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Partially stacked sensors are essentially conventional BSI sensors with more complex readout circuitry (seen at the top and bottom of the Z6III sensor, here). This allows boosted DR modes we're seeing from the Panasonic S1II and Sony a7 V.
Image: Nikon
Dynamic range data for the Sony a7 V makes clear that the benefit of partially stacked CMOS isn't just speed: it's the ability to deliver higher dynamic range.
Bill Claff has just published his "photographic dynamic range" figures for the Sony a7 V, making an impressive showing and revealing what's going on behind the scenes, both of the Sony and the recent Panasonic Lumix S1II.
Partially stacked sensors are essentially conventional BSI chips with more complex readout circuitry around the edge (the sensor itself isn't stacked). The Nikon Z6III showed this could bring a speed advantage over existing BSI sensors but the Panasonic S1II and Sony a7 V show that there's much more they can do.
The dynamic range data for the Sony a7 V (black) gives a hint to how it's delivering its excellent results in mechanical shutter mode (blue).
Unlike existing dual conversion gain sensors, which could use either a low gain (high capacity) setting for low ISO and a high gain (lower noise but lower capacity) mode for high ISOs, the new sensors can do both, simultaneously. So you can capture the full capacity of the low gain mode but combine the cleaner shadow data of the high gain mode.
For years, we've seen dismay that the advances in sensor tech weren't giving an IQ improvement. Well here's the step forward in IQ we've all been waiting for'
This process, which we suspect involves sample-and-hold capability in the more complex readout circuitry, takes longer than reading out just a single mode. As a result, it can only be conducted in mechanical shutter mode, where the physical shutter stops any more light accumulating, giving you as much time as you need to read the sensor.
The publication of the e-shutter data for the Sony makes this clear: in e-shutter mode you see the now-familiar shape of a dual conversion gain sensor, but in mechanical shutter mode the low ISO DR is boosted: essentially extending the shadow benefit of the high gain mode back up into the low ISO range. Panasonic's S1II does the same thing.
Compare the results of the Panasonic S1II (orange) with that of the Nikon Z6III, which uses a similar sensor but appears to always use only either its low or high gain mode, and you see the same pattern. We strongly suspect the S1II's e-shutter data would overlap very closely with the Nikon's.
For years now, we've seen dismay expressed that the advances in sensor tech were only giving a speed benefit, rather than an IQ improvement. And those speed improvements were often mischaracterised as solely benefiting video. Well here's the step forward in IQ we've all been hoping for, in addition to the speed boost we see in the single gain readout mode.
What does this mean for the a7 V?
The upshot for the Sony is that dynamic range looks excellent in mechanical shutter shooting but you have to give up that DR boost when you switch to any of the e-shutter modes. So, while the Sony still outputs 14-bit files in these modes, there may not be the DR advantage over the Canon EOS R6 III's 12-bit output that some commenters have been (perhaps prematurely) crowing about.
The good news is that Bill had initially marked the a7 V's data as having noise reduction in it. He's now removed this designation as the signal processing he was observing appears to be the combination of the two readout modes, rather than anything murky goings on in the shadows.
Do I need all this DR?
This is certainly a step forward for the industry, and one that doesn't come with the significant costs of a fully stacked sensor design, so it's likely to come to a wider range of cameras. We'd assume a similar approach will appear in the next generation of fully stacked sensors, though it may still require the use of a mechanical shutter.
It's worth keeping in perspective, though. DR numbers do not represent image quality as a whole, and there's nothing to suggest that there's been a big boost in IQ across the whole tonal range of the images. The improvements will primarily be in the shadows, adding editing flexibility for things like daybreak and sunset landscapes.
For a lot of photographers, DR differences were worth considering when some models produced Raw files with relatively little opportunity to exploit shadow capture, beyond what was already present in the JPEGs. But once you reach a threshold of 'good enough' for your style of shooting, any further increase is nice to have but for an increasingly small number of your images, rather than an every-shot benefit.
It's definitely a step forward, though, and if more people start to utilize the capabilities of HDR screens to make their work more striking and lifelike and more often use more of their captured DR, then that will only increase the value of this breakthrough.
Thansk to Horshack, Bill Claff and Bob Newman for their work, insight and feedback on this technology.
We all encounter situations where the environment fights against us: the lighting is too dim, the subject moves too fast, or the focal length just isn’t long enough. You end up with a composition you love, but the photo itself—plagued by high-ISO noise, slight motion blur, or low pixel count from cropping—becomes a headache to process.
Manually correcting these fundamental image quality issues in traditional photo editors often requires tedious fine-tuning to perfectly balance sharpness and natural texture.
Aiarty Image Enhancer is designed to simplify this crucial post-processing step. It acts as an efficient specialist tool that quickly and automatically uses AI to denoise, deblur, sharpen, and upscale your photos. This approach hands you a clean, high-fidelity foundation, allowing you to spend less time fighting pixels and more time on the final artistic grade.
Christmas Special Offer: 49% off Lifetime License + extra $5 coupon
If you are tired of monthly subscriptions piling up, this offer is specifically for you. In celebration of Christmas, Aiarty is offering49% off Aiarty Image Enhancer Lifetime License. And that’s not all! You can also use the limited-time coupon “XMASSAVE” to save an extra $5. Originally priced at $155, now you can grab it for just $74 – the lowest-ever price!
With your purchase, you’ll enjoy:
Full access to all features and lifetime free updates
Installation on up to 3 Windows or Mac computers
30-day money back guarantee
One-time payment, no subscriptions or hidden fees
This is arguably one of the best value propositions in photo enhancement software this year. But is the software worth it? Let’s break down the performance.
Deep Dive: Why Aiarty Image Enhancer Belongs in Your Workflow
1. AI Denoise: The High-ISO Savior
Noise is the enemy of detail. Whether you are shooting indoor events, astrophotography, or wildlife at dawn, pushing your ISO is often necessary. Traditional noise reduction software works by blurring the image to hide the grain, which often results in the dreaded “waxy skin” effect or loss of fine textures like fabric or fur.
Aiarty uses advanced AI denoise technology to intelligently analyze the image. It distinguishes between luminance noise, chroma noise, and actual image detail. It allows you to remove noise from images without sacrificing the sharpness that your expensive lenses provide.
2. De-blur & Sharpening: Fixing the “Almost Perfect” Shot
Blur comes in many forms, and Aiarty tackles them all.
Camera Shake: Even with IBIS (In-Body Image Stabilization), handheld shots at slow shutter speeds can suffer from micro-jitters.
Motion Blur: Subjects don’t always stay still. A moving child, a running pet, or a swaying branch can ruin a shot.
Lens Softness: We all love vintage lenses or wide-open apertures, but they often lack sharpness at the edges.
Aiarty doesn’t just apply a “sharpening mask” which increases contrast at edges. Instead, it hallucinates (in a good way) the missing pixel data to reverse the blur. It restores edge definition and clarity without introducing the artificial white halos or “crunchy” look associated with over-sharpening.
3. The Upscaling Powerhouse: From Crop to Print
The freedom to crop is a luxury. Sometimes, your 200mm lens isn’t long enough, and you have to crop 50% or more of the frame to get the composition you want. In the past, such heavy cropping drastically reduced pixel density, rendering images unsuitable for large-format printing.
Aiarty excels in AI upscaling. Leveraging deep learning algorithms, it can enhance image resolution to 4K, 8K, 16K, and even up to 32K. Crucially, it generates new, realistic details and textures—like feathers, individual strands of hair, or intricate fabric patterns—rather than simply stretching pixels. This means you can crop without fear, transforming what would have been small, social media-only images into print-ready, large-format works with every pixel looking sharp and natural.
Furthermore, Aiarty allows for precise control over your output, enabling you to set custom DPI values directly within the software, a critical feature for professional printing workflows.
4. One-Stop Color & Tone Correction
While most professionals stick to Lightroom for grading, Aiarty includes a surprisingly robust set of adjustment tools. This is particularly useful for a “One-Stop” workflow. If you are rescuing an old, faded family photo or a poorly exposed JPEG where the RAW data isn’t available, you don’t need to open another app.
You can adjust temperature, tint, exposure, contrast, highlights, and shadows directly within the interface. It is perfect for quickly reviving the dynamic range and color vibrancy of an image immediately after denoising or upscaling.
Professional Workflow Features
Extensive Format Support (Including RAW)
It doesn’t just handle JPEGs. It supports a vast array of input formats including HEIC, TIFF, PNG, and crucially, RAW files. It works seamlessly with .CR3 (Canon), .ARW (Sony), .NEF (Nikon), .RAF (Fujifilm), .DNG, and virtually every other proprietary RAW format from Leica, Panasonic, Olympus, and Hasselblad. This means you can integrate it right at the start of your editing pipeline.
Hardware Acceleration
Processing AI models is demanding. Aiarty is optimized for GPU acceleration (NVIDIA, AMD, Intel), dramatically cutting down processing time and ensuring a much smoother workflow, particularly when dealing with large-format files or applying complex enhancements across batches.
Batch Processing
Have a folder of 500 shots from a wedding that were shot at ISO 3200? You don’t need to edit them one by one. You can batch process thousands of images.
Granular Control
Flexible Scaling: Many AI enhancement tools restrict control to fixed ratios (e.g., only 2x upscaling). Aiarty provides flexibility. It allows users to freely select the enlargement multiplier or directly set the final target resolution.
Strength Slider: The software offers an intensity slider to manually adjust the strength of the AI enhancement and sharpening. This ensures you can achieve the optimal balance between maximum quality improvement and preserving the image’s natural, artifact-free look.
Verdict: Don’t Miss This Deal
In the world of photography, “saving” a photo used to mean spending hours cloning and masking in Photoshop. Aiarty Image Enhancer turns that into a simple, automated process. It is the perfect companion to your existing RAW editor, stepping in when you need to go beyond the limits of your sensor.
With the Christmas Lifetime Deal, you aren’t just buying software; you are buying an insurance policy for your images. No monthly fees, just permanent access to better image quality.
A self-portrait I created during grad school. Photo: Abby Ferguson
Confession: this year has been a complicated one for me and my relationship with photography. It's been a year of conflicting emotions and unanswered questions about how to move forward with the medium. While I've already shared my reflections on some of my favorite photos taken this year, the end of the year also seems like a good opportunity for broader reflection about my place in the photographic world.
This year, I've been more involved in photography than ever before. On top of working at DPReview (for nearly a year now), I'm also teaching my second semester of photography at a local community college and I've joined local photography groups with regular meetups (a first for me). Photography has seeped into just about every aspect of my life and is part of every single day. It's become an all-consuming activity and topic. And yet, more than ever, I've also grappled with what this photography thing is to me at this point in my life. This year has challenged me to consider what kind of photographer I am and whether I'm creating work that I even want to make.
My thesis body of work from graduate school consisted of digital multiple exposures printed on transparency film and mounted to plexiglass. The work centered around the impact of failing memory, specifically visuospatial working memory. The image on the left is a very small segment of my thesis installation, with a close-up of one of the pieces on the right. Photos: Abby Ferguson
To understand why I've been grappling with this medium, some background may be helpful. I went to school for photography for seven and a half years. My undergraduate degree was a dual major in photography and art education, and I subsequently earned my Master of Fine Arts in the medium. Both my undergraduate and graduate programs were very conceptual, fine-art focused. I loved that side of photography, and it resulted in work that I am incredibly proud of to this day.
There was an interactive component of my thesis show as well. Visitors were invited to take one of the small images hanging from red string (a reference to an old memory trick), which left empty red strings by the end of the show (the image on the right). Photos: Abby Ferguson
Since graduating from graduate school, I have held a variety of photography-related jobs, all of which have been focused on the commercial or general industry side of the field. Being busy with a full-time job (and trying to make money) meant that the art side of my photography was largely pushed aside. I've made the classic excuses, including not having time and not having a dedicated space to create like I did in grad school.
I've continued to dip my toe in the art photography waters from time to time over the past decade, but not with any serious focus. There have been some conceptual self-portraits and a few series that I’ve started and stopped, but I haven't put forth the time or energy to develop anything in earnest or to get my work out there beyond my computer or the occasional Instagram post.
This is one of my more recent conceptual images, though it was taken in 2020. The red string has remained a consistent theme (or thread, if you will) in my work. Photo: Abby Ferguson
I'd already been struggling with missing the art component for some time, which has resulted in something of an existential crisis. I've been questioning whether I still like and am proud of my work since it isn't conceptually based. I've also been thinking a lot about the why. Why do I take photos? And why do I take photos of the things I do?
For a period of time, those questions resulted in my rarely taking photographs. Luckily, this year, I at least got over that hump and started shooting regularly again, largely thanks to the photo clubs. But those groups also brought all of my doubts and confusion into full view, partly because with these new people, I am frequently asked what type of photography I do. Quite frankly, I struggle to answer that question.
Film photography and photo walks with local groups (which this image is from) have brought the fun back to photography for me, though they have also brought some of my dilemmas to the forefront. Photo: Abby Ferguson
To a certain extent, it's always been that way, as I never narrowed down into one small niche as some do (and as I was constantly told to do). But it's been amplified lately. I always feel like I need some long, convoluted reply, or to have an asterisk at the end of it. Am I still a conceptual photographer at this point? I make lots of non-conceptual work, but is any of it any good? And how would I describe that work in a word or two? I can confidently say that I don't consider myself a landscape or wildlife photographer, but what type of photographer am I?
I wish I could say that as we wrap up this year, I've found my answer and can confidently say that I am a [fill in the blank] photographer or that I am in love with my photographs. Unfortunately, that's very far from the truth. While I created images I'm proud of, the big picture is something I am still wrestling with, and likely will continue to. For the time being, I'll just keep making work and perhaps find a renewed urge to put that work out there for others to see.
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Image: Sony
Sony has released an update for its ZV-E10 II that unlocks better slow-motion capabilities from the tiny vlogging-focused camera. While the addition of 4K120p recording is free, it isn’t delivered as a standard firmware‑only update.
Instead of being able to install new firmware, the typical way releases like these are disseminated, ZV-E10 II users will instead need to install a free license file. To do so, users can go to the Sony Creators' Cloud website and sign in with their account to obtain the license. Alternatively, you can generate a license without an account by entering your camera's serial number.
The upgrade also adds support for shooting Full HD footage at 240 fps.
In addition to the 4K/120 mode, the upgrade also adds support for shooting Full HD footage at 240 fps. There are some limitations with both additions, however. First, proxy recording isn't supported with either of the new frame rates. Additionally, Smart Zoom, Clear Image Zoom and Digital Zoom are also restricted when 4K120 recording or "slow and quick*" frame rates of 120 fps or higher.
The higher frame rate also comes with a more substantial crop. At 4K60, the ZV-E10 II uses a 1.1x crop (with stabilization off), while the updated 4K120 mode results in a 1.6x crop, which is a relatively substantial change in your field of view.
While the upgrade license required to unlock the new recording modes requires some extra steps compared to a typical firmware update, it being free makes that a bit easier to swallow. It also makes the ZV-E10 II an even more capable and versatile vlogging camera.
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Images: Sony / Mitchell Clark
It's not terribly often that I get to test something that's unlike any other piece of equipment I've used before, but from the moment I laid hands on it, I knew the Sony FE 50-150mm F2 GM would provide one of those rare occasions. I'd used both Sony's and Canon's 28-70mm F2s before, but was excited to have that same speed and level of versatility in a telephoto zoom. All the lens had to do was have decent image quality, and I'd have been delighted.
Given that this is a Gear of the Year article, you probably won't be surprised to hear that it surpassed that benchmark. Even wide-open, I was impressed by how sharp it was, capturing as much detail as I wanted (at least, in the razor-thin silver of the scene that was in focus). I was also impressed at how well it handled chromatic aberration, even in relatively harsh conditions. Sure, there's a touch of color fringing in this image, but given that it was taken with a zoom, wide open in direct sunlight, it's more than acceptable in my book.
Beyond any technical aspects, though, there was just something about this lens that I really enjoyed. Perhaps I simply really enjoy this focal range. Or maybe it was the amount of subject separation I could achieve at the long end, the quality of the bokeh at F2, or the fact that I could be taking environmental portraits at one moment, spot an animal in the distance, and get a decent picture of it without having to change lenses or get too close to it.
Realistically, I suspect it's actually that this lens offers all of that, without being impossible to lug around and shoot with. Make no mistake, this lens is definitely a commitment to take with you; it's just not an undue one. In fact, it weighs less than Sony's original 70-200mm F2.8 GM OSS, though the newer version of that lens is 30% lighter than the 50-150. I'm not exactly known for packing light, so take this assessment with a grain of salt, but I never hesitated to take it out with me on a photo walk while I was testing it, which hasn't always been the case with other F2 telephotos I've tested (not that those lenses are particularly comparable).
The elephant in the room is the price. At $4000, most of the people buying this lens are likely to be professional sports or wedding photographers, rather than enthusiasts. But having had the opportunity to use it as the latter, I find myself envying those who can justify getting one. While I'll always preach the gospel of finding ways to be creative with what you already have, I'll also acknowledge that sometimes a piece of gear – especially lenses – can just catch you in a certain way, meshing with your creative instinct in a way that others don't.
I got that feeling shooting with the 50-150mm F2; if I had the means, I would definitely be picking one up. The engaging experience of using it made it my favorite example from what's been an impressive run of lenses from Sony: the 16mm F1.8, 100mm F2.8 Macro GM and the 28-70mm F2 from late last year. I'm left wondering what their optical division will come out with next... and impatiently waiting to get to shoot with it.
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My favorite photo from this past year was of my favorite season, in one of my favorite places and taken with my current favorite camera.
Mamiya RB67 | Kodak Portra 400
I am a notoriously indecisive person and rather hate making decisions in most situations. So, when tasked with choosing my favorite photograph from the past year, I immediately started agonizing. How on earth is one to select only a single photo that, theoretically, represents an entire year?
With that in mind, I started combing through the thousands and thousands of images I've created this year. I've documented hikes, vacations, work trips, family time and quiet moments at home. I've also participated in numerous local photography club photo walks. The end result is an overwhelming number of images across a diverse set of subjects and genres to choose from. As I scanned through all of them, one kept popping back into my head.
If you aren't familiar with the Mamiya RB67, here I am using it at the beach. This wasn't where I took the image at the top of the article, or immediately below, but it is where I took the image of the stilt house in the gallery at the bottom. Photo: Anthony Verdi
I took the image while I was home in Minnesota, where I grew up. I try to make a pilgrimage there every fall, since I've lived in tropical environments for the past six years and desperately miss dramatic seasons. This year, I lugged home my Mamiya RB67, which my husband gave me for Christmas last year and is my new prized possession.
While I've taken plenty of images that I really like with that camera over the course of the year (some of which you can see in the gallery below), this one stands out to me as a favorite. There's no grand story behind it; the light was simply nice on my last evening at home, and I wanted to finish the rolls of film in my cameras before my flight the next day. So I wandered down to the pond in my parents' backyard with my mom and took some images (admittedly with three separate cameras, as any sane photographer would do).
I remember when I got scans back, it stopped me in my tracks. It's an image that I'm very proud of, especially since I managed it on a camera with no built-in light meter and no autofocus. The colors, the light and the subject tick a lot of boxes for me. That it was taken with my beloved film camera in one of my favorite places makes it even better for me. Add to all that the fact that my mom was standing next to me, watching me do my thing, and it's hard to imagine not choosing this image.
Another image that I took on the same roll of film that evening, which others have said is their favorite.
At the risk of rambling about far more than a single photograph – which is the point of this article – let me address the potential elephant in the room: yes, I'm highlighting a film photo at Digital Photography Review. But, you see, 2025 was a year of returning to film (which is how I learned photography) in earnest for the first time since I earned my Master of Fine Arts a decade ago. Some may see that as a foolish or even pointless decision, but I love using film for many reasons. I still use digital cameras constantly (I do work at DPReview, after all), but there were plenty of times this year that I left the digital camera at home in favor of my trusty Pentax K1000, or that I turned to my Mamiya instead of my Sony.
As a result, my list of favorite photos from the past year is a mix of both digital and film (both 35mm film and medium-format). And since I am so indecisive, here are some of those that nearly made the cut of my top image.
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In this week's Question of the week, members of the community said the biggest positive changes to their photography came from simplifying their gear and embracing a few smart tools and habits, rather than chasing specs alone.
Some of you pointed to big-ticket purchases, such as returning to interchangeable-lens systems after a long absence or investing in a medium-format body. In contrast, others highlighted inexpensive adapters, flashes, or AI tools that quietly transformed your workflow. A recurring theme was that anything which removed friction, such as lens changes, menu-diving, clunky tripods, or excessive retouching, freed you to focus more on composition, timing, and storytelling.
Read on for a spotlight selection of contributions, and then join our forum community to share your great photos and the stories they tell.
Several community members did point to new cameras or lenses as their standout change, but not only for the specs. What mattered most was how a body or lens made them feel: whether they were more inclined to get out to take photographs, more confident handling the camera or less distracted by constant gear decisions.
Alan Sh: I know it sounds odd, but buying the Fuji X-E5 rekindled my excitement for street photography. The camera just felt 'right' in my hand - much more so than the X100VI I had purchased over 12 months before.
barefeetDave: New gear. Pulled the trigger and picked up the Panasonic Lumix S1R2… It's a heavy kit, but the images I get are terrific. I love the tactile controls of the S1R2 - I rarely have to dig into the menus to change setup.
Poppamies: Getting my telephoto zoom for Fuji, the Sigma 100-400 DG dn os. They say gear doesn't matter, but it does, wildlife is hard with a 16-80mm zoom, haha.
tvgc: The battle of size was the most influential contributor to my photography this past year. Aging brings challenges, and I found myself looking for a camera that I could carry without significant IQ compromises, but wasn't too bulky in size. I was fortunate in that I had the opportunity to try a couple of the Internet's favorite compacts. I had owned a Sony RX1RMK2 and really enjoyed it, a few years ago I foolishly sold it when I moved to the Sony A7C models.
MyReality: In 2025, I shot a lot more video, had a lot of slides scanned, and had an 80-image book printed. I did not buy more gear because my photography is shifting more to video, and I have made no decision on cameras. 2026 will be the year I buy a much more videocentric camera.
Howard V: My photography was most influenced in 2025 by a newly purchased iPhone 16 Pro. I decided to delve more deeply into its features than previously owned models, and into phone photography as a legitimate approach. To reinforce this, I shelved all other photo equipment. At first, it felt novel, but then it became less pleasant as its shortcomings became more evident. But I mostly stuck it out until July.
For others, the biggest impact came from how they worked rather than what they bought. The community described small studio and workflow changes that paid big dividends in consistency, efficiency and enjoyment.
sirhawkeye64: For me, it was just getting out more and shooting more with what I already have. No need for newer/better gear, but just getting out, experiencing new things, and practicing is what had the biggest impact for me over this past year+. I'm at the stage where I don't need/necessarily want the newest, most expensive gear. I just want capable gear, which is what I have for what I shoot. It's not the latest or fastest, but it gets the job done. Now I'm focused more on shooting and making memories.
Sam Bennett: This one's easy - re-adopting the habit of having an 'every day carry' camera. Going to the coffee shop wasn't just about getting caffeinated; it was about getting creative. One of the biggest benefits of this is that the OM-3 has become an extension of my body - I use it so often that it is completely second nature. It has also helped me use my OM-1 differently and more efficiently - I understand that camera better now than I did before I got the OM-3.
Krummj: I’ve been printing more. But printing on the small side, 5x7. Printing is quick with the small size, and the photos look great. For shooting, I've been having fun with adapted Nikon G primes (these were made for full-frame DSLR and film Nikons). Adapted to my ZF and Z7, they work perfectly, and the images have something I like about them compared to the latest Z lenses (don't ask me what).
1) Read all books by Bryan Peterson - they helped in several aspects 2) Started to use Canon Linear profile while doing RAW processing from my Canon RP. 3) Started to use DxO PureRaw, which saved a lot of my ISO 1600+ shots. 4) Bought Canon EF 16-35 F4 IS (used a EF-S Sigma 2.8 before) in addition to my Tamron 35-150 2.8-4.0 and Canon EF 100mm f2.0. 5) Finally started to shoot much more. It improved me very much. 6) Try to shoot as best as I can directly from my camera
AI and software didn’t dominate the thread, but when they came up, readers said they quietly transformed post-processing. The focus was less on flashy effects and more on tools that removed tedious cleanup work.
Vince P: I know it's blasphemous, but the latest AI distraction, reflection removal, etc, has saved me so much time.
Maoby: The new AI features in photo editing software, such as LR, are fantastic when used intelligently and sparingly.
JaredL: Cancelling my Adobe subscription after more than a decade. I'm still getting accustomed to DxO PhotoLab, and it's been fun revisiting and re-editing photos from years ago to see the results.
icexe: Learning how to utilize Adobe Camera Raw better to do post-processing. I've learned a lot of really cool masking and lighting techniques to create just about any look I like without relying on plug-in ‘film packs’ or recipes to do it.
Community, learning, and life‑experience driven shifts
Several readers mentioned that their biggest leap occurred when they changed how they viewed and shared their images. Printing, in particular, emerged as a surprisingly powerful habit.
fotoword: Camera club membership drives me to get out of my chair and my comfort zone to enter the various themed and open competitions in my local club. I think this challenge, along with attending meetings with like-minded individuals, is what mostly gets me motivated.
Acquiring an XT50 earlier in the year and later a Canon 45 mm F1.2 for my R8 helped make those excursions even more interesting. I'm just waiting for my Godox IT32 to arrive to elevate the excitement that photography provides. Of course, it's not about the gear, but it does assist the enthusiasm.
Pavel Vishniakov: I started going to photo workshops and master classes organized by a local photo gear chain. It also pushed me to look at the world differently and capture photos that I wouldn't have thought of myself.
fatplanediaries: 2025 was when I decided to launch myself by doing well in as many photography competitions as I could. It was a humbling experience. I found out how far I still have to go.
It's now the end of 2025, and I can look back at my 2.5-year panorama odyssey with good clarity. There are many obvious lessons to get out of the way. For one, the Dunning-Kruger effect can haunt you at any stage of your creative life. For another, don't have such an ego. I've since received critiques from some really amazing photographers on my photos, and learned about aspects of photography I'd never known before.
Pedrin: Hello, everyone. This is my very first time posting on this website. I am now totally blind, with some light and form perception remaining. I was able to go forward and still photograph for the pleasure of others to see, and for the pleasure of me going back to very basic manual. I am therefore experiencing the joy of my photography as I have throughout my whole life.
Change that brings enjoyment
Across all these stories, it's clear that the most impactful change in 2025 was anything that made it easier to shoot often and enjoy the process - whether that came from a new camera, a smarter workflow or a simple habit that stuck.
Are you interested in participating in this series? Keep watch for the next Question of the week every other Wednesday, posted as an article here on the homepage and also in the forums. We can't wait to read and share your stories.
Earlier this year, Adobe made it possible to use third-party AI models in Photoshop, but now, the reverse is also true, and the company is bringing its own tools to AI chat platforms. Adobe is integrating Photoshop, Adobe Express and Adobe Acrobat with ChatGPT, allowing users to access select Adobe tools directly in the AI-powered conversational chatbot, for free.
Adobe says the integration aims to make it easier for everyone to edit photos, design invites and posters and create professional-looking documents. Users will be able to use ChatGPT’s conversational interface to request changes, instead of hunting for the correct tool themselves. The move builds on Adobe's AI Assistants and its beta Edit Suggestions feature, which it introduced at Adobe Max as its first step in testing "agentic style" editing.
Image: Adobe
To access the apps in ChatGPT, users need to type the name of the app or select it from the plus menu. Then users type a specific request describing the change they want. For example, if someone wants to change the colors in an image, they need to type something like, "Adobe Photoshop, warm up the colors in the image." After applying the adjustment, users can click on the selection and use sliders to fine-tune the edits, similar to what they might do in Photoshop (or at least a pared-down version of it).
Image: Adobe
Photoshop in ChatGPT won't offer the full suite of features found in the desktop software or mobile app. But it will allow for adjustments to a specific part of an image, provided you can define the section you want changed. It also supports changes to global image settings such as brightness, contrast and exposure, along with creative effects like Glitch and Glow. Adobe says that those who want more complete adjustments can then transfer an image from ChatGPT into its native apps and pick up where they left off.
The Adobe ChatGPT apps are available on desktop, the web and iOS. The Adobe Express ChatGPT app can be used on Android devices, and Adobe says that support for Photoshop and Acrobat is coming soon. All of the apps are free to use, and they don't require a paid ChatGPT subscription. However, some Acrobat and Adobe Express features do require users to sign in to an Adobe account.
Press release:
Adobe Makes Creativity Accessible for Everyone with Adobe Photoshop, Adobe Express and Adobe Acrobat in ChatGPT
Everyone can now edit with Photoshop in ChatGPT as Adobe’s category-defining creative app launches inside one of the world’s most popular conversational AI platforms
Adobe apps for ChatGPT combine the simplicity of conversation with the power of Adobe’s industry-leading tools to make it easy for everyone to edit photos, enhance designs and transform documents without leaving ChatGPT
The launch of Adobe apps for ChatGPT brings Adobe’s most popular creative and productivity apps – Photoshop, Adobe Express and Acrobat – to ChatGPT’s 800 million weekly users
SAN JOSE, Calif. — December 10, 2025 — Adobe (Nasdaq:ADBE) today launched Adobe Photoshop, Adobe Express and Adobe Acrobat for ChatGPT, bringing its industry-leading creative and productivity apps to the platform’s 800 million users. Adobe apps for ChatGPT build upon the company’s innovation in agentic AI, enabling everyone to easily enhance vacation photos, design event invitations and create polished, professional documents simply by describing what they want to achieve with their words. By combining the power of Adobe’s creative technology with ChatGPT’s conversational interface, Adobe apps for ChatGPT make creativity accessible for everyone.
"We’re thrilled to bring Photoshop, Adobe Express and Acrobat directly into ChatGPT, combining our creative innovations with the ease of ChatGPT to make creativity accessible for everyone," said David Wadhwani, president, digital media, Adobe. "Now hundreds of millions of people can edit with Photoshop simply by using their own words, right inside a platform that’s already part of their day-to-day."
The launch of Photoshop, Adobe Express and Acrobat for ChatGPT builds on Adobe’s ongoing innovation in conversational experiences powered by agentic AI and the Model Context Protocol (MCP). Earlier this year, Adobe launched Acrobat Studio, a destination for productivity and creativity that transforms static documents into interactive, AI-powered workspaces where people can ask questions, get insights, and easily create standout content from their PDFs. At Adobe MAX, Adobe introduced AI Assistants for Photoshop and Adobe Express that empower everyone to create using their own words and refine results using the company’s world-class tools. Adobe also previewed an upcoming AI Assistant for Adobe Firefly that will empower creators to quickly turn their ideas into finished content by working across multiple Adobe apps and beyond.
Adobe’s Top Creative and Productivity Apps Now in ChatGPT
Adobe apps for ChatGPT bring Adobe’s category-defining tools to people who may be new to its apps. The apps provide users with many popular features they need to create within the chat, where they can make conversational edits or take control using Adobe’s intuitive tools like sliders in Photoshop, to adjust image brightness or contrast.
Accessing Adobe’s apps in ChatGPT is as simple as typing the name of the app followed by an instruction. For example, to blur the background of an image with Photoshop, users can type: "Adobe Photoshop, help me blur the background of this image." ChatGPT then automatically surfaces the app and uses contextual understanding to guide the user through the action. To learn more about how to get started with Adobe apps for ChatGPT, read here.
With Adobe apps for ChatGPT, users can:
Easily edit and uplevel images with Adobe Photoshop: Adjust a specific part of an image, fine-tune image settings like brightness, contrast and exposure, and apply creative effects like Glitch and Glow – all while preserving the quality of the image.
Create and personalize designs with Adobe Express: Browse Adobe Express’ extensive library of professional designs to find the best one for any moment, fill in the text, replace images, animate designs and iterate on edits – all directly inside the chat and without needing to switch to another app – to create standout content for any occasion.
Transform and organize documents with Adobe Acrobat: Edit PDFs directly in the chat, extract text or tables, organize and merge multiple files, compress files and convert them to PDF while keeping formatting and quality intact. Acrobat for ChatGPT also enables people to easily redact sensitive details.
By delivering intuitive actions in ChatGPT, Adobe is expanding access to its most popular apps, reaching new audiences where they already work. For anyone who wants the full power and precision of Adobe’s tools, it’s seamless to move from ChatGPT into Adobe’s native apps and pick up right where they left off.
Pricing and Availability
Photoshop, Adobe Express and Acrobat for ChatGPT are free to ChatGPT users globally and available starting today on ChatGPT desktop, web and iOS. Adobe Express for ChatGPT is also available on Android, with support for Photoshop and Acrobat for ChatGPT on Android coming soon.
The Tele Conversion Lens (TCL) gives X100 series photographers a 50mm equivalent focal length. Image: Viltrox
Viltrox has announced two conversion lenses for the Fujifilm X100 series of cameras. The TCL-X100VI (Tele Conversion Lens) and WCL (Wide Conversion Lens) aim to provide greater flexibility by offering two additional fields of view from the fixed-lens cameras.
Fujifilm's X100 series cameras all feature a fixed, built-in 23mm (35mm equiv) lens. That focal length is relatively versatile, but the single option is inherently limiting. The conversion lenses give Fujifilm X100 users two additional options. The TCL results in 1.4x magnification, effectively turning the lens into a 50mm equivalent. The WCL offers a 0.8x magnification, equivalent to a 28mm lens.
The Wide Conversion Lens (WCL) results in a 28mm equivalent focal length. Image: Viltrox
Viltrox says that both conversion lenses use professionally engineered optics to prevent any degradation in image quality or light transmission. They feature an optical design comprising five elements in four groups. The TCL benefits from two high-refractive-index elements and one extra-low-dispersion element, while the WCL offers two refractive-index elements. Both use multi-layer nano coatings to reduce vignetting. The TCL accepts filters with a 67mm filter thread, while the WCL uses 49mm filters.
Both the WCL and TCL are available in black and silver. Image: Viltrox
The conversion lenses are easy to attach, simply screwing onto the camera's built-in lens. Viltrox explained that on fourth-generation and later devices (X100F, X100V, and X100VI), the camera will automatically detect conversion lenses and adjust the appropriate settings, including built-in distortion and vignetting correction. Both the TCL and WCL are available in black and silver and are designed to match the X100's retro look. Both are compact and lightweight, with the TCL weighing 230g (8.1oz) and the WCL 130g (4.6oz).
Fujifilm makes its own conversion lenses for the X100 series (the similarly named WCL-X100 II and TCL-X100 II), which offer the same magnification levels. They both cost $400, though. The Viltrox TCL and WCL are, in keeping with Viltrox standards, more affordable. They are available for purchase today for $189 for the TCL and $159 for the WCL.
Nikon has announced that it's bringing nine "Imaging Recipe" color profiles inspired by popular color grading looks for its Red cinema cameras. The company says it'll let users get cinematic-looking videos straight out of camera. It's Nikon's latest announcement tied to its Red cinema brand, after it released the video-focused Nikon ZR earlier this year.
Four of them – CineBias, CineBias Offset, Film Bias Bleach Bypass and Achromic – will be familiar to Nikon users, as they've been available as Lookup Table files, or LUTs, for a while. While those are relatively subtle color modes, the newly-added ones push things a little further, which you can see below.
Unlike when Nikon released a few Red-inspired LUTs for its Z-series cameras last year, this release isn't coming in the form of standard Lookup Table files. Instead, Nikon is distributing them through its Imaging Cloud service, and they'll be applied to your H.264/H.265 videos as you record them. That means you'll only be able to use them on cameras that support Imaging Cloud, a list that includes the ZR, Zf, Z6III, Z5II and Z50II, though notably not the Z8 and Z9. That's a bit awkward, given how much effort Nikon has put into making those extremely capable video cameras.
Unlike with a standard LUT, you can't apply the looks to N-Log footage you've already shot; they have to be baked in at the time of shooting. That also means you're giving up the editing latitude you'd usually get with Log footage to gain the cinematic looks.
That likely speaks to the audience that Nikon is focusing on with these looks: not professional filmmakers trying to cut video from their Nikon mirrorless cameras together with footage from Red cinema cameras, but creators who want cinematic-looking footage without having to do a lot of editing work. That's almost certainly a bigger market, and those looking to use the Red Creative LUTs can do so with footage from the ZR, but it's still a bit disappointing that Nikon isn't taking a more open approach, especially given that Fujifilm just released a bunch of its own "Film Simulations" as more broadly compatible LUTs.
The Northern Lights Photographer of the Year competition has announced its 2025 winners. Hosted by travel photography blog Capture the Atlas, this marks the 8th year of the contest and highlights 25 of the most outstanding Aurora images captured over the past year.
The selected images from this year's contest showcase stunning scenes from across the Northern and Southern Hemispheres. The top 25 photographers represent 15 nationalities, with image locations ranging from Iceland and Norway to Australia and New Zealand and more. Geomagnetic activity was exceptionally high throughout the year, allowing photographers opportunities to capture Aurora Borealis and Aurora Australis in unusual locations.
The winning images are curated by Dan Zafra, editor of Capture the Atlas, with the selection based on image quality, the story behind the shot and the inspiration the photo conveys. You can see all 25 of the winning images and find tips on photographing the Northern Lights at Capture the Atlas.
Lights & Ice
Photographer: Tori Harp
Location: Aoraki/Mt Cook National Park, New Zealand
Camera gear: Sony a7R IV, Sony 20mm F1.8 G
Technical details: Sky and ice cave: F1.8, ISO 2000, 20 sec; Abseiler shot: F2.8, ISO 1250, 1/50 sec
Caption: I originally found this ice cave, called a moulin, 8 months prior to setting up this shot in Aoraki/Mount Cook National Park. Glaciers are a very dynamic environment, so I kept going back to monitor the changes of this moulin over the 8-month period. As the opening of the cave formed, I envisioned setting up a night shot with my friend abseiling down the mouth of the cave with New Zealand’s amazing starry sky in the background.
One magical night, everything finally came together! To my surprise, the Aurora Australis also lit up the sky. I managed to capture my friend’s silhouette perfectly placed in the center of the cave’s opening, and I love how the pinky tones of the aurora contrast with the icy colors of the cave. This dream shot ended up coming out better than I had originally envisioned, and I had a great night with my friends exploring the glacier!
Essence of the Arctic Night
Photographer: Giulio Cobianchi
Location: Haukland Beach, Lofoten islands
Camera gear: Nikon Z6II (astro-modified), Nikon Nikkor Z 14-24mm F2.8 S
Technical details: Panoramic of 21 shots in 2 rows:
Sky: 10 shots, 14mm, F2.8, ISO 5000, 10 sec
Landscape: 10 shots, 14mm, F3.5, ISO 5000, f3.5, 13 sec
Myself: 1 shot, 14mm, F3,2, ISO 6400, 8 sec
Caption: Autumn in the Arctic is the best time to capture the “double arc” of the Milky Way and the Aurora Borealis. The nights have finally turned dark again after the endless summer days when the sun never sets. The summer Milky Way is already high in the sky shortly after sunset, and the Northern Lights return to dance across the sky in bands of pink, red, violet, and green.
During my last tour in September, I captured this 360° panoramic image at the border between Haukland and Vik Beach, where rugged mountains meet the wild Norwegian Sea. The intense Northern Lights and the bright moonlight softened the Milky Way, but the combination of all these elements in the Arctic sky felt absolutely magical — just as the Lofoten Islands always do.
Frozen Silence Beneath the Lights
Photographer: Nikki Born
Location: Riisitunturi National Park, Finland
Camera gear: Canon EOS R6, Sigma 14-24mm F2.8 DG HSM Art
Technical details: 14mm, F2.8, 10 sec
Caption: This night was truly unforgettable. Capturing the famous frozen trees of Riisitunturi beneath the Northern Lights had been a dream for years.
In March 2025, we set out to make it happen, but the weather challenged us with thick clouds all week. On our final night, we hiked into the park, hoping for a glimpse of the sky. The wind was biting, and we took shelter among the frozen trees, waiting in silence. After hours of nothing, we finally gave up and began the hike back to our cabin.
Then, just as we were about to call it a night, a break appeared in the clouds. We grabbed our gear and hurried back up the Riisitunturi Hill. The moment we reached the top, the sky burst into vivid shades of green. It was an explosion of light and wonder.
This night was the experience of a lifetime: the dream shot I had longed for and a moment that words can hardly describe. Photographing the Northern Lights demands patience and persistence, but when they finally appear, time stands still, and nature reminds you just how amazing our world can be.
Sueños en Eystrahorn
Photographer: Pablo Ruiz
Location: Eystrahorn, Iceland
Camera gear: Nikon D810, Nikon AF-S Nikkor 14-24mm F2.8G ED
Technical details: Panorama 2 rows of 8 photos:
Sky: F2.8, ISO 6400, 6 sec
Ground: F2.8, ISO 6400, 15 sec
Caption: Without a doubt, one of the most challenging aurora panoramas I’ve ever taken was this one at one of Iceland’s most spectacular locations.
Capturing a panorama with reflections and auroras that move so quickly is quite difficult. It was the photograph of my dreams, so I arrived in the afternoon to prepare the angles and options for the night. Clear skies and very little wind looked perfect for capturing reflections in the different pools.
Auroras were already visible in the sky during the blue hour, so I quickly headed to the spot where I had planned the composition. The wind shifted, making it difficult to capture the reflections, but the moment the sky exploded, the wind stopped, and for a few brief moments, I achieved my dream photograph. It was a great joy to witness and capture such a moment.
Twisting Turn
Photographer: Virgil Reglioni
Location: Scoresbysund, Greenland
Camera gear: Sony a7C II, Laowa 15mm F2 Zero-D
Technical details: 15mm, F2.0, ISO 2500, 1.3 sec
Caption: Behind every image lies a deliberate process — a fusion of coordination, timing, and technical precision carried out from a ship navigating some of the harshest conditions on Earth. Photographing the aurora over the ice is never about luck; it’s the result of preparation, teamwork, and experience. From the ship’s bridge to the camera deck, every movement is carefully planned to give the lights their best possible stage.
During the day, we navigated through fields of icebergs, scouting for the perfect one — a curve, a ridge, or a translucent arch to anchor the composition. Guided by how the aurora moves across the Greenlandic sky, we aligned our chosen iceberg and ship precisely, uniting earth, ice, and sky in one luminous image.
Working closely with the bridge crew, we searched for newly formed ice strong enough to hold the vessel steady. A stable platform was vital — it allowed us to capture long exposures between half a second and two seconds, every moment of stillness essential as the aurora began to dance above.
When the Northern Lights intensified, our focus shifted. We exposed for the highlights, preserving the delicate shapes of light without losing their definition. Each frame became a balance between nature’s raw power and the patience of observation.
Aurora Comet Lemmon
Photographer: Petr Horálek
Location: Skaulo, Sweden
Camera gear: Canon EOS Ra, Sigma 50mm F1.4 EX DG HSM
Technical details: F1.4, ISO 2500, 3.2 sec
Caption: The night of 24 October, 2025, was incredible. I had just moved to Sweden, where I organized an astrophotography workshop. We headed to Skaulo, where we found an incredible viewpoint over Suotojärvi Lake.
This night coincided with the C/2025 A6 (Lemmon) Comet, which was only discovered back in January 2025. The comet was so bright that we could see it with our naked eyes, even when it was very low on the horizon.
Fortunately, I had my camera with me! I photographed the comet darting through the sky beside the bright Aurora Borealis. Capturing two stunning natural phenomena in one shot was an exhilarating experience. The comet and the aurora appeared to be in a sort of dance, giving us an amazing show that I’ll remember forever.
Corona Blast Aurora Geomagnetic Storm
Photographer: Roi Levi
Location: Kirkjufell, Iceland
Camera gear: Sony a7S III (astro-modified), Sigma 14mm F1.4 DG Art
Technical details:
Caption: This image was captured during the March Equinox, as a geomagnetic storm structure brought a mesmerizing light show. A full-zenith Auroral Corona erupted overhead – powerful, bright pillars of light radiated across the sky, creating a stunning crown-light blast shape.
This rare phenomenon occurred on March 21, 2025, when a CME struck Earth, triggering a G2 geomagnetic storm. The shot is a 360° panoramic stitch of 21 frames, capturing the entire Aurora shape and a complete sky view. I used a Sigma Art fast F1.4 lens to get a fast exposure and capture the pillar structure.
Kirkjufell is one of Iceland’s most iconic mountains, and witnessing the aurora here was a one-of-a-kind experience. With the Kirkjufellsfoss waterfalls in the foreground, this image is a dynamic representation of the sweeping auroral corona.
Speechless
Photographer: Ralf Rohner
Location: Hudson Bay, Canada
Camera gear: Canon EOS R (astro-modified), Sigma 28mm F1.4 DG HSM Art
Technical details: F2, ISO 6400, 5 sec
Caption: I was flying at 35,000 feet over Hudson Bay, Canada. As a commercial pilot, night flights often test one’s patience and endurance. Confined to a narrow seat, surrounded by seemingly never-changing instruments, the pilot stares into a boundless darkness and wonders what drives him to endure such long, lonely hours. The monotony can seem endless – until suddenly, everything changes. There are rare nights when the sky rewards you for all that fatigue and isolation.
Above a silent sea of clouds, cocooned within a fragile shell of metal, the pilot witnesses something extraordinary. Curtains of light dance across the heavens, painting the darkness with vivid greens and purples. In that breathtaking moment, every struggle feels justified, and words simply fail. What I couldn’t express with words, I captured in this photograph.
The Northern Crown
Photographer: Mari Jääskeläinen
Location: Pyhäjärvi, Finland
Camera gear: Sony a7 III, Sigma 14mm F1.8 Art DG HSM
Technical details: F2, ISO 2500, 1.6 sec
Caption: I step outside and take a look at the sky above my house. It’s time. I feel the adrenaline rush in as I gather my gear and put on more warm clothes.
Just a quick drive to the lake nearby and I’m all set up for the night! During active nights, I always follow the real-time solar wind data to predict what’s yet to come. On this night, there were no significant CMEs as far as I remember. And I was perfectly fine with that, as this could be the night when I finally get the shot I’ve dreamed about for a long time.
In my mind, I imagine the Northern Lights creating a clear, bright green spiral to the northern sky, just above the trees, so the foreground would fit perfectly into the frame. I couldn’t believe my eyes when the auroral arc started taking the exact shape I had only dreamed about for so long! Perfect reminder of how beautiful these subtle auroras can be!
Neon Nightfall
Photographer: Andres Papp
Location: Türisalu, Estonia
Camera gear: Canon EOS 6D, Samyang 14mm F2.8
Technical details: F2.8, ISO 6400, 5 sec
Caption: I shot this image on a quiet, rocky beach as a strong aurora storm rolled in from the north. At first, it was just a low green arc, but it quickly erupted into vertical curtains of lime and rare magenta. To connect the sky with the foreground, I illuminated the shoreline rocks with a strong 365 nm UV light torch, which made the minerals pop and added the surreal glow you see in the image.
The challenge was balancing everything—an exposure of about 5 seconds to keep the aurora structure sharp and managing the UV spill so it didn’t look artificial. What keeps me coming back to Northern Lights photography is this mix of science and magic: you study forecasts and KP indices, but the real reward is when the sky does something unexpected, and you’re prepared to capture it in a single, colorful frame.
Gibson Steps Aurora
Photographer: Jeff Cullen
Location: Great Ocean Rd, Victoria, Australia
Camera gear: Canon EOS 5DS, Samyang 14mm F2.8
Technical details: F2.8, ISO 1000, 30 sec
Caption: I had been struggling to find the motivation to get out and shoot. The aurora was predicted, as were the clouds, but I decided to take the chance and drive the hour to this iconic destination. The cloud prediction was correct, but I still went down the 86 steps to the beach and crossed the sand to the Gog and Magog sea stacks. The clouds started to clear, and I was able to shoot some great images before the aurora died down. I packed up and had another nearby destination in mind.
Climbing back up the stairs, the beams were so big and bright in the corner of my eye! I ran back down to the beach and quickly set up my camera again. This image shows the magic that happened that night; I was absolutely amazed and astounded that such a weak aurora forecast brought me such a brilliant show.
Moral of the story: Go and shoot! There is nothing to lose, but the finest nature photos to gain.
Guardians of the Aurora
Photographer: Daniel Mickleson
Location: Taranaki, New Zealand
Camera gear: Canon EOS R5, Canon 16-35mm F2.8L II USM
Technical details: F2.8, ISO 1250, 13 sec
Caption: A rare aurora event lit the west coast of New Zealand’s North Island in vivid curtains of pink and green. In the foreground, the rock formations known as the Three Sisters stand as guardians of the shoreline, while the sacred Taranaki Maunga rises in the distance. Within Te ao Māori (the Māori worldview), such natural features are not just landscapes but ancestral presences, carrying the role of guardianship. Beneath the aurora, earth, sky, and ancestry converge in a moment both fleeting and timeless.
After capturing my first aurora during the May 2024 storm, I was hooked. Travelling several hours from my home to this special location, I hoped the forecasts would be correct. Even with a near–full moon, the powerful display shone across the sky. I could see the beams dancing overhead — a truly spectacular sight.
One Autumn Night
Photographer: Jesús Garrido
Location: Abisko, Sweden
Camera gear: Sony a1, Sony FE 14mm F1.8 GM
Technical details: F1,8, ISO 4000, 3.2 sec
Caption: The 1st of October 2025. That night, at the very moment I stepped outside my home, I somehow knew it was going to be a great one. The solar activity was looking really good, and I kept thinking that I had to find some open water to catch those reflections. Soon, the lakes would be completely frozen and covered in snow, so this felt like the right time to look for reflections before winter settled in.
I drove to a little bay of Lake Torneträsk in Abisko, a place I like because it’s usually quiet and protected from the wind. A few moments after arriving, the Northern Lights started to move slowly across the sky, and then suddenly they began to dance. Red tones rose on the southern horizon while the lake remained perfectly still, reflecting every single thing that was happening above me.
Celestial Fireworks on New Years
Photographer: Sara Aurorae
Location: The Otways, Victoria, Australia
Camera gear: Nikon Z7II, Nikon Nikkor Z 20mm F1.8 S
Technical details: Panorama: 6 Frames, F2.5, ISO 1250, 13 sec
Caption: On New Year’s Day, beneath the dark Australian sky, my friends and I were met by celestial fireworks with the Aurora Australis unfurling in a sudden, breathtaking bloom above our quiet campsite in the Otways of Victoria. Ribbons of rose, violet, and green shimmered, visible even to the naked eye, as if the universe itself had heard our resolutions for 2025 and joined in our celebration.
The spectacle arrived without warning, giving me only moments to reach for my camera. Though the foreground may be plain, I don’t mind it, as the lines of trees on the right lead your eye to the stunning light show in the sky. This photograph holds something far greater — a reminder that even in life’s simplest scenes, magic can find us when we least expect it.
Auroral Reflections
Photographer: Travis D. Amick
Location: Ketchum, Idaho, USA
Camera gear: Sony a7R IV, Sony FE 14mm F1.8 GM
Technical details: Single shot, 14mm, F1.8, ISO 2000, 8 sec
Caption: The night commenced with the eagerly anticipated arrival of a large coronal mass ejection (CME) destined to impact Earth. CMEs, a primary cause of significant aurora displays, serve as an excellent catalyst for the aurora to be observed in lower latitudes, particularly during substorms, which are brief “bursts” of heightened auroral activity.
The notification of a CME impact came ringing in much earlier than expected from SpaceWeatherLive. I was well prepared and quickly headed out to a secluded pond just north of Ketchum, Idaho. After the initial impact, time seemed to slow down, and only a faint auroral glow was present on the horizon. I was ready to throw in the towel when suddenly, there was an explosion of color and the brightest naked-eye red flares I’ve ever seen.
I ran down to the pond to get this particular shot of the vibrant red flares intertwined with the colors of the aurora reflecting off the tranquil pond. Within minutes, the substorm subsided, and the aurora once again receded to just a glow on the horizon. The aurora demands patience and meticulous planning, but it’s worth it for those fleeting moments of awe.
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