality EVF

 

Canon R6 Mark III Cons

• Expensive
• No third-party lenses

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=Editor's Choice – A powerhouse of features and performance from this versatile hybrid camera|E_id=8016[/REVIEW_FOOTER]

 

View the Canon R6 Mark III camera specs in the equipment database.

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Meike has shared a preview of its upcoming lineup for CP+ 2026 in Yokohama, Japan, which will run from February 26 to March 1, 2026. The company will introduce its new lightweight Air series lenses along with the updated AF 85mm F1.4 Mark II.

 

New Air Series (APS-C)

The Air series debuts with three compact F1.7 prime lenses designed for mirrorless cameras:

• AF 25mm F1.7 
• AF 35mm F1.7
• AF 56mm F1.7

All three will be available in Sony E, Nikon Z, and Fujifilm X mounts, with both black and white finishes to match modern camera designs.

 

 

AF 85mm F1.4 Mark II (Full-Frame)

Part of Meike’s MIX series, the AF 85mm F1.4 Mark II is a lighter, second-generation version of the original lens. It features a newly upgraded autofocus motor for faster and quieter performance, along with professional refinements:

• Physical Controls: Aperture ring with click/de-click switch, focus ring, and aperture lock.
• Pro Build: Customizable Fn button and a dust- and splash-resistant sealing ring.
• Mounts: Available for Sony E, Nikon Z, and LUMIX L.

Attendees can see the new lenses at Meike booth No.70 in the Pacifico Yokohama.

For more information, please visit the Meike website.

 

We thought we'd put together a quick and easy to follow tutorial on photographing fruit and veg slices with a light source behind them which you can do indoors when it's raining outside. Why do this? Well, the bright light combined with a single or even a few slices of fruit or vegetable can produce an interesting 'arty' style photograph that's really easy to capture at home. 
 

1. Gear You'll Need 

As well as a camera and a macro lens with a short focal length you'll need a lightbox. If you don't own one, you can create one with a clear surface, a light source that can sit under it and something to diffuse the light such as muslin or tracing paper.

You'll also need a tripod, ideally one that has a centre column that can be twisted upside down or horizontally. By using a tripod that can do this you'll be able to work with the centre column rotated so your camera faces down onto the lightbox. This means your hands are kept free for chopping and adjusting fruit/veg slices, plus you can get closer to your subject. 

Don't forget your fruit and veg! Obvious choices are kiwi as the seeds produce interesting patterns but half-circles of onion, oranges, cucumbers and limes work well too. Have a think about how a particular fruit or vegetable may look when sliced up and placed on a lightbox. You shouldn't need to spend much money, plus you can eat any left-over specimens at the end!

  2. Preparation Is Key

 

Get your chopping board out and cut thin slices from your fruit/vegetable. Make sure you cut even slices so when the light passes through, you won't have one part that's darker than the other. Use a clean, sharp knife to slice your fruit/vegetable then place the slice on the lightbox.

Where possible, work away from windows, turn off your house lights and you may want to close the curtains/blinds to limit the amount of light coming in if it's bright outside. 

  3. Placement & Design 

If you're using multiple slices or various fruits/vegetables think about your composition. Repetition and patterns always work well and for some reason, working with odd items gives you a shot that's more pleasing to the eye. This doesn't mean you can't work with even numbers as they can work but the rule of odds is something you should just keep in mind.

  4. Setting Up The Shot

1. As with most close-up work, it's best to switch from auto focus to manual to stop your lens 'searching'. 
2. Take a test shot and check the exposure as the bright light may fool your camera into underexposing. If this happens, switching to a + exposure compensation should fix the problem or you can work in manual if you prefer.
3. You want the background to be bright but not so bright that you can't see the shapes and patterns in the segment of fruit or vegetable you're working with.
4. Good depth of field is needed and if you find problems with camera shake, switch your self-timer on so you have time to move away from the camera before the exposure's captured.

 

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

 

The well known saying: 'Keep it simple stupid' is well known for a reason – it works. Yes, there are times when lots of compositional elements do work but by creating an almost 'empty' space, you can actually create a stronger image.

[HOOK]position_1[/HOOK]

1. Why Does It Work?

By cutting out clutter, other people etc. you remove potential distractions and it'll be easier for the viewer of your image to understand what / who your main focus is in the shot and what you're trying to say.
 

2. Subject Choice

 

Just because you're keeping things simple it doesn't mean it has to be boring. Actually, with this technique, you have to work hard to do the opposite and find a strong subject that can stand up on its own. This becomes even more relevant when you're using a large amount of space so your subject only takes up a small amount of the frame.

Also, rather than thinking about what to include in your frame, think the opposite and look for items you can remove.
 

Here are a few ways you can achieve a minimalist look to your shots:

  3. Blurry Backgrounds

 

An obvious way to make your subject stand out is to adjust your aperture so everything in the background is thrown out of focus. You can find more tips on how to do this here: Creative Aperture / Depth Of Field

  4. Plain Backgrounds

Studio backgrounds and other material can be used to hide distracting objects inside and while you're out, use plain walls, fences or if you're shooting small subjects such as flowers, try taking your own backgrounds with you. On the subject of flowers, you can lower your angle so you're shooting up at the flower with the sky as your background which can give you a minimalist-style shot. White backgrounds are an obvious choice but don't think you can't use some bold, strong colour too (as we'll explain further down the page).

 

5. Play With Colour

 

If your subject and background contrast your subject will stand out from the shot. You can do this with colour (bright, strong colours work well) or light, using a brighter subject against a darker background and vice versa. Just make sure there are no 'hot spots' which will pull the viewer's eye away.

Also, having a strong colour filling your background that's the same as your subject can work in some situations or try producing black & white shots which rely on strong subjects and textures to make them interesting. You could even use shapes and colour as your subject, creating a strong composition that fills your frame in the process. 

6. Space To Breath

When used right, adding space to a shot can work just as well as cropping in close. To find out why sometimes it's what you leave out of your images that makes them great, read our tutorial: How To Use Negative Space In Your Photos

 

7. Crop Out Objects

An easy way to remove objects that are at the edge of your frame is to use your zoom to crop them out. You can also use editing software such as Photoshop to crop your images and we have a detailed tutorial on how to use this tool here: Introduction To Photoshop's Crop Tool

If you find the distracting objects are too close to your subject to crop out, you could use the Clone Stamp Tool to remove them. You can also remove distracting backgrounds and replace them with plain ones in Photoshop, too.

 

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

 

Canon's latest RF lens continues the introduction of the high-quality VCM primes, joining the 24mm, 35mm and 50mm, all taking 67mm filters and all a very similar size. These are Hybrid lenses, intended for both stills and video and the features offered reflect this. 85mm is, of course, the classic portrait focal length, and the staple lens diet for wedding and social photographers across the decades. There is a vast choice of 85mm lenses, some general in use and some of a more specialist nature, but the choice is there. So let's set forth on our journey of discovery, matching up the new lens with the equally new 32.5MP Canon R6 Mark III.

 

Canon RF 85mm f/1.4L VCM Handling and Features

The lens is of moderate size, measuring just 76.5mm x 99.8mm and weighing in at 636g. A generously sized round lens hood is provided and this bayonets securely onto the lens. The fit is slick and positive and the retaining catch makes sure it stays firmly in place. Within the bayonet fit for the hood is a standard 67mm filter thread, a size that is shared with the other VCM lenses in the range.

 

 

First up is the control ring, which can be programmed to exposure compensation (when the shutter release is half depressed), ISO, aperture or shutter speed, via the camera menu, depending on the mode chosen and the preferences of the photographer. If desired, the wider focus ring can be programmed to be the control ring, and in this case, the original control ring becomes inactive.

Closest focus is 0.75m for a maximum magnification of 0.12x. AF is driven by a VCM (Voice Coil Motor) for fast, accurate and virtually silent AF. Focus snaps in every time with no hint of hunting.

Optical construction is 14 elements in 10 groups, including 1 UD (Ultra Low Dispersion) and 1 GMo (Glass moulded aspherical). The rounded diaphragm comprises 11 blades for the best possible bokeh. ASC and SSC coatings complete the picture, along with a Fluorine coating on the front element to help repel moisture, dust and grease. The whole lens is sealed and is moisture and dust resistant.

 

 

There is an AF/MF switch, an AF cancel button and a release for the aperture ring. With support for videography in mind, the aperture ring can be set to "A" in which case the camera controls the aperture, or it can be set manually on the aperture scale. In the latter case, there are no click stops, nor is there any option to switch them in. There is no inbuilt IS and this is covered by the camera IBIS. This offers up to 8 stops advantage at the centre and 7 stops at the edge. The lens is not compatible with extenders.

The lens is actually a gem to handle and like any 85mm lens, snaps beautifully into focus. The depth of field of an 85mm also makes for some gorgeous out-of-focus backgrounds. Having said that, it is a short telephoto and not as versatile for general use as a short standard zoom would be, but then that is not its purpose. The fast f/1.4 aperture also helps, and the lens is not so bulky as an f/1.2 version would inevitably be. A delightful lens to use.

 

Canon RF 85mm f/1.4L VCM Performance

There need be no fears regarding sharpness with this lens, as it has sharpness in abundance right from the start.

Central sharpness is excellent at f/1.4 and f/2, outstanding at f/2.8 and f/4, excellent from f/5.6 to f/11 and very good at f/16. The edges are excellent from f/1.4 right through to f/8, and very good at f/11 and f/16.

 

Canon RF 85mm f/1.4L VCM MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a Canon R6 Mark III body using Imatest. Want to know more about how we review lenses?

 

CA is highly corrected, approaching zero and is unlikely to be an issue.

Distortion measures +0.05%, which is as close to being rectilinear as makes no difference. Architectural shots will be rendered with a high degree of accuracy.

 

Canon RF 85mm f/1.4L VCM Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.

For this review, the lens was tested on a Canon R6 Mark III body using Imatest.

 

Bokeh, gorgeous and delicious, is the forte of the 85mm, and will delight brides and grooms as well as anyone who is the subject of a fine portrait lens.

Flare is not generally an issue, but artefacts can be generated when severe lighting is allowed to shine directly into the field of view.

Vignetting is well under control, with just a hint of corner darkening being as much an advantage as a disadvantage with portraiture, concentrating our eyes on the main subject.

 

Aperture Vignetting f/1.4 -0.9 f/2 -0.8 f/2.8 -0.8 f/4 -0.8 f/5.6 -0.7 f/8 -0.7 f/11 -0.7 f/16 -0.7

 

Canon RF 85mm f/1.4L VCM Sample Photos Previous Next

 

Canon RF 85mm f/1.4L VCM Aperture range Previous Next

You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.

 

[HOOK]position_1[/HOOK]

Value For Money

The [AMUK]Canon RF 85mm f/1.4L VCM|Canon+RF+85mm+f/1.4L+VCM[/AMUK] lens is priced at £1679.00

There is quite a choice of 85mm lenses for Canon RF, including:

• [AMUK]Canon RF 85mm f/2 IS Macro STM|Canon+RF+85mm+f/2+IS+Macro+STM[/AMUK], £619
• [AMUK]Canon RF 85mm f/1.2L USM|Canon+RF+85mm+f/1.2L+USM[/AMUK], £2999
• [AMUK]Canon RF 85mm f/1.2L USM DS|Canon+RF+85mm+f/1.2L+USM+DS[/AMUK], £3499
• [AMUK]Laowa 85mm f/5.6 2x Ultra Macro APO|Laowa+85mm+f/5.6+2x+Ultra+Macro+APO[/AMUK], £499
• [AMUK]Lensbaby Velvet 85mm f/1.8|Lensbaby+Velvet+85mm+f/1.8[/AMUK], £499
• [AMUK]NiSi Athena 85mm T1.9 Cine|NiSi+Athena+85mm+T1.9+Cine[/AMUK] Lens, £1139
• [AMUK]Samyang MF 85mm f/1.4|Samyang+MF+85mm+f/1.4[/AMUK], £299
• [AMUK]Samyang VD SLR 85mm T1.9 Mk II|Samyang+VD+SLR+85mm+T1.9+Mk+II[/AMUK], £412
• [AMUK]Zeiss Otus ML 85mm f/1.4|Zeiss+Otus+ML+85mm+f/1.4[/AMUK], £2350

Top-of-the-line 85mm lenses do not come cheap, but the new Canon lens does look like it is pitched at a realistic level.

 

 

Canon RF 85mm f/1.4L VCM Verdict

For stills, a superbly sharp 85mm lens perfect for portraits, weddings and social events plus of course all the usual applications for a short telephoto. For video, virtually silent VCM focusing plus a silent click-free aperture ring. Wedding photographers may well be delighted with this new offering from Canon, although if soft-focus effects are required, then filters will need to be used. As part of the VCM range, it also matches almost exactly in size and weight with the rest of the range, making a very attractive set of high-quality prime lenses.

There is much to like about this lens, and it duly receives a 5-star rating and the accolade of Editor's Choice.

 

Canon RF 85mm f/1.4L VCM Pros

• Excellent to outstanding sharpness
• Virtually no CA
• Modest vignetting
• Very well made
• Virtually rectilinear
• Moisture and Dust resistant
• Smooth bokeh
• Superb handling
• Fair pricing

 

Canon RF 85mm f/1.4L VCM Cons

• Some flare in extreme conditions

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=4.5|R_overall=5|A_level=5|A_text=Editor's Choice – A superb Hybrid 85mm lens perfect for both stills and video shooting.|E_id=8027[/REVIEW_FOOTER]

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Contradictory to what you're told when you first pick up a camera, it is OK to have blur, and quite a lot of it, in your shots when you're photographing the right subject and want to emphasise speed or create a sense of motion. When we say it's OK we don't just mean a shot you accidentally took out of focus will pass off as something creative, you have to deliberately adjust your camera's settings or know how a quick twist of your lens will give you the blur that's needed to add a sense of action to your shot.

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1. How To Add Blur

The two ways we are going to look at are slowing down your shutter speed and using zoom blur (movement of your lens). The second can be a little harder to get a grasp of but after a few tries, it should become easier.

 

 

2. Shutter Speeds

If you've never shot action-style images before you may first think that a subject that's moving through your frame quick will need a quicker shutter speed to ensure you capture them as they move through your frame. You can do this but most of the time you'll just end up with a shot that freezes them in place and all sense of motion will be lost. However, there are a couple of exceptions to the rule such as a rally car or cyclist hurtling through a muddy puddle. As they move through the water, they'll more than likely cause spray to fly everywhere and a quick shutter speed will freeze the spray as it jumps up towards the sky, surrounding your subject. It's the spray here that helps emphasis the action and their pace so using a slower shutter speed will mean this excitement would be lost.
 

3. Slow Things Down

For times when there's no mud and water flying everywhere try slowing your shutter speed down to add some much-needed motion to the shot. How slow you have to go will depend on how fast your subject is moving, how much light is around etc. and the whole process can be a little unpredictable, however, it's worth sticking with and experimenting as you can get great results, some of which are surprising sometimes.
 

4. Balance

The hard bit can be trying to get the balance of blur and in-focus parts of the shot right. Most of the time a blurred background that has streaks running through it in the direction your subject is moving with a sharp subject sat against it is what you'll be looking for, however, if your subject is a little blurred it can emphasise motion and add further drama to your shot. Don't go too over the top with the blur though as they can just end up merging together which makes it hard for the eye to focus, meaning it's hard for the viewer to settle on one point of the image and it can make it look like you just took a bad shot.

 

 

5. Focus

For shots where you want your subject to be sharp, make sure you're focused on them as you follow them through the frame. A quick autofocus system will help ensure your shot is focused quickly and accurately. Trying to focus manually with fast-moving objects can be tricky, however, it can be done if you plan on pre-focusing on a spot, say on a particular bend on a track, you know your subject will have to pass through. Just remember to lock your focus after you've set it up and be ready to hit the shutter button at the right time.

Switching to continuous shooting mode which most cameras now feature will increase your chances of capturing the action when panning or pre-focusing on one spot. You'll need to start shooting just before your subject comes into frame though to ensure you don't miss a shot due to shutter lag. If you're panning make sure you keep the pan going even after your subject has left the frame and you've got your shot.
 

6. Flash

To brighten your subject so they pop from your frame and to freeze them in place while the background is blurred switch to slow sync flash which combines a slow shutter speed with a burst of flash. The slow shutter speed means the camera will blur the background and further subject movement. Depending on if you're using front or rear curtain will change when the flash is introduced, freezing your subject's movement at different points of the shot.

 

 

7. Zoom Blur

To really emphasise your sport and action shots, giving them a dynamic edge, try using zoom burst to create blur that you deliberately create by twisting the zoom on your lens as you take a shot.

As well as emphasising movement it can help make your subject, who's not blurred, 'pop' from the frame. A burst of light from a flashgun will help freeze your subject and add sharpness to the image.

On paper, it's a simple technique but it can take some time to actually master. You need a lens that will zoom and experimenting with different lens lengths will change the overall effect. Changing the starting point of the zoom and the length of time you zoom for and how quickly you move the lens will also change the final look of the shot. For action shots, it's best to use shorter exposures which you start while you're moving the lens. Starting zoomed out and pulling the zoom in during the exposure makes it easier to capture a sharp shot of your subject with the zoom blur surrounding them.

Adding a little bit of camera movement will adjust the pattern the zoom blur creates and can be used to direct the eye on a particular path through your shot.
 

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Leading bag manufacturer Billingham launched a brand-new leisure range marking a deliberate shift from its traditional photographic bag collections.

The new range introduces three non-photographic bag designs, created with everyday versatility in mind while retaining the brand’s signature build quality and attention to detail. The collection is designed to appeal to customers looking for practical, stylish bags suitable for daily use, travel, and leisure.

The range comprises of two handbags and one tote bag, whose names have been inspired by the unsung heroes of the film set.

The three new styles are:

• Dolly Grip – Refined, functional and beautiful. This small handbag is designed for effortless everyday style.
• Key Grip – A perfectly balanced medium-sized handbag designed for everyday use.
• Best Boy Tote – A spacious statement-making tote, perfect for work, travel or everyday use.

Both the Dolly Grip and Key Grip will be available in four colour combinations:

• Khaki Canvas/Chocolate Leather
• Sage FibreNyte/Black Leather
• Black FibreNyte/Black Leather
• Burgundy Canvas/Black Leather

The Best Boy Tote will be offered in two colourways:

• Sage FibreNyte/Black Leather
• Black FibreNyte/Black Leather

Across all three designs, the range shares a consistent set of practical features, including a removable shoulder sling, multiple handy zip pockets, and an internal brass key loop, making each bag both functional and adaptable to different lifestyles.

The launch represents a notable evolution for the manufacturer, expanding its product offering beyond photographic use and into a broader leisure market, while continuing to design and manufacture from its factory in the West Midlands.

The new leisure range is now available online at www.billingham.co.uk and through a few selected retailers, with UK SRP (including VAT) as follows: Dolly Grip at £289.00, Key Grip at £359.00, and Best Boy Tote at £426.00.

 

An impressive capture of a kingfisher posing above still water, Waiting by Tonyd3 has a clear and steady feel.

The bird is perched on a weathered metal loop just above the water, with its reflection mirrored beneath it. Small green plants sit alongside the metal, while the smooth surface of the water adds to the balanced look. The bird remains perfectly still, as if waiting to catch something below the surface. This calm setting and the gentle reflections create a dreamy mood that makes the whole moment feel peaceful.

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!

Photo by cattyal

 

The most popular approach to flower photography is to include the whole flower but by getting in very close or by choosing a less conventional crop you can create a rather exciting image. Plus, it's a technique you can try all year round as you can just buy your flowers from the supermarket when there's none showing their heads in your garden.

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1. Work Near A Window 

A greenhouse is a great location for shooting close-ups of flowers as there's plenty of light, you're sheltered from the wind and if the windows are slightly dirty the light will be nicely diffused. If you don't have a greenhouse work indoors next to a set of patio doors or a large window and use a net curtain or muslin to diffuse the light.

 

2. Direction, Apertures & Focus 

Position your vase/flower pot so you can work directly above it then begin experimenting with different apertures and shooting distances to change the overall effect. Start with a nice wide aperture to minimise your depth of field and switch to manual focusing as you can get in closer than your camera thinks. Although, it’s not even really necessary to have any part of the image in focus as the flower colour and shape can produce attractive abstract swirls of soft colour.

If you don’t have the ability to get in close then try some creative cropping. The sweep of a single Lily petal or the shape of an Iris lend themselves to close crops.

  3. Multiple Exposures  If your camera has it, try experimenting with the Multiple Exposure Mode. This mode allows you to take several shots on the same 'frame' which the camera then combines to create one shot. Having the lens sharply focused then defocusing as you move from exposure to exposure will give you a soft, dreamy look to your photograph.

 

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

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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 4 - Flower Photography).

 

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 1

Frost Photography

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Day 2

Commute Photography

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Day 3

Glass Photography

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  Day 5

Car Photography

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Day 6

Football Photography

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Day 7

Food 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.

   

The idea of movement isn't usually a thought that first springs to mind when you try to describe what a landscape shot is. However, when you start to think of popular landscape topics such as waterfalls, rivers, trees, clouds and the sea, you suddenly realise movement, which makes shots more dynamic, crops up more often than you think.

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Slowing your shutter speeds can create a sense of movement in your landscape shots. Just remember you'll need to use a smaller aperture to limit the amount of light that reaches your camera's sensor. If you don't, you'll end up with a shot that's overexposed. If you find your shots are still a little on the light side, fit an ND filter to further reduce the amount of light going through your lens. For shots where you want to exaggerate the power/strength of your subject or for shots that have people/vehicles moving or birds in-flight, you'll need quicker shutter speeds, a steady hand and good panning technique all of which we'll look at later on.

  1. Waves

For shots of waves crashing against cliffs and sea walls you'll need a quick-ish shutter speed, around 1/125 should help you capture the power on display. Just remember, unless you want a soaking, to keep yourself and your kit out of the wave's reach. Have a lens cloth handy and remember to wipe your kit down thoroughly once you're back home.

For shots where the waves turn into a mass of soft, blue and white blur use exposures which are 5 seconds or more. If it's a particularly bright day make sure you have an ND filter to-hand and use the smallest aperture and ISO possible. If you want the waves to have a little more shape to them use a slightly shorter exposure. How short you go will depend on the amount of shape you want and how choppy the sea is on the day so you may end up experimenting with a few different exposures before you land on the one that gives you the shot you're after.

 

 

2. Waterfalls

We've covered waterfalls in a previous article so here are just a few quick tips to get you started. For a more in-depth look, take a look at our previous technique: Shooting waterfalls.

• What shutter speed you use will be determined by how much blur you want, the focal length you're using and the amount of light available.
• Pick an overcast day when you're going to be using longer exposures. Your shot is less likely to have contrast problems too when there's a touch of cloud cover.
• An ND filter can help you extend your exposure times while a Polarising filter will reduce the amount of glare/reflection coming off the water.
• Turn the waterfall's movement into a mass of blur - 1/8 sec longer
• Faster shutter speeds will enhance the power/force of the waterfall, freezing the movement of the water as it cascades and splashes on rocks.
• Have a go at photographing water bubbles.

 

  3. Clouds

Cloud formations can appear and vanish again even before you've thought about taking a shot so if you do spot an interesting one make sure you snap it straight away. Keep an eye on your histogram to make sure your shot doesn't have areas which are overexposed and if the formation is really spectacular cut some of the foreground out, moving the horizon down so the sky fills more of your shot. Use slower shutter speeds to blur the movement of the clouds and look out for trails left by planes too as the crisscrossing lines can make an interesting abstract shot.

 

4. Birds and People

If you want to capture birds in-flight you'll need a quick shutter speed, continuous autofocus and a good panning technique. As soon as you see a bird come into shot lock your focus on it straight away and follow it through the frame, panning even after you've taken your shot. To freeze the movement you'll need to use a shutter speed around 1/500sec but if you want to blur the movement of their wings try something slower around 1/30sec.

When it comes to people, how fast your shutter speed is will depend on what they're doing. For example, someone who's water skiing will be moving a lot quicker than someone rowing across a lake.

For more tips on panning and capturing people moving take a look at our articles:

• Panning tips
• Capture motion
• Shutter speeds explained

      5. Trees

Leaves blowing in the wind are an obvious way to capture movement in a forest but for something artier, try creating a drag landscape. For tips on how to do this take a look at our articles:

• Drag landscapes
• Drag landscapes in the woods

 

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