DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

Previously, we've spent some time looking for interesting shop fronts to photograph but now we want you to lift your eyes a little higher in search of a good shop sign and pay more attention to what's actually on display in the windows. 

Displays in shop windows are designed to grab our attention and steer us towards the entrance of the shop in hope we'll part with our money. Some stores, particularly at Christmas, spend hours planning and then preparing their window displays. A lot of thought goes into how to use the space, what colours the mannequins should wear and how they should be posed making them an interesting photographic project as you walk down the High Street.
 

1. What Gear Do I Need?

A medium zoom lens will get you close to the signs without you having to borrow some ladders off a window cleaner and it'll also work for capturing shop windows too. You'll also need to carry a tripod if you plan on returning later in the evening when the neon's get switched on. It'll also help if you have a camera that performs well in low light and if you don't want the street reflected in your shot take a polariser along as well.  

 

2. Have A Walk Along The High Street

There are lots and lots of shops on the High Street which means you don't just have to settle for the first shop you come across. Spend some time really looking at the displays paying attention to the colours, poses and other items they use to really make the window stand out. Remember, a more interesting display will give you a better-looking image so a short observation walk is worth it. See if you can find shops that aren't chains. In Sheffield, there are several retro clothing stores and a joke shop which always have unique and sometimes entertaining window displays. Fancy dress shops are another one that's almost guaranteed to have a loud and amusing window display to photograph.

 

3. Minimise Reflections

Unless you want a photo that shows the display as well as what's happening on the street, which can work well sometimes, you'll need a way to minimise the reflection. Stepping further away from the window and using your zoom lens to fill the frame can help but the simplest and if you're on the edge of a road also the safest way to do it is to fit a polarising filter. This will reduce the reflection and give you a clear shot of what's inside. If you find the sun causes glare just move your feet to remove the problem or if that doesn't work come back later on when the sun's changed position.  

 

4. Work From A Higher Level

When it comes to signs when you stand on the street and look up at them, it's fine when you're looking for the nearest bakery but in your photos, it won't always work. To combat this, just step a little further back or better still find something to stand on that will give you a little more height. You could try holding the camera above your head but this won't help you with framing unless you have a camera that features a vari-angle LCD screen. 

 

5. To Zoom Or Not To Zoom? 

If a sign's particularly interesting or amusing zoom right in and fill the frame with the sign. Or are you going to put them into context showing some of the street or the shop front in the shot? If you do include the store pop on a polariser so you don't catch your reflection in the windows. This works particularly well with old buildings or with unique stores that have displays that will add to the image.

Standing at one end of the High Street quite close to the buildings looking up will give you the chance to capture several signs all in one shot or try waiting until the sun's began to set and photograph the many neon signs that decorate our streets. Just watch for camera shake as you'll be using slightly longer exposures and take a look around your image to see if there's any flare from some of the lights. Having said that, this can work well sometimes, especially on wet evenings.  

In busy towns and cities, you'll find plenty of signs, often grouped together, along the tall buildings that line the streets. If possible, find a higher spot, as you do when shooting a cityscape, and use a wider focal length to capture the signs and buildings in one image. They can look busy, but the bright signs and bustling surroundings will really sum up the feeling of a busy city. 

 

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Skylum has announced the launch of the Luminar Ecosystem, a new extension of its flagship photo editing software, Luminar Neo. Designed to simplify and enhance the editing experience, the Luminar Ecosystem brings together essential tools for photographers in one unified platform.

This fall, users can edit anywhere, anytime. Start a project on mobile, finish it on desktop, and share instantly. Whether you're capturing back-to-school moments or revisiting old family albums, the Luminar Ecosystem offers practical tools to support your creative workflow.

 

Here’s how Luminar Ecosystem makes this season special:

• Cross-device editing: Start editing your child’s photo on mobile, finish it on desktop, and share with family instantly.
• Restoration: Bring old school photos back to life and relive those memories.
• Web Galleries: Collect and share your favorite school stories in stunning online albums.
• AI Assistant: Learn, grow, and improve your skills with smart editing guidance.
• Volume: Add life and depth to vacation memories, saving time on tricky edits.

 

 

Offers and Discounts

The Luminar Ecosystem is now available for preorder at a special early bird price of up to 67% off as part of the Back to School sale, which provides instant access to Luminar Neo and adds future access to the Ecosystem tools.

Save an Extra 10%: Use code EPHOTOZINE at checkout to receive an additional discount on Luminar Neo, which can be applied together with the preorder offer.

Secure Your Preorder Now! 

 

• The world’s first 20-200mm for unleashing creative freedom
• Compact and lightweight design that delivers exceptional mobility
• High-speed autofocus and versatile features for effortless shooting

 

Available mounts: L-Mount, Sony E-mount

Supplied accessories: Lens Hood LH756-02, Front Cap LCF-72 IV, Rear Cap LCR III, Pouch

Launch: September 25th, 2025

 

An all-rounder that empowers limitless creativity. The world’s first 10x zoom starting at an ultra-wide 20mm.

 

The Sigma 20-200mm F3.5-6.3 DG | Contemporary is the world’s first high-powerzoom lens for full-frame mirrorless cameras that achieves both 20mm at the wide endand a 10x zoom ratio.

This versatile zoom lens covers everything from ultra-wide 20mm to telephoto 200mm, allowing photographers to capture subjects ranging from sweeping landscapes to fast-paced sports without being constrained by distance. Its flexibility makes it ideal for awide variety of scenes, including close-ups with a maximum magnificationratio of 1:2. With its broad expressive capabilities, the lens truly shines in travel photography andeveryday snapshots.

The lens delivers a consistently comfortable shooting experience, with its thoroughly compact and lightweight design, as well as fast, accurate autofocus powered by a linearmotor HLA (High-response Linear Actuator). The Sigma 20-200mm F3.5-6.3 DG |Contemporary is the ultimate all-in-one zoom lens, offering all photographer sunprecedented freedom and creativity.

 

Key Features

 

The world’s first 20-200mm for unleashing creative freedom

 

Zoom versatility meets expressive ultra-wide 20mm ― in one lens.

The lens covers the ultra-wide angle of 20mm, which has been difficult to achieve with conventional high-power zoom lenses. Handling everything from majestic landscapes to sports, the lens perfectly captures both scenes unique to ultra-wide angles and applications that take advantage of its telephoto range. With a comprehensive zoom range of 20mm to 200mm, this ultimate all-in-one zoom lens delivers stunning details across a wide variety of shooting situations.

 

Maximum magnification ratio of 1:2 at the focal lengths of 28-85mm

The lens achieves a maximum magnification ratio of 1:2 at the focal lengths from 28mmto 85mm, enabling photographers to enjoy a broad range of half-macro photographywith different angles of view, from wide macro shots that boldly incorporate thebackground by moving closer to the subject, to medium telephoto macro shots thathighlight the subject at a natural distance.

 

 

Compact and lightweight design that delivers exceptional mobility

 

Thoroughly compact and lightweight design

This lens is the world's first to achieve a vast zoom range from ultra-wide 20mm totelephoto 200mm, while weighing only 550g and measuring just 115.5mm in length. The zoom ring diameter is a very slim 70.4mm, making it highly portable. Without worrying aboutsize or weight, the lens provides extensive creative flexibility in any situation, from everyday snapshots to travel photography.

 

Optical and mechanical design realizing both compact size and high performance

Incorporating high-refractive-index glass materials reduces lens movement during zooming. This enables a simple internal structure and slim lens body. The optical design, which properly positions four double-sided aspherical lenses, one FLD glass, and three SLD glass elements, combined with an internal mechanism that maintains high precision in each zoom group, also delivers high performance across the entire zoom range.

 

High-speed autofocus and versatile features for effortless shooting

 

HLA-driven high-speed AF

To help photographers capture even the most fleeting moments, the lens uses an HLA (High-response Linear Actuator) to achieve high-speed autofocus functionality with excellent drive accuracy.

 

Dust- and splash-resistant structure and water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the front element of the lens features a water- and oil-repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.

 

Equipped with a zoom lock switch at the wide end

The lens features a zoom lock switch that can be fixed at the wide end to prevent the lens from extending unintentionally under its own weight. The lock can be released not only by the switch but also via zoom operation, allowing for flexible handling of even impromptu shooting.

 

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

 

 

List of Features

 

• HLA (High-response Linear Actuator)
• Water- and oil-repellent coating
• Focus mode switch
• Zoom lock switch
• Dust- and splash- resistant structure
• Mount Conversion Service available
• Support for switching between linear and non-linear focus ring
• settings (for L-Mount only*1)
• Compatible with Sigma USB Dock UD-11 (sold separately / for
• L-Mount only)
• Every single lens undergoes Sigma’s proprietary MTF measuring
• system

 

Key Specifications

 

• 18 elements in 14 groups (1 FLD, 3 SLD, 4 aspherical elements)
• Angle of View: 94.5-12.3°
• Number of Diaphragm Blades: 9 (Rounded Diaphragm)
• Minimum Aperture: F22-40
• Minimum Focusing Distance: 16.5cm / 6.5in. at f=28mm
• 25cm(W) - 65cm(T) / 9.9in.(W) - 25.6in.(T)
• Maximum Magnification Ratio: 1:2 at f=28-85mm
• Filter Size: φ72mm
• Maximum Diameter x Length: φ77.2mm x 115.5mm / φ3.0in. x 4.5in.
• Weight: 550g / 19.4oz.

 

For more information, please visit the Sigma website.

 

 

1. Gear Suggestions

For larger shows pocket a superzoom compact but if you're going to a smaller venue you'll probably be able to take a DSLR in with no issues but do check the venue's rules on camera equipment as some are stricter on what size camera you can take in than others. Whatever camera you take you'll want it to have a good ISO range as you'll be working in very low light situations. When it comes to lens choices, a prime lens around the 50mm mark will serve you well.
 

2. Exposure & Stage Lighting

One of the biggest challenges you'll face at a gig is getting the exposure right under stage lights, as different coloured lights and often harsh backlighting and smoke will all pose problems. You will need to set your camera to its maximum aperture if you can and set the ISO as low as you can while still maintaining a suitable shutter speed under the conditions. Smaller venues where conditions tend to be darker than in arenas will demand higher ISO levels to reduce motion blur and camera shake as using a support is out of the question.
 

3. Focusing Tips

Another point to remember is that autofocus may struggle in low light conditions but to be honest, it will generally be more reliable than focusing manually if your subject is moving and the light levels are low. Spot metering can be useful, particularly if you're shooting a strongly backlit subject, as you'll find at many gigs. Just make sure you adjust your camera's exposure compensation setting to achieve the correct exposure if you choose to work this way.

 

 

4. Flash Or No Flash?

When you're shooting from the crowd, you will often be too far away for flash to be of any use. Also, many people believe that they shouldn't use flash because 'it spoils the atmosphere' but this is a common misconception as if you can get close enough for it to be useful, you can achieve some good results. The key is to ensure that the flash exposure is well-balanced with the ambient light. This will result in exposures with bags of atmosphere, colour and it will also allow you to freeze the action. Of course, it will depend on how appropriate using flash is too. A quiet gig with an acoustic performer may not be the right kind of atmosphere to start blitzing away with flash, plus the venue you're at may have rules on not using flash during performances so it's always worth checking. 
 

5. Shutter Speeds

If you're photographing an acoustic performer sat on a stool, or stood at a microphone, you will be able to get away with shutter speeds that are quite slow. However, try using a shutter speed that equals the focal length of your lens if you don't have image stabilisation, or of at least half the focal length if you do. If the performers are more lively, you will need much faster shutter speeds to freeze the action. 

One final point: Arrive early, get a good spot and don't move. Also, remember that you're supposed to be there to enjoy yourself too!

   

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Datacolor, a global leader in colour management solutions, today announced the launch of SpyderExpress, its most affordable display calibration tool to date. Designed for creators who demand precise screen accuracy for photo editing, design work, and printing, SpyderExpress delivers professional-grade colour calibration in just 90 seconds.

SpyderExpress supports Apple’s latest XDR displays, including the MacBook Pro® M4 series with mini-LED technology, ensuring optimal performance for creatives working on the most advanced screens available. Supporting up to three displays per workstation, SpyderExpress offers a simple three-step workflow that enables fast, reliable screen optimization for trusted creative output.

Beginning October 2025, SpyderExpress will become software upgradable, unlocking advanced features previously exclusive to Spyder and SpyderPro users. This upgradeable ecosystem allows users to evolve their calibration capabilities as their creative needs grow.

“SpyderExpress gives creators the fastest way to ensure their screen reflects their vision,” said Heath Barber, Director of Product Management, Consumer at Datacolor. “They can edit faster and share with confidence, knowing their work will appear exactly as intended. And when they’re ready for more, Spyder’s new upgradeable platform makes it easy to unlock powerful features with a simple software update. It’s a smart investment that grows with your creativity.”

Upgradeable features include:

• Device Preview™
• Soft proofing
• Display matching
• Video-centric tools
• Expanded display support, including OLED and mini-LED

SpyderExpress is available now for £119 / 129 € through Datacolor.com, Amazon, and authorized retailers.

For more information, visit the Datacolor website.

 

Exclusively for mirrorless cameras

Compatible with full-frame cameras

 

ART 135mm F1.4 DG

• Large bokeh for powerful visual expression
• Precision optics for exquisite portrait detail
• Fast, accurate autofocus to capture fleeting expressions
• A wealth of functions for professional use and excellent build quality

 

Available mounts: L-Mount, Sony E-mount

Supplied accessories: Lens Hood LH1126-01, Front Cap LCF-105 IV, Rear Cap LCR III, Pouch, Tripod Socket TS-181, Protective Cover PT-61, Shoulder Strap

Launch: September 25th, 2025

 

 

The Sigma 135mm F1.4 DG | Art is the world’s first 135mm autofocus lens to achieve a maximum aperture of F1.4, delivering exceptional expressive capabilities for portrait photography.

Its unrivaled large bokeh and stunning resolution that renders every detail create an extraordinary sense of depth and dimensionality.

The natural perspective and moderate shooting distance unique to 135mm, combined with the rich bokeh of the bright F1.4 aperture, make the subject stand out and render on an entirely different level compared to conventional 135mm F1.8 lenses.

Built on extensive expertise gained from developing numerous F1.4 prime lenses, this new 135mm lens from Sigma sets a new standard in portrait photography.

 

Key Features

 

Large bokeh for powerful visual expression

 

Unmatched large bokeh opens up new expressive possibilities

The most notable feature of the Sigma 135mm F1.4 DG | Art is its extremely large bokeh. The effective aperture diameter of the 135mm F1.4 lens produces exceptional bokeh, which is larger than that of the Sigma 105mm F1.4 DG HSM | Art known as “Bokeh Master,” and is comparable to that of the Sigma 200mm F2 DG OS | Sports.

The natural perspective unique to 135mm, together with its overwhelmingbokeh, highlights the subject and creates dimensional portraits achievable only with this lens.

 

Optical design optimized to produce the natural bokeh

Thorough correction of chromatic aberration, which is common in telephoto lenses, achieves clear bokeh without color bleeding.

The design also minimizes vignetting, rendering natural, near-circular bokeh even at the edges―fully utilizing the wide-open aperture.

 

Sigma’s craftsmanship behind the beautiful bokeh

A 13-blade diaphragm maintains a circular bokeh shape, while exceptional precision in aspherical lens processing further enhances its smoothness. This beautiful, natural bokeh is the result of Sigma’s know-how gained through development of F1.4 prime lenses over many years and the advanced manufacturing technology cultivated at its Aizu factory.

 

Precision optics for exquisite portrait detail

 

Clear subject detail even at maximum aperture

Four large FLD glass elements are positioned, along with strategically placed high-dispersion glass elements to thoroughly suppress axial chromatic aberration, which tends to be more pronounced in large-aperture telephoto lenses. As a result, the lens delivers crisp subject detail even when shot wide open, making full use of the exceptionally shallow depth of field unique to a 135mm F1.4.

 

Floating focus system for consistent sharpness

A floating focus system moves the two focus lens groups independently, ensuring consistently high resolution across the entire focus range.

 

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology and Sigma’s Super Multi-Layer Coating. High backlight resistance enables clear and sharp images under any lighting conditions.

 

Fast, accurate autofocus to capture fleeting expressions

 

Dual HLA for fast, precise autofocus

Each of the two focus groups is driven by its own HLA (High-response Linear Actuator), forming a dual HLA system.

By incorporating two distinct types of HLAs, each optimized for the movement range of a focus group, the dual HLA system ensures both the high thrust needed for large-aperture telephoto lenses and fast, precise AF performance. This allows even fleeting expressions and fast-moving subjects to be captured with exceptional reliability.

 

A wealth of functions for professional use and excellent build quality

 

Various shooting assist functions

The lens is equipped with an AFL button in two locations, which can be assigned to a range of functions via the menu on selected cameras. In addition to the aperture ring, the lens is equipped with an aperture ring lock switch and a click switch to turn the click on and off.

 

Dust- and splash-resistant structure and water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the front element of the lens features a water- and oil-repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.

 

Excellent build quality of Sigma’s Art line specifications

Metal components such as aluminum and magnesium alloys are combined with engineering plastics like TSC, strategically placed throughout the construction. This balances the durability required to support the optical system of a large-diameter lens with the lightweight design necessary for comfortable handling. The Art line offers remarkable rigidity, durability, and build quality for long-term reliability as a tool of expression.

 

Arca-Swiss compatible tripod socket for long studio shoots

The lens comes with a lightweight yet robust tripod socket made of magnesium alloy, compatible with Arca-Swiss clamps. It provides excellent stability during studio sessions and extended shooting, helping photographers stay focused on their creative expression. The tripod socket is also removable and can be replaced with the supplied protective cover.

 

Supplied hood with a button-type locking mechanism

The supplied hood is equipped with a button-type locking mechanism for secure attachment and removal. It is constructed from CFRP, a polycarbonate material reinforced with carbon fiber, making it both lightweight and durable.

 

 

List of Features

 

• HLA (High-response Linear Actuator)
• Water- and oil-repellent coating
• Aperture ring
• Aperture ring click switch
• Aperture ring lock switch
• AFL button (2 locations)
• Focus mode switch
• Dust- and splash-resistant structure
• Mount Conversion Service available
• Support for switching between linear and non-linear focus ring settings (for L-Mount only)
• Compatible with USB Dock UD-11 (sold separately / for L-Mount only)
• Every single lens undergoes Sigma’s proprietary MTF measuring system

 

Key Specifications (The figures are for L-Mount)

 

Lens construction: 17 elements in 13 groups (4 FLD, 2 aspherical elements)

Angle of View: 18.2°

Number of Diaphragm Blades: 13 (Rounded Diaphragm)

Minimum Aperture: F16

Minimum Focusing Distance: 110cm / 43.4in.

Maximum Magnification Ratio: 1:6.9

Filter Size: φ105mm

Maximum Diameter x Length: φ111.7mm x 135.5mm / φ4.4in. x 5.3in.

Weight: 1,430g / 50.4oz.

 

For more information, please visit the Sigma website.

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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 kenwil (Day 5 - Outdoor Macro).

 

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

Symmetry

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Day 2

Quirky Angles

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Day 3

'Speed'

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Day 4

Triptych

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Day 6

Big Cats

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Day 7

Britain

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Day 8

Graphic Landscape

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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.

 

Most of us use bridges every single day and while it is true that many - big and small, old and new - of them aren’t worth photographing, there are a great many that are extremely photogenic. These are impressive structures that often dominate the area in which they are situated.

 

1. Safety First

Before you head off to the nearest suspension bridge with your camera bag, it is worth saying that you should take care and be considerate in your pursuit of bridge images. Park only where you are allowed, stick to recognised pedestrian areas and do not endanger yourself or anyone else – that includes tripping fellow visitors with your tripod.
 

2. Lens Choices  Anything goes in respect of lens options. Wide-angles can give dramatic lines and obviously work best if you can walk onto the bridge itself so you can wander around looking for bold foreground details. Set a small lens aperture for an extensive depth-of-field to make the most of scenes. Wides are obviously great too, to put a bridge into context with its surroundings if you can't get back far enough. If you find using a wide-angle lens gives you a shot with too much sky and land in it try shooting in a panoramic format. 

If you want to compress perspective, it is time to fit a telephoto lens. Long lenses are handy too for isolating structure details and the like. Longer lenses give a stronger flattening effect and it can look great when there are lots of lines to compress.

 

 

3. Think Accessories 

A polariser is worth considering, particularly on sunny days when it can enrich blue skies as well as eliminate glare for saturated colours. Just watch your apertures and shutter speeds.

It is worth having a tripod in the car and although you might not need it for most of the time, it will pay for itself when the lighting levels drop or when you want to use slow shutter speeds to blur traffic.
 

4. When To Go? 

Time of day and lighting are two crucial aspects to consider. Most weather conditions work for bridges although one exception to that is dull, flat, blank sky days. Early morning or late evening are good times when a low sun gives oblique lighting to highlight textures in the scene and the warm lighting adds to the mood. If you make the effort to get there for the evening light you might as well as hang around for twilight and a bit of low light photography. This is where the tripod and remote release are essential. A head torch comes in handy too as the light levels drop away.

 

 

5. Shoot Detail

As well as overall views of the bridge, do get in close and shoot details too. Nuts and bolts, suspension wires, supports, signs and much more can make for good images. You could even set yourself a mini project and shoot a series of images that sums up the structure. This is a great idea for older structures but works for new bridges too. Look for interesting patterns when working at these close distances which can be turned into graphical, abstract shots.

 

6. Choose Your Angle

The angle you shoot a bridge can make it look more powerful. When you see a bridge in the distance, consider where else you could go nearer to the bridge or from other angles to get better / different viewpoints. 

 

7. Longer Shutter Speeds

Once daylight has given way to twilight it is time to explore the long shutter speeds of your camera. You could try the B (Bulb) setting where the shutter stays open so long as the shutter button is held down using the remote release. Most advanced cameras have lengthy shutter speed options available, and if you want to shoot longer B is the setting to use, but it is important to make sure your battery has plenty of charge. If the battery fails before the image is finished and saved you will lose it.

 

 

8. Contrast Can Be A Problem

On a bright day, the contrast between the sunlit bridge's walls and the shadowed arches can be very different. If you take a meter reading from the lit bricks they'll come out fine but underneath the arches, they'll be no detail as it'll be black. If you expose for the darker shadow areas the bricks will still be light but they won't have any detail. To fix this, you can either expose for the highlights (brick) and use flash to fill in the shadow area or bracket the shot.

 

9. Guide The Eye 

You can use bridges as paths that lead the eye through your shot or use colourful lines created by traffic crossing the bridge when captured with slower shutter speeds to guide the eye through the image. You can also use bridge arches as in-picture frames to focus the eye on a particular part of the shot. Just keep an eye on the exposure when doing this to make sure the scene doesn't appear too dark. 

 

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Taken by ePz member PhilT2, this photo shows a Blue Tit perched and feeding. The seed held in its beak adds a clear point of focus and gives the scene character, emphasising the bird’s quick and lively nature. The plumage is shown with clean, natural colours and fine feather detail. A soft background keeps the focus on the subject.

The image stands out for its sharpness and clarity. It is a classic portrait that feels natural and full of life, capturing a brief moment with a familiar garden bird and serving as a beautiful example of bird photography.

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 2026, we’ll crown our 2025 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!

    1. What Does Graphic Mean?

A landscape that's considered graphic can feature lines, curves, obvious shapes and distinctive contrast from either colour, shadows or reflections. It may be a long list but graphic landscapes are something you can find just about anywhere if you take the time to look. Instead of looking at a city scene, for example, as roads and buildings see it as straight, strong lines and shapes. Throw strong shadows into the mix and a few spots of interesting colour and you’re well on your way to creating a graphic shot.
 

2. Shadows And Highlights

Strong light can add emphasis to shapes and help cast shadows which work well in graphical style shots. Using shadows to your advantage works particularly well on metalwork and buildings but can be used in nature too, especially if you have a bird’s eye view of a scene.

 

 

3. Strong Lines And Contrasting Colour

As already mentioned, strong shapes such as hills overlapping create great graphic landscapes particularly if they differ in colour. Misty, hazy or cloudy days can be good for exaggerating the shapes and while an interesting overlapping background can strengthen the effect, low rolling hills can easily work as well as mountains, so many locations are suitable.

 

4. Change The Ordinary Into The Extraordinary

Look at the ordinary and play with the composition so the viewer doesn’t realise what it originally was. A close up of a rock face, for example, that had deep shadows along the ridges created by the high sun will work well.

 

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

 

Britain's bursting with structures and buildings that photographers are naturally drawn to thanks to their postcard-perfect looks and history. It also helps that many of the buildings are in locations that are perfect for a day out, making them subjects photographers can shoot and their families can enjoy too.
 

1. Do Your Research

It's worth finding out who the home, castle etc. belongs to before you carry your kit out to it as some organisations have rules on what can be photographed, what they can be used for and what kit's allowed inside. A quick phone call or a check on their website should give you the answers you're looking for. Some places won't allow you to use a tripod while others may have rules on the type of bag, if any, you can take in with you. There may also be a rule that says no flash photography is allowed so do keep an eye out for signs and ensure the flash built into your camera is switched off.  
 

2. Castles

 

From ruined hill forts to beautifully preserved country houses, castles provide majestic architectural delights for us photographers. For more tips on photographing castles, have a look at these guides where we share a few tips to help you take better photos of these fortified structures:

• A Guide To Photographing Castles
• Castle Photography Tips

 

3. Stately Homes

 

Many Stately Homes found in the UK open their doors to the public, giving photographers the chance to capture interesting interiors as well as shots that show the extensive grounds and buildings. Take a look at our article on Photographing Stately Homes for advice on what to photograph and how.
 

4. Churches

 

Small rural churches and grand cathedrals have decorated our nation's skylines for a very long time and they're well worth photographing. If you can, take your camera inside these magnificent structures (you may be charged a small fee) as they are often even more impressive on the inside.

ePHOTOzine has several articles on photographing churches, both on the inside and out, which can be found here:

• Photographing Church Interiors
• Tips On Photographing Stained Glass Windows
• Church Photography At Night
• Tips On Creating HDR Exposures In Churches
• How To Take Photos Inside Churches

  5. Villages

 

Even though this isn't about just one structure, scenic villages are popular tourist destinations and they make good subjects for photographers. Picturesque streets and the famous 'chocolate box' style houses make them a worthwhile stop-off, plus there's usually ample chance to capture a fair few candids too.

Have a look at ePHOTOzine's Guide To Photographing Villages for more tips. For more architectural photography tips, take a look at ePHOTOzine's technique section. 

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© Nikon

 

Nikon has announced the release of the highly-anticipated silver version of the iconic full-frame Nikon Zf mirrorless camera. Following the tremendous success since its launch in 2023, the release of the silver edition fulfills customer demand, and reflects Nikon's ambition to encourage even more to enjoy the retro-inspired Zf.

Designed to look like the chrome plating on film-era cameras such as the Nikon F, the texture of the silver finish is similar to that of metal, for an authentic feel suited to a full-frame heritage-inspired model. Zf Silver will be available in six colours for the Premium Exterior which include: Sepia Brown, Moss Green, Stone Grey, as well as new colours Cognac Brown, Teal Blue, and Mauve Pink - which are subdued yet elegant tones that complement the silver body.

In addition, a future firmware update will provide a new "Film Grain" feature that adds a grain effect to photos and videos, further expanding creative possibilities. By combining this feature with Imaging Recipes (downloadable imaging presets via Nikon Imaging Cloud), users will be able to enjoy film-like results tailored to their personal style.

For more information, please visit the Nikon website.

Photo by Joshua Waller

 

If you're thinking of trying nature or wildlife photography, as well as a camera it's worth investing in a telephoto lens. Why? Well, this is something we'll move on to shortly but first, you need to decide which telephoto lens will work best for you. 

A medium telephoto can be useful for shots taken in and around zoos and wildlife parks but if you're capturing smaller subjects such as birds, even if it's in your own garden, you'll need a telephoto that has much more reach (300mm +). For shots of swans and ducks in the park, a shorter telephoto lens will be fine. 

 

Why A Telephoto? 

 

Reason 1: Bring The Subject Closer

Apart from the odd swan at the park who is used to people feeding it bread, most wildlife is wary of humans and they will move away, sometimes never returning when people get too close. For this reason, a telephoto lens is needed to bring your subject to you. With a telephoto lens, you'll be able to take shots that look like you were just a few steps away from your subject when really there was quite a bit of distance between you and them. It also means you won't have to waste energy chasing your subject around all day. Instead, set up in a hide, wait patiently and use the pull of your longer focal length to create frame-filling wildlife shots. 

 

Photo by Joshua Waller

Reason 2: Safety

Having the ability to capture images from further away makes it safer for the photographer when capturing images of what could be considered as a dangerous animal or when your subject's behaviour, such as male deer fighting during mating season, would put you in danger up close. The distance also means the animal is less likely to be startled which will stop them bolting away quickly which could cause them or other animals that are around them injury if they begin to panic. 

 

 

Reason 3: Pleasing Perspective

When shooting with telephotos it can be easier to produce shots where the subject is separated from the background as the zone of sharpness is more restricted.
 

 

Reason 4: Shoot 'Through' Fences

Wildlife parks and zoos make it easier for photographers to get closer to wildlife, but mesh fences can be a particular annoyance and can ruin a great shot. However, if you're using a lens with a longer focal range, it can be quite easy to eliminate fences from shots. Similar results can be produced on lenses with wider apertures on offer, meaning users with lenses that have smaller focal lengths can still produce mesh-free images. Basically, you need to set a wide aperture, place the lens over one of the gaps and once there's some distance between your subject and the fence, click the shutter button. 

 

 

Points To Remember When Using A Telephoto

 

Point 1: Shake

Telephotos have a habit of magnifying the slightest bit of camera shake so either use a support such as a tripod or monopod or stick to higher shutter speeds. Switching up the ISO will help you achieve quicker shutter speeds or you could invest in a faster lens. 

 

Point 2: Focus 

When working with a subject in the distance, the autofocus system can get easily confused by blades of grass etc. that may be positioned closer to your lens and it'll focus on these rather than the bird etc. in the distance. This is why it's often worth switching to manual focus so you can have full control over what's your main focal point. 
 

Photo by Joshua Waller

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The Society of Photographers is excited to host a series of free-to-enter photographic roadshows across the UK. Now in its 11th year, these events offer an excellent opportunity for photographers of all experience levels to explore innovative industry trends, connect with leading photography brands, and gain valuable insights through expert-led Masterclasses.

 

A Unique Learning Experience

Each roadshow starting at 09:30, will feature three FREE Masterclasses led by renowned photographic educators, covering topics such as lighting techniques, business strategies, and inspirational storytelling. Attendees will have the chance to learn from an impressive lineup of speakers, including Raj Khepar, Gary Hill, Luke Davis, Mr Whisper (Balwinder Bhatla), and Rebecca Douglas.

 

Leading Brands in the Industry

The accompanying trade shows will showcase top photographic companies, allowing attendees to explore the latest equipment, software, and services. Exhibiting brands include Fujifilm, Sony, Canon, Nikon, Elinchrom, Permajet, 3 Legged Thing, MagMod, Gomatic, Click Backdrops, Camera Centre UK, Aaduki Multimedia Insurance, Graphistudio, The Society of Photographers, Professional Imagemaker, Bump2Baby, and Praetego. Manufacturers will also be offering exclusive show deals for attendees.

Event Schedule

Here are the upcoming 2025 Roadshow dates and venues:

September 2025

• Tuesday 16th September – Webbington Hotel & Spa, Somerset
• Wednesday 17th September – Green Park Conference Centre, Reading
• Thursday 18th September – Priestfield Stadium, Kent

 

  An Unmissable Opportunity for Photographers

Colin Jones, CEO of The Society of Photographers, expressed his enthusiasm for the upcoming events: “We are delighted to bring the Roadshows back for 2025. Each event will offer three free Masterclasses, providing valuable insights and tips to help photographers elevate their skills. Alongside this, our trade shows will be packed with leading photographic companies showcasing the latest products and services, with exclusive show deals available. Whether you’re an aspiring or professional photographer, these events promise to be both educational and inspiring. Best of all, entry is completely free!”

 

Register for Free Tickets

To find out more about The Society of Photographers’ 2025 Roadshows and to secure your free tickets, please visit the event website.

Get Your FREE Tickets Today!

 

Every now and then, a photo feels technically solid. The exposure is right, the composition works, and the colors are balanced. But something still feels unfinished. Not a major change, just a subtle artistic element to help the photo tell a better story. That’s where layers, textures, and light leaks in Luminar Neo come in.

Over the weekend, I took my niece and cousin out to photograph butterflies. It was one of those relaxed, fun shoots where everything lined up just right. Good light, beautiful subjects, and time to slow down and enjoy the process. When we got back, we loaded the images into Luminar Neo and started editing together. That’s when I saw how much a few simple creative adjustments could add to an image. A soft light leak, a touch of texture, and suddenly a nice photo felt like a finished piece of art.

 

Start with a Clean Edit

 

During the shoot, I had accidentally left my camera set to a 16:9 aspect ratio. That’s great for video, but not ideal for photo prints or traditional framing. So the first thing I did was crop the image to a 2:3 ratio. That instantly gave the composition a more natural balance. I also flipped the photo horizontally, which helped place the subject in a stronger visual position.

With the composition locked in, now you're ready for quick editing. Open the Raw Develop tool and start with the Auto adjustment to get the exposure in the right ballpark. This gives you a solid baseline without overthinking it. From there, use Enhance AI to add just the right amount of structure and detail. Keep it balanced, not heavy. The goal here isn’t to finish the photo, just to build a clean, neutral starting point before moving into the creative steps.

 

Add Light Leaks and Flares

 

 

This is where things start to get fun. In Luminar Neo’s Layers panel, you’ll find built-in overlays like light leaks, flares, sparklers, and bokeh. These can bring energy and warmth to an image when used with intention.

For this edit, I added the “Celebration” light leak. It dropped in a warm, glowing effect that blended nicely with the background.

To apply one yourself, choose an overlay and set the blend mode to Screen. This allows the light from the overlay to shine through while hiding the darker parts. If the overlay introduces unwanted color, open the color settings on that layer and lower the saturation. This keeps the light effect but prevents it from clashing with your original tones.

Use the masking brush to control where the effect shows up. Light leaks can be powerful, so paint in only what adds to the image. If something feels too strong, lower the opacity. You can also stack multiple overlays on different layers, adjusting each one individually to get the look just right.

 

Add Texture for a Painterly Look

 

 

After getting the light effect in place, I wanted to add a bit of texture to give the background some character. I used one of Carly’s Old Masters textures, which are available in the Luminar Marketplace. These textures have a timeless, artistic feel that works well with nature shots like this.

To do the same, import a texture into My Images. Use the Stretch option so the texture fills the entire image. Then try blend modes like Overlay or Soft Light and see which one works best with your photo.

 

 

If the texture starts to overpower the photo, head into the color settings for that layer. Reduce the saturation to tone it down, then increase vibrance slightly to keep a soft richness in the image. The result should enhance the background without taking attention away from the subject.

Like overlays, textures sit on their own layers, so you can fine-tune them easily. If part of the texture feels distracting, use masking or lower the opacity to make it blend more naturally.

 

Save the Style as a Preset

 

After layering in light leaks and textures, I saved the entire look as a preset so I could use it on other images from the same shoot. This step saves a lot of time and keeps your edits consistent across a series.

To do this correctly, save the preset while all layers are still separate. Don’t merge the layers yet. If you save a preset with merged layers, that composite version gets applied to every image you use the preset on, which is not ideal.

Once the preset is saved, you can choose to merge the layers for final adjustments. At that point, I added a vignette to bring more focus to the butterfly. Use the Choose Subject option to place the vignette accurately, then raise the inner light to softly brighten the center. This helps guide the viewer’s attention without creating a harsh effect.

 

Apply to Multiple Images

 

With the preset saved, I applied it to several other butterfly images from the same session. Since cropping isn’t saved with presets, each image needs to be cropped individually first. Choose the ratio that suits the image, maybe 8x10 for printing or 2:3 for a more natural framing.

Then apply the preset. If you're working with a batch of photos, use Luminar Neo’s batch processing to apply it all at once. After that, review each image for small adjustments. Some may need the vignette shifted, others might benefit from a different overlay opacity or texture adjustment. The non-destructive editing makes this easy to handle without starting from scratch.

 

Wrap It All Together

 

Textures, flares, and light leaks aren’t just visual effects. They’re tools that help create mood and focus in an image. Used with care, they can turn a clean edit into something that feels complete and personal.

These features are built into Luminar Neo and are ready to use. So next time a photo feels like it’s missing something, try adding a light leak, layering in a texture, or saving your style as a preset. The process is creative, flexible, and easy to repeat across a project.

And here’s something extra for you: get 10% off Luminar Neo with the code EPHOTOZINE at checkout.

 

About the Author

 

Vanelli is an accomplished photographer, educator, and author based in Florida. He is the Director of Education at Skylum and has transitioned from being a Triple Crown Karate champion to teaching visual arts. With a diverse skill set, Vanelli develops educational content and courses for photo editing, teaching industry leaders along the way. He is a sought-after speaker at major conferences, delivering engaging speeches on photography.

 

Photo by David Pritchard

 

Head to ponds, lakes and rivers and chances are, you'll soon spot Damselflies and Dragonflies which make interesting subjects for a macro image. If you do want to have a go at capturing these flying insects in your shots ideally, you'll need a macro lens but a longer zoom with a macro function at the longer end will also work fine, especially when coupled with extension tubes. Approach slowly, and start taking pictures from a distance so if they do fly off, at least you've got a few images saved to your memory card. It can be easier to capture images of these insects from a higher angle, looking down on the subject but do try shooting side-on, too. 

These characters aren’t the easiest to catch on camera, but a reasonable shutter speed combined with a small maximum aperture will make tracking your subject easier. You also really need to know your equipment well otherwise you could miss a shot searching for a dial/function so do remember to examine your equipment carefully, even more so if it's a new piece of kit. 

Take the time to pick a background carefully because even though you'll be throwing it out of focus, a busy background will still be distracting.

Below you'll find more tips along with a selection of dragonfly and damselfly images taken by ePHOTOzine member David Pritchard. 

 

Photo by David Pritchard

 

"I used a 20mm extension tube for this shot, so that I could get higher magnification from a greater distance. That was important for two reasons; firstly, this pair of damselflies were very skittish and secondly, they were perched over water. I couldn’t have got closer if I had wanted to and as a result, a shorter lens just didn’t work for this shot. However, as I was using a zoom lens, I was able to reach right out over the water, and the extension tube allowed me to make sure that the lens didn’t reduce in focal length as it was focused. It has also resulted in the background softening out."

 

Photo by David Pritchard

 

"The shot below is of a Banded Demoiselle and if you get the chance, watch one in-flight as it's quite beautiful." 

Photo by David Pritchard


 

"Another Banded Demoiselle, this time a female. The grace of these insects in leisurely flight belies the speed and agility that they are capable of; this lady disappeared from my viewfinder for only a couple of seconds. In that short time she shot out three feet, and returned to the same spot with this lacewing. The females generally seem more cautious than the males, and are certainly harder to spot."

Photo by David Pritchard

 

"The Banded Demoiselle is one of my favourite species of damselfly, due to their spectacular flight. The male’s wing markings appear electric blue under the right light, and they appear almost butterfly-like in the way that they move."

 

Photo by David Pritchard

  

"For this image, I used extension tubes to increase my working distance, and then chose a combination of aperture and focal length that allowed me to include some of the foreground grasses without them detracting from the main subject which added some layering to the photo."

Photo by David Pritchard

"This Damselfly was resting a few feet over the water and due to the bright sunshine,  I was able to use a couple of extension tubes (totalling 56mm) to bring the insect within range. This meant I was able to throw the background out of focus more than normal." 

Photo by David Pritchard
 

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