Memory cards are an essential part of digital photography. They record your precious files and keep them safe until you’re able to transfer them to your (hopefully) full-fledged storage solution – which means that it’s essential that you understand how to use memory cards correctly.

After all, a properly cared-for memory card will often perform flawlessly for years – while a poorly looked-after card will be prone to errors, corruption, and loss of files.

In this article, I share 18 tips for keeping your memory cards in good condition. I explain how you should correctly eject your cards, how often (and when) you should format your cards, and more.

Let’s dive right in!

1. Carry backup cards whenever you shoot

Card failure is unpredictable, and the last thing you want is to miss a once-in-a-lifetime shot because your only card decided to act up.

Therefore, I’ve made it a habit to carry at least three cards with me on every shoot. And while it might seem excessive, it’s better to be safe than sorry!

Imagine you’re capturing a breathtaking sunset or a candid moment at a child’s birthday party. Suddenly, your camera stops working due to a card error. If you have a backup, you just switch cards and continue shooting. But without a backup, that moment is lost forever. (Of course, it’s not just about having extras; it’s also about ensuring you have enough storage to keep shooting without worries.)

For different shoots, the backup cards you choose can vary. For a casual day out, a couple of smaller capacity cards might suffice. But for a professional gig, you might want to carry a handful of larger, high-speed cards. These backups will be your photography lifeline.

By the way, one thing I’ve noticed that’s true, at least for myself: having backup cards provides immense peace of mind. When you’re focused on getting the perfect shot, the last thing you want is to worry about storage space or card failure. The backups serve as a guarantee that no matter what happens, your photography can go on uninterrupted.

2. If disaster strikes, stop shooting

If you’re in the middle of a photoshoot and you run into a memory card problem – for instance, you accidentally delete your images or see a card error message – then stop photographing immediately.

Turn off your camera, eject the card, and store it in a safe place. When you run into one of these problems, all is not lost, and you may still be able to recover the images. However, it’s important that you stop using the card; otherwise, you might overwrite the files. Data recovery services and other tools are often very effective, especially when recovering accidentally deleted files, but once an image is overwritten, then it’s often lost forever.

If you do have a memory card issue while shooting, you can always continue the session with another card. The key is to safely remove the problematic card as soon as possible.

3. Treat your cards well

It’s crucial to treat your memory cards with care, especially when you’re out in difficult conditions. In the heat of the moment, switching cards quickly might seem necessary, but it’s also essential to take the time to handle them properly. I’ve seen too many instances where a little negligence led to big problems. A few tips here:

First, always ensure your hands are clean when handling memory cards. Dirt and oils don’t mesh well will the delicate connectors. And hold the cards gently by the edges, avoiding the gold contacts. This might sound like overkill, but it’s these small habits that can prolong the life of your cards.

Another key point is to be focused when handling your cards. Distractions can lead to accidental drops, especially in outdoor environments. I’ve heard of photographers dropping cards into puddles. Don’t let that be you!

Proper storage is also vital. When not in use, keep your cards in a protective case to shield them from dust, moisture, and physical damage. Avoid extreme temperatures and magnetic sources as these can damage the data. Think of your memory cards as fragile; that way, you’ll have the best shot at preserving the images they hold.

4. Avoid deleting files one by one on your camera

Did you know that repeatedly deleting images from an in-camera card while the card is still in your camera can actually shorten that card’s life? It’s true.

The rule is that the fewer times you add or remove data on your card, the better. So instead of selectively deleting files as you shoot, aim to erase all the images at once after uploading them to your computer. That way, you delete the files in a single cycle, not one at a time.

(Or better yet, use the Format function on your camera to wipe the card before each new photoshoot!)

5. Remove cards safely from your computer

It’s tempting to connect a memory card to your computer, transfer the images, and then pull it out of the card reader slot.

But that’s an easy way to cause problems, so after uploading images to your computer, make sure you take the time to eject the card before removing it from your card reader.

(If you use a Mac, you’ll probably need to right-click the relevant drive and hit Eject. If you use a Windows PC, you’ll need to use the Safely Remove Hardware option in your system tray.)

6. Multiple small cards can be better than one big card

These days, you can grab memory cards that store 128 GB, 256 GB, and beyond. But while these products do offer significant advantages – you need to carry far fewer cards, for one! – they also come with a significant drawback: You’re reliant on one (or a few) cards to get you through lengthy photoshoots and even week-long photo adventures.

I myself learned this lesson on a recent trip; I had a memory card die on me, and if I only owned one huge card, I would’ve been unable to continue using my camera. That’s why it’s at least worth considering multi-card storage solutions (plus, if you do lose the data on one card, not all of your images from a shoot will be lost).

7. Keep your cards organized

With memory cards, a little organization can go a long way! It’s easy to mix up cards when you’re juggling multiple shoots or locations. You don’t want to reach for a card during an important shoot, only to find it full. Or worse, realize that you just formatted a card that holds valuable images.

I’ve found that a clear system can be incredibly helpful. I use a memory card case for this purpose. My fresh cards always go on the left side, and the used ones on the right. It’s simple but effective. When I’m in the field, this system saves me from second-guessing. I always know exactly where my empty cards are.

Of course, what works for me might not work for you. Some photographers prefer labeling their cards with stickers or using different colored cases. The key is consistency. Stick to your chosen method so it becomes second nature.

8. Avoid filling your cards completely

My friend recently had an issue with a memory card. When he took it into the store, the clerk asked if he’d completely filled the card with images – and when he nodded, he was told that this could occasionally cause problems with some types of cards.

Let me be clear: I’ve not heard this advice before, and I’m somewhat skeptical about it myself, but it’s probably worth keeping in mind. The advice would be to regularly take images off your cards rather than only removing images when the cards are full; this is a good idea anyway because it’ll prevent significant heartbreak if you lose the card or the files are corrupted.

9. Periodically reformat your cards

This memory card tip is quick but essential:

Reformat your memory cards every so often, and do it with your camera, not your computer. This will clean the card and get it ready for a new batch of images. Of course, you should only do this after you’ve downloaded all files – otherwise, you’ll lose them!

10. Format your memory cards in the right camera

As I discussed in the previous tip, it’s a good idea to format your memory card in a camera. But you shouldn’t format the card in just any camera; instead, make sure you format it in the camera you plan to shoot with.

For instance, if you’ve been using your card in your Canon DSLR but want to start using it in your Canon mirrorless camera, you should safely store all the images, then reformat the card when you put it in the mirrorless camera for the first time.

11. Switch off your camera before removing the memory card

Years ago, it was said that a camera could give a card “voltage shock” when the card was pulled out of the camera without first turning the camera off. But while manufacturers seem to have since made improvements in this area, it’s better to be safe than sorry! That’s why I recommend you always turn off your camera before you remove a card.

(Additionally, if your camera is on, it might still be in the process of writing images – and if you remove the card, those images may become corrupted or go unwritten.)

12. Transfer photos as soon as you can

There’s a simple rule I follow: transfer your photos as soon as possible. Why? Memory cards are reliable, but they’re not infallible. The longer your images sit on a card, the higher the risk of loss, either through card failure or misplacement.

I’ve made it a habit: every time I return from a shoot, I transfer my images to my desktop hard drives. Then, once the images are safely transferred and backed up, I delete them from the card. This routine ensures I always have a fresh card ready for my next adventure.

But there’s another reason for this habit: untransferred images are easily forgotten. You might capture an amazing moment, only to forget about its impact and relevance when it sits unseen on a card for months.

13. Keep your camera up to date

Every so often, camera manufacturers will release firmware updates, which keep your camera up to date and include fixes for errors or problems that are identified with the camera.

Some of these fixes can relate to the camera’s interaction with the memory card, so I encourage you to check for camera firmware updates every few months and download them as needed.

14. Periodically update your cards

Memory cards can last a long time – even years. However, like all electronics, they wear down with constant use, so it’s important that you update your set of cards periodically to prevent issues.

Fortunately, memory card prices are always dropping, so updating your cards has become a surprisingly inexpensive task!

15. Replace batteries before they die

When you’re on a photoshoot, it’s important that you keep an eye on your battery levels – and if the battery does get low, either pause for a recharge or swap it out for a fresh one.

You see, when a battery runs out just as you take a shot, it can prevent your camera from writing the image to your card. This can also cause card errors, so make sure you keep an eye on those batteries!

16. Don’t switch off your camera too quickly after shooting

This one really depends on your camera model. If you fire off a burst of photos, your camera will need a little time to write all of the data to the memory card – and if you switch the camera off during this process, some cameras will simply lose the images and even end up with errors.

However, recent models will continue buffering even after you switch them off (thus avoiding the problem). If you’re not sure how your camera handles the issue, check the manual or do some Googling.

17. Keep your memory cards safe

Perhaps this memory card tip should go without saying, but whenever you’re shooting, do what you can to keep your cards safe.

Make sure the cards stay dry and clean – a dedicated memory card case is perfect for this – don’t expose them to extreme temperatures, don’t drop, bend, or puncture them, and don’t expose them to electromagnetic currents.

That way, your cards remain in good condition for years!

18. Prepare your cards in case they’re lost

This last one is optional, but if you’re afraid that you might lose your camera and/or memory card, you might try taking a picture of a luggage tag or business card complete with your contact details, then keep it as the first image on each of your memory cards.

Then lock the image so it’s not deleted. If you lose your camera or card and an honest person finds it, they’ll hopefully see the image and get in touch!

How to use camera memory cards: final words

Now that you’ve finished this article, you know how to take care of your memory cards – and you’re well-equipped to prevent common card errors.

Bottom line: Having backup cards, organizing them effectively, transferring photos promptly, treating them with care, and more – these aren’t just recommendations, they’re necessities for any photographer who values their work. Implementing these habits will save you from the heartache and frustration that come with memory card mishaps.

So remember the tips I’ve shared, keep your memory cards safe, and (with a bit of luck) you won’t run into any issues.

Now over to you:

Do you have any memory card tips that I missed? Share them in the comments below!

The post How to Use Camera Memory Cards: 18 Essential Tips appeared first on Digital Photography School. It was authored by Darren Rowse.

Zoom lenses are cheap, effective, and incredibly popular; they’re used by hordes of photographers around the globe. For many beginners, a nice kit zoom is an amazing way to get started with photography, and for many professionals, a high-quality zoom is pretty much always mounted to their camera.

But what actually is a zoom lens? And what advantages does a zoom offer over a prime? In this article, I share all the basics, from a simple zoom lens definition to a handful of reasons why you should add a nifty zoom to your camera bag.

So if you’re ready to become a zoom glass expert, then let’s get started!

What is a zoom lens?

A zoom lens refers to any lens that offers multiple focal lengths. In other words, when using a zoom lens, you can capture images with several different fields of view simply by twisting the zoom ring on the lens barrel.

An 18-200mm zoom lens, for instance, can capture photos at 18mm, at 200mm, and at any focal length in between.

A prime lens, on the other hand, only offers a single focal length, so if you want to adjust your image field of view while using a prime, you have to physically move forward or backward. An 18mm prime lens would allow you to capture wide-angle shots but not telephoto files, while a 200mm prime lens would allow you to capture telephoto shots but not wide-angle images.

While pretty much every camera manufacturer offers a variety of zoom lenses, here are a few common zoom focal lengths to keep in mind:

• 24-70mm
• 18-55mm
• 70-200mm
• 16-35mm
• 200-400mm
• 70-300mm
• 75-300mm

Note that some zooms offer far wider focal length ranges than others. A 12-24mm model, for instance, only offers ultra-wide and standard wide focal lengths, while an 18-300mm model boasts wide-angle, standard, telephoto, and even super-telephoto focal lengths. Of course, as I explore below, not all zoom lenses are equally effective, and their prices can vary wildly, too.

3 reasons to use a zoom lens

Zoom lenses come with a handful of key benefits, including:

1. Zooms are convenient

What’s the main reason photographers love zoom lenses? They’re unbelievably convenient.

Instead of carrying around a handful of primes in a big camera bag, you can mount a nice zoom lens onto your camera and literally never take it off. It saves you the hassle – and the danger – of changing lenses, which will in turn ensure that you never miss a shot because you were trying to switch to a different focal length.

Plus, if you like to take photos while traveling and space is limited, a zoom lens can be a lifesaver. You’ll manage to capture all the same shots, but without sacrificing tons of storage space and/or luggage weight bringing an array of primes.

Of course, depending on the type of photography you do, a single zoom lens may not be enough. And there may be times when you’ll need to switch to another lens, especially if you tend to shoot a mix of ultra-wide and super-telephoto images.

But in general, a zoom will dramatically decrease the weight and volume of your equipment, allowing you to travel and photograph with much greater freedom.

2. Zooms can save you money

As I mentioned above, zooms come at a range of price points. And as I discuss down below, you have to be careful when purchasing a zoom because optical quality isn’t always top-notch.

But if your goal is to cover a range of focal lengths and you buy a zoom, that means you won’t need to purchase a slew of primes. So while you may need to spend quite a bit to acquire a high-quality zoom lens – more than a single high-quality prime lens would cost – you’ll potentially save money in the long run because you can grab one lens rather than three, four, or five.

Imagine, for instance, you’re hoping to do portrait photography with a range of focal lengths, from a standard-wide 24mm all the way to a short-telephoto 60mm, 70mm, or 80mm.

A nice 24-70mm zoom lens will be a real investment. But it may end up costing less than the price of a 24mm lens, a 28mm lens, a 35mm lens, a 50mm lens, and an 85mm lens, all of which together will deliver the same range of focal lengths as the 24-70mm glass.

Note: This math will change depending on the focal lengths you hope to cover, the quality of the lenses, the maximum apertures, and so on. Always do a careful comparison before buying to make sure you’re marking the right choice!

3. Zooms can capture a variety of images

Some photographers prefer the simplicity of prime shooting, and they do have a point: Working with a single 50mm lens offers a certain wonderful straightforwardness that just isn’t present when shooting with a 24-70mm lens.

But what if you’re photographing a scene that features a wide array of subjects? When traveling in a national park, for instance, you might encounter distant wildlife, stunning vistas, and interesting close-up details. That 50mm prime lens won’t get you the shots you’re lens looking for, and unless you’re prepared to carry and swap multiple lenses – and unless you can do it all at high speeds – you’ll be forced to pick one type of subject and sacrifice the others.

With the right zoom, however, you can quickly adjust your focal length as you shoot, and you can capture everything: the distant deer, the nearby patterns in the rock walls, and the entire mountain landscape.

Zoom lens drawbacks

I’m a huge zoom lens fan, but these lenses are far from perfect. Here are a few reasons why you might want to avoid buying a zoom:

1. Optical quality is often lacking

It’s true: Zoom lenses tend to offer softer and more distorted images compared to their prime counterparts (especially when looking at primes versus zooms in the same price range).

Zoom lenses tend to be especially weak at the extreme ends of their range, and while there are plenty of zooms that avoid this problem and offer pro-level image quality, they can cost a significant sum. On the other hand, you can grab a very sharp prime lens for a few hundred dollars – and while you’ll lose significant flexibility, depending on the type of photography you do, that may not matter.

Before you reject zoom lenses due to image quality issues, however, it’s important to identify the purpose of your images and determine whether any reduced optical quality will really make a difference. Even cheap zoom lenses often create passably sharp images, and you can improve sharpness further by narrowing the lens aperture when shooting.

2. The maximum aperture can be variable (and narrow)

Many zoom lenses, especially zooms that are designed for beginners, feature a variable maximum aperture (often written like this: f/3.5-5.6). Therefore, as you extend the lens, the maximum aperture value will change. If you’re using an 18-55mm f/3.5-5.6 lens, you’ll be able to use an aperture of f/3.5 at 18mm – but as you start to zoom in, the maximum aperture will change, until you’re forced to shoot at f/5.6 and narrower.

This may not matter at all if you like to use a narrow aperture to keep the entire frame sharp – but if you frequently work in low light or hope to capture files that boast gorgeous background bokeh, this aperture narrowing can be very frustrating.

Relatedly, even the best zooms don’t offer maximum apertures quite as wide as many primes. You can purchase a 24-70mm lens with an f/2.8 maximum aperture, but you can grab a 50mm lens with an f/1.8, f/1.4, or even an f/1.2 maximum aperture instead!

Who should buy a zoom?

I highly recommend purchasing a zoom lens if:

• You need to change focal lengths while shooting and don’t have time to switch lenses
• You aren’t too concerned about optical quality or you have the money to buy a pro-level lens
• You frequently travel and want to keep your gear size and weight to a minimum
• You plan to shoot casually and like the convenience that a zoom can provide

On the other hand, I’d recommend avoiding zoom lenses if:

• You want to maximize optical quality as much as possible
• You don’t mind changing lenses or working with a single focal length
• You work in low light and therefore need ultra-wide apertures

More specifically: If you plan to photograph events, landscapes, or travel scenes, a zoom could be a very good buy. But if you’re looking to capture products or portraits in low light, you may want to consider buying a prime (or three) instead.

Zoom lenses: final words

Now that you’ve finished this article, you know all about zoom lens photography – and you’ve hopefully determined whether a zoom is right for you.

At the end of the day, both zoom and prime lenses have their benefits, and it’s tough to go wrong with either. If you’re really struggling to decide, you can always rent a few different models and see what you think!

Now over to you:

Do you plan to buy a zoom lens? Why or why not? Share your thoughts in the comments below!

The post Zoom Lenses: Your Comprehensive Guide appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

ANOTHER new flash from the team at Godox, we shared their AD800 recently, a beast of a unit by comparison to this Godox AD100Pro ll Pocket Flash, the 100 is the baby of the range. Could it find a place in your camera bag?

Here’s what Godox say…

Godox AD100Pro II Pocket Flash

Crafted Small. Built Strong

Introducing the new AD100Pro II, a next-generation pocket flash that brings a major leap in performance with a redesigned cooling system capable of 60–100 full-power consecutive flashes. It also adds Color-Coded Group Management for faster multi-light workflows, alongside a high-capacity 2850mAh battery, TTL, 1/8000s HSS, and broad modifier compatibility—delivering a refined balance of portability and professional power. 

Enhanced Consecutive 100Ws Flash Count

Delivering a solid 100Ws of power, the AD100Pro II now achieves 60 to 100 consecutive full-power flashes thanks to an upgraded cooling architecture—providing stable, sustained output for demanding shoots.

Full-Power Consecutive Flashes:

Refined Optics with Adjustable Zoom

The AD100Pro II employs a Godox Optical Lens Group that produces natural, soft, and evenly distributed illumination with smooth, pleasing falloff. Its built-in 28–85mm adjustable zoom system allows you to fine-tune beam spread across multiple focal lengths, giving you greater control over lighting coverage and creative expression.

Color-Coded Group Indicator

A ring of 16 color-coded group indicator lights allows photographers to instantly identify each unit’s assigned group in multi-light setups, making coordination and adjustments faster and more intuitive.

Accurate TTL & Advanced HSS

The AD100Pro II supports full TTL compatibility for precise automatic exposure, along with 1/8000s High-Speed Sync and front/rear curtain sync—providing the flexibility needed for a wide range of shooting scenarios.

Quick Sync with X3 / X3 Pro

The AD100Pro II supports quick-sync pairing with the Godox X3 and X3Pro trigger, allowing immediate wireless connection and significantly reducing on-set setup time.

Flexible Triggering Options

Powered by the Godox 2.4GHz X Wireless System, the AD100Pro II works seamlessly with all X-series triggers and can also connect to the FT433 receiver (sold separately) via its USB-C port for 433MHz control—offering flexible triggering solutions for a variety of shooting environments.

High-Performance Battery — Shoot Without Limits

The upgraded 2850mAh battery increases full-power flash capacity to approx. 490 shots, and the addition of a USB-C charging port ensures convenient, reliable power management.

Versatile Modifier Ecosystem

The AD100Pro II features a built-in magnetic mount that works seamlessly with Godox’s round-head accessories, including the AK-R1 kit, the AK-R22 Collapsible Diffusion Dome, and the AK-R21 Projection Attachment, enabling fast and versatile light-shaping options. With the S3 adapter, it also supports Bowens-mount modifiers such as UL softboxes and BDR reflectors, offering broad creative flexibility for both studio and on-location lighting.

Refined Details, Upgraded User Experience

Compact Build

New Full-Color Display

Compact Build
5W LED Modeling Lamp
Efficient Cooling Fan
Multi-Angle Bracket

Dual 1/4″ Mounting Points

What’s in the Box

• Flash Unit ×1
• Battery ×1
• Charger ×1
• Carrying Case ×1
• USB Charging Cable ×1
• AD-E2 Bracket ×1

Optional Accessories

Triggers:
X3 Series, XPro Series, X2T Series, FT433 Trigger

Lighting Modifiers: 

Magnetic Accessories AK-R1 Kit

Collapsible Diffusion Dome AK-R22

Projection attachment AK-R21

AD100ProII+S3 Speedlite Bracket (for Bowens-mount modifiers)

Quick Release Umbrella Softbox UL Series

Quick Release Umbrella Softbox ST/SW Series

Parabolic Umbrella UB Series

Beauty Dish BDR Series

Reflector RFT Series

Snoot SN05

Tech Specs

Find Out More

The post New Flash Time? Godox AD100Pro ll Pocket Flash appeared first on Digital Photography School. It was authored by Sime.

All-in-One Outdoor Flash Godox AD800Pro Power You Can Trust

Godox flash user? Need more power? They’ve got you… We’re sharing the AD800 press release as requested. We’re nice like that… Honest

All-in-One Outdoor Flash

AD800Pro

Power You Can Trust

Meet the AD800Pro — an 800Ws battery-powered monolight built for location professionals. It delivers reliable main-light output even in direct sunlight, rapid recycle times and long battery life, and offers versatile wireless control plus TTL compatibility across major camera systems. Together, these features provide powerful, dependable performance for professionals in any environment.

Overpower the Sun

With 800 Ws of output, the AD800Pro delivers decisive main-light performance that overcomes bright sunlight. It yields up to 300 full-power flashes per charge and a fast recycle time of 0.01–1.5 s, keeping pace with demanding on-location shoots.

Precision Power Control

Power is adjustable across a 10-stop range (1/512–1/1) with 0.1-stop increments, enabling extremely fine exposure control. This level of precision makes the AD800Pro ideal for product and still-life work, layered multi-light setups, and any situation that demands subtle highlight and shadow placement.

Advanced Pro Modes

The AD800Pro includes pro-grade modes — Freeze, Stable Color-Temperature, HSS, Multi, and more — so photographers can reliably handle fast-action, product and color-critical work.

Freeze Mode: Ultra-short flash duration down to 1/35,710 s (t0.1) for razor-sharp captures of splashes, jumps and other fast motion.

Stable Color-Temperature Mode: Minimizes color drift as power changes (typical drift ? 100 K), ensuring consistent color across the output range.

Supports HSS (up to 1/8000s), Multi flash, and first- and second-curtain sync—covering everything from bright outdoor portraits to motion trails and creative strobe effects.

Triggering Versatility

Built around Godox’s 2.4 GHz X wireless system, the AD800Pro delivers robust, long-range wireless control — including one-tap pairing with X3Pro/X3 and full compatibility with other X-series transmitters. It also supports wired sync via a 3.5 mm PC jack and external 433 MHz receivers via USB-C, giving photographers multiple reliable triggering options for on-location and remote shoots.

Flexible Power Solutions

To keep you shooting without compromise, the AD800Pro supports multiple power options. The optional AC26 adapter enables direct AC operation for continuous power, while the optional UC-46 fast charger reduces battery charging time to about 1.5 hours.

Creative Accessory Ecosystem

Native Bowens Mount — Compatible with a wide range of light-shaping tools (softboxes, beauty dishes, grids, snoots, etc.), giving photographers instant access to an extensive professional modifier system.

Optional Extension Head (H600P) — Featuring a 2m cable, the H600P allows flexible light placement and lightweight handheld or boom-mounted setups.

Smart Tools, Effortless Control

HD Color Screen

40W Bi-color Modeling Lamp

16 Color Group Indicators

What’s Inside

Flash Body x 1

Flash Tube x 1

Battery x 1

Adapter x 1

Power Cord x 1

Reflector Protection Cover x 1

Reflector x 1

Instruction Manual x 1

Optional

• Bowens Mount Accessories

Flash Projection Attachment BFP

Beauty Dish BDR-S55/BDR-W55/BDR-S/BDR-W

Reflector RFT-13/RFT-14/RFT-17/RFT-18/RFT-19/RFT-02/RFT-03/RFT-04

Barndoor Kit BD-04

Snoot SN-05

Quick Release Umbrella Softbox UL Series

UL-Octa BOX 60/90/120/150/180

UL-BOX 30×45/45×60/60×90/90×120

UL-BOX 40×40/60×60/90×90

UL-BOX 30×90/30×120

Quick Release Umbrella Softbox ST/SW Series

S65T/S85T/S105T/S120T

S65W/S85W/S105W/S120W

Quick Release Parabolic Softbox

QR-P70/QR-P90/QR-P120/QR-P60T/70T/90T/120T/150T

• Parabolic Light Focusing System

Parabolic Light Focusing System P68/88/128/158 Kit

• Extension Head

H600P

• Charger & Adapter

USB Charger UC-46

Adapter AC26

Technical Data

The post Godox AD800 – Press Release appeared first on Digital Photography School. It was authored by Sime.

Our take on the Godox AD300Pro II Press Release – We hope to get hold of a unit to test and share our results with you, a good entry into OCF but “much more than a standard camera flash”

When you’re shooting on location, lighting gear needs to earn its place in your bag. Power matters, but so does weight, speed, usability, and how quickly you can adapt when conditions change. The new Godox AD300Pro II is designed with exactly those real-world pressures in mind.

Building on the popularity of the original AD300Pro, this updated version refines performance, control, and workflow while keeping things compact and portable. With 300 Ws of power in a 1.2 kg body, it sits neatly in that sweet spot between speedlights and bulkier battery strobes — making it an appealing option for outdoor portrait, editorial, and location-based commercial photography.

Let’s take a closer look at what the AD300Pro II brings to the table and who it’s likely to suit best.

Portable Power Without the Bulk

At just 1.2 kg, the AD300Pro II is clearly designed for photographers who move. It fits easily into a standard camera backpack and is quick to mount on a lightweight stand, making it well suited to:

• Environmental portraits
• Editorial shoots
• Travel photography
• Run-and-gun commercial work

Despite its size, it delivers a full 300 Ws of output, which is more than enough to overpower daylight for portraits or add controlled light in challenging outdoor conditions.

Faster Recycling, Fewer Interruptions

One of the key upgrades comes in performance consistency. The AD300Pro II offers:

• Recycle times from 0.01 to 1.5 seconds at full power
• Around 350 full-power flashes per charge

In practice, that means less waiting between shots and fewer battery changes during longer sessions. For photographers working with people, this matters — momentum stays high, expressions stay natural, and you spend more time shooting instead of watching a ready light.

Visual Group Control for Multi-Light Setups

If you’ve ever fumbled the wrong light in a multi-strobe setup, you’ll appreciate one of the AD300Pro II’s more subtle but clever features: 16 color-coded group indicator lights.

Each group displays a distinct colour, allowing you to identify which flash is which at a glance — even from a distance. When working quickly on location, this visual feedback can significantly speed up adjustments and reduce mistakes.

Refined Controls That Stay Out of the Way

Godox has also focused on improving the shooting experience itself. The AD300Pro II features:

• A bright, easy-to-read colour screen
• A smooth metal control dial
• A simplified button layout

The goal is clear: fewer menu dives and faster adjustments. Whether you’re making quick exposure tweaks or switching modes, the interface is designed to stay intuitive — so your attention stays on composition and timing.

One-Tap Wireless Sync

The built-in Godox 2.4 GHz Wireless X system allows for seamless integration with Godox transmitters. When paired with the X3Pro or X3 trigger, the AD300Pro II supports one-tap sync, eliminating the need to manually set channels or groups.

It’s also compatible with the broader X-series ecosystem, including XPro, X2T, and X1 triggers. For photographers using mixed setups or existing Godox gear, this keeps everything consistent and flexible.

Precision Power Control

The AD300Pro II offers a 10-stop power range from 1/512 to full power, adjustable in 0.1-stop increments.

That level of precision is particularly useful when:

• Balancing multiple lights
• Adding subtle fill in bright daylight
• Fine-tuning exposure for portraits

Small adjustments can make a big difference, and the fine control here helps reduce test shots and speed up setup.

Bi-Color Modeling Light for Better Previews

A 12 W bi-color LED modeling lamp provides adjustable continuous light, allowing you to preview lighting direction, shadow placement, and overall mood before firing a flash.

Being able to dial in both brightness and colour temperature makes it easier to match ambient light, especially during golden hour or mixed-light scenarios.

Pro Features for Demanding Situations

The AD300Pro II includes a full set of advanced modes, including:

• High-Speed Sync (HSS)
• Freeze Mode
• Color-Stable Mode
• Multi flash

These features make it adaptable across fast action, mixed lighting, and creative multi-strobe setups — whether you’re freezing motion or maintaining colour consistency across a shoot.

Access to a Wide Modifier Ecosystem

Out of the box, the AD300Pro II uses the native Godox mount, giving access to a wide range of Godox modifiers. With optional adapters, it can also work with Bowens, Broncolor, Profoto, and Elinchrom accessories, opening the door to a much broader lighting toolkit.

Who Is the AD300Pro II For?

The Godox AD300Pro II is best suited to photographers who need serious lighting capability without hauling heavy gear. If you regularly shoot on location and want a flash that balances power, portability, and usability, it’s a strong contender.

It won’t replace high-powered studio strobes, but that’s not the point. Instead, it delivers a practical, well-rounded lighting solution designed for the realities of modern outdoor photography.

The post Godox AD300Pro II: A Lightweight Outdoor Flash Built for Real-World Shoots appeared first on Digital Photography School. It was authored by Sime.

TAMRON Firmware Update (Ver. 4)

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

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

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

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

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

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

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

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

— Simon

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

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

Why should I use my flash OFF my camera?

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

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

One System, Built for All

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

Dual Identity: Hotshoe & Trigger in One

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

Effortless Multi-Light Sync

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

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

Intelligent Recognition and Real-Time Display

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

Magnetic Mounting, Fast and Secure

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

Refined Design, Built for Practical Use

Intuitive Touchscreen Control

Rotatable Flash Head

Built-in Reflector and Diffuser

USB-C Charging

Professional Performance, Seamless Compatibility

Advanced Flash Functions

Godox 2.4GHz Wireless Ecosystem

Magnetic Accessories for Creative Expansion

LED Modeling Light

Technical Data

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

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

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

The First Leica M with an Integrated Electronic Viewfinder

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

Take a LOOK over on the Leica website.

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

Sunglasses for you phone.

This review in from our friend Lee Herbet at Capture Ink

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

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

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

How do you think you might use something like this?

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