Photography News

A 360 camera bolted to a 249 g drone changes how you fly, because you stop fighting the camera and the flight path at the same time. That single shift is what makes the Antigravity A1 worth a serious look, and it explains why one creator kept reaching for it long after the video was supposed to be finished.

 

[Read More]

This September, we are turning our Toyota Tacoma into a mobile photography studio, building a custom set into the truck bed, and driving it 7,500 miles across the United States, photographing that same set against dramatically changing landscapes along the way.

 

[Read More]

 

Head to the coast on a sunny day or even to your local reservoir and you'll probably find someone skimming along the water, holding onto a sail fasted to a windsurf board or getting pulled along by a boat on a board. The pros make it look easy and their jumps, turns and sheer speed make water sports a great photographic subject.

  1. Kit Choices If you're not up for getting your feet wet you'll need a long telephoto to bring the action to you. A monopod or tripod can also be handy, but not everyone finds them useful, especially when you're panning at quite fast speeds.

For those of you who don't mind braving cold, British water get your wetsuit on to get right in among the action. Here, you can use a slightly shorter lens or even a fisheye to capture some unusual action shots. However, if you're new to this type of photography it's worth sticking with a slightly longer focal length, around 100mm, to keep a safe amount of distance between you and the action. Wides also work well when you want to give your shots context but your subject may look a little small in the frame if you use them on-shore so do check your frame and switch lenses if this is the case.

If you do want to head out into the waves please always think about safety and make sure you can be clearly seen by those on land as well as the sailors around you. Don't get in anyone's way and always be aware of your surroundings.

You'll also need a waterproof camera or waterproof housing for your camera that doesn't like getting wet. If you plan on leaving your camera bag near the shore make sure it's fastened up and if you have one, put a waterproof cover on it to stop spray and water that comes off the windsurfers as they exit the water getting on your not so water-friendly kit. Remember to test your waterproof housing without your kit in it to start to make sure there are no leaks and when you do put your camera inside it, place it in shallow water first before heading out deeper just to double-check the seals etc. are working correctly.

If you're heading to the beach to capture shots of surfers rather than spending some time by your local reservoir, try not to change lenses on the sand as you don't want grains getting inside your kit.

 

2. Speed & Action

Windsurfing and other water sports tend to have quite a lot of pace and action which does mean there's plenty to photograph but as bad light, bad weather and the speed at which they move at makes life difficult, it can be tricky to get a perfect shot.

If you've not photographed this kind of subject before try to find a reservoir where beginners practise as these will be moving at a slower pace so will be easier to keep up with. It's also worth focusing and tracking one individual rather than moving your focus from one person to another and while doing so, try not to get others in-frame who may full attention from your main subject.

If you do want to go after the pros you'll need to crank your shutter speeds up to freeze their movement and have your panning perfected before you arrive so you can keep them in shot. Shutter speeds of 1/100 and above are often needed to capture action in your frame and it's worth switching to continuous shooting mode to increase your chances of capturing that perfect action shot. Auto-focus can work so long as it's continuously tracking your subject and try to leave room for your subject to ride into.

If you want to add an extra sense of pace to your photos try selecting a slightly slower shutter speed (half a second should be enough) and pan at the same speed your subject is moving at to blur the background. You could combine the slower shutter speed panning technique with a pop of flash to freeze your subject against a nicely out of focus, blurred background that will enhance the feeling of speed in your shot.

 

Photo by Josh Waller 

 

3. Framing Advice

Always make sure you've filled the frame as unless there's something interesting such as a giant wave they're jumping, a tiny person in the middle of a mass of water's not really interesting and they'll be completely lost in the image. Watch out for wonky horizons too, although these are quite easily corrected in post-production once you're back home and consider shooting in a vertical as well as a horizontal format when the scene suits it.

  4. Metering Tips

Keep an eye on your metering when you're on the edge or out in the water as a bright sky and reflections off the water can confuse the camera into thinking it's brighter than it is and you'll end up with an underexposed image. It's worth checking your histogram and using the highlight clipping feature on your camera to ensure your shot isn't overexposed. You may also want to consider using exposure compensation and dialling down to a negative figure to balance the exposure correctly.

If you happen to be out on a day when the light's really bad your images can look flat and lose impact. However, if you focus your attention more on showing the big waves and cropping in close to show the huge amounts of spray coming off the boards you can still get some decent images.

  5. On Shore

Not everyone will have the kit needed to capture action shots and if this is the case for you, just re-think the shots you're taking and focus your attention onshore. People entering/exiting the water, riders getting kit ready and putting wetsuits on are just a few of the things you can capture without the need for a long lens or getting your feet wet and they can be just as interesting as the shots of the water.

 

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

 

There are various reasons for the existence of so many 85mm lenses. It is the classic focal length for portraiture, and traditionally also a fast (bright) short telephoto for many applications including landscape. The slightly longer than standard focal length gives a comfortable working distance between model and photographer resulting in an attractive perspective. The wide apertures make it possible to throw backgrounds out of focus and thus emphasise the main subject. Magnificent bokeh is virtually assured. This fine looking lens from Sigma takes us a step further by opening up the maximum aperture to f/1.2, giving wafer thin depth of field at the point of focus. Let's see how this can be exploited by coupling it up with the 42MP Sony A7R III body.

 

Sigma 85mm f/1.2 DG Art Handling and Features

This full-frame lens is one of the Sigma Art series; the pinnacle of their lens making skills. Any 85mm f/1.2 lens is going to be relatively large, and this is no exception. It measures up at 87.2mm x 121.7mm for the Sony FE fit version, and 87.2mm x 119.7mm for the L mount version. However, they are both fairly light for their specification, weighing in at just 902g (measured) for the lens only and 962g (measured) for the lens plus lenshood. The lenshood is a large round tube that bayonets slickly into position. There is a retaining catch and this holds the hood firmly into position. The front element has an oil and water resistant coating and the whole lens is dust- and splash-resistant. There is the usual caveat that this is not the same as being waterproof.

 

 

Continuing our tour of the lens, there is a generous manual focus ring. The L mount version gives a choice of linear or non-linear focus ring control and also is compatible with the Sigma USB Dock UD-11. AF is driven by 2 HLA (High Response Linear Actuator), situated on either side of a group of 8 lens elements. Compact design makes this the smallest and lightest in its class. It also minimises focus breathing, with videographers in mind. The 17 element lens also includes 2 SLD (Super Low Dispersion) and 3 Aspherical elements.

There are a handful of lens controls. The generously sized manual focus ring is silky-smooth, being electronic in operation. There are two focus lock buttons, an AF/MF switch and an aperture ring lock. This lock can be used to lock the ring into the A setting, and alternatively to lock it out of the setting. This means that using the aperture ring with the camera to the eye, the A setting cannot be inadvertently engaged. The aperture ring itself is large and clearly marked in one third of a stop steps.

 

 

Sigma do mention that there is a magnet within the lens, and it is best to avoid bringing it too close to pacemakers and perhaps the magnetic strips on credit cards. This magnetic field extends for about 2 inches from the lens.

An 85mm lens is a powerful portrait focal length, flattering to the subject and giving a working distance close enough for the photographer to engage the model. Social photography and studio portraiture are obvious examples, but also location work. Equally well, like all lenses, we do not have to restrict ourselves to a small area of use, but the 85mm can be used for any short telephoto applications. The f/1.2 maximum aperture gives wafer thin depth of field, so it is important if using it for a portrait to ensure that the focus point is accurately located on the eye. The closest focusing distance of 0.84m (2.76 feet) is a slight limitation and could usefully be closer, but that is the same with most, if not all, of these lenses.

Time then to have a look at the technical performance to see if it matches up to high expectations.

 

 

Sigma 85mm f/1.2 DG Art Performance

Central sharpness is excellent at f/1.2, outstanding from f/1.4 to f/4, excellent from f/5.6 to f/8 and very good at f/11 and f/16. The edges are excellent from f/1.2 all the way through to f/8 and very good at f/11 and f/16. A superb result.

 

Sigma 85mm f/1.2 DG Art MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a 42MP Sony A7R III body using Imatest software (www.imatest.com). Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is very close to zero at the centre and held well within 1 pixel at the edges. CA is not really obvious in most images. Further correction in software could be undertaken if required.

 

Sigma 85mm f/1.2 DG Art Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence, they usually cost more.

For this review, the lens was tested on a 42MP Sony A7R III body using Imatest software (www.imatest.com).

 

There is a tiny bit of barrel distortion, measured at -0.04%. This is as close to rectilinear as makes no difference, so straight lines can be expected to stay straight.

Bokeh, the quality of the out of focus areas, is very attractive, smooth and with lovely gradation.

Flare resistance is handled superbly well, and it is extremely difficult to generate any sign of artefacts or loss of contrast.

Vignetting is minimal and not intrusive.

 

Aperture Vignetting f/1.2 -1.4 f/1.4 -1.2 f/2 -1 f/2.8 -0.6 f/4 -0.6 f/5.6 -0.6 f/8 -0.6 f/11 -0.6 f/16 -0.6

 

Sigma 85mm f/1.2 DG Art Sample Photos Previous Next

 

Sigma 85mm f/1.2 DG Art Aperture range Previous Next

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

 

[HOOK]position_1[/HOOK]

Value For Money

The [AMUK]Sigma 85mm f/1.2 DG Art|Sigma+85mm+f/1.2+DG+Art[/AMUK] lens is priced at £1299.00

A selection of alternatives:

• [AMUK]Samyang AF 85mm f/1.4|Samyang+AF+85mm+f/1.4[/AMUK], £518
• [AMUK]Sigma 85mm f/1.4 DG DN Art|Sigma+85mm+f/1.4+DG+DN+Art[/AMUK], £518
• [AMUK]Sony FE 85mm f/1.4 GM II|Sony+FE+85mm+f/1.4+GM+II[/AMUK], £1799

Competition is a bit thin on the ground, certainly at f/1.2, but the lens does look to be fairly priced.

 

 

Sigma 85mm f/1.2 DG Art Verdict

An 85mm f/1.2 lens is a beautiful thing, with gorgeous bokeh and wafer thin depth of field when required. This is the stuff of wedding photographers, portrait photographers and those involved in any short telephoto photography. The price is high, but the quality is absolutely superb. In fact, it is so sharp that it may be that the portrait photographer will be reaching for a soft focus filter to flatter the sitter who may not have perfect skin. Arguably better, as the choice is there, as there are plenty of subjects that can be enjoyed with the crisp sharpness that is on offer.

In keeping with the defined objectives of the Sigma Art range, an excellent example of the truly classic lens makers' art, with a truly classic focal length. Highly recommended.

 

Sigma 85mm f/1.2 DG Art Pros

• Outstanding sharpness
• Virtually no distortion
• Very low CA
• Very resistant to flare
• Fast and very accurate AF
• Weather resistant
• Beautiful bokeh
• Modest vignetting

 

Sigma 85mm f/1.2 DG Art Cons

• Could usefully focus closer

 

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4.5|R_performance=5|R_value=4|R_overall=4.5|A_level=4.5|A_text=Highly Recommended – Beautiful results, especially for high-class portraits and social photography.|E_id=8027[/REVIEW_FOOTER]

.borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; } .borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; }

 

Proudly made in Aizu, Japan, Sigma now introduces a new option in standard full-frame zoom lenses, with Sony FE and L-mount versions available. The Contemporary range aims to offer compact and lighter lens options, most suitable for photographers who seek a lighter kit for travel in particular. The construction methods used may well be lighter, with increased use of plastics, but quality of results is still the aim and this has proved to be consistently true.

The 20-60mm f/2.8-4 DG is the most compact of the standard full-frame lenses on offer, so for those who wish to avoid lugging around significantly heavy gear, but without compromise on quality, then this looks like a strong contender. Armed with the 42MP Sony A7R III full-frame mirrorless body, let's see if the lens lives up to its promise.

 

Sigma 20-60mm f/2.8-4 DG Contemporary Handling and Features

As always, the lens is extremely well finished and looks good. It balances beautifully on the Sony A7R III, weighing in at a modest 375g (Sony FE version) or 385g (L mount version). Dimensions are 72.2mm x 88.0mm (FE) or 72.2mm x 86.0mm (L mount).

 

 

There is a provided petal lens hood that bayonets cleanly into place. It fits positively and does not need a retaining catch to hold it in place. Within the bayonet fit for the hood is a conventional 67mm filter thread. The front element of the lens has a special coating to repel oil and water and the whole lens is splash- and dust-resistant. This is not the same as waterproof, and Sigma describes the sealing as enabling use in harsh environments. 

Moving down the lens barrel, first up is the zoom ring. This does physically extend the lens, but it is also smooth and even in action. Focal lengths are clearly marked at 20mm, 24mm, 28mm, 35mm, 50mm and 60mm. Behind this is the manual focus ring, and that's it for controls. 

AF is driven by an HLA actuator, standing for “High Response Linear Actuator”, and is fast, accurate and virtually silent. The size of the lens is compact and this is in part through innovations in internal design. For example, a single zoom cam moves three lens groups for increased space efficiency.

 

 

Closest focus depends on the focal length:

• At 20mm, 20cm and 1:5.7
• At 24mm, 16.4cm and 1:3.3
• At 28mm, 15.8cm and 1:2.6
• At 35mm, 16.4cm and 1:2.3
• At 50mm, 20.8cm and 1:2.6
• At 60mm, 25cm and 1:2.9

This demonstrates well one of the advantages of modern zoom lenses – extremely close focus and high levels of magnification. This lens approaches half life size at 35mm, which is almost a macro lens. As the drawing of the lens (distortion) is also very accurate, this makes for an even more versatile optic.

Optical construction is a lens of 15 elements in 6 groups, including 3 Aspherical and 3 SLD (Super Low Distortion). With videographers in mind, the design features minimal focus breathing.

 

 

There are a couple of caveats regarding handling. Firstly, there is a magnet within the lens, and Sigma recommends that caution is observed with pacemakers and also with any magnetic data such as that held on credit cards. Such items should be kept more than 2 inches away from the lens. Secondly, there is some zoom creep when the lens is pointed downwards. This makes copying documents a bit tricky as the lens does not stay at one zoom setting but slowly settles downwards. Holding the lens during the exposure does solve that problem, at the expense of perhaps nudging the camera and lens during the exposure and causing movement. A spot of tape to temporarily hold the lens could also be a solution. However it is dealt with, the end result is excellent and making copies yields good results.

In general use, which is where the lens is aimed, handling is impeccable and it makes a great travel companion that can cover just about all eventualities.

 

 

Sigma 20-60mm f/2.8-4 DG Contemporary Performance

At 20mm, central sharpness is excellent at f/2.8, outstanding from f/4 to f/8, excellent at f/11 and f/16 and very good at f/22. The edges are very good from f/2.8 to f/11, good at f/16 and fair at f/22.

At 35mm, central sharpness is outstanding from f/3.5 to f/5.6, excellent from f/8 to f/16, very good at f/22 and fair at f/29. The edges are very good at f/3.5 and f/4, excellent from f/5.6 to f/11, very good at f/16, good at f/22 and fair at f/29.

At 60mm, central sharpness is excellent from f/4 to f/11, very good at f/16 and f/22 and fair at f/32. The edges are very good at f/4 and f/5.6, excellent at f/8 and f/11, very good at f/16, good at f/22 and fair at f/32.

This is an amazing result, of the highest calibre.

Distortion is not a problem and the lens is very suitable for critical architectural photography. Some distortion can be measured, +0.01% pincushion at 20mm, -0.24% barrel at 35mm and +0.24% pincushion at 60mm. This is insignificant and clearly lens and camera are both contributing to this excellent result.

 

Sigma 20-60mm f/2.8-4 DG Contemporary MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a 42MP Sony A7R III body using Imatest software (www.imatest.com). Want to know more about how we review lenses?

 

CA is tightly controlled in the centre and although there is a higher reading at the edges, for most subjects colour fringing is not obtrusive. Further correction could be made in software if required.

 

Sigma 20-60mm f/2.8-4 DG Contemporary Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence, they usually cost more.

For this review, the lens was tested on a 42MP Sony A7R III body using Imatest software (www.imatest.com).

 

Bokeh is impressively smooth and offers an attractive backdrop to the main subject. This is ideal for portraiture and flower photography.

Flare is virtually banished and it is almost impossible to generate any artefacts, no matter how severe the lighting.

Vignetting results are much better than most zoom lenses, especially those that are as wide as this one. It is only noticeable to any degree wide open at 20mm, and even here some gentle vignetting can look very attractive in the final image.

 

Aperture 20mm 35mm 60mm f/2.8 -2     f/3.5   -0.7   f/4 -1.4 -0.6 -1 f/5.6 -1.1 -0.6 -0.8 f/8 -1 -0.6 -0.6 f/11 -0.8 -0.6 -0.5 f/16 -0.8 -0.6 -0.5 f/22 -0.8 -0.6 -0.5 f/29   -0.6   f/32     -0.5

 

Sigma 20-60mm f/2.8-4 DG Contemporary Sample Photos Previous Next

 

Sigma 20-60mm f/2.8-4 DG Contemporary Aperture range Previous Next

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

 

[HOOK]position_1[/HOOK]

Value For Money

The [AMUK]Sigma 20-60mm f/2.8-4 DG Contemporary|Sigma+20-60mm+f/2.8-4+DG+Contemporary[/AMUK] lens is priced at £749.00

This is the widest of the small standard full-frame zoom lenses as well as being the most compact.

Alternatives might be:

• [AMUK]SK Samyang AF 24-60mm f/2.8 FE|SK+Samyang+AF+24-60mm+f/2.8+FE[/AMUK], £476
• [AMUK]Samyang 24-70mm f/2.8 FE|Samyang+24-70mm+f/2.8+FE[/AMUK], £824
• [AMUK]Sony FE 24-70mm f/2.8 GM II|Sony+FE+24-70mm+f/2.8+GM+II[/AMUK], £1899
• [AMUK]Sony FE 20-70mm f/4G|Sony+FE+20-70mm+f/4G[/AMUK], £1233

The VFM equation shows the new lens off very favourably, especially considering the excellent performance.

 

 

Sigma 20-60mm f/2.8-4 DG Contemporary Verdict

This is a great combination of a lens that is light and compact, delivers great results and handles beautifully. There are, as mentioned, a couple of small points such as the zoom creep, but overall a near faultless experience. The price is also right, and Sigma has hit the spot again with a cracking good lens that is well within realistic reach.

This will suit those who like wide-angle photography, 20mm being right in the area of ultra-wide. That it extends beyond the usually accepted 50mm standard, right up to 60mm is an added bonus. Whether covering social photography, landscape, travel, events, street or even portraiture, these areas all fall within the capability of 20-60mm. Add the high levels of sharpness and the other excellent technical results to the versatility and weather sealing and we definitely have here an Editor's Choice.

 

Sigma 20-60mm f/2.8-4 DG Contemporary Pros

• Excellent to outstanding central sharpness
• Modest vignetting
• Weather resistance
• Low flare levels
• Virtually rectilinear (no distortion)
• Smooth bokeh
• Close focusing
• Excellent construction standards
• Great VFM

 

Sigma 20-60mm f/2.8-4 DG Contemporary Cons

• Some edge CA
• Some zoom creep when pointing lens down

 

 

[REVIEW_FOOTER]R_features=4.5|R_handling=5|R_performance=5|R_value=5|R_overall=5|A_level=5|A_text=Editor's Choice – The widest and smallest ultra-wide to standard zoom for Sony FE and L mounts delivers outstanding results.|E_id=8027[/REVIEW_FOOTER]

.borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; } .borders { border: 1px solid #ccc !important; border-collapse: collapse; } .borders td,.borders tr { border: 1px solid #ccc !important; }

Sigma has announced the Sigma 20-60mm f/2.8-4 DG | Contemporary, a compact full frame zoom for L-Mount and Sony E-mount cameras. The lens covers a range from an unusually wide 20mm through 60mm while keeping its weight to 385 g in the L-Mount version. 

The new lens will be available beginning October 6, 2026, with a suggested retail price of $849. Sigma is positioning it as a general-purpose option for photographers and hybrid creators who want a wider starting point than is typical of standard zooms without moving to a dedicated ultra-wide zoom.

[Read More]

Sigma has announced the Sigma 85mm F1.2 DG | Art, a new large-aperture portrait prime for full frame mirrorless cameras. The lens will be offered in L-Mount and Sony E-mount versions, with a planned launch on October 6, 2026, at a suggested retail price of $1,599. 

The 85mm is Sigma's third f/1.2 prime designed for mirrorless systems, joining its 35mm and 50mm options. Its combination of an 85mm focal length and f/1.2 maximum aperture places a clear emphasis on portraiture and other applications where subject isolation and low-light performance are priorities.

[Read More]

A few months ago, Nikon teased that its journey into cinema products would extend beyond camera bodies into the realm of lenses. Well, today, we learned a bit more about what shape those optics will take. 

In the way that it has deployed with its last few product launches, Nikon is enjoying the mystery of the whole thing. So we don’t know everything yet. But we do know a few new numbers. The first number is in the name.

[Read More]

For some Nikon ZR users, Christmas will come a little early this year as Nikon has laid out a clear roadmap for its upcoming firmware updates in 2026 and beyond. 

[Read More]

    1. What Does Graphic Mean?

A landscape that's considered graphic can feature lines, curves, obvious shapes and distinctive contrast from either colour, shadows or reflections. It may be a long list but graphic landscapes are something you can find just about anywhere if you take the time to look. Instead of looking at a city scene, for example, as roads and buildings see it as straight, strong lines and shapes. Throw strong shadows into the mix and a few spots of interesting colour and you’re well on your way to creating a graphic shot.
 

2. Shadows And Highlights

Strong light can add emphasis to shapes and help cast shadows which work well in graphical style shots. Using shadows to your advantage works particularly well on metalwork and buildings but can be used in nature too, especially if you have a bird’s eye view of a scene.

 

 

3. Strong Lines And Contrasting Colour

As already mentioned, strong shapes such as hills overlapping create great graphic landscapes particularly if they differ in colour. Misty, hazy or cloudy days can be good for exaggerating the shapes and while an interesting overlapping background can strengthen the effect, low rolling hills can easily work as well as mountains, so many locations are suitable.

 

4. Change The Ordinary Into The Extraordinary

Look at the ordinary and play with the composition so the viewer doesn’t realise what it originally was. A close up of a rock face, for example, that had deep shadows along the ridges created by the high sun will work well.

 

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

By May 1840, a mathematics professor in Vienna had finished a lens before a single piece of glass had been ground for it. Petzval worked the design out on paper, with a squad of army computers grinding through the arithmetic under his direction, and the result gathered roughly 20 times more light than the lens sitting on the front of a typical daguerreotype camera. A few portrait studios were open by then, working with mirror cameras and bromine chemistry. The industry that followed ran on Petzval's design for the next 40 years.

 

[Read More]

Night photography along the coast: it's evocative, eternal, calming—and surprisingly easy. While many of us enjoy hiking miles into the wilderness, you can create alluring night photos just steps from the car, right at the water's edge. Lighthouses, moonlit water washing over tide pools, and historic piers: the coast offers more night photography subjects than you might expect. Cape Cod or Cambria, the coastlines are already calling you.

 

[Read More]

Fifteen years of hauling heavy DSLRs around the world can leave you wishing for something you can carry all day without noticing the weight. A small full frame body paired with a compact prime now delivers most of what those older bricks did, and that shift changes what serious travel photography can look like.

 

[Read More]

Photo by Joshua Waller

 

1. What Is It?

Environmental portrait photography has nothing to to with global warming or looking after the planet. It is all about photographing your subject in their natural environment. This can be anywhere from where they work, where they live, or anywhere where they like to spend their time. It is all about portraying something of the character of your subject through where they are in the photo.

 

2. Find A Location

It can be difficult to set up a shot properly with environmental photography. But persevere until you find the perfect location for your subject, and you will be rewarded. So how is the perfect destination for a shot found? Firstly, you have to get to know your subject. You need to find out what they like to do in their spare time, what their hobbies are, where they enjoy going etc. When you know this, you can then add together what you have found out to place them in their own perfect photographic location, which also portrays who they are as a person. Think of it as a candid shoot with a studio approach when it comes to some of your shooting and the setting up of the scene.

 

3. Backgrounds

There should be some background detail, to add character to a picture, but not so much that it overpowers the presence of the person in the shot. The idea behind this method of photography is that the background subtly adds to the feel of the portrait yet does not become the main feature. If you find the background to be too distracting, try using a wider aperture to blur the background so you can still make out what's there but the eye is immediately drawn to the person instead. You could also try cropping the shot when you're back at your computer or simply move your subject to a place where the background isn't so distracting. Remember, you want your location to relate to your subject and add interest to the shot without actually pulling attention away from your main point of focus.

 

4. What To Wear

You want your subject to be relaxed and comfortable so don't dress them in something that will make them uncomfortable. Keeping their hands busy is a good way to distract them so bring along some props, so long as they fit the theme and don't distract the viewer's attention too much.

 

5. How To Pose

Posing your subject but still getting them to look natural so it looks almost candid takes some work but with directions and guidance from you, your subject should find a pose that works in no time. Try to make them as relaxed as possible as any tension will be visible on their face. A simple chat will help ease their worries so you're then free to ask them to create whatever expression suits the scene you're working with.

This technique can be challenging at times, but once you get used to the methods of taking environmental photos, you will love the results it gives you. A lot of photographers love it because it is more than a picture, it's an insight into someone's personality and life. Why not have a go yourself, and see what amazing and expressive results you can achieve?

 

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

[COMMENT_IMG]direct|154993|154993_1787015423.jpg[/COMMENT_IMG]

 

The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Mike43 (Day 18 - 'Panoramics').

 

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 16

Vignettes

[COMMENT_IMG]portfolio|161002|3922172[/COMMENT_IMG]

 

Day 17

Silhouettes

[COMMENT_IMG]direct|44488|44488_1786961559.jpg[/COMMENT_IMG]

 

Day 19

'Blue' Theme

[COMMENT_IMG]direct|348899|348899_1787131117.jpg[/COMMENT_IMG]

 

Day 20

Beach Huts In The Landscape

[COMMENT_IMG]direct|139688|139688_1787339806.jpg[/COMMENT_IMG]

  Day 21

Nature In The Summer

[COMMENT_IMG]portfolio|349762|3938697[/COMMENT_IMG]

 

Day 22

Insects

[COMMENT_IMG]direct|320788|320788_1787395944.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. Research

Before you leave your hotel, make sure the market's open and have a quick glance at the weather forecast as it won't be much fun walking around a market when it's raining rather heavy. Although fewer people will venture out to open-air markets when it's wet so you'll have more room to work. If you're going on a market trip that's organised by an excursion company you won't have much say in when you can visit the market. Plan your own trip, however, and you can arrive for when it opens, giving you more room to work and the produce will be fresher which means your shots will look more appetising. If it is really, really busy step back or find a higher spot to work from and shot a few wide shots of the hustle and bustle.
 

2. Be aware of your surroundings

Don't leave your camera bag unattended and if it's really busy, it's a good idea to do the tourist trick of spinning your bag to your front. Yes, you may look a little silly but it's better than finding all of your gear's gone from your bag. Taking a bag that doesn't scream: 'look I'm carrying expensive equipment' is a good idea too. 

It's important not to get distracted by one particular stall either. Market's are generally big places and they'll be more than one location that's worth getting your camera out of its bag for.

 

 

3. Light Source

As most markets you find on your travels will be outdoors you'll need to watch your exposure as the contrast between a stall which will probably be undercover and the open space around can change drastically. As a result, your camera will see the bright surroundings and underexpose the shot, making the stall appear a lot darker than it actually is. You may find using the exposure lock function and then re-composing as necessary should fix the problems that may occur. If you're indoors exposure shouldn't be a problem but you will need to watch your white balance to make sure the lights aren't tinting the tone of your image.

When it comes to flash, it's best to avoid using it, particularly as you most likely will only have the one that's built into your camera and the harshness of it can ruin the atmosphere of the scene you're trying to capture. You're better off just using a slightly ISO and getting the monopod out if you have problems with shake.
 

3. Wider Shots

Stepping away from the cover of the stalls to somewhere higher up, if possible, will give you the chance to shoot some shots that establish exactly where you are. If it's in a square surrounded by buildings try and get these in your shot and use the long lines created by the stalls to lead the eye through the image too.

4. Close-Ups

The beauty with markets is the stallholder wants to sell their products so usually they present them well, which means all you have to do is take the shot. Look out for colours that complement each other, interesting patterns and the textures on offer in the products on display.
 

5. People

If you want to shoot portraits always ask before you take your photos, be polite and don't get in the stall holder's way. If they say no don't argue and keep pushing as this will only annoy them and you'll probably find someone else will be more than happy for you to take their photo on another stall. If you're finding communication's a problem a big smile and holding your camera up can often get your message across quite easily.
 

 

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

Most Iceland landscape work you scroll past now was made from the air, with wide drone panoramas that flatten an entire river system into a single graphic. Shooting the same terrain from the ground with a very long lens flips that habit and forces a different kind of seeing.

 

[Read More]

 

Three barn owls photographed in a stone opening have won this week's POTW award. The image, called 'Three's a crowd' by ePz member KBan,is a neatly arranged photo where three barn owls sit squeezed together inside an opening in an old stone wall. The soft white and tan feathers of the birds contrast nicely with the rough, rustic stonework.

The tight fit gives the photo a cute family feel, with the middle owl tucked between the two larger owls. Overall, it is a clean composition that captures a fun wildlife moment set within the stone opening.

Every Photo of the Week (POTW) winner will be rewarded with a Samsung 128GB PRO Plus microSDXC memory card with SD adapter, providing top-tier storage for all your creative needs across multiple devices. But that's not all! In January 2027, we'll crown our 2026 Photo of the Year winner, who will take home the ultimate prize of a Samsung Portable 1TB SSD T7 Shield, courtesy of Samsung. It’s time to shoot, submit, and showcase your best work for a chance to win these incredible rewards!

Want to be our next POTW winner? Just upload an image to our gallery where you'll also find all of our past POTW winners. See the terms and conditions for more information.

The camera in your bag right now, the one built for sweeping vistas, might already be a capable wildlife machine. Landscape and wildlife shooting used to demand two completely separate kits, but that line has blurred to the point where the same body and a long zoom can do both jobs well.

 

[Read More]

Two photos of the same subject, shot by the same person with nearly identical gear, can read completely differently: one holds your eye instantly, and the other leaves you scanning corners for something to land on. That gap comes down to a single skill, and once you name it, you start seeing it everywhere in your own work.

 

[Read More]