Photography News

 

During the summer, there are all sorts of agricultural events held all around the country and they are great occasions to capture some good images. There are the events themselves, the animals and the people to photograph. It is a great day out too. Usually, there are also plenty of stalls to browse around so there are chances to spend a few quid too.

 

1. Gear Choices

Your camera and a couple of lenses is a perfect outfit, ie pairing of a standard zoom and a telephoto zoom would be a very versatile combination. If you want to travel light, a camera and a superzoom are worth a thought. If you want to travel lighter still, take a zoom compact or one of the mirrorless style cameras.

 

2. Light Can Be Tricky

With luck, the sun will be shining but that can mean exposure and contrast problems. You might find that your camera slightly under and overexposes in contrasty light, so a few test shots to start with is a good idea. If, for example, you find that your camera consistently leans towards overexposure, set -0.3 EV, -0.7EV or even -1EV on your camera so get a more balanced exposure.

 

3. Try Capturing Images In RAW 

Shooting in RAW format is a good idea too, so if you do have exposure or contrast problems they can be controlled during the RAW workflow process. RAW conversion software allows you to adjust exposure, brightness and contrast very easily – and you can do it non-destructively.

 

4. Arrive In Plenty Of Time

For the events, you might have to find a spot early if you do not want to be shooting over people's heads. Often, there is plenty of room to find a decent viewpoint where you can get an unhindered view. Depending on the show, you might find displays of shire horses, carriage driving, dog agility and much more. The dog agility events are great fun to photograph, firstly because there is plenty of action but also there are brilliant candid moments of the owners to be photographed too. Just find yourself a good spot - close to the see-saw, weave poles or a fence - and just get ready for some frenetic action.
 

5. Messy Backgrounds Spoil Shots

Some events and participants are more photogenic than others, but one common problem you may experience is messy backgrounds and you may find avoiding them quite challenging. Stripey or white marquees, enclosures and fellow visitors can all spoil your shots so keep an eye on the background and use your feet and zoom lens to exclude as much clutter as possible. Using your telephoto lens at wide apertures for shallow depth-of-field is a technique to try to minimize bold subjects coming out too sharp.

 

6. Don't Forget Close-Ups And Detail

Concentrating on details within the scene is another photographic approach to consider. Close-ups of shire horses decked out on their finery can look excellent, just take care with exposure. Very dark horses can cause overexposure so appear lighter than they are, while light/white horses can cause underexposure and appear grey. Just use exposure compensation to ensure a good result.

 

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Gunshot punctures, from the series Guilty Grounds, 2023 © Steffi Reimers, courtesy Contour Gallery

 

Nikon is delighted to announce that the Photo London x Nikon Emerging Photographer Award has been awarded to Steffi Reimers. The announcement was made during a special ceremony which took place in the Nikon Gallery, Olympia, during Photo London 2026.

Steffi Reimers is a Dutch photographer whose work explores themes of transience, history, and loss — narratives that often remain hidden from view. Through long-term projects, she is establishing herself as one of the new voices in contemporary Dutch photography. Reimers’ series asks the question: What memory does a landscape hold when it witnesses a crime? In Guilty Grounds, Steffi Reimers investigates the landscapes of Calabria, Southern Italy, revealing  them as silent witnesses to the unsettling crimes and pervasive influence of the ‘Ndrangheta’.

Reimers’ work engages not only with landscape but also with forensic traces, employing specialised lighting to reveal subtle marks, textures, and traces left behind, echoes of human violence that the eye might otherwise miss. Through this forensic approach, the photographs capture hidden details: scars on the earth, remnants of past activities, and the silent testimony of spaces that have witnessed crimes.

Launched in 2015 during Photo London’s first edition, The Emerging Photographer Award was set up to nurture and champion the career development of up-and-coming artists, helping to elevate the profiles of new, young lens-based storytellers. 

Photographers who enter are shortlisted by the Photo London 2026 Curatorial committee, comprised of some of the field’s most esteemed curators, critics and museum directors. This year’s final shortlist included: Sebastián González, Edward Rollitt, Steffi Reimers, Sal Taylor Kydd, Baud Postma, Devin Oktar Yal, Akshay Mahajan and Ci Demi.

The winner will be awarded a Nikon Z camera and a choice of two NIKKOR Z lenses, with specialist training from Nikon School to help take advantage of the capabilities that Nikon’s Z range has to offer.

Lucy Brice, Head of Marketing for Nikon Northern Europe says: “We are thrilled to announce Steffi Reimers as this year’s Photo London x Nikon Emerging Photographer Award winner. Her forensic approach to landscape photography reveals stories that might otherwise remain unseen, highlighting the impact imagery can have on our understanding of the world. Championing emerging talent is central to Nikon’s mission: by equipping and training the next generation of visual storytellers, we hope to amplify bold new voices and help them push the boundaries of craft and conscience. Congratulations to Steffi and all of this year’s shortlisted artists on their remarkable work.”

Sophie Parker, Fair Director of Photo London says: “A huge congratulation to Steffi Reimers on winning the 2026 Photo London x Nikon Emerging Photographer Award. It is incredibly important to us at Photo London to champion the work of every artist, from those who are established household names to artists just starting their careers. Previous winners of the award have gone on to make outstanding contributions to photography, and the future looks no different for Steffi, we are very excited to witness the trajectory of her career.”

Find out more about the winners here.

The deficit of trust in ICM stems from an underdeveloped language of results. While we can describe how to move the camera, we lack the criteria to evaluate what has emerged. This final part addresses the legitimacy of formal photographic practice in a culture dominated by "image-as-statement" and examines why beauty, without a named visual task, is so easily reduced to a gimmick. 

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What photographing Jennifer Hermoso taught me about editorial photography, trust, and why magazine covers still matter.

Magazine covers still matter.

That may sound almost old-fashioned in a time dominated by feeds, algorithms, and endlessly scrolling images that disappear seconds after being seen. Yet the magazine cover remains a strange exception. It still carries weight, it still feels curated rather than accidental, and perhaps most importantly, it still says something about the image selected to represent an entire story.

 

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AI software for photographers is getting so good that it is both incredible and a little horrifying. Every few months, a new app claims it can save us time, but most of them still only handle one piece of the job. Aftershoot’s newest update feels different. 

This is no longer just an AI culling app. Aftershoot can now cull, edit, retouch, export, create client galleries, and even help sell prints, all without needing to jump into Lightroom, Capture One, Photoshop, or a separate gallery service.

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Almost every camera you have ever used works the same way out of the box: press the shutter button halfway to focus, press it all the way to take the photo. One button, two jobs. It is so intuitive that most photographers never question it. You half-press, the camera focuses, you press the rest of the way, the shutter fires. Simple. 

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Do you have problems defining yourself as a photographer? Do other people label you as a certain genre of photographer, but you feel that label is incorrect? If so, or even if you don't care about labels, this is a great video to make you think about what you shoot and why. 

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The Viltrox 90mm f/2.2 Evo is one of those lenses that shouldn't perform as well as it does at its price. At $369, it sits in territory where you'd normally make compromises on sharpness, autofocus, or build quality, and this lens largely refuses to do that. 

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Spurn Point is one of the most dynamic coastal locations in the UK, and right now it looks completely different from how it did just a few months ago. If you shoot long exposures on the Yorkshire coast, that change matters more than you might expect. 

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When the sun's out us Brits pack the car up with buckets, spades, the dog and family members and head to the beach. But as well as eating ice cream and playing the odd game of cricket or rounders take some time out to take a few beach photos. It doesn't even have to be a gloriously sunny day for photography either as waves crashing against the sea wall will look just as good as a family snap on the front.

  1. Gear Suggestions

You won't need a huge bag full of your fancy gear - you'll have enough to carry with all of the cool boxes and beach gear anyway! Your interchangeable lens camera and a zoom lens are fine or even a point-and-shoot camera will be enough if you're really lacking on space. Make space in your bag for a hotshoe flash for when the sun begins to set and if you're worried about saltwater or sand getting into your camera put it in waterproof housing or if you're using a point-and-shoot make it a waterproof one. Pack a blower to gently remove grains of sand that will land on your lens and have a microfibre cloth ready to wipe away sea spray.

 

2. Capturing Portraits

It's most likely that your number one subject at the beach will be your family but you don't always have to take shots of them grinning like Cheshire cats at you. Candids of them resting, playing in the sand, swimming or eating ice cream will work just as well, if not better than a posed, family portrait.

 

3. Lighting Tips 

Make sure you pay attention to where the sun is. It may work well for the sun to be behind you but this will only make your subject squint. Instead, move your subject into the shade of a brolly or have the sun behind them and use flash to fill in the shadows. Also, if you can, avoid taking photos at midday as the light's harsh and causes long shadows.

 

 

4. Check Your Backgrounds

Keep away from distracting backgrounds and make sure you take a good look around the viewfinder before you take your shot as the odd bit of rubbish, which can spoil a shot, is easy to miss when you're surrounded by so many interesting things. Make sure your subject fills the frame to stop attention going elsewhere and even though it may sound a little clichéd, silhouette shots of people do work well. Try using a telephoto lens to help you compose tightly and have your tripod to hand for those longer, evening exposures.

 

5. Don't Forget Your Basic Beach Shots 

As well as people shots try a sweeping shot of the sea and beach, stretching out for miles. Early morning or later in the evening after all the tourists have gone will give you an empty beach to work with. However, not everyone has kids who will get out of bed early so if the only shot you can take is full of brollies and windbreakers in the afternoon do it. A busy beach, particularly if there's not even standing room left, will always get a smile or you could try to clone them all out if you prefer a more natural shot.

 

6. Capturing Sunset Scenes 

Sunsets are, of course, a holiday snapshot favourite but as the sun's not setting until late on you may want to head off for some food then return to the beach later once your stomach's full.

If you do plan on photographing the sun as it sets DO NOT look at it through the camera lens and wait until it's very low in the sky and diffused by the haze caused by pollution or clouds. If the sun's your main focus, have it slightly off centre to make your final image more compositionally pleasing and don't forget that having foreground as well as background interest works well in sunset shots.

 

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

 

A wildlife photo of two gannets together has won our 'Photo of the Week' (POTW) accolade.

This image, titled "Gannets Bonding" by Debmercury, captures two gannets against a soft, blurred background, full of emotion and texture. The composition and timing come together really well to create a nice photo. It's a great example of wildlife photography that catches a real moment between two birds. Congratulations to Debmercury on this superb capture.

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! 

To see more of our POTW winners, visit the POTW Gallery.

Multiple exposure photography sits at an interesting intersection of technique and abstraction, and the way you execute it in-camera versus in post produces genuinely different results worth understanding before you commit to one approach. 

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The Sony a7R VI sits at just under $5,000, and it's aimed squarely at shooters who want maximum resolution without sacrificing speed. What makes this camera unusual is that it manages to close the gap between high-resolution and high-speed shooting in ways the Sony a7R V simply couldn't. 

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If you're jetting off to warmer shores this summer and want to capture a few shots out of your plane's window, here are a few tips to help you ensure your images are good enough for the start of your holiday photo collection. 

1. Don't Get Carried Away With Kit 

Do be considerate of those sitting next to you which means you can't empty all of your kit into your lap from your bag. Turn beeps and other noises off as these will just annoy those around you and don't take photos during takeoff, landing or when electronic equipment isn't allowed to be used. Most smartphones have decent cameras on them now and these are slightly more discreet than a DSLR but do remember to activate airplane mode before takeoff if you do plan on using your phone's camera. 
 

2. Choose Your Seat

The majority of airlines now let you pick your seat so if you really do want to take top shots from your seat, think about your selection carefully as not all seats will give you a clear view. Of course, you'll need to make sure you have a window seat as a stranger won't appreciate you leaning over them. Towards the front or back of the plane will give you the best view but do remember you do get the odd seat that only has half a window as it's in between two seats. Try to avoid sitting directly over the wing too as all you'll be able to take photos of is the wing. Once on board, if you can't position yourself so the window frame isn't in shot, take your photo anyway and just crop it out once you're in front of your computer.
 

3. Be Aware Of Camera Shake & Reflections 

When at zoos, museums or other locations where glass can mean reflections spoil your shots you'd normally put your lens against the glass to prevent this but on a plane, this will just result in shake, caused by the plane's engines, to spoil your shots. Instead, use a lens hood and get as close to the glass as possible without touching it or cup your hand around the lens to shield it. You'll also want to avoid using flash and turn off your overhead light if it's on to minimise the amount of reflection you see on the pane. 

 

 

4. Use Manual Focus

Some windows will be badly scratched which can make focusing tricky. Switching to manual focus can help but sometimes they'll be so badly scratched that anything you take will be slightly fuzzy but you won't know this until you sit in your seat. If you're using a compact, to stop it focusing on the window, set it to infinity focus or switch on the Landscape mode.
 

5. Wait For The Right Angle

Due to the small window and the angle, you'll be sat at it can be tricky to take photos of the ground but if you have your camera ready for when the plane banks you'll be given the perfect opportunity to capture ground shots. 

 

 

6. What To Photograph

Try not to get carried away taking the same shots over and over again, instead look for interesting cloud formations, patterns created by fields, roads etc., sunsets and other planes. The wing, especially if you have a brilliant blue sky behind it, can make an interesting shot, too. 
 

7. Take Your Shots Early In The Flight

If possible, shoot earlier rather than later as condensation and ice tend to build up on plane windows the longer it is in the air. If there's something you want to capture that's closer to your destination consider shooting it on the return journey rather than shooting through a window with condensation. 
 

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

  Natural light is often the only light available to us when we are out shooting. But far from being an untameable beast, there are several ways that you can control it to achieve your desired photo.   1. Pay Attention To How It 'Looks'

A scene can look very different depending on what time of day you're looking at it. For this reason, when possible, it's worth visiting a location at various points a day or so before you want to take your photos as this will give you the opportunity to judge when it looks at its best. Of course, this isn't always possible but a little research on the internet may uncover some information on your chosen location you can use to your advantage.

Don't always think you have to shoot in the 'golden hours' either as you some subjects, such as close-up work for creating textures, look better when photographed at other points during the day. Having said that, early morning or late sun can transform a scene which appears flat and not very inspiring during the middle of the day. 
 

2. Light Direction

By changing your shooting position or moving your subject (if possible) you can alter the direction the light falls. The relationship between the direction of light and your subject is important as it can change your image from a good shot to a great one. Think about light direction when setting up and decide if front, side or backlight is perfect for the scene. Side lighting often produces the best highlights and shadows which is key for giving shots a dimensional feel. 

 

 

3. Reflect Light

Reflectors come in many shapes, sizes and colours. Predominantly though they are white, silver or gold and each type of colour will reflect light slightly differently. White reflectors are a safe bet but if you want a brighter light, use a silver reflector, while gold ones produce a warmer light. 

Why do you need to use a reflector? Well, it's a simple and reasonably inexpensive way to bounce light where it's needed. Try not to hold the reflector too low and remember that light will bounce back off a reflector at the same angle it hit it at. Also, the closer the reflector is to your subject, the stronger the light reflecting off it will be. 
 

4. Diffuse Light 

When working indoors with window light, curtains can be used as barn doors or flags to control the 'spill' of the light and a net or something similar can be used to diffuse and soften the light.  

If you're working outdoors ask your subject to move into a shaded area where the light will be more even and as a result, your portrait will be more flattering. 

 

 

 

5. Post Processing

Even though we strive to get everything right in camera, often shots need a slight tweak during post-production to balance the tonal range. We know this isn't about working with natural light when out in the field but it's about making the natural light balance correctly throughout the image. 
 

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

Somewhere in a closet or on a shelf, many photographers have a camera they love holding. Not because it has the best sensor or the fastest autofocus or the most impressive spec sheet, but because it feels right in the hand and looks right hanging from the neck. The texture of the grip. The color of the body. The glint off a machined aluminum dial when you tilt the camera in your hand. These are not specifications. They are qualities, and they affect how often the camera leaves the house, which is the only variable that determines how many photographs get made. 

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There was a time when I believed being prepared for landscape photography meant carrying as much gear as possible. 

If I was heading out for a sunrise shoot, I packed for every scenario I could imagine: multiple lenses, several filters, spare accessories, extra batteries, cleaning kits, backup bodies, heavy tripods, and anything else that might possibly become useful. I convinced myself it made sense because I did not want to miss an opportunity simply because I had left something behind.

In reality, all I was doing was making photography harder than it needed to be.

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"There's no way the scene looked like that when you took the picture. Show us the raw file." Have you ever had questions like these asked of you when sharing your work online? 

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It doesn't matter if you are a hobbyist or a professional photographer; everyone needs to reset and remind themselves of some simple truths of the genre from time to time. This video offers excellent advice that every photographer should consider whenever they pick up a camera. 

 

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Picking the right weather-sealed camera for wildlife shooting in genuinely rough conditions is harder than it sounds, and most reviews don't test gear the way it actually gets used. Todd DeWald took the OM System OM-5 Mark II out for its first field session in 45-degree, rainy, wind-blown grassland conditions to find out exactly what this camera can handle before committing to a full month of testing. 

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