Over the past few years, chocolate fans may have noticed a concerning change in the taste and texture of their favorite brands, due to confectioners adjusting their recipes in response to global cocoa shortages and sky-high prices.
Category: Science
Analog cameras are nowhere near as efficient as biological eyes. If you’ve ever handled a single-lens reflex (SLR) camera, especially if it had a zoom lens attached, you know how heavy they are, and how tricky and time-consuming adjusting their focus can be.
Category: Robotics, Technology
Tags: Georgia Tech, Soft Robotics, Eye, Biomimicry, Hydrogels, Optics
In this week's Question of the week, members of the community said the biggest positive changes to their photography came from simplifying their gear and embracing a few smart tools and habits, rather than chasing specs alone.
Some of you pointed to big-ticket purchases, such as returning to interchangeable-lens systems after a long absence or investing in a medium-format body. In contrast, others highlighted inexpensive adapters, flashes, or AI tools that quietly transformed your workflow. A recurring theme was that anything which removed friction, such as lens changes, menu-diving, clunky tripods, or excessive retouching, freed you to focus more on composition, timing, and storytelling.
Read on for a spotlight selection of contributions, and then join our forum community to share your great photos and the stories they tell.
New gear rekindling motivation Photo by MyRealitySeveral community members did point to new cameras or lenses as their standout change, but not only for the specs. What mattered most was how a body or lens made them feel: whether they were more inclined to get out to take photographs, more confident handling the camera or less distracted by constant gear decisions.
Alan Sh: I know it sounds odd, but buying the Fuji X-E5 rekindled my excitement for street photography. The camera just felt 'right' in my hand - much more so than the X100VI I had purchased over 12 months before.
barefeetDave: New gear. Pulled the trigger and picked up the Panasonic Lumix S1R2… It's a heavy kit, but the images I get are terrific. I love the tactile controls of the S1R2 - I rarely have to dig into the menus to change setup.
Poppamies: Getting my telephoto zoom for Fuji, the Sigma 100-400 DG dn os. They say gear doesn't matter, but it does, wildlife is hard with a 16-80mm zoom, haha.
tvgc: The battle of size was the most influential contributor to my photography this past year. Aging brings challenges, and I found myself looking for a camera that I could carry without significant IQ compromises, but wasn't too bulky in size. I was fortunate in that I had the opportunity to try a couple of the Internet's favorite compacts. I had owned a Sony RX1RMK2 and really enjoyed it, a few years ago I foolishly sold it when I moved to the Sony A7C models.
MyReality: In 2025, I shot a lot more video, had a lot of slides scanned, and had an 80-image book printed. I did not buy more gear because my photography is shifting more to video, and I have made no decision on cameras. 2026 will be the year I buy a much more videocentric camera.
Howard V: My photography was most influenced in 2025 by a newly purchased iPhone 16 Pro. I decided to delve more deeply into its features than previously owned models, and into phone photography as a legitimate approach. To reinforce this, I shelved all other photo equipment. At first, it felt novel, but then it became less pleasant as its shortcomings became more evident. But I mostly stuck it out until July.
Habits, discipline, and shooting more Photo by Sam BennettFor others, the biggest impact came from how they worked rather than what they bought. The community described small studio and workflow changes that paid big dividends in consistency, efficiency and enjoyment.
sirhawkeye64: For me, it was just getting out more and shooting more with what I already have. No need for newer/better gear, but just getting out, experiencing new things, and practicing is what had the biggest impact for me over this past year+. I'm at the stage where I don't need/necessarily want the newest, most expensive gear. I just want capable gear, which is what I have for what I shoot. It's not the latest or fastest, but it gets the job done. Now I'm focused more on shooting and making memories.
Sam Bennett: This one's easy - re-adopting the habit of having an 'every day carry' camera. Going to the coffee shop wasn't just about getting caffeinated; it was about getting creative. One of the biggest benefits of this is that the OM-3 has become an extension of my body - I use it so often that it is completely second nature. It has also helped me use my OM-1 differently and more efficiently - I understand that camera better now than I did before I got the OM-3.
Krummj: I’ve been printing more. But printing on the small side, 5x7. Printing is quick with the small size, and the photos look great. For shooting, I've been having fun with adapted Nikon G primes (these were made for full-frame DSLR and film Nikons). Adapted to my ZF and Z7, they work perfectly, and the images have something I like about them compared to the latest Z lenses (don't ask me what).
AndreyBess: I did several things…
1) Read all books by Bryan Peterson - they helped in several aspects
2) Started to use Canon Linear profile while doing RAW processing from my Canon RP.
3) Started to use DxO PureRaw, which saved a lot of my ISO 1600+ shots.
4) Bought Canon EF 16-35 F4 IS (used a EF-S Sigma 2.8 before) in addition to my Tamron 35-150 2.8-4.0 and Canon EF 100mm f2.0.
5) Finally started to shoot much more. It improved me very much.
6) Try to shoot as best as I can directly from my camera
AI and software didn’t dominate the thread, but when they came up, readers said they quietly transformed post-processing. The focus was less on flashy effects and more on tools that removed tedious cleanup work.
Vince P: I know it's blasphemous, but the latest AI distraction, reflection removal, etc, has saved me so much time.
Maoby: The new AI features in photo editing software, such as LR, are fantastic when used intelligently and sparingly.
JaredL: Cancelling my Adobe subscription after more than a decade. I'm still getting accustomed to DxO PhotoLab, and it's been fun revisiting and re-editing photos from years ago to see the results.
icexe: Learning how to utilize Adobe Camera Raw better to do post-processing. I've learned a lot of really cool masking and lighting techniques to create just about any look I like without relying on plug-in ‘film packs’ or recipes to do it.
Community, learning, and life‑experience driven shifts Photo by PedrinSeveral readers mentioned that their biggest leap occurred when they changed how they viewed and shared their images. Printing, in particular, emerged as a surprisingly powerful habit.
fotoword: Camera club membership drives me to get out of my chair and my comfort zone to enter the various themed and open competitions in my local club. I think this challenge, along with attending meetings with like-minded individuals, is what mostly gets me motivated.
Acquiring an XT50 earlier in the year and later a Canon 45 mm F1.2 for my R8 helped make those excursions even more interesting. I'm just waiting for my Godox IT32 to arrive to elevate the excitement that photography provides. Of course, it's not about the gear, but it does assist the enthusiasm.
Pavel Vishniakov: I started going to photo workshops and master classes organized by a local photo gear chain. It also pushed me to look at the world differently and capture photos that I wouldn't have thought of myself.
fatplanediaries: 2025 was when I decided to launch myself by doing well in as many photography competitions as I could. It was a humbling experience. I found out how far I still have to go.
It's now the end of 2025, and I can look back at my 2.5-year panorama odyssey with good clarity. There are many obvious lessons to get out of the way. For one, the Dunning-Kruger effect can haunt you at any stage of your creative life. For another, don't have such an ego. I've since received critiques from some really amazing photographers on my photos, and learned about aspects of photography I'd never known before.
Pedrin: Hello, everyone. This is my very first time posting on this website. I am now totally blind, with some light and form perception remaining. I was able to go forward and still photograph for the pleasure of others to see, and for the pleasure of me going back to very basic manual. I am therefore experiencing the joy of my photography as I have throughout my whole life.
Change that brings enjoymentAcross all these stories, it's clear that the most impactful change in 2025 was anything that made it easier to shoot often and enjoy the process - whether that came from a new camera, a smarter workflow or a simple habit that stuck.
Are you interested in participating in this series? Keep watch for the next Question of the week every other Wednesday, posted as an article here on the homepage and also in the forums. We can't wait to read and share your stories.
Want to call someone a quick-thinker? The easiest cliché for doing so is calling her a computer – in fact, “computers” was the literal job title of the “Hidden Figures” mathematicians who drove the success of early NASA.
Category: Computers, Consumer Tech, Technology
Tags: Aalto University, Chinese Academy of Sciences, Optical Computing
Earlier this year, Adobe made it possible to use third-party AI models in Photoshop, but now, the reverse is also true, and the company is bringing its own tools to AI chat platforms. Adobe is integrating Photoshop, Adobe Express and Adobe Acrobat with ChatGPT, allowing users to access select Adobe tools directly in the AI-powered conversational chatbot, for free.
Adobe says the integration aims to make it easier for everyone to edit photos, design invites and posters and create professional-looking documents. Users will be able to use ChatGPT’s conversational interface to request changes, instead of hunting for the correct tool themselves. The move builds on Adobe's AI Assistants and its beta Edit Suggestions feature, which it introduced at Adobe Max as its first step in testing "agentic style" editing.
Image: AdobeTo access the apps in ChatGPT, users need to type the name of the app or select it from the plus menu. Then users type a specific request describing the change they want. For example, if someone wants to change the colors in an image, they need to type something like, "Adobe Photoshop, warm up the colors in the image." After applying the adjustment, users can click on the selection and use sliders to fine-tune the edits, similar to what they might do in Photoshop (or at least a pared-down version of it).
Image: AdobePhotoshop in ChatGPT won't offer the full suite of features found in the desktop software or mobile app. But it will allow for adjustments to a specific part of an image, provided you can define the section you want changed. It also supports changes to global image settings such as brightness, contrast and exposure, along with creative effects like Glitch and Glow. Adobe says that those who want more complete adjustments can then transfer an image from ChatGPT into its native apps and pick up where they left off.
The Adobe ChatGPT apps are available on desktop, the web and iOS. The Adobe Express ChatGPT app can be used on Android devices, and Adobe says that support for Photoshop and Acrobat is coming soon. All of the apps are free to use, and they don't require a paid ChatGPT subscription. However, some Acrobat and Adobe Express features do require users to sign in to an Adobe account.
Press release:
Adobe Makes Creativity Accessible for Everyone with Adobe Photoshop, Adobe Express and Adobe Acrobat in ChatGPTSAN JOSE, Calif. — December 10, 2025 — Adobe (Nasdaq:ADBE) today launched Adobe Photoshop, Adobe Express and Adobe Acrobat for ChatGPT, bringing its industry-leading creative and productivity apps to the platform’s 800 million users. Adobe apps for ChatGPT build upon the company’s innovation in agentic AI, enabling everyone to easily enhance vacation photos, design event invitations and create polished, professional documents simply by describing what they want to achieve with their words. By combining the power of Adobe’s creative technology with ChatGPT’s conversational interface, Adobe apps for ChatGPT make creativity accessible for everyone.
"We’re thrilled to bring Photoshop, Adobe Express and Acrobat directly into ChatGPT, combining our creative innovations with the ease of ChatGPT to make creativity accessible for everyone," said David Wadhwani, president, digital media, Adobe. "Now hundreds of millions of people can edit with Photoshop simply by using their own words, right inside a platform that’s already part of their day-to-day."
The launch of Photoshop, Adobe Express and Acrobat for ChatGPT builds on Adobe’s ongoing innovation in conversational experiences powered by agentic AI and the Model Context Protocol (MCP). Earlier this year, Adobe launched Acrobat Studio, a destination for productivity and creativity that transforms static documents into interactive, AI-powered workspaces where people can ask questions, get insights, and easily create standout content from their PDFs. At Adobe MAX, Adobe introduced AI Assistants for Photoshop and Adobe Express that empower everyone to create using their own words and refine results using the company’s world-class tools. Adobe also previewed an upcoming AI Assistant for Adobe Firefly that will empower creators to quickly turn their ideas into finished content by working across multiple Adobe apps and beyond.
Adobe’s Top Creative and Productivity Apps Now in ChatGPT
Adobe apps for ChatGPT bring Adobe’s category-defining tools to people who may be new to its apps. The apps provide users with many popular features they need to create within the chat, where they can make conversational edits or take control using Adobe’s intuitive tools like sliders in Photoshop, to adjust image brightness or contrast.
Accessing Adobe’s apps in ChatGPT is as simple as typing the name of the app followed by an instruction. For example, to blur the background of an image with Photoshop, users can type: "Adobe Photoshop, help me blur the background of this image." ChatGPT then automatically surfaces the app and uses contextual understanding to guide the user through the action. To learn more about how to get started with Adobe apps for ChatGPT, read here.
With Adobe apps for ChatGPT, users can:
By delivering intuitive actions in ChatGPT, Adobe is expanding access to its most popular apps, reaching new audiences where they already work. For anyone who wants the full power and precision of Adobe’s tools, it’s seamless to move from ChatGPT into Adobe’s native apps and pick up right where they left off.
Pricing and Availability
Photoshop, Adobe Express and Acrobat for ChatGPT are free to ChatGPT users globally and available starting today on ChatGPT desktop, web and iOS. Adobe Express for ChatGPT is also available on Android, with support for Photoshop and Acrobat for ChatGPT on Android coming soon.
Viltrox has announced two conversion lenses for the Fujifilm X100 series of cameras. The TCL-X100VI (Tele Conversion Lens) and WCL (Wide Conversion Lens) aim to provide greater flexibility by offering two additional fields of view from the fixed-lens cameras.
Fujifilm's X100 series cameras all feature a fixed, built-in 23mm (35mm equiv) lens. That focal length is relatively versatile, but the single option is inherently limiting. The conversion lenses give Fujifilm X100 users two additional options. The TCL results in 1.4x magnification, effectively turning the lens into a 50mm equivalent. The WCL offers a 0.8x magnification, equivalent to a 28mm lens.
The Wide Conversion Lens (WCL) results in a 28mm equivalent focal length.Viltrox says that both conversion lenses use professionally engineered optics to prevent any degradation in image quality or light transmission. They feature an optical design comprising five elements in four groups. The TCL benefits from two high-refractive-index elements and one extra-low-dispersion element, while the WCL offers two refractive-index elements. Both use multi-layer nano coatings to reduce vignetting. The TCL accepts filters with a 67mm filter thread, while the WCL uses 49mm filters.
Both the WCL and TCL are available in black and silver.The conversion lenses are easy to attach, simply screwing onto the camera's built-in lens. Viltrox explained that on fourth-generation and later devices (X100F, X100V, and X100VI), the camera will automatically detect conversion lenses and adjust the appropriate settings, including built-in distortion and vignetting correction. Both the TCL and WCL are available in black and silver and are designed to match the X100's retro look. Both are compact and lightweight, with the TCL weighing 230g (8.1oz) and the WCL 130g (4.6oz).
Fujifilm makes its own conversion lenses for the X100 series (the similarly named WCL-X100 II and TCL-X100 II), which offer the same magnification levels. They both cost $400, though. The Viltrox TCL and WCL are, in keeping with Viltrox standards, more affordable. They are available for purchase today for $189 for the TCL and $159 for the WCL.
There's a well-established link between depression and chronic low-grade inflammation. Now, a new meta-study shows that treating the inflammation can reduce depression in two ways, offering a potential alternative to antidepressants and their side effects.
Category: Mental Health, Brain Health, Body and Mind
Tags: Depression, Anti-inflammatory, Brigham and Women’s Hospital, antidepressant
With its modest footprint and low ceilings, you're not going to be throwing any wild parties in the Nozawa. However, provided you don't want to host a rager, this compact tiny house sleeps two people in a practical interior that blends traditional Japanese design with modern space-saving ideas.
Category: Tiny Houses, Outdoors
Tags: Building and Construction, Tiny Footprint, Micro-House, House, Home
I'm always excited to learn what Pebble is up to, because this gadget brand – which made a name for itself with its lo-fi smartwatch – decidedly does things differently. Its latest product is an AI-enabled device that seeks to avoid the pitfalls of recent fiascos in this category, with thoughtful features and an approach to packaging you don't often come across.
Category: Wearables, Consumer Tech, Technology
Tags: Gadgets, Voice Recorder, Voice, Speech, Artificial Intelligence, Pebble
A massive global study has turned up some grim news: that nearly 87% of us are not routinely getting quality sleep and meeting physical activity levels needed for our long-term health. Now, scientists have discovered that one is more influential than the other.
Category: Wellness and Healthy Living, Body and Mind
Tags: Flinders University, Sleep, Exercise, Physical activity, Obesity, Metabolic syndrome
Nikon has announced that it's bringing nine "Imaging Recipe" color profiles inspired by popular color grading looks for its Red cinema cameras. The company says it'll let users get cinematic-looking videos straight out of camera. It's Nikon's latest announcement tied to its Red cinema brand, after it released the video-focused Nikon ZR earlier this year.
Four of them – CineBias, CineBias Offset, Film Bias Bleach Bypass and Achromic – will be familiar to Nikon users, as they've been available as Lookup Table files, or LUTs, for a while. While those are relatively subtle color modes, the newly-added ones push things a little further, which you can see below.
Unlike when Nikon released a few Red-inspired LUTs for its Z-series cameras last year, this release isn't coming in the form of standard Lookup Table files. Instead, Nikon is distributing them through its Imaging Cloud service, and they'll be applied to your H.264/H.265 videos as you record them. That means you'll only be able to use them on cameras that support Imaging Cloud, a list that includes the ZR, Zf, Z6III, Z5II and Z50II, though notably not the Z8 and Z9. That's a bit awkward, given how much effort Nikon has put into making those extremely capable video cameras.
Unlike with a standard LUT, you can't apply the looks to N-Log footage you've already shot; they have to be baked in at the time of shooting. That also means you're giving up the editing latitude you'd usually get with Log footage to gain the cinematic looks.
That likely speaks to the audience that Nikon is focusing on with these looks: not professional filmmakers trying to cut video from their Nikon mirrorless cameras together with footage from Red cinema cameras, but creators who want cinematic-looking footage without having to do a lot of editing work. That's almost certainly a bigger market, and those looking to use the Red Creative LUTs can do so with footage from the ZR, but it's still a bit disappointing that Nikon isn't taking a more open approach, especially given that Fujifilm just released a bunch of its own "Film Simulations" as more broadly compatible LUTs.
Lockheed Martin's Skunk Works has shown how combat drones can think on the fly with a demonstration of its AI-Driven Mission Contingency Management (AI/MCM) system that can adjust missions in the face of unforeseen events.
Category: Military, Technology
Tags: Lockheed Martin, Skunk Works, drones, Artificial Intelligence
What do the likes of the BMW R 1300 GS, Triumph Tiger 1200, KTM 1290 Super Adventure, and Ducati Multistrada V4 all have in common? They’re all top-shelf adventure motorcycles from Europe’s premier manufacturers, packed with every bell and whistle you could imagine.
Category: Motorcycles, Transport
Tags: CFMoto, Adventure Bikes, Off-road, KTM, BMW Motorrad, Ducati, Triumph, Honda Motorcycles
The all-new Float tent from startup FLFQ-Aloner looks to make camping faster, easier and tailored to the conditions on the ground. Thanks to an inflatable exo-frame construction, it pitches in under a minute with minimal effort. And when the ground gets too rocky, soggy or scratchy, the tent leaps up into the trees on a stable spreader hammock, creating a compact, free-hanging camping pod that won't tilt or twist. The design is even built to hold up to light hurricane-level wind.
Category: Tents, Gear, Outdoors
Tags: Tent, Tree tent, Hammocks, Camping, Outdoors and Camping, Backpacking, Kickstarter, Inflatable
Most pet dogs carry a little wolf inside them; tiny snippets of wolf DNA that slipped into dog genomes after domestication. A new study, published in Proceedings of the National Academy of Sciences, has found that almost two-thirds of dog breeds have a small amount of wolf genes, which may have provided them with unique advantages to survive in diverse human environments.
DNA can sustain serious injuries called double strand breaks, in which both strands of the helix snap. These breaks are among the most dangerous forms of DNA damage and immediately trigger the cell's damage response. Because DNA damage constantly threatens the stability of our genome, the ability to repair it is vital. When repair systems weaken, diseases can arise. That's why scientists study the molecular pathways of DNA repair: they could lead to new therapies.
Category: Imaging & Diagnostics, Medical Innovations, Body and Mind
Needles for sewing together seemingly disparate RV categories continue to be threaded. The new Atlas Cabin Box from Hotomobil is similar to a few concepts and products we've looked over during the course of 2025, but it ultimately pulls together a full-bodied pickup camper and a rooftop tent in a way we haven't quite seen before. It's an affordable truck camping option that keeps the truck extremely lightweight and relatively compact ... until it's time to unfurl a full truck-back base camp.
Category: Pickup Campers, Adventure Vehicles, Outdoors
Tags: Pickup, Truck, Camping, Off-road, roof-top tent, RV, Outdoors and Camping
If you’re going to kill animals for food, don’t waste their parts – that’s just rude. Use everything, snout-to-tail, and not just bones for glue or stomachs for drink-bags, either. Get creative!
Category: Robotics, Technology
Tags: EPFL, Biomimicry, Recycling
The Northern Lights Photographer of the Year competition has announced its 2025 winners. Hosted by travel photography blog Capture the Atlas, this marks the 8th year of the contest and highlights 25 of the most outstanding Aurora images captured over the past year.
The selected images from this year's contest showcase stunning scenes from across the Northern and Southern Hemispheres. The top 25 photographers represent 15 nationalities, with image locations ranging from Iceland and Norway to Australia and New Zealand and more. Geomagnetic activity was exceptionally high throughout the year, allowing photographers opportunities to capture Aurora Borealis and Aurora Australis in unusual locations.
The winning images are curated by Dan Zafra, editor of Capture the Atlas, with the selection based on image quality, the story behind the shot and the inspiration the photo conveys. You can see all 25 of the winning images and find tips on photographing the Northern Lights at Capture the Atlas.
Lights & IcePhotographer: Tori Harp
Location: Aoraki/Mt Cook National Park, New Zealand
Camera gear: Sony a7R IV, Sony 20mm F1.8 G
Technical details: Sky and ice cave: F1.8, ISO 2000, 20 sec; Abseiler shot: F2.8, ISO 1250, 1/50 sec
Caption: I originally found this ice cave, called a moulin, 8 months prior to setting up this shot in Aoraki/Mount Cook National Park. Glaciers are a very dynamic environment, so I kept going back to monitor the changes of this moulin over the 8-month period. As the opening of the cave formed, I envisioned setting up a night shot with my friend abseiling down the mouth of the cave with New Zealand’s amazing starry sky in the background.
One magical night, everything finally came together! To my surprise, the Aurora Australis also lit up the sky. I managed to capture my friend’s silhouette perfectly placed in the center of the cave’s opening, and I love how the pinky tones of the aurora contrast with the icy colors of the cave. This dream shot ended up coming out better than I had originally envisioned, and I had a great night with my friends exploring the glacier!
Essence of the Arctic NightPhotographer: Giulio Cobianchi
Location: Haukland Beach, Lofoten islands
Camera gear: Nikon Z6II (astro-modified), Nikon Nikkor Z 14-24mm F2.8 S
Technical details: Panoramic of 21 shots in 2 rows:
Caption: Autumn in the Arctic is the best time to capture the “double arc” of the Milky Way and the Aurora Borealis. The nights have finally turned dark again after the endless summer days when the sun never sets. The summer Milky Way is already high in the sky shortly after sunset, and the Northern Lights return to dance across the sky in bands of pink, red, violet, and green.
During my last tour in September, I captured this 360° panoramic image at the border between Haukland and Vik Beach, where rugged mountains meet the wild Norwegian Sea. The intense Northern Lights and the bright moonlight softened the Milky Way, but the combination of all these elements in the Arctic sky felt absolutely magical — just as the Lofoten Islands always do.
Frozen Silence Beneath the LightsPhotographer: Nikki Born
Location: Riisitunturi National Park, Finland
Camera gear: Canon EOS R6, Sigma 14-24mm F2.8 DG HSM Art
Technical details: 14mm, F2.8, 10 sec
Caption: This night was truly unforgettable. Capturing the famous frozen trees of Riisitunturi beneath the Northern Lights had been a dream for years.
In March 2025, we set out to make it happen, but the weather challenged us with thick clouds all week. On our final night, we hiked into the park, hoping for a glimpse of the sky. The wind was biting, and we took shelter among the frozen trees, waiting in silence. After hours of nothing, we finally gave up and began the hike back to our cabin.
Then, just as we were about to call it a night, a break appeared in the clouds. We grabbed our gear and hurried back up the Riisitunturi Hill. The moment we reached the top, the sky burst into vivid shades of green. It was an explosion of light and wonder.
This night was the experience of a lifetime: the dream shot I had longed for and a moment that words can hardly describe. Photographing the Northern Lights demands patience and persistence, but when they finally appear, time stands still, and nature reminds you just how amazing our world can be.
Sueños en EystrahornPhotographer: Pablo Ruiz
Location: Eystrahorn, Iceland
Camera gear: Nikon D810, Nikon AF-S Nikkor 14-24mm F2.8G ED
Technical details: Panorama 2 rows of 8 photos:
Caption: Without a doubt, one of the most challenging aurora panoramas I’ve ever taken was this one at one of Iceland’s most spectacular locations.
Capturing a panorama with reflections and auroras that move so quickly is quite difficult. It was the photograph of my dreams, so I arrived in the afternoon to prepare the angles and options for the night. Clear skies and very little wind looked perfect for capturing reflections in the different pools.
Auroras were already visible in the sky during the blue hour, so I quickly headed to the spot where I had planned the composition. The wind shifted, making it difficult to capture the reflections, but the moment the sky exploded, the wind stopped, and for a few brief moments, I achieved my dream photograph. It was a great joy to witness and capture such a moment.
Twisting TurnPhotographer: Virgil Reglioni
Location: Scoresbysund, Greenland
Camera gear: Sony a7C II, Laowa 15mm F2 Zero-D
Technical details: 15mm, F2.0, ISO 2500, 1.3 sec
Caption: Behind every image lies a deliberate process — a fusion of coordination, timing, and technical precision carried out from a ship navigating some of the harshest conditions on Earth. Photographing the aurora over the ice is never about luck; it’s the result of preparation, teamwork, and experience. From the ship’s bridge to the camera deck, every movement is carefully planned to give the lights their best possible stage.
During the day, we navigated through fields of icebergs, scouting for the perfect one — a curve, a ridge, or a translucent arch to anchor the composition. Guided by how the aurora moves across the Greenlandic sky, we aligned our chosen iceberg and ship precisely, uniting earth, ice, and sky in one luminous image.
Working closely with the bridge crew, we searched for newly formed ice strong enough to hold the vessel steady. A stable platform was vital — it allowed us to capture long exposures between half a second and two seconds, every moment of stillness essential as the aurora began to dance above.
When the Northern Lights intensified, our focus shifted. We exposed for the highlights, preserving the delicate shapes of light without losing their definition. Each frame became a balance between nature’s raw power and the patience of observation.
Aurora Comet LemmonPhotographer: Petr Horálek
Location: Skaulo, Sweden
Camera gear: Canon EOS Ra, Sigma 50mm F1.4 EX DG HSM
Technical details: F1.4, ISO 2500, 3.2 sec
Caption: The night of 24 October, 2025, was incredible. I had just moved to Sweden, where I organized an astrophotography workshop. We headed to Skaulo, where we found an incredible viewpoint over Suotojärvi Lake.
This night coincided with the C/2025 A6 (Lemmon) Comet, which was only discovered back in January 2025. The comet was so bright that we could see it with our naked eyes, even when it was very low on the horizon.
Fortunately, I had my camera with me! I photographed the comet darting through the sky beside the bright Aurora Borealis. Capturing two stunning natural phenomena in one shot was an exhilarating experience. The comet and the aurora appeared to be in a sort of dance, giving us an amazing show that I’ll remember forever.
Corona Blast Aurora Geomagnetic StormPhotographer: Roi Levi
Location: Kirkjufell, Iceland
Camera gear: Sony a7S III (astro-modified), Sigma 14mm F1.4 DG Art
Technical details:
Caption: This image was captured during the March Equinox, as a geomagnetic storm structure brought a mesmerizing light show. A full-zenith Auroral Corona erupted overhead – powerful, bright pillars of light radiated across the sky, creating a stunning crown-light blast shape.
This rare phenomenon occurred on March 21, 2025, when a CME struck Earth, triggering a G2 geomagnetic storm. The shot is a 360° panoramic stitch of 21 frames, capturing the entire Aurora shape and a complete sky view. I used a Sigma Art fast F1.4 lens to get a fast exposure and capture the pillar structure.
Kirkjufell is one of Iceland’s most iconic mountains, and witnessing the aurora here was a one-of-a-kind experience. With the Kirkjufellsfoss waterfalls in the foreground, this image is a dynamic representation of the sweeping auroral corona.
SpeechlessPhotographer: Ralf Rohner
Location: Hudson Bay, Canada
Camera gear: Canon EOS R (astro-modified), Sigma 28mm F1.4 DG HSM Art
Technical details: F2, ISO 6400, 5 sec
Caption: I was flying at 35,000 feet over Hudson Bay, Canada. As a commercial pilot, night flights often test one’s patience and endurance. Confined to a narrow seat, surrounded by seemingly never-changing instruments, the pilot stares into a boundless darkness and wonders what drives him to endure such long, lonely hours. The monotony can seem endless – until suddenly, everything changes. There are rare nights when the sky rewards you for all that fatigue and isolation.
Above a silent sea of clouds, cocooned within a fragile shell of metal, the pilot witnesses something extraordinary. Curtains of light dance across the heavens, painting the darkness with vivid greens and purples. In that breathtaking moment, every struggle feels justified, and words simply fail. What I couldn’t express with words, I captured in this photograph.
The Northern CrownPhotographer: Mari Jääskeläinen
Location: Pyhäjärvi, Finland
Camera gear: Sony a7 III, Sigma 14mm F1.8 Art DG HSM
Technical details: F2, ISO 2500, 1.6 sec
Caption: I step outside and take a look at the sky above my house. It’s time. I feel the adrenaline rush in as I gather my gear and put on more warm clothes.
Just a quick drive to the lake nearby and I’m all set up for the night! During active nights, I always follow the real-time solar wind data to predict what’s yet to come. On this night, there were no significant CMEs as far as I remember. And I was perfectly fine with that, as this could be the night when I finally get the shot I’ve dreamed about for a long time.
In my mind, I imagine the Northern Lights creating a clear, bright green spiral to the northern sky, just above the trees, so the foreground would fit perfectly into the frame. I couldn’t believe my eyes when the auroral arc started taking the exact shape I had only dreamed about for so long! Perfect reminder of how beautiful these subtle auroras can be!
Neon NightfallPhotographer: Andres Papp
Location: Türisalu, Estonia
Camera gear: Canon EOS 6D, Samyang 14mm F2.8
Technical details: F2.8, ISO 6400, 5 sec
Caption: I shot this image on a quiet, rocky beach as a strong aurora storm rolled in from the north. At first, it was just a low green arc, but it quickly erupted into vertical curtains of lime and rare magenta. To connect the sky with the foreground, I illuminated the shoreline rocks with a strong 365 nm UV light torch, which made the minerals pop and added the surreal glow you see in the image.
The challenge was balancing everything—an exposure of about 5 seconds to keep the aurora structure sharp and managing the UV spill so it didn’t look artificial. What keeps me coming back to Northern Lights photography is this mix of science and magic: you study forecasts and KP indices, but the real reward is when the sky does something unexpected, and you’re prepared to capture it in a single, colorful frame.
Gibson Steps AuroraPhotographer: Jeff Cullen
Location: Great Ocean Rd, Victoria, Australia
Camera gear: Canon EOS 5DS, Samyang 14mm F2.8
Technical details: F2.8, ISO 1000, 30 sec
Caption: I had been struggling to find the motivation to get out and shoot. The aurora was predicted, as were the clouds, but I decided to take the chance and drive the hour to this iconic destination. The cloud prediction was correct, but I still went down the 86 steps to the beach and crossed the sand to the Gog and Magog sea stacks. The clouds started to clear, and I was able to shoot some great images before the aurora died down. I packed up and had another nearby destination in mind.
Climbing back up the stairs, the beams were so big and bright in the corner of my eye! I ran back down to the beach and quickly set up my camera again. This image shows the magic that happened that night; I was absolutely amazed and astounded that such a weak aurora forecast brought me such a brilliant show.
Moral of the story: Go and shoot! There is nothing to lose, but the finest nature photos to gain.
Guardians of the AuroraPhotographer: Daniel Mickleson
Location: Taranaki, New Zealand
Camera gear: Canon EOS R5, Canon 16-35mm F2.8L II USM
Technical details: F2.8, ISO 1250, 13 sec
Caption: A rare aurora event lit the west coast of New Zealand’s North Island in vivid curtains of pink and green. In the foreground, the rock formations known as the Three Sisters stand as guardians of the shoreline, while the sacred Taranaki Maunga rises in the distance. Within Te ao Māori (the Māori worldview), such natural features are not just landscapes but ancestral presences, carrying the role of guardianship. Beneath the aurora, earth, sky, and ancestry converge in a moment both fleeting and timeless.
After capturing my first aurora during the May 2024 storm, I was hooked. Travelling several hours from my home to this special location, I hoped the forecasts would be correct. Even with a near–full moon, the powerful display shone across the sky. I could see the beams dancing overhead — a truly spectacular sight.
One Autumn NightPhotographer: Jesús Garrido
Location: Abisko, Sweden
Camera gear: Sony a1, Sony FE 14mm F1.8 GM
Technical details: F1,8, ISO 4000, 3.2 sec
Caption: The 1st of October 2025. That night, at the very moment I stepped outside my home, I somehow knew it was going to be a great one. The solar activity was looking really good, and I kept thinking that I had to find some open water to catch those reflections. Soon, the lakes would be completely frozen and covered in snow, so this felt like the right time to look for reflections before winter settled in.
I drove to a little bay of Lake Torneträsk in Abisko, a place I like because it’s usually quiet and protected from the wind. A few moments after arriving, the Northern Lights started to move slowly across the sky, and then suddenly they began to dance. Red tones rose on the southern horizon while the lake remained perfectly still, reflecting every single thing that was happening above me.
Celestial Fireworks on New YearsPhotographer: Sara Aurorae
Location: The Otways, Victoria, Australia
Camera gear: Nikon Z7II, Nikon Nikkor Z 20mm F1.8 S
Technical details: Panorama: 6 Frames, F2.5, ISO 1250, 13 sec
Caption: On New Year’s Day, beneath the dark Australian sky, my friends and I were met by celestial fireworks with the Aurora Australis unfurling in a sudden, breathtaking bloom above our quiet campsite in the Otways of Victoria. Ribbons of rose, violet, and green shimmered, visible even to the naked eye, as if the universe itself had heard our resolutions for 2025 and joined in our celebration.
The spectacle arrived without warning, giving me only moments to reach for my camera. Though the foreground may be plain, I don’t mind it, as the lines of trees on the right lead your eye to the stunning light show in the sky. This photograph holds something far greater — a reminder that even in life’s simplest scenes, magic can find us when we least expect it.
Auroral ReflectionsPhotographer: Travis D. Amick
Location: Ketchum, Idaho, USA
Camera gear: Sony a7R IV, Sony FE 14mm F1.8 GM
Technical details: Single shot, 14mm, F1.8, ISO 2000, 8 sec
Caption: The night commenced with the eagerly anticipated arrival of a large coronal mass ejection (CME) destined to impact Earth. CMEs, a primary cause of significant aurora displays, serve as an excellent catalyst for the aurora to be observed in lower latitudes, particularly during substorms, which are brief “bursts” of heightened auroral activity.
The notification of a CME impact came ringing in much earlier than expected from SpaceWeatherLive. I was well prepared and quickly headed out to a secluded pond just north of Ketchum, Idaho. After the initial impact, time seemed to slow down, and only a faint auroral glow was present on the horizon. I was ready to throw in the towel when suddenly, there was an explosion of color and the brightest naked-eye red flares I’ve ever seen.
I ran down to the pond to get this particular shot of the vibrant red flares intertwined with the colors of the aurora reflecting off the tranquil pond. Within minutes, the substorm subsided, and the aurora once again receded to just a glow on the horizon. The aurora demands patience and meticulous planning, but it’s worth it for those fleeting moments of awe.
Hasselblad X2D II 100C | XCD 35-100mm F2.8-4 E @ 100mm | F4.0 | 1/180 sec | ISO 3200
Please download the original and view on an HDR display, where the light on the right of the subject's face is rendered more realistically.
Photo: Richard Butler
Sometimes you just know. Sometimes it's in the moment you hit the shutter, but more often I find, it's the moment the review image pops up on your screen or viewfinder: you've caught exactly the moment you wanted to. Or, perhaps something even better than you anticipated.
I always struggle with choosing my photo of the year, because I think of myself primarily as a writer who's a keen photographer, rather than as a photographer (still less, a YouTuber). Like the majority of DPReview's readers, I'm a keen amateur always pushing myself to get better. And one of the core photography skills I'm still working on is the ability to select and assess my own images. But I knew, in the moment I'd taken this one, that it was the best thing I'd shoot this year.
And I'm going to fight my inner Britishness and try not to be bashful or stumble about between self-deprecation and false modesty. I got this photo because I put in the work. There was definitely an element of good fortune and serendipity to it, but I got this photo because I made it happen.
There was definitely an element of good fortune and serendipity to it, but I got this photo because I made it happen.I say this because I took this photo in the midst of a conversation on precisely that topic. I'd flown into London earlier that afternoon and was enjoying a pint outside my favourite pub with two of my closest friends. One of them, a former DPReview colleague, was saying how impressed he'd been with some of my recent portrait photos, the other was teasing (/haranguing) me for not being able to accept the compliment.
As we chatted, another group of people arrived and stood next to us, among them a young woman in a pink top with pink and orange hair and quite striking checkerboard trousers. It was a pretty loud outfit, so quite hard to ignore but it was also, by some strange coincidence, the same shade of pink as the wall of the intentionally Instagram-friendly cake shop opposite us.
I'd say "picture the scene" but you don't have to, as I apparently included a photo of it in another article, four years ago. This story takes place where the people are standing: the pink wall is parallel with the right-hand edge of this photo. It were a copy shop/reprographics house, back in my day.
Photo: Richard Butler
Emboldened by Andy's kind words (and with no contribution from the beers I'd drunk or the fact I was nearly hallucinating with tiredness/jet-lag), I decided to ask if she'd pose for a photo. The moment I opened my mouth I remembered that, back in the UK, I don't have an accent working in my favor, but the strength of my "your outfit matches that wall" argument and the promise that it'd only take a moment, was sufficient, regardless.
Unfortunately, and for this I am blaming the timezone change, I'd not noticed how dark it had got. My subject was very game in trying to pull exaggerated poses in front of the matching wall for me, but the light was much flatter and greyer than it'd been a few moments (hours?) ago.
I was just about to give up, when I noticed that the previous shot I'd taken had a distinct orange tinge catching my subject's outline. The interior lights of the Instagramable bakery were beginning to overwhelm the fading grey light of dusk, and even in my slow-witted state, I knew what to do next.
"Could I ask you to take a step to your right, so you're more in front of this window?" I asked, repositioning myself so that I'd be shooting from the direction of the glow. Suddenly, there was something: my subject's face bathed in orange light, with the pink wall still visible behind her, each element working with her intensely dyed hair.
Once you've found some nice light, it's so hard to resist making more use of it.
Photo: Richard Butler
Still not great, but at least one of the shots, good enough. I showed them to my subject and she smiled in response. But, more importantly, she relaxed a little. I knew I was onto something, but the familiar urge to keep shooting was being tempered by my promise that it wouldn't take long, and that I'd let her get back to her friends.
"Can I do one more? More of a head-and-shoulders?" I asked. I don't know whether the response was an attempt to engage more with the camera or to try to hear what I was saying, but my subject leaned a little further toward me. Further out into the light spilling from the window, suddenly lighting up her eyes. I hit the shutter before anything could change and hoped like hell that eye detection would do its thing.
"Omg, that looks so cool"The image appeared on the back of the camera, given stunning vibrancy by its HDR rear panel. Pinks and oranges leaping off the screen and eyes directly connecting with the viewer. "I'm not going to get a better one than that," I concluded, immediately, and thanked my subject for her time, promising a copy of the shot as soon as I could. "Omg, that looks so cool," came back the response, when I did.
I took another couple of portraits in the cake shop's high-beam glimmer that evening, including one that my friend likes of himself (which he never does), until I felt that I'd been taking the risk of waving thousands of dollars of borrowed camera around in central London long enough.
There's a bit of a story behind all the other images I considered for this piece: stories of nice light, photos their subjects have really liked, moments of serendipity. But, particularly if you download the original and view it in HDR, this one feels like it stands out. Sometimes you just know.
Richard's favorite photos of 2025It's partly a reflection of the cameras I've reviewed this year, but I find it interesting that three of my potential shots of the year were shot in black and white, and three are HDR photos, either out-of-camera or as after-the-fact conversion.
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