Photography News

On May 30, 2013, Sun-Times Media laid off 28 photographers and photo editors across the Chicago Sun-Times and its suburban papers, including John H. White, who had won the 1982 Pulitzer Prize for feature photography. Before the day was out, the paper's managing editor had sent a memo scheduling mandatory staff training in "iPhone photography basics." One photo editor was left standing in Chicago, Rich Hein, and the desk that decided which pictures the city saw became one man supervising a single videographer and whatever freelancers he could rope in.

 

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Fstoppers has partnered with 5DayDeal to offer the best photography deal of 2026. The bundle is filled with education, software, and tools from a wide variety leaders in the photography industry. The product list is fantastic.

 

This year, we have contributed Photographing the World 4 with Elia Locardi as part of the Complete Charity Bundle. Normally we sell this tutorial for $300. Click HERE to get our tutorial along with dozens of others for 96% off their total value.  

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I’ve been playing with Tamron’s new ultra-wide 12-20mm zoom for a couple of months now. When I first peeled away the plastic wrap and held it, I thought, “Wow, very compact and light.” My next thought was that the glossy finish looked surprisingly smudged straight out of the box. I checked the marketing materials and found that this is part of Tamron’s new “Toned Profile Next” design language. It certainly gives the lens a distinctive appearance, although I’m not convinced it’s an improvement.

 

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Camera Raw now has a grid view with ratings, color labels, and a full filter bar, so you can cull and sort a folder of raw files without going near a Lightroom catalog. If you've stayed away from Lightroom because of imports and catalogs, the distance between the two apps just got shorter.

 

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- Partner Content -

 

Clever Cleaner’s recent updates have expanded its photo and video cleanup tools, giving iPhone users more ways to reclaim storage before installing iOS 27.

Apple released iOS 27 in September, just a few weeks after Clever Cleaner received its biggest update to date. The major Clever Cleaner 3.0 release arrived on 17 August, bringing a refreshed interface, expanded Smart Cleanup, new compression options and broader Swipe controls. Smaller updates since then have largely focused on performance, stability and other refinements.

The timing is useful for anyone whose photo library dominates iPhone Storage: a major iOS update needs free local space, while some of the features enabled afterwards can continue using several gigabytes of local storage.

 

Why iOS 27 Makes Free Storage Worth Checking First

 

Before deleting anything, it is worth checking both the update itself and the amount of space currently available on the iPhone.

Open Settings, General, then to Software Update to see the iOS 27 update available for your device. The download size shown there is not necessarily all the free space the installation process will need. A major operating-system upgrade has to download, prepare and install a new system build, which requires additional temporary working room. The exact requirement varies between devices and existing iOS versions, but keeping roughly 15-20GB free is a sensible target for a major upgrade such as iOS 27.

Next, open Settings, go to General, then iPhone Storage. This view shows what is using local space and can surface recommendations such as offloading unused apps. iOS can also remove some re-downloadable app data and temporary files when space runs low without deleting personal information.

For photographers, finding that 15–20GB buffer can be harder than it sounds. Apple estimates a 12MP ProRAW file at around 25MB and a 48MP file at around 75MB. For ProRes, Apple says files can be up to 30 times larger than HEVC and requires at least 10% of the device’s storage to be free before ProRes recording can begin. A nearly full iPhone can therefore affect shooting before it affects anything else.

There is also a second consideration after the upgrade. Apple says the next generation of Apple Intelligence can require up to 14GB of on-device storage on certain supported devices, with up to 8GB required on other Apple Intelligence-enabled iPhones. Clearing only the bare minimum needed to complete the upgrade could therefore leave the phone short of space again soon afterwards.

For that reason, the better goal is not simply to make iOS 27 install. It is to leave enough headroom for the new system, its features and the next photo or video shoot.

 

What’s New in Clever Cleaner

 

Clever Cleaner is an iPhone cleaning app that focuses on the Photos library rather than trying to act as a general-purpose system cleaner. 

Its biggest recent update arrived in August. The redesigned app expanded Smart Cleanup so that it can work across similar photos, screenshots and Live Photos, added more compression options, improved the selection of similar images and widened the ways users can browse and sort their library in Swipe mode.

 

 

CleverFiles positions it as a freemium iPhone cleaner with no adverts or mandatory subscription. Swipe mode remains unlimited, while the other cleanup tools have a free daily allowance that refreshes each day. Premium is optional for unrestricted use.

 

 

The app is organised into modules. Similars groups duplicate and visually similar photos. Videos lists clips from largest to smallest. Compress reduces the size of photos, videos, screenshots and Live Photos. Screenshots and Live Photos gather those two categories on their own. Swipe steps through items one at a time, left to delete and right to keep. Smart Cleanup runs several of these jobs in one tap, with each option switchable.

Processing happens locally on the device rather than by uploading the library to a cloud service. That is relevant to photographers who may have client work, embargoed images or other material they would prefer not to send to an external server.

As an iPhone cleaning app, Clever Cleaner works inside Apple’s permissions. It can organise and reduce media in Photos, but it cannot reach into every part of iOS.

 

How to Clean Up iPhone Storage Before Installing iOS 27

 

If there is not enough storage to update your iPhone, start with the largest, safest wins rather than deleting files at random. 

 

Start With iPhone Storage and Apple’s Recommendations

 

Open Settings, go to General, then iPhone Storage and wait for iOS to calculate usage. The category bar shows where the space has gone, while the list below identifies apps holding the most data. Work out which category is actually the problem before deleting anything. On most photographers' phones it will be Photos, but not always.

 

 

This screen is also where you should look for an existing iOS update file if storage is still blocking the installation. A failed download can remain on the device until you remove it.

 

Remove Duplicate and Similar Photos From iPhone

 

The Photos app has its own Duplicates utility, which is useful for obvious copies. It is not, however, very effective for near-identical shots: several pictures of the same subject or multiple attempts at the same composition.

Clever Cleaner groups similar-looking images as well as duplicates, making it easier to remove duplicate photos from iPhone without manually scanning thousands of thumbnails.

Similar does not mean interchangeable. Two frames may differ in focus, expression or motion, so photographers should review each group before removing it.

 

 

Target Large Videos and Compress Media You Want to Keep

 

Video can produce a faster storage gain than deleting hundreds of ordinary photos. Clever Cleaner lists videos by size, helping identify the clips responsible for the biggest jumps in storage use.

Compression is another option when deletion is not appropriate. Photos, videos and screenshots can be reduced in size, but important originals should be archived elsewhere first.

Live Photos are also worth looking at. Clever Cleaner can compress one by removing its motion component and retaining the still image. This keeps the shot in the library while reducing the space used by data the photographer may never need.

 

 

Empty Recently Deleted, but Check iCloud First

 

Deleting media does not always produce the storage change you expect immediately. Apple keeps deleted photos and videos in Recently Deleted for 30 days unless you permanently remove them sooner.

Open Photos, go to Collections, find Recently Deleted under Utilities, unlock the album and remove the items you no longer need. This is a step an iPhone storage cleaner cannot complete on your behalf.

Check iCloud Photos first. When it is enabled, deleting an image on one device also deletes it from the other devices using the same synced library. Apple recommends keeping separate backup copies because iCloud Photos keeps devices in sync rather than acting as an independent archive.

 

Offload Unused Apps and Review Large Attachments

 

If the photo library is already tidy, return to iPhone Storage and look at large apps, downloaded films, podcasts and message attachments.

Offload apps you rarely use if you want to keep their documents and settings. For apps with large local downloads, remove those downloads first where possible. 

 

 

This can free enough space for iOS 27 without touching finished photographs or current projects.

 

Delete a Stuck Update and Try Again

 

If you can’t update your iPhone because of storage even after clearing space, check whether a previous iOS download is still present. Go to iPhone Storage, find the update, tap it and choose Delete Update. Then return to Software Update and download iOS 27 again. Apple recommends this process when an update repeatedly fails.

If the issue continues, Apple supports updating from a trusted Mac through Finder, or from a Windows PC using Apple Devices or iTunes. This can help when an over-the-air update fails, but it does not remove local storage requirements completely. Apple still advises freeing content manually if the device does not have enough space.

 

What an iPhone Cleaner Can and Can’t Clear

 

An iPhone cleaner is most useful when it works on content Apple allows third-party apps to access. In Clever Cleaner’s case, that means the Photos library.

It cannot simply erase System Data, clear every other app’s cache or uninstall apps on your behalf. Those areas remain controlled by iOS or by the apps that created the data.

For System Data and app caches, use iPhone Storage to identify the source and the app’s own controls where available. For unused apps, use Apple’s Offload or Delete App options. The cleaner’s role is narrower, but on a photo-heavy phone it may still cover the largest part of the problem.

 

Keep Enough Room for the Next Shoot — and the Next Update

 

Once iOS 27 is installed, the easiest way to avoid another emergency cleanup is to keep some headroom. If you use iCloud Photos, Apple’s Optimise Storage can keep smaller device versions while full-resolution originals remain in iCloud. Important work should still have a separate backup.

It is also worth offloading rarely used apps and moving completed shoots off the phone. On supported Pro iPhones, Apple allows ProRes recording directly to compatible external USB-C storage, keeping very large clips away from the internal drive.

A little free space is useful for more than updates: it gives the camera room to record and leaves capacity for the next shoot.

 

Availability

 

Clever Cleaner is available now on the App Store for iPhone, and runs on iPad in compatibility mode. The app is free to download and use daily, with an optional Premium upgrade for unlimited cleanup.

The NEEWER Q120 is a new compact 120Ws battery-powered strobe that's packed with features, but the most impressive thing about it might be the price. It sells for $159.99 at B&H ($219.99 list), while its two direct competitors, the Godox AD100Pro II and the Profoto A2, cost $299 and $895. 

A light this size sits between a speedlight and the next class of battery strobe up, like the Profoto B10X. You get roughly 2/3 of a stop more light than a speedlight in a package that's close to the same size.

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A few years ago, I cut the cord from all Adobe products and canceled my Creative Cloud subscription. In my latest YouTube video, I discuss why and also the software I now use instead. For a while now, photographers have asked me how I managed to free myself from using Adobe products. I learned the software I currently use while I still had a Creative Cloud subscription. Eventually, I used these other applications more and more, and I was able to replace much of my Adobe workflow. At that point, it was an easy decision to leave Adobe.

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A dedicated compact camera now has to justify itself against a phone that already lives in your pocket and shoots surprisingly good telephoto images. The Lumix L10 makes its case with a retro body, an eye-level viewfinder, and a Micro Four Thirds sensor, and whether that combination earns a place next to your phone is a fair question.

 

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Sony's RX1R III puts a 61-megapixel full frame sensor and a fixed 35mm f/2 lens into a body small enough to carry everywhere, and it costs more than most professional mirrorless cameras. A few weeks of testing can tell you how a camera like that performs, but only a year of weddings, family trips, and every season of Pacific Northwest weather shows what it's like to live with.

 

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This article is Bob’s fault.

Bob posts Film Friday pictures, which makes him a good bloke in my book. But he’s bought a camera to do it with – an Olympus 35RC. (Actually, Bob’s bought a couple of cameras, but only one of them overlaps my own experience). Anyway, I have a 35RC, and I also owned one in the distant past. It was one of several stumbling attempts on my part to own a rangefinder camera. I didn’t really feel I was successful until I acquired a Leica M6 around 20 years ago. That definitely cured my desire for a rangefinder camera that did exactly what it said on the box.

But please don’t try this at home, because it could be costly: if you don’t already own a Leica and you are not thoroughly devoted to the cult of Leitz film cameras, it’s really not worth it. If you own an M6, you know all about it, and you can stop reading now. If you own an M4 or M5, it’s cool. And if you own an M3 or M2, you will possibly have an indefinable sense of superiority as you read.

But let’s go back to the Olympus, and why this might be a camera that you want to consider picking up on eBay, or extracting from an elderly relative’s chest of drawers. Because it’s not a bad little device, at all. If you are going to buy a camera from the Golden Age, when engineering plastics were a lot less popular (and good) than they are now, and before autofocus had become the one and only way to get pictures sharp, this could be a good ‘un. Why? Read on…

First, it’s really small: if you remember cigarettes, a 35RC takes up as much space as a pack of king size, with a lighter stuffed down in front of it. That’s really not very big. It’s all metal and glass, though, with only a few bits of plastic trim, so it’s got a bit of heft. Sadly, though, it’s not a wonderfully balanced camera – dangle it on a neckstrap, and it doesn’t sit at all straight and level, so it may annoy you by digging the top edge into your ribs. The strap lugs are at the front of the body, and most of the weight is behind them.

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Second, although the specification looks quite modest with a fixed 42mm f/2.8 lens and shutter speeds from 1/15 to 1/500 second, that will cope with a lot. It’s much more elaborate than the fabled Olympus Trip – not only because it has a far wider range of shutter speeds and a rangefinder built in, but because it offers full manual control as well as automatic operation with Shutter priority. That means, incidentally, that it will continue to function if the battery is dead (as the battery in mine was when I got it out for this article. Just follow the ‘Sunny f/16 Rule’ – which used to be printed on the inside of every film box, or on the instruction leaflet that came inside them before manufacturers realised that the reverse of the card box could be printed with instructions. These days, the inside of film boxes contains data about processing times in the recommended developers, but the Rule still works, and it’s easily found on the internet. But since you’re here, if you use a shutter speed of 1/ISO, then you’ll need f/16 in bright sun, f/11 if there are only faint shadows, and f/8 if it’s ‘cloudy bright’. Use f/5.6 in open shade, or on duller days, and let the film’s latitude soak up minor errors.

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And the results are really rather good. If you want to read a hymn of praise, have a look at Ken Rockwell’s writer-up on his website: he goes into detail about the excellent quality of the lens, and raises the concept that it’s actually the ideal focal length for 35mm, because the focal length is close to the diagonal of the frame. There’s a rule of thumb that says that a lens that gives a ‘natural’ human-eye view of a scene meets this: doing the maths, this works out at fractionally over 43mm for a frame of 24mm x 36mm.

And it’s a good general-purpose focal length, working decently for portraits and landscapes without going to extremes, so that for one way of thinking it’s a comfortable and straightforward way of working that doesn’t give the distortion that’s typical of mobile phone portraits, and avoids the ‘can’t get it in’ feeling that many people suffer if they use my favoured short telephoto walkabout lens. In other words, it offers many people a good compromise in a world of extremes. 

And my own results bore this out: the pictures I took with my 35RC while I was writing this article scanned right at the top end of my experience for sharpness and pleasant tonality – although the tactile experience of shooting with it falls short of making it a favourite (see further down), the results run way ahead of expectations for such a simple and basic camera. Many modern kit zooms fall significantly behind it.

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This article has taught me a couple of things – OK, I already knew that it’s a good idea to take the batteries out of cameras and flashguns when you’re not using them for a while (they discharge, and start corroding – and then even good brands leak unpleasant, corrosive chemicals into the battery compartment. At best, a little cleaning is required: at worst, you fight to remove the battery and find that the corrosion has spread, and has damaged contacts or even circuits inside the camera). On loading a film to take some shots for this article, I discovered that the meter didn’t work – dead battery. A spare from my battery box, dated 2020, didn’t do the job: a new battery restored normal service.

And there was more. I have never used front lens caps very much. I tend to lose them and forget about them. Mostly, this doesn’t matter, because I always use the lens hood, and this protects the lens just about as well as a cap, or a filter.

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But the 35RC didn’t have a hood. Carrying it around, I have, I discovered, managed to scratch the front element: the scratches are small, but right in the middle, so stopping down won’t reduce any effect they have. I deliberately took some shots with the sun falling on the lens to see how bad the problem is… And the results really surprised me: even the very visible scratches you can see here don’t lead to flare above the levels you might reasonably expect from the most modern and multicoated of lenses.

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The upshot is that a bout of insomnia saw me going onto eBay and buying a hood for my 35RC: and also getting hoods for two other lenses I’ve recently acquired without hoods – a 55mm f/1.7 Rokkor, and a 50 mm Nikkor f/1.4. I don’t plan to repeat my errors. With these optics, it won’t matter that the lens size goes up quite a bit, and as the Olympus is so small, and I mostly carry it on a shoulder strap these days (rather than in the pocket of a leather jacket), it’ll be fine, too.

You might reasonably ask what’s wrong with using the lens cap: lots, I’d say! The big issue is the missed pictures. There’s nothing that reminds you to take the cap off when you shoot in manual mode, and in Auto mode, you find out because you can’t take a picture (the meter window is next to the lens, and the lens cap covers it: if the lens can’t open up far enough to give correct exposure, the shutter release won’t work). The first wastes a frame (maybe several), and the latter allows the world to move on, taking your decisive moment with it.

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And the 35RC is excellent for street work, as this casual shot shows: with zone focus and such an underwhelming shutter sound, it won’t matter if you put it to your eye. I find that there’s a comfortable sort of ‘undergrip’ that gives me good results, paired with the gently wide angle of view and fast film (my standard has been Ilford HP5+ for many years: it’s reliable, utterly consistent, and gives nice, straightforward negatives).

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Going back to the man who inspired this article, I asked Bob if he was happy to be mentioned in this article: he responded very positively, and wrote about his experience of the camera. His words are in italics, and the images in this section are all his.

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I bought my Olympus 35RC as I wanted a compact film camera to take on my urban wanderings and I often go out with this and my digital E-M10 Mk. IV for a day out in London for some urban photography. I have a lovely Olympus OM-2n, but it is a tad on the heavy side when carried with the E-M10 all day.

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I love the 35RC - it is very compact (It really does fit in my coat pocket), lightweight, and very quiet and discreet. The shutter is essentially silent against the background of the city and security guards don’t give it a second glance! The 42mm f2.8 lens is plenty sharp enough and fast enough for my needs and the camera has full manual control in addition to a shutter priority auto exposure mode. The viewfinder has scales showing you the shutter speed and aperture. The maximum shutter speed is 1/500th of a second - this is common for cameras of the era (1970) and might be limiting for some applications but for capturing life in the city, it is fine. You are not going to be covering the Olympics with a camera like this, after all.

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Rangefinder focussing takes a little adjusting to if you are used to an SLR but once you are there it is very fast in the field. The focus throw is short and it is easy to get to where you need to be. Zone focussing seems to work OK with the 42mm lens. I very rarely miss focus with this camera.

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One thing to note is that it required the now rightly banned mercury batteries. There are several workarounds that you will find online but I went for a voltage reducing MR-9 adaptor from The Small Battery Company, so I can use the very long lasting SR43 batteries. As far as I am aware, they are the only place that sells these in the UK - note that Amazon/eBay are awash with cheap MR-9 adapters that don’t reduce the voltage, only adapting the battery to fit in the battery bay.

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These cameras are readily available on eBay at reasonable prices but many are sold with the light meter not working. Mine was one of these but the fix is often fairly easy - 10 mins with YouTube and a soldering iron brought my meter back to life. The meter does not give you a reading, it just drives the auto mode - full manual needs no battery, but you will need an external light meter (I have a collection of apps on my phone). Or you can trust your instincts and the exposure latitude of the film…

The other thing to check if purchasing is the rangefinder patch - these can get very dim over the years. they can be cleaned professionally but this is not something that I would feel confident in doing - having taken the bottom off to fix the battery issue I am in awe of how well engineered these cameras are - the innards are very tightly packed! Again, there are a couple of workarounds online.

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I would always want a 35RC in my camera collection - I keep checking eBay as I am thinking of getting a second one against the day that mine eventually packs up.

Bob is clearly in love with his 35RC. But do I love my little Olympus? A hard question: I certainly respect it, and its ability to do the job competently. Winding on always sounds as if the sprockets are about to slip (they never have), and the shutter release has a long and rather unsatisfactory feel to it, leading to an underwhelming click. These aren’t things that matter to the picture, but they are aesthetically less pleasing than the sensations that a Leica gives. Are they worth the difference in price between the two cameras? As I suggested in the second paragraph, probably not, for the vast majority of users.

But I’m not planning on parting with mine just yet!

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John continues to keep hold of his old cameras, including the Contax RTS that he bought in 1976, selling two Pentax bodies and taking a year's HP agreement out to do it. These days, it’s usually loaded with very fast film to give strong grain.

Occasional lighting workshops divert him, and with a bit of luck interest other photographers enough for them to go along and pay. He particularly likes spectacular, angular low key setups, with deep shadows retaining a few secrets.

As well as still shooting a bit of film, John particularly loves using some of the more characterful film-era lenses on his digital cameras. Almost without exception, they are lenses that their manufacturers are probably rather ashamed of.

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Canon now sells two compact full frame video cameras built around the same 32.5-megapixel 7K sensor, and $1,200 to $1,400 separates them, depending on whether the C50 is on sale. When the image coming off that sensor is nearly identical, your decision rests on heat, audio, stabilization, and how each camera behaves on an actual job.

 

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Tamron has announced a Nikon Z mount version of its 20-40mm f/2.8 Di III VXD, a compact fast-aperture standard zoom for full frame mirrorless cameras that weighs 13.4 oz (380 g) and goes on sale October 22 for $729.

 

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Here are 7 things you can still photograph when you're stuck at home sheltering from the bad weather.
 

1. Photograph Cutlery

The kitchen holds a world of photo opportunities and all you need is some imagination to exploit it. Forks, colanders, wooden spoons etc. can make interesting photographs when shot right. For more tips, have a look at these articles:

• Tips On Shooting Cutlery
• How To Photograph Kitchen Utensils And Cutlery

 

2. Explore The House With A Macro Lens

Take a different look at your home through a macro lens. You'll find patterns, textures and shapes you didn't know existed until you looked down a macro lens. Cushions, glasses and salt & pepper pots can all make interesting subjects. 

If you do not own a macro lens, just try using the lens's minimum focusing distance. Or consider investing in a close-up lens.

It's important when shooting close-up and macro photographs to use a tripod and a remote release - so as to maximise depth-of-field, avoid camera-shake, and ensure accurate focusing. Anchor your camera firmly, though, and your shutter speeds can be as long as you like.

Maximising depth-of-field, by setting an aperture of f/16 or smaller, is important because the closer you get to your subject the more limited depth-of-field becomes. At a larger aperture, such as f/5.6, parts of the subject will almost certainly be out-of-focus.

Using a tripod also makes it easier to ensure accurate focusing. Even at a small aperture you may only have a few millimetres of depth-of-field in front of and behind the point on which you focus - and the natural sway of the body when hand-holding can easily take you outside that, and leave you with an unsharp image. You'll also find it easier, if you have an autofocus camera, to switch to manual focusing.

 

 

3. Coloured Liquid In Glasses

Get a selection of glasses, add water and your choice of food colouring to them. Place them on a clear, reflective surface (glass on white paper works well) and place a large piece of white card behind them. If you want to light the background use your flash off-camera to do this. You want an even light that will bounce off the background back onto the scene you're photographing without causing flare. 

 

4. Water Droplets On A Window

There are plenty of opportunities to get great pictures of rain on patio doors or windows and you don't even have to get wet! When rain hits the pane it leaves tiny water droplets and when these droplets are combined they create fascinating patterns. With a close-up lens you can fill the frame with interesting shapes or use a macro lens to give your piece even more impact. 

If a white sky is behind the droplets they will all appear white with just a thin black outline. If you move around so a wall or greenery is in the background instead, the droplets will take on those colours and patterns making more interesting shapes.

 

5. Frozen Items

This technique is brilliant with a macro lens but will work with the lens at minimum focus. 

Freeze water in a suitable clear container. Once frozen place the container or either a white or even coloured surface so it shows through the container. If you have a lightbox, place the container onto it so light shines through from the bottom. If you don't have a lightbox, just be creative your whatever furniture you have. Ideally, being able to get a lamp or flash under the ice container is what you want.

A 50mm macro lens with the camera on the tripod will let you get closer to capture the patterns that form in the water and cracking ice as it melts. Use a kettle of hot water and gently pour it onto the ice to cause cracks and to start the melting process. Look through the viewfinder for interesting patterns and snap away. 

A twist on this is freezing objects - leaves, flowerheads, shells, pebbles - in the container and then shooting them.

Obviously, this idea needs a little bit of planning, so get the container in the freezer early on and try shooting some of our other ideas while you wait for the thing to freeze. 

 

 

6. Cross Polarisation

Cross polarising effect is where you use a pair of polarising filters - one on the camera and one on the light source (behind the subject) to show stress in plastic which appears as wonderful multicoloured pattern. 

You can use an LCD computer monitor as a light source, plus they have a polariser built-in. You'll need to use a camera with a polarising filter either attached or positioned in front of the lens. Of course, you'll need a monitor and a steady support will also be useful.

Some clear hard plastic items will also be needed as well as something to hold the plastic item steady in front of the computer monitor.

For step-by-step tips on how this technique works, have a read of this: Easy Cross Polarisation

 

7. Capturing Oil On Water

With a few items you'll find around your house you can create interesting abstract shots of oil on water. You'll need a camera with a close focus facility, tripod, a light source, a clear dish, water, oil and something to add colour to your shot (card, paper, t-shirt....etc.). You'll find a guide on what to do next in our article full of tips on how to photograph oil on water with just a basic set up.

Some of the most important photographic archives ever assembled are gone, and a small number of historians have spent their careers trying to get them back. One of those hunts had a storybook ending. In December 2007, three weathered cardboard boxes reached New York's International Center of Photography, carrying roughly 4,500 Spanish Civil War negatives that had been missing since 1939.

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Today, let’s have a look at the pint-sized Sirui VP-1 Vision Prime 15mm T1.6. 

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The usual advice for dreamy photos is to use shallow depth of field and a pricey diffusion filter, and both tend to leave you with images that look soft without feeling like anything. The look that reads as a memory comes from light, motion, framing, and focus working together, and most of it costs nothing.

 

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Following on from the recently reviewed Panasonic Lumix S 20mm f/2.5 lens, which gained the accolade of Highly Recommended, we have a virtually identical looking 18-40mm f/4.5-6.3 zoom. These virtually identical siblings, both intended for full frame L mount cameras, offer a choice between prime and zoom: fast aperture with fixed focal length or restricted apertures with the added versatility of the zoom. Size, weight and cost are all very similar, so the choice is without penalty in that respect. This leaves us with choices that depend very much on the sort of photography/videography to be undertaken, the photographer's style of shooting and how the quality of results does or does not become an issue. Let's take up the 24MP Panasonic Lumix S9 once more and see how it all works out, both in the field and in the studio for the technical tests.

 

Panasonic Lumix S 18-40mm f/4.5-6.3 Handling and Features

A quick glance at the previous review will show that the 18-40mm measures up almost exactly the same as the 20mm f/2.5 did. The zoom lens weighs in at just 154g (measured) and 67.9mm x 40.9mm with lens retracted. However, once rotated past the click stop that marks the point the lens retracts, it is extended for use. There is virtually no change in the balance of the lens when extended. There is no lens hood provided, but to be fair, the lens is very resistant to flare anyway.

 

 

There is no lens hood provided, a shame especially with a wide angle lens. One can be purchased and will need to use the 62mm standard filter thread. The front element is quite small, but not particularly vulnerable. It has a Fluorine coating to repel dust, moisture and grease and this makes it easier to keep clean. The lens is also dust, splash and freeze resistant. The operational range is from -10C to +40C. 

Moving backwards along the lens barrel, our tour of the lens arrives first at the slim but well knurled focusing/control ring. The feel of this is quite firm, but not excessively so. Behind this is the zoom ring. This does extend the lens barrel, the most compact position being marked by a white dot and representing the retracted position. If we switch the camera on whilst set to the dot, we are reminded to extend the lens for use. The zoom ring physically extends the lens and has clear and accurate settings marked at 18mm, 20mm, 24mm, 28mm, 35mm and 40mm. This focal lens range is considered to be from ultra-wide to wide standard, offering a very versatile span of focal lengths. This is ideal for travel.

 

 

Closest focus is 0.15m (0.49') and enables some powerful close range image making. The aperture range alters with focal length in the usual way, from f/4.5 at 18mm to f/6.3 at 40mm. This is perfectly usable in a world where high ISO values can yield consistently excellent results, plus of course the huge benefit of image stabilisation. There is no stabilisation in the lens itself, so we rely upon the camera IBIS where available. 

Optical construction is 8 elements in 7 groups, including 3 aspheric, 2 ED (Extra Low Dispersion) and 1 UHR (Ultra High Refractive Index). The lens is also designed to reduce focus breathing, a feature that will be appreciated by videographers. A fairly modest number of elements does help to ensure reduced flare and increased contrast, so this bodes well for performance. The diaphragm comprises 7 rounded blades, helping to ensure smooth bokeh, although with limited maximum apertures there may well be limits on what we can expect.

The well finished L mount is firm but does enable the lens to be locked positively into place. Handling is fine, perhaps a tad less smooth than the 20mm lens, but certainly still a great optic to use. Much of the joy in use comes with viewing the results on a computer monitor, so let's get straight down to seeing exactly how that performance works out.

 

 

Panasonic Lumix S 18-40mm f/4.5-6.3 Performance

At 18mm, central sharpness is excellent from f/4.5 to f/16 and very good at f/22. The edges are very good from f/4.5 to f/11, good at f/16 and fair at f/22.

At 24mm, central sharpness is excellent from f/5 to f/16 and very good at f/22 and f/25. The edges are very good from f/5 to f/11, good at f/16 and fair at f/22 and f/25.

At 40mm, central sharpness is excellent from f/6.3 to f/16, very good at f/22 and good at f/32. The edges are excellent from f/6.3 to f/11, very good at f/16, good at f/22 and fair at f/32.

 

Panasonic Lumix S 18-40mm f/4.5-6.3 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 Panasonic Lumix S9 camera body using Imatest software (www.imatest.com). Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is highly unlikely to be a problem. There is virtually no sign of colour fringing in most image making, even in the most challenging circumstances.

 

Panasonic Lumix S 18-40mm f/4.5-6.3 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 Panasonic Lumix S9 camera body using Imatest software (www.imatest.com).

 

Some barrel distortion can be measured, giving values of -1.0% at 18mm, -0.20% at 24mm and -0.47% at 40mm. 

With the maximum apertures available being quite restricted, the potential for super-smooth bokeh is reduced. Even so, results are very respectable and do not descend into becoming ragged.

Flare is not a problem in normal use. Artefacts can be generated under extreme lighting conditions, but the intrusion into the image is minimal.

Vignetting is extremely low and is very impressive for any zoom lens, especially one that extends into ultra-wide territory.

 

Aperture 18mm 24mm 40mm f/4.5 -1     f/5   -0.4   f/5.6 -1 -0.4   f/6.3     -0.6 f/8 -0.6 -0.3 -0.6 f/11 -0.5 -0.3 -0.7 f/16 -0.5 -0.3 -0.7 f/22   -0.3 -0.7 f/25   -0.3   f/32     -0.7

 

Panasonic Lumix S 18-40mm f/4.5-6.3 Sample Photos Previous Next

 

Panasonic Lumix S 18-40mm f/4.5-6.3 Aperture range Previous Next

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

 

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Value For Money

The [AMUK]Panasonic Lumix S 18-40mm f/4.5-6.3|Panasonic+Lumix+S+18-40mm+f/4.5-6.3[/AMUK] is priced at £499.00

Perhaps the following could be considered alternatives:

• [AMUK]Lumix S 20-60mm f/3.5-5.6|Lumix+S+20-60mm+f/3.5-5.6[/AMUK], £469
• [AMUK]Lumix S 14-28mm f/4-5.6|Lumix+S+14-28mm+f/4-5.6[/AMUK], £668
• [AMUK]Sigma 20-60mm f/2.8-4|Sigma+20-60mm+f/2.8-4[/AMUK], £749
• [AMUK]Sigma 24-60mm f/2.8|Sigma+24-60mm+f/2.8[/AMUK], £869

The review lens looks perfectly good value and certainly is punching above its weight regarding quality of results.

 

 

Panasonic Lumix S 18-40mm f/4.5-6.3 Verdict

The Lumix S 18-40mm f/4.5-6.3 lens offers the usual zoom advantages, but without some of the usual disadvantages that go with that. The zoom is, of course, always ready for a number of shooting scenarios. A prime lens can be equally useful up to a point, but has the main advantages of speed and size. With ultra high ISO values being available, do we need that fast maximum aperture? Maybe, but perhaps for reasons of bokeh for portraiture as much as anything else. It's a matter of the individual's requirements and their shooting style.

In any event, what is absolutely clear is that to call this lens a kit lens would be to do it a great disservice, as it is punching far above that level. A satisfactory price level, superior image quality and great handling all combine to delivery a Highly Recommended lens.

 

Panasonic Lumix S 18-40mm f/4.5-6.3 Pros

• Excellent sharpness, especially centrally
• Very low distortion
• Smooth bokeh
• Low CA
• Low flare
• Fast, accurate and virtually silent AF
• Dust, splash and freeze resistant
• Quality maintained throughout zoom range
• Fair price

 

Panasonic Lumix S 18-40mm f/4.5-6.3 Cons

• No built-in IS
• No hood provided
• Modest maximum aperture

 

 

[REVIEW_FOOTER]R_features=4|R_handling=4.5|R_performance=5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=Highly Recommended – A lovely high-quality ultra-wide to wide-standard zoom lens.|E_id=8027[/REVIEW_FOOTER]

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Sigma now makes 10 lenses for APS-C mirrorless cameras, priced from $344 to $919, and the primes and zooms overlap more than the spec sheets suggest. If you shoot on a crop sensor, this lineup is one of the few places you can build a complete kit of small, sharp glass without paying full frame prices.

 

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The Canon EOS R8 Mark II, Sony a7C II, Nikon Z5IIC, and Panasonic Lumix S9 are each the smallest and cheapest full frame body their maker sells right now, and they don't all solve the same problem. If you want a full frame sensor in something you'll carry every day, the differences between them show up in places a spec sheet won't make obvious, like the grip, the shutter design, and which lenses are small enough to match.

 

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The Leica Q3 43 puts a 60-megapixel sensor behind a single fixed 43mm lens, so you commit to one focal length and lean on the sensor to cover everything else. If you shoot paid work, the harder question is whether a camera like that can serve as a backup or second body next to an interchangeable-lens system you already trust.

 

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