DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

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. 
 

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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

 

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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. 

 

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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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A humpback whale rising from the cold ocean is our latest 'Photo of the Week' (POTW) winner.

Captured by ColinEJ and titled ‘Humpback Whale Breaching,’ we love the excellent timing and energy shown in this action shot. The snowy mountains and clear sky in the background frame the scene, showing the whale’s size against the landscape. This wide view makes the photo clear and well-timed. What a brilliant photo!

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!

 

Most of the time, particularly in architectural photography, we are told that converging verticals and lines are something which should be avoided. But there are occasions when they don't have to be avoided by architectural or any other type of photographer.

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1. Use Converging Verticles To Exaggerate Height

When shooting close to a building with a wide-angle lens, you can exaggerate the height of the structure with the help of converging verticals however, it can look like the building is about to fall over backwards so it isn't a style everyone appreciates. To exaggerate the sloping walls further, get lower to the ground with your wide-angle lens.
 

2. Use Converging Verticles To Focus Attention 

We've talked previously on how vertical, horizontal and diagonal lines can be used to add interest to shots and act as guides. If you take this further so you have multiple lines stretching towards the horizon, they can appear to be moving closer together, which, in turn, will help the viewer to focus on one specific area of the shot.
 

3. Use Converging Verticles To Guide The Eye

Where you set your camera up and how the lines move through your frame will change the feel of the shot. The most common way to use converging lines is to position your camera in the centre of the frame so you have symmetry as well as the converging guides working for you. But as the eye often looks at the bottom left of an image first before working across the shot to the top right corner, you can also position the lines so they flow from corner to corner. By having a line which follows this path, you will unknowingly guide the viewer through your shot. Try using multiple diagonals to guide the eye to one spot in the image by intersecting them where you want the attention to fall.

Do watch where the lines are going as if they lead out of the frame it can create a sense of wonder but equally, it could lead to frustration as your viewer doesn't know what's beyond the frame and as they've followed the direction of the line, they'll end up not looking at your shot. However, if you take the time to position yourself so the lines give the impression they meet/end where you want your main point of focus to be, you shouldn't have a problem.
 

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 CarltonR (Day 8 - Shots With Movement).

 

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 9

Abstract Photography

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Day 10

Action Photography

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Day 11

Minimalist Photography

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  Day 12

Fruit & Veg Shots

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Day 13

Creative Blur

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Day 14

Flash 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.

 

 

1. Something New

If you're usually someone who only shoots one style of photography, having a go at a new genre can not only be fun but educational. It can also fuel you with inspiration, giving you new ideas to have a go at. As you're photographing yourself there's no pressure to get it right first time either as there's no one else to please but yourself.

2. Something For A Rainy Day

Walking around in the rain, shooting landscapes isn't fun so instead of getting wet, set up your gear at home and have a go at shooting self-portraits. You never know, you may find you enjoy it enough to take your gear outside, once the rain has stopped, to shoot some self-portraiture outdoors.
 

3. In Your Own Time

As you're not working with anyone else, you can shoot your photos when and where you want. It also means you can play around with the set-up as much as you like without having to worry about your model getting bored. You don't have to worry about time ticking away either which is something you have to consider when working with a model as they could have another shoot to get to.

 

 

4. Experiment

As you don't have a model to direct you can experiment with different poses and expressions much more easily as you won't have to spend time trying to explain the idea you have in your head to someone else. Don't' forget you can experiment with props, too.

 

5. The Challenge

Working behind as well as in front of the camera comes with its own set of challenges, however learning how to overcome problems and perfecting set-ups to help improve your technique can be fun, plus you're learning and expanding your knowledge in the process. 

Some of the questions you may ask include the following: do you want to use a tripod? How are you going to fire the shutter if using a DSLR? Will you need a remote release or do you can have a camera which can be controlled remotely via a smartphone or tablet (although, if you're capturing your images with a smartphone, this won't be so much of an issue)? Are you going to shoot one shot at a time or make the most of a continuous shooting mode? 

Take a look at our technique section for answers to these questions and more. 
 

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Lighten your load and go for a smaller format camera for travel. The Fujifilm X-T4 and OM System OM-5 Mark II are two very capable cameras and are available used for under £1000 from MPB.

 

Travel manifests itself in so many different forms, from a city break a few hours drive from home to safaris, adventure holidays and photo tours of exotic far flung lands. Such destination diversity means there’s no such thing as the perfect travel camera outfit because every trip and the photo opportunities they offer will be different. 

You have a good camera phone, but a decent camera gives a better, all-round user experience. So, our first stop is to consider compacts. If you want a truly pocketable, high-class machine, you could do worse than check out the APS-C format Ricoh GR series. The very latest model is the 25.7-megapixel GR IV which has an equivalent 28mm f/2.8 lens, five-axis image stabilisation and 5GB of internal storage. MPB has a stock of used models in excellent condition at £1039.

Skip back a generation to the Ricoh GR III and MPB has like new samples at £979. Its specs might be marginally less impressive than the GR IV, but it’s still a fine camera.

Slightly bigger and one for the shortlist is the Fujifilm X100V, another APS-C format camera. A like new model from MPB costs £1399 and for that you get 26 megapixels, 20fps burst rate shooting and a tilting monitor.

Travel light and invest in a quality compact camera such as the Ricoh GR IV (left) and Sony RX100 VII. These pocket-sized marvels are easy to use and capable of excellent images.

 

While fixed lens cameras are worth considering, you might prefer the flexibility of a zoom compact so check out models from Canon and Sony. MPB has the Canon PowerShot G9X II at £569. With 20.1 megapixels and a 3x optical 28-84mm equivalent zoom, this is a capable and pocket-sized camera. Add to your shortlist the Sony Cyber-shot RX100 VII, priced at £934 from MPB in like new condition and features include impressive AF skills and an equivalent 24-200mm zoom in full-frame.

Speaking of full frame, if you have the budget and want to make a statement, check out the classy Sony Cyber-shot DSC RX1R Mark II, available in excellent condition from MPB at £1709 but you can save money by opting for a good condition sample at £1439. With a fixed 35mm f/2. lens and 42.4 megapixels, this is a seriously good premier compact.

There’s no doubting the appeal of a good compact but for ultimate flexibility it doesn’t get any better than an interchangeable lens camera. 

DSLR type models remain popular and with the domination of mirrorless cameras, there’s great value to be had in this sector. That said, we’ll follow the market and look at mirrorless options allowing £1000 for the camera body and the same for a lens or two. 

 

A superzoom is ideal for walkaround photography and having less kit makes life easier on busy public transport too. Exposure was 1/125s at f/8 and ISO 400. Image Credit: Will Cheung.

 

For travel, looking at portable options makes sense and there are three formats to consider, Micro Four Thirds, APS-C and full-frame, so let’s explore the possibilities of picking a model to represent each format.

In Micro Four Thirds, we’ve gone for the OM-5 Mark II which sells for £979 body only from MPB in like new condition. It’s a very likeable camera rich in features including 30fps ProCapture, 7.5 stops of image stabilisation and 20 megapixels. Plus, there’s focus stacking, a Live ND filter and high-res shot mode, and all this in a petite weather-sealed body.

Next, we have the APS-C format and we have gone for the Fujifilm X-T4 at £969 from MPB in like new condition. This model boasts the 4th generation CMOS 4 X-Trans sensor with 26.1 megapixels, very good high ISO performance and the brand’s popular Film Simulation settings. 

 

If shooting nature is part of your travel trip, a macro lens or close focusing zoom needs to be part of your outfit but that means extra weight and space. Shot with a 100-500mm lens with an exposure of 1/500s at f/9 and ISO 400. Image Credit: Will Cheung.

 

For our sub-£1000 full-frame body, we chose the Canon EOS R6 which is priced at £999 from MPB. It’s a 20.1-megapixel camera with 8 stops of image stabilisation and Canon’s renowned Dual Pixel CMOS AF II system that delivers fast, pinpoint autofocusing.

Lens choice will be influenced by your travel plans. If nature is on the agenda, a long telephoto and possibly a macro lens will be on the shopping list. However, if you have a more general itinerary, keeping your lens outfit to manageable proportions makes perfect sense.

So, on one hand, you could go for three zooms, covering from ultra wide-angle to telephoto. In full-frame, this could mean a 14-35mm, 24-120mm and a 70-200mm, but the downsides are cost, a heavier bag and the need to switch lenses.

Squeezing in loads of focal lengths into a single lens is a great idea and in practice you get a decent level of optical performance. Shown here are the 24-240mm full-frame superzooms from Canon (left) and Sony.

 

Opting for a superzoom removes the jeopardy of lens swapping, saves time and is a more portable option. In the past, superzooms haven’t always had the best reputation and that’s simply because cramming so many focal lengths into a single entity means optical performance can be compromised. However, while superzooms still can’t match less wide-ranging zooms, the latest models are decent performers.

All three of our chosen bodies have the option of a superzoom. For the OM5 Mark II, the M.Zuiko Digital 14-150mm f/4-5.6 II is £303 from MPB so it comes well within our budget. In 35mm terms, this lens equates to 28-300mm so there’s plenty of range available. With some unused budget the option of a fast wide-angle prime appeals and the M.Zuiko Digital ED 12mm f/2 at £274 from MPB is worth considering.

 

Superzooms give plenty of shooting flexibility without the inconvenience of swapping lenses. This was taken at the long end of a 24-240mm lens. Exposure was 1/60s at f/6.3 and ISO 400. Image Credit: Will Cheung.

 

In Fujifilm’s extensive range of X-lenses, the superzoom offering is the XF 18-135mm f/3.5-5.6 R LM OIS WR which is 27-206mm equivalent in full-frame and is £444 from MPB. If you want more pull, the Sigma 16-300mm f/3.5-6.7 DC OS gives a full-frame equivalent of 24-450mm. MPB did not have stock at the time of writing, but what you can do is create an alert on the MPB website and you will be notified as soon as stock is available.

Finally, let’s look at a superzoom for the Canon EOS R6. Full-frame AF lenses for the EOS RF are not available from independent brands so we have to stick with Canon but there is a good option here, the RF 24-240mm f/4-6.3 IS USM at £784 from MPB. It’s a sizable lens but is still more portable then two or three zooms making up the same range.

 

  News from MPB

Recent MPB news includes its announcement of its results for the financial year ending 31 March 2025. The headlines are positive with a 19% increase in Group Net Revenue with international markets up by 29%. 

To put some numbers on MPB’s 2025 performance, the business recirculated more than 564,000 items in used kit and hit one million unique customers globally which is double that of three years ago. Learn more about MPB’s results by clicking here.

MPB also brought news of the state of the camera market. Basically, the imaging kit market is growing, with camera shipments including DSLRs and mirrorless up by 6.6% year-on-year and lens volume up by about 3%. 

There’s really positive news in the compact camera market in 2025. About 26% of all new cameras shipped were compacts which represents a 49% year-on-year growth in terms of market value. Read more about this story here.

  MPB Explained

You need kit to take photographs and produce videos, and taking the used route is a cost-effective way of making the most of your budget and keeping up with the latest developments in imaging technology.

MPB is one of the biggest used retailers with bases in the UK, Germany and the USA.

Trading with MPB the process is fair, safe, painless and incredibly easy.

Whether you have kit to sell, want to make a purchase or part exchange, start by going to the MPB website which is intuitive and straightforward to use.

If you have kit to trade, just start typing the name in and a list of suggestions from MPB’s huge database will appear. If a name on that list matches your product click on it and add its condition; if not, continue typing in the whole name and condition.

It’s worth bearing in mind that MPB’s database covers much more than cameras and lenses so if you have, for example, a photo backpack, tripod or filters to sell these can be shown as you type in their name too.

With all your kit listed, add contact details and a quote will appear in your inbox soon afterwards, although manually entered items will take one working day.

If you are happy with the quote, accept it and follow the instructions to get the kit ready for courier collection on a day to suit you. For higher-value deals, an MPB account manager will also be in touch, so you have a personal point of contact if you have any queries.

Once received by MPB, you will get a notification and after checking by its product specialists you will receive a final quote. This can vary from the original quote if there is a missing item —like a battery not being supplied—or your assessed condition differs from the actual condition.

A quote can go down, but it can also increase if the kit’s condition is better than your assessment.

The whole process doesn’t take long and MPB are in touch by e-mail at every step so you’re never in the dark, and only when you are totally happy with the deal, pass on your payment details or pay the balance in the case of part-exchange. Either way, the money or your new kit will be with you soon after.

Get A Quote From MPB Today

 

About MPB

• MPB is the largest global platform to buy, sell and trade used photo and video kit.
• MPB is the simple, safe and circular way to trade, upgrade and get paid.
• MPB is not a marketplace, instead buying directly from visual storytellers and evaluating all items before reselling MPB-approved kit.
• MPB's dynamic pricing engine provides the right price upfront for all items.
• Circularity is at the centre of MPB, promoting sustainability, diversity and inclusion in everything they do.
• MPB prioritises inclusive recruitment and supports employees with extensive training and development. They promote inclusive visual storytelling and an inclusive circular economy.
• MPB's business model is 100% circular. All packaging is 100% plastic-free. Their cloud-based platform uses 100% renewable electricity.
• MPB recirculates more than 570,000 products annually
• MPB provides first-class customer service. Customers can receive support through their Help Centre or by speaking directly with a kit expert.
• MPB's product specialists are trusted by thousands of visual storytellers in the UK.
• MPB is rated ‘Excellent’ on Trustpilot with over 37,000 reviews.

Visit The MPB Website

 

What Is Slow Sync Flash?

Slow sync flash combines a burst of flash with a slow shutter speed. On compact cameras, slow sync flash is often known as night mode and you can't control the speed of the shutter or the strength of the flash but you can with a DSLR. If you're working with a DSLR you'll probably find you have rear curtain sync and front curtain sync options among the various flash modes available, although some camera models don't have this option so do check your manual. 

 

Why Do I Need It?

Slow Sync Flash can be used to capture subjects in low light as well as action shots. 

 

Do I Need A Tripod?

When working with slow shutter speeds a tripod is recommended, however, rear or front curtain sync can create some interesting backgrounds when you work hand-held, particularly when taking your photos in an area with various light sources as the flash will freeze your subject in place while the long exposure will blur the lights into an interesting mix of colour.

  What's The Difference Between Rear And Front?

Rear-curtain sync tells your camera to fire the flash just before the photograph is finished exposing. As you pan, this creates a long trail but a nice, crisp shot of your subject. Front curtain fires the flash at the beginning of the exposure then the shutter remains open, continuing to record the ambient light. As a result, your images will appear differently depending on which method you choose.
 

How Does It Help With Action Shots?

 

Your camera's flash can provide a burst of light in a split second that will highlight your subject. However, if you're trying to capture a moving subject, the flash will freeze them in their tracks and all sense of movement will be lost. However, by combining a slow shutter speed with a pop of flash, you can create a sense of action through blur but still have your subject sharp too.

It's ideal for capturing action shots of bikes or cars moving, although it can be used to capture creative shots of any scene which has a moving subject in the foreground. Try using it next time you're photographing your child playing on a swing, for example. If you find there's blur in front of your subject rather than behind, you need to select rear curtain sync so that the ambient blur exposure is captured before the flash fires. This results in a more natural-looking shot where the blurred streak follows your subject who will be sharp thanks to the flash firing just before the exposure ends. 

You need to give your subject time to move through the frame to give the slower shutter speed time to blur their movement before the pop of flash at the end of the exposure will leave them sharp. It's also worth perfecting your panning technique before you start experimenting with this technique so your pan stays smooth and straight. You also need to ensure your panning speed is correct. For example, shoot too slow and you'll see the trail but it'll merge/blur into the background. Too fast and everything freezes.
 

How Can It Help In Low Light?

 

When photographing people in low light you can try and use flash or you can turn your flash off and use slower shutter speeds to capture enough light to create a well-exposed image.

If you're using your camera's built-in flash your subject can often take on the 'rabbit in the headlights' look thanks to the bright flash illuminating them but leaving the background dark. If you go for the slow shutter speed option you're fine if you're working with a street performer whose occupation is to be a human statue but for anyone else who tends to move around a lot, you'll just end up with motion blur spoiling your shot.

As a result, you're better off using slow sync flash so you get a relatively sharp shot of your subject but also capture enough light throughout the image to create a shot that's better exposed throughout. In other words, the camera records the background and then illuminates the subject with flash to balance the exposure between the two areas. This makes it a good mode to use when shooting portraits at night although a tripod may be necessary to keep the background sharp.
 

What Shutter Speeds Are Needed?

This will change depending on the amount of blur you want to capture in your shot. It's also worth noting that the speed your subject is moving at and how intense the light around them is can affect the final look if the image so it's worth experimenting. As you're not controlling when the flash will fire you may need to take a few shots to get to grasps with your timing too. 
 

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Every photographer is taught that sharpness is important and we won't argue that it's not, however learning how to control depth of field so you can make the most of out of focus areas of a photo will give you a portfolio that's full of much more interesting and creative shots.

We'll begin by covering the basics of this technique before moving on to shooting suggestions. If you want to take a more in-depth look at this technique, there are several tutorials on ePHOTOzine that cover this subject.

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1. The Basics

 

Switch to manual or Aperture Priority as you need to be able to control your aperture. Larger apertures (smaller f numbers) give you a shallower depth of field and help create the blurry, out of focus backgrounds we are after.

Although the main way to control depth of field is with the aperture the positioning of yourself and your subject can also enhance the blur. You want to, ideally, close the distance between the camera and subject but have as much distance as possible between your subject and the background.

Use longer focal lengths rather than wide-angles and use a tripod where possible as the smallest of movements can change the focus and potentially spoil your shot. Using manual focus can help although switching to single-point mode when using autofocus should be fine for most subjects.

If your camera has it, use the depth-of-field preview button as it's a really useful tool to allow you to visualise the amount of sharp focus in a scene.

 

2. Shoot Wider Views

 

When you think of landscapes, using a shallow depth of field isn't probably something that fist springs to mind. The traditional landscape has front-to-back sharpness, however, having something in your foreground that's perfectly sharp while the scene in the background is thrown out of focus gives the more common landscape shot a creative twist.

 

3. Make The Mundane Interesting

 

With a shallow depth of field, a simple blade of grass can look amazing! A blade of grass? We hear you cry. Yes, if you use a shallow enough depth-of-field a blade of grass can look pin-sharp and picture-perfect against a very blurry background.

You need to use a wide f stop to get the right effect. The aim is to get as much of the subject in focus as possible without losing the nice blurry feel but don't over blur the shot as this will distract from the subject. Try f/5.6 or f/8 and use the camera's depth-of-field preview button to check the aperture's effect on the background. It works great on blades of grass, insects and small flowers. During the summer, if you live near a rapeseed field try isolating a specific flower or part of the field out to draw attention to it. You could try blurring part of the foreground as well as the background to create a frame for the subject

 

4. Go Long

 

The Bokeh effect of shooting on a long lens with a wide aperture will turn background lights on city streets into circles of glowing colour, making them a perfect background for portraits. You'll need to stand a few feet away from your subject and do check your white balance to help ensure the lights in the background are glowing the colour they're meant to be.
 

5. Change The Shape

 

You don't just have to settle for circular out of focus highlights as you can use black card and a pair of scissors to change the shapes that appear. You need to decide on a shape, cut it out of the card then fast the card around your lens like you would a lens hood. Try to not make your shapes too small or complicated as they won't stand out very well in your final shot but ensure they are not bigger than your aperture either.

  6. Landmarks

The problem with landmarks is they are popular photographic subjects but by introducing blur, you can create a shot that not many other people will have taken. Make your chosen landmark completely blur out of focus and find some foreground detail that will stay in-focus and provide enough information to explain to the viewer what the background object is. 

 

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Creators are constantly searching for tools that can keep up with the demand for engaging visuals without the steep learning curve of professional editing software. Enter Pollo AI, a rapidly rising star in the global AI landscape that has cracked the code: delivering viral-ready videos in one click—with no editing required.

This article explores why Pollo AI has become an indispensable tool for millions, breaking down its key features and how it simplifies professional AI creation into one seamless experience.

 

What Is Pollo AI?

 

 

Pollo AI is an all-in-one AI visual creation powerhouse designed to democratize high-quality video production. It empowers users to generate viral-worthy videos instantly, eliminating the need for timeline editing, color grading, or complex transitions. 

It brings together AI video generators, image generators, advanced utility tools, cutting-edge models, and trending effects under one roof.

Unlike other platforms that feel cluttered with confusing interfaces and steep learning curves, Pollo AI offers a smooth, streamlined workflow that anyone can master in minutes.

This relentless focus on user experience has fueled explosive growth. Within just 7 months of its launch, Pollo AI has attracted over 4 million monthly active users, successfully raised $14 million in funding, and secured its place as a top-five AI video creation platform worldwide.

This trajectory signals strong investor confidence and proves that the market is hungry for a tool that balances power with simplicity.

 

The Key Features That Make Pollo AI Indispensable

 

Pollo AI isn't just a single tool; it's a comprehensive suite designed to handle every aspect of modern visual creation. Here is a look at the capabilities of Pollo AI video generator that set it apart.

 

Multiple Video Generation Capabilities

Pollo AI covers the entire spectrum of video creation needs, from simple text prompts to complex musical synchronization.

• Text to Video AI: Transform abstract ideas into compelling visual narratives. Simply type a description of what you want to see, and Pollo AI’s advanced models will generate high-fidelity video content with appropriate motion, timing, and visual coherence.
• Image to Video AI: Breathe life into static imagery. This tool is perfect for transforming product photos, digital art, or personal portraits into engaging cinematic videos. It adds dynamic motion to stills without requiring any animation skills.
• Reference to Video: Solves the "consistency problem" in AI video. By uploading a reference image, creators can ensure that specific characters, objects, or faces remain identical across different clips—a critical feature for brand storytelling and narrative continuity.
• AI Avatar Generator: Create realistic digital humans that can "speak" any script in multiple languages. This is widely used for educational tutorials, corporate training, and sales presentations, enabling the production of professional talking-head videos without cameras, studios, or actors.
• AI Music Video Generator: Turn any audio track into a stunning visual journey. Upload your song, and Pollo AI automatically syncs dynamic visuals, effects, and transitions to the rhythm and mood of the music. It empowers artists and creators to produce music videos effortlessly.

 

Continuously Updated Multimodel Platform

One of Pollo AI's strongest advantages is its architecture. It functions as a high-performance aggregator engine that integrates the world's most advanced AI models.

 

 

Instead of being locked into a single technology, users gain access to a powerhouse selection, including:

• Video Models: Seedance 2.0, Google Veo 3, Sora 2, Kling AI, Pixverse AI, and more.
• Image Models: Seedream, Flux Kontext, Nano Banana, and other top-tier generators.

This flexibility allows users to choose the specific model that best fits their project's aesthetic—whether it's photorealism, anime style, or surrealist art—all within a single subscription.

 

100+ AI Video & Photo Effects That Go Viral

In the world of social media, trends move fast. Pollo AI ensures you never miss a beat by providing a massive library of over 100 fun and trending video and photo effects.

This includes massive internet trends like the AI kissing video effect (also known as the "hug" or "squish" effect), which has taken social media by storm. These one-click effects allow creators to add professional-grade visual flair and humor to their content instantly, significantly increasing the likelihood of their videos going viral.

 

Conclusion

 

Pollo AI stands out not just as a tool, but as a creative home for millions. Its mission is simple yet ambitious: to build a platform that enables anyone to generate viral videos in one click, with zero editing skills required. It exists to democratize creativity, giving everyone the chance to produce trending content and fully unleash their imagination through AI.

Whether you are a professional marketer needing volume, an artist needing expression, or a casual creator looking for fun, Pollo AI provides everything you need to lead the next wave of digital content.

Stop jumping between tabs and struggling with complex software. Start creating with Pollo AI today.