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Fujifilm has announced the 16-55mm F2.8 R LM WR II, a significantly more compact update of its top-end fast standard zoom lens for the X mount.

The new lens is significantly smaller and lighter than the original XF 16-55mm. Whereas the original lens looked like a slightly shorter 24-70mm zoom, the new version looks like modern 24-70mm that's been reduced by around 1/3rd, which is in keeping with what you might hope for, given the smaller image circle of APS-C.

The design features 16 elements in 11 groups, including four aspheric elements, three ED lenses and one Super ED element, to help minimize chromatic aberration.

The new lens is substantially smaller than the previous model, shown on the right.

Image: Fujifilm

It's the first X-mount lens to feature 11 aperture blades and the first to let you de-click the aperture ring. This will allow more subtle control of the aperture when shooting in video and should prevent the flickering brightness effect that could happen with the old one, as its aperture jumped in 1/3rd stops.

The Mark II zoom accepts 72mm filters rather than the 77mm ones used by the previous version.

The new lens will be sold for the same $1199 recommended price as its predecessor, and will be available in December.

Buy now:

$1199 at B&H Photo$1199 at Adorama Fujinon XF16-55mm F2.8 R LM WR II pre-production sample gallery Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

Press Release:

Prime Performance, Zoom Versatility: Fujifilm Announces FUJINON XF16-55mmF2.8 R LM WR II

Latest Iteration of Popular Lens Brings New Features for Photo and Video Creation

VALHALLA, N.Y., October 14, 2024 – FUJIFILM North America Corporation today announces the release of its new FUJINON XF16-55mmF2.8 R LM WR II lens (XF16-55mm II), the next generation of the company’s venerable XF16-55mm zoom lens that debuted in 2015.

“XF16-55mm has always been known as a workhorse; a must have everyday carry lens for professionals and enthusiasts alike,” said Victor Ha, vice president, Electronic Imaging and Optical Devices Divisions, FUJIFILM North America Corporation. “XF16-55mm II takes everything our fans loved about the original lens and elevates it to the next level by combining new lens optics, smooth aperture control, and enhanced autofocus, with nods to the reliable go-anywhere form factor that made the original lens such a hit.”

Product Features

Large-Aperture Standard Zoom Lens with Superior Imaging Performance

• Capable of content creation at a bright F2.8 aperture throughout the entire zoom range, from wide-angle 16mm (equivalent 35mm focal length of 24mm) to mid-telephoto 55mm (equivalent 35mm focal length of 84mm), XF16-55mm II supports a wide range of still photography genres, including nature, landscape, and portraits, leveraging its high resolution and beautiful, smooth bokeh.
• Featuring an 11-group, 16-element configuration that includes 4 aspherical lenses, 1 Super Extra-low Dispersion (ED) lens, and 3 ED lenses, XF16-55mm II maintains image clarity and sharpness from the center to the edges while controlling chromatic aberrations, even when a large aperture of F2.8 is used.
• Enhanced ultra-precision manufacturing technology of aspherical lenses reduces ring patterns compared to ring patterns produced by the prior model. This results in smooth, beautiful bokeh that is uniquely different from the original XF16-55mmF2.8 lens.
• Achieving a minimum focusing distance of 11.81 inches (0.3m) across the entire zoom range, allowing for close-up photography with a maximum magnification of 0.21x.

Compact and Lightweight Design for Enhanced Mobility

• Utilizing the latest lens processing technologies, the size of the lens elements in XF16-55mm II are thinner, resulting in a reduction of the total lens length by approximately 0.433in (11mm) and a volumetric reduction by approximately 37.8% compared to the previous model. The weight has also been reduced by approximately 37.4% to about 14 ounces (410g), ensuring excellent mobility.
• Features a dust-resistant, weather-resistant, and low-temperature-resistant construction with 12 sealing points throughout the lens body, along with a fluorine coating on the front element for superior water and smudge resistance. When combined with Fujifilm's weather-resistant mirrorless X Series digital cameras, it provides reliable performance even during extended image-making in nearly all weather conditions.

Enhanced Design for Video Recording

• The introduction of an "Aperture De-Click Switch" allows users to toggle between a stepped aperture control for still photography and a smooth, continuous aperture control for video recording, ensuring seamless and intuitive operation1.
• Minimizes focus breathing to provide more consistent framing during focusing.

High-Speed, High-Precision AF with Near-Silent Operation

• The adoption of an inner focusing system and lightweight focusing lens elements, combined with a high-speed linear motor, enables rapid and precise autofocus, achieving speeds as fast as 0.02 seconds2.

Pricing and Availability

FUJINON XF16-55mmF2.8 R LM WR II lens will be available in December 2024 at a Manufacturer’s Suggested Retail Price of $1,199.95 USD and $1,619.99 CAD.

For more information, visit https://fujifilm-x.com/en-us/products/lenses/xf16-55mmf28-r-lm-wr-ii/.

1 The "Aperture Click Switch" functionality requires a firmware update for compatible camera bodies. Future firmware updates are planned for current models including the FUJIFILM X-H2S, FUJIFILM X-H2, FUJIFILM X-T5, FUJIFILM X-S20, and FUJIFILM X-T50.

2 Based on CIPA guidelines, measured internally using the FUJIFILM X-T4 mirrorless digital camera in phase-detection AF mode with High-Performance Mode enabled, at the wide-angle end.

Fujifilm XF 16-55mm F2.8 R LM WR II Specifications: Principal specificationsLens typeZoom lensMax Format sizeAPS-C / DXFocal length16–55 mmImage stabilizationNoLens mountFujifilm XApertureMaximum apertureF2.8Minimum apertureF22Aperture ringYesNumber of diaphragm blades11OpticsElements16Groups11Special elements / coatings4 Aspheric, 3 ED, 1 Super EDFocusMinimum focus0.30 m (11.81″)Maximum magnification0.2×AutofocusYesMotor typeLinear MotorFull time manualNoFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight410 g (0.90 lb)Diameter78 mm (3.07″)Length95 mm (3.74″)SealingYesZoom methodRotary (extending)Power zoomNoZoom lockNoFilter thread72 mmHood suppliedYesTripod collarNo

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Fujifilm has announced the XF 500mm F5.6 R LM OIS WR (762mm equiv), a super telephoto APS-C lens for its X Mount system. The lens is sure to be a welcome addition to bird photographers with Fujifilm cameras, or anyone else who's been wishing for a super telephoto prime with autofocus capabilities. Prior to the 500mm, the furthest-reaching prime Fujifilm offered was the 200mm F2.

The company also has its $2,000 150-600mm F5.6-8, but that'll be slower than F5.6 by the time you get to 500mm and it seems reasonable to expect sharper images from the prime. The zoom lens also 270g (9.5oz) heavier, though at 1,335g (2.9lbs) the prime isn't exactly ultralight either.

In terms of construction, the lens is essentially identical to the company's medium format GF 500mm F5.6, apart from the mount. It's made of 21 elements in 14 groups, including 2 super ED lenses, and 5 ED lenses. Its optical image stabilization system is rated to 5.5 stops, and it has 20 seals for weather resistance, along with a flourine coating on the front element to ward off water and dirt. It's threaded for 95mm filters.

The lens also has linear focus motors, as well as a focus limiter switch to prevent it from focusing on subjects closer than 5m away. When using the lens' full range of focus, it's minimum focus distance is 2.75m (9ft).

The 500mm is compatible with Fujifilm's 1.4x teleconverter, which makes it act like an F8 lens with a 1067mm equiv. focal length, as well as the company's 2x teleconverter that gives it a 1,524mm equiv. focal length at the cost of knocking its max aperture down to the equivalent of F11.

The XF 500mm will be available starting in December, and will have a manufacturer suggested retail price of $2,999.

Buy now:

$2999 at B&H Photo$2999 at Adorama

Press Release:

Super-Telephoto Excellence: Fujifilm Announces FUJINON XF500mmF5.6 R LM OIS WR

The Ultimate Tool for Outdoor Content Creators

VALHALLA, N.Y., OCTOBER 14, 2024 – FUJIFILM North America Corporation today announces the launch of its FUJINON XF500mmF5.6 R LM OIS WR lens (XF500mmF5.6). The new super- telephoto lens offers the longest prime lens coverage in the current Fujifilm X Series lens lineup, designed for quick autofocus response and incredible detail in image-making around even the most challenging outdoor subjects, and is ideal for birding, wildlife, and sports.

“Making content outdoors can always present challenges, considering weather, fast moving animals, birds, and the rapid motion of athletics,” said Victor Ha, vice president, FUJIFILM North America Corporation, Electronic Imaging and Optical Devices Divisions. “These are only a few of the examples that were considered when developing this latest super-telephoto lens. Optical image stabilization and linear-motor driven autofocus help the creator document all the action without missing a detail. We’re excited about the capabilities this lens brings to outdoor creatives.”

Product Features

Serious Optical Performance, Rugged Yet Stylish Design

• XF500mmF5.6 offers an impressive 500mm (35mm equivalent focal length of 762mm) with a maximum aperture of F5.6, making it ideal for a variety of outdoor pursuits, including sports, birding, and wildlife.
• When paired with an optional FUJINON Teleconverter XF1.4X TC WR1, the lens reaches a maximum focal length of 700mm (35mm equivalent focal length of 1067mm), and with FUJINON Teleconverter XF2X TC WR1, it extends to 1000mm (35mm equivalent focal length of 1524mm).
• The lens features durable yet sophisticated construction with 21 elements in 14 groups, including two Super Extra-low Dispersion (ED) lenses and five ED lenses. This advanced optical design effectively minimizes chromatic aberration commonly associated with super-telephoto lenses to achieve exceptional resolving power for an extraordinary amount of detail, beyond what the naked eye can see.

Exceptional Mobility and Superior Resolution That Redefine Super-Telephoto Lenses

• Leveraging the APS-C format, which provides a 1.5x crop factor equivalent, XF500mmF5.6 maintains a compact and lightweight design weighing only approximately 2.94 pounds (1,335g)2, despite achieving a focal length equivalent to 762mm (35mm format) at F5.6 maximum aperture.
• Even though super-telephoto lenses tend to have heavier front elements, the optimal lens arrangement in this model ensures balanced weight distribution for a comfortable and stable hold, allowing users to enjoy super-telephoto photography, making it easy to handhold or carry all day in the field.
• The lens features a dust and weather-resistant structure with 20 sealing points on the barrel and can operate in temperatures as low as 14°F (-10°C). Additionally, the front element is fluorine coated, providing hydrophobic and anti-stain properties, making the lens a reliable partner for extended content creation sessions in harsh weather conditions.

Powerful 5.5-Stop Optical Image Stabilization Performance

• Enhanced sensing accuracy and an optimized mechanical design allow XF500mmF5.6 to achieve up to a powerful 5.5-stops3 of optical image stabilization. This ensures comfortable handheld image-making in the super-telephoto range, which can ordinarily be more susceptible to camera shake.

Comfortable Operation and High-Speed, Near-Silent, Precision Autofocus

• The adoption of an inner focus system allows for a compact and lightweight focus lens assembly. Combined with a high-speed linear motor, this enables fast and silent autofocus, achieving a focus speed as quick as 0.33 seconds4. This ensures that even in the super-telephoto range, where precise focus is crucial, the user can keep up with the action as it happens.
• The Focus Preset function is featured so that the focus can be shifted to a location pre-defined with the Focus Preset button. This reduces user operation workload as re-adjusting focus on a targeted subject is not needed.
• The lens also features the Focus Limiter5, allowing users to restrict the lens’s AF range. This can effectively shorten AF time when photographing a subject that is approximately 16 feet (five meters) away or more.
• The Focus Control button is placed at the front edge of the lens barrel. Press this button to instantly recall a function you have assigned with the Focus Selector for smooth AF operation.

Pricing and Availability

FUJINON XF500mmF5.6 R LM OIS WR lens will be available in December 2024 at a Manufacturer’s Suggested Retail Price of $2,999.95 USD and $4,049.99 CAD.

For more information, visit https://fujifilm-x.com/en-us/products/lenses/xf500mmf56-r-lm-ois-wr/.

1 Sold separately

2 Weight excluding the lens cap, lens hood and tripod seat.

3 Compliant with CIPA in pitch / yaw directions.

4 Using an internal measurement method compliant with the CIPA Guidelines, when mounted on the mirrorless digital camera “FUJIFILM X-T4” with Phase Detection AF activated and the High Performance Mode turned ON.

5 The Focus Limiter function is activated with the Focus Range Selector.

Fujifilm XF 500mm F5.6 R LM OIS WR Specifications: Principal specificationsLens typePrime lensMax Format sizeAPS-C / DXFocal length500 mmImage stabilizationYesCIPA Image stabilization rating6 stop(s)Lens mountFujifilm XApertureMaximum apertureF5.6Minimum apertureF22Aperture ringYesNumber of diaphragm blades9Aperture notesRounded bladesOpticsElements21Groups14Special elements / coatings2 Super ED, 5 ED elementsFocusMinimum focus2.75 m (108.27″)Maximum magnification0.2×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiter5m-infinityPhysicalWeight1335 g (2.94 lb)Diameter105 mm (4.13″)Length255 mm (10.04″)SealingYesColourWhiteFilter thread95 mmHood suppliedYesTripod collarYes

Hailed as the world's first pentakis dodecahedron (or 60-sided) tiny house, this pint-sized geodesic dome home has been expertly designed to maximize its limited space. Named the Mini Dome, it's currently available for vacation rentals and will soon be up for sale in kit form too.

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Category: Tiny Houses, Lifestyle

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Apple's Machine Learning Research wing has developed a foundational AI model "for zero-shot metric monocular depth estimation." Depth Pro enables high-speed generation of detailed 3D depth maps from a single two-dimensional image.

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Adobe announced the latest updates to Photoshop, Lightroom and Adobe Camera Raw during its Max conference keynote. Perhaps unsurprisingly, the products are getting a heaping helping of generative AI features, though there are other non-Ai improvements as well.

Index

• Lightroom Changes
• Photoshop Changes
• ACR Changes

Lightroom

The Quick Actions are meant to help quicky spice up a picture.

Image: Adobe

The big new feature coming to Lightroom is called Quick Actions, which Adobe says will speed up "fine tune editing." Essentially, Lightroom will give you some suggested edits that it can perform with the click of a button. The company says the feature will launch in early access in Lightroom Mobile and Lightroom for the web.

The company also says the Generative Remove feature it announced in May is out of early access and is now generally available to Lightroom users in Lightroom, Lightroom Classic, and Lightroom mobile. The feature lets you select an object in a photograph, which the software will then try to erase, filling in the gaps with imagery generated using Adobe's Firefly AI. The company says it has also improved Generative Remove's selection tool, letting you circle the things you want to erase.

Now, everyone can erase unwanted elements in images without jumping into Photoshop.

Image: Adobe

In an FAQ, Adobe says, "Content Credentials will be automatically attached to photos edited with the feature in Lightroom," which should help people determine if an image was altered with AI as long as the platform they're viewing it supports that metadata – though at the moment, very few do.

Adobe has also continued to make performance improvements to Lightroom Classic, improving the image navigation experience in the Develop module and making the tethered capture experience for Nikon cameras substantially faster.

It's also been working on improving and expanding the HDR editing experience. The company says you can now see HDR content in more views throughout Lightroom and that it now supports embedded ISO HDR Gain Maps. That means you should be able to export one file that will render correctly on SDR and HDR displays rather than having to export separate SDR and HDR files.

Lightroom is getting big improvments if you shoot HDR images on your phone

Lightroom also now supports HDR images from Google's Pixel 9 phones and will let you edit HDR video if you have an Apple silicon Mac or are using Lightroom mobile on iOS.

Adobe is also expanding the availability of its AI Denoise tool, which is available in Lightroom and Adobe Camera Raw. It'll now work on HDR and panorama DNGs, as well as Apple, Google, and Samsung's flavors of Raw.

Finally, there are the classic quality-of-life improvements. Lightroom Mobile is getting a performance boost on Android, and there are new options for managing how much disk space Lightroom Classic will take up for its preview cache. Additionally, Lightroom Classic will no longer require you to change the name of your catalog when you upgrade it using a newer version of Lightroom.

Frame.io

The company also says the Frame.io changes it announced earlier this year are now generally available. That includes custom metadata features and integration into Lightroom that supports loading images via Camera To Cloud. In theory, that means you could shoot pictures on your camera and have them show up in Lightroom via Frame.io, as long as your camera supports the feature. Currently, the list of stills cameras with Frame.io integration includes the Lumix S5II/X, GH7, and Fujifilm's latest-gen cameras, including the recently announced X-M5.

On that note, Adobe also says that Nikon, Canon, and Leica will join in on supporting Camera To Cloud. The Canon C400 and C80, and the Leica SL3 will be getting updates to natively support the feature, and the Nikon Z6III, Z8, and Z9 will be able to offload to Frame.io via Nikon's NX MobileAir app. The updates enabling Frame.io integration will be coming at various points throughout next year.

Photoshop

Like with Lightroom, Adobe is making many of Photoshop's early-access generative AI features generally available. That includes tools like Generative Fill, Generative Expand, Generate Similar, Generate Background, and Generate Image, all of which use the company's Firefly 3 AI model to do more or less what the names imply. Generative Fill lets you drop AI-generated images in to whatever you're editing.

In addition, it's adding a Generative Workspace tool, which lets you generate images and will keep a record of them in one place.

Speaking of Firefly, the company says there's a new 'fast mode' available for it that will let you generate images up to four times faster, if you're just trying to get a very quick draft that you'll refine later.

Image: Adobe

Adobe is also introducing an automatic distraction removal tool, which uses AI to find distracting elements in an image and remove them.

The company says that, if you want, you are able to turn off generative AI in the remove tool. By default, it will choose "from many technologies to deliver the best result," but there's a setting that lets you set generative AI on or off – you can also leave it on Auto, where it'll use whichever methods it thinks are most suited to whatever you're trying to remove.

There are some non-AI improvements to Photoshop, too. The company says it's expanding the number of tools that work with 32-bit HDR images in Photoshop, meaning you can use things like the dodge/burn tool, Magic Wand, magnetic lasso, Spot Healing Brush Tool, Remove Tool, and more without converting your image down to 16- or 8-bit.

Adobe Camera Raw

Adobe is adding a Firefly-powered Generative Expand mode to ACR, which will use AI to fill in past the borders of your image. The mode will be available as a technical preview.

The company is also announcing a beta for something called Adobe Adaptive Profile, which it says will use AI to make editing images with high dynamic range easier. You apply it like you do the standard 'Adobe Color' or 'Adobe Landscape' profiles, but instead of making the same adjustments for each image, an AI model will automatically adjust Exposure, Shadows, Highlights, Color Mixer, Curves, etc. The sliders will still be at their default values, but the changes the profile makes are meant to act as a base upon which you'll add your own edits.

The photo on the right uses the Adobe Color profile, while the one on the left uses the Adobe Adaptive one.

Image: Adobe

Adobe says it created the profile based on 'thousands of hand-edited photos of people, pets, food, architecture, museum exhibits, cars, ships, airplanes, landscapes, and many other subjects.' It has a blog post that goes into a deep-dive on what exactly it changes and how the company put the profile together. Generally, it's meant to make subjects pop from the background, making them subtly lighter and more colorful. Adobe says it'll automatically generate HDR and SDR looks for an image.

Adobe says the mode will currently only work on Raw images, though it hopes to expand support for other file types in the future.

We're on the ground at Adobe's conference this week, so keep an eye out for some demos of these features. Be sure to let us know if you have any questions so we can keep them in mind during our tests.

Adobe's Firefly video generation panel.

Screenshot: Adobe

Adobe has announced Firefly Video, an AI model that can generate video footage that the company says is designed "to be commercially safe" and to "not infringe on others' IP." Some of the generative AI features are being integrated into the company's editing software, Premiere Pro.

Premiere Pro is also getting several updates unrelated to the AI features; click here to jump to the section about those.

Perhaps the most useful feature Adobe showed off in its keynote address at its Max conference is Generative Extend. The feature is meant to continue video or audio clips after the end of the actual recording or cut, generating a few extra seconds of footage or room tone to help fill in gaps. The plan is to build it into Premiere Pro, so you can extend your footage straight from your timeline. Like most of Firefly's video abilities, the feature will be launched as a beta.

You can generate new footage to fix eyelines, fill in gaps, or help smooth out a J/L cut, straight from the timeline.

Image: Adobe

There will initially be a few limitations: the most notable is that the beta version can only generate 720p or 1080p 16:9 video at framerates between 8 and 30fps. It also only works with 8-bit and SDR video.

The company also showed off Firefly's ability to 'animate' still images, turning them into video, though that feature will launch on the web version of the tool, not in Premiere. The tool can also generate video assets along with actual footage. The company showed Firefly-generated light leak artifacts that were added to a conventionally-shot video, as well as AI-generated animation and text graphics.

'Filmic' light leaks generated by Firefly that could then be composited on top of existing footage. AI-Generated Image: Adobe

Of course, Firefly Video can also generate footage whole-cloth based on text prompts from the user. The UI gives people several ways to control the video that's generated, letting them pick an aspect ratio and frame rate, as well as specify what kind of framing, angle, and motion they want. However, Adobe says its customers are generally more interested in how generative AI could help them edit human-created content than using the tech to create something from scratch.

Adobe stresses that it has trained the model "responsibly," using "licensed content" from Adobe Stock and the public domain. Representatives for the company said it was not trained on data scraped from the web or customer data, practices that have been controversial with other generative AI models.

The company also says that footage generated or edited with Firefly will automatically have Content Credentials attached, tagging it as being created with AI. However, similar to images created using the system, it currently falls to the user to manually check a video's veracity, as most platforms don't interpret the Content Credentials metadata.

Premiere Pro updates Image: Adobe

Adobe also announced that it's adding a new 'context-aware properties panel,' which will attempt to surface the most useful tools based on what you're currently working on.

The company has also updated the Frame.io panel, saying that the new version will make it easier to track reviews and approvals. On that note, Adobe also announced that Canon, Nikon, and Leica are adding support for Frame.io's Camera-To-Cloud feature, which lets cameras automatically upload footage to the service without needing to manually offload it to a computer. There are currently no details on which camera models will support it.

Premiere is also getting a performance bump, with the company promising that it'll be able to export to ProRes up to three times faster. The app is also getting a bit of a redesign, which the company says will make it feel "modern and more consistent."

We're attending Adobe Max, so keep an eye out for demos of some of these features. If you want to follow along live, check out our Instagram page.

86% of type 2 diabetes patients treated with a new procedure no longer needed insulin throughout the two-year-long study they participated in. That procedure could be a real game changer for nearly half a billion people currently estimated to be living with the condition worldwide.

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Sticky plaques building up on the walls of your blood vessels can lead to heart attacks and strokes. Now, a new nanoparticle infusion therapy has been found to break down these plaques safely in tests in pigs.

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Researchers have developed a gene therapy technology that uses magnetic fields to switch groups of neurons on and off, controlling brain circuits affected by Parkinson’s disease. In addition to Parkinson’s, the tech could be used to treat conditions as diverse as depression, obesity, and chronic pain.

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You might not hear it, but rodents are known to speak to each other in voices so high-pitched that human ears can’t pick them up. Now scientists have found that these vocalizations might have a second purpose – they help them smell better.

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Jetson Founder Tomasz Patan is clearly getting very comfortable with the Jetson One eVTOL's flight control system ... Watch him wrench the controls around to show off how sharply – and safely – this thing can handle tight turns in flight.

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Taiwan may be only 0.37% the land size of the US, but the small island has become a hub for startups, sustainable design and technological innovation. And this year, close to 600 inventions will be vying for the Platinum Award, the coveted top prize at the long-runing annual Taiwan Innotech Expo (TIE).

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KTM’s all-new Automated Manual Transmission (AMT) is rolling out on the upcoming 1390 Super Adventure tourer, and the company claims it'll change the way we ride motorcycles. It comes with a P – N – 1 – 2 – 3 – 4 – 5 – 6 gear sequence – and of course, no clutch lever.

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In an astonishing bit of space gymnastics, SpaceX has pulled off a true first. It captured a Super Heavy booster at about 7:31 am CST using its own launch tower after delivering a Starship second stage to orbit, followed by a controlled reentry.

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Known best for its highway-oriented caravans and motorhomes, Dethleffs is starting to support more ambitious adventurers who yearn to travel deeper into the unknown. It started last year with the versatile Yoka Go toy-hauling motorhome, and it continues in 2024 with a more dedicated off-road motorhome, the Globebus Performance 4x4. The new Volkswagen-based Class B+ camper combines a rugged, all-terrain-ready spec with an amenity suite aimed at multi-day off-grid living, fit even for those who can't imagine leaving behind all the latest mod cons.

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Editors' Choice Photo Challenge: The blue hour

In our most recent Editors' Choice Photo Challenge, we asked you to show us the 'blue hour', a period shortly before sunrise or after sunset when the sun is below the horizon but still provides enough light to make the sky appear deep blue in photos. Once again, we were seriously impressed with some of the images you entered.

This time around, we added an extra twist: all entries had to be shot after the day the challenge was announced, so all the photos you'll see in this slideshow were taken by your fellow readers after September 22nd.

If you didn't get a chance to enter this challenge, you can watch for our November Editors' challenge, which is coming soon and will be open to photos taken at any time.

Praia da Ursa - 6

Photographer: luCalretas

Description: This beach is near the "Cabo da Roca" cape in Sintra [Portugal], featuring beautiful and gigantic rock formations. It's difficult to get there, but the view is worthy.

Equipment: Sony a5100 + Sony 16-50mm F3.5-5.6 PZ OSS

Fifty Shades of Blue

Photographer: rshoub

Description: None provided.

Equipment: Sony RX10 III

Blue Hour Reflection

Photographer: Brighton Shooter

Description: After a heavy night's rainfall, a photo of Brighton's i360 tower and prom during blue hour.

Equipment: Sony a7R V + Sony 16-35mm F4 G

Comet C/2023 A3 Tsuchinshan-ATLAS in Oamaru, New Zealand

Photographer: jlg84

Description: I had been hoping that I'd get to see the comet of the moment one day, and for several days, I would wake up at 4 am or so and take a quick Look out the window to see if the clouds were thin enough for a shot, and at last, that happened on 29 September 2024, coincident with New Zealand switching to summer time.

Equipment: Canon EOS R5 + Samyang 135mm F2.0 ED UMC

Yik Cheong Building (aka Monster Mansions) Quarry Bay, Hong Kong

Photographer: Walters44

Description: The Yik Cheong Building (aka Monster Mansions) could easily pass as a backdrop building in BladeRunner. A dystopian ultra-cramped government housing block, it provides limitless photographic subjects.

Equipment: Canon EOS M6 II + Sigma 18-35mm F1.8 DC HSM Art

Arts Building Valencia

Photographer: windmillgolfer

Description: Valencia Arts and Science Park after sunset, which was shortlived.

Equipment: Olympus OM-D E-M1 Mark III + 8mm fisheye lens

Goonies Beach

Photographer: Kenster63

Description: Northern California coast, one hour after sunset.

Equipment: Nikon D750 + Nikon AF-S 35mm F1.8G ED

The Calm Waters

Photographer: Bento2

Description: View down the Chicago River as the city sparkles to life after sunset.

Equipment: Sony a6700 + Tamron 17-70mm F2.8 Di III-A C RXD

Istanbul Sunset

Photographer: GZieses

Description: From the rooftop of the Seven Hills Restaurant in Istanbul, Türkiye looking across toward the Blue Mosque.

Equipment: Nikon Z6 + Nikon Z 24-200mm F4-6.3 VR

Beam Me Up, Scotty!

Photographer: Aidan Williams

Description: Walking into the scene, I fired a cold flashlight to complement the warm sunstars of the streetlights. The location is underneath a long-retired cargo crane in central Rotterdam, The Netherlands.

Equipment: Sony a7C + CV 10mm F5.6

Editors' Choice Photo Challenge: The blue hour

In our most recent Editors' Choice Photo Challenge, we asked you to show us the 'blue hour', a period shortly before sunrise or after sunset when the sun is below the horizon but still provides enough light to make the sky appear deep blue in photos. Once again, we were seriously impressed with some of the images you entered.

This time around, we added an extra twist: all entries had to be shot after the day the challenge was announced, so all the photos you'll see in this slideshow were taken by your fellow readers after September 22nd.

If you didn't get a chance to enter this challenge, you can watch for our November Editors' challenge, which is coming soon and will be open to photos taken at any time.

Praia da Ursa - 6

Photographer: luCalretas

Description: This beach is near the "Cabo da Roca" cape in Sintra [Portugal], featuring beautiful and gigantic rock formations. It's difficult to get there, but the view is worthy.

Equipment: Sony a5100 + Sony 16-50mm F3.5-5.6 PZ OSS

Fifty Shades of Blue

Photographer: rshoub

Description: None provided.

Equipment: Sony RX10 III

Blue Hour Reflection

Photographer: Brighton Shooter

Description: After a heavy night's rainfall, a photo of Brighton's i360 tower and prom during blue hour.

Equipment: Sony a7R V + Sony 16-35mm F4 G

Comet C/2023 A3 Tsuchinshan-ATLAS in Oamaru, New Zealand

Photographer: jlg84

Description: I had been hoping that I'd get to see the comet of the moment one day, and for several days, I would wake up at 4 am or so and take a quick Look out the window to see if the clouds were thin enough for a shot, and at last, that happened on 29 September 2024, coincident with New Zealand switching to summer time.

Equipment: Canon EOS R5 + Samyang 135mm F2.0 ED UMC

Yik Cheong Building (aka Monster Mansions) Quarry Bay, Hong Kong

Photographer: Walters44

Description: The Yik Cheong Building (aka Monster Mansions) could easily pass as a backdrop building in BladeRunner. A dystopian ultra-cramped government housing block, it provides limitless photographic subjects.

Equipment: Canon EOS M6 II + Sigma 18-35mm F1.8 DC HSM Art

Arts Building Valencia

Photographer: windmillgolfer

Description: Valencia Arts and Science Park after sunset, which was shortlived.

Equipment: Olympus OM-D E-M1 Mark III + 8mm fisheye lens

Goonies Beach

Photographer: Kenster63

Description: Northern California coast, one hour after sunset.

Equipment: Nikon D750 + Nikon AF-S 35mm F1.8G ED

The Calm Waters

Photographer: Bento2

Description: View down the Chicago River as the city sparkles to life after sunset.

Equipment: Sony a6700 + Tamron 17-70mm F2.8 Di III-A C RXD

Istanbul Sunset

Photographer: GZieses

Description: From the rooftop of the Seven Hills Restaurant in Istanbul, Türkiye looking across toward the Blue Mosque.

Equipment: Nikon Z6 + Nikon Z 24-200mm F4-6.3 VR

Beam Me Up, Scotty!

Photographer: Aidan Williams

Description: Walking into the scene, I fired a cold flashlight to complement the warm sunstars of the streetlights. The location is underneath a long-retired cargo crane in central Rotterdam, The Netherlands.

Equipment: Sony a7C + CV 10mm F5.6