Photography News

    Next time you're at a popular tourist spot, don't get annoyed by people in your landscape shot as when captured the right way, they can actually add interest, create a story and, more importantly, add a sense of scale to an image that will make the person viewing it go 'o, wow!'    1. Landscape With People Vs A Portrait Outdoors Bring a person or a group of people into your landscape shots and they suddenly get a different feel/look about them. But you have to be careful that it doesn't turn into an outdoor portrait where the person is the main focus of the image rather than part of the overall scene.   As you're not shooting an outdoor portrait you don't want to pose your subjects or better still, let them know you're taking their photograph at all. Make sure they're not bothered by you or your camera and are focused on whatever they're doing before you take your shot. For more tips on shooting candidly take a look at our article: Candid photography.

 

 

2. Create A Connection 

An empty shot of a forest or a mountainous landscape may be inspiring and pleasant to look at but if you add people to the shot the viewer can become more connected with the image as the person/people can help create more of a story. A sunset shot with a couple sat to one side of it will feel romantic while a rock climber scaling a cliff wall that's sat in your wide, landscape shot will create a totally different feeling.

 

 

3. Add Scale 

People can also help create a sense of scale within an image, for example, a backdrop of mountains suddenly turn into dominating structures that tower above two walkers or a lake stretches out for miles past a single man out fishing for the day.

 

 

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Insurance is the part of running a photography business that nobody warns you about, nobody teaches you, and nobody finds interesting until the day they need it. Then it becomes the most important conversation of your career, usually too late. Most photographers buy a policy because a venue asked for one, sign whatever the broker recommends, and never think about it again until something breaks, gets stolen, or generates a lawsuit. 

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There, I said it. Not bad. Not incompetent. Not untalented. Boring. And boring is far worse. 

Bad photography can at least be entertaining. It can crash through the wall drunk at two in the morning, bleeding from the forehead, demanding another round. Boring photography arrives exactly on time, wipes its shoes at the door, and asks where you keep the coasters.

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For the past six months, I've had the opportunity to thoroughly test the Hasselblad XCD 35–100 E — Hasselblad's brand-new all-around zoom lens. With this lens, I've photographed commercial campaigns for Hasselblad, documented a family wedding high up in the Alps, and captured my photo workshop in southern Spain — all without changing the lens even once. And honestly: the 35–100 E has impressed me in every single situation. 

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Most photographers hit a ceiling not because they lack technical skill, but because they keep doing the same things over and over. Breaking out of that pattern is what separates a one-trick shooter from someone who can walk into any situation and come away with something worth showing. 

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The Nikkor Z 14-30mm f/4 S has been on the market since 2019, and it remains the wide angle zoom that ends up on more Nikon Z mount cameras than probably any other. At its current discounted price of around $1,100, the calculus of buying it versus something like the Nikkor Z 14-24mm f/2.8 S at roughly $2,000 gets very interesting very fast. 

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Leica is the only professional camera company to offer three 35mm film cameras. These cameras, M-A, M6, and MP, are popular among the fan base despite the dominance of digital photography in the past two decades. If you have a few dollars to spare, you have a rare opportunity to own an original MP camera once owned by the photographer known as the first paparazzo. 

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Choosing between a 35mm and 40mm prime lens sounds like splitting hairs, but if you shoot in tight spaces, near cliffs, or anywhere you can't step back, that small difference in field of view can determine whether you get the shot or go home empty-handed. James Popsys has spent years shooting 40mm primes across multiple systems and recently started questioning whether 35mm deserves a longer look. 

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Megapixel counts dominate camera marketing, and most buying decisions reflect that. But the actual difference between a 24-megapixel sensor and a 50-megapixel one is almost certainly smaller than you've been led to believe. 

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  A city or town offers a photographer a plethora of potential photographic subjects, making them a great location for an afternoon, morning or even a whole weekend of photography.

To give you some inspiration next time you're out in a city with your camera, we've put together a list of 16 top photographic subjects you can find in a city / town, plus links to top tutorials that'll help you perfect your shots of them. But first, let's take a look at some of the kit you may want to consider taking next time you're off for a photography walk around a city's streets.      What Gear Will I Need?

Of course, you're going to need a camera and this can be anything from a DSLR to a smaller compact. If you're planning on taking some shots after the sun has set you may want to consider carrying a support, particularly if you're going to be capturing light streaks. Do remember that some locations, such as cathedrals and stations, won't allow you to use a support so do take this into consideration when planning your day.

ND and polarising filters don't take up too much room and could come in useful as too would a variety of lenses if you're not planning on using a compact camera. Consider taking a wide, tele-zoom and macro lens along if you have room in your camera bag for them. When it comes to bag choices, everyone is different so the best advice we can give you is take a bag that's comfortable, will hold all the kit you'll need easily and that's easy to access. Sling style bags are popular in city locations due to how easy it is to access kit without having to remove the bag but an everyday backpack will be just as fine. 

What Should I Photograph? 

 

1. You Can't Ignore Architecture

Buildings, old and new, surround our streets so you can't really visit a city and not shoot some building-themed images. Click the link above for more tips on photographing architecture or visit the technique section to see the full list of architecture photography techniques we have on site. 

  2. Have A Go At Street Photography

A busy city can be the perfect location to experiment with street portraits, particularly as you can blend into the crowds and shoot from the hip to capture some interesting candids.

 

3. Photograph A Landmark 

Famous landmarks have just one problem – they're famous which means finding a shot of them which isn't already on a thousand other cameras can be difficult but that doesn't mean it's impossible. 

 

4. Get Up High 

One of the simplest ways to change the way your city image looks is to get up high. So climb a mountain, stand on some steps or use a lift to get to the top of a tower to give your images a different perspective. 

 

 

5. Capture Shots Of Traffic & Transport 

City streets are busy places with buses, cars, cyclists and more getting from A-to-B giving you ample opportunity to get creative with your transport shots. 

 

6. Get Creative And Add Some Light Trails To Your City Shots 

Did you wonder how people get car lights to streak through their images? Well click the above link to find the answers. 

 

7. Photograph A Church, Cathedral Or Other Place of Worship

These structures make great subjects for architectural shots but if the weather turns or you want a break from walking along the streets with your camera gear, the inside of these buildings is well worth capturing, too. 

 

8. Visit A Museum

Museums are not only educational and interesting, but they offer plenty of photographic opportunities. Plus, many are free to enter which is always a bonus! Have a look around the outside of the museums too for interesting architectural shots worth capturing. 

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9. Search For Interesting Architectural Patterns

Stop looking at buildings as whole structures and focus on the small pockets of interesting patterns and shapes they're made up of.

 

10. Capture Reflections In Buildings 

Thanks to modern architecture that favours glass and steel over bricks and mortar cities are full of reflections which give us an alternative way to photograph the places we live in.

 

11. Photograph A Station

There are few towns and cities that do not have a station and they are fantastic places to take pictures. Interesting architecture, people to capture candids of and close-ups of interesting detail are just some of the shots you can capture around these locations.

 

12. Look For Stairs And Steps 

Stairs may sound a little boring but if you start thinking about the materials they're made from and the shapes and styles that exist, you'll soon realise there's plenty of steps to keep you and your camera occupied.

 

13. Photograph A Bridge

Bridges come in all sorts of shapes and sizes, plus you can capture them from all angles making them a subject you can spend quite a while on. 

 

 

14. Spend Some Time By A Canal

Canals were once used to transport goods to towns and cities right across the UK and as a result, there are still plenty of waterways running through our city streets. The long canals, bridges and lock gates that once supplied goods now supply ample photography opportunities and as they all have public walkways, you're not going to upset anyone if you spend an hour two with your camera at the side of one.

 

15. Go For A Walk In A Town / City Park 

The green spaces found in towns and cities are a haven for many and are a great place to take your camera when you want a break from the busy streets. 

 

16. Capture Shots Of Shop Windows & Signs

Spend some time in your town and capture some interesting images of displays and signs. They'll be plenty of interesting signs, plus head back out at night and the shop fronts will have a completely different look to them. 
 

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Westcott has introduced the S18 Mini Flash, a compact and accessible flash for shooters at every level. Weighing just 100 grams, it packs 18Ws of output, a tilting head for bounce flash, and a built-in USB-C rechargeable battery into a pocket-sized package. Small enough to fit in your pocket but powerful enough to get the shot, the S18 is built for photographers who want better light without the hassle.

 

From Lumesca Group:

Westcott, a leading manufacturer of professional photography lighting equipment, announced the launch of the S18 Mini Flash, a compact flash designed to give photographers of all skill levels a simple, affordable way to take better photos when natural light isn’t enough.

The S18 combines a tilting flash head, 19-step manual power control, and a built-in USB-C rechargeable battery into a package that weighs just 100 g and measures 2.4 x 2.1 x 0.9 inches.

The S18 is designed to remove every barrier that keeps photographers from trying flash for the first time. The price, the size, the simplicity — all of it is intentional. We wanted to create something that delivers real results from the very first shot. –  Brandon Heiss, President of Westcott

 

More Light Where You Need It

The S18 delivers 18Ws of flash output with a Guide Number of 16 (ISO 100), producing significantly more light than the built-in flash found on most cameras. Paired with a native sync speed of 1/250s and recycle times ranging from 0.01 to 2.5 seconds, the S18 is ready for indoor portraits, street photography, events, and low-light scenes where available light falls short.

 

Bounce Flash or Direct Flash

The S18’s tilting flash head adjusts from -3° to 72°, giving photographers the option to bounce light off ceilings and walls for softer, more flattering results rather than pointing the flash directly at a subject. Multiple optical slave modes support multi-flash configurations for photographers ready to explore more advanced setups.

 

 

Built-In Battery with USB-C Charging

The S18 features an internal 3.7V 1250mAh lithium battery that delivers up to 500 full-power flashes per charge and recharges via USB-C in approximately 2.5 hours. The S18 also supports charging while in use, eliminating the need for disposable batteries and keeping photographers shooting through long events and sessions.

 

Easy to Control

Simple onboard manual controls and a clear display screen provide quick access to all flash settings. Power adjusts across 19 steps in a 7-stop range (3.0–9.0) with 0.3-stop increments, making it straightforward for beginners to learn flash fundamentals while giving more experienced photographers the precision they expect.

Ready to Shoot, Right Out of the Box

The S18 mounts to most Canon, Nikon, Sony, Fujifilm, Panasonic Lumix, Olympus, and Leica cameras via a universal single-pin hot shoe. The kit includes five colour gels (Diffusion, CTO, 1/2-CTO, Yellow, and Red), a travel case, and a USB charging cable.

 

Availability

The Westcott S18 Mini Flash is available through authorised Westcott retailers and at fjwestcott.com.

    1. What Time Of Day Is Best? 

Early morning or late evening light will highlight textures and warmth to the scene but don't overlook bright days either as strong shadows will make statues and other detail stand out from the walls.

If you wait for the sun to go down have a play around with long exposures and capture the light trails created by traffic as it passes you by. Most DSLRs will happily create shutter speeds of 30 seconds but if you want something a little longer you'll need to switch to the B (bulb) setting. 

If you do use Bulb mode, keep an eye on your battery life as you don't want it to drain before you've captured your shot. Do remember you'll need your tripod and a remote release is handy if you have one.

 

 

2. Should I Use A Wide-Angle Lens? 

If you're shooting on the bridge a wide-angle lens is great for getting interesting foreground detail in the shot. Just remember to use a small aperture so everything in the scene is in focus. A wide is also handy for when you what to shoot the bridge in its surroundings and don't have the space to move back with a telephoto lens. If you can get down to the base of the bridge a wide-angle lens will exaggerate the size of the part closest to you while the distant point of it will look like it's shrinking towards the vanishing point.

If you find you have too much sky and land dominating the landscape shots of your bridges crop in and create a panorama.

 

 

3. When Will A Telephoto Lens Be Useful? 

When you want to isolate detail pick up your telephoto lens. It's also useful for when you have strong lines to work with such as bridge supports.

 

4. What Else Can I Photograph On A Bridge? 

Bridges, particularly old ones, have interesting detail that's worth a shot or two. Signs, supports, nuts, bolts and even rust can make good images.

 

 

5. How Can I Use Bridges Creatively In My Shots? 

You can use the bridges that stretch over roads, canals and rivers to frame whatever landscape sits behind it. Just watch your exposure if you do this as it'll be darker under the bridge than it is on either side so bracket if you need to.

 

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Most photographers treat the deposit as a courtesy request. A nice-to-have. Something you ask for politely, and if the client pushes back or seems uncomfortable, you waive it because you do not want to lose the booking. This is the standard operating posture of the photography industry, and it is costing working photographers thousands of dollars a year that they never see on their books, because the losses are invisible until you run the math. 

 

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The Fstoppers community is brimming with creative vision and talent. Every day, we comb through your work, looking for images to feature as the Photo of the Day or simply to admire your creativity and technical prowess. In 2026, we're featuring a new photographer every month, whose portfolio represents both stellar photographic achievement and a high level of involvement within the Fstoppers community. 

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I learned early that a lot of "broken" film cameras aren't broken—they're just stuck. The symptoms were always the same: you'd cock the shutter, press the release, and nothing would happen… or it would fire once and then lock up like it was offended you asked it to work in 2026. Sometimes it wasn't a dramatic failure, just that dead, sluggish feeling of old grease turning into glue. 

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The Tamron 35-100mm f/2.8 sits in an interesting spot: it's compact and light enough to travel with, but fast enough to handle portraits, events, and low-light shooting. At around $899, it's priced to compete with other mid-range zooms, and whether it delivers enough to justify that price is genuinely worth understanding before you buy. 

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Editing on the wrong monitor, shooting at the wrong ISO, working in 8-bit — any one of these mistakes can quietly wreck an otherwise solid photo. Some of them can't be fixed in post. 

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Choosing a 35mm f/1.4 lens for Sony E-mount means navigating a short but competitive list, and the Sigma 35mm f/1.4 DG DN Art just reshuffled that list significantly. The Mark II version makes a strong case against both its predecessor and Sony's own G Master offering. 

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Shooting all of Bolivia on a single camera battery is either a brilliant creative constraint or a fast track to missing the best light of the trip. Brendan Van Son set out to find which one it was. 

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1. Why Use A Frame? 

Frames are a great tool for drawing attention to an image. Be it a frame we hang on the wall, one we create on the computer, in-camera or with the elements in the scene we are photographing, frames are a very effective tool that all photographers can use.

 

2. Adding A Frame In-Camera 

Frames created while taking your shots will help lead the eye through the shot, add depth to images and help give a photo context. There's also the added bonus of using frames to hide objects you don't want to appear in the shot and they can make your images generally more interesting. They can also be used to give the viewer more information on the location you've taken the shot in. 

 

 

3. What Can Be Used As Frames? 

Windows and archways are obvious choices for frames but tree branches and leaves can also work well. Frames don't have to cover four sides either - one or two branches curving around part of the image can work just as well. It's also worth considering if you want the frame to be in focus or not. If you're at a party, why not use people as your frame to draw attention to a particular person or group? You can also use frames which are positioned towards the back of the shot to frame foreground interest, too. 
 

4. Frames Don't Always Work

There are times when creating a frame within your image won't add anything to the shot so do think about your composition and if you really do need a frame before hitting the shutter button. You don't want the frame to pull attention away from your main subject either so do make sure it's not too distracting. 

 

 

5. Creating A More Traditional Frame

More traditional style frames can be added during Post Production and ePHOTOzine has various tutorials on adding a variety of frame styles to shots in the technique section of the site.

There's also a third option and that's to add a frame to your image in-camera from one of the various creative filter options cameras offer. Apply built-in frames, use vignettes or why not combine multiple shots in one frame? 

 

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