DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

A breathtaking black and white landscape shrouded in fog and mist has been awarded our Photo of the Week accolade.

Captured by mlseawell at Arches National Park in southern Utah, this atmospheric image titled "A Hidden Land" is the result of an early morning well spent. Rolling hills and distant mountain ridges peek through thick layers of mist, with the fog sitting heavy across the valley and giving just enough away to keep you looking. The further you look, the more the landscape seems to hold back, and that tension is what makes this image so compelling.

Shot in black and white, the image strips the scene back to its raw essentials, letting tone, texture and light do all the talking. It is the kind of photograph that reminds you why some early mornings are worth every effort.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we’ll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards!

 

When the sun's not coming out to play you have two choices: you can go home and twiddle your thumbs or you can stay out and make the most of what's on offer. If you choose the latter, here are a few photography projects you could have a go at.

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1. Beach / Coast

The coast has a completely different feel when not drenched in sunshine. The sea can merge with the horizon making it seem like it stretches on for miles and the dark shades and moody feel really suit a seaside resort that's out of season. Even more so if you have boarded up beach huts and empty amusement parks to sit against a dark, moody sky.
 

2. Buildings

Dull days give factories and old buildings more character as there are generally fewer shadows, you'll be able to pick detail out in chimneys that reach out into the sky and the gloomy day will further enhance the feel of the industry and in the case of a boarded-up building, abandonment.

   
3. Close-Ups

Bright days when the sun is high in the sky can be awkward as colours will be too harsh and you'll have deep, dark shadows. Whereas grey days, when there's plenty of clouds, is nature's way of giving you a giant softbox to work with. This weather's particularly good for photographing flowers and shrubs so get outside with a macro lens compact camera which features a Macro mode. You'll have to use a slightly slower shutter speed, though, so make sure you pack your tripod.
 

4. Reflections

Flat light can leave buildings looking a little boring but if you turn your eyes to water, their reflections in the ripples can produce a great abstract shot. The reflection on its own can make interesting, slightly surreal images and all you need to do is make sure there are some interesting shapes reflected in the water.
 

5. Go Mono

A shot that looks dull and boring in colour can be transformed into a great moody mono with a little help from Photoshop. Just make sure you have some strong shapes for your black and white conversion. Go a little further and add a bit of grain and a ragged border and your mono will be moodier than a teenager!

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Archie2022 (Day 20 - Waterfall Photography).

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 15

Self Portraits

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Day 16

Vertical Lines

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Day 17

Photos With Vignettes

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  Day 18

People Shots

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Day 19

Park Photography

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Day 21

HDR Photography

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to dke (Day 4 - Flower Photography).

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 1

Frost Photography

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Day 2

Commute Photography

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Day 3

Glass Photography

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  Day 5

Car Photography

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Day 6

Football Photography

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Day 7

Food Photography

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

   

The idea of movement isn't usually a thought that first springs to mind when you try to describe what a landscape shot is. However, when you start to think of popular landscape topics such as waterfalls, rivers, trees, clouds and the sea, you suddenly realise movement, which makes shots more dynamic, crops up more often than you think.

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Slowing your shutter speeds can create a sense of movement in your landscape shots. Just remember you'll need to use a smaller aperture to limit the amount of light that reaches your camera's sensor. If you don't, you'll end up with a shot that's overexposed. If you find your shots are still a little on the light side, fit an ND filter to further reduce the amount of light going through your lens. For shots where you want to exaggerate the power/strength of your subject or for shots that have people/vehicles moving or birds in-flight, you'll need quicker shutter speeds, a steady hand and good panning technique all of which we'll look at later on.

  1. Waves

For shots of waves crashing against cliffs and sea walls you'll need a quick-ish shutter speed, around 1/125 should help you capture the power on display. Just remember, unless you want a soaking, to keep yourself and your kit out of the wave's reach. Have a lens cloth handy and remember to wipe your kit down thoroughly once you're back home.

For shots where the waves turn into a mass of soft, blue and white blur use exposures which are 5 seconds or more. If it's a particularly bright day make sure you have an ND filter to-hand and use the smallest aperture and ISO possible. If you want the waves to have a little more shape to them use a slightly shorter exposure. How short you go will depend on the amount of shape you want and how choppy the sea is on the day so you may end up experimenting with a few different exposures before you land on the one that gives you the shot you're after.

 

 

2. Waterfalls

We've covered waterfalls in a previous article so here are just a few quick tips to get you started. For a more in-depth look, take a look at our previous technique: Shooting waterfalls.

• What shutter speed you use will be determined by how much blur you want, the focal length you're using and the amount of light available.
• Pick an overcast day when you're going to be using longer exposures. Your shot is less likely to have contrast problems too when there's a touch of cloud cover.
• An ND filter can help you extend your exposure times while a Polarising filter will reduce the amount of glare/reflection coming off the water.
• Turn the waterfall's movement into a mass of blur - 1/8 sec longer
• Faster shutter speeds will enhance the power/force of the waterfall, freezing the movement of the water as it cascades and splashes on rocks.
• Have a go at photographing water bubbles.

 

  3. Clouds

Cloud formations can appear and vanish again even before you've thought about taking a shot so if you do spot an interesting one make sure you snap it straight away. Keep an eye on your histogram to make sure your shot doesn't have areas which are overexposed and if the formation is really spectacular cut some of the foreground out, moving the horizon down so the sky fills more of your shot. Use slower shutter speeds to blur the movement of the clouds and look out for trails left by planes too as the crisscrossing lines can make an interesting abstract shot.

 

4. Birds and People

If you want to capture birds in-flight you'll need a quick shutter speed, continuous autofocus and a good panning technique. As soon as you see a bird come into shot lock your focus on it straight away and follow it through the frame, panning even after you've taken your shot. To freeze the movement you'll need to use a shutter speed around 1/500sec but if you want to blur the movement of their wings try something slower around 1/30sec.

When it comes to people, how fast your shutter speed is will depend on what they're doing. For example, someone who's water skiing will be moving a lot quicker than someone rowing across a lake.

For more tips on panning and capturing people moving take a look at our articles:

• Panning tips
• Capture motion
• Shutter speeds explained

      5. Trees

Leaves blowing in the wind are an obvious way to capture movement in a forest but for something artier, try creating a drag landscape. For tips on how to do this take a look at our articles:

• Drag landscapes
• Drag landscapes in the woods

 

You've read the technique now share your related photos for the chance to win prizes: Daily Competition Forum

 

As the sunset is still at a reasonably early hour at this time of year, make the most of it and have a go at twilight photography as you can capture some lovely pastel shades that contrast well against strong sunset shots. 

 

1. Timings Are Crucial 

To capture your twilight imagery you need to be set up and ready for when the sun starts setting, that way you'll be able to start taking your shots just as the sun falls below the horizon and continue until it goes dark. You'll notice that the colours in the sky will change from bright, sunset shades, through to a deep blue before turning black and it's that middle part where the sky takes on the dark blue shade that you want to try and shoot. Annoyingly, it can be the hardest part of twilight to capture images of but when you do, it does produce cracking shots. 

 

2. Gear Choices 

A camera that performs well in low light will help but really, any DSLR will be fine. You'll also need a tripod as exposure lengths will be long and working tripod-free will just result in shake spoiling your shots. You may also find a remote/cable release handy, plus pack a Grad ND filter if you're planning on capturing a few shots at the start when they can appear to be brighter than the land/subject in front of your lens.

Pack a zoom lens to give you plenty of shooting options and a torch/head torch should have a place in your bag to help your return journey when it'll be dark.

Remember to wrap up warm as temperatures can drop dramatically after the sun has set and you'll probably find a head torch useful, too. 

 

3. Plan Your Shot 

By arriving before the sun's actually set will give you the opportunity to take a good look around and actually think about the scene you are photographing. Play around with focal lengths, apertures etc. and try different compositions to see what will work best. Having previous knowledge of a fitting location where there's good foreground interest can help so make a note of locations you think are suitable for twilight photography when you see them.

 

4. Check Your Framing & Camera Set-Up

Once your camera's on a tripod, re-check the framing to make sure you're happy with it and remember to hook up your remote / cable release if using one. Try to stick to lower ISOs, although many cameras have a phenomenally high ISO range nowadays and can perform well at the higher end. However, when you're using lengthened shutter speeds, you shouldn't need to use higher ISOs.

When it comes to apertures, as you'll most likely be shooting a land or cityscape try f/8 and work from there to ensure you have good depth-of-field. Due to low light levels, autofocus may struggle so set it manually and lock focus once you're happy with the result.

Take a test shot but don't worry if it doesn't look too great yet; you're just making sure the framing etc. is OK. Once the sun has set, exposure times will run from a few seconds to start and up to or even over 30 seconds after 20-30 minutes or so. 

 

5. Work Fast 

As the light in the scene will change quickly, the key to this type of photography is to keep taking photos; adjusting the exposure length as you do to capture as many different results as possible. You'll probably have to work faster than you expected but if you hit the right moment, it's well worth it. 

 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

Be it a Sunday lunch you've cooked at home, a selection of groceries found on a stall or a collection of spices you've taken out of your kitchen pantry, food is something that's easily accessible which makes it a great subject for photographers. You can create still life pieces, get creative with props or just really focus in on the food item itself. Don't be afraid to experiment and remember to upload your fab food shots to the ePHOTOzine gallery or the competition forum to win top prizes.

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To get you thinking about food as a photographic subject, we've brought our food photography related pieces together so you can brush-up on your technique before raiding the fridge for interesting food items worth photographing.

  1. Food Photography: Top Tips For Instagram Food Photography Likes

 

Helge Kirchberger and 2-star Michelin-chef Jörg Bruch, with the help of the COOPH team, take you back to basics to show you how subtle changes can make all the difference in your food photos.

 

2. Seven Top Creative Ways To Use Coffee In Your Photos

 

You can eat coffee beans so we're rolling with this one! Coffee might be a lovely drink that powers you through the day but when the weather's a bit grey outside, it can also keep you warm indoors as you can focus your lens on beans and grains rather than fighting the chill outdoors. 

 

3. How To Take Awesome Travel Food Photography Shots

 

Instead of just capturing shots of family members in pools and on the beach, why not turn your attention to food photography and capture some mouth-watering images of the plates you're served and stalls you pass on trips. 

 

4. Serve Up Beautiful Food Photography With The Help Of Hugh Johnson

© Hugh Johnson

If you're one of the many astronomic photography fans who enjoy sharing the culinary delights online, you'll probably be interested in perusing this article with tips from renowned food photographer Hugh Johnson.  

 

5. Man Vs Food: The Difference Between Photographing People & Plates

 

Although my university training prepared me for portraits, still lifes, landscapes and anything else you can imagine, I’ve definitely noticed an increasing emphasis on food photography and have adapted and expanded my skills to capture Cuban sandwiches, crab Benedicts and vibrant vegetable platters. While many of the skills necessary for attractive human portraiture applies to food, there are also some key differences we’ll explore here. 

 

6. Food Photography Basics For Smartphone Photographers

 

Taking good food photos isn't as hard as you may think. In fact, with the right light and a few homemade accessories, even your smartphone can help you capture images that look good enough to eat.

 

7. Ten Top Tips For Taking Better Photos Of Food

 

Here we share 10 basic but essential tips to help you capture better photos of the food on your plate. If you're at a restaurant, generally, you'll find food is well presented so you don't have to worry about playing the role of a food technician, however at home, it's a different story. 

 

8. Food Photography Lighting Tips From Taylor Mathis

 

You don't need expensive lighting gear to take beautiful pictures of your food. Using the powers of the sun, you can create captivating and mouthwatering images.

 

9. Jamie Oliver And David Loftus' Food Photography Tips

 

Photographing food is a trend that has swept across social media sites over the past year, and the topic is a firm favourite with bloggers all over Europe, so how can you get the most out of your DSLR to make your food photos look good enough to eat, and impress your food-loving friends?

 

10. Creative Fruit Photography Tips & Tricks

 

Photographer Markus Pettersson has captured a series of vibrant still life images with his Hasselblad H5D-40 and he's put a pretty awesome tutorial together on how you can capture similar shots

 

You've read the technique now share your related photos for the chance to win prizes: Daily Competition Forum

Image without HDR

 

When shooting HDR (High Dynamic Range) images there are two ways you can produce them. The first is in-camera with a built-in mode and the second is manually where the photographer produces various bracketed exposures and combines them in software once back in front of their computer. This isn't a technique just for advanced camera users either as you can also do HDR with images from compact digital cameras so long as you can control the exposure.

But before we look at 'how', we need to look at 'why' this feature is useful for photographers.
 

Why HDR?

A photographer could choose to shoot HDR images just to be a little more creative or because the scene they are trying to capture won't look at its best without it.

What we mean by this is the camera's sensor doesn't see how we do so if you meter for the brighter areas of the scene then chances are you'll lose some shadow detail. Do the opposite and highlights can end up looking 'blown out'. However, by working with a built-in HDR mode or shooting an HDR image manually you'll be capturing a series of exposures, known as a bracket, that will be combined into one image that has a better dynamic range (highlights and shadow detail). 
 

HDR In-Camera

Select cameras feature a built-in HDR mode which does the work for you. This captures a wide range of tones, from shadows to highlights to produce an image with a more balanced exposure. Take a look at your camera's manual to see if your model has this function built-in. Using an HDR mode can make a big difference to your images with more detail and colour becoming visible.

 

 

HDR Image

 

HDR Manually

When shooting, it’s vital that you keep the camera as still as possible between each of the shots, so as to produce identical images. This makes the blending process much easier. Mounting your camera on a tripod is the simplest way to ensure your shots stay lined-up. It'll also help if you use a cable or remote release so you don't have to touch the camera when starting an exposure. If you don't have one, use your camera's built-in self-timer.

Try to avoid adjusting your zoom between shots too as it'll be a pain trying to line them back up again and once you have your focus point, switch to manual focus (if not using it already) so the camera doesn't refocus after taking your first shot. You may want to lock the focus and switch to manual exposure to help ensure everything remains consistent throughout. It's also worth switching to aperture priority mode as this will ensure that the aperture doesn't change from shot-to-shot. 

Most cameras will have an auto-bracketing feature which makes the photographers job slightly easier as all they have to do is pick the increments the exposures are going to differ by and the camera sorts the rest. If you've checked your camera's manual and this feature isn't offered, you can use exposure compensation and bracket manually. 

Three images, at two stop intervals, should produce good results but this will depend on the contrast range in the scene you're capturing. Taking between 3 - 7 shots are common for this type of photography so do take the time to access the scene to see how many shots will produce the best result for you. Use zero as your base exposure then take your +2 and - 2 exposures and check the results. It's worth checking your camera's histogram when setting your base exposure to ensure the highlights and shadows aren't clipped. Take a look at our article on using histograms on your camera for more information on this. 

Once you have a set of images that cover the scene's full contrast range you can open the exposures on your computer in an HDR software program, various are available and bring them together in one image. Adjustments can be made to the image to produce a more accurate representation of the scene or you can go for a hyper-real shot where elements are over-cooked. Do take care with this, though, as not all scenes will work with the latter.
 

When To Use HDR

HDR won't work for every situation, you need to judge if it's needed. For example, If you have a landscape scene that's evenly exposed and well-lit you won't need to use HDR. However, if you have a scene where the camera can't handle all the different exposure levels present, HDR can help you capture a more balanced exposure. having said that, it's worth using a longer exposure before reaching for the HDR controls to see if it'll give you the sharpness and detail you're after.

You can always take a few test shots, paying particular attention to shadow areas, to see if any detail is lost before working on your HDR image.

As mentioned, do take care in post-production too as a strong HDR effect won't work for everything. Go for subtle then add more if you think the image needs it. 
 

You've read the technique now share your related photos for the chance to win prizes: Daily Forum Competition

                                                                                                                           

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When we stretch the concept of the superzoom full frame lens from 28-200mm, we end up with this fine looking Tamron 25-200mm. This is a significant advantage for those who require a wider field of view, whilst maintaining a very useful 200mm at the telephoto end. This is the 2nd Generation version of this lens. It looks good, balances well with the 42MP Sony A7R III used in this review, and the focal length range seems ideal for general purpose shooting, wildlife, landscapes and travel. The wide f/2.8 aperture at the 25mm end also bodes well for use in low light. Let's see if the lens lives up to its potential, both in the studio tests as well as the great outdoors.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Handling and Features

Weighing in at a modest 575g and measuring just 121.5mm x 76.2mm, the moisture sealed body sits well on the Sony A7R III. If we start our tour of the lens at the front, we have a provided petal lens hood that bayonets smoothly into place, with a positive click stop that ensures it stays put with no need for a retaining catch. Within the bayonet fitting is a conventional 67mm filter thread. Most of the Tamron mirrorless lenses utilise the same filter thread, useful in avoiding having to stock several sizes of filter or lens cap. The hood will be most efficient at 25mm, whilst avoiding any vignetting, and less so as we move towards the telephoto settings, but this cannot be helped, and it also has the very useful function of protecting the front of the lens against knocks. Regardless of flare reduction, there is a strong case for always using a lens hood.

 

 

There is a wide, easy to grip, zoom ring that is clearly marked with accurate settings of 25mm, 35mm, 50mm, 70mm, 100mm, 135mm and 200mm. The ring is smooth in operation and does extend the lens barrel, so there is some mass of lens to move. It will never be electronic-smooth as a consequence, but it is definitely well damped, a cut above the norm. A lock switch is provided just behind the ring but the lens showed little sign of extending whilst being carried. There is also an AF lock button at the opposite side of the barrel at the same point.

The final ring is slimmer, is electronic and is used for manual focus. All the usual Sony focus options are supported and these are selected via the camera menu.

Focusing is down to 0.16m (6.3”) at 25mm, for a maximum magnification of 1:1.9. or around half life size. At 200mm this becomes 0.8m (31.5”), for a maximum magnification of 1:3.9, or around one quarter life size. Whilst most current macro lenses focus to 1:1, this zoom lens focuses as close as vintage half life size macros traditionally would be expected to do. This is very useful and confirms the universal applications that it is aimed at.

 

 

Optical construction is 18 elements in 14 groups, coated using Tamron's BBAR-G2, the second generation of their Broad Band Anti-reflection coatings. The front element also has a Fluorine treatment to help repel dirt, grease and moisture. A series of internal seals completes the moisture resistant construction. The diaphragm comprises 9 blades and results is a nicely rounded aperture. This raises our expectation of some ultra smooth bokeh.

Last but certainly not least is a USB-C socket, used for connection to a smartphone and also on the PC version for updating the lens software. Tamron Lens Utility Software enables various control functions. Usefully, the AF lock button can also be programmed via this route to toggle between AF and MF.

In use, the lens behaves impeccably. AF via the VXD (Voice coil eXtreme-torque Drive) voice coil motor is fast, accurate and virtually silent. With the Sony body even focusing between bars of a cage is possible much of the time, something that many cameras and lenses can be totally defeated by. For universal use when travelling, this lens is just so versatile and so easy to use that it should cover almost every conceivable eventuality.

Now let's see how well things hold up in the technical tests.

 

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Performance

Sharpness is looked at first, and the images in general look crisp, colourful and have plenty of contrast. They look good, and for most users that totally fulfils what they might expect.

At 25mm, central sharpness is very good at f/2.8 and f/4, rising to excellent from f/5.6 all the way through to f/16. The edges are consistently very good all through the range, from f/2.8 to f/16.

At 70mm, central sharpness is very good from f/4.5 right through to f/16, just dropping to good at f/22. The edges are good at f/4.5, very good from f/5.6 to f/16 and good at f/22.

At 140mm, central sharpness is fair from f/5.6 to f/11, good at f/16 and f/22 and fair at f/32. The edges are fair right through the range from f/5.6 to f/32.

As with many wide range zoom lenses, the longest focal lengths drop off in sharpness, but the Tamron, given a small amount of Photoshop sharpening still delivers great looking nature shots even at 200mm and f/5.6. This is always the dilemma – some lenses are able to deliver the goods in the field but are not really designed for the closer distances of lens testing charts.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a Sony A7R III body using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is very impressively under control throughout the range and further correction in software is unlikely to be necessary.

Distortion measures just -0.81% barrel at 25mm, +0.10% pincushion at 70mm and +0.12% pincushion at 140mm. This renders the lens suitable for copying and for architectural shots and is again very impressive, particularly so in a zoom lens.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.

For this review, the lens was tested on a Sony A7R III body using Imatest.

 

Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, but we know attractive bokeh when we see it. Here we find really very beautiful, smooth out of focus backgrounds, relaxed and natural with not a trace of raggedness. 

The flare performance is also excellent, clearly the design, internal baffling and coatings are all combining to do an excellent job of suppressing internal reflections. 

Vignetting is very well controlled.

 

Aperture 25mm 70mm 140mm f/2.8 -1.8     f/4 -1.4   f/4.5   -1.1   f/5.6 -1.3 -1.1 -0.7 f/8 -1.3 -1 -0.6 f/11 -1.2 -1 -0.6 f/16 -1.2 -1 -0.5 f/22   -0.9 -0.4 f/32     -0.3

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Sample Photos Previous Next

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Aperture range Previous Next

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Value For Money

The [AMUK]Tamron 25-200mm f/2.8-5.6 Di III VXD G2|Tamron+25-200mm+f/2.8-5.6+Di+III+VXD+G2[/AMUK] lens is priced at £729.

There are no obvious alternatives that match the exact specification, but even looking at the lens in isolation, it looks terrific value for money.

 

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Verdict

The original 28-200mm lenses were a revelation in their day, offering incredible versatility and probably focusing closer than most alternatives as well. Quality and fine detail may have been less on the optical engineers' minds, as the technology of the day did have its limitations. Fast forward to today, though, and we can now see extended ranges such as this very fine 25-200mm from Tamron. Sharper, faster focusing, closer focusing and even more versatile at a very reasonable price point. What's not to like?

As with all lenses, it's important to understand what they are designed for, what they will do well and what they are not best suited for. This lens is a fantastic travel companion, with a wider than average field of view, focusing closer than most and with a fast, bright f/2.8 aperture. Tonal quality is excellent and images have punch and impact. At the longest focal lengths sharpness does fall off, as is almost always the case, but the lens still delivers sharp, punchy images well suited to wildlife, nature and portraiture.

In summary, a very fine lens that delivers very satisfying results and handles with consummate ease, all at a price that is impressively keen. Highly recommended.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Pros

• Good to excellent sharpness
• Minimal distortion
• Fast, accurate and virtually silent AF
• Excellent flare resistance
• CA well controlled
• Versatile extended zoom range
• Moisture and dust sealing
• Magnification 1:1.9 at 25mm
• Modest vignetting
• Beautiful bokeh
• Affordable pricing

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Cons

• Loses fine detail at longest focal lengths

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=4.5|R_value=5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – Punchy results from this easy to use and universally useful lens, all at a very keen price.|E_id=8027[/REVIEW_FOOTER]

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You erased some videos from an SD card by mistake, or maybe they just vanished for no reason. Perhaps you removed them on purpose, felt proud of your cleanup skills, but now you need them immediately. So, how to recover deleted videos from SD card easily and quickly? Fret not! There are 6 free ways for SD card video recovery on Windows and Mac in 2026, and we’ll be shedding light on each one.

 

Part 1: SD Card Video Recovery Tips You Should Know First

Before trying any solution, you can actually improve your chances of SD card video recovery by following these simple steps:

1. Stop using the SD card right away: Don’t record, save, or copy anything to it, as new data can overwrite deleted videos and make them impossible to recover.
2. Remove the SD card carefully: Take it out of the device gently and avoid bending or damaging it. Keep it in a safe place.
3. Do not format the SD card: Formatting can erase data and reduce the chance of recovery. Thus, avoid both quick and full formats.
4. Make a backup image of the card: Create a full copy of the SD card before recovery. This helps protect your data, especially if the card has errors.

 

Part 2: 6 Ways to Recover Deleted Videos from SD Card for Free

Here’s how to recover deleted SD card videos for free in 7 ways. But each method is for a different scenario. So pick accordingly:

 

Way 1: Employ a SD Card Recovery Tool

When you don’t possess a backup and your video files are permanently erased from the memory card, you can try a free SD card recovery tool for Windows and Mac. For instance, 4DDiG Data Recovery supports both platforms. 

It offers to recover deleted videos from SD card for free up to 2GB for Windows users. Other than videos, the tool supports 2000+ file formats and targets numerous data loss scenarios rather than just deletion. Here we shine a light on its benefits:

• The tool offers a high SD card video recovery rate and selective file retrieval, e.g., you can retrieve videos only.
• The software has a clear, intuitive, and easy-to-use interface.
• The tool offers a free preview for recovered videos.
• The program can first create an image of the card and then recover lost data from it.
• It can repair recovered photos or videos that cannot be opened.

Here’s how to recover deleted SD card videos with the aid of this tool:

Step 1: Attach your problematic memory card to your computer. Then, execute the SD video recovery tool on the same PC. Choose “SD Card” on the tool. Tap “Video” as the file type to only retrieve the videos from the card. Hit “Scan.”

 

 

Step 2: You can finish, or pause the scan once you find your desired videos. Preview the recovered videos.

 

 

Step 3: Adjust the filter tags or type keywords in the search field to find the exact videos.

Step 4: Select the videos you want back. Hit “Recover” to move to your computer or cloud drive.

 

 

Way 2: Look for Existing Backups

If you possess a backup, then it’s quite easy to recover lost videos from SD card. Simply check all the places you think the backup could be, such as:

1. Check your local backups first: Look on external hard drives, USB drives, or other storage where you may have saved the videos.
2. Check cloud storage: Review cloud services like iCloud, Google Drive or Dropbox for uploaded videos.
3. Check device-specific cloud services: If you use a GoPro or similar device, check its cloud account. With an active subscription, you can restore videos using the app (for GoPro, use the Quik app).

 

Way 3: Check the SD Card’s Trash Folder

When you erase videos from an SD card, they skip the Recycle Bin. This happens because Windows treats SD cards and USB drives as removable storage, not internal drives. However, the erased videos might be temporarily stored in a hidden “.Trashes” folder on your card. 

So, you can recover deleted videos from SD card for free by unhiding that folder. To do so:

 

On Windows:

Step 1: Attach your problematic memory card to your computer. Open “File Explorer.” Then, head to the “View” tab. Tick mark “Hidden items.”

 

 

Step 2: Afterward, open the SD card. Look, if the “.Trashes” folder is revealed now.

Step 3: If it does, open it. Next, look for your desired footage. Then, undelete video from SD card ".Trashes” folder.

 

On Mac:

Step 1: Attach your problematic memory card to your computer. Open “Finder.” Then, head to your SD card’s main folder. 

Step 2: Press “CMD + Shift + .” to reveal hidden files. This will unhide the “.Trashes” folder.

Step 3: Open the “Trash” folder inside “.Trashes. Search for your erased videos. Right-click. Next, select “Put Back” to restore them.

 

Way 4: Restore to a Previous Versions

The Previous Versions feature in Windows saves older copies of files so you can recover lost videos from SD card if they’re erased. While this feature is mainly used for files on internal drives, it can help you undelete video from SD card. But only if its previous version was once saved on your computer. Here’s how to recover deleted videos from SD card with Previous Versions:

Step 1: Attach your problematic memory card to your computer. Then, open “File Explorer.” 

Step 2: Open your memory card. Then, the folder where your erased videos once existed. Right-click. Next, choose “Properties.”

Step 3: Tap “Restore previous versions.” Afterward, pick a version that contains the erased videos. Hit “Restore.”

 

Way 5: Use Windows Backup

You can also recover deleted videos from SD card for free if you’ve activated the Windows Backup & Restore feature.  Here’s how to recover deleted SD card videos with Backup & Restore:

Step 1: Attach the problematic SD card to your computer. Then, type “con” in the Windows search. Execute “Control Panel.”

Step 2: Tap “System and Security.” Then, choose “Backup and Restore.” Click “Restore my files.” 

 

 

Step 3: Look for your erased videos in the backup. Next, choose a location to save it.

 

Way 6: Undelete Video from SD Card via Time Machine

If you’re a Mac user and have activated the Time Machine backup with the SD card videos also included in it, you can restore them easily. The Time Machine tool can make multiple versions of your files on an external drive, so you can restore them later on from a particular timeline. Here’s how to recover deleted videos from SD card with the Time Machine:

Step 1: Attach the external drive with the Time Machine backup to your computer. Then, open “Finder.” Pick your SD card.

Step 2: Click the “Time Machine” icon in the “Dock.” Next, tap “Browse Time Machine Backups.” 

 

 

Step 3: Browse through the timeline to find videos you want. Hit “Restore.”

 

Part 3: Why SD Card Video Recovery Is More Challenging?

Compared with other file types, it's more difficult to recover deleted videos from an SD card. Video files are usually much larger in size and are written to the memory card continuously across multiple sectors during recording. If even a small portion of this data is overwritten or damaged, the entire video file may become unplayable.

Another factor that makes SD card video recovery more difficult is the use of proprietary data formats by some camera manufacturers. These custom formats are not always recognized by standard recovery tools, which means the corresponding video files may not be detected during a scan.

 

Part 4: How to Keep Data Safe on an SD Card?

Now you should no longer need to worry about how to recover deleted videos from SD card for free. However, in the future, there might still be a risk of losing data from an external drive like an SD card due to any number of reasons. You can lower the chances of loss by taking concrete measures, such as the following:

1. Back up often: Save files to cloud storage or an external drive, especially when traveling.
2. Choose good-quality cards: Use trusted brands and carry extra cards as backups.
3. Use multiple memory cards: Switch cards during long shoots so you don’t lose everything if one fails.
4. Protect your data: Use encryption to keep files safe from malware or hackers.
5. Follow the 3-2-1 rule: Keep three copies on two different storage types, with one kept offline.

 

Conclusion

SD card video recovery is viable on Windows and Mac, but by using the correct method according to the reason for the loss. Stop using the card right away to prevent overwriting data. Then try free options like checking backups and hidden folders. But if no backup exists and the videos are fully erased, a tool like 4DDiG Data Recovery is a good choice.

 

For today's tutorial, we thought we'd bring together all of the features and techniques ePHOTOzine has published on sports photography so next time you're at a match or trackside, you'll have the knowledge you'll need to shoot some top sports imagery.

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If you already have some sports shots you want to share or are heading to a game/race over the next few days, why not post your images in the Competition forum? You never know, you may have an award-winning shot that'll give you the opportunity to win our competition prize this week. 

 

18 Top Sports Photography Tutorials:

1. Top Tips On Shooting Water Sports Photography
2. How To Capture The Action At Running Events
3. Why Use A Support For Motorsport Photography?
4. Tips On Photographing Athletics
5. Photographing Polo
6. Sport Photography Tips
7. 10 Things To Do When Photographing Parkour
8. Cricket Photography Tips
9. How To Photograph Wakeboarders & Waterskiing
10. Photographing  Kitesurfing
11. Bowls Photography
12. Capturing Cricket
13. Football Photography
14. Photographing Snowboarding
15. Surf Photography Technique
16. Top Of The League Sports Photography
17. Throw The Winning Punch With Your Boxing Photography

 

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