Indholdsfortegnelse for September 2025 i Digital Camera Magazine

Our new series continues with a trip to the seaside – we’re in Sussex for the Lexus Eastbourne Open tennis tournament. The Digital Camera Apprentice format is a straightforward one: a lucky reader gets to spend a day shooting with a leading professional photographer in an exclusive one-to-one workshop session that reaches a wider audience. And today’s pro is none other than Marc Aspland, chief sports photographer of The Times and The Sunday Times, who will be mentoring Neeraj Beri, an enthusiast sports photographer and self-confessed tennis fanatic. Our visit to the Lexus Eastbourne Open falls on the day of the second round of matches, where six British players are competing for places in the quarter-finals, slugging it out with a roster of international names who are in the final…

10 things you can shoot this month, from guitars and wild heather to kestrels and harbours… and yourself This month’s creative project can be tackled with perfume, cologne, aftershave, eau de toilette, fragrance or whatever name you might care to apply to the stuff that makes everyone smell better in crowded spaces. The idea is to save your empty bottles – this might work better with women’s fragrances because, besides having a better aroma, the designs tend to be more interesting. How you approach this project depends on the kind of lighting equipment you happen to have. For example, one option is to put coloured card behind the bottle and fire a light at it using a modifier, such as a snoot (a cone that produces a spot of light),…

Standing in a derelict room at Endeans Mill, an abandoned sawmill near Waimiha, New Zealand, is a decaying piano, a haunting relic of another time. The piano keys are warped and hammers frozen mid-motion, a result of the inner mechanisms having been exposed to the elements. Against a backdrop of peeling floral wallpaper, the piano bears the scars of decades of neglect. Dust and debris blanket the floor, while two cracked, grimy windows filter in a muted, green-tinged light from the encroaching forest outside. The problem in capturing an image like this, is the contrast between the bright light outside and the dim lighting level inside. It’s almost impossible to capture this in one shot as the range of light to dark is too great. So to get around this,…

Welcome to our monthly reader photo challenge, where the winning image will feature in the magazine so that you can claim bragging rights over everyone else who entered. For September, the theme is ‘Sports’. That means traditional track and field, like sprinting, hurdles, javelin and team sports like football, rugby, tennis and cricket. It can feature a single person, like a golfer, or a group of players facing off. What about darts or sailing, you may ask? The answer is yes, anything that pits people against each other in competition is allowed. Enter via email or Facebook Email digitalcamera@futurenet.com with ‘Sports’ as the subject. Please attach your entry and include a brief description of the image. Or look for the ‘Sports’ post at: www.facebook.com/digitalcameraworld and upload your entry into the…

WINNER: Lifestyle ‘Akihabara’ Hajime Hirano (Japan) The blueprint for Tokyo’s Akihabara district, located north of the city centre, was set when street vendors used to gather here to sell parts for radios. During the period of rapid economic growth in the late 1950s, Akihabara grew into ‘Japan’s largest electronics town’. Nowadays, it is just as famous worldwide as the home of anime and cosplay culture. With these two different faces, Akihabara is a place that embodies the essence of ‘Japaneseness’. WINNER: Architecture ‘Centre of the Cosmos’ Xuecheng Liu (China) This super-wide aerial view of Times Square in New York City has a resolution of 400 million pixels and a viewing angle equivalent to a 5mm focal length on a full-frame camera. WINNER: Natural World & Wildlife ‘The Whale Raft’ Estebane…

Marine wildlife is often seasonal and location-specific, but when seabirds and marine mammals come to the shore or cliffs to breed, they often do so in large numbers, providing a superb opportunity to observe species that are often beyond our reach. Of course, wildlife shouldn’t be disturbed, especially at breeding time, but with a long lens and thoughtful positioning, you can put yourself in a location to get some amazing shots without being a threat to the species you are trying to capture. While different species breed at various times of the year, plan for gannets in spring, puffins in early to mid-summer, and grey seals from October through to December. When photographing any kind of wildlife, don’t assume every frame has to be a tightly composed portrait-style image of…

Intentional camera movement (ICM) and coastal scenes work well together because of the simplicity of the location and the natural contrast between the land, the sea and the sky. Slow your shutter speed to 1/15 sec or slower and fire the shutter while moving the camera smoothly. Results are unpredictable, but getting a composition that works is satisfying. Achieving a slow enough shutter speed is easy when you are shooting in low-light conditions by changing your aperture to f/11 or f/16 while at your lowest ISO (typically 100 ISO). However, in bright conditions, you’ll need a filter like a polariser or, better still, a neutral density (ND) filter to hold back enough light for a longer exposure. A variable ND filter is best, so you can adjust its strength according…

Weather is a big factor in any outdoor photography scenario, but the changeable aspect of shooting on the coast means you never know what conditions you are likely to face. From storm-force gales, causing huge waves to crash against the land, to sea mists casting a mysterious veil across your scene, the key is to be as adaptable as you can and work hard to capture the atmosphere. If you are shooting waves in windy conditions, make sure you are positioned safely and look to capture the drama of sea and land colliding. A telephoto lens is often the best option so you can remain away from the danger and zoom in on the action. In misty conditions, aim to capture a ‘high-key’ photograph (one with primarily light tones) and…

1 ‘Evening Glow’ by Keith Tucker “This candid portrait was taken as the sun was setting in the Free State province of South Africa, where I was on safari. The location was Kishindo Tiger Canyon, a conservation project that re-wilds tigers born in captivity.” Instagram: @keith316photography Digital Camera says: A nicely composed shot with the tiger looking across the image and a soft light that enhances the overall look. 2 ’Royal Scotsman and Wemyss Bay station’ by Stuart Neville “The elegant maroon coaches of the Royal Scotsman train, here framed by architect James Miller’s masterpiece, Wemyss Bay station. It’s frequently voted the most beautiful station in Britain.” Shot with a Nikon Z f and 24-200mm lens, 400 sec at f/10, ISO 3200. Instagram: @glasgowpixman Digital Camera says: A cracking architecture and train study with lots of…

September brings shorter days and the magnificent quality of light we’ve missed during the summer. The stretch from harsh midday sun to golden hour is gone and evening portraits become a pleasure again. I love shooting at golden hour and for portraits, the evening is best. The warmth of the day is still there, especially if it’s an Indian summer. Sunset generally occurs between 7pm and 8pm at this time of year and you get around 30 minutes of light. Here, we have a few options. We can use the sun to create distinctive lighting patterns. We can play with these wonderful, repeatable looks, all with cool names, Butterfly, Split, Loupe and Rembrandt. But for this shot, play with using backlight. Place the low sun behind your subject so it…

There are always occasions when you just have to have a fast shutter speed, and if the aperture is already as wide as your project will allow, there’s only one way to make that happen. We’re talking about increasing the ISO, of course. While using lower ISO ratings isn’t that painful, once you get above ISO 800, it may all start to look increasingly unpalatable. This was the case with our fruit in water project from issue 295, which needed a fast shutter speed in relatively low light and a painful ISO 20,000. To avoid ending up with an image that’s borderline unusable, you need high-quality noise reduction, and that’s where this month’s guide to DxO PhotoLab 8 comes in. 1 The quick option Browse to the image you want to…

Q I have a rather ancient full-frame DSLR and want to trade up to a full-frame mirrorless camera. I’m on limited funds, so what would you suggest? Gary Roberts A Matthew recommends… Sony A7 II Sony keeps manufacturing its ‘old’ cameras much longer than most, after bringing out new models. The veteran A7 II ended up being comparatively inexpensive and is now a great used purchase. The Sony A7 II launched over a decade ago as the world’s first full-frame camera to feature five-axis sensor-shift image stabilisation. That made it a game-changer for handheld full-frame photography, enabling 4.5-stop stabilisation with any lens. Other highlights included ‘Fast Hybrid AF’, with 117 phase-detection points, a 30 per cent increase in AF speed and a 50 per cent improvement in autofocus tracking performance. There’s certainly…

www.canon.co.uk Roll the clock back to April 1999. Canon launched the EF 75-300mm f/4-5.6 III for its EOS 35mm film cameras, but the lens failed to impress. The basic version had a sluggish electric autofocus motor. There was no manual focus override and the focus ring and front element rotated during autofocus. It also had no optical image stabilisation, no weather-seals and the hood was an ‘optional extra’. Is Canon ploughing the same furrow with the RF 75-300mm f/4-5.6? It seems like a replica of the old Mk III EF lens, with the same number of optical elements and groups, aperture range, electric autofocus system, lack of stabilisation and the same handling flaws. It also shares the same minimum focus distance, magnification ratio, filter thread and uses the same ET-60…

Capture card conundrum I am going to trade in my Nikon D780 and Sigma 70-200mm lens for a Nikon Z 6II. My question is regarding the SD cards that the Z 6II requires. I have always used SanDisk cards, and the two I have in my D780 are a SanDisk 32GB Ultra 80MB/s and a number 10 in a circle. These have worked fine in the D780, but apparently, I need to have CFexpress in the Z 6II. So do I need to buy two of them or will one be fine if I use one of the cards out of my D780? The D780 is configured to shoot raw files on one card and jpegs on the other. The Extreme Pro 128GB cards cost £122 on Amazon, but if…

Marc Aspland Sports photographer The chief sports photographer of The Times and The Sunday Times offers his indispensable advice for shooting tennis at this year’s Lexus Eastbourne Open. Page 8 Will Cheung Photographer & writer A fellow of the Royal Photographic Society and the former editor of many photography titles, Will is the man behind Camera Clinic, which continues on page 74 Donatella Nicolini Maternity photographer Recognised around the world for her fine-art approach to maternity photography, Canon Ambassador Donatella discusses her style and her inspirations, from page 118 Andrew James Photographer & writer Regular contributor Andrew used to helm Photo Answers – this month, he offers his wisdom and insights for capturing the wonders that await at the coast. Page 52 Jon Devo Photographer & writer Our resident tech…

1 Support the lens Unlike the professional sports photographers, Neeraj didn’t use a monopod to support the long lens on his camera. However, when shooting up on the press gantry, he was able to rest his lens on the handily placed railing. 2 Anticipate the play Learning how to anticipate the action will improve your hit rate of shots. For example, while focusing on the player receiving, use the noise of the ball being struck during the serve or return so you know when the ball will arrive in-frame. 3 Boss burst mode Make life easier for yourself by using a camera with a decent frame rate. Select the highest continuous shooting speed and hold down the shutter button while following the action. You will also need fast, large-capacity capture cards.…

Lawn bowls, or crown green bowling, is a two-player or team game where the closest balls to the jack in each end win the points – basically, marbles for grown-ups. Lawn bowls has the reputation of being a retirement sport, mainly because all ages can play and it’s not a fast-moving or impact-driven pursuit. That doesn’t mean to say you can’t get some great photos from it, if the composition works and you’ve packed the right lens. There are two ways of approaching bowls. One is to compose with the players in mind, preferably as one of them is bowling, the other is to head down to the jack and create shapes from the ball positions. Composing your shot Leave space for the bowler This version doesn’t work anywhere near…

I made this photograph on a recent hike up Yr Wyddfa, or Snowdon, as it’s more widely known. It was the day before the beginning of the summer holidays, but even so, there were lots of people and, in parts, the uphill hike felt more like a procession. There’s something surreal about seeing a summit, a space so often mythologised as wild and remote, being at the end of a queue. As I approached, there must have been 40 people shuffling towards the trig point, phones at the ready for the prerequisite selfie. I took one, too, once I got there. I love the fact that so many people were out walking, engaging with the landscape and connecting with nature and the environment – it’s vital for our collective wellbeing.…

Whether you own an IR-converted camera or prefer to use an IR filter on your standard digital camera, the effect you can get is well-suited to some coastal landscapes. The important thing is to remember how IR changes the scene you are capturing. Infrared photography captures light in the near-infrared spectrum (usually around 700nm to 900nm), which is invisible to the human eye. Regular cameras have an IR-blocking filter, but a converted camera replaces this with an IR-pass filter, so only infrared light reaches the sensor. Shooting IR is best done on bright, sunny days when there is a lot of light, so it’s ideal for trying in the middle of the day. Deep blue skies will appear dark, although clouds will remain bright, creating a natural contrast. The sea…

Try using a special filter for capturing sunsets. With a tripod and a filter holder, use a red, orange or yellow gradient filter to create vibrant colours and give your sunsets an extra edge. Experiment using different shutter speeds until you are happy with the colour of your sky. The scene pictured on the right was captured using an orange filter. This resulted in a vibrant sky sunset scene at Whitby Harbour, Yorkshire, which was reflected across the water. Sunset filter set We used the Lee100 Sunset Set from Lee Filters (filter holder not included). This can transform a seascape from a bright overexposed image to a captivating scene that’s rich in colourful tones.…

Throughout the history of fine art, boats have fascinated painters. There is something pleasing to the eye about their shape, so it’s no surprise that photographers are drawn to them, too. With a battered old boat, you also get additional texture, helping to make the scene more evocative. For a more artistic appearance, we can add extra mood and limit its sharpest area, helping to draw the viewer’s eye into the sweet spot of the composition. Of course, we can reduce depth of field by choosing a wide aperture, such as f/4 or f/2.8 at the capture stage. However, thanks to post-processing AI, we can apply this retrospectively to a photograph taken with a wide-angle lens at an aperture of f/11, and a sharp scene from foreground to background. There…

This month: Trees Great photos don’t grow on trees, but trees can make awesome pictures Trees are subjects for all seasons and, with autumn approaching, now is the time to think about the opportunities ahead. The great thing is you don’t have to go far to enjoy trees; you might even have one or two in your garden or on your street, and you will certainly find a few species in your local park or nature reserve. And we haven’t even mentioned woodlands, managed forests and arboretums. In fact, trees are so common that you might take them for granted – but that changes now. We’re putting trees on a pedestal, and this Camera Clinic is about how to make the most of them with your camera. As a subject,…

GET TO KNOW… DxO PHOTOLAB Page 92 MEET YOUR TRAINERS Edit like a pro with their expert insights James Abbott Specialising in landscapes and portraits, James Abbott is an advanced Photoshop user and has created hundreds of tutorials. James Paterson With over a decade as a writer and photographer, James Paterson knows which Photoshop and Lightroom tools and techniques matter most. Sean McCormack A photographer and writer based in Galway, Ireland, Sean McCormack is the author of books including The Indispensable Guide to Lightroom CC. Wendy Evans LRPS The author of over a dozen books on the subjects of photography, CGI and Photoshop, Wendy Evans has used Photoshop since version 3.0.…

There’s no getting away from the fact that light is the most important element in photography. Forget your camera, lenses and accessories; light is the one thing you simply can’t be without. Capturing the best light at the shooting stage is important because it will naturally give you the best possible image file to work with. And although your raw file may look amazing once it has been processed, there are many more effects that can adjust the way light appears in the shot. With this in mind, we’re going to look at four light-based techniques that will enhance your landscape shots. They all focus on adding or enhancing something, and although we’ll apply them individually, you can try stacking them all together or in different combinations to see how…

Sony launches RX1R III Updated compact features 61MP full-frame sensor from the A7R V, and the 35mm f/2 Zeiss lens from its predecessor, and gets new Creative Looks for stills and video ith the same 61MP full-frame back-side W illuminated sensor as Sony’s A7R V and A7C R, the RX1R III also boasts the latest Bionz XR processor, all packed into the same shape as the RX1R II while retaining that camera’s fixed 35mm f/2 Zeiss lens. Sony says that the RX1R III’s lens and sensor are aligned at the ‘micron level’ for the best optical performance, and the camera’s ‘Step Crop’ modes offer focal lengths achieved via digital cropping: 50mm (with a resolution of 29MP) and 70mm (15MP). These digital focal lengths can also be adjusted later when shooting…

www.fujifilm.eu After the success of the Fujifilm X100VI, the company has returned with even more compact cameras. While many hoped that we might see something more affordable in the X-Series range to sit underneath the X100VI, Fujifilm had different plans, launching its first GFX medium format compact camera. But what is GFX medium format? The GFX sensor is nearly four times the size of the APS-C sensor found in the X100VI – and notably larger than the full-frame sensors used in Canon, Lumix, Nikon and Sony cameras. A larger sensor means higher resolution and the GFX 100RF has an incredible 102MP to play around with. Yet Fujifilm has done the impossible and made a large format camera with a 35mm f/4 fixed lens that is physically not much larger than…

www.sigmauk.com I haven’t seen an APS-C lens quite like the Sigma 17-40mm F1.8 DC Art since 2013, when the company launched the 18-35mm F1.8 DC HSM Art for APS-C format Canon and Nikon DSLRs, as well as Sigma’s SA mount cameras. The fast and constant f/1.8 aperture made the lens feel like a trilogy of 28mm, 35mm and 50mm prime lenses all rolled into one package. The new Sigma 17-40mm F1.8 DC Art has been redesigned for the mirrorless generation. It’s smaller, lighter and has a bigger zoom range, equating to 25.5-60mm for Fujifilm X, Sony E and L-Mount APS-C cameras, and to 27.2-64mm for Canon EOS R system APS-C cameras. Build and handling I’m not the biggest fan of ‘trinity’ zooms as they’re generally big, weighty, cumbersome and expensive.…

with Chris George 1 Who is the American actor behind the camera? A James Stewart B Dirk Bogarde C Henry Fonda D Clint Eastwood 2 Photo London is moving from Somerset House. Where will the event be held in 2026? A Olympia B Earls Court C Barbican Centre D Tate Modern 3 Which of these companies does not make a 360º camera? A Ricoh B DJI C Insta360 D Sony 4 Roughly how much larger is the imaging area of a full-frame sensor compared with a Type 1 one-inch sensor? A 3x B 5x C 7x D 10x 5 Leica is celebrating its 100th birthday this year. But what happened in 1925? A It launched its first rangefinder camera B The M-mount was introduced C The Leica company was founded…

ENTER THIS URL www.digitalcameraworld.com/dc298 Enter the URL www.digitalcameraworld.com/dc298 into the destination bar of your internet browser – we’re using Google Chrome, but other browsers work in a similar way. Please do not enter it in any search field or search bar. This will take you to a page on our website. JUST CLICK THE HIGHLIGHTED LINK Click on the link labelled ‘Download the files for Digital Camera 298’ and your download will start, delivered from our own server. Please override any browser warnings about downloading from a non-secure source – our server is safe! ACCESS YOUR FILES Open the. zip In your Downloads folder, or wherever you chose to download your files, double-click the dcm298-files.zip file icon. When it expands, double-click on Digital Camera 298 files, and the download content will…

1 Match etiquette Players and spectators expect the match experience to take place without unnecessary distractions. When courtside, don’t make noise while players are serving, don’t walk around during a rally or use flash at any time. 2 Focal length reach While 300mm is regarded as the sweet spot for photographing tennis, a lens with a reach of up to 500mm covers all eventualities. If you don’t own a lens with a 500mm reach, consider using APS-C mode (see panel, left). 3 Fill the frame While there is plenty of scope for using wider lenses to capture alternative views of a tennis match or ‘atmosphere’ shots of the venue, for action shots, you need to fill the frame as much as possible. This way, the viewer can get a sense of the action…

On the face of it, a guitar might seem an off-beat subject for a macro project, but hear me out – these instruments of musical merriment have much to offer. The nice thing about shooting close-ups of the parts of a guitar is that you can be as fancy or as simple with the lighting as you want to be. To get started, place it in a window if it’s cloudy outside. If the sun is shining, you’ll want a net curtain or something similar to diffuse the light. There are dials, strings, tuning knobs, logos and even the pattern of the wood to capture. Leading lines Use the strings to take the eye on a journey across the instrument. Use vertical lines in the centre of the image for…

Being an island nation, there’s no shortage of harbours around the UK, or indeed, many countries with lengthy coastlines. The trouble is that most of them have moved on from commercial fishing and you’re more likely to find a P&O ferry setting sail for the continent. So rather than look at a modern port and a procession of container ships from China, seek out those quirky little harbours that are common in places such as Cornwall, North Yorkshire and Scotland. There are three main times to shoot at these harbours – when the tide is in, when it’s out and at dusk. If you’re lucky, you might capture a decent sunset but many of these places are surrounded by cliffs and hills, which are likely to obscure the setting sun.…

While the number of breeding kestrels has declined since the 1970s, there are still potentially around 46,000 pairs of kestrels out there in the UK for you to go out and photograph. You will typically find kestrels either sitting on a platform or perch, or up in the air as they hover above a field. The kestrel keeps its head and eyes still while it scans the ground for small rodents such as mice and voles, and even lizards, then swoops into action as it dives onto its prey. Don’t confuse the kestrel with other members of the Falco genus, such as the sparrowhawk. Both male and female kestrels have pale undersides with black speckles, whereas the sparrowhawk has bars. Compared with a sparrowhawk, the kestrel’s wing tips are more…

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The ebb and flow of the tide is all about energy. A slow shutter speed that can capture this movement as a blur will convey a sense of this action. The camera needs to be on a sturdy tripod and carefully fixed, so it isn’t ‘jogged’ by the waves during the exposure. This can be tricky in shifting sand, so make sure you push the legs firmly into the ground and weigh the tripod down, if possible. Some tripods allow you to fix spikes to the base of the legs, and these are an advantage for holding it steady. Timing the start of the exposure as the waves are pulling away from you can create interesting recession lines to draw the viewer into the frame. It’s best to fire the…

Sky, sea and sand are all you need for the simplest wide-angle landscapes you will ever shoot. But you still need to think carefully about your composition, using colour, contrast and a focal point to construct an interesting image. While the shoreline itself can provide a basic leading line to guide the eye through the frame, natural elements such as patterns in the sand and wave movement will further emphasise a clear direction of flow within the frame. It might be tempting to compose the beach, sea and sky perfectly to the rule of thirds, but this approach can sometimes weaken the composition, especially if the sky lacks clouds to give it more tonal variety. Instead, you should try to allow the most interesting part of the scene to dominate…

Structures like groynes and piers that are subjected to the full force of the sea make great close-up subjects, as do natural formations on rocky beaches, patterns left by receding tides, old boating ropes and seashells. These are still-life subjects that you can photograph in any conditions and place together in Photoshop to create interesting textural images. You don’t need a macro lens for this type of close-up, as many of these subjects aren’t small. Instead, any focal length from about 50mm to 200mm is perfect for isolating the bit of the scene that interests you most. In most cases, it pays to photograph your subject with the camera as parallel as possible to the scene so that you can keep sharpness across the frame. An aperture of f/8 will…

Most people head to the coast in the summer months so if you are looking for inspiration, here are some ideas for subjects you can capture on your next trip to the sea. On a weekend visit to the East Yorkshire coast, where many of the former fishing villages are steeped in history, we came up with a list of 10 different things you can look out for at the coast with your camera. Considering all the usual aspects of photography, such as composition, leading lines, weather, reflections and the time of day, you will be able to capture many different images covering a range of subjects on your next trip to the coast. 1 Coastal industry Anywhere you walk along the coastline of the United Kingdom, you will ultimately…

Would you like an 8MP bump in resolution? That’s what Adobe says the new Generative Upscale tool in Photoshop will give you. It has specifically been designed to enhance low-resolution photos, so it could breathe new life into your old shots, rescaled jpegs or low-quality web images. In this project, we’ll take a look at the new feature and how you can use it in combination with other tools to squeeze more resolution and detail out of low-quality, forsaken images. Upscaling tools have been available in Photoshop for decades. These tools mostly use a process called interpolation, by which the resolution would effectively be stretched out and new pixels inserted in the gaps. These new pixels would be calculated using the values of their nearest neighbours – an approximation of…

So you want to create invites, posters or flyers for your wedding, local chess group or underground fight club, but want something more creative than simply sticking a heading over a photo. That’s what we’re going to do this month – make cut-out text effects where you can see the photo underneath. A 4:3 vertical aspect ratio image works better than a 3:2 one, so you may want to crop your image before you get started. The other point to note is to ensure that placing text on one side of the image isn’t going to completely cover the subject you’re highlighting, as you will need to be able to see the image through the text. 1 Add a box Load the image and crop it, if necessary. Ensure that Snapping…

Fade to black Q I’m looking for a reasonably priced variable neutral density filter that provides strong stopping power without risking the X-shaped cross-polarisation effect. Do you have any recommendations? Julian Stone A Variable neutral density filters are great for both stills and videography and seriously strong stopping power enables long exposures so you can apply motion blur to the likes of waterfalls, weirs and rapids, or even blur people out of a bustling city scene. They work by combining two polarised filters and as you rotate one against the other, the filter gets progressively darker or lighter. However, if you try to go too dark, you risk a dark cross that ruins the image. I’d suggest the Neewer ND2-512 (1-9 Stops) HD True Colors Variable ND Filter, which has hard stops…

For years, WeTransfer has been the Swiss Army knife of the F creative world – a dependable bridge between ‘work in progress’, ‘done’ and ‘delivered’. But a recent change in its terms of service has triggered a wave of unease. The main concerns focus on AI scanning, but the deeper concern is trust. In a landscape where every tool doubles as a data vacuum or surveillance layer, creatives are yet again being asked to trade convenience for control. In the company’s updated terms of service and privacy policy, which came into effect in early August, it introduced language that is vague at best. Despite not claiming ownership over the content uploaded to its platforms, the wording provides room for WeTransfer to use content without the explicit consent or knowledge of…

www.panasonic.com The original Lumix S1 was launched in 2019 as Panasonic’s do-it-all full-frame mirrorless, alongside more specialist siblings, the high-resolution S1R and the video-centric S1H. Now Panasonic is revitalising its flagship S1 line, with the arrival of its second-generation Lumix S1R II and now the Lumix S1 II. The Lumix S1 II looks almost identical to its 47MP S1R II sibling, sharing the same durable magnesium alloy body, deep grip and control layout, but under the hood, it’s a different beast. With specs including a newly developed 24.1MP full-frame partially stacked BSI CMOS sensor enabling 70fps bursts, 779-point Phase Hybrid AF with AI subject detection, 5.1K/6K video up to 60p and eight-stop in-body stabilisation, it is tailored for speed. Panasonic’s camera strategy is all about hybrid performance. The Lumix S5…