Photography News

 

Trees are something nearly all photographers use in their images at some point. They add interest to landscapes, are used as backgrounds for fashion shoots and nature photographers get up close to the bark and leaves which are various animals and insects call their home. If photographing a tree's not something you've done before or you're looking for a little inspiration on how you can shoot them differently take a look at our top ten list of effective/interesting ways to photograph trees.

 

1.Include The Foreground

 

Before you head for the centre of the forest take the time to walk around the edge of it to find a good spot where you can capture a few shots that have foreground interest. By adding detail in the foreground you add depth to the image and give the shot a sense of scale which gives the composition more impact.

If you're working with just one tree try positioning it in the left or right third of the frame. As well as using a field as your foreground, which works particularly well in winter when there's a fresh covering of snow, try and find a lake or large pool of water which can add another dimension to the image with the reflection of the forest in it.

 

2. Take A Look At The Roots

 

Look out for patterns created by roots, especially those from beech which are often unearthed from weather erosion of the soil. For a more unusual perspective, use a wide-angle lens as in the shot below to curve the background. You can get colour cast from the green canopy above your head as the image below right demonstrates. If you find a tree on its side try to fill the frame with the patterns created by the overlapping/twisting roots. You may also find insect activity you can photograph in among them.
 

3. Get In Among The Trees

 

Use a long lens in dense wood to create a dramatic perspective, making the tree stumps look as though they are stacked on top of each other. These areas will make interesting patterns just remember to use a telephoto lens to compress the trees. Overcast days when the light is soft are good for this but don't overlook misty/foggy mornings later on in the year. This works particularly well when the wooded area's particularly thick but as fog acts like a softbox and can lower the contrast of your surroundings, you can end up with rather long exposure times. Trees in mist can look great silhouetted too but do take care with your exposure. Try opening up by one stop to prevent a dark grey sky appearing and a complete silhouette forming.

 

4. Add People, Buildings Or Other Structures

 

Give your image scale by adding other objects or people into the scene and look for man-made objects such as benches or even statues as these will contrast well against the soft colours of nature. If you're in a park try shooting a few candid portraits of the people walking through and under the trees. This will add an extra element of interest and get the viewer thinking about who they are, where they're going etc.

 

5. Focus On The Bark

 

The patterns in the bark vary from tree to tree. The smooth grey of beech, to the peeling white of silver birch, the cracked patterns of the pine and the deeply rutted elm. Try framing very tightly so you don't see the edges of the tree stump and use a small aperture to cope with the rounded shape and ensure it's all in focus. Trunks made up of particularly thick bark that has deep lines make interesting patterns when you shoot with a tight frame. Bark also makes great textures which you can overlay with other shots. Finally, if you're using a compact camera remember to switch to Macro mode to get closer to the bark.

 

6. Take A Look At The Leaves

 

From the trunk, move up to the branches and focus on the leaves. Again you could move in really close and create patterns from the veins or step back slightly and record the whole shape. Maple like leaves of trees such as sycamore is the most interesting with their five tips, but great results can also be achieved from more ordinary oval and round leaves.

Try shooting with the sun behind the leaves which will make them glow. Position yourself so the sun is shielded from the camera by a branch to avoid flare or use your hand or lens hood to provide protection. Backlit leaves can look particularly amazing during the autumn months when the leaves take on their yellow and orange shades. Other close-ups that are gagging to be photographed are the fruit, berries and cones.

 

7. Look For A Single Tree

 

 

Trees can be used as points of interest in wide, sweeping landscape shots of fields. They break up long, flat horizons, adding interest and giving scale to the shot. Just remember to keep the space around the tree clean and empty. Vibrant greens or fields of bright flowers or golden crops will give the image more punch while a stormy sky sat behind the lone tree will further enhance the feeling of isolation in the shot.

 

8. Get Up High

 

Gain a high vantage point and shoot a woodland canopy, again depending on the time of year you could either create a lush green spread or a wildly varied collection of browns in autumn. Try shooting from a nearby hillside and use a small aperture to ensure everything from the foreground to the background is sharp.

 

9. Try A Different Angle

 

Some nature reserves with woodland areas have bridges which take you along the top of the trees. Take advantage of this, shooting through the branches and leaves. You can use them as a natural frame to guide the eye to another focus point or just fill the frame with the interesting patterns you find from the branches twisting and overlapping.

If it's safe to do so and you're brave enough, you could try climbing up a smaller tree but don't put yourself in danger. Back on the ground look for trees decorated with dappled light or get low to the ground and shoot up into the canopy. If you have a blue sky, green leaves will contrast well against it and by using a wide-angle lens, the trunks of the trees will look like they're almost falling out of the image due to the effect wide-angle lens have on verticals. Don't think this is a bad thing as actually it can make a really interesting shot.

 

10. Timelapse / Seasonal Shots

 

Capturing the changes in the leaves as we move from season to season is an interesting project that just needs a bit of patience and a spot you can return to again and again to take your shots. It's often easier to focus on just one leaf but you can record more if you so wish. Make sure you use a tripod and try and make a note of the exact point you took your first shot from or, if you're in your own garden, you could always make a mark so you know where your tripod needs to be. It'll also help if the spot you pick is sheltered so the project doesn't come to an end too early if the wind blew the leaf off the tree prematurely.

Once you're set up you can record the leaves changing from the rich green shades we see in summer to the golden shades of autumn before it falls off during the winter months. As spring arrives and the buds break, you could try recording a sequence of photographs showing the various stages of the bud appearing, breaking and the leaf unfolding. Taking things a stage further find a position where you can fill the frame with the whole tree and photograph it as a lush green canopy, then the vivid autumn browns and finally a snow-covered version in winter.

 

[SECTION]INTRODUCTION[/SECTION]

 

 

Quick Verdict

The new Canon R6 V is essentially the same on the inside as the Canon R6 Mark III, but heavily biased towards video functions and without a viewfinder. The R6 V is a fully capable still camera, but the priority here is towards videographers and content creators. As such, a classy product that has much to offer.

 

The R6 V is definitely a video camera first. No viewfinder, no mechanical shutter, all the dedicated and programmable buttons set by default to video functions. There are plenty of video options, of course, but here we add the PZ lens compatibility, highly efficient IBIS and of course, the 7K 60p RAW internal recording. There is a huge list of essential features on this extraordinary camera and we set out into the heatwave currently gripping the UK to see how it all pans out.

 

Canon R6 V Features

First glance and handling of the camera give a strong impression of a well made, solid piece of kit. Construction is mostly Magnesium alloy for the body and chassis, with some use of polycarbonate with glass fibres. This is undeniably solid, yet still weighs in at just 598g, or 668g with battery and CFExpress Type B card. Dimensions are a good, chunky 141.8mm x 83.3mm x 79.7mm that leaves room for a mass of buttons and dials. This is a good thing as it does aid handling.

Any Canon user will be instantly at home with the basic layout, although there are a few variations as a consequence of prioritising video shooting. Most obviously, there is no viewfinder. There is a 7.5cm 1.6M dot TFT LCD touch sensitive screen, fine in lower light and in the studio but less fine in the blazing sun, where it is a struggle to see much at all. The vari-angle screen protrudes further than usual as there has to be room for the cooling fan and its exhaust, an indication that the camera is serious about video shooting.

 

 

Previously, the motorised zoom was the purview of compact cameras, or external devices that simply rotated the zoom ring on the lens. This facility is now built in and supports the PZ capability of the matching Canon 20-50mm f/4L IS USM PZ lens. The zoom lever is a rocker dial that surrounds the shutter release button. The motorised PZ facility can also be operated on the lens itself, alternatively, lenses can be zoomed manually in the usual way.

Let's now summarise the key features of the camera.

 

 

Canon R6 V Key Features

• Full frame
• IBIS up to 7.5 stops centre
• 32.5MP CMOS sensor
• DIGIC X Processor
• Electronic shutter 30s – 1/16,000s
• Electronic shutter up to 40fps
• Dual pixel CMOS AF II -6.5EV to +21EV
• Metering range -3EV to +20EV
• ISO range 50-102,400 (Extended)
• 7.5cm Vari-angle touch sensitive TFT LCD monitor 1.62M dots
• Operation 0C to +40C
• WiFi, 5GHz/2.4GHz
• Bluetooth 5.1
• HDMI Type A
• Multi function shoe
• USB-C
• 3.5mm Mic and headphone sockets 
• Moisture and dust resistance
• 698g with battery and CF Express Type B card
• Battery LP-E6P, approx 640 shots
• 1 SD UHS-II card slot
• 1 CFExpress Type B card slot
• Camera Control App

 

Canon R6 V Handling

Although handling can be a very personal thing, Canon has impressively given us a myriad of options and possibilities to use and control the camera. There is a considerable amount of duplication, where more than one control alters a parameter. This is especially true within the extensive menus, where the top control wheel, the secondary control wheel and the rotary dial around the set button may all be utilised as we prefer. This is all fine as we simply choose the one we want to use. Dials and wheels can be reprogrammed as required and the camera can be set up to the individual photographer with ease. Spending time to set up things optimally will reap rewards in faster and more intuitive operation.

Thus far, that is exactly where we were with the R6 Mark III, but now with much more available. There are 12 dedicated and numbered buttons that, by default, are set to alter various video parameters. However, all of these can be reprogrammed via the camera menus, so it should be possible to have whatever functionality we desire. Add to this the vari-angle screen, active cooling system, extensive video capability and solid engineering and we have a workhorse of a camera indeed.

There are a few considerations, the major one being the lack of a viewfinder. This soon becomes a glaring disadvantage in bright outdoor locations. In bright sun, there is little chance of seeing much on the screen apart from vague shapes. Precise composition is all but impossible. There is no issue indoors or in the studio, with or without the Canon Camera Control App.

Depending on how the user carries the kit, in some circumstances, it is possible for the on/off switch to be nudged. This also applies to the mode dial and the control dial next to it. It does not happen often, but does merit checking before starting to shoot important images.

 

[SECTION]PERFORMANCE[/SECTION]

Canon R6 V Performance

The performance section is where we look at the image quality performance of the camera. Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
 

Canon R6 V Sample Photos Previous Next

 

Lens Performance – The camera was provided with the matching Canon 20-50mm f/4L IS USM PZ lens, and the full review of the lens can be found here. The camera is fully compatible with the new lens and the zoom can be controlled by a rocker switch around the shutter release button. Using this, the camera/lens combination effectively becomes a giant compact camera in terms of style of operation, for stills at least. The zoom can also, with or without motorisation, be adjusted directly using the zoom ring on the lens.

(Below you'll find images demonstrating the aperture range of the lens.)

 

Canon R6 V Lens test images Previous Next

 

Canon R6 V ISO test images Previous Next

 

ISO Performance – Another excellent result, similar to the R6 Mark III. Detail and noise levels are very impressive all the way up to ISO 12800. At ISO 25600, the image noise suddenly increases and the details soften. Results beyond that point are increasingly mushy, the darker boxes of the test target disappearing in a sea of noise. Overall, though, a very impressive performance.

 

Canon R6 V White-balance test images Previous Next

 

White Balance – There are a number of preset options for white balance, and various adjustments can be made to these. AWB has the usual options between white and ambience priority. To this we can add Daylight, Shade, Cloudy, Tungsten light, Fluorescent light, Flash, Custom and four slots for specific colour temperatures. AWB is useful for mixed lighting and general use, but to keep the colours of a scene, the other presets do a great job. Cloudy is very close to the Cloudy or 81A filters we used on film, and this setting warms portraits very attractively. Shade is perfect for those purple-hued woodland shadows and is especially effective for fungus hunting.

 

Canon R6 V Digital filters Previous Next

 

Digital Filters – The R6 V deviates from the R6 Mark III, with a different set of digital filters. It's interesting to see what has been retained and what left out. 

Scene Modes are Portrait, Smooth Skin, Panoramic Shot, Food and Handheld Night Scene. 

Picture Styles are Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome and three User Defined slots.

This is a curtailed list of digital filters, and gone are all the fanciful and exotic variations in styles and colours.

 

Video –  Given that the priority of the R6 V is video, it is no surprise to find an extended set of video options. Initially, the intent is clear as all 12 dedicated buttons are set by default to video features, although all buttons can be reprogrammed via the menus.

• 7K 60p RAW internal recording
• 7K Open Gate
• Oversampled 4K 60p
• Uncropped 4K 120p Slow Motion
• Vertical tripod socket
• Active cooling system
• 4 Channel audio support
• Canon Log2
• Canon Log3
• Formats: RAW, C-RAW, JPEG, HEIF, CRM RAW Video, XF-HEVC S, XF-AVC S

Because of the video priority, there is no viewfinder, relying instead on the 7.5cm 1.62M dot touch sensitive TFT LCD screen.

 

[SECTION]VERDICT[/SECTION]

 

 

Value For Money

The [AMUK]Canon R6 V|Canon+R6+V[/AMUK] is priced at £2399, body only. Add the 20-50mm f/4L IS USM PZ lens and this becomes £3549. The kit price is actually a very good deal, as the lens on its own is priced at £1439. As part of the kit, we are paying just £1150 for the lens.

The [AMUK]Canon R6 Mark III|Canon+R6+Mark+III[/AMUK] has a viewfinder and may be the choice for photographers who cannot manage with just the back screen. This is priced at £2799.

Another option is the [AMUK]Canon EOS C50|Canon+EOS+C50[/AMUK], priced at £3299, and it is in this instance an entry-level camcorder.

The VFM equation falls well for the new camera, but this does depend very much on the requirements of the photographer/videographer/creator/vlogger...

 

Canon R6 V Verdict

The absence of an EVF is one of the major factors that will decide whether or not this camera fits the user. For studio based or even location based video work, with perhaps the use of the Canon Camera Connect App, then the R6 V may be a sound choice for videographers and content creators. The cost is lower than an R6 Mark III, for example, as there is no EVF, but the technical performance under the skin is virtually identical.

For stills photographers, this is less clear, but the current heatwave in the UK does reveal very strongly that the screen is no match for the blazing sun. It can be very difficult to see the subject clearly, never mind checking the details, so that unwanted elements do not intrude on the edge of images. Holding a full frame camera as if it is a compact camera is also less than ideal for many users.

The conclusion is that the R6 V is a camera with a niche of its own, and within that area is a very fine camera that delivers the goods. For a general purpose camera, Canon offers many choices and the R6 Mark III may be a safer bet. Within its own area of expertise, the R6 V is a very strong contender and good, solid VFM. With the anticipated usage in mind, Highly Recommended.

 

Canon R6 V Pros

• Excellent results
• Well thought out control layout
• Impressive ISO performance
• Very fast and responsive AF
• Customisation options
• High quality construction
• Moisture and dust resistance
• Built in PZ lens compatibility
• Camera Control App
• Extensive video capability

 

Canon R6 V Cons

• No viewfinder
• Some controls vulnerable to accidental operation

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4|R_performance=5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=A powerful hybrid camera, aimed primarily at video, content creatives and vloggers but also giving accomplished results for stills.|E_id=8016[/REVIEW_FOOTER]

 

View the Canon R6 V camera specs in the equipment database.

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

A portfolio is not a gallery of your favorite photos. It is a sales tool, and its only job is to answer one question in a potential client's mind: can this person deliver the specific thing I need, done well? Most portfolios fail at that job not because the photography is bad, but because of a handful of avoidable mistakes in how the work is chosen, ordered, and presented. A viewer forms an impression in well under a second and decides whether to keep looking or move on within a few images. Here are eleven mistakes that quietly cost you that decision, each with a fix. 

[Read More]

People keep asking me what it's like photographing the anti-ICE protests outside Delaney Hall in Newark.

 

The general perception is of a nonstop war zone. That's probably the biggest misconception people have after scrolling through photographs online. They see the pepper spray, the flashbangs, the clouds of CS gas drifting through the street, officers in riot gear, protesters in zip ties, and they imagine the whole day unfolds like an action movie stuck on repeat.

It doesn't.

Most of the day is waiting.

[Read More]

Every photographer who has thought about photographing a public space knows the low-humming anxiety of the "worst-case scenario." The fear of someone seeing and confronting us remains one of the steepest mental hurdles to actually getting started in street photography. For years, it was mine. We convince ourselves that the moment we are noticed, the world will grind to a halt and anger will follow. But what actually happens when the nightmare comes true?

 

On a summer Saturday morning, I had the dubious pleasure of finding out.

[Read More]

There is a particular kind of expectation that follows you when you say you are in a country hosting a World Cup. It is not always spoken out loud, but it sits there in the background of conversations, in messages, in assumptions that come almost automatically, as if geography alone were enough to place you inside the flow of the event.

 

You are here, therefore you are inside it.

It sounds logical until you actually walk through the city.

[Read More]

Red eye's caused by the flash illuminating blood vessels in the eye and when the light bounces back, you get red eyes. Some people are more likely to get red-eye than others but if you're one of these people or you have a family member who does, here are a few methods you can try to fix it so it doesn't spoil your family holiday shots. 
 

 

1. Compact Cameras

Most compact cameras have a red-eye reduction mode that can help reduce the size of the pupils, minimising the red that appears in their eyes.

2. Don't Look At The Flash

Asking your subject to not look directly at the flash can also work but this does mean they may not be looking in your direction when you view the shot.
 

3. Look Outside

If it's a sunny day, get your subject to look out of the window for a few seconds as this will give their eyes time to adjust to bright light before you fire the flash at them. Of course, never let them look directly at the sun or any other light source that could damage their eyes.
 

4. Move The Flash

If you're using a flashgun move it so it's not directly facing the person you're photographing.
 

5. Add More Light

If you're working indoors add more light into the room you're working in. 
 

6. Use A Continous Light Source

A continuous light source will allow your subject's eyes to adjust properly to the light before the shot is captured. 

  7. Edit The Images

If you don't have time to retake your shot or you didn't notice the red-eye before you viewed it on your computer screen, you can use editing software such as Photoshop to fix the problem. Some programs have a red-eye remover option that does the job for you, while software such as Photoshop has a brush designed to remove red-eye or you can fix the problem manually if you prefer.

Here's how to fix it in Photoshop/Photoshop Elements: Open your image and select the Red Eye Tool. It's under the same tool menu as the healing tools so if you have one of these visible in your toolbox just click and hold it to bring up the menu with the other tools in. In the toolbar at the top, you can adjust two options: Pupil Size and Darken Options. But it's best to use the brush before making any changes to see if any alterations need to be made.

To use the brush just position your cursor over the pupil, click your mouse button and wait for Photoshop to make the changes.
 

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

Your best portrait gear does nothing if the person sitting in front of the lens looks stiff and posed. That truth reshapes how you approach every shoot, and it costs nothing to apply. 

[Read More]

 

A wonderful example of macro nature photography has been crowned our 'Photo of the Week' (POTW) on ePHOTOzine this week.

Captured by Prizm and titled 'Macro Moments', it's a shot that really stayed with us. We love the detail in this shot, from the fine hairs on the body to the fine lines running through the wings, right down to the big eye caught in full clarity. The dragonfly is nice and sharp too, resting on its reed with the background falling away into a soft blur of greens and browns. Plus, the warm golden and orange colors help the insect stand out in the frame, keeping the focus entirely on this creature.

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.

If you open the main compartment of your backpack during the day, your packing system is working against you. Every zipper you fumble with, every sack you dig through, and every rain cover you peel off burns energy you could spend covering ground. 

[Read More]

Getty Images has killed its $3.7 billion merger with Shutterstock, refusing a condition set by UK regulators that would have forced Shutterstock to sell off its entire editorial photography business. The deal had already cleared US antitrust review with no strings attached, which makes the UK objection the single reason two of the biggest names in stock photography will stay separate.

 

[Read More]

Having a blurry image isn't always a bad thing. In fact, when it's used in the right place, it can actually make your photos better. Here are a few examples of when blur can be used and a few tips on how to produce the shots.
 

1. Water / Waterfalls

 

1. Use shutter-priority so you can control how long the shutter is open.
2. The slower the speed you choose the more blur there will be.
3. The speed you need will change depending on how much blur you want, how much water there is and the distance between the camera and your subject.
4. Start between 1/8sec to 1/15sec and just adjust until you get the blur you're looking for.
5. If you struggle to get the shutter speed low enough try fitting an ND filter to your lens. 
6. Always use a tripod to prevent shake spoiling your shot and if possible use a remote / cable release. 
7. Meter carefully as large areas of light tones can fool the camera into underexposing your shot.
8. Slow shutter speeds will blur anything that moves so if you don't want what's surrounding your subject to be blurred, try taking two shots: one with the slower shutter speed then the other with a speed that will freeze movement. You can then combine these in editing software such as Photoshop.
9. Try blurring the movement of waterfalls, rapids, waves breaking along the coastline, a fast-flowing river and water flowing from a tap

  2. Action Photography

 

1. For people, animals or vehicles which are moving, adding a touch of blur to the image can give the impression of speed, emphasising motion and creating a sense of drama in the shot.
2. If you use too higher shutter speed you'll just freeze the motion, too slow and there can be too much blur and the background and your subject will seem like they're merging together. So it's worth experimenting with a variety of shutter speeds to get it right.
3. Try panning with the subject as they move. Start panning, release the shutter button and then continue the pan even after the camera's captured the image. If you get it right the subject will appear sharp as it hasn't moved position in the viewfinder, but the background will be blurred making the subject look as though it's hurtling along.
4. Try to get enough blur so the background isn't distracting and the movement of the wheels on the vehicle you're photographing are blurred to create the sense of motion in the shot. This will also help the eye focus on what it's meant to.
5. Try using slow sync flash which is where you use a slow shutter speed and flash together to freeze your subject but blur the background. The low shutter speed continues to record the ambient conditions and further subject movement. It's used mostly by sports photographers recording cycling events or motorsports but can also be creative in any environment that has a moving subject in the foreground. Try using it next time you're photographing your child playing on a swing.

 

3. Light Trails 

 

1. Do not try and drive the car and work the camera at the same time. Get yourself a driver or you drive and get a friend to operate the camera.
2. Make sure the windscreen is very, very clean otherwise smears will spoil the final shot.
3. Make sure the tripod is secure before you set off so the camera doesn't get broken from it falling over during the drive.
4. Try positioning the camera so you can only see the view through the windscreen but don't worry if you have the roof or dashboard in shot as you can always crop it out. The lights and shape of the dashboard can also add an extra element of interest to the image, giving the trails something to contrast against.
5. Focus on the distance - you want the lights sharp ideally.
6. Use a small aperture to give you front to back sharpness. It'll also mean you can use longer shutter speeds.
7. 10-30 second exposure will capture the light trails. If you want longer shutter speeds, use the B setting.
8. Use a remote trigger, cable release or self-timer to fire the shutter.
9. Twilight is a good time and you need a location with a variety of light sources.
10. Towns are good locations for this as they'll be streaks of light on various levels and of several shades on offer. Motorways are also good but here you'll get more continuous long light streaks.

 

 

4. Abstract Shots 

 

1. Sometimes you don't need anything to be sharp and in focus to make an interesting image.
2. If you're using lines try to find a location that gives you a shot that has lines that vary in size and colour. Bolder lines will have more impact than small, faint ones and do remember they will still guide the eye through the shot and tell the viewer where they should be looking.
3. Shapes are obviously softened so make sure you're photographing something that's interesting and bold, otherwise your image won't have any impact.
4. Strong, bold colours work well because you're losing texture and detail you see in sharp shots. Make sure your tones don't clash and check to see if any shades are overpowering certain areas of the frame.

 

5. Drag Landscapes 

 

1. Overcast days are perfect for this technique.
2. Find a scene that has strong lines – fences with flowers in front of them and trees work well.
3. Basically, you need to press the shutter button and as the exposure processes, dragging your camera up, down left or right as it does.
4. Don't stop panning until you're past your subject as you won't get the blurry lines you're looking for.

 

6. Zoom Blur

 

1. You have to get the zoom right – too much and you won't be able to make out your subject, too little and it will just look like a normal shot.
2. Use a small aperture to get the slower shutter speed that's needed. Use a low ISO too. This is particularly important when your subject is backlit.
3. Fit a neutral density filter or a polarising filter if you can't get a slow enough shutter speed.
4. Make sure you meter from your main focus point.
5. You need to set the zoom to either the short or long end of the focal length range, open the shutter, wait for a while then in one, smooth, quite quick movement, zoom out. By pausing at the start your subject will have a little definition before the blur kicks in.
6. Stained glass windows are good subjects for this technique but try it in a forest with the light that flows through the trees too.

 

7. Remove Distracting Backgrounds 

 

1. If you're working somewhere that has a busy background use a larger aperture to throw it out of focus. This blur will hide whatever was distracting the eye, allowing all focus to fall on your subject.
2. If you're using a compact camera try switching to the appropriate mode (portrait for people, macro for close up work) so the camera knows you want to throw the background out of focus.

 

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

You stand in front of something stunning, a valley flooded with evening light, a city skyline at dusk, and you press the shutter sure you have captured it. Then you look at the file and the magic is gone. The colors are flatter, the sky is blown out or the ground is a muddy mess, the mountain that loomed over you looks like a small bump, and the whole thing feels ordinary. The instinct is to blame the camera, or your skill, or to start shopping for a better lens. Usually none of those is the real culprit.

[Read More]

A bull bison charged an older man walking with his grandson at a Yellowstone campground on Friday evening and threw him roughly eight feet into the air. The man landed on his side with serious injuries, and the animal stood over him afterward instead of running off. 

[Read More]

I've been looking for new ways to exhibit my photo and video work, ways that aren't tied to white walls or interior spaces. That search led me toward projectors, and I found one that fits. The appeal of something untethered is obvious in the fact that you can take your work almost anywhere. I initially expected I'd need a separate power station, but instead I found a quality projector with a built-in battery, making the whole setup far simpler than I'd imagined. 

[Read More]

"How you make a picture is much easier to articulate than why you make a picture." I read this statement in a comment under one of my articles here on Fstoppers, and it inspired me to talk about this in more depth.

 

[Read More]

A flat, cold panorama of a cloud over farmland becomes a dark, dramatic storm scene using nothing but contrast adjustments. The difference comes down to knowing which sliders control contrast globally and which ones do it locally, then applying each in the right place. 

[Read More]

 

Whether it's a line of lampposts on a dark street, light glowing from the windows on the front of your house, a night sky bursting with stars or a panoramic cityscape showing the twinkling lights from the homes, shops and streets that fill the city, there's something for every photographer, no matter where you live, to photograph at night.

 

1. Kit Choices

Your most important piece of kit if you're heading out at night is a tripod as it's impossible to work hand-held when you're dealing with very long exposures. If you have one, pack your remote release to help minimise shake or make use of the camera's self-timer if you don't. Your standard lens will do just nicely but take a telephoto along to get you close to lights on top of buildings and illuminated signs. Pack a torch, wear suitable clothing and take a watch along for timing when using the B setting. Do have fun experimenting with Bulb as you'll be able to produce some interesting and creative results. 

 

2. How Dark?

It doesn't have to be totally dark for you to have a try at night photography. Late dusk, when there's still a little light left in the sky, will give you scenes with less contrast as the light that's still in the sky will illuminate areas not lit by artificial lights. If you do want to head out when most people are tucked up in bed take someone else with you for safety and they can keep you entertained while your long exposure ticks along. If you're not very patient you could, of course, use a higher ISO, however, sticking to ISO100 or 200 will give you better quality images.

 

 

3. Long Exposures & Timing

How long your exposure is will depend on what you're photographing. If the light, such as street lamps, is your focus you'll have a much shorter exposure than if you were photographing an illuminated building when you're photographing light that's reflected. If you have both types of light in one scene go for the longer exposure as if you don't, the only detail will be the lights, you won't see a building. This does mean you'll get flare from the street lights, but this isn't necessarily bad.

Overexposed street lamps, particularly if it's a damp night, can look really good.

 

4. Metering & White Balance

You may get a few metering problems as areas of darkness which are occasionally illuminated by bright lights can confuse your camera. If you find your scenes too dark or the lights have washed the scene out, use the compensation setting to adjust the exposure and try again. Don't meter from a dark area either as this will just cause lights to be overexposed.

Keep an eye on your white balance as different lights can have different colour casts. Shop windows will be fluorescent while street lamps and buildings lit by floodlights are often tungsten which gives a yellowish cast to images. But you may find the colour cast adds to your image anyway.

 

Other techniques to try at night include:

• Light trails of moving traffic
• Light painting
• Star trails 
• Fairgrounds at night – use a slow shutter speed to create pictures a wash of vivid colours.
• Cityscapes taken from an elevated point to give you a sweeping shot of twinkling lights.

 

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

Custom film built to one photographer's exact wishes, coated by hand sounds like a dream, and this version is wildly unusual. Film that behaves this way rejects almost every rule commercial stock follows, and it opens up a way of working most shooters never consider. 

[Read More]

I've always wondered what goes through someone's mind when they decide to become a hater. Being a hater is a kind of job: you have to create fake accounts, which guarantee anonymity, and then, from those accounts, launch attacks against the object of your hatred.

 

[Read More]