Photography News

Taking only one camera into winter hills sounds simple until the camera is a plastic Holga with one shutter speed and one aperture. If you shoot film and still want usable negatives when the light swings from predawn to harsh midday, this setup forces decisions you normally avoid.

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The Viltrox AF 56mm f/1.2 Pro just landed in Nikon Z mount, and it is aimed straight at that classic portrait look on APS-C. If you shoot people on Nikon DX and you want strong separation without jumping to larger, pricier full frame glass, this lens sits right on the pressure point.

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When creatively playing with focus, having out of focus areas that are the main focal point rather than having a sharp, in focus point of interest can add more intrigue and interest to a shot. You can also use out of focus foregrounds as frames, to guide the eye through the shot or throw sharpness entirely out of the window and create something much more abstract with your out of focus shots. But to do this you first have to know how you can control it then execute it in a way that doesn't make it look like something you did by mistake. 
 

How Do I Control What's In Focus? The easiest way is with aperture priority as you can change the size of the aperture to bring more or less into focus. If your camera struggles to focus where you want it to in auto-focus, use focus lock to get the image you want rather than taking a photo the camera thinks is right.

The elements can help you make more creative shots too as fog / mist can help soften scenes as long range images gradually lose contrast and far objects will disappear or appear as silhouettes. You can also try shooting through things. With a wide enough aperture and a close shooting distance they will add an extra level of out of focus interest to your shot.
  Portraits We are always told that sharp portraits with backgrounds thrown out of focus are what work but there are times when a little blur can go a long way. It can work well when you're trying to create the feel of a candid, reportage style shot rather than something that's posed and set up. It can also add a little romanticism and mystery to a shot. Indoors, making your subject a little less sharp can work in the studio too as Rossella Vanon explains: "I personally love shooting portraits by using a very big aperture and blurring the whole background and part of the subject too. It gives a very simple, creative twist to the picture and I would definitely recommend it."
  Same Shot Different Message A simple change in focus will not only change the main focal point of your shot but can change the message too. The two shots here are of the same two people but the first you're left wondering what the women in the foreground is looking at and thinking while the second shot is all about the subject in the background of the shot. 




Out On The Town Blurry backgrounds shouldn't be forgotten altogether but instead of throwing something that's usually seen as secondary out of focus, step further back from what you're photographing and throw the, what others would consider to be the main point of interest, out of focus. This can work well with landmarks, particularly in cities where you can use tourists taking photos of the landmark or even artists as your main point of focus. Do remember you need the right angle and interesting, contrasting elements for this to work successfully, though.

On rainy days, shoot through windows that have water running down them, blurring what's on the outside or use the ripples of a puddle to shoot a more abstract shot of city lights at night.
  Foreground Frames Frames are a great tool for guiding the eye to what's important in the shot but they don't always have to be obvious, frame – like objects such as windows for the shot to work. Some out of focus foreground detail such as foliage, grass, branches or even fabrics and plastic will add another level of interest as well as act as a guide for the eye to your subject. Make sure you're close to your foreground detail and use a wide enough aperture to throw it out of focus otherwise it won't blur and will pull attention away from your main subject. Auto focus may want to focus on what's in the foreground rather than the background so switch to manual if this happens.
  All Blurry If you're trying to create an abstract shot where everything is soft, you need a subject that's colourful and has interesting shapes and lines otherwise your shot won't have the impact you first intended it to have.
  Zoom, Zoom, Zoom This technique is more about having an image that's not sharp rather than focusing but still, it gives you an interesting result that shows sharp isn't always best. To get it right you need to set the zoom to either the short or long end of the focal length range, open the shutter, wait for a while then in one, smooth, quite quick movement, zoom out. By pausing at the start your subject will have a little definition before the blur kicks in. Fit a neutral density filter or a polarising filter if you can't get a slow enough shutter speed and meter from your main focus point. Make sure you have a low ISO set and switch to a small aperture to get the slower shutter speed that's needed.

   

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

ePHOTOzine is happy to announce the winners of the 2025 Christmas Prize Draw giveaway!

 

Congratulations to all the winners, and thank you again to our kind sponsors.

 

Here are the winners!

 

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David Lees (Dlees78)

 

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1. Gary Macleod (Gary_Macleod)
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Not A Lucky Winner This Time?

Upload a photo to win our 'Photo of the Week' accolade that's up for grabs weekly! Each winner of the ‘Photo of the Week’ in 2026 wins a 128GB PRO Plus microSDXC memory card with SD adapter from Samsung. We also have our for-fun Daily Theme Challenge, so join in and upload your favourite themed photos.

Mobile phone cameras are now capable of producing shots which even the most critical photographer will say are decent and well worth displaying in portfolios. Modern smartphones have had a major impact on the photography market as a lot are now capable of producing images just as good, or even better, than basic compact cameras. If a compact is all you wanted to use for your travels, why not upgrade your smartphone and have one less item to pack? 

When you couple this improved technology with the hundreds of apps that are available which are designed to help you be more creative and take better photos, it's easy to see why there's a growing admiration for this form of photography.

As most people now carry a smartphone that has a camera built in we thought we'd put a list of ten tips together to help you improve your shots taken with cameras built into mobile phones, for those situations when you want a good shot and all you happen to have is your phone. 

 

 

Think Of It As A Camera

Holding your phone in one hand and trying to press the shutter button will only result in blurry, wonky shots. Holding your phone with two hands quite close to your body will mean your phone is much more stable and as a result, your images will be better. A lot of modern smartphones now have dedicated shutter buttons to help you capture photos easily, and some even have the ability to take a photo from a squeeze of the sides, like the HTC U11. 

 

Stay Still

Having your arms tucked close to your sides and standing as still as possible will stop any blur caused by movement from spoiling your shot. Don't move your phone away as soon as you've clicked your shutter button either as shutter lag can mean your camera's still processing the shot so you'll end up with a blurry photo of another part of the scene rather than the person or object you want a photo of. Phones like the Samsung Galaxy S9 have OIS built-in, to help combat this too. 

 

Use Accessories

Many companies are now producing lenses and supports for iPhones and other mobile phones which can help enhance and improve your mobile phone photos. One example is the USB Fever Super 20x Macro Lens which offers a magnification of 20x. You can find out how the lens performs in our review. Lensbaby also make a kit which uses magnets to let you interchange various creative lenses.

 

 

 

Zoom With Your Feet

If your camera phone doesn't have an optical zoom use your feet to move you closer to your subject rather than using the digital zoom which can lower the quality of the shot.

 

Light

You'll be relying on natural light most of the time so get outside, when possible, and set up near windows or patio doors when working inside. If you need to turn a few lights on, do watch the colour cast they create. You can tweak the white balance on some phones or there are apps available which you can do this with too. Some also give you exposure compensation options so you can brighten or darken your shot. It's worth checking your settings, which we'll cover next, to find out exactly what your phone's camera can and can't do. Most modern phones pride themselves on having good low light capabilities, many of which use apertures of f/2 or wider to maximise light entering the lens.

Be careful where you position yourself when shooting outdoors as shooting in the direction of the sun can result in flare, although some people like the effect and it can actually work quite well with some shots. As well as having too much light in your shot too little can result in grainy shots where not much detail can be seen.

 

Check Your Settings

Go into your camera's settings and make sure that you camera is primed for the shot. Are there different scene modes to choose from? Experiment to find the right one. A lot of mobiles offer 'pro' or 'advanced' modes, allowing you to change the ISO and shutter speed, white balance etc manually, and experienced photographers will find this useful to personalise images. You may also find there are various shooting modes on offer as well as presets such as night, panorama and portrait mode all designed to help you take the best shot possible.

 

The Lens

It's quite easy to take a shot where a finger or thumb is covering the lens so watch where you position your hands. As phones are put in pockets and carried around in bags they get dusty easily and due to us handling them a lot they get covered in greasy fingerprints quite quickly too so make sure you keep your lens clean and check it before you take any shots.

 

 

Try Different Angles

Working with a phone generally gives you more flexibility than a camera that's on a tripod so make the most of this freedom by varying your shooting angle and trying new shots. People don't always know you're taking a picture when you're holding your phone either, making them good for quick street candids. This doesn't mean you can take photos in places that say you can't though, you still have to obey the rules.

 

Don't Forget About Post Production

Using a phone to take photos with isn't an excuse for not correcting wonky horizons or adjusting the brightness levels in a shot. You can edit your photos with apps on your phone but the screen is a little small so don't overlook transferring them to your computer so you can edit on a larger screen.

 

Experiment With Apps

There's no excuse for not experimenting with your phone photography as the many apps that are available mean you can colour pop photos, add frames, create film effects... the list goes on. There's also apps out there that offer you shooting advice in the palm of your hand so if you want to brush up on your wedding photography while out and about, for example, you can. Some apps you have to pay for but there's also many free apps available which are just as good. Take a look at our review section to see what apps we've liked the most.

 

There’s a lot of talk about the Hasselblad XPan, usually centered around the price and the mystique behind that panoramic format. The camera has earned its reputation, and the images it produces have a distinct character. But when you look closely at what makes XPan photographs stand out, it becomes clear that the look is not locked behind a rare film camera. The biggest element of the XPan aesthetic is the aspect ratio. However, it is something that any digital camera can replicate with careful planning in the field and some straightforward work in post. I set myself an experiment.

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Lightroom Classic can make a winter scene look clean and accurate, but that is not always the look you want. If your snow scenes keep feeling bland or strangely “digital,” this edit shows how to use white balance and local control to push mood without wrecking the file.

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We all want our photos to pop. That desire drives us to experiment with sliders, presets, and AI tools that promise to transform our images into something extraordinary. But there is a fine line between "enhanced" and "radioactive," and most of us have crossed it without even realizing it. Your desire to make a better image is not the culprit. The problem is that when you push too hard, the image loses its anchor in reality, and the viewer stops looking at the subject and starts looking at the editing itself.

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A lens like the NIKKOR Z 24-70mm f/2.8 S II tends to become the default choice when you need one zoom that can handle tight streets, indoor light, and quick portraits without swapping glass. If you shoot travel, events, or hybrid photo and video, the real question is not whether this range works, but whether this specific version earns its weight and cost in your bag.

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Cheap 85mm lenses can look like an easy win until you start noticing the tradeoffs: size, focus behavior, background rendering, and how hard you have to work in post. If you shoot portraits on Sony E mount, this comparison matters because small differences at 85mm show up fast in faces, hair, and specular highlights.

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The Canon EOS C50 sits in a tricky space: small enough to rig like a compact cinema body, but spec’d like it expects real jobs. If you shoot paid video, wildlife, or talking-head work, the C50’s mix of open gate, internal raw, and practical I/O can change what you carry and what you skip.

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Photos by Joshua Waller

 

1. Use A Longer Lens

When shooting portraits a standard zoom is fine but a longer lens will give you more flattering shots and a tripod can be useful if you're using a slower shutter speed due to the amount of light available. Before picking up the flashgun, reach for a reflector to bounce some extra light into your shot and if it's too bright try hanging netting on the window but stay away from colour as you'll get a cast on your image.

 

2. Cloudy Days Are Good

Cloudy days, which we seem to have a lot of at the moment, are perfect for portraits as the light's diffused and if you have a spot or window if you're working indoors that's not in the direct path of the sun even better. Before you start, make sure you clean your window, though, as a dirty one can be a full f/stop darker and turn your house lights off.

3. Use A Reflector 

If you find that the sun is causing shadows to appear under the nose and/or chin of your model use a reflector to add light to the areas in shadow or if you're indoors, move them more into the room, away from the window.

 

Photo by Joshua Waller

  4. Get Your Metering Right

Don't meter from your window when shooting at home as this will have the same effect as snow has on your camera – it will think the scene is brighter than it actually is and your model will, therefore, be underexposed. However, by simply metering from your model's face you'll have no problems. To give your shot more warmth try the cloud or shade white balance settings.
 

5. It's All In The Eyes

The eyes need to be sharp and the front of their face needs to be in the light to draw attention to it. Asking your model to simply tilt their head slightly will bring more/less of their face into the light. You can also move your camera around the scene to find a suitable position to shoot from.
 

6. Create An Angle 

Try sitting your model 45-degrees to the direction the light is coming from or how about shooting side on? For more interesting shots try only lighting half of them or have a go at creating shapes from their silhouette.

   

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

 

The countdown has begun for the 2026 London Photo Trade Show, taking place from 15–17 January 2026 at the Novotel London West, Hammersmith. This year’s event promises to be bigger and better than ever, with the highly anticipated Live Stage showcasing some of the UK's most talented and innovative photographers.
 

From live demonstrations to insightful presentations, the Live Stage will feature a diverse range of sessions designed to inspire, educate, and equip photographers with the tools and techniques they need to excel in 2026. Whether you're a budding photographer or an established pro, the Live Stage offers a golden opportunity to learn from the best in the industry.

Live Stage Highlights:

Thursday 15 January 2026:

• 10:30 – Terry Donnelly – Wildlife Photography with the Sony Alpha Cameras
• 11:30 – Fabrizia Costa – Eyewitness: Saving Human Memory Before It’s Too Late
• 12:30 – Gavin Maxwell – GFX Challenge Grant Award Project – ‘If The Land Could Speak’
• 13:30 – Canon EOS R6 Mark III – Unleash Your Passion
• 14:30 – Angela Jackson – What is Intellectual Property (IP)?
• 15:30 – Brendan Taylor – How to Fix 2026

 

Friday 16 January 2026:

• 10:30 – Terry Donnelly – Portrait Photography with the Sony A7v
• 11:30 – Ian Martindale – Turning Enquiries into Paid Clients
• 12:30 – Gavin Maxwell – GFX Challenge Grant Award Project – ‘If The Land Could Speak’
• 13:30 – EOS R5 Mark II & R6 Mark III: Benefits of Upgrading
• 14:30 – Angela Jackson – What is Intellectual Property (IP)?
• 15:30 – Brendan Taylor – How to Fix 2026

 

Saturday 17 January 2026:

• 10:30 – Terry Donnelly – Sports Photography with the Sony Alpha Cameras
• 11:30 – Ian Martindale – Turning Enquiries into Paid Clients
• 12:30 – Rebecca Douglas – Exploring Liminal Spaces with Minimalist Kit
• 13:30 – EOS R5 Mark II & R6 Mark III: Autofocus Essentials
• 14:30 – Angela Jackson – What is Intellectual Property (IP)?
• 15:30 – Brendan Taylor – How to Fix 2026

 

  Free Entry Offer!

Photographers and creatives who pre-register before 1 January 2026 can skip the £10 entry fee and gain free access to the Live Stage sessions. However, space is limited, so early registration is encouraged to secure a spot.

 

The Live Stage Speakers for the 2026 event have been generously supplied by our sponsors, ensuring attendees have access to the latest tips, techniques, and gear that will shape the photography landscape in the coming year.
 

About the London Photo Trade Show 2026

The London Photo Trade Show is one of the UK's premier events for photographers, providing a unique platform for industry professionals to discover new technologies, connect with leading brands, and enhance their skills through hands-on demonstrations and expert-led sessions. The 2026 event is set to be an unmissable gathering for anyone in the photography industry.

Register for FREE tickets now!

If you spend any time in film forums, you’ll see a familiar pattern: someone buys an Epson V600, scans a roll they’re really excited about, and immediately decides the scanner is trash.

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Most flash photos fail because the background and the subject are fighting each other. This video shows how a few deliberate camera choices decide which one wins before the flash even fires.

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Skylum, the creator behind the award-winning AI photo editor Luminar Neo, has introduced a new feature called AI Assistant that makes photo editing fast, smarter and more intuitive. Released in December 2025 as part of the Luminar Neo update, photographers can now use the AI Assistant to type simple text commands and get tailored editing suggestions to enhance their photos and speed up their workflow.

 

Edit Smarter Through Text Commands

Available in both Presets and Edit tabs, the AI Assistant works by analysing your image’s composition, colours, and objects, then recommends edits that fit the image. Photographers can type requests or prompts such as “Enhance this photo” or “Turn this photo black and white” to instantly see up to three suggested edits, each with previews and short descriptions. 

Once a suggestion is applied, you can fine-tune the results in the Edit tab. This cuts down on guesswork and gives you a clear starting point. The best part? You're never limited. You can keep asking for fresh suggestions as many times as you like, experimenting until you find the look that feels just right.

 

Explore Tools With Guided Assistance

The AI Assistant is not only about quick fixes. For guidance-type queries, the AI Assistant highlights the most effective tools and provides direct access to them. This makes it easier to explore Luminar Neo’s features while you’re actively editing, helping you learn the software step by step without interrupting your workflow.

 

 

Enhance and Create With AI Suggestions

AI Assistant can suggest general enhancements, help boost colours, adjust white balance, and apply toning styles directly to your photo. It also provides guidance for edits like brightening, adjusting contrast, dehazing, or using tools for creative effects such as sky replacement, adding a sunset, perspective fixes and background replacement. These suggestions help you choose the right tools and approach for each image, whether you want subtle improvements or bold transformations.

 

Integrated With Luminar Neo’s Features

AI Assistant works seamlessly with Luminar Neo’s existing tools such as Relight AI, Sky Replacement and Portrait Background Removal. This integration means you can combine automated suggestions with advanced manual controls, creating a complete editing workflow inside one platform.

 

Try Luminar Neo and AI Assistant Today

Luminar Neo’s AI Assistant is available now for all users with version 1.26.0 or later. Download the software to streamline your workflow and enjoy faster, smarter editing.

Special Offer: Use code EPHOTOZINE at checkout for 10% off and explore the entire range of Luminar Neo features today.

Get Luminar Neo Now

 

The camera industry enters 2026 at a crossroads. Several long-awaited successors are finally approaching their expected release windows, while other cameras we have been hoping for may never arrive at all. Here's what you can expect.

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London Camera Exchange has announced that entries for its Photographer of the Year 2026 competition will close on 21 January 2026. Now in its third year, the contest offers a £10,000 prize fund across 14 categories, including the popular Emerging Talent section, and welcomes submissions from photographers of all levels.

All entries will appear in the official online gallery, with the public able to vote in the People’s Choice category, while other sections are judged by a panel of industry experts. Shortlisted work will be showcased at The Photography & Video Show at the NEC in Birmingham this March, where winners will receive trophies and prizes including £2,500 in LCE vouchers for the overall champion.

 

From London Camera Exchange

The deadline for the 2026 LCE Photographer of the Year competition is fast approaching. Now in its third year, the national photography contest will close at midnight on 21 January. Photographers of all levels of experience are welcome to submit their work, with 14 varied categories to choose from, and a substantial total prize fund of £10,000.

Every entry will be featured in the LCE POTY 2026 online gallery, and will be open to public voting in the ‘People’s Choice’ category. All other categories are judged by an expert panel.

Last year’s ‘Emerging Talent’ student category was won by Martina Aguirre Torres, with her stunning image entitled ‘Abigail’ (above), shot during British indie rock band The Last Dinner Party’s 2024 tour. Two £500 prizes are granted in this category – one to the photography student and one to their photography course – providing resources to support the growth of up-and-coming photographers in the future.

Judges for the 2026 contest include SheClicks founder and journalist Angela Nicholson, Chris George, content director at Future Publishing, professional portrait and travel documentary photographer Jimmy Cheng, and Lee Harasyn, managing director of LCE. Some helpful advice from the judging panel for potential entrants to this year’s competition can be found below:

 

 

Angela Nicholson commented, “As a judge, I’m drawn to images that reflect the photographer’s interpretation of a scene and their connection with the subject. I’m looking for a creative vision, thoughtful use of light, technique and composition, and photographs that feel personal, expressive and intentional.”

 

 

Jimmy Cheng remarked, “Aside from technical brilliance, I will be looking for images that express emotions and creative presentation.”

 

 

Chris George added, "It was winning a photo competition that spurred my interest in photography and then taking it up as a career, so I love the chance to judge contests myself. I am always on the lookout for a shot I haven't seen before – or an image taken way better than similar ones I have seen in the past.”

 

 

Lee Harasyn said, “I’m naturally drawn to great technique, but sometimes a photographer can capture an image so powerful that this becomes irrelevant. The best photos connect with the viewer – and that’s what I’m hoping to find.”

Winners will receive a share of the £10,000 prize pot and an impressive trophy, presented at The Photography & Video Show at the NEC in Birmingham (March 2026). The overall winner will be awarded £2,500 in LCE vouchers to spend on products of their choice. All shortlisted images will be displayed in a prominent exhibition space at the NEC and included in a special edition commemorative book.

LCE POTY 2026 is supported by leading photo industry brands including headline sponsors Canon, Fujifilm and OM System, as well as partners Lexar, Nikon and Sony, and affiliates Cewe and Sigma.

The competition is open to photographers aged 18 and over. Entries will be accepted from photographers worldwide, however, prizes will only be awarded to UK residents. 

 

LCE Photographer of the Year 2026 categories:

• Action
• After Dark
• Birds
• Creative
• Emerging Talent
• Events
• Landscape
• Macro
• People’s Choice
• Pets
• Portrait
• Street
• Travel
• Wildlife

 

Entries can be submitted online or in person at any of the 26 London Camera Exchange stores.

For full details, including terms, conditions, rules and FAQs, please visit the competition website.

 

 

Photo by Joshua Waller 

 

1. Shooting outside

When you're taking outdoor portraits in sunlight the results can be a little harsh with dark heavy shadows spoiling the image. As a result, a blip of fill-in flash is needed to balance the image. Many cameras when the integral flash is used have a fill in flash mode which forces the flash to fire. Adding a little flash can flatter your model's skin, remove deep shadows that can appear in places on the face such as under the nose and it will give your model catchlights in their eyes which is a big bonus. It's also useful on overcast days as it can breath life into dull portraits. You can also use a 'pop' of flash to highlight foreground interest in landscape shots.

 

2. Shooting into the sun

When shooting into the sun when your subject would usually be silhouetted, by exposing for the scene as normal then adding a pop of flash you'll lighten your subject without affecting the background. When exposing for the scene you need to find the right balance between the shutter speed, which you need to set so it adds enough ambient light, and the size of the aperture which you use to expose for the flash. You have to do it this way round as every time you fire the flash there will be the same amount of light so speeding up or slowing down the shutter speed won't make a difference.

Remember, though, that you cannot set a shutter speed faster than the camera's flash sync speed or the picture will be unevenly exposed. There are some camera/flashgun combinations that will sync at every shutter speed but these are usually top-end models. Check your instruction manual if you are unsure what is the correct flash sync speed.

 

Photo by Joshua Waller 

 

3. Should I use external flash?

Your camera's built-in flash can work fine for fill-in but you can do more using a separate flash used off-camera. Models are available from your camera brand as well as independent names. By using off-camera flash you can move it around the scene to help evenly light your shot. Off-camera flash used in dark conditions also has the advantage of avoiding red-eye. If needs be you can change the strength of your flash with flash exposure compensation if you're using the camera's built-in flash or one on your hot-shoe.

To maintain full flash automation when the flashgun is used off-camera you will need a dedicated cord, although some camera/flashgun combination offer wireless flash metering control. Wireless control can work fine but can struggle in bright daylight so you need to check how your DSLR performs before doing an important shoot.

Do be careful when using fill flash as it can make your portrait shots look a little artificial. Set a minus value on the flash exposure compensation control or turn down the output of the flashgun. It's important to remember that less is more and use fill flash to subtly lift your portraits.  

Ready to level up your photography in 2026? The year’s most significant creative jumpstart is happening at PPA’s Imaging USA, and you don’t want to miss it.

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