TAMRON Firmware Update (Ver. 4)

150-500mm F/5-6.7 Di III VC VXD (Model A057)

For those of you that run one of the Tamron 150-500mm A057 lenses (Hey, that’s me!) the team have just released a firmware update that will help you with the following…

Want to know more about this lens? Pop over to the Tamron Australia website for the low down – or leave a question in the comments!

The post Tamron update the 150-500mm Firmware appeared first on Digital Photography School. It was authored by Sime.

Well, we haven’t had the privilege of spending any time with one, but, we know someone who has – Thank you, Jared, for letting us share your video!

Big fan of Jared’s ‘keeping it real’ in his reviews – Grab a cup of tea and enjoy the next twenty seven minutes.

A reminder, FroPack 4 is currently 40% off if you’re up for some new Lr presets! – Have a look –

Meanwhile, I shall keep my a7 III clean and polished and dream of a faster frame-rate….. for now!

— Simon

The post What do we think of the new Sony a7 V? appeared first on Digital Photography School. It was authored by Sime.

New from Godox, the iFlash camera flash is an interestingly modular on AND off camera flash, building on their iFLash range, this is a good option for those looking to use their flash on and off their cameras.

Why should I use my flash OFF my camera?

iFlash Camera Flash iT32 & X5 C/N/S/F/O – One System, Built for All

Meet the iT32 iFlash Camera Flash & X5 TTL Wireless Flash Trigger — a modular lighting system built for ultimate versatility and efficiency. When paired with different X5 versions, one iT32 flash body seamlessly adapts to Canon, Nikon, Sony, Fujifilm, and OM System cameras, offering full TTL and HSS support across brands. The X5 functions as both a hotshoe and wireless trigger, enabling instant transitions between on-camera use, off-camera freedom, and complex multi-light setups. Compact yet powerful, the iT32 & X5 combine magnetic modularity, cross-brand compatibility, and Godox 2.4GHz wireless integration—empowering photographers to shape light effortlessly, anytime and anywhere.

One System, Built for All

The iT32 & X5 offer a universal solution for photographers working across different camera systems. Its interchangeable magnetic X5 hotshoe allows instant switching between brands by simply changing the X5 version. This flexible design helps photographers focus more on creativity and less on equipment compatibility.

Dual Identity: Hotshoe & Trigger in One

X5 serves both as a hotshoe mount and a wireless transmitter, enabling smooth transitions between on-camera and off-camera use. When attached to iT32, it functions as the hotshoe for on-camera shooting; once detached, it automatically switches to trigger mode, wirelessly controlling iT32 or other Godox Wireless X System flashes. 

Effortless Multi-Light Sync

Equipped with a built-in 2.4GHz receiver in the iT32 and a 2.4GHz sender in the X5,

the system ensures instant wireless communication without manual pairing. When used together, iT32 and X5 act as a master unit to trigger multiple Godox flashes simultaneously. When separated, the X5 can still control the iT32 and other flashes within the Godox 2.4GHz wireless X system, making multi-light setups simple, fast, and reliable.

Intelligent Recognition and Real-Time Display

The iT32 automatically identifies the attached X5 version, displaying key information such as model type, battery level, and charging status on its screen. This smart detection ensures photographers always stay aware of system status, minimizing errors and keeping shooting sessions smooth and controlled.

Magnetic Mounting, Fast and Secure

The magnetic interface between iT32 and X5 ensures a stable, one-click connection that’s firm yet quick to detach. Compared with traditional locking mechanisms, it greatly speeds up setup while maintaining reliability, allowing photographers to switch modes fluidly and capture every moment with ease.

Refined Design, Built for Practical Use

Intuitive Touchscreen Control

Rotatable Flash Head

Built-in Reflector and Diffuser

USB-C Charging

Professional Performance, Seamless Compatibility

Advanced Flash Functions

Godox 2.4GHz Wireless Ecosystem

Magnetic Accessories for Creative Expansion

LED Modeling Light

Technical Data

The post Introducing Godox iT32 iFlash Camera Flash & X5 TTL Wireless Flash Trigger appeared first on Digital Photography School. It was authored by Sime.

Something new to ‘M’ photography, the ultimate in street photography? Here’s a great run-down by Leica trainer, Robin Sinha.

While this isn’t exactly a camera we’d suggest you ‘start out on’ ? it’s certainly a beautiful tool to add to the art that is photography.

The First Leica M with an Integrated Electronic Viewfinder

The M encapsulates the essence of our philosophy like no other camera. It embodies timeless aesthetics and true photographic authenticity, paired with uncompromising craftsmanship and exceptional image quality. The Leica M EV1 honours this legacy while expanding its horizons.

Take a LOOK over on the Leica website.

The post Introducing the Leica M EV1 appeared first on Digital Photography School. It was authored by Sime.

Sunglasses for you phone.

This review in from our friend Lee Herbet at Capture Ink

Over the last few years the cameras in phones have gotten better and better. With this it also allows us to use accessories and apps on our phones to capture video and images that we may usually use our bigger camera for.

There are advantages and disadvantages of using your phone. The obvious advantage of using your phone is that it is the camera that most of us always have with us. The disadvantages, other than physics and a small sensor and lack of a lot of glass infant of that sensor, is that if you start having to carry a bag full of accessories for your mobile phone, it can become a bit less mobile.

In the embedded video I take you throw why you may want to have a set of clip on ND/CL filters for your phone and some of the things you can do with them.

How do you think you might use something like this?

The post Shoot with your phone? Sandmarc Hybrid Filter Review appeared first on Digital Photography School. It was authored by Sime.

We were recently sent the Godox iT20/iT22 iFlash for review. They’re tiny, they weigh in at about 45gm. they’re USB-C rechargeable and they take up no space in your camera bag / pocket, but are they any good? Let’s talk about that…

A small lightsource close to your lens typically gives a pretty harsh light and, honestly, these little flash fall into that category – while they do come with tiny mag-attach filters, a spreader (to throw your light around a bit) and two CTO colour filters, (1/2 CTO and 1/1 CTO) they do sit down very close to directly above your lens and so you tend to get that “deer in the headlights” look if you’re not careful!

There is no built in way to change the angle of the flash, you can’t use a remote trigger with them, but you could get creative with a piece of paper and bounce the flash – which I tried, for fun, and it can work.

The other issue you run into, literally, is the end of your lens (In my case a 35mm prime) gets in the way of the cast flash and sends a tasty shadow out onto your subject – that said, I’d imagine people using a flash like this are likely either using smaller (bridge?) cameras or maybe pancake lenses at parties? Not sure.. A couple of images below to show you the results of using the flash with a 35mm lens.

Godox do sell a hot shoe riser that lifts your flash up a little and also allows you to tilt it back to help alleviate that, but generally, unless you can get your flash off the camera or in the least bounce it off a wall or ceiling, you get what you get and you don’t get upset… That said, getting upset would be NOT being able to capture anything because it’s too dark – having the miniscule Godox in your bag will help you with that.

The iT20 and 22 are USB-C rechargeable, they recharge pretty quickly, just over an hour from empty to full and on a full battery they’re rated for around 700 frames at 1/1 power. Mostly easily enough for any party!

So we’ve talked about the whole “get the lightsource away from your lens” and how, with the Godox iT20/22 it isn’t possible, but does that matter? I honestly don’t think it does! In use, the Godox iT20/22 are an easy to use compact flash that will illuminate your subject – it won’t be the most flattering light, but it does a great job for what it is! You have a very simple Manual / TTL but, then you have buttons to adjust flash intensity across 6 stops (1/32 to 1/1 power) in precise ±1/3-step increments for total command over your lighting. Simple to use and I think would be really handy to help you learn how flash works.

Not sure what Manual Vs TTL flash is? Check out this article

What’s in the kit?

You get the flash, a usb-c / a cable to charge your flash, a small pouch to keep it all nice and neat and you get three filters. As you can see in the image below, there are a whole stack more filters, as well as the riser we talked about above, and a diffuser you can purchase separately.

I think, for a beginner flash, for the “have some light rather than nothing” that the mini Godox iT20/22 flash system is a great purchase for the money, well worth chucking in a Christmas stocking if that’s your thing!

Check them out here on the Godox website

The post Review: Godox’ new(ish) mini-flash iT20/iT22 appeared first on Digital Photography School. It was authored by Sime.

Another Tamron lens! And I’ve got to say, after trying their last few releases, it’s clear they’re on a roll — seriously good glass at prices that make sense.

Their latest is the Tamron 25-200mm F/2.8-5.6 Di III VXD G2 (Model A075) for Sony E-mount full-frame mirrorless cameras. On paper, it looks like the perfect “do-it-all” lens — one that could easily become your go-to for travel, family events, or sports days.

Think about it: at 25mm, you can shoot a wide team photo or a sweeping landscape, then zoom all the way to 200mm to capture the game action or your kids mid-celebration — without ever changing lenses. I’ve been taking those post-match, “kids-hyped-up-on-oranges-and-lollie-snakes” team shots for years, and a lens like this would’ve made life so much easier.

What’s New in the G2 Version

This new G2 model replaces the popular 28-200mm F/2.8-5.6 Di III RXD (Model A071). Tamron has made some smart updates — widening the zoom range from 28mm to 25mm, improving autofocus speed and accuracy, and keeping the lens surprisingly compact for its range.

It’s powered by Tamron’s VXD (Voice-coil eXtreme-torque Drive) linear motor, which gives it quick, quiet, and precise autofocus — ideal for fast-moving subjects like sports, pets, or kids.

At the wide end (25mm), it even offers half-macro capability with a 1:1.9 magnification ratio, letting you capture close-up detail shots without switching lenses.

Why It’s Great for Beginners and Travellers

If you’re new to photography, an all-in-one zoom like this can be a real confidence booster. You’ll spend less time worrying about which lens to use and more time shooting. It’s also a brilliant option for travel — light enough to carry all day, but versatile enough to cover everything from street scenes to wildlife.

And because it’s compatible with Tamron Lens Utility, you can tweak settings and customise functions straight from your smartphone or computer — a nice touch if you like fine-tuning your gear.

Key Features

• Focal range: 25–200mm (8x zoom)
• Maximum aperture: f/2.8–5.6
• Autofocus: Fast and precise VXD linear motor
• Close-up performance: Half-macro (1:1.9 magnification at 25mm)
• Filter size: 67mm (same as most Tamron lenses)
• Customisable: Compatible with Tamron Lens Utility
• Release date: November 20, 2025
• Price: USD $899 / CAD $1,199

The Bottom Line

Tamron has built a reputation for making lenses that punch well above their price point, and the new 25-200mm F/2.8-5.6 G2 looks like another solid step forward. Whether you’re a beginner looking for your first all-round lens, or a more experienced shooter who wants something lightweight and versatile, this one’s definitely worth keeping an eye on.

The post Tamron’s New 25-200mm F/2.8-5.6 G2 Could Be the Only Lens You Need appeared first on Digital Photography School. It was authored by Sime.

First impressions

The Freewell Real Multi Tripod 5-in-1 is a versatile, multi-function support system that’s clearly aimed at photographers and content creators who want one piece of gear to do many jobs. According to the manufacturer, it offers five modes (tripod, two types of monopod, desktop mode, and trekking-pole mode) and supports up to 20 kg of payload.

For someone new to photography, that instantly makes it appealing: you’re not just locked into one height/tripod scenario, you can experiment with angles, surfaces and shooting styles.

After a little time working out how each mode worked, the tripod did a great job in all of its modes, a great phone holder, a sturdy tripod with really solid feeling hardware, a handy desktop tripod for live streaming or photography, a walking pole (I’ve not used this as a walking pole for the test, but I have used walking poles before (Machu Picchu) and they’re pretty handy! As well as a regular or stabilised mono-pod.

As a “tripod multi-tool, and for a the comparatively low price, considering all of the things this Tripod MacGyver does, it’s great value for someone starting out and looking for a good solid, but less expensive choice. (Currently $279 on Freewellgear.com )

Key Features & What They Mean for Beginners

Here are the main specs and features, and what they translate to in practice if you’re just starting out.

• Five modes: Full tripod, two monopod variants, desktop mode (for low angle or table-top usage), and trekking pole mode.
  
  What it means: You can use this gear for more than just “camera on a stand”. Want to shoot selfies or video with a phone or mirrorless? Want to go out and hike and still have a support tool? It covers lots of bases.
• Smartphone mounting built-in: Retractable clamps convert the included arca swiss compatible tripod plate into a smartphone holder. (You can buy these individually for $19.99, handy if you want to use your phone mounted on another arca swiss compatible tripod)
  
  Why this matters: If you’re using your phone for practice or even learning photography via mobile, this gives you a leg-up. No need for a separate phone tripod or clamp.
• Height and angle flexibility: From a minimum height of ~17.5 cm (~175 mm) up to ~1.57 m maximum height. Legs lock at angles like 22°, 55°, 85° for uneven surfaces.
  
  For beginners: Good for experimenting with low-angle (dramatic) shots as well as standing height. The adjustable leg angles help when you’re shooting on a hill, grass, or uneven pavement.
• Inverted column / low-angle shots: The center column can be inverted for really low viewpoints (macro or creative shots). Freewell Gear
  
  What you’ll love: When you start exploring creative composition (getting low, shooting up at your subject, etc) this gives you an extra tool.
• Payload & build: Supports up to 20 kg (44 lbs) thanks to carbon-fibre + aluminium alloy construction. Weighs ~1.65 kg.
• What’s in the box?: The tripod, three desktop short legs, the phone/arca swiss camera plate, a load hook to anchor your tripod down in a stiff wind, a weight hook for the same thing, tools, a user manual and it’s all packed in a decent little tripod carry bag.
  
  Why it’s relevant: For a beginner it means you can grow your gear (larger camera bodies, heavier lenses) and not immediately out-grow the tripod. Also the lighter weight helps portability.

Strengths (especially for beginners)

Here are what I see as big pluses, especially if you are just getting started.

• Versatility: This is the major selling point. One tool that adapts rather than buying separate tripod + monopod + smartphone stand.
• Encourages experimentation: With modes like desktop and trekking-pole you’re nudged to try different shooting scenarios beyond “camera on a stick”.
• Good value for what it offers: The spec sheet is impressive for the price and gives you a “future-proof” element (i.e. supports heavy gear, many modes).
• Smartphone friendly: A good nod to how many beginners start on mobile or want hybrid setups.
• Stable build and strong payload: Should support a wide variety of camera setups, meaning you’re less likely to need upgrades right away.

Considerations / Potential Drawbacks

No product is perfect, and there are a few things to be aware of.

• Complexity / mode-switching learning curve: When a tool offers many modes, sometimes the “switching from one to another” can be fiddly. Beginners may spend more time setting up than shooting until they familiarise themselves.
• Trade-off between portability and robustness: Although 1.65 kg is decent, it’s not ultra-light compared to minimal travel tripods. If your primary aim is ultra compact travel with just a mirrorless camera, there may be lighter simpler options.
• Size and folded length: While adjustable height is good, depending on your bag / carrying style you might notice the footprint of the fully-featured legs and mechanisms.
• Not dedicated to one thing: Because it tries to cover many roles (tripod, trekking pole, etc), each mode might not outperform the best dedicated gear in that role. For example, a specialised trekking pole or a dedicated travel tripod might have slight advantages in those individual niches.

How I’d Recommend Using It as a Beginner

Here are some practical ways you can get the most from this tripod as you start your photography journey:

1. Start simple: Use it in full tripod mode for typical still-photography — landscape, portraits, family shots. Get used to mounting your camera, extending the legs, adjusting the head.
2. Explore low angles: Try the inverted column or low-angle mode. Shoot at ground level for a different perspective (e.g., from leaves up to tree branches). This helps build your creative eye.
3. Use desktop mode: This is great for indoor setups, still life, or constant-place shots (e.g., product photography, tabletop, even video calls).
4. Mobile + camera hybrid: Use the smartphone mount to practice mobile photography or video, and switch to the camera when you feel confident.
5. Outdoor adventures: When you’re ready to go hiking or travel, use the trekking pole mode or monopod mode. This gives you support and flexibility outdoors.
6. Grow into it: Because it supports up to 20 kg, you won’t feel limited as you upgrade lenses or camera bodies. You can keep this tripod for a while rather than needing to replace it early.

Final Verdict

For a beginner photographer, the Freewell Real Multi Tripod 5-in-1 is highly recommended if you are looking for a flexible, multi-purpose support tool that allows you to experiment, grow, and cover a wide range of shooting scenarios. It gives you strong value, and encourages creative exploration beyond just “tripod on flat ground”.

If your focus is extremely lightweight travel gear (just a very small mirrorless camera, minimal kit) and you never plan to monopod or do low-angle or trekking modes, you might find a simpler, lighter tripod sufficient. But if you like the idea of one piece of kit doing many roles, this is a solid pick.

The post Review: Freewell The Real Multi Tripod 5in1 appeared first on Digital Photography School. It was authored by Darren Rowse.

Q. Do you still use a dSLR 24-70 or have you upgraded to a more modern mirrorless mount equivalent?

Why do photographers everywhere seem to be obsessed with 24-70mm lenses? Whether you’re just starting out or you’ve been shooting for a while, you’ve likely encountered the 24-70mm lens, and it’s important that you understand just what makes this lens so popular – and why you might want to consider investing in one.

Below, I walk you through what makes the 24-70mm lens so special. You’ll learn about why it’s such a great choice for all kinds of photography, its technical aspects, and some handy tips for making the most out of it. I also share plenty of 24-70mm photo examples, so you know what to expect after buying.

Let’s get started.

What is a 24-70mm lens?

You might have heard photographers raving about the 24-70mm lens – and for good reason. Let’s dig into what exactly this lens is.

A 24-70mm lens isn’t exactly a wide-angle lens, nor is it a telephoto lens. It’s what’s often called a standard zoom or a wide-to-telephoto zoom. Why? Because it starts at a wide-angle focal length of 24mm and goes all the way up to a short-telephoto focal length of 70mm. It’s a lens that covers a lot of ground in one package.

If you’re using an APS-C camera, things change a bit. A 24-70mm lens on an APS-C camera offers an effective focal length of roughly 35-105mm. In other words, it tones down the wide-angle perspective and gives you a bit more reach on the long end.

The 24-70mm zoom is incredibly popular. In fact, I would say it’s one of the most common, if not the most common, zoom lenses used by enthusiasts and professionals. It’s a go-to lens for many because of its amazing versatility, impressive optics, and great design.

And it’s not just one or two manufacturers making these lenses. All the big names in the lens world offer 24-70mm glass, which tells you something about its importance in photography.

Common subjects for 24-70mm photography

The 24-70mm lens is highly versatile, so it’s used to photograph in a wide variety of scenarios. Here are a few genres where this lens really shines:

Portrait photography: The 24-70mm lens can capture stunning wide-angle portraits as well as full-body poses and tight headshots. It’ll also prevent you from needing to change lenses while shooting. Imagine the flow and the connection you can maintain with your subject without pausing to swap glass.

Wedding and event photography: The 24-70mm focal length range allows for both wider and tighter compositions so you can capture the grandeur of a wedding ceremony at 24mm and then zoom in for intimate shots of the bride and groom at 70mm. Planning to photograph indoor or nighttime events? The f/2.8 version of this lens ensures quality images in challenging lighting conditions.

Landscape photography: While the 24mm end doesn’t offer the ultra-wide perspective loved by many landscape shooters, it still provides a reasonably wide field of view. Imagine a breathtaking mountain range or a vast desert; you can capture the entire expanse at 24mm and then zoom in to 50mm or 70mm for more intimate compositions.

Still-life photography: 24-70mm lenses can also come in handy when photographing food, products, and other still-life subjects; as I explore in greater detail below, these lenses tend to offer surprisingly solid close-focusing capabilities. Plus, the optics are impressively sharp – always a benefit when doing close-up photography!

Bottom line: A 24-70mm lens won’t limit you to specific types of photography, and it’s like having several lenses in one. Whether you’re capturing faces, events, or nature’s beauty, this lens will adapt to your needs and provide endless creative possibilities.

24-70mm f/2.8 vs 24-70mm f/4 lenses

If you’re considering your first 24-70mm lens, you might be confused by the number of options out there. Maybe you’re struggling to decide which version to buy. Let me help clear things up for you.

The 24-70mm lens is generally offered in two variations: f/2.8 and f/4. This number refers to the maximum aperture offered by the lens: the f/2.8 version is able to use a wider f/2.8 aperture, whereas the f/4 version can only widen the aperture to f/4. As a result, the f/2.8 version can take in more light compared to the f/4 version.

The optical difference between 24-70mm f/2.8 and f/4 lenses might not seem massive. For some photographers, it isn’t. But it can matter significantly in a few specific scenarios. And when choosing between an f/2.8 and f/4 lens, there are some additional consequences that you’ll want to consider.

First of all, because the f/2.8 version can gather more light, it allows for better handheld images in darker scenarios. Thanks to the light boost, you won’t need to drop your shutter speed or raise your ISO, and this means you can capture images that are sharper and less noisy. (It’s the reason why many wedding and event photographers only work with a 24-70mm f/2.8.)

Second, wider apertures produce a shallower depth of field effect, so the f/2.8 version allows for more intense background bokeh. This is especially important in portrait photography. If you’re serious about portraits, I recommend purchasing the 24-70mm f/2.8 over the 24-70mm f/4. Can you still produce nice background blur with an f/4 lens? Yes, but it’ll be a lot harder to do, and often won’t look quite as good.

On the other hand, these wide-aperture zooms do tend to be heftier than their narrow-aperture counterparts. And they are far, far pricier.

Therefore, unless you specifically need an f/2.8 version of the 24-70mm lens for handheld low-light shooting or background bokeh effects, it’s a good idea to go for the f/4 version. It’ll get you the same results – at half the price, and with half the heft.

Making the right choice between these two versions requires you to know what you’re after. Consider your shooting style, subjects, and budget. Both options have their merits, and understanding them will guide you toward the perfect 24-70mm lens for your photography needs.

Reasons you should use a 24-70mm lens

Not yet sold on a 24-70mm lens? No problem! Here are a few reasons why I love my 24-70mm glass:

1. There is no learning curve

The focal length of a 24-70mm lens stretches from wide-angle to short telephoto – but the bulk of its range sits in the standard focal length spot, which corresponds closely to the human eye. Therefore, to use a 24-70mm lens, you don’t need to learn to see differently; instead, looking through a 24-70mm, you’ll get a very natural field of view.

In fact, when you’re photographing as the eye sees, it’s much easier to learn composition. You can spot interesting subjects, bring your camera to your eye, and snap away – whereas ultra-wide lenses and telephoto lenses force you to think about the field of view, distortion, compression, and how they change the scene.

Even at 24mm, distortion is limited. So you can do wide-angle photography without worrying about wide-angle effects. And at 70mm, you can zoom in for tighter compositions while still capturing a relatively neutral perspective.

Plus, the 50mm focal length is outstanding for portrait photography: not so long that you lose intimacy, and not so wide that you stretch the subject. Instead, it’s just right.

2. 24-70mm lenses offer close focusing

24-70mm lenses are designed for standard-sized subjects, right?

Well, yes…and no.

You see, while these lenses are often created with portrait, landscape, and nature subjects in mind, they also offer impressive close-focusing capabilities. The minimum focusing distance does vary from model to model, but it’s generally around 15 inches (38 centimeters).

In other words, you can use a 24-70mm lens to capture stunning close-up shots – of flowers, leaves, portrait details, and more. What’s especially exciting is how flexible a 24-70mm lens can be; if you’re photographing a portrait subject, you can step back for a nice full-body shot, move in slightly for a head-and-shoulders composition, then move in even closer for a detail photo of your subject’s eyes, ears, or clothing.

Event photographers use this close-focusing flexibility all the time. Zoom out for a shot of the wedding guests, step in for a shot of the centerpieces, zoom out for a shot of the ceiling, step in for a shot of the place settings.

And if you like to shoot landscapes, you can capture sweeping scenics at 24mm, then zoom in to 70mm and get in close for details of rocks, sand patterns, etc.

It’s so convenient, and it’s all thanks to the power of a 24-70mm lens.

3. The focal length range is incredibly versatile

I’ve already touched on this, but it’s arguably the most important benefit of a 24-70mm lens, so it deserves its own section.

You see, with a 24-70mm lens, you can shoot at a slew of different focal lengths, from wide to standard to telephoto, and this range offers limitless possibilities in the face of demanding photoshoots.

First of all, when doing a single photoshoot, you can easily go from a wide angle to a zoom, adjusting quickly as the scene and your subjects change. And you won’t have to switch out your lens at all, which will keep the flow of the photoshoot intact and will prevent you from missing key moments as you switch from one lens to the next.

Plus, the versatility of a 24-70mm lens means that you can work with it and nothing else, even as you go gallivanting across the world for destination shoots and vacations. Imagine heading to a photoshoot with just one lens in your bag. Nice, right?

4. The build is robust and comfortable

Most 24-70mm lenses are impressively robust, featuring a solid build that’s designed to last. Manufacturers know that these are “walkaround” lenses, so they’ve made sure a 24-70mm can handle anything you might face, from rain and snow to blowing sand and dust.

If you frequently shoot in deserts, near waterfalls, or at the beach, then a 24-70mm lens will be a lifesaver, allowing you to capture all sorts of compositions without worrying about ruining your precious optics. Of course, you should always practice proper lens care; I don’t recommend you drop your lens in the water, let it get soaked, and so on. But as far as lenses go, 24-70mm options tend to be very solid.

(And you’ll need a well-built camera, too; while 24-70mm lenses are amazing, they can’t protect your camera electronics!)

Additionally, 24-70mm lenses feel great in the hands. They’re not so long that you’ll get tired after a few hours, and they’re not so short that you have nothing to grip. You can comfortably use a 24-70mm lens for day-long photoshoots, and you’ll always feel like you’re working with an actual, solid lens.

5. The size and weight are perfect for pretty much everything

On average, 24-70mm lenses measure around 3.3 x 3.3 x 4.9 inches (8.4 x 8.4 x 12.4 centimeters), and they weigh approximately 2 pounds (900 grams).

While these lenses aren’t tiny, they’re certainly not large, nor are they heavy. They fit in pretty much any camera bag you’ll ever encounter, even when they’re attached to a camera – so you can carry your setup in a shoulder-sling bag or a backpack without any trouble. Plus, because 24-70mm lenses are pretty short, you can hang your camera around your neck and you won’t feel like you’re carrying a brick.

In fact, my 50mm (f/1.2) lens weighs more than my 24-70mm lens, even though it’s shorter. And I’ve even managed to put my camera and 24-70mm lens in a regular old purse (which can come in handy in quite a few situations).

Bottom line: A 24-70mm lens is sized for photographic adventures of all types, from treks in the mountains to casual walks around the city to travel photography across the globe.

Tips for working with a 24-70mm lens

You’ve got your 24-70mm lens and you’re excited to use it. But before you start snapping away, there are some tips and tricks that can help you get the most out of this lens:

1. Practice using the lens at every focal length

First off, make sure you understand what each focal length in your lens’s range (24mm to 70mm) can do.

Spend some time experimenting with different focal lengths. See how they affect your compositions.

Try photographing a single subject at 24mm, then at 35mm, then at 50mm, then at 70mm. Pull up the images on your computer and observe them side by side. Ask yourself: How does each focal length change the view of the subject?

Soon, you’ll get to know how each focal length will look – even before you look through the viewfinder. You won’t waste valuable time zooming in and out to find the perfect shot.

2. Watch the distortion

When shooting at the wide end of your 24-70mm lens, you may notice some distortion.

This means that straight lines will seem to converge, and objects close to the lens might look a bit stretched or skewed.

Distortion like this – known as perspective distortion – isn’t always bad, and it can be used artistically to great effect. But it’s important to be hyper-aware of its effects because it can result in unflattering photos if you’re not careful.

If you are trying to minimize distortion at 24mm, make sure that your subjects are decently far from the front of the lens, and do your best to keep the lens parallel to the ground (i.e., not angled upward or downward).

3. Don’t rely too heavily on the zoom

A zoom lens can make it tempting to stand in one spot and just twist the lens barrel to change the composition. But while the zoom on 24-70mm lenses is fantastic and highly useful, but it doesn’t replace the need to move physically closer to your subject.

For one, moving around can help you fine-tune your compositions. And it can also give you a completely different perspective.

So get into the habit of using a mix of movement and focal-length adjustment. That way, you’ll get the best results and discover perspectives you might have otherwise missed.

Remember, photography is as much about the movement and physical positioning of the photographer as it is about the focal length!

4. Turn on that image stabilization

Many 24-70mm lenses come with image stabilization. It’s a handy little feature that helps counteract camera shake; that way, you can photograph handheld at slower shutter speeds in the 1/20s-1/60s range, which is especially useful in low-light scenarios such as evening portrait sessions and indoor events.

So whenever you’re photographing a relatively stationary subject and you don’t have access to a tripod (or you simply don’t want to use one), switch on that image stabilization.

That said, there are a couple of caveats to bear in mind. First, if you are using a tripod, make sure that you switch that image stabilization off. Otherwise, you might find that it actually increases the blur in your photos.

And second, be aware that image stabilization generally won’t help you capture sharp photos of moving subjects. For that, you’ll need a fast shutter speed.

5. Watch the background

The 24-70mm lens might not be considered a true wide-angle lens, but it still offers some wide focal lengths, especially in the 24-50mm range. And when shooting wide-angle compositions, you might notice that the background in your shots often turns out relatively sharp, even if you’re using a wide aperture.

What does this mean for you?

It means you need to pay careful attention to what’s happening behind your subject. A distracting background can easily take the focus away from your main subject. Maybe it’s a bright sign in a street scene or a branch sticking out in a nature shot. Whatever it is, you’ll want to make the effort to keep it out of your shots.

If you find yourself in an area where the background might cause some issues, try moving around your subject. Walk to the right or left, get down low, or even climb up high if you can. It’s all about finding the right angle that lets your subject shine without any background interference.

6. Consider using a lens filter for protection

Investing in a good 24-70mm lens can be a significant expense. Such a lens will generally be optically excellent, and you’ll want to take care of it as much as possible.

That’s why I recommend adding a UV filter or a clear filter to the front of your lens. It’ll protect your precious glass from accidental bumps or those unexpected finger smudges.

So if you’re planning to spend a lot of time with your 24-70mm lens, do consider investing in a good-quality lens filter. It’s a simple step that can go a long way in keeping your lens safe and your images looking their best.

24-70mm lens photography: final words

And there you have it! You’ve learned all about the 24-70mm lens and its impressive capabilities, including why it’s so incredibly popular.

You’ve also learned about the different versions available and even picked up some handy tips. Whether you’re capturing the grandeur of landscapes, the intimacy of a wedding, or the expression of a portrait, this lens offers the flexibility you need.

Investing in a 24-70mm lens might just be the step that takes your photography to the next level. The world through a 24-70mm lens is rich and varied, and it’s waiting for you to explore!

Now over to you:

Do you think you’ll buy a 24-70mm lens? What do you plan to use it for? Share your thoughts in the comments below!

The post 24-70mm Lenses: Everything You Need to Know appeared first on Digital Photography School. It was authored by Anabel DFlux.

Here’s our hands-on with the Freewell Locking VND/CPL Filter

(I tested the set on my Sony a7R III + Tamron 16–30mm f/2.8 G2)

If you’re just starting to experiment with filters, you’ve probably already heard about ND filters (Neutral Density) and CPLs (Circular Polarisers). ND filters let you slow your shutter speed for smooth water or motion blur in bright light, while CPLs cut glare and reflections for richer skies and more saturated colour.

The new Freewell Locking 3 to 7 stop VND/CPL combines both in one sleek, clever package — and after taking it for a spin last weekend (in crazy weather!) at the Point Lonsdale Lighthouse, I came away impressed.

A Quick Look at What’s New

For me, after experimenting with a magnetic system for a couple of years, the real standout is how the locking mechanism secures the VND/CPL filter to the adapter ring (Available in 49mm, 52mm, 55mm, 58mm, 67mm, 72mm, 77mm and 82mm) which you screw to the end of your lens, all while leaving the CPL/VND easy to manipulate, but stays securely in place. With your filter clipped into position, you can easily depress the side buttons on the red ring and spin it around to adjust your polarisation position, and there are two little tabs on the black ring that adjust your VND. (It’s good practice to adjust your variable ND first and then your Circular polariser)

I had no issues with bumping the filter tabs and accidentally changing settings, etc. That mix — a positive, confidence-inspiring lock plus a tactile, easy-to-fine-tune control ring — gives you reliable, repeatable results in the field without sacrificing on-the-fly adjustments. — the sort of detail that shows Freewell’s been listening to creators. ??

The hybrid design, meaning you get the VND with a built-in CPL at the same time, That means fewer filters to juggle, less time swapping glass in the field, and no cross-polarisation weirdness. BUT you can stack extra filters, I was sent the ND32 as well as the Snow Mist 1/4 filter. When you stack the ND32 with the VND, you get upto 10 stops of ND (fun long exposures in the middle of the day!)

Small Touches That Make a Difference

One thing that genuinely surprised me was the NFC lens cap. I will admit I thought it was a bit of a gimmick at first, but when you tap your phone to it, and it takes you straight to the Freewell Hub, where you’ll find setup videos, warranty info, and filter guides — Yeah, that’s actually super handy for anyone new to filters! New hunting around for QR codes or small paper manuals – I was about to say “who doesn’t always have their lens cap with them… but I don’t want to jinx myself!) – Nice touch, Freewell!

In Use

Mounted on my Sony a7R III with Tamron’s new 16–30mm f/2.8 G2, the Freewell filter set performed beautifully. Colour rendition stayed natural thanks to Freewell’s True Color optics, with no unwanted tint or cast to my eye — even at higher ND stops. Reflections off the water and rocks at Point Lonsdale were cleanly tamed, and the added contrast in the sky was a nice bonus. I was able to shoot a 10 second exposure at 2:30pm – Quite fun!

While I didn’t get to use the Snow Mist filter on the weekend, I really should have! You can see an example below of what the filter does – pretty much exactly what it says “Snow Mist” that light dispersion is pretty sweet!

Who It’s For

If you’re just getting into filters, this is a smart, long-term investment. You’ll spend less time worrying about shifting stops and more time focusing on your composition. The combination of ND + CPL, the locking mechanism, and excellent optical clarity make it a standout for both photographers and filmmakers who want reliable, repeatable results.

Freewell’s Locking VND/CPL is available now through FreewellGear.com, Amazon, and selected retailers.

Freewell Provided the filter kit to us for review, we thank them for reaching out!

The post Hands-on with the Freewell Locking VND/CPL Filter appeared first on Digital Photography School. It was authored by Sime.