Photography News

A 102-megapixel medium format sensor with a fixed 35mm lens is not a common combo, and it changes how you work from the first frame. If you care about resolution, cropping flexibility, and traveling lighter without giving up detail, this camera lands in a very specific sweet spot.

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As the leaves turn colour and fall off the trees they present us with another photographic opportunity to shoot autumn themed images in a very different way. The technique we're talking about is freezing colourful leaves and photographing the ice block.

By freezing whole leaves in a pan of water you'll not only have colourful photography, but interesting and unique ice patterns to photograph too.
 

 

It's best to do this technique outside if you can as the light's better, they'll be less cleaning up and there isn't electrical equipment to fry as there is in a studio!

Kit wise, you'll need a macro lens on the front of your camera so you can get in close to the cracks that spread over the colourful leaf textures in the ice. You can leave the tripod inside, but make sure you have a reflector handy as it will help direct light into the dark areas the sun can not reach.
 

How to make a leaf ice block Place your leaf, vibrant autumn colours work the best, face down in the container, add water and put it in the freezer. If you can, pick leaves with splayed tips so light can shine through them. After about 30-40 minutes check your container as the leaves may have floated to the surface and moved position. Once it's frozen take the container outside and start shooting.   Make a support for your ice block

If you have something that can support your ice block so light can shine through it – great. If not, freeze it in a clear container and place it on a light coloured surface. Shallow containers work the best as you only need a few inches of water for this to work. You may also find coloured paper/card useful to add a punch of colour to the background of the image.

 

Camera settings

 

Small apertures, around f/22, will give you great depth-of-field so you'll be able to shoot patterns right through the ice. Check your camera's meter reading and if needs be spot meter from the leaf so the camera doesn't get confused from the light shining off the ice. Look for interesting designs, areas where air bubbles have gathered and unusual shapes that cut across the colourful leaf.

As it will take a while for the ice to melt, head back inside, put the kettle on and come back out to the ice every half an hour or so to snap the frozen air bubbles and water as it melts.   

 

Discover how to navigate the challenges of rejection in street photography while transforming setbacks into opportunities for growth. What are the secrets to building confidence and fostering meaningful connections with your subjects?

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An 85mm f/1.8 lens is one of the simplest ways to upgrade portraits, giving tighter framing and strong subject separation without a huge, heavy setup. When that lens also costs about as much as a budget kit zoom, it becomes a very real alternative to saving up for a big-brand prime.

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There's a moment that separates the professionals from the amateurs in location photography, and it happens long before you ever press the shutter. It's the moment when you realize that the stunning golden hour shoot you envisioned has turned into a nightmare because the sun is directly in your client's eyes, the "perfect" spot is actually locked behind a gate that closes at 4 PM, and your backup plan is to pray for clouds. We've all been there, and we've all learned the hard way that great location photography isn't about happy accidents. It's about meticulous planning, strategic scouting, and having a foolproof system that accounts for everything from parking logistics to power lines.

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Street photography often seems to be governed by unspoken rules. However, these rules may be stifling your creativity. Let’s explore five common myths about street photography that you should abandon to truly free your artistic vision.

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The Leica SL line draws you in when you care about strong files, steady handling, and a system that stays dependable in rough conditions. You know how much that matters when you push a camera through long days outside or fast-paced work where you can’t baby your gear.

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Fast 35mm primes are where a lot of everyday shooting, street work, portraits, and video all collide. When that lens also aims for strong character instead of a sterile, clinical look, it becomes a real decision point if you want your images to feel a bit more distinctive.

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Packing for out-of-state weddings is where travel logistics and paying clients collide, and sloppy planning can cost real money. When your cameras, clothes, and backup gear all have to survive flights, hotels, and wedding timelines, a solid packing system lets you focus on shooting instead of babysitting bags.

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As a landscape photographer, wide-angle and ultra wide lenses simply cannot be ignored.

The most common error made when using wide-angle lenses is simply using them solely for their wide-angle, by just trying to get everything into the shot. The resulting picture often simply has too much in it, and the subject is just lost in amongst everything else. Really, you should consider a wide-angle lens not as a way to get more into the picture, but as a way of emphasising foreground detail and perspective.

  Think about your viewpoint

In use, in a landscape situation, select your viewpoint carefully, as well as your foreground detail, and if possible, ensure that foreground element relates directly to the landscape and has a degree of shape harmony with the picture. If, for example, you choose a rock near the side of a lake on a calm day with reflections, ensure the rock is positioned to fit into the shape of the reflections. The benefit of working closely to your foreground subject is that repositioning the camera by only a few inches can make huge changes to the composition and visual balance of your photos. Roads, paths, walls, in fact, all lead-lines become powerful and dramatic, but make sure they are supporting the main subject of your photo rather than simply becoming the subject in themselves.

 

Photos By John Gravett. 

Remember - wider lenses give a greater depth of field

While front-to-back depth of field is useful in wide angle landscapes, it's important to remember that as an ultra wide-angle lens has an inherently greater depth of field than standard lenses, really small apertures might not always be necessary. Often f/11 or f/16 will give front to back sharpness without having to revert to f/22, where many ultra wides may suffer slightly from diffraction.

The same extensive depth of field can often affect choice of graduated filters to use. With longer focal length lenses, hard-edged grads work but when used with an ultrawide lens, they often show a distinct line where they are used, so usually, a soft-edged grad is a better choice, particularly for the stronger ones.

Wide-angles are so often prone to over-use, but used properly and with care, can produce truly amazing, powerful pictures.
 

Article by John Gravett of Lakeland Photographic Holidays - www.lakelandphotohols.com

Ask a non-photographer about their ideal shooting conditions, and they'll probably describe a clear, sunny day with blue skies. Ask a professional, and you'll get a very different answer. The photographers whose work stops you mid-scroll on Instagram aren't waiting for perfect weather. They're actively hunting for the atmospheric conditions that most people hide from.

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After spending a week with the Sony RX1R III and capturing nearly 10,000 frames, I feel like I’ve truly gotten to know what this little full frame compact can do. From photographing my family to shooting three portrait sessions and a full documentary project, I pushed this camera in real-world scenarios. But the question remains: Is it really worth $5,000?

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The updated version of Meike’s popular 85mm f1.8 SE Mark I lens, the 85mm f1.8 SE Mark II, brings noticeable improvements in image quality, focusing speed, and chromatic aberration control. It also features a closer minimum focusing distance of just 0.65m, making it more versatile for portraits and close-up shots. The lens is offered in Nikon Z, Sony E, and Leica L mounts.

This lens is available now and ready to ship for $229.99 USD.

 

 

Specifications:

• Aperture Range: F1.8-F16
• Focal Length: 85mm
• Filter thread: 62mm
• Diaphragm Blades: 11
• Weight: about 369g
• Focus Mode: Auto Focus
• Minimum focusing distance: 0.65m
• Lens Construction: 11 elements in 7 groups
• Full frame Angle of view: Diagonal 27.8°, Horizontal 23.4°, Vertical 10.8°
• APS-C Angle of View: Diagonal 18.67°, Horizontal 15.53°, Vertical 10.38°

 

To order the Meike 85mm F1.8 SE Mark II lens, please visit the Meike website and Amazon.

Peak Design has become a staple among photographers for camera bags and accessories, and they have now expanded their line with the Roller Pro and the XL Camera Packing Cube, a carry-on style bag meant for both travel and work. But is it the best of both worlds or does it fall short in each? We put it to the test through travel and work alike to see where it excels and where it could be better.

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The Canon EOS R6 Mark III goes from snow-covered trails to handheld tests that expose what stabilization really looks like in motion in this video. If you shoot while walking or vlog in changing light, this test hits the questions you actually ask.

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Color grading can turn a flat sunrise into a scene with shape, depth, and energy. If you shoot high-contrast landscapes, nailing tones in the sky and keeping detail in the foreground is where Lightroom’s tools earn their keep.

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High ISO work no longer ruins detail or color. With current sensors and AI denoising, you can push exposure in dim scenes and still keep texture intact.

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You don’t need to switch systems to get classic Fuji simulations in Lightroom. Load the right profiles, make a couple of curve moves, and your Sony, Nikon, or Leica files land in the same color neighborhood.

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For some people the only way they think they can have a professional portrait taken is to stand in a studio in front of a big set of lights but lifestyle shoots just might change their mind. Having the great outdoors as your studio will give you so many more creative opportunities with backgrounds, colours, shapes and textures, as well as being able to shoot a story. 

Photo by Joshua Waller Lens choices

A 70-200mm lens is a good choice for DSLR shooters. Shooting around the 135mm mark at f/4 can give great perspective and enough depth of field to throw the background out of focus without leaving it too shallow. A wider lens, such as a 14-24mm is great for environmental portraits, while a 55mm macro lens is great for detail. If you want a good all-rounder lens, a 24-70mm would be a good choice, too. It's also a good idea, if you have them, to pack the speedlights, continuous lights, ringflash and reflectors. 
 

Plan ahead

Organisation is key so make sure you have a plan in advance. Having a few locations that you are familiar with will give you plenty of scope, and it also means you'll know particular spots that'll work well for your shots. Local beauty spots, good urban routes with interesting architecture or a park with lots of interest such as water features are just some of the locations you could work with. The other place you need in reserve is somewhere dry in case of bad weather. 

Photo by Joshua Waller Make sure your model's comfortable

It's important to discuss clothing, makeup and meeting points then on the day of the shoot, meet for a coffee and spend 30 minutes or so having a pre-shoot chat as this will help break the ice. You could even take a book or folder of a few favourite photos along to show your model/client as they'll welcome the opportunity to see your ideas and help. Come up with a few ideas and even adjectives of the mood/feel you're trying to create. For example, Autumnal shoots could be about warm clothing and crisp golden colours. By doing so you will be able to portray a theme to your clients/model who should be able to quite naturally slip into an informal pose to convey this without really having to try or feel self-conscious. 

When it comes to the shoot, let people be natural and remember it's your job to make them feel comfortable even if you do know the person/people you are photographing. Shoot intuitively and creatively. Even if you've shot in a place many times, try setting yourself a target to come up with several new shots. This time of year's a good time to experiment with natural frames as the autumnal shades add warmth to the image. Just make sure you focus on your subject so the leaves blur just enough so you can still see what they are but don't distract.   

This simple-looking backpack offers far more functions than you would expect. It also maximizes space so you can carry almost everything you need for a shoot in the city or even a quick trip away.

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