Photography News

    Hedgerows divide land right across Britain, including many back gardens, and they're home to a wide variety of wildlife making them a perfect place for outdoor photographers. A hedgerow will give you a huge shot collection of flowers, plants, insects, small mammals and birds from just one location. You just need to know where to look and when.   What Gear Should I Take? 

 

If you're on the hunt for insects and flowers take your macro lens along but if you want to photograph the many birds and small mammals that live in the hedgerow you'll need a telephoto or zoom lens so you can observe and take your photographs from a distance that won't scare them off.

A tripod or even a beanbag will give your arms a rest and stop you shaking the camera when you're working on those frame-filling shots. Use a remote release or if you don't have one make use of the self-timer as this will give you enough time to press the shutter and move away so your movement won't blur your shot. As it's dark and shadowy inside a hedgerow take a reflector out with you to add and direct light into the shot.

If you're going to be working on the ground it's worth taking a gardener's kneeling pad with you to keep your knees dry and a little comfier.

 

Capturing Shots Of Flowers

 

Whatever time of year you do your hedgerow flower photography, if you use your lens' minimum aperture to give your flower shots greater depth of field, remember this will slow your shutter speed down so watch out for camera shake.

 

Top Tips On Bird Photography 

 

If it's birds you're searching for wrens and thrushes are just two of the species you'll find nesting in the dense cover. This can make them hard to spot, but most birds prefer taller, mature hedges where there are plenty of trees around they can perch on so keep an eye out for areas like this. Also, spend enough time around these older, well-developed areas and you may even spot shy blue tits, owls and even bats if you're out late enough. Keep your ears open for bird song too as this will give away even the smallest of birds locations.

If your focus is a particular branch have your lens focused and exposure locked in place so when the bird lands you can quickly snap your shot. You may find continuous shooting's useful and keep an eye on your exposure as a bright sky and a dark subject can confuse the camera into thinking it needs to underexpose the shot.

Make sure you don't disturb any nests and don't trespass! Stick to public paths or better still, your own garden.

 

Shoot From A Bird's Eye View

If you live near a hill or can get to higher ground try photographing a group of fields. The patchwork of colour, particularly towards the summer with rapeseed, separated by rows of hedges makes a great looking photograph. Try doing a year-long hedgerow safari too as the flora and wildlife will continuously change so there'll be ample to photograph.

 

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Evoto has released an updated ecosystem brief presenting its products as a connected shoot-to-delivery workflow rather than separate editing apps. The structure links capture, culling, retouching, cloud sync, and publishing across multiple devices and product surfaces.

 

Key Takeaways

• Evoto’s ecosystem includes Desktop, Instant, Mobile, iPad, and Video products with role-based workflow handoff.
• Evoto Desktop v7.1.0 extends AI Lab (Smart Removal, People Removal, AI Scene) alongside Personalized AI Looks and Perfect Shot.
• The system is designed for photography teams that need repeatable editing quality across high-volume projects.
• Product messaging emphasizes automation for repetitive tasks while keeping final creative control with photographers and editors.

 

All-in-One AI Photo Editing Platform for 2026 Workflows

In the current positioning, Evoto Desktop remains the main post-production environment for large projects, while Evoto Instant is the delivery endpoint for online galleries and access-controlled sharing. Evoto Mobile and Evoto iPad support on-site and in-transit workflows, and Evoto Video extends finishing work into motion deliverables.

This ecosystem framing follows a pattern seen in current media coverage of imaging software: clear role assignment by device and stage, with less emphasis on broad AI claims and more emphasis on production continuity.

 

 

Seamless Workflow for Professional AI Photography

Evoto describes a five-stage operating flow:

1. Capture and ingest

Images enter through tethered shooting or import pathways, then are assigned to project-level structures.

2. Selection and grouping

AI-assisted culling helps flag technical rejects and organize similar frames for faster review.

3. Editing and consistency

Teams apply shared portrait and color logic in batch, while keeping the option for manual adjustments on individual frames.

4. Delivery and access

Approved outputs are routed into sharing workflows, including gallery-based distribution through Evoto Instant where enabled.

5. Video extension

Projects that require motion output can continue through Evoto Video for visual alignment with photo deliverables.

This sequence is aimed at reducing workflow breaks between tools, especially in event and school scenarios where deadlines are tight and image volume is high.

 

 

AI Culling and Retouching Tools for Pro Photographers

Across the suite, Evoto emphasizes AI as an assistant layer for repetitive operations:

• automated pre-sorting to reduce manual culling load
• batch-oriented portrait retouching and color handling
• consistency controls across multi-image sets
• optional cross-device continuation when projects move from desktop to delivery channels

Evoto also references recent Desktop-side feature evolution in v7.1.0 as part of the wider ecosystem value rather than isolated features. The Desktop draft aligns three feature groups:

1. AI Lab

A creative module for AI-assisted cleanup and scene composition workflows. The current AI Lab scope in this draft includes:

• Smart Removal: removes selected distractions with subject protection options in supported scenes.
• People Removal: detects and removes passersby or extra people in eligible images.
• AI Scene: supports subject cutout, background replacement, and layered foreground setup for controlled visual staging.

2. Personalized AI Looks

A style-training workflow that allows users to build reusable looks from their own edited image sets, then apply those looks across future      projects.

3. Perfect Shot

A group-photo workflow that helps replace expressions from adjacent images when subjects blink or miss gaze direction.

 

 

Real-Time Tethered Shooting and Delivery for Events

For event and location work, Evoto positions Mobile and iPad as practical companions to Desktop rather than replacements. The workflow message is: capture and review in the field, then consolidate in Desktop for volume editing, then publish through Instant for client-facing access.

The Instant layer is presented as a delivery workflow rather than only a gallery viewer, including project sharing paths, branding controls, and participant-oriented access options depending on setup.

This cross-product chain is particularly relevant for:

• school portrait operations
• event photographers handling rapid turnaround
• studio teams requiring collaborative post pipelines
• hybrid teams delivering both photo and short-form video outputs

 

Professional Photo Editing Ecosystem With Cloud Sync Features

Evoto describes cloud sync as the connective mechanism across products. In operational terms, this means teams can maintain a central project logic while switching execution context by device and task.

The company notes that not every feature is universally available in every context. Plan tier, region, hardware support, image format, and release channel can all affect capability access.

 

Who This Workflow Is For

Based on current product documentation and positioning language, the ecosystem is primarily targeted at:

• portrait professionals handling repeatable edits at scale
• studios with multi-editor throughput requirements
• photographers who need on-site review plus later desktop finishing
• teams that want a single ecosystem across capture, edit, and delivery

 

Availability

Official product channels:

• https://www.evoto.ai/ai-photo-editor
• https://instant.evoto.ai/
• https://www.evoto.ai/ipad
• https://www.evoto.ai/evoto-mobile
• https://video.evoto.ai/

 

About Evoto

Evoto is a software company that builds AI-assisted imaging tools for professional photographers, retouchers, and visual production teams. Its product line spans desktop editing, cloud gallery and delivery (Evoto Instant), mobile and tablet apps, and video finishing—designed so studios can move from capture through batch retouching to client delivery in one connected workflow. The team focuses on high-volume portrait and event use cases, with an emphasis on workflow speed, repeatable quality, and user-controlled creative decisions.

In 2026, user-review platforms Capterra and Software Advice recognized Evoto AI across multiple photo-editing and AI software categories, including ease of use, value, recommendation, and customer support. Profiles: https://www.capterra.com/p/10015499/Evoto-AI/ and https://www.softwareadvice.com/product/515822-Evoto-AI/.

More information is available at https://www.evoto.ai/

 

The 85mm prime is the rare lens that almost every working portrait photographer owns, eventually. It is the focal length that does the most flattering work on faces, the easiest one to recommend to a portrait beginner, and the lens most photographers reach for when they want to make a person look the way they want to be seen. 

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Welcome to the April Critique the Community!  For this contest/critique, we are doing another abstract theme that should allow more photographers to enter. For this month we want to see your most "dark" or "low key" photographs. If you have images that play off of darker tones or contain mostly black, unlit areas, we would love to see them!

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Let's get this out of the way: this is not nostalgia. 

I'm not trying to "bring back" anything, especially a smartphone. I'm not interested in retro aesthetics for the sake of it. And I'm definitely not here to argue that older technology is somehow superior.

I use an iPhone 8 because it works for me, and a smartphone for me is just a smartphone — something I use to communicate.

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Shooting portraits in natural light sounds simple until you realize how many ways it can go wrong. Knowing the five most common mistakes, and how to fix them, is the difference between images that look flat and ones that have real depth and drama. 

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If you're a fan of black & white photography, with a twist of fine art and macro flower photography thrown in, you've come to the right article as we're teaching you how to get all Mapplethorpe at home with one flower and a few photography tools. 

  Light & Equipment 

The location for this shoot was a living room, making most of the light pouring through the window. Direct sunlight is too harsh for this work so the set up was placed away from the window. A macro lens is ideal for this subject and it's always a good idea to mount your camera on a tripod for stability. Use a remote release, if you have one, to fire the shutter and if your camera has it, the mirror lock-up facility can also help minimise any risk of camera shake.

 

Backgrounds

The background needs to be plain and a piece of black material will work fine. The examples shown here were shot against a black fleece draped over the back of a chair and some on black slate slabs which goes to show you really can use anything! 
 

Exposure & Focusing 

Focusing was done manually, which is always best for macro work when the lens can search for focus and aperture-priority was used, along with the exposure compensation facility to fine-tune the result. With a white lily against a black backdrop, the risk of poor exposure is quite high, so you may need to make minor adjustments as you go along. 
 

 

For the above shot, the lens was set to its smallest aperture (f/36) for maximum depth-of-field which gave a shutter speed of 2secs. All the pictures here were done at ISO200.

Next, the flowers were moved closer to the camera and the lens was opened to its maximum aperture to throw the closer flower out of focus.

 

Closer still, these shots focus on the flower's stamen, with the shot to the right excluding the black backdrop completely. Depth-of-field, when you’re this close to the subject, is minimal even at a small aperture, as the images to the right shot at f/36 shows.

 

 

Quite a few cameras have a multiple exposure feature which will allow two or more exposures to be captured on the same frame. To create the effect shown in the following shot you need to capture one exposure sharp and one totally defocused.

 

If photographing the flower straight-on doesn't produce the look you're trying to create, try laying it down on a plain surface. The flower in the following shot had to be held in place with a piece of tape to open up the petal.

Black & White

Most digital cameras, even modest compacts, have a monochrome mode, which offers a quick way to enjoy black & white photography. However, convenient though this mode is, the image file straight out of the camera can lack contrast and may need some work in your editing software if you’re going to get the most from it.

The shot on the left is the JPEG monochrome file straight out of the camera and it looks a little flat. The right image is the same shot but the Levels were tweaked in Photoshop which gives more intense blacks and brighter whites.

 

It’s worth remembering that if you’re shooting in JPEG format, images shot in the monochrome setting will record in black & white only and you can’t produce a colour image should you change your mind later. Shoot Raw and even though the camera monitor might show the mono result you have the full-colour file at your disposal. The best option, if your camera has it, is to shoot in Raw and fine quality JPEG at the same time. 
 

In-Camera Edits 

Many cameras have the option of letting you modify your shots using contrast filters (yellow, orange and red are the most popular), toning effects and Art Filters. Some of which can work well with this type of photography so it's worth experimenting with.

Used sparingly, toning monochrome images is a very effective technique and if your camera doesn't allow you to apply effects while shooting, you can always adjust your shots in image editing software.
 

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

Choosing a normal-length prime for your Fujifilm X system sounds straightforward until you realize there are seven legitimate autofocus options sitting in roughly the same focal length range, each with a different price, build, and rendering character. The gap between the best and worst of them is smaller than you'd expect, but the differences in autofocus reliability and real-world usability are anything but trivial. 

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The Nikon Z 8 is a camera that has generated a lot of conversation since Nikon acquired Red Cinema, but most of that conversation focuses on specs and codec comparisons. What's harder to find is a perspective from someone who actually shot on a Red camera for years, sold it, moved on, and then picked up the Z 8 expecting to be underwhelmed. 

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The Fujifilm X-T30 III sits at $1,000 body only, positioning it as one of Fujifilm's most accessible entry points into the X-series system. For that price, you're getting a 26-megapixel APS-C camera with some video specs that don't match what you'd expect from a camera in this range. 

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When you first think of transport photography you probably think of cars but trains, boats and planes are just as interesting and with the right planning, can be photographed. In this article, we list popular transport photography tutorials and offer a few tips on the gear you may want to consider using.

 

Photographing Cars - Gear Choices & Our Top Tutorials 

 

A standard lens is fine as you can move around the car to alter the angle and position. You'll also want to use a polarising filter to reduce reflections just remember shutter speeds will be slower so you may want to use a tripod.

• Five Ways To Take More Creative Shots Of Cars 
• How To Photograph Your Car Successfully 
• Tim Wallace's To Car Photography Tips

  Photographing Boats - Gear Choices & Our Top Tutorials 

 

A standard zoom of the 35-80mm range is fine, although you may prefer a longer lens 80-200mm if the boat is further away. Make sure you use a polarising filter to reduce reflections/deepen blue skies and pack a tripod but if you plan on taking your shots at the coast or will be walking along a canal for a lengthy period of time, a light-weight tripod that still offers good rigidity will be easier to carry, particularly after you've been walking for a while. 

• Everything You Need To Know About Boat Photography
• How To Take Good photos From A Boat
• More Boat Photography Tips 
   

Photographing Trains  - Gear Choices & Our Top Tutorials 

 

A lens with a focal length between 50mm and 100mm is ideal. Better still, use a zoom lens with a range that covers 28-105mm so you don't have to waste time changing lenses. For shots away from stations, use a tripod with a pan head to follow the train and on the platform use a monopod as they can get busy and you don't want to get in anyone's way.

• Steam Railway Photography Guide 

  Even More Top Transport Photography Tips 

 

If you want even more transport themed photography advice, we have 10 more top tips to help you take better photos of trains, planes, cars and other modes of transport.
 

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

When you accidentally remove the RAW photos, they're not totally lost but still on your camera's SD card, not showing themselves. With the right RAW image recovery tools and a little patience, you can get them back.

Here's what you need to know: how RAW photo recovery actually works, what causes files to disappear, and the smartest ways to bring those photos back - no matter what camera or storage device you're using.

 

 

Can You Recover RAW Photos from a Camera

 

Yes. Most times, it is possible to retrieve RAW images from a camera - if the files have not been replaced by newer recordings. Recovery depends on whether fresh media has written over the original data.

Deleting a RAW image or wiping a memory card entirely does not erase it instantly. That space gets flagged as "available" - yet the photograph remains hidden underneath. Only once new data moves in does it truly disappear.

Data recovery software like EaseUS Data Recovery Wizard takes advantage of this. It scans your camera memory card (whether it's an SD card, CF card, whatever), then looks for the unique signatures of RAW files like CR2, NEF, or ARW. With some luck, it can pull those deleted photo pieces back together and let you recover them entirely.

 

Common Reasons People Lose RAW Photos

 

Knowing how you lost your photos makes recovery a lot easier. Here's what usually happens:

• Accidentally delete files sometimes right from the camera or on your computer.
• Formatting the memory card wipes out everything fast, whether it's a quick format or a full one. 
• If the SD card or its file system gets corrupted, it often becomes unreadable, appears as "RAW," and locks you out. 
• If you remove the camera card without safely ejecting it on a computer, it can easily mess things up.
• Cameras show errors like "Card not formatted" or "Cannot read card," and that's never a good sign. 
• Viruses or malware sometimes sneak in when you use the card on different devices.
• Suddenly powering down while taking or saving RAW photos just leaves you with incomplete files.

 

Common RAW Photo Format by Camera Brands

 

Different camera manufacturers use proprietary RAW formats. A reliable recovery method must support all major types.

Popular Camera Brands & Their RAW Formats

• Canon: CR2 / CR3
• Nikon: NEF
• Sony: ARW
• Fujifilm: RAF
• Panasonic: RW2
• Olympus: ORF
• Leica: DNG
• GoPro: GPR

Camera Types Covered

• DSLR cameras
• Mirrorless cameras
• Compact digital cameras
• Action cameras

RAW files are slightly more complex to recover, but modern tools can handle them effectively.

 

How to Recover RAW Images from Digital Cameras

 

When you accidentally lose RAW photos from your camera, don't panic. The best way to get them back is with a reliable data recovery program, and EaseUS Data Recovery Wizard is one of the top choices.

This professional RAW image recovery tool handles almost all RAW formats like CR2, NEF, ARW, RAF, and DNG. Whether you're using an SD card, microSD, or CF card, the software works across the board. It recovers files from formatted cards and even from corrupted (RAW) SD cards.

Follow these steps to recover deleted RAW photos from the camera:

Step 1. Open the camera, remove the memory card gently. Connect it to the computer using a compatible reader device. Wait for the system to recognize the storage unit before proceeding.

Step 2. Begin by opening the EaseUS Data Recovery Wizard. Once active, locate the storage device from the available drives. Choose the memory card shown in the menu. Proceed with initiating a scan. The process begins after selection is confirmed.

Step 3. As the scan runs - or once it finishes - narrow outcomes using file categories to locate your CR2, NEF, ARW, or any required RAW format. Focus shifts here naturally when sorting begins.

Step 4. Now preview the available files, picking only those pictures you need before starting recovery. To avoid complications, store them on a different drive instead of using the initial memory card again. A new location reduces risk - simple choice, a better outcome.

 

 

 

Alternative Ways to Restore Missing RAW Photos from Cameras

 

You don't always need professional camera recovery software to restore missing RAW photos from camera SD cards. Here are a few other options that sometimes do the trick:

 

Restore from Backup

If you're good about backing up your photos, you're in luck. Just check wherever you usually store your backups, maybe it's Google Drive, Google Photos, iCloud, Dropbox, an external drive, or a NAS. Restoring from a backup is by far the easiest way, as long as you actually made one before your photos disappeared.

 

Try Built-in Backup & Recovery Tools

Windows has File History, and Macs have Time Machine. If you set them up beforehand, you can pull lost files right from there. Just remember, these tools won't help if you never turn them on.

 

 

Deal with a RAW SD Card (After Recovery)

If your SD card suddenly shows up as RAW, save your files first. Use recovery software to grab your data, then go ahead and repair the SD card; something like CHKDSK can help on Windows.

 

Conclusion

 

Most photo recovery works best when you move fast, especially with RAW images straight from your camera. EaseUS Data Recovery Wizard handles such RAW formats well, making restoration smoother if you move fast after data loss.

To improve your chances of recovering lost RAW images:

• Immediately cease operation of the memory card or storage device.
• Use trusted recovery software.
• Keep regular backups.

If you follow these tips, you'll protect your photos and spend less time stressing over lost RAW images.

 

Camera RAW Photo Recovery FAQs

 

1. Can I recover RAW photos after formatting an SD card?

Recovered RAW images remain possible after formatting if new information has not overwritten the old ones. File structure links vanish during formatting; however, underlying data often stays intact initially. Tools that support deep scan may detect and rebuild lost photographs. Acting quickly increases the chances significantly.

 

2. Why does my SD card show as RAW?

A RAW SD card means the file system is corrupted or unrecognized by the operating system. This can happen due to improper ejection, a virus attack, or a sudden power failure. In this state, the card becomes inaccessible, but the data may still be recoverable. You should recover files first before attempting any repairs.

 

3. Can permanently deleted RAW photos be recovered?

Yes, even permanently deleted RAW photos can often be recovered using advanced data recovery software. These tools scan the storage device for leftover file signatures and reconstruct the files. However, if new data has overwritten the original files, recovery may not be possible. That's why immediate action is critical.

The AI platform trusted by over 100,000 photographers now delivers professional, style-consistent color grading across every clip - directly inside Adobe Premiere Pro or DaVinci Resolve.

 

Today, Imagen Video officially launches out of beta. Imagen, the AI-driven editing platform that has transformed post-production for photographers globally, announced the official launch of Imagen Video at NAB Show 2026. After exiting beta, Imagen Video now offers advanced AI color grading seamlessly integrated into Adobe Premiere Pro or DaVinci Resolve, enabling video editors to enjoy automated efficiency while maintaining full creative control. Attendees can experience Imagen Video live at Imagen's NAB booth, April 18-22.

Color grading has long been one of the most technically demanding and time-consuming stages of video post-production. For editors working across multiple cameras, varied lighting conditions, and tight delivery deadlines, achieving a consistent, professional look can consume hours of manual work per project. Imagen Video eliminates that grind.

By combining AI Profiles trained on professional color styles with full support for custom LUTs, Imagen Video analyzes each clip individually, adjusting for lighting shifts, white balance inconsistencies, skin tones, and camera sensor differences, delivering a consistent, polished baseline grade up to 10 times faster than manual correction, helping editors meet tight deadlines with ease.

 

 

Unlike generic color correction tools, Imagen Video adapts to each editor's individual creative signature. Editors can apply their own LUTs or choose from professionally designed AI Profiles, and Imagen's AI handles the clip-by-clip adjustments needed to keep that look consistent across an entire sequence, empowering editors to stay true to their vision regardless of camera or lighting changes.

"Color grading is where a project either comes together or falls apart. And for most editors, it's also where hours disappear. We didn't build Imagen Video to replace the editor's eye. We built it to handle everything that doesn't require one: the technical corrections, the clip-by-clip adjustments, the camera matching. Imagen Video is the co-pilot every editor deserves; it handles the technical work, so you can stay focused on the creative," said Yotam Gil, co-founder and CEO of Imagen. 

The results are already speaking for themselves. Tyler Hergott, an interior design videographer, put Imagen Video to a direct test against his own manual grade: 

"I sent the client three versions: one converted through Adobe, one with my own manual color grade, and one color-graded by Imagen. I didn't tell her which was which. The designer selected the Imagen-graded version," says Tyler, interior design videographer.

One of the most common and costly pain points for event, wedding, and documentary videographers is matching footage across multiple camera bodies. Even cameras from the same manufacturer can produce shots that look noticeably different when cut together. Imagen Video's AI automatically harmonizes footage across sensors, lenses, and ISO settings - delivering a unified sequence without requiring editors to leave Premiere Pro or DaVinci Resolve.

"I'll shoot interviews with two or three cameras - all Sony, using Sony glass - but they never match perfectly. It's really hard to get them to match when cutting back and forth. Imagen does it flawlessly. I can't see going back to my old way of doing things," says Joe, a non-profit and event videographer.

 

 

Imagen Video runs natively in Adobe Premiere Pro and DaVinci Resolve, so editors can stay in their existing workflow from first cut to final grade. There is no round-tripping, no file export, and no separate application to manage, ensuring a smooth transition that respects their established process and expertise.

Within Premiere Pro or DaVinci Resolve, editors can apply their own LUTs or select from AI Profiles trained on professional color styles. From there, Imagen handles the technical layer automatically: correcting white balance and matching footage across different camera sensors and lenses so that editors can focus on the creative grade rather than the corrective one.

Imagen Video is available now as a full release, with comprehensive support and training resources to help users maximize its features. Detailed pricing and plan information are available at imagen-ai.com. 

 

About Imagen

Imagen is the personal AI platform for professional photographers and videographers. The pioneer in AI-powered photo editing since 2020, Imagen helps over 100,000 photographers worldwide save time on editing, reduce costs, and deliver consistent, professional results at any scale. During beta, thousands of video editors graded hundreds of projects on Imagen Video, validating its performance across real-world workflows before today's full release. The platform serves studios, agencies, and independent professionals across weddings, events, schools, sports, and commercial photography and videography. For more information, visit imagen-ai.com.

Wildlife photography is often associated with iconic species such as lions on the savannah, elephants crossing golden plains, or bears roaming in areas like Yellowstone National Park. These adventures are extraordinary, but they are also expensive and not always accessible to beginner photographers. 

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The Pentax K-3 Mark III was officially discontinued in Japan in January 2025. The Monochrome variant has been more complicated: B&H's original black Monochrome listing is now marked "No Longer Available," though it points buyers to a current matte-black Monochrome listing still shown as in stock. After roughly four years of production, the K-3 Mark III is being phased out in stages rather than discontinued cleanly, and the last major APS-C DSLR from a major manufacturer is winding down. By the standard industry narrative, this should be the end of the story. DSLRs are dead.

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Photojournalism and documentary work demand a different relationship with gear than most photography does, and Jorge Delgado-Ureña, co-founder of the Raw Society, has spent nearly two decades figuring out exactly what that relationship looks like. 

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If you want an interesting challenge, head out with your camera and search for numbers and letters or better still, objects that look like numbers and letters. You'll be impressed with how many you'll actually find and when they're put together they can make an interesting panel to hang on your wall. All you need is your camera, a good imagination and some decent weather!

 

What Can I Photograph?

If you're looking for ideas, a lighthouse can be used as a number one, chimneys can look like a number 11 and a traffic light can be a 3 or and E depending on the direction they're facing.

When we say photograph numbers/letters, you can take this literally or you could put your imagination to the test and look for them in places other people wouldn't think to look.

If you have a door number start with that then take a walk up your street and into your town snapping shop signs, adverts and road signs. Make sure you fill the frame with what you find and watch out for reflections and glare bouncing off shiny door numbers.

 

More Ideas 

When you're ready to give your grey cells a bit of a work out start looking for objects that look like numbers and letters. You may need to stand and imagine what the object looks like flipped the other way or crop into a part of it to get the number you're looking for but with a little work with your imagination, you'll soon be on your way. Make sure you take a quick look at what's surrounding your subject as a busy background won't make the number jump out of the frame. Try using a large aperture to throw the background out of focus leaving all attention on your object.

 

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

That yellow warning icon in Lightroom isn't just a minor annoyance you can ignore. It's telling you something specific about the order in which your AI edits were applied, and clicking "update" without understanding what's happening can quietly change your image in ways you won't notice until it's too late. 

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A wonderful candid monochrome portrait, Two Old Boys from Daisymaye, is one that is well worth a closer look.

The image features two older gentlemen, both wearing caps and sunglasses, looking off into the distance in what feels like a quiet and natural moment between friends. The subject nearest to the camera is sharp and detailed, while his companion softens gently out of focus behind him, producing a fine sense of depth within the frame.

The monochrome treatment is a very fitting choice, removing all distraction and letting the mood, the detail, and the character of the scene come through with great clarity. It is a fine and thoughtful piece of candid 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 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!

Pinhole photography strips the camera down to almost nothing: a box, a hole, and light. Most pinhole cameras are exactly that simple, but the Mania, handcrafted by German woodworker and photographer Ralph Mann, is a modular wooden pinhole system that pushes what a camera without a lens can actually do. 

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