DIGITAL PHOTOGRAPHY NEWS FROM ePHOTOzine

 

What Are Paths And Lines And Why Do It?

Basically, when you look at a photo, your eye is naturally drawn to a certain point and to make sure the viewer of your shot focuses on the right spot in your image, you can create a "path" for the eye to follow through the scene. This won't work for every shot but do consider it before hitting the shutter button.

 

Photo by David Clapp

  What To Use As Paths?  When shooting outdoors, there are lots of elements that can be used to achieve this effect fairly easily.

Examples of paths:

• Lines in crop fields
• Roads
• Fences
• Streams
• Trails
• Walking Paths 

These are just a few of the things you can use to guide the eye through a shot. The image above illustrates this well, with the lines leading the eye through the image to the castle in the background.

For tips on using converging verticals and lines, read this tutorial: When Are Converging Verticals And Lines A Good Thing?


  Guide The Eye With Blur If using lines won't work, try using blur to guide the eye to a particular point of focus. For example, this could mean using a shallow depth of field to make your person 'pop' from the frame. For more tips on using apertures creatively, have a look at this tutorial: Creative Aperture / Depth Of Field

We also have this tutorial with a few focusing tips to get you thinking about your photography more creatively: Think About Your Focus

Photo by David Clapp - www.davidclapp.co.uk
  Give Moving Objects Space

If you are photographing moving objects, consider which way they are heading. For example, if the object is on the left side of your shot and heading out of the frame, rather than into the centre, this will ultimately lead the eye away from the main body of the image and can also frustrate the viewer with its mystery destination. Having the object, or objects, heading towards the middle of the frame will make the image more pleasing to the eye and will stop the object from guiding the viewer's eye out of frame. For more tips, take a look at this tutorial: Looking/Moving Space.

© Paul Morgan

 

It is with deep sadness that we share the news of the passing of long-time ePHOTOzine member Paul Morgan, who died on 15 November 2025 after battling pancreatic cancer. Paul was a valued part of our community and will be remembered for his creativity, generosity, and love of photography.

In a tribute shared by his son, Leon Morgan:

Paul Conrad Morgan sadly passed away on the 15th November 2025, after battling Pancreatic cancer for much of this year.

Paul was born in London in 1964 before moving to Reading. He was creative and used photography to express this. He would always have a camera with him. He had a love of black and white photography and at one point had a makeshift darkroom set up in the bathroom, and a studio set up in the living room.

He loved the photography community here on ePHOTOzine and would often spend hours browsing users’ portfolios.

Paul would volunteer for the British Thyroid Foundation and received an award for his charity work from Nationwide.

He indulged in his hobby right up to his final days, and has passed it on to myself, his son.

Paul will be remembered fondly in all his photographs he took during his life.

Paul’s dedication to photography and his kindness toward others left a lasting impression on everyone who knew him. His work continues to inspire, and his presence in the community will be greatly missed.

For those who wish to pay their respects, please visit his MuchLoved memorial page or explore his ePHOTOzine profile to see the photographs that defined his journey.

Our thoughts are with Paul’s family, friends, and loved ones at this difficult time.

Photo by Peter Bargh. Gear Suggestions:

• A macro lens is very useful but not essential
• Tripod – one where the centre column can be turned horizontal is useful so you can get right in over the surface you’re working on. You could also use a table top tripod.

  Technique:

Before you start you need to make sure your cutlery is clean and that your egg doesn’t have any imperfections.

You need to work where there’s plenty of light so position yourself near a window/ patio doors. Plain backgrounds, particularly reflective ones, work best. Still life tables that have a perspex base work well but try using a piece of white card or plastic tray if you don’t have one. If you have white plastic windowsills try setting your still life up on it but you may need to place a sheet of paper, netting or cloth on the glass to diffuse the light slightly.

When it comes to placement, experimentation is key as there are various ways to arrange your props for a successful shot. However, one that works particularly well is where you balance the egg inside two crossed over forks. Shooting this straight on produces perfectly good results but do try adjusting the angle of your setup or move your feet so you're shooting from a different position.

Make sure your camera focuses on the correct point so you don’t end up with a blurry egg, watch your white balance and if you have a problem with unwanted shadows creeping into your shot, try moving your set-up or any objects nearby that could be casting them.

You can keep your shot in colour or to give more focus to the shapes and structure of the shot, convert it to black & white and / or use a slight vignette to draw the eye to the middle of the photograph.

When you first think of a snowy day captured in an image, black & whites tones are probably not what first spring to mind. However, in the right conditions and with the right subjects,  working in monochrome on snowy days can work well and give you a collection of winter images that are rather eye-catching. To get you thinking more about mono, here's 5 tips to get you started on your journey into black & white snow photography. 

 

Photo by David Clapp

 

1. The Weather Matters

When skies aren't a brilliant blue, turn your attention to the black & white medium as when your shot has a heavy snow-filled sky in it, your image will have much more punch to it if captured in black & white. Mist can help to separate foreground detail from background too. Make sure you wrap up in severe cold weather.

 

2. Strong Shapes Are A Must

As with most forms of black & white photography, you need strong, recognisable shapes in your shot for it to work. The skeletal trees of winter create interesting shapes which are perfect for snow-themed black & white landscapes. Livestock, rock formations and stone walls all work well as foreground interest, too.

 

3. Foreground Interest Is Important

If you just have a blanket of white snow, generally your image won't really work as there won't be any depth to it. The reason we say 'generally', however is because a blanket of snow can work in abstract images where you just have one main focus point that's starkly different to the pale snow (as shown in David's shot above). Find something that will lead the eye through the image or if there's nothing to guide the eye, just ensure there's at least one part of the foreground that adds texture and interest to your shot. 

 

4. Converting To Black & White 

There's always the option to take your shots in colour then convert them when back home in front of your computer. When converting images to black & white it's important to pay attention to the colour channels, as John Gravett explained in a previous article where he said: "Look at each of the red, green and blue colour channels to see which gives the best effect. Often, if you have a broad landscape with a blue sky, the red channel will darken the sky and give the picture real impact, it will also have the benefit of cutting any distant haze in the picture."

 

5. Stay Warm And Safe

This one isn't really about your photos but your safety. It will be bitterly cold when snowing so don't spend too long outside and always dress appropriately. Tell people where you are going and don't put yourself in danger for the sake of the perfect image. 

[SECTION]INTRODUCTION[/SECTION]

 

 

Quick Verdict

The Fujifilm X-E5 is a classic design, combining traditional controls and functions with the latest high quality 40MP sensor. This is all in a likeable rangefinder-style format that will appeal to traditional photographers as well as those who love modern technology. Handling is superb, the quality is sublime and this could well be an ideal travel companion.

 

Fujifilm have a long and impressive history of producing solid, reliable and versatile cameras and lenses of the highest quality. The new X-E5 continues this tradition, with a classic rangefinder-style layout, a compact form factor and all housed in a solid camera body packed with the latest technological advances. We couple this up with the recently reviewed Fujinon XF 23mm f/2.8 R WR lens, an impressive looking package. Let's see if it all lives up to expectations, both in the technical tests and in the field.

 

Fujifilm X-E5 Features

Starting with the machined Aluminium top plate, the first impression is of solid, precision manufacture. Finish is excellent. The style is one of conventional physical controls for the most used functions, rather than having to delve constantly into the menus. The film simulation modes are controlled by a small dial at the back of the top plate, the selection being shown in a small clear window. There are several commonly used settings from the dial, the option to save our own favourite and a setting that provides access to the full range in the menus. Moving along the top plate, we have the hotshoe, a generously sized shutter speed dial, on/off switch, unmarked button that is the Fn menu and an exposure compensation dial. Just in front of the on/off switch, at the top of the front of the top plate, are the dial for directly setting the ISO and a switch that selects a Surround View function. Toggle this switch to engage the digital teleconverter, either with the surrounding image area still visible (like a rangefinder camera would show) or as a magnified image. Pixel counts will be smaller as we “zoom” in. 

 

 

At the back of the top plate, we have buttons for Drive, Play, AE-L and the dial to make changes to a selected parameter. The useful Q menu has a well recessed button that has no tendency to be vulnerable to accidentally being engaged. The dial is also firmer in action than some Fujifilm models, so is more reliable in action.

The back panel has a joystick, rather small but effective, a menu/OK button and a Display/Back button. The 3” tilt touch sensitive LCD is bright and clear. There are 1.04M dots.

The viewfinder is a 0.39” OLED EVF with a more generous 2.36M dots. 

The weather-sealed body is solid, weighing in at 445g with battery and card. There is just one card slot. The built in 5 axis IBIS gives a 7 stop advantage at the centre of the field and 6 stops at the periphery. 

The 40.2MP X-Trans CMOS 5 HR sensor is capable of producing lovely image quality, along with impressively low noise levels. There are also various routes to connectivity. The physical interfaces are USB-C, HDMI Micro D, 3.5mm jack for mic/remote and the hotshoe. Connection is also possible via WiFi and Bluetooth. There is also a very useful Fujifilm X App.

 

 

Fujifilm X-E5 Key Features

•  X Mount APS-C format
•  Machined Aluminium top plate
•  Surround View function
•  40.2MP X-Trans CMOS 5 HR sensor
•  X-Processor 5
•  5 Axis IBIS, 7 stops centre, 6 stops periphery
•  Mechanical shutter 30secs to 1/4000sec
•  Electronic shutter 30 secs to 1/180000sec
•  AF sensitivity -4 EV Contrast detection, -7 EV Phase detection
•  AI-powered subject detection - animals, birds, cars, motorcycles, bicycles, aeroplanes, trains, insects and drones
•  Native ISO range 125-12,800, extendable to ISO 80-51,200
•  20 Film Simulation modes
•  Film Simulation Dial
•  1 SD card slot – UHS-I, UHS-II, SD, SDHC, SDXC
•  Video speed class V90
•  NP-W126S battery 310 frames/400 frames (economy mode)
•  3in LCD touch screen tilt type monitor 1.04M dots
•  0.39” OLED EVF, 2.36M dots
•  6.2K/30P internal recording in 4:2:2 10-bit quality
•  High speed video at 4K/60P and 1080/240p
•  WiFi, Bluetooth
•  Fujifilm X App
•  USB-C, HDMI Micro D, 3.5mm mic/remote jack, hotshoe
•  Body measures 124.9mm x 72.9mm x 39.1mm
•  445g with battery and SD card
•  Operating temperature 0C to +40C

 

Fujifilm X-E5 Handling

With plenty of physical dials and buttons operating the key features, this is a camera that will appeal to traditional photographers as much as those used to more menu driven designs. The instant access to shutter speeds, aperture (via the lens aperture ring with the provided pancake lens), ISO, exposure compensation and selected film simulation modes is quick and efficient. The bulk of the camera is sufficient to make handling much easier, rather than having awkward grips and the tendency to operate controls by accident. The X-E5 suffers from none of that.

Other adjustments can be accessed quickly using the Fn and Q menus, and these are selected by the joystick and then adjusted using the rear control wheel. As mentioned, this wheel is firm enough to ensure adjustments are reliably made every time.

The tilting rear screen is useful and seems sturdily made to withstand long term use. The camera body as a whole is solid but not overly heavy. Dimensions are small enough to contemplate it being carried, complete with pancake lens, in a large coat pocket. 

There is no obvious video switch, but this feature is activated as a setting in the drive menu. Once found and engaged, the actual shooting of impromptu videos of high quality is very easy. Sound quality is also good. Not primarily a video camera perhaps, but still very capable when needed.

 

[SECTION]PERFORMANCE[/SECTION]

Fujifilm X-E5 Performance

The performance section is where we look at the image quality performance of the camera. Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
 

Fujifilm X-E5 Sample Photos Previous Next

 

Lens Performance – The Fujifilm XF 23mm f/2.8 R WR pancake lens was supplied with the X-E5 and has recently been reviewed. A summary of the lens performance:

Central sharpness is excellent from f/2.8 right the way through to f/11 and is still very good at f/16. The edges are very good from f/2.8 to f/11 and good at f/16. This is a great performance, and the images look sharp and crisp across the frame.

CA (Chromatic Aberration) is minimal at the centre and still well under control at the edges. Colour fringing is not a problem in most images. Further correction could be made in the software in extreme instances, but it is doubtful that this would be required.

Distortion is just -0.20% barrel, straight lines remaining straight.

Bokeh is relaxed and easy on the eye.

Flare control is excellent, as is the norm with Fujifilm lenses. In very extreme lighting, it is just possible to see some slight artefacts, but we have to work at it to achieve such effects.

Vignetting is visible, particularly at wider apertures, but not obtrusive in general photography. In any event, a slight corner darkening can be a useful effect in many images, concentrating the eye towards the centre.

The pancake lens is a great companion for the X-E5, offering superb quality and making the combination ideal for travelling light.

 

Fujifilm X-E5 ISO test images Previous Next

 

ISO Performance – Noise is virtually absent from ISO 80 right through to ISO 800. The very first whisper of noise and the very slightest reduction in edge sharpness occurs at ISO 1600, although at this point, quality is still high. At ISO 3200 and ISO 6400, noise is just starting to be more obvious and edge sharpness is reduced, but these values are still fully usable. ISO 6400 and ISO 12800 see a jump in noise levels, and the edges of the test target boxes are starting to show signs of becoming feathery rather than crisp. At ISO 25600, sharpness falls off and noise becomes quite obtrusive. At ISO 51200, noise levels are moderately high and edge sharpness is quite poor. However, the darkest test target boxes can still be differentiated from the background, so this is overall a solid performance.

 

Fujifilm X-E5 White-balance test images Previous Next

 

White Balance – White balance pre-set options are auto white priority, auto, auto ambience priority, 3 custom settings, K colour temperature setting, daylight, shade, 3 fluorescent settings, incandescent and underwater. Most of the images shot for this review used the auto ambience setting, which gives good colour balance but does not destroy the subtleties of the ambient light. The shade setting is useful for dark woodlands and helps to record natural colours of fungi in particular. The missing one is, as mentioned previously with Fujifilm cameras, a cloudy setting, the digital equivalent of the 81A or cloudy filter. Almost all other marques include this, so it would be useful for those who like warm images. Otherwise, the presets offered work very well.

 

Fujifilm X-E5 Digital filters Previous Next

 

Digital Filters – As with the recently reviewed X-T30 III, there are two avenues of approach to the 20 film simulations. The dial on the back of the top plate controls the readily accessible options. The selection made can be seen in the small window on the top plate. This enables direct access to a small selection of simulations, three custom selections plus an Acros setting that points to the Acros simulation but can be re-programmed to anything the user wishes. The C setting refers the user to the menus to select an option. The 20 choices are Provia/Standard, Velvia/Vivid, Astia/Soft, Classic Chrome, Reala Ace, Pro Neg. Hi, Pro Neg. Std, Classic Neg., Nostalgic Neg,. Eterna/Cinema, Eterna Bleach Bypass, Acros, Acros+Ye filter, Acros+R filter, Acros+G filter, Monochrome, Monochrome+Ye filter, Monochrome+R filter, Monochrome+G filter and Sepia.

The dual names such as Velvia/Vivid would be self explanatory to those who are familiar with the film types, but if not then the description gives an explanation. This versatility in choosing image styles makes good sense and gives a direct expectation to those who shoot or have shot film.

 

Video –  Although primarily a stills camera, the X-E5 has a sensible specification:

• 6.2K/30P internal recording in 4:2:2 10-bit quality
• High speed video at 4K/60P and 1080/240P
• Open Gate recording
• MOV (HEVC/H.265 or H.264)
• MP4 H.264

Shooting basic FHD video is pretty straightforward, and impromptu results are smooth, also with good quality sound. The tracking AF follows its subject effectively. The sound is clear. The stability of the video stabilisation also helps when the camera is unsupported, even when walking.

Video sample coming soon.

 

[SECTION]VERDICT[/SECTION]

 

 

Value For Money

The [AMUK]Fujifilm X-E5|Fujifilm+X-E5[/AMUK] body only is priced at £1249.00. Add the XF 23mm f/2.8 R WR lens, and the cost becomes £1499.00

This is a similar price level to the [AMUK]Fujifilm X100VI|Fujifilm+X100VI[/AMUK] with its fixed 23mm f/2 lens, priced at £1599.00

These are cameras intended to appeal to those who want the compact rangefinder style, rather than the DSLR style of mirrorless cameras. Not only that, but also we have a very compact form factor that brings these into the realm of pocketable, providing we are talking about large coat pockets.

The only other direction, fixed lens again, might be the [AMUK]Leica Q|Leica+Q[/AMUK] cameras, but then we are looking at a very different pricing level.

Overall, the new Fujifilm X-E5 looks to be sound VFM.

 

Fujifilm X-E5 Verdict

There is much to like about the X-E5. The rangefinder style will appeal to many, but there is so much more about this camera. It is solid, full of features, the quality is superb and the handling vastly improved with its dial orientated approach. The pancake lens completes the concept of a travel compact camera, but of course, here we also have the ability to use other lenses available in Fuji X mount. This is where the camera instantly scores above the X100VI with its fixed lens. 

Whilst there are many similarly priced alternatives, they do not have the same thin profile and usually are supplied with small but protruding zoom lenses. This is a different direction from the slim profile of the X-E5.

If the form factor appeals, then the camera works extremely well and it can be Highly Recommended.

 

Fujifilm X-E5 Pros

• Excellent image quality
• Light and compact
• Image Stabilisation
• Weather resistance
• Film simulation options
• Subject detection options
• Competitive price
• Fantastic high quality lens range

 

Fujifilm X-E5 Cons

• Cold operation only down to 0C

 

[REVIEW_FOOTER]R_features=4.5|R_handling=4.5|R_performance=4.5|R_value=4.5|R_overall=4.5|A_level=4.5|A_text=Highly recommended – Compact and high quality with superior handling|E_id=8016[/REVIEW_FOOTER]

 

View the Fujifilm X-E5 camera specs in the equipment database.

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“Target Practice” by ZenTony has been chosen as our Photo of the Week (POTW) this week on ePHOTOzine.

With its use of focus and framing, this image turns a straightforward subject into something impactful. The central target stands out clearly, while surrounding tones and textures add atmosphere.

The details are clear, and the strong light and shadow create a bold, defined setting. Great composition and timing elevate this ordinary interior into an eye-catching photo. Well done ZenTony – excellent capture.

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 2026, we’ll crown our 2025 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!

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Win 1 of 10 Outdoor Photographer Subscriptions!

Win a Year’s Subscription to Outdoor Photographer – The Ultimate Christmas Treat for Photography Lovers!

This Christmas, we’re delighted to offer a truly inspirational prize for photographers of all levels: a 12-month subscription to Outdoor Photographer magazine for 10 lucky winners! Whether you’re a seasoned shooter, a nature enthusiast or someone who simply loves learning from the world’s best image-makers, this is a gift that will last long after the festive season has passed.

Outdoor Photographer is one of the world’s leading photography magazines, celebrated for its breathtaking imagery, expert advice and deep connection to the landscapes, wildlife and wild spaces that inspire so many of us. Each issue is packed with spectacular visuals, detailed techniques and thoughtful stories from the field, making it the perfect creative companion throughout the year.

A subscription brings readers into the heart of outdoor photography. Every edition explores the craft from multiple angles: from mastering natural light and refining composition to understanding changing seasons, weather patterns and the unique challenges of shooting in remote environments. Readers can discover new ways to elevate their skills, develop their artistic eye and build confidence in capturing the world more meaningfully.

Beyond technique, Outdoor Photographer showcases work from internationally recognised professionals as well as rising talents, offering a steady stream of motivation. The magazine’s features highlight stunning locations across the globe—towering mountain ranges, dramatic coastlines, silent forests, desert expanses, frozen worlds and intimate wildlife encounters. It’s a visual journey that encourages readers to explore, experiment and reconnect with nature through their lens.

The subscription also includes thoughtful gear coverage, with practical reviews, field tests and equipment recommendations that help photographers make informed choices. Whether you’re considering a new camera body, comparing lenses or looking for accessories that will enhance your toolkit, the magazine delivers clear, experience-led insights from those who take equipment into real-world conditions.

What makes a prize like this special is its ability to spark creativity throughout the year. Each issue becomes a moment of inspiration—a reminder to get outside, slow down, observe more deeply and translate your experience into imagery that resonates. From capturing winter frost to spring wildlife, summer sunsets and autumn colours, Outdoor Photographer offers ongoing prompts and ideas that help photographers grow in every season.

This Christmas Advent giveaway celebrates the spirit of photography: curiosity, exploration, patience and the joy of seeing the world with fresh eyes. Gifting someone a year of Outdoor Photographer isn’t just handing over a magazine subscription—it’s giving them access to a community of passionate creatives, a source of expert learning and a beautifully curated monthly boost of motivation.

Visit Outdoor Photographer

Today's Prize Win 1 of 10 Outdoor Photographer Subscriptions!

We’re thrilled to include this in our festive lineup and can’t wait to share the magic of outdoor photography with our lucky winners. Good luck, and from all of us, have a wonderfully creative Christmas filled with inspiration, adventure and unforgettable images.

Visit Outdoor Photographer

As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

[PRIZE_ENTRY]7015[/PRIZE_ENTRY]

 

There's nothing quite like picking your way around the edges of a lake which is just beginning to freeze and photographing great abstract pictures of ice details. Similarly, icicles at the edges of streams and in waterfalls can lift otherwise ordinary shots into a whole new dimension.

On really cold mornings, lake edges start to freeze, providing abstract patterns with overlapping layers of ice just beginning to form. Pop a macro lens on your camera, fix it on the tripod and look closely for patterns in the ice. The edge of the ice can give great shapes, too. Look for leaves caught on or in the ice as well, or bubbles given off by underwater plant life that has frozen in the ice surface.

To see through some of the icy layers to the details below, a polarising filter can be useful to reduce reflection from the surface of the ice.

For a waterfall to freeze, it needs to get really cold, but where waterfalls, or tumbles over rocks, it creates turbulence and splashes up over surrounding rocks and vegetation. These areas freeze into crystal-like caps over rocks, icy stalagmites on grass or chandelier-like structures on large waterfalls. Even where water drips off the edges of peat bog into streams, in cold spells, these can form wonderful icicles which, after water levels drop slightly, hang magically above the surface of the water.

Where there is still moving water in the photo, try a range of shutter speeds to contrast the frozen ice with the flow of the water - or even the ripples in the stream. Use of a polarising filter will take reflections off the water to show it as darker, contrasting with the whiteness of the ice, although sometimes reflections in the water are just as important as the ice itself! A telephoto zoom may help you to crop close without risking a slip and fall into very cold water.

Remember, where there is a predominance of white tones, they are likely to confuse your camera meter, so be prepared to add about a stop exposure. Conversely, highlights on ice against a dark background may blow easily, so keep a close eye on your histograms.

Ice will hang about more in shaded areas, so watch your white balance to avoid your whites turning out with a blue cast.

Finally - watch your step, scrambling around icy edges of lakes, or near waterfalls in sub-zero temperatures can be very slippery underfoot, so be careful not to fall in, or worse, let your camera topple in either; but find some icy margins and create some exciting pictures.

Article by John Gravett of Lakeland Photographic Holidays.

As the sun's still setting before most of us get home from work, now is the perfect time to have a go at night photography. Various types of photography are possible when the nights begin to draw in. Here's our guide to what you can do and what kit you'll need to do it.
 

Photo by David Pritchard

 

Essential Equipment:

 

Tripod

Aside from your camera, a tripod is the single most essential item in night time photography, when low shutter speeds are in use as hand-held photography is virtually impossible. It's a good idea to find a model that's lightweight and compact enough to carry around with ease.

 

Fast Lenses

When it comes to lenses, wide angle is often the way to go - the faster the better. An aperture of at least f/2.8 throughout the entire focal length is recommended as available light will be at a minimum. 

 

Filters, Lens Hoods And Rain Sleeves

A filter is not essential, however a UV filter can be used to protect your lens from the elements. In harsh weather conditions a lens hood can protect the front of your lens from rain while a rain sleeve will protect your camera body.

 

Flash Gun

An additional flash is a useful tool when working outdoors at night, and it's important to find one that's suited to your particular camera. Most flash guns will fit most cameras, but unless it's dedicated it won't work with the camera auto settings and could result in an incorrect exposure.

 

Light Meter

Night photography can be tricky and your camera's built-in metering system may not be accurate enough to get the correct exposure, which is where a light meter will be useful. One that has an illuminated LCD would be best as it'll make viewing easier in low light. Various brands create light meters who have various models which are lightweight, small in design and feature LCD displays.

 

Clothing

Waterproof and warm clothing is essential if you are going to be outdoors during winter for long periods. A waterproof jacket with a hood is ideal. Do wear layers instead of one thick jacket as you can always add or remove items if hot/cold. Wearing a good pair of walking boots and gloves is also a good idea.

 

Remote Shutter Release

Also consider adding a Remote shutter release to your kit. A remote control will activate the shutter release without any need for contact with the camera, eliminating the risk of blur caused by camera movement. Do check that the remote release is compatible with your camera.

Your camera's self-timer can also be used as an alternative, preventing the need for contact at the time of the shutter release.

 

Camera Bag

A weatherproof camera bag will keep your equipment dry and well protected from the elements, and backpacks are generally easier to carry and more comfortable than any other type of bag. Take a look at our review section to find a bag that's suitable for you.

 

Accessories

Depending on where you are planning to go to carry out your photography, a torch might be good idea as some areas will not have the benefit of street lighting. For those who prefer to keep their hands free consider packing a head torch.

If you are going to be outdoors for a while, a flask of hot tea or coffee may be a good idea.

 

Photo by Joshua Waller 

 

What To Photograph:

 

Buildings At Night

Shooting buildings at night can create a very different feel from the way they would look during daylight. Cityscapes are always a good choice, as are churches. Useful equipment for this type of photograph includes: Tripod, flashgun, wide lenses, light meter, torch and filters. Click the following links for tips on shooting buildings at night:

• Advice On Shooting In Towns And Cities At Night
• Photographing Night Time Urban Scenes
• Town / City Night Photography Tips
• Tips On Photographing Buildings At Night
• Photographing Architecture In Singapore

  Moving Cars And Fairground Rides

Moving cars and fairground rides are easy to find and can create some stunning streams of lights and patterns when done after dark. Experiment with different shutter speeds to see what effects can be created.

Useful equipment includes: Tripod, monopod, flashgun, light meter, shutter remote release and warm clothing.

 

Moon And Moonlight

Landscapes need not stop when then sun goes down. Try using the moon as a source of light to produce some dramatic as well as eerie effects. Click here to see the ePHOTOzine guide to photographing the moon. Useful equipment includes: Tripod, telephoto lenses and warm clothing.

 

Night Portraits

Outdoor portaits at night may be slightly more tricky than portraits during the day, but the results can be much more effective. Useful equipment includes: Tripod, light meter, flashgun and warm clothing.

 

Wildlife

A whole new world of wildlife emerges after dark. Disguise yourself in a hide and see what turns up! Useful equipment includes: Tripod, camera trigger, flashgun, hide, warm clothing and a flask.

 

Star Trails

Even though it takes a while, the effort is worth it as the effects captured can be amazing. For more tips, take a look at these tutorials: Photographing star trails part one and two.

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Win an Atomos StudioSonic Mic + Headphones Bundle!

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The Atomos StudioSonic Shotgun Microphone is a professional-grade, dual-mode mic designed for filmmakers, journalists and creators. It offers both wireless 2.4 GHz operation and wired connections via locking USB-C or 3.5 mm jack, making it remarkably versatile. The 48 kHz/24-bit super-cardioid condenser captures focused, broadcast-quality dialogue while built-in 75 Hz and 150 Hz cut filters, a high-frequency boost and manual gain control let you banish unwanted noise. An OLED status screen displays levels and battery life. It delivers up to 8 hours wirelessly or 50 hours wired, with ultra-low latency (< 20 ms).

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Today's Prize Atomos StudioSonic Mic + Headphones Bundle!

Win an Atomos Audio Duo: StudioSonic Shotgun Mic + StudioSonic Production Headphones!

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As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

[PRIZE_ENTRY]7014[/PRIZE_ENTRY]

 

 

There are plenty of great mountain ranges scattered around the UK that are well worth a photo at any time of year but in winter, when a covering of snow's fallen or a hard frost has settled they tend to look even more impressive.

The cool, clean air of winter is good for capturing mountainscapes as everything seems much more clear with distant subjects appearing crisp. However, snow, ice and cold plus a mountain equals conditions you have to be extremely careful in. Make sure you dress correctly, have a route planned, carry the right equipment (map, compass, phone etc.) and tell someone where you're going.
 

What kit will be useful?

You'll find both a wide-angle and longer lens useful so make room for both in your camera bag and don't forget your tripod or monopod as a support is a must. A polarising filter will cut down on glare/reflections while an ND Grad filter will balance out the contrast between the sky and ground.

Sweeping shots from the tops, especially with snow and a crisp, blue sky look great but if you go too wide with your lens choice the sense of grandeur can be lost so be careful and check your frame before hitting the shutter button.

Think about scale

For shots that give the mountain(s) more depth compose your shots from a spot where you can make the most of their size from. Don't forget that foreground interest such as the mountain's ridge help give your image scale and can be used to lead the eye through the shot.

For shots with foreground and background interest where front to back sharpness is needed you'll need to use smaller apertures which can mean longer exposure times are needed so make sure you have your tripod or monopod with you.

Consider a panorama for impact

Don't forget about panoramas as they work particularly well for shots of mountain ranges. It won't give you shots that really show off the mountain's height, but it will emphasise how far the landscape stretches out into the distance for. For tips on panoramas, have a look at our previous articles.

Shots of the mountain are what really show how tall these natural structures are, rather than photos taken from the top of them - good news for those that are a little less intrepid! You can use a wide lens but you have to be closer than you think to the mountain(s) to create any sense of height and more often than not, whatever is in the background tends to lose impact with the foreground taking centre stage. It's much easier to use a longer telephoto that pulls the distant mountain to you, filling the frame and as a result, giving the shot more impact.

                                                                                                                           

Anthropics Technology is giving ePHOTOzine members the chance to save on the new PortraitPro 24.

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• New gender and age detector
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Buy PortraitPro 24 or upgrade at 50% off, plus get an exclusive extra 30% off with the code BFEZ30. There's never been a better time to streamline your portrait-editing workflow.

See Anthropics Bundles for further savings. Code BFEZ30 is valid on any Anthropics software including PortraitPro, PortraitPro Body, LandscapePro, and Smart Photo Editor, or Bundles.

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Mobile phone cameras are now capable of producing shots which even the most critical photographer will say are decent and well worth displaying in portfolios. Modern smartphones have had a major impact on the photography market as a lot are now capable of producing images just as good, or even better, than basic compact cameras. If a compact is all you wanted to use for your travels, why not upgrade your smartphone and have one less item to pack? 

When you couple this improved technology with the hundreds of apps that are available which are designed to help you be more creative and take better photos, it's easy to see why there's a growing admiration for this form of photography.

As most people now carry a smartphone that has a camera built in we thought we'd put a list of ten tips together to help you improve your shots taken with cameras built into mobile phones, for those situations when you want a good shot and all you happen to have is your phone. 

 

 

Think Of It As A Camera

Holding your phone in one hand and trying to press the shutter button will only result in blurry, wonky shots. Holding your phone with two hands quite close to your body will mean your phone is much more stable and as a result, your images will be better. A lot of modern smartphones now have dedicated shutter buttons to help you capture photos easily, and some even have the ability to take a photo from a squeeze of the sides, like the HTC U11. 

 

Stay Still

Having your arms tucked close to your sides and standing as still as possible will stop any blur caused by movement from spoiling your shot. Don't move your phone away as soon as you've clicked your shutter button either as shutter lag can mean your camera's still processing the shot so you'll end up with a blurry photo of another part of the scene rather than the person or object you want a photo of. Phones like the Samsung Galaxy S9 have OIS built-in, to help combat this too. 

 

Use Accessories

Many companies are now producing lenses and supports for iPhones and other mobile phones which can help enhance and improve your mobile phone photos. One example is the USB Fever Super 20x Macro Lens which offers a magnification of 20x. You can find out how the lens performs in our review. Lensbaby also make a kit which uses magnets to let you interchange various creative lenses.

 

 

 

Zoom With Your Feet

If your camera phone doesn't have an optical zoom use your feet to move you closer to your subject rather than using the digital zoom which can lower the quality of the shot.

 

Light

You'll be relying on natural light most of the time so get outside, when possible, and set up near windows or patio doors when working inside. If you need to turn a few lights on, do watch the colour cast they create. You can tweak the white balance on some phones or there are apps available which you can do this with too. Some also give you exposure compensation options so you can brighten or darken your shot. It's worth checking your settings, which we'll cover next, to find out exactly what your phone's camera can and can't do. Most modern phones pride themselves on having good low light capabilities, many of which use apertures of f/2 or wider to maximise light entering the lens.

Be careful where you position yourself when shooting outdoors as shooting in the direction of the sun can result in flare, although some people like the effect and it can actually work quite well with some shots. As well as having too much light in your shot too little can result in grainy shots where not much detail can be seen.

 

Check Your Settings

Go into your camera's settings and make sure that you camera is primed for the shot. Are there different scene modes to choose from? Experiment to find the right one. A lot of mobiles offer 'pro' or 'advanced' modes, allowing you to change the ISO and shutter speed, white balance etc manually, and experienced photographers will find this useful to personalise images. You may also find there are various shooting modes on offer as well as presets such as night, panorama and portrait mode all designed to help you take the best shot possible.

 

The Lens

It's quite easy to take a shot where a finger or thumb is covering the lens so watch where you position your hands. As phones are put in pockets and carried around in bags they get dusty easily and due to us handling them a lot they get covered in greasy fingerprints quite quickly too so make sure you keep your lens clean and check it before you take any shots.

 

 

Try Different Angles

Working with a phone generally gives you more flexibility than a camera that's on a tripod so make the most of this freedom by varying your shooting angle and trying new shots. People don't always know you're taking a picture when you're holding your phone either, making them good for quick street candids. This doesn't mean you can take photos in places that say you can't though, you still have to obey the rules.

 

Don't Forget About Post Production

Using a phone to take photos with isn't an excuse for not correcting wonky horizons or adjusting the brightness levels in a shot. You can edit your photos with apps on your phone but the screen is a little small so don't overlook transferring them to your computer so you can edit on a larger screen.

 

Experiment With Apps

There's no excuse for not experimenting with your phone photography as the many apps that are available mean you can colour pop photos, add frames, create film effects... the list goes on. There's also apps out there that offer you shooting advice in the palm of your hand so if you want to brush up on your wedding photography while out and about, for example, you can. Some apps you have to pay for but there's also many free apps available which are just as good. Take a look at our review section to see what apps we've liked the most.

 

 

The countdown has begun for the 2026 London Photo Trade Show, taking place from 15–17 January 2026 at the Novotel London West, Hammersmith. This year’s event promises to be bigger and better than ever, with the highly anticipated Live Stage showcasing some of the UK's most talented and innovative photographers.
 

From live demonstrations to insightful presentations, the Live Stage will feature a diverse range of sessions designed to inspire, educate, and equip photographers with the tools and techniques they need to excel in 2026. Whether you're a budding photographer or an established pro, the Live Stage offers a golden opportunity to learn from the best in the industry.

Live Stage Highlights:

Thursday 15 January 2026:

• 10:30 – Terry Donnelly – Wildlife Photography with the Sony Alpha Cameras
• 11:30 – Fabrizia Costa – Eyewitness: Saving Human Memory Before It’s Too Late
• 12:30 – Gavin Maxwell – GFX Challenge Grant Award Project – ‘If The Land Could Speak’
• 13:30 – Canon EOS R6 Mark III – Unleash Your Passion
• 14:30 – Angela Jackson – What is Intellectual Property (IP)?
• 15:30 – Brendan Taylor – How to Fix 2026

 

Friday 16 January 2026:

• 10:30 – Terry Donnelly – Portrait Photography with the Sony A7v
• 11:30 – Ian Martindale – Turning Enquiries into Paid Clients
• 12:30 – Gavin Maxwell – GFX Challenge Grant Award Project – ‘If The Land Could Speak’
• 13:30 – EOS R5 Mark II & R6 Mark III: Benefits of Upgrading
• 14:30 – Angela Jackson – What is Intellectual Property (IP)?
• 15:30 – Brendan Taylor – How to Fix 2026

 

Saturday 17 January 2026:

• 10:30 – Terry Donnelly – Sports Photography with the Sony Alpha Cameras
• 11:30 – Ian Martindale – Turning Enquiries into Paid Clients
• 12:30 – Rebecca Douglas – Exploring Liminal Spaces with Minimalist Kit
• 13:30 – EOS R5 Mark II & R6 Mark III: Autofocus Essentials
• 14:30 – Angela Jackson – What is Intellectual Property (IP)?
• 15:30 – Brendan Taylor – How to Fix 2026

 

  Free Entry Offer!

Photographers and creatives who pre-register before 1 January 2026 can skip the £10 entry fee and gain free access to the Live Stage sessions. However, space is limited, so early registration is encouraged to secure a spot.

 

The Live Stage Speakers for the 2026 event have been generously supplied by our sponsors, ensuring attendees have access to the latest tips, techniques, and gear that will shape the photography landscape in the coming year.
 

About the London Photo Trade Show 2026

The London Photo Trade Show is one of the UK's premier events for photographers, providing a unique platform for industry professionals to discover new technologies, connect with leading brands, and enhance their skills through hands-on demonstrations and expert-led sessions. The 2026 event is set to be an unmissable gathering for anyone in the photography industry.

Register for FREE tickets now!

Photo by Joshua Waller 

 

1. Shooting outside

When you're taking outdoor portraits in sunlight the results can be a little harsh with dark heavy shadows spoiling the image. As a result, a blip of fill-in flash is needed to balance the image. Many cameras when the integral flash is used have a fill in flash mode which forces the flash to fire. Adding a little flash can flatter your model's skin, remove deep shadows that can appear in places on the face such as under the nose and it will give your model catchlights in their eyes which is a big bonus. It's also useful on overcast days as it can breath life into dull portraits. You can also use a 'pop' of flash to highlight foreground interest in landscape shots.

 

2. Shooting into the sun

When shooting into the sun when your subject would usually be silhouetted, by exposing for the scene as normal then adding a pop of flash you'll lighten your subject without affecting the background. When exposing for the scene you need to find the right balance between the shutter speed, which you need to set so it adds enough ambient light, and the size of the aperture which you use to expose for the flash. You have to do it this way round as every time you fire the flash there will be the same amount of light so speeding up or slowing down the shutter speed won't make a difference.

Remember, though, that you cannot set a shutter speed faster than the camera's flash sync speed or the picture will be unevenly exposed. There are some camera/flashgun combinations that will sync at every shutter speed but these are usually top-end models. Check your instruction manual if you are unsure what is the correct flash sync speed.

 

Photo by Joshua Waller 

 

3. Should I use external flash?

Your camera's built-in flash can work fine for fill-in but you can do more using a separate flash used off-camera. Models are available from your camera brand as well as independent names. By using off-camera flash you can move it around the scene to help evenly light your shot. Off-camera flash used in dark conditions also has the advantage of avoiding red-eye. If needs be you can change the strength of your flash with flash exposure compensation if you're using the camera's built-in flash or one on your hot-shoe.

To maintain full flash automation when the flashgun is used off-camera you will need a dedicated cord, although some camera/flashgun combination offer wireless flash metering control. Wireless control can work fine but can struggle in bright daylight so you need to check how your DSLR performs before doing an important shoot.

Do be careful when using fill flash as it can make your portrait shots look a little artificial. Set a minus value on the flash exposure compensation control or turn down the output of the flashgun. It's important to remember that less is more and use fill flash to subtly lift your portraits.  

Win 1 of 10 ePz Plus Memberships!

Plus Membership

Merry Christmas everyone! We hope you've enjoyed our Christmas Prize Draw extravaganza so far and have entered all of the Prize Draws for your chance to win some amazing photography goodies.

Plus Membership is a yearly subscription service to take your ePHOTOzine experience to a whole new level. As a Plus member, you'll have a whole host of exclusive features and benefits at your fingertips, inaccessible to non-paying members.

ePHOTOzine's Plus Membership costs just £15 for the year and includes benefits such as:

• Enhanced Profile Styling
• Download Your Original Photo
• Panoramic Photo Uploads
• Custom Photo Backgrounds
• Ad-free Profile
• Short Profile Link
• Modifications on Your Photos
• Notifications by Private Message
• In-depth Photo Statistics
• Additional Gallery Filters
• Photo Versions
• Critique Photos - 1 every day
• Give your own award - 4 every day

By purchasing Plus Membership, not only do you get all of the great features listed above but you also help support ePHOTOzine and ensure the site keeps growing and improving.

Merry Christmas everyone, wishing you all a happy & healthy 2026!

ePHOTOzine's Plus Membership

Today's Prize Win 1 of 10 ePz Plus Memberships

Up for grabs today are 10 x ePHOTOzine 1-Year 'Plus Memberships', which will give our winners access to exclusive features and benefits that our 'Free' Membership doesn't offer.

This includes the ability to give your very own award to photos in the gallery 4 times daily, and you can receive valuable and helpful critique from our critique team and other site members once a day.

ePHOTOzine's Plus Membership

As a thanks to all of you who support the site by purchasing Plus Membership, you will receive 2 entries per draw.

Also, a huge thank you to all of our members, old and new, Plus and Free, for being part of our amazing community and to those clients who have supported us this year, through continuing tough economic circumstances. It's certainly been another challenging year, so thanks - we couldn't have made it through 2025 without you!

Wishing you all a lovely Christmas and here’s hoping 2026 will be healthy and happy all round. The ePHOTOzine Team.

[PRIZE_ENTRY]7025[/PRIZE_ENTRY]

You shouldn't be without your camera during the Christmas season as there's so much going on for you to capture. So, with your camera in hand, let's look at how you can create a great Christmas photo.
 

 

Select A Mode

The first thing to do is capture the picture and most digital cameras make the job easy. If you're new to photography, simply select an Auto mode and the camera takes all the exposure technicalities out of your hands, leaving you to concentrate on the shot. 

 

Indoor Portraits

For indoor shots, compact cameras have the appropriately titled Portrait Mode. Do check your shots if the flash fired, though as it can be a little harsh so it might be worth trying to diffuse it slightly.

When photographing children you'll find they tend to smile unnaturally or pull a face when asked to pose, but there are ways around this to ensure you capture a more natural expression. Try and joke with them, making them laugh and smile in the process. Another approach is to shoot candidly so they don't get bored waiting for you to pose them. 
 

Red Eye

Many cameras have a red-eye reduction mode that fires a pre-flash to reduce the devil-inducing effect. Make sure this is switched on when you're shooting your portraits to reduce the chances of red eye spoiling the shot. 

 

Natural Light

You can also try turning the flash off (this mode appears as a small lightning symbol with line through it) and using natural light from a window or patio doors. Window light will cast a shadow on the unlit side of the portrait which can be reduced effectively with a reflector. If you don't have one make your own by using tin foil, spray mounted onto a large sheet of card. Position this reflector so it points at the subject from the shadow side. As you move the card you'll see light reflect onto the person and the shadows will disappear.

 

Making The Person Your Main Point Of Focus

With DSLRs you can go into manual or aperture priority and select a large aperture to reduce the sharpness of the background to make your subject stand out. With compact cameras, just switch to portrait mode for shots of people and macro mode for close-ups as this lets the camera know you want to use a large aperture to throw the background out of focus. 

Try using the camera's zoom at the telephoto setting to magnify the subject and home in tightly on their face. You'll fill the frame with their face ensuring they are the main focus of your photograph.

 

Understanding White Balance

If you take pictures using room lighting you may need to switch the camera to a different white balance setting. This is usually set automatically, but you can manually correct it by selecting the light bulb option when the pictures are coming out too yellow. You can also override auto to force a colour cast, if you so wish.

 

Snow Fun

The first sign of snow and children will be out sledging, building snowmen and throwing snowballs. Take this opportunity to get some great candid pictures. But watch out for the pitfalls, snow is very bright and will fool the camera into thinking the scene is a lot brighter than it actually is. To stop this, switch to a program scene mode called Snow which compensates automatically ensuring the snow appears lovely and white.

Keep an eye out for colour cast too as snow can sometimes end up looking a little blue. Changing to a different white balance setting should fix the problem quickly though.  

Happy Christmas Everyone! 

  

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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 themak (Day 22 - People In The Winter Landscape)

 

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 17

Winter Portraits Outdoors

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Day 18

Building Close-Up

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Day 19

'Multi-Colour' Theme

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  Day 20

The Home

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Day 21

'Snow Fun'

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Day 23

Christmas Food

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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.

Photo by Joshua Waller 

 

City streets, particularly at this time of year, are an abundance of jewelled lights from traffic, shops, and festive bulbs. Their colour and a good bit of sky detail make city locations perfect for urban winter shoots. Dramatic clouds or the subtle gradation of twilight hues make good backgrounds for winter lights but as the light fades and your background turns black, you can turn your attention to the Bokeh effect to really make your urban work shine.

When out-and-about, focus on your subject from about 10 feet away with a long lens and a wider aperture and your background lights should glow like coloured jewels in the night.

As it's dark you'll be using a slower shutter speed so a tripod or monopod are an essential item. Applying a gentle touch to the shutter button and remembering to take your shot when you've exhaled and not while you're holding your breath will also reduce camera shake and help you produce a shake-free, perfect image. A good lens is always useful too and using a lens with a focal length of 70-200mm or above will help ensure those backgrounds are out of focus and the lights are twinkling.

 

Photo by Joshua Waller 

 

Once you're set-up and your picture's framed, take a look at your white balance settings. Auto white balance will work with the majority of these shots but by choosing tungsten balance, any ambient daylight goes a lovely rich blue. It also helps ensure the lights in the background are glowing the colour they're meant to be.

As well as using the Christmas lights, why not use the other lights of the city to create some dynamic images? Illuminated advertising can add an interesting twist to urban portraits and so can reflections. Wet paving stones, wet tarmac and windows are all exciting items to hold reflections. You just have to learn to look for them and incorporate them into your images.

If you're out to shoot specifically winter/festive lights then why not plan your shoot around a Christmas shopping trip or a visit to a Christmas market. There are usually plenty of incentives to wrap up warm, grab a brolly and enjoy a mulled wine and the odd bag of roasted chestnuts, all of which make excellent festive inspired images. You could also grab a window seat in a cafe, order the drinks, then pop out onto the street, shoot a frame or two then back into the warmth. You can also use the cafe as a setting for a few of your shots, using steaming mugs of hot chocolate and coffee to add another level of interest to your portraits. 

Photo by David Burleson
  Food plays a big part in the Christmas festivities so why not spend some time capturing some food-filled shots which look good enough to eat! 
  Preparation 

Professional food photographers have stylists and chefs working with them but even though you probably don't have this luxury still make sure you're picky about your food. It doesn't matter if you're photographing vegetables you've bought from the supermarket or mince pies you've baked yourself, make sure you take a good look at your subject and only select the best of the bunch.

A tripod will keep your hands free for adjusting the food in your shot and it'll also ensure your shots are sharp when working indoors with lower light conditions. 
 

Set Your Scene

We are not all lucky enough to have large, light kitchens we can work in but this isn't an excuse to take a messy photo. The odd bowl, spoon or floured rolling pin may work in your image but a table full of objects from everyday life won't. If you don't have much space just fill the frame with your product or use a wide aperture to throw the background out of focus. You could also hide your clutter with a background - something as simple as a coloured piece of card or even wrapping paper can work well. Just frame up correctly so what's behind the background doesn't sneak in from a corner.

You need to think carefully about what you set your food on, too. If you want a clean, simplistic feel go for a white plate while something more colourful can work better for Christmassy food.
 

Use Your Eyes

You're not putting food on a plate to just eat it so make sure you think about how it's presented. Grouping items in odd numbers works well but so does pairs with certain foods and objects. Take a good look around the plate for crumbs and sauce that may have run as too as this will just distract the viewer from your main subject.

Don't automatically shoot your food like you'd sit to eat it. Look for the most interesting angle and work from there. However, there are occasions when shooting directly above can work, such as when creating patterns or working with a particularly distinctive plate. 

Finally, watch your white balance and make sure there's plenty of light – setting up near a large window is a great idea. But avoid using direct flash as it will leave you with food that doesn't look appetising.

For more food photography tips, have a read of this article: 10 Top Tips For Taking Better Photos of Food