Lightroom Virtual Summit 2026

The Lightroom Virtual Summit is BACK running from 1st June to the 5th June 2026, including 45 classes (33hrs +) of Lightroom Education which you can watch completely for FREE!

🚨 Link for FREE PASS: https://glyndewis.krtra.com/t/e7YtyIDicEoQ

InstructorS

Anthony Morganti, Ben Willmore, Chris Orwig, CliffordPickett, ColinSmith, DanielGregory, GregBenz, JaredPlatt, Jesús Ramirez, Kristina Sherk, LisaCarney, Matt Kloskowski, PeterMorgan, RobSylvan, Sean McCormack, TimGrey ... and yours truly 😃

FREE TO WATCH

All classes are free to watch for a 48 period once they go live, and there’s an optional VIP Pass available for purchase that gives you lifetime access to the recordings of all classes, instructor-provided class notes and exclusive bonuses (including additional videos).

Lightroom AI - You're using it in the WRONG ORDER

In Lightroom Classic, Desktop, and Camera Raw, a yellow warning icon often appears in the AI Edit Status panel. This happens when you perform edits out of the recommended "order of operations," signaling that certain AI-generated layers need to be updated or rerendered.

While you can still edit in any order, jumping around can lead to unpredictable results. For example, applying an adaptive color profile and then using the "Denoise" or "Remove" tool might cause the colors and highlights to shift once the AI is forced to update.

The Recommended Workflow: Prepare, Repair, Finesse

To maintain total control over how your image looks, it is best to follow this three-step sequence:

1. Prepare: Start with edits that affect the entire image, such as Denoise, Raw Details, Super Resolution, or HDR. This is the foundation of your edit.

2. Repair: Next, clean up the image by removing distractions. Use the Remove tool (with Generative AI) or Distraction Removal for things like reflections, dust spots, or unwanted objects.

3. Finesse (or Finish): Once the image is prepped and repaired, move on to creative adjustments, such as Adaptive Color Profiles or intricate masking.

Handling the AI Edit Status Warning

If the yellow icon appears, it is a reminder that your AI edits may no longer be perfectly synced with the current state of the image.

• Click to Update: Always click the icon and select "Update" before finishing your edit.

• Reassess: After updating, look closely at your image. Because the AI is rerendering, the results might look slightly different than before.

• Don't Just Export: If you try to export while the icon is yellow, a popup will warn you. Instead of clicking "Export" anyway, it is safer to cancel, update the edits manually, and ensure you are happy with the changes before saving the final file.

By following the Prepare, Repair, Finesse order, you ensure your editing remains predictable and that the final export looks exactly as you intended.

Film Photography Comeback: Fad or Future?

Sales are up 127% since 2020. A new generation is choosing 36 frames over 36 megapixels, but with film prices rising sharply and AI reshaping everything around it, is film photography here to stay, or is this just nostalgia with a time limit?

I'm not a film photographer. My entire experience with film amounts to a cartridge of 24 exposures as a kid, handed over at Boots and collected an hour later, hoping two of them were worth keeping. I've never used a darkroom, never bulk loaded a canister, and I've only ever really known digital.

As someone who prints their images though, and has written a book and produced a course on the subject, I'm no stranger to hearing "but isn't printing expensive?" , so to discover that a growing number of photographers are actively choosing a medium where every single frame costs real money before you've even seen the result, that's not just interesting to me, it's genuinely intriguing.

The data behind it is hard to ignore, and as someone who spends a lot of time thinking about where photography is heading, I think it's worth talking about regardless of whether you shoot film or not.

Film photography was supposed to be dead. For most of the 2000s and 2010s, that narrative seemed pretty airtight, with labs closing, film stocks being discontinued, and manufacturers retreating. Yet here we are in 2026, and something remarkable is happening. Wholesale film order volumes have increased 127% since 2020, with annual growth rates not slowing but accelerating. In 2025 alone, 312 new film labs opened globally. The question isn't whether film is making a comeback, it clearly is. The real question is: why? More interestingly, is this genuinely different from the nostalgia blip we've seen before?

The Numbers Don't Lie

Let's start with the data, because the scale of this is worth appreciating. The global photographic film market is estimated at USD 613 million in 2026, projected to reach USD 724 million by 2035. Over 25 million rolls of film are consumed annually, with film usage up 35% since 2021. More than 2.5 million film cameras were sold globally in 2024, up from around 1.8 million in 2020.

This isn't a niche blip. It's a sustained, multi-year market trend with real commercial momentum behind it.

So Who's Actually Buying Film?

But here's where it gets interesting … it's not the photographers who grew up with it.

Nearly 48% of film camera purchases are now made by people aged 18 to 34, a demographic that largely grew up in the digital era. Gen Z spends an average of 9 hours a day on screens, and many appear to be consciously pushing back against that.

The appeal is partly cultural. We're seeing the same pattern play out across multiple creative disciplines: vinyl records replacing playlists, book clubs filling up, vintage clothing surging. January 2026 was even dubbed "Janalogue" by some lifestyle commentators, an analogue digital detox for the new year.

It's more than trend-following, though. There's a genuine psychological draw to the medium. With only 36 frames per roll and a real cost attached to every shutter click, film forces intentionality in a way that digital simply doesn't. You've no option to machine-gun your way through a scene and pick the best shot in Lightroom afterwards. You slow down. You observe. You choose.

As wildlife photographer Paul Williams put it: "Analogue is going to explode. It's imperfect, and it has soul. That's why it resonates."

The AI Factor: This Time It Really Is Different

Every previous wave of analogue interest has been nostalgic: photographers who grew up with film returning to it for old time's sake. What's happening in 2026 feels structurally different, and the AI boom is a big reason why.

As AI-generated imagery floods every corner of the internet, flawlessly composed, mathematically perfect, technically faultless, there's a growing hunger for photographs that are demonstrably, visibly made by a human being. Film grain, light leaks, slightly off exposures, the warmth of silver halide: these aren't flaws anymore. They're proof.

Survey data from AI editing company Aftershoot found that photographers and clients are increasingly favouring images with raw emotion and imperfection over technically perfect shots. The irony isn't lost that an AI company is reporting this, but it reinforces the point. Even the tools built on AI can see the cultural correction happening.

In short: the more digital becomes automated and "perfect," the more value attaches to the authentically imperfect.

The Cost Problem: Film's Inconvenient Truth

It would be dishonest to write about the film revival without addressing the elephant in the room … it's expensive, and getting more so.

A roll of professional colour negative film now runs approximately £12 to £18 before you've taken a single shot. Add lab development and scanning, and you're looking at £28 to £35 to see 36 images on a screen. At around 40 to 80p per photograph, casual shooting adds up fast.

2026 has brought more bad news on pricing too. Kodak Alaris announced increases of £1 to £3 per roll effective February 2026. Both Kodak and Fujifilm have flagged further increases across some stocks, with some emulsions seeing 20 to 50% rises compared to 2025. Medium format shooters have been hit hardest, with Kodak 120 format stocks seeing price hikes of 14 to 19%.

The silver shortage driving these rises isn't going away, and this is creating a real tension at the heart of the revival: a medium that's growing in popularity is simultaneously becoming less accessible to the very people most interested in it.

Fad or Here to Stay?

The vintage camera market, including collectible film equipment, is projected to grow from USD 1.19 billion in 2025 to USD 1.68 billion by 2031. That's a trajectory backed by institutional investment, not just Instagram aesthetics.

The strongest argument that this is different from previous analogue revivals: it's being driven by people who have no nostalgia for film. Gen Z photographers never shot on film in their formative years. They're choosing it as a deliberate creative act, not a sentimental return. That's a fundamentally different kind of demand.

The strongest argument for scepticism: cost. At £12 to £18 per roll before processing, film photography is becoming a luxury hobby. If price increases continue at current rates, it risks pricing out exactly the demographic driving its growth.

The answer is probably somewhere in the middle. Film won't displace digital, it never will, but it has carved out a permanent, growing niche as the antidote to digital perfection: slower, more intentional, more human. In an era when AI can generate a technically perfect image in seconds, there's real and lasting value in a photograph that carries the fingerprints of its maker.

Over to You

I'm genuinely curious on this one, partly because it's not my world. Have you shot film recently, or are you thinking about giving it a go? Do you think the slower, more deliberate nature of film has had any influence on how you approach your digital work? With prices rising the way they are, at what point does it become too expensive to justify?

Drop your thoughts in the comments below, I'd love to hear from people who actually have the film experience I don't.

Instantly Fix "Impossible" Glasses Reflections in Photoshop

Removing reflections from glasses has always been one of those jobs in Photoshop that's either felt impossible or just painfully tedious. In this tutorial, I'm showing you how the new Firefly Image Model 5 in the Photoshop Beta handles this specific problem in a way that I think you're going to find really useful.

I'm working with a portrait of Thomas Coulter, one of the veterans from my 39-45 Portraits Project, to walk you through exactly how it works.

The Challenge with Older Models

If you've tried using Generative Fill for this before, you'll know that older models like Firefly Image 1 could certainly remove a reflection, but they often introduced other problems at the same time. You'd sometimes end up with subtle changes to facial structure, eyebrows, or the shape of the glasses frames themselves. The reflection might be gone, but the portrait no longer looked quite right.

Why Firefly Image Model 5 is Worth Knowing About

Model 5 has been built with detail preservation as a priority. The idea is that it only changes what you've asked it to change, leaving everything else as close to the original as possible.

Worth knowing: this is a premium model, so it uses 10 generative credits rather than one. It also only produces a single variation, but given the quality of the result, that's rarely a problem.

How to Do It, Step by Step

1. Open Photoshop Beta - You'll need the Beta version to access the latest Firefly models. [00:56]

2. Make your selection - Use the Selection Brush Tool to paint over the reflections on the lenses. You don't need to be overly precise; going slightly over the frames is fine. [01:25]

3. Open Generative Fill - Click Generative Fill in the Contextual Taskbar. If you can't see it, go to Window > Contextual Taskbar. [01:49]

4. Choose the right model - This is the key step. In the Taskbar settings, look under Adobe Models and select Firefly Image Model 5 (Preview). [06:16]

5. Enter your prompt - Something simple like "remove the reflection from the glasses" is all you need. [05:32]

6. Generate - Hit Generate and give it around 10 to 12 seconds. [06:21]

The Results

What I find genuinely impressive here is that once the reflection is gone, everything else stays exactly as it was. The eyebrow hairs, the skin texture, the precise shape of the frames - all identical to the original file.

Now, Camera Raw and Lightroom do have reflection removal tools built in, and they're well worth trying, particularly on larger reflections. But for detailed areas like eyewear, where precision really matters, this approach in Photoshop gives you a level of control and accuracy that's hard to beat. If you've got portraits sitting in your archive that you've written off as too difficult, this is a good reason to dig them back out.

Concert Photography: What You Need to Know Before You Shoot Your First Gig

Concert photography is one of the most challenging and rewarding genres you can get into. Fast light, loud rooms, no second chances. But if you're willing to put in the work, it's also one of the most exciting. This guide, put together by community member Scott Diussa, covers the essentials to get you started.

Gear

You don't need a massive kit to begin. A DSLR or mirrorless body with a decent zoom will get you a long way. A 24-70mm or 24-105mm is your workhorse. Add a 70-200mm when you need reach (drummers, especially), and a wide option for tight spaces or dramatic environmental shots. In terms of aperture, f/2.8 or f/4 as a maximum gives you the best chance in low light, but don't let gear anxiety hold you back. Start with what you have.

Camera Settings

Stage lighting shifts constantly, and if you leave the camera in any kind of auto exposure mode it'll fight the light show rather than work with it. Manual mode is the way to go. Shoot RAW, always. The colour temperature at a gig is rarely flattering by default, and RAW gives you the latitude to fix it properly in post.

A solid starting point: 1/500s shutter speed, widest aperture available, and push the ISO until the exposure looks right. Don't underexpose to keep ISO low. Lifting shadows in Lightroom also lifts noise, and it's far messier than noise from a correctly exposed high-ISO file.

Getting Access

The most common question people ask is how to get into shows with a camera. The answer is straightforward: start small. Local venues, local bands. In most cases you don't need formal permission to photograph a smaller act, and small venues are actually harder to shoot than big ones. Bad light, cramped spaces, limited movement. Master those conditions and the bigger shows feel straightforward by comparison.

For larger shows you'll need a media pass, which means having a publication or media outlet to shoot for. That's a longer game, built on portfolio and relationships. Get the shots right at the small shows first and those conversations open up naturally.

Shooting Each Instrument

Every member of the band presents a different challenge. With singers, timing is everything. The best moments tend to come when they step back slightly from the microphone on a held note, which also naturally avoids the microphone shadow falling across their face. If you can learn the setlist beforehand, do it.

For guitar and bass, try not to cut off the headstock of the instrument. Think of it like cropping a wrist out of a portrait. Angles help a lot here. A lower shooting position or a slight tilt adds energy to what would otherwise be a flat frame.

Drummers are the hardest subject in the genre, full stop. You're usually shooting through cymbals, hardware, and kit stands. A 70-200mm helps you reach through the gaps. Use Eye Detection AF if your camera has it, shoot continuously, and keep that 1/500s shutter speed to freeze stick movement.

Editing and Sharing

You'll come back from a gig with a lot of files. Cull before you edit; go through everything and mark your picks before you touch a single slider. Be ruthless. The instinct is always to keep too many.

In post, focus on two things: face colour and exposure balance. Export full-resolution files for your archive, and 2000px watermarked versions for social.

When you share with the band or a PR contact, send your best 20 images. Not everything you shot. Twenty strong images that make the band look great. Tag the artist when you share on social media too; it builds the relationship and extends the reach of your work at the same time.

Enjoyed this? The full version of Scott's concert photography guide is available inside The Photography Creative Circle on Skool, where community members share knowledge, tips, and guides like this one across every area of photography. It's free to join.

Join The Photography Creative Circle

Getting Started with Street Photography: What You Actually Need to Know

Street photography is one of the most rewarding types of photography you can do, and also one of the most misunderstood. A lot of people assume it requires a big city, a specific camera, or nerves of steel. It doesn't. It mostly requires the right mindset, and that's something you can develop from day one.

Here are the key things that will make a real difference when you head out.

Get your head right first

Before you even think about camera settings, think about how you're going to carry yourself. You have every right to be in a public space with a camera. Move at a normal pace, act like you belong, and don't hover. Most awkward moments in street photography come from how you behave before and after the shot, not from pressing the shutter.

If someone questions you, have a simple honest answer ready. "I loved the contrast of colours," or "I'm working on a project about everyday life" goes a long way. Some photographers carry a small business card. It can turn a wary stranger into a willing subject.

Three ways to work the street

There are really three approaches, and knowing which one you're using keeps you focused:

Hunting means walking and actively looking for moments. Keep your head up and your eyes moving. Start small; a funny sign or someone's reaction to something is often more interesting than a dramatic scene.

Fishing means finding a spot with great light or an interesting background and waiting for life to walk into it. Strong shadows, reflections, colourful walls. Set yourself up and be patient. It's also brilliant if you're shy, because you're not chasing anyone.

Street portraits are a different thing entirely. You approach someone, have a brief chat, then ask. Keep the conversation going while you shoot. People are usually more than happy to help if they can see you're genuinely trying to make a good image.

Light and composition

Find the light before you find the subject. Shafts of sunlight, deep shadows, silhouettes; light shapes everything. Once you've found good light, think about the whole frame: what's in the background, what's at the edges, what's pulling the eye away from where you want it to go.

One tip worth remembering: give yourself a theme for the day. Hats. Dogs. Reflections. The colour red. It sharpens your eye dramatically.

Gear and settings

Any camera works, including your phone. What matters is being ready. Most experienced street photographers use aperture priority or manual with auto ISO so they're not constantly adjusting. A starting point that works well: 1/500s shutter speed, f/5.6 to f/8, auto ISO. Push the shutter to 1/1000s if there's faster movement. Don't be afraid of grain; it often suits street photography well.

Keep your camera out and ready, not buried in a bag. By the time you've got it out, the moment's gone. A silent shutter, if your camera has one, makes a big difference too.

You don't need a big city

This one catches a lot of people out. Street photography isn't only for London or New York. Market squares, bus stops, seafronts, quiet high streets; interesting moments happen everywhere. If you're nervous about photographing faces, start with people from behind, silhouettes, or detail shots: hands, shadows, dogs, bags. You're still telling a story.

The best thing you can do is head out and start. Everything else comes with time.

This post is drawn from The Community Guide to Street Photography, a full beginner's resource put together by members of The Photography Creative Circle on Skool. It covers everything in much more depth, including camera setups, focusing techniques, how to handle conversations on the street, and practical exercises to push your skills forward.

If you want to read the full guide and be part of the conversations that created it, come and join us over at the community …

Join The FREE Photography Creative Circle

A Community Guide to Bird Photography

Bird photography is one of those genres that quietly takes over. It's challenging, unpredictable, sometimes maddening – and completely addictive when it all comes together. You need patience, good fieldcraft, solid camera technique and the ability to make quick decisions, all at the same time.

This post pulls together some of the core ideas from a full guide I've put together for members of my Photography Community on Skool.

Think of this as a taster of what's waiting in the classroom ( LINK )

It's Not About the Gear (Not Really)

One of the strongest themes that comes up again and again is simple: bird photography is less about kit and more about understanding birds. Long lenses help, of course, but timing, fieldcraft, and awareness are what actually make the photograph.

Work with the gear you already have and learn to use it well. Focus on reading behaviour, light, and opportunities rather than chasing the "perfect" setup. And be realistic about what you can comfortably carry for a full outing – staying fresh and present matters more than hauling the biggest lens available.

Your Behaviour Matters More Than You Think

How you move and behave around birds will make or break your images. Rush in, move suddenly, or push too close and the bird will tell you it's uncomfortable long before it flies. Stay calm, move slowly, and respect its space and everything changes.

Learn to recognise a bird's comfort zone and stay on the right side of it. Sit and watch first – you'll start to see patterns in perches, feeding routines, and pre-flight behaviour. Patience isn't passive; it's an active technique that gives you better light, cleaner backgrounds, and more meaningful moments.

Start Close to Home

You don't need an exotic destination to make strong bird photographs. Your garden, local park, or the green space at the end of the road are perfect training grounds.

Regular access to familiar birds beats occasional trips to impressive locations. Repetition sharpens your reactions, improves camera handling, and helps you truly learn both the species and the location. Familiar spots let you predict where birds will appear, how the light falls, and when something is likely to happen – and that groundwork pays off when you do travel further afield.

The One Setting to Protect First

If there's a single technical priority in bird photography, it's shutter speed. Birds rarely stay still, long lenses magnify every movement, and softness from motion blur can't be rescued later.

A simple working approach: aim for around 1/1600 sec as a starting point, higher for small, fast birds or birds in flight. Let ISO rise to protect that shutter speed rather than sacrificing sharpness, and use your widest useful aperture to support both speed and subject separation from the background.

Autofocus, Flight, and the Hard Stuff

Birds in flight can feel like a different discipline altogether – and in many ways, they are. Fast shutter speeds, accurate tracking, and clean framing all need to come together in fractions of a second.

Use continuous AF and subject tracking, and take the time to learn how your specific system actually behaves. Start with larger, slower, more predictable birds to build confidence before tackling the fast, erratic ones. And use burst mode thoughtfully – fire it when something is actually happening, rather than spraying at everything that moves.

Light, Background, and Story

Good bird photographs aren't just about the bird – they're about light, background, and what's actually happening in the frame.

Early and late light give softer contrast, warmer tones, and better feather detail, often when birds are most active too. Your shooting position has a huge impact on how connected the final image feels – getting down to eye level with the bird changes everything. And clean, sympathetic backgrounds combined with considered use of habitat can turn a simple record shot into a photograph with real story and mood.

Where to Begin: A Simple Starting Plan

If you're getting serious about bird photography, here's a straightforward framework to work from:

Start in your garden or local park and visit often. Spend time watching before you shoot – look for perches, patterns, and pre-flight behaviour. Work with the gear you already own, using as much focal length as is comfortable. Keep shutter speed high, let ISO do its job, and begin at a wide aperture. Use continuous AF and subject tracking if your camera supports it. Pay attention to the bird's comfort, the quality of light, your background, and your shooting angle. And wait for behaviour and gesture – not just a "bird on a stick" confirmation shot.

Want the Full Guide?

This post just scratches the surface of what's inside A Community Guide to Bird Photography, which lives in the classroom inside my Photography Community on Skool.

In there you'll find the complete written guide laid out step by step, diagrams and example images with breakdowns from real shoots, and practical starting setups, checklists, and exercises you can take straight into the field.

If you'd like to dive deeper and join a group of photographers actively working on this together, come and join us.

Fix IMPOSSIBLE Backgrounds Instantly ( Lightroom + Photoshop )

Recently, Steven Gotz, a member of the Photography Community on SKOOL ( LINK ), sent over a brilliant RAW file of a condor. Stunning subject, great light, one problem: a massive fence running right through the background.

Rather than leave it on the shelf, I figured it was the perfect excuse to put the latest updates in Lightroom and Photoshop Beta through their paces. What would have taken ages with the Clone Stamp tool a couple of years ago can now be sorted in seconds. Here's exactly how I did it, using two different workflows.

Workflow 1: Photoshop Beta with Firefly Image 5

This is the quickest route right now, and the results are genuinely impressive.

The key is using the new Firefly Image 5 (Preview) model inside Photoshop Beta. It's been built specifically for editing while preserving detail, which matters a lot when you're dealing with complex textures like feathers and rocky backgrounds.

1. From Lightroom to Photoshop Beta. Right-click the image in Lightroom and choose Edit In > Adobe Photoshop Beta.

2. Select All. Once you're in Photoshop, go to Select > All. This gives the AI the full context of the frame before you do anything.

3. Switch to Firefly Image 5. Click Generative Fill in the contextual taskbar. Here's the bit that matters: don't use the standard model. Switch it to Firefly Image 5 (Preview) from the dropdown.

4. The prompt. This model needs a prompt to work, unlike some of the others. I kept it simple: "remove the fence from this picture."

5. Refine the detail. The AI did a great job on the background, but because Firefly Image 5 currently outputs at 2K, the fine detail around the bird's eye and feathers was slightly softer than the original RAW. The fix is straightforward: use the Object Selection Tool to select the bird and the rock, then fill that area on the layer mask with black. That reveals the sharp original bird while keeping the AI-cleared background intact.

Workflow 2: Lightroom to Firefly Web

Not on the Photoshop Beta? No problem. You can get to the same place via Lightroom's sharing feature.

1. Share to Firefly. In Lightroom, hit the Share button (top right) and select Firefly: Edit an image. This opens your browser and drops the photo straight into the Adobe Firefly web interface.

2. Settings and generate. Select Firefly Image 5, bump the resolution to 2K, use the same prompt ("remove the fence from this picture"), and hit generate.

3. Back to Photoshop. Download the cleaned image, go back to Lightroom, and open the original file in the regular version of Photoshop.

4. Stack and align. Use File > Place Embedded to bring the Firefly-cleaned version in on top of your original. Rasterise the top layer, select both layers, then go to Edit > Auto-Align Layers to make sure everything lines up perfectly.

5. The masking trick. Same principle as Workflow 1: use the Object Selection Tool to select the bird and the rock, then hold Option (Mac) or Alt (Windows) and click the mask icon. This hides the AI version of the bird and brings back the sharp, high-detail original underneath.

Why the masking step matters

This is the part I think is really important. It's not about letting AI take over the whole image. It's about using it to fix a specific problem, in this case the background, while keeping the actual subject exactly as it was captured in the RAW file. The integrity of the original is what you're protecting.

Have a look through your archives. Chances are there are shots you wrote off because of something in the background. It might be worth giving them another look.

BenQ Display with Built in Calibrator

I don't normally do product reviews, but when something comes along that solves a genuine pain point in the studio, I have to share it. BenQ has just released the PD2770U, their first display in the Creative Pro range with a built-in calibration device, and it is a total game changer for my workflow.

While the 27-inch anti-glare screen and the clever magnetic shading hood are great additions, the real star of the show is tucked away at the top of the monitor.

Total Calibration Control

The built-in calibrator isn't just a gimmick; it is a serious tool for anyone who cares about colour accuracy. You can use it in a couple of different ways depending on how you like to work.

There is an auto-calibration feature that keeps the screen accurate to standards like Adobe RGB or sRGB. What I find particularly useful is the ability to schedule this. You can set the monitor to calibrate itself daily or weekly, meaning you never have to wonder if your colours have drifted. If you are running a studio with multiple displays, the inclusion of an Ethernet port makes networking and managing these calibrations even easier.

Putting it to the Test

For my work, especially when I’m preparing images for print, I need very specific settings. I used BenQ’s Palette Master Ultimate software to see how the built-in sensor handled my preferred targets:

• Luminance: 60 candela

• White Point: D65

• Gamut: Adobe RGB

• Gamma: 2.2

• Black Point: 0.5

The results were spot on. The average delta E came back at just 0.68, which is incredible. To satisfy my own curiosity, I ran the same test using my external Calibrite Display Pro HL. The results were almost identical.

Because the performance is so close, the convenience wins every time. I no longer have to dig out cables or hang devices over the screen; the built-in sensor does it all.

A Pro Tip on Lighting

One feature I always recommend turning off is the ambient light sensor. While it sounds like a good idea, you really don't want your screen brightness moving up and down while you are editing. It is much better to control the light in your room with curtains or shutters so your working environment stays consistent.

Is it Worth it?

When you look at the price, this monitor makes a lot of sense. At £1,499 including VAT, it sits at a much more accessible price point than equivalent displays from the likes of Eizo, which can cost upwards of £2,400 for a similar spec.

I’ll be doing a more in-depth look at the other features soon, but for the calibration system alone, this is a massive step forward for the Creative Pro range.

If you’re interested in gear like this or just want to chat photography, come and join us in our free community on Skool. It’s a brilliant, safe space to learn and meet other photographers without the usual social media noise. ( LINK )

Is It Time to Retire the name "Camera Club" ?

There's been a cracking conversation happening inside my Photography Community on SKOOL ( LINK ) recently, and honestly I think it's one of the most important conversations the photography world could be having right now.

The topic?

Camera clubs.

Specifically, why they're struggling to attract younger members, and whether something as simple as what we call them might be part of the problem.

I've never joined a camera club

I've never belonged to a camera club, and I say that not to be dismissive of them, because I know plenty of people who've had brilliant experiences and genuinely improved their photography through being part of one.

But, it never felt like it was for me.

I couldn't quite put my finger on why for a long time. But sitting with this discussion in my community, I think that maybe it starts with the name.

The Elephant in the Room

The demographic at most camera clubs sits firmly at 55 and above, and the majority of clubs have shrunk since Covid, with several folding altogether, which is incredibly sad to see.

Walk into a typical meeting and you'll find familiar faces, familiar subjects, and familiar debates about judging criteria. There's nothing wrong with any of that in itself, but the pattern is consistent enough to ask some hard questions.

The conversation in the Photography Community mentions not only the struggle to attract younger members but also speaks of other clubs announcing declining memberships.

That's not a blip.

That's a warning sign.

So what's driving this?

Competition-heavy formats? a lack of openness to newer genres and technology perhaps? I actually think one thing is being underestimated, and it's the very first impression these clubs make before anyone even walks through the door.

The name.

What I've Noticed Every Single Time I've Visited

Before I get into the name thing properly, I want to share something from personal experience.

As I’ve mentioned, I've never been a camera club member, but I have visited quite a few over the years as a speaker and presenter, and one thing I notice (except for the few) is that every visit has included a mention of the next competition, the upcoming judging session, or where the club currently sits in some regional standings.

Now, I get it. Competitions give members something to work towards. They create structure, they generate engagement. But when it's woven into almost every conversation, almost every meeting, it starts to define what the club is about, and if what the club is about, is winning, or being judged, that's a very specific kind of person you're going to attract, and a very specific kind of person you're going to put off.

Think about it from the outside. You love photography. You take pictures because it makes you happy, because you see the world differently through a lens, because it's your creative outlet. You're looking for other people who feel the same way. You walk into a camera club and within ten minutes you're hearing about judging criteria and competition deadlines. Is that going to make you feel like you've found your people, or is it going to feel like you've accidentally wandered into something that takes itself a bit more seriously than you're ready for?

With dwindling memberships very apparent over the last five to ten years, several clubs have folded entirely, and the more established ones are attracting very low numbers of new, younger members to replace more senior ones as time goes by.

Words Shape Perception

So back to the name, because I think it matters more than people realise.

Naming psychology tells us that a name without an emotional connection is virtually useless, and a name with a negatively charged association can actively work against you. That's not fluffy marketing theory. That's just how human beings process information.

So what does "Camera Club" say to a 25-year-old who shoots on their iPhone, edits in Lightroom Mobile, and shares their work on Instagram? It says hardware. It says equipment. It says a room full of people debating sensor sizes and lens brands. It says: “Probably not for me.”

"Camera" as a word carries baggage. It implies a physical device, and a fairly specific one at that. In a world where the best-selling camera on the planet is a smartphone, leading with the word camera as your entire identity is, at best limiting, and at worst, actively putting off a huge potential audience before they've even given you a chance.

"Photography" though? That's about the image. The art. The craft. The story you're trying to tell. It doesn't care what you shot it on.

"Society" and "Association"is no different

Here's the thing, it's not just "Camera Club" that has a problem. Some clubs have tried to modernise by rebranding as a Photographic Society or a Photography Association, and while I understand the thinking, I'd argue those names bring their own baggage.

"Society" sounds formal. It sounds like membership cards, committee meetings, and a waiting list. It sounds like somewhere you need to be invited into rather than somewhere you wander into because you love taking photos. It has a certain stiffness to it that, however unintentional, can feel exclusive rather than welcoming.

"Association" is even worse. It sounds corporate. It sounds like a trade body or a professional organisation, somewhere you join because you have to, not because you want to. It creates distance before you've even said hello.

The word "Club" though? I actually think that's fine.

A club sounds like somewhere people gather because they love something. It sounds informal, accessible, and human.

Keep the club.

Ditch the camera.

The Psychological Shift

When you call something a Photography Club, you shift the identity of the group from being defined by a tool to being defined by a pursuit. That's a genuinely meaningful distinction. It's the difference between a Running Shoe Club and a Running Club. One is about the kit. The other is about what you do.

A Photography Club says: come along if you love photography. Bring your mirrorless, your DSLR, your phone, your film camera. Bring your creativity. Bring your eye. The name sets an expectation, and if clubs back it up with programming that's genuinely inclusive of all types of image-making, including mobile photography, documentary, portraiture, street, and landscape, the name becomes a promise they can actually keep.

And maybe, just maybe, if the name shifts the identity, the culture starts to shift with it. Fewer evenings built around who's entering what competition, more evenings built around sharing work, exploring ideas, learning from each other.

It's Not Just Semantics Though

Of course a name change alone won't save a struggling club. If the judging is still archaic, if the welcome isn't genuine, if competitions still dominate every conversation the moment you walk in the door, you can call it whatever you like and younger members still won't stay.

In an Amateur Photographer reader poll of nearly 900 people, almost a fifth said they didn't belong to a camera club because they considered it an old-fashioned concept. That's a perception problem, and perception starts with the name, but it doesn't end there. The culture inside has to match the promise the name makes on the outside.

But here's what I keep coming back to; a name change can be a catalyst. It forces a conversation. It makes a club publicly commit to something bigger than it was before. It's a visible signal to the outside world that things are different now, and for someone scrolling past a community listing on their phone, that signal might just be the thing that makes them stop and read on.

My Take

I've never been a camera club member, and honestly, if I'd ever stumbled across a local Photography Club that genuinely welcomed all types of photography, all types of photographers, and all types of cameras, including the one in my pocket, with evenings built around creativity rather than competition, I might well have felt very differently.

That's the gap we're talking about. It's not enormous, but it might be the difference between a club that survives the next decade and one that quietly fades away.

The clubs that will be thriving in ten years' time won't necessarily be the ones with the longest history or the most impressive trophy cabinets. They'll be the ones that made a newcomer feel like the name above the door was written for them too.

Photography Club.

Two words.

BIG difference.

It’s got to be worth a try, right?!?