Photography News

Apple has announced the latest version of its 14-inch MacBook Pro, now powered by the new M5 chip. The update brings faster performance, improved AI capabilities, and longer battery life, while keeping the same starting price of $1,599.

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When you had out in autumn, the first thing that you're likely to be greeted with is fallen leaves on the floor. Take advantage of these and create some great photos!

It's worth packing a polarising filter as one of these will enhance autumn shades and help reduce glare. Then basically, all you need to do is find some autumn leaves, arrange them if you wish then photograph them. Try and get a mix of varieties if you can and if you can wait until the next morning to photograph them, they'll be covered in droplets of morning dew or if you wait until the temperature drops a little more they'll have a dusting of frost, giving you the chance to shoot some abstract Autumnal shots.

 

1. Look for interesting patterns Don't have any trees at home? Well, you can collect some fallen leaves from the park or venture out early and do your photography there. Look out for scenes where fallen leaves have created interesting patterns without you having to move them or where they’re decorating a particularly picturesque scene. A blanket of leaves around the trunks of trees will always make a great shot that really sums up autumn. Look for objects in your garden or around the park that you can use in shots with the leaves you've collected to make a more interesting composition.    2. Go close-up and abstract You can position yourself a little further off the ground and photograph the whole pile of leaves but by getting in close to one or two of them, playing with several compositions you can end up with some surprisingly interesting shots. Try just focusing on the tip or stalk of one leaf or focus on the centre of one so blur creeps in at the edges. Try using a wider aperture so you get a shallow depth of field that allows detail to be to focus of the shot. Do watch out for shake creeping into your shots as it does become more noticeable when working with close focusing. Always use a tripod and make use of your camera's self-timer so you aren't touching the camera as the exposure begins. Better still, use a cable / remote release or even your SmartPhone as the trigger if your camera allows it.   
  3. Backlight the leaves Back home, if you have a lightbox you can use it to backlight your leaf so all the detail stands out. If you're using a camera that has Live View it's worth using it to check the overall sharpness of your close up shots. It also comes in handy when you're taking shots where putting your eye to the viewfinder is a little tricky. 

If you're working by water where leaves are decorating the land surrounding it or are floating along the surface of the water as it flows downstream, experiment with longer exposure times to blur the water's movement. We say experiment as several factors will affect what length of shutter speeds you'll need to achieve your desired result.

 

4. Experiment with settings

Experiment with your camera's white balance settings to find the best colour balance for your shot and if you feel the autumn tones need more depth, use your camera's exposure compensation control and dial a - stop in. You don't need to go too low, a half or one-stop should be fine. Having said that, if you shoot in RAW you can always give the colour in your shots a boost when you're back on your computer. 

 

1. Gear Suggestions

• Wide-angle lens
• Polarising filter – Helps boost colour
• ND Grad filter – Balances the exposure of the sky and foreground
• Waterproofs – It rains a lot in the UK!

  2. When To Take Your Shots

Early morning or the end of the day is perfect for autumnal photography as the warm colour temperatures of the setting or rising sun boost the autumnal shades. The end of the day tends to be warmer than early morning too which is good news for those stuck in offices all day. Keep an eye on the weather forecast for the evening before you plan on heading out as a cool night helps the autumn shades develop.

Another advantage of heading out of the door early in the morning or later in the evening is the light is more diffused which means the difference between light and shadow areas isn't as extreme. It's still worth keeping an eye on your histogram, something which can be done in Live View on many cameras which means you can see the histogram display change as the scene in front of you alters or as you make tweaks to the exposure. This not only saves times but is a lot easier than making changes, taking a shot then checking the histogram. 

If the sky's proving to be a problem as it's too light, fit an ND filter to your lens to balance the exposure. Of course, if you're not an early riser and don't fancy heading out after your tea you can use editing software to boost the autumn colours in your shots too.
 

3. Where To Go

The Lakes, Peak District and the Brecon Beacons look particularly impressive during autumn but really you just need to go somewhere that gives you a little bit of height and a few breath-taking views.

 

 

4. White Balance

Switch from auto to cloudy or shade to add an extra level of warmth to your shots that really boosts the autumn shades.

5. Look For Contrast

If you're shooting sweeping shots of a forest canopy from a hillside have a look for spots where the oranges and yellows are broken up with greens. Lower down, shoot at the forest's edge, using the shades of a field to contrast with the orange tones of the forest.

Golden coloured leaves pack some punch when framed against a blue sky but don't dismiss dark skies either as overcast days can give you moody, richer looking images. Rain clouds look great on the horizon and once the rain has passed, colours naturally become more saturated. If there's a breeze blowing have a go at using slower shutter speeds to capture the movement of leaves and branches as they blow in the wind to give your images a more abstract feel.

 

6. Foreground Interest

For sweeping scenic shots, it's important to have foreground detail to add depth and to fill what can be a big empty space in front of the lens. It can also add a sense of scale to a shot but don't fill it too much as your shot will end up looking too busy and it'll be hard for the viewer of your shot to find a single point of focus on.

Large rocks and tree stumps work well as foreground interest or you could try setting up your composition with an object that can lead the eye from the front to the back of the shot. Paths created by walkers, streams, walls, fences and bridges all work well. Just remember to use a small aperture (bigger f-number) such as f/11 to keep front to back sharpness.

If you don't want to shoot wide pick up the telephoto lens and use it to focus on a particular point of interest, using its pulling power to isolate your subject.

Remember: Get out of bed early or be prepared to stay out later if mornings aren't your thing, use foreground interest, keep it simple and think about composition before hitting the shutter button.
 

Since the earliest days of film photography, we’ve been locked into aspect ratios defined by the film itself, whether that’s 3:2 from the standard 35mm film, 4:5 from the 4x5 large format film, or even 1:1 from the 6x6 medium format film that carved out its own niche result. The strange thing is, even after transitioning into digital, the aspect ratio has remained one of the least challenged conventions in photography. Digital cameras became faster, more powerful, and more efficient. But the frame is still the same old 4:3 or 3:2 rectangle that we have been stuck with for over a century.

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A long lens can change how you see the world. It pushes distant subjects close, compresses space, and isolates moments you’d otherwise miss. The OM SYSTEM M.Zuiko Digital ED 40-150mm f/2.8 PRO does all of that while staying fast, sharp, and portable enough for real-world use. For anyone using Micro Four Thirds gear, it’s a lens that fills an essential gap between wide and telephoto coverage.

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Your primary camera body fails during a paid shoot. Maybe the shutter mechanism seizes, the sensor starts showing hot pixels, or the battery door won't close properly. In that moment, your backup camera becomes the difference between delivering the work you promised and refunding thousands of dollars while explaining to a disappointed client why you couldn't finish the job. Yet most photographers approach backup camera selection with a strategy that ranges from expensive overkill to dangerously inadequate, missing the sweet spot where smart preparation meets practical economics.

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Some portraits pull you in without warning. They hold a quiet force that lingers, a kind of truth that has nothing to do with technical perfection or fancy lighting. You’ve seen portraits that look great but feel hollow, while others stay in your mind for days. The difference lies in what the image says beyond the surface, the story that seeps through the smallest details.

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War photography is not for the faint of heart. Beyond having technical expertise in your equipment, there’s a whole other level of engaging with people and resilience that comes into play. While that last part takes years of experience and training to learn, here’s a peek into what one war photographer uses to shoot with on the battlefield—and his gear will definitely surprise you.

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The Laowa 200mm f/2 FF AF Dreamer autofocus lens has been released. Let’s have a look.

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You’ve likely wondered whether a fixed-lens, full frame camera could actually replace a more flexible kit. This video confronts that question head-on using Sony’s premium compact model and shows whether convenience kills compromise or not.

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Landscape photography often brings a big questions: what focal length to use. This choice shapes how a scene feels: its depth, focus, and emotion. Picking the right lens isn’t about numbers on a barrel. It’s about how you want the viewer to see.

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We can't let October pass without mentioning a close-up photography subject many photographers shoot spectacular images of at this time of year and that's fungi.

So, if you're venturing into the world of fungi photography for the first time or just want a quick reminder on what kit you'll need, have a read of our guide on photographing mushrooms, toadstools and fungi.
 

1. Pick the right season

The reason why this technique is something that's mentioned at this time of year is that fungi tend to like Autumn and Winter when it's cooler and wetter. You might even find them establishing themselves on your lawn if conditions are right. 

 

2. Head somewhere dark and damp

Think dark, damp places such as dense woodland areas where not much sunlight can get through. Search under piles of leaves and look around the base of trees. After a spell of particularly wet weather, they will start to show themselves in more places than you might expect!

 

3. Use a macro lens

A good macro lens is a must as fungi aren't the largest of subjects and your shots will have more impact by getting in close.

 

4. Stabilise your kit

Low light means longer shutter speeds so you're going to need a support for your camera. Some tripods can be adjusted so they sit low to the ground but you could just use a beanbag if your tripod isn't so flexible. Consider using a remote / cable release so you don't introduce shake at the start of the exposure but if you don't own one just use your camera's self-timer.

 

 

5. Pack a polarising filter

On particularly damp days shine can be a problem and mushroom tops can end up overexposed. To combat this, fit a polarising filter to the end of your lens which will reduce the shine. You may be wondering why you couldn't just head out on a dry day and there's no reason why you can't, however as David Pritchard explained a blog post: "There’s no better time for photographing mushrooms than after (or during) rain. The colours strengthen, and everything adopts a lovely sheen." 

 

6. Tidy the surroundings

It's sometimes worth cleaning the specimen up that you're photographing before you take your shots. Have a look at what's in the back of the frame, too to see if there's twigs or anything else that could prove to be distracting in the final shot. Please don't pull plants out of the ground or damage parts of a tree for the sake of a photo, though. It's important that you leave things as you found them once you've finished taking your images. Of course, you may prefer the natural look which means you won't have to brush any dirt off the mushroom at all.

 

 

7. Shoot down low

Fungi like the floor which we know isn't the most comfortable angle to work from but it does mean viewers of your images will be drawn into the fungi's world much more successfully if you shoot from low down. The fungi will also have a three-dimensional feel to them as they'll have more height, plus you'll be able to capture shots of the underbelly, too.

 

8. Think about your composition

As mentioned in the above point, once you've got your position on the ground, you'll be able to not only photograph the top of the mushroom's dome but underneath it too. This gives you the chance to capture some of the textures and colour the mushroom has to offer as well as exaggerate the height of it. Try to capture mushrooms in a group, as a variety of sizes will add interest of the piece. Odd groups are more pleasing to the eye than pairs but if you have one particular good specimen, don't overlook shooting it standing on its own. If you include the background and how much distance you put between you and the mushroom will change every time so do take some time to assess the scene before hitting the shutter button. 

 

 

9. Shed some light on the image

Fungi may like dark conditions but it's not something that's easy to work with as a photographer. The most interesting part of the mushroom is the underbelly and to highlight the textures, shapes and colours you're going to have to bounce light into the scene. You can use your camera's built-in flash but this will often result in a harsh light that doesn't really add anything to the photograph. Instead, use off-camera flash and bounce the light off other objects. You can also play around with backlight which should create a halo around the mushroom's top. If you don't have a flashgun experiment with a torch or use a reflector to bounce light onto the underbelly of the mushroom.

 

10. Use a shallow depth of field

Throwing the background out of focus will not only help isolate your subject but it can also hide unwanted clutter. Add a bit of backlight and your subject will pop from the frame.

This is my 20-year journey from corporate life to full-time photography, sharing practical strategies for creators who dream of turning their passion into their profession. This article provides the roadmap I followed for transitioning from employee to creative entrepreneur.

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Removing dark circles without destroying texture sounds like magic, but it’s really about control. The goal isn’t to blur or hide, but to separate tone from texture and work on each precisely. This technique helps you clean up portraits without losing the skin’s natural feel, especially when retouching close-up shots.

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MPB, the largest global platform for buying and selling secondhand photography and video equipment, has today unveiled a refreshed brand identity that reflects its belief that every creator should have access to the right tools, in the right way. The new identity injects fresh energy into the brand and reinforces MPB’s commitment to make buying and selling used gear smarter, simpler and more accessible. 

Founded in 2011 and with headquarters in Brighton, MPB operates across the UK, US and Europe, recirculating over 615,000 cameras and lenses a year. Every item is bought directly from photographers and filmmakers, then carefully checked, graded and guaranteed by MPB’s in-house experts. It’s a simple, transparent process that gives creators complete confidence when buying, selling or trading gear.

London-based creative brand agency The Clearing has designed a visual and verbal identity system that will bring MPB’s brand story to life. The new look frames MPB as the smarter, more sustainable and more accessible way to buy, sell and trade camera gear, so that creators can spend less time worrying about their kit and more time creating.

 

Brand elements

The brightened and emboldened logo now standing on its own and without the “.com” places the MPB name front and centre for impact and stand out. 

A boldly simple and attitude-driven tone of voice instantly positions MPB as a disruptor - cutting through the marketing clutter and jargon that dominates the market. Instead of speaking like an instruction manual or a sales person, the new voice is confident, concise and provocative, bringing clarity to complexity and allowing the brand to speak with a relaxed and reassured authority. It uses attitude to connect with people whether they see themselves as creators or consumers, transforming a transactional experience into a personal one. This tone doesn't just sell cameras, it sells MPB's mindset: that theirs is the right way to buy, sell or trade secondhand gear.

Paired with a vibrant colour palette that leads with a distinctive Pink and secondary use of Midnight Blue, it aims to inject energy and stand out in a monotone category.

The typeface, Suisse Intl, was chosen to support the bold expression conveyed through their tone of voice – it allows them to present themselves as a straight-talking brand with a voice that aims to get people’s attention. 

The brand introduces a fresh product photography style, where cameras can be viewed from all angles – up close, in situ or within dynamic layouts imbued with movement. This allows MPB to highlight products when using them in listings, and in content. Content and storytelling shots feature real creators shot in a reportage style that tells a story about the shots they’re taking in the environment that they’re working in. At times, it’s combined with the brand’s new graphic device – inspired by the focus ring of a camera – creating a flexible visual tool that can be used across print and digital. 

A set of hand-drawn icons have been designed to bring a human touch to the brand, adding warmth to the platform and reinforcing MPB’s personality. Dotted throughout MPB’s platform, social media and other marketing channels, the icons are set in the new bold Pink.

Jonathan Hubbard, creative director and founder, The Clearing, says, “Every time you pick up your camera, it’s to create something. So having an easily decipherable platform to buy and sell gear is important to keep creatives doing what they do best. Positioning MPB as a circular alternative to buying new can resonate with consumers who want to reduce their environmental impact but still get high-performance products.”

“The Clearing understood that this was about more than just design, it marks the next evolution of the MPB brand story,” said Sophie Collins, CMO, MPB. “Our purpose remains, but the new tone and visual identity better reflect who we are today: bold, smart and upbeat - a brand built for creators who want to do things the right way.  

“As the need for high-quality content continues to rise, so does the expectation for smarter, more sustainable ways to access the gear to create it. This refresh reflects what creators are looking for: quality, value and responsibility. It reinforces MPB’s commitment to make it easier for every creator to keep creating.”

For more information, please visit the MPB website.

 

As the weather's getting cooler and trees are losing their green tint to shades which are much warmer we thought it would be a good idea to bring ten of our popular autumn photography tutorials together in one place. That way when you're planning a day of autumn photography you don't have to go all over the web searching for ideas and suggestions.
 

1. Autumn Macro Tips With A Compact Camera

Just because you're using a compact camera doesn't mean you can't shoot some interesting, autumn-themed macro shots. Here are some tips and hints to help compact users perfect their technique.

 

2. Photographing Reflections During Autumn

With such bold colours on offer, autumn's the perfect season for capturing reflections. We have tips on capturing a mirror-like reflection as well as advice on shooting more abstract style shots.

  3. Autumn Garden Photography Tips

Your garden is full of autumn photography subjects which means you can stay close to home and still capture the season with your camera and lens.

 

4. Tips On Shooting Autumn Landscapes

Capture the autumn season with your wide-angle lens and you'll soon have a collection of autumn landscapes that really pack some punch.

 

5. Autumn Shooting at Arboretums

Here are a few tips on photography in an Arboretum. With trees all around and wildlife and flowers abundant, there's no excuse not to break the camera out!   

Last Tuesday, your Instagram Reels were getting 5,000 views each. This Tuesday, you're lucky to break 300. Nothing changed in your content quality, posting schedule, or hashtag strategy. Instagram just decided your work wasn't worth showing anymore. If you're a photographer trying to build an audience in 2025, this frustration probably feels familiar.

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The fixed-lens compact that actually changes how you shoot day to day is under the microscope. If speed and color straight out of camera, you’ll see where the Fujifilm X100VI helps and where it gets in the way.

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This might be the most reliable desktop camera arm you can get, especially if you shoot tabletop products or content.

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Sony’s latest 100mm macro lens introduces a level of detail and flexibility that makes even seasoned shooters rethink what a macro lens can do. Here's a look at what you can expect.

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