DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

Photo by cattyal

 

The most popular approach to flower photography is to include the whole flower but by getting in very close or by choosing a less conventional crop you can create a rather exciting image. Plus, it's a technique you can try all year round as you can just buy your flowers from the supermarket when there's none showing their heads in your garden.

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1. Work Near A Window 

A greenhouse is a great location for shooting close-ups of flowers as there's plenty of light, you're sheltered from the wind and if the windows are slightly dirty the light will be nicely diffused. If you don't have a greenhouse work indoors next to a set of patio doors or a large window and use a net curtain or muslin to diffuse the light.

 

2. Direction, Apertures & Focus 

Position your vase/flower pot so you can work directly above it then begin experimenting with different apertures and shooting distances to change the overall effect. Start with a nice wide aperture to minimise your depth of field and switch to manual focusing as you can get in closer than your camera thinks. Although, it’s not even really necessary to have any part of the image in focus as the flower colour and shape can produce attractive abstract swirls of soft colour.

If you don’t have the ability to get in close then try some creative cropping. The sweep of a single Lily petal or the shape of an Iris lend themselves to close crops.

  3. Multiple Exposures  If your camera has it, try experimenting with the Multiple Exposure Mode. This mode allows you to take several shots on the same 'frame' which the camera then combines to create one shot. Having the lens sharply focused then defocusing as you move from exposure to exposure will give you a soft, dreamy look to your photograph.

 

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

 

A breathtaking black and white landscape shrouded in fog and mist has been awarded our Photo of the Week accolade.

Captured by mlseawell at Arches National Park in southern Utah, this atmospheric image titled "A Hidden Land" is the result of an early morning well spent. Rolling hills and distant mountain ridges peek through thick layers of mist, with the fog sitting heavy across the valley and giving just enough away to keep you looking. The further you look, the more the landscape seems to hold back, and that tension is what makes this image so compelling.

Shot in black and white, the image strips the scene back to its raw essentials, letting tone, texture and light do all the talking. It is the kind of photograph that reminds you why some early mornings are worth every effort.

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!

 

When the sun's not coming out to play you have two choices: you can go home and twiddle your thumbs or you can stay out and make the most of what's on offer. If you choose the latter, here are a few photography projects you could have a go at.

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1. Beach / Coast

The coast has a completely different feel when not drenched in sunshine. The sea can merge with the horizon making it seem like it stretches on for miles and the dark shades and moody feel really suit a seaside resort that's out of season. Even more so if you have boarded up beach huts and empty amusement parks to sit against a dark, moody sky.
 

2. Buildings

Dull days give factories and old buildings more character as there are generally fewer shadows, you'll be able to pick detail out in chimneys that reach out into the sky and the gloomy day will further enhance the feel of the industry and in the case of a boarded-up building, abandonment.

   
3. Close-Ups

Bright days when the sun is high in the sky can be awkward as colours will be too harsh and you'll have deep, dark shadows. Whereas grey days, when there's plenty of clouds, is nature's way of giving you a giant softbox to work with. This weather's particularly good for photographing flowers and shrubs so get outside with a macro lens compact camera which features a Macro mode. You'll have to use a slightly slower shutter speed, though, so make sure you pack your tripod.
 

4. Reflections

Flat light can leave buildings looking a little boring but if you turn your eyes to water, their reflections in the ripples can produce a great abstract shot. The reflection on its own can make interesting, slightly surreal images and all you need to do is make sure there are some interesting shapes reflected in the water.
 

5. Go Mono

A shot that looks dull and boring in colour can be transformed into a great moody mono with a little help from Photoshop. Just make sure you have some strong shapes for your black and white conversion. Go a little further and add a bit of grain and a ragged border and your mono will be moodier than a teenager!

 

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

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to Archie2022 (Day 20 - Waterfall Photography).

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 15

Self Portraits

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Day 16

Vertical Lines

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Day 17

Photos With Vignettes

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  Day 18

People Shots

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Day 19

Park Photography

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Day 21

HDR Photography

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

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The latest winner of our popular daily photography theme which takes place in our forums have been chosen and congratulations go to dke (Day 4 - Flower Photography).

 

Daily Theme Runners-Up

If you didn't win this time, keep uploading your images to the daily competition forum for another chance to win! If you're new to the Daily Theme, you can find out more about it in the Daily Theme Q&A. 

Well done to our latest runners-up, too, whose images you can take a look at below.

  Day 1

Frost Photography

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Day 2

Commute Photography

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Day 3

Glass Photography

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  Day 5

Car Photography

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Day 6

Football Photography

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Day 7

Food Photography

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You’ll find the Daily Themes, along with other great photo competitions, over in our Forum. Take a look to see the latest daily photo contests. Open to all levels of photographer, you’re sure to find a photography competition to enter. Why not share details of competitions with our community? Join the camaraderie and upload an image to our Gallery.

   

The idea of movement isn't usually a thought that first springs to mind when you try to describe what a landscape shot is. However, when you start to think of popular landscape topics such as waterfalls, rivers, trees, clouds and the sea, you suddenly realise movement, which makes shots more dynamic, crops up more often than you think.

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Slowing your shutter speeds can create a sense of movement in your landscape shots. Just remember you'll need to use a smaller aperture to limit the amount of light that reaches your camera's sensor. If you don't, you'll end up with a shot that's overexposed. If you find your shots are still a little on the light side, fit an ND filter to further reduce the amount of light going through your lens. For shots where you want to exaggerate the power/strength of your subject or for shots that have people/vehicles moving or birds in-flight, you'll need quicker shutter speeds, a steady hand and good panning technique all of which we'll look at later on.

  1. Waves

For shots of waves crashing against cliffs and sea walls you'll need a quick-ish shutter speed, around 1/125 should help you capture the power on display. Just remember, unless you want a soaking, to keep yourself and your kit out of the wave's reach. Have a lens cloth handy and remember to wipe your kit down thoroughly once you're back home.

For shots where the waves turn into a mass of soft, blue and white blur use exposures which are 5 seconds or more. If it's a particularly bright day make sure you have an ND filter to-hand and use the smallest aperture and ISO possible. If you want the waves to have a little more shape to them use a slightly shorter exposure. How short you go will depend on the amount of shape you want and how choppy the sea is on the day so you may end up experimenting with a few different exposures before you land on the one that gives you the shot you're after.

 

 

2. Waterfalls

We've covered waterfalls in a previous article so here are just a few quick tips to get you started. For a more in-depth look, take a look at our previous technique: Shooting waterfalls.

• What shutter speed you use will be determined by how much blur you want, the focal length you're using and the amount of light available.
• Pick an overcast day when you're going to be using longer exposures. Your shot is less likely to have contrast problems too when there's a touch of cloud cover.
• An ND filter can help you extend your exposure times while a Polarising filter will reduce the amount of glare/reflection coming off the water.
• Turn the waterfall's movement into a mass of blur - 1/8 sec longer
• Faster shutter speeds will enhance the power/force of the waterfall, freezing the movement of the water as it cascades and splashes on rocks.
• Have a go at photographing water bubbles.

 

  3. Clouds

Cloud formations can appear and vanish again even before you've thought about taking a shot so if you do spot an interesting one make sure you snap it straight away. Keep an eye on your histogram to make sure your shot doesn't have areas which are overexposed and if the formation is really spectacular cut some of the foreground out, moving the horizon down so the sky fills more of your shot. Use slower shutter speeds to blur the movement of the clouds and look out for trails left by planes too as the crisscrossing lines can make an interesting abstract shot.

 

4. Birds and People

If you want to capture birds in-flight you'll need a quick shutter speed, continuous autofocus and a good panning technique. As soon as you see a bird come into shot lock your focus on it straight away and follow it through the frame, panning even after you've taken your shot. To freeze the movement you'll need to use a shutter speed around 1/500sec but if you want to blur the movement of their wings try something slower around 1/30sec.

When it comes to people, how fast your shutter speed is will depend on what they're doing. For example, someone who's water skiing will be moving a lot quicker than someone rowing across a lake.

For more tips on panning and capturing people moving take a look at our articles:

• Panning tips
• Capture motion
• Shutter speeds explained

      5. Trees

Leaves blowing in the wind are an obvious way to capture movement in a forest but for something artier, try creating a drag landscape. For tips on how to do this take a look at our articles:

• Drag landscapes
• Drag landscapes in the woods

 

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

 

As the sunset is still at a reasonably early hour at this time of year, make the most of it and have a go at twilight photography as you can capture some lovely pastel shades that contrast well against strong sunset shots. 

 

1. Timings Are Crucial 

To capture your twilight imagery you need to be set up and ready for when the sun starts setting, that way you'll be able to start taking your shots just as the sun falls below the horizon and continue until it goes dark. You'll notice that the colours in the sky will change from bright, sunset shades, through to a deep blue before turning black and it's that middle part where the sky takes on the dark blue shade that you want to try and shoot. Annoyingly, it can be the hardest part of twilight to capture images of but when you do, it does produce cracking shots. 

 

2. Gear Choices 

A camera that performs well in low light will help but really, any DSLR will be fine. You'll also need a tripod as exposure lengths will be long and working tripod-free will just result in shake spoiling your shots. You may also find a remote/cable release handy, plus pack a Grad ND filter if you're planning on capturing a few shots at the start when they can appear to be brighter than the land/subject in front of your lens.

Pack a zoom lens to give you plenty of shooting options and a torch/head torch should have a place in your bag to help your return journey when it'll be dark.

Remember to wrap up warm as temperatures can drop dramatically after the sun has set and you'll probably find a head torch useful, too. 

 

3. Plan Your Shot 

By arriving before the sun's actually set will give you the opportunity to take a good look around and actually think about the scene you are photographing. Play around with focal lengths, apertures etc. and try different compositions to see what will work best. Having previous knowledge of a fitting location where there's good foreground interest can help so make a note of locations you think are suitable for twilight photography when you see them.

 

4. Check Your Framing & Camera Set-Up

Once your camera's on a tripod, re-check the framing to make sure you're happy with it and remember to hook up your remote / cable release if using one. Try to stick to lower ISOs, although many cameras have a phenomenally high ISO range nowadays and can perform well at the higher end. However, when you're using lengthened shutter speeds, you shouldn't need to use higher ISOs.

When it comes to apertures, as you'll most likely be shooting a land or cityscape try f/8 and work from there to ensure you have good depth-of-field. Due to low light levels, autofocus may struggle so set it manually and lock focus once you're happy with the result.

Take a test shot but don't worry if it doesn't look too great yet; you're just making sure the framing etc. is OK. Once the sun has set, exposure times will run from a few seconds to start and up to or even over 30 seconds after 20-30 minutes or so. 

 

5. Work Fast 

As the light in the scene will change quickly, the key to this type of photography is to keep taking photos; adjusting the exposure length as you do to capture as many different results as possible. You'll probably have to work faster than you expected but if you hit the right moment, it's well worth it. 

 

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

Be it a Sunday lunch you've cooked at home, a selection of groceries found on a stall or a collection of spices you've taken out of your kitchen pantry, food is something that's easily accessible which makes it a great subject for photographers. You can create still life pieces, get creative with props or just really focus in on the food item itself. Don't be afraid to experiment and remember to upload your fab food shots to the ePHOTOzine gallery or the competition forum to win top prizes.

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To get you thinking about food as a photographic subject, we've brought our food photography related pieces together so you can brush-up on your technique before raiding the fridge for interesting food items worth photographing.

  1. Food Photography: Top Tips For Instagram Food Photography Likes

 

Helge Kirchberger and 2-star Michelin-chef Jörg Bruch, with the help of the COOPH team, take you back to basics to show you how subtle changes can make all the difference in your food photos.

 

2. Seven Top Creative Ways To Use Coffee In Your Photos

 

You can eat coffee beans so we're rolling with this one! Coffee might be a lovely drink that powers you through the day but when the weather's a bit grey outside, it can also keep you warm indoors as you can focus your lens on beans and grains rather than fighting the chill outdoors. 

 

3. How To Take Awesome Travel Food Photography Shots

 

Instead of just capturing shots of family members in pools and on the beach, why not turn your attention to food photography and capture some mouth-watering images of the plates you're served and stalls you pass on trips. 

 

4. Serve Up Beautiful Food Photography With The Help Of Hugh Johnson

© Hugh Johnson

If you're one of the many astronomic photography fans who enjoy sharing the culinary delights online, you'll probably be interested in perusing this article with tips from renowned food photographer Hugh Johnson.  

 

5. Man Vs Food: The Difference Between Photographing People & Plates

 

Although my university training prepared me for portraits, still lifes, landscapes and anything else you can imagine, I’ve definitely noticed an increasing emphasis on food photography and have adapted and expanded my skills to capture Cuban sandwiches, crab Benedicts and vibrant vegetable platters. While many of the skills necessary for attractive human portraiture applies to food, there are also some key differences we’ll explore here. 

 

6. Food Photography Basics For Smartphone Photographers

 

Taking good food photos isn't as hard as you may think. In fact, with the right light and a few homemade accessories, even your smartphone can help you capture images that look good enough to eat.

 

7. Ten Top Tips For Taking Better Photos Of Food

 

Here we share 10 basic but essential tips to help you capture better photos of the food on your plate. If you're at a restaurant, generally, you'll find food is well presented so you don't have to worry about playing the role of a food technician, however at home, it's a different story. 

 

8. Food Photography Lighting Tips From Taylor Mathis

 

You don't need expensive lighting gear to take beautiful pictures of your food. Using the powers of the sun, you can create captivating and mouthwatering images.

 

9. Jamie Oliver And David Loftus' Food Photography Tips

 

Photographing food is a trend that has swept across social media sites over the past year, and the topic is a firm favourite with bloggers all over Europe, so how can you get the most out of your DSLR to make your food photos look good enough to eat, and impress your food-loving friends?

 

10. Creative Fruit Photography Tips & Tricks

 

Photographer Markus Pettersson has captured a series of vibrant still life images with his Hasselblad H5D-40 and he's put a pretty awesome tutorial together on how you can capture similar shots

 

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

Image without HDR

 

When shooting HDR (High Dynamic Range) images there are two ways you can produce them. The first is in-camera with a built-in mode and the second is manually where the photographer produces various bracketed exposures and combines them in software once back in front of their computer. This isn't a technique just for advanced camera users either as you can also do HDR with images from compact digital cameras so long as you can control the exposure.

But before we look at 'how', we need to look at 'why' this feature is useful for photographers.
 

Why HDR?

A photographer could choose to shoot HDR images just to be a little more creative or because the scene they are trying to capture won't look at its best without it.

What we mean by this is the camera's sensor doesn't see how we do so if you meter for the brighter areas of the scene then chances are you'll lose some shadow detail. Do the opposite and highlights can end up looking 'blown out'. However, by working with a built-in HDR mode or shooting an HDR image manually you'll be capturing a series of exposures, known as a bracket, that will be combined into one image that has a better dynamic range (highlights and shadow detail). 
 

HDR In-Camera

Select cameras feature a built-in HDR mode which does the work for you. This captures a wide range of tones, from shadows to highlights to produce an image with a more balanced exposure. Take a look at your camera's manual to see if your model has this function built-in. Using an HDR mode can make a big difference to your images with more detail and colour becoming visible.

 

 

HDR Image

 

HDR Manually

When shooting, it’s vital that you keep the camera as still as possible between each of the shots, so as to produce identical images. This makes the blending process much easier. Mounting your camera on a tripod is the simplest way to ensure your shots stay lined-up. It'll also help if you use a cable or remote release so you don't have to touch the camera when starting an exposure. If you don't have one, use your camera's built-in self-timer.

Try to avoid adjusting your zoom between shots too as it'll be a pain trying to line them back up again and once you have your focus point, switch to manual focus (if not using it already) so the camera doesn't refocus after taking your first shot. You may want to lock the focus and switch to manual exposure to help ensure everything remains consistent throughout. It's also worth switching to aperture priority mode as this will ensure that the aperture doesn't change from shot-to-shot. 

Most cameras will have an auto-bracketing feature which makes the photographers job slightly easier as all they have to do is pick the increments the exposures are going to differ by and the camera sorts the rest. If you've checked your camera's manual and this feature isn't offered, you can use exposure compensation and bracket manually. 

Three images, at two stop intervals, should produce good results but this will depend on the contrast range in the scene you're capturing. Taking between 3 - 7 shots are common for this type of photography so do take the time to access the scene to see how many shots will produce the best result for you. Use zero as your base exposure then take your +2 and - 2 exposures and check the results. It's worth checking your camera's histogram when setting your base exposure to ensure the highlights and shadows aren't clipped. Take a look at our article on using histograms on your camera for more information on this. 

Once you have a set of images that cover the scene's full contrast range you can open the exposures on your computer in an HDR software program, various are available and bring them together in one image. Adjustments can be made to the image to produce a more accurate representation of the scene or you can go for a hyper-real shot where elements are over-cooked. Do take care with this, though, as not all scenes will work with the latter.
 

When To Use HDR

HDR won't work for every situation, you need to judge if it's needed. For example, If you have a landscape scene that's evenly exposed and well-lit you won't need to use HDR. However, if you have a scene where the camera can't handle all the different exposure levels present, HDR can help you capture a more balanced exposure. having said that, it's worth using a longer exposure before reaching for the HDR controls to see if it'll give you the sharpness and detail you're after.

You can always take a few test shots, paying particular attention to shadow areas, to see if any detail is lost before working on your HDR image.

As mentioned, do take care in post-production too as a strong HDR effect won't work for everything. Go for subtle then add more if you think the image needs it. 
 

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

                                                                                                                           

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When we stretch the concept of the superzoom full frame lens from 28-200mm, we end up with this fine looking Tamron 25-200mm. This is a significant advantage for those who require a wider field of view, whilst maintaining a very useful 200mm at the telephoto end. This is the 2nd Generation version of this lens. It looks good, balances well with the 42MP Sony A7R III used in this review, and the focal length range seems ideal for general purpose shooting, wildlife, landscapes and travel. The wide f/2.8 aperture at the 25mm end also bodes well for use in low light. Let's see if the lens lives up to its potential, both in the studio tests as well as the great outdoors.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Handling and Features

Weighing in at a modest 575g and measuring just 121.5mm x 76.2mm, the moisture sealed body sits well on the Sony A7R III. If we start our tour of the lens at the front, we have a provided petal lens hood that bayonets smoothly into place, with a positive click stop that ensures it stays put with no need for a retaining catch. Within the bayonet fitting is a conventional 67mm filter thread. Most of the Tamron mirrorless lenses utilise the same filter thread, useful in avoiding having to stock several sizes of filter or lens cap. The hood will be most efficient at 25mm, whilst avoiding any vignetting, and less so as we move towards the telephoto settings, but this cannot be helped, and it also has the very useful function of protecting the front of the lens against knocks. Regardless of flare reduction, there is a strong case for always using a lens hood.

 

 

There is a wide, easy to grip, zoom ring that is clearly marked with accurate settings of 25mm, 35mm, 50mm, 70mm, 100mm, 135mm and 200mm. The ring is smooth in operation and does extend the lens barrel, so there is some mass of lens to move. It will never be electronic-smooth as a consequence, but it is definitely well damped, a cut above the norm. A lock switch is provided just behind the ring but the lens showed little sign of extending whilst being carried. There is also an AF lock button at the opposite side of the barrel at the same point.

The final ring is slimmer, is electronic and is used for manual focus. All the usual Sony focus options are supported and these are selected via the camera menu.

Focusing is down to 0.16m (6.3”) at 25mm, for a maximum magnification of 1:1.9. or around half life size. At 200mm this becomes 0.8m (31.5”), for a maximum magnification of 1:3.9, or around one quarter life size. Whilst most current macro lenses focus to 1:1, this zoom lens focuses as close as vintage half life size macros traditionally would be expected to do. This is very useful and confirms the universal applications that it is aimed at.

 

 

Optical construction is 18 elements in 14 groups, coated using Tamron's BBAR-G2, the second generation of their Broad Band Anti-reflection coatings. The front element also has a Fluorine treatment to help repel dirt, grease and moisture. A series of internal seals completes the moisture resistant construction. The diaphragm comprises 9 blades and results is a nicely rounded aperture. This raises our expectation of some ultra smooth bokeh.

Last but certainly not least is a USB-C socket, used for connection to a smartphone and also on the PC version for updating the lens software. Tamron Lens Utility Software enables various control functions. Usefully, the AF lock button can also be programmed via this route to toggle between AF and MF.

In use, the lens behaves impeccably. AF via the VXD (Voice coil eXtreme-torque Drive) voice coil motor is fast, accurate and virtually silent. With the Sony body even focusing between bars of a cage is possible much of the time, something that many cameras and lenses can be totally defeated by. For universal use when travelling, this lens is just so versatile and so easy to use that it should cover almost every conceivable eventuality.

Now let's see how well things hold up in the technical tests.

 

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Performance

Sharpness is looked at first, and the images in general look crisp, colourful and have plenty of contrast. They look good, and for most users that totally fulfils what they might expect.

At 25mm, central sharpness is very good at f/2.8 and f/4, rising to excellent from f/5.6 all the way through to f/16. The edges are consistently very good all through the range, from f/2.8 to f/16.

At 70mm, central sharpness is very good from f/4.5 right through to f/16, just dropping to good at f/22. The edges are good at f/4.5, very good from f/5.6 to f/16 and good at f/22.

At 140mm, central sharpness is fair from f/5.6 to f/11, good at f/16 and f/22 and fair at f/32. The edges are fair right through the range from f/5.6 to f/32.

As with many wide range zoom lenses, the longest focal lengths drop off in sharpness, but the Tamron, given a small amount of Photoshop sharpening still delivers great looking nature shots even at 200mm and f/5.6. This is always the dilemma – some lenses are able to deliver the goods in the field but are not really designed for the closer distances of lens testing charts.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 MTF Charts Previous Next

How to read our MTF charts

The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.

For this review, the lens was tested on a Sony A7R III body using Imatest. Want to know more about how we review lenses?

 

CA (Chromatic Aberration) is very impressively under control throughout the range and further correction in software is unlikely to be necessary.

Distortion measures just -0.81% barrel at 25mm, +0.10% pincushion at 70mm and +0.12% pincushion at 140mm. This renders the lens suitable for copying and for architectural shots and is again very impressive, particularly so in a zoom lens.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Chromatic Aberration Charts Previous Next

How to read our CA charts

Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.

Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.

For this review, the lens was tested on a Sony A7R III body using Imatest.

 

Bokeh is the smoothness of gradation in the out of focus areas in an image. This is an aesthetic judgement rather than a measurement, but we know attractive bokeh when we see it. Here we find really very beautiful, smooth out of focus backgrounds, relaxed and natural with not a trace of raggedness. 

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

Vignetting is very well controlled.

 

Aperture 25mm 70mm 140mm f/2.8 -1.8     f/4 -1.4   f/4.5   -1.1   f/5.6 -1.3 -1.1 -0.7 f/8 -1.3 -1 -0.6 f/11 -1.2 -1 -0.6 f/16 -1.2 -1 -0.5 f/22   -0.9 -0.4 f/32     -0.3

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Sample Photos Previous Next

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Aperture range Previous Next

You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.

 

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Value For Money

The [AMUK]Tamron 25-200mm f/2.8-5.6 Di III VXD G2|Tamron+25-200mm+f/2.8-5.6+Di+III+VXD+G2[/AMUK] lens is priced at £729.

There are no obvious alternatives that match the exact specification, but even looking at the lens in isolation, it looks terrific value for money.

 

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Verdict

The original 28-200mm lenses were a revelation in their day, offering incredible versatility and probably focusing closer than most alternatives as well. Quality and fine detail may have been less on the optical engineers' minds, as the technology of the day did have its limitations. Fast forward to today, though, and we can now see extended ranges such as this very fine 25-200mm from Tamron. Sharper, faster focusing, closer focusing and even more versatile at a very reasonable price point. What's not to like?

As with all lenses, it's important to understand what they are designed for, what they will do well and what they are not best suited for. This lens is a fantastic travel companion, with a wider than average field of view, focusing closer than most and with a fast, bright f/2.8 aperture. Tonal quality is excellent and images have punch and impact. At the longest focal lengths sharpness does fall off, as is almost always the case, but the lens still delivers sharp, punchy images well suited to wildlife, nature and portraiture.

In summary, a very fine lens that delivers very satisfying results and handles with consummate ease, all at a price that is impressively keen. Highly recommended.

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Pros

• Good to excellent sharpness
• Minimal distortion
• Fast, accurate and virtually silent AF
• Excellent flare resistance
• CA well controlled
• Versatile extended zoom range
• Moisture and dust sealing
• Magnification 1:1.9 at 25mm
• Modest vignetting
• Beautiful bokeh
• Affordable pricing

 

Tamron 25-200mm f/2.8-5.6 Di III VXD G2 Cons

• Loses fine detail at longest focal lengths

 

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You erased some videos from an SD card by mistake, or maybe they just vanished for no reason. Perhaps you removed them on purpose, felt proud of your cleanup skills, but now you need them immediately. So, how to recover deleted videos from SD card easily and quickly? Fret not! There are 6 free ways for SD card video recovery on Windows and Mac in 2026, and we’ll be shedding light on each one.

 

Part 1: SD Card Video Recovery Tips You Should Know First

Before trying any solution, you can actually improve your chances of SD card video recovery by following these simple steps:

1. Stop using the SD card right away: Don’t record, save, or copy anything to it, as new data can overwrite deleted videos and make them impossible to recover.
2. Remove the SD card carefully: Take it out of the device gently and avoid bending or damaging it. Keep it in a safe place.
3. Do not format the SD card: Formatting can erase data and reduce the chance of recovery. Thus, avoid both quick and full formats.
4. Make a backup image of the card: Create a full copy of the SD card before recovery. This helps protect your data, especially if the card has errors.

 

Part 2: 6 Ways to Recover Deleted Videos from SD Card for Free

Here’s how to recover deleted SD card videos for free in 7 ways. But each method is for a different scenario. So pick accordingly:

 

Way 1: Employ a SD Card Recovery Tool

When you don’t possess a backup and your video files are permanently erased from the memory card, you can try a free SD card recovery tool for Windows and Mac. For instance, 4DDiG Data Recovery supports both platforms. 

It offers to recover deleted videos from SD card for free up to 2GB for Windows users. Other than videos, the tool supports 2000+ file formats and targets numerous data loss scenarios rather than just deletion. Here we shine a light on its benefits:

• The tool offers a high SD card video recovery rate and selective file retrieval, e.g., you can retrieve videos only.
• The software has a clear, intuitive, and easy-to-use interface.
• The tool offers a free preview for recovered videos.
• The program can first create an image of the card and then recover lost data from it.
• It can repair recovered photos or videos that cannot be opened.

Here’s how to recover deleted SD card videos with the aid of this tool:

Step 1: Attach your problematic memory card to your computer. Then, execute the SD video recovery tool on the same PC. Choose “SD Card” on the tool. Tap “Video” as the file type to only retrieve the videos from the card. Hit “Scan.”

 

 

Step 2: You can finish, or pause the scan once you find your desired videos. Preview the recovered videos.

 

 

Step 3: Adjust the filter tags or type keywords in the search field to find the exact videos.

Step 4: Select the videos you want back. Hit “Recover” to move to your computer or cloud drive.

 

 

Way 2: Look for Existing Backups

If you possess a backup, then it’s quite easy to recover lost videos from SD card. Simply check all the places you think the backup could be, such as:

1. Check your local backups first: Look on external hard drives, USB drives, or other storage where you may have saved the videos.
2. Check cloud storage: Review cloud services like iCloud, Google Drive or Dropbox for uploaded videos.
3. Check device-specific cloud services: If you use a GoPro or similar device, check its cloud account. With an active subscription, you can restore videos using the app (for GoPro, use the Quik app).

 

Way 3: Check the SD Card’s Trash Folder

When you erase videos from an SD card, they skip the Recycle Bin. This happens because Windows treats SD cards and USB drives as removable storage, not internal drives. However, the erased videos might be temporarily stored in a hidden “.Trashes” folder on your card. 

So, you can recover deleted videos from SD card for free by unhiding that folder. To do so:

 

On Windows:

Step 1: Attach your problematic memory card to your computer. Open “File Explorer.” Then, head to the “View” tab. Tick mark “Hidden items.”

 

 

Step 2: Afterward, open the SD card. Look, if the “.Trashes” folder is revealed now.

Step 3: If it does, open it. Next, look for your desired footage. Then, undelete video from SD card ".Trashes” folder.

 

On Mac:

Step 1: Attach your problematic memory card to your computer. Open “Finder.” Then, head to your SD card’s main folder. 

Step 2: Press “CMD + Shift + .” to reveal hidden files. This will unhide the “.Trashes” folder.

Step 3: Open the “Trash” folder inside “.Trashes. Search for your erased videos. Right-click. Next, select “Put Back” to restore them.

 

Way 4: Restore to a Previous Versions

The Previous Versions feature in Windows saves older copies of files so you can recover lost videos from SD card if they’re erased. While this feature is mainly used for files on internal drives, it can help you undelete video from SD card. But only if its previous version was once saved on your computer. Here’s how to recover deleted videos from SD card with Previous Versions:

Step 1: Attach your problematic memory card to your computer. Then, open “File Explorer.” 

Step 2: Open your memory card. Then, the folder where your erased videos once existed. Right-click. Next, choose “Properties.”

Step 3: Tap “Restore previous versions.” Afterward, pick a version that contains the erased videos. Hit “Restore.”

 

Way 5: Use Windows Backup

You can also recover deleted videos from SD card for free if you’ve activated the Windows Backup & Restore feature.  Here’s how to recover deleted SD card videos with Backup & Restore:

Step 1: Attach the problematic SD card to your computer. Then, type “con” in the Windows search. Execute “Control Panel.”

Step 2: Tap “System and Security.” Then, choose “Backup and Restore.” Click “Restore my files.” 

 

 

Step 3: Look for your erased videos in the backup. Next, choose a location to save it.

 

Way 6: Undelete Video from SD Card via Time Machine

If you’re a Mac user and have activated the Time Machine backup with the SD card videos also included in it, you can restore them easily. The Time Machine tool can make multiple versions of your files on an external drive, so you can restore them later on from a particular timeline. Here’s how to recover deleted videos from SD card with the Time Machine:

Step 1: Attach the external drive with the Time Machine backup to your computer. Then, open “Finder.” Pick your SD card.

Step 2: Click the “Time Machine” icon in the “Dock.” Next, tap “Browse Time Machine Backups.” 

 

 

Step 3: Browse through the timeline to find videos you want. Hit “Restore.”

 

Part 3: Why SD Card Video Recovery Is More Challenging?

Compared with other file types, it's more difficult to recover deleted videos from an SD card. Video files are usually much larger in size and are written to the memory card continuously across multiple sectors during recording. If even a small portion of this data is overwritten or damaged, the entire video file may become unplayable.

Another factor that makes SD card video recovery more difficult is the use of proprietary data formats by some camera manufacturers. These custom formats are not always recognized by standard recovery tools, which means the corresponding video files may not be detected during a scan.

 

Part 4: How to Keep Data Safe on an SD Card?

Now you should no longer need to worry about how to recover deleted videos from SD card for free. However, in the future, there might still be a risk of losing data from an external drive like an SD card due to any number of reasons. You can lower the chances of loss by taking concrete measures, such as the following:

1. Back up often: Save files to cloud storage or an external drive, especially when traveling.
2. Choose good-quality cards: Use trusted brands and carry extra cards as backups.
3. Use multiple memory cards: Switch cards during long shoots so you don’t lose everything if one fails.
4. Protect your data: Use encryption to keep files safe from malware or hackers.
5. Follow the 3-2-1 rule: Keep three copies on two different storage types, with one kept offline.

 

Conclusion

SD card video recovery is viable on Windows and Mac, but by using the correct method according to the reason for the loss. Stop using the card right away to prevent overwriting data. Then try free options like checking backups and hidden folders. But if no backup exists and the videos are fully erased, a tool like 4DDiG Data Recovery is a good choice.

 

For today's tutorial, we thought we'd bring together all of the features and techniques ePHOTOzine has published on sports photography so next time you're at a match or trackside, you'll have the knowledge you'll need to shoot some top sports imagery.

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If you already have some sports shots you want to share or are heading to a game/race over the next few days, why not post your images in the Competition forum? You never know, you may have an award-winning shot that'll give you the opportunity to win our competition prize this week. 

 

18 Top Sports Photography Tutorials:

1. Top Tips On Shooting Water Sports Photography
2. How To Capture The Action At Running Events
3. Why Use A Support For Motorsport Photography?
4. Tips On Photographing Athletics
5. Photographing Polo
6. Sport Photography Tips
7. 10 Things To Do When Photographing Parkour
8. Cricket Photography Tips
9. How To Photograph Wakeboarders & Waterskiing
10. Photographing  Kitesurfing
11. Bowls Photography
12. Capturing Cricket
13. Football Photography
14. Photographing Snowboarding
15. Surf Photography Technique
16. Top Of The League Sports Photography
17. Throw The Winning Punch With Your Boxing Photography

 

You've read the article now share your related photos for the chance to win prizes: Photo Month Forum Competition

Love it or loathe it, blurred water can look great in the right situation so it is always worth a try. For those who are new to the technique, here are 10 tips to get you started in turning even small cascades can look like raging torrents. 

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1. Time Of Day

Waterfalls are a favourite landscape subject and early morning or late afternoon on an overcast day is the perfect time to photograph them using this technique. Bright sun stops you using slow shutter speeds and the contrast can be horrendous. 

 

2. Camera Set-Up 

Switching to shutter-priority so you can control the length of the time the shutter is open for makes this technique easier so take a camera out you can do this with. DSLRs are an obvious choice but if you want to use a smaller bodied camera, take a look at a high-end compact or Micro Four Thirds System.

 

3. Use A Support

As you're using slow shutter speeds you need to use a tripod, self-timer or a remote cable release to ensure the camera stays completely still. Using the camera's mirror lock-up can also help with this, as it will avoid shutter shock. 

 

4. Find Your Filters

A polariser, as well as a neutral density filter, is handy for cutting down the amount of light reaching the camera sensor, thus allowing even slower shutter speeds. 

 

5. Slow Shutter Speed

The slower the speed you choose the more blur there will be. Try a speed of 1/8sec to 1/15sec but if this doesn't work, change the shutter speed and take the shot again.

 

6. Volume, Flow And Distance

There is no right or wrong speed for this as this changes depending on how much blur you want, the volume of water (large amounts need shorter shutter speeds), the speed of flow (slower flows need slower shutter speeds) and the distance between the camera and water (shorter the distance the faster the shutter speed needs to be).

 

7. Metering Tips

Take care when metering water as the large areas of light tones can fool the meter into underexposing, making the picture look dark. It's always worth bracketing, perhaps shooting at plus and minus one stop.

 

8. Take 2 Shots

Slow shutter speeds will add blur to anything that moves so if grass or plants surround the waterfall these could end up blurred too. To combat this, you can take two shots: one with a slow shutter speed to capture the waterfall and one with a faster shutter speed to capture the surroundings. You then combine both images later during post-production. 

 

9. How To Shoot

To create impact, fill the frame with the waterfall. Taking a low angle will also make the waterfall more dominating. Shooting straight on will allow you to capture water patterns. 

 

10. Away From Waterfalls

This same technique can be applied to wave imagery. You can create lava-style flows of water by choosing a slow shutter speed. Simply mount your camera on a tripod and choose an area where the water is crashing against rocks so the shape of it changes. 

 

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

Image Credit: Canon

 

Canon expanded its professional optics range with two specialized L-series ultra-wide lenses designed to give photographers and filmmakers fresh creative perspectives. The RF 7-14mm F2.8-3.5L FISHEYE STM was announced as the world’s first fisheye zoom covering a 190-degree angle of view, featuring a lightweight build and an integrated drop-in filter system. The RF 14mm F1.4L VCM debuted as a high-speed hybrid prime, pairing a bright maximum aperture with specialized glass for astrophotography, landscapes, and video production. Both lenses carried weather-sealed construction and focus breathing suppression for reliable performance in professional environments. They go on sale on the 26th of February 2026.

 

From Canon:

Canon today expands its professional RF lens range with two new ultra-wide lenses that invite photographers and filmmakers to unleash their creativity and capture the world in dynamic new ways. With their fast apertures, compact sizes and outstanding optical quality, the RF 7-14mm F2.8-3.5L FISHEYE STM and RF 14mm F1.4L VCM are worlds apart from ordinary wide-angle lenses.

 

Introducing the world’s first 190° fisheye zoom lens1

 

The RF 7-14mm F2.8-3.5L FISHEYE STM is a unique ultra-wide RF zoom lens for dramatically different images and video. Paired with a full-frame EOS R System camera, the RF 7-14mm F2.8-3.5L FISHEYE STM delivers two distinctive looks: an ultra-wide 190° circular fisheye image at 7mm and a frame-filling 180° diagonal fisheye image at 14mm. On APS-C cameras, the maximum wide angle can be set to approximately 8.7mm for frame-filling 180° diagonal fisheye images2.

Building on the success of the pioneering EF 8-15mm f/4L Fisheye USM, the RF 7-14mm F2.8-3.5L FISHEYE STM has a wider, faster, lighter design and enhanced edge-to-edge image quality. An innovative drop-in filter system improves convenience by allowing real- time adjustment of optional circular polarising and variable ND filters, giving photographers and filmmakers precise control over lighting in any situation.

 

Image Credit: Canon

 

Designed for professionals who want their work to stand out, the RF 7-14mm F2.8-3.5L FISHEYE STM creates a striking look across a wide range of genres – from action sports and astrophotography to landscapes and expressive portraits. Focusing as close as 0.15m, this versatile zoom lens enables even greater exaggeration of creative distortion to set your work apart.

While offering photographers the freedom to explore a bold fisheye perspective in imaginative new ways, image quality remains tightly controlled through an advanced optical design. This includes two replica aspherical elements to suppress spherical aberrations, five UD elements to reduce chromatic aberrations, and ASC coatings to cut ghosting and flare.

Quiet leadscrew-type STM autofocus coupled with focus breathing suppression makes the RF 7-14mm F2.8-3.5L FISHEYE STM an accomplished lens for creative video as well as stills. Circular fisheye videos captured on a compatible camera can be converted to 2D 180° VR files via EOS VR Utility3, for immersive viewing using a VR headset. With its equidistant projection, the RF 7-14mm F2.8-3.5L FISHEYE STM keeps image detail consistent from the centre to the periphery. This ensures high resolution throughout, even when the image is stretched for 2D VR – so every view stays clear and captivating.

 

Image Credit: Canon

 

Key features of the RF 7-14MM F2.8-3.5L FISHEYE STM:

• World’s first fisheye zoom lens that covers a 190° angle of view1
• 7mm circular and 14mm diagonal fisheye for two different looks on a full-frame camera
• Circular fisheye with equidistant projection for easy conversion to 2D 180° VR with official Canon app3
• Aspherical and UD elements for high image quality across the frame
• Bright f/2.8-3.5 aperture for action and low-light shooting
• Drop-in filter support
• Durable L-series design with dust- and moisture-resistant construction4
• Lightweight at approx. 476g for ultra-portable convenience

 

RF 14mm F1.4L VCM: Extraordinary speed, exemplary sharpness

 

The RF 14mm F1.4L VCM sets a new benchmark for wide-angle excellence. Ultra-wide, ultra-fast and ultra-light, this latest addition to Canon’s hybrid prime lens lineup is designed to inspire photography and video production on a grand scale.

With its expansive 114° diagonal angle of view, the RF 14mm F1.4L VCM is a great choice for capturing sweeping landscapes as well as indoor spaces. An exceptionally bright f/1.4 aperture offers greater flexibility while shooting in low light or when using a shallow depth of field to help isolate your subject.

Despite its ultra-wide design and fast aperture, the RF 14mm F1.4L VCM remains lightweight, making it a highly practical lens for outdoor and travel photography, or working from a drone. Weighing around 578g, it’s built for shooting on the move, and the durable L-series construction ensures it is ready for demanding assignments.

 

Image Credit: Canon

 

Delivering remarkable image quality from the centre to the corners, even wide open at f/1.4, the RF 14mm F1.4L VCM achieves a level of performance rare for such a wide, fast design, thanks to the extensive use of specialised lens elements and coatings. Three glass-moulded (GMo) aspherical elements suppress sagittal coma flare for finely rendered point light sources such as stars, while Fluorite, BR and UD lenses reduce chromatic aberration. Ghosting and flare are minimised though the use of Canon’s sophisticated SWC and ASC coatings.

The superb edge-to-edge precision at f/1.4 is one reason the RF 14mm F1.4L VCM excels at astrophotography. The large maximum aperture lets you use faster shutter speeds to reduce star trails, while keeping image quality high and ISO levels manageable. Thanks to its ultra-wide angle of view, it is also an ideal lens for professional landscape and architecture photography or for shooting tight interiors. Additionally, the hybrid design of the RF 14mm F1.4L VCM, which incorporates smooth, precise AF tracking capability along with focus breathing suppression, 11-blade circular aperture and dedicated Iris Ring6, makes it an outstanding lens for photographers who also need to shoot video.

 

Image Credit: Canon

 

Key features of the RF 14MM F1.4L VCM:

• High-quality rectilinear ultra-wide hybrid prime lens
• Fast f/1.4 maximum aperture for shallow depth of field and greater freedom in low light
• Outstanding sharpness and image quality right across the frame, with aspheric, UD, BR and Fluorite elements
• Voice Coil Motor5 for smooth, quiet and precise autofocus, with focus breathing suppression
• Designed for professional photographers, with added hybrid features for advanced video performance
• 11-blade circular aperture for cinematic bokeh and 22-point starburst effects
• Smooth action Iris Ring6, Control Ring and Lens Control button for intuitive manual control
• L-series build quality with dust/moisture resistance4
• Compact and lightweight for a 14mm f/1.4 lens, at approx. 578g

 

1. First lens for interchangeable lens cameras compatible with 35mm full-frame sensors. As of February 4, 2026; research by Canon.

2. 180° diagonal fisheye photography is possible on EOS R System cameras with APS-C sensors when the ‘C’ mark on the zoom ring is aligned with the C index (at approximately 8.7mm). The location of the zoom limit/lock switch at wide-angle does not guarantee a diagonal fisheye image for APS-C size.

3. To record circular fisheye videos that can also be remapped into the equirectangular projection by Canon’s EOS VR Utility for 2D 180° VR viewing, you will need a compatible camera that supports Open Gate video recording.

4. Lenses with dust/moisture resistance are fitted with a rubber ring on the lens mount which may cause slight abrasion of the camera mount. This in no way effects either the lens or camera performance.

5. Important: The Voice Coil Motor in the lens emits a low-level magnetic field. While generally safe to use, we advise consulting your doctor if you have a pacemaker or any other medical device to address any concerns. When the lens is not connected to the camera or when the camera is off may cause internal noise from the lens’s components. This is normal and not a malfunction. Minor movements during transportation do not affect performance.

6. Various limitations apply to some cameras; we recommend installing the latest Firmware update on your camera for best performance. Even with latest Firmware update on EOS R, RP, Ra, R3, R5, R6, R6 Mark II, R7, R8, R10, R50, R100 and EOS R5C when shooting still photos, the aperture value cannot be set using the iris ring.

 

For more information, please visit the Canon UK website.

Editing is as crucial as capturing a great shot. Removing distractions, adjusting elements, or enhancing visuals can be time-consuming. AI tools now assist photographers in handling repetitive post-processing tasks efficiently, while keeping creative control intact.

Platforms like Piclumen provide intelligent features for real-world editing needs. These tools do not replace artistic judgment but help streamline tedious processes, letting photographers focus on refining their vision.

 

 

AI Replace: Targeted Editing for Photographers

 

The AI replace function allows selective content replacement in images. Users can mark areas to modify — such as unwanted objects or backgrounds — and describe the desired replacement. The system blends new content naturally into the image. This reduces manual editing time while maintaining creative flexibility. Instead of painstaking pixel-level adjustments, photographers can quickly implement changes while keeping control over the final image.

 

Using AI Replace in Your Workflow

 

A simple workflow makes AI replace accessible:

1. Mark the area: Use the brush to select parts to edit.
2. Describe the change: Input a brief description of the replacement.
3. Generate and review: Evaluate the AI-generated result and fine-tune if necessary.

This process is ideal for photographers looking to save time on repetitive tasks, especially in client work or batch editing.

 

 

Solving Common Editing Pain Points

 

Unwanted subjects or distracting background elements are common in photography. AI replace can quickly remove these issues — for example, stray pedestrians in street photography or clutter in product shots — by replacing them with cleaner backgrounds or natural textures. This helps photographers focus on composition, lighting, and storytelling rather than repetitive pixel work.

 

Keeping Creative Control

 

AI replace is an assistive tool, not a replacement for the photographer’s skill. Creative decisions about composition, lighting, and visual narrative remain fully under the user’s control. By treating AI outputs as drafts or variations, photographers retain full creative freedom. 

 

Conclusion

 

AI replace offers a practical way to speed up post-processing while preserving creative control. Tools like Piclumen support photographers in reducing repetitive editing tasks, allowing more time to focus on the artistic aspects of photography, without ever replacing the human judgment at the core of image creation.

 

 

 

With some schools closed for the half-term break this week we thought we'd give you some suggestions on where you can go with the kids that'll keep them entertained and still give you the opportunity to get your camera out of its bag.

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1. The Coast

 

With arcades, beaches, ice cream and fish and chips, the coast is a great place for a family day-trip. Plus, with lighthouses, piers, promenades and plenty of other photographic opportunities available your camera won't be spending too long in its bag. 

Here are 10 techniques for you to take a look at before you head for the seaside: 

1. Coast Close-Up Photography With Compacts
2. 5 Tips To Improve Your Coastal Landscapes
3. Photographing Lighthouses In The Landscape
4. Long Exposures At The Coast
5. Coast Photography Tips For The 'Golden' Hours
6. How To Photograph What The Sea Washes Up
7. Photographing Piers
8. Photographing Under The BoardWalk
9. Lighthouse Photography Tips
10. Out Of Season Coast Photos

 

2. Castles

From sweeping majestic castles with interactive features to ruins of castle walls that once protected its occupiers, these great structures offer ample opportunity for photographers and their gear. Attractions such as Warwick Castle are both photogenic and entertaining thanks to tours and other activities taking place during opening hours. The summer months tend to be the times when more entertainment is put in place, however, a quick search online will soon show you what locations are hosting what events/activities during the half-term break. 

For tips on equipment choices and shooting angles, have a read of these castle photography techniques:

• A Guide To Photographing Castles
• Quick Stately Home And Castle Photography Tips
• Castle Photography Advice

 

3. The Zoo

 

A day out at the zoo is something loved by children and families, but they're also a great place for photographers, too. They're brimming with photographic subjects but the screens and fences that protect them, and us can be a bit of a nightmare for photographers. They put distance between you and the animal and as you can't generally photograph over them you have to shoot through them. However, there are a few ways you can make your day out at the zoo more of a photography success as we explain in these articles:

• 15 Top Zoo Photography Tips
• Photography At Zoos

  4. Your Local Park

 

Among the concrete jungle, there are pockets of green that break the greys of the city skyline up and whether you're snapping the blankets of alternating colour from a distance or are among the trees yourself, city parks have plenty of photographic opportunities to keep you busy. Plus, with plenty of grass for kicking a ball around and swings for entertainment, your children won't be bored either!

Have a read of these tutorials for park photography tips: 

• What To Photograph In Parks
• Photography In Parks

 

5. Set-Up A Portrait Shoot

One way to keep the kids entertained at home that'll still give you the opportunity to get your camera out is a portrait shoot. This could be indoors or out, posed and with guidance or have a more candid style to it. Whichever you decide, here are a few tutorials to help you out. Plus, you'll find even more portrait-related articles in ePHOTOzine's technique section. 

• Indoor Portraits With Window Light
• How To Capture Smiling Close Ups Of Children
• Photographing Family Or Groups Of Friends
• Shooting A Set Of Fun Portraits
• Tips For A Child Portrait Shoot
• Creative Children Portraits On A Budget

 

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Top Gear and Preparation Tips for Starting Out in Travel Photography

 

 

Embarking on a journey into travel photography is more than just taking pictures in exotic locations—it's about capturing stories, understanding cultures, and being equipped with the right tools and mindset. When exploring vibrant markets, remote landscapes, and bustling cities, having the best gear for travel photography and being well-prepared can significantly impact your results.

In this guide, we'll cover essential travel photography gear, practical tips for beginners, and tricks to maintain your equipment while on the move.

 

Explore DepositPhotos for licensed travel photos for your creative projects.

 

How to prepare for a travel photography job as a beginner creator

 

Landing your first travel photography job can be both exciting and overwhelming. The key lies in preparation, consistency, and adaptability.

 

Research your destination

Before heading to popular travel photography hotspots, learn about the local culture, climate, and accessibility. Understand the best times for natural lighting and golden hour shots, and what locations might be sensitive to photography.

Consider these aspects:

• Seasonal light patterns' impact on landscapes;
• Local festivals showcasing vibrant traditions;
• Off-the-beaten-path locations for authentic storytelling;
• Cultural taboos to respect while photographing people;
• Optimal times for capturing iconic landmarks;
• Local markets and their unique visual elements.

 

Build a shot list

A shot list will guide your creative process and show professionalism, especially if you're handling commissioned travel photography jobs. Consider these categories to enhance your visual storytelling:

• Dawn patrol. Early morning cityscapes;
• Local artisans. Traditional craftsmanship;
• Hidden gems. Lesser-known locations;
• Night scenes. Vibrant after-dark moments;
• Architectural contrasts. Old meets new;
• Cultural rituals. Unique local traditions;
• Street food. Culinary experiences.

A well-planned list serves as your visual roadmap, ensuring you capture key moments while allocating time for spontaneity.

 

Check your legal and logistical needs

Ensure you have travel documents, photography permits, and insurance coverage for health and travel photography gear. Investigate permit requirements for protected areas and landmarks. Secure necessary visas, especially for commercial work. Familiarize yourself with local photography laws and cultural sensitivities. Consider these crucial aspects:

• Research drone regulations and no-fly zones;
• Obtain model releases for portrait subjects;
• Respect copyright laws for artwork and performances;
• Review customs regulations for equipment transport;
• Understand privacy laws in public spaces;
• Check restrictions on tripod use in crowded areas;
• Be aware of photography bans in religious sites.

 

 

The best gear for travel photography

 

Choosing the best gear for travel photography means balancing performance, durability, and portability. Here's a breakdown of what you should consider packing as a beginner:

 

Best cameras for travel photography

Compact mirrorless cameras are now a top choice among professional and beginner photographers. They offer compact size without sacrificing professional features. Here are a few standout options:

1. Fujifilm X-T5. Lightweight with excellent image quality and film simulation features.
2. Sony Alpha a7 IV. A full-frame powerhouse with advanced autofocus and video capabilities.
3. Canon EOS R8. A strong entry-level full-frame option for high-resolution travel shots.

These are among the best cameras for travel photography because they offer superior image quality while remaining compact enough for daily travel.

 

Versatile lenses

For beginners, a versatile 24–70 mm f/2.8 zoom covers everything from wide-angle vistas to portraits, while a fast 35 mm f/1.8 prime excels in low-light and street scenes. As your skills (and itinerary) expand, build a travel-ready lens kit that balances scope and portability: a 16–35 mm wide-angle for landscapes and architecture, the trusty 24–70 mm for everyday flexibility, and a 70–200 mm telephoto zoom to bring distant wildlife or compressed cityscapes closer.

To round out your creative arsenal, you might also pack:

• Ultra-wide fisheye—dramatic, curving distortions for unique perspectives;
• Macro lens—crisp, close-up detail of flora, food, or textures;
• Tilt-shift lens—perspective correction and miniature effects in urban settings;
• Fast prime—wide aperture for atmospheric, low-light street shots;
• All-in-one zoom (18–300 mm)—space-saving versatility when you can carry only one lens.

 

Accessories to enhance workflow

Enhance your travel photography workflow with these essential accessories:

• Versatile camera bag. Protect gear and organize efficiently;
• Lightweight tripod. Ensure stability for sharp images;
• High-capacity memory cards. Capture more without interruption;
• Spare batteries. Extend shooting time in remote locations;
• Portable hard drive. Backup photos securely on-the-go;
• Remote shutter release. Minimize camera shake for crisp shots;
• Polarizing filter. Reduce glare and enhance colors;
• Cleaning kit. Maintain equipment for optimal performance.

 

 

How to take care of your travel photography gear during trips

 

Protecting your investment in travel photography gear is essential, especially when facing varied climates and rugged terrains.

 

Weatherproof your equipment

Protect your gear from the elements with quality rain covers and dust-proof cases. While weather-sealed cameras like the Canon 5D Mark IV offer protection, caution is still necessary. Consider these tips:

• Use silica gel packets to combat humidity;
• Wrap gear in microfiber cloths for added protection;
• Acclimate equipment gradually in temperature extremes;
• Keep spare dry bags for sudden weather changes;
• Invest in waterproof camera straps for added security.

 

Routine cleaning

Maintaining your travel photography gear requires a consistent cleaning routine. Implement these techniques for optimal performance:

• Use microfiber cloths to gently remove smudges from lenses;
• Dislodge dust from sensors with a rocket blower;
• Clean camera bodies carefully, avoiding buttons;
• Apply lens cleaner sparingly for stubborn marks;
• Inspect and clean lens contacts for reliable connections.

 

Smart packing and transport

Invest in a padded camera bag to shield your gear from impacts. Always carry essential equipment as hand luggage when flying. Avoid exposing gear to extreme temperatures and use hotel safes for secure storage during exploration.

 

Conclusion

Starting a career or hobby in travel photography demands more than a love for travel and visuals—it requires the right gear, thoughtful preparation, and ongoing care. From choosing the best cameras for travel photography to discovering new travel photography hotspots, every step of your journey adds to your visual storytelling toolbox. As you land more travel photography jobs, this article's foundational habits will continue to support your success.

 

 

Daylight is free and it is wonderful for portrait work as not only is it flattering and photogenic but it's really easy to work with so it's a good place for beginners to start. You don't need a fancy studio, either, as you can pick a location outdoors or simply set-up next to a window in your own home.  

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1. Light & Time Of Day

To take good portraits with light from a window you don't need a lot of space but do try and avoid an area/time of day where direct sunlight is flowing through the window to avoid contrast problems. If you can, work on an overcast day because the light will be naturally diffused and won't be too harsh. 

As we are working with window light, you don't want other light sources spoiling your shot so turn your house lights off for neutral results.

 

2. Use A Reflector 

You'll probably need to bounce some light onto your subject's face and the best way to do this is with a reflector. You can either use a purpose-made one, some white card or some silver foil stuck onto a sheet of MDF will do.

In case you don't have someone to hand, a tripod makes a good reflector holder or you can hold the reflector yourself and set the camera on a self-timer. Or, you could use a reflector designed to be held by a photographer. If you are shooting tightly cropped images, the model can hold the reflector for you, too.

 

 

3. Metering Tips 

If you use manual metering, take a reading from the model's face and not the window. If you meter from the window it will think the scene is brighter than what it is and as a result, your subject will be underexposed.
 

4. Get The White Balance Right 

It is worth trying different white-balance settings. Auto white-balance can work well, but try shade or cloudy for warmer looking images.  
 

5. Framing & Capturing Your Portrait 

Get in as close as you can to capture/use as much daylight as possible. A tripod is useful, hand-held can work just as well but make sure you are shooting at a reasonably fast shutter speed and remember to focus on the eyes. Crop in tight on the face and if you wish, you can use the window to help frame the shot.

Most people are not natural posers so communication and guidance are important. For posing ideas, check out the fashion magazines and images in our gallery, too.
 

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Vignettes aren't a new editing trick, in fact, when darkrooms were still widely in use photographers would apply dodging and burning masks to images during the processing or use filters on their camera lenses when taking the shots. Now the effect is usually re-created digitally with software but the reason for applying them hasn't changed. They are still a simple yet, subtle way to guide/draw the eye to your main subject and frame shots.

The effect has also grown in popularity thanks to cameras such as Holgas becoming popular again. This 'hipster' look is now rather desirable so using techniques that re-create this, what was an unintentional vignette, on digital images is now something even apps are doing. In fact, creating vignettes on photos taken with mobile phones is one of the effects that's listed in our Ten Photoshop Techniques To Do On An iOS App article.

 

How And Why

When it comes to applying vignettes, less is usually better than more as if you make the effect too strong and obvious, it can end up spoiling your shot rather than enhancing it. Of course, there are times when a stronger vignette will work, such as with moody black & white landscapes, but most of the time subtle will be the way to go.

You should apply a vignette once all your other edits are complete as adjustments such as cropping may change the overall look of the image and the vignette could end up sitting in the wrong place or highlighting part of the shot you didn't want it to. This isn't true in Lightroom, though, as we'll explain further into the tutorial.

You can create vignettes in several applications including Photoshop, GIMP and Lightroom. For those wanting to learn more about the vignette options available in Lightroom, carry on reading this tutorial. For those looking for tips on how to create vignettes in Photoshop or GIMP, click on the following links:

 

• Four Ways To Create A Vignette In Photoshop
• How To Create A High-Key Vignette Using GIMP

 

Vignettes In Lightroom

When you open the develop module in Lightroom you'll see there are two Vignetting options. The first can be found under Lens Corrections and this is designed to decrease or even fully remove the vignetting caused by the lens when the image was taken. The changes are applied to the corners of the full-frame image and two sliders allow you to alter the strength and positioning of the effect.

 

Move the Amount slider to the right and the figure will increase, lightening the corners as the slider moves. Pull it to the right and the figure will decrease, darkening the corners. The Midpoint slider alters the area the vignette is applied to. Move the slider to the left and the vignette amount adjustment is applied to a larger area away from the corners, pull the slider in the opposite direction and this will restrict the adjustment area nearer to the corners of the image.

 

The Post-Crop Vignetting tool is one that's designed for more creative purposes and once applied, will stay on your image even if you decide to crop the shot again. There are also more editing controls available under the Post-Crop Vignetting tool, giving you more control over how the final vignette will look.

Three types of vignettes are available and these are accessed from the Style menu. These three options will alter how the vignette you apply blends with the photo you're editing. Highlight Priority is set as the default option and will create a vignetting effect that you're most familiar with.

Once you've picked your Style (we are using Highlight Priority) you can use the various sliders to adjust the vignette.
 

Amount

Pull this slider to the right and the vignette will lighten, pull it to the left and it will appear darker.

Midpoint

This will change how much of the image away from the edges the vignette is applied to. Pull the slider left and the vignette's size will be increased, pull it to the right and it will retreat back into the corners of the shot.

 

Roundness

This changes the shape of the vignette to give it rounder or straighter edges. If you pull the slider to the left the shape is more rectangular/square while pulling it the opposite way will make the vignette more circular.

 

Feather

This adjusts how hard or soft the edges of the vignette are. A harder vignette (which you get by pulling the slider to the left) generally doesn't look as good as feathered vignettes as it creates a shape that's too defined. The second image, which shows a vignette with a higher feathered value, is much softer.

 

Highlights

When in Highlight or Colour Priority the Highlights slider becomes active if you've used a negative value when adjusting the amount (so the vignette is dark). Pulling the Highlights slider to the right will, according to Adobe, 'control the degree of highlight contrast preserved'. In other words, it allows you to control how little or much highlight contrast there is in your vignette.

See the difference in these two images when the slider is set at 0 then 45:

 

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