Photography News

Street photography is one of the hardest genres to stay sharp at if you only do it occasionally. Rust sets in fast, and when you're dropped into a busy city with a camera, the gap between what you see and what you capture can feel enormous. 

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Broadcasting an NBA game takes more gear than you'd probably guess, and the skill required to operate it is even more surprising. The broadcast setup for a single playoff game involves dozens of cameras, miles of cable, and a live production that makes Hollywood look slow. 

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Choosing between a budget telephoto zoom and a pro-grade lens isn't always obvious, and the answer depends on more than just image quality. This video makes the case that spending four times more doesn't automatically mean getting four times more usefulness, especially when your shooting style may not demand what the expensive glass actually offers. 

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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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Tamron are producing some very different and exciting lenses, primarily zooms, that do not necessarily follow the norm for focal length ranges. However, they all make sense when the intended applications are defined. This new 35-100mm optic is indeed an unusual choice of range, however, for arts, sports, people and travel photography, it could just be the compact, fast and efficient companion that is needed. Less expensive and more compact than the well liked 35-150mm, there is considerable potential for especially travel and general photography. There is much to be said for travelling light. Let's couple the new lens up with the 42MP Sony A7R III body and see how it fares across various Yorkshire locations, including Whitby, Pickering and Hutton-le-Hole, both in rain and sun.

 

Tamron 35-100mm f/2.8 Di III VXD Handling and Features

First, our tour of the lens, starting with the provided petal lens hood. This bayonets cleanly into place and remains firmly attached even without any locking catch. Within the bayonet fit for the hood is a standard 67mm filter thread, a size that many Tamron zooms have in common. The front element is treated with a Fluorine coating to help repel dust, grease and moisture. The lens is weather sealed and it stood up well to the usual Whitby rain.

This Sony FE full frame version weighs in at a modest 565g. The Nikon Z version weighs slightly more, at 575g. Dimensions are 80.6mm x 119.2mm (FE) and 80.6mm x 121.5mm (Z). 

 

 

The manual focusing ring has just the right amount of resistance, electronic in operation and so, as might be expected, utterly smooth. Behind this is the focus set button and also a three position switch to allocate three custom settings. Closest focus is 0.22m at 35mm, for a maximum magnification of 1:3.3, and 0.65m at 100mm, for a maximum magnification of 1:5.9. AF is driven via Tamron's VXD motor, which stands for Voice coil eXtreme torque Drive. This is virtually silent and locks on with speed and accuracy.

The zoom ring does extend the lens, but is still impressively smooth and does not upset the balance of the camera/lens combination. There are clear and accurate markings at 35mm, 50mm, 70mm, 85mm and 100mm. Whilst it is no doubt true that the range is somewhat narrower than many options, we gain close focusing, a compact form factor and a fast and constant f/2.8 maximum aperture. If the need was felt, then a small prime wide angle could be the most obvious choice for a companion lens. In use, the need for this was not felt and choosing the shooting position appropriately seemed more than satisfactory.

 

 

Optical construction is 15 elements in 13 groups, including 1 XLD (Extra Low Dispersion), 2 LD (Low Dispersion) and 3 GM (glass moulded aspheric). There are 9 blades to the diaphragm and the result is a very well rounded aperture, even when closed down. Tamron's excellent and well proven BBAR-G2 multi-coating is utilised.

There is also a USB-C connection, and as is increasingly the case, this allows the lens to be customised and operated via the Tamron Utility App, for iOS, Android and PC. The PC version allows firmware updates. As well as a cable connection, the new Bluetooth device TAMRON-LINK can be used to connect remotely. This is unobtrusive and may be a more convenient way to connect.

Although designed for Sony or Nikon full frame mirrorless cameras, the lens can also be used on the crop sensor bodies. The “35mm equivalent” would then be 52.5-150mm. This is arguably not as useful a range, but it is technically possible. As it is, the balance of the lens on the Sony A7R III is excellent and the operation is smooth and faultless. For general shooting, it works well and produces some gorgeously crisp, colourful images. 

Now on to the technical tests to see how the lens performs.

 

 

Tamron 35-100mm f/2.8 Di III VXD Performance

At 35mm, central sharpness is excellent from f/2.8 right through to f/11 and remains very good at f/16 and f/22. The edges are excellent from f/2.8 to f/8, very good at f/11 and f/16 and fair at f/22.

At 70mm, central sharpness is excellent from f/2.8 to f/5.6, very good from f/8 to f/16 and still good at f/22. The edges are likewise excellent from f/2.8 to f/5.6, very good from f/8 to f/16 and good at f/22.

At 100mm, central sharpness is very good at f/2.8, excellent from f/2.8 to f/8, very good at f/11 and f/16 and fair at f/22. The edges are very good from f/2.8 to f/8 and fair from f/11 to f/22.

This is a superb performance that is also well maintained even close up. Kudos to Tamron for producing such a well balanced and high quality optic.

 

Tamron 35-100mm f/2.8 Di III VXD 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 Sony A7R III body using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is very impressively under control throughout the range and further correction in software is unlikely to be necessary. There is virtually no sign of colour fringing.

Distortion is very close to zero. Some barrelling can be measured, but the figures are very low, -0.24% at 35mm, -0.09% at 70mm and -0.06% at 100mm.

 

Tamron 35-100mm f/2.8 Di III VXD 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 Sony A7R III body using Imatest.

 

Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, but we know attractive bokeh when we see it. Here we find really very beautiful, smooth out of focus backgrounds, relaxed and natural with not a trace of raggedness. To combine this smoothness alongside the very high degree of sharpness at the focused plane is a skilled trick to carry off, and Tamron's designers seem to be able to hit the spot with consummate ease.

The flare performance is also excellent, clearly the design, internal baffling and coatings are all combining to do an excellent job of suppressing internal reflections. 

Vignetting is very well controlled.

 

Aperture 35mm 70mm 100mm f/2.8 -1.6 -1.3 -1.3 f/4 -1.3 -1.2 -1.1 f/5.6 -1.3 -1.1 -1.1 f/8 -1.2 -1 -0.9 f/11 -1.2 -1 -0.9 f/16 -1.1 -1 -0.9 f/22 -1.1 -1 -0.9

 

Tamron 35-100mm f/2.8 Di III VXD Sample Photos Previous Next

 

Tamron 35-100mm f/2.8 Di III VXD Aperture range 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 [AMUK]Tamron 35-100mm f/2.8 Di III VXD|Tamron+35-100mm+f/2.8+Di+III+VXD[/AMUK] lens is priced at £799.

A few possible alternatives, but with a variety of different specifications. FE lenses are for Sony full frame and Z lenses are for Nikon Z full frame. 

• [AMUK]Samyang FE 35-150mm f/2-2.8|Samyang+FE+35-150mm+f/2-2.8[/AMUK], £854
• [AMUK]Sigma 28-105mm f/2.8 DG DN Art|Sigma+28-105mm+f/2.8+DG+DN+Art[/AMUK], £1399
• [AMUK]Sony FE 50-150mm f/2 GM|Sony+FE+50-150mm+f/2+GM[/AMUK], £3699
• [AMUK]Sony FE 24-105mm f/4 G OSS|Sony+FE+24-105mm+f/4+G+OSS[/AMUK], £899
• [AMUK]Sony FE 24-70mm f/2.8 GM II|Sony+FE+24-70mm+f/2.8+GM+II[/AMUK], £1899
• [AMUK]Tamron 35-150mm f/2-2.8 Di III VXD|Tamron+35-150mm+f/2-2.8+Di+III+VXD[/AMUK], £1599
• [AMUK]Tamron 20-200mm f/3.5-6.3 DG Contemporary|Tamron+20-200mm+f/3.5-6.3+DG+Contemporary[/AMUK], £799
• [AMUK]Nikkor Z 24-70mm f/2.8 S II|Nikkor+Z+24-70mm+f/2.8+S+II[/AMUK], £2299
• [AMUK]Nikkor Z 24-120mm f/4 S|Nikkor+Z+24-120mm+f/4+S[/AMUK], £849

VFM does include price, performance, handling and is not just a question of one of these. Overall, the new Tamron lens looks excellent VFM in all of these different respects.

 

 

Tamron 35-100mm f/2.8 Di III VXD Verdict

The lens acquits itself extremely well as a travel companion and general purpose optic. It can cover events, portraits, small groups, close ups and even maintains its performance when shooting flat text or documents. The offset is, of course, a relatively restricted focal length range, taking us back to the long gone days when 35mm was considered the standard wide angle lens. Wide angle photographers might just look for a different lens, or carry a small, wider prime lens to cover situations where 35mm is just not wide enough. Likewise, at the telephoto end, if it isn't long enough, then perhaps a different choice.

Having said that, as a travel companion that delivers superb quality in a compact package, these things may not in reality be much of an obstacle. This reviewer found the lens to be a very likeable companion and not at all restrictive in terms of focal length. The results were beautiful and obtained without carrying around a mass of kit.

Combining ease of use, value for money, a compact form factor and superb results, the lens has to be an Editor's Choice.

 

Tamron 35-100mm f/2.8 Di III VXD Pros

• Excellent sharpness
• Minimal distortion
• Fast, accurate and virtually silent AF
• Excellent flare resistance
• CA well controlled
• Moisture and dust sealing
• Magnification 1:3.3 at 35mm
• Modest vignetting
• Beautiful bokeh
• Affordable pricing

 

Tamron 35-100mm f/2.8 Di III VXD Cons

• Modest focal length range

 

[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 – A high class performance from this versatile, compact and fast zoom lens, perfect for travel, sports and people.|E_id=8027[/REVIEW_FOOTER]

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Public gardens are bursting at the seams with blooms of colour and as most are free it means you can spend a few hours taking great floral photographs with no extra cost.

Public gardens vary in size and some even attract photographers because they are home to a particular species of flower. When's the best time to visit will depend on what flowers you're trying to capture in your images but generally there's something to capture all year round. Don't overlook photographing topiary, water features, ponds and streams too. 

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What Camera Gear Will I Need? 

When you're heading out the door, make sure you have your camera bag because as well your sandwiches and a flask of tea, you'll also need a few lenses. As you could find yourself changing lenses frequently a sling bag with side access could make it easier and quicker to reach for a particular piece of kit but a camera backpack that's designed to carry several lenses, camera body and accessories will also be fine. 

When it comes to lenses, a wide-angle lens will give you sweeping shots of the colourful gardens while your telephoto will get you close and your macro lens even closer still.

Pack a polariser to stop glare and help enhance the colourful blooms and a reflector will bounce light where it's needed. If it's shade you need your own shadow will work perfectly well but a piece of plain card will also do the trick.

Take a notebook and pen along too as once you're back home all those Latin names will be long forgotten and you'll need to know them so you can title your images correctly.

 

Make Sure You Contact The Garden Staff

If you give the public garden a quick call you'll be able to find out what's blooming and when. You'll also be able to check if there are any restrictions such as: do you need to always stick to the path? Or, can you get close to take a shot of a flower head that completely fills the frame? And, are tripods allowed? If not, you'll need a sturdy hand and very still air to stop blur spoiling your shot. You could also pack a beanbag or use a wall, bench or another type of support that you'll find in the garden.

 

 

What's The Best Time Of Day?

Make sure you arrive early as the light's better, there's less chance of breeze and there will be fewer people to get in the way of your shot.
 

What Type Of Images Can I Take? 

It's very easy to be lazy in a public garden and stay in one place but there's lots of space and plenty to see so make sure you take advantage of that.

Change your focal length, create a different angle and move your point of view. Use a wide-angle to establish where you are but then move in closer for frame-filling shots that burst with colour and detail. Think out of the box a little and be different if you can. Set your camera up on a tripod (if allowed) and shoot a time-lapse series of a bud opening or find some plants which are dying to give your flower photography a different slant.

Look for paths that will draw the eye in and gateways that will frame your shot. These patterns and props are fun to look for but if you ask the garden's staff or do a quick search online you'll soon find a few tips that point you in the right direction as well.

 

 

How To Deal With Wind & Shake

As with all types of flower photography, the wind is your enemy (that's unless you want to create blur of course). A tripod will help reduce camera shake when the wind's blowing and a cable release or the camera's self-timer will also help you take a steady shot. If tripods aren't allowed you'll just have to sit and admire the garden until the wind stops blowing. You could hold the flower steady with a piece of wire but this might be frowned upon so check first.

 

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

The humble "Nifty Fifty." Many of us own a fast 50mm. However, for some reason, we almost always reach for the ultra-wide angle lens for night photography. And for good reason. They capture much of the night sky. But there are strong reasons why you should consider the "Nifty Fifty" instead, and it could improve your photography! 

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Printing a photo that's nearly 10 feet wide sounds excessive, but I wanted something that would completely transform my space. What started as a simple landscape shoot quickly turned into the largest (and most rewarding) print I've ever created. 

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The first question most photographers ask after buying a camera is "what lens should I get next?" The second question, usually triggered by a forum post or a YouTube video, is "should I get a prime or a zoom?" And the advice they receive is almost always the same: primes are sharper, primes force you to think, primes make you a better photographer. 

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Shooting your first wedding without a solid gear plan is how you end up losing someone's photos forever. The stakes are real: you're getting paid to document something that can never be repeated, and the wrong equipment decisions can end your wedding photography career before it starts. 

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Shooting with a 100 MP medium format camera sounds like it should be complicated, slow, and demanding. The Hasselblad X2D II 100C makes a strong case that it doesn't have to be any of those things, and it's doing something with HDR imaging that no other camera has managed to execute. 

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The Sigma 56mm f/1.4 has long been one of the most popular prime lenses for Sony APS-C shooters, but the Viltrox 56mm f/1.2 has been making a serious case for dethroning it. This head-to-head comparison puts both lenses through a structured scoring system across every meaningful category, from autofocus to bokeh to corner sharpness. 

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Shooting wide open all the time, ignoring backgrounds, forgetting context — these aren't beginner mistakes. They're the kind of habits that quietly hold back even seasoned shooters, and most people don't notice until they look back at their own work. 

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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.

 

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

A well-known New York gallery fed one of the most famous photographs ever made into an AI model and offered the colorized result for $10,000 at a major photography fair. The Ansel Adams Trust was never told, and, according to the Trust, the gallery refused to take it down when asked. 

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While using a Canon, Nikon, Fujifilm, or Sony camera, you’ll need a memory card to store photos and recordings, and it’s also very common to see camera users lose important pictures and videos because of accidental deletion or SD card formatting.

If you don’t have a backup disk or cloud backup, applying camera recovery software is one of the best choices. According to this article, you can get to know what the best camera memory card data recovery software is and how to recover data from your camera SD card.

 

 

Common Causes of Camera Memory Card Data Loss

Before you go through reliable data recovery software, you really need to know why the data vanished in the first place. Figuring out what caused it helps you determine whether you’ve got a shot at getting those files back.

Accidental Deletion. We may accidentally delete photos or videos on the camera, and it's often the most common reason.

Memory Card Formatting. Sometimes you format the card on purpose, sometimes by accident, or you can format the wrong SD card. The files seem gone after that, but they’re not always lost for good.

Memory Card Corruption. If you get errors like “card not recognized” or “SD card needs to be formatted,” the camera card's probably corrupted or damaged.

Improper Ejection. Pulling out the card while the camera’s still writing files? That can mess up the file system fast.

Virus or Malware. If you have connected your camera's SD card to an unsafe computer, malware or viruses may affect the card and cause data loss.

Physical Damage or Wear. Cards don’t last forever; your SD card may be worn out with heavy use.

 

What Makes the Best Camera Memory Card Data Recovery Software

Not all digital camera memory card recovery tools are equally effective. It’s clever to choose the right software and achieve a high recovery success rate.

Here are some features you should focus on:

Feature Why It Matters High Recovery Rate Ensures maximum file retrieval, even from formatted cards RAW File Support Necessary for professional formats like CR2, NEF, ARW Deep Scan Technology Detects files in severely corrupted or formatted cards Preview Function Allows verification before recovery Wide Compatibility Supports SD, microSD, CF cards and major camera brands User-Friendly Interface Simplifies the recovery process for beginners Safe Recovery Mode Prevents overwriting original data

 

Best Camera Memory Card Data Recovery Software

To find good camera data recovery software, you should focus on recovery rate, RAW photo support, scan mode, preview options, storage device support, and auto photo/video repair.

Most camera SD cards will save RAW pictures like CR2, CRW, NEF, ARW, etc., so you should make sure the software can help you find the target file format.

EaseUS Data Recovery Wizard offers advanced recovery features and supports various storage devices. You can recover data from SD cards, microSD cards, CF cards, and other memory cards.

With this camera recovery tool, you can recover data from Canon, Sony, Nikon, and Fujifilm digital cameras and even GoPro action cameras or DJI drones.

 

How to Recover Deleted Photos from Camera Memory Cards

To help you learn more detailed steps about camera data recovery, you can check the following step-by-step guide and recover precious photos and videos with EaseUS Data Recovery Wizard:

Step 1. Download the EaseUS recovery tool from the official website. You can choose the free version and experience up to 2GB of free data recovery storage.

Step 2. After installation, the software can start automatically. Move to the “SD Card” interface, and you can choose your camera memory card to scan. Click “Search for Lost Data” and start memory card scanning.

 

 

Step 3. During the memory card scanning process, you’ll see that many deleted items are found, and you can use the filter option to find what you want to recover.

Step 4. If the thumbnails are too small, you can double-click the picture to bring up the preview window. Select the item you want to recover and choose “Recover” to save all the files.

 

 

SD card recovery on Mac is also possible, but you need to download the Mac version of EaseUS Data Recovery Wizard on your Mac.

 

Alternative Camera Memory Card Recovery Software

EaseUS Data Recovery Wizard is the leading option to recover data from a camera's SD card. Some users may want to explore other tools. Below are a few alternatives we recommend:

Recuva: This is a professional data recovery software, and the best thing is that it’s totally free software that allows you to recover data without spending money. Here are some main features of Recuva:

• 100% free, no extra cost
• Windows only
• Support common storage devices
• Limited preview feature (Some file formats cannot be previewed)
• Apply to simple data loss situations like accidental deletion

Stellar Data Recovery: Supported by an Indian company, it’s a good data recovery program, and you can have a better experience than Recuva. It has more user-friendly interfaces and stronger scan modes. Here are some basic features of Stellar Data Recovery Software:

• Support both Windows and macOS
• Paid data recovery software with a 1GB free limit
• Works for most memory card file systems
• Preview most photos/videos/documents

TestDisk & PhotoRec: Both of them are open-source data recovery tools, totally free and powerful. They work better for advanced users who are familiar with the command line. Here are the basic features of TestDisk and PhotoRec:

• 100% free, open-source data recovery software
• Command line interface, needs advanced knowledge
• No preview options
• Can repair corrupted partitions, powerful partition recovery

 

Increase Camera Memory Card Recovery Success Rate

No data recovery software can guarantee that all of your photos and videos can be restored successfully. But there are some tips you can follow to increase the recovery success rate of your camera memory card:

Stop using the card. If you keep writing new data on the memory card, you'll probably lose any chance of getting your files back because the new data just writes over the old stuff.

Do not reformat the card. If your SD card asks you to format the disk, do not click the "format" button. Reformatting the card will lower the chance of camera data recovery.

Use reliable data recovery software. The pro tools dig deeper and usually have a better shot at finding everything.

Regularly back up your card. Regular backups save a lot of hassle. Whether you use the cloud or an external drive, it’s just smart.

 

The Bottom Line

The best camera memory card recovery software we recommend is EaseUS Data Recovery Wizard. It’s a powerful, all-in-one data recovery tool that can help recover missing photos and videos from camera SD cards.

We have also mentioned other recovery programs; they are good alternatives. Selecting the appropriate recovery software and following best practices are essential steps toward successful recovery.

If you use a Mac, you’ve probably hit this infuriating UI quirk: when you click "Upload," the macOS file picker displays microscopic thumbnails. Unlike a normal Finder window, there’s no slider to scale them up. Fortunately, there’s a permanent, 30-second fix. We just have to bypass the UI and tell macOS exactly what we want using Terminal. 

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Let's go through a few questions you need to ask yourself to safely capture seascapes, and take note of technical considerations to ensure the resulting images showcase natural elements like motion blur correctly. 

There are two aspects of seascape photography that excite me and motivate me to visit the beach, while also helping me improve my skills as a photographer each time.

Sensory Awakening: First, I enjoy the thrill of experiencing the ocean's movement, sound, and breeze, along with other natural elements that stimulate my senses.

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Fujifilm's camera lineup in 2026 spans everything from compact fixed-lens cameras to 102-megapixel medium format monsters, and choosing the wrong one is an expensive mistake. Knowing where each model sits and what it's actually built for can save you a lot of second-guessing. 

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Photoshop's AI tools are getting more expensive to use, and until recently, you had no way to know what something would cost before you clicked generate. Adobe has quietly added credit cost transparency to Photoshop, and if you're using any of the generative AI features, you should be planning your workflow. 

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