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When you first think of transport photography you probably think of cars but trains, boats and planes are just as interesting and with the right planning, can be photographed. In this article, we list popular transport photography tutorials and offer a few tips on the gear you may want to consider using.

 

Photographing Cars - Gear Choices & Our Top Tutorials 

 

A standard lens is fine as you can move around the car to alter the angle and position. You'll also want to use a polarising filter to reduce reflections just remember shutter speeds will be slower so you may want to use a tripod.

• Five Ways To Take More Creative Shots Of Cars 
• How To Photograph Your Car Successfully 
• Tim Wallace's To Car Photography Tips

  Photographing Boats - Gear Choices & Our Top Tutorials 

 

A standard zoom of the 35-80mm range is fine, although you may prefer a longer lens 80-200mm if the boat is further away. Make sure you use a polarising filter to reduce reflections/deepen blue skies and pack a tripod but if you plan on taking your shots at the coast or will be walking along a canal for a lengthy period of time, a light-weight tripod that still offers good rigidity will be easier to carry, particularly after you've been walking for a while. 

• Everything You Need To Know About Boat Photography
• How To Take Good photos From A Boat
• More Boat Photography Tips 
   

Photographing Trains  - Gear Choices & Our Top Tutorials 

 

A lens with a focal length between 50mm and 100mm is ideal. Better still, use a zoom lens with a range that covers 28-105mm so you don't have to waste time changing lenses. For shots away from stations, use a tripod with a pan head to follow the train and on the platform use a monopod as they can get busy and you don't want to get in anyone's way.

• Steam Railway Photography Guide 

  Even More Top Transport Photography Tips 

 

If you want even more transport themed photography advice, we have 10 more top tips to help you take better photos of trains, planes, cars and other modes of transport.
 

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When you accidentally remove the RAW photos, they're not totally lost but still on your camera's SD card, not showing themselves. With the right RAW image recovery tools and a little patience, you can get them back.

Here's what you need to know: how RAW photo recovery actually works, what causes files to disappear, and the smartest ways to bring those photos back - no matter what camera or storage device you're using.

 

 

Can You Recover RAW Photos from a Camera

 

Yes. Most times, it is possible to retrieve RAW images from a camera - if the files have not been replaced by newer recordings. Recovery depends on whether fresh media has written over the original data.

Deleting a RAW image or wiping a memory card entirely does not erase it instantly. That space gets flagged as "available" - yet the photograph remains hidden underneath. Only once new data moves in does it truly disappear.

Data recovery software like EaseUS Data Recovery Wizard takes advantage of this. It scans your camera memory card (whether it's an SD card, CF card, whatever), then looks for the unique signatures of RAW files like CR2, NEF, or ARW. With some luck, it can pull those deleted photo pieces back together and let you recover them entirely.

 

Common Reasons People Lose RAW Photos

 

Knowing how you lost your photos makes recovery a lot easier. Here's what usually happens:

• Accidentally delete files sometimes right from the camera or on your computer.
• Formatting the memory card wipes out everything fast, whether it's a quick format or a full one. 
• If the SD card or its file system gets corrupted, it often becomes unreadable, appears as "RAW," and locks you out. 
• If you remove the camera card without safely ejecting it on a computer, it can easily mess things up.
• Cameras show errors like "Card not formatted" or "Cannot read card," and that's never a good sign. 
• Viruses or malware sometimes sneak in when you use the card on different devices.
• Suddenly powering down while taking or saving RAW photos just leaves you with incomplete files.

 

Common RAW Photo Format by Camera Brands

 

Different camera manufacturers use proprietary RAW formats. A reliable recovery method must support all major types.

Popular Camera Brands & Their RAW Formats

• Canon: CR2 / CR3
• Nikon: NEF
• Sony: ARW
• Fujifilm: RAF
• Panasonic: RW2
• Olympus: ORF
• Leica: DNG
• GoPro: GPR

Camera Types Covered

• DSLR cameras
• Mirrorless cameras
• Compact digital cameras
• Action cameras

RAW files are slightly more complex to recover, but modern tools can handle them effectively.

 

How to Recover RAW Images from Digital Cameras

 

When you accidentally lose RAW photos from your camera, don't panic. The best way to get them back is with a reliable data recovery program, and EaseUS Data Recovery Wizard is one of the top choices.

This professional RAW image recovery tool handles almost all RAW formats like CR2, NEF, ARW, RAF, and DNG. Whether you're using an SD card, microSD, or CF card, the software works across the board. It recovers files from formatted cards and even from corrupted (RAW) SD cards.

Follow these steps to recover deleted RAW photos from the camera:

Step 1. Open the camera, remove the memory card gently. Connect it to the computer using a compatible reader device. Wait for the system to recognize the storage unit before proceeding.

Step 2. Begin by opening the EaseUS Data Recovery Wizard. Once active, locate the storage device from the available drives. Choose the memory card shown in the menu. Proceed with initiating a scan. The process begins after selection is confirmed.

Step 3. As the scan runs - or once it finishes - narrow outcomes using file categories to locate your CR2, NEF, ARW, or any required RAW format. Focus shifts here naturally when sorting begins.

Step 4. Now preview the available files, picking only those pictures you need before starting recovery. To avoid complications, store them on a different drive instead of using the initial memory card again. A new location reduces risk - simple choice, a better outcome.

 

 

 

Alternative Ways to Restore Missing RAW Photos from Cameras

 

You don't always need professional camera recovery software to restore missing RAW photos from camera SD cards. Here are a few other options that sometimes do the trick:

 

Restore from Backup

If you're good about backing up your photos, you're in luck. Just check wherever you usually store your backups, maybe it's Google Drive, Google Photos, iCloud, Dropbox, an external drive, or a NAS. Restoring from a backup is by far the easiest way, as long as you actually made one before your photos disappeared.

 

Try Built-in Backup & Recovery Tools

Windows has File History, and Macs have Time Machine. If you set them up beforehand, you can pull lost files right from there. Just remember, these tools won't help if you never turn them on.

 

 

Deal with a RAW SD Card (After Recovery)

If your SD card suddenly shows up as RAW, save your files first. Use recovery software to grab your data, then go ahead and repair the SD card; something like CHKDSK can help on Windows.

 

Conclusion

 

Most photo recovery works best when you move fast, especially with RAW images straight from your camera. EaseUS Data Recovery Wizard handles such RAW formats well, making restoration smoother if you move fast after data loss.

To improve your chances of recovering lost RAW images:

• Immediately cease operation of the memory card or storage device.
• Use trusted recovery software.
• Keep regular backups.

If you follow these tips, you'll protect your photos and spend less time stressing over lost RAW images.

 

Camera RAW Photo Recovery FAQs

 

1. Can I recover RAW photos after formatting an SD card?

Recovered RAW images remain possible after formatting if new information has not overwritten the old ones. File structure links vanish during formatting; however, underlying data often stays intact initially. Tools that support deep scan may detect and rebuild lost photographs. Acting quickly increases the chances significantly.

 

2. Why does my SD card show as RAW?

A RAW SD card means the file system is corrupted or unrecognized by the operating system. This can happen due to improper ejection, a virus attack, or a sudden power failure. In this state, the card becomes inaccessible, but the data may still be recoverable. You should recover files first before attempting any repairs.

 

3. Can permanently deleted RAW photos be recovered?

Yes, even permanently deleted RAW photos can often be recovered using advanced data recovery software. These tools scan the storage device for leftover file signatures and reconstruct the files. However, if new data has overwritten the original files, recovery may not be possible. That's why immediate action is critical.

The AI platform trusted by over 100,000 photographers now delivers professional, style-consistent color grading across every clip - directly inside Adobe Premiere Pro or DaVinci Resolve.

 

Today, Imagen Video officially launches out of beta. Imagen, the AI-driven editing platform that has transformed post-production for photographers globally, announced the official launch of Imagen Video at NAB Show 2026. After exiting beta, Imagen Video now offers advanced AI color grading seamlessly integrated into Adobe Premiere Pro or DaVinci Resolve, enabling video editors to enjoy automated efficiency while maintaining full creative control. Attendees can experience Imagen Video live at Imagen's NAB booth, April 18-22.

Color grading has long been one of the most technically demanding and time-consuming stages of video post-production. For editors working across multiple cameras, varied lighting conditions, and tight delivery deadlines, achieving a consistent, professional look can consume hours of manual work per project. Imagen Video eliminates that grind.

By combining AI Profiles trained on professional color styles with full support for custom LUTs, Imagen Video analyzes each clip individually, adjusting for lighting shifts, white balance inconsistencies, skin tones, and camera sensor differences, delivering a consistent, polished baseline grade up to 10 times faster than manual correction, helping editors meet tight deadlines with ease.

 

 

Unlike generic color correction tools, Imagen Video adapts to each editor's individual creative signature. Editors can apply their own LUTs or choose from professionally designed AI Profiles, and Imagen's AI handles the clip-by-clip adjustments needed to keep that look consistent across an entire sequence, empowering editors to stay true to their vision regardless of camera or lighting changes.

"Color grading is where a project either comes together or falls apart. And for most editors, it's also where hours disappear. We didn't build Imagen Video to replace the editor's eye. We built it to handle everything that doesn't require one: the technical corrections, the clip-by-clip adjustments, the camera matching. Imagen Video is the co-pilot every editor deserves; it handles the technical work, so you can stay focused on the creative," said Yotam Gil, co-founder and CEO of Imagen. 

The results are already speaking for themselves. Tyler Hergott, an interior design videographer, put Imagen Video to a direct test against his own manual grade: 

"I sent the client three versions: one converted through Adobe, one with my own manual color grade, and one color-graded by Imagen. I didn't tell her which was which. The designer selected the Imagen-graded version," says Tyler, interior design videographer.

One of the most common and costly pain points for event, wedding, and documentary videographers is matching footage across multiple camera bodies. Even cameras from the same manufacturer can produce shots that look noticeably different when cut together. Imagen Video's AI automatically harmonizes footage across sensors, lenses, and ISO settings - delivering a unified sequence without requiring editors to leave Premiere Pro or DaVinci Resolve.

"I'll shoot interviews with two or three cameras - all Sony, using Sony glass - but they never match perfectly. It's really hard to get them to match when cutting back and forth. Imagen does it flawlessly. I can't see going back to my old way of doing things," says Joe, a non-profit and event videographer.

 

 

Imagen Video runs natively in Adobe Premiere Pro and DaVinci Resolve, so editors can stay in their existing workflow from first cut to final grade. There is no round-tripping, no file export, and no separate application to manage, ensuring a smooth transition that respects their established process and expertise.

Within Premiere Pro or DaVinci Resolve, editors can apply their own LUTs or select from AI Profiles trained on professional color styles. From there, Imagen handles the technical layer automatically: correcting white balance and matching footage across different camera sensors and lenses so that editors can focus on the creative grade rather than the corrective one.

Imagen Video is available now as a full release, with comprehensive support and training resources to help users maximize its features. Detailed pricing and plan information are available at imagen-ai.com. 

 

About Imagen

Imagen is the personal AI platform for professional photographers and videographers. The pioneer in AI-powered photo editing since 2020, Imagen helps over 100,000 photographers worldwide save time on editing, reduce costs, and deliver consistent, professional results at any scale. During beta, thousands of video editors graded hundreds of projects on Imagen Video, validating its performance across real-world workflows before today's full release. The platform serves studios, agencies, and independent professionals across weddings, events, schools, sports, and commercial photography and videography. For more information, visit imagen-ai.com.

Wildlife photography is often associated with iconic species such as lions on the savannah, elephants crossing golden plains, or bears roaming in areas like Yellowstone National Park. These adventures are extraordinary, but they are also expensive and not always accessible to beginner photographers. 

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The Pentax K-3 Mark III was officially discontinued in Japan in January 2025. The Monochrome variant has been more complicated: B&H's original black Monochrome listing is now marked "No Longer Available," though it points buyers to a current matte-black Monochrome listing still shown as in stock. After roughly four years of production, the K-3 Mark III is being phased out in stages rather than discontinued cleanly, and the last major APS-C DSLR from a major manufacturer is winding down. By the standard industry narrative, this should be the end of the story. DSLRs are dead.

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Photojournalism and documentary work demand a different relationship with gear than most photography does, and Jorge Delgado-Ureña, co-founder of the Raw Society, has spent nearly two decades figuring out exactly what that relationship looks like. 

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If you want an interesting challenge, head out with your camera and search for numbers and letters or better still, objects that look like numbers and letters. You'll be impressed with how many you'll actually find and when they're put together they can make an interesting panel to hang on your wall. All you need is your camera, a good imagination and some decent weather!

 

What Can I Photograph?

If you're looking for ideas, a lighthouse can be used as a number one, chimneys can look like a number 11 and a traffic light can be a 3 or and E depending on the direction they're facing.

When we say photograph numbers/letters, you can take this literally or you could put your imagination to the test and look for them in places other people wouldn't think to look.

If you have a door number start with that then take a walk up your street and into your town snapping shop signs, adverts and road signs. Make sure you fill the frame with what you find and watch out for reflections and glare bouncing off shiny door numbers.

 

More Ideas 

When you're ready to give your grey cells a bit of a work out start looking for objects that look like numbers and letters. You may need to stand and imagine what the object looks like flipped the other way or crop into a part of it to get the number you're looking for but with a little work with your imagination, you'll soon be on your way. Make sure you take a quick look at what's surrounding your subject as a busy background won't make the number jump out of the frame. Try using a large aperture to throw the background out of focus leaving all attention on your object.

 

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That yellow warning icon in Lightroom isn't just a minor annoyance you can ignore. It's telling you something specific about the order in which your AI edits were applied, and clicking "update" without understanding what's happening can quietly change your image in ways you won't notice until it's too late. 

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A wonderful candid monochrome portrait, Two Old Boys from Daisymaye, is one that is well worth a closer look.

The image features two older gentlemen, both wearing caps and sunglasses, looking off into the distance in what feels like a quiet and natural moment between friends. The subject nearest to the camera is sharp and detailed, while his companion softens gently out of focus behind him, producing a fine sense of depth within the frame.

The monochrome treatment is a very fitting choice, removing all distraction and letting the mood, the detail, and the character of the scene come through with great clarity. It is a fine and thoughtful piece of candid photography.

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!

Pinhole photography strips the camera down to almost nothing: a box, a hole, and light. Most pinhole cameras are exactly that simple, but the Mania, handcrafted by German woodworker and photographer Ralph Mann, is a modular wooden pinhole system that pushes what a camera without a lens can actually do. 

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Choosing between a 24-70mm and a 70-200mm zoom is one of the most common lens decisions you'll face when building a kit. Both are professional staples, both are genuinely useful, and neither obviously replaces the other. 

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1. Gear Suggestions

Your normal kit is fine for many shots, but if you can't get close you will find that the telezoom might be worked harder than your wide-angle or standard zoom. Because the sky will almost certainly feature in your compositions, you should find room in the camera bag for a polariser. A warm-up would be handy too.

If you're taking shots inside a lighthouse there may not be room for a tripod, however, there should be plenty of room for a support outside it. Something light-weight will be easier to manage than a heavier model, especially when walking upstairs with it in or fastened to your bag. Talking of bags, as space could be tight, you want a bag that's easy to access and doesn't take up too much room. 

 

2. What Time Of Day Is Best? 

At this time of year, the light can be quite harsh and as most lighthouses are white (and red or black) the high contrast can be a real nightmare. On really bright sunny days, you might be best advised not to waste your time until the sun is shielded by some cloud or just waiting until later in the day. Obviously, much depends on how much time you have to hang around.

Lower, warmer light will undoubtedly give a more attractive end result and you and enhance that warmth with a warm-up filter while a polariser will enrich a blue sky. Late in the day and exposing for a brightly lit structure you might find that a saturated sky will result anyway so keep an eye on the preview image.

 

 

3. What Detail Will I Find? 

Zooming in with a telephoto and picking on detail is fun to do, although if you shooting externally you might find that there is precious little detail to enjoy apart from a few windows. If you are on a tour visit you have more opportunities – except that you might not have that much time and space because of being in a group. Shoot quickly in this instance and do your best to crop out fellow visitors.

Other techniques to try might be to shoot sections of the lighthouse for a 'joiner' image when you get home to the computer. You could also shoot a vertical panorama and merge the images during post-production. For a vertical stitch, you probably need to be further back with the telephoto to get a straight-on perspective rather than angling the camera upwards.
 

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The UK's coastline has many lighthouses which are worth a visit with your camera. Some are open to the public and are definitely worth exploring, but here we discuss using lighthouses within the wider landscape.

 

1. What Kit? 

Take your camera and all your usual lenses and you will not go far wrong. You may find a camera with a smaller body more useful as they can be often fit in jacket pockets or if you prefer to carry your gear in a bag, it'll take up less room leaving space for a flask of tea and your packed lunch! 

A tripod is needed if you intend getting there early or staying in late. Other than that, it is perfectly fine to shoot handheld. Filters are also definitely worth packing, especially the polariser that can be used to cut-down glare to enrich colours and saturate blue skies.

In terms of lenses, wide-angle and telephotos are equally valid. Wides let you use more of the foreground while telephotos let you pull in detail and are also excellent at putting the lighthouse within its environmental context.

 

 

2. Do Your Research 

If you're looking for lighthouses have a look at the Trinity House website for more information and locations close to you. Have a look at where other photographers have visited too, plus a quick online search will find you visitor information as well as GPS coordinates and directions quickly.

Use your feet! Walking around your subject is always advised and is especially effective with using lighthouses. That way you can put your subject into context of the beach or town that the lighthouse is situated.

 

 

3. Time Of Day & Weather

Many lighthouses are still in use so a good time to shoot them is at dawn or at dusk when there is colour in the sky and the lighthouse's lamp is on. Do remember the lamp will be considerably brighter than the whole scene and you can end up with a light that's overexposed if you don't meter correctly. 

At this time of day, there's not much light around so you will need the tripod and a remote release. If you set a sufficiently slow enough shutter speed you will get a complete rotation of the lamp.

Low light and stormy skies shouldn't be overlooked either, particularly if you can capture the waves crashing against the lighthouse or rocks nearby. 

Lighthouses look photogenic in most lighting situations, but bright sun can be tricky because of high contrast problems – white is a popular lighthouse colour. Bland white skies are also an issue for the same reason. Other than that, get shooting.

 

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

There is a thing Leica does that no other camera manufacturer is willing to do, and it is the thing that makes Leica interesting even to photographers who will never own one. Leica refuses to pretend to be what it is not. 

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Most photography now lives online. In the feed, in algorithms, in a constant stream of images. This is where the idea of what a photographer is supposed to need gets formed. Cheap did not become better. It became sufficient. 

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After testing more than 800 lenses, Christopher Frost has narrowed his personal favorites for portrait work down to three. The picks span a wild range of price points and design philosophies, which makes the list genuinely worth paying attention to. 

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Choosing an everyday carry camera is harder than it looks. You're balancing size, image quality, and price, and most cameras force you to sacrifice at least one of them. 

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Picking up a camera is the easy part. The harder skill, and the one almost nobody talks about, is learning to see what's actually worth photographing in the first place. 

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Pricing your work below what the market can actually bear is one of the fastest ways to stall a photography business, and the problem isn't unique to small towns. Whether you're shooting in a rural county or a major metro, the underlying issue is almost always the same: you're pricing for the wrong client. 

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Before you dig up the humble dandelion, have you ever thought about photographing it? If you haven't, here's a straightforward guide on how you can capture a rather fun and creative image of one without too much effort on your part. You can also create your own backdrops and swap them in and out for an extra level of creativity, too. 

All the photos show above are of the same dandelion taken from the same standing position with the stalk held at arm's length. The starting point was facing down with a green grass background and I then raised my arm towards the sky and took pictures at several positions on its journey.

[HOOK]position_1[/HOOK]

The Set-Up 

1. Pick a dandelion that has a full seed head.
2. Hold it at arm's length in your non-camera hand with it positioned in front of grass (you can use a tripod as this will free both hands, making adjustments easier).
3. With your camera manually set to close focus and held to your eye,  move the dandelion closer to the camera until it fills the frame and is in focus, then take a photo.
4. Adjust the exposure if the dandelion is too bright or too dark. If your camera is automatic take the photo when it's focused.

 

Experiment With Backgrounds

You can repeat the process but positioning the dandelion against different backgrounds. Each shot will look different and no doubt one will be preferred.

Here are just a few of the backgrounds you could use:

• Trees
• Blue sky
• Cloudy sky
• Coloured paper
• Textured walls
• Carpets
• Silhouetted against the sun

 

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