Photography News

  Before you take your shot, take a good look around the viewfinder to make sure everything that's in the frame needs to be. If it doesn't, here are a few ways you can remove the unwanted object(s) and some ideas on what things you should avoid capturing in your frame.  

 

What Should I Be Looking Out For?    1. Check The Frame For Unsightly Objects

Items such as rubbish bins, dead trees, shopping trolleys in rivers and broken benches do have significance and a place in some photographs but most of the time they're on the 'try to avoid list'. You don't want a microwave or mattress spoiling your idyllic landscape shot. 

  2. Make Sure Poles Aren't Sticking Out Of Heads

If you're shooting portraits outdoors make sure you don't position your subject so it looks like they have a lamppost, telephone pole, tree or any other object sticking out of the top of their head. In some cases, it can look quite amusing but more often than not it's just a distraction.
 

3. Look Out For Distracting Highlights

Areas of an image that are overexposed or particularly bright will draw the eye away from what it should be looking at to it. To stop this, make sure the image is exposed correctly and look out for reflective or other bright surfaces that could cause you problems. The same goes for particularly shadowy areas, too.

 

4. Be Careful With Bright Colours

As with highlights, if you have an object that's brightly coloured that isn't your main focus of the shot it can pull the eye to it. Yellowjackets that officials wear at races and other events are a good example of this. Most of the time you won't want them to be the focus of the shot, but they will be in the background and their bright coloured jackets stand out like spotlights, pulling the focus of the image to them.

5. Be Aware Of Busy Backgrounds

When you're shooting portraits, of any kind, unless the background adds to the shot you'll probably want to blur it out of view. This is true for macro work too such as when you're working in the garden, focusing on one flower that's sat against a background of garden equipment and other distracting objects.

 

 

How Do I Fix The Above Problems?    1. Move Your Subject

If you can't move the object that's causing the problem the easiest way to get the empty background you're looking for is to move your subject. This doesn't mean picking a new location to shoot in as moving them a couple of steps to the left or right of where they first stood could fix your problem.

 

2. Move Yourself

If you have to shoot against the particular part of the background you positioned your subject against then pick up your kit and move yourself so the object that's causing the distraction is no longer in the frame.

 

3. Change Angle

Can you shoot from higher up or lower down? You may find a change in angle gives you a new take on a shot that's overdone. This technique works particularly well for flowers as you can use the sky as a clutter-free background for your images if you're garden's full of distracting objects.

  4. Create Your Own Background

For small subjects such as plants, you can use pieces of card and material as backgrounds for your shots, hiding the scene in front of you behind it.

 

5. Use A Different Focal Length

If you've got a variety of lenses to hand or have packed a zoom lens, try cropping in to remove whatever is distracting the eye.

 

 

 

6. Change Orientation

If you don't have a variety of focal lengths to-hand try switching from landscape to portrait orientation.

 

7. Blur The Background

If you don't need the background to be in focus use a wider aperture to throw it out of focus. If you're using a compact camera switch to macro mode for close-up work as your camera will select a larger aperture so the background's thrown out of focus. If you're shooting portraits with a compact select Portrait Mode as, again, your camera will know it needs to use a larger aperture so the background's out of focus.

 

8. Use Foreground Detail As A Frame

If it's branches and leaves that are causing you problems why not blur them to create a soft, out of focus frame for your image? For more tips on framing take a look at our previous article: Ten Top Ways To Use Frames In Your Images.
 

9. Experiment With Longer Shutter Speeds In Cities

If you're working in a place that's full of people and you don't want them in your shot, use longer exposures to remove them. This works particularly well at night and is the same technique photographers use to capture light trails in night shots.

The problem with using longer shutter speeds in the daytime is the amount of light that will reach your camera's sensor and you can end up with very overexposed shots. But try using a small aperture such as f/22 and find a location which is slightly shaded and experiment to see if it'll work. Using an ND filter will also help you get the slower shutter speeds you need. If you're photographing city streets at night and only want the lights, traffic and buildings to appear in the shot, this technique works particularly well at removing people from the scene.

 

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In most cases, when manufacturers moved from DSLRs to mirrorless cameras, this also meant a new mount to accommodate the reduced back focus distance. No longer did lenses have to be designed with the DSLR mirror box in mind. The main consequence is that we might be left with an impressive collection of fine DSLR lenses with a dwindling supply of new bodies to use them with. As technology developed further, we would need new lenses along with the resulting expense. The answer is, of course, a lens adapter, enabling the old lenses to be used on the new cameras. Ideally, that would include transmission of data and full operation of AF and exposure information.

The Canon solution is the EF-EOS R AF Mount Adapter, at a price as we might expect. Enter Meike, with their own version of the adapter range, plus quite a few additional filters of their own. The Meike adapter range is much more affordable, and Meike has a growing and impressive reputation for efficient, well made kit, so this makes a very interesting proposition.

Armed with the 26MP Canon EOS RP body plus the very fine Canon EOS EF 50mm f/1.8 lens, let's see how the Meike adapter brings these two together.

 

Meike Drop-in Filter Mount Adapter MK-EFTR-C Handling and Features

The version of the adapter provided for review is the MK-EFTR-C, with a drop-in filter facility and two drop-in filters provided. These are the V-ND, a variable neutral density filter, plus a clear filter. Including the V-ND, the adapter weighs in at a featherweight 136.8g. Dimensions are a trim 73.0mm x 24.7mm. 

There are electronic connections and AF is fully supported. It is quite clear that the adapter is very well made, from the look and feel of the components to the smooth action when bayoneting either lens to the adapter or the adapter to the R body. Although tempting perhaps to think an adapter contributes little of its own and is just an interface, in fact, there is much more to it than that. Apart from the need for precision in manufacture, of which more in a moment, there is the need for rapid AF performance and correct transmission of EXIF and other data.

 

 

To ensure absolute precision in the connection of the lenses, a couple of shims are provided and these can be used if the tolerances should happen to be slightly out. There was no evidence of that, so they were not needed, but it's good to know that should it be necessary, the point is well covered.

There are several versions of the Meike adapter. The one provided for the review is the MK-EFTR-C, which includes a drop-in filter V-ND plus a clear filter. V-ND is a variable neutral density filter ND-3 to ND-500 mounted in a beautifully designed drop-in system that is compatible with the original Canon version. There is also available an MK-EFTR-B, which is a version with the control ring. A third option is MK-EFTR-CPL, with a drop in polarising filter. The plastic case for the storage of filters not in use is another design gem. This all adds up to a very efficient way of storing and changing filters. This is so much easier than using screw in front filters and, of course, also means just one set of filters regardless of the lens in use. 

 

 

Rotating filters are especially easy to use, as a small wheel is provided that enables adjustment. The obvious application would be the polariser, or as in the case of the version provided, a variable ND. This also extends to a whole series of filters from Meike and the leaflet provided in the box lists some 22 options. Admittedly, these are mostly various ND filters, plus the variable ND, the clear filter and the C-PL. The “Creative filters” include various star, streak and rainbow effects.

However, the basic application is, of course, the ability to use Canon EF and EF-S lenses on the new Canon R bodies, specifically EOS-R, RP, R5, R6, R7, R10, C70 and Red Komodo. Let's now have a look at how the adapter performs in use and see whether we have a viable and reliable alternative to the Canon original product.

 

Meike Drop-in Filter Mount Adapter MK-EFTR-C Performance

First job is to align the correct colour of dot with the EF (red) or EFR-S (white) index on the mount, and the lens smoothly clicks into place. The fitting end of the adapter, with its generous seal, offers a moisture and dust resistant interface with the camera body. After that, we can use our EF or EF-S lenses as they were intended, and of course, there are many fine lenses that have long working lives ahead of them yet.

The drop-in filter system is magnificent, so easy to use and such an excellent idea. The filters themselves do not seem to create any CA effects, perhaps the very slightest sign of an increase in fringing at the mid point of the V-ND, but even then very difficult to induce. As we rotate the V-ND, the colour balance does not seem to be severely affected, certainly not in any way that is obvious to the eye, although a slight shift might be expected at high values approaching the maximum.

AF operation is also unimpaired and the camera operates just as it would normally be expected to.

The instructions suggest that the filter should be removed before installing on the camera, something that might easily be forgotten. The idea that a filter should always be installed is a more obvious one. Failing to do this would result in light leaking in to the side of the lens, running the risk of creating flare effects.

 

MEIKE Drop-in Filter Mount Adapter MK-EFTR-C Sample Photos Previous Next

You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.

 

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  Value For Money

The kit as provided, the [AMUK]Meike MK-EFTR-C Drop-in Filter Mount Adapter|Meike+MK-EFTR-C+Drop-in+Filter+Mount+Adapter[/AMUK] with V-ND and Clear filters, is priced at £135.99.

There are other kit versions:

• [AMUK]MK-EFTR-B with Control Ring|Meike+MK-EFTR-B[/AMUK], £79.99
• [AMUK]MK-EFTR-CPL Circular Polarising Filter for MK-EFTR-C|Meike+MK-EFTR-CPL[/AMUK], £55.99
• [AMUK]MK-EFTR-VND Variable ND filter|Meike+MK-EFTR-VND[/AMUK], £55.99

To put this in perspective, some Canon original options:

• Canon mount adapter with control ring, £239
• Canon drop-in filter mount adapter with C-PL filter A, £359
• Canon drop-in filter mount adapter with V-ND filter A, £499

Those figures are pretty dramatic and in terms of pricing the Meike looks very attractive indeed.

 

 

Meike Drop-in Filter Mount Adapter MK-EFTR-C Verdict

Meike is pitching in here with an excellent product at a very attractive price point compared to the OEM version from Canon. There may be those who, regardless, will always opt for the manufacturer's original version for any and all accessories, and that's fair enough, although we know it comes at a price. Manufacturers such as Meike compete with keen pricing, but at a quality level that does the job and does it well. The irony is that often the after market items have features that extend and even improve on the original. Meike is a manufacturer that does this very well, and this latest adapter is a great example of a really well designed and manufactured item that can hold its head high, at a price level that brings it into range for many more photographers.

The Meike adapter is Highly Recommended.

 

Meike Drop-in Filter Mount Adapter MK-EFTR-C Pros

• Very well designed and made
• Efficient and reliable operation
• Keenly priced
• Enables full use of DSLR lenses on mirrorless bodies
• Moisture and dust resistance

 

Meike Drop-in Filter Mount Adapter MK-EFTR-C Cons

• Some slightly fiddly instructions re shims, should they be needed

 

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Tadpoles tend to be more prevalent at this time of year and, as they take about 12 weeks or so to become froglets, it's a good time to take some photographs.

 

1. What Gear Do I Need? 

A macro lens of 90 to 100mm is perfect, providing you have access to get close to the surface of the water. If not you will need a longer lens with a close focus facility. A tripod is handy to keep the camera steady as you take the photo, but you'll need one that has legs that splay out so you can get the camera closer to the pond's surface when using a macro lens. It's also better if the centre column swivels over 90-degrees to act as a macro arm so you can position the camera over the water's edge and not at an angle. It may be easier to lay down on the floor (use a waterproof sheet to keep you dry) and use your arms as support. A polarising filter will reduce any surface reflections allowing you to see more clearly under the water.

 

2. Follow One Tadpole

Tadpoles tend to be quite active but move around in spurts. One minute they stop to presumably rest and then swim off to another spot. When they're active you need to hone in on one and follow it around, taking shots as it rests. Use a fast shutter speed to prevent tail blur, and increase the ISO if you need a smaller aperture.

Also, watch for tadpoles taking in air - they swim quickly to the surface and gulp air in. At this point, you can get a head-on shot with mouth wide open, but you often have to be quick as it's fast action.

 

3. Make It Easy For Yourself

Look around the edges of the pond for the easiest shots. It's here where the tadpoles will be feeding off vegetation around the side of the pond, especially when they have no legs as they are not yet meat-eaters.  In the shot above the tadpole was slowly pecking away at the edge of the pond causing debris to burst back. This microscopic activity comes to life when a macro lens is at its extended range.

If the sun is out, make sure you don't get the distracting rim where the water touches the side. This will appear as a white burnt out outline. Take the shots slightly away from the edge pointing inwards to conceal this outline. Shoot when the tadpoles are nearer to the surface to prevent the cloudy water making the image look dark.

4. Older Tadpoles

When the tadpoles have legs they become carnivorous (meat-eaters) so you can pop the odd worm, snail or piece of chicken in and watch them gather around in a feeding frenzy.
 

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Every lens catalog has a flagship tier. These are the lenses that dominate reviews, anchor marketing campaigns, and justify the system's reputation: the Canon RF 24-70mm f/2.8 L, the Sony FE 70-200mm f/2.8 GM II, the Nikon Z 50mm f/1.2 S. They deserve the attention. They are genuinely excellent. And they are not the lenses that most photographers would benefit from buying next. 

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The longer I spend around photography, the more I realize how easy it is to quietly lose sight of why we started taking photographs in the first place.

It rarely happens all at once. Usually it happens gradually. 

 

At the beginning, photography often feels simple. You take photographs because you enjoy the process. You are curious about light, composition, weather, locations, or simply the experience of being outside with a camera. There is very little pressure attached to it because there are no expectations yet.

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I was in Bilbao earlier this year, and a photographer appeared from around a narrow backstreet with a massive backpack and a huge full frame camera and zoom lens hanging from his neck. He carefully took the obviously heavy pack off and placed it on a chair outside a cafe. The relief on his face, to take a break from lugging all that weight around, was telling.

 

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Let's be honest, buying a memory card is probably the most boring part of picking up new gear. It's not a shiny new lens or a camera with a red badge. But if we're being real, it is arguably the most critical piece of the puzzle. Without a memory card, cameras without built-in memory will not be able to save any data, essentially becoming an overpriced paperweight. 

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Landscape photography is full of confident, contradictory advice. Two people can disagree completely on the same topic and both sound completely sure of themselves, which makes it hard to know what to actually believe, especially early on. 

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Film photography cost less, took longer, and had far fewer options in 2010 than it does today. Els Vanopstal has been shooting film since that year, and the contrast between then and now covers everything from what you pay per roll to how you get your negatives back. 

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The Canon RF 24-105mm f/4L IS USM is one of those lenses that tends to get overlooked once you've moved on to faster glass. If you've been shooting with f/2.8 zooms and primes, it's easy to assume the f/4 version isn't worth reaching for anymore. 

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Shooting cars at night in a city like Hong Kong is a different challenge than a controlled studio setup or a daytime location shoot. You're working with mixed artificial light, heavy traffic, unpredictable locations, and gear decisions that have real consequences when you only get one chance at a shot. 

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  1. Not Doing Your Research 

How much you research and what you research will depend on the purpose of your holiday. Are you going to a place with photography in mind or is photography something that you'll just be occasionally doing on the odd excursion? If photography is the main purpose of your trip you'll need to do slightly more planning/research than if you plan on laying by a pool for the majority of your holiday, but that's not to say research still isn't important as research and knowledge about the location you're travelling to will always make your holiday run more smoothly.

Where's your hotel? How easy is it to travel to other locations from it? What rules/ customs do you need to be aware of etc. are all important questions you should be asking. When photography is your main goal you'll need to do slightly more work to find out the best locations/opportunities that are perfect for photography. As well as the internet, chat to hotel staff and if the place you're staying in has one, the local tourist office as you'll likely find useful information not necessarily listed in a guide book. Do plan correctly for the weather, terrain etc. you'll be facing on trips out, too. 

The more information you collect before your trip, the more productive you'll find it to be. In fact, if you make a shooting plan or note down a few ideas in a notebook you can take the notes with you so you're not always searching for shooting suggestions.

 

 

2. Not Leaving The Tour Group

Organised excursions can be fun but they're not always great for capturing unique shots. Coaches will stop in a layby halfway up a mountain road to give tourists the chance to snap images of the picturesque view in front of them, but everyone will tend to stand in the same place and capture the same shot. If you have time, look to see if there's somewhere else you can take your images from to give you a more unique angle that others may not have taken. When in towns or other locations where there's plenty of people to capture portraits of try to break away from the group (if it's safe to do so) as having several people stick a lens in your face can be intimidating when everyone's focusing on just one individual. If you want to stay close to the group, or a few individuals, pick a different subject to start with then move back to the person who first caught your eye and politely ask if you can take a few photos after the rest of the group's moved on to something else.

 

 

3. Not Approaching People

It's easy to shoot candidly and we're not saying you can't capture interesting shots this way, but you'll be able to take much more intimate portraits by actually talking to the person you want to photograph.  Plus, it's more polite to ask permission so do take the time to learn how to say 'hello, 'thank you' and 'please' in the language of the country you're visiting to help with your conversations and don't forget to smile. Interact with them and take the time to learn a bit about them, as a result, you'll put them at ease and you may be able to capture shots that have much more character in them. Your job is to make your subject feel comfortable so always give them eye contact and once you've got your shot(s) be polite and show your subject the results. Just be wary of some people who'll expect a tip for helping you out.

If your subject looks uncomfortable when you start taking photographs, it is usually just best to stop and move on to something else as some people will say yes just to be polite when really they'd prefer to hide from your lens.

 

 

4. Not Really Thinking About Composition

When you're on tours where schedules have to be kept or are out with the family who don't want to wait around for you to take the perfect shot, not thinking about composition enough can be an easy mistake to make. Simple things such as a wonky horizon can spoil what should be a great picture and something like this can be easily rectified by simply slowing down and checking the frame. Think about the different rules of photography, look for interesting foreground detail as well as breath-taking backgrounds, keep an eye out for clutter and consider changing your angle or perspective. By thinking as a photographer rather than a tourist who's excited to be visiting a new place you'll soon be capturing images that have meaning and tell a story rather than a collection of snaps that just show you got a bit carried away with the shutter button. 

 

5. Taking 'The Shot' Everyone Has Of A Landmark

Famous landmarks have just one problem – they're famous which means finding a shot of them which isn't already on a thousand other cameras can be difficult but that doesn't mean it's impossible. We're not saying you should avoid taking them completely as a few good shots of the 'postcard' view are easily recognisable and will probably be something others will appreciate seeing but there are plenty of opportunities to capture something a bit different, too. For more tips, have a read of this: Photographing Famous Landmarks

If you want to add to our list, please leave your tip in the comments. 
 

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The most common question beginners ask after buying their first camera is some version of "what should I upgrade to next?" The answer they expect is a better camera body. The answer that will actually improve their photographs is almost always a better lens. 

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There have been plenty of times over the years when I have had to say the same thing to myself.

 

Wake up. Get out of your funk. Go do something different.

Sometimes I say it after weeks of shooting the same type of image. Other times it comes after feeling strangely disconnected from photography altogether. The camera still comes with me, the locations are still good, and technically the photographs are perfectly fine, but something feels missing.

I think most photographers experience this at some stage, whether they admit it or not.

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AI video effects can help photographers turn ordinary images into more immersive visual stories. Instead of showing a single moment, they can create movement, emotion, and a stronger connection with viewers.

• Subtle camera zooms that make still photos feel more dynamic.
• Motion effects that bring landscapes and city scenes to life.
• Cinematic lighting adjustments for stronger visual impact.
• Animated transitions between images in a photo series.
• Atmospheric effects such as rain, snow, or glowing lights.
• Creative filters that match different storytelling styles.

For photographers who want an easy way to create these effects, AI Inspo offers a range of tools designed for visual content creation. It can help users add motion, cinematic elements, creative transitions, and visual enhancements that transform static images into engaging video content.

 

 

How AI Video Effects Enhance Visual Storytelling

AI effects allow photographers to present stories in ways that feel more vivid and memorable. Instead of simply displaying images, they can guide viewers through a visual journey. Let’s look at some real-life ways this helps photographers:

 

Case 1. Travel Photography

A photographer can turn a collection of travel photos into a short cinematic video. Smooth motion effects and transitions help viewers feel as if they are experiencing the destination rather than just looking at individual images.

 

Case 2. Portrait Photography

AI video effects can add subtle movement and lighting changes to portrait images. This creates a stronger emotional connection and helps communicate the subject's personality more effectively.

 

Case 3. Wedding Photography

Wedding photographers often capture hundreds of meaningful moments. AI-powered effects can transform selected photos into a story-driven highlight video that feels more engaging for couples and their families.

 

Case 4. Nature and Landscape Photography

A beautiful landscape image can become more immersive with animated skies, moving clouds, or gentle environmental effects. These additions help communicate the atmosphere and mood of the original scene.

 

 

5 Practical Ways for Photographers to Use AI Video Effects

AI video effects are not only creative tools but also practical solutions for modern content creation. They can help photographers expand the value of their work and reach wider audiences without spending hours on video editing.

 

Create Social Media Content from Existing Photos

Many photographers already have large photo libraries. AI video effects make it easy to turn these images into short videos suitable for Instagram Reels, TikTok, YouTube Shorts, and other social platforms.

 

Build More Engaging Client Presentations

Instead of delivering only static galleries, photographers can create video presentations that showcase key images with motion and visual effects, providing a more memorable viewing experience.

 

Enhance Portfolio Displays

Adding video versions of selected projects to a portfolio can help photographers stand out. Dynamic presentations often capture attention more effectively than still images alone.

 

Tell Complete Stories with Photo Series

When several images are connected by a theme or event, AI video effects can help organize them into a clear narrative with a beginning, middle, and end.

 

Repurpose Existing Content for Marketing

Photographers can use AI video effects to refresh older projects. A photo series from a previous shoot can become new promotional content without requiring another session.

 

To Sum Up

Photography continues to evolve as audience preferences change. While still images remain important, video content is becoming an essential part of visual communication. AI video effects provide photographers with a simple way to add motion, emotion, and creativity to their work.

 

 

 

Hot-air balloons are big, colourful and slow-moving – and absolutely superb subjects for photography. This is the time of year when balloon festivals start to take place when in theory at least, it is warm and the air relatively still early and late in the day.
 

1. Gear Suggestions

A standard zoom will cope with most opportunities when you are shooting ground-based subjects while a telezoom is perfect for ground-to-air pictures. A telezoom is also good for pulling in details and will take up less room in your camera backpack than a variety of different lenses would. Have your fingers crossed for a nice blue sky, just remember to fit a polariser to maximise colour saturation of the balloon as well as the sky.
 

2. Safety First

For safety reasons very close access to the balloons is restricted but that's not a real issue because it is not as if they are small and you have to get close to fill the frame. In fact, for a decent perspective, it helps to be further back anyway so that you do not have to aim the lens upwards too much. 
 

3. Time Of Day

Flying takes place early or late in the day. The rest of the time, you can shoot tethered balloons as well as other entertainments that you get at festivals. You will find that the hot air balloons are just one of many attractions that might also include classic cars, funfairs and the opportunity to shop, eat and drink.

4. Arrive Early

Some of the best shots of the day can come during set-up and initial inflation so if you can, get there early enough to shoot these pictures. The balloon team using a big fan and the burner to get hot air in is very photogenic. 
 

5. Composition Tips

As with every subject, the composition is something that must be considered carefully, especially with regard to the sky. A vibrant blue sky with some fluffy clouds is perfect but more often than not, it is grey and flat – even in summer. Flat grey skies should be excluded from your images as much as possible and that is challenging given a balloon's round shape. But don't think that you must include the whole balloon as cropping the top off a balloon can help the overall composition.

Having some nice light and colour is ideal so make the most of it if you get good conditions, especially when balloons are being inflated. Do remember that their shape changes during this process so shoot quickly. 

A good time to shoot with your telephoto is when the balloons are still tethered to the ground. Compose carefully avoiding any ground-based elements and you can give the impression that it is in the air.
 

6. Weather Check

If you intend to shoot balloons taking off and are making a long journey, it is very important that you check the weather forecast. If the forecast is for winds of over 10mph, you might as well as stay at home because there will be no balloon take-offs.

 

7. ISO And Shutter Speeds

If you get lucky and the light's good, you may still want to increase your ISO from your usual speed. Just keep an eye on the shutter speeds you are getting especially for images of the ground crew getting things ready. When the sun is up, sufficiently fast shutter speeds are rarely a problem.

 

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Experienced photographers rarely miss the scene. They know what to look for. They arrive with a clear idea, and that is exactly where the error begins. Instead of reading what is in front of them, they start looking for confirmation of what they came for. 

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Photoshop 2026 just added automatic reflection removal, and it's the first time the tool has been available in the application. If you shoot through glass, windows, or any reflective surface, this is worth your attention. 

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The Viltrox 35mm f/1.2 is built for portraits and low light, but Mads Peter Iversen took it into the forest for landscape work to see how far it can stretch. That tension between a wide-open prime and a genre that typically demands stopped-down sharpness makes for a genuinely interesting test. 

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Shooting portraits in bright outdoor light is one of the harder problems to solve with a single speedlight. The sun is usually too strong, your flash can't keep up, and the results look forced. Here's a specific technique that sidesteps all of that, and it's simpler than most people expect. 

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