Photography News

If you're thinking of trying something new or making the most out of your Pentax 645N, a film photographer's medium format experiment may inspire you. 

[Read More]

[COMMENT_IMG]portfolio|324638|3914099[/COMMENT_IMG]

 

The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to CathTay (Day 24 - 'Balance').

 

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 22

Twilight Photography

[COMMENT_IMG]portfolio|202577|3454186[/COMMENT_IMG]

 

Day 23

Grey Weather Days

[COMMENT_IMG]portfolio|191758|3892592[/COMMENT_IMG]

 

Day 25

Creative Lighting

[COMMENT_IMG]portfolio|349762|3914207[/COMMENT_IMG]

  Day 26

Family Photos

[COMMENT_IMG]portfolio|51734|2135400[/COMMENT_IMG]

 

Day 27

Building Detail

[COMMENT_IMG]direct|345095|345095_1772190805.jpg[/COMMENT_IMG]

 

Day 28

Snowdrops

[COMMENT_IMG]direct|348899|348899_1772360231.jpg[/COMMENT_IMG]

 

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.

 

 

1. Something New

If you're usually someone who only shoots one style of photography, having a go at a new genre can not only be fun but educational. It can also fuel you with inspiration, giving you new ideas to have a go at. As you're photographing yourself there's no pressure to get it right first time either as there's no one else to please but yourself.

2. Something For A Rainy Day

Walking around in the rain, shooting landscapes isn't fun so instead of getting wet, set up your gear at home and have a go at shooting self-portraits. You never know, you may find you enjoy it enough to take your gear outside, once the rain has stopped, to shoot some self-portraiture outdoors.
 

3. In Your Own Time

As you're not working with anyone else, you can shoot your photos when and where you want. It also means you can play around with the set-up as much as you like without having to worry about your model getting bored. You don't have to worry about time ticking away either which is something you have to consider when working with a model as they could have another shoot to get to.

 

 

4. Experiment

As you don't have a model to direct you can experiment with different poses and expressions much more easily as you won't have to spend time trying to explain the idea you have in your head to someone else. Don't' forget you can experiment with props, too.

 

5. The Challenge

Working behind as well as in front of the camera comes with its own set of challenges, however learning how to overcome problems and perfecting set-ups to help improve your technique can be fun, plus you're learning and expanding your knowledge in the process. 

Some of the questions you may ask include the following: do you want to use a tripod? How are you going to fire the shutter if using a DSLR? Will you need a remote release or do you can have a camera which can be controlled remotely via a smartphone or tablet (although, if you're capturing your images with a smartphone, this won't be so much of an issue)? Are you going to shoot one shot at a time or make the most of a continuous shooting mode? 

Take a look at our technique section for answers to these questions and more. 
 

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

The narrative around third-party lenses has flipped completely in the last five years. What used to be a compromise, trading optical quality and autofocus reliability for a lower price, has become something closer to the default recommendation for most photographers. Sigma's Art line routinely matches or exceeds first-party optical performance. Tamron is planning ten new lenses this year across four mounts. Viltrox just joined the L-Mount Alliance as a full partner.

[Read More]

Ever wondered why some professional portraits look effortlessly lit using natural light while others struggle with harsh shadows and flat tones? In this article, with the help of a video, we explore how mastering the simple positioning of your subject can transform ordinary sunlight into a high-end, studio-quality look without a single piece of extra gear. 

[Read More]

 

The national flower of Wales is the Daffodil and as it's St David's day today, where the flower is traditionally worn, we thought it was quite appropriate to kick-off March with a few tips on photographing this Welsh emblem. 

[HOOK]position_1[/HOOK]

1. Focus On One Flower 

Have a look at a clump of daffodils and single out the most interesting heads that can be photographed without too much clutter.

 

2. Plain Backgrounds 

In situations where there are no options to shoot the daffodil without a distracting background, place a piece of card behind the head to remove all the clutter. If you do have a clutter-free dark background in your garden, such as a conifer, you may need to underexpose by one stop using the camera's exposure compensation feature to ensure detail is picked up in the flower's petals. You could also use manual mode if your camera has that option.

 

3. Side-On Shots 

The most obvious way to shoot a single head is from overhead but if you position your camera so you can still see the front of the flower but you're positioned slightly to the side, almost as if you were shooting a portrait, you'll produce a more interesting result.

 

4. Blue Sky Backgrounds 

Try shooting upwards so you can position the head with blue sky behind it for dramatic contrast. Using a polariser will deepen the blue. Alternatively, as a member has previously suggested, use a mirror and photograph the reflection so you can include the sky without having to get low to the ground. 

 

 

5. Get Close-Up

Don't just shoot the whole head, go really close and offset the stamen, placing it in on the left or right third intersection of the photo for a more pleasing balance. Your camera's macro function will help you get closer to the flowerhead or fit a macro lens if your camera uses interchangeable lenses.

 

6. All The Flowers 

If you have a large patch in your garden that's a blanket of yellow get out your wide-angle lens which will still let you get in close but with the added bonus of excellent depth-of-field. The flowers will appear smaller but the convergence will make them look like they're reaching out towards the edge of the frame.

 

7. Remove Shadows 

If it's sunny, consider shading the flower with your hand to reduce the contrast. The overall tone will be more even and longer shadows which can appear on the flower's head will be removed.

 

 

8. Small Apertures 

Focus can be a little tricky so use the smallest aperture you can to stop blur creeping into your image.

 

9. Arty Blur 

Alternatively, use a wider aperture so the back petals fall gradually out of focus, focusing on the tip of the petal nearest to your lens. 

 

10. Giant Softbox

Don't see cloud cover as a bad thing as a light covering of cloud will act as a giant softbox. 

 

 

 

11. Wind Is Not Your Friend

As well as creating backgrounds, a card can be used to shield your subject from the wind. If you have one, you can use a plamp to steady a flower. 

 

12. Water Droplets 

Spray the petals with water so that droplets appear making the petals look fresh and glowing. It'll also add another level of interest to your shot. 

 

13. Use A Reflector

Take a reflector out with you, particularly on dull days, so you can bounce extra light into your shot without having to use your flash. You can make your own reflector from silver foil if you don't own one.

 

14. Cuttings Inside

Take a cutting and place it on a different background for a more graphic result. 

 

 

15. Shoot From Under The Flower Head

Capture your shots from under the flower head, turning it into a strong silhouetted shape against a bright sky.  If you don't want it to appear as a silhouette use exposure compensation and expose one stopover what your camera considers to be correct to give your shots a creative twist without removing detail. 

 

16. Backlit Fun With Old Flowers

Don't throw out old flowers once they wilt. Wait until the head has gone crisp and photograph that against the sun to create backlit effects.

 

17. Creative Effects 

Play around with your shots to achieve various creative effects. This can be done in-camera via Art Filters or during post-production. 

 

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

- Partner Content - 

Lighten your load and go for a smaller format camera for travel. The Fujifilm X-T4 and OM System OM-5 Mark II are two very capable cameras and are available used for under £1000 from MPB.

 

Travel manifests itself in so many different forms, from a city break a few hours drive from home to safaris, adventure holidays and photo tours of exotic far flung lands. Such destination diversity means there’s no such thing as the perfect travel camera outfit because every trip and the photo opportunities they offer will be different. 

You have a good camera phone, but a decent camera gives a better, all-round user experience. So, our first stop is to consider compacts. If you want a truly pocketable, high-class machine, you could do worse than check out the APS-C format Ricoh GR series. The very latest model is the 25.7-megapixel GR IV which has an equivalent 28mm f/2.8 lens, five-axis image stabilisation and 5GB of internal storage. MPB has a stock of used models in excellent condition at £1039.

Skip back a generation to the Ricoh GR III and MPB has like new samples at £979. Its specs might be marginally less impressive than the GR IV, but it’s still a fine camera.

Slightly bigger and one for the shortlist is the Fujifilm X100V, another APS-C format camera. A like new model from MPB costs £1399 and for that you get 26 megapixels, 20fps burst rate shooting and a tilting monitor.

Travel light and invest in a quality compact camera such as the Ricoh GR IV (left) and Sony RX100 VII. These pocket-sized marvels are easy to use and capable of excellent images.

 

While fixed lens cameras are worth considering, you might prefer the flexibility of a zoom compact so check out models from Canon and Sony. MPB has the Canon PowerShot G9X II at £569. With 20.1 megapixels and a 3x optical 28-84mm equivalent zoom, this is a capable and pocket-sized camera. Add to your shortlist the Sony Cyber-shot RX100 VII, priced at £934 from MPB in like new condition and features include impressive AF skills and an equivalent 24-200mm zoom in full-frame.

Speaking of full frame, if you have the budget and want to make a statement, check out the classy Sony Cyber-shot DSC RX1R Mark II, available in excellent condition from MPB at £1709 but you can save money by opting for a good condition sample at £1439. With a fixed 35mm f/2. lens and 42.4 megapixels, this is a seriously good premier compact.

There’s no doubting the appeal of a good compact but for ultimate flexibility it doesn’t get any better than an interchangeable lens camera. 

DSLR type models remain popular and with the domination of mirrorless cameras, there’s great value to be had in this sector. That said, we’ll follow the market and look at mirrorless options allowing £1000 for the camera body and the same for a lens or two. 

 

A superzoom is ideal for walkaround photography and having less kit makes life easier on busy public transport too. Exposure was 1/125s at f/8 and ISO 400. Image Credit: Will Cheung.

 

For travel, looking at portable options makes sense and there are three formats to consider, Micro Four Thirds, APS-C and full-frame, so let’s explore the possibilities of picking a model to represent each format.

In Micro Four Thirds, we’ve gone for the OM-5 Mark II which sells for £979 body only from MPB in like new condition. It’s a very likeable camera rich in features including 30fps ProCapture, 7.5 stops of image stabilisation and 20 megapixels. Plus, there’s focus stacking, a Live ND filter and high-res shot mode, and all this in a petite weather-sealed body.

Next, we have the APS-C format and we have gone for the Fujifilm X-T4 at £969 from MPB in like new condition. This model boasts the 4th generation CMOS 4 X-Trans sensor with 26.1 megapixels, very good high ISO performance and the brand’s popular Film Simulation settings. 

 

If shooting nature is part of your travel trip, a macro lens or close focusing zoom needs to be part of your outfit but that means extra weight and space. Shot with a 100-500mm lens with an exposure of 1/500s at f/9 and ISO 400. Image Credit: Will Cheung.

 

For our sub-£1000 full-frame body, we chose the Canon EOS R6 which is priced at £999 from MPB. It’s a 20.1-megapixel camera with 8 stops of image stabilisation and Canon’s renowned Dual Pixel CMOS AF II system that delivers fast, pinpoint autofocusing.

Lens choice will be influenced by your travel plans. If nature is on the agenda, a long telephoto and possibly a macro lens will be on the shopping list. However, if you have a more general itinerary, keeping your lens outfit to manageable proportions makes perfect sense.

So, on one hand, you could go for three zooms, covering from ultra wide-angle to telephoto. In full-frame, this could mean a 14-35mm, 24-120mm and a 70-200mm, but the downsides are cost, a heavier bag and the need to switch lenses.

Squeezing in loads of focal lengths into a single lens is a great idea and in practice you get a decent level of optical performance. Shown here are the 24-240mm full-frame superzooms from Canon (left) and Sony.

 

Opting for a superzoom removes the jeopardy of lens swapping, saves time and is a more portable option. In the past, superzooms haven’t always had the best reputation and that’s simply because cramming so many focal lengths into a single entity means optical performance can be compromised. However, while superzooms still can’t match less wide-ranging zooms, the latest models are decent performers.

All three of our chosen bodies have the option of a superzoom. For the OM5 Mark II, the M.Zuiko Digital 14-150mm f/4-5.6 II is £303 from MPB so it comes well within our budget. In 35mm terms, this lens equates to 28-300mm so there’s plenty of range available. With some unused budget the option of a fast wide-angle prime appeals and the M.Zuiko Digital ED 12mm f/2 at £274 from MPB is worth considering.

 

Superzooms give plenty of shooting flexibility without the inconvenience of swapping lenses. This was taken at the long end of a 24-240mm lens. Exposure was 1/60s at f/6.3 and ISO 400. Image Credit: Will Cheung.

 

In Fujifilm’s extensive range of X-lenses, the superzoom offering is the XF 18-135mm f/3.5-5.6 R LM OIS WR which is 27-206mm equivalent in full-frame and is £444 from MPB. If you want more pull, the Sigma 16-300mm f/3.5-6.7 DC OS gives a full-frame equivalent of 24-450mm. MPB did not have stock at the time of writing, but what you can do is create an alert on the MPB website and you will be notified as soon as stock is available.

Finally, let’s look at a superzoom for the Canon EOS R6. Full-frame AF lenses for the EOS RF are not available from independent brands so we have to stick with Canon but there is a good option here, the RF 24-240mm f/4-6.3 IS USM at £784 from MPB. It’s a sizable lens but is still more portable then two or three zooms making up the same range.

 

  News from MPB

Recent MPB news includes its announcement of its results for the financial year ending 31 March 2025. The headlines are positive with a 19% increase in Group Net Revenue with international markets up by 29%. 

To put some numbers on MPB’s 2025 performance, the business recirculated more than 564,000 items in used kit and hit one million unique customers globally which is double that of three years ago. Learn more about MPB’s results by clicking here.

MPB also brought news of the state of the camera market. Basically, the imaging kit market is growing, with camera shipments including DSLRs and mirrorless up by 6.6% year-on-year and lens volume up by about 3%. 

There’s really positive news in the compact camera market in 2025. About 26% of all new cameras shipped were compacts which represents a 49% year-on-year growth in terms of market value. Read more about this story here.

  MPB Explained

You need kit to take photographs and produce videos, and taking the used route is a cost-effective way of making the most of your budget and keeping up with the latest developments in imaging technology.

MPB is one of the biggest used retailers with bases in the UK, Germany and the USA.

Trading with MPB the process is fair, safe, painless and incredibly easy.

Whether you have kit to sell, want to make a purchase or part exchange, start by going to the MPB website which is intuitive and straightforward to use.

If you have kit to trade, just start typing the name in and a list of suggestions from MPB’s huge database will appear. If a name on that list matches your product click on it and add its condition; if not, continue typing in the whole name and condition.

It’s worth bearing in mind that MPB’s database covers much more than cameras and lenses so if you have, for example, a photo backpack, tripod or filters to sell these can be shown as you type in their name too.

With all your kit listed, add contact details and a quote will appear in your inbox soon afterwards, although manually entered items will take one working day.

If you are happy with the quote, accept it and follow the instructions to get the kit ready for courier collection on a day to suit you. For higher-value deals, an MPB account manager will also be in touch, so you have a personal point of contact if you have any queries.

Once received by MPB, you will get a notification and after checking by its product specialists you will receive a final quote. This can vary from the original quote if there is a missing item —like a battery not being supplied—or your assessed condition differs from the actual condition.

A quote can go down, but it can also increase if the kit’s condition is better than your assessment.

The whole process doesn’t take long and MPB are in touch by e-mail at every step so you’re never in the dark, and only when you are totally happy with the deal, pass on your payment details or pay the balance in the case of part-exchange. Either way, the money or your new kit will be with you soon after.

Get A Quote From MPB Today

 

About MPB

• MPB is the largest global platform to buy, sell and trade used photo and video kit.
• MPB is the simple, safe and circular way to trade, upgrade and get paid.
• MPB is not a marketplace, instead buying directly from visual storytellers and evaluating all items before reselling MPB-approved kit.
• MPB's dynamic pricing engine provides the right price upfront for all items.
• Circularity is at the centre of MPB, promoting sustainability, diversity and inclusion in everything they do.
• MPB prioritises inclusive recruitment and supports employees with extensive training and development. They promote inclusive visual storytelling and an inclusive circular economy.
• MPB's business model is 100% circular. All packaging is 100% plastic-free. Their cloud-based platform uses 100% renewable electricity.
• MPB recirculates more than 570,000 products annually
• MPB provides first-class customer service. Customers can receive support through their Help Centre or by speaking directly with a kit expert.
• MPB's product specialists are trusted by thousands of visual storytellers in the UK.
• MPB is rated ‘Excellent’ on Trustpilot with over 37,000 reviews.

Visit The MPB Website

 

What Is Slow Sync Flash?

Slow sync flash combines a burst of flash with a slow shutter speed. On compact cameras, slow sync flash is often known as night mode and you can't control the speed of the shutter or the strength of the flash but you can with a DSLR. If you're working with a DSLR you'll probably find you have rear curtain sync and front curtain sync options among the various flash modes available, although some camera models don't have this option so do check your manual. 

 

Why Do I Need It?

Slow Sync Flash can be used to capture subjects in low light as well as action shots. 

 

Do I Need A Tripod?

When working with slow shutter speeds a tripod is recommended, however, rear or front curtain sync can create some interesting backgrounds when you work hand-held, particularly when taking your photos in an area with various light sources as the flash will freeze your subject in place while the long exposure will blur the lights into an interesting mix of colour.

  What's The Difference Between Rear And Front?

Rear-curtain sync tells your camera to fire the flash just before the photograph is finished exposing. As you pan, this creates a long trail but a nice, crisp shot of your subject. Front curtain fires the flash at the beginning of the exposure then the shutter remains open, continuing to record the ambient light. As a result, your images will appear differently depending on which method you choose.
 

How Does It Help With Action Shots?

 

Your camera's flash can provide a burst of light in a split second that will highlight your subject. However, if you're trying to capture a moving subject, the flash will freeze them in their tracks and all sense of movement will be lost. However, by combining a slow shutter speed with a pop of flash, you can create a sense of action through blur but still have your subject sharp too.

It's ideal for capturing action shots of bikes or cars moving, although it can be used to capture creative shots of any scene which has a moving subject in the foreground. Try using it next time you're photographing your child playing on a swing, for example. If you find there's blur in front of your subject rather than behind, you need to select rear curtain sync so that the ambient blur exposure is captured before the flash fires. This results in a more natural-looking shot where the blurred streak follows your subject who will be sharp thanks to the flash firing just before the exposure ends. 

You need to give your subject time to move through the frame to give the slower shutter speed time to blur their movement before the pop of flash at the end of the exposure will leave them sharp. It's also worth perfecting your panning technique before you start experimenting with this technique so your pan stays smooth and straight. You also need to ensure your panning speed is correct. For example, shoot too slow and you'll see the trail but it'll merge/blur into the background. Too fast and everything freezes.
 

How Can It Help In Low Light?

 

When photographing people in low light you can try and use flash or you can turn your flash off and use slower shutter speeds to capture enough light to create a well-exposed image.

If you're using your camera's built-in flash your subject can often take on the 'rabbit in the headlights' look thanks to the bright flash illuminating them but leaving the background dark. If you go for the slow shutter speed option you're fine if you're working with a street performer whose occupation is to be a human statue but for anyone else who tends to move around a lot, you'll just end up with motion blur spoiling your shot.

As a result, you're better off using slow sync flash so you get a relatively sharp shot of your subject but also capture enough light throughout the image to create a shot that's better exposed throughout. In other words, the camera records the background and then illuminates the subject with flash to balance the exposure between the two areas. This makes it a good mode to use when shooting portraits at night although a tripod may be necessary to keep the background sharp.
 

What Shutter Speeds Are Needed?

This will change depending on the amount of blur you want to capture in your shot. It's also worth noting that the speed your subject is moving at and how intense the light around them is can affect the final look if the image so it's worth experimenting. As you're not controlling when the flash will fire you may need to take a few shots to get to grasps with your timing too. 
 

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

February is typically the month the photography industry shakes off its post-CES hangover and starts showing its hand for the year ahead. In 2026, that meant the return of CP+ in Yokohama, the conclusion of the Milan Cortina Winter Olympics, a flood of new glass from both established and upstart lens makers, and the continued collision between AI-generated imagery and the photographers whose livelihoods depend on the real thing. Here are the ten developments that mattered most. 

[Read More]

The Fstoppers community is brimming with creative vision and talent. Every day, we comb through your work, looking for images to feature as the Photo of the Day or simply to admire your creativity and technical prowess. In 2026, we're featuring a new photographer every month, whose portfolio represents both stellar photographic achievement and a high level of involvement within the Fstoppers community. 

[Read More]

The new generative AI tools in Photoshop offer powerful features that can streamline your workflow and unlock new creative possibilities. In this article, I show you how to make the most of them. 

[Read More]

When was the last time you had a printed photo in your hands? A portable printer makes it easy to turn your photos into tangible keepsakes and artworks. 

[Read More]

On the developing the skills that enabled him to work with Sony PlayStation, Monster Energy, Husqvarna, Bosch Global, Fujifilm USA, and why you should always spit out your gum before shooting. 

[Read More]

Adobe has updated Lightroom and Lightroom Classic, adding Firefly integration, WEBP support, assisted culling improvements, and a new generative upscale tool. If you rely on Lightroom daily, these changes are worth a look. 

[Read More]

A fast 50mm prime can cost $100 or $3,000, and both will take a photo. The real question is what that price gap actually gives you when you’re shooting in the real world. 

[Read More]

Sigma has announced the development of the Sigma 85mm f/1.2 DG | Art, a large-aperture medium-telephoto prime lens designed for full frame mirrorless cameras.  

This is not a full product launch, so detailed specifications are limited. However, what Sigma has shared so far paints a clear picture of where this lens fits in the lineup and what it's aiming to deliver.

[Read More]

    1. Lenses For Flower Photography When it comes to kit, a macro lens or telephoto zoom lens with an extension tube won't be out of place and as you'll most likely be working close to the ground try to preview your shots with the help of LiveView if you find that getting your eye close to the viewfinder is difficult. A tripod is always useful when shooting macro work and a waterproof sheet, mat or gardener's kneeling pad will make the experience of working on the damp ground slightly more comfortable.  [HOOK]position_1[/HOOK]  2. Get Down Low 

Ideally, you need to be working at the same height as the snowdrops so be prepared for sitting or kneeling on the damp ground. To get you even closer to the flower heads you'll need to splay the legs on your tripod and, if you can, move the centre column from vertical to horizontal as this will get you closer to the ground. As well as making use of LiveView, switch on the camera's self-timer or use your cable /remote release to help keep your shots shake-free.
 

3. Shot Type One: Plenty Of Depth-Of-Field

Once you're set-up, you'll find you need a small f/stop to get good depth-of-field, which means you need a long exposure and when you look through the viewfinder or use your LiveView, you'll notice how the smallest of breezes will blow the flower which when mixed with slower shutter speeds, will create blur. Try using a simple piece of wire to keep the flower still or you could just wait patiently for the wind to settle down.
 

4. Shot Type Two: Bokeh Backgrounds 

If you find a particularly good specimen that doesn't have anything distracting in the background or foreground, throw the background out of focus, keeping the flower sharp. Take this one step further and completely cut out the steam, leaving the viewer's focus completely on the head of the flower. If the background looks a little too empty try positioning yourself so another Snowdrop sits in the background which you can blur out of focus. For group shots, try to pick out two or three for the centre of your image then create an out of focus frame with the surrounding snowdrops.

 

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

Allow me, for a moment, to try and entertain you with the story of one of the most boring days of my life. 

[Read More]

Over the years, seascape photography has become the area of my work where shutter speed decisions matter most. Waves never repeat themselves, and small changes in exposure time can completely alter how water behaves in an image. A fraction of a second can preserve structure and texture, while a longer exposure can simplify the scene and emphasize static elements. Learning how shutter speed affects water is one of the most important technical skills in coastal photography. 

[Read More]

On February 1, 1968, Associated Press photographer Eddie Adams was on the streets of Saigon in South Vietnam with his camera to capture the moments during the Tet Offensive during the Vietnam War. It was here when he captured a moment that would end up becoming one of the most influential photos in modern history.  

This is a photograph many have seen but few know the whole story behind. It shows Nguyễn Ngọc Loan, South Vietnam National Police Chief, firing his gun into the head of a handcuffed prisoner named Nguyễn Văn Lém. A photo that would tell only a half truth.

[Read More]